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The Man Who Laughs
A Romance of English History
By Victor Hugo
CONTENTS.
Preliminary Chapter.—Ursus
Another Preliminary Chapter.—The Comprachicos
PART I.
BOOK THE FIRST.—NIGHT NOT SO BLACK AS MAN.
I.—Portland Bill
II.—Left Alone
III.—Alone
IV.—Questions
V.—The Tree of Human Invention
VI.—Struggle between Death and Night
VII.—The North Point of Portland
BOOK THE SECOND.—THE HOOKER AT SEA.
I.—Superhuman Laws
II.—Our First Rough Sketches Filled in
III.—Troubled Men on the Troubled Sea
IV.—A Cloud Different from the Others enters on the Scene
V.—Hardquanonne
VI.—They Think that Help is at Hand
VII.—Superhuman Horrors
VIII.—Nix et Nox
IX.—The Charge Confided to a Raging Sea
X.—The Colossal Savage, the Storm
XI.—The Caskets
XII.—Face to Face with the Rock
XIII.—Face to Face with Night
XIV.—Ortach
XV.—Portentosum Mare
XVI.—The Problem Suddenly Works in Silence
XVII.—The Last Resource
XVIII.—The Highest Resource
BOOK THE THIRD.—THE CHILD IN THE SHADOW.
I.—Chesil
II.—The Effect of Snow
III.—A Burden Makes a Rough Road Rougher
IV.—Another Form of Desert
V.—Misanthropy Plays Its Pranks
VI.—The Awaking
PART II.
BOOK THE FIRST.—THE EVERLASTING PRESENCE OF THE PAST. MAN REFLECTS MAN.
I.—Lord Clancharlie
II.—Lord David Dirry-Moir
III.—The Duchess Josiana
IV.—The Leader of Fashion
V.—Queen Anne
VI.—Barkilphedro
VII.—Barkilphedro Gnaws His Way
VIII.—Inferi
IX.—Hate is as Strong as Love
X.—The Flame which would be Seen if Man were Transparent
XI.—Barkilphedro in Ambuscade
XII.—Scotland, Ireland, and England
BOOK THE SECOND.—GWYNPLAINE AND DEA.
I.—Wherein we see the Face of Him of whom we have hitherto seen only the Acts
II.—Dea
III.—"Oculos non Habet, et Videt"
IV.—Well-matched Lovers
V.—The Blue Sky through the Black Cloud
VI.—Ursus as Tutor, and Ursus as Guardian
VII.—Blindness Gives Lessons in Clairvoyance
VIII.—Not only Happiness, but Prosperity
IX.—Absurdities which Folks without Taste call Poetry
X.—An Outsider's View of Men and Things
XI.—Gwynplaine Thinks Justice, and Ursus Talks Truth
XII.—Ursus the Poet Drags on Ursus the Philosopher
BOOK THE THIRD.—THE BEGINNING OF THE FISSURE.
I.—The Tadcaster Inn
II.—Open-Air Eloquence
III.—Where the Passer-by Reappears
IV.—Contraries Fraternize in Hate
V.—The Wapentake
VI.—The Mouse Examined by the Cats
VII.—Why Should a Gold Piece Lower Itself by Mixing with a Heap of Pennies?
VIII.—Symptoms of Poisoning
IX.—Abyssus Abyssum Vocat
BOOK THE FOURTH.—THE CELL OF TORTURE.
I.—The Temptation of St. Gwynplaine
II.—From Gay to Grave
III.—Lex, Rex, Fex
IV.—Ursus Spies the Police
V.—A Fearful Place
VI.—The Kind of Magistracy under the Wigs of Former Days
VII.—Shuddering
VIII.—Lamentation
BOOK THE FIFTH.—THE SEA AND FATE ARE MOVED BY THE SAME BREATH.
I.—The Durability of Fragile Things
II.—The Waif Knows Its Own Course
III.—An Awakening
IV.—Fascination
V.—We Think We Remember; We Forget
BOOK THE SIXTH.—URSUS UNDER DIFFERENT ASPECTS.
I.—What the Misanthrope said
II.—What He did
III.—Complications
IV.—Moenibus Surdis Campana Muta
V.—State Policy Deals with Little Matters as Well as with Great
BOOK THE SEVENTH.—THE TITANESS.
I.—The Awakening
II.—The Resemblance of a Palace to a Wood
III.—Eve
IV.—Satan
V.—They Recognize, but do not Know, Each Other
BOOK THE EIGHTH.—THE CAPITOL AND THINGS AROUND IT.
I.—Analysis of Majestic Matters
II.—Impartiality
III.—The Old Hall
IV.—The Old Chamber
V.—Aristocratic Gossip
VI.—The High and the Low
VII.—Storms of Men are Worse than Storms of Oceans
VIII.—He would be a Good Brother, were he not a Good Son
BOOK THE NINTH.—IN RUINS.
I.—It is through Excess of Greatness that Man reaches Excess of Misery
II.—The Dregs
CONCLUSION.—THE NIGHT AND THE SEA.
I.—A Watch-dog may be a Guardian Angel
II.—Barkilphedro, having aimed at the Eagle, brings down the Dove
III.—Paradise Regained Below
IV.—Nay; on High!
THE LAUGHING MAN.
A ROMANCE OF ENGLISH HISTORY.
PRELIMINARY CHAPTER.
URSUS.
I.
Ursus and Homo were fast friends. Ursus was a man, Homo a wolf. Their dispositions tallied. It was the man who had christened the wolf: probably he had also chosen his own name. Having found Ursus fit for himself, he had found Homo fit for the beast. Man and wolf turned their partnership to account at fairs, at village fêtes, at the corners of streets where passers-by throng, and out of the need which people seem to feel everywhere to listen to idle gossip and to buy quack medicine. The wolf, gentle and courteously subordinate, diverted the crowd. It is a pleasant thing to behold the tameness of animals. Our greatest delight is to see all the varieties of domestication parade before us. This it is which collects so many folks on the road of royal processions.
Ursus and Homo were close friends. Ursus was a man, and Homo was a wolf. They matched each other's personalities perfectly. It was the man who named the wolf; he probably also picked his own name. Having found Ursus suitable for himself, he deemed Homo fitting for the wolf. Together, they made the most of their partnership at fairs, village festivals, and street corners packed with people, capitalizing on the human tendency to enjoy gossip and buy dubious remedies. The wolf, gentle and respectfully obedient, entertained the crowd. It's a joy to witness the tameness of animals. Our greatest pleasure comes from seeing the various forms of domestication displayed before us. This is what attracts so many people to royal parades.
Ursus and Homo went about from cross-road to cross-road, from the High Street of Aberystwith to the High Street of Jedburgh, from country-side to country-side, from shire to shire, from town to town. One market exhausted, they went on to another. Ursus lived in a small van upon wheels, which Homo was civilized enough to draw by day and guard by night. On bad roads, up hills, and where there were too many ruts, or there was too much mud, the man buckled the trace round his neck and pulled fraternally, side by side with the wolf. They had thus grown old together. They encamped at haphazard on a common, in the glade of a wood, on the waste patch of grass where roads intersect, at the outskirts of villages, at the gates of towns, in market-places, in public walks, on the borders of parks, before the entrances of churches. When the cart drew up on a fair green, when the gossips ran up open-mouthed and the curious made a circle round the pair, Ursus harangued and Homo approved. Homo, with a bowl in his mouth, politely made a collection among the audience. They gained their livelihood. The wolf was lettered, likewise the man. The wolf had been trained by the man, or had trained himself unassisted, to divers wolfish arts, which swelled the receipts. "Above all things, do not degenerate into a man," his friend would say to him.
Ursus and Homo traveled from crossroad to crossroad, from the High Street of Aberystwyth to the High Street of Jedburgh, from rural areas to rural areas, from one county to another, from town to town. After finishing one market, they moved on to the next. Ursus lived in a small wheeled van, which Homo was civilized enough to pull during the day and guard at night. On rough roads, up hills, or in muddy areas with too many ruts, the man would fasten the trace around his neck and pull alongside the wolf. They had grown old together this way. They would camp randomly on common land, in a woodland clearing, on patches of grass at intersections, on the outskirts of villages, at the entrances of towns, in market squares, in public parks, and in front of churches. When the cart stopped on a grassy area, and the locals ran over, curious and wide-eyed, Ursus would give a speech while Homo nodded in approval. Homo, with a bowl in his mouth, politely collected money from the audience. They made their living this way. The wolf was educated, just like the man. The wolf had been trained by the man, or had self-taught various skills, which boosted their earnings. “Above all things, don’t become like a man,” his friend would say to him.
Never did the wolf bite: the man did now and then. At least, to bite was the intent of Ursus. He was a misanthrope, and to italicize his misanthropy he had made himself a juggler. To live, also; for the stomach has to be consulted. Moreover, this juggler-misanthrope, whether to add to the complexity of his being or to perfect it, was a doctor. To be a doctor is little: Ursus was a ventriloquist. You heard him speak without his moving his lips. He counterfeited, so as to deceive you, any one's accent or pronunciation. He imitated voices so exactly that you believed you heard the people themselves. All alone he simulated the murmur of a crowd, and this gave him a right to the title of Engastrimythos, which he took. He reproduced all sorts of cries of birds, as of the thrush, the wren, the pipit lark, otherwise called the gray cheeper, and the ring ousel, all travellers like himself: so that at times when the fancy struck him, he made you aware either of a public thoroughfare filled with the uproar of men, or of a meadow loud with the voices of beasts—at one time stormy as a multitude, at another fresh and serene as the dawn. Such gifts, although rare, exist. In the last century a man called Touzel, who imitated the mingled utterances of men and animals, and who counterfeited all the cries of beasts, was attached to the person of Buffon—to serve as a menagerie.
The wolf never bit, but the man did from time to time. At least, biting was Ursus's intention. He was a misanthrope, and to emphasize his misanthropy, he became a juggler. He did this to survive, because you have to eat. Moreover, this juggler-misanthrope, whether to add to the complexity of his character or to refine it, was also a doctor. Being a doctor is no small thing: Ursus was a ventriloquist. You could hear him speak without seeing his lips move. He could mimic anyone's accent or pronunciation to trick you. He imitated voices so accurately that you thought you were hearing the actual people. All by himself, he could create the sound of a crowd, which earned him the title of Engastrimythos, which he accepted. He reproduced all kinds of bird calls, like the thrush, the wren, the pipit lark (also known as the gray cheeper), and the ring ousel, all fellow travelers like him. So sometimes, when inspiration struck, he could transport you to a busy street filled with the noise of people, or to a meadow alive with animal sounds—at one moment chaotic like a crowd, and the next calm and peaceful like dawn. Such talents, although rare, do exist. In the last century, a man named Touzel, who imitated the mixed sounds of people and animals and mimicked all sorts of animal cries, was attached to Buffon’s person to serve as a form of menagerie.
Ursus was sagacious, contradictory, odd, and inclined to the singular expositions which we term fables. He had the appearance of believing in them, and this impudence was a part of his humour. He read people's hands, opened books at random and drew conclusions, told fortunes, taught that it is perilous to meet a black mare, still more perilous, as you start for a journey, to hear yourself accosted by one who knows not whither you are going; and he called himself a dealer in superstitions. He used to say: "There is one difference between me and the Archbishop of Canterbury: I avow what I am." Hence it was that the archbishop, justly indignant, had him one day before him; but Ursus cleverly disarmed his grace by reciting a sermon he had composed upon Christmas Day, which the delighted archbishop learnt by heart, and delivered from the pulpit as his own. In consideration thereof the archbishop pardoned Ursus.
Ursus was wise, contradictory, quirky, and prone to the unique narratives we call fables. He seemed to genuinely believe in them, and this audacity was part of his charm. He read people's palms, flipped through books randomly to draw insights, told fortunes, and warned that it’s dangerous to encounter a black mare, even more so, at the start of a journey, to hear someone approach you without knowing where you are headed; he referred to himself as a purveyor of superstitions. He used to say, "There’s one key difference between me and the Archbishop of Canterbury: I admit what I am." Because of this, the archbishop, justifiably outraged, once summoned him; but Ursus cleverly disarmed the archbishop by reciting a sermon he had written on Christmas Day, which the captivated archbishop memorized and later delivered from the pulpit as his own. Because of this, the archbishop forgave Ursus.
As a doctor, Ursus wrought cures by some means or other. He made use of aromatics; he was versed in simples; he made the most of the immense power which lies in a heap of neglected plants, such as the hazel, the catkin, the white alder, the white bryony, the mealy-tree, the traveller's joy, the buckthorn. He treated phthisis with the sundew; at opportune moments he would use the leaves of the spurge, which plucked at the bottom are a purgative and plucked at the top, an emetic. He cured sore throat by means of the vegetable excrescence called Jew's ear. He knew the rush which cures the ox and the mint which cures the horse. He was well acquainted with the beauties and virtues of the herb mandragora, which, as every one knows, is of both sexes. He had many recipes. He cured burns with the salamander wool, of which, according to Pliny, Nero had a napkin. Ursus possessed a retort and a flask; he effected transmutations; he sold panaceas. It was said of him that he had once been for a short time in Bedlam; they had done him the honour to take him for a madman, but had set him free on discovering that he was only a poet. This story was probably not true; we have all to submit to some such legend about us.
As a doctor, Ursus worked his magic with various remedies. He used aromatic plants, knew about simple herbs, and tapped into the incredible potential of a bunch of overlooked plants like hazel, catkin, white alder, white bryony, mealy-tree, traveller's joy, and buckthorn. He treated tuberculosis with sundew and, at the right times, utilized the leaves of spurge—harvesting them from the bottom for a purgative effect and from the top for an emetic. He healed sore throats with the fungus known as Jew's ear. He was familiar with the rush that heals cattle and the mint that cures horses. He understood the qualities and benefits of the herb mandragora, well-known for having both male and female traits. He had a lot of recipes and treated burns with salamander wool, of which, as Pliny noted, Nero owned a napkin. Ursus had a retort and a flask; he carried out transformations and sold universal cures. It was rumored that he had spent some time in Bedlam; they mistook him for a madman but released him upon realizing he was just a poet. This story was likely exaggerated; we all have to bear some kind of myth about ourselves.
The fact is, Ursus was a bit of a savant, a man of taste, and an old Latin poet. He was learned in two forms; he Hippocratized and he Pindarized. He could have vied in bombast with Rapin and Vida. He could have composed Jesuit tragedies in a style not less triumphant than that of Father Bouhours. It followed from his familiarity with the venerable rhythms and metres of the ancients, that he had peculiar figures of speech, and a whole family of classical metaphors. He would say of a mother followed by her two daughters, There is a dactyl; of a father preceded by his two sons, There is an anapæst; and of a little child walking between its grandmother and grandfather, There is an amphimacer. So much knowledge could only end in starvation. The school of Salerno says, "Eat little and often." Ursus ate little and seldom, thus obeying one half the precept and disobeying the other; but this was the fault of the public, who did not always flock to him, and who did not often buy.
The truth is, Ursus was somewhat of a genius, a man of taste, and an old Latin poet. He was knowledgeable in two styles; he practiced Hippocratization and Pindarization. He could have competed in grandiosity with Rapin and Vida. He could have written Jesuit tragedies in a style just as powerful as that of Father Bouhours. His familiarity with the ancient rhythms and meters meant he had unique figures of speech and a whole range of classical metaphors. He would refer to a mother with her two daughters as, There is a dactyl; a father with his two sons as, There is an anapæst; and a little child walking between its grandmother and grandfather as, There is an amphimacer. Such knowledge could only lead to starvation. The school of Salerno says, "Eat little and often." Ursus ate little and rarely, thus following one part of the advice and ignoring the other; but this was the fault of the public, who didn’t always come to see him and didn’t often buy his work.
Ursus was wont to say: "The expectoration of a sentence is a relief. The wolf is comforted by its howl, the sheep by its wool, the forest by its finch, woman by her love, and the philosopher by his epiphonema." Ursus at a pinch composed comedies, which, in recital, he all but acted; this helped to sell the drugs. Among other works, he had composed an heroic pastoral in honour of Sir Hugh Middleton, who in 1608 brought a river to London. The river was lying peacefully in Hertfordshire, twenty miles from London: the knight came and took possession of it. He brought a brigade of six hundred men, armed with shovels and pickaxes; set to breaking up the ground, scooping it out in one place, raising it in another—now thirty feet high, now twenty feet deep; made wooden aqueducts high in air; and at different points constructed eight hundred bridges of stone, bricks, and timber. One fine morning the river entered London, which was short of water. Ursus transformed all these vulgar details into a fine Eclogue between the Thames and the New River, in which the former invited the latter to come to him, and offered her his bed, saying, "I am too old to please women, but I am rich enough to pay them"—an ingenious and gallant conceit to indicate how Sir Hugh Middleton had completed the work at his own expense.
Ursus used to say, "Letting out a sentence feels good. The wolf finds comfort in its howl, the sheep in its wool, the forest in its finch, a woman in her love, and a philosopher in his epiphonema." In a pinch, Ursus wrote comedies, which he almost performed during readings; this helped sell the drugs. Among other works, he created a heroic pastoral in honor of Sir Hugh Middleton, who in 1608 brought a river to London. The river had been quietly flowing in Hertfordshire, twenty miles from London, until the knight arrived and took charge of it. He brought six hundred men armed with shovels and pickaxes, who started breaking up the ground, digging in one spot and raising it in another—sometimes thirty feet high and sometimes twenty feet deep; they built wooden aqueducts elevated in the air and constructed eight hundred bridges of stone, brick, and timber at different points. One beautiful morning, the river flowed into London, which was lacking in water. Ursus turned all these everyday details into a lovely Eclogue between the Thames and the New River, where the former invited the latter to join him and offered her his bed, saying, "I’m too old to charm women, but I’m rich enough to treat them right"—a clever and charming way to signify how Sir Hugh Middleton financed the entire project himself.
Ursus was great in soliloquy. Of a disposition at once unsociable and talkative, desiring to see no one, yet wishing to converse with some one, he got out of the difficulty by talking to himself. Any one who has lived a solitary life knows how deeply seated monologue is in one's nature. Speech imprisoned frets to find a vent. To harangue space is an outlet. To speak out aloud when alone is as it were to have a dialogue with the divinity which is within. It was, as is well known, a custom of Socrates; he declaimed to himself. Luther did the same. Ursus took after those great men. He had the hermaphrodite faculty of being his own audience. He questioned himself, answered himself, praised himself, blamed himself. You heard him in the street soliloquizing in his van. The passers-by, who have their own way of appreciating clever people, used to say: He is an idiot. As we have just observed, he abused himself at times; but there were times also when he rendered himself justice. One day, in one of these allocutions addressed to himself, he was heard to cry out, "I have studied vegetation in all its mysteries—in the stalk, in the bud, in the sepal, in the stamen, in the carpel, in the ovule, in the spore, in the theca, and in the apothecium. I have thoroughly sifted chromatics, osmosy, and chymosy—that is to say, the formation of colours, of smell, and of taste." There was something fatuous, doubtless, in this certificate which Ursus gave to Ursus; but let those who have not thoroughly sifted chromatics, osmosy, and chymosy cast the first stone at him.
Ursus was great at talking to himself. He had a personality that was both unsociable and talkative, wanting to avoid everyone but still feeling the urge to have a conversation. He handled this conflict by having dialogues with himself. Anyone who has lived alone knows how natural it is to engage in monologue. When speech is bottled up, it aches to be released. Ranting into the void is a way to let it out. Speaking aloud when you're by yourself is like having a conversation with the inner self. This practice was famously done by Socrates; he would declaim to himself. Luther did the same thing. Ursus followed in the footsteps of these great thinkers. He possessed the unique ability to be his own audience. He would question himself, answer himself, praise himself, and criticize himself. You could hear him in the street talking to himself in his van. Passersby, who have their own way of judging clever people, would say, "He's an idiot." As noted, he sometimes berated himself, but there were also moments when he recognized his own worth. One day, during one of these self-directed speeches, he was heard shouting, "I have studied the mysteries of vegetation—in the stalk, in the bud, in the sepal, in the stamen, in the carpel, in the ovule, in the spore, in the theca, and in the apothecium. I have thoroughly examined color theory, osmosis, and chemistry—that is to say, the formation of colors, smells, and tastes." There was something a bit ridiculous about this self-assessment from Ursus; however, let those who haven't thoroughly explored color theory, osmosis, and chemistry be the first to judge him.
Fortunately Ursus had never gone into the Low Countries; there they would certainly have weighed him, to ascertain whether he was of the normal weight, above or below which a man is a sorcerer. In Holland this weight was sagely fixed by law. Nothing was simpler or more ingenious. It was a clear test. They put you in a scale, and the evidence was conclusive if you broke the equilibrium. Too heavy, you were hanged; too light, you were burned. To this day the scales in which sorcerers were weighed may be seen at Oudewater, but they are now used for weighing cheeses; how religion has degenerated! Ursus would certainly have had a crow to pluck with those scales. In his travels he kept away from Holland, and he did well. Indeed, we believe that he used never to leave the United Kingdom.
Fortunately, Ursus had never been to the Low Countries; there, they definitely would have weighed him to see if he was of normal weight, as anyone above or below that was considered a sorcerer. In Holland, this weight was wisely established by law. It couldn't have been simpler or more clever. It was a straightforward test. They put you on a scale, and the results were clear if you tipped the balance. Too heavy, and you were hanged; too light, and you were burned. To this day, the scales that were used to weigh sorcerers can still be seen in Oudewater, but now they’re used for weighing cheese; how religion has fallen! Ursus would certainly have had a bone to pick with those scales. During his travels, he avoided Holland, and he was right to do so. In fact, it’s believed he never left the United Kingdom.
However this may have been, he was very poor and morose, and having made the acquaintance of Homo in a wood, a taste for a wandering life had come over him. He had taken the wolf into partnership, and with him had gone forth on the highways, living in the open air the great life of chance. He had a great deal of industry and of reserve, and great skill in everything connected with healing operations, restoring the sick to health, and in working wonders peculiar to himself. He was considered a clever mountebank and a good doctor. As may be imagined, he passed for a wizard as well—not much indeed; only a little, for it was unwholesome in those days to be considered a friend of the devil. To tell the truth, Ursus, by his passion for pharmacy and his love of plants, laid himself open to suspicion, seeing that he often went to gather herbs in rough thickets where grew Lucifer's salads, and where, as has been proved by the Counsellor De l'Ancre, there is a risk of meeting in the evening mist a man who comes out of the earth, "blind of the right eye, barefooted, without a cloak, and a sword by his side." But for the matter of that, Ursus, although eccentric in manner and disposition, was too good a fellow to invoke or disperse hail, to make faces appear, to kill a man with the torment of excessive dancing, to suggest dreams fair or foul and full of terror, and to cause the birth of cocks with four wings. He had no such mischievous tricks. He was incapable of certain abominations, such as, for instance, speaking German, Hebrew, or Greek, without having learned them, which is a sign of unpardonable wickedness, or of a natural infirmity proceeding from a morbid humour. If Ursus spoke Latin, it was because he knew it. He would never have allowed himself to speak Syriac, which he did not know. Besides, it is asserted that Syriac is the language spoken in the midnight meetings at which uncanny people worship the devil. In medicine he justly preferred Galen to Cardan; Cardan, although a learned man, being but an earthworm to Galen.
However this may have been, he was very poor and gloomy, and after meeting Homo in the woods, he developed a taste for a wandering life. He had partnered with the wolf and together they traveled the highways, living an adventurous life outdoors. He was quite industrious and discreet, with great skill in healing, able to restore the sick and perform unique wonders. He was seen as a clever con artist and a good doctor. As you might expect, he was also thought to be a bit of a wizard—not too much, just a little, because in those days, it wasn't good to be thought of as a friend of the devil. To be honest, Ursus, with his passion for medicine and love of plants, attracted suspicion since he often went to gather herbs in wild thickets where “Lucifer's salads” grew, and according to Counselor De l'Ancre, there was a chance of encountering a man in the evening mist who came out of the earth, "blind in one eye, barefoot, without a cloak, and a sword by his side." But despite being eccentric in manner and temperament, Ursus was too good-hearted to invoke hailstorms, make faces appear, cause someone to dance excessively to the point of suffering, induce terrifying dreams, or bring forth roosters with four wings. He had no such mischievous tricks. He couldn't perform certain vile acts, such as speaking German, Hebrew, or Greek without having learned them, which was a sign of unforgivable wickedness or a natural defect from a bad temperament. If Ursus spoke Latin, it was because he knew it. He would never have spoken Syriac, a language he didn’t understand. Besides, it's said that Syriac is the language used in midnight gatherings where strange people worship the devil. In medicine, he rightly preferred Galen over Cardan; Cardan, though learned, was merely inferior compared to Galen.
To sum up, Ursus was not one of those persons who live in fear of the police. His van was long enough and wide enough to allow of his lying down in it on a box containing his not very sumptuous apparel. He owned a lantern, several wigs, and some utensils suspended from nails, among which were musical instruments. He possessed, besides, a bearskin with which he covered himself on his days of grand performance. He called this putting on full dress. He used to say, "I have two skins; this is the real one," pointing to the bearskin.
To sum up, Ursus wasn't the type of person who lived in fear of the police. His van was big enough for him to lie down on a box that held his not-so-fancy clothes. He owned a lantern, several wigs, and some utensils hanging from nails, including musical instruments. He also had a bearskin that he used to cover himself on his big performance days. He referred to this as getting dressed up. He would say, "I have two skins; this is the real one," pointing to the bearskin.
The little house on wheels belonged to himself and to the wolf. Besides his house, his retort, and his wolf, he had a flute and a violoncello on which he played prettily. He concocted his own elixirs. His wits yielded him enough to sup on sometimes. In the top of his van was a hole, through which passed the pipe of a cast-iron stove; so close to his box as to scorch the wood of it. The stove had two compartments; in one of them Ursus cooked his chemicals, and in the other his potatoes. At night the wolf slept under the van, amicably secured by a chain. Homo's hair was black, that of Ursus, gray; Ursus was fifty, unless, indeed, he was sixty. He accepted his destiny, to such an extent that, as we have just seen, he ate potatoes, the trash on which at that time they fed pigs and convicts. He ate them indignant, but resigned. He was not tall—he was long. He was bent and melancholy. The bowed frame of an old man is the settlement in the architecture of life. Nature had formed him for sadness. He found it difficult to smile, and he had never been able to weep, so that he was deprived of the consolation of tears as well as of the palliative of joy. An old man is a thinking ruin; and such a ruin was Ursus. He had the loquacity of a charlatan, the leanness of a prophet, the irascibility of a charged mine: such was Ursus. In his youth he had been a philosopher in the house of a lord.
The little house on wheels belonged to him and the wolf. Besides his house, his retort, and his wolf, he had a flute and a cello that he played beautifully. He mixed his own elixirs. His intelligence provided him with enough to eat sometimes. At the top of his van was a hole through which the pipe of a cast-iron stove passed, so close to the wooden box that it scorched it. The stove had two compartments; in one, Ursus cooked his chemicals, and in the other, his potatoes. At night, the wolf slept under the van, comfortably secured by a chain. Homo’s hair was black, while Ursus's was gray; he was fifty unless he was sixty. He accepted his fate to the extent that, as we just saw, he ate potatoes, which were considered scraps at that time for pigs and convicts. He ate them with indignation but also resignation. He wasn’t tall—he was long. He was bent and melancholic. The hunched frame of an old man is the result of life’s struggles. Nature had shaped him for sadness. He found it hard to smile and had never been able to cry, so he was deprived of the comfort of tears as well as the relief of joy. An old man is a thoughtful ruin, and that’s exactly what Ursus was. He had the talkativeness of a con artist, the thinness of a prophet, and the irritability of an explosive: that was Ursus. In his youth, he had been a philosopher in the house of a lord.
This was 180 years ago, when men were more like wolves than they are now.
This was 180 years ago, when men were more like wolves than they are today.
Not so very much though.
Not really much though.
II.
Homo was no ordinary wolf. From his appetite for medlars and potatoes he might have been taken for a prairie wolf; from his dark hide, for a lycaon; and from his howl prolonged into a bark, for a dog of Chili. But no one has as yet observed the eyeball of a dog of Chili sufficiently to enable us to determine whether he be not a fox, and Homo was a real wolf. He was five feet long, which is a fine length for a wolf, even in Lithuania; he was very strong; he looked at you askance, which was not his fault; he had a soft tongue, with which he occasionally licked Ursus; he had a narrow brush of short bristles on his backbone, and he was lean with the wholesome leanness of a forest life. Before he knew Ursus and had a carriage to draw, he thought nothing of doing his fifty miles a night. Ursus meeting him in a thicket near a stream of running water, had conceived a high opinion of him from seeing the skill and sagacity with which he fished out crayfish, and welcomed him as an honest and genuine Koupara wolf of the kind called crab-eater.
Homo wasn’t just any wolf. His love for medlars and potatoes could make you think he was a prairie wolf; his dark coat might suggest he was a lycaon; and the way his howl turned into a bark might make you mistake him for a Chili dog. But no one has really looked closely enough at a Chili dog's eyeball to figure out if it’s actually a fox, and Homo was definitely a true wolf. He measured five feet long, which is a great size for a wolf, even in Lithuania; he was very strong; he looked at you sideways, which wasn’t his fault; he had a soft tongue that he sometimes used to lick Ursus; he had a narrow tuft of short bristles along his spine, and he was lean in the healthy way of a wild forest life. Before he met Ursus and started pulling a carriage, he would easily cover fifty miles a night. Ursus, encountering him in a thicket by a stream, was impressed by the way he skillfully caught crayfish and welcomed him as a genuine Koupara wolf known as a crab-eater.
As a beast of burden, Ursus preferred Homo to a donkey. He would have felt repugnance to having his hut drawn by an ass; he thought too highly of the ass for that. Moreover he had observed that the ass, a four-legged thinker little understood by men, has a habit of cocking his ears uneasily when philosophers talk nonsense. In life the ass is a third person between our thoughts and ourselves, and acts as a restraint. As a friend, Ursus preferred Homo to a dog, considering that the love of a wolf is more rare.
As a work animal, Ursus preferred people over a donkey. He would have felt disgusted at the idea of having his hut pulled by an ass; he thought too highly of donkeys for that. Furthermore, he noticed that the donkey, a four-legged thinker that people often misunderstand, has a tendency to perk up its ears uncomfortably when philosophers say crazy things. In life, the donkey serves as a neutral party between our thoughts and ourselves, acting as a check on us. When it came to friendship, Ursus preferred people over a dog, believing that the love of a wolf is much rarer.
Hence it was that Homo sufficed for Ursus. Homo was for Ursus more than a companion, he was an analogue. Ursus used to pat the wolf's empty ribs, saying: "I have found the second volume of myself!" Again he said, "When I am dead, any one wishing to know me need only study Homo. I shall leave a true copy behind me."
Hence, Homo was enough for Ursus. For Ursus, Homo was more than just a companion; he was a reflection of himself. Ursus would pat the wolf's empty ribs and say, "I have found the second volume of myself!" He would also say, "When I am gone, anyone wanting to know me just needs to study Homo. I will leave a true copy of myself behind."
The English law, not very lenient to beasts of the forest, might have picked a quarrel with the wolf, and have put him to trouble for his assurance in going freely about the towns: but Homo took advantage of the immunity granted by a statute of Edward IV. to servants: "Every servant in attendance on his master is free to come and go." Besides, a certain relaxation of the law had resulted with regard to wolves, in consequence of its being the fashion of the ladies of the Court, under the later Stuarts, to have, instead of dogs, little wolves, called adives, about the size of cats, which were brought from Asia at great cost.
The English law, which wasn't exactly forgiving towards wild animals, could have raised issues with the wolf and made things difficult for him for his boldness in wandering around the towns freely. However, Homo took advantage of a law from Edward IV that granted immunity to servants: "Every servant in attendance on his master is free to come and go." Additionally, there was a certain loosening of the law regarding wolves because the ladies of the Court, during the later Stuart period, preferred to have small wolves, known as adives, instead of dogs. These little creatures were about the size of cats and imported from Asia at a high cost.
Ursus had communicated to Homo a portion of his talents: such as to stand upright, to restrain his rage into sulkiness, to growl instead of howling, etc.; and on his part, the wolf had taught the man what he knew—to do without a roof, without bread and fire, to prefer hunger in the woods to slavery in a palace.
Ursus had shared some of his skills with Homo: like standing upright, controlling his anger by sulking, growling instead of howling, and so on; and in return, the wolf had taught the man what he knew—how to live without a roof, without food and fire, and to choose hunger in the woods over slavery in a palace.
The van, hut, and vehicle in one, which traversed so many different roads, without, however, leaving Great Britain, had four wheels, with shafts for the wolf and a splinter-bar for the man. The splinter-bar came into use when the roads were bad. The van was strong, although it was built of light boards like a dove-cot. In front there was a glass door with a little balcony used for orations, which had something of the character of the platform tempered by an air of the pulpit. At the back there was a door with a practicable panel. By lowering the three steps which turned on a hinge below the door, access was gained to the hut, which at night was securely fastened with bolt and lock. Rain and snow had fallen plentifully on it; it had been painted, but of what colour it was difficult to say, change of season being to vans what changes of reign are to courtiers. In front, outside, was a board, a kind of frontispiece, on which the following inscription might once have been deciphered; it was in black letters on a white ground, but by degrees the characters had become confused and blurred:—
The van, hut, and vehicle all in one, which traveled many different roads without leaving Great Britain, had four wheels, with shafts for the horse and a splinter-bar for the driver. The splinter-bar was useful when the roads were poor. The van was sturdy, even though it was made of light boards like a birdhouse. In front, there was a glass door with a small balcony used for speeches, giving it a mix of a platform and a pulpit feel. At the back, there was a door with a functional panel. By lowering the three steps that hinged below the door, you could access the hut, which was securely locked at night with bolts and a lock. It had seen plenty of rain and snow; it had been painted, but it was hard to tell what color it was, since changes in season affected vans like changes in reign affect courtiers. Outside in front was a signboard, a kind of header, where an inscription might have once been read; it was in black letters on a white background, but over time the letters had become smudged and faded:—
"By friction gold loses every year a fourteen hundredth part of its bulk. This is what is called the Wear. Hence it follows that on fourteen hundred millions of gold in circulation throughout the world, one million is lost annually. This million dissolves into dust, flies away, floats about, is reduced to atoms, charges, drugs, weighs down consciences, amalgamates with the souls of the rich whom it renders proud, and with those of the poor whom it renders brutish."
"Due to friction, gold loses one fourteenth-hundredth of its volume each year. This is known as Wear. Therefore, with fourteen hundred million in circulation worldwide, one million is lost each year. This million breaks down into dust, disappears, drifts around, gets reduced to tiny particles, influences, burdens consciences, mixes with the souls of the wealthy, making them proud, and with those of the poor, making them less humane."
The inscription, rubbed and blotted by the rain and by the kindness of nature, was fortunately illegible, for it is possible that its philosophy concerning the inhalation of gold, at the same time both enigmatical and lucid, might not have been to the taste of the sheriffs, the provost-marshals, and other big-wigs of the law. English legislation did not trifle in those days. It did not take much to make a man a felon. The magistrates were ferocious by tradition, and cruelty was a matter of routine. The judges of assize increased and multiplied. Jeffreys had become a breed.
The inscription, worn and smudged by the rain and the elements, was fortunately unreadable, because its views on the inhalation of gold, both mysterious and clear, might not have sat well with the sheriffs, the provost-marshals, and other high-ranking officials of the law. English law wasn’t lenient back then. It took very little to label someone a felon. The magistrates were traditionally harsh, and cruelty was commonplace. The judges of assize were increasing in number. Jeffreys had turned into a whole breed.
III.
In the interior of the van there were two other inscriptions. Above the box, on a whitewashed plank, a hand had written in ink as follows:—
In the inside of the van, there were two other writings. Above the box, on a whitewashed board, someone had handwritten in ink:—
"The Baron, peer of England, wears a cap with six pearls. The coronet begins with the rank of Viscount. The Viscount wears a coronet of which the pearls are without number. The Earl a coronet with the pearls upon points, mingled with strawberry leaves placed low between. The Marquis, one with pearls and leaves on the same level. The Duke, one with strawberry leaves alone—no pearls. The Royal Duke, a circlet of crosses and fleurs de lys. The Prince of Wales, crown like that of the King, but unclosed.
"The Baron, a peer of England, wears a cap with six pearls. The coronet starts with the rank of Viscount. The Viscount has a coronet that features an unlimited number of pearls. The Earl's coronet has pearls placed on points, mixed with low strawberry leaves. The Marquis has a coronet with the pearls and leaves at the same level. The Duke has one with strawberry leaves only—no pearls. The Royal Duke has a circlet of crosses and fleurs de lys. The Prince of Wales has a crown similar to the King's, but it's open."
"The Duke is a most high and most puissant prince, the Marquis and Earl most noble and puissant lord, the Viscount noble and puissant lord, the Baron a trusty lord. The Duke is his Grace; the other Peers their Lordships. Most honourable is higher than right honourable.
"The Duke is a very high and powerful prince, the Marquis and Earl are most noble and powerful lords, the Viscount is a noble and powerful lord, and the Baron is a trusted lord. The Duke is referred to as his Grace; the other Peers are called their Lordships. Most honorable is considered higher than right honorable.
"Lords who are peers are lords in their own right. Lords who are not peers are lords by courtesy:—there are no real lords, excepting such as are peers.
"Lords who are peers are lords on their own merit. Lords who are not peers are lords by courtesy; there are no true lords, except for those who are peers."
"The House of Lords is a chamber and a court, Concilium et Curia, legislature and court of justice. The Commons, who are the people, when ordered to the bar of the Lords, humbly present themselves bareheaded before the peers, who remain covered. The Commons send up their bills by forty members, who present the bill with three low bows. The Lords send their bills to the Commons by a mere clerk. In case of disagreement, the two Houses confer in the Painted Chamber, the Peers seated and covered, the Commons standing and bareheaded.
"The House of Lords is both a chamber and a court, Concilium et Curia, a legislature and a court of justice. The Commons, representing the people, respectfully present themselves without hats when called to the bar of the Lords, who remain covered. The Commons send their bills through forty members, who present the bill with three low bows. The Lords send their bills to the Commons through a simple clerk. If there's a disagreement, the two Houses meet in the Painted Chamber, with the Peers seated and covered, and the Commons standing and without hats."
"Peers go to parliament in their coaches in file; the Commons do not. Some peers go to Westminster in open four-wheeled chariots. The use of these and of coaches emblazoned with coats of arms and coronets is allowed only to peers, and forms a portion of their dignity.
"Peers travel to parliament in their carriages in an orderly line; the Commons do not. Some peers arrive at Westminster in open four-wheeled carriages. Only peers are permitted to use these and coaches adorned with coats of arms and coronets, which is part of their status."
"Barons have the same rank as bishops. To be a baron peer of England, it is necessary to be in possession of a tenure from the king per Baroniam integram, by full barony. The full barony consists of thirteen knights' fees and one third part, each knight's fee being of the value of £20 sterling, which makes in all 400 marks. The head of a barony (Caput baroniæ) is a castle disposed by inheritance, as England herself, that is to say, descending to daughters if there be no sons, and in that case going to the eldest daughter, cæteris filiabus aliundè satisfactis.[1]
Barons hold the same rank as bishops. To become a baron peer of England, you need to have a tenure from the king per Baroniam integram, which means full barony. A full barony includes thirteen knights' fees plus one-third, with each knights' fee valued at £20 sterling, totaling 400 marks. The head of a barony (Caput baroniæ) is a castle passed down through inheritance, just like England itself; that is, it goes to daughters if there are no sons, with the eldest daughter inheriting first, cæteris filiabus aliundè satisfactis.[1]
"Barons have the degree of lord: in Saxon, laford; dominus in high Latin; Lordus in low Latin. The eldest and younger sons of viscounts and barons are the first esquires in the kingdom. The eldest sons of peers take precedence of knights of the garter. The younger sons do not. The eldest son of a viscount comes after all barons, and precedes all baronets. Every daughter of a peer is a Lady. Other English girls are plain Mistress.
"Barons hold the title of lord: in Saxon, laford; dominus in high Latin; Lordus in low Latin. The eldest and younger sons of viscounts and barons are the first esquires in the kingdom. The eldest sons of peers take precedence over knights of the garter. The younger sons do not. The eldest son of a viscount comes after all barons and before all baronets. Every daughter of a peer is referred to as Lady. Other English girls are simply called Mistress.
"All judges rank below peers. The serjeant wears a lambskin tippet; the judge one of patchwork, de minuto vario, made up of a variety of little white furs, always excepting ermine. Ermine is reserved for peers and the king.
"All judges are ranked below peers. The serjeant wears a lambskin collar; the judge wears a patchwork one, de minuto vario, made up of different small white furs, except for ermine. Ermine is reserved for peers and the king."
"A lord never takes an oath, either to the crown or the law. His word suffices; he says, Upon my honour.
A lord never takes an oath, whether to the crown or the law. His word is enough; he says, "On my honor."
"By a law of Edward the Sixth, peers have the privilege of committing manslaughter. A peer who kills a man without premeditation is not prosecuted.
"According to a law from Edward the Sixth, nobles have the right to commit manslaughter. A noble who kills someone without planning it in advance is not prosecuted."
"The persons of peers are inviolable.
The individuals of peers are protected.
"A peer cannot be held in durance, save in the Tower of London.
"A peer cannot be imprisoned except in the Tower of London."
"A writ of supplicavit cannot be granted against a peer.
A writ of supplicavit can't be granted against a peer.
"A peer sent for by the king has the right to kill one or two deer in the royal park.
A peer summoned by the king has the right to kill one or two deer in the royal park.
"A peer holds in his castle a baron's court of justice.
A peer has a baron's court of justice in his castle.
"It is unworthy of a peer to walk the street in a cloak, followed by two footmen. He should only show himself attended by a great train of gentlemen of his household.
"It is beneath a nobleman to walk the street in a cloak, followed by two footmen. He should only be seen accompanied by a large entourage of his household gentlemen."
"A peer can be amerced only by his peers, and never to any greater amount than five pounds, excepting in the case of a duke, who can be amerced ten.
A peer can only be fined by other peers, and the fine can't exceed five pounds, except for a duke, who can be fined ten.
"A peer may retain six aliens born, any other Englishman but four.
"A peer can keep six foreigners born, but any other Englishman can only keep four."
"A peer can have wine custom-free; an earl eight tuns.
A peer can have wine without any duty; an earl can have eight tuns.
"A peer is alone exempt from presenting himself before the sheriff of the circuit.
A peer is the only one who doesn't have to show up in front of the sheriff of the circuit.
"A peer cannot be assessed towards the militia.
A peer cannot be evaluated for the military.
"When it pleases a peer he raises a regiment and gives it to the king; thus have done their graces the Dukes of Athol, Hamilton, and Northumberland.
"When it pleases a noble, he raises a regiment and presents it to the king; this is what the Dukes of Athol, Hamilton, and Northumberland have done."
"A peer can hold only of a peer.
A peer can only hold the title of another peer.
"In a civil cause he can demand the adjournment of the case, if there be not at least one knight on the jury.
"In a civil case, he can request to postpone the case if there isn't at least one knight on the jury."
"A peer nominates his own chaplains. A baron appoints three chaplains; a viscount four; an earl and a marquis five; a duke six.
A peer nominates their own chaplains. A baron appoints three chaplains; a viscount appoints four; an earl and a marquis appoint five; a duke appoints six.
"A peer cannot be put to the rack, even for high treason. A peer cannot be branded on the hand. A peer is a clerk, though he knows not how to read. In law he knows.
"A peer can't be tortured, even for high treason. A peer can't be marked on the hand. A peer is a clerk, even if he can't read. In legal matters, he knows."
"A duke has a right to a canopy, or cloth of state, in all places where the king is not present; a viscount may have one in his house; a baron has a cover of assay, which may be held under his cup while he drinks. A baroness has the right to have her train borne by a man in the presence of a viscountess.
A duke is entitled to a canopy or cloth of state wherever the king isn't present; a viscount can have one in his home; a baron has a cover for his cup while drinking. A baroness has the right to have her train carried by a man when a viscountess is present.
"Eighty-six tables, with five hundred dishes, are served every day in the royal palace at each meal.
"Eighty-six tables, with five hundred dishes, are served every day in the royal palace at each meal."
"If a plebeian strike a lord, his hand is cut off.
"If a commoner strikes a lord, his hand is chopped off."
"A lord is very nearly a king.
"A lord is almost like a king."
"The king is very nearly a god.
"The king is almost a god."
"The earth is a lordship.
"The earth is a domain."
"The English address God as my lord!"
"The English refer to God as my lord!"
Opposite this writing was written a second one, in the same fashion, which ran thus:—
Opposite this writing was another one, written in the same way, that said:—
"Henry Auverquerque, Earl of Grantham, who sits in the House of Lords between the Earl of Jersey and the Earl of Greenwich, has a hundred thousand a year. To his lordship belongs the palace of Grantham Terrace, built all of marble and famous for what is called the labyrinth of passages—a curiosity which contains the scarlet corridor in marble of Sarancolin, the brown corridor in lumachel of Astracan, the white corridor in marble of Lani, the black corridor in marble of Alabanda, the gray corridor in marble of Staremma, the yellow corridor in marble of Hesse, the green corridor in marble of the Tyrol, the red corridor, half cherry-spotted marble of Bohemia, half lumachel of Cordova, the blue corridor in turquin of Genoa, the violet in granite of Catalonia, the mourning-hued corridor veined black and white in slate of Murviedro, the pink corridor in cipolin of the Alps, the pearl corridor in lumachel of Nonetta, and the corridor of all colours, called the courtiers' corridor, in motley.
Henry Auverquerque, Earl of Grantham, who sits in the House of Lords between the Earl of Jersey and the Earl of Greenwich, has an annual income of a hundred thousand. His lordship owns the palace of Grantham Terrace, which is made entirely of marble and is famous for its complex maze of hallways—a unique feature that includes the scarlet corridor made of Sarancolin marble, the brown corridor in lumachel from Astracan, the white corridor in Lani marble, the black corridor in Alabanda marble, the gray corridor in Staremma marble, the yellow corridor in Hesse marble, the green corridor in Tyrolean marble, the red corridor, which is half cherry-spotted marble from Bohemia and half lumachel from Cordova, the blue corridor in Genoa turquin, the violet corridor in Catalonia granite, the mourning-hued corridor veined black and white in slate from Murviedro, the pink corridor in cipolin from the Alps, the pearl corridor in lumachel from Nonetta, and the multicolored corridor, known as the courtiers' corridor, in motley.
"Richard Lowther, Viscount Lonsdale, owns Lowther in Westmorland, which has a magnificent approach, and a flight of entrance steps which seem to invite the ingress of kings.
"Richard Lowther, Viscount Lonsdale, owns Lowther in Westmorland, which has a grand entrance and a set of steps that seem to invite the arrival of kings."
"Richard, Earl of Scarborough, Viscount and Baron Lumley of Lumley Castle, Viscount Lumley of Waterford in Ireland, and Lord Lieutenant and Vice-Admiral of the county of Northumberland and of Durham, both city and county, owns the double castleward of old and new Sandbeck, where you admire a superb railing, in the form of a semicircle, surrounding the basin of a matchless fountain. He has, besides, his castle of Lumley.
"Richard, Earl of Scarborough, Viscount and Baron Lumley of Lumley Castle, Viscount Lumley of Waterford in Ireland, and Lord Lieutenant and Vice-Admiral of Northumberland and Durham, both city and county, owns the double castle ward of old and new Sandbeck, where you can admire a stunning railing in the shape of a semicircle around the basin of a remarkable fountain. He also has his castle in Lumley."
"Robert Darcy, Earl of Holderness, has his domain of Holderness, with baronial towers, and large gardens laid out in French fashion, where he drives in his coach-and-six, preceded by two outriders, as becomes a peer of England.
"Robert Darcy, Earl of Holderness, has his estate in Holderness, featuring grand towers and expansive gardens designed in the French style, where he rides in his six-horse carriage, followed by two outriders, as befits a nobleman of England."
"Charles Beauclerc, Duke of St. Albans, Earl of Burford, Baron Hedington, Grand Falconer of England, has an abode at Windsor, regal even by the side of the king's.
"Charles Beauclerc, Duke of St. Albans, Earl of Burford, Baron Hedington, Grand Falconer of England, has a residence in Windsor, grand even compared to the king's."
"Charles Bodville Robartes, Baron Robartes of Truro, Viscount Bodmin and Earl of Radnor, owns Wimpole in Cambridgeshire, which is as three palaces in one, having three façades, one bowed and two triangular. The approach is by an avenue of trees four deep.
"Charles Bodville Robartes, Baron Robartes of Truro, Viscount Bodmin, and Earl of Radnor, owns Wimpole in Cambridgeshire, which is like three palaces in one, featuring three façades—one curved and two triangular. The approach is lined by an avenue of trees four rows deep."
"The most noble and most puissant Lord Philip, Baron Herbert of Cardiff, Earl of Montgomery and of Pembroke, Ross of Kendall, Parr, Fitzhugh, Marmion, St. Quentin, and Herbert of Shurland, Warden of the Stannaries in the counties of Cornwall and Devon, hereditary visitor of Jesus College, possesses the wonderful gardens at Wilton, where there are two sheaf-like fountains, finer than those of his most Christian Majesty King Louis XIV. at Versailles.
The most noble and powerful Lord Philip, Baron Herbert of Cardiff, Earl of Montgomery and Pembroke, Ross of Kendall, Parr, Fitzhugh, Marmion, St. Quentin, and Herbert of Shurland, Warden of the Stannaries in Cornwall and Devon, hereditary visitor of Jesus College, owns the amazing gardens at Wilton, which feature two tall fountains, even more impressive than those of his most Christian Majesty King Louis XIV at Versailles.
"Charles Somerset, Duke of Somerset, owns Somerset House on the Thames, which is equal to the Villa Pamphili at Rome. On the chimney-piece are seen two porcelain vases of the dynasty of the Yuens, which are worth half a million in French money.
"Charles Somerset, Duke of Somerset, owns Somerset House on the Thames, which is comparable to the Villa Pamphili in Rome. On the mantelpiece are two porcelain vases from the Yuan dynasty, valued at half a million French francs."
"In Yorkshire, Arthur, Lord Ingram, Viscount Irwin, has Temple Newsain, which is entered under a triumphal arch and which has large wide roofs resembling Moorish terraces.
"In Yorkshire, Arthur, Lord Ingram, Viscount Irwin, owns Temple Newsain, which is accessed through a triumphal arch and features large, wide roofs that look like Moorish terraces."
"Robert, Lord Ferrers of Chartly, Bourchier, and Lonvaine, has Staunton Harold in Leicestershire, of which the park is geometrically planned in the shape of a temple with a façade, and in front of the piece of water is the great church with the square belfry, which belongs to his lordship.
"Robert, Lord Ferrers of Chartly, Bourchier, and Lonvaine, owns Staunton Harold in Leicestershire, where the park is designed in the shape of a temple with a façade. In front of the water feature stands the large church with a square belfry, which belongs to him."
"In the county of Northampton, Charles Spencer, Earl of Sunderland, member of his Majesty's Privy Council, possesses Althorp, at the entrance of which is a railing with four columns surmounted by groups in marble.
"In Northampton County, Charles Spencer, Earl of Sunderland, a member of the King’s Privy Council, owns Althorp, where the entrance features a railing with four columns topped by marble statues."
"Laurence Hyde, Earl of Rochester, has, in Surrey, New Park, rendered magnificent by its sculptured pinnacles, its circular lawn belted by trees, and its woodland, at the extremity of which is a little mountain, artistically rounded, and surmounted by a large oak, which can be seen from afar.
"Laurence Hyde, Earl of Rochester, has a stunning estate in Surrey called New Park, which is made magnificent by its sculpted towers, its circular lawn surrounded by trees, and its woods. At the far edge of the woods, there's a small, beautifully shaped hill topped with a large oak tree that can be seen from a distance."
"Philip Stanhope, Earl of Chesterfield, possesses Bretby Hall in Derbyshire, with a splendid clock tower, falconries, warrens, and very fine sheets of water, long, square, and oval, one of which is shaped like a mirror, and has two jets, which throw the water to a great height.
"Philip Stanhope, Earl of Chesterfield, owns Bretby Hall in Derbyshire, which features a magnificent clock tower, falconries, rabbit warrens, and beautiful bodies of water that are long, square, and oval. One of the lakes is shaped like a mirror and has two fountains that shoot water high into the air."
"Charles Cornwallis, Baron Cornwallis of Eye, owns Broome Hall, a palace of the fourteenth century.
"Charles Cornwallis, Baron Cornwallis of Eye, owns Broome Hall, a 14th-century palace."
"The most noble Algernon Capel, Viscount Maiden, Earl of Essex, has Cashiobury in Hertfordshire, a seat which has the shape of a capital H, and which rejoices sportsmen with its abundance of game.
The most noble Algernon Capel, Viscount Maiden, Earl of Essex, owns Cashiobury in Hertfordshire, a property shaped like a capital H, which delights sports enthusiasts with its plentiful game.
"Charles, Lord Ossulston, owns Darnley in Middlesex, approached by Italian gardens.
"Charles, Lord Ossulston, owns Darnley in Middlesex, which is flanked by Italian gardens."
"James Cecil, Earl of Salisbury, has, seven leagues from London, Hatfield House, with its four lordly pavilions, its belfry in the centre, and its grand courtyard of black and white slabs, like that of St. Germain. This palace, which has a frontage 272 feet in length, was built in the reign of James I. by the Lord High Treasurer of England, the great-grandfather of the present earl. To be seen there is the bed of one of the Countesses of Salisbury: it is of inestimable value and made entirely of Brazilian wood, which is a panacea against the bites of serpents, and which is called milhombres—that is to say, a thousand men. On this bed is inscribed, Honi soit qui mal y pense.
"James Cecil, Earl of Salisbury, has Hatfield House located seven leagues from London, featuring its four grand pavilions, a central belfry, and a large courtyard made of black and white slabs, similar to that at St. Germain. This mansion, which is 272 feet wide, was built during the reign of James I by the Lord High Treasurer of England, the great-grandfather of the current earl. Inside, you can find the bed of one of the Countesses of Salisbury; it's priceless and crafted entirely from Brazilian wood, known as milhombres, which means a thousand men and is said to protect against snake bites. Inscribed on this bed is Honi soit qui mal y pense."
"Edward Rich, Earl of Warwick and Holland, is owner of Warwick Castle, where whole oaks are burnt in the fireplaces.
"Edward Rich, Earl of Warwick and Holland, owns Warwick Castle, where entire oak trees are burned in the fireplaces."
"In the parish of Sevenoaks, Charles Sackville, Baron Buckhurst, Baron Cranfield, Earl of Dorset and Middlesex, is owner of Knowle, which is as large as a town and is composed of three palaces standing parallel one behind the other, like ranks of infantry. There are six covered flights of steps on the principal frontage, and a gate under a keep with four towers.
"In the Sevenoaks area, Charles Sackville, Baron Buckhurst, Baron Cranfield, and Earl of Dorset and Middlesex, owns Knowle, which is as big as a town and features three palaces lined up one behind the other, like rows of soldiers. The main front has six covered staircases, and there's a gate beneath a keep with four towers."
"Thomas Thynne, Baron Thynne of Warminster, and Viscount Weymouth, possesses Longleat, in which there are as many chimneys, cupolas, pinnacles, pepper-boxes pavilions, and turrets as at Chambord, in France, which belongs to the king.
"Thomas Thynne, Baron Thynne of Warminster, and Viscount Weymouth, owns Longleat, which has as many chimneys, cupolas, pinnacles, pepper-boxes, pavilions, and turrets as Chambord in France, which is owned by the king."
"Henry Howard, Earl of Suffolk, owns, twelve leagues from London, the palace of Audley End in Essex, which in grandeur and dignity scarcely yields the palm to the Escorial of the King of Spain.
"Henry Howard, Earl of Suffolk, owns the palace of Audley End in Essex, located twelve leagues from London, which in terms of grandeur and dignity is hardly outdone by the Escorial of the King of Spain."
"In Bedfordshire, Wrest House and Park, which is a whole district, enclosed by ditches, walls, woodlands, rivers, and hills, belongs to Henry, Marquis of Kent.
In Bedfordshire, Wrest House and Park, which is an entire area surrounded by ditches, walls, woodlands, rivers, and hills, belongs to Henry, Marquis of Kent.
"Hampton Court, in Herefordshire, with its strong embattled keep, and its gardens bounded by a piece of water which divides them from the forest, belongs to Thomas, Lord Coningsby.
"Hampton Court, in Herefordshire, with its sturdy fortified tower and gardens bordered by a body of water that separates them from the forest, is owned by Thomas, Lord Coningsby."
"Grimsthorp, in Lincolnshire, with its long façade intersected by turrets in pale, its park, its fish-ponds, its pheasantries, its sheepfolds, its lawns, its grounds planted with rows of trees, its groves, its walks, its shrubberies, its flower-beds and borders, formed in square and lozenge-shape, and resembling great carpets; its racecourses, and the majestic sweep for carriages to turn in at the entrance of the house—belongs to Robert, Earl Lindsey, hereditary lord of the forest of Waltham.
Grimsthorp, located in Lincolnshire, features a long facade adorned with light-colored turrets. Its park includes fish ponds, pheasant habitats, sheep pens, lawns, and landscaped grounds with rows of trees, groves, walking paths, shrubbery, and flower beds arranged in squares and diamonds, resembling large carpets. There are also racecourses and a grand entrance for carriages leading to the house—owned by Robert, Earl Lindsey, the hereditary lord of the Waltham forest.
"Up Park, in Sussex, a square house, with two symmetrical belfried pavilions on each side of the great courtyard, belongs to the Right Honourable Forde, Baron Grey of Werke, Viscount Glendale and Earl of Tankerville.
"Up Park, in Sussex, has a square house with two matching belfry pavilions on either side of the large courtyard, and it belongs to the Right Honourable Forde, Baron Grey of Werke, Viscount Glendale, and Earl of Tankerville."
"Newnham Paddox, in Warwickshire, which has two quadrangular fish-ponds and a gabled archway with a large window of four panes, belongs to the Earl of Denbigh, who is also Count von Rheinfelden, in Germany.
Newnham Paddox in Warwickshire has two square fish ponds and a gabled archway with a large four-pane window. It belongs to the Earl of Denbigh, who is also Count von Rheinfelden in Germany.
"Wytham Abbey, in Berkshire, with its French garden in which there are four curiously trimmed arbours, and its great embattled towers, supported by two bastions, belongs to Montague, Earl of Abingdon, who also owns Rycote, of which he is Baron, and the principal door of which bears the device Virtus ariete fortior.
"Wytham Abbey, located in Berkshire, features a French garden with four uniquely shaped arbors and impressive battle-style towers supported by two bastions. It belongs to Montague, the Earl of Abingdon, who also owns Rycote, where he holds the title of Baron, and the main entrance is adorned with the motto Virtus ariete fortior.
"William Cavendish, Duke of Devonshire, has six dwelling-places, of which Chatsworth (two storied, and of the finest order of Grecian architecture) is one.
"William Cavendish, Duke of Devonshire, has six homes, one of which is Chatsworth (a two-story building in the finest style of Grecian architecture)."
"The Viscount of Kinalmeaky, who is Earl of Cork, in Ireland, is owner of Burlington House, Piccadilly, with its extensive gardens, reaching to the fields outside London; he is also owner of Chiswick, where there are nine magnificent lodges; he also owns Londesborough, which is a new house by the side of an old palace.
The Viscount of Kinalmeaky, who is the Earl of Cork in Ireland, owns Burlington House in Piccadilly, complete with its large gardens that extend into the countryside outside London. He also owns Chiswick, which has nine stunning lodges, and Londesborough, a new house next to an old palace.
"The Duke of Beaufort owns Chelsea, which contains two Gothic buildings, and a Florentine one; he has also Badminton, in Gloucestershire, a residence from which a number of avenues branch out like rays from a star. The most noble and puissant Prince Henry, Duke of Beaufort, is also Marquis and Earl of Worcester, Earl of Glamorgan, Viscount Grosmont, and Baron Herbert of Chepstow, Ragland, and Gower, Baron Beaufort of Caldecott Castle, and Baron de Bottetourt.
"The Duke of Beaufort owns Chelsea, which has two Gothic buildings and one Florentine one; he also has Badminton in Gloucestershire, a residence with several pathways spreading out like rays from a star. The most noble and powerful Prince Henry, Duke of Beaufort, is also the Marquis and Earl of Worcester, Earl of Glamorgan, Viscount Grosmont, and Baron Herbert of Chepstow, Ragland, and Gower, Baron Beaufort of Caldecott Castle, and Baron de Bottetourt."
"John Holies, Duke of Newcastle, and Marquis of Clare, owns Bolsover, with its majestic square keeps; his also is Haughton, in Nottinghamshire, where a round pyramid, made to imitate the Tower of Babel, stands in the centre of a basin of water.
John Holies, Duke of Newcastle, and Marquis of Clare, owns Bolsover, with its impressive square towers; he also owns Haughton in Nottinghamshire, where a round pyramid designed to look like the Tower of Babel stands in the middle of a pool of water.
"William, Earl of Craven, Viscount Uffington, and Baron Craven of Hamstead Marshall, owns Combe Abbey in Warwickshire, where is to be seen the finest water-jet in England; and in Berkshire two baronies, Hamstead Marshall, on the façade of which are five Gothic lanterns sunk in the wall, and Ashdown Park, which is a country seat situate at the point of intersection of cross-roads in a forest.
William, Earl of Craven, Viscount Uffington, and Baron Craven of Hamstead Marshall, owns Combe Abbey in Warwickshire, where you can see the best water-jet in England. He also has two baronies in Berkshire: Hamstead Marshall, which has five Gothic lanterns built into the façade, and Ashdown Park, a country home located at the junction of cross-roads in a forest.
"Linnæus, Lord Clancharlie, Baron Clancharlie and Hunkerville, Marquis of Corleone in Sicily, derives his title from the castle of Clancharlie, built in 912 by Edward the Elder, as a defence against the Danes. Besides Hunkerville House, in London, which is a palace, he has Corleone Lodge at Windsor, which is another, and eight castlewards, one at Burton-on-Trent, with a royalty on the carriage of plaster of Paris; then Grumdaith Humble, Moricambe, Trewardraith, Hell-Kerters (where there is a miraculous well), Phillinmore, with its turf bogs, Reculver, near the ancient city Vagniac, Vinecaunton, on the Moel-eulle Mountain; besides nineteen boroughs and villages with reeves, and the whole of Penneth chase, all of which bring his lordship £40,000 a year.
Linnæus, Lord Clancharlie, Baron Clancharlie and Hunkerville, Marquis of Corleone in Sicily, gets his title from Clancharlie Castle, which was built in 912 by Edward the Elder as a defense against the Danes. In addition to Hunkerville House in London, a palace, he has Corleone Lodge at Windsor, another palace, and eight estates, including one at Burton-on-Trent, which earns him a royalty on the transport of plaster of Paris; then Grumdaith Humble, Moricambe, Trewardraith, Hell-Kerters (where there's a miraculous well), Phillinmore with its turf bogs, Reculver near the ancient city of Vagniac, and Vinecaunton on the Moel-eulle Mountain; plus nineteen boroughs and villages with reeves, along with the entire Penneth chase, all of which brings his lordship £40,000 a year.
"The 172 peers enjoying their dignities under James II. possess among them altogether a revenue of £1,272,000 sterling a year, which is the eleventh part of the revenue of England."
"The 172 peers enjoying their dignities under James II have a total revenue of £1,272,000 sterling a year, which is one-eleventh of England's revenue."
In the margin, opposite the last name (that of Linnæus, Lord Clancharlie), there was a note in the handwriting of Ursus: Rebel; in exile; houses, lands, and chattels sequestrated. It is well.
In the margin, next to the last name (Linnæus, Lord Clancharlie), there was a note in Ursus's handwriting: Rebel; in exile; houses, lands, and belongings confiscated. It is well.
IV.
Ursus admired Homo. One admires one's like. It is a law. To be always raging inwardly and grumbling outwardly was the normal condition of Ursus. He was the malcontent of creation. By nature he was a man ever in opposition. He took the world unkindly; he gave his satisfecit to no one and to nothing. The bee did not atone, by its honey-making, for its sting; a full-blown rose did not absolve the sun for yellow fever and black vomit. It is probable that in secret Ursus criticized Providence a good deal. "Evidently," he would say, "the devil works by a spring, and the wrong that God does is having let go the trigger." He approved of none but princes, and he had his own peculiar way of expressing his approbation. One day, when James II. made a gift to the Virgin in a Catholic chapel in Ireland of a massive gold lamp, Ursus, passing that way with Homo, who was more indifferent to such things, broke out in admiration before the crowd, and exclaimed, "It is certain that the blessed Virgin wants a lamp much more than these barefooted children there require shoes."
Ursus admired Homo. You admire your own kind; it’s a law. Always being angry inside and complaining outside was the usual state for Ursus. He was a discontented soul. By nature, he was someone who always opposed things. He viewed the world negatively; he was satisfied by no one and nothing. The bee didn’t make up for its sting by producing honey; a beautiful rose didn’t make up for the sun causing yellow fever and black vomit. It’s likely that Ursus secretly criticized God a lot. “Clearly,” he would say, “the devil operates like a spring, and the real mistake God made was letting go of the trigger.” He only approved of princes, and he had his own unique way of showing his approval. One day, when James II donated a large gold lamp to the Virgin in a Catholic chapel in Ireland, Ursus, passing by with Homo, who didn’t really care about those things, burst out in admiration before the crowd and exclaimed, “It’s clear that the blessed Virgin needs a lamp way more than those barefoot kids need shoes.”
Such proofs of his loyalty, and such evidences of his respect for established powers, probably contributed in no small degree to make the magistrates tolerate his vagabond life and his low alliance with a wolf. Sometimes of an evening, through the weakness of friendship, he allowed Homo to stretch his limbs and wander at liberty about the caravan. The wolf was incapable of an abuse of confidence, and behaved in society, that is to say among men, with the discretion of a poodle. All the same, if bad-tempered officials had to be dealt with, difficulties might have arisen; so Ursus kept the honest wolf chained up as much as possible.
Such displays of loyalty and signs of respect for authority likely helped the magistrates overlook his wandering lifestyle and his close association with a wolf. Sometimes in the evening, out of friendship, he let Homo stretch his legs and roam freely around the caravan. The wolf was trustworthy and acted in public, that is, around people, with the restraint of a poodle. Still, if any grumpy officials needed to be dealt with, there could have been problems; so Ursus kept the loyal wolf chained up as much as he could.
From a political point of view, his writing about gold, not very intelligible in itself, and now become undecipherable, was but a smear, and gave no handle to the enemy. Even after the time of James II., and under the "respectable" reign of William and Mary, his caravan might have been seen peacefully going its rounds of the little English country towns. He travelled freely from one end of Great Britain to the other, selling his philtres and phials, and sustaining, with the assistance of his wolf, his quack mummeries; and he passed with ease through the meshes of the nets which the police at that period had spread all over England in order to sift wandering gangs, and especially to stop the progress of the Comprachicos.
From a political perspective, his writing about gold, which is not very clear by itself and has now become completely confusing, was just a smear and didn’t give the enemy any leverage. Even after the time of James II, and during the "respectable" reign of William and Mary, his caravan could still be seen quietly traveling through the small English country towns. He moved freely from one end of Great Britain to the other, selling his potions and vials, and with the help of his wolf, he maintained his deceptive acts; he easily navigated through the traps the police had set across England to catch wandering groups, particularly to prevent the progress of the Comprachicos.
This was right enough. Ursus belonged to no gang. Ursus lived with Ursus, a tête-à-tête, into which the wolf gently thrust his nose. If Ursus could have had his way, he would have been a Caribbee; that being impossible, he preferred to be alone. The solitary man is a modified savage, accepted by civilization. He who wanders most is most alone; hence his continual change of place. To remain anywhere long suffocated him with the sense of being tamed. He passed his life in passing on his way. The sight of towns increased his taste for brambles, thickets, thorns, and holes in the rock. His home was the forest. He did not feel himself much out of his element in the murmur of crowded streets, which is like enough to the bluster of trees. The crowd to some extent satisfies our taste for the desert. What he disliked in his van was its having a door and windows, and thus resembling a house. He would have realized his ideal, had he been able to put a cave on four wheels and travel in a den.
This was true enough. Ursus didn’t belong to any group. He lived with himself, a tête-à-tête, into which the wolf gently inserted his nose. If Ursus had his way, he would have been a Caribbee; since that was impossible, he preferred solitude. The solitary man is a changed savage, accepted by society. The one who wanders the most is the loneliest; that’s why he constantly changes his location. Staying in one place for too long suffocated him with the feeling of being tamed. He spent his life on the move. The sight of cities only heightened his desire for brambles, thickets, thorns, and crevices in the rocks. His home was the forest. He didn’t feel too out of place in the hum of crowded streets, which was similar enough to the rustling of trees. The crowd somewhat satisfied our craving for the wild. What he disliked about his van was that it had a door and windows, making it resemble a house. He would have realized his ideal if he could have put a cave on four wheels and traveled in a den.
He did not smile, as we have already said, but he used to laugh; sometimes, indeed frequently, a bitter laugh. There is consent in a smile, while a laugh is often a refusal.
He didn't smile, as we’ve already mentioned, but he would laugh; sometimes, often, it was a bitter laugh. A smile shows agreement, while a laugh is often a rejection.
His great business was to hate the human race. He was implacable in that hate. Having made it clear that human life is a dreadful thing; having observed the superposition of evils, kings on the people, war on kings, the plague on war, famine on the plague, folly on everything; having proved a certain measure of chastisement in the mere fact of existence; having recognized that, death is a deliverance—when they brought him a sick man he cured him; he had cordials and beverages to prolong the lives of the old. He put lame cripples on their legs again, and hurled this sarcasm at them, "There, you are on your paws once more; may you walk long in this valley of tears!" When he saw a poor man dying of hunger, he gave him all the pence he had about him, growling out, "Live on, you wretch! eat! last a long time! It is not I who would shorten your penal servitude." After which, he would rub his hands and say, "I do men all the harm I can."
His main focus was to hate humanity. He was relentless in that hatred. He made it clear that human life is a dreadful experience; he noticed the stack of miseries, rulers oppressing the people, wars among rulers, disease following wars, famine after disease, and foolishness surrounding everything; he showed that simply existing comes with its own punishment; he acknowledged that death is a release—when a sick person was brought to him, he would cure them; he had tonics and drinks to extend the lives of the elderly. He helped disabled people stand again and mocked them, saying, "There you are, back on your feet; may you walk long in this valley of tears!" When he saw a poor man dying of hunger, he gave him all the coins he had, grumbling, "Live on, you miserable soul! Eat! Make it last! It’s not me who would cut short your suffering." After that, he'd rub his hands and say, "I do all the harm I can to people."
Through the little window at the back, passers-by could read on the ceiling of the van these words, written within, but visible from without, inscribed with charcoal, in big letters,—
Through the small window at the back, people walking by could see on the ceiling of the van these words, written inside but visible from outside, inscribed in charcoal, in large letters,—
ANOTHER PRELIMINARY CHAPTER.
THE COMPRACHICOS.
I.
Who now knows the word Comprachicos, and who knows its meaning?
Who today knows the word Comprachicos, and who understands what it means?
The Comprachicos, or Comprapequeños, were a hideous and nondescript association of wanderers, famous in the 17th century, forgotten in the 18th, unheard of in the 19th. The Comprachicos are like the "succession powder," an ancient social characteristic detail. They are part of old human ugliness. To the great eye of history, which sees everything collectively, the Comprachicos belong to the colossal fact of slavery. Joseph sold by his brethren is a chapter in their story. The Comprachicos have left their traces in the penal laws of Spain and England. You find here and there in the dark confusion of English laws the impress of this horrible truth, like the foot-print of a savage in a forest.
The Comprachicos, or Comprapequeños, were a grotesque and nondescript group of wanderers, known in the 17th century, forgotten in the 18th, and unknown in the 19th. The Comprachicos are similar to "succession powder," an old social characteristic. They represent the old human ugliness. To the broad view of history, which sees everything as a whole, the Comprachicos are part of the massive reality of slavery. Joseph sold by his brothers is a chapter in their narrative. The Comprachicos have left their mark in the criminal laws of Spain and England. If you look closely, you can find signs of this dreadful truth hidden in the chaotic mess of English laws, like the footprint of a savage in a forest.
Comprachicos, the same as Comprapequeños, is a compound Spanish word signifying Child-buyers.
Comprachicos, also known as Comprapequeños, is a compound Spanish word that means Child-buyers.
The Comprachicos traded in children. They bought and sold them. They did not steal them. The kidnapping of children is another branch of industry. And what did they make of these children?
The Comprachicos dealt in children. They bought and sold them. They didn’t steal them. Kidnapping children is a different line of work. And what did they do with these children?
Monsters.
Monsters.
Why monsters?
Why monsters?
To laugh at.
To make fun of.
The populace must needs laugh, and kings too. The mountebank is wanted in the streets, the jester at the Louvre. The one is called a Clown, the other a Fool.
The people have to laugh, and so do kings. The street performers are needed, and the jesters at the Louvre. One is called a Clown, the other a Fool.
The efforts of man to procure himself pleasure are at times worthy of the attention of the philosopher.
The ways people seek pleasure can sometimes be worth thinking about for philosophers.
What are we sketching in these few preliminary pages? A chapter in the most terrible of books; a book which might be entitled—The farming of the unhappy by the happy.
What are we outlining in these few introductory pages? A chapter in the most dreadful of books; a book that could be titled—The farming of the unhappy by the happy.
II.
A child destined to be a plaything for men—such a thing has existed; such a thing exists even now. In simple and savage times such a thing constituted an especial trade. The 17th century, called the great century, was of those times. It was a century very Byzantine in tone. It combined corrupt simplicity with delicate ferocity—a curious variety of civilization. A tiger with a simper. Madame de Sevigné minces on the subject of the fagot and the wheel. That century traded a good deal in children. Flattering historians have concealed the sore, but have divulged the remedy, Vincent de Paul.
A child meant to be a toy for men—such a thing has existed; such a thing still exists today. In primitive and brutal times, this was a specific trade. The 17th century, known as the great century, was one of those times. It had a very Byzantine feel. It mixed corrupt simplicity with a delicate kind of brutality—a strange form of civilization. A tiger with a smirk. Madame de Sevigné tiptoes around the topic of the bundle of sticks and the wheel. That century dealt quite a bit in children. Flattering historians have hidden the pain but have revealed the solution, Vincent de Paul.
In order that a human toy should succeed, he must be taken early. The dwarf must be fashioned when young. We play with childhood. But a well-formed child is not very amusing; a hunchback is better fun.
To make a successful human toy, you need to start early. The dwarf has to be shaped when they're young. We engage with childhood. However, a well-formed kid isn't that entertaining; a hunchback is way more fun.
Hence grew an art. There were trainers who took a man and made him an abortion; they took a face and made a muzzle; they stunted growth; they kneaded the features. The artificial production of teratological cases had its rules. It was quite a science—what one can imagine as the antithesis of orthopedy. Where God had put a look, their art put a squint; where God had made harmony, they made discord; where God had made the perfect picture, they re-established the sketch; and, in the eyes of connoisseurs, it was the sketch which was perfect. They debased animals as well; they invented piebald horses. Turenne rode a piebald horse. In our own days do they not dye dogs blue and green? Nature is our canvas. Man has always wished to add something to God's work. Man retouches creation, sometimes for better, sometimes for worse. The Court buffoon was nothing but an attempt to lead back man to the monkey. It was a progress the wrong way. A masterpiece in retrogression. At the same time they tried to make a man of the monkey. Barbara, Duchess of Cleveland and Countess of Southampton, had a marmoset for a page. Frances Sutton, Baroness Dudley, eighth peeress in the bench of barons, had tea served by a baboon clad in cold brocade, which her ladyship called My Black. Catherine Sedley, Countess of Dorchester, used to go and take her seat in Parliament in a coach with armorial bearings, behind which stood, their muzzles stuck up in the air, three Cape monkeys in grand livery. A Duchess of Medina-Celi, whose toilet Cardinal Pole witnessed, had her stockings put on by an orang-outang. These monkeys raised in the scale were a counterpoise to men brutalized and bestialized. This promiscuousness of man and beast, desired by the great, was especially prominent in the case of the dwarf and the dog. The dwarf never quitted the dog, which was always bigger than himself. The dog was the pair of the dwarf; it was as if they were coupled with a collar. This juxtaposition is authenticated by a mass of domestic records—notably by the portrait of Jeffrey Hudson, dwarf of Henrietta of France, daughter of Henri IV., and wife of Charles I.
Thus grew an art. There were trainers who took a man and turned him into a freak; they took a face and made it grotesque; they stunted growth; they shaped the features. The artificial creation of abnormal cases had its rules. It was quite a science—what one might think of as the opposite of orthopedics. Where God gave beauty, their art created ugliness; where God made harmony, they created discord; where God painted the perfect picture, they went back to the rough draft; and, in the eyes of connoisseurs, the rough draft was seen as the ideal. They degraded animals too; they created spotted horses. Turenne rode a spotted horse. In our own time, don’t people dye dogs blue and green? Nature is our canvas. Humanity has always wanted to add something to God’s work. People retouch creation, sometimes for the better, sometimes for the worse. The Court fool was simply an attempt to pull humanity back to its ape-like roots. It was a backward progress. A masterpiece of regression. At the same time, they tried to elevate the monkey to a man. Barbara, Duchess of Cleveland and Countess of Southampton, had a marmoset as her page. Frances Sutton, Baroness Dudley, eighth peeress in the House of Lords, had tea served by a baboon dressed in fine brocade, which she affectionately called My Black. Catherine Sedley, Countess of Dorchester, would go to Parliament in a coach with her family crest, behind which stood three Cape monkeys in grand uniforms, their noses pointed up in the air. A Duchess of Medina-Celi, whose grooming Cardinal Pole witnessed, had her stockings put on by an orangutan. These monkeys, elevated in status, were a counterbalance to men who had become brutish and animalistic. This mix of human and beast, desired by the elite, was especially evident in the relationship between the dwarf and the dog. The dwarf was never without the dog, which was always larger than him. The dog was as important to the dwarf as if they were paired together with a collar. This pairing is supported by a wealth of domestic records—notably by the portrait of Jeffrey Hudson, the dwarf of Henrietta of France, daughter of Henri IV., and wife of Charles I.
To degrade man tends to deform him. The suppression of his state was completed by disfigurement. Certain vivisectors of that period succeeded marvellously well in effacing from the human face the divine effigy. Doctor Conquest, member of the Amen Street College, and judicial visitor of the chemists' shops of London, wrote a book in Latin on this pseudo-surgery, the processes of which he describes. If we are to believe Justus of Carrickfergus, the inventor of this branch of surgery was a monk named Avonmore—an Irish word signifying Great River.
To degrade a person tends to distort them. The suppression of their nature was completed by disfigurement. Certain experimental surgeons of that time were remarkably successful in erasing the divine likeness from the human face. Doctor Conquest, a member of the Amen Street College and inspector of the chemists' shops in London, wrote a book in Latin about this pseudo-surgery, detailing the processes involved. If we are to believe Justus of Carrickfergus, the inventor of this type of surgery was a monk named Avonmore—an Irish term meaning Great River.
The dwarf of the Elector Palatine, Perkeo, whose effigy—or ghost—springs from a magical box in the cave of Heidelberg, was a remarkable specimen of this science, very varied in its applications. It fashioned beings the law of whose existence was hideously simple: it permitted them to suffer, and commanded them to amuse.
The dwarf of the Elector Palatine, Perkeo, whose figure—or spirit—comes to life from a magical box in the cave of Heidelberg, was a noteworthy example of this science, with a wide range of applications. It created beings whose existence had a disturbingly simple rule: they were allowed to suffer and were ordered to entertain.
III.
The manufacture of monsters was practised on a large scale, and comprised various branches.
The production of monsters was done on a large scale and included various sectors.
The Sultan required them, so did the Pope; the one to guard his women, the other to say his prayers. These were of a peculiar kind, incapable of reproduction. Scarcely human beings, they were useful to voluptuousness and to religion. The seraglio and the Sistine Chapel utilized the same species of monsters; fierce in the former case, mild in the latter.
The Sultan needed them, and so did the Pope; one to protect his women, the other to pray for him. They were a unique kind, unable to reproduce. Barely human, they served purposes of pleasure and devotion. The harem and the Sistine Chapel employed the same type of beings; fierce in the first instance, gentle in the second.
They knew how to produce things in those days which are not produced now; they had talents which we lack, and it is not without reason that some good folk cry out that the decline has come. We no longer know how to sculpture living human flesh; this is consequent on the loss of the art of torture. Men were once virtuosi in that respect, but are so no longer; the art has become so simplified that it will soon disappear altogether. In cutting the limbs of living men, in opening their bellies and in dragging out their entrails, phenomena were grasped on the moment and discoveries made. We are obliged to renounce these experiments now, and are thus deprived of the progress which surgery made by aid of the executioner.
They knew how to create things back then that we can't make now; they had skills that we don't have, and it's no wonder some people say we've declined. We no longer know how to shape living human flesh; this is due to the loss of the art of torture. People used to be experts in that area, but that's not the case anymore; the skill has been so watered down that it might soon vanish completely. When it came to cutting off the limbs of living people, opening their bodies, and pulling out their organs, they discovered things in the moment that led to advancements. We have to forgo these experiments now, which means we've lost the progress that surgery achieved with the help of executioners.
The vivisection of former days was not limited to the manufacture of phenomena for the market-place, of buffoons for the palace (a species of augmentative of the courtier), and eunuchs for sultans and popes. It abounded in varieties. One of its triumphs was the manufacture of cocks for the king of England.
The experiments of the past weren't just about creating spectacles for the public, entertainers for the royal court (a type of flatterer), and eunuchs for sultans and popes. There were many different types. One of its successes was breeding cocks for the king of England.
It was the custom, in the palace of the kings of England, to have a sort of watchman, who crowed like a cock. This watcher, awake while all others slept, ranged the palace, and raised from hour to hour the cry of the farmyard, repeating it as often as was necessary, and thus supplying a clock. This man, promoted to be cock, had in childhood undergone the operation of the pharynx, which was part of the art described by Dr. Conquest. Under Charles II. the salivation inseparable to the operation having disgusted the Duchess of Portsmouth, the appointment was indeed preserved, so that the splendour of the crown should not be tarnished, but they got an unmutilated man to represent the cock. A retired officer was generally selected for this honourable employment. Under James II. the functionary was named William Sampson, Cock, and received for his crow £9, 2s. 6d. annually.
In the palace of the kings of England, it was customary to have a sort of watchman who crowed like a rooster. This watcher, awake while everyone else slept, patrolled the palace and, hour by hour, raised the cry of the barnyard, repeating it as often as needed, thus providing a kind of clock. This man, promoted to the role of rooster, had undergone a throat operation in childhood, part of the procedure described by Dr. Conquest. During Charles II's reign, the salivation that came with the operation disgusted the Duchess of Portsmouth, so they kept the position to maintain the crown’s dignity, but they appointed an unaltered man to take on the rooster role. A retired officer was usually chosen for this honorable position. Under James II, the person in this role was named William Sampson, Cock, and he received £9, 2s. 6d. annually for his crowing.
The memoirs of Catherine II. inform us that at St. Petersburg, scarcely a hundred years since, whenever the czar or czarina was displeased with a Russian prince, he was forced to squat down in the great antechamber of the palace, and to remain in that posture a certain number of days, mewing like a cat, or clucking like a sitting hen, and pecking his food from the floor.
The memoirs of Catherine II tell us that in St. Petersburg, not long ago, whenever the czar or czarina was unhappy with a Russian prince, he had to squat in the grand antechamber of the palace and stay in that position for a certain number of days, meowing like a cat or clucking like a sitting hen, and eating his food off the floor.
These fashions have passed away; but not so much, perhaps, as one might imagine. Nowadays, courtiers slightly modify their intonation in clucking to please their masters. More than one picks up from the ground—we will not say from the mud—what he eats.
These trends have faded, but maybe not as much as one would think. Today, courtiers adjust their tone a little when trying to please their bosses. More than a few scavenge from the ground—we won’t call it mud—for their food.
It is very fortunate that kings cannot err. Hence their contradictions never perplex us. In approving always, one is sure to be always right—which is pleasant. Louis XIV. would not have liked to see at Versailles either an officer acting the cock, or a prince acting the turkey. That which raised the royal and imperial dignity in England and Russia would have seemed to Louis the Great incompatible with the crown of St. Louis. We know what his displeasure was when Madame Henriette forgot herself so far as to see a hen in a dream—which was, indeed, a grave breach of good manners in a lady of the court. When one is of the court, one should not dream of the courtyard. Bossuet, it may be remembered, was nearly as scandalized as Louis XIV.
It’s really lucky that kings can’t make mistakes. So their contradictions never confuse us. By always agreeing, they’re sure to be right—which is nice. Louis XIV wouldn’t have wanted to see an officer acting foolish or a prince acting ridiculous at Versailles. What elevated royal and imperial dignity in England and Russia would have seemed incompatible with the crown of St. Louis to Louis the Great. We know how displeased he was when Madame Henriette went so far as to dream of seeing a hen—which was, in fact, a serious breach of etiquette for a lady of the court. When you’re part of the court, you shouldn’t dream about the courtyard. Bossuet, it should be noted, was nearly as scandalized as Louis XIV.
IV.
The commerce in children in the 17th century, as we have explained, was connected with a trade. The Comprachicos engaged in the commerce, and carried on the trade. They bought children, worked a little on the raw material, and resold them afterwards.
The trade in children in the 17th century, as we have explained, was linked to a business. The Comprachicos participated in this trade, buying children, doing some work on them, and then selling them later.
The venders were of all kinds: from the wretched father, getting rid of his family, to the master, utilizing his stud of slaves. The sale of men was a simple matter. In our own time we have had fighting to maintain this right. Remember that it is less than a century ago since the Elector of Hesse sold his subjects to the King of England, who required men to be killed in America. Kings went to the Elector of Hesse as we go to the butcher to buy meat. The Elector had food for powder in stock, and hung up his subjects in his shop. Come buy; it is for sale. In England, under Jeffreys, after the tragical episode of Monmouth, there were many lords and gentlemen beheaded and quartered. Those who were executed left wives and daughters, widows and orphans, whom James II. gave to the queen, his wife. The queen sold these ladies to William Penn. Very likely the king had so much per cent. on the transaction. The extraordinary thing is, not that James II. should have sold the women, but that William Penn should have bought them. Penn's purchase is excused, or explained, by the fact that having a desert to sow with men, he needed women as farming implements.
The vendors were all sorts of people: from the desperate father abandoning his family to the master using his group of slaves. Selling men was straightforward. In our own time, we’ve fought to uphold this right. Remember, it wasn't that long ago when the Elector of Hesse sold his subjects to the King of England, who needed men to be killed in America. Kings approached the Elector of Hesse like we go to the butcher to buy meat. The Elector had a supply of cannon fodder on hand and displayed his subjects in his shop. "Come buy; they're for sale." In England, under Jeffreys, after the tragic events of Monmouth, many lords and gentlemen were beheaded and dismembered. Those who were executed left behind wives and daughters, widows and orphans, whom James II gave to his wife, the queen. The queen sold these women to William Penn. It's likely the king got a cut from the deal. The surprising part isn’t that James II sold the women, but that William Penn bought them. Penn's purchase is justified, or explained, by the fact that with a land to populate, he needed women as essential tools for farming.
Her Gracious Majesty made a good business out of these ladies. The young sold dear. We may imagine, with the uneasy feeling which a complicated scandal arouses, that probably some old duchesses were thrown in cheap.
Her Gracious Majesty turned a nice profit from these ladies. The young ones sold for a high price. One can imagine, with the discomfort that a complex scandal creates, that some older duchesses were included at a low cost.
The Comprachicos were also called the Cheylas, a Hindu word, which conveys the image of harrying a nest.
The Comprachicos were also known as the Cheylas, which is a Hindu term that evokes the idea of disturbing a nest.
For a long time the Comprachicos only partially concealed themselves. There is sometimes in the social order a favouring shadow thrown over iniquitous trades, in which they thrive. In our own day we have seen an association of the kind in Spain, under the direction of the ruffian Ramon Selles, last from 1834 to 1866, and hold three provinces under terror for thirty years—Valencia, Alicante, and Murcia.
For a long time, the Comprachicos only partially hid themselves. Sometimes, in society, there's a shadow that protects corrupt trades, allowing them to flourish. Recently, we've seen a similar organization in Spain, led by the thug Ramon Selles, who terrorized three provinces—Valencia, Alicante, and Murcia—from 1834 to 1866 for thirty years.
Under the Stuarts, the Comprachicos were by no means in bad odour at court. On occasions they were used for reasons of state. For James II. they were almost an instrumentum regni. It was a time when families, which were refractory or in the way, were dismembered; when a descent was cut short; when heirs were suddenly suppressed. At times one branch was defrauded to the profit of another. The Comprachicos had a genius for disfiguration which recommended them to state policy. To disfigure is better than to kill. There was, indeed, the Iron Mask, but that was a mighty measure. Europe could not be peopled with iron masks, while deformed tumblers ran about the streets without creating any surprise. Besides, the iron mask is removable; not so the mask of flesh. You are masked for ever by your own flesh—what can be more ingenious? The Comprachicos worked on man as the Chinese work on trees. They had their secrets, as we have said; they had tricks which are now lost arts. A sort of fantastic stunted thing left their hands; it was ridiculous and wonderful. They would touch up a little being with such skill that its father could not have known it. Et que méconnaîtrait l'oeil même de son père, as Racine says in bad French. Sometimes they left the spine straight and remade the face. They unmarked a child as one might unmark a pocket-handkerchief. Products, destined for tumblers, had their joints dislocated in a masterly manner—you would have said they had been boned. Thus gymnasts were made.
Under the Stuarts, the Comprachicos were definitely not in disfavor at court. They were occasionally utilized for political purposes. For James II, they were almost a tool of the state. It was a time when families that caused problems or stood in the way were broken apart; when a lineage was abruptly terminated; when heirs were unexpectedly eliminated. Sometimes one branch would be robbed for the benefit of another. The Comprachicos had a talent for disfigurement that made them valuable to state policy. Disfiguring is better than killing. There was, indeed, the Iron Mask, but that was an extreme action. Europe couldn't be filled with iron masks, while deformed performers wandered the streets without raising any eyebrows. Besides, the iron mask can be removed; not so the mask of flesh. You're stuck wearing your own flesh forever—what could be more clever? The Comprachicos manipulated people like the Chinese manipulate trees. They had their secrets, as mentioned before; they had techniques that are now forgotten arts. A sort of bizarre, shortened creation emerged from their hands; it was both ridiculous and incredible. They would alter a small person with such expertise that even their parent wouldn't recognize them. Et que méconnaîtrait l'oeil même de son père, as Racine awkwardly puts it in French. Sometimes they kept the spine straight and transformed the face. They could remove a child's features as easily as one might unmark a handkerchief. Products meant for performers had their joints skillfully dislocated—you would have thought they had been boned. This is how gymnasts were created.
Not only did the Comprachicos take away his face from the child, they also took away his memory. At least they took away all they could of it; the child had no consciousness of the mutilation to which he had been subjected. This frightful surgery left its traces on his countenance, but not on his mind. The most he could recall was that one day he had been seized by men, that next he had fallen asleep, and then that he had been cured. Cured of what? He did not know. Of burnings by sulphur and incisions by the iron he remembered nothing. The Comprachicos deadened the little patient by means of a stupefying powder which was thought to be magical, and suppressed all pain. This powder has been known from time immemorial in China, and is still employed there in the present day. The Chinese have been beforehand with us in all our inventions—printing, artillery, aerostation, chloroform. Only the discovery which in Europe at once takes life and birth, and becomes a prodigy and a wonder, remains a chrysalis in China, and is preserved in a deathlike state. China is a museum of embryos.
Not only did the Comprachicos take the child's face away, but they also stole his memories. At least, they took away everything they could; the child was unaware of the mutilation he had undergone. This horrific surgery left marks on his face but none on his mind. The most he could remember was that one day he was captured by men, then he fell asleep, and afterward, he was told he had been cured. Cured of what? He had no idea. He remembered nothing of burns from sulfur or cuts from iron. The Comprachicos numbed the little patient with a stupefying powder believed to be magical, which eliminated all pain. This powder has been known in China for ages, and it’s still used there today. The Chinese have been ahead of us in all our inventions—printing, artillery, balloons, chloroform. Only the discovery that in Europe simultaneously brings life and death, becoming a marvel and a wonder, remains dormant in China and is kept in a lifeless state. China is a museum of embryos.
Since we are in China, let us remain there a moment to note a peculiarity. In China, from time immemorial, they have possessed a certain refinement of industry and art. It is the art of moulding a living man. They take a child, two or three years old, put him in a porcelain vase, more or less grotesque, which is made without top or bottom, to allow egress for the head and feet. During the day the vase is set upright, and at night is laid down to allow the child to sleep. Thus the child thickens without growing taller, filling up with his compressed flesh and distorted bones the reliefs in the vase. This development in a bottle continues many years. After a certain time it becomes irreparable. When they consider that this is accomplished, and the monster made, they break the vase. The child comes out—and, behold, there is a man in the shape of a mug!
Since we’re in China, let’s take a moment to point out something unusual. In China, for as long as anyone can remember, they’ve had a unique level of craftsmanship and artistry. It’s the practice of shaping a living person. They take a child, two or three years old, and place him in a somewhat funny-looking porcelain vase that has no top or bottom, allowing the head and feet to stick out. During the day, the vase is kept upright, and at night, it’s laid down so the child can sleep. As a result, the child grows wider instead of taller, his compressed flesh and twisted bones filling the shapes in the vase. This development in a bottle goes on for many years. After a while, it becomes permanent. Once they believe this has been achieved, and the transformation is done, they break the vase. The child emerges—and, lo and behold, there’s a man shaped like a mug!
This is convenient: by ordering your dwarf betimes you are able to have it of any shape you wish.
This is convenient: by ordering your dwarf in advance, you can have it in any shape you want.
V.
James II. tolerated the Comprachicos for the good reason that he made use of them; at least it happened that he did so more than once. We do not always disdain to use what we despise. This low trade, an excellent expedient sometimes for the higher one which is called state policy, was willingly left in a miserable state, but was not persecuted. There was no surveillance, but a certain amount of attention. Thus much might be useful—the law closed one eye, the king opened the other.
James II tolerated the Comprachicos for a good reason: he used them more than once. We don’t always ignore what we look down on. This lowly trade, which can actually serve higher purposes like state policy, was allowed to remain in a miserable condition but wasn’t actively persecuted. There was no strict oversight, but some level of attention. This was somewhat beneficial—the law turned a blind eye while the king kept an eye open.
Sometimes the king went so far as to avow his complicity. These are audacities of monarchical terrorism. The disfigured one was marked with the fleur-de-lis; they took from him the mark of God; they put on him the mark of the king. Jacob Astley, knight and baronet, lord of Melton Constable, in the county of Norfolk, had in his family a child who had been sold, and upon whose forehead the dealer had imprinted a fleur-de-lis with a hot iron. In certain cases in which it was held desirable to register for some reason the royal origin of the new position made for the child, they used such means. England has always done us the honour to utilize, for her personal service, the fleur-de-lis.
Sometimes the king even admitted to his involvement. These are acts of royal oppression. The disfigured person was marked with the fleur-de-lis; they took away the mark of God and put on the mark of the king. Jacob Astley, knight and baronet, lord of Melton Constable in Norfolk, had a child in his family who had been sold, and the dealer branded a fleur-de-lis onto the child's forehead with a hot iron. In certain cases where it was deemed necessary to acknowledge the royal background of the new status created for the child, such methods were used. England has always honored us by using the fleur-de-lis for her own service.
The Comprachicos, allowing for the shade which divides a trade from a fanaticism, were analogous to the Stranglers of India. They lived among themselves in gangs, and to facilitate their progress, affected somewhat of the merry-andrew. They encamped here and there, but they were grave and religious, bearing no affinity to other nomads, and incapable of theft. The people for a long time wrongly confounded them with the Moors of Spain and the Moors of China. The Moors of Spain were coiners, the Moors of China were thieves. There was nothing of the sort about the Comprachicos; they were honest folk. Whatever you may think of them, they were sometimes sincerely scrupulous. They pushed open a door, entered, bargained for a child, paid, and departed. All was done with propriety.
The Comprachicos, distinguishing between trade and fanaticism, were similar to the Stranglers of India. They lived in gangs and often acted like clowns to help their cause. They camped in various places, but they were serious and devout, with no ties to other nomadic groups, and they never stole. For a long time, people mistakenly identified them with the Moors of Spain and the Moors of China. The Moors of Spain were counterfeiters, while the Moors of China were thieves. The Comprachicos, however, were nothing like that; they were honest people. Regardless of what you might think of them, they could be genuinely scrupulous. They would open a door, enter, negotiate for a child, pay, and leave. Everything was done properly.
They were of all countries. Under the name of Comprachicos fraternized English, French, Castilians, Germans, Italians. A unity of idea, a unity of superstition, the pursuit of the same calling, make such fusions. In this fraternity of vagabonds, those of the Mediterranean seaboard represented the East, those of the Atlantic seaboard the West. Many Basques conversed with many Irishmen. The Basque and the Irishman understand each other—they speak the old Punic jargon; add to this the intimate relations of Catholic Ireland with Catholic Spain—relations such that they terminated by bringing to the gallows in London one almost King of Ireland, the Celtic Lord de Brany; from which resulted the conquest of the county of Leitrim.
They came from all over the world. Under the name of Comprachicos, English, French, Spaniards, Germans, and Italians mingled together. A shared belief, a common superstition, and the pursuit of the same profession brought them together. In this brotherhood of wanderers, those from the Mediterranean coast represented the East, while those from the Atlantic coast represented the West. Many Basques chatted with many Irishmen. The Basque and the Irishman understand each other—they speak the old Punic language; and on top of that, there are the close ties between Catholic Ireland and Catholic Spain—ties that ultimately led to the execution in London of an almost King of Ireland, the Celtic Lord de Brany, resulting in the conquest of County Leitrim.
The Comprachicos were rather a fellowship than a tribe; rather a residuum than a fellowship. It was all the riffraff of the universe, having for their trade a crime. It was a sort of harlequin people, all composed of rags. To recruit a man was to sew on a tatter.
The Comprachicos were more of a group than a tribe; more of a leftover than a group. They were the outcasts of the world, united by a life of crime. They were a ragtag bunch, all made up of rags. To add a new member was like stitching on another torn piece.
To wander was the Comprachicos' law of existence—to appear and disappear. What is barely tolerated cannot take root. Even in the kingdoms where their business supplied the courts, and, on occasions, served as an auxiliary to the royal power, they were now and then suddenly ill-treated. Kings made use of their art, and sent the artists to the galleys. These inconsistencies belong to the ebb and flow of royal caprice. "For such is our pleasure."
To roam was the Comprachicos' way of life—to show up and vanish. What is only barely accepted can't thrive. Even in the kingdoms where their craft supported the courts and sometimes helped uphold the royal authority, they were occasionally met with harsh treatment. Kings utilized their skills and then sent the artists off to prison. These contradictions are part of the whims of royal fancy. "For that is what we desire."
A rolling stone and a roving trade gather no moss. The Comprachicos were poor. They might have said what the lean and ragged witch observed, when she saw them setting fire to the stake, "Le jeu n'en vaut pas la chandelle." It is possible, nay probable (their chiefs remaining unknown), that the wholesale contractors in the trade were rich. After the lapse of two centuries, it would be difficult to throw any light on this point.
A moving stone and a wandering trade don’t gather any moss. The Comprachicos were poor. They might have echoed what the thin and tattered witch observed when she saw them lighting the fire at the stake: "The game isn't worth the candle." It’s possible, even likely (since their leaders are unknown), that the major players in the trade were wealthy. After two hundred years, it’s hard to clarify this point.
It was, as we have said, a fellowship. It had its laws, its oaths, its formulæ—it had almost its cabala. Any one nowadays wishing to know all about the Comprachicos need only go into Biscaya or Galicia; there were many Basques among them, and it is in those mountains that one hears their history. To this day the Comprachicos are spoken of at Oyarzun, at Urbistondo, at Leso, at Astigarraga. Aguardate niño, que voy a llamar al Comprachicos—Take care, child, or I'll call the Comprachicos—is the cry with which mothers frighten their children in that country.
It was, as we mentioned, a community. It had its rules, its vows, its traditions—it almost had its secret society. Anyone today wanting to learn everything about the Comprachicos just needs to go to Biscaya or Galicia; many Basques were part of them, and it’s in those mountains that their story is told. To this day, people talk about the Comprachicos in Oyarzun, Urbistondo, Leso, and Astigarraga. Aguardate niño, que voy a llamar al Comprachicos—Watch out, kid, or I’ll call the Comprachicos—is the saying that mothers use to scare their children in that region.
The Comprachicos, like the Zigeuner and the Gipsies, had appointed places for periodical meetings. From time to time their leaders conferred together. In the seventeenth century they had four principal points of rendezvous: one in Spain—the pass of Pancorbo; one in Germany—the glade called the Wicked Woman, near Diekirsch, where there are two enigmatic bas-reliefs, representing a woman with a head and a man without one; one in France—the hill where was the colossal statue of Massue-la-Promesse in the old sacred wood of Borvo Tomona, near Bourbonne les Bains; one in England—behind the garden wall of William Challoner, Squire of Gisborough in Cleveland, Yorkshire, behind the square tower and the great wing which is entered by an arched door.
The Comprachicos, like the Zigeuner and the Gypsies, had specific locations for their regular meetings. Occasionally, their leaders would get together. In the seventeenth century, they had four main meeting spots: one in Spain at the pass of Pancorbo; one in Germany at a glade called the Wicked Woman, near Diekirsch, which features two mysterious bas-reliefs showing a woman with a head and a man without one; one in France on the hill where the massive statue of Massue-la-Promesse once stood in the ancient sacred woods of Borvo Tomona, near Bourbonne les Bains; and one in England, behind the garden wall of William Challoner, Squire of Gisborough in Cleveland, Yorkshire, behind the square tower and the grand wing accessed by an arched door.
VI.
The laws against vagabonds have always been very rigorous in England. England, in her Gothic legislation, seemed to be inspired with this principle, Homo errans fera errante pejor. One of the special statutes classifies the man without a home as "more dangerous than the asp, dragon, lynx, or basilisk" (atrocior aspide, dracone, lynce, et basilico). For a long time England troubled herself as much concerning the gipsies, of whom she wished to be rid as about the wolves of which she had been cleared. In that the Englishman differed from the Irishman, who prayed to the saints for the health of the wolf, and called him "my godfather."
The laws against homeless people have always been very strict in England. In her Gothic laws, England seemed to be guided by this principle, Homo errans fera errante pejor. One of the specific laws describes a man without a home as "more dangerous than the asp, dragon, lynx, or basilisk" (atrocior aspide, dracone, lynce, et basilico). For a long time, England was just as concerned about the gipsies, whom she wanted to get rid of, as she was about the wolves she had removed. This is where the Englishman differs from the Irishman, who prayed to the saints for the well-being of the wolf and referred to him as "my godfather."
English law, nevertheless, in the same way as (we have just seen) it tolerated the wolf, tamed, domesticated, and become in some sort a dog, tolerated the regular vagabond, become in some sort a subject. It did not trouble itself about either the mountebank or the travelling barber, or the quack doctor, or the peddler, or the open-air scholar, as long as they had a trade to live by. Further than this, and with these exceptions, the description of freedom which exists in the wanderer terrified the law. A tramp was a possible public enemy. That modern thing, the lounger, was then unknown; that ancient thing, the vagrant, was alone understood. A suspicious appearance, that indescribable something which all understand and none can define, was sufficient reason that society should take a man by the collar. "Where do you live? How do you get your living?" And if he could not answer, harsh penalties awaited him. Iron and fire were in the code: the law practised the cauterization of vagrancy.
English law, just like it tolerated the wolf that had been tamed and domesticated into something like a dog, also accepted the regular vagabond, who became something like a subject. It didn't concern itself with the mountebank, the traveling barber, the quack doctor, or the peddler, as long as they had a means of making a living. Beyond that, and with these exceptions, the idea of freedom present in the wanderer scared the law. A tramp was seen as a potential public enemy. The modern phenomenon of the lounger didn’t exist then; the ancient concept of the vagrant was the only one understood. A suspicious appearance, that indescribable something that everyone recognizes but no one can define, was enough for society to grab a man by the collar. "Where do you live? How do you make your living?" If he couldn’t answer, he faced severe penalties. The law dealt with vagrancy harshly—iron and fire were part of the code, as the law practiced the cauterization of vagrancy.
Hence, throughout English territory, a veritable "loi des suspects" was applicable to vagrants (who, it must be owned, readily became malefactors), and particularly to gipsies, whose expulsion has erroneously been compared to the expulsion of the Jews and the Moors from Spain, and the Protestants from France. As for us, we do not confound a battue with a persecution.
Hence, across England, a true "law of suspects" was applied to vagrants (who, it must be acknowledged, often turned into criminals), and especially to gypsies, whose removal has been wrongly compared to the expulsion of Jews and Moors from Spain, and Protestants from France. As for us, we do not mix up a manhunt with persecution.
The Comprachicos, we insist, had nothing in common with the gipsies. The gipsies were a nation; the Comprachicos were a compound of all nations—the lees of a horrible vessel full of filthy waters. The Comprachicos had not, like the gipsies, an idiom of their own; their jargon was a promiscuous collection of idioms: all languages were mixed together in their language; they spoke a medley. Like the gipsies, they had come to be a people winding through the peoples; but their common tie was association, not race. At all epochs in history one finds in the vast liquid mass which constitutes humanity some of these streams of venomous men exuding poison around them. The gipsies were a tribe; the Comprachicos a freemasonry—a masonry having not a noble aim, but a hideous handicraft. Finally, their religions differ—the gipsies were Pagans, the Comprachicos were Christians, and more than that, good Christians, as became an association which, although a mixture of all nations, owed its birth to Spain, a devout land.
The Comprachicos, we assert, had nothing in common with the gypsies. The gypsies were a distinct group; the Comprachicos were a mix of all kinds of people—the dregs of a terrible vessel full of dirty waters. The Comprachicos didn’t have their own language like the gypsies; their jargon was a chaotic blend of different languages: all languages were mixed together in their speech; they spoke in a jumble. Like the gypsies, they wandered among various peoples, but their bond was association, not ethnicity. Throughout history, you can find in the huge, fluid mass of humanity some of these streams of toxic individuals spreading poison around them. The gypsies were a tribe; the Comprachicos were a secret society—a society with no noble purpose, but a hideous craft. Lastly, their religions were different—the gypsies were Pagans, while the Comprachicos were Christians, and moreover, good Christians, as one would expect from a group that, although made up of people from all over, originated in Spain, a devout country.
They were more than Christians, they were Catholics; they were more than Catholics, they were Romans, and so touchy in their faith, and so pure, that they refused to associate with the Hungarian nomads of the comitate of Pesth, commanded and led by an old man, having for sceptre a wand with a silver ball, surmounted by the double-headed Austrian eagle. It is true that these Hungarians were schismatics, to the extent of celebrating the Assumption on the 29th August, which is an abomination.
They were more than just Christians; they were Catholics. They were more than Catholics; they were Romans, and they were so sensitive about their faith and so devout that they refused to connect with the Hungarian nomads of the Pesth region, who were led by an old man holding a staff topped with a silver ball and the double-headed Austrian eagle. It’s true that these Hungarians were considered schismatics because they celebrated the Assumption on August 29th, which was seen as an outrage.
In England, so long as the Stuarts reigned, the confederation of the Comprachicos was (for motives of which we have already given you a glimpse) to a certain extent protected. James II., a devout man, who persecuted the Jews and trampled out the gipsies, was a good prince to the Comprachicos. We have seen why. The Comprachicos were buyers of the human wares in which he was dealer. They excelled in disappearances. Disappearances are occasionally necessary for the good of the state. An inconvenient heir of tender age whom they took and handled lost his shape. This facilitated confiscation; the tranfer of titles to favourites was simplified. The Comprachicos were, moreover, very discreet and very taciturn. They bound themselves to silence, and kept their word, which is necessary in affairs of state. There was scarcely an example of their having betrayed the secrets of the king. This was, it is true, for their interest; and if the king had lost confidence in them, they would have been in great danger. They were thus of use in a political point of view. Moreover these artists furnished singers for the Holy Father. The Comprachicos were useful for the Miserere of Allegri. They were particularly devoted to Mary. All this pleased the papistry of the Stuarts. James II. could not be hostile to holy men who pushed their devotion to the Virgin to the extent of manufacturing eunuchs. In 1688 there was a change of dynasty in England: Orange supplanted Stuart. William III. replaced James II.
In England, while the Stuarts ruled, the group known as the Comprachicos was somewhat protected (for reasons we've already hinted at). James II, a devout man who persecuted Jews and oppressed the gypsies, treated the Comprachicos well. We’ve discussed why. The Comprachicos were buyers of the human goods he dealt in. They were experts at making people disappear. Sometimes, disappearances are necessary for the state's benefit. An inconvenient young heir they captured and handled lost his original form. This made confiscation easier; transferring titles to favorites was simplified. The Comprachicos were also very discreet and quiet. They promised to stay silent and kept their word, which is essential in politics. There are very few instances of them betraying the king's secrets. This was, of course, in their own interest; if the king had lost trust in them, they would have faced serious danger. Thus, they served a political purpose. Additionally, these artists provided singers for the Holy Father. The Comprachicos were useful for the Miserere of Allegri. They were especially devoted to Mary. All of this pleased the Stuarts' papacy. James II couldn’t be opposed to holy men who showed their devotion to the Virgin by creating eunuchs. In 1688, there was a change in dynasty in England: Orange replaced Stuart. William III took over from James II.
James II. went away to die in exile, miracles were performed on his tomb, and his relics cured the Bishop of Autun of fistula—a worthy recompense of the Christian virtues of the prince.
James II went away to die in exile, miracles happened at his tomb, and his relics healed the Bishop of Autun of a fistula—a fitting reward for the prince's Christian virtues.
William, having neither the same ideas nor the same practices as James, was severe to the Comprachicos. He did his best to crush out the vermin.
William, who had different ideas and practices than James, was harsh towards the Comprachicos. He did everything he could to eliminate the pests.
A statute of the early part of William and Mary's reign hit the association of child-buyers hard. It was as the blow of a club to the Comprachicos, who were from that time pulverized. By the terms of this statute those of the fellowship taken and duly convicted were to be branded with a red-hot iron, imprinting R. on the shoulder, signifying rogue; on the left hand T, signifying thief; and on the right hand M, signifying man-slayer. The chiefs, "supposed to be rich, although beggars in appearance," were to be punished in the collistrigium—that is, the pillory—and branded on the forehead with a P, besides having their goods confiscated, and the trees in their woods rooted up. Those who did not inform against the Comprachicos were to be punished by confiscation and imprisonment for life, as for the crime of misprision. As for the women found among these men, they were to suffer the cucking-stool—this is a tumbrel, the name of which is composed of the French word coquine, and the German stuhl. English law being endowed with a strange longevity, this punishment still exists in English legislation for quarrelsome women. The cucking-stool is suspended over a river or a pond, the woman seated on it. The chair is allowed to drop into the water, and then pulled out. This dipping of the woman is repeated three times, "to cool her anger," says the commentator, Chamberlayne.
A law from the early days of William and Mary's rule really affected the group of people who bought children. It hit the Comprachicos hard, crushing them from that point on. According to this law, anyone from the group who was caught and convicted would be branded with a hot iron: an R on their shoulder for "rogue," a T on their left hand for "thief," and an M on their right hand for "manslaughter." The leaders, who looked like beggars but were thought to be wealthy, would be punished in the pillory and branded with a P on their forehead. They would also have their possessions taken away and the trees in their lands destroyed. Anyone who didn’t inform on the Comprachicos would face confiscation and life imprisonment for the crime of misprision. As for the women involved with these men, they would face the cucking-stool—a device whose name comes from the French word coquine and the German word stuhl. Interestingly, this punishment still exists in English law for quarrelsome women. The cucking-stool is set over a river or pond, with the woman seated on it. The chair is allowed to drop into the water and then pulled back out. This process is repeated three times "to cool her anger," according to the commentator, Chamberlayne.
PART I.
BOOK THE FIRST.
NIGHT NOT SO BLACK AS MAN.
CHAPTER I.
PORTLAND BILL.
An obstinate north wind blew without ceasing over the mainland of Europe, and yet more roughly over England, during all the month of December, 1689, and all the month of January, 1690. Hence the disastrous cold weather, which caused that winter to be noted as "memorable to the poor," on the margin of the old Bible in the Presbyterian chapel of the Nonjurors in London. Thanks to the lasting qualities of the old monarchical parchment employed in official registers, long lists of poor persons, found dead of famine and cold, are still legible in many local repositories, particularly in the archives of the Liberty of the Clink, in the borough of Southwark, of Pie Powder Court (which signifies Dusty Feet Court), and in those of Whitechapel Court, held in the village of Stepney by the bailiff of the Lord of the Manor. The Thames was frozen over—a thing which does not happen once in a century, as the ice forms on it with difficulty owing to the action of the sea. Coaches rolled over the frozen river, and a fair was held with booths, bear-baiting, and bull-baiting. An ox was roasted whole on the ice. This thick ice lasted two months. The hard year 1690 surpassed in severity even the famous winters at the beginning of the seventeenth century, so minutely observed by Dr. Gideon Delane—the same who was, in his quality of apothecary to King James, honoured by the city of London with a bust and a pedestal.
A stubborn north wind blew nonstop over mainland Europe, and even harsher over England, throughout December 1689 and January 1690. This led to severe cold weather, making that winter "memorable for the poor," as noted in the old Bible in the Presbyterian chapel of the Nonjurors in London. Thanks to the durability of the official parchment used in records, long lists of impoverished individuals who died from hunger and cold are still visible in many local archives, particularly in the records of the Liberty of the Clink in Southwark, Pie Powder Court (which means Dusty Feet Court), and Whitechapel Court, held in the village of Stepney by the bailiff of the Lord of the Manor. The Thames froze over—a rare occurrence, as ice usually has a hard time forming due to the sea's influence. Coaches crossed the frozen river, and a fair took place with booths, bear-baiting, and bull-baiting. An ox was roasted whole on the ice. This thick ice lasted for two months. The harsh year of 1690 was even more severe than the famous winters at the start of the seventeenth century, meticulously recorded by Dr. Gideon Delane—the same one who, as the apothecary to King James, was honored by the city of London with a bust and pedestal.
One evening, towards the close of one of the most bitter days of the month of January, 1690, something unusual was going on in one of the numerous inhospitable bights of the bay of Portland, which caused the sea-gulls and wild geese to scream and circle round its mouth, not daring to re-enter.
One evening, at the end of one of the coldest days in January 1690, something strange was happening in one of the many unwelcoming inlets of Portland Bay. The sea gulls and wild geese were screaming and circling around its entrance, not daring to go back in.
In this creek, the most dangerous of all which line the bay during the continuance of certain winds, and consequently the most lonely—convenient, by reason of its very danger, for ships in hiding—a little vessel, almost touching the cliff, so deep was the water, was moored to a point of rock. We are wrong in saying, The night falls; we should say the night rises, for it is from the earth that obscurity comes. It was already night at the bottom of the cliff; it was still day at top. Any one approaching the vessel's moorings would have recognized a Biscayan hooker.
In this creek, the most dangerous one along the bay during certain winds, and therefore the most isolated—convenient for ships hiding because of its very danger—a small vessel, almost touching the cliff due to the depth of the water, was moored to a rocky point. It's incorrect to say, The night falls; we should say the night rises, because darkness comes from the earth. It was already night at the bottom of the cliff; it was still daytime at the top. Anyone approaching the vessel's mooring would have recognized a Biscayan hooker.
The sun, concealed all day by the mist, had just set. There was beginning to be felt that deep and sombrous melancholy which might be called anxiety for the absent sun. With no wind from the sea, the water of the creek was calm.
The sun, hidden all day by the fog, had just set. A deep and heavy sadness began to settle in, almost like a longing for the absent sun. Without a breeze from the sea, the creek’s water was still.
This was, especially in winter, a lucky exception. Almost all the Portland creeks have sand-bars; and in heavy weather the sea becomes very rough, and, to pass in safety, much skill and practice are necessary. These little ports (ports more in appearance than fact) are of small advantage. They are hazardous to enter, fearful to leave. On this evening, for a wonder, there was no danger.
This was, especially in winter, a rare exception. Almost all the Portland creeks have sandbars, and during rough weather, the sea gets very choppy, requiring a lot of skill and experience to navigate safely. These small ports (more like ports in appearance than in reality) offer little advantage. They're risky to enter and daunting to leave. On this evening, surprisingly, there was no danger.
The Biscay hooker is of an ancient model, now fallen into disuse. This kind of hooker, which has done service even in the navy, was stoutly built in its hull—a boat in size, a ship in strength. It figured in the Armada. Sometimes the war-hooker attained to a high tonnage; thus the Great Griffin, bearing a captain's flag, and commanded by Lopez de Medina, measured six hundred and fifty good tons, and carried forty guns. But the merchant and contraband hookers were very feeble specimens. Sea-folk held them at their true value, and esteemed the model a very sorry one, The rigging of the hooker was made of hemp, sometimes with wire inside, which was probably intended as a means, however unscientific, of obtaining indications, in the case of magnetic tension. The lightness of this rigging did not exclude the use of heavy tackle, the cabrias of the Spanish galleon, and the cameli of the Roman triremes. The helm was very long, which gives the advantage of a long arm of leverage, but the disadvantage of a small arc of effort. Two wheels in two pulleys at the end of the rudder corrected this defect, and compensated, to some extent, for the loss of strength. The compass was well housed in a case perfectly square, and well balanced by its two copper frames placed horizontally, one in the other, on little bolts, as in Cardan's lamps. There was science and cunning in the construction of the hooker, but it was ignorant science and barbarous cunning. The hooker was primitive, just like the praam and the canoe; was kindred to the praam in stability, and to the canoe in swiftness; and, like all vessels born of the instinct of the pirate and fisherman, it had remarkable sea qualities: it was equally well suited to landlocked and to open waters. Its system of sails, complicated in stays, and very peculiar, allowed of its navigating trimly in the close bays of Asturias (which are little more than enclosed basins, as Pasages, for instance), and also freely out at sea. It could sail round a lake, and sail round the world—a strange craft with two objects, good for a pond and good for a storm. The hooker is among vessels what the wagtail is among birds—one of the smallest and one of the boldest. The wagtail perching on a reed scarcely bends it, and, flying away, crosses the ocean.
The Biscay hooker is an old model that's now not in use anymore. This type of hooker, which even served in the navy, was robustly built—big like a boat but strong like a ship. It was part of the Armada. Sometimes, the war-hooker was quite sizable; for instance, the Great Griffin, flying a captain's flag and commanded by Lopez de Medina, weighed six hundred and fifty tons and carried forty guns. However, the merchant and smuggling hookers were pretty weak. Sailors recognized their true worth and considered the model to be quite poor. The hooker's rigging was made of hemp, sometimes reinforced with wire, which might have been a basic way to gauge magnetic tension. The lightness of this rigging didn't exclude the use of heavy tackle, such as the cabrias found on Spanish galleons and the cameli of Roman triremes. The helm was very long, providing a great leverage advantage, but it also had the downside of a small effort arc. Two wheels on two pulleys at the end of the rudder helped correct this flaw, partially compensating for the loss of strength. The compass was securely housed in a perfectly square case, balanced by two copper frames placed horizontally, one inside the other, on small bolts, similar to Cardan's lamps. There was ingenuity in the hooker's design, but it was based on rudimentary science and crude cleverness. The hooker was primitive, much like the praam and the canoe; it shared stability with the praam and speed with the canoe; and like all vessels born from the instincts of pirates and fishermen, it possessed remarkable sea qualities: it was equally capable in calm and open waters. Its complex sail system, with intricate stays, allowed it to navigate smoothly in the sheltered bays of Asturias (which are barely more than enclosed basins, like Pasages, for example) and also to move freely out at sea. It could sail around a lake as well as circumnavigate the globe—a unique craft that was suited for both calm ponds and stormy seas. Among vessels, the hooker is like the wagtail among birds—one of the smallest yet one of the boldest. The wagtail perched on a reed barely bends it, yet when it flies away, it crosses the ocean.
These Biscay hookers, even to the poorest, were gilt and painted. Tattooing is part of the genius of those charming people, savages to some degree. The sublime colouring of their mountains, variegated by snows and meadows, reveals to them the rugged spell which ornament possesses in itself. They are poverty-stricken and magnificent; they put coats-of-arms on their cottages; they have huge asses, which they bedizen with bells, and huge oxen, on which they put head-dresses of feathers. Their coaches, which you can hear grinding the wheels two leagues off, are illuminated, carved, and hung with ribbons. A cobbler has a bas-relief on his door: it is only St. Crispin and an old shoe, but it is in stone. They trim their leathern jackets with lace. They do not mend their rags, but they embroider them. Vivacity profound and superb! The Basques are, like the Greeks, children of the sun; while the Valencian drapes himself, bare and sad, in his russet woollen rug, with a hole to pass his head through, the natives of Galicia and Biscay have the delight of fine linen shirts, bleached in the dew. Their thresholds and their windows teem with faces fair and fresh, laughing under garlands of maize; a joyous and proud serenity shines out in their ingenious arts, in their trades, in their customs, in the dress of their maidens, in their songs. The mountain, that colossal ruin, is all aglow in Biscay: the sun's rays go in and out of every break. The wild Jaïzquivel is full of idylls. Biscay is Pyrenean grace as Savoy is Alpine grace. The dangerous bays—the neighbours of St. Sebastian, Leso, and Fontarabia—with storms, with clouds, with spray flying over the capes, with the rages of the waves and the winds, with terror, with uproar, mingle boat-women crowned with roses. He who has seen the Basque country wishes to see it again. It is the blessed land. Two harvests a year; villages resonant and gay; a stately poverty; all Sunday the sound of guitars, dancing, castanets, love-making; houses clean and bright; storks in the belfries.
These Biscay fishermen, even the poorest ones, were gilded and painted. Tattooing is part of the essence of those charming people, who are somewhat wild. The stunning colors of their mountains, mixing snow and meadows, reveal to them the rugged beauty that decoration holds in itself. They are both destitute and magnificent; they put coats of arms on their cottages; they have large donkeys adorned with bells and enormous oxen, which they dress up with feather headdresses. Their carriages, which can be heard creaking from two leagues away, are decorated, carved, and draped with ribbons. A cobbler has a bas-relief on his door: it’s just St. Crispin and an old shoe, but it’s made of stone. They embellish their leather jackets with lace. They don’t patch their rags; instead, they embroider them. Such lively and superb spirit! The Basques are, like the Greeks, children of the sun; while the Valencian wraps himself in a bare, sad, russet wool rug with a hole for his head, the locals from Galicia and Biscay enjoy fine linen shirts, whitened by the dew. Their doorsteps and windows are filled with fair and fresh faces, laughing under garlands of corn; a joyful and proud calm radiates from their creative arts, their trades, their customs, the attire of their maidens, their songs. The mountain, that massive wreck, is glowing in Biscay: the sun's rays break in and out of every crevice. The wild Jaïzquivel is filled with idyllic scenes. Biscay embodies Pyrenean grace just as Savoy represents Alpine grace. The treacherous bays—neighbors to St. Sebastian, Leso, and Fontarabia—are chaotic, with storms, clouds, spray flying over the cliffs, the fury of waves and winds, terror, and noise, mixed with boat-women crowned with roses. Anyone who has seen the Basque country longs to return. It is a blessed land. Two harvests a year; vibrant and cheerful villages; dignified poverty; every Sunday filled with the sound of guitars, dancing, castanets, and romance; homes spotless and bright; storks nesting in the belfries.
Let us return to Portland—that rugged mountain in the sea.
Let’s head back to Portland—that tough mountain by the ocean.
The peninsula of Portland, looked at geometrically, presents the appearance of a bird's head, of which the bill is turned towards the ocean, the back of the head towards Weymouth; the isthmus is its neck.
The Portland peninsula, when viewed from above, resembles a bird's head, with the beak pointed towards the ocean and the back of the head facing Weymouth; the isthmus acts as its neck.
Portland, greatly to the sacrifice of its wildness, exists now but for trade. The coasts of Portland were discovered by quarrymen and plasterers towards the middle of the seventeenth century. Since that period what is called Roman cement has been made of the Portland stone—a useful industry, enriching the district, and disfiguring the bay. Two hundred years ago these coasts were eaten away as a cliff; to-day, as a quarry. The pick bites meanly, the wave grandly; hence a diminution of beauty. To the magnificent ravages of the ocean have succeeded the measured strokes of men. These measured strokes have worked away the creek where the Biscay hooker was moored. To find any vestige of the little anchorage, now destroyed, the eastern side of the peninsula should be searched, towards the point beyond Folly Pier and Dirdle Pier, beyond Wakeham even, between the place called Church Hope and the place called Southwell.
Portland has sacrificed much of its natural beauty to become a hub for trade. Quarrymen and plasterers discovered the coasts of Portland in the mid-seventeenth century. Since then, what we now call Roman cement has been made from Portland stone—a booming industry that has brought wealth to the area but also marred the bay. Two hundred years ago, these coasts were like crumbling cliffs; today, they resemble a quarry. The pickaxe chips away in a humble manner, while the waves erode grandly, resulting in a loss of beauty. The awe-inspiring destruction caused by the ocean has been replaced by the calculated work of humans. These deliberate efforts have filled in the creek where the Biscay hooker used to anchor. To find any trace of that little harbor, now gone, one should explore the eastern side of the peninsula, towards the area beyond Folly Pier and Dirdle Pier, even past Wakeham, between a place called Church Hope and another called Southwell.
The creek, walled in on all sides by precipices higher than its width, was minute by minute becoming more overshadowed by evening. The misty gloom, usual at twilight, became thicker; it was like a growth of darkness at the bottom of a well. The opening of the creek seaward, a narrow passage, traced on the almost night-black interior a pallid rift where the waves were moving. You must have been quite close to perceive the hooker moored to the rocks, and, as it were, hidden by the great cloaks of shadow. A plank thrown from on board on to a low and level projection of the cliff, the only point on which a landing could be made, placed the vessel in communication with the land. Dark figures were crossing and recrossing each other on this tottering gangway, and in the shadow some people were embarking.
The creek, surrounded on all sides by cliffs taller than its width, was gradually becoming more enveloped in evening darkness. The misty gloom typical of twilight thickened; it felt like a blanket of darkness at the bottom of a well. The opening of the creek leading out to sea, a narrow passage, created a pale streak against the nearly night-black interior where the waves were moving. You had to be pretty close to see the small boat tied to the rocks, as it was mostly concealed by the heavy shadows. A plank extended from the boat to a flat spot on the cliff, the only place where you could land, connecting the vessel to the shore. Dark figures were crossing back and forth on this shaky gangway, and in the shadows, some people were boarding.
It was less cold in the creek than out at sea, thanks to the screen of rock rising over the north of the basin, which did not, however, prevent the people from shivering. They were hurrying. The effect of the twilight defined the forms as though they had been punched out with a tool. Certain indentations in their clothes were visible, and showed that they belonged to the class called in England the ragged.
It was less chilly in the creek than out at sea, thanks to the rock wall rising over the northern part of the basin, which didn’t stop the people from shivering. They were rushing. The twilight made the shapes clearer, as if they had been carved out with a tool. Some creases in their clothes were noticeable, indicating that they were from the class known in England as the ragged.
The twisting of the pathway could be distinguished vaguely in the relief of the cliff. A girl who lets her stay-lace hang down trailing over the back of an armchair, describes, without being conscious of it, most of the paths of cliffs and mountains. The pathway of this creek, full of knots and angles, almost perpendicular, and better adapted for goats than men, terminated on the platform where the plank was placed. The pathways of cliffs ordinarily imply a not very inviting declivity; they offer themselves less as a road than as a fall; they sink rather than incline. This one—probably some ramification of a road on the plain above—was disagreeable to look at, so vertical was it. From underneath you saw it gain by zigzag the higher layer of the cliff where it passed out through deep passages on to the high plateau by a cutting in the rock; and the passengers for whom the vessel was waiting in the creek must have come by this path.
The winding path could be seen faintly in the shape of the cliff. A girl whose stay-lace hangs down, trailing over the back of an armchair, unknowingly describes most of the paths of cliffs and mountains. The trail of this creek, full of twists and turns, nearly vertical, and more suited for goats than people, ended at the spot where the plank was laid. Cliff pathways usually suggest an uninviting drop; they feel less like a route and more like a plunge; they go down rather than slope. This one—likely a branch of a road from the plain above—was unpleasant to look at due to its steepness. From below, you could see it zigzagging up to the higher level of the cliff where it cut through deep passages to reach the high plateau; the travelers waiting for the vessel in the creek must have come along this path.
Excepting the movement of embarkation which was being made in the creek, a movement visibly scared and uneasy, all around was solitude; no step, no noise, no breath was heard. At the other side of the roads, at the entrance of Ringstead Bay, you could just perceive a flotilla of shark-fishing boats, which were evidently out of their reckoning. These polar boats had been driven from Danish into English waters by the whims of the sea. Northerly winds play these tricks on fishermen. They had just taken refuge in the anchorage of Portland—a sign of bad weather expected and danger out at sea. They were engaged in casting anchor: the chief boat, placed in front after the old manner of Norwegian flotillas, all her rigging standing out in black, above the white level of the sea; and in front might be perceived the hook-iron, loaded with all kinds of hooks and harpoons, destined for the Greenland shark, the dogfish, and the spinous shark, as well as the nets to pick up the sunfish.
Aside from the anxious and uneasy activity of boarding taking place in the creek, everything around was deserted; no footsteps, no sounds, no breaths could be heard. On the other side of the roads, at the entrance to Ringstead Bay, you could barely see a group of shark-fishing boats, clearly out of their usual territory. These boats had been pushed from Danish waters into English ones by the unpredictable sea. Northerly winds often cause such disruptions for fishermen. They had just found shelter in the anchorage of Portland—a sign that bad weather was approaching and that danger lurked out at sea. They were in the process of dropping anchor: the lead boat, positioned in front as was the traditional way for Norwegian flotillas, stood out in black against the white waters; and in front, you could see the hook-iron loaded with various hooks and harpoons meant for the Greenland shark, dogfish, spinous shark, and nets to catch sunfish.
Except a few other craft, all swept into the same corner, the eye met nothing living on the vast horizon of Portland—not a house, not a ship. The coast in those days was not inhabited, and the roads, at that season, were not safe.
Except for a few other boats all huddled in the same corner, there was nothing alive on the vast horizon of Portland—not a house, not a ship. Back then, the coast was uninhabited, and the roads weren't safe during that time of year.
Whatever may have been the appearance of the weather, the beings who were going to sail away in the Biscayan urca pressed on the hour of departure all the same. They formed a busy and confused group, in rapid movement on the shore. To distinguish one from another was difficult; impossible to tell whether they were old or young. The indistinctness of evening intermixed and blurred them; the mask of shadow was over their faces. They were sketches in the night. There were eight of them, and there were seemingly among them one or two women, hard to recognize under the rags and tatters in which the group was attired—clothes which were no longer man's or woman's. Rags have no sex.
No matter what the weather looked like, the people getting ready to set sail in the Biscayan urca were focused on their departure time. They formed a busy and chaotic group, moving quickly along the shore. It was hard to tell them apart; it was impossible to know if they were old or young. The dimness of evening blended and obscured them; shadows covered their faces. They were shadows in the night. There were eight of them, and among them were one or two women, though it was hard to recognize them in the rags and torn clothing that everyone wore—clothes that could belong to either a man or a woman. Rags have no gender.
A smaller shadow, flitting to and fro among the larger ones, indicated either a dwarf or a child.
A smaller shadow, moving back and forth among the larger ones, suggested either a dwarf or a child.
It was a child.
It was a kid.
CHAPTER II.
LEFT ALONE.
This is what an observer close at hand might have noted.
This is what someone nearby might have observed.
All wore long cloaks, torn and patched, but covering them, and at need concealing them up to the eyes; useful alike against the north wind and curiosity. They moved with ease under these cloaks. The greater number wore a handkerchief rolled round the head—a sort of rudiment which marks the commencement of the turban in Spain. This headdress was nothing unusual in England. At that time the South was in fashion in the North; perhaps this was connected with the fact that the North was beating the South. It conquered and admired. After the defeat of the Armada, Castilian was considered in the halls of Elizabeth to be elegant court talk. To speak English in the palace of the Queen of England was held almost an impropriety. Partially to adopt the manners of those upon whom we impose our laws is the habit of the conquering barbarian towards conquered civilization. The Tartar contemplates and imitates the Chinese. It was thus Castilian fashions penetrated into England; in return, English interests crept into Spain.
Everyone wore long cloaks that were torn and patched but managed to keep them covered and, when necessary, concealed up to their eyes; they were useful against the north wind and prying eyes. They moved easily under these cloaks. Most of them had a handkerchief wrapped around their heads—a kind of early version of the turban in Spain. This style of headwear was not unusual in England. At that time, styles from the South were popular in the North; perhaps this was related to the fact that the North was defeating the South. The North conquered and admired. After the defeat of the Armada, Castilian was seen as elegant court language in the halls of Elizabeth. Speaking English in the palace of the Queen of England was considered somewhat inappropriate. Taking on the manners of those we control is a common behavior of the conquering barbarian towards the conquered civilization. The Tartar observes and imitates the Chinese. This is how Castilian fashions made their way into England; in turn, English interests began to seep into Spain.
One of the men in the group embarking appeared to be a chief. He had sandals on his feet, and was bedizened with gold lace tatters and a tinsel waistcoat, shining under his cloak like the belly of a fish. Another pulled down over his face a huge piece of felt, cut like a sombrero; this felt had no hole for a pipe, thus indicating the wearer to be a man of letters.
One of the guys in the group getting ready to leave seemed to be a leader. He was wearing sandals and was decked out in gold lace rags and a shiny waistcoat, sparkling under his cloak like a fish’s belly. Another guy had a large felt hat pulled down over his face, shaped like a sombrero; this hat didn’t have a hole for a pipe, signaling that the wearer was educated.
On the principle that a man's vest is a child's cloak, the child was wrapped over his rags in a sailor's jacket, which descended to his knees.
On the idea that a man's vest is like a child's coat, the child was wrapped in a sailor's jacket that reached down to his knees over his rags.
By his height you would have guessed him to be a boy of ten or eleven; his feet were bare.
By his height, you would think he was around ten or eleven years old; his feet were bare.
The crew of the hooker was composed of a captain and two sailors.
The crew of the boat consisted of a captain and two sailors.
The hooker had apparently come from Spain, and was about to return thither. She was beyond a doubt engaged in a stealthy service from one coast to the other.
The hooker had apparently come from Spain and was about to return there. She was definitely involved in a secret operation from one coast to the other.
The persons embarking in her whispered among themselves.
The people getting on her were quietly talking to each other.
The whispering interchanged by these creatures was of composite sound—now a word of Spanish, then of German, then of French, then of Gaelic, at times of Basque. It was either a patois or a slang. They appeared to be of all nations, and yet of the same band.
The whispers exchanged by these beings were a blend of sounds—sometimes a word in Spanish, then in German, then in French, and at times in Gaelic or Basque. It felt like either a pidgin or a slang. They seemed to come from all nations, yet identified as part of the same group.
The motley group appeared to be a company of comrades, perhaps a gang of accomplices.
The mixed group seemed like a bunch of friends, maybe a crew of partners in crime.
The crew was probably of their brotherhood. Community of object was visible in the embarkation.
The crew was likely part of their brotherhood. Their shared purpose was evident during the boarding process.
Had there been a little more light, and if you could have looked at them attentively, you might have perceived on these people rosaries and scapulars half hidden under their rags; one of the semi-women mingling in the group had a rosary almost equal for the size of its beads to that of a dervish, and easy to recognize for an Irish one made at Llanymthefry, which is also called Llanandriffy.
Had there been a bit more light, and if you could have looked at them closely, you might have noticed that some of these people had rosaries and scapulars partly hidden under their rags; one of the semi-women blending into the group had a rosary with beads almost as large as those of a dervish, easily identifiable as an Irish one made in Llanymthefry, which is also known as Llanandriffy.
You might also have observed, had it not been so dark, a figure of Our Lady and Child carved and gilt on the bow of the hooker. It was probably that of the Basque Notre Dame, a sort of Panagia of the old Cantabri. Under this image, which occupied the position of a figurehead, was a lantern, which at this moment was not lighted—an excess of caution which implied an extreme desire of concealment. This lantern was evidently for two purposes. When alight it burned before the Virgin, and at the same time illumined the sea—a beacon doing duty as a taper.
You might have also noticed, if it weren't so dark, a statue of Our Lady and Child carved and gilded on the front of the ship. It was likely that of the Basque Notre Dame, a kind of Panagia for the old Cantabri. Beneath this image, which served as a figurehead, was a lantern that wasn’t lit at the moment—an excessive measure of caution indicating a strong desire to remain hidden. This lantern clearly had two purposes. When lit, it burned in front of the Virgin and also lit up the sea—a beacon functioning as a candle.
Under the bowsprit the cutwater, long, curved, and sharp, came out in front like the horn of a crescent. At the top of the cutwater, and at the feet of the Virgin, a kneeling angel, with folded wings, leaned her back against the stem, and looked through a spyglass at the horizon. The angel was gilded like Our Lady. In the cutwater were holes and openings to let the waves pass through, which afforded an opportunity for gilding and arabesques.
Under the bowsprit, the long, curved, and sharp cutwater extended out in front like the horn of a crescent moon. At the top of the cutwater, right at the feet of the Virgin, there was a kneeling angel with folded wings, resting her back against the stem and looking through a spyglass at the horizon. The angel was gilded just like Our Lady. The cutwater had holes and openings to allow the waves to pass through, providing a chance for gilding and decorative patterns.
Under the figure of the Virgin was written, in gilt capitals, the word Matutina—the name of the vessel, not to be read just now on account of the darkness.
Under the figure of the Virgin was written, in gold letters, the word Matutina—the name of the vessel, which can't be read right now because of the darkness.
Amid the confusion of departure there were thrown down in disorder, at the foot of the cliff, the goods which the voyagers were to take with them, and which, by means of a plank serving as a bridge across, were being passed rapidly from the shore to the boat. Bags of biscuit, a cask of stock fish, a case of portable soup, three barrels—one of fresh water, one of malt, one of tar—four or five bottles of ale, an old portmanteau buckled up by straps, trunks, boxes, a ball of tow for torches and signals—such was the lading. These ragged people had valises, which seemed to indicate a roving life. Wandering rascals are obliged to own something; at times they would prefer to fly away like birds, but they cannot do so without abandoning the means of earning a livelihood. They of necessity possess boxes of tools and instruments of labour, whatever their errant trade may be. Those of whom we speak were dragging their baggage with them, often an encumbrance.
Amid the chaos of departure, the belongings the travelers needed were scattered in disarray at the base of the cliff. Using a plank as a makeshift bridge, they were quickly passing items from the shore to the boat. There were bags of biscuits, a barrel of stock fish, a case of portable soup, three barrels—one of fresh water, one of malt, and one of tar—four or five bottles of ale, an old suitcase secured with straps, trunks, boxes, and a ball of tow for torches and signals. This was their cargo. These rugged individuals had suitcases that suggested a life on the move. Nomadic wanderers have to own something; sometimes they wish they could just fly away like birds, but they can't do that without giving up their means of making a living. They necessarily carry tools and instruments for whatever trade they might have. The people we’re talking about were dragging their luggage along with them, which often became a burden.
It could not have been easy to bring these movables to the bottom of the cliff. This, however, revealed the intention of a definite departure.
It couldn't have been easy to get these belongings to the bottom of the cliff. However, this showed a clear intention to leave.
No time was lost; there was one continued passing to and fro from the shore to the vessel, and from the vessel to the shore; each one took his share of the work—one carried a bag, another a chest. Those amidst the promiscuous company who were possibly or probably women worked like the rest. They overloaded the child.
No time was wasted; there was a constant flow of people moving back and forth between the shore and the ship, and from the ship to the shore; everyone contributed to the task—one person carried a bag, another carried a chest. The individuals in the mixed crowd who might have been women worked just like everyone else. They burdened the child.
It was doubtful if the child's father or mother were in the group; no sign of life was vouchsafed him. They made him work, nothing more. He appeared not a child in a family, but a slave in a tribe. He waited on every one, and no one spoke to him.
It was unclear whether the child's father or mother were in the group; there was no sign of life from them. They made him work, and that was all. He seemed not like a child in a family, but a slave in a tribe. He served everyone, and no one spoke to him.
However, he made haste, and, like the others of this mysterious troop, he seemed to have but one thought—to embark as quickly as possible. Did he know why? probably not: he hurried mechanically because he saw the others hurry.
However, he rushed, and like the others in this mysterious group, he seemed to have just one thought—to get on board as quickly as possible. Did he know why? Probably not: he hurried out of habit because he saw the others rushing.
The hooker was decked. The stowing of the lading in the hold was quickly finished, and the moment to put off arrived. The last case had been carried over the gangway, and nothing was left to embark but the men. The two objects among the group who seemed women were already on board; six, the child among them, were still on the low platform of the cliff. A movement of departure was made in the vessel: the captain seized the helm, a sailor took up an axe to cut the hawser—to cut is an evidence of haste; when there is time it is unknotted.
The ship was ready. Loading the cargo in the hold was done quickly, and it was time to set off. The last crate had been carried over the gangway, and only the crew was left to board. Among the group, the two who looked like women were already on board; six others, including a child, were still on the low platform of the cliff. The ship started to move: the captain grabbed the wheel, and a sailor picked up an axe to cut the rope—cutting shows urgency; when there's time, it’s untied instead.
"Andamos," said, in a low voice, he who appeared chief of the six, and who had the spangles on his tatters. The child rushed towards the plank in order to be the first to pass. As he placed his foot on it, two of the men hurried by, at the risk of throwing him into the water, got in before him, and passed on; the fourth drove him back with his fist and followed the third; the fifth, who was the chief, bounded into rather than entered the vessel, and, as he jumped in, kicked back the plank, which fell into the sea, a stroke of the hatchet cut the moorings, the helm was put up, the vessel left the shore, and the child remained on land.
“Let’s go,” said, in a low voice, the one who seemed to be the leader of the six, adorned with the shiny bits on his ragged clothes. The child rushed toward the plank to be the first to cross. As he stepped onto it, two of the men quickly passed by, nearly knocking him into the water, and moved ahead of him; the fourth pushed him back with his fist and followed the third; the fifth, who was the leader, jumped rather than stepped into the boat, and as he landed, he kicked the plank away, which fell into the sea, a swing of the axe cut the moorings, the helm was turned, the boat pulled away from the shore, and the child was left standing on land.
CHAPTER III.
ALONE.
The child remained motionless on the rock, with his eyes fixed—no calling out, no appeal. Though this was unexpected by him, he spoke not a word. The same silence reigned in the vessel. No cry from the child to the men—no farewell from the men to the child. There was on both sides a mute acceptance of the widening distance between them. It was like a separation of ghosts on the banks of the Styx. The child, as if nailed to the rock, which the high tide was beginning to bathe, watched the departing bark. It seemed as if he realized his position. What did he realize? Darkness.
The child stayed still on the rock, his eyes fixed—no shouting, no pleas. Although it caught him off guard, he didn't say a word. The same silence filled the boat. No cries from the child to the men—no goodbyes from the men to the child. They both silently accepted the growing distance between them. It felt like the separation of ghosts on the banks of the Styx. The child, as if glued to the rock that the rising tide was starting to wash over, watched the departing boat. It seemed like he understood his situation. What did he understand? Nothing but darkness.
A moment later the hooker gained the neck of the crook and entered it. Against the clear sky the masthead was visible, rising above the split blocks between which the strait wound as between two walls. The truck wandered to the summit of the rocks, and appeared to run into them. Then it was seen no more—all was over—the bark had gained the sea.
A moment later, the hooker caught the neck of the crook and moved in. Against the clear sky, the masthead was visible, rising above the split blocks through which the strait wound like a path between two walls. The truck climbed to the top of the rocks and seemed to disappear into them. Then it was gone—everything was over—the bark had reached the sea.
The child watched its disappearance—he was astounded but dreamy. His stupefaction was complicated by a sense of the dark reality of existence. It seemed as if there were experience in this dawning being. Did he, perchance, already exercise judgment? Experience coming too early constructs, sometimes, in the obscure depths of a child's mind, some dangerous balance—we know not what—in which the poor little soul weighs God.
The child watched it disappear—he was amazed yet dreamy. His shock was mixed with a sense of the harsh reality of life. It felt like there was understanding in this awakening. Did he, perhaps, already have the power to judge? Early experiences sometimes create, in the hidden corners of a child's mind, a precarious balance—we don't know what—in which the innocent little soul weighs God.
Feeling himself innocent, he yielded. There was no complaint—the irreproachable does not reproach.
Feeling innocent, he gave in. There was no complaint—those who are blameless do not blame.
His rough expulsion drew from him no sign; he suffered a sort of internal stiffening. The child did not bow under this sudden blow of fate, which seemed to put an end to his existence ere it had well begun; he received the thunderstroke standing.
His abrupt expulsion didn't evoke any reaction from him; he felt a kind of internal rigidity. The child didn't crumble under this sudden twist of fate, which seemed to cut his life short before it really began; he faced the shock on his feet.
It would have been evident to any one who could have seen his astonishment unmixed with dejection, that in the group which abandoned him there was nothing which loved him, nothing which he loved.
It would have been clear to anyone who saw his astonishment without any sadness that in the group that left him, there was nothing that loved him and nothing that he loved.
Brooding, he forgot the cold. Suddenly the wave wetted his feet—the tide was flowing; a gust passed through his hair—the north wind was rising. He shivered. There came over him, from head to foot, the shudder of awakening.
Brooding, he forgot the cold. Suddenly, the wave splashed against his feet—the tide was coming in; a gust ruffled his hair—the north wind was picking up. He shivered. A wave of awareness washed over him, from head to toe.
He cast his eyes about him.
He looked around.
He was alone.
He was by himself.
Up to this day there had never existed for him any other men than those who were now in the hooker. Those men had just stolen away.
Up until now, there had never been anyone in his life other than the men who were currently in the boat. Those men had just vanished.
Let us add what seems a strange thing to state. Those men, the only ones he knew, were unknown to him.
Let’s add something that might seem odd to say. Those men, the only ones he knew, were actually unknown to him.
He could not have said who they were. His childhood had been passed among them, without his having the consciousness of being of them. He was in juxtaposition to them, nothing more.
He couldn't have said who they were. He had spent his childhood around them, without realizing he belonged to them. He was next to them, nothing more.
He had just been—forgotten—by them.
He had just been forgotten by them.
He had no money about him, no shoes to his feet, scarcely a garment to his body, not even a piece of bread in his pocket.
He had no money on him, no shoes on his feet, barely any clothes on his body, not even a piece of bread in his pocket.
It was winter—it was night. It would be necessary to walk several leagues before a human habitation could be reached.
It was winter—it was night. It would take a while to walk several miles before reaching any signs of human life.
He did not know where he was.
He didn’t know where he was.
He knew nothing, unless it was that those who had come with him to the brink of the sea had gone away without him.
He knew nothing, except that those who had come with him to the edge of the sea had left without him.
He felt himself put outside the pale of life.
He felt like he was excluded from life.
He felt that man failed him.
He felt that humanity had let him down.
He was ten years old.
He was 10 years old.
The child was in a desert, between depths where he saw the night rising and depths where he heard the waves murmur.
The child was in a desert, caught between the darkness of the night rising and the quiet sounds of the waves.
He stretched his little thin arms and yawned.
He stretched his small, skinny arms and yawned.
Then suddenly, as one who makes up his mind, bold, and throwing off his numbness—with the agility of a squirrel, or perhaps of an acrobat—he turned his back on the creek, and set himself to climb up the cliff. He escaladed the path, left it, returned to it, quick and venturous. He was hurrying landward, just as though he had a destination marked out; nevertheless he was going nowhere.
Then suddenly, like someone who has made up their mind, confident and shaking off his numbness—with the agility of a squirrel or maybe an acrobat—he turned away from the creek and set out to climb up the cliff. He climbed the path, left it, came back to it, quick and adventurous. He was rushing toward the land, as if he had a specific destination in mind; still, he was heading nowhere.
He hastened without an object—a fugitive before Fate.
He rushed forward without a purpose—on the run from destiny.
To climb is the function of a man; to clamber is that of an animal—he did both. As the slopes of Portland face southward, there was scarcely any snow on the path; the intensity of cold had, however, frozen that snow into dust very troublesome to the walker. The child freed himself of it. His man's jacket, which was too big for him, complicated matters, and got in his way. Now and then on an overhanging crag or in a declivity he came upon a little ice, which caused him to slip down. Then, after hanging some moments over the precipice, he would catch hold of a dry branch or projecting stone. Once he came on a vein of slate, which suddenly gave way under him, letting him down with it. Crumbling slate is treacherous. For some seconds the child slid like a tile on a roof; he rolled to the extreme edge of the decline; a tuft of grass which he clutched at the right moment saved him. He was as mute in sight of the abyss as he had been in sight of the men; he gathered himself up and re-ascended silently. The slope was steep; so he had to tack in ascending. The precipice grew in the darkness; the vertical rock had no ending. It receded before the child in the distance of its height. As the child ascended, so seemed the summit to ascend. While he clambered he looked up at the dark entablature placed like a barrier between heaven and him. At last he reached the top.
To climb is what a person does; to scramble is what an animal does—he did both. Since the slopes of Portland face south, there was barely any snow on the path; however, the cold had frozen the little snow that remained into a dust that was a hassle for anyone walking. The child managed to shake it off. His man's jacket, which was too big for him, complicated things and got in his way. Occasionally, on an overhanging rock or in a low spot, he encountered a bit of ice that made him slip. After hanging over the edge for a moment, he would grab onto a dry branch or a jutting stone. Once, he stumbled upon a layer of slate that suddenly gave way beneath him, causing him to fall with it. Crumbling slate is tricky. For a few seconds, the child slid like a tile off a roof; he tumbled to the very edge of the slope, and a tuft of grass he grabbed at the right moment saved him. He was as silent when facing the drop as he had been when he saw the men; he picked himself up and quietly climbed back up. The slope was steep, so he had to zigzag as he went up. The cliff loomed larger in the darkness; the vertical rock seemed endless. It faded into the distance the higher the child went. As he climbed, it felt like the top was rising too. While he scrambled, he looked up at the dark ledge that stood like a barrier between him and the sky. Finally, he reached the top.
He jumped on the level ground, or rather landed, for he rose from the precipice.
He jumped on the flat ground, or rather landed, since he came down from the cliff.
Scarcely was he on the cliff when he began to shiver. He felt in his face that bite of the night, the north wind. The bitter north-wester was blowing; he tightened his rough sailor's jacket about his chest.
Scarcely had he reached the cliff when he started to shiver. He could feel the night’s chill and the north wind on his face. The biting northwester was blowing; he pulled his rugged sailor's jacket tighter around his chest.
It was a good coat, called in ship language a sou-'wester, because that sort of stuff allows little of the south-westerly rain to penetrate.
It was a nice coat, known in maritime terms as a sou'-wester, because that kind of material lets very little of the south-westerly rain get through.
The child, having gained the tableland, stopped, placed his feet firmly on the frozen ground, and looked about him.
The child reached the plateau, stopped, planted his feet firmly on the frozen ground, and looked around him.
Behind him was the sea; in front the land; above, the sky—but a sky without stars; an opaque mist masked the zenith.
Behind him was the sea; in front, the land; above, the sky—but a sky without stars; a thick fog covered the top.
On reaching the summit of the rocky wall he found himself turned towards the land, and looked at it attentively. It lay before him as far as the sky-line, flat, frozen, and covered with snow. Some tufts of heather shivered in the wind. No roads were visible—nothing, not even a shepherd's cot. Here and there pale spiral vortices might be seen, which were whirls of fine snow, snatched from the ground by the wind and blown away. Successive undulations of ground, become suddenly misty, rolled themselves into the horizon. The great dull plains were lost under the white fog. Deep silence. It spread like infinity, and was hush as the tomb.
Upon reaching the top of the rocky wall, he found himself facing the land and stared at it intently. It stretched out before him as far as the horizon, flat, frozen, and covered in snow. A few tufts of heather shivered in the wind. No roads were in sight—nothing at all, not even a shepherd's cottage. Here and there, he could see pale spirals of fine snow swirling in the air, picked up from the ground by the wind and blown away. Successive waves of land faded into mist as they rolled toward the horizon. The vast, dull plains vanished beneath the white fog. It was eerily silent. The silence stretched out like infinity and was as quiet as a tomb.
The child turned again towards the sea.
The child turned back toward the sea.
The sea, like the land, was white—the one with snow, the other with foam. There is nothing so melancholy as the light produced by this double whiteness.
The sea, like the land, was white—the one covered in snow, the other in foam. There’s nothing as sad as the light created by this double whiteness.
Certain lights of night are very clearly cut in their hardness; the sea was like steel, the cliff like ebony. From the height where the child was the bay of Portland appeared almost like a geographical map, pale, in a semicircle of hills. There was something dreamlike in that nocturnal landscape—a wan disc belted by a dark crescent. The moon sometimes has a similar appearance. From cape to cape, along the whole coast, not a single spark indicating a hearth with a fire, not a lighted window, not an inhabited house, was to be seen. As in heaven, so on earth—no light. Not a lamp below, not a star above. Here and there came sudden risings in the great expanse of waters in the gulf, as the wind disarranged and wrinkled the vast sheet. The hooker was still visible in the bay as she fled.
Certain night lights are very distinct in their sharpness; the sea looked like steel, the cliff like ebony. From the height where the child was, the bay of Portland appeared almost like a geographical map, pale, in a semicircle of hills. There was something dreamlike about that nighttime landscape—a pale disc surrounded by a dark crescent. The moon sometimes has a similar look. From cape to cape, along the entire coast, there wasn't a single spark indicating a fire, not a lit window, not a single house in sight. As in heaven, so on earth—no light. Not a lamp below, not a star above. Here and there, the waters in the gulf surged suddenly as the wind disturbed and wrinkled the vast surface. The fishing boat was still visible in the bay as it sped away.
It was a black triangle gliding over the livid waters.
It was a black triangle moving smoothly over the pale waters.
Far away the waste of waters stirred confusedly in the ominous clear-obscure of immensity. The Matutina was making quick way. She seemed to grow smaller every minute. Nothing appears so rapid as the flight of a vessel melting into the distance of ocean.
Far away, the vast waters stirred chaotically in the eerie twilight of endlessness. The Matutina was moving swiftly. It seemed to shrink smaller with each passing minute. Nothing seems as quick as a ship disappearing into the distance of the ocean.
Suddenly she lit the lantern at her prow. Probably the darkness falling round her made those on board uneasy, and the pilot thought it necessary to throw light on the waves. This luminous point, a spark seen from afar, clung like a corpse light to the high and long black form. You would have said it was a shroud raised up and moving in the middle of the sea, under which some one wandered with a star in his hand.
Suddenly, she lit the lantern at the front. The darkness settling around her likely made those on board feel uneasy, and the pilot thought it was important to shine a light on the waves. This glowing spot, a flicker visible from a distance, clung like an eerie light to the tall, dark shape. It looked like a shroud being lifted and drifting in the middle of the sea, under which someone wandered holding a star.
A storm threatened in the air; the child took no account of it, but a sailor would have trembled. It was that moment of preliminary anxiety when it seems as though the elements are changing into persons, and one is about to witness the mysterious transfiguration of the wind into the wind-god. The sea becomes Ocean: its power reveals itself as Will: that which one takes for a thing is a soul. It will become visible; hence the terror. The soul of man fears to be thus confronted with the soul of nature.
A storm was brewing in the air; the child didn’t notice, but a sailor would have been scared. It was that moment of nervous anticipation when it feels like the elements are transforming into beings, and you’re about to see the mysterious change of the wind into a wind-god. The sea turns into Ocean: its strength shows itself as Will: what you think of as an object is actually a soul. It will become clear; that’s why there’s fear. The human soul is afraid to be faced with the soul of nature.
Chaos was about to appear. The wind rolling back the fog, and making a stage of the clouds behind, set the scene for that fearful drama of wave and winter which is called a Snowstorm. Vessels putting back hove in sight. For some minutes past the roads had no longer been deserted. Every instant troubled barks hastening towards an anchorage appeared from behind the capes; some were doubling Portland Bill, the others St. Alban's Head. From afar ships were running in. It was a race for refuge. Southwards the darkness thickened, and clouds, full of night, bordered on the sea. The weight of the tempest hanging overhead made a dreary lull on the waves. It certainly was no time to sail. Yet the hooker had sailed.
Chaos was about to unfold. The wind was pushing back the fog and creating a backdrop of clouds, setting the scene for that terrifying play of waves and winter known as a Snowstorm. Boats trying to return came into view. For the past few minutes, the waters were no longer empty. Every moment, anxious vessels trying to find shelter appeared from behind the cliffs; some were rounding Portland Bill, while others were circling St. Alban's Head. Ships were making their way in from a distance. It was a race for safety. To the south, the darkness grew thicker, and clouds, heavy with night, loomed over the sea. The oppressive weight of the storm above created a gloomy calm on the waves. It definitely wasn’t the right time to be sailing. Yet the hooker had set sail.
She had made the south of the cape. She was already out of the gulf, and in the open sea. Suddenly there came a gust of wind. The Matutina, which was still clearly in sight, made all sail, as if resolved to profit by the hurricane. It was the nor'-wester, a wind sullen and angry. Its weight was felt instantly. The hooker, caught broadside on, staggered, but recovering held her course to sea. This indicated a flight rather than a voyage, less fear of sea than of land, and greater heed of pursuit from man than from wind.
She had reached the south side of the cape. She was already past the gulf and into the open sea. Suddenly, a gust of wind hit. The Matutina, still clearly visible, unfurled all its sails, as if determined to take advantage of the storm. It was the nor'-wester, a heavy and furious wind. Its force was felt immediately. The hooker, struck from the side, lurched but quickly steadied and continued its course to sea. This showed a desire to escape rather than to sail, suggesting more fear of the land than of the sea, and greater concern about being chased by people than by the wind.
The hooker, passing through every degree of diminution, sank into the horizon. The little star which she carried into shadow paled. More and more the hooker became amalgamated with the night, then disappeared.
The boat, going through every stage of fading, sank into the horizon. The small star it carried into the darkness grew dimmer. More and more, the boat mixed in with the night and then vanished.
This time for good and all.
This time for real.
At least the child seemed to understand it so: he ceased to look at the sea. His eyes turned back upon the plains, the wastes, the hills, towards the space where it might not be impossible to meet something living.
At least the child seemed to see it this way: he stopped looking at the sea. His gaze shifted back to the plains, the barren land, the hills, towards the area where it might not be too far-fetched to encounter something alive.
Into this unknown he set out.
Into this unknown, he set out.
CHAPTER IV.
QUESTIONS.
What kind of band was it which had left the child behind in its flight?
What kind of group had it been that left the child behind in its escape?
Were those fugitives Comprachicos?
Were those fugitives Comprachicos?
We have already seen the account of the measures taken by William III. and passed by Parliament against the malefactors, male and female, called Comprachicos, otherwise Comprapequeños, otherwise Cheylas.
We have already seen the account of the actions taken by William III and passed by Parliament against the criminals, both male and female, known as Comprachicos, also called Comprapequeños, or Cheylas.
There are laws which disperse. The law acting against the Comprachicos determined, not only the Comprachicos, but vagabonds of all sorts, on a general flight.
There are laws that push people apart. The law targeting the Comprachicos led not only the Comprachicos but also all kinds of vagrants to flee.
It was the devil take the hindmost. The greater number of the Comprachicos returned to Spain—many of them, as we have said, being Basques.
It was every person for themselves. The majority of the Comprachicos went back to Spain—many of them, as mentioned earlier, were Basques.
The law for the protection of children had at first this strange result: it caused many children to be abandoned.
The law meant to protect children initially had this strange outcome: it led to many children being abandoned.
The immediate effect of the penal statute was to produce a crowd of children, found or rather lost. Nothing is easier to understand. Every wandering gang containing a child was liable to suspicion. The mere fact of the child's presence was in itself a denunciation.
The instant impact of the law was to create a bunch of kids, found or, rather, lost. It's easy to see why. Any group of kids hanging out was automatically looked at with suspicion. Just the presence of a child was enough to raise alarms.
"They are very likely Comprachicos." Such was the first idea of the sheriff, of the bailiff, of the constable. Hence arrest and inquiry. People simply unfortunate, reduced to wander and to beg, were seized with a terror of being taken for Comprachicos although they were nothing of the kind. But the weak have grave misgivings of possible errors in justice. Besides, these vagabond families are very easily scared. The accusation against the Comprachicos was that they traded in other people's children. But the promiscuousness caused by poverty and indigence is such that at times it might have been difficult for a father and mother to prove a child their own.
"They are probably Comprachicos." That was the initial thought of the sheriff, the bailiff, and the constable. This led to arrests and investigations. Unfortunate people who were just wandering and begging were gripped by the fear of being mistaken for Comprachicos, even though they were nothing of the sort. However, those in a vulnerable position often worry about potential miscarriages of justice. Plus, these roaming families are easily frightened. The accusation against the Comprachicos was that they dealt in other people's children. But the chaos caused by poverty and hardship made it so that sometimes it was tough for a mother and father to prove a child was truly theirs.
How came you by this child? how were they to prove that they held it from God? The child became a peril—they got rid of it. To fly unencumbered was easier; the parents resolved to lose it—now in a wood, now on a strand, now down a well.
How did you end up with this child? How were they supposed to prove that it was a gift from God? The child became a danger—they got rid of it. It was easier to escape without the burden; the parents decided to abandon it—first in a forest, then on a beach, then down a well.
Children were found drowned in cisterns.
Children were discovered drowned in tanks.
Let us add that, in imitation of England, all Europe henceforth hunted down the Comprachicos. The impulse of pursuit was given. There is nothing like belling the cat. From this time forward the desire to seize them made rivalry and emulation among the police of all countries, and the alguazil was not less keenly watchful than the constable.
Let’s mention that, following England’s example, all of Europe started hunting down the Comprachicos. The chase was on. There’s nothing quite like putting a bell on the cat. From that point on, the eagerness to capture them sparked competition and ambition among the police of every country, and the local officer was just as alert as the constable.
One could still read, twenty-three years ago, on a stone of the gate of Otero, an untranslatable inscription—the words of the code outraging propriety. In it, however, the shade of difference which existed between the buyers and the stealers of children is very strongly marked. Here is part of the inscription in somewhat rough Castillan, Aqui quedan las orejas de los Comprachicos, y las bolsas de los robaniños, mientras que se van ellos al trabajo de mar. You see the confiscation of ears, etc., did not prevent the owners going to the galleys. Whence followed a general rout among all vagabonds. They started frightened; they arrived trembling. On every shore in Europe their furtive advent was watched. Impossible for such a band to embark with a child, since to disembark with one was dangerous.
One could still read, twenty-three years ago, on a stone at the gate of Otero, an untranslatable inscription—the words of the code shocking to common decency. However, it clearly highlights the difference between those who bought children and those who stole them. Here’s part of the inscription in somewhat rough Castilian, Aqui quedan las orejas de los Comprachicos, y las bolsas de los robaniños, mientras que se van ellos al trabajo de mar. You see, the confiscation of ears, etc., did not stop the owners from going to the galleys. This led to a general panic among all the vagabonds. They took off scared; they arrived shaking. Their stealthy arrival was watched at every shoreline in Europe. It was impossible for such a group to embark with a child, since landing with one was risky.
To lose the child was much simpler of accomplishment.
Losing the child was much easier to achieve.
And this child, of whom we have caught a glimpse in the shadow of the solitudes of Portland, by whom had he been cast away?
And this child, whom we’ve glimpsed in the quiet solitude of Portland, who had abandoned him?
To all appearance by Comprachicos.
To all appearances by Comprachicos.
CHAPTER V.
THE TREE OF HUMAN INVENTION.
It might be about seven o'clock in the evening. The wind was now diminishing—a sign, however, of a violent recurrence impending. The child was on the table-land at the extreme south point of Portland.
It might be around seven in the evening. The wind was dying down now—a sign, though, that a violent return was approaching. The child was on the plateau at the far southern tip of Portland.
Portland is a peninsula; but the child did not know what a peninsula is, and was ignorant even of the name of Portland. He knew but one thing, which is, that one can walk until one drops down. An idea is a guide; he had no idea. They had brought him there and left him there. They and there—these two enigmas represented his doom. They were humankind. There was the universe. For him in all creation there was absolutely no other basis to rest on but the little piece of ground where he placed his heel, ground hard and cold to his naked feet. In the great twilight world, open on all sides, what was there for the child? Nothing.
Portland is a peninsula; but the child didn’t know what a peninsula was and didn’t even know the name Portland. He only knew one thing: that you can walk until you collapse. An idea is a guide; he had no idea. They had brought him there and left him there. They and there—these two mysteries represented his fate. They were humanity. There was the universe. For him, in all of creation, there was absolutely nothing else to rely on but the small patch of ground where he stood, hard and cold beneath his bare feet. In the vast twilight world, open all around, what was there for the child? Nothing.
He walked towards this Nothing. Around him was the vastness of human desertion.
He walked toward this Nothing. Around him was the emptiness of human abandonment.
He crossed the first plateau diagonally, then a second, then a third. At the extremity of each plateau the child came upon a break in the ground. The slope was sometimes steep, but always short; the high, bare plains of Portland resemble great flagstones overlapping each other. The south side seems to enter under the protruding slab, the north side rises over the next one; these made ascents, which the child stepped over nimbly. From time to time he stopped, and seemed to hold counsel with himself. The night was becoming very dark. His radius of sight was contracting. He now only saw a few steps before him.
He crossed the first plateau diagonally, then a second, then a third. At the edge of each plateau, the child encountered a dip in the ground. The slope was sometimes steep, but always brief; the high, bare plains of Portland looked like large flagstones overlapping each other. The south side seemed to slip under the jutting slab, while the north side rose over the next one; these created ascents that the child hopped over easily. Occasionally, he paused and appeared to be deep in thought. The night was getting really dark. His visibility was shrinking. He could now only see a few steps ahead of him.
All of a sudden he stopped, listened for an instant, and with an almost imperceptible nod of satisfaction turned quickly and directed his steps towards an eminence of moderate height, which he dimly perceived on his right, at the point of the plain nearest the cliff. There was on the eminence a shape which in the mist looked like a tree. The child had just heard a noise in this direction, which was the noise neither of the wind nor of the sea, nor was it the cry of animals. He thought that some one was there, and in a few strides he was at the foot of the hillock.
Suddenly, he stopped, listened for a moment, and with a nearly imperceptible nod of satisfaction, turned quickly and made his way toward a low hill that he vaguely saw to his right, at the edge of the plain closest to the cliff. On the hill, there was a shape that looked like a tree in the mist. The child had just heard a sound coming from that direction, which wasn't the wind, the sea, or the cries of animals. He thought someone might be there, and in just a few strides, he was at the base of the hill.
In truth, some one was there.
Actually, someone was there.
That which had been indistinct on the top of the eminence was now visible. It was something like a great arm thrust straight out of the ground; at the upper extremity of the arm a sort of forefinger, supported from beneath, by the thumb, pointed out horizontally; the arm, the thumb, and the forefinger drew a square against the sky. At the point of juncture of this peculiar finger and this peculiar thumb there was a line, from which hung something black and shapeless. The line moving in the wind sounded like a chain. This was the noise the child had heard. Seen closely the line was that which the noise indicated, a chain—a single chain cable.
What had been unclear at the top of the hill was now clear. It looked like a huge arm sticking straight out of the ground; at the end of the arm was a kind of forefinger, supported beneath by the thumb, pointing out horizontally; the arm, thumb, and forefinger created a square against the sky. Where this unusual finger and thumb met, there was a line, from which hung something black and shapeless. The line moved in the wind and sounded like a chain. This was the noise the child had heard. Upon closer inspection, the line was what the noise suggested—a single chain cable.
By that mysterious law of amalgamation which throughout nature causes appearances to exaggerate realities, the place, the hour, the mist, the mournful sea, the cloudy turmoils on the distant horizon, added to the effect of this figure, and made it seem enormous.
By that strange law of blending that makes things seem more intense than they really are, the location, the time, the fog, the gloomy sea, and the swirling clouds on the far horizon all combined to amplify the impact of this figure, making it appear gigantic.
The mass linked to the chain presented the appearance of a scabbard. It was swaddled like a child and long like a man. There was a round thing at its summit, about which the end of the chain was rolled. The scabbard was riven asunder at the lower end, and shreds of flesh hung out between the rents.
The mass attached to the chain looked like a scabbard. It was wrapped up like a child and long like a man. There was a round object at its top, around which the end of the chain was wound. The scabbard was torn apart at the bottom, and strips of flesh were hanging out between the tears.
A feeble breeze stirred the chain, and that which hung to it swayed gently. The passive mass obeyed the vague motions of space. It was an object to inspire indescribable dread. Horror, which disproportions everything, blurred its dimensions while retaining its shape. It was a condensation of darkness, which had a defined form. Night was above and within the spectre; it was a prey of ghastly exaggeration. Twilight and moonrise, stars setting behind the cliff, floating things in space, the clouds, winds from all quarters, had ended by penetrating into the composition of this visible nothing. The species of log hanging in the wind partook of the impersonality diffused far over sea and sky, and the darkness completed this phase of the thing which had once been a man.
A weak breeze stirred the chain, and whatever hung from it swayed gently. The lifeless mass followed the vague movements of the air. It was something that inspired an indescribable fear. Horror, which distorts everything, blurred its dimensions while keeping its shape. It was a concentration of darkness with a defined form. Night surrounded and filled the specter; it was a victim of ghastly exaggeration. Twilight and moonrise, stars setting behind the cliff, floating objects in space, the clouds, and winds from all directions had all merged into this visible nothing. The kind of log hanging in the wind absorbed the impersonal atmosphere that spread over sea and sky, and the darkness completed this phase of the thing that had once been a man.
It was that which is no longer.
It was something that doesn't exist anymore.
To be naught but a remainder! Such a thing is beyond the power of language to express. To exist no more, yet to persist; to be in the abyss, yet out of it; to reappear above death as if indissoluble—there is a certain amount of impossibility mixed with such reality. Thence comes the inexpressible. This being—was it a being? This black witness was a remainder, and an awful remainder—a remainder of what? Of nature first, and then of society. Naught, and yet total.
To be nothing but a leftover! That’s something words can hardly capture. To not exist anymore, yet still linger; to be in the void, yet not completely lost; to rise above death as if unable to break away—there’s a certain impossibility wrapped up in that reality. That’s where the indescribable comes from. This existence—was it really an existence? This dark presence was a leftover, and a terrifying leftover—a leftover of what? First of nature, and then of society. Nothing, yet everything.
The lawless inclemency of the weather held it at its will; the deep oblivion of solitude environed it; it was given up to unknown chances; it was without defence against the darkness, which did with it what it willed. It was for ever the patient; it submitted; the hurricane (that ghastly conflict of winds) was upon it.
The brutal unpredictability of the weather controlled it completely; the deep isolation surrounded it; it was at the mercy of unknown risks; it had no protection against the darkness, which did whatever it wanted with it. It was always the victim; it gave in; the hurricane (that terrifying clash of winds) was upon it.
The spectre was given over to pillage. It underwent the horrible outrage of rotting in the open air; it was an outlaw of the tomb. There was no peace for it even in annihilation: in the summer it fell away into dust, in the winter into mud. Death should be veiled, the grave should have its reserve. Here was neither veil nor reserve, but cynically avowed putrefaction. It is effrontery in death to display its work; it offends all the calmness of shadow when it does its task outside its laboratory, the grave.
The specter was left open to looting. It had to endure the terrible humiliation of decaying in the open air; it was an outlaw of the grave. There was no peace for it even in death: in the summer, it crumbled into dust, and in the winter, it turned to mud. Death should be hidden, and the grave should maintain some dignity. But here there was neither concealment nor dignity, just an unapologetic display of decomposition. It’s disrespectful for death to flaunt its work; it disrupts the calmness of shadow when it goes about its business outside its proper place, the grave.
This dead thing had been stripped. To strip one already stripped—relentless act! His marrow was no longer in his bones; his entrails were no longer in his body; his voice no longer in his throat. A corpse is a pocket which death turns inside out and empties. If he ever had a Me, where was the Me? There still, perchance, and this was fearful to think of. Something wandering about something in chains—can one imagine a more mournful lineament in the darkness?
This dead thing had been stripped. To strip something that's already stripped—what a relentless act! His marrow was gone from his bones; his insides were gone from his body; his voice was gone from his throat. A corpse is like a pocket that death turns inside out and empties. If he ever had a self, where was that self? Perhaps still there, and that's a terrifying thought. Something wandering, something in chains—can you imagine a more mournful sight in the darkness?
Realities exist here below which serve as issues to the unknown, which seem to facilitate the egress of speculation, and at which hypothesis snatches. Conjecture has its compelle intrare. In passing by certain places and before certain objects one cannot help stopping—a prey to dreams into the realms of which the mind enters. In the invisible there are dark portals ajar. No one could have met this dead man without meditating.
Realities exist down here that present challenges to the unknown, which seem to encourage speculation and where hypotheses form. Conjecture has its compelle intrare. When passing by certain places and objects, it's impossible not to stop—caught up in dreams as the mind wanders into those realms. In the unseen, there are dark portals slightly open. No one could encounter this dead man without reflecting.
In the vastness of dispersion he was wearing silently away. He had had blood which had been drunk, skin which had been eaten, flesh which had been stolen. Nothing had passed him by without taking somewhat from him. December had borrowed cold of him; midnight, horror; the iron, rust; the plague, miasma; the flowers, perfume. His slow disintegration was a toll paid to all—a toll of the corpse to the storm, to the rain, to the dew, to the reptiles, to the birds. All the dark hands of night had rifled the dead.
In the emptiness of fading away, he was quietly wearing down. He had blood that had been consumed, skin that had been devoured, flesh that had been taken. Nothing had gotten past him without taking a piece of him. December had borrowed his cold; midnight, fear; iron, rust; plague, sickness; flowers, scent. His gradual breakdown was a price paid to everything—a price of the corpse to the storm, the rain, the dew, the reptiles, the birds. All the dark hands of night had gone through the dead.
He was, indeed, an inexpressibly strange tenant, a tenant of the darkness. He was on a plain and on a hill, and he was not. He was palpable, yet vanished. He was a shadow accruing to the night. After the disappearance of day into the vast of silent obscurity, he became in lugubrious accord with all around him. By his mere presence he increased the gloom of the tempest and the calm of stars. The unutterable which is in the desert was condensed in him. Waif of an unknown fate, he commingled with all the wild secrets of the night. There was in his mystery a vague reverberation of all enigmas.
He was truly an incredibly strange tenant, a tenant of darkness. He existed on a plain and a hill, and he didn't. He was tangible, yet vanished. He was a shadow merging with the night. After the day slipped away into the vast silence of obscurity, he became deeply aligned with everything around him. Just by being there, he deepened the gloom of the storm and the calmness of the stars. The unnameable essence of the desert was concentrated within him. Drifted from an unknown fate, he blended with all the wild mysteries of the night. His mystery carried a vague echo of all enigmas.
About him life seemed sinking to its lowest depths. Certainty and confidence appeared to diminish in his environs. The shiver of the brushwood and the grass, a desolate melancholy, an anxiety in which a conscience seemed to lurk, appropriated with tragic force the whole landscape to that black figure suspended by the chain. The presence of a spectre in the horizon is an aggravation of solitude.
About him, life seemed to be hitting rock bottom. Certainty and confidence appeared to fade in his surroundings. The rustle of the brushwood and grass conveyed a deep sadness, an anxiety in which a conscience seemed to linger, tragically claiming the entire landscape around that black figure hanging from the chain. The sight of a figure on the horizon only intensified his loneliness.
He was a Sign. Having unappeasable winds around him, he was implacable. Perpetual shuddering made him terrible. Fearful to say, he seemed to be a centre in space, with something immense leaning on him. Who can tell? Perhaps that equity, half seen and set at defiance, which transcends human justice. There was in his unburied continuance the vengeance of men and his own vengeance. He was a testimony in the twilight and the waste. He was in himself a disquieting substance, since we tremble before the substance which is the ruined habitation of the soul. For dead matter to trouble us, it must once have been tenanted by spirit. He denounced the law of earth to the law of Heaven. Placed there by man, he there awaited God. Above him floated, blended with all the vague distortions of the cloud and the wave, boundless dreams of shadow.
He was a Sign. Surrounded by restless winds, he was relentless. Constant trembling made him terrifying. Strangely, he appeared to be a focal point in space, with something vast leaning on him. Who can say? Maybe it was that elusive fairness, barely visible and defying understanding, which goes beyond human justice. In his unending existence lay the wrath of men and his own revenge. He was a witness in the twilight and the desolation. He embodied a disturbing presence, making us uneasy in front of the remnants that once housed the soul. For lifeless matter to unsettle us, it must have once been occupied by a spirit. He condemned the earthly law in favor of the heavenly law. Placed there by humanity, he now awaited God. Above him swirled, mingled with all the vague distortions of the clouds and the waves, endless dreams of shadows.
Who could tell what sinister mysteries lurked behind this phantom? The illimitable, circumscribed by naught, nor tree, nor roof, nor passer-by, was around the dead man. When the unchangeable broods over us—when Heaven, the abyss, the life, grave, and eternity appear patent—then it is we feel that all is inaccessible, all is forbidden, all is sealed. When infinity opens to us, terrible indeed is the closing of the gate behind.
Who could know what dark mysteries were hidden behind this ghost? The endless space, surrounded by nothing—no trees, no roofs, no one walking by—was around the dead man. When the unchangeable looms over us—when Heaven, the void, life, death, and eternity seem clear—then we feel that everything is out of reach, everything is off-limits, everything is locked away. When infinity reveals itself to us, it is truly frightening when the gate closes behind us.
CHAPTER VI.
STRUGGLE BETWEEN DEATH AND LIFE.
The child was before this thing, dumb, wondering, and with eyes fixed.
The child stood in front of this thing, speechless, curious, and staring intently.
To a man it would have been a gibbet; to the child it was an apparition.
To a man, it would have been a gallows; to the child, it was a ghost.
Where a man would have seen a corpse the child saw a spectre.
Where a man would have seen a dead body, the child saw a ghost.
Besides, he did not understand.
Besides, he didn't understand.
The attractions of the obscure are manifold. There was one on the summit of that hill. The child took a step, then another; he ascended, wishing all the while to descend; and approached, wishing all the while to retreat.
The appeal of the unknown is numerous. There was one at the top of that hill. The child took a step, then another; he climbed up, wanting all the while to go back down; and got closer, wanting all the while to pull away.
Bold, yet trembling, he went close up to survey the spectre.
Bold but shaking, he approached to examine the ghost.
When he got close under the gibbet, he looked up and examined it.
When he got close to the gallows, he looked up and inspected it.
The spectre was tarred; here and there it shone. The child distinguished the face. It was coated over with pitch; and this mask, which appeared viscous and sticky, varied its aspect with the night shadows. The child saw the mouth, which was a hole; the nose, which was a hole; the eyes, which were holes. The body was wrapped, and apparently corded up, in coarse canvas, soaked in naphtha. The canvas was mouldy and torn. A knee protruded through it. A rent disclosed the ribs—partly corpse, partly skeleton. The face was the colour of earth; slugs, wandering over it, had traced across it vague ribbons of silver. The canvas, glued to the bones, showed in reliefs like the robe of a statue. The skull, cracked and fractured, gaped like a rotten fruit. The teeth were still human, for they retained a laugh. The remains of a cry seemed to murmur in the open mouth. There were a few hairs of beard on the cheek. The inclined head had an air of attention.
The ghost was covered in tar; it shone in places. The child recognized the face. It was coated with pitch, and this mask, which looked thick and sticky, changed appearance with the night shadows. The child saw the mouth, which was just a hole; the nose, which was just a hole; the eyes, which were also holes. The body was wrapped and seemingly tied up in rough canvas, soaked in naphtha. The canvas was moldy and torn. A knee stuck out through it. A tear revealed the ribs—partly a corpse, partly a skeleton. The face was the color of dirt; slugs creeping over it had left vague trails of silver. The canvas, stuck to the bones, showed in relief like a statue's robe. The skull, cracked and broken, gaped like rotten fruit. The teeth were still human, as they held onto a hint of a smile. The remnants of a scream seemed to whisper from the open mouth. There were a few beard hairs on the cheek. The tilted head had an expression of attentiveness.
Some repairs had recently been done; the face had been tarred afresh, as well as the ribs and the knee which protruded from the canvas. The feet hung out below.
Some repairs had recently been made; the face had been freshly tarred, as well as the ribs and the knee sticking out from the canvas. The feet hung out below.
Just underneath, in the grass, were two shoes, which snow and rain had rendered shapeless. These shoes had fallen from the dead man.
Just below, in the grass, were two shoes, which snow and rain had twisted into unrecognizable shapes. These shoes had belonged to the deceased man.
The barefooted child looked at the shoes.
The child with no shoes looked at the shoes.
The wind, which had become more and more restless, was now and then interrupted by those pauses which foretell the approach of a storm. For the last few minutes it had altogether ceased to blow. The corpse no longer stirred; the chain was as motionless as a plumb line.
The wind, which had been increasingly turbulent, was occasionally interrupted by those lulls that signal a storm is coming. For the last few minutes, it had completely stopped blowing. The corpse no longer moved; the chain was as still as a plumb line.
Like all newcomers into life, and taking into account the peculiar influences of his fate, the child no doubt felt within him that awakening of ideas characteristic of early years, which endeavours to open the brain, and which resembles the pecking of the young bird in the egg. But all that there was in his little consciousness just then was resolved into stupor. Excess of sensation has the effect of too much oil, and ends by putting out thought. A man would have put himself questions; the child put himself none—he only looked.
Like all newcomers to life, and considering the unique influences of his fate, the child surely felt that awakening of ideas typical of early years, which tries to stimulate the mind, similar to a young bird pecking its way out of the egg. However, everything in his little mind at that moment was reduced to a daze. Too much sensation functions like too much oil, ultimately extinguishing thought. An adult would have questioned himself; the child asked none—he simply watched.
The tar gave the face a wet appearance; drops of pitch, congealed in what had once been the eyes, produced the effect of tears. However, thanks to the pitch, the ravage of death, if not annulled, was visibly slackened and reduced to the least possible decay. That which was before the child was a thing of which care was taken: the man was evidently precious. They had not cared to keep him alive, but they cared to keep him dead.
The tar made the face look shiny; drops of pitch, hardened in what used to be the eyes, created the effect of tears. However, thanks to the pitch, the damage of death, if not completely stopped, was noticeably slowed down and minimized to the least possible decay. What lay before the child was something that had been taken care of: the man was clearly valued. They hadn’t bothered to keep him alive, but they made sure to take care of him in death.
The gibbet was old, worm-eaten, although strong, and had been in use many years.
The gallows was old, rotting, but still sturdy, and had been used for many years.
It was an immemorial custom in England to tar smugglers. They were hanged on the seaboard, coated over with pitch and left swinging. Examples must be made in public, and tarred examples last longest. The tar was mercy: by renewing it they were spared making too many fresh examples. They placed gibbets from point to point along the coast, as nowadays they do beacons. The hanged man did duty as a lantern. After his fashion, he guided his comrades, the smugglers. The smugglers from far out at sea perceived the gibbets. There is one, first warning; another, second warning. It did not stop smuggling; but public order is made up of such things. The fashion lasted in England up to the beginning of this century. In 1822 three men were still to be seen hanging in front of Dover Castle. But, for that matter, the preserving process was employed not only with smugglers. England turned robbers, incendiaries, and murderers to the same account. Jack Painter, who set fire to the government storehouses at Portsmouth, was hanged and tarred in 1776. L'Abbé Coyer, who describes him as Jean le Peintre, saw him again in 1777. Jack Painter was hanging above the ruin he had made, and was re-tarred from time to time. His corpse lasted—I had almost said lived—nearly fourteen years. It was still doing good service in 1788; in 1790, however, they were obliged to replace it by another. The Egyptians used to value the mummy of the king; a plebeian mummy can also, it appears, be of service.
It was an ancient tradition in England to tar smugglers. They were hanged on the coast, covered in pitch, and left to swing. Public examples needed to be made, and tarred bodies lasted the longest. The tar was a mercy: by reapplying it, they avoided the need to create too many new examples. They set up gibbets along the coast like modern-day beacons. The hanged man acted as a warning light. In his own way, he guided his fellow smugglers. Those smugglers far out at sea could see the gibbets. One was the first warning; another was the second warning. It didn’t stop smuggling, but public order is built on such measures. This practice continued in England until the beginning of this century. In 1822, three men could still be seen hanging in front of Dover Castle. However, the preservation process was used for more than just smugglers. England also hung robbers, arsonists, and murderers the same way. Jack Painter, who set fire to government warehouses in Portsmouth, was hanged and tarred in 1776. L'Abbé Coyer, who refers to him as Jean le Peintre, saw him again in 1777. Jack Painter was hanging above the destruction he had caused and was periodically re-tarred. His corpse lasted—I almost said lived—for nearly fourteen years. It was still serving its purpose in 1788; however, in 1790, they had to replace it with another. The Egyptians valued the mummies of their kings; it seems even a common person's mummy can also be useful.
The wind, having great power on the hill, had swept it of all its snow. Herbage reappeared on it, interspersed here and there with a few thistles; the hill was covered by that close short grass which grows by the sea, and causes the tops of cliffs to resemble green cloth. Under the gibbet, on the very spot over which hung the feet of the executed criminal, was a long and thick tuft, uncommon on such poor soil. Corpses, crumbling there for centuries past, accounted for the beauty of the grass. Earth feeds on man.
The wind, strong on the hill, had blown away all the snow. Grass reemerged, dotted here and there with a few thistles; the hill was blanketed in that short, dense grass that grows by the sea and makes the tops of cliffs look like green fabric. Beneath the gallows, right where the feet of the executed criminal had hung, was a thick tuft of grass, unusual for such poor soil. Corpses, decaying there for centuries, explained the richness of the grass. The earth nourishes itself with man.
A dreary fascination held the child; he remained there open-mouthed. He only dropped his head a moment when a nettle, which felt like an insect, stung his leg; then he looked up again—he looked above him at the face which looked down on him. It appeared to regard him the more steadfastly because it had no eyes. It was a comprehensive glance, having an indescribable fixedness in which there were both light and darkness, and which emanated from the skull and teeth, as well as the empty arches of the brow. The whole head of a dead man seems to have vision, and this is awful. No eyeball, yet we feel that we are looked at. A horror of worms.
A gloomy fascination held the child; he stood there, mouth agape. He only lowered his head for a moment when a nettle, which felt like an insect, stung his leg; then he looked up again—he stared at the face that loomed above him. It seemed to observe him even more intently because it lacked eyes. It had a profound gaze, with an indescribable intensity that contained both light and darkness, emanating from the skull and teeth, as well as the hollow spaces of the brow. The entire head of a dead man seems to have vision, and it's terrifying. No eyeball, yet we sense that we are being watched. A dread of worms.
Little by little the child himself was becoming an object of terror. He no longer moved. Torpor was coming over him. He did not perceive that he was losing consciousness—he was becoming benumbed and lifeless. Winter was silently delivering him over to night. There is something of the traitor in winter. The child was all but a statue. The coldness of stone was penetrating his bones; darkness, that reptile, was crawling over him. The drowsiness resulting from snow creeps over a man like a dim tide. The child was being slowly invaded by a stagnation resembling that of the corpse. He was falling asleep.
Little by little, the child was becoming a source of fear. He had stopped moving. A sluggishness was taking hold of him. He didn’t realize he was losing consciousness—he was becoming numb and lifeless. Winter was quietly surrendering him to the night. There’s something traitorous about winter. The child was nearly a statue. The cold was seeping into his bones; darkness, like a snake, was crawling over him. The drowsiness from the snow was washing over him like a faint tide. The child was being slowly overwhelmed by a stillness that resembled that of a corpse. He was falling asleep.
On the hand of sleep is the finger of death. The child felt himself seized by that hand. He was on the point of falling under the gibbet. He no longer knew whether he was standing upright.
On the hand of sleep is the finger of death. The child felt himself grabbed by that hand. He was about to fall under the gallows. He no longer knew if he was standing upright.
The end always impending, no transition between to be and not to be, the return into the crucible, the slip possible every minute—such is the precipice which is Creation.
The end always looming, no transition between being and not being, the return to the furnace, the possibility of slipping each minute—this is the edge that is Creation.
Another instant, the child and the dead, life in sketch and life in ruin, would be confounded in the same obliteration.
Another moment, the child and the dead, life in a sketch and life in ruins, would be tangled together in the same erasure.
The spectre appeared to understand, and not to wish it. Of a sudden it stirred. One would have said it was warning the child. It was the wind beginning to blow again. Nothing stranger than this dead man in movement.
The ghost seemed to understand, and it didn’t want to. Suddenly, it stirred. It looked like it was warning the child. It was the wind starting to blow again. There’s nothing stranger than this dead man moving.
The corpse at the end of the chain, pushed by the invisible gust, took an oblique attitude; rose to the left, then fell back, reascended to the right, and fell and rose with slow and mournful precision. A weird game of see-saw. It seemed as though one saw in the darkness the pendulum of the clock of Eternity.
The corpse at the end of the chain, pushed by an unseen breeze, tilted at an angle; it rose to the left, then fell back, climbed back up to the right, and dropped and rose with slow, mournful accuracy. It was a strange game of see-saw. It felt like you could see in the darkness the pendulum of the clock of Eternity.
This continued for some time. The child felt himself waking up at the sight of the dead; through his increasing numbness he experienced a distinct sense of fear.
This went on for a while. The child felt himself coming to at the sight of the dead; through his growing numbness, he experienced a clear sense of fear.
The chain at every oscillation made a grinding sound, with hideous regularity. It appeared to take breath, and then to resume. This grinding was like the cry of a grasshopper.
The chain made a grinding noise with every movement, consistently and unpleasantly. It seemed to pause for a moment, then continue. This grinding sounded like the cry of a grasshopper.
An approaching squall is heralded by sudden gusts of wind. All at once the breeze increased into a gale. The corpse emphasized its dismal oscillations. It no longer swung, it tossed; the chain, which had been grinding, now shrieked. It appeared that its shriek was heard. If it was an appeal, it was obeyed. From the depths of the horizon came the sound of a rushing noise.
An approaching storm is announced by sudden bursts of wind. Suddenly, the breeze turned into a strong gale. The body highlighted its grim movements. It wasn’t swinging anymore; it was thrashing; the chain, which had been creaking, now screamed. It seemed like its scream was heard. If it was a cry for help, it was answered. From far away on the horizon came the sound of something rushing.
It was the noise of wings.
It was the sound of wings.
An incident occurred, a stormy incident, peculiar to graveyards and solitudes. It was the arrival of a flight of ravens. Black flying specks pricked the clouds, pierced through the mist, increased in size, came near, amalgamated, thickened, hastening towards the hill, uttering cries. It was like the approach of a Legion. The winged vermin of the darkness alighted on the gibbet; the child, scared, drew back.
An event took place, a dramatic one that seemed suited to graveyards and lonely places. A swarm of ravens arrived. Black specks in the sky broke through the clouds and mist, growing larger as they came closer, gathering together and thickening as they rushed toward the hill, making loud cries. It was like the arrival of an army. The dark-winged creatures settled on the gallows; the child, frightened, stepped back.
Swarms obey words of command: the birds crowded on the gibbet; not one was on the corpse. They were talking among themselves. The croaking was frightful. The howl, the whistle and the roar, are signs of life; the croak is a satisfied acceptance of putrefaction. In it you can fancy you hear the tomb breaking silence. The croak is night-like in itself.
Swarms follow commands: the birds gathered on the gallows; not a single one was on the corpse. They were chatting with each other. The croaking was terrifying. The howl, the whistle, and the roar are signs of life; the croak reflects a grim acceptance of decay. In it, you can almost hear the grave breaking its silence. The croak has a dark quality all its own.
The child was frozen even more by terror than by cold.
The child was frozen more by fear than by the cold.
Then the ravens held silence. One of them perched on the skeleton. This was a signal: they all precipitated themselves upon it. There was a cloud of wings, then all their feathers closed up, and the hanged man disappeared under a swarm of black blisters struggling in the obscurity. Just then the corpse moved. Was it the corpse? Was it the wind? It made a frightful bound. The hurricane, which was increasing, came to its aid. The phantom fell into convulsions.
Then the ravens went quiet. One of them landed on the skeleton. This was a signal: they all swooped down on it. There was a flurry of wings, then their feathers closed up, and the hanged man vanished beneath a swarm of black blisters writhing in the darkness. Just then the corpse twitched. Was it really the corpse? Was it the wind? It made a terrifying leap. The growing hurricane rushed to help it. The phantom began to convulse.
The squall, already blowing with full lungs, laid hold of it, and moved it about in all directions.
The squall, already blowing hard, grabbed it and tossed it around in every direction.
It became horrible; it began to struggle. An awful puppet, with a gibbet chain for a string. Some humorist of night must have seized the string and been playing with the mummy. It turned and leapt as if it would fain dislocate itself; the birds, frightened, flew off. It was like an explosion of all those unclean creatures. Then they returned, and a struggle began.
It turned terrifying; it started to fight back. A ghastly puppet, with a gallows chain for a string. Some nighttime joker must have taken hold of the string and was messing with the corpse. It twisted and jumped as if trying to break itself apart; the birds, scared, took off. It was like a burst of all those filthy creatures. Then they came back, and a fight started.
The dead man seemed possessed with hideous vitality. The winds raised him as though they meant to carry him away. He seemed struggling and making efforts to escape, but his iron collar held him back. The birds adapted themselves to all his movements, retreating, then striking again, scared but desperate. On one side a strange flight was attempted, on the other the pursuit of a chained man. The corpse, impelled by every spasm of the wind, had shocks, starts, fits of rage: it went, it came, it rose, it fell, driving back the scattered swarm. The dead man was a club, the swarms were dust. The fierce, assailing flock would not leave their hold, and grew stubborn; the man, as if maddened by the cluster of beaks, redoubled his blind chastisement of space. It was like the blows of a stone held in a sling. At times the corpse was covered by talons and wings; then it was free. There were disappearances of the horde, then sudden furious returns—a frightful torment continuing after life was past. The birds seemed frenzied. The air-holes of hell must surely give passage to such swarms. Thrusting of claws, thrusting of beaks, croakings, rendings of shreds no longer flesh, creakings of the gibbet, shudderings of the skeleton, jingling of the chain, the voices of the storm and tumult—what conflict more fearful? A hobgoblin warring with devils! A combat with a spectre!
The dead man seemed filled with a terrifying energy. The winds lifted him as if they wanted to carry him away. He looked like he was struggling and trying to escape, but his iron collar held him back. The birds adjusted to all his movements, retreating and then attacking again, scared yet desperate. On one side, a strange flight was attempted, and on the other, there was the pursuit of a chained man. The corpse, pushed by every gust of wind, experienced shocks, starts, and fits of rage: it moved forward, it pulled back, it rose, it fell, pushing away the scattered swarm. The dead man was a club, the swarms were dust. The fierce, attacking flock wouldn’t let go and grew stubborn; the man, as if driven mad by the crowd of beaks, intensified his blind assault on the space around him. It was like the strikes of a stone flung in a sling. At times, the corpse was covered in talons and wings; then it was free. There were moments when the horde disappeared, followed by sudden wild returns—a horrifying torment continuing even after death. The birds seemed frenzied. The air-holes of hell must surely allow such swarms to pass. Claws thrusting, beaks jabbing, croaking, tearing at remnants no longer flesh, the creaking of the gallows, shuddering of the skeleton, rattling of the chain, the voices of the storm and chaos—what conflict could be more terrifying? A goblin battling with devils! A fight with a ghost!
At times the storm redoubling its violence, the hanged man revolved on his own pivot, turning every way at once towards the swarm, as if he wished to run after the birds; his teeth seemed to try and bite them. The wind was for him, the chain against him. It was as if black deities were mixing themselves up in the fray. The hurricane was in the battle. As the dead man turned himself about, the flock of birds wound round him spirally. It was a whirl in a whirlwind. A great roar was heard from below. It was the sea.
At times, the storm intensified, and the hanged man spun on his own axis, turning in every direction toward the flock, as if he wanted to chase the birds; his teeth seemed to reach out to bite them. The wind was in his favor, but the chain held him back. It felt like dark deities were getting involved in the chaos. The hurricane was part of the fight. As the dead man rotated, the flock of birds circled around him in a spiral. It was a whirl within a whirlwind. A loud roar came from below. It was the sea.
The child saw this nightmare. Suddenly he trembled in all his limbs; a shiver thrilled his frame; he staggered, tottered, nearly fell, recovered himself, pressed both hands to his forehead, as if he felt his forehead a support; then, haggard, his hair streaming in the wind, descending the hill with long strides, his eyes closed, himself almost a phantom, he took flight, leaving behind that torment in the night.
The child witnessed this nightmare. Suddenly, he trembled all over; a shiver raced through him; he stumbled, wobbled, nearly fell, steadied himself, pressed both hands to his forehead, as if it was a support; then, looking exhausted, his hair blowing in the wind, he descended the hill with long strides, his eyes closed, almost like a ghost, and took off, leaving that torment behind in the night.
CHAPTER VII.
THE NORTH POINT OF PORTLAND.
He ran until he was breathless, at random, desperate, over the plain into the snow, into space. His flight warmed him. He needed it. Without the run and the fright he had died.
He ran until he was out of breath, aimlessly, desperately, across the plain into the snow, into the open. The running kept him warm. He needed that. Without the run and the fear, he would have died.
When his breath failed him he stopped, but he dared not look back. He fancied that the birds would pursue him, that the dead man had undone his chain and was perhaps hurrying behind him, and no doubt the gibbet itself was descending the hill, running after the dead man; he feared to see these things if he turned his head.
When he stopped, out of breath, he couldn’t bring himself to look back. He imagined that the birds were chasing him, that the dead man had broken free from his chains and was possibly racing after him, and he was sure that the gibbet itself was coming down the hill, chasing the dead man; he was afraid to see any of that if he turned around.
When he had somewhat recovered his breath he resumed his flight.
When he had caught his breath, he continued his escape.
To account for facts does not belong to childhood. He received impressions which were magnified by terror, but he did not link them together in his mind, nor form any conclusion on them. He was going on, no matter how or where; he ran in agony and difficulty as one in a dream. During the three hours or so since he had been deserted, his onward progress, still vague, had changed its purpose. At first it was a search; now it was a flight. He no longer felt hunger nor cold—he felt fear. One instinct had given place to another. To escape was now his whole thought—to escape from what? From everything. On all sides life seemed to enclose him like a horrible wall. If he could have fled from all things, he would have done so. But children know nothing of that breaking from prison which is called suicide. He was running. He ran on for an indefinite time; but fear dies with lack of breath.
Understanding facts isn't something that belongs to childhood. He had impressions that were amplified by fear, but he didn't connect them in his mind or draw any conclusions. He was moving forward, regardless of how or where; he ran in pain and struggle like someone in a dream. In the three hours or so since he had been left alone, his aimless journey had shifted. At first, it had been a search; now, it felt like a flight. He no longer felt hungry or cold—only fear. One instinct had been replaced by another. Escaping was now his only thought—escaping from what? From everything. All around him, life felt like a terrible barrier. If he could have run away from everything, he would have. But children don't understand that breaking free from everything is called suicide. He kept running. He ran for an unknown amount of time; however, fear fades when you run out of breath.
All at once, as if seized by a sudden accession of energy and intelligence, he stopped. One would have said he was ashamed of running away. He drew himself up, stamped his foot, and, with head erect, looked round. There was no longer hill, nor gibbet, nor flights of crows. The fog had resumed possession of the horizon. The child pursued his way: he now no longer ran but walked. To say that meeting with a corpse had made a man of him would be to limit the manifold and confused impression which possessed him. There was in his impression much more and much less. The gibbet, a mighty trouble in the rudiment of comprehension, nascent in his mind, still seemed to him an apparition; but a trouble overcome is strength gained, and he felt himself stronger. Had he been of an age to probe self, he would have detected within him a thousand other germs of meditation; but the reflection of children is shapeless, and the utmost they feel is the bitter aftertaste of that which, obscure to them, the man later on calls indignation. Let us add that a child has the faculty of quickly accepting the conclusion of a sensation; the distant fading boundaries which amplify painful subjects escape him. A child is protected by the limit of feebleness against emotions which are too complex. He sees the fact, and little else beside. The difficulty of being satisfied by half-ideas does not exist for him. It is not until later that experience comes, with its brief, to conduct the lawsuit of life. Then he confronts groups of facts which have crossed his path; the understanding, cultivated and enlarged, draws comparisons; the memories of youth reappear under the passions, like the traces of a palimpsest under the erasure; these memories form the bases of logic, and that which was a vision in the child's brain becomes a syllogism in the man's. Experience is, however, various, and turns to good or evil according to natural disposition. With the good it ripens, with the bad it rots.
Suddenly, as if struck by a surge of energy and clarity, he stopped. It seemed like he was embarrassed about running away. He straightened up, stamped his foot, and stood tall, looking around. There were no longer hills, gallows, or flocks of crows. The fog had reclaimed the horizon. The child continued on his way, now walking instead of running. To say that coming across a corpse had made him into a man would be to underestimate the complex feelings swirling inside him. His feelings were both richer and more confusing. The gallows, a heavy burden in his budding understanding, still felt like a haunting vision; but overcoming that burden made him feel stronger. Had he been old enough to reflect on himself, he would have found many other seeds of thought within him; but children's reflections are often muddled, and all they truly feel is the bitter aftertaste of what they can’t fully grasp, which an adult later recognizes as indignation. Moreover, children have a knack for quickly moving past feelings; they don't grasp the distant boundaries that can amplify painful subjects. A child is shielded by their innocence from emotions that are too complicated. They see only the facts, and not much else. They don’t struggle with being satisfied by half-formed ideas. It’s only later that life’s experiences come in brief flashes, leading them to navigate the complexities of life. Then, they face clusters of events that have shaped their path; their understanding, enriched and deepened, allows them to draw parallels; childhood memories resurface amidst passions, like traces of a palimpsest beneath erasure; these memories become the foundation of logic, and what was once a fleeting vision in a child's mind evolves into structured reasoning in an adult's. Experience, however, varies and can lead to good or bad outcomes based on one’s natural tendencies. With the good, it matures; with the bad, it decays.
The child had run quite a quarter of a league, and walked another quarter, when suddenly he felt the craving of hunger. A thought which altogether eclipsed the hideous apparition on the hill occurred to him forcibly—that he must eat. Happily there is in man a brute which serves to lead him back to reality.
The child had run about a quarter of a mile and walked another quarter when he suddenly felt hungry. A thought that completely overshadowed the terrifying image on the hill hit him hard—that he needed to eat. Fortunately, there’s something primal in people that helps bring them back to reality.
But what to eat, where to eat, how to eat?
But what should we eat, where should we eat, how should we eat?
He felt his pockets mechanically, well knowing that they were empty. Then he quickened his steps, without knowing whither he was going. He hastened towards a possible shelter. This faith in an inn is one of the convictions enrooted by God in man. To believe in a shelter is to believe in God.
He checked his pockets out of habit, fully aware they were empty. Then he picked up his pace, not knowing where he was headed. He rushed toward what might be a place to stay. This belief in finding an inn is one of the truths that God has instilled in humanity. To believe in a place of refuge is to believe in God.
However, in that plain of snow there was nothing like a roof. The child went on, and the waste continued bare as far as eye could see. There had never been a human habitation on the tableland. It was at the foot of the cliff, in holes in the rocks, that, lacking wood to build themselves huts, had dwelt long ago the aboriginal inhabitants, who had slings for arms, dried cow-dung for firing, for a god the idol Heil standing in a glade at Dorchester, and for trade the fishing of that false gray coral which the Gauls called plin, and the Greeks isidis plocamos.
However, in that snowy plain, there wasn't anything like a roof. The child continued on, and the desolation stretched out as far as the eye could see. There had never been any human settlements on the plateau. It was at the base of the cliff, in crevices in the rocks, that the early inhabitants, who used slings as weapons, lived long ago. They had dried cow dung for fuel, worshipped the idol Heil standing in a clearing at Dorchester, and traded the false gray coral that the Gauls called plin and the Greeks referred to as isidis plocamos.
The child found his way as best he could. Destiny is made up of cross-roads. An option of path is dangerous. This little being had an early choice of doubtful chances.
The child navigated his way as best he could. Destiny consists of crossroads. Choosing a path can be risky. This young soul faced an early decision filled with uncertain possibilities.
He continued to advance, but although the muscles of his thighs seemed to be of steel, he began to tire. There were no tracks in the plain; or if there were any, the snow had obliterated them. Instinctively he inclined eastwards. Sharp stones had wounded his heels. Had it been daylight pink stains made by his blood might have been seen in the footprints he left in the snow.
He kept moving forward, but even though his thigh muscles felt like steel, he started to get tired. There were no tracks on the plain; or if there were, the snow had covered them up. He instinctively leaned to the east. Sharp stones had cut into his heels. If it had been daylight, pink stains from his blood would have been visible in the footprints he left in the snow.
He recognized nothing. He was crossing the plain of Portland from south to north, and it is probable that the band with which he had come, to avoid meeting any one, had crossed it from east to west; they had most likely sailed in some fisherman's or smuggler's boat, from a point on the coast of Uggescombe, such as St. Catherine's Cape or Swancry, to Portland to find the hooker which awaited them; and they must have landed in one of the creeks of Weston, and re-embarked in one of those of Easton. That direction was intersected by the one the child was now following. It was impossible for him to recognize the road.
He recognized nothing. He was crossing the Portland plain from south to north, and it’s likely that the group he had traveled with, to avoid running into anyone, had crossed from east to west; they probably took a fisherman’s or smuggler’s boat from a spot along the Uggescombe coast, like St. Catherine's Cape or Swancry, to Portland to find the hooker waiting for them. They must have landed in one of the creeks at Weston and then re-boarded in one of those at Easton. That route crossed the one the child was currently following. It was impossible for him to recognize the path.
On the plain of Portland there are, here and there, raised strips of land, abruptly ended by the shore and cut perpendicular to the sea. The wandering child reached one of these culminating points and stopped on it, hoping that a larger space might reveal further indications. He tried to see around him. Before him, in place of a horizon, was a vast livid opacity. He looked at this attentively, and under the fixedness of his glance it became less indistinct. At the base of a distant fold of land towards the east, in the depths of that opaque lividity (a moving and wan sort of precipice, which resembled a cliff of the night), crept and floated some vague black rents, some dim shreds of vapour. The pale opacity was fog, the black shreds were smoke. Where there is smoke there are men. The child turned his steps in that direction.
On the Portland plain, there are raised strips of land here and there, abruptly ending at the shore and cutting straight across the sea. The wandering child reached one of these high points and stopped, hoping that a larger view might show him more clues. He tried to look around. In front of him, instead of a horizon, there was a vast grayish blankness. He focused on it, and as he stared, it became less blurry. At the base of a distant rise in the land to the east, within that thick grayness (a shifting and pale kind of edge that looked like a cliff in the night), he spotted some vague black shapes and dim wisps of vapor. The pale grayness was fog, and the black shapes were smoke. Where there's smoke, there are people. The child headed in that direction.
He saw some distance off a descent, and at the foot of the descent, among shapeless conformations of rock, blurred by the mist, what seemed to be either a sandbank or a tongue of land, joining probably to the plains of the horizon the tableland he had just crossed. It was evident he must pass that way.
He noticed a slope in the distance, and at the bottom, among the indistinct rock formations obscured by mist, there appeared to be either a sandbar or a strip of land, likely connecting the plains on the horizon to the plateau he had just crossed. It was clear that he had to go that way.
He had, in fact, arrived at the Isthmus of Portland, a diluvian alluvium which is called Chess Hill.
He had, in fact, arrived at the Isthmus of Portland, a floodplain made of sediment known as Chess Hill.
He began to descend the side of the plateau.
He started to go down the side of the plateau.
The descent was difficult and rough. It was (with less of ruggedness, however) the reverse of the ascent he had made on leaving the creek. Every ascent is balanced by a decline. After having clambered up he crawled down.
The descent was tough and bumpy. It was, though a bit less rough, the opposite of the climb he had made when leaving the creek. Every climb is matched by a drop. After scrambling up, he crawled down.
He leapt from one rock to another at the risk of a sprain, at the risk of falling into the vague depths below. To save himself when he slipped on the rock or on the ice, he caught hold of handfuls of weeds and furze, thick with thorns, and their points ran into his fingers. At times he came on an easier declivity, taking breath as he descended; then came on the precipice again, and each step necessitated an expedient. In descending precipices, every movement solves a problem. One must be skilful under pain of death. These problems the child solved with an instinct which would have made him the admiration of apes and mountebanks. The descent was steep and long. Nevertheless he was coming to the end of it.
He jumped from one rock to another, risking a sprain and the chance of falling into the vague depths below. To save himself when he slipped on the rock or ice, he grabbed handfuls of weeds and thorny bushes, their sharp points digging into his fingers. Sometimes he found an easier slope, taking a moment to catch his breath as he went down; then he would hit the cliff again, and each step required a new plan. When going down cliffs, every movement is a challenge. You have to be skilled, or you could die. The child tackled these challenges with an instinct that would impress both apes and performers. The descent was steep and long. Still, he was nearing the end of it.
Little by little it was drawing nearer the moment when he should land on the Isthmus, of which from time to time he caught a glimpse. At intervals, while he bounded or dropped from rock to rock, he pricked up his ears, his head erect, like a listening deer. He was hearkening to a diffused and faint uproar, far away to the left, like the deep note of a clarion. It was a commotion of winds, preceding that fearful north blast which is heard rushing from the pole, like an inroad of trumpets. At the same time the child felt now and then on his brow, on his eyes, on his cheeks, something which was like the palms of cold hands being placed on his face. These were large frozen flakes, sown at first softly in space, then eddying, and heralding a snowstorm. The child was covered with them. The snowstorm, which for the last hour had been on the sea, was beginning to gain the land. It was slowly invading the plains. It was entering obliquely, by the north-west, the tableland of Portland.
Little by little, the moment was getting closer when he would land on the Isthmus, which he occasionally caught a glimpse of. As he leaped or jumped from rock to rock, he perked up his ears, head held high, like a deer listening. He was tuning in to a distant and faint roar, far off to his left, resembling the deep sound of a trumpet. It was the commotion of winds, heralding that fierce northern blast that rushes down from the pole, like an invasion of trumpets. At the same time, he occasionally felt something cool on his forehead, eyes, and cheeks, like cold hands resting on his face. These were large frozen flakes, initially falling softly through the air, then swirling around him, signaling an impending snowstorm. He was getting covered in them. The snowstorm, which had been over the sea for the past hour, was beginning to creep onto the land. It was slowly moving into the plains, approaching diagonally from the northwest towards the tableland of Portland.
BOOK THE SECOND.
THE HOOKER AT SEA.
CHAPTER I.
SUPERHUMAN LAWS.
The snowstorm is one of the mysteries of the ocean. It is the most obscure of things meteorological—obscure in every sense of the word. It is a mixture of fog and storm; and even in our days we cannot well account for the phenomenon. Hence many disasters.
The snowstorm is one of the mysteries of the ocean. It’s the most obscure weather-related event—obscure in every sense of the word. It’s a mix of fog and storm, and even today, we can’t fully explain the phenomenon. This has led to many disasters.
We try to explain all things by the action of wind and wave; yet in the air there is a force which is not the wind, and in the waters a force which is not the wave. That force, both in the air and in the water, is effluvium. Air and water are two nearly identical liquid masses, entering into the composition of each other by condensation and dilatation, so that to breathe is to drink. Effluvium alone is fluid. The wind and the wave are only impulses; effluvium is a current. The wind is visible in clouds, the wave is visible in foam; effluvium is invisible. From time to time, however, it says, "I am here." Its "I am here" is a clap of thunder.
We try to explain everything by the actions of wind and waves, but there’s a force in the air that isn’t just wind, and in the water, there’s a force that isn’t just waves. That force, in both the air and the water, is effluvium. Air and water are two almost identical liquid masses that blend with each other through condensation and expansion, so to breathe is like drinking. Effluvium alone is fluid. Wind and waves are just movements; effluvium is a current. The wind shows itself in clouds, waves show up in foam; effluvium is invisible. Occasionally, though, it announces, "I am here." Its "I am here" is a clap of thunder.
The snowstorm offers a problem analogous to the dry fog. If the solution of the callina of the Spaniards and the quobar of the Ethiopians be possible, assuredly that solution will be achieved by attentive observation of magnetic effluvium.
The snowstorm presents a problem similar to the dry fog. If the solution of the callina of the Spaniards and the quobar of the Ethiopians is possible, it will definitely be found through careful observation of magnetic emissions.
Without effluvium a crowd of circumstances would remain enigmatic. Strictly speaking, the changes in the velocity of the wind, varying from 3 feet per second to 220 feet, would supply a reason for the variations of the waves rising from 3 inches in a calm sea to 36 feet in a raging one. Strictly speaking, the horizontal direction of the winds, even in a squall, enables us to understand how it is that a wave 30 feet high can be 1,500 feet long. But why are the waves of the Pacific four times higher near America than near Asia; that is to say, higher in the East than in the West? Why is the contrary true of the Atlantic? Why, under the Equator, are they highest in the middle of the sea? Wherefore these deviations in the swell of the ocean? This is what magnetic effluvium, combined with terrestrial rotation and sidereal attraction, can alone explain.
Without magnetic influences, a lot of circumstances would remain mysterious. To be precise, changes in wind speed, ranging from 3 feet per second to 220 feet, would account for the variations in wave heights rising from 3 inches in calm seas to 36 feet in storms. To be precise, the horizontal direction of the winds, even during a squall, helps us understand how a 30-foot wave can stretch 1,500 feet long. But why are the waves in the Pacific four times taller near America than near Asia; that is, why are they taller in the East than in the West? Why is the opposite true in the Atlantic? Why, along the Equator, are the waves tallest in the middle of the ocean? What causes these variations in ocean swells? Only magnetic influences, combined with the Earth's rotation and the pull of celestial bodies, can explain this.
Is not this mysterious complication needed to explain an oscillation of the wind veering, for instance, by the west from south-east to north-east, then suddenly returning in the same great curve from north-east to south-east, so as to make in thirty-six hours a prodigious circuit of 560 degrees? Such was the preface to the snowstorm of March 17, 1867.
Isn't this mysterious complication necessary to explain how the wind shifts, for example, by veering from southeast to northeast and then suddenly changing back in the same large arc from northeast to southeast, completing an incredible 560-degree loop in just thirty-six hours? This was the setup for the snowstorm of March 17, 1867.
The storm-waves of Australia reach a height of 80 feet; this fact is connected with the vicinity of the Pole. Storms in those latitudes result less from disorder of the winds than from submarine electrical discharges. In the year 1866 the transatlantic cable was disturbed at regular intervals in its working for two hours in the twenty-four—from noon to two o'clock—by a sort of intermittent fever. Certain compositions and decompositions of forces produce phenomena, and impose themselves on the calculations of the seaman under pain of shipwreck. The day that navigation, now a routine, shall become a mathematic; the day we shall, for instance, seek to know why it is that in our regions hot winds come sometimes from the north, and cold winds from the south; the day we shall understand that diminutions of temperature are proportionate to oceanic depths; the day we realize that the globe is a vast loadstone polarized in immensity, with two axes—an axis of rotation and an axis of effluvium—intersecting each other at the centre of the earth, and that the magnetic poles turn round the geographical poles; when those who risk life will choose to risk it scientifically; when men shall navigate assured from studied uncertainty; when the captain shall be a meteorologist; when the pilot shall be a chemist; then will many catastrophes be avoided. The sea is magnetic as much as aquatic: an ocean of unknown forces floats in the ocean of the waves, or, one might say, on the surface. Only to behold in the sea a mass of water is not to see it at all: the sea is an ebb and flow of fluid, as much as a flux and reflux of liquid. It is, perhaps, complicated by attractions even more than by hurricanes; molecular adhesion, manifested among other phenomena by capillary attraction, although microscopic, takes in ocean its place in the grandeur of immensity; and the wave of effluvium sometimes aids, sometimes counteracts, the wave of the air and the wave of the waters. He who is ignorant of electric law is ignorant of hydraulic law; for the one intermixes with the other. It is true there is no study more difficult nor more obscure; it verges on empiricism, just as astronomy verges on astrology; and yet without this study there is no navigation. Having said this much we will pass on.
The storm waves of Australia can reach heights of 80 feet, and this is linked to the proximity to the Pole. Storms in those areas are caused less by chaotic winds and more by underwater electrical discharges. In 1866, the transatlantic cable experienced regular interruptions in its service for two hours a day—from noon to two o'clock—due to a kind of intermittent disturbance. Certain combinations and changes of forces create phenomena that must be considered in a sailor's calculations to avoid shipwreck. The day navigation, which is now routine, becomes a science; the day we figure out why hot winds can come from the north while cold winds blow from the south; the day we understand that drops in temperature relate to ocean depths; the day we realize that the Earth acts as a huge magnet, with two axes—one for rotation and one for magnetic field—intersecting at the Earth’s center, and that the magnetic poles revolve around the geographic poles; when those who risk their lives choose to do so scientifically; when people can navigate confidently using studied analysis; when the captain will be a meteorologist and the pilot a chemist; then many disasters will be prevented. The sea is as magnetic as it is fluid: an ocean of unknown forces resides within the ocean of waves, or, we could say, on its surface. To simply see the sea as a body of water is to overlook it entirely: the sea ebbs and flows like
One of the most dangerous components of the sea is the snowstorm. The snowstorm is above all things magnetic. The pole produces it as it produces the aurora borealis. It is in the fog of the one as in the light of the other; and in the flake of snow as in the streak of flame effluvium is visible.
One of the most dangerous features of the sea is the snowstorm. The snowstorm is more magnetic than anything else. The pole generates it just like it creates the aurora borealis. It's found in the fog of one just as in the light of the other; and in the snowflake as in the blaze of flame, an effluence is visible.
Storms are the nervous attacks and delirious frenzies of the sea. The sea has its ailments. Tempests may be compared to maladies. Some are mortal, others not; some may be escaped, others not. The snowstorm is supposed to be generally mortal. Jarabija, one of the pilots of Magellan, termed it "a cloud issuing from the devil's sore side."[2]
Storms are like the nervous breakdowns and wild fits of the sea. The sea has its own problems. Tempests can be likened to illnesses. Some are deadly, others aren’t; some can be avoided, others can’t. The snowstorm is thought to be mostly deadly. Jarabija, one of Magellan's pilots, called it "a cloud coming from the devil’s infected side."[2]
The old Spanish navigators called this kind of squall la nevada, when it came with snow; la helada, when it came with hail. According to them, bats fell from the sky, with the snow.
The old Spanish navigators called this kind of squall la nevada when it came with snow; la helada when it came with hail. According to them, bats fell from the sky with the snow.
Snowstorms are characteristic of polar latitudes; nevertheless, at times they glide—one might almost say tumble—into our climates; so much ruin is mingled with the chances of the air.
Snowstorms are typical in polar regions; however, occasionally they slip—one might even say fall—into our climates; so much destruction is mixed with the randomness of the weather.
The Matutina, as we have seen, plunged resolutely into the great hazard of the night, a hazard increased by the impending storm. She had encountered its menace with a sort of tragic audacity; nevertheless, it must be remembered that she had received due warning.
The Matutina, as we've seen, boldly headed into the great danger of the night, a danger heightened by the approaching storm. She faced its threat with a kind of tragic courage; however, it's important to remember that she had been properly warned.
CHAPTER II.
OUR FIRST ROUGH SKETCHES FILLED IN.
While the hooker was in the gulf of Portland, there was but little sea on; the ocean, if gloomy, was almost still, and the sky was yet clear. The wind took little effect on the vessel; the hooker hugged the cliff as closely as possible; it served as a screen to her.
While the hooker was in the Gulf of Portland, there was very little sea; the ocean, albeit gloomy, was almost calm, and the sky was still clear. The wind hardly affected the vessel; the hooker stayed as close to the cliff as possible, using it as a shield.
There were ten on board the little Biscayan felucca—three men in crew, and seven passengers, of whom two were women. In the light of the open sea (which broadens twilight into day) all the figures on board were clearly visible. Besides they were not hiding now—they were all at ease; each one reassumed his freedom of manner, spoke in his own note, showed his face; departure was to them a deliverance.
There were ten people on board the small Biscayan boat—three crew members and seven passengers, including two women. In the light of the open sea (which turns twilight into day), everyone on board was clearly visible. They weren’t hiding now—they were all relaxed; each person resumed their natural demeanor, spoke in their own voice, and showed their faces; leaving felt like a release for them.
The motley nature of the group shone out. The women were of no age. A wandering life produces premature old age, and indigence is made up of wrinkles. One of them was a Basque of the Dry-ports. The other, with the large rosary, was an Irishwoman. They wore that air of indifference common to the wretched. They had squatted down close to each other when they got on board, on chests at the foot of the mast. They talked to each other. Irish and Basque are, as we have said, kindred languages. The Basque woman's hair was scented with onions and basil. The skipper of the hooker was a Basque of Guipuzcoa. One sailor was a Basque of the northern slope of the Pyrenees, the other was of the southern slope—that is to say, they were of the same nation, although the first was French and the latter Spanish. The Basques recognize no official country. Mi madre se llama Montaña, my mother is called the mountain, as Zalareus, the muleteer, used to say. Of the five men who were with the two women, one was a Frenchman of Languedoc, one a Frenchman of Provence, one a Genoese; one, an old man, he who wore the sombrero without a hole for a pipe, appeared to be a German. The fifth, the chief, was a Basque of the Landes from Biscarrosse. It was he who, just as the child was going on board the hooker, had, with a kick of his heel, cast the plank into the sea. This man, robust, agile, sudden in movement, covered, as may be remembered, with trimmings, slashings, and glistening tinsel, could not keep in his place; he stooped down, rose up, and continually passed to and fro from one end of the vessel to the other, as if debating uneasily on what had been done and what was going to happen.
The diverse nature of the group stood out. The women seemed ageless. A nomadic lifestyle brings on early aging, and poverty is marked by wrinkles. One of them was a Basque from the Dry-ports. The other, with the big rosary, was Irish. They carried that air of indifference typical of the unfortunate. They had huddled close together when they boarded, sitting on chests at the base of the mast. They chatted with each other. Irish and Basque are, as mentioned, related languages. The Basque woman's hair smelled of onions and basil. The captain of the boat was a Basque from Guipuzcoa. One sailor was a Basque from the northern side of the Pyrenees, and the other was from the southern side—meaning they were from the same people, although the first was French and the latter Spanish. The Basques don't recognize official countries. Mi madre se llama Montaña, my mother is called the mountain, as Zalareus, the mule driver, used to say. Of the five men who were with the two women, one was a Frenchman from Languedoc, one a Frenchman from Provence, one was from Genoa; one, an old man wearing a sombrero without a hole for a pipe, appeared to be German. The fifth, the leader, was a Basque from the Landes, specifically Biscarrosse. It was he who, just as the child was about to board the hooker, had kicked the plank into the sea. This strong, quick-moving man, covered in embellishments, slashes, and shiny tinsel, couldn’t stay still; he bent down, stood up, and constantly moved back and forth across the boat, as if anxiously pondering what had happened and what was about to come.
This chief of the band, the captain and the two men of the crew, all four Basques, spoke sometimes Basque, sometimes Spanish, sometimes French—these three languages being common on both slopes of the Pyrenees. But generally speaking, excepting the women, all talked something like French, which was the foundation of their slang. The French language about this period began to be chosen by the peoples as something intermediate between the excess of consonants in the north and the excess of vowels in the south. In Europe, French was the language of commerce, and also of felony. It will be remembered that Gibby, a London thief, understood Cartouche.
The leader of the group, the captain, and the two crew members, all four Basques, occasionally spoke Basque, Spanish, or French—these three languages were common on both sides of the Pyrenees. Generally, except for the women, everyone spoke something similar to French, which served as the base for their slang. Around this time, the French language began to be preferred by people as a middle ground between the heavy consonants of the north and the heavy vowels of the south. In Europe, French was the language of trade and crime. It’s worth noting that Gibby, a thief from London, understood Cartouche.
The hooker, a fine sailer, was making quick way; still, ten persons, besides their baggage, were a heavy cargo for one of such light draught.
The small boat, a great sailer, was moving fast; however, ten people, along with their luggage, were a heavy load for one so light.
The fact of the vessel's aiding the escape of a band did not necessarily imply that the crew were accomplices. It was sufficient that the captain of the vessel was a Vascongado, and that the chief of the band was another. Among that race mutual assistance is a duty which admits of no exception. A Basque, as we have said, is neither Spanish nor French; he is Basque, and always and everywhere he must succour a Basque. Such is Pyrenean fraternity.
The fact that the ship helped a group escape didn't automatically mean the crew were in on it. It was enough that the captain of the ship was from the Vascongado region, and the leader of the group was also one of them. Among that community, helping each other is a duty with no exceptions. A Basque, as we mentioned, is neither Spanish nor French; he is Basque, and he must always help a fellow Basque. That's how they bond in the Pyrenees.
All the time the hooker was in the gulf, the sky, although threatening, did not frown enough to cause the fugitives any uneasiness. They were flying, they were escaping, they were brutally gay. One laughed, another sang; the laugh was dry but free, the song was low but careless.
All the time the hooker was in the gulf, the sky, even though it looked ominous, didn’t seem threatening enough to make the escapees uneasy. They were flying, they were escaping, they were wildly happy. One person laughed, another sang; the laugh was dry but free, the song was soft but carefree.
The Languedocian cried, "Caoucagno!" "Cocagne" expresses the highest pitch of satisfaction in Narbonne. He was a longshore sailor, a native of the waterside village of Gruissan, on the southern side of the Clappe, a bargeman rather than a mariner, but accustomed to work the reaches of the inlet of Bages, and to draw the drag-net full of fish over the salt sands of St. Lucie. He was of the race who wear a red cap, make complicated signs of the cross after the Spanish fashion, drink wine out of goat-skins, eat scraped ham, kneel down to blaspheme, and implore their patron saint with threats—"Great saint, grant me what I ask, or I'll throw a stone at thy head, ou té feg un pic." He might be, at need, a useful addition to the crew.
The Languedocian shouted, "Caoucagno!" "Cocagne" shows the greatest level of enjoyment in Narbonne. He was a dockworker, originally from the seaside village of Gruissan, on the southern side of the Clappe—more of a bargeman than a sailor—but used to navigating the shores of the Bages inlet and hauling in nets filled with fish over the salt flats of St. Lucie. He belonged to the group that wears red caps, makes elaborate signs of the cross like the Spanish do, drinks wine from goat-skins, eats cured ham, kneels down to curse, and begs their patron saint with threats—"Great saint, give me what I want, or I’ll throw a stone at your head, ou té feg un pic." He could be a valuable addition to the crew if needed.
The Provençal in the caboose was blowing up a turf fire under an iron pot, and making broth. The broth was a kind of puchero, in which fish took the place of meat, and into which the Provençal threw chick peas, little bits of bacon cut in squares, and pods of red pimento—concessions made by the eaters of bouillabaisse to the eaters of olla podrida. One of the bags of provisions was beside him unpacked. He had lighted over his head an iron lantern, glazed with talc, which swung on a hook from the ceiling. By its side, on another hook, swung the weather-cock halcyon. There was a popular belief in those days that a dead halcyon, hung by the beak, always turned its breast to the quarter whence the wind was blowing. While he made the broth, the Provençal put the neck of a gourd into his mouth, and now and then swallowed a draught of aguardiente. It was one of those gourds covered with wicker, broad and flat, with handles, which used to be hung to the side by a strap, and which were then called hip-gourds. Between each gulp he mumbled one of those country songs of which the subject is nothing at all: a hollow road, a hedge; you see in the meadow, through a gap in the bushes, the shadow of a horse and cart, elongated in the sunset, and from time to time, above the hedge, the end of a fork loaded with hay appears and disappears—you want no more to make a song.
The Provençal in the caboose was tending a turf fire under an iron pot, making broth. The broth was a type of puchero, where fish replaced meat, and the Provençal added chickpeas, small squares of bacon, and pods of red pimento—concessions made by the eaters of bouillabaisse to the eaters of olla podrida. One of the bags of supplies lay unpacked beside him. He had lit an iron lantern overhead, glazed with talc, which swung from a hook on the ceiling. Next to it, on another hook, hung the weather-cock halcyon. There was a popular belief back then that a dead halcyon, hung by its beak, always faced into the wind. While he prepared the broth, the Provençal put the neck of a gourd in his mouth and occasionally took a swig of aguardiente. It was one of those gourds wrapped in wicker, broad and flat, with handles, which used to be hung by a strap at the side, known as hip-gourds. Between each gulp, he mumbled one of those country songs that don’t really have a subject: a winding road, a hedge; you see in the meadow, through a gap in the bushes, the shadow of a horse and cart elongated in the sunset, and from time to time, above the hedge, the end of a fork loaded with hay appears and disappears—you need nothing more to create a song.
A departure, according to the bent of one's mind, is a relief or a depression. All seemed lighter in spirits excepting the old man of the band, the man with the hat that had no pipe.
A departure, depending on how one feels, is either a relief or a downer. Everyone seemed in better spirits except for the old man of the group, the guy with the hat who didn't have a pipe.
This old man, who looked more German than anything else, although he had one of those unfathomable faces in which nationality is lost, was bald, and so grave that his baldness might have been a tonsure. Every time he passed before the Virgin on the prow, he raised his felt hat, so that you could see the swollen and senile veins of his skull. A sort of full gown, torn and threadbare, of brown Dorchester serge, but half hid his closely fitting coat, tight, compact, and hooked up to the neck like a cassock. His hands inclined to cross each other, and had the mechanical junction of habitual prayer. He had what might be called a wan countenance; for the countenance is above all things a reflection, and it is an error to believe that idea is colourless. That countenance was evidently the surface of a strange inner state, the result of a composition of contradictions, some tending to drift away in good, others in evil, and to an observer it was the revelation of one who was less and more than human—capable of falling below the scale of the tiger, or of rising above that of man. Such chaotic souls exist. There was something inscrutable in that face. Its secret reached the abstract. You felt that the man had known the foretaste of evil which is the calculation, and the after-taste which is the zero. In his impassibility, which was perhaps only on the surface, were imprinted two petrifactions—the petrifaction of the heart proper to the hangman, and the petrifaction of the mind proper to the mandarin. One might have said (for the monstrous has its mode of being complete) that all things were possible to him, even emotion. In every savant there is something of the corpse, and this man was a savant. Only to see him you caught science imprinted in the gestures of his body and in the folds of his dress. His was a fossil face, the serious cast of which was counteracted by that wrinkled mobility of the polyglot which verges on grimace. But a severe man withal; nothing of the hypocrite, nothing of the cynic. A tragic dreamer. He was one of those whom crime leaves pensive; he had the brow of an incendiary tempered by the eyes of an archbishop. His sparse gray locks turned to white over his temples. The Christian was evident in him, complicated with the fatalism of the Turk. Chalkstones deformed his fingers, dissected by leanness. The stiffness of his tall frame was grotesque. He had his sea-legs, he walked slowly about the deck, not looking at any one, with an air decided and sinister. His eyeballs were vaguely filled with the fixed light of a soul studious of the darkness and afflicted by reapparitions of conscience.
This old man, who looked more German than anything else despite having one of those unrecognizable faces where nationality gets blurred, was bald and so serious that his baldness seemed like a monk's haircut. Whenever he passed by the Virgin on the prow, he lifted his felt hat, revealing the swollen, aging veins on his skull. He wore a torn and ragged full gown made of brown Dorchester serge, which barely covered his well-fitted coat, snug and buttoned up to the neck like a cassock. His hands tended to cross each other, showing the mechanical position of someone accustomed to prayer. He had what could be described as a pale face; after all, the face is primarily a reflection, and it's a mistake to think that ideas lack color. That face clearly reflected a strange inner state, a mix of contradictions, some moving toward good, others toward evil, revealing someone who was both less and more than human—capable of sinking below a tiger or rising above a person. Such chaotic souls exist. There was something mysterious about that face. Its secret reached into the abstract. You could sense that the man had tasted the evil that comes with calculations, and the emptiness that follows. In his calmness, which might have only been surface deep, were two kinds of emotional stone—the heart's hardening typical of a hangman, and the mind's hardening typical of a mandarin. One might say (for the monstrous has its own completeness) that all things were possible for him, even emotions. Every scholar has a bit of the dead in them, and this man was a scholar. Just seeing him, you could read science in the way he moved and in the wrinkles of his clothes. His face looked like a fossil, the serious expression countered by the wrinkled mobility of someone who speaks many languages, bordering on a grimace. But he was a severe man; there was nothing hypocritical or cynical about him. A tragic dreamer. He was one of those whom crime leaves reflective; he had the brow of an arsonist mixed with the eyes of an archbishop. Sparse gray hair turned white over his temples. The Christian side of him was evident, complicated by the fatalism of a Turk. Nodules deformed his fingers, marked by thinness. His tall frame had a grotesque stiffness. He had his sea legs, walking slowly around the deck, not looking at anyone, with a determined and sinister air. His eyes were vaguely filled with a fixed light, the sign of a soul studied in darkness and burdened by flashes of conscience.
From time to time the chief of the band, abrupt and alert, and making sudden turns about the vessel, came to him and whispered in his ear. The old man answered by a nod. It might have been the lightning consulting the night.
From time to time, the leader of the group, sharp and attentive, made quick turns around the boat and came over to whisper in his ear. The old man replied with a nod. It was like lightning conferring with the darkness.
CHAPTER III.
TROUBLED MEN ON THE TROUBLED SEA.
Two men on board the craft were absorbed in thought—the old man, and the skipper of the hooker, who must not be mistaken for the chief of the band. The captain was occupied by the sea, the old man by the sky. The former did not lift his eyes from the waters; the latter kept watch on the firmament. The skipper's anxiety was the state of the sea; the old man seemed to suspect the heavens. He scanned the stars through every break in the clouds.
Two men on the boat were lost in their thoughts—the old man and the captain of the fishing vessel, who should not be confused with the leader of the group. The captain was focused on the sea, while the old man was focused on the sky. The captain didn’t take his eyes off the water; the old man kept an eye on the sky. The captain was worried about the state of the sea; the old man seemed to have a feeling about the heavens. He looked at the stars through every gap in the clouds.
It was the time when day still lingers, but some few stars begin faintly to pierce the twilight. The horizon was singular. The mist upon it varied. Haze predominated on land, clouds at sea.
It was that time when the day was still hanging on, but a few stars were starting to faintly shine through the twilight. The horizon was unique. The mist above it changed. Haze covered the land, while clouds hovered over the sea.
The skipper, noting the rising billows, hauled all taut before he got outside Portland Bay. He would not delay so doing until he should pass the headland. He examined the rigging closely, and satisfied himself that the lower shrouds were well set up, and supported firmly the futtock-shrouds—precautions of a man who means to carry on with a press of sail, at all risks.
The captain, noticing the rising waves, tightened everything up before leaving Portland Bay. He didn’t want to wait until he passed the headland to do so. He carefully checked the rigging and made sure that the lower shrouds were properly secured and firmly supporting the futtock-shrouds—precautions taken by someone who intends to sail with a lot of wind, no matter the risks.
The hooker was not trimmed, being two feet by the head. This was her weak point.
The hooker wasn't trimmed, measuring two feet at the head. This was her weak spot.
The captain passed every minute from the binnacle to the standard compass, taking the bearings of objects on shore. The Matutina had at first a soldier's wind which was not unfavourable, though she could not lie within five points of her course. The captain took the helm as often as possible, trusting no one but himself to prevent her from dropping to leeward, the effect of the rudder being influenced by the steerage-way.
The captain moved back and forth between the binnacle and the standard compass, checking the positions of things on shore. The Matutina initially had a soldier's wind, which wasn’t bad, but she couldn’t stay within five points of her course. The captain took the wheel as much as he could, trusting no one but himself to keep her from drifting off course, since the rudder's effectiveness was affected by the steerage-way.
The difference between the true and apparent course being relative to the way on the vessel, the hooker seemed to lie closer to the wind than she did in reality. The breeze was not a-beam, nor was the hooker close-hauled; but one cannot ascertain the true course made, except when the wind is abaft. When you perceive long streaks of clouds meeting in a point on the horizon, you may be sure that the wind is in that quarter; but this evening the wind was variable; the needle fluctuated; the captain distrusted the erratic movements of the vessel. He steered carefully but resolutely, luffed her up, watched her coming to, prevented her from yawing, and from running into the wind's eye: noted the leeway, the little jerks of the helm: was observant of every roll and pitch of the vessel, of the difference in her speed, and of the variable gusts of wind. For fear of accidents, he was constantly on the lookout for squalls from off the land he was hugging, and above all he was cautious to keep her full; the direction of the breeze indicated by the compass being uncertain from the small size of the instrument. The captain's eyes, frequently lowered, remarked every change in the waves.
The difference between the true course and the apparent course was related to the vessel's path, making it seem like the hooker was closer to the wind than it actually was. The breeze wasn't coming from the side, nor was the hooker sailing directly into the wind; but you can only figure out the true course when the wind is behind you. When you notice long streaks of clouds converging at a point on the horizon, you can be sure the wind is coming from that direction; but that evening, the wind was unpredictable; the compass needle kept shifting; the captain was wary of the vessel's erratic movements. He steered carefully yet firmly, adjusted the sails, monitored her course, kept her from swaying, and from heading straight into the wind: he noted the leeway, the small jerks of the wheel: he paid attention to every roll and pitch of the vessel, the changes in her speed, and the shifting gusts of wind. To avoid accidents, he was always on the lookout for sudden squalls from the land he was close to, and above all, he was careful to keep her properly positioned; the compass showed an uncertain wind direction due to its small size. The captain's eyes were often lowered, noting every change in the waves.
Once nevertheless he raised them towards the sky, and tried to make out the three stars of Orion's belt. These stars are called the three magi, and an old proverb of the ancient Spanish pilots declares that, "He who sees the three magi is not far from the Saviour."
Once, he lifted them toward the sky and tried to spot the three stars of Orion's belt. These stars are known as the three magi, and an old saying from the ancient Spanish sailors states, "Whoever sees the three magi is close to the Savior."
This glance of the captain's tallied with an aside growled out, at the other end of the vessel, by the old man, "We don't even see the pointers, nor the star Antares, red as he is. Not one is distinct."
This look from the captain matched with a grumbled comment from the old man at the other end of the ship, "We can't even see the pointers or the star Antares, red as it is. Not a single one is clear."
No care troubled the other fugitives.
No one else among the escapees seemed to care.
Still, when the first hilarity they felt in their escape had passed away, they could not help remembering that they were at sea in the month of January, and that the wind was frozen. It was impossible to establish themselves in the cabin. It was much too narrow and too much encumbered by bales and baggage. The baggage belonged to the passengers, the bales to the crew, for the hooker was no pleasure boat, and was engaged in smuggling. The passengers were obliged to settle themselves on deck, a condition to which these wanderers easily resigned themselves. Open-air habits make it simple for vagabonds to arrange themselves for the night. The open air (la belle étoile) is their friend, and the cold helps them to sleep—sometimes to die.
Still, once the initial excitement of their escape faded, they couldn't ignore the fact that they were at sea in January, with freezing winds. It was impossible to settle in the cabin; it was far too cramped and cluttered with bundles and luggage. The luggage belonged to the passengers, while the bundles belonged to the crew since the hooker was no pleasure boat but was involved in smuggling. The passengers had to make themselves comfortable on deck, a situation these wanderers accepted without complaint. Living outdoors made it easy for nomads to figure out how to sleep for the night. The open air (like sleeping under the stars) is their ally, and the cold sometimes helps them drift off—occasionally even to death.
This night, as we have seen, there was no belle étoile.
This night, as we have seen, there was no belle étoile.
The Languedocian and the Genoese, while waiting for supper, rolled themselves up near the women, at the foot of the mast, in some tarpaulin which the sailors had thrown them.
The Languedocian and the Genoese, while waiting for dinner, curled up near the women, at the base of the mast, in some tarpaulin that the sailors had tossed to them.
The old man remained at the bow motionless, and apparently insensible to the cold.
The old man stayed at the front of the boat, unmoving and seemingly unaware of the cold.
The captain of the hooker, from the helm where he was standing, uttered a sort of guttural call somewhat like the cry of the American bird called the exclaimer; at his call the chief of the brand drew near, and the captain addressed him thus,—
The captain of the hooker, from the helm where he was standing, let out a guttural sound somewhat like the call of a bird known in America as the exclaimer; at his call, the chief of the brand approached, and the captain said to him,—
"Etcheco Jaüna." These two words, which mean "tiller of the mountain," form with the old Cantabri a solemn preface to any subject which should command attention.
"Etcheco Jaüna." These two words, which mean "tiller of the mountain," serve as a serious introduction to any topic that deserves attention, alongside the old Cantabri.
Then the captain pointed the old man out to the chief, and the dialogue continued in Spanish; it was not, indeed, a very correct dialect, being that of the mountains. Here are the questions and answers.
Then the captain pointed the old man out to the chief, and the conversation went on in Spanish; it wasn’t exactly the most proper dialect, as it was from the mountains. Here are the questions and answers.
"Etcheco jaüna, que es este hombre?"
"Etcheco jaüna, who is this man?"
"Un hombre."
"A man."
"Que lenguas habla?"
"What languages do you speak?"
"Todas."
"All."
"Que cosas sabe?"
"What things do you know?"
"Todas."
"All."
"Quai païs?"
"Which country?"
"Ningun, y todos."
"None, and all."
"Qual dios?"
"Which god?"
"Dios."
"God."
"Como le llamas?"
"What's your name?"
"El tonto."
"The fool."
"Como dices que le llamas?"
"What do you call him?"
"El sabio."
"The wise one."
"En vuestre tropa que esta?"
"What's happening in your troop?"
"Esta lo que esta."
"Here is what it is."
"El gefe?"
"The boss?"
"No."
"Nope."
"Pues que esta?"
"What's up?"
"La alma."[3]
"The soul."[__A_TAG_PLACEHOLDER_0__]
The chief and the captain parted, each reverting to his own meditation, and a little while afterwards the Matutina left the gulf.
The chief and the captain parted ways, each returning to his own thoughts, and shortly after, the Matutina left the bay.
Now came the great rolling of the open sea. The ocean in the spaces between the foam was slimy in appearance. The waves, seen through the twilight in indistinct outline, somewhat resembled plashes of gall. Here and there a wave floating flat showed cracks and stars, like a pane of glass broken by stones; in the centre of these stars, in a revolving orifice, trembled a phosphorescence, like that feline reflection, of vanished light which shines in the eyeballs of owls.
Now came the vast rolling of the open sea. The ocean in the areas between the foam looked slimy. The waves, seen through the twilight in vague outlines, somewhat resembled splashes of bile. Here and there, a flat wave showed cracks and stars, like a pane of glass shattered by stones; in the centers of these stars, in a swirling opening, flickered a phosphorescence, like that feline glow of lost light that shines in the eyes of owls.
Proudly, like a bold swimmer, the Matutina crossed the dangerous Shambles shoal. This bank, a hidden obstruction at the entrance of Portland roads, is not a barrier; it is an amphitheatre—a circus of sand under the sea, its benches cut out by the circling of the waves—an arena, round and symmetrical, as high as a Jungfrau, only drowned—a coliseum of the ocean, seen by the diver in the vision-like transparency which engulfs him,—such is the Shambles shoal. There hydras fight, leviathans meet. There, says the legend, at the bottom of the gigantic shaft, are the wrecks of ships, seized and sunk by the huge spider Kraken, also called the fish-mountain. Such things lie in the fearful shadow of the sea.
Proudly, like a daring swimmer, the Matutina navigated the treacherous Shambles shoal. This bank, a hidden obstacle at the entrance of Portland roads, isn’t just a barrier; it’s an amphitheater—a circus of sand beneath the sea, with seats carved out by the swirling waves—an arena, round and symmetrical, as tall as a Jungfrau, only submerged—a coliseum of the ocean, visible to the diver in the dream-like clarity that surrounds him—such is the Shambles shoal. There hydras battle, leviathans clash. There, according to legend, at the bottom of the massive shaft, lie the wrecks of ships captured and sunk by the enormous spider Kraken, also known as the fish-mountain. Such horrors lurk in the daunting shadow of the sea.
These spectral realities, unknown to man, are manifested at the surface by a slight shiver.
These ghostly realities, unknown to humans, show themselves on the surface with a slight shiver.
In this nineteenth century, the Shambles bank is in ruins; the breakwater recently constructed has overthrown and mutilated, by the force of its surf, that high submarine architecture, just as the jetty, built at the Croisic in 1760, changed, by a quarter of an hour, the course of the tides. And yet the tide is eternal. But eternity obeys man more than man imagines.
In the nineteenth century, the Shambles bank is in ruins; the recently built breakwater has destroyed and damaged, due to the force of its waves, that tall underwater structure, just as the jetty built at Croisic in 1760 altered the tides' course by fifteen minutes. And yet the tide is constant. But eternity obeys humans more than they realize.
CHAPTER IV.
A CLOUD DIFFERENT FROM THE OTHERS ENTERS ON THE SCENE.
The old man whom the chief of the band had named first the Madman, then the Sage, now never left the forecastle. Since they crossed the Shambles shoal, his attention had been divided between the heavens and the waters. He looked down, he looked upwards, and above all watched the north-east.
The old man, who the leader of the group first called the Madman and then the Sage, never left the front of the ship. Since they passed the Shambles shoal, he had been split between watching the sky and the sea. He looked down, he looked up, and most of all kept an eye on the northeast.
The skipper gave the helm to a sailor, stepped over the after hatchway, crossed the gangway, and went on to the forecastle. He approached the old man, but not in front. He stood a little behind, with elbows resting on his hips, with outstretched hands, the head on one side, with open eyes and arched eyebrows, and a smile in the corners of his mouth—an attitude of curiosity hesitating between mockery and respect.
The captain handed over the steering to a crew member, climbed over the back hatch, crossed the walkway, and headed to the front of the ship. He got close to the older man, but not directly in front of him. He stood slightly behind, elbows on his hips, hands stretched out, head tilted to one side, wide-eyed with raised eyebrows, and a slight smile at the corners of his mouth—an expression of curiosity caught between teasing and respect.
The old man, either that it was his habit to talk to himself, or that hearing some one behind incited him to speech, began to soliloquize while he looked into space.
The old man, whether it was his habit to talk to himself or he was spurred to speak by someone behind him, started to mumble to himself as he stared off into space.
"The meridian, from which the right ascension is calculated, is marked in this century by four stars—the Polar, Cassiopeia's Chair, Andromeda's Head, and the star Algenib, which is in Pegasus. But there is not one visible."
"The meridian, from which we calculate right ascension, is marked this century by four stars—the North Star, Cassiopeia's Chair, Andromeda's Head, and the star Algenib in Pegasus. However, none of them can be seen."
These words followed each other mechanically, confused, and scarcely articulated, as if he did not care to pronounce them. They floated out of his mouth and dispersed. Soliloquy is the smoke exhaled by the inmost fires of the soul.
These words came out one after another without much thought, jumbled and barely spoken, as if he didn't care to say them. They drifted out of his mouth and scattered. Talking to oneself is the smoke released by the deepest passions of the soul.
The skipper broke in, "My lord!"
The captain interrupted, "My lord!"
The old man, perhaps rather deaf as well as very thoughtful, went on,—
The old man, who might be a bit hard of hearing and is definitely deep in thought, continued,—
"Too few stars, and too much wind. The breeze continually changes its direction and blows inshore; thence it rises perpendicularly. This results from the land being warmer than the water. Its atmosphere is lighter. The cold and dense wind of the sea rushes in to replace it. From this cause, in the upper regions the wind blows towards the land from every quarter. It would be advisable to make long tacks between the true and apparent parallel. When the latitude by observation differs from the latitude by dead reckoning by not more than three minutes in thirty miles, or by four minutes in sixty miles, you are in the true course."
"Too few stars and too much wind. The breeze keeps changing direction and blowing towards the shore, then rises straight up. This happens because the land is warmer than the water, making its atmosphere lighter. The cold, dense wind from the sea rushes in to take its place. Because of this, the wind in the upper regions blows towards the land from all directions. It would be a good idea to make long course changes between the actual and apparent paths. When the latitude measured by observation differs from the latitude estimated by dead reckoning by no more than three minutes over thirty miles, or four minutes over sixty miles, you are on the right course."
The skipper bowed, but the old man saw him not. The latter, who wore what resembled an Oxford or Gottingen university gown, did not relax his haughty and rigid attitude. He observed the waters as a critic of waves and of men. He studied the billows, but almost as if he was about to demand his turn to speak amidst their turmoil, and teach them something. There was in him both pedagogue and soothsayer. He seemed an oracle of the deep.
The captain bowed, but the old man didn’t notice. The old man, who was dressed in what looked like an Oxford or Göttingen university gown, maintained his proud and stiff demeanor. He scanned the waters like a critic of waves and people. He examined the swells as if he were about to demand his chance to speak amid the chaos and teach them something. He embodied both a teacher and a prophet. He seemed like an oracle of the sea.
He continued his soliloquy, which was perhaps intended to be heard.
He kept going with his speech, which was probably meant to be heard.
"We might strive if we had a wheel instead of a helm. With a speed of twelve miles an hour, a force of twenty pounds exerted on the wheel produces three hundred thousand pounds' effect on the course. And more too. For in some cases, with a double block and runner, they can get two more revolutions."
"We could do a lot better if we had a steering wheel instead of a helm. At a speed of twelve miles per hour, applying twenty pounds of force on the wheel results in an effect of three hundred thousand pounds on the direction. And even more. In some instances, using a double block and runner can achieve two additional revolutions."
The skipper bowed a second time, and said, "My lord!"
The captain bowed again and said, "My lord!"
The old man's eye rested on him; he had turned his head without moving his body.
The old man's gaze was fixed on him; he had turned his head without shifting his body.
"Call me Doctor."
"Call me Dr."
"Master Doctor, I am the skipper."
"Doctor, I'm the captain."
"Just so," said the doctor.
"Exactly," said the doctor.
The doctor, as henceforward we shall call him, appeared willing to converse.
The doctor, as we will now refer to him, seemed open to talking.
"Skipper, have you an English sextant?"
"Skipper, do you have an English sextant?"
"No."
"No."
"Without an English sextant you cannot take an altitude at all."
"Without an English sextant, you can't measure altitude at all."
"The Basques," replied the captain, "took altitudes before there were any English."
"The Basques," the captain replied, "were taking altitudes before the English even showed up."
"Be careful you are not taken aback."
"Be careful you don't get surprised."
"I keep her away when necessary."
"I keep her at a distance when I need to."
"Have you tried how many knots she is running?"
"Have you checked how fast she's going?"
"Yes."
Yes.
"When?"
"When?"
"Just now."
"Right now."
"How?"
"How?"
"By the log."
"Next to the log."
"Did you take the trouble to look at the triangle?"
"Did you bother to look at the triangle?"
"Yes."
Yes.
"Did the sand run through the glass in exactly thirty seconds?"
"Did the sand pass through the glass in exactly thirty seconds?"
"Yes."
"Yeah."
"Are you sure that the sand has not worn the hole between the globes?"
"Are you sure the sand hasn't worn away the hole between the globes?"
"Yes."
Yes.
"Have you proved the sand-glass by the oscillations of a bullet?"
"Have you tested the hourglass by the movement of a bullet?"
"Suspended by a rope yarn drawn out from the top of a coil of soaked hemp? Undoubtedly."
"Suspended by a rope made from a coil of soaked hemp? Definitely."
"Have you waxed the yarn lest it should stretch?"
"Have you waxed the thread so it won't stretch?"
"Yes."
Yes.
"Have you tested the log?"
"Have you checked the log?"
"I tested the sand-glass by the bullet, and checked the log by a round shot."
"I checked the hourglass with the bullet and verified the log with a round shot."
"Of what size was the shot?"
"How large was the shot?"
"One foot in diameter."
"One foot wide."
"Heavy enough?"
"Is it heavy enough?"
"It is an old round shot of our war hooker, La Casse de Par-Grand."
"It’s an old cannonball from our warship, La Casse de Par-Grand."
"Which was in the Armada?"
"Which was in the Armada?"
"Yes."
Yes.
"And which carried six hundred soldiers, fifty sailors, and twenty-five guns?"
"And which had six hundred soldiers, fifty sailors, and twenty-five guns?"
"Shipwreck knows it."
"Shipwreck knows this."
"How did you compute the resistance of the water to the shot?"
"How did you calculate the water's resistance to the shot?"
"By means of a German scale."
"Using a German scale."
"Have you taken into account the resistance of the rope supporting the shot to the waves?"
"Have you considered the resistance of the rope holding up the shot against the waves?"
"Yes."
Yes.
"What was the result?"
"What was the outcome?"
"The resistance of the water was 170 pounds."
"The water's resistance was 170 pounds."
"That's to say she is running four French leagues an hour."
"That means she is running four French leagues every hour."
"And three Dutch leagues."
"And three Dutch leagues."
"But that is the difference merely of the vessel's way and the rate at which the sea is running?"
"But that's just the difference in the way the boat is moving and how fast the sea is flowing?"
"Undoubtedly."
"Definitely."
"Whither are you steering?"
"Where are you headed?"
"For a creek I know, between Loyola and St. Sebastian."
"For a creek I know, located between Loyola and St. Sebastian."
"Make the latitude of the harbour's mouth as soon as possible."
"Determine the latitude of the harbor's entrance as soon as you can."
"Yes, as near as I can."
"Yeah, as close as I can."
"Beware of gusts and currents. The first cause the second."
"Watch out for strong winds and currents. The first creates the second."
"Traidores."[4]
"Traitors."[__A_TAG_PLACEHOLDER_0__]
"No abuse. The sea understands. Insult nothing. Rest satisfied with watching."
"No abuse. The sea understands. Don’t insult anything. Be content just to watch."
"I have watched, and I do watch. Just now the tide is running against the wind; by-and-by, when it turns, we shall be all right."
"I’ve been watching, and I still am. Right now the tide is going against the wind; soon, when it changes, everything will be fine."
"Have you a chart?"
"Do you have a chart?"
"No; not for this channel."
"No, not for this channel."
"Then you sail by rule of thumb?"
"Then you navigate by intuition?"
"Not at all. I have a compass."
"Not at all. I have a compass."
"The compass is one eye, the chart the other."
"The compass is one eye, the map is the other."
"A man with one eye can see."
"A man with one eye can see."
"How do you compute the difference between the true and apparent course?"
"How do you calculate the difference between the true course and the apparent course?"
"I've got my standard compass, and I make a guess."
"I have my regular compass, and I take a guess."
"To guess is all very well. To know for certain is better."
"Guessing is fine, but knowing for sure is better."
"Christopher guessed."
"Chris guessed."
"When there is a fog and the needle revolves treacherously, you can never tell on which side you should look out for squalls, and the end of it is that you know neither the true nor apparent day's work. An ass with his chart is better off than a wizard with his oracle."
"When there's fog and the needle spins unpredictably, you never know which side to expect storms from, and in the end, you’re left unsure of the actual or visible day's progress. A donkey with a map is better off than a wizard with his crystal ball."
"There is no fog in the breeze yet, and I see no cause for alarm."
"There’s no fog in the breeze yet, and I don’t see any reason to be worried."
"Ships are like flies in the spider's web of the sea."
"Ships are like flies caught in the sea's web."
"Just now both winds and waves are tolerably favourable."
"Right now, both the winds and the waves are pretty favorable."
"Black specks quivering on the billows—such are men on the ocean."
"Black dots shaking on the waves—this is what men are like on the ocean."
"I dare say there will be nothing wrong to-night."
"I really don't think there's going to be anything wrong tonight."
"You may get into such a mess that you will find it hard to get out of it."
"You might find yourself in such a mess that it becomes difficult to escape it."
"All goes well at present."
"Everything is going well right now."
The doctor's eyes were fixed on the north-east. The skipper continued,—
The doctor's eyes were focused on the northeast. The skipper continued,—
"Let us once reach the Gulf of Gascony, and I answer for our safety. Ah! I should say I am at home there. I know it well, my Gulf of Gascony. It is a little basin, often very boisterous; but there, I know every sounding in it and the nature of the bottom—mud opposite San Cipriano, shells opposite Cizarque, sand off Cape Peñas, little pebbles off Boncaut de Mimizan, and I know the colour of every pebble."
"Once we reach the Gulf of Gascony, I guarantee our safety. Ah! I feel at home there. I know it well, my Gulf of Gascony. It’s a small bay, often pretty rough; but there, I know every depth and the type of seabed—mud by San Cipriano, shells near Cizarque, sand off Cape Peñas, tiny pebbles off Boncaut de Mimizan, and I can even tell the color of every pebble."
The skipper broke off; the doctor was no longer listening.
The captain stopped speaking; the doctor had tuned out.
The doctor gazed at the north-east. Over that icy face passed an extraordinary expression. All the agony of terror possible to a mask of stone was depicted there. From his mouth escaped this word, "Good!"
The doctor looked towards the northeast. An incredible expression crossed his icy features. It showed every bit of terror that a stone face could convey. From his lips came the word, "Good!"
His eyeballs, which had all at once become quite round like an owl's, were dilated with stupor on discovering a speck on the horizon. He added,—
His eyes, suddenly round like an owl's, were wide open in shock as he spotted a dot on the horizon. He added,—
"It is well. As for me, I am resigned."
"It’s all good. As for me, I’ve accepted it."
The skipper looked at him. The doctor went on talking to himself, or to some one in the deep,—
The captain looked at him. The doctor kept talking to himself or to someone deep inside—
"I say, Yes."
"I say, yes."
Then he was silent, opened his eyes wider and wider with renewed attention on that which he was watching, and said,—
Then he went silent, opened his eyes wider and wider, focusing intently on what he was watching, and said,—
"It is coming from afar, but not the less surely will it come."
"It’s coming from far away, but it will definitely arrive."
The arc of the horizon which occupied the visual rays and thoughts of the doctor, being opposite to the west, was illuminated by the transcendent reflection of twilight, as if it were day. This arc, limited in extent, and surrounded by streaks of grayish vapour, was uniformly blue, but of a leaden rather than cerulean blue. The doctor, having completely returned to the contemplation of the sea, pointed to this atmospheric arc, and said,—
The curve of the horizon that captured the doctor’s gaze and thoughts, facing the west, was lit up by the brilliant glow of twilight, making it seem like day. This curve, limited in size and surrounded by wisps of grayish mist, was a consistent blue, but more of a dull grayish-blue than a bright blue. The doctor, fully focused on the sea again, pointed to this section of the sky and said,—
"Skipper, do you see?"
"Captain, do you see?"
"What?"
"What the heck?"
"That."
"That."
"What?"
"What’s up?"
"Out there."
"Out there."
"A blue spot? Yes."
"Is that a blue spot? Yes."
"What is it?"
"What's that?"
"A niche in heaven."
"A spot in heaven."
"For those who go to heaven; for those who go elsewhere it is another affair." And he emphasized these enigmatical words with an appalling expression which was unseen in the darkness.
"For those who go to heaven; for those who go elsewhere it is another affair." And he emphasized these puzzling words with a terrifying expression that couldn't be seen in the darkness.
A silence ensued. The skipper, remembering the two names given by the chief to this man, asked himself the question,—
A silence fell. The captain, recalling the two names the chief had given this man, wondered to himself—
"Is he a madman, or is he a sage?"
"Is he a crazy person, or is he a wise man?"
The stiff and bony finger of the doctor remained immovably pointing, like a sign-post, to the misty blue spot in the sky.
The doctor’s stiff, bony finger stayed firmly pointed, like a signpost, at the hazy blue spot in the sky.
The skipper looked at this spot.
The captain looked at this spot.
"In truth," he growled out, "it is not sky but clouds."
"In reality," he growled, "it's not the sky but the clouds."
"A blue cloud is worse than a black cloud," said the doctor; "and," he added, "it's a snow-cloud."
"A blue cloud is worse than a black cloud," said the doctor; "and," he added, "it's a snow cloud."
"La nube de la nieve," said the skipper, as if trying to understand the word better by translating it.
"La nube de la nieve," said the captain, as if trying to understand the word better by translating it.
"Do you know what a snow-cloud is?" asked the doctor.
"Do you know what a snow cloud is?" the doctor asked.
"No."
"Nope."
"You'll know by-and-by."
"You'll know soon."
The skipper again turned his attention to the horizon.
The captain shifted his focus back to the horizon.
Continuing to observe the cloud, he muttered between his teeth,—
Continuing to watch the cloud, he mumbled to himself,—
"One month of squalls, another of wet; January with its gales, February with its rains—that's all the winter we Asturians get. Our rain even is warm. We've no snow but on the mountains. Ay, ay; look out for the avalanche. The avalanche is no respecter of persons. The avalanche is a brute."
"One month of storms, another of rain; January with its strong winds, February with its downpours—that's all the winter we have here in Asturias. Our rain is even warm. We only get snow in the mountains. Oh, watch out for the avalanche. The avalanche doesn’t discriminate. The avalanche is a monster."
"And the waterspout is a monster," said the doctor, adding, after a pause, "Here it comes." He continued, "Several winds are getting up together—a strong wind from the west, and a gentle wind from the east."
"And the waterspout is a monster," said the doctor, adding, after a pause, "Here it comes." He continued, "Several winds are picking up together—a strong wind from the west and a gentle wind from the east."
"That last is a deceitful one," said the skipper.
"That last one is misleading," said the skipper.
The blue cloud was growing larger.
The blue cloud was getting bigger.
"If the snow," said the doctor, "is appalling when it slips down the mountain, think what it is when it falls from the Pole!"
"If the snow," said the doctor, "is terrible when it comes sliding down the mountain, imagine how it must be when it falls from the Pole!"
His eye was glassy. The cloud seemed to spread over his face and simultaneously over the horizon. He continued, in musing tones,—
His eye looked glassy. The cloud seemed to spread over his face and at the same time over the horizon. He went on, in a thoughtful tone,—
"Every minute the fatal hour draws nearer. The will of Heaven is about to be manifested."
"Every minute, the deadly hour gets closer. The will of Heaven is about to show itself."
The skipper asked himself again this question,—"Is he a madman?"
The captain asked himself again, "Is he crazy?"
"Skipper," began the doctor, without taking his eyes off the cloud, "have you often crossed the Channel?"
"Skipper," the doctor started, still gazing at the cloud, "have you crossed the Channel often?"
"This is the first time."
"This is the first time."
The doctor, who was absorbed by the blue cloud, and who, as a sponge can take up but a definite quantity of water, had but a definite measure of anxiety, displayed no more emotion at this answer of the skipper than was expressed by a slight shrug of his shoulders.
The doctor, who was focused on the blue cloud, and who, like a sponge can only absorb a certain amount of water, had only a limited amount of anxiety, showed no more emotion at the skipper's answer than a slight shrug of his shoulders.
"How is that?"
"How's that?"
"Master Doctor, my usual cruise is to Ireland. I sail from Fontarabia to Black Harbour or to the Achill Islands. I go sometimes to Braich-y-Pwll, a point on the Welsh coast. But I always steer outside the Scilly Islands. I do not know this sea at all."
"Master Doctor, I usually cruise to Ireland. I sail from Fontarabia to Black Harbour or the Achill Islands. Sometimes I head to Braich-y-Pwll, a spot on the Welsh coast. But I always stay clear of the Scilly Islands. I'm not familiar with this sea at all."
"That's serious. Woe to him who is inexperienced on the ocean! One ought to be familiar with the Channel—the Channel is the Sphinx. Look out for shoals."
"That's serious. Woe to anyone who is inexperienced at sea! You need to be familiar with the Channel—the Channel is the Sphinx. Watch out for shallow areas."
"We are in twenty-five fathoms here."
"We're in twenty-five fathoms deep."
"We ought to get into fifty-five fathoms to the west, and avoid even twenty fathoms to the east."
"We should head into fifty-five fathoms to the west and steer clear of even twenty fathoms to the east."
"We'll sound as we get on."
"We'll see how it goes as we move forward."
"The Channel is not an ordinary sea. The water rises fifty feet with the spring tides, and twenty-five with neap tides. Here we are in slack water. I thought you looked scared."
"The Channel isn't just any sea. The water level rises fifty feet during spring tides and twenty-five feet during neap tides. Right now, we're in calm water. I noticed you seemed scared."
"We'll sound to-night."
"We'll sound tonight."
"To sound you must heave to, and that you cannot do."
"To make a sound, you have to stop and do nothing, and you can't do that."
"Why not?"
"Why not?"
"On account of the wind."
"Because of the wind."
"We'll try."
"We'll give it a shot."
"The squall is close on us."
"The storm is close to us."
"We'll sound, Master Doctor."
"We'll check, Master Doctor."
"You could not even bring to."
"You couldn't even bring yourself to."
"Trust in God."
"Have faith in God."
"Take care what you say. Pronounce not lightly the awful name."
"Be careful with your words. Don't say the terrible name casually."
"I will sound, I tell you."
"I'll make it clear, I promise."
"Be sensible; you will have a gale of wind presently."
"Be smart; a strong wind is coming soon."
"I say that I will try for soundings."
"I'll try to take some soundings."
"The resistance of the water will prevent the lead from sinking, and the line will break. Ah! so this is your first time in these waters?"
"The resistance of the water will keep the lead from sinking, and the line will snap. Oh! So this is your first time in these waters?"
"The first time."
"First time."
"Very well; in that case listen, skipper."
"Okay then, listen up, captain."
The tone of the word "listen" was so commanding that the skipper made an obeisance.
The tone of the word "listen" was so authoritative that the captain showed respect.
"Master Doctor, I am all attention."
"Doctor, I'm all ears."
"Port your helm, and haul up on the starboard tack."
"Steer to the right, and pull in the sail on the starboard side."
"What do you mean?"
"What do you mean?"
"Steer your course to the west."
"Navigate your path to the west."
"Caramba!"
"Wow!"
"Steer your course to the west."
"Set your direction to the west."
"Impossible."
"Not possible."
"As you will. What I tell you is for the others' sake. As for myself, I am indifferent."
"As you wish. What I say is for the benefit of others. Personally, I don’t care."
"But, Master Doctor, steer west?"
"But, Doctor, should we head west?"
"Yes, skipper."
"Sure, captain."
"The wind will be dead ahead."
"The wind will be directly in our face."
"Yes, skipper."
"Sure thing, captain."
"She'll pitch like the devil."
"She'll pitch like crazy."
"Moderate your language. Yes, skipper."
"Watch your language. Yes, captain."
"The vessel would be in irons."
"The ship will be stuck."
"Yes, skipper."
"Yes, captain."
"That means very likely the mast will go."
"That probably means the mast will come down."
"Possibly."
"Maybe."
"Do you wish me to steer west?"
"Do you want me to head west?"
"Yes."
Yes.
"I cannot."
"I can't."
"In that case settle your reckoning with the sea."
"In that case, settle your accounts with the sea."
"The wind ought to change."
"The wind should change."
"It will not change all night."
"It won't change all night long."
"Why not?"
"Why not?"
"Because it is a wind twelve hundred leagues in length."
"Because it is a wind that stretches twelve hundred leagues long."
"Make headway against such a wind! Impossible."
"Making progress against this wind! No way."
"To the west, I tell you."
"To the west, I'm telling you."
"I'll try, but in spite of everything she will fall off."
"I'll give it a shot, but no matter what, she's going to fall off."
"That's the danger."
"That's the risk."
"The wind sets us to the east."
"The wind pushes us to the east."
"Don't go to the east."
"Don't go east."
"Why not?"
"Why not?"
"Skipper, do you know what is for us the word of death?"
"Skipper, do you know what the word for death is for us?"
"No."
"Nope."
"Death is the east."
"Death is the new beginning."
"I'll steer west."
"I'm heading west."
This time the doctor, having turned right round, looked the skipper full in the face, and with his eyes resting on him, as though to implant the idea in his head, pronounced slowly, syllable by syllable, these words,—
This time the doctor, now fully facing the skipper, looked him directly in the eyes, and with his gaze fixed on him, as if trying to plant the idea in his mind, said slowly, word by word, these words,—
"If to-night out at sea we hear the sound of a bell, the ship is lost."
"If tonight out at sea we hear the sound of a bell, the ship is lost."
The skipper pondered in amaze.
The captain pondered in amazement.
"What do you mean?"
"What do you mean by that?"
The doctor did not answer. His countenance, expressive for a moment, was now reserved. His eyes became vacuous. He did not appear to hear the skipper's wondering question. He was now attending to his own monologue. His lips let fall, as if mechanically, in a low murmuring tone, these words,—
The doctor didn’t respond. His expression, which had been open for a moment, was now closed off. His eyes turned blank. He didn’t seem to hear the captain’s curious question. He was now focused on his own thoughts. His lips moved, almost automatically, as he murmured these words in a low voice,—
"The time has come for sullied souls to purify themselves."
"The time has come for stained souls to clean themselves up."
The skipper made that expressive grimace which raises the chin towards the nose.
The captain made that expressive grimace that lifts the chin towards the nose.
"He is more madman than sage," he growled, and moved off.
"He's more of a madman than a wise man," he muttered, and walked away.
Nevertheless he steered west.
Still, he headed west.
But the wind and the sea were rising.
But the wind and the sea were picking up.
CHAPTER V.
HARDQUANONNE.
The mist was deformed by all sorts of inequalities, bulging out at once on every point of the horizon, as if invisible mouths were busy puffing out the bags of wind. The formation of the clouds was becoming ominous. In the west, as in the east, the sky's depths were now invaded by the blue cloud: it advanced in the teeth of the wind. These contradictions are part of the wind's vagaries.
The mist twisted in all kinds of ways, puffing out at every point on the horizon, as if unseen mouths were blowing up bags of wind. The clouds were starting to look threatening. In the west and the east, the sky was now filled with blue clouds that pushed against the wind. These contrasts are typical of the wind's unpredictability.
The sea, which a moment before wore scales, now wore a skin—such is the nature of that dragon. It was no longer a crocodile: it was a boa. The skin, lead-coloured and dirty, looked thick, and was crossed by heavy wrinkles. Here and there, on its surface, bubbles of surge, like pustules, gathered and then burst. The foam was like a leprosy. It was at this moment that the hooker, still seen from afar by the child, lighted her signal.
The sea, which a moment ago had scales, now had skin—such is the nature of that dragon. It was no longer a crocodile: it was a boa. The skin, dull gray and filthy, looked thick and was marked by deep wrinkles. Here and there, bubbles of surf, like blisters, formed and then popped on its surface. The foam resembled a disease. It was at this moment that the hooker, still visible from a distance to the child, signaled with her light.
A quarter of an hour elapsed.
A quarter of an hour went by.
The skipper looked for the doctor: he was no longer on deck. Directly the skipper had left him, the doctor had stooped his somewhat ungainly form under the hood, and had entered the cabin; there he had sat down near the stove, on a block. He had taken a shagreen ink-bottle and a cordwain pocket-book from his pocket; he had extracted from his pocket-book a parchment folded four times, old, stained, and yellow; he had opened the sheet, taken a pen out of his ink-case, placed the pocket-book flat on his knee, and the parchment on the pocket-book; and by the rays of the lantern, which was lighting the cook, he set to writing on the back of the parchment. The roll of the waves inconvenienced him. He wrote thus for some time.
The captain searched for the doctor: he was no longer on deck. As soon as the captain left him, the doctor hunched his somewhat awkward frame under the hood and entered the cabin; there, he sat down near the stove on a block. He took out a shagreen ink bottle and a leather pocketbook from his pocket; he pulled out a piece of parchment that was folded four times, old, stained, and yellow; he opened the sheet, took a pen from his ink case, placed the pocketbook flat on his knee, and the parchment on top of the pocketbook; and by the light of the lantern, which was illuminating the cook, he began to write on the back of the parchment. The roll of the waves was a distraction for him. He wrote like that for a while.
As he wrote, the doctor remarked the gourd of aguardiente, which the Provençal tasted every time he added a grain of pimento to the puchero, as if he were consulting it in reference to the seasoning. The doctor noticed the gourd, not because it was a bottle of brandy, but because of a name which was plaited in the wickerwork with red rushes on a background of white. There was light enough in the cabin to permit of his reading the name.
As he wrote, the doctor noticed the gourd of aguardiente that the Provençal drank every time he added a grain of pimento to the stew, as if he were checking its opinion on the seasoning. The doctor observed the gourd, not because it was a bottle of brandy, but because of a name woven into the wicker with red rushes on a white background. There was enough light in the cabin for him to read the name.
The doctor paused, and spelled it in a low voice,—
The doctor took a moment, then whispered it—
"Hardquanonne."
"Hardquanonne."
Then he addressed the cook.
Then he spoke to the cook.
"I had not observed that gourd before; did it belong to Hardquanonne?"
"I hadn't noticed that gourd before; did it belong to Hardquanonne?"
"Yes," the cook answered; "to our poor comrade, Hardquanonne."
"Yeah," the cook replied, "to our poor buddy, Hardquanonne."
The doctor went on,—
The doctor continued,—
"To Hardquanonne, the Fleming of Flanders?"
"To Hardquanonne, the Flemish person from Flanders?"
"Yes."
Yes.
"Who is in prison?"
"Who is incarcerated?"
"Yes."
"Yep."
"In the dungeon at Chatham?"
"In the Chatham dungeon?"
"It is his gourd," replied the cook; "and he was my friend. I keep it in remembrance of him. When shall we see him again? It is the bottle he used to wear slung over his hip."
"It’s his gourd," the cook replied, "and he was my friend. I keep it to remember him. When will we see him again? It’s the bottle he used to hang from his hip."
The doctor took up his pen again, and continued laboriously tracing somewhat straggling lines on the parchment. He was evidently anxious that his handwriting should be very legible; and at length, notwithstanding the tremulousness of the vessel and the tremulousness of age, he finished what he wanted to write.
The doctor picked up his pen again and carefully continued drawing somewhat uneven lines on the parchment. He clearly wanted his handwriting to be very clear; and finally, despite the shakiness of the ship and his old age, he completed what he meant to write.
It was time, for suddenly a sea struck the craft, a mighty rush of waters besieged the hooker, and they felt her break into that fearful dance in which ships lead off with the tempest.
It was time, because suddenly a huge wave hit the boat, a powerful surge of water surrounded the vessel, and they felt her start that terrifying dance that ships do in a storm.
The doctor arose and approached the stove, meeting the ship's motion with his knees dexterously bent, dried as best he could, at the stove where the pot was boiling, the lines he had written, refolded the parchment in the pocket-book, and replaced the pocket-book and the inkhorn in his pocket.
The doctor got up and walked over to the stove, skillfully bending his knees to adjust to the ship's movement. He dried off as best as he could by the stove where the pot was boiling, folded the lines he had written, put the parchment back in the pocket-book, and returned the pocket-book and the inkpot to his pocket.
The stove was not the least ingenious piece of interior economy in the hooker. It was judiciously isolated. Meanwhile the pot heaved—the Provençal was watching it.
The stove was one of the smartest features of the interior design in the hooker. It was wisely set apart. Meanwhile, the pot bubbled away—the Provençal was keeping an eye on it.
"Fish broth," said he.
"Fish broth," he said.
"For the fishes," replied the doctor. Then he went on deck again.
"For the fish," the doctor replied. Then he went back on deck.
CHAPTER VI.
THEY THINK THAT HELP IS AT HAND.
Through his growing preoccupation the doctor in some sort reviewed the situation; and any one near to him might have heard these words drop from his lips,—
Through his increasing concern, the doctor somewhat reviewed the situation; and anyone close to him might have heard these words escape his lips,—
"Too much rolling, and not enough pitching."
"Too much rolling and not enough pitching."
Then recalled to himself by the dark workings of his mind, he sank again into thought, as a miner into his shaft. His meditation in nowise interfered with his watch on the sea. The contemplation of the sea is in itself a reverie.
Then brought back to reality by the dark workings of his mind, he sank once more into thought, like a miner into his shaft. His meditation didn’t interfere with his watch over the sea. The act of contemplating the sea is itself a daydream.
The dark punishment of the waters, eternally tortured, was commencing. A lamentation arose from the whole main. Preparations, confused and melancholy, were forming in space. The doctor observed all before him, and lost no detail. There was, however, no sign of scrutiny in his face. One does not scrutinize hell.
The dark punishment of the waters, forever tormented, was beginning. A cry of sorrow rose from the entire sea. Confused and sorrowful preparations were being made in the air. The doctor observed everything in front of him and missed no detail. However, there was no indication of scrutiny on his face. One does not examine hell.
A vast commotion, yet half latent, but visible through the turmoils in space, increased and irritated, more and more, the winds, the vapours, the waves. Nothing is so logical and nothing appears so absurd as the ocean. Self-dispersion is the essence of its sovereignty, and is one of the elements of its redundance. The sea is ever for and against. It knots that it may unravel itself; one of its slopes attacks, the other relieves. No apparition is so wonderful as the waves. Who can paint the alternating hollows and promontories, the valleys, the melting bosoms, the sketches? How render the thickets of foam, blendings of mountains and dreams? The indescribable is everywhere there—in the rending, in the frowning, in the anxiety, in the perpetual contradiction, in the chiaroscuro, in the pendants of the cloud, in the keys of the ever-open vault, in the disaggregation without rupture, in the funereal tumult caused by all that madness!
A huge commotion, though partly hidden, was visible through the chaos in the atmosphere, growing and becoming more intense, stirring the winds, the clouds, and the waves. Nothing is more logical and yet seems as absurd as the ocean. Self-dispersion is at the heart of its power and contributes to its abundance. The sea is always both for and against. It tangles itself up to untangle later; one side attacks while the other provides relief. No sight is as incredible as the waves. Who can capture the shifting dips and peaks, the valleys, the flowing curves, the shapes? How can one portray the foam-filled thickets, the blending of mountains and dreams? The indescribable is all around—in the tearing, in the scowling, in the tension, in the constant contradiction, in the light and shadow, in the hanging clouds, in the keys to the ever-open sky, in the breaking apart without fully falling apart, in the sorrowful chaos created by all that madness!
The wind had just set due north. Its violence was so favourable and so useful in driving them away from England that the captain of the Matutina had made up his mind to set all sail. The hooker slipped through the foam as at a gallop, the wind right aft, bounding from wave to wave in a gay frenzy. The fugitives were delighted, and laughed; they clapped their hands, applauded the surf, the sea, the wind, the sails, the swift progress, the flight, all unmindful of the future. The doctor appeared not to see them, and dreamt on.
The wind had just shifted to the north. Its strength was so helpful and effective in carrying them away from England that the captain of the Matutina decided to raise all the sails. The boat glided through the waves as if in a race, with the wind at its back, bouncing from wave to wave in a cheerful frenzy. The escapees were thrilled and laughed; they clapped their hands, cheered for the surf, the sea, the wind, the sails, the swift journey, their escape, all oblivious to what lay ahead. The doctor seemed not to notice them and continued to daydream.
Every vestige of day had faded away. This was the moment when the child, watching from the distant cliff, lost sight of the hooker. Up to then his glance had remained fixed, and, as it were, leaning on the vessel. What part had that look in fate? When the hooker was lost to sight in the distance, and when the child could no longer see aught, the child went north and the ship went south.
Every trace of daylight had disappeared. This was the moment when the child, watching from the distant cliff, lost sight of the boat. Until then, his gaze had stayed focused, as if resting on the vessel. What role did that look play in fate? When the boat vanished into the distance, and the child could no longer see anything, the child went north and the ship went south.
All were plunged in darkness.
Everyone was plunged in darkness.
CHAPTER VII.
SUPERHUMAN HORRORS.
On their part it was with wild jubilee and delight that those on board the hooker saw the hostile land recede and lessen behind them. By degrees the dark ring of ocean rose higher, dwarfing in twilight Portland, Purbeck, Tineham, Kimmeridge, the Matravers, the long streaks of dim cliffs, and the coast dotted with lighthouses.
Those on board the hooker watched in wild celebration and joy as the hostile land faded away behind them. Gradually, the dark ocean rose higher, overshadowing Portland, Purbeck, Tineham, Kimmeridge, the Matravers, the long lines of shadowy cliffs, and the coastline scattered with lighthouses.
England disappeared. The fugitives had now nothing round them but the sea.
England was gone. The fugitives had nothing around them but the sea.
All at once night grew awful.
All of a sudden, the night became terrible.
There was no longer extent nor space; the sky became blackness, and closed in round the vessel. The snow began to fall slowly; a few flakes appeared. They might have been ghosts. Nothing else was visible in the course of the wind. They felt as if yielded up. A snare lurked in every possibility.
There was no longer any distance or space; the sky turned to blackness and wrapped around the boat. Snow started to fall slowly, with a few flakes appearing. They could have been ghosts. Nothing else was visible in the wind. They felt as if they had given up. A trap was hidden in every possibility.
It is in this cavernous darkness that in our climate the Polar waterspout makes its appearance.
It is in this vast darkness that the Polar waterspout appears in our climate.
A great muddy cloud, like to the belly of a hydra, hung over ocean, and in places its lividity adhered to the waves. Some of these adherences resembled pouches with holes, pumping the sea, disgorging vapour, and refilling themselves with water. Here and there these suctions drew up cones of foam on the sea.
A big muddy cloud, resembling the belly of a hydra, hung over the ocean, and in some areas its pale color stuck to the waves. Some of these patches looked like pouches with holes, drawing in the sea, releasing vapor, and refilling with water. Now and then, these suction points pulled up cones of foam from the ocean.
The boreal storm hurled itself on the hooker. The hooker rushed to meet it. The squall and the vessel met as though to insult each other.
The boreal storm slammed into the hooker. The hooker sped up to confront it. The squall and the vessel collided like rivals ready to throw down.
In the first mad shock not a sail was clewed up, not a jib lowered, not a reef taken in, so much is flight a delirium. The mast creaked and bent back as if in fear.
In the initial chaotic shock, no sails were furled, no jibs were lowered, and no reefs were taken in; such is the madness of panic. The mast creaked and bent backward as if it was afraid.
Cyclones, in our northern hemisphere, circle from left to right, in the same direction as the hands of a watch, with a velocity which is sometimes as much as sixty miles an hour. Although she was entirely at the mercy of that whirling power, the hooker behaved as if she were out in moderate weather, without any further precaution than keeping her head on to the rollers, with the wind broad on the bow so as to avoid being pooped or caught broadside on. This semi-prudence would have availed her nothing in case of the wind's shifting and taking her aback.
Cyclones in the northern hemisphere rotate from left to right, like the hands of a clock, reaching speeds of up to sixty miles per hour. Even though she was completely at the mercy of that swirling force, the hooker acted as if she were out in mild weather, taking no extra precautions other than keeping her bow facing the waves, with the wind coming in from the side to prevent being swamped or hit sideways. However, this partial caution wouldn't have helped her if the wind had changed direction and caught her off guard.
A deep rumbling was brewing up in the distance. The roar of the abyss, nothing can be compared to it. It is the great brutish howl of the universe. What we call matter, that unsearchable organism, that amalgamation of incommensurable energies, in which can occasionally be detected an almost imperceptible degree of intention which makes us shudder, that blind, benighted cosmos, that enigmatical Pan, has a cry, a strange cry, prolonged, obstinate, and continuous, which is less than speech and more than thunder. That cry is the hurricane. Other voices, songs, melodies, clamours, tones, proceed from nests, from broods, from pairings, from nuptials, from homes. This one, a trumpet, comes out of the Naught, which is All. Other voices express the soul of the universe; this one expresses the monster. It is the howl of the formless. It is the inarticulate finding utterance in the indefinite. A thing it is full of pathos and terror. Those clamours converse above and beyond man. They rise, fall, undulate, determine waves of sound, form all sorts of wild surprises for the mind, now burst close to the ear with the importunity of a peal of trumpets, now assail us with the rumbling hoarseness of distance. Giddy uproar which resembles a language, and which, in fact, is a language. It is the effort which the world makes to speak. It is the lisping of the wonderful. In this wail is manifested vaguely all that the vast dark palpitation endures, suffers, accepts, rejects. For the most part it talks nonsense; it is like an access of chronic sickness, and rather an epilepsy diffused than a force employed; we fancy that we are witnessing the descent of supreme evil into the infinite. At moments we seem to discern a reclamation of the elements, some vain effort of chaos to reassert itself over creation. At times it is a complaint. The void bewails and justifies itself. It is as the pleading of the world's cause. We can fancy that the universe is engaged in a lawsuit; we listen—we try to grasp the reasons given, the redoubtable for and against. Such a moaning of the shadows has the tenacity of a syllogism. Here is a vast trouble for thought. Here is the raison d'être of mythologies and polytheisms. To the terror of those great murmurs are added superhuman outlines melting away as they appear—Eumenides which are almost distinct, throats of Furies shaped in the clouds, Plutonian chimeras almost defined. No horrors equal those sobs, those laughs, those tricks of tumult, those inscrutable questions and answers, those appeals to unknown aid. Man knows not what to become in the presence of that awful incantation. He bows under the enigma of those Draconian intonations. What latent meaning have they? What do they signify? What do they threaten? What do they implore? It would seem as though all bonds were loosened. Vociferations from precipice to precipice, from air to water, from the wind to the wave, from the rain to the rock, from the zenith to the nadir, from the stars to the foam—the abyss unmuzzled—such is that tumult, complicated by some mysterious strife with evil consciences.
A deep rumble was building in the distance. The roar of the abyss, nothing can compare to it. It’s the great primal howl of the universe. What we call matter, that unfathomable entity, that mix of countless energies in which we can sometimes sense an almost invisible degree of intention that makes us shudder, that blind, dark cosmos, that puzzling force, has a cry, a strange, prolonged, stubborn, and continuous cry, which is less than speech and more than thunder. That cry is the hurricane. Other sounds, songs, melodies, clamors, tones come from nests, from families, from pairings, from unions, from homes. This one, like a trumpet, emerges from the Void, which is Everything. Other sounds express the soul of the universe; this one expresses the monster. It’s the howl of the formless. It’s the inarticulate finding its voice in the indefinite. It is filled with both beauty and terror. Those clamors communicate above and beyond humanity. They rise, fall, undulate, create waves of sound, form all kinds of wild surprises for the mind, now bursting close to the ear with the insistence of a trumpet blast, now assaulting us with the deep hoarseness of distance. A dizzying uproar that resembles a language, and which, in fact, is a language. It is the world’s effort to speak. It is the stammering of the wondrous. In this wail is vaguely manifested all that the vast darkness endures, suffers, accepts, or rejects. For the most part, it talks nonsense; it’s like a long-lasting illness, more an epilepsy spreading than a force being exerted; we feel as if we’re witnessing the descent of supreme evil into the infinite. At times, we seem to sense a reclamation of the elements, some futile attempt by chaos to reassert itself over creation. At times, it’s a lament. The void grieves and justifies itself. It’s like the pleading of the world’s cause. We can imagine that the universe is involved in a lawsuit; we listen—we try to understand the arguments, the formidable pros and cons. Such a moaning of the shadows has the persistence of a syllogism. Here lies a significant trouble for thought. Here is the raison d'être of mythologies and polytheisms. To the terror of those great murmurs are added superhuman shapes that melt away as they appear—Eumenides that are almost distinct, the throats of Furies shaped in the clouds, Plutonian chimeras almost defined. No horrors equal those sobs, those laughs, those chaotic tricks, those incomprehensible questions and answers, those pleas for unknown help. Man doesn’t know what to become in the face of that dreadful incantation. He bows under the mystery of those Draconian intonations. What hidden meaning do they hold? What do they signify? What do they threaten? What do they implore? It seems as if all bonds are breaking. Shouts from cliff to cliff, from air to water, from the wind to the wave, from the rain to the rock, from the zenith to the nadir, from the stars to the foam—the abyss unleashed—such is that tumult, complicated by some mysterious struggle with evil minds.
The loquacity of night is not less lugubrious than its silence. One feels in it the anger of the unknown.
The chatter of night is just as mournful as its silence. You can sense the anger of the unknown in it.
Night is a presence. Presence of what?
Night is a presence. Presence of what?
For that matter we must distinguish between night and the shadows. In the night there is the absolute; in the darkness the multiple. Grammar, logic as it is, admits of no singular for the shadows. The night is one, the shadows are many.[5]
For that matter, we need to differentiate between night and shadows. In the night, there is the absolute; in the darkness, there are multiples. Grammar, as it is, allows for no singular term for shadows. The night is one, but the shadows are many.[5]
This mist of nocturnal mystery is the scattered, the fugitive, the crumbling, the fatal; one feels earth no longer, one feels the other reality.
This fog of nighttime mystery is scattered, fleeting, decaying, and deadly; you no longer feel the earth, but instead sense another reality.
In the shadow, infinite and indefinite, lives something or some one; but that which lives there forms part of our death. After our earthly passage, when that shadow shall be light for us, the life which is beyond our life shall seize us. Meanwhile it appears to touch and try us. Obscurity is a pressure. Night is, as it were, a hand placed on our soul. At certain hideous and solemn hours we feel that which is beyond the wall of the tomb encroaching on us.
In the endless and unclear shadow, something or someone exists; but what lives there is part of our death. After we pass away, when that shadow becomes light for us, the life that exists beyond our lives will grasp us. In the meantime, it seems to reach out and test us. Obscurity weighs on us. Night is like a hand resting on our soul. At certain horrific and serious moments, we sense what lies beyond the wall of the grave coming closer to us.
Never does this proximity of the unknown seem more imminent than in storms at sea. The horrible combines with the fantastic. The possible interrupter of human actions, the old Cloud compeller, has it in his power to mould, in whatsoever shape he chooses, the inconsistent element, the limitless incoherence, the force diffused and undecided of aim. That mystery the tempest every instant accepts and executes some unknown changes of will, apparent or real.
The closeness of the unknown feels most intense during storms at sea. The terrifying mixes with the surreal. The potential disruptor of human actions, the ancient force of nature, can shape the chaotic elements however it wants, controlling the boundless uncertainty and the scattered, uncertain energy. The mystery of the storm constantly embraces and carries out some unknown changes in intention, whether they are obvious or hidden.
Poets have, in all ages, called this the caprice of the waves. But there is no such thing as caprice. The disconcerting enigmas which in nature we call caprice, and in human life chance, are splinters of a law revealed to us in glimpses.
Poets throughout history have referred to this as the whim of the waves. But there’s really no such thing as whimsy. The confusing mysteries we see in nature, which we label as whimsy, and in human life as chance, are fragments of a law that we catch only glimpses of.
CHAPTER VIII.
NIX ET NOX.
The characteristic of the snowstorm is its blackness. Nature's habitual aspect during a storm, the earth or sea black and the sky pale, is reversed; the sky is black, the ocean white, foam below, darkness above; a horizon walled in with smoke; a zenith roofed with crape. The tempest resembles a cathedral hung with mourning, but no light in that cathedral: no phantom lights on the crests of the waves, no spark, no phosphorescence, naught but a huge shadow. The polar cyclone differs from the tropical cyclone, inasmuch as the one sets fire to every light, and the other extinguishes them all. The world is suddenly converted into the arched vault of a cave. Out of the night falls a dust of pale spots, which hesitate between sky and sea. These spots, which are flakes of snow, slip, wander, and flow. It is like the tears of a winding-sheet putting themselves into lifelike motion. A mad wind mingles with this dissemination. Blackness crumbling into whiteness, the furious into the obscure, all the tumult of which the sepulchre is capable, a whirlwind under a catafalque—such is the snowstorm. Underneath trembles the ocean, forming and re-forming over portentous unknown depths.
The defining feature of the snowstorm is its darkness. Nature's usual look during a storm, where the ground or sea is dark and the sky is light, is flipped; the sky is dark, the ocean is white, with foam below and darkness above; a horizon surrounded by smoke; a roof of gloom overhead. The storm resembles a cathedral draped in mourning, but there's no light in that cathedral: no glimmer on the wave crests, no spark, no phosphorescence, just a massive shadow. The polar cyclone is different from the tropical cyclone because the former snuffs out every light, while the latter blows them all away. Suddenly, the world is transformed into the vaulted ceiling of a cave. From the night, a dusting of pale spots falls, hesitating between sky and sea. These spots, which are snowflakes, slip, drift, and flow. It’s like the tears of a shroud coming to life. A wild wind mixes with this scattering. Darkness crumbles into whiteness, the furious into the obscure, all the chaos that the grave can hold—a whirlwind under a funeral canopy—that's the snowstorm. Below, the ocean trembles, constantly shaping and reshaping over deep, mysterious voids.
In the polar wind, which is electrical, the flakes turn suddenly into hailstones, and the air becomes filled with projectiles; the water crackles, shot with grape.
In the polar wind, which is electric, the flakes instantly transform into hailstones, and the air fills with projectiles; the water crackles, shot with grape.
No thunderstrokes: the lightning of boreal storms is silent. What is sometimes said of the cat, "it swears," may be applied to this lightning. It is a menace proceeding from a mouth half open and strangely inexorable. The snowstorm is a storm blind and dumb; when it has passed, the ships also are often blind and the sailors dumb.
No thunderclaps: the lightning from northern storms is quiet. What people sometimes say about cats, "it curses," can be said about this lightning. It feels like a threat coming from a mouth that’s half-open and oddly relentless. The snowstorm is a storm that is both blind and mute; when it’s over, ships are often blind too, and sailors are left speechless.
To escape from such an abyss is difficult.
To escape from such a pit is tough.
It would be wrong, however, to believe shipwreck to be absolutely inevitable. The Danish fishermen of Disco and the Balesin; the seekers of black whales; Hearn steering towards Behring Strait, to discover the mouth of Coppermine River; Hudson, Mackenzie, Vancouver, Ross, Dumont D'Urville, all underwent at the Pole itself the wildest hurricanes, and escaped out of them.
It would be a mistake, though, to think that shipwreck is completely unavoidable. The Danish fishermen of Disco and the Balesin; those searching for black whales; Hearn navigating toward the Bering Strait to find the mouth of the Coppermine River; Hudson, Mackenzie, Vancouver, Ross, Dumont D'Urville—all faced the fiercest hurricanes at the Pole itself and managed to get through them.
It was into this description of tempest that the hooker had entered, triumphant and in full sail—frenzy against frenzy. When Montgomery, escaping from Rouen, threw his galley, with all the force of its oars, against the chain barring the Seine at La Bouille, he showed similar effrontery.
It was into this stormy scene that the ship had sailed in, victorious and fully rigged—chaos meeting chaos. When Montgomery, fleeing from Rouen, sent his boat, powered by all its oars, crashing into the chain blocking the Seine at La Bouille, he displayed a similar boldness.
The Matutina sailed on fast; she bent so much under her sails that at moments she made a fearful angle with the sea of fifteen degrees; but her good bellied keel adhered to the water as if glued to it. The keel resisted the grasp of the hurricane. The lantern at the prow cast its light ahead.
The Matutina moved swiftly through the water; she leaned so much under her sails that at times she created a scary angle with the sea of fifteen degrees, but her well-shaped keel clung to the water as if it were glued to it. The keel held firm against the force of the hurricane. The lantern at the front shone its light ahead.
The cloud, full of winds, dragging its tumour over the deep, cramped and eat more and more into the sea round the hooker. Not a gull, not a sea-mew, nothing but snow. The expanse of the field of waves was becoming contracted and terrible; only three or four gigantic ones were visible.
The cloud, heavy with winds, dragging its mass over the deep, started to close in and consume the sea around the small boat. There were no gulls, no seagulls, nothing but snow. The vast field of waves was becoming small and frightening; only three or four massive ones could be seen.
Now and then a tremendous flash of lightning of a red copper colour broke out behind the obscure superposition of the horizon and the zenith; that sudden release of vermilion flame revealed the horror of the clouds; that abrupt conflagration of the depths, to which for an instant the first tiers of clouds and the distant boundaries of the celestial chaos seemed to adhere, placed the abyss in perspective. On this ground of fire the snow-flakes showed black—they might have been compared to dark butterflies flying about in a furnace—then all was extinguished.
Every now and then, a massive flash of red lightning lit up the dark line where the horizon meets the sky; that sudden burst of fiery red revealed the terrifying clouds. In that moment, the intense glow made the layers of clouds and the far edges of the chaotic sky seem to come alive, giving depth to the abyss. Against this fiery backdrop, the snowflakes appeared black—they looked like dark butterflies fluttering around in an oven—then everything faded into darkness.
The first explosion over, the squall, still pursuing the hooker, began to roar in thorough bass. This phase of grumbling is a perilous diminution of uproar. Nothing is so terrifying as this monologue of the storm. This gloomy recitative appears to serve as a moment of rest to the mysterious combating forces, and indicates a species of patrol kept in the unknown.
The first explosion passed, the squall, still following the hooker, started to roar with a deep bass. This phase of rumbling is a dangerous drop in noise. Nothing is as frightening as this one-sided conversation with the storm. This dark monologue seems to act as a moment of pause for the mysterious battling forces and suggests a kind of watch kept in the unknown.
The hooker held wildly on her course. Her two mainsails especially were doing fearful work. The sky and sea were as of ink with jets of foam running higher than the mast. Every instant masses of water swept the deck like a deluge, and at each roll of the vessel the hawse-holes, now to starboard, now to larboard, became as so many open mouths vomiting back the foam into the sea. The women had taken refuge in the cabin, but the men remained on deck; the blinding snow eddied round, the spitting surge mingled with it. All was fury.
The boat was maintaining its course despite the chaos. The two mainsails were working hard against the wind. The sky and sea were dark like ink, with jets of foam rising higher than the mast. Every moment, waves crashed over the deck like a flood, and with each roll of the ship, the openings for the anchor lines, now on the right and now on the left, seemed like open mouths spitting the foam back into the ocean. The women had taken shelter in the cabin, but the men stayed on deck; the blinding snow swirled around them, mixing with the crashing waves. It was complete chaos.
At that moment the chief of the band, standing abaft on the stern frames, holding on with one hand to the shrouds, and with the other taking off the kerchief he wore round his head and waving it in the light of the lantern, gay and arrogant, with pride in his face, and his hair in wild disorder, intoxicated by all the darkness, cried out,—
At that moment, the leader of the group, standing at the back on the stern frames, gripping the shrouds with one hand and waving the bandana he'd worn around his head with the other in the light of the lantern, cheerful and confident, pride showing on his face, and his hair tousled, wild from the darkness, shouted,—
"We are free!"
"We're free!"
"Free, free, free," echoed the fugitives, and the band, seizing hold of the rigging, rose up on deck.
"Free, free, free," shouted the fugitives, and the crew, grabbing hold of the rigging, climbed up onto the deck.
"Hurrah!" shouted the chief.
"Hooray!" shouted the chief.
And the band shouted in the storm,—
And the band yelled in the storm,—
"Hurrah!"
"Hooray!"
Just as this clamour was dying away in the tempest, a loud solemn voice rose from the other end of the vessel, saying,—
Just as this noise was fading in the storm, a loud, serious voice came from the other end of the ship, saying,—
"Silence!"
"Be quiet!"
All turned their heads. The darkness was thick, and the doctor was leaning against the mast so that he seemed part of it, and they could not see him.
Everyone turned their heads. The darkness was heavy, and the doctor was leaning against the mast, making him look like part of it, so they couldn't see him.
The voice spoke again,—
The voice spoke again—
"Listen!"
"Hey, listen!"
All were silent.
Everyone was silent.
Then did they distinctly hear through the darkness the toll of a bell.
Then they clearly heard the sound of a bell ringing through the darkness.
CHAPTER IX.
THE CHARGE CONFIDED TO A RAGING SEA.
The skipper, at the helm, burst out laughing,—
The captain, at the wheel, broke into laughter,—
"A bell! that's good. We are on the larboard tack. What does the bell prove? Why, that we have land to starboard."
"A bell! That's good. We're on the left tack. What does the bell mean? Well, it means we have land to the right."
The firm and measured voice of the doctor replied,—
The steady and confident voice of the doctor replied,—
"You have not land to starboard."
"You have no land on the right."
"But we have," shouted the skipper.
"But we have," shouted the captain.
"No!"
"No!"
"But that bell tolls from the land."
"But that bell rings out from the land."
"That bell," said the doctor, "tolls from the sea."
"That bell," the doctor said, "rings out from the sea."
A shudder passed over these daring men. The haggard faces of the two women appeared above the companion like two hobgoblins conjured up. The doctor took a step forward, separating his tall form from the mast. From the depth of the night's darkness came the toll of the bell.
A chill went through these bold men. The worn faces of the two women appeared above the staircase like two eerie spirits summoned from the shadows. The doctor moved forward, stepping out from behind the mast. From the depths of the night’s darkness came the sound of the bell tolling.
The doctor resumed,—
The doctor continued,—
"There is in the midst of the sea, halfway between Portland and the Channel Islands, a buoy, placed there as a caution; that buoy is moored by chains to the shoal, and floats on the top of the water. On the buoy is fixed an iron trestle, and across the trestle a bell is hung. In bad weather heavy seas toss the buoy, and the bell rings. That is the bell you hear."
"There is a buoy in the middle of the sea, halfway between Portland and the Channel Islands, set there as a warning. The buoy is anchored by chains to a sandbank and floats on the surface of the water. An iron frame is mounted on the buoy, and a bell hangs from the frame. In rough weather, the waves can shake the buoy, causing the bell to ring. That’s the bell you hear."
The doctor paused to allow an extra violent gust of wind to pass over, waited until the sound of the bell reasserted itself, and then went on,—
The doctor paused to let a strong gust of wind blow by, waited until the sound of the bell came back, and then continued,—
"To hear that bell in a storm, when the nor'-wester is blowing, is to be lost. Wherefore? For this reason: if you hear the bell, it is because the wind brings it to you. But the wind is nor'-westerly, and the breakers of Aurigny lie east. You hear the bell only because you are between the buoy and the breakers. It is on those breakers the wind is driving you. You are on the wrong side of the buoy. If you were on the right side, you would be out at sea on a safe course, and you would not hear the bell. The wind would not convey the sound to you. You would pass close to the buoy without knowing it. We are out of our course. That bell is shipwreck sounding the tocsin. Now, look out!"
"To hear that bell in a storm, when the northwester is blowing, means you're lost. Why? Because if you hear the bell, it’s because the wind carries it to you. But the wind is coming from the northwest, and the breakers of Aurigny are to the east. You only hear the bell because you're between the buoy and the breakers. The wind is pushing you toward those breakers. You're on the wrong side of the buoy. If you were on the right side, you'd be out at sea on a safe path, and you wouldn’t hear the bell. The wind wouldn’t carry the sound to you. You would pass by the buoy without realizing it. We’ve strayed off course. That bell is a warning of impending shipwreck. Now, pay attention!"
As the doctor spoke, the bell, soothed by a lull of the storm, rang slowly stroke by stroke, and its intermitting toll seemed to testify to the truth of the old man's words. It was as the knell of the abyss.
As the doctor spoke, the bell, calmed by a break in the storm, rang slowly, one stroke at a time, and its intermittent toll seemed to confirm the truth of the old man's words. It was like the sounding of doom.
All listened breathless, now to the voice, now to the bell.
Everyone listened in suspense, now to the voice, now to the bell.
CHAPTER X.
THE COLOSSAL SAVAGE, THE STORM.
In the meantime the skipper had caught up his speaking-trumpet.
In the meantime, the captain had picked up his megaphone.
"Strike every sail, my lads; let go the sheets, man the down-hauls, lower ties and brails. Let us steer to the west, let us regain the high sea; head for the buoy, steer for the bell—there's an offing down there. We've yet a chance."
"Bring in all the sails, guys; release the ropes, handle the down-hauls, and lower the ties and brails. Let's head west, get back to the open sea; aim for the buoy, steer towards the bell—there’s a good spot out there. We still have a chance."
"Try," said the doctor.
"Give it a try," said the doctor.
Let us remark here, by the way, that this ringing buoy, a kind of bell tower on the deep, was removed in 1802. There are yet alive very old mariners who remember hearing it. It forewarned, but rather too late.
Let’s note that this ringing buoy, like a bell tower in the ocean, was taken down in 1802. There are still some very old sailors who remember hearing it. It gave a warning, but it was often too late.
The orders of the skipper were obeyed. The Languedocian made a third sailor. All bore a hand. Not satisfied with brailing up, they furled the sails, lashed the earrings, secured the clew-lines, bunt-lines, and leech-lines, and clapped preventer-shrouds on the block straps, which thus might serve as back-stays. They fished the mast. They battened down the ports and bulls'-eyes, which is a method of walling up a ship. These evolutions, though executed in a lubberly fashion, were, nevertheless, thoroughly effective. The hooker was stripped to bare poles. But in proportion as the vessel, stowing every stitch of canvas, became more helpless, the havoc of both winds and waves increased. The seas ran mountains high. The hurricane, like an executioner hastening to his victim, began to dismember the craft. There came, in the twinkling of an eye, a dreadful crash: the top-sails were blown from the bolt-ropes, the chess-trees were hewn asunder, the deck was swept clear, the shrouds were carried away, the mast went by the board, all the lumber of the wreck was flying in shivers. The main shrouds gave out although they were turned in, and stoppered to four fathoms.
The captain's orders were followed. The Languedocian became a third sailor. Everyone pitched in. Not content with just raising the sails, they furled them, tied up the earrings, secured the clew-lines, bunt-lines, and leech-lines, and put preventer-shrouds on the block straps so they could act as back-stays. They secured the mast. They closed off the ports and bull's-eyes, which is a way of sealing up a ship. Even though these maneuvers were performed clumsily, they were still quite effective. The boat was left with just its bare poles. But as the ship became more defenseless by stowing all its sails, the destruction from the winds and waves grew stronger. The seas rose to towering heights. The hurricane, like an executioner rushing to his victim, began to tear the ship apart. In an instant, there was a terrifying crash: the top sails were ripped from the bolt-ropes, the chess-trees were cut in two, the deck was swept clean, the shrouds were torn away, the mast fell overboard, and all the debris from the wreck was flying everywhere. The main shrouds broke despite being turned in and secured to four fathoms.
The magnetic currents common to snowstorms hastened the destruction of the rigging. It broke as much from the effect of effluvium as the violence of the wind. Most of the chain gear, fouled in the blocks, ceased to work. Forward the bows, aft the quarters, quivered under the terrific shocks. One wave washed overboard the compass and its binnacle. A second carried away the boat, which, like a box slung under a carriage, had been, in accordance with the quaint Asturian custom, lashed to the bowsprit. A third breaker wrenched off the spritsail yard. A fourth swept away the figurehead and signal light. The rudder only was left.
The magnetic currents typical of snowstorms sped up the damage to the rigging. It fell apart as much from the effects of the vapor as from the force of the wind. Most of the chain gear, tangled in the blocks, stopped working. The front and back of the ship shook under the tremendous impacts. One wave knocked the compass and its stand overboard. A second wave took the boat, which had been tied to the bowsprit according to the old Asturian tradition, away like a box under a carriage. A third wave tore off the spritsail yard. A fourth swept away the figurehead and signal light. The rudder was the only thing left.
To replace the ship's bow lantern they set fire to, and suspended at the stem, a large block of wood covered with oakum and tar.
To replace the ship's bow lantern they set on fire, they hung a large block of wood covered in oakum and tar from the stem.
The mast, broken in two, all bristling with quivering splinters, ropes, blocks, and yards, cumbered the deck. In falling it had stove in a plank of the starboard gunwale. The skipper, still firm at the helm, shouted,—
The mast, broken in two and full of splintered pieces, ropes, blocks, and yards, cluttered the deck. When it fell, it smashed a plank on the starboard gunwale. The captain, still steady at the helm, shouted,—
"While we can steer we have yet a chance. The lower planks hold good. Axes, axes! Overboard with the mast! Clear the decks!"
"While we can still steer, we have a chance. The lower planks are holding up. Axes, axes! Throw the mast overboard! Clear the decks!"
Both crew and passengers worked with the excitement of despair. A few strokes of the hatchets, and it was done. They pushed the mast over the side. The deck was cleared.
Both the crew and passengers worked with a mix of excitement and despair. A few swift blows of the hatchets, and it was finished. They pushed the mast over the side. The deck was cleared.
"Now," continued the skipper, "take a rope's end and lash me to the helm." To the tiller they bound him.
"Now," the captain continued, "grab a rope and tie me to the steering wheel." They secured him to the tiller.
While they were fastening him he laughed, and shouted,—
While they were tying him up, he laughed and shouted,—
"Blow, old hurdy-gurdy, bellow. I've seen your equal off Cape Machichaco."
"Blow, old hurdy-gurdy, shout. I've seen your match off Cape Machichaco."
And when secured he clutched the helm with that strange hilarity which danger awakens.
And once he was secured, he grabbed the helm with that odd excitement that danger brings.
"All goes well, my lads. Long live our Lady of Buglose! Let us steer west."
"Everything's going smoothly, guys. Long live our Lady of Buglose! Let’s head west."
An enormous wave came down abeam, and fell on the vessel's quarter. There is always in storms a tiger-like wave, a billow fierce and decisive, which, attaining a certain height, creeps horizontally over the surface of the waters for a time, then rises, roars, rages, and falling on the distressed vessel tears it limb from limb.
An enormous wave crashed alongside the ship and hit the vessel's side. There’s always a wave in storms that’s like a tiger—fierce and powerful. When it reaches a certain height, it moves horizontally across the surface of the water for a while, then rises, roars, and crashes down, tearing the struggling ship apart.
A cloud of foam covered the entire poop of the Matutina.
A cloud of foam covered the entire poop deck of the Matutina.
There was heard above the confusion of darkness and waters a crash.
There was a crash heard above the chaos of darkness and water.
When the spray cleared off, when the stern again rose in view, the skipper and the helm had disappeared. Both had been swept away.
When the spray cleared, and the stern came back into view, the captain and the wheel had vanished. Both had been swept away.
The helm and the man they had but just secured to it had passed with the wave into the hissing turmoil of the hurricane.
The helm and the man they had just secured to it had been swept away by the wave into the chaotic turmoil of the hurricane.
The chief of the band, gazing intently into the darkness, shouted,—
The leader of the group, staring hard into the darkness, shouted,—
"Te burlas de nosotros?"
"Are you mocking us?"
To this defiant exclamation there followed another cry,—
To this bold shout, another cry followed—
"Let go the anchor. Save the skipper."
"Release the anchor. Save the captain."
They rushed to the capstan and let go the anchor.
They hurried to the capstan and released the anchor.
Hookers carry but one. In this case the anchor reached the bottom, but only to be lost. The bottom was of the hardest rock. The billows were raging with resistless force. The cable snapped like a thread.
Hookers carry just one. In this case, the anchor hit the bottom, but it got lost. The bottom was solid rock. The waves were crashing with unstoppable force. The cable broke like a thread.
The anchor lay at the bottom of the sea. At the cutwater there remained but the cable end protruding from the hawse-hole.
The anchor was at the bottom of the sea. Only the cable end stuck out from the hawse-hole at the bow.
From this moment the hooker became a wreck. The Matutina was irrevocably disabled. The vessel, just before in full sail, and almost formidable in her speed, was now helpless. All her evolutions were uncertain and executed at random. She yielded passively and like a log to the capricious fury of the waves. That in a few minutes there should be in place of an eagle a useless cripple, such a transformation is to be witnessed only at sea.
From this moment on, the ship became a disaster. The Matutina was completely disabled. Just moments ago, she was sailing full speed ahead and was almost intimidating in her speed, but now she was helpless. All her movements were uncertain and done at random. She surrendered passively, like a log, to the unpredictable wrath of the waves. The fact that in just a few minutes there could be a useless wreck in place of a majestic eagle is a change that can only be seen at sea.
The howling of the wind became more and more frightful. A hurricane has terrible lungs; it makes unceasingly mournful additions to darkness, which cannot be intensified. The bell on the sea rang despairingly, as if tolled by a weird hand.
The howling of the wind grew more and more terrifying. A hurricane has a dreadful roar; it continuously adds a mournful tone to the darkness, which can't be deepened. The bell on the sea rang in despair, as if struck by a ghostly hand.
The Matutina drifted like a cork at the mercy of the waves. She sailed no longer—she merely floated. Every moment she seemed about to turn over on her back, like a dead fish. The good condition and perfectly water-tight state of the hull alone saved her from this disaster. Below the water-line not a plank had started. There was not a cranny, chink, nor crack; and she had not made a single drop of water in the hold. This was lucky, as the pump, being out of order, was useless.
The Matutina floated like a cork, completely at the mercy of the waves. She wasn't sailing anymore—she just drifted. Every moment it looked like she might roll over on her back, like a dead fish. Only the good condition and perfectly watertight hull kept her from this disaster. Below the waterline, not a single plank had come loose. There wasn't a gap, crack, or leak, and she hadn't taken in a drop of water in the hold. This was fortunate since the pump was broken and useless.
The hooker pitched and roared frightfully in the seething billows. The vessel had throes as of sickness, and seemed to be trying to belch forth the unhappy crew.
The hooker pitched and roared terrifyingly in the churning waves. The ship was in pain, like it was sick, and seemed to be trying to throw up the unfortunate crew.
Helpless they clung to the standing rigging, to the transoms, to the shank painters, to the gaskets, to the broken planks, the protruding nails of which tore their hands, to the warped riders, and to all the rugged projections of the stumps of the masts. From time to time they listened. The toll of the bell came over the waters fainter and fainter; one would have thought that it also was in distress. Its ringing was no more than an intermittent rattle. Then this rattle died away. Where were they? At what distance from the buoy? The sound of the bell had frightened them; its silence terrified them. The north-wester drove them forward in perhaps a fatal course. They felt themselves wafted on by maddened and ever-recurring gusts of wind. The wreck sped forward in the darkness. There is nothing more fearful than being hurried forward blindfold. They felt the abyss before them, over them, under them. It was no longer a run, it was a rush.
Helpless, they clung to the standing rigging, to the transoms, to the anchor lines, to the gaskets, to the broken planks, the sharp nails of which tore at their hands, to the warped rails, and to all the rough edges of the stumps of the masts. From time to time, they listened. The toll of the bell faded over the waters, growing fainter and fainter; one might think it was in distress too. Its ringing was nothing more than an intermittent rattle. Then that rattle faded away. Where were they? How far from the buoy? The sound of the bell had scared them; its silence terrified them. The north-wester pushed them forward on what could be a deadly path. They felt themselves carried along by chaotic and relentless gusts of wind. The wreck sped forward into the darkness. There’s nothing more terrifying than being rushed forward blindfolded. They sensed the abyss before them, above them, below them. It was no longer just a run; it was a frantic rush.
Suddenly, through the appalling density of the snowstorm, there loomed a red light.
Suddenly, through the heavy snowstorm, a red light appeared.
"A lighthouse!" cried the crew.
"A lighthouse!" shouted the crew.
CHAPTER XI.
THE CASKETS.
It was indeed the Caskets light.
It was definitely the Caskets light.
A lighthouse of the nineteenth century is a high cylinder of masonry, surmounted by scientifically constructed machinery for throwing light. The Caskets lighthouse in particular is a triple white tower, bearing three light-rooms. These three chambers revolve on clockwork wheels, with such precision that the man on watch who sees them from sea can invariably take ten steps during their irradiation, and twenty-five during their eclipse. Everything is based on the focal plan, and on the rotation of the octagon drum, formed of eight wide simple lenses in range, having above and below it two series of dioptric rings; an algebraic gear, secured from the effects of the beating of winds and waves by glass a millimetre thick[6], yet sometimes broken by the sea-eagles, which dash themselves like great moths against these gigantic lanterns. The building which encloses and sustains this mechanism, and in which it is set, is also mathematically constructed. Everything about it is plain, exact, bare, precise, correct. A lighthouse is a mathematical figure.
A nineteenth-century lighthouse is a tall cylindrical structure made of stone, topped with engineered machinery to emit light. The Caskets lighthouse, in particular, is a triple white tower with three light chambers. These three rooms rotate on clockwork mechanisms so precisely that the watchman observing them from the sea can consistently take ten steps during their illumination and twenty-five during their darkness. Everything follows a focal plan, relying on the rotation of an octagonal drum made up of eight wide, simple lenses in alignment, with two rows of dioptric rings positioned above and below it; an algebraic gear, protected from the impact of winds and waves by a millimeter-thick glass[6], although it is occasionally damaged by sea-eagles that crash into these enormous lanterns like giant moths. The building that houses and supports this mechanism, where it is installed, is also mathematically designed. Everything about it is straightforward, exact, bare, precise, and accurate. A lighthouse is a mathematical figure.
In the seventeenth century a lighthouse was a sort of plume of the land on the seashore. The architecture of a lighthouse tower was magnificent and extravagant. It was covered with balconies, balusters, lodges, alcoves, weathercocks. Nothing but masks, statues, foliage, volutes, reliefs, figures large and small, medallions with inscriptions. Pax in bello, said the Eddystone lighthouse. We may as well observe, by the way, that this declaration of peace did not always disarm the ocean. Winstanley repeated it on a lighthouse which he constructed at his own expense, on a wild spot near Plymouth. The tower being finished, he shut himself up in it to have it tried by the tempest. The storm came, and carried off the lighthouse and Winstanley in it. Such excessive adornment gave too great a hold to the hurricane, as generals too brilliantly equipped in battle draw the enemy's fire. Besides whimsical designs in stone, they were loaded with whimsical designs in iron, copper, and wood. The ironwork was in relief, the woodwork stood out. On the sides of the lighthouse there jutted out, clinging to the walls among the arabesques, engines of every description, useful and useless, windlasses, tackles, pulleys, counterpoises, ladders, cranes, grapnels. On the pinnacle around the light delicately-wrought ironwork held great iron chandeliers, in which were placed pieces of rope steeped in resin; wicks which burned doggedly, and which no wind extinguished; and from top to bottom the tower was covered by a complication of sea-standards, banderoles, banners, flags, pennons, colours which rose from stage to stage, from story to story, a medley of all hues, all shapes, all heraldic devices, all signals, all confusion, up to the light chamber, making, in the storm, a gay riot of tatters about the blaze. That insolent light on the brink of the abyss showed like a defiance, and inspired shipwrecked men with a spirit of daring. But the Caskets light was not after this fashion.
In the seventeenth century, a lighthouse was like a plume of land on the shoreline. The design of a lighthouse tower was impressive and extravagant. It was adorned with balconies, railings, lodges, alcoves, and weathercocks. There were masks, statues, foliage, scrolls, reliefs, figures of all sizes, and medallions with inscriptions. Pax in bello, said the Eddystone lighthouse. It's worth noting that this declaration of peace didn’t always calm the ocean. Winstanley repeated it on a lighthouse he built at his own expense in a wild area near Plymouth. Once the tower was finished, he confined himself inside to test it against the storm. The tempest arrived and took the lighthouse and Winstanley with it. Such excessive ornamentation gave the hurricane too much leverage, much like generals who appear overly ornate in battle attract enemy fire. Besides the quirky stone designs, they were loaded with whimsical designs in iron, copper, and wood. The ironwork was raised, while the woodwork protruded. The sides of the lighthouse had various devices sticking out, clinging to the walls among the decorations: tools both useful and useless, winches, riggings, pulleys, counterbalances, ladders, cranes, and grapnels. At the top, intricate ironwork held large iron chandeliers, which contained pieces of rope soaked in resin; wicks that burned steadily and weren’t extinguished by wind; and from top to bottom, the tower was covered in a jumble of sea standards, banners, flags, pennants, and colors that rose from level to level, a mix of all hues, shapes, heraldic designs, and signals, creating a chaotic display around the flame in the storm. That bold light on the edge of the abyss looked like a challenge and inspired shipwrecked people with a sense of courage. But the Caskets light was not like that.
It was, at that period, merely an old barbarous lighthouse, such as Henry I. had built it after the loss of the White Ship—a flaming pile of wood under an iron trellis, a brazier behind a railing, a head of hair flaming in the wind.
It was, at that time, just an old, primitive lighthouse, like the one Henry I built after the sinking of the White Ship—a blazing stack of wood beneath an iron framework, a fire behind a barrier, a tangle of hair blowing in the wind.
The only improvement made in this lighthouse since the twelfth century was a pair of forge-bellows worked by an indented pendulum and a stone weight, which had been added to the light chamber in 1610.
The only upgrade to this lighthouse since the twelfth century was a pair of forge bellows operated by a notched pendulum and a stone weight, which were added to the light chamber in 1610.
The fate of the sea-birds who chanced to fly against these old lighthouses was more tragic than those of our days. The birds dashed against them, attracted by the light, and fell into the brazier, where they could be seen struggling like black spirits in a hell, and at times they would fall back again between the railings upon the rock, red hot, smoking, lame, blind, like half-burnt flies out of a lamp.
The fate of the seabirds that happened to fly toward these old lighthouses was more tragic than it is today. The birds flew into them, drawn by the light, and fell into the brazier, where they struggled like dark spirits in hell. At times, they would fall back between the railings onto the rocks, red-hot, smoking, limping, and blind, like half-burnt flies that fall out of a lamp.
To a full-rigged ship in good trim, answering readily to the pilot's handling, the Caskets light is useful; it cries, "Look out;" it warns her of the shoal. To a disabled ship it is simply terrible. The hull, paralyzed and inert, without resistance, without defence against the impulse of the storm or the mad heaving of the waves, a fish without fins, a bird without wings, can but go where the wind wills. The lighthouse shows the end—points out the spot where it is doomed to disappear—throws light upon the burial. It is the torch of the sepulchre.
To a well-equipped ship in good shape, responding easily to the pilot's control, the Caskets light is helpful; it shouts, "Be careful;" it alerts her to the shallow waters. For a disabled ship, it’s just dreadful. The hull, immobilized and lifeless, offers no resistance, no protection against the force of the storm or the wild crashing of the waves, like a fish without fins, a bird without wings, can only drift where the wind takes it. The lighthouse reveals the end—indicates the spot where it’s destined to sink—sheds light on the grave. It's the light of the tomb.
To light up the inexorable chasm, to warn against the inevitable, what more tragic mockery!
To illuminate the unavoidably deep gap, to caution against the certain, what a cruel joke!
CHAPTER XII.
FACE TO FACE WITH THE ROCK.
The wretched people in distress on board the Matutina understood at once the mysterious derision which mocked their shipwreck. The appearance of the lighthouse raised their spirits at first, then overwhelmed them. Nothing could be done, nothing attempted. What has been said of kings, we may say of the waves—we are their people, we are their prey. All that they rave must be borne. The nor'-wester was driving the hooker on the Caskets. They were nearing them; no evasion was possible. They drifted rapidly towards the reef; they felt that they were getting into shallow waters; the lead, if they could have thrown it to any purpose, would not have shown more than three or four fathoms. The shipwrecked people heard the dull sound of the waves being sucked within the submarine caves of the steep rock. They made out, under the lighthouse, like a dark cutting between two plates of granite, the narrow passage of the ugly wild-looking little harbour, supposed to be full of the skeletons of men and carcasses of ships. It looked like the mouth of a cavern, rather than the entrance of a port. They could hear the crackling of the pile on high within the iron grating. A ghastly purple illuminated the storm; the collision of the rain and hail disturbed the mist. The black cloud and the red flame fought, serpent against serpent; live ashes, reft by the wind, flew from the fire, and the sudden assaults of the sparks seemed to drive the snowflakes before them. The breakers, blurred at first in outline, now stood out in bold relief, a medley of rocks with peaks, crests, and vertebræ. The angles were formed by strongly marked red lines, and the inclined planes in blood-like streams of light. As they neared it, the outline of the reefs increased and rose—sinister.
The desperate people stuck on the Matutina immediately grasped the cruel mockery of their shipwreck. At first, the sight of the lighthouse lifted their spirits, but soon it crushed them. Nothing could be done, and nothing was even attempted. What is said about kings can also be said about the waves—we are their subjects, we are their victims. All their fury must be endured. The nor’-wester was pushing the boat towards the Caskets. They were getting close; there was no way to escape. They were rapidly drifting toward the reef and could sense they were entering shallow waters; the lead, if they could have used it, would have shown no more than three or four fathoms. The shipwrecked people heard the dull sound of waves being sucked into the underwater caves of the steep rock. Under the lighthouse, they saw a dark gash between two slabs of granite—the narrow entrance to the ugly, wild-looking little harbor, rumored to be filled with the remains of men and wrecked ships. It resembled the mouth of a cave rather than the entrance to a port. They could hear the crackling of the beams above within the iron grating. A ghastly purple illuminated the storm; raindrops and hail clashed and disturbed the fog. The black clouds and red flames battled, like two serpents; live ashes, swept by the wind, flew from the fire, and the sudden bursts of sparks seemed to drive the snowflakes before them. The surf, initially blurred in outline, now stood out sharply, a chaotic mix of rocks with peaks, crests, and spines. The edges were defined by strong red lines, and the sloping surfaces glowed with blood-like streams of light. As they approached, the shape of the reefs grew larger and more menacing.
One of the women, the Irishwoman, told her beads wildly.
One of the women, the Irish woman, frantically told her beads.
In place of the skipper, who was the pilot, remained the chief, who was the captain. The Basques all know the mountain and the sea. They are bold on the precipice, and inventive in catastrophes.
In the absence of the pilot, who was the skipper, the chief took charge as the captain. The Basques are familiar with both the mountains and the sea. They are fearless on the edge of cliffs and resourceful in emergencies.
They neared the cliff. They were about to strike. Suddenly they were so close to the great north rock of the Caskets that it shut out the lighthouse from them. They saw nothing but the rock and the red light behind it. The huge rock looming in the mist was like a gigantic black woman with a hood of fire.
They approached the cliff. They were about to hit it. Suddenly, they were so close to the great north rock of the Caskets that it blocked out the lighthouse. All they could see was the rock and the red light behind it. The massive rock rising in the mist looked like a giant black woman with a hood of fire.
That ill-famed rock is called the Biblet. It faces the north side the reef, which on the south is faced by another ridge, L'Etacq-aux-giulmets. The chief looked at the Biblet, and shouted,—
That infamous rock is called the Biblet. It faces the northern side of the reef, while another ridge, L'Etacq-aux-giulmets, is on the south side. The chief looked at the Biblet and yelled,—
"A man with a will to take a rope to the rock! Who can swim?"
"A man determined to take a rope to the rock! Who can swim?"
No answer.
No response.
No one on board knew how to swim, not even the sailors—an ignorance not uncommon among seafaring people.
No one on the ship knew how to swim, not even the sailors—something that's not unusual for people who spend their lives at sea.
A beam nearly free of its lashings was swinging loose. The chief clasped it with both hands, crying, "Help me."
A beam that was almost free from its bindings was swinging around. The chief grabbed it with both hands, shouting, "Help me."
They unlashed the beam. They had now at their disposal the very thing they wanted. From the defensive, they assumed the offensive.
They untied the beam. They now had exactly what they needed. Moving from defense, they took the initiative.
It was a longish beam of heart of oak, sound and strong, useful either as a support or as an engine of attack—a lever for a burden, a ram against a tower.
It was a long piece of heart of oak, solid and sturdy, useful either as a support or as a weapon— a lever for lifting heavy things, a ram against a tower.
"Ready!" shouted the chief.
"Ready!" yelled the chief.
All six, getting foothold on the stump of the mast, threw their weight on the spar projecting over the side, straight as a lance towards a projection of the cliff.
All six, finding their balance on the stump of the mast, leaned their weight on the spar that jutted out over the side, aiming straight as a spear towards a ledge of the cliff.
It was a dangerous manoeuvre. To strike at a mountain is audacity indeed. The six men might well have been thrown into the water by the shock.
It was a risky move. To attack a mountain takes a lot of guts. The six men could have easily been thrown into the water by the impact.
There is variety in struggles with storms. After the hurricane, the shoal; after the wind, the rock. First the intangible, then the immovable, to be encountered.
There are different kinds of challenges with storms. After the hurricane, there’s the shallow water; after the wind, there’s the rock. First the unseen, then the solid, to be faced.
Some minutes passed, such minutes as whiten men's hair.
Some minutes passed, the kind of minutes that turn men's hair gray.
The rock and the vessel were about to come in collision. The rock, like a culprit, awaited the blow.
The rock and the ship were about to collide. The rock, like a guilty party, braced for impact.
A resistless wave rushed in; it ended the respite. It caught the vessel underneath, raised it, and swayed it for an instant as the sling swings its projectile.
A powerful wave crashed in; it brought the break to an end. It lifted the boat from underneath, raising it and swaying it for a moment like a sling swings its projectile.
"Steady!" cried the chief; "it is only a rock, and we are men."
"Hold steady!" shouted the chief; "it's just a rock, and we're men."
The beam was couched, the six men were one with it, its sharp bolts tore their arm-pits, but they did not feel them.
The beam was positioned, the six men were in sync with it, its sharp edges dug into their armpits, but they didn’t feel a thing.
The wave dashed the hooker against the rock.
The wave crashed the boat against the rock.
Then came the shock.
Then came the surprise.
It came under the shapeless cloud of foam which always hides such catastrophes.
It entered the formless cloud of foam that always conceals such disasters.
When this cloud fell back into the sea, when the waves rolled back from the rock, the six men were tossing about the deck, but the Matutina was floating alongside the rock—clear of it. The beam had stood and turned the vessel; the sea was running so fast that in a few seconds she had left the Caskets behind.
When this cloud dropped back into the ocean and the waves receded from the rock, the six men were flung around the deck, but the Matutina was floating beside the rock—away from it. The beam had held and turned the ship; the sea was flowing so quickly that in just a few seconds, she had left the Caskets behind.
Such things sometimes occur. It was a straight stroke of the bowsprit that saved Wood of Largo at the mouth of the Tay. In the wild neighbourhood of Cape Winterton, and under the command of Captain Hamilton, it was the appliance of such a lever against the dangerous rock, Branodu-um, that saved the Royal Mary from shipwreck, although she was but a Scotch built frigate. The force of the waves can be so abruptly discomposed that changes of direction can be easily managed, or at least are possible even in the most violent collisions. There is a brute in the tempest. The hurricane is a bull, and can be turned.
Such things happen sometimes. It was a direct hit from the bowsprit that saved Wood of Largo at the mouth of the Tay. In the wild area near Cape Winterton, and under Captain Hamilton's command, it was the use of such a lever against the dangerous rock, Branodu-um, that saved the Royal Mary from sinking, even though she was just a Scottish-built frigate. The force of the waves can be so suddenly disrupted that changes in direction can be easily managed, or at least are possible even during the most violent collisions. There is a beast in the storm. The hurricane is like a bull and can be redirected.
The whole secret of avoiding shipwreck is to try and pass from the secant to the tangent.
The key to avoiding disaster is to move from the secant to the tangent.
Such was the service rendered by the beam to the vessel. It had done the work of an oar, had taken the place of a rudder. But the manoeuvre once performed could not be repeated. The beam was overboard; the shock of the collision had wrenched it out of the men's hands, and it was lost in the waves. To loosen another beam would have been to dislocate the hull.
Such was the service provided by the beam to the vessel. It had worked like an oar, taking the place of a rudder. But once the maneuver was done, it couldn't be done again. The beam was overboard; the impact of the collision had torn it from the men's hands, and it was gone in the waves. Removing another beam would have dislocated the hull.
The hurricane carried off the Matutina. Presently the Caskets showed as a harmless encumbrance on the horizon. Nothing looks more out of countenance than a reef of rocks under such circumstances. There are in nature, in its obscure aspects, in which the visible blends with the invisible, certain motionless, surly profiles, which seem to express that a prey has escaped.
The hurricane swept away the Matutina. Right now, the Caskets appeared as a harmless burden on the horizon. Nothing seems more out of place than a reef of rocks in situations like this. In nature, amidst its hidden aspects, where the visible merges with the invisible, there are certain still, gloomy silhouettes that seem to convey that a target has gotten away.
Thus glowered the Caskest while the Matutina fled.
Thus glared the Caskest while the Matutina escaped.
The lighthouse paled in distance, faded, and disappeared.
The lighthouse faded into the distance and disappeared.
There was something mournful in its extinction. Layers of mist sank down upon the now uncertain light. Its rays died in the waste of waters; the flame floated, struggled, sank, and lost its form. It might have been a drowning creature. The brasier dwindled to the snuff of a candle; then nothing; more but a weak, uncertain flutter. Around it spread a circle of extravasated glimmer; it was like the quenching of: light in the pit of night.
There was something sad about its disappearance. Layers of mist settled over the now dim light. Its rays faded into the vast waters; the flame flickered, fought, sank, and lost shape. It looked like a drowning creature. The fire shrank to the size of a candle wick; then it was gone; just a weak, uncertain flicker left. Around it spread a circle of spilled light; it was like the extinguishing of light in the depths of night.
The bell which had threatened was dumb. The lighthouse which had threatened had melted away. And yet it was more awful now that they had ceased to threaten. One was a voice, the other a torch. There was something human about them.
The bell that had been ominous was silent. The lighthouse that had loomed was gone. Yet it felt even more frightening now that they had stopped being a threat. One was a voice, the other a beacon. There was something human about them.
They were gone, and nought remained but the abyss.
They were gone, and nothing was left except the void.
CHAPTER XIII.
FACE TO FACE WITH NIGHT.
Again was the hooker running with the shadow into immeasurable darkness.
Again, the sex worker was rushing into the vast darkness, accompanied by the shadow.
The Matutina, escaped from the Caskets, sank and rose from billow to billow. A respite, but in chaos.
The Matutina, having broken free from the Caskets, sank and rose with each wave. A brief pause, but still in turmoil.
Spun round by the wind, tossed by all the thousand motions of the wave, she reflected every mad oscillation of the sea. She scarcely pitched at all—a terrible symptom of a ship's distress. Wrecks merely roll. Pitching is a convulsion of the strife. The helm alone can turn a vessel to the wind.
Spun around by the wind, tossed by all the countless movements of the wave, she mirrored every wild swing of the sea. She barely pitched at all—a serious sign of a ship's trouble. Wrecks just roll. Pitching is a sign of struggle. Only the helm can steer a ship into the wind.
In storms, and more especially in the meteors of snow, sea and night end by melting into amalgamation, resolving into nothing but a smoke. Mists, whirlwinds, gales, motion in all directions, no basis, no shelter, no stop. Constant recommencement, one gulf succeeding another. No horizon visible; intense blackness for background. Through all these the hooker drifted.
In storms, especially in the snow-filled skies, the sea and night blend together, dissolving into nothing but a haze. Mists, whirlwinds, gales, movement in every direction—no solid ground, no shelter, no pause. An endless cycle, one abyss following another. There’s no horizon in sight; just a deep, intense darkness as the backdrop. Through all of this, the hooker drifted.
To have got free of the Caskets, to have eluded the rock, was a victory for the shipwrecked men; but it was a victory which left them in stupor. They had raised no cheer: at sea such an imprudence is not repeated twice. To throw down a challenge where they could not cast the lead, would have been too serious a jest.
To have escaped the Caskets and dodged the rock was a win for the shipwrecked men; but it was a win that left them in shock. They didn’t cheer: at sea, such recklessness doesn’t happen twice. Throwing down a challenge when they couldn’t take the lead would have been far too serious a joke.
The repulse of the rock was an impossibility achieved. They were petrified by it. By degrees, however, they began to hope again. Such are the insubmergable mirages of the soul! There is no distress so complete but that even in the most critical moments the inexplicable sunrise of hope is seen in its depths. These poor wretches were ready to acknowledge to themselves that they were saved. It was on their lips.
The rejection of the rock seemed impossible, yet they had done it. They were frozen in shock, but gradually, they started to feel hopeful again. Such are the unquenchable illusions of the soul! There’s no sorrow so deep that even in the darkest times, the mysterious dawn of hope isn’t found within it. These unfortunate people were about to admit to themselves that they were saved. It was on the tip of their tongues.
But suddenly something terrible appeared to them in the darkness.
But suddenly, something horrible emerged from the darkness.
On the port bow arose, standing stark, cut out on the background of mist, a tall, opaque mass, vertical, right-angled, a tower of the abyss. They watched it open-mouthed.
On the left side of the ship, a tall, solid shape appeared against the misty background, standing straight up, like a tower from the depths. They stared at it in awe.
The storm was driving them towards it.
The storm was pushing them toward it.
They knew not what it was. It was the Ortach rock.
They didn't know what it was. It was the Ortach rock.
CHAPTER XIV.
ORTACH.
The reef reappeared. After the Caskets comes Ortach. The storm is no artist; brutal and all-powerful, it never varies its appliances. The darkness is inexhaustible. Its snares and perfidies never come to an end. As for man, he soon comes to the bottom of his resources. Man expends his strength, the abyss never.
The reef showed up again. After the Caskets comes Ortach. The storm is no artist; it's brutal and all-powerful, using the same methods every time. The darkness is endless. Its traps and deceit never run out. As for humans, they quickly exhaust their resources. People use up their strength, but the abyss never does.
The shipwrecked men turned towards the chief, their hope. He could only shrug his shoulders. Dismal contempt of helplessness.
The shipwrecked men looked to the chief, their last hope. He could only shrug his shoulders. A dark, hopeless kind of contempt.
A pavement in the midst of the ocean—such is the Ortach rock. The Ortach, all of a piece, rises up in a straight line to eighty feet above the angry beating of the waves. Waves and ships break against it. An immovable cube, it plunges its rectilinear planes apeak into the numberless serpentine curves of the sea.
A flat surface in the middle of the ocean—this is the Ortach rock. The Ortach rises in a straight line to eighty feet above the forceful crashing of the waves. Waves and ships collide against it. An unmovable block, it thrusts its straight surfaces upward into the countless twisting shapes of the sea.
At night it stands an enormous block resting on the folds of a huge black sheet. In time of storm it awaits the stroke of the axe, which is the thunder-clap.
At night, it looks like a huge block lying on the folds of a big black sheet. During a storm, it waits for the chop of the axe, which is like the thunderclap.
But there is never a thunder-clap during the snowstorm. True, the ship has the bandage round her eyes; darkness is knotted about her; she is like one prepared to be led to the scaffold. As for the thunderbolt, which makes quick ending, it is not to be hoped for.
But there's never a thunderclap during the snowstorm. Sure, the ship is blindfolded; darkness is wrapped around her like a shroud. She's like someone getting ready to face the executioner's block. As for the thunderbolt that brings a swift end, that's not something to count on.
The Matutina, nothing better than a log upon the waters, drifted towards this rock as she had drifted towards the other. The poor wretches on board, who had for a moment believed themselves saved, relapsed into their agony. The destruction they had left behind faced them again. The reef reappeared from the bottom of the sea. Nothing had been gained.
The Matutina, just like a log floating on the water, drifted toward this rock as it had drifted toward the others. The unfortunate people on board, who had momentarily thought they were saved, fell back into their despair. The devastation they had escaped now confronted them once more. The reef emerged from the depths of the sea. Nothing had been accomplished.
The Caskets are a figuring iron[7] with a thousand compartments. The Ortach is a wall. To be wrecked on the Caskets is to be cut into ribbons; to strike on the Ortach is to be crushed into powder.
The Caskets are a set of iron containers with a thousand compartments. The Ortach is a wall. To be wrecked on the Caskets is to be torn into ribbons; to hit the Ortach is to be crushed into dust.
Nevertheless, there was one chance.
Still, there was one chance.
On a straight frontage such as that of the Ortach neither the wave nor the cannon ball can ricochet. The operation is simple: first the flux, then the reflux; a wave advances, a billow returns.
On a straight front like that of the Ortach, neither a wave nor a cannonball can bounce back. The process is straightforward: first the incoming flow, then the outgoing flow; a wave moves forward, and a break returns.
In such cases the question of life and death is balanced thus: if the wave carries the vessel on the rock, she breaks on it and is lost; if the billow retires before the ship has touched, she is carried back, she is saved.
In such situations, the issue of life and death is weighed like this: if the wave pushes the ship onto the rocks, it crashes and is lost; if the wave pulls back before the ship makes contact, it is carried back and saved.
It was a moment of great anxiety; those on board saw through the gloom the great decisive wave bearing down on them. How far was it going to drag them? If the wave broke upon the ship, they were carried on the rock and dashed to pieces. If it passed under the ship....
It was a moment of intense anxiety; those on board could see through the darkness the massive wave rushing toward them. How far would it pull them? If the wave crashed against the ship, they would be thrown onto the rocks and shattered. If it passed beneath the ship...
The wave did pass under.
The wave passed underneath.
They breathed again.
They took a breath.
But what of the recoil? What would the surf do with them? The surf carried them back. A few minutes later the Matutina was free of the breakers. The Ortach faded from their view, as the Caskets had done. It was their second victory. For the second time the hooker had verged on destruction, and had drawn back in time.
But what about the recoil? What would the surf do with them? The surf carried them back. A few minutes later, the Matutina was out of the breakers. The Ortach disappeared from their sight, just like the Caskets had. It was their second victory. For the second time, the hooker had come close to destruction and had pulled back just in time.
CHAPTER XV.
PORTENTOSUM MARE.
Meanwhile a thickening mist had descended on the drifting wretches. They were ignorant of their whereabouts, they could scarcely see a cable's length around. Despite a furious storm of hail which forced them to bend down their heads, the women had obstinately refused to go below again. No one, however hopeless, but wishes, if shipwreck be inevitable, to meet it in the open air. When so near death, a ceiling above one's head seems like the first outline of a coffin.
Meanwhile, a thickening mist had settled over the drifting souls. They had no idea where they were, barely able to see a short distance around them. Despite a fierce storm of hail that forced them to lower their heads, the women stubbornly refused to go below deck again. No one, no matter how hopeless, wants to face shipwreck in a confined space if it's unavoidable; when death is so close, having a ceiling overhead feels like the beginning of a coffin.
They were now in a short and chopping sea. A turgid sea indicates its constraint. Even in a fog the entrance into a strait may be known by the boiling-like appearance of the waves. And thus it was, for they were unconsciously coasting Aurigny. Between the west of Ortach and the Caskets and the east of Aurigny the sea is hemmed in and cramped, and the uneasy position determines locally the condition of storms. The sea suffers like others, and when it suffers it is irritable. That channel is a thing to fear.
They were now in a short, choppy sea. A rough sea shows its tension. Even in a fog, you can recognize the entrance to a strait by the foamy appearance of the waves. And that was the case, as they were unknowingly passing along Aurigny. The water is squeezed and confined between the west of Ortach and the Caskets, and the east of Aurigny, which makes local storms more intense. The sea, like anything else, can suffer, and when it does, it becomes agitated. That channel is something to be wary of.
The Matutina was in it.
The Matutina was included.
Imagine under the sea a tortoise shell as big as Hyde Park or the Champs Elysées, of which every striature is a shallow, and every embossment a reef. Such is the western approach of Aurigny. The sea covers and conceals this ship-wrecking apparatus. On this conglomeration of submarine breakers the cloven waves leap and foam—in calm weather, a chopping sea; in storms, a chaos.
Imagine a tortoise shell under the sea, as large as Hyde Park or the Champs Élysées, where every line is a shallow and every bump is a reef. This is the western approach to Aurigny. The sea hides and covers this shipwrecking obstacle. The divided waves jump and foam over this collection of underwater breakers — in calm weather, it’s a rough sea; during storms, it’s complete chaos.
The shipwrecked men observed this new complication without endeavouring to explain it to themselves. Suddenly they understood it. A pale vista broadened in the zenith; a wan tinge overspread the sea; the livid light revealed on the port side a long shoal stretching eastward, towards which the power of the rushing wind was driving the vessel. The shoal was Aurigny.
The shipwrecked men watched this new complication unfold without trying to make sense of it. Suddenly, it clicked. A pale view opened up in the sky; a dull hue spread across the sea; the sickly light showed a long shoal extending eastward on the port side, toward which the force of the rushing wind was pushing the vessel. The shoal was Aurigny.
What was that shoal? They shuddered. They would have shuddered even more had a voice answered them—Aurigny.
What was that shoal? They shivered. They would have shivered even more if a voice had replied—Aurigny.
No isle so well defended against man's approach as Aurigny. Below and above water it is protected by a savage guard, of which Ortach is the outpost. To the west, Burhou, Sauteriaux, Anfroque, Niangle, Fond du Croc, Les Jumelles, La Grosse, La Clanque, Les Eguillons, Le Vrac, La Fosse-Malière; to the east, Sauquet, Hommeau Floreau, La Brinebetais, La Queslingue, Croquelihou, La Fourche, Le Saut, Noire Pute, Coupie, Orbue. These are hydra-monsters of the species reef.
No island is as well defended from human access as Aurigny. It's guarded fiercely both above and below the water, with Ortach serving as the front line. To the west are Burhou, Sauteriaux, Anfroque, Niangle, Fond du Croc, Les Jumelles, La Grosse, La Clanque, Les Eguillons, Le Vrac, and La Fosse-Malière; to the east are Sauquet, Hommeau Floreau, La Brinebetais, La Queslingue, Croquelihou, La Fourche, Le Saut, Noire Pute, Coupie, and Orbue. These are the monstrous reef formations.
One of these reefs is called Le But, the goal, as if to imply that every voyage ends there.
One of these reefs is called Le But, which means "the goal," as if to suggest that every journey culminates there.
This obstruction of rocks, simplified by night and sea, appeared to the shipwrecked men in the shape of a single dark band, a sort of black blot on the horizon.
This pile of rocks, made less distinct by the night and the sea, looked to the shipwrecked men like a single dark strip, a kind of black smudge on the horizon.
Shipwreck is the ideal of helplessness; to be near land, and unable to reach it; to float, yet not to be able to do so in any desired direction; to rest the foot on what seems firm and is fragile; to be full of life, when o'ershadowed by death; to be the prisoner of space; to be walled in between sky and ocean; to have the infinite overhead like a dungeon; to be encompassed by the eluding elements of wind and waves; and to be seized, bound, paralyzed—such a load of misfortune stupefies and crushes us. We imagine that in it we catch a glimpse of the sneer of the opponent who is beyond our reach. That which holds you fast is that which releases the birds and sets the fishes free. It appears nothing, and is everything. We are dependent on the air which is ruffled by our mouths; we are dependent on the water which we catch in the hollow of our hands. Draw a glassful from the storm, and it is but a cup of bitterness—a mouthful is nausea, a waveful is extermination. The grain of sand in the desert, the foam-flake on the sea, are fearful symptoms. Omnipotence takes no care to hide its atom, it changes weakness into strength, fills naught with all; and it is with the infinitely little that the infinitely great crushes you. It is with its drops the ocean dissolves you. You feel you are a plaything.
Shipwreck represents the ultimate feeling of helplessness: being close to land but unable to reach it; drifting without the ability to go where you want; putting your foot on something that seems solid but is actually fragile; being full of life while being overshadowed by death; being trapped in space; confined between sky and ocean; seeing the vastness above you like a prison; surrounded by the elusive forces of wind and waves; and being seized, bound, and paralyzed—such a weight of misfortune leaves us stunned and defeated. We imagine that in this situation, we can see the sneer of the opponent who is out of our reach. What keeps you bound is what allows birds to soar and fish to swim freely. It seems like nothing, yet it encompasses everything. We rely on the air stirred by our breath; we rely on the water we grasp in our hands. Taking a glass of the storm yields only a cup of bitterness—just a mouthful brings nausea, while a wave can mean destruction. A grain of sand in the desert, a foam flake on the sea, are ominous signs. Omnipotence doesn't bother to hide its minutiae; it turns weakness into strength, fills emptiness with everything; and it is the tiniest things that can crush you beneath the weight of the enormous. It is with its drops that the ocean overwhelms you. You realize you are merely a plaything.
A plaything—ghastly epithet!
A toy—terrible label!
The Matutina was a little above Aurigny, which was not an unfavourable position; but she was drifting towards its northern point, which was fatal. As a bent bow discharges its arrow, the nor'-wester was shooting the vessel towards the northern cape. Off that point, a little beyond the harbour of Corbelets, is that which the seamen of the Norman archipelago call a "singe."
The Matutina was slightly above Aurigny, which wasn’t a bad spot; but she was drifting toward its northern tip, which was disastrous. Like a bow releasing its arrow, the nor’-wester was propelling the vessel toward the northern cape. Just off that point, a little past the harbor of Corbelets, is what the sailors of the Norman archipelago refer to as a "singe."
The "singe," or race, is a furious kind of current. A wreath of funnels in the shallows produces in the waves a wreath of whirlpools. You escape one to fall into another. A ship caught hold of by the race, winds round and round until some sharp rock cleaves her hull; then the shattered vessel stops, her stern rises from the waves, the stem completes the revolution in the abyss, the stern sinks in, and all is sucked down. A circle of foam broadens and floats, and nothing more is seen on the surface of the waves but a few bubbles here and there rising from the smothered breathings below.
The "singe," or race, is an intense type of current. A ring of funnels in shallow water creates a swirl of whirlpools in the waves. You might escape one only to get caught in another. A ship caught in the race spins round and round until a sharp rock tears into its hull; then the broken vessel comes to a stop, its stern rising from the waves while the bow completes the spin beneath. The stern sinks in, and everything gets pulled down. A ring of foam expands and drifts, and all that's left on the surface are a few bubbles popping up from the submerged struggles below.
The three most dangerous races in the whole Channel are one close to the well-known Girdler Sands, one at Jersey between the Pignonnet and the Point of Noirmont, and the race of Aurigny.
The three most dangerous currents in the entire Channel are one near the famous Girdler Sands, one at Jersey between Pignonnet and the Point of Noirmont, and the current of Aurigny.
Had a local pilot been on board the Matutina, he could have warned them of their fresh peril. In place of a pilot, they had their instinct. In situations of extreme danger men are endowed with second sight. High contortions of foam were flying along the coast in the frenzied raid of the wind. It was the spitting of the race. Many a bark has been swamped in that snare. Without knowing what awaited them, they approached the spot with horror.
Had a local pilot been on board the Matutina, he could have warned them about their new danger. Instead of a pilot, they relied on their instincts. In life-threatening situations, people can see things more clearly. Churning waves were crashing along the shore in the chaotic wind. It was the fury of the sea. Many boats have been capsized in that spot. Unaware of what lay ahead, they approached the area with dread.
How to double that cape? There were no means of doing it.
How can you double that cape? There was no way to do it.
Just as they had seen, first the Caskets, then Ortach, rise before them, they now saw the point of Aurigny, all of steep rock. It was like a number of giants, rising up one after another—a series of frightful duels.
Just like they had seen before, first the Caskets, then Ortach, appear in front of them, they now saw Aurigny’s cliff, all made of steep rock. It looked like a bunch of giants, rising one after another—a series of terrifying battles.
Charybdis and Scylla are but two; the Caskets, Ortach, and Aurigny are three.
Charybdis and Scylla are just two; the Caskets, Ortach, and Aurigny are three.
The phenomenon of the horizon being invaded by the rocks was thus repeated with the grand monotony of the abyss. The battles of the ocean have the same sublime tautology as the combats of Homer.
The sight of the horizon being breached by the rocks happened again with the same grand monotony of the deep sea. The battles of the ocean share the same majestic repetition as the fights in Homer's tales.
Each wave, as they neared it, added twenty cubits to the cape, awfully magnified by the mist; the fast decreasing distance seemed more inevitable—they were touching the skirts of the race! The first fold which seized them would drag them in—another wave surmounted, and all would be over.
Each wave, as they approached it, added about thirty feet to the cape, overwhelmingly enlarged by the mist; the shrinking distance felt more certain—they were at the edge of the race! The first fold that caught them would pull them in—another wave rose, and it would all be finished.
Suddenly the hooker was driven back, as by the blow of a Titan's fist. The wave reared up under the vessel and fell back, throwing the waif back in its mane of foam. The Matutina, thus impelled, drifted away from Aurigny.
Suddenly, the hooker was pushed back like it had just been hit by a giant's fist. The wave surged up under the boat and crashed down, tossing the waif back into its frothy spray. The Matutina, propelled by this force, drifted away from Aurigny.
She was again on the open sea.
She was back on the open sea.
Whence had come the succour? From the wind. The breath of the storm had changed its direction.
Where had the help come from? From the wind. The storm's breath had shifted its direction.
The wave had played with them; now it was the wind's turn. They had saved themselves from the Caskets. Off Ortach it was the wave which had been their friend. Now it was the wind. The wind had suddenly veered from north to south. The sou'-wester had succeeded the nor'-wester.
The wave had toyed with them; now it was the wind's turn. They had escaped from the Caskets. Off Ortach, the wave had been their ally. Now it was the wind. The wind had suddenly changed direction from north to south. The southwester replaced the northwester.
The current is the wind in the waters; the wind is the current in the air. These two forces had just counteracted each other, and it had been the wind's will to snatch its prey from the current.
The current is the wind in the water; the wind is the current in the air. These two forces had just worked against each other, and it was the wind's desire to take its prey from the current.
The sudden fantasies of ocean are uncertain. They are, perhaps, an embodiment of the perpetual, when at their mercy man must neither hope nor despair. They do and they undo. The ocean amuses itself. Every shade of wild, untamed ferocity is phased in the vastness of that cunning sea, which Jean Bart used to call the "great brute." To its claws and their gashings succeed soft intervals of velvet paws. Sometimes the storm hurries on a wreck, at others it works out the problem with care; it might almost be said that it caresses it. The sea can afford to take its time, as men in their agonies find out.
The sudden fantasies of the ocean are unpredictable. They represent the eternal, where humans must find neither hope nor despair. They create and they destroy. The ocean plays with itself. Every shade of wild, untamed ferocity exists in the vastness of that clever sea, which Jean Bart referred to as the "great brute." Its claws and their brutal strikes are followed by gentle moments of soft touches. Sometimes a storm quickly brings a shipwreck, while at other times, it carefully unfolds the situation; it could almost be said that it handles it delicately. The sea can take its time, as humans in their struggles discover.
We must own that occasionally these lulls of the torture announce deliverance. Such cases are rare. However this may be, men in extreme peril are quick to believe in rescue; the slightest pause in the storm's threats is sufficient; they tell themselves that they are out of danger. After believing themselves buried, they declare their resurrection; they feverishly embrace what they do not yet possess; it is clear that the bad luck has turned; they declare themselves satisfied; they are saved; they cry quits with God. They should not be in so great a hurry to give receipts to the Unknown.
We have to admit that sometimes these breaks in the torment signal freedom. Such instances are rare. Still, when faced with extreme danger, people are quick to hope for rescue; even the slightest lull in the storm's threats is enough for them to convince themselves that they’re safe. After thinking they’ve met their end, they claim they’ve come back to life; they eagerly grasp at what they don’t yet have; they believe that the tide has turned; they declare themselves content; they think they’re saved; they make peace with God. They shouldn’t rush to settle accounts with the Unknown.
The sou'-wester set in with a whirlwind. Shipwrecked men have never any but rough helpers. The Matutina was dragged rapidly out to sea by the remnant of her rigging—like a dead woman trailed by the hair. It was like the enfranchisement granted by Tiberius, at the price of violation.
The sou'wester hit with a storm. Shipwrecked people only ever have rough help. The Matutina was quickly pulled out to sea by what was left of her rigging—like a lifeless woman pulled by her hair. It was similar to the freedom granted by Tiberius, but only at the cost of betrayal.
The wind treated with brutality those whom it saved; it rendered service with fury; it was help without pity.
The wind harshly dealt with those it saved; it provided aid with rage; it was help without compassion.
The wreck was breaking up under the severity of its deliverers.
The wreck was falling apart under the harshness of its handlers.
Hailstones, big and hard enough to charge a blunderbuss, smote the vessel; at every rotation of the waves these hailstones rolled about the deck like marbles. The hooker, whose deck was almost flush with the water, was being beaten out of shape by the rolling masses of water and its sheets of spray. On board it each man was for himself.
Hailstones, large and hard enough to load a blunderbuss, struck the ship; with each wave, these hailstones rolled across the deck like marbles. The hooker, whose deck was nearly level with the water, was being battered out of shape by the surging waves and sheets of spray. Onboard, it was every man for himself.
They clung on as best they could. As each sea swept over them, it was with a sense of surprise they saw that all were still there. Several had their faces torn by splinters.
They held on as best they could. With each wave that crashed over them, they were surprised to see that everyone was still there. Several had their faces cut by splinters.
Happily despair has stout hands. In terror a child's hand has the grasp of a giant. Agony makes a vice of a woman's fingers. A girl in her fright can almost bury her rose-coloured fingers in a piece of iron. With hooked fingers they hung on somehow, as the waves dashed on and passed off them; but every wave brought them the fear of being swept away.
Happily, despair has strong hands. In fear, a child's grip is like that of a giant. Pain turns a woman's fingers into a vice. A frightened girl can almost bury her rosy fingers in a piece of metal. With hooked fingers, they held on somehow as the waves crashed against them and receded; but every wave brought the fear of being swept away.
Suddenly they were relieved.
They were suddenly relieved.
CHAPTER XVI.
THE PROBLEM SUDDENLY WORKS IN SILENCE.
The hurricane had just stopped short. There was no longer in the air sou'-wester or nor'-wester. The fierce clarions of space were mute. The whole of the waterspout had poured from the sky without any warning of diminution, as if it had slided perpendicularly into a gulf beneath. None knew what had become of it; flakes replaced the hailstones, the snow began to fall slowly. No more swell: the sea flattened down.
The hurricane had just suddenly stopped. There was no longer a sou'-wester or nor'-wester in the air. The fierce sounds of the storm were gone. The entire waterspout had fallen from the sky without any warning, as if it had dropped straight into a gulf below. Nobody knew what had happened to it; flakes took the place of hailstones, and snow began to fall gently. The sea was calm now; it had flattened out.
Such sudden cessations are peculiar to snowstorms. The electric effluvium exhausted, all becomes still, even the wave, which in ordinary storms often remains agitated for a long time. In snowstorms it is not so. No prolonged anger in the deep. Like a tired-out worker it becomes drowsy directly, thus almost giving the lie to the laws of statics, but not astonishing old seamen, who know that the sea is full of unforeseen surprises.
Such sudden stops are unique to snowstorms. Once the electric energy is depleted, everything goes quiet, even the waves, which in regular storms often stay choppy for a while. But that's not the case in snowstorms. There's no lingering turmoil beneath the surface. Like an exhausted worker, the sea quickly falls asleep, almost defying the laws of physics, but this doesn't surprise experienced sailors, who understand that the ocean is always full of unexpected twists.
The same phenomenon takes place, although very rarely, in ordinary storms. Thus, in our time, on the occasion of the memorable hurricane of July 27th, 1867, at Jersey the wind, after fourteen hours' fury, suddenly relapsed into a dead calm.
The same thing happens, although very rarely, in normal storms. For example, during the memorable hurricane of July 27th, 1867, in Jersey, the wind, after blowing fiercely for fourteen hours, suddenly fell into a complete calm.
In a few minutes the hooker was floating in sleeping waters.
In a few minutes, the hooker was floating in calm waters.
At the same time (for the last phase of these storms resembles the first) they could distinguish nothing; all that had been made visible in the convulsions of the meteoric cloud was again dark. Pale outlines were fused in vague mist, and the gloom of infinite space closed about the vessel. The wall of night—that circular occlusion, that interior of a cylinder the diameter of which was lessening minute by minute—enveloped the Matutina, and, with the sinister deliberation of an encroaching iceberg, was drawing in dangerously. In the zenith nothing—a lid of fog closing down. It was as if the hooker were at the bottom of the well of the abyss.
At the same time (because the last stage of these storms is like the first), they couldn't see anything; everything that had been visible in the chaos of the meteor cloud was dark again. Faint outlines blurred into a hazy mist, and the darkness of endless space surrounded the vessel. The wall of night—that circular barrier, the inside of a cylinder whose diameter was shrinking moment by moment—wrapped around the Matutina, and with the chilling certainty of an advancing iceberg, was closing in dangerously. Above them was nothing—a lid of fog pressing down. It felt like the vessel was at the bottom of an abyss.
In that well the sea was a puddle of liquid lead. No stir in the waters—ominous immobility! The ocean is never less tamed than when it is still as a pool.
In that well, the sea was a puddle of liquid lead. No movement in the waters—ominous stillness! The ocean is never less tamed than when it is as calm as a pond.
All was silence, stillness, blindness.
Everything was silent, still, blind.
Perchance the silence of inanimate objects is taciturnity.
Perhaps the silence of inanimate objects is just being quiet.
The last ripples glided along the hull. The deck was horizontal, with an insensible slope to the sides. Some broken planks were shifting about irresolutely. The block on which they had lighted the tow steeped in tar, in place of the signal light which had been swept away, swung no longer at the prow, and no longer let fall burning drops into the sea. What little breeze remained in the clouds was noiseless. The snow fell thickly, softly, with scarce a slant. No foam of breakers could be heard. The peace of shadows was over all.
The last ripples glided along the hull. The deck was flat, sloping gently to the sides. Some broken planks were shifting around uncertainly. The block where they had lit the tow, soaked in tar instead of the signal light that had been swept away, no longer swung at the front and didn’t drip burning drops into the sea anymore. The little breeze left in the clouds was silent. Snow fell thickly and softly, barely angled. No sound of crashing waves could be heard. A tranquil stillness enveloped everything.
This repose succeeding all the past exasperations and paroxysms was, for the poor creatures so long tossed about, an unspeakable comfort. It was as though the punishment of the rack had ceased. They caught a glimpse about them and above them of something which seemed like a consent, that they should be saved. They regained confidence. All that had been fury was now tranquillity. It appeared to them a pledge of peace. Their wretched hearts dilated. They were able to let go the end of rope or beam to which they had clung, to rise, hold themselves up, stand, walk, move about. They felt inexpressibly calmed. There are in the depths of darkness such phases of paradise, preparations for other things. It was clear that they were delivered out of the storm, out of the foam, out of the wind, out of the uproar. Henceforth all the chances were in their favour. In three or four hours it would be sunrise. They would be seen by some passing ship; they would be rescued. The worst was over; they were re-entering life. The important feat was to have been able to keep afloat until the cessation of the tempest. They said to themselves, "It is all over this time."
This rest after all the past frustrations and outbursts was an unimaginable relief for the poor souls who had been tossed around for so long. It felt like the torture had finally stopped. They looked around and sensed something that felt like a sign that they would be saved. They regained their confidence. All the chaos had turned into calm. It seemed like a promise of peace. Their troubled hearts expanded. They were able to let go of the rope or beam they had been clinging to, to rise, support themselves, stand, walk, and move around. They felt incredibly at ease. In the depths of darkness, there are moments that feel like paradise, preparing for what comes next. It was clear that they had been delivered from the storm, the waves, the wind, and the noise. From now on, all the odds were in their favor. In three or four hours, the sun would rise. A passing ship would see them; they would be rescued. The worst was over; they were returning to life. The crucial achievement was having managed to stay afloat until the storm passed. They told themselves, "It's all over this time."
Suddenly they found that all was indeed over.
Suddenly, they realized that everything was truly finished.
One of the sailors, the northern Basque, Galdeazun by name, went down into the hold to look for a rope, then came above again and said,—
One of the sailors, the northern Basque, named Galdeazun, went down into the hold to look for a rope, then came back up and said,—
"The hold is full."
"The cargo hold is full."
"Of what?" asked the chief.
"About what?" asked the chief.
"Of water," answered the sailor.
"Of water," replied the sailor.
The chief cried out,—
The chief shouted,—
"What does that mean?"
"What does that mean?"
"It means," replied Galdeazun, "that in half an hour we shall founder."
"It means," Galdeazun replied, "that in half an hour we’re going to sink."
CHAPTER XVII.
THE LAST RESOURCE.
There was a hole in the keel. A leak had been sprung. When it happened no one could have said. Was it when they touched the Caskets? Was it off Ortach? Was it when they were whirled about the shallows west of Aurigny? It was most probable that they had touched some rock there. They had struck against some hidden buttress which they had not felt in the midst of the convulsive fury of the wind which was tossing them. In tetanus who would feel a prick?
There was a hole in the keel. A leak had opened up. No one could say when it happened. Was it when they brushed against the Caskets? Was it off Ortach? Was it when they were tossed around in the shallow waters west of Aurigny? It was most likely that they had hit some rock there. They had collided with some hidden structure that they hadn’t noticed amid the chaotic force of the wind that was throwing them around. In the midst of a seizure, who would feel a prick?
The other sailor, the southern Basque, whose name was Ave Maria, went down into the hold, too, came on deck again, and said,—
The other sailor, the southern Basque, named Ave Maria, went down into the hold as well, came back on deck, and said,—
"There are two varas of water in the hold."
"There are two barrels of water in the hold."
About six feet.
Around six feet.
Ave Maria added, "In less than forty minutes we shall sink."
Ave Maria added, "In less than forty minutes, we will sink."
Where was the leak? They couldn't find it. It was hidden by the water which was filling up the hold. The vessel had a hole in her hull somewhere under the water-line, quite forward in the keel. Impossible to find it—impossible to check it. They had a wound which they could not stanch. The water, however, was not rising very fast.
Where was the leak? They couldn't locate it. It was concealed by the water that was filling the hold. The boat had a hole in its hull somewhere below the waterline, near the front of the keel. It was impossible to find—impossible to inspect. They had an injury they couldn't stop. However, the water wasn't rising very quickly.
The chief called out,
The chief shouted,
"We must work the pump."
"We need to work the pump."
Galdeazun replied, "We have no pump left."
Galdeazun replied, "We don't have any pump left."
"Then," said the chief, "we must make for land."
"Then," said the chief, "we need to head to shore."
"Where is the land?"
"Where's the land?"
"I don't know."
"I have no idea."
"Nor I."
"Me neither."
"But it must be somewhere."
"But it has to be somewhere."
"True enough."
"Fair enough."
"Let some one steer for it."
"Have someone guide you there."
"We have no pilot."
"We don't have a pilot."
"Stand to the tiller yourself."
"Take the tiller yourself."
"We have lost the tiller."
"We've lost the tiller."
"Let's rig one out of the first beam we can lay hands on. Nails—a hammer—quick—some tools."
"Let's gather one from the first beam we can find. Nails—a hammer—hurry—some tools."
"The carpenter's box is overboard, we have no tools."
"The carpenter's toolbox fell overboard; we have no tools."
"We'll steer all the same, no matter where."
"We'll navigate the same way, no matter where we go."
"The rudder is lost."
"The rudder's gone."
"Where is the boat? We'll get in and row."
"Where's the boat? Let's get in and row."
"The boat is lost."
"The boat is missing."
"We'll row the wreck."
"We'll row the boat."
"We have lost the oars."
"We've lost the oars."
"We'll sail."
"We're setting sail."
"We have lost the sails and the mast."
"We've lost the sails and the mast."
"We'll rig one up with a pole and a tarpaulin for sail Let's get clear of this and trust in the wind."
"We'll set one up with a pole and a tarp for a sail. Let’s get away from this and trust the wind."
"There is no wind."
"No wind."
The wind, indeed, had left them, the storm had fled; and its departure, which they had believed to mean safety, meant, in fact, destruction. Had the sou'-wester continued it might have driven them wildly on some shore—might have beaten the leak in speed—might, perhaps, have carried them to some propitious sandbank, and cast them on it before the hooker foundered. The swiftness of the storm, bearing them away, might have enabled them to reach land; but no more wind, no more hope. They were going to die because the hurricane was over.
The wind had indeed died down, and the storm had passed; what they thought was a sign of safety actually signaled their destruction. If the southwesterly winds had continued, they might have been driven wildly to some shore—might have outpaced the water flooding in—might have even found a lucky sandbank to land on before the boat sank. The storm’s speed could have helped them reach land, but with no wind left, there was no hope. They were going to die because the hurricane was over.
The end was near!
The end is near!
Wind, hail, the hurricane, the whirlwind—these are wild combatants that may be overcome; the storm can be taken in the weak point of its armour; there are resources against the violence which continually lays itself open, is off its guard, and often hits wide. But nothing is to be done against a calm; it offers nothing to the grasp of which you can lay hold.
Wind, hail, hurricanes, whirlwinds—these are fierce opponents that can be defeated; you can exploit the weak spots in a storm's defenses. There are ways to counter the violence that often reveals its vulnerabilities and frequently misses its target. But there's nothing you can do against a calm; it provides nothing you can grasp onto.
The winds are a charge of Cossacks: stand your ground and they disperse. Calms are the pincers of the executioner.
The winds are like a charge of Cossacks: hold your ground and they'll scatter. Calms are the pincers of the executioner.
The water, deliberate and sure, irrepressible and heavy, rose in the hold, and as it rose the vessel sank—it was happening slowly.
The water, steady and unstoppable, heavy and relentless, rose in the hold, and as it rose, the ship sank—it was happening gradually.
Those on board the wreck of the Matutina felt that most hopeless of catastrophes—an inert catastrophe undermining them. The still and sinister certainty of their fate petrified them. No stir in the air, no movement on the sea. The motionless is the inexorable. Absorption was sucking them down silently. Through the depths of the dumb waters—without anger, without passion, not willing, not knowing, not caring—the fatal centre of the globe was attracting them downwards. Horror in repose amalgamating them with itself. It was no longer the wide open mouth of the sea, the double jaw of the wind and the wave, vicious in its threat, the grin of the waterspout, the foaming appetite of the breakers—it was as if the wretched beings had under them the black yawn of the infinite.
Those on the wreck of the Matutina experienced the worst kind of disaster—an overwhelming, passive catastrophe dragging them down. The eerie certainty of their fate left them frozen in place. There was no breeze in the air, no movement on the water. The stillness was relentless. They were being quietly pulled under. Through the depths of the silent water—without anger, without passion, lacking will, knowledge, or concern—the Earth's fatal core was drawing them down. A horrific stillness was merging them with itself. It was no longer the ocean's wide-open maw, the threatening jaws of the wind and waves, the menacing grin of the waterspout, or the hungry froth of the surf—it felt as if the doomed souls were staring into the vast black void of the infinite below them.
They felt themselves sinking into Death's peaceful depths. The height between the vessel and the water was lessening—that was all. They could calculate her disappearance to the moment. It was the exact reverse of submersion by the rising tide. The water was not rising towards them; they were sinking towards it. They were digging their own grave. Their own weight was their sexton.
They felt themselves sinking into the calm embrace of death. The gap between the boat and the water was decreasing—that was all. They could time her disappearance precisely. It was the complete opposite of being submerged by the incoming tide. The water wasn’t coming up to them; they were going down to it. They were digging their own grave. Their own weight was their gravedigger.
They were being executed, not by the law of man, but by the law of things.
They were being executed, not by human law, but by the law of nature.
The snow was falling, and as the wreck was now motionless, this white lint made a cloth over the deck and covered the vessel as with a winding-sheet.
The snow was falling, and since the wreck was now still, this white fluff created a blanket over the deck and wrapped the ship like a shroud.
The hold was becoming fuller and deeper—no means of getting at the leak. They struck a light and fixed three or four torches in holes as best they could. Galdeazun brought some old leathern buckets, and they tried to bale the hold out, standing in a row to pass them from hand to hand; but the buckets were past use, the leather of some was unstitched, there were holes in the bottoms of the others, and the buckets emptied themselves on the way. The difference in quantity between the water which was making its way in and that which they returned to the sea was ludicrous—for a ton that entered a glassful was baled out; they did not improve their condition. It was like the expenditure of a miser, trying to exhaust a million, halfpenny by halfpenny.
The hold was getting fuller and deeper—no way to reach the leak. They lit a fire and fixed three or four torches in the holes as best they could. Galdeazun brought some old leather buckets, and they tried to bail out the hold, passing them along in a line; but the buckets were useless, some were unstitched, others had holes in the bottoms, and they spilled water on the way. The difference between the water coming in and what they managed to bail out was ridiculous—for every ton that came in, they barely got a glassful out. They weren’t improving their situation at all. It was like a miser trying to spend a million, one halfpenny at a time.
The chief said, "Let us lighten the wreck."
The chief said, "Let's lighten the wreck."
During the storm they had lashed together the few chests which were on deck. These remained tied to the stump of the mast. They undid the lashings and rolled the chests overboard through a breach in the gunwale. One of these trunks belonged to the Basque woman, who could not repress a sigh.
During the storm, they had tied together the few chests that were on deck. These stayed attached to the stump of the mast. They undid the ties and rolled the chests overboard through a break in the side of the ship. One of these trunks belonged to the Basque woman, who couldn't hold back a sigh.
"Oh, my new cloak lined with scarlet! Oh, my poor stockings of birchen-bark lace! Oh, my silver ear-rings to wear at mass on May Day!"
"Oh, my new cloak lined with red! Oh, my poor stockings made of birch bark lace! Oh, my silver earrings to wear at church on May Day!"
The deck cleared, there remained the cabin to be seen to. It was greatly encumbered; in it were, as may be remembered, the luggage belonging to the passengers, and the bales belonging to the sailors. They took the luggage, and threw it over the gunwale. They carried up the bales and cast them into the sea.
The deck cleared, there was still the cabin to sort out. It was really cluttered; inside were, as you might recall, the passengers' luggage and the sailors' bales. They grabbed the luggage and tossed it over the side. They carried the bales up and threw them into the sea.
Thus they emptied the cabin. The lantern, the cap, the barrels, the sacks, the bales, and the water-butts, the pot of soup, all went over into the waves.
Thus they cleared out the cabin. The lantern, the cap, the barrels, the sacks, the bales, and the water-butts, the pot of soup, all went overboard into the waves.
They unscrewed the nuts of the iron stove, long since extinguished: they pulled it out, hoisted it on deck, dragged it to the side, and threw it out of the vessel.
They unscrewed the nuts from the iron stove, which had long been put out: they pulled it out, lifted it onto the deck, dragged it to the side, and tossed it overboard.
They cast overboard everything they could pull out of the deck—chains, shrouds, and torn rigging.
They tossed everything they could grab from the deck overboard—chains, shrouds, and ripped rigging.
From time to time the chief took a torch, and throwing its light on the figures painted on the prow to show the draught of water, looked to see how deep the wreck had settled down.
From time to time, the chief grabbed a torch and shone its light on the figures painted on the front to indicate the water depth, checking how deep the wreck had sunk.
CHAPTER XVIII.
THE HIGHEST RESOURCE.
The wreck being lightened, was sinking more slowly, but none the less surely.
The wreck was losing weight and sinking more slowly, but it was still going down for sure.
The hopelessness of their situation was without resource—without mitigation; they had exhausted their last expedient.
The hopelessness of their situation was complete—without any relief; they had used up their last option.
"Is there anything else we can throw overboard?"
"Is there anything else we can toss overboard?"
The doctor, whom every one had forgotten, rose from the companion, and said,
The doctor, whom everyone had forgotten, stood up from the couch and said,
"Yes."
"Yep."
"What?" asked the chief.
"What?" the chief asked.
The doctor answered, "Our Crime."
The doctor replied, "Our Crime."
They shuddered, and all cried out,—
They shivered and all shouted out,—
"Amen."
"Amen."
The doctor standing up, pale, raised his hand to heaven, saying,—
The doctor stood up, looking pale, and raised his hand to the sky, saying,—
"Kneel down."
"Kneel."
They wavered—to waver is the preface to kneeling down.
They hesitated—hesitating is the first step to submitting.
The doctor went on,—
The doctor continued,—
"Let us throw our crimes into the sea, they weigh us down; it is they that are sinking the ship. Let us think no more of safety—let us think of salvation. Our last crime, above all, the crime which we committed, or rather completed, just now—O wretched beings who are listening to me—it is that which is overwhelming us. For those who leave intended murder behind them, it is an impious insolence to tempt the abyss. He who sins against a child, sins against God. True, we were obliged to put to sea, but it was certain perdition. The storm, warned by the shadow of our crime, came on. It is well. Regret nothing, however. There, not far off in the darkness, are the sands of Vauville and Cape la Hogue. It is France. There was but one possible shelter for us, which was Spain. France is no less dangerous to us than England. Our deliverance from the sea would have led but to the gibbet. Hanged or drowned—we had no alternative. God has chosen for us; let us give Him thanks. He has vouchsafed us the grave which cleanses. Brethren, the inevitable hand is in it. Remember that it was we who just now did our best to send on high that child, and that at this very moment, now as I speak, there is perhaps, above our heads, a soul accusing us before a Judge whose eye is on us. Let us make the best use of this last respite; let us make an effort, if we still may, to repair, as far as we are able, the evil that we have wrought. If the child survives us, let us come to his aid; if he is dead, let us seek his forgiveness. Let us cast our crime from us. Let us ease our consciences of its weight. Let us strive that our souls be not swallowed up before God, for that is the awful shipwreck. Bodies go to the fishes, souls to the devils. Have pity on yourselves. Kneel down, I tell you. Repentance is the bark which never sinks. You have lost your compass! You are wrong! You still have prayer."
"Let's throw our crimes into the sea; they weigh us down and are sinking the ship. Let’s stop thinking about safety—let’s think about salvation. Our last crime, especially the one we just committed—oh, miserable souls listening to me—it's what is overwhelming us. For those who leave murder behind them, it’s a reckless arrogance to tempt fate. He who sins against a child sins against God. True, we had to set sail, but it was a certain doom. The storm, alerted by the shadow of our crime, has arrived. It’s fine. Regret nothing. Not far off in the darkness are the sands of Vauville and Cape la Hogue. It is France. There was only one possible refuge for us, which was Spain. France is just as dangerous to us as England. Our escape from the sea would have only led us to the gallows. Hanged or drowned—we had no other choice. God has decided for us; let’s be thankful. He has granted us the grave that cleanses. Brothers, the inevitable hand is in this. Remember that it was we who just did our best to send that child to the heavens, and at this very moment, as I speak, there is perhaps a soul above us accusing us before a Judge who is watching. Let’s make the best of this last chance; let’s try, as much as we can, to repair the harm we’ve done. If the child survives us, let’s help him; if he is dead, let’s seek his forgiveness. Let’s cast our crime away. Let’s relieve our consciences of its burden. Let’s strive so that our souls aren’t swallowed up before God, for that would be the terrible shipwreck. Bodies go to the fish, souls to the devils. Have compassion on yourselves. Kneel down, I tell you. Repentance is the boat that never sinks. You’ve lost your compass! You are mistaken! You still have prayer."
The wolves became lambs—such transformations occur in last agonies; tigers lick the crucifix; when the dark portal opens ajar, belief is difficult, unbelief impossible. However imperfect may be the different sketches of religion essayed by man, even when his belief is shapeless, even when the outline of the dogma is not in harmony with the lineaments of the eternity he foresees, there comes in his last hour a trembling of the soul. There is something which will begin when life is over; this thought impresses the last pang.
The wolves turned into lambs—these kinds of changes happen in the final moments; tigers lick the crucifix; when the dark doorway opens just a crack, believing is hard, but not believing feels impossible. No matter how flawed the various representations of religion are that people create, even when their faith is vague, even when the shape of their beliefs doesn’t align with the vision of eternity they imagine, in their last moments, the soul experiences a tremor. There’s a sense that something will start once life ends; this thought weighs heavily in the final moments.
A man's dying agony is the expiration of a term. In that fatal second he feels weighing on him a diffused responsibility. That which has been complicates that which is to be. The past returns and enters into the future. What is known becomes as much an abyss as the unknown. And the two chasms, the one which is full by his faults, the other of his anticipations, mingle their reverberations. It is this confusion of the two gulfs which terrifies the dying man.
A man's dying struggle is the end of a chapter. In that crucial moment, he feels a heavy sense of responsibility pressing down on him. The past complicates the future. What he knows becomes just as daunting as what he doesn't. The two voids—one filled with his mistakes and the other with his hopes—echo and blend together. It's this mix of the two depths that frightens the dying man.
They had spent their last grain of hope on the direction of life; hence they turned in the other. Their only remaining chance was in its dark shadow. They understood it. It came on them as a lugubrious flash, followed by the relapse of horror. That which is intelligible to the dying man is as what is perceived in the lightning. Everything, then nothing; you see, then all is blindness. After death the eye will reopen, and that which was a flash will become a sun.
They had put their last bit of hope into the direction of life; so they turned away. Their only remaining chance lay in its dark shadow. They got it. It hit them like a gloomy flash, followed by the return of horror. What the dying person understands is like what you see in a lightning strike. Everything, then nothing; you see it, then it’s all just darkness. After death, the eye will open again, and what was a flash will become a sun.
They cried out to the doctor,—
They called for the doctor,—
"Thou, thou, there is no one but thee. We will obey thee, what must we do? Speak."
"You, you, there's no one but you. We will follow you, what must we do? Speak."
The doctor answered,—
The doctor replied,—
"The question is how to pass over the unknown precipice and reach the other bank of life, which is beyond the tomb. Being the one who knows the most, my danger is greater than yours. You do well to leave the choice of the bridge to him whose burden is the heaviest."
"The question is how to cross the unknown edge and get to the other side of life, which is beyond the grave. Since I know the most, my risk is greater than yours. You’re right to let the one with the heaviest load decide which bridge to take."
He added,—
He said,—
"Knowledge is a weight added to conscience."
"Knowledge is a burden on the conscience."
He continued,—
He kept going,—
"How much time have we still?"
"How much time do we have left?"
Galdeazun looked at the water-mark, and answered,—
Galdeazun looked at the water mark and replied,—
"A little more than a quarter of an hour."
"Just over fifteen minutes."
"Good," said the doctor.
"Good," the doctor said.
The low hood of the companion on which he leant his elbows made a sort of table; the doctor took from his pocket his inkhorn and pen, and his pocket-book out of which he drew a parchment, the same one on the back of which he had written, a few hours before, some twenty cramped and crooked lines.
The low hood of the companion he rested his elbows on acted as a kind of table; the doctor pulled out his ink horn and pen from his pocket, along with his wallet, from which he took out a piece of parchment—the same one on the back of which he had written, just a few hours earlier, about twenty cramped and crooked lines.
"A light," he said.
"A light," he said.
The snow, falling like the spray of a cataract, had extinguished the torches one after another; there was but one left. Ave Maria took it out of the place where it had been stuck, and holding it in his hand, came and stood by the doctor's side.
The snow, falling like the mist from a waterfall, had snuffed out the torches one by one; only one remained. Ave Maria took it from where it had been stuck and, holding it in his hand, came to stand beside the doctor.
The doctor replaced his pocket-book in his pocket, put down the pen and inkhorn on the hood of the companion, unfolded the parchment, and said,—
The doctor put his notebook back in his pocket, set the pen and inkwell down on the companion's hood, unfolded the parchment, and said,—
"Listen."
"Pay attention."
Then in the midst of the sea, on the failing bridge (a sort of shuddering flooring of the tomb), the doctor began a solemn reading, to which all the shadows seemed to listen. The doomed men bowed their heads around him. The flaming of the torch intensified their pallor. What the doctor read was written in English. Now and then, when one of those woebegone looks seemed to ask an explanation, the doctor would stop, to repeat—whether in French, or Spanish, Basque, or Italian—the passage he had just read. Stifled sobs and hollow beatings of the breast were heard. The wreck was sinking more and more.
Then, in the middle of the sea, on the unstable bridge (a kind of trembling floor of the grave), the doctor began a serious reading that all the shadows seemed to pay attention to. The condemned men bowed their heads around him. The flame of the torch made their pale faces even whiter. What the doctor read was in English. Occasionally, when one of those sorrowful looks seemed to ask for clarification, the doctor would pause to repeat—whether in French, Spanish, Basque, or Italian—the passage he had just read. Stifled sobs and hollow thuds from chests were heard. The wreck was sinking deeper and deeper.
The reading over, the doctor placed the parchment flat on the companion, seized his pen, and on a clear margin which he had carefully left at the bottom of what he had written, he signed himself, GERNARDUS GEESTEMUNDE: Doctor.
The reading done, the doctor laid the parchment flat on the table, grabbed his pen, and on the clear margin he had carefully left at the bottom of what he had written, he signed his name, GERNARDUS GEESTEMUNDE: Doctor.
Then, turning towards the others, he said,—
Then, turning to the others, he said,—
"Come, and sign."
"Come sign here."
The Basque woman approached, took the pen, and signed herself, ASUNCION.
The Basque woman came over, took the pen, and signed her name, ASUNCION.
She handed the pen to the Irish woman, who, not knowing how to write, made a cross.
She handed the pen to the Irish woman, who, not knowing how to write, made an "X."
The doctor, by the side of this cross, wrote, BARBARA FERMOY, of Tyrrif Island, in the Hebrides.
The doctor, by the side of this cross, wrote, BARBARA FERMOY, of Tyrrif Island, in the Hebrides.
Then he handed the pen to the chief of the band.
Then he passed the pen to the leader of the group.
The chief signed, GAIZDORRA: Captal.
The chief signed, GAIZDORRA: Captain.
The Genoese signed himself under the chief's name. GIANGIRATE.
The Genoese signed his name under the chief's name. GIANGIRATE.
The Languedocian signed, JACQUES QUARTOURZE: alias, the Narbonnais.
The Languedocian signed, JACQUES QUARTOURZE: also known as the Narbonnais.
The Provençal signed, LUC-PIERRE CAPGAROUPE, of the Galleys of Mahon.
The Provençal signed, LUC-PIERRE CAPGAROUPE, of the Galleys of Mahon.
Under these signatures the doctor added a note:—
Under these signatures, the doctor added a note:—
"Of the crew of three men, the skipper having been washed overboard by a sea, but two remain, and they have signed."
"Of the three-man crew, the captain was washed overboard by a wave, leaving only two who have signed on."
The two sailors affixed their names underneath the note. The northern Basque signed himself, GALDEAZUN.
The two sailors wrote their names below the note. The northern Basque signed as GALDEAZUN.
The southern Basque signed, AVE MARIA: Robber.
The southern Basque signed, AVE MARIA: Robber.
Then the doctor said,—
Then the doctor said—
"Capgaroupe."
"Capgaroupe."
"Here," said the Provençal.
"Here," said the Frenchman.
"Have you Hardquanonne's flask?"
"Do you have Hardquanonne's flask?"
"Yes."
"Yep."
"Give it me."
"Give it to me."
Capgaroupe drank off the last mouthful of brandy, and handed the flask to the doctor.
Capgaroupe finished the last sip of brandy and passed the flask to the doctor.
The water was rising in the hold; the wreck was sinking deeper and deeper into the sea. The sloping edges of the ship were covered by a thin gnawing wave, which was rising. All were crowded on the centre of the deck.
The water was rising in the hold; the wreck was sinking deeper and deeper into the sea. The sloping edges of the ship were covered by a thin, gnawing wave that kept climbing higher. Everyone was packed together in the center of the deck.
The doctor dried the ink on the signatures by the heat of the torch, and folding the parchment into a narrower compass than the diameter of the neck, put it into the flask. He called for the cork.
The doctor dried the ink on the signatures using the heat from the torch, and folding the parchment to a size smaller than the diameter of the neck, placed it into the flask. He asked for the cork.
"I don't know where it is," said Capgaroupe.
"I have no idea where it is," said Capgaroupe.
"Here is a piece of rope," said Jacques Quartourze.
"Here’s a piece of rope," said Jacques Quartourze.
The doctor corked the flask with a bit of rope, and asked for some tar. Galdeazun went forward, extinguished the signal light with a piece of tow, took the vessel in which it was contained from the stern, and brought it, half full of burning tar, to the doctor.
The doctor corked the flask with some rope and asked for some tar. Galdeazun stepped up, put out the signal light with a piece of tow, took the container from the back, and brought it, half full of burning tar, to the doctor.
The flask holding the parchment which they had all signed was corked and tarred over.
The flask containing the signed parchment was corked and sealed with tar.
"It is done," said the doctor.
"It's done," said the doctor.
And from out all their mouths, vaguely stammered in every language, came the dismal utterances of the catacombs.
And from all their mouths, vaguely stammered in every language, came the gloomy sounds of the catacombs.
"Ainsi soit-il!"
"Amen!"
"Mea culpa!"
"My bad!"
"Asi sea!"
"Let's do this!"
"Aro raï!"
"Aro rai!"
"Amen!"
"Amen!"
It was as though the sombre voices of Babel were scattered through the shadows as Heaven uttered its awful refusal to hear them.
It felt like the dark voices of Babel were echoing through the shadows as Heaven gave its terrible answer of not listening to them.
The doctor turned away from his companions in crime and distress, and took a few steps towards the gunwale. Reaching the side, he looked into space, and said, in a deep voice,—
The doctor turned away from his partners in crime and turmoil, and took a few steps toward the edge. Once at the side, he looked into the distance and said, in a deep voice,—
"Bist du bei mir?"[8]
"Are you with me?"[__A_TAG_PLACEHOLDER_0__]
Perchance he was addressing some phantom.
Perhaps he was talking to some ghost.
The wreck was sinking.
The wreck is sinking.
Behind the doctor all the others were in a dream. Prayer mastered them by main force. They did not bow, they were bent. There was something involuntary in their condition; they wavered as a sail flaps when the breeze fails. And the haggard group took by degrees, with clasping of hands and prostration of foreheads, attitudes various, yet of humiliation. Some strange reflection of the deep seemed to soften their villainous features.
Behind the doctor, everyone else was in a trance. Prayer overwhelmed them completely. They didn’t just bow; they were hunched over. Their state felt involuntary; they swayed like a sail unmoored in a calm. Slowly, the weary group adopted different postures of submission, with hands clasped and foreheads on the ground, all conveying a sense of humiliation. A strange glimmer of something profound seemed to soften their rough faces.
The doctor returned towards them. Whatever had been his past, the old man was great in the presence of the catastrophe.
The doctor walked back to them. No matter what his past had been, the old man was admirable in the face of the disaster.
The deep reserve of nature which enveloped him preoccupied without disconcerting him. He was not one to be taken unawares. Over him was the calm of a silent horror: on his countenance the majesty of God's will comprehended.
The deep presence of nature that surrounded him occupied his thoughts without disturbing him. He was not someone who could be caught off guard. Above him was the stillness of a quiet fear: on his face was the dignity of understanding God's will.
This old and thoughtful outlaw unconsciously assumed the air of a pontiff.
This old and reflective outlaw unknowingly took on the demeanor of a pope.
He said,—
He said,—
"Attend to me."
"Pay attention to me."
He contemplated for a moment the waste of water, and added,—
He thought for a moment about the waste of water and added,—
"Now we are going to die."
"Now we are going to die."
Then he took the torch from the hands of Ave Maria, and waved it.
Then he took the torch from Ave Maria's hands and waved it.
A spark broke from it and flew into the night.
A spark broke away from it and shot into the night.
Then the doctor cast the torch into the sea.
Then the doctor threw the flashlight into the ocean.
The torch was extinguished: all light disappeared. Nothing left but the huge, unfathomable shadow. It was like the filling up of the grave.
The torch went out: all light vanished. There was nothing left but the massive, deep shadow. It felt like the grave was being filled.
In the darkness the doctor was heard saying,—
In the darkness, the doctor could be heard saying,—
"Let us pray."
"Let's pray."
All knelt down.
Everyone knelt down.
It was no longer on the snow, but in the water, that they knelt.
It was no longer on the snow, but in the water, that they knelt.
They had but a few minutes more.
They only had a few more minutes.
The doctor alone remained standing.
The doctor was the only one standing.
The flakes of snow falling on him had sprinkled him with white tears, and made him visible on the background of darkness. He might have been the speaking statue of the shadow.
The snowflakes falling on him covered him in white, making him stand out against the darkness. He could have been the voice of the shadowy statue.
The doctor made the sign of the cross and raised his voice, while beneath his feet he felt that almost imperceptible oscillation which prefaces the moment in which a wreck is about to founder. He said,—
The doctor made the sign of the cross and raised his voice, while beneath his feet he felt that almost imperceptible oscillation that happens right before a ship is about to sink. He said,—
"Pater noster qui es in coelis."
"Pater noster qui es in coelis."
The Provençal repeated in French,—
The Provençal said again in French,—
"Notre Père qui êtes aux cieux."
"Nuestro Padre que estás en los cielos."
The Irishwoman repeated in Gaelic, understood by the Basque woman,—
The Irish woman repeated in Gaelic, which the Basque woman understood,—
"Ar nathair ata ar neamh."
"Our mother is in heaven."
The doctor continued,—
The doctor continued—
"Sanctificetur nomen tuum."
"May your name be holy."
"Que votre nom soit sanctifié," said the Provençal.
"Your name be honored," said the Provençal.
"Naomhthar hainm," said the Irishwoman.
"Naomhthar hainm," said the Irish woman.
"Adveniat regnum tuum," continued the doctor.
"Let your kingdom come," continued the doctor.
"Que votre règne arrive," said the Provençal.
"Let your reign come," said the Provençal.
"Tigeadh do rioghachd," said the Irishwoman.
"Tigeadh do rioghachd," said the Irishwoman.
As they knelt, the waters had risen to their shoulders. The doctor went on,—
As they knelt, the water had risen to their shoulders. The doctor continued,—
"Fiat voluntas tua."
"Your will be done."
"Que votre volonté soit faite," stammered the Provençal.
"Let your will be done," stammered the Provençal.
And the Irishwoman and Basque woman cried,—
And the Irish woman and the Basque woman cried,—
"Deuntar do thoil ar an Hhalàmb."
"Please do as I ask regarding the Hall."
"Sicut in coelo, sicut in terra," said the doctor.
"Sicut in coelo, sicut in terra," said the doctor.
No voice answered him.
No one answered him.
He looked down. All their heads were under water. They had let themselves be drowned on their knees.
He looked down. All their heads were under water. They had allowed themselves to be drowned on their knees.
The doctor took in his right hand the flask which he had placed on the companion, and raised it above his head.
The doctor picked up the flask he had set on the table with his right hand and held it up over his head.
The wreck was going down. As he sank, the doctor murmured the rest of the prayer.
The ship was going down. As he submerged, the doctor whispered the rest of the prayer.
For an instant his shoulders were above water, then his head, then nothing remained but his arm holding up the flask, as if he were showing it to the Infinite.
For a moment his shoulders were above water, then his head, and then all that was left was his arm holding up the flask, as if he were presenting it to the Infinite.
His arm disappeared; there was no greater fold on the deep sea than there would have been on a tun of oil. The snow continued falling.
His arm vanished; there was no bigger fold on the deep sea than there would be on a barrel of oil. The snow kept falling.
One thing floated, and was carried by the waves into the darkness. It was the tarred flask, kept afloat by its osier cover.
One thing bobbed along, carried by the waves into the darkness. It was the tarred flask, kept afloat by its willow cover.
BOOK THE THIRD.
THE CHILD IN THE SHADOW.
CHAPTER I.
CHESIL.
The storm was no less severe on land than on sea. The same wild enfranchisement of the elements had taken place around the abandoned child. The weak and innocent become their sport in the expenditure of the unreasoning rage of their blind forces. Shadows discern not, and things inanimate have not the clemency they are supposed to possess.
The storm was just as intense on land as it was at sea. The same chaotic freedom of nature surrounded the abandoned child. The weak and innocent become playthings in the mindless fury of these overwhelming forces. Shadows don't see, and lifeless things lack the mercy they're thought to have.
On the land there was but little wind. There was an inexplicable dumbness in the cold. There was no hail. The thickness of the falling snow was fearful.
On the ground, there was hardly any wind. A strange stillness hung in the cold air. There was no hail. The heavy snowfall was alarming.
Hailstones strike, harass, bruise, stun, crush. Snowflakes do worse: soft and inexorable, the snowflake does its work in silence; touch it, and it melts. It is pure, even as the hypocrite is candid. It is by white particles slowly heaped upon each other that the flake becomes an avalanche and the knave a criminal.
Hailstones hit, bother, hurt, shock, and smash. Snowflakes are even worse: soft and relentless, the snowflake works quietly; touch it, and it fades away. It is innocent, just like the hypocrite can appear sincere. It’s by accumulating white particles that the flake turns into an avalanche and the deceitful person becomes a criminal.
The child continued to advance into the mist. The fog presents but a soft obstacle; hence its danger. It yields, and yet persists. Mist, like snow, is full of treachery. The child, strange wrestler at war with all these risks, had succeeded in reaching the bottom of the descent, and had gained Chesil. Without knowing it he was on an isthmus, with the ocean on each side; so that he could not lose his way in the fog, in the snow, or in the darkness, without falling into the deep waters of the gulf on the right hand, or into the raging billows of the high sea on the left. He was travelling on, in ignorance, between these two abysses.
The child kept moving deeper into the mist. The fog is a gentle barrier, which makes it all the more dangerous. It allows some visibility but still remains. Mist, like snow, can be deceitful. The child, an odd fighter dealing with all these risks, managed to reach the bottom of the slope and arrived at Chesil. Unbeknownst to him, he was on a narrow land strip, with the ocean on either side; so he couldn’t lose his way in the fog, snow, or darkness without falling into the deep waters of the gulf on his right or the crashing waves of the open sea on his left. He was unknowingly traveling between these two depths.
The Isthmus of Portland was at this period singularly sharp and rugged. Nothing remains at this date of its past configuration. Since the idea of manufacturing Portland stone into Roman cement was first seized, the whole rock has been subjected to an alteration which has completely changed its original appearance. Calcareous lias, slate, and trap are still to be found there, rising from layers of conglomerate, like teeth from a gum; but the pickaxe has broken up and levelled those bristling, rugged peaks which were once the fearful perches of the ossifrage. The summits exist no longer where the labbes and the skua gulls used to flock together, soaring, like the envious, to sully high places. In vain might you seek the tall monolith called Godolphin, an old British word, signifying "white eagle." In summer you may still gather on those surfaces, pierced and perforated like a sponge, rosemary, pennyroyal, wild hyssop, and sea-fennel which when infused makes a good cordial, and that herb full of knots, which grows in the sand and from which they make matting; but you no longer find gray amber, or black tin, or that triple species of slate—one sort green, one blue, and the third the colour of sage-leaves. The foxes, the badgers, the otters, and the martens have taken themselves off; on the cliffs of Portland, as well as at the extremity of Cornwall, where there were at one time chamois, none remain. They still fish in some inlets for plaice and pilchards; but the scared salmon no longer ascend the Wey, between Michaelmas and Christmas, to spawn. No more are seen there, as during the reign of Elizabeth, those old unknown birds as large as hawks, who could cut an apple in two, but ate only the pips. You never meet those crows with yellow beaks, called Cornish choughs in English, pyrrocorax in Latin, who, in their mischief, would drop burning twigs on thatched roofs. Nor that magic bird, the fulmar, a wanderer from the Scottish archipelago, dropping from his bill an oil which the islanders used to burn in their lamps. Nor do you ever find in the evening, in the plash of the ebbing tide, that ancient, legendary neitse, with the feet of a hog and the bleat of a calf. The tide no longer throws up the whiskered seal, with its curled ears and sharp jaws, dragging itself along on its nailless paws. On that Portland—nowadays so changed as scarcely to be recognized—the absence of forests precluded nightingales; but now the falcon, the swan, and the wild goose have fled. The sheep of Portland, nowadays, are fat and have fine wool; the few scattered ewes, which nibbled the salt grass there two centuries ago, were small and tough and coarse in the fleece, as became Celtic flocks brought there by garlic-eating shepherds, who lived to a hundred, and who, at the distance of half a mile, could pierce a cuirass with their yard-long arrows. Uncultivated land makes coarse wool. The Chesil of to-day resembles in no particular the Chesil of the past, so much has it been disturbed by man and by those furious winds which gnaw the very stones.
The Isthmus of Portland was incredibly sharp and rugged during this time. Nothing today reflects its past shape. Since the idea of turning Portland stone into Roman cement was first introduced, the entire rock has undergone changes that have completely altered its original look. You can still find calcareous lias, slate, and trap there, rising from layers of conglomerate, like teeth from gums; but the pickaxe has shattered and flattened the jagged, rough peaks that once served as terrifying perches for the ossifrage. The high points are gone where the labbes and skua gulls used to gather, soaring like envious spirits to taint high places. You might search in vain for the tall monolith called Godolphin, an old British term meaning "white eagle." In summer, you can still gather on those surface areas, which are full of holes like a sponge, rosemary, pennyroyal, wild hyssop, and sea-fennel that makes a good drink when infused, along with that knotted herb that grows in the sand and is used for matting; but you won't find gray amber, black tin, or the three types of slate—one green, one blue, and the third sage-colored—any longer. The foxes, badgers, otters, and martens have vanished; on the cliffs of Portland, as well as at the tip of Cornwall, where chamois once roamed, none remain. They still fish in some inlets for plaice and pilchards; but the frightened salmon no longer swim up the Wey, between Michaelmas and Christmas, to spawn. You won’t see those old, unknown birds, as large as hawks, that could split an apple in half but only ate the seeds, as they did during Elizabeth’s reign. The crows with yellow beaks, known in English as Cornish choughs and as pyrrocorax in Latin, who would mischievously drop burning twigs on thatched roofs, are also gone. The magical bird, the fulmar, a wanderer from the Scottish archipelago, which released oil from its beak that the islanders used to burn in their lamps, is absent. You also won't find the ancient, legendary neitse, with the feet of a hog and the bleat of a calf, at dusk in the receding tide. The tide no longer washes up the whiskered seal, with its curled ears and sharp jaws, dragging itself along on its clawless paws. On this Portland—now so transformed it’s hardly recognizable—the lack of forests kept nightingales away; but now the falcon, swan, and wild goose have left. The sheep of Portland today are fat and have fine wool; the few scattered ewes that grazed on salt grass there two centuries ago were small, tough, and had coarse fleece, typical of Celtic flocks brought in by garlic-eating shepherds who lived to a hundred and could pierce armor with their yard-long arrows from half a mile away. Uncultivated land produces coarse wool. Today's Chesil looks nothing like the Chesil of the past, so much has it been altered by humans and furious winds that wear away the very stones.
At present this tongue of land bears a railway, terminating in a pretty square of houses, called Chesilton, and there is a Portland station. Railway carriages roll where seals used to crawl.
Right now, this stretch of land has a railway that ends at a charming little square of houses called Chesilton, and there's a Portland station there. Train carriages roll where seals once crawled.
The Isthmus of Portland two hundred years ago was a back of sand, with a vertebral spine of rock.
The Isthmus of Portland two hundred years ago was a sandy area, with a backbone of rock.
The child's danger changed its form. What he had had to fear in the descent was falling to the bottom of the precipice; in the isthmus, it was falling into the holes. After dealing with the precipice, he must deal with the pitfalls. Everything on the sea-shore is a trap—the rock is slippery, the strand is quicksand. Resting-places are but snares. It is walking on ice which may suddenly crack and yawn with a fissure, through which you disappear. The ocean has false stages below, like a well-arranged theatre.
The child's danger took on a new form. What he had to fear while descending was falling off the edge; now, on the isthmus, it was falling into the holes. After facing the edge, he had to contend with the pitfalls. Everything by the sea is a trap—the rocks are slippery, and the shore is quicksand. Places to rest are just traps. It's like walking on ice that could suddenly crack open, swallowing you whole. The ocean has hidden dangers beneath the surface, like a well-staged theater.
The long backbone of granite, from which fall away both slopes of the isthmus, is awkward of access. It is difficult to find there what, in scene-shifters' language, are termed practicables. Man has no hospitality to hope for from the ocean; from the rock no more than from the wave. The sea is provident for the bird and the fish alone. Isthmuses are especially naked and rugged; the wave, which wears and mines them on either side, reduces them to the simplest form. Everywhere there were sharp relief ridges, cuttings, frightful fragments of torn stone, yawning with many points, like the jaws of a shark; breaknecks of wet moss, rapid slopes of rock ending in the sea. Whosoever undertakes to pass over an isthmus meets at every step misshapen blocks, as large as houses, in the forms of shin-bones, shoulder-blades, and thigh-bones, the hideous anatomy of dismembered rocks. It is not without reason that these striæ of the sea-shore are called côtes.[9]
The long backbone of granite, from which both sides of the isthmus descend, is hard to access. It’s tough to find what stagehands would call practicables there. The ocean offers no hospitality, and neither does the rock provide more than the wave. The sea only caters to birds and fish. Isthmuses are especially barren and rugged; the waves erode and wear them down, simplifying their shape. Everywhere, there are sharp ridges, deep cuts, and terrifying shards of jagged stone, gaping open at many angles like a shark's jaws; slippery moss-covered areas, steep rock faces leading straight into the sea. Anyone trying to cross an isthmus encounters misshapen boulders as big as houses, resembling shin-bones, shoulder blades, and thigh bones—the grotesque remains of shattered rocks. It’s no wonder these striæ of the shore are called côtes.[9]
The wayfarer must get out as he best can from the confusion of these ruins. It is like journeying over the bones of an enormous skeleton.
The traveler needs to find their way out of the chaos of these ruins as best as they can. It feels like walking over the bones of a gigantic skeleton.
Put a child to this labour of Hercules.
Put a child to this Herculean task.
Broad daylight might have aided him. It was night. A guide was necessary. He was alone. All the vigour of manhood would not have been too much. He had but the feeble strength of a child. In default of a guide, a footpath might have aided him; there was none.
Broad daylight might have helped him. It was night. He needed a guide. He was alone. All the strength of manhood wouldn’t have been enough. He only had the weak strength of a child. Without a guide, a footpath could have helped him; there wasn't one.
By instinct he avoided the sharp ridge of the rocks, and kept to the strand as much as possible. It was there that he met with the pitfalls. They were multiplied before him under three forms: the pitfall of water, the pitfall of snow, and the pitfall of sand. This last is the most dangerous of all, because the most illusory. To know the peril we face is alarming; to be ignorant of it is terrible. The child was fighting against unknown dangers. He was groping his way through something which might, perhaps, be the grave.
By instinct, he stayed away from the sharp edges of the rocks and stuck to the beach as much as he could. That’s where he encountered the traps. They appeared before him in three forms: water traps, snow traps, and sand traps. The last one is the most dangerous of all because it’s the most deceptive. Knowing the danger we’re up against is scary; being unaware of it is worse. The child was struggling against hidden threats. He was feeling his way through something that might, very well, be his grave.
He did not hesitate. He went round the rocks, avoided the crevices, guessed at the pitfalls, obeyed the twistings and turnings caused by such obstacles, yet he went on. Though unable to advance in a straight line, he walked with a firm step. When necessary, he drew back with energy. He knew how to tear himself in time from the horrid bird-lime of the quicksands. He shook the snow from about him. He entered the water more than once up to the knees. Directly that he left it, his wet knees were frozen by the intense cold of the night. He walked rapidly in his stiffened garments; yet he took care to keep his sailor's coat dry and warm on his chest. He was still tormented by hunger.
He didn’t hesitate. He went around the rocks, avoided the crevices, guessed the pitfalls, and followed the twists and turns caused by the obstacles, yet he kept moving forward. Even though he couldn’t walk in a straight line, he walked with a steady pace. When needed, he pulled back with determination. He knew how to free himself from the sticky grip of the quicksand in time. He shook off the snow around him. He waded into the water several times up to his knees. As soon as he left it, the freezing cold of the night chilled his wet knees. He walked quickly in his stiff clothes; still, he made sure to keep his sailor's coat dry and warm against his chest. He was still plagued by hunger.
The chances of the abyss are illimitable. Everything is possible in it, even salvation. The issue may be found, though it be invisible. How the child, wrapped in a smothering winding-sheet of snow, lost on a narrow elevation between two jaws of an abyss, managed to cross the isthmus is what he could not himself have explained. He had slipped, climbed, rolled, searched, walked, persevered, that is all. Such is the secret of all triumphs. At the end of somewhat less than half an hour he felt that the ground was rising. He had reached the other shore. Leaving Chesil, he had gained terra firma.
The possibilities of the abyss are endless. Anything can happen there, even redemption. The solution might be found, even if it's not visible. How the child, wrapped in a thick layer of snow and lost on a narrow ridge between two cliffs of an abyss, managed to get across is something he couldn't explain himself. He had slipped, climbed, rolled, searched, walked, and kept going, that’s all. That’s the secret of all successes. After a little less than half an hour, he felt the ground rising. He had reached the other side. Leaving Chesil behind, he had finally found solid ground.
The bridge which now unites Sandford Castle with Smallmouth Sands did not then exist. It is probable that in his intelligent groping he had reascended as far as Wyke Regis, where there was then a tongue of sand, a natural road crossing East Fleet.
The bridge that now connects Sandford Castle with Smallmouth Sands didn't exist back then. It's likely that in his careful searching, he had gone back as far as Wyke Regis, where there was a strip of sand, a natural path crossing East Fleet.
He was saved from the isthmus; but he found himself again face to face with the tempest, with the cold, with the night.
He was rescued from the isthmus; but he found himself once again confronted by the storm, the cold, and the darkness.
Before him once more lay the plain, shapeless in the density of impenetrable shadow. He examined the ground, seeking a footpath. Suddenly he bent down. He had discovered, in the snow, something which seemed to him a track.
Before him once again was the flat, featureless ground shrouded in heavy darkness. He looked closely at the ground, searching for a path. Suddenly, he leaned down. He had found something in the snow that looked like a trail.
It was indeed a track—the print of a foot. The print was cut out clearly in the whiteness of the snow, which rendered it distinctly visible. He examined it. It was a naked foot; too small for that of a man, too large for that of a child.
It was definitely a footprint. The print stood out sharply against the white snow, making it easy to see. He took a closer look. It was a bare foot; too small to belong to an adult, yet too large for a child.
It was probably the foot of a woman. Beyond that mark was another, then another, then another. The footprints followed each other at the distance of a step, and struck across the plain to the right. They were still fresh, and slightly covered with little snow. A woman had just passed that way.
It was likely a woman's footprint. Beyond that mark was another, then another, then another. The footprints followed each other at a step's distance and crossed the plain to the right. They were still fresh and slightly covered with a bit of snow. A woman had just walked through here.
This woman was walking in the direction in which the child had seen the smoke. With his eyes fixed on the footprints, he set himself to follow them.
This woman was walking towards where the child had seen the smoke. With his eyes locked on the footprints, he started to follow them.
CHAPTER II.
THE EFFECT OF SNOW.
He journeyed some time along this course. Unfortunately the footprints were becoming less and less distinct. Dense and fearful was the falling of the snow. It was the time when the hooker was so distressed by the snow-storm at sea.
He traveled for a while along this path. Unfortunately, the footprints were becoming harder to see. The snow was falling heavily and frighteningly. It was the time when the boat was struggling so much with the snowstorm at sea.
The child, in distress like the vessel, but after another fashion, had, in the inextricable intersection of shadows which rose up before him, no resource but the footsteps in the snow, and he held to it as the thread of a labyrinth.
The child, troubled like the ship, but in a different way, had no way out in the tangled shadows that loomed in front of him, except for the footprints in the snow, which he clung to like the path through a maze.
Suddenly, whether the snow had filled them up or for some other reason, the footsteps ceased. All became even, level, smooth, without a stain, without a detail. There was now nothing but a white cloth drawn over the earth and a black one over the sky. It seemed as if the foot-passenger had flown away. The child, in despair, bent down and searched; but in vain.
Suddenly, whether it was because the snow had covered them or for some other reason, the footsteps stopped. Everything became flat, even, smooth, without a mark, without any details. Now there was only a white blanket over the ground and a black one over the sky. It felt like the pedestrian had vanished. The child, feeling hopeless, bent down and looked around; but it was useless.
As he arose he had a sensation of hearing some indistinct sound, but he could not be sure of it. It resembled a voice, a breath, a shadow. It was more human than animal; more sepulchral than living. It was a sound, but the sound of a dream.
As he got up, he felt like he heard some faint sound, but he couldn't be certain. It was similar to a voice, a breath, a shadow. It felt more human than animal; more ghostly than alive. It was a sound, but the kind you hear in a dream.
He looked, but saw nothing.
He looked but saw nothing.
Solitude, wide, naked and livid, was before him. He listened. That which he had thought he heard had faded away. Perhaps it had been but fancy. He still listened. All was silent.
Solitude, vast, bare and intense, surrounded him. He listened. What he thought he had heard had disappeared. Maybe it had just been his imagination. He continued to listen. Everything was quiet.
There was illusion in the mist.
There was a trick of the light in the fog.
He went on his way again. He walked forward at random, with nothing henceforth to guide him.
He continued on his way. He walked ahead at random, with nothing to guide him from then on.
As he moved away the noise began again. This time he could doubt it no longer. It was a groan, almost a sob.
As he walked away, the noise started up again. This time, he could no longer doubt it. It was a groan, nearly a sob.
He turned. He searched the darkness of space with his eyes. He saw nothing. The sound arose once more. If limbo could cry out, it would cry in such a tone.
He turned. He scanned the darkness of space with his eyes. He saw nothing. The sound came up again. If limbo could cry out, it would sound like this.
Nothing so penetrating, so piercing, so feeble as the voice—for it was a voice. It arose from a soul. There was palpitation in the murmur. Nevertheless, it seemed uttered almost unconsciously. It was an appeal of suffering, not knowing that it suffered or that it appealed.
Nothing so sharp, so intense, so weak as the voice—because it was a voice. It came from a soul. There was a heartbeat in the whisper. Still, it felt almost like it was spoken without awareness. It was a cry of pain, not realizing it was in pain or that it was asking for help.
The cry—perhaps a first breath, perhaps a last sigh—was equally distant from the rattle which closes life and the wail with which it commences. It breathed, it was stifled, it wept, a gloomy supplication from the depths of night. The child fixed his attention everywhere, far, near, on high, below. There was no one. There was nothing. He listened. The voice arose again. He perceived it distinctly. The sound somewhat resembled the bleating of a lamb.
The cry—maybe a first breath, maybe a last sigh—was equally far from the rattle that ends life and the wail that begins it. It breathed, it was stifled, it wept, a sad plea from the depths of night. The child focused his attention everywhere, far, near, above, below. There was no one. There was nothing. He listened. The voice came again. He recognized it clearly. The sound was somewhat like the bleating of a lamb.
Then he was frightened, and thought of flight.
Then he got scared and thought about running away.
The groan again. This was the fourth time. It was strangely miserable and plaintive. One felt that after that last effort, more mechanical than voluntary, the cry would probably be extinguished. It was an expiring exclamation, instinctively appealing to the amount of aid held in suspense in space. It was some muttering of agony, addressed to a possible Providence.
The groan came again. This was the fourth time. It sounded oddly miserable and desperate. One sensed that after that last attempt, more mechanical than intentional, the cry would likely fade away. It was a dying exclamation, instinctively reaching out for the help that seemed to hang in the air. It was some mumbling of pain, directed toward a possible higher power.
The child approached in the direction from whence the sound came.
The child walked toward the source of the sound.
Still he saw nothing.
He still saw nothing.
He advanced again, watchfully.
He moved forward, cautiously.
The complaint continued. Inarticulate and confused as it was, it had become clear—almost vibrating. The child was near the voice; but where was it?
The complaint went on. Even though it was unclear and jumbled, it was noticeable—almost pulsating. The child was close to the voice; but where was it?
He was close to a complaint. The trembling of a cry passed by his side into space. A human moan floated away into the darkness. This was what he had met. Such at least was his impression, dim as the dense mist in which he was lost.
He was on the verge of complaining. The quiver of a cry brushed against him and disappeared into the void. A human moan drifted into the darkness. This was what he encountered. At least, that was his impression, faint as the thick fog enveloping him.
Whilst he hesitated between an instinct which urged him to fly and an instinct which commanded him to remain, he perceived in the snow at his feet, a few steps before him, a sort of undulation of the dimensions of a human body—a little eminence, low, long, and narrow, like the mould over a grave—a sepulchre in a white churchyard.
As he wavered between a strong urge to escape and a compelling need to stay, he noticed in the snow at his feet, just a few steps ahead, a slight rise in the shape of a human body—small, elongated, and narrow, like the outline of a grave—a tomb in a white cemetery.
At the same time the voice cried out. It was from beneath the undulation that it proceeded. The child bent down, crouching before the undulation, and with both his hands began to clear it away.
At the same time, a voice called out. It came from beneath the wave. The child bent down, crouching in front of the wave, and with both hands started to clear it away.
Beneath the snow which he removed a form grew under his hands; and suddenly in the hollow he had made there appeared a pale face.
Beneath the snow he cleared away, a shape started to emerge beneath his hands; and suddenly, in the depression he created, a pale face appeared.
The cry had not proceeded from that face. Its eyes were shut, and the mouth open but full of snow.
The cry didn't come from that face. Its eyes were closed, and its mouth was open but filled with snow.
It remained motionless; it stirred not under the hands of the child. The child, whose fingers were numbed with frost, shuddered when he touched its coldness. It was that of a woman. Her dishevelled hair was mingled with the snow. The woman was dead.
It stayed still; it didn’t move under the child’s hands. The child, whose fingers were numb with cold, shivered when he felt its chill. It belonged to a woman. Her tangled hair was mixed with the snow. The woman was dead.
Again the child set himself to sweep away the snow. The neck of the dead woman appeared; then her shoulders, clothed in rags. Suddenly he felt something move feebly under his touch. It was something small that was buried, and which stirred. The child swiftly cleared away the snow, discovering a wretched little body—thin, wan with cold, still alive, lying naked on the dead woman's naked breast.
Again the child began to clear away the snow. The neck of the dead woman showed up, then her shoulders, covered in rags. Suddenly, he felt something weakly move under his touch. It was something small that was buried and was stirring. The child quickly cleared away the snow, revealing a miserable little body—thin, pale from the cold, still alive, lying naked on the dead woman's bare chest.
It was a little girl.
It was a young girl.
It had been swaddled up, but in rags so scanty that in its struggles it had freed itself from its tatters. Under it its attenuated limbs, and above it its breath, had somewhat melted the snow. A nurse would have said that it was five or six months old, but perhaps it might be a year, for growth, in poverty, suffers heart-breaking reductions which sometimes even produce rachitis. When its face was exposed to the air it gave a cry, the continuation of its sobs of distress. For the mother not to have heard that sob, proved her irrevocably dead.
It had been wrapped up, but in such thin rags that it had struggled free from them. Its skinny limbs and warm breath had slightly melted the snow beneath it. A nurse would probably guess it was five or six months old, but it could have been a year, since growing up in poverty leads to heartbreaking stunting that can even cause rickets. When its face was uncovered, it cried out, continuing the sobs of distress. The fact that the mother hadn’t heard that cry meant she was undoubtedly dead.
The child took the infant in his arms. The stiffened body of the mother was a fearful sight; a spectral light proceeded from her face. The mouth, apart and without breath, seemed to form in the indistinct language of shadows her answer to the questions put to the dead by the invisible. The ghastly reflection of the icy plains was on that countenance. There was the youthful forehead under the brown hair, the almost indignant knitting of the eyebrows, the pinched nostrils, the closed eyelids, the lashes glued together by the rime, and from the corners of the eyes to the corners of the mouth a deep channel of tears. The snow lighted up the corpse. Winter and the tomb are not adverse. The corpse is the icicle of man. The nakedness of her breasts was pathetic. They had fulfilled their purpose. On them was a sublime blight of the life infused into one being by another from whom life has fled, and maternal majesty was there instead of virginal purity. At the point of one of the nipples was a white pearl. It was a drop of milk frozen.
The child held the baby in his arms. The lifeless body of the mother was a terrifying sight; a ghostly light shone from her face. Her mouth, open and silent, seemed to form in the vague language of shadows her response to the questions the dead are asked by the unseen. The chilling reflection of the icy landscape was visible on her face. Beneath the brown hair lay a youthful forehead, the almost furious furrowing of her brows, pinched nostrils, closed eyelids, lashes stuck together by frost, and a deep channel of tears from the corners of her eyes to the corners of her mouth. The snow illuminated the corpse. Winter and the grave are not enemies. The corpse is like a man’s icicle. The exposure of her breasts was moving. They had served their purpose. On them was a sublime decay from life given by one who no longer lives, and maternal dignity replaced virgin innocence. At the tip of one nipple was a white pearl. It was a drop of milk that had frozen.
Let us explain at once. On the plains over which the deserted boy was passing in his turn a beggar woman, nursing her infant and searching for a refuge, had lost her way a few hours before. Benumbed with cold she had sunk under the tempest, and could not rise again. The falling snow had covered her. So long as she was able she had clasped her little girl to her bosom, and thus died.
Let’s clarify right away. On the plains where the abandoned boy was passing, a beggar woman had lost her way a few hours earlier while nursing her baby and looking for shelter. Numbed by the cold, she collapsed under the storm and couldn't get back up. The falling snow had buried her. As long as she could, she held her little girl close to her, and that’s how she died.
The infant had tried to suck the marble breast. Blind trust, inspired by nature, for it seems that it is possible for a woman to suckle her child even after her last sigh.
The baby had tried to suck the marble breast. It was a blind trust, driven by nature, because it seems a woman can still breastfeed her child even after her last breath.
But the lips of the infant had been unable to find the breast, where the drop of milk, stolen by death, had frozen, whilst under the snow the child, more accustomed to the cradle than the tomb, had wailed.
But the baby's lips couldn't reach the breast, where the drop of milk, taken by death, had frozen, while beneath the snow the child, more familiar with the crib than the grave, had cried out.
The deserted child had heard the cry of the dying child.
The abandoned child had heard the cry of the dying child.
He disinterred it.
He dug it up.
He took it in his arms.
He picked it up and held it in his arms.
When she felt herself in his arms she ceased crying. The faces of the two children touched each other, and the purple lips of the infant sought the cheek of the boy, as it had been a breast. The little girl had nearly reached the moment when the congealed blood stops the action of the heart. Her mother had touched her with the chill of her own death—a corpse communicates death; its numbness is infectious. Her feet, hands, arms, knees, seemed paralyzed by cold. The boy felt the terrible chill. He had on him a garment dry and warm—his pilot jacket. He placed the infant on the breast of the corpse, took off his jacket, wrapped the infant in it, took it up again in his arms, and now, almost naked, under the blast of the north wind which covered him with eddies of snow-flakes, carrying the infant, he pursued his journey.
When she was in his arms, she stopped crying. The two children's faces touched, and the baby’s purple lips searched for the boy’s cheek as if it were a breast. The little girl was nearing the point where the clotted blood halts the heart's function. Her mother had brought the chill of her own death to her—it's true that a corpse spreads death; its numbness is contagious. Her feet, hands, arms, and knees felt frozen. The boy sensed the awful cold. He wore a dry and warm garment—his pilot jacket. He laid the baby on the corpse’s chest, took off his jacket, wrapped the baby in it, picked it up again, and now, almost naked, facing the north wind that swirled around him with snowflakes, he continued on his way carrying the baby.
The little one having succeeded in finding the boy's cheek, again applied her lips to it, and, soothed by the warmth, she slept. First kiss of those two souls in the darkness.
The little one managed to find the boy's cheek again and pressed her lips against it, feeling comforted by the warmth, she fell asleep. It was the first kiss between those two souls in the dark.
The mother lay there, her back to the snow, her face to the night; but perhaps at the moment when the little boy stripped himself to clothe the little girl, the mother saw him from the depths of infinity.
The mother lay there, her back against the snow, her face towards the night; but perhaps at the moment when the little boy took off his clothes to dress the little girl, the mother saw him from the depths of infinity.
CHAPTER III.
A BURDEN MAKES A ROUGH ROAD ROUGHER.
It was little more than four hours since the hooker had sailed from the creek of Portland, leaving the boy on the shore. During the long hours since he had been deserted, and had been journeying onwards, he had met but three persons of that human society into which he was, perchance, about to enter—a man, the man on the hill; a woman, the woman in the snow; and the little girl whom he was carrying in his arms.
It had been just over four hours since the boat had left the creek of Portland, leaving the boy on the shore. During the long hours since he had been abandoned and had been moving forward, he had encountered only three people from the human society he might soon join—a man, the guy on the hill; a woman, the woman in the snow; and the little girl he was carrying in his arms.
He was exhausted by fatigue and hunger, yet advanced more resolutely than ever, with less strength and an added burden. He was now almost naked. The few rags which remained to him, hardened by the frost, were sharp as glass, and cut his skin. He became colder, but the infant was warmer. That which he lost was not thrown away, but was gained by her. He found out that the poor infant enjoyed the comfort which was to her the renewal of life. He continued to advance.
He was worn out from exhaustion and hunger, but pushed forward more determined than ever, with less strength and an added load. He was now nearly naked. The few rags left on him, frozen and stiff, felt like glass, cutting into his skin. He felt colder, but the baby felt warmer. What he lost wasn’t wasted; it was gained by her. He realized that the poor baby found comfort in what was for her a revival of life. He kept moving forward.
From time to time, still holding her securely, he bent down, and taking a handful of snow he rubbed his feet with it, to prevent their being frost-bitten. At other times, his throat feeling as if it were on fire, he put a little snow in his mouth and sucked it; this for a moment assuaged his thirst, but changed it into fever—a relief which was an aggravation.
From time to time, still holding her tightly, he bent down and grabbed a handful of snow to rub on his feet, trying to avoid frostbite. At other moments, when his throat felt like it was burning, he would put some snow in his mouth and suck on it; this would temporarily quench his thirst but turned it into a burning sensation—relief that ultimately made things worse.
The storm had become shapeless from its violence. Deluges of snow are possible. This was one. The paroxysm scourged the shore at the same time that it uptore the depths of ocean. This was, perhaps, the moment when the distracted hooker was going to pieces in the battle of the breakers.
The storm had lost its form from its intensity. Heavy snowfall was likely. This was one of those times. The tempest battered the shore while also churning the depths of the ocean. This was, perhaps, the moment when the overwhelmed ship was breaking apart in the struggle against the waves.
He travelled under this north wind, still towards the east, over wide surfaces of snow. He knew not how the hours had passed. For a long time he had ceased to see the smoke. Such indications are soon effaced in the night; besides, it was past the hour when fires are put out. Or he had, perhaps, made a mistake, and it was possible that neither town nor village existed in the direction in which he was travelling. Doubting, he yet persevered.
He traveled under the northern wind, still heading east, across vast stretches of snow. He had lost track of how much time had gone by. For a long time, he hadn't seen any smoke. Such signs quickly disappear in the dark; besides, it was past the time when fires are typically extinguished. Or maybe he had made a mistake, and it was possible that there weren't any towns or villages in the direction he was going. Despite his doubts, he kept going.
Two or three times the little infant cried. Then he adopted in his gait a rocking movement, and the child was soothed and silenced. She ended by falling into a sound sleep. Shivering himself, he felt her warm. He frequently tightened the folds of the jacket round the babe's neck, so that the frost should not get in through any opening, and that no melted snow should drop between the garment and the child.
Two or three times the little baby cried. Then he started to rock back and forth, and the child was calmed and quieted. Eventually, she fell into a deep sleep. Even though he was shivering, he could feel her warmth. He often tightened the folds of the jacket around the baby’s neck, making sure no cold could seep in through any gaps, and that no melted snow would drip between the clothing and the child.
The plain was unequal. In the declivities into which it sloped the snow, driven by the wind into the dips of the ground, was so deep, in comparison with a child so small, that it almost engulfed him, and he had to struggle through it half buried. He walked on, working away the snow with his knees.
The plain was uneven. In the slopes where it dipped, the snow, pushed by the wind into the depressions, was so deep compared to the small child that it nearly swallowed him up, and he had to fight his way through it, half buried. He kept moving forward, pushing the snow aside with his knees.
Having cleared the ravine, he reached the high lands swept by the winds, where the snow lay thin. Then he found the surface a sheet of ice. The little girl's lukewarm breath, playing on his face, warmed it for a moment, then lingered, and froze in his hair, stiffening it into icicles.
Having crossed the ravine, he arrived at the elevated land where the winds blew, and the snow was sparse. Then he discovered that the ground was covered in a layer of ice. The little girl's warm breath brushed against his face, warming it for a moment, then lingered and froze in his hair, turning it into icicles.
He felt the approach of another danger. He could not afford to fall. He knew that if he did so he should never rise again. He was overcome by fatigue, and the weight of the darkness would, as with the dead woman, have held him to the ground, and the ice glued him alive to the earth.
He sensed another danger closing in. He couldn’t afford to fall. He knew that if he did, he wouldn’t be able to get back up. Exhaustion overwhelmed him, and the heaviness of the darkness would, like with the dead woman, trap him to the ground, while the ice kept him glued alive to the earth.
He had tripped upon the slopes of precipices, and had recovered himself; he had stumbled into holes, and had got out again. Thenceforward the slightest fall would be death; a false step opened for him a tomb. He must not slip. He had not strength to rise even to his knees. Now everything was slippery; everywhere there was rime and frozen snow. The little creature whom he carried made his progress fearfully difficult. She was not only a burden, which his weariness and exhaustion made excessive, but was also an embarrassment. She occupied both his arms, and to him who walks over ice both arms are a natural and necessary balancing power.
He had tripped on the edges of cliffs and managed to steady himself; he had stumbled into holes and found a way out. From that point on, even the slightest fall could be fatal; a wrong step turned into a grave. He couldn’t afford to slip. He didn’t have the strength to even get back to his knees. Everything around him was slippery; there was frost and frozen snow everywhere. The little creature he was carrying made it incredibly hard to move. She was not just a burden, made worse by his fatigue and exhaustion, but also a distraction. She occupied both his arms, and for someone walking on ice, both arms are a natural and essential source of balance.
He was obliged to do without this balance.
He had to go without this balance.
He did without it and advanced, bending under his burden, not knowing what would become of him.
He went on without it, struggling under his load, unsure of what would happen to him.
This little infant was the drop causing the cup of distress to overflow.
This little baby was the drop that made the cup of stress overflow.
He advanced, reeling at every step, as if on a spring board, and accomplishing, without spectators, miracles of equilibrium. Let us repeat that he was, perhaps, followed on this path of pain by eyes unsleeping in the distances of the shadows—the eyes of the mother and the eyes of God. He staggered, slipped, recovered himself, took care of the infant, and, gathering the jacket about her, he covered up her head; staggered again, advanced, slipped, then drew himself up. The cowardly wind drove against him. Apparently, he made much more way than was necessary. He was, to all appearance, on the plains where Bincleaves Farm was afterwards established, between what are now called Spring Gardens and the Parsonage House. Homesteads and cottages occupy the place of waste lands. Sometimes less than a century separates a steppe from a city.
He moved forward, unsteady with every step, like he was on a trampoline, performing incredible stunts of balance without any audience. It’s worth repeating that, perhaps, he was being watched on this painful journey by unblinking eyes in the distant shadows—the eyes of his mother and the eyes of God. He stumbled, fell, regained his footing, took care of the baby, and wrapped her jacket around her, covering her head; he staggered again, moved forward, slipped, then straightened up. The relentless wind pushed against him. It seemed like he was making more progress than was really needed. He appeared to be on the plains where Bincleaves Farm would later be built, between what are now called Spring Gardens and the Parsonage House. Homes and cottages have replaced what used to be wasteland. Sometimes, less than a century is all it takes for a barren area to turn into a city.
Suddenly, a lull having occurred in the icy blast which was blinding him, he perceived, at a short distance in front of him, a cluster of gables and of chimneys shown in relief by the snow. The reverse of a silhouette—a city painted in white on a black horizon, something like what we call nowadays a negative proof. Roofs—dwellings—shelter! He had arrived somewhere at last. He felt the ineffable encouragement of hope. The watch of a ship which has wandered from her course feels some such emotion when he cries, "Land ho!"
Suddenly, as the icy wind that was blinding him died down for a moment, he noticed, a short distance ahead, a cluster of rooftops and chimneys outlined against the snow. It was the opposite of a silhouette—a city painted in white against a dark sky, similar to what we now refer to as a negative image. Roofs—homes—shelter! He had finally arrived somewhere. He felt an overwhelming sense of hope. It was a feeling like that of a ship's captain who has strayed off course and suddenly spots land, shouting, "Land ho!"
He hurried his steps.
He quickened his pace.
At length, then, he was near mankind. He would soon be amidst living creatures. There was no longer anything to fear. There glowed within him that sudden warmth—security; that out of which he was emerging was over; thenceforward there would no longer be night, nor winter, nor tempest. It seemed to him that he had left all evil chances behind him. The infant was no longer a burden. He almost ran.
At last, he was close to people. Soon, he would be surrounded by living beings. There was nothing left to fear. He felt a sudden warmth inside him—security; the darkness he was coming out of was over. From now on, there would be no more night, winter, or storms. It felt like he had left all bad luck behind him. The baby was no longer a burden. He almost ran.
His eyes were fixed on the roofs. There was life there. He never took his eyes off them. A dead man might gaze thus on what might appear through the half-opened lid of his sepulchre. There were the chimneys of which he had seen the smoke.
His eyes were focused on the rooftops. There was activity happening there. He didn’t look away from them. A dead man might stare like that at what could be seen through the half-open lid of his grave. There were the chimneys from which he had seen the smoke.
No smoke arose from them now. He was not long before he reached the houses. He came to the outskirts of a town—an open street. At that period bars to streets were falling into disuse.
No smoke was rising from them now. It didn’t take him long to reach the houses. He arrived at the edge of a town—an open street. At that time, barriers to streets were becoming less common.
The street began by two houses. In those two houses neither candle nor lamp was to be seen; nor in the whole street; nor in the whole town, so far as eye could reach. The house to the right was a roof rather than a house; nothing could be more mean. The walls were of mud, the roof was of straw, and there was more thatch than wall. A large nettle, springing from the bottom of the wall, reached the roof. The hovel had but one door, which was like that of a dog-kennel; and a window, which was but a hole. All was shut up. At the side an inhabited pig-sty told that the house was also inhabited.
The street started with two houses. In those two houses, there wasn't a candle or lamp to be seen; nor in the entire street; nor in the whole town, as far as the eye could see. The house to the right resembled a roof more than a house; it couldn’t be more shabby. The walls were made of mud, the roof was thatched, and there was more straw than wall. A large nettle grew from the base of the wall up to the roof. The small structure had only one door, which looked more like a dog-kennel's; and a window, which was just a hole. Everything was closed up. On the side, a pigsty that was obviously in use indicated that the house was also occupied.
The house on the left was large, high, built entirely of stone, with a slated roof. It was also closed. It was the rich man's home, opposite to that of the pauper.
The house on the left was big, tall, made entirely of stone, with a tiled roof. It was also shut off. It belonged to the wealthy man, across from the pauper's home.
The boy did not hesitate. He approached the great mansion. The double folding-door of massive oak, studded with large nails, was of the kind that leads one to expect that behind it there is a stout armoury of bolts and locks. An iron knocker was attached to it. He raised the knocker with some difficulty, for his benumbed hands were stumps rather than hands. He knocked once.
The boy didn't hesitate. He walked up to the grand mansion. The double folding door made of heavy oak, with big nails, was the kind that suggests there's a strong setup of bolts and locks behind it. An iron knocker hung on it. He lifted the knocker with some effort, as his numbed hands felt more like stumps than hands. He knocked once.
No answer.
No response.
He struck again, and two knocks.
He knocked again, twice.
No movement was heard in the house.
No sounds came from the house.
He knocked a third time.
He knocked for the third time.
There was no sound. He saw that they were all asleep, and did not care to get up.
There was complete silence. He noticed that they were all asleep and didn't feel like getting up.
Then he turned to the hovel. He picked up a pebble from the snow, and knocked against the low door.
Then he turned to the shack. He picked up a stone from the snow and knocked on the short door.
There was no answer.
No response.
He raised himself on tiptoe, and knocked with his pebble against the pane too softly to break the glass, but loud enough to be heard.
He stood on his tiptoes and tapped his pebble against the windowpane gently enough not to break the glass, but loud enough to be heard.
No voice was heard; no step moved; no candle was lighted.
No voice was heard; no steps were taken; no candle was lit.
He saw that there, as well, they did not care to awake.
He noticed that they also didn't want to wake up.
The house of stone and the thatched hovel were equally deaf to the wretched.
The stone house and the thatched hut were both equally unresponsive to the miserable.
The boy decided on pushing on further, and penetrating the strait of houses which stretched away in front of him, so dark that it seemed more like a gulf between two cliffs than the entrance to a town.
The boy chose to keep going, pushing deeper into the row of houses that stretched out before him, so dim that it felt more like a chasm between two cliffs than the entrance to a town.
CHAPTER IV.
ANOTHER FORM OF DESERT.
It was Weymouth which he had just entered. Weymouth then was not the respectable and fine Weymouth of to-day.
It was Weymouth that he had just entered. Back then, Weymouth was not the respectable and upscale place it is today.
Ancient Weymouth did not present, like the present one, an irreproachable rectangular quay, with an inn and a statue in honour of George III. This resulted from the fact that George III. had not yet been born. For the same reason they had not yet designed on the slope of the green hill towards the east, fashioned flat on the soil by cutting away the turf and leaving the bare chalk to the view, the white horse, an acre long, bearing the king upon his back, and always turning, in honour of George III., his tail to the city. These honours, however, were deserved. George III., having lost in his old age the intellect he had never possessed in his youth, was not responsible for the calamities of his reign. He was an innocent. Why not erect statues to him?
Ancient Weymouth didn’t have, like it does today, a perfect rectangular quay with an inn and a statue honoring George III. That was because George III hadn’t been born yet. For the same reason, they hadn’t created the white horse on the slope of the green hill to the east, shaped from the land by removing the turf and exposing the bare chalk—an acre long, depicting the king on his back and always facing the city with his tail. These honors, however, were well-deserved. George III, having lost the little intelligence he had in his youth during his old age, wasn't responsible for the troubles of his reign. He was innocent. Why not put up statues for him?
Weymouth, a hundred and eighty years ago, was about as symmetrical as a game of spillikins in confusion. In legends it is said that Astaroth travelled over the world, carrying on her back a wallet which contained everything, even good women in their houses. A pell-mell of sheds thrown from her devil's bag would give an idea of that irregular Weymouth—the good women in the sheds included. The Music Hall remains as a specimen of those buildings. A confusion of wooden dens, carved and eaten by worms (which carve in another fashion)—shapeless, overhanging buildings, some with pillars, leaning one against the other for support against the sea wind, and leaving between them awkward spaces of narrow and winding channels, lanes, and passages, often flooded by the equinoctial tides; a heap of old grandmother houses, crowded round a grandfather church—such was Weymouth; a sort of old Norman village thrown up on the coast of England.
Weymouth, a hundred and eighty years ago, was as chaotic as a game of spillikins in disarray. Legends say that Astaroth roamed the world with a bag on her back that contained everything, even good women in their homes. The haphazard sheds scattered from her devil's bag give an idea of that irregular Weymouth—the good women in the sheds included. The Music Hall remains as a reminder of those buildings. A jumble of wooden structures, damaged and eaten by worms (which carve in a different way)—shapeless, leaning buildings, some with pillars, propped up against each other for support against the sea wind, leaving awkward gaps of narrow and winding channels, lanes, and passages, often flooded by the spring tides; a cluster of old grandmother houses gathered around a grandfather church—such was Weymouth; a kind of old Norman village tossed up on the coast of England.
The traveller who entered the tavern, now replaced by the hotel, instead of paying royally his twenty-five francs for a fried sole and a bottle of wine, had to suffer the humiliation of eating a pennyworth of soup made of fish—which soup, by-the-bye, was very good. Wretched fare!
The traveler who walked into the tavern, now turned into a hotel, instead of casually paying his twenty-five francs for a fried sole and a bottle of wine, had to endure the embarrassment of eating a cheap bowl of fish soup—which, by the way, was actually quite good. Terrible food!
The deserted child, carrying the foundling, passed through the first street, then the second, then the third. He raised his eyes, seeking in the higher stories and in the roofs a lighted window-pane; but all were closed and dark. At intervals he knocked at the doors. No one answered. Nothing makes the heart so like a stone as being warm between sheets. The noise and the shaking had at length awakened the infant. He knew this because he felt her suck his cheek. She did not cry, believing him her mother.
The abandoned child, holding the foundling, walked down the first street, then the second, and then the third. He looked up, searching the higher floors and rooftops for a lit window; but all were shut and dark. Occasionally, he knocked on the doors. No one responded. Nothing turns the heart as hard as being warm under blankets. The noise and movement finally woke the baby. He knew this because he felt her suck on his cheek. She didn’t cry, thinking he was her mother.
He was about to turn and wander long, perhaps, in the intersections of the Scrambridge lanes, where there were then more cultivated plots than dwellings, more thorn hedges than houses; but fortunately he struck into a passage which exists to this day near Trinity schools. This passage led him to a water-brink, where there was a roughly built quay with a parapet, and to the right he made out a bridge. It was the bridge over the Wey, connecting Weymouth with Melcombe Regis, and under the arches of which the Backwater joins the harbour.
He was about to turn and wander for a while, perhaps, through the intersections of the Scrambridge streets, where there were more cultivated plots than homes, more thorn hedges than buildings; but luckily he took a path that still exists today near Trinity schools. This path led him to the water's edge, where there was a rough quay with a railing, and to the right he spotted a bridge. It was the bridge over the Wey, connecting Weymouth with Melcombe Regis, and beneath its arches, the Backwater flows into the harbor.
Weymouth, a hamlet, was then the suburb of Melcombe Regis, a city and port. Now Melcombe Regis is a parish of Weymouth. The village has absorbed the city. It was the bridge which did the work. Bridges are strange vehicles of suction, which inhale the population, and sometimes swell one river-bank at the expense of its opposite neighbour.
Weymouth, once a small village, was then a suburb of Melcombe Regis, a town and port. Now, Melcombe Regis is part of Weymouth. The village has taken over the town. It was the bridge that made this happen. Bridges are peculiar devices that draw in people, often causing one side of the riverbank to grow at the expense of the other side.
The boy went to the bridge, which at that period was a covered timber structure. He crossed it. Thanks to its roofing, there was no snow on the planks. His bare feet had a moment's comfort as they crossed them. Having passed over the bridge, he was in Melcombe Regis. There were fewer wooden houses than stone ones there. He was no longer in the village; he was in the city.
The boy went to the bridge, which at that time was a covered wooden structure. He crossed it. Because of its roof, there was no snow on the planks. His bare feet enjoyed a moment of comfort as he walked over them. Once he crossed the bridge, he was in Melcombe Regis. There were more stone houses than wooden ones there. He was no longer in the village; he was in the city.
The bridge opened on a rather fine street called St. Thomas's Street. He entered it. Here and there were high carved gables and shop-fronts. He set to knocking at the doors again: he had no strength left to call or shout.
The bridge opened onto a nice street called St. Thomas's Street. He walked onto it. There were tall, carved gables and shopfronts here and there. He started knocking on the doors again; he had no strength left to call out or shout.
At Melcombe Regis, as at Weymouth, no one was stirring. The doors were all carefully double-locked, The windows were covered by their shutters, as the eyes by their lids. Every precaution had been taken to avoid being roused by disagreeable surprises. The little wanderer was suffering the indefinable depression made by a sleeping town. Its silence, as of a paralyzed ants' nest, makes the head swim. All its lethargies mingle their nightmares, its slumbers are a crowd, and from its human bodies lying prone there arises a vapour of dreams. Sleep has gloomy associates beyond this life: the decomposed thoughts of the sleepers float above them in a mist which is both of death and of life, and combine with the possible, which has also, perhaps, the power of thought, as it floats in space. Hence arise entanglements. Dreams, those clouds, interpose their folds and their transparencies over that star, the mind. Above those closed eyelids, where vision has taken the place of sight, a sepulchral disintegration of outlines and appearances dilates itself into impalpability. Mysterious, diffused existences amalgamate themselves with life on that border of death, which sleep is. Those larvæ and souls mingle in the air. Even he who sleeps not feels a medium press upon him full of sinister life. The surrounding chimera, in which he suspects a reality, impedes him. The waking man, wending his way amidst the sleep phantoms of others, unconsciously pushes back passing shadows, has, or imagines that he has, a vague fear of adverse contact with the invisible, and feels at every moment the obscure pressure of a hostile encounter which immediately dissolves. There is something of the effect of a forest in the nocturnal diffusion of dreams.
At Melcombe Regis, just like in Weymouth, everything was quiet. All the doors were securely double-locked, and the windows were covered by their shutters, like eyes closed by their lids. Every precaution was taken to avoid any unpleasant surprises. The little wanderer felt the unexplainable sadness that comes from a sleeping town. The silence, like a frozen ant nest, was dizzying. All the lethargy mixed together in a jumble of nightmares, and the sleeping bodies created a haze of dreams. Sleep has dark associations beyond this world: the decayed thoughts of the sleepers linger above them in a fog that is both life and death, merging with possibilities that maybe even have thoughts of their own, drifting in space. This creates entanglements. Dreams, those clouds, cover the star that is the mind with their layers and transparencies. Above those closed eyelids, where imagination replaces sight, there is a gloomy breakdown of shapes and appearances that stretches into something insubstantial. Mysterious, hazy lives blend with reality on that edge of death known as sleep. Those larvae and souls mix in the air. Even someone who isn’t sleeping feels a strange pressure around him, full of sinister life. The phantoms surrounding him, which he senses as real, obstruct him. The awake person, moving through the sleep dreams of others, unknowingly pushes aside passing shadows, feeling a vague fear of accidental contact with the invisible, and senses the obscure weight of a hostile encounter that quickly fades away. The effect of dreams in the night is reminiscent of being in a forest.
This is what is called being afraid without reason.
This is what’s known as having unreasonable fear.
What a man feels a child feels still more.
What a man feels, a child feels even more.
The uneasiness of nocturnal fear, increased by the spectral houses, increased the weight of the sad burden under which he was struggling.
The discomfort of nighttime fear, amplified by the ghostly houses, added to the heavy sadness he was trying to bear.
He entered Conycar Lane, and perceived at the end of that passage the Backwater, which he took for the ocean. He no longer knew in what direction the sea lay. He retraced his steps, struck to the left by Maiden Street, and returned as far as St. Alban's Row.
He walked into Conycar Lane and saw the Backwater at the end of the passage, which he mistook for the ocean. He had lost track of which way the sea was. He turned back, took a left on Maiden Street, and went back to St. Alban's Row.
There, by chance and without selection, he knocked violently at any house that he happened to pass. His blows, on which he was expending his last energies, were jerky and without aim; now ceasing altogether for a time, now renewed as if in irritation. It was the violence of his fever striking against the doors.
There, by chance and without any real thought, he banged loudly on every house he passed. His hits, which used up his last bit of energy, were erratic and aimless; sometimes stopping completely for a bit, then starting again in frustration. It was the intensity of his fever pounding against the doors.
One voice answered.
A voice responded.
That of Time.
Time.
Three o'clock tolled slowly behind him from the old belfry of St. Nicholas.
Three o'clock chimed slowly behind him from the old bell tower of St. Nicholas.
Then all sank into silence again.
Then everyone fell silent once more.
That no inhabitant should have opened a lattice may appear surprising. Nevertheless that silence is in a great measure to be explained. We must remember that in January 1790 they were just over a somewhat severe outbreak of the plague in London, and that the fear of receiving sick vagabonds caused a diminution of hospitality everywhere. People would not even open their windows for fear of inhaling the poison.
That no resident would have opened a window may seem surprising. However, this silence can be largely explained. We need to remember that in January 1790, they had just recovered from a pretty serious outbreak of the plague in London, and the fear of getting sick from wandering beggars made hospitality drop everywhere. People wouldn't even open their windows for fear of breathing in the sickness.
The child felt the coldness of men more terribly than the coldness of night. The coldness of men is intentional. He felt a tightening on his sinking heart which he had not known on the open plains. Now he had entered into the midst of life, and remained alone. This was the summit of misery. The pitiless desert he had understood; the unrelenting town was too much to bear.
The child felt the harshness of people more painfully than the chill of night. The harshness of people is deliberate. He felt a tightening in his sinking heart that he hadn't experienced on the open plains. Now he had stepped into the heart of life, and he was alone. This was the peak of misery. He had understood the merciless desert; the unyielding town was too much to handle.
The hour, the strokes of which he had just counted, had been another blow. Nothing is so freezing in certain situations as the voice of the hour. It is a declaration of indifference. It is Eternity saying, "What does it matter to me?"
The hour, which he had just counted, felt like another blow. Nothing can be as chilling in certain moments as the sound of the hour. It’s a statement of indifference. It’s Eternity saying, "Why should I care?"
He stopped, and it is not certain that, in that miserable minute, he did not ask himself whether it would not be easier to lie down there and die. However, the little infant leaned her head against his shoulder, and fell asleep again.
He stopped, and it's unclear if, in that miserable moment, he asked himself whether it would be easier to just lie down there and die. However, the small baby rested her head on his shoulder and fell asleep again.
This blind confidence set him onwards again. He whom all supports were failing felt that he was himself a basis of support. Irresistible summons of duty!
This blind confidence pushed him forward again. He, who felt like all supports were failing him, realized that he was a source of support for himself. An unstoppable call of duty!
Neither such ideas nor such a situation belonged to his age. It is probable that he did not understand them. It was a matter of instinct. He did what he chanced to do.
Neither these ideas nor this situation belonged to his time. It's likely that he didn't really get them. It was instinctive. He did what he happened to do.
He set out again in the direction of Johnstone Row. But now he no longer walked; he dragged himself along. He left St. Mary's Street to the left, made zigzags through lanes, and at the end of a winding passage found himself in a rather wide open space. It was a piece of waste land not built upon—probably the spot where Chesterfield Place now stands. The houses ended there. He perceived the sea to the right, and scarcely anything more of the town to his left.
He set out again toward Johnstone Row. But now he wasn't walking; he was dragging himself along. He turned left off St. Mary's Street, made zigzags through alleys, and at the end of a winding path, he found himself in a relatively open area. It was a piece of unused land—probably the spot where Chesterfield Place is now. The houses stopped there. He could see the sea to his right and hardly anything else of the town to his left.
What was to become of him? Here was the country again. To the east great inclined planes of snow marked out the wide slopes of Radipole. Should he continue this journey? Should he advance and re-enter the solitudes? Should he return and re-enter the streets? What was he to do between those two silences—the mute plain and the deaf city? Which of the two refusals should he choose?
What was going to happen to him? There was the countryside again. To the east, vast sloped areas of snow outlined the wide hills of Radipole. Should he keep going on this journey? Should he move forward and go back into the emptiness? Should he turn around and go back to the streets? What was he to do between those two silences—the quiet plain and the noisy city? Which of the two rejections should he pick?
There is the anchor of mercy. There is also the look of piteousness. It was that look which the poor little despairing wanderer threw around him.
There is the anchor of mercy. There is also the look of pity. It was that look which the poor little hopeless wanderer cast around him.
All at once he heard a menace.
All of a sudden, he heard a threat.
CHAPTER V.
MISANTHROPY PLAYS ITS PRANKS.
A strange and alarming grinding of teeth reached him through the darkness.
A weird and unsettling grinding of teeth echoed through the darkness.
That fierce growl reassured him; that threat was a promise. There was there a being alive and awake, though it might be a wild beast. He advanced in the direction whence came the snarl.
That fierce growl reassured him; that threat was a promise. There was a being alive and aware, even if it might be a wild animal. He moved toward the source of the snarl.
He turned the corner of a wall, and, behind in the vast sepulchral light made by the reflection of snow and sea, he saw a thing placed as if for shelter. It was a cart, unless it was a hovel. It had wheels—it was a carriage. It had a roof—it was a dwelling. From the roof arose a funnel, and out of the funnel smoke. This smoke was red, and seemed to imply a good fire in the interior. Behind, projecting hinges indicated a door, and in the centre of this door a square opening showed a light inside the caravan. He approached.
He turned the corner of a wall, and, in the vast eerie light created by the reflection of snow and sea, he saw something that looked like a shelter. It was a cart, or maybe it was a small hut. It had wheels—it was a carriage. It had a roof—it was a home. From the roof, a chimney rose, and smoke was coming out of it. This smoke was red and suggested a nice fire inside. Behind it, some hinges indicated a door, and in the center of this door, a square opening revealed light inside the caravan. He moved closer.
Whatever had growled perceived his approach, and became furious. It was no longer a growl which he had to meet; it was a roar. He heard a sharp sound, as of a chain violently pulled to its full length, and suddenly, under the door, between the hind wheels, two rows of sharp white teeth appeared. At the same time as the mouth between the wheels a head was put through the window.
Whatever had growled noticed him coming and got angry. It was no longer just a growl he had to face; it was a roar. He heard a loud sound, like a chain being yanked to its limit, and suddenly, beneath the door, between the back wheels, two rows of sharp white teeth appeared. At the same time as the mouth between the wheels, a head popped through the window.
"Peace there!" said the head.
"Peace out!" said the head.
The mouth was silent.
The mouth was quiet.
The head began again,—
The head started again,—
"Is any one there?"
"Is anyone there?"
The child answered,—
The kid replied,—
"Yes."
"Yep."
"Who?"
"Who?"
"I."
"I."
"You? Who are you? whence do you come?"
"You? Who are you? Where are you from?"
"I am weary," said the child.
"I'm tired," the kid said.
"What o'clock is it?"
"What time is it?"
"I am cold."
"I'm cold."
"What are you doing there?"
"What are you doing?"
"I am hungry."
"I'm hungry."
The head replied,—
The leader responded,—
"Every one cannot be as happy as a lord. Go away."
"Not everyone can be as happy as a king. Just leave."
The head was withdrawn and the window closed.
The head pulled back and the window shut.
The child bowed his forehead, drew the sleeping infant closer in his arms, and collected his strength to resume his journey. He had taken a few steps, and was hurrying away.
The child lowered his head, pulled the sleeping baby closer to him, and gathered his strength to continue his journey. He took a few steps and hurried away.
However, at the same time that the window closed the door had opened; a step had been let down; the voice which had spoken to the child cried out angrily from the inside of the van,—
However, just as the window closed, the door opened; a step was lowered; the voice that had spoken to the child shouted angrily from inside the van,—
"Well! why do you not enter?"
"Well! Why don't you come in?"
The child turned back.
The kid turned back.
"Come in," resumed the voice. "Who has sent me a fellow like this, who is hungry and cold, and who does not come in?"
"Come in," the voice continued. "Who sent someone like this, who's hungry and cold, and who doesn't come in?"
The child, at once repulsed and invited, remained motionless.
The child, both repulsed and drawn in, stayed still.
The voice continued,—
The voice continued—
"You are told to come in, you young rascal."
"You’re being asked to come in, you little troublemaker."
He made up his mind, and placed one foot on the lowest step.
He made up his mind and put one foot on the first step.
There was a great growl under the van. He drew back. The gaping jaws appeared.
There was a loud growl under the van. He stepped back. The wide-open jaws emerged.
"Peace!" cried the voice of the man.
"Peace!" yelled the man.
The jaws retreated, the growling ceased.
The jaws pulled back, and the growling stopped.
"Come up!" continued the man.
"Come up!" the man urged.
The child with difficulty climbed up the three steps. He was impeded by the infant, so benumbed, rolled up and enveloped in the jacket that nothing could be distinguished of her, and she was but a little shapeless mass.
The child struggled to climb up the three steps. He was held back by the baby, so bundled up and wrapped in her jacket that you couldn't make out any features; she was just a little shapeless bundle.
He passed over the three steps; and having reached the threshold, stopped.
He stepped over the three stairs and, once he reached the doorway, paused.
No candle was burning in the caravan, probably from the economy of want. The hut was lighted only by a red tinge, arising from the opening at the top of the stove, in which sparkled a peat fire. On the stove were smoking a porringer and a saucepan, containing to all appearance something to eat. The savoury odour was perceptible. The hut was furnished with a chest, a stool, and an unlighted lantern which hung from the ceiling. Besides, to the partition were attached some boards on brackets and some hooks, from which hung a variety of things. On the boards and nails were rows of glasses, coppers, an alembic, a vessel rather like those used for graining wax, which are called granulators, and a confusion of strange objects of which the child understood nothing, and which were utensils for cooking and chemistry. The caravan was oblong in shape, the stove being in front. It was not even a little room; it was scarcely a big box. There was more light outside from the snow than inside from the stove. Everything in the caravan was indistinct and misty. Nevertheless, a reflection of the fire on the ceiling enabled the spectator to read in large letters,—
No candle was lit in the caravan, likely due to a lack of resources. The hut was illuminated only by a red glow from the opening at the top of the stove, where a peat fire flickered. On the stove, a bowl and a saucepan were steaming, seemingly holding something edible. A savory aroma filled the air. The hut had a chest, a stool, and an unlit lantern hanging from the ceiling. Some shelves with brackets and hooks attached to the partition held various items. On the shelves and nails were rows of glasses, copperware, an alembic, a device resembling those used for granulating wax, called granulators, and a jumble of unfamiliar objects that the child didn’t understand, which were tools for cooking and chemistry. The caravan was long and narrow, with the stove at the front. It was more than just a small room; it was hardly bigger than a large box. There was more light outside from the snow than inside from the stove. Everything in the caravan seemed vague and hazy. Still, the glow from the fire on the ceiling allowed the viewer to read in large letters,—
The child, in fact, was entering the house of Homo and Ursus. The one he had just heard growling, the other speaking.
The child was, in fact, entering the house of Homo and Ursus. One he had just heard growling, the other talking.
The child having reached the threshold, perceived near the stove a man, tall, smooth, thin and old, dressed in gray, whose head, as he stood, reached the roof. The man could not have raised himself on tiptoe. The caravan was just his size.
The child reached the doorway and saw a tall, slender, old man in gray standing by the stove, his head nearly touching the ceiling. The man couldn't have stood on his tiptoes. The caravan was just the right size for him.
"Come in!" said the man, who was Ursus.
"Come in!" said the man, Ursus.
The child entered.
The kid walked in.
"Put down your bundle."
"Put down your bag."
The child placed his burden carefully on the top of the chest, for fear of awakening and terrifying it.
The child gently set his load on top of the chest, worried he might wake it up and scare it.
The man continued,—
The man went on,—
"How gently you put it down! You could not be more careful were it a case of relics. Is it that you are afraid of tearing a hole in your rags? Worthless vagabond! in the streets at this hour! Who are you? Answer! But no. I forbid you to answer. There! You are cold. Warm yourself as quick as you can," and he shoved him by the shoulders in front of the fire.
"How gently you set it down! You couldn't be more careful if it were some kind of treasure. Are you worried about ripping your clothes? Pathetic homeless person! Out on the streets at this hour! Who are you? Speak! But no. I don't want you to answer. There! You're cold. Warm up as quickly as you can," and he pushed him by the shoulders in front of the fire.
"How wet you are! You're frozen through! A nice state to come into a house! Come, take off those rags, you villain!" and as with one hand, and with feverish haste, he dragged off the boy's rags which tore into shreds, with the other he took down from a nail a man's shirt, and one of those knitted jackets which are up to this day called kiss-me-quicks.
"Wow, you're soaked! You're freezing! What a way to walk into a house! Come on, take off those rags, you scoundrel!" And with one hand, in a rush, he yanked the boy's rags off, ripping them to shreds, while with the other hand he grabbed a man's shirt from a nail, along with one of those knitted jackets still known today as kiss-me-quicks.
"Here are clothes."
"Here are some clothes."
He chose out of a heap a woollen rag, and chafed before the fire the limbs of the exhausted and bewildered child, who at that moment, warm and naked, felt as if he were seeing and touching heaven. The limbs having been rubbed, he next wiped the boy's feet.
He picked a wool cloth from a pile and warmed the tired, confused child by the fire. At that moment, warm and nude, the boy felt like he was experiencing heaven. After warming the boy's limbs, he then wiped his feet.
"Come, you limb; you have nothing frost-bitten! I was a fool to fancy you had something frozen, hind legs or fore paws. You will not lose the use of them this time. Dress yourself!"
"Come on, you! You're not frostbitten at all! I was silly to think you had something frozen, either your back legs or front paws. You won’t lose the use of them this time. Get dressed!"
The child put on the shirt, and the man slipped the knitted jacket over it.
The child put on the shirt, and the man slipped the knitted sweater over it.
"Now...."
"Now..."
The man kicked the stool forward and made the little boy sit down, again shoving him by the shoulders; then he pointed with his finger to the porringer which was smoking upon the stove. What the child saw in the porringer was again heaven to him—namely, a potato and a bit of bacon.
The man kicked the stool forward and made the little boy sit down, pushing him by the shoulders again; then he pointed with his finger to the bowl that was steaming on the stove. What the child saw in the bowl was once again heaven to him—specifically, a potato and a piece of bacon.
"You are hungry; eat!"
"Feeling hungry? Grab a snack!"
The man took from the shelf a crust of hard bread and an iron fork, and handed them to the child.
The man grabbed a piece of hard bread and an iron fork from the shelf and handed them to the child.
The boy hesitated.
The kid hesitated.
"Perhaps you expect me to lay the cloth," said the man, and he placed the porringer on the child's lap.
"Maybe you think I'm supposed to set the table," said the man, and he put the bowl on the child's lap.
"Gobble that up."
"Eat that up."
Hunger overcame astonishment. The child began to eat. The poor boy devoured rather than ate. The glad sound of the crunching of bread filed the hut. The man grumbled,—
Hunger took over shock. The child started to eat. The poor boy devoured his food instead of just eating. The joyful sound of crunching bread filled the hut. The man complained,—
"Not so quick, you horrid glutton! Isn't he a greedy scoundrel? When such scum are hungry, they eat in a revolting fashion. You should see a lord sup. In my time I have seen dukes eat. They don't eat; that's noble. They drink, however. Come, you pig, stuff yourself!"
"Not so fast, you disgusting pig! Isn't he a greedy jerk? When people like that get hungry, they eat in the most gross way. You should see a lord eat. In my experience, I've seen dukes eat. They don't eat; that's classy. They do drink, though. Come on, you glutton, pig out!"
The absence of ears, which is the concomitant of a hungry stomach, caused the child to take little heed of these violent epithets, tempered as they were by charity of action involving a contradiction resulting in his benefit. For the moment he was absorbed by two exigencies and by two ecstasies—food and warmth.
The lack of food, which goes hand-in-hand with hunger, made the child pay little attention to these harsh words, softened as they were by kind actions that ultimately worked in his favor. For now, he was completely focused on two urgent needs and two intense feelings—food and warmth.
Ursus continued his imprecations, muttering to himself,—
Ursus kept cursing, mumbling to himself,—
"I have seen King James supping in propriâ personâ in the Banqueting House, where are to be admired the paintings of the famous Rubens. His Majesty touched nothing. This beggar here browses: browses, a word derived from brute. What put it into my head to come to this Weymouth seven times devoted to the infernal deities? I have sold nothing since morning I have harangued the snow. I have played the flute to the hurricane. I have not pocketed a farthing; and now, to-night, beggars drop in. Horrid place! There is battle, struggle, competition between the fools in the street and myself. They try to give me nothing but farthings. I try to give them nothing but drugs. Well, to-day I've made nothing. Not an idiot on the highway, not a penny in the till. Eat away, hell-born boy! Tear and crunch! We have fallen on times when nothing can equal the cynicism of spongers. Fatten at my expense, parasite! This wretched boy is more than hungry; he is mad. It is not appetite, it is ferocity. He is carried away by a rabid virus. Perhaps he has the plague. Have you the plague, you thief? Suppose he were to give it to Homo! No, never! Let the populace die, but not my wolf. But by-the-bye I am hungry myself. I declare that this is all very disagreeable. I have worked far into the night. There are seasons in a man's life when he is hard pressed. I was to-night, by hunger. I was alone. I made a fire. I had but one potato, one crust of bread, a mouthful of bacon, and a drop of milk, and I put it to warm. I said to myself, 'Good.' I think I am going to eat, and bang! this crocodile falls upon me at the very moment. He installs himself clean between my food and myself. Behold, how my larder is devastated! Eat, pike, eat! You shark! how many teeth have you in your jaws? Guzzle, wolf-cub; no, I withdraw that word. I respect wolves. Swallow up my food, boa. I have worked all day, and far into the night, on an empty stomach; my throat is sore, my pancreas in distress, my entrails torn; and my reward is to see another eat. 'Tis all one, though! We will divide. He shall have the bread, the potato, and the bacon; but I will have the milk."
"I’ve seen King James eating in person in the Banqueting House, where you can admire the paintings of the famous Rubens. His Majesty didn’t touch a thing. This beggar here is scavenging: ‘scavenging’ is a word that comes from ‘brute.’ What on earth made me come to this Weymouth, devoted seven times to the infernal deities? I haven’t sold anything since morning; I’ve been shouting at the snow. I’ve played the flute to the hurricane. I haven’t made a single penny; and now, tonight, beggars are wandering in. Horrible place! There’s a competition between the fools in the street and me. They try to give me nothing but small change. I try to give them nothing but drugs. Well, today I’ve earned nothing. Not a fool on the highway, not a penny in the till. Go ahead, you hell-born kid! Tear into it! We’re living in a time when nothing matches the cynicism of spongers. Feed at my expense, parasite! This poor boy is more than just hungry; he’s mad. It’s not hunger, it’s ferocity. He’s driven by a rabid virus. Maybe he’s got the plague. Do you have the plague, you thief? What if he gives it to Homo! No, never! Let the people die, but not my wolf. But by the way, I’m hungry myself. I must say this is all very unpleasant. I worked late into the night. There are times in a man’s life when he’s under pressure. I was tonight, from hunger. I was alone. I made a fire. I had just one potato, one crust of bread, a little bacon, and a drop of milk, and I warmed it up. I said to myself, ‘Great.’ I thought I was going to eat, and bang! This crocodile pounces on me right at that moment. He positions himself right between my food and me. Look, how my food stash is wrecked! Eat, pike, eat! You shark! How many teeth do you have in those jaws? Gobble it up, little wolf; no, I take that back. I respect wolves. Swallow up my food, boa. I’ve worked all day and far into the night on an empty stomach; my throat is sore, my pancreas in distress, my insides are torn; and my reward is to watch someone else eat. It’s all the same, though! We’ll split it. He can have the bread, the potato, and the bacon; but I’ll keep the milk."
Just then a wail, touching and prolonged, arose in the hut. The man listened.
Just then, a long, heartfelt cry echoed from the hut. The man listened.
"You cry, sycophant! Why do you cry?"
"You cry, bootlicker! Why are you crying?"
The boy turned towards him. It was evident that it was not he who cried. He had his mouth full.
The boy turned to him. It was clear that he wasn’t the one who cried. His mouth was full.
The cry continued.
The scream kept going.
The man went to the chest.
The man walked over to the chest.
"So it is your bundle that wails! Vale of Jehoshaphat! Behold a vociferating parcel! What the devil has your bundle got to croak about?"
"So it's your package that's making noise! Valley of Jehoshaphat! Look at this screaming bundle! What on earth does your package have to complain about?"
He unrolled the jacket. An infant's head appeared, the mouth open and crying.
He unrolled the jacket. A baby's head popped out, mouth open and crying.
"Well, who goes there?" said the man. "Here is another of them. When is this to end? Who is there? To arms! Corporal, call out the guard! Another bang! What have you brought me, thief! Don't you see it is thirsty? Come! the little one must have a drink. So now I shall not have even the milk!"
"Well, who's there?" said the man. "Here's another one of them. When will this end? Who's there? To arms! Corporal, call the guard! Another bang! What have you brought me, thief! Can't you see it's thirsty? Come on! The little one needs a drink. So now I won’t even have the milk!"
He took down from the things lying in disorder on the shelf a bandage of linen, a sponge and a phial, muttering savagely, "What an infernal place!"
He grabbed a linen bandage, a sponge, and a vial from the messy shelf, grumbling, "What a terrible place!"
Then he looked at the little infant. "'Tis a girl! one can tell that by her scream, and she is drenched as well." He dragged away, as he had done from the boy, the tatters in which she was knotted up rather than dressed, and swathed her in a rag, which, though of coarse linen, was clean and dry. This rough and sudden dressing made the infant angry.
Then he looked at the tiny baby. "It's a girl! You can tell by her cry, and she's soaked too." He pulled away the rags that she was tied up in instead of being properly dressed and wrapped her in a cloth that, while made of rough linen, was clean and dry. This rough and abrupt dressing made the baby upset.
"She mews relentlessly," said he.
"She meows non-stop," he said.
He bit off a long piece of sponge, tore from the roll a square piece of linen, drew from it a bit of thread, took the saucepan containing the milk from the stove, filled the phial with milk, drove down the sponge halfway into its neck, covered the sponge with linen, tied this cork in with the thread, applied his cheeks to the phial to be sure that it was not too hot, and seized under his left arm the bewildered bundle which was still crying. "Come! take your supper, creature! Let me suckle you," and he put the neck of the bottle to its mouth.
He bit off a long piece of sponge, tore a square piece of linen from the roll, pulled out a bit of thread, took the saucepan with the milk off the stove, filled the bottle with milk, pushed the sponge halfway into the neck, covered the sponge with linen, tied it in place with the thread, pressed his cheeks against the bottle to check if it was too hot, and tucked the confused bundle that was still crying under his left arm. "Come on! It's time for your supper, little one! Let me feed you," he said as he put the bottle's neck to its mouth.
The little infant drank greedily.
The baby drank greedily.
He held the phial at the necessary incline, grumbling, "They are all the same, the cowards! When they have all they want they are silent."
He held the vial at the right angle, grumbling, "They're all the same, the cowards! When they have everything they want, they're quiet."
The child had drunk so ravenously, and had seized so eagerly this breast offered by a cross-grained providence, that she was taken with a fit of coughing.
The child had drunk so greedily and had grabbed this breast offered by an unyielding fate with such eagerness that she was overcome by a coughing fit.
"You are going to choke!" growled Ursus. "A fine gobbler this one, too!"
"You’re going to choke!" Ursus growled. "This one’s a great catch, too!"
He drew away the sponge which she was sucking, allowed the cough to subside, and then replaced the phial to her lips, saying, "Suck, you little wretch!"
He pulled the sponge away from her mouth, let her cough calm down, and then brought the bottle back to her lips, saying, "Suck, you little brat!"
In the meantime the boy had laid down his fork. Seeing the infant drink had made him forget to eat. The moment before, while he ate, the expression in his face was satisfaction; now it was gratitude. He watched the infant's renewal of life; the completion of the resurrection begun by himself filled his eyes with an ineffable brilliancy. Ursus went on muttering angry words between his teeth. The little boy now and then lifted towards Ursus his eyes moist with the unspeakable emotion which the poor little being felt, but was unable to express. Ursus addressed him furiously.
In the meantime, the boy set down his fork. Watching the baby drink made him forget about eating. Just a moment ago, while he was eating, his face showed satisfaction; now it was filled with gratitude. He observed the baby's revival; the fulfillment of the resurrection that he had started brought a dazzling brightness to his eyes. Ursus continued to mumble angry words under his breath. The little boy occasionally looked up at Ursus with eyes filled with the indescribable emotions that the poor child felt but couldn’t express. Ursus spoke to him angrily.
"Well, will you eat?"
"Are you going to eat?"
"And you?" said the child, trembling all over, and with tears in his eyes. "You will have nothing!"
"And you?" said the child, shaking all over and with tears in his eyes. "You won't have anything!"
"Will you be kind enough to eat it all up, you cub? There is not too much for you, since there was not enough for me."
"Could you please eat it all, little cub? There isn't much for you since there wasn't enough for me."
The child took up his fork, but did not eat.
The child picked up his fork but didn't eat.
"Eat," shouted Ursus. "What has it got to do with me? Who speaks of me? Wretched little barefooted clerk of Penniless Parish, I tell you, eat it all up! You are here to eat, drink, and sleep—eat, or I will kick you out, both of you."
"Eat," shouted Ursus. "What does it have to do with me? Who's talking about me? You pathetic little barefoot clerk from Penniless Parish, I'm telling you to eat it all! You're here to eat, drink, and sleep—so eat, or I'll kick both of you out."
The boy, under this menace, began to eat again. He had not much trouble in finishing what was left in the porringer. Ursus muttered, "This building is badly joined. The cold comes in by the window pane." A pane had indeed been broken in front, either by a jolt of the caravan or by a stone thrown by some mischievous boy. Ursus had placed a star of paper over the fracture, which had become unpasted. The blast entered there.
The boy, feeling threatened, started eating again. He didn’t have much trouble finishing what was left in the bowl. Ursus mumbled, "This building is poorly constructed. The cold comes in through the window." A window pane had actually been broken in the front, either by a bump from the caravan or by a stone thrown by some naughty kid. Ursus had put a paper star over the crack, but it had come loose. The cold air was coming in through that gap.
He was half seated on the chest. The infant in his arms, and at the same time on his lap, was sucking rapturously at the bottle, in the happy somnolency of cherubim before their Creator, and infants at their mothers' breast.
He was partly sitting on the chest. The baby in his arms, and also on his lap, was happily sucking on the bottle, in the blissful drowsiness of cherubs before their Creator, and infants at their mothers' breast.
"She is drunk," said Ursus; and he continued, "After this, preach sermons on temperance!"
"She’s drunk," said Ursus; and he added, "After this, go ahead and preach about moderation!"
The wind tore from the pane the plaster of paper, which flew across the hut; but this was nothing to the children, who were entering life anew. Whilst the little girl drank, and the little boy ate, Ursus grumbled,—
The wind ripped the paper off the window, which flew across the hut; but this didn't bother the children, who were starting fresh in life. While the little girl drank and the little boy ate, Ursus complained,—
"Drunkenness begins in the infant in swaddling clothes. What useful trouble Bishop Tillotson gives himself, thundering against excessive drinking. What an odious draught of wind! And then my stove is old. It allows puffs of smoke to escape enough to give you trichiasis. One has the inconvenience of cold, and the inconvenience of fire. One cannot see clearly. That being over there abuses my hospitality. Well, I have not been able to distinguish the animal's face yet. Comfort is wanting here. By Jove! I am a great admirer of exquisite banquets in well closed rooms. I have missed my vocation. I was born to be a sensualist. The greatest of stoics was Philoxenus, who wished to possess the neck of a crane, so as to be longer in tasting the pleasures of the table. Receipts to-day, naught. Nothing sold all day. Inhabitants, servants, and tradesmen, here is the doctor, here are the drugs. You are losing your time, old friend. Pack up your physic. Every one is well down here. It's a cursed town, where every one is well! The skies alone have diarrhoea—what snow! Anaxagoras taught that the snow was black; and he was right, cold being blackness. Ice is night. What a hurricane! I can fancy the delight of those at sea. The hurricane is the passage of demons. It is the row of the tempest fiends galloping and rolling head over heels above our bone-boxes. In the cloud this one has a tail, that one has horns, another a flame for a tongue, another claws to its wings, another a lord chancellor's paunch, another an academician's pate. You may observe a form in every sound. To every fresh wind a fresh demon. The ear hears, the eye sees, the crash is a face. Zounds! There are folks at sea—that is certain. My friends, get through the storm as best you can. I have enough to do to get through life. Come now, do I keep an inn, or do I not? Why should I trade with these travellers? The universal distress sends its spatterings even as far as my poverty. Into my cabin fall hideous drops of the far-spreading mud of mankind. I am given up to the voracity of travellers. I am a prey—the prey of those dying of hunger. Winter, night, a pasteboard hut, an unfortunate friend below and without, the storm, a potato, a fire as big as my fist, parasites, the wind penetrating through every cranny, not a halfpenny, and bundles which set to howling. I open them and find beggars inside. Is this fair? Besides, the laws are violated. Ah! vagabond with your vagabond child! Mischievous pick-pocket, evil-minded abortion, so you walk the streets after curfew? If our good king only knew it, would he not have you thrown into the bottom of a ditch, just to teach you better? My gentleman walks out at night with my lady, and with the glass at fifteen degrees of frost, bare-headed and bare-footed. Understand that such things are forbidden. There are rules and regulations, you lawless wretches. Vagabonds are punished, honest folks who have houses are guarded and protected. Kings are the fathers of their people. I have my own house. You would have been whipped in the public street had you chanced to have been met, and quite right, too. There must be order in an established city. For my own part, I did wrong not to denounce you to the constable. But I am such a fool! I understand what is right and do what is wrong. O the ruffian! to come here in such a state! I did not see the snow upon them when they came in; it had melted, and here's my whole house swamped. I have an inundation in my home. I shall have to burn an incredible amount of coals to dry up this lake—coals at twelve farthings the miners' standard! How am I going to manage to fit three into this caravan? Now it is over; I enter the nursery; I am going to have in my house the weaning of the future beggardom of England. I shall have for employment, office, and function, to fashion the miscarried fortunes of that colossal prostitute, Misery, to bring to perfection future gallows' birds, and to give young thieves the forms of philosophy. The tongue of the wolf is the warning of God. And to think that if I had not been eaten up by creatures of this kind for the last thirty years, I should be rich; Homo would be fat; I should have a medicine-chest full of rarities; as many surgical instruments as Doctor Linacre, surgeon to King Henry VIII.; divers animals of all kinds; Egyptian mummies, and similar curiosities; I should be a member of the College of Physicians, and have the right of using the library, built in 1652 by the celebrated Hervey, and of studying in the lantern of that dome, whence you can see the whole of London. I could continue my observations of solar obfuscation, and prove that a caligenous vapour arises from the planet. Such was the opinion of John Kepler, who was born the year before the Massacre of St. Bartholomew, and who was mathematician to the emperor. The sun is a chimney which sometimes smokes; so does my stove. My stove is no better than the sun. Yes, I should have made my fortune; my part would have been a different one—I should not be the insignificant fellow I am. I should not degrade science in the highways, for the crowd is not worthy of the doctrine, the crowd being nothing better than a confused mixture of all sorts of ages, sexes, humours, and conditions, that wise men of all periods have not hesitated to despise, and whose extravagance and passion the most moderate men in their justice detest. Oh, I am weary of existence! After all, one does not live long! The human life is soon done with. But no—it is long. At intervals, that we should not become too discouraged, that we may have the stupidity to consent to bear our being, and not profit by the magnificent opportunities to hang ourselves which cords and nails afford, nature puts on an air of taking a little care of man—not to-night, though. The rogue causes the wheat to spring up, ripens the grape, gives her song to the nightingale. From time to time a ray of morning or a glass of gin, and that is what we call happiness! It is a narrow border of good round a huge winding-sheet of evil. We have a destiny of which the devil has woven the stuff and God has sewn the hem. In the meantime, you have eaten my supper, you thief!"
"Drunkenness starts young, even in babies bundled up in blankets. What a hassle Bishop Tillotson makes for himself, ranting against excessive drinking. What a disgusting draft! And my stove is old. It lets out puffs of smoke that could give you eye problems. You deal with the cold and the heat. You can’t see clearly. That person over there is taking advantage of my hospitality. I still can't make out their face. There’s no comfort here. By God! I really love elegant dinners in cozy rooms. I missed my calling. I was meant to be a hedonist. The greatest stoic was Philoxenus, who wanted a crane's neck to savor his meals longer. This place has nothing to offer today, not a thing sold all day. Here are the locals, the servants, and the merchants, here comes the doctor, here are the meds. You’re wasting your time, my old friend. Pack up your medicines. Everyone here is healthy. It’s a cursed town where everyone is well! The skies alone are a mess—look at that snow! Anaxagoras said snow is black, and he wasn’t wrong, cold being blackness. Ice is night. What a storm! I can imagine how thrilled those at sea must be. The storm is like demons passing through. It’s the sound of storm spirits galloping and tumbling over us. In the clouds, one has a tail, another has horns, another a flame for a tongue, another has claws on its wings, another has a chancellor’s belly, another an academic's bald head. You can see a figure in every sound. With every gust, there's a new demon. The ear hears, the eye sees, the crash is a face. Good grief! There are definitely people at sea. My friends, get through the storm as best you can. I have enough to deal with just getting through life. Am I running an inn or not? Why should I deal with these travelers? The universal suffering spreads even to my poverty. Hideous drops of humanity’s muck fall into my cabin. I’m at the mercy of travelers. I’m prey—the prey of the starving. Winter, night, a cardboard hut, an unfortunate friend outside, the storm, a potato, a fire the size of my fist, freeloaders, wind seeping through every crack, not a penny to my name, and bundles that start howling. I open them and find beggars inside. Is that fair? Besides, the laws are being broken. Ah! Vagabond with your wandering child! Mischievous pickpocket, evil-hearted abortion, so you roam the streets after curfew? If our good king knew, would he not throw you into a ditch to teach you a lesson? My gentleman walks out at night with my lady, bearing thirty-degree frost, bare-headed and bare-footed. Understand that such things are forbidden. There are rules, you lawless wretches. Vagabonds get punished, honest folks with homes are protected. Kings are the fathers of their people. I have my own house. You would have been whipped in the street if anyone caught you, and rightly so. There has to be order in a civilized city. I should have reported you to the constable. But I'm such a fool! I know what’s right and do what’s wrong. Oh, the ruffian! To come here in such a state! I didn’t see the snow on them when they entered; it melted, and now my whole house is flooded. I have a deluge in my home. I’ll need to burn an absurd amount of coal to dry up this lake—coals at twelve farthings a miner’s standard! How will I manage to fit three into this caravan? Now it's done; I step into the nursery; I'm going to have the future beggar generation of England in my house. My role will be to shape the failed fortunes of that colossal street, Misery, to produce future gallows' birds and teach young thieves some philosophy. The wolf’s howl is God’s warning. And to think that if I hadn’t been drained by creatures like this for the last thirty years, I should be wealthy; Homo would be fat; I would have a medicine cabinet filled with rare items; as many surgical tools as Doctor Linacre, the surgeon to King Henry VIII; various animals of all sorts; Egyptian mummies, and similar curiosities; I would be a member of the College of Physicians and have access to the library built in 1652 by the famous Hervey, and study in the lantern of that dome from which you can see all of London. I could continue observing celestial phenomena and show that a dark vapor comes from the planet. Such was the belief of John Kepler, born the year before the St. Bartholomew's Massacre, who was the emperor's mathematician. The sun is like a chimney that sometimes smokes; so does my stove. My stove is no better than the sun. Yes, I should have made my fortune; my fate would have been different—I wouldn’t be the insignificant person I am. I wouldn't have to lower science to the streets, for the crowd isn’t worthy of doctrine; the crowd is just a jumbled mix of all ages, sexes, moods, and conditions that wise men throughout history have despised, and whose madness and passion the most moderate men in their justice detest. Oh, I’m tired of living! After all, life doesn’t last long! Human life finishes quickly. But no—it’s long. From time to time, to prevent us from getting too discouraged, so that we have the folly to accept our lives, and not take advantage of the glorious chances to hang ourselves that ropes and nails offer, nature pretends to care for humanity—just not tonight. The rogue makes the wheat grow, ripens the grape, brings song to the nightingale. Occasionally, a ray of morning or a drink of gin—that’s what we call happiness! It's a thin strip of good surrounded by a huge shroud of evil. Our destiny is woven by the devil and hemmed by God. In the meantime, you’ve eaten my dinner, you thief!"
In the meantime the infant whom he was holding all the time in his arms very tenderly whilst he was vituperating, shut its eyes languidly; a sign of repletion. Ursus examined the phial, and grumbled,—
In the meantime, the baby he was holding so tenderly while he was complaining shut its eyes slowly, a sign that it was full. Ursus looked at the bottle and muttered,—
"She has drunk it all up, the impudent creature!"
"She drank it all, that cheeky creature!"
He arose, and sustaining the infant with his left arm, with his right he raised the lid of the chest and drew from beneath it a bear-skin—the one he called, as will be remembered, his real skin. Whilst he was doing this he heard the other child eating, and looked at him sideways.
He got up, cradling the baby in his left arm while he lifted the lid of the chest with his right and pulled out a bear skin—the one he referred to, as you might recall, as his real skin. As he was doing this, he heard the other child eating and glanced over at him.
"It will be something to do if, henceforth, I have to feed that growing glutton. It will be a worm gnawing at the vitals of my industry."
"It will be something to deal with if, from now on, I have to feed that growing glutton. It will be a worm eating away at the core of my productivity."
He spread out, still with one arm, the bear-skin on the chest, working his elbow and managing his movements so as not to disturb the sleep into which the infant was just sinking.
He spread out the bear-skin on his chest with one arm, using his elbow and adjusting his movements carefully so he wouldn’t wake the baby that was just starting to fall asleep.
Then he laid her down on the fur, on the side next the fire. Having done so, he placed the phial on the stove, and exclaimed,—
Then he laid her down on the fur, on the side next to the fire. After that, he set the bottle on the stove and exclaimed,—
"I'm thirsty, if you like!"
"I'm thirsty, if you want!"
He looked into the pot. There were a few good mouthfuls of milk left in it; he raised it to his lips. Just as he was about to drink, his eye fell on the little girl. He replaced the pot on the stove, took the phial, uncorked it, poured into it all the milk that remained, which was just sufficient to fill it, replaced the sponge and the linen rag over it, and tied it round the neck of the bottle.
He looked into the pot. There were a few good swallows of milk left in it; he lifted it to his lips. Just as he was about to drink, he noticed the little girl. He set the pot back on the stove, grabbed the bottle, uncorked it, and poured all the remaining milk into it, which was just enough to fill it. He replaced the sponge and the cloth over it and tied it around the neck of the bottle.
"All the same, I'm hungry and thirsty," he observed.
"Still, I'm hungry and thirsty," he noted.
And he added,—
And he added,—
"When one cannot eat bread, one must drink water."
"When you can't eat bread, you have to drink water."
Behind the stove there was a jug with the spout off. He took it and handed it to the boy.
Behind the stove, there was a jug with the spout missing. He grabbed it and handed it to the boy.
"Will you drink?"
"Are you going to drink?"
The child drank, and then went on eating.
The child drank and then continued eating.
Ursus seized the pitcher again, and conveyed it to his mouth. The temperature of the water which it contained had been unequally modified by the proximity of the stove.
Ursus grabbed the pitcher again and brought it to his lips. The temperature of the water inside had been unevenly heated by the nearby stove.
He swallowed some mouthfuls and made a grimace.
He took a few bites and made a face.
"Water! pretending to be pure, thou resemblest false friends. Thou art warm at the top and cold at bottom."
"Water! pretending to be pure, you resemble false friends. You are warm at the top and cold at the bottom."
In the meantime the boy had finished his supper. The porringer was more than empty; it was cleaned out. He picked up and ate pensively a few crumbs caught in the folds of the knitted jacket on his lap.
In the meantime, the boy had finished his dinner. The bowl was more than empty; it was scraped clean. He picked up and thoughtfully ate a few crumbs trapped in the folds of the knitted jacket on his lap.
Ursus turned towards him.
Ursus faced him.
"That is not all. Now, a word with you. The mouth is not made only for eating; it is made for speaking. Now that you are warmed and stuffed, you beast, take care of yourself. You are going to answer my questions. Whence do you come?"
"That’s not all. Now, let’s talk. The mouth isn’t just for eating; it’s for speaking too. Now that you’re all warmed up and full, you big animal, take care of yourself. You’re going to answer my questions. Where do you come from?"
The child replied,—
The kid responded,—
"I do not know."
"I don't know."
"How do you mean? you don't know?"
"How do you mean? You don't know?"
"I was abandoned this evening on the sea-shore."
"I was left alone this evening on the beach."
"You little scamp! what's your name? He is so good for nothing that his relations desert him."
"You little rascal! What's your name? He's so useless that even his family has abandoned him."
"I have no relations."
"I have no family."
"Give in a little to my tastes, and observe that I do not like those who sing to a tune of fibs. Thou must have relatives since you have a sister."
"Give in a little to what I like, and see that I don't appreciate those who sing to a tune of lies. You must have family since you have a sister."
"It is not my sister."
"It's not my sister."
"It is not your sister?"
"Isn't it your sister?"
"No."
"Nope."
"Who is it then?"
"Who is it?"
"It is a baby that I found."
"It’s a baby that I found."
"Found?"
"Discovered?"
"Yes."
Yes.
"What! did you pick her up?"
"What! Did you pick her up?"
"Yes."
Yes.
"Where? If you lie I will exterminate you."
"Where? If you lie, I will take you out."
"On the breast of a woman who was dead in the snow."
"On the chest of a woman who was lying dead in the snow."
"When?"
"When's that?"
"An hour ago."
"One hour ago."
"Where?"
"Where at?"
"A league from here."
"A league away."
The arched brow of Ursus knitted and took that pointed shape which characterizes emotion on the brow of a philosopher.
The arched brow of Ursus furrowed and took on that distinctive shape that reflects emotion on a philosopher's face.
"Dead! Lucky for her! We must leave her in the snow. She is well off there. In which direction?"
"Dead! That's lucky for her! We have to leave her in the snow. She's better off there. Which way should we go?"
"In the direction of the sea."
"In the direction of the sea."
"Did you cross the bridge?"
"Did you cross the bridge?"
"Yes."
"Yep."
Ursus opened the window at the back and examined the view.
Ursus opened the window at the back and looked out at the view.
The weather had not improved. The snow was falling thickly and mournfully.
The weather hadn't gotten better. Snow was falling heavily and sadly.
He shut the window.
He closed the window.
He went to the broken glass; he filled the hole with a rag; he heaped the stove with peat; he spread out as far as he could the bear-skin on the chest; took a large book which he had in a corner, placed it under the skin for a pillow, and laid the head of the sleeping infant on it.
He went to the broken glass, filled the hole with a rag, piled peat into the stove, spread the bear skin as far as it would go on the chest, took a large book from the corner, used it as a pillow underneath the skin, and rested the head of the sleeping baby on it.
Then he turned to the boy.
Then he turned to the kid.
"Lie down there."
"Lie down over there."
The boy obeyed, and stretched himself at full length by the side of the infant.
The boy did as he was told and lay down flat next to the baby.
Ursus rolled the bear-skin over the two children, and tucked it under their feet.
Ursus spread the bear skin over the two kids and tucked it under their feet.
He took down from a shelf, and tied round his waist, a linen belt with a large pocket containing, no doubt, a case of instruments and bottles of restoratives.
He took a linen belt with a large pocket off the shelf and tied it around his waist, which probably held a set of instruments and bottles of remedies.
Then he took the lantern from where it hung to the ceiling and lighted it. It was a dark lantern. When lighted it still left the children in shadow.
Then he took the lantern down from where it hung from the ceiling and lit it. It was a dark lantern. Even when it was lit, it still kept the children in shadow.
Ursus half opened the door, and said,—
Ursus cracked the door open and said, —
"I am going out; do not be afraid. I shall return. Go to sleep."
"I'm going out; don’t worry. I’ll be back. Get some sleep."
Then letting down the steps, he called Homo. He was answered by a loving growl.
Then he lowered the steps and called out to Homo. He was met with a loving growl.
Ursus, holding the lantern in his hand, descended. The steps were replaced, the door was reclosed. The children remained alone.
Ursus, holding the lantern in his hand, went down. The steps were gone, and the door was shut again. The kids were left alone.
From without, a voice, the voice of Ursus, said,—
From outside, a voice, the voice of Ursus, said,—
"You, boy, who have just eaten up my supper, are you already asleep?"
"You, kid, who just finished my dinner, are you already asleep?"
"No," replied the child.
"No," the kid replied.
"Well, if she cries, give her the rest of the milk."
"Well, if she cries, give her the rest of the milk."
The clinking of a chain being undone was heard, and the sound of a man's footsteps, mingled with that of the pads of an animal, died off in the distance. A few minutes after, both children slept profoundly.
The sound of a chain being unlatched echoed, and the footsteps of a man mixed
The little boy and girl, lying naked side by side, were joined through the silent hours, in the seraphic promiscuousness of the shadows; such dreams as were possible to their age floated from one to the other; beneath their closed eyelids there shone, perhaps, a starlight; if the word marriage were not inappropriate to the situation, they were husband and wife after the fashion of the angels. Such innocence in such darkness, such purity in such an embrace; such foretastes of heaven are possible only to childhood, and no immensity approaches the greatness of little children. Of all gulfs this is the deepest. The fearful perpetuity of the dead chained beyond life, the mighty animosity of the ocean to a wreck, the whiteness of the snow over buried bodies, do not equal in pathos two children's mouths meeting divinely in sleep,[10] and the meeting of which is not even a kiss. A betrothal perchance, perchance a catastrophe. The unknown weighs down upon their juxtaposition. It charms, it terrifies; who knows which? It stays the pulse. Innocence is higher than virtue. Innocence is holy ignorance. They slept. They were in peace. They were warm. The nakedness of their bodies, embraced each in each, amalgamated with the virginity of their souls. They were there as in the nest of the abyss.
The little boy and girl, lying naked side by side, were connected through the quiet hours in the blissful innocence of the shadows. Dreams suitable for their age floated between them; beneath their closed eyelids, perhaps, a starlight shone. If the word marriage weren't out of place, they were husband and wife in the way of angels. Such innocence in such darkness, such purity in such an embrace; these glimpses of heaven are only possible in childhood, and nothing compares to the greatness of little children. Of all the deep chasms, this is the deepest. The lingering fear of the dead locked beyond life, the fierce hostility of the ocean toward a wreck, the whiteness of snow over buried bodies, don't compare in poignancy to two children's mouths meeting tenderly in sleep, and the connection that's not even a kiss. Perhaps it’s a betrothal, perhaps it’s a disaster. The unknown looms over their proximity. It enchants, it frightens; who knows which? It halts the heartbeat. Innocence is higher than virtue. Innocence is sacred ignorance. They slept. They were at peace. They were warm. The nakedness of their bodies, embraced in each other, merged with the purity of their souls. They existed there as if in the nest of the abyss.
CHAPTER VI.
THE AWAKING.
The beginning of day is sinister. A sad pale light penetrated the hut. It was the frozen dawn. That wan light which throws into relief the mournful reality of objects which are blurred into spectral forms by the night, did not awake the children, so soundly were they sleeping. The caravan was warm. Their breathings alternated like two peaceful waves. There was no longer a hurricane without. The light of dawn was slowly taking possession of the horizon. The constellations were being extinguished, like candles blown out one after the other. Only a few large stars resisted. The deep-toned song of the Infinite was coming from the sea.
The start of the day feels ominous. A dull, pale light seeped into the hut. It was a frozen dawn. That faint light highlighted the sorrowful reality of objects that the night had turned into ghostly shapes, yet it didn’t wake the children, who were sleeping so soundly. The caravan was warm. Their breaths rose and fell like two calm waves. The hurricane outside had finally calmed down. The dawn light was slowly claiming the horizon. The stars were fading, like candles being snuffed out one by one. Only a few big stars remained. The deep, resonant song of the Infinite echoed from the sea.
The fire in the stove was not quite out. The twilight broke, little by little, into daylight. The boy slept less heavily than the girl. At length, a ray brighter than the others broke through the pane, and he opened his eyes. The sleep of childhood ends in forgetfulness. He lay in a state of semi-stupor, without knowing where he was or what was near him, without making an effort to remember, gazing at the ceiling, and setting himself an aimless task as he gazed dreamily at the letters of the inscription—"Ursus, Philosopher"—which, being unable to read, he examined without the power of deciphering.
The fire in the stove was still smoldering. The twilight gradually faded into daylight. The boy was waking up more easily than the girl. Finally, a brighter ray of light broke through the window, and he opened his eyes. Childhood sleep ends in forgetfulness. He lay there in a daze, not really knowing where he was or what was around him, not even trying to remember, staring at the ceiling, and giving himself a pointless task as he dreamily looked at the letters of the inscription—"Ursus, Philosopher"—which he couldn’t read but examined without understanding.
The sound of the key turning in the lock caused him to turn his head.
The sound of the key turning in the lock made him turn his head.
The door turned on its hinges, the steps were let down. Ursus was returning. He ascended the steps, his extinguished lantern in his hand. At the same time the pattering of four paws fell upon the steps. It was Homo, following Ursus, who had also returned to his home.
The door swung open, the steps were lowered. Ursus was back. He climbed the steps, holding his unlit lantern. At the same time, the sound of four paws hit the steps. It was Homo, following Ursus, who had also come back home.
The boy awoke with somewhat of a start. The wolf, having probably an appetite, gave him a morning yawn, showing two rows of very white teeth. He stopped when he had got halfway up the steps, and placed both forepaws within the caravan, leaning on the threshold, like a preacher with his elbows on the edge of the pulpit. He sniffed the chest from afar, not being in the habit of finding it occupied as it then was. His wolfine form, framed by the doorway, was designed in black against the light of morning. He made up his mind, and entered. The boy, seeing the wolf in the caravan, got out of the bear-skin, and, standing up, placed himself in front of the little infant, who was sleeping more soundly than ever.
The boy woke up with a bit of a start. The wolf, probably feeling hungry, gave a morning yawn, showing off two rows of very white teeth. He paused halfway up the steps and put both front paws inside the caravan, leaning on the threshold like a preacher resting his elbows on the pulpit. He sniffed the chest from a distance, not used to finding it occupied like it was then. His wolfish figure, framed by the doorway, was silhouetted in black against the morning light. He made his decision and stepped inside. The boy, seeing the wolf in the caravan, got out from under the bear-skin, stood up, and positioned himself protectively in front of the little baby, who was sleeping more soundly than ever.
Ursus had just hung the lantern up on a nail in the ceiling. Silently, and with mechanical deliberation, he unbuckled the belt in which was his case, and replaced it on the shelf. He looked at nothing, and seemed to see nothing. His eyes were glassy. Something was moving him deeply in his mind. His thoughts at length found breath, as usual, in a rapid outflow of words. He exclaimed,—
Ursus had just hung the lantern on a nail in the ceiling. Quietly and with mechanical precision, he unbuckled the belt holding his case and set it back on the shelf. He looked at nothing and appeared to see nothing. His eyes were blank. Something was stirring deeply in his mind. Eventually, his thoughts expressed themselves, as always, in a quick rush of words. He exclaimed,—
"Happy, doubtless! Dead! stone dead!"
"Happy, certainly! Dead! stone dead!"
He bent down, and put a shovelful of turf mould into the stove; and as he poked the peat he growled out,—
He bent down and tossed a shovelful of turf into the stove; and as he stirred the peat, he muttered,—
"I had a deal of trouble to find her. The mischief of the unknown had buried her under two feet of snow. Had it not been for Homo, who sees as clearly with his nose as Christopher Columbus did with his mind, I should be still there, scratching at the avalanche, and playing hide and seek with Death. Diogenes took his lantern and sought for a man; I took my lantern and sought for a woman. He found a sarcasm, and I found mourning. How cold she was! I touched her hand—a stone! What silence in her eyes! How can any one be such a fool as to die and leave a child behind? It will not be convenient to pack three into this box. A pretty family I have now! A boy and a girl!"
"I had a lot of trouble finding her. The mischief of the unknown had buried her under two feet of snow. If it hadn't been for Homo, who can see as clearly with his nose as Christopher Columbus did with his mind, I would still be there, scratching at the avalanche and playing hide and seek with Death. Diogenes took his lantern and searched for a man; I took my lantern and looked for a woman. He found sarcasm, and I found mourning. How cold she was! I touched her hand—it was like a stone! What silence in her eyes! How can anyone be so foolish as to die and leave a child behind? It won't be practical to fit three into this box. What a lovely family I have now! A boy and a girl!"
Whilst Ursus was speaking, Homo sidled up close to the stove. The hand of the sleeping infant was hanging down between the stove and the chest. The wolf set to licking it. He licked it so softly that he did not awake the little infant.
While Ursus was talking, Homo moved in close to the stove. The hand of the sleeping baby was dangling down between the stove and the chest. The wolf began to lick it. He licked it so gently that he didn’t wake the little baby.
Ursus turned round.
Ursus turned around.
"Well done, Homo. I shall be father, and you shall be uncle."
"Great job, Homo. I’ll be the dad, and you’ll be the uncle."
Then he betook himself again to arranging the fire with philosophical care, without interrupting his aside.
Then he went back to arranging the fire with thoughtful precision, without skipping a beat in his side conversation.
"Adoption! It is settled; Homo is willing."
"Adoption! It's decided; Homo is on board."
He drew himself up.
He straightened up.
"I should like to know who is responsible for that woman's death? Is it man? or...."
"I want to know who is responsible for that woman’s death? Is it a man? Or…"
He raised his eyes, but looked beyond the ceiling, and his lips murmured,—
He looked up, but beyond the ceiling, and whispered, —
"Is it Thou?"
"Is it you?"
Then his brow dropped, as if under a burden, and he continued,—
Then his brow furrowed, as if weighed down, and he continued,—
"The night took the trouble to kill the woman."
"The night went out of its way to kill the woman."
Raising his eyes, they met those of the boy, just awakened, who was listening. Ursus addressed him abruptly,—
Raising his eyes, he met the gaze of the boy, who had just woken up and was listening. Ursus spoke to him directly,—
"What are you laughing about?"
"What’s so funny?"
The boy answered,—
The boy responded,—
"I am not laughing."
"I'm not laughing."
Ursus felt a kind of shock, looked at him fixedly for a few minutes, and said,—
Ursus felt a jolt, stared at him intently for a few minutes, and said,—
"Then you are frightful."
"Then you are terrifying."
The interior of the caravan, on the previous night, had been so dark that Ursus had not yet seen the boy's face. The broad daylight revealed it. He placed the palms of his hands on the two shoulders of the boy, and, examining his countenance more and more piercingly, exclaimed,—
The inside of the caravan the night before had been so dark that Ursus hadn’t seen the boy’s face yet. In the bright daylight, it was clear. He put the palms of his hands on the boy’s shoulders and, looking closely at his face, exclaimed,—
"Do not laugh any more!"
"Stop laughing now!"
"I am not laughing," said the child.
"I’m not laughing," said the child.
Ursus was seized with a shudder from head to foot.
Ursus was overcome with a shiver from head to toe.
"You do laugh, I tell you."
"You really do laugh, I'm telling you."
Then seizing the child with a grasp which would have been one of fury had it not been one of pity, he asked him: roughly,—
Then grabbing the child with a hold that would have been full of rage if it weren’t mixed with pity, he asked him: roughly,—
"Who did that to you?"
"Who hurt you?"
The child replied,—
The kid replied,—
"I don't know what you mean."
"I don't know what you mean."
"How long have you had that laugh?"
"How long have you had that laugh?"
"I have always been thus," said the child.
"I've always been like this," said the child.
Ursus turned towards the chest, saying in a low voice,—
Ursus turned toward the chest and said in a quiet voice,—
"I thought that work was out of date."
"I thought that work was outdated."
He took from the top of it, very softly, so as not to awaken the infant, the book which he had placed there for a pillow.
He quietly took the book off the top, careful not to wake the baby, which he had used as a pillow.
"Let us see Conquest," he murmured.
"Let's check out Conquest," he whispered.
It was a bundle of paper in folio, bound in soft parchment. He turned the pages with his thumb, stopped at a certain one, opened the book wide on the stove, and read,—
It was a stack of paper in folio, wrapped in soft parchment. He flipped through the pages with his thumb, paused at a specific one, opened the book wide on the stove, and read,—
"'De Denasatis,' it is here."
"'De Denasatis,' it's here."
And he continued,—
And he kept going,—
"Bucca fissa usque ad aures, genezivis denudatis, nasoque murdridato, masca eris, et ridebis semper."
"Fixed buckets up to the ears, with shaved genitals, and a muddy nose, you'll be a mask, and you'll always laugh."
"There it is for certain."
"That's definitely it."
Then he replaced the book on one of the shelves, growling.
Then he put the book back on one of the shelves with a growl.
"It might not be wholesome to inquire too deeply into a case of the kind. We will remain on the surface. Laugh away, my boy!"
"It might not be a good idea to dig too deeply into a case like this. Let's just keep it light. Have a laugh, my boy!"
Just then the little girl awoke. Her good-day was a cry.
Just then, the little girl woke up. Her greeting was a shout.
"Come, nurse, give her the breast," said Ursus.
"Come on, nurse, feed her," said Ursus.
The infant sat up. Ursus taking the phial from the stove gave it to her to suck.
The baby sat up. Ursus took the bottle from the stove and gave it to her to suck on.
Then the sun arose. He was level with the horizon. His red rays gleamed through the glass, and struck against the face of the infant, which was turned towards him. Her eyeballs, fixed on the sun, reflected his purple orbit like two mirrors. The eyeballs were immovable, the eyelids also.
Then the sun came up. He was even with the horizon. His red rays shone through the glass and hit the face of the baby, who was facing him. Her eyes, locked on the sun, reflected his purple glow like two mirrors. Her eyes were still, and so were her eyelids.
"See!" said Ursus. "She is blind."
"Check it out!" Ursus said. "She's blind."
PART II.
BOOK THE FIRST.
THE EVERLASTING PRESENCE OF THE PAST: MAN REFLECTS MAN.
CHAPTER I.
LORD CLANCHARLIE.
I.
There was, in those days, an old tradition.
There was an old tradition back then.
That tradition was Lord Linnæus Clancharlie.
That tradition was Lord Linnæus Clancharlie.
Linnæus Baron Clancharlie, a contemporary of Cromwell, was one of the peers of England—few in number, be it said—who accepted the republic. The reason of his acceptance of it might, indeed, for want of a better, be found in the fact that for the time being the republic was triumphant. It was a matter of course that Lord Clancharlie should adhere to the republic, as long as the republic had the upper hand; but after the close of the revolution and the fall of the parliamentary government, Lord Clancharlie had persisted in his fidelity to it. It would have been easy for the noble patrician to re-enter the reconstituted upper house, repentance being ever well received on restorations, and Charles II. being a kind prince enough to those who returned to their allegiance to him; but Lord Clancharlie had failed to understand what was due to events. While the nation overwhelmed with acclamation the king come to retake possession of England, while unanimity was recording its verdict, while the people were bowing their salutation to the monarchy, while the dynasty was rising anew amidst a glorious and triumphant recantation, at the moment when the past was becoming the future, and the future becoming the past, that nobleman remained refractory. He turned his head away from all that joy, and voluntarily exiled himself. While he could have been a peer, he preferred being an outlaw. Years had thus passed away. He had grown old in his fidelity to the dead republic, and was therefore crowned with the ridicule which is the natural reward of such folly.
Linnæus Baron Clancharlie, a contemporary of Cromwell, was one of the few peers in England who accepted the republic. The reason he accepted it might simply be that, at the time, the republic was winning. Naturally, Lord Clancharlie would support the republic as long as it was in power; however, after the revolution ended and the parliamentary government fell, Lord Clancharlie continued to be loyal to it. It would have been easy for him to rejoin the restored upper house, as those who returned to their loyalty to Charles II were generally welcomed back by the kind prince. But Lord Clancharlie didn’t grasp what the situation called for. While the nation celebrated the returning king, while everyone was united in their support, while the people honored the monarchy, and the dynasty was being restored amidst a triumphant return to tradition, this nobleman remained defiant. He turned away from all that joy and chose to exile himself. While he could have been a peer, he preferred to be an outlaw. Years passed, and he grew old in his loyalty to the fallen republic, earning him the ridicule that naturally accompanies such folly.
He had retired into Switzerland, and dwelt in a sort of lofty ruin on the banks of the Lake of Geneva. He had chosen his dwelling in the most rugged nook of the lake, between Chillon, where is the dungeon of Bonnivard, and Vevay, where is Ludlow's tomb. The rugged Alps, filled with twilight, winds, and clouds, were around him; and he lived there, hidden in the great shadows that fall from the mountains. He was rarely met by any passer-by. The man was out of his country, almost out of his century. At that time, to those who understood and were posted in the affairs of the period, no resistance to established things was justifiable. England was happy; a restoration is as the reconciliation of husband and wife, prince and nation return to each other, no state can be more graceful or more pleasant. Great Britain beamed with joy; to have a king at all was a good deal—but furthermore, the king was a charming one. Charles II. was amiable—a man of pleasure, yet able to govern; and great, if not after the fashion of Louis XIV. He was essentially a gentleman. Charles II. was admired by his subjects. He had made war in Hanover for reasons best known to himself; at least, no one else knew them. He had sold Dunkirk to France, a manoeuvre of state policy. The Whig peers, concerning whom Chamberlain says, "The cursed republic infected with its stinking breath several of the high nobility," had had the good sense to bow to the inevitable, to conform to the times, and to resume their seats in the House of Lords. To do so, it sufficed that they should take the oath of allegiance to the king. When these facts were considered—the glorious reign, the excellent king, august princes given back by divine mercy to the people's love; when it was remembered that persons of such consideration as Monk, and, later on, Jeffreys, had rallied round the throne; that they had been properly rewarded for their loyalty and zeal by the most splendid appointments and the most lucrative offices; that Lord Clancharlie could not be ignorant of this, and that it only depended on himself to be seated by their side, glorious in his honours; that England had, thanks to her king, risen again to the summit of prosperity; that London was all banquets and carousals; that everybody was rich and enthusiastic, that the court was gallant, gay, and magnificent;—if by chance, far from these splendours, in some melancholy, indescribable half-light, like nightfall, that old man, clad in the same garb as the common people, was observed pale, absent-minded, bent towards the grave, standing on the shore of the lake, scarce heeding the storm and the winter, walking as though at random, his eye fixed, his white hair tossed by the wind of the shadow, silent, pensive, solitary, who could forbear to smile?
He had retired to Switzerland and lived in a kind of grand ruin along the banks of Lake Geneva. He had chosen his home in the most rugged part of the lake, between Chillon, where Bonnivard’s dungeon is, and Vevay, where Ludlow’s tomb is. The rugged Alps, filled with twilight, winds, and clouds, surrounded him; and he lived there, hidden in the vast shadows cast by the mountains. He was seldom encountered by anyone passing by. The man was out of his country, almost out of his century. At that time, to those who understood and were aware of the events of the day, no resistance to established norms was justifiable. England was happy; a restoration is like a reconciliation of husband and wife, where prince and nation return to each other—no state can be more graceful or pleasant. Great Britain radiated joy; just having a king was significant—but moreover, the king was delightful. Charles II was likable—a man of pleasure, yet capable of governing; and great, though not in the style of Louis XIV. He was fundamentally a gentleman. Charles II was admired by his subjects. He had waged war in Hanover for reasons known only to him; at least, no one else understood them. He had sold Dunkirk to France, a strategic maneuver. The Whig peers, whom Chamberlain described as "The cursed republic infected with its stinking breath several of the high nobility," had the good sense to accept the inevitable, adapt to the times, and return to their seats in the House of Lords. To do so, they only needed to take an oath of allegiance to the king. Given these facts—the glorious reign, the excellent king, noble princes restored by divine mercy to the people's affection; when it was noted that influential figures like Monk, and later Jeffreys, had rallied around the throne; that they had been justly rewarded for their loyalty and zeal with the most prestigious appointments and lucrative offices; that Lord Clancharlie must have known this, and that it was solely up to him to sit beside them, adorned in his honors; that England had risen again to the peak of prosperity thanks to her king; that London was full of feasts and celebrations; that everyone was wealthy and enthusiastic; that the court was charming, lively, and magnificent—if by chance, far from these splendors, in some melancholic, indescribable twilight, like dusk, that old man, dressed in the same clothes as common folk, was seen pale, absent-minded, bent towards the grave, standing by the lake's shore, hardly noticing the storm and the winter, wandering almost aimlessly, his gaze fixed, his white hair tousled by the wind of shadows, silent, contemplative, solitary, who could help but smile?
It was the sketch of a madman.
It was the drawing of a crazy person.
Thinking of Lord Clancharlie, of what he might have been and what he was, a smile was indulgent; some laughed out aloud, others could not restrain their anger. It is easy to understand that men of sense were much shocked by the insolence implied by his isolation.
Thinking about Lord Clancharlie, what he could have been and what he actually was, brought about a smile of acceptance; some laughed out loud, while others couldn't hide their anger. It's easy to see why sensible people were quite taken aback by the arrogance suggested by his being alone.
One extenuating circumstance: Lord Clancharlie had never had any brains. Every one agreed on that point.
One mitigating factor: Lord Clancharlie had never been very clever. Everyone agreed on that.
II.
It is disagreeable to see one's fellows practise obstinacy. Imitations of Regulus are not popular, and public opinion holds them in some derision. Stubborn people are like reproaches, and we have a right to laugh at them.
It's unpleasant to watch others be stubborn. Imitations of Regulus aren't well-liked, and people generally mock them. Stubborn individuals are like living reminders of our faults, and we have every right to find humor in them.
Besides, to sum up, are these perversities, these rugged notches, virtues? Is there not in these excessive advertisements of self-abnegation and of honour a good deal of ostentation? It is all parade more than anything else. Why such exaggeration of solitude and exile? to carry nothing to extremes is the wise man's maxim. Be in opposition if you choose, blame if you will, but decently, and crying out all the while "Long live the King." The true virtue is common sense—what falls ought to fall, what succeeds ought to succeed. Providence acts advisedly, it crowns him who deserves the crown; do you pretend to know better than Providence? When matters are settled—when one rule has replaced another—when success is the scale in which truth and falsehood are weighed, in one side the catastrophe, in the other the triumph; then doubt is no longer possible, the honest man rallies to the winning side, and although it may happen to serve his fortune and his family, he does not allow himself to be influenced by that consideration, but thinking only of the public weal, holds out his hand heartily to the conqueror.
Besides, to sum it up, are these flaws, these rough edges, virtues? Isn't there a lot of showiness in these excessive claims of selflessness and honor? It feels more like a performance than anything else. Why such an extreme focus on solitude and exile? The wise man's motto is to avoid extremes. You can oppose if you want, criticize if you must, but do it respectfully, all while shouting, "Long live the King." True virtue is common sense—what should fall will fall, and what should succeed will succeed. Providence acts with purpose; it crowns those who deserve it. Do you really think you know better than Providence? When things are decided—when one rule replaces another—when success becomes the measure of truth and falsehood, with catastrophe on one side and triumph on the other; then doubt is no longer an option. The honest person aligns with the winning side, and even if it benefits his fortune and family, he doesn’t let that sway him. Instead, thinking only of the common good, he reaches out warmly to the victor.
What would become of the state if no one consented to serve it? Would not everything come to a standstill? To keep his place is the duty of a good citizen. Learn to sacrifice your secret preferences. Appointments must be filled, and some one must necessarily sacrifice himself. To be faithful to public functions is true fidelity. The retirement of public officials would paralyse the state. What! banish yourself!—how weak! As an example?—what vanity! As a defiance?—what audacity! What do you set yourself up to be, I wonder? Learn that we are just as good as you. If we chose we too could be intractable and untameable and do worse things than you; but we prefer to be sensible people. Because I am a Trimalcion, you think that I could not be a Cato! What nonsense!
What would happen to the state if no one agreed to serve it? Wouldn't everything come to a halt? A good citizen's duty is to maintain their role. You need to learn to put aside your personal preferences. Positions need to be filled, and someone has to step up and make a sacrifice. Staying committed to public duties is true loyalty. The resignation of public officials would paralyze the state. What! Are you really considering leaving?—how weak! As an example?—what arrogance! As a defiance?—what boldness! What do you think you are, anyway? Just know that we are just as capable as you are. If we wanted, we could also be unmanageable and do even worse things than you; but we choose to be reasonable people. Just because I’m a Trimalcion, you assume I couldn't be a Cato! What nonsense!
III.
Never was a situation more clearly defined or more decisive than that of 1660. Never had a course of conduct been more plainly indicated to a well-ordered mind. England was out of Cromwell's grasp. Under the republic many irregularities had been committed. British preponderance had been created. With the aid of the Thirty Years' War, Germany had been overcome; with the aid of the Fronde, France had been humiliated; with the aid of the Duke of Braganza, the power of Spain had been lessened. Cromwell had tamed Mazarin; in signing treaties the Protector of England wrote his name above that of the King of France. The United Provinces had been put under a fine of eight millions; Algiers and Tunis had been attacked; Jamaica conquered; Lisbon humbled; French rivalry encouraged in Barcelona, and Masaniello in Naples; Portugal had been made fast to England; the seas had been swept of Barbary pirates from Gibraltar to Crete; maritime domination had been founded under two forms, Victory and Commerce. On the 10th of August, 1653, the man of thirty-three victories, the old admiral who called himself the sailors' grandfather, Martin Happertz van Tromp, who had beaten the Spanish, had been destroyed by the English fleet. The Atlantic had been cleared of the Spanish navy, the Pacific of the Dutch, the Mediterranean of the Venetian, and by the patent of navigation, England had taken possession of the sea-coast of the world. By the ocean she commanded the world; at sea the Dutch flag humbly saluted the British flag. France, in the person of the Ambassador Mancini, bent the knee to Oliver Cromwell; and Cromwell played with Calais and Dunkirk as with two shuttlecocks on a battledore. The Continent had been taught to tremble, peace had been dictated, war declared, the British Ensign raised on every pinnacle. By itself the Protector's regiment of Ironsides weighed in the fears of Europe against an army. Cromwell used to say, "I wish the Republic of England to be respected, as was respected the Republic of Rome." No longer were delusions held sacred; speech was free, the press was free. In the public street men said what they listed; they printed what they pleased without control or censorship. The equilibrium of thrones had been destroyed. The whole order of European monarchy, in which the Stuarts formed a link, had been overturned. But at last England had emerged from this odious order of things, and had won its pardon.
Never was a situation more clearly defined or more decisive than that of 1660. A well-ordered mind had never been more clearly shown what actions to take. England was free from Cromwell's control. During the republic, many irregularities had occurred. British influence had been established. With the help of the Thirty Years' War, Germany had been defeated; with the aid of the Fronde, France had been humiliated; with the support of the Duke of Braganza, Spain's power had been weakened. Cromwell had tamed Mazarin; in signing treaties, the Protector of England wrote his name above that of the King of France. The United Provinces had been fined eight million; Algiers and Tunis had been attacked; Jamaica conquered; Lisbon brought low; French competition boosted in Barcelona, and Masaniello in Naples; Portugal had been tied to England; the seas had been cleared of Barbary pirates from Gibraltar to Crete; maritime dominance had been established through both Victory and Commerce. On August 10, 1653, the man with thirty-three victories, the aging admiral who called himself the sailors' grandfather, Martin Happertz van Tromp, who had defeated the Spanish, was destroyed by the English fleet. The Atlantic had been cleared of the Spanish navy, the Pacific of the Dutch, the Mediterranean of the Venetian, and with the navigation patent, England had seized control of the world's coastline. Through the ocean, she commanded the world; at sea, the Dutch flag humbly saluted the British flag. France, represented by Ambassador Mancini, bowed to Oliver Cromwell; and Cromwell toyed with Calais and Dunkirk like two shuttlecocks on a battledore. The Continent had learned to fear, peace had been enforced, war declared, and the British Ensign raised on every peak. The Protector's regiment of Ironsides alone was enough to instill fear in Europe comparable to that of an army. Cromwell used to say, "I wish the Republic of England to be respected, as was respected the Republic of Rome." No longer were illusions held sacred; speech was free, the press was free. In the streets, men said what they wanted; they printed what they liked without control or censorship. The balance of thrones had been shattered. The entire structure of European monarchy, with the Stuarts as a key part, had been overturned. But at last, England had emerged from this dreadful state of affairs and had won its forgiveness.
The indulgent Charles II. had granted the declaration of Breda. He had conceded to England oblivion of the period in which the son of the Huntingdon brewer placed his foot on the neck of Louis XIV. England said its mea culpa, and breathed again. The cup of joy was, as we have just said, full; gibbets for the regicides adding to the universal delight. A restoration is a smile; but a few gibbets are not out of place, and satisfaction is due to the conscience of the public. To be good subjects was thenceforth the people's sole ambition. The spirit of lawlessness had been expelled. Royalty was reconstituted. Men had recovered from the follies of politics. They mocked at revolution, they jeered at the republic, and as to those times when such strange words as Right, Liberty, Progress, had been in the mouth—why, they laughed at such bombast! Admirable was the return to common sense. England had been in a dream. What joy to be quit of such errors! Was ever anything so mad? Where should we be if every one had his rights? Fancy every one's having a hand in the government? Can you imagine a city ruled by its citizens? Why, the citizens are the team, and the team cannot be driver. To put to the vote is to throw to the winds. Would you have states driven like clouds? Disorder cannot build up order. With chaos for an architect, the edifice would be a Babel. And, besides, what tyranny is this pretended liberty! As for me, I wish to enjoy myself; not to govern. It is a bore to have to vote; I want to dance. A prince is a providence, and takes care of us all. Truly the king is generous to take so much trouble for our sakes. Besides, he is to the manner born. He knows what it is. It's his business. Peace, War, Legislation, Finance—what have the people to do with such things? Of course the people have to pay; of course the people have to serve; but that should suffice them. They have a place in policy; from them come two essential things, the army and the budget. To be liable to contribute, and to be liable to serve; is not that enough? What more should they want? They are the military and the financial arm. A magnificent rôle. The king reigns for them, and they must reward him accordingly. Taxation and the civil list are the salaries paid by the peoples and earned by the prince. The people give their blood and their money, in return for which they are led. To wish to lead themselves! what an absurd idea! They require a guide; being ignorant, they are blind. Has not the blind man his dog? Only the people have a lion, the king, who consents to act the dog. How kind of him! But why are the people ignorant? because it is good for them. Ignorance is the guardian of Virtue. Where there is no perspective there is no ambition. The ignorant man is in useful darkness, which, suppressing sight, suppresses covetousness: whence innocence. He who reads, thinks; who thinks, reasons. But not to reason is duty; and happiness as well. These truths are incontestable; society is based on them.
Charles II was indulgent and had issued the declaration of Breda. He allowed England to forget the time when the son of the Huntingdon brewer had put his foot on Louis XIV’s neck. England expressed its regret and felt relieved. As we mentioned, the moment of joy was overwhelming; the execution of the regicides added to the widespread happiness. A restoration brings a smile, but a few hangings seem appropriate, and the public deserves some satisfaction. From then on, the people's main goal was to be good subjects. The spirit of lawlessness was gone. Royalty was restored. People had moved on from the follies of politics. They laughed at revolution, they scoffed at the republic, and as for those days when strange words like Right, Liberty, Progress were in vogue—well, they just laughed at that nonsense! It was impressive how common sense had returned. England had been in a dream. What a relief to be free from such mistakes! Was anything ever so insane? Where would we be if everyone had their rights? Imagine if everyone had a say in the government! Can you picture a city led by its citizens? The citizens are the team, and the team cannot drive itself. Voting is just chaos waiting to happen. Should states be governed like clouds? Disorder cannot create order. With chaos as the architect, the structure would be a Babel. And besides, what kind of tyranny is this so-called liberty! Personally, I want to enjoy life, not govern. Voting is a hassle; I just want to dance. A prince is a blessing, taking care of all of us. It's truly generous of the king to take so much trouble for our benefit. He knows how things work; it’s his job. Peace, War, Legislation, Finance—what do the people have to do with such matters? Sure, the people have to pay; of course, they have to serve; but that should be enough for them. They have a role in politics; from them come two essential things, the army and the budget. Being required to contribute and to serve—isn't that enough? What more do they need? They are the military and financial backbone. A magnificent rôle. The king reigns for their benefit, and they should reward him accordingly. Taxation and the civil list are the salaries paid by the people and earned by the prince. The people give their blood and money, in return for which they are led. Wanting to lead themselves—what an absurd idea! They need a guide; being ignorant, they are blind. Doesn’t a blind person have a dog? The people have a lion, the king, who agrees to act like the dog. How kind of him! But why are the people ignorant? Because it’s good for them. Ignorance protects Virtue. Where there’s no perspective, there’s no ambition. The ignorant person is in a beneficial darkness that, while suppressing sight, also suppresses greed: hence, innocence. Those who read, think; those who think, reason. But not reasoning is both a duty and a path to happiness. These truths are undeniable; society is built on them.
Thus had sound social doctrines been re-established in England; thus had the nation been reinstated. At the same time a correct taste in literature was reviving. Shakespeare was despised, Dryden admired. "Dryden is the greatest poet of England, and of the century," said Atterbury, the translator of "Achitophel." It was about the time when M. Huet, Bishop of Avranches, wrote to Saumaise, who had done the author of "Paradise Lost" the honour to refute and abuse him, "How can you trouble yourself about so mean a thing as that Milton?" Everything was falling into its proper place: Dryden above, Shakespeare below; Charles II. on the throne, Cromwell on the gibbet. England was raising herself out of the shame and the excesses of the past. It is a great happiness for nations to be led back by monarchy to good order in the state and good taste in letters.
Sound social principles had been reestablished in England; the nation had been restored. At the same time, a refined taste in literature was making a comeback. Shakespeare was looked down upon, while Dryden was celebrated. "Dryden is the greatest poet of England, and of the century," said Atterbury, the translator of "Achitophel." It was around this time that M. Huet, Bishop of Avranches, wrote to Saumaise, who had taken the time to refute and criticize the author of "Paradise Lost," "How can you trouble yourself about so insignificant a figure as Milton?" Everything was falling into its rightful order: Dryden at the top, Shakespeare at the bottom; Charles II on the throne, Cromwell hanging from the gallows. England was pulling herself up from the shame and excesses of the past. It is a great advantage for nations to be guided back by monarchy towards good governance and refined taste in literature.
That such benefits should be misunderstood is difficult to believe. To turn the cold shoulder to Charles II., to reward with ingratitude the magnanimity which he displayed in ascending the throne—was not such conduct abominable? Lord Linnæus Clancharlie had inflicted this vexation upon honest men. To sulk at his country's happiness, alack, what aberration!
It's hard to believe that these benefits could be misunderstood. Turning our backs on Charles II. and returning ingratitude for the generosity he showed by taking the throne—wasn't that behavior terrible? Lord Linnæus Clancharlie caused this frustration for decent people. To be resentful of his country's happiness, what a mistake!
We know that in 1650 Parliament had drawn up this form of declaration: "I promise to remain faithful to the republic, without king, sovereign, or lord." Under pretext of having taken this monstrous oath, Lord Clancharlie was living out of the kingdom, and, in the face of the general joy, thought that he had the right to be sad. He had a morose esteem for that which was no more, and was absurdly attached to things which had been.
We know that in 1650 Parliament created this declaration: "I promise to stay loyal to the republic, with no king, sovereign, or lord." Under the pretense of having taken this outrageous oath, Lord Clancharlie was living outside the kingdom, and despite the widespread happiness, he believed he had the right to be unhappy. He had a gloomy appreciation for what was gone and was foolishly clinging to things that no longer existed.
To excuse him was impossible. The kindest-hearted abandoned him; his friends had long done him the honour to believe that he had entered the republican ranks only to observe the more closely the flaws in the republican armour, and to smite it the more surely, when the day should come, for the sacred cause of the king. These lurkings in ambush for the convenient hour to strike the enemy a death-blow in the back are attributes to loyalty. Such a line of conduct had been expected of Lord Clancharlie, so strong was the wish to judge him favourably; but, in the face of his strange persistence in republicanism, people were obliged to lower their estimate. Evidently Lord Clancharlie was confirmed in his convictions—that is to say, an idiot!
Excusing him was impossible. Even the kindest-hearted had abandoned him; his friends had long been kind enough to believe that he joined the republican side just to closely observe the flaws in their armor, so he could hit them harder when the time came for the sacred cause of the king. Those waiting in ambush for the right moment to deliver a fatal blow to the enemy are said to be loyal. Such behavior had been expected of Lord Clancharlie, as there was a strong desire to see him in a positive light; however, because of his strange commitment to republicanism, people had to lower their opinion of him. Clearly, Lord Clancharlie was firm in his beliefs—that is to say, a fool!
The explanation given by the indulgent, wavered between puerile stubbornness and senile obstinacy.
The explanation provided by the lenient one fluctuated between childish stubbornness and old stubbornness.
The severe and the just went further; they blighted the name of the renegade. Folly has its rights, but it has also its limits. A man may be a brute, but he has no right to be a rebel. And, after all, what was this Lord Clancharlie? A deserter. He had fled his camp, the aristocracy, for that of the enemy, the people. This faithful man was a traitor. It is true that he was a traitor to the stronger, and faithful to the weaker; it is true that the camp repudiated by him was the conquering camp, and the camp adopted by him, the conquered; it is true that by his treason he lost everything—his political privileges and his domestic hearth, his title and his country. He gained nothing but ridicule, he attained no benefit but exile. But what does all this prove?—that he was a fool. Granted.
The strict and the fair took it even further; they tarnished the name of the traitor. Foolishness has its rights, but it also has its limits. A person can be a jerk, but they have no right to be a rebel. And really, who was this Lord Clancharlie? A deserter. He left his camp, the aristocracy, to join the enemy camp, the people. This so-called faithful man was a traitor. It's true that he was a traitor to the stronger and loyal to the weaker; it's true that the camp he rejected was the winning camp, and the camp he chose was the losing one; it's true that through his betrayal he lost everything—his political privileges and his home, his title and his country. He gained nothing but mockery, and the only benefit he received was exile. But what does all this prove?—that he was a fool. Fine.
Plainly a dupe and traitor in one. Let a man be as great a fool as he likes, so that he does not set a bad example. Fools need only be civil, and in consideration thereof they may aim at being the basis of monarchies. The narrowness of Clancharlie's mind was incomprehensible. His eyes were still dazzled by the phantasmagoria of the revolution. He had allowed himself to be taken in by the republic—yes; and cast out. He was an affront to his country. The attitude he assumed was downright felony. Absence was an insult. He held aloof from the public joy as from the plague. In his voluntary banishment he found some indescribable refuge from the national rejoicing. He treated loyalty as a contagion; over the widespread gladness at the revival of the monarchy, denounced by him as a lazaretto, he was the black flag. What! could he look thus askance at order reconstituted, a nation exalted, and a religion restored? Over such serenity why cast his shadow? Take umbrage at England's contentment! Must he be the one blot in the clear blue sky! Be as a threat! Protest against a nation's will! refuse his Yes to the universal consent! It would be disgusting, if it were not the part of a fool. Clancharlie could not have taken into account the fact that it did not matter if one had taken the wrong turn with Cromwell, as long as one found one's way back into the right path with Monk.
Clearly a fool and a traitor at the same time. A man can be as foolish as he wants, as long as he doesn't set a bad example. Fools just need to be polite, and for that, they might aspire to be the foundation of monarchies. Clancharlie's narrow-mindedness was beyond comprehension. His eyes were still blinded by the illusions of the revolution. He had let himself be deceived by the republic—yes; and then rejected. He was an embarrassment to his country. The stance he took was outright betrayal. His absence was an insult. He distanced himself from public happiness as if it were a contagious disease. In his self-imposed exile, he found some indescribable escape from the national celebration. He treated loyalty like a virus; amid the widespread joy over the monarchy's revival, which he labeled as a quarantine zone, he was the black flag. What! Could he really look with disdain at a restored order, a nation uplifted, and a religion revived? Why cast his shadow over such peace? Get offended by England's happiness! Must he be the only blemish in the clear blue sky? Be a threat! Oppose a nation's will! Refuse his agreement to the universal approval! It would be revolting if it weren't the behavior of a fool. Clancharlie failed to realize that it didn't matter if one took a wrong turn with Cromwell, as long as one made a right turn with Monk.
Take Monk's case. He commands the republican army. Charles II., having been informed of his honesty, writes to him. Monk, who combines virtue with tact, dissimulates at first, then suddenly at the head of his troops dissolves the rebel parliament, and re-establishes the king on the throne. Monk is created Duke of Albemarle, has the honour of having saved society, becomes very rich, sheds a glory over his own time, is created Knight of the Garter, and has the prospect of being buried in Westminster Abbey. Such glory is the reward of British fidelity!
Consider Monk's situation. He leads the republican army. Charles II, after hearing about his integrity, writes to him. Monk, who skillfully balances integrity with diplomacy, pretends at first, then suddenly leads his troops to dissolve the rebel parliament and reinstates the king on the throne. Monk is made the Duke of Albemarle, gains the honor of having saved society, becomes very wealthy, shines brightly in his era, is appointed a Knight of the Garter, and looks forward to being laid to rest in Westminster Abbey. Such glory is the reward for British loyalty!
Lord Clancharlie could never rise to a sense of duty thus carried out. He had the infatuation and obstinacy of an exile. He contented himself with hollow phrases. He was tongue-tied by pride. The words conscience and dignity are but words, after all. One must penetrate to the depths. These depths Lord Clancharlie had not reached. His "eye was single," and before committing an act he wished to observe it so closely as to be able to judge it by more senses than one. Hence arose absurd disgust to the facts examined. No man can be a statesman who gives way to such overstrained delicacy. Excess of conscientiousness degenerates into infirmity. Scruple is one-handed when a sceptre is to be seized, and a eunuch when fortune is to be wedded. Distrust scruples; they drag you too far. Unreasonable fidelity is like a ladder leading into a cavern—one step down, another, then another, and there you are in the dark. The clever reascend; fools remain in it. Conscience must not be allowed to practise such austerity. If it be, it will fall until, from transition to transition, it at length reaches the deep gloom of political prudery. Then one is lost. Thus it was with Lord Clancharlie.
Lord Clancharlie could never grasp a sense of duty carried out like that. He was stubborn and obsessed, like someone in exile. He settled for empty words. His pride left him speechless. The terms conscience and dignity are just words, after all. You have to dig deeper. These depths are ones Lord Clancharlie never reached. His "eye was single," and before taking any action, he wanted to examine it closely enough to judge it by more than one sense. This led to ridiculous disgust toward the things he looked at. No one can be a statesman who succumbs to such excessive sensitivity. Too much conscientiousness turns into weakness. Scruples are useless when it’s time to seize power, and they are paralyzing when it comes to embracing opportunity. Distrust your scruples; they pull you too far down. Unreasonable loyalty is like a ladder leading into a cave—one step down, then another, and before you know it, you’re in the dark. The smart people find their way back up; fools stay stuck. You can’t let your conscience be that strict. If you do, it will spiral until it finally reaches the dark pit of political prudishness. At that point, you’re lost. That’s how it was for Lord Clancharlie.
Principles terminate in a precipice.
Principles end in a cliff.
He was walking, his hands behind him, along the shores of the Lake of Geneva. A fine way of getting on!
He was walking with his hands behind him along the shores of Lake Geneva. What a great way to move forward!
In London they sometimes spoke of the exile. He was accused before the tribunal of public opinion. They pleaded for and against him. The cause having been heard, he was acquitted on the ground of stupidity.
In London, they sometimes talked about the exile. He was put on trial in the court of public opinion. People argued for and against him. After the case was heard, he was found not guilty due to ignorance.
Many zealous friends of the former republic had given their adherence to the Stuarts. For this they deserve praise. They naturally calumniated him a little. The obstinate are repulsive to the compliant. Men of sense, in favour and good places at Court, weary of his disagreeable attitude, took pleasure in saying, "If he has not rallied to the throne, it is because he has not been sufficiently paid," etc. "He wanted the chancellorship which the king has given to Hyde." One of his old friends went so far as to whisper, "He told me so himself." Remote as was the solitude of Linnæus Clancharlie, something of this talk would reach him through the outlaws he met, such as old regicides like Andrew Broughton, who lived at Lausanne. Clancharlie confined himself to an imperceptible shrug of the shoulders, a sign of profound deterioration. On one occasion he added to the shrug these few words, murmured in a low voice, "I pity those who believe such things."
Many passionate supporters of the old republic had aligned themselves with the Stuarts. For this, they deserve credit. Naturally, they spoke ill of him a bit. The stubborn tend to annoy the compliant. Smart people in good positions at court, tired of his unpleasant behavior, enjoyed saying, "If he hasn’t supported the throne, it’s because he hasn’t been paid enough," etc. "He wanted the chancellorship that the king gave to Hyde." One of his old friends even went so far as to whisper, "He told me so himself." Even though Linnæus Clancharlie’s isolation was quite remote, some of this gossip would reach him through the outlaws he encountered, like old regicides such as Andrew Broughton, who lived in Lausanne. Clancharlie responded with a subtle shrug of his shoulders, a sign of deep disappointment. On one occasion, he added to the shrug these few words, murmured quietly, "I pity those who believe such things."
IV.
Charles II., good man! despised him. The happiness of England under Charles II. was more than happiness, it was enchantment. A restoration is like an old oil painting, blackened by time, and revarnished. All the past reappeared, good old manners returned, beautiful women reigned and governed. Evelyn notices it. We read in his journal, "Luxury, profaneness, contempt of God. I saw the king on Sunday evening with his courtesans, Portsmouth, Cleveland, Mazarin, and two or three others, all nearly naked, in the gaming-room." We feel that there is ill-nature in this description, for Evelyn was a grumbling Puritan, tainted with republican reveries. He did not appreciate the profitable example given by kings in those grand Babylonian gaieties, which, after all, maintain luxury. He did not understand the utility of vice. Here is a maxim: Do not extirpate vice, if you want to have charming women; if you do you are like idiots who destroy the chrysalis whilst they delight in the butterfly.
Charles II, good man! despised him. The happiness of England under Charles II was more than happiness; it was magic. A restoration is like an old oil painting, faded by time but polished again. The past came back, old traditions returned, beautiful women reigned and led. Evelyn noticed it. We read in his journal, "Luxury, irreverence, contempt for God. I saw the king on Sunday evening with his mistresses, Portsmouth, Cleveland, Mazarin, and a few others, all nearly naked, in the gaming room." We sense that there’s some bitterness in this description, as Evelyn was a complaining Puritan, influenced by republican ideals. He didn’t appreciate the valuable example kings set during those grand Babylonian celebrations, which, after all, support luxury. He didn’t understand the usefulness of vice. Here’s a saying: Don’t eliminate vice if you want charming women; if you do, you’re like fools who destroy the chrysalis while enjoying the butterfly.
Charles II., as we have said, scarcely remembered that a rebel called Clancharlie existed; but James II. was more heedful. Charles II. governed gently, it was his way; we may add, that he did not govern the worse on that account. A sailor sometimes makes on a rope intended to baffle the wind, a slack knot which he leaves to the wind to tighten. Such is the stupidity of the storm and of the people.
Charles II, as we mentioned, hardly remembered that a rebel named Clancharlie existed; however, James II was more aware of him. Charles II ruled gently; that was his style, and we might add that he didn't govern any worse because of it. A sailor sometimes ties a loose knot in a rope meant to catch the wind and lets the wind tighten it. That’s how silly the storm and the people can be.
The slack knot very soon becomes a tight one. So did the government of Charles II.
The loose knot quickly turns into a tight one. So did Charles II's government.
Under James II. the throttling began; a necessary throttling of what remained of the revolution. James II. had a laudable ambition to be an efficient king. The reign of Charles II. was, in his opinion, but a sketch of restoration. James wished for a still more complete return to order. He had, in 1660, deplored that they had confined themselves to the hanging of ten regicides. He was a more genuine reconstructor of authority. He infused vigour into serious principles. He installed true justice, which is superior to sentimental declamations, and attends, above all things, to the interests of society. In his protecting severities we recognize the father of the state. He entrusted the hand of justice to Jeffreys, and its sword to Kirke. That useful Colonel, one day, hung and rehung the same man, a republican, asking him each time, "Will you renounce the republic?" The villain, having each time said "No," was dispatched. "I hanged him four times," said Kirke, with satisfaction. The renewal of executions is a great sign of power in the executive authority. Lady Lisle, who, though she had sent her son to fight against Monmouth, had concealed two rebels in her house, was executed; another rebel, having been honourable enough to declare that an Anabaptist female had given him shelter, was pardoned, and the woman was burned alive. Kirke, on another occasion, gave a town to understand that he knew its principles to be republican, by hanging nineteen burgesses. These reprisals were certainly legitimate, for it must be remembered that, under Cromwell, they cut off the noses and ears of the stone saints in the churches. James II., who had had the sense to choose Jeffreys and Kirke, was a prince imbued with true religion; he practised mortification in the ugliness of his mistresses; he listened to le Père la Colombière, a preacher almost as unctuous as le Père Cheminais, but with more fire, who had the glory of being, during the first part of his life, the counsellor of James II., and, during the latter, the inspirer of Mary Alcock. It was, thanks to this strong religious nourishment, that, later on, James II. was enabled to bear exile with dignity, and to exhibit, in his retirement at Saint Germain, the spectacle of a king rising superior to adversity, calmly touching for king's evil, and conversing with Jesuits.
Under James II, the crackdown began; a necessary crackdown on what was left of the revolution. James II had a commendable ambition to be an effective king. He believed the reign of Charles II was just a rough draft of restoration. James wanted an even more complete return to order. In 1660, he lamented that they had only hanged ten regicides. He was a more genuine restorer of authority. He injected energy into serious principles. He established true justice, which is more important than emotional rhetoric and prioritizes, above all else, the interests of society. In his harsh protections, we see the father of the state. He entrusted the hand of justice to Jeffreys and its sword to Kirke. That useful Colonel once hanged and rehung the same man, a republican, asking him each time, "Will you renounce the republic?" The guy, after saying "No" each time, was executed. "I hanged him four times," Kirke said, pleased with himself. The increase in executions is a strong sign of power in the executive branch. Lady Lisle, who, although she had sent her son to fight against Monmouth, had hidden two rebels in her house, was executed; another rebel, who was honorable enough to admit that a female Anabaptist had sheltered him, was pardoned, and the woman was burned alive. Kirke, on another occasion, made it clear to a town that he knew its principles were republican by hanging nineteen burgesses. These reprisals were certainly valid, as it must be remembered that, under Cromwell, they cut off the noses and ears of stone saints in the churches. James II, who had the insight to choose Jeffreys and Kirke, was a prince with true faith; he practiced self-discipline despite the ugliness of his mistresses; he listened to le Père la Colombière, a preacher nearly as sweet-talking as le Père Cheminais but with more passion, who had the honor of being James II's advisor during the early part of his life and, later, the inspiration for Mary Alcock. It was thanks to this strong spiritual foundation that, later, James II was able to endure exile with dignity and to present, in his retirement at Saint Germain, the image of a king rising above adversity, calmly touching for king's evil, and conversing with Jesuits.
It will be readily understood that such a king would trouble himself to a certain extent about such a rebel as Lord Linnæus Clancharlie. Hereditary peerages have a certain hold on the future, and it was evident that if any precautions were necessary with regard to that lord, James II. was not the man to hesitate.
It’s clear that a king like him would be concerned to some degree about a rebel like Lord Linnæus Clancharlie. Hereditary titles have a lasting impact, and it was clear that if any measures were needed regarding that lord, James II. wouldn’t hesitate.
CHAPTER II.
LORD DAVID DIRRY-MOIR.
I.
Lord Linnæus Clancharlie had not always been old and proscribed; he had had his phase of youth and passion. We know from Harrison and Pride that Cromwell, when young, loved women and pleasure, a taste which, at times (another reading of the text "Woman"), betrays a seditious man. Distrust the loosely-clasped girdle. Male proecinctam juvenem cavete. Lord Clancharlie, like Cromwell, had had his wild hours and his irregularities. He was known to have had a natural child, a son. This son was born in England in the last days of the republic, just as his father was going into exile. Hence he had never seen his father. This bastard of Lord Clancharlie had grown up as page at the court of Charles II. He was styled Lord David Dirry-Moir: he was a lord by courtesy, his mother being a woman of quality. The mother, while Lord Clancharlie was becoming an owl in Switzerland, made up her mind, being a beauty, to give over sulking, and was forgiven that Goth, her first lover, by one undeniably polished and at the same time a royalist, for it was the king himself.
Lord Linnæus Clancharlie hadn’t always been old and exiled; he had his time of youth and passion. We know from Harrison and Pride that Cromwell, when he was younger, enjoyed women and pleasure, a taste that can sometimes indicate a rebellious spirit. Watch out for the loosely-tied belt. Male proecinctam juvenem cavete. Lord Clancharlie, like Cromwell, had his wild moments and misdeeds. It was known that he had a child, a son. This son was born in England during the final days of the republic, just as his father was leaving for exile. As a result, he had never met his father. This illegitimate son of Lord Clancharlie grew up as a page at the court of Charles II. He was called Lord David Dirry-Moir; he held the title of lord by courtesy, since his mother was a woman of status. While Lord Clancharlie was becoming a recluse in Switzerland, his mother, being a beauty, decided to stop sulking and was forgiven for her first lover, a Goth, by someone undeniably refined and a royalist—the king himself.
She had been but a short time the mistress of Charles II., sufficiently long however to have made his Majesty—who was delighted to have won so pretty a woman from the republic—bestow on the little Lord David, the son of his conquest, the office of keeper of the stick, which made that bastard officer, boarded at the king's expense, by a natural revulsion of feeling, an ardent adherent of the Stuarts. Lord David was for some time one of the hundred and seventy wearing the great sword, while afterwards, entering the corps of pensioners, he became one of the forty who bear the gilded halberd. He had, besides being one of the noble company instituted by Henry VIII. as a bodyguard, the privilege of laying the dishes on the king's table. Thus it was that whilst his father was growing gray in exile, Lord David prospered under Charles II.
She hadn’t been Charles II.’s mistress for long, but it was enough time for the King—who was thrilled to have won such a beautiful woman from the republic—to appoint little Lord David, the son of his conquest, as the keeper of the stick. This role made that illegitimate son, supported at the king's expense, a loyal supporter of the Stuarts out of a natural sense of loyalty. For a while, Lord David was one of the hundred and seventy who wore the great sword, and later, after joining the pensioner corps, he became one of the forty who carried the gilded halberd. Besides being part of the noble company established by Henry VIII. as a bodyguard, he also had the privilege of serving dishes at the king's table. So, while his father aged in exile, Lord David thrived under Charles II.
After which he prospered under James II.
After that, he thrived under James II.
The king is dead. Long live the king! It is the non deficit alter, aureus.
The king is dead. Long live the king! It is the non deficit alter, aureus.
It was on the accession of the Duke of York that he obtained permission to call himself Lord David Dirry-Moir, from an estate which his mother, who had just died, had left him, in that great forest of Scotland, where is found the krag, a bird which scoops out a nest with its beak in the trunk of the oak.
It was when the Duke of York came into power that he got permission to call himself Lord David Dirry-Moir, from an estate his mother had just left him after her passing, in that vast forest of Scotland, where the krag, a bird that carves out a nest with its beak in the trunk of an oak, can be found.
II.
James II. was a king, and affected to be a general. He loved to surround himself with young officers. He showed himself frequently in public on horseback, in a helmet and cuirass, with a huge projecting wig hanging below the helmet and over the cuirass—a sort of equestrian statue of imbecile war. He took a fancy to the graceful mien of the young Lord David. He liked the royalist for being the son of a republican. The repudiation of a father does not damage the foundation of a court fortune. The king made Lord David gentleman of the bedchamber, at a salary of a thousand a year.
James II was a king who pretended to be a general. He liked to have young officers around him. He often appeared in public on horseback, wearing a helmet and breastplate, with a large wig hanging down below the helmet and over the breastplate—a kind of silly equestrian statue of a clueless warrior. He took a liking to the elegant presence of the young Lord David. He appreciated the royalist for being the son of a republican. Rejecting a father doesn’t ruin a person’s chances at court. The king appointed Lord David as gentleman of the bedchamber, with a salary of a thousand a year.
It was a fine promotion. A gentleman of the bedchamber sleeps near the king every night, on a bed which is made up for him. There are twelve gentlemen who relieve each other.
It was a great promotion. A gentleman of the bedchamber sleeps close to the king every night, on a bed that is set up for him. There are twelve gentlemen who take turns.
Lord David, whilst he held that post, was also head of the king's granary, giving out corn for the horses and receiving a salary of £260. Under him were the five coachmen of the king, the five postilions of the king, the five grooms of the king, the twelve footmen of the king, and the four chair-bearers of the king. He had the management of the race-horses which the king kept at Newmarket, and which cost his Majesty £600 a year. He worked his will on the king's wardrobe, from which the Knights of the Garter are furnished with their robes of ceremony. He was saluted to the ground by the usher of the Black Rod, who belongs to the king. That usher, under James II., was the knight of Duppa. Mr. Baker, who was clerk of the crown, and Mr. Brown, who was clerk of the Parliament, kotowed to Lord David. The court of England, which is magnificent, is a model of hospitality. Lord David presided, as one of the twelve, at banquets and receptions. He had the glory of standing behind the king on offertory days, when the king give to the church the golden byzantium; on collar-days, when the king wears the collar of his order; on communion days, when no one takes the sacrament excepting the king and the princes. It was he who, on Holy Thursday, introduced into his Majesty's presence the twelve poor men to whom the king gives as many silver pence as the years of his age, and as many shillings as the years of his reign. The duty devolved on him when the king was ill, to call to the assistance of his Majesty the two grooms of the almonry, who are priests, and to prevent the approach of doctors without permission from the council of state. Besides, he was lieutenant-colonel of the Scotch regiment of Guards, the one which plays the Scottish march. As such, he made several campaigns, and with glory, for he was a gallant soldier. He was a brave lord, well-made, handsome, generous, and majestic in look and in manner. His person was like his quality. He was tall in stature as well as high in birth.
Lord David, while he held that position, was also in charge of the king's granary, distributing corn for the horses and earning a salary of £260. Under him were the king's five coachmen, five postilions, five grooms, twelve footmen, and four chair-bearers. He managed the racehorses the king kept at Newmarket, which cost his Majesty £600 a year. He had authority over the king's wardrobe, from which the Knights of the Garter are provided with their ceremonial robes. The usher of the Black Rod, who serves the king, bowed deeply to Lord David. That usher, under James II, was the knight of Duppa. Mr. Baker, the clerk of the crown, and Mr. Brown, the clerk of Parliament, also showed respect to Lord David. The English court, known for its magnificence, is a model of hospitality. Lord David presided over banquets and receptions as one of the twelve. He had the honor of standing behind the king on offertory days, when the king gives the church the golden byzantium; on collar-days, when the king wears his order's collar; and on communion days, when only the king and princes take the sacrament. On Holy Thursday, it was he who introduced the twelve poor men to the king, to whom he gives as many silver pence as his age and as many shillings as his years on the throne. When the king was ill, it was his responsibility to call upon the two grooms of the almonry, who are priests, and to keep doctors away without permission from the council of state. Additionally, he was the lieutenant-colonel of the Scottish regiment of Guards, the one that plays the Scottish march. In that role, he participated in several campaigns with distinction, as he was a brave soldier. He was a noble lord, well-built, handsome, generous, and impressive in appearance and demeanor. His presence matched his qualities; he was tall and of noble birth.
At one time he stood a chance of being made groom of the stole, which would have given him the privilege of putting the king's shirt on his Majesty: but to hold that office it was necessary to be either prince or peer. Now, to create a peer is a serious thing; it is to create a peerage, and that makes many people jealous. It is a favour; a favour which gives the king one friend and a hundred enemies, without taking into account that the one friend becomes ungrateful. James II., from policy, was indisposed to create peerages, but he transferred them freely. The transfer of a peerage produces no sensation. It is simply the continuation of a name. The order is little affected by it.
At one point, he had a chance to become the groom of the stole, which would have allowed him the honor of dressing the king. However, to hold that position, you had to be either a prince or a peer. Creating a peer is a big deal; it establishes a peerage and can stir up jealousy among many people. It’s a favor that can gain the king one friend but also a hundred enemies, not to mention that the one friend often turns ungrateful. James II was reluctant to create new peerages for political reasons, but he did transfer them freely. Transferring a peerage doesn’t create much of a stir. It’s just a way to carry on a name. The overall order isn’t significantly affected by it.
The goodwill of royalty had no objection to raise Lord David Dirry-Moir to the Upper House so long as it could do so by means of a substituted peerage. Nothing would have pleased his majesty better than to transform Lord David Dirry-Moir, lord by courtesy, into a lord by right.
The royal approval had no problem elevating Lord David Dirry-Moir to the Upper House as long as it could be done through a substituted peerage. Nothing would have made his majesty happier than to change Lord David Dirry-Moir, a lord by courtesy, into a lord by right.
III.
The opportunity occurred.
The opportunity came up.
One day it was announced that several things had happened to the old exile, Lord Clancharlie, the most important of which was that he was dead. Death does just this much good to folks: it causes a little talk about them. People related what they knew, or what they thought they knew, of the last years of Lord Linnæus. What they said was probably legend and conjecture. If these random tales were to be credited, Lord Clancharlie must have had his republicanism intensified towards the end of his life, to the extent of marrying (strange obstinacy of the exile!) Ann Bradshaw, the daughter of a regicide; they were precise about the name. She had also died, it was said, but in giving birth to a boy. If these details should prove to be correct, his child would of course be the legitimate and rightful heir of Lord Clancharlie. These reports, however, were extremely vague in form, and were rumours rather than facts. Circumstances which happened in Switzerland, in those days, were as remote from the England of that period as those which take place in China from the England of to-day. Lord Clancharlie must have been fifty-nine at the time of his marriage, they said, and sixty at the birth of his son, and must have died shortly after, leaving his infant orphaned both of father and mother. This was possible, perhaps, but improbable. They added that the child was beautiful as the day,—just as we read in all the fairy tales. King James put an end to these rumours, evidently without foundation, by declaring, one fine morning, Lord David Dirry-Moir sole and positive heir in default of legitimate issue, and by his royal pleasure, of Lord Linnæus Clancharlie, his natural father, the absence of all other issue and descent being established, patents of which grant were registered in the House of Lords. By these patents the king instituted Lord David Dirry-Moir in the titles, rights, and prerogatives of the late Lord Linnæus Clancharlie, on the sole condition that Lord David should wed, when she attained a marriageable age, a girl who was, at that time, a mere infant a few months old, and whom the king had, in her cradle, created a duchess, no one knew exactly why; or, rather, every one knew why. This little infant was called the Duchess Josiana.
One day, it was announced that several things had happened to the old exile, Lord Clancharlie, the most significant of which was that he had died. Death does bring one good thing: it gets people talking about them. People shared what they knew, or thought they knew, about the last years of Lord Linnæus. What they said was probably a mix of legend and speculation. If these random stories were to be believed, Lord Clancharlie must have become more of a republican in the last part of his life, to the point of marrying (an odd stubbornness for an exile!) Ann Bradshaw, the daughter of a regicide; they were specific about the name. She was also said to have died during childbirth, giving birth to a boy. If these details were accurate, his child would naturally be the legitimate heir of Lord Clancharlie. However, these reports were quite vague and more like rumors than established facts. Events happening in Switzerland at that time were as distant from England's history as those in China are from today's England. They claimed that Lord Clancharlie must have been fifty-nine at the time of his marriage, sixty when his son was born, and must have died soon after, leaving his infant orphaned of both parents. This was possible, but unlikely. They added that the child was as beautiful as can be—just like we read in fairy tales. King James put an end to these clearly unfounded rumors by declaring one fine morning that Lord David Dirry-Moir was the sole heir in default of legitimate issue, and by royal decree, he was recognized as the legitimate son of Lord Linnæus Clancharlie, the absence of all other issue and descent being established, with grants of this inheritance recorded in the House of Lords. Through these grants, the king officially bestowed upon Lord David Dirry-Moir the titles, rights, and privileges of the late Lord Linnæus Clancharlie, on the sole condition that Lord David would marry, when she reached a suitable age, a girl who was just an infant a few months old at that time, and whom the king had, while in her cradle, made a duchess for reasons that no one knew precisely; or rather, everyone knew why. This little infant was named Duchess Josiana.
The English fashion then ran on Spanish names. One of Charles II.'s bastards was called Carlos, Earl of Plymouth. It is likely that Josiana was a contraction for Josefa-y-Ana. Josiana, however, may have been a name—the feminine of Josias. One of Henry VIII.'s gentlemen was called Josias du Passage.
The English fashion at the time favored Spanish names. One of Charles II's illegitimate sons was named Carlos, Earl of Plymouth. It's likely that Josiana was a blend of Josefa and Ana. However, Josiana could also have been a name as the feminine form of Josias. One of Henry VIII's courtiers was named Josias du Passage.
It was to this little duchess that the king granted the peerage of Clancharlie. She was a peeress till there should be a peer; the peer should be her husband. The peerage was founded on a double castleward, the barony of Clancharlie and the barony of Hunkerville; besides, the barons of Clancharlie were, in recompense of an ancient feat of arms, and by royal licence, Marquises of Corleone, in Sicily.
It was this little duchess to whom the king granted the title of Clancharlie. She was a peeress until there would be a peer; the peer would be her husband. The peerage was based on a double castleward: the barony of Clancharlie and the barony of Hunkerville. Additionally, the barons of Clancharlie were, in recognition of a historic act of bravery and with royal approval, Marquises of Corleone in Sicily.
Peers of England cannot bear foreign titles; there are, nevertheless, exceptions; thus—Henry Arundel, Baron Arundel of Wardour, was, as well as Lord Clifford, a Count of the Holy Roman Empire, of which Lord Cowper is a prince. The Duke of Hamilton is Duke of Chatelherault, in France; Basil Fielding, Earl of Denbigh, is Count of Hapsburg, of Lauffenberg, and of Rheinfelden, in Germany. The Duke of Marlborough was Prince of Mindelheim, in Suabia, just as the Duke of Wellington was Prince of Waterloo, in Belgium. The same Lord Wellington was a Spanish Duke of Ciudad Rodrigo, and Portuguese Count of Vimiera.
Peers of England can’t hold foreign titles; however, there are exceptions. For example, Henry Arundel, Baron Arundel of Wardour, along with Lord Clifford, was a Count of the Holy Roman Empire, of which Lord Cowper is a prince. The Duke of Hamilton holds the title Duke of Chatelherault in France; Basil Fielding, Earl of Denbigh, is a Count of Hapsburg, Lauffenberg, and Rheinfelden in Germany. The Duke of Marlborough was Prince of Mindelheim in Swabia, just as the Duke of Wellington was Prince of Waterloo in Belgium. The same Lord Wellington was also a Spanish Duke of Ciudad Rodrigo and Portuguese Count of Vimiera.
There were in England, and there are still, lands both noble and common. The lands of the Lords of Clancharlie were all noble. These lands, burghs, bailiwicks, fiefs, rents, freeholds, and domains, adherent to the peerage of Clancharlie-Hunkerville, belonged provisionally to Lady Josiana, and the king declared that, once married to Josiana, Lord David Dirry-Moir should be Baron Clancharlie.
In England, there have always been, and still are, both noble and common lands. The lands owned by the Lords of Clancharlie were all noble. These lands—burghs, bailiwicks, fiefs, rents, freeholds, and domains—connected to the peerage of Clancharlie-Hunkerville, were temporarily under the control of Lady Josiana. The king announced that once he married Josiana, Lord David Dirry-Moir would become Baron Clancharlie.
Besides the Clancharlie inheritance, Lady Josiana had her own fortune. She possessed great wealth, much of which was derived from the gifts of Madame sans queue to the Duke of York. Madame sans queue is short for Madame. Henrietta of England, Duchess of Orleans, the lady of highest rank in France after the queen, was thus called.
Besides the Clancharlie inheritance, Lady Josiana had her own fortune. She had a lot of wealth, much of which came from the gifts of Madame sans queue to the Duke of York. Madame sans queue is short for Madame Henrietta of England, Duchess of Orleans, the highest-ranking lady in France after the queen, was referred to this way.
IV.
Having prospered under Charles and James, Lord David prospered under William. His Jacobite feeling did not reach to the extent of following James into exile. While he continued to love his legitimate king, he had the good sense to serve the usurper; he was, moreover, although sometimes disposed to rebel against discipline, an excellent officer. He passed from the land to the sea forces, and distinguished himself in the White Squadron. He rose in it to be what was then called captain of a light frigate. Altogether he made a very fine fellow, carrying to a great extent the elegancies of vice: a bit of a poet, like every one else; a good servant of the state, a good servant to the prince; assiduous at feasts, at galas, at ladies' receptions, at ceremonies, and in battle; servile in a gentlemanlike way; very haughty; with eyesight dull or keen, according to the object examined; inclined to integrity; obsequious or arrogant, as occasion required; frank and sincere on first acquaintance, with the power of assuming the mask afterwards; very observant of the smiles and frowns of the royal humour; careless before a sword's point; always ready to risk his life on a sign from his Majesty with heroism and complacency, capable of any insult but of no impoliteness; a man of courtesy and etiquette, proud of kneeling at great regal ceremonies; of a gay valour; a courtier on the surface, a paladin below; quite young at forty-five. Lord David sang French songs, an elegant gaiety which had delighted Charles II. He loved eloquence and fine language. He greatly admired those celebrated discourses which are called the funeral orations of Bossuet.
Having thrived under Charles and James, Lord David also succeeded under William. His loyalty to the Jacobite cause didn't go as far as following James into exile. While he remained devoted to his legitimate king, he wisely chose to serve the usurper; he was, in fact, an excellent officer, although he sometimes struggled with authority. He transitioned from land forces to the navy and made a name for himself in the White Squadron, eventually becoming captain of a light frigate, as it was then called. Overall, he was quite an impressive figure, embodying many of the charming vices of the time: a bit of a poet like everyone else; a devoted servant to the state and the prince; diligent at feasts, galas, women's gatherings, ceremonies, and in battle; somewhat servile yet gentlemanly; quite proud; with varying sharpness in his gaze depending on what he was looking at; generally inclined towards integrity; obsequious or arrogant as the situation demanded; open and sincere at first meetings, able to put on a facade later; very attuned to the royal whims; rather indifferent in the face of danger; always prepared to risk his life at a gesture from his Majesty with bravery and ease, capable of enduring any insult but never rudeness; a man of courtesy and decorum, proud to kneel at grand royal ceremonies; possessing a cheerful bravery; a courtier on the outside, a true knight inside; surprisingly youthful at forty-five. Lord David sang French songs, his elegant cheerfulness having charmed Charles II. He had a passion for eloquence and fine language. He greatly admired the famous speeches known as Bossuet's funeral orations.
From his mother he had inherited almost enough to live on, about £10,000 a year. He managed to get on with it—by running into debt. In magnificence, extravagance, and novelty he was without a rival. Directly he was copied he changed his fashion. On horseback he wore loose boots of cow-hide, which turned over, with spurs. He had hats like nobody else's, unheard-of lace, and bands of which he alone had the pattern.
From his mother, he inherited almost enough to live on, about £10,000 a year. He managed to get by—by going into debt. In terms of style, extravagance, and originality, he had no equal. As soon as someone tried to imitate him, he changed his look. When riding, he wore loose cowhide boots that he turned over, complete with spurs. His hats were like no one else's, with unique lace and bands that only he had the design for.
CHAPTER III.
THE DUCHESS JOSIANA.
Towards 1705, although Lady Josiana was twenty-three and Lord David forty-four, the wedding had not yet taken place, and that for the best reasons in the world. Did they hate each other? Far from it; but what cannot escape from you inspires you with no haste to obtain it. Josiana wanted to remain free, David to remain young. To have no tie until as late as possible appeared to him to be a prolongation of youth. Middle-aged young men abounded in those rakish times. They grew gray as young fops. The wig was an accomplice: later on, powder became the auxiliary. At fifty-five Lord Charles Gerrard, Baron Gerrard, one of the Gerrards of Bromley, filled London with his successes. The young and pretty Duchess of Buckingham, Countess of Coventry, made a fool of herself for love of the handsome Thomas Bellasys, Viscount Falconberg, who was sixty-seven. People quoted the famous verses of Corneille, the septuagenarian, to a girl of twenty—"Marquise, si mon visage." Women, too, had their successes in the autumn of life. Witness Ninon and Marion. Such were the models of the day.
By around 1705, even though Lady Josiana was twenty-three and Lord David was forty-four, the wedding still hadn’t happened, and there were very good reasons for that. Did they dislike each other? Not at all; but when something isn't within your reach, you feel no rush to go after it. Josiana wanted to stay independent, while David wanted to feel youthful. He believed that avoiding commitments for as long as possible meant extending his youth. During those wild times, there were plenty of middle-aged young men. They turned gray like young dandy types. The wig helped with that; later on, powdered hair became the trend. At fifty-five, Lord Charles Gerrard, Baron Gerrard, one of the Gerrards of Bromley, was a huge success in London. The young and attractive Duchess of Buckingham, Countess of Coventry, made a fool of herself over the handsome Thomas Bellasys, Viscount Falconberg, who was sixty-seven. People often quoted the famous lines from Corneille, the septuagenarian, to a girl of twenty—"Marquise, si mon visage." Women also found success in their later years. Just look at Ninon and Marion. Those were the role models of the time.
Josiana and David carried on a flirtation of a particular shade. They did not love, they pleased, each other. To be at each other's side sufficed them. Why hasten the conclusion? The novels of those days carried lovers and engaged couples to that kind of stage which was the most becoming. Besides, Josiana, while she knew herself to be a bastard, felt herself a princess, and carried her authority over him with a high tone in all their arrangements. She had a fancy for Lord David. Lord David was handsome, but that was over and above the bargain. She considered him to be fashionable.
Josiana and David had a flirtation with a unique vibe. They weren’t in love; they just enjoyed each other's company. Being together was enough for them. Why rush to the end? The romantic stories of that time often depicted lovers and engaged couples in the most flattering situations. Besides, even though Josiana knew she was an illegitimate child, she felt like royalty and held her authority over him with a confident attitude in all their plans. She had a crush on Lord David. Lord David was good-looking, but that was just a bonus. She thought he was stylish.
To be fashionable is everything. Caliban, fashionable and magnificent, would distance Ariel, poor. Lord David was handsome, so much the better. The danger in being handsome is being insipid; and that he was not. He betted, boxed, ran into debt. Josiana thought great things of his horses, his dogs, his losses at play, his mistresses. Lord David, on his side, bowed down before the fascinations of the Duchess Josiana—a maiden without spot or scruple, haughty, inaccessible, and audacious. He addressed sonnets to her, which Josiana sometimes read. In these sonnets he declared that to possess Josiana would be to rise to the stars, which did not prevent his always putting the ascent off to the following year. He waited in the antechamber outside Josiana's heart; and this suited the convenience of both. At court all admired the good taste of this delay. Lady Josiana said, "It is a bore that I should be obliged to marry Lord David; I, who would desire nothing better than to be in love with him!"
Being fashionable is everything. Caliban, stylish and impressive, would overshadow Ariel, who was unfortunate. Lord David was handsome, which only added to his appeal. The risk of being attractive is being dull; but that wasn’t the case with him. He gambled, boxed, and got into debt. Josiana thought highly of his horses, his dogs, his gambling losses, and his lovers. On his part, Lord David was captivated by the charms of Duchess Josiana—a woman without flaws or morals, proud, untouchable, and daring. He wrote her sonnets, which Josiana occasionally read. In these poems, he claimed that having Josiana would mean reaching for the stars, though he always postponed that ambition to the next year. He lingered in the waiting room outside Josiana's heart, a situation that worked for both of them. At court, everyone praised the good taste of this delay. Lady Josiana remarked, "It's such a drag that I have to marry Lord David; I, who would wish nothing more than to fall in love with him!"
Josiana was "the flesh." Nothing could be more resplendent. She was very tall—too tall. Her hair was of that tinge which might be called red gold. She was plump, fresh, strong, and rosy, with immense boldness and wit. She had eyes which were too intelligible. She had neither lovers nor chastity. She walled herself round with pride. Men! oh, fie! a god only would be worthy of her, or a monster. If virtue consists in the protection of an inaccessible position, Josiana possessed all possible virtue, but without any innocence. She disdained intrigues; but she would not have been displeased had she been supposed to have engaged in some, provided that the objects were uncommon, and proportioned to the merits of one so highly placed. She thought little of her reputation, but much of her glory. To appear yielding, and to be unapproachable, is perfection. Josiana felt herself majestic and material. Hers was a cumbrous beauty. She usurped rather than charmed. She trod upon hearts. She was earthly. She would have been as much astonished at being proved to have a soul in her bosom as wings on her back. She discoursed on Locke; she was polite; she was suspected of knowing Arabic.
Josiana was "the flesh." Nothing could be more stunning. She was very tall—too tall. Her hair had a hue that could be described as red gold. She was plump, fresh, strong, and rosy, with immense confidence and wit. Her eyes were too expressive. She had neither lovers nor a sense of purity. She surrounded herself with pride. Men! Oh, please! Only a god would be worthy of her, or a monster. If virtue means being protected by an unreachable status, Josiana had all the possible virtue, but without any innocence. She looked down on romantic entanglements; however, she wouldn't have minded if people thought she engaged in some, as long as the suitors were extraordinary and suited her exceptional standing. She cared little for her reputation but greatly for her glory. To seem accommodating while being untouchable is perfection. Josiana felt majestic and substantial. Her beauty was imposing. She dominated rather than captivated. She crushed hearts. She was earthly. She would have been just as shocked to discover she had a soul as she would be to find wings on her back. She talked about Locke; she was courteous; she was rumored to know Arabic.
To be "the flesh" and to be woman are two different things. Where a woman is vulnerable, on the side of pity, for instance, which so readily turns to love, Josiana was not. Not that she was unfeeling. The ancient comparison of flesh to marble is absolutely false. The beauty of flesh consists in not being marble: its beauty is to palpitate, to tremble, to blush, to bleed, to have firmness without hardness, to be white without being cold, to have its sensations and its infirmities; its beauty is to be life, and marble is death.
To be "the flesh" and to be a woman are two different things. While a woman can be vulnerable, like when people feel pity, which can easily turn into love, Josiana wasn’t like that. It doesn’t mean she was unfeeling. The old saying that compares flesh to marble is completely wrong. The beauty of flesh lies in the fact that it isn’t marble: its beauty is in its ability to pulse, to tremble, to blush, to bleed, to be firm without being hard, to be white without being cold, to have sensations and weaknesses; its beauty is in being alive, while marble represents death.
Flesh, when it attains a certain degree of beauty, has almost a claim to the right of nudity; it conceals itself in its own dazzling charms as in a veil. He who might have looked upon Josiana nude would have perceived her outlines only through a surrounding glory. She would have shown herself without hesitation to a satyr or a eunuch. She had the self-possession of a goddess. To have made her nudity a torment, ever eluding a pursuing Tantalus, would have been an amusement to her.
Flesh, when it reaches a certain level of beauty, almost has the right to be nude; it hides itself behind its own stunning allure like a veil. Anyone who might have seen Josiana nude would have only glimpsed her shape through an aura of brilliance. She would have confidently shown herself to a satyr or a eunuch. She had the poise of a goddess. Making her nudity a torment, constantly escaping a longing Tantalus, would have been entertaining for her.
The king had made her a duchess, and Jupiter a Nereid—a double irradiation of which the strange, brightness of this creature was composed. In admiring her you felt yourself becoming a pagan and a lackey. Her origin had been bastardy and the ocean. She appeared to have emerged from the foam. From the stream had risen the first jet of her destiny; but the spring was royal. In her there was something of the wave, of chance, of the patrician, and of the tempest. She was well read and accomplished. Never had a passion approached her, yet she had sounded them all. She had a disgust for realizations, and at the same time a taste for them. If she had stabbed herself, it would, like Lucretia, not have been until afterwards. She was a virgin stained with every defilement in its visionary stage. She was a possible Astarte in a real Diana. She was, in the insolence of high birth, tempting and inaccessible. Nevertheless, she might find it amusing to plan a fall for herself. She dwelt in a halo of glory, half wishing to descend from it, and perhaps feeling curious to know what a fall was like. She was a little too heavy for her cloud. To err is a diversion. Princely unconstraint has the privilege of experiment, and what is frailty in a plebeian is only frolic in a duchess. Josiana was in everything—in birth, in beauty, in irony, in brilliancy—almost a queen. She had felt a moment's enthusiasm for Louis de Bouffles, who used to break horseshoes between his fingers. She regretted that Hercules was dead. She lived in some undefined expectation of a voluptuous and supreme ideal.
The king had made her a duchess, and Jupiter a Nereid—a unique blend that defined the strange brightness of this creature. In admiring her, you felt yourself becoming both a pagan and a sycophant. Her origins were illegitimate and oceanic. She seemed to have emerged from the foam. From the stream had risen the first hint of her destiny; yet the source was royal. In her, there was something of the wave, of fate, of nobility, and of the storm. She was well-read and skilled. Passion had never approached her, yet she had explored them all. She was repulsed by realities, while simultaneously attracted to them. If she had harmed herself, it would, like Lucretia, have been only after the fact. She was a virgin tainted with every impurity in its imagined form. She was a potential Astarte in a real Diana. She was, in the arrogance of high birth, alluring yet unattainable. Still, she might find it entertaining to plan a downfall for herself. She lived in a glow of glory, half wishing to step down from it, perhaps curious to know what a fall felt like. She was a bit too grounded for her cloud. To make mistakes is entertaining. Royal privilege allows for experimentation, and what is weakness in a commoner is just playful in a duchess. Josiana was encompassing—in lineage, in beauty, in irony, in brilliance—almost a queen. She had felt a brief enthusiasm for Louis de Bouffles, who could break horseshoes with his bare hands. She lamented that Hercules was gone. She lived in an undefined anticipation of a lavish and ultimate ideal.
Morally, Josiana brought to one's mind the line—
Morally, Josiana reminded one of the line—
"Un beau torse de femme en hydre se termine."
"Un beau torse de femme en hydre se termine."
Hers was a noble neck, a splendid bosom, heaving harmoniously over a royal heart, a glance full of life and light, a countenance pure and haughty, and who knows? below the surface was there not, in a semi-transparent and misty depth, an undulating, supernatural prolongation, perchance deformed and dragon-like—a proud virtue ending in vice in the depth of dreams.
Hers was a graceful neck, a beautiful chest rising elegantly over a regal heart, eyes shining with life and brightness, a face both pure and lofty, and who knows? Beneath the surface, was there not, in a hazy and unclear depth, a flowing, otherworldly extension, perhaps twisted and dragon-like—a proud virtue that gives way to vice in the depths of dreams.
II.
With all that she was a prude.
With all that, she was still a prude.
It was the fashion.
It was trendy.
Remember Elizabeth.
Remember Liz.
Elizabeth was of a type that prevailed in England for three centuries—the sixteenth, seventeenth, and eighteenth. Elizabeth was more than English—she was Anglican. Hence the deep respect of the Episcopalian Church for that queen—respect resented by the Church of Rome, which counterbalanced it with a dash of excommunication. In the mouth of Sixtus V., when anathematizing Elizabeth, malediction turned to madrigal. "Un gran cervello di principessa," he says. Mary Stuart, less concerned with the church and more with the woman part of the question, had little respect for her sister Elizabeth, and wrote to her as queen to queen and coquette to prude: "Your disinclination to marriage arises from your not wishing to lose the liberty of being made love to." Mary Stuart played with the fan, Elizabeth with the axe. An uneven match. They were rivals, besides, in literature. Mary Stuart composed French verses; Elizabeth translated Horace. The ugly Elizabeth decreed herself beautiful; liked quatrains and acrostics; had the keys of towns presented to her by cupids; bit her lips after the Italian fashion, rolled her eyes after the Spanish; had in her wardrobe three thousand dresses and costumes, of which several were for the character of Minerva and Amphitrite; esteemed the Irish for the width of their shoulders; covered her farthingale with braids and spangles; loved roses; cursed, swore, and stamped; struck her maids of honour with her clenched fists; used to send Dudley to the devil; beat Burleigh, the Chancellor, who would cry—poor old fool! spat on Matthew; collared Hatton; boxed the ears of Essex; showed her legs to Bassompierre; and was a virgin.
Elizabeth was a type that dominated England for three centuries—the sixteenth, seventeenth, and eighteenth. Elizabeth was more than just English—she was Anglican. This is why the Episcopal Church held deep respect for her, a sentiment that was resented by the Church of Rome, which retaliated with a hint of excommunication. When Sixtus V. condemned Elizabeth, his cursing turned into a sort of twisted praise. "Un gran cervello di principessa," he said. Mary Stuart, less focused on the church and more on the interpersonal aspects, had little respect for her sister Elizabeth, writing to her as queen to queen and flirt to prude: "Your reluctance to marry comes from not wanting to give up the freedom to be pursued." Mary Stuart played with the fan, while Elizabeth wielded the axe. It was an unequal contest. They were also rivals in writing—Mary Stuart wrote French poetry while Elizabeth translated Horace. The not-so-attractive Elizabeth declared herself beautiful; enjoyed writing quatrains and acrostics; received keys to towns from cupids; bit her lips like Italians do, rolled her eyes like Spaniards; owned three thousand dresses and outfits, some meant for portraying Minerva and Amphitrite; admired the Irish for their broad shoulders; adorned her farthingale with braids and sequins; loved roses; cursed, swore, and stamped her feet; struck her ladies-in-waiting with her fists; sent Dudley to hell; slapped Burleigh, the Chancellor, who would lament—poor old fool! spat on Matthew; grabbed Hatton by the collar; boxed Essex's ears; showed off her legs to Bassompierre; and was still a virgin.
What she did for Bassompierre the Queen of Sheba had done for Solomon;[11] consequently she was right, Holy Writ having created the precedent. That which is biblical may well be Anglican. Biblical precedent goes so far as to speak of a child who was called Ebnehaquem or Melilechet—that is to say, the Wise Man's son.
What she did for Bassompierre was what the Queen of Sheba did for Solomon;[11] so she was justified, as Holy Scripture set the example. What is biblical can very well be Anglican. Biblical precedent even mentions a child named Ebnehaquem or Melilechet—that is, the Wise Man's son.
Why object to such manners? Cynicism is at least as good as hypocrisy.
Why complain about those behaviors? Being cynical is just as valid as being hypocritical.
Nowadays England, whose Loyola is named Wesley, casts down her eyes a little at the remembrance of that past age. She is vexed at the memory, yet proud of it.
Nowadays, England, whose Loyola is called Wesley, lowers her gaze slightly at the memory of that past era. She's annoyed by the recollection, yet proud of it.
These fine ladies, moreover, knew Latin. From the 16th century this had been accounted a feminine accomplishment. Lady Jane Grey had carried fashion to the point of knowing Hebrew. The Duchess Josiana Latinized. Then (another fine thing) she was secretly a Catholic; after the manner of her uncle, Charles II., rather than her father, James II. James II. had lost his crown for his Catholicism, and Josiana did not care to risk her peerage. Thus it was that while a Catholic amongst her intimate friends and the refined of both sexes, she was outwardly a Protestant for the benefit of the riffraff.
These ladies were also educated in Latin. Since the 16th century, this had been seen as a classy accomplishment for women. Lady Jane Grey had taken it a step further by knowing Hebrew. The Duchess Josiana embraced Latin as well. Interestingly, she was secretly a Catholic, following the example of her uncle, Charles II., rather than her father, James II. James II. lost his crown because of his Catholic faith, and Josiana didn't want to jeopardize her status. So, while she practiced Catholicism among her close friends and the sophisticated crowd, she publicly identified as a Protestant to keep up appearances with the general public.
This is the pleasant view to take of religion. You enjoy all the good things belonging to the official Episcopalian church, and later on you die, like Grotius, in the odour of Catholicity, having the glory of a mass being said for you by le Père Petau.
This is a nice way to look at religion. You get to experience all the good things that come with being part of the official Episcopalian church, and later, when you pass away, you'll die, like Grotius, in the favor of Catholicism, with the honor of a mass being held for you by Father Petau.
Although plump and healthy, Josiana was, we repeat, a perfect prude.
Although she was plump and healthy, Josiana was, we insist, a complete prude.
At times her sleepy and voluptuous way of dragging out the end of her phrases was like the creeping of a tiger's paws in the jungle.
At times, her lazy and alluring way of stretching out her sentences felt like a tiger creeping through the jungle.
The advantage of prudes is that they disorganize the human race. They deprive it of the honour of their adherence. Beyond all, keep the human species at a distance. This is a point of the greatest importance.
The advantage of prudes is that they disrupt the human race. They rob it of the honor of their support. Above all, they keep the human species at bay. This is a matter of utmost significance.
When one has not got Olympus, one must take the Hôtel de Rambouillet. Juno resolves herself into Araminta. A pretension to divinity not admitted creates affectation. In default of thunderclaps there is impertinence. The temple shrivels into the boudoir. Not having the power to be a goddess, she is an idol.
When you can't have Olympus, you have to settle for the Hôtel de Rambouillet. Juno turns into Araminta. When you can't claim divinity, it leads to pretentiousness. Without thunderclaps, there's just rudeness. The temple shrinks down to the boudoir. Lacking the ability to be a goddess, she becomes an idol.
There is besides, in prudery, a certain pedantry which is pleasing to women. The coquette and the pedant are neighbours. Their kinship is visible in the fop. The subtile is derived from the sensual. Gluttony affects delicacy, a grimace of disgust conceals cupidity. And then woman feels her weak point guarded by all that casuistry of gallantry which takes the place of scruples in prudes. It is a line of circumvallation with a ditch. Every prude puts on an air of repugnance. It is a protection. She will consent, but she disdains—for the present.
There’s also a kind of pretentiousness in prudery that women find appealing. The flirt and the know-it-all are closely related. Their connection is evident in the dandy. The subtlety comes from sensuality. Overindulgence pretends to be refined, and a fake look of disgust hides greed. And so a woman feels her vulnerabilities safeguarded by all that elaborate code of chivalry that replaces genuine moral concerns in prudes. It’s like a fortified line with a moat. Every prude acts repulsed. It’s a form of protection. She may agree, but she looks down on it—for now.
Josiana had an uneasy conscience. She felt such a leaning towards immodesty that she was a prude. The recoils of pride in the direction opposed to our vices lead us to those of a contrary nature. It was the excessive effort to be chaste which made her a prude. To be too much on the defensive points to a secret desire for attack; the shy woman is not strait-laced. She shut herself up in the arrogance of the exceptional circumstances of her rank, meditating, perhaps, all the while, some sudden lapse from it.
Josiana had a guilty conscience. She felt such a pull towards indecency that it made her a prude. The reactions to our pride in resisting our vices often lead us to develop opposite habits. It was her extreme effort to stay chaste that made her a prude. Being overly defensive suggests a hidden desire to go on the offensive; a shy woman isn’t necessarily uptight. She isolated herself in the superiority of her social status, perhaps contemplating some unexpected fall from it.
It was the dawn of the eighteenth century. England was a sketch of what France was during the regency. Walpole and Dubois are not unlike. Marlborough was fighting against his former king, James II., to whom it was said he had sold his sister, Miss Churchill. Bolingbroke was in his meridian, and Richelieu in his dawn. Gallantry found its convenience in a certain medley of ranks. Men were equalized by the same vices as they were later on, perhaps, by the same ideas. Degradation of rank, an aristocratic prelude, began what the revolution was to complete. It was not very far off the time when Jelyotte was seen publicly sitting, in broad daylight, on the bed of the Marquise d'Epinay. It is true (for manners re-echo each other) that in the sixteenth century Smeton's nightcap had been found under Anne Boleyn's pillow.
It was the early 1700s. England was a shadow of what France was like during the regency. Walpole and Dubois were pretty similar. Marlborough was fighting against his former king, James II, to whom it was rumored he had sold his sister, Miss Churchill. Bolingbroke was at the height of his power, and Richelieu was just starting to rise. Romance thrived in a mix of social classes. Men were brought together by the same vices as they would later be by similar ideas. The decline of social status, an aristocratic precursor, initiated what the revolution would later finish. It wasn't long before Jelyotte was seen publicly sitting, in broad daylight, on the bed of the Marquise d'Epinay. It's true (since social behaviors influence each other) that in the sixteenth century, Smeton's nightcap was found under Anne Boleyn's pillow.
If the word woman signifies fault, as I forget what Council decided, never was woman so womanlike as then. Never, covering her frailty by her charms, and her weakness by her omnipotence, has she claimed absolution more imperiously. In making the forbidden the permitted fruit, Eve fell; in making the permitted the forbidden fruit, she triumphs. That is the climax. In the eighteenth century the wife bolts out her husband. She shuts herself up in Eden with Satan. Adam is left outside.
If the word woman means fault, as I can’t remember which Council decided that, no woman has ever been more womanly than she was then. Never has she concealed her vulnerability with her allure and her weakness with her power, demanding forgiveness more forcefully. By making the forbidden something that can be enjoyed, Eve fell; by making what’s allowed something that’s off-limits, she wins. That’s the peak of it. In the eighteenth century, the wife kicks her husband out. She locks herself in Eden with Satan. Adam is left out.
III.
All Josiana's instincts impelled her to yield herself gallantly rather than to give herself legally. To surrender on the score of gallantry implies learning, recalls Menalcas and Amaryllis, and is almost a literary act. Mademoiselle de Scudéry, putting aside the attraction of ugliness for ugliness' sake, had no other motive for yielding to Pélisson.
All of Josiana's instincts pushed her to give herself over out of gallantry rather than through legal means. Surrendering for the sake of gallantry suggests knowledge, as Menalcas and Amaryllis remind us, and is almost like a literary act. Mademoiselle de Scudéry, setting aside the appeal of ugliness for its own sake, had no other reason for submitting to Pélisson.
The maiden a sovereign, the wife a subject, such was the old English notion. Josiana was deferring the hour of this subjection as long as she could. She must eventually marry Lord David, since such was the royal pleasure. It was a necessity, doubtless; but what a pity! Josiana appreciated Lord David, and showed him off. There was between them a tacit agreement neither to conclude nor to break off the engagement. They eluded each other. This method of making love, one step in advance and two back, is expressed in the dances of the period, the minuet and the gavotte.
The maiden as a ruler, the wife as a follower, that was the old English idea. Josiana was putting off the time of this submission for as long as she could. She would eventually have to marry Lord David, since it was the royal decree. It was a necessity, for sure; but what a shame! Josiana admired Lord David and liked to show him off. There was an unspoken agreement between them to neither finalize nor cancel the engagement. They avoided each other. This way of being in love, one step forward and two steps back, is reflected in the dances of the time, the minuet and the gavotte.
It is unbecoming to be married—fades one's ribbons and makes one look old. An espousal is a dreary absorption of brilliancy. A woman handed over to you by a notary, how commonplace! The brutality of marriage creates definite situations; suppresses the will; kills choice; has a syntax, like grammar; replaces inspiration by orthography; makes a dictation of love; disperses all life's mysteries; diminishes the rights both of sovereign and subject; by a turn of the scale destroys the charming equilibrium of the sexes, the one robust in bodily strength, the other all-powerful in feminine weakness—strength on one side, beauty on the other; makes one a master and the other a servant, while without marriage one is a slave, the other a queen.
Being married isn’t great—it dulls your style and makes you look older. Marriage is a dull drain on your sparkle. A woman handed off to you by a lawyer? How ordinary! The harsh reality of marriage creates rigid scenarios; it stifles your will; kills your choices; follows rules, just like grammar; turns creativity into structure; dictates love; unravels all of life’s mysteries; reduces the rights of both the ruler and the ruled; by tipping the balance, it destroys the beautiful harmony between the sexes—one strong in physical power, the other strong in feminine allure—strength on one side, beauty on the other; it turns one into a master and the other into a servant, while without marriage one is a slave, and the other a queen.
To make Love prosaically decent, how gross! to deprive it of all impropriety, how dull!
To make love completely proper, how boring! To take away all its excitement, how uninteresting!
Lord David was ripening. Forty; 'tis a marked period. He did not perceive this, and in truth he looked no more than thirty. He considered it more amusing to desire Josiana than to possess her. He possessed others. He had mistresses. On the other hand, Josiana had dreams.
Lord David was maturing. Forty; it’s a significant age. He didn’t notice this, and honestly, he looked no older than thirty. He found it more entertaining to want Josiana than to actually have her. He had others. He had mistresses. On the flip side, Josiana had her dreams.
The Duchess Josiana had a peculiarity, less rare than it is supposed. One of her eyes was blue and the other black. Her pupils were made for love and hate, for happiness and misery. Night and day were mingled in her look.
The Duchess Josiana had a quirk, not as uncommon as people think. One of her eyes was blue and the other was black. Her pupils were meant for love and hate, for joy and sorrow. Night and day blended in her gaze.
Her ambition was this—to show herself capable of impossibilities. One day she said to Swift, "You people fancy that you know what scorn is." "You people" meant the human race.
Her ambition was clear—to prove that she could achieve the impossible. One day she said to Swift, "You humans think you know what scorn really is." "You humans" referred to the whole human race.
She was a skin-deep Papist. Her Catholicism did not exceed the amount necessary for fashion. She would have been a Puseyite in the present day. She wore great dresses of velvet, satin, or moire, some composed of fifteen or sixteen yards of material, with embroideries of gold and silver; and round her waist many knots of pearls, alternating with other precious stones. She was extravagant in gold lace. Sometimes she wore an embroidered cloth jacket like a bachelor. She rode on a man's saddle, notwithstanding the invention of side-saddles, introduced into England in the fourteenth century by Anne, wife of Richard II. She washed her face, arms, shoulders, and neck, in sugar-candy, diluted in white of egg, after the fashion of Castile. There came over her face, after any one had spoken wittily in her presence, a reflective smile of singular grace. She was free from malice, and rather good-natured than otherwise.
She was a superficial Catholic. Her faith didn’t go beyond what was needed for appearances. In today’s world, she would have been a high church Anglican. She wore lavish dresses made of velvet, satin, or moire, some made from fifteen or sixteen yards of fabric, adorned with gold and silver embroidery; and around her waist were many strands of pearls, mixed with other gemstones. She was extravagant with gold lace. Sometimes she donned an embroidered jacket similar to a man’s. She rode a man’s saddle, despite the invention of side-saddles, which were introduced in England in the fourteenth century by Anne, the wife of Richard II. She washed her face, arms, shoulders, and neck with sugar candy mixed in egg whites, following the style of Castile. After someone made a clever remark in her presence, a thoughtful smile of unique charm would come over her face. She had no malice and was generally good-natured.
CHAPTER IV.
THE LEADER OF FASHION.
Josiana was bored. The fact is so natural as to be scarcely worth mentioning.
Josiana was bored. It's such a common thing that it hardly needs to be said.
Lord David held the position of judge in the gay life of London. He was looked up to by the nobility and gentry. Let us register a glory of Lord David's. He was daring enough to wear his own hair. The reaction against the wig was beginning. Just as in 1824 Eugene Deveria was the first to allow his beard to grow, so in 1702 Prince Devereux was the first to risk wearing his own hair in public disguised by artful curling. For to risk one's hair was almost to risk one's head. The indignation was universal. Nevertheless Prince Devereux was Viscount Hereford, and a peer of England. He was insulted, and the deed was well worth the insult. In the hottest part of the row Lord David suddenly appeared without his wig and in his own hair. Such conduct shakes the foundations of society. Lord David was insulted even more than Viscount Hereford. He held his ground. Prince Devereux was the first, Lord David Dirry-Moir the second. It is sometimes more difficult to be second than first. It requires less genius, but more courage. The first, intoxicated by the novelty, may ignore the danger; the second sees the abyss, and rushes into it. Lord David flung himself into the abyss of no longer wearing a wig. Later on these lords found imitators. Following these two revolutionists, men found sufficient audacity to wear their own hair, and powder was introduced as an extenuating circumstance.
Lord David was a prominent figure in London's gay scene. He was respected by the nobility and gentry. Let's celebrate one of Lord David's achievements. He had the courage to wear his own hair. The backlash against wigs was starting. Just as in 1824 Eugene Deveria was the first to grow a beard, in 1702 Prince Devereux was the first to openly wear his own hair in public, cleverly styled with curls. To go without a wig felt as risky as risking one’s life; the uproar was widespread. Still, Prince Devereux was Viscount Hereford and a peer of England. He faced insults, but his actions were worth the consequences. In the midst of all this chaos, Lord David suddenly appeared without his wig, showing off his own hair. Such actions shook the very foundations of society. Lord David faced even more insults than Viscount Hereford. He stood his ground. Prince Devereux was the first, and Lord David Dirry-Moir was the second. Sometimes it’s harder to be second than first. It takes less genius but more bravery. The first person, caught up in the thrill of the new, might not see the risks; the second recognizes the danger and still jumps in. Lord David leaped into the daring choice of not wearing a wig anymore. Eventually, these lords inspired others. Following their lead, men became bold enough to wear their own hair, and powder was introduced as a way to soften the change.
In order to establish, before we pass on, an important period of history, we should remark that the first blow in the war of wigs was really struck by a Queen, Christina of Sweden, who wore man's clothes, and had appeared in 1680, in her hair of golden brown, powdered, and brushed up from her head. She had, besides, says Misson, a slight beard. The Pope, on his part, by a bull of March 1694, had somewhat let down the wig, by taking it from the heads of bishops and priests, and in ordering churchmen to let their hair grow.
To highlight an important era in history before we move on, we should note that the first strike in the wig war was actually made by a Queen, Christina of Sweden. She dressed in men's clothing and appeared in 1680 with her golden-brown hair, which was powdered and styled away from her head. Additionally, according to Misson, she had a thin beard. Meanwhile, the Pope, in a bull from March 1694, somewhat reduced the significance of the wig by removing it from bishops and priests, ordering clergy to let their hair grow.
Lord David, then, did not wear a wig, and did wear cowhide boots. Such great things made him a mark for public admiration. There was not a club of which he was not the leader, not a boxing match in which he was not desired as referee. The referee is the arbitrator.
Lord David didn’t wear a wig and he did wear leather boots. These bold choices made him a target for public admiration. There wasn’t a club he didn’t lead, and there wasn’t a boxing match where he wasn’t wanted as the referee. The referee is the one who makes the decisions.
He had drawn up the rules of several clubs in high life. He founded several resorts of fashionable society, of which one, the Lady Guinea, was still in existence in Pall Mall in 1772. The Lady Guinea was a club in which all the youth of the peerage congregated. They gamed there. The lowest stake allowed was a rouleau of fifty guineas, and there was never less than 20,000 guineas on the table. By the side of each player was a little stand on which to place his cup of tea, and a gilt bowl in which to put the rouleaux of guineas. The players, like servants when cleaning knives, wore leather sleeves to save their lace, breastplates of leather to protect their ruffles, shades on their brows to shelter their eyes from the great glare of the lamps, and, to keep their curls in order, broad-brimmed hats covered with flowers. They were masked to conceal their excitement, especially when playing the game of quinze. All, moreover, had their coats turned the wrong way, for luck. Lord David was a member of the Beefsteak Club, the Surly Club, and of the Splitfarthing Club, of the Cross Club, the Scratchpenny Club, of the Sealed Knot, a Royalist Club, and of the Martinus Scribblerus, founded by Swift, to take the place of the Rota, founded by Milton.
He had created the rules for several elite clubs. He established several fashionable social spots, one of which, the Lady Guinea, was still around in Pall Mall in 1772. The Lady Guinea was a club where all the young nobles gathered. They played games there. The minimum stake was a rouleau of fifty guineas, and there was always at least 20,000 guineas on the table. Next to each player was a small stand for their cup of tea and a gilt bowl for the rouleaux of guineas. The players, like servants cleaning knives, wore leather sleeves to protect their lace, leather breastplates to safeguard their ruffles, shades on their foreheads to shield their eyes from the bright light of the lamps, and broad-brimmed hats adorned with flowers to keep their curls in place. They were masked to hide their excitement, especially during the game of quinze. Additionally, everyone wore their coats inside out for good luck. Lord David was a member of the Beefsteak Club, the Surly Club, the Splitfarthing Club, the Cross Club, the Scratchpenny Club, the Sealed Knot (a Royalist Club), and the Martinus Scribblerus, founded by Swift to replace the Rota created by Milton.
Though handsome, he belonged to the Ugly Club. This club was dedicated to deformity. The members agreed to fight, not about a beautiful woman, but about an ugly man. The hall of the club was adorned by hideous portraits—Thersites, Triboulet, Duns, Hudibras, Scarron; over the chimney was Æsop, between two men, each blind of an eye, Cocles and Camoëns (Cocles being blind of the left, Camoëns of the right eye), so arranged that the two profiles without eyes were turned to each other. The day that the beautiful Mrs. Visart caught the small pox the Ugly Club toasted her. This club was still in existence in the beginning of the nineteenth century, and Mirabeau was elected an honorary member.
Though good-looking, he was part of the Ugly Club. This club was focused on deformity. The members agreed to argue, not over a beautiful woman, but about an ugly man. The club hall was decorated with ugly portraits—Thersites, Triboulet, Duns, Hudibras, Scarron; above the fireplace was Æsop, between two men, each with one blind eye, Cocles and Camoëns (Cocles was blind in the left eye, Camoëns in the right), positioned so that their eye-less profiles faced each other. The day the lovely Mrs. Visart contracted smallpox, the Ugly Club raised a toast in her honor. This club still existed at the beginning of the nineteenth century, and Mirabeau was made an honorary member.
Since the restoration of Charles II. revolutionary clubs had been abolished. The tavern in the little street by Moorfields, where the Calf's Head Club was held, had been pulled down; it was so called because on the 30th of January, the day on which the blood of Charles I. flowed on the scaffold, the members had drunk red wine out of the skull of a calf to the health of Cromwell. To the republican clubs had succeeded monarchical clubs. In them people amused themselves with decency.
Since the restoration of Charles II, revolutionary clubs had been shut down. The tavern in the small street by Moorfields, where the Calf's Head Club used to meet, had been torn down; it was named after the event on January 30th, the day Charles I was executed, when members drank red wine from a calf's skull in honor of Cromwell. Republican clubs had been replaced by monarchical clubs. In these, people entertained themselves respectfully.
There was the Hell-fire Club, where they played at being impious. It was a joust of sacrilege. Hell was at auction there to the highest bidder in blasphemy.
There was the Hell-fire Club, where they pretended to be irreverent. It was a contest of disrespect. Hell was up for grabs there to whoever could be the most blasphemous.
There was the Butting Club, so called from its members butting folks with their heads. They found some street porter with a wide chest and a stupid countenance. They offered him, and compelled him, if necessary, to accept a pot of porter, in return for which he was to allow them to butt him with their heads four times in the chest, and on this they betted. One day a man, a great brute of a Welshman named Gogangerdd, expired at the third butt. This looked serious. An inquest was held, and the jury returned the following verdict: "Died of an inflation of the heart, caused by excessive drinking." Gogangerdd had certainly drunk the contents of the pot of porter.
There was the Butting Club, named after its members who used to butt people with their heads. They found a street porter with a broad chest and a dim expression. They offered him, and if necessary, forced him, to accept a pint of porter in exchange for letting them butt him in the chest four times, and they bet on it. One day, a big brute of a Welshman named Gogangerdd dropped dead after the third butt. This was serious. An inquest was held, and the jury delivered the following verdict: "Died of heart inflation due to excessive drinking." Gogangerdd had definitely consumed the entire pint of porter.
There was the Fun Club. Fun is like cant, like humour, a word which is untranslatable. Fun is to farce what pepper is to salt. To get into a house and break a valuable mirror, slash the family portraits, poison the dog, put the cat in the aviary, is called "cutting a bit of fun." To give bad news which is untrue, whereby people put on mourning by mistake, is fun. It was fun to cut a square hole in the Holbein at Hampton Court. Fun would have been proud to have broken the arm of the Venus of Milo. Under James II. a young millionaire lord who had during the night set fire to a thatched cottage—a feat which made all London burst with laughter—was proclaimed the King of Fun. The poor devils in the cottage were saved in their night clothes. The members of the Fun Club, all of the highest aristocracy, used to run about London during the hours when the citizens were asleep, pulling the hinges from the shutters, cutting off the pipes of pumps, filling up cisterns, digging up cultivated plots of ground, putting out lamps, sawing through the beams which supported houses, breaking the window panes, especially in the poor quarters of the town. It was the rich who acted thus towards the poor. For this reason no complaint was possible. That was the best of the joke. Those manners have not altogether disappeared. In many places in England and in English possessions—at Guernsey, for instance—your house is now and then somewhat damaged during the night, or a fence is broken, or the knocker twisted off your door. If it were poor people who did these things, they would be sent to jail; but they are done by pleasant young gentlemen.
There was the Fun Club. Fun is like cant, like humor, a word that can’t be translated easily. Fun is to farce what pepper is to salt. Getting into a house to break a valuable mirror, slash family portraits, poison the dog, or put the cat in the aviary is called "cutting a bit of fun." Sharing false bad news, causing people to mistakenly mourn, is fun. It was fun to cut a square hole in the Holbein at Hampton Court. Fun would have relished breaking the arm of the Venus of Milo. Under James II, a young millionaire lord who set fire to a thatched cottage overnight—a stunt that made all of London burst with laughter—was dubbed the King of Fun. The unfortunate souls in the cottage were saved in their nightclothes. The members of the Fun Club, all from the highest aristocracy, would run around London while the citizens were asleep, pulling off hinges from shutters, cutting the pipes of pumps, filling up cisterns, digging up cultivated land, extinguishing lamps, sawing through beams supporting houses, and breaking window panes, especially in the poorer areas of town. It was the rich who did these things to the poor. Because of this, no complaints were possible. That was the best part of the joke. Those behaviors have not completely vanished. In many places in England and its territories—like Guernsey, for example—your house might get damaged overnight, or a fence might get broken, or your door knocker might get twisted off. If it were poor people doing these things, they would end up in jail; but it’s just done by charming young gentlemen.
The most fashionable of the clubs was presided over by an emperor, who wore a crescent on his forehead, and was called the Grand Mohawk. The Mohawk surpassed the Fun. Do evil for evil's sake was the programme. The Mohawk Club had one great object—to injure. To fulfil this duty all means were held good. In becoming a Mohawk the members took an oath to be hurtful. To injure at any price, no matter when, no matter whom, no matter where, was a matter of duty. Every member of the Mohawk Club was bound to possess an accomplishment. One was "a dancing master;" that is to say he made the rustics frisk about by pricking the calves of their legs with the point of his sword. Others knew how to make a man sweat; that is to say, a circle of gentlemen with drawn rapiers would surround a poor wretch, so that it was impossible for him not to turn his back upon some one. The gentleman behind him chastised him for this by a prick of his sword, which made him spring round; another prick in the back warned the fellow that one of noble blood was behind him, and so on, each one wounding him in his turn. When the man, closed round by the circle of swords and covered with blood, had turned and danced about enough, they ordered their servants to beat him with sticks, to change the course of his ideas. Others "hit the lion"—that is, they gaily stopped a passenger, broke his nose with a blow of the fist, and then shoved both thumbs into his eyes. If his eyes were gouged out, he was paid for them.
The trendiest club was run by an emperor who had a crescent on his forehead and was known as the Grand Mohawk. The Mohawk exceeded the Fun. Doing evil just for the sake of it was the goal. The Mohawk Club had one main purpose—to cause harm. To fulfill this mission, any means were considered acceptable. When becoming a Mohawk, members took an oath to be harmful. Causing injury at any cost, regardless of when, whom, or where, was seen as a duty. Every member of the Mohawk Club was expected to have a special skill. One member was a "dancing master," meaning he made people dance around by pricking their calves with the tip of his sword. Others knew how to make a person sweat; that is, a group of gentlemen with drawn swords would surround someone, making it impossible for him to avoid turning his back on one of them. The gentleman behind him would punish him for this with a prick of his sword, making him jump around; another prick in the back reminded him that a noble was behind him, and so on, with each one wounding him in turn. Once the man, surrounded by swords and covered in blood, had turned and danced enough, they would have their servants beat him with sticks to change his mindset. Others "hit the lion"—that is, they would happily stop a passerby, break his nose with a punch, and then jab both thumbs into his eyes. If his eyes were gouged out, he would be compensated for them.
Such were, towards the beginning of the eighteenth century, the pastimes of the rich idlers of London. The idlers of Paris had theirs. M. de Charolais was firing his gun at a citizen standing on his own threshold. In all times youth has had its amusements.
Such were, towards the beginning of the eighteenth century, the pastimes of the wealthy loungers of London. The loungers of Paris had their own. M. de Charolais was shooting at a citizen standing on his own doorstep. In every era, young people have had their fun.
Lord David Dirry-Moir brought into all these institutions his magnificent and liberal spirit. Just like any one else, he would gaily set fire to a cot of woodwork and thatch, and just scorch those within; but he would rebuild their houses in stone. He insulted two ladies. One was unmarried—he gave her a portion; the other was married—he had her husband appointed chaplain.
Lord David Dirry-Moir brought his amazing and generous spirit to all these institutions. Like anyone else, he would cheerfully set fire to a wooden and thatched cot, just to singe those inside; but he would rebuild their homes in stone. He insulted two women. One was single—he gave her some money; the other was married—he had her husband made chaplain.
Cockfighting owed him some praiseworthy improvements. It was marvellous to see Lord David dress a cock for the pit. Cocks lay hold of each other by the feathers, as men by the hair. Lord David, therefore, made his cock as bald as possible. With a pair of scissors he cut off all the feathers from the tail and from the head to the shoulders, and all those on the neck. So much less for the enemy's beak, he used to say. Then he extended the cock's wings, and cut each feather, one after another, to a point, and thus the wings were furnished with darts. So much for the enemy's eyes, he would say. Then he scraped its claws with a penknife, sharpened its nails, fitted it with spurs of sharp steel, spat on its head, spat on its neck, anointed it with spittle, as they used to rub oil over athletes; then set it down in the pit, a redoubtable champion, exclaiming, "That's how to make a cock an eagle, and a bird of the poultry yard a bird of the mountain."
Cockfighting benefited from some impressive improvements thanks to him. It was amazing to see Lord David prepare a rooster for the fight. Roosters grab each other by the feathers, just like people grab each other by the hair. So, Lord David made his rooster as bald as possible. He used scissors to trim off all the feathers from the tail and from the head to the shoulders, as well as those on the neck. "That’s less for the opponent's beak," he would say. Then he spread the rooster's wings and cut each feather to a point, transforming them into darts. "That’s for the opponent's eyes," he would remark. After that, he scraped its claws with a knife, sharpened its nails, added sharp steel spurs, spat on its head, spat on its neck, and anointed it with saliva, just like they used to apply oil to athletes; then he set it down in the pit, a formidable champion, exclaiming, "That’s how to turn a rooster into an eagle, and a yard bird into a mountain bird."
Lord David attended prize-fights, and was their living law. On occasions of great performances it was he who had the stakes driven in and ropes stretched, and who fixed the number of feet for the ring. When he was a second, he followed his man step by step, a bottle in one hand, a sponge in the other, crying out to him to hit hard, suggesting stratagems, advising him as he fought, wiping away the blood, raising him when overthrown, placing him on his knee, putting the mouth of the bottle between his teeth, and from his own mouth, filled with water, blowing a fine rain into his eyes and ears—a thing which reanimates even a dying man. If he was referee, he saw that there was no foul play, prevented any one, whosoever he might be, from assisting the combatants, excepting the seconds, declare the man beaten who did not fairly face his opponent, watched that the time between the rounds did not exceed half a minute, prevented butting, and declared whoever resorted to it beaten, and forbade a man's being hit when down. All this science, however, did not render him a pedant, nor destroy his ease of manner in society.
Lord David attended prize fights and was their ultimate authority. During major events, he was the one to drive in the stakes, stretch the ropes, and set the dimensions of the ring. When he was in the corner, he followed his fighter closely, one hand holding a bottle and the other a sponge, shouting at him to hit hard, suggesting tactics, giving advice as the fight went on, wiping away blood, helping him up when he was knocked down, setting him on one knee, placing the bottle between his teeth, and from his own mouth, filled with water, blowing a fine mist into his eyes and ears—a technique that can revive even someone on the brink of death. If he was the referee, he ensured there was no foul play, prevented anyone, regardless of who they were, from helping the fighters except for their seconds, declared anyone beaten who did not confront their opponent fairly, ensured the breaks between rounds didn’t exceed thirty seconds, prohibited headbutting, declaring anyone who did so as defeated, and forbade hitting a man when he was down. Despite all this knowledge, he never came off as a know-it-all nor lost his relaxed demeanor in social situations.
When he was referee, rough, pimple-faced, unshorn friends of either combatant never dared to come to the aid of their failing man, nor, in order to upset the chances of the betting, jumped over the barrier, entered the ring, broke the ropes, pulled down the stakes, and violently interposed in the battle. Lord David was one of the few referees whom they dared not thrash.
When he was the referee, rough, acne-covered, unshaven friends of either fighter never dared to help their struggling buddy, nor did they jump over the barrier to interfere in the fight, break the ropes, pull down the stakes, or disrupt the match to change the betting odds. Lord David was one of the few referees they were afraid to beat up.
No one could train like him. The pugilist whose trainer he consented to become was sure to win. Lord David would choose a Hercules—massive as a rock, tall as a tower—and make him his child. The problem was to turn that human rock from a defensive to an offensive state. In this he excelled. Having once adopted the Cyclops, he never left him. He became his nurse; he measured out his wine, weighed his meat, and counted his hours of sleep. It was he who invented the athlete's admirable rules, afterwards reproduced by Morley. In the mornings, a raw egg and a glass of sherry; at twelve, some slices of a leg of mutton, almost raw, with tea; at four, toast and tea; in the evening, pale ale and toast; after which he undressed his man, rubbed him, and put him to bed. In the street he never allowed him to leave his sight, keeping him out of every danger—runaway horses, the wheels of carriages, drunken soldiers, pretty girls. He watched over his virtue. This maternal solicitude continually brought some new perfection into the pupil's education. He taught him the blow with the fist which breaks the teeth, and the twist of the thumb which gouges out the eye. What could be more touching?
No one could train like him. The boxer whose trainer he agreed to become was guaranteed to win. Lord David would pick a Hercules—massive as a rock, tall as a tower—and make him his project. The challenge was to transform that human rock from a defensive position to an offensive one. In this, he excelled. Once he took on the Cyclops, he never left his side. He became his caretaker; he poured his wine, measured his meat, and tracked his sleep. It was he who created the athlete's impressive regimen, later replicated by Morley. In the mornings, a raw egg and a glass of sherry; at noon, some slices of almost-raw leg of mutton with tea; at four, toast and tea; in the evening, pale ale and toast; after which he undressed his man, rubbed him down, and put him to bed. On the street, he never let him out of sight, keeping him safe from every danger—runaway horses, the wheels of carriages, drunken soldiers, and pretty girls. He kept an eye on his virtue. This nurturing attention constantly added new skills to the pupil's training. He taught him the punch that breaks teeth and the thumb twist that gouges out eyes. What could be more touching?
Thus he was preparing himself for public life to which he was to be called later on. It is no easy matter to become an accomplished gentleman.
Thus he was getting ready for public life, which he would be entering later on. It’s not easy to become a well-rounded gentleman.
Lord David Dirry-Moir was passionately fond of open-air exhibitions, of shows, of circuses with wild beasts, of the caravans of mountebanks, of clowns, tumblers, merrymen, open-air farces, and the wonders of a fair. The true noble is he who smacks of the people. Therefore it was that Lord David frequented the taverns and low haunts of London and the Cinque Ports. In order to be able at need, and without compromising his rank in the white squadron, to be cheek-by-jowl with a topman or a calker, he used to wear a sailor's jacket when he went into the slums. For such disguise his not wearing a wig was convenient; for even under Louis XIV. the people kept to their hair like the lion to his mane. This gave him great freedom of action. The low people whom Lord David used to meet in the stews, and with whom he mixed, held him in high esteem, without ever dreaming that he was a lord. They called him Tom-Jim-Jack. Under this name he was famous and very popular amongst the dregs of the people. He played the blackguard in a masterly style: when necessary, he used his fists. This phase of his fashionable life was highly appreciated by Lady Josiana.
Lord David Dirry-Moir loved outdoor events, shows, circuses with wild animals, traveling performers, clowns, acrobats, entertainers, street performances, and the attractions of a fair. A true noble is someone who feels in touch with the common people. That's why Lord David often visited the pubs and lowly spots in London and the Cinque Ports. To blend in without compromising his status in high society, he would wear a sailor's jacket when he went into the slums. Not wearing a wig made this disguise easier; even during Louis XIV's time, people stuck to their natural hair like lions with their manes. This gave him a lot of freedom. The lower-class folks Lord David met in the dives, and with whom he interacted, held him in high regard without ever realizing he was a lord. They called him Tom-Jim-Jack. Under this name, he was well-known and very popular among the common people. He played the rogue convincingly, and when necessary, he fought back. This side of his social life was highly appreciated by Lady Josiana.
CHAPTER V.
QUEEN ANNE.
I.
Above this couple there was Anne, Queen of England. An ordinary woman was Queen Anne. She was gay, kindly, august—to a certain extent. No quality of hers attained to virtue, none to vice. Her stoutness was bloated, her fun heavy, her good-nature stupid. She was stubborn and weak. As a wife she was faithless and faithful, having favourites to whom she gave up her heart, and a husband for whom she kept her bed. As a Christian she was a heretic and a bigot. She had one beauty—the well-developed neck of a Niobe. The rest of her person was indifferently formed. She was a clumsy coquette and a chaste one. Her skin was white and fine; she displayed a great deal of it. It was she who introduced the fashion of necklaces of large pearls clasped round the throat. She had a narrow forehead, sensual lips, fleshy cheeks, large eyes, short sight. Her short sight extended to her mind. Beyond a burst of merriment now and then, almost as ponderous as her anger, she lived in a sort of taciturn grumble and a grumbling silence. Words escaped from her which had to be guessed at. She was a mixture of a good woman and a mischievous devil. She liked surprises, which is extremely woman-like. Anne was a pattern—just sketched roughly—of the universal Eve. To that sketch had fallen that chance, the throne. She drank. Her husband was a Dane, thoroughbred. A Tory, she governed by the Whigs—like a woman, like a mad woman. She had fits of rage. She was violent, a brawler. Nobody more awkward than Anne in directing affairs of state. She allowed events to fall about as they might chance. Her whole policy was cracked. She excelled in bringing about great catastrophes from little causes. When a whim of authority took hold of her, she called it giving a stir with the poker. She would say with an air of profound thought, "No peer may keep his hat on before the king except De Courcy, Baron Kingsale, an Irish peer;" or, "It would be an injustice were my husband not to be Lord High Admiral, since my father was." And she made George of Denmark High Admiral of England and of all her Majesty's plantations. She was perpetually perspiring bad humour; she did not explain her thought, she exuded it. There was something of the Sphinx in this goose.
Above this couple stood Anne, Queen of England. An ordinary woman, Queen Anne was cheerful, kind, and dignified—up to a point. None of her qualities reached true virtue or true vice. Her stoutness was more like bloating, her humor was heavy, and her goodness was somewhat dull. She was both stubborn and weak. As a wife, she was both unfaithful and faithful, having favorites to whom she gave her heart while keeping her husband in her bed. As a Christian, she was both a heretic and a bigot. She had one beauty—the well-formed neck of a Niobe. The rest of her body was indifferently shaped. She was a clumsy flirt and also chaste. Her skin was pale and fine; she revealed a lot of it. She was the one who popularized the trend of wearing large pearl necklaces around the throat. She had a narrow forehead, sensual lips, plump cheeks, large eyes, and was short-sighted. Her short-sightedness extended to her mind. Beyond occasional bursts of laughter, which were almost as heavy as her anger, she lived in a kind of grumbling silence. Words came from her that had to be interpreted. She was a blend of a good woman and a mischievous devil. She loved surprises, which is very typical of women. Anne was a rough sketch of the universal Eve. That sketch had received the chance to sit on the throne. She drank. Her husband was a Dane, a purebred. A Tory, she ruled through the Whigs—like a woman, like a madwoman. She had fits of rage. She was aggressive, a fighter. No one was more clumsy than Anne in handling state affairs. She let things happen as they may. Her entire approach to governance was flawed. She excelled at turning small issues into major disasters. When a whim of authority struck her, she called it "stirring things up with a poker." She would say with an air of deep contemplation, "No peer may keep his hat on before the king except De Courcy, Baron Kingsale, an Irish peer;" or, "It would be unfair for my husband not to be Lord High Admiral since my father was." And she made George of Denmark the High Admiral of England and all her Majesty's colonies. She was constantly oozing bad mood; she didn’t explain her thoughts, she simply radiated them. There was something of the Sphinx in this foolish woman.
She rather liked fun, teasing, and practical jokes. Could she have made Apollo a hunchback, it would have delighted her. But she would have left him a god. Good-natured, her ideal was to allow none to despair, and to worry all. She had often a rough word in her mouth; a little more, and she would have sworn like Elizabeth. From time to time she would take from a man's pocket, which she wore in her skirt, a little round box, of chased silver, on which was her portrait, in profile, between the two letters Q.A.; she would open this box, and take from it, on her finger, a little pomade, with which she reddened her lips, and, having coloured her mouth, would laugh. She was greedily fond of the flat Zealand gingerbread cakes. She was proud of being fat.
She really enjoyed fun, teasing, and practical jokes. If she could have given Apollo a hunchback, it would have made her happy. But she would have kept him a god. Good-hearted, her ideal was to make sure no one despaired while keeping everyone on their toes. She often had a harsh word ready; a bit more, and she would have cursed like Elizabeth. From time to time, she would pull out a small round silver box from a man’s pocket, which she kept in her skirt, featuring her profile portrait next to the letters Q.A.; she would open the box and apply a bit of pomade to her finger, using it to brighten her lips, and after coloring her mouth, she would laugh. She was fiercely fond of the flat gingerbread cakes from Zeeland. She took pride in being plump.
More of a Puritan than anything else, she would, nevertheless, have liked to devote herself to stage plays. She had an absurd academy of music, copied after that of France. In 1700 a Frenchman, named Foretroche, wanted to build a royal circus at Paris, at a cost of 400,000 francs, which scheme was opposed by D'Argenson. This Forteroche passed into England, and proposed to Queen Anne, who was immediately charmed by the idea, to build in London a theatre with machinery, with a fourth under-stage finer than that of the King of France. Like Louis XIV., she liked to be driven at a gallop. Her teams and relays would sometimes do the distance between London and Windsor in less than an hour and a quarter.
More of a Puritan than anything else, she still would have liked to dedicate herself to stage plays. She had a quirky music academy that was modeled after the one in France. In 1700, a Frenchman named Forteroche wanted to build a royal circus in Paris, costing 400,000 francs, but D'Argenson opposed the plan. This Forteroche then went to England and suggested to Queen Anne, who was immediately taken with the idea, to build a theater in London with machinery, featuring a fourth under-stage that was better than that of the King of France. Like Louis XIV, she loved to be driven at full speed. Her teams and relays would sometimes cover the distance between London and Windsor in under an hour and fifteen minutes.
II.
In Anne's time no meeting was allowed without the permission of two justices of the peace. The assembly of twelve persons, were it only to eat oysters and drink porter, was a felony. Under her reign, otherwise relatively mild, pressing for the fleet was carried on with extreme violence—a gloomy evidence that the Englishman is a subject rather than a citizen. For centuries England suffered under that process of tyranny which gave the lie to all the old charters of freedom, and out of which France especially gathered a cause of triumph and indignation. What in some degree diminishes the triumph is, that while sailors were pressed in England, soldiers were pressed in France. In every great town of France, any able-bodied man, going through the streets on his business, was liable to be shoved by the crimps into a house called the oven. There he was shut up with others in the same plight; those fit for service were picked out, and the recruiters sold them to the officers. In 1695 there were thirty of these ovens in Paris.
In Anne's time, no meeting was allowed without the permission of two justices of the peace. Gathering twelve people, even just to eat oysters and drink beer, was considered a crime. During her reign, which was otherwise relatively mild, the press-ganging for the navy was carried out with extreme brutality—a grim reminder that the Englishman is more of a subject than a citizen. For centuries, England endured this tyranny, which contradicted all the old declarations of freedom, providing France with a reason for both triumph and indignation. What slightly dampens that triumph is that while sailors were pressed in England, soldiers faced the same fate in France. In every major city in France, any able-bodied man going about his business could be grabbed by recruiters and taken to a place called the oven. There, he would be locked up with others in the same situation; those deemed fit for service were selected, and the recruiters sold them to the officers. In 1695, there were thirty of these ovens in Paris.
The laws against Ireland, emanating from Queen Anne, were atrocious. Anne was born in 1664, two years before the great fire of London, on which the astrologers (there were some left, and Louis XIV. was born with the assistance of an astrologer, and swaddled in a horoscope) predicted that, being the elder sister of fire, she would be queen. And so she was, thanks to astrology and the revolution of 1688. She had the humiliation of having only Gilbert, Archbishop of Canterbury, for godfather. To be godchild of the Pope was no longer possible in England. A mere primate is but a poor sort of godfather. Anne had to put up with one, however. It was her own fault. Why was she a Protestant?
The laws against Ireland, coming from Queen Anne, were terrible. Anne was born in 1664, two years before the Great Fire of London, during which astrologers (some still existed, and Louis XIV. was born with the help of an astrologer, wrapped in a horoscope) predicted that, as the elder sister of fire, she would be queen. And she was, thanks to astrology and the revolution of 1688. She faced the embarrassment of having only Gilbert, Archbishop of Canterbury, as her godfather. Being the godchild of the Pope was no longer an option in England. A mere archbishop makes for a pretty mediocre godfather. Anne had to deal with that, though. It was her own fault. Why did she choose to be Protestant?
Denmark had paid for her virginity (virginitas empta, as the old charters expressed it) by a dowry of £6,250 a year, secured on the bailiwick of Wardinburg and the island of Fehmarn. Anne followed, without conviction, and by routine, the traditions of William. The English under that royalty born of a revolution possessed as much liberty as they could lay hands on between the Tower of London, into which they put orators, and the pillory, into which they put writers. Anne spoke a little Danish in her private chats with her husband, and a little French in her private chats with Bolingbroke. Wretched gibberish; but the height of English fashion, especially at court, was to talk French. There was never a bon mot but in French. Anne paid a deal of attention to her coins, especially to copper coins, which are the low and popular ones; she wanted to cut a great figure on them. Six farthings were struck during her reign. On the back of the first three she had merely a throne struck, on the back of the fourth she ordered a triumphal chariot, and on the back of the sixth a goddess holding a sword in one hand and an olive branch in the other, with the scroll, Bello et pace. Her father, James II., was candid and cruel; she was brutal.
Denmark had bought her virginity (virginitas empta, as the old documents put it) with a dowry of £6,250 a year, secured on the bailiwick of Wardinburg and the island of Fehmarn. Anne followed, without much belief, and just out of habit, the traditions of William. The English under that royalty born of a revolution had as much freedom as they could grab hold of between the Tower of London, where they locked up speakers, and the pillory, where they punished writers. Anne spoke a little Danish in her private conversations with her husband, and a little French in her private chats with Bolingbroke. It was pretty awful; but the pinnacle of English fashion, especially at court, was to speak French. No witty remark was ever made in anything but French. Anne paid a lot of attention to her coins, particularly the copper ones, which were the common and popular currency; she wanted to make a strong impression with them. Six farthings were minted during her reign. On the back of the first three, she had just a throne stamped; on the back of the fourth, she chose a triumphal chariot, and on the back of the sixth, a goddess holding a sword in one hand and an olive branch in the other, with the inscription, Bello et pace. Her father, James II., was straightforward and harsh; she was ruthless.
At the same time she was mild at bottom. A contradiction which only appears such. A fit of anger metamorphosed her. Heat sugar and it will boil.
At the same time, she was gentle at her core. It's a contradiction that only seems that way. A burst of anger transformed her. Heat sugar, and it will boil.
Anne was popular. England liked feminine rulers. Why? France excludes them. There is a reason at once. Perhaps there is no other. With English historians Elizabeth embodies grandeur, Anne good-nature. As they will. Be it so. But there is nothing delicate in the reigns of these women. The lines are heavy. It is gross grandeur and gross good-nature. As to their immaculate virtue, England is tenacious of it, and we are not going to oppose the idea. Elizabeth was a virgin tempered by Essex; Anne, a wife complicated by Bolingbroke.
Anne was popular. England appreciated feminine rulers. Why? France excludes them. There’s a reason for that. Maybe there’s no other. For English historians, Elizabeth represents greatness, while Anne symbolizes kindness. So be it. But there’s nothing soft about the reigns of these women. The stakes are high. It’s raw greatness and raw kindness. Regarding their supposed purity, England clings to it, and we’re not going to challenge that notion. Elizabeth was a virgin influenced by Essex; Anne was a wife complicated by Bolingbroke.
III.
One idiotic habit of the people is to attribute to the king what they do themselves. They fight. Whose the glory? The king's. They pay. Whose the generosity? The king's. Then the people love him for being so rich. The king receives a crown from the poor, and returns them a farthing. How generous he is! The colossus which is the pedestal contemplates the pigmy which is the statue. How great is this myrmidon! he is on my back. A dwarf has an excellent way of being taller than a giant: it is to perch himself on his shoulders. But that the giant should allow it, there is the wonder; and that he should admire the height of the dwarf, there is the folly. Simplicity of mankind! The equestrian statue, reserved for kings alone, is an excellent figure of royalty: the horse is the people. Only that the horse becomes transfigured by degrees. It begins in an ass; it ends in a lion. Then it throws its rider, and you have 1642 in England and 1789 in France; and sometimes it devours him, and you have in England 1649, and in France 1793. That the lion should relapse into the donkey is astonishing; but it is so. This was occurring in England. It had resumed the pack-saddle, idolatry of the crown. Queen Anne, as we have just observed, was popular. What was she doing to be so? Nothing. Nothing!—that is all that is asked of the sovereign of England. He receives for that nothing £1,250,000 a year. In 1705, England which had had but thirteen men of war under Elizabeth, and thirty-six under James I., counted a hundred and fifty in her fleet. The English had three armies, 5,000 men in Catalonia; 10,000 in Portugal; 50,000 in Flanders; and besides, was paying £1,666,666 a year to monarchical and diplomatic Europe, a sort of prostitute the English people has always had in keeping. Parliament having voted a patriotic loan of thirty-four million francs of annuities, there had been a crush at the Exchequer to subscribe it. England was sending a squadron to the East Indies, and a squadron to the West of Spain under Admiral Leake, without mentioning the reserve of four hundred sail, under Admiral Sir Cloudesley Shovel. England had lately annexed Scotland. It was the interval between Hochstadt and Ramillies, and the first of these victories was foretelling the second. England, in its cast of the net at Hochstadt, had made prisoners of twenty-seven battalions and four regiments of dragoons, and deprived France of one hundred leagues of country—France drawing back dismayed from the Danube to the Rhine. England was stretching her hand out towards Sardinia and the Balearic Islands. She was bringing into her ports in triumph ten Spanish line-of-battle ships, and many a galleon laden with gold. Hudson Bay and Straits were already half given over by Louis XIV. It was felt that he was about to give up his hold over Acadia, St. Christopher, and Newfoundland, and that he would be but too happy if England would only tolerate the King of France fishing for cod at Cape Breton. England was about to impose upon him the shame of demolishing himself the fortifications of Dunkirk. Meanwhile, she had taken Gibraltar, and was taking Barcelona. What great things accomplished! How was it possible to refuse Anne admiration for taking the trouble of living at the period?
One silly habit of people is to blame the king for what they do themselves. They fight. Whose glory is it? The king's. They pay. Whose generosity is it? The king's. Then the people love him for being so rich. The king gets a crown from the poor and gives them a farthing in return. How generous he is! The giant pedestal looks down on the tiny statue. How great this servant is! He's on my back. A short person has a clever way of being taller than a giant: by sitting on his shoulders. But the fact that the giant allows it is what's surprising; and that he admires the height of the short person is the real foolishness. The simplicity of humanity! The equestrian statue, meant for kings alone, is a great symbol of royalty: the horse represents the people. But this horse gradually transforms. It starts as a donkey and ends as a lion. Then it throws off its rider, leading to 1642 in England and 1789 in France; and sometimes it devours him, resulting in 1649 in England and 1793 in France. It's astonishing that the lion would turn back into a donkey, yet it happens. This was occurring in England. It had resumed the burdens of idolizing the crown. Queen Anne, as we noted, was popular. What was she doing to earn that? Nothing. Nothing! — that's all that's asked of the sovereign of England. For that nothing, she receives £1,250,000 a year. In 1705, England, which had only thirteen warships under Elizabeth and thirty-six under James I, counted a hundred and fifty in its fleet. The English had three armies: 5,000 men in Catalonia; 10,000 in Portugal; 50,000 in Flanders; and besides, were paying £1,666,666 a year to monarchies and diplomats across Europe, a kind of mistress the English people has always supported. Parliament had voted on a patriotic loan of thirty-four million francs in annuities, leading to a rush at the Exchequer to buy into it. England was sending a fleet to the East Indies and another to the West of Spain under Admiral Leake, not to mention the reserve of four hundred ships under Admiral Sir Cloudesley Shovel. England had recently annexed Scotland. It was the time between Hochstadt and Ramillies, with the first of these victories predicting the second. At Hochstadt, England captured twenty-seven battalions and four regiments of dragoons, and deprived France of a hundred leagues of land — France retreating in dismay from the Danube to the Rhine. England was reaching out toward Sardinia and the Balearic Islands. She was triumphantly bringing into her ports ten Spanish line-of-battle ships, along with many galleons full of gold. Hudson Bay and the Straits were already partially surrendered by Louis XIV. It was clear that he was about to give up his grip on Acadia, St. Christopher, and Newfoundland, and that he would be quite pleased if England would just let the King of France fish for cod at Cape Breton. England was about to shame him by forcing him to destroy the fortifications of Dunkirk himself. Meanwhile, she had taken Gibraltar and was taking Barcelona. What great things accomplished! How could anyone refuse to admire Anne for simply existing during that time?
From a certain point of view, the reign of Anne appears a reflection of the reign of Louis XIV. Anne, for a moment even with that king in the race which is called history, bears to him the vague resemblance of a reflection. Like him, she plays at a great reign; she has her monuments, her arts, her victories, her captains, her men of letters, her privy purse to pension celebrities, her gallery of chefs-d'oeuvre, side by side with those of his Majesty. Her court, too, was a cortège, with the features of a triumph, an order and a march. It was a miniature copy of all the great men of Versailles, not giants themselves. In it there is enough to deceive the eye; add God save the Queen, which might have been taken from Lulli, and the ensemble becomes an illusion. Not a personage is missing. Christopher Wren is a very passable Mansard; Somers is as good as Lamoignon; Anne has a Racine in Dryden, a Boileau in Pope, a Colbert in Godolphin, a Louvois in Pembroke, and a Turenne in Marlborough. Heighten the wigs and lower the foreheads. The whole is solemn and pompous, and the Windsor of the time has a faded resemblance to Marly. Still the whole was effeminate, and Anne's Père Tellier was called Sarah Jennings. However, there is an outline of incipient irony, which fifty years later was to turn to philosophy, in the literature of the age, and the Protestant Tartuffe is unmasked by Swift just in the same way as the Catholic Tartuffe is denounced by Molière. Although the England of the period quarrels and fights France, she imitates her and draws enlightenment from her; and the light on the façade of England is French light. It is a pity that Anne's reign lasted but twelve years, or the English would not hesitate to call it the century of Anne, as we say the century of Louis XIV. Anne appeared in 1702, as Louis XIV. declined. It is one of the curiosities of history, that the rise of that pale planet coincides with the setting of the planet of purple, and that at the moment in which France had the king Sun, England should have had the queen Moon.
From a certain perspective, Anne's reign looks like a reflection of Louis XIV's reign. For a brief period, she competes with him in the historical spotlight, resembling a hazy mirror image. Like him, she pretends to have a grand reign; she has her monuments, arts, victories, generals, writers, and her own treasury to support celebrities, along with her collection of masterpieces, all alongside those of his Majesty. Her court was also a procession, resembling triumph, order, and march. It was a smaller version of all the prominent figures at Versailles, not exactly giants themselves. It’s enough to mislead the eye; add "God Save the Queen," which could easily come from Lulli, and the whole scene becomes an illusion. No character is missing. Christopher Wren fits right in as a passable Mansard; Somers is like Lamoignon; Anne has Dryden as her Racine, Pope as her Boileau, Godolphin as her Colbert, Pembroke as her Louvois, and Marlborough as her Turenne. Just elevate the wigs and lower the foreheads. The whole atmosphere is serious and grand, and the Windsor of that time has a faded resemblance to Marly. Yet, it all feels a bit effeminate, and Anne’s Père Tellier was actually Sarah Jennings. However, there’s a hint of emerging irony, which fifty years later would evolve into philosophy, seen in the literature of the time, where Swift exposes the Protestant Tartuffe just as Molière condemned the Catholic Tartuffe. Even though England at that time quarrels and fights with France, it imitates her and gains enlightenment from her; the light illuminating England is French light. It’s a shame Anne’s reign lasted only twelve years, or the English wouldn’t hesitate to call it the century of Anne, just as we say the century of Louis XIV. Anne began her reign in 1702, as Louis XIV was on the decline. It’s one of history's oddities that the rise of that pale planet coincided with the setting of the purple planet, and that while France had the Sun King, England had the Moon Queen.
A detail to be noted. Louis XIV., although they made war with him, was greatly admired in England. "He is the kind of king they want in France," said the English. The love of the English for their own liberty is mingled with a certain acceptance of servitude for others. That favourable regard of the chains which bind their neighbours sometimes attains to enthusiasm for the despot next door.
A detail to note. Louis XIV, despite being at war with him, was highly admired in England. "He is the type of king they want in France," the English would say. The English have a strong love for their own freedom, but it’s mixed with a certain acceptance of others’ servitude. Their favorable view of the chains that bind their neighbors can sometimes turn into enthusiasm for the tyrant next door.
To sum up, Anne rendered her people hureux, as the French translator of Beeverell's book repeats three times, with graceful reiteration at the sixth and ninth page of his dedication and the third of his preface.
To sum up, Anne made her people happy, as the French translator of Beeverell's book repeats three times, with elegant emphasis on the sixth and ninth pages of his dedication and the third of his preface.
IV.
Queen Anne bore a little grudge to the Duchess Josiana, for two reasons. Firstly, because she thought the Duchess Josiana handsome. Secondly, because she thought the Duchess Josiana's betrothed handsome. Two reasons for jealousy are sufficient for a woman. One is sufficient for a queen. Let us add that she bore her a grudge for being her sister. Anne did not like women to be pretty. She considered it against good morals. As for herself, she was ugly. Not from choice, however. A part of her religion she derived from that ugliness. Josiana, beautiful and philosophical, was a cause of vexation to the queen. To an ugly queen, a pretty duchess is not an agreeable sister.
Queen Anne had a bit of a grudge against Duchess Josiana for two reasons. First, she thought Duchess Josiana was beautiful. Second, she thought Duchess Josiana's fiancé was attractive. Two reasons for jealousy are enough for any woman. One is enough for a queen. We should also mention that she resented her for being her sister. Anne didn't like women to be pretty; she considered it immoral. As for herself, she was ugly—not by choice, though. Part of her beliefs came from that ugliness. Josiana, beautiful and philosophical, irritated the queen. For an unattractive queen, a pretty duchess is not a pleasant sister.
There was another grievance, Josiana's "improper" birth. Anne was the daughter of Anne Hyde, a simple gentlewoman, legitimately, but vexatiously, married by James II. when Duke of York. Anne, having this inferior blood in her veins, felt herself but half royal, and Josiana, having come into the world quite irregularly, drew closer attention to the incorrectness, less great, but really existing, in the birth of the queen. The daughter of mésalliance looked without love upon the daughter of bastardy, so near her. It was an unpleasant resemblance. Josiana had a right to say to Anne, "My mother was at least as good as yours." At court no one said so, but they evidently thought it. This was a bore for her royal Majesty. Why this Josiana? What had put it into her head to be born? What good was a Josiana? Certain relationships are detrimental. Nevertheless, Anne smiled on Josiana. Perhaps she might even have liked her, had she not been her sister.
There was another issue, Josiana's "improper" birth. Anne was the daughter of Anne Hyde, a simple gentlewoman, who had married James II when he was Duke of York. With this lower-status blood running through her veins, Anne felt only half royal, and Josiana, having come into the world quite irregularly, highlighted the lesser but still real flaws in the queen's own lineage. The daughter of a mésalliance looked unkindly upon the daughter of bastardy, who was so close to her. It was an uncomfortable similarity. Josiana had every right to tell Anne, "My mother was at least as good as yours." No one at court dared say it, but they clearly thought it. This was a hassle for her royal Majesty. Why was there a Josiana? What had made her come into existence? What good was a Josiana? Certain connections are harmful. Still, Anne offered a smile to Josiana. Maybe she could have even liked her if she weren’t her sister.
CHAPTER VI.
BARKILPHEDRO.
It is useful to know what people do, and a certain surveillance is wise. Josiana had Lord David watched by a little creature of hers, in whom she reposed confidence, and whose name was Barkilphedro.
It is useful to know what people do, and a bit of surveillance is smart. Josiana had Lord David monitored by a small creature of hers, in whom she trusted, and whose name was Barkilphedro.
Lord David had Josiana discreetly observed by a creature of his, of whom he was sure, and whose name was Barkilphedro.
Lord David had Josiana quietly watched by one of his trusted associates, named Barkilphedro.
Queen Anne, on her part, kept herself secretly informed of the actions and conduct of the Duchess Josiana, her bastard sister, and of Lord David, her future brother-in-law by the left hand, by a creature of hers, on whom she counted fully, and whose name was Barkilphedro.
Queen Anne, for her part, stayed quietly informed about the actions and behavior of the Duchess Josiana, her half-sister, and Lord David, her future brother-in-law by informal means, through a confidant she fully trusted, named Barkilphedro.
This Barkilphedro had his fingers on that keyboard—Josiana, Lord David, a queen. A man between two women. What modulations possible! What amalgamation of souls!
This Barkilphedro had his fingers on that keyboard—Josiana, Lord David, a queen. A man between two women. What possibilities for changes! What blend of souls!
Barkilphedro had not always held the magnificent position of whispering into three ears.
Barkilphedro hadn't always enjoyed the impressive role of whispering into three ears.
He was an old servant of the Duke of York. He had tried to be a churchman but had failed. The Duke of York, an English and a Roman prince, compounded of royal Popery and legal Anglicanism, had his Catholic house and his Protestant house, and might have pushed Barkilphedro in one or the other hierarchy; but he did not judge him to be Catholic enough to make him almoner, or Protestant enough to make him chaplain. So that between two religions, Barkilphedro found himself with his soul on the ground.
He was an old servant of the Duke of York. He had tried to become a priest but had failed. The Duke of York, both an English and a Roman prince, mixed royal Catholicism and legal Anglicanism, had his Catholic household and his Protestant household, and could have placed Barkilphedro in either position; but he didn’t think Barkilphedro was Catholic enough to make him the almoner, or Protestant enough to make him the chaplain. So, caught between two religions, Barkilphedro found himself in a tough spot.
Not a bad posture, either, for certain reptile souls.
Not a bad position, either, for some reptile spirits.
Certain ways are impracticable, except by crawling flat on the belly.
Certain ways are impossible to navigate unless you crawl on your belly.
An obscure but fattening servitude had long made up Barkilphedro's whole existence. Service is something; but he wanted power besides. He was, perhaps, about to reach it when James II. fell. He had to begin all over again. Nothing to do under William III., a sullen prince, and exercising in his mode of reigning a prudery which he believed to be probity. Barkilphedro, when his protector, James II., was dethroned, did not lapse all at once into rags. There is a something which survives deposed princes, and which feeds and sustains their parasites. The remains of the exhaustible sap causes leaves to live on for two or three days on the branches of the uprooted tree; then, all at once, the leaf yellows and dries up: and thus it is with the courtier.
An obscure but fattening servitude had long made up Barkilphedro's whole existence. Service is something, but he wanted power too. He was probably on the verge of achieving it when James II fell. He had to start from scratch. There was nothing for him to do under William III, a gloomy prince, who ruled with a form of prudery he thought was integrity. When his patron, James II, was overthrown, Barkilphedro didn’t immediately fall into poverty. There’s something that lingers with deposed princes and supports their hangers-on. The remnants of energy keep leaves alive for a few days on the branches of a fallen tree; then suddenly, the leaves turn yellow and dry out—just like the courtier.
Thanks to that embalming which is called legitimacy, the prince himself, although fallen and cast away, lasts and keeps preserved; it is not so with the courtier, much more dead than the king. The king, beyond there, is a mummy; the courtier, here, is a phantom. To be the shadow of a shadow is leanness indeed. Hence Barkilphedro became famished. Then he took up the character of a man of letters.
Thanks to the sort of legitimacy that acts like embalming, the prince, even though he's fallen and discarded, endures and remains intact; the same can’t be said for the courtier, who is much more lifeless than the king. The king, over there, is like a mummy; the courtier, right here, is just a ghost. Being the shadow of a shadow is truly pitiful. This is why Barkilphedro became desperate. Then he decided to take on the identity of a scholar.
But he was thrust back even from the kitchens. Sometimes he knew not where to sleep. "Who will give me shelter?" he would ask. He struggled on. All that is interesting in patience in distress he possessed. He had, besides, the talent of the termite—knowing how to bore a hole from the bottom to the top. By dint of making use of the name of James II., of old memories, of fables of fidelity, of touching stories, he pierced as far as the Duchess Josiana's heart.
But he was pushed away even from the kitchens. Sometimes he didn’t know where to sleep. "Who will give me shelter?" he would ask. He kept going. He had all the traits of someone who is patient in tough times. He also had the talent of a termite—knowing how to make his way from the bottom to the top. By constantly using the name of James II., old memories, tales of loyalty, and touching stories, he managed to reach the heart of Duchess Josiana.
Josiana took a liking to this man of poverty and wit, an interesting combination. She presented him to Lord Dirry-Moir, gave him a shelter in the servants' hall among her domestics, retained him in her household, was kind to him, and sometimes even spoke to him. Barkilphedro felt neither hunger nor cold again. Josiana addressed him in the second person; it was the fashion for great ladies to do so to men of letters, who allowed it. The Marquise de Mailly received Roy, whom she had never seen before, in bed, and said to him, "C'est toi qui as fait l'Année galante! Bonjour." Later on, the men of letters returned the custom. The day came when Fabre d'Eglantine said to the Duchesse de Rohan, "N'est-tu pas la Chabot?"
Josiana took a liking to this man who was both poor and witty, an interesting mix. She introduced him to Lord Dirry-Moir, gave him a place in the servants' hall among her staff, kept him in her household, was nice to him, and even occasionally talked to him. Barkilphedro no longer felt hunger or cold. Josiana addressed him directly; it was trendy for noblewomen to do this with literary men, who accepted it. The Marquise de Mailly welcomed Roy, whom she had never met before, in bed and said to him, "You're the one who wrote l'Année galante! Hello." Eventually, the literary men started doing the same. The day came when Fabre d'Eglantine asked the Duchesse de Rohan, "Aren't you Chabot?"
For Barkilphedro to be "thee'd" and "thou'd" was a success; he was overjoyed by it. He had aspired to this contemptuous familiarity. "Lady Josiana thees-and-thous me," he would say to himself. And he would rub his hands. He profited by this theeing-and-thouing to make further way. He became a sort of constant attendant in Josiana's private rooms; in no way troublesome; unperceived; the duchess would almost have changed her shift before him. All this, however, was precarious. Barkilphedro was aiming at a position. A duchess was half-way; an underground passage which did not lead to the queen was having bored for nothing.
For Barkilphedro to be "thee'd" and "thou'd" was a big win; he was thrilled by it. He had longed for this condescending level of familiarity. "Lady Josiana thees-and-thous me," he would think to himself. And he would rub his hands together. He used this addressing to gain more ground. He became a sort of regular presence in Josiana's private rooms; in no way annoying; the duchess could have almost changed her clothes in front of him. All this, however, was unstable. Barkilphedro was aiming for a higher position. A duchess was just a step closer; a secret passage that didn’t lead to the queen was being dug for nothing.
One day Barkilphedro said to Josiana,—
One day, Barkilphedro said to Josiana,—
"Would your Grace like to make my fortune?".
"Would Your Grace like to help me make my fortune?"
"What dost thou want?"
"What do you want?"
"An appointment."
"An appointment."
"An appointment? for thee!"
"An appointment? for you!"
"Yes, madam."
"Yes, ma'am."
"What an idea! thou to ask for an appointment! thou, who art good for nothing."
"What an idea! You asking for an appointment! You, who are good for nothing."
"That's just the reason."
"That's exactly why."
Josiana burst out laughing.
Josiana laughed out loud.
"Among the offices to which thou art unsuited, which dost thou desire?"
"Of all the jobs you're not suited for, which one do you want?"
"That of cork drawer of the bottles of the ocean."
"That of a cork drawer for the bottles from the ocean."
Josiana's laugh redoubled.
Josiana's laughter doubled.
"What meanest thou? Thou art fooling."
"What do you mean? You're joking."
"No, madam."
"No, ma'am."
"To amuse myself, I shall answer you seriously," said the duchess. "What dost thou wish to be? Repeat it."
"To entertain myself, I'll answer you seriously," said the duchess. "What do you want to be? Say it again."
"Uncorker of the bottles of the ocean."
"Opener of the bottles of the ocean."
"Everything is possible at court. Is there an appointment of that kind?"
"Anything can happen in court. Is there a meeting like that?"
"Yes, madam."
"Yes, ma'am."
"This is news to me. Go on."
"This is news to me. Keep going."
"There is such an appointment."
"There's an appointment."
"Swear it on the soul which thou dost not possess."
"Swear it on the soul you don’t have."
"I swear it."
"I promise."
"I do not believe thee."
"I don't believe you."
"Thank you, madam."
"Thank you, ma'am."
"Then thou wishest? Begin again."
"Then you wish? Start over."
"To uncork the bottles of the ocean."
"To open the bottles of the ocean."
"That is a situation which can give little trouble. It is like grooming a bronze horse."
"That's a situation that can cause very little trouble. It's like taking care of a bronze horse."
"Very nearly."
"Almost."
"Nothing to do. Well 'tis a situation to suit thee. Thou art good for that much."
"Nothing to do. Well, this is a situation that works for you. You’re good for that much."
"You see I am good for something."
"You see, I'm useful for something."
"Come! thou art talking nonsense. Is there such an appointment?"
"Come on! You're talking nonsense. Is there really such a meeting?"
Barkilphedro assumed an attitude of deferential gravity. "Madam, you had an august father, James II., the king, and you have an illustrious brother-in-law, George of Denmark, Duke of Cumberland; your father was, and your brother is, Lord High Admiral of England—"
Barkilphedro took on a respectful seriousness. "Madam, you had a distinguished father, James II, the king, and you have a remarkable brother-in-law, George of Denmark, Duke of Cumberland; your father was, and your brother is, Lord High Admiral of England—"
"Is what thou tellest me fresh news? I know all that as well as thou."
"Is what you're telling me new information? I know all that just as well as you do."
"But here is what your Grace does not know. In the sea there are three kinds of things: those at the bottom, lagan; those which float, flotsam; those which the sea throws up on the shore, jetsam."
"But here’s what you don’t know, Your Grace. In the sea, there are three kinds of things: those at the bottom, lagan; those that float, flotsam; and those that the sea washes up on the shore, jetsam."
"And then?"
"What now?"
"These three things—lagan, flotsam, and jetsam—belong to the Lord High Admiral."
"These three things—lagan, flotsam, and jetsam—belong to the Lord High Admiral."
"And then?"
"And what's next?"
"Your Grace understands."
"Your Grace gets it."
"No."
"Nope."
"All that is in the sea, all that sinks, all that floats, all that is cast ashore—all belongs to the Admiral of England."
"Everything in the sea, everything that sinks, everything that floats, everything that washes up on shore—all belongs to the Admiral of England."
"Everything! Really? And then?"
"Everything! Seriously? And then?"
"Except the sturgeon, which belongs to the king."
"Except for the sturgeon, which belongs to the king."
"I should have thought," said Josiana, "all that would have belonged to Neptune."
"I should have thought," said Josiana, "that everything would have belonged to Neptune."
"Neptune is a fool. He has given up everything. He has allowed the English to take everything."
"Neptune is such a fool. He has given up everything. He's let the English take it all."
"Finish what thou wert saying."
"Finish what you were saying."
"'Prizes of the sea' is the name given to such treasure trove."
"'Prizes of the sea' is the term used for such treasure trove."
"Be it so."
"Let it be."
"It is boundless: there is always something floating, something being cast up. It is the contribution of the sea—the tax which the ocean pays to England."
"It’s limitless: there’s always something drifting, something being washed up. It’s the gift of the sea—the toll the ocean pays to England."
"With all my heart. But pray conclude."
"With all my heart. But please finish."
"Your Grace understands that in this way the ocean creates a department."
"Your Grace understands that this is how the ocean forms a division."
"Where?"
"Where at?"
"At the Admiralty."
"At the Navy Department."
"What department?"
"Which department?"
"The Sea Prize Department."
"The Ocean Award Department."
"Well?"
"What's up?"
"The department is subdivided into three offices—Lagan, Flotsam, and Jetsam—and in each there is an officer."
"The department is divided into three offices—Lagan, Flotsam, and Jetsam—and each one has an officer."
"And then?"
"What's next?"
"A ship at sea writes to give notice on any subject to those on land—that it is sailing in such a latitude; that it has met a sea monster; that it is in sight of shore; that it is in distress; that it is about to founder; that it is lost, etc. The captain takes a bottle, puts into it a bit of paper on which he has written the information, corks up the flask, and casts it into the sea. If the bottle goes to the bottom, it is in the department of the lagan officer; if it floats, it is in the department of the flotsam officer; if it be thrown upon shore, it concerns the jetsam officer."
A ship at sea sends a message to notify those on land about anything happening—like its current latitude, encountering a sea monster, being close to shore, facing trouble, about to sink, or being lost, etc. The captain takes a bottle, writes down the information on a piece of paper, seals it, and tosses it into the sea. If the bottle sinks, it falls under the lagan officer's responsibility; if it floats, it’s managed by the flotsam officer; if it washes ashore, it's the jetsam officer's concern.
"And wouldst thou like to be the jetsam officer?"
"And would you like to be the jetsam officer?"
"Precisely so."
"Exactly."
"And that is what thou callest uncorking the bottles of the ocean?"
"And that is what you call uncorking the bottles of the ocean?"
"Since there is such an appointment."
"Since there is such an appointment."
"Why dost thou wish for the last-named place in preference to both the others?"
"Why do you prefer the last-mentioned place over the others?"
"Because it is vacant just now."
"Because it's empty at the moment."
"In what does the appointment consist?"
"In what does the appointment involve?"
"Madam, in 1598 a tarred bottle, picked up by a man, conger-fishing on the strand of Epidium Promontorium, was brought to Queen Elizabeth; and a parchment drawn out of it gave information to England that Holland had taken, without saying anything about it, an unknown country, Nova Zembla; that the capture had taken place in June, 1596; that in that country people were eaten by bears; and that the manner of passing the winter was described on a paper enclosed in a musket-case hanging in the chimney of the wooden house built in the island, and left by the Dutchmen, who were all dead: and that the chimney was built of a barrel with the end knocked out, sunk into the roof."
"Madam, in 1598, a tarred bottle was found by a man fishing for conger on the beach at Epidium Promontorium and was brought to Queen Elizabeth. Inside the bottle was a parchment that informed England that Holland had taken an unknown country, Nova Zembla, without mentioning it. This capture happened in June 1596. It stated that in that country, people were eaten by bears, and the way of surviving the winter was described on a paper found in a musket case hanging in the chimney of a wooden house built on the island, left by the Dutchmen, who were all dead. The chimney was made from a barrel with one end removed, which was set into the roof."
"I don't understand much of thy rigmarole."
"I don't understand much of your nonsense."
"Be it so. Elizabeth understood. A country the more for Holland was a country the less for England. The bottle which had given the information was held to be of importance; and thenceforward an order was issued that anybody who should find a sealed bottle on the sea-shore should take it to the Lord High Admiral of England, under pain of the gallows. The admiral entrusts the opening of such bottles to an officer, who presents the contents to the queen, if there be reason for so doing."
"Alright then. Elizabeth got it. Every land gained by Holland meant less land for England. The bottle that provided this information was considered significant; from that point on, an order was announced that anyone who found a sealed bottle on the beach had to take it to the Lord High Admiral of England, or face being hanged. The admiral then assigns an officer to open these bottles, who will show the contents to the queen if it's deemed necessary."
"Are many such bottles brought to the Admiralty?"
"Are a lot of these bottles brought to the Admiralty?"
"But few. But it's all the same. The appointment exists. There is for the office a room and lodgings at the Admiralty."
"But few. But it doesn't matter. The appointment is there. There is a room and accommodations at the Admiralty for the office."
"And for that way of doing nothing, how is one paid?"
"And for that way of doing nothing, how does one get paid?"
"One hundred guineas a year."
"One hundred guineas per year."
"And thou wouldst trouble me for that much?"
"And you would bother me for that much?"
"It is enough to live upon."
"That's enough to get by."
"Like a beggar."
"Like a homeless person."
"As it becomes one of my sort."
"As it becomes my type."
"One hundred guineas! It's a bagatelle."
"One hundred guineas! It's a trivial amount."
"What keeps you for a minute, keeps us for a year. That's the advantage of the poor."
"What holds you back for a minute, holds us back for a year. That’s the advantage of the poor."
"Thou shalt have the place."
"You will have the place."
A week afterwards, thanks to Josiana's exertions, thanks to the influence of Lord David Dirry-Moir, Barkilphedro—safe thenceforward, drawn out of his precarious existence, lodged, and boarded, with a salary of a hundred guineas—was installed at the Admiralty.
A week later, thanks to Josiana's efforts and the influence of Lord David Dirry-Moir, Barkilphedro—now secure and no longer living in uncertainty, provided with lodging and meals, and earning a salary of a hundred guineas—was set up at the Admiralty.
CHAPTER VII.
BARKILPHEDRO GNAWS HIS WAY.
There is one thing the most pressing of all: to be ungrateful.
There is one thing that matters most: to be ungrateful.
Barkilphedro was not wanting therein.
Barkilphedro didn't want that.
Having received so many benefits from Josiana, he had naturally but one thought—to revenge himself on her. When we add that Josiana was beautiful, great, young, rich, powerful, illustrious, while Barkilphedro was ugly, little, old, poor, dependent, obscure, he must necessarily revenge himself for all this as well.
Having received so many advantages from Josiana, he had only one thought—to take revenge on her. Considering that Josiana was beautiful, powerful, young, wealthy, and well-known, while Barkilphedro was ugly, small, old, poor, dependent, and unknown, he surely felt the need to get back at her for all this too.
When a man is made out of night, how is he to forgive so many beams of light?
When a man is shaped by darkness, how can he possibly forgive so much brightness?
Barkilphedro was an Irishman who had denied Ireland—a bad species.
Barkilphedro was an Irishman who had turned his back on Ireland—a despicable character.
Barkilphedro had but one thing in his favour—that he had a very big belly. A big belly passes for a sign of kind-heartedness. But his belly was but an addition to Barkilphedro's hypocrisy; for the man was full of malice.
Barkilphedro had only one thing going for him—that he had a very big belly. A big belly is often seen as a sign of kindness. But his belly was just an addition to Barkilphedro's hypocrisy; the man was filled with malice.
What was Barkilphedro's age? None. The age necessary for his project of the moment. He was old in his wrinkles and gray hairs, young in the activity of his mind. He was active and ponderous; a sort of hippopotamus-monkey. A royalist, certainly; a republican—who knows? a Catholic, perhaps; a Protestant, without doubt. For Stuart, probably; for Brunswick, evidently. To be For is a power only on the condition of being at the same time Against. Barkilphedro practised this wisdom.
What was Barkilphedro's age? None. The age he needed for his current project. He was old in his wrinkles and gray hair, young in the energy of his mind. He was both lively and serious; a kind of hippopotamus-monkey. A royalist, for sure; a republican—who knows? Maybe a Catholic; definitely a Protestant. Probably for Stuart; clearly for Brunswick. Being For is only a power if you're also Against. Barkilphedro understood this well.
The appointment of drawer of the bottles of the ocean was not as absurd as Barkilphedro had appeared to make out. The complaints, which would in these times be termed declamations, of Garcia Fernandez in his "Chart-Book of the Sea," against the robbery of jetsam, called right of wreck, and against the pillage of wreck by the inhabitants of the coast, had created a sensation in England, and had obtained for the shipwrecked this reform—that their goods, chattels, and property, instead of being stolen by the country-people, were confiscated by the Lord High Admiral. All the débris of the sea cast upon the English shore—merchandise, broken hulls of ships, bales, chests, etc.—belonged to the Lord High Admiral; but—and here was revealed the importance of the place asked for by Barkilphedro—the floating receptacles containing messages and declarations awakened particularly the attention of the Admiralty. Shipwrecks are one of England's gravest cares. Navigation being her life, shipwreck is her anxiety. England is kept in perpetual care by the sea. The little glass bottle thrown to the waves by the doomed ship, contains final intelligence, precious from every point of view. Intelligence concerning the ship, intelligence concerning the crew, intelligence concerning the place, the time, the manner of loss, intelligence concerning the winds which have broken up the vessel, intelligence concerning the currents which bore the floating flask ashore. The situation filled by Barkilphedro has been abolished more than a century, but it had its real utility. The last holder was William Hussey, of Doddington, in Lincolnshire. The man who held it was a sort of guardian of the things of the sea. All the closed and sealed-up vessels, bottles, flasks, jars, thrown upon the English coast by the tide were brought to him. He alone had the right to open them; he was first in the secrets of their contents; he put them in order, and ticketed them with his signature. The expression "loger un papier au greffe," still used in the Channel Islands, is thence derived. However, one precaution was certainly taken. Not one of these bottles could be unsealed except in the presence of two jurors of the Admiralty sworn to secrecy, who signed, conjointly with the holder of the jetsam office, the official report of the opening. But these jurors being held to secrecy, there resulted for Barkilphedro a certain discretionary latitude; it depended upon him, to a certain extent, to suppress a fact or bring it to light.
The role of the person in charge of the bottles from the ocean wasn’t as ridiculous as Barkilphedro tried to suggest. The complaints, which we would now call rants, from Garcia Fernandez in his "Chart-Book of the Sea," about the theft of items washed ashore, known as the right of wreck, and the looting of shipwrecks by local people, created quite a stir in England. As a result, shipwrecked people received this reform: instead of having their belongings stolen by locals, their goods were confiscated by the Lord High Admiral. All the debris from the sea that washed up on English shores—cargo, broken ship hulls, bales, chests, and so on—belonged to the Lord High Admiral. However, and this highlighted the significance of the position Barkilphedro sought, the floating containers with messages and declarations drew special attention from the Admiralty. Shipwrecks are a major concern for England. With navigation being her lifeline, shipwrecks are her ongoing worry. The sea keeps England constantly on edge. The little glass bottle tossed into the waves by a doomed ship holds crucial information from every angle. Information about the ship, the crew, the location, the time, how the loss occurred, the winds that scattered the vessel, and the currents that carried the floating bottle to shore. The position held by Barkilphedro has been abolished for over a century, but it had real value. The last person to hold it was William Hussey from Doddington in Lincolnshire. The person in this role acted as a sort of guardian of sea artifacts. All the sealed containers, bottles, flasks, and jars that the tide washed onto the English coast were brought to him. He was the only one allowed to open them; he was first to know their secrets, organized them, and labeled them with his signature. The term "loger un papier au greffe," still used in the Channel Islands, comes from this practice. However, one precaution was certainly taken. No bottle could be opened without the presence of two sworn Admiralty jurors who were bound to secrecy, and they signed, along with the holder of the jetsam office, the official record of the opening. But since these jurors were bound to secrecy, Barkilphedro had a degree of discretion; to some extent, it was up to him whether to keep something concealed or reveal it.
These fragile floating messages were far from being what Barkilphedro had told Josiana, rare and insignificant. Some times they reached land with little delay; at others, after many years. That depended on the winds and the currents. The fashion of casting bottles on the surface of the sea has somewhat passed away, like that of vowing offerings, but in those religious times, those who were about to die were glad thus to send their last thought to God and to men, and at times these messages from the sea were plentiful at the Admiralty. A parchment preserved in the hall at Audlyene (ancient spelling), with notes by the Earl of Suffolk, Grand Treasurer of England under James I., bears witness that in the one year, 1615, fifty-two flasks, bladders, and tarred vessels, containing mention of sinking ships, were brought and registered in the records of the Lord High Admiral.
These delicate floating messages were anything but what Barkilphedro had told Josiana, rare and unimportant. Sometimes they reached land quickly; other times, it took many years. That depended on the winds and currents. The trend of tossing bottles into the sea has faded a bit, like the practice of making vows, but in those devout times, those facing death were happy to send their final thoughts to God and to others this way, and sometimes these messages from the sea were common at the Admiralty. A document kept in the hall at Audlyene (ancient spelling), with notes from the Earl of Suffolk, Grand Treasurer of England under James I., confirms that in the year 1615, fifty-two flasks, bladders, and tarred containers, noting shipwrecks, were brought and recorded in the records of the Lord High Admiral.
Court appointments are the drop of oil in the widow's cruse, they ever increase. Thus it is that the porter has become chancellor, and the groom, constable. The special officer charged with the appointment desired and obtained by Barkilphedro was invariably a confidential man. Elizabeth had wished that it should be so. At court, to speak of confidence is to speak of intrigue, and to speak of intrigue is to speak of advancement. This functionary had come to be a personage of some consideration. He was a clerk, and ranked directly after the two grooms of the almonry. He had the right of entrance into the palace, but we must add, what was called the humble entrance—humilis introïtus—and even into the bed-chamber. For it was the custom that he should inform the monarch, on occasions of sufficient importance, of the objects found, which were often very curious: the wills of men in despair, farewells cast to fatherland, revelations of falsified logs, bills of lading, and crimes committed at sea, legacies to the crown, etc., that he should maintain his records in communication with the court, and should account, from time to time, to the king or queen, concerning the opening of these ill-omened bottles. It was the black cabinet of the ocean.
Court appointments are like the oil in the widow's cruse; they just keep growing. That's how the porter became chancellor and the groom became constable. The special officer that Barkilphedro wanted and got was always a trusted person. Elizabeth had hoped it would be this way. At court, talking about trust means talking about schemes, and discussing schemes means discussing advancement. This officer had become someone of importance. He was a clerk and ranked just below the two grooms of the almonry. He had the right to enter the palace, but we should note it was what was called the humble entrance—humilis introïtus—and even into the bedroom. It was customary for him to inform the monarch, on occasion, about significant findings, which were often quite strange: the wills of desperate men, farewells to their homeland, confessions of falsified logs, bills of lading, and crimes committed at sea, legacies to the crown, etc. He was expected to keep his records updated with the court and to periodically report to the king or queen about the opening of these ominous bottles. It was the black cabinet of the ocean.
Elizabeth, who was always glad of an opportunity of speaking Latin, used to ask Tonfield, of Coley in Berkshire, jetsam officer of her day, when he brought her one of these papers cast up by the sea, "Quid mihi scribit Neptunus?" (What does Neptune write me?)
Elizabeth, who was always happy to have a chance to speak Latin, used to ask Tonfield, from Coley in Berkshire, the jetsam officer of her time, when he brought her one of these papers washed up by the sea, "What does Neptune write to me?"
The way had been eaten, the insect had succeeded. Barkilphedro approached the queen.
The path was cleared, the insect had triumphed. Barkilphedro moved toward the queen.
This was all he wanted.
This was all he desired.
To make his fortune?
To get rich?
No.
No.
To unmake that of others?
To undo what others made?
A greater happiness.
A higher happiness.
To hurt is to enjoy.
To hurt is to take pleasure.
To have within one the desire of injuring, vague but implacable, and never to lose sight of it, is not given to all.
To have a persistent, vague desire to harm others, and never to lose sight of it, isn’t something everyone experiences.
Barkilphedro possessed that fixity of intention.
Barkilphedro had that strong will.
As the bulldog holds on with his jaws, so did his thought.
As the bulldog grips with his teeth, so did his mind.
To feel himself inexorable gave him a depth of gloomy satisfaction. As long as he had a prey under his teeth, or in his soul, a certainty of evil-doing, he wanted nothing.
To feel unstoppable gave him a deep, dark satisfaction. As long as he had someone to hunt, or a certainty of his wrongdoing in his soul, he wanted for nothing.
He was happy, shivering in the cold which his neighbour was suffering. To be malignant is an opulence. Such a man is believed to be poor, and, in truth, is so; but he has all his riches in malice, and prefers having them so. Everything is in what contents one. To do a bad turn, which is the same as a good turn, is better than money. Bad for him who endures, good for him who does it. Catesby, the colleague of Guy Fawkes, in the Popish powder plot, said: "To see Parliament blown upside down, I wouldn't miss it for a million sterling."
He felt happy, shivering in the cold that his neighbor was experiencing. Being malicious is a luxury. Such a person may seem poor, and in reality, is; but he finds all his wealth in spitefulness, and prefers it that way. It all depends on what satisfies you. Doing something underhanded, which is essentially the same as doing a good deed, is better than money. Bad for those who suffer, good for the one who does it. Catesby, the associate of Guy Fawkes in the Gunpowder Plot, said: "To see Parliament blown up, I wouldn't miss it for a million pounds."
What was Barkilphedro? That meanest and most terrible of things—an envious man.
What was Barkilphedro? The lowest and most dreadful of things—an envious man.
Envy is a thing ever easily placed at court.
Envy is something that can easily be found in the court.
Courts abound in impertinent people, in idlers, in rich loungers hungering for gossip, in those who seek for needles in trusses of hay, in triflers, in banterers bantered, in witty ninnies, who cannot do without converse with an envious man.
Courts are full of rude people, slackers, wealthy individuals looking for gossip, those searching for needles in haystacks, time-wasters, jokesters getting teased, and clever fools who can’t get enough of chatting with jealous people.
What a refreshing thing is the evil spoken to you of others.
What a refreshing thing it is to hear others speak badly about you.
Envy is good stuff to make a spy. There is a profound analogy between that natural passion, envy, and that social function, espionage. The spy hunts on others' account, like the dog. The envious man hunts on his own, like the cat.
Envy is great material for a spy. There's a deep connection between that natural feeling, envy, and the role of espionage. The spy acts on behalf of others, like a dog. The envious person acts for themselves, like a cat.
A fierce Myself, such is the envious man.
A fierce self, that’s what an envious person is.
He had other qualities. Barkilphedro was discreet, secret, concrete. He kept in everything and racked himself with his hate. Enormous baseness implies enormous vanity. He was liked by those whom he amused, and hated by all others; but he felt that he was disdained by those who hated him, and despised by those who liked him. He restrained himself. All his gall simmered noiselessly in his hostile resignation. He was indignant, as if rogues had the right to be so. He was the furies' silent prey. To swallow everything was his talent. There were deaf wraths within him, frenzies of interior rage, black and brooding flames unseen; he was a smoke-consuming man of passion. The surface was smiling. He was kind, prompt, easy, amiable, obliging. Never mind to whom, never mind where, he bowed. For a breath of wind he inclined to the earth. What a source of fortune to have a reed for a spine! Such concealed and venomous beings are not so rare as is believed. We live surrounded by ill-omened crawling things. Wherefore the malevolent? A keen question! The dreamer constantly proposes it to himself, and the thinker never resolves it. Hence the sad eye of the philosophers ever fixed upon that mountain of darkness which is destiny, and from the top of which the colossal spectre of evil casts handfuls of serpents over the earth.
He had other qualities. Barkilphedro was discreet, secretive, and straightforward. He held everything inside and tormented himself with his hatred. Enormous meanness suggests enormous pride. He was liked by those he entertained and hated by everyone else; yet he felt looked down upon by those who disliked him and underestimated by those who liked him. He kept himself in check. All his bitterness simmered quietly in his hostile acceptance. He was outraged, as if wrongdoers had the right to be so. He was a silent victim of the furies. Swallowing everything was his talent. There were mute storms within him, frenzies of inner rage, dark and brooding flames hidden from view; he was a smoke-consuming man of passion. On the surface, he smiled. He was kind, quick, easygoing, friendly, and accommodating. It didn’t matter to whom, or where, he bowed. For a small breeze, he bent to the ground. What a stroke of luck to have a spine like a reed! Such hidden and poisonous beings aren’t as rare as people think. We live surrounded by sinister creeping things. Why do the malevolent exist? That’s a tough question! The dreamer often asks himself this, and the thinker never finds an answer. Thus, the sad gaze of philosophers is forever fixed on that mountain of darkness called destiny, from which the colossal specter of evil casts its handfuls of serpents over the earth.
Barkilphedro's body was obese and his face lean. A fat bust and a bony countenance. His nails were channelled and short, his fingers knotted, his thumbs flat, his hair coarse, his temples wide apart, and his forehead a murderer's, broad and low. The littleness of his eye was hidden under his bushy eyebrows. His nose, long, sharp, and flabby, nearly met his mouth. Barkilphedro, properly attired, as an emperor, would have somewhat resembled Domitian. His face of muddy yellow might have been modelled in slimy paste—his immovable cheeks were like putty; he had all kinds of ugly refractory wrinkles; the angle of his jaw was massive, his chin heavy, his ear underbred. In repose, and seen in profile, his upper lip was raised at an acute angle, showing two teeth. Those teeth seemed to look at you. The teeth can look, just as the eye can bite.
Barkilphedro was overweight, but his face was thin. He had a plump body and a bony face. His nails were short and ridged, his fingers were gnarled, his thumbs were flat, his hair was coarse, his temples were wide apart, and his forehead was broad and low, like a murderer’s. The smallness of his eyes was concealed under his bushy eyebrows. His nose was long, sharp, and droopy, almost touching his mouth. If Barkilphedro had dressed like an emperor, he might have looked a bit like Domitian. His muddy yellow face looked like it was made from slimy paste—his stiff cheeks resembled putty; he had various unattractive, stubborn wrinkles; his jawline was massive, his chin heavy, and his ear unsophisticated. When he was at rest and viewed from the side, his upper lip curled up at a sharp angle, revealing two teeth. Those teeth seemed to stare back at you. Teeth can look, just like eyes can bite.
Patience, temperance, continence, reserve, self-control, amenity, deference, gentleness, politeness, sobriety, chastity, completed and finished Barkilphedro. He culumniated those virtues by their possession.
Patience, moderation, self-restraint, discretion, self-control, friendliness, respect, kindness, sobriety, chastity—Barkilphedro embodied all of these qualities. He exemplified those virtues by truly owning them.
In a short time Barkilphedro took a foothold at court.
In no time, Barkilphedro established himself at court.
CHAPTER VIII.
INFERI.
There are two ways of making a footing at court. In the clouds, and you are august; in the mud, and you are powerful.
There are two ways to establish your presence in court. One is to float above it all, and you'll be seen as noble; the other is to get your hands dirty, and you'll be seen as influential.
In the first case, you belong to Olympus.
In the first case, you belong to Olympus.
In the second case, you belong to the private closet.
In the second case, you belong to the private room.
He who belongs to Olympus has but the thunderbolt, he who is of the private closet has the police.
He who is part of Olympus has only the thunderbolt, while he who is in the private chamber has the police.
The private closet contains all the instruments of government, and sometimes, for it is a traitor, its chastisement. Heliogabalus goes there to die. Then it is called the latrines.
The private closet holds all the tools of governance, and occasionally, because it’s treacherous, its punishment. Heliogabalus goes there to die. After that, it’s referred to as the latrines.
Generally it is less tragic. It is there that Alberoni admires Vendôme. Royal personages willingly make it their place of audience. It takes the place of the throne. Louis XIV. receives the Duchess of Burgundy there. Philip V. is shoulder to shoulder there with the queen. The priest penetrates into it. The private closet is sometimes a branch of the confessional. Therefore it is that at court there are underground fortunes—not always the least. If, under Louis XI., you would be great, be Pierre de Rohan, Marshal of France; if you would be influential, be Olivier le Daim, the barber; if you would, under Mary de Medicis, be glorious, be Sillery, the Chancellor; if you would be a person of consideration, be La Hannon, the maid; if you would, under Louis XV., be illustrious, be Choiseul, the minister; if you would be formidable, be Lebel, the valet. Given, Louis XIV., Bontemps, who makes his bed, is more powerful than Louvois, who raises his armies, and Turenne, who gains his victories. From Richelieu, take Père Joseph, and you have Richelieu nearly empty. There is the mystery the less. His Eminence in scarlet is magnificent; his Eminence in gray is terrible. What power in being a worm! All the Narvaez amalgamated with all the O'Donnells do less work than one Sõr Patrocinio.
Generally, it’s less tragic. This is where Alberoni admires Vendôme. Royal figures eagerly make it their meeting place. It takes the place of the throne. Louis XIV meets the Duchess of Burgundy there. Philip V stands shoulder to shoulder with the queen. The priest enters as well. The private chamber sometimes acts as a part of the confessional. This is why there are hidden fortunes at court—not always the least of them. If, under Louis XI, you want to be great, be Pierre de Rohan, Marshal of France; if you want to be influential, be Olivier le Daim, the barber; if you want to be glorious under Mary de Medicis, be Sillery, the Chancellor; if you want to be someone of importance, be La Hannon, the maid; if you want to be illustrious under Louis XV, be Choiseul, the minister; if you want to be formidable, be Lebel, the valet. Given Louis XIV, Bontemps, who makes his bed, is more powerful than Louvois, who raises armies, and Turenne, who wins battles. From Richelieu, take Père Joseph, and Richelieu is nearly empty. There’s less mystery to it. His Eminence in scarlet is magnificent; his Eminence in gray is terrifying. What power there is in being a worm! All the Narvaez combined with all the O'Donnells do less than one Sõr Patrocinio.
Of course the condition of this power is littleness. If you would remain powerful, remain petty. Be Nothingness. The serpent in repose, twisted into a circle, is a figure at the same time of the infinite and of naught.
Of course, the key to this power is being small. If you want to stay powerful, stay insignificant. Be nothingness. The coiled serpent at rest represents both infinity and emptiness.
One of these viper-like fortunes had fallen to Barkilphedro.
One of these treacherous fortunes had come to Barkilphedro.
He had crawled where he wanted.
He had crawled to where he wanted.
Flat beasts can get in everywhere. Louis XIV. had bugs in his bed and Jesuits in his policy.
Flat beasts can get in everywhere. Louis XIV had bugs in his bed and Jesuits in his politics.
The incompatibility is nil.
The incompatibility is nonexistent.
In this world everything is a clock. To gravitate is to oscillate. One pole is attracted to the other. Francis I. is attracted by Triboulet; Louis XIV. is attracted by Lebel. There exists a deep affinity between extreme elevation and extreme debasement.
In this world, everything is a clock. To gravitate means to swing back and forth. One pole is drawn to the other. Francis I. is drawn to Triboulet; Louis XIV. is drawn to Lebel. There is a strong connection between extreme heights and extreme lows.
It is abasement which directs. Nothing is easier of comprehension. It is he who is below who pulls the strings. No position more convenient. He is the eye, and has the ear. He is the eye of the government; he has the ear of the king. To have the eye of the king is to draw and shut, at one's whim, the bolt of the royal conscience, and to throw into that conscience whatever one wishes. The mind of the king is his cupboard; if he be a rag-picker, it is his basket. The ears of kings belong not to kings, and therefore it is that, on the whole, the poor devils are not altogether responsible for their actions. He who does not possess his own thought does not possess his own deed. A king obeys—what? Any evil spirit buzzing from outside in his ear; a noisome fly of the abyss.
It’s the submissive ones who truly hold the power. It’s really easy to understand. It’s the person at the bottom who pulls the strings. There’s no better position. They are the eyes and ears of the situation. They are the eyes of the government; they have the king’s ear. To have the king's ear is to be able to influence the royal conscience at will and to insert whatever thoughts they want into it. The king's mind is like a cupboard; if he’s a hoarder, then it’s just his trash can. Kings don’t really own their ears, which is why, for the most part, those poor souls aren’t entirely to blame for their actions. Someone who doesn’t have their own thoughts doesn’t have control over their own actions. A king obeys—what? Any evil spirit whispering in his ear; a nasty fly from the abyss.
This buzzing commands. A reign is a dictation.
This buzzing demands attention. A reign is a command.
The loud voice is the sovereign; the low voice, sovereignty. Those who know how to distinguish, in a reign, this low voice, and to hear what it whispers to the loud, are the real historians.
The loud voice is the ruler; the quiet voice, the true power. Those who can recognize, in a reign, this quiet voice, and hear what it silently communicates to the loud, are the real historians.
CHAPTER IX.
HATE IS AS STRONG AS LOVE.
Queen Anne had several of these low voices about her. Barkilphedro was one.
Queen Anne had several quiet voices around her. Barkilphedro was one of them.
Besides the queen, he secretly worked, influenced, and plotted upon Lady Josiana and Lord David. As we have said, he whispered in three ears, one more than Dangeau. Dangeau whispered in but two, in the days when, thrusting himself between Louis XIV., in love with Henrietta, his sister-in-law, and Henrietta, in love with Louis XIV., her brother-in-law, he being Louis's secretary, without the knowledge of Henrietta, and Henrietta's without the knowledge of Louis, he wrote the questions and answers of both the love-making marionettes.
Besides the queen, he secretly worked, influenced, and plotted with Lady Josiana and Lord David. As we've mentioned, he whispered in three ears, one more than Dangeau. Dangeau only whispered in two during the time when he positioned himself between Louis XIV, who was in love with his sister-in-law Henrietta, and Henrietta, who was in love with her brother-in-law Louis XIV. Being Louis's secretary, without Henrietta knowing, and with Louis unaware of Henrietta's feelings, he crafted the questions and answers for both of the love-struck puppets.
Barkilphedro was so cheerful, so accepting, so incapable of taking up the defence of anybody, possessing so little devotion at bottom, so ugly, so mischievous, that it was quite natural that a regal personage should come to be unable to do without him. Once Anne had tasted Barkilphedro she would have no other flatterer. He flattered her as they flattered Louis the Great, by stinging her neighbours. "The king being ignorant," says Madame de Montchevreuil, "one is obliged to mock at the savants."
Barkilphedro was so cheerful, so accepting, so incapable of defending anyone, so lacking in true devotion, so ugly, and so mischievous that it was completely natural for someone royal to become dependent on him. Once Anne had experienced Barkilphedro, she wouldn’t accept any other flatterer. He flattered her the same way they flattered Louis the Great, by mocking her rivals. "Since the king is clueless," says Madame de Montchevreuil, "one must make fun of the scholars."
To poison the sting, from time to time, is the acme of art. Nero loves to see Locusta at work.
To poison the sting every now and then is the peak of artistry. Nero enjoys watching Locusta in action.
Royal palaces are very easily entered; these madrepores have a way in soon guessed at, contrived, examined, and scooped out at need by the gnawing thing which is called the courtier. A pretext to enter is sufficient. Barkilphedro, having found this pretext, his position with the queen soon became the same as that with the Duchess Josiana—that of an indispensable domestic animal. A witticism risked one day by him immediately led to his perfect understanding of the queen and how to estimate exactly her kindness of heart. The queen was greatly attached to her Lord Steward, William Cavendish, Duke of Devonshire, who was a great fool. This lord, who had obtained every Oxford degree and did not know how to spell, one fine morning committed the folly of dying. To die is a very imprudent thing at court, for there is then no further restraint in speaking of you. The queen, in the presence of Barkilphedro, lamented the event, finally exclaiming, with a sigh,—
Royal palaces are really easy to get into; these gateways are quickly figured out, crafted, examined, and shaped as needed by the insatiable thing known as the courtier. Just having an excuse to enter is enough. Barkilphedro, having found this excuse, soon became as essential to the queen as he was to Duchess Josiana—like a loyal pet. A joke he made one day led him to fully understand the queen and just how to gauge her kindness. The queen was very fond of her Lord Steward, William Cavendish, Duke of Devonshire, who was quite foolish. This lord, who had earned every degree from Oxford yet couldn’t spell, one fine morning made the mistake of dying. Dying is quite reckless in court because then there’s no limit to what people will say about you. The queen, in front of Barkilphedro, mourned this event, finally declaring with a sigh,—
"It is a pity that so many virtues should have been borne and served by so poor an intellect."
"It's a shame that so many good qualities were carried and supported by such a weak mind."
"Dieu veuille avoir son âne!" whispered Barkilphedro, in a low voice, and in French.
"God help his donkey!" whispered Barkilphedro, in a low voice, and in French.
The queen smiled. Barkilphedro noted the smile. His conclusion was that biting pleased. Free licence had been given to his spite. From that day he thrust his curiosity everywhere, and his malignity with it. He was given his way, so much was he feared. He who can make the king laugh makes the others tremble. He was a powerful buffoon. Every day he worked his way forward—underground. Barkilphedro became a necessity. Many great people honoured him with their confidence, to the extent of charging him, when they required him, with their disgraceful commissions.
The queen smiled. Barkilphedro noticed the smile. He concluded that being biting was enjoyable. He was given free rein to his spite. From that day on, he pushed his curiosity in every direction, along with his malice. He got his way, as he was feared so much. Whoever can make the king laugh makes everyone else uneasy. He was a powerful jester. Every day he made his way up—underground. Barkilphedro became essential. Many influential people trusted him enough to assign him their shameful tasks when they needed him.
There are wheels within wheels at court. Barkilphedro became the motive power. Have you remarked, in certain mechanisms, the smallness of the motive wheel?
There are wheels within wheels at court. Barkilphedro became the driving force. Have you noticed, in some machines, how small the driving wheel can be?
Josiana, in particular, who, as we have explained, made use of Barkilphedro's talents as a spy, reposed such confidence in him that she had not hesitated to entrust him with one of the master-keys of her apartments, by means of which he was able to enter them at any hour. This excessive licence of insight into private life was in fashion in the seventeenth century. It was called "giving the key." Josiana had given two of these confidential keys—Lord David had one, Barkilphedro the other. However, to enter straight into a bedchamber was, in the old code of manners, a thing not in the least out of the way. Thence resulted incidents. La Ferté, suddenly drawing back the bed curtains of Mademoiselle Lafont, found inside Sainson, the black musketeer, etc., etc.
Josiana, in particular, who, as we've mentioned, took advantage of Barkilphedro's skills as a spy, trusted him so much that she didn't hesitate to give him one of the master keys to her rooms, which allowed him to enter at any time. This level of access to someone's private life was common in the seventeenth century. It was known as "giving the key." Josiana had given out two of these confidential keys—one to Lord David and the other to Barkilphedro. However, walking straight into a bedroom was, according to the old social norms, not considered unusual at all. This led to some surprising situations. La Ferté, for example, abruptly pulled back the bed curtains of Mademoiselle Lafont and discovered Sainson, the black musketeer, and so on.
Barkilphedro excelled in making the cunning discoveries which place the great in the power of the little. His walk in the dark was winding, soft, clever. Like every perfect spy, he was composed of the inclemency of the executioner and the patience of a micograph. He was a born courtier. Every courtier is a noctambulist. The courtier prowls in the night, which is called power. He carries a dark lantern in his hand. He lights up the spot he wishes, and remains in darkness himself. What he seeks with his lantern is not a man, it is a fool. What he finds is the king.
Barkilphedro was great at making clever discoveries that put the powerful at the mercy of the weak. His movements in the shadows were winding, subtle, and smart. Like any top-notch spy, he combined the ruthlessness of an executioner with the patience of a microscope. He was a natural at being a courtier. Every courtier is like a sleepwalker. The courtier roams through the night, which represents power. He carries a dark lantern, shining light on the places he chooses while staying hidden himself. What he looks for with his lantern isn't just anyone—it's a fool. What he actually finds is the king.
Kings do not like to see those about them pretend to greatness. Irony aimed at any one except themselves has a charm for them. The talent of Barkilphedro consisted in a perpetual dwarfing of the peers and princes to the advantage of her Majesty's stature, thus increased in proportion. The master-key held by Barkilphedro was made with two sets of wards, one at each end, so as to open the inner apartments in both Josiana's favourite residences—Hunkerville House in London, Corleone Lodge at Windsor. These two houses were part of the Clancharlie inheritance. Hunkerville House was close to Oldgate. Oldgate was a gate of London, which was entered by the Harwich road, and on which was displayed a statue of Charles II., with a painted angel on his head, and beneath his feet a carved lion and unicorn. From Hunkerville House, in an easterly wind, you heard the peals of St. Marylebone. Corleone Lodge was a Florentine palace of brick and stone, with a marble colonnade, built on pilework, at Windsor, at the head of the wooden bridge, and having one of the finest courts in England.
Kings don't like to see those around them acting as if they are important. They find irony directed at anyone but themselves appealing. Barkilphedro had a knack for constantly belittling the peers and princes to make her Majesty seem even greater. Barkilphedro held a master key designed with two sets of wards, one at each end, allowing access to the inner rooms of both of Josiana's favorite residences—Hunkerville House in London and Corleone Lodge at Windsor. These two houses were part of the Clancharlie inheritance. Hunkerville House was near Oldgate. Oldgate was a gate into London, accessible via the Harwich road, featuring a statue of Charles II, topped with a painted angel, and beneath it, a carved lion and unicorn. From Hunkerville House, when the wind blew from the east, you could hear the bells of St. Marylebone. Corleone Lodge was a Florentine-style palace made of brick and stone, with a marble colonnade, built on piles at Windsor, at the head of the wooden bridge, and it had one of the finest courtyards in England.
In the latter palace, near Windsor Castle, Josiana was within the queen's reach. Nevertheless, Josiana liked it.
In the nearby palace close to Windsor Castle, Josiana was within the queen's grasp. Still, Josiana enjoyed it.
Scarcely anything in appearance, everything in the root, such was the influence of Barkilphedro over the queen. There is nothing more difficult than to drag up these bad grasses of the court—they take a deep root, and offer no hold above the surface. To root out a Roquelaure, a Triboulet, or a Brummel, is almost impossible.
Scarcely anything on the surface, but everything at its core—that was Barkilphedro's influence over the queen. There’s nothing harder than to uproot the toxic weeds of the court—they dig in deep and provide no grip above ground. It's nearly impossible to get rid of a Roquelaure, a Triboulet, or a Brummel.
From day to day, and more and more, did the queen take Barkilphedro into her good graces. Sarah Jennings is famous; Barkilphedro is unknown. His existence remains ignored. The name of Barkilphedro has not reached as far as history. All the moles are not caught by the mole-trapper.
From day to day, the queen grew increasingly fond of Barkilphedro. Sarah Jennings is well-known; Barkilphedro is a nobody. His presence goes unnoticed. The name Barkilphedro hasn't even made it into history. Not every mole gets caught by the mole-trapper.
Barkilphedro, once a candidate for orders, had studied a little of everything. Skimming all things leaves naught for result. One may be victim of the omnis res scibilis. Having the vessel of the Danaïdes in one's head is the misfortune of a whole race of learned men, who may be termed the sterile. What Barkilphedro had put into his brain had left it empty.
Barkilphedro, who once aspired to become a clergyman, had learned a bit about everything. Skimming through all subjects yields no real outcome. One can fall victim to the omnis res scibilis. Having a mind like the leaky vessel of the Danaïdes is the curse of an entire generation of scholars, who could be called unproductive. What Barkilphedro had stored in his mind had left it empty.
The mind, like nature, abhors vacuum. Into emptiness nature puts love; the mind often puts hate. Hate occupies.
The mind, just like nature, hates a void. In emptiness, nature fills it with love; the mind often fills it with hate. Hate takes up space.
Hate for hate's sake exists. Art for art's sake exists in nature more than is believed. A man hates—he must do something. Gratuitous hate—formidable word! It means hate which is itself its own payment. The bear lives by licking his claws. Not indefinitely, of course. The claws must be revictualled—something must be put under them.
Hate for the sake of hate exists. Art for art’s sake exists in reality more than people think. A man hates—he has to do something about it. Gratuitous hate—what a powerful term! It means hate that serves no purpose other than itself. The bear survives by licking his claws. Not forever, of course. The claws need to be fed again—something has to be provided for them.
Hate indistinct is sweet, and suffices for a time; but one must end by having an object. An animosity diffused over creation is exhausting, like every solitary pleasure. Hate without an object is like a shooting-match without a target. What lends interest to the game is a heart to be pierced. One cannot hate solely for honour; some seasoning is necessary—a man, a woman, somebody, to destroy. This service of making the game interesting; of offering an end; of throwing passion into hate by fixing it on an object; of of amusing the hunter by the sight of his living prey; giving the watcher the hope of the smoking and boiling blood about to flow; of amusing the bird-catcher by the credulity of the uselessly-winged lark; of being a victim, unknowingly reared for murder by a master-mind—all this exquisite and horrible service, of which the person rendering it is unconscious, Josiana rendered Barkilphedro.
Hate that isn’t focused feels nice for a while, but eventually, you need a target. Spreading anger everywhere is tiring, just like every lonely pleasure. Hate without a target is like a shooting gallery without a bullseye. What makes the game exciting is the heart to strike. You can’t just hate for the sake of honor; you need something to spice it up—a man, a woman, someone to take down. This act of making the game thrilling; of providing a goal; of fueling passion by directing it towards a target; of entertaining the hunter with the sight of their living prey; giving the observer the anticipation of blood about to spill; of amusing the bird-catcher by the gullibility of the hapless lark; of being a victim, unknowingly raised for slaughter by a clever mastermind—all this intricate and dreadful role, which the one playing it isn’t aware of, Josiana offered to Barkilphedro.
Thought is a projectile. Barkilphedro had, from the first day, begun to aim at Josiana the evil intentions which were in his mind. An intention and a carbine are alike. Barkilphedro aimed at Josiana, directing against the duchess all his secret malice. That astonishes you! What has the bird done at which you fire? You want to eat it, you say. And so it was with Barkilphedro.
Thought is like a projectile. From day one, Barkilphedro started to target Josiana with the malicious intentions he harbored. An intention and a rifle are similar. Barkilphedro aimed at Josiana, directing all his hidden malice towards the duchess. Surprised? What has the bird done that you're shooting at it? You say you want to eat it. That’s exactly how it was with Barkilphedro.
Josiana could not be struck in the heart—the spot where the enigma lies is hard to wound; but she could be struck in the head—that is, in her pride. It was there that she thought herself strong, and that she was weak.
Josiana couldn't be hurt in her heart—the place where the mystery is is hard to injure; but she could be hurt in her head—that is, in her pride. It was there that she believed she was strong, and yet she was weak.
Barkilphedro had found it out. If Josiana had been able to see clearly through the night of Barkilphedro, if she had been able to distinguish what lay in ambush behind his smile, that proud woman, so highly situated, would have trembled. Fortunately for the tranquillity of her sleep, she was in complete ignorance of what was in the man.
Barkilphedro had figured it out. If Josiana had been able to see through Barkilphedro's deceptions at night, if she could have sensed what lurked behind his smile, that proud woman, who held such a high position, would have shuddered. Luckily for her peace of mind, she was completely unaware of the man's true intentions.
The unexpected spreads, one knows not whence. The profound depths of life are dangerous. There is no small hate. Hate is always enormous. It preserves its stature in the smallest being, and remains a monster. An elephant hated by a worm is in danger.
The unexpected spreads from unknown sources. The deep aspects of life can be perilous. There’s no such thing as a small hate. Hate is always immense. It maintains its presence even in the tiniest being, and remains a monster. An elephant hated by a worm is at risk.
Even before he struck, Barkilphedro felt, with joy, the foretaste of the evil action which he was about to commit. He did not as yet know what he was going to do to Josiana; but he had made up his mind to do something. To have come to this decision was a great step taken. To crush Josiana utterly would have been too great a triumph. He did not hope for so much; but to humiliate her, lessen her, bring her grief, redden her proud eyes with tears of rage—what a success! He counted on it. Tenacious, diligent, faithful to the torment of his neighbour, not to be torn from his purpose, nature had not formed him for nothing. He well understood how to find the flaw in Josiana's golden armour, and how to make the blood of that Olympian flow.
Even before he acted, Barkilphedro felt excited about the evil deed he was about to carry out. He didn’t yet know what he was going to do to Josiana, but he was determined to do something. Making this decision was a significant step. Completely crushing Josiana would have been too much of a victory. He didn’t expect that much, but to humiliate her, diminish her, cause her pain, and fill her proud eyes with tears of rage—what a success that would be! He was counting on it. Persistent, hardworking, and committed to tormenting his neighbor, he was resolute in his intention; nature had shaped him for this. He knew exactly how to find the weakness in Josiana's golden armor and how to make the blood of that goddess flow.
What benefit, we ask again, would accrue to him in so doing? An immense benefit—doing evil to one who had done good to him. What is an envious man? An ungrateful one. He hates the light which lights and warms him. Zoilus hated that benefit to man, Homer. To inflict on Josiana what would nowadays be called vivisection—to place her, all convulsed, on his anatomical table; to dissect her alive, at his leisure, in some surgery; to cut her up, as an amateur, while she should scream—this dream delighted Barkilphedro!
What advantage, we ask again, would he gain from doing this? A huge advantage—doing harm to someone who had been good to him. What is an envious person? An ungrateful one. He despises the light that illuminates and warms him. Zoilus resented that benefit to humanity, Homer. To subject Josiana to what we would now call vivisection—to put her, all convulsed, on his operating table; to dissect her alive, at his leisure, in some medical setting; to chop her up, like a hobbyist, while she screamed—this vision thrilled Barkilphedro!
To arrive at this result it was necessary to suffer somewhat himself; he did so willingly. We may pinch ourselves with our own pincers. The knife as it shuts cuts our fingers. What does it matter? That he should partake of Josiana's torture was a matter of little moment. The executioner handling the red-hot iron, when about to brand a prisoner, takes no heed of a little burn. Because another suffers much, he suffers nothing. To see the victim's writhings takes all pain from the inflicter.
To achieve this result, he had to endure some pain himself; he accepted it willingly. We can hurt ourselves with our own tools. The knife cuts our fingers when it closes. So what? It didn’t matter much for him to experience Josiana's suffering. The executioner wielding the hot iron, ready to brand a prisoner, doesn’t worry about a minor burn. Since someone else is suffering greatly, he feels nothing. Watching the victim's agony removes all pain from the one causing it.
Do harm, whatever happens.
Do harm, no matter what.
To plan evil for others is mingled with an acceptance of some hazy responsibility. We risk ourselves in the danger which we impel towards another, because the chain of events sometimes, of course, brings unexpected accidents. This does not stop the man who is truly malicious. He feels as much joy as the patient suffers agony. He is tickled by the laceration of the victim. The malicious man blooms in hideous joy. Pain reflects itself on him in a sense of welfare. The Duke of Alva used to warm his hands at the stake. The pile was torture, the reflection of it pleasure. That such transpositions should be possible makes one shudder. Our dark side is unfathomable. Supplice exquis (exquisite torture)—the expression is in Bodin[12]—has perhaps this terrible triple sense: search for the torture; suffering of the tortured; delight of the torturer.
To plan harm for others comes with a vague sense of responsibility. We put ourselves at risk in the danger we push onto someone else, because the chain of events can sometimes lead to unexpected accidents. This doesn’t stop someone who is truly malicious. He experiences as much joy as the victim feels pain. He gets a thrill from the suffering of others. The malicious person thrives in a grotesque happiness. Pain reflects back to him as a sense of well-being. The Duke of Alva used to warm his hands at the stake. The pyre was torture, but the reflection of it brought him pleasure. The fact that such perversions are possible is unsettling. Our dark side is unfathomable. Supplice exquis (exquisite torture)—the phrase comes from Bodin[12]—may have this horrific triple meaning: the pursuit of torture; the suffering of the tortured; the delight of the torturer.
Ambition, appetite—all such words signify some one sacrificed to some one satiated. It is sad that hope should be wicked. Is it that the outpourings of our wishes flow naturally to the direction to which we most incline—that of evil? One of the hardest labours of the just man is to expunge from his soul a malevolence which it is difficult to efface. Almost all our desires, when examined, contain what we dare not avow.
Ambition, desire—words like these show how one person sacrifices for another's satisfaction. It’s unfortunate that hope can lead to wrongdoing. Do our wishes naturally lean towards the path of evil? One of the toughest struggles for a good person is to rid their soul of a negativity that's hard to erase. Almost all our desires, upon closer inspection, include things we’re afraid to admit.
In the completely wicked man this exists in hideous perfection. So much the worse for others, signifies so much the better for himself. The shadows of the caverns of man's mind.
In the totally evil person, this is present in its most horrific form. What’s worse for others means that it’s better for him. The dark corners of the human mind.
Josiana, in a plenitude of security the fruit of ignorant pride, had a contempt for all danger. The feminine faculty of disdain is extraordinary. Josiana's disdain, unreasoning, involuntary, and confident. Barkilphedro was to her so contemptible that she would have been astonished had any one remarked to her that such a creature existed. She went, and came, and laughed before this man who was looking at her with evil eyes. Thoughtful, he bided his time.
Josiana, in a state of complete security fueled by her ignorant pride, felt no fear of danger. Women's ability to look down on others is remarkable. Josiana's disdain was unthinking, automatic, and self-assured. Barkilphedro was so beneath her that she would have been shocked if someone had pointed out that such a person existed. She moved around freely, laughing in front of this man who was watching her with malicious intent. Deep in thought, he waited for the right moment.
In proportion as he waited, his determination to cast a despair into this woman's life augmented. Inexorable high tide of malice.
As he waited, his resolve to bring despair into this woman’s life grew stronger. An unstoppable wave of malice.
In the meantime he gave himself excellent reasons for his determination. It must not be thought that scoundrels are deficient in self-esteem. They enter into details with themselves in their lofty monologues, and they take matters with a high hand. How? This Josiana had bestowed charity on him! She had thrown some crumbs of her enormous wealth to him, as to a beggar. She had nailed and riveted him to an office which was unworthy him. Yes; that he, Barkilphedro, almost a clergyman, of varied and profound talent, a learned man, with the material in him for a bishop, should have for employ the registration of nasty patience-trying shards, that he should have to pass his life in the garret of a register-office, gravely uncorking stupid bottles, incrusted with all the nastiness of the sea, deciphering musty parchments, like filthy conjuring-books, dirty wills, and other illegible stuff of the kind, was the fault of this Josiana. Worst of all, this creature "thee'd" and "thou'd" him! And he should not revenge himself—he should not punish such conduct! Well, in that case there would no longer be justice on earth!
In the meantime, he came up with solid reasons for his determination. It's a mistake to think that scoundrels lack confidence. They get into the details during their grand monologues, and they handle things with a sense of superiority. How? This Josiana had shown him some charity! She had tossed a few crumbs of her immense wealth to him, like a beggar. She had trapped him in a job that was beneath him. Yes; he, Barkilphedro, who was almost a clergyman, had diverse and deep talents, was a learned man, with what it took to be a bishop, was stuck doing the tedious registration of annoying, frustrating paperwork. He had to spend his life in the attic of a registry office, seriously uncorking pointless bottles, caked with all the filth of the sea, deciphering old documents, like disgusting spellbooks, filthy wills, and other unreadable junk. It was all Josiana's fault. To make matters worse, this person spoke to him with "thee" and "thou"! And he was supposed to let that slide—he was not to seek revenge for such behavior! Well, if that were the case, there would be no justice left on earth!
CHAPTER X.
THE FLAME WHICH WOULD BE SEEN IF MAN WERE TRANSPARENT.
What! this woman, this extravagant thing, this libidinous dreamer, a virgin until the opportunity occurred, this bit of flesh as yet unfreed, this bold creature under a princess's coronet; this Diana by pride, as yet untaken by the first comer, just because chance had so willed it; this bastard of a low-lived king who had not the intellect to keep his place; this duchess by a lucky hit, who, being a fine lady, played the goddess, and who, had she been poor, would have been a prostitute; this lady, more or less, this robber of a proscribed man's goods, this overbearing strumpet, because one day he, Barkilphedro, had not money enough to buy his dinner, and to get a lodging—she had had the impudence to seat him in her house at the corner of a table, and to put him up in some hole in her intolerable palace. Where? never mind where. Perhaps in the barn, perhaps in the cellar; what does it matter? A little better than her valets, a little worse than her horses. She had abused his distress—his, Barkilphedro's—in hastening to do him treacherous good; a thing which the rich do in order to humiliate the poor, and to tie them, like curs led by a string. Besides, what did the service she rendered him cost her? A service is worth what it costs. She had spare rooms in her house. She came to Barkilphedro's aid! A great thing, indeed. Had she eaten a spoonful the less of turtle soup for it? had she deprived herself of anything in the hateful overflowing of her superfluous luxuries? No. She had added to it a vanity, a luxury, a good action like a ring on her finger, the relief of a man of wit, the patronization of a clergyman. She could give herself airs: say, "I lavish kindness; I fill the mouths of men of letters; I am his benefactress. How lucky the wretch was to find me out! What a patroness of the arts I am!" All for having set up a truckle bed in a wretched garret in the roof. As for the place in the Admiralty, Barkilphedro owed it to Josiana; by Jove, a pretty appointment! Josiana had made Barkilphedro what he was. She had created him. Be it so. Yes, created nothing—less than nothing. For in his absurd situation he felt borne down, tongue-tied, disfigured. What did he owe Josiana? The thanks due from a hunchback to the mother who bore him deformed. Behold your privileged ones, your folks overwhelmed with fortune, your parvenus, your favourites of that horrid stepmother Fortune! And that man of talent, Barkilphedro, was obliged to stand on staircases, to bow to footmen, to climb to the top of the house at night, to be courteous, assiduous, pleasant, respectful, and to have ever on his muzzle a respectful grimace! Was not it enough to make him gnash his teeth with rage! And all the while she was putting pearls round her neck, and making amorous poses to her fool, Lord David Dirry-Moir; the hussy!
What! This woman, this extravagant thing, this lustful dreamer, a virgin until the chance arose, this piece of flesh still unclaimed, this bold creature beneath a princess's crown; this proud Diana, still untouched by the first man who came along, just because fate decided it; this illegitimate child of a low-born king who lacked the smarts to maintain his status; this duchess by luck, who, being a refined lady, acted like a goddess, and who, had she been poor, would have been a prostitute; this lady, more or less, this thief of a condemned man's possessions, this arrogant slut, because one day he, Barkilphedro, didn’t have enough money to buy his dinner or find a place to stay—she had the nerve to seat him at her table in her house and to let him stay in some corner of her unbearable palace. Where? Never mind where. Maybe in the barn, maybe in the cellar; what does it matter? A little better than her servants, a little worse than her horses. She had exploited his misfortune—his, Barkilphedro's—by rushing to do him false kindness; something the rich do to humiliate the poor and to keep them on a short leash. Besides, what did her help cost her? A service is worth what it costs. She had spare rooms in her house. She came to Barkilphedro's rescue! A huge deal, indeed. Did she eat one less spoonful of turtle soup for it? Did she give up anything in her extravagant lifestyle? No. She just added to her vanity, a luxury, a good deed like a shiny ring on her finger, the relief of a clever guy, the patronage of a clergyman. She could act all high and mighty: say, "I’m so generous; I support men of letters; I’m his benefactor. How lucky he was to find me! What a patron of the arts I am!" All for having set up a makeshift bed in a miserable attic. As for the position in the Admiralty, Barkilphedro owed it to Josiana; by god, what a nice little job! Josiana had made Barkilphedro who he was. Fine, she had created nothing—less than nothing. For in his ridiculous situation, he felt crushed, speechless, disfigured. What did he owe Josiana? The gratitude a hunchback owes the mother who brought him into the world deformed. Look at your privileged ones, those drowning in good fortune, your social climbers, your favorites of that awful stepmother Fortune! And that talented man, Barkilphedro, had to stand on staircases, bow to footmen, climb to the top of the house at night, be courteous, attentive, pleasant, respectful, and always wear a polite grin! Wasn't it enough to drive him crazy with rage! And all the while she was putting pearls around her neck and striking flirtatious poses for her fool, Lord David Dirry-Moir; the shameless hussy!
Never let any one do you a service. They will abuse the advantage it gives them. Never allow yourself to be taken in the act of inanition. They would relieve you. Because he was starving, this woman had found it a sufficient pretext to give him bread. From that moment he was her servant; a craving of the stomach, and there is a chain for life! To be obliged is to be sold. The happy, the powerful, make use of the moment you stretch out your hand to place a penny in it, and at the crisis of your weakness make you a slave, and a slave of the worst kind, the slave of an act of charity—a slave forced to love the enslaver. What infamy! what want of delicacy! what an assault on your self-respect! Then all is over. You are sentenced for life to consider this man good, that woman beautiful; to remain in the back rows; to approve, to applaud, to admire, to worship, to prostrate yourself, to blister your knees by long genuflections, to sugar your words when you are gnawing your lips with anger, when you are biting down your cries of fury, and when you have within you more savage turbulence and more bitter foam than the ocean!
Never let anyone do you a favor. They will take advantage of it. Don't let yourself be caught in a moment of weakness. They would help you. Because he was starving, this woman used it as an excuse to give him bread. From that point on, he was her servant; a hunger in your stomach creates a lifelong chain! Being indebted is being sold. The fortunate and powerful will seize the moment you extend your hand to accept a penny, and in your moment of weakness, they'll make you a slave—specifically, a slave to an act of charity—a slave forced to love the one who enslaves you. What a disgrace! What a lack of sensitivity! What an attack on your self-respect! From that moment on, you’re doomed. You are sentenced for life to see this man as good, that woman as beautiful; to stay in the background; to agree, to applaud, to admire, to worship, to bow down, to blister your knees with long kneelings, to sweeten your words while you gnaw on your lips in anger, while you suppress your cries of fury, with more savage turmoil and bitterness inside you than the ocean!
It is thus that the rich make prisoners of the poor.
It’s like this: the rich trap the poor.
This slime of a good action performed towards you bedaubs and bespatters you with mud for ever.
This slimy act of kindness towards you covers you in mud forever.
An alms is irremediable. Gratitude is paralysis. A benefit is a sticky and repugnant adherence which deprives you of free movement. Those odious, opulent, and spoiled creatures whose pity has thus injured you are well aware of this. It is done—you are their creature. They have bought you—and how? By a bone taken from their dog and cast to you. They have flung that bone at your head. You have been stoned as much as benefited. It is all one. Have you gnawed the bone—yes or no? You have had your place in the dog-kennel as well. Then be thankful—be ever thankful. Adore your masters. Kneel on indefinitely. A benefit implies an understood inferiority accepted by you. It means that you feel them to be gods and yourself a poor devil. Your diminution augments them. Your bent form makes theirs more upright. In the tones of their voices there is an impertinent inflexion. Their family matters—their marriages, their baptisms, their child-bearings, their progeny—all concern you. A wolf cub is born to them. Well, you have to compose a sonnet. You are a poet because you are low. Isn't it enough to make the stars fall! A little more, and they would make you wear their old shoes.
An alms is irreversible. Gratitude is a kind of paralysis. A gift is a sticky and disgusting attachment that takes away your freedom. Those spoiled, wealthy, and despicable people, whose pity has hurt you, know this very well. It’s done—you are now their possession. They have bought you—and how? By tossing a bone from their dog in your direction. They’ve thrown that bone at you. You’ve been hit as much as helped. It’s all the same. Have you chewed on the bone—yes or no? You’ve spent your time in the doghouse too. So be grateful—be eternally grateful. Worship your masters. Bow down indefinitely. A favor implies an accepted inferiority on your part. It means you see them as gods and yourself as a mere mortal. Your lowering lifts them. Your bent posture makes theirs seem more upright. Their voices carry an arrogant tone. Their family affairs—their weddings, their baptisms, their childbirths, their offspring—are all your concern. A wolf cub is born to them. Well, you need to write a poem about it. You are a poet because you’re low. Isn’t that enough to make the stars fall? Just a little more, and they’d get you to wear their old shoes.
"Who have you got there, my dear? How ugly he is! Who is that man?"
"Who do you have with you, my dear? He looks so ugly! Who is that guy?"
"I do not know. A sort of scholar, whom I feed."
"I don't know. A kind of scholar that I support."
Thus converse these idiots, without even lowering their voice. You hear, and remain mechanically amiable. If you are ill, your masters will send for the doctor—not their own. Occasionally they may even inquire after you. Being of a different species from you, and at an inaccessible height above you, they are affable. Their height makes them easy. They know that equality is impossible. By force of disdain they are polite. At table they give you a little nod. Sometimes they absolutely know how your name is spelt! They only show that they are your protectors by walking unconsciously over all the delicacy and susceptibility you possess. They treat you with good-nature. Is all this to be borne?
So these fools talk, not even bothering to lower their voices. You listen and stay politely agreeable. If you're sick, your bosses will call for a doctor—not their own. Sometimes they might even ask how you're doing. Being different from you and looking down on you from their lofty position, they act friendly. Their status makes them comfortable. They know that true equality is impossible. Out of sheer disdain, they are courteous. At the dinner table, they give you a quick nod. Occasionally, they even know how to spell your name! They only show they are your protectors by trampling over all the sensitivity you have. They treat you with a false sense of kindness. Is all this really something you have to put up with?
No doubt he was eager to punish Josiana. He must teach her with whom she had to deal!
No doubt he was eager to punish Josiana. He needed to show her who she was dealing with!
O my rich gentry, because you cannot eat up everything, because opulence produces indigestion seeing that your stomachs are no bigger than ours, because it is, after all, better to distribute the remainder than to throw it away, you exalt a morsel flung to the poor into an act of magnificence. Oh, you give us bread, you give us shelter, you give us clothes, you give us employment, and you push audacity, folly, cruelty, stupidity, and absurdity to the pitch of believing that we are grateful! The bread is the bread of servitude, the shelter is a footman's bedroom, the clothes are a livery, the employment is ridiculous, paid for, it is true, but brutalizing.
Oh, my wealthy elite, since you can’t consume everything, and since excessive riches cause indigestion, given that your stomachs are just as limited as ours, it’s really better to share what’s left rather than waste it, you turn a crumb thrown to the poor into a grand gesture. Yes, you provide us with bread, shelter, clothing, and jobs, and you push arrogance, ignorance, cruelty, foolishness, and absurdity to the point of thinking we are thankful! The bread is the bread of servitude, the shelter is just a servant's room, the clothes are a uniform, and the jobs are ridiculous, sure they come with pay, but they are degrading.
Oh, you believe in the right to humiliate us with lodging and nourishment, and you imagine that we are your debtors, and you count on our gratitude! Very well; we will eat up your substance, we will devour you alive and gnaw your heart-strings with our teeth.
Oh, you think you have the right to humiliate us with your shelter and food, and you believe we owe you something, counting on our gratitude! Fine; we'll consume your resources, we will devour you whole and tear at your heartstrings with our teeth.
This Josiana! Was it not absurd? What merit had she? She had accomplished the wonderful work of coming into the world as a testimony of the folly of her father and the shame of her mother. She had done us the favour to exist, and for her kindness in becoming a public scandal they paid her millions; she had estates and castles, warrens, parks, lakes, forests, and I know not what besides, and with all that she was making a fool of herself, and verses were addressed to her! And Barkilphedro, who had studied and laboured and taken pains, and stuffed his eyes and his brain with great books, who had grown mouldy in old works and in science, who was full of wit, who could command armies, who could, if he would, write tragedies like Otway and Dryden, who was made to be an emperor—Barkilphedro had been reduced to permit this nobody to prevent him from dying of hunger. Could the usurpation of the rich, the hateful elect of chance, go further? They put on the semblance of being generous to us, of protecting us, and of smiling on us, and we would drink their blood and lick our lips after it! That this low woman of the court should have the odious power of being a benefactress, and that a man so superior should be condemned to pick up such bribes falling from such a hand, what a frightful iniquity! And what social system is this which has for its base disproportion and injustice? Would it not be best to take it by the four corners, and to throw pell-mell to the ceiling the damask tablecloth, and the festival, and the orgies, and the tippling and drunkenness, and the guests, and those with their elbows on the table, and those with their paws under it, and the insolent who give and the idiots who accept, and to spit it all back again in the face of Providence, and fling all the earth to the heavens? In the meantime let us stick our claws into Josiana.
This Josiana! Wasn't it ridiculous? What did she even do? She managed to be born as proof of her father's foolishness and her mother's shame. She did us a favor by existing, and for her generosity in becoming a public scandal, they showered her with millions; she had estates, castles, game preserves, parks, lakes, forests, and so much more, and despite all that, she was making a fool of herself, and people were writing poems about her! And Barkilphedro, who had studied hard, worked tirelessly, and filled his mind with great books, who had become stagnant with old texts and science, who was witty enough to command armies, who could, if he chose, write tragedies like Otway and Dryden, who was meant to be an emperor—Barkilphedro had been brought low to allow this nobody to keep him from starving. Could the greed of the rich, the loathsome lucky few, go any further? They pretend to be generous, to protect us, to smile at us, when we would gladly drink their blood and savor it! That this lowly woman of the court should have the awful power to be a benefactor, while a man of such talent is forced to accept tokens of pity from her—what a horrifying injustice! What kind of social system is this that rests on inequality and unfairness? Wouldn't it be better to take it all by the four corners and throw everything—tablecloths, festivities, debauchery, drunkenness, guests, those lounging at the table, and those sneaking their hands under it, the arrogant givers and the foolish receivers—into chaos and spit it all back in Providence's face, and hurl all of it up to the heavens? Meanwhile, let’s dig our claws into Josiana.
Thus dreamed Barkilphedro. Such were the ragings of his soul. It is the habit of the envious man to absolve himself, amalgamating with his personal grievance the public wrongs.
Thus dreamed Barkilphedro. Such were the turmoils of his soul. It's common for an envious person to justify themselves, mixing their personal resentments with societal injustices.
All the wild forms of hateful passions went and came in the intellect of this ferocious being. At the corners of old maps of the world of the fifteenth century are great vague spaces without shape or name, on which are written these three words, Hic sunt leones. Such a dark corner is there also in man. Passions grow and growl somewhere within us, and we may say of an obscure portion of our souls, "There are lions here."
All the intense forms of hateful feelings came and went in the mind of this fierce individual. In the corners of old maps from the fifteenth century, there are large, undefined areas without shape or name, labeled with the words, Hic sunt leones. A similar dark corner exists within humans. Emotions grow and churn somewhere inside us, and we might say of a hidden part of our souls, "There are lions here."
Is this scaffolding of wild reasoning absolutely absurd? does it lack a certain justice? We must confess it does not.
Is this crazy reasoning completely ridiculous? Does it lack a certain fairness? We have to admit it doesn’t.
It is fearful to think that judgment within us is not justice. Judgment is the relative, justice is the absolute. Think of the difference between a judge and a just man.
It’s scary to realize that our judgment isn’t the same as justice. Judgment is subjective, while justice is objective. Consider the difference between a judge and a genuinely fair person.
Wicked men lead conscience astray with authority. There are gymnastics of untruth. A sophist is a forger, and this forger sometimes brutalizes good sense.
Evil people mislead our conscience with their power. There are tricks of deception. A sophist is a fraud, and this fraud sometimes distorts common sense.
A certain logic, very supple, very implacable, and very agile, is at the service of evil, and excels in stabbing truth in the dark. These are blows struck by the devil at Providence.
A specific logic, very flexible, very relentless, and very quick, is used for evil and is great at attacking truth in the shadows. These are attacks by the devil on Providence.
The worst of it was that Barkilphedro had a presentiment. He was undertaking a heavy task, and he was afraid that after all the evil achieved might not be proportionate to the work.
The worst part was that Barkilphedro had a bad feeling. He was taking on a heavy task, and he was worried that all the harm done might not match the effort he put in.
To be corrosive as he was, to have within himself a will of steel, a hate of diamond, a burning curiosity for the catastrophe, and to burn nothing, to decapitate nothing, to exterminate nothing; to be what he was, a force of devastation, a voracious animosity, a devourer of the happiness of others, to have been created (for there is a creator, whether God or devil), to have been created Barkilphedro all over, and to inflict perhaps after all but a fillip of the finger—could this be possible? could it be that Barkilphedro should miss his aim? To be a lever powerful enough to heave great masses of rock, and when sprung to the utmost power to succeed only in giving an affected woman a bump in the forehead—to be a catapult dealing ruin on a pole-kitten! To accomplish the task of Sisyphus, to crush an ant; to sweat all over with hate, and for nothing at all. Would not this be humiliating, when he felt himself a mechanism of hostility capable of reducing the world to powder! To put into movement all the wheels within wheels, to work in the darkness all the mechanism of a Marly machine, and to succeed perhaps in pinching the end of a little rosy finger! He was to turn over and over blocks of marble, perchance with the result of ruffling a little the smooth surface of the court! Providence has a way of thus expending forces grandly. The movement of a mountain often only displaces a molehill.
To be as destructive as he was, to carry within him a will of steel, a hate as strong as diamond, a burning curiosity about the disaster, and yet to create nothing, to destroy nothing, to eradicate nothing; to be what he was, a force of devastation, an intense animosity, a devourer of other people's happiness, to have been created (because there is a creator, whether God or devil), to be a complete Barkilphedro, and to inflict perhaps only a mere flick of the finger—could this really be possible? Could it be that Barkilphedro would miss his target? To be a lever strong enough to lift massive rocks, and when pushed to its full capacity, only to achieve causing a superficial bump on a woman's forehead—to be a catapult wreaking havoc on a tiny kitten! To accomplish the task of Sisyphus by crushing an ant; to sweat with hate, and to gain nothing from it. Wouldn't that be humiliating, when he saw himself as a mechanism of hostility capable of turning the world to dust! To set in motion all the gears within gears, to work in the shadows all the machinery of a grand machine, and to manage perhaps only to pinch the tip of a small rosy finger! He was meant to turn over and over blocks of marble, maybe just managing to slightly disturb the smooth surface of the court! Providence often expends its forces in such a grand way. The movement of a mountain often just shifts a molehill.
Besides this, when the court is the dangerous arena, nothing is more dangerous than to aim at your enemy and miss him. In the first place, it unmasks you and irritates him; but besides and above all, it displeases the master. Kings do not like the unskilful. Let us have no contusions, no ugly gashes. Kill anybody, but give no one a bloody nose. He who kills is clever, he who wounds awkward. Kings do not like to see their servants lamed. They are displeased if you chip a porcelain jar on their chimney-piece or a courtier in their cortège. The court must be kept neat. Break and replace; that does not matter. Besides, all this agrees perfectly with the taste of princes for scandal. Speak evil, do none; or if you do, let it be in grand style.
Besides this, when the court is the dangerous arena, nothing is riskier than aiming at your enemy and missing. First of all, it reveals your intentions and annoys him; but above all, it upsets the boss. Kings don’t like incompetence. Let’s avoid injuries and unsightly wounds. Kill anyone, but don’t give anyone a black eye. Those who kill are clever; those who hurt awkwardly. Kings don’t want to see their servants hurt. They get upset if you chip a porcelain vase on their mantel or a courtier in their entourage. The court needs to stay tidy. Break and replace; that’s fine. Besides, all this fits perfectly with princes’ taste for scandal. Speak ill, do no harm; or if you must, let it be done with style.
Stab, do not scratch, unless the pin be poisoned. This would be an extenuating circumstance, and was, we may remember, the case with Barkilphedro.
Stab, don't scratch, unless the pin is poisoned. That would be a mitigating factor, and we might recall that this was the case with Barkilphedro.
Every malicious pigmy is a phial in which is enclosed the dragon of Solomon. The phial is microscopic, the dragon immense. A formidable condensation, awaiting the gigantic hour of dilation! Ennui consoled by the premeditation of explosion! The prisoner is larger than the prison. A latent giant! how wonderful! A minnow in which is contained a hydra. To be this fearful magical box, to contain within him a leviathan, is to the dwarf both a torture and a delight.
Every malicious pygmy is like a tiny bottle holding the dragon of Solomon. The bottle is tiny, while the dragon is huge. A powerful buildup, waiting for the moment it can burst forth! Boredom softened by the anticipation of explosion! The captive is bigger than the cage. A hidden giant! How amazing! A small fish that holds a hydra. To be this terrifying magical container, to have a leviathan within, is both a torment and a pleasure for the dwarf.
Nor would anything have caused Barkilphedro to let go his hold. He awaited his time. Was it to come? What mattered that? He watched for it. Self-love is mixed up in the malice of the very wicked man. To make holes and gaps in a court fortune higher than your own, to undermine it at all risks and perils, while encased and concealed yourself, is, we repeat, exceedingly interesting. The player at such a game becomes eager, even to passion. He throws himself into the work as if he were composing an epic. To be very mean, and to attack that which is great, is in itself a brilliant action. It is a fine thing to be a flea on a lion.
Nor would anything have made Barkilphedro let go of his grip. He waited for his moment. Would it come? What did it matter? He was on the lookout for it. Self-love is intertwined with the malice of even the most wicked person. Creating holes and gaps in a court fortune greater than your own, undermining it at all costs while staying hidden, is, as we say, incredibly engaging. The person playing such a game becomes passionate, even obsessive. He immerses himself in the task as if he were writing an epic. Being bitter and striking at something great is, in itself, a remarkable act. It's impressive to be a flea on a lion.
The noble beast feels the bite, and expends his mighty anger against the atom. An encounter with a tiger would weary him less; see how the actors exchange their parts. The lion, humiliated, feels the sting of the insect; and the flea can say, "I have in my veins the blood of a lion."
The noble creature feels the pain and unleashes his fierce anger on the tiny particle. A confrontation with a tiger would tire him out less; look at how the players switch their roles. The lion, shamed, feels the bite of the insect; and the flea can boast, "I have the blood of a lion flowing through my veins."
However, these reflections but half appeased the cravings of Barkilphedro's pride. Consolations, palliations at most. To vex is one thing; to torment would be infinitely better. Barkilphedro had a thought which returned to him without ceasing: his success might not go beyond just irritating the epidermis of Josiana. What could he hope for more—he so obscure against her so radiant? A scratch is worth but little to him who longs to see the crimson blood of his flayed victim, and to hear her cries as she lies before him more than naked, without even that garment the skin! With such a craving, how sad to be powerless!
However, these thoughts only partially satisfied Barkilphedro's pride. They were just small comforts at best. To annoy is one thing; to truly torment would be so much better. Barkilphedro couldn't stop thinking that his success might only manage to irritate Josiana's outer layer. What could he expect beyond that—he so invisible compared to her so bright? A scratch means very little to someone who longs to see the blood of their victim and to hear her wails as she lies before him completely exposed, without even her skin for cover! With such a desire, how frustrating it is to feel powerless!
Alas, there is nothing perfect!
Unfortunately, nothing is perfect!
However, he resigned himself. Not being able to do better, he only dreamed half his dream. To play a treacherous trick is an object after all.
However, he accepted his situation. Unable to do any better, he only pursued part of his dream. After all, playing a deceitful game is still a goal.
What a man is he who revenges himself for a benefit received! Barkilphedro was a giant among such men. Usually, ingratitude is forgetfulness. With this man, patented in wickedness, it was fury. The vulgar ingrate is full of ashes; what was within Barkilphedro? A furnace—furnace walled round by hate, silence, and rancour, awaiting Josiana for fuel. Never had a man abhorred a woman to such a point without reason. How terrible! She was his dream, his preoccupation, his ennui, his rage.
What kind of person seeks revenge for a kindness received? Barkilphedro was a giant among such people. Usually, ingratitude is just forgetfulness. With this man, defined by his wickedness, it was pure fury. The typical ingrate is filled with emptiness; but what was inside Barkilphedro? A furnace—one surrounded by hate, silence, and bitterness, just waiting for Josiana to fuel it. Never had a man hated a woman so deeply without cause. How awful! She was his dream, his constant thought, his boredom, his anger.
Perhaps he was a little in love with her.
Perhaps he was a bit in love with her.
CHAPTER XI.
BARKILPHEDRO IN AMBUSCADE.
To find the vulnerable spot in Josiana, and to strike her there, was, for all the causes we have just mentioned, the imperturbable determination of Barkilphedro. The wish is sufficient; the power is required. How was he to set about it? There was the question.
To identify Josiana's weak point and hit her where it hurts was, for all the reasons we've just discussed, the unshakeable resolve of Barkilphedro. The desire is there; the ability is what’s needed. How was he going to go about it? That was the question.
Vulgar vagabonds set the scene of any wickedness they intend to commit with care. They do not feel themselves strong enough to seize the opportunity as it passes, to take possession of it by fair means or foul, and to constrain it to serve them. Deep scoundrels disdain preliminary combinations. They start from their villainies alone, merely arming themselves all round, prepared to avail themselves of various chances which may occur, and then, like Barkilphedro, await the opportunity. They know that a ready-made scheme runs the risk of fitting ill into the event which may present itself. It is not thus that a man makes himself master of possibilities and guides them as one pleases. You can come to no previous arrangement with destiny. To-morrow will not obey you. There is a certain want of discipline in chance.
Vulgar wanderers carefully plan any wrongdoing they want to commit. They don’t feel strong enough to seize the moment as it comes, to claim it by any means necessary, and make it work for them. Deeply dishonest people don’t bother with initial schemes. They act on their own deceptions, simply preparing themselves for various opportunities that may arise, and then, like Barkilphedro, they wait for the right moment. They understand that a pre-made plan risks not fitting the situation that presents itself. That’s not how someone takes control of possibilities and shapes them as they wish. You can’t make prior arrangements with fate. Tomorrow won't comply with your demands. There’s a certain lack of order in chance.
Therefore they watch for it, and summon it suddenly, authoritatively, on the spot. No plan, no sketch, no rough model; no ready-made shoe ill-fitting the unexpected. They plunge headlong into the dark. To turn to immediate and rapid profit any circumstance that can aid him is the quality which distinguishes the able scoundrel, and elevates the villain into the demon. To strike suddenly at fortune, that is true genius.
Therefore, they anticipate it and call it forth suddenly and with authority, right there in the moment. There’s no plan, no sketch, no rough model; no pre-made shoe that doesn’t fit the unexpected. They dive straight into the darkness. The ability to quickly and immediately take advantage of any circumstance that can help him is what sets the skilled scoundrel apart and elevates the villain to the level of a demon. Striking suddenly at fortune, that’s true genius.
The true scoundrel strikes you from a sling with the first stone he can pick up. Clever malefactors count on the unexpected, that senseless accomplice of so many crimes. They grasp the incident and leap on it; there is no better Ars Poetica for this species of talent. Meanwhile be sure with whom you have to deal. Survey the ground.
The real villain hits you from a distance with the first stone they can grab. Smart wrongdoers rely on the unexpected, that irrational partner in so many crimes. They seize the situation and take advantage of it; there's no better Ars Poetica for this type of skill. In the meantime, make sure you know who you're dealing with. Take a good look at the situation.
With Barkilphedro the ground was Queen Anne. Barkilphedro approached the queen, and so close that sometimes he fancied he heard the monologues of her Majesty. Sometimes he was present unheeded at conversations between the sisters. Neither did they forbid his sliding in a word. He profited by this to lessen himself—a way of inspiring confidence. Thus one day in the garden at Hampton Court, being behind the duchess, who was behind the queen, he heard Anne, following the fashion, awkwardly enunciating sentiments.
With Barkilphedro, the setting was Queen Anne. Barkilphedro got close to the queen, so close that he sometimes thought he could hear her private thoughts. He often watched unnoticed during conversations between the sisters, and they didn’t mind if he slipped in a comment. He used this to make himself seem less intimidating—a way to gain their trust. One day in the garden at Hampton Court, standing behind the duchess, who was behind the queen, he heard Anne awkwardly sharing her opinions, just like everyone else.
"Animals are happy," said the queen. "They run no risk of going to hell."
"Animals are happy," said the queen. "They don't have to worry about going to hell."
"They are there already," replied Josiana.
"They're already here," replied Josiana.
This answer, which bluntly substituted philosophy for religion, displeased the queen. If, perchance, there was depth in the observation, Anne felt shocked.
This answer, which directly replaced religion with philosophy, upset the queen. If there was any truth in the comment, Anne felt shocked.
"My dear," said she to Josiana, "we talk of hell like a couple of fools. Ask Barkilphedro all about it. He ought to know such things."
"My dear," she said to Josiana, "we're talking about hell like a couple of idiots. Ask Barkilphedro all about it. He should be knowledgeable about such things."
"As a devil?" said Josiana.
"As a demon?" said Josiana.
"As a beast," replied Barkilphedro, with a bow.
"As a beast," replied Barkilphedro, with a bow.
"Madam," said the queen to Josiana, "he is cleverer than we."
"Ma'am," the queen said to Josiana, "he's smarter than we are."
For a man like Barkilphedro to approach the queen was to obtain a hold on her. He could say, "I hold her." Now, he wanted a means of taking advantage of his power for his own benefit. He had his foothold in the court. To be settled there was a fine thing. No chance could now escape him. More than once he had made the queen smile maliciously. This was having a licence to shoot. But was there any preserved game? Did this licence to shoot permit him to break the wing or the leg of one like the sister of her Majesty? The first point to make clear was, did the queen love her sister? One false step would lose all. Barkilphedro watched.
For someone like Barkilphedro, getting close to the queen meant he had some power over her. He could say, "I have her under my influence." Now, he wanted to find a way to use that power for his own gain. He had secured his position in the court. Being established there was a great advantage. No opportunity would slip by him now. More than once, he had made the queen smile with a wicked grin. This was like having a license to hunt. But was there any game to hunt? Did this license allow him to injure someone like the queen's sister? The first thing to determine was whether the queen loved her sister. One wrong move could ruin everything. Barkilphedro was observant.
Before he plays the player looks at the cards. What trumps has he? Barkilphedro began by examining the age of the two women. Josiana, twenty-three; Anne, forty-one. So far so good. He held trumps. The moment that a woman ceases to count by springs, and begins to count by winters, she becomes cross. A dull rancour possesses her against the time of which she carries the proofs. Fresh-blown beauties, perfumes for others, are to such a one but thorns. Of the roses she feels but the prick. It seems as if all the freshness is stolen from her, and that beauty decreases in her because it increases in others.
Before he plays, the player looks at the cards. What trumps does he have? Barkilphedro started by assessing the ages of the two women. Josiana, twenty-three; Anne, forty-one. So far, so good. He had the upper hand. The moment a woman stops counting her years in spring and starts counting them in winter, she becomes bitter. A dull resentment takes hold of her against the time she embodies. Fresh-faced beauties, admired by others, are nothing more than thorns to her. Of the roses, she only feels the prick. It seems like all the youthfulness has been taken from her, and that her beauty fades because others' beauty flourishes.
To profit by this secret ill-humour, to dive into the wrinkle on the face of this woman of forty, who was a queen, seemed a good game for Barkilphedro.
To take advantage of this hidden bad mood, to explore the lines on the face of this forty-year-old woman who was a queen, seemed like a good opportunity for Barkilphedro.
Envy excels in exciting jealousy, as a rat draws the crocodile from its hole.
Envy is great at stirring up jealousy, just like a rat lures a crocodile out of its den.
Barkilphedro fixed his wise gaze on Anne. He saw into the queen as one sees into a stagnant pool. The marsh has its transparency. In dirty water we see vices, in muddy water we see stupidity; Anne was muddy water.
Barkilphedro fixed his insightful gaze on Anne. He saw through the queen like one sees into a still pond. The marsh has its clarity. In dirty water, we see flaws; in muddy water, we see foolishness; Anne was muddy water.
Embryos of sentiments and larvæ of ideas moved in her thick brain. They were not distinct; they had scarcely any outline. But they were realities, however shapeless. The queen thought this; the queen desired that. To decide what was the difficulty. The confused transformations which work in stagnant water are difficult to study. The queen, habitually obscure, sometimes made sudden and stupid revelations. It was on these that it was necessary to seize. He must take advantage of them on the moment. How did the queen feel towards the Duchess Josiana? Did she wish her good or evil?
Embryos of feelings and buds of ideas floated in her dense mind. They weren’t clear; they barely had any form. But they were real, no matter how formless. The queen thought this; the queen wanted that. The challenge was deciding what the issue was. The confused changes that happen in still water are hard to analyze. The queen, usually vague, sometimes had sudden and foolish insights. It was essential to catch these moments. He had to capitalize on them right away. How did the queen feel about Duchess Josiana? Did she wish her well or ill?
Here was the problem. Barkilphedro set himself to solve it. This problem solved, he might go further.
Here was the problem. Barkilphedro set out to solve it. Once this problem was solved, he could move on.
Divers chances served Barkilphedro—his tenacity at the watch above all.
Various opportunities came to Barkilphedro—his persistence at the lookout above all.
Anne was, on her husband's side, slightly related to the new Queen of Prussia, wife of the king with the hundred chamberlains. She had her portrait painted on enamel, after the process of Turquet of Mayerne. This Queen of Prussia had also a younger illegitimate sister, the Baroness Drika.
Anne was, through her husband, a distant relative of the new Queen of Prussia, who was married to the king with the hundred chamberlains. She had her portrait done in enamel, using the method of Turquet of Mayerne. This Queen of Prussia also had a younger illegitimate sister, the Baroness Drika.
One day, in the presence of Barkilphedro, Anne asked the Russian ambassador some question about this Drika.
One day, with Barkilphedro there, Anne asked the Russian ambassador a question about this Drika.
"They say she is rich?"
"Isn't she supposed to be rich?"
"Very rich."
"Extremely wealthy."
"She has palaces?"
"She has mansions?"
"More magnificent than those of her sister, the queen."
"More amazing than her sister's."
"Whom will she marry?"
"Who will she marry?"
"A great lord, the Count Gormo."
"A powerful lord, Count Gormo."
"Pretty?"
"Attractive?"
"Charming."
"Charming."
"Is she young?"
"Is she a young adult?"
"Very young."
"Very young."
"As beautiful as the queen?"
"As beautiful as the queen?"
The ambassador lowered his voice, and replied,—
The ambassador lowered his voice and replied, —
"More beautiful."
"More stunning."
"That is insolent," murmured Barkilphedro.
"That's disrespectful," murmured Barkilphedro.
The queen was silent; then she exclaimed,—
The queen was silent; then she shouted,—
"Those bastards!"
"Those jerks!"
Barkilphedro noticed the plural.
Barkilphedro noticed the plurals.
Another time, when the queen was leaving the chapel, Barkilphedro kept pretty close to her Majesty, behind the two grooms of the almonry. Lord David Dirry-Moir, crossing the ranks of women, made a sensation by his handsome appearance. As he passed there was an explosion of feminine exclamations.
Another time, when the queen was leaving the chapel, Barkilphedro stayed pretty close to her Majesty, right behind the two attendants of the almonry. Lord David Dirry-Moir, moving through the group of women, created a stir with his good looks. As he walked by, there was a burst of feminine gasps.
"How elegant! How gallant! What a noble air! How handsome!"
"How classy! How brave! What a dignified presence! How good-looking!"
"How disagreeable!" grumbled the queen.
"How annoying!" grumbled the queen.
Barkilphedro overheard this; it decided him.
Barkilphedro heard this; it made up his mind.
He could hurt the duchess without displeasing the queen. The first problem was solved; but now the second presented itself.
He could hurt the duchess without upsetting the queen. The first problem was resolved; but now the second one came up.
What could he do to harm the duchess? What means did his wretched appointment offer to attain so difficult an object?
What could he do to hurt the duchess? What tools did his miserable position provide to achieve such a challenging goal?
Evidently none.
Apparently none.
CHAPTER XII.
SCOTLAND, IRELAND, AND ENGLAND.
Let us note a circumstance. Josiana had le tour.
Let’s acknowledge a situation. Josiana had le tour.
This is easy to understand when we reflect that she was, although illegitimate, the queen's sister—that is to say, a princely personage.
This is easy to grasp when we consider that she was, even though not born in wedlock, the queen's sister—that is to say, a person of royal status.
To have le tour—what does it mean?
To have le tour—what does it mean?
Viscount St. John, otherwise Bolingbroke, wrote as follows to Thomas Lennard, Earl of Sussex:—
Viscount St. John, also known as Bolingbroke, wrote the following to Thomas Lennard, Earl of Sussex:—
"Two things mark the great—in England, they have le tour; in France, le pour."
"Two things define the great—in England, they have le tour; in France, le pour."
When the King of France travelled, the courier of the court stopped at the halting-place in the evening, and assigned lodgings to his Majesty's suite.
When the King of France traveled, the court's messenger would stop at the resting place in the evening and arrange accommodations for His Majesty's entourage.
Amongst the gentlemen some had an immense privilege. "They have le pour" says the Journal Historique for the year 1694, page 6; "which means that the courier who marks the billets puts 'pour' before their names—as, 'Pour M. le Prince de Soubise;' instead of which, when he marks the lodging of one who is not royal, he does not put pour, but simply the name—as, 'Le Duc de Gesvres, le Duc de Mazarin.'" This pour on a door indicated a prince or a favourite. A favourite is worse than a prince. The king granted le pour, like a blue ribbon or a peerage.
Among the gentlemen, some had a special privilege. "They have le pour" says the Journal Historique from 1694, page 6; "which means that the courier who notes the addresses puts 'pour' before their names—like, 'Pour Mr. Prince of Soubise;' while for someone who isn't royal, he simply writes the name—like 'Duke of Gesvres, Duke of Mazarin.'" This pour on a door signified a prince or a favorite. A favorite is considered worse than a prince. The king granted le pour, similar to granting a blue ribbon or a peerage.
Avoir le tour in England was less glorious but more real. It was a sign of intimate communication with the sovereign. Whoever might be, by birth or favour, in a position to receive direct communications from majesty, had in the wall of their bedchamber a shaft in which was adjusted a bell. The bell sounded, the shaft opened, a royal missive appeared on a gold plate or on a cushion of velvet, and the shaft closed. This was intimate and solemn, the mysterious in the familiar. The shaft was used for no other purpose. The sound of the bell announced a royal message. No one saw who brought it. It was of course merely the page of the king or the queen. Leicester avait le tour under Elizabeth; Buckingham under James I. Josiana had it under Anne, though not much in favour. Never was a privilege more envied.
Avoir le tour in England was less glamorous but more genuine. It was a sign of close communication with the sovereign. Anyone who was, by birth or favor, in a position to receive direct messages from the monarch had a shaft in their bedroom wall fitted with a bell. When the bell rang, the shaft opened, and a royal message would appear on a gold plate or a velvet cushion, then the shaft would close. This was both intimate and serious, the mysterious in the everyday. The shaft served no other purpose. The bell’s sound signaled a royal message. No one saw who delivered it. It was, of course, simply the page of the king or queen. Leicester avait le tour under Elizabeth; Buckingham under James I. Josiana had it under Anne, though she was not much favored. Never was a privilege more envied.
This privilege entailed additional servility. The recipient was more of a servant. At court that which elevates, degrades. Avoir le tour was said in French; this circumstance of English etiquette having, probably, been borrowed from some old French folly.
This privilege came with more servitude. The recipient became more like a servant. At court, what lifts you up can also bring you down. Avoir le tour was the term used in French; this aspect of English etiquette likely came from some old French silliness.
Lady Josiana, a virgin peeress as Elizabeth had been a virgin queen, led—sometimes in the City, and sometimes in the country, according to the season—an almost princely life, and kept nearly a court, at which Lord David was courtier, with many others.
Lady Josiana, a virgin noblewoman like Elizabeth had been a virgin queen, lived an almost royal life, sometimes in the City and sometimes in the countryside, depending on the season, and maintained a sort of court, where Lord David was a courtier along with many others.
Not being married, Lord David and Lady Josiana could show themselves together in public without exciting ridicule, and they did so frequently. They often went to plays and racecourses in the same carriage, and sat together in the same box. They were chilled by the impending marriage, which was not only permitted to them, but imposed upon them; but they felt an attraction for each other's society. The privacy permitted to the engaged has a frontier easily passed. From this they abstained; that which is easy is in bad taste.
Not being married, Lord David and Lady Josiana could be seen together in public without attracting mockery, and they did so often. They frequently attended plays and horse races in the same carriage and sat together in the same box. They felt uneasy about the upcoming marriage, which was not only allowed but also forced upon them; however, they were drawn to each other's company. The privacy allowed to engaged couples has a boundary that’s easily crossed. They refrained from this; what’s easy is in poor taste.
The best pugilistic encounters then took place at Lambeth, a parish in which the Lord Archbishop of Canterbury has a palace though the air there is unhealthy, and a rich library open at certain hours to decent people.
The best boxing matches back then happened in Lambeth, a parish where the Lord Archbishop of Canterbury has a palace, even though the air there isn’t great for health. There’s also a nice library that’s open at certain times for respectable people.
One evening in winter there was in a meadow there, the gates of which were locked, a fight, at which Josiana, escorted by Lord David, was present. She had asked,—
One winter evening, in a locked meadow, a fight broke out, and Josiana, accompanied by Lord David, was there. She had asked,—
"Are women admitted?"
"Are women allowed?"
And David had responded,—
And David had replied,—
"Sunt fæminae magnates!"
"Women are powerful!"
Liberal translation, "Not shopkeepers." Literal translation, "Great ladies exist. A duchess goes everywhere!"
Liberal translation: "Not shopkeepers." Literal translation: "Great ladies exist. A duchess goes everywhere!"
This is why Lady Josiana saw a boxing match.
This is why Lady Josiana watched a boxing match.
Lady Josiana made only this concession to propriety—she dressed as a man, a very common custom at that period. Women seldom travelled otherwise. Out of every six persons who travelled by the coach from Windsor, it was rare that there were not one or two amongst them who were women in male attire; a certain sign of high birth.
Lady Josiana made just one concession to social norms—she dressed as a man, which was a pretty common practice at the time. Women rarely traveled in any other way. Out of every six people who traveled by coach from Windsor, it was unusual if there weren't one or two among them who were women in male clothing; a clear indication of noble birth.
Lord David, being in company with a woman, could not take any part in the match himself, and merely assisted as one of the audience.
Lord David, being with a woman, couldn’t participate in the match himself and just assisted as a member of the audience.
Lady Josiana betrayed her quality in one way; she had an opera-glass, then used by gentlemen only.
Lady Josiana revealed her status in one way; she had an opera glass, which was only used by gentlemen at that time.
This encounter in the noble science was presided over by Lord Germaine, great-grandfather, or grand-uncle, of that Lord Germaine who, towards the end of the eighteenth century, was colonel, ran away in a battle, was afterwards made Minister of War, and only escaped from the bolts of the enemy, to fall by a worse fate, shot through and through by the sarcasm of Sheridan.
This meeting in the esteemed science was led by Lord Germaine, the great-grandfather or grand-uncle of the Lord Germaine who, near the end of the eighteenth century, was a colonel, fled during a battle, later became Minister of War, and only avoided the enemy's fire, only to meet a worse end, being shot down by the sarcasm of Sheridan.
Many gentlemen were betting. Harry Bellew, of Carleton, who had claims to the extinct peerage of Bella-aqua, with Henry, Lord Hyde, member of Parliament for the borough of Dunhivid, which is also called Launceston; the Honourable Peregrine Bertie, member for the borough of Truro, with Sir Thomas Colpepper, member for Maidstone; the Laird of Lamyrbau, which is on the borders of Lothian, with Samuel Trefusis, of the borough of Penryn; Sir Bartholomew Gracedieu, of the borough of Saint Ives, with the Honourable Charles Bodville, who was called Lord Robartes, and who was Custos Rotulorum of the county of Cornwall; besides many others.
Many gentlemen were placing bets. Harry Bellew from Carleton, who had rights to the now-defunct peerage of Bella-aqua, was with Henry, Lord Hyde, a member of Parliament for the borough of Dunhivid, also known as Launceston; the Honourable Peregrine Bertie, representing the borough of Truro, was with Sir Thomas Colpepper, who was a member for Maidstone; the Laird of Lamyrbau, located on the borders of Lothian, was with Samuel Trefusis from the borough of Penryn; Sir Bartholomew Gracedieu from the borough of Saint Ives was with the Honourable Charles Bodville, referred to as Lord Robartes, who served as Custos Rotulorum of Cornwall; along with many others.
Of the two combatants, one was an Irishman, named after his native mountain in Tipperary, Phelem-ghe-Madone, and the other a Scot, named Helmsgail.
Of the two fighters, one was an Irishman named after his home mountain in Tipperary, Phelem-ghe-Madone, and the other was a Scot named Helmsgail.
They represented the national pride of each country. Ireland and Scotland were about to set to; Erin was going to fisticuff Gajothel. So that the bets amounted to over forty thousand guineas, besides the stakes.
They represented the national pride of each country. Ireland and Scotland were about to engage; Erin was going to box Gajothel. As a result, the bets totaled over forty thousand guineas, not including the stakes.
The two champions were naked, excepting short breeches buckled over the hips, and spiked boots laced as high as the ankles.
The two champions were naked, except for short breeches fastened at the hips and spiked boots laced up to their ankles.
Helmsgail, the Scot, was a youth scarcely nineteen, but he had already had his forehead sewn up, for which reason they laid 2 1/3 to 1 on him. The month before he had broken the ribs and gouged out the eyes of a pugilist named Sixmileswater. This explained the enthusiasm he created. He had won his backers twelve thousand pounds. Besides having his forehead sewn up Helmsgail's jaw had been broken. He was neatly made and active. He was about the height of a small woman, upright, thick-set, and of a stature low and threatening. And nothing had been lost of the advantages given him by nature; not a muscle which was not trained to its object, pugilism. His firm chest was compact, and brown and shining like brass. He smiled, and three teeth which he had lost added to his smile.
Helmsgail, the Scot, was a young man barely nineteen, but he had already had his forehead stitched up, which is why they gave him odds of 2 1/3 to 1. The month before, he had broken the ribs and gouged out the eyes of a boxer named Sixmileswater. This explained the excitement he generated. He had earned his backers twelve thousand pounds. In addition to having his forehead stitched, Helmsgail also had a broken jaw. He was well-built and quick. He was about the height of a small woman—upright, stocky, and of a short but intimidating stature. Nature had not deprived him of any of his physical advantages; every muscle was finely tuned for boxing. His strong chest was compact, brown, and shiny like brass. He smiled, and his missing three teeth added character to his grin.
His adversary was tall and overgrown—that is to say, weak.
His opponent was tall and scruffy—that is to say, weak.
He was a man of forty years of age, six feet high, with the chest of a hippopotamus, and a mild expression of face. The blow of his fist would break in the deck of a vessel, but he did not know how to use it.
He was a man in his forties, six feet tall, with a chest like a hippopotamus and a gentle expression. His punch could smash through a ship's deck, but he didn't know how to use it.
The Irishman, Phelem-ghe-Madone, was all surface, and seemed to have entered the ring to receive rather than to give blows. Only it was felt that he would take a deal of punishment. Like underdone beef, tough to chew, and impossible to swallow. He was what was termed, in local slang, raw meat. He squinted. He seemed resigned.
The Irishman, Phelem-ghe-Madone, was all show and appeared to have stepped into the ring to take hits rather than deliver them. But everyone sensed he could endure a lot of punishment. Like undercooked beef, hard to chew and impossible to digest. He was what people locally referred to as raw meat. He squinted. He seemed accepting of his situation.
The two men had passed the preceding night in the same bed, and had slept together. They had each drunk port wine from the same glass, to the three-inch mark.
The two men had spent the previous night in the same bed and had slept together. They had each drank port wine from the same glass, up to the three-inch mark.
Each had his group of seconds—men of savage expression, threatening the umpires when it suited their side. Amongst Helmsgail's supporters was to be seen John Gromane, celebrated for having carried an ox on his back; and one called John Bray, who had once carried on his back ten bushels of flour, at fifteen pecks to the bushel, besides the miller himself, and had walked over two hundred paces under the weight. On the side of Phelem-ghe-Madone, Lord Hyde had brought from Launceston a certain Kilter, who lived at Green Castle, and could throw a stone weighing twenty pounds to a greater height than the highest tower of the castle.
Each had his group of seconds—guys with fierce looks, intimidating the referees when it served their purpose. Among Helmsgail's supporters was John Gromane, famous for having carried an ox on his back, and another guy named John Bray, who had once carried ten bushels of flour, at fifteen pecks to the bushel, along with the miller himself, and had walked over two hundred paces while under that weight. On the side of Phelem-ghe-Madone, Lord Hyde had brought from Launceston a guy named Kilter, who lived at Green Castle, and could throw a twenty-pound stone higher than the tallest tower of the castle.
These three men, Kilter, Bray, and Gromane, were Cornishmen by birth, and did honour to their county.
These three men, Kilter, Bray, and Gromane, were born in Cornwall and took pride in their county.
The other seconds were brutal fellows, with broad backs, bowed legs, knotted fists, dull faces; ragged, fearing nothing, nearly all jail-birds.
The other seconds were tough guys, with broad shoulders, crooked legs, clenched fists, blank expressions; scruffy, unafraid, almost all former inmates.
Many of them understood admirably how to make the police drunk. Each profession should have its peculiar talents.
Many of them knew exactly how to get the police drunk. Every profession should have its unique skills.
The field chosen was farther off than the bear garden, where they formerly baited bears, bulls, and dogs; it was beyond the line of the farthest houses, by the side of the ruins of the Priory of Saint Mary Overy, dismantled by Henry VIII. The wind was northerly, and biting; a small rain fell, which was instantly frozen into ice. Some gentlemen present were evidently fathers of families, recognized as such by their putting up their umbrellas.
The chosen field was farther away than the bear garden, where they used to bait bears, bulls, and dogs; it was past the last houses, next to the ruins of the Priory of Saint Mary Overy, which was taken apart by Henry VIII. The wind was coming from the north and was sharp; a light rain fell, which quickly turned into ice. Some of the gentlemen there were clearly family men, as indicated by their opening their umbrellas.
On the side of Phelem-ghe-Madone was Colonel Moncreif, as umpire; and Kilter, as second, to support him on his knee.
On the side of Phelem-ghe-Madone was Colonel Moncreif, acting as the umpire; and Kilter, as his second, to support him on his knee.
On the side of Helmsgail, the Honourable Pughe Beaumaris was umpire, with Lord Desertum, from Kilcarry, as bottle-holder, to support him on his knee.
On Helmsgail's side, the Honorable Pughe Beaumaris was the umpire, with Lord Desertum from Kilcarry as the bottle-holder to support him on his knee.
The two combatants stood for a few seconds motionless in the ring, whilst the watches were being compared. They then approached each other and shook hands.
The two fighters stood for a few seconds completely still in the ring, while their watches were being compared. They then walked up to each other and shook hands.
Phelem-ghe-Madone said to Helmsgail,—
Phelem-ghe-Madone said to Helmsgail,—
"I should prefer going home."
"I’d rather go home."
Helmsgail answered, handsomely,—
Helmsgail replied, elegantly,—
"The gentlemen must not be disappointed, on any account."
"The gentlemen shouldn't be disappointed, for any reason."
Naked as they were, they felt the cold. Phelem-ghe-Madone shook. His teeth chattered.
Naked as they were, they felt the cold. Phelem-ghe-Madone shook. His teeth chattered.
Dr. Eleanor Sharpe, nephew of the Archbishop of York, cried out to them,—
Dr. Eleanor Sharpe, nephew of the Archbishop of York, shouted to them,—
"Set to, boys; it will warm you."
"Get ready, guys; it will warm you up."
Those friendly words thawed them.
Those kind words warmed them.
They set to.
They got to work.
But neither one nor the other was angry. There were three ineffectual rounds. The Rev. Doctor Gumdraith, one of the forty Fellows of All Souls' College, cried,—
But neither was angry. There were three pointless rounds. The Rev. Dr. Gumdraith, one of the forty Fellows of All Souls' College, exclaimed,—
"Spirit them up with gin."
"Lift their spirits with gin."
But the two umpires and the two seconds adhered to the rule. Yet it was exceedingly cold.
But the two umpires and the two assistants stuck to the rules. Still, it was really cold.
First blood was claimed.
First blood was taken.
They were again set face to face.
They were once again positioned face to face.
They looked at each other, approached, stretched their arms, touched each other's fists, and then drew back.
They glanced at each other, moved closer, reached out their arms, touched fists, and then stepped back.
All at once, Helmsgail, the little man, sprang forward. The real fight had begun.
All of a sudden, Helmsgail, the small man, jumped ahead. The real battle had started.
Phelem-ghe-Madone was struck in the face, between the eyes. His whole face streamed with blood. The crowd cried,—
Phelem-ghe-Madone was hit in the face, between the eyes. His entire face was covered in blood. The crowd shouted,—
"Helmsgail has tapped his claret!"
"Helmsgail has opened his wine!"
There was applause. Phelem-ghe-Madone, turning his arms like the sails of a windmill, struck out at random.
There was applause. Phelem-ghe-Madone, waving his arms like the sails of a windmill, hit out randomly.
The Honourable Peregrine Bertie said, "Blinded;" but he was not blind yet.
The Honorable Peregrine Bertie said, "Blinded;" but he wasn't blind yet.
Then Helmsgail heard on all sides these encouraging words,—
Then Helmsgail heard encouraging words all around him—
"Bung up his peepers!"
"Shut his eyes!"
On the whole, the two champions were really well matched; and, notwithstanding the unfavourable weather, it was seen that the fight would be a success.
Overall, the two champions were evenly matched, and despite the bad weather, it was clear that the fight would be a success.
The great giant, Phelem-ghe-Madone, had to bear the inconveniences of his advantages; he moved heavily. His arms were massive as clubs; but his chest was a mass. His little opponent ran, struck, sprang, gnashed his teeth; redoubling vigour by quickness, from knowledge of the science.
The great giant, Phelem-ghe-Madone, had to deal with the downsides of his size; he moved slowly. His arms were as thick as clubs, but his chest was huge. His smaller opponent darted around, striking, jumping, and gnashing his teeth; increasing his energy through speed, thanks to his understanding of the technique.
On the one side was the primitive blow of the fist—savage, uncultivated, in a state of ignorance; on the other side, the civilized blow of the fist. Helmsgail fought as much with his nerves as with his muscles, and with as much intention as force. Phelem-ghe-Madone was a kind of sluggish mauler—somewhat mauled himself, to begin with. It was art against nature. It was cultivated ferocity against barbarism.
On one side was the primitive punch—brutal, unrefined, and ignorant; on the other side, the refined punch of civilization. Helmsgail fought with both his nerves and his muscles, using as much intent as strength. Phelem-ghe-Madone was a sort of slow, clumsy brawler—somewhat beaten up himself, to start with. It was skill versus nature. It was trained aggression against savagery.
It was clear that the barbarian would be beaten, but not very quickly. Hence the interest.
It was obvious that the outsider would be defeated, but not in a hurry. That's what made it interesting.
A little man against a big one, and the chances are in favour of the little one. The cat has the best of it with a dog. Goliaths are always vanquished by Davids.
A small guy against a bigger one, and the odds are on the side of the little guy. A cat often wins against a dog. Goliaths are always defeated by Davids.
A hail of exclamations followed the combatants.
A flurry of shouts erupted from the spectators.
"Bravo, Helmsgail! Good! Well done, Highlander! Now, Phelem!"
"Awesome job, Helmsgail! Great! Well done, Highlander! Now, Phelem!"
And the friends of Helmsgail repeated their benevolent exhortation,—
And Helmsgail's friends repeated their kind encouragement—
"Bung up his peepers!"
"Shut his eyes!"
Helmsgail did better. Rapidly bending down and back again, with the undulation of a serpent, he struck Phelem-ghe-Madone in the sternum. The Colossus staggered.
Helmsgail did better. Quickly bending down and back up again, like a snake, he hit Phelem-ghe-Madone in the chest. The Colossus staggered.
"Foul blow!" cried Viscount Barnard.
"Foul play!" shouted Viscount Barnard.
Phelem-ghe-Madone sank down on the knee of his second, saying,—
Phelem-ghe-Madone knelt down beside his second in command, saying,—
"I am beginning to get warm."
"I'm starting to feel hot."
Lord Desertum consulted the umpires, and said,—
Lord Desertum consulted the referees and said,—
"Five minutes before time is called."
"Five minutes before the time is up."
Phelem-ghe-Madone was becoming weaker. Kilter wiped the blood from his face and the sweat from his body with a flannel, and placed the neck of a bottle to his mouth. They had come to the eleventh round. Phelem, besides the scar on his forehead, had his breast disfigured by blows, his belly swollen, and the fore part of the head scarified. Helmsgail was untouched.
Phelem-ghe-Madone was getting weaker. Kilter wiped the blood from his face and the sweat from his body with a cloth and brought a bottle to his lips. They had reached the eleventh round. Phelem, besides the scar on his forehead, had a bruised chest, a swollen belly, and the front of his head marred. Helmsgail was unscathed.
A kind of tumult arose amongst the gentlemen.
A sort of uproar broke out among the gentlemen.
Lord Barnard repeated, "Foul blow."
Lord Barnard said, "Foul blow."
"Bets void!" said the Laird of Lamyrbau.
"Bets are off!" said the Laird of Lamyrbau.
"I claim my stake!" replied Sir Thomas Colpepper.
"I claim my stake!" replied Sir Thomas Colpepper.
And the honourable member for the borough of Saint Ives, Sir Bartholomew Gracedieu, added, "Give me back my five hundred guineas, and I will go. Stop the fight."
And the esteemed representative from the borough of Saint Ives, Sir Bartholomew Gracedieu, said, "Return my five hundred guineas, and I will leave. Stop the fight."
Phelem arose, staggering like a drunken man, and said,—
Phelem stood up, swaying like someone who had been drinking, and said,—
"Let us go on fighting, on one condition—that I also shall have the right to give one foul blow."
"Let's keep fighting, but only on one condition—that I also get the chance to land one cheap shot."
They cried "Agreed!" from all parts of the ring. Helmsgail shrugged his shoulders. Five minutes elapsed, and they set to again.
They shouted "Agreed!" from all around the circle. Helmsgail shrugged his shoulders. Five minutes passed, and they got back to it.
The fighting, which was agony to Phelem, was play to Helmsgail. Such are the triumphs of science.
The fighting, which was torture for Phelem, was just a game for Helmsgail. That's the power of science.
The little man found means of putting the big one into chancery—that is to say, Helmsgail suddenly took under his left arm, which was bent like a steel crescent, the huge head of Phelem-ghe-Madone, and held it there under his armpits, the neck bent and twisted, whilst Helmsgail's right fist fell again and again like a hammer on a nail, only from below and striking upwards, thus smashing his opponent's face at his ease. When Phelem, released at length, lifted his head, he had no longer a face.
The little man found a way to put the big one in a tough spot—that is to say, Helmsgail suddenly tucked the huge head of Phelem-ghe-Madone under his left arm, which was curved like a steel crescent, and kept it there under his armpit, twisting and bending the neck. Meanwhile, Helmsgail's right fist came down again and again like a hammer on a nail, but from below, striking upwards, smashing his opponent's face easily. When Phelem finally got his head free, he no longer had a face.
That which had been a nose, eyes, and a mouth now looked only like a black sponge, soaked in blood. He spat, and on the ground lay four of his teeth.
That used to be a nose, eyes, and a mouth, but now it just looked like a black sponge soaked in blood. He spat, and four of his teeth fell to the ground.
Then he fell. Kilter received him on his knee.
Then he fell. Kilter caught him on his knee.
Helmsgail was hardly touched: he had some insignificant bruises and a scratch on his collar bone.
Helmsgail was barely injured: he had a few minor bruises and a scratch on his collarbone.
No one was cold now. They laid sixteen and a quarter to one on Helmsgail.
No one felt cold now. They noted the time as one sixteen and a quarter on Helmsgail.
Harry Carleton cried out,—
Harry Carleton shouted,—
"It is all over with Phelem-ghe-Madone. I will lay my peerage of Bella-aqua, and my title of Lord Bellew, against the Archbishop of Canterbury's old wig, on Helmsgail."
"It’s all done with Phelem-ghe-Madone. I will wager my title of Bella-aqua and my title of Lord Bellew against the Archbishop of Canterbury's old wig, on Helmsgail."
"Give me your muzzle," said Kilter to Phelem-ghe-Madone. And stuffing the bloody flannel into the bottle, he washed him all over with gin. The mouth reappeared, and he opened one eyelid. His temples seemed fractured.
"Give me your face," Kilter said to Phelem-ghe-Madone. After shoving the bloody cloth into the bottle, he cleaned him all over with gin. The mouth came back, and he opened one eyelid. His temples looked like they were shattered.
"One round more, my friend," said Kilter; and he added, "for the honour of the low town."
"One more round, my friend," said Kilter; and he added, "for the pride of the low town."
The Welsh and the Irish understand each other, still Phelem made no sign of having any power of understanding left.
The Welsh and the Irish get each other, but Phelem didn’t show any sign of still being able to understand.
Phelem arose, supported by Kilter. It was the twenty-fifth round. From the way in which this Cyclops, for he had but one eye, placed himself in position, it was evident that this was the last round, for no one doubted his defeat. He placed his guard below his chin, with the awkwardness of a failing man.
Phelem got up, helped by Kilter. It was the twenty-fifth round. The way this Cyclops, who had only one eye, positioned himself clearly showed that this was the final round, as everyone expected him to lose. He held his guard low beneath his chin, awkwardly like someone who was struggling.
Helmsgail, with a skin hardly sweating, cried out,—
Helmsgail, hardly breaking a sweat, shouted,—
"I'll back myself, a thousand to one."
"I've got confidence in myself, a thousand to one."
Helmsgail, raising his arm, struck out; and, what was strange, both fell. A ghastly chuckle was heard. It was Phelem-ghe-Madone's expression of delight. While receiving the terrible blow given him by Helmsgail on the skull, he had given him a foul blow on the navel.
Helmsgail raised his arm and swung; oddly enough, both of them went down. A creepy chuckle echoed. It was Phelem-ghe-Madone showing his twisted joy. As Helmsgail landed a brutal hit to his head, Phelem had delivered a dirty punch to Helmsgail's abdomen.
Helmsgail, lying on his back, rattled in his throat.
Helmsgail, lying on his back, made a rattling sound in his throat.
The spectators looked at him as he lay on the ground, and said, "Paid back!" All clapped their hands, even those who had lost. Phelem-ghe-Madone had given foul blow for foul blow, and had only asserted his right.
The spectators stared at him as he lay on the ground and shouted, "Paid back!" Everyone clapped their hands, even those who had lost. Phelem-ghe-Madone had retaliated with every unfair hit he received and had simply defended his own.
They carried Helmsgail off on a hand-barrow. The opinion was that he would not recover.
They carried Helmsgail away on a stretcher. Everyone thought he wouldn't make it.
Lord Robartes exclaimed, "I win twelve hundred guineas."
Lord Robartes shouted, "I just won twelve hundred guineas!"
Phelem-ghe-Madone was evidently maimed for life.
Phelem-ghe-Madone was clearly injured for life.
As she left, Josiana took the arm of Lord David, an act which was tolerated amongst people "engaged." She said to him,—
As she left, Josiana took Lord David's arm, something people "engaged" usually did. She said to him,—
"It is very fine, but—"
"It's really nice, but—"
"But what?"
"But why?"
"I thought it would have driven away my spleen. It has not."
"I thought it would have made me feel better. It hasn't."
Lord David stopped, looked at Josiana, shut his mouth, and inflated his cheeks, whilst he nodded his head, which signified attention, and said to the duchess,—
Lord David stopped, looked at Josiana, closed his mouth, puffed out his cheeks, nodded his head to show he was listening, and said to the duchess,—
"For spleen there is but one remedy."
"For the spleen, there's only one cure."
"What is it?"
"What's that?"
"Gwynplaine."
"Gwynplaine."
The duchess asked,—
The duchess inquired,—
"And who is Gwynplaine?"
"And who is Gwynplaine?"
BOOK THE SECOND.
GWYNPLAINE AND DEA.
CHAPTER I.
WHEREIN WE SEE THE FACE OF HIM OF WHOM WE HAVE HITHERTO SEEN ONLY THE ACTS.
Nature had been prodigal of her kindness to Gwynplaine. She had bestowed on him a mouth opening to his ears, ears folding over to his eyes, a shapeless nose to support the spectacles of the grimace maker, and a face that no one could look upon without laughing.
Nature had been generous with her gifts to Gwynplaine. She gave him a mouth that stretched all the way to his ears, ears that folded down towards his eyes, a misshapen nose to hold the glasses of the joker, and a face that no one could look at without laughing.
We have just said that nature had loaded Gwynplaine with her gifts. But was it nature? Had she not been assisted?
We just said that nature had given Gwynplaine her gifts. But was it really nature? Hadn't she had some help?
Two slits for eyes, a hiatus for a mouth, a snub protuberance with two holes for nostrils, a flattened face, all having for the result an appearance of laughter; it is certain that nature never produces such perfection single-handed.
Two slits for eyes, a gap for a mouth, a small bump with two holes for nostrils, a flat face—all of this created an expression of laughter; it's clear that nature never achieves such perfection on its own.
But is laughter a synonym of joy?
But is laughter the same as joy?
If, in the presence of this mountebank—for he was one—the first impression of gaiety wore off, and the man were observed with attention, traces of art were to be recognized. Such a face could never have been created by chance; it must have resulted from intention. Such perfect completeness is not in nature. Man can do nothing to create beauty, but everything to produce ugliness. A Hottentot profile cannot be changed into a Roman outline, but out of a Grecian nose you may make a Calmuck's. It only requires to obliterate the root of the nose and to flatten the nostrils. The dog Latin of the Middle Ages had a reason for its creation of the verb denasare. Had Gwynplaine when a child been so worthy of attention that his face had been subjected to transmutation? Why not? Needed there a greater motive than the speculation of his future exhibition? According to all appearance, industrious manipulators of children had worked upon his face. It seemed evident that a mysterious and probably occult science, which was to surgery what alchemy was to chemistry, had chiselled his flesh, evidently at a very tender age, and manufactured his countenance with premeditation. That science, clever with the knife, skilled in obtusions and ligatures, had enlarged the mouth, cut away the lips, laid bare the gums, distended the ears, cut the cartilages, displaced the eyelids and the cheeks, enlarged the zygomatic muscle, pressed the scars and cicatrices to a level, turned back the skin over the lesions whilst the face was thus stretched, from all which resulted that powerful and profound piece of sculpture, the mask, Gwynplaine.
If, in the presence of this fraud—because he was one—the initial impression of cheerfulness faded and the man was observed closely, signs of manipulation could be seen. Such a face could never have happened by chance; it must have been designed with intent. Such perfect completeness doesn't exist in nature. Humans can’t create beauty, but they can do everything to create ugliness. You can’t turn a Hottentot profile into a Roman one, but from a Grecian nose, you could create a Calmuck's. It just takes removing the root of the nose and flattening the nostrils. The "dog Latin" of the Middle Ages had a reason for its creation of the verb denasare. Did Gwynplaine, as a child, receive so much attention that his face was subject to transformation? Why not? Was there a greater motive than the thought of his future performance? It seemed clear that skilled handlers had worked on his face. Evidently, a mysterious and possibly secret science, akin to alchemy in relation to chemistry, had shaped his flesh, most likely at a young age, carefully crafting his features. That science, adept with the knife and expert in connections and sutures, had enlarged the mouth, removed the lips, exposed the gums, stretched the ears, reshaped the cartilage, adjusted the eyelids and cheeks, increased the zygomatic muscle, smoothed the scars and marks, and pulled the skin over the injuries while the face was stretched, resulting in that powerful and striking piece of sculpture: the mask of Gwynplaine.
Man is not born thus.
People aren't born this way.
However it may have been, the manipulation of Gwynplaine had succeeded admirably. Gwynplaine was a gift of Providence to dispel the sadness of man.
However it may have been, the manipulation of Gwynplaine had succeeded beautifully. Gwynplaine was a blessing from Providence to lift the sadness of humanity.
Of what providence? Is there a providence of demons as well as of God? We put the question without answering it.
Of what kind of providence? Is there a providence from demons as well as from God? We ask the question without providing an answer.
Gwynplaine was a mountebank. He showed himself on the platform. No such effect had ever before been produced. Hypochondriacs were cured by the sight of him alone. He was avoided by folks in mourning, because they were compelled to laugh when they saw him, without regard to their decent gravity. One day the executioner came, and Gwynplaine made him laugh. Every one who saw Gwynplaine held his sides; he spoke, and they rolled on the ground. He was removed from sadness as is pole from pole. Spleen at the one; Gwynplaine at the other.
Gwynplaine was a trickster. He appeared on the stage. No performance had ever had such an impact before. Just seeing him was enough to cure the anxious and depressed. People in mourning stayed away from him because his presence made them laugh, no matter how serious they felt. One day, the executioner arrived, and Gwynplaine got him to laugh. Everyone who saw Gwynplaine was doubled over with laughter; when he spoke, they fell to the ground. He was as far removed from sadness as the North Pole is from the South. Despair on one end; Gwynplaine on the other.
Thus he rose rapidly in the fair ground and at the cross roads to the very satisfactory renown of a horrible man.
Thus he quickly gained a notorious reputation as a terrible man in the fairground and at the crossroads.
It was Gwynplaine's laugh which created the laughter of others, yet he did not laugh himself. His face laughed; his thoughts did not. The extraordinary face which chance or a special and weird industry had fashioned for him, laughed alone. Gwynplaine had nothing to do with it. The outside did not depend on the interior. The laugh which he had not placed, himself, on his brow, on his eyelids, on his mouth, he could not remove. It had been stamped for ever on his face. It was automatic, and the more irresistible because it seemed petrified. No one could escape from this rictus. Two convulsions of the face are infectious; laughing and yawning. By virtue of the mysterious operation to which Gwynplaine had probably been subjected in his infancy, every part of his face contributed to that rictus; his whole physiognomy led to that result, as a wheel centres in the nave. All his emotions, whatever they might have been, augmented his strange face of joy, or to speak more correctly, aggravated it. Any astonishment which might seize him, any suffering which he might feel, any anger which might take possession of him, any pity which might move him, would only increase this hilarity of his muscles. If he wept, he laughed; and whatever Gwynplaine was, whatever he wished to be, whatever he thought, the moment that he raised his head, the crowd, if crowd there was, had before them one impersonation: an overwhelming burst of laughter.
It was Gwynplaine's laugh that made others laugh, yet he himself did not laugh. His face expressed laughter; his thoughts didn’t. The extraordinary face that fate or some strange process had given him laughed on its own. Gwynplaine had nothing to do with it. The exterior didn’t rely on the interior. The laugh that he hadn’t put there himself—on his forehead, his eyelids, his mouth—could not be removed. It was permanently etched on his face. It was automatic, and even more powerful because it felt fixed. No one could escape this grin. Two facial reactions are contagious: laughing and yawning. Due to the mysterious process that Gwynplaine probably underwent in his childhood, every part of his face contributed to this grin; his entire expression led to that outcome, much like a wheel centers in its hub. All his emotions, no matter what they were, heightened his strange joyful face—or more accurately, exaggerated it. Any surprise that might hit him, any pain he might endure, any rage that might take over him, any compassion that might stir him, would only amplify this hilarity in his muscles. If he cried, he laughed; and no matter what Gwynplaine was, what he wanted to be, or what he thought, the moment he lifted his head, the crowd, if there was one, saw one image: an overwhelming eruption of laughter.
It was like a head of Medusa, but Medusa hilarious. All feeling or thought in the mind of the spectator was suddenly put to flight by the unexpected apparition, and laughter was inevitable. Antique art formerly placed on the outsides of the Greek theatre a joyous brazen face, called comedy. It laughed and occasioned laughter, but remained pensive. All parody which borders on folly, all irony which borders on wisdom, were condensed and amalgamated in that face. The burden of care, of disillusion, anxiety, and grief were expressed in its impassive countenance, and resulted in a lugubrious sum of mirth. One corner of the mouth was raised, in mockery of the human race; the other side, in blasphemy of the gods. Men confronted that model of the ideal sarcasm and exemplification of the irony which each one possesses within him; and the crowd, continually renewed round its fixed laugh, died away with delight before its sepulchral immobility of mirth.
It was like the head of Medusa, but a funny Medusa. All thoughts or feelings in the minds of the spectators were instantly chased away by the unexpected sight, and laughter was unavoidable. Ancient art used to display a joyful, bronze face on the outside of the Greek theater, called comedy. It laughed and made people laugh, yet it remained thoughtful. All parody that flirts with foolishness, all irony that touches on wisdom, were captured and blended in that face. The weight of care, disillusionment, anxiety, and sorrow was reflected in its unchanging expression, resulting in a dark kind of joy. One corner of its mouth was raised, mocking humanity; the other side, blaspheming the gods. People faced that embodiment of ideal sarcasm and the irony that everyone carries inside them; and the crowd, constantly renewing around its fixed laugh, faded away in delight before its eerie stillness of humor.
One might almost have said that Gwynplaine was that dark, dead mask of ancient comedy adjusted to the body of a living man. That infernal head of implacable hilarity he supported on his neck. What a weight for the shoulders of a man—an everlasting laugh!
One could easily say that Gwynplaine was that dark, lifeless mask of ancient comedy fitted onto the body of a living man. He carried that hellish face of relentless laughter on his neck. What a burden for a man’s shoulders—an eternal laugh!
An everlasting laugh!
A timeless laugh!
Let us understand each other; we will explain. The Manichæans believed the absolute occasionally gives way, and that God Himself sometimes abdicates for a time. So also of the will. We do not admit that it can ever be utterly powerless. The whole of existence resembles a letter modified in the postscript. For Gwynplaine the postscript was this: by the force of his will, and by concentrating all his attention, and on condition that no emotion should come to distract and turn away the fixedness of his effort, he could manage to suspend the everlasting rictus of his face, and to throw over it a kind of tragic veil, and then the spectator laughed no longer; he shuddered.
Let's get on the same page; we'll clarify. The Manichæans believed that the absolute sometimes gives way, and that God Himself can step back temporarily. The same goes for the will. We don't accept that it can ever be completely powerless. All of existence is like a letter changed by a postscript. For Gwynplaine, the postscript was this: through the strength of his will, by focusing all his attention, and as long as no emotion distracted or broke the intensity of his effort, he could manage to hold back the perpetual rictus of his face and cover it with a kind of tragic veil, causing the audience to stop laughing; instead, they shuddered.
This exertion Gwynplaine scarcely ever made. It was a terrible effort, and an insupportable tension. Moreover, it happened that on the slightest distraction, or the slightest emotion, the laugh, driven back for a moment, returned like a tide with an impulse which was irresistible in proportion to the force of the adverse emotion.
This effort was something Gwynplaine rarely put himself through. It was a huge struggle and an unbearable strain. Additionally, whenever he was distracted or felt even a small emotion, the laugh, which had been held back for a moment, would come rushing back like a wave, its power increasing with the strength of the opposing emotion.
With this exception, Gwynplaine's laugh was everlasting.
With that exception, Gwynplaine's laugh never faded.
On seeing Gwynplaine, all laughed. When they had laughed they turned away their heads. Women especially shrank from him with horror. The man was frightful. The joyous convulsion of laughter was as a tribute paid; they submitted to it gladly, but almost mechanically. Besides, when once the novelty of the laugh had passed over, Gwynplaine was intolerable for a woman to see, and impossible to contemplate. But he was tall, well made, and agile, and no way deformed, excepting in his face.
Upon seeing Gwynplaine, everyone laughed. After laughing, they quickly looked away. The women particularly recoiled from him in fear. He was terrifying. The uncontrollable laughter felt like a tribute; they accepted it willingly, but almost without thinking. However, once the initial shock of laughter faded, Gwynplaine became unbearable for a woman to look at and impossible to gaze upon. But he was tall, well-built, and nimble, with no deformities except for his face.
This led to the presumption that Gwynplaine was rather a creation of art than a work of nature. Gwynplaine, beautiful in figure, had probably been beautiful in face. At his birth he had no doubt resembled other infants. They had left the body intact, and retouched only the face.
This led to the assumption that Gwynplaine was more a product of art than of nature. Beautiful in form, Gwynplaine had likely been handsome as a baby. At birth, he probably looked like any other infant. They had preserved the body and only altered the face.
Gwynplaine had been made to order—at least, that was probable. They had left him his teeth; teeth are necessary to a laugh. The death's head retains them. The operation performed on him must have been frightful. That he had no remembrance of it was no proof that it had not taken place. Surgical sculpture of the kind could never have succeeded except on a very young child, and consequently on one having little consciousness of what happened to him, and who might easily take a wound for a sickness. Besides, we must remember that they had in those times means of putting patients to sleep, and of suppressing all suffering; only then it was called magic, while now it is called anæsthesia.
Gwynplaine was likely created on purpose. They left him his teeth because you need teeth to laugh. The skull still has them. The surgery he underwent must have been horrific. Just because he didn’t remember it doesn’t mean it didn’t happen. This kind of surgical transformation could only work on a very young child, someone who wouldn’t fully understand what was happening to him and might easily confuse pain for illness. Also, we should keep in mind that back then, they had methods for putting patients to sleep and eliminating pain; it was called magic then, but now we refer to it as anesthesia.
Besides this face, those who had brought him up had given him the resources of a gymnast and an athlete. His articulations usefully displaced and fashioned to bending the wrong way, had received the education of a clown, and could, like the hinges of a door, move backwards and forwards. In appropriating him to the profession of mountebank nothing had been neglected. His hair had been dyed with ochre once for all; a secret which has been rediscovered at the present day. Pretty women use it, and that which was formerly considered ugly is now considered an embellishment. Gwynplaine had yellow hair. His hair having probably been dyed with some corrosive preparation, had left it woolly and rough to the touch. Its yellow bristles, rather a mane than a head of hair, covered and concealed a lofty brow, evidently made to contain thought. The operation, whatever it had been, which had deprived his features of harmony, and put all their flesh into disorder, had had no effect on the bony structure of his head. The facial angle was powerful and surprisingly grand. Behind his laugh there was a soul, dreaming, as all our souls dream.
Besides this face, those who raised him had given him the build of a gymnast and an athlete. His joints were helpfully flexible, able to bend unnaturally, and had been trained like a clown's, allowing him to move back and forth like door hinges. Nothing had been overlooked in preparing him for the profession of a showman. His hair had been dyed with ochre once and for all; a secret that has been rediscovered today. Attractive women use it now, and what was once seen as unattractive is now viewed as stylish. Gwynplaine had yellow hair. Probably dyed with some harsh chemical, it had left his hair feeling wiry and rough. The yellow bristles, more like a mane than actual hair, obscured a high forehead that was clearly meant for thought. The process, whatever it was, had distorted his features but didn't affect the strong, impressive bony structure of his head. His facial structure was powerful and surprisingly magnificent. Behind his smile lay a soul, dreaming, just like all our souls do.
However, his laugh was to Gwynplaine quite a talent. He could do nothing with it, so he turned it to account. By means of it he gained his living.
However, his laugh was a real skill for Gwynplaine. He couldn't do anything else with it, so he made the most of it. Through it, he earned his living.
Gwynplaine, as you have doubtless already guessed, was the child abandoned one winter evening on the coast of Portland, and received into a poor caravan at Weymouth.
Gwynplaine, as you probably already figured out, was the child left behind one winter evening on the coast of Portland and taken in by a struggling caravan in Weymouth.
CHAPTER II.
DEA.
That boy was at this time a man. Fifteen years had elapsed. It was in 1705. Gwynplaine was in his twenty-fifth year.
That boy was now a man. Fifteen years had passed. It was 1705. Gwynplaine was in his twenty-fifth year.
Ursus had kept the two children with him. They were a group of wanderers. Ursus and Homo had aged. Ursus had become quite bald. The wolf was growing gray. The age of wolves is not ascertained like that of dogs. According to Molière, there are wolves which live to eighty, amongst others the little koupara, and the rank wolf, the Canis nubilus of Say.
Ursus had kept the two children with him. They were part of a group of wanderers. Ursus and Homo had both grown older. Ursus had become quite bald. The wolf was turning gray. The lifespan of wolves isn't known like that of dogs. According to Molière, there are wolves that can live up to eighty years, including the little koupara and the rank wolf, the Canis nubilus of Say.
The little girl found on the dead woman was now a tall creature of sixteen, with brown hair, slight, fragile, almost trembling from delicacy, and almost inspiring fear lest she should break; admirably beautiful, her eyes full of light, yet blind. That fatal winter night which threw down the beggar woman and her infant in the snow had struck a double blow. It had killed the mother and blinded the child. Gutta serena had for ever paralysed the eyes of the girl, now become woman in her turn. On her face, through which the light of day never passed, the depressed corners of the mouth indicated the bitterness of the privation. Her eyes, large and clear, had a strange quality: extinguished for ever to her, to others they were brilliant. They were mysterious torches lighting only the outside. They gave light but possessed it not. These sightless eyes were resplendent. A captive of shadow, she lighted up the dull place she inhabited. From the depth of her incurable darkness, from behind the black wall called blindness, she flung her rays. She saw not the sun without, but her soul was perceptible from within.
The little girl found with the dead woman was now a tall sixteen-year-old, with brown hair, slight and fragile, almost trembling from delicacy, and nearly inspiring fear that she might break; stunningly beautiful, her eyes full of light, yet blind. That fateful winter night that brought down the beggar woman and her baby in the snow had dealt a double blow. It had taken the mother’s life and caused the child to lose her sight. Gutta serena had forever paralyzed the girl's eyes, now a woman in her own right. On her face, through which the light of day never flowed, the downturned corners of her mouth showed the bitterness of her loss. Her large, clear eyes held a strange quality: extinguished forever to her, yet brilliant to others. They were mysterious beacons illuminating only the outside. They gave off light but possessed none. These sightless eyes sparkled with brilliance. A captive of shadow, she brightened the dull space she occupied. From the depths of her incurable darkness, from behind the black barrier of blindness, she cast her rays. She couldn’t see the sun outside, but her soul shone from within.
In her dead look there was a celestial earnestness. She was the night, and from the irremediable darkness with which she was amalgamated she came out a star.
In her lifeless gaze, there was a heavenly seriousness. She was the night, and from the inescapable darkness she was merged with, she emerged as a star.
Ursus, with his mania for Latin names, had christened her Dea. He had taken his wolf into consultation. He had said to him, "You represent man, I represent the beasts. We are of the lower world; this little one shall represent the world on high. Such feebleness is all-powerful. In this manner the universe shall be complete in our hut in its three orders—human, animal, and Divine." The wolf made no objection. Therefore the foundling was called Dea.
Ursus, with his obsession for Latin names, had named her Dea. He had consulted with his wolf, saying, "You represent humans, I represent the animals. We are from the lower world; this little one will represent the higher world. Such fragility is all-powerful. This way, the universe will be complete in our hut in its three orders—human, animal, and Divine." The wolf did not object. So, the foundling was named Dea.
As to Gwynplaine, Ursus had not had the trouble of inventing a name for him. The morning of the day on which he had realized the disfigurement of the little boy and the blindness of the infant he had asked him, "Boy, what is your name?" and the boy had answered, "They call me Gwynplaine." "Be Gwynplaine, then," said Ursus.
As for Gwynplaine, Ursus didn’t have to struggle to come up with a name for him. On the morning when he noticed the disfigurement of the little boy and the blindness of the infant, he asked, "Hey kid, what's your name?" The boy replied, "They call me Gwynplaine." "Then be Gwynplaine," said Ursus.
Dea assisted Gwynplaine in his performances. If human misery could be summed up, it might have been summed up in Gwynplaine and Dea. Each seemed born in a compartment of the sepulchre; Gwynplaine in the horrible, Dea in the darkness. Their existences were shadowed by two different kinds of darkness, taken from the two formidable sides of night. Dea had that shadow in her, Gwynplaine had it on him. There was a phantom in Dea, a spectre in Gwynplaine. Dea was sunk in the mournful, Gwynplaine in something worse. There was for Gwynplaine, who could see, a heartrending possibility that existed not for Dea, who was blind; he could compare himself with other men. Now, in a situation such as that of Gwynplaine, admitting that he should seek to examine it, to compare himself with others was to understand himself no more. To have, like Dea, empty sight from which the world is absent, is a supreme distress, yet less than to be an enigma to oneself; to feel that something is wanting here as well, and that something, oneself; to see the universe and not to see oneself. Dea had a veil over her, the night; Gwynplaine a mask, his face. Inexpressible fact, it was by his own flesh that Gwynplaine was masked! What his visage had been, he knew not. His face had vanished. They had affixed to him a false self. He had for a face, a disappearance. His head lived, his face was dead. He never remembered to have seen it. Mankind was for Gwynplaine, as for Dea, an exterior fact. It was far-off. She was alone, he was alone. The isolation of Dea was funereal, she saw nothing; that of Gwynplaine sinister, he saw all things. For Dea creation never passed the bounds of touch and hearing; reality was bounded, limited, short, immediately lost. Nothing was infinite to her but darkness. For Gwynplaine to live was to have the crowd for ever before him and outside him. Dea was the proscribed from light, Gwynplaine the banned of life. They were beyond the pale of hope, and had reached the depth of possible calamity; they had sunk into it, both of them. An observer who had watched them would have felt his reverie melt into immeasurable pity. What must they not have suffered! The decree of misfortune weighed visibly on these human creatures, and never had fate encompassed two beings who had done nothing to deserve it, and more clearly turned destiny into torture, and life into hell.
Dea helped Gwynplaine with his performances. If you could sum up human misery, it would look a lot like Gwynplaine and Dea. They both seemed like they were born from a tomb; Gwynplaine from horror, Dea from darkness. Their lives were colored by two different types of darkness, drawn from the two terrifying aspects of night. Dea carried that darkness within her, while Gwynplaine wore it like a cloak. There was a ghost inside Dea, a specter attached to Gwynplaine. Dea was steeped in sorrow, while Gwynplaine faced something even worse. For Gwynplaine, who could see, there was a painful possibility that didn’t exist for Dea, who was blind; he had the ability to compare himself to other people. But in Gwynplaine's situation, trying to analyze it or compare himself to others didn’t help him understand himself any better. Having, like Dea, an empty perception of a world that was absent is an ultimate sorrow, yet less so than being a mystery to oneself; to sense that something is missing here as well, and that something is oneself; to see the universe and not see oneself. Dea was shrouded in the night; Gwynplaine wore a mask, his face. In an indescribable twist, Gwynplaine was masked by his own flesh! He had no idea what his true face had been. His original face had disappeared. They had given him a false identity. What he had for a face was a disappearance. His head was alive, but his face was dead. He could never remember having seen it. For Gwynplaine, as for Dea, humanity was an external reality. It felt distant. She was alone, and he was alone. Dea’s isolation was mournful; she saw nothing. Gwynplaine’s isolation was dark; he saw everything. For Dea, creation didn’t go beyond touch and sound; reality felt constrained, limited, brief, and instantly lost. Nothing was infinite for her except darkness. For Gwynplaine, to live meant to constantly have the crowd in front of him and around him. Dea was excluded from light, while Gwynplaine was banished from life. They were beyond hope and had plunged into the depths of possible disaster; they had both sunk into it. Anyone who observed them would have felt their daydream dissolve into profound pity. How much must they have suffered! The weight of misfortune was visibly pressing down on these human beings, and never before had fate ensnared two individuals who had done nothing to deserve it, so clearly turning destiny into torment and life into hell.
They were in a Paradise.
They were in paradise.
They were in love.
They were in love.
Gwynplaine adored Dea. Dea idolized Gwynplaine.
Gwynplaine loved Dea. Dea looked up to Gwynplaine.
"How beautiful you are!" she would say to him.
"You're so beautiful!" she would say to him.
CHAPTER III.
"OCULOS NON HABET, ET VIDET."
Only one woman on earth saw Gwynplaine. It was the blind girl. She had learned what Gwynplaine had done for her, from Ursus, to whom he had related his rough journey from Portland to Weymouth, and the many sufferings which he had endured when deserted by the gang. She knew that when an infant dying upon her dead mother, suckling a corpse, a being scarcely bigger than herself had taken her up; that this being, exiled, and, as it were, buried under the refusal of the universe to aid him, had heard her cry; that all the world being deaf to him, he had not been deaf to her; that the child, alone, weak, cast off, without resting-place here below, dragging himself over the waste, exhausted by fatigue, crushed, had accepted from the hands of night a burden, another child: that he, who had nothing to expect in that obscure distribution which we call fate, had charged himself with a destiny; that naked, in anguish and distress, he had made himself a Providence; that when Heaven had closed he had opened his heart; that, himself lost, he had saved; that having neither roof-tree nor shelter, he had been an asylum; that he had made himself mother and nurse; that he who was alone in the world had responded to desertion by adoption; that lost in the darkness he had given an example; that, as if not already sufficiently burdened, he had added to his load another's misery; that in this world, which seemed to contain nothing for him, he had found a duty; that where every one else would have hesitated, he had advanced; that where every one else would have drawn back, he consented; that he had put his hand into the jaws of the grave and drawn out her—Dea. That, himself half naked, he had given her his rags, because she was cold; that famished, he had thought of giving her food and drink; that for one little creature, another little creature had combated death; that he had fought it under every form; under the form of winter and snow, under the form of solitude, under the form of terror, under the form of cold, hunger, and thirst, under the form of whirlwind, and that for her, Dea, this Titan of ten had given battle to the immensity of night. She knew that as a child he had done this, and that now as a man, he was strength to her weakness, riches to her poverty, healing to her sickness, and sight to her blindness. Through the mist of the unknown by which she felt herself encompassed, she distinguished clearly his devotion, his abnegation, his courage. Heroism in immaterial regions has an outline; she distinguished this sublime outline. In the inexpressible abstraction in which thought lives unlighted by the sun, Dea perceived this mysterious lineament of virtue. In the surrounding of dark things put in motion, which was the only impression made on her by reality; in the uneasy stagnation of a creature, always passive, yet always on the watch for possible evil; in the sensation of being ever defenceless, which is the life of the blind—she felt Gwynplaine above her; Gwynplaine never cold, never absent, never obscured; Gwynplaine sympathetic, helpful, and sweet-tempered. Dea quivered with certainty and gratitude, her anxiety changed into ecstasy, and with her shadowy eyes she contemplated on the zenith from the depth of her abyss the rich light of his goodness. In the ideal, kindness is the sun; and Gwynplaine dazzled Dea.
Only one woman in the world saw Gwynplaine. It was the blind girl. She had learned what Gwynplaine had done for her from Ursus, who told her about his tough journey from Portland to Weymouth and the many hardships he faced when he was abandoned by the gang. She understood that when she was a baby, dying alongside her deceased mother and suckling from a corpse, this being, barely larger than herself, had picked her up; that this being, exiled and practically buried under the universe's refusal to help him, had heard her cry; that while the whole world was deaf to him, he was not deaf to her; that the child, alone, weak, discarded, without a resting place in this world, dragging himself through the wasteland, exhausted from fatigue and crushed, had accepted from the hands of the night a burden, another child: that he, who had nothing to expect from the obscure fate we call destiny, had taken on a purpose; that naked, in pain and distress, he had become a Providence; that when Heaven had closed its doors, he had opened his heart; that, lost himself, he had saved her; that having neither roof nor shelter, he had been a refuge; that he had made himself mother and caregiver; that he, alone in the world, had responded to abandonment by adopting her; that lost in darkness, he had set an example; that, as if not already weighed down enough, he had added another's misery to his own; that in a world that appeared to offer him nothing, he had discovered a duty; that where everyone else would have hesitated, he had moved forward; that where everyone else would have stepped back, he had agreed; that he had plunged his hand into the jaws of the grave and pulled out her—Dea. That, himself half-naked, he had given her his rags because she was cold; that starving, he had thought of feeding her and giving her something to drink; that for one little being, another little being had battled against death; that he had fought it in every form; in the form of winter and snow, in the form of solitude, in the form of fear, in the form of cold, hunger, and thirst, in the form of a whirlwind, and that for her, Dea, this Titan of ten had fought against the vastness of the night. She knew that he had done this as a child, and that now as a man, he was strength for her weakness, wealth for her poverty, healing for her illness, and sight for her blindness. Through the fog of the unknown that surrounded her, she clearly perceived his devotion, his selflessness, his bravery. Heroism in intangible realms has a shape; she recognized this sublime shape. In the indescribable abstraction where thoughts exist, unlit by the sun, Dea sensed this mysterious outline of virtue. In the darkness surrounding everything, which was the only impression that reality left on her; in the uneasy stillness of a creature that was always passive yet always alert to potential threats; in the feeling of being constantly defenseless, which is the life of the blind—she felt Gwynplaine above her; Gwynplaine who was never cold, never absent, never obscured; Gwynplaine who was compassionate, helpful, and kind. Dea shivered with certainty and gratitude, her worry transformed into ecstasy, and with her shadowy eyes, she gazed at the zenith from the depths of her abyss, beholding the rich light of his goodness. In the ideal, kindness is the sun; and Gwynplaine dazzled Dea.
To the crowd, which has too many heads to have a thought, and too many eyes to have a sight—to the crowd who, superficial themselves, judge only of the surface, Gwynplaine was a clown, a merry-andrew, a mountebank, a creature grotesque, a little more and a little less than a beast. The crowd knew only the face.
To the crowd, which has too many heads to think and too many eyes to see—to the crowd who, superficial themselves, only judge by appearances, Gwynplaine was a clown, a fool, a trickster, a grotesque being, a little more and a little less than an animal. The crowd only saw the face.
For Dea, Gwynplaine was the saviour, who had gathered her into his arms in the tomb, and borne her out of it; the consoler, who made life tolerable; the liberator, whose hand, holding her own, guided her through that labyrinth called blindness. Gwynplaine was her brother, friend, guide, support; the personification of heavenly power; the husband, winged and resplendent. Where the multitude saw the monster, Dea recognized the archangel. It was that Dea, blind, perceived his soul.
For Dea, Gwynplaine was her savior, who had picked her up in the tomb and carried her out; the comforter, who made life bearable; the liberator, whose hand, holding hers, led her through the maze known as blindness. Gwynplaine was her brother, friend, guide, and support; the embodiment of divine power; the husband, glorious and shining. While the crowd saw a monster, Dea saw an archangel. It was in her blindness that Dea recognized his soul.
CHAPTER IV.
WELL-MATCHED LOVERS.
Ursus being a philosopher understood. He approved of the fascination of Dea. He said, The blind see the invisible. He said, Conscience is vision. Then, looking at Gwynplaine, he murmured, Semi-monster, but demi-god.
Ursus, being a philosopher, understood. He appreciated Dea's fascination. He said, "The blind see the invisible." He added, "Conscience is vision." Then, glancing at Gwynplaine, he murmured, "Semi-monster, but demi-god."
Gwynplaine, on the other hand, was madly in love with Dea.
Gwynplaine, on the other hand, was deeply in love with Dea.
There is the invisible eye, the spirit, and the visible eye, the pupil. He saw her with the visible eye. Dea was dazzled by the ideal; Gwynplaine, by the real. Gwynplaine was not ugly; he was frightful. He saw his contrast before him: in proportion as he was terrible, Dea was sweet. He was horror; she was grace. Dea was his dream. She seemed a vision scarcely embodied. There was in her whole person, in her Grecian form, in her fine and supple figure, swaying like a reed; in her shoulders, on which might have been invisible wings; in the modest curves which indicated her sex, to the soul rather than to the senses; in her fairness, which amounted almost to transparency; in the august and reserved serenity of her look, divinely shut out from earth; in the sacred innocence of her smile—she was almost an angel, and yet just a woman.
There’s the invisible eye, the spirit, and the visible eye, the pupil. He saw her with the visible eye. Dea was captivated by the ideal; Gwynplaine, by the real. Gwynplaine wasn’t ugly; he was terrifying. He saw his contrast in front of him: the more he appeared monstrous, the more Dea appeared lovely. He was horror; she was grace. Dea was his dream. She seemed like a vision barely brought to life. Everything about her—her Greek-like form, her fine and supple figure swaying like a reed, her shoulders that seemed to have invisible wings, the gentle curves suggesting her femininity that appealed more to the soul than the senses, her almost transparent fairness, the majestic and calm serenity of her gaze, which seemed divinely removed from the world, and the sacred innocence of her smile—made her almost an angel, yet still just a woman.
Gwynplaine, we have said, compared himself and compared Dea.
Gwynplaine, as we mentioned, compared himself to Dea and examined their differences.
His existence, such as it was, was the result of a double and unheard-of choice. It was the point of intersection of two rays—one from below and one from above—a black and a white ray. To the same crumb, perhaps pecked at at once by the beaks of evil and good, one gave the bite, the other the kiss. Gwynplaine was this crumb—an atom, wounded and caressed. Gwynplaine was the product of fatality combined with Providence. Misfortune had placed its finger on him; happiness as well. Two extreme destinies composed his strange lot. He had on him an anathema and a benediction. He was the elect, cursed. Who was he? He knew not. When he looked at himself, he saw one he knew not; but this unknown was a monster. Gwynplaine lived as it were beheaded, with a face which did not belong to him. This face was frightful, so frightful that it was absurd. It caused as much fear as laughter. It was a hell-concocted absurdity. It was the shipwreck of a human face into the mask of an animal. Never had been seen so total an eclipse of humanity in a human face; never parody more complete; never had apparition more frightful grinned in nightmare; never had everything repulsive to woman been more hideously amalgamated in a man. The unfortunate heart, masked and calumniated by the face, seemed for ever condemned to solitude under it, as under a tombstone.
His existence, such as it was, resulted from an unusual and unheard-of choice. It was the intersection of two rays—one from below and one from above—a black ray and a white ray. To the same crumb, perhaps pecked at simultaneously by the beaks of evil and good, one gave a bite, the other a kiss. Gwynplaine was this crumb—an atom, wounded and caressed. Gwynplaine was the outcome of fate mixed with divine intervention. Misfortune had pointed to him; so had happiness. Two extreme destinies made up his strange fate. He carried a curse and a blessing. He was the chosen one, cursed. Who was he? He didn’t know. When he looked at himself, he saw someone he didn’t recognize; but this unknown was a monster. Gwynplaine lived as if beheaded, with a face that didn’t belong to him. This face was terrifying, so frightening that it was absurd. It inspired as much fear as laughter. It was a hellish absurdity. It was the wreck of a human face turned into an animal’s mask. Never had such a total eclipse of humanity been seen in a human face; never had there been a more complete parody; never had a more horrifying apparition grinned in a nightmare; never had everything repulsive to women been more hideously mixed together in a man. The unfortunate heart, masked and slandered by the face, seemed forever condemned to solitude beneath it, as if under a tombstone.
Yet no! Where unknown malice had done its worst, invisible goodness had lent its aid. In the poor fallen one, suddenly raised up, by the side of the repulsive, it had placed the attractive; on the barren shoal it had set the loadstone; it had caused a soul to fly with swift wings towards the deserted one; it had sent the dove to console the creature whom the thunderbolt had overwhelmed, and had made beauty adore deformity. For this to be possible it was necessary that beauty should not see the disfigurement. For this good fortune, misfortune was required. Providence had made Dea blind.
But no! Where unseen evil had done its worst, invisible goodness had stepped in. In the poor fallen one, suddenly uplifted, it placed the attractive beside the repulsive; on the barren shore, it set the magnet; it caused a soul to soar swiftly towards the abandoned one; it sent the dove to comfort the being overwhelmed by the thunderbolt, and had made beauty admire deformity. For this to happen, it was essential that beauty not see the disfigurement. For this blessing, misfortune was necessary. Fate had made Dea blind.
Gwynplaine vaguely felt himself the object of a redemption. Why had he been persecuted? He knew not. Why redeemed? He knew not. All he knew was that a halo had encircled his brand. When Gwynplaine had been old enough to understand, Ursus had read and explained to him the text of Doctor Conquest de Denasatis, and in another folio, Hugo Plagon, the passage, Naves habensmutilas; but Ursus had prudently abstained from "hypotheses," and had been reserved in his opinion of what it might mean. Suppositions were possible. The probability of violence inflicted on Gwynplaine when an infant was hinted at, but for Gwynplaine the result was the only evidence. His destiny was to live under a stigma. Why this stigma? There was no answer.
Gwynplaine vaguely felt like he was the subject of some sort of redemption. Why had he been persecuted? He didn’t know. Why was he redeemed? He didn’t know that either. All he was aware of was that a halo had formed around his brand. When Gwynplaine was old enough to understand, Ursus read and explained to him the text of Doctor Conquest de Denasatis, and in another book, Hugo Plagon's passage, Naves habens mutilas; but Ursus wisely avoided "hypotheses" and was cautious about expressing his opinions on what it might mean. Speculations were possible. There was a hint of violence inflicted on Gwynplaine as an infant, but for Gwynplaine, the outcome was the only proof. His fate was to live with a stigma. Why this stigma? There was no answer.
Silence and solitude were around Gwynplaine. All was uncertain in the conjectures which could be fitted to the tragical reality; excepting the terrible fact, nothing was certain. In his discouragement Dea intervened a sort of celestial interposition between him and despair. He perceived, melted and inspirited by the sweetness of the beautiful girl who turned to him, that, horrible as he was, a beautified wonder affected his monstrous visage. Having been fashioned to create dread, he was the object of a miraculous exception, that it was admired and adored in the ideal by the light; and, monster that he was, he felt himself the contemplation of a star.
Silence and solitude surrounded Gwynplaine. Everything was uncertain in the theories that could be applied to the tragic reality; apart from the horrifying truth, nothing was definite. In his discouragement, Dea acted as a kind of heavenly presence between him and despair. He realized, softened and uplifted by the sweetness of the beautiful girl who turned to him, that, as awful as he looked, a wondrous beauty transformed his monstrous face. Created to inspire fear, he became the subject of a miraculous exception; he was admired and adored in the ideal by the light, and despite being a monster, he felt like he was the focus of a star.
Gwynplaine and Dea were united, and these two suffering hearts adored each other. One nest and two birds—that was their story. They had begun to feel a universal law—to please, to seek, and to find each other.
Gwynplaine and Dea were together, and these two hurting souls loved each other deeply. One nest and two birds—that was their tale. They had started to understand a universal truth—to bring joy, to search, and to discover one another.
Thus hatred had made a mistake. The persecutors of Gwynplaine, whoever they might have been—the deadly enigma, from wherever it came—had missed their aim. They had intended to drive him to desperation; they had succeeded in driving him into enchantment. They had affianced him beforehand to a healing wound. They had predestined him for consolation by an infliction. The pincers of the executioner had softly changed into the delicately-moulded hand of a girl. Gwynplaine was horrible—artificially horrible—made horrible by the hand of man. They had hoped to exile him for ever: first, from his family, if his family existed, and then from humanity. When an infant, they had made him a ruin; of this ruin Nature had repossessed herself, as she does of all ruins. This solitude Nature had consoled, as she consoles all solitudes. Nature comes to the succour of the deserted; where all is lacking, she gives back her whole self. She flourishes and grows green amid ruins; she has ivy for the stones and love for man.
Hatred had messed up. The people who persecuted Gwynplaine—whatever their identity and from wherever they came—had completely missed the mark. They wanted to push him to despair; instead, they pushed him into a kind of magic. They had unwittingly promised him healing through his pain. They destined him for comfort through suffering. The executioner's grip had softly transformed into the gentle hand of a girl. Gwynplaine was terrifying—artificially terrifying—made so by human hands. They hoped to banish him forever: first from his family, if he even had one, and then from humanity itself. As an infant, they had turned him into a wreck; yet from that wreck, Nature reclaimed what was hers, as it does with all ruins. This solitude was comforted by Nature, just as she comforts all who are alone. Nature comes to help the abandoned; where there is absence, she gives her entirety back. She thrives and flourishes among the ruins; she drapes ivy over stones and offers love to humanity.
Profound generosity of the shadows!
Amazing generosity of the shadows!
CHAPTER V.
THE BLUE SKY THROUGH THE BLACK CLOUD.
Thus lived these unfortunate creatures together—Dea, relying; Gwynplaine, accepted. These orphans were all in all to each other, the feeble and the deformed. The widowed were betrothed. An inexpressible thanksgiving arose out of their distress. They were grateful. To whom? To the obscure immensity. Be grateful in your own hearts. That suffices. Thanksgiving has wings, and flies to its right destination. Your prayer knows its way better than you can.
Thus lived these unfortunate beings together—Dea, depending; Gwynplaine, accepted. These orphans meant everything to each other, the weak and the deformed. The widowed were connected. An indescribable sense of gratitude arose from their suffering. They were thankful. To whom? To the unknown vastness. Be thankful in your own hearts. That's enough. Gratitude has wings and finds its way to the right destination. Your prayer knows its path better than you do.
How many men have believed that they prayed to Jupiter, when they prayed to Jehovah! How many believers in amulets are listened to by the Almighty! How many atheists there are who know not that, in the simple fact of being good and sad, they pray to God!
How many men have thought they were praying to Jupiter when they were actually praying to Jehovah! How many people who believe in amulets are heard by the Almighty! How many atheists there are who don't realize that just by being good and feeling sad, they are praying to God!
Gwynplaine and Dea were grateful. Deformity is expulsion. Blindness is a precipice. The expelled one had been adopted; the precipice was habitable.
Gwynplaine and Dea felt thankful. Deformity means being cast out. Blindness is a steep drop. The one who was cast out had found a new home; the drop was survivable.
Gwynplaine had seen a brilliant light descending on him, in an arrangement of destiny which seemed to put, in the perspective of a dream, a white cloud of beauty having the form of a woman, a radiant vision in which there was a heart; and the phantom, almost a cloud and yet a woman, clasped him; and the apparition embraced him; and the heart desired him. Gwynplaine was no longer deformed. He was beloved. The rose demanded the caterpillar in marriage, feeling that within the caterpillar there was a divine butterfly. Gwynplaine the rejected was chosen. To have one's desire is everything. Gwynplaine had his, Dea hers.
Gwynplaine saw a bright light coming down on him, in a twist of fate that made it feel like a dream, a beautiful white cloud shaped like a woman, a glowing vision with a heart; and the figure, almost a cloud yet still a woman, held him tight; and the apparition wrapped around him; and the heart craved him. Gwynplaine was no longer deformed. He was loved. The rose wanted to marry the caterpillar, knowing that deep inside the caterpillar was a beautiful butterfly. Gwynplaine, the one who was rejected, was now chosen. To get what you want is everything. Gwynplaine had his, and Dea had hers.
The abjection of the disfigured man was exalted and dilated into intoxication, into delight, into belief; and a hand was stretched out towards the melancholy hesitation of the blind girl, to guide her in her darkness.
The disgrace of the disfigured man was magnified and turned into something intoxicating, something joyful, something to believe in; and a hand was reached out towards the sad uncertainty of the blind girl, to help her in her darkness.
It was the penetration of two misfortunes into the ideal which absorbed them. The rejected found a refuge in each other. Two blanks, combining, filled each other up. They held together by what they lacked: in that in which one was poor, the other was rich. The misfortune of the one made the treasure of the other. Had Dea not been blind, would she have chosen Gwynplaine? Had Gwynplaine not been disfigured, would he have preferred Dea? She would probably have rejected the deformed, as he would have passed by the infirm. What happiness for Dea that Gwynplaine was hideous! What good fortune for Gwynplaine that Dea was blind! Apart from their providential matching, they were impossible to each other. A mighty want of each other was at the bottom of their loves, Gwynplaine saved Dea. Dea saved Gwynplaine. Apposition of misery produced adherence. It was the embrace of those swallowed in the abyss; none closer, none more hopeless, none more exquisite.
Two misfortunes collided with their ideal, drawing them together. The outcasts found solace in each other. Two voids, merging, completed one another. They were bound by what they lacked: where one was deficient, the other was abundant. The misfortune of one became the treasure of the other. If Dea hadn’t been blind, would she have chosen Gwynplaine? If Gwynplaine hadn’t been disfigured, would he have preferred Dea? She likely would have turned away from the deformed, just as he would have overlooked the disabled. What joy for Dea that Gwynplaine was ugly! What luck for Gwynplaine that Dea was blind! Aside from their fateful pairing, they were unattainable to each other. A deep yearning for one another underpinned their love; Gwynplaine rescued Dea, and Dea saved Gwynplaine. Their shared misery created a bond. It was the embrace of those lost in the depths; none were closer, none more hopeless, none more beautiful.
Gwynplaine had a thought—"What should I be without her?" Dea had a thought—"What should I be without him?" The exile of each made a country for both. The two incurable fatalities, the stigmata of Gwynplaine and the blindness of Dea, joined them together in contentment. They sufficed to each other. They imagined nothing beyond each other. To speak to one another was a delight, to approach was beatitude; by force of reciprocal intuition they became united in the same reverie, and thought the same thoughts. In Gwynplaine's tread Dea believed that she heard the step of one deified. They tightened their mutual grasp in a sort of sidereal chiaroscuro, full of perfumes, of gleams, of music, of the luminous architecture of dreams. They belonged to each other; they knew themselves to be for ever united in the same joy and the same ecstasy; and nothing could be stranger than this construction of an Eden by two of the damned.
Gwynplaine had a thought—"What would I be without her?" Dea had a thought—"What would I be without him?" The loneliness of each created a world for both. The two unchangeable fates, Gwynplaine's scars and Dea's blindness, bound them together in happiness. They were enough for each other. They envisioned nothing beyond one another. Talking to each other was a joy, being close was bliss; through their shared understanding, they connected in the same daydream and shared the same thoughts. In Gwynplaine's footsteps, Dea believed she heard the approach of someone divine. They held onto each other in a kind of cosmic chiaroscuro, filled with scents, light, music, and the bright landscape of dreams. They belonged to one another; they knew they were forever united in the same joy and the same ecstasy; and nothing could be stranger than this creation of an Eden by two outcasts.
They were inexpressibly happy. In their hell they had created heaven. Such was thy power, O Love! Dea heard Gwynplaine's laugh; Gwynplaine saw Dea's smile. Thus ideal felicity was found, the perfect joy of life was realized, the mysterious problem of happiness was solved; and by whom? By two outcasts.
They were incredibly happy. In their struggles, they had created paradise. Such was your power, O Love! Dea heard Gwynplaine's laughter; Gwynplaine saw Dea's smile. Thus, they found perfect happiness, the ultimate joy of life became real, and the mysterious question of happiness was answered; and by whom? By two outcasts.
For Gwynplaine, Dea was splendour. For Dea, Gwynplaine was presence. Presence is that profound mystery which renders the invisible world divine, and from which results that other mystery—confidence. In religions this is the only thing which is irreducible; but this irreducible thing suffices. The great motive power is not seen; it is felt.
For Gwynplaine, Dea was everything beautiful. For Dea, Gwynplaine was a significant presence. Presence is that deep mystery that makes the unseen world sacred, and from it comes another mystery—trust. In religions, this is the only aspect that can't be broken down; but this essential aspect is enough. The true driving force isn’t visible; it’s just felt.
Gwynplaine was the religion of Dea. Sometimes, lost in her sense of love towards him, she knelt, like a beautiful priestess before a gnome in a pagoda, made happy by her adoration.
Gwynplaine was Dea's everything. Sometimes, overwhelmed by her love for him, she would kneel like a beautiful priestess in front of a gnome in a pagoda, joyfully basking in her worship.
Imagine to yourself an abyss, and in its centre an oasis of light, and in this oasis two creatures shut out of life, dazzling each other. No purity could be compared to their loves. Dea was ignorant what a kiss might be, though perhaps she desired it; because blindness, especially in a woman, has its dreams, and though trembling at the approaches of the unknown, does not fear them all. As to Gwynplaine, his sensitive youth made him pensive. The more delirious he felt, the more timid he became. He might have dared anything with this companion of his early youth, with this creature as innocent of fault as of the light, with this blind girl who saw but one thing—that she adored him! But he would have thought it a theft to take what she might have given; so he resigned himself with a melancholy satisfaction to love angelically, and the conviction of his deformity resolved itself into a proud purity.
Imagine an abyss with a glowing oasis at its center, where two beings excluded from life dazzle each other. Their love is unmatched in purity. Dea didn’t know what a kiss was, though she might have wanted one; because being blind, especially for a woman, comes with its own dreams, and while she trembled at the thought of the unknown, she didn’t fear it completely. As for Gwynplaine, his sensitive youth made him thoughtful. The more ecstatic he felt, the more shy he became. He could have taken risks with this companion from his childhood, with this being as innocent of faults as she was of the light, with this blind girl who saw only one thing—that she adored him! But he would have felt it was wrong to take what she might have offered; so he resigned himself, with a sad satisfaction, to love her in a pure, angelic way, and the awareness of his deformity turned into a proud sense of purity.
These happy creatures dwelt in the ideal. They were spouses in it at distances as opposite as the spheres. They exchanged in its firmament the deep effluvium which is in infinity attraction, and on earth the sexes. Their kisses were the kisses of souls.
These joyful beings lived in perfection. They were partners in a way that was as far apart as the planets. They shared the profound energy that exists in infinite attraction, and here on earth, the differences between the sexes. Their kisses were the kisses of souls.
They had always lived a common life. They knew themselves only in each other's society. The infancy of Dea had coincided with the youth of Gwynplaine. They had grown up side by side. For a long time they had slept in the same bed, for the hut was not a large bedchamber. They lay on the chest, Ursus on the floor; that was the arrangement. One fine day, whilst Dea was still very little, Gwynplaine felt himself grown up, and it was in the youth that shame arose. He said to Ursus, "I will also sleep on the floor." And at night he stretched himself, with the old man, on the bear skin. Then Dea wept. She cried for her bed-fellow; but Gwynplaine, become restless because he had begun to love, decided to remain where he was. From that time he always slept by the side of Ursus on the planks. In the summer, when the nights were fine, he slept outside with Homo.
They had always lived a simple life. They knew each other only in each other's company. Dea's childhood matched Gwynplaine's youth. They grew up together. For a long time, they shared the same bed since the hut wasn't big enough for another room. They lay on the chest, with Ursus on the floor; that was how it was set up. One day, when Dea was still very small, Gwynplaine realized he was growing up, and with that came a sense of embarrassment. He told Ursus, "I’ll sleep on the floor too." So at night, he laid down with the old man on the bear skin. Then Dea cried. She missed her bedmate, but Gwynplaine, restless because he was starting to fall in love, chose to stay where he was. From then on, he always slept next to Ursus on the planks. In the summer, when the nights were nice, he slept outside with Homo.
When thirteen, Dea had not yet become resigned to the arrangement. Often in the evening she said, "Gwynplaine, come close to me; that will put me to sleep." A man lying by her side was a necessity to her innocent slumbers.
When she was thirteen, Dea hadn’t yet accepted the situation. Often in the evening, she would say, "Gwynplaine, come close to me; that will help me fall asleep." Having a man lying next to her was essential for her innocent slumbers.
Nudity is to see that one is naked. She ignored nudity. It was the ingenuousness of Arcadia or Otaheite. Dea untaught made Gwynplaine wild. Sometimes it happened that Dea, when almost reaching youth, combed her long hair as she sat on her bed—her chemise unfastened and falling off revealed indications of a feminine outline, and a vague commencement of Eve—and would call Gwynplaine. Gwynplaine blushed, lowered his eyes, and knew not what to do in presence of this innocent creature. Stammering, he turned his head, feared, and fled. The Daphnis of darkness took flight before the Chloe of shadow.
Nudity simply means being naked. She paid no attention to nudity. It was the natural innocence of places like Arcadia or Tahiti. Dea, being untouched, made Gwynplaine wild. Sometimes, when Dea was approaching her teenage years, she would sit on her bed and comb her long hair—her nightgown unfastened and slipping off, revealing hints of her feminine form, and a faint start of womanhood—and she would call out to Gwynplaine. Gwynplaine would blush, lower his eyes, and feel unsure about how to act in front of this innocent girl. Stammering, he would turn his head away, frightened, and run off. The dark Daphnis fled from the shadowy Chloe.
Such was the idyll blooming in a tragedy.
Such was the peaceful scene flourishing amid a tragedy.
Ursus said to them,—"Old brutes, adore each other!"
Ursus said to them, "Old beasts, love each other!"
CHAPTER VI.
URSUS AS TUTOR, AND URSUS AS GUARDIAN.
Ursus added,—
Ursus added,—
"Some of these days I will play them a nasty trick. I will marry them."
"One of these days, I'm going to pull a nasty trick on them. I'm going to marry them."
Ursus taught Gwynplaine the theory of love. He said to him,—
Ursus taught Gwynplaine about the concept of love. He said to him,—
"Do you know how the Almighty lights the fire called love? He places the woman underneath, the devil between, and the man at the top. A match—that is to say, a look—and behold, it is all on fire."
"Do you know how the Almighty ignites the fire called love? He puts the woman at the bottom, the devil in the middle, and the man at the top. A spark—that is to say, a glance—and suddenly, it’s all ablaze."
"A look is unnecessary," answered Gwynplaine, thinking of Dea.
"A look isn't needed," replied Gwynplaine, thinking of Dea.
And Ursus replied,—
And Ursus responded,—
"Booby! Do souls require mortal eyes to see each other?"
"Booby! Do souls need human eyes to see one another?"
Ursus was a good fellow at times. Gwynplaine, sometimes madly in love with Dea, became melancholy, and made use of the presence of Ursus as a guard on himself. One day Ursus said to him,—
Ursus was a decent guy most of the time. Gwynplaine, who was sometimes head over heels in love with Dea, fell into a gloomy mood, and he relied on Ursus's presence to keep himself in check. One day, Ursus said to him,—
"Bah! do not put yourself out. When in love, the cock shows himself."
"Bah! Don't stress yourself. When you’re in love, the rooster shows up."
"But the eagle conceals himself," replied Gwynplaine.
"But the eagle hides himself," replied Gwynplaine.
At other times Ursus would say to himself, apart,—
At other times, Ursus would say to himself, alone,—
"It is wise to put spokes in the wheels of the Cytherean car. They love each other too much. This may have its disadvantages. Let us avoid a fire. Let us moderate these hearts."
"It’s smart to put some limits on the path of love. They care for each other too deeply. This might come with its downsides. Let’s steer clear of a disaster. Let’s temper these hearts."
Then Ursus had recourse to warnings of this nature, speaking to Gwynplaine when Dea slept, and to Dea when Gwynplaine's back was turned:—
Then Ursus resorted to warnings like this, talking to Gwynplaine while Dea slept, and to Dea when Gwynplaine's back was turned:—
"Dea, you must not be so fond of Gwynplaine. To live in the life of another is perilous. Egoism is a good root of happiness. Men escape from women. And then Gwynplaine might end by becoming infatuated with you. His success is so great! You have no idea how great his success is!"
"Dea, you shouldn't be so attached to Gwynplaine. Living in someone else's life can be risky. Selfishness can lead to happiness. Men move on from women. Besides, Gwynplaine could end up falling for you. His success is enormous! You have no idea just how huge his success is!"
"Gwynplaine, disproportions are no good. So much ugliness on one side and so much beauty on another ought to compel reflection. Temper your ardour, my boy. Do not become too enthusiastic about Dea. Do you seriously consider that you are made for her? Just think of your deformity and her perfection! See the distance between her and yourself. She has everything, this Dea. What a white skin! What hair! Lips like strawberries! And her foot! her hand! Those shoulders, with their exquisite curve! Her expression is sublime. She walks diffusing light; and in speaking, the grave tone of her voice is charming. But for all this, to think that she is a woman! She would not be such a fool as to be an angel. She is absolute beauty. Repeat all this to yourself, to calm your ardour."
"Gwynplaine, having such extremes isn’t good. So much ugliness on one side and so much beauty on the other should make you think. Control your enthusiasm, my boy. Do you really believe you’re meant for Dea? Just look at your deformity compared to her perfection! Notice the gap between you two. She has everything, this Dea. What perfect skin! What beautiful hair! Lips like strawberries! And her foot! Her hand! Those shoulders, with their perfect curve! Her expression is stunning. She moves like she’s spreading light; and when she talks, the serious tone of her voice is lovely. But despite all this, to think she’s just a woman! She wouldn’t be foolish enough to be an angel. She is pure beauty. Remind yourself of all this to calm your passion."
These speeches redoubled the love of Gwynplaine and Dea, and Ursus was astonished at his want of success, just as one who should say, "It is singular that with all the oil I throw on fire I cannot extinguish it."
These speeches deepened the love between Gwynplaine and Dea, and Ursus was surprised by his lack of success, much like someone saying, "It's strange that no matter how much oil I pour on the fire, I can't put it out."
Did he, then, desire to extinguish their love, or to cool it even?
Did he want to end their love, or just to dampen it?
Certainly not. He would have been well punished had he succeeded. At the bottom of his heart this love, which was flame for them and warmth for him, was his delight.
Certainly not. He would have faced serious consequences if he had succeeded. Deep down, this love, which was a fire for them and comfort for him, was his joy.
But it is natural to grate a little against that which charms us; men call it wisdom.
But it's normal to feel a little annoyed by what fascinates us; people call it wisdom.
Ursus had been, in his relations with Gwynplaine and Dea, almost a father and a mother. Grumbling all the while, he had brought them up; grumbling all the while, he had nourished them. His adoption of them had made the hut roll more heavily, and he had been oftener compelled to harness himself by Homo's side to help to draw it.
Ursus had been, in his relationship with Gwynplaine and Dea, almost like a father and mother. While complaining all the time, he had raised them; while complaining all the time, he had fed them. Adopting them had made the hut heavier, and he had often had to team up with Homo to help pull it.
We may observe, however, that after the first few years, when Gwynplaine was nearly grown up, and Ursus had grown quite old, Gwynplaine had taken his turn, and drawn Ursus.
We can see that after the first few years, when Gwynplaine was almost an adult and Ursus had become quite old, Gwynplaine had his turn and was now supporting Ursus.
Ursus, seeing that Gwynplaine was becoming a man, had cast the horoscope of his deformity. "It has made your fortune!" he had told him.
Ursus, noticing that Gwynplaine was growing into a man, had read the horoscope of his deformity. "It has made your fortune!" he had told him.
This family of an old man and two children, with a wolf, had become, as they wandered, a group more and more intimately united. There errant life had not hindered education. "To wander is to grow," Ursus said. Gwynplaine was evidently made to exhibit at fairs. Ursus had cultivated in him feats of dexterity, and had encrusted him as much as possible with all he himself possessed of science and wisdom.
This family, consisting of an old man, two children, and a wolf, had grown closer together as they journeyed. Their wandering lifestyle hadn’t stopped their education. "Wandering helps you grow," Ursus said. Gwynplaine was clearly meant to perform at fairs. Ursus had taught him various skills and had shared as much of his knowledge and wisdom as possible with him.
Ursus, contemplating the perplexing mask of Gwynplaine's face, often growled,—
Ursus, thinking about the confusing expression on Gwynplaine's face, often grumbled,—
"He has begun well." It was for this reason that he had perfected him with every ornament of philosophy and wisdom.
"He has started off well." That's why he had adorned him with every aspect of philosophy and wisdom.
He repeated constantly to Gwynplaine,—
He kept telling Gwynplaine,—
"Be a philosopher. To be wise is to be invulnerable. You see what I am, I have never shed a tears. This is the result of my wisdom. Do you think that occasion for tears has been wanting, had I felt disposed to weep?"
"Be a philosopher. To be wise is to be untouchable. You see what I am; I have never shed a tear. This is the result of my wisdom. Do you think there has been a lack of reasons to cry, if I had been inclined to weep?"
Ursus, in one of his monologues in the hearing of the wolf, said,—
Ursus, during one of his speeches while the wolf was listening, said,—
"I have taught Gwynplaine everything, Latin included. I have taught Dea nothing, music included."
"I’ve taught Gwynplaine everything, even Latin. I haven’t taught Dea anything, not even music."
He had taught them both to sing. He had himself a pretty talent for playing on the oaten reed, a little flute of that period. He played on it agreeably, as also on the chiffonie, a sort of beggar's hurdy-gurdy, mentioned in the Chronicle of Bertrand Duguesclin as the "truant instrument," which started the symphony. These instruments attracted the crowd. Ursus would show them the chiffonie, and say, "It is called organistrum in Latin."
He had taught both of them how to sing. He had a pretty good talent for playing the oaten reed, a small flute from that time. He played it nicely, as well as the chiffonie, a type of beggar's hurdy-gurdy, mentioned in the Chronicle of Bertrand Duguesclin as the "truant instrument," which kicked off the symphony. These instruments drew a crowd. Ursus would show them the chiffonie and say, "In Latin, it's called organistrum."
He had taught Dea and Gwynplaine to sing, according to the method of Orpheus and of Egide Binchois. Frequently he interrupted the lessons with cries of enthusiasm, such as "Orpheus, musician of Greece! Binchois, musician of Picardy!"
He had taught Dea and Gwynplaine to sing using the techniques of Orpheus and Egide Binchois. He often interrupted the lessons with exclamations of excitement, like "Orpheus, musician of Greece! Binchois, musician of Picardy!"
These branches of careful culture did not occupy the children so as to prevent their adoring each other. They had mingled their hearts together as they grew up, as two saplings planted near mingle their branches as they become trees.
These branches of careful upbringing didn't keep the children from loving each other. They mixed their hearts together as they grew up, just like two saplings planted close together intertwine their branches as they become trees.
"No matter," said Ursus. "I will marry them."
"No problem," said Ursus. "I'll marry them."
Then he grumbled to himself,—
Then he mumbled to himself,—
"They are quite tiresome with their love."
"They are really exhausting with their love."
The past—their little past, at least—had no existence for Dea and Gwynplaine. They knew only what Ursus had told them of it. They called Ursus father. The only remembrance which Gwynplaine had of his infancy was as of a passage of demons over his cradle. He had an impression of having been trodden in the darkness under deformed feet. Was this intentional or not? He was ignorant on this point. That which he remembered clearly and to the slightest detail were his tragical adventures when deserted at Portland. The finding of Dea made that dismal night a radiant date for him.
The past—at least their little past—didn't really exist for Dea and Gwynplaine. They only knew what Ursus had told them about it. They called Ursus "father." The only memory Gwynplaine had from his infancy was like a nightmare, feeling like demons passed over his crib. He had a sense of being crushed in the darkness beneath misshapen feet. Was that on purpose or not? He had no idea. What he remembered vividly, down to the smallest detail, were his tragic adventures when he was abandoned in Portland. Finding Dea made that dark night a bright moment for him.
The memory of Dea, even more than that of Gwynplaine, was lost in clouds. In so young a child all remembrance melts away. She recollected her mother as something cold. Had she ever seen the sun? Perhaps so. She made efforts to pierce into the blank which was her past life.
The memory of Dea, even more than that of Gwynplaine, was lost in fog. In such a young child, all memories fade. She remembered her mother as something distant. Had she ever seen the sun? Maybe. She tried to reach into the emptiness that was her past life.
"The sun!—what was it?"
"The sun! What is it?"
She had some vague memory of a thing luminous and warm, of which Gwynplaine had taken the place.
She had a faint memory of something that was bright and warm, which Gwynplaine had replaced.
They spoke to each other in low tones. It is certain that cooing is the most important thing in the world. Dea often said to Gwynplaine,—
They talked to each other in quiet voices. It's clear that cooing is the most important thing in the world. Dea often said to Gwynplaine,—
"Light means that you are speaking."
"Light means you're online."
Once, no longer containing himself, as he saw through a muslin sleeve the arm of Dea, Gwynplaine brushed its transparency with his lips—ideal kiss of a deformed mouth! Dea felt a deep delight; she blushed like a rose. This kiss from a monster made Aurora gleam on that beautiful brow full of night. However, Gwynplaine sighed with a kind of terror, and as the neckerchief of Dea gaped, he could not refrain from looking at the whiteness visible through that glimpse of Paradise.
Once, unable to hold back any longer, as he saw Dea's arm through a muslin sleeve, Gwynplaine gently kissed its transparency—an ideal kiss from his deformed mouth! Dea experienced a deep joy; she blushed like a rose. This kiss from a monster made Aurora shine on her beautiful brow that was full of darkness. However, Gwynplaine sighed with a sort of fear, and as Dea's neckerchief slipped open, he couldn't help but gaze at the whiteness revealed through that glimpse of Paradise.
Dea pulled up her sleeve, and stretching towards Gwynplaine her naked arm, said,—
Dea rolled up her sleeve and, reaching out her bare arm toward Gwynplaine, said,—
"Again!"
"Once more!"
Gwynplaine fled.
Gwynplaine escaped.
The next day the game was renewed, with variations.
The next day, they played the game again, with some changes.
It was a heavenly subsidence into that sweet abyss called love.
It was a blissful dive into that sweet void known as love.
At such things heaven smiles philosophically.
Heaven looks down on these things with a philosophical smile.
CHAPTER VII.
BLINDNESS GIVES LESSONS IN CLAIRVOYANCE.
At times Gwynplaine reproached himself. He made his happiness a case of conscience. He fancied that to allow a woman who could not see him to love him was to deceive her.
At times, Gwynplaine felt guilty. He considered his happiness a moral issue. He believed that letting a woman who couldn't see him love him was a form of deception.
What would she have said could she have suddenly obtained her sight? How she would have felt repulsed by what had previously attracted her! How she would have recoiled from her frightful loadstone! What a cry! What covering of her face! What a flight! A bitter scruple harassed him. He told himself that such a monster as he had no right to love. He was a hydra idolized by a star. It was his duty to enlighten the blind star.
What would she have said if she suddenly regained her sight? How repulsed she would have felt by what had once attracted her! How she would have recoiled from her frightening pull! What a scream! What a covering of her face! What a rush to get away! A bitter sense of guilt tormented him. He told himself that a monster like him had no right to fall in love. He was a hydra worshiped by a star. It was his duty to bring light to the blind star.
One day he said to Dea,—
One day he said to Dea,—
"You know that I am very ugly."
"You know I'm really unattractive."
"I know that you are sublime," she answered.
"I know that you're amazing," she replied.
He resumed,—
He continued,—
"When you hear all the world laugh, they laugh at me because I am horrible."
"When you hear everyone laughing, they're laughing at me because I'm awful."
"I love you," said Dea.
"I love you," Dea said.
After a silence, she added,—
After a pause, she added—
"I was in death; you brought me to life. When you are here, heaven is by my side. Give me your hand, that I may touch heaven."
"I was lost; you brought me back. When you're here, it feels like heaven is with me. Take my hand so I can reach for heaven."
Their hands met and grasped each other. They spoke no more, but were silent in the plenitude of love.
Their hands touched and held onto each other. They said nothing more, but were quiet in the fullness of love.
Ursus, who was crabbed, had overheard this. The next day, when the three were together, he said,—
Ursus, who was grumpy, had overheard this. The next day, when the three were together, he said,—
"For that matter, Dea is ugly also."
"For that matter, Dea is ugly too."
The word produced no effect. Dea and Gwynplaine were not listening. Absorbed in each other, they rarely heeded such exclamations of Ursus. Their depth was a dead loss.
The word had no impact. Dea and Gwynplaine weren’t paying attention. Lost in each other, they hardly noticed Ursus’s outbursts. Their connection was a total loss.
This time, however, the precaution of Ursus, "Dea is also ugly," indicated in this learned man a certain knowledge of women. It is certain that Gwynplaine, in his loyalty, had been guilty of an imprudence. To have said, I am ugly, to any other blind girl than Dea might have been dangerous. To be blind, and in love, is to be twofold blind. In such a situation dreams are dreamt. Illusion is the food of dreams. Take illusion from love, and you take from it its aliment. It is compounded of every enthusiasm, of both physical and moral admiration.
This time, though, Ursus's caution, "Dea is also ugly," showed that this knowledgeable man had a certain understanding of women. It’s clear that Gwynplaine, in his loyalty, had made a mistake. Saying, I am ugly, to any other blind girl besides Dea could have been risky. Being blind and in love means being doubly blind. In that situation, dreams are created. Illusion feeds dreams. Take away illusion from love, and you take away what nourishes it. It’s made up of all kinds of enthusiasm, both physical and emotional admiration.
Moreover, you should never tell a woman a word difficult to understand. She will dream about it, and she often dreams falsely. An enigma in a reverie spoils it. The shock caused by the fall of a careless word displaces that against which it strikes. At times it happens, without our knowing why, that because we have received the obscure blow of a chance word the heart empties itself insensibly of love. He who loves perceives a decline in his happiness. Nothing is to be feared more than this slow exudation from the fissure in the vase.
Moreover, you should never say anything to a woman that's hard to understand. She'll dwell on it, and she often misinterprets what she dreams about. A puzzling thought in a daydream ruins it. The shock of a careless comment can shift the feelings it's directed at. Sometimes, without knowing why, a random obscure remark can gradually cause someone to lose love. The one who loves senses a decline in their happiness. There’s nothing more to be feared than this slow leaking from the crack in the vase.
Happily, Dea was not formed of such clay. The stuff of which other women are made had not been used in her construction. She had a rare nature. The frame, but not the heart, was fragile. A divine perseverance in love was in the heart of her being.
Happily, Dea was not made of such stuff. The material used to make other women wasn't in her makeup. She had a unique nature. Her body, but not her spirit, was delicate. A divine persistence in love filled the essence of her being.
The whole disturbance which the word used by Gwynplaine had produced in her ended in her saying one day,—
The entire reaction that Gwynplaine's word caused in her eventually led her to say one day,—
"To be ugly—what is it? It is to do wrong. Gwynplaine only does good. He is handsome."
"Being ugly—what does that even mean? It means to do wrong. Gwynplaine only does good. He’s attractive."
Then, under the form of interrogation so familiar to children and to the blind, she resumed,—
Then, in the way that kids and blind people recognize well, she continued,—
"To see—what is it that you call seeing? For my own part, I cannot see; I know. It seems that to see means to hide."
"To see—what do you mean by seeing? Personally, I can't see; I know. It feels like to see means to hide."
"What do you mean?" said Gwynplaine.
"What do you mean?" Gwynplaine asked.
Dea answered,—
Dea replied,—
"To see is a thing which conceals the true."
"Seeing is something that hides the truth."
"No," said Gwynplaine.
"No," Gwynplaine said.
"But yes," replied Dea, "since you say you are ugly."
"But yes," Dea replied, "since you say you're ugly."
She reflected a moment, and then said, "Story-teller!"
She thought for a moment, then said, "Storyteller!"
Gwynplaine felt the joy of having confessed and of not being believed. Both his conscience and his love were consoled.
Gwynplaine felt the relief of having confessed and of not being believed. Both his conscience and his love were comforted.
Thus they had reached, Dea sixteen, Gwynplaine nearly twenty-five. They were not, as it would now be expressed, "more advanced" than the first day. Less even; for it may be remembered that on their wedding night she was nine months and he ten years old. A sort of holy childhood had continued in their love. Thus it sometimes happens that the belated nightingale prolongs her nocturnal song till dawn.
Thus they had reached, Dea sixteen, Gwynplaine nearly twenty-five. They were not, as it would now be said, "more advanced" than on the first day. Even less so; for it should be noted that on their wedding night, she was nine months old and he was ten years old. A kind of pure childhood had persisted in their love. Sometimes it happens that the late nightingale continues her song through the night until dawn.
Their caresses went no further than pressing hands, or lips brushing a naked arm. Soft, half-articulate whispers sufficed them.
Their touches were limited to holding hands or lips lightly brushing against a bare arm. Soft, half-formed whispers were enough for them.
Twenty-four and sixteen! So it happened that Ursus, who did not lose sight of the ill turn he intended to do them, said,—
Twenty-four and sixteen! So it happened that Ursus, who kept his eye on the bad thing he planned to do to them, said,—
"One of these days you must choose a religion."
"One of these days you have to pick a religion."
"Wherefore?" inquired Gwynplaine.
"Why?" asked Gwynplaine.
"That you may marry."
"That you can marry."
"That is already done," said Dea.
"That's already taken care of," said Dea.
Dea did not understand that they could be more man and wife than they were already.
Dea didn't realize that they could be even more like a married couple than they already were.
At bottom, this chimerical and virginal content, this innocent union of souls, this celibacy taken for marriage, was not displeasing to Ursus.
At its core, this fanciful and pure content, this innocent connection of souls, this celibacy mistaken for marriage, was not unappealing to Ursus.
Besides, were they not already married? If the indissoluble existed anywhere, was it not in their union? Gwynplaine and Dea! They were creatures worthy of the love they mutually felt, flung by misfortune into each other's arms. And as if they were not enough in this first link, love had survened on misfortune, and had attached them, united and bound them together. What power could ever break that iron chain, bound with knots of flowers? They were indeed bound together.
Besides, weren't they already married? If anything was unbreakable, it was their union. Gwynplaine and Dea! They were deserving of the love they shared, thrown together by fate. And as if that wasn't enough in this initial bond, love had emerged from misfortune, connecting and binding them together. What force could ever break that strong chain, tied with flower knots? They were truly bound together.
Dea had beauty, Gwynplaine had sight. Each brought a dowry. They were more than coupled—they were paired: separated solely by the sacred interposition of innocence.
Dea had beauty, Gwynplaine had sight. Each brought something valuable to the relationship. They were more than just a couple—they were a perfect match: divided only by the pure barrier of innocence.
Though dream as Gwynplaine would, however, and absorb all meaner passions as he could in the contemplation of Dea and before the tribunal of conscience, he was a man. Fatal laws are not to be eluded. He underwent, like everything else in nature, the obscure fermentations willed by the Creator. At times, therefore, he looked at the women who were in the crowd, but he immediately felt that the look was a sin, and hastened to retire, repentant, into his own soul.
Though Gwynplaine dreamed and tried to push aside all lesser desires in his thoughts of Dea and in front of his conscience, he was still just a man. There are unavoidable laws of fate. Like everything else in nature, he went through the complex struggles set in motion by the Creator. Sometimes, he glanced at the women in the crowd, but then he quickly felt that it was wrong, and he retreated, filled with remorse, back into himself.
Let us add that he met with no encouragement. On the face of every woman who looked upon him he saw aversion antipathy, repugnance, and rejection. It was clear that no other than Dea was possible for him. This aided his repentance.
Let’s also mention that he received no support. On the face of every woman who looked at him, he saw disdain, hostility, disgust, and rejection. It was obvious that only Dea was meant for him. This helped with his remorse.
CHAPTER VIII.
NOT ONLY HAPPINESS, BUT PROSPERITY.
What true things are told in stories! The burnt scar of the invisible fiend who has touched you is remorse for a wicked thought. In Gwynplaine evil thoughts never ripened, and he had therefore no remorse. Sometimes he felt regret.
What true things are said in stories! The burnt scar of the invisible monster that has touched you is guilt for a bad thought. In Gwynplaine, evil thoughts never matured, so he felt no guilt. Sometimes he felt regret.
Vague mists of conscience.
Cloudy feelings of guilt.
What was this?
What is this?
Nothing.
Nothing.
Their happiness was complete—so complete that they were no longer even poor.
Their happiness was complete—so complete that they weren’t even poor anymore.
From 1680 to 1704 a great change had taken place.
From 1680 to 1704, a significant change had occurred.
It happened sometimes, in the year 1704, that as night fell on some little village on the coast, a great, heavy van, drawn by a pair of stout horses, made its entry. It was like the shell of a vessel reversed—the keel for a roof, the deck for a floor, placed on four wheels. The wheels were all of the same size, and high as wagon wheels. Wheels, pole, and van were all painted green, with a rhythmical gradation of shades, which ranged from bottle green for the wheels to apple green for the roofing. This green colour had succeeded in drawing attention to the carriage, which was known in all the fair grounds as The Green Box. The Green Box had but two windows, one at each extremity, and at the back a door with steps to let down. On the roof, from a tube painted green like the rest, smoke arose. This moving house was always varnished and washed afresh. In front, on a ledge fastened to the van, with the window for a door, behind the horses and by the side of an old man who held the reins and directed the team, two gipsy women, dressed as goddesses, sounded their trumpets. The astonishment with which the villagers regarded this machine was overwhelming.
It sometimes happened, in the year 1704, that as night fell on a small coastal village, a large, heavy van pulled by two sturdy horses would arrive. It resembled a ship turned upside down—the keel as the roof and the deck as the floor, all set on four wheels. The wheels were all the same size and as tall as wagon wheels. The wheels, pole, and van were painted green, featuring a smooth blend of shades that ranged from bottle green for the wheels to apple green for the roof. This green color had successfully captured attention, and the carriage was known throughout the fairgrounds as The Green Box. The Green Box had only two windows, one at each end, and a door at the back with steps that could be lowered. Smoke rose from a tube on the roof, painted green like the rest. This moving house was always freshly varnished and cleaned. In front, on a ledge attached to the van, with the window serving as a door, two gypsy women dressed like goddesses played their trumpets beside an old man who held the reins and guided the horses. The villagers gazed at this spectacle with overwhelming astonishment.
This was the old establishment of Ursus, its proportions augmented by success, and improved from a wretched booth into a theatre. A kind of animal, between dog and wolf, was chained under the van. This was Homo. The old coachman who drove the horses was the philosopher himself.
This was the old Ursus establishment, its size increased by success and transformed from a miserable booth into a theater. A type of creature, somewhere between a dog and a wolf, was chained under the van. This was Homo. The old coachman who drove the horses was the philosopher himself.
Whence came this improvement from the miserable hut to the Olympic caravan?
Where did this change come from, going from a run-down hut to the luxurious caravan?
From this—Gwynplaine had become famous.
Gwynplaine had become a celebrity.
It was with a correct scent of what would succeed amongst men that Ursus had said to Gwynplaine,—
It was with a sure sense of what would resonate with people that Ursus said to Gwynplaine,—
"They made your fortune."
"They built your fortune."
Ursus, it may be remembered, had made Gwynplaine his pupil. Unknown people had worked upon his face; he, on the other hand, had worked on his mind, and behind this well-executed mask he had placed all that he could of thought. So soon as the growth of the child had rendered him fitted for it, he had brought him out on the stage—that is, he had produced him in front of the van.
Ursus, as you may recall, had taken Gwynplaine under his wing. Strangers had altered his face, while he had focused on developing Gwynplaine's mind, and beneath this expertly crafted mask, he had poured in all the thoughts he could. As soon as Gwynplaine grew enough to be ready, Ursus had introduced him on stage—that is, he had showcased him in front of the audience.
The effect of his appearance had been surprising. The passers-by were immediately struck with wonder. Never had anything been seen to be compared to this extraordinary mimic of laughter. They were ignorant how the miracle of infectious hilarity had been obtained. Some believed it to be natural, others declared it to be artificial, and as conjecture was added to reality, everywhere, at every cross-road on the journey, in all the grounds of fairs and fêtes, the crowd ran after Gwynplaine. Thanks to this great attraction, there had come into the poor purse of the wandering group, first a rain of farthings, then of heavy pennies, and finally of shillings. The curiosity of one place exhausted, they passed on to another. Rolling does not enrich a stone but it enriches a caravan; and year by year, from city to city, with the increased growth of Gwynplaine's person and of his ugliness, the fortune predicted by Ursus had come.
The impact of his appearance was surprising. People walking by were immediately amazed. They had never seen anything that compared to this incredible mimicry of laughter. They didn’t understand how the miracle of contagious joy had been achieved. Some thought it was real, while others claimed it was fake, and as speculation mixed with reality, everywhere—at every intersection along the route, in all the grounds of fairs and celebrations—crowds chased after Gwynplaine. Thanks to this great attraction, the wandering group’s empty pockets were first filled with small coins, then with heavier pennies, and finally with shillings. Once they had exhausted the curiosity of one place, they moved on to another. Rolling does not make a stone richer, but it does enrich a traveling group; and year by year, from city to city, with the growing size of Gwynplaine and his ugliness, the fortune that Ursus had predicted came true.
"What a good turn they did you there, my boy!" said Ursus.
"What a great favor they did for you there, my boy!" said Ursus.
This "fortune" had allowed Ursus, who was the administrator of Gwynplaine's success, to have the chariot of his dreams constructed—that is to say, a caravan large enough to carry a theatre, and to sow science and art in the highways. Moreover, Ursus had been able to add to the group composed of himself, Homo, Gwynplaine, and Dea, two horses and two women, who were the goddesses of the troupe, as we have just said, and its servants. A mythological frontispiece was, in those days, of service to a caravan of mountebanks.
This "fortune" had enabled Ursus, who managed Gwynplaine's success, to have the chariot of his dreams built—that is, a caravan big enough to hold a theater and spread knowledge and art along the highways. Additionally, Ursus had managed to add to the group, which included himself, Homo, Gwynplaine, and Dea, two horses and two women, who served as the goddesses of the troupe and its helpers. A mythological frontispiece was, at that time, useful for a caravan of entertainers.
"We are a wandering temple," said Ursus.
"We're a wandering temple," Ursus said.
These two gipsies, picked up by the philosopher from amongst the vagabondage of cities and suburbs, were ugly and young, and were called, by order of Ursus, the one Phoebe, and the other Venus.
These two gypsies, taken in by the philosopher from the wandering life of cities and suburbs, were young and unattractive, and were named, at Ursus's request, Phoebe and Venus.
For these read Fibi and Vinos, that we may conform to English pronunciation.
For this, read Fibi and Vinos, so we can match English pronunciation.
Phoebe cooked; Venus scrubbed the temple.
Phoebe cooked while Venus cleaned the temple.
Moreover, on days of performance they dressed Dea.
Moreover, on performance days, they dressed Dea.
Mountebanks have their public life as well as princes, and on these occasions Dea was arrayed, like Fibi and Vinos, in a Florentine petticoat of flowered stuff, and a woman's jacket without sleeves, leaving the arms bare. Ursus and Gwynplaine wore men's jackets, and, like sailors on board a man-of-war, great loose trousers. Gwynplaine had, besides, for his work and for his feats of strength, round his neck and over his shoulders, an esclavine of leather. He took charge of the horses. Ursus and Homo took charge of each other.
Mountebanks have their public lives just like princes, and during these times, Dea was dressed, like Fibi and Vinos, in a flowery Florentine petticoat and a sleeveless women's jacket, leaving her arms bare. Ursus and Gwynplaine wore men's jackets and, like sailors on a warship, loose, baggy trousers. Additionally, Gwynplaine had, for his work and feats of strength, a leather esclavine around his neck and over his shoulders. He took care of the horses. Ursus and Homo looked after each other.
Dea, being used to the Green Box, came and went in the interior of the wheeled house, with almost as much ease and certainty as those who saw.
Dea, familiar with the Green Box, moved in and out of the wheeled house with nearly the same ease and certainty as those who could see.
The eye which could penetrate within this structure and its internal arrangements might have perceived in a corner, fastened to the planks, and immovable on its four wheels, the old hut of Ursus, placed on half-pay, allowed to rust, and from thenceforth dispensed the labour of rolling as Ursus was relieved from the labour of drawing it.
The eye that could look inside this structure and its inner workings might have noticed in a corner, secured to the boards and fixed on its four wheels, the old hut of Ursus, sitting idle, allowed to rust, and from then on, ending the work of rolling since Ursus was freed from the work of pulling it.
This hut, in a corner at the back, to the right of the door, served as bedchamber and dressing-room to Ursus and Gwynplaine. It now contained two beds. In the opposite corner was the kitchen.
This hut, in a corner at the back, to the right of the door, served as a bedroom and dressing room for Ursus and Gwynplaine. It now had two beds. In the opposite corner was the kitchen.
The arrangement of a vessel was not more precise and concise than that of the interior of the Green Box. Everything within it was in its place—arranged, foreseen, and intended.
The layout of the vessel was just as precise and organized as that of the interior of the Green Box. Everything inside was in its proper place—deliberately arranged and planned.
The caravan was divided into three compartments, partitioned from each other. These communicated by open spaces without doors. A piece of stuff fell over them, and answered the purpose of concealment. The compartment behind belonged to the men, the compartment in front to the women; the compartment in the middle, separating the two sexes, was the stage. The instruments of the orchestra and the properties were kept in the kitchen. A loft under the arch of the roof contained the scenes, and on opening a trap-door lamps appeared, producing wonders of light.
The caravan was split into three sections, separated from one another. These connected through open spaces without doors. A piece of fabric hung over them, serving to conceal. The section at the back was for the men, the section at the front was for the women; the section in the middle, dividing the two groups, was the stage. The orchestra's instruments and props were stored in the kitchen. An attic under the roof arch held the scenes, and when a trapdoor was opened, lamps emerged, creating stunning lighting effects.
Ursus was the poet of these magical representations; he wrote the pieces. He had a diversity of talents; he was clever at sleight of hand. Besides the voices he imitated, he produced all sorts of unexpected things—shocks of light and darkness; spontaneous formations of figures or words, as he willed, on the partition; vanishing figures in chiaroscuro; strange things, amidst which he seemed to meditate, unmindful of the crowd who marvelled at him.
Ursus was the poet of these magical performances; he wrote the pieces. He had a variety of talents; he was good at sleight of hand. Besides the voices he copied, he created all kinds of surprising effects—flashes of light and shadow; spontaneous formations of shapes or words, as he wished, on the screen; disappearing figures in light and dark; bizarre things, among which he appeared to reflect, oblivious to the crowd that was amazed by him.
One day Gwynplaine said to him,—
One day, Gwynplaine said to him,—
"Father, you look like a sorcerer!"
"Dad, you look like a wizard!"
And Ursus replied,—
And Ursus answered,—
"Then I look, perhaps, like what I am."
"Then I might look like what I really am."
The Green Box, built on a clear model of Ursus's, contained this refinement of ingenuity—that between the fore and hind wheels the central panel of the left side turned on hinges by the aid of chains and pulleys, and could be let down at will like a drawbridge. As it dropped it set at liberty three legs on hinges, which supported the panel when let down, and which placed themselves straight on the ground like the legs of a table, and supported it above the earth like a platform. This exposed the stage, which was thus enlarged by the platform in front.
The Green Box, designed based on Ursus's model, featured a clever innovation—between the front and back wheels, the central panel on the left side swung open on hinges, operated by chains and pulleys, and could be lowered at will like a drawbridge. When it dropped, it released three hinged legs that supported the panel when lowered, positioning themselves straight on the ground like a table's legs and holding it above the ground like a platform. This revealed the stage, effectively expanding it with the platform in front.
This opening looked for all the world like a "mouth of hell," in the words of the itinerant Puritan preachers, who turned away from it with horror. It was, perhaps, for some such pious invention that Solon kicked out Thespis.
This opening looked strikingly like a "mouth of hell," as the traveling Puritan preachers described it, who stepped away in horror. It was possibly for some similar holy creation that Solon expelled Thespis.
For all that Thespis has lasted much longer than is generally believed. The travelling theatre is still in existence. It was on those stages on wheels that, in the sixteenth and seventeenth centuries, they performed in England the ballets and dances of Amner and Pilkington; in France, the pastorals of Gilbert Colin; in Flanders, at the annual fairs, the double choruses of Clement, called Non Papa; in Germany, the "Adam and Eve" of Theiles; and, in Italy, the Venetian exhibitions of Animuccia and of Cafossis, the "Silvæ" of Gesualdo, the "Prince of Venosa," the "Satyr" of Laura Guidiccioni, the "Despair of Philene," the "Death of Ugolina," by Vincent Galileo, father of the astronomer, which Vincent Galileo sang his own music, and accompanied himself on his viol de gamba; as well as all the first attempts of the Italian opera which, from 1580, substituted free inspiration for the madrigal style.
For all that, Thespis has lasted much longer than most people think. The traveling theater is still around. It was on those mobile stages that, in the sixteenth and seventeenth centuries, they performed in England the ballets and dances by Amner and Pilkington; in France, the pastorals by Gilbert Colin; in Flanders, at the annual fairs, the double choruses of Clement, known as Non Papa; in Germany, "Adam and Eve" by Theiles; and in Italy, the Venetian shows by Animuccia and Cafossis, the "Silvæ" by Gesualdo, the "Prince of Venosa," the "Satyr" by Laura Guidiccioni, the "Despair of Philene," the "Death of Ugolina," by Vincent Galileo, the father of the astronomer, which Vincent Galileo performed with his own music, accompanying himself on his viol de gamba; as well as all the initial efforts of the Italian opera which, starting in 1580, replaced free inspiration with the madrigal style.
The chariot, of the colour of hope, which carried Ursus, Gwynplaine, and their fortunes, and in front of which Fibi and Vinos trumpeted like figures of Fame, played its part of this grand Bohemian and literary brotherhood. Thespis would no more have disowned Ursus than Congrio would have disowned Gwynplaine.
The chariot, colored like hope, which carried Ursus, Gwynplaine, and their fortunes, with Fibi and Vinos trumpeting in front like symbols of Fame, played its role in this grand Bohemian and literary brotherhood. Thespis would no more have denied Ursus than Congrio would have denied Gwynplaine.
Arrived at open spaces in towns or villages, Ursus, in the intervals between the too-tooing of Fibi and Vinos, gave instructive revelations as to the trumpetings.
Arriving at open spaces in towns or villages, Ursus, during the breaks between Fibi and Vinos's honking, shared insightful explanations about the trumpet sounds.
"This symphony is Gregorian," he would exclaim. "Citizens and townsmen, the Gregorian form of worship, this great progress, is opposed in Italy to the Ambrosial ritual, and in Spain to the Mozarabic ceremonial, and has achieved its triumph over them with difficulty."
"This symphony is Gregorian," he would shout. "Citizens and townspeople, the Gregorian style of worship, this significant advancement, faces opposition in Italy from the Ambrosian tradition, and in Spain from the Mozarabic practice, and has managed to triumph over them with great effort."
After which the Green Box drew up in some place chosen by Ursus, and evening having fallen, and the panel stage having been let down, the theatre opened, and the performance began.
After that, the Green Box parked in a spot picked by Ursus, and as evening set in and the panel stage was lowered, the theater opened, and the show started.
The scene of the Green Box represented a landscape painted by Ursus; and as he did not know how to paint, it represented a cavern just as well as a landscape. The curtain, which we call drop nowadays, was a checked silk, with squares of contrasted colours.
The scene of the Green Box was a landscape created by Ursus; and since he didn't know how to paint, it looked just as much like a cave as it did a landscape. The curtain, which we now refer to as a drop, was a checked silk with squares of contrasting colors.
The public stood without, in the street, in the fair, forming a semicircle round the stage, exposed to the sun and the showers; an arrangement which made rain less desirable for theatres in those days than now. When they could, they acted in an inn yard, on which occasions the windows of the different stories made rows of boxes for the spectators. The theatre was thus more enclosed, and the audience a more paying one. Ursus was in everything—in the piece, in the company, in the kitchen, in the orchestra. Vinos beat the drum, and handled the sticks with great dexterity. Fibi played on the morache, a kind of guitar. The wolf had been promoted to be a utility gentleman, and played, as occasion required, his little parts. Often when they appeared side by side on the stage—Ursus in his tightly-laced bear's skin, Homo with his wolf's skin fitting still better—no one could tell which was the beast. This flattered Ursus.
The crowd gathered outside, in the street and at the fair, forming a semicircle around the stage, exposed to the sun and rain; a setup that made rainy weather less appealing for theaters back then than it is now. When possible, they performed in an inn yard, where the windows on the different floors served as boxes for the audience. The theater was therefore more enclosed, making for a more profitable audience. Ursus was involved in everything—in the play, in the troupe, in the kitchen, in the orchestra. Vinos played the drum and handled the sticks with great skill. Fibi played the morache, a type of guitar. The wolf had been promoted to a utility role and took on small parts as needed. Often when they appeared side by side on stage—Ursus in his snug bear skin and Homo in his wolf skin that fit even better—nobody could tell which was the beast. This pleased Ursus.
CHAPTER IX.
ABSURDITIES WHICH FOLKS WITHOUT TASTE CALL POETRY.
The pieces written by Ursus were interludes—a kind of composition out of fashion nowadays. One of these pieces, which has not come down to us, was entitled "Ursus Rursus." It is probable that he played the principal part himself. A pretended exit, followed by a reappearance, was apparently its praiseworthy and sober subject. The titles of the interludes of Ursus were sometimes Latin, as we have seen, and the poetry frequently Spanish. The Spanish verses written by Ursus were rhymed, as was nearly all the Castilian poetry of that period. This did not puzzle the people. Spanish was then a familiar language; and the English sailors spoke Castilian even as the Roman sailors spoke Carthaginian (see Plautus). Moreover, at a theatrical representation, as at mass, Latin, or any other language unknown to the audience, is by no means a subject of care with them. They get out of the dilemma by adapting to the sounds familiar words. Our old Gallic France was particularly prone to this manner of being devout. At church, under cover of an Immolatus, the faithful chanted, "I will make merry;" and under a Sanctus, "Kiss me, sweet."
The pieces written by Ursus were interludes—a type of performance that's out of style today. One of these pieces, which we don’t have anymore, was called "Ursus Rursus." It's likely that he played the lead role himself. A fake exit, followed by a return, was probably its commendable and serious theme. The titles of Ursus's interludes were sometimes in Latin, as we've seen, while the poetry was often in Spanish. The Spanish verses by Ursus were rhymed, as was almost all Castilian poetry of that time. This didn't confuse the audience. Spanish was a common language then, and English sailors spoke Castilian just as Roman sailors spoke Carthaginian (see Plautus). Also, at a theater performance, just like during mass, Latin or any other unfamiliar language didn't concern the audience at all. They managed to deal with this by fitting familiar words to the sounds. Our old Gallic France was especially known for this way of being devout. In church, under the cover of an Immolatus, the faithful sang, "I will make merry;" and under a Sanctus, "Kiss me, sweet."
The Council of Trent was required to put an end to these familiarities.
The Council of Trent needed to put a stop to these close relationships.
Ursus had composed expressly for Gwynplaine an interlude, with which he was well pleased. It was his best work. He had thrown his whole soul into it. To give the sum of all one's talents in the production is the greatest triumph that any one can achieve. The toad which produces a toad achieves a grand success. You doubt it? Try, then, to do as much.
Ursus had created a special interlude just for Gwynplaine, and he was really happy with it. It was his best piece. He had poured his entire soul into it. Putting all your skills into a creation is the greatest success anyone can achieve. The toad that produces another toad accomplishes something great. Don’t believe it? Then, try to do the same.
Ursus had carefully polished this interlude. This bear's cub was entitled "Chaos Vanquished." Here it was:—A night scene. When the curtain drew up, the crowd, massed around the Green Box, saw nothing but blackness. In this blackness three confused forms moved in the reptile state—wolf, a bear, and a man. The wolf acted the wolf; Ursus, the bear; Gwynplaine, the man. The wolf and the bear represented the ferocious forces of Nature—unreasoning hunger and savage ignorance. Both rushed on Gwynplaine. It was chaos combating man. No face could be distinguished. Gwynplaine fought infolded, in a winding-sheet, and his face was covered by his thickly-falling locks. All else was shadow. The bear growled, the wolf gnashed his teeth, the man cried out. The man was down; the beasts overwhelmed him. He cried for aid and succour; he hurled to the unknown an agonized appeal. He gave a death-rattle. To witness this agony of the prostrate man, now scarcely distinguishable from the brutes, was appalling. The crowd looked on breathless; in one minute more the wild beasts would triumph, and chaos reabsorb man. A struggle—cries—howlings; then, all at once, silence.
Ursus had carefully polished this interlude. This bear's cub was titled "Chaos Vanquished." Here it was:—A night scene. When the curtain lifted, the crowd, gathered around the Green Box, saw nothing but darkness. In this darkness, three confused figures moved like reptiles—a wolf, a bear, and a man. The wolf acted as the wolf; Ursus played the bear; Gwynplaine portrayed the man. The wolf and the bear represented the ferocious forces of nature—unreasoning hunger and savage ignorance. Both charged at Gwynplaine. It was chaos battling against humanity. No faces could be seen. Gwynplaine fought wrapped in a shroud, his face hidden beneath his thick, falling hair. Everything else was shadow. The bear growled, the wolf bared its teeth, and the man shouted. The man was down; the beasts overwhelmed him. He cried for help and rescue; he sent an agonized appeal to the unknown. He gave a death rattle. Watching this agony of the fallen man, now hardly distinguishable from the beasts, was horrifying. The crowd watched breathlessly; in one more minute, the wild beasts would win, and chaos would swallow man. A struggle—cries—howls; then, all of a sudden, silence.
A song in the shadows. A breath had passed, and they heard a voice. Mysterious music floated, accompanying this chant of the invisible; and suddenly, none knowing whence or how, a white apparition arose. This apparition was a light; this light was a woman; this woman was a spirit. Dea—calm, fair, beautiful, formidable in her serenity and sweetness—appeared in the centre of a luminous mist. A profile of brightness in a dawn! She was a voice—a voice light, deep, indescribable. She sang in the new-born light—she, invisible, made visible. They thought that they heard the hymn of an angel or the song of a bird. At this apparition the man, starting up in his ecstasy, struck the beasts with his fists, and overthrew them.
A song in the shadows. A moment passed, and they heard a voice. Mysterious music floated around, accompanying this chant of the unseen; and suddenly, no one knew where it came from or how, a white figure appeared. This figure was a light; this light was a woman; this woman was a spirit. Dea—calm, beautiful, striking in her serenity and sweetness—appeared in the middle of a glowing mist. A profile of brightness at dawn! She was a voice—a light, deep, indescribable voice. She sang in the newly born light—she, invisible, became visible. They thought they heard the hymn of an angel or the song of a bird. At this sight, the man, leaping up in his ecstasy, struck the beasts with his fists and knocked them over.
Then the vision, gliding along in a manner difficult to understand, and therefore the more admired, sang these words in Spanish sufficiently pure for the English sailors who were present:—
Then the vision, moving in a way that was hard to grasp and thus more impressive, sang these words in Spanish that were clear enough for the English sailors who were there:—
"Ora! llora!
"Now! Cry!"
De palabra
By word
Nace razon.
Born reason.
De luz el son."[13]
De luz el son."[__A_TAG_PLACEHOLDER_0__]
Then looking down, as if she saw a gulf beneath, she went on,—
Then, looking down as if she saw a deep chasm below, she continued,—
"Noche, quita te de alli!
"Night, get out of there!"
El alba canta hallali."[14]
"The dawn sings hallelujah." [__A_TAG_PLACEHOLDER_0__]
As she sang, the man raised himself by degrees; instead of lying he was now kneeling, his hands elevated towards the vision, his knees resting on the beasts, which lay motionless, and as if thunder-stricken.
As she sang, the man gradually lifted himself up; instead of lying down, he was now kneeling, his hands raised towards the vision, his knees resting on the animals, which lay still, as if they had been struck by thunder.
She continued, turning towards him,—
She kept talking, facing him,—
"Es menester a cielos ir,
"Must go to the skies,"
Y tu que llorabas reir."[15]
And you who cried, laugh. [__A_TAG_PLACEHOLDER_0__]
And approaching him with the majesty of a star, she added,—
And as she approached him with the elegance of a star, she said,—
"Gebra barzon;
Gebra barzon;
Deja, monstruo,
Déjà, monster,
A tu negro
A black tie
Caparazon."[16]
Caparazon. [__A_TAG_PLACEHOLDER_0__]
And she put hot hand on his brow. Then another voice arose, deeper, and consequently still sweeter—a voice broken and enwrapt with a gravity both tender and wild. It was the human chant responding to the chant of the stars. Gwynplaine, still in obscurity, his head under Dea's hand, and kneeling on the vanquished bear and wolf, sang,—
And she placed her warm hand on his forehead. Then another voice emerged, deeper and even sweeter—a voice that was broken and wrapped in a seriousness that was both tender and wild. It was the human song answering the song of the stars. Gwynplaine, still in the shadows, his head resting on Dea's hand, and kneeling on the defeated bear and wolf, sang,—
"O ven! ama!
"O ven! love!"
Eres alma,
You are soul,
Soy corazon."[17]
I'm heart. "[__A_TAG_PLACEHOLDER_0__]
And suddenly from the shadow a ray of light fell full upon Gwynplaine. Then, through the darkness, was the monster full exposed.
And suddenly, a beam of light broke through the shadows and illuminated Gwynplaine. Then, in the darkness, the monster was fully revealed.
To describe the commotion of the crowd is impossible.
Describing the chaos of the crowd is impossible.
A sun of laughter rising, such was the effect. Laughter springs from unexpected causes, and nothing could be more unexpected than this termination. Never was sensation comparable to that produced by the ray of light striking on that mask, at once ludicrous and terrible. They laughed all around his laugh. Everywhere—above, below, behind, before, at the uttermost distance; men, women, old gray-heads, rosy-faced children; the good, the wicked, the gay, the sad, everybody. And even in the streets, the passers-by who could see nothing, hearing the laughter, laughed also. The laughter ended in clapping of hands and stamping of feet. The curtain dropped: Gwynplaine was recalled with frenzy. Hence an immense success. Have you seen "Chaos Vanquished?" Gwynplaine was run after. The listless came to laugh, the melancholy came to laugh, evil consciences came to laugh—a laugh so irresistible that it seemed almost an epidemic. But there is a pestilence from which men do not fly, and that is the contagion of joy. The success, it must be admitted, did not rise higher than the populace. A great crowd means a crowd of nobodies. "Chaos Vanquished" could be seen for a penny. Fashionable people never go where the price of admission is a penny.
A burst of laughter filled the air; that was the effect. Laughter comes from unexpected places, and nothing was more surprising than this ending. The sensation created by the light hitting that mask was both ridiculous and terrifying. People laughed all around him. Everywhere—above, below, behind, in front, at the farthest distances; men, women, gray-haired elders, rosy-faced children; the good, the bad, the cheerful, the sad—everyone. Even in the streets, passers-by who couldn’t see anything but heard the laughter joined in. The laughter turned into clapping and stomping. The curtain fell: Gwynplaine was called back with wild enthusiasm. This led to massive success. Have you seen "Chaos Vanquished?" Gwynplaine was pursued. Those who were indifferent came to laugh, the gloomy came to laugh, those with guilty consciences came to laugh—a laugh so contagious it felt almost like an epidemic. But there’s a plague that people don’t run from, and that’s the spread of joy. Though it must be said, the success didn’t reach beyond the masses. A large crowd often consists of a bunch of nobodies. "Chaos Vanquished" could be seen for just a penny. Trendy folks never go where the admission price is a penny.
Ursus thought a good deal of his work, which he had brooded over for a long time. "It is in the style of one Shakespeare," he said modestly.
Ursus thought a lot about his work, which he had contemplated for a long time. "It's in the style of Shakespeare," he said modestly.
The juxtaposition of Dea added to the indescribable effect produced by Gwynplaine. Her white face by the side of the gnome represented what might have been called divine astonishment. The audience regarded Dea with a sort of mysterious anxiety. She had in her aspect the dignity of a virgin and of a priestess, not knowing man and knowing God. They saw that she was blind, and felt that she could see. She seemed to stand on the threshold of the supernatural. The light that beamed on her seemed half earthly and half heavenly. She had come to work on earth, and to work as heaven works, in the radiance of morning. Finding a hydra, she formed a soul. She seemed like a creative power, satisfied but astonished at the result of her creation; and the audience fancied that they could see in the divine surprise of that face desire of the cause and wonder at the result. They felt that she loved this monster. Did she know that he was one? Yes; since she touched him. No; since she accepted him. This depth of night and this glory of day united, formed in the mind of the spectator a chiaroscuro in which appeared endless perspectives. How much divinity exists in the germ, in what manner the penetration of the soul into matter is accomplished, how the solar ray is an umbilical cord, how the disfigured is transfigured, how the deformed becomes heavenly—all these glimpses of mysteries added an almost cosmical emotion to the convulsive hilarity produced by Gwynplaine. Without going too deep—for spectators do not like the fatigue of seeking below the surface—something more was understood than was perceived. And this strange spectacle had the transparency of an avatar.
The contrast of Dea heightened the indescribable effect created by Gwynplaine. Her pale face next to the gnome symbolized what could be described as a divine astonishment. The audience looked at Dea with a sense of mysterious anxiety. She carried the dignity of a virgin and a priestess, untouched by man yet knowing God. They noticed she was blind but felt that she could see. She seemed to stand at the edge of the supernatural. The light shining on her appeared both earthly and heavenly. She had come to work on Earth, like heaven does, in the glow of morning. Finding a hydra, she created a soul. She resembled a creative force, both satisfied and amazed by what she had made; and the audience imagined they could see in that divine surprise a longing for the cause and wonder at the effect. They sensed that she loved this monster. Did she know what he was? Yes, because she touched him. No, because she accepted him. This depth of night and this glory of day merged in the minds of the spectators, creating a chiaroscuro that revealed endless perspectives. How much divinity exists in the seed, how the soul penetrates matter, how the sunbeam serves as an umbilical cord, how the disfigured becomes transfigured, how the deformed turns heavenly—all these hints of mystery contributed an almost cosmic emotion to the intense laughter evoked by Gwynplaine. Without diving too deep—since audiences don’t appreciate the fatigue of digging beneath the surface—more was understood than what was apparent. And this strange spectacle had the clarity of an avatar.
As to Dea, what she felt cannot be expressed by human words. She knew that she was in the midst of a crowd, and knew not what a crowd was. She heard a murmur, that was all. For her the crowd was but a breath. Generations are passing breaths. Man respires, aspires, and expires. In that crowd Dea felt herself alone, and shuddering as one hanging over a precipice. Suddenly, in this trouble of innocence in distress, prompt to accuse the unknown, in her dread of a possible fall, Dea, serene notwithstanding, and superior to the vague agonies of peril, but inwardly shuddering at her isolation, found confidence and support. She had seized her thread of safety in the universe of shadows; she put her hand on the powerful head of Gwynplaine.
As for Dea, what she felt couldn't be put into words. She realized she was surrounded by a crowd but didn't truly understand what a crowd was. All she heard was a murmur. To her, the crowd was just a whisper. Generations are fleeting moments. People breathe, strive, and eventually fade away. In that crowd, Dea felt completely alone, trembling as if she were hanging over a cliff. Suddenly, amidst her innocent distress, quick to blame the unknown and terrified of a possible fall, Dea, calm yet affected by the vague fears of danger, still felt a chill at her solitude. She found her sense of safety in the dark chaos; she placed her hand on the strong head of Gwynplaine.
Joy unspeakable! she placed her rosy fingers on his forest of crisp hair. Wool when touched gives an impression of softness. Dea touched a lamb which she knew to be a lion. Her whole heart poured out an ineffable love. She felt out of danger—she had found her saviour. The public believed that they saw the contrary. To the spectators the being loved was Gwynplaine, and the saviour was Dea. What matters? thought Ursus, to whom the heart of Dea was visible. And Dea, reassured, consoled and delighted, adored the angel whilst the people contemplated the monster, and endured, fascinated herself as well, though in the opposite sense, that dread Promethean laugh.
Joy beyond words! She placed her delicate fingers in his thick, crisp hair. Wool feels soft to the touch. Dea touched a lamb that she knew was actually a lion. Her entire heart overflowed with an indescribable love. She felt safe—she had found her savior. The public thought they saw it differently. To the onlookers, the beloved was Gwynplaine, and the savior was Dea. What difference does it make? thought Ursus, who could see into Dea's heart. And Dea, feeling reassured, comforted, and overjoyed, adored the angel while the crowd stared at the monster, and found herself captivated too, but in a different way, by that terrifying Promethean laugh.
True love is never weary. Being all soul it cannot cool. A brazier comes to be full of cinders; not so a star. Her exquisite impressions were renewed every evening for Dea, and she was ready to weep with tenderness whilst the audience was in convulsions of laughter. Those around her were but joyful; she was happy.
True love never gets tired. Being all soul, it can't lose its warmth. A fire eventually burns down to ashes, but not a star. Her beautiful feelings were revived every evening for Dea, and she was ready to cry with tenderness while the audience was laughing uncontrollably. Those around her were just joyful; she was truly happy.
The sensation of gaiety due to the sudden shock caused by the rictus of Gwynplaine was evidently not intended by Ursus. He would have preferred more smiles and less laughter, and more of a literary triumph. But success consoles. He reconciled himself every evening to his excessive triumph, as he counted how many shillings the piles of farthings made, and how many pounds the piles of shillings; and besides, he said, after all, when the laugh had passed, "Chaos Vanquished" would be found in the depths of their minds, and something of it would remain there.
The feeling of joy from the sudden shock of Gwynplaine's grimace was clearly not what Ursus wanted. He would have preferred more smiles and less laughter, and a more literary success. But success makes it easier to accept. Every evening, he came to terms with his overwhelming success as he counted how many shillings the stacks of pennies amounted to, and how many pounds the stacks of shillings made; and besides, he said, when the laughter faded, "Chaos Vanquished" would still linger in the depths of their minds, and some of it would stay there.
Perhaps he was not altogether wrong: the foundations of a work settle down in the mind of the public. The truth is, that the populace, attentive to the wolf, the bear, to the man, then to the music, to the howlings governed by harmony, to the night dissipated by dawn, to the chant releasing the light, accepted with a confused, dull sympathy, and with a certain emotional respect, the dramatic poem of "Chaos Vanquished," the victory of spirit over matter, ending with the joy of man.
Perhaps he wasn’t completely wrong: the groundwork of a work takes root in the public's mind. The reality is that people, focused on the wolf, the bear, the man, then on the music, the howls aligned with harmony, the night giving way to dawn, and the song that brings forth light, accepted—albeit with a mix of vague sympathy and a kind of emotional respect—the dramatic poem of "Chaos Vanquished," the triumph of spirit over matter, culminating in the joy of humanity.
Such were the vulgar pleasures of the people.
Such were the common pleasures of the people.
They sufficed them. The people had not the means of going to the noble matches of the gentry, and could not, like lords and gentlemen, bet a thousand guineas on Helmsgail against Phelem-ghe-madone.
They were enough for them. The people didn’t have the resources to attend the grand matches of the aristocracy, and couldn’t, like lords and gentlemen, place a thousand guineas on Helmsgail against Phelem-ghe-madone.
CHAPTER X.
AN OUTSIDER'S VIEW OF MEN AND THINGS.
Man has a notion of revenging himself on that which pleases him. Hence the contempt felt for the comedian.
Man has a tendency to seek revenge on what makes him happy. That's why there's often disdain for the comedian.
This being charms me, diverts, distracts, teaches, enchants, consoles me; flings me into an ideal world, is agreeable and useful to me. What evil can I do him in return? Humiliate him. Disdain is a blow from afar. Let us strike the blow. He pleases me, therefore he is vile. He serves me, therefore I hate him. Where can I find a stone to throw at him? Priest, give me yours. Philosopher, give me yours. Bossuet, excommunicate him. Rousseau, insult him. Orator, spit the pebbles from your mouth at him. Bear, fling your stone. Let us cast stones at the tree, hit the fruit and eat it. "Bravo!" and "Down with him!" To repeat poetry is to be infected with the plague. Wretched playactor, we will put him in the pillory for his success. Let him follow up his triumph with our hisses. Let him collect a crowd and create a solitude. Thus it is that the wealthy, termed the higher classes, have invented for the actor that form of isolation, applause.
This person captivates me, entertains, distracts, teaches, enchants, and comforts me; they throw me into an ideal world, and they are pleasant and useful to me. What harm can I do to them in return? Humiliate them. Disdain is an attack from a distance. Let’s deliver that attack. He pleases me, so he must be worthless. He serves me, which is why I hate him. Where can I find a stone to throw at him? Priest, give me yours. Philosopher, hand over yours. Bossuet, excommunicate him. Rousseau, insult him. Orator, spit your pebbles at him. Bear, throw your stone. Let’s throw stones at the tree, hit the fruit, and eat it. “Bravo!” and “Down with him!” Reciting poetry is like catching a plague. Wretched actor, we’ll put him in public shame for his success. Let him follow up his triumph with our boos. Let him gather a crowd while creating loneliness. This is how the wealthy, known as the upper classes, have created that form of isolation for the actor—applause.
The crowd is less brutal. They neither hated nor despised Gwynplaine. Only the meanest calker of the meanest crew of the meanest merchantman, anchored in the meanest English seaport, considered himself immeasurably superior to this amuser of the "scum," and believed that a calker is as superior to an actor as a lord is to a calker.
The crowd is less brutal. They neither hated nor looked down on Gwynplaine. Only the rudest laborer of the worst crew from the least impressive merchant ship, docked at the most rundown English port, thought he was way better than this entertainer of the "lowlifes," and believed that a laborer is as superior to an actor as a lord is to a laborer.
Gwynplaine was, therefore, like all comedians, applauded and kept at a distance. Truly, all success in this world is a crime, and must be expiated. He who obtains the medal has to take its reverse side as well.
Gwynplaine was, like all comedians, celebrated but kept at arm's length. In reality, every success in this world comes with a cost and must be paid for. Those who receive the reward also have to deal with its darker side.
For Gwynplaine there was no reverse. In this sense, both sides of his medal pleased him. He was satisfied with the applause, and content with the isolation. In applause he was rich, in isolation happy.
For Gwynplaine, there was no going back. In this way, both aspects of his situation made him happy. He enjoyed the applause and was okay with the solitude. In applause, he felt wealthy; in solitude, he felt content.
To be rich in his low estate means to be no longer wretchedly poor—to have neither holes in his clothes, nor cold at his hearth, nor emptiness in his stomach. It is to eat when hungry and drink when thirsty. It is to have everything necessary, including a penny for a beggar. This indigent wealth, enough for liberty, was possessed by Gwynplaine. So far as his soul was concerned, he was opulent. He had love. What more could he want? Nothing.
To be wealthy in his low status means no longer being miserably poor—to not have holes in his clothes, to not be cold at home, and to not feel hunger. It’s about eating when hungry and drinking when thirsty. It’s having everything you need, even a little change for a beggar. This humble wealth, enough for freedom, was held by Gwynplaine. As far as his soul goes, he was rich. He had love. What more could he want? Nothing.
You may think that had the offer been made to him to remove his deformity he would have grasped at it. Yet he would have refused it emphatically. What! to throw off his mask and have his former face restored; to be the creature he had perchance been created, handsome and charming? No, he would never have consented to it. For what would he have to support Dea? What would have become of that poor child, the sweet blind girl who loved him? Without his rictus, which made him a clown without parallel, he would have been a mountebank, like any other; a common athlete, a picker up of pence from the chinks in the pavement, and Dea would perhaps not have had bread every day. It was with deep and tender pride that he felt himself the protector of the helpless and heavenly creature. Night, solitude, nakedness, weakness, ignorance, hunger, and thirst—seven yawning jaws of misery—were raised around her, and he was the St. George fighting the dragon. He triumphed over poverty. How? By his deformity. By his deformity he was useful, helpful, victorious, great. He had but to show himself, and money poured in. He was a master of crowds, the sovereign of the mob. He could do everything for Dea. Her wants he foresaw; her desires, her tastes, her fancies, in the limited sphere in which wishes are possible to the blind, he fulfilled. Gwynplaine and Dea were, as we have already shown, Providence to each other. He felt himself raised on her wings; she felt herself carried in his arms. To protect the being who loves you, to give what she requires to her who shines on you as your star, can anything be sweeter? Gwynplaine possessed this supreme happiness, and he owed it to his deformity. His deformity had raised him above all. By it he had gained the means of life for himself and others; by it he had gained independence, liberty, celebrity, internal satisfaction and pride. In his deformity he was inaccessible. The Fates could do nothing beyond this blow in which they had spent their whole force, and which he had turned into a triumph. This lowest depth of misfortune had become the summit of Elysium. Gwynplaine was imprisoned in his deformity, but with Dea. And this was, as we have already said, to live in a dungeon of paradise. A wall stood between them and the living world. So much the better. This wall protected as well as enclosed them. What could affect Dea, what could affect Gwynplaine, with such a fortress around them? To take from him his success was impossible. They would have had to deprive him of his face. Take from him his love. Impossible. Dea could not see him. The blindness of Dea was divinely incurable. What harm did his deformity do Gwynplaine? None. What advantage did it give him? Every advantage. He was beloved, notwithstanding its horror, and perhaps for that very cause. Infirmity and deformity had by instinct been drawn towards and coupled with each other. To be beloved, is not that everything? Gwynplaine thought of his disfigurement only with gratitude. He was blessed in the stigma. With joy he felt that it was irremediable and eternal. What a blessing that it was so! While there were highways and fairgrounds, and journeys to take, the people below and the sky above, they would be sure to live, Dea would want nothing, and they should have love. Gwynplaine would not have changed faces with Apollo. To be a monster was his form of happiness.
You might think that if he had been offered the chance to get rid of his deformity, he would have jumped at it. But he would have firmly said no. What? To take off his mask and have his old face back? To be the person he might have been created to be—handsome and charming? No, he would never agree to that. Because what would he do to support Dea? What would happen to that poor girl, the sweet blind girl who loved him? Without his grimace, which made him an unmatched clown, he would have just been a charlatan like anyone else; a regular performer, scraping by for coins from the streets, and Dea might not have had food every day. With deep and tender pride, he saw himself as the protector of that helpless and angelic being. Night, solitude, vulnerability, ignorance, hunger, and thirst—seven gaping jaws of misery—surrounded her, and he was like St. George fighting a dragon. He overcame poverty. How? Through his deformity. Because of his deformity, he was useful, helpful, victorious, and great. He just had to show himself, and money flowed in. He was a master of crowds, the ruler of the masses. He could do everything for Dea. He anticipated her needs; her desires, her tastes, her whims, in the limited way a blind person can wish, he provided. Gwynplaine and Dea were, as we’ve already shown, a kind of Providence for each other. He felt lifted by her love; she felt carried by him. To protect the one who loves you, to give what she needs to the one who shines on you as your guiding star—can anything be sweeter? Gwynplaine had this ultimate happiness, and he owed it to his deformity. His deformity had lifted him above everything. Through it, he found the means to support not just himself but others; with it, he gained independence, freedom, fame, inner satisfaction, and pride. In his deformity, he was untouchable. The Fates could do nothing beyond this blow, which they had aimed at him with all their might, and which he had turned into a victory. This lowest point of misfortune had become the height of bliss. Gwynplaine was trapped in his deformity, but with Dea. And as we’ve said, this was like living in a paradise dungeon. A wall stood between them and the outside world. So much the better. This wall protected them as much as it shut them in. What could threaten Dea? What could threaten Gwynplaine with such a fortress surrounding them? Taking away his success was impossible. They would have had to take away his face. To take away his love? Impossible. Dea couldn’t see him. Her blindness was a divine condition beyond cure. What harm did his deformity do Gwynplaine? None. What benefit did it bring him? Every benefit. He was loved, despite its horror, and perhaps even because of it. Deformity and disability had instinctively found each other. Being loved— isn’t that everything? Gwynplaine thought of his disfigurement only with gratitude. He was blessed by the stigma. With joy, he realized it was unchangeable and eternal. How wonderful that it was! While there were roads and fairgrounds and journeys to make, with people below and the sky above, they would surely live, Dea would lack nothing, and they would have love. Gwynplaine wouldn’t have traded faces with Apollo. Being a monster was his version of happiness.
Thus, as we said before, destiny had given him all, even to overflowing. He who had been rejected had been preferred.
Thus, as we mentioned earlier, fate had given him everything, even more than he could handle. He who had been cast aside had now been chosen.
He was so happy that he felt compassion for the men around him. He pitied the rest of the world. It was, besides, his instinct to look about him, because no one is always consistent, and a man's nature is not always theoretic; he was delighted to live within an enclosure, but from time to time he lifted his head above the wall. Then he retreated again with more joy into his loneliness with Dea, having drawn his comparisons. What did he see around him?
He was so happy that he felt compassion for the men around him. He pitied the rest of the world. Besides, it was his instinct to look around him because no one is always consistent, and a person's nature isn’t always theoretical; he loved living in his own space, but every once in a while, he’d poke his head above the wall. Then he would retreat again, feeling even more joy in his solitude with Dea after making his observations. What did he see around him?
What were those living creatures of which his wandering life showed him so many specimens, changed every day? Always new crowds, always the same multitude, ever new faces, ever the same miseries. A jumble of ruins. Every evening every phase of social misfortune came and encircled his happiness.
What were those living beings that his restless life revealed to him in countless forms, shifting every day? Always new crowds, always the same masses, constantly fresh faces, yet the same old struggles. A mix of ruins. Every evening, every aspect of social hardship would surround his happiness.
The Green Box was popular.
The Green Box was a hit.
Low prices attract the low classes. Those who came were the weak, the poor, the little. They rushed to Gwynplaine as they rushed to gin. They came to buy a pennyworth of forgetfulness. From the height of his platform Gwynplaine passed those wretched people in review. His spirit was enwrapt in the contemplation of every succeeding apparition of widespread misery. The physiognomy of man is modelled by conscience, and by the tenor of life, and is the result of a crowd of mysterious excavations. There was never a suffering, not an anger, not a shame, not a despair, of which Gwynplaine did not see the wrinkle. The mouths of those children had not eaten. That man was a father, that woman a mother, and behind them their families might be guessed to be on the road to ruin. There was a face already marked by vice, on the threshold of crime, and the reasons were plain—ignorance and indigence. Another showed the stamp of original goodness, obliterated by social pressure, and turned to hate. On the face of an old woman he saw starvation; on that of a girl, prostitution. The same fact, and although the girl had the resource of her youth, all the sadder for that! In the crowd were arms without tools; the workers asked only for work, but the work was wanting. Sometimes a soldier came and seated himself by the workmen, sometimes a wounded pensioner; and Gwynplaine saw the spectre of war. Here Gwynplaine read want of work; there man-farming, slavery. On certain brows he saw an indescribable ebbing back towards animalism, and that slow return of man to beast, produced on those below by the dull pressure of the happiness of those above. There was a break in the gloom for Gwynplaine. He and Dea had a loophole of happiness; the rest was damnation. Gwynplaine felt above him the thoughtless trampling of the powerful, the rich, the magnificent, the great, the elect of chance. Below he saw the pale faces of the disinherited. He saw himself and Dea, with their little happiness, so great to themselves, between two worlds. That which was above went and came, free, joyous, dancing, trampling under foot; above him the world which treads, below the world which is trodden upon. It is a fatal fact, and one indicating a profound social evil, that light should crush the shadow! Gwynplaine thoroughly grasped this dark evil. What! a destiny so reptile? Shall a man drag himself thus along with such adherence to dust and corruption, with such vicious tastes, such an abdication of right, or such abjectness that one feels inclined to crush him under foot? Of what butterfly is, then, this earthly life the grub?
Low prices attract the lower classes. The people who showed up were the weak, the poor, and the downtrodden. They rushed to Gwynplaine like they would rush to alcohol. They came to buy a little bit of forgetfulness. From his platform, Gwynplaine looked over those wretched individuals. His mind was enveloped in the sight of each new face bearing signs of widespread suffering. A person's face is shaped by their conscience and their life experiences, and it's the result of many mysterious factors. There wasn’t a suffering, anger, shame, or despair that Gwynplaine didn’t notice on their faces. Those children's mouths hadn't eaten. That man was a father, that woman a mother, and you could guess that their families were on the verge of disaster. There was one face already marked by vice, on the edge of crime, and it was clear why—ignorance and poverty. Another face showed signs of original goodness, stifled by social pressures, and turned into bitterness. On the face of an old woman, he saw starvation; on a girl’s face, prostitution. The irony was that even though the girl had her youth, it made her plight even sadder! In the crowd were hands without tools; the workers only wanted jobs, but jobs were unavailable. Sometimes a soldier would sit down among the workers, sometimes a wounded veteran; and Gwynplaine saw the ghost of war. Here Gwynplaine understood the lack of work; there was exploitation, slavery. On certain brows, he observed an indescribable regression towards primitive behavior, a slow descent of humanity into animalism driven by the oppressive happiness of those above them. For Gwynplaine, there was a glimmer of hope. He and Dea had a little slice of happiness; the rest was suffering. Gwynplaine felt the thoughtless stomping of the powerful, the wealthy, the magnificent, the fortunate. Below him, he saw the pale faces of the dispossessed. He saw himself and Dea, with their modest happiness so significant to them, caught between two worlds. The world above moved freely, joyfully, dancing, trampling everything beneath; above him was the world that walks, below was the world that gets stepped on. It’s a harsh reality, indicating a deep social evil, that light should crush shadow! Gwynplaine fully understood this dark truth. What kind of destiny is this? Can a man crawl along with such a grip on dust and decay, displaying such corrupt desires, such a surrender of rights, or such degradation that one feels like stomping on him? Of what kind of butterfly is this earthly life just the caterpillar?
What! in the crowd which hungers and which denies everywhere, and before all, the questions of crime and shame (the inflexibility of the law producing laxity of conscience), is there no child that grows but to be stunted, no virgin but matures for sin, no rose that blooms but for the slime of the snail?
What! In a crowd that craves and refuses everything, especially when it comes to issues of crime and shame (the strictness of the law leading to a weakened sense of conscience), is there no child who grows up stunted, no virgin who develops only for sin, no rose that blooms without the slime of the snail?
His eyes at times sought everywhere, with the curiosity of emotion, to probe the depths of that darkness, in which there died away so many useless efforts, and in which there struggled so much weariness: families devoured by society, morals tortured by the laws, wounds gangrened by penalties, poverty gnawed by taxes, wrecked intelligence swallowed up by ignorance, rafts in distress alive with the famished, feuds, dearth, death-rattles, cries, disappearances. He felt the vague oppression of a keen, universal suffering. He saw the vision of the foaming wave of misery dashing over the crowd of humanity. He was safe in port himself, as he watched the wreck around him. Sometimes he laid his disfigured head in his hands and dreamed.
His eyes often searched everywhere, filled with an emotional curiosity, trying to understand the depths of that darkness where so many wasted efforts faded away, and where so much exhaustion struggled: families crushed by society, morals twisted by the laws, wounds infected by penalties, poverty eroded by taxes, shattered minds swallowed by ignorance, desperate rafts filled with the starving, conflicts, scarcity, death rattles, cries, and disappearances. He felt the vague weight of a deep, universal suffering. He saw the vision of a crashing wave of misery sweeping over humanity. Though he was safe in port himself, he watched the wreckage around him. Sometimes, he rested his scarred head in his hands and dreamed.
What folly to be happy! How one dreams! Ideas were born within him. Absurd notions crossed his brain.
What a silly thing to be happy! How one dreams! Ideas were coming to life inside him. Crazy thoughts raced through his mind.
Because formerly he had succoured an infant, he felt a ridiculous desire to succour the whole world. The mists of reverie sometimes obscured his individuality, and he lost his ideas of proportion so far as to ask himself the question, "What can be done for the poor?" Sometimes he was so absorbed in his subject as to express it aloud. Then Ursus shrugged his shoulders and looked at him fixedly. Gwynplaine continued his reverie.
Because he had once helped a baby, he felt a silly urge to help everyone in the world. Sometimes, daydreams blurred his sense of self, and he lost track of what was reasonable enough to wonder, "What can be done for the poor?" At times, he was so caught up in his thoughts that he would say it out loud. Then Ursus would shrug and stare at him intently. Gwynplaine kept on daydreaming.
"Oh; were I powerful, would I not aid the wretched? But what am I? An atom. What can I do? Nothing."
"Oh, if I were powerful, wouldn’t I help the helpless? But who am I? Just a speck. What can I do? Nothing."
He was mistaken. He was able to do a great deal for the wretched. He could make them laugh; and, as we have said, to make people laugh is to make them forget. What a benefactor on earth is he who can bestow forgetfulness!
He was wrong. He could do a lot for the unfortunate. He could make them laugh; and, as we've mentioned, making people laugh helps them forget. What a true blessing it is for someone to give the gift of forgetfulness!
CHAPTER XI.
GWYNPLAINE THINKS JUSTICE, AND URSUS TALKS TRUTH.
A philosopher is a spy. Ursus, a watcher of dreams, studied his pupil.
A philosopher is a spy. Ursus, a dream observer, studied his student.
Our monologues leave on our brows a faint reflection, distinguishable to the eye of a physiognomist. Hence what occurred to Gwynplaine did not escape Ursus. One day, as Gwynplaine was meditating, Ursus pulled him by his jacket, and exclaimed,—
Our speeches leave a subtle mark on our foreheads, noticeable to a keen observer. So, what happened to Gwynplaine didn’t go unnoticed by Ursus. One day, while Gwynplaine was lost in thought, Ursus tugged on his jacket and exclaimed,—
"You strike me as being an observer! You fool! Take care; it is no business of yours. You have one thing to do—to love Dea. You have two causes of happiness—the first is, that the crowd sees your muzzle; the second is, that Dea does not. You have no right to the happiness you possess, for no woman who saw your mouth would consent to your kiss; and that mouth which has made your fortune, and that face which has given you riches, are not your own. You were not born with that countenance. It was borrowed from the grimace which is at the bottom of the infinite. You have stolen your mask from the devil. You are hideous; be satisfied with having drawn that prize in the lottery. There are in this world (and a very good thing too) the happy by right and the happy by luck. You are happy by luck. You are in a cave wherein a star is enclosed. The poor star belongs to you. Do not seek to leave the cave, and guard your star, O spider! You have in your web the carbuncle, Venus. Do me the favour to be satisfied. I see your dreams are troubled. It is idiotic of you. Listen; I am going to speak to you in the language of true poetry. Let Dea eat beefsteaks and mutton chops, and in six months she will be as strong as a Turk; marry her immediately, give her a child, two children, three children, a long string of children. That is what I call philosophy. Moreover, it is happiness, which is no folly. To have children is a glimpse of heaven. Have brats—wipe them, blow their noses, dirt them, wash them, and put them to bed. Let them swarm about you. If they laugh, it is well; if they howl, it is better—to cry is to live. Watch them suck at six months, crawl at a year, walk at two, grow tall at fifteen, fall in love at twenty. He who has these joys has everything For myself, I lacked the advantage; and that is the reason why I am a brute. God, a composer of beautiful poems and the first of men of letters, said to his fellow-workman, Moses, 'Increase and multiply.' Such is the text. Multiply, you beast! As to the world, it is as it is; you cannot make nor mar it. Do not trouble yourself about it. Pay no attention to what goes on outside. Leave the horizon alone. A comedian is made to be looked at, not to look. Do you know what there is outside? The happy by right. You, I repeat, are the happy by chance. You are the pickpocket of the happiness of which they are the proprietors. They are the legitimate possessors; you are the intruder. You live in concubinage with luck. What do you want that you have not already? Shibboleth help me! This fellow is a rascal. To multiply himself by Dea would be pleasant, all the same. Such happiness is like a swindle. Those above who possess happiness by privilege do not like folks below them to have so much enjoyment. If they ask you what right you have to be happy, you will not know what to answer. You have no patent, and they have. Jupiter, Allah, Vishnu, Sabaoth, it does not matter who, has given them the passport to happiness. Fear them. Do not meddle with them, lest they should meddle with you. Wretch! do you know what the man is who is happy by right? He is a terrible being. He is a lord. A lord! He must have intrigued pretty well in the devil's unknown country before he was born, to enter life by the door he did. How difficult it must have been to him to be born! It is the only trouble he has given himself; but, just heavens, what a one!—to obtain from destiny, the blind blockhead, to mark him in his cradle a master of men. To bribe the box-keeper to give him the best place at the show. Read the memoranda in the old hut, which I have placed on half-pay. Read that breviary of my wisdom, and you will see what it is to be a lord. A lord is one who has all and is all. A lord is one who exists above his own nature. A lord is one who has when young the rights of an old man; when old, the success in intrigue of a young one; if vicious, the homage of respectable people; if a coward, the command of brave men; if a do-nothing, the fruits of labour; if ignorant, the diploma of Cambridge or Oxford; if a fool, the admiration of poets; if ugly, the smiles of women; if a Thersites, the helm of Achilles; if a hare, the skin of a lion. Do not misunderstand my words. I do not say that a lord must necessarily be ignorant, a coward, ugly, stupid, or old. I only mean that he may be all those things without any detriment to himself. On the contrary. Lords are princes. The King of England is only a lord, the first peer of the peerage; that is all, but it is much. Kings were formerly called lords—the Lord of Denmark, the Lord of Ireland, the Lord of the Isles. The Lord of Norway was first called king three hundred years ago. Lucius, the most ancient king in England, was spoken to by Saint Telesphonis as my Lord Lucius. The lords are peers—that is to say, equals—of whom? Of the king. I do not commit the mistake of confounding the lords with parliament. The assembly of the people which the Saxons before the Conquest called wittenagemote, the Normans, after the Conquest, entitled parliamentum. By degrees the people were turned out. The king's letters clause convoking the Commons, addressed formerly ad concilium impendendum, are now addressed ad consentiendum. To say yes is their liberty. The peers can say no; and the proof is that they have said it. The peers can cut off the king's head. The people cannot. The stroke of the hatchet which decapitated Charles I. is an encroachment, not on the king, but on the peers, and it was well to place on the gibbet the carcass of Cromwell. The lords have power. Why? Because they have riches. Who has turned over the leaves of the Doomsday Book? It is the proof that the lords possess England. It is the registry of the estates of subjects, compiled under William the Conqueror; and it is in the charge of the Chancellor of the Exchequer. To copy anything in it you have to pay twopence a line. It is a proud book. Do you know that I was domestic doctor to a lord, who was called Marmaduke, and who had thirty-six thousand a year? Think of that, you hideous idiot! Do you know that, with rabbits only from the warrens of Earl Lindsay, they could feed all the riffraff of the Cinque Ports? And the good order kept! Every poacher is hung. For two long furry ears sticking out of a game bag I saw the father of six children hanging on the gibbet. Such is the peerage. The rabbit of a great lord is of more importance than God's image in a man.
"You seem like someone who's just watching! Fool! Mind your own business. You have one job—love Dea. You have two reasons to be happy—the first is that the crowd sees your face; the second is that Dea doesn't. You don't deserve the happiness you have, because no woman who saw your mouth would ever let you kiss her; and that mouth that made you lucky, and that face that brought you wealth, aren't even yours. You weren't born with that look. You borrowed it from the grimace hiding at the bottom of the abyss. You’ve stolen your mask from the devil. You're ugly; be content with having won that lottery. In this world (and it's a good thing), there are those who are happy by right and those who are happy by chance. You are happy by chance. You are in a cave with a star trapped inside. That poor star is yours. Don't try to leave the cave, and protect your star, oh spider! You’ve caught the gem, Venus, in your web. Please be satisfied. I see you have troubled dreams. It’s ridiculous of you. Listen; I'm going to talk to you in true poetic language. Let Dea eat steak and lamb chops, and in six months she'll be as strong as a Turk; marry her immediately, have a child, two children, three children, a whole bunch of kids. That's what I call philosophy. Plus, it leads to happiness, which is no joke. Having children gives you a taste of heaven. Have those little ones—change their diapers, wipe their noses, get them dirty, clean them up, and tuck them in. Let them swarm around you. If they laugh, that's great; if they cry, even better—crying means they're alive. Watch them suckle at six months, crawl at a year, walk by two, grow tall by fifteen, fall in love by twenty. Whoever has these joys has everything. I, however, missed out on that advantage; and that's why I’m a brute. God, a creator of beautiful poems and the greatest writer, said to his colleague, Moses, 'Be fruitful and multiply.' That's the message. Multiply, you beast! As for the world, it is what it is; you can't change it. Don't worry about it. Ignore what's happening outside. Stay away from the horizon. A performer is there to be looked at, not to look. Do you know what's out there? Those who are happy by right. You, I say again, are happy by chance. You are a thief of the happiness that they rightfully own. They are the legitimate owners; you are the intruder. You live in a lucky arrangement. What do you want that you don't already have? Help me! This guy is a scoundrel. To multiply with Dea would certainly be enjoyable. Such happiness feels like a scam. Those who possess happiness by privilege don’t want those beneath them to feel so much joy. If they ask you what right you have to be happy, you won't know what to say. You have no license; they do. Jupiter, Allah, Vishnu, Sabaoth, whoever it may be, has given them the ticket to happiness. Beware of them. Don’t get involved with them, or they might get involved with you. Poor wretch! Do you know what a person who is happy by right is like? They are a powerful being. They are a lord. A lord! They must have done some serious scheming in some devilish realm before they were born to enter life through the door they did. How hard it must have been for them to be born! That’s the only effort they’ve put in; but, by heavens, what an effort it was!—to get from fate, that blind fool, to mark him as a master of men from his cradle. To bribe the ticket-taker for the best seat at the show. Read the notes in the old hut I’ve set aside. Read that summary of my wisdom, and you’ll understand what it means to be a lord. A lord is one who has everything and is everything. A lord exists beyond their own nature. A lord has, when young, the rights of an old man; when old, the cunning in intrigue of a young one; if vicious, the respect of good people; if a coward, the command over brave men; if a do-nothing, the rewards of hard work; if ignorant, the diploma from Cambridge or Oxford; if foolish, the admiration of poets; if unattractive, the smiles of women; if a Thersites, the helmet of Achilles; if a hare, the skin of a lion. Don’t misinterpret my words. I’m not saying a lord has to be ignorant, cowardly, ugly, stupid, or old. I’m only saying they can be any of those things without it hurting them. In fact, the opposite is true. Lords are royalty. The King of England is just a lord, the highest-ranking peer; that’s all, but it’s a lot. Kings used to be called lords—the Lord of Denmark, the Lord of Ireland, the Lord of the Isles. The Lord of Norway only became a king three hundred years ago. Lucius, England’s oldest king, was referred to as my Lord Lucius by Saint Telesphonis. The lords are equals of the king. I don't make the mistake of confusing the lords with parliament. The assembly of the people that the Saxons called wittenagemote before the Conquest was named parliamentum by the Normans after the Conquest. Gradually, the people were pushed out. The king’s letters summoning the Commons, once addressed ad concilium impendendum, are now addressed ad consentiendum. Their consent is now their freedom. The peers can say no; and the proof is they have said it. The peers can execute the king. The people cannot. The blow that beheaded Charles I was an infringement not on the king, but on the peers, and it was fitting to hang Cromwell's corpse from the gallows. The lords have power. Why? Because they have wealth. Who has turned the pages of the Doomsday Book? It proves that the lords own England. It's the record of the estates of subjects, gathered under William the Conqueror; and it’s managed by the Chancellor of the Exchequer. To copy anything from it costs you two pence a line. It’s a proud book. Do you know I was the personal doctor for a lord named Marmaduke, who made thirty-six thousand a year? Think about that, you ugly fool! Do you know that, with just rabbits from Earl Lindsay’s estates, they could feed all the riffraff from the Cinque Ports? And the order they maintained! Every poacher is hanged. For just two long ears sticking out of a game bag, I saw the father of six kids hanging on the gallows. That’s how the peerage works. The rabbit of a great lord is worth more than the image of God in a person."
"Lords exist, you trespasser, do you see? and we must think it good that they do; and even if we do not, what harm will it do them? The people object, indeed! Why? Plautus himself would never have attained the comicality of such an idea. A philosopher would be jesting if he advised the poor devil of the masses to cry out against the size and weight of the lords. Just as well might the gnat dispute with the foot of an elephant. One day I saw a hippopotamus tread upon a molehill; he crushed it utterly. He was innocent. The great soft-headed fool of a mastodon did not even know of the existence of moles. My son, the moles that are trodden on are the human race. To crush is a law. And do you think that the mole himself crushes nothing? Why, it is the mastodon of the fleshworm, who is the mastodon of the globeworm. But let us cease arguing. My boy, there are coaches in the world; my lord is inside, the people under the wheels; the philosopher gets out of the way. Stand aside, and let them pass. As to myself, I love lords, and shun them. I lived with one; the beauty of my recollections suffices me. I remember his country house, like a glory in a cloud. My dreams are all retrospective. Nothing could be more admirable than Marmaduke Lodge in grandeur, beautiful symmetry, rich avenues, and the ornaments and surroundings of the edifice. The houses, country seats, and palaces of the lords present a selection of all that is greatest and most magnificent in this flourishing kingdom. I love our lords. I thank them for being opulent, powerful, and prosperous. I myself am clothed in shadow, and I look with interest upon the shred of heavenly blue which is called a lord. You enter Marmaduke Lodge by an exceedingly spacious courtyard, which forms an oblong square, divided into eight spaces, each surrounded by a balustrade; on each side is a wide approach, and a superb hexagonal fountain plays in the midst; this fountain is formed of two basins, which are surmounted by a dome of exquisite openwork, elevated on six columns. It was there that I knew a learned Frenchman, Monsieur l'Abbé du Cros, who belonged to the Jacobin monastery in the Rue Saint Jacques. Half the library of Erpenius is at Marmaduke Lodge, the other half being at the theological gallery at Cambridge. I used to read the books, seated under the ornamented portal. These things are only shown to a select number of curious travellers. Do you know, you ridiculous boy, that William North, who is Lord Grey of Rolleston, and sits fourteenth on the bench of Barons, has more forest trees on his mountains than you have hairs on your horrible noddle? Do you know that Lord Norreys of Rycote, who is Earl of Abingdon, has a square keep a hundred feet high, having this device—Virtus ariete fortior; which you would think meant that virtue is stronger than a ram, but which really means, you idiot, that courage is stronger than a battering-machine. Yes, I honour, accept, respect, and revere our lords. It is the lords who, with her royal Majesty, work to procure and preserve the advantages of the nation. Their consummate wisdom shines in intricate junctures. Their precedence over others I wish they had not; but they have it. What is called principality in Germany, grandeeship in Spain, is called peerage in England and France. There being a fair show of reason for considering the world a wretched place enough, heaven felt where the burden was most galling, and to prove that it knew how to make happy people, created lords for the satisfaction of philosophers. This acts as a set-off, and gets heaven out of the scrape, affording it a decent escape from a false position. The great are great. A peer, speaking of himself, says we. A peer is a plural. The king qualifies the peer consanguinei nostri. The peers have made a multitude of wise laws; amongst others, one which condemns to death any one who cuts down a three-year-old poplar tree. Their supremacy is such that they have a language of their own. In heraldic style, black, which is called sable for gentry, is called saturne for princes, and diamond for peers. Diamond dust, a night thick with stars, such is the night of the happy! Even amongst themselves these high and mighty lords have their own distinctions. A baron cannot wash with a viscount without his permission. These are indeed excellent things, and safeguards to the nation. What a fine thing it is for the people to have twenty-five dukes, five marquises, seventy-six earls, nine viscounts, and sixty-one barons, making altogether a hundred and seventy-six peers, of which some are your grace, and some my lord! What matter a few rags here and there, withal: everybody cannot be dressed in gold. Let the rags be. Cannot you see the purple? One balances the other. A thing must be built of something. Yes, of course, there are the poor—what of them! They line the happiness of the wealthy. Devil take it! our lords are our glory! The pack of hounds belonging to Charles, Baron Mohun, costs him as much as the hospital for lepers in Moorgate, and for Christ's Hospital, founded for children, in 1553, by Edward VI. Thomas Osborne, Duke of Leeds, spends yearly on his liveries five thousand golden guineas. The Spanish grandees have a guardian appointed by law to prevent their ruining themselves. That is cowardly. Our lords are extravagant and magnificent. I esteem them for it. Let us not abuse them like envious folks. I feel happy when a beautiful vision passes. I have not the light, but I have the reflection. A reflection thrown on my ulcer, you will say. Go to the devil! I am a Job, delighted in the contemplation of Trimalcion. Oh, that beautiful and radiant planet up there! But the moonlight is something. To suppress the lords was an idea which Orestes, mad as he was, would not have dared to entertain. To say that the lords are mischievous or useless is as much as to say that the state should be revolutionized, and that men are not made to live like cattle, browsing the grass and bitten by the dog. The field is shorn by the sheep, the sheep by the shepherd. It is all one to me. I am a philosopher, and I care about life as much as a fly. Life is but a lodging. When I think that Henry Bowes Howard, Earl of Berkshire, has in his stable twenty-four state carriages, of which one is mounted in silver and another in gold—good heavens! I know that every one has not got twenty-four state carriages; but there is no need to complain for all that. Because you were cold one night, what was that to him? It concerns you only. Others besides you suffer cold and hunger. Don't you know that without that cold, Dea would not have been blind, and if Dea were not blind she would not love you? Think of that, you fool! And, besides, if all the people who are lost were to complain, there would be a pretty tumult! Silence is the rule. I have no doubt that heaven imposes silence on the damned, otherwise heaven itself would be punished by their everlasting cry. The happiness of Olympus is bought by the silence of Cocytus. Then, people, be silent! I do better myself; I approve and admire. Just now I was enumerating the lords, and I ought to add to the list two archbishops and twenty-four bishops. Truly, I am quite affected when I think of it! I remember to have seen at the tithe-gathering of the Rev. Dean of Raphoe, who combined the peerage with the church, a great tithe of beautiful wheat taken from the peasants in the neighbourhood, and which the dean had not been at the trouble of growing. This left him time to say his prayers. Do you know that Lord Marmaduke, my master, was Lord Grand Treasurer of Ireland, and High Seneschal of the sovereignty of Knaresborough in the county of York? Do you know that the Lord High Chamberlain, which is an office hereditary in the family of the Dukes of Ancaster, dresses the king for his coronation, and receives for his trouble forty yards of crimson velvet, besides the bed on which the king has slept; and that the Usher of the Black Rod is his deputy? I should like to see you deny this, that the senior viscount of England is Robert Brent, created a viscount by Henry V. The lords' titles imply sovereignty over land, except that of Earl Rivers, who takes his title from his family name. How admirable is the right which they have to tax others, and to levy, for instance, four shillings in the pound sterling income-tax, which has just been continued for another year! And all the time taxes on distilled spirits, on the excise of wine and beer, on tonnage and poundage, on cider, on perry, on mum, malt, and prepared barley, on coals, and on a hundred things besides. Let us venerate things as they are. The clergy themselves depend on the lords. The Bishop of Man is subject to the Earl of Derby. The lords have wild beasts of their own, which they place in their armorial bearings. God not having made enough, they have invented others. They have created the heraldic wild boar, who is as much above the wild boar as the wild boar is above the domestic pig and the lord is above the priest. They have created the griffin, which is an eagle to lions, and a lion to eagles, terrifying lions by his wings, and eagles by his mane. They have the guivre, the unicorn, the serpent, the salamander, the tarask, the dree, the dragon, and the hippogriff. All these things, terrible to us, are to them but an ornament and an embellishment. They have a menagerie which they call the blazon, in which unknown beasts roar. The prodigies of the forest are nothing compared to the inventions of their pride. Their vanity is full of phantoms which move as in a sublime night, armed with helm and cuirass, spurs on their heels and the sceptres in their hands, saying in a grave voice, 'We are the ancestors!' The canker-worms eat the roots, and panoplies eat the people. Why not? Are we to change the laws? The peerage is part of the order of society. Do you know that there is a duke in Scotland who can ride ninety miles without leaving his own estate? Do you know that the Archbishop of Canterbury has a revenue of £40,000 a year? Do you know that her Majesty has £700,000 sterling from the civil list, besides castles, forests, domains, fiefs, tenancies, freeholds, prebendaries, tithes, rent, confiscations, and fines, which bring in over a million sterling? Those who are not satisfied are hard to please."
"Lords exist, you trespasser, do you see? We should consider it a good thing that they do; and even if we don’t, what harm will it do them? The people complain, sure! Why? Plautus himself would never have found humor in such an idea. A philosopher would be joking if he advised the poor masses to shout against the size and weight of the lords. It’s as pointless as a gnat arguing with an elephant’s foot. One day I saw a hippopotamus step on a molehill; he crushed it completely. He was innocent. The big, soft-headed fool of a mastodon didn’t even know moles existed. My son, the moles that get crushed are the human race. To crush is a law. And do you think the mole doesn’t crush anything? It’s the mastodon of the fleshworm, who is the mastodon of the globeworm. But let’s stop arguing. My boy, there are coaches in the world; my lord is inside, the people are under the wheels; the philosopher steps aside. Stand back and let them through. As for me, I love lords, and avoid them. I lived with one; the beauty of my memories is enough for me. I remember his country house, like a glory in a cloud. My dreams are all about the past. Nothing could be more admirable than Marmaduke Lodge in grandeur, beautiful symmetry, rich avenues, and the decorations and surroundings of the building. The houses, country estates, and palaces of the lords showcase the finest and most magnificent aspects of this thriving kingdom. I love our lords. I thank them for being wealthy, powerful, and successful. I myself am dressed in shadow, and I look with interest at the sliver of heavenly blue that is called a lord. You enter Marmaduke Lodge through a very spacious courtyard, which forms an oblong square, divided into eight sections, each surrounded by a balustrade; on each side is a wide entrance, and a stunning hexagonal fountain plays in the middle; this fountain consists of two basins, topped by a dome of exquisite openwork held up by six columns. It was there that I met a learned Frenchman, Monsieur l'Abbé du Cros, who belonged to the Jacobin monastery on Rue Saint Jacques. Half of Erpenius's library is at Marmaduke Lodge, the other half is at the theological gallery at Cambridge. I used to read the books, sitting under the ornate portal. These things are only shown to a select number of curious travelers. Do you know, you ridiculous boy, that William North, who is Lord Grey of Rolleston, and sits fourteenth on the bench of Barons, has more forest trees on his mountains than you have hairs on your horrible head? Do you know that Lord Norreys of Rycote, who is Earl of Abingdon, has a square keep a hundred feet high, with this motto—Virtus ariete fortior; which you would think means that virtue is stronger than a ram, but which actually means, you idiot, that courage is stronger than a battering machine. Yes, I honor, accept, respect, and revere our lords. It is the lords who, with her royal Majesty, work to secure and maintain the nation's benefits. Their immense wisdom shines in complicated situations. Their precedence over others I wish they didn’t have; but they do. What is called principality in Germany, grandeeship in Spain, is called peerage in England and France. Since there’s plenty of reason to consider the world a pretty wretched place, heaven felt where the burden was heaviest, and to show it knows how to make people happy, created lords for the satisfaction of philosophers. This serves as a balance and allows heaven to escape a false position. The great are great. A peer, when speaking of himself, says we. A peer is plural. The king refers to the peer as consanguinei nostri. The peers have created a multitude of wise laws; among them, one which condemns to death anyone who cuts down a three-year-old poplar tree. Their superiority is such that they have their own language. In heraldic terms, black, called sable for gentry, is called saturne for princes, and diamond for peers. Diamond dust, a night thick with stars, such is the night of the happy! Even among themselves, these high and mighty lords have their own distinctions. A baron cannot wash with a viscount without his permission. These are indeed excellent things and safeguards for the nation. How wonderful it is for the people to have twenty-five dukes, five marquises, seventy-six earls, nine viscounts, and sixty-one barons, making a total of one hundred and seventy-six peers, some of whom are your grace, and some my lord! What does it matter if there are a few rags here and there: not everyone can be dressed in gold. Let the rags be. Can’t you see the purple? One balances the other. Something must be built of something. Yes, of course, there are the poor—so what! They line the happiness of the wealthy. Devil take it! Our lords are our glory! Charles, Baron Mohun’s pack of hounds costs him as much as the hospital for lepers in Moorgate, and for Christ's Hospital, founded for children in 1553 by Edward VI. Thomas Osborne, Duke of Leeds, spends five thousand guineas each year on his liveries. The Spanish grandees have a guardian appointed by law to prevent their self-destruction. That’s cowardly. Our lords are extravagant and magnificent. I admire them for it. Let’s not ridicule them like jealous fools. I feel happy when a beautiful vision passes by. I don’t have the light, but I have the reflection. A reflection thrown on my ulcer, you’ll say. Go to hell! I am a Job, delighted in the sight of Trimalcion. Oh, that beautiful and radiant planet up there! But the moonlight is something. To suppress the lords was an idea that Orestes, mad as he was, wouldn’t have dared to entertain. To say that the lords are troublesome or useless is the same as saying that the state should be revolutionized, and that men are not meant to live like cattle, grazing the grass and bitten by the dog. The field is mowed by the sheep, the sheep by the shepherd. It’s all the same to me. I am a philosopher, and I care about life as much as a fly. Life is just a place to stay. When I think that Henry Bowes Howard, Earl of Berkshire, has twenty-four state carriages in his stable, one mounted in silver and another in gold—good heavens! I know that not everyone has twenty-four state carriages; but there’s no reason to complain about that. Because you were cold one night, what does that matter to him? It’s your concern only. Others besides you feel cold and hunger. Don’t you know that without that cold, Dea wouldn’t have been blind, and if Dea weren’t blind, she wouldn’t love you? Think of that, you fool! And besides, if all the people who are lost were to complain, what a pretty uproar that would be! Silence is the rule. I have no doubt that heaven imposes silence on the damned; otherwise, heaven itself would be punished by their constant cries. The happiness of Olympus is bought by the silence of Cocytus. So, people, be silent! I do better myself; I approve and admire. Just now I was counting the lords, and I should add to that list two archbishops and twenty-four bishops. Honestly, I feel quite moved when I think of it! I remember seeing at the tithe-gathering of the Rev. Dean of Raphoe, who combined the peerage with the church, a vast amount of beautiful wheat taken from the local peasants, which the dean hadn’t bothered to grow. This left him time to say his prayers. Do you know that Lord Marmaduke, my master, was Lord Grand Treasurer of Ireland and High Seneschal of the sovereignty of Knaresborough in Yorkshire? Do you know that the Lord High Chamberlain, an office hereditary in the family of the Dukes of Ancaster, dresses the king for his coronation, and receives for his efforts forty yards of crimson velvet, in addition to the bed on which the king has slept; and that the Usher of the Black Rod is his deputy? I would like to see you deny this: that the senior viscount of England is Robert Brent, created a viscount by Henry V. The lords' titles imply sovereignty over land, except for the title of Earl Rivers, which comes from his family name. How admirable is the right they have to tax others and to impose, for instance, a four shilling tax on the pound sterling income tax, which has just been continued for another year! And all the while, taxes on distilled spirits, wine and beer excise, tonnage and poundage, cider, perry, mum, malt, prepared barley, coal, and hundreds of other things. Let us honor things as they are. The clergy themselves depend on the lords. The Bishop of Man is subject to the Earl of Derby. The lords have wild beasts of their own, which they include in their coats of arms. God not having made enough, they invented others. They created the heraldic wild boar, who is as much above the wild boar as the wild boar is above the domestic pig, and the lord is above the priest. They invented the griffin, which is an eagle to lions, and a lion to eagles, terrifying lions with his wings, and eagles with his mane. They have the guivre, the unicorn, the serpent, the salamander, the tarask, the dree, the dragon, and the hippogriff. All these things, terrifying to us, are just ornaments to them. They have a menagerie they call the blazon, filled with unknown beasts roaring. The wonders of the forest are nothing compared to the creations of their pride. Their vanity is full of phantoms moving like in a sublime night, armed with helmets and armor, spurs on their heels, and scepters in their hands, saying in a serious voice, 'We are the ancestors!' The canker-worms eat the roots, and the armor eats the people. Why not? Should we change the laws? The peerage is part of the social order. Do you know there’s a duke in Scotland who can ride ninety miles without leaving his own estate? Do you know that the Archbishop of Canterbury has a revenue of £40,000 a year? Do you know that her Majesty has £700,000 sterling from the civil list, in addition to castles, forests, estates, fiefs, tenancies, freeholds, prebendaries, tithes, rent, confiscations, and fines, which bring in over a million sterling? Those who are not satisfied are hard to please."
"Yes," murmured Gwynplaine sadly, "the paradise of the rich is made out of the hell of the poor."
"Yeah," Gwynplaine said quietly, "the paradise of the wealthy is built on the suffering of the poor."
CHAPTER XII.
URSUS THE POET DRAGS ON URSUS THE PHILOSOPHER.
Then Dea entered. He looked at her, and saw nothing but her. This is love; one may be carried away for a moment by the importunity of some other idea, but the beloved one enters, and all that does not appertain to her presence immediately fades away, without her dreaming that perhaps she is effacing in us a world.
Then Dea came in. He looked at her and saw nothing but her. This is love; someone might get distracted by another thought for a moment, but when the person you love walks in, everything else fades away, without her realizing that she is erasing an entire world from us.
Let us mention a circumstance. In "Chaos Vanquished," the word monstruo, addressed to Gwynplaine, displeased Dea. Sometimes, with the smattering of Spanish which every one knew at the period, she took it into her head to replace it by quiero, which signifies, "I wish it." Ursus tolerated, although not without an expression of impatience, this alteration in his text. He might have said to Dea, as in our day Moessard said to Vissot, Tu manques de respect au repertoire.
Let’s talk about a situation. In "Chaos Vanquished," the word monstruo, used to address Gwynplaine, upset Dea. Sometimes, with the little bit of Spanish that everyone knew back then, she decided to replace it with quiero, which means, "I wish it." Ursus put up with this change in his text, although not without showing some impatience. He could have told Dea, like Moessard told Vissot today, Tu manques de respect au repertoire.
"The Laughing Man."
"The Laughing Man."
Such was the form of Gwynplaine's fame. His name, Gwynplaine, little known at any time, had disappeared under his nickname, as his face had disappeared under its grin.
Such was the nature of Gwynplaine's fame. His name, Gwynplaine, which was hardly recognized at any time, had faded away behind his nickname, just as his face had vanished behind its grin.
His popularity was like his visage—a mask.
His popularity was like his face—a mask.
His name, however, was to be read on a large placard in front of the Green Box, which offered the crowd the following narrative composed by Ursus:—
His name, however, was displayed on a large sign in front of the Green Box, which presented the crowd with the following story created by Ursus:—
"Here is to be seen Gwynplaine, deserted at the age of ten, on the night of the 29th of January, 1690, by the villainous Comprachicos, on the coast of Portland. The little boy has grown up, and is called now, THE LAUGHING MAN."
"Here is Gwynplaine, abandoned at the age of ten on the night of January 29, 1690, by the wicked Comprachicos, on the coast of Portland. The little boy has grown up and is now known as THE LAUGHING MAN."
The existence of these mountebanks was as an existence of lepers in a leper-house, and of the blessed in one of the Pleiades. There was every day a sudden transition from the noisy exhibition outside, into the most complete seclusion. Every evening they made their exit from this world. They were like the dead, vanishing on condition of being reborn next day. A comedian is a revolving light, appearing one moment, disappearing the next, and existing for the public but as a phantom or a light, as his life circles round. To exhibition succeeded isolation. When the performance was finished, whilst the audience were dispersing, and their murmur of satisfaction was dying away in the streets, the Green Box shut up its platform, as a fortress does its drawbridge, and all communication with mankind was cut off. On one side, the universe; on the other, the caravan; and this caravan contained liberty, clear consciences, courage, devotion, innocence, happiness, love—all the constellations.
The presence of these charlatans was like the existence of lepers in a leper colony, and of the blessed in one of the Pleiades. Every day, there was a sudden shift from the noisy spectacle outside to absolute seclusion. Each evening, they exited this world. They were like the dead, disappearing only to be reborn the next day. A comedian is a spinning light, showing up one moment, gone the next, existing for the public like a ghost or a beam of light, as their life revolves around performances. After the show ended, while the audience dispersed and their murmurs of satisfaction faded into the streets, the Green Box would close up its stage, like a fortress drawing up its drawbridge, cutting off all contact with the outside world. On one side, the universe; on the other, the caravan; and this caravan held freedom, clear consciences, bravery, devotion, innocence, happiness, love—all the stars.
Blindness having sight and deformity beloved sat side by side, hand pressing hand, brow touching brow, and whispered to each other, intoxicated with love.
Blindness and sight, along with deformity, sat next to each other, hands pressed together, foreheads touching, and whispered to one another, lost in love.
The compartment in the middle served two purposes—for the public it was a stage, for the actors a dining-room.
The space in the middle had two functions— for the public, it was a stage, and for the actors, it was a dining room.
Ursus, ever delighting in comparisons, profited by the diversity of its uses to liken the central compartment in the Green Box to the arradach in an Abyssinian hut.
Ursus, always enjoying comparisons, took advantage of its various uses to compare the central compartment in the Green Box to the arradach in an Abyssinian hut.
Ursus counted the receipts, then they supped. In love all is ideal. In love, eating and drinking together affords opportunities for many sweet promiscuous touches, by which a mouthful becomes a kiss. They drank ale or wine from the same glass, as they might drink dew out of the same lily. Two souls in love are as full of grace as two birds. Gwynplaine waited on Dea, cut her bread, poured out her drink, approached her too close.
Ursus counted the receipts, then they had dinner. In love, everything is perfect. Sharing a meal allows for many sweet, intimate touches, turning a bite into a kiss. They sipped ale or wine from the same glass, like drinking dew from the same lily. Two souls in love are as graceful as two birds. Gwynplaine served Dea, cutting her bread, pouring her drink, and getting too close.
"Hum!" cried Ursus, and he turned away, his scolding melting into a smile.
"Hum!" Ursus exclaimed, turning away as his scolding faded into a smile.
The wolf supped under the table, heedless of everything which did actually not concern his bone.
The wolf ate beneath the table, oblivious to everything that didn't actually have to do with his bone.
Fibi and Vinos shared the repast, but gave little trouble. These vagabonds, half wild and as uncouth as ever, spoke in the gipsy language to each other.
Fibi and Vinos shared the meal, but caused little trouble. These wanderers, half wild and as rough as ever, spoke to each other in the gypsy language.
At length Dea re-entered the women's apartment with Fibi and Vinos. Ursus chained up Homo under the Green Box; Gwynplaine looked after the horses, the lover becoming a groom, like a hero of Homer's or a paladin of Charlemagne's. At midnight, all were asleep, except the wolf, who, alive to his responsibility, now and then opened an eye. The next morning they met again. They breakfasted together, generally on ham and tea. Tea was introduced into England in 1678. Then Dea, after the Spanish fashion, took a siesta, acting on the advice of Ursus, who considered her delicate, and slept some hours, while Gwynplaine and Ursus did all the little jobs of work, without and within, which their wandering life made necessary. Gwynplaine rarely wandered away from the Green Box, except on unfrequented roads and in solitary places. In cities he went out only at night, disguised in a large, slouched hat, so as not to exhibit his face in the street.
Finally, Dea walked back into the women's room with Fibi and Vinos. Ursus chained up Homo under the Green Box; Gwynplaine took care of the horses, becoming a groom, like a character from Homer's tales or a knight from Charlemagne's legend. At midnight, everyone was asleep, except for the wolf, who, aware of his duty, occasionally opened an eye. The next morning, they gathered again. They had breakfast together, usually ham and tea. Tea was brought to England in 1678. Then, following the Spanish custom, Dea took a nap, following Ursus's advice, who thought she was fragile, and slept for a few hours, while Gwynplaine and Ursus completed all the small tasks necessary for their nomadic life, both inside and outside. Gwynplaine seldom strayed from the Green Box, except on quiet roads and in secluded areas. In cities, he only went out at night, wearing a large, slouched hat to hide his face in public.
His face was to be seen uncovered only on the stage.
His face was only to be seen uncovered on stage.
The Green Box had frequented cities but little. Gwynplaine at twenty-four had never seen towns larger than the Cinque Ports. His renown, however, was increasing. It began to rise above the populace, and to percolate through higher ground. Amongst those who were fond of, and ran after, strange foreign curiosities and prodigies, it was known that there was somewhere in existence, leading a wandering life, now here, now there, an extraordinary monster. They talked about him, they sought him, they asked where he was. The laughing man was becoming decidedly famous. A certain lustre was reflected on "Chaos Vanquished."
The Green Box had traveled to cities only a little. Gwynplaine, at twenty-four, had never seen towns bigger than the Cinque Ports. However, his fame was growing. It started to rise above the common people and spread through the higher-ups. Among those who loved and pursued strange foreign curiosities and prodigies, it was known that somewhere out there, living a wandering life, now here, now there, was an extraordinary monster. They talked about him, searched for him, and asked where he was. The laughing man was definitely becoming famous. A certain shine was reflected on "Chaos Vanquished."
So much so, that, one day, Ursus, being ambitious, said,—
So much so that one day, Ursus, feeling ambitious, said,—
"We must go to London."
"We need to go to London."
BOOK THE THIRD.
THE BEGINNING OF THE FISSURE.
CHAPTER I.
THE TADCASTER INN.
At that period London had but one bridge—London Bridge, with houses built upon it. This bridge united London to Southwark, a suburb which was paved with flint pebbles taken from the Thames, divided into small streets and alleys, like the City, with a great number of buildings, houses, dwellings, and wooden huts jammed together, a pell-mell mixture of combustible matter, amidst which fire might take its pleasure, as 1666 had proved. Southwark was then pronounced Soudric, it is now pronounced Sousouorc, or near it; indeed, an excellent way of pronouncing English names is not to pronounce them. Thus, for Southampton, say Stpntn.
At that time, London had only one bridge—London Bridge, which had houses built on it. This bridge connected London to Southwark, a neighborhood that was paved with flint pebbles from the Thames and had small streets and alleys, much like the City, filled with a lot of buildings, houses, homes, and wooden shacks crammed together—a chaotic mix of flammable materials, where fire could have a field day, as 1666 had shown. Southwark was then pronounced Soudric; now it's pronounced something like Sousouorc. In fact, a great way to say English names is to just not pronounce them. So, for Southampton, just say Stpntn.
It was the time when "Chatham" was pronounced je t'aime.
It was the time when "Chatham" was pronounced je t'aime.
The Southwark of those days resembles the Southwark of to-day about as much as Vaugirard resembles Marseilles. It was a village—it is a city. Nevertheless, a considerable trade was carried on there. The long old Cyclopean wall by the Thames was studded with rings, to which were anchored the river barges.
The Southwark of those days is like the Southwark of today as much as Vaugirard is like Marseilles. It was a village—it is now a city. Still, a significant trade was happening there. The long, ancient Cyclopean wall by the Thames was lined with rings, to which the river barges were tied.
This wall was called the Effroc Wall, or Effroc Stone. York, in Saxon times, was called Effroc. The legend related that a Duke of Effroc had been drowned at the foot of the wall. Certainly the water there was deep enough to drown a duke. At low water it was six good fathoms. The excellence of this little anchorage attracted sea vessels, and the old Dutch tub, called the Vograat, came to anchor at the Effroc Stone. The Vograat made the crossing from London to Rotterdam, and from Rotterdam to London, punctually once a week. Other barges started twice a day, either for Deptford, Greenwich, or Gravesend, going down with one tide and returning with the next. The voyage to Gravesend, though twenty miles, was performed in six hours.
This wall was known as the Effroc Wall, or Effroc Stone. In Saxon times, York was called Effroc. The legend said that a Duke of Effroc had drowned at the base of the wall. The water there was definitely deep enough to drown a duke, measuring six good fathoms at low tide. The quality of this small anchorage attracted sea vessels, and the old Dutch ship, called the Vograat, anchored at the Effroc Stone. The Vograat made the trip from London to Rotterdam, and back to London, regularly once a week. Other barges operated twice a day, heading to either Deptford, Greenwich, or Gravesend, departing with one tide and returning with the next. The journey to Gravesend, although twenty miles long, took six hours.
The Vograat was of a model now no longer to be seen, except in naval museums. It was almost a junk. At that time, while France copied Greece, Holland copied China. The Vograat, a heavy hull with two masts, was partitioned perpendicularly, so as to be water-tight, having a narrow hold in the middle, and two decks, one fore and the other aft. The decks were flush as in the iron turret-vessels of the present day, the advantage of which is that in foul weather, the force of the wave is diminished, and the inconvenience of which is that the crew is exposed to the action of the sea, owing to there being no bulwarks. There was nothing to save any one on board from falling over. Hence the frequent falls overboard and the losses of men, which have caused the model to fall into disuse. The Vograat went to Holland direct, and did not even call at Gravesend.
The Vograat was a type of boat that you don’t see anymore, except in naval museums. It was almost a wreck. At that time, while France was imitating Greece, Holland was looking to China. The Vograat, with its heavy hull and two masts, was divided vertically to make it water-tight, featuring a narrow hold in the center and two decks, one at the front and the other at the back. The decks were level like the iron turret ships we have today, which has the benefit of reducing wave impact in rough weather, but the downside is that the crew is exposed to the sea since there are no protective walls. There was nothing to prevent anyone on board from falling overboard. This led to many people falling off and resulting in loss of life, which has caused this model to become outdated. The Vograat went straight to Holland and didn’t even stop at Gravesend.
An old ridge of stones, rock as much as masonry, ran along the bottom of the Effroc Stone, and being passable at all tides, was used as a passage on board the ships moored to the wall. This wall was, at intervals, furnished with steps. It marked the southern point of Southwark. An embankment at the top allowed the passers-by to rest their elbows on the Effroc Stone, as on the parapet of a quay. Thence they could look down on the Thames; on the other side of the water London dwindled away into fields.
An old ridge of stones, part rock and part masonry, ran along the base of the Effroc Stone and was accessible at all tides, serving as a passage for the ships docked at the wall. The wall had steps at various points and marked the southern edge of Southwark. An embankment at the top let passersby lean their elbows on the Effroc Stone, like leaning on the railing of a pier. From there, they could look down at the Thames; across the water, London faded into fields.
Up the river from the Effroc Stone, at the bend of the Thames which is nearly opposite St. James's Palace, behind Lambeth House, not far from the walk then called Foxhall (Vauxhall, probably), there was, between a pottery in which they made porcelain, and a glass-blower's, where they made ornamental bottles, one of those large unenclosed spaces covered with grass, called formerly in France cultures and mails, and in England bowling-greens. Of bowling-green, a green on which to roll a ball, the French have made boulingrin. Folks have this green inside their houses nowadays, only it is put on the table, is a cloth instead of turf, and is called billiards.
Up the river from the Effroc Stone, at the bend of the Thames nearly opposite St. James's Palace, behind Lambeth House, not far from the area then known as Foxhall (probably Vauxhall), there was, between a pottery that made porcelain and a glass-blower's that created decorative bottles, one of those large open grassy areas, once called cultures and mails in France, and in England, bowling greens. The French adapted the term for a bowling green, a space to roll a ball, into boulingrin. Nowadays, people have this green inside their homes; it's placed on the table, is a cloth instead of turf, and is called billiards.
It is difficult to see why, having boulevard (boule-vert), which is the same word as bowling-green, the French should have adopted boulingrin. It is surprising that a person so grave as the Dictionary should indulge in useless luxuries.
It’s hard to understand why, having boulevard (boule-vert), which means the same thing as bowling-green, the French would choose to adopt boulingrin. It’s surprising that someone as serious as the Dictionary would engage in unnecessary extravagances.
The bowling-green of Southwark was called Tarrinzeau Field, because it had belonged to the Barons Hastings, who are also Barons Tarrinzeau and Mauchline. From the Lords Hastings the Tarrinzeau Field passed to the Lords Tadcaster, who had made a speculation of it, just as, at a later date, a Duke of Orleans made a speculation of the Palais Royal. Tarrinzeau Field afterwards became waste ground and parochial property.
The bowling green in Southwark was known as Tarrinzeau Field because it used to belong to the Hastings family, who were also Barons Tarrinzeau and Mauchline. From the Hastings family, Tarrinzeau Field was transferred to the Tadcaster family, who took a gamble on it, similar to how a Duke of Orleans later took a gamble on the Palais Royal. Eventually, Tarrinzeau Field turned into wasteland and became property of the parish.
Tarrinzeau Field was a kind of permanent fair ground covered with jugglers, athletes, mountebanks, and music on platforms; and always full of "fools going to look at the devil," as Archbishop Sharp said. To look at the devil means to go to the play.
Tarrinzeau Field was like a permanent fairground filled with jugglers, athletes, street performers, and live music on platforms; and it was constantly packed with "fools going to look at the devil," as Archbishop Sharp put it. To look at the devil means to go see a play.
Several inns, which harboured the public and sent them to these outlandish exhibitions, were established in this place, which kept holiday all the year round, and thereby prospered. These inns were simply stalls, inhabited only during the day. In the evening the tavern-keeper put into his pocket the key of the tavern and went away.
Several inns, which hosted the public and sent them to these bizarre shows, were set up here, thriving all year round. These inns were basically just stalls, occupied only during the day. At night, the tavern owner pocketed the key and left.
One only of these inns was a house, the only dwelling in the whole bowling-green, the caravans of the fair ground having the power of disappearing at any moment, considering the absence of any ties in the vagabond life of all mountebanks.
One of these inns was a house, the only home in the entire bowling green, as the fairground caravans could vanish at any time, given the lack of any connections in the itinerant life of all the tricksters.
Mountebanks have no roots to their lives.
Mountebanks have no foundation in their lives.
This inn, called the Tadcaster, after the former owners of the ground, was an inn rather than a tavern, an hotel rather than an inn, and had a carriage entrance and a large yard.
This inn, called the Tadcaster, after the previous owners of the land, was more of an inn than a tavern, more of a hotel than an inn, and had a carriage entrance and a big yard.
The carriage entrance, opening from the court on the field, was the legitimate door of the Tadcaster Inn, which had, beside it, a small bastard door, by which people entered. To call it bastard is to mean preferred. This lower door was the only one used, It opened into the tavern, properly so called, which was a large taproom, full of tobacco smoke, furnished with tables, and low in the ceiling. Over it was a window on the first floor, to the iron bars of which was fastened and hung the sign of the inn. The principal door was barred and bolted, and always remained closed.
The carriage entrance, coming from the courtyard to the field, was the official entrance of the Tadcaster Inn, which also had a smaller secondary door for people to enter. To call it secondary means it was preferred. This lower door was the only one used. It led into the actual tavern, which was a large taproom filled with tobacco smoke, furnished with tables, and had a low ceiling. Above it was a window on the first floor, to which the inn's sign was attached and hung on iron bars. The main door was secured with bars and bolts and was always kept closed.
It was thus necessary to cross the tavern to enter the courtyard.
It was necessary to go through the tavern to get to the courtyard.
At the Tadcaster Inn there was a landlord and a boy. The landlord was called Master Nicless, the boy Govicum. Master Nicless—Nicholas, doubtless, which the English habit of contraction had made Nicless, was a miserly widower, and one who respected and feared the laws. As to his appearance, he had bushy eyebrows and hairy hands. The boy, aged fourteen, who poured out drink, and answered to the name of Govicum, wore a merry face and an apron. His hair was cropped close, a sign of servitude.
At the Tadcaster Inn, there was a landlord and a boy. The landlord was named Master Nicless, and the boy was called Govicum. Master Nicless—most likely Nicholas, which the English like to shorten to Nicless—was a stingy widower who respected and feared the law. He had bushy eyebrows and hairy hands. The boy, who was fourteen and poured drinks, wore a cheerful expression and an apron. His hair was cut short, a sign that he was a servant.
He slept on the ground floor, in a nook in which they formerly kept a dog. This nook had for window a bull's-eye looking on the bowling-green.
He slept on the ground floor, in a corner where they used to keep a dog. This corner had a small round window that looked out over the bowling green.
CHAPTER II.
OPEN-AIR ELOQUENCE.
One very cold and windy evening, on which there was every reason why folks should hasten on their way along the street, a man, who was walking in Tarrinzeau Field close under the walls of the tavern, stopped suddenly. It was during the last months of winter between 1704 and 1705. This man, whose dress indicated a sailor, was of good mien and fine figure, things imperative to courtiers, and not forbidden to common folk.
One very cold and windy evening, when everyone had a good reason to hurry along the street, a man walking in Tarrinzeau Field near the tavern's walls suddenly stopped. It was in the last months of winter between 1704 and 1705. This man, dressed like a sailor, had a handsome appearance and a good build, traits essential for courtiers but not off-limits for regular folks.
Why did he stop? To listen. What to? To a voice apparently speaking in the court on the other side of the wall, a voice a little weakened by age, but so powerful notwithstanding that it reached the passer-by in the street. At the same time might be heard in the enclosure, from which the voice came, the hubbub of a crowd.
Why did he stop? To listen. To what? To a voice that seemed to be speaking in the courtroom on the other side of the wall, a voice slightly weakened by age, but still strong enough to reach the passerby on the street. At the same time, in the area where the voice came from, the sounds of a crowd could also be heard.
This voice said,—
This voice said,—
"Men and women of London, here I am! I cordially wish you joy of being English. You are a great people. I say more: you are a great populace. Your fisticuffs are even better than your sword thrusts. You have an appetite. You are the nation which eats other nations—a magnificent function! This suction of the world makes England preeminent. As politicians and philosophers, in the management of colonies, populations, and industry, and in the desire to do others any harm which may turn to your own good, you stand alone. The hour will come when two boards will be put up on earth—inscribed on one side, Men; on the other, Englishmen. I mention this to your glory, I, who am neither English nor human, having the honour to be a bear. Still more—I am a doctor. That follows. Gentlemen, I teach. What? Two kinds of things—things which I know, and things which I do not. I sell my drugs and I sell my ideas. Approach and listen. Science invites you. Open your ear; if it is small, it will hold but little truth; if large, a great deal of folly will find its way in. Now, then, attention! I teach the Pseudoxia Epidemica. I have a comrade who will make you laugh, but I can make you think. We live in the same box, laughter being of quite as old a family as thought. When people asked Democritus, 'How do you know?' he answered, 'I laugh.' And if I am asked, 'Why do you laugh?' I shall answer, 'I know.' However, I am not laughing. I am the rectifier of popular errors. I take upon myself the task of cleaning your intellects. They require it. Heaven permits people to deceive themselves, and to be deceived. It is useless to be absurdly modest. I frankly avow that I believe in Providence, even where it is wrong. Only when I see filth—errors are filth—I sweep them away. How am I sure of what I know? That concerns only myself. Every one catches wisdom as he can. Lactantius asked questions of, and received answers from, a bronze head of Virgil. Sylvester II. conversed with birds. Did the birds speak? Did the Pope twitter? That is a question. The dead child of the Rabbi Elcazer talked to Saint Augustine. Between ourselves, I doubt all these facts except the last. The dead child might perhaps talk, because under its tongue it had a gold plate, on which were engraved divers constellations. Thus he deceived people. The fact explains itself. You see my moderation. I separate the true from the false. See! here are other errors in which, no doubt, you partake, poor ignorant folks that you are, and from which I wish to free you. Dioscorides believed that there was a god in the henbane; Chrysippus in the cynopaste; Josephus in the root bauras; Homer in the plant moly. They were all wrong. The spirits in herbs are not gods but devils. I have tested this fact. It is not true that the serpent which tempted Eve had a human face, as Cadmus relates. Garcias de Horto, Cadamosto, and John Hugo, Archbishop of Treves, deny that it is sufficient to saw down a tree to catch an elephant. I incline to their opinion. Citizens, the efforts of Lucifer are the cause of all false impressions. Under the reign of such a prince it is natural that meteors of error and of perdition should arise. My friends, Claudius Pulcher did not die because the fowls refused to come out of the fowl house. The fact is, that Lucifer, having foreseen the death of Claudius Pulcher, took care to prevent the birds feeding. That Beelzebub gave the Emperor Vespasian the virtue of curing the lame and giving sight to the blind, by his touch, was an act praiseworthy in itself, but of which the motive was culpable. Gentlemen, distrust those false doctors, who sell the root of the bryony and the white snake, and who make washes with honey and the blood of a cock. See clearly through that which is false. It is not quite true that Orion was the result of a natural function of Jupiter. The truth is that it was Mercury who produced this star in that way. It is not true that Adam had a navel. When St. George killed the dragon he had not the daughter of a saint standing by his side. St. Jerome had not a clock on the chimney-piece of his study; first, because living in a cave, he had no study; secondly, because he had no chimney-piece; thirdly, because clocks were not yet invented. Let us put these things right. Put them right. O gentlefolks, who listen to me, if any one tells you that a lizard will be born in your head if you smell the herb valerian; that the rotting carcase of the ox changes into bees, and that of the horse into hornets; that a man weighs more when dead than when alive; that the blood of the he-goat dissolves emeralds; that a caterpillar, a fly, and a spider, seen on the same tree, announces famine, war, and pestilence; that the falling sickness is to be cured by a worm found in the head of a buck—do not believe him. These things are errors. But now listen to truths. The skin of a sea-calf is a safeguard against thunder. The toad feeds upon earth, which causes a stone to come into his head. The rose of Jericho blooms on Christmas Eve. Serpents cannot endure the shadow of the ash tree. The elephant has no joints, and sleeps resting upright against a tree. Make a toad sit upon a cock's egg, and he will hatch a scorpion which will become a salamander. A blind person will recover sight by putting one hand on the left side of the altar and the other on his eyes. Virginity does not hinder maternity. Honest people, lay these truths to heart. Above all, you can believe in Providence in either of two ways, either as thirst believes in the orange, or as the ass believes in the whip. Now I am going to introduce you to my family."
"Men and women of London, here I am! I wholeheartedly wish you joy in being English. You are a great people. I’ll go further: you are an incredible populace. Your fighting skills are even better than your swordplay. You have an appetite. You are the nation that consumes other nations—a magnificent role! This influence over the world makes England stand out. As politicians and philosophers, in managing colonies, populations, and industry, and in your desire to harm others for your own benefit, you are unmatched. The time will come when two signs will be placed on earth—one side marked, Men; the other, Englishmen. I mention this for your glory, I, who am neither English nor human, but have the honor of being a bear. Even more—I am a doctor. That follows. Gentlemen, I teach. What? Two types of things—things I know and things I do not. I sell my medicine and I sell my ideas. Come forward and listen. Science welcomes you. Open your ear; if it’s small, it will hold little truth; if large, a lot of nonsense will find its way in. Now, pay attention! I teach the Pseudoxia Epidemica. I have a companion who will make you laugh, but I can make you think. We share the same space, laughter being just as ancient as thought. When people asked Democritus, 'How do you know?' he answered, 'I laugh.' And if someone asks me, 'Why do you laugh?' I’ll say, 'I know.' But I’m not laughing. I am the corrector of popular misconceptions. I take on the job of clearing your minds. They need it. Heaven allows people to deceive themselves and to be deceived. There’s no point in being absurdly modest. I openly admit that I believe in Providence, even when it’s misguided. Only when I see dirt—errors are dirt—I sweep them away. How am I sure of what I know? That’s just about me. Everyone gathers wisdom as best they can. Lactantius asked questions of, and received answers from, a bronze head of Virgil. Sylvester II. talked to birds. Did the birds speak? Did the Pope chirp? That’s up for debate. The dead child of Rabbi Elcazer spoke to Saint Augustine. Between us, I question all these accounts except the last. The dead child might speak, because it had a gold plate under its tongue, engraved with various constellations. That’s how it fooled people. The fact speaks for itself. You see my restraint. I distinguish the true from the false. Look! Here are other misconceptions that, no doubt, you share, poor ignorant folks that you are, and from which I wish to free you. Dioscorides believed there was a god in henbane; Chrysippus in cynopaste; Josephus in the root bauras; Homer in the plant moly. They were all wrong. The spirits in herbs are not gods but demons. I have tested this fact. It’s not true that the serpent that tempted Eve had a human face, as Cadmus claims. Garcias de Horto, Cadamosto, and John Hugo, Archbishop of Treves, argue that it’s not enough to simply saw down a tree to catch an elephant. I tend to agree with them. Citizens, Lucifer’s efforts are the root of all false beliefs. Under the reign of such a prince, it’s natural for storms of error and destruction to emerge. My friends, Claudius Pulcher did not die because the chickens refused to come out of the coop. The truth is, Lucifer anticipated Claudius Pulcher’s death and made sure the birds wouldn’t feed. That Beelzebub granted Emperor Vespasian the ability to heal the lame and restore sight to the blind with his touch was commendable, but the intention was wrong. Gentlemen, be wary of those false doctors who peddle bryony root and white snake, and who make concoctions with honey and rooster's blood. See clearly through what is false. It’s not entirely true that Orion came from a natural function of Jupiter. The truth is that Mercury created this star in that way. It’s not true that Adam had a belly button. When St. George slayed the dragon, he did not have the daughter of a saint by his side. St. Jerome did not have a clock on the mantel of his study; first, because he lived in a cave, so he had no study; second, because he had no mantel; and third, because clocks hadn’t been invented yet. Let’s set these things right. Set them straight. Oh, kind folks, who listen to me, if anyone tells you that a lizard will grow in your head if you smell valerian; that a rotting ox carcass turns into bees, and that a horse’s carcass turns into hornets; that a man weighs more when dead than when alive; that goat blood dissolves emeralds; that seeing a caterpillar, a fly, and a spider on the same tree means famine, war, and plague; that the falling sickness can be cured by a worm found in a buck’s head—do not believe them. These are misconceptions. But now listen to truths. The skin of a sea-calf protects against thunder. The toad eats earth, which forms a stone in its head. The rose of Jericho blooms on Christmas Eve. Serpents can’t tolerate the shadow of the ash tree. The elephant has no joints, and sleeps standing upright against a tree. Place a toad on a rooster's egg, and it will hatch a scorpion that will become a salamander. A blind person can regain sight by placing one hand on the left side of the altar and the other over their eyes. Virginity doesn’t prevent motherhood. Good people, remember these truths. Above all, you can believe in Providence in two ways, either as thirst believes in the orange, or as the donkey believes in the whip. Now I’m going to introduce you to my family."
Here a violent gust of wind shook the window-frames and shutters of the inn, which stood detached. It was like a prolonged murmur of the sky. The orator paused a moment, and then resumed.
Here, a strong gust of wind rattled the window frames and shutters of the inn, which stood alone. It sounded like a long murmur from the sky. The speaker paused for a moment and then continued.
"An interruption; very good. Speak, north wind. Gentlemen, I am not angry. The wind is loquacious, like all solitary creatures. There is no one to keep him company up there, so he jabbers. I resume the thread of my discourse. Here you see associated artists. We are four—a lupo principium. I begin by my friend, who is a wolf. He does not conceal it. See him! He is educated, grave, and sagacious. Providence, perhaps, entertained for a moment the idea of making him a doctor of the university; but for that one must be rather stupid, and that he is not. I may add that he has no prejudices, and is not aristocratic. He chats sometimes with bitches; he who, by right, should consort only with she-wolves. His heirs, if he have any, will no doubt gracefully combine the yap of their mother with the howl of their father. Because he does howl. He howls in sympathy with men. He barks as well, in condescension to civilization—a magnanimous concession. Homo is a dog made perfect. Let us venerate the dog. The dog—curious animal! sweats with its tongue and smiles with its tail. Gentlemen, Homo equals in wisdom, and surpasses in cordiality, the hairless wolf of Mexico, the wonderful xoloïtzeniski. I may add that he is humble. He has the modesty of a wolf who is useful to men. He is helpful and charitable, and says nothing about it. His left paw knows not the good which his right paw does. These are his merits. Of the other, my second friend, I have but one word to say. He is a monster. You will admire him. He was formerly abandoned by pirates on the shores of the wild ocean. This third one is blind. Is she an exception? No, we are all blind. The miser is blind; he sees gold, and he does not see riches. The prodigal is blind; he sees the beginning, and does not see the end. The coquette is blind; she does not see her wrinkles. The learned man is blind; he does not see his own ignorance. The honest man is blind; he does not see the thief. The thief is blind; he does not see God. God is blind; the day that he created the world He did not see the devil manage to creep into it. I myself am blind; I speak, and do not see that you are deaf. This blind girl who accompanies us is a mysterious priestess. Vesta has confided to her her torch. She has in her character depths as soft as a division in the wool of a sheep. I believe her to be a king's daughter, though I do not assert it as a fact. A laudable distrust is the attribute of wisdom. For my own part, I reason and I doctor, I think and I heal. Chirurgus sum. I cure fevers, miasmas, and plagues. Almost all our melancholy and sufferings are issues, which if carefully treated relieve us quietly from other evils which might be worse. All the same I do not recommend you to have an anthrax, otherwise called carbuncle. It is a stupid malady, and serves no good end. One dies of it—that is all. I am neither uncultivated nor rustic. I honour eloquence and poetry, and live in an innocent union with these goddesses. I conclude by a piece of advice. Ladies and gentlemen, on the sunny side of your dispositions, cultivate virtue, modesty, honesty, probity, justice, and love. Each one here below may thus have his little pot of flowers on his window-sill. My lords and gentlemen, I have spoken. The play is about to begin."
"An interruption; very good. Speak, north wind. Gentlemen, I'm not angry. The wind talks a lot, like all solitary creatures. There's no one up there for him to chat with, so he rambles on. I’ll continue with my speech. Here you see our group of artists. We are four—a lupo principium. I’ll start with my friend, who is a wolf. He doesn’t hide it. Look at him! He is educated, serious, and wise. Providence maybe considered making him a doctor at the university for a moment; but to do that, you have to be a bit dull, and he isn’t. I can add that he has no prejudices and isn’t aristocratic. He sometimes chats with female dogs; he, who by rights should only associate with she-wolves. His offspring, if he has any, will surely mix their mother's yapping with their father's howling. Because he does howl. He howls in sympathy with humans. He barks too, as a nod to civilization—a generous concession. Homo is a perfected dog. Let’s respect the dog. The dog—such an interesting animal! sweats through its tongue and smiles with its tail. Gentlemen, Homo is equal in wisdom and surpasses in warmth the hairless wolf of Mexico, the amazing xoloïtzeniski. I should add that he is humble. He has the modesty of a wolf who is useful to people. He’s helpful and kind, and doesn’t brag about it. His left paw doesn’t know the good that his right paw does. These are his strengths. About the other, my second friend, I have just one word: he is a monster. You’ll appreciate him. He was once abandoned by pirates on the shores of the wild ocean. This third one is blind. Is she an exception? No, we’re all blind. The miser is blind; he sees gold but misses out on riches. The prodigal is blind; he sees the beginning but not the end. The flirt is blind; she doesn’t notice her wrinkles. The scholar is blind; he doesn’t see his own ignorance. The honest man is blind; he doesn’t see the thief. The thief is blind; he doesn’t see God. God is blind; the day He created the world, He didn’t see the devil sneak into it. I myself am blind; I speak, and don’t see that you are deaf. This blind girl with us is a mysterious priestess. Vesta has entrusted her with her torch. She has depths in her character as gentle as the fleece of a sheep. I believe she might be a king's daughter, though I can’t say for sure. A healthy skepticism is the mark of wisdom. For my part, I reason and I care for others, I think and I heal. Chirurgus sum. I treat fevers, miasmas, and plagues. Almost all our sadness and suffering are issues that, if treated carefully, can relieve us quietly from other evils that might be worse. Still, I wouldn’t recommend getting anthrax, also known as a carbuncle. It’s a silly disease and serves no good purpose. You die from it—that’s all. I’m neither unrefined nor unsophisticated. I respect eloquence and poetry, and live in a pure harmony with these goddesses. I’ll end with a piece of advice. Ladies and gentlemen, on the bright side of your natures, cultivate virtue, modesty, honesty, integrity, justice, and love. Everyone here can have their little pot of flowers on their windowsill. My lords and gentlemen, I have spoken. The play is about to begin."
The man who was apparently a sailor, and who had been listening outside, entered the lower room of the inn, crossed it, paid the necessary entrance money, reached the courtyard which was full of people, saw at the bottom of it a caravan on wheels, wide open, and on the platform an old man dressed in a bearskin, a young man looking like a mask, a blind girl, and a wolf.
The man who seemed to be a sailor, and who had been eavesdropping outside, walked into the lower room of the inn, crossed it, paid the required entrance fee, and entered the courtyard that was packed with people. He spotted a caravan on wheels at the far end, wide open, and on the platform stood an old man in a bearskin, a young man with a masked appearance, a blind girl, and a wolf.
"Gracious heaven!" he cried, "what delightful people!"
"Good heavens!" he exclaimed, "what amazing people!"
CHAPTER III.
WHERE THE PASSER-BY REAPPEARS.
The Green Box, as we have just seen, had arrived in London. It was established at Southwark. Ursus had been tempted by the bowling-green, which had one great recommendation, that it was always fair-day there, even in winter.
The Green Box, as we just saw, had arrived in London. It was set up in Southwark. Ursus was drawn to the bowling green, which had one big advantage: it was always fair day there, even in winter.
The dome of St. Paul's was a delight to Ursus.
The dome of St. Paul's was a joy to Ursus.
London, take it all in all, has some good in it. It was a brave thing to dedicate a cathedral to St. Paul. The real cathedral saint is St. Peter. St. Paul is suspected of imagination, and in matters ecclesiastical imagination means heresy. St. Paul is a saint only with extenuating circumstances. He entered heaven only by the artists' door.
London, overall, has its merits. It was a bold move to dedicate a cathedral to St. Paul. The true cathedral saint is St. Peter. St. Paul is seen as imaginative, and in the church, imagination can lead to heresy. St. Paul is a saint but only under special circumstances. He made it to heaven through the artists' entrance.
A cathedral is a sign. St. Peter is the sign of Rome, the city of the dogma; St. Paul that of London, the city of schism.
A cathedral is a symbol. St. Peter symbolizes Rome, the city of the doctrine; St. Paul symbolizes London, the city of division.
Ursus, whose philosophy had arms so long that it embraced everything, was a man who appreciated these shades of difference, and his attraction towards London arose, perhaps, from a certain taste of his for St. Paul.
Ursus, whose philosophy was so expansive that it encompassed everything, was a man who recognized these nuances, and his interest in London likely came from his particular admiration for St. Paul.
The yard of the Tadcaster Inn had taken the fancy of Ursus. It might have been ordered for the Green Box. It was a theatre ready-made. It was square, with three sides built round, and a wall forming the fourth. Against this wall was placed the Green Box, which they were able to draw into the yard, owing to the height of the gate. A large wooden balcony, roofed over, and supported on posts, on which the rooms of the first story opened, ran round the three fronts of the interior façade of the house, making two right angles. The windows of the ground floor made boxes, the pavement of the court the pit, and the balcony the gallery. The Green Box, reared against the wall, was thus in front of a theatre. It was very like the Globe, where they played "Othello," "King Lear," and "The Tempest."
The yard of the Tadcaster Inn had caught Ursus's eye. It seemed designed for the Green Box. It was a natural stage set up. It was square, with three sides built around it, and a wall making up the fourth side. The Green Box was placed against this wall, which they could move into the yard due to the height of the gate. A large wooden balcony, covered and supported by posts, wrapped around the three fronts of the house's interior, creating two right angles. The ground floor windows served as boxes, the courtyard pavement was the pit, and the balcony made up the gallery. With the Green Box positioned against the wall, it felt like it was facing a theater. It resembled the Globe, where they performed "Othello," "King Lear," and "The Tempest."
In a corner behind the Green Box was a stable.
In a corner behind the Green Box was a stable.
Ursus had made his arrangements with the tavern keeper, Master Nicless, who, owing to his respect for the law, would not admit the wolf without charging him extra.
Ursus had sorted things out with the tavern keeper, Master Nicless, who, out of respect for the law, wouldn’t let the wolf in without making him pay extra.
The placard, "Gwynplaine, the Laughing Man," taken from its nail in the Green Box, was hung up close to the sign of the inn. The sitting-room of the tavern had, as we have seen, an inside door which opened into the court. By the side of the door was constructed off-hand, by means of an empty barrel, a box for the money-taker, who was sometimes Fibi and sometimes Vinos. This was managed much as at present. Pay and pass in. Under the placard announcing the Laughing Man was a piece of wood, painted white, hung on two nails, on which was written in charcoal in large letters the title of Ursus's grand piece, "Chaos Vanquished."
The sign, "Gwynplaine, the Laughing Man," taken from its nail in the Green Box, was hung up near the inn's sign. The tavern's sitting room had an inside door that opened into the courtyard. Next to the door, they quickly set up a box for the money-taker using an empty barrel, which was sometimes managed by Fibi and sometimes by Vinos. This was handled much like today: pay and enter. Below the sign announcing the Laughing Man was a piece of wood, painted white, hung on two nails, where the title of Ursus's grand work, "Chaos Vanquished," was written in charcoal in large letters.
In the centre of the balcony, precisely opposite the Green Box, and in a compartment having for entrance a window reaching to the ground, there had been partitioned off a space "for the nobility." It was large enough to hold, in two rows, ten spectators.
In the center of the balcony, directly across from the Green Box, there was a section with a window that reached the ground designated "for the nobility." It was spacious enough to accommodate ten spectators in two rows.
"We are in London," said Ursus. "We must be prepared for the gentry."
"We're in London," Ursus said. "We need to be ready for the upper class."
He had furnished this box with the best chairs in the inn, and had placed in the centre a grand arm-chair of yellow Utrecht velvet, with a cherry-coloured pattern, in case some alderman's wife should come.
He had outfitted this box with the best chairs in the inn and had placed in the center a grand armchair of yellow Utrecht velvet with a cherry-colored pattern, just in case some alderman's wife might show up.
They began their performances. The crowd immediately flocked to them, but the compartment for the nobility remained empty. With that exception their success became so great that no mountebank memory could recall its parallel. All Southwark ran in crowds to admire the Laughing Man.
They started their performances. The crowd quickly gathered around them, but the section for the nobility stayed empty. Aside from that, their success was so immense that no street performer could remember anything like it. Everyone in Southwark rushed in crowds to see the Laughing Man.
The merry-andrews and mountebanks of Tarrinzeau Field were aghast at Gwynplaine. The effect he caused was as that of a sparrow-hawk flapping his wings in a cage of goldfinches, and feeding in their seed-trough. Gwynplaine ate up their public.
The clowns and hustlers of Tarrinzeau Field were shocked by Gwynplaine. The impact he had was like a sparrow-hawk fluttering in a cage full of goldfinches, snacking from their seed trough. Gwynplaine captivated their audience.
Besides the small fry, the swallowers of swords and the grimace makers, real performances took place on the green. There was a circus of women, ringing from morning till night with a magnificent peal of all sorts of instruments—psalteries, drums, rebecks, micamons, timbrels, reeds, dulcimers, gongs, chevrettes, bagpipes, German horns, English eschaqueils, pipes, flutes, and flageolets.
Besides the small acts, the sword swallowers and the grimace makers, real performances happened on the green. There was a circus of women, ringing from morning till night with a spectacular sound of all kinds of instruments—psalteries, drums, rebecks, micamons, timbrels, reeds, dulcimers, gongs, chevrettes, bagpipes, German horns, English eschaqueils, pipes, flutes, and flageolets.
In a large round tent were some tumblers, who could not have equalled our present climbers of the Pyrenees—Dulma, Bordenave, and Meylonga—who from the peak of Pierrefitte descend to the plateau of Limaçon, an almost perpendicular height. There was a travelling menagerie, where was to be seen a performing tiger, who, lashed by the keeper, snapped at the whip and tried to swallow the lash. Even this comedian of jaws and claws was eclipsed in success.
In a big round tent were some acrobats, who couldn't have matched our current climbers of the Pyrenees—Dulma, Bordenave, and Meylonga—who descend from the peak of Pierrefitte to the plateau of Limaçon, a nearly vertical drop. There was a traveling circus with a performing tiger, who, whipped by the handler, snapped at the whip and tried to swallow the lash. Even this performer with jaws and claws was overshadowed in success.
Curiosity, applause, receipts, crowds, the Laughing Man monopolized everything. It happened in the twinkling of an eye. Nothing was thought of but the Green Box.
Curiosity, applause, receipts, crowds, the Laughing Man took over everything. It all happened in the blink of an eye. The Green Box was all that was on anyone's mind.
"'Chaos Vanquished' is 'Chaos Victor,'" said Ursus, appropriating half Gwynplaine's success, and taking the wind out of his sails, as they say at sea. That success was prodigious. Still it remained local. Fame does not cross the sea easily. It took a hundred and thirty years for the name of Shakespeare to penetrate from England into France. The sea is a wall; and if Voltaire—a thing which he very much regretted when it was too late—had not thrown a bridge over to Shakespeare, Shakespeare might still be in England, on the other side of the wall, a captive in insular glory.
"'Chaos Vanquished' is 'Chaos Victor,'" Ursus said, claiming part of Gwynplaine's success and taking the wind out of his sails, as they say at sea. That success was impressive. However, it remained local. Fame doesn't travel easily across the sea. It took one hundred and thirty years for Shakespeare's name to reach France from England. The sea acts like a wall; and if Voltaire—a fact he deeply regretted when it was too late—hadn't built a bridge to Shakespeare, Shakespeare might still be in England, on the other side of that wall, a captive in his own insular glory.
The glory of Gwynplaine had not passed London Bridge. It was not great enough yet to re-echo throughout the city. At least not at first. But Southwark ought to have sufficed to satisfy the ambition of a clown. Ursus said,—
The glory of Gwynplaine had not yet reached London Bridge. It wasn't big enough to be heard all over the city. At least not at first. But Southwark should have been enough to satisfy a clown's ambition. Ursus said,—
"The money bag grows palpably bigger."
"The money bag noticeably gets bigger."
They played "Ursus Rursus" and "Chaos Vanquished."
They played "Ursus Rursus" and "Chaos Vanquished."
Between the acts Ursus exhibited his power as an engastrimist, and executed marvels of ventriloquism. He imitated every cry which occurred in the audience—a song, a cry, enough to startle, so exact the imitation, the singer or the crier himself; and now and then he copied the hubbub of the public, and whistled as if there were a crowd of people within him. These were remarkable talents. Besides this he harangued like Cicero, as we have just seen, sold his drugs, attended sickness, and even healed the sick.
Between the acts, Ursus showcased his skills as a ventriloquist, performing amazing feats of ventriloquism. He mimicked every sound that came from the audience—a song, a shout—so accurately that it could surprise the original singer or shout-maker; sometimes he even replicated the noise of the crowd and whistled as if a throng were inside him. These were impressive talents. In addition, he spoke eloquently like Cicero, as we’ve just seen, sold his medicines, cared for the sick, and even healed people.
Southwark was enthralled.
Southwark was captivated.
Ursus was satisfied with the applause of Southwark, but by no means astonished.
Ursus was pleased with the applause from Southwark, but he wasn't surprised at all.
"They are the ancient Trinobantes," he said.
"They're the ancient Trinobantes," he said.
Then he added, "I must not mistake them, for delicacy of taste, for the Atrobates, who people Berkshire, or the Belgians, who inhabited Somersetshire, nor for the Parisians, who founded York."
Then he added, "I must not confuse them with the Atrobates, who lived in Berkshire, or the Belgians, who settled in Somersetshire, nor with the Parisians, who established York."
At every performance the yard of the inn, transformed into a pit, was filled with a ragged and enthusiastic audience. It was composed of watermen, chairmen, coachmen, and bargemen, and sailors, just ashore, spending their wages in feasting and women. In it there were felons, ruffians, and blackguards, who were soldiers condemned for some crime against discipline to wear their red coats, which were lined with black, inside out, and from thence the name of blackguard, which the French turn into blagueurs. All these flowed from the street into the theatre, and poured back from the theatre into the tap. The emptying of tankards did not decrease their success.
At every performance, the inn's yard, turned into a pit, was packed with a scruffy and excited crowd. It included watermen, chairmen, coachmen, bargemen, and sailors fresh from the sea, spending their pay on food and women. Among them were criminals, thugs, and rogues—soldiers who had been punished for some infraction of discipline, forced to wear their red coats, lined with black, inside out; hence the term "blackguard," which the French twist into blagueurs. All these people flowed from the street into the theater and then back out into the bar. The emptying of tankards didn't lessen their enjoyment.
Amidst what it is usual to call the scum, there was one taller than the rest, bigger, stronger, less poverty-stricken, broader in the shoulders; dressed like the common people, but not ragged.
Amidst what is usually referred to as the scum, there was one who stood taller than the others, bigger, stronger, less impoverished, and broader in the shoulders; dressed like the common folks, but not in rags.
Admiring and applauding everything to the skies, clearing his way with his fists, wearing a disordered periwig, swearing, shouting, joking, never dirty, and, at need, ready to blacken an eye or pay for a bottle.
Admiring and praising everything to the max, punching his way through, sporting a messy wig, cursing, yelling, making jokes, always clean, and when necessary, ready to throw a punch or buy a drink.
This frequenter was the passer-by whose cheer of enthusiasm has been recorded.
This regular visitor was the passerby whose cheerful enthusiasm has been noted.
This connoisseur was suddenly fascinated, and had adopted the Laughing Man. He did not come every evening, but when he came he led the public—applause grew into acclamation—success rose not to the roof, for there was none, but to the clouds, for there were plenty of them. Which clouds (seeing that there was no roof) sometimes wept over the masterpiece of Ursus.
This expert suddenly became captivated and took a liking to the Laughing Man. He didn’t show up every evening, but when he did, he captivated the audience—applause turned into cheers—success didn’t just reach the ceiling, since there wasn’t one, but soared into the clouds, and there were plenty of those. Those clouds (since there was no ceiling) sometimes showered tears over Ursus's masterpiece.
His enthusiasm caused Ursus to remark this man, and Gwynplaine to observe him.
His excitement caught Ursus's attention, and Gwynplaine noticed him too.
They had a great friend in this unknown visitor.
They had a wonderful friend in this unknown visitor.
Ursus and Gwynplaine wanted to know him; at least, to know who he was.
Ursus and Gwynplaine wanted to get to know him; at least, they wanted to find out who he was.
One evening Ursus was in the side scene, which was the kitchen-door of the Green Box, seeing Master Nicless standing by him, showed him this man in the crowd, and asked him,—
One evening, Ursus was in the side scene, which was the kitchen door of the Green Box. He saw Master Nicless standing next to him and pointed out this man in the crowd, asking him—
"Do you know that man?"
"Do you know that guy?"
"Of course I do."
"Absolutely, I do."
"Who is he?"
"Who's he?"
"A sailor."
"A seafarer."
"What is his name?" said Gwynplaine, interrupting.
"What’s his name?" Gwynplaine asked, interrupting.
"Tom-Jim-Jack," replied the inn-keeper.
"Tom-Jim-Jack," replied the innkeeper.
Then as he redescended the steps at the back of the Green Box, to enter the inn, Master Nicless let fall this profound reflection, so deep as to be unintelligible,—
Then as he walked down the steps at the back of the Green Box to enter the inn, Master Nicless dropped this profound thought, so deep that it was hard to understand,—
"What a pity that he should not be a lord. He would make a famous scoundrel."
"What a shame he isn't a lord. He'd be a legendary villain."
Otherwise, although established in the tavern, the group in the Green Box had in no way altered their manner of living, and held to their isolated habits. Except a few words exchanged now and then with the tavern-keeper, they held no communication with any of those who were living, either permanently or temporarily, in the inn; and continued to keep to themselves.
Otherwise, even though they were settled in the tavern, the group in the Green Box hadn’t changed their way of life at all and stuck to their reclusive habits. Aside from a few words exchanged occasionally with the tavern-keeper, they had no interactions with anyone else staying at the inn, whether they were there long-term or just passing through, and they remained withdrawn.
Since they had been at Southwark, Gwynplaine had made it his habit, after the performance and the supper of both family and horses—when Ursus and Dea had gone to bed in their respective compartments—to breathe a little the fresh air of the bowling-green, between eleven o'clock and midnight.
Since they had been at Southwark, Gwynplaine had gotten into the habit of stepping out to enjoy some fresh air on the bowling-green after the performance and the family dinner—once Ursus and Dea had gone to bed in their separate quarters—between eleven o'clock and midnight.
A certain vagrancy in our spirits impels us to take walks at night, and to saunter under the stars. There is a mysterious expectation in youth. Therefore it is that we are prone to wander out in the night, without an object.
A certain restlessness in us drives us to take walks at night and stroll under the stars. There's a sense of mystery and anticipation in youth. So, it's no wonder we often wander out at night, aimlessly.
At that hour there was no one in the fair-ground, except, perhaps, some reeling drunkard, making staggering shadows in dark corners. The empty taverns were shut up, and the lower room in the Tadcaster Inn was dark, except where, in some corner, a solitary candle lighted a last reveller. An indistinct glow gleamed through the window-shutters of the half-closed tavern, as Gwynplaine, pensive, content, and dreaming, happy in a haze of divine joy, passed backwards and forwards in front of the half-open door.
At that hour, the fairground was deserted, except for maybe a wobbly drunk person stumbling in the dark corners. The empty bars were closed, and the downstairs area of the Tadcaster Inn was dim, except for a solitary candle that lit up one last partygoer in a corner. A faint glow shone through the window shutters of the half-closed tavern as Gwynplaine, thoughtful, satisfied, and lost in dreams, feeling an overwhelming sense of joy, walked back and forth in front of the half-open door.
Of what was he thinking? Of Dea—of nothing—of everything—of the depths.
What was he thinking about? About Dea—about nothing—about everything—about the depths.
He never wandered far from the Green Box, being held, as by a thread, to Dea. A few steps away from it was far enough for him.
He never strayed far from the Green Box, feeling, as if by a thread, connected to Dea. Just a few steps away was far enough for him.
Then he returned, found the whole Green Box asleep, and went to bed himself.
Then he came back, noticed that everyone at the Green Box was asleep, and went to bed himself.
CHAPTER IV.
CONTRARIES FRATERNIZE IN HATE.
Success is hateful, especially to those whom it overthrows. It is rare that the eaten adore the eaters.
Success is despised, especially by those it brings down. It's uncommon for the defeated to admire the victors.
The Laughing Man had decidedly made a hit. The mountebanks around were indignant. A theatrical success is a syphon—it pumps in the crowd and creates emptiness all round. The shop opposite is done for. The increased receipts of the Green Box caused a corresponding decrease in the receipts of the surrounding shows. Those entertainments, popular up to that time, suddenly collapsed. It was like a low-water mark, showing inversely, but in perfect concordance, the rise here, the fall there. Theatres experience the effect of tides: they rise in one only on condition of falling in another. The swarming foreigners who exhibited their talents and their trumpetings on the neighbouring platforms, seeing themselves ruined by the Laughing Man, were despairing, yet dazzled. All the grimacers, all the clowns, all the merry-andrews envied Gwynplaine. How happy he must be with the snout of a wild beast! The buffoon mothers and dancers on the tight-rope, with pretty children, looked at them in anger, and pointing out Gwynplaine, would say, "What a pity you have not a face like that!" Some beat their babes savagely for being pretty. More than one, had she known the secret, would have fashioned her son's face in the Gwynplaine style. The head of an angel, which brings no money in, is not as good as that of a lucrative devil. One day the mother of a little child who was a marvel of beauty, and who acted a cupid, exclaimed,—
The Laughing Man had definitely made a splash. The con artists around were furious. A theatrical success is like a siphon—it draws in the crowd while draining the life out of everything nearby. The shop across the street was done for. The increased profits at the Green Box led to a corresponding drop in earnings for the surrounding shows. Those entertainments, which had been popular until then, suddenly fell flat. It was like a low-water mark, clearly showing how one place’s rise meant another’s decline. Theaters are influenced by tides: they can only thrive in one area if another area suffers. The flocks of foreigners showcasing their talents and performances on the nearby stages, seeing themselves crushed by the Laughing Man, were both despairing and dazzled. All the performers, all the clowns, all the jokers envied Gwynplaine. How lucky he must be with a face like a wild beast! The clown mothers and tightrope dancers, with their pretty kids, looked at him in anger and would say, “What a shame you don’t have a face like that!” Some even harshly scolded their children for being too cute. More than one, if she had known the trick, would have tried to mold her son’s face in the style of Gwynplaine. The head of an angel, which doesn’t bring in any money, is not as good as that of a profitable devil. One day, the mother of a beautiful little girl, who played cupid, exclaimed,—
"Our children are failures! They only succeeded with Gwynplaine." And shaking her fist at her son, she added, "If I only knew your father, wouldn't he catch it!"
"Our kids are total disappointments! The only one who managed anything is Gwynplaine." And shaking her fist at her son, she added, "If only I knew your father, he'd be in for it!"
Gwynplaine was the goose with the golden eggs! What a marvellous phenomenon! There was an uproar through all the caravans. The mountebanks, enthusiastic and exasperated, looked at Gwynplaine and gnashed their teeth. Admiring anger is called envy. Then it howls! They tried to disturb "Chaos Vanquished;" made a cabal, hissed, scolded, shouted! This was an excuse for Ursus to make out-of-door harangues to the populace, and for his friend Tom-Jim-Jack to use his fists to re-establish order. His pugilistic marks of friendship brought him still more under the notice and regard of Ursus and Gwynplaine. At a distance, however, for the group in the Green Box sufficed to themselves, and held aloof from the rest of the world, and because Tom-Jim-Jack, this leader of the mob, seemed a sort of supreme bully, without a tie, without a friend; a smasher of windows, a manager of men, now here, now gone, hail-fellow-well-met with every one, companion of none.
Gwynplaine was the golden goose! What an incredible sight! There was chaos among all the caravans. The performers, both excited and frustrated, stared at Gwynplaine and gritted their teeth. Admiring anger is just envy. Then it roars! They tried to disrupt "Chaos Vanquished," formed a plot, hissed, scolded, and shouted! This gave Ursus a chance to speak to the crowd outdoors, while his friend Tom-Jim-Jack used his fists to restore order. His friendly punches caught the attention and admiration of Ursus and Gwynplaine even more. However, from a distance, the group in the Green Box kept to themselves, distancing themselves from the rest of the world. Tom-Jim-Jack, the leader of the mob, came off as a kind of supreme bully, with no connections, no friends; a window smasher, a people manager, here one moment, gone the next, friendly with everyone but a companion to none.
This raging envy against Gwynplaine did not give in for a few friendly hits from Tom-Jim-Jack. The outcries having miscarried, the mountebanks of Tarrinzeau Field fell back on a petition. They addressed to the authorities. This is the usual course. Against an unpleasant success we first try to stir up the crowd and then we petition the magistrate.
This intense jealousy towards Gwynplaine didn't fade away after a few friendly hits from Tom-Jim-Jack. With the outcries failing, the performers from Tarrinzeau Field resorted to a petition. They appealed to the authorities. This is the usual procedure. When faced with an unwelcome success, we first attempt to incite the crowd, and then we petition the magistrate.
With the merry-andrews the reverends allied themselves. The Laughing Man had inflicted a blow on the preachers. There were empty places not only in the caravans, but in the churches. The congregations in the churches of the five parishes in Southwark had dwindled away. People left before the sermon to go to Gwynplaine. "Chaos Vanquished," the Green Box, the Laughing Man, all the abominations of Baal, eclipsed the eloquence of the pulpit. The voice crying in the desert, vox clamantis in deserto, is discontented, and is prone to call for the aid of the authorities. The clergy of the five parishes complained to the Bishop of London, who complained to her Majesty.
The reverends allied themselves with the clowns. The Laughing Man had dealt a blow to the preachers. There were empty spots not just in the caravans, but also in the churches. Attendance in the five parishes in Southwark had significantly dropped. People left before the sermon to go see Gwynplaine. "Chaos Vanquished," the Green Box, the Laughing Man, and all those horrors overshadowed the power of the pulpit. The voice crying in the desert, vox clamantis in deserto, is frustrated and tends to seek help from the authorities. The clergy of the five parishes complained to the Bishop of London, who in turn complained to her Majesty.
The complaint of the merry-andrews was based on religion. They declared it to be insulted. They described Gwynplaine as a sorcerer, and Ursus as an atheist. The reverend gentlemen invoked social order. Setting orthodoxy aside they took action on the fact that Acts of Parliament were violated. It was clever. Because it was the period of Mr. Locke, who had died but six months previously—28th October, 1704—and when scepticism, which Bolingbroke had imbibed from Voltaire, was taking root. Later on Wesley came and restored the Bible, as Loyola restored the papacy.
The complaint from the street performers was centered on religion. They claimed it was being disrespected. They labeled Gwynplaine a sorcerer and Ursus an atheist. The clergymen called for social order. Ignoring traditional beliefs, they acted on the fact that laws were being broken. It was a clever move. This was the time of Mr. Locke, who had passed away just six months before—October 28, 1704—and when skepticism, which Bolingbroke had picked up from Voltaire, was starting to take hold. Later, Wesley arrived and revitalized the Bible, similar to how Loyola revived the papacy.
Thus the Green Box was battered on both sides; by the merry-andrews, in the name of the Pentateuch, and by chaplains in the name of the police. In the name of Heaven and of the inspectors of nuisances. The Green Box was denounced by the priests as an obstruction, and by the jugglers as sacrilegious.
Thus the Green Box was attacked from all sides; by the jokers, in the name of the Pentateuch, and by chaplains in the name of the police. In the name of Heaven and the inspectors of nuisances. The Green Box was condemned by the priests as a hindrance, and by the entertainers as blasphemous.
Had they any pretext? Was there any excuse? Yes. What was the crime? This: there was the wolf. A dog was allowable; a wolf forbidden. In England the wolf is an outlaw. England admits the dog which barks, but not the dog which howls—a shade of difference between the yard and the woods.
Had they any reason? Was there any excuse? Yes. What was the crime? This: there was the wolf. A dog was allowed; a wolf was not. In England, the wolf is an outcast. England accepts the dog that barks, but not the dog that howls—a slight difference between the yard and the woods.
The rectors and vicars of the five parishes of Southwark called attention in their petitions to numerous parliamentary and royal statutes putting the wolf beyond the protection of the law. They moved for something like the imprisonment of Gwynplaine and the execution of the wolf, or at any rate for their banishment. The question was one of public importance, the danger to persons passing, etc. And on this point, they appealed to the Faculty. They cited the opinion of the Eighty physicians of London, a learned body which dates from Henry VIII., which has a seal like that of the State, which can raise sick people to the dignity of being amenable to their jurisdiction, which has the right to imprison those who infringe its law and contravene its ordinances, and which, amongst other useful regulations for the health of the citizens, put beyond doubt this fact acquired by science; that if a wolf sees a man first, the man becomes hoarse for life. Besides, he may be bitten.
The rectors and vicars of the five parishes of Southwark pointed out in their petitions various parliamentary and royal laws that excluded the wolf from legal protection. They pushed for something like imprisoning Gwynplaine and executing the wolf, or at the very least, banishing them both. This issue was of public concern due to the danger posed to people passing by, etc. They appealed to the Faculty on this matter. They referenced the opinion of the Eighty physicians of London, a distinguished group established during Henry VIII’s reign, which has a seal similar to that of the State, can elevate sick individuals to be subject to their authority, has the power to imprison those who violate its laws and regulations, and which, among other beneficial health measures for citizens, established that science has proven this fact: if a wolf sees a man first, the man will be hoarse for life. Additionally, he might also be bitten.
Homo, then, was a pretext.
Homo was just a pretext.
Ursus heard of these designs through the inn-keeper. He was uneasy. He was afraid of two claws—the police and the justices. To be afraid of the magistracy, it is sufficient to be afraid, there is no need to be guilty. Ursus had no desire for contact with sheriffs, provosts, bailiffs, and coroners. His eagerness to make their acquaintance amounted to nil. His curiosity to see the magistrates was about as great as the hare's to see the greyhound.
Ursus learned about these plans from the innkeeper. He felt uneasy. He was afraid of two things—the police and the judges. To be scared of the authorities, it’s enough to feel fear; there’s no need to actually be guilty. Ursus didn't want anything to do with sheriffs, judges, bailiffs, or coroners. His desire to meet them was non-existent. His curiosity about seeing the magistrates was about as strong as a hare's desire to see a greyhound.
He began to regret that he had come to London. "'Better' is the enemy of 'good,'" murmured he apart. "I thought the proverb was ill-considered. I was wrong. Stupid truths are true truths."
He started to regret coming to London. "'Better' is the enemy of 'good,'" he muttered to himself. "I thought the saying didn't make sense. I was mistaken. Simple truths are still true."
Against the coalition of powers—merry-andrews taking in hand the cause of religion, and chaplains, indignant in the name of medicine—the poor Green Box, suspected of sorcery in Gwynplaine and of hydrophobia in Homo, had only one thing in its favour (but a thing of great power in England), municipal inactivity. It is to the local authorities letting things take their own course that Englishmen owe their liberty. Liberty in England behaves very much as the sea around England. It is a tide. Little by little manners surmount the law. A cruel system of legislation drowned under the wave of custom; a savage code of laws still visible through the transparency of universal liberty: such is England.
Against the coalition of powers—clowns supporting the cause of religion, and angry chaplains defending medicine—the unfortunate Green Box, accused of witchcraft over Gwynplaine and rabies over Homo, had only one thing going for it (but it's a powerful thing in England): local authorities not taking action. It's the inaction of local officials that gives English people their freedom. Freedom in England is much like the sea surrounding it. It’s a tide. Slowly, customs rise above the law. A harsh system of legislation is drowned by the wave of tradition; a brutal code of laws is still visible through the clarity of universal freedom: that’s England.
The Laughing Man, "Chaos Vanquished," and Homo might have mountebanks, preachers, bishops, the House of Commons, the House of Lords, her Majesty, London, and the whole of England against them, and remain undisturbed so long as Southwark permitted.
The Laughing Man, "Chaos Vanquished," and Homo could have con artists, preachers, bishops, the House of Commons, the House of Lords, her Majesty, London, and all of England against them and still stay unfazed as long as Southwark allowed it.
The Green Box was the favourite amusement of the suburb, and the local authorities seemed disinclined to interfere. In England, indifference is protection. So long as the sheriff of the county of Surrey, to the jurisdiction of which Southwark belongs, did not move in the matter, Ursus breathed freely, and Homo could sleep on his wolf's ears.
The Green Box was the favorite hangout in the neighborhood, and the local authorities didn’t seem interested in getting involved. In England, indifference means safety. As long as the sheriff of Surrey, which includes Southwark, didn’t take action, Ursus felt relaxed, and Homo could rest easy.
So long as the hatred which it excited did not occasion acts of violence, it increased success. The Green Box was none the worse for it, for the time. On the contrary, hints were scattered that it contained something mysterious. Hence the Laughing Man became more and more popular. The public follow with gusto the scent of anything contraband. To be suspected is a recommendation. The people adopt by instinct that at which the finger is pointed. The thing which is denounced is like the savour of forbidden fruit; we rush to eat it. Besides, applause which irritates some one, especially if that some one is in authority, is sweet. To perform, whilst passing a pleasant evening, both an act of kindness to the oppressed and of opposition to the oppressor is agreeable. You are protecting at the same time that you are being amused. So the theatrical caravans on the bowling-green continued to howl and to cabal against the Laughing Man. Nothing could be better calculated to enhance his success. The shouts of one's enemies are useful and give point and vitality to one's triumph. A friend wearies sooner in praise than an enemy in abuse. To abuse does not hurt. Enemies are ignorant of this fact. They cannot help insulting us, and this constitutes their use. They cannot hold their tongues, and thus keep the public awake.
As long as the hatred it stirred up didn’t lead to violence, it fueled its success. The Green Box was none the worse for it, at least for now. In fact, there were rumors that it held something mysterious inside. So, the Laughing Man became increasingly popular. The public eagerly follows the trail of anything forbidden. To be suspected is almost a badge of honor. People instinctively gravitate toward what is being pointed at. What is condemned is like the taste of forbidden fruit; we can’t resist it. Plus, applause that irritates someone, especially if that someone is in charge, feels great. To perform while having a good time not only shows kindness to those who are oppressed but also stands against the oppressor, which is satisfying. You’re protecting people while enjoying yourself. So, the theatrical groups on the bowling green continued to howl and conspire against the Laughing Man. Nothing could better boost his success. The shouts of your enemies are helpful and add depth and excitement to your victory. A friend tires of praising you quicker than an enemy does of insulting you. Insults don’t hurt. Enemies are oblivious to this reality. They can’t help but insult us, and that’s where their value lies. They can’t keep quiet, keeping the public engaged.
The crowds which flocked to "Chaos Vanquished" increased daily.
The crowds that gathered for "Chaos Vanquished" grew larger every day.
Ursus kept what Master Nicless had said of intriguers and complaints in high places to himself, and did not tell Gwynplaine, lest it should trouble the ease of his acting by creating anxiety. If evil was to come, he would be sure to know it soon enough.
Ursus kept what Master Nicless had said about schemers and complaints from powerful people to himself and didn’t tell Gwynplaine, so it wouldn’t disturb his performance by causing worry. If trouble was on the way, he would find out soon enough.
CHAPTER V.
THE WAPENTAKE.
Once, however, he thought it his duty to derogate from this prudence, for prudence' sake, thinking that it might be well to make Gwynplaine uneasy. It is true that this idea arose from a circumstance much graver, in the opinion of Ursus, than the cabals of the fair or of the church.
Once, however, he believed it was his duty to stray from this caution, for the sake of caution itself, thinking that it might be beneficial to make Gwynplaine uneasy. It's true that this idea stemmed from something much more serious, in Ursus's view, than the schemes of the fair or of the church.
Gwynplaine, as he picked up a farthing which had fallen when counting the receipts, had, in the presence of the innkeeper, drawn a contrast between the farthing, representing the misery of the people, and the die, representing, under the figure of Anne, the parasitical magnificence of the throne—an ill-sounding speech. This observation was repeated by Master Nicless, and had such a run that it reached to Ursus through Fibi and Vinos. It put Ursus into a fever. Seditious words, lèse Majesté. He took Gwynplaine severely to task. "Watch over your abominable jaws. There is a rule for the great—to do nothing; and a rule for the small—to say nothing. The poor man has but one friend, silence. He should only pronounce one syllable: 'Yes.' To confess and to consent is all the right he has. 'Yes,' to the judge; 'yes,' to the king. Great people, if it pleases them to do so, beat us. I have received blows from them. It is their prerogative; and they lose nothing of their greatness by breaking our bones. The ossifrage is a species of eagle. Let us venerate the sceptre, which is the first of staves. Respect is prudence, and mediocrity is safety. To insult the king is to put oneself in the same danger as a girl rashly paring the nails of a lion. They tell me that you have been prattling about the farthing, which is the same thing as the liard, and that you have found fault with the august medallion, for which they sell us at market the eighth part of a salt herring. Take care; let us be serious. Consider the existence of pains and penalties. Suck in these legislative truths. You are in a country in which the man who cuts down a tree three years old is quietly taken off to the gallows. As to swearers, their feet are put into the stocks. The drunkard is shut up in a barrel with the bottom out, so that he can walk, with a hole in the top, through which his head is passed, and with two in the bung for his hands, so that he cannot lie down. He who strikes another one in Westminster Hall is imprisoned for life and has his goods confiscated. Whoever strikes any one in the king's palace has his hand struck off. A fillip on the nose chances to bleed, and, behold! you are maimed for life. He who is convicted of heresy in the bishop's court is burnt alive. It was for no great matter that Cuthbert Simpson was quartered on a turnstile. Three years since, in 1702, which is not long ago, you see, they placed in the pillory a scoundrel, called Daniel Defoe, who had had the audacity to print the names of the Members of Parliament who had spoken on the previous evening. He who commits high treason is disembowelled alive, and they tear out his heart and buffet his cheeks with it. Impress on yourself notions of right and justice. Never allow yourself to speak a word, and at the first cause of anxiety, run for it. Such is the bravery which I counsel and which I practise. In the way of temerity, imitate the birds; in the way of talking, imitate the fishes. England has one admirable point in her favour, that her legislation is very mild."
Gwynplaine, while picking up a farthing that had fallen during the counting of the receipts, compared the farthing, symbolizing the people's suffering, with the die, representing the lavish power of the throne through the figure of Anne—this didn’t sound good. Master Nicless repeated this observation, and it gained enough traction to reach Ursus through Fibi and Vinos. It sent Ursus into a panic. Seditious words, disrespectful to the crown. He confronted Gwynplaine sternly. "Be careful with your disgusting outbursts. There’s a rule for the powerful—to do nothing; and a rule for the powerless—to say nothing. The only friend the poor man has is silence. He should utter just one word: ‘Yes.’ Acknowledging and agreeing is all he’s entitled to. ‘Yes’ to the judge; ‘yes’ to the king. If it pleases the powerful, they can hit us. I've taken hits from them. It’s their privilege, and their position doesn’t diminish by breaking our bones. The ossifrage is a type of eagle. Let’s respect the scepter, which is the highest of staffs. Respect is smart, and staying average is safe. Insulting the king puts you at the same risk as a girl carelessly trimming the nails of a lion. I’ve heard you’ve been rambling about the farthing, the same as the liard, and criticizing the esteemed medallion, which is sold to us at market for an eighth of a salt herring. Be cautious; let’s be serious. Think about the consequences. Understand these laws. You’re in a country where someone who cuts down a three-year-old tree is quietly sent to the gallows. As for swearers, their feet are put in stocks. The drunkard is locked in a barrel with the bottom cut out, so he can walk, with a hole at the top for his head, and two holes in the bung for his hands, so he can’t lie down. If you strike someone in Westminster Hall, you’ll be imprisoned for life and lose your belongings. Anyone who hits someone in the king’s palace loses their hand. A flick on the nose can cause bleeding, and suddenly, you’re injured for life. Someone convicted of heresy in the bishop's court is burned alive. Cuthbert Simpson wasn’t executed for a big deal on a turnstile. Just three years ago, in 1702, not too long ago, they put a guy named Daniel Defoe in the pillory for having the nerve to print the names of Members of Parliament who spoke the night before. Those guilty of high treason are disemboweled alive, and their hearts are pulled out and slapped against their faces. Grasp the concepts of right and justice. Never say a word, and at the first hint of trouble, run away. That’s the courage I recommend and strive to follow. In terms of daring, be like the birds; in terms of talking, be like the fish. England has one great thing going for her: her laws are quite mild."
His admonition over, Ursus remained uneasy for some time. Gwynplaine not at all. The intrepidity of youth arises from want of experience. However, it seemed that Gwynplaine had good reason for his easy mind, for the weeks flowed on peacefully, and no bad consequences seemed to have resulted from his observations about the queen.
His warning given, Ursus felt uneasy for a while. Gwynplaine did not. The fearlessness of youth comes from a lack of experience. However, it appeared that Gwynplaine had a valid reason for his calm demeanor, as the weeks passed peacefully, and no negative consequences seemed to come from his comments about the queen.
Ursus, we know, lacked apathy, and, like a roebuck on the watch, kept a lookout in every direction. One day, a short time after his sermon to Gwynplaine, as he was looking out from the window in the wall which commanded the field, he became suddenly pale.
Ursus, as we know, was not indifferent, and, like a deer on alert, kept an eye on everything around him. One day, shortly after his sermon to Gwynplaine, while he was looking out from the window in the wall that overlooked the field, he suddenly turned pale.
"Gwynplaine?"
"Gwynplaine?"
"What?"
"What’s up?"
"Look."
"Check it out."
"Where?"
"Where at?"
"In the field."
"In the field."
"Well."
"Alright."
"Do you see that passer-by?"
"Do you see that passerby?"
"The man in black?"
"The guy in black?"
"Yes."
"Yep."
"Who has a kind of mace in his hand?"
"Who is holding a kind of mace?"
"Yes."
"Yep."
"Well?"
"What's up?"
"Well, Gwynplaine, that man is a wapentake."
"Well, Gwynplaine, that guy is a wapentake."
"What is a wapentake?"
"What is a wapentake?"
"He is the bailiff of the hundred."
"He is the bailiff of the hundred."
"What is the bailiff of the hundred?"
"What is the bailiff of the hundred?"
"He is the proepositus hundredi."
"He is the hundred leader."
"And what is the proepositus hundredi?"
"And what is the proepositus hundredi?"
"He is a terrible officer."
"He's a terrible officer."
"What has he got in his hand?"
"What does he have in his hand?"
"The iron weapon."
"The metal weapon."
"What is the iron weapon?"
"What’s the iron weapon?"
"A thing made of iron."
"Iron object."
"What does he do with that?"
"What does he do with that?"
"First of all, he swears upon it. It is for that reason that he is called the wapentake."
"First of all, he swears by it. That’s why he’s called the wapentake."
"And then?"
"What's next?"
"Then he touches you with it."
"Then he touches you with it."
"With what?"
"With what?"
"With the iron weapon."
"With the metal weapon."
"The wapentake touches you with the iron weapon?"
"The wapentake hits you with the iron weapon?"
"Yes."
Yes.
"What does that mean?"
"What does that mean?"
"That means, follow me."
"That means, follow me."
"And must you follow?"
"Do you have to follow?"
"Yes."
Yes.
"Whither?"
"Where to?"
"How should I know?"
"How am I supposed to know?"
"But he tells you where he is going to take you?"
"But he tells you where he's going to take you?"
"No."
"No."
"How is that?"
"How's that?"
"He says nothing, and you say nothing."
"He doesn't say anything, and you don't say anything."
"But—"
"But—"
"He touches you with the iron weapon. All is over then. You must go."
"He touches you with the metal weapon. It’s all over then. You have to leave."
"But where?"
"But where at?"
"After him."
"After him."
"But where?"
"But where at?"
"Wherever he likes, Gwynplaine."
"Wherever he wants, Gwynplaine."
"And if you resist?"
"And what if you resist?"
"You are hanged."
"You are executed."
Ursus looked out of the window again, and drawing a long breath, said,—
Ursus looked out of the window again, took a deep breath, and said,—
"Thank God! He has passed. He was not coming here."
"Thank God! He’s gone. He wasn’t coming here."
Ursus was perhaps unreasonably alarmed about the indiscreet remark, and the consequences likely to result from the unconsidered words of Gwynplaine.
Ursus was probably overly worried about the careless comment and the potential fallout from Gwynplaine's thoughtless words.
Master Nicless, who had heard them, had no interest in compromising the poor inhabitants of the Green Box. He was amassing, at the same time as the Laughing Man, a nice little fortune. "Chaos Vanquished" had succeeded in two ways. While it made art triumph on the stage, it made drunkenness prosper in the tavern.
Master Nicless, who had overheard them, wasn’t interested in putting the poor people of the Green Box at risk. At the same time as the Laughing Man, he was building up a nice little fortune. "Chaos Vanquished" had succeeded in two ways. It celebrated art on stage while also boosting drunkenness in the bar.
CHAPTER VI.
THE MOUSE EXAMINED BY THE CATS.
Ursus was soon afterwards startled by another alarming circumstance. This time it was he himself who was concerned. He was summoned to Bishopsgate before a commission composed of three disagreeable countenances. They belonged to three doctors, called overseers. One was a Doctor of Theology, delegated by the Dean of Westminster; another, a Doctor of Medicine, delegated by the College of Surgeons; the third, a Doctor in History and Civil Law, delegated by Gresham College. These three experts in omni re scibili had the censorship of everything said in public throughout the bounds of the hundred and thirty parishes of London, the seventy-three of Middlesex, and, by extension, the five of Southwark.
Ursus was soon shocked by another troubling situation. This time it was about him. He was called to Bishopsgate to face a panel of three unpleasant people. They were three doctors, referred to as overseers. One was a Doctor of Theology, sent by the Dean of Westminster; another, a Doctor of Medicine, sent by the College of Surgeons; the third, a Doctor in History and Civil Law, sent by Gresham College. These three experts in omni re scibili had the authority to censor everything spoken in public throughout the one hundred and thirty parishes of London, the seventy-three of Middlesex, and, by extension, the five of Southwark.
Such theological jurisdictions still subsist in England, and do good service. In December, 1868, by sentence of the Court of Arches, confirmed by the decision of the Privy Council, the Reverend Mackonochie was censured, besides being condemned in costs, for having placed lighted candles on a table. The liturgy allows no jokes.
Such religious authorities still exist in England and provide valuable services. In December 1868, by ruling of the Court of Arches, upheld by the Privy Council, the Reverend Mackonochie was reprimanded and also ordered to pay costs for placing lit candles on a table. The liturgy permits no humor.
Ursus, then, one fine day received from the delegated doctors an order to appear before them, which was, luckily, given into his own hands, and which he was therefore enabled to keep secret. Without saying a word, he obeyed the citation, shuddering at the thought that he might be considered culpable to the extent of having the appearance of being suspected of a certain amount of rashness. He who had so recommended silence to others had here a rough lesson. Garrule, sana te ipsum.
Ursus received an order one day from the appointed doctors to appear before them. Fortunately, it was given to him directly, allowing him to keep it a secret. Without saying anything, he complied with the request, trembling at the idea that he might be seen as guilty, even just for looking like he might be a bit reckless. The one who had advised others to remain silent was now facing a tough lesson himself. Garrule, sana te ipsum.
The three doctors, delegated and appointed overseers, sat at Bishopsgate, at the end of a room on the ground floor, in three armchairs covered with black leather, with three busts of Minos, Æacus, and Rhadamanthus, in the wall above their heads, a table before them, and at their feet a form for the accused.
The three doctors, assigned as overseers, sat at Bishopsgate, at the end of a room on the ground floor, in three black leather armchairs, with busts of Minos, Æacus, and Rhadamanthus on the wall above their heads, a table in front of them, and a bench for the accused at their feet.
Ursus, introduced by a tipstaff, of placid but severe expression, entered, perceived the doctors, and immediately in his own mind, gave to each of them the name of the judge of the infernal regions represented by the bust placed above his head. Minos, the president, the representative of theology, made him a sign to sit down on the form.
Ursus, introduced by a bailiff, with a calm yet stern expression, walked in, noticed the doctors, and instantly assigned each of them a name based on the judge of the underworld depicted in the bust above him. Minos, the president and representative of theology, signaled for him to take a seat on the bench.
Ursus made a proper bow—that is to say, bowed to the ground; and knowing that bears are charmed by honey, and doctors by Latin, he said, keeping his body still bent respectfully,—
Ursus made a proper bow—that is to say, he bowed to the ground; and knowing that bears are attracted to honey, and doctors to Latin, he said, keeping his body still bent respectfully,—
"Tres faciunt capitulum!"
"Three make a chapter!"
Then, with head inclined (for modesty disarms) he sat down on the form.
Then, with his head lowered (since modesty can be disarming), he sat down on the bench.
Each of the three doctors had before him a bundle of papers, of which he was turning the leaves.
Each of the three doctors had a stack of papers in front of him, and he was flipping through the pages.
Minos began.
Minos started.
"You speak in public?"
"Do you speak in public?"
"Yes," replied Ursus.
"Sure," replied Ursus.
"By what right?"
"Who says so?"
"I am a philosopher."
"I'm a philosopher."
"That gives no right."
"That grants no rights."
"I am also a mountebank," said Ursus.
"I’m also a con artist," said Ursus.
"That is a different thing."
"That's a different thing."
Ursus breathed again, but with humility.
Ursus took another breath, but this time with humility.
Minos resumed,—
Minos continued,—
"As a mountebank, you may speak; as a philosopher, you must keep silence."
"As a charlatan, you can talk; as a philosopher, you should stay silent."
"I will try," said Ursus.
"I'll try," said Ursus.
Then he thought to himself.
Then he thought to himself.
"I may speak, but I must be silent. How complicated."
"I can talk, but I have to stay quiet. It's so complicated."
He was much alarmed.
He was very alarmed.
The same overseer continued,—
The same supervisor continued,—
"You say things which do not sound right. You insult religion. You deny the most evident truths. You propagate revolting errors. For instance, you have said that the fact of virginity excludes the possibility of maternity."
"You say things that don't make sense. You insult religion. You deny the most obvious truths. You spread shocking falsehoods. For example, you claimed that being a virgin rules out the possibility of being a mother."
Ursus lifted his eyes meekly, "I did not say that. I said that the fact of maternity excludes the possibility of virginity."
Ursus looked up humbly, "I didn’t say that. I said that being a mother rules out the chance of being a virgin."
Minos was thoughtful, and mumbled, "True, that is the contrary."
Minos was deep in thought and mumbled, "That's true, that’s the opposite."
It was really the same thing. But Ursus had parried the first blow.
It was basically the same thing. But Ursus had blocked the first strike.
Minos, meditating on the answer just given by Ursus, sank into the depths of his own imbecility, and kept silent.
Minos, thinking about the answer Ursus had just given, fell into the depths of his own foolishness and remained silent.
The overseer of history, or, as Ursus called him, Rhadamanthus, covered the retreat of Minos by this interpolation, "Accused! your audacity and your errors are of two sorts. You have denied that the battle of Pharsalia would have been lost because Brutus and Cassius had met a negro."
The overseer of history, or as Ursus referred to him, Rhadamanthus, concealed Minos's retreat with this addition: "Accused! Your boldness and your mistakes fall into two categories. You claimed that the battle of Pharsalia would have been lost because Brutus and Cassius encountered a black."
"I said," murmured Ursus "that there was something in the fact that Cæsar was the better captain."
"I said," Ursus murmured, "that there was something to the fact that Caesar was the better leader."
The man of history passed, without transition, to mythology.
The historical man transformed, seamlessly, into mythology.
"You have excused the infamous acts of Actæon."
"You've excused the notorious actions of Actæon."
"I think," said Ursus, insinuatingly, "that a man is not dishonoured by having seen a naked woman."
"I think," said Ursus suggestively, "that a man isn't dishonored by having seen a naked woman."
"Then you are wrong," said the judge severely. Rhadamanthus returned to history.
"Then you’re mistaken," the judge said sternly. Rhadamanthus went back to history.
"Apropos of the accidents which happened to the cavalry of Mithridates, you have contested the virtues of herbs and plants. You have denied that a herb like the securiduca, could make the shoes of horses fall off."
"Around the accidents that occurred to Mithridates' cavalry, you've questioned the benefits of herbs and plants. You've claimed that a herb like securiduca couldn't cause horseshoes to fall off."
"Pardon me," replied Ursus. "I said that the power existed only in the herb sferra cavallo. I never denied the virtue of any herb," and he added, in a low voice, "nor of any woman."
"Excuse me," Ursus responded. "I said that the power is found only in the herb sferra cavallo. I never denied the effectiveness of any herb," he added quietly, "or of any woman."
By this extraneous addition to his answer Ursus proved to himself that, anxious as he was, he was not disheartened. Ursus was a compound of terror and presence of mind.
By adding this extra detail to his response, Ursus showed himself that, despite his anxiety, he wasn't discouraged. Ursus was a mix of fear and calmness.
"To continue," resumed Rhadamanthus; "you have declared that it was folly in Scipio, when he wished to open the gates of Carthage, to use as a key the herb æthiopis, because the herb æthiopis has not the property of breaking locks."
"To continue," Rhadamanthus said, "you have stated that it was foolish of Scipio to try to open the gates of Carthage using the herb æthiopis as a key, because the herb æthiopis doesn’t have the ability to break locks."
"I merely said that he would have done better to have used the herb lunaria."
"I just said that he would have been better off using the herb lunaria."
"That is a matter of opinion," murmured Rhadamanthus, touched in his turn. And the man of history was silent.
"That's just an opinion," whispered Rhadamanthus, feeling moved as well. And the historian fell quiet.
The theologian, Minos, having returned to consciousness, questioned Ursus anew. He had had time to consult his notes.
The theologian, Minos, regaining consciousness, questioned Ursus again. He had taken the time to look over his notes.
"You have classed orpiment amongst the products of arsenic, and you have said that it is a poison. The Bible denies this."
"You've categorized orpiment as a product of arsenic and claimed it's a poison. The Bible disagrees."
"The Bible denies, but arsenic affirms it," sighed Ursus.
"The Bible says no, but arsenic says yes," sighed Ursus.
The man whom Ursus called Æacus, and who was the envy of medicine, had not yet spoken, but now looking down on Ursus, with proudly half-closed eyes, he said,—
The man Ursus called Æacus, who was the envy of medicine, hadn’t said anything yet, but now looking down at Ursus with his eyes half-closed in pride, he spoke,—
"The answer is not without some show of reason."
"The answer does have some logic to it."
Ursus thanked him with his most cringing smile. Minos frowned frightfully. "I resume," said Minos. "You have said that it is false that the basilisk is the king of serpents, under the name of cockatrice."
Ursus thanked him with his most cringy smile. Minos frowned menacingly. "I'll continue," said Minos. "You claimed it’s not true that the basilisk is the king of serpents, known as the cockatrice."
"Very reverend sir," said Ursus, "so little did I desire to insult the basilisk that I have given out as certain that it has a man's head."
"Very reverend sir," said Ursus, "I wanted to offend the basilisk so little that I've claimed for sure it has a man's head."
"Be it so," replied Minos severely; "but you added that Poerius had seen one with the head of a falcon. Can you prove it?"
"Alright," replied Minos sternly; "but you mentioned that Poerius had seen one with the head of a falcon. Can you back that up?"
"Not easily," said Ursus.
"Not easily," Ursus replied.
Here he had lost a little ground.
Here he had lost some ground.
Minos, seizing the advantage, pushed it.
Minos, taking the opportunity, pushed it.
"You have said that a converted Jew has not a nice smell."
"You said that a converted Jew doesn't smell nice."
"Yes. But I added that a Christian who becomes a Jew has a nasty one."
"Yes. But I added that a Christian who converts to Judaism has a bad one."
Minos lost his eyes over the accusing documents.
Minos lost his eyesight because of the incriminating documents.
"You have affirmed and propagated things which are impossible. You have said that Elien had seen an elephant write sentences."
"You have confirmed and spread ideas that are impossible. You said that Elien saw an elephant writing sentences."
"Nay, very reverend gentleman! I simply said that Oppian had heard a hippopotamus discuss a philosophical problem."
"Nah, very respected sir! I just said that Oppian heard a hippopotamus talking about a philosophical issue."
"You have declared that it is not true that a dish made of beech-wood will become covered of itself with all the viands that one can desire."
"You've claimed that it's not true a dish made of beech wood will automatically be filled with all the foods one might want."
"I said, that if it has this virtue, it must be that you received it from the devil."
"I said that if it has this quality, you must have gotten it from the devil."
"That I received it!"
"I got it!"
"No, most reverend sir. I, nobody, everybody!"
"No, most respected sir. I, nobody, everybody!"
Aside, Ursus thought, "I don't know what I am saying."
Aside, Ursus thought, "I don't know what I'm saying."
But his outward confusion, though extreme, was not distinctly visible. Ursus struggled with it.
But his visible confusion, even though intense, wasn't clearly apparent. Ursus wrestled with it.
"All this," Minos began again, "implies a certain belief in the devil."
"All this," Minos started again, "suggests a certain belief in the devil."
Ursus held his own.
Ursus stood his ground.
"Very reverend sir, I am not an unbeliever with regard to the devil. Belief in the devil is the reverse side of faith in God. The one proves the other. He who does not believe a little in the devil, does not believe much in God. He who believes in the sun must believe in the shadow. The devil is the night of God. What is night? The proof of day."
"Dear sir, I’m not an unbeliever when it comes to the devil. Believing in the devil is the flip side of having faith in God. One supports the other. If someone doesn’t believe a little in the devil, they don’t really believe much in God. Just like if someone believes in the sun, they have to believe in the shadow. The devil represents God’s night. What is night? It’s the evidence of day."
Ursus here extemporized a fathomless combination of philosophy and religion. Minos remained pensive, and relapsed into silence.
Ursus here improvised an endless blend of philosophy and religion. Minos stayed deep in thought and fell back into silence.
Ursus breathed afresh.
Ursus took a deep breath.
A sharp onslaught now took place. Æacus, the medical delegate, who had disdainfully protected Ursus against the theologian, now turned suddenly from auxiliary into assailant. He placed his closed fist on his bundle of papers, which was large and heavy. Ursus received this apostrophe full in the breast,—
A sudden attack happened. Æacus, the medical representative, who had arrogantly defended Ursus against the theologian, now abruptly shifted from helper to attacker. He slammed his closed fist down on his large, heavy stack of papers. Ursus took this insult right to the chest,—
"It is proved that crystal is sublimated ice, and that the diamond is sublimated crystal. It is averred that ice becomes crystal in a thousand years, and crystal diamond in a thousand ages. You have denied this."
"It’s been shown that crystal is frozen ice, and that diamond is made from crystal. It’s said that ice turns into crystal over a thousand years, and crystal becomes diamond over a thousand ages. You have rejected this."
"Nay," replied Ursus, with sadness, "I only said that in a thousand years ice had time to melt, and that a thousand ages were difficult to count."
"Nah," Ursus replied sadly, "I just meant that in a thousand years, ice has time to melt, and that a thousand ages are hard to count."
The examination went on; questions and answers clashed like swords.
The exam continued; questions and answers collided like swords.
"You have denied that plants can talk."
"You've denied that plants can communicate."
"Not at all. But to do so they must grow under a gibbet."
"Not at all. But to do this, they must grow under a gallows."
"Do you own that the mandragora cries?"
"Do you admit that the mandrake screams?"
"No; but it sings."
"No, but it sings."
"You have denied that the fourth finger of the left hand has a cordial virtue."
"You've denied that the fourth finger on the left hand has a friendly quality."
"I only said that to sneeze to the left was a bad sign."
"I only said that sneezing to the left is a bad sign."
"You have spoken rashly and disrespectfully of the phoenix."
"You've spoken carelessly and disrespectfully about the phoenix."
"Learned judge, I merely said that when he wrote that the brain of the phoenix was a delicate morsel, but that it produced headache, Plutarch was a little out of his reckoning, inasmuch as the phoenix never existed."
"Dear judge, I just pointed out that when Plutarch mentioned the brain of the phoenix as a delicate treat that caused headaches, he was a bit mistaken, since the phoenix never actually existed."
"A detestable speech! The cinnamalker which makes its nest with sticks of cinnamon, the rhintacus that Parysatis used in the manufacture of his poisons, the manucodiatas which is the bird of paradise, and the semenda, which has a threefold beak, have been mistaken for the phoenix; but the phoenix has existed."
"A disgusting speech! The cinnamalker that builds its nest with cinnamon sticks, the rhintacus that Parysatis used to make his poisons, the manucodiatas which is the bird of paradise, and the semenda, which has a three-part beak, have all been confused with the phoenix; but the phoenix really exists."
"I do not deny it."
"I won't deny it."
"You are a stupid ass."
"You are an idiot."
"I desire to be thought no better."
"I want to be seen as no better."
"You have confessed that the elder tree cures the quinsy, but you added that it was not because it has in its root a fairy excrescence."
"You admitted that the elder tree treats quinsy, but you also said it wasn't because it has a fairy growth in its roots."
"I said it was because Judas hung himself on an elder tree."
"I said it was because Judas hanged himself on an elder tree."
"A plausible opinion," growled the theologian, glad to strike his little blow at Æacus.
"A reasonable opinion," grumbled the theologian, pleased to take his small jab at Æacus.
Arrogance repulsed soon turns to anger. Æacus was enraged.
Arrogance that quickly turns to disgust leads to anger. Æacus was furious.
"Wandering mountebank! you wander as much in mind as with your feet. Your tendencies are out of the way and suspicious. You approach the bounds of sorcery. You have dealings with unknown animals. You speak to the populace of things that exist but for you alone, and the nature of which is unknown, such as the hoemorrhoüs."
"Wandering con artist! You roam as much in thought as you do with your feet. Your inclinations are unusual and questionable. You flirt with the edges of magic. You interact with mysterious creatures. You talk to the public about things that exist only for you, and their nature is unknown, like the hemorrhoid."
"The hoemorrhoüs is a viper which was seen by Tremellius."
"The hemorrhous is a viper that Tremellius observed."
This repartee produced a certain disorder in the irritated science of Doctor Æacus.
This exchange caused a bit of chaos in the annoyed mind of Doctor Æacus.
Ursus added, "The existence of the hoemorrhoüs is quite as true as that of the odoriferous hyena, and of the civet described by Castellus."
Ursus added, "The existence of the hemorrhoid is just as real as that of the smelly hyena and the civet mentioned by Castellus."
Æacus got out of the difficulty by charging home.
Æacus got out of the situation by heading home.
"Here are your own words, and very diabolical words they are. Listen."
"Here are your own words, and they’re definitely wicked. Listen."
With his eyes on his notes, Æacus read,—
With his eyes on his notes, Æacus read,—
"Two plants, the thalagssigle and the aglaphotis, are luminous in the evening, flowers by day, stars by night;" and looking steadily at Ursus, "What have you to say to that?"
"Two plants, the thalagssigle and the aglaphotis, glow in the evening, flowers during the day, stars at night;" and looking directly at Ursus, "What do you have to say about that?"
Ursus answered,—
Ursus responded,—
"Every plant is a lamp. Its perfume is its light." Æacus turned over other pages.
"Every plant is like a lamp. Its fragrance is its light." Æacus flipped through more pages.
"You have denied that the vesicles of the otter are equivalent to castoreum."
"You have claimed that the vesicles of the otter are not the same as castoreum."
"I merely said that perhaps it may be necessary to receive the teaching of Ætius on this point with some reserve."
"I just said that maybe it’s necessary to take Ætius's teaching on this point with some caution."
Æacus became furious.
Æacus got really angry.
"You practise medicine?"
"Do you practice medicine?"
"I practise medicine," sighed Ursus timidly.
"I practice medicine," sighed Ursus shyly.
"On living things?"
"About living things?"
"Rather than on dead ones," said Ursus.
"Instead of on dead ones," Ursus said.
Ursus defended himself stoutly, but dully; an admirable mixture, in which meekness predominated. He spoke with such gentleness that Doctor Æacus felt that he must insult him.
Ursus defended himself strongly, but in a dull way; it was an impressive mix, with a sense of meekness being the main element. He spoke so gently that Doctor Æacus felt compelled to insult him.
"What are you murmuring there?" said he rudely.
"What are you mumbling about?" he asked rudely.
Ursus was amazed, and restricted himself to saying,—
Ursus was surprised and limited himself to saying,—
"Murmurings are for the young, and moans for the aged. Alas, I moan!"
"Murmurs are for the young, and groans are for the old. Sadly, I groan!"
Æacus replied,—
Æacus responded,—
"Be assured of this—if you attend a sick person, and he dies, you will be punished by death."
"Rest assured—if you care for someone who's sick and they die, you'll face the death penalty."
Ursus hazarded a question.
Ursus asked a question.
"And if he gets well?"
"And if he gets better?"
"In that case," said the doctor, softening his voice, "you will be punished by death."
"In that case," the doctor said, lowering his voice, "you will face the death penalty."
"There is little difference," said Ursus.
"There isn't much difference," said Ursus.
The doctor replied,—
The doctor responded,—
"If death ensues, we punish gross ignorance; if recovery, we punish presumption. The gibbet in either case."
"If death occurs, we penalize extreme ignorance; if recovery happens, we penalize arrogance. The gallows in either case."
"I was ignorant of the circumstance," murmured Ursus. "I thank you for teaching me. One does not know all the beauties of the law."
"I didn't know about that," Ursus said quietly. "Thank you for teaching me. You can't know all the beauties of the law."
"Take care of yourself."
"Take care of yourself."
"Religiously," said Ursus.
"Seriously," said Ursus.
"We know what you are about."
"We know what you're into."
"As for me," thought Ursus, "that is more than I always know myself."
"As for me," Ursus thought, "that's more than I ever know about myself."
"We could send you to prison."
"We could send you to prison."
"I see that perfectly, gentlemen."
"I get that, gentlemen."
"You cannot deny your infractions nor your encroachments."
"You can't deny your wrongdoings or your intrusions."
"My philosophy asks pardon."
"My philosophy seeks forgiveness."
"Great audacity has been attributed to you."
"People have said you have a lot of boldness."
"That is quite a mistake."
"That's quite a mistake."
"It is said that you have cured the sick."
"It’s said that you have healed the sick."
"I am the victim of calumny."
"I am the victim of slander."
The three pairs of eyebrows which were so horribly fixed on Ursus contracted. The three wise faces drew near to each other, and whispered. Ursus had the vision of a vague fool's cap sketched out above those three empowered heads. The low and requisite whispering of the trio was of some minutes' duration, during which time Ursus felt all the ice and all the scorch of agony. At length Minos, who was president, turned to him and said angrily,—
The three pairs of eyebrows that were locked in a terrible expression on Ursus contracted. The three serious faces leaned in closer together and whispered. Ursus imagined a vague fool's cap outlined above those three authoritative heads. The quiet, necessary whispering of the trio lasted for several minutes, during which Ursus felt both the chill and the heat of pain. Finally, Minos, who was in charge, turned to him and said angrily,—
"Go away!"
"Leave me alone!"
Ursus felt something like Jonas when he was leaving the belly of the whale.
Ursus felt something similar to what Jonas felt when he was leaving the belly of the whale.
Minos continued,—
Minos went on,—
"You are discharged."
"You're discharged."
Ursus said to himself,—
Ursus thought to himself,—
"They won't catch me at this again. Good-bye, medicine!"
"They won't catch me like this again. Goodbye, medicine!"
And he added in his innermost heart,—
And he added deep in his heart,—
"From henceforth I will carefully allow them to die."
"From now on, I will carefully let them die."
Bent double, he bowed everywhere; to the doctors, to the busts, the tables, the walls, and retiring backwards through the door, disappeared almost as a shadow melting into air.
Bent over, he bowed to everyone; to the doctors, to the busts, the tables, the walls, and while stepping back through the door, he vanished almost like a shadow fading into thin air.
He left the hall slowly, like an innocent man, and rushed from the street rapidly, like a guilty one. The officers of justice are so singular and obscure in their ways that even when acquitted one flies from them.
He left the hall slowly, like an innocent person, and hurried down the street quickly, like someone guilty. The officers of the law are so strange and unpredictable in their methods that even when someone is found not guilty, they still feel the need to escape from them.
As he fled he mumbled,—
As he ran away, he muttered,—
"I am well out of it. I am the savant untamed; they the savants civilized. Doctors cavil at the learned. False science is the excrement of the true, and is employed to the destruction of philosophers. Philosophers, as they produce sophists, produce their own scourge. Of the dung of the thrush is born the mistletoe, with which is made birdlime, with which the thrush is captured. Turdus sibi malum cacat."
"I’m glad I’m not part of it anymore. I’m the wild genius; they’re the refined intellects. Doctors nitpick the educated. Fake science is the waste of real science and is used to undermine philosophers. Philosophers, while they create sophists, also create their own downfall. From the droppings of the thrush, mistletoe is born, which is used to make birdlime, with which the thrush is caught. Turdus sibi malum cacat."
We do not represent Ursus as a refined man. He was imprudent enough to use words which expressed his thoughts. He had no more taste than Voltaire.
We don't portray Ursus as a sophisticated guy. He was careless enough to speak his mind. He had no more style than Voltaire.
When Ursus returned to the Green Box, he told Master Nicless that he had been delayed by following a pretty woman, and let not a word escape him concerning his adventure.
When Ursus got back to the Green Box, he told Master Nicless that he had been held up because he was following a beautiful woman, and he didn’t mention a word about his adventure.
Except in the evening when he said in a low voice to Homo,—
Except in the evening when he said in a low voice to Homo,—
"See here, I have vanquished the three heads of Cerberus."
"Look, I have defeated the three heads of Cerberus."
CHAPTER VII.
WHY SHOULD A GOLD PIECE LOWER ITSELF BY MIXING WITH A HEAP OF PENNIES?
An event happened.
An event occurred.
The Tadcaster Inn became more and more a furnace of joy and laughter. Never was there more resonant gaiety. The landlord and his boy were become insufficient to draw the ale, stout, and porter. In the evening in the lower room, with its windows all aglow, there was not a vacant table. They sang, they shouted; the great old hearth, vaulted like an oven, with its iron bars piled with coals, shone out brightly. It was like a house of fire and noise.
The Tadcaster Inn turned into a lively hub of joy and laughter. There had never been such vibrant merriment. The landlord and his son couldn't keep up with pouring the ale, stout, and porter. In the evening, the lower room, with its windows glowing, had no empty tables. People sang and shouted; the big old fireplace, arched like an oven and filled with glowing coals, shone brightly. It felt like a house full of fire and noise.
In the yard—that is to say, in the theatre—the crowd was greater still.
In the yard—that is to say, in the theater—the crowd was even larger.
Crowds as great as the suburb of Southwark could supply so thronged the performances of "Chaos Vanquished" that directly the curtain was raised—that is to say, the platform of the Green Box was lowered—every place was filled. The windows were alive with spectators, the balcony was crammed. Not a single paving-stone in the paved yard was to be seen. It seemed paved with faces.
Crowds as large as the suburb of Southwark packed the performances of "Chaos Vanquished" so that as soon as the curtain was raised—that is to say, the platform of the Green Box was lowered—every spot was filled. The windows were buzzing with spectators, the balcony was packed. Not a single paving stone in the yard was visible. It seemed covered with faces.
Only the compartment for the nobility remained empty.
Only the section for the nobility stayed empty.
There was thus a space in the centre of the balcony, a black hole, called in metaphorical slang, an oven. No one there. Crowds everywhere except in that one spot.
There was a space in the middle of the balcony, a black hole, called in metaphorical slang, an oven. No one was there. Crowds were everywhere except in that one spot.
One evening it was occupied.
One evening, it was busy.
It was on a Saturday, a day on which the English make all haste to amuse themselves before the ennui of Sunday. The hall was full.
It was a Saturday, a day when the English rush to entertain themselves before the ennui of Sunday. The hall was packed.
We say hall. Shakespeare for a long time had to use the yard of an inn for a theatre, and he called it hall.
We say hall. For a long time, Shakespeare had to use the yard of an inn as a theater, and he called it hall.
Just as the curtain rose on the prologue of "Chaos Vanquished," with Ursus, Homo, and Gwynplaine on the stage, Ursus, from habit, cast a look at the audience, and felt a sensation.
Just as the curtain lifted for the prologue of "Chaos Vanquished," with Ursus, Homo, and Gwynplaine on stage, Ursus instinctively glanced at the audience and felt a sensation.
The compartment for the nobility was occupied. A lady was sitting alone in the middle of the box, on the Utrecht velvet arm-chair. She was alone, and she filled the box. Certain beings seem to give out light. This lady, like Dea, had a light in herself, but a light of a different character.
The area for the nobility was taken. A woman was sitting alone in the center of the box, on the Utrecht velvet armchair. She was by herself, yet she dominated the space. Some people seem to radiate light. This woman, like Dea, had a glow about her, but it was a different kind of light.
Dea was pale, this lady was pink. Dea was the twilight, this lady, Aurora. Dea was beautiful, this lady was superb. Dea was innocence, candour, fairness, alabaster—this woman was of the purple, and one felt that she did not fear the blush. Her irradiation overflowed the box, she sat in the midst of it, immovable, in the spreading majesty of an idol.
Dea was pale, this woman was pink. Dea was the twilight, this woman, Aurora. Dea was beautiful, this woman was stunning. Dea represented innocence, sincerity, purity, alabaster—this woman was vibrant, and it was clear she wasn't afraid to blush. Her radiance filled the box, and she sat in the center of it, motionless, in the impressive grandeur of an idol.
Amidst the sordid crowd she shone out grandly, as with the radiance of a carbuncle. She inundated it with so much light that she drowned it in shadow, and all the mean faces in it underwent eclipse. Her splendour blotted out all else.
Amidst the dirty crowd, she stood out magnificently, like a shining gem. She flooded the place with so much light that it cast everything into shadow, making all the unremarkable faces fade away. Her brilliance overshadowed everything else.
Every eye was turned towards her.
Everyone was watching her.
Tom-Jim-Jack was in the crowd. He was lost like the rest in the nimbus of this dazzling creature.
Tom-Jim-Jack was in the crowd. He felt just as lost as everyone else in the glow of this amazing person.
The lady at first absorbed the whole attention of the public, who had crowded to the performance, thus somewhat diminishing the opening effects of "Chaos Vanquished."
The lady initially captured the audience's full attention, as they packed into the performance, which slightly reduced the opening impact of "Chaos Vanquished."
Whatever might be the air of dreamland about her, for those who were near she was a woman; perchance too much a woman.
Whatever dreamlike aura she had, for those who were close, she was just a woman; maybe even too much of a woman.
She was tall and amply formed, and showed as much as possible of her magnificent person. She wore heavy earrings of pearls, with which were mixed those whimsical jewels called "keys of England." Her upper dress was of Indian muslin, embroidered all over with gold—a great luxury, because those muslin dresses then cost six hundred crowns. A large diamond brooch closed her chemise, the which she wore so as to display her shoulders and bosom, in the immodest fashion of the time; the chemisette was made of that lawn of which Anne of Austria had sheets so fine that they could be passed through a ring. She wore what seemed like a cuirass of rubies—some uncut, but polished, and precious stones were sewn all over the body of her dress. Then, her eyebrows were blackened with Indian ink; and her arms, elbows, shoulders, chin, and nostrils, with the top of her eyelids, the lobes of her ears, the palms of her hands, the tips of her fingers, were tinted with a glowing and provoking touch of colour. Above all, she wore an expression of implacable determination to be beautiful. This reached the point of ferocity. She was like a panther, with the power of turning cat at will, and caressing. One of her eyes was blue, the other black.
She was tall and had a curvy figure, showing off as much of her stunning body as she could. She wore heavy pearl earrings mixed with those quirky jewels called "keys of England." Her top was made from Indian muslin, completely covered in gold embroidery—a huge luxury since those muslin dresses at the time cost six hundred crowns. A large diamond brooch held her chemise closed, which she wore to flaunt her shoulders and cleavage in the bold style of the era; the chemisette was made from that fine lawn that Anne of Austria had sheets of, so delicate they could pass through a ring. She looked like she was wearing a breastplate made of rubies—some uncut but polished—along with precious stones sewn all over her dress. Her eyebrows were darkened with Indian ink, and her arms, elbows, shoulders, chin, nostrils, tops of her eyelids, ear lobes, palms, and fingertips were all accentuated with a vibrant and enticing touch of color. Above all, she had an unyielding expression of determination to be beautiful, reaching a fierce intensity. She was like a panther, capable of being playful yet powerful at will. One of her eyes was blue, while the other was black.
Gwynplaine, as well as Ursus, contemplated her.
Gwynplaine and Ursus both looked at her.
The Green Box somewhat resembled a phantasmagoria in its representations. "Chaos Vanquished" was rather a dream than a piece; it generally produced on the audience the effect of a vision. Now, this effect was reflected on the actors. The house took the performers by surprise, and they were thunderstruck in their turn. It was a rebound of fascination.
The Green Box was a bit like a dream in the way it presented things. "Chaos Vanquished" felt more like a dream than an actual piece; it usually created a vision-like effect on the audience. This effect also influenced the actors. The audience caught the performers off guard, and they were equally stunned. It was a cycle of fascination.
The woman watched them, and they watched her.
The woman observed them, and they observed her.
At the distance at which they were placed, and in that luminous mist which is the half-light of a theatre, details were lost and it was like a hallucination. Of course it was a woman, but was it not a chimera as well? The penetration of her light into their obscurity stupefied them. It was like the appearance of an unknown planet. It came from a world of the happy. Her irradiation amplified her figure. The lady was covered with nocturnal glitterings, like a milky way. Her precious stones were stars. The diamond brooch was perhaps a pleiad. The splendid beauty of her bosom seemed supernatural. They felt, as they looked upon the star-like creature, the momentary but thrilling approach of the regions of felicity. It was out of the heights of a Paradise that she leant towards their mean-looking Green Box, and revealed to the gaze of its wretched audience her expression of inexorable serenity. As she satisfied her unbounded curiosity, she fed at the same time the curiosity of the public.
At the distance they were at, and in that glowing mist which is the dim light of a theater, details faded away, making it feel almost like a hallucination. It was definitely a woman, but wasn’t she also like a chimera? The way her light penetrated the darkness around them left them in awe. It felt like the arrival of an unknown planet. She came from a world of joy. Her radiant presence made her figure appear larger than life. The lady sparkled with nighttime glimmers, like a milky way. Her jewels were like stars. The diamond brooch might have been a cluster of stars. The stunning beauty of her chest seemed otherworldly. As they gazed at this star-like being, they felt a momentary thrill at the approach of blissful realms. She leaned towards their shabby Green Box from the heights of Paradise, revealing to the dismal audience her expression of unyielding peace. While she satisfied her boundless curiosity, she also fed the audience's curiosity.
It was the Zenith permitting the Abyss to look at it.
It was the Zenith allowing the Abyss to gaze upon it.
Ursus, Gwynplaine, Vinos, Fibi, the crowd, every one had succumbed to her dazzling beauty, except Dea, ignorant in her darkness.
Ursus, Gwynplaine, Vinos, Fibi, the crowd, everyone had fallen for her stunning beauty, except Dea, who remained unaware in her darkness.
An apparition was indeed before them; but none of the ideas usually evoked by the word were realized in the lady's appearance.
An apparition was definitely in front of them; however, none of the usual ideas associated with the word were reflected in the lady's appearance.
There was nothing about her diaphanous, nothing undecided, nothing floating, no mist. She was an apparition; rose-coloured and fresh, and full of health. Yet, under the optical condition in which Ursus and Gwynplaine were placed, she looked like a vision. There are fleshy phantoms, called vampires. Such a queen as she, though a spirit to the crowd, consumes twelve hundred thousand a year, to keep her health.
There was nothing vague about her, nothing uncertain, nothing that felt surreal. She was a vision; bright and fresh, full of vitality. Yet, from Ursus and Gwynplaine's perspective, she appeared like an illusion. There are material beings, known as vampires. A queen like her, while ethereal to the public, consumes one million two hundred thousand a year to maintain her health.
Behind the lady, in the shadow, her page was to be perceived, el mozo, a little child-like man, fair and pretty, with a serious face. A very young and very grave servant was the fashion at that period. This page was dressed from top to toe in scarlet velvet, and had on his skull-cap, which was embroidered with gold, a bunch of curled feathers. This was the sign of a high class of service, and indicated attendance on a very great lady.
Behind the lady, in the shadows, her page was visible, el mozo, a somewhat childlike man, fair and attractive, with a serious expression. A young and very solemn servant was the trend at that time. This page was dressed entirely in scarlet velvet and wore a skull-cap, embroidered with gold, adorned with a bunch of curled feathers. This was a mark of high service and indicated that he attended to a very important lady.
The lackey is part of the lord, and it was impossible not to remark, in the shadow of his mistress, the train-bearing page. Memory often takes notes unconsciously; and, without Gwynplaine's suspecting it, the round cheeks, the serious mien, the embroidered and plumed cap of the lady's page left some trace on his mind. The page, however, did nothing to call attention to himself. To do so is to be wanting in respect. He held himself aloof and passive at the back of the box, retiring as far as the closed door permitted.
The servant is part of the lord, and it was hard not to notice, in the shadow of his mistress, the page carrying her train. Memory often takes notes unconsciously; and, without Gwynplaine realizing it, the round cheeks, serious expression, and the embroidered, feathered cap of the lady’s page left an impression on him. However, the page did nothing to draw attention to himself. Doing so would be disrespectful. He stayed back and remained passive at the back of the box, retreating as far as the closed door allowed.
Notwithstanding the presence of her train-bearer, the lady was not the less alone in the compartment, since a valet counts for nothing.
Despite having her train-bearer with her, the lady was still very much alone in the compartment, since a valet doesn’t really count for much.
However powerful a diversion had been produced by this person, who produced the effect of a personage, the dénouement of "Chaos Vanquished" was more powerful still. The impression which it made was, as usual, irresistible. Perhaps, even, there occurred in the hall, on account of the radiant spectator (for sometimes the spectator is part of the spectacle), an increase of electricity. The contagion of Gwynplaine's laugh was more triumphant than ever. The whole audience fell into an indescribable epilepsy of hilarity, through which could be distinguished the sonorous and magisterial ha! ha! of Tom-Jim-Jack.
However powerful a distraction this person had created, who seemed like a character straight out of a story, the ending of "Chaos Vanquished" was even more impactful. The impression it left was, as usual, impossible to resist. Perhaps, due to the bright presence of a certain viewer (since sometimes the audience is part of the show), there was an increase in energy in the hall. The infectiousness of Gwynplaine's laughter was more triumphant than ever. The entire audience fell into an indescribable frenzy of laughter, from which the resonant and commanding ha! ha! of Tom-Jim-Jack could be heard.
Only the unknown lady looked at the performance with the immobility of a statue, and with her eyes, like those of a phantom, she laughed not. A spectre, but sun-born.
Only the unknown woman watched the performance motionless like a statue, and with her eyes, like those of a ghost, she didn’t laugh. A specter, but born of the sun.
The performance over, the platform drawn up, and the family reassembled in the Green Box, Ursus opened and emptied on the supper-table the bag of receipts. From a heap of pennies there slid suddenly forth a Spanish gold onza. "Hers!" cried Ursus.
The show done, the stage set up, and the family gathered again in the Green Box, Ursus opened and dumped the bag of receipts onto the dinner table. From a pile of coins, a Spanish gold onza suddenly slid out. "Hers!" shouted Ursus.
The onza amidst the pence covered with verdigris was a type of the lady amidst the crowd.
The onza among the pennies covered in green corrosion was like the lady in the crowd.
"She has paid an onza for her seat," cried Ursus with enthusiasm.
"She paid an onza for her seat," shouted Ursus with excitement.
Just then, the hotel-keeper entered the Green Box, and, passing his arm out of the window at the back of it, opened the loophole in the wall of which we have already spoken, which gave a view over the field, and which was level with the window; then he made a silent sign to Ursus to look out. A carriage, swarming with plumed footmen carrying torches and magnificently appointed, was driving off at a fast trot.
Just then, the hotel owner stepped into the Green Box and, reaching his arm out of the back window, opened the small opening in the wall we already mentioned, which provided a view over the field and was aligned with the window. He then silently signaled to Ursus to take a look outside. A carriage, crowded with footmen in plumed hats carrying torches and lavishly decorated, was speeding away at a brisk pace.
Ursus took the piece of gold between his forefinger and thumb respectfully, and, showing it to Master Nicless, said,—
Ursus picked up the piece of gold respectfully between his forefinger and thumb and, holding it up for Master Nicless to see, said,—
"She is a goddess."
"She's a goddess."
Then his eyes falling on the carriage which was about to turn the corner of the field, and on the imperial of which the footmen's torches lighted up a golden coronet, with eight strawberry leaves, he exclaimed,—
Then his eyes landed on the carriage that was about to turn the corner of the field, and on the carriage top where the footmen's torches illuminated a golden coronet adorned with eight strawberry leaves, he exclaimed,—
"She is more. She is a duchess."
"She is more than that. She is a duchess."
The carriage disappeared: The rumbling of its wheels died away in the distance.
The carriage vanished: The sound of its wheels faded into the distance.
Ursus remained some moments in an ecstasy, holding the gold piece between his finger and thumb, as in a monstrance, elevating it as the priest elevates the host.
Ursus stayed in a trance for a few moments, holding the gold coin between his finger and thumb, like a relic, lifting it as a priest lifts the host.
Then he placed it on the table, and, as he contemplated it, began to talk of "Madam."
Then he put it on the table, and, as he thought about it, started to talk about "Madam."
The innkeeper replied,—
The innkeeper replied,—
"She was a duchess." Yes. They knew her title. But her name? Of that they were ignorant. Master Nicless had been close to the carriage, and seen the coat of arms and the footmen covered with lace. The coachman had a wig on which might have belonged to a Lord Chancellor. The carriage was of that rare design called, in Spain, cochetumbon, a splendid build, with a top like a tomb, which makes a magnificent support for a coronet. The page was a man in miniature, so small that he could sit on the step of the carriage outside the door. The duty of those pretty creatures was to bear the trains of their mistresses. They also bore their messages. And did you remark the plumed cap of the page? How grand it was! You pay a fine if you wear those plumes without the right of doing so. Master Nicless had seen the lady, too, quite close. A kind of queen. Such wealth gives beauty. The skin is whiter, the eye more proud, the gait more noble, and grace more insolent. Nothing can equal the elegant impertinence of hands which never work. Master Nicless told the story of all the magnificence, of the white skin with the blue veins, the neck, the shoulders, the arms, the touch of paint everywhere, the pearl earrings, the head-dress powdered with gold; the profusion of stones, the rubies, the diamonds.
"She was a duchess." Yes, they knew her title. But her name? That was unknown to them. Master Nicless had been close to the carriage and seen the coat of arms and the footmen dressed in lace. The coachman wore a wig that could have belonged to a Lord Chancellor. The carriage was of a rare design called, in Spain, cochetumbon, a splendid build with a top like a tomb, making a magnificent support for a coronet. The page was a miniature man, so small that he could sit on the step of the carriage outside the door. The duty of those charming figures was to carry the trains of their mistresses. They also delivered their messages. And did you notice the page's plumed cap? How grand it was! You get fined for wearing those plumes without the right to do so. Master Nicless had also seen the lady up close. A kind of queen. Such wealth brings beauty. The skin is whiter, the eye more proud, the stride more regal, and the grace more audacious. Nothing compares to the elegant impertinence of hands that never work. Master Nicless recounted all the magnificence: the white skin with blue veins, the neck, the shoulders, the arms, the touch of makeup everywhere, the pearl earrings, the headpiece dusted with gold; the abundance of stones, the rubies, the diamonds.
"Less brilliant than her eyes," murmured Ursus.
"Not as bright as her eyes," Ursus whispered.
Gwynplaine said nothing.
Gwynplaine stayed silent.
Dea listened.
Dea was listening.
"And do you know," said the tavern-keeper, "the most wonderful thing of all?"
"And do you know," said the tavern-keeper, "the most amazing thing of all?"
"What?" said Ursus.
"What?" Ursus asked.
"I saw her get into her carriage."
"I saw her get into her car."
"What then?"
"What's next?"
"She did not get in alone."
"She didn't go in by herself."
"Nonsense!"
"Nah!"
"Some one got in with her."
"Someone came in with her."
"Who?"
"Who is it?"
"Guess."
"Take a guess."
"The king," said Ursus.
"The king," Ursus said.
"In the first place," said Master Nicless, "there is no king at present. We are not living under a king. Guess who got into the carriage with the duchess."
"In the first place," said Master Nicless, "there's no king right now. We're not living under a king. Can you guess who got into the carriage with the duchess?"
"Jupiter," said Ursus.
"Jupiter," Ursus said.
The hotel-keeper replied,—
The hotel manager replied,—
"Tom-Jim-Jack!"
"Tom, Jim, Jack!"
Gwynplaine, who had not said a word, broke silence.
Gwynplaine, who had been silent, finally spoke up.
"Tom-Jim-Jack!" he cried.
"Tom, Jim, Jack!" he exclaimed.
There was a pause of astonishment, during which the low voice of Dea was heard to say,—
There was a moment of shock, during which Dea's quiet voice was heard saying,—
"Cannot this woman be prevented coming."
"Can’t this woman be stopped from coming?"
CHAPTER VIII.
SYMPTOMS OF POISONING.
The "apparition" did not return. It did not reappear in the theatre, but it reappeared to the memory of Gwynplaine. Gwynplaine was, to a certain degree, troubled. It seemed to him that for the first time in his life he had seen a woman.
The "apparition" did not come back. It didn't appear again in the theater, but it resurfaced in Gwynplaine's memory. Gwynplaine felt, to some extent, unsettled. It seemed to him that for the first time in his life, he had truly seen a woman.
He made that first stumble, a strange dream. We should beware of the nature of the reveries that fasten on us. Reverie has in it the mystery and subtlety of an odour. It is to thought what perfume is to the tuberose. It is at times the exudation of a venomous idea, and it penetrates like a vapour. You may poison yourself with reveries, as with flowers. An intoxicating suicide, exquisite and malignant. The suicide of the soul is evil thought. In it is the poison. Reverie attracts, cajoles, lures, entwines, and then makes you its accomplice. It makes you bear your half in the trickeries which it plays on conscience. It charms; then it corrupts you. We may say of reverie as of play, one begins by being a dupe, and ends by being a cheat.
He took that first misstep, a strange dream. We should be cautious about the nature of the daydreams that cling to us. Daydreaming carries the mystery and nuance of a scent. It's to thought what perfume is to the tuberose. Sometimes it’s the release of a toxic idea, and it seeps in like a mist. You can poison yourself with daydreams, just like with flowers. An intoxicating self-destruction, beautiful yet harmful. The self-destruction of the soul is negative thinking. That’s where the poison lies. Daydreaming attracts, flatters, seduces, entangles, and then makes you its partner in crime. It makes you share in the tricks it plays on your conscience. It enchants, then it corrupts you. We can say about daydreaming, as with play, you start off as a fool and end up as a cheat.
Gwynplaine dreamed.
Gwynplaine had a dream.
He had never before seen Woman. He had seen the shadow in the women of the populace, and he had seen the soul in Dea.
He had never seen a Woman before. He had noticed the shadow in the women of the community, and he had seen the soul in Dea.
He had just seen the reality.
He had just confronted the truth.
A warm and living skin, under which one felt the circulation of passionate blood; an outline with the precision of marble and the undulation of the wave; a high and impassive mien, mingling refusal with attraction, and summing itself up in its own glory; hair of the colour of the reflection from a furnace; a gallantry of adornment producing in herself and in others a tremor of voluptuousness, the half-revealed nudity betraying a disdainful desire to be coveted at a distance by the crowd; an ineradicable coquetry; the charm of impenetrability, temptation seasoned by the glimpse of perdition, a promise to the senses and a menace to the mind; a double anxiety, the one desire, the other fear. He had just seen these things. He had just seen Woman.
A warm, vibrant skin where you could feel the rush of passionate blood beneath; a silhouette as precise as marble but flowing like waves; a proud and calm demeanor that combined rejection with allure, summing itself up in its own beauty; hair like the glow of a furnace; a bold sense of style that stirred both her and those around her with a thrill of desire, the partially revealed nudity showing a contemptuous wish to be admired from afar by the crowd; an unshakeable flirtation; the allure of mystery, temptation mixed with a hint of danger, a promise to the senses and a threat to the mind; a dual anxiety, one of desire, the other of fear. He had just witnessed these things. He had just seen Woman.
He had seen more and less than a woman; he had seen a female.
He had seen more and less than a woman; he had seen a female.
And at the same time an Olympian. The female of a god.
And at the same time, a goddess. The female form of a god.
The mystery of sex had just been revealed to him.
The mystery of sex had just been uncovered for him.
And where? On inaccessible heights—at an infinite distance.
And where? On unreachable heights—far away at an infinite distance.
O mocking destiny! The soul, that celestial essence, he possessed; he held it in his hand. It was Dea. Sex, that terrestrial embodiment, he perceived in the heights of heaven. It was that woman.
O mocking fate! The soul, that heavenly essence, he had; he held it in his hand. It was Dea. Sex, that earthly form, he saw in the heights of heaven. It was that woman.
A duchess!
A duchess!
"More than a goddess," Ursus had said.
"More than a goddess," Ursus had said.
What a precipice! Even dreams dissolved before such a perpendicular height to escalade.
What a cliff! Even dreams faded away in the face of such a steep height to climb.
Was he going to commit the folly of dreaming about the unknown beauty?
Was he really going to make the mistake of dreaming about the mysterious beauty?
He debated with himself.
He had an internal debate.
He recalled all that Ursus had said of high stations which are almost royal. The philosopher's disquisitions, which had hitherto seemed so useless, now became landmarks for his thoughts. A very thin layer of forgetfulness often lies over our memory, through which at times we catch a glimpse of all beneath it. His fancy ran on that august world, the peerage, to which the lady belonged, and which was so inexorably placed above the inferior world, the common people, of which he was one.
He remembered everything Ursus had said about high positions that are almost royal. The philosopher's talks, which had previously seemed pointless, now became signposts for his thoughts. A very thin layer of forgetfulness often covers our memory, allowing us to sometimes catch a glimpse of everything beneath it. He imagined that esteemed world, the nobility, to which the lady belonged, which was so firmly positioned above the lower world, the common people, of which he was one.
And was he even one of the people? Was not he, the mountebank, below the lowest of the low? For the first time since he had arrived at the age of reflection, he felt his heart vaguely contracted by a sense of his baseness, and of that which we nowadays call abasement. The paintings and the catalogues of Ursus, his lyrical inventories, his dithyrambics of castles, parks, fountains, and colonnades, his catalogues of riches and of power, revived in the memory of Gwynplaine in the relief of reality mingled with mist. He was possessed with the image of this zenith. That a man should be a lord!—it seemed chimerical. It was so, however. Incredible thing! There were lords! But were they of flesh and blood, like ourselves? It seemed doubtful. He felt that he lay at the bottom of all darkness, encompassed by a wall, while he could just perceive in the far distance above his head, through the mouth of the pit, a dazzling confusion of azure, of figures, and of rays, which was Olympus. In the midst of this glory the duchess shone out resplendent.
And was he really one of the people? Wasn’t he, the fraud, beneath the lowest of the low? For the first time since he reached a thoughtful age, he felt his heart tighten with a sense of his own shame, and of what we now call humiliation. The paintings and catalogs from Ursus, his poetic lists, his enthusiastic praises of castles, parks, fountains, and colonnades, his lists of wealth and power, stirred memories in Gwynplaine, blending reality with a haze. He was consumed by the image of this peak. That a man could be a lord!—it seemed like a fantasy. Yet it was true. Unbelievable! There were lords! But were they real, like us? It seemed uncertain. He felt as though he was at the bottom of complete darkness, surrounded by a wall, while he could barely make out, in the distant light above him, through the opening of the pit, a dazzling blur of blue, figures, and beams, which represented Olympus. In the midst of this glory, the duchess shone brilliantly.
He felt for this woman a strange, inexpressible longing, combined with a conviction of the impossibility of attainment. This poignant contradiction returned to his mind again and again, notwithstanding every effort. He saw near to him, even within his reach, in close and tangible reality, the soul; and in the unattainable—in the depths of the ideal—the flesh. None of these thoughts attained to certain shape. They were as a vapour within him, changing every instant its form, and floating away. But the darkness which the vapour caused was intense.
He felt a strange, inexpressible longing for this woman, mixed with the belief that he could never have her. This painful contradiction haunted him repeatedly, no matter how hard he tried to shake it off. He saw the soul right next to him, almost within his grasp, in a close and tangible way, but the flesh remained out of reach—in the depths of the ideal. None of these thoughts took on a clear form. They were like vapor inside him, constantly shifting and drifting away. But the darkness created by that vapor was overwhelming.
He did not form even in his dreams any hope of reaching the heights where the duchess dwelt. Luckily for him.
He didn't even dream of having any hope of reaching the heights where the duchess lived. Fortunately for him.
The vibration of such ladders of fancy, if ever we put our foot upon them, may render our brains dizzy for ever. Intending to scale Olympus, we reach Bedlam; any distinct feeling of actual desire would have terrified him. He entertained none of that nature.
The vibration of those fanciful ladders, if we ever step on them, might make our heads spin forever. Aiming to climb Olympus, we end up in Bedlam; any real feeling of desire would have scared him. He felt nothing of that sort.
Besides, was he likely ever to see the lady again? Most probably not. To fall in love with a passing light on the horizon, madness cannot reach to that pitch. To make loving eyes at a star even, is not incomprehensible. It is seen again, it reappears, it is fixed in the sky. But can any one be enamoured of a flash of lightning?
Besides, was he ever likely to see the lady again? Most likely not. Falling in love with a fleeting light on the horizon would be pure madness. Even making loving eyes at a star isn’t impossible. It can be seen again, it reappears, it's fixed in the sky. But can anyone truly be in love with a flash of lightning?
Dreams flowed and ebbed within him. The majestic and gallant idol at the back of the box had cast a light over his diffused ideas, then faded away. He thought, yet thought not of it; turned to other things—returned to it. It rocked about in his brain—nothing more. It broke his sleep for several nights. Sleeplessness is as full of dreams as sleep.
Dreams came and went within him. The grand and noble figure at the back of the box had illuminated his scattered thoughts, then vanished. He pondered, yet didn’t really engage with it; shifted to other things—then came back to it. It swirled in his mind—nothing else. It disrupted his sleep for several nights. Being awake is just as filled with dreams as being asleep.
It is almost impossible to express in their exact limits the abstract evolutions of the brain. The inconvenience of words is that they are more marked in form than ideas. All ideas have indistinct boundary lines, words have not. A certain diffused phase of the soul ever escapes words. Expression has its frontiers, thought has none.
It’s nearly impossible to define the precise limits of the brain's abstract developments. The problem with words is that they're more defined in form than ideas. All ideas have vague boundaries, but words do not. There’s always a certain intangible aspect of the soul that eludes words. Expression has its boundaries; thought does not.
The depths of our secret souls are so vast that Gwynplaine's dreams scarcely touched Dea. Dea reigned sacred in the centre of his soul; nothing could approach her.
The depths of our hidden souls are so vast that Gwynplaine's dreams barely touched Dea. Dea held a sacred place at the center of his soul; nothing could get near her.
Still (for such contradictions make up the soul of man) there was a conflict within him. Was he conscious of it? Scarcely.
Still (for such contradictions make up the soul of man) there was a conflict within him. Was he aware of it? Hardly.
In his heart of hearts he felt a collision of desires. We all have our weak points. Its nature would have been clear to Ursus; but to Gwynplaine it was not.
In his innermost feelings, he experienced a clash of desires. We all have our weaknesses. Ursus would have understood this nature clearly; but Gwynplaine did not.
Two instincts—one the ideal, the other sexual—were struggling within him. Such contests occur between the angels of light and darkness on the edge of the abyss.
Two instincts—one ideal and the other sexual—were battling inside him. These struggles happen between the angels of light and darkness at the edge of the abyss.
At length the angel of darkness was overthrown. One day Gwynplaine suddenly thought no more of the unknown woman.
At last, the angel of darkness was defeated. One day, Gwynplaine suddenly stopped thinking about the unknown woman.
The struggle between two principles—the duel between his earthly and his heavenly nature—had taken place within his soul, and at such a depth that he had understood it but dimly. One thing was certain, that he had never for one moment ceased to adore Dea.
The conflict between two principles—the battle between his earthly and heavenly nature—was happening deep within his soul, and he only understood it vaguely. One thing was clear: he had never stopped adoring Dea, even for a moment.
He had been attacked by a violent disorder, his blood had been fevered; but it was over. Dea alone remained.
He had suffered from a serious illness, and his blood had been on fire; but it was all behind him now. Only Dea was left.
Gwynplaine would have been much astonished had any one told him that Dea had ever been, even for a moment, in danger; and in a week or two the phantom which had threatened the hearts of both their souls faded away.
Gwynplaine would have been really shocked if someone told him that Dea had ever been in danger, even for a second; and in a week or two, the fear that had haunted both their hearts disappeared.
Within Gwynplaine nothing remained but the heart, which was the hearth, and the love, which was its fire.
Within Gwynplaine, all that was left was the heart, which was the center, and the love, which was its warmth.
Besides, we have just said that "the duchess" did not return.
Besides, we just mentioned that "the duchess" didn't come back.
Ursus thought it all very natural. "The lady with the gold piece" is a phenomenon. She enters, pays, and vanishes. It would be too much joy were she to return.
Ursus found it all very natural. "The lady with the gold coin" is a phenomenon. She comes in, pays, and disappears. It would be too much happiness if she were to come back.
As to Dea, she made no allusion to the woman who had come and passed away. She listened, perhaps, and was sufficiently enlightened by the sighs of Ursus, and now and then by some significant exclamation, such as,—
As for Dea, she didn't mention the woman who had come and gone. She listened, maybe, and picked up enough from Ursus's sighs, and occasionally from some meaningful exclamation, such as,—
"One does not get ounces of gold every day!"
"You don't get ounces of gold every day!"
She spoke no more of the "woman." This showed deep instinct. The soul takes obscure precautions, in the secrets of which it is not always admitted itself. To keep silence about any one seems to keep them afar off. One fears that questions may call them back. We put silence between us, as if we were shutting a door.
She said nothing more about the "woman." This was a sign of deep instinct. The soul takes hidden precautions that it doesn’t always fully understand. Staying silent about someone seems to keep them at a distance. There’s a fear that asking questions might bring them back. We create silence between us, as if we’re closing a door.
So the incident fell into oblivion.
So the incident was overlooked.
Was it ever anything? Had it ever occurred? Could it be said that a shadow had floated between Gwynplaine and Dea? Dea did not know of it, nor Gwynplaine either. No; nothing had occurred. The duchess herself was blurred in the distant perspective like an illusion. It had been but a momentary dream passing over Gwynplaine, out of which he had awakened.
Was it ever anything? Had it ever happened? Could we say that a shadow had hung between Gwynplaine and Dea? Dea didn’t know about it, nor did Gwynplaine. No; nothing had happened. The duchess herself was faded in the far-off distance like a mirage. It had just been a brief dream that had passed over Gwynplaine, from which he had woken.
When it fades away, a reverie, like a mist, leaves no trace behind; and when the cloud has passed on, love shines out as brightly in the heart as the sun in the sky.
When it disappears, a daydream, like a fog, leaves no mark; and when the cloud has moved on, love shines just as brightly in the heart as the sun in the sky.
CHAPTER IX.
ABYSSUS ABYSSUM VOCAT.
Another face, disappeared—Tom-Jim-Jack's. Suddenly he ceased to frequent the Tadcaster Inn.
Another face, gone—Tom-Jim-Jack's. Suddenly he stopped coming to the Tadcaster Inn.
Persons so situated as to be able to observe other phases of fashionable life in London, might have seen that about this time the Weekly Gazette, between two extracts from parish registers, announced the departure of Lord David Dirry-Moir, by order of her Majesty, to take command of his frigate in the white squadron then cruising off the coast of Holland.
People in a position to observe different aspects of fashionable life in London might have noticed that around this time the Weekly Gazette, between two excerpts from parish registers, reported the departure of Lord David Dirry-Moir, by order of her Majesty, to take command of his frigate in the white squadron that was cruising off the coast of Holland.
Ursus, perceiving that Tom-Jim-Jack did not return, was troubled by his absence. He had not seen Tom-Jim-Jack since the day on which he had driven off in the same carriage with the lady of the gold piece. It was, indeed, an enigma who this Tom-Jim-Jack could be, who carried off duchesses under his arm. What an interesting investigation! What questions to propound! What things to be said. Therefore Ursus said not a word.
Ursus, noticing that Tom-Jim-Jack hadn’t come back, felt uneasy about his absence. He hadn’t seen Tom-Jim-Jack since the day they drove off together in the same carriage with the lady who had the gold piece. It was, after all, a mystery who this Tom-Jim-Jack was, who could whisk away duchesses so casually. What an intriguing investigation! What questions to ask! What things could be discussed. So, Ursus said nothing.
Ursus, who had had experience, knew the smart caused by rash curiosity. Curiosity ought always to be proportioned to the curious. By listening, we risk our ear; by watching, we risk our eye. Prudent people neither hear nor see. Tom-Jim-Jack had got into a princely carriage. The tavern-keeper had seen him. It appeared so extraordinary that the sailor should sit by the lady that it made Ursus circumspect. The caprices of those in high life ought to be sacred to the lower orders. The reptiles called the poor had best squat in their holes when they see anything out of the way. Quiescence is a power. Shut your eyes, if you have not the luck to be blind; stop up your ears, if you have not the good fortune to be deaf; paralyze your tongue, if you have not the perfection of being mute. The great do what they like, the little what they can. Let the unknown pass unnoticed. Do not importune mythology. Do not interrogate appearances. Have a profound respect for idols. Do not let us direct our gossiping towards the lessenings or increasings which take place in superior regions, of the motives of which we are ignorant. Such things are mostly optical delusions to us inferior creatures. Metamorphoses are the business of the gods: the transformations and the contingent disorders of great persons who float above us are clouds impossible to comprehend and perilous to study. Too much attention irritates the Olympians engaged in their gyrations of amusement or fancy; and a thunderbolt may teach you that the bull you are too curiously examining is Jupiter. Do not lift the folds of the stone-coloured mantles of those terrible powers. Indifference is intelligence. Do not stir, and you will be safe. Feign death, and they will not kill you. Therein lies the wisdom of the insect. Ursus practised it.
Ursus, who had experience, understood the dangers caused by reckless curiosity. Curiosity should always match the one who is curious. By listening, we risk our hearing; by watching, we risk our sight. Cautious people neither hear nor see. Tom-Jim-Jack had gotten into a fancy carriage. The tavern-keeper had spotted him. It seemed so strange that a sailor would sit next to a lady that it made Ursus careful. The whims of those in high society should be respected by those below them. The poor, like reptiles, should stay hidden when they see something unusual. Staying quiet is powerful. Close your eyes if you're not lucky enough to be blind; block your ears if you haven't been fortunate enough to be deaf; paralyze your tongue if you can't claim to be mute. The powerful do what they want, while the powerless do what they can. Let the unknown stay unnoticed. Don't bother with mythology. Don't question appearances. Show great respect for idols. Let's not gossip about the changes happening in higher places, the reasons for which we don't understand. Those things are usually just illusions to us lesser beings. Transformations are the business of the gods: the changes and unpredictable behaviors of great people who float above us are clouds that are impossible to understand and risky to investigate. Too much attention annoys the gods busy with their games or whims; and a thunderbolt might show you that the bull you are too curiously observing is Jupiter. Don’t lift the folds of the gray mantles of those powerful beings. Indifference is intelligence. Stay still, and you will be safe. Pretend to be dead, and they won't kill you. That's where the wisdom of the insect lies. Ursus practiced it.
The tavern-keeper, who was puzzled as well, questioned Ursus one day.
The tavern owner, who was just as confused, asked Ursus one day.
"Do you observe that Tom-Jim-Jack never comes here now!"
"Have you noticed that Tom-Jim-Jack never comes here anymore?"
"Indeed!" said Ursus. "I have not remarked it."
"Definitely!" said Ursus. "I haven't noticed that."
Master Nicless made an observation in an undertone, no doubt touching the intimacy between the ducal carriage and Tom-Jim-Jack—a remark which, as it might have been irreverent and dangerous, Ursus took care not to hear.
Master Nicless quietly made a remark, probably about the closeness between the ducal carriage and Tom-Jim-Jack—a comment that Ursus, knowing it could be disrespectful and risky, made sure to ignore.
Still Ursus was too much of an artist not to regret Tom-Jim-Jack. He felt some disappointment. He told his feeling to Homo, of whose discretion alone he felt certain. He whispered into the ear of the wolf, "Since Tom-Jim-Jack ceased to come, I feel a blank as a man, and a chill as a poet." This pouring out of his heart to a friend relieved Ursus.
Still, Ursus was too much of an artist not to miss Tom-Jim-Jack. He felt a sense of disappointment. He shared his feelings with Homo, whose judgment he trusted completely. He whispered into the wolf's ear, "Since Tom-Jim-Jack stopped coming, I feel empty as a person, and cold as a poet." This sharing of his heart with a friend made Ursus feel better.
His lips were sealed before Gwynplaine, who, however, made no allusion to Tom-Jim-Jack. The fact was that Tom-Jim-Jack's presence or absence mattered not to Gwynplaine, absorbed as he was in Dea.
His lips were sealed in front of Gwynplaine, who, however, didn’t mention Tom-Jim-Jack. The truth was that Tom-Jim-Jack's presence or absence didn’t matter to Gwynplaine, who was completely absorbed in Dea.
Forgetfulness fell more and more on Gwynplaine. As for Dea, she had not even suspected the existence of a vague trouble. At the same time, no more cabals or complaints against the Laughing Man were spoken of. Hate seemed to have let go its hold. All was tranquil in and around the Green Box. No more opposition from strollers, merry-andrews, nor priests; no more grumbling outside. Their success was unclouded. Destiny allows of such sudden serenity. The brilliant happiness of Gwynplaine and Dea was for the present absolutely cloudless. Little by little it had risen to a degree which admitted of no increase. There is one word which expresses the situation—apogee. Happiness, like the sea, has its high tide. The worst thing for the perfectly happy is that it recedes.
Forgetfulness started to creep in more and more for Gwynplaine. As for Dea, she hadn’t even realized that there was any trouble lurking beneath the surface. At the same time, there were no more conspiracies or complaints about the Laughing Man. Hatred seemed to have loosened its grip. Everything was calm in and around the Green Box. There was no more opposition from passersby, jesters, or priests; no more complaints outside. Their success was entirely clear. Fate allows for such sudden peace. The bright happiness of Gwynplaine and Dea was completely unclouded for the time being. Gradually, their joy had reached a level that couldn’t be exceeded. There’s one word that sums it up—apogee. Happiness, like the ocean, has its high tide. The worst thing for those who are perfectly happy is that it eventually ebbs away.
There are two ways of being inaccessible: being too high and being too low. At least as much, perhaps, as the first is the second to be desired. More surely than the eagle escapes the arrow, the animalcule escapes being crushed. This security of insignificance, if it had ever existed on earth, was enjoyed by Gwynplaine and Dea, and never before had it been so complete. They lived on, daily more and more ecstatically wrapt in each other. The heart saturates itself with love as with a divine salt that preserves it, and from this arises the incorruptible constancy of those who have loved each other from the dawn of their lives, and the affection which keeps its freshness in old age. There is such a thing as the embalmment of the heart. It is of Daphnis and Chloë that Philemon and Baucis are made. The old age of which we speak, evening resembling morning, was evidently reserved for Gwynplaine and Dea. In the meantime they were young.
There are two ways to be unreachable: being too high up and being too far down. Just as much as the first is sought after, so is the second. More certainly than an eagle dodges an arrow, a tiny creature avoids being crushed. This sense of being insignificant, if it ever existed on earth, was fully experienced by Gwynplaine and Dea, and never before had it been so complete. They continued on, increasingly lost in each other every day. The heart fills up with love like a divine salt that preserves it, leading to the unchanging loyalty of those who have loved each other since the start of their lives, and the affection that remains fresh even in old age. There is such a thing as preserving the heart. Philemon and Baucis are made from Daphnis and Chloë. The old age we talk about, with evenings resembling mornings, was clearly meant for Gwynplaine and Dea. In the meantime, they were young.
Ursus looked on this love as a doctor examines his case. He had what was in those days termed a hippocratical expression of face. He fixed his sagacious eyes on Dea, fragile and pale, and growled out, "It is lucky that she is happy." At other times he said, "She is lucky for her health's sake." He shook his head, and at times read attentively a portion treating of heart-disease in Aviccunas, translated by Vossiscus Fortunatus, Louvain, 1650, an old worm-eaten book of his.
Ursus observed this love like a doctor studying a patient. He had what people back then referred to as a "Hippocratic expression" on his face. He focused his wise eyes on Dea, who was delicate and pale, and murmured, "It's good that she is happy." At other times he remarked, "She's lucky for the sake of her health." He shook his head and occasionally read through a section about heart disease in a book by Aviccunas, translated by Vossiscus Fortunatus, Louvain, 1650, an old, worn-out book of his.
Dea, when fatigued, suffered from perspirations and drowsiness, and took a daily siesta, as we have already seen. One day, while she was lying asleep on the bearskin, Gwynplaine was out, and Ursus bent down softly and applied his ear to Dea's heart. He seemed to listen for a few minutes, and then stood up, murmuring, "She must not have any shock. It would find out the weak place."
Dea, when tired, dealt with sweating and sleepiness, and took a daily nap, as we've already seen. One day, while she was lying asleep on the bearskin, Gwynplaine was out, and Ursus gently knelt down and put his ear to Dea's heart. He listened for a few minutes, then stood up, murmuring, "She must not have any shock. It would reveal the weak spot."
The crowd continued to flock to the performance of "Chaos Vanquished." The success of the Laughing Man seemed inexhaustible. Every one rushed to see him; no longer from Southwark only, but even from other parts of London. The general public began to mingle with the usual audience, which no longer consisted of sailors and drivers only; in the opinion of Master Nicless, who was well acquainted with crowds, there were in the crowd gentlemen and baronets disguised as common people. Disguise is one of the pleasures of pride, and was much in fashion at that period. This mixing of the aristocratic element with the mob was a good sign, and showed that their popularity was extending to London. The fame of Gwynplaine has decidedly penetrated into the great world. Such was the fact. Nothing was talked of but the Laughing Man. He was talked about even at the Mohawk Club, frequented by noblemen.
The crowd kept gathering for the performance of "Chaos Vanquished." The success of the Laughing Man seemed endless. People rushed to see him; not just from Southwark anymore, but from all over London. The general public began to mix with the usual crowd, which now included more than just sailors and cab drivers; in Master Nicless's view, who knew crowds well, there were gentlemen and baronets in disguise among the crowd. Disguise was a common way for people to show off their pride and was very trendy at that time. This blending of the elite with the masses was a good sign, indicating that their popularity was spreading throughout London. Gwynplaine's fame had definitely made its way into high society. That was the reality. Everyone was talking about the Laughing Man. He was even being discussed at the Mohawk Club, a place frequented by nobles.
In the Green Box they had no idea of all this. They were content to be happy. It was intoxication to Dea to feel, as she did every evening, the crisp and tawny head of Gwynplaine. In love there is nothing like habit. The whole of life is concentrated in it. The reappearance of the stars is the custom of the universe. Creation is nothing but a mistress, and the sun is a lover. Light is a dazzling caryatid supporting the world. Each day, for a sublime minute, the earth, covered by night, rests on the rising sun. Dea, blind, felt a like return of warmth and hope within her when she placed her hand on the head of Gwynplaine.
In the Green Box, they were completely unaware of all this. They were simply happy. For Dea, it was exhilarating to feel the crisp and tawny head of Gwynplaine every evening. In love, nothing compares to routine. Life revolves around it. The stars returning is the universe's tradition. Creation is just like a mistress, and the sun is her lover. Light acts as a brilliant support holding up the world. Every day, for a brief moment of bliss, the earth, cloaked in night, rests on the rising sun. Dea, who was blind, felt a similar warmth and hope within her when she placed her hand on Gwynplaine's head.
To adore each other in the shadows, to love in the plenitude of silence; who could not become reconciled to such an eternity?
To love each other in secret, to cherish in complete silence; who wouldn't want to embrace such an eternity?
One evening Gwynplaine, feeling within him that overflow of felicity which, like the intoxication of perfumes, causes a sort of delicious faintness, was strolling, as he usually did after the performance, in the meadow some hundred paces from the Green Box. Sometimes in those high tides of feeling in our souls we feel that we would fain pour out the sensations of the overflowing heart. The night was dark but clear. The stars were shining. The whole fair-ground was deserted. Sleep and forgetfulness reigned in the caravans which were scattered over Tarrinzeau Field.
One evening, Gwynplaine, experiencing that rush of happiness that feels like the heady effect of sweet scents, was walking, as he often did after the show, in the meadow about a hundred paces from the Green Box. Sometimes, during those intense emotional moments, we feel the urge to share the overflowing feelings in our hearts. The night was dark but clear. The stars were bright. The entire fairground was empty. Sleep and forgetfulness filled the caravans scattered across Tarrinzeau Field.
One light alone was unextinguished. It was the lamp of the Tadcaster Inn, the door of which was left ajar to admit Gwynplaine on his return.
One light remained on. It was the lamp of the Tadcaster Inn, and the door was left slightly open to let Gwynplaine in when he returned.
Midnight had just struck in the five parishes of Southwark, with the breaks and differences of tone of their various bells. Gwynplaine was dreaming of Dea. Of whom else should he dream? But that evening, feeling singularly troubled, and full of a charm which was at the same time a pang, he thought of Dea as a man thinks of a woman. He reproached himself for this. It seemed to be failing in respect to her. The husband's attack was forming dimly within him. Sweet and imperious impatience! He was crossing the invisible frontier, on this side of which is the virgin, on the other, the wife. He questioned himself anxiously. A blush, as it were, overspread his mind. The Gwynplaine of long ago had been transformed, by degrees, unconsciously in a mysterious growth. His old modesty was becoming misty and uneasy. We have an ear of light, into which speaks the spirit; and an ear of darkness, into which speaks the instinct. Into the latter strange voices were making their proposals. However pure-minded may be the youth who dreams of love, a certain grossness of the flesh eventually comes between his dream and him. Intentions lose their transparency. The unavowed desire implanted by nature enters into his conscience. Gwynplaine felt an indescribable yearning of the flesh, which abounds in all temptation, and Dea was scarcely flesh. In this fever, which he knew to be unhealthy, he transfigured Dea into a more material aspect, and tried to exaggerate her seraphic form into feminine loveliness. It is thou, O woman, that we require.
Midnight had just struck across the five parishes of Southwark, with the varied tones of their bells ringing out. Gwynplaine was dreaming of Dea. Who else could he dream of? But that evening, feeling unusually troubled and filled with a charm that was also a pain, he thought of Dea as a man thinks of a woman. He felt guilty about this. It seemed disrespectful to her. A sense of possessiveness was stirring within him. Sweet and commanding impatience! He was crossing the invisible line, on one side of which lies the maiden, on the other, the wife. He questioned himself anxiously. A blush seemed to spread through his mind. The Gwynplaine of the past had transformed, gradually and unknowingly, in a mysterious way. His old modesty was becoming hazy and uncomfortable. We have an ear for light, where the spirit speaks; and an ear for darkness, where instinct speaks. Strange voices were making their proposals there. No matter how pure-hearted a young man is when he dreams of love, a certain physical desire inevitably gets in the way of that dream. Intentions lose their clarity. The unspoken desire instilled by nature creeps into his conscience. Gwynplaine felt an indescribable yearning for the flesh, filled with the temptations of desire, and Dea was hardly flesh. In this fever, which he knew wasn’t healthy, he transformed Dea into a more physical form and tried to exaggerate her angelic shape into feminine beauty. It is you, O woman, that we seek.
Love comes not to permit too much of paradise. It requires the fevered skin, the troubled life, the unbound hair, the kiss electrical and irreparable, the clasp of desire. The sidereal is embarrassing, the ethereal is heavy. Too much of the heavenly in love is like too much fuel on a fire: the flame suffers from it. Gwynplaine fell into an exquisite nightmare; Dea to be clasped in his arms—Dea clasped in them! He heard nature in his heart crying out for a woman. Like a Pygmalion in a dream modelling a Galathea out of the azure, in the depths of his soul he worked at the chaste contour of Dea—a contour with too much of heaven, too little of Eden. For Eden is Eve, and Eve was a female, a carnal mother, a terrestrial nurse; the sacred womb of generations; the breast of unfailing milk; the rocker of the cradle of the newborn world, and wings are incompatible with the bosom of woman. Virginity is but the hope of maternity. Still, in Gwynplaine's dreams, Dea, until now, had been enthroned above flesh. Now, however, he made wild efforts in thought to draw her downwards by that thread, sex, which ties every girl to earth. Not one of those birds is free. Dea, like all the rest, was within this law; and Gwynplaine, though he scarcely acknowledged it, felt a vague desire that she should submit to it. This desire possessed him in spite of himself, and with an ever-recurring relapse. He pictured Dea as woman. He came to the point of regarding her under a hitherto unheard-of form; as a creature no longer of ecstasy only, but of voluptuousness; as Dea, with her head resting on the pillow. He was ashamed of this visionary desecration. It was like an attempt at profanation. He resisted its assault. He turned from it, but it returned again. He felt as if he were committing a criminal assault. To him Dea was encompassed by a cloud. Cleaving that cloud, he shuddered, as though he were raising her chemise. It was in April. The spine has its dreams. He rambled at random with the uncertain step caused by solitude. To have no one by is a provocative to wander. Whither flew his thoughts? He would not have dared to own it to himself. To heaven? No. To a bed. You were looking down upon him, O ye stars.
Love doesn't allow too much paradise. It needs the heated skin, the troubled life, the unrestrained hair, the kiss that’s electric and unfixable, the grip of desire. The cosmic feels awkward, the ethereal is weighty. Too much heavenly bliss in love is like too much fuel on a fire: it suffocates the flame. Gwynplaine fell into a beautiful nightmare; Dea to be held in his arms—Dea held in them! He felt nature in his heart calling for a woman. Like Pygmalion in a dream shaping a Galathea from the sky, deep inside his soul he fashioned the pure shape of Dea—a shape with too much of heaven, too little of Eden. Because Eden is Eve, and Eve was a woman, a physical mother, a earthly caregiver; the sacred womb for generations; the breast that never runs dry; the cradle for the newborn world, and wings don’t go with a woman’s bosom. Virginity is just the hope of motherhood. Yet, in Gwynplaine's dreams, Dea had always been above the physical. But now, he struggled in thought to pull her down by that thread, sex, that ties every girl to the earth. None of those birds are free. Dea, like everyone else, was subject to this law; and Gwynplaine, though he barely admitted it, felt an unclear desire for her to conform to it. This desire consumed him against his will, an ever-returning obsession. He imagined Dea as a woman. He reached the point of seeing her in a way he’d never considered before; as a being not just of ecstasy, but of sensuality; as Dea, resting her head on a pillow. He felt ashamed of this imagined desecration. It felt like an attempt to profane. He fought against it. He turned away, but it came back. He felt like he was committing a grave offense. To him, Dea was surrounded by a mist. Breaking through that mist, he shivered, as if lifting her nightgown. It was April. The spine has its dreams. He wandered aimlessly with the unsteady step caused by solitude. Having no one by your side makes you want to roam. Where did his thoughts fly? He wouldn’t have dared admit it to himself. To heaven? No. To a bed. You were watching over him, O stars.
Why talk of a man in love? Rather say a man possessed. To be possessed by the devil, is the exception; to be possessed by a woman, the rule. Every man has to bear this alienation of himself. What a sorceress is a pretty woman! The true name of love is captivity.
Why talk about a man in love? It's better to say a man is possessed. Being possessed by the devil is rare; being possessed by a woman is common. Every man has to deal with this loss of himself. What a enchantress a pretty woman is! The real name of love is captivity.
Man is made prisoner by the soul of a woman; by her flesh as well, and sometimes even more by the flesh than by the soul. The soul is the true love, the flesh, the mistress.
A man is trapped by a woman's soul; by her body too, and sometimes even more by her body than by her soul. The soul represents true love, while the body represents the mistress.
We slander the devil. It was not he who tempted Eve. It was Eve who tempted him. The woman began. Lucifer was passing by quietly. He perceived the woman, and became Satan.
We slander the devil. It wasn't him who tempted Eve. It was Eve who tempted him. The woman started it. Lucifer was walking by quietly. He noticed the woman, and became Satan.
The flesh is the cover of the unknown. It is provocative (which is strange) by its modesty. Nothing could be more distracting. It is full of shame, the hussey!
The body is the facade of the unknown. It's provocative (which is odd) in its modesty. Nothing could be more distracting. It's full of shame, the tease!
It was the terrible love of the surface which was then agitating Gwynplaine, and holding him in its power. Fearful the moment in which man covets the nakedness of woman! What dark things lurk beneath the fairness of Venus!
It was the intense desire for the surface that was then stirring Gwynplaine and keeping him under its control. What a frightening moment when a man longs for a woman's bare skin! What dark secrets hide beneath the beauty of Venus!
Something within him was calling Dea aloud, Dea the maiden, Dea the other half of a man, Dea flesh and blood, Dea with uncovered bosom. That cry was almost driving away the angel. Mysterious crisis through which all love must pass and in which the Ideal is in danger! Therein is the predestination of Creation. Moment of heavenly corruption! Gwynplaine's love of Dea was becoming nuptial. Virgin love is but a transition. The moment was come. Gwynplaine coveted the woman.
Something inside him was calling out to Dea, Dea the maiden, Dea the other half of a man, Dea flesh and blood, Dea with an exposed chest. That cry was nearly pushing the angel away. A mysterious crisis that all love must face, where the Ideal is at risk! This is the destiny of Creation. A moment of divine temptation! Gwynplaine's love for Dea was turning into something deeper. Pure love is only a phase. The moment had arrived. Gwynplaine desired the woman.
He coveted a woman!
He desired a woman!
Precipice of which one sees but the first gentle slope!
Precipice where you can only see the first gentle slope!
The indistinct summons of nature is inexorable. The whole of woman—what an abyss!
The vague call of nature is unstoppable. The entirety of woman—what an abyss!
Luckily, there was no woman for Gwynplaine but Dea—the only one he desired, the only one who could desire him.
Fortunately, there was no woman for Gwynplaine except Dea—the only one he wanted, the only one who could want him back.
Gwynplaine felt that vague and mighty shudder which is the vital claim of infinity. Besides there was the aggravation of the spring. He was breathing the nameless odours of the starry darkness. He walked forward in a wild feeling of delight. The wandering perfumes of the rising sap, the heady irradiations which float in shadow, the distant opening of nocturnal flowers, the complicity of little hidden nests, the murmurs of waters and of leaves, soft sighs rising from all things, the freshness, the warmth, and the mysterious awakening of April and May, is the vast diffusion of sex murmuring, in whispers, their proposals of voluptuousness, till the soul stammers in answer to the giddy provocation. The ideal no longer knows what it is saying.
Gwynplaine felt that strange and powerful shiver that comes from the deep sense of infinity. On top of that, it was springtime. He was inhaling the unique scents of the starry night. He moved forward with a thrilling sense of joy. The drifting fragrances of the budding plants, the intoxicating lights that dance in the shadows, the distant blooming of nighttime flowers, the secret little nests hidden away, the soft sounds of water and leaves, gentle sighs rising from everything, the freshness, the warmth, and the mysterious awakening of April and May all whispered their enticing offers of pleasure, until the soul stuttered in response to the dizzying invitation. The ideal no longer knew what it was trying to express.
Any one observing Gwynplaine walk would have said, "See!—a drunken man!"
Anyone watching Gwynplaine walk would have said, "Look!—a drunk guy!"
He almost staggered under the weight of his own heart, of spring, and of the night.
He nearly stumbled under the weight of his own heart, of spring, and of the night.
The solitude in the bowling-green was so peaceful that at times he spoke aloud. The consciousness that there is no listener induces speech.
The quiet of the bowling green was so calming that sometimes he spoke out loud. The awareness that there was no one to hear him prompted his words.
He walked with slow steps, his head bent down, his hands behind him, the left hand in the right, the fingers open.
He walked slowly, his head down, his hands behind him, the left hand in the right, fingers open.
Suddenly he felt something slipped between his fingers.
Suddenly, he felt something slip between his fingers.
He turned round quickly.
He spun around quickly.
In his hand was a paper, and in front of him a man.
In his hand was a piece of paper, and in front of him was a man.
It was the man who, coming behind him with the stealth of a cat, had placed the paper in his fingers.
It was the man who, sneaking up behind him like a cat, had slipped the paper into his fingers.
The paper was a letter.
The paper was a message.
The man, as he appeared pretty clearly in the starlight, was small, chubby-cheeked, young, sedate, and dressed in a scarlet livery, exposed from top to toe through the opening of a long gray cloak, then called a capenoche, a Spanish word contracted; in French it was cape-de-nuit. His head was covered by a crimson cap, like the skull-cap of a cardinal, on which servitude was indicated by a strip of lace. On this cap was a plume of tisserin feathers. He stood motionless before Gwynplaine, like a dark outline in a dream.
The man, clearly visible in the starlight, was short, chubby-cheeked, young, composed, and wearing a bright red uniform that was fully visible through the opening of a long gray cloak, then called a capenoche, a shortened Spanish term; in French, it was cape-de-nuit. His head was topped with a crimson cap, similar to a cardinal's skullcap, which indicated servitude with a strip of lace. On this cap was a plume of tisserin feathers. He stood motionless before Gwynplaine, like a dark figure in a dream.
Gwynplaine recognized the duchess's page.
Gwynplaine recognized the duchess's servant.
Before Gwynplaine could utter an exclamation of surprise, he heard the thin voice of the page, at once childlike and feminine in its tone, saying to him,—
Before Gwynplaine could say anything in surprise, he heard the thin voice of the page, which had a tone that was both childlike and feminine, saying to him,—
"At this hour to-morrow, be at the corner of London Bridge. I will be there to conduct you—"
"At this time tomorrow, be at the corner of London Bridge. I will be there to guide you—"
"Whither?" demanded Gwynplaine.
"Where to?" demanded Gwynplaine.
"Where you are expected."
"Where you're expected."
Gwynplaine dropped his eyes on the letter, which he was holding mechanically in his hand.
Gwynplaine looked down at the letter he was holding in his hand, almost without thinking.
When he looked up the page was no longer with him.
When he looked up, the page was gone.
He perceived a vague form lessening rapidly in the distance. It was the little valet. He turned the corner of the street, and solitude reigned again.
He saw a blurry figure fading quickly in the distance. It was the little valet. He turned the corner of the street, and quietness returned.
Gwynplaine saw the page vanish, then looked at the letter. There are moments in our lives when what happens seems not to happen. Stupor keeps us for a moment at a distance from the fact.
Gwynplaine watched the page disappear, then turned his attention to the letter. There are moments in our lives when what occurs feels unreal. Shock keeps us momentarily detached from the reality of the situation.
Gwynplaine raised the letter to his eyes, as if to read it, but soon perceived that he could not do so for two reasons—first, because he had not broken the seal; and, secondly, because it was too dark.
Gwynplaine brought the letter up to his eyes, as if he were going to read it, but soon realized he couldn't for two reasons—first, because he hadn't broken the seal; and second, because it was too dark.
It was some minutes before he remembered that there was a lamp at the inn. He took a few steps sideways, as if he knew not whither he was going.
It took him a few minutes to remember that there was a lamp at the inn. He took a few steps to the side, as if he didn’t know where he was headed.
A somnambulist, to whom a phantom had given a letter, might walk as he did.
A sleepwalker, who had received a letter from a ghost, could walk just like he did.
At last he made up his mind. He ran rather than walked towards the inn, stood in the light which broke through the half-open door, and by it again examined the closed letter. There was no design on the seal, and on the envelope was written, "To Gwynplaine." He broke the seal, tore the envelope, unfolded the letter, put it directly under the light, and read as follows:—
At last, he decided. He ran instead of walking toward the inn, stood in the light coming from the half-open door, and once again looked closely at the sealed letter. There was no design on the seal, and the envelope had the words, "To Gwynplaine," written on it. He broke the seal, tore open the envelope, unfolded the letter, held it up to the light, and read:—
"You are hideous; I am beautiful. You are a player; I am a duchess. I am the highest; you are the lowest. I desire you! I love you! Come!"
"You’re ugly; I’m gorgeous. You’re a player; I’m a duchess. I’m on top; you’re at the bottom. I want you! I love you! Come!"
BOOK THE FOURTH.
THE CELL OF TORTURE.
CHAPTER I.
THE TEMPTATION OF ST. GWYNPLAINE.
One jet of flame hardly makes a prick in the darkness; another sets fire to a volcano.
One jet of flame barely makes a mark in the darkness; another ignites a volcano.
Some sparks are gigantic.
Some sparks are huge.
Gwynplaine read the letter, then he read it over again. Yes, the words were there, "I love you!"
Gwynplaine read the letter, then he read it again. Yes, the words were there, "I love you!"
Terrors chased each other through his mind.
Terrors raced around in his mind.
The first was, that he believed himself to be mad.
The first was that he thought he was crazy.
He was mad; that was certain: He had just seen what had no existence. The twilight spectres were making game of him, poor wretch! The little man in scarlet was the will-o'-the-wisp of a dream. Sometimes, at night, nothings condensed into flame come and laugh at us. Having had his laugh out, the visionary being had disappeared, and left Gwynplaine behind him, mad.
He was definitely losing it; that much was clear: He had just seen something that wasn’t real. The twilight spirits were mocking him, poor guy! The little man in red was just a figment of a dream. Sometimes, at night, things that don’t exist materialize into fire and laugh at us. After getting his laugh in, the illusionary figure disappeared, leaving Gwynplaine behind, crazed.
Such are the freaks of darkness.
Such are the oddities of darkness.
The second terror was, to find out that he was in his right senses.
The second shock was realizing that he was completely aware of what was happening.
A vision? Certainly not. How could that be? Had he not a letter in his hand? Did he not see an envelope, a seal, paper, and writing? Did he not know from whom that came? It was all clear enough. Some one took a pen and ink, and wrote. Some one lighted a taper, and sealed it with wax. Was not his name written on the letter—"To Gwynplaine?" The paper was scented. All was clear.
A vision? Definitely not. How could that be? Didn’t he have a letter in his hand? Didn’t he see an envelope, a seal, paper, and writing? Didn’t he know who it was from? It was all pretty obvious. Someone took a pen and ink and wrote. Someone lit a candle and sealed it with wax. Wasn’t his name on the letter—"To Gwynplaine?" The paper was scented. Everything was clear.
Gwynplaine knew the little man. The dwarf was a page. The gleam was a livery. The page had given him a rendezvous for the same hour on the morrow, at the corner of London Bridge.
Gwynplaine recognized the little man. The dwarf was a page. The shine was a uniform. The page had arranged a meeting for the same time tomorrow at the corner of London Bridge.
Was London Bridge an illusion?
Was London Bridge a mirage?
No, no. All was clear. There was no delirium. All was reality. Gwynplaine was perfectly clear in his intellect. It was not a phantasmagoria, suddenly dissolving above his head, and fading into nothingness. It was something which had really happened to him. No, Gwynplaine was not mad, nor was he dreaming. Again he read the letter.
No, no. Everything was clear. There was no confusion. Everything was real. Gwynplaine was completely clear-headed. It wasn’t an illusion that suddenly vanished into thin air. It was something that had truly happened to him. No, Gwynplaine was not insane, nor was he dreaming. He read the letter again.
Well, yes! But then?
Well, yes! But what then?
That then was terror-striking.
That was terrifying.
There was a woman who desired him! If so, let no one ever again pronounce the word incredible! A woman desire him! A woman who had seen his face! A woman who was not blind! And who was this woman? An ugly one? No; a beauty. A gipsy? No; a duchess!
There was a woman who wanted him! If that's the case, then no one should ever say the word unbelievable again! A woman wanting him! A woman who had seen his face! A woman who wasn’t blind! And who was this woman? An ugly one? No; a stunning beauty. A gypsy? No; a duchess!
What was it all about, and what could it all mean? What peril in such a triumph! And how was he to help plunging into it headlong?
What was it all about, and what could it all mean? What danger in such a victory! And how could he avoid diving into it headfirst?
What! that woman! The siren, the apparition, the lady in the visionary box, the light in the darkness! It was she! Yes; it was she!
What! That woman! The siren, the ghostly figure, the lady in the dreamlike box, the light in the darkness! It was her! Yes; it was her!
The crackling of the fire burst out in every part of his frame. It was the strange, unknown lady, she who had previously so troubled his thoughts; and his first tumultuous feelings about this woman returned, heated by the evil fire. Forgetfulness is nothing but a palimpsest: an incident happens unexpectedly, and all that was effaced revives in the blanks of wondering memory.
The crackling of the fire echoed throughout his body. It was the mysterious woman who had previously haunted his thoughts; and his initial intense feelings about her resurfaced, fueled by the dark passion. Forgetting is just a layer over what we remember: an event occurs out of nowhere, and everything forgotten comes rushing back in the empty spaces of curious memory.
Gwynplaine thought that he had dismissed that image from his remembrance, and he found that it was still there; and she had put her mark in his brain, unconsciously guilty of a dream. Without his suspecting it, the lines of the engraving had been bitten deep by reverie. And now a certain amount of evil had been done, and this train of thought, thenceforth, perhaps, irreparable, he took up again eagerly. What! she desired him! What! the princess descend from her throne, the idol from its shrine, the statue from its pedestal, the phantom from its cloud! What! from the depths of the impossible had this chimera come! This deity of the sky! This irradiation! This nereid all glistening with jewels! This proud and unattainable beauty, from the height of her radiant throne, was bending down to Gwynplaine! What! had she drawn up her chariot of the dawn, with its yoke of turtle-doves and dragons, before Gwynplaine, and said to him, "Come!" What! this terrible glory of being the object of such abasement from the empyrean, for Gwynplaine! This woman, if he could give that name to a form so starlike and majestic, this woman proposed herself, gave herself, delivered herself up to him! Wonder of wonders! A goddess prostituting herself for him! The arms of a courtesan opening in a cloud to clasp him to the bosom of a goddess, and that without degradation! Such majestic creatures cannot be sullied. The gods bathe themselves pure in light; and this goddess who came to him knew what she was doing. She was not ignorant of the incarnate hideousness of Gwynplaine. She had seen the mask which was his face; and that mask had not caused her to draw back. Gwynplaine was loved notwithstanding it!
Gwynplaine thought he had forgotten that image, but it was still stuck in his mind; she had left her mark on him, unknowingly guilty of a fantasy. Without him realizing it, the details of the engraving had been etched deeply by daydreams. And now a certain amount of harm had been done, and this train of thought, perhaps irreparable, he eagerly picked up again. What! She wanted him! What! The princess coming down from her throne, the idol from its shrine, the statue from its pedestal, the phantom from its cloud! What! From the depths of the impossible had this illusion emerged! This sky deity! This radiant being! This sparkling nymph adorned with jewels! This proud and unattainable beauty, from her glowing throne, was lowering herself to Gwynplaine! What! Had she summoned her chariot of dawn, with its team of doves and dragons, to stop before Gwynplaine and said to him, "Come!" What! This terrifying glory of being the object of such humiliation from the heavens, for Gwynplaine! This woman, if he could call such a starlike and majestic form a woman, this woman offered herself, gave herself, surrendered herself to him! Wonder of wonders! A goddess selling herself for him! The arms of a courtesan opening in a cloud to embrace him like a goddess, and without any degradation! Such majestic beings cannot be tainted. The gods bathe in pure light; and this goddess who approached him knew what she was doing. She was not unaware of Gwynplaine's ugly form. She had seen the mask that was his face; and that mask hadn’t made her recoil. Gwynplaine was loved despite it!
Here was a thing surpassing all the extravagance of dreams. He was loved in consequence of his mask. Far from repulsing the goddess, the mask attracted her. Gwynplaine was not only loved; he was desired. He was more than accepted; he was chosen. He, chosen!
Here was something beyond all the wildest dreams. He was loved because of his mask. Instead of driving the goddess away, the mask drew her in. Gwynplaine wasn’t just loved; he was wanted. He was more than just accepted; he was selected. He, selected!
What! there, where this woman dwelt, in the regal region of irresponsible splendour, and in the power of full, free will; where there were princes, and she could take a prince; nobles, and she could take a noble; where there were men handsome, charming, magnificent, and she could take an Adonis: whom did she take? Gnafron! She could choose from the midst of meteors and thunders, the mighty six-winged seraphim, and she chose the larva crawling in the slime. On one side were highnesses and peers, all grandeur, all opulence, all glory; on the other, a mountebank. The mountebank carried it! What kind of scales could there be in the heart of this woman? By what measure did she weigh her love? She took off her ducal coronet, and flung it on the platform of a clown! She took from her brow the Olympian aureola, and placed it on the bristly head of a gnome! The world had turned topsy-turvy. The insects swarmed on high, the stars were scattered below, whilst the wonder-stricken Gwynplaine, overwhelmed by a falling ruin of light, and lying in the dust, was enshrined in a glory. One all-powerful, revolting against beauty and splendour, gave herself to the damned of night; preferred Gwynplaine to Antinoüs; excited by curiosity, she entered the shadows, and descending within them, and from this abdication of goddess-ship was rising, crowned and prodigious, the royalty of the wretched. "You are hideous. I love you." These words touched Gwynplaine in the ugly spot of pride. Pride is the heel in which all heroes are vulnerable. Gwynplaine was flattered in his vanity as a monster. He was loved for his deformity. He, too, was the exception, as much and perhaps more than the Jupiters and the Apollos. He felt superhuman, and so much a monster as to be a god. Fearful bewilderment!
What! There, where this woman lived, in a flashy world of carefree luxury and total freedom; where there were princes, and she could have a prince; nobles, and she could have a noble; where there were handsome, charming, magnificent men, and she could choose an Adonis: who did she choose? Gnafron! She could pick from a crowd of meteors and mighty six-winged seraphs, and she chose the grub crawling in the muck. On one side were highborn nobles, all grandeur, opulence, and glory; on the other, a clown. The clown won! What kind of scales could be in this woman's heart? By what standard did she measure her love? She took off her duchess crown and threw it on the stage of a jester! She lifted the divine halo from her head and placed it on the bristly hair of a gnome! The world had turned upside down. The insects buzzed above, while the stars lay scattered below, and the astonished Gwynplaine, overwhelmed by a shower of light, lay in the dust, wrapped in glory. One all-powerful being, rebelling against beauty and grandeur, gave herself to the outcast of the night; she chose Gwynplaine over Antinous; driven by curiosity, she stepped into the shadows, and from this renunciation of goddess-hood emerged, crowned and astonishing, the royalty of the wretched. "You are ugly. I love you." These words struck Gwynplaine in the core of his pride. Pride is the Achilles' heel of all heroes. Gwynplaine felt flattered in his vanity as a monster. He was loved for his deformity. He, too, was an exception, as much and perhaps more than the Jupiters and Apollos. He felt superhuman, and as monstrous as he was, he felt like a god. What a bewildering fear!
Now, who was this woman? What did he know about her? Everything and nothing. She was a duchess, that he knew; he knew, also, that she was beautiful and rich; that she had liveries, lackeys, pages, and footmen running with torches by the side of her coroneted carriage. He knew that she was in love with him; at least she said so. Of everything else he was ignorant. He knew her title, but not her name. He knew her thought; he knew not her life. Was she married, widow, maiden? Was she free? Of what family was she? Were there snares, traps, dangers about her? Of the gallantry existing on the idle heights of society; the caves on those summits, in which savage charmers dream amid the scattered skeletons of the loves which they have already preyed on; of the extent of tragic cynicism to which the experiments of a woman may attain who believes herself to be beyond the reach of man—of things such as these Gwynplaine had no idea. Nor had he even in his mind materials out of which to build up a conjecture, information concerning such things being very scanty in the social depths in which he lived. Still he detected a shadow; he felt that a mist hung over all this brightness. Did he understand it? No. Could he guess at it? Still less. What was there behind that letter? One pair of folding doors opening before him, another closing on him, and causing him a vague anxiety. On the one side an avowal; on the other an enigma—avowal and enigma, which, like two mouths, one tempting, the other threatening, pronounce the same word, Dare!
Now, who was this woman? What did he know about her? Everything and nothing. She was a duchess, that much he knew; he also knew that she was beautiful and wealthy; that she had servants, attendants, pages, and footmen running with torches beside her elegant carriage. He knew that she was in love with him; at least, that’s what she claimed. As for everything else, he was clueless. He knew her title, but not her name. He knew her thoughts, but not her life. Was she married, widowed, or single? Was she available? What family did she come from? Were there traps, dangers, or schemes surrounding her? Of the flirtations that existed in the elite circles of society; the hidden dangers on those heights, where charming savages dream among the scattered remains of past loves they’ve devoured; of the depths of tragic cynicism that a woman might reach if she thinks she’s untouchable by men—Gwynplaine had no clue about any of this. He didn’t even have the material to form a guess, as information on such matters was scarce in the lowly social circles he inhabited. Still, he sensed a shadow; he felt that a fog hung over all this brightness. Did he understand it? No. Could he guess it? Even less so. What lay behind that letter? One pair of doors opening before him, another closing behind him, creating a vague sense of unease. On one side, a confession; on the other, a mystery—confession and mystery, like two mouths, one inviting, the other threatening, whisper the same word: Dare!
Never had perfidious chance taken its measures better, nor timed more fitly the moment of temptation. Gwynplaine, stirred by spring, and by the sap rising in all things, was prompt to dream the dream of the flesh. The old man who is not to be stamped out, and over whom none of us can triumph, was awaking in that backward youth, still a boy at twenty-four.
Never had deceitful fate calculated its plans better, nor chosen a more perfect moment for temptation. Gwynplaine, moved by spring and the life returning to everything, was quick to indulge in physical desires. The old man who refuses to be extinguished, and over whom none of us can prevail, was stirring in that youthful spirit, still a boy at twenty-four.
It was just then, at the most stormy moment of the crisis, that the offer was made him, and the naked bosom of the Sphinx appeared before his dazzled eyes. Youth is an inclined plane. Gwynplaine was stooping, and something pushed him forward. What? the season, and the night. Who? the woman.
It was right then, at the peak of the crisis, that he received the offer, and the bare chest of the Sphinx appeared before his stunned eyes. Youth is like a slope. Gwynplaine was bending down, and something urged him to move forward. What was it? The time of year and the night. Who was it? The woman.
Were there no month of April, man would be a great deal more virtuous. The budding plants are a set of accomplices! Love is the thief, Spring the receiver.
Were there no month of April, people would be much more virtuous. The budding plants are a group of accomplices! Love is the thief, and Spring is the receiver.
Gwynplaine was shaken.
Gwynplaine was rattled.
There is a kind of smoke of evil, preceding sin, in which the conscience cannot breathe. The obscure nausea of hell comes over virtue in temptation. The yawning abyss discharges an exhalation which warns the strong and turns the weak giddy. Gwynplaine was suffering its mysterious attack.
There’s a kind of toxic smoke that comes before sin, making it hard for the conscience to breathe. The hidden dread of hell overwhelms virtue when faced with temptation. The open abyss releases a warning cloud that affects the strong and leaves the weak feeling dizzy. Gwynplaine was experiencing this mysterious assault.
Dilemmas, transient and at the same time stubborn, were floating before him. Sin, presenting itself obstinately again and again to his mind, was taking form. The morrow, midnight? London Bridge, the page? Should he go? "Yes," cried the flesh; "No," cried the soul.
Dilemmas, both fleeting and persistent, swirled in front of him. Sin, stubbornly resurfacing in his thoughts, was taking shape. Tomorrow, midnight? London Bridge, the page? Should he go? "Yes," shouted his desires; "No," protested his conscience.
Nevertheless, we must remark that, strange as it may appear at first sight, he never once put himself the question, "Should he go?" quite distinctly. Reprehensible actions are like over-strong brandies—you cannot swallow them at a draught. You put down your glass; you will see to it presently; there is a strange taste even about that first drop. One thing is certain: he felt something behind him pushing him, forward towards the unknown. And he trembled. He could catch a glimpse of a crumbling precipice, and he drew back, stricken by the terror encircling him. He closed his eyes. He tried hard to deny to himself that the adventure had ever occurred, and to persuade himself into doubting his reason. This was evidently his best plan; the wisest thing he could do was to believe himself mad.
Nevertheless, we should note that, strange as it might seem at first, he never directly asked himself, "Should I go?" Reprehensible actions are like really strong brandies—you can’t just gulp them down. You set your glass down; you’ll deal with it later; there's a strange taste even with that first drop. One thing is clear: he felt something behind him pushing him forward into the unknown. And he trembled. He caught a glimpse of a crumbling cliff, and he pulled back, overwhelmed by the terror surrounding him. He shut his eyes. He tried hard to convince himself that the adventure had never happened and to make himself doubt his sanity. This was clearly his best strategy; the smartest thing he could do was to think of himself as insane.
Fatal fever! Every man, surprised by the unexpected, has at times felt the throb of such tragic pulsations. The observer ever listens with anxiety to the echoes resounding from the dull strokes of the battering-ram of destiny striking against a conscience.
Fatal fever! Every man, caught off guard, has occasionally felt the intense beat of such tragic moments. The observer always listens with worry to the echoes coming from the heavy blows of fate hitting against a conscience.
Alas! Gwynplaine put himself questions. Where duty is clear, to put oneself questions is to suffer defeat.
Alas! Gwynplaine questioned himself. When duty is obvious, questioning yourself leads to defeat.
There are invasions which the mind may have to suffer. There are the Vandals of the soul—evil thoughts coming to devastate our virtue. A thousand contrary ideas rushed into Gwynplaine's brain, now following each other singly, now crowding together. Then silence reigned again, and he would lean his head on his hands, in a kind of mournful attention, as of one who contemplates a landscape by night.
There are invasions that the mind has to endure. There are the Vandals of the soul—negative thoughts that come to destroy our goodness. A flood of conflicting ideas rushed into Gwynplaine's mind, sometimes appearing one by one and at other times colliding together. Then silence fell again, and he would rest his head on his hands, in a sort of sad contemplation, like someone gazing at a landscape in the dark.
Suddenly he felt that he was no longer thinking. His reverie had reached that point of utter darkness in which all things disappear.
Suddenly, he realized he was no longer thinking. His daydream had reached a point of complete darkness where everything vanished.
He remembered, too, that he had not entered the inn. It might be about two o'clock in the morning.
He also remembered that he hadn't gone into the inn. It was probably around two in the morning.
He placed the letter which the page had brought him in his side-pocket; but perceiving that it was next his heart, he drew it out again, crumpled it up, and placed it in a pocket of his hose. He then directed his steps towards the inn, which he entered stealthily, and without awaking little Govicum, who, while waiting up for him, had fallen asleep on the table, with his arms for a pillow. He closed the door, lighted a candle at the lamp, fastened the bolt, turned the key in the lock, taking, mechanically, all the precautions usual to a man returning home late, ascended the staircase of the Green Box, slipped into the old hovel which he used as a bedroom, looked at Ursus who was asleep, blew out his candle, and did not go to bed.
He put the letter that the page had brought him in his side pocket, but realizing it was too close to his heart, he took it out again, crumpled it up, and stuffed it in a pocket of his pants. He then headed toward the inn, entering quietly so as not to wake little Govicum, who had fallen asleep on the table with his arms as a pillow while waiting for him. He closed the door, lit a candle at the lamp, bolted it, turned the key in the lock, and instinctively took all the usual precautions for someone coming home late. He climbed the stairs of the Green Box, slipped into the old hovel he used as a bedroom, glanced at Ursus who was sleeping, blew out his candle, and didn’t go to bed.
Thus an hour passed away. Weary, at length, and fancying that bed and sleep were one, he laid his head upon the pillow without undressing, making darkness the concession of closing his eyes. But the storm of emotions which assailed him had not waned for an instant. Sleeplessness is a cruelty which night inflicts on man. Gwynplaine suffered greatly. For the first time in his life, he was not pleased with himself. Ache of heart mingled with gratified vanity. What was he to do? Day broke at last; he heard Ursus get up, but did not raise his eyelids. No truce for him, however. The letter was ever in his mind. Every word of it came back to him in a kind of chaos. In certain violent storms within the soul thought becomes a liquid. It is convulsed, it heaves, and something rises from it, like the dull roaring of the waves. Flood and flow, sudden shocks and whirls, the hesitation of the wave before the rock; hail and rain clouds with the light shining through their breaks; the petty flights of useless foam; wild swell broken in an instant; great efforts lost; wreck appearing all around; darkness and universal dispersion—as these things are of the sea, so are they of man. Gwynplaine was a prey to such a storm.
An hour passed. Finally tired and thinking that bed and sleep were the same, he lay his head on the pillow without changing clothes, surrendering to darkness by closing his eyes. But the storm of emotions that hit him hadn’t faded at all. Sleeplessness is a cruel punishment the night puts on a person. Gwynplaine suffered intensely. For the first time in his life, he wasn’t happy with himself. Heartache mixed with a sense of vanity. What was he supposed to do? Day finally arrived; he heard Ursus get up but didn’t open his eyes. No break for him, though. The letter was constantly on his mind. Every word replayed in a chaotic swirl. In certain intense emotional tempests within the soul, thoughts turn liquid. They churn, they rise, and something surfaces from it, like the dull roar of waves. Flooding and ebbing, sudden jolts and whirlpools, the wave’s hesitation before crashing against the rock; hail and rain clouds with light breaking through; pointless sprays of foam; wild swells that abruptly dissipate; huge efforts wasted; wreckage all around; darkness and total scattering—just like these things belong to the sea, they belong to humanity. Gwynplaine was caught in such a storm.
At the acme of his agony, his eyes still closed, he heard an exquisite voice saying, "Are you asleep, Gwynplaine?" He opened his eyes with a start, and sat up. Dea was standing in the half-open doorway. Her ineffable smile was in her eyes and on her lips. She was standing there, charming in the unconscious serenity of her radiance. Then came, as it were, a sacred moment. Gwynplaine watched her, startled, dazzled, awakened. Awakened from what?—from sleep? no, from sleeplessness. It was she, it was Dea; and suddenly he felt in the depths of his being the indescribable wane of the storm and the sublime descent of good over evil; the miracle of the look from on high was accomplished; the blind girl, the sweet light-bearer, with no effort beyond her mere presence, dissipated all the darkness within him; the curtain of cloud was dispersed from the soul as if drawn by an invisible hand, and a sky of azure, as though by celestial enchantment, again spread over Gwynplaine's conscience. In a moment he became by the virtue of that angel, the great and good Gwynplaine, the innocent man. Such mysterious confrontations occur to the soul as they do to creation. Both were silent—she, who was the light; he, who was the abyss; she, who was divine; he, who was appeased; and over Gwynplaine's stormy heart Dea shone with the indescribable effect of a star shining on the sea.
At the peak of his suffering, with his eyes still shut, he heard a beautiful voice asking, "Are you asleep, Gwynplaine?" He jolted awake and sat up. Dea was standing in the half-open doorway. Her unforgettable smile lit up her eyes and danced on her lips. She stood there, captivating in her serene glow. Then came what felt like a sacred moment. Gwynplaine stared at her, surprised, mesmerized, and awakened. Awakened from what?—not from sleep, but from restlessness. It was her, it was Dea; and suddenly he felt deep within him the indescribable fade of turmoil and the lifting of good over evil; the miracle of a higher perspective had happened; the blind girl, the gentle light-bringer, without trying at all, cleared away all the darkness inside him; the cloud of despair was pulled away from his soul as if by an unseen hand, and a blue sky, like a heavenly spell, spread over Gwynplaine's conscience once more. In that moment, thanks to that angel, he transformed into the great and good Gwynplaine, the innocent man. Such mysterious encounters happen to the soul just as they do in nature. They were both silent—she, who was the light; he, who was the void; she, who was divine; he, who was calmed; and over Gwynplaine's tumultuous heart, Dea shone with an indescribable brilliance like a star on the sea.
CHAPTER II.
FROM GAY TO GRAVE.
How simple is a miracle! It was breakfast hour in the Green Box, and Dea had merely come to see why Gwynplaine had not joined their little breakfast table.
How simple is a miracle! It was breakfast time in the Green Box, and Dea had just come to see why Gwynplaine hadn't joined their small breakfast gathering.
"It is you!" exclaimed Gwynplaine; and he had said everything. There was no other horizon, no vision for him now but the heavens where Dea was. His mind was appeased—appeased in such a manner as he alone can understand who has seen the smile spread swiftly over the sea when the hurricane had passed away. Over nothing does the calm come so quickly as over the whirlpool. This results from its power of absorption. And so it is with the human heart. Not always, however.
"It’s you!" Gwynplaine exclaimed, and that said it all. There was no other horizon, no vision for him now but the skies where Dea was. His mind was at peace—at peace in a way that only someone can understand who has seen the smile spread quickly across the sea when the hurricane has passed. Nothing calms more quickly than the whirlpool. This is due to its ability to absorb. And so it is with the human heart. Not always, though.
Dea had but to show herself, and all the light that was in Gwynplaine left him and went to her, and behind the dazzled Gwynplaine there was but a flight of phantoms. What a peacemaker is adoration! A few minutes afterwards they were sitting opposite each other, Ursus between them, Homo at their feet. The teapot, hung over a little lamp, was on the table. Fibi and Vinos were outside, waiting.
Dea just had to appear, and all the light that was in Gwynplaine left him and went to her, leaving only a swarm of phantoms behind the stunned Gwynplaine. Adoration really is a peacemaker! A few minutes later, they were sitting across from each other, with Ursus between them and Homo at their feet. The teapot, hanging over a small lamp, was on the table. Fibi and Vinos were outside, waiting.
They breakfasted as they supped, in the centre compartment. From the position in which the narrow table was placed, Dea's back was turned towards the aperture in the partition which was opposite the entrance door of the Green Box. Their knees were touching. Gwynplaine was pouring out tea for Dea. Dea blew gracefully on her cup. Suddenly she sneezed. Just at that moment a thin smoke rose above the flame of the lamp, and something like a piece of paper fell into ashes. It was the smoke which had caused Dea to sneeze.
They had breakfast like they had dinner, in the middle compartment. With the narrow table set up this way, Dea's back was to the opening in the partition across from the entrance door of the Green Box. Their knees were touching. Gwynplaine was pouring tea for Dea. Dea elegantly blew on her cup. Suddenly, she sneezed. Just then, a thin wisp of smoke rose above the lamp's flame, and something that looked like a piece of paper crumbled to ashes. The smoke was what made Dea sneeze.
"What was that?" she asked.
"What was that?" she asked.
"Nothing," replied Gwynplaine.
"Nothing," said Gwynplaine.
And he smiled. He had just burnt the duchess's letter.
And he smiled. He had just burned the duchess's letter.
The conscience of the man who loves is the guardian angel of the woman whom he loves.
The conscience of a man in love is the guardian angel of the woman he loves.
Unburdened of the letter, his relief was wondrous, and Gwynplaine felt his integrity as the eagle feels its wings.
Unburdened by the letter, he felt an incredible relief, and Gwynplaine felt his strength like an eagle feels its wings.
It seemed to him as if his temptation had evaporated with the smoke, and as if the duchess had crumbled into ashes with the paper.
It felt to him like his temptation had disappeared with the smoke, and like the duchess had turned to ashes along with the paper.
Taking up their cups at random, and drinking one after the other from the same one, they talked. A babble of lovers, a chattering of sparrows! Child's talk, worthy of Mother Goose or of Homer! With two loving hearts, go no further for poetry; with two kisses for dialogue, go no further for music.
Grabbing their cups randomly and taking turns drinking from the same one, they chatted. It was a mix of lovers, like a bunch of chirping sparrows! Childish conversation, fit for Mother Goose or Homer! With two hearts in love, you need look no further for poetry; with two kisses as conversation, you need look no further for music.
"Do you know something?"
"Do you know something?"
"No."
"No."
"Gwynplaine, I dreamt that we were animals, and had wings."
"Gwynplaine, I had a dream that we were animals, and we had wings."
"Wings; that means birds," murmured Gwynplaine.
"Wings; that means birds," Gwynplaine whispered.
"Fools! it means angels," growled Ursus.
"Idiots! It means angels," Ursus grumbled.
And their talk went on.
And their conversation continued.
"If you did not exist, Gwynplaine?"
"If you weren't here, Gwynplaine?"
"What then?"
"What's next?"
"It could only be because there was no God."
"It could only be because there was no God."
"The tea is too hot; you will burn yourself, Dea."
"The tea is too hot; you'll burn yourself, Dea."
"Blow on my cup."
"Blow on my drink."
"How beautiful you are this morning!"
"You look beautiful this morning!"
"Do you know that I have a great many things to say to you?"
"Do you know that I have a lot to say to you?"
"Say them."
"Say it."
"I love you."
"I love you."
"I adore you."
"I love you."
And Ursus said aside, "By heaven, they are polite!"
And Ursus said to himself, "Wow, they’re really polite!"
Exquisite to lovers are their moments of silence! In them they gather, as it were, masses of love, which afterwards explode into sweet fragments.
Beautiful are the silent moments for lovers! In those moments, they collect, so to speak, huge amounts of love, which later burst into sweet pieces.
"Do you know! In the evening, when we are playing our parts, at the moment when my hand touches your forehead—oh, what a noble head is yours, Gwynplaine!—at the moment when I feel your hair under my fingers, I shiver; a heavenly joy comes over me, and I say to myself, In all this world of darkness which encompasses me, in this universe of solitude, in this great obscurity of ruin in which I am, in this quaking fear of myself and of everything, I have one prop; and he is there. It is he—it is you."
"Do you know? In the evening, when we’re playing our roles, at the moment when my hand touches your forehead—oh, what a noble head you have, Gwynplaine!—at that moment when I feel your hair under my fingers, I shiver; a heavenly joy washes over me, and I think to myself, In all this world of darkness that surrounds me, in this universe of solitude, in this great obscurity of ruin where I find myself, in this trembling fear of myself and everything, I have one support; and he is here. It’s him—it’s you."
"Oh! you love me," said Gwynplaine. "I, too, have but you on earth. You are all in all to me. Dea, what would you have me do? What do you desire? What do you want?"
"Oh! you love me," said Gwynplaine. "I, too, have no one else in the world. You mean everything to me. Dea, what do you want me to do? What is your desire? What do you need?"
Dea answered,—
Dea replied,—
"I do not know. I am happy."
"I don't know. I'm good."
"Oh," replied Gwynplaine, "we are happy."
"Oh," Gwynplaine replied, "we're happy."
Ursus raised his voice severely,—
Ursus raised his voice sharply,—
"Oh, you are happy, are you? That's a crime. I have warned you already. You are happy! Then take care you aren't seen. Take up as little room as you can. Happiness ought to stuff itself into a hole. Make yourselves still less than you are, if that can be. God measures the greatness of happiness by the littleness of the happy. The happy should conceal themselves like malefactors. Oh, only shine out like the wretched glowworms that you are, and you'll be trodden on; and quite right too! What do you mean by all that love-making nonsense? I'm no duenna, whose business it is to watch lovers billing and cooing. I'm tired of it all, I tell you; and you may both go to the devil."
"Oh, you're happy, huh? That's a crime. I've already warned you. You’re happy! So make sure you don't get noticed. Take up as little space as you can. Happiness should shove itself into a corner. Be even smaller than you are, if that's possible. God measures the size of happiness by how small the happy people are. The happy should hide themselves like criminals. Just let your light flicker like the miserable glowworms that you are, and you'll get stepped on; and honestly, that’s what you deserve! What’s with all that lovey-dovey nonsense? I'm not some chaperone here to watch couples fawning over each other. I'm done with it all, I swear; you can both go to hell."
And feeling that his harsh tones were melting into tenderness, he drowned his emotion in a loud grumble.
And realizing that his harsh voice was turning into something softer, he buried his feelings in a loud grumble.
"Father," said Dea, "how roughly you scold!"
" Dad," Dea said, "why are you scolding so harshly?"
"It's because I don't like to see people too happy."
"It's because I don't like seeing people too happy."
Here Homo re-echoed Ursus. His growl was heard from beneath the lovers' feet.
Here, Homo echoed Ursus. His growl was heard from beneath the lovers' feet.
Ursus stooped down, and placed his hand on Homo's head.
Ursus bent down and put his hand on Homo's head.
"That's right; you're in bad humour, too. You growl. The bristles are all on end on your wolf's pate. You don't like all this love-making. That's because you are wise. Hold your tongue, all the same. You have had your say and given your opinion; be it so. Now be silent."
"That's right; you're in a bad mood, too. You grumble. Your hair stands on end like a wolf. You don’t like all this flirting. That’s because you’re smart. Still, keep your mouth shut. You've shared your thoughts and given your opinion; that's enough. Now be quiet."
The wolf growled again. Ursus looked under the table at him.
The wolf growled again. Ursus glanced under the table at him.
"Be still, Homo! Come, don't dwell on it, you philosopher!"
"Calm down, man! Come on, don’t overthink it, you philosopher!"
But the wolf sat up, and looked towards the door, showing his teeth.
But the wolf sat up and looked at the door, baring his teeth.
"What's wrong with you now?" said Ursus. And he caught hold of Homo by the skin of the neck.
"What's wrong with you now?" Ursus said, grabbing Homo by the back of the neck.
Heedless of the wolf's growls, and wholly wrapped up in her own thoughts and in the sound of Gwynplaine's voice, which left its after-taste within her, Dea was silent, and absorbed by that kind of esctasy peculiar to the blind, which seems at times to give them a song to listen to in their souls, and to make up to them for the light which they lack by some strain of ideal music. Blindness is a cavern, to which reaches the deep harmony of the Eternal.
Heedless of the wolf's growls, and completely wrapped up in her own thoughts and in the sound of Gwynplaine's voice, which lingered in her mind, Dea was silent, lost in a kind of ecstasy unique to the blind. This state sometimes feels like it offers them a song to hear in their souls, compensating for the light they lack with some form of ideal music. Blindness is a cavern that resonates with the deep harmony of the Eternal.
While Ursus, addressing Homo, was looking down, Gwynplaine had raised his eyes. He was about to drink a cup of tea, but did not drink it. He placed it on the table with the slow movement of a spring drawn back; his fingers remained open, his eyes fixed. He scarcely breathed.
While Ursus was talking to Homo and looking down, Gwynplaine had lifted his gaze. He was about to take a sip of tea, but he set the cup down instead. He placed it on the table with the slow motion of a pulled-back spring; his fingers stayed open, his eyes locked. He barely breathed.
A man was standing in the doorway, behind Dea. He was clad in black, with a hood. He wore a wig down to his eyebrows, and held in his hand an iron staff with a crown at each end. His staff was short and massive. He was like Medusa thrusting her head between two branches in Paradise.
A man was standing in the doorway, behind Dea. He was dressed in black, with a hood. He had a wig that reached his eyebrows and held an iron staff with a crown at each end. His staff was short and heavy. He resembled Medusa pushing her head between two branches in Paradise.
Ursus, who had heard some one enter and raised his head without loosing his hold of Homo, recognized the terrible personage. He shook from head to foot, and whispered to Gwynplaine,—
Ursus, who heard someone come in and raised his head without letting go of Homo, recognized the frightening figure. He trembled all over and whispered to Gwynplaine,—
"It's the wapentake."
"It's the district."
Gwynplaine recollected. An exclamation of surprise was about to escape him, but he restrained it. The iron staff, with the crown at each end, was called the iron weapon. It was from this iron weapon, upon which the city officers of justice took the oath when they entered on their duties, that the old wapentakes of the English police derived their qualification.
Gwynplaine remembered. He almost let out a gasp of surprise, but he held it back. The iron staff, with a crown at each end, was known as the iron weapon. This iron weapon, on which the city officials of justice swore their oath when they began their duties, was the source of the old wapentakes of the English police's authority.
Behind the man in the wig, the frightened landlord could just be perceived in the shadow.
Behind the man in the wig, the scared landlord could barely be seen in the shadows.
Without saying a word, a personification of the Muta Themis of the old charters, the man stretched his right arm over the radiant Dea, and touched Gwynplaine on the shoulder with the iron staff, at the same time pointing with his left thumb to the door of the Green Box behind him. These gestures, all the more imperious for their silence, meant, "Follow me."
Without saying a word, a personification of the Muta Themis from the old charters, the man stretched his right arm over the radiant Dea and touched Gwynplaine on the shoulder with the iron staff while simultaneously pointing with his left thumb to the door of the Green Box behind him. These gestures, even more commanding for their silence, meant, "Follow me."
Pro signo exeundi, sursum trahe, says the old Norman record.
For the sign of exiting, pull up, says the old Norman record.
He who was touched by the iron weapon had no right but the right of obedience. To that mute order there was no reply. The harsh penalties of the English law threatened the refractory. Gwynplaine felt a shock under the rigid touch of the law; then he sat as though petrified.
He who was struck by the iron weapon had no rights except the right to obey. There was no reply to that silent command. The severe punishments of English law loomed over those who resisted. Gwynplaine felt a jolt from the cold grip of the law; then he sat there as if turned to stone.
If, instead of having been merely grazed on the shoulder, he had been struck a violent blow on the head with the iron staff, he could not have been more stunned. He knew that the police-officer summoned him to follow; but why? That he could not understand.
If he had been hit hard on the head with the iron staff instead of just being grazed on the shoulder, he couldn’t have felt more dazed. He realized the police officer wanted him to follow, but he had no idea why.
On his part Ursus, too, was thrown into the most painful agitation, but he saw through matters pretty distinctly. His thoughts ran on the jugglers and preachers, his competitors, on informations laid against the Green Box, on that delinquent the wolf, on his own affair with the three Bishopsgate commissioners, and who knows?—perhaps—but that would be too fearful—Gwynplaine's unbecoming and factious speeches touching the royal authority.
On his side, Ursus was also in deep turmoil, but he understood the situation fairly well. He thought about the jugglers and preachers, his rivals, the complaints made against the Green Box, the trouble caused by the wolf, his own dealings with the three Bishopsgate commissioners, and who knows?—maybe—but that would be too terrifying—Gwynplaine's inappropriate and rebellious remarks about the royal authority.
He trembled violently.
He shook uncontrollably.
Dea was smiling.
Dea was smiling.
Neither Gwynplaine nor Ursus pronounced a word. They had both the same thought—not to frighten Dea. It may have struck the wolf as well, for he ceased growling. True, Ursus did not loose him.
Neither Gwynplaine nor Ursus said a word. They both had the same thought—not to scare Dea. It might have crossed the wolf's mind too, because he stopped growling. However, Ursus did not let him go.
Homo, however, was a prudent wolf when occasion required. Who is there who has not remarked a kind of intelligent anxiety in animals? It may be that to the extent to which a wolf can understand mankind he felt that he was an outlaw.
Homo, however, was a savvy wolf when the situation called for it. Who hasn't noticed a sort of intelligent worry in animals? It could be that, to the extent that a wolf can grasp human behavior, he sensed that he was an outsider.
Gwynplaine rose.
Gwynplaine got up.
Resistance was impracticable, as Gwynplaine knew. He remembered Ursus's words, and there was no question possible. He remained standing in front of the wapentake. The latter raised the iron staff from Gwynplaine's shoulder, and drawing it back, held it out straight in an attitude of command—a constable's attitude which was well understood in those days by the whole people, and which expressed the following order: "Let this man, and no other, follow me. The rest remain where they are. Silence!"
Resistance was impossible, as Gwynplaine understood. He recalled Ursus's words, and there was no doubt about it. He stood in front of the wapentake. The wapentake lifted the iron staff from Gwynplaine's shoulder, pulled it back, and held it out straight in a commanding way—an attitude that everyone understood back then, which conveyed this order: "Let this man, and no one else, follow me. Everyone else stay put. Be quiet!"
No curious followers were allowed. In all times the police have had a taste for arrests of the kind. This description of seizure was termed sequestration of the person.
No curious onlookers were allowed. The police have always had a knack for making those kinds of arrests. This act of taking someone was called sequestration of the person.
The wapentake turned round in one motion, like a piece of mechanism revolving on its own pivot, and with grave and magisterial step proceeded towards the door of the Green Box.
The wapentake spun around in one smooth motion, like a machine turning on its own axis, and with a serious and authoritative stride, walked towards the door of the Green Box.
Gwynplaine looked at Ursus. The latter went through a pantomime composed as follows: he shrugged his shoulders, placed both elbows close to his hips, with his hands out, and knitted his brows into chevrons—all which signifies, "We must submit to the unknown."
Gwynplaine looked at Ursus. Ursus performed a pantomime that went like this: he shrugged his shoulders, put both elbows near his hips with his hands out, and furrowed his brows into a V shape—all of which meant, "We have to deal with the unknown."
Gwynplaine looked at Dea. She was in her dream. She was still smiling. He put the ends of his fingers to his lips, and sent her an unutterable kiss.
Gwynplaine looked at Dea. She was lost in her dream. She was still smiling. He pressed the tips of his fingers to his lips and sent her an indescribable kiss.
Ursus, relieved of some portion of his terror now that the wapentake's back was turned, seized the moment to whisper in Gwynplaine's ear,—
Ursus, feeling less scared now that the wapentake had turned his back, took the chance to whisper in Gwynplaine's ear,—
"On your life, do not speak until you are questioned."
"Seriously, don’t say anything until someone asks you."
Gwynplaine, with the same care to make no noise as he would have taken in a sickroom, took his hat and cloak from the hook on the partition, wrapped himself up to the eyes in the cloak, and pushed his hat over his forehead. Not having been to bed, he had his working clothes still on, and his leather esclavin round his neck. Once more he looked at Dea. Having reached the door, the wapentake raised his staff and began to descend the steps; then Gwynplaine set out as if the man was dragging him by an invisible chain. Ursus watched Gwynplaine leave the Green Box. At that moment the wolf gave a low growl; but Ursus silenced him, and whispered, "He is coming back."
Gwynplaine, careful not to make any noise as if he were in a sickroom, took his hat and cloak from the hook on the partition, wrapped himself up to his eyes in the cloak, and pulled his hat down over his forehead. Since he hadn't been to bed, he was still in his work clothes and wore his leather esclavin around his neck. He glanced at Dea again. When he reached the door, the wapentake raised his staff and started to go down the steps; then Gwynplaine followed as if being pulled by an invisible chain. Ursus watched Gwynplaine leave the Green Box. At that moment, the wolf let out a low growl; but Ursus hushed him and whispered, "He is coming back."
In the yard, Master Nicless was stemming, with servile and imperious gestures, the cries of terror raised by Vinos and Fibi, as in great distress they watched Gwynplaine led away, and the mourning-coloured garb and the iron staff of the wapentake.
In the yard, Master Nicless was trying to calm the terrified cries of Vinos and Fibi, using both submissive and commanding gestures, as they sadly watched Gwynplaine being taken away, dressed in mourning colors and holding the iron staff of the wapentake.
The two girls were like petrifactions: they were in the attitude of stalactites. Govicum, stunned, was looking open-mouthed out of a window.
The two girls were like statues: they stood still like stalactites. Govicum, shocked, was gazing out of a window with his mouth agape.
The wapentake preceded Gwynplaine by a few steps, never turning round or looking at him, in that icy ease which is given by the knowledge that one is the law.
The wapentake walked ahead of Gwynplaine, never turning around or glancing at him, exuding that cold confidence that comes from knowing one is in charge.
In death-like silence they both crossed the yard, went through the dark taproom, and reached the street. A few passers-by had collected about the inn door, and the justice of the quorum was there at the head of a squad of police. The idlers, stupefied, and without breathing a word, opened out and stood aside, with English discipline, at the sight of the constable's staff. The wapentake moved off in the direction of the narrow street then called the Little Strand, running by the Thames; and Gwynplaine, with the justice of the quorum's men in ranks on each side, like a double hedge, pale, without a motion except that of his steps, wrapped in his cloak as in a shroud, was leaving the inn farther and farther behind him as he followed the silent man, like a statue following a spectre.
In a deathly silence, they both crossed the yard, went through the dark taproom, and stepped out onto the street. A few passers-by had gathered by the inn's door, and the justice of the quorum was there at the front of a group of police. The onlookers, stunned and without saying a word, parted and stepped aside, showing typical English discipline at the sight of the constable’s staff. The wapentake moved off towards the narrow street then known as the Little Strand, which ran by the Thames; and Gwynplaine, flanked by the justice of the quorum's men like a double hedge, pale and motionless except for his steps, wrapped in his cloak like a shroud, was leaving the inn further behind as he followed the silent man, like a statue trailing a ghost.
CHAPTER III.
LEX, REX, FEX.
Unexplained arrest, which would greatly astonish an Englishman nowadays, was then a very usual proceeding of the police. Recourse was had to it, notwithstanding the Habeas Corpus Act, up to George II.'s time, especially in such delicate cases as were provided for by lettres de cachet in France; and one of the accusations against which Walpole had to defend himself was that he had caused or allowed Neuhoff to be arrested in that manner. The accusation was probably without foundation, for Neuhoff, King of Corsica, was put in prison by his creditors.
Unexplained arrests, which would really shock an Englishman today, were quite common for the police back then. This happened despite the Habeas Corpus Act up until the time of George II, especially in sensitive cases like those dealt with by lettres de cachet in France. One of the accusations Walpole had to defend against was that he caused or allowed Neuhoff to be arrested in that way. This accusation was probably unfounded, as Neuhoff, the King of Corsica, was imprisoned by his creditors.
These silent captures of the person, very usual with the Holy Væhme in Germany, were admitted by German custom, which rules one half of the old English laws, and recommended in certain cases by Norman custom, which rules the other half. Justinian's chief of the palace police was called "silentiarius imperialis." The English magistrates who practised the captures in question relied upon numerous Norman texts:—Canes latrant, sergentes silent. Sergenter agere, id est tacere. They quoted Lundulphus Sagax, paragraph 16: Facit imperator silentium. They quoted the charter of King Philip in 1307: Multos tenebimus bastonerios qui, obmutescentes, sergentare valeant. They quoted the statutes of Henry I. of England, cap. 53: Surge signo jussus. Taciturnior esto. Hoc est esse in captione regis. They took advantage especially of the following description, held to form part of the ancient feudal franchises of England:—"Sous les viscomtes sont les serjans de l'espée, lesquels doivent justicier vertueusement à l'espée tous ceux qui suient malveses compagnies, gens diffamez d'aucuns crimes, et gens fuites et forbannis.... et les doivent si vigoureusement et discrètement appréhender, que la bonne gent qui sont paisibles soient gardez paisiblement et que les malfeteurs soient espoantés." To be thus arrested was to be seized "à le glaive de l'espée." (Vetus Consuetudo Normanniæ, MS. part I, sect. I, ch. 11.) The jurisconsults referred besides "in Charta Ludovici Hutum pro Normannis, chapter Servientes spathæ." Servientes spathæ, in the gradual approach of base Latin to our idioms, became sergentes spadæ.
These silent arrests of individuals, quite common with the Holy Væhme in Germany, were accepted by German custom, which influences half of the old English laws, and were recommended in certain instances by Norman custom, which influences the other half. Justinian’s chief of palace police was known as "silentiarius imperialis." The English magistrates who carried out these arrests relied on numerous Norman texts: Canes latrant, sergentes silent. Sergenter agere, id est tacere. They cited Lundulphus Sagax, paragraph 16: Facit imperator silentium. They referenced King Philip’s charter from 1307: Multos tenebimus bastonerios qui, obmutescentes, sergentare valeant. They also quoted the statutes of Henry I of England, cap. 53: Surge signo jussus. Taciturnior esto. Hoc est esse in captione regis. They particularly emphasized the following description, regarded as part of the ancient feudal rights of England:—"Under the viscounts are the serjeants of the sword, who must justly apprehend all those who associate with bad companies, people infamous for certain crimes, and those on the run and outlaws.... and they must apprehend them so vigorously and discreetly that the good people who are peaceful are kept safe and that the wrongdoers are alarmed." To be arrested in this way was to be seized "à le glaive de l'espée." (Vetus Consuetudo Normanniæ, MS. part I, sect. I, ch. 11.) The legal experts also referred to "in Charta Ludovici Hutum pro Normannis, chapter Servientes spathæ." Servientes spathæ, as base Latin gradually evolved into our modern idioms, became sergentes spadæ.
These silent arrests were the contrary of the Clameur de Haro, and gave warning that it was advisable to hold one's tongue until such time as light should be thrown upon certain matters still in the dark. They signified questions reserved, and showed in the operation of the police a certain amount of raison d'état.
These quiet arrests were the opposite of the Clameur de Haro, signaling that it was wise to stay silent until more information came to light about certain issues that were still unclear. They indicated that questions were set aside and revealed a level of practicality in the police's actions.
The legal term "private" was applied to arrests of this description. It was thus that Edward III., according to some chroniclers, caused Mortimer to be seized in the bed of his mother, Isabella of France. This, again, we may take leave to doubt; for Mortimer sustained a siege in his town before being captured.
The legal term "private" was used for arrests like this. According to some historians, Edward III had Mortimer taken from his mother, Isabella of France's bed. However, we can question this; Mortimer faced a siege in his town before he was captured.
Warwick, the king-maker, delighted in practising this mode of "attaching people." Cromwell made use of it, especially in Connaught; and it was with this precaution of silence that Trailie Arcklo, a relation of the Earl of Ormond, was arrested at Kilmacaugh.
Warwick, the king-maker, loved using this method of "winning people over." Cromwell used it too, especially in Connaught; and it was with this strategy of keeping quiet that Trailie Arcklo, a relative of the Earl of Ormond, was arrested at Kilmacaugh.
These captures of the body by the mere motion of justice represented rather the mandat de comparution than the warrant of arrest. Sometimes they were but processes of inquiry, and even argued, by the silence imposed upon all, a certain consideration for the person seized. For the mass of the people, little versed as they were in the estimate of such shades of difference, they had peculiar terrors.
These captures of the body through the simple act of justice represented more of a mandat de comparution than an arrest warrant. Sometimes they were just inquiries, and even the silence enforced on everyone suggested a certain respect for the person taken. For most people, who weren't well-acquainted with the nuances of these differences, there were unique fears associated with them.
It must not be forgotten that in 1705, and even much later, England was far from being what she is to-day. The general features of its constitution were confused and at times very oppressive. Daniel Defoe, who had himself had a taste of the pillory, characterizes the social order of England, somewhere in his writings, as the "iron hands of the law." There was not only the law; there was its arbitrary administration. We have but to recall Steele, ejected from Parliament; Locke, driven from his chair; Hobbes and Gibbon, compelled to flight; Charles Churchill, Hume, and Priestley, persecuted; John Wilkes sent to the Tower. The task would be a long one, were we to count over the victims of the statute against seditious libel. The Inquisition had, to some extent, spread its arrangements throughout Europe, and its police practice was taken as a guide. A monstrous attempt against all rights was possible in England. We have only to recall the Gazetier Cuirassé. In the midst of the eighteenth century, Louis XV. had writers, whose works displeased him, arrested in Piccadilly. It is true that George II. laid his hands on the Pretender in France, right in the middle of the hall at the opera. Those were two long arms—that of the King of France reaching London; that of the King of England, Paris! Such was the liberty of the period.
It must not be forgotten that in 1705, and even much later, England was very different from what it is today. The basic features of its constitution were unclear and often quite oppressive. Daniel Defoe, who himself experienced the pillory, described the social order of England in his writings as the "iron hands of the law." There wasn't just the law; there was also its arbitrary enforcement. We only need to remember Steele, who was expelled from Parliament; Locke, who was ousted from his position; Hobbes and Gibbon, who were forced to flee; and Charles Churchill, Hume, and Priestley, who faced persecution; John Wilkes was imprisoned in the Tower. It would take a long time to list all the victims of the law against seditious libel. The Inquisition had, to some degree, spread its influence across Europe, and its policing methods served as a model. A terrible violation of rights was possible in England. We only need to recall the Gazetier Cuirassé. In the middle of the eighteenth century, Louis XV. had writers whose works he didn't like arrested in Piccadilly. It’s true that George II. captured the Pretender in France right in the middle of the opera hall. Those were two long reaches—one from the King of France stretching to London; the other from the King of England reaching to Paris! Such was the state of freedom at the time.
CHAPTER IV.
URSUS SPIES THE POLICE.
As we have already said, according to the very severe laws of the police of those days, the summons to follow the wapentake, addressed to an individual, implied to all other persons present the command not to stir.
As we have already mentioned, under the strict laws of the police at that time, the order to follow the wapentake, directed to one person, effectively signaled to everyone else present not to move.
Some curious idlers, however, were stubborn, and followed from afar off the cortège which had taken Gwynplaine into custody.
Some curious onlookers, however, were persistent and followed from a distance the cortège that had taken Gwynplaine into custody.
Ursus was of them. He had been as nearly petrified as any one has a right to be. But Ursus, so often assailed by the surprises incident to a wandering life, and by the malice of chance, was, like a ship-of-war, prepared for action, and could call to the post of danger the whole crew—that is to say, the aid of all his intelligence.
Ursus was one of them. He had been almost completely frozen in place, more than anyone really has a right to be. But Ursus, frequently hit by the surprises that come with a wandering life and the cruelty of fate, was like a battleship ready for action, able to rally his entire crew—that is, he could summon all his intelligence to face danger.
He flung off his stupor and began to think. He strove not to give way to emotion, but to stand face to face with circumstances.
He shook off his daze and started to think. He worked hard not to let his emotions take over, but to confront the situation directly.
To look fortune in the face is the duty of every one not an idiot; to seek not to understand, but to act.
Facing reality is everyone's responsibility, except for those who choose to ignore it; the goal is not just to understand, but to take action.
Presently he asked himself, What could he do?
Presently, he asked himself, what could he do?
Gwynplaine being taken, Ursus was placed between two terrors—a fear for Gwynplaine, which instigated him to follow; and a fear for himself, which urged him to remain where he was.
Gwynplaine was taken, and Ursus found himself caught between two fears—fear for Gwynplaine, which pushed him to follow, and fear for his own safety, which made him want to stay put.
Ursus had the intrepidity of a fly and the impassibility of a sensitive plant. His agitation was not to be described. However, he took his resolution heroically, and decided to brave the law, and to follow the wapentake, so anxious was he concerning the fate of Gwynplaine.
Ursus had the boldness of a fly and the calmness of a sensitive plant. His restlessness was impossible to describe. Still, he made his decision with courage and chose to defy the law and follow the wapentake, so worried was he about Gwynplaine's fate.
His terror must have been great to prompt so much courage.
His fear must have been huge to inspire such bravery.
To what valiant acts will not fear drive a hare!
To what brave actions will fear not push a rabbit!
The chamois in despair jumps a precipice. To be terrified into imprudence is one of the forms of fear.
The chamois, in despair, leaps off a cliff. Being so frightened that you act recklessly is one way fear manifests.
Gwynplaine had been carried off rather than arrested. The operation of the police had been executed so rapidly that the Fair field, generally little frequented at that hour of the morning, had scarcely taken cognizance of the circumstance.
Gwynplaine had been taken away rather than arrested. The police operation had been carried out so quickly that the Fair field, usually not very busy at that time of the morning, had barely noticed what was happening.
Scarcely any one in the caravans had any idea that the wapentake had come to take Gwynplaine. Hence the smallness of the crowd.
Almost no one in the caravans knew that the wapentake had come to take Gwynplaine. That's why the crowd was so small.
Gwynplaine, thanks to his cloak and his hat, which nearly concealed his face, could not be recognized by the passers-by.
Gwynplaine, with his cloak and hat that mostly covered his face, couldn't be recognized by those walking by.
Before he went out to follow Gwynplaine, Ursus took a precaution. He spoke to Master Nicless, to the boy Govicum, and to Fibi and Vinos, and insisted on their keeping absolute silence before Dea, who was ignorant of everything. That they should not utter a syllable that could make her suspect what had occurred; that they should make her understand that the cares of the management of the Green Box necessitated the absence of Gwynplaine and Ursus; that, besides, it would soon be the time of her daily siesta, and that before she awoke he and Gwynplaine would have returned; that all that had taken place had arisen from a mistake; that it would be very easy for Gwynplaine and himself to clear themselves before the magistrate and police; that a touch of the finger would put the matter straight, after which they should both return; above all, that no one should say a word on the subject to Dea. Having given these directions he departed.
Before he went out to find Gwynplaine, Ursus took some precautions. He talked to Master Nicless, the boy Govicum, and Fibi and Vinos, insisting that they keep complete silence in front of Dea, who didn’t know anything. He told them not to say a word that might make her suspicious about what had happened; that they should explain to her that managing the Green Box required Gwynplaine and Ursus to be away; that it would soon be time for her daily nap, and before she woke up, he and Gwynplaine would be back; that everything that had occurred was just a misunderstanding; that it would be easy for Gwynplaine and him to clear things up with the magistrate and police; that a quick gesture would set everything right, after which they would come back; and above all, that no one should mention anything about it to Dea. After giving these instructions, he left.
Ursus was able to follow Gwynplaine without being remarked. Though he kept at the greatest possible distance, he so managed as not to lose sight of him. Boldness in ambuscade is the bravery of the timid.
Ursus was able to track Gwynplaine without being noticed. Even though he stayed as far back as he could, he made sure not to lose sight of him. Being bold while hiding is the courage of the fearful.
After all, notwithstanding the solemnity of the attendant circumstances, Gwynplaine might have been summoned before the magistrate for some unimportant infraction of the law.
After all, despite the seriousness of the situation, Gwynplaine could have been called before the magistrate for some minor violation of the law.
Ursus assured himself that the question would be decided at once.
Ursus made sure that the question would be resolved immediately.
The solution of the mystery would be made under his very eyes by the direction taken by the cortège which took Gwynplaine from Tarrinzeau Field when it reached the entrance of the lanes of the Little Strand.
The mystery would be solved right in front of him by the route the cortège took when it brought Gwynplaine from Tarrinzeau Field to the entrance of the alleys of the Little Strand.
If it turned to the left, it would conduct Gwynplaine to the justice hall in Southwark. In that case there would be little to fear, some trifling municipal offence, an admonition from the magistrate, two or three shillings to pay, and Gwynplaine would be set at liberty, and the representation of "Chaos Vanquished" would take place in the evening as usual. In that case no one would know that anything unusual had happened.
If it turned left, it would lead Gwynplaine to the courthouse in Southwark. In that case, there wouldn’t be much to worry about—just a minor city offense, a warning from the judge, a couple of shillings to pay, and Gwynplaine would be free to go, and the show "Chaos Vanquished" would still happen that evening as usual. No one would ever know that anything out of the ordinary had occurred.
If the cortège turned to the right, matters would be serious.
If the cortège turned to the right, things would get serious.
There were frightful places in that direction.
There were scary places that way.
When the wapentake, leading the file of soldiers between whom Gwynplaine walked, arrived at the small streets, Ursus watched them breathlessly. There are moments in which a man's whole being passes into his eyes.
When the wapentake, at the front of the line of soldiers with Gwynplaine walking in between, reached the narrow streets, Ursus stared at them in suspense. There are moments when a person's entire essence is reflected in their eyes.
Which way were they going to turn?
Which direction were they going to take?
They turned to the right.
They turned right.
Ursus, staggering with terror, leant against a wall that he might not fall.
Ursus, trembling with fear, leaned against a wall so he wouldn't collapse.
There is no hypocrisy so great as the words which we say to ourselves, "I wish to know the worst!" At heart we do not wish it at all. We have a dreadful fear of knowing it. Agony is mingled with a dim effort not to see the end. We do not own it to ourselves, but we would draw back if we dared; and when we have advanced, we reproach ourselves for having done so.
There is no greater hypocrisy than the words we say to ourselves, "I want to know the worst!" Deep down, we don't really want to know it at all. We have a terrible fear of the truth. Pain is mixed with a vague attempt not to see the conclusion. We don’t admit this to ourselves, but we would pull back if we had the courage; and when we move forward, we blame ourselves for doing so.
Thus did Ursus. He shuddered as he thought,—
Thus did Ursus. He shuddered as he thought,—
"Here are things going wrong. I should have found it out soon enough. What business had I to follow Gwynplaine?"
"Here are things going wrong. I should have figured it out sooner. What right did I have to follow Gwynplaine?"
Having made this reflection, man being but self-contradiction, he increased his pace, and, mastering his anxiety, hastened to get nearer the cortège, so as not to break, in the maze of small streets, the thread between Gwynplaine and himself.
Having thought this over, man, being full of contradictions, quickened his pace and, overcoming his anxiety, rushed to get closer to the cortège, so he wouldn’t lose the connection between Gwynplaine and himself in the twists and turns of the narrow streets.
The cortège of police could not move quickly, on account of its solemnity.
The cortège of police couldn’t move fast because of its seriousness.
The wapentake led it.
The district led it.
The justice of the quorum closed it.
The justice of the group wrapped it up.
This order compelled a certain deliberation of movement.
This order required careful thought before acting.
All the majesty possible in an official shone in the justice of the quorum. His costume held a middle place between the splendid robe of a doctor of music of Oxford and the sober black habiliments of a doctor of divinity of Cambridge. He wore the dress of a gentleman under a long godebert, which is a mantle trimmed with the fur of the Norwegian hare. He was half Gothic and half modern, wearing a wig like Lamoignon, and sleeves like Tristan l'Hermite. His great round eye watched Gwynplaine with the fixedness of an owl's.
All the grandeur of an official was evident in the fairness of the group. His outfit was a blend of the impressive robe of an Oxford music doctor and the formal black attire of a Cambridge divinity doctor. He wore a gentleman's attire beneath a long godebert, which is a mantle trimmed with Norwegian hare fur. He was a mix of Gothic and modern styles, sporting a wig like Lamoignon and sleeves reminiscent of Tristan l'Hermite. His large, round eye observed Gwynplaine with the intensity of an owl.
He walked with a cadence. Never did honest man look fiercer.
He walked with a rhythm. Never did an honest man look more intense.
Ursus, for a moment thrown out of his way in the tangled skein of streets, overtook, close to Saint Mary Overy, the cortège, which had fortunately been retarded in the churchyard by a fight between children and dogs—a common incident in the streets in those days. "Dogs and boys," say the old registers of police, placing the dogs before the boys.
Ursus, briefly sidetracked in the maze of streets, caught up with the procession near Saint Mary Overy, which had luckily been delayed in the churchyard by a scuffle between kids and dogs—a typical occurrence in the streets back then. "Dogs and boys," say the old police records, putting the dogs before the boys.
A man being taken before a magistrate by the police was, after all, an everyday affair, and each one having his own business to attend to, the few who had followed soon dispersed. There remained but Ursus on the track of Gwynplaine.
A man being taken to a magistrate by the police was, in the end, just a common occurrence, and everyone had their own things to deal with, so the few who had followed quickly scattered. Only Ursus stayed on the trail of Gwynplaine.
They passed before two chapels opposite to each other, belonging the one to the Recreative Religionists, the other to the Hallelujah League—sects which flourished then, and which exist to the present day.
They walked past two chapels facing each other, one belonging to the Recreative Religionists and the other to the Hallelujah League—groups that were thriving back then and still exist today.
Then the cortège wound from street to street, making a zigzag, choosing by preference lanes not yet built on, roads where the grass grew, and deserted alleys.
Then the cortege wound through the streets, zigzagging, preferably choosing lanes that weren't built on yet, roads with grass growing, and empty alleys.
At length it stopped.
Finally, it stopped.
It was in a little lane with no houses except two or three hovels. This narrow alley was composed of two walls—one on the left, low; the other on the right, high. The high wall was black, and built in the Saxon style with narrow holes, scorpions, and large square gratings over narrow loopholes. There was no window on it, but here and there slits, old embrasures of pierriers and archegayes. At the foot of this high wall was seen, like the hole at the bottom of a rat-trap, a little wicket gate, very elliptical in its arch.
It was in a narrow alley with hardly any houses, just two or three rundown shacks. This tight passage was flanked by two walls—one on the left, low; the other on the right, tall. The tall wall was black, built in the Saxon style, featuring narrow openings, scorpions, and large square grates over tight loopholes. There were no windows on it, but here and there were slits, old embrasures of pierriers and archegayes. At the base of this tall wall was a small, curved wicket gate, resembling the hole at the bottom of a rat trap.
This small door, encased in a full, heavy girding of stone, had a grated peephole, a heavy knocker, a large lock, hinges thick and knotted, a bristling of nails, an armour of plates, and hinges, so that altogether it was more of iron than of wood.
This small door, surrounded by a thick, heavy frame of stone, featured a grated peephole, a heavy knocker, a large lock, thick and twisted hinges, a bunch of nails, a layer of plates, and more hinges, making it seem more like iron than wood.
There was no one in the lane—no shops, no passengers; but in it there was heard a continual noise, as if the lane ran parallel to a torrent. There was a tumult of voices and of carriages. It seemed as if on the other side of the black edifice there must be a great street, doubtless the principal street of Southwark, one end of which ran into the Canterbury road, and the other on to London Bridge.
There was nobody in the lane—no shops, no people; but it was filled with a constant noise, as if the lane was next to a rushing river. There was a mix of voices and the sound of carriages. It felt like behind the dark building there must be a big street, probably the main street of Southwark, one end connecting to the Canterbury road and the other leading to London Bridge.
All the length of the lane, except the cortège which surrounded Gwynplaine, a watcher would have seen no other human face than the pale profile of Ursus, hazarding a hall advance from the shadow of the corner of the wall—looking, yet fearing to see. He had posted himself behind the wall at a turn of the lane.
All along the lane, except for the cortège surrounding Gwynplaine, a bystander would have noticed no other human face than the pale profile of Ursus, cautiously peeking out from the shadow of the wall corner—looking, yet afraid to see. He had positioned himself behind the wall at a bend in the lane.
The constables grouped themselves before the wicket. Gwynplaine was in the centre, the wapentake and his baton of iron being now behind him.
The constables gathered in front of the gate. Gwynplaine was in the middle, with the wapentake and his iron baton now behind him.
The justice of the quorum raised the knocker, and struck the door three times. The loophole opened.
The judge of the group raised the knocker and knocked on the door three times. The peephole opened.
The justice of the quorum said,—
The justice of the group said,—
"By order of her Majesty."
"By order of Her Majesty."
The heavy door of oak and iron turned on its hinges, making a chilly opening, like the mouth of a cavern. A hideous depth yawned in the shadow.
The heavy oak and iron door swung open, creating a cold gap, like the mouth of a cave. A terrifying void gaped in the darkness.
Ursus saw Gwynplaine disappear within it.
Ursus watched Gwynplaine vanish inside it.
CHAPTER V.
A FEARFUL PLACE.
The wapentake entered behind Gwynplaine.
The wapentake followed Gwynplaine.
Then the justice of the quorum.
Then the fairness of the group.
Then the constables.
Then the officers.
The wicket was closed.
The wicket is closed.
The heavy door swung to, closing hermetically on the stone sills, without any one seeing who had opened or shut it. It seemed as if the bolts re-entered their sockets of their own act. Some of these mechanisms, the inventions of ancient intimidation, still exist in old prisons—doors of which you saw no doorkeeper. With them the entrance to a prison becomes like the entrance to a tomb.
The heavy door swung shut, sealing tightly against the stone frames, with no one seeing who had opened or closed it. It felt like the bolts slid back into place on their own. Some of these mechanisms, inventions of old fear, still exist in ancient prisons—doors that had no visible doorkeeper. With them, the entrance to a prison feels like the entrance to a tomb.
This wicket was the lower door of Southwark Jail.
This gate was the lower entrance of Southwark Jail.
There was nothing in the harsh and worm-eaten aspect of this prison to soften its appropriate air of rigour.
There was nothing in the grim and decayed look of this prison to soften its fitting atmosphere of strictness.
Originally a pagan temple, built by the Catieuchlans for the Mogons, ancient English gods, it became a palace for Ethelwolf and a fortress for Edward the Confessor; then it was elevated to the dignity of a prison, in 1199, by John Lackland. Such was Southwark Jail. This jail, at first intersected by a street, like Chenonceaux by a river, had been for a century or two a gate—that is to say, the gate of the suburb; the passage had then been walled up. There remain in England some prisons of this nature. In London, Newgate; at Canterbury, Westgate; at Edinburgh, Canongate. In France the Bastile was originally a gate.
Originally a pagan temple built by the Catieuchlans for the Mogons, ancient English gods, it became a palace for Ethelwolf and a fortress for Edward the Confessor; then it was turned into a prison in 1199 by John Lackland. That was Southwark Jail. This jail, initially crossed by a street, like Chenonceaux by a river, had served for a century or two as the gate for the suburb; that passage had since been sealed off. There are still some prisons of this kind in England. In London, there's Newgate; in Canterbury, Westgate; in Edinburgh, Canongate. In France, the Bastile was originally a gate.
Almost all the jails of England present the same appearance—a high wall without and a hive of cells within. Nothing could be more funereal than the appearance of those prisons, where spiders and justice spread their webs, and where John Howard, that ray of light, had not yet penetrated. Like the old Gehenna of Brussels, they might well have been designated Treurenberg—the house of tears.
Almost all the jails in England look the same—a tall wall on the outside and a bunch of cells inside. Nothing looks more gloomy than those prisons, where spiders and justice spin their webs, and where John Howard, that beacon of hope, had not yet arrived. Like the old Gehenna of Brussels, they could easily be called Treurenberg—the house of tears.
Men felt before such buildings, at once so savage and inhospitable, the same distress that the ancient navigators suffered before the hell of slaves mentioned by Plautus, islands of creaking chains, ferricrepiditæ insulæ, when they passed near enough to hear the clank of the fetters.
Men felt before such buildings, which were both brutal and unwelcoming, the same distress that ancient navigators experienced before the torturous slave islands mentioned by Plautus, the islands of creaking chains, ferricrepiditæ insulæ, when they got close enough to hear the clanking of the shackles.
Southwark Jail, an old place of exorcisms and torture, was originally used solely for the imprisonment of sorcerers, as was proved by two verses engraved on a defaced stone at the foot of the wicket,—
Southwark Jail, an old site of exorcisms and torture, was originally used just for imprisoning sorcerers, as shown by two lines carved on a damaged stone at the foot of the gate,—
Sunt arreptitii, vexati dæmone multo
They are possessed, tormented by a demon.
Est energumenus, quem dæmon possidet unus.
Est energumenus, quem dæmon possidet unus.
Lines which draw a subtle delicate distinction between the demoniac and man possessed by a devil.
Lines that make a subtle, delicate distinction between the demonic and a person possessed by a devil.
At the bottom of this inscription, nailed flat against the wall, was a stone ladder, which had been originally of wood, but which had been changed into stone by being buried in earth of petrifying quality at a place called Apsley Gowis, near Woburn Abbey.
At the bottom of this inscription, nailed flat against the wall, was a stone ladder, which had originally been made of wood but had turned into stone after being buried in petrifying earth at a place called Apsley Gowis, near Woburn Abbey.
The prison of Southwark, now demolished, opened on two streets, between which, as a gate, it formerly served as means of communication. It had two doors. In the large street a door, apparently used by the authorities; and in the lane the door of punishment, used by the rest of the living and by the dead also, because when a prisoner in the jail died it was by that issue that his corpse was carried out. A liberation not to be despised. Death is release into infinity.
The Southwark prison, now torn down, opened onto two streets, which it used to connect like a gateway. It had two doors. On the main street was a door, likely used by the authorities, and in the back alley was the punishment door, used by both the living and the dead, since when a prisoner died in jail, it was through that exit that their body was taken out. A release not to be underestimated. Death is freedom into the infinite.
It was by the gate of punishment that Gwynplaine had been taken into prison. The lane, as we have said, was nothing but a little passage, paved with flints, confined between two opposite walls. There is one of the same kind at Brussels called Rue d'une Personne. The walls were unequal in height. The high one was the prison; the low one, the cemetery—the enclosure for the mortuary remains of the jail—was not higher than the ordinary stature of a man. In it was a gate almost opposite the prison wicket. The dead had only to cross the street; the cemetery was but twenty paces from the jail. On the high wall was affixed a gallows; on the low one was sculptured a Death's head. Neither of these walls made its opposite neighbour more cheerful.
Gwynplaine was taken to prison by the punishment gate. The lane, as we mentioned, was just a narrow path paved with stones, squeezed between two walls. There's a similar one in Brussels called Rue d'une Personne. The walls were different heights. The taller one was the prison; the shorter one, the cemetery—the area for the bodies of those who died in jail—was about the height of an average person. It had a gate almost directly across from the prison entrance. The dead only had to cross the street; the cemetery was just twenty steps from the jail. A gallows was attached to the tall wall, while a skull was carved into the low one. Neither wall made the other any more uplifting.
CHAPTER VI.
THE KIND OF MAGISTRACY UNDER THE WIGS OF FORMER DAYS.
Any one observing at that moment the other side of the prison—its façade—would have perceived the high street of Southwark, and might have remarked, stationed before the monumental and official entrance to the jail, a travelling carriage, recognized as such by its imperial. A few idlers surrounded the carriage. On it was a coat of arms, and a personage had been seen to descend from it and enter the prison. "Probably a magistrate," conjectured the crowd. Many of the English magistrates were noble, and almost all had the right of bearing arms. In France blazon and robe were almost contradictory terms. The Duke Saint-Simon says, in speaking of magistrates, "people of that class." In England a gentleman was not despised for being a judge.
Anyone watching at that moment the other side of the prison—its facade—would have seen Southwark's high street and might have noticed a traveling carriage parked in front of the grand official entrance to the jail, identifiable by its crest. A few bystanders gathered around the carriage. It displayed a coat of arms, and someone was seen getting out of it and entering the prison. "Probably a magistrate," the crowd guessed. Many English magistrates were nobility, and almost all had the right to bear arms. In France, heraldry and legal robes were nearly opposites. The Duke Saint-Simon mentions "people of that class" when speaking about magistrates. In England, a gentleman wasn't looked down upon for being a judge.
There are travelling magistrates in England; they are called judges of circuit, and nothing was easier than to recognize the carriage as the vehicle of a judge on circuit. That which was less comprehensible was, that the supposed magistrate got down, not from the carriage itself, but from the box, a place which is not habitually occupied by the owner. Another unusual thing. People travelled at that period in England in two ways—by coach, at the rate of a shilling for five miles; and by post, paying three half-pence per mile, and twopence to the postillion after each stage. A private carriage, whose owner desired to travel by relays, paid as many shillings per horse per mile as the horseman paid pence. The carriage drawn up before the jail in Southwark had four horses and two postillions, which displayed princely state. Finally, that which excited and disconcerted conjectures to the utmost was the circumstance that the carriage was sedulously shut up. The blinds of the windows were closed up. The glasses in front were darkened by blinds; every opening by which the eye might have penetrated was masked. From without, nothing within could be seen, and most likely from within, nothing could be seen outside. However, it did not seem probable that there was any one in the carriage.
There are traveling judges in England; they're known as circuit judges, and it was easy to recognize the carriage as one belonging to a judge on the circuit. What was harder to understand was that the supposed judge got down, not from the carriage itself, but from the driver's seat, a spot typically not occupied by the owner. Another odd thing was that people traveled in England during that time in two ways—by coach, costing a shilling for five miles; and by post, paying three halfpennies per mile, plus two pence to the postboy after each leg of the journey. A private carriage, if the owner wanted to travel using relays, paid as many shillings per horse per mile as the horseman paid pence. The carriage parked outside the jail in Southwark had four horses and two postboys, which looked quite grand. Finally, what stirred up the most speculation and confusion was the fact that the carriage was tightly shut. The window blinds were closed. The front glass was covered with curtains; every opening that might allow someone to see inside was blocked. From the outside, nothing could be seen within, and most likely from inside, nothing could be seen outside. However, it didn't seem likely that there was anyone in the carriage.
Southwark being in Surrey, the prison was within the jurisdiction of the sheriff of the county.
Southwark, located in Surrey, meant that the prison fell under the authority of the county sheriff.
Such distinct jurisdictions were very frequent in England. Thus, for example, the Tower of London was not supposed to be situated in any county; that is to say, that legally it was considered to be in air. The Tower recognized no authority of jurisdiction except in its own constable, who was qualified as custos turris. The Tower had its jurisdiction, its church, its court of justice, and its government apart. The authority of its custos, or constable, extended, beyond London, over twenty-one hamlets. As in Great Britain legal singularities engraft one upon another the office of the master gunner of England was derived from the Tower of London. Other legal customs seem still more whimsical. Thus, the English Court of Admiralty consults and applies the laws of Rhodes and of Oleron, a French island which was once English.
Such distinct jurisdictions were quite common in England. For instance, the Tower of London wasn’t considered to be within any county; legally, it was seen as being in the air. The Tower didn’t recognize any authority except for its own constable, known as custos turris. The Tower had its own jurisdiction, church, court of justice, and independent government. The authority of its custos, or constable, extended beyond London to twenty-one hamlets. In Great Britain, legal peculiarities build on one another, so the role of the master gunner of England originated from the Tower of London. Other legal customs seem even more unusual. For example, the English Court of Admiralty consults and applies the laws of Rhodes and Oleron, a French island that was once under English control.
The sheriff of a county was a person of high consideration. He was always an esquire, and sometimes a knight. He was called spectabilis in the old deeds, "a man to be looked at"—kind of intermediate title between illustris and clarissimus; less than the first, more than the second. Long ago the sheriffs of the counties were chosen by the people; but Edward II., and after him Henry VI., having claimed their nomination for the crown, the office of sheriff became a royal emanation.
The sheriff of a county was a person of great importance. He was always an esquire, and sometimes a knight. He was referred to as spectabilis in the old documents, meaning "a man to be noticed"—a sort of middle title between illustris and clarissimus; less than the first, more than the second. Long ago, sheriffs were elected by the people; however, Edward II and later Henry VI claimed the right to appoint them, which made the position of sheriff a royal appointment.
They all received their commissions from majesty, except the sheriff of Westmoreland, whose office was hereditary, and the sheriffs of London and Middlesex, who were elected by the livery in the common hall. Sheriffs of Wales and Chester possessed certain fiscal prerogatives. These appointments are all still in existence in England, but, subjected little by little to the friction of manners and ideas, they have lost their old aspects. It was the duty of the sheriff of the county to escort and protect the judges on circuit. As we have two arms, he had two officers; his right arm the under-sheriff, his left arm the justice of the quorum. The justice of the quorum, assisted by the bailiff of the hundred, termed the wapentake, apprehended, examined, and, under the responsibility of the sheriff, imprisoned, for trial by the judges of circuit, thieves, murderers, rebels, vagabonds, and all sorts of felons.
They all received their positions from the king, except for the sheriff of Westmoreland, whose role was inherited, and the sheriffs of London and Middlesex, who were chosen by the livery in the common hall. The sheriffs of Wales and Chester had certain financial privileges. These roles still exist in England today, but, over time, they have gradually changed in response to evolving customs and ideas. It was the sheriff's responsibility in the county to escort and protect the judges during their travels. Just as we have two arms, he had two officers; his right arm was the under-sheriff, and his left arm was the justice of the quorum. The justice of the quorum, with help from the bailiff of the hundred, called the wapentake, would arrest, question, and, under the sheriff's authority, hold for the judges of the circuit, thieves, murderers, rebels, vagrants, and all kinds of criminals.
The shade of difference between the under-sheriff and the justice of the quorum, in their hierarchical service towards the sheriff, was that the under-sheriff accompanied and the justice of the quorum assisted.
The slight difference between the undersheriff and the justice of the quorum, in their roles serving the sheriff, was that the undersheriff accompanied and the justice of the quorum assisted.
The sheriff held two courts—one fixed and central, the county court; and a movable court, the sheriff's turn. He thus represented both unity and ubiquity. He might as judge be aided and informed on legal questions by the serjeant of the coif, called sergens coifæ, who is a serjeant-at-law, and who wears under his black skull-cap a fillet of white Cambray lawn.
The sheriff had two courts—one permanent and central, the county court; and a traveling court, the sheriff's turn. He represented both stability and accessibility. As a judge, he could be assisted and advised on legal matters by the serjeant of the coif, called sergens coifæ, who is a serjeant-at-law and wears a white Cambray lawn band under his black skull cap.
The sheriff delivered the jails. When he arrived at a town in his province, he had the right of summary trial of the prisoners, of which he might cause either their release or the execution. This was called a jail delivery. The sheriff presented bills of indictment to the twenty-four members of the grand jury. If they approved, they wrote above, billa vera; if the contrary, they wrote ignoramus. In the latter case the accusation was annulled, and the sheriff had the privilege of tearing up the bill. If during the deliberation a juror died, this legally acquitted the prisoner and made him innocent, and the sheriff, who had the privilege of arresting the accused, had also that of setting him at liberty.
The sheriff conducted jail deliverance. When he arrived in a town within his jurisdiction, he had the authority to quickly try the prisoners, which meant he could either release them or order their execution. This process was known as jail delivery. The sheriff presented charges to the twenty-four members of the grand jury. If they approved, they wrote above, billa vera; if not, they wrote ignoramus. In the latter case, the accusation was dismissed, and the sheriff had the right to tear up the charge. If a juror died during the deliberation, this acquitted the prisoner and deemed them innocent, and the sheriff, who could arrest the accused, also had the authority to release them.
That which made the sheriff singularly feared and respected was that he had the charge of executing all the orders of her Majesty—a fearful latitude. An arbitrary power lodges in such commissions.
What made the sheriff uniquely feared and respected was that he had the responsibility of carrying out all of her Majesty's orders—a daunting authority. Such commissions hold an arbitrary power.
The officers termed vergers, the coroners making part of the sheriff's cortège, and the clerks of the market as escort, with gentlemen on horseback and their servants in livery, made a handsome suite. The sheriff, says Chamberlayne, is the "life of justice, of law, and of the country."
The officers known as vergers, the coroners who are part of the sheriff's cortège, and the market clerks as escorts, along with gentlemen on horseback and their servants in uniforms, made an impressive group. The sheriff, according to Chamberlayne, is the "essence of justice, law, and the nation."
In England an insensible demolition constantly pulverizes and dissevers laws and customs. You must understand in our day that neither the sheriff, the wapentake, nor the justice of the quorum could exercise their functions as they did then. There was in the England of the past a certain confusion of powers, whose ill-defined attributes resulted in their overstepping their real bounds at times—a thing which would be impossible in the present day. The usurpation of power by police and justices has ceased. We believe that even the word "wapentake" has changed its meaning. It implied a magisterial function; now it signifies a territorial division: it specified the centurion; it now specifies the hundred (centum).
In England, a mindless destruction constantly breaks down and separates laws and traditions. You need to realize that nowadays, neither the sheriff, the wapentake, nor the justice of the quorum can operate the way they used to. In the past, England had a certain confusion of powers, where poorly defined roles sometimes led them to exceed their actual limits—a situation that would be impossible today. The abuse of power by police and justices has ended. We believe that even the word "wapentake" has changed its meaning. It used to refer to a judicial function; now it refers to a territorial division: it identified the centurion; now it identifies the hundred (centum).
Moreover, in those days the sheriff of the county combined with something more and something less, and condensed in his own authority, which was at once royal and municipal, the two magistrates formerly called in France the civil lieutenant of Paris and the lieutenant of police. The civil lieutenant of Paris, Monsieur, is pretty well described in an old police note: "The civil lieutenant has no dislike to domestic quarrels, because he always has the pickings" (22nd July 1704). As to the lieutenant of police, he was a redoubtable person, multiple and vague. The best personification of him was René d'Argenson, who, as was said by Saint-Simon, displayed in his face the three judges of hell united.
Additionally, back then, the county sheriff held a position that was both more and less than just a sheriff, consolidating his power in a way that was both royal and municipal, similar to the two magistrates in France known as the civil lieutenant of Paris and the lieutenant of police. The civil lieutenant of Paris, as described in an old police memo, was someone who "didn't mind domestic disputes since he always profited from them" (22nd July 1704). As for the lieutenant of police, he was a formidable figure, both complex and ambiguous. The best representation of him was René d'Argenson, who, as Saint-Simon noted, had a face that seemed to embody the three judges of hell all at once.
The three judges of hell sat, as has already been seen, at Bishopsgate, London.
The three judges of hell sat, as has already been seen, at Bishopsgate, London.
CHAPTER VII.
SHUDDERING.
When Gwynplaine heard the wicket shut, creaking in all its bolts, he trembled. It seemed to him that the door which had just closed was the communication between light and darkness—opening on one side on the living, human crowd, and on the other on a dead world; and now that everything illumined by the sun was behind him, that he had stepped over the boundary of life and was standing without it, his heart contracted. What were they going to do with him? What did it all mean? Where was he?
When Gwynplaine heard the little door shut, creaking in all its locks, he shook with fear. It felt to him that the door he just closed was the barrier between light and darkness—opening on one side to the lively, human crowd, and on the other to a lifeless world; and now that everything brightened by the sun was behind him, and he had crossed the line of life and was standing outside of it, his heart tightened. What were they going to do with him? What did all this mean? Where was he?
He saw nothing around him; he found himself in perfect darkness. The shutting of the door had momentarily blinded him. The window in the door had been closed as well. No loophole, no lamp. Such were the precautions of old times. It was forbidden to light the entrance to the jails, so that the newcomers should take no observations.
He saw nothing around him; he was surrounded by complete darkness. The closing of the door had momentarily blinded him. The window in the door was also shut. No openings, no lights. That’s how things were done back then. It was against the rules to light the entrance to the jails, so newcomers couldn’t gather any information.
Gwynplaine extended his arms, and touched the wall on the right side and on the left. He was in a passage. Little by little a cavernous daylight exuding, no one knows whence, and which floats about dark places, and to which the dilatation of the pupil adjusts itself slowly, enabled him to distinguish a feature here and there, and the corridor was vaguely sketched out before him.
Gwynplaine stretched out his arms and touched the wall on both sides. He was in a hallway. Gradually, a strange daylight that seemed to come from nowhere filled the dark space, slowly allowing his eyes to adjust. He began to make out some features, and the corridor was faintly outlined in front of him.
Gwynplaine, who had never had a glimpse of penal severities, save in the exaggerations of Ursus, felt as though seized by a sort of vague gigantic hand. To be caught in the mysterious toils of the law is frightful. He who is brave in all other dangers is disconcerted in the presence of justice. Why? Is it that the justice of man works in twilight, and the judge gropes his way? Gwynplaine remembered what Ursus had told him of the necessity for silence. He wished to see Dea again; he felt some discretionary instinct, which urged him not to irritate. Sometimes to wish to be enlightened is to make matters worse; on the other hand, however, the weight of the adventure was so overwhelming that he gave way at length, and could not restrain a question.
Gwynplaine, who had never experienced severe punishment except through Ursus's exaggerations, felt as if he were grasped by a sort of enormous hand. Getting caught in the mysterious traps of the law is terrifying. A person who is brave in all other dangers can feel unsettled in front of justice. Why is that? Is it because human justice operates in shadows, and the judge fumbles in the dark? Gwynplaine recalled what Ursus had told him about the need for silence. He wanted to see Dea again; he felt an instinct that warned him not to provoke anything. Sometimes wanting clarity just complicates things further; however, the burden of the situation was so heavy that he eventually gave in and couldn’t hold back a question.
"Gentlemen," said he, "whither are you taking me?"
"Gentlemen," he said, "where are you taking me?"
They made no answer.
They didn't respond.
It was the law of silent capture, and the Norman text is formal: A silentiariis ostio, præpositis introducti sunt.
It was the rule of silent capture, and the Norman text is formal: A silentiariis ostio, præpositis introducti sunt.
This silence froze Gwynplaine. Up to that moment he had believed himself to be firm: he was self-sufficing. To be self-sufficing is to be powerful. He had lived isolated from the world, and imagined that being alone he was unassailable; and now all at once he felt himself under the pressure of a hideous collective force. How was he to combat that horrible anonyma, the law? He felt faint under the perplexity; a fear of an unknown character had found a fissure in his armour; besides, he had not slept, he had not eaten, he had scarcely moistened his lips with a cup of tea. The whole night had been passed in a kind of delirium, and the fever was still on him. He was thirsty; perhaps hungry. The craving of the stomach disorders everything. Since the previous evening all kinds of incidents had assailed him. The emotions which had tormented had sustained him. Without the storm a sail would be a rag. But his was the excessive feebleness of the rag, which the wind inflates till it tears it. He felt himself sinking. Was he about to fall without consciousness on the pavement? To faint is the resource of a woman, and the humiliation of a man. He hardened himself, but he trembled. He felt as one losing his footing.
This silence stunned Gwynplaine. Until that moment, he had thought he was strong: he was self-sufficient. Being self-sufficient means being powerful. He had lived away from the world and thought that being alone made him untouchable; but now he suddenly felt the weight of a terrifying collective force. How could he fight against that horrible nameless entity, the law? He felt weak from confusion; a fear of the unknown had found a crack in his armor; besides, he had not slept, he hadn’t eaten, and he had barely wet his lips with a cup of tea. The whole night had been spent in a kind of delirium, and the fever still gripped him. He was thirsty; maybe even hungry. The body's cravings disrupt everything. Since the night before, all sorts of events had bombarded him. The emotions that had tormented him had also kept him going. Without the storm, a sail would just be tattered cloth. But his was the extreme weakness of that cloth, which the wind inflates until it rips. He felt himself sinking. Was he about to fall unconscious onto the pavement? Fainting is a woman's escape and a man's humiliation. He steeled himself, but he trembled. He felt like someone losing their balance.
CHAPTER VIII.
LAMENTATION.
They began to move forward.
They started to move forward.
They advanced through the passage.
They moved through the passage.
There was no preliminary registry, no place of record. The prisons in those times were not overburdened with documents. They were content to close round you without knowing why. To be a prison, and to hold prisoners, sufficed.
There was no initial registry, no place to keep records. Prisons back then weren't swamped with paperwork. They were fine with enclosing you without understanding the reason. Simply being a prison and holding prisoners was enough.
The procession was obliged to lengthen itself out, taking the form of the corridor. They walked almost in single file; first the wapentake, then Gwynplaine, then the justice of the quorum, then the constables, advancing in a group, and blocking up the passage behind Gwynplaine as with a bung. The passage narrowed. Now Gwynplaine touched the walls with both his elbows. In the roof, which was made of flints, dashed with cement, was a succession of granite arches jutting out, and still more contracting the passage. He had to stoop to pass under them. No speed was possible in that corridor. Any one trying to escape through it would have been compelled to move slowly. The passage twisted. All entrails are tortuous; those of a prison as well as those of a man. Here and there, sometimes to the right and sometimes to the left, spaces in the wall, square and closed by large iron gratings, gave glimpses of flights of stairs, some descending and some ascending.
The procession had to stretch out, forming a corridor. They walked nearly in single file: first the wapentake, then Gwynplaine, then the justice of the quorum, followed by the constables who clustered together, blocking the path behind Gwynplaine like a stopper. The passage grew narrower. Now Gwynplaine brushed against the walls with both his elbows. The ceiling, made of flint mixed with cement, featured a series of granite arches that jutted out, further closing in the passage. He had to bend down to get under them. There was no way to move quickly in that corridor. Anyone trying to escape through it would have to go slowly. The passage twisted. All insides are winding; those of a prison just like those of a person. Here and there, sometimes to the right and sometimes to the left, square openings in the wall, secured by large iron grates, revealed glimpses of staircases, some going down and some going up.
They reached a closed door; it opened. They passed through, and it closed again. Then they came to a second door, which admitted them; then to a third, which also turned on its hinges. These doors seemed to open and shut of themselves. No one was to be seen. While the corridor contracted, the roof grew lower, until at length it was impossible to stand upright. Moisture exuded from the wall. Drops of water fell from the vault. The slabs that paved the corridor were clammy as an intestine. The diffused pallor that served as light became more and more a pall. Air was deficient, and, what was singularly ominous, the passage was a descent.
They reached a closed door; it opened. They walked through, and it closed behind them. Then they arrived at a second door, which let them in; then a third, which also swung open. These doors seemed to open and close by themselves. No one was in sight. As the corridor narrowed, the ceiling lowered, until eventually it was impossible to stand up straight. Moisture oozed from the walls. Drops of water fell from above. The stones that lined the corridor were chilly to the touch. The dim light grew more and more oppressive. The air was thin, and, which felt particularly foreboding, the passage sloped downward.
Close observation was necessary to perceive that there was such a descent. In darkness a gentle declivity is portentous. Nothing is more fearful than the vague evils to which we are led by imperceptible degrees.
Close observation was necessary to notice that there was such a decline. In darkness, a gentle slope is ominous. Nothing is more frightening than the unclear dangers that we are led to by slight changes.
It is awful to descend into unknown depths.
It’s terrifying to go down into unknown depths.
How long had they proceeded thus? Gwynplaine could not tell.
How long had they been going on like this? Gwynplaine couldn't say.
Moments passed under such crushing agony seem immeasurably prolonged.
Moments spent in such intense pain feel endless.
Suddenly they halted.
They suddenly stopped.
The darkness was intense.
The darkness was deep.
The corridor widened somewhat. Gwynplaine heard close to him a noise of which only a Chinese gong could give an idea; something like a blow struck against the diaphragm of the abyss. It was the wapentake striking his wand against a sheet of iron.
The corridor opened up a bit. Gwynplaine heard a sound nearby that could only be compared to a Chinese gong; it was like a blow hitting the diaphragm of the void. It was the wapentake hitting his wand against a sheet of iron.
That sheet of iron was a door.
That piece of metal was a door.
Not a door on hinges, but a door which was raised and let down.
Not a door on hinges, but a door that was lifted and lowered.
Something like a portcullis.
Like a portcullis.
There was a sound of creaking in a groove, and Gwynplaine was suddenly face to face with a bit of square light. The sheet of metal had just been raised into a slit in the vault, like the door of a mouse-trap.
There was a creaking sound in a groove, and Gwynplaine suddenly found himself face to face with a patch of square light. The sheet of metal had just been lifted up into a slit in the ceiling, like the door of a mouse trap.
An opening had appeared.
A gap had appeared.
The light was not daylight, but glimmer; but on the dilated eyeballs of Gwynplaine the pale and sudden ray struck like a flash of lightning.
The light wasn’t daylight, but a shimmer; yet on Gwynplaine's wide-open eyes, the pale and sudden beam hit like a bolt of lightning.
It was some time before he could see anything. To see with dazzled eyes is as difficult as to see in darkness.
It took him a while to see anything. Seeing with dazzled eyes is just as hard as seeing in the dark.
At length, by degrees, the pupil of his eye became proportioned to the light, just as it had been proportioned to the darkness, and he was able to distinguish objects. The light, which at first had seemed too bright, settled into its proper hue and became livid. He cast a glance into the yawning space before him, and what he saw was terrible.
Eventually, the pupil of his eye adjusted to the light, just as it had adjusted to the darkness before, and he was able to see objects clearly. The light, which had initially felt blinding, settled into its normal color and turned pale. He took a look into the vast emptiness in front of him, and what he saw was horrifying.
At his feet were about twenty steps, steep, narrow, worn, almost perpendicular, without balustrade on either side, a sort of stone ridge cut out from the side of a wall into stairs, entering and leading into a very deep cell. They reached to the bottom.
At his feet were about twenty steps, steep, narrow, worn, almost vertical, without a railing on either side, a kind of stone ridge carved out from the wall into stairs, going down into a very deep cell. They went all the way to the bottom.
The cell was round, roofed by an ogee vault with a low arch, from the fault of level in the top stone of the frieze, a displacement common to cells under heavy edifices.
The cell was circular, covered by a curved vault with a low arch, due to the unevenness in the top stone of the frieze, a common issue in cells located beneath large buildings.
The kind of hole acting as a door, which the sheet of iron had just revealed, and on which the stairs abutted, was formed in the vault, so that the eye looked down from it as into a well.
The kind of hole that served as a door, which the sheet of iron had just exposed, and where the stairs ended, was shaped in the vault, allowing the eye to look down from it as if into a well.
The cell was large, and if it was the bottom of a well, it must have been a cyclopean one. The idea that the old word "cul-de-basse-fosse" awakens in the mind can only be applied to it if it were a lair of wild beasts.
The cell was spacious, and if it was the bottom of a well, it had to be an enormous one. The thought evoked by the old term "cul-de-basse-fosse" can only be relevant if it were a den for wild animals.
The cell was neither flagged nor paved. The bottom was of that cold, moist earth peculiar to deep places.
The cell was neither marked nor paved. The floor was made of that cold, damp earth typical of deep places.
In the midst of the cell, four low and disproportioned columns sustained a porch heavily ogival, of which the four mouldings united in the interior of the porch, something like the inside of a mitre. This porch, similar to the pinnacles under which sarcophagi were formerly placed, rose nearly to the top of the vault, and made a sort of central chamber in the cavern, if that could be called a chamber which had only pillars in place of walls.
In the middle of the cell, four short, awkward columns supported a heavily pointed porch, where the four moldings came together inside the porch, resembling the inside of a miter. This porch, similar to the arches where sarcophagi used to be placed, reached almost to the top of the vault and created a kind of central area in the cavern, if you could call it an area that only had pillars instead of walls.
From the key of the arch hung a brass lamp, round and barred like the window of a prison. This lamp threw around it—on the pillars, on the vault, on the circular wall which was seen dimly behind the pillars—a wan light, cut by bars of shadow.
From the key of the arch hung a brass lamp, round and barred like a prison window. This lamp cast a pale light around—on the pillars, on the vault, on the circular wall that was faintly visible behind the pillars—interrupted by bars of shadow.
This was the light which had at first dazzled Gwynplaine; now it threw out only a confused redness.
This was the light that had initially stunned Gwynplaine; now it only cast a muddled red glow.
There was no other light in the cell—neither window, nor door, nor loophole.
There was no other light in the cell—no window, no door, and no opening.
Between the four pillars, exactly below the lamp, in the spot where there was most light, a pale and terrible form lay on the ground.
Between the four pillars, right beneath the lamp, in the area with the most light, a pale and frightening figure lay on the ground.
It was lying on its back; a head was visible, of which the eyes were shut; a body, of which the chest was a shapeless mass; four limbs belonging to the body, in the position of the cross of Saint Andrew, were drawn towards the four pillars by four chains fastened to each foot and each hand.
It was lying on its back; a head was visible, with its eyes closed; a body, its chest a formless mass; four limbs belonging to the body, positioned like the cross of Saint Andrew, were pulled toward the four pillars by chains attached to each foot and hand.
These chains were fastened to an iron ring at the base of each column. The form was held immovable, in the horrible position of being quartered, and had the icy look of a livid corpse.
These chains were attached to an iron ring at the base of each column. The form was held firmly in place, in the terrifying position of being quartered, and had the cold appearance of a pale corpse.
It was naked. It was a man.
It was bare. It was a man.
Gwynplaine, as if petrified, stood at the top of the stairs, looking down. Suddenly he heard a rattle in the throat.
Gwynplaine, as if frozen, stood at the top of the stairs, looking down. Suddenly, he heard a rattling in his throat.
The corpse was alive.
The dead body was alive.
Close to the spectre, in one of the ogives of the door, on each side of a great seat, which stood on a large flat stone, stood two men swathed in long black cloaks; and on the seat an old man was sitting, dressed in a red robe—wan, motionless, and ominous, holding a bunch of roses in his hand.
Close to the ghost, in one of the arches of the door, on each side of a large seat that stood on a big flat stone, were two men wrapped in long black cloaks; and on the seat sat an old man wearing a red robe—pale, still, and foreboding, holding a bunch of roses in his hand.
The bunch of roses would have enlightened any one less ignorant that Gwynplaine. The right of judging with a nosegay in his hand implied the holder to be a magistrate, at once royal and municipal. The Lord Mayor of London still keeps up the custom. To assist the deliberations of the judges was the function of the earliest roses of the season.
The bunch of roses would have made anyone less clueless than Gwynplaine understand. Holding a nosegay meant that the person was a magistrate, both royal and municipal. The Lord Mayor of London still maintains this tradition. The earliest roses of the season were meant to aid the judges in their deliberations.
The old man seated on the bench was the sheriff of the county of Surrey.
The old man sitting on the bench was the sheriff of Surrey County.
His was the majestic rigidity of a Roman dignitary.
He had the impressive stiffness of a Roman official.
The bench was the only seat in the cell.
The bench was the only seat in the cell.
By the side of it was a table covered with papers and books, on which lay the long, white wand of the sheriff. The men standing by the side of the sheriff were two doctors, one of medicine, the other of law; the latter recognizable by the Serjeant's coif over his wig. Both wore black robes—one of the shape worn by judges, the other by doctors.
Next to it was a table piled with papers and books, on which rested the long, white wand of the sheriff. Standing beside the sheriff were two doctors, one a medical doctor and the other a lawyer; the latter identifiable by the Serjeant's coif worn over his wig. Both were dressed in black robes—one styled like a judge’s, the other like a doctor's.
Men of these kinds wear mourning for the deaths of which they are the cause.
Men like these mourn for the deaths they caused.
Behind the sheriff, at the edge of the flat stone under the seat, was crouched—with a writing-table near to him, a bundle of papers on his knees, and a sheet of parchment on the bundle—a secretary, in a round wig, with a pen in his hand, in the attitude of a man ready to write.
Behind the sheriff, at the edge of the flat stone beneath the seat, was a secretary crouched down, a writing table close by, a stack of papers on his lap, and a sheet of parchment resting on the bundle. He wore a round wig and held a pen, positioned as if he was ready to write.
This secretary was of the class called keeper of the bag, as was shown by a bag at his feet.
This secretary belonged to the class known as keeper of the bag, as indicated by a bag at his feet.
These bags, in former times employed in law processes, were termed bags of justice.
These bags, once used in legal proceedings, were called bags of justice.
With folded arms, leaning against a pillar, was a man entirely dressed in leather, the hangman's assistant.
With his arms crossed and leaning against a pillar, there stood a man fully dressed in leather, the hangman's assistant.
These men seemed as if they had been fixed by enchantment in their funereal postures round the chained man. None of them spoke or moved.
These men looked like they were frozen in some kind of spell, standing around the chained man in their somber positions. None of them said a word or moved.
There brooded over all a fearful calm.
There was a tense stillness hanging over everything.
What Gwynplaine saw was a torture chamber. There were many such in England.
What Gwynplaine saw was a torture chamber. There were many like it in England.
The crypt of Beauchamp Tower long served this purpose, as did also the cell in the Lollards' prison. A place of this nature is still to be seen in London, called "the Vaults of Lady Place." In this last-mentioned chamber there is a grate for the purpose of heating the irons.
The crypt of Beauchamp Tower served this purpose for a long time, as did the cell in the Lollards' prison. A place like this can still be seen in London, called "the Vaults of Lady Place." In this mentioned chamber, there is a grate for heating the irons.
All the prisons of King John's time (and Southwark Jail was one) had their chambers of torture.
All the prisons during King John's reign (including Southwark Jail) had their torture chambers.
The scene which is about to follow was in those days a frequent one in England, and might even, by criminal process, be carried out to-day, since the same laws are still unrepealed. England offers the curious sight of a barbarous code living on the best terms with liberty. We confess that they make an excellent family party.
The scene that’s about to unfold was common in England back then and could even still happen today through legal means since those laws are still in effect. England presents the strange situation of a harsh legal code coexisting peacefully with freedom. We admit that they do make for an interesting family gathering.
Some distrust, however, might not be undesirable. In the case of a crisis, a return to the penal code would not be impossible. English legislation is a tamed tiger with a velvet paw, but the claws are still there. Cut the claws of the law, and you will do well. Law almost ignores right. On one side is penalty, on the other humanity. Philosophers protest; but it will take some time yet before the justice of man is assimilated to the justice of God.
Some skepticism, however, might not be a bad thing. In a crisis, going back to the penal code wouldn't be out of the question. English law is like a tamed tiger with a soft touch, but the claws are still there. Remove the claws of the law, and you'll be fine. The law often overlooks what’s right. On one side is punishment, and on the other is compassion. Philosophers may argue; but it will take a while before human justice aligns with divine justice.
Respect for the law: that is the English phrase. In England they venerate so many laws, that they never repeal any. They save themselves from the consequences of their veneration by never putting them into execution. An old law falls into disuse like an old woman, and they never think of killing either one or the other. They cease to make use of them; that is all. Both are at liberty to consider themselves still young and beautiful. They may fancy that they are as they were. This politeness is called respect.
Respect for the law: that’s the English saying. In England, they value so many laws that they never get rid of any. They avoid the consequences of their reverence by never enforcing them. An old law becomes outdated like an elderly woman, and they never think about getting rid of either. They just stop using them; that’s all. Both are free to see themselves as still young and beautiful. They might believe they are the same as before. This courtesy is called respect.
Norman custom is very wrinkled. That does not prevent many an English judge casting sheep's eyes at her. They stick amorously to an antiquated atrocity, so long as it is Norman. What can be more savage than the gibbet? In 1867 a man was sentenced to be cut into four quarters and offered to a woman—the Queen.[18]
Norman custom is really outdated. That doesn't stop many English judges from looking at it with longing. They cling affectionately to an old, brutal practice, as long as it’s Norman. What could be more brutal than the gallows? In 1867, a man was sentenced to be cut into four parts and presented to a woman—the Queen. [18]
Still, torture was never practised in England. History asserts this as a fact. The assurance of history is wonderful.
Still, torture was never practiced in England. History confirms this as a fact. The certainty of history is remarkable.
Matthew of Westminster mentions that the "Saxon law, very clement and kind," did not punish criminals by death; and adds that "it limited itself to cutting off the nose and scooping out the eyes." That was all!
Matthew of Westminster mentions that the "Saxon law, very gentle and kind," did not punish criminals with death; and adds that "it only involved cutting off the nose and scooping out the eyes." That was it!
Gwynplaine, scared and haggard, stood at the top of the steps, trembling in every limb. He shuddered from head to foot. He tried to remember what crime he had committed. To the silence of the wapentake had succeeded the vision of torture to be endured. It was a step, indeed, forward; but a tragic one. He saw the dark enigma of the law under the power of which he felt himself increasing in obscurity.
Gwynplaine, frightened and worn out, stood at the top of the steps, shaking all over. He trembled from head to toe. He tried to recall what crime he had committed. The quiet of the council had been replaced by the image of the torture he was about to face. It was a step forward, but a tragic one. He saw the dark mystery of the law under which he felt himself slipping further into obscurity.
The human form lying on the earth rattled in its throat again.
The human figure lying on the ground let out another rattling sound from its throat.
Gwynplaine felt some one touching him gently on his shoulder.
Gwynplaine felt someone gently touching his shoulder.
It was the wapentake.
It was the district.
Gwynplaine knew that meant that he was to descend.
Gwynplaine knew that this meant he had to go down.
He obeyed.
He complied.
He descended the stairs step by step. They were very narrow, each eight or nine inches in height. There was no hand-rail. The descent required caution. Two steps behind Gwynplaine followed the wapentake, holding up his iron weapon; and at the same interval behind the wapentake, the justice of the quorum.
He went down the stairs slowly, one step at a time. They were really narrow, each about eight or nine inches high. There was no handrail. Going down required carefulness. Two steps behind Gwynplaine was the wapentake, raising his iron weapon; and at the same distance behind the wapentake was the justice of the quorum.
As he descended the steps, Gwynplaine felt an indescribable extinction of hope. There was death in each step. In each one that he descended there died a ray of the light within him. Growing paler and paler, he reached the bottom of the stairs.
As he walked down the stairs, Gwynplaine felt an overwhelming sense of hopelessness. Each step felt heavy with despair. With every step he took, a part of the light inside him faded away. Growing more and more pale, he finally reached the bottom of the stairs.
The larva lying chained to the four pillars still rattled in its throat.
The larva still rattled in its throat, chained to the four pillars.
A voice in the shadow said,—
A voice in the shadows said,—
"Approach!"
"Come here!"
It was the sheriff addressing Gwynplaine.
It was the sheriff speaking to Gwynplaine.
Gwynplaine took a step forward.
Gwynplaine stepped forward.
"Closer," said the sheriff.
"Come closer," said the sheriff.
The justice of the quorum murmured in the ear of Gwynplaine, so gravely that there was solemnity in the whisper, "You are before the sheriff of the county of Surrey."
The justice of the quorum whispered into Gwynplaine's ear with such seriousness that the whisper felt weighty, "You are in front of the sheriff of Surrey."
Gwynplaine advanced towards the victim extended in the centre of the cell. The wapentake and the justice of the quorum remained where they were, allowing Gwynplaine to advance alone.
Gwynplaine walked over to the victim lying in the center of the cell. The wapentake and the justice of the quorum stayed where they were, letting Gwynplaine approach on his own.
When Gwynplaine reached the spot under the porch, close to that miserable thing which he had hitherto perceived only from a distance, but which was a living man, his fear rose to terror. The man who was chained there was quite naked, except for that rag so hideously modest, which might be called the vineleaf of punishment, the succingulum of the Romans, and the christipannus of the Goths, of which the old Gallic jargon made cripagne. Christ wore but that shred on the cross.
When Gwynplaine arrived at the spot under the porch, close to that wretched figure he had only seen from a distance, but who was a living man, his fear turned into terror. The man who was chained there was completely naked, except for a rag that was appallingly modest, which could be called the vineleaf of punishment, the succingulum of the Romans, and the christipannus of the Goths, which the old Gallic language referred to as cripagne. Christ wore nothing but that shred on the cross.
The terror-stricken sufferer whom Gwynplaine now saw seemed a man of about fifty or sixty years of age. He was bald. Grizzly hairs of beard bristled on his chin. His eyes were closed, his mouth open. Every tooth was to be seen. His thin and bony face was like a death's-head. His arms and legs were fastened by chains to the four stone pillars in the shape of the letter X. He had on his breast and belly a plate of iron, and on this iron five or six large stones were laid. His rattle was at times a sigh, at times a roar.
The terror-stricken victim that Gwynplaine now saw appeared to be a man in his fifties or sixties. He was bald, with grizzled beard hairs sticking out from his chin. His eyes were closed, and his mouth was open, displaying every tooth. His thin, bony face looked like a skull. His arms and legs were chained to four stone pillars arranged in an X shape. He had a plate of iron on his chest and stomach, with five or six large stones placed on top of it. His sounds ranged from sighs to roars.
The sheriff, still holding his bunch of roses, took from the table with the hand which was free his white wand, and standing up said, "Obedience to her Majesty."
The sheriff, still holding his bouquet of roses, picked up the white wand from the table with his free hand and stood up, saying, "Obedience to her Majesty."
Then he replaced the wand upon the table.
Then he put the wand back on the table.
Then in words long-drawn as a knell, without a gesture, and immovable as the sufferer, the sheriff, raising his voice, said,—
Then, in a tone drawn out like a funeral bell, without any movement, and as still as the person in pain, the sheriff raised his voice and said,—
"Man, who liest here bound in chains, listen for the last time to the voice of justice; you have been taken from your dungeon and brought to this jail. Legally summoned in the usual forms, formaliis verbis pressus; not regarding to lectures and communications which have been made, and which will now be repeated, to you; inspired by a bad and perverse spirit of tenacity, you have preserved silence, and refused to answer the judge. This is a detestable licence, which constitutes, among deeds punishable by cashlit, the crime and misdemeanour of overseness."
"Man, who lies here bound in chains, listen for the last time to the voice of justice; you have been taken from your dungeon and brought to this jail. Legally summoned in the usual ways, formaliis verbis pressus; disregarding the lectures and communications that have been made, and which will now be repeated to you; inspired by a bad and stubborn spirit, you have chosen to remain silent and refused to answer the judge. This is a terrible abuse, which constitutes, among actions punishable by law, the crime and offense of arrogance."
The serjeant of the coif on the right of the sheriff interrupted him, and said, with an indifference indescribably lugubrious in its effect, "Overhernessa. Laws of Alfred and of Godrun, chapter the sixth."
The sergeant of the coif to the right of the sheriff interrupted him and said, with an indifference that was oddly depressing, "Overhernessa. Laws of Alfred and of Godrun, chapter the sixth."
The sheriff resumed.
The sheriff continued.
"The law is respected by all except by scoundrels who infest the woods where the hinds bear young."
"The law is respected by everyone except for the dishonest people who lurk in the woods where the deer give birth."
Like one clock striking after another, the serjeant said,—
Like one clock chiming after another, the sergeant said,—
"Qui faciunt vastum in foresta ubi damoe solent founinare."
Those who destroy the wilderness in the forest where the deer usually roam.
"He who refuses to answer the magistrate," said the sheriff, "is suspected of every vice. He is reputed capable of every evil."
"He who refuses to answer the judge," said the sheriff, "is suspected of every vice. He is thought to be capable of every evil."
The serjeant interposed.
The sergeant interjected.
"Prodigus, devorator, profusus, salax, ruffianus, ebriosus, luxuriosus, simulator, consumptor patrimonii, elluo, ambro, et gluto."
"Wasteful, gluttonous, extravagant, greedy, ruffian, drunkard, indulgent, pretender, squandering of wealth, glutton, and devourer."
"Every vice," said the sheriff, "means every crime. He who confesses nothing, confesses everything. He who holds his peace before the questions of the judge is in fact a liar and a parricide."
"Every vice," said the sheriff, "represents every crime. Someone who admits to nothing is admitting to everything. Whoever stays silent in front of the judge's questions is actually a liar and a murderer."
"Mendax et parricida," said the serjeant.
"Mendax et parricida," said the sergeant.
The sheriff said,—
The sheriff said—
"Man, it is not permitted to absent oneself by silence. To pretend contumaciousness is a wound given to the law. It is like Diomede wounding a goddess. Taciturnity before a judge is a form of rebellion. Treason to justice is high treason. Nothing is more hateful or rash. He who resists interrogation steals truth. The law has provided for this. For such cases, the English have always enjoyed the right of the foss, the fork, and chains."
"Man, you can't just stay silent and not be present. Pretending to be stubborn is like injuring the law. It's like Diomede injuring a goddess. Staying quiet in front of a judge is a form of defiance. Betraying justice is serious betrayal. There's nothing more despicable or reckless. Anyone who avoids questioning steals the truth. The law accounts for this. In such situations, the English have always had the right to the foss, the fork, and chains."
"Anglica Charta, year 1088," said the serjeant. Then with the same mechanical gravity he added, "Ferrum, et fossam, et furcas cum aliis libertatibus."
"Anglica Charta, year 1088," said the sergeant. Then, with the same mechanical seriousness, he added, "Iron, and the ditch, and the forks along with other liberties."
The sheriff continued,—
The sheriff went on,—
"Man! Forasmuch as you have not chosen to break silence, though of sound mind and having full knowledge in respect of the subject concerning which justice demands an answer, and forasmuch as you are diabolically refractory, you have necessarily been put to torture, and you have been, by the terms of the criminal statutes, tried by the 'Peine forte et dure.' This is what has been done to you, for the law requires that I should fully inform you. You have been brought to this dungeon. You have been stripped of your clothes. You have been laid on your back naked on the ground, your limbs have been stretched and tied to the four pillars of the law; a sheet of iron has been placed on your chest, and as many stones as you can bear have been heaped on your belly, 'and more,' says the law."
"Man! Since you chose not to speak up, even though you’re of sound mind and fully aware of the matter that demands a response, and since you are willfully defiant, you have had to endure torture, and according to criminal law, you have been subjected to 'Peine forte et dure.' This is what has been done to you, and the law requires that I inform you fully. You have been brought to this dungeon. You have been stripped of your clothes. You have been laid on your back naked on the ground, your limbs have been stretched and tied to the four pillars of the law; a sheet of iron has been placed on your chest, and as many stones as you can bear have been piled on your belly, 'and more,' says the law."
"Plusque," affirmed the serjeant.
"Plusque," affirmed the sergeant.
The sheriff continued,—
The sheriff went on,—
"In this situation, and before prolonging the torture, a second summons to answer and to speak has been made you by me, sheriff of the county of Surrey, and you have satanically kept silent, though under torture, chains, shackles, fetters, and irons."
"In this situation, and before dragging this out any longer, I've made a second request for you to respond and speak, as the sheriff of Surrey, and you've chosen to remain silent, even while enduring torture, chains, shackles, fetters, and irons."
"Attachiamenta legalia," said the serjeant.
"Legal attachments," said the serjeant.
"On your refusal and contumacy," said the sheriff, "it being right that the obstinacy of the law should equal the obstinacy of the criminal, the proof has been continued according to the edicts and texts. The first day you were given nothing to eat or drink."
"Because of your refusal and defiance," said the sheriff, "it's only fair that the stubbornness of the law matches the stubbornness of the criminal, so the evidence has been presented according to the rules and guidelines. On the first day, you were given nothing to eat or drink."
"Hoc est superjejunare," said the serjeant.
"This is fasting," said the sergeant.
There was silence, the awful hiss of the man's breathing was heard from under the heap of stones.
There was silence; the terrible sound of the man's breathing could be heard from beneath the pile of stones.
The serjeant-at-law completed his quotation.
The lawyer finished his quote.
"Adde augmentum abstinentiæ ciborum diminutione. Consuetudo brittanica, art. 504."
"Add increase to abstinence by reducing food. British custom, art. 504."
The two men, the sheriff and the serjeant, alternated. Nothing could be more dreary than their imperturbable monotony. The mournful voice responded to the ominous voice; it might be said that the priest and the deacon of punishment were celebrating the savage mass of the law.
The two men, the sheriff and the sergeant, took turns. Nothing could be more dismal than their unchanging routine. The mournful voice answered the ominous voice; it could be said that the priest and the deacon of punishment were holding the brutal service of the law.
The sheriff resumed,—
The sheriff continued,—
"On the first day you were given nothing to eat or drink. On the second day you were given food, but nothing to drink. Between your teeth were thrust three mouthfuls of barley bread. On the third day they gave you to drink, but nothing to eat. They poured into your mouth at three different times, and in three different glasses, a pint of water taken from the common sewer of the prison. The fourth day is come. It is to-day. Now, if you do not answer, you will be left here till you die. Justice wills it."
"On the first day, you were given nothing to eat or drink. On the second day, you got food but no drink. They forced three mouthfuls of barley bread into your mouth. On the third day, they gave you something to drink but nothing to eat. They poured a pint of water from the prison's common sewer into your mouth at three different times, using three different glasses. The fourth day has arrived. It is today. Now, if you don’t answer, you will be left here until you die. Justice demands it."
The Serjeant, ready with his reply, appeared.
The Sergeant, prepared with his response, showed up.
"Mors rei homagium est bonæ legi."
"The death of the thing is the homage to good law."
"And while you feel yourself dying miserably," resumed the sheriff, "no one will attend to you, even when the blood rushes from your throat, your chin, and your armpits, and every pore, from the mouth to the loins."
"And while you feel yourself dying painfully," continued the sheriff, "no one will help you, even when blood pours from your throat, your chin, and your armpits, and every pore, from your mouth to your lower back."
"A throtabolla," said the Serjeant, "et pabu et subhircis et a grugno usque ad crupponum."
"A throtabolla," said the Sergeant, "and food and hairy things and from the snout all the way to the tail."
The sheriff continued,—
The sheriff kept going,—
"Man, attend to me, because the consequences concern you. If you renounce your execrable silence, and if you confess, you will only be hanged, and you will have a right to the meldefeoh, which is a sum of money."
"Man, listen to me because this affects you. If you break your terrible silence and confess, you'll only be hanged, and you'll be entitled to the meldefeoh, which is a sum of money."
"Damnum confitens," said the Serjeant, "habeat le meldefeoh. Leges Inæ, chapter the twentieth."
"Damnum confitens," said the Serjeant, "habeat le meldefeoh. Leges Inæ, chapter the twentieth."
"Which sum," insisted the sheriff, "shall be paid in doitkins, suskins, and galihalpens, the only case in which this money is to pass, according to the terms of the statute of abolition, in the third of Henry V., and you will have the right and enjoyment of scortum ante mortem, and then be hanged on the gibbet. Such are the advantages of confession. Does it please you to answer to justice?"
"That amount," the sheriff insisted, "must be paid in doitkins, suskins, and galihalpens, the only situation where this money is valid, according to the abolition statute from the third of Henry V. You'll have the right to enjoy scortum ante mortem, and then be hanged on the gallows. Those are the perks of confession. Do you wish to respond to justice?"
The sheriff ceased and waited.
The sheriff stopped and waited.
The prisoner lay motionless.
The inmate lay still.
The sheriff resumed,—
The sheriff continued,—
"Man, silence is a refuge in which there is more risk than safety. The obstinate man is damnable and vicious. He who is silent before justice is a felon to the crown. Do not persist in this unfilial disobedience. Think of her Majesty. Do not oppose our gracious queen. When I speak to you, answer her; be a loyal subject."
"Man, silence can be a trap where the risks outweigh the benefits. Stubborn people are despicable and cruel. Those who remain silent in the face of justice betray the Crown. Don’t keep up this disobedience that goes against your duty. Think of Her Majesty. Don’t defy our gracious queen. When I speak to you, respond to her; be a loyal subject."
The patient rattled in the throat.
The patient had a rattling sound in their throat.
The sheriff continued,—
The sheriff went on,—
"So, after the seventy-two hours of the proof, here we are at the fourth day. Man, this is the decisive day. The fourth day has been fixed by the law for the confrontation."
"So, after seventy-two hours of the proof, here we are on the fourth day. This is the crucial day. The law has set the fourth day for the confrontation."
"Quarta die, frontem ad frontem adduce," growled the Serjeant.
"On the fourth day, bring them face to face," growled the Sergeant.
"The wisdom of the law," continued the sheriff, "has chosen this last hour to hold what our ancestors called 'judgment by mortal cold,' seeing that it is the moment when men are believed on their yes or their no."
"The wisdom of the law," the sheriff continued, "has chosen this final hour to carry out what our ancestors referred to as 'judgment by mortal cold,' since it's the time when people's words are taken at face value, whether they say yes or no."
The serjeant on the right confirmed his words.
The sergeant on the right agreed with him.
"Judicium pro frodmortell, quod homines credendi sint per suum ya et per suum no. Charter of King Adelstan, volume the first, page one hundred and sixty-three."
"Judgment for frodmortell, that people should be believed for their yes and for their no. Charter of King Adelstan, volume the first, page one hundred and sixty-three."
There was a moment's pause; then the sheriff bent his stern face towards the prisoner.
There was a brief pause; then the sheriff leaned his serious face towards the prisoner.
"Man, who art lying there on the ground—"
"Man, who lies there on the ground—"
He paused.
He took a moment.
"Man," he cried, "do you hear me?"
"Hey," he shouted, "can you hear me?"
The man did not move.
The man stayed still.
"In the name of the law," said the sheriff, "open your eyes."
"In the name of the law," the sheriff said, "open your eyes."
The man's lids remained closed.
The man's eyes stayed shut.
The sheriff turned to the doctor, who was standing on his left.
The sheriff turned to the doctor, who was standing to his left.
"Doctor, give your diagnostic."
"Doctor, provide your diagnosis."
"Probe, da diagnosticum," said the serjeant.
"Probe, da diagnosticum," said the sergeant.
The doctor came down with magisterial stiffness, approached the man, leant over him, put his ear close to the mouth of the sufferer, felt the pulse at the wrist, the armpit, and the thigh, then rose again.
The doctor came down with an authoritative demeanor, approached the man, leaned over him, put his ear close to the sufferer's mouth, checked the pulse at the wrist, under the arm, and on the thigh, then stood up again.
"Well?" said the sheriff.
"Well?" asked the sheriff.
"He can still hear," said the doctor.
"He can still hear," the doctor said.
"Can he see?" inquired the sheriff.
"Can he see?" the sheriff asked.
The doctor answered, "He can see."
The doctor replied, "He can see."
On a sign from the sheriff, the justice of the quorum and the wapentake advanced. The wapentake placed himself near the head of the patient. The justice of the quorum stood behind Gwynplaine.
On a signal from the sheriff, the justice of the quorum and the wapentake moved forward. The wapentake positioned himself near the head of the patient. The justice of the quorum stood behind Gwynplaine.
The doctor retired a step behind the pillars.
The doctor stepped back behind the pillars.
Then the sheriff, raising the bunch of roses as a priest about to sprinkle holy water, called to the prisoner in a loud voice, and became awful.
Then the sheriff, holding up the bunch of roses like a priest about to sprinkle holy water, shouted at the prisoner in a loud voice and became terrifying.
"O wretched man, speak! The law supplicates before she exterminates you. You, who feign to be mute, remember how mute is the tomb. You, who appear deaf, remember that damnation is more deaf. Think of the death which is worse than your present state. Repent! You are about to be left alone in this cell. Listen! you who are my likeness; for I am a man! Listen, my brother, because I am a Christian! Listen, my son, because I am an old man! Look at me; for I am the master of your sufferings, and I am about to become terrible. The terrors of the law make up the majesty of the judge. Believe that I myself tremble before myself. My own power alarms me. Do not drive me to extremities. I am filled by the holy malice of chastisement. Feel, then, wretched man, the salutary and honest fear of justice, and obey me. The hour of confrontation is come, and you must answer. Do not harden yourself in resistance. Do not that which will be irrevocable. Think that your end belongs to me. Half man, half corpse, listen! At least, let it not be your determination to expire here, exhausted for hours, days, and weeks, by frightful agonies of hunger and foulness, under the weight of those stones, alone in this cell, deserted, forgotten, annihilated, left as food for the rats and the weasels, gnawed by creatures of darkness while the world comes and goes, buys and sells, whilst carriages roll in the streets above your head. Unless you would continue to draw painful breath without remission in the depths of this despair—grinding your teeth, weeping, blaspheming—without a doctor to appease the anguish of your wounds, without a priest to offer a divine draught of water to your soul. Oh! if only that you may not feel the frightful froth of the sepulchre ooze slowly from your lips, I adjure and conjure you to hear me. I call you to your own aid. Have pity on yourself. Do what is asked of you. Give way to justice. Open your eyes, and see if you recognize this man!"
"O miserable man, speak! The law pleads with you before it destroys you. You, who pretend to be silent, remember how silent the grave is. You, who seem deaf, remember that damnation is even more deafening. Think of the death that’s worse than what you’re experiencing now. Repent! You are about to be left alone in this cell. Listen! You who are like me; for I am a man! Listen, my brother, for I am a Christian! Listen, my son, for I am an old man! Look at me; for I am the master of your suffering, and I am about to become formidable. The fears of the law contribute to the authority of the judge. Believe that I tremble before myself. My own power frightens me. Don’t push me to extremes. I am filled with a holy rage for punishment. Feel, then, miserable man, the healthy and genuine fear of justice, and obey me. The time for confrontation has come, and you must respond. Don’t harden yourself against it. Don’t do something you can’t take back. Remember that your end is in my hands. Half man, half corpse, listen! At least, don’t decide to die here, suffering for hours, days, and weeks, in agonizing hunger and filth, under the weight of these stones, alone in this cell, abandoned, forgotten, erased, left as food for rats and weasels, gnawed by creatures of night while the world moves on, buying and selling, while carriages roll above you. Unless you want to keep breathing painfully without relief in this despair—grinding your teeth, weeping, cursing—without a doctor to ease your wounds, without a priest to offer a divine drink to your soul. Oh! If only you could avoid feeling the terrible drainage of the grave seeping slowly from your lips, I urge you to listen to me. I call you to help yourself. Have mercy on yourself. Do what is asked of you. Yield to justice. Open your eyes, and see if you recognize this man!"
The prisoner neither turned his head nor lifted his eyelids.
The prisoner didn't turn his head or lift his eyelids.
The sheriff cast a glance first at the justice of the quorum and then at the wapentake.
The sheriff glanced first at the justice of the quorum and then at the wapentake.
The justice of the quorum, taking Gwynplaine's hat and mantle, put his hands on his shoulders and placed him in the light by the side of the chained man. The face of Gwynplaine stood out clearly from the surrounding shadow in its strange relief.
The justice of the group, taking Gwynplaine's hat and coat, put his hands on his shoulders and positioned him in the light next to the chained man. Gwynplaine's face stood out sharply from the surrounding darkness in its unusual detail.
At the same time, the wapentake bent down, took the man's temples between his hands, turned the inert head towards Gwynplaine, and with his thumbs and his first fingers lifted the closed eyelids.
At the same time, the wapentake bent down, took the man's temples between his hands, turned the lifeless head towards Gwynplaine, and with his thumbs and index fingers lifted the closed eyelids.
The prisoner saw Gwynplaine. Then, raising his head voluntarily, and opening his eyes wide, he looked at him.
The prisoner saw Gwynplaine. Then, he lifted his head willingly and opened his eyes wide as he looked at him.
He quivered as much as a man can quiver with a mountain on his breast, and then cried out,—
He shook as much as a man can shake with a mountain on his chest, and then shouted,—
"'Tis he! Yes; 'tis he!"
"It's him! Yes; it's him!"
And he burst into a horrible laugh.
And he broke into a terrible laugh.
"'Tis he!" he repeated.
"That's him!" he repeated.
Then his head fell back on the ground, and he closed his eyes again.
Then his head dropped back onto the ground, and he closed his eyes once more.
"Registrar, take that down," said the justice.
"Registrar, note that down," said the judge.
Gwynplaine, though terrified, had, up to that moment, preserved a calm exterior. The cry of the prisoner, "'Tis he!" overwhelmed him completely. The words, "Registrar, take that down!" froze him. It seemed to him that a scoundrel had dragged him to his fate without his being able to guess why, and that the man's unintelligible confession was closing round him like the clasp of an iron collar. He fancied himself side by side with him in the posts of the same pillory. Gwynplaine lost his footing in his terror, and protested. He began to stammer incoherent words in the deep distress of an innocent man, and quivering, terrified, lost, uttered the first random outcries that rose to his mind, and words of agony like aimless projectiles.
Gwynplaine, although scared, had managed to keep a calm appearance until that moment. The prisoner’s shout, “It’s him!” completely overwhelmed him. The command, “Registrar, write that down!” froze him in place. He felt like a villain had pulled him into his own doom without any understanding of why, and the man’s confusing confession felt like an iron collar closing around him. He imagined himself standing next to him in the stocks of the same pillory. In his terror, Gwynplaine lost his balance and protested. He started to stammer out incoherent words in the deep distress of an innocent person, trembling, scared, and lost, he let out the first random cries that came to mind, and words of pain like erratic projectiles.
"It is not true. It was not me. I do not know the man. He cannot know me, since I do not know him. I have my part to play this evening. What do you want of me? I demand my liberty. Nor is that all. Why have I been brought into this dungeon? Are there laws no longer? You may as well say at once that there are no laws. My Lord Judge, I repeat that it is not I. I am innocent of all that can be said. I know I am. I wish to go away. This is not justice. There is nothing between this man and me. You can find out. My life is not hidden up. They came and took me away like a thief. Why did they come like that? How could I know the man? I am a travelling mountebank, who plays farces at fairs and markets. I am the Laughing Man. Plenty of people have been to see me. We are staying in Tarrinzeau Field. I have been earning an honest livelihood these fifteen years. I am five-and-twenty. I lodge at the Tadcaster Inn. I am called Gwynplaine. My lord, let me out. You should not take advantage of the low estate of the unfortunate. Have compassion on a man who has done no harm, who is without protection and without defence. You have before you a poor mountebank."
"It's not true. It wasn’t me. I don’t know the guy. He can’t know me since I don’t know him. I have a role to play tonight. What do you want from me? I demand my freedom. And that’s not all. Why have I been thrown into this dungeon? Are there no laws anymore? You might as well say it outright—there are no laws. My Lord Judge, I insist that it’s not me. I’m innocent of everything that’s been said. I know I am. I want to leave. This isn’t justice. There’s nothing between this man and me. You can find out. My life isn’t a mystery. They came and took me away like a thief. Why did they come like that? How could I possibly know the man? I’m a traveling performer who puts on shows at fairs and markets. I’m the Laughing Man. Lots of people have come to see me. We’re staying in Tarrinzeau Field. I’ve been making an honest living for the past fifteen years. I’m twenty-five. I stay at the Tadcaster Inn. They call me Gwynplaine. My lord, let me go. You shouldn’t take advantage of the misfortunes of the less fortunate. Have some compassion for a man who’s done no harm, who’s left unprotected and defenseless. You have before you a poor performer."
"I have before me," said the sheriff, "Lord Fermain Clancharlie, Baron Clancharlie and Hunkerville, Marquis of Corleone in Sicily, and a peer of England."
"I have in front of me," said the sheriff, "Lord Fermain Clancharlie, Baron Clancharlie and Hunkerville, Marquis of Corleone in Sicily, and a member of the English peerage."
Rising, and offering his chair to Gwynplaine, the sheriff added,—
Rising and offering his chair to Gwynplaine, the sheriff added,—
"My lord, will your lordship deign to seat yourself?"
"My lord, would you be so kind as to take a seat?"
BOOK THE FIFTH.
THE SEA AND FATE ARE MOVED BY THE SAME BREATH.
CHAPTER I.
THE DURABILITY OF FRAGILE THINGS.
Destiny sometimes proffers us a glass of madness to drink. A hand is thrust out of the mist, and suddenly hands us the mysterious cup in which is contained the latent intoxication.
Destiny sometimes offers us a cup of madness to drink. A hand emerges from the fog, and suddenly hands us the mysterious cup that holds the hidden intoxication.
Gwynplaine did not understand.
Gwynplaine didn't understand.
He looked behind him to see who it was who had been addressed.
He turned around to see who had been called.
A sound may be too sharp to be perceptible to the ear; an emotion too acute conveys no meaning to the mind. There is a limit to comprehension as well as to hearing.
A sound can be too loud to be heard; an emotion that’s too intense doesn’t make sense to the mind. There’s a limit to understanding just like there is to hearing.
The wapentake and the justice of the quorum approached Gwynplaine and took him by the arms. He felt himself placed in the chair which the sheriff had just vacated. He let it be done, without seeking an explanation.
The wapentake and the justice of the quorum came up to Gwynplaine and grabbed his arms. He found himself seated in the chair that the sheriff had just left. He allowed it to happen, not bothering to ask for an explanation.
When Gwynplaine was seated, the justice of the quorum and the wapentake retired a few steps, and stood upright and motionless, behind the seat.
When Gwynplaine sat down, the justice of the quorum and the wapentake stepped back a bit and stood straight and still behind him.
Then the sheriff placed his bunch of roses on the stone table, put on spectacles which the secretary gave him, drew from the bundles of papers which covered the table a sheet of parchment, yellow, green, torn, and jagged in places, which seemed to have been folded in very small folds, and of which one side was covered with writing; standing under the light of the lamp, he held the sheet close to his eyes, and in his most solemn tone read as follows:—
Then the sheriff put his bunch of roses on the stone table, put on the glasses the secretary handed him, and pulled from the stacks of papers covering the table a sheet of parchment that was yellow, green, torn, and jagged in some spots. It looked like it had been folded multiple times, and one side was filled with writing. Standing under the light of the lamp, he held the sheet up to his eyes and read aloud in his most serious tone:—
"In the name of the Father, the Son, and the Holy Ghost.
"In the name of the Father, the Son, and the Holy Spirit."
"This present day, the twenty-ninth of January, one thousand six hundred and ninetieth year of our Lord.
This day, January 29, 1690.
"Has been wickedly deserted on the desert coast of Portland, with the intention of allowing him to perish of hunger, of cold, and of solitude, a child ten years old.
"Has been cruelly abandoned on the barren coast of Portland, with the plan to let him die from hunger, cold, and loneliness, a child just ten years old."
"That child was sold at the age of two years, by order of his most gracious Majesty, King James the Second.
"That child was sold at the age of two, by the order of his royal Highness, King James the Second."
"That child is Lord Fermain Clancharlie, the only legitimate son of Lord Linnæus Clancharlie, Baron Clancharlie and Hunkerville, Marquis of Corleone in Sicily, a peer of England, and of Ann Bradshaw, his wife, both deceased. That child is the inheritor of the estates and titles of his father. For this reason he was sold, mutilated, disfigured, and put out of the way by desire of his most gracious Majesty.
"That child is Lord Fermain Clancharlie, the only legitimate son of Lord Linnæus Clancharlie, Baron Clancharlie and Hunkerville, Marquis of Corleone in Sicily, a member of the English peerage, and of Ann Bradshaw, his wife, both of whom have passed away. That child is the heir to his father's estates and titles. For this reason, he was sold, mutilated, disfigured, and removed from existence by order of his most gracious Majesty."
"That child was brought up, and trained to be a mountebank at markets and fairs.
"That child was raised and trained to be a con artist at markets and fairs."
"He was sold at the age of two, after the death of the peer, his father, and ten pounds sterling were given to the king as his purchase-money, as well as for divers concessions, tolerations, and immunities.
"He was sold at the age of two, after the death of the nobleman, his father, and ten pounds was given to the king as his purchase price, along with various privileges, allowances, and exemptions."
"Lord Fermain Clancharlie, at the age of two years, was bought by me, the undersigned, who write these lines, and mutilated and disfigured by a Fleming of Flanders, called Hardquanonne, who alone is acquainted with the secrets and modes of treatment of Doctor Conquest.
"Lord Fermain Clancharlie, when he was just two years old, was purchased by me, the person writing this, and was mutilated and disfigured by a Flemish man from Flanders named Hardquanonne, who is the only one familiar with the secrets and methods of treatment of Doctor Conquest."
"The child was destined by us to be a laughing mask (masca ridens).
"The child was meant by us to be a laughing mask (masca ridens)."
"With this intention Hardquanonne performed on him the operation, Bucca fissa usque ad aures, which stamps an everlasting laugh upon the face.
"With this intention, Hardquanonne performed the procedure on him, Bucca fissa usque ad aures, which leaves a permanent smile on the face."
"The child, by means known only to Hardquanonne, was put to sleep and made insensible during its performance, knowing nothing of the operation which he underwent.
"The child, through methods known only to Hardquanonne, was put to sleep and made oblivious during the procedure, unaware of the operation they underwent."
"He does not know that he is Lord Clancharlie.
He doesn't know that he's Lord Clancharlie.
"He answers to the name of Gwynplaine.
"He goes by the name Gwynplaine."
"This fact is the result of his youth, and the slight powers of memory he could have had when he was bought and sold, being then barely two years old.
"This is due to his youth and the limited memory he could have developed when he was bought and sold, having been just barely two years old at the time."
"Hardquanonne is the only person who knows how to perform the operation Bucca fissa, and the said child is the only living subject upon which it has been essayed.
"Hardquanonne is the only person who knows how to perform the operation Bucca fissa, and the child is the only living subject on which it has been attempted."
"The operation is so unique and singular that though after long years this child should have come to be an old man instead of a child, and his black locks should have turned white, he would be immediately recognized by Hardquanonne.
"The operation is so unique and one-of-a-kind that even if this child were to grow into an old man over many years, and his black hair turned white, Hardquanonne would still recognize him instantly."
"At the time that I am writing this, Hardquanonne, who has perfect knowledge of all the facts, and participated as principal therein, is detained in the prisons of his highness the Prince of Orange, commonly called King William III. Hardquanonne was apprehended and seized as being one of the band of Comprachicos or Cheylas. He is imprisoned in the dungeon of Chatham.
"Right now, Hardquanonne, who knows all the facts and was actively involved, is locked up in the prisons of his highness the Prince of Orange, usually known as King William III. Hardquanonne was arrested because he was part of the group of Comprachicos or Cheylas. He is held in the Chatham dungeon."
"It was in Switzerland, near the Lake of Geneva, between Lausanne and Vevey, in the very house in which his father and mother died, that the child was, in obedience with the orders of the king, sold and given up by the last servant of the deceased Lord Linnæus, which servant died soon after his master, so that this secret and delicate matter is now unknown to any one on earth, excepting Hardquanonne, who is in the dungeon of Chatham, and ourselves, now about to perish.
"It was in Switzerland, near Lake Geneva, between Lausanne and Vevey, in the very house where his parents died, that the child was sold and handed over by the last servant of the late Lord Linnæus, following the king's orders. This servant passed away shortly after his master, which means this secret and sensitive matter is now unknown to anyone on earth, except for Hardquanonne, who is in the Chatham dungeon, and us, who are about to perish."
"We, the undersigned, brought up and kept, for eight years, for professional purposes, the little lord bought by us of the king.
"We, the undersigned, raised and cared for, for eight years, for professional reasons, the young lord we purchased from the king."
"To-day, flying from England to avoid Hardquanonne's ill-fortune, our fear of the penal indictments, prohibitions, and fulminations of Parliament has induced us to desert, at night-fall, on the coast of Portland, the said child Gwynplaine, who is Lord Fermain Clancharlie.
"Today, flying from England to escape Hardquanonne's bad luck, our fear of the criminal charges, bans, and angry declarations from Parliament has led us to abandon, at dusk, on the coast of Portland, the child Gwynplaine, who is Lord Fermain Clancharlie."
"Now, we have sworn secrecy to the king, but not to God.
"Now, we've sworn secrecy to the king, but not to God."
"To-night, at sea, overtaken by a violent tempest by the will of Providence, full of despair and distress, kneeling before Him who could save our lives, and may, perhaps, be willing to save our souls, having nothing more to hope from men, but everything to fear from God, having for only anchor and resource repentance of our bad actions, resigned to death, and content if Divine justice be satisfied, humble, penitent, and beating our breasts, we make this declaration, and confide and deliver it to the furious ocean to use as it best may according to the will of God. And may the Holy Virgin aid us, Amen. And we attach our signatures."
"Tonight, at sea, caught in a violent storm by the will of Providence, filled with despair and distress, kneeling before Him who could save our lives, and who may, perhaps, be willing to save our souls, with no more hope from men, but everything to fear from God, having only the repentance of our wrong actions as our anchor and resource, resigned to death, and content if Divine justice is satisfied, humble, penitent, and beating our chests, we make this declaration and trust it to the raging ocean to use as it sees fit according to God’s will. And may the Holy Virgin help us, Amen. And we sign our names."
The sheriff interrupted, saying,—"Here are the signatures. All in different handwritings."
The sheriff interrupted, saying, "Here are the signatures. They're all in different handwriting."
And he resumed,—
And he continued,—
"Doctor Gernardus Geestemunde.—Asuncion.—A cross, and at the side of it, Barbara Fermoy, from Tyrryf Isle, in the Hebrides; Gaizdorra, Captain; Giangirate; Jacques Quartourze, alias le Narbonnais; Luc-Pierre Capgaroupe, from the galleys of Mahon."
"Dr. Gernardus Geestemunde.—Asuncion.—A cross, and beside it, Barbara Fermoy, from Tyrryf Isle in the Hebrides; Gaizdorra, Captain; Giangirate; Jacques Quartourze, also known as le Narbonnais; Luc-Pierre Capgaroupe, from the galleys of Mahon."
The sheriff, after a pause, resumed, a "note written in the same hand as the text and the first signature," and he read,—
The sheriff, after a pause, continued, "a note written in the same handwriting as the text and the first signature," and he read—
"Of the three men comprising the crew, the skipper having been swept off by a wave, there remain but two, and we have signed, Galdeazun; Ave Maria, Thief."
"Of the three men in the crew, since the skipper was taken away by a wave, only two remain, and we have signed, Galdeazun; Ave Maria, Thief."
The sheriff, interspersing his reading with his own observations, continued, "At the bottom of the sheet is written,—
The sheriff, mixing in his own comments as he read, continued, "At the bottom of the sheet is written,—
"'At sea, on board of the Matutina, Biscay hooker, from the Gulf de Pasages.' This sheet," added the sheriff, "is a legal document, bearing the mark of King James the Second. On the margin of the declaration, and in the same handwriting there is this note, 'The present declaration is written by us on the back of the royal order, which was given us as our receipt when we bought the child. Turn the leaf and the order will be seen.'"
"'At sea, on board the Matutina, a Biscay hooker, from the Gulf of Pasages.' This paper," the sheriff added, "is a legal document, marked with the seal of King James the Second. On the edge of the declaration, in the same handwriting, there’s this note: 'This declaration was written by us on the back of the royal order, which we received as our receipt when we purchased the child. Turn the page, and you will see the order.'"
The sheriff turned the parchment, and raised it in his right hand, to expose it to the light.
The sheriff flipped the parchment and held it up in his right hand to let the light shine on it.
A blank page was seen, if the word blank can be applied to a thing so mouldy, and in the middle of the page three words were written, two Latin words, Jussu regis, and a signature, Jeffreys.
A blank page was visible, if the term blank can be used for something so moldy, and in the center of the page were three words: two Latin words, Jussu regis, and a signature, Jeffreys.
"Jussu regis, Jeffreys," said the sheriff, passing from a grave voice to a clear one.
"By the king's command, Jeffreys," said the sheriff, shifting from a serious tone to a clear one.
Gwynplaine was as a man on whose head a tile falls from the palace of dreams.
Gwynplaine was like a guy who has a tile drop on his head from the palace of dreams.
He began to speak, like one who speaks unconsciously.
He started to speak, like someone who talks without realizing it.
"Gernardus, yes, the doctor. An old, sad-looking man. I was afraid of him. Gaizdorra, Captain, that means chief. There were women, Asuncion, and the other. And then the Provençal. His name was Capgaroupe. He used to drink out of a flat bottle on which there was a name written in red."
"Gernardus, yes, the doctor. An old, sad-looking man. I was afraid of him. Gaizdorra, Captain, that means chief. There were women, Asuncion, and the other. And then the Provençal. His name was Capgaroupe. He used to drink from a flat bottle that had a name written in red."
"Behold it," said the sheriff.
"Check this out," said the sheriff.
He placed on the table something which the secretary had just taken out of the bag. It was a gourd, with handles like ears, covered with wicker. This bottle had evidently seen service, and had sojourned in the water. Shells and seaweed adhered to it. It was encrusted and damascened over with the rust of ocean. There was a ring of tar round its neck, showing that it had been hermetically sealed. Now it was unsealed and open. They had, however, replaced in the flask a sort of bung made of tarred oakum, which had been used to cork it.
He placed something on the table that the secretary had just taken out of the bag. It was a gourd with handles like ears, covered in wicker. This bottle had clearly been used before and had spent time in the water. Shells and seaweed clung to it. It was encrusted and covered with the rust of the ocean. There was a ring of tar around its neck, indicating that it had been sealed tightly. Now it was unsealed and open. However, they had replaced in the flask a sort of stopper made of tarred oakum, which had been used to cork it.
"It was in this bottle," said the sheriff, "that the men about to perish placed the declaration which I have just read. This message addressed to justice has been faithfully delivered by the sea."
"It was in this bottle," said the sheriff, "that the men who were about to die placed the declaration I just read. This message meant for justice has been faithfully delivered by the sea."
The sheriff increased the majesty of his tones, and continued,—
The sheriff raised his voice and continued,—
"In the same way that Harrow Hill produces excellent wheat, which is turned into fine flour for the royal table, so the sea renders every service in its power to England, and when a nobleman is lost finds and restores him."
"In the same way that Harrow Hill produces great wheat, which is made into fine flour for the royal table, the sea does everything it can for England, and when a nobleman goes missing, it finds and brings him back."
Then he resumed,—
Then he continued,—
"On this flask, as you say, there is a name written in red."
"On this flask, as you mentioned, there’s a name written in red."
He raised his voice, turning to the motionless prisoner,—
He raised his voice, turning to the unmoving prisoner,—
"Your name, malefactor, is here. Such are the hidden channels by which truth, swallowed up in the gulf of human actions, floats to the surface."
"Your name, wrongdoer, is here. These are the hidden paths through which truth, buried in the depths of human actions, rises to the surface."
The sheriff took the gourd, and turned to the light one of its sides, which had, no doubt, been cleaned for the ends of justice. Between the interstices of wicker was a narrow line of red reed, blackened here and there by the action of water and of time.
The sheriff picked up the gourd and turned it to the light to inspect one side, which had clearly been cleaned for the sake of justice. Between the woven strands, there was a thin line of red reed, darkened here and there by water and the passage of time.
The reed, notwithstanding some breakages, traced distinctly in the wicker-work these twelve letters—Hardquanonne.
The reed, despite a few breaks, clearly formed these twelve letters in the wicker-work—Hardquanonne.
Then the sheriff, resuming that monotonous tone of voice which resembles nothing else, and which may be termed a judicial accent, turned towards the sufferer.
Then the sheriff, going back to that dull tone of voice that sounds like nothing else and can be called a judicial accent, faced the victim.
"Hardquanonne! when by us, the sheriff, this bottle, on which is your name, was for the first time shown, exhibited, and presented to you, you at once, and willingly, recognized it as having belonged to you. Then, the parchment being read to you which was contained, folded and enclosed within it, you would say no more; and in the hope, doubtless, that the lost child would never be recovered, and that you would escape punishment, you refuse to answer. As the result of your refusal, you have had applied to you the peine forte et dure; and the second reading of the said parchment, on which is written the declaration and confession of your accomplices, was made to you, but in vain.
"Hardquanonne! When the sheriff showed you this bottle, which has your name on it, for the first time, you immediately recognized it as yours. Then, when the parchment inside it was read to you, you had nothing more to say. You probably hoped that the lost child would never be found and that you could avoid punishment, so you chose not to answer. As a result of your silence, you were subjected to the peine forte et dure; and the parchment, which contains the statements and confessions of your accomplices, was read to you again, but it was all in vain."
"This is the fourth day, and that which is legally set apart for the confrontation, and he who was deserted on the twenty-ninth of January, one thousand six hundred and ninety, having been brought into your presence, your devilish hope has vanished, you have broken silence, and recognized your victim."
"This is the fourth day, and the time set for the confrontation is here. The individual who was abandoned on January 29, 1690, has been brought before you. Your wicked hopes have faded, you’ve finally spoken, and you’ve acknowledged your victim."
The prisoner opened his eyes, lifted his head, and, with a voice strangely resonant of agony, but which had still an indescribable calm mingled with its hoarseness, pronounced in excruciating accents, from under the mass of stones, words to pronounce each of which he had to lift that which was like the slab of a tomb placed upon him. He spoke,—
The prisoner opened his eyes, raised his head, and, with a voice oddly filled with pain but still carrying an indescribable calm mixed with its roughness, uttered in painful tones, from beneath the pile of stones, words that required him to lift what felt like a tombstone resting on him. He spoke,—
"I swore to keep the secret. I have kept it as long as I could. Men of dark lives are faithful, and hell has its honour. Now silence is useless. So be it! For this reason I speak. Well—yes; 'tis he! We did it between us—the king and I: the king, by his will; I, by my art!"
"I promised to keep the secret. I've held onto it for as long as I could. Men with dark pasts can be loyal, and even hell has its integrity. Now, being silent is pointless. So it is! That's why I'm speaking up. Well—yes; it's him! We did this together—the king and I: the king, through his will; I, through my skill!"
And looking at Gwynplaine,—
And looking at Gwynplaine,---
"Now laugh for ever!"
"Now laugh forever!"
And he himself began to laugh.
And he began to laugh.
This second laugh, wilder yet than the first, might have been taken for a sob.
This second laugh, even wilder than the first, could have been mistaken for a sob.
The laughed ceased, and the man lay back. His eyelids closed.
The laughter stopped, and the man lay back. His eyelids shut.
The sheriff, who had allowed the prisoner to speak, resumed,—
The sheriff, who had let the prisoner speak, continued,—
"All which is placed on record."
"Everything that is recorded."
He gave the secretary time to write, and then said,—
He gave the secretary a moment to write, and then said,—
"Hardquanonne, by the terms of the law, after confrontation followed by identification, after the third reading of the declarations of your accomplices, since confirmed by your recognition and confession, and after your renewed avowal, you are about to be relieved from these irons, and placed at the good pleasure of her Majesty to be hung as plagiary."
"Hardquanonne, according to the law, after facing your accusers and being identified, after the third reading of your accomplices' statements, which have been confirmed by your admission and confession, and after your repeated acknowledgment, you are about to be freed from these chains and handed over to her Majesty's discretion to be hanged as a plagiary."
"Plagiary," said the serjeant of the coif. "That is to say, a buyer and seller of children. Law of the Visigoths, seventh book, third section, paragraph Usurpaverit, and Salic law, section the forty-first, paragraph the second, and law of the Frisons, section the twenty-first, Deplagio; and Alexander Nequam says,—
"Plagiary," said the sergeant of the coif. "That means a buyer and seller of children. Law of the Visigoths, seventh book, third section, paragraph Usurpaverit, and Salic law, section the forty-first, paragraph the second, and law of the Frisons, section the twenty-first, Deplagio; and Alexander Nequam says,—
"'Qui pueros vendis, plagiarius est tibi nomen.'"
"'If you sell boys, you are a kidnapper by name.'"
The sheriff placed the parchment on the table, laid down his spectacles, took up the nosegay, and said,—
The sheriff put the parchment on the table, set down his glasses, picked up the bouquet, and said,—
"End of la peine forte et dure. Hardquanonne, thank her Majesty."
"End of la peine forte et dure. Hardquanonne, thank Her Majesty."
By a sign the justice of the quorum set in motion the man dressed in leather.
By a signal, the justice of the group set the man dressed in leather in motion.
This man, who was the executioner's assistant, "groom of the gibbet," the old charters call him, went to the prisoner, took off the stones, one by one, from his chest, and lifted the plate of iron up, exposing the wretch's crushed sides. Then he freed his wrists and ankle-bones from the four chains that fastened him to the pillars.
This man, who was the executioner's assistant, "groom of the gibbet," as the old documents call him, approached the prisoner, removed the stones one by one from his chest, and lifted the iron plate, revealing the poor man's injured sides. Then he released his wrists and ankles from the four chains that bound him to the pillars.
The prisoner, released alike from stones and chains, lay flat on the ground, his eyes closed, his arms and legs apart, like a crucified man taken down from a cross.
The prisoner, freed from both stones and chains, lay flat on the ground, his eyes closed, his arms and legs spread out, like a crucified man taken down from a cross.
"Hardquanonne," said the sheriff, "arise!"
"Hardquanonne," the sheriff said, "get up!"
The prisoner did not move.
The inmate did not move.
The groom of the gibbet took up a hand and let it go; the hand fell back. The other hand, being raised, fell back likewise.
The hangman lifted a hand and let it drop; the hand fell back down. The other hand, when lifted, also fell back down.
The groom of the gibbet seized one foot and then the other, and the heels fell back on the ground.
The executioner grabbed one foot and then the other, and the heels dropped back to the ground.
The fingers remained inert, and the toes motionless. The naked feet of an extended corpse seem, as it were, to bristle.
The fingers lay still, and the toes were unmoving. The bare feet of a outstretched corpse look almost as if they are bristling.
The doctor approached, and drawing from the pocket of his robe a little mirror of steel, put it to the open mouth of Hardquanonne. Then with his fingers he opened the eyelids. They did not close again; the glassy eyeballs remained fixed.
The doctor came over and took out a small steel mirror from the pocket of his robe, placing it near Hardquanonne's open mouth. Then, with his fingers, he lifted the eyelids. They didn't close again; the glassy eyeballs stayed fixed.
The doctor rose up and said,—
The doctor stood up and said,—
"He is dead."
"He's dead."
And he added,—
And he added—
"He laughed; that killed him."
"He laughed; that did him in."
"'Tis of little consequence," said the sheriff. "After confession, life or death is a mere formality."
"That's of little importance," said the sheriff. "After confession, life or death is just a formality."
Then pointing to Hardquanonne by a gesture with the nosegay of roses, the sheriff gave the order to the wapentake,—
Then, pointing to Hardquanonne with the bouquet of roses, the sheriff instructed the wapentake—
"A corpse to be carried away to-night."
"A body to be taken away tonight."
The wapentake acquiesced by a nod.
The wapentake agreed with a nod.
And the sheriff added,—
And the sheriff added, —
"The cemetery of the jail is opposite."
"The jail's cemetery is across the way."
The wapentake nodded again.
The wapentake nodded once more.
The sheriff, holding in his left hand the nosegay and in his right the white wand, placed himself opposite Gwynplaine, who was still seated, and made him a low bow; then assuming another solemn attitude, he turned his head over his shoulder, and looking Gwynplaine in the face, said,—
The sheriff, holding the bouquet in his left hand and the white wand in his right, positioned himself across from Gwynplaine, who was still seated, and gave him a deep bow. Then, taking on a more serious demeanor, he turned his head over his shoulder, looked Gwynplaine squarely in the face, and said,—
"To you here present, we Philip Denzill Parsons, knight, sheriff of the county of Surrey, assisted by Aubrey Dominick, Esq., our clerk and registrar, and by our usual officers, duly provided by the direct and special commands of her Majesty, in virtue of our commission, and the rights and duties of our charge, and with authority from the Lord Chancellor of England, the affidavits having been drawn up and recorded, regard being had to the documents communicated by the Admiralty, after verification of attestations and signatures, after declarations read and heard, after confrontation made, all the statements and legal information having been completed, exhausted, and brought to a good and just issue—we signify and declare to you, in order that right may be done, that you are Fermain Clancharlie, Baron Clancharlie and Hunkerville, Marquis de Corleone in Sicily, and a peer of England; and God keep your lordship!"
"To all of you present, we, Philip Denzill Parsons, knight, sheriff of Surrey, assisted by Aubrey Dominick, Esq., our clerk and registrar, along with our usual officers, acting under the direct and special orders of her Majesty, by the authority of our commission, and fulfilling the rights and duties of our position, and with permission from the Lord Chancellor of England, after the affidavits have been prepared and recorded, considering the documents provided by the Admiralty, verifying attestations and signatures, after reading and hearing declarations, after confrontations conducted, and all statements and legal information thoroughly completed and resolved—we hereby declare to you, so that justice may be served, that you are Fermain Clancharlie, Baron Clancharlie and Hunkerville, Marquis de Corleone in Sicily, and a peer of England; may God protect your lordship!"
And he bowed to him.
And he bowed to him.
The serjeant on the right, the doctor, the justice of the quorum, the wapentake, the secretary, all the attendants except the executioner, repeated his salutation still more respectfully, and bowed to the ground before Gwynplaine.
The sergeant on the right, the doctor, the justice of the quorum, the wapentake, the secretary, and all the attendants except the executioner, greeted him even more respectfully and bowed to the ground before Gwynplaine.
"Ah," said Gwynplaine, "awake me!"
"Ah," said Gwynplaine, "wake me!"
And he stood up, pale as death.
And he got up, looking as pale as a ghost.
"I come to awake you indeed," said a voice which had not yet been heard.
"I've come to wake you up," said a voice that hadn't been heard before.
A man came out from behind the pillars. As no one had entered the cell since the sheet of iron had given passage to the cortège of police, it was clear that this man had been there in the shadow before Gwynplaine had entered, that he had a regular right of attendance, and had been present by appointment and mission. The man was fat and pursy, and wore a court wig and a travelling cloak.
A man stepped out from behind the pillars. Since no one had entered the cell after the iron sheet allowed the police procession to pass, it was obvious that this man had been lurking in the shadows before Gwynplaine arrived, that he had a legitimate right to be there, and had come by appointment and purpose. The man was plump and out of shape, and he wore a court wig and a travel cloak.
He was rather old than young, and very precise.
He was more old than young, and very particular.
He saluted Gwynplaine with ease and respect—with the ease of a gentleman-in-waiting, and without the awkwardness of a judge.
He greeted Gwynplaine with grace and respect—like a gentleman-in-waiting, without the discomfort of a judge.
"Yes," he said; "I have come to awaken you. For twenty-five years you have slept. You have been dreaming. It is time to awake. You believe yourself to be Gwynplaine; you are Clancharlie. You believe yourself to be one of the people; you belong to the peerage. You believe yourself to be of the lowest rank; you are of the highest. You believe yourself a player; you are a senator. You believe yourself poor; you are wealthy. You believe yourself to be of no account; you are important. Awake, my lord!"
"Yes," he said. "I've come to wake you up. For twenty-five years, you've been asleep. You've been dreaming. It's time to wake up. You think you're Gwynplaine; you're Clancharlie. You think you're one of the common people; you actually belong to the aristocracy. You think you're of the lowest status; you're at the highest. You think you're just a performer; you're a senator. You think you're broke; you're rich. You think you're nobody; you're significant. Wake up, my lord!"
Gwynplaine, in a low voice, in which a tremor of fear was to be distinguished, murmured,—
Gwynplaine quietly murmured, his voice trembling with fear,—
"What does it all mean?"
"What does it mean?"
"It means, my lord," said the fat man, "that I am called Barkilphedro; that I am an officer of the Admiralty; that this waif, the flask of Hardquanonne, was found on the beach, and was brought to be unsealed by me, according to the duty and prerogative of my office; that I opened it in the presence of two sworn jurors of the Jetsam Office, both members of Parliament, William Brathwait, for the city of Bath, and Thomas Jervois, for Southampton; that the two jurors deciphered and attested the contents of the flask, and signed the necessary affidavit conjointly with me; that I made my report to her Majesty, and by order of the queen all necessary and legal formalities were carried out with the discretion necessary in a matter so delicate; that the last form, the confrontation, has just been carried out; that you have £40,000 a year; that you are a peer of the United Kingdom of Great Britain, a legislator and a judge, a supreme judge, a sovereign legislator, dressed in purple and ermine, equal to princes, like unto emperors; that you have on your brow the coronet of a peer, and that you are about to wed a duchess, the daughter of a king."
"It means, my lord," said the fat man, "that I’m called Barkilphedro; that I’m an officer of the Admiralty; that this item, the flask of Hardquanonne, was found on the beach and brought to me to be unsealed, as part of my official duties; that I opened it in front of two sworn jurors from the Jetsam Office, both members of Parliament—William Brathwait for the city of Bath and Thomas Jervois for Southampton; that the two jurors examined and verified the contents of the flask and signed the necessary affidavit along with me; that I reported to her Majesty, and following the queen’s order, all required legal formalities were handled with the care needed for such a sensitive matter; that the last step, the confrontation, has just been completed; that you have £40,000 a year; that you are a peer of the United Kingdom of Great Britain, a lawmaker and a judge, a supreme judge, a sovereign legislator, dressed in purple and ermine, equal to princes, like emperors; that you wear the coronet of a peer, and that you are about to marry a duchess, the daughter of a king."
Under this transfiguration, overwhelming him like a series of thunderbolts, Gwynplaine fainted.
Under this transformation, hitting him like a series of lightning strikes, Gwynplaine fainted.
CHAPTER II.
THE WAIF KNOWS ITS OWN COURSE.
All this had occurred owing to the circumstance of a soldier having found a bottle on the beach. We will relate the facts. In all facts there are wheels within wheels.
All of this happened because a soldier found a bottle on the beach. Let’s share what happened. In every story, there are layers beneath the surface.
One day one of the four gunners composing the garrison of Castle Calshor picked up on the sand at low water a flask covered with wicker, which had been cast up by the tide. This flask, covered with mould, was corked by a tarred bung. The soldier carried the waif to the colonel of the castle, and the colonel sent it to the High Admiral of England. The Admiral meant the Admiralty; with waifs, the Admiralty meant Barkilphedro.
One day, one of the four gunners stationed at Castle Calshor found a wicker-covered flask on the sand at low tide. This flask, which was covered in mold, had a tarred cork. The soldier brought the find to the castle's colonel, who then sent it to the High Admiral of England. The Admiral referred to the Admiralty; in the case of waifs, the Admiralty meant Barkilphedro.
Barkilphedro, having uncorked and emptied the bottle, carried it to the queen. The queen immediately took the matter into consideration.
Barkilphedro, after uncorking and finishing the bottle, brought it to the queen. The queen quickly considered the situation.
Two weighty counsellors were instructed and consulted—namely, the Lord Chancellor, who is by law the guardian of the king's conscience; and the Lord Marshal, who is referee in Heraldry and in the pedigrees of the nobility. Thomas Howard, Duke of Norfolk, a Catholic peer, who is hereditary Earl Marshal of England, had sent word by his deputy Earl Marshal, Henry Howard, Earl Bindon, that he would agree with the Lord Chancellor. The Lord Chancellor was William Cowper. We must not confound this chancellor with his namesake and contemporary William Cowper, the anatomist and commentator on Bidloo, who published a treatise on muscles, in England, at the very time that Etienne Abeille published a history of bones, in France. A surgeon is a very different thing from a lord. Lord William Cowper is celebrated for having, with reference to the affair of Talbot Yelverton, Viscount Longueville, propounded this opinion: That in the English constitution the restoration of a peer is more important than the restoration of a king. The flask found at Calshor had awakened his interest in the highest degree. The author of a maxim delights in opportunities to which it may be applied. Here was a case of the restoration of a peer. Search was made. Gwynplaine, by the inscription over his door, was soon found. Neither was Hardquanonne dead. A prison rots a man, but preserves him—if to keep is to preserve. People placed in Bastiles were rarely removed. There is little more change in the dungeon than in the tomb. Hardquanonne was still in prison at Chatham. They had only to put their hands on him. He was transferred from Chatham to London. In the meantime information was sought in Switzerland. The facts were found to be correct. They obtained from the local archives at Vevey, at Lausanne, the certificate of Lord Linnæus's marriage in exile, the certificate of his child's birth, the certificate of the decease of the father and mother; and they had duplicates, duly authenticated, made to answer all necessary requirements.
Two important advisors were consulted—specifically, the Lord Chancellor, who is legally the guardian of the king's conscience, and the Lord Marshal, who oversees heraldry and the nobility's family lines. Thomas Howard, Duke of Norfolk, a Catholic peer and hereditary Earl Marshal of England, had communicated through his deputy, Henry Howard, Earl Bindon, that he would agree with the Lord Chancellor. The Lord Chancellor was William Cowper. We should not confuse this chancellor with his namesake and contemporary William Cowper, the anatomist and commentator on Bidloo, who published a work on muscles in England around the same time that Etienne Abeille published a history of bones in France. A surgeon is very different from a lord. Lord William Cowper is well-known for stating, in relation to the case of Talbot Yelverton, Viscount Longueville, that in the English constitution, restoring a peer is more important than restoring a king. The flask found at Calshor had sparked his keen interest. The author of a maxim thrives on opportunities for its application. Here was a case involving the restoration of a peer. A search was conducted. Gwynplaine was soon identified through the inscription over his door. Hardquanonne was also still alive. A prison may decay a man, but it can also preserve him—if to keep means to preserve. Those held in Bastilles were rarely released. There is little difference between a dungeon and a tomb. Hardquanonne remained imprisoned in Chatham. They only needed to locate him. He was moved from Chatham to London. Meanwhile, information was sought in Switzerland. The facts were confirmed. They obtained from the local archives in Vevey and Lausanne the certificate of Lord Linnæus's marriage in exile, the certificate of his child's birth, and the record of his parents' deaths; and they had duplicates properly authenticated to meet all necessary requirements.
All this was done with the most rigid secrecy, with what is called royal promptitude, and with that mole-like silence recommended and practised by Bacon, and later on made law by Blackstone, for affairs connected with the Chancellorship and the state, and in matters termed parliamentary. The jussu regis and the signature Jeffreys were authenticated. To those who have studied pathologically the cases of caprice called "our good will and pleasure," this jussu regis is very simple. Why should James II., whose credit required the concealment of such acts, have allowed that to be written which endangered their success? The answer is, cynicism—haughty indifference. Oh! you believe that effrontery is confined to abandoned women? The raison d'état is equally abandoned. Et se cupit ante videri. To commit a crime and emblazon it, there is the sum total of history. The king tattooes himself like the convict. Often when it would be to a man's greatest advantage to escape from the hands of the police or the records of history, he would seem to regret the escape so great is the love of notoriety. Look at my arm! Observe the design! I am Lacenaire! See, a temple of love and a burning heart pierced through with an arrow! Jussu regis. It is I, James the Second. A man commits a bad action, and places his mark upon it. To fill up the measure of crime by effrontery, to denounce himself, to cling to his misdeeds, is the insolent bravado of the criminal. Christina seized Monaldeschi, had him confessed and assassinated, and said,—
All of this was done with the strictest secrecy, with what’s known as royal promptness, and with that mole-like silence recommended and practiced by Bacon, later established as law by Blackstone for issues related to the Chancellorship and state affairs, as well as parliamentary matters. The jussu regis and the signature Jeffreys were verified. For those who have examined the cases of caprice referred to as "our good will and pleasure," this jussu regis is quite straightforward. Why would James II, whose reputation depended on hiding such actions, allow something to be documented that jeopardized their success? The answer lies in cynicism—arrogant indifference. Oh! You think boldness is only found in disreputable women? State reasons are equally reckless. Et se cupit ante videri. To commit a crime and flaunt it is the essence of history. The king brands himself like a convict. Often, when it would be a man's greatest advantage to escape the grip of the police or the annals of history, he seems to regret the escape so strong is the desire for notoriety. Look at my arm! Check out the design! I am Lacenaire! See, a temple of love and a burning heart pierced by an arrow! Jussu regis. It is I, James the Second. A man commits a wrongful act and stamps it with his mark. To overflow with crime through audacity, to confess one’s own guilt, to cling to one’s sins, is the insolent defiance of the criminal. Christina captured Monaldeschi, had him confess, and then assassinated him, and said,—
"I am the Queen of Sweden, in the palace of the King of France."
"I am the Queen of Sweden, in the King of France's palace."
There is the tyrant who conceals himself, like Tiberius; and the tyrant who displays himself, like Philip II. One has the attributes of the scorpion, the other those rather of the leopard. James II. was of this latter variety. He had, we know, a gay and open countenance, differing so far from Philip. Philip was sullen, James jovial. Both were equally ferocious. James II. was an easy-minded tiger; like Philip II., his crimes lay light upon his conscience. He was a monster by the grace of God. Therefore he had nothing to dissimulate nor to extenuate, and his assassinations were by divine right. He, too, would not have minded leaving behind him those archives of Simancas, with all his misdeeds dated, classified, labelled, and put in order, each in its compartment, like poisons in the cabinet of a chemist. To set the sign-manual to crimes is right royal.
There’s the tyrant who hides himself, like Tiberius, and the tyrant who shows himself, like Philip II. One has traits of a scorpion, while the other has traits of a leopard. James II was of the latter type. We know he had a cheerful and open face, which was quite different from Philip’s. Philip was gloomy, while James was lively. Both were equally brutal. James II was a carefree tiger; like Philip II, his crimes weighed lightly on his conscience. He was a monster by divine right. So, he had nothing to hide or justify, and his assassinations were sanctioned by God. He wouldn’t have minded leaving behind those archives of Simancas, with all his wrongdoings recorded, organized, labeled, and neatly stored, like poisons in a chemist’s cabinet. To put a royal seal on crimes is true royalty.
Every deed done is a draft drawn on the great invisible paymaster. A bill had just come due with the ominous endorsement, Jussu regis.
Every action taken is like a check written to the unseen paymaster. A bill had just come due with the threatening stamp, Jussu regis.
Queen Anne, in one particular unfeminine, seeing that she could keep a secret, demanded a confidential report of so grave a matter from the Lord Chancellor—one of the kind specified as "report to the royal ear." Reports of this kind have been common in all monarchies. At Vienna there was "a counsellor of the ear"—an aulic dignitary. It was an ancient Carlovingian office—the auricularius of the old palatine deeds. He who whispers to the emperor.
Queen Anne, in a rare display of decisiveness, requested a confidential update on such a serious issue from the Lord Chancellor—specifically one meant only for the royal ears. Reports like these have been typical in every monarchy. In Vienna, there was a "counselor of the ear"—a high-ranking official. This was an ancient Carolingian position—the auricularius of the old palatine records. He was the one who whispered to the emperor.
William, Baron Cowper, Chancellor of England, whom the queen believed in because he was short-sighted like herself, or even more so, had committed to writing a memorandum commencing thus: "Two birds were subject to Solomon—a lapwing, the hudbud, who could speak all languages; and an eagle, the simourganka, who covered with the shadow of his wings a caravan of twenty thousand men. Thus, under another form, Providence," etc. The Lord Chancellor proved the fact that the heir to a peerage had been carried off, mutilated, and then restored. He did not blame James II., who was, after all, the queen's father. He even went so far as to justify him. First, there are ancient monarchical maxims. E senioratu eripimus. In roturagio cadat. Secondly, there is a royal right of mutilation. Chamberlayne asserts the fact.[19] Corpora et bona nostrorum subjectorum nostra sunt, said James I., of glorious and learned memory. The eyes of dukes of the blood royal have been plucked out for the good of the kingdom. Certain princes, too near to the throne, have been conveniently stifled between mattresses, the cause of death being given out as apoplexy. Now to stifle is worse than to mutilate. The King of Tunis tore out the eyes of his father, Muley Assem, and his ambassadors have not been the less favourably received by the emperor. Hence the king may order the suppression of a limb like the suppression of a state, etc. It is legal. But one law does not destroy another. "If a drowned man is cast up by the water, and is not dead, it is an act of God readjusting one of the king. If the heir be found, let the coronet be given back to him. Thus was it done for Lord Alla, King of Northumberland, who was also a mountebank. Thus should be done to Gwynplaine, who is also a king, seeing that he is a peer. The lowness of the occupation which he has been obliged to follow, under constraint of superior power, does not tarnish the blazon: as in the case of Abdolmumen, who was a king, although he had been a gardener; that of Joseph, who was a saint, although he had been a carpenter; that of Apollo, who was a god, although he had been a shepherd."
William, Baron Cowper, Chancellor of England, whom the queen trusted because he was short-sighted like her, or even more, had started writing a memo that began: "Two birds were under Solomon's authority—a lapwing, the hudbud, who could speak all languages; and an eagle, the simourganka, who cast a shadow over a caravan of twenty thousand men. Thus, in another way, Providence," etc. The Lord Chancellor confirmed that the heir to a peerage had been kidnapped, harmed, and then restored. He did not blame James II., who was, after all, the queen's father. He even went so far as to defend him. First, there are ancient royal principles. E senoratu eripimus. In roturagio cadat. Secondly, there is a royal right to harm. Chamberlayne backs this up. Corpora et bona nostrorum subjectorum nostra sunt, said James I., of glorious and learned memory. Dukes related to the royal bloodline have had their eyes removed for the good of the kingdom. Certain princes, too close to the throne, have been conveniently suffocated between mattresses, the cause of death being reported as apoplexy. Now, suffocating is worse than harming. The King of Tunis gouged out the eyes of his father, Muley Assem, and his ambassadors were still well-received by the emperor. Therefore, the king can order the removal of a limb just like the removal of a state, etc. It is lawful. But one law does not cancel out another. "If a drowned man washes ashore and is not dead, it is an act of God adjusting one of the king. If the heir is found, let the coronet be returned to him. This was done for Lord Alla, King of Northumberland, who was also a charlatan. Thus should it be done for Gwynplaine, who is also a king, as he is a peer. The lowly occupation he has had to undertake, due to the pressure of a higher power, does not tarnish his status: as was the case with Abdolmumen, who was a king even though he had been a gardener; with Joseph, who was a saint even though he had been a carpenter; and with Apollo, who was a god even though he had been a shepherd."
In short, the learned chancellor concluded by advising the reinstatement, in all his estates and dignities, of Lord Fermain Clancharlie, miscalled Gwynplaine, on the sole condition that he should be confronted with the criminal Hardquanonne, and identified by the same. And on this point the chancellor, as constitutional keeper of the royal conscience, based the royal decision. The Lord Chancellor added in a postscript that if Hardquanonne refused to answer he should be subjected to the peine forte et dure, until the period called the frodmortell, according to the statute of King Athelstane, which orders the confrontation to take place on the fourth day. In this there is a certain inconvenience, for if the prisoner dies on the second or third day the confrontation becomes difficult; still the law must be obeyed. The inconvenience of the law makes part and parcel of it. In the mind of the Lord Chancellor, however, the recognition of Gwynplaine by Hardquanonne was indubitable.
In short, the knowledgeable chancellor concluded by recommending the restoration of Lord Fermain Clancharlie, incorrectly referred to as Gwynplaine, to all his estates and titles, on the condition that he face the criminal Hardquanonne and be identified by him. The chancellor, as the constitutional keeper of the royal conscience, based the royal decision on this point. He added in a postscript that if Hardquanonne refused to answer, he should face the peine forte et dure until the period known as the frodmortell, according to King Athelstane's statute, which states that the confrontation must happen on the fourth day. There is a certain inconvenience in this, as if the prisoner dies on the second or third day, the confrontation becomes problematic; still, the law has to be followed. The inconvenience of the law is part of it. However, the Lord Chancellor firmly believed that Hardquanonne would surely recognize Gwynplaine.
Anne, having been made aware of the deformity of Gwynplaine, and not wishing to wrong her sister, on whom had been bestowed the estates of Clancharlie, graciously decided that the Duchess Josiana should be espoused by the new lord—that is to say, by Gwynplaine.
Anne, having learned about Gwynplaine's deformity and not wanting to do her sister wrong, who had inherited the estates of Clancharlie, kindly decided that the Duchess Josiana should marry the new lord—that is, Gwynplaine.
The reinstatement of Lord Fermain Clancharlie was, moreover, a very simple affair, the heir being legitimate, and in the direct line.
The reinstatement of Lord Fermain Clancharlie was, in fact, a straightforward matter, as the heir was legitimate and in the direct line.
In cases of doubtful descent, and of peerages in abeyance claimed by collaterals, the House of Lords must be consulted. This (to go no further back) was done in 1782, in the case of the barony of Sydney, claimed by Elizabeth Perry; in 1798, in that of the barony of Beaumont, claimed by Thomas Stapleton; in 1803, in that of the barony of Stapleton; in 1803, in that of the barony of Chandos, claimed by the Reverend Tymewell Brydges; in 1813, in that of the earldom of Banbury, claimed by General Knollys, etc., etc. But the present was no similar case. Here there was no pretence for litigation; the legitimacy was undoubted, the right clear and certain. There was no point to submit to the House, and the Queen, assisted by the Lord Chancellor, had power to recognize and admit the new peer.
In cases of questionable ancestry and peerages in abeyance claimed by relatives, the House of Lords needs to be consulted. This was done, for instance, in 1782 for the barony of Sydney claimed by Elizabeth Perry; in 1798 for the barony of Beaumont claimed by Thomas Stapleton; in 1803 for the barony of Stapleton; in 1803 for the barony of Chandos claimed by Reverend Tymewell Brydges; and in 1813 for the earldom of Banbury claimed by General Knollys, among others. However, this case was different. There was no reason for a legal dispute; legitimacy was clear and the right was established and certain. There was no issue to present to the House, and the Queen, with the help of the Lord Chancellor, had the authority to recognize and admit the new peer.
Barkilphedro managed everything.
Barkilphedro handled everything.
The affair, thanks to him, was kept so close, the secret was so hermetically sealed, that neither Josiana nor Lord David caught sight of the fearful abyss which was being dug under them. It was easy to deceive Josiana, entrenched as she was behind a rampart of pride. She was self-isolated. As to Lord David, they sent him to sea, off the coast of Flanders. He was going to lose his peerage, and had no suspicion of it. One circumstance is noteworthy.
The affair, thanks to him, was kept so secret that neither Josiana nor Lord David realized the terrible danger that was being created beneath them. It was easy to fool Josiana, as she was shielded by her pride. She had isolated herself. As for Lord David, he was sent to sea, off the coast of Flanders. He was about to lose his title, and had no idea it was happening. One thing is worth noting.
It happened that at six leagues from the anchorage of the naval station commanded by Lord David, a captain called Halyburton broke through the French fleet. The Earl of Pembroke, President of the Council, proposed that this Captain Halyburton should be made vice-admiral. Anne struck out Halyburton's name, and put Lord David Dirry-Moir's in its place, that he might, when no longer a peer, have the satisfaction of being a vice-admiral.
It turned out that six leagues from the naval station led by Lord David, a captain named Halyburton got through the French fleet. The Earl of Pembroke, who was the President of the Council, suggested that Captain Halyburton be made vice-admiral. Anne removed Halyburton's name and replaced it with Lord David Dirry-Moir's so that he could have the satisfaction of being a vice-admiral once he was no longer a peer.
Anne was well pleased. A hideous husband for her sister, and a fine step for Lord David. Mischief and kindness combined.
Anne was really happy. A terrible husband for her sister, and a great move for Lord David. A mix of mischief and kindness.
Her Majesty was going to enjoy a comedy. Besides, she argued to herself that she was repairing an abuse of power committed by her august father. She was reinstating a member of the peerage. She was acting like a great queen; she was protecting innocence according to the will of God that Providence in its holy and impenetrable ways, etc., etc. It is very sweet to do a just action which is disagreeable to those whom we do not like.
Her Majesty was about to enjoy a comedy. Besides, she convinced herself that she was correcting an abuse of power committed by her esteemed father. She was bringing back a member of the nobility. She was behaving like a great queen; she was defending innocence according to the will of God and that Providence in its mysterious and sacred ways, etc., etc. It feels really good to do something just that irritates the people we dislike.
To know that the future husband of her sister was deformed, sufficed the queen. In what manner Gwynplaine was deformed, and by what kind of ugliness, Barkilphedro had not communicated to the queen, and Anne had not deigned to inquire. She was proudly and royally disdainful. Besides, what could it matter? The House of Lords could not but be grateful. The Lord Chancellor, its oracle, had approved. To restore a peer is to restore the peerage. Royalty on this occasion had shown itself a good and scrupulous guardian of the privileges of the peerage. Whatever might be the face of the new lord, a face cannot be urged in objection to a right. Anne said all this to herself, or something like it, and went straight to her object, an object at once grand, womanlike, and regal—namely, to give herself a pleasure.
To know that her sister's future husband was deformed was enough for the queen. Barkilphedro hadn't told the queen how Gwynplaine was deformed or what kind of ugliness he had, and Anne hadn't bothered to ask. She was proudly and royally dismissive. Besides, what did it matter? The House of Lords would surely be grateful. The Lord Chancellor, their authority, had given his approval. Restoring a peer means restoring the peerage. Royalty had shown itself to be a responsible and careful guardian of the privileges of the peerage this time. No matter what the new lord looked like, a face can't be used as an objection to a right. Anne told herself all of this, or something similar, and went straight for her goal, a goal that was both grand, feminine, and royal—namely, to indulge herself.
The queen was then at Windsor—a circumstance which placed a certain distance between the intrigues of the court and the public. Only such persons as were absolutely necessary to the plan were in the secret of what was taking place. As to Barkilphedro, he was joyful—a circumstance which gave a lugubrious expression to his face. If there be one thing in the world which can be more hideous than another, 'tis joy.
The queen was at Windsor at that time, which created some distance between the court's intrigues and the public. Only those who were crucial to the plan knew what was going on. As for Barkilphedro, he was happy—something that made his face look even more grim. If there's one thing in the world that can be uglier than anything else, it's joy.
He had had the delight of being the first to taste the contents of Hardquanonne's flask. He seemed but little surprised, for astonishment is the attribute of a little mind. Besides, was it not all due to him, who had waited so long on duty at the gate of chance? Knowing how to wait, he had fairly won his reward.
He had the pleasure of being the first to try what's in Hardquanonne's flask. He didn't seem too surprised, because surprise is the trait of a small mind. Besides, wasn't it all thanks to him, who had patiently waited at the gate of opportunity? Knowing how to wait, he truly earned his reward.
This nil admirari was an expression of face. At heart we may admit that he was very much astonished. Any one who could have lifted the mask with which he covered his inmost heart even before God would have discovered this: that at the very time Barkilphedro had begun to feel finally convinced that it would be impossible—even to him, the intimate and most infinitesimal enemy of Josiana—to find a vulnerable point in her lofty life. Hence an access of savage animosity lurked in his mind. He had reached the paroxysm which is called discouragement. He was all the more furious, because despairing. To gnaw one's chain—how tragic and appropriate the expression! A villain gnawing at his own powerlessness!
This nil admirari was a facial expression. Deep down, we can admit he was very surprised. Anyone who could have lifted the mask he used to shield his innermost feelings, even from God, would have seen that at that moment Barkilphedro was finally convinced it would be impossible—even for him, Josiana's closest and most insignificant enemy—to find a weak spot in her elevated life. This led to a surge of bitter resentment in his mind. He had reached the peak of what is called discouragement. He was even more furious because he was despairing. To gnaw on one's chain—how tragic and fitting that phrase is! A villain gnawing at his own helplessness!
Barkilphedro was perhaps just on the point of renouncing not his desire to do evil to Josiana, but his hope of doing it; not the rage, but the effort. But how degrading to be thus baffled! To keep hate thenceforth in a case, like a dagger in a museum! How bitter the humiliation!
Barkilphedro was maybe just about to give up not his desire to harm Josiana, but his hope of being able to do so; not the anger, but the struggle. But how humiliating to be thwarted like this! To have to keep hate locked away, like a dagger in a museum! How bitter the humiliation!
All at once to a certain goal—Chance, immense and universal, loves to bring such coincidences about—the flask of Hardquanonne came, driven from wave to wave, into Barkilphedro's hands. There is in the unknown an indescribable fealty which seems to be at the beck and call of evil. Barkilphedro, assisted by two chance witnesses, disinterested jurors of the Admiralty, uncorked the flask, found the parchment, unfolded, read it. What words could express his devilish delight!
Suddenly, aiming for a specific outcome—Chance, vast and all-encompassing, loves to create such coincidences—the flask of Hardquanonne ended up in Barkilphedro's hands, pushed from wave to wave. There’s something indescribably loyal about the unknown that seems to serve evil. Barkilphedro, with the help of two accidental witnesses, unbiased jurors of the Admiralty, uncorked the flask, discovered the parchment, unfolded it, and read it. What words could capture his wicked joy!
It is strange to think that the sea, the wind, space, the ebb and flow of the tide, storms, calms, breezes, should have given themselves so much trouble to bestow happiness on a scoundrel. That co-operation had continued for fifteen years. Mysterious efforts! During fifteen years the ocean had never for an instant ceased from its labours. The waves transmitted from one to another the floating bottle. The shelving rocks had shunned the brittle glass; no crack had yawned in the flask; no friction had displaced the cork; the sea-weeds had not rotted the osier; the shells had not eaten out the word "Hardquanonne;" the water had not penetrated into the waif; the mould had not rotted the parchment; the wet had hot effaced the writing. What trouble the abyss must have taken! Thus that which Gernardus had flung into darkness, darkness had handed back to Barkilphedro. The message sent to God had reached the devil. Space had committed an abuse of confidence, and a lurking sarcasm which mingles with events had so arranged that it had complicated the loyal triumph of the lost child's becoming Lord Clancharlie with a venomous victory: in doing a good action, it had mischievously placed justice at the service of iniquity. To save the victim of James II. was to give a prey to Barkilphedro. To reinstate Gwynplaine was to crush Josiana. Barkilphedro had succeeded, and it was for this that for so many years the waves, the surge, the squalls had buffeted, shaken, thrown, pushed, tormented, and respected this bubble of glass, which bore within it so many commingled fates. It was for this that there had been a cordial co-operation between the winds, the tides, and the tempests—a vast agitation of all prodigies for the pleasure of a scoundrel; the infinite co-operating with an earthworm! Destiny is subject to such grim caprices.
It's strange to think that the sea, the wind, space, the ebb and flow of the tide, storms, calm weather, and breezes went through so much trouble to bring happiness to a scoundrel. That cooperation lasted for fifteen years. Mysterious efforts! For fifteen years, the ocean never stopped its labor for a moment. The waves passed the floating bottle from one to another. The rocky shelves avoided the fragile glass; not a single crack appeared in the flask; no friction dislodged the cork; the seaweed didn’t rot the wicker; the shells didn’t wear away the name "Hardquanonne;" the water didn’t seep into the bottle; the mold didn’t ruin the parchment; the dampness didn’t erase the writing. What a strain the depths must have endured! This is how what Gernardus had cast into darkness was returned to Barkilphedro. The message sent to God reached the devil. Space had betrayed a trust, and a subtle sarcasm woven into events made sure that the loyal triumph of the lost child's becoming Lord Clancharlie was complicated by a malicious victory: in doing a good deed, it had mischievously placed justice in the service of wickedness. To save the victim of James II. was to give a prey to Barkilphedro. To restore Gwynplaine was to crush Josiana. Barkilphedro succeeded, and for this reason, for so many years, the waves, the surges, and the storms tossed, shook, pushed, tormented, and respected this bubble of glass, which contained so many intertwined destinies. It was for this that there had been a warm cooperation between the winds, the tides, and the tempests—a huge agitation of all wonders just for the pleasure of a scoundrel; the infinite working together with a lowly worm! Fate is subject to such dark whims.
Barkilphedro was struck by a flash of Titanic pride. He said to himself that it had all been done to fulfil his intentions. He felt that he was the object and the instrument.
Barkilphedro was hit by a surge of enormous pride. He told himself that everything had been done to achieve his goals. He felt that he was both the focus and the means to that end.
But he was wrong. Let us clear the character of chance.
But he was mistaken. Let’s clarify the nature of chance.
Such was not the real meaning of the remarkable circumstance of which the hatred of Barkilphedro was to profit. Ocean had made itself father and mother to an orphan, had sent the hurricane against his executioners, had wrecked the vessel which had repulsed the child, had swallowed up the clasped hands of the storm-beaten sailors, refusing their supplications and accepting only their repentance; the tempest received a deposit from the hands of death. The strong vessel containing the crime was replaced by the fragile phial containing the reparation. The sea changed its character, and, like a panther turning nurse, began to rock the cradle, not of the child, but of his destiny, whilst he grew up ignorant of all that the depths of ocean were doing for him.
That wasn't the true significance of the incredible situation that Barkilphedro's hatred was about to exploit. The ocean had become both a father and mother to an orphan, sending a hurricane against his executioners, wrecking the ship that had turned away from the child, and consuming the clasped hands of the storm-tossed sailors, ignoring their pleas and only accepting their remorse; the storm was a graveyard for their sins. The sturdy ship that carried the wrongdoing was replaced by a delicate vial that held the atonement. The sea transformed, and, like a panther turning caregiver, began to rock the cradle, not of the child, but of his fate, while he grew up unaware of all that the depths of the ocean were doing for him.
The waves to which this flask had been flung watching over that past which contained a future; the whirlwind breathing kindly on it; the currents directing the frail waif across the fathomless wastes of water; the caution exercised by seaweed, the swells, the rocks; the vast froth of the abyss, taking under its protection an innocent child; the wave imperturbable as a conscience; chaos re-establishing order; the worldwide shadows ending in radiance; darkness employed to bring to light the star of truth; the exile consoled in his tomb; the heir given back to his inheritance; the crime of the king repaired; divine premeditation obeyed; the little, the weak, the deserted child with infinity for a guardian—all this Barkilphedro might have seen in the event on which he triumphed. This is what he did not see. He did not believe that it had all been done for Gwynplaine. He fancied that it had been effected for Barkilphedro, and that he was well worth the trouble. Thus it is ever with Satan.
The waves to which this flask had been tossed were watching over a past that held a future; the whirlwind gently blowing on it; the currents guiding the fragile waif across the endless ocean; the caution shown by seaweed, the swells, the rocks; the vast foam of the abyss, safeguarding an innocent child; the wave steady as a conscience; chaos restoring order; the global shadows leading to light; darkness used to reveal the star of truth; the exile comforted in his tomb; the heir returned to his inheritance; the king's crime rectified; divine planning followed; the small, the weak, the abandoned child with infinity as a protector—all of this Barkilphedro might have seen in the event he celebrated. This is what he failed to see. He didn’t believe it was all done for Gwynplaine. He thought it was done for Barkilphedro, and that he was worth the effort. Thus it is always with Satan.
Moreover, ere we feel astonished that a waif so fragile should have floated for fifteen years undamaged, we should seek to understand the tender care of the ocean. Fifteen years is nothing. On the 4th of October 1867, on the coast of Morbihan, between the Isle de Croix, the extremity of the peninsula de Gavres, and the Rocher des Errants, the fishermen of Port Louis found a Roman amphora of the fourth century, covered with arabesques by the incrustations of the sea. That amphora had been floating fifteen hundred years.
Moreover, before we’re amazed that such a fragile person could have survived for fifteen years without harm, we should take a moment to appreciate the gentle care of the ocean. Fifteen years is nothing. On October 4, 1867, off the coast of Morbihan, between the Isle de Croix, the tip of the peninsula de Gavres, and the Rocher des Errants, fishermen from Port Louis discovered a Roman amphora from the fourth century, adorned with intricate designs created by the sea’s deposits. That amphora had been drifting for fifteen hundred years.
Whatever appearance of indifference Barkilphedro tried to exhibit, his wonder had equalled his joy. Everything he could desire was there to his hand. All seemed ready made. The fragments of the event which was to satisfy his hate were spread out within his reach. He had nothing to do but to pick them up and fit them together—a repair which it was an amusement to execute. He was the artificer.
No matter how indifferent Barkilphedro tried to act, his amazement matched his joy. Everything he wanted was right there. It all seemed ready for him. The pieces of the situation that would satisfy his hatred were laid out before him. All he had to do was gather them and piece them together—a task that he found enjoyable. He was the creator.
Gwynplaine! He knew the name. Masca ridens. Like every one else, he had been to see the Laughing Man. He had read the sign nailed up against the Tadcaster Inn as one reads a play-bill that attracts a crowd. He had noted it. He remembered it directly in its most minute details; and, in any case, it was easy to compare them with the original. That notice, in the electrical summons which arose in his memory, appeared in the depths of his mind, and placed itself by the side of the parchment signed by the shipwrecked crew, like an answer following a question, like the solution following an enigma; and the lines—"Here is to be seen Gwynplaine, deserted at the age of ten, on the 29th of January, 1690, on the coast at Portland"—suddenly appeared to his eyes in the splendour of an apocalypse. His vision was the light of Mene, Tekel, Upharsin, outside a booth. Here was the destruction of the edifice which made the existence of Josiana. A sudden earthquake. The lost child was found. There was a Lord Clancharlie; David Dirry-Moir was nobody. Peerage, riches, power, rank—all these things left Lord David and entered Gwynplaine. All the castles, parks, forests, town houses, palaces, domains, Josiana included, belonged to Gwynplaine. And what a climax for Josiana! What had she now before her? Illustrious and haughty, a player; beautiful, a monster. Who could have hoped for this? The truth was that the joy of Barkilphedro had become enthusiastic. The most hateful combinations are surpassed by the infernal munificence of the unforeseen. When reality likes, it works masterpieces. Barkilphedro found that all his dreams had been nonsense; reality were better.
Gwynplaine! He recognized the name. Masca ridens. Like everyone else, he had gone to see the Laughing Man. He had read the sign posted on the Tadcaster Inn like one reads an eye-catching poster for a play. He had taken note of it. He remembered it clearly in all its details; and in any case, it was easy to compare it with the original. That notice, in the vivid recall that emerged in his mind, appeared deep within him, standing next to the document signed by the shipwrecked crew, like an answer to a question, like a solution to a puzzle; and the lines—"Here is to be seen Gwynplaine, abandoned at the age of ten, on the 29th of January, 1690, on the coast at Portland"—suddenly flashed before him in glorious revelation. His vision shone like Mene, Tekel, Upharsin, outside a booth. This was the destruction of the foundation that supported Josiana’s existence. A sudden upheaval. The lost child was found. There was a Lord Clancharlie; David Dirry-Moir was insignificant. Nobility, wealth, power, status—all of these things left Lord David and transferred to Gwynplaine. All the castles, estates, forests, city homes, palaces, domains, even Josiana, belonged to Gwynplaine. And what a turn of events for Josiana! What did she have left? Distinguished and proud, a performer; beautiful, yet a monster. Who could have expected this? The reality was that Barkilphedro's joy had turned into sheer excitement. The most loathsome schemes are eclipsed by the diabolical generosity of the unexpected. When reality chooses to, it creates masterpieces. Barkilphedro realized that all his dreams had been nonsense; reality was far better.
The change he was about to work would not have seemed less desirable had it been detrimental to him. Insects exist which are so savagely disinterested that they sting, knowing that to sting is to die. Barkilphedro was like such vermin.
The change he was about to make wouldn’t have felt any less appealing even if it hurt him. Some insects are so brutally indifferent that they sting, fully aware that stinging means they’ll die. Barkilphedro was like those pests.
But this time he had not the merit of being disinterested. Lord David Dirry-Moir owed him nothing, and Lord Fermain Clancharlie was about to owe him everything. From being a protégé Barkilphedro was about to become a protector. Protector of whom? Of a peer of England. He was going to have a lord of his own, and a lord who would be his creature. Barkilphedro counted on giving him his first impressions. His peer would be the morganatic brother-in-law of the queen. His ugliness would please the queen in the same proportion as it displeased Josiana. Advancing by such favour, and assuming grave and modest airs, Barkilphedro might become a somebody. He had always been destined for the church. He had a vague longing to be a bishop.
But this time he wasn't acting out of selflessness. Lord David Dirry-Moir owed him nothing, and Lord Fermain Clancharlie was about to owe him everything. Barkilphedro was moving from being a mentee to becoming a protector. Protector of whom? A peer of England. He was going to have a lord of his own, and a lord who would depend on him. Barkilphedro planned to shape his first impressions. His peer would be the morganatic brother-in-law of the queen. His ugliness would please the queen just as much as it would upset Josiana. With such support, and by adopting serious and modest demeanor, Barkilphedro might become someone important. He had always been meant for the church. He felt a vague desire to become a bishop.
Meanwhile he was happy.
He was happy.
Oh, what a great success! and what a deal of useful work had chance accomplished for him! His vengeance—for he called it his vengeance—had been softly brought to him by the waves. He had not lain in ambush in vain.
Oh, what a great success! And what a lot of useful work chance had accomplished for him! His revenge—for he called it his revenge—had been gently delivered to him by the waves. He had not lain in wait in vain.
He was the rock, Josiana was the waif. Josiana was about to be dashed against Barkilphedro, to his intense villainous ecstasy.
He was the rock, Josiana was the fragile one. Josiana was about to be thrown against Barkilphedro, much to his delight in wickedness.
He was clever in the art of suggestion, which consists in making in the minds of others a little incision into which you put an idea of your own. Holding himself aloof, and without appearing to mix himself up in the matter, it was he who arranged that Josiana should go to the Green Box and see Gwynplaine. It could do no harm. The appearance of the mountebank, in his low estate, would be a good ingredient in the combination; later on it would season it.
He was skilled in the art of suggestion, which involves making a small opening in someone else's mind to plant your own idea. Keeping his distance and not getting directly involved, he was the one who orchestrated Josiana's visit to the Green Box to see Gwynplaine. It wouldn’t hurt. The sight of the mountebank in his humble state would add a good element to the mix; it would enhance things later on.
He had quietly prepared everything beforehand. What he most desired was something unspeakably abrupt. The work on which he was engaged could only be expressed in these strange words—the construction of a thunderbolt.
He had quietly set everything up in advance. What he wanted most was something shockingly sudden. The task he was working on could only be described with these unusual words—creating a thunderbolt.
All preliminaries being complete, he had watched till all the necessary legal formalities had been accomplished. The secret had not oozed out, silence being an element of law.
All the preliminaries were done, and he had waited until all the required legal formalities were completed. The secret hadn't leaked out, as silence is part of the law.
The confrontation of Hardquanonne with Gwynplaine had taken place. Barkilphedro had been present. We have seen the result.
The confrontation between Hardquanonne and Gwynplaine had happened. Barkilphedro had been there. We have seen the outcome.
The same day a post-chaise belonging to the royal household was suddenly sent by her Majesty to fetch Lady Josiana from London to Windsor, where the queen was at the time residing.
The same day, a carriage from the royal household was unexpectedly sent by her Majesty to pick up Lady Josiana from London to Windsor, where the queen was currently staying.
Josiana, for reasons of her own, would have been very glad to disobey, or at least to delay obedience, and put off her departure till next day; but court life does not permit of these objections. She was obliged to set out at once, and to leave her residence in London, Hunkerville House, for her residence at Windsor, Corleone Lodge.
Josiana, for her own reasons, would have been more than happy to disobey or at least postpone her obedience and put off her departure until the next day; however, court life doesn't allow for such objections. She had to leave immediately and head from her home in London, Hunkerville House, to her place in Windsor, Corleone Lodge.
The Duchess Josiana left London at the very moment that the wapentake appeared at the Tadcaster Inn to arrest Gwynplaine and take him to the torture cell of Southwark.
The Duchess Josiana left London just as the wapentake arrived at the Tadcaster Inn to arrest Gwynplaine and take him to the torture cell in Southwark.
When she arrived at Windsor, the Usher of the Black Rod, who guards the door of the presence chamber, informed her that her Majesty was in audience with the Lord Chancellor, and could not receive her until the next day; that, consequently, she was to remain at Corleone Lodge, at the orders of her Majesty; and that she should receive the queen's commands direct, when her Majesty awoke the next morning. Josiana entered her house feeling very spiteful, supped in a bad humour, had the spleen, dismissed every one except her page, then dismissed him, and went to bed while it was yet daylight.
When she got to Windsor, the Usher of the Black Rod, who stands guard at the door of the presence chamber, told her that her Majesty was meeting with the Lord Chancellor and couldn't see her until the next day. Therefore, she was to stay at Corleone Lodge, by her Majesty’s orders, and she would receive the queen's instructions directly when her Majesty woke up the next morning. Josiana went into her house feeling really annoyed, had a dinner in a bad mood, was irritable, sent everyone away except her page, then sent him away too, and went to bed while it was still light outside.
When she arrived she had learned that Lord David Dirry-Moir was expected at Windsor the next day, owing to his having, whilst at sea, received orders to return immediately and receive her Majesty's commands.
When she arrived, she found out that Lord David Dirry-Moir was expected at Windsor the next day, as he had received orders to return immediately and receive the Queen's instructions while he was at sea.
CHAPTER III.
AN AWAKENING.
"No man could pass suddenly from Siberia into Senegal without losing consciousness."—HUMBOLDT.
"No one could suddenly travel from Siberia to Senegal without fainting."—HUMBOLDT.
The swoon of a man, even of one the most firm and energetic, under the sudden shock of an unexpected stroke of good fortune, is nothing wonderful. A man is knocked down by the unforeseen blow, like an ox by the poleaxe. Francis d'Albescola, he who tore from the Turkish ports their iron chains, remained a whole day without consciousness when they made him pope. Now the stride from a cardinal to a pope is less than that from a mountebank to a peer of England.
The fainting of a man, even one who is strong and full of life, due to the sudden surprise of unexpected good luck, is not surprising. A man collapses from the unforeseen impact, like an ox struck by an ax. Francis d'Albescola, the one who freed the Turkish ports from their iron chains, stayed unconscious for an entire day when they made him pope. Now, the jump from a cardinal to a pope is less significant than the leap from a con artist to a noble of England.
No shock is so violent as a loss of equilibrium.
No shock is as intense as losing your balance.
When Gwynplaine came to himself and opened his eyes it was night. He was in an armchair, in the midst of a large chamber lined throughout with purple velvet, over walls, ceiling, and floor. The carpet was velvet. Standing near him, with uncovered head, was the fat man in the travelling cloak, who had emerged from behind the pillar in the cell at Southwark. Gwynplaine was alone in the chamber with him. From the chair, by extending his arms, he could reach two tables, each bearing a branch of six lighted wax candles. On one of these tables there were papers and a casket, on the other refreshments; a cold fowl, wine, and brandy, served on a silver-gilt salver.
When Gwynplaine regained consciousness and opened his eyes, it was nighttime. He found himself in an armchair in a large room completely lined with purple velvet on the walls, ceiling, and floor. The carpet was also made of velvet. Standing beside him, with his head uncovered, was the overweight man in the travel cloak who had stepped out from behind the pillar in the cell at Southwark. Gwynplaine was alone in the room with him. From the chair, he could reach two tables by stretching out his arms, each holding a candelabrum with six lit wax candles. On one table, there were some papers and a small box, while the other had refreshments: a cold chicken, wine, and brandy served on a silver-gilt tray.
Through the panes of a high window, reaching from the ceiling to the floor, a semicircle of pillars was to be seen, in the clear April night, encircling a courtyard with three gates, one very wide, and the other two low. The carriage gate, of great size, was in the middle; on the right, that for equestrians, smaller; on the left, that for foot passengers, still less. These gates were formed of iron railings, with glittering points. A tall piece of sculpture surmounted the central one. The columns were probably in white marble, as well as the pavement of the court, thus producing an effect like snow; and framed in its sheet of flat flags was a mosaic, the pattern of which was vaguely marked in the shadow. This mosaic, when seen by daylight, would no doubt have disclosed to the sight, with much emblazonry and many colours, a gigantic coat-of-arms, in the Florentine fashion. Zigzags of balustrades rose and fell, indicating stairs of terraces. Over the court frowned an immense pile of architecture, now shadowy and vague in the starlight. Intervals of sky, full of stars, marked out clearly the outline of the palace. An enormous roof could be seen, with the gable ends vaulted; garret windows, roofed over like visors; chimneys like towers; and entablatures covered with motionless gods and goddesses.
Through the large windows that stretched from the ceiling to the floor, you could see a semicircle of pillars in the clear April night, surrounding a courtyard with three gates—one very wide and the other two smaller. The big carriage gate was in the center; to the right was the smaller gate for riders; and to the left was the tiniest gate for pedestrians. These gates were made of iron railings with shiny tips. A tall sculpture topped the central gate. The columns and the courtyard pavement were probably white marble, creating a snow-like effect, and within the flat tiles was a mosaic that showed a pattern that was only vaguely visible in the shadows. During the day, this mosaic would likely reveal a large and colorful coat-of-arms in the Florentine style. Zigzagging balustrades rose and fell, indicating the steps leading to the terraces. Above the courtyard loomed a massive structure, now shadowy and indistinct in the starlight. The clear patches of sky, filled with stars, sharply defined the outline of the palace. You could see a huge roof with vaulted gable ends; garret windows that looked like visors; chimneys resembling towers; and entablatures adorned with motionless gods and goddesses.
Beyond the colonnade there played in the shadow one of those fairy fountains in which, as the water falls from basin to basin, it combines the beauty of rain with that of the cascade, and as if scattering the contents of a jewel box, flings to the wind its diamonds and its pearls as though to divert the statues around. Long rows of windows ranged away, separated by panoplies, in relievo, and by busts on small pedestals. On the pinnacles, trophies and morions with plumes cut in stone alternated with statues of heathen deities.
Beyond the colonnade, one of those magical fountains played in the shadows. As the water cascaded from one basin to another, it mixed the beauty of rain with that of a waterfall, scattering its gems like a jewel box, tossing diamonds and pearls to entertain the surrounding statues. Long rows of windows stretched away, divided by ornate panels and busts on small pedestals. At the top, stone trophies and plumed helmets alternated with statues of pagan gods.
In the chamber where Gwynplaine was, on the side opposite the window, was a fireplace as high as the ceiling, and on another, under a dais, one of those old spacious feudal beds which were reached by a ladder, and where you might sleep lying across; the joint-stool of the bed was at its side; a row of armchairs by the walls, and a row of ordinary chairs, in front of them, completed the furniture. The ceiling was domed. A great wood fire in the French fashion blazed in the fireplace; by the richness of the flames, variegated of rose colour and green, a judge of such things would have seen that the wood was ash—a great luxury. The room was so large that the branches of candles failed to light it up. Here and there curtains over doors, falling and swaying, indicated communications with other rooms. The style of the room was altogether that of the reign of James I.—a style square and massive, antiquated and magnificent. Like the carpet and the lining of the chamber, the dais, the baldaquin, the bed, the stool, the curtains, the mantelpiece, the coverings of the table, the sofas, the chairs, were all of purple velvet.
In the room where Gwynplaine was, on the side opposite the window, there was a fireplace that reached all the way up to the ceiling, and on the other side, under a raised platform, stood one of those spacious old feudal beds that you had to climb a ladder to reach, where you could sleep lying across it; beside the bed was a joint stool. A row of armchairs lined the walls, and in front of them was a row of regular chairs, completing the furniture. The ceiling was domed. A large wood fire, in the French style, blazed in the fireplace; the richness of the flames, a mix of rose and green, would tell an expert that the wood was ash—a real luxury. The room was so big that the candlelight couldn’t illuminate it completely. Here and there, curtains over doors fell and swayed, indicating connections to other rooms. The style of the room was distinctly from the reign of James I.—sturdy, massive, antiquated, yet magnificent. Like the carpet and the room’s lining, the dais, the canopy, the bed, the stool, the curtains, the mantelpiece, the table coverings, the sofas, and the chairs were all made of purple velvet.
There was no gilding, except on the ceiling. Laid on it, at equal distance from the four angles, was a huge round shield of embossed metal, on which sparkled, in dazzling relief, various coats of arms. Amongst the devices, on two blazons, side by side, were to be distinguished the cap of a baron and the coronet of a marquis. Were they of brass or of silver-gilt? You could not tell. They seemed to be of gold. And in the centre of this lordly ceiling, like a gloomy and magnificent sky, the gleaming escutcheon was as the dark splendour of a sun shining in the night.
There was no gold decoration, except on the ceiling. In the center, evenly spaced from the four corners, was a huge round shield made of embossed metal, with various coats of arms sparkling in stunning relief. Among the designs, on two crests next to each other, you could see the cap of a baron and the coronet of a marquis. Were they made of brass or silver-gilt? It was hard to tell. They looked like gold. And in the middle of this grand ceiling, like a dark and beautiful sky, the shining shield stood out like a brilliant sun in the night.
The savage, in whom is embodied the free man, is nearly as restless in a palace as in a prison. This magnificent chamber was depressing. So much splendour produces fear. Who could be the inhabitant of this stately palace? To what colossus did all this grandeur appertain? Of what lion is this the lair? Gwynplaine, as yet but half awake, was heavy at heart.
The savage, who represents the free man, feels just as restless in a palace as in a prison. This grand room felt suffocating. So much luxury creates fear. Who could live in this impressive palace? To which giant does all this opulence belong? What lion calls this its den? Gwynplaine, still only half awake, felt a weight in his heart.
"Where am I?" he said.
"Where am I?" he asked.
The man who was standing before him answered,—"You are in your own house, my lord."
The man standing in front of him replied, "You’re in your own house, my lord."
CHAPTER IV.
FASCINATION.
It takes time to rise to the surface. And Gwynplaine had been thrown into an abyss of stupefaction.
It takes time to come back up. And Gwynplaine had been thrown into a deep state of shock.
We do not gain our footing at once in unknown depths.
We don't find our balance right away in unfamiliar depths.
There are routs of ideas, as there are routs of armies. The rally is not immediate.
There are routes of ideas, just like there are routes of armies. The gathering isn't instant.
We feel as it were scattered—as though some strange evaporation of self were taking place.
We feel scattered, like some strange loss of self is happening.
God is the arm, chance is the sling, man is the pebble. How are you to resist, once flung?
God is the arm, luck is the sling, and people are the pebble. How can you resist once you're thrown?
Gwynplaine, if we may coin the expression, ricocheted from one surprise to another. After the love letter of the duchess came the revelation in the Southwark dungeon.
Gwynplaine, if we can put it this way, bounced from one surprise to another. After the duchess's love letter came the shocking reveal in the Southwark dungeon.
In destiny, when wonders begin, prepare yourself for blow upon blow. The gloomy portals once open, prodigies pour in. A breach once made in the wall, and events rush upon us pell-mell. The marvellous never comes singly.
In destiny, when wonders start to unfold, get ready for one challenge after another. Once the dark gates swing open, miracles flood in. Once a gap is made in the wall, events come at us all at once. The extraordinary never arrives alone.
The marvellous is an obscurity. The shadow of this obscurity was over Gwynplaine. What was happening to him seemed unintelligible. He saw everything through the mist which a deep commotion leaves in the mind, like the dust caused by a falling ruin. The shock had been from top to bottom. Nothing was clear to him. However, light always returns by degrees. The dust settles. Moment by moment the density of astonishment decreases. Gwynplaine was like a man with his eyes open and fixed in a dream, as if trying to see what may be within it. He dispersed the mist. Then he reshaped it. He had intermittances of wandering. He underwent that oscillation of the mind in the unforeseen which alternately pushes us in the direction in which we understand, and then throws us back in that which is incomprehensible. Who has not at some time felt this pendulum in his brain?
The marvelous is confusing. This confusion loomed over Gwynplaine. What was happening to him felt impossible to understand. He viewed everything through a haze created by deep turmoil, like the dust left by a collapsing building. The impact had hit him hard. Nothing was clear. However, clarity always returns gradually. The dust settles. Little by little, the overwhelming shock fades. Gwynplaine was like someone with his eyes wide open, lost in a dream, trying to grasp what lies within it. He cleared the haze. Then he reshaped it. He had moments of wandering. He experienced that push-and-pull of the mind in the unexpected that alternately drives us toward understanding and then pushes us back into confusion. Who hasn’t felt that mental swing at some point?
By degrees his thoughts dilated in the darkness of the event, as the pupil of his eye had done in the underground shadows at Southwark. The difficulty was to succeed in putting a certain space between accumulated sensations. Before that combustion of hazy ideas called comprehension can take place, air must be admitted between the emotions. There air was wanting. The event, so to speak, could not be breathed.
Gradually, his thoughts expanded in the darkness of the event, just like his eye had adjusted to the underground shadows at Southwark. The challenge was to create some distance between the overwhelming sensations. Before that confusing blur of ideas could be understood, there needed to be some space between the emotions. In that moment, there was no space. The event, in a way, couldn’t be processed.
In entering that terrible cell at Southwark, Gwynplaine had expected the iron collar of a felon; they had placed on his head the coronet of a peer. How could this be? There had not been space of time enough between what Gwynplaine had feared and what had really occurred; it had succeeded too quickly—his terror changing into other feelings too abruptly for comprehension. The contrasts were too tightly packed one against the other. Gwynplaine made an effort to withdraw his mind from the vice.
In entering that awful cell at Southwark, Gwynplaine had expected to be fitted with the iron collar of a criminal; instead, they placed a crown on his head. How could this happen? There hadn’t been enough time between what Gwynplaine had dreaded and what actually took place; it changed too quickly—his fear shifting into other feelings too suddenly to understand. The contrasts were too closely packed together. Gwynplaine struggled to pull his mind away from the confusion.
He was silent. This is the instinct of great stupefaction, which is more on the defensive than it is thought to be. Who says nothing is prepared for everything. A word of yours allowed to drop may be seized in some unknown system of wheels, and your utter destruction be compassed in its complex machinery.
He was silent. This is the instinct of extreme shock, which is more protective than people realize. Those who say nothing are ready for anything. A careless word from you could be caught in some unknown mechanism, leading to your complete downfall in its intricate workings.
The poor and weak live in terror of being crushed. The crowd ever expect to be trodden down. Gwynplaine had long been one of the crowd.
The poor and vulnerable constantly fear being pushed down by others. The crowd always anticipates being trampled. Gwynplaine had long been a part of that crowd.
A singular state of human uneasiness can be expressed by the words: Let us see what will happen. Gwynplaine was in this state. You feel that you have not gained your equilibrium when an unexpected situation surges up under your feet. You watch for something which must produce a result. You are vaguely attentive. We will see what happens. What? You do not know. Whom? You watch.
A unique state of human restlessness can be summed up with the phrase: Let’s see what happens. Gwynplaine was in this state. You realize you’ve lost your balance when an unexpected situation suddenly arises beneath you. You’re waiting for something that has to lead to a conclusion. You’re somewhat alert. We’ll see what unfolds. What? You’re unsure. Who? You keep watching.
The man with the paunch repeated, "You are in your own house, my lord."
The guy with the belly said, "You're in your own house, my lord."
Gwynplaine felt himself. In surprises, we first look to make sure that things exist; then we feel ourselves, to make sure that we exist ourselves. It was certainly to him that the words were spoken; but he himself was somebody else. He no longer had his jacket on, or his esclavine of leather. He had a waistcoat of cloth of silver; and a satin coat, which he touched and found to be embroidered. He felt a heavy purse in his waistcoat pocket. A pair of velvet trunk hose covered his clown's tights. He wore shoes with high red heels. As they had brought him to this palace, so had they changed his dress.
Gwynplaine took a moment to realize his surroundings. In moments of surprise, we first check to see if things are real; then we touch ourselves to confirm that we are real too. The words were undeniably meant for him, but he felt like a different person. He wasn’t wearing his jacket or his leather cape anymore. Instead, he had on a silver cloth waistcoat and a satin coat, which he examined and discovered was embroidered. He noticed a heavy purse in the pocket of his waistcoat. He wore velvet trunk hose over his clown tights and shoes with tall red heels. Just as they had brought him to this palace, they had also changed his outfit.
The man resumed,—
The man continued,—
"Will your lordship deign to remember this: I am called Barkilphedro; I am clerk to the Admiralty. It was I who opened Hardquanonne's flask and drew your destiny out of it. Thus, in the 'Arabian Nights' a fisherman releases a giant from a bottle."
"Will you please remember this: I’m called Barkilphedro; I’m a clerk at the Admiralty. I was the one who opened Hardquanonne's flask and pulled your destiny out of it. Just like in the 'Arabian Nights' when a fisherman frees a giant from a bottle."
Gwynplaine fixed his eyes on the smiling face of the speaker.
Gwynplaine focused his gaze on the smiling face of the person talking.
Barkilphedro continued:—
Barkilphedro continued:—
"Besides this palace, my lord, Hunkerville House, which is larger, is yours. You own Clancharlie Castle, from which you take your title, and which was a fortress in the time of Edward the Elder. You have nineteen bailiwicks belonging to you, with their villages and their inhabitants. This puts under your banner, as a landlord and a nobleman, about eighty thousand vassals and tenants. At Clancharlie you are a judge—judge of all, both of goods and of persons—and you hold your baron's court. The king has no right which you have not, except the privilege of coining money. The king, designated by the Norman law as chief signor, has justice, court, and coin. Coin is money. So that you, excepting in this last, are as much a king in your lordship as he is in his kingdom. You have the right, as a baron, to a gibbet with four pillars in England; and, as a marquis, to a scaffold with seven posts in Sicily: that of the mere lord having two pillars; that of a lord of the manor, three; and that of a duke, eight. You are styled prince in the ancient charters of Northumberland. You are related to the Viscounts Valentia in Ireland, whose name is Power; and to the Earls of Umfraville in Scotland, whose name is Angus. You are chief of a clan, like Campbell, Ardmannach, and Macallummore. You have eight barons' courts—Reculver, Baston, Hell-Kerters, Homble, Moricambe, Grundraith, Trenwardraith, and others. You have a right over the turf-cutting of Pillinmore, and over the alabaster quarries near Trent. Moreover, you own all the country of Penneth Chase; and you have a mountain with an ancient town on it. The town is called Vinecaunton; the mountain is called Moilenlli. All which gives you an income of forty thousand pounds a year. That is to say, forty times the five-and-twenty thousand francs with which a Frenchman is satisfied."
"Besides this palace, my lord, Hunkerville House, which is larger, is yours. You own Clancharlie Castle, from which you take your title, and which was a fortress in the time of Edward the Elder. You have nineteen bailiwicks belonging to you, with their villages and their inhabitants. This puts under your banner, as a landlord and a nobleman, about eighty thousand vassals and tenants. At Clancharlie, you are a judge—over all, both of property and people—and you hold your baron's court. The king has no rights that you don't have, except the privilege of coining money. The king, designated by Norman law as the chief lord, has justice, court, and coin. Coin is money. So, except for this last, you are as much a king in your lordship as he is in his kingdom. You have the right, as a baron, to a gallows with four pillars in England; and, as a marquis, to a scaffold with seven posts in Sicily: that of a mere lord having two pillars; a lord of the manor, three; and that of a duke, eight. You are called prince in the ancient charters of Northumberland. You are related to the Viscounts Valentia in Ireland, whose name is Power; and to the Earls of Umfraville in Scotland, whose name is Angus. You are the chief of a clan, like Campbell, Ardmannach, and Macallummore. You have eight barons' courts—Reculver, Baston, Hell-Kerters, Homble, Moricambe, Grundraith, Trenwardraith, and others. You have rights over turf-cutting in Pillinmore and over the alabaster quarries near Trent. Moreover, you own all of Penneth Chase; and you have a mountain with an ancient town on it. The town is called Vinecaunton; the mountain is called Moilenlli. All of this gives you an income of forty thousand pounds a year. That is to say, forty times the twenty-five thousand francs with which a Frenchman is satisfied."
Whilst Barkilphedro spoke, Gwynplaine, in a crescendo of stupor, remembered the past. Memory is a gulf that a word can move to its lowest depths. Gwynplaine knew all the words pronounced by Barkilphedro. They were written in the last lines of the two scrolls which lined the van in which his childhood had been passed, and, from so often letting his eyes wander over them mechanically, he knew them by heart. On reaching, a forsaken orphan, the travelling caravan at Weymouth, he had found the inventory of the inheritance which awaited him; and in the morning, when the poor little boy awoke, the first thing spelt by his careless and unconscious eyes was his own title and its possessions. It was a strange detail added to all his other surprises, that, during fifteen years, rolling from highway to highway, the clown of a travelling theatre, earning his bread day by day, picking up farthings, and living on crumbs, he should have travelled with the inventory of his fortune placarded over his misery.
While Barkilphedro was talking, Gwynplaine, in a wave of confusion, remembered the past. Memory is a deep chasm that a single word can reach to its bottom. Gwynplaine knew every word Barkilphedro said. They were written in the final lines of the two scrolls that lined the van where he spent his childhood, and after so often staring at them mechanically, he had memorized them. When he arrived at the traveling caravan in Weymouth as a forgotten orphan, he discovered the inventory of the inheritance that awaited him; and in the morning, when the poor little boy woke up, the first thing his careless and unaware eyes saw was his own name and what belonged to him. It was a strange detail among all his other surprises that, for fifteen years, rolling from road to road, the clown of a traveling theater, earning his living day by day, collecting pennies, and surviving on scraps, he had traveled with the inventory of his fortune displayed over his misery.
Barkilphedro touched the casket on the table with his forefinger.
Barkilphedro tapped the casket on the table with his finger.
"My lord, this casket contains two thousand guineas which her gracious Majesty the Queen has sent you for your present wants."
"My lord, this box holds two thousand guineas that her gracious Majesty the Queen has sent you for your current needs."
Gwynplaine made a movement.
Gwynplaine moved.
"That shall be for my Father Ursus," he said.
"That will be for my Father Ursus," he said.
"So be it, my lord," said Barkilphedro. "Ursus, at the Tadcaster Inn. The Serjeant of the Coif, who accompanied us hither, and is about to return immediately, will carry them to him. Perhaps I may go to London myself. In that case I will take charge of it."
"So be it, my lord," said Barkilphedro. "Ursus, at the Tadcaster Inn. The Serjeant of the Coif, who came with us and is about to head back right away, will deliver them to him. I might go to London myself. If I do, I'll take care of it."
"I shall take them to him myself," said Gwynplaine.
"I'll take them to him myself," said Gwynplaine.
Barkilphedro's smile disappeared, and he said,—"Impossible!"
Barkilphedro's smile faded, and he said, "No way!"
There is an impressive inflection of voice which, as it were, underlines the words. Barkilphedro's tone was thus emphasized; he paused, so as to put a full stop after the word he had just uttered. Then he continued, with the peculiar and respectful tone of a servant who feels that he is master,—
There is an impressive inflection in his voice that highlights the words. Barkilphedro's tone was emphasized this way; he paused to put a full stop after the word he had just said. Then he continued, with the distinctive and respectful tone of a servant who knows he is in control,—
"My lord, you are twenty-three miles from London, at Corleone Lodge, your court residence, contiguous to the Royal Castle of Windsor. You are here unknown to any one. You were brought here in a close carriage, which was awaiting you at the gate of the jail at Southwark. The servants who introduced you into this palace are ignorant who you are; but they know me, and that is sufficient. You may possibly have been brought to these apartments by means of a private key which is in my possession. There are people in the house asleep, and it is not an hour to awaken them. Hence we have time for an explanation, which, nevertheless, will be short. I have been commissioned by her Majesty—"
"My lord, you are twenty-three miles from London, at Corleone Lodge, your court residence next to the Royal Castle of Windsor. You are here without anyone knowing who you are. You arrived in a closed carriage that was waiting for you at the jail gate in Southwark. The servants who brought you into this palace don’t know your identity; however, they know me, and that’s enough. You may have been brought to these rooms using a private key that I have. There are people in the house asleep, and it’s not the right time to wake them. So we have time for a brief explanation. I have been sent by her Majesty—"
As he spoke, Barkilphedro began to turn over the leaves of some bundles of papers which were lying near the casket.
As he talked, Barkilphedro started to flip through some bundles of papers that were lying next to the box.
"My lord, here is your patent of peerage. Here is that of your Sicilian marquisate. These are the parchments and title-deeds of your eight baronies, with the seals of eleven kings, from Baldret, King of Kent, to James the Sixth of Scotland, and first of England and Scotland united. Here are your letters of precedence. Here are your rent-rolls, and titles and descriptions of your fiefs, freeholds, dependencies, lands, and domains. That which you see above your head in the emblazonment on the ceiling are your two coronets: the circlet with pearls for the baron, and the circlet with strawberry leaves for the marquis.
"My lord, here is your peerage certificate. Here is your Sicilian marquisate document. These are the official papers and titles for your eight baronies, sealed by eleven kings, from Baldret, King of Kent, to James the Sixth of Scotland, who was also the first to unite England and Scotland. Here are your precedence letters. Here are your rent-rolls, along with the titles and descriptions of your fiefs, freeholds, dependencies, lands, and domains. The two coronets you see on the ceiling above you are for you: the circlet with pearls for the baron, and the circlet with strawberry leaves for the marquis."
"Here, in the wardrobe, is your peer's robe of red velvet, bordered with ermine. To-day, only a few hours since, the Lord Chancellor and the Deputy Earl Marshal of England, informed of the result of your confrontation with the Comprachico Hardquanonne, have taken her Majesty's commands. Her Majesty has signed them, according to her royal will, which is the same as the law. All formalities have been complied with. To-morrow, and no later than to-morrow, you will take your seat in the House of Lords, where they have for some days been deliberating on a bill, presented by the crown, having for its object the augmentation, by a hundred thousand pounds sterling yearly, of the annual allowance to the Duke of Cumberland, husband of the queen. You will be able to take part in the debate."
"Here in the wardrobe is your peer's red velvet robe, trimmed with ermine. Just a few hours ago, the Lord Chancellor and the Deputy Earl Marshal of England, after hearing about your encounter with the Comprachico Hardquanonne, have received her Majesty's orders. Her Majesty has signed them, according to her royal will, which is just like the law. All formalities have been followed. Tomorrow, and no later than tomorrow, you'll take your seat in the House of Lords, where they have been discussing a bill presented by the crown to increase the annual allowance to the Duke of Cumberland, the queen's husband, by a hundred thousand pounds. You'll be able to participate in the debate."
Barkilphedro paused, breathed slowly, and resumed.
Barkilphedro stopped, took a slow breath, and continued.
"However, nothing is yet settled. A man cannot be made a peer of England without his own consent. All can be annulled and disappear, unless you acquiesce. An event nipped in the bud ere it ripens often occurs in state policy. My lord, up to this time silence has been preserved on what has occurred. The House of Lords will not be informed of the facts until to-morrow. Secrecy has been kept about the whole matter for reasons of state, which are of such importance that the influential persons who alone are at this moment cognizant of your existence, and of your rights, will forget them immediately should reasons of state command their being forgotten. That which is in darkness may remain in darkness. It is easy to wipe you out; the more so as you have a brother, the natural son of your father and of a woman who afterwards, during the exile of your father, became mistress to King Charles II., which accounts for your brother's high position at court; for it is to this brother, bastard though he be, that your peerage would revert. Do you wish this? I cannot think so. Well, all depends on you. The queen must be obeyed. You will not quit the house till to-morrow in a royal carriage, and to go to the House of Lords. My lord, will you be a peer of England; yes or no? The queen has designs for you. She destines you for an alliance almost royal. Lord Fermain Clancharlie, this is the decisive moment. Destiny never opens one door without shutting another. After a certain step in advance, to step back is impossible. Whoso enters into transfiguration, leaves behind him evanescence. My lord, Gwynplaine is dead. Do you understand?"
"However, nothing is settled yet. A man can't be made a peer of England without his own consent. Everything can be canceled and vanish unless you agree. Events that are stopped before they develop often happen in politics. My lord, up to now, we’ve kept quiet about what has happened. The House of Lords won’t be informed of the facts until tomorrow. We’ve kept everything secret for state reasons that are so important that the powerful people who are aware of your existence and your rights will forget them immediately if state reasons demand it. What’s in darkness can stay in darkness. It’s easy to erase you; especially since you have a brother, the natural son of your father and a woman who later became King Charles II’s mistress during your father’s exile, which explains your brother's high position at court; your peerage would revert to him, bastard or not. Do you want that? I can't imagine you do. Well, everything depends on you. The queen must be obeyed. You won’t leave the house until tomorrow in a royal carriage, to go to the House of Lords. My lord, will you be a peer of England; yes or no? The queen has plans for you. She intends for you to have an almost royal alliance. Lord Fermain Clancharlie, this is the critical moment. Destiny never opens one door without closing another. After taking a certain step forward, it’s impossible to go back. Whoever enters into transformation leaves behind the transient. My lord, Gwynplaine is dead. Do you understand?"
Gwynplaine trembled from head to foot.
Gwynplaine shook uncontrollably.
Then he recovered himself.
Then he composed himself.
"Yes," he said.
"Yeah," he said.
Barkilphedro, smiling, bowed, placed the casket under his cloak, and left the room.
Barkilphedro smiled, bowed, tucked the casket under his cloak, and left the room.
CHAPTER V.
WE THINK WE REMEMBER; WE FORGET.
Whence arise those strange, visible changes which occur in the soul of man?
Where do those strange, visible changes in a person's soul come from?
Gwynplaine had been at the same moment raised to a summit and cast into an abyss.
Gwynplaine had, in that moment, been lifted to great heights and thrown into a deep pit.
His head swam with double giddiness—the giddiness of ascent and descent. A fatal combination.
His head spun with double dizziness—the dizziness of rising and falling. A deadly mix.
He felt himself ascend, and felt not his fall.
He felt himself rise, and didn't feel his fall.
It is appalling to see a new horizon.
It’s shocking to see a new horizon.
A perspective affords suggestions,—not always good ones.
A perspective offers suggestions—not always good ones.
He had before him the fairy glade, a snare perhaps, seen through opening clouds, and showing the blue depths of sky; so deep, that they are obscure.
He had the fairy glade in front of him, maybe a trap, visible through the parting clouds, revealing the deep blue of the sky; so deep that it's unclear.
He was on the mountain, whence he could see all the kingdoms of the earth. A mountain all the more terrible that it is a visionary one. Those who are on its apex are in a dream.
He was on the mountain, from where he could see all the kingdoms of the earth. A mountain that is even more fearsome because it is a place of visions. Those who stand at its peak are in a dream.
Palaces, castles, power, opulence, all human happiness extending as far as eye could reach; a map of enjoyments spread out to the horizon; a sort of radiant geography of which he was the centre. A perilous mirage!
Palaces, castles, power, luxury—all the happiness of humanity stretching as far as the eye can see; a landscape of pleasures laid out to the horizon; a kind of dazzling map with him at its center. A dangerous illusion!
Imagine what must have been the haze of such a vision, not led up to, not attained to as by the gradual steps of a ladder, but reached without transition and without previous warning.
Imagine what the haze of such a vision must have been like, not built up to, not reached through gradual steps like a ladder, but arrived at suddenly and without any warning.
A man going to sleep in a mole's burrow, and awaking on the top of the Strasbourg steeple; such was the state of Gwynplaine.
A man falling asleep in a mole's burrow and waking up on top of the Strasbourg steeple; that was Gwynplaine's situation.
Giddiness is a dangerous kind of glare, particularly that which bears you at once towards the day and towards the night, forming two whirlwinds, one opposed to the other.
Giddiness is a risky kind of brightness, especially the kind that pulls you simultaneously toward the day and the night, creating two opposing whirlwinds.
He saw too much, and not enough.
He saw too much and not enough.
He saw all, and nothing.
He saw everything and nothing.
His state was what the author of this book has somewhere expressed as the blind man dazzled.
His condition was what the author of this book has described somewhere as the blind man blinded by light.
Gwynplaine, left by himself, began to walk with long strides. A bubbling precedes an explosion.
Gwynplaine, alone, started to walk with long strides. A bubbling comes before an explosion.
Notwithstanding his agitation, in this impossibility of keeping still, he meditated. His mind liquefied as it boiled. He began to recall things to his memory. It is surprising how we find that we have heard so clearly that to which we scarcely listened. The declaration of the shipwrecked men, read by the sheriff in the Southwark cell, came back to him clearly and intelligibly. He recalled every word, he saw under it his whole infancy.
Despite his restlessness and the impossibility of staying still, he reflected. His thoughts flowed like liquid as they churned. He started to bring memories back to mind. It’s surprising how clearly we remember things we barely paid attention to. The statement from the shipwrecked men, read by the sheriff in the Southwark cell, returned to him distinctly and understandably. He recalled every word and envisioned his entire childhood beneath it.
Suddenly he stopped, his hands clasped behind his back, looking up to the ceilings—the sky—no matter what—whatever was above him.
Suddenly he stopped, his hands clasped behind his back, looking up at the ceiling—the sky—whatever was above him.
"Quits!" he cried.
"I'm done!" he cried.
He felt like one whose head rises out of the water. It seemed to him that he saw everything—the past, the future, the present—in the accession of a sudden flash of light.
He felt like someone whose head just broke the surface of the water. It seemed to him that he could see everything—the past, the future, the present—in a sudden burst of light.
"Oh!" he cried, for there are cries in the depths of thought. "Oh! it was so, was it! I was a lord. All is discovered. They stole, betrayed, destroyed, abandoned, disinherited, murdered me! The corpse of my destiny floated fifteen years on the sea; all at once it touched the earth, and it started up, erect and living. I am reborn. I am born. I felt under my rags that the breast there palpitating was not that of a wretch; and when I looked on crowds of men, I felt that they were the flocks, and that I was not the dog, but the shepherd! Shepherds of the people, leaders of men, guides and masters, such were my fathers; and what they were I am! I am a gentleman, and I have a sword; I am a baron, and I have a casque; I am a marquis, and I have a plume; I am a peer, and I have a coronet. Lo! they deprived me of all this. I dwelt in light, they flung me into darkness. Those who proscribed the father, sold the son. When my father was dead, they took from beneath his head the stone of exile which he had placed for his pillow, and, tying it to my neck, they flung me into a sewer. Oh! those scoundrels who tortured my infancy! Yes, they rise and move in the depths of my memory. Yes; I see them again. I was that morsel of flesh pecked to pieces on a tomb by a flight of crows. I bled and cried under all those horrible shadows. Lo! it was there that they precipitated me, under the crush of those who come and go, under the trampling feet of men, under the undermost of the human race, lower than the serf, baser than the serving man, lower than the felon, lower than the slave, at the spot where Chaos becomes a sewer, in which I was engulfed. It is from thence that I come; it is from this that I rise; it is from this that I am risen. And here I am now. Quits!"
"Oh!" he shouted, because there are screams deep within thought. "Oh! Is that how it was? I was a lord. Everything is revealed. They stole, betrayed, destroyed, abandoned, disinherited, murdered me! The body of my fate floated for fifteen years on the sea; suddenly it reached land, and it stood up, alive and upright. I am reborn. I am born. I felt under my rags that the heartbeat there wasn’t that of a wretch; and when I looked at crowds of men, I felt they were the flocks, and that I was not the dog, but the shepherd! Shepherds of the people, leaders of men, guides and masters, such were my ancestors; and what they were, I am! I am a gentleman, and I have a sword; I am a baron, and I have a helmet; I am a marquis, and I have a plume; I am a peer, and I have a coronet. Look! they took all this from me. I lived in the light, they threw me into darkness. Those who exiled the father sold the son. When my father died, they took from beneath his head the stone of exile he had used as a pillow, and, tying it around my neck, they tossed me into a sewer. Oh! those scoundrels who tortured my childhood! Yes, they rise and move within the depths of my memory. Yes; I see them again. I was that piece of flesh pecked to pieces on a tomb by a flock of crows. I bled and cried under all those terrible shadows. Look! that is where they threw me, under the weight of those who come and go, under the trampled feet of men, at the very bottom of the human race, lower than the serf, baser than the servant, lower than the criminal, lower than the slave, at the spot where Chaos becomes a sewer, which I was swallowed by. It is from there that I come; it is from this that I rise; it is from this that I have risen. And here I am now. I'm even."
He sat down, he rose, clasped his head with his hands, began to pace the room again, and his tempestuous monologue continued within him.
He sat down, then got up, put his hands on his head, started pacing the room again, and his chaotic thoughts kept racing in his mind.
"Where am I?—on the summit? Where is it that I have just alighted?—on the highest peak? This pinnacle, this grandeur, this dome of the world, this great power, is my home. This temple is in air. I am one of the gods. I live in inaccessible heights. This supremacy, which I looked up to from below, and from whence emanated such rays of glory that I shut my eyes; this ineffaceable peerage; this impregnable fortress of the fortunate, I enter. I am in it. I am of it. Ah, what a decisive turn of the wheel! I was below, I am on high—on high for ever! Behold me a lord! I shall have a scarlet robe. I shall have an earl's coronet on my head. I shall assist at the coronation of kings. They will take the oath from my hands. I shall judge princes and ministers. I shall exist. From the depths into which I was thrown, I have rebounded to the zenith. I have palaces in town and country: houses, gardens, chases, forests, carriages, millions. I will give fêtes. I will make laws. I shall have the choice of joys and pleasures. And the vagabond Gwynplaine, who had not the right to gather a flower in the grass, may pluck the stars from heaven!"
"Where am I?—on the summit? Where have I just arrived?—on the highest peak? This pinnacle, this grandeur, this dome of the world, this great power, is my home. This temple is in the sky. I am one of the gods. I live in unreachable heights. This supremacy, which I used to look up to from below, and from which such rays of glory shone that I had to close my eyes; this indelible nobility; this unassailable fortress of the fortunate, I am part of. I am in it. I am of it. Ah, what a decisive turn of fate! I was below, now I am above—above forever! Look at me, a lord! I will wear a scarlet robe. I will have an earl's coronet on my head. I will witness the coronation of kings. They will take the oath from my hands. I will judge princes and ministers. I will exist. From the depths I was thrown into, I have bounced back to the peak. I have palaces in the city and countryside: houses, gardens, estates, forests, carriages, millions. I will host parties. I will create laws. I will choose my joys and pleasures. And the vagabond Gwynplaine, who didn’t have the right to pick a flower from the grass, can now pluck the stars from the sky!"
Melancholy overshadowing of a soul's brightness! Thus it was that in Gwynplaine, who had been a hero, and perhaps had not ceased to be one, moral greatness gave way to material splendour. A lamentable transition! Virtue broken down by a troop of passing demons. A surprise made on the weak side of man's fortress. All the inferior circumstances called by men superior, ambition, the purblind desires of instinct, passions, covetousness, driven far from Gwynplaine by the wholesome restraints of misfortune, took tumultuous possession of his generous heart. And from what had this arisen? From the discovery of a parchment in a waif drifted by the sea. Conscience may be violated by a chance attack.
Melancholy overshadowing the brightness of a soul! That's how it was with Gwynplaine, who had been a hero and maybe still was one; moral greatness was replaced by material splendor. A sad change! Virtue was broken down by a horde of temporary demons. An attack on the weak side of man's stronghold. All the lesser circumstances that people call superior—ambition, misguided desires, passions, greed—were kept at bay from Gwynplaine by the healthy limits set by misfortune, but now they violently took over his generous heart. And how did this happen? From finding a piece of paper in a driftwood washed up by the sea. Conscience can be violated by a sudden strike.
Gwynplaine drank in great draughts of pride, and it dulled his soul. Such is the poison of that fatal wine.
Gwynplaine took in large gulps of pride, and it numbed his soul. That's the poison of that dangerous wine.
Giddiness invaded him. He more than consented to its approach. He welcomed it. This was the effect of previous and long-continued thirst. Are we an accomplice of the cup which deprives us of reason? He had always vaguely desired this. His eyes had always turned towards the great. To watch is to wish. The eaglet is not born in the eyrie for nothing.
Giddiness took over him. He didn’t just accept it; he embraced it. This was the result of an ongoing and deep thirst. Are we complicit with the drink that clouds our judgment? He had always wanted this in some way. His eyes had always been drawn to greatness. To observe is to desire. The eaglet isn’t born in the nest without reason.
Now, however, at moments, it seemed to him the simplest thing in the world that he should be a lord. A few hours only had passed, and yet the past of yesterday seemed so far off! Gwynplaine had fallen into the ambuscade of Better, who is the enemy of Good.
Now, however, at times, it seemed to him the easiest thing in the world to be a lord. Only a few hours had gone by, and yet the events of yesterday felt so distant! Gwynplaine had fallen into the trap set by Better, who is the enemy of Good.
Unhappy is he of whom we say, how lucky he is! Adversity is more easily resisted than prosperity. We rise more perfect from ill fortune than from good. There is a Charybdis in poverty, and a Scylla in riches. Those who remain erect under the thunderbolt are prostrated by the flash. Thou who standest without shrinking on the verge of a precipice, fear lest thou be carried up on the innumerable wings of mists and dreams. The ascent which elevates will dwarf thee. An apotheosis has a sinister power of degradation.
Unhappy is the person we say, how lucky they are! It's easier to handle tough times than to manage success. We come out stronger from bad luck than from good fortune. There's a dangerous whirlpool in poverty, and a frightening cliff in wealth. Those who stay standing through the storm may be overwhelmed by a sudden flash. You, who stand firm at the edge of a cliff, be careful not to be swept away by the countless waves of illusions and dreams. The rise that elevates can also belittle you. Reaching great heights can come with a dark side of downfall.
It is not easy to understand what is good luck. Chance is nothing but a disguise. Nothing deceives so much as the face of fortune. Is she Providence? Is she Fatality?
It’s not easy to grasp what good luck really is. Chance is just a mask. Nothing misleads more than the appearance of fortune. Is she Providence? Is she Fate?
A brightness may not be a brightness, because light is truth, and a gleam may be a deceit. You believe that it lights you; but no, it sets you on fire.
A brightness might not actually be a brightness, because light is truth, and a shimmer might be a deception. You think it guides you; but no, it burns you.
At night, a candle made of mean tallow becomes a star if placed in an opening in the darkness. The moth flies to it.
At night, a candle made of cheap tallow turns into a star if it's put in a space in the darkness. The moth is attracted to it.
In what measure is the moth responsible?
In what way is the moth accountable?
The sight of the candle fascinates the moth as the eye of the serpent fascinates the bird.
The sight of the candle captivates the moth like the eye of the serpent mesmerizes the bird.
Is it possible that the bird and the moth should resist the attraction? Is it possible that the leaf should resist the wind? Is it possible that the stone should refuse obedience to the laws of gravitation?
Is it possible for the bird and the moth to resist their attraction? Is it possible for the leaf to resist the wind? Is it possible for the stone to refuse to follow the laws of gravity?
These are material questions, which are moral questions as well.
These are practical issues, which are also ethical issues.
After he had received the letter of the duchess, Gwynplaine had recovered himself. The deep love in his nature had resisted it. But the storm having wearied itself on one side of the horizon, burst out on the other; for in destiny, as in nature, there are successive convulsions. The first shock loosens, the second uproots.
After getting the duchess's letter, Gwynplaine had composed himself. The deep love within him had held strong. But just as one side of the horizon calmed, a storm erupted on the other; because in destiny, like in nature, there are waves of upheaval. The first jolt shakes things loose, the second one uproots everything.
Alas! how do the oaks fall?
Alas! how do the oaks fall?
Thus he who, when a child of ten, stood alone on the shore of Portland, ready to give battle, who had looked steadfastly at all the combatants whom he had to encounter, the blast which bore away the vessel in which he had expected to embark, the gulf which had swallowed up the plank, the yawning abyss, of which the menace was its retrocession, the earth which refused him a shelter, the sky which refused him a star, solitude without pity, obscurity without notice, ocean, sky, all the violence of one infinite space, and all the mysterious enigmas of another; he who had neither trembled nor fainted before the mighty hostility of the unknown; he who, still so young, had held his own with night, as Hercules of old had held his own with death; he who in the unequal struggle had thrown down this defiance, that he, a child, adopted a child, that he encumbered himself with a load, when tired and exhausted, thus rendering himself an easier prey to the attacks on his weakness, and, as it were, himself unmuzzling the shadowy monsters in ambush around him; he who, a precocious warrior, had immediately, and from his first steps out of the cradle, struggled breast to breast with destiny; he, whose disproportion with strife had not discouraged from striving; he who, perceiving in everything around him a frightful occultation of the human race, had accepted that eclipse, and proudly continued his journey; he who had known how to endure cold, thirst, hunger, valiantly; he who, a pigmy in stature, had been a colossus in soul: this Gwynplaine, who had conquered the great terror of the abyss under its double form, Tempest and Misery, staggered under a breath—Vanity.
So he who, as a ten-year-old, stood alone on the shore of Portland, ready to fight, who had looked intently at all the opponents he had to face, the wind that carried away the ship he had hoped to board, the chasm that had swallowed the plank, the gaping void, whose threat was its retreat, the ground that wouldn’t give him shelter, the sky that offered no star, a solitude without mercy, an obscurity without recognition, ocean, sky, all the fury of one infinite space, and all the mysterious puzzles of another; he who had neither trembled nor fainted before the overwhelming challenge of the unknown; he who, still so young, had stood his ground against the night, like Hercules of old faced with death; he who in the unequal fight had thrown down this challenge, adopting a child, taking on a burden, even when tired and worn down, thus making himself an easier target for the assaults on his weakness, almost inviting the shadowy monsters lurking around him; he who, as a young warrior, immediately from his very first steps out of the cradle, fought head-to-head with fate; he, whose mismatch with struggle did not discourage him from fighting; he who, seeing a horrifying concealment of humanity all around him, accepted that eclipse and proudly continued on his path; he who had learned to endure cold, thirst, hunger, with courage; he who, though small in stature, had a giant soul: this Gwynplaine, who had faced the great terror of the abyss in its two forms, Tempest and Misery, staggered under a breath—Vanity.
Thus, when she has exhausted distress, nakedness, storms, catastrophes, agonies on an unflinching man, Fatality begins to smile, and her victim, suddenly intoxicated, staggers.
Thus, when she has worn out suffering, vulnerability, turmoil, disasters, and torment on an unwavering man, Fate begins to smile, and her victim, suddenly overwhelmed, stumbles.
The smile of Fatality! Can anything more terrible be imagined? It is the last resource of the pitiless trier of souls in his proof of man. The tiger, lurking in destiny, caresses man with a velvet paw. Sinister preparation, hideous gentleness in the monster!
The smile of Fate! Can anything more awful be imagined? It is the final tactic of the merciless judge of souls in his test of humanity. The tiger, lurking in destiny, strokes man with a soft paw. Sinister preparation, grotesque gentleness in the beast!
Every self-observer has detected within himself mental weakness coincident with aggrandisement. A sudden growth disturbs the system, and produces fever.
Every self-observer has noticed a mental weakness that comes with an increase in status. A sudden rise can upset the system and cause agitation.
In Gwynplaine's brain was the giddy whirlwind of a crowd of new circumstances; all the light and shade of a metamorphosis; inexpressibly strange confrontations; the shock of the past against the future. Two Gwynplaines, himself doubled; behind, an infant in rags crawling through night—wandering, shivering, hungry, provoking laughter; in front, a brilliant nobleman—luxurious, proud, dazzling all London. He was casting off one form, and amalgamating himself with the other. He was casting the mountebank, and becoming the peer. Change of skin is sometimes change of soul. Now and then the past seemed like a dream. It was complex; bad and good. He thought of his father. It was a poignant anguish never to have known his father. He tried to picture him to himself. He thought of his brother, of whom he had just heard. Then he had a family! He, Gwynplaine! He lost himself in fantastic dreams. He saw visions of magnificence; unknown forms of solemn grandeur moved in mist before him. He heard flourishes of trumpets.
In Gwynplaine's mind was the dizzying whirlwind of new circumstances; all the light and dark of a transformation; inexpressibly strange encounters; the clash of the past with the future. There were two Gwynplaines, himself split in two; behind him, a baby in rags crawling through the night—wandering, shivering, hungry, provoking laughter; in front, a brilliant nobleman—luxurious, proud, dazzling all of London. He was shedding one identity and merging with another. He was leaving behind the mountebank and becoming the peer. A change of skin can sometimes mean a change of soul. Occasionally, the past felt like a dream. It was complicated; both bad and good. He thought of his father. It was a sharp pain never to have known him. He tried to imagine what his father looked like. He thought of his brother, of whom he had just learned. Then he had a family! He, Gwynplaine! He lost himself in wild fantasies. He saw visions of grandeur; unfamiliar forms of serious magnificence moved in mist before him. He heard the sound of trumpets playing.
"And then," he said, "I shall be eloquent."
"And then," he said, "I'll be articulate."
He pictured to himself a splendid entrance into the House of Lords. He should arrive full to the brim with new facts and ideas. What could he not tell them? What subjects he had accumulated! What an advantage to be in the midst of them, a man who had seen, touched, undergone, and suffered; who could cry aloud to them, "I have been near to everything, from which you are so far removed." He would hurl reality in the face of those patricians, crammed with illusions. They should tremble, for it would be the truth. They would applaud, for it would be grand. He would arise amongst those powerful men, more powerful than they. "I shall appear as a torch-bearer, to show them truth; and as a sword-bearer, to show them justice!" What a triumph!
He imagined a spectacular entrance into the House of Lords. He would arrive overflowing with new facts and ideas. What could he not share with them? The topics he had gathered were impressive! What an advantage it would be to be among them, a man who had seen, touched, experienced, and suffered; who could shout to them, "I've been close to everything you're so far removed from." He would confront those aristocrats, who are full of fantasies, with reality. They should shake in their boots because it would be the truth. They would cheer because it would be magnificent. He would stand among those powerful men, even more powerful than they were. "I will come as a torchbearer to reveal the truth; and as a swordbearer to demonstrate justice!" What a victory!
And, building up these fantasies in his mind, clear and confused at the same time, he had attacks of delirium,—sinking on the first seat he came to; sometimes drowsy, sometimes starting up. He came and went, looked at the ceiling, examined the coronets, studied vaguely the hieroglyphics of the emblazonment, felt the velvet of the walls, moved the chairs, turned over the parchments, read the names, spelt out the titles, Buxton, Homble, Grundraith, Hunkerville, Clancharlie; compared the wax, the impression, felt the twist of silk appended to the royal privy seal, approached the window, listened to the splash of the fountain, contemplated the statues, counted, with the patience of a somnambulist, the columns of marble, and said,—
And as he built these fantasies in his mind, both clear and confused at the same time, he experienced episodes of delirium—collapsing onto the nearest seat he found; sometimes drowsy, sometimes startled. He wandered around, gazed at the ceiling, examined the crowns, vaguely studied the symbols in the decorations, felt the velvet on the walls, rearranged the chairs, flipped through the parchments, read the names, spelled out the titles: Buxton, Homble, Grundraith, Hunkerville, Clancharlie; compared the wax, the impression, felt the silk attached to the royal privy seal, approached the window, listened to the sound of the fountain, contemplated the statues, counted the marble columns with the patience of a sleepwalker, and said,—
"It is real."
"It's real."
Then he touched his satin clothes, and asked himself,—
Then he touched his satin clothes and asked himself,—
"Is it I? Yes."
"Is it me? Yes."
He was torn by an inward tempest.
He was filled with inner turmoil.
In this whirlwind, did he feel faintness and fatigue? Did he drink, eat, sleep? If he did so, he was unconscious of the fact. In certain violent situations instinct satisfies itself, according to its requirements, unconsciously. Besides, his thoughts were less thoughts than mists. At the moment that the black flame of an irruption disgorges itself from depths full of boiling lava, has the crater any consciousness of the flocks which crop the grass at the foot of the mountain?
In this chaos, did he feel weak and tired? Did he drink, eat, or sleep? If he did, he was unaware of it. In some intense situations, instinct meets its needs without conscious thought. Moreover, his thoughts were more like clouds than clear ideas. When the black flame of an eruption bursts from depths filled with bubbling lava, does the crater have any awareness of the flocks grazing at the base of the mountain?
The hours passed.
Time flew by.
The dawn appeared and brought the day. A bright ray penetrated the chamber, and at the same instant broke on the soul of Gwynplaine.
The dawn came and brought the day. A bright ray filled the room, and at the same moment, it touched Gwynplaine's soul.
And Dea! said the light.
And Dea! said the light.
BOOK THE SIXTH.
URSUS UNDER DIFFERENT ASPECTS.
CHAPTER I.
WHAT THE MISANTHROPE SAID.
After Ursus had seen Gwynplaine thrust within the gates of Southwark Jail, he remained, haggard, in the corner from which he was watching. For a long time his ears were haunted by the grinding of the bolts and bars, which was like a howl of joy that one wretch more should be enclosed within them.
After Ursus saw Gwynplaine pushed through the gates of Southwark Jail, he stayed, worn out, in the corner where he was watching. For a long time, the sound of the bolts and bars echoed in his ears, like a howl of joy that another miserable soul had been locked away inside.
He waited. What for? He watched. What for? Such inexorable doors, once shut, do not re-open so soon. They are tongue-tied by their stagnation in darkness, and move with difficulty, especially when they have to give up a prisoner. Entrance is permitted. Exit is quite a different matter. Ursus knew this. But waiting is a thing which we have not the power to give up at our own will. We wait in our own despite. What we do disengages an acquired force, which maintains its action when its object has ceased, which keeps possession of us and holds us, and obliges us for some time longer to continue that which has already lost its motive. Hence the useless watch, the inert position that we have all held at times, the loss of time which every thoughtful man gives mechanically to that which has disappeared. None escapes this law. We become stubborn in a sort of vague fury. We know not why we are in the place, but we remain there. That which we have begun actively we continue passively, with an exhausting tenacity from which we emerge overwhelmed. Ursus, though differing from other men, was, as any other might have been, nailed to his post by that species of conscious reverie into which we are plunged by events all important to us, and in which we are impotent. He scrutinized by turns those two black walls, now the high one, then the low; sometimes the door near which the ladder to the gibbet stood, then that surmounted by a death's head. It was as if he were caught in a vice, composed of a prison and a cemetery. This shunned and unpopular street was so deserted that he was unobserved.
He waited. For what? He watched. For what? Those unyielding doors, once closed, don’t open again anytime soon. They are stifled by their stillness in darkness and move slowly, especially when they have to let go of a captive. Entering is allowed. Exiting is a whole different story. Ursus understood this. But waiting is something we can’t just decide to stop. We wait against our will. What we do releases a force we’ve built up that keeps acting even when its purpose is gone, holding onto us and forcing us to keep going longer than we should with something that has already lost its reason. That’s how we end up sitting around uselessly, stuck in a position we’ve all found ourselves in at times, wasting time that any thoughtful person automatically gives to things that are no longer there. No one can escape this principle. We become stubborn in a kind of confused rage. We don’t even know why we’re in that spot, but we stay there. What we started out doing actively, we continue to do passively, with a tiring persistence that leaves us drained. Ursus, though different from others, was just like anyone else, trapped at his post by that kind of conscious daydream brought on by events that are extremely important to us, where we feel powerless. He alternated his focus between those two black walls, sometimes the taller one, then the shorter; sometimes the door next to the ladder leading to the gallows, then the one topped with a skull. It felt like he was caught in a squeeze between a prison and a graveyard. This avoided, unwelcoming street was so empty that he went unnoticed.
At length he left the arch under which he had taken shelter, a kind of chance sentry-box, in which he had acted the watchman, and departed with slow steps. The day was declining, for his guard had been long. From time to time he turned his head and looked at the fearful wicket through which Gwynplaine had disappeared. His eyes were glassy and dull. He reached the end of the alley, entered another, then another, retracing almost unconsciously the road which he had taken some hours before. At intervals he turned, as if he could still see the door of the prison, though he was no longer in the street in which the jail was situated. Step by step he was approaching Tarrinzeau Field. The lanes in the neighbourhood of the fair-ground were deserted pathways between enclosed gardens. He walked along, his head bent down, by the hedges and ditches. All at once he halted, and drawing himself up, exclaimed, "So much the better!"
At last, he left the arch where he had taken shelter, a kind of makeshift lookout, where he had played the role of the watchman, and walked away slowly. The day was getting late, as he had been on guard for a long time. From time to time, he turned his head to look at the scary gate through which Gwynplaine had vanished. His eyes were glassy and dull. He reached the end of the alley, entered another, then another, almost unconsciously retracing the steps he had taken a few hours earlier. Occasionally, he glanced back, as if he could still see the prison door, even though he was no longer on the street where the jail was located. Step by step, he was getting closer to Tarrinzeau Field. The paths around the fairground were empty lanes between fenced gardens. He walked along, his head down, by the hedges and ditches. Suddenly, he stopped, straightened up, and exclaimed, “So much the better!”
At the same time he struck his fist twice on his head and twice on his thigh, thus proving himself to be a sensible fellow, who saw things in their right light; and then he began to growl inwardly, yet now and then raising his voice.
At the same time, he hit his fist against his head twice and against his thigh twice, showing that he was a reasonable guy who understood things clearly; then he started to grumble quietly, but occasionally raised his voice.
"It is all right! Oh, the scoundrel! the thief! the vagabond! the worthless fellow! the seditious scamp! It is his speeches about the government that have sent him there. He is a rebel. I was harbouring a rebel. I am free of him, and lucky for me; he was compromising us. Thrust into prison! Oh, so much the better! What excellent laws! Ungrateful boy! I who brought him up! To give oneself so much trouble for this! Why should he want to speak and to reason? He mixed himself up in politics. The ass! As he handled pennies he babbled about the taxes, about the poor, about the people, about what was no business of his. He permitted himself to make reflections on pennies. He commented wickedly and maliciously on the copper money of the kingdom. He insulted the farthings of her Majesty. A farthing! Why, 'tis the same as the queen. A sacred effigy! Devil take it! a sacred effigy! Have we a queen—yes or no? Then respect her verdigris! Everything depends on the government; one ought to know that. I have experience, I have. I know something. They may say to me, 'But you give up politics, then?' Politics, my friends! I care as much for them as for the rough hide of an ass. I received, one day, a blow from a baronet's cane. I said to myself, That is enough: I understand politics. The people have but a farthing, they give it; the queen takes it, the people thank her. Nothing can be more natural. It is for the peers to arrange the rest; their lordships, the lords spiritual and temporal. Oh! so Gwynplaine is locked up! So he is in prison. That is just as it should be. It is equitable, excellent, well-merited, and legitimate. It is his own fault. To criticize is forbidden. Are you a lord, you idiot? The constable has seized him, the justice of the quorum has carried him off, the sheriff has him in custody. At this moment he is probably being examined by a serjeant of the coif. They pluck out your crimes, those clever fellows! Imprisoned, my wag! So much the worse for him, so much the better for me! Faith, I am satisfied. I own frankly that fortune favours me. Of what folly was I guilty when I picked up that little boy and girl! We were so quiet before, Homo and I! What had they to do in my caravan, the little blackguards? Didn't I brood over them when they were young! Didn't I draw them along with my harness! Pretty foundlings, indeed; he as ugly as sin, and she blind of both eyes! Where was the use of depriving myself of everything for their sakes? The beggars grow up, forsooth, and make love to each other. The flirtations of the deformed! It was to that we had come. The toad and the mole; quite an idyl! That was what went on in my household. All which was sure to end by going before the justice. The toad talked politics! But now I am free of him. When the wapentake came I was at first a fool; one always doubts one's own good luck. I believed that I did not see what I did see; that it was impossible, that it was a nightmare, that a day-dream was playing me a trick. But no! Nothing could be truer. It is all clear. Gwynplaine is really in prison. It is a stroke of Providence. Praise be to it! He was the monster who, with the row he made, drew attention to my establishment and denounced my poor wolf. Be off, Gwynplaine; and, see, I am rid of both! Two birds killed with one stone. Because Dea will die, now that she can no longer see Gwynplaine. For she sees him, the idiot! She will have no object in life. She will say, 'What am I to do in the world?' Good-bye! To the devil with both of them. I always hated the creatures! Die, Dea! Oh, I am quite comfortable!"
"It’s all good! Oh, that scoundrel! The thief! The drifter! The worthless guy! The rebellious rascal! It's his rants about the government that landed him in there. He’s a rebel. I was harboring a rebel. I'm free of him, and thank goodness; he was putting us in danger. Thrown in prison! Oh, that’s fine by me! What fantastic laws! Ungrateful kid! I raised him! To have gone through all this trouble for this! Why does he want to talk and reason? He got involved in politics. What a fool! While handling pennies, he babbled about taxes, about the poor, about the people—none of his business. He dared to criticize pennies, making wicked and malicious comments about the kingdom's copper coins. He insulted the farthings of Her Majesty. A farthing! It’s the same as the queen. A sacred image! Damn it! A sacred image! Do we have a queen—yes or no? Then respect her green patina! Everything relies on the government; you should know that. I have experience, you know. I know a thing or two. People might say to me, 'But you’re giving up on politics, then?' Politics, my friends! I couldn't care less about them than I would the rough hide of a donkey. One day, I got hit by a baronet’s cane. I thought, That’s it: I get politics now. The people have just a farthing, they give it, the queen takes it, and the people thank her. Nothing could be more natural. It's up to the peers to sort the rest out; their lordships, the lords spiritual and temporal. Oh! So Gwynplaine's locked up! So he’s in prison. That’s exactly how it should be. It’s fair, excellent, well-deserved, and legitimate. It’s his own fault. Criticism is forbidden. Are you a lord, you fool? The constable has nabbed him, the justice of the quorum has taken him away, the sheriff has him in custody. Right now he’s probably being grilled by a serjeant of the coif. They dig up your crimes, those clever guys! Imprisoned, my friend! So much the worse for him, so much the better for me! Honestly, I’m good with this. I admit it; luck is on my side. What foolishness was I guilty of when I took in that little boy and girl! We were so peaceful before, Homo and I! What were those little rascals doing in my caravan? Didn’t I care for them when they were young! Didn’t I pull them along with my harness! Cute little foundlings; he as ugly as sin, and she blind in both eyes! What was the point of depriving myself of everything for their benefit? Those beggars grow up, sure enough, and fall in love. The flirtations of the deformed! That’s what it came to. The toad and the mole; what an idyl! That was the scene in my household. All of it sure to end up in front of the justice. The toad talked politics! But now I’m free of him. When the wapentake arrived, I was first a fool; you always doubt your own luck. I thought I couldn’t really see what I was seeing; that it was impossible, that it was a nightmare, that day-dreaming was playing tricks on me. But no! Nothing could be truer. It's all clear. Gwynplaine is really in prison. It’s like fate. Thank goodness! He was the monster who, with all the commotion he caused, drew attention to my establishment and condemned my poor wolf. Good riddance, Gwynplaine; and look, I’m free of both! Two birds with one stone. Because Dea will die now that she can no longer see Gwynplaine. She can see him, that idiot! She will have no reason to live. She’ll say, 'What am I supposed to do in this world?' Goodbye! To hell with both of them. I’ve always hated those creatures! Die, Dea! Oh, I’m quite content!"
CHAPTER II.
WHAT HE DID.
He returned to the Tadcaster Inn,
He went back to the Tadcaster Inn,
It struck half-past six. It was a little before twilight.
It was half past six. It was just before twilight.
Master Nicless stood on his doorstep.
Master Nicless stood on his doorstep.
He had not succeeded, since the morning, in extinguishing the terror which still showed on his scared face.
He hadn't managed to shake off the fear that was still evident on his terrified face since the morning.
He perceived Ursus from afar.
He saw Ursus from afar.
"Well!" he cried.
"Wow!" he exclaimed.
"Well! what?"
"Well, what?"
"Is Gwynplaine coming back? It is full time. The public will soon be coming. Shall we have the performance of 'The Laughing Man' this evening?"
"Is Gwynplaine coming back? It's about time. The audience will be arriving soon. Are we having the show of 'The Laughing Man' tonight?"
"I am the laughing man," said Ursus.
"I’m the laughing man," Ursus said.
And he looked at the tavern-keeper with a loud chuckle.
And he glanced at the bartender with a loud laugh.
Then he went up to the first floor, opened the window next to the sign of the inn, leant over towards the placard about Gwynplaine, the laughing man, and the bill of "Chaos Vanquished;" unnailed the one, tore down the other, put both under his arm, and descended.
Then he went up to the first floor, opened the window next to the sign of the inn, leaned over toward the placard about Gwynplaine, the laughing man, and the bill for "Chaos Vanquished;" pried off one, tore down the other, tucked both under his arm, and came back down.
Master Nicless followed him with his eyes.
Master Nicless observed him closely.
"Why do you unhook that?"
"Why do you unclip that?"
Ursus burst into a second fit of laughter.
Ursus broke into another fit of laughter.
"Why do you laugh?" said the tavern-keeper.
"Why are you laughing?" asked the tavern owner.
"I am re-entering private life."
"I'm going back to private life."
Master Nicless understood, and gave an order to his lieutenant, the boy Govicum, to announce to every one who should come that there would be no performance that evening. He took from the door the box made out of a cask, where they received the entrance money, and rolled it into a corner of the lower sitting-room.
Master Nicless understood and instructed his lieutenant, the boy Govicum, to tell everyone who arrived that there would be no performance that evening. He took the box made from a cask, which was used to collect the entrance money, and rolled it into a corner of the lower sitting room.
A moment after, Ursus entered the Green Box.
A moment later, Ursus walked into the Green Box.
He put the two signs away in a corner, and entered what he called the woman's wing.
He put the two signs in a corner and walked into what he called the woman's wing.
Dea was asleep.
Dea was sleeping.
She was on her bed, dressed as usual, excepting that the body of her gown was loosened, as when she was taking her siesta.
She was on her bed, dressed as usual, except that the bodice of her gown was loose, like when she was taking her nap.
Near her Vinos and Fibi were sitting—one on a stool, the other on the ground—musing. Notwithstanding the lateness of the hour, they had not dressed themselves in their goddesses' gauze, which was a sign of deep discouragement. They had remained in their drugget petticoats and their dress of coarse cloth.
Near her, Vinos and Fibi were sitting—one on a stool, the other on the ground—lost in thought. Even though it was late, they hadn't put on their flowing goddess gowns, which showed how discouraged they were. They stayed in their rough petticoats and coarse cloth dresses.
Ursus looked at Dea.
Ursus gazed at Dea.
"She is rehearsing for a longer sleep," murmured he.
"She is getting ready for a deeper sleep," he murmured.
Then, addressing Fibi and Vinos,—
Then, talking to Fibi and Vinos,—
"You both know all. The music is over. You may put your trumpets into the drawer. You did well not to equip yourselves as deities. You look ugly enough as you are, but you were quite right. Keep on your petticoats. No performance to-night, nor to-morrow, nor the day after to-morrow. No Gwynplaine. Gwynplaine is clean gone."
"You both know everything. The music has stopped. You can put your trumpets away. You made the right choice not to dress up as gods. You look bad enough as it is, but you were completely right. Stay in your petticoats. No performances tonight, tomorrow, or the day after. No Gwynplaine. Gwynplaine is completely gone."
Then he looked at Dea again.
Then he looked at Dea again.
"What a blow to her this will be! It will be like blowing out a candle."
"What a shock this will be for her! It will feel like snuffing out a candle."
He inflated his cheeks.
He puffed out his cheeks.
"Puff! nothing more."
"Puff! Nothing else."
Then, with a little dry laugh,—
Then, with a slight dry laugh,—
"Losing Gwynplaine, she loses all. It would be just as if I were to lose Homo. It will be worse. She will feel more lonely than any one else could. The blind wade through more sorrow than we do."
"Losing Gwynplaine means losing everything for her. It would be the same as if I lost Homo. It would be even worse. She will feel more alone than anyone else could. The blind experience more sadness than we do."
He looked out of the window at the end of the room.
He stared out the window at the far end of the room.
"How the days lengthen! It is not dark at seven o'clock. Nevertheless we will light up."
"How the days are getting longer! It's not dark at seven o'clock. Still, we'll turn on the lights."
He struck the steel and lighted the lamp which hung from the ceiling of the Green Box.
He struck the steel and lit the lamp that hung from the ceiling of the Green Box.
Then he leaned over Dea.
Then he leaned over Dea.
"She will catch cold; you have unlaced her bodice too low. There is a proverb,—
"She's going to catch a cold; you've loosened her bodice too much. There's a saying—
"'Though April skies be bright,
"'Though April skies are bright,
Keep all your wrappers tight.'"
"Keep all your wrappers tight."
Seeing a pin shining on the floor, he picked it up and pinned up her sleeve. Then he paced the Green Box, gesticulating.
Seeing a pin shining on the floor, he picked it up and pinned her sleeve. Then he walked back and forth around the Green Box, making gestures.
"I am in full possession of my faculties. I am lucid, quite lucid. I consider this occurrence quite proper, and I approve of what has happened. When she awakes I will explain everything to her clearly. The catastrophe will not be long in coming. No more Gwynplaine. Good-night, Dea. How well all has been arranged! Gwynplaine in prison, Dea in the cemetery, they will be vis-à-vis! A dance of death! Two destinies going off the stage at once. Pack up the dresses. Fasten the valise. For valise, read coffin. It was just what was best for them both. Dea without eyes, Gwynplaine without a face. On high the Almighty will restore sight to Dea and beauty to Gwynplaine. Death puts things to rights. All will be well. Fibi, Vinos, hang up your tambourines on the nail. Your talents for noise will go to rust, my beauties; no more playing, no more trumpeting 'Chaos Vanquished' is vanquished. 'The Laughing Man' is done for. 'Taratantara' is dead. Dea sleeps on. She does well. If I were she I would never awake. Oh! she will soon fall asleep again. A skylark like her takes very little killing. This comes of meddling with politics. What a lesson! Governments are right. Gwynplaine to the sheriff. Dea to the grave-digger. Parallel cases! Instructive symmetry! I hope the tavern-keeper has barred the door. We are going to die to-night quietly at home, between ourselves—not I, nor Homo, but Dea. As for me, I shall continue to roll on in the caravan. I belong to the meanderings of vagabond life. I shall dismiss these two women. I shall not keep even one of them. I have a tendency to become an old scoundrel. A maidservant in the house of a libertine is like a loaf of bread on the shelf. I decline the temptation. It is not becoming at my age. Turpe senilis amor. I will follow my way alone with Homo. How astonished Homo will be! Where is Gwynplaine? Where is Dea? Old comrade, here we are once more alone together. Plague take it! I'm delighted. Their bucolics were an encumbrance. Oh! that scamp Gwynplaine, who is never coming back. He has left us stuck here. I say 'All right.' And now 'tis Dea's turn. That won't be long. I like things to be done with. I would not snap my fingers to stop her dying—her dying, I tell you! See, she awakes!"
"I am fully aware and clear-headed. I feel completely lucid. I think this situation is quite reasonable, and I approve of what has happened. When she wakes up, I’ll explain everything to her clearly. The disaster won't take long to arrive. No more Gwynplaine. Goodnight, Dea. Everything has been arranged so well! Gwynplaine in prison, Dea in the graveyard, they will be vis-à-vis! A dance of death! Two lives exiting the stage at once. Pack up the costumes. Close the suitcase. When I say suitcase, I mean coffin. This is exactly what was best for them both. Dea without sight, Gwynplaine without a face. Up above, the Almighty will restore sight to Dea and beauty to Gwynplaine. Death sets things right. Everything will be fine. Fibi, Vinos, hang up your tambourines on the hook. Your noise-making talents will gather dust, my darlings; no more playing, no more trumpeting 'Chaos Vanquished' is defeated. 'The Laughing Man' is finished. 'Taratantara' is dead. Dea remains asleep. She’s doing well. If I were her, I wouldn’t ever wake up. Oh! She will fall asleep again soon. A skylark like her doesn’t take much to be put down. This is what happens when you get involved in politics. What a lesson! Governments are right. Gwynplaine to the sheriff. Dea to the grave-digger. Parallel situations! An instructive symmetry! I hope the tavern-keeper has locked the door. We are going to quietly die tonight at home, just the three of us—not me, nor Homo, but Dea. As for me, I’ll keep wandering with the caravan. I’m part of the unpredictable life of a vagabond. I will let these two women go. I won't keep even one of them. I have a habit of becoming a scoundrel. A maid in the house of a libertine is like a loaf of bread on a shelf. I will resist the temptation. It doesn’t suit my age. Turpe senilis amor. I will continue on my own with Homo. How surprised Homo will be! Where is Gwynplaine? Where is Dea? Old friend, here we are once more alone together. Damn it! I’m thrilled. Their pastoral vibes were a burden. Oh! that rascal Gwynplaine, who is never coming back. He’s left us stuck here. I say 'All right.' And now it’s Dea’s turn. That won’t take long. I like things wrapped up quickly. I would not lift a finger to stop her from dying—her dying, I tell you! Look, she’s waking up!"
Dea opened her eyelids; many blind persons shut them when they sleep. Her sweet unwitting face wore all its usual radiance.
Dea opened her eyes; many blind people keep them closed when they sleep. Her innocent, unaware face had all its usual brightness.
"She smiles," whispered Ursus, "and I laugh. That is as it should be."
"She smiles," Ursus whispered, "and I laugh. That's how it should be."
Dea called,—
Dea called—
"Fibi! Vinos! It must be the time for the performance. I think I have been asleep a long time. Come and dress me."
"Fibi! Vinos! It must be time for the show. I think I’ve been asleep for a while. Come and help me get ready."
Neither Fibi nor Vinos moved.
Neither Fibi nor Vinos budged.
Meanwhile the ineffable blind look of Dea's eyes met those of Ursus. He started.
Meanwhile, the mysterious, unseeing gaze of Dea's eyes met Ursus's. He flinched.
"Well!" he cried; "what are you about? Vinos! Fibi! Do you not hear your mistress? Are you deaf? Quick! the play is going to begin."
"Well!" he shouted; "what are you doing? Vinos! Fibi! Can’t you hear your mistress? Are you deaf? Hurry! The play is about to start."
The two women looked at Ursus in stupefaction.
The two women stared at Ursus in disbelief.
Ursus shouted,—
Ursus yelled,—
"Do you not hear the audience coming in?—Fibi, dress Dea.—Vinos, take your tambourine."
"Don't you hear the audience coming in?—Fibi, get Dea dressed.—Vinos, grab your tambourine."
Fibi was obedient; Vinos, passive. Together, they personified submission. Their master, Ursus, had always been to them an enigma. Never to be understood is a reason for being always obeyed. They simply thought he had gone mad, and did as they were told. Fibi took down the costume, and Vinos the tambourine.
Fibi was obedient; Vinos was passive. Together, they represented submission. Their master, Ursus, had always been a mystery to them. The fact that he could never be understood was a reason for them to always obey. They just thought he had lost his mind and followed his orders. Fibi took down the costume, and Vinos grabbed the tambourine.
Fibi began to dress Dea. Ursus let down the door-curtain of the women's room, and from behind the curtain continued,—
Fibi started getting Dea dressed. Ursus pulled down the door curtain of the women's room and, from behind the curtain, continued,—
"Look there, Gwynplaine! the court is already more than half full of people. They are in heaps in the passages. What a crowd! And you say that Fibi and Vinos look as if they did not see them. How stupid the gipsies are! What fools they are in Egypt! Don't lift the curtain from the door. Be decent. Dea is dressing."
"Look over there, Gwynplaine! The court is already more than half full of people. They’re piled up in the hallways. What a crowd! And you’re saying that Fibi and Vinos act like they don’t even see them. How clueless the gypsies are! What fools they are in Egypt! Don’t pull back the curtain on the door. Be respectful. Dea is getting ready."
He paused, and suddenly they heard an exclamation,—
He stopped, and suddenly they heard someone shout,—
"How beautiful Dea is!"
"How gorgeous Dea is!"
It was the voice of Gwynplaine.
It was Gwynplaine's voice.
Fibi and Vinos started, and turned round. It was the voice of Gwynplaine, but in the mouth of Ursus.
Fibi and Vinos started and turned around. It was Gwynplaine's voice, but it was coming from Ursus.
Ursus, by a sign which he made through the door ajar, forbade the expression of any astonishment.
Ursus, with a gesture through the slightly open door, signaled for everyone to hold back their surprise.
Then, again taking the voice of Gwynplaine,—
Then, once more using Gwynplaine's voice,—
"Angel!"
"Hey, Angel!"
Then he replied in his own voice,—
Then he replied in his own voice,—
"Dea an angel! You are a fool, Gwynplaine. No mammifer can fly except the bats."
"Dea, an angel! You're such a fool, Gwynplaine. No mammal can fly except for bats."
And he added,—
And he added, —
"Look here, Gwynplaine! Let Homo loose; that will be more to the purpose."
"Hey, Gwynplaine! Let Homo go; that will be more helpful."
And he descended the ladder of the Green Box very quickly, with the agile spring of Gwynplaine, imitating his step so that Dea could hear it.
And he quickly climbed down the ladder of the Green Box, moving with the same agile bounce as Gwynplaine, mimicking his footsteps so that Dea could hear him.
In the court he addressed the boy, whom the occurrences of the day had made idle and inquisitive.
In court, he spoke to the boy, who had become restless and curious due to everything that had happened that day.
"Spread out both your hands," said he, in a loud voice.
"Spread both your hands out," he said, raising his voice.
And he poured a handful of pence into them.
And he dumped a handful of coins into them.
Govicum was grateful for his munificence.
Govicum was thankful for his generosity.
Ursus whispered in his ear,—
Ursus whispered in his ear—
"Boy, go into the yard; jump, dance, knock, bawl, whistle, coo, neigh, applaud, stamp your feet, burst out laughing, break something."
"Hey kid, go outside; jump, dance, shout, whistle, coo, neigh, clap, stomp your feet, laugh out loud, break something."
Master Nicless, saddened and humiliated at seeing the folks who had come to see "The Laughing Man" turned back and crowding towards other caravans, had shut the door of the inn. He had even given up the idea of selling any beer or spirits that evening, that he might have to answer no awkward questions; and, quite overcome by the sudden close of the performance, was looking, with his candle in his hand, into the court from the balcony above.
Master Nicless, feeling sad and embarrassed as he watched the people who came to see "The Laughing Man" leave and head toward other caravans, had closed the door of the inn. He even decided not to sell any beer or liquor that evening to avoid any awkward questions. Overwhelmed by the abrupt end of the show, he stood on the balcony above, holding his candle and looking down into the courtyard.
Ursus, taking the precaution of putting his voice between parentheses fashioned by adjusting the palms of his hands to his mouth, cried out to him,—
Ursus, carefully cupping his hands around his mouth to create a sort of megaphone, shouted out to him,—
"Sir! do as your boy is doing—yelp, bark, howl."
"Sir! do what your son is doing—yell, bark, howl."
He re-ascended the steps of the Green Box, and said to the wolf,—
He climbed back up the steps of the Green Box and said to the wolf,—
"Talk as much as you can."
"Talk as much as you can."
Then, raising his voice,—
Then, raising his voice—
"What a crowd there is! We shall have a crammed performance."
"What a crowd there is! We're going to have a packed show."
In the meantime Vinos played the tambourine. Ursus went on,—
In the meantime, Vinos was playing the tambourine. Ursus continued—
"Dea is dressed. Now we can begin. I am sorry they have admitted so many spectators. How thickly packed they are!—Look, Gwynplaine, what a mad mob it is! I will bet that to-day we shall take more money than we have ever done yet.—Come, gipsies, play up, both of you. Come here.—Fibi, take your clarion. Good.—Vinos, drum on your tambourine. Fling it up and catch it again.—Fibi, put yourself into the attitude of Fame.—Young ladies, you have too much on. Take off those jackets. Replace stuff by gauze. The public like to see the female form exposed. Let the moralists thunder. A little indecency. Devil take it! what of that? Look voluptuous, and rush into wild melodies. Snort, blow, whistle, flourish, play the tambourine.—What a number of people, my poor Gwynplaine!"
"Dea is dressed. Now we can start. I’m sorry there are so many spectators. They’re packed in tight!—Look, Gwynplaine, what a crazy crowd it is! I bet that today we’ll make more money than ever before.—Come on, gypsies, play your best, both of you. Come here.—Fibi, get your clarion. Good.—Vinos, bang on your tambourine. Toss it up and catch it again.—Fibi, strike a pose like Fame.—Ladies, you’re wearing too much. Take off those jackets. Swap out the heavy stuff for gauze. The audience likes to see the female form. Let the moralists shout. A little indecency? Who cares? Look enticing and dive into wild melodies. Snort, blow, whistle, show off, play the tambourine.—What a crowd, my poor Gwynplaine!"
He interrupted himself.
He caught himself.
"Gwynplaine, help me. Let down the platform." He spread out his pocket-handkerchief. "But first let me roar in my rag," and he blew his nose violently as a ventriloquist ought. Having returned his handkerchief to his pocket, he drew the pegs out of the pulleys, which creaked as usual as the platform was let down.
"Gwynplaine, help me. Lower the platform." He unfolded his pocket handkerchief. "But first, let me make a scene with my rag," and he blew his nose loudly like a ventriloquist should. After putting his handkerchief back in his pocket, he pulled the pegs out of the pulleys, which groaned as usual while the platform descended.
"Gwynplaine, do not draw the curtain until the performance begins. We are not alone.—You two come on in front. Music, ladies! turn, turn, turn.—A pretty audience we have! the dregs of the people. Good heavens!"
"Gwynplaine, don’t pull the curtain until the show starts. We’re not alone.—You two step forward. Music, ladies! turn, turn, turn.—What a lovely audience we have! The lowest of the low. Good grief!"
The two gipsies, stupidly obedient, placed themselves in their usual corners of the platform. Then Ursus became wonderful. It was no longer a man, but a crowd. Obliged to make abundance out of emptiness, he called to aid his prodigious powers of ventriloquism. The whole orchestra of human and animal voices which was within him he called into tumult at once.
The two gypsies, blindly obedient, took their usual spots on the platform. Then Ursus became extraordinary. He was no longer just a man, but a crowd. Forced to create something out of nothing, he unleashed his incredible ventriloquism skills. He summoned the entire orchestra of human and animal voices within him, stirring them all into a frenzy at once.
He was legion. Any one with his eyes closed would have imagined that he was in a public place on some day of rejoicing, or in some sudden popular riot. A whirlwind of clamour proceeded from Ursus: he sang, he shouted, he talked, he coughed, he spat, he sneezed, took snuff, talked and responded, put questions and gave answers, all at once. The half-uttered syllables ran one into another. In the court, untenanted by a single spectator, were heard men, women, and children. It was a clear confusion of tumult. Strange laughter wound, vapour-like, through the noise, the chirping of birds, the swearing of cats, the wailings of children at the breast. The indistinct tones of drunken men were to be heard, and the growls of dogs under the feet of people who stamped on them. The cries came from far and near, from top to bottom, from the upper boxes to the pit. The whole was an uproar, the detail was a cry. Ursus clapped his hands, stamped his feet, threw his voice to the end of the court, and then made it come from underground. It was both stormy and familiar. It passed from a murmur to a noise, from a noise to a tumult, from a tumult to a tempest. He was himself, any, every one else. Alone, and polyglot. As there are optical illusions, there are also auricular illusions. That which Proteus did to sight Ursus did to hearing. Nothing could be more marvellous than his facsimile of multitude. From time to time he opened the door of the women's apartment and looked at Dea. Dea was listening. On his part the boy exerted himself to the utmost. Vinos and Fibi trumpeted conscientiously, and took turns with the tambourine. Master Nicless, the only spectator, quietly made himself the same explanation as they did—that Ursus was gone mad; which was, for that matter, but another sad item added to his misery. The good tavern-keeper growled out, "What insanity!" And he was serious as a man might well be who has the fear of the law before him.
He was a force of nature. Anyone with their eyes closed would have thought they were in a crowded place during a festive occasion or a sudden riot. A whirlwind of noise came from Ursus: he sang, shouted, talked, coughed, spat, sneezed, took snuff, conversed, asked questions, and answered them all at once. His half-spoken syllables merged together. In the empty courtyard, the sounds of men, women, and children could be heard. It was a complete chaos of noise. Strange laughter floated through the commotion, mingling with the chirping of birds, the hissing of cats, and the cries of nursing babies. The indistinct voices of drunken men were audible, along with the growls of dogs underfoot as people stepped on them. The shouts came from all around, from the balconies to the pit. It was a cacophony, the details were just noise. Ursus clapped his hands, stomped his feet, projected his voice to the end of the courtyard, and then made it sound like it came from underground. It was both chaotic and familiar. It shifted from a murmur to a noise, from noise to a commotion, from commotion to a tempest. He was himself, and he was everyone else. Alone, yet multilingual. Just as there are visual illusions, there are also auditory illusions. What Proteus did to sight, Ursus did to sound. Nothing was more amazing than his imitation of a crowd. From time to time, he opened the door to the women’s quarters and glanced at Dea. Dea was listening. Meanwhile, the boy put in his best effort. Vinos and Fibi played their instruments obediently, taking turns with the tambourine. Master Nicless, the only audience member, quietly justified it to himself just like they did—that Ursus had lost his mind; which, after all, was another unfortunate detail added to his misery. The good tavern owner grumbled, “What madness!” And he was as serious as someone who fears the law can be.
Govicum, delighted at being able to help in making a noise, exerted himself almost as much as Ursus. It amused him, and, moreover, it earned him pence.
Govicum, thrilled to be able to help make a ruckus, worked just as hard as Ursus. It entertained him, and on top of that, it earned him some money.
Homo was pensive.
Homo was deep in thought.
In the midst of the tumult Ursus now and then uttered such words as these:—"Just as usual, Gwynplaine. There is a cabal against us. Our rivals are undermining our success. Tumult is the seasoning of triumph. Besides, there are too many people. They are uncomfortable. The angles of their neighbours' elbows do not dispose them to good-nature. I hope the benches will not give way. We shall be the victims of an incensed population. Oh, if our friend Tom-Jim-Jack were only here! but he never comes now. Look at those heads rising one above the other. Those who are forced to stand don't look very well pleased, though the great Galen pronounced it to be strengthening. We will shorten the entertainment; as only 'Chaos Vanquished' was announced in the playbill, we will not play 'Ursus Rursus.' There will be something gained in that. What an uproar! O blind turbulence of the masses. They will do us some damage. However, they can't go on like this. We should not be able to play. No one can catch a word of the piece. I am going to address them. Gwynplaine, draw the curtain a little aside.—Gentlemen." Here Ursus addressed himself with a shrill and feeble voice,—
In the middle of the chaos, Ursus occasionally said things like: "Just like always, Gwynplaine. There’s a plot against us. Our competitors are sabotaging our success. Turmoil adds flavor to victory. Plus, there are too many people here. They’re uncomfortable. Their neighbors’ elbows aren't exactly friendly. I just hope the benches hold up. We might become victims of an angry crowd. Oh, if only our friend Tom-Jim-Jack were here! But he never shows up anymore. Look at all those heads popping up; those who have to stand don't seem very happy, even though the great Galen said it was good for them. Let’s cut the show short; since only 'Chaos Vanquished' was listed on the playbill, we won’t perform 'Ursus Rursus.' That’ll help a bit. What a racket! O blind rage of the masses. They could harm us. Still, they can't keep this up. We won't be able to perform. No one can hear a single line. I'm going to speak to them. Gwynplaine, pull the curtain aside a bit.—Ladies and gentlemen." Here Ursus spoke in a high, weak voice,—
"Down with that old fool!"
"Get rid of that old fool!"
Then he answered in his own voice,—
Then he replied in his own voice,—
"It seems that the mob insult me. Cicero is right: plebs fex urbis. Never mind; we will admonish the mob, though I shall have a great deal of trouble to make myself heard. I will speak, notwithstanding. Man, do your duty. Gwynplaine, look at that scold grinding her teeth down there."
"It seems like the crowd is insulting me. Cicero is right: the common people are the city's filth. Never mind; we will set the crowd straight, even though I’ll have a hard time getting my voice across. I will speak up, anyway. Man, do your job. Gwynplaine, check out that woman down there grinding her teeth."
Ursus made a pause, in which he placed a gnashing of his teeth. Homo, provoked, added a second, and Govicum a third.
Ursus paused, grinding his teeth. Homo, irritated, added a second, and Govicum a third.
Ursus went on,—
Ursus continued,—
"The women are worse than the men. The moment is unpropitious, but it doesn't matter! Let us try the power of a speech; an eloquent speech is never out of place. Listen, Gwynplaine, to my attractive exordium. Ladies and gentlemen, I am a bear. I take off my head to address you. I humbly appeal to you for silence." Ursus, lending a cry to the crowd, said, "Grumphll!"
"The women are worse than the men. The timing is bad, but who cares! Let's see if a speech can make a difference; an eloquent speech is always welcome. Listen, Gwynplaine, to my charming opening. Ladies and gentlemen, I am a bear. I take off my head to talk to you. I'm asking you respectfully to be quiet." Ursus, adding a shout to the crowd, said, "Grumphll!"
Then he continued,—
Then he carried on,—
"I respect my audience. Grumphll is an epiphonema as good as any other welcome. You growlers. That you are all of the dregs of the people, I do not doubt. That in no way diminishes my esteem for you. A well-considered esteem. I have a profound respect for the bullies who honour me with their custom. There are deformed folks amongst you. They give me no offence. The lame and the humpbacked are works of nature. The camel is gibbous. The bison's back is humped. The badger's left legs are shorter than the right, That fact is decided by Aristotle, in his treatise on the walking of animals. There are those amongst you who have but two shirts—one on his back, and the other at the pawnbroker's. I know that to be true. Albuquerque pawned his moustache, and St. Denis his glory. The Jews advanced money on the glory. Great examples. To have debts is to have something. I revere your beggardom."
"I respect my audience. Grumphll is as good of a welcome as any other. You complainers. I have no doubt that you're all the bottom of society. That doesn't lessen my respect for you. It's a well-thought-out respect. I have a deep admiration for the bullies who choose to support me. There are people among you who are deformed. They don't offend me. The lame and the hunchbacked are part of nature. The camel has a hump. The bison's back is curved. The badger's left legs are shorter than the right, as decided by Aristotle in his work on animal movement. Some of you only have two shirts—one on your back and one at the pawn shop. I know that's true. Albuquerque even pawned his mustache, and St. Denis his pride. The Jews lent money on that pride. Great examples. Having debts means you have something. I admire your poverty."
Ursus cut short his speech, interrupting it in a deep bass voice by the shout,—
Ursus interrupted his speech with a deep voice, shouting,—
"Triple ass!"
"Triple threat!"
And he answered in his politest accent,—
And he replied in his politest tone,—
"I admit it. I am a learned man. I do my best to apologize for it. I scientifically despise science. Ignorance is a reality on which we feed; science is a reality on which we starve. In general one is obliged to choose between two things—to be learned and grow thin, or to browse and be an ass. O gentlemen, browse! Science is not worth a mouthful of anything nice. I had rather eat a sirloin of beef than know what they call the psoas muscle. I have but one merit—a dry eye. Such as you see me, I have never wept. It must be owned that I have never been satisfied—never satisfied—not even with myself. I despise myself; but I submit this to the members of the opposition here present—if Ursus is only a learned man, Gwynplaine is an artist."
"I admit it. I'm a learned person. I try my best to apologize for that. I have a scientific disdain for science. Ignorance is something we thrive on; science is something that makes us suffer. Generally, you have to choose between two options—to be knowledgeable and get skinny, or to indulge and be foolish. Oh gentlemen, indulge! Science isn't worth a bite of anything good. I’d rather eat a steak than know what they call the psoas muscle. I have only one quality—a dry eye. As you see me, I've never cried. It must be said that I've never been satisfied—never satisfied—not even with myself. I despise myself; but I put this to the members of the opposition present—if Ursus is just a learned man, Gwynplaine is an artist."
He groaned again,—
He groaned again—
"Grumphll!"
"Grumphll!"
And resumed,—
And continued,—
"Grumphll again! it is an objection. All the same, I pass it over. Near Gwynplaine, gentlemen and ladies, is another artist, a valued and distinguished personage who accompanies us—his lordship Homo, formerly a wild dog, now a civilized wolf, and a faithful subject of her Majesty's. Homo is a mine of deep and superior talent. Be attentive and watch. You are going to set Homo play as well as Gwynplaine, and you must do honour to art. That is an attribute of great nations. Are you men of the woods? I admit the fact. In that case, sylvæ sunt consule digna. Two artists are well worth one consul. All right! Some one has flung a cabbage stalk at me, but did not hit me. That will not stop my speaking; on the contrary, a danger evaded makes folks garrulous. Garrula pericula, says Juvenal. My hearers! there are amongst you drunken men and drunken women. Very well. The men are unwholesome. The women are hideous. You have all sorts of excellent reasons for stowing yourselves away here on the benches of the pothouse—want of work, idleness, the spare time between two robberies, porter, ale, stout, malt, brandy, gin, and the attraction of one sex for the other. What could be better? A wit prone to irony would find this a fair field. But I abstain. 'Tis luxury; so be it, but even an orgy should be kept within bounds. You are gay, but noisy. You imitate successfully the cries of beasts; but what would you say if, when you were making love to a lady, I passed my time in barking at you? It would disturb you, and so it disturbs us. I order you to hold your tongues. Art is as respectable as debauch. I speak to you civilly."
"Grumphll again! It's an objection. Still, I’ll move on. Near Gwynplaine, ladies and gentlemen, is another artist, a valued and distinguished individual who joins us—his lordship Homo, who was once a wild dog, now a civilized wolf, and a loyal subject of Her Majesty. Homo is a treasure of deep and exceptional talent. Pay attention and watch. You’re about to see Homo perform alongside Gwynplaine, and you need to honor art. That's a trait of great nations. Are you men of the woods? I’ll accept that. In that case, sylvæ sunt consule digna. Two artists are worth more than one consul. Alright! Someone threw a cabbage stalk at me, but missed. That won’t stop me from speaking; on the contrary, escaping danger makes people talkative. Garrula pericula, says Juvenal. My audience! Among you are drunken men and women. Well then. The men are unpleasant. The women are unattractive. You have plenty of good reasons to hide away here on the tavern benches—lack of work, idleness, the downtime between two robberies, beer, ale, stout, malt, brandy, gin, and the allure of the opposite sex. What could be better? A clever person with irony would see this as a gold mine. But I’ll refrain. It’s indulgence; so be it, but even a party should have limits. You’re cheerful, but loud. You mimic the cries of animals quite well; but what would you think if, while you were wooing a lady, I spent my time barking at you? It would bother you, and it bothers us too. I demand that you be quiet. Art deserves the same respect as debauchery. I’m speaking to you politely."
He apostrophized himself,—
He talked to himself,—
"May the fever strangle you, with your eyebrows like the beard of rye."
"May the fever choke you, with your eyebrows like the beard of rye."
And he replied,—
And he replied,—
"Honourable gentlemen, let the rye alone. It is impious to insult the vegetables, by likening them either to human creatures or animals. Besides, the fever does not strangle. 'Tis a false metaphor. For pity's sake, keep silence. Allow me to tell you that you are slightly wanting in the repose which characterizes the true English gentleman. I see that some amongst you, who have shoes out of which their toes are peeping, take advantage of the circumstance to rest their feet on the shoulders of those who are in front of them, causing the ladies to remark that the soles of shoes divide always at the part at which is the head of the metatarsal bones. Show more of your hands and less of your feet. I perceive scamps who plunge their ingenious fists into the pockets of their foolish neighbours. Dear pickpockets, have a little modesty. Fight those next to you if you like; do not plunder them. You will vex them less by blackening an eye, than by lightening their purses of a penny. Break their noses if you like. The shopkeeper thinks more of his money than of his beauty. Barring this, accept my sympathies, for I am not pedantic enough to blame thieves. Evil exists. Every one endures it, every one inflicts it. No one is exempt from the vermin of his sins. That's what I keep saying. Have we not all our itch? I myself have made mistakes. Plaudite, cives."
"Honorable gentlemen, leave the rye alone. It’s disrespectful to insult vegetables by comparing them to humans or animals. Also, fever doesn’t strangle. That’s a misleading metaphor. For pity’s sake, be quiet. Let me point out that you’re lacking a bit in the calmness that defines a true English gentleman. I see some of you, with shoes that have your toes sticking out, taking the opportunity to rest your feet on the shoulders of those in front of you, prompting the ladies to notice that the soles of shoes always separate at the point where the metatarsal bones are. Show more of your hands and less of your feet. I notice some troublemakers who stick their clever fists into the pockets of their naive neighbors. Dear pickpockets, have a little modesty. Feel free to fight those next to you, but don’t rob them. You’ll annoy them less by giving them a black eye than by taking a penny from their wallets. Break their noses if you want. The shopkeeper cares more about his money than his looks. That being said, accept my sympathies, as I’m not too strict to condemn thieves. Evil exists. Everyone suffers from it, everyone inflicts it. No one is free from the pests of their sins. That’s what I keep saying. Don’t we all have our own issues? I’ve made mistakes myself. Plaudite, cives."
Ursus uttered a long groan, which he overpowered by these concluding words,—
Ursus let out a long groan, which he drowned out with these final words,—
"My lords and gentlemen, I see that my address has unluckily displeased you. I take leave of your hisses for a moment. I shall put on my head, and the performance is going to begin."
"My lords and gentlemen, I see that my speech has unfortunately upset you. I'll ignore your hisses for a moment. I'm going to put on my hat, and the show is about to start."
He dropt his oratorical tone, and resumed his usual voice.
He dropped his formal tone and returned to his normal voice.
"Close the curtains. Let me breathe. I have spoken like honey. I have spoken well. My words were like velvet; but they were useless. I called them my lords and gentlemen. What do you think of all this scum, Gwynplaine? How well may we estimate the ills which England has suffered for the last forty years through the ill-temper of these irritable and malicious spirits! The ancient Britons were warlike; these are melancholy and learned. They glory in despising the laws and contemning royal authority. I have done all that human eloquence can do. I have been prodigal of metonymics, as gracious as the blooming cheek of youth. Were they softened by them? I doubt it. What can affect a people who eat so extraordinarily, who stupefy themselves by tobacco so completely that their literary men often write their works with a pipe in their mouths? Never mind. Let us begin the play."
"Close the curtains. Let me breathe. I've spoken sweetly. I've spoken well. My words were like velvet; but they were pointless. I addressed them as my lords and gentlemen. What do you think of all this nonsense, Gwynplaine? How can we measure the suffering England has endured over the last forty years because of the bad temper of these irritable and spiteful people! The ancient Britons were warriors; these ones are gloomy and intellectual. They take pride in defying the laws and disregarding royal authority. I've done everything human speech can achieve. I've been lavish with metaphors, as charming as a young person's rosy cheeks. Did it soften them? I doubt it. What can reach a people who eat so excessively, who numb themselves with tobacco so thoroughly that their writers often compose their works with a pipe in their mouths? Never mind. Let’s start the play."
The rings of the curtain were heard being drawn over the rod. The tambourines of the gipsies were still. Ursus took down his instrument, executed his prelude, and said in a low tone: "Alas, Gwynplaine, how mysterious it is!" then he flung himself down with the wolf.
The rings of the curtain slid across the rod. The tambourines of the gypsies fell silent. Ursus picked up his instrument, played his prelude, and said softly, "Oh, Gwynplaine, how mysterious this is!" Then he collapsed onto the ground with the wolf.
When he had taken down his instrument, he had also taken from the nail a rough wig which he had, and which he had thrown on the stage in a corner within his reach. The performance of "Chaos Vanquished" took place as usual, minus only the effect of the blue light and the brilliancy of the fairies. The wolf played his best. At the proper moment Dea made her appearance, and, in her voice so tremulous and heavenly, invoked Gwynplaine. She extended her arms, feeling for that head.
When he put away his instrument, he also grabbed a rough wig from a nail, which he had tossed onto the stage in a corner. The performance of "Chaos Vanquished" went on as usual, just missing the blue light and the sparkle of the fairies. The wolf played his best. At the right moment, Dea appeared and, with her voice trembling and heavenly, called for Gwynplaine. She reached out her arms, trying to find that head.
Ursus rushed at the wig, ruffled it, put it on, advanced softly, and holding his breath, his head bristled thus under the hand of Dea.
Ursus hurried to the wig, messed it up, put it on, moved quietly, and holding his breath, his head bristled under Dea's hand.
Then calling all his art to his aid, and copying Gwynplaine's voice, he sang with ineffable love the response of the monster to the call of the spirit. The imitation was so perfect that again the gipsies looked for Gwynplaine, frightened at hearing without seeing him.
Then, drawing on all his talent and mimicking Gwynplaine's voice, he sang with deep affection the monster's response to the spirit's call. The imitation was so flawless that the gipsies once again searched for Gwynplaine, scared by the sound without seeing him.
Govicum, filled with astonishment, stamped, applauded, clapped his hands, producing an Olympian tumult, and himself laughed as if he had been a chorus of gods. This boy, it must be confessed, developed a rare talent for acting an audience.
Govicum, amazed, stomped his feet, cheered, and clapped his hands, creating a huge uproar, and laughed as if he were part of a chorus of gods. This boy, it has to be said, had a unique talent for playing the role of an audience.
Fibi and Vinos, being automatons of which Ursus pulled the strings, rattled their instruments, composed of copper and ass's skin—the usual sign of the performance being over and of the departure of the people.
Fibi and Vinos, being puppets controlled by Ursus, shook their instruments made of copper and donkey skin—the typical signal that the show was over and that the audience was leaving.
Ursus arose, covered with perspiration. He said, in a low voice, to Homo, "You see it was necessary to gain time. I think we have succeeded. I have not acquitted myself badly—I, who have as much reason as any one to go distracted. Gwynplaine may perhaps return to-morrow. It is useless to kill Dea directly. I can explain matters to you."
Ursus got up, sweating. He said quietly to Homo, "You see, we needed to buy some time. I think we've done well. I’ve held it together—not that it’s easy for me, considering everything. Gwynplaine might come back tomorrow. There's no point in directly killing Dea. I can explain everything to you."
He took off his wig and wiped his forehead.
He removed his wig and wiped his forehead.
"I am a ventriloquist of genius," murmured he. "What talent I displayed! I have equalled Brabant, the engastrimist of Francis I. of France. Dea is convinced that Gwynplaine is here."
"I am a genius ventriloquist," he murmured. "What talent I showed! I've matched Brabant, the ventriloquist of Francis I of France. Dea is sure that Gwynplaine is here."
"Ursus," said Dea, "where is Gwynplaine?"
"Ursus," Dea said, "where's Gwynplaine?"
Ursus started and turned round. Dea was still standing at the back of the stage, alone under the lamp which hung from the ceiling. She was pale, with the pallor of a ghost.
Ursus started and turned around. Dea was still standing at the back of the stage, alone under the lamp that hung from the ceiling. She was pale, with the whiteness of a ghost.
She added, with an ineffable expression of despair,—
She added, with an indescribable look of despair,—
"I know. He has left us. He is gone. I always knew that he had wings."
"I know. He's left us. He's gone. I always knew he could fly."
And raising her sightless eyes on high, she added,—
And lifting her unseeing eyes upward, she added,—
"When shall I follow?"
"When should I follow?"
CHAPTER III.
COMPLICATIONS.
Ursus was stunned.
Ursus was shocked.
He had not sustained the illusion.
He had not kept up the illusion.
Was it the fault of ventriloquism? Certainly not. He had succeeded in deceiving Fibi and Vinos, who had eyes, although he had not deceived Dea, who was blind. It was because Fibi and Vinos saw with their eyes, while Dea saw with her heart. He could not utter a word. He thought to himself, Bos in lingûa. The troubled man has an ox on his tongue.
Was it the fault of ventriloquism? Definitely not. He had managed to fool Fibi and Vinos, who could see, but he hadn’t fooled Dea, who was blind. It was because Fibi and Vinos used their eyes, while Dea saw with her heart. He couldn’t say a word. He thought to himself, Bos in lingûa. The troubled man has an ox on his tongue.
In his complex emotions, humiliation was the first which dawned on him. Ursus, driven out of his last resource, pondered.
In his complicated feelings, humiliation was the first to hit him. Ursus, out of options, thought about it.
"I lavish my onomatopies in vain." Then, like every dreamer, he reviled himself. "What a frightful failure! I wore myself out in a pure loss of imitative harmony. But what is to be done next?"
"I waste my sound effects for nothing." Then, like every dreamer, he berated himself. "What a terrible failure! I exhausted myself in a complete loss of mimicking harmony. But what should I do next?"
He looked at Dea. She was silent, and grew paler every moment, as she stood perfectly motionless. Her sightless eyes remained fixed in depths of thought.
He looked at Dea. She was silent and got paler by the moment as she stood completely still. Her unseeing eyes were locked in deep thought.
Fortunately, something happened. Ursus saw Master Nicless in the yard, with a candle in his hand, beckoning to him.
Fortunately, something happened. Ursus saw Master Nicless in the yard, holding a candle and waving him over.
Master Nicless had not assisted at the end of the phantom comedy played by Ursus. Some one had happened to knock at the door of the inn. Master Nicless had gone to open it. There had been two knocks, and twice Master Nicless had disappeared. Ursus, absorbed by his hundred-voiced monologue, had not observed his absence.
Master Nicless hadn’t been there at the end of the ghostly play put on by Ursus. Someone had knocked at the inn door. Master Nicless had gone to answer it. There were two knocks, and twice Master Nicless had left. Ursus, wrapped up in his hundred-voiced monologue, hadn’t noticed he was gone.
On the mute call of Master Nicless, Ursus descended.
At Master Nicless's silent call, Ursus came down.
He approached the tavern-keeper. Ursus put his finger on his lips. Master Nicless put his finger on his lips.
He approached the tavern owner. Ursus put his finger to his lips. Master Nicless did the same.
The two looked at each other thus.
The two looked at each other like that.
Each seemed to say to the other, "We will talk, but we will hold our tongues."
Each seemed to say to the other, "We'll chat, but we won't say too much."
The tavern-keeper silently opened the door of the lower room of the tavern. Master Nicless entered. Ursus entered. There was no one there except these two. On the side looking on the street both doors and window-shutters were closed.
The tavern-keeper quietly opened the door to the lower room of the tavern. Master Nicless walked in. Ursus followed. There was no one else in the room except for the two of them. Both doors and the window shutters facing the street were shut.
The tavern-keeper pushed the door behind him, and shut it in the face of the inquisitive Govicum.
The tavern owner pushed the door closed behind him, shutting it in the face of the curious Govicum.
Master Nicless placed the candle on the table.
Master Nicless put the candle on the table.
A low whispering dialogue began.
A quiet conversation started.
"Master Ursus?"
"Master Ursus?"
"Master Nicless?"
"Master Nicless?"
"I understand at last."
"I finally understand."
"Nonsense!"
"Nonsense!"
"You wished the poor blind girl to think that all going on as usual."
"You wanted the poor blind girl to believe that everything was just the same as usual."
"There is no law against my being a ventriloquist."
"There’s no law that says I can’t be a ventriloquist."
"You are a clever fellow."
"You’re a smart guy."
"No."
"Nope."
"It is wonderful how you manage all that you wish to do."
"It's amazing how you handle everything you want to do."
"I tell you it is not."
"I'm telling you it's not."
"Now, I have something to tell you."
"Now, I've got something to tell you."
"Is it about politics?"
"Is it about politics?"
"I don't know."
"I don't know."
"Because in that case I could not listen to you."
"Because in that situation, I wouldn't be able to listen to you."
"Look here: whilst you were playing actors and audience by yourself, some one knocked at the door of the tavern."
"Look here: while you were pretending to be both the actor and the audience, someone knocked at the tavern door."
"Some one knocked at the door?"
"Did someone knock at the door?"
"Yes."
Yes.
"I don't like that."
"I don't like this."
"Nor I, either."
"Me neither."
"And then?"
"What's next?"
"And then I opened it."
"And then I opened it."
"Who was it that knocked?"
"Who knocked?"
"Some one who spoke to me."
"Someone who spoke to me."
"What did he say?"
"What did he say?"
"I listened to him."
"I heard him."
"What did you answer?"
"What was your response?"
"Nothing. I came back to see you play."
"Nothing. I returned to see you perform."
"And—?"
"And—?"
"Some one knocked a second time."
"Someone knocked again."
"Who? the same person?"
"Who? Is it the same person?"
"No, another."
"No, something else."
"Some one else to speak to you?"
"Someone else to talk to you?"
"Some one who said nothing."
"A person who said nothing."
"I like that better."
"I prefer that."
"I do not."
"I don't."
"Explain yourself, Master Nicless."
"Explain yourself, Master Nicless."
"Guess who called the first time."
"Guess who called us first."
"I have no leisure to be an Oedipus."
"I don’t have time to be an Oedipus."
"It was the proprietor of the circus."
"It was the owner of the circus."
"Over the way?"
"Over there?"
"Over the way."
"Across the street."
"Whence comes all that fearful noise. Well?"
"Where is all that scary noise coming from? Well?"
"Well, Master Ursus, he makes you a proposal."
"Well, Master Ursus, he has a proposal for you."
"A proposal?"
"Is this a proposal?"
"A proposal."
"A proposal."
"Why?"
"Why?"
"Because—"
"Because—"
"You have an advantage over me, Master Nicless. Just now you solved my enigma, and now I cannot understand yours."
"You have the upper hand, Master Nicless. Just now, you figured out my puzzle, and now I can’t wrap my head around yours."
"The proprietor of the circus commissioned me to tell you that he had seen the cortège of police pass this morning, and that he, the proprietor of the circus, wishing to prove that he is your friend, offers to buy of you, for fifty pounds, ready money, your caravan, the Green Box, your two horses, your trumpets, with the women that blow them, your play, with the blind girl who sings in it, your wolf, and yourself."
"The owner of the circus asked me to let you know that he saw the police parade by this morning. To show that he’s your friend, he’s offering to buy your caravan, the Green Box, your two horses, your trumpets and the women who play them, your show that features the blind girl who sings, your wolf, and you for fifty pounds cash."
Ursus smiled a haughty smile.
Ursus smiled a smug smile.
"Innkeeper, tell the proprietor of the circus that Gwynplaine is coming back."
"Hey innkeeper, let the owner of the circus know that Gwynplaine is coming back."
The innkeeper took something from a chair in the darkness, and turning towards Ursus with both arms raised, dangled from one hand a cloak, and from the other a leather esclavine, a felt hat, and a jacket.
The innkeeper grabbed something from a chair in the dark, and turning to Ursus with both arms raised, dangled a cloak from one hand and a leather esclavine, a felt hat, and a jacket from the other.
And Master Nicless said, "The man who knocked the second time was connected with the police; he came in and left without saying a word, and brought these things."
And Master Nicless said, "The guy who knocked a second time was linked to the police; he came in and left without saying anything, and brought these items."
Ursus recognized the esclavine, the jacket, the hat, and the cloak of Gwynplaine.
Ursus recognized the slave, the jacket, the hat, and the cloak of Gwynplaine.
CHAPTER IV.
MOENIBUS SURDIS CAMPANA MUTA.
Ursus smoothed the felt of the hat, touched the cloth of the cloak, the serge of the coat, the leather of the esclavine, and no longer able to doubt whose garments they were, with a gesture at once brief and imperative, and without saying a word, pointed to the door of the inn.
Ursus smoothed the felt of the hat, felt the fabric of the cloak, the wool of the coat, the leather of the esclavine, and no longer able to doubt whose clothes they were, he made a quick, decisive gesture without saying anything and pointed to the inn's door.
Master Nicless opened it.
Master Nicless opened it.
Ursus rushed out of the tavern.
Ursus hurried out of the bar.
Master Nicless looked after him, and saw Ursus run, as fast as his old legs would allow, in the direction taken that morning by the wapentake who carried off Gwynplaine.
Master Nicless watched him and saw Ursus run as fast as his old legs could manage in the direction that the wapentake had taken that morning when he carried off Gwynplaine.
A quarter of an hour afterwards, Ursus, out of breath, reached the little street in which stood the back wicket of the Southwark jail, which he had already watched so many hours. This alley was lonely enough at all hours; but if dreary during the day, it was portentous in the night. No one ventured through it after a certain hour. It seemed as though people feared that the walls should close in, and that if the prison or the cemetery took a fancy to embrace, they should be crushed in their clasp. Such are the effects of darkness. The pollard willows of the Ruelle Vauvert in Paris were thus ill-famed. It was said that during the night the stumps of those trees changed into great hands, and caught hold of the passers-by.
Fifteen minutes later, Ursus, out of breath, arrived at the small street where the back gate of Southwark jail stood, a place he had watched for so many hours. This alley was isolated at any time of day, but it felt even more ominous at night. No one dared to walk through it after a certain hour. It was as if people were afraid the walls would close in, and if the prison or the cemetery decided to come together, they would be caught in their grip. Such is the power of darkness. The pollard willows in Ruelle Vauvert, Paris, were similarly notorious. People said that at night, the stumps of those trees transformed into large hands, reaching out to capture those passing by.
By instinct the Southwark folks shunned, as we have already mentioned, this alley between a prison and a churchyard. Formerly it had been barricaded during the night by an iron chain. Very uselessly; because the strongest chain which guarded the street was the terror it inspired.
By instinct, the people of Southwark avoided, as we have already mentioned, this alley between a prison and a churchyard. It used to be blocked off at night by an iron chain. Completely pointless; because the strongest barrier keeping people away was the fear it created.
Ursus entered it resolutely.
Ursus entered it with determination.
What intention possessed him? None.
What intention motivated him? None.
He came into the alley to seek intelligence.
He went into the alley to gather information.
Was he going to knock at the gate of the jail? Certainly not. Such an expedient, at once fearful and vain, had no place in his brain. To attempt to introduce himself to demand an explanation. What folly! Prisons do not open to those who wish to enter, any more than to those who desire to get out. Their hinges never turn except by law. Ursus knew this. Why, then, had he come there? To see. To see what? Nothing. Who can tell? Even to be opposite the gate through which Gwynplaine had disappeared was something.
Was he really going to knock on the jail gate? Definitely not. That idea, both terrifying and pointless, didn’t even cross his mind. To try to introduce himself and ask for an explanation? What nonsense! Prisons don’t open for those who want to get in, just like they don’t open for those who want to get out. Their hinges only move according to the law. Ursus knew this. So, why had he come here? To see. To see what? Nothing. Who knows? Even just standing in front of the gate through which Gwynplaine had vanished was something.
Sometimes the blackest and most rugged of walls whispers, and some light escapes through a cranny. A vague glimmering is now and then to be perceived through solid and sombre piles of building. Even to examine the envelope of a fact may be to some purpose. The instinct of us all is to leave between the fact which interests us and ourselves but the thinnest possible cover. Therefore it was that Ursus returned to the alley in which the lower entrance to the prison was situated.
Sometimes the darkest and roughest of walls whispers, and some light slips through a crack. A faint glimmer can occasionally be seen through the heavy and gloomy structures. Even looking into the details of a fact can be meaningful. Our natural instinct is to keep the thinnest barrier possible between the fact that interests us and ourselves. That's why Ursus went back to the alley where the lower entrance to the prison was located.
Just as he entered it he heard one stroke of the clock, then a second.
Just as he walked in, he heard the clock chime once, then again.
"Hold," thought he; "can it be midnight already?"
"Wait," he thought; "is it already midnight?"
Mechanically he set himself to count.
He started counting mechanically.
"Three, four, five."
"Three, four, five."
He mused.
He thought.
"At what long intervals this clock strikes! how slowly! Six; seven!"
"How long it takes for this clock to strike! It’s so slow! Six; seven!"
Then he remarked,—
Then he said,—
"What a melancholy sound! Eight, nine! Ah! nothing can be more natural; it's dull work for a clock to live in a prison. Ten! Besides, there is the cemetery. This clock sounds the hour to the living, and eternity to the dead. Eleven! Alas! to strike the hour to him who is not free is also to chronicle an eternity. Twelve!"
"What a sad sound! Eight, nine! Ah! nothing could be more normal; it's boring for a clock to be stuck in a prison. Ten! Plus, there's the cemetery. This clock signals the time to the living and eternity to the dead. Eleven! Unfortunately, to chime the hour for someone who isn't free is also to mark an eternity. Twelve!"
He paused.
He stopped.
"Yes, it is midnight."
"Yeah, it's midnight."
The clock struck a thirteenth stroke.
The clock struck 1 PM.
Ursus shuddered.
Ursus trembled.
"Thirteen!"
"13!"
Then followed a fourteenth; then a fifteenth.
Then came a fourteenth; then a fifteenth.
"What can this mean?"
"What does this mean?"
The strokes continued at long intervals. Ursus listened.
The knocks kept coming at long intervals. Ursus listened.
"It is not the striking of a clock; it is the bell Muta. No wonder I said, 'How long it takes to strike midnight!' This clock does not strike; it tolls. What fearful thing is about to take place?"
"It’s not the clock chiming; it’s the bell Muta. No wonder I said, 'How long until it strikes midnight!' This clock doesn’t chime; it tolls. What terrifying thing is about to happen?"
Formerly all prisons and all monasteries had a bell called Muta, reserved for melancholy occasions. La Muta (the mute) was a bell which struck very low, as if doing its best not to be heard.
Formerly, all prisons and monasteries had a bell called Muta, reserved for sad occasions. La Muta (the mute) was a bell that rang very softly, as if trying its best not to be heard.
Ursus had reached the corner which he had found so convenient for his watch, and whence he had been able, during a great part of the day, to keep his eye on the prison.
Ursus had arrived at the corner that he found so useful for his surveillance, from where he had been able, for most of the day, to keep an eye on the prison.
The strokes followed each other at lugubrious intervals.
The strokes came one after another at sad, slow intervals.
A knell makes an ugly punctuation in space. It breaks the preoccupation of the mind into funereal paragraphs. A knell, like a man's death-rattle, notifies an agony. If in the houses about the neighbourhood where a knell is tolled there are reveries straying in doubt, its sound cuts them into rigid fragments. A vague reverie is a sort of refuge. Some indefinable diffuseness in anguish allows now and then a ray of hope to pierce through it. A knell is precise and desolating. It concentrates this diffusion of thought, and precipitates the vapours in which anxiety seeks to remain in suspense. A knell speaks to each one in the sense of his own grief or of his own fear. Tragic bell! it concerns you. It is a warning to you.
A bell tolling creates an ugly interruption in the atmosphere. It shatters the mind's focus into mournful fragments. A bell, much like a man's last breaths, signals pain. If there are daydreams lingering in doubt in the homes nearby where a bell tolls, its sound slices them into sharp pieces. A faint daydream offers a kind of escape. A certain indefinable quality in sorrow sometimes allows a glimmer of hope to shine through. A bell is clear and devastating. It sharpens this scattering of thought and brings to the surface the worries that anxiety tries to keep in limbo. A bell resonates with each person based on their own sorrow or fear. Tragic bell! it relates to you. It serves as a warning for you.
There is nothing so dreary as a monologue on which its cadence falls. The even returns of sound seem to show a purpose.
There’s nothing as dull as a monologue that drags on without variation. The steady rhythm of sound appears to have a purpose.
What is it that this hammer, the bell, forges on the anvil of thought?
What does this hammer, the bell, shape on the anvil of thought?
Ursus counted, vaguely and without motive, the tolling of the knell. Feeling that his thoughts were sliding from him, he made an effort not to let them slip into conjecture. Conjecture is an inclined plane, on which we slip too far to be to our own advantage. Still, what was the meaning of the bell?
Ursus counted, aimlessly and without purpose, the sound of the bell tolling. Realizing that his thoughts were drifting away, he struggled to keep them from slipping into speculation. Speculation is a slippery slope, where we slide too far to our own detriment. Still, what did the bell mean?
He looked through the darkness in the direction in which he knew the gate of the prison to be.
He peered into the darkness toward the spot where he knew the prison gate was located.
Suddenly, in that very spot which looked like a dark hole, a redness showed. The redness grew larger, and became a light.
Suddenly, in that very spot that seemed like a dark hole, a redness appeared. The redness got bigger and turned into a light.
There was no uncertainty about it. It soon took a form and angles. The gate of the jail had just turned on its hinges. The glow painted the arch and the jambs of the door. It was a yawning rather than an opening. A prison does not open; it yawns—perhaps from ennui. Through the gate passed a man with a torch in his hand.
There was no doubt about it. It quickly took shape and direction. The jail's gate had just swung open. The light illuminated the arch and the doorframe. It was more of a yawn than an opening. A prison doesn’t just open; it yawns—maybe out of boredom. A man with a torch in his hand walked through the gate.
The bell rang on. Ursus felt his attention fascinated by two objects. He watched—his ear the knell, his eye the torch. Behind the first man the gate, which had been ajar, enlarged the opening suddenly, and allowed egress to two other men; then to a fourth. This fourth was the wapentake, clearly visible in the light of the torch. In his grasp was his iron staff.
The bell kept ringing. Ursus was drawn to two things. He listened to the sound of the bell and looked at the torch. Behind the first man, the gate, which had been slightly open, suddenly widened and let out two more men; then a fourth. The fourth was the wapentake, clearly seen in the light of the torch. He held his iron staff firmly.
Following the wapentake, there filed and opened out below the gateway in order, two by two, with the rigidity of a series of walking posts, ranks of silent men.
Following the wapentake, there lined up and spread out below the gateway in order, two by two, with the stiffness of a line of marching soldiers, ranks of silent men.
This nocturnal procession stepped through the wicket in file, like a procession of penitents, without any solution of continuity, with a funereal care to make no noise—gravely, almost gently. A serpent issues from its hole with similar precautions.
This nighttime procession moved through the gate in a line, like a group of people seeking forgiveness, without any interruptions, carefully and quietly—seriously, almost softly. A snake comes out of its hole with similar caution.
The torch threw out their profiles and attitudes into relief. Fierce looks, sullen attitudes.
The torch highlighted their profiles and postures. Intense expressions, sulky attitudes.
Ursus recognized the faces of the police who had that morning carried off Gwynplaine.
Ursus recognized the faces of the police who had taken Gwynplaine away that morning.
There was no doubt about it. They were the same. They were reappearing.
There was no doubt about it. They were the same. They were coming back.
Of course, Gwynplaine would also reappear. They had led him to that place; they would bring him back.
Of course, Gwynplaine would also come back. They had taken him to that place; they would bring him back.
It was all quite clear.
It was all pretty clear.
Ursus strained his eyes to the utmost. Would they set Gwynplaine at liberty?
Ursus pushed his eyesight to the limit. Would they free Gwynplaine?
The files of police flowed from the low arch very slowly, and, as it were, drop by drop. The toll of the bell was uninterrupted, and seemed to mark their steps. On leaving the prison, the procession turned their backs on Ursus, went to the right, into the bend of the street opposite to that in which he was posted.
The police files trickled out from the low arch very slowly, almost drop by drop. The bell kept ringing steadily, seeming to echo their steps. When they left the prison, the procession turned away from Ursus, heading to the right, into the bend of the street that was opposite to where he was standing.
A second torch shone under the gateway, announcing the end of the procession.
A second torch lit up under the gateway, marking the end of the procession.
Ursus was now about to see what they were bringing with them. The prisoner—the man.
Ursus was now about to see what they were bringing with them. The prisoner—the man.
Ursus was soon, he thought, to see Gwynplaine.
Ursus soon thought he would see Gwynplaine.
That which they carried appeared.
What they carried appeared.
It was a bier.
It was a bar.
Four men carried a bier, covered with black cloth.
Four men carried a stretcher, covered with black cloth.
Behind them came a man, with a shovel on his shoulder.
Behind them was a man carrying a shovel on his shoulder.
A third lighted torch, held by a man reading a book, probably the chaplain, closed the procession.
A third lit torch, carried by a man reading a book, likely the chaplain, brought up the rear of the procession.
The bier followed the ranks of the police, who had turned to the right.
The coffin was carried behind the line of police, who had turned to the right.
Just at that moment the head of the procession stopped.
Just then, the front of the procession came to a halt.
Ursus heard the grating of a key.
Ursus heard the sound of a key turning.
Opposite the prison, in the low wall which ran along the other side of the street, another opening was illuminated by a torch passing beneath it.
Opposite the prison, in the low wall that ran along the other side of the street, another opening was lit up by a torch passing underneath it.
This gate, over which a death's-head was placed, was that of the cemetery.
This gate, with a skull placed above it, was the entrance to the cemetery.
The wapentake passed through it, then the men, then the second torch. The procession decreased therein, like a reptile entering his retreat.
The wapentake went through it, then the men, then the second torch. The procession dwindled within, like a reptile slipping into its hideaway.
The files of police penetrated into that other darkness which was beyond the gate; then the bier; then the man with the spade; then the chaplain with his torch and his book, and the gate closed.
The police files moved into the other darkness beyond the gate; then the coffin; then the man with the shovel; then the chaplain with his torch and his book, and the gate closed.
There was nothing left but a haze of light above the wall.
There was nothing left except a glow of light above the wall.
A muttering was heard; then some dull sounds. Doubtless the chaplain and the gravedigger—the one throwing on the coffin some verses of Scripture, the other some clods of earth.
A murmuring was heard; then some dull noises. Without a doubt, it was the chaplain and the gravedigger—the chaplain reciting some verses from Scripture while the gravedigger tossed some dirt onto the coffin.
The muttering ceased; the heavy sounds ceased. A movement was made. The torches shone. The wapentake reappeared, holding high his weapon, under the reopened gate of the cemetery; then the chaplain with his book, and the gravedigger with his spade. The cortège reappeared without the coffin.
The murmuring stopped; the loud noises stopped. There was a commotion. The torches lit up. The wapentake came back, raising his weapon high, under the open gate of the cemetery; then the chaplain with his book, and the gravedigger with his spade. The cortège returned without the coffin.
The files of men crossed over in the same order, with the same taciturnity, and in the opposite direction. The gate of the cemetery closed. That of the prison opened. Its sepulchral architecture stood out against the light. The obscurity of the passage became vaguely visible. The solid and deep night of the jail was revealed to sight; then the whole vision disappeared in the depths of shadow.
The files of men crossed over in the same order, with the same silence, and in the opposite direction. The cemetery gate closed. The prison gate opened. Its gloomy architecture stood out against the light. The darkness of the passage became faintly visible. The solid and deep night of the jail came into view; then the entire scene vanished into the depths of shadow.
The knell ceased. All was locked in silence. A sinister incarceration of shadows.
The bell stopped ringing. Everything fell into silence. A dark prison of shadows.
A vanished vision; nothing more.
A lost vision; nothing more.
A passage of spectres, which had disappeared.
A passage of ghosts that had vanished.
The logical arrangement of surmises builds up something which at least resembles evidence. To the arrest of Gwynplaine, to the secret mode of his capture, to the return of his garments by the police officer, to the death bell of the prison to which he had been conducted, was now added, or rather adjusted—portentous circumstance—a coffin carried to the grave.
The logical order of guesses creates something that somewhat resembles evidence. Along with Gwynplaine's arrest, the mysterious way he was captured, the police officer returning his clothes, and the death knell of the prison he was taken to, there was now added—or rather adjusted—an ominous detail: a coffin being carried to the grave.
"He is dead!" cried Ursus.
"He's dead!" cried Ursus.
He sank down upon a stone.
He sat down on a rock.
"Dead! They have killed him! Gwynplaine! My child! My son!"
"Dead! They killed him! Gwynplaine! My child! My son!"
And he burst into passionate sobs.
And he broke down in tears.
CHAPTER V.
STATE POLICY DEALS WITH LITTLE MATTERS AS WELL AS WITH GREAT.
Ursus, alas! had boasted that he had never wept. His reservoir of tears was full. Such plentitude as is accumulated drop on drop, sorrow on sorrow, through a long existence, is not to be poured out in a moment. Ursus wept alone.
Ursus, sadly, had bragged that he had never cried. His store of tears was full. All the sorrow built up drop by drop, through a long life, couldn't be released all at once. Ursus cried alone.
The first tear is a letting out of waters. He wept for Gwynplaine, for Dea, for himself, Ursus, for Homo. He wept like a child. He wept like an old man. He wept for everything at which he had ever laughed. He paid off arrears. Man is never nonsuited when he pleads his right to tears.
The first tear is a release of emotions. He cried for Gwynplaine, for Dea, for himself, Ursus, and for Homo. He cried like a child. He cried like an old man. He cried for everything he had ever laughed at. He settled old scores. A person is never turned away when they claim their right to cry.
The corpse they had just buried was Hardquanonne's; but Ursus could not know that.
The body they had just buried was Hardquanonne's, but Ursus couldn't know that.
The hours crept on.
Time dragged on.
Day began to break. The pale clothing of the morning was spread out, dimly creased with shadow, over the bowling-green. The dawn lighted up the front of the Tadcaster Inn. Master Nicless had not gone to bed, because sometimes the same occurrence produces sleeplessness in many.
Day began to break. The pale light of morning spread out, faintly marked with shadows, over the bowling green. The dawn illuminated the front of the Tadcaster Inn. Master Nicless had not gone to bed, as sometimes the same event keeps many people awake.
Troubles radiate in every direction. Throw a stone in the water, and count the splashes.
Troubles spread out in every direction. Toss a stone into the water, and count the ripples.
Master Nicless felt himself impeached. It is very disagreeable that such things should happen in one's house. Master Nicless, uneasy, and foreseeing misfortunes, meditated. He regretted having received such people into his house. Had he but known that they would end by getting him into mischief! But the question was how to get rid of them? He had given Ursus a lease. What a blessing if he could free himself from it! How should he set to work to drive them out?
Master Nicless felt like he was being accused. It's really unpleasant when things like this happen in your own home. Master Nicless was anxious and worried about bad things that might come. He regretted having let these people into his house. If only he had known they would lead him into trouble! But the real question was how to kick them out? He had given Ursus a lease. What a relief it would be if he could get out of it! How should he go about getting them to leave?
Suddenly the door of the inn resounded with one of those tumultuous knocks which in England announces "Somebody." The gamut of knocking corresponds with the ladder of hierarchy.
Suddenly, the inn's door echoed with one of those loud knocks that in England signals "Someone's here." The pattern of knocking reflects the ladder of social status.
It was not quite the knock of a lord; but it was the knock of a justice.
It wasn't exactly the knock of a lord, but it was definitely the knock of a justice.
The trembling innkeeper half opened his window. There was, indeed, the magistrate. Master Nicless perceived at the door a body of police, from the head of which two men detached themselves, one of whom was the justice of the quorum.
The shaking innkeeper partly opened his window. There was, in fact, the magistrate. Master Nicless saw a group of police at the door, from which two men stepped forward, one of whom was the justice of the quorum.
Master Nicless had seen the justice of the quorum that morning, and recognized him.
Master Nicless had seen the Justice of the Quorum that morning and recognized him.
He did not know the other, who was a fat gentleman, with a waxen-coloured face, a fashionable wig, and a travelling cloak. Nicless was much afraid of the first of these persons, the justice of the quorum. Had he been of the court, he would have feared the other most, because it was Barkilphedro.
He didn't know the other man, who was a heavyset gentleman with a pale face, a trendy wig, and a travel cloak. Nicless was very afraid of the first person, the justice of the quorum. If he had been in court, he would have been more afraid of the other man, because it was Barkilphedro.
One of the subordinates knocked at the door again violently.
One of the employees knocked on the door hard again.
The innkeeper, with great drops of perspiration on his brow, from anxiety, opened it.
The innkeeper, with large beads of sweat on his forehead from worry, opened it.
The justice of the quorum, in the tone of a man who is employed in matters of police, and who is well acquainted with various shades of vagrancy, raised his voice, and asked, severely, for
The justice of the quorum, speaking like someone who works in law enforcement and knows a lot about different types of homelessness, raised his voice and firmly asked for
"Master Ursus!"
"Master Ursus!"
The host, cap in hand, replied,—
The host, with a humble demeanor, replied,—
"Your honour; he lives here."
"Your honor; he lives here."
"I know it," said the justice.
"I know it," said the judge.
"No doubt, your honour."
"Of course, your honor."
"Tell him to come down."
"Tell him to come down."
"Your honour, he is not here."
"Your Honor, he's not here."
"Where is he?"
"Where's he?"
"I do not know."
"I don't know."
"How is that?"
"How's that?"
"He has not come in."
"He hasn’t come in."
"Then he must have gone out very early?"
"Then he must have gone out really early?"
"No; but he went out very late."
"No; but he left really late."
"What vagabonds!" replied the justice.
"What wanderers!" replied the justice.
"Your honour," said Master Nicless, softly, "here he comes."
"Your honor," Master Nicless said quietly, "here he comes."
Ursus, indeed, had just come in sight, round a turn of the wall. He was returning to the inn. He had passed nearly the whole night between the jail, where at midday he had seen Gwynplaine, and the cemetery, where at midnight he had heard the grave filled up. He was pallid with two pallors—that of sorrow and of twilight.
Ursus had just appeared around a bend in the wall. He was on his way back to the inn. He had spent almost the entire night between the jail, where he had seen Gwynplaine at noon, and the cemetery, where he had heard the grave being filled at midnight. He looked pale from two sources—sorrow and the fading light of dusk.
Dawn, which is light in a chrysalis state, leaves even those forms which are in movement in the uncertainty of night. Ursus, wan and indistinct, walked slowly, like a man in a dream. In the wild distraction produced by agony of mind, he had left the inn with his head bare. He had not even found out that he had no hat on. His spare, gray locks fluttered in the wind. His open eyes appeared sightless. Often when awake we are asleep, and as often when asleep we are awake.
Dawn, which is light in a transitional state, leaves even moving forms in the uncertainty of night. Ursus, pale and blurred, walked slowly, like someone in a dream. In the wild distraction caused by mental agony, he had left the inn without a hat. He hadn’t even realized he was bare-headed. His thin, gray hair fluttered in the wind. His open eyes seemed sightless. Often when we’re awake, we are actually asleep, and just as often when we’re asleep, we are awake.
Ursus looked like a lunatic.
Ursus looked like a madman.
"Master Ursus," cried the innkeeper, "come; their honours desire to speak to you."
"Master Ursus," shouted the innkeeper, "come; their honors want to talk to you."
Master Nicless, in his endeavour to soften matters down, let slip, although he would gladly have omitted, this plural, "their honours"—respectful to the group, but mortifying, perhaps, to the chief, confounded therein, to some degree, with his subordinates.
Master Nicless, in his effort to make things easier, accidentally let slip, even though he would have preferred to leave it out, the plural term "their honors"—which was respectful to the group but possibly embarrassing for the leader, who was somewhat mixed in with his subordinates.
Ursus started like a man falling off a bed, on which he was sound asleep.
Ursus jolted awake like someone tumbling off a bed while in a deep sleep.
"What is the matter?" said he.
"What's happening?" he asked.
He saw the police, and at the head of the police the justice. A fresh and rude shock.
He saw the police, and at the front of the police was the judge. A jarring and intense shock.
But a short time ago, the wapentake, now the justice of the quorum. He seemed to have been cast from one to the other, as ships by some reefs of which we have read in old stories.
But not long ago, the wapentake, now the justice of the quorum. He seemed to have been thrown from one to the other, like ships by some reefs we’ve read about in old stories.
The justice of the quorum made him a sign to enter the tavern. Ursus obeyed.
The justice of the quorum signaled him to enter the tavern. Ursus complied.
Govicum, who had just got up, and who was sweeping the room, stopped his work, got into a corner behind the tables, put down his broom, and held his breath. He plunged his fingers into his hair, and scratched his head, a symptom which indicated attention to what was about to occur.
Govicum, who had just gotten up and was sweeping the room, paused his work, moved to a corner behind the tables, set down his broom, and held his breath. He dug his fingers into his hair and scratched his head, a sign that he was focused on what was about to happen.
The justice of the quorum sat down on a form, before a table. Barkilphedro took a chair. Ursus and Master Nicless remained standing. The police officers, left outside, grouped themselves in front of the closed door.
The judge of the group sat down on a bench, in front of a table. Barkilphedro took a seat. Ursus and Master Nicless stayed standing. The police officers, left outside, gathered in front of the closed door.
The justice of the quorum fixed his eye, full of the law, upon Ursus. He said,—
The judge of the group fixed his gaze, full of legal authority, on Ursus. He said,—
"You have a wolf."
"You have a wolf."
Ursus answered,—
Ursus replied,—
"Not exactly."
"Not really."
"You have a wolf," continued the justice, emphasizing "wolf" with a decided accent.
"You have a wolf," the judge continued, stressing "wolf" with a strong emphasis.
Ursus answered,—
Ursus replied,—
"You see—"
"You see—"
And he was silent.
And he stayed quiet.
"A misdemeanour!" replied the justice.
"A misdemeanor!" replied the judge.
Ursus hazarded an excuse,—
Ursus made an excuse,—
"He is my servant."
"He's my servant."
The justice placed his hand flat on the table, with his fingers spread out, which is a very fine gesture of authority.
The judge placed his hand flat on the table, fingers spread out, which is a strong gesture of authority.
"Merry-andrew! to-morrow, by this hour, you and your wolf must have left England. If not, the wolf will be seized, carried to the register office, and killed."
"Merry-andrew! Tomorrow, by this time, you and your wolf must have left England. If not, the wolf will be caught, taken to the registrar's office, and put down."
Ursus thought, "More murder!" but he breathed not a syllable, and was satisfied with trembling in every limb.
Ursus thought, "More killing!" but he didn't say a word and was content to tremble in every limb.
"You hear?" said the justice.
"You hear?" said the judge.
Ursus nodded.
Ursus agreed.
The justice persisted,—
The justice kept going,—
"Killed."
"Dead."
There was silence.
It was silent.
"Strangled, or drowned."
"Choked or drowned."
The justice of the quorum watched Ursus.
The judge of the jury observed Ursus.
"And yourself in prison."
"And you in jail."
Ursus murmured,—
Ursus whispered,—
"Your worship!"
"Your Honor!"
"Be off before to-morrow morning; if not, such is the order."
"Get out before tomorrow morning; if not, that's the order."
"Your worship!"
"Your honor!"
"What?"
"What is it?"
"Must we leave England, he and I?"
"Do we have to leave England, him and me?"
"Yes."
"Yeah."
"To-day?"
"Today?"
"To-day."
"Today."
"What is to be done?"
"What should we do?"
Master Nicless was happy. The magistrate, whom he had feared, had come to his aid. The police had acted as auxiliary to him, Nicless. They had delivered him from "such people." The means he had sought were brought to him. Ursus, whom he wanted to get rid of, was being driven away by the police, a superior authority. Nothing to object to. He was delighted. He interrupted,—
Master Nicless was happy. The magistrate, whom he had feared, had come to his aid. The police had acted as his support. They had freed him from "such people." The help he had sought was now delivered to him. Ursus, whom he wanted to get rid of, was being taken away by the police, a higher authority. Nothing to complain about. He was thrilled. He interrupted,—
"Your honour, that man—"
"Your Honor, that guy—"
He pointed to Ursus with his finger.
He pointed at Ursus with his finger.
"That man wants to know how he is to leave England to-day. Nothing can be easier. There are night and day at anchor on the Thames, both on this and on the other side of London Bridge, vessels that sail to the Continent. They go from England to Denmark, to Holland, to Spain; not to France, on account of the war, but everywhere else. To-night several ships will sail, about one o'clock in the morning, which is the hour of high tide, and, amongst others, the Vograat of Rotterdam."
"That guy wants to know how he's supposed to leave England today. It's quite simple. There are ships anchored in the Thames, both on this side and the other side of London Bridge, that go to the Continent. They travel from England to Denmark, Holland, and Spain; not to France because of the war, but everywhere else. Tonight, several ships will depart around one o'clock in the morning, which is high tide, including the Vograat from Rotterdam."
The justice of the quorum made a movement of his shoulder towards Ursus.
The judge shifted his shoulder towards Ursus.
"Be it so. Leave by the first ship—by the Vograat."
"Alright. Leave on the first ship—on the Vograat."
"Your worship," said Ursus.
"Your Honor," said Ursus.
"Well?"
"What's up?"
"Your worship, if I had, as formerly, only my little box on wheels, it might be done. A boat would contain that; but—"
"Your Honor, if I still had just my little cart like before, it could be done. A boat would hold that; but—"
"But what?"
"But why?"
"But now I have got the Green Box, which is a great caravan drawn by two horses, and however wide the ship might be, we could not get it into her."
"But now I have the Green Box, which is a big caravan pulled by two horses, and no matter how wide the ship is, we couldn't fit it inside."
"What is that to me?" said the justice. "The wolf will be killed."
"What does that matter to me?" said the judge. "The wolf will be taken down."
Ursus shuddered, as if he were grasped by a hand of ice.
Ursus shuddered, as if an icy hand was gripping him.
"Monsters!" he thought. "Murdering people is their way of settling matters."
"Monsters!" he thought. "Killing people is how they handle their problems."
The innkeeper smiled, and addressed Ursus.
The innkeeper smiled and spoke to Ursus.
"Master Ursus, you can sell the Green Box."
"Master Ursus, you can sell the Green Box."
Ursus looked at Nicless.
Ursus glanced at Nicless.
"Master Ursus, you have the offer."
"Master Ursus, you have the deal."
"From whom?"
"From who?"
"An offer for the caravan, an offer for the two horses, an offer for the two gipsy women, an offer—"
"An offer for the caravan, an offer for the two horses, an offer for the two gypsy women, an offer—"
"From whom?" repeated Ursus.
"From who?" repeated Ursus.
"From the proprietor of the neighbouring circus."
"From the owner of the nearby circus."
Ursus remembered it.
Ursus recalled it.
"It is true."
"It's true."
Master Nicless turned to the justice of the quorum.
Master Nicless turned to the fairness of the group.
"Your honour, the bargain can be completed to-day. The proprietor of the circus close by wishes to buy the caravan and the horses."
"Your honor, the deal can be finalized today. The owner of the nearby circus wants to buy the caravan and the horses."
"The proprietor of the circus is right," said the justice, "because he will soon require them. A caravan and horses will be useful to him. He, too, will depart to-day. The reverend gentlemen of the parish of Southwark have complained of the indecent riot in Tarrinzeau field. The sheriff has taken his measures. To-night there will not be a single juggler's booth in the place. There must be an end of all these scandals. The honourable gentleman who deigns to be here present—"
"The owner of the circus is correct," said the judge, "because he'll need them soon. A caravan and horses will be helpful for him. He'll also be leaving today. The clergy from the parish of Southwark have raised concerns about the inappropriate chaos in Tarrinzeau field. The sheriff has acted on it. Tonight, there won't be a single juggler's booth left in the area. We need to put a stop to all these scandals. The distinguished gentleman who has chosen to be here—"
The justice of the quorum interrupted his speech to salute Barkilphedro, who returned the bow.
The justice of the quorum interrupted his speech to acknowledge Barkilphedro, who nodded in return.
"The honourable gentleman who deigns to be present has just arrived from Windsor. He brings orders. Her Majesty has said, 'It must be swept away.'"
"The honorable gentleman who is gracious enough to be here has just arrived from Windsor. He brings orders. Her Majesty has said, 'It must be cleaned up.'"
Ursus, during his long meditation all night, had not failed to put himself some questions. After all, he had only seen a bier. Could he be sure that it contained Gwynplaine? Other people might have died besides Gwynplaine. A coffin does not announce the name of the corpse, as it passes by. A funeral had followed the arrest of Gwynplaine. That proved nothing. Post hoc, non propter hoc, etc. Ursus had begun to doubt.
Ursus, during his long night of deep thought, had not failed to ask himself some questions. After all, he had only seen a coffin. Could he be certain that it held Gwynplaine? Other people could have died besides Gwynplaine. A coffin doesn't reveal the name of the deceased as it goes by. A funeral had taken place after Gwynplaine's arrest. That didn't prove anything. Post hoc, non propter hoc, etc. Ursus had started to have doubts.
Hope burns and glimmers over misery like naphtha over water. Its hovering flame ever floats over human sorrow. Ursus had come to this conclusion, "It is probable that it was Gwynplaine whom they buried, but it is not certain. Who knows? Perhaps Gwynplaine is still alive."
Hope shines and flickers over despair like oil on water. Its floating flame always hovers over human sadness. Ursus had reached this conclusion: "It's likely that they buried Gwynplaine, but it's not certain. Who knows? Maybe Gwynplaine is still alive."
Ursus bowed to the justice.
Ursus bowed to the judge.
"Honourable judge, I will go away, we will go away, all will go away, by the Vograat of Rotterdam, to-day. I will sell the Green Box, the horses, the trumpets, the gipsies. But I have a comrade, whom I cannot leave behind—Gwynplaine."
"Your Honor, I'm leaving, we're all leaving, everyone will go, by the Vograat of Rotterdam, today. I'm selling the Green Box, the horses, the trumpets, the gypsies. But I have a friend I can't leave behind—Gwynplaine."
"Gwynplaine is dead," said a voice.
"Gwynplaine is dead," a voice said.
Ursus felt a cold sensation, such as is produced by a reptile crawling over the skin. It was Barkilphedro who had just spoken.
Ursus felt a chill, like the feeling of a reptile slithering across his skin. It was Barkilphedro who had just spoken.
The last gleam was extinguished. No more doubt now. Gwynplaine was dead. A person in authority must know. This one looked ill-favoured enough to do so.
The last light faded away. There was no more doubt now. Gwynplaine was dead. Someone in charge needed to know. This person looked tough enough to handle it.
Ursus bowed to him.
Ursus bowed to him.
Master Nicless was a good-hearted man enough, but a dreadful coward. Once terrified, he became a brute. The greatest cruelty is that inspired by fear.
Master Nicless was a decent guy, but a terrible coward. Once he got scared, he turned into a monster. The worst kind of cruelty comes from fear.
He growled out,—
He growled,—
"This simplifies matters."
"This makes things easier."
And he indulged, standing behind Ursus, in rubbing his hands, a peculiarity of the selfish, signifying, "I am well out of it," and suggestive of Pontius Pilate washing his hands.
And he enjoyed himself, standing behind Ursus, rubbing his hands, a trait of the selfish that meant, "I'm glad I'm not part of this," and reminiscent of Pontius Pilate washing his hands.
Ursus, overwhelmed, bent down his head.
Ursus, feeling overwhelmed, lowered his head.
The sentence on Gwynplaine had been executed—death. His sentence was pronounced—exile. Nothing remained but to obey. He felt as in a dream.
The sentence for Gwynplaine had been carried out—death. His sentence was declared—exile. All that was left was to comply. He felt as if he were in a dream.
Some one touched his arm. It was the other person, who was with the justice of the quorum. Ursus shuddered.
Someone touched his arm. It was the other person who was with the justice of the quorum. Ursus shuddered.
The voice which had said, "Gwynplaine is dead," whispered in his ear,—
The voice that had said, "Gwynplaine is dead," whispered in his ear,—
"Here are ten guineas, sent you by one who wishes you well."
"Here are ten guineas, sent to you by someone who cares about you."
And Barkilphedro placed a little purse on a table before Ursus. We must not forget the casket that Barkilphedro had taken with him.
And Barkilphedro set a small purse on the table in front of Ursus. We must remember the casket that Barkilphedro had taken with him.
Ten guineas out of two thousand! It was all that Barkilphedro could make up his mind to part with. In all conscience it was enough. If he had given more, he would have lost. He had taken the trouble of finding out a lord; and having sunk the shaft, it was but fair that the first proceeds of the mine should belong to him. Those who see meanness in the act are right, but they would be wrong to feel astonished. Barkilphedro loved money, especially money which was stolen. An envious man is an avaricious one. Barkilphedro was not without his faults. The commission of crimes does not preclude the possession of vices. Tigers have their lice.
Ten guineas from two thousand! That was all Barkilphedro could bring himself to give up. Honestly, it was enough. If he had offered more, he would have lost out. He had made the effort to find a lord, and since he had done the groundwork, it only made sense that the first profits from the mine should go to him. Those who see this as stingy are right, but they would be wrong to be surprised. Barkilphedro loved money, especially stolen money. An envious person is also greedy. Barkilphedro had his flaws. Committing crimes doesn’t mean one is free of vices. Even tigers have their lice.
Besides, he belonged to the school of Bacon.
Besides, he was part of Bacon's school.
Barkilphedro turned towards the justice of the quorum, and said to him,—
Barkilphedro turned to the judge of the group and said to him,—
"Sir, be so good as to conclude this matter. I am in haste. A carriage and horses belonging to her Majesty await me. I must go full gallop to Windsor, for I must be there within two hours' time. I have intelligence to give, and orders to take."
"Sir, please wrap this up. I’m in a hurry. A carriage and horses from Her Majesty are waiting for me. I need to get to Windsor quickly; I must be there in two hours. I have information to share and instructions to receive."
The justice of the quorum arose.
The fairness of the group was called into question.
He went to the door, which was only latched, opened it, and, looking silently towards the police, beckoned to them authoritatively. They entered with that silence which heralds severity of action.
He walked to the door, which was just latched, opened it, and, glancing silently at the police, signaled to them with authority. They stepped inside with the quiet that precedes serious action.
Master Nicless, satisfied with the rapid dénouement which cut short his difficulties, charmed to be out of the entangled skein, was afraid, when he saw the muster of officers, that they were going to apprehend Ursus in his house. Two arrests, one after the other, made in his house—first that of Gwynplaine, then that of Ursus—might be injurious to the inn. Customers dislike police raids.
Master Nicless, pleased with the quick resolution that ended his troubles, delighted to be free from the tangled mess, felt anxious when he saw the gathering of officers, fearing they were going to arrest Ursus in his home. Two arrests, one after another, in his establishment—first Gwynplaine, then Ursus—could harm the inn. Customers don't like police raids.
Here then was a time for a respectful appeal, suppliant and generous. Master Nicless turned toward the justice of the quorum a smiling face, in which confidence was tempered by respect.
Here was a moment for a respectful request, humble and generous. Master Nicless turned toward the justice of the group with a smiling face, where confidence was mixed with respect.
"Your honour, I venture to observe to your honour that these honourable gentlemen, the police officers, might be dispensed with, now that the wolf is about to be carried away from England, and that this man, Ursus, makes no resistance; and since your honour's orders are being punctually carried out, your honour will consider that the respectable business of the police, so necessary to the good of the kingdom, does great harm to an establishment, and that my house is innocent. The merry-andrews of the Green Box having been swept away, as her Majesty says, there is no longer any criminal here, as I do not suppose that the blind girl and the two women are criminals; therefore, I implore your honour to deign to shorten your august visit, and to dismiss these worthy gentlemen who have just entered, because there is nothing for them to do in my house; and, if your honour will permit me to prove the justice of my speech under the form of a humble question, I will prove the inutility of these revered gentlemen's presence by asking your honour, if the man, Ursus, obeys orders and departs, who there can be to arrest here?"
"Your honor, I'd like to point out that these honorable gentlemen, the police officers, might be unnecessary now that the wolf is about to be taken away from England, and that this man, Ursus, is not putting up any resistance. Since your honor's orders are being followed accurately, you will see that the important work of the police, which is essential for the good of the kingdom, is actually causing trouble for my establishment, and that my house is innocent. With the entertainers of the Green Box gone, as Her Majesty says, there are no longer any criminals here, since I don't believe that the blind girl and the two women are criminals. Therefore, I urge your honor to kindly shorten your important visit and to let these fine gentlemen who have just arrived go, because there is nothing for them to do in my house. And if your honor would permit me to demonstrate the validity of my argument by posing a simple question, I can show the unnecessary nature of these esteemed gentlemen's presence by asking your honor, if the man, Ursus, follows orders and leaves, who else is there to arrest here?"
"Yourself," said the justice.
"You," said the justice.
A man does not argue with a sword which runs him through and through. Master Nicless subsided—he cared not on what, on a table, on a form, on anything that happened to be there—prostrate.
A man doesn’t argue with a sword that pierces him completely. Master Nicless sank down—he didn’t care whether it was on a table, a bench, or anything else that was there—he was just down.
The justice raised his voice, so that if there were people outside, they might hear.
The judge raised his voice so that anyone outside could hear him.
"Master Nicless Plumptree, keeper of this tavern, this is the last point to be settled. This mountebank and the wolf are vagabonds. They are driven away. But the person most in fault is yourself. It is in your house, and with your consent, that the law has been violated; and you, a man licensed, invested with a public responsibility, have established the scandal here. Master Nicless, your licence is taken away; you must pay the penalty, and go to prison."
"Master Nicless Plumptree, the owner of this tavern, we’ve reached the final decision. This con artist and the wolf are drifters. They need to be removed. But the person most at fault is you. It’s in your establishment, and with your approval, that the law has been broken; and you, a licensed individual with a public duty, have allowed this scandal to occur here. Master Nicless, your license is revoked; you must face the consequences and serve time in prison."
The policemen surrounded the innkeeper.
The cops surrounded the innkeeper.
The justice continued, pointing out Govicum,—
The judge carried on, pointing out Govicum,—
"Arrest that boy as an accomplice." The hand of an officer fell upon the collar of Govicum, who looked at him inquisitively. The boy was not much alarmed, scarcely understanding the occurrence; having already observed many things out of the way, he wondered if this were the end of the comedy.
"Arrest that boy as an accomplice." An officer's hand landed on Govicum's collar, and he looked up at him with curiosity. The boy wasn't very scared, barely grasping what was happening; after seeing so many unusual things, he wondered if this was the final act of the show.
The justice of the quorum forced his hat down on his head, crossed his hands on his stomach, which is the height of majesty, and added,—
The justice of the quorum pulled his hat down on his head, crossed his hands over his stomach, looking really impressive, and added,—
"It is decided, Master Nicless; you are to be taken to prison, and put into jail, you and the boy; and this house, the Tadcaster Inn, is to remain shut up, condemned and closed. For the sake of example. Upon which, you will follow us."
"It’s settled, Master Nicless; you and the boy are going to prison, locked up. This house, the Tadcaster Inn, will stay closed, shut down for good. Just to set an example. Now, you will come with us."
BOOK THE SEVENTH.
THE TITANESS.
CHAPTER I.
THE AWAKENING.
And Dea!
And Dea!
It seemed to Gwynplaine, as he watched the break of day at Corleone Lodge, while the things we have related were occurring at the Tadcaster Inn, that the call came from without; but it came from within.
It felt to Gwynplaine, as he observed the sunrise at Corleone Lodge while the events we mentioned were happening at the Tadcaster Inn, that the call was coming from outside; but it really came from within.
Who has not heard the deep clamours of the soul?
Who hasn't felt the deep cries of the soul?
Moreover, the morning was dawning.
Also, the morning was breaking.
Aurora is a voice.
Aurora is a voice artist.
Of what use is the sun if not to reawaken that dark sleeper—the conscience?
What’s the point of the sun if it doesn’t wake up that dark sleeper—the conscience?
Light and virtue are akin.
Light and virtue are similar.
Whether the god be called Christ or Love, there is at times an hour when he is forgotten, even by the best. All of us, even the saints, require a voice to remind us; and the dawn speaks to us, like a sublime monitor. Conscience calls out before duty, as the cock crows before the dawn of day.
Whether we call the god Christ or Love, there are moments when he is forgotten, even by the best of us. All of us, even the saints, need a reminder; and the dawn serves as a wonderful signal. Conscience speaks up before duty, just as the rooster crows before the break of day.
That chaos, the human heart, hears the fiat lux!
That chaos, the human heart, hears the let there be light!
Gwynplaine—we will continue thus to call him (Clancharlie is a lord, Gwynplaine is a man)—Gwynplaine felt as if brought back to life. It was time that the artery was bound up.
Gwynplaine—we'll keep calling him that (Clancharlie is a lord, Gwynplaine is just a man)—Gwynplaine felt like he was coming back to life. It was time to wrap up the wound.
For a while his virtue had spread its wings and flown away.
For a while, his goodness had taken flight and disappeared.
"And Dea!" he said.
"And Dea!" he said.
Then he felt through his veins a generous transfusion. Something healthy and tumultuous rushed upon him. The violent irruption of good thoughts is like the return home of a man who has not his key, and who forces his own look honestly. It is an escalade, but an escalade of good. It is a burglary, but a burglary of evil.
Then he felt a rush of energy coursing through his veins. Something positive and chaotic surged within him. The sudden influx of good thoughts is like a man trying to get back home without his key, forcing his way in honestly. It’s an invasion, but an invasion of goodness. It’s a theft, but a theft of negativity.
"Dea! Dea! Dea!" repeated he.
"Dea! Dea! Dea!" he repeated.
He strove to assure himself of his heart's strength. And he put the question with a loud voice—"Where are you?"
He tried to reassure himself about his heart's strength. Then he shouted, "Where are you?"
He almost wondered that no one answered him.
He almost wondered why no one replied to him.
Then again, gazing on the walls and the ceiling, with wandering thoughts, through which reason returned.
Then again, looking at the walls and the ceiling, my mind wandered, and reason came back.
"Where are you? Where am I?"
"Where are you? Where am I?"
And in the chamber which was his cage he began to walk again, to and fro, like a wild beast in captivity.
And in the room that felt like a cage, he started pacing back and forth, like a wild animal in captivity.
"Where am I? At Windsor. And you? In Southwark. Alas! this is the first time that there has been distance between us. Who has dug this gulf? I here, thou there. Oh, it cannot be; it shall not be! What is this that they have done to me?"
"Where am I? In Windsor. And you? In Southwark. Unfortunately, this is the first time we've been so far apart. Who created this divide? I’m here, you’re there. Oh, this can’t be; it shouldn’t be! What have they done to me?"
He stopped.
He stopped.
"Who talked to me of the queen? What do I know of such things? I changed! Why? Because I am a lord. Do you know what has happened, Dea? You are a lady. What has come to pass is astounding. My business now is to get back into my right road. Who is it who led me astray? There is a man who spoke to me mysteriously. I remember the words which he addressed to me. 'My lord, when one door opens another is shut. That which you have left behind is no longer yours.' In other words, you are a coward. That man, the miserable wretch! said that to me before I was well awake. He took advantage of my first moment of astonishment. I was as it were a prey to him. Where is he, that I may insult him? He spoke to me with the evil smile of a demon. But see—I am myself again. That is well. They deceive themselves if they think that they can do what they like with Lord Clancharlie, a peer of England. Yes, with a peeress, who is Dea! Conditions! Shall I accept them? The queen! What is the queen to me? I never saw her. I am not a lord to be made a slave. I enter my position unfettered. Did they think they had unchained me for nothing? They have unmuzzled me. That is all. Dea! Ursus! we are together. That which you were, I was; that which I am, you are. Come. No. I will go to you directly—directly. I have already waited too long. What can they think, not seeing me return! That money. When I think I sent them that money! It was myself that they wanted. I remember the man said that I could not leave this place. We shall see that. Come! a carriage, a carriage! put to the horses. I am going to look for them. Where are the servants? I ought to have servants here, since I am a lord. I am master here. This is my house. I will twist off the bolts, I will break the locks, I will kick down the doors, I will run my sword through the body of any one who bars my passage. I should like to see who shall stop me. I have a wife, and she is Dea. I have a father, who is Ursus. My house is a palace, and I give it to Ursus. My name is a diadem, and I give it to Dea. Quick, directly, Dea, I am coming; yes, you may be sure that I shall soon stride across the intervening space!"
"Who talked to me about the queen? What do I know about that? I changed! Why? Because I’m a lord. Do you know what’s happened, Dea? You’re a lady. What has happened is unbelievable. My job now is to get back on the right path. Who led me astray? There’s a guy who spoke to me in riddles. I remember what he said. 'My lord, when one door opens, another closes. What you’ve left behind is no longer yours.' In other words, you’re a coward. That guy, that pathetic loser! said that to me before I was even fully awake. He took advantage of my confusion. I was like prey to him. Where is he, so I can insult him? He spoke to me with the wicked grin of a demon. But look—I’m myself again. That’s good. They’re fooling themselves if they think they can do whatever they want with Lord Clancharlie, a peer of England. Yes, with a peeress, who is Dea! Conditions! Should I accept them? The queen! What does the queen mean to me? I’ve never seen her. I’m not a lord to become a slave. I enter my position unchained. Did they think they could free me for nothing? They’ve taken my muzzle off. That’s all. Dea! Ursus! we’re together. What you were, I was; what I am, you are. Come. No. I’ll go to you directly—right now. I’ve already waited too long. What can they think, not seeing me come back! That money. Just thinking about how I sent them that money! They wanted me. I remember the guy said I couldn’t leave this place. We’ll see about that. Come! a carriage, a carriage! get the horses ready. I’m going to find them. Where are the servants? I should have servants here since I’m a lord. I’m in charge here. This is my house. I will rip off the bolts, I will break the locks, I will kick down the doors, I will run my sword through anyone who stands in my way. I’d like to see who tries to stop me. I have a wife, and she’s Dea. I have a father, who is Ursus. My house is a palace, and I give it to Ursus. My name is a crown, and I give it to Dea. Quick, right now, Dea, I’m coming; yes, you can be sure that I’ll soon stride across the distance!"
And raising the first piece of tapestry he came to, he rushed from the chamber impetuously.
And grabbing the first piece of tapestry he saw, he dashed out of the room.
He found himself in a corridor.
He found himself in a hallway.
He went straight forward.
He went straight ahead.
A second corridor opened out before him.
A second hallway opened up in front of him.
All the doors were open.
All the doors were open.
He walked on at random, from chamber to chamber, from passage to passage, seeking an exit.
He wandered aimlessly from room to room, from hallway to hallway, looking for a way out.
CHAPTER II.
THE RESEMBLANCE OF A PALACE TO A WOOD.
In palaces after the Italian fashion, and Corleone Lodge was one, there were very few doors, but abundance of tapestry screens and curtained doorways. In every palace of that date there was a wonderful labyrinth of chambers and corridors, where luxury ran riot; gilding, marble, carved wainscoting, Eastern silks; nooks and corners, some secret and dark as night, others light and pleasant as the day. There were attics, richly and brightly furnished; burnished recesses shining with Dutch tiles and Portuguese azulejos. The tops of the high windows were converted into small rooms and glass attics, forming pretty habitable lanterns. The thickness of the walls was such that there were rooms within them. Here and there were closets, nominally wardrobes. They were called "The Little Rooms." It was within them that evil deeds were hatched.
In Italian-style palaces like Corleone Lodge, there were very few doors, but plenty of tapestry screens and curtained entrances. Every palace from that time had an amazing maze of rooms and hallways, bursting with luxury; gold accents, marble, intricately carved paneling, Eastern silks; cozy nooks and crannies, some secretly dark as night, others bright and cheerful as day. There were attics, tastefully and brightly decorated; shiny alcoves adorned with Dutch tiles and Portuguese azulejos. The tops of the tall windows were turned into small rooms and glassed attics, creating charming living lanterns. The walls were so thick that there were rooms built within them. Scattered throughout were closets that were basically wardrobes. They were known as "The Little Rooms." That’s where sinister plots were devised.
When a Duke of Guise had to be killed, the pretty Présidente of Sylvecane abducted, or the cries of little girls brought thither by Lebel smothered, such places were convenient for the purpose. They were labyrinthine chambers, impracticable to a stranger; scenes of abductions; unknown depths, receptacles of mysterious disappearances. In those elegant caverns princes and lords stored their plunder. In such a place the Count de Charolais hid Madame Courchamp, the wife of the Clerk of the Privy Council; Monsieur de Monthulé, the daughter of Haudry, the farmer of La Croix Saint Lenfroy; the Prince de Conti, the two beautiful baker women of L'Ile Adam; the Duke of Buckingham, poor Pennywell, etc. The deeds done there were such as were designated by the Roman law as committed vi, clam, et precario—by force, in secret, and for a short time. Once in, an occupant remained there till the master of the house decreed his or her release. They were gilded oubliettes, savouring both of the cloister and the harem. Their staircases twisted, turned, ascended, and descended. A zigzag of rooms, one running into another, led back to the starting-point. A gallery terminated in an oratory. A confessional was grafted on to an alcove. Perhaps the architects of "the little rooms," building for royalty and aristocracy, took as models the ramifications of coral beds, and the openings in a sponge. The branches became a labyrinth. Pictures turning on false panels were exits and entrances. They were full of stage contrivances, and no wonder—considering the dramas that were played there! The floors of these hives reached from the cellars to the attics. Quaint madrepore inlaying every palace, from Versailles downwards, like cells of pygmies in dwelling-places of Titans. Passages, niches, alcoves, and secret recesses. All sorts of holes and corners, in which was stored away the meanness of the great.
When a Duke of Guise needed to be eliminated, the attractive Présidente of Sylvecane kidnapped, or the screams of little girls brought there by Lebel silenced, such locations were ideal for the task. They were maze-like chambers, impossible for a stranger to navigate; sites of abductions; unknown depths, hiding places for mysterious disappearances. In those elegant caverns, princes and lords stored their treasures. In one such spot, the Count de Charolais hid Madame Courchamp, the wife of the Clerk of the Privy Council; Monsieur de Monthulé hid the daughter of Haudry, the farmer of La Croix Saint Lenfroy; the Prince de Conti concealed the two beautiful bakers from L'Ile Adam; the Duke of Buckingham kept poor Pennywell, etc. The actions committed there were described by Roman law as occurring vi, clam, et precario—by force, in secret, and temporarily. Once inside, a person stayed there until the master of the house decided to release them. These were gilded oubliettes, echoing elements of both a cloister and a harem. Their staircases twisted, turned, went up, and went down. A zigzag of rooms, each connected to the next, led back to the starting point. A gallery ended in an oratory. A confessional was attached to an alcove. Perhaps the architects of "the little rooms," designing for royalty and aristocracy, modeled them after the intricate patterns of coral beds and the openings in a sponge. The branches formed a labyrinth. Pictures that turned on false panels served as exits and entrances. They were full of stage tricks, and it’s no wonder—considering the dramas that unfolded there! The floors of these structures spanned from the cellars to the attics. Unique madrepore inlay adorned every palace, from Versailles down, like small cells in the homes of giants. Passages, niches, alcoves, and secret recesses. All kinds of nooks and crannies, where the pettiness of the powerful was hidden away.
These winding and narrow passages recalled games, blindfolded eyes, hands feeling in the dark, suppressed laughter, blind man's buff, hide and seek, while, at the same time, they suggested memories of the Atrides, of the Plantagenets, of the Médicis, the brutal knights of Eltz, of Rizzio, of Monaldeschi; of naked swords, pursuing the fugitive flying from room to room.
These twisting and narrow hallways brought to mind games, blindfolded eyes, hands searching in the dark, stifled laughter, blind man's bluff, and hide and seek, while at the same time evoking memories of the Atrides, the Plantagenets, the Médicis, the ruthless knights of Eltz, Rizzio, and Monaldeschi; of unsheathed swords chasing the fugitive fleeing from room to room.
The ancients, too, had mysterious retreats of the same kind, in which luxury was adapted to enormities. The pattern has been preserved underground in some sepulchres in Egypt, notably in the tomb of King Psammetichus, discovered by Passalacqua. The ancient poets have recorded the horrors of these suspicious buildings. Error circumflexus, locus implicitus gyris.
The ancients also had mysterious retreats like these, where luxury was mixed with excess. This design has been kept hidden in some tombs in Egypt, particularly in the tomb of King Psammetichus, found by Passalacqua. Ancient poets have noted the terrors of these questionable structures. Error circumflexus, locus implicitus gyris.
Gwynplaine was in the "little rooms" of Corleone Lodge. He was burning to be off, to get outside, to see Dea again. The maze of passages and alcoves, with secret and bewildering doors, checked and retarded his progress. He strove to run; he was obliged to wander. He thought that he had but one door to thrust open, while he had a skein of doors to unravel. To one room succeeded another. Then a crossway, with rooms on every side.
Gwynplaine was in the "little rooms" of Corleone Lodge. He was eager to leave, to get outside, to see Dea again. The maze of hallways and alcoves, with hidden and confusing doors, slowed him down. He tried to run; he had to wander instead. He thought he had just one door to push open, but he actually had a tangle of doors to figure out. One room led to another. Then there was a crossway, with rooms on all sides.
Not a living creature was to be seen. He listened. Not a sound.
Not a single living thing was in sight. He listened. Not a sound.
At times he thought that he must be returning towards his starting-point; then, that he saw some one approaching. It was no one. It was only the reflection of himself in a mirror, dressed as a nobleman. That he? Impossible! Then he recognized himself, but not at once.
At times he wondered if he was heading back to where he started; then, he thought he saw someone coming towards him. It was no one. It was just his reflection in a mirror, dressed like a nobleman. Is that him? No way! Then he did recognize himself, but not right away.
He explored every passage that he came to.
He checked out every pathway he encountered.
He examined the quaint arrangements of the rambling building, and their yet quainter fittings. Here, a cabinet, painted and carved in a sentimental but vicious style; there, an equivocal-looking chapel, studded with enamels and mother-of-pearl, with miniatures on ivory wrought out in relief, like those on old-fashioned snuff-boxes; there, one of those pretty Florentine retreats, adapted to the hypochondriasis of women, and even then called boudoirs. Everywhere—on the ceilings, on the walls, and on the very floors—were representations, in velvet or in metal, of birds, of trees; of luxuriant vegetation, picked out in reliefs of lacework; tables covered with jet carvings, representing warriors, queens, and tritons armed with the scaly terminations of a hydra. Cut crystals combining prismatic effects with those of reflection. Mirrors repeated the light of precious stones, and sparkles glittered in the darkest corners. It was impossible to guess whether those many-sided, shining surfaces, where emerald green mingled with the golden hues of the rising sun where floated a glimmer of ever-varying colours, like those on a pigeon's neck, were miniature mirrors or enormous beryls. Everywhere was magnificence, at once refined and stupendous; if it was not the most diminutive of palaces, it was the most gigantic of jewel-cases. A house for Mab or a jewel for Geo.
He looked over the charming layout of the sprawling building and its even more charming decorations. Here was a cabinet painted and carved in a sentimental yet harsh style; there was an ambiguous-looking chapel, adorned with enamels and mother-of-pearl, featuring miniatures on ivory carved in relief, like those on old-fashioned snuff boxes; there was one of those lovely Florentine getaways, designed for women's fussiness, even then called boudoirs. Everywhere—on the ceilings, walls, and even the floors—were images, in velvet or metal, of birds, trees, and lush vegetation highlighted in lacework reliefs; tables covered with jet carvings depicted warriors, queens, and sea creatures armed with the scaly ends of a hydra. Cut crystals created prismatic effects along with reflections. Mirrors reflected the light of precious stones, and sparkles shone in the darkest corners. It was impossible to tell whether those numerous, shiny surfaces, where emerald green blended with the golden tones of the rising sun, floated a shimmer of ever-changing colors, like those on a pigeon’s neck, were tiny mirrors or massive beryls. Magnificence was everywhere, both refined and overwhelming; if it wasn't the tiniest of palaces, it was the largest of jewel boxes. A house for Mab or a jewel for Geo.
Gwynplaine sought an exit. He could not find one. Impossible to make out his way. There is nothing so confusing as wealth seen for the first time. Moreover, this was a labyrinth. At each step he was stopped by some magnificent object which appeared to retard his exit, and to be unwilling to let him pass. He was encompassed by a net of wonders. He felt himself bound and held back.
Gwynplaine looked for a way out. He couldn't find one. It was impossible to see his path. There’s nothing as disorienting as encountering wealth for the first time. On top of that, this was a maze. At every turn, he was halted by a stunning object that seemed to block his exit and didn’t want him to leave. He was surrounded by a web of marvels. He felt trapped and held back.
What a horrible palace! he thought. Restless, he wandered through the maze, asking himself what it all meant—whether he was in prison; chafing, thirsting for the fresh air. He repeated Dea! Dea! as if that word was the thread of the labyrinth, and must be held unbroken, to guide him out of it. Now and then he shouted, "Ho! Any one there?" No one answered. The rooms never came to an end. All was deserted, silent, splendid, sinister. It realized the fables of enchanted castles. Hidden pipes of hot air maintained a summer temperature in the building. It was as if some magician had caught up the month of June and imprisoned it in a labyrinth. There were pleasant odours now and then, and he crossed currents of perfume, as though passing by invisible flowers. It was warm. Carpets everywhere. One might have walked about there, unclothed.
What a terrible palace! he thought. Restless, he wandered through the maze, questioning what it all meant—whether he was in prison; restless, longing for fresh air. He kept saying Dea! Dea! as if that word was the thread of the labyrinth, and needed to be held tight to lead him out. Every now and then, he shouted, "Hello! Is anyone there?" No one replied. The rooms seemed endless. Everything was deserted, silent, magnificent, and eerie. It brought to life the stories of enchanted castles. Hidden vents pumped warm air, keeping the place at a summer temperature. It felt like some wizard had captured the month of June and trapped it in a maze. Sometimes, pleasant scents drifted by, and he encountered wafts of perfume, as if passing invisible flowers. It was warm. Carpets covered the floors everywhere. One could have wandered around there without clothes.
Gwynplaine looked out of the windows. The view from each one was different. From one he beheld gardens, sparkling with the freshness of a spring morning; from another a plot decked with statues; from a third, a patio in the Spanish style, a little square, flagged, mouldy, and cold. At times he saw a river—it was the Thames; sometimes a great tower—it was Windsor.
Gwynplaine looked out the windows. The view from each one was different. From one, he saw gardens, shining with the freshness of a spring morning; from another, a yard adorned with statues; from a third, a Spanish-style patio, a small square, paved, damp, and chilly. Sometimes he saw a river—it was the Thames; other times, a tall tower—it was Windsor.
It was still so early that there were no signs of life without.
It was still so early that there were no signs of life outside.
He stood still and listened.
He stood still and listened.
"Oh! I will get out of this place," said he. "I will return to Dea! They shall not keep me here by force. Woe to him who bars my exit! What is that great tower yonder? If there was a giant, a hell-hound, a minotaur, to keep the gate of this enchanted palace, I would annihilate him. If an army, I would exterminate it. Dea! Dea!"
"Oh! I'm getting out of this place," he said. "I'm going back to Dea! They won't keep me here against my will. Woe to anyone who tries to stop me! What is that big tower over there? If there was a giant, a hellhound, or a minotaur guarding the entrance of this enchanted palace, I would destroy him. If there's an army, I would wipe it out. Dea! Dea!"
Suddenly he heard a gentle noise, very faint. It was like dropping water. He was in a dark narrow passage, closed, some few paces further on, by a curtain. He advanced to the curtain, pushed it aside, entered. He leaped before he looked.
Suddenly, he heard a soft sound, very faint. It was like dripping water. He was in a dark, narrow passage, blocked a few steps ahead by a curtain. He moved toward the curtain, pushed it aside, and walked in. He jumped in before checking.
CHAPTER III.
EVE.
An octagon room, with a vaulted ceiling, without windows but lighted by a skylight; walls, ceiling, and floors faced with peach-coloured marble; a black marble canopy, like a pall, with twisted columns in the solid but pleasing Elizabethan style, overshadowing a vase-like bath of the same black marble—this was what he saw before him. In the centre of the bath arose a slender jet of tepid and perfumed water, which, softly and slowly, was filling the tank. The bath was black to augment fairness into brilliancy.
An octagon-shaped room with a vaulted ceiling, no windows, but illuminated by a skylight; the walls, ceiling, and floors covered in peach-colored marble; a black marble canopy, like a shroud, with twisted columns in a solid yet appealing Elizabethan style, looming over a vase-like bathtub made of the same black marble—this was what he saw in front of him. In the center of the tub, a slim stream of warm, scented water was gently and slowly filling the basin. The black bathtub enhanced the brightness of the water's clarity.
It was the water which he had heard. A waste-pipe, placed at a certain height in the bath, prevented it from overflowing. Vapour was rising from the water, but not sufficient to cause it to hang in drops on the marble. The slender jet of water was like a supple wand of steel, bending at the slightest current of air. There was no furniture, except a chair-bed with pillows, long enough for a woman to lie on at full length, and yet have room for a dog at her feet. The French, indeed, borrow their word canapé from can-al-pié. This sofa was of Spanish manufacture. In it silver took the place of woodwork. The cushions and coverings were of rich white silk.
It was the sound of water he had heard. A drainpipe, positioned at a specific height in the bath, kept it from overflowing. Steam was rising from the water, but not enough to form droplets on the marble. The slender stream of water was like a flexible steel rod, bending with the slightest breeze. There was no furniture, except for a chair-bed with pillows, long enough for a woman to lie down fully and still have space for a dog at her feet. The French actually took their word canapé from can-al-pié. This sofa was made in Spain, with silver replacing woodwork. The cushions and coverings were made of luxurious white silk.
On the other side of the bath, by the wall, was a lofty dressing-table of solid silver, furnished with every requisite for the table, having in its centre, and in imitation of a window, eight small Venetian mirrors, set in a silver frame. In a panel on the wall was a square opening, like a little window, which was closed by a door of solid silver. This door was fitted with hinges, like a shutter. On the shutter there glistened a chased and gilt royal crown. Over it, and affixed to the wall, was a bell, silver gilt, if not of pure gold.
On the other side of the bath, against the wall, was a tall dressing table made of solid silver, equipped with everything needed for the table. In the center, there were eight small Venetian mirrors arranged in a silver frame, resembling a window. On the wall was a square opening, similar to a little window, which was covered by a solid silver door. This door had hinges like a shutter. A chased and gilt royal crown sparkled on the shutter. Above it, attached to the wall, was a bell that was silver gilt, if not made of pure gold.
Opposite the entrance of the chamber, in which Gwynplaine stood as if transfixed, there was an opening in the marble wall, extending to the ceiling, and closed by a high and broad curtain of silver tissue. This curtain, of fairy-like tenuity, was transparent, and did not interrupt the view. Through the centre of this web, where one might expect a spider, Gwynplaine saw a more formidable object—a woman. Her dress was a long chemise—so long that it floated over her feet, like the dresses of angels in holy pictures; but so fine that it seemed liquid.
Across from the entrance of the room, where Gwynplaine stood as if frozen, there was an opening in the marble wall that reached up to the ceiling, covered by a tall, wide curtain made of silver fabric. This curtain, delicate like something from a fairy tale, was transparent and didn’t block the view. In the center of this fabric, where you might expect a spider, Gwynplaine saw a much more imposing figure—a woman. Her dress was a long chemise—so long that it flowed over her feet, like the dresses of angels in religious artwork; but it was so sheer that it appeared almost liquid.
The silver tissue, transparent as glass and fastened only at the ceiling, could be lifted aside. It separated the marble chamber, which was a bathroom, from the adjoining apartment, which was a bedchamber. This tiny dormitory was as a grotto of mirrors. Venetian glasses, close together, mounted with gold mouldings, reflected on every side the bed in the centre of the room. On the bed, which, like the toilet-table, was of silver, lay the woman; she was asleep.
The silver curtain, clear as glass and only attached at the ceiling, could be pulled aside. It divided the marble room, which was a bathroom, from the connected apartment, which was a bedroom. This small sleeping area was like a cave of mirrors. Venetian mirrors, placed closely together and framed in gold, reflected the bed in the middle of the room from every angle. On the bed, which, like the vanity, was made of silver, lay the woman; she was asleep.
The crumpled clothes bore evidence of troubled sleep. The beauty of the folds was proof of the quality of the material.
The wrinkled clothes showed signs of a rough night’s sleep. The elegance of the folds proved the fabric’s quality.
It was a period when a queen, thinking that she should be damned, pictured hell to herself as a bed with coarse sheets.[20]
It was a time when a queen, believing she was destined for damnation, imagined hell as a bed with rough sheets.[20]
A dressing-gown, of curious silk, was thrown over the foot of the couch. It was apparently Chinese; for a great golden lizard was partly visible in between the folds.
A robe made of unusual silk was draped over the end of the couch. It looked like it was Chinese because a large golden lizard was partially showing in the folds.
Beyond the couch, and probably masking a door, was a large mirror, on which were painted peacocks and swans.
Beyond the couch, likely covering a door, was a large mirror with painted peacocks and swans.
Shadow seemed to lose its nature in this apartment, and glistened. The spaces between the mirrors and the gold work were lined with that sparkling material called at Venice thread of glass—that is, spun glass.
Shadow seemed to lose its essence in this apartment and shimmered. The spaces between the mirrors and the gold detailing were filled with that sparkling material known in Venice as thread of glass—that is, spun glass.
At the head of the couch stood a reading desk, on a movable pivot, with candles, and a book lying open, bearing this title, in large red letters, "Alcoranus Mahumedis."
At the head of the couch was a reading desk on a swivel, with candles, and an open book that had the title "Alcoranus Mahumedis" in large red letters.
Gwynplaine saw none of these details. He had eyes only for the woman. He was at once stupefied and filled with tumultuous emotions, states apparently incompatible, yet sometimes co-existent. He recognized her. Her eyes were closed, but her face was turned towards him. It was the duchess—she, the mysterious being in whom all the splendours of the unknown were united; she who had occasioned him so many unavowable dreams; she who had written him so strange a letter! The only woman in the world of whom he could say, "She has seen me, and she desires me!"
Gwynplaine noticed none of these details. His focus was entirely on the woman. He felt both stunned and overwhelmed by a whirlwind of emotions—feelings that seemed contradictory yet could exist at the same time. He recognized her. Her eyes were closed, but her face was pointed toward him. It was the duchess—the mysterious figure who embodied all the wonders of the unknown; she who had inspired so many secret dreams; she who had sent him such a peculiar letter! The only woman in the world he could say, "She has seen me, and she wants me!"
He had dismissed the dreams from his mind; he had burnt the letter. He had, as far as lay in his power, banished the remembrance of her from his thoughts and dreams. He no longer thought of her. He had forgotten her....
He had pushed the dreams out of his mind; he had burned the letter. He had, as much as he could, erased the memory of her from his thoughts and dreams. He no longer thought about her. He had forgotten her....
Again he saw her, and saw her terrible in power. His breath came in short catches. He felt as if he were in a storm-driven cloud. He looked. This woman before him! Was it possible? At the theatre a duchess; here a nereid, a nymph, a fairy. Always an apparition. He tried to fly, but felt the futility of the attempt. His eyes were riveted on the vision, as though he were bound. Was she a woman? Was she a maiden? Both. Messalina was perhaps present, though invisible, and smiled, while Diana kept watch.
Again he saw her, and she looked powerful and overwhelming. His breath came in short gasps. It felt like he was inside a stormy cloud. He stared. This woman in front of him! Could it be true? At the theater, she was a duchess; now, she was a water nymph, a fairy. Always like a ghost. He tried to escape, but he knew it was pointless. His eyes were locked on the vision, as if he were trapped. Was she a woman? Was she a young girl? Both. Messalina might be there too, though unseen, smiling, while Diana kept her watchful eye.
Over all her beauty was the radiance of inaccessibility. No purity could compare with her chaste and haughty form. Certain snows, which have never been touched, give an idea of it—such as the sacred whiteness of the Jungfrau. Immodesty was merged in splendour. She felt the security of an Olympian, who knew that she was daughter of the depths, and might say to the ocean, "Father!" And she exposed herself, unattainable and proud, to everything that should pass—to looks, to desires, to ravings, to dreams; as proud in her languor, on her boudoir couch, as Venus in the immensity of the sea-foam.
Overall, her beauty radiated with an air of unapproachability. No purity could match her virtuous and proud form. Certain untouched snows evoke this feeling—like the sacred whiteness of the Jungfrau. Immodesty blended into magnificence. She felt the confidence of a goddess, knowing she was born from the depths, able to say to the ocean, "Father!" And she presented herself, unreachable and proud, to everything that came her way—to glances, to desires, to madness, to dreams; as proud in her languor, lounging on her boudoir couch, as Venus in the vastness of the sea foam.
She had slept all night, and was prolonging her sleep into the daylight; her boldness, begun in shadow, continued in light.
She had slept all night and was extending her sleep into the daytime; her confidence, which started in the dark, continued in the light.
Gwynplaine shuddered. He admired her with an unhealthy and absorbing admiration, which ended in fear. Misfortunes never come singly. Gwynplaine thought he had drained to the dregs the cup of his ill-luck. Now it was refilled. Who was it who was hurling all those unremitting thunderbolts on his devoted head, and who had now thrown against him, as he stood trembling there, a sleeping goddess? What! was the dangerous and desirable object of his dream lurking all the while behind these successive glimpses of heaven? Did these favours of the mysterious tempter tend to inspire him with vague aspirations and confused ideas, and overwhelm him with an intoxicating series of realities proceeding from apparent impossibilities? Wherefore did all the shadows conspire against him, a wretched man; and what would become of him, with all those evil smiles of fortune beaming on him? Was his temptation prearranged? This woman, how and why was she there? No explanation! Why him? Why her? Was he made a peer of England expressly for this duchess? Who had brought them together? Who was the dupe? Who the victim? Whose simplicity was being abused? Was it God who was being deceived? All these undefined thoughts passed confusedly, like a flight of dark shadows, through his brain. That magical and malevolent abode, that strange and prison-like palace, was it also in the plot? Gwynplaine suffered a partial unconsciousness. Suppressed emotions threatened to strangle him. He was weighed down by an overwhelming force. His will became powerless. How could he resist? He was incoherent and entranced. This time he felt he was becoming irremediably insane. His dark, headlong fall over the precipice of stupefaction continued.
Gwynplaine shuddered. He admired her with a deep, unhealthy fascination that turned into fear. Misfortunes never come one at a time. Gwynplaine thought he had endured all his bad luck. Now it was back. Who was throwing all those relentless thunderbolts at his helpless head, and who had just sent him, while he stood there trembling, a sleeping goddess? What! Was the dangerous and desirable object of his dreams hiding behind these fleeting glimpses of paradise? Did these gifts from the mysterious tempter aim to fill him with vague desires and confusing thoughts, overwhelming him with a wild series of realities born from apparent impossibilities? Why were all the shadows conspiring against him, a miserable man, and what would become of him, with all those evil smiles of fortune shining on him? Was his temptation planned? This woman, how and why was she there? No explanation! Why him? Why her? Was he made a peer of England just for this duchess? Who brought them together? Who was the fool? Who was the victim? Whose innocence was being exploited? Was it God who was being tricked? All these unclear thoughts rushed chaotically, like a flurry of dark shadows, through his mind. That magical and malevolent place, that strange and prison-like palace, was it part of the scheme too? Gwynplaine suffered from a partial blackout. Suppressed emotions threatened to suffocate him. He felt crushed by an overwhelming force. His will became useless. How could he resist? He was disoriented and entranced. This time he felt like he was losing his mind for good. His dark, reckless plunge into confusion continued.
But the woman slept on.
But the woman kept sleeping.
What aggravated the storm within him was, that he saw not the princess, not the duchess, not the lady, but the woman.
What made the storm inside him worse was that he saw not the princess, not the duchess, not the lady, but the woman.
Gwynplaine, losing all self-command, trembled. What could he do against such a temptation? Here were no skilful effects of dress, no silken folds, no complex and coquettish adornments, no affected exaggeration of concealment or of exhibition, no cloud. It was fearful simplicity—a sort of mysterious summons—the shameless audacity of Eden. The whole of the dark side of human nature was there. Eve worse than Satan; the human and the superhuman commingled. A perplexing ecstasy, winding up in a brutal triumph of instinct over duty. The sovereign contour of beauty is imperious. When it leaves the ideal and condescends to be real, its proximity is fatal to man.
Gwynplaine, completely losing control, shook with fear. What could he do against such an overwhelming temptation? There were no clever tricks of clothing, no silky drapes, no elaborate or playful accessories, no exaggerated hiding or showing off, no illusion. It was a terrifying simplicity—a kind of mysterious call—the shameless boldness of paradise. The entire dark side of human nature was on display. Eve was worse than Satan; the human and the superhuman intertwined. It was a confusing thrill, culminating in a brutal victory of instinct over obligation. The commanding shape of beauty is demanding. When it steps away from the ideal and becomes real, its closeness is deadly to mankind.
Now and then the duchess moved softly on the bed, with the vague movement of a cloud in the heavens, changing as a vapour changes its form. Absurd as it may appear, though he saw her present in the flesh before him, yet she seemed a chimera; and, palpable as she was, she seemed to him afar off. Scared and livid, he gazed on. He listened for her breathing, and fancied he heard only a phantom's respiration. He was attracted, though against his will. How arm himself against her—or against himself? He had been prepared for everything except this danger. A savage doorkeeper, a raging monster of a jailer—such were his expected antagonists. He looked for Cerberus; he saw Hebe. A sleeping woman! What an opponent! He closed his eyes. Too bright a dawn blinds the eyes. But through his closed eyelids there penetrated at once the woman's form—not so distinct, but beautiful as ever.
Now and then, the duchess moved softly on the bed, like a cloud shifting in the sky, changing shape like vapor. As strange as it seemed, even though he saw her right in front of him, she felt like an illusion; and despite her physical presence, she felt distant to him. Terrified and pale, he stared. He listened for her breathing, imagining he heard nothing but a phantom's breath. He was drawn to her, even though he didn’t want to be. How could he defend himself against her—or against his own feelings? He had prepared for everything except this threat. He expected a fierce doorkeeper, a raging monster of a jailer—his actual opponents turned out to be different. He looked for Cerberus; instead, he found Hebe. A sleeping woman! What an unexpected adversary! He closed his eyes. A too-bright dawn blinds the eyes. But through his closed eyelids, the image of the woman came to him—not clear, but as beautiful as ever.
Fly! Easier said than done. He had already tried and failed. He was rooted to the ground, as if in a dream. When we try to draw back, temptation clogs our feet and glues them to the earth. We can still advance, but to retire is impossible. The invisible arms of sin rise from below and drag us down.
Fly! Easier said than done. He had already tried and failed. He felt stuck to the ground, like he was in a dream. When we try to pull back, temptation weighs us down and pins us to the earth. We can still move forward, but going back is impossible. The unseen hands of sin reach up from below and pull us down.
There is a commonplace idea, accepted by every one, that feelings become blunted by experience. Nothing can be more untrue. You might as well say that by dropping nitric acid slowly on a sore it would heal and become sound, and that torture dulled the sufferings of Damiens. The truth is, that each fresh application intensifies the pain.
There’s a common belief that experiences dull our feelings. That’s completely untrue. It’s like saying that if you pour nitric acid slowly on a wound, it would heal and get better, or that torture lessened Damiens’ suffering. The reality is, each new experience just makes the pain feel worse.
From one surprise after another, Gwynplaine had become desperate. That cup, his reason, under this new stupor, was overflowing. He felt within him a terrible awakening. Compass he no longer possessed. One idea only was before him—the woman. An indescribable happiness appeared, which threatened to overwhelm him. He could no longer decide for himself. There was an irresistible current and a reef. The reef was not a rock, but a siren—a magnet at the bottom of the abyss. He wished to tear himself away from this magnet; but how was he to carry out his wish? He had ceased to feel any basis of support. Who can foresee the fluctuations of the human mind! A man may be wrecked, as is a ship. Conscience is an anchor. It is a terrible thing, but, like the anchor, conscience may be carried away.
From one surprise to another, Gwynplaine had become desperate. His reason, under this new daze, was overflowing. He felt a terrible awakening inside him. He no longer had any direction. One thought consumed him—the woman. An indescribable happiness emerged, threatening to overwhelm him. He could no longer make decisions for himself. There was an irresistible pull and a danger ahead. The danger wasn’t a rock, but a siren—a magnet at the bottom of the abyss. He wanted to break free from this magnet, but how could he do that? He had lost all sense of support. Who can predict the twists and turns of the human mind? A person can be wrecked, like a ship. Conscience is an anchor. It’s a terrifying thing, but, like an anchor, conscience can be dragged away.
He had not even the chance of being repulsed on account of his terrible disfigurement. The woman had written to say that she loved him.
He didn't even have the chance to be rejected because of his terrible disfigurement. The woman had written to say that she loved him.
In every crisis there is a moment when the scale hesitates before kicking the beam. When we lean to the worst side of our nature, instead of strengthening our better qualities, the moral force which has been preserving the balance gives way, and down we go. Had this critical moment in Gwynplaine's life arrived?
In every crisis, there's a moment when things hang in the balance before tipping over. When we lean into the darker side of ourselves instead of reinforcing our better qualities, the moral strength that has kept us steady falters, and down we go. Had this critical moment in Gwynplaine's life arrived?
How could he escape?
How could he get away?
So it is she—the duchess, the woman! There she was in that lonely room—asleep, far from succour, helpless, alone, at his mercy; yet he was in her power! The duchess! We have, perchance, observed a star in the distant firmament. We have admired it. It is so far off. What can there be to make us shudder in a fixed star? Well, one day—one night, rather—it moves. We perceive a trembling gleam around it. The star which we imagined to be immovable is in motion. It is no longer a star, but a comet—the incendiary giant of the skies. The luminary moves on, grows bigger, shakes off a shower of sparks and fire, and becomes enormous. It advances towards us. Oh, horror, it is coming our way! The comet recognizes us, marks us for its own, and will not be turned aside. Irresistible attack of the heavens! What is it which is bearing down on us? An excess of light, which blinds us; an excess of life, which kills us. That proposal which the heavens make we refuse; that unfathomable love we reject. We close our eyes; we hide; we tear ourselves away; we imagine the danger is past. We open our eyes: the formidable star is still before us; but, no longer a star, it has become a world—a world unknown, a world of lava and ashes; the devastating prodigy of space. It fills the sky, allowing no compeers. The carbuncle of the firmament's depths, a diamond in the distance, when drawn close to us becomes a furnace. You are caught in its flames. And the first sensation of burning is that of a heavenly warmth.
So it is she—the duchess, the woman! There she was in that lonely room—asleep, far from help, helpless, alone, at his mercy; yet he was in her power! The duchess! We have perhaps seen a star in the distant sky. We have admired it. It seems so far away. What could make us shudder at a fixed star? Well, one day—one night, actually—it moves. We notice a shimmering light around it. The star we thought was unchanging is in motion. It’s no longer a star, but a comet—the fiery giant of the skies. The luminary moves on, grows larger, shakes off a shower of sparks and fire, and becomes massive. It's coming toward us. Oh, no, it’s heading our way! The comet sees us, marks us for its own, and won’t be diverted. An unstoppable force from the heavens! What is coming toward us? An overwhelming light that blinds us; an overwhelming life that kills us. That proposal from the heavens, we refuse; that profound love, we turn away. We close our eyes; we hide; we pull away; we think the danger has passed. We open our eyes: the daunting star is still before us; but now, no longer a star, it has transformed into a world—a world unknown, a world of lava and ashes; the catastrophic wonder of the universe. It fills the sky, with no equals. The glowing gem of the depths of the heavens, a diamond from afar, when close becomes a furnace. You are caught in its flames. And the first sensation of burning is that of a heavenly warmth.
CHAPTER IV.
SATAN.
Suddenly the sleeper awoke. She sat up with a sudden and gracious dignity of movement, her fair silken tresses falling in soft disorder. Then stretching herself, she yawned like a tigress in the rising sun.
Suddenly, the sleeper woke up. She sat up with a sudden and graceful elegance, her soft, silky hair falling in gentle disarray. Then, stretching herself, she yawned like a tigress in the morning sun.
Perhaps Gwynplaine breathed heavily, as we do when we endeavour to restrain our respiration.
Perhaps Gwynplaine breathed heavily, like we do when we try to hold our breath.
"Is any one there?" said she.
"Is anyone there?" she asked.
She yawned as she spoke, and her very yawn was graceful. Gwynplaine listened to the unfamiliar voice—the voice of a charmer, its accents exquisitely haughty, its caressing intonation softening its native arrogance. Then rising on her knees—there is an antique statue kneeling thus in the midst of a thousand transparent folds—she drew the dressing-gown towards her, and springing from the couch stood upright. In the twinkling of an eye the silken robe was around her. The trailing sleeve concealed her hands; only the tips of her toes, with little pink nails like those of an infant, were left visible. Having drawn from underneath the dressing-gown a mass of hair which had been imprisoned by it, she crossed behind the couch to the end of the room, and placed her ear to the painted mirror, which was, apparently, a door. Tapping the glass with her finger, she called, "Is any one there? Lord David? Are you come already? What time is it then? Is that you, Barkilphedro?" She turned from the glass. "No! it was not there. Is there any one in the bathroom? Will you answer? Of course not. No one could come that way."
She yawned as she spoke, and even her yawn was elegant. Gwynplaine listened to the unfamiliar voice—the voice of a charmer, its tones perfectly proud, its soft intonation softening its natural arrogance. Then, rising onto her knees—like an ancient statue kneeling in the middle of countless delicate folds—she pulled the dressing gown towards her and jumped off the couch, standing tall. In the blink of an eye, the silky robe enveloped her. The flowing sleeve hid her hands; only the tips of her toes, with tiny pink nails like those of a baby, remained visible. After pulling out a mass of hair that had been trapped under the dressing gown, she moved behind the couch to the far end of the room and pressed her ear to the painted mirror, which seemed to be a door. Tapping the glass with her finger, she called out, "Is anyone there? Lord David? Have you arrived already? What time is it then? Is that you, Barkilphedro?" She turned away from the glass. "No! it wasn’t there. Is anyone in the bathroom? Will you respond? Of course not. No one could come that way."
Going to the silver lace curtain, she raised it with her foot, thrust it aside with her shoulder, and entered the marble room. An agonized numbness fell upon Gwynplaine. No possibility of concealment. It was too late to fly. Moreover, he was no longer equal to the exertion. He wished that the earth might open and swallow him up. Anything to hide him.
Going to the silver lace curtain, she lifted it with her foot, pushed it aside with her shoulder, and walked into the marble room. A wave of despair washed over Gwynplaine. There was no way to hide. It was too late to escape. Besides, he could no longer muster the energy. He wished the ground would open up and swallow him whole. Anything to make him disappear.
She saw him. She stared, immensely astonished, but without the slightest nervousness. Then, in a tone of mingled pleasure and contempt, she said, "Why, it is Gwynplaine!" Suddenly with a rapid spring, for this cat was a panther, she flung herself on his neck.
She saw him. She stared, totally amazed, but without feeling nervous at all. Then, with a mix of pleasure and sarcasm, she said, "Wow, it’s Gwynplaine!" Suddenly, with a quick leap, because this cat was like a panther, she threw herself into his arms.
Suddenly, pushing him back, and holding him by both shoulders with her small claw-like hands, she stood up face to face with him, and began to gaze at him with a strange expression.
Suddenly, she pushed him back, grabbing both his shoulders with her small, claw-like hands. She stood up to face him and started to look at him with a strange expression.
It was a fatal glance she gave him with her Aldebaran-like eyes—a glance at once equivocal and starlike. Gwynplaine watched the blue eye and the black eye, distracted by the double ray of heaven and of hell that shone in the orbs thus fixed on him. The man and the woman threw a malign dazzling reflection one on the other. Both were fascinated—he by her beauty, she by his deformity. Both were in a measure awe-stricken. Pressed down, as by an overwhelming weight, he was speechless.
It was a deadly look she gave him with her Aldebaran-like eyes—a look that was both ambiguous and celestial. Gwynplaine observed her blue eye and her black eye, distracted by the dual rays of heaven and hell that shone from the orbs locked onto him. The man and the woman cast a toxic, dazzling reflection off each other. Both were captivated—he by her beauty, she by his deformity. Both felt a sense of awe. Overwhelmed, as if by an immense weight, he was left speechless.
"Oh!" she cried. "How clever you are! You are come. You found out that I was obliged to leave London. You followed me. That was right. Your being here proves you to be a wonder."
"Oh!" she exclaimed. "How clever you are! You've come. You figured out that I had to leave London. You followed me. That was smart. Your presence here shows what an amazing person you are."
The simultaneous return of self-possession acts like a flash of lightning. Gwynplaine, indistinctly warned by a vague, rude, but honest misgiving, drew back, but the pink nails clung to his shoulders and restrained him. Some inexorable power proclaimed its sway over him. He himself, a wild beast, was caged in a wild beast's den. She continued, "Anne, the fool—you know whom I mean—the queen—ordered me to Windsor without giving any reason. When I arrived she was closeted with her idiot of a Chancellor. But how did you contrive to obtain access to me? That's what I call being a man. Obstacles, indeed! there are no such things. You come at a call. You found things out. My name, the Duchess Josiana, you knew, I fancy. Who was it brought you in? No doubt it was the page. Oh, he is clever! I will give him a hundred guineas. Which way did you get in? Tell me! No, don't tell me; I don't want to know. Explanations diminish interest. I prefer the marvellous, and you are hideous enough to be wonderful. You have fallen from the highest heavens, or you have risen from the depths of hell through the devil's trap-door. Nothing can be more natural. The ceiling opened or the floor yawned. A descent in a cloud, or an ascent in a mass of fire and brimstone, that is how you have travelled. You have a right to enter like the gods. Agreed; you are my lover."
The sudden return of self-control hits like a flash of lightning. Gwynplaine, vaguely warned by a rough but honest feeling of unease, stepped back, but her pink nails clung to his shoulders and held him in place. An unstoppable force declared its control over him. He, a wild beast, was trapped in a wild beast's den. She continued, "Anne, the fool—you know who I mean—the queen—sent me to Windsor without any explanation. When I got there, she was locked away with her ridiculous Chancellor. But how did you manage to get to me? That's what I call being a man. Obstacles, really? They don't exist. You come at a call. You figured things out. You knew my name, the Duchess Josiana, I assume. Who brought you in? It was probably the page. Oh, he's smart! I'll give him a hundred guineas. How did you get in? Tell me! No, don’t tell me; I don't want to know. Explanations ruin the mystery. I prefer the extraordinary, and you’re strange enough to be amazing. You’ve either fallen from the highest heavens or risen from the depths of hell through the devil’s trapdoor. Nothing could be more natural. The ceiling opened or the floor split apart. A descent in a cloud or an ascent surrounded by fire and brimstone, that’s how you made your entrance. You have the right to come in like the gods. Agreed; you are my lover."
Gwynplaine was scared, and listened, his mind growing more irresolute every moment. Now all was certain. Impossible to have any further doubt. That letter! the woman confirmed its meaning. Gwynplaine the lover and the beloved of a duchess! Mighty pride, with its thousand baleful heads, stirred his wretched heart. Vanity, that powerful agent within us, works us measureless evil.
Gwynplaine was scared and listened, his mind becoming more uncertain with each passing moment. Now everything was clear. There was no room for doubt. That letter! The woman had confirmed its meaning. Gwynplaine, the lover and the beloved of a duchess! Great pride, with its many destructive facets, stirred his miserable heart. Vanity, that potent force within us, causes us endless harm.
The duchess went on, "Since you are here, it is so decreed. I ask nothing more. There is some one on high, or in hell, who brings us together. The betrothal of Styx and Aurora! Unbridled ceremonies beyond all laws! The very day I first saw you I said, 'It is he!' I recognize him. He is the monster of my dreams. He shall be mine. We should give destiny a helping hand. Therefore I wrote to you. One question, Gwynplaine: do you believe in predestination? For my part, I have believed in it since I read, in Cicero, Scipio's dream. Ah! I did not observe it. Dressed like a gentleman! You in fine clothes! Why not? You are a mountebank. All the more reason. A juggler is as good as a lord. Moreover, what are lords? Clowns. You have a noble figure; you are magnificently made. It is wonderful that you should be here. When did you arrive? How long have you been here? Did you see me naked? I am beautiful, am I not? I was going to take my bath. Oh, how I love you! You read my letter! Did you read it yourself? Did any one read it to you? Can you read? Probably you are ignorant. I ask questions, but don't answer them. I don't like the sound of your voice. It is soft. An extraordinary thing like you should snarl, and not speak. You sing harmoniously. I hate it. It is the only thing about you that I do not like. All the rest is terrible—is grand. In India you would be a god. Were you born with that frightful laugh on your face? No! No doubt it is a penal brand. I do hope you have committed some crime. Come to my arms."
The duchess continued, "Now that you’re here, this is how it has to be. I ask for nothing more. There’s someone up above, or maybe down below, who has brought us together. The engagement of Styx and Aurora! Unrestrained ceremonies that go beyond any rules! The first day I saw you, I thought, 'This is the one!' I recognize you. You are the monster of my dreams. You will be mine. We should help fate along. That’s why I wrote to you. I have one question, Gwynplaine: do you believe in fate? I’ve believed in it ever since I read Scipio’s dream in Cicero. Ah! I didn’t notice it. Dressed like a gentleman! You in nice clothes! Why not? You’re a con artist. Even more so. A juggler is just as good as a lord. Besides, what are lords? Clowns. You have a noble appearance; you’re remarkably built. It’s amazing that you’re here. When did you arrive? How long have you been here? Did you see me undressed? I’m beautiful, aren’t I? I was just about to take my bath. Oh, how I love you! You read my letter! Did you read it yourself? Did someone read it to you? Can you read? You probably don’t know how. I ask questions, but don’t answer them. I don’t like the sound of your voice. It’s soft. Something extraordinary like you should snarl, not speak. You sing beautifully. I hate it. It’s the only thing about you I don’t like. Everything else is awful—it's magnificent. In India, you would be a god. Were you born with that ghastly laugh on your face? No! It must be a punishment. I really hope you’ve committed some crime. Come here to me."
She sank on the couch, and made him sit beside her. They found themselves close together unconsciously. What she said passed over Gwynplaine like a mighty storm. He hardly understood the meaning of her whirlwind of words. Her eyes were full of admiration. She spoke tumultuously, frantically, with a voice broken and tender. Her words were music, but their music was to Gwynplaine as a hurricane. Again she fixed her gaze upon him and continued,—
She plopped down on the couch and made him sit next to her. They ended up sitting close together without realizing it. What she said hit Gwynplaine like a powerful storm. He barely grasped the meaning of her whirlwind of words. Her eyes were filled with admiration. She spoke excitedly and passionately, her voice both shaky and gentle. Her words were like music, but to Gwynplaine, that music felt like a hurricane. Once more, she locked her gaze on him and continued,—
"I feel degraded in your presence, and oh, what happiness that is! How insipid it is to be a grandee! I am noble; what can be more tiresome? Disgrace is a comfort. I am so satiated with respect that I long for contempt. We are all a little erratic, from Venus, Cleopatra, Mesdames de Chevreuse and de Longueville, down to myself. I will make a display of you, I declare. Here's a love affair which will be a blow to my family, the Stuarts. Ah! I breathe again. I have discovered a secret. I am clear of royalty. To be free from its trammels is indeed deliverance. To break down, defy, make and destroy at will, that is true enjoyment. Listen, I love you."
"I feel belittled when I'm around you, and oh, what a joy that is! How dull it is to be someone important! I am noble; what could be more exhausting? Shame feels like a relief. I'm so overwhelmed by respect that I crave disdain. We're all a bit unpredictable, from Venus, Cleopatra, and Mesdames de Chevreuse and de Longueville, to me. I'm going to show you off, I swear. This love affair will shock my family, the Stuarts. Ah! I can finally breathe. I've uncovered a secret. I’m free from royalty. Being free from its constraints is truly liberation. To break down, defy, create, and destroy at will is real enjoyment. Listen, I love you."
She paused; then with a frightful smile went on, "I love you, not only because you are deformed, but because you are low. I love monsters, and I love mountebanks. A lover despised, mocked, grotesque, hideous, exposed to laughter on that pillory called a theatre, has for me an extraordinary attraction. It is tasting the fruit of hell. An infamous lover, how exquisite! To taste the apple, not of Paradise, but of hell—such is my temptation. It is for that I hunger and thirst. I am that Eve, the Eve of the depths. Probably you are, unknown to yourself, a devil. I am in love with a nightmare. You are a moving puppet, of which the strings are pulled by a spectre. You are the incarnation of infernal mirth. You are the master I require. I wanted a lover such as those of Medea and Canidia. I felt sure that some night would bring me such a one. You are all that I want. I am talking of a heap of things of which you probably know nothing. Gwynplaine, hitherto I have remained untouched; I give myself to you, pure as a burning ember. You evidently do not believe me; but if you only knew how little I care!"
She paused, then with a frightening smile continued, "I love you, not just because you’re deformed, but because you’re so low. I love monsters, and I love tricksters. A lover who is despised, mocked, grotesque, and hideous—exposed to laughter on that stage we call a theater—has an extraordinary allure for me. It’s like tasting the fruit of hell. An infamous lover, how delightful! To taste the apple, not from Paradise, but from hell—this is my temptation. That’s what I crave. I am that Eve, the Eve from the depths. You are probably, unknowingly, a devil. I’m in love with a nightmare. You are a moving puppet, with strings pulled by a specter. You are the embodiment of infernal joy. You are the master I need. I wanted a lover like those from Medea and Canidia. I was sure that one night would bring me someone like that. You are everything I desire. I’m talking about things you probably don’t understand. Gwynplaine, until now I’ve remained untouched; I give myself to you, pure as a glowing ember. You clearly don’t believe me, but if you only knew how little I care!"
Her words flowed like a volcanic eruption. Pierce Mount Etna, and you may obtain some idea of that jet of fiery eloquence.
Her words poured out like a volcanic eruption. If you could experience Mount Etna, you might get a sense of that burst of passionate expression.
Gwynplaine stammered, "Madame—"
Gwynplaine stammered, "Ma’am—"
She placed her hand on his mouth. "Silence," she said. "I am studying you. I am unbridled desire, immaculate. I am a vestal bacchante. No man has known me, and I might be the virgin pythoness at Delphos, and have under my naked foot the bronze tripod, where the priests lean their elbows on the skin of the python, whispering questions to the invisible god. My heart is of stone, but it is like those mysterious pebbles which the sea washes to the foot of the rock called Huntly Nabb, at the mouth of the Tees, and which if broken are found to contain a serpent. That serpent is my love—a love which is all-powerful, for it has brought you to me. An impossible distance was between us. I was in Sirius, and you were in Allioth. You have crossed the immeasurable space, and here you are. 'Tis well. Be silent. Take me."
She put her hand over his mouth. "Be quiet," she said. "I'm observing you. I am pure, unrestrained desire. I am a sacred follower of Bacchus. No man has touched me, and I could be the virgin oracle at Delphi, standing over the bronze tripod where the priests rest their elbows on the python's skin, whispering questions to the unseen god. My heart is like stone, but it's like those strange pebbles the sea smooths at the base of Huntly Nabb, at the mouth of the Tees, which, when broken, reveal a serpent inside. That serpent is my love—a love so powerful that it has brought you to me. There was an impossible distance between us. I was in Sirius, and you were in Allioth. You crossed that unimaginable space, and now here you are. It’s good. Stay quiet. Take me."
She ceased; he trembled. Then she went on, smiling, "You see, Gwynplaine, to dream is to create; to desire is to summon. To build up the chimera is to provoke the reality. The all-powerful and terrible mystery will not be defied. It produces result. You are here. Do I dare to lose caste? Yes. Do I dare to be your mistress—your concubine—your slave—your chattel? Joyfully. Gwynplaine, I am woman. Woman is clay longing to become mire. I want to despise myself. That lends a zest to pride. The alloy of greatness is baseness. They combine in perfection. Despise me, you who are despised. Nothing can be better. Degradation on degradation. What joy! I pluck the double blossom of ignominy. Trample me under foot. You will only love me the more. I am sure of it. Do you understand why I idolize you? Because I despise you. You are so immeasurably below me that I place you on an altar. Bring the highest and lowest depths together, and you have Chaos, and I delight in Chaos—Chaos, the beginning and end of everything. What is Chaos? A huge blot. Out of that blot God made light, and out of that sink the world. You don't know how perverse I can be. Knead a star in mud, and you will have my likeness."
She stopped; he shook with emotion. Then she continued, smiling, "You see, Gwynplaine, to dream is to create; to desire is to call forth. Building up the illusion is to challenge reality. The powerful and fearsome mystery won’t be defied. It brings results. You’re here. Do I dare to lose my social standing? Yes. Do I dare to be your lover—your mistress—your servant—your possession? Absolutely. Gwynplaine, I am a woman. A woman is clay wishing to become mud. I want to hate myself. That adds excitement to pride. The mix of greatness is grounded in humility. They come together perfectly. Despise me, you who are already despised. Nothing could be better. Degradation upon degradation. How delightful! I gather the dual bloom of shame. Step on me. You’ll only love me more. I’m certain of it. Do you understand why I worship you? Because I look down on you. You’re so far beneath me that I elevate you to an altar. Bring the highest and lowest together, and you have Chaos, and I revel in Chaos—Chaos, the beginning and end of everything. What is Chaos? A vast stain. From that stain, God made light, and from that abyss came the world. You have no idea how twisted I can be. Shape a star in mud, and you’ll have my image."
She went on,—
She continued,—
"A wolf to all beside; a faithful dog to you. How astonished they will all be! The astonishment of fools is amusing. I understand myself. Am I a goddess? Amphitrite gave herself to the Cyclops. Fluctivoma Amphitrite. Am I a fairy? Urgele gave herself to Bugryx, a winged man, with eight webbed hands. Am I a princess? Marie Stuart had Rizzio. Three beauties, three monsters. I am greater than they, for you are lower than they. Gwynplaine, we were made for one another. The monster that you are outwardly, I am within. Thence my love for you. A caprice? Just so. What is a hurricane but a caprice? Our stars have a certain affinity. Together we are things of night—you in your face, I in my mind. As your countenance is defaced, so is my mind. You, in your turn, create me. You come, and my real soul shows itself. I did not know it. It is astonishing. Your coming has evoked the hydra in me, who am a goddess. You reveal my real nature. See how I resemble you. Look at me as if I were a mirror. Your face is my mind. I did not know I was so terrible. I am also, then, a monster. O Gwynplaine, you do amuse me!"
"A wolf to everyone else; a loyal dog to you. Everyone will be so surprised! The shock of fools is entertaining. I know myself. Am I a goddess? Amphitrite gave herself to the Cyclops. Fluctivoma Amphitrite. Am I a fairy? Urgele gave herself to Bugryx, a winged man with eight webbed hands. Am I a princess? Marie Stuart had Rizzio. Three beauties, three monsters. I'm greater than they are because you are beneath them. Gwynplaine, we were made for each other. The monster you are on the outside, I am on the inside. That's my love for you. A whim? Exactly. What is a hurricane but a whim? Our fates are connected. Together we are creatures of the night—you in your appearance, I in my thoughts. As your face is disfigured, so is my mind. You, in turn, create me. You come, and my true self is revealed. I didn’t know it. It’s astonishing. Your arrival has awakened the hydra within me, who am a goddess. You show my true nature. See how I resemble you. Look at me as if I were a mirror. Your face is my mind. I didn’t know I was so awful. I am also, then, a monster. Oh, Gwynplaine, you truly entertain me!"
She laughed, a strange and childlike laugh; and, putting her mouth close to his ear, whispered,—
She giggled, a quirky and youthful laugh; and, leaning in close to his ear, whispered,—
"Do you want to see a mad woman? look at me."
"Do you want to see a crazy woman? Look at me."
She poured her searching look into Gwynplaine. A look is a philtre. Her loosened robe provoked a thousand dangerous feelings. Blind, animal ecstasy was invading his mind—ecstasy combined with agony. Whilst she spoke, though he felt her words like burning coals, his blood froze within his veins. He had not strength to utter a word.
She locked her searching gaze on Gwynplaine. A gaze can be a potion. Her loose robe stirred up a thousand risky feelings. A blind, primal ecstasy was taking over his mind—ecstasy mixed with pain. As she spoke, even though her words felt like burning coals, his blood ran cold in his veins. He didn't have the strength to say a word.
She stopped, and looked at him.
She paused and glanced at him.
"O monster!" she cried. She grew wild.
"O monster!" she shouted. She became frantic.
Suddenly she seized his hands.
Suddenly, she grabbed his hands.
"Gwynplaine, I am the throne; you are the footstool. Let us join on the same level. Oh, how happy I am in my fall! I wish all the world could know how abject I am become. It would bow down all the lower. The more man abhors, the more does he cringe. It is human nature. Hostile, but reptile; dragon, but worm. Oh, I am as depraved as are the gods! They can never say that I am not a king's bastard. I act like a queen. Who was Rodope but a queen loving Pteh, a man with a crocodile's head? She raised the third pyramid in his honour. Penthesilea loved the centaur, who, being now a star, is named Sagittarius. And what do you say about Anne of Austria? Mazarin was ugly enough! Now, you are not only ugly; you are deformed. Ugliness is mean, deformity is grand. Ugliness is the devil's grin behind beauty; deformity is the reverse of sublimity. It is the back view. Olympus has two aspects. One, by day, shows Apollo; the other, by night, shows Polyphemus. You—you are a Titan. You would be Behemoth in the forests, Leviathan in the deep, and Typhon in the sewer. You surpass everything. There is the trace of lightning in your deformity; your face has been battered by the thunderbolt. The jagged contortion of forked lightning has imprinted its mark on your face. It struck you and passed on. A mighty and mysterious wrath has, in a fit of passion, cemented your spirit in a terrible and superhuman form. Hell is a penal furnace, where the iron called Fatality is raised to a white heat. You have been branded with it. To love you is to understand grandeur. I enjoy that triumph. To be in love with Apollo—a fine effort, forsooth! Glory is to be measured by the astonishment it creates. I love you. I have dreamt of you night after night. This is my palace. You shall see my gardens. There are fresh springs under the shrubs; arbours for lovers; and beautiful groups of marble statuary by Bernini. Flowers! there are too many—during the spring the place is on fire with roses. Did I tell you that the queen is my sister? Do what you like with me. I am made for Jupiter to kiss my feet, and for Satan to spit in my face. Are you of any religion? I am a Papist. My father, James II., died in France, surrounded by Jesuits. I have never felt before as I feel now that I am near you. Oh, how I should like to pass the evening with you, in the midst of music, both reclining on the same cushion, under a purple awning, in a gilded gondola on the soft expanse of ocean! Insult me, beat me, kick me, cuff me, treat me like a brute! I adore you."
"Gwynplaine, I am the throne; you are the footstool. Let’s meet on the same level. Oh, how happy I am in my downfall! I wish the whole world could see how low I’ve fallen. It would bow down even more. The more people despise, the more they grovel. It’s human nature. Hostile, yet crawling; a dragon, but a worm. Oh, I’m as wicked as the gods! They can never claim I’m not a king’s bastard. I act like a queen. Who was Rodope but a queen loving Pteh, a man with a crocodile’s head? She built the third pyramid in his honor. Penthesilea loved the centaur, who, now a star, is called Sagittarius. And what do you make of Anne of Austria? Mazarin was ugly enough! But now, you’re not just ugly; you’re deformed. Ugliness is petty, but deformity is grand. Ugliness is the devil’s smile behind beauty; deformity is the opposite of sublimity. It shows the other side. Olympus has two faces. One, by day, reveals Apollo; the other, by night, reveals Polyphemus. You—you're a Titan. You would be Behemoth in the forests, Leviathan in the deep, and Typhon in the sewer. You surpass everything. There’s a trace of lightning in your deformity; your face has been struck by a thunderbolt. The jagged shape of forked lightning has left its mark on you. It hit you and moved on. A powerful and mysterious fury has, in a fit of passion, shaped your spirit into a terrible and superhuman form. Hell is a furnace of punishment, where the iron called Fatality is heated to a white glow. You have been branded by it. To love you is to grasp greatness. I take pride in that. To be in love with Apollo—a grand ambition, indeed! Glory is measured by the astonishment it inspires. I love you. I’ve dreamed of you night after night. This is my palace. You’ll see my gardens. There are fresh springs beneath the shrubs; alcoves for lovers; and beautiful marble statues crafted by Bernini. Flowers! There are too many—during spring, the place is ablaze with roses. Did I mention that the queen is my sister? Do whatever you like with me. I’m meant for Jupiter to kiss my feet and for Satan to spit in my face. Are you religious? I’m a Catholic. My father, James II., died in France, surrounded by Jesuits. I’ve never felt like this before now that I’m near you. Oh, how I wish to spend the evening with you, surrounded by music, both lounging on the same cushion, under a purple awning, in a gilded gondola on the gentle ocean! Insult me, hit me, kick me, slap me, treat me like a beast! I adore you."
Caresses can roar. If you doubt it, observe the lion's. The woman was horrible, and yet full of grace. The effect was tragic. First he felt the claw, then the velvet of the paw. A feline attack, made up of advances and retreats. There was death as well as sport in this game of come and go. She idolized him, but arrogantly. The result was contagious frenzy. Fatal language, at once inexpressible, violent, and sweet. The insulter did not insult; the adorer outraged the object of adoration. She, who buffeted, deified him. Her tones imparted to her violent yet amorous words an indescribable Promethean grandeur. According to Æschylus, in the orgies in honour of the great goddess the women were smitten by this evil frenzy when they pursued the satyrs under the stars. Such paroxysms raged in the mysterious dances in the grove of Dodona. This woman was as if transfigured—if, indeed, we can term that transfiguration which is the antithesis of heaven.
Caresses can roar. If you doubt it, just look at a lion’s embrace. The woman was terrifying, yet full of grace. The effect was tragic. First, he felt the claw, then the softness of the paw. It was a feline attack, a mix of advances and retreats. There was both danger and thrill in this back-and-forth game. She idolized him, but in a way that was arrogant. The result was a contagious frenzy. It was fatal language, both inexpressible, violent, and sweet. The person insulting didn’t actually insult; the person adoring outrageously confronted the object of their adoration. She, who struck out, deified him. Her tones gave her intense yet loving words an indescribable grandeur. According to Æschylus, during the rituals honoring the great goddess, the women were overcome with this wild frenzy as they chased the satyrs under the stars. Such intense emotions erupted in the mysterious dances in the grove of Dodona. This woman seemed transformed—as if we can even call it a transformation that is the opposite of heavenly.
Her hair quivered like a mane; her robe opened and closed. The sunshine of the blue eye mingled with the fire of the black one. She was unearthly.
Her hair fluttered like a mane; her robe flowed open and shut. The sunlight from her blue eye blended with the intensity of her black one. She seemed otherworldly.
Gwynplaine, giving way, felt himself vanquished by the deep subtilty of this attack.
Gwynplaine, yielding, felt himself defeated by the profound cleverness of this assault.
"I love you!" she cried. And she bit him with a kiss.
"I love you!" she exclaimed. And she kissed him fiercely.
Homeric clouds were, perhaps, about to be required to encompass Gwynplaine and Josiana, as they did Jupiter and Juno. For Gwynplaine to be loved by a woman who could see and who saw him, to feel on his deformed mouth the pressure of divine lips, was exquisite and maddening. Before this woman, full of enigmas, all else faded away in his mind. The remembrance of Dea struggled in the shadows with weak cries. There is an antique bas-relief representing the Sphinx devouring a Cupid. The wings of the sweet celestial are bleeding between the fierce, grinning fangs.
Homeric clouds were probably about to be needed to surround Gwynplaine and Josiana, just like they did with Jupiter and Juno. For Gwynplaine to be loved by a woman who could see him, and who actually saw him, and to feel the touch of divine lips on his deformed mouth, was both exquisite and maddening. In front of this woman, filled with mysteries, everything else in his mind faded away. The memory of Dea struggled in the shadows with faint cries. There’s an ancient bas-relief showing the Sphinx devouring a Cupid. The wings of the sweet celestial being are bleeding between the fierce, grinning fangs.
Did Gwynplaine love this woman? Has man, like the globe, two poles? Are we, on our inflexible axis, a moving sphere, a star when seen from afar, mud when seen more closely, in which night alternates with day? Has the heart two aspects—one on which its love is poured forth in light; the other in darkness? Here a woman of light, there a woman of the sewer. Angels are necessary. Is it possible that demons are also essential? Has the soul the wings of the bat? Does twilight fall fatally for all? Is sin an integral and inevitable part of our destiny? Must we accept evil as part and portion of our whole? Do we inherit sin as a debt? What awful subjects for thought!
Did Gwynplaine love this woman? Does a person, like the Earth, have two sides? Are we, on our unchangeable axis, a moving sphere, a star when viewed from a distance, but just dirt when seen up close, where night alternates with day? Does the heart have two sides—one where its love shines brightly; the other in darkness? Here’s a woman of light, and there’s a woman from the gutter. Angels are necessary. Could it be that demons are also crucial? Does the soul have the wings of a bat? Does twilight spell doom for everyone? Is sin an essential and unavoidable part of our fate? Do we have to accept evil as a piece of our whole? Do we inherit sin like a debt? What terrible topics for reflection!
Yet a voice tells us that weakness is a crime. Gwynplaine's feelings are not to be described. The flesh, life, terror, lust, an overwhelming intoxication of spirit, and all the shame possible to pride. Was he about to succumb?
Yet a voice tells us that being weak is a crime. Gwynplaine's emotions can't be put into words. The physical, life, fear, desire, an overwhelming rush of spirit, and all the shame that pride can bring. Was he about to give in?
She repeated, "I love you!" and flung her frenzied arms around him. Gwynplaine panted.
She shouted, "I love you!" and threw her excited arms around him. Gwynplaine gasped for breath.
Suddenly close at hand there rang, clear and distinct, a little bell. It was the little bell inside the wall. The duchess, turning her head, said,—
Suddenly, right nearby, a little bell rang out, clear and distinct. It was the little bell inside the wall. The duchess turned her head and said,—
"What does she want of me?"
"What does she want from me?"
Quickly, with the noise of a spring door, the silver panel, with the golden crown chased on it, opened. A compartment of a shaft, lined with royal blue velvet, appeared, and on a golden salver a letter. The letter, broad and weighty, was placed so as to exhibit the seal, which was a large impression in red wax. The bell continued to tinkle. The open panel almost touched the couch where the duchess and Gwynplaine were sitting.
Quickly, with the sound of a spring door, the silver panel, featuring a golden crown design, swung open. A compartment of a shaft, lined with royal blue velvet, was revealed, along with a letter on a golden tray. The letter, broad and heavy, was positioned to show off its seal, which was a large impression in red wax. The bell kept ringing. The open panel nearly brushed against the couch where the duchess and Gwynplaine were sitting.
Leaning over, but still keeping her arm round his neck, she took the letter from the plate, and touched the panel. The compartment closed in, and the bell ceased ringing.
Leaning over while keeping her arm around his neck, she took the letter from the plate and pressed the panel. The compartment closed, and the bell stopped ringing.
The duchess broke the seal, and, opening the envelope, drew out two documents contained therein, and flung it on the floor at Gwynplaine's feet. The impression of the broken seal was still decipherable, and Gwynplaine could distinguish a royal crown over the initial A. The torn envelope lay open before him, so that he could read, "To Her Grace the Duchess Josiana." The envelope had contained both vellum and parchment. The former was a small, the latter a large document. On the parchment was a large Chancery seal in green wax, called Lords' sealing-wax.
The duchess broke the seal and opened the envelope, pulling out two documents, which she tossed on the floor in front of Gwynplaine. The impression of the broken seal was still visible, and Gwynplaine could see a royal crown above the letter A. The torn envelope was laid open before him, allowing him to read, "To Her Grace the Duchess Josiana." Inside the envelope were both vellum and parchment. The vellum was a small document, while the parchment was larger. The parchment featured a large Chancery seal in green wax, known as Lords' sealing-wax.
The face of the duchess, whose bosom was palpitating, and whose eyes were swimming with passion, became overspread with a slight expression of dissatisfaction.
The duchess’s face, her chest heaving and her eyes filled with emotion, took on a hint of discontent.
"Ah!" she said. "What does she send me? A lot of papers! What a spoil-sport that woman is!"
"Ah!" she said. "What’s she sending me? A bunch of papers! What a buzzkill that woman is!"
Pushing aside the parchment, she opened the vellum.
Pushing aside the paper, she opened the smooth leather.
"It is her handwriting. It is my sister's hand. It is quite provoking. Gwynplaine, I asked you if you could read. Can you?"
"It’s her handwriting. It’s my sister’s writing. It’s pretty intriguing. Gwynplaine, I asked you if you could read. Can you?"
Gwynplaine nodded assent.
Gwynplaine nodded in agreement.
She stretched herself at full length on the couch, carefully drew her feet and arms under her robe, with a whimsical affectation of modesty, and, giving Gwynplaine the vellum, watched him with an impassioned look.
She lay down fully on the couch, tucked her feet and arms under her robe in a playful show of modesty, and, handing Gwynplaine the parchment, watched him with intense anticipation.
"Well, you are mine. Begin your duties, my beloved. Read me what the queen writes."
"Well, you belong to me. Start your tasks, my love. Read to me what the queen has written."
Gwynplaine took the vellum, unfolded it, and, in a voice tremulous with many emotions, began to read:—
Gwynplaine picked up the parchment, unfolded it, and, with a voice shaking from various emotions, started to read:—
"MADAM,—We are graciously pleased to send to you herewith, sealed and signed by our trusty and well-beloved William Cowper, Lord High Chancellor of England, a copy of a report showing forth the very important fact that the legitimate son of Linnæus Lord Clancharlie has just been discovered and recognized, bearing the name of Gwynplaine, in the lowest rank of a wandering and vagabond life, among strollers and mountebanks. His false position dates from his earliest days. In accordance with the laws of the country, and in virtue of his hereditary rights, Lord Fermain Clancharlie, son of Lord Linnæus, will be this day admitted, and installed in his position in the House of Lords. Therefore, having regard to your welfare, and wishing to preserve for your use the property and estates of Lord Clancharlie of Hunkerville, we substitute him in the place of Lord David Dirry-Moir, and recommend him to your good graces. We have caused Lord Fermain to be conducted to Corleone Lodge. We will and command, as sister and as Queen, that the said Fermain Lord Clancharlie, hitherto called Gwynplaine, shall be your husband, and that you shall marry him. Such is our royal pleasure."
"Madam, we are pleased to send you a copy of a report, sealed and signed by our trusted and beloved William Cowper, Lord High Chancellor of England. This report reveals the important fact that the legitimate son of Linnæus, Lord Clancharlie, has just been found and recognized. He goes by the name Gwynplaine and has been living in the lowest ranks of a wandering, vagabond life among entertainers and charlatans. His false status has existed since his earliest days. According to the laws of the country, and due to his hereditary rights, Lord Fermain Clancharlie, son of Lord Linnæus, will be admitted and installed today in his position in the House of Lords. Therefore, considering your welfare and wishing to secure the property and estates of Lord Clancharlie of Hunkerville for you, we are replacing Lord David Dirry-Moir with him and recommend him to your favor. We have arranged for Lord Fermain to be taken to Corleone Lodge. As sister and Queen, we decree that Fermain, Lord Clancharlie, formerly known as Gwynplaine, shall be your husband, and that you shall marry him. Such is our royal will."
While Gwynplaine, in tremulous tones which varied at almost every word, was reading the document, the duchess, half risen from the couch, listened with fixed attention. When Gwynplaine finished, she snatched the letter from his hands.
While Gwynplaine, with shaking tones that changed with nearly every word, was reading the document, the duchess, partly rising from the couch, listened intently. When Gwynplaine finished, she grabbed the letter from his hands.
"Anne R," she murmured in a tone of abstraction. Then picking up from the floor the parchment she had thrown down, she ran her eye over it. It was the confession of the shipwrecked crew of the Matutina, embodied in a report signed by the sheriff of Southwark and by the lord chancellor.
"Anne R," she whispered, lost in thought. Then, picking up the parchment she had tossed aside, she glanced over it. It was the confession of the shipwrecked crew of the Matutina, documented in a report signed by the sheriff of Southwark and the lord chancellor.
Having perused the report, she read the queen's letter over again. Then she said, "Be it so." And calmly pointing with her finger to the door of the gallery through which he had entered, she added, "Begone."
Having read the report, she looked over the queen's letter again. Then she said, "Fine." And calmly pointing with her finger to the door of the gallery through which he had entered, she added, "Leave."
Gwynplaine was petrified, and remained immovable. She repeated, in icy tones, "Since you are my husband, begone." Gwynplaine, speechless, and with eyes downcast like a criminal, remained motionless. She added, "You have no right to be here; it is my lover's place." Gwynplaine was like a man transfixed. "Very well," said she; "I must go myself. So you are my husband. Nothing can be better. I hate you." She rose, and with an indescribably haughty gesture of adieu left the room. The curtain in the doorway of the gallery fell behind her.
Gwynplaine was frozen in place and couldn’t move. She said coldly, “Since you’re my husband, leave.” Gwynplaine, speechless and with his eyes downcast like a criminal, stayed still. She continued, “You have no right to be here; this is my lover’s place.” Gwynplaine was like a man turned to stone. “Fine,” she said; “I’ll leave myself. So you’re my husband. Nothing could be worse. I hate you.” She stood up and, with an incredibly arrogant gesture of farewell, left the room. The curtain at the doorway of the gallery fell behind her.
CHAPTER V.
THEY RECOGNIZE, BUT DO NOT KNOW, EACH OTHER.
Gwynplaine was alone—alone, and in the presence of the tepid bath and the deserted couch. The confusion in his mind had reached its culminating point. His thoughts no longer resembled thoughts. They overflowed and ran riot; it was the anguish of a creature wrestling with perplexity. He felt as if he were awaking from a horrid nightmare. The entrance into unknown spheres is no simple matter.
Gwynplaine was alone—alone, and in front of the lukewarm bath and the empty couch. The confusion in his mind had peaked. His thoughts didn’t even seem like thoughts anymore. They spilled over and went wild; it was the pain of someone struggling with confusion. He felt like he was waking up from a terrible nightmare. Entering unknown territories is no easy task.
From the time he had received the duchess's letter, brought by the page, a series of surprising adventures had befallen Gwynplaine, each one less intelligible than the other. Up to this time, though in a dream, he had seen things clearly. Now he could only grope his way. He no longer thought, nor even dreamed. He collapsed. He sank down upon the couch which the duchess had vacated.
From the moment he got the duchess's letter, delivered by the page, Gwynplaine had experienced a string of shocking adventures, each one more confusing than the last. Until now, he had seen things clearly, even if it felt like a dream. Now he could only stumble through. He didn’t think anymore, nor did he even dream. He fell apart. He sank down onto the couch the duchess had just left.
Suddenly he heard a sound of footsteps, and those of a man. The noise came from the opposite side of the gallery to that by which the duchess had departed. The man approached, and his footsteps, though deadened by the carpet, were clear and distinct. Gwynplaine, in spite of his abstraction, listened.
Suddenly, he heard footsteps, and they belonged to a man. The sound came from the opposite side of the gallery from where the duchess had left. The man moved closer, and his footsteps, although muffled by the carpet, were clear and distinct. Gwynplaine, despite being lost in thought, listened.
Suddenly, beyond the silver web of curtain which the duchess had left partly open, a door, evidently concealed by the painted glass, opened wide, and there came floating into the room the refrain of an old French song, carolled at the top of a manly and joyous voice,—
Suddenly, beyond the silver curtain that the duchess had left partially open, a door, clearly hidden by the stained glass, swung wide, and a cheerful, strong male voice filled the room with the melody of an old French song,
"Trois petits gorets sur leur fumier
"Three little piglets on their manure."
Juraient comme de porteurs de chaise,"
Juraient comme de porteurs de chaise,
and a man entered. He wore a sword by his side, a magnificent naval uniform, covered with gold lace, and held in his hand a plumed hat with loops and cockade. Gwynplaine sprang up erect as if moved by springs. He recognized the man, and was, in turn, recognized by him. From their astonished lips came, simultaneously, this double exclamation:—
and a man walked in. He wore a sword at his side, a stunning naval uniform decorated with gold lace, and held a plumed hat with loops and a cockade in his hand. Gwynplaine sprang up straight as if propelled by springs. He recognized the man, who also recognized him in return. From their astonished lips came, simultaneously, this double exclamation:—
"Gwynplaine!"
"Gwynplaine!"
"Tom-Jim-Jack!"
"Tom, Jim, Jack!"
The man with the plumed hat advanced towards Gwynplaine, who stood with folded arms.
The man with the feathered hat walked up to Gwynplaine, who stood with his arms crossed.
"What are you doing here, Gwynplaine?"
"What are you doing here, Gwynplaine?"
"And you, Tom-Jim-Jack, what are you doing here?"
"And you, Tom-Jim-Jack, what are you doing here?"
"Oh! I understand. Josiana! a caprice. A mountebank and a monster! The double attraction is too powerful to be resisted. You disguised yourself in order to get here, Gwynplaine?"
"Oh! I get it. Josiana! A whim. A trickster and a beast! The combined pull is too strong to fight against. You dressed up to make it here, Gwynplaine?"
"And you, too, Tom-Jim-Jack?"
"And you, too, Tom-Jim-Jack?"
"Gwynplaine, what does this gentleman's dress mean?"
"Gwynplaine, what does this guy's outfit mean?"
"Tom-Jim-Jack, what does that officer's uniform mean?"
"Tom-Jim-Jack, what does that cop's uniform mean?"
"Gwynplaine, I answer no questions."
"Gwynplaine, I don’t answer questions."
"Neither do I, Tom-Jim-Jack."
"Me neither, Tom-Jim-Jack."
"Gwynplaine, my name is not Tom-Jim-Jack."
"Gwynplaine, my name isn't Tom-Jim-Jack."
"Tom-Jim-Jack, my name is not Gwynplaine."
"Tom-Jim-Jack, my name is not Gwynplaine."
"Gwynplaine, I am here in my own house."
"Gwynplaine, I'm here in my own home."
"I am here in my own house, Tom-Jim-Jack."
"I’m here in my own house, Tom-Jim-Jack."
"I will not have you echo my words. You are ironical; but I've got a cane. An end to your jokes, you wretched fool."
"I won't let you repeat my words. You're being sarcastic; but I've got a cane. Time to end your jokes, you miserable fool."
Gwynplaine became ashy pale. "You are a fool yourself, and you shall give me satisfaction for this insult."
Gwynplaine turned ashen. "You're the real fool here, and you owe me an apology for this insult."
"In your booth as much as you like, with fisticuffs."
"In your booth as long as you want, with some fighting."
"Here, and with swords?"
"Here, with swords?"
"My friend Gwynplaine, the sword is a weapon for gentlemen. With it I can only fight my equals. At fisticuffs we are equal, but not so with swords. At the Tadcaster Inn Tom-Jim-Jack could box with Gwynplaine; at Windsor the case is altered. Understand this: I am a rear-admiral."
"My friend Gwynplaine, the sword is a weapon for gentlemen. With it, I can only fight my equals. In a fistfight, we are equal, but not so with swords. At the Tadcaster Inn, Tom-Jim-Jack could box with Gwynplaine; at Windsor, that's not the case. Understand this: I am a rear-admiral."
"And I am a peer of England."
"And I am a nobleman of England."
The man whom Gwynplaine recognized as Tom-Jim-Jack burst out laughing. "Why not a king? Indeed, you are right. An actor plays every part. You'll tell me next that you are Theseus, Duke of Athens."
The man Gwynplaine recognized as Tom-Jim-Jack started laughing. "Why not a king? You're absolutely right. An actor plays every role. Next, you’ll tell me you’re Theseus, Duke of Athens."
"I am a peer of England, and we are going to fight."
"I am a noble from England, and we are about to fight."
"Gwynplaine, this becomes tiresome. Don't play with one who can order you to be flogged. I am Lord David Dirry-Moir."
"Gwynplaine, this is getting old. Don’t mess around with someone who can have you whipped. I am Lord David Dirry-Moir."
"And I am Lord Clancharlie."
"And I am Lord Clancharlie."
Again Lord David burst out laughing.
Again, Lord David burst out laughing.
"Well said! Gwynplaine is Lord Clancharlie. That is indeed the name the man must bear who is to win Josiana. Listen. I forgive you; and do you know the reason? It's because we are both lovers of the same woman."
"Well said! Gwynplaine is Lord Clancharlie. That’s definitely the name the guy needs to have to win over Josiana. Listen. I forgive you; and do you know why? It’s because we both love the same woman."
The curtain in the door was lifted, and a voice exclaimed, "You are the two husbands, my lords."
The curtain in the door was pulled back, and a voice said, "You are the two husbands, my lords."
They turned.
They changed direction.
"Barkilphedro!" cried Lord David.
"Barkilphedro!" yelled Lord David.
It was indeed he; he bowed low to the two lords, with a smile on his face. Some few paces behind him was a gentleman with a stern and dignified countenance, who carried in his hand a black wand. This gentleman advanced, and, bowing three times to Gwynplaine, said, "I am the Usher of the Black Rod. I come to fetch your lordship, in obedience to her Majesty's commands."
It was him for sure; he bowed deeply to the two lords, smiling. A few steps behind him was a man with a serious and dignified expression, holding a black wand. This man stepped forward and, bowing three times to Gwynplaine, said, "I am the Usher of the Black Rod. I’m here to escort your lordship, following her Majesty's orders."
BOOK THE EIGHTH.
THE CAPITOL AND THINGS AROUND IT.
CHAPTER I.
ANALYSIS OF MAJESTIC MATTERS.
Irresistible Fate ever carrying him forward, which had now for so many hours showered its surprises on Gwynplaine, and which had transported him to Windsor, transferred him again to London. Visionary realities succeeded each other without a moment's intermission. He could not escape from their influence. Freed from one he met another. He had scarcely time to breathe. Any one who has seen a juggler throwing and catching balls can judge the nature of fate. Those rising and falling projectiles are like men tossed in the hands of Destiny—projectiles and playthings.
Irresistible Fate continuously pushed him forward, and after hours of surprises showered upon Gwynplaine, it had brought him to Windsor and then back to London. Dreamlike realities came at him one after the other without a break. He couldn’t escape their grip. As soon as he was free from one, another appeared. He hardly had time to catch his breath. Anyone who's watched a juggler tossing and catching balls can understand the nature of fate. Those rising and falling objects are like people tossed about by Destiny—objects and playthings.
On the evening of the same day, Gwynplaine was an actor in an extraordinary scene. He was seated on a bench covered with fleurs-de-lis; over his silken clothes he wore a robe of scarlet velvet, lined with white silk, with a cape of ermine, and on his shoulders two bands of ermine embroidered with gold. Around him were men of all ages, young and old, seated like him on benches covered with fleurs-de-lis, and dressed like him in ermine and purple. In front of him other men were kneeling, clothed in black silk gowns. Some of them were writing; opposite, and a short distance from him, he observed steps, a raised platform, a dais, a large escutcheon glittering between a lion and a unicorn, and at the top of the steps, on the platform under the dais, resting against the escutcheon, was a gilded chair with a crown over it. This was a throne—the throne of Great Britain.
On the evening of the same day, Gwynplaine was part of an incredible scene. He was sitting on a bench decorated with fleur-de-lis; over his silk clothes, he wore a scarlet velvet robe lined with white silk, a cape made of ermine, and on his shoulders, two bands of ermine embroidered with gold. Around him were men of all ages, both young and old, also seated on benches covered with fleur-de-lis and dressed in ermine and purple like him. In front of him, other men were kneeling, dressed in black silk gowns. Some of them were writing; across from him and a short distance away, he noticed stairs, a raised platform, a dais, and a large coat of arms glittering between a lion and a unicorn. At the top of the steps, on the platform under the dais, leaning against the coat of arms, was a gilded chair topped with a crown. This was a throne—the throne of Great Britain.
Gwynplaine, himself a peer of England, was in the House of Lords. How Gwynplaine's introduction to the House of Lords came about, we will now explain. Throughout the day, from morning to night, from Windsor to London, from Corleone Lodge to Westminster Hall, he had step by step mounted higher in the social grade. At each step he grew giddier. He had been conveyed from Windsor in a royal carriage with a peer's escort. There is not much difference between a guard of honour and a prisoner's. On that day, travellers on the London and Windsor road saw a galloping cavalcade of gentlemen pensioners of her Majesty's household escorting two carriages drawn at a rapid pace. In the first carriage sat the Usher of the Black Rod, his wand in his hand. In the second was to be seen a large hat with white plumes, throwing into shadow and hiding the face underneath it. Who was it who was thus being hurried on—a prince, a prisoner? It was Gwynplaine.
Gwynplaine, a member of the English nobility, was in the House of Lords. Now, let’s explain how Gwynplaine got introduced to the House of Lords. Throughout the day, from morning to night, traveling from Windsor to London and from Corleone Lodge to Westminster Hall, he gradually moved up the social ladder. With each step, he felt more and more overwhelmed. He had been transported from Windsor in a royal carriage with a peer's escort. There’s not much difference between a guard of honor and a prisoner’s escort. That day, travelers on the road between London and Windsor saw a fast-moving group of gentlemen pensioners from the Queen's household escorting two carriages at a quick pace. In the first carriage sat the Usher of the Black Rod, holding his wand. In the second carriage, a large hat with white plumes obscured and concealed the face beneath it. Who was being rushed along like this—a prince or a prisoner? It was Gwynplaine.
It looked as if they were conducting some one to the Tower, unless, indeed, they were escorting him to the House of Lords. The queen had done things well. As it was for her future brother-in-law, she had provided an escort from her own household. The officer of the Usher of the Black Rod rode on horseback at the head of the cavalcade. The Usher of the Black Rod carried, on a cushion placed on a seat of the carriage, a black portfolio stamped with the royal crown. At Brentford, the last relay before London, the carriages and escort halted. A four-horse carriage of tortoise-shell, with two postilions, a coachman in a wig, and four footmen, was in waiting. The wheels, steps, springs, pole, and all the fittings of this carriage were gilt. The horses' harness was of silver. This state coach was of an ancient and extraordinary shape, and would have been distinguished by its grandeur among the fifty-one celebrated carriages of which Roubo has left us drawings.
It seemed like they were leading someone to the Tower, unless they were actually taking him to the House of Lords. The queen had arranged everything nicely. Since it was for her future brother-in-law, she provided an escort from her own staff. The officer of the Usher of the Black Rod rode at the front of the procession. The Usher of the Black Rod carried a black portfolio with the royal crown on a cushion set on a seat in the carriage. At Brentford, the last stop before London, the carriages and escort paused. A tortoise-shell carriage drawn by four horses, with two postilions, a coachman in a wig, and four footmen, was ready. The wheels, steps, springs, pole, and all the fittings of this carriage were gilded. The horses' harness was made of silver. This royal coach had an ancient and unusual design and would stand out for its splendor among the fifty-one renowned carriages that Roubo had illustrated.
The Usher of the Black Rod and his officer alighted. The latter, having lifted the cushion, on which rested the royal portfolio, from the seat in the postchaise, carried it on outstretched hands, and stood behind the Usher. He first opened the door of the empty carriage, then the door of that occupied by Gwynplaine, and, with downcast eyes, respectfully invited him to descend. Gwynplaine left the chaise, and took his seat in the carriage. The Usher carrying the rod, and the officer supporting the cushion, followed, and took their places on the low front seat provided for pages in old state coaches. The inside of the carriage was lined with white satin trimmed with Binche silk, with tufts and tassels of silver. The roof was painted with armorial bearings. The postilions of the chaises they were leaving were dressed in the royal livery. The attendants of the carriage they now entered wore a different but very magnificent livery.
The Usher of the Black Rod and his officer got out. The officer, after lifting the cushion that held the royal portfolio from the seat in the carriage, carried it with outstretched hands and stood behind the Usher. He first opened the door of the empty carriage, then the door of the one occupied by Gwynplaine, and, with his eyes downcast, respectfully invited him to get out. Gwynplaine exited the carriage and took his seat inside. The Usher with the rod and the officer with the cushion followed and took their places on the low front seat designated for attendants in old state coaches. The inside of the carriage was lined with white satin trimmed with Binche silk, complete with silver tufts and tassels. The ceiling was painted with heraldic designs. The postilions of the carriages they were leaving wore the royal livery. The attendants of the carriage they were now entering donned a different but equally magnificent livery.
Gwynplaine, in spite of his bewildered state, in which he felt quite overcome, remarked the gorgeously-attired footmen, and asked the Usher of the Black Rod,—
Gwynplaine, despite feeling confused and overwhelmed, noticed the elegantly dressed footmen and asked the Usher of the Black Rod,—
"Whose livery is that?"
"Whose delivery is that?"
He answered,—
He replied,—
"Yours, my lord."
"Yours, my lord."
The House of Lords was to sit that evening. Curia erat serena, run the old records. In England parliamentary work is by preference undertaken at night. It once happened that Sheridan began a speech at midnight and finished it at sunrise.
The House of Lords was set to meet that evening. Curia erat serena, say the old records. In England, parliamentary work is usually done at night. There was even a time when Sheridan started a speech at midnight and wrapped it up by sunrise.
The two postchaises returned to Windsor. Gwynplaine's carriage set out for London. This ornamented four-horse carriage proceeded at a walk from Brentford to London, as befitted the dignity of the coachman. Gwynplaine's servitude to ceremony was beginning in the shape of his solemn-looking coachman. The delay was, moreover, apparently prearranged; and we shall see presently its probable motive.
The two carriages headed back to Windsor. Gwynplaine's carriage left for London. This fancy four-horse carriage moved slowly from Brentford to London, fitting for the dignity of the coachman. Gwynplaine was starting to serve formalities, reflected in his serious-looking coachman. The delay seemed to be planned in advance, and we'll soon see its likely reason.
Night was falling, though it was not quite dark, when the carriage stopped at the King's Gate, a large sunken door between two turrets connecting Whitehall with Westminster. The escort of gentlemen pensioners formed a circle around the carriage. A footman jumped down from behind it and opened the door. The Usher of the Black Rod, followed by the officer carrying the cushion, got out of the carriage, and addressed Gwynplaine.
Night was settling in, but it wasn’t fully dark yet when the carriage arrived at the King's Gate, a big recessed door between two towers that links Whitehall with Westminster. A group of gentlemen pensioners formed a circle around the carriage. A footman jumped down from the back and opened the door. The Usher of the Black Rod, followed by the officer holding the cushion, got out of the carriage and spoke to Gwynplaine.
"My lord, be pleased to alight. I beg your lordship to keep your hat on."
"My lord, please get down. I ask you to keep your hat on."
Gwynplaine wore under his travelling cloak the suit of black silk, which he had not changed since the previous evening. He had no sword. He left his cloak in the carriage. Under the arched way of the King's Gate there was a small side door raised some few steps above the road. In ceremonial processions the greatest personage never walks first.
Gwynplaine wore a black silk suit beneath his travel cloak, which he hadn’t changed since the night before. He didn’t have a sword. He left his cloak in the carriage. Under the arched way of the King’s Gate, there was a small side door elevated a few steps above the road. In ceremonial processions, the highest-ranking individual never goes first.
The Usher of the Black Rod, followed by his officer, walked first; Gwynplaine followed. They ascended the steps, and entered by the side door. Presently they were in a wide, circular room, with a pillar in the centre, the lower part of a turret. The room, being on the ground floor, was lighted by narrow windows in the pointed arches, which served but to make darkness visible. Twilight often lends solemnity to a scene. Obscurity is in itself majestic.
The Usher of the Black Rod, followed by his officer, walked ahead; Gwynplaine followed behind. They climbed the steps and entered through the side door. Soon, they were in a large, round room with a pillar in the center, the base of a turret. Because the room was on the ground floor, it was lit by narrow windows in pointed arches that barely illuminated the darkness. Twilight often adds a serious tone to a scene. Darkness can be impressive in its own way.
In this room, thirteen men, disposed in ranks, were standing—three in the front row, six in the second row, and four behind. In the front row one wore a crimson velvet gown; the other two, gowns of the same colour, but of satin. All three had the arms of England embroidered on their shoulders. The second rank wore tunics of white silk, each one having a different coat of arms emblazoned in front. The last row were clad in black silk, and were thus distinguished. The first wore a blue cape. The second had a scarlet St. George embroidered in front. The third, two embroidered crimson crosses, in front and behind. The fourth had a collar of black sable fur. All were uncovered, wore wigs, and carried swords. Their faces were scarcely visible in the dim light, neither could they see Gwynplaine's face.
In this room, thirteen men were standing in formation—three in the front row, six in the second row, and four in the back. In the front row, one wore a crimson velvet robe; the other two wore satin robes of the same color. All three had the arms of England stitched on their shoulders. The second row wore white silk tunics, each displaying a different coat of arms on the front. The back row was dressed in black silk, which set them apart. The first man wore a blue cape. The second had a scarlet St. George embroidered on the front. The third displayed two embroidered crimson crosses, one at the front and one at the back. The fourth had a collar made of black sable fur. All were bareheaded, wore wigs, and carried swords. Their faces were barely visible in the dim light, and they couldn’t see Gwynplaine's face either.
The Usher of the Black Rod, raising his wand, said,—
The Usher of the Black Rod, lifting his wand, said,—
"My Lord Fermain Clancharlie, Baron Clancharlie and Hunkerville, I, the Usher of the Black Rod, first officer of the presence chamber, hand your lordship over to Garter King-at-Arms."
"My Lord Fermain Clancharlie, Baron Clancharlie and Hunkerville, I, the Usher of the Black Rod, the first officer of the presence chamber, now present your lordship to Garter King-at-Arms."
The person clothed in velvet, quitting his place in the ranks, bowed to the ground before Gwynplaine, and said,—
The person dressed in velvet stepped out of line, bowed to the ground before Gwynplaine, and said,—
"My Lord Fermain Clancharlie, I am Garter, Principal King-at-Arms of England. I am the officer appointed and installed by his grace the Duke of Norfolk, hereditary Earl Marshal. I have sworn obedience to the king, peers, and knights of the garter. The day of my installation, when the Earl Marshal of England anointed me by pouring a goblet of wine on my head, I solemnly promised to be attentive to the nobility; to avoid bad company; to excuse, rather than accuse, gentlefolks; and to assist widows and virgins. It is I who have the charge of arranging the funeral ceremonies of peers, and the supervision of their armorial bearings. I place myself at the orders of your lordship."
"My Lord Fermain Clancharlie, I am Garter, the Principal King-at-Arms of England. I was appointed and installed by His Grace the Duke of Norfolk, the hereditary Earl Marshal. I have sworn loyalty to the king, the nobles, and the knights of the Garter. On the day of my installation, when the Earl Marshal of England poured a goblet of wine over my head, I promised to pay attention to the nobility, to avoid bad company, to excuse rather than accuse gentlemen and gentlewomen, and to help widows and unmarried women. I am responsible for organizing the funeral ceremonies of nobles and overseeing their coats of arms. I am at your lordship's service."
The first of those wearing satin tunics, having bowed deeply, said,—
The first person in the satin tunic, after bowing deeply, said,—
"My lord, I am Clarenceaux, Second King-at-Arms of England. I am the officer who arranges the obsequies of nobles below the rank of peers. I am at your lordship's disposal."
"My lord, I am Clarenceaux, Second King-at-Arms of England. I am the officer responsible for organizing the funerals of nobles below the rank of peers. I am at your service, my lord."
The other wearer of the satin tunic bowed and spoke thus,—
The other person in the satin tunic bowed and said,—
"My lord, I am Norroy, Third King-at-Arms of England. Command me."
"My lord, I am Norroy, the Third King-at-Arms of England. Just give me your orders."
The second row, erect and without bowing, advanced a pace. The right-hand man said,—
The second row stood tall and straight, moving forward a step. The man on the right said,—
"My lord, we are the six Dukes-at-Arms of England. I am York."
"My lord, we are the six Dukes-at-Arms of England. I am York."
Then each of the heralds, or Dukes-at-Arms, speaking in turn, proclaimed his title.
Then each of the heralds, or Dukes-at-Arms, took turns announcing his title.
"I am Lancaster."
"I'm Lancaster."
"I am Richmond."
"I'm Richmond."
"I am Chester."
"I'm Chester."
"I am Somerset."
"I'm Somerset."
"I am Windsor."
"I'm Windsor."
The coats of arms embroidered on their breasts were those of the counties and towns from which they took their names.
The coats of arms stitched on their chests were from the counties and towns they were named after.
The third rank, dressed in black, remained silent. Garter King-at-Arms, pointing them out to Gwynplaine, said,—
The third rank, dressed in black, stayed quiet. Garter King-at-Arms, pointing them out to Gwynplaine, said,—
"My lord, these are the four Pursuivants-at-Arms. Blue Mantle."
"My lord, these are the four Heralds-at-Arms. Blue Mantle."
The man with the blue cape bowed.
The man in the blue cape bowed.
"Rouge Dragon."
"Red Dragon."
He with the St. George inclined his head.
He with the St. George nodded his head.
"Rouge Croix."
"Red Cross."
He with the scarlet crosses saluted.
He with the red crosses greeted.
"Portcullis."
"Drawbridge gate."
He with the sable fur collar made his obeisance.
He with the black fur collar bowed respectfully.
On a sign from the King-at-Arms, the first of the pursuivants, Blue Mantle, stepped forward and received from the officer of the Usher the cushion of silver cloth and crown-emblazoned portfolio. And the King-at-Arms said to the Usher of the Black Rod,—
On a signal from the King-at-Arms, the leading pursuivant, Blue Mantle, stepped forward and accepted the silver cloth cushion and crown-decorated portfolio from the Usher's officer. The King-at-Arms then addressed the Usher of the Black Rod,—
"Proceed; I leave in your hands the introduction of his lordship!"
"Go ahead; I'm leaving the introduction of his lordship to you!"
The observance of these customs, and also of others which will now be described, were the old ceremonies in use prior to the time of Henry VIII., and which Anne for some time attempted to revive. There is nothing like it in existence now. Nevertheless, the House of Lords thinks that it is unchangeable; and, if Conservatism exists anywhere, it is there.
The practice of these customs, along with others that will be described now, was part of the old ceremonies used before Henry VIII's time, which Anne tried to revive for a while. There's nothing quite like it today. Still, the House of Lords believes it's unchangeable; if Conservatism exists anywhere, it's there.
It changes, nevertheless. E pur si muove. For instance, what has become of the may-pole, which the citizens of London erected on the 1st of May, when the peers went down to the House? The last one was erected in 1713. Since then the may-pole has disappeared. Disuse.
It changes, however. And yet it moves. For example, what happened to the maypole that the people of London set up on May 1st, when the lords went down to the House? The last one was put up in 1713. Since then, the maypole has vanished. It's fallen out of use.
Outwardly, unchangeable; inwardly, mutable. Take, for example, the title of Albemarle. It sounds eternal. Yet it has been through six different families—Odo, Mandeville, Bethune, Plantagenet, Beauchamp, Monck. Under the title of Leicester five different names have been merged—Beaumont, Breose, Dudley, Sydney, Coke. Under Lincoln, six; under Pembroke, seven. The families change, under unchanging titles. A superficial historian believes in immutability. In reality it does not exist. Man can never be more than a wave; humanity is the ocean.
Outwardly unchanging; inwardly fluid. Take, for instance, the title of Albemarle. It seems eternal. Yet, it has belonged to six different families—Odo, Mandeville, Bethune, Plantagenet, Beauchamp, Monck. The title of Leicester has seen five different names merge—Beaumont, Breose, Dudley, Sydney, Coke. Under Lincoln, there have been six; under Pembroke, seven. The families change, while the titles stay the same. A superficial historian believes in permanence. In reality, it doesn’t exist. A person can never be more than a wave; humanity is the ocean.
Aristocracy is proud of what women consider a reproach—age! Yet both cherish the same illusion, that they do not change. It is probable the House of Lords will not recognize itself in the foregoing description, nor yet in that which follows, thus resembling the once pretty woman, who objects to having any wrinkles. The mirror is ever a scapegoat, yet its truths cannot be contested. To portray exactly, constitutes the duty of a historian. The King-at-Arms, turning to Gwynplaine, said,—
Aristocracy takes pride in what women see as a mark of shame—age! Yet both groups cling to the same delusion, believing they don’t change. It’s likely the House of Lords won’t see themselves in the previous description, nor in the one that follows, much like a once-attractive woman who refuses to accept her wrinkles. The mirror is always blamed, but its truths can’t be denied. Accurately capturing reality is the historian's responsibility. The King-at-Arms, turning to Gwynplaine, said,—
"Be pleased to follow me, my lord." And added, "You will be saluted. Your lordship, in returning the salute, will be pleased merely to raise the brim of your hat."
"Please follow me, my lord." And added, "You will be greeted. When returning the greeting, your lordship should simply lift the brim of your hat."
They moved off, in procession, towards a door at the far side of the room. The Usher of the Black Rod walked in front; then Blue Mantle, carrying the cushion; then the King-at-Arms; and after him came Gwynplaine, wearing his hat. The rest, kings-at-arms, heralds, and pursuivants, remained in the circular room. Gwynplaine, preceded by the Usher of the Black Rod, and escorted by the King-at-Arms, passed from room to room, in a direction which it would now be impossible to trace, the old Houses of Parliament having been pulled down. Amongst others, he crossed that Gothic state chamber in which took place the last meeting of James II. and Monmouth, and whose walls witnessed the useless debasement of the cowardly nephew at the feet of his vindictive uncle. On the walls of this chamber hung, in chronological order, nine fell-length portraits of former peers, with their dates—Lord Nansladron, 1305; Lord Baliol, 1306; Lord Benestede, 1314; Lord Cantilupe, 1356; Lord Montbegon, 1357; Lord Tibotot, 1373; Lord Zouch of Codnor, 1615; Lord Bella-Aqua, with no date; Lord Harren and Surrey, Count of Blois, also without date.
They moved in a line towards a door on the far side of the room. The Usher of the Black Rod went first; then Blue Mantle, holding the cushion; then the King-at-Arms; and after him came Gwynplaine, wearing his hat. The rest—kings-at-arms, heralds, and pursuivants—stayed in the circular room. Gwynplaine, followed by the Usher of the Black Rod and escorted by the King-at-Arms, moved from room to room in a direction that would now be impossible to trace, as the old Houses of Parliament had been torn down. Among other places, he passed through that Gothic state chamber where the last meeting of James II and Monmouth took place, a room that witnessed the humiliating submission of the cowardly nephew to his vengeful uncle. On the walls of this chamber were nine full-length portraits of former peers displayed in chronological order, with their dates—Lord Nansladron, 1305; Lord Baliol, 1306; Lord Benestede, 1314; Lord Cantilupe, 1356; Lord Montbegon, 1357; Lord Tibotot, 1373; Lord Zouch of Codnor, 1615; Lord Bella-Aqua without a date; and Lord Harren and Surrey, Count of Blois, also without a date.
It being now dark, lamps were burning at intervals in the galleries. Brass chandeliers, with wax candles, illuminated the rooms, lighting them like the side aisles of a church. None but officials were present. In one room, which the procession crossed, stood, with heads respectfully lowered, the four clerks of the signet, and the Clerk of the Council. In another room stood the distinguished Knight Banneret, Philip Sydenham of Brympton in Somersetshire. The Knight Banneret is a title conferred in time of war, under the unfurled royal standard. In another room was the senior baronet of England, Sir Edmund Bacon of Suffolk, heir of Sir Nicholas Bacon, styled, Primus baronetorum Anglicæ. Behind Sir Edmund was an armour-bearer with an arquebus, and an esquire carrying the arms of Ulster, the baronets being the hereditary defenders of the province of Ulster in Ireland. In another room was the Chancellor of the Exchequer, with his four accountants, and the two deputies of the Lord Chamberlain, appointed to cleave the tallies.[21]
It was now dark, and lamps were flickering in the hallways. Brass chandeliers with wax candles lit up the rooms, making them look like the side aisles of a church. Only officials were present. In one room, through which the procession passed, stood the four clerks of the signet and the Clerk of the Council, their heads respectfully lowered. In another room stood the notable Knight Banneret, Philip Sydenham of Brympton in Somersetshire. The Knight Banneret is a title given during wartime under the royal standard. In a different room was the senior baronet of England, Sir Edmund Bacon of Suffolk, heir of Sir Nicholas Bacon, known as Primus baronetorum Anglicæ. Behind Sir Edmund was an armor-bearer with an arquebus and an esquire carrying the arms of Ulster, as baronets are the hereditary defenders of Ulster in Ireland. In another room was the Chancellor of the Exchequer, along with his four accountants and the two deputies of the Lord Chamberlain, appointed to cleave the tallies.[21]
At the entrance of a corridor covered with matting, which was the communication between the Lower and the Upper House, Gwynplaine was saluted by Sir Thomas Mansell of Margam, Comptroller of the Queen's Household and Member for Glamorgan; and at the exit from the corridor by a deputation of one for every two of the Barons of the Cinque Ports, four on the right and four on the left, the Cinque Ports being eight in number. William Hastings did obeisance for Hastings; Matthew Aylmor, for Dover; Josias Burchett, for Sandwich; Sir Philip Boteler, for Hythe; John Brewer, for New Rumney; Edward Southwell, for the town of Rye; James Hayes, for Winchelsea; George Nailor, for Seaford. As Gwynplaine was about to return the salute, the King-at-Arms reminded him in a low voice of the etiquette, "Only the brim of your hat, my lord." Gwynplaine did as directed. He now entered the so-called Painted Chamber, in which there was no painting, except a few of saints, and amongst them St. Edward, in the high arches of the long and deep-pointed windows, which were divided by what formed the ceiling of Westminster Hall and the floor of the Painted Chamber. On the far side of the wooden barrier which divided the room from end to end, stood the three Secretaries of State, men of mark. The functions of the first of these officials comprised the supervision of all affairs relating to the south of England, Ireland, the Colonies, France, Switzerland, Italy, Spain, Portugal, and Turkey. The second had charge of the north of England, and watched affairs in the Low Countries, Germany, Denmark, Sweden, Poland, and Russia. The third, a Scot, had charge of Scotland. The two first-mentioned were English, one of them being the Honourable Robert Harley, Member for the borough of New Radnor. A Scotch member, Mungo Graham, Esquire, a relation of the Duke of Montrose, was present. All bowed, without speaking, to Gwynplaine, who returned the salute by touching his hat. The barrier-keeper lifted the wooden arm which, pivoting on a hinge, formed the entrance to the far side of the Painted Chamber, where stood the long table, covered with green cloth, reserved for peers. A branch of lighted candles stood on the table. Gwynplaine, preceded by the Usher of the Black Rod, Garter King-at-Arms, and Blue Mantle, penetrated into this privileged compartment. The barrier-keeper closed the opening immediately Gwynplaine had passed. The King-at-Arms, having entered the precincts of the privileged compartment, halted. The Painted Chamber was a spacious apartment. At the farther end, upright, beneath the royal escutcheon which was placed between the two windows, stood two old men, in red velvet robes, with two rows of ermine trimmed with gold lace on their shoulders, and wearing wigs, and hats with white plumes. Through the openings of their robes might be detected silk garments and sword hilts. Motionless behind them stood a man dressed in black silk, holding on high a great mace of gold surmounted by a crowned lion. It was the Mace-bearer of the Peers of England. The lion is their crest. Et les Lions ce sont les Barons et li Per, runs the manuscript chronicle of Bertrand Duguesclin.
At the entrance of a hallway covered with matting, which connected the Lower and Upper House, Gwynplaine was greeted by Sir Thomas Mansell of Margam, Comptroller of the Queen's Household and Member for Glamorgan; and as he exited the corridor, he met a delegation representing the Barons of the Cinque Ports, with four on the right and four on the left, as there were eight Cinque Ports in total. William Hastings represented Hastings; Matthew Aylmor, Dover; Josias Burchett, Sandwich; Sir Philip Boteler, Hythe; John Brewer, New Rumney; Edward Southwell, Rye; James Hayes, Winchelsea; and George Nailor, Seaford. Just as Gwynplaine was about to return the greeting, the King-at-Arms quietly reminded him about the proper etiquette, "Only the brim of your hat, my lord." Gwynplaine complied. He then entered the so-called Painted Chamber, which had little in the way of actual paintings apart from a few saints, including St. Edward, in the high arches of the long and pointed windows that were divided by what formed the ceiling of Westminster Hall and the floor of the Painted Chamber. Across the room, behind a wooden barrier that ran from one end to the other, stood the three Secretaries of State, prominent men. The first of these officials overseen all matters related to the south of England, Ireland, the Colonies, France, Switzerland, Italy, Spain, Portugal, and Turkey. The second was in charge of the north of England and monitored matters in the Low Countries, Germany, Denmark, Sweden, Poland, and Russia. The third, a Scot, managed Scotland. The first two were English, one being the Honourable Robert Harley, Member for the borough of New Radnor. A Scottish member, Mungo Graham, Esquire, a relative of the Duke of Montrose, was also present. They all bowed silently to Gwynplaine, who acknowledged them by touching his hat. The barrier-keeper lifted the wooden arm that formed the entrance to the far side of the Painted Chamber, where a long table draped in green cloth reserved for peers stood. A branch of lit candles was on the table. Gwynplaine, preceded by the Usher of the Black Rod, Garter King-at-Arms, and Blue Mantle, moved into this exclusive area. The barrier-keeper closed the opening immediately after Gwynplaine passed through. The King-at-Arms halted upon entering the privileged section. The Painted Chamber was spacious. At the far end, standing upright beneath the royal coat of arms placed between the two windows, were two elderly men in red velvet robes adorned with two rows of ermine trimmed with gold lace on their shoulders, wearing wigs and hats with white plumes. The openings of their robes revealed silk garments and the hilts of swords. Motionless behind them was a man dressed in black silk, holding high a large mace of gold topped with a crowned lion. This was the Mace-bearer of the Peers of England. The lion is their crest. Et les Lions ce sont les Barons et li Per, reads the manuscript chronicle of Bertrand Duguesclin.
The King-at-Arms pointed out the two persons in velvet, and whispered to Gwynplaine,—
The King-at-Arms indicated the two people in velvet and whispered to Gwynplaine,—
"My lord, these are your equals. Be pleased to return their salute exactly as they make it. These two peers are barons, and have been named by the Lord Chancellor as your sponsors. They are very old, and almost blind. They will, themselves, introduce you to the House of Lords. The first is Charles Mildmay, Lord Fitzwalter, sixth on the roll of barons; the second is Augustus Arundel, Lord Arundel of Trerice, thirty-eighth on the roll of barons." The King-at-Arms having advanced a step towards the two old men, proclaimed "Fermain Clancharlie, Baron Clancharlie, Baron Hunkerville, Marquis of Corleone in Sicily, greets your lordships!" The two peers raised their hats to the full extent of the arm, and then replaced them. Gwynplaine did the same. The Usher of the Black Rod stepped forward, followed by Blue Mantle and Garter King at-Arms. The Mace-bearer took up his post in front of Gwynplaine, the two peers at his side, Lord Fitzwalter on the right, and Lord Arundel of Trerice on the left. Lord Arundel, the elder of the two, was very feeble. He died the following year, bequeathing to his grandson John, a minor, the title which became extinct in 1768. The procession, leaving the Painted Chamber, entered a gallery in which were rows of pilasters, and between the spaces were sentinels, alternately pike-men of England and halberdiers of Scotland. The Scotch halberdiers were magnificent kilted soldiers, worthy to encounter later on at Fontenoy the French cavalry, and the royal cuirassiers, whom their colonel thus addressed: "Messieurs les maitres, assurez vos chapeaux. Nous allons avoir l'honneur de charger." The captain of these soldiers saluted Gwynplaine, and the peers, his sponsors, with their swords. The men saluted with their pikes and halberds.
"My lord, these are your equals. Please return their salute just as they give it. These two peers are barons and have been chosen by the Lord Chancellor as your sponsors. They are very old and almost blind. They will personally introduce you to the House of Lords. The first is Charles Mildmay, Lord Fitzwalter, sixth on the list of barons; the second is Augustus Arundel, Lord Arundel of Trerice, thirty-eighth on the list of barons." The King-at-Arms stepped forward to the two old men and announced, "Fermain Clancharlie, Baron Clancharlie, Baron Hunkerville, Marquis of Corleone in Sicily, greets your lordships!" The two peers raised their hats with the full extent of their arms and then put them back on. Gwynplaine did the same. The Usher of the Black Rod moved forward, followed by Blue Mantle and Garter King at-Arms. The Mace-bearer took his position in front of Gwynplaine, with the two peers beside him, Lord Fitzwalter on the right and Lord Arundel of Trerice on the left. Lord Arundel, the older of the two, was very frail. He died the following year, leaving his title to his grandson John, who was a minor, and the title became extinct in 1768. The procession, leaving the Painted Chamber, entered a gallery lined with rows of pilasters, and between the spaces were sentinels, alternating between pike-men of England and halberdiers of Scotland. The Scottish halberdiers were striking kilted soldiers, ready to confront the French cavalry and royal cuirassiers later on at Fontenoy, whom their colonel addressed: "Messieurs les maitres, assurez vos chapeaux. Nous allons avoir l'honneur de charger." The captain of these soldiers greeted Gwynplaine and the peers, his sponsors, with their swords. The men saluted with their pikes and halberds.
At the end of the gallery shone a large door, so magnificent that its two folds seemed to be masses of gold. On each side of the door there stood, upright and motionless, men who were called doorkeepers. Just before you came to this door, the gallery widened out into a circular space. In this space was an armchair with an immense back, and on it, judging by his wig and from the amplitude of his robes, was a distinguished person. It was William Cowper, Lord Chancellor of England. To be able to cap a royal infirmity with a similar one has its advantages. William Cowper was short-sighted. Anne had also defective sight, but in a lesser degree. The near-sightedness of William Cowper found favour in the eyes of the short-sighted queen, and induced her to appoint him Lord Chancellor, and Keeper of the Royal Conscience. William Cowper's upper lip was thin, and his lower one thick—a sign of semi-good-nature.
At the end of the gallery was a large door, so stunning that its two panels looked like solid gold. On each side of the door stood men known as doorkeepers, standing tall and still. Just before reaching this door, the gallery opened into a circular space. In this area was an armchair with a huge back, and in it, judging by his wig and the grandeur of his robes, sat a notable figure. It was William Cowper, Lord Chancellor of England. Being able to match a royal flaw with his own had its perks. William Cowper was nearsighted. Anne also had vision issues, but to a lesser extent. Cowper’s nearsightedness won the favor of the short-sighted queen, leading her to appoint him as Lord Chancellor and Keeper of the Royal Conscience. William Cowper had a thin upper lip and a thick lower lip—a sign of mild good nature.
This circular space was lighted by a lamp hung from the ceiling. The Lord Chancellor was sitting gravely in his large armchair; at his right was the Clerk of the Crown, and at his left the Clerk of the Parliaments.
This circular room was lit by a lamp hanging from the ceiling. The Lord Chancellor sat seriously in his large armchair; to his right was the Clerk of the Crown, and to his left, the Clerk of the Parliaments.
Each of the clerks had before him an open register and an inkhorn.
Each of the clerks had an open register and an ink bottle in front of him.
Behind the Lord Chancellor was his mace-bearer, holding the mace with the crown on the top, besides the train-bearer and purse-bearer, in large wigs.
Behind the Lord Chancellor was his mace-bearer, holding the mace with the crown on top, along with the train-bearer and purse-bearer, all wearing large wigs.
All these officers are still in existence. On a little stand, near the woolsack, was a sword, with a gold hilt and sheath, and belt of crimson velvet.
All these officers are still around. On a small stand near the woolsack was a sword with a gold hilt and sheath, along with a crimson velvet belt.
Behind the Clerk of the Crown was an officer holding in his hands the coronation robe.
Behind the Clerk of the Crown stood an officer holding the coronation robe.
Behind the Clerk of the Parliaments another officer held a second robe, which was that of a peer.
Behind the Clerk of the Parliaments, another officer held a second robe, which belonged to a peer.
The robes, both of scarlet velvet, lined with white silk, and having bands of ermine trimmed with gold lace over the shoulders, were similar, except that the ermine band was wider on the coronation robe.
The robes, made of scarlet velvet and lined with white silk, featured bands of ermine trimmed with gold lace over the shoulders. They were similar, except the ermine band was wider on the coronation robe.
The third officer, who was the librarian, carried on a square of Flanders leather the red book, a little volume, bound in red morocco, containing a list of the peers and commons, besides a few blank leaves and a pencil, which it was the custom to present to each new member on his entering the House.
The third officer, who was the librarian, carried a square of Flanders leather with the red book, a small volume bound in red morocco. It contained a list of the peers and commons, along with a few blank pages and a pencil, which were traditionally given to each new member upon entering the House.
Gwynplaine, between the two peers, his sponsors, brought up the procession, which stopped before the woolsack.
Gwynplaine, standing between his two sponsors, led the procession, which came to a halt in front of the woolsack.
The two peers, who introduced him, uncovered their heads, and Gwynplaine did likewise.
The two nobles who introduced him took off their hats, and Gwynplaine did the same.
The King-at-Arms received from the hands of Blue Mantle the cushion of silver cloth, knelt down, and presented the black portfolio on the cushion to the Lord Chancellor.
The King-at-Arms took the silver cloth cushion from Blue Mantle, knelt down, and handed the black portfolio on the cushion to the Lord Chancellor.
The Lord Chancellor took the black portfolio, and handed it to the Clerk of the Parliament.
The Lord Chancellor picked up the black portfolio and handed it to the Clerk of the Parliament.
The Clerk received it ceremoniously, and then sat down.
The Clerk accepted it formally and then took a seat.
The Clerk of the Parliament opened the portfolio, and arose.
The Clerk of the Parliament opened the portfolio and stood up.
The portfolio contained the two usual messages—the royal patent addressed to the House of Lords, and the writ of summons.
The portfolio included the two standard documents—the royal patent directed to the House of Lords and the writ of summons.
The Clerk read aloud these two messages, with respectful deliberation, standing.
The Clerk stood and read these two messages out loud, taking his time and showing respect.
The writ of summons, addressed to Fermain Lord Clancharlie, concluded with the accustomed formalities,—
The summons, directed to Fermain Lord Clancharlie, ended with the usual formalities,—
"We strictly enjoin you, on the faith and allegiance that you owe, to come and take your place in person among the prelates and peers sitting in our Parliament at Westminster, for the purpose of giving your advice, in all honour and conscience, on the business of the kingdom and of the church."
"We strongly urge you, based on the loyalty and duty you owe, to come and take your place in person among the bishops and nobles sitting in our Parliament at Westminster, to offer your advice, with all honor and integrity, on matters concerning the kingdom and the church."
The reading of the messages being concluded, the Lord Chancellor raised his voice,—
The reading of the messages finished, the Lord Chancellor raised his voice,—
"The message of the Crown has been read. Lord Clancharlie, does your lordship renounce transubstantiation, adoration of saints, and the mass?"
"The message from the Crown has been delivered. Lord Clancharlie, do you renounce transubstantiation, the veneration of saints, and the mass?"
Gwynplaine bowed.
Gwynplaine bowed.
"The test has been administered," said the Lord Chancellor.
"The test has been given," said the Lord Chancellor.
And the Clerk of the Parliament resumed,—
And the Clerk of the Parliament continued,—
"His lordship has taken the test."
"His lordship has taken the test."
The Lord Chancellor added,—
The Lord Chancellor added,—
"My Lord Clancharlie, you can take your seat."
"My Lord Clancharlie, you can sit down now."
"So be it," said the two sponsors.
"So be it," said the two sponsors.
The King-at-Arms rose, took the sword from the stand, and buckled it round Gwynplaine's waist.
The King-at-Arms stood up, took the sword from the stand, and strapped it around Gwynplaine's waist.
"Ce faict," says the old Norman charter, "le pair prend son espée, et monte aux hauts siéges, et assiste a l'audience."
"With this done," says the old Norman charter, "the peer takes his sword, goes up to the high seats, and attends the hearing."
Gwynplaine heard a voice behind him which said,—
Gwynplaine heard a voice behind him say,—
"I array your lordship in a peer's robe."
"I dress you in a noble's robe."
At the same time, the officer who spoke to him, who was holding the robe, placed it on him, and tied the black strings of the ermine cape round his neck.
At the same time, the officer who talked to him, who was holding the robe, draped it over him and tied the black strings of the ermine cape around his neck.
Gwynplaine, the scarlet robe on his shoulders, and the golden sword by his side, was attired like the peers on his right and left.
Gwynplaine, wearing a scarlet robe over his shoulders and a golden sword at his side, was dressed just like the nobles on his right and left.
The librarian presented to him the red book, and put it in the pocket of his waistcoat.
The librarian handed him the red book and tucked it into the pocket of his waistcoat.
The King-at-Arms murmured in his ear,—
The King-at-Arms whispered in his ear,—
"My lord, on entering, will bow to the royal chair."
"My lord, upon entering, will bow to the throne."
The royal chair is the throne.
The royal chair is the throne.
Meanwhile the two clerks were writing, each at his table—one on the register of the Crown, the other on the register of the House.
Meanwhile, the two clerks were writing, each at their table—one on the register of the Crown, the other on the register of the House.
Then both—the Clerk of the Crown preceding the other—brought their books to the Lord Chancellor, who signed them. Having signed the two registers, the Lord Chancellor rose.
Then both—the Clerk of the Crown leading the way—brought their books to the Lord Chancellor, who signed them. After signing the two registers, the Lord Chancellor stood up.
"Fermain Lord Clancharlie, Baron Clancharlie, Baron Hunkerville, Marquis of Corleone in Sicily, be you welcome among your peers, the lords spiritual and temporal of Great Britain."
"Welcome, Fermain Lord Clancharlie, Baron Clancharlie, Baron Hunkerville, Marquis of Corleone in Sicily, among your peers, the spiritual and temporal lords of Great Britain."
Gwynplaine's sponsors touched his shoulder.
Gwynplaine's supporters touched his shoulder.
He turned round.
He turned around.
The folds of the great gilded door at the end of the gallery opened.
The panels of the grand golden door at the end of the hallway swung open.
It was the door of the House of Lords.
It was the door to the House of Lords.
Thirty-six hours only had elapsed since Gwynplaine, surrounded by a different procession, had entered the iron door of Southwark Jail.
Thirty-six hours had only passed since Gwynplaine, surrounded by a different group, had entered the iron door of Southwark Jail.
What shadowy chimeras had passed, with terrible rapidity through his brain—chimeras which were hard facts; rapidity, which was a capture by assault!
What dark illusions had raced through his mind—illusions that were hard truths; a speed that was a sudden takeover!
CHAPTER II.
IMPARTIALITY.
The creation of an equality with the king, called Peerage, was, in barbarous epochs, a useful fiction. This rudimentary political expedient produced in France and England different results. In France, the peer was a mock king; in England, a real prince—less grand than in France, but more genuine: we might say less, but worse.
The establishment of equality with the king, known as Peerage, was a useful fiction in harsh times. This basic political strategy had different outcomes in France and England. In France, the peer was like a fake king; in England, a true prince—less impressive than in France, but more authentic: we could say less, but worse.
Peerage was born in France; the date is uncertain—under Charlemagne, says the legend; under Robert le Sage, says history, and history is not more to be relied on than legend. Favin writes: "The King of France wished to attach to himself the great of his kingdom, by the magnificent title of peers, as if they were his equals."
Peerage was established in France; the exact date isn’t clear—legend has it during Charlemagne’s reign; history claims it was under Robert le Sage, and history isn’t any more trustworthy than legend. Favin writes: "The King of France wanted to bind the nobles of his kingdom to himself with the grand title of peers, as if they were his equals."
Peerage soon thrust forth branches, and from France passed over to England.
Peerage soon pushed out branches and made its way from France to England.
The English peerage has been a great fact, and almost a mighty institution. It had for precedent the Saxon wittenagemote. The Danish thane and the Norman vavassour commingled in the baron. Baron is the same as vir, which is translated into Spanish by varon, and which signifies, par excellence, "Man." As early as 1075, the barons made themselves felt by the king—and by what a king! By William the Conqueror. In 1086 they laid the foundation of feudality, and its basis was the "Doomsday Book." Under John Lackland came conflict. The French peerage took the high hand with Great Britain, and demanded that the king of England should appear at their bar. Great was the indignation of the English barons. At the coronation of Philip Augustus, the King of England, as Duke of Normandy, carried the first square banner, and the Duke of Guyenne the second. Against this king, a vassal of the foreigner, the War of the Barons burst forth. The barons imposed on the weak-minded King John Magna Charta, from which sprang the House of Lords. The pope took part with the king, and excommunicated the lords. The date was 1215, and the pope was Innocent III., who wrote the "Veni, Sancte Spiritus," and who sent to John Lackland the four cardinal virtues in the shape of four gold rings. The Lords persisted. The duel continued through many generations. Pembroke struggled. 1248 was the year of "the provisions of Oxford." Twenty-four barons limited the king's powers, discussed him, and called a knight from each county to take part in the widened breach. Here was the dawn of the Commons. Later on, the Lords added two citizens from each city, and two burgesses from each borough. It arose from this, that up to the time of Elizabeth the peers were judges of the validity of elections to the House of Commons. From their jurisdiction sprang the proverb that the members returned ought to be without the three P's—sine Prece, sine Pretio, sine Poculo. This did not obviate rotten boroughs. In 1293, the Court of Peers in France had still the King of England under their jurisdiction; and Philippe le Bel cited Edward I. to appear before him. Edward I. was the king who ordered his son to boil him down after death, and to carry his bones to the wars. Under the follies of their kings the Lords felt the necessity of fortifying Parliament. They divided it into two chambers, the upper and the lower. The Lords arrogantly kept the supremacy. "If it happens that any member of the Commons should be so bold as to speak to the prejudice of the House of Lords, he is called to the bar of the House to be reprimanded, and, occasionally, to be sent to the Tower." There is the same distinction in voting. In the House of Lords they vote one by one, beginning with the junior, called the puisne baron. Each peer answers "Content," or "Non-content." In the Commons they vote together, by "Aye," or "No," in a crowd. The Commons accuse, the peers judge. The peers, in their disdain of figures, delegated to the Commons, who were to profit by it, the superintendence of the Exchequer—thus named, according to some, after the table-cover, which was like a chess-board; and according to others, from the drawers of the old safe, where was kept, behind an iron grating, the treasure of the kings of England. The "Year-Book" dates from the end of the thirteenth century. In the War of the Roses the weight of the Lords was thrown, now on the side of John of Gaunt, Duke of Lancaster, now on the side of Edmund, Duke of York. Wat Tyler, the Lollards, Warwick the King-maker, all that anarchy from which freedom is to spring, had for foundation, avowed or secret, the English feudal system. The Lords were usefully jealous of the Crown; for to be jealous is to be watchful. They circumscribed the royal initiative, diminished the category of cases of high treason, raised up pretended Richards against Henry IV., appointed themselves arbitrators, judged the question of the three crowns between the Duke of York and Margaret of Anjou, and at need levied armies, and fought their battles of Shrewsbury, Tewkesbury, and St. Albans, sometimes winning, sometimes losing. Before this, in the thirteenth century, they had gained the battle of Lewes, and had driven from the kingdom the four brothers of the king, bastards of Queen Isabella by the Count de la Marche; all four usurers, who extorted money from Christians by means of the Jews; half princes, half sharpers—a thing common enough in more recent times, but not held in good odour in those days. Up to the fifteenth century the Norman Duke peeped out in the King of England, and the acts of Parliament were written in French. From the reign of Henry VII., by the will of the Lords, these were written in English. England, British under Uther Pendragon; Roman under Cæsar; Saxon under the Heptarchy; Danish under Harold; Norman after William; then became, thanks to the Lords, English. After that she became Anglican. To have one's religion at home is a great power. A foreign pope drags down the national life. A Mecca is an octopus, and devours it. In 1534, London bowed out Rome. The peerage adopted the reformed religion, and the Lords accepted Luther. Here we have the answer to the excommunication of 1215. It was agreeable to Henry VIII.; but, in other respects, the Lords were a trouble to him. As a bulldog to a bear, so was the House of Lords to Henry VIII. When Wolsey robbed the nation of Whitehall, and when Henry robbed Wolsey of it, who complained? Four lords—Darcie, of Chichester; Saint John of Bletsho; and (two Norman names) Mountjoie and Mounteagle. The king usurped. The peerage encroached. There is something in hereditary power which is incorruptible. Hence the insubordination of the Lords. Even in Elizabeth's reign the barons were restless. From this resulted the tortures at Durham. Elizabeth was as a farthingale over an executioner's block. Elizabeth assembled Parliament as seldom as possible, and reduced the House of Lords to sixty-five members, amongst whom there was but one marquis (Winchester), and not a single duke. In France the kings felt the same jealousy and carried out the same elimination. Under Henry III. there were no more than eight dukedoms in the peerage, and it was to the great vexation of the king that the Baron de Mantes, the Baron de Courcy, the Baron de Coulommiers, the Baron de Chateauneuf-en-Thimerais, the Baron de la Fère-en-Lardenois, the Baron de Mortagne, and some others besides, maintained themselves as barons—peers of France. In England the crown saw the peerage diminish with pleasure. Under Anne, to quote but one example, the peerages become extinct since the twelfth century amounted to five hundred and sixty-five. The War of the Roses had begun the extermination of dukes, which the axe of Mary Tudor completed. This was, indeed, the decapitation of the nobility. To prune away the dukes was to cut off its head. Good policy, perhaps; but it is better to corrupt than to decapitate. James I. was of this opinion. He restored dukedoms. He made a duke of his favourite Villiers, who had made him a pig;[22] a transformation from the duke feudal to the duke courtier. This sowing was to bring forth a rank harvest: Charles II. was to make two of his mistresses duchesses—Barbara of Southampton, and Louise de la Querouel of Portsmouth. Under Anne there were to be twenty-five dukes, of whom three were to be foreigners, Cumberland, Cambridge, and Schomberg. Did this court policy, invented by James I., succeed? No. The House of Peers was irritated by the effort to shackle it by intrigue. It was irritated against James I., it was irritated against Charles I., who, we may observe, may have had something to do with the death of his father, just as Marie de Medicis may have had something to do with the death of her husband. There was a rupture between Charles I. and the peerage. The lords who, under James I., had tried at their bar extortion, in the person of Bacon, under Charles I. tried treason, in the person of Stratford. They had condemned Bacon; they condemned Stratford. One had lost his honour, the other lost his life. Charles I. was first beheaded in the person of Stratford. The Lords lent their aid to the Commons. The king convokes Parliament to Oxford; the revolution convokes it to London. Forty-four peers side with the King, twenty-two with the Republic. From this combination of the people with the Lords arose the Bill of Rights—a sketch of the French Droits de l'homme, a vague shadow flung back from the depths of futurity by the revolution of France on the revolution of England.
The English peerage has been a significant fact and almost a powerful institution. It was based on the Saxon wittenagemote. The Danish thane and the Norman vavassour merged into the baron. "Baron" is the same as "vir," which is translated into Spanish as varon, meaning, par excellence, "Man." As early as 1075, the barons made their presence known to the king—and what a king it was! By William the Conqueror. In 1086, they established the foundation of feudalism, with the "Doomsday Book" as its basis. Under John Lackland, there was conflict. The French peerage took a strong stance against Great Britain and demanded that the king of England should appear before them. The English barons reacted with great indignation. At the coronation of Philip Augustus, the King of England, as Duke of Normandy, carried the first square banner, while the Duke of Guyenne carried the second. Against this king, a vassal of the foreigner, the War of the Barons erupted. The barons forced the weak-minded King John to sign Magna Carta, which led to the formation of the House of Lords. The pope sided with the king and excommunicated the lords. The date was 1215, and the pope was Innocent III., who wrote the "Veni, Sancte Spiritus" and sent John Lackland the four cardinal virtues represented as four gold rings. The Lords remained resolute. The battle continued through many generations. Pembroke fought hard. 1248 was the year of "the provisions of Oxford." Twenty-four barons limited the king's powers, questioned him, and summoned a knight from each county to join in the expanding conflict. This marked the dawn of the Commons. Later on, the Lords added two citizens from each city and two burgesses from each borough. Consequently, until the time of Elizabeth, the peers were responsible for judging the validity of elections to the House of Commons. From their authority came the saying that the elected members ought to be without the three P's—sine Prece, sine Pretio, sine Poculo. This did not prevent rotten boroughs. In 1293, the Court of Peers in France still had jurisdiction over the King of England; Philippe le Bel summoned Edward I. to appear before him. Edward I. was the king who instructed his son to boil him down after death and carry his bones to war. Under the follies of their kings, the Lords felt the need to strengthen Parliament. They divided it into two chambers, the upper and the lower. The Lords arrogantly maintained their supremacy. "If any member of the Commons dares to speak against the House of Lords, he is brought to the bar of the House to be reprimanded, and sometimes sent to the Tower." There is a similar distinction in voting. In the House of Lords, they vote one by one, starting with the junior member, known as the puisne baron. Each peer responds with "Content" or "Non-content." In the Commons, they vote collectively, with "Aye" or "No," as a crowd. The Commons accuse, while the peers judge. The peers, in their disregard for numbers, delegated oversight of the Exchequer to the Commons, who benefited from it. The Exchequer is said to be named either after the table-cover resembling a chess-board or from the drawers of the old safe, where, behind an iron grate, the treasures of the kings of England were kept. The "Year-Book" dates back to the end of the thirteenth century. In the War of the Roses, the influence of the Lords shifted back and forth between John of Gaunt, Duke of Lancaster, and Edmund, Duke of York. Wat Tyler, the Lollards, Warwick the King-Maker—all the chaos from which freedom would emerge, had as its foundation, openly or secretly, the English feudal system. The Lords were beneficially jealous of the Crown; to be jealous means to be vigilant. They restricted royal initiatives, reduced the cases of high treason, propped up pretended Richards against Henry IV., appointed themselves as arbitrators, judged the dispute over the three crowns between the Duke of York and Margaret of Anjou, and when needed, raised armies, fighting their battles at Shrewsbury, Tewkesbury, and St. Albans, sometimes winning, sometimes losing. Before this, in the thirteenth century, they won the Battle of Lewes and expelled the king's four brothers, the illegitimate sons of Queen Isabella by the Count de la Marche; all four were usurers, extorting money from Christians through the Jews, half princes, half con artists—a situation common in more modern times but frowned upon back then. Up to the fifteenth century, the Norman Duke emerged in the King of England, and Acts of Parliament were written in French. Starting from the reign of Henry VII., by the Lords' will, these Acts were written in English. England, British under Uther Pendragon; Roman under Caesar; Saxon under the Heptarchy; Danish under Harold; Norman after William; then became, thanks to the Lords, English. Afterward, it became Anglican. Having one's religion at home is a significant power. A foreign pope undermines national life. A Mecca is like an octopus, consuming it. In 1534, London turned its back on Rome. The peerage embraced the reformed religion, and the Lords accepted Luther. This was the answer to the excommunication of 1215. It pleased Henry VIII.; however, in other respects, the Lords troubled him. Much like a bulldog confronting a bear, the House of Lords was a constant annoyance to Henry VIII. When Wolsey took Whitehall from the nation, and Henry took it from Wolsey, who complained? Four lords—Darcie, of Chichester; Saint John of Bletsho; and (two Norman names) Mountjoie and Mounteagle. The king usurped. The peerage encroached. There is something about hereditary power that resists corruption. This is why the Lords were rebellious. Even during Elizabeth's reign, the barons were restless. This led to the tortures at Durham. Elizabeth acted like a farthingale over an executioner's block. She summoned Parliament as infrequently as possible, reducing the House of Lords to sixty-five members, including only one marquis (Winchester) and no dukes. In France, the kings experienced the same jealousy and undertook similar eliminations. Under Henry III., only eight dukedoms remained in the peerage, much to the king's annoyance, as the Baron de Mantes, Baron de Courcy, Baron de Coulommiers, Baron de Chateauneuf-en-Thimerais, Baron de la Fère-en-Lardenois, Baron de Mortagne, and a few others maintained their status as barons—peers of France. In England, the crown welcomed the decline of the peerage. Under Anne, to take just one example, the number of peerages that had become extinct since the twelfth century totaled 565. The War of the Roses had initiated the extermination of dukes, which Mary Tudor's axe completed. This was, indeed, the decapitation of the nobility. Removing the dukes was like cutting off the head. A good strategy, perhaps; but it is better to corrupt than to execute. James I. thought so. He restored dukedoms. He made his favorite, Villiers, a duke, who had turned him into a pig;[22] a transformation from feudal duke to court duke. This decision would yield a rich harvest: Charles II. would make two of his mistresses duchesses—Barbara of Southampton and Louise de la Querouel of Portsmouth. Under Anne, there would be twenty-five dukes, three of whom would be foreigners: Cumberland, Cambridge, and Schomberg. Did this court policy, initiated by James I., succeed? No. The House of Peers was irritated by attempts to constrain it through intrigue. It was frustrated with James I., and it was frustrated with Charles I., who, it's worth noting, might have had something to do with his father's death, just as Marie de Medicis may have played a role in her husband's death. A rift formed between Charles I. and the peerage. The lords who had attempted extortion under James I., through Bacon, turned to treason under Charles I., through Stratford. They condemned Bacon; they condemned Stratford. One lost his honor, the other lost his life. Charles I. was first beheaded symbolically through Stratford. The Lords supported the Commons. The king summoned Parliament to Oxford; the revolution called it to London. Forty-four peers sided with the King, while twenty-two sided with the Republic. From this alliance of the people with the Lords emerged the Bill of Rights—a precursor of the French Droits de l'homme, a vague shadow cast back from the future by the revolution in France onto the revolution in England.
Such were the services of the peerage. Involuntary ones, we admit, and dearly purchased, because the said peerage is a huge parasite. But considerable services, nevertheless.
Such were the services of the nobility. Involuntary ones, we acknowledge, and paid for dearly, because this nobility is a massive parasite. But significant services, nonetheless.
The despotic work of Louis XI., of Richelieu, and of Louis XIV., the creation of a sultan, levelling taken for true equality, the bastinado given by the sceptre, the common abasement of the people, all these Turkish tricks in France the peers prevented in England. The aristocracy was a wall, banking up the king on one side, sheltering the people on the other. They redeemed their arrogance towards the people by their insolence towards the king. Simon, Earl of Leicester, said to Henry III., "King, thou hast lied!" The Lords curbed the crown, and grated against their kings in the tenderest point, that of venery. Every lord, passing through a royal park, had the right to kill a deer: in the house of the king the peer was at home; in the Tower of London the scale of allowance for the king was no more than that for a peer—namely, twelve pounds sterling per week. This was the House of Lords' doing.
The oppressive actions of Louis XI, Richelieu, and Louis XIV, the making of a tyrant, the misunderstanding of true equality, the punishment dealt out by the scepter, the common degradation of the people—these tricks from Turkey were avoided in England thanks to the peers. The aristocracy acted as a barrier, supporting the king on one side while protecting the people on the other. They justified their arrogance towards the people with their defiance towards the king. Simon, Earl of Leicester, once told Henry III, "King, you have lied!" The Lords kept the crown in check and challenged their kings on the most sensitive issues, including matters of love. Every lord had the right to hunt a deer in a royal park; within the king's house, a peer was treated like family; in the Tower of London, the king's allowance was the same as that of a peer—twelve pounds sterling a week. This was the work of the House of Lords.
Yet more. We owe to it the deposition of kings. The Lords ousted John Lackland, degraded Edward II., deposed Richard II., broke the power of Henry VI., and made Cromwell a possibility. What a Louis XIV. there was in Charles I.! Thanks to Cromwell, it remained latent. By-the-bye, we may here observe that Cromwell himself, though no historian seems to have noticed the fact, aspired to the peerage. This was why he married Elizabeth Bouchier, descendant and heiress of a Cromwell, Lord Bouchier, whose peerage became extinct in 1471, and of a Bouchier, Lord Robesart, another peerage extinct in 1429. Carried on with the formidable increase of important events, he found the suppression of a king a shorter way to power than the recovery of a peerage. A ceremonial of the Lords, at times ominous, could reach even to the king. Two men-at-arms from the Tower, with their axes on their shoulders, between whom an accused peer stood at the bar of the house, might have been there in like attendance on the king as on any other nobleman. For five centuries the House of Lords acted on a system, and carried it out with determination. They had their days of idleness and weakness, as, for instance, that strange time when they allowed themselves to be seduced by the vessels loaded with cheeses, hams, and Greek wines sent them by Julius II. The English aristocracy was restless, haughty, ungovernable, watchful, and patriotically mistrustful. It was that aristocracy which, at the end of the seventeenth century, by act the tenth of the year 1694, deprived the borough of Stockbridge, in Hampshire, of the right of sending members to Parliament, and forced the Commons to declare null the election for that borough, stained by papistical fraud. It imposed the test on James, Duke of York, and, on his refusal to take it, excluded him from the throne. He reigned, notwithstanding; but the Lords wound up by calling him to account and banishing him. That aristocracy has had, in its long duration, some instinct of progress. It has always given out a certain quantity of appreciable light, except now towards its end, which is at hand. Under James II. it maintained in the Lower House the proportion of three hundred and forty-six burgesses against ninety-two knights. The sixteen barons, by courtesy, of the Cinque Ports were more than counterbalanced by the fifty citizens of the twenty-five cities. Though corrupt and egotistic, that aristocracy was, in some instances, singularly impartial. It is harshly judged. History keeps all its compliments for the Commons. The justice of this is doubtful. We consider the part played by the Lords a very great one. Oligarchy is the independence of a barbarous state, but it is an independence. Take Poland, for instance, nominally a kingdom, really a republic. The peers of England held the throne in suspicion and guardianship. Time after time they have made their power more felt than that of the Commons. They gave check to the king. Thus, in that remarkable year, 1694, the Triennial Parliament Bill, rejected by the Commons, in consequence of the objections of William III., was passed by the Lords. William III., in his irritation, deprived the Earl of Bath of the governorship of Pendennis Castle, and Viscount Mordaunt of all his offices. The House of Lords was the republic of Venice in the heart of the royalty of England. To reduce the king to a doge was its object; and in proportion as it decreased the power of the crown it increased that of the people. Royalty knew this, and hated the peerage. Each endeavoured to lessen the other. What was thus lost by each was proportionate profit to the people. Those two blind powers, monarchy and oligarchy, could not see that they were working for the benefit of a third, which was democracy. What a delight it was to the crown, in the last century, to be able to hang a peer, Lord Ferrers!
Yet more. We owe the removal of kings to this. The Lords got rid of John Lackland, removed Edward II., deposed Richard II., broke the power of Henry VI., and made Cromwell a possibility. What a Louis XIV. there was in Charles I.! Thanks to Cromwell, that potential stayed hidden. By the way, it’s worth noting that Cromwell himself, although no historian seems to have remarked on it, wanted to become a peer. That’s why he married Elizabeth Bouchier, who was a descendant and heiress of a Cromwell, Lord Bouchier, whose title ended in 1471, and of a Bouchier, Lord Robesart, another title that ended in 1429. Engaged in the significant events happening around him, he found getting rid of a king a quicker route to power than restoring a peerage. A ceremonial display by the Lords, sometimes foreboding, could even reach the king. Two armed men from the Tower, with their axes on their shoulders, could stand with an accused peer at the bar of the house, just as easily as they would with any other nobleman. For five centuries, the House of Lords operated on a system and executed it with resolve. They had their moments of idleness and weakness, like that unusual time when they let themselves be tempted by the shipments of cheeses, hams, and Greek wines sent to them by Julius II. The English aristocracy was restless, proud, unruly, vigilant, and patriotically suspicious. It was this aristocracy that, at the end of the seventeenth century, through the tenth act of 1694, stripped the borough of Stockbridge, in Hampshire, of its right to send members to Parliament, forcing the Commons to declare the election for that borough invalid due to papist fraud. They imposed a test on James, Duke of York, and when he refused it, excluded him from the throne. He ruled regardless; however, the Lords eventually held him accountable and exiled him. Throughout its long history, that aristocracy showed some instinct for progress. It has consistently emitted a certain amount of noticeable light, except now, towards its nearing end. Under James II., it maintained in the Lower House a ratio of three hundred forty-six burgesses to ninety-two knights. The sixteen barons of the Cinque Ports were more than offset by the fifty citizens from twenty-five cities. Even though it was corrupt and self-serving, in some instances, that aristocracy was notably fair. It’s judged harshly. History reserves most of its praise for the Commons. The fairness of this is questionable. We consider the role played by the Lords to be very significant. Oligarchy represents the autonomy of a primitive state, but it is still autonomy. Take Poland, for instance; it’s nominally a kingdom but truly a republic. The peers of England were distrustful and watchful of the throne. Time and again, they made their influence felt more than that of the Commons. They restrained the king. Thus, in that remarkable year, 1694, the Triennial Parliament Bill, which the Commons had rejected due to the objections of William III., was passed by the Lords. In his frustration, William III. removed the Earl of Bath from his post as governor of Pendennis Castle and stripped Viscount Mordaunt of all his positions. The House of Lords was like the republic of Venice within the monarchy of England. Its goal was to reduce the king to a doge, and as it limited the crown's power, it boosted the power of the people. Royalty recognized this and despised the peerage. Each side tried to undermine the other. What each lost benefited the people in equal measure. Those two blindly competing powers, monarchy and oligarchy, failed to see that they were actually working to advance a third power: democracy. How satisfying it was for the crown, in the last century, to be able to execute a peer, Lord Ferrers!
However, they hung him with a silken rope. How polite!
However, they hanged him with a silk rope. How polite!
"They would not have hung a peer of France," the Duke of Richelieu haughtily remarked. Granted. They would have beheaded him. Still more polite!
"They wouldn't have hanged a noble of France," the Duke of Richelieu said with arrogance. Fair enough. They would have beheaded him. Even more courteous!
Montmorency Tancarville signed himself peer of France and England; thus throwing the English peerage into the second rank. The peers of France were higher and less powerful, holding to rank more than to authority, and to precedence more than to domination. There was between them and the Lords that shade of difference which separates vanity from pride. With the peers of France, to take precedence of foreign princes, of Spanish grandees, of Venetian patricians; to see seated on the lower benches the Marshals of France, the Constable and the Admiral of France, were he even Comte de Toulouse and son of Louis XIV.; to draw a distinction between duchies in the male and female line; to maintain the proper distance between a simple comté, like Armagnac or Albret, and a comté pairie, like Evreux; to wear by right, at five-and-twenty, the blue ribbon of the Golden Fleece; to counterbalance the Duke de la Tremoille, the most ancient peer of the court, with the Duke Uzès, the most ancient peer of the Parliament; to claim as many pages and horses to their carriages as an elector; to be called monseigneur by the first President; to discuss whether the Duke de Maine dates his peerage as the Comte d'Eu, from 1458; to cross the grand chamber diagonally, or by the side—such things were grave matters. Grave matters with the Lords were the Navigation Act, the Test Act, the enrolment of Europe in the service of England, the command of the sea, the expulsion of the Stuarts, war with France. On one side, etiquette above all; on the other, empire above all. The peers of England had the substance, the peers of France the shadow.
Montmorency Tancarville referred to himself as peer of France and England; this effectively placed the English peerage in a lesser position. The peers of France were considered higher and less powerful, valuing rank more than authority, and precedence more than control. There was a nuanced difference between them and the Lords, similar to the distinction between vanity and pride. For the peers of France, it was important to take precedence over foreign princes, Spanish nobles, and Venetian aristocrats; to see the Marshals of France, the Constable, and the Admiral of France seated on the lower benches, even if the Admiral was the Comte de Toulouse and the son of Louis XIV.; to distinguish between duchies in the male and female lines; to maintain the proper distance between a simple comté, like Armagnac or Albret, and a comté pairie, like Evreux; to be entitled to wear, at the age of twenty-five, the blue ribbon of the Golden Fleece; to balance the Duke de la Tremoille, the oldest peer of the court, with the Duke Uzès, the oldest peer of Parliament; to claim as many pages and horses for their carriages as an elector; to be addressed as monseigneur by the first President; to argue whether the Duke de Maine dates his peerage like the Comte d'Eu, from 1458; to walk across the grand chamber diagonally or by the side—these were serious matters. For the Lords, serious issues included the Navigation Act, the Test Act, the enrollment of Europe in the service of England, naval supremacy, the expulsion of the Stuarts, and war with France. On one side, etiquette was paramount; on the other, empire was everything. The peers of England had the substance, while the peers of France had the appearance.
To conclude, the House of Lords was a starting-point; towards civilization this is an immense thing. It had the honour to found a nation. It was the first incarnation of the unity of the people: English resistance, that obscure but all-powerful force, was born in the House of Lords. The barons, by a series of acts of violence against royalty, have paved the way for its eventual downfall. The House of Lords at the present day is somewhat sad and astonished at what it has unwillingly and unintentionally done, all the more that it is irrevocable.
To wrap up, the House of Lords was a starting point; this is a huge deal for civilization. It had the honor of founding a nation. It was the first realization of the unity of the people: English resistance, that obscure but powerful force, was born in the House of Lords. The barons, through a series of violent acts against the monarchy, laid the groundwork for its eventual downfall. The House of Lords today feels somewhat sad and shocked at what it has done, both unwillingly and unintentionally, especially since it's now irreversible.
What are concessions? Restitutions;—and nations know it.
What are concessions? Restorations;—and countries are aware of this.
"I grant," says the king.
"I agree," says the king.
"I get back my own," says the people.
"I get back what’s mine," says the people.
The House of Lords believed that it was creating the privileges of the peerage, and it has produced the rights of the citizen. That vulture, aristocracy, has hatched the eagle's egg of liberty.
The House of Lords thought it was establishing the privileges of the peerage, but it has actually given rise to the rights of the citizen. That vulture, the aristocracy, has hatched the eagle's egg of freedom.
And now the egg is broken, the eagle is soaring, the vulture dying.
And now the egg is cracked, the eagle is flying high, the vulture is dying.
Aristocracy is at its last gasp; England is growing up.
Aristocracy is on its way out; England is maturing.
Still, let us be just towards the aristocracy. It entered the scale against royalty, and was its counterpoise. It was an obstacle to despotism. It was a barrier. Let us thank and bury it.
Still, let's be fair to the aristocracy. It balanced out the monarchy and acted as a counterweight. It was a hindrance to tyranny. It served as a barrier. Let's appreciate it and then move on.
CHAPTER III.
THE OLD HALL.
Near Westminster Abbey was an old Norman palace which was burnt in the time of Henry VIII. Its wings were spared. In one of them Edward VI. placed the House of Lords, in the other the House of Commons. Neither the two wings nor the two chambers are now in existence. The whole has been rebuilt.
Near Westminster Abbey was an old Norman palace that was burned down during the time of Henry VIII. Its wings were saved. In one of these wings, Edward VI set up the House of Lords, and in the other, the House of Commons. Neither the two wings nor the two chambers exist anymore. The entire structure has been rebuilt.
We have already said, and we must repeat, that there is no resemblance between the House of Lords of the present day and that of the past. In demolishing the ancient palace they somewhat demolished its ancient usages. The strokes of the pickaxe on the monument produce their counter-strokes on customs and charters. An old stone cannot fall without dragging down with it an old law. Place in a round room a parliament which has been hitherto held in a square room, and it will no longer be the same thing. A change in the shape of the shell changes the shape of the fish inside.
We’ve already mentioned this, and we need to say it again: there’s no comparison between the House of Lords today and its past self. When they tore down the old palace, they also disrupted its long-standing practices. The blows from the pickaxe on the monument echo in our customs and laws. When an old stone falls, it inevitably pulls down old laws with it. If you gather a parliament that used to meet in a square room into a round room, it won’t be the same anymore. Changing the shape of the shell alters the shape of the fish inside.
If you wish to preserve an old thing, human or divine, a code or a dogma, a nobility or a priesthood, never repair anything about it thoroughly, even its outside cover. Patch it up, nothing more. For instance, Jesuitism is a piece added to Catholicism. Treat edifices as you would treat institutions. Shadows should dwell in ruins. Worn-out powers are uneasy in chambers freshly decorated. Ruined palaces accord best with institutions in rags. To attempt to describe the House of Lords of other days would be to attempt to describe the unknown. History is night. In history there is no second tier. That which is no longer on the stage immediately fades into obscurity. The scene is shifted, and all is at once forgotten. The past has a synonym, the unknown.
If you want to preserve something old, whether it's human or divine, a code or a belief, nobility or a priesthood, never fix it completely, not even its outer shell. Just patch it up, nothing more. For example, Jesuitism is an addition to Catholicism. Treat buildings like you would treat institutions. Shadows belong in ruins. Worn-out powers feel uncomfortable in freshly decorated rooms. Crumbling palaces fit best with institutions in tatters. Trying to describe the House of Lords of the past is like trying to describe something unknown. History is darkness. In history, there’s no second tier. What is no longer in the spotlight quickly fades away. The scene changes, and everything is forgotten in an instant. The past is another word for the unknown.
The peers of England sat as a court of justice in Westminster Hall, and as the higher legislative chamber in a chamber specially reserved for the purpose, called The House of Lords.
The nobles of England gathered as a court of justice in Westminster Hall, and as the upper legislative body in a space specifically designated for this, called The House of Lords.
Besides the house of peers of England, which did not assemble as a court unless convoked by the crown, two great English tribunals, inferior to the house of peers, but superior to all other jurisdiction, sat in Westminster Hall. At the end of that hall they occupied adjoining compartments. The first was the Court of King's Bench, in which the king was supposed to preside; the second, the Court of Chancery, in which the Chancellor presided. The one was a court of justice, the other a court of mercy. It was the Chancellor who counselled the king to pardon; only rarely, though.
Besides the House of Lords in England, which only met as a court when summoned by the crown, two major English courts, lower than the House of Lords but higher than all other jurisdictions, met in Westminster Hall. At the far end of that hall, they had neighboring sections. The first was the Court of King's Bench, where the king was expected to preside; the second was the Court of Chancery, presided over by the Chancellor. One was a court of justice, and the other was a court of mercy. It was the Chancellor who advised the king to grant pardons, but only on rare occasions.
These two courts, which are still in existence, interpreted legislation, and reconstructed it somewhat, for the art of the judge is to carve the code into jurisprudence; a task from which equity results as it best may. Legislation was worked up and applied in the severity of the great hall of Westminster, the rafters of which were of chestnut wood, over which spiders could not spread their webs. There are enough of them in all conscience in the laws.
These two courts, which still exist today, interpreted and slightly adjusted the laws, because a judge's skill is to shape the code into legal principles; a process that leads to fairness as best as possible. The laws were developed and enforced rigorously in the grand hall of Westminster, whose rafters were made of chestnut wood, preventing spiders from spinning their webs. There are plenty of those in the legal system as it is.
To sit as a court and to sit as a chamber are two distinct things. This double function constitutes supreme power. The Long Parliament, which began in November 1640, felt the revolutionary necessity for this two-edged sword. So it declared that, as House of Lords, it possessed judicial as well as legislative power.
To sit as a court and to sit as a chamber are two different things. This dual function represents ultimate authority. The Long Parliament, which started in November 1640, recognized the revolutionary need for this two-edged power. Therefore, it declared that, as the House of Lords, it held both judicial and legislative power.
This double power has been, from time immemorial, vested in the House of Peers. We have just mentioned that as judges they occupied Westminster Hall; as legislators, they had another chamber. This other chamber, properly called the House of Lords, was oblong and narrow. All the light in it came from four windows in deep embrasures, which received their light through the roof, and a bull's-eye, composed of six panes with curtains, over the throne. At night there was no other light than twelve half candelabra, fastened to the wall. The chamber of Venice was darker still. A certain obscurity is pleasing to those owls of supreme power.
This dual authority has, for ages, been held by the House of Peers. We’ve just pointed out that as judges they occupied Westminster Hall; as lawmakers, they had a different chamber. This other chamber, properly called the House of Lords, was long and narrow. All the light in it came from four deep-set windows, which got their light through the roof, and from a bull's-eye, made up of six panes with curtains, positioned above the throne. At night, the only illumination came from twelve half candelabra mounted on the wall. The chamber in Venice was even darker. A certain dimness is appealing to those creatures of power.
A high ceiling adorned with many-faced relievos and gilded cornices, circled over the chamber where the Lords assembled. The Commons had but a flat ceiling. There is a meaning in all monarchical buildings. At one end of the long chamber of the Lords was the door; at the other, opposite to it, the throne. A few paces from the door, the bar, a transverse barrier, and a sort of frontier, marked the spot where the people ended and the peerage began. To the right of the throne was a fireplace with emblazoned pinnacles, and two bas-reliefs of marble, representing, one, the victory of Cuthwolf over the Britons, in 572; the other, the geometrical plan of the borough of Dunstable, which had four streets, parallel to the four quarters of the world. The throne was approached by three steps. It was called the royal chair. On the two walls, opposite each other, were displayed in successive pictures, on a huge piece of tapestry given to the Lords by Elizabeth, the adventures of the Armada, from the time of its leaving Spain until it was wrecked on the coasts of Great Britain. The great hulls of the ships were embroidered with threads of gold and silver, which had become blackened by time. Against this tapestry, cut at intervals by the candelabra fastened in the wall, were placed, to the right of the throne, three rows of benches for the bishops, and to the left three rows of benches for the dukes, marquises, and earls, in tiers, and separated by gangways. On the three benches of the first section sat the dukes; on those of the second, the marquises; on those of the third, the earls. The viscounts' bench was placed across, opposite the throne, and behind, between the viscounts and the bar, were two benches for the barons.
A high ceiling decorated with intricate reliefs and gold-trimmed cornices loomed over the chamber where the Lords gathered. The Commons had a simple flat ceiling. There's significance in all royal buildings. At one end of the long chamber for the Lords was the door; at the opposite end was the throne. A few steps from the door was the bar, a dividing line that marked where the people ended and the nobility began. To the right of the throne was a fireplace with ornate decorations and two marble reliefs, one depicting Cuthwolf's victory over the Britons in 572, and the other showing the geometric layout of the borough of Dunstable, which had four streets aligned with the four cardinal directions. The throne, known as the royal chair, was accessed by three steps. On the two facing walls hung a large tapestry given to the Lords by Elizabeth, illustrating the adventures of the Armada from its departure from Spain until it was wrecked along the shores of Great Britain. The grand ships were embroidered with gold and silver threads that had darkened over time. Against this tapestry, interrupted at intervals by wall-mounted candelabra, were three rows of benches for bishops to the right of the throne, and three rows for dukes, marquesses, and earls to the left, arranged in tiers with walkways in between. The dukes occupied the benches in the first section; the marquesses sat in the second; and the earls took the third. The viscounts had a bench positioned across from the throne, and behind them, between the viscounts and the bar, were two benches for the barons.
On the highest bench to the right of the throne sat the two archbishops of Canterbury and York; on the middle bench three bishops, London, Durham, and Winchester, and the other bishops on the lowest bench. There is between the Archbishop of Canterbury and the other bishops this considerable difference, that he is bishop "by divine providence," whilst the others are only so "by divine permission." On the right of the throne was a chair for the Prince of Wales, and on the left, folding chairs for the royal dukes, and behind the latter, a raised seat for minor peers, who had not the privilege of voting. Plenty of fleurs-de-lis everywhere, and the great escutcheon of England over the four walls, above the peers, as well as above the king.
On the highest bench to the right of the throne sat the two archbishops of Canterbury and York; on the middle bench were three bishops: London, Durham, and Winchester, while the other bishops occupied the lowest bench. There is a notable difference between the Archbishop of Canterbury and the other bishops: he is a bishop "by divine providence," while the others are only so "by divine permission." To the right of the throne was a chair for the Prince of Wales, and to the left, folding chairs for the royal dukes, with a raised seat behind them for minor peers who did not have the right to vote. There were plenty of fleurs-de-lis everywhere, and the great escutcheon of England adorned the four walls, above the peers as well as above the king.
The sons of peers and the heirs to peerages assisted at the debates, standing behind the throne, between the daïs and the wall. A large square space was left vacant between the tiers of benches placed along three sides of the chamber and the throne. In this space, which was covered with the state carpet, interwoven with the arms of Great Britain, were four woolsacks—one in front of the throne, on which sat the Lord Chancellor, between the mace and the seal; one in front of the bishops, on which sat the judges, counsellors of state, who had the right to vote, but not to speak; one in front of the dukes, marquises, and earls, on which sat the Secretaries of State; and one in front of the viscounts and barons, on which sat the Clerk of the Crown and the Clerk of the Parliament, and on which the two under-clerks wrote, kneeling.
The sons of nobles and the heirs to titles participated in the debates, standing behind the throne, between the platform and the wall. A large square area was left empty between the rows of benches set up along three sides of the chamber and the throne. In this area, which was covered with the official carpet featuring the arms of Great Britain, were four woolsacks—one in front of the throne, where the Lord Chancellor sat, positioned between the mace and the seal; one in front of the bishops, where the judges, state advisers who had the right to vote but not to speak, sat; one in front of the dukes, marquises, and earls, where the Secretaries of State sat; and one in front of the viscounts and barons, where the Clerk of the Crown and the Clerk of the Parliament sat, and where the two under-clerks wrote while kneeling.
In the middle of the space was a large covered table, heaped with bundles of papers, registers, and summonses, with magnificent inkstands of chased silver, and with high candlesticks at the four corners.
In the center of the room was a large covered table, piled with bundles of papers, registers, and summonses, with beautiful silver inkstands and tall candlesticks at each of the four corners.
The peers took their seats in chronological order, each according to the date of the creation of his peerage. They ranked according to their titles, and within their grade of nobility according to seniority. At the bar stood the Usher of the Black Rod, his wand in his hand. Inside the door was the Deputy-Usher; and outside, the Crier of the Black Rod, whose duty it was to open the sittings of the Courts of Justice with the cry, "Oyez!" in French, uttered thrice, with a solemn accent upon the first syllable. Near the Crier stood the Serjeant Mace-Bearer of the Chancellor.
The peers took their seats in the order they were created, based on the date of their peerage. They ranked by their titles and, within their level of nobility, by seniority. At the bar stood the Usher of the Black Rod, holding his wand. Inside the door was the Deputy Usher; and outside was the Crier of the Black Rod, whose job was to start the Court of Justice sessions with the cry, "Oyez!" in French, said three times with extra emphasis on the first syllable. Near the Crier stood the Serjeant Mace-Bearer of the Chancellor.
In royal ceremonies the temporal peers wore coronets on their heads, and the spiritual peers, mitres. The archbishops wore mitres, with a ducal coronet; and the bishops, who rank after viscounts, mitres, with a baron's cap.
In royal ceremonies, the secular peers wore coronets on their heads, while the religious peers wore mitres. The archbishops had mitres topped with a ducal coronet, and the bishops, who rank just below viscounts, wore mitres with a baron's cap.
It is to be remarked, as a coincidence at once strange and instructive, that this square formed by the throne, the bishops, and the barons, with kneeling magistrates within it, was in form similar to the ancient parliament in France under the two first dynasties. The aspect of authority was the same in France as in England. Hincmar, in his treatise, "De Ordinatione Sacri Palatii," described in 853 the sittings of the House of Lords at Westminster in the eighteenth century. Strange, indeed! a description given nine hundred years before the existence of the thing described.
It's worth noting, as a strange yet insightful coincidence, that this square created by the throne, the bishops, and the barons, with kneeling magistrates inside, resembled the ancient parliament in France during the first two dynasties. The vibe of authority was similar in France as it was in England. Hincmar, in his treatise "De Ordinatione Sacri Palatii," described the meetings of the House of Lords at Westminster in the 18th century back in 853. How unusual! A description made nine hundred years before the actual thing it described.
But what is history? An echo of the past in the future; a reflex from the future on the past.
But what is history? An echo of the past in the future; a response from the future to the past.
The assembly of Parliament was obligatory only once in every seven years.
The Parliament had to meet only once every seven years.
The Lords deliberated in secret, with closed doors. The debates of the Commons were public. Publicity entails diminution of dignity.
The Lords discussed things privately, behind closed doors. The Commons held their debates in public. Being public reduces dignity.
The number of the Lords was unlimited. To create Lords was the menace of royalty; a means of government.
The number of Lords was limitless. Creating Lords was a threat to royalty; a method of governance.
At the beginning of the eighteenth century the House of Lords already contained a very large number of members. It has increased still further since that period. To dilute the aristocracy is politic. Elizabeth most probably erred in condensing the peerage into sixty-five lords. The less numerous, the more intense is a peerage. In assemblies, the more numerous the members, the fewer the heads. James II. understood this when he increased the Upper House to a hundred and eighty-eight lords; a hundred and eighty-six if we subtract from the peerages the two duchies of royal favourites, Portsmouth and Cleveland. Under Anne the total number of the lords, including bishops, was two hundred and seven. Not counting the Duke of Cumberland, husband of the queen, there were twenty-five dukes, of whom the premier, Norfolk, did not take his seat, being a Catholic; and of whom the junior, Cambridge, the Elector of Hanover, did, although a foreigner. Winchester, termed first and sole marquis of England, as Astorga was termed sole Marquis of Spain, was absent, being a Jacobite; so that there were only five marquises, of whom the premier was Lindsay, and the junior Lothian; seventy-nine earls, of whom Derby was premier and Islay junior; nine viscounts, of whom Hereford was premier and Lonsdale junior; and sixty-two barons, of whom Abergavenny was premier and Hervey junior. Lord Hervey, the junior baron, was what was called the "Puisné of the House." Derby, of whom Oxford, Shrewsbury, and Kent took precedence, and who was therefore but the fourth under James II., became (under Anne) premier earl. Two chancellors' names had disappeared from the list of barons—Verulam, under which designation history finds us Bacon; and Wem, under which it finds us Jeffreys. Bacon and Jeffreys! both names overshadowed, though by different crimes. In 1705, the twenty-six bishops were reduced to twenty-five, the see of Chester being vacant. Amongst the bishops some were peers of high rank, such as William Talbot, Bishop of Oxford, who was head of the Protestant branch of that family. Others were eminent Doctors, like John Sharp, Archbishop of York, formerly Dean of Norwich; the poet, Thomas Spratt, Bishop of Rochester, an apoplectic old man; and that Bishop of Lincoln, who was to die Archbishop of Canterbury, Wake, the adversary of Bossuet. On important occasions, and when a message from the Crown to the House was expected, the whole of this august assembly—in robes, in wigs, in mitres, or plumes—formed out, and displayed their rows of heads, in tiers, along the walls of the House, where the storm was vaguely to be seen exterminating the Armada—almost as much as to say, "The storm is at the orders of England."
At the start of the eighteenth century, the House of Lords already had a large number of members. It has only grown since then. It’s political to dilute the power of the aristocracy. Elizabeth likely made a mistake by reducing the peerage to sixty-five lords. The fewer the members, the stronger the peerage. James II understood this when he expanded the Upper House to a hundred and eighty-eight lords; that’s a hundred and eighty-six if we exclude the two duchies of royal favorites, Portsmouth and Cleveland. Under Anne, the total number of lords, including bishops, was two hundred and seven. Not counting the Duke of Cumberland, the queen's husband, there were twenty-five dukes. The premier, Norfolk, didn’t take his seat because he was Catholic, while the junior duke, Cambridge, the Elector of Hanover, did, even though he was a foreigner. Winchester, known as the first and only marquis of England, similar to how Astorga was called the sole Marquis of Spain, was absent because he was a Jacobite. This meant there were only five marquises, with Lindsay as the premier and Lothian as the junior. There were seventy-nine earls, led by Derby as premier and Islay as junior; nine viscounts, with Hereford as premier and Lonsdale as junior; and sixty-two barons, with Abergavenny as premier and Hervey as junior. Lord Hervey, the junior baron, was referred to as the "Puisné of the House." Derby, who was behind Oxford, Shrewsbury, and Kent in rank, became the premier earl under Anne. Two chancellors were no longer listed among the barons—Verulam, under which name history recognizes Bacon; and Wem, under which we have Jeffreys. Bacon and Jeffreys! both names overshadowed by different crimes. In 1705, the twenty-six bishops were reduced to twenty-five, with the see of Chester being vacant. Among the bishops, some held high ranks, like William Talbot, Bishop of Oxford, who was the head of the Protestant branch of that family. Others were notable figures, like John Sharp, Archbishop of York, who had previously been the Dean of Norwich; the poet Thomas Spratt, Bishop of Rochester, who was an apoplectic old man; and the Bishop of Lincoln, who would eventually become Archbishop of Canterbury, Wake, who opposed Bossuet. During important events, when a message from the Crown to the House was anticipated, this esteemed assembly—dressed in robes, wigs, mitres, or plumes—would assemble and display their ranks along the walls of the House, where the storm was vaguely seen defeating the Armada—almost as if to say, "The storm is at England's command."
CHAPTER IV.
THE OLD CHAMBER.
The whole ceremony of the investiture of Gwynplaine, from his entry under the King's Gate to his taking the test under the nave window, was enacted in a sort of twilight.
The entire ceremony of Gwynplaine's investiture, from his entrance through the King's Gate to taking the test under the nave window, took place in a kind of twilight.
Lord William Cowper had not permitted that he, as Lord Chancellor of England, should receive too many details of circumstances connected with the disfigurement of the young Lord Fermain Clancharlie, considering it below his dignity to know that a peer was not handsome; and feeling that his dignity would suffer if an inferior should venture to intrude on him information of such a nature. We know that a common fellow will take pleasure in saying, "That prince is humpbacked;" therefore, it is abusive to say that a lord is deformed. To the few words dropped on the subject by the queen the Lord Chancellor had contented himself with replying, "The face of a peer is in his peerage!"
Lord William Cowper, as Lord Chancellor of England, didn’t want to hear too many details about the disfigurement of the young Lord Fermain Clancharlie. He thought it was beneath him to know that a noble wasn’t handsome and felt that his status would take a hit if someone of lower rank dared to share such information with him. We know that an average person might enjoy gossiping about a prince’s hunchbacked appearance; therefore, it’s considered offensive to say that a lord is ugly. When the queen mentioned the topic briefly, the Lord Chancellor simply replied, "A peer's appearance is part of their rank!"
Ultimately, however, the affidavits he had read and certified enlightened him. Hence the precautions which he took. The face of the new lord, on his entrance into the House, might cause some sensation. This it was necessary to prevent; and the Lord Chancellor took his measures for the purpose. It is a fixed idea, and a rule of conduct in grave personages, to allow as little disturbance as possible. Dislike of incident is a part of their gravity. He felt the necessity of so ordering matters that the admission of Gwynplaine should take place without any hitch, and like that of any other successor to the peerage.
Ultimately, however, the affidavits he had read and certified opened his eyes. As a result, he took certain precautions. The appearance of the new lord when he entered the House could cause quite a stir. This needed to be avoided, so the Lord Chancellor took steps to ensure it. It's a common practice among serious individuals to keep disturbances to a minimum. Their aversion to incidents is part of their seriousness. He recognized the need to arrange things so that Gwynplaine's entry would go smoothly, just like any other successor to the peerage.
It was for this reason that the Lord Chancellor directed that the reception of Lord Fermain Clancharlie should take place at the evening sitting. The Chancellor being the doorkeeper—"Quodammodo ostiarus," says the Norman charter; "Januarum cancellorumque," says Tertullian—he can officiate outside the room on the threshold; and Lord William Cowper had used his right by carrying out under the nave the formalities of the investiture of Lord Fermain Clancharlie. Moreover, he had brought forward the hour for the ceremonies; so that the new peer actually made his entrance into the House before the House had assembled.
It was for this reason that the Lord Chancellor ordered that Lord Fermain Clancharlie's reception should happen during the evening session. The Chancellor, being the doorkeeper—"Quodammodo ostiarus," says the Norman charter; "Januarum cancellorumque," says Tertullian—can carry out his duties outside the room at the threshold; and Lord William Cowper exercised his right by performing the formalities of Lord Fermain Clancharlie's investiture under the nave. Additionally, he had pushed forward the time for the ceremonies, so the new peer actually entered the House before it had fully assembled.
For the investiture of a peer on the threshold, and not in the chamber itself, there were precedents. The first hereditary baron, John de Beauchamp, of Holt Castle, created by patent by Richard II., in 1387, Baron Kidderminster, was thus installed. In renewing this precedent the Lord Chancellor was creating for himself a future cause for embarrassment, of which he felt the inconvenience less than two years afterwards on the entrance of Viscount Newhaven into the House of Lords.
For the ceremony of appointing a peer outside the chamber, there have been previous instances. The first hereditary baron, John de Beauchamp of Holt Castle, was appointed by Richard II. in 1387 as Baron Kidderminster and was installed in this way. By following this precedent, the Lord Chancellor was setting himself up for future complications, which he experienced less than two years later when Viscount Newhaven entered the House of Lords.
Short-sighted as we have already stated him to be, Lord William Cowper scarcely perceived the deformity of Gwynplaine; while the two sponsors, being old and nearly blind, did not perceive it at all.
Short-sighted as we have already said, Lord William Cowper barely noticed Gwynplaine's deformity; meanwhile, the two sponsors, being old and almost blind, didn’t notice it at all.
The Lord Chancellor had chosen them for that very reason.
The Lord Chancellor had picked them for that exact reason.
More than this, the Lord Chancellor, having only seen the presence and stature of Gwynplaine, thought him a fine-looking man. When the door-keeper opened the folding doors to Gwynplaine there were but few peers in the house; and these few were nearly all old men. In assemblies the old members are the most punctual, just as towards women they are the most assiduous.
More than that, the Lord Chancellor, only seeing Gwynplaine's presence and stature, thought he was a good-looking man. When the doorkeeper opened the folding doors for Gwynplaine, there were only a few peers in the house, and those few were mostly elderly men. In meetings, the older members are usually the most punctual, just like they are the most attentive towards women.
On the dukes' benches there were but two, one white-headed, the other gray—Thomas Osborne, Duke of Leeds, and Schomberg, son of that Schomberg, German by birth, French by his marshal's bâton, and English by his peerage, who was banished by the edict of Nantes, and who, having fought against England as a Frenchman, fought against France as an Englishman. On the benches of the lords spiritual there sat only the Archbishopof Canterbury, Primate of England, above; and below, Dr. Simon Patrick, Bishop of Ely, in conversation with Evelyn Pierrepoint, Marquis of Dorchester, who was explaining to him the difference between a gabion considered singly and when used in the parapet of a field work, and between palisades and fraises; the former being a row of posts driven info the ground in front of the tents, for the purpose of protecting the camp; the latter sharp-pointed stakes set up under the wall of a fortress, to prevent the escalade of the besiegers and the desertion of the besieged; and the marquis was explaining further the method of placing fraises in the ditches of redoubts, half of each stake being buried and half exposed. Thomas Thynne, Viscount Weymouth, having approached the light of a chandelier, was examining a plan of his architect's for laying out his gardens at Longleat, in Wiltshire, in the Italian style—as a lawn, broken up into plots, with squares of turf alternating with squares of red and yellow sand, of river shells, and of fine coal dust. On the viscounts' benches was a group of old peers, Essex, Ossulstone, Peregrine, Osborne, William Zulestein, Earl of Rochford, and amongst them, a few more youthful ones, of the faction which did not wear wigs, gathered round Prince Devereux, Viscount Hereford, and discussing the question whether an infusion of apalaca holly was tea. "Very nearly," said Osborne. "Quite," said Essex. This discussion was attentively listened to by Paulet St. John, a cousin of Bolingbroke, of whom Voltaire was, later on, in some degree the pupil; for Voltaire's education, commenced by Père Porée, was finished by Bolingbroke. On the marquises' benches, Thomas de Grey, Marquis of Kent, Lord Chamberlain to the Queen, was informing Robert Bertie, Marquis of Lindsay, Lord Chamberlain of England, that the first prize in the great English lottery of 1694 had been won by two French refugees, Monsieur Le Coq, formerly councillor in the parliament of Paris, and Monsieur Ravenel, a gentleman of Brittany. The Earl of Wemyss was reading a book, entitled "Pratique Curieuse des Oracles des Sybilles." John Campbell, Earl of Greenwich, famous for his long chin, his gaiety, and his eighty-seven years, was writing to his mistress. Lord Chandos was trimming his nails.
On the dukes' benches, there were just two men, one with white hair and the other gray—Thomas Osborne, Duke of Leeds, and Schomberg, the son of that Schomberg, who was German by birth, French by military rank, and English by title. He had been exiled by the Edict of Nantes and had fought against England as a Frenchman, then fought against France as an Englishman. On the benches of the spiritual lords sat only the Archbishop of Canterbury, the Primate of England, above; and below him, Dr. Simon Patrick, Bishop of Ely, was talking with Evelyn Pierrepoint, Marquis of Dorchester, who was explaining the difference between a gabion used alone and when placed in the parapet of a fortification, and the difference between palisades and fraises. The former are posts driven into the ground in front of the tents to protect the camp; the latter are sharp-pointed stakes set up against the walls of a fortress to prevent attackers from climbing over and to stop defenders from escaping. The marquis further explained how to position fraises in the ditches of redoubts, with half of each stake buried and half exposed. Thomas Thynne, Viscount Weymouth, drew closer to the light of a chandelier, examining a design from his architect for his gardens at Longleat in Wiltshire, modeled in the Italian style—a lawn divided into sections with squares of turf alternating with squares of red and yellow sand, river shells, and fine coal dust. On the viscounts' benches, a group of older peers—Essex, Ossulstone, Peregrine, Osborne, William Zulestein, Earl of Rochford—and a few younger ones from the faction that didn’t wear wigs gathered around Prince Devereux, Viscount Hereford, discussing whether an infusion of apalaca holly counted as tea. "Very nearly," said Osborne. "Absolutely," said Essex. This conversation was closely monitored by Paulet St. John, a cousin of Bolingbroke, who would later influence Voltaire; Voltaire's education, begun by Père Porée, was completed by Bolingbroke. On the marquises' benches, Thomas de Grey, Marquis of Kent and Lord Chamberlain to the Queen, informed Robert Bertie, Marquis of Lindsay and Lord Chamberlain of England, that the first prize in the major English lottery of 1694 had been won by two French refugees, Monsieur Le Coq, a former councilor in the Parliament of Paris, and Monsieur Ravenel, a gentleman from Brittany. The Earl of Wemyss was reading a book titled "Pratique Curieuse des Oracles des Sybilles." John Campbell, Earl of Greenwich, known for his long chin, his joviality, and his eighty-seven years, was writing to his mistress. Lord Chandos was trimming his nails.
The sitting which was about to take place, being a royal one, where the crown was to be represented by commissioners, two assistant door-keepers were placing in front of the throne a bench covered with purple velvet. On the second woolsack sat the Master of the Rolls, sacrorum scriniorum magister, who had then for his residence the house formerly belonging to the converted Jews. Two under-clerks were kneeling, and turning over the leaves of the registers which lay on the fourth woolsack. In the meantime the Lord Chancellor took his place on the first woolsack. The members of the chamber took theirs, some sitting, others standing; when the Archbishop of Canterbury rose and read the prayer, and the sitting of the house began.
The upcoming session, being a royal one, was set to have representatives from the crown, so two assistant door-keepers were placing a bench covered in purple velvet in front of the throne. On the second woolsack was the Master of the Rolls, who was then living in the house that used to belong to the converted Jews. Two under-clerks were kneeling and flipping through the pages of the registers on the fourth woolsack. Meanwhile, the Lord Chancellor took his seat on the first woolsack. The members of the chamber took their places, some sitting and others standing, when the Archbishop of Canterbury stood up to read the prayer, marking the start of the session.
Gwynplaine had already been there for some time without attracting any notice. The second bench of barons, on which was his place, was close to the bar, so that he had had to take but a few steps to reach it. The two peers, his sponsors, sat, one on his right, the other on his left, thus almost concealing the presence of the new-comer.
Gwynplaine had been there for a while without drawing any attention. His spot on the second bench of barons was near the bar, so he only had to walk a few steps to get there. The two peers who sponsored him sat, one on his right and the other on his left, almost hiding the newcomer from view.
No one having been furnished with any previous information, the Clerk of the Parliament had read in a low voice, and as it were, mumbled through the different documents concerning the new peer, and the Lord Chancellor had proclaimed his admission in the midst of what is called, in the reports, "general inattention." Every one was talking. There buzzed through the House that cheerful hum of voices during which assemblies pass things which will not bear the light, and at which they wonder when they find out what they have done, too late.
No one had received any prior information, so the Clerk of the Parliament read quietly and sort of mumbled through the various documents about the new peer, while the Lord Chancellor announced his admission amidst what is described in the reports as "general inattention." Everyone was talking. There was that lively buzz of voices in the House during which assemblies approve things that shouldn’t see the light of day, and then they’re surprised when they realize what they’ve done, but it’s already too late.
Gwynplaine was seated in silence, with his head uncovered, between the two old peers, Lord Fitzwalter and Lord Arundel. On entering, according to the instructions of the King-at-Arms—afterwards renewed by his sponsors—he had bowed to the throne.
Gwynplaine sat quietly, his head uncovered, between the two elderly peers, Lord Fitzwalter and Lord Arundel. Upon entering, following the directions from the King-at-Arms—later reiterated by his sponsors—he had bowed to the throne.
Thus all was over. He was a peer. That pinnacle, under the glory of which he had, all his life, seen his master, Ursus, bow himself down in fear—that prodigious pinnacle was under his feet. He was in that place, so dark and yet so dazzling in England. Old peak of the feudal mountain, looked up to for six centuries by Europe and by history! Terrible nimbus of a world of shadow! He had entered into the brightness of its glory, and his entrance was irrevocable.
Thus everything was finished. He was a peer. That pinnacle, under the glory of which he had seen his master, Ursus, bow down in fear all his life—that amazing pinnacle was beneath him now. He was in that place, so dark yet so bright in England. Old peak of the feudal mountain, revered for six centuries by Europe and by history! Awful aura of a world of shadows! He had stepped into the light of its glory, and his entry was irreversible.
He was there in his own sphere, seated on his throne, like the king on his. He was there and nothing in the future could obliterate the fact. The royal crown, which he saw under the daïs, was brother to his coronet. He was a peer of that throne. In the face of majesty he was peerage; less, but like. Yesterday, what was he? A player. To-day, what was he? A prince.
He was there in his own world, sitting on his throne, like a king on his. He was present, and nothing in the future could change that fact. The royal crown he saw beneath the dais was similar to his own coronet. He was part of that throne. In the presence of greatness, he was nobility; lesser, but similar. Yesterday, what was he? An actor. Today, what was he? A prince.
Yesterday, nothing; to-day, everything.
Yesterday, nothing; today, everything.
It was a sudden confrontation of misery and power, meeting face to face, and resolving themselves at once into the two halves of a conscience. Two spectres, Adversity and Prosperity, were taking possession of the same soul, and each drawing that soul towards itself.
It was a sudden clash of hardship and power, coming together, and instantly forming the two sides of a conscience. Two ghosts, Struggle and Success, were claiming the same spirit, each pulling that spirit toward itself.
Oh, pathetic division of an intellect, of a will, of a brain, between two brothers who are enemies! the Phantom of Poverty and the Phantom of Wealth! Abel and Cain in the same man!
Oh, sad split of intellect, will, and mind between two brothers who are enemies! The Ghost of Poverty and the Ghost of Wealth! Abel and Cain in the same person!
CHAPTER V.
ARISTOCRATIC GOSSIP.
By degrees the seats of the House filled as the Lords arrived. The question was the vote for augmenting, by a hundred thousand pounds sterling, the annual income of George of Denmark, Duke of Cumberland, the queen's husband. Besides this, it was announced that several bills assented to by her Majesty were to be brought back to the House by the Commissioners of the Crown empowered and charged to sanction them. This raised the sitting to a royal one. The peers all wore their robes over their usual court or ordinary dress. These robes, similar to that which had been thrown over Gwynplaine, were alike for all, excepting that the dukes had five bands of ermine, trimmed with gold; marquises, four; earls and viscounts, three; and barons, two. Most of the lords entered in groups. They had met in the corridors, and were continuing the conversations there begun. A few came in alone. The costumes of all were solemn; but neither their attitudes nor their words corresponded with them. On entering, each one bowed to the throne.
Gradually, the seats in the House filled up as the Lords arrived. The topic was the vote to increase the annual income of George of Denmark, Duke of Cumberland, the queen's husband, by a hundred thousand pounds. Additionally, it was announced that several bills approved by her Majesty would be returned to the House by the Commissioners of the Crown, who were authorized to endorse them. This elevated the session to a royal one. The peers all wore their robes over their typical court or everyday attire. These robes, similar to the one that had been draped over Gwynplaine, were the same for everyone, except that dukes had five bands of ermine trimmed with gold; marquises, four; earls and viscounts, three; and barons, two. Most of the lords entered in groups. They had gathered in the corridors and were continuing conversations that started there. A few came in alone. Everyone’s attire was serious; however, their attitudes and words did not match this. Upon entering, each one bowed to the throne.
The peers flowed in. The series of great names marched past with scant ceremonial, the public not being present. Leicester entered, and shook Lichfield's hand; then came Charles Mordaunt, Earl of Peterborough and Monmouth, the friend of Locke, under whose advice he had proposed the recoinage of money; then Charles Campbell, Earl of Loudoun, listening to Fulke Greville, Lord Brooke; then Dorme, Earl of Carnarvon; then Robert Sutton, Baron Lexington, son of that Lexington who recommended Charles II. to banish Gregorio Leti, the historiographer, who was so ill-advised as to try to become a historian; then Thomas Bellasys, Viscount Falconberg, a handsome old man; and the three cousins, Howard, Earl of Bindon, Bowes Howard, Earl of Berkshire, and Stafford Howard, Earl of Stafford—all together; then John Lovelace, Baron Lovelace, which peerage became extinct in 1736, so that Richardson was enabled to introduce Lovelace in his book, and to create a type under the name. All these personages—celebrated each in his own way, either in politics or in war, and of whom many were an honour to England—were laughing and talking.
The guests arrived in waves. A lineup of notable figures walked by with little ceremony, as the public was not present. Leicester came in and shook Lichfield's hand; next was Charles Mordaunt, the Earl of Peterborough and Monmouth, a friend of Locke, who had suggested the recoinage of money based on Locke's advice; then Charles Campbell, the Earl of Loudoun, listening to Fulke Greville, Lord Brooke; followed by Dorme, the Earl of Carnarvon; then Robert Sutton, Baron Lexington, son of the Lexington who advised Charles II to banish Gregorio Leti, the historiographer who foolishly tried to be a historian; then Thomas Bellasys, Viscount Falconberg, a distinguished older man; and the three cousins—Howard, the Earl of Bindon, Bowes Howard, the Earl of Berkshire, and Stafford Howard, the Earl of Stafford—all together; then John Lovelace, Baron Lovelace, whose title became extinct in 1736, allowing Richardson to introduce Lovelace in his novel and create a character of the same name. All these figures—each notable in their own right, whether in politics or in war, many of whom were a credit to England—were laughing and talking.
It was history, as it were, seen in undress.
It was history, so to speak, laid bare.
In less than half an hour the House was nearly full. This was to be expected, as the sitting was a royal one. What was more unusual was the eagerness of the conversations. The House, so sleepy not long before, now hummed like a hive of bees.
In less than half an hour, the House was almost full. This was expected since it was a royal sitting. What was more surprising was the energy of the conversations. The House, which had seemed so drowsy not long ago, now buzzed like a hive of bees.
The arrival of the peers who had come in late had wakened them up. These lords had brought news. It was strange that the peers who had been there at the opening of the sitting knew nothing of what had occurred, while those who had not been there knew all about it. Several lords had come from Windsor.
The arrival of the late peers had woken them up. These lords brought news. It was odd that the peers who had been there at the start of the meeting knew nothing about what had happened, while those who hadn't attended were fully informed. Several lords had come from Windsor.
For some hours past the adventures of Gwynplaine had been the subject of conversation. A secret is a net; let one mesh drop, and the whole goes to pieces. In the morning, in consequence of the incidents related above, the whole story of a peer found on the stage, and of a mountebank become a lord, had burst forth at Windsor in Royal places. The princes had talked about it, and then the lackeys. From the Court the news soon reached the town. Events have a weight, and the mathematical rule of velocity, increasing in proportion to the squares of the distance, applies to them. They fall upon the public, and work themselves through it with the most astounding rapidity. At seven o'clock no one in London had caught wind of the story; by eight Gwynplaine was the talk of the town. Only the lords who had been so punctual that they were present before the assembling of the House were ignorant of the circumstances, not having been in the town when the matter was talked of by every one, and having been in the House, where nothing had been perceived. Seated quietly on their benches, they were addressed by the eager newcomers.
For the past few hours, Gwynplaine's adventures had been the talk of the town. A secret is like a web; let one thread slip, and everything falls apart. This morning, as a result of the incidents mentioned earlier, the entire story of a peer found on stage and a con artist who became a lord had exploded in royal circles in Windsor. The princes discussed it, and then the servants picked it up. From the court, the news quickly spread to the town. Events have a momentum, and the principle of speed, increasing with the squares of distance, applies to them. They hit the public and ripple through it at an astonishing speed. By seven o'clock, no one in London knew about the story; by eight, Gwynplaine was on everyone’s lips. Only the lords who had arrived early and were present before the House gathered were unaware of the situation; they hadn't been in town when everyone was gossiping about it and had been in the House, where nothing had been noticed. Sitting quietly on their benches, they were approached by eager newcomers.
"Well!" said Francis Brown, Viscount Montacute, to the Marquis of Dorchester.
"Well!" said Francis Brown, Viscount Montacute, to the Marquis of Dorchester.
"What?"
"What?"
"Is it possible?"
"Is that possible?"
"What?"
"What do you mean?"
"The Laughing Man!"
"The Laughing Man!"
"Who is the Laughing Man?"
"Who's the Laughing Man?"
"Don't you know the Laughing Man?"
"Have you heard of the Laughing Man?"
"No."
"Nope."
"He is a clown, a fellow performing at fairs. He has an extraordinary face, which people gave a penny to look at. A mountebank."
"He’s a clown, a guy performing at fairs. He has a unique face that people pay a penny to see. A con artist."
"Well, what then?"
"Okay, so what now?"
"You have just installed him as a peer of England."
"You just installed him as a member of the English nobility."
"You are the laughing man, my Lord Montacute!"
"You are the laughing man, Lord Montacute!"
"I am not laughing, my Lord Dorchester."
"I'm not laughing, Lord Dorchester."
Lord Montacute made a sign to the Clerk of the Parliament, who rose from his woolsack, and confirmed to their lordships the fact of the admission of the new peer. Besides, he detailed the circumstances.
Lord Montacute gestured to the Clerk of the Parliament, who got up from his woolsack and confirmed to the lords that the new peer had been admitted. He also explained the details surrounding the event.
"How wonderful!" said Lord Dorchester. "I was talking to the Bishop of Ely all the while."
"How amazing!" said Lord Dorchester. "I was chatting with the Bishop of Ely the whole time."
The young Earl of Annesley addressed old Lord Eure, who had but two years more to live, as he died in 1707.
The young Earl of Annesley spoke to old Lord Eure, who had only two years left to live, as he passed away in 1707.
"My Lord Eure."
"My Lord Eure."
"My Lord Annesley."
"Lord Annesley."
"Did you know Lord Linnæus Clancharlie?"
"Did you know Lord Linnæus Clancharlie?"
"A man of bygone days. Yes I did."
"A man from the past. Yes, I did."
"He died in Switzerland?"
"He passed away in Switzerland?"
"Yes; we were relations."
"Yes; we were related."
"He was a republican under Cromwell, and remained a republican under Charles II.?"
"He was a Republican during Cromwell's time and stayed a Republican during Charles II's reign."
"A republican? Not at all! He was sulking. He had a personal quarrel with the king. I know from good authority that Lord Clancharlie would have returned to his allegiance, if they had given him the office of Chancellor, which Lord Hyde held."
"A republican? Not at all! He was moping. He had a personal dispute with the king. I know from reliable sources that Lord Clancharlie would have gone back to his loyalty if they had offered him the position of Chancellor, which Lord Hyde occupied."
"You astonish me, Lord Eure. I had heard that Lord Clancharlie was an honest politician."
"You amaze me, Lord Eure. I had heard that Lord Clancharlie was an honest politician."
"An honest politician! does such a thing exist? Young man, there is no such thing."
"An honest politician! Does that really exist? Young man, there’s no such thing."
"And Cato?"
"And Cato?"
"Oh, you believe in Cato, do you?"
"Oh, you really believe in Cato, huh?"
"And Aristides?"
"And Aristides?"
"They did well to exile him."
"They did well to send him into exile."
"And Thomas More?"
"And what about Thomas More?"
"They did well to cut off his head."
"They did well to cut off his head."
"And in your opinion Lord Clancharlie was a man as you describe. As for a man remaining in exile, why, it is simply ridiculous."
"And in your opinion, Lord Clancharlie was a man like you describe. As for a man staying in exile, well, that’s just absurd."
"He died there."
"He passed away there."
"An ambitious man disappointed?"
"An ambitious guy let down?"
"You ask if I knew him? I should think so indeed. I was his dearest friend."
"You’re asking if I knew him? Of course I did. I was his closest friend."
"Do you know, Lord Eure, that he married when in Switzerland?"
"Do you know, Lord Eure, that he got married while he was in Switzerland?"
"I am pretty sure of it."
"I'm sure of it."
"And that he had a lawful heir by that marriage?"
"And that he had a legitimate heir from that marriage?"
"Yes; who is dead."
"Yes; who's dead."
"Who is living."
"Who is alive."
"Living?"
"Is this living?"
"Living."
"Living life."
"Impossible!"
"No way!"
"It is a fact—proved, authenticated, confirmed, registered."
"It’s a fact—verified, confirmed, and documented."
"Then that son will inherit the Clancharlie peerage?"
"Then that son will inherit the Clancharlie title?"
"He is not going to inherit it."
"He's not going to inherit it."
"Why?"
"Why?"
"Because he has inherited it. It is done."
"Because he inherited it. It's done."
"Done?"
"Finished?"
"Turn your head, Lord Eure; he is sitting behind you, on the barons' benches."
"Turn around, Lord Eure; he’s sitting behind you, on the barons' benches."
Lord Eure turned, but Gwynplaine's face was concealed under his forest of hair.
Lord Eure turned, but Gwynplaine's face was hidden beneath his bushy hair.
"So," said the old man, who could see nothing but his hair, "he has already adopted the new fashion. He does not wear a wig."
"So," said the old man, who could see nothing but his hair, "he's already picked up the new trend. He doesn't wear a wig."
Grantham accosted Colepepper.
Grantham confronted Colepepper.
"Some one is finely sold."
"Someone is really sold."
"Who is that?"
"Who's that?"
"David Dirry-Moir."
"David Dirry-Moir."
"How is that?"
"How's that?"
"He is no longer a peer."
"He's not a peer anymore."
"How can that be?"
"How is that possible?"
And Henry Auverquerque, Earl of Grantham, told John Baron Colepepper the whole anecdote—how the waif-flask had been carried to the Admiralty, about the parchment of the Comprachicos, the jussu regis, countersigned Jeffreys, and the confrontation in the torture-cell at Southwark, the proof of all the facts acknowledged by the Lord Chancellor and by the Queen; the taking the test under the nave, and finally the admission of Lord Fermain Clancharlie at the commencement of the sitting. Both the lords endeavoured to distinguish his face as he sat between Lord Fitzwalter and Lord Arundel, but with no better success than Lord Eure and Lord Annesley.
And Henry Auverquerque, Earl of Grantham, told John Baron Colepepper the whole story—how the waif-flask had been taken to the Admiralty, about the parchment from the Comprachicos, the jussu regis, countersigned Jeffreys, and the confrontation in the torture cell at Southwark, the evidence of all the facts accepted by the Lord Chancellor and the Queen; the test taken under the nave, and finally the admission of Lord Fermain Clancharlie at the start of the meeting. Both lords tried to identify his face as he sat between Lord Fitzwalter and Lord Arundel, but they had no more success than Lord Eure and Lord Annesley.
Gwynplaine, either by chance or by the arrangement of his sponsors, forewarned by the Lord Chancellor, was so placed in shadow as to escape their curiosity.
Gwynplaine, either by luck or through the arrangements made by his sponsors, was positioned in such a way, thanks to a heads-up from the Lord Chancellor, that he managed to stay out of their sight.
"Who is it? Where is he?"
"Who is it? Where is he?"
Such was the exclamation of all the new-comers, but no one succeeded in making him out distinctly. Some, who had seen Gwynplaine in the Green Box, were exceedingly curious, but lost their labour: as it sometimes happens that a young lady is entrenched within a troop of dowagers, Gwynplaine was, as it were, enveloped in several layers of lords, old, infirm, and indifferent. Good livers, with the gout, are marvellously indifferent to stories about their neighbours.
Such was the exclamation of all the newcomers, but no one managed to see him clearly. Some, who had seen Gwynplaine in the Green Box, were very curious, but they were out of luck: just as a young lady can sometimes be surrounded by a group of older women, Gwynplaine was, in a way, wrapped up in several layers of old, sick, and uninterested lords. People who enjoy good food and suffer from gout are remarkably indifferent to stories about their neighbors.
There passed from hand to hand copies of a letter three lines in length, written, it was said, by the Duchess Josiana to the queen, her sister, in answer to the injunction made by her Majesty, that she should espouse the new peer, the lawful heir of the Clancharlies, Lord Fermain. This letter was couched in the following terms:—
There were copies of a three-line letter being passed around, supposedly written by Duchess Josiana to her sister, the queen, in response to the queen's request that she marry the new peer, the rightful heir of the Clancharlies, Lord Fermain. The letter said:—
"MADAM,—The arrangement will suit me just as well. I can have Lord David for my lover.—(Signed) JOSIANA."
"MADAM,—The arrangement works for me just fine. I can have Lord David as my lover.—(Signed) JOSIANA."
This note, whether a true copy or a forgery, was received by all with the greatest enthusiasm. A young lord, Charles Okehampton, Baron Mohun, who belonged to the wigless faction, read and re-read it with delight. Lewis de Duras, Earl of Faversham, an Englishman with a Frenchman's wit, looked at Mohun and smiled.
This note, whether it was an authentic copy or a fake, was welcomed by everyone with immense excitement. A young lord, Charles Okehampton, Baron Mohun, who was part of the wigless group, read and re-read it with joy. Lewis de Duras, Earl of Faversham, an Englishman with a clever French flair, glanced at Mohun and smiled.
"That is a woman I should like to marry!" exclaimed Lord Mohun.
"That's a woman I'd like to marry!" exclaimed Lord Mohun.
The lords around them overheard the following dialogue between Duras and Mohun:—
The lords around them overheard this conversation between Duras and Mohun:—
"Marry the Duchess Josiana, Lord Mohun!"
"Marry the Duchess Josiana, Lord Mohun!"
"Why not?"
"What's stopping you?"
"Plague take it."
"Curse it."
"She would make one very happy."
"She would make someone very happy."
"She would make many very happy."
"She would make a lot of people very happy."
"But is it not always a question of many?"
"But isn’t it always a question of many?"
"Lord Mohun, you are right. With regard to women, we have always the leavings of others. Has any one ever had a beginning?"
"Lord Mohun, you’re correct. When it comes to women, we always get what’s left over from others. Has anyone ever had a real start?"
"Adam, perhaps."
"Maybe Adam."
"Not he."
"Not him."
"Then Satan."
"Then the devil."
"My dear lord," concluded Lewis de Duras, "Adam only lent his name. Poor dupe! He endorsed the human race. Man was begotten on the woman by the devil."
"My dear lord," concluded Lewis de Duras, "Adam just lent his name. What a fool! He represented the human race. Man was conceived by the woman through the devil."
Hugh Cholmondeley, Earl of Cholmondeley, strong in points of law, was asked from the bishops' benches by Nathaniel Crew, who was doubly a peer, being a temporal peer, as Baron Crew, and a spiritual peer, as Bishop of Durham.
Hugh Cholmondeley, Earl of Cholmondeley, knowledgeable in legal matters, was questioned from the bishops' benches by Nathaniel Crew, who held dual titles, being a temporal peer as Baron Crew and a spiritual peer as Bishop of Durham.
"Is it possible?" said Crew.
"Is it possible?" Crew asked.
"Is it regular?" said Cholmondeley.
"Is it normal?" said Cholmondeley.
"The investiture of this peer was made outside the House," replied the bishop; "but it is stated that there are precedents for it."
"The appointment of this peer took place outside the House," replied the bishop; "but it's said that there are precedents for it."
"Yes. Lord Beauchamp, under Richard II.; Lord Chenay, under Elizabeth: and Lord Broghill, under Cromwell."
"Yes. Lord Beauchamp during Richard II.; Lord Chenay during Elizabeth; and Lord Broghill under Cromwell."
"Cromwell goes for nothing."
"Cromwell is worthless."
"What do you think of it all?"
"What do you think about everything?"
"Many different things."
"Lots of different things."
"My Lord Cholmondeley, what will be the rank of this young Lord Clancharlie in the House?"
"My Lord Cholmondeley, what will be this young Lord Clancharlie's rank in the House?"
"My Lord Bishop, the interruption of the Republic having displaced ancient rights of precedence, Clancharlie now ranks in the peerage between Barnard and Somers, so that should each be called upon to speak in turn, Lord Clancharlie would be the eighth in rotation."
"My Lord Bishop, the disruption of the Republic has changed the old order of precedence, so Clancharlie now ranks in the peerage between Barnard and Somers. Therefore, if each person is called to speak in order, Lord Clancharlie would be eighth in line."
"Really! he—a mountebank from a public show!"
"Seriously! He's just a con artist from a public performance!"
"The act, per se, does not astonish me, my Lord Bishop. We meet with such things. Still more wonderful circumstances occur. Was not the War of the Roses predicted by the sudden drying up of the river Ouse, in Bedfordshire, on January 1st, 1399. Now, if a river dries up, a peer may, quite as naturally, fall into a servile condition. Ulysses, King of Ithaca, played all kinds of different parts. Fermain Clancharlie remained a lord under his player's garb. Sordid garments touch not the soul's nobility. But taking the test and the investiture outside the sitting, though strictly legal, might give rise to objections. I am of opinion that it will be necessary to look into the matter, to see if there be any ground to question the Lord Chancellor in Privy Council later on. We shall see in a week or two what is best to be done."
"The act itself doesn't surprise me, my Lord Bishop. We come across such things. Even more remarkable events happen. Wasn't the War of the Roses foreshadowed by the sudden drying up of the river Ouse in Bedfordshire on January 1st, 1399? Now, if a river can dry up, a noble could just as easily find himself in a servile position. Ulysses, King of Ithaca, took on many different roles. Fermain Clancharlie stayed a lord even while disguised. Poor clothing doesn't affect one's nobility. However, conducting the test and the investiture outside of the official meeting, while technically legal, could raise some concerns. I believe it's necessary to investigate this further, to determine if there are reasons to question the Lord Chancellor in the Privy Council later on. We'll see in a week or two what the best course of action is."
And the Bishop added,—
And the Bishop added,—
"All the same. It is an adventure such as has not occurred since Earl Gesbodus's time."
"Still, it's an adventure unlike anything that has happened since Earl Gesbodus's time."
Gwynplaine, the Laughing Man; the Tadcaster Inn; the Green Box; "Chaos Vanquished;" Switzerland; Chillon; the Comprachicos; exile; mutilation; the Republic; Jeffreys; James II.; the jussu regis; the bottle opened at the Admiralty; the father, Lord Linnæus; the legitimate son, Lord Fermain; the bastard son, Lord David; the probable lawsuits; the Duchess Josiana; the Lord Chancellor; the Queen;—all these subjects of conversation ran from bench to bench.
Gwynplaine, the Laughing Man; the Tadcaster Inn; the Green Box; "Chaos Vanquished;" Switzerland; Chillon; the Comprachicos; exile; mutilation; the Republic; Jeffreys; James II.; the jussu regis; the bottle opened at the Admiralty; the father, Lord Linnæus; the legitimate son, Lord Fermain; the illegitimate son, Lord David; the likely lawsuits; the Duchess Josiana; the Lord Chancellor; the Queen;—all these topics of conversation bounced from one bench to another.
Whispering is like a train of gunpowder.
Whispering is like a trail of gunpowder.
They seized on every incident. All the details of the occurrence caused an immense murmur through the House. Gwynplaine, wandering in the depths of his reverie, heard the buzzing, without knowing that he was the cause of it. He was strangely attentive to the depths, not to the surface. Excess of attention becomes isolation.
They latched onto every incident. All the details of what happened created a huge buzz in the House. Gwynplaine, lost in his own thoughts, heard the noise without realizing he was the reason for it. He was oddly focused on the depths, not the surface. Too much focus leads to loneliness.
The buzz of conversation in the House impedes its usual business no more than the dust raised by a troop impedes its march. The judges—who in the Upper House were mere assistants, without the privilege of speaking, except when questioned—had taken their places on the second woolsack; and the three Secretaries of State theirs on the third.
The chatter in the House disrupts its usual business no more than the dust stirred up by a group hinders its progress. The judges—who in the Upper House were just aides, without the right to speak unless asked—had taken their spots on the second woolsack; and the three Secretaries of State had theirs on the third.
The heirs to peerages flowed into their compartment, at once without and within the House, at the back of the throne.
The heirs to the peerages entered their compartment, both inside and outside the House, at the back of the throne.
The peers in their minority were on their own benches. In 1705 the number of these little lords amounted to no less than a dozen—Huntingdon, Lincoln, Dorset, Warwick, Bath, Barlington, Derwentwater—destined to a tragical death—Longueville, Lonsdale, Dudley, Ward, and Carteret: a troop of brats made up of eight earls, two viscounts, and two barons.
The young peers were seated on their own benches. In 1705, there were actually twelve of these little lords: Huntingdon, Lincoln, Dorset, Warwick, Bath, Barlington, Derwentwater—who was destined for a tragic end—Longueville, Lonsdale, Dudley, Ward, and Carteret: a group of kids consisting of eight earls, two viscounts, and two barons.
In the centre, on the three stages of benches, each lord had taken his seat. Almost all the bishops were there. The dukes mustered strong, beginning with Charles Seymour, Duke of Somerset; and ending with George Augustus, Elector of Hanover, and Duke of Cambridge, junior in date of creation, and consequently junior in rank. All were in order, according to right of precedence: Cavendish, Duke of Devonshire, whose grandfather had sheltered Hobbes, at Hardwicke, when he was ninety-two; Lennox, Duke of Richmond; the three Fitzroys, the Duke of Southampton, the Duke of Grafton, and the Duke of Northumberland; Butler, Duke of Ormond; Somerset, Duke of Beaufort; Beauclerk, Duke of St. Albans; Paulet, Duke of Bolton; Osborne, Duke of Leeds; Wrottesley Russell, Duke of Bedford, whose motto and device was Che sarà sarà, which expresses a determination to take things as they come; Sheffield, Duke of Buckingham; Manners, Duke of Rutland; and others. Neither Howard, Duke of Norfolk, nor Talbot, Duke of Shrewsbury, was present, being Catholics; nor Churchill, Duke of Marlborough, the French Malbrouck, who was at that time fighting the French and beating them. There were no Scotch dukes then—Queensberry, Montrose, and Roxburgh not being admitted till 1707.
In the center, on the three tiers of benches, each lord had taken his seat. Almost all the bishops were present. The dukes were well represented, starting with Charles Seymour, Duke of Somerset, and ending with George Augustus, Elector of Hanover, and Duke of Cambridge, who was younger by creation date and therefore lower in rank. They were arranged according to their order of precedence: Cavendish, Duke of Devonshire, whose grandfather had sheltered Hobbes at Hardwicke when he was ninety-two; Lennox, Duke of Richmond; the three Fitzroys, the Duke of Southampton, the Duke of Grafton, and the Duke of Northumberland; Butler, Duke of Ormond; Somerset, Duke of Beaufort; Beauclerk, Duke of St. Albans; Paulet, Duke of Bolton; Osborne, Duke of Leeds; Wrottesley Russell, Duke of Bedford, whose motto and device was Che sarà sarà, expressing a resolve to take things as they come; Sheffield, Duke of Buckingham; Manners, Duke of Rutland; and others. Neither Howard, Duke of Norfolk, nor Talbot, Duke of Shrewsbury, were present, as they were Catholics; nor was Churchill, Duke of Marlborough, the French Malbrouck, who was at that time fighting the French and defeating them. There were no Scottish dukes then—Queensberry, Montrose, and Roxburgh were not admitted until 1707.
CHAPTER VI.
THE HIGH AND THE LOW.
All at once a bright light broke upon the House. Four doorkeepers brought and placed on each side of the throne four high candelabra filled with wax-lights. The throne, thus illuminated, shone in a kind of purple light. It was empty but august. The presence of the queen herself could not have added much majesty to it.
Suddenly, a bright light flooded the House. Four attendants brought and set up four tall candle holders filled with wax candles on either side of the throne. The throne, now lit up, glowed with a sort of purple light. It was empty but splendid. Even the queen's presence would not have added much more grandeur to it.
The Usher of the Black Rod entered with his wand and announced,—
The Usher of the Black Rod walked in with his wand and announced,—
"The Lords Commissioners of her Majesty."
"The Lords Commissioners of Her Majesty."
The hum of conversation immediately subsided.
The buzz of conversation instantly died down.
A clerk, in a wig and gown, appeared at the great door, holding a cushion worked with fleurs de lis, on which lay parchment documents. These documents were bills. From each hung the bille, or bulle, by a silken string, from which laws are called bills in England and bulls at Rome. Behind the clerk walked three men in peers' robes, and wearing plumed hats.
A clerk, dressed in a wig and gown, showed up at the large door, holding a cushion embroidered with fleurs de lis, which held parchment documents. These documents were bills. From each one dangled the bille, or bulle, attached by a silken string, which is why laws are called bills in England and bulls in Rome. Following the clerk were three men in peers' robes, wearing feathered hats.
These were the Royal Commissioners. The first was the Lord High Treasurer of England, Godolphin; the second, the Lord President of the Council, Pembroke; the third, the Lord of the Privy Seal, Newcastle.
These were the Royal Commissioners. The first was the Lord High Treasurer of England, Godolphin; the second, the Lord President of the Council, Pembroke; the third, the Lord of the Privy Seal, Newcastle.
They walked one by one, according to precedence, not of their rank, but of their commission—Godolphin first, Newcastle last, although a duke.
They walked in a single file, in order of their assignment, not their rank—Godolphin leading the way and Newcastle trailing behind, despite being a duke.
They reached the bench in front of the throne, to which they bowed, took off and replaced their hats, and sat down on the bench.
They arrived at the bench in front of the throne, bowed, took off and put back on their hats, and sat down on the bench.
The Lord Chancellor turned towards the Usher of the Black Rod, and said,—
The Lord Chancellor turned to the Usher of the Black Rod and said,—
"Order the Commons to the bar of the House."
"Bring the Commons to the front of the House."
The Usher of the Black Rod retired.
The Usher of the Black Rod left.
The clerk, who was one of the clerks of the House of Lords, placed on the table, between the four woolsacks, the cushion on which lay the bills.
The clerk, who was one of the clerks of the House of Lords, put the cushion with the bills on the table between the four woolsacks.
Then there came an interruption, which continued for some minutes.
Then there was an interruption that lasted for several minutes.
Two doorkeepers placed before the bar a stool with three steps.
Two doorkeepers set up a stool with three steps in front of the bar.
This stool was covered with crimson velvet, on which fleurs de lis were designed in gilt nails.
This stool was covered with red velvet, featuring gold nail designs of fleur-de-lis.
The great door, which had been closed, was reopened; and a voice announced,—
The big door, which had been shut, was opened again; and a voice announced,—
"The faithful Commons of England."
"The loyal Commons of England."
It was the Usher of the Black Rod announcing the other half of Parliament.
It was the Usher of the Black Rod announcing the rest of Parliament.
The lords put on their hats.
The lords put on their hats.
The members of the House of Commons entered, preceded by their Speaker, all with uncovered heads.
The members of the House of Commons entered, led by their Speaker, all with their heads uncovered.
They stopped at the bar. They were in their ordinary garb; for the most part dressed in black, and wearing swords. The Speaker, the Right Honourable John Smith, an esquire, member for the borough of Andover, got up on the stool which was at the centre of the bar. The Speaker of the Commons wore a robe of black satin, with large hanging sleeves, embroidered before and behind with brandenburgs of gold, and a wig smaller than that of the Lord Chancellor. He was majestic, but inferior.
They stopped at the bar. They were in their usual attire; mostly dressed in black and carrying swords. The Speaker, the Right Honourable John Smith, an esquire and member for the borough of Andover, got up on the stool in the center of the bar. The Speaker of the Commons wore a black satin robe with large hanging sleeves, embroidered on the front and back with gold decorations, and a wig that was smaller than the Lord Chancellor's. He looked impressive, but wasn't quite at the same level.
The Commons, both Speaker and members, stood waiting with uncovered heads, before the peers, who were seated, with their hats on.
The Commons, including the Speaker and the members, stood waiting with their heads uncovered in front of the peers, who were seated with their hats on.
Amongst the members of Commons might have been remarked the Chief Justice of Chester, Joseph Jekyll; the Queen's three Serjeants-at-Law—Hooper, Powys, and Parker; James Montagu, Solicitor-General; and the Attorney-General, Simon Harcourt. With the exception of a few baronets and knights, and nine lords by courtesy—Hartington, Windsor, Woodstock, Mordaunt, Granby, Scudamore, Fitzharding, Hyde, and Berkeley—sons of peers and heirs to peerages—all were of the people, a sort of gloomy and silent crowd.
Among the members of the Commons, you could see the Chief Justice of Chester, Joseph Jekyll; the Queen's three Serjeants-at-Law—Hooper, Powys, and Parker; James Montagu, the Solicitor-General; and the Attorney-General, Simon Harcourt. With a few baronets and knights, and nine courtesy lords—Hartington, Windsor, Woodstock, Mordaunt, Granby, Scudamore, Fitzharding, Hyde, and Berkeley—sons of peers and heirs to peerages—everyone else was from the common people, a rather gloomy and silent crowd.
When the noise made by the trampling of feet had ceased, the Crier of the Black Rod, standing by the door, exclaimed:—
When the noise from the stomping feet had stopped, the Crier of the Black Rod, positioned by the door, shouted:—
"Oyez!"
"Listen up!"
The Clerk of the Crown arose. He took, unfolded, and read the first of the documents on the cushion. It was a message from the Queen, naming three commissioners to represent her in Parliament, with power to sanction the bills.
The Clerk of the Crown stood up. He picked up, unfolded, and read the first document on the cushion. It was a message from the Queen, naming three commissioners to represent her in Parliament, with the authority to approve the bills.
"To wit—"
"Namely—"
Here the Clerk raised his voice.
Here, the Clerk raised his voice.
"Sidney Earl Godolphin."
"Sidney Earl Godolphin."
The Clerk bowed to Lord Godolphin. Lord Godolphin raised his hat.
The Clerk nodded to Lord Godolphin. Lord Godolphin tipped his hat.
The Clerk continued,—
The Clerk went on,—
"Thomas Herbert, Earl of Pembroke and Montgomery."
"Thomas Herbert, the Earl of Pembroke and Montgomery."
The Clerk bowed to Lord Pembroke. Lord Pembroke touched his hat.
The Clerk nodded to Lord Pembroke. Lord Pembroke tipped his hat.
The Clerk resumed,—
The Clerk continued,—
"John Holles, Duke of Newcastle."
"John Holles, Duke of Newcastle."
The Duke of Newcastle nodded.
The Duke of Newcastle agreed.
The Clerk of the Crown resumed his seat.
The Clerk of the Crown took his seat again.
The Clerk of the Parliaments arose. His under-clerk, who had been on his knees behind him, got up also. Both turned their faces to the throne, and their backs to the Commons.
The Clerk of the Parliaments stood up. His assistant, who had been kneeling behind him, got up as well. Both turned to face the throne, with their backs to the Commons.
There were five bills on the cushion. These five bills, voted by the Commons and agreed to by the Lords, awaited the royal sanction.
There were five bills on the cushion. These five bills, passed by the Commons and approved by the Lords, were waiting for royal approval.
The Clerk of the Parliaments read the first bill.
The Clerk of the Parliaments read the first bill.
It was a bill passed by the Commons, charging the country with the costs of the improvements made by the Queen to her residence at Hampton Court, amounting to a million sterling.
It was a bill approved by the Commons, placing the expense of the upgrades made by the Queen to her home at Hampton Court on the country, totaling a million pounds.
The reading over, the Clerk bowed low to the throne. The under-clerk bowed lower still; then, half turning his head towards the Commons, he said,—
The reading finished, the Clerk bowed deeply to the throne. The under-clerk bowed even lower; then, slightly turning his head toward the Commons, he said,—
"The Queen accepts your bounty—et ainsi le veut."
"The Queen accepts your offer—and so it is desired."
The Clerk read the second bill.
The Clerk read the second bill.
It was a law condemning to imprisonment and fine whosoever withdrew himself from the service of the trainbands. The trainbands were a militia, recruited from the middle and lower classes, serving gratis, which in Elizabeth's reign furnished, on the approach of the Armada, one hundred and eighty-five thousand foot-soldiers and forty thousand horse.
It was a law that imposed imprisonment and fines on anyone who withdrew from the service of the trainbands. The trainbands were a militia made up of middle and lower-class members who served for free. During Elizabeth's reign, in preparation for the Armada, they provided one hundred eighty-five thousand foot soldiers and forty thousand cavalry.
The two clerks made a fresh bow to the throne, after which the under-clerk, again half turning his face to the Commons, said,—
The two clerks made a new bow to the throne, and then the under-clerk, halfway turning his face to the Commons, said,—
"La Reine le veut."
"The Queen wants it."
The third bill was for increasing the tithes and prebends of the Bishopric of Lichfield and Coventry, which was one of the richest in England; for making an increased yearly allowance to the cathedral, for augmenting the number of its canons, and for increasing its deaneries and benefices, "to the benefit of our holy religion," as the preamble set forth. The fourth bill added to the budget fresh taxes—one on marbled paper; one on hackney coaches, fixed at the number of eight hundred in London, and taxed at a sum equal to fifty-two francs yearly each; one on barristers, attorneys, and solicitors, at forty-eight francs a year a head; one on tanned skins, notwithstanding, said the preamble, the complaints of the workers in leather; one on soap, notwithstanding the petitions of the City of Exeter and of the whole of Devonshire, where great quantities of cloth and serge were manufactured; one on wine at four shillings; one on flour; one on barley and hops; and one renewing for four years "the necessities of the State," said the preamble, "requiring to be attended to before the remonstrances of commerce"—tonnage-dues, varying from six francs per ton, for ships coming from the westward, to eighteen francs on those coming from the eastward. Finally, the bill, declaring the sums already levied for the current year insufficient, concluded by decreeing a poll-tax on each subject throughout the kingdom of four shillings per head, adding that a double tax would be levied on every one who did not take the fresh oath to Government. The fifth bill forbade the admission into the hospital of any sick person who on entering did not deposit a pound sterling to pay for his funeral, in case of death. These last three bills, like the first two, were one after the other sanctioned and made law by a bow to the throne, and the four words pronounced by the under-clerk, "la Reine le veut," spoken over his shoulder to the Commons. Then the under-clerk knelt down again before the fourth woolsack, and the Lord Chancellor said,—
The third bill was aimed at increasing the tithes and prebends of the Bishopric of Lichfield and Coventry, which was among the wealthiest in England; it proposed a higher annual grant to the cathedral, a boost in the number of its canons, and an increase in its deaneries and benefices, "to support our holy religion," as stated in the preamble. The fourth bill introduced new taxes—one on marbled paper; one on hackney carriages, capped at eight hundred in London and taxed a sum equivalent to fifty-two francs each per year; one on barristers, attorneys, and solicitors, set at forty-eight francs per year per person; one on tanned hides, despite the complaints from leather workers; one on soap, despite petitions from the City of Exeter and all of Devonshire, where large amounts of cloth and serge were produced; one on wine at four shillings; one on flour; one on barley and hops; and one that renewed "the necessities of the State" for four years, as stated in the preamble, "that needed to be addressed before trade grievances"—tonnage dues ranging from six francs per ton for ships arriving from the west to eighteen francs for those coming from the east. Ultimately, the bill, asserting that the amounts already collected for the current year were inadequate, concluded with the implementation of a poll tax of four shillings for each person throughout the kingdom, noting that a double tax would apply to anyone who refused to take the new oath to the Government. The fifth bill prohibited the admission of any sick person into the hospital unless they deposited a pound sterling upon entry to cover their funeral expenses in case of death. These last three bills, like the first two, were successively approved and enacted into law with a nod to the throne, and the four words spoken by the under-clerk, "la Reine le veut," announced over his shoulder to the Commons. The under-clerk then knelt again before the fourth woolsack, and the Lord Chancellor said,—
"Soit fait comme il est désiré."
"Let it be done as desired."
This terminated the royal sitting. The Speaker, bent double before the Chancellor, descended from the stool, backwards, lifting up his robe behind him; the members of the House of Commons bowed to the ground, and as the Upper House resumed the business of the day, heedless of all these marks of respect, the Commons departed.
This brought the royal session to an end. The Speaker, hunched over in front of the Chancellor, stepped down from the stool backward, lifting his robe behind him; the members of the House of Commons bowed down, and as the Upper House continued with their agenda, ignoring all these gestures of respect, the Commons left.
CHAPTER VII.
STORMS OF MEN ARE WORSE THAN STORMS OF OCEANS.
The doors were closed again, the Usher of the Black Rod re-entered; the Lords Commissioners left the bench of State, took their places at the top of the dukes' benches, by right of their commission, and the Lord Chancellor addressed the House:—
The doors were closed again, the Usher of the Black Rod came back in; the Lords Commissioners stepped down from the bench of State, took their seats at the top of the dukes' benches, as their commission allowed, and the Lord Chancellor spoke to the House:—
"My Lords, the House having deliberated for several days on the Bill which proposes to augment by £100,000 sterling the annual provision for his Royal Highness the Prince, her Majesty's Consort, and the debate having been exhausted and closed, the House will proceed to vote; the votes will be taken according to custom, beginning with the puisne Baron. Each Lord, on his name being called, will rise and answer content, or non-content, and will be at liberty to explain the motives of his vote, if he thinks fit to do so.—Clerk, take the vote."
"My Lords, the House has spent several days discussing the Bill that suggests increasing the annual funding for His Royal Highness the Prince, Her Majesty's Consort, by £100,000. The debate has concluded, and the House will now proceed to vote. The votes will be taken in the usual manner, starting with the junior Baron. Each Lord, when called, will stand and respond with content or non-content, and may explain their reasons for their vote if they choose to do so.—Clerk, take the vote."
The Clerk of the House, standing up, opened a large folio, and spread it open on a gilded desk. This book was the list of the Peerage.
The Clerk of the House stood up, opened a large book, and laid it open on a fancy desk. This book contained the list of the Peerage.
The puisne of the House of Lords at that time was John Hervey, created Baron and Peer in 1703, from whom is descended the Marquis of Bristol.
The junior member of the House of Lords at that time was John Hervey, made Baron and Peer in 1703, from whom the Marquis of Bristol is descended.
The clerk called,—
The clerk called—
"My Lord John, Baron Hervey."
"Lord John, Baron Hervey."
An old man in a fair wig rose, and said, "Content."
An old man with a nice wig stood up and said, "Content."
Then he sat down.
Then he took a seat.
The Clerk registered his vote.
The clerk cast his vote.
The Clerk continued,—
The Clerk went on,—
"My Lord Francis Seymour, Baron Conway, of Killultagh."
"My Lord Francis Seymour, Baron Conway, of Killultagh."
"Content," murmured, half rising, an elegant young man, with a face like a page, who little thought that he was to be ancestor to the Marquises of Hertford.
"Content," murmured, half rising, an elegant young man, with a face like a page, who little thought that he would be the ancestor of the Marquises of Hertford.
"My Lord John Leveson, Baron Gower," continued the Clerk.
"My Lord John Leveson, Baron Gower," the Clerk continued.
This Baron, from whom were to spring the Dukes of Sutherland, rose, and, as he reseated himself, said "Content."
This Baron, who was the ancestor of the Dukes of Sutherland, got up and, as he sat back down, said "Content."
The Clerk went on.
The Clerk continued.
"My Lord Heneage Finch, Baron Guernsey."
"My Lord Heneage Finch, Baron Guernsey."
The ancestor of the Earls of Aylesford, neither older nor less elegant than the ancestor of the Marquises of Hertford, justified his device, Aperto vivere voto, by the proud tone in which he exclaimed, "Content."
The ancestor of the Earls of Aylesford, just as distinguished and elegant as the ancestor of the Marquises of Hertford, validated his motto, Aperto vivere voto, with the proud declaration, "Content."
Whilst he was resuming his seat, the Clerk called the fifth Baron,—
While he was returning to his seat, the Clerk called for the fifth Baron,—
"My Lord John, Baron Granville."
"Lord John, Baron Granville."
Rising and resuming his seat quickly, "Content," exclaimed Lord Granville, of Potheridge, whose peerage was to become extinct in 1709.
Rising and sitting down quickly, "Content," exclaimed Lord Granville of Potheridge, whose title would become extinct in 1709.
The Clerk passed to the sixth.
The Clerk moved on to the sixth.
"My Lord Charles Montague, Baron Halifax."
"My Lord Charles Montague, Baron Halifax."
"Content," said Lord Halifax, the bearer of a title which had become extinct in the Saville family, and was destined to become extinct again in that of Montague. Montague is distinct from Montagu and Montacute. And Lord Halifax added, "Prince George has an allowance as Her Majesty's Consort; he has another as Prince of Denmark; another as Duke of Cumberland; another as Lord High Admiral of England and Ireland; but he has not one as Commander-in-Chief. This is an injustice and a wrong which must be set right, in the interest of the English people."
"Content," said Lord Halifax, who held a title that had been discontinued in the Saville family and was set to be discontinued again in the Montague line. Montague is different from Montagu and Montacute. Lord Halifax continued, "Prince George receives an allowance as Her Majesty's Consort; he has another as Prince of Denmark; another as Duke of Cumberland; and another as Lord High Admiral of England and Ireland; but he doesn't have one as Commander-in-Chief. This is an injustice and a wrong that needs to be corrected for the benefit of the English people."
Then Lord Halifax passed a eulogium on the Christian religion, abused popery, and voted the subsidy.
Then Lord Halifax praised the Christian religion, criticized Catholicism, and voted in favor of the subsidy.
Lord Halifax sat down, and the Clerk resumed,—
Lord Halifax sat down, and the Clerk continued,—
"My Lord Christopher, Baron Barnard."
"Lord Christopher, Baron Barnard."
Lord Barnard, from whom were to descend the Dukes of Cleveland, rose to answer to his name.
Lord Barnard, the ancestor of the Dukes of Cleveland, stood up when his name was called.
"Content."
"Content."
He took some time in reseating himself, for he wore a lace band which was worth showing. For all that, Lord Barnard was a worthy gentleman and a brave officer.
He took a moment to settle back down because he had a lace band that was worth showing off. Still, Lord Barnard was a respectable guy and a courageous officer.
While Lord Barnard was resuming his seat, the Clerk, who read by routine, hesitated for an instant; he readjusted his spectacles, and leaned over the register with renewed attention; then, lifting up his head, he said,—
While Lord Barnard was taking his seat again, the Clerk, who was reading as usual, paused for a moment; he adjusted his glasses and leaned over the register with more focus; then, looking up, he said,—
"My Lord Fermain Clancharlie, Baron Clancharlie and Hunkerville."
"My Lord Fermain Clancharlie, Baron Clancharlie and Hunkerville."
Gwynplaine arose.
Gwynplaine got up.
"Non-content," said he.
"Non-content," he said.
Every face was turned towards him. Gwynplaine remained standing. The branches of candles, placed on each side of the throne, lighted up his features, and marked them against the darkness of the august chamber in the relief with which a mask might show against a background of smoke.
Every face was directed at him. Gwynplaine stood still. The candle holders on either side of the throne illuminated his features, making them stand out against the dark background of the grand chamber like a mask against a smoky backdrop.
Gwynplaine had made that effort over himself which, it may be remembered, was possible to him in extremity. By a concentration of will equal to that which would be needed to cow a tiger, he had succeeded in obliterating for a moment the fatal grin upon his face. For an instant he no longer laughed. This effort could not last long. Rebellion against that which is our law or our fatality must be short-lived; at times the waters of the sea resist the power of gravitation, swell into a waterspout and become a mountain, but only on the condition of falling back again.
Gwynplaine had made an effort within himself that, as you might recall, was possible for him in extreme situations. With a concentration of will strong enough to tame a tiger, he managed to temporarily erase the deadly grin from his face. For a brief moment, he stopped laughing. But this effort couldn't last long. Resisting what is our fate or our law can only last so long; sometimes the sea fights against gravity, swells into a waterspout, and rises like a mountain, but only if it eventually falls back down.
Such a struggle was Gwynplaine's. For an instant, which he felt to be a solemn one, by a prodigious intensity of will, but for not much longer than a flash of lightning lasts, he had thrown over his brow the dark veil of his soul—he held in suspense his incurable laugh. From that face upon which it had been carved he had withdrawn the joy. Now it was nothing but terrible.
Such a struggle was Gwynplaine's. For a moment, which he felt was significant, with an incredible strength of will, but only for a brief moment like a flash of lightning, he had cast a dark veil over his soul—he held back his unchangeable laugh. From the face where it had been etched, he had taken away the joy. Now it was nothing but terrifying.
"Who is this man?" exclaimed all.
"Who is this guy?" everyone exclaimed.
That forest of hair, those dark hollows under the brows, the deep gaze of eyes which they could not see, that head, on the wild outlines of which light and darkness mingled weirdly, were a wonder indeed. It was beyond all understanding; much as they had heard of him, the sight of Gwynplaine was a terror. Even those who expected much found their expectations surpassed. It was as though on the mountain reserved for the gods, during the banquet on a serene evening, the whole of the all-powerful body being gathered together, the face of Prometheus, mangled by the vulture's beak, should have suddenly appeared before them, like a blood-coloured moon on the horizon. Olympus looking on Caucasus! What a vision! Old and young, open-mouthed with surprise, fixed their eyes upon Gwynplaine.
That thick mane of hair, the dark shadows under his brows, the intense gaze of eyes they couldn't see, that head where light and darkness oddly blended, was truly astonishing. It was incomprehensible; no matter how much they had heard about him, encountering Gwynplaine was terrifying. Even those who anticipated a lot found their expectations exceeded. It was as if, on the mountain reserved for the gods, during a calm evening banquet, the entire powerful body had gathered, and suddenly, the face of Prometheus, mangled by the vulture's beak, appeared before them, like a blood-red moon on the horizon. Olympus gazing at Caucasus! What a sight! Young and old, mouths agape in astonishment, fixed their eyes on Gwynplaine.
An old man, respected by the whole House, who had seen many men and many things, and who was intended for a dukedom—Thomas, Earl of Wharton—rose in terror.
An old man, respected by everyone in the House, who had seen many people and many things, and who was destined for a dukedom—Thomas, Earl of Wharton—stood up in fear.
"What does all this mean?" he cried. "Who has brought this man into the House? Let him be put out."
"What does all this mean?" he shouted. "Who brought this guy into the House? Get him out!"
And addressing Gwynplaine haughtily,—
And speaking to Gwynplaine arrogantly,—
"Who are you? Whence do you come?"
"Who are you? Where do you come from?"
Gwynplaine answered,—
Gwynplaine replied,—
"Out of the depths."
"From the depths."
And folding his arms, he looked at the lords.
And crossing his arms, he looked at the lords.
"Who am I? I am wretchedness. My lords, I have a word to say to you."
"Who am I? I am misery. My lords, I have something to tell you."
A shudder ran through the House. Then all was silence. Gwynplaine continued,—
A chill went through the House. Then everything went quiet. Gwynplaine kept speaking,—
"My lords, you are highly placed. It is well. We must believe that God has His reasons that it should be so. You have power, opulence, pleasure, the sun ever shining in your zenith; authority unbounded, enjoyment without a sting, and a total forgetfulness of others. So be it. But there is something below you—above you, it may be. My lords, I bring you news—news of the existence of mankind."
"My lords, you are in high positions. That's good. We must trust that God has His reasons for this. You have power, wealth, pleasure, and the sun always shining at your peak; limitless authority, enjoyment without consequences, and you completely disregard others. So be it. But there is something beneath you—perhaps even above you. My lords, I come to bring you news—news about the existence of humanity."
Assemblies are like children. A strange occurrence is as a Jack-in-the-Box to them. It frightens them; but they like it. It is as if a spring were touched and a devil jumps up. Mirabeau, who was also deformed, was a case in point in France.
Assemblies are like children. A strange occurrence is like a Jack-in-the-Box to them. It scares them, but they enjoy it. It's as if a spring is pressed and a devil pops up. Mirabeau, who was also deformed, was a perfect example of this in France.
Gwynplaine felt within himself, at that moment, a strange elevation. In addressing a body of men, one's foot seems to rest on them; to rest, as it were, on a pinnacle of souls—on human hearts, that quiver under one's heel. Gwynplaine was no longer the man who had been, only the night before, almost mean. The fumes of the sudden elevation which had disturbed him had cleared off and become transparent, and in the state in which Gwynplaine had been seduced by a vanity he now saw but a duty. That which had at first lessened now elevated him. He was illuminated by one of those great flashes which emanate from duty.
Gwynplaine felt a strange sense of elevation at that moment. When you’re speaking to a group of people, it feels like your foot is resting on them; like you’re standing on a pinnacle of souls—on human hearts that tremble beneath you. Gwynplaine was no longer the person he had been just the night before, who felt almost insignificant. The effects of the sudden elevation that had thrown him off balance had faded and become clear, and what had once tempted him into vanity now revealed itself as a duty. What had initially brought him down now lifted him up. He was lit up by one of those powerful moments that come from fulfilling a duty.
All round Gwynplaine arose cries of "Hear, hear!"
All around Gwynplaine, people shouted, "Hear, hear!"
Meanwhile, rigid and superhuman, he succeeded in maintaining on his features that severe and sad contraction under which the laugh was fretting like a wild horse struggling to escape.
Meanwhile, stiff and almost superhuman, he managed to keep a serious and gloomy expression on his face, while a laugh was trying to break free like a wild horse trying to get away.
He resumed,—
He continued,—
"I am he who cometh out of the depths. My lords, you are great and rich. There lies your danger. You profit by the night; but beware! The dawn is all-powerful. You cannot prevail over it. It is coming. Nay! it is come. Within it is the day-spring of irresistible light. And who shall hinder that sling from hurling the sun into the sky? The sun I speak of is Right. You are Privilege. Tremble! The real master of the house is about to knock at the door. What is the father of Privilege? Chance. What is his son? Abuse. Neither Chance nor Abuse are abiding. For both a dark morrow is at hand. I am come to warn you. I am come to impeach your happiness. It is fashioned out of the misery of your neighbour. You have everything, and that everything is composed of the nothing of others. My lords, I am an advocate without hope, pleading a cause that is lost; but that cause God will gain on appeal. As for me, I am but a voice. Mankind is a mouth, of which I am the cry. You shall hear me! I am about to open before you, peers of England, the great assize of the people; of that sovereign who is the subject; of that criminal who is the judge. I am weighed down under the load of all that I have to say. Where am I to begin? I know not. I have gathered together, in the vast diffusion of suffering, my innumerable and scattered pleas. What am I to do with them now? They overwhelm me, and I must cast them to you in a confused mass. Did I foresee this? No. You are astonished. So am I. Yesterday I was a mountebank; to-day I am a peer. Deep play. Of whom? Of the Unknown. Let us all tremble. My lords, all the blue sky is for you. Of this immense universe you see but the sunshine. Believe me, it has its shadows. Amongst you I am called Lord Fermain Clancharlie; but my true name is one of poverty—Gwynplaine. I am a wretched thing carved out of the stuff of which the great are made, for such was the pleasure of a king. That is my history. Many amongst you knew my father. I knew him not. His connection with you was his feudal descent; his outlawry is the bond between him and me. What God willed was well. I was cast into the abyss. For what end? To search its depths. I am a diver, and I have brought back the pearl, truth. I speak, because I know. You shall hear me, my lords. I have seen, I have felt! Suffering is not a mere word, ye happy ones! Poverty I grew up in; winter has frozen me; hunger I have tasted; contempt I have suffered; pestilence I have undergone; shame I have drunk of. And I will vomit all these up before you, and this ejection of all misery shall sully your feet and flame about them. I hesitated before I allowed myself to be brought to the place where I now stand, because I have duties to others elsewhere, and my heart is not here. What passed within me has nothing to do with you. When the man whom you call Usher of the Black Rod came to seek me by order of the woman whom you call the Queen, the idea struck me for a moment that I would refuse to come. But it seemed to me that the hidden hand of God pressed me to the spot, and I obeyed. I felt that I must come amongst you. Why? Because of my rags of yesterday. It is to raise my voice among those who have eaten their fill that God mixed me up with the famished. Oh, have pity! Of this fatal world to which you believe yourselves to belong you know nothing. Placed so high, you are out of it. But I will tell you what it is. I have had experience enough. I come from beneath the pressure of your feet. I can tell you your weight. Oh, you who are masters, do you know what you are? do you see what you are doing? No. Oh, it is dreadful! One night, one night of storm, a little deserted child, an orphan alone in the immeasurable creation, I made my entrance into that darkness which you call society. The first thing that I saw was the law, under the form of a gibbet; the second was riches, your riches, under the form of a woman dead of cold and hunger; the third, the future, under the form of a child left to die; the fourth, goodness, truth, and justice, under the figure of a vagabond, whose sole friend and companion was a wolf."
"I am the one who comes from the depths. My lords, you are powerful and wealthy. But that's where your danger lies. You thrive in the darkness; but beware! The dawn is incredibly powerful. You can’t overcome it. It's coming. No! It's already here. In it is the dawn of undeniable light. And who can stop that slingshot from launching the sun into the sky? The sun I refer to is Justice. You represent Privilege. Beware! The true master of the house is about to knock at the door. What is the father of Privilege? Chance. What is his son? Abuse. Neither Chance nor Abuse lasts forever. A dark tomorrow is approaching for both. I’m here to warn you. I’m here to challenge your happiness. It’s built on the suffering of others. You possess everything, and that everything is made from the nothing of others. My lords, I am a voice without hope, arguing for a cause that is lost; but God will win that cause in the end. As for me, I am just a voice. Humanity is a mouth, and I am its cry. You will hear me! I am about to present to you, peers of England, the great trial of the people; of that sovereign who is the subject; of that criminal who is the judge. I am burdened by everything I have to say. Where should I start? I don't know. I’ve gathered, from the vast sea of suffering, my countless and scattered appeals. What should I do with them now? They overwhelm me, and I must throw them at you in a chaotic array. Did I foresee this? No. You are surprised. So am I. Yesterday I was a charlatan; today I am a peer. A high-stakes game. Of whom? Of the Unknown. Let us all be alarmed. My lords, all the blue sky is for you. Of this immense universe, you only see the sunlight. Believe me, it has its shadows. Among you, I am known as Lord Fermain Clancharlie; but my true name is one of poverty—Gwynplaine. I am a wretched thing made from the same stuff as the great, for such was the whim of a king. That is my story. Many of you knew my father. I did not. His connection to you was his noble lineage; his outlaw status is the link between him and me. What God intended was right. I was thrown into the abyss. For what purpose? To explore its depths. I am a diver, and I have returned with the pearl, truth. I speak because I know. You will hear me, my lords. I have seen, I have felt! Suffering is not just a word, you fortunate ones! I grew up in poverty; winter has chilled me; I have felt hunger; I have faced contempt; I have endured disease; I have tasted shame. And I will expel all these before you, and this outpouring of all misery shall stain your feet and surround them in flames. I hesitated before allowing myself to be brought to where I stand now, because I have responsibilities to others elsewhere, and my heart is not here. What I went through has nothing to do with you. When the man you call Usher of the Black Rod came to seek me by order of the woman you call the Queen, I briefly considered refusing to come. But it felt like the hidden hand of God pushed me forward, and I obeyed. I felt I had to be among you. Why? Because of my rags from yesterday. It is to raise my voice among those who have eaten their fill that God intertwined me with the hungry. Oh, have mercy! Of this deadly world you believe you belong to, you know nothing. Placed so high, you are detached from it. But I will tell you what it is. I have enough experience. I come from beneath the weight of your feet. I can tell you your burden. Oh, you who are in power, do you know what you are? Do you see what you are doing? No. Oh, it’s dreadful! One night, one stormy night, a little abandoned child, an orphan alone in the vast creation, I entered into that darkness you call society. The first thing I saw was the law, in the form of a gallows; the second was wealth, your wealth, in the form of a woman dead from cold and hunger; the third, the future, embodied by a child left to die; the fourth, goodness, truth, and justice, represented by a vagabond, whose only friend and companion was a wolf."
Just then Gwynplaine, stricken by a sudden emotion, felt the sobs rising in his throat, causing him, most unfortunately, to burst into an uncontrollable fit of laughter.
Just then Gwynplaine, overwhelmed by a sudden wave of emotion, felt tears welling up in his throat, which unfortunately made him break into an uncontrollable fit of laughter.
The contagion was immediate. A cloud had hung over the assembly. It might have broken into terror; it broke into delight. Mad merriment seized the whole House. Nothing pleases the great chambers of sovereign man so much as buffoonery. It is their revenge upon their graver moments.
The excitement was instant. There was a gloomy atmosphere in the room. It could have turned into fear, but instead, it turned into joy. The entire House was overtaken by wild laughter. Nothing entertains the grand halls of powerful people more than silliness. It's their way of getting back at their more serious times.
The laughter of kings is like the laughter of the gods. There is always a cruel point in it. The lords set to play. Sneers gave sting to their laughter. They clapped their hands around the speaker, and insulted him. A volley of merry exclamations assailed him like bright but wounding hailstones.
The laughter of kings is like the laughter of the gods. There's always a cruel edge to it. The lords start to play. Their sneers add a sharpness to their laughter. They surrounded the speaker and insulted him. A barrage of cheerful remarks hit him like bright but painful hailstones.
"Bravo, Gwynplaine!"—"Bravo, Laughing Man!"—"Bravo, Snout of the Green Box!"—"Mask of Tarrinzeau Field!"—"You are going to give us a performance."—"That's right; talk away!"—"There's a funny fellow!"—"How the beast does laugh, to be sure!"—"Good-day, pantaloon!"—"How d'ye do, my lord clown!"—"Go on with your speech!"—"That fellow a peer of England?"—"Go on!"—"No, no!"—"Yes, yes!"
"Awesome, Gwynplaine!"—"Awesome, Laughing Man!"—"Awesome, Snout of the Green Box!"—"Mask of Tarrinzeau Field!"—"You’re about to give us a show."—"That’s right; keep talking!"—"What a funny guy!"—"Look at how that beast laughs, for sure!"—"Good day, pantaloon!"—"How's it going, my lord clown!"—"Continue with your speech!"—"That guy a peer of England?"—"Keep going!"—"No way!"—"Yes, really!"
The Lord Chancellor was much disturbed.
The Lord Chancellor was very upset.
A deaf peer, James Butler, Duke of Ormond, placing his hand to his ear like an ear trumpet, asked Charles Beauclerk, Duke of St. Albans,—
A deaf nobleman, James Butler, Duke of Ormond, cupping his hand to his ear like it was an ear trumpet, asked Charles Beauclerk, Duke of St. Albans,—
"How has he voted?"
"How did he vote?"
"Non-content."
"Not relevant."
"By heavens!" said Ormond, "I can understand it, with such a face as his."
"Wow!" said Ormond, "I can totally get it, with a face like that."
Do you think that you can ever recapture a crowd once it has escaped your grasp? And all assemblies are crowds alike. No, eloquence is a bit; and if the bit breaks, the audience runs away, and rushes on till it has thrown the orator. Hearers naturally dislike the speaker, which is a fact not as clearly understood as it ought to be. Instinctively he pulls the reins, but that is a useless expedient. However, all orators try it, as Gwynplaine did.
Do you think you can ever win back an audience once they've slipped away? All gatherings are just crowds in the end. No, being persuasive is a bit tricky; if you lose control, the audience scatters and keeps going until they leave the speaker behind. Listeners often don't like the speaker, which is a truth that isn't as recognized as it should be. Instinctively, the speaker tries to rein things in, but that's a pointless effort. Still, every speaker gives it a shot, just like Gwynplaine did.
He looked for a moment at those men who were laughing at him. Then he cried,—
He glanced at the guys who were laughing at him. Then he shouted,—
"So, you insult misery! Silence, Peers of England! Judges, listen to my pleading! Oh, I conjure you, have pity. Pity for whom? Pity for yourselves. Who is in danger? Yourselves! Do you not see that you are in a balance, and that there is in one scale your power, and in the other your responsibility? It is God who is weighing you. Oh, do not laugh. Think. The trembling of your consciences is the oscillation of the balance in which God is weighing your actions. You are not wicked; you are like other men, neither better nor worse. You believe yourselves to be gods; but be ill to-morrow, and see your divinity shivering in fever! We are worth one as much as the other. I address myself to honest men; there are such here. I address myself to lofty intellects; there are such here. I address myself to generous souls; there are such here. You are fathers, sons, and brothers; therefore you are often touched. He amongst you who has this morning watched the awaking of his little child is a good man. Hearts are all alike. Humanity is nothing but a heart. Between those who oppress and those who are oppressed there is but a difference of place. Your feet tread on the heads of men. The fault is not yours; it is that of the social Babel. The building is faulty, and out of the perpendicular. One floor bears down the other. Listen, and I will tell you what to do. Oh! as you are powerful, be brotherly; as you are great, be tender. If you only knew what I have seen! Alas, what gloom is there beneath! The people are in a dungeon. How many are condemned who are innocent! No daylight, no air, no virtue! They are without hope, and yet—there is the danger—they expect something. Realize all this misery. There are beings who live in death. There are little girls who at twelve begin by prostitution, and who end in old age at twenty. As to the severities of the criminal code, they are fearful. I speak somewhat at random, and do not pick my words. I say everything that comes into my head. No later than yesterday I who stand here saw a man lying in chains, naked, with stones piled on his chest, expire in torture. Do you know of these things? No. If you knew what goes on, you would not dare to be happy. Who of you have been to Newcastle-upon-Tyne? There, in the mines, are men who chew coals to fill their stomachs and deceive hunger. Look here! in Lancashire, Ribblechester has sunk, by poverty, from a town to a village. I do not see that Prince George of Denmark requires a hundred thousand pounds extra. I should prefer receiving a poor sick man into the hospital, without compelling him to pay his funeral expenses in advance. In Carnarvon, and at Strathmore, as well as at Strathbickan, the exhaustion of the poor is horrible. At Stratford they cannot drain the marsh for want of money. The manufactories are shut up all over Lancashire. There is forced idleness everywhere. Do you know that the herring fishers at Harlech eat grass when the fishery fails? Do you know that at Burton-Lazars there are still lepers confined, on whom they fire if they leave their tan houses! At Ailesbury, a town of which one of you is lord, destitution is chronic. At Penkridge, in Coventry, where you have just endowed a cathedral and enriched a bishop, there are no beds in the cabins, and they dig holes in the earth in which to put the little children to lie, so that instead of beginning life in the cradle, they begin it in the grave. I have seen these things! My lords, do you know who pays the taxes you vote? The dying! Alas! you deceive yourselves. You are going the wrong road. You augment the poverty of the poor to increase the riches of the rich. You should do the reverse. What! take from the worker to give to the idle, take from the tattered to give to the well-clad; take from the beggar to give to the prince! Oh yes! I have old republican blood in my veins. I have a horror of these things. How I execrate kings! And how shameless are the women! I have been told a sad story. How I hate Charles II.! A woman whom my father loved gave herself to that king whilst my father was dying in exile. The prostitute! Charles II., James II.! After a scamp, a scoundrel. What is there in a king? A man, feeble and contemptible, subject to wants and infirmities. Of what good is a king? You cultivate that parasite royalty; you make a serpent of that worm, a dragon of that insect. O pity the poor! You increase the weight of the taxes for the profit of the throne. Look to the laws which you decree. Take heed of the suffering swarms which you crush. Cast your eyes down. Look at what is at your feet. O ye great, there are the little. Have pity! yes, have pity on yourselves; for the people is in its agony, and when the lower part of the trunk dies, the higher parts die too. Death spares no limb. When night comes no one can keep his corner of daylight. Are you selfish? then save others. The destruction of the vessel cannot be a matter of indifference to any passenger. There can be no wreck for some that is not wreck for all. O believe it, the abyss yawns for all!"
"So, you mock suffering! Silence, a moment, Peers of England! Judges, hear my plea! Oh, I beg you, have compassion. Compassion for whom? For yourselves. Who's in danger? It's you! Can’t you see that you are balancing your power against your responsibility? It is God who is weighing you. Oh, don't laugh. Think. The trembling of your consciences reflects the scale in which God measures your actions. You're not evil; you're just like everyone else, neither better nor worse. You think you’re gods; but be sick tomorrow, and watch your divinity tremble with fever! We are all worth the same. I'm speaking to honest people; there are some among you. I'm addressing enlightened minds; they’re present here. I'm talking to generous souls; you’re here too. You are fathers, sons, and brothers; you feel deeply. Those of you who watched your little child wake up this morning are good people. Hearts are all alike. Humanity is just a heart. Between oppressors and the oppressed, there’s just a difference in position. Your feet are trampling on the heads of men. The fault isn't yours; it's with the social chaos. The system is flawed, and it's out of balance. One level crushes another. Listen to me, and I'll tell you what to do. Oh! since you hold power, be brotherly; since you are great, be caring. If you only knew what I've seen! Alas, there’s so much darkness! The people are in a dungeon. How many innocent souls are condemned! No sunlight, no fresh air, no goodness! They are hopeless, and yet—there’s the danger—they expect something. Grasp this suffering. There are people barely alive. There are little girls who start selling themselves at twelve and end up old by twenty. The harshness of the law is terrifying. I'm speaking openly, with no filter. I'm saying everything that comes to mind. Just yesterday, I saw a man in chains, naked, with stones piled on his chest, dying in agony. Do you know about these things? No. If you truly knew what’s happening, you wouldn’t dare to be happy. Who among you has been to Newcastle-upon-Tyne? There, in the mines, men chew coal to fill their stomachs and stave off hunger. Look here! In Lancashire, Ribblechester has fallen from a town to a village because of poverty. I don’t see why Prince George of Denmark needs an extra hundred thousand pounds. I’d rather see a sick man admitted to a hospital without having to pay for his funeral in advance. In Carnarvon, and Strathmore, and Strathbickan, the plight of the poor is heartbreaking. In Stratford, they can’t drain the marsh due to lack of funds. Factories are closed all over Lancashire. Everywhere, there’s enforced idleness. Do you know that herring fishers at Harlech eat grass when the fishing fails? Do you know that in Burton-Lazars, lepers are still confined, and they’re shot at if they leave their homes? In Ailesbury, a town where one of you is a lord, poverty is persistent. In Penkridge, in Coventry, where you just endowed a cathedral and enriched a bishop, there are no beds in the homes, and they dig holes in the ground for the little children to lie down in, starting their lives in the grave instead of a cradle. I've seen these things! My lords, do you know who pays the taxes you impose? The dying! Alas! You deceive yourselves. You’re going down the wrong path. You increase the poverty of the poor to enhance the wealth of the rich. You should do the opposite. What? Take from the worker to give to the idle, take from the ragged to give to the well-dressed; take from the beggar to give to the prince! Oh yes! I have old republican blood running through my veins. I detest these things. How I loathe kings! And how shameless are the women! I was told a tragic story. How I despise Charles II.! A woman my father loved gave herself to that king while my father was dying in exile. The harlot! Charles II., James II.! Just a rogue, a scoundrel. What is a king? A man, weak and despicable, subject to desires and ailments. What good is a king? You nurture that parasitic royalty; you turn that worm into a serpent, that insect into a dragon. Oh, pity the poor! You increase the tax burden for the benefit of the throne. Look at the laws you enact. Pay attention to the suffering masses you crush. Look down. See what’s at your feet. Oh, you powerful ones, there lie the little ones. Have mercy! Yes, have mercy on yourselves; for the people are in agony, and when the lower part of the trunk dies, the upper parts die too. Death doesn’t spare any part. When night falls, no one can hold on to their bit of daylight. Are you selfish? Then save others. The destruction of the ship cannot concern just a few passengers. If there's a wreck for some, it’s a wreck for all. Oh, believe it, the abyss awaits all!"
The laughter increased, and became irresistible. For that matter, such extravagance as there was in his words was sufficient to amuse any assembly. To be comic without and tragic within, what suffering can be more humiliating? what pain deeper? Gwynplaine felt it. His words were an appeal in one direction, his face in the other. What a terrible position was his!
The laughter grew louder and became impossible to resist. In fact, the over-the-top nature of his words was enough to entertain any crowd. To be funny on the outside while feeling tragic inside—what could be more humiliating? What could hurt more? Gwynplaine felt this deeply. His words were one type of appeal, while his face told a different story. What a dreadful position he was in!
Suddenly his voice rang out in strident bursts.
Suddenly his voice shouted in sharp bursts.
"How gay these men are! Be it so. Here is irony face to face with agony; a sneer mocking the death-rattle. They are all-powerful. Perhaps so; be it so. We shall see. Behold! I am one of them; but I am also one of you, O ye poor! A king sold me. A poor man sheltered me. Who mutilated me? A prince. Who healed and nourished me? A pauper. I am Lord Clancharlie; but I am still Gwynplaine. I take my place amongst the great; but I belong to the mean. I am amongst those who rejoice; but I am with those who suffer. Oh, this system of society is false! Some day will come that which is true. Then there will be no more lords, and there shall be free and living men. There will be no more masters; there will be fathers. Such is the future. No more prostration; no more baseness; no more ignorance; no more human beasts of burden; no more courtiers; no more toadies; no more kings; but Light! In the meantime, see me here. I have a right, and I will use it. Is it a right? No, if I use it for myself; yes, if I use it for all. I will speak to you, my lords, being one of you. O my brothers below, I will tell them of your nakedness. I will rise up with a bundle of the people's rags in my hand. I will shake off over the masters the misery of the slaves; and these favoured and arrogant ones shall no longer be able to escape the remembrance of the wretched, nor the princes the itch of the poor; and so much the worse, if it be the bite of vermin; and so much the better, if it awake the lions from their slumber."
"How cheerful these men are! So be it. Here is irony confronting pain; a sneer mocking the sound of death. They hold all the power. Maybe so; let it be. We shall see. Look! I am one of them; but I am also one of you, O you who suffer! A king sold me. A poor man took me in. Who harmed me? A prince. Who healed and cared for me? A beggar. I am Lord Clancharlie; but I am still Gwynplaine. I stand among the powerful; but I belong to the humble. I am with those who celebrate; but I am with those who hurt. Oh, this social structure is a lie! One day, what is true will come. Then there will be no more lords, only free and living people. No more masters; only fathers. Such is the future. No more bowing down; no more cowardice; no more ignorance; no more human beasts of burden; no more courtiers; no more sycophants; no more kings; but Light! In the meantime, see me here. I have a right, and I will claim it. Is it a right? No, if I use it for myself; yes, if I use it for everyone. I will speak to you, my lords, being one of you. O my brothers below, I will make them aware of your suffering. I will rise up with a bundle of the people's rags in my hand. I will shake off the misery of the slaves over the masters; and these privileged and arrogant ones will no longer be able to forget the wretched, nor the princes the struggles of the poor; and let it be worse if it is the bite of insects; and let it be better if it awakens the lions from their slumber."
Here Gwynplaine turned towards the kneeling under-clerks, who were writing on the fourth woolsack.
Here Gwynplaine turned toward the kneeling junior clerks, who were writing on the fourth woolsack.
"Who are those fellows kneeling down?—What are you doing? Get up; you are men."
"Who are those guys kneeling down? What are you doing? Get up; you're men."
These words, suddenly addressed to inferiors whom a lord ought not even to perceive, increased the merriment to the utmost.
These words, suddenly directed at people below him whom a lord shouldn't even acknowledge, Maximized the laughter to the fullest.
They had cried, "Bravo!" Now they shouted, "Hurrah!" From clapping their hands they proceeded to stamping their feet. One might have been back in the Green Box, only that there the laughter applauded Gwynplaine; here it exterminated him. The effort of ridicule is to kill. Men's laughter sometimes exerts all its power to murder.
They had cheered, "Bravo!" Now they yelled, "Hurrah!" They went from clapping their hands to stomping their feet. One might have thought they were back in the Green Box, except there the laughter celebrated Gwynplaine; here it was putting an end to him. The aim of ridicule is to destroy. Sometimes, people's laughter uses all its strength to kill.
The laughter proceeded to action. Sneering words rained down upon him. Humour is the folly of assemblies. Their ingenious and foolish ridicule shuns facts instead of studying them, and condemns questions instead of solving them. Any extraordinary occurrence is a point of interrogation; to laugh at it is like laughing at an enigma. But the Sphynx, which never laughs, is behind it.
The laughter turned into action. Mocking words poured down on him. Humor is the foolishness of crowds. Their clever yet foolish mockery avoids facts instead of examining them, and dismisses questions instead of addressing them. Any unusual event prompts questioning; laughing at it is like laughing at a puzzle. But the Sphinx, which never laughs, is behind it.
Contradictory shouts arose,—
Conflicting shouts arose,—
"Enough! enough!" "Encore! encore!"
"That's enough! that's enough!" "More! more!"
William Farmer, Baron Leimpster, flung at Gwynplaine the insult cast by Ryc Quiney at Shakespeare,—
William Farmer, Baron Leimpster, hurled at Gwynplaine the same insult that Ryc Quiney threw at Shakespeare,—
"Histrio, mima!"
"Actor, perform!"
Lord Vaughan, a sententious man, twenty-ninth on the barons' bench, exclaimed,—
Lord Vaughan, a thoughtful man, twenty-ninth on the barons' bench, exclaimed,—
"We must be back in the days when animals had the gift of speech. In the midst of human tongues the jaw of a beast has spoken."
"We must return to the time when animals could talk. Among human voices, the mouth of a beast has spoken."
"Listen to Balaam's ass," added Lord Yarmouth.
"Listen to Balaam's donkey," added Lord Yarmouth.
Lord Yarmouth presented that appearance of sagacity produced by a round nose and a crooked mouth.
Lord Yarmouth had the look of wisdom typical of someone with a round nose and a crooked mouth.
"The rebel Linnæus is chastised in his tomb. The son is the punishment of the father," said John Hough, Bishop of Lichfield and Coventry, whose prebendary Gwynplaine's attack had glanced.
"The rebel Linnæus is criticized even in his grave. The son is the consequence of the father's actions," said John Hough, Bishop of Lichfield and Coventry, to whom Gwynplaine’s attack had been directed.
"He lies!" said Lord Cholmondeley, the legislator so well read up in the law. "That which he calls torture is only the peine forte et dure, and a very good thing, too. Torture is not practised in England."
"He’s lying!" said Lord Cholmondeley, the well-informed legislator. "What he calls torture is just the peine forte et dure, and it's a very good thing, too. Torture isn’t used in England."
Thomas Wentworth, Baron Raby, addressed the Chancellor.
Thomas Wentworth, Baron Raby, spoke to the Chancellor.
"My Lord Chancellor, adjourn the House."
"My Lord Chancellor, please pause the session."
"No, no. Let him go on. He is amusing. Hurrah! hip! hip! hip!"
"No, no. Let him keep going. He's entertaining. Hooray! Hip! hip! hip!"
Thus shouted the young lords, their fun amounting to fury. Four of them especially were in the full exasperation of hilarity and hate. These were Laurence Hyde, Earl of Rochester; Thomas Tufton, Earl of Thanet; Viscount Hatton; and the Duke of Montagu.
Thus shouted the young lords, their fun turning into fury. Four of them in particular were caught up in a mix of laughter and anger. These were Laurence Hyde, Earl of Rochester; Thomas Tufton, Earl of Thanet; Viscount Hatton; and the Duke of Montagu.
"To your tricks, Gwynplaine!" cried Rochester.
"To your tricks, Gwynplaine!" shouted Rochester.
"Put him out, put him out!" shouted Thanet.
"Put him out, put him out!" shouted Thanet.
Viscount Hatton drew from his pocket a penny, which he flung to Gwynplaine.
Viscount Hatton took a penny out of his pocket and tossed it to Gwynplaine.
And John Campbell, Earl of Greenwich; Savage, Earl Rivers; Thompson, Baron Haversham; Warrington, Escrick Rolleston, Rockingham, Carteret, Langdale, Barcester, Maynard, Hunsdon, Cäernarvon, Cavendish, Burlington, Robert Darcy, Earl of Holderness, Other Windsor, Earl of Plymouth, applauded.
And John Campbell, Earl of Greenwich; Savage, Earl Rivers; Thompson, Baron Haversham; Warrington, Escrick Rolleston, Rockingham, Carteret, Langdale, Barcester, Maynard, Hunsdon, Caernarvon, Cavendish, Burlington, Robert Darcy, Earl of Holderness, Other Windsor, Earl of Plymouth, applauded.
There was a tumult as of pandemonium or of pantheon, in which the words of Gwynplaine were lost.
There was chaos like that of pandemonium or a pantheon, and Gwynplaine's words were drowned out.
Amidst it all, there was heard but one word of Gwynplaine's: "Beware!"
Amidst it all, only one word from Gwynplaine was heard: "Beware!"
Ralph, Duke of Montagu, recently down from Oxford, and still a beardless youth, descended from the bench of dukes, where he sat the nineteenth in order, and placed himself in front of Gwynplaine, with his arms folded. In a sword there is a spot which cuts sharpest, and in a voice an accent which insults most keenly. Montagu spoke with that accent, and sneering with his face close to that of Gwynplaine, shouted,—"What are you talking about?"
Ralph, Duke of Montagu, recently back from Oxford and still a young man without facial hair, stepped down from his place among the dukes, where he ranked nineteenth, and positioned himself in front of Gwynplaine, arms crossed. A sword has a part that cuts the deepest, and a voice has an accent that can insult the most sharply. Montagu spoke with that tone, sneering with his face inches from Gwynplaine's, and shouted, "What are you talking about?"
"I am prophesying," said Gwynplaine.
"I'm predicting," said Gwynplaine.
The laughter exploded anew; and below this laughter, anger growled its continued bass. One of the minors, Lionel Cranfield Sackville, Earl of Dorset and Middlesex, stood upon his seat, not smiling, but grave as became a future legislator, and, without saying a word, looked at Gwynplaine with his fresh twelve-year old face, and shrugged his shoulders. Whereat the Bishop of St. Asaph's whispered in the ear of the Bishop of St. David's, who was sitting beside him, as he pointed to Gwynplaine, "There is the fool;" then pointing to the child, "there is the sage."
The laughter burst out again, and beneath it, anger rumbled on. One of the kids, Lionel Cranfield Sackville, Earl of Dorset and Middlesex, stood on his seat, not smiling but serious, as was fitting for a future legislator. Without saying a word, he looked at Gwynplaine with his fresh twelve-year-old face and shrugged his shoulders. At that, the Bishop of St. Asaph leaned over to the Bishop of St. David, who was sitting next to him, and pointed at Gwynplaine, whispering, "There’s the fool;" then he pointed at the boy and said, "there’s the sage."
A chaos of complaint rose from amidst the confusion of exclamations:—
A flurry of complaints emerged from the chaos of exclamations:—
"Gorgon's face!"—"What does it all mean?"—"An insult to the House!"—"The fellow ought to be put out!"—"What a madman!"—"Shame! shame!"—"Adjourn the House!"—"No; let him finish his speech!"—"Talk away, you buffoon!"
"Gorgon's face!"—"What does it all mean?"—"An insult to the House!"—"That guy needs to be kicked out!"—"What a lunatic!"—"Shame! Shame!"—"Adjourn the House!"—"No; let him finish his speech!"—"Keep talking, you clown!"
Lord Lewis of Duras, with his arms akimbo, shouted,—
Lord Lewis of Duras, with his arms crossed, shouted,—
"Ah! it does one good to laugh. My spleen is cured. I propose a vote of thanks in these terms: 'The House of Lords returns thanks to the Green Box.'"
"Ah! it feels good to laugh. I feel so much better now. I suggest we give a shoutout like this: 'The House of Lords gives thanks to the Green Box.'"
Gwynplaine, it may be remembered, had dreamt of a different welcome.
Gwynplaine, as you might recall, had imagined a different kind of welcome.
A man who, climbing up a steep and crumbling acclivity of sand above a giddy precipice, has felt it giving way under his hands, his nails, his elbows, his knees, his feet; who—losing instead of gaining on his treacherous way, a prey to every terror of the danger, slipping back instead of ascending, increasing the certainty of his fall by his very efforts to gain the summit, and losing ground in every struggle for safety—has felt the abyss approaching nearer and nearer, until the certainty of his coming fall into the yawning jaws open to receive him, has frozen the marrow of his bones;—that man has experienced the sensations of Gwynplaine.
A man who, while climbing up a steep and crumbling slope of sand above a dizzying cliff, has felt it giving way beneath his hands, nails, elbows, knees, and feet; who—losing ground instead of making progress on his treacherous path, falling victim to every fear of the danger, slipping back instead of going up, making his fall more certain with every attempt to reach the top, and losing more ground in every struggle for safety—has sensed the abyss coming closer and closer, until the certainty of his impending fall into the gaping void ready to swallow him has chilled him to the bone;—that man has felt what Gwynplaine feels.
He felt the ground he had ascended crumbling under him, and his audience was the precipice.
He felt the ground he had climbed crumbling beneath him, and his audience was the cliff.
There is always some one to say the word which sums all up.
There’s always someone who can say the word that sums it all up.
Lord Scarsdale translated the impression of the assembly in one exclamation,—
Lord Scarsdale captured the feeling of the gathering in one exclamation,—
"What is the monster doing here?"
"What is the monster doing here?"
Gwynplaine stood up, dismayed and indignant, in a sort of final convulsion. He looked at them all fixedly.
Gwynplaine stood up, shocked and angry, in a kind of final spasm. He stared at them all intently.
"What am I doing here? I have come to be a terror to you! I am a monster, do you say? No! I am the people! I am an exception? No! I am the rule; you are the exception! You are the chimera; I am the reality! I am the frightful man who laughs! Who laughs at what? At you, at himself, at everything! What is his laugh? Your crime and his torment! That crime he flings at your head! That punishment he spits in your face! I laugh, and that means I weep!"
"What am I doing here? I’ve come to be a terror to you! I’m a monster, you say? No! I’m the people! Am I an exception? No! I’m the rule; you’re the exception! You’re the illusion; I’m the reality! I’m the terrifying man who laughs! Who laughs at what? At you, at himself, at everything! What is his laughter? Your crime and his torment! That crime he throws at your head! That punishment he spits in your face! I laugh, and that means I cry!"
He paused. There was less noise. The laughter continued, but it was more subdued. He may have fancied that he had regained a certain amount of attention. He breathed again, and resumed,—
He paused. It was quieter now. The laughter continued, but it was softer. He might have imagined that he had gotten back some of the attention. He took another breath and continued,—
"This laugh which is on my face a king placed there. This laugh expresses the desolation of mankind. This laugh means hate, enforced silence, rage, despair. This laugh is the production of torture. This laugh is a forced laugh. If Satan were marked with this laugh, it would convict God. But the Eternal is not like them that perish. Being absolute, he is just; and God hates the acts of kings. Oh! you take me for an exception; but I am a symbol. Oh, all-powerful men, fools that you are! open your eyes. I am the incarnation of All. I represent humanity, such as its masters have made it. Mankind is mutilated. That which has been done to me has been done to it. In it have been deformed right, justice, truth, reason, intelligence, as eyes, nostrils, and ears have been deformed in me; its heart has been made a sink of passion and pain, like mine, and, like mine, its features have been hidden in a mask of joy. Where God had placed his finger, the king set his sign-manual. Monstrous superposition! Bishops, peers, and princes, the people is a sea of suffering, smiling on the surface. My lords, I tell you that the people are as I am. To-day you oppress them; to-day you hoot at me. But the future is the ominous thaw, in which that which was as stone shall become wave. The appearance of solidity melts into liquid. A crack in the ice, and all is over. There will come an hour when convulsion shall break down your oppression; when an angry roar will reply to your jeers. Nay, that hour did come! Thou wert of it, O my father! That hour of God did come, and was called the Republic! It was destroyed, but it will return. Meanwhile, remember that the line of kings armed with the sword was broken by Cromwell, armed with the axe. Tremble! Incorruptible solutions are at hand: the talons which were cut are growing again; the tongues which were torn out are floating away, they are turning to tongues of fire, and, scattered by the breath of darkness, are shouting through infinity; those who hunger are showing their idle teeth; false heavens, built over real hells, are tottering. The people are suffering—they are suffering; and that which is on high totters, and that which is below yawns. Darkness demands its change to light; the damned discuss the elect. Behold! it is the coming of the people, the ascent of mankind, the beginning of the end, the red dawn of the catastrophe! Yes, all these things are in this laugh of mine, at which you laugh to-day! London is one perpetual fête. Be it so. From one end to the other, England rings with acclamation. Well! but listen. All that you see is I. You have your fêtes—they are my laugh; you have your public rejoicings—they are my laugh; you have your weddings, consecrations, and coronations—they are my laugh. The births of your princes are my laugh. But above you is the thunderbolt—it is my laugh."
"This laugh on my face was put there by a king. This laugh shows the despair of humanity. This laugh means hate, forced silence, anger, and hopelessness. This laugh comes from suffering. This laugh is a forced laugh. If Satan had this laugh, it would accuse God. But the Eternal is not like those who perish. Being absolute, He is just; and God despises the actions of kings. Oh! you think I’m an exception; but I am a symbol. Oh, powerful men, how foolish you are! open your eyes. I am the embodiment of All. I represent humanity, just as its rulers have shaped it. Humanity is wounded. What has been done to me has been done to it. In it, rights, justice, truth, reason, and intelligence have been twisted, just as my eyes, nostrils, and ears have been twisted; its heart has been turned into a pit of passion and pain, like mine, and, like mine, its features have been hidden behind a mask of joy. Where God placed His mark, the king stamped his seal. Horrific overlap! Bishops, peers, and princes, the people are an ocean of suffering, smiling on the surface. My lords, I tell you that the people are just like me. Today you oppress them; today you mock me. But the future is the ominous thaw, where what once was solid will become fluid. The appearance of strength turns to liquid. A crack in the ice, and it’s all over. There will be a moment when turmoil will shatter your oppression; when a furious roar will answer your insults. Indeed, that moment has come! You were part of it, O my father! That divine moment came and was called the Republic! It was destroyed, but it will rise again. In the meantime, remember that the line of kings wielding swords was broken by Cromwell, wielding an axe. Tremble! Irreversible changes are coming: the claws that were clipped are growing back; the tongues that were ripped out are drifting away, turning into tongues of fire, and scattered by the wind of darkness, are shouting through infinity; those who are hungry are revealing their empty grins; false heavens, built over real hells, are crumbling. The people are suffering—they are suffering; and what is above is shaky, and what is below yawns. Darkness demands its transformation into light; the damned are discussing the elect. Behold! it is the rise of the people, the elevation of humanity, the beginning of the end, the red dawn of the catastrophe! Yes, all these things are in this laugh of mine, which you mock today! London is one endless celebration. So be it. From one end to the other, England echoes with cheers. Well! but listen. Everything you see is me. You have your celebrations—they are my laugh; you have your public festivities—they are my laugh; you have your weddings, blessings, and coronations—they are my laugh. The births of your princes are my laugh. But above you looms the thunderbolt—it is my laugh."
How could they stand such nonsense? The laughter burst out afresh; and now it was overwhelming. Of all the lava which that crater, the human mouth, ejects, the most corrosive is joy. To inflict evil gaily is a contagion which no crowd can resist. All executions do not take place on the scaffold; and men, from the moment they are in a body, whether in mobs or in senates, have always a ready executioner amongst them, called sarcasm. There is no torture to be compared to that of the wretch condemned to execution by ridicule. This was Gwynplaine's fate. He was stoned with their jokes, and riddled by the scoffs shot at him. He stood there a mark for all. They sprang up; they cried, "Encore;" they shook with laughter; they stamped their feet; they pulled each other's bands. The majesty of the place, the purple of the robes, the chaste ermine, the dignity of the wigs, had no effect. The lords laughed, the bishops laughed, the judges laughed, the old men's benches derided, the children's benches were in convulsions. The Archbishop of Canterbury nudged the Archbishop of York; Henry Compton, Bishop of London, brother of Lord Northampton, held his sides; the Lord Chancellor bent down his head, probably to conceal his inclination to laugh; and, at the bar, that statue of respect, the Usher of the Black Rod, was laughing also.
How could they put up with such nonsense? The laughter erupted again, and now it was overwhelming. Of all the lava spewed from that crater, the human mouth, the most corrosive is joy. Inflicting harm while being cheerful is a contagion no crowd can resist. Not all executions happen on the gallows; when people gather together, whether in mobs or in legislatures, there’s always a ready executioner among them called sarcasm. There’s no torture worse than being condemned to die by ridicule. This was Gwynplaine's fate. He was bombarded with their jokes and pierced by the scoffs aimed at him. He stood there as a target for everyone. They leaped up; they shouted, "Encore;" they shook with laughter; they stamped their feet; they pulled at each other’s sleeves. The majesty of the setting, the purple of the robes, the pure ermine, the dignity of the wigs had no impact. The lords laughed, the bishops laughed, the judges laughed, the benches of old men mocked him, and the children's benches were in hysterics. The Archbishop of Canterbury nudged the Archbishop of York; Henry Compton, Bishop of London, brother of Lord Northampton, held his sides; the Lord Chancellor bent his head down, probably to hide his urge to laugh; and at the bar, that image of respect, the Usher of the Black Rod, was laughing too.
Gwynplaine, become pallid, had folded his arms; and, surrounded by all those faces, young and old, in which had burst forth this grand Homeric jubilee; in that whirlwind of clapping hands, of stamping feet, and of hurrahs; in that mad buffoonery, of which he was the centre; in that splendid overflow of hilarity; in the midst of that unmeasured gaiety, he felt that the sepulchre was within him. All was over. He could no longer master the face which betrayed nor the audience which insulted him.
Gwynplaine, growing pale, had crossed his arms; and, surrounded by all those faces, young and old, that had erupted in this grand Homeric celebration; in that whirlwind of clapping hands, stomping feet, and cheers; in that crazy antics, of which he was the center; in that brilliant outpouring of joy; amidst that boundless happiness, he felt that the grave was within him. Everything was finished. He could no longer control the face that betrayed him or the audience that mocked him.
That eternal and fatal law by which the grotesque is linked with the sublime—by which the laugh re-echoes the groan, parody rides behind despair, and seeming is opposed to being—had never found more terrible expression. Never had a light more sinister illumined the depths of human darkness.
That timeless and deadly rule that connects the bizarre with the magnificent—where laughter echoes the pain, parody follows despair, and appearance contradicts reality—has never been expressed more hauntingly. Never has a more sinister light shone on the depths of human despair.
Gwynplaine was assisting at the final destruction of his destiny by a burst of laughter. The irremediable was in this. Having fallen, we can raise ourselves up; but, being pulverized, never. And the insult of their sovereign mockery had reduced him to dust. From thenceforth nothing was possible. Everything is in accordance with the scene. That which was triumph in the Green Box was disgrace and catastrophe in the House of Lords. What was applause there, was insult here. He felt something like the reverse side of his mask. On one side of that mask he had the sympathy of the people, who welcomed Gwynplaine; on the other, the contempt of the great, rejecting Lord Fermain Clancharlie. On one side, attraction; on the other, repulsion; both leading him towards the shadows. He felt himself, as it were, struck from behind. Fate strikes treacherous blows. Everything will be explained hereafter, but, in the meantime, destiny is a snare, and man sinks into its pitfalls. He had expected to rise, and was welcomed by laughter. Such apotheoses have lugubrious terminations. There is a dreary expression—to be sobered; tragical wisdom born of drunkenness! In the midst of that tempest of gaiety commingled with ferocity, Gwynplaine fell into a reverie.
Gwynplaine was facing the final destruction of his fate with a burst of laughter. This was unavoidable. After we fall, we can get back up; but once we're ground into dust, that’s it. The sting of their royal mockery had reduced him to nothing. From that point on, nothing could change. Everything was in line with the scene. What was a triumph in the Green Box turned into disgrace and catastrophe in the House of Lords. What got applause there was an insult here. He felt something like the back of his mask. On one side of that mask, he had the people’s sympathy, who embraced Gwynplaine; on the other side, he faced the disdain of the elite, rejecting Lord Fermain Clancharlie. On one side, attraction; on the other, repulsion; both pulling him into the shadows. He felt, in a way, struck from behind. Fate deals treacherous blows. Everything will be explained later, but for now, destiny is a trap, and a person falls into its pitfalls. He had expected to rise, yet was met with laughter. Such triumphs often have grim endings. There’s a bleak saying - to be sobered up; tragic wisdom born out of drunkenness! In the middle of that storm of joy mixed with cruelty, Gwynplaine fell into a trance.
An assembly in mad merriment drifts as chance directs, and loses its compass when it gives itself to laughter. None knew whither they were tending, or what they were doing. The House was obliged to rise, adjourned by the Lord Chancellor, "owing to extraordinary circumstances," to the next day. The peers broke up. They bowed to the royal throne and departed. Echoes of prolonged laughter were heard losing themselves in the corridors.
A gathering in wild fun meanders as fate leads, and loses its way when it surrenders to laughter. No one knew where they were headed or what they were doing. The House had to adjourn, called to order by the Lord Chancellor, "due to extraordinary circumstances," until the next day. The peers dispersed. They bowed to the royal throne and left. Echoes of lingering laughter faded away in the hallways.
Assemblies, besides their official doors, have—under tapestry, under projections, and under arches—all sorts of hidden doors, by which the members escape like water through the cracks in a vase. In a short time the chamber was deserted. This takes place quickly and almost imperceptibly, and those places, so lately full of voices, are suddenly given back to silence.
Assemblies, aside from their main entrances, have all kinds of hidden exits—behind tapestries, projections, and arches—through which members slip away like water seeping through cracks in a vase. Before long, the chamber was empty. This happens fast and almost unnoticed, and those areas, which were just filled with voices, are suddenly returned to silence.
Reverie carries one far; and one comes by long dreaming to reach, as it were, another planet.
Reverie takes you far away; and through long dreaming, you can arrive at, in a sense, another world.
Gwynplaine suddenly awoke from such a dream. He was alone. The chamber was empty. He had not even observed that the House had been adjourned. All the peers had departed, even his sponsors. There only remained here and there some of the lower officers of the House, waiting for his lordship to depart before they put the covers on and extinguished the lights.
Gwynplaine suddenly woke up from that dream. He was alone. The room was empty. He hadn't even noticed that the House had been dismissed. All the peers had left, even his sponsors. Only a few lower-ranking officers of the House remained, waiting for him to leave before they covered up and turned off the lights.
Mechanically he placed his hat on his head, and, leaving his place, directed his steps to the great door opening into the gallery. As he was passing through the opening in the bar, a doorkeeper relieved him of his peer's robes. This he scarcely felt. In another instant he was in the gallery.
Mechanically, he put his hat on his head and left his spot, making his way to the big door that led into the gallery. As he walked through the opening in the barrier, a doorkeeper took his peer's robes from him. He barely noticed it. In just a moment, he was in the gallery.
The officials who remained observed with astonishment that the peer had gone out without bowing to the throne!
The officials who stayed behind watched in shock as the noble left without bowing to the throne!
CHAPTER VIII.
HE WOULD BE A GOOD BROTHER, WERE HE NOT A GOOD SON.
There was no one in the gallery.
There was nobody in the gallery.
Gwynplaine crossed the circular space, from whence they had removed the arm-chair and the tables, and where there now remained no trace of his investiture. Candelabra and lustres, placed at certain intervals, marked the way out. Thanks to this string of light, he retraced without difficulty, through the suite of saloons and galleries, the way which he had followed on his arrival with the King-at-Arms and the Usher of the Black Rod. He saw no one, except here and there some old lord with tardy steps, plodding along heavily in front of him.
Gwynplaine crossed the circular space where they had taken away the armchair and tables, leaving no evidence of his investiture. Candelabras and chandeliers, set at regular intervals, lit the way out. Thanks to this line of light, he easily retraced his steps through the series of salons and galleries, following the same path he took when he arrived with the King-at-Arms and the Usher of the Black Rod. He saw no one, except for a few old lords moving slowly ahead of him.
Suddenly, in the silence of those great deserted rooms, bursts of indistinct exclamations reached him, a sort of nocturnal clatter unusual in such a place. He directed his steps to the place whence this noise proceeded, and found himself in a spacious hall, dimly lighted, which was one of the exits from the House of Lords. He saw a great glass door open, a flight of steps, footmen and links, a square outside, and a few coaches waiting at the bottom of the steps.
Suddenly, in the quiet of those vast empty rooms, he heard bursts of unclear exclamations, a kind of nighttime racket that was unusual for such a place. He walked toward the source of the noise and found himself in a large, dimly lit hall, which was one of the exits from the House of Lords. He saw a large glass door open, a flight of steps, footmen and lanterns, a square outside, and a few coaches waiting at the bottom of the steps.
This was the spot from which the noise which he had heard had proceeded.
This was the place where the noise he had heard was coming from.
Within the door, and under the hall lamp, was a noisy group in a storm of gestures and of voices.
Within the door, and under the hall lamp, was a loud group in a whirlwind of gestures and voices.
Gwynplaine approached in the gloom.
Gwynplaine approached in the dark.
They were quarrelling. On one side there were ten or twelve young lords, who wanted to go out; on the other, a man, with his hat on, like themselves, upright and with a haughty brow, who barred their passage.
They were arguing. On one side, there were ten or twelve young lords who wanted to go out; on the other, there was a man, wearing a hat like the others, standing tall with a proud expression, blocking their way.
Who was this man? Tom-Jim-Jack.
Who was this guy? Tom-Jim-Jack.
Some of these lords were still in their robes, others had thrown them off, and were in their usual attire. Tom-Jim-Jack wore a hat with plumes—not white, like the peers; but green tipped with orange. He was embroidered and laced from head to foot, had flowing bows of ribbon and lace round his wrists and neck, and was feverishly fingering with his left hand the hilt of the sword which hung from his waistbelt, and on the billets and scabbard of which were embroidered an admiral's anchors.
Some of these lords were still in their robes, while others had taken them off and were dressed in their usual clothes. Tom-Jim-Jack wore a hat with plumes—not white like the nobles, but green tipped with orange. He was embroidered and laced from head to toe, had flowing bows of ribbon and lace around his wrists and neck, and was nervously toying with the hilt of the sword that hung from his waist, which had embroidered admiral's anchors on the handle and scabbard.
It was he who was speaking and addressing the young lords; and Gwynplaine overheard the following:—
It was him who was speaking to the young lords; and Gwynplaine overheard the following:—
"I have told you you are cowards. You wish me to withdraw my words. Be it so. You are not cowards; you are idiots. You all combined against one man. That was not cowardice. All right. Then it was stupidity. He spoke to you, and you did not understand him. Here, the old are hard of hearing, the young devoid of intelligence. I am one of your own order to quite sufficient extent to tell you the truth. This new-comer is strange, and he has uttered a heap of nonsense, I admit; but amidst all that nonsense there were some things which were true. His speech was confused, undigested, ill-delivered. Be it so. He repeated, 'You know, you know,' too often; but a man who was but yesterday a clown at a fair cannot be expected to speak like Aristotle or like Doctor Gilbert Burnet, Bishop of Salisbury. The vermin, the lions, the address to the under-clerks—all that was in bad taste. Zounds! who says it wasn't? It was a senseless and fragmentary and topsy-turvy harangue; but here and there came out facts which were true. It is no small thing to speak even as he did, seeing it is not his trade. I should like to see you do it. Yes, you! What he said about the lepers at Burton Lazars is an undeniable fact. Besides, he is not the first man who has talked nonsense. In fine, my lords, I do not like to see many set upon one. Such is my humour; and I ask your lordships' permission to take offence. You have displeased me; I am angry. I am grateful to God for having drawn up from the depth of his low existence this peer of England, and for having given back his inheritance to the heir; and, without heeding whether it will or will not affect my own affairs, I consider it a beautiful sight to see an insect transformed into an eagle, and Gwynplaine into Lord Clancharlie. My lords, I forbid you holding any opinion but mine. I regret that Lord Lewis Duras should not be here. I should like to insult him. My lords, it is Fermain Clancharlie who has been the peer, and you who have been the mountebanks. As to his laugh, it is not his fault. You have laughed at that laugh; men should not laugh at misfortune. If you think that people cannot laugh at you as well, you are very much mistaken. You are ugly. You are badly dressed. My Lord Haversham, I saw your mistress the other day; she is hideous—a duchess, but a monkey. Gentlemen who laugh, I repeat that I should like to hear you try to say four words running! Many men jabber; very few speak. You imagine you know something, because you have kept idle terms at Oxford or Cambridge, and because, before being peers of England on the benches of Westminster, you have been asses on the benches at Gonville and Caius. Here I am; and I choose to stare you in the face. You have just been impudent to this new peer. A monster, certainly; but a monster given up to beasts. I had rather be that man than you. I was present at the sitting, in my place as a possible heir to a peerage. I heard all. I have not the right to speak; but I have the right to be a gentleman. Your jeering airs annoyed me. When I am angry I would go up to Mount Pendlehill, and pick the cloudberry which brings the thunderbolt down on the gatherer. That is the reason why I have waited for you at the door. We must have a few words, for we have arrangements to make. Did it strike you that you failed a little in respect towards myself? My lords, I entertain a firm determination to kill a few of you. All you who are here—Thomas Tufton, Earl of Thanet; Savage, Earl Rivers; Charles Spencer, Earl of Sunderland; Laurence Hyde, Earl of Rochester; you Barons, Gray of Rolleston, Cary Hunsdon, Escrick, Rockingham, little Carteret; Robert Darcy, Earl of Holderness; William, Viscount Hutton; and Ralph, Duke of Montagu; and any who choose—I, David Dirry-Moir, an officer of the fleet, summon, call, and command you to provide yourselves, in all haste, with seconds and umpires, and I will meet you face to face and hand to hand, to-night, at once, to-morrow, by day or night, by sunlight or by candlelight, where, when, or how you please, so long as there is two sword-lengths' space; and you will do well to look to the flints of your pistols and the edges of your rapiers, for it is my firm intention to cause vacancies in your peerages.—Ogle Cavendish, take your measures, and think of your motto, Cavendo tutus.—Marmaduke Langdale, you will do well, like your ancestor, Grindold, to order a coffin to be brought with you.—George Booth, Earl of Warrington, you will never again see the County Palatine of Chester, or your labyrinth like that of Crete, or the high towers of Dunham Massy!—As to Lord Vaughan, he is young enough to talk impertinently, and too old to answer for it. I shall demand satisfaction for his words of his nephew Richard Vaughan, Member of Parliament for the Borough of Merioneth.—As for you, John Campbell, Earl of Greenwich, I will kill you as Achon killed Matas; but with a fair cut, and not from behind, it being my custom to present my heart and not my back to the point of the sword.—I have spoken my mind, my lords. And so use witchcraft if you like. Consult the fortune-tellers. Grease your skins with ointments and drugs to make them invulnerable; hang round your necks charms of the devil or the Virgin. I will fight you blest or curst, and I will not have you searched to see if you are wearing any wizard's tokens. On foot or on horseback, on the highroad if you wish it, in Piccadilly, or at Charing Cross; and they shall take up the pavement for our meeting, as they unpaved the court of the Louvre for the duel between Guise and Bassompierre. All of you! Do you hear? I mean to fight you all.—Dorme, Earl of Caernarvon, I will make you swallow my sword up to the hilt, as Marolles did to Lisle Mariveaux, and then we shall see, my lord, whether you will laugh or not.—You, Burlington, who look like a girl of seventeen—you shall choose between the lawn of your house in Middlesex, and your beautiful garden at Londesborough in Yorkshire, to be buried in.—I beg to inform your lordships that it does not suit me to allow your insolence in my presence. I will chastise you, my lords. I take it ill that you should have ridiculed Lord Fermain Clancharlie. He is worth more than you. As Clancharlie, he has nobility, which you have; as Gwynplaine, he has intellect, which you have not. I make his cause my cause, insult to him insult to me, and your ridicule my wrath. We shall see who will come out of this affair alive, because I challenge you to the death. Do you understand? With any arm, in any fashion, and you shall choose the death that pleases you best; and since you are clowns as well as gentlemen, I proportion my defiance to your qualities, and I give you your choice of any way in which a man can be killed, from the sword of the prince to the fist of the blackguard."
"I've told you that you're cowards. You want me to take back what I said. Fine. You're not cowards; you're idiots. You all ganged up on one man. That wasn't cowardice. Okay, then it was stupidity. He spoke to you, and you didn't get what he meant. Here, the old are hard of hearing, and the young lack intelligence. I'm part of your group enough to tell you the truth. This newcomer is strange, and he said a lot of nonsense, I’ll admit; but among all that nonsense, there were some true things. His speech was jumbled, unrefined, poorly delivered. Alright. He said, 'You know, you know,' too many times; but a man who was just yesterday a clown at a fair can't be expected to speak like Aristotle or Dr. Gilbert Burnet, Bishop of Salisbury. The insults, the lions, the remarks about the under-clerks—all that was in bad taste. Seriously, who would say it wasn't? It was a meaningless, chaotic speech; but there were bits of truth scattered throughout. It's no small feat to speak even as he did, considering it’s not his profession. I’d like to see you try it. Yes, you! What he said about the lepers at Burton Lazars is an undeniable fact. Besides, he isn’t the first person to talk nonsense. In short, my lords, I don’t like seeing many people against one. That’s just how I feel, and I request your permission to take offense. You’ve disappointed me; I’m angry. I’m thankful to God for having raised this peer of England from his low status, and for restoring his inheritance to the heir; and without caring whether it affects my own interests, I find it a beautiful sight to see an insect transformed into an eagle, and Gwynplaine into Lord Clancharlie. My lords, I forbid you from holding any opinion other than mine. I regret that Lord Lewis Duras isn’t here. I’d like to insult him. My lords, it’s Fermain Clancharlie who has been the peer, and you who have been the fools. As for his laugh, that’s not his fault. You’ve laughed at that laugh; people shouldn’t laugh at misfortune. If you think that people can’t laugh at you in return, you’re very mistaken. You’re ugly. You dress poorly. My Lord Haversham, I saw your mistress the other day; she’s hideous—a duchess, but a monkey. Gentlemen who laugh, I repeat that I’d like to hear you try to say four words in a row! Many men babble; very few speak. You think you know something, just because you’ve sat around idly at Oxford or Cambridge, and because, before becoming peers of England on the benches of Westminster, you were idiots on the benches at Gonville and Caius. Here I am; and I choose to look you in the face. You’ve just been rude to this new peer. A monster, certainly; but a monster allowed to be preyed upon. I’d rather be that man than you. I was present at the sitting, in my role as a potential heir to a peerage. I heard everything. I don’t have the right to speak; but I have the right to be a gentleman. Your mocking attitudes annoyed me. When I’m angry, I’d go up to Mount Pendlehill and pick the cloudberry that brings down the thunderbolt on the gatherer. That’s why I’ve been waiting for you at the door. We need to have a few words, as we have arrangements to make. Did it occur to you that you disrespected me a bit? My lords, I’m fully determined to kill a few of you. All of you here—Thomas Tufton, Earl of Thanet; Savage, Earl Rivers; Charles Spencer, Earl of Sunderland; Laurence Hyde, Earl of Rochester; you Barons, Gray of Rolleston, Cary Hunsdon, Escrick, Rockingham, little Carteret; Robert Darcy, Earl of Holderness; William, Viscount Hutton; and Ralph, Duke of Montagu; and anyone else who wants to join—I, David Dirry-Moir, an officer of the fleet, summon, call, and command you to quickly gather your seconds and umpires, and I will meet you face to face and hand to hand, tonight, at once, tomorrow, by day or night, under sunlight or candlelight, wherever, whenever, or however you like, as long as there’s two sword-lengths' distance; and you’d better check the flints of your pistols and the edges of your rapiers because I fully intend to create vacancies in your peerages.—Ogle Cavendish, prepare yourself, and think of your motto, Cavendo tutus.—Marmaduke Langdale, you’d best, like your ancestor, Grindold, order a coffin to be brought with you.—George Booth, Earl of Warrington, you will never again see the County Palatine of Chester, or your maze like that of Crete, or the tall towers of Dunham Massy!—As for Lord Vaughan, he’s young enough to speak impudently, and too old to answer for it. I will demand satisfaction for his words from his nephew Richard Vaughan, Member of Parliament for the Borough of Merioneth.—As for you, John Campbell, Earl of Greenwich, I will kill you like Achon killed Matas; but with a fair cut, and not from behind, it being my custom to present my heart and not my back to the sword’s point.—I have said what I think, my lords. So use witchcraft if you want. Consult the fortune-tellers. Grease your skins with ointments and drugs to make you invulnerable; hang charms of the devil or the Virgin around your necks. I will fight you blessed or cursed, and I won’t allow you to be searched to see if you’re wearing any wizard's tokens. On foot or on horseback, on the main road if you wish, in Piccadilly, or at Charing Cross; and they shall clear the pavement for our meeting, as they unpaved the court of the Louvre for the duel between Guise and Bassompierre. All of you! Do you hear? I intend to fight you all.—Dorme, Earl of Caernarvon, I will make you swallow my sword to the hilt, as Marolles did to Lisle Mariveaux, and then we’ll see, my lord, if you’ll laugh or not.—You, Burlington, who look like a seventeen-year-old girl—you can choose between the lawn of your house in Middlesex and your beautiful garden at Londesborough in Yorkshire, to be buried in.—I want to inform your lordships that I won't tolerate your insolence in my presence. I will punish you, my lords. I resent that you ridiculed Lord Fermain Clancharlie. He is worth more than you. As Clancharlie, he has nobility, which you possess; as Gwynplaine, he has intellect, which you do not. I make his cause my cause; an insult to him is an insult to me, and your ridicule is my wrath. We shall see who survives this situation, because I challenge you to the death. Do you understand? With any weapon, in any manner, and you can choose the death that pleases you most; and since you’re clowns as well as gentlemen, I tailor my challenge to your qualities, and I give you the choice of any way a man can be killed, from the sword of the prince to the fist of the lowlife."
To this furious onslaught of words the whole group of young noblemen answered by a smile. "Agreed," they said.
To this intense barrage of words, the entire group of young noblemen responded with a smile. "Agreed," they said.
"I choose pistols," said Burlington.
"I choose handguns," said Burlington.
"I," said Escrick, "the ancient combat of the lists, with the mace and the dagger."
"I," said Escrick, "the old battle of the arena, with the mace and the dagger."
"I," said Holderness, "the duel with two knives, long and short, stripped to the waist, and breast to breast."
"I," said Holderness, "the duel with two knives, one long and one short, bare-chested and face to face."
"Lord David," said the Earl of Thanet, "you are a Scot. I choose the claymore."
"Lord David," said the Earl of Thanet, "you're a Scot. I choose the claymore."
"I the sword," said Rockingham.
"I have the sword," said Rockingham.
"I," said Duke Ralph, "prefer the fists; 'tis noblest."
"I," said Duke Ralph, "prefer using my fists; it's the most honorable way."
Gwynplaine came out from the shadow. He directed his steps towards him whom he had hitherto called Tom-Jim-Jack, but in whom now, however, he began to perceive something more. "I thank you," said he, "but this is my business."
Gwynplaine stepped out of the shadows. He walked toward the person he had previously called Tom-Jim-Jack, but now he started to see something different in him. "Thank you," he said, "but this is my responsibility."
Every head turned towards him.
Everyone turned to look at him.
Gwynplaine advanced. He felt himself impelled towards the man whom he heard called Lord David—his defender, and perhaps something nearer. Lord David drew back.
Gwynplaine moved forward. He felt a strong urge to approach the man he heard being called Lord David—his protector, and maybe something more. Lord David stepped back.
"Oh!" said he. "It is you, is it? This is well-timed. I have a word for you as well. Just now you spoke of a woman who, after having loved Lord Linnæus Clancharlie, loved Charles II."
"Oh!" he said. "So it's you, huh? Perfect timing. I have something to say to you too. Just now, you mentioned a woman who, after loving Lord Linnæus Clancharlie, ended up loving Charles II."
"It is true."
"It's true."
"Sir, you insulted my mother."
"Sir, you dissed my mom."
"Your mother!" cried Gwynplaine. "In that case, as I guessed, we are—"
"Your mom!" shouted Gwynplaine. "In that case, just as I thought, we are—"
"Brothers," answered Lord David, and he struck Gwynplaine. "We are brothers," said he; "so we can fight. One can only fight one's equal; who is one's equal if not one's brother? I will send you my seconds; to-morrow we will cut each other's throats."
"Brothers," Lord David replied, striking Gwynplaine. "We are brothers," he continued; "which means we can fight. You can only fight with someone who's your equal; who else is your equal if not your brother? I’ll send you my seconds; tomorrow we’ll cut each other’s throats."
BOOK THE NINTH.
IN RUINS.
CHAPTER I.
IT IS THROUGH EXCESS OF GREATNESS THAT MAN REACHES EXCESS OF MISERY.
As midnight tolled from St. Paul's, a man who had just crossed London Bridge struck into the lanes of Southwark. There were no lamps lighted, it being at that time the custom in London, as in Paris, to extinguish the public lamps at eleven o'clock—that is, to put them out just as they became necessary. The streets were dark and deserted. When the lamps are out men stay in. He whom we speak of advanced with hurried strides. He was strangely dressed for walking at such an hour. He wore a coat of embroidered silk, a sword by his side, a hat with white plumes, and no cloak. The watchmen, as they saw him pass, said, "It is a lord walking for a wager," and they moved out of his way with the respect due to a lord and to a better.
As midnight chimed from St. Paul's, a man who had just crossed London Bridge turned into the streets of Southwark. There were no lights on, as it was common in London, just like in Paris, to turn off the public lamps at eleven o'clock—right when they were needed the most. The streets were dark and empty. When the lamps are off, people stay indoors. The man we’re talking about walked quickly. He was dressed unusually for walking at this hour. He wore a silk coat with embroidery, a sword at his side, a hat with white plumes, and no cloak. The watchmen, seeing him pass, said, "It’s a lord out for a bet," and they stepped aside, showing him the respect due to a lord and someone of higher status.
The man was Gwynplaine. He was making his escape. Where was he? He did not know. We have said that the soul has its cyclones—fearful whirlwinds, in which heaven, the sea, day, night, life, death, are all mingled in unintelligible horror. It can no longer breathe Truth; it is crushed by things in which it does not believe. Nothingness becomes hurricane. The firmament pales. Infinity is empty. The mind of the sufferer wanders away. He feels himself dying. He craves for a star. What did Gwynplaine feel? a thirst—a thirst to see Dea.
The man was Gwynplaine. He was trying to escape. Where was he? He didn’t know. We’ve mentioned that the soul has its storms—terrifying whirlwinds where heaven, the sea, day, night, life, and death are all mixed together in confusing horror. It can no longer grasp the Truth; it’s weighed down by things it doesn’t believe in. Nothingness turns into a hurricane. The sky dims. Infinity feels empty. The mind of the sufferer drifts away. He feels himself fading. He longs for a star. What did Gwynplaine feel? A thirst—a thirst to see Dea.
He felt but that. To reach the Green Box again, and the Tadcaster Inn, with its sounds and light—full of the cordial laughter of the people; to find Ursus and Homo, to see Dea again, to re-enter life. Disillusion, like a bow, shoots its arrow, man, towards the True. Gwynplaine hastened on. He approached Tarrinzeau Field. He walked no longer now; he ran. His eyes pierced the darkness before him. His glance preceded him, eagerly seeking the harbour on the horizon. What a moment for him when he should see the lighted windows of Tadcaster Inn!
He could think of nothing else. To get back to the Green Box and the Tadcaster Inn, filled with cheerful sounds and lights—full of the warm laughter of the people; to find Ursus and Homo, to see Dea again, to jump back into life. Disillusionment, like a bow, shoots its arrow toward the Truth. Gwynplaine hurried on. He was getting close to Tarrinzeau Field. He was no longer just walking; he was running. His eyes pierced through the darkness ahead. His gaze pushed forward, eagerly searching for the lights on the horizon. What a moment it would be when he finally saw the illuminated windows of the Tadcaster Inn!
He reached the bowling-green. He turned the corner of the wall, and saw before him, at the other end of the field, some distance off, the inn—the only house, it may be remembered, in the field where the fair was held.
He arrived at the bowling green. He rounded the corner of the wall and saw ahead of him, at the far end of the field, the inn—the only building, as you might recall, in the field where the fair took place.
He looked. There was no light; nothing but a black mass.
He looked. There was no light; just a dark mass.
He shuddered. Then he said to himself that it was late; that the tavern was shut up; that it was very natural; that every one was asleep; that he had only to awaken Nicless or Govicum; that he must go up to the inn and knock at the door. He did so, running no longer now, but rushing.
He shuddered. Then he told himself it was late; that the tavern was locked up; that it was completely normal; that everyone was asleep; that he just had to wake up Nicless or Govicum; that he needed to head to the inn and knock on the door. He did so, no longer running now, but rushing.
He reached the inn, breathless. It is when, storm-beaten and struggling in the invisible convulsions of the soul until he knows not whether he is in life or in death, that all the delicacy of a man's affection for his loved ones, being yet unimpaired, proves a heart true. When all else is swallowed up, tenderness still floats unshattered. Not to awaken Dea too suddenly was Gwynplaine's first thought. He approached the inn with as little noise as possible. He recognized the nook, the old dog kennel, where Govicum used to sleep. In it, contiguous to the lower room, was a window opening on to the field. Gwynplaine tapped softly at the pane. It would be enough to awaken Govicum, he thought.
He reached the inn, out of breath. It’s at moments like this, battered by the storm and grappling with deep, internal struggles that make him question whether he’s alive or dead, that the true depth of a man’s love for those he cares about becomes clear, even if it remains untouched. When everything else fades away, affection still remains intact. Gwynplaine's first thought was to avoid startling Dea too abruptly. He approached the inn as quietly as possible. He recognized the corner where Govicum used to sleep in the old dog kennel. Next to the lower room, there was a window facing the field. Gwynplaine gently tapped on the glass, thinking it would be enough to wake Govicum.
There was no sound in Govicum's room.
There was no noise in Govicum's room.
"At his age," said Gwynplaine, "a boy sleeps soundly."
"At his age," Gwynplaine said, "a boy sleeps deeply."
With the back of his hand he knocked against the window gently. Nothing stirred.
With the back of his hand, he tapped lightly on the window. Nothing moved.
He knocked louder twice. Still nothing stirred. Then, feeling somewhat uneasy, he went to the door of the inn and knocked. No one answered. He reflected, and began to feel a cold shudder come over him.
He knocked louder twice. Still, nothing moved. Then, feeling a bit anxious, he walked to the inn's door and knocked. No one answered. He thought for a moment and started to feel a chill run down his spine.
"Master Nicless is old, children sleep soundly, and old men heavily. Courage! louder!"
"Master Nicless is old, kids are sleeping deeply, and older men are sleeping hard. Courage! Louder!"
He had tapped, he had knocked, he had kicked the door; now he flung himself against it.
He had tapped, he had knocked, he had kicked the door; now he threw himself against it.
This recalled to him a distant memory of Weymouth, when, a little child, he had carried Dea, an infant, in his arms.
This brought back a distant memory of Weymouth, when he was a small child and had carried Dea, a baby, in his arms.
He battered the door again violently, like a lord, which, alas! he was.
He slammed the door again violently, like a boss, which, sadly, he was.
The house remained silent. He felt that he was losing his head. He no longer thought of caution. He shouted,—
The house was quiet. He felt like he was losing his mind. He stopped being cautious. He yelled,—
"Nicless! Govicum!"
"Nice! Government!"
At the same time he looked up at the windows, to see if any candle was lighted. But the inn was blank. Not a voice, not a sound, not a glimmer of light. He went to the gate and knocked at it, kicked against it, and shook it, crying out wildly,—
At the same time, he looked up at the windows to see if any candles were lit. But the inn was dark. Not a voice, not a sound, not a glimmer of light. He went to the gate and knocked on it, kicked it, and shook it, shouting out frantically,—
"Ursus! Homo!"
"Bear! Man!"
The wolf did not bark.
The wolf didn't bark.
A cold sweat stood in drops upon his brow. He cast his eyes around. The night was dark; but there were stars enough to render the fair-green visible. He saw—a melancholy sight to him—that everything on it had vanished.
A cold sweat trickled down his forehead. He looked around. The night was dark, but there were enough stars to make the green landscape visible. He saw, with sadness, that everything on it had disappeared.
There was not a single caravan. The circus was gone. Not a tent, not a booth, not a cart, remained. The strollers, with their thousand noisy cries, who had swarmed there, had given place to a black and sullen void.
There wasn't a single caravan. The circus was gone. Not a tent, not a booth, not a cart was left. The visitors, with their thousand noisy shouts, who had crowded there, were replaced by a dark and empty silence.
All were gone.
Everyone's gone.
The madness of anxiety took possession of him. What did this mean? What had happened? Was no one left? Could it be that life had crumbled away behind him? What had happened to them all? Good heavens! Then he rushed like a tempest against the house. He struck the small door, the gate, the windows, the window-shutters, the walls, with fists and feet, furious with terror and agony of mind.
The madness of anxiety overwhelmed him. What did this mean? What had happened? Was no one left? Could it be that life had fallen apart behind him? What happened to them all? Good heavens! Then he charged like a storm at the house. He pounded on the small door, the gate, the windows, the shutters, and the walls, hitting them with his fists and feet, filled with terror and mental anguish.
He called Nicless, Govicum, Fibi, Vinos, Ursus, Homo. He tried every shout and every sound against this wall. At times he waited and listened; but the house remained mute and dead. Then, exasperated, he began again with blows, shouts, and repeated knockings, re-echoed all around. It might have been thunder trying to awake the grave.
He called out Nicless, Govicum, Fibi, Vinos, Ursus, Homo. He tried every shout and sound against this wall. Sometimes he paused to listen, but the house stayed silent and lifeless. Then, frustrated, he started again with banging, shouting, and relentless knocking that echoed everywhere. It was like thunder trying to wake the dead.
There is a certain stage of fright in which a man becomes terrible. He who fears everything fears nothing. He would strike the Sphynx. He defies the Unknown.
There’s a point of fear where a person becomes intimidating. Someone who fears everything doesn’t fear anything. They would confront the Sphinx. They challenge the Unknown.
Gwynplaine renewed the noise in every possible form—stopping, resuming, unwearying in the shouts and appeals by which he assailed the tragic silence. He called a thousand times on the names of those who should have been there. He shrieked out every name except that of Dea—a precaution of which he could not have explained the reason himself, but which instinct inspired even in his distraction.
Gwynplaine echoed the noise in every way possible—pausing, starting again, tirelessly shouting and calling out, trying to break the heavy silence. He called out a thousand times the names of those who should have been present. He shouted every name except Dea's—a decision he couldn't fully explain but one that his intuition guided him to make, even in his turmoil.
Having exhausted calls and cries, nothing was left but to break in.
Having tried every call and shout, there was nothing left to do but break in.
"I must enter the house," he said to himself; "but how?"
"I need to get into the house," he thought to himself; "but how?"
He broke a pane of glass in Govicum's room by thrusting his hand through it, tearing the flesh; he drew the bolt of the sash and opened the window. Perceiving that his sword was in the way, he tore it off angrily, scabbard, blade, and belt, and flung it on the pavement. Then he raised himself by the inequalities in the wall, and though the window was narrow, he was able to pass through it. He entered the inn. Govicum's bed, dimly visible in its nook, was there; but Govicum was not in it. If Govicum was not in his bed, it was evident that Nicless could not be in his.
He broke a window in Govicum's room by smashing his hand through it, cutting himself in the process; he unlocked the window and pushed it open. Noticing his sword was getting in the way, he yanked it off in frustration, scabbard, blade, and belt included, and tossed it onto the pavement. Then he pulled himself up using the uneven surfaces of the wall, and even though the window was narrow, he managed to squeeze through it. He walked into the inn. Govicum's bed, faintly visible in its corner, was there; but Govicum was not in it. If Govicum wasn't in his bed, it was clear that Nicless couldn't be in his either.
The whole house was dark. He felt in that shadowy interior the mysterious immobility of emptiness, and that vague fear which signifies—"There is no one here."
The whole house was dark. He sensed in that shadowy space the strange stillness of nothingness, and that vague fear that suggests—"There’s no one here."
Gwynplaine, convulsed with anxiety, crossed the lower room, knocking against the tables, upsetting the earthenware, throwing down the benches, sweeping against the jugs, and, striding over the furniture, reached the door leading into the court, and broke it open with one blow from his knee, which sprung the lock. The door turned on its hinges. He looked into the court. The Green Box was no longer there.
Gwynplaine, filled with anxiety, hurried through the lower room, bumping into tables, knocking over pottery, tipping benches, brushing against jugs, and stepping over furniture. He reached the door to the courtyard and kicked it open with a powerful blow of his knee, which popped the lock. The door swung on its hinges. He peeked into the courtyard. The Green Box was gone.
CHAPTER II.
THE DREGS.
Gwynplaine left the house, and began to explore Tarrinzeau Field in every direction. He went to every place where, the day before, the tents and caravans had stood. He knocked at the stalls, though he knew well that they were uninhabited. He struck everything that looked like a door or a window. Not a voice arose from the darkness. Something like death had been there.
Gwynplaine left the house and started to wander around Tarrinzeau Field in every direction. He visited every spot where the tents and caravans had been the day before. He knocked on the stalls, even though he knew they were empty. He hit everything that resembled a door or a window. Not a sound came from the darkness. It felt like death had been there.
The ant-hill had been razed. Some measures of police had apparently been carried out. There had been what, in our days, would be called a razzia. Tarrinzeau Field was worse than a desert; it had been scoured, and every corner of it scratched up, as it were, by pitiless claws. The pocket of the unfortunate fair-green had been turned inside out, and completely emptied.
The ant hill had been destroyed. Some police actions had clearly taken place. There had been what we would now call a razzia. Tarrinzeau Field was worse than a wasteland; it had been stripped bare, and every part of it dug up, as if by relentless claws. The unfortunate fair-green had been turned inside out and completely emptied.
Gwynplaine, after having searched every yard of ground, left the green, struck into the crooked streets abutting on the site called East Point, and directed his steps towards the Thames. He had threaded his way through a network of lanes, bounded only by walls and hedges, when he felt the fresh breeze from the water, heard the dull lapping of the river, and suddenly saw a parapet in front of him. It was the parapet of the Effroc stone.
Gwynplaine, after searching every inch of land, left the green, wandered into the winding streets near East Point, and headed towards the Thames. He navigated through a maze of alleys, bordered only by walls and hedges, when he felt the cool breeze from the water, heard the soft lapping of the river, and suddenly spotted a low wall in front of him. It was the low wall of the Effroc stone.
This parapet bounded a block of the quay, which was very short and very narrow. Under it the high wall, the Effroc stone, buried itself perpendicularly in the dark water below.
This parapet surrounded a small, narrow section of the quay. Below it, the tall wall of Effroc stone plunged straight down into the dark water beneath.
Gwynplaine stopped at the parapet, and, leaning his elbows on it, laid his head in his hands and set to thinking, with the water beneath him.
Gwynplaine paused at the edge, resting his elbows on it, placed his head in his hands, and started to think, with the water flowing below him.
Did he look at the water? No. At what then? At the shadow; not the shadow without, but within him. In the melancholy night-bound landscape, which he scarcely marked, in the outer depths, which his eyes did not pierce, were the blurred sketches of masts and spars. Below the Effroc stone there was nothing on the river; but the quay sloped insensibly downwards till, some distance off, it met a pier, at which several vessels were lying, some of which had just arrived, others which were on the point of departure. These vessels communicated with the shore by little jetties, constructed for the purpose, some of stone, some of wood, or by movable gangways. All of them, whether moored to the jetties or at anchor, were wrapped in silence. There was neither voice nor movement on board, it being a good habit of sailors to sleep when they can, and awake only when wanted. If any of them were to sail during the night at high tide, the crews were not yet awake. The hulls, like large black bubbles, and the rigging, like threads mingled with ladders, were barely visible. All was livid and confused. Here and there a red cresset pierced the haze.
Did he look at the water? No. What was he looking at then? At the shadow; not the shadow outside, but the one within him. In the gloomy night-bound landscape, which he barely noticed, in the distant depths his eyes couldn’t penetrate, were the blurry outlines of masts and spars. Below the Effroc stone, there was nothing on the river; but the quay gradually sloped down until, further away, it met a pier where several boats were docked, some just arrived and others about to leave. These boats were connected to the shore by small jetties made for that purpose, some made of stone and some of wood, or by movable gangways. All of them, whether tied to the jetties or at anchor, were silent. There were no sounds or movements on board, as it’s a good habit for sailors to sleep whenever possible and only wake up when needed. If any of them were to set sail during the night at high tide, the crews were still asleep. The hulls, like large black bubbles, and the rigging, like threads mixed with ladders, were barely visible. Everything was pale and muddled. Here and there, a red light broke through the mist.
Gwynplaine saw nothing of all this. What he was musing on was destiny.
Gwynplaine didn't notice any of this. What he was thinking about was fate.
He was in a dream—a vision—giddy in presence of an inexorable reality.
He was in a dream—a vision—lightheaded in the face of an unchangeable reality.
He fancied that he heard behind him something like an earthquake. It was the laughter of the Lords.
He thought he heard something like an earthquake behind him. It was the laughter of the Lords.
From that laughter he had just emerged. He had come out of it, having received a blow, and from whom?
From that laughter, he had just come out. He had emerged from it after taking a hit, but from whom?
From his own brother!
From his own brother!
Flying from the laughter, carrying with him the blow, seeking refuge, a wounded bird, in his nest, rushing from hate and seeking love, what had he found?
Flying from the laughter, carrying the hurt with him, seeking refuge like a wounded bird in his nest, rushing away from hate and searching for love—what had he discovered?
Darkness.
Dark.
No one.
No one.
Everything gone.
All gone.
He compared that darkness to the dream he had indulged in.
He compared that darkness to the dream he had enjoyed.
What a crumbling away!
What a decay!
Gwynplaine had just reached that sinister bound—the void. The Green Box gone was his universe vanished.
Gwynplaine had just reached that dark limit—the emptiness. The Green Box was gone, and with it, his whole world had disappeared.
His soul had been closed up.
His soul had been shut down.
He reflected.
He thought about it.
What could have happened? Where were they? They had evidently been carried away. Destiny had given him, Gwynplaine, a blow, which was greatness; its reaction had struck them another, which was annihilation. It was clear that he would never see them again. Precautions had been taken against that. They had scoured the fair-green, beginning by Nicless and Govicum, so that he should gain no clue through them. Inexorable dispersion! That fearful social system, at the same time that it had pulverized him in the House of Lords, had crushed them in their little cabin. They were lost; Dea was lost—lost to him for ever. Powers of heaven! where was she? And he had not been there to defend her!
What could have happened? Where were they? They had clearly been taken away. Fate had dealt Gwynplaine a blow, which brought him greatness; its response had hit them with destruction. It was obvious he would never see them again. Measures had been taken against that. They had searched the fairground, starting with Nicless and Govicum, so he wouldn't find any clues from them. Unstoppable separation! That cruel social system, while it had shattered him in the House of Lords, had crushed them in their small cabin. They were lost; Dea was lost—lost to him forever. Oh, where was she? And he hadn’t been there to protect her!
To have to make guesses as to the absent whom we love is to put oneself to the torture. He inflicted this torture on himself. At every thought that he fathomed, at every supposition which he made, he felt within him a moan of agony.
To have to make guesses about the ones we love who are absent is to torture oneself. He caused himself this pain. With every thought he explored, with every assumption he made, he felt a deep groan of agony inside him.
Through a succession of bitter reflections he remembered a man who was evidently fatal to him, and who had called himself Barkilphedro. That man had inscribed on his brain a dark sentence which reappeared now; he had written it in such terrible ink that every letter had turned to fire; and Gwynplaine saw flaming at the bottom of his thought the enigmatical words, the meaning of which was at length solved: "Destiny never opens one door without closing another."
Through a series of painful thoughts, he recalled a man who was clearly doomed for him, and who had called himself Barkilphedro. That man had carved a dark phrase into his mind that now resurfaced; he had written it in such dreadful ink that every letter felt like it was on fire; and Gwynplaine saw burning in the depths of his thoughts the puzzling words, the meaning of which was finally clear: "Destiny never opens one door without closing another."
All was over. The final shadows had gathered about him. In every man's fate there may be an end of the world for himself alone. It is called despair. The soul is full of falling stars.
All was done. The last shadows had closed in on him. In every person's life, there can be a moment that feels like the end of the world just for them. It’s called despair. The soul is filled with falling stars.
This, then, was what he had come to.
This is where he had ended up.
A vapour had passed. He had been mingled with it. It had lain heavily on his eyes; it had disordered his brain. He had been outwardly blinded, intoxicated within. This had lasted the time of a passing vapour. Then everything melted away, the vapour and his life. Awaking from the dream, he found himself alone.
A mist had come and gone. He had been caught up in it. It had weighed heavily on his eyes; it had scrambled his thoughts. He had been blind on the outside, drunk on the inside. This lasted just as long as the mist itself. Then everything faded away, the mist and his life. When he woke from the dream, he found himself all alone.
All vanished, all gone, all lost—night—nothingness. Such was his horizon.
All disappeared, all gone, all lost—night—nothingness. That was his horizon.
He was alone.
He was by himself.
Alone has a synonym, which is Dead. Despair is an accountant. It sets itself to find its total; it adds up everything, even to the farthings. It reproaches Heaven with its thunderbolts and its pinpricks. It seeks to find what it has to expect from fate. It argues, weighs, and calculates, outwardly cool, while the burning lava is still flowing on within.
Alone is a synonym for Dead. Despair is like an accountant. It tries to find its total; it tallies everything, even the smallest amounts. It blames Heaven for its big problems and little annoyances. It looks for what it should expect from fate. It argues, weighs, and calculates, appearing calm on the outside, while the hot lava is still flowing inside.
Gwynplaine examined himself, and examined his fate.
Gwynplaine looked at himself and reflected on his destiny.
The backward glance of thought; terrible recapitulation!
The reflection of thought; a painful review!
When at the top of a mountain, we look down the precipice; when at the bottom, we look up at heaven. And we say, "I was there."
When we're at the top of a mountain, we look down the cliff; when we're at the bottom, we look up at the sky. And we say, "I was there."
Gwynplaine was at the very bottom of misfortune. How sudden, too, had been his fall!
Gwynplaine was at the lowest point of his misfortune. How sudden his fall had been, too!
Such is the hideous swiftness of misfortune, although it is so heavy that we might fancy it slow. But no! It would likewise appear that snow, from its coldness, ought to be the paralysis of winter, and, from its whiteness, the immobility of the winding-sheet. Yet this is contradicted by the avalanche.
Such is the terrifying speed of misfortune, even though it feels so heavy that we might think it moves slowly. But no! It also seems that snow, because of its coldness, should be the stillness of winter, and because of its whiteness, the stillness of a shroud. Yet this is proven wrong by the avalanche.
The avalanche is snow become a furnace. It remains frozen, but it devours. The avalanche had enveloped Gwynplaine. He had been torn like a rag, uprooted like a tree, precipitated like a stone. He recalled all the circumstances of his fall. He put himself questions, and returned answers. Grief is an examination. There is no judge so searching as conscience conducting its own trial.
The avalanche is snow turned into a furnace. It stays frozen, but it consumes everything. The avalanche had swallowed Gwynplaine. He’d been ripped apart like a rag, uprooted like a tree, thrown down like a stone. He remembered all the details of his fall. He asked himself questions and found answers. Grief is like an exam. No judge is as thorough as conscience putting itself on trial.
What amount of remorse was there in his despair? This he wished to find out, and dissected his conscience. Excruciating vivisection!
What level of regret was there in his despair? He wanted to figure it out and examined his conscience. Painful self-analysis!
His absence had caused a catastrophe. Had this absence depended on him? In all that had happened, had he been a free agent? No! He had felt himself captive. What was that which had arrested and detained him—a prison? No. A chain? No. What then? Sticky slime! He had sunk into the slough of greatness.
His absence had created a disaster. Was this absence up to him? In everything that happened, was he really in control? No! He felt trapped. What was it that had stopped and held him back—a prison? No. A chain? No. Then what? Sticky mud! He had sunk into the mire of greatness.
To whom has it not happened to be free in appearance, yet to feel that his wings are hampered?
To whom has it not happened to look free on the outside, yet feel like their wings are clipped?
There had been something like a snare spread for him. What is at first temptation ends by captivity.
There was like a trap set for him. What starts as temptation ends in imprisonment.
Nevertheless—and his conscience pressed him on this point—had he merely submitted to what had been offered him? No; he had accepted it.
Nevertheless—and his conscience kept nudging him about this—had he just gone along with what was offered to him? No; he had accepted it.
Violence and surprise had been used with him in a certain measure, it was true; but he, in a certain measure, had given in. To have allowed himself to be carried off was not his fault; but to have allowed himself to be inebriated was his weakness. There had been a moment—a decisive moment—when the question was proposed. This Barkilphedro had placed a dilemma before Gwynplaine, and had given him clear power to decide his fate by a word. Gwynplaine might have said, "No." He had said, "Yes."
Violence and surprise had been used against him to some extent, that was true; but he, to some extent, had also given in. It wasn’t his fault that he let himself be taken away, but allowing himself to get drunk was his weakness. There had been a moment—a turning point—when the question was posed. This Barkilphedro had put a dilemma in front of Gwynplaine and had given him the clear power to choose his fate with a single word. Gwynplaine could have said, "No." Instead, he said, "Yes."
From that "Yes," uttered in a moment of dizziness, everything had sprung. Gwynplaine realized this now in the bitter aftertaste of that consent.
From that "Yes," spoken in a moment of daze, everything had unfolded. Gwynplaine understood this now in the bitter aftertaste of that agreement.
Nevertheless—for he debated with himself—was it then so great a wrong to take possession of his right, of his patrimony, of his heritage, of his house; and, as a patrician, of the rank of his ancestors; as an orphan, of the name of his father? What had he accepted? A restitution. Made by whom? By Providence.
Nevertheless—he thought to himself—was it really such a terrible thing to claim what was rightfully his, his inheritance, his legacy, his home; and, as a member of the elite, the status of his ancestors; as an orphan, his father's name? What had he received? A restoration. Given by whom? By fate.
Then his mind revolted. Senseless acceptance! What a bargain had he struck! what a foolish exchange! He had trafficked with Providence at a loss. How now! For an income of £80,000 a year; for seven or eight titles; for ten or twelve palaces; for houses in town, and castles in the country; for a hundred lackeys; for packs of hounds, and carriages, and armorial bearings; to be a judge and legislator; for a coronet and purple robes, like a king; to be a baron and a marquis; to be a peer of England, he had given the hut of Ursus and the smile of Dea. For shipwreck and destruction in the surging immensity of greatness, he had bartered happiness. For the ocean he had given the pearl. O madman! O fool! O dupe!
Then his mind revolted. Senseless acceptance! What a deal he had made! What a foolish trade! He had bargained with fate at a loss. How could he! For an income of £80,000 a year; for seven or eight titles; for ten or twelve palaces; for houses in the city, and castles in the countryside; for a hundred servants; for packs of hounds, and carriages, and family crests; to be a judge and a lawmaker; for a coronet and purple robes, like a king; to be a baron and a marquis; to be a peer of England, he had given up Ursus's humble home and Dea's smile. For shipwreck and ruin in the vastness of greatness, he had traded away happiness. For the ocean, he had given the pearl. O madman! O fool! O dupe!
Yet nevertheless—and here the objection reappeared on firmer ground—in this fever of high fortune which had seized him all had not been unwholesome. Perhaps there would have been selfishness in renunciation; perhaps he had done his duty in the acceptance. Suddenly transformed into a lord, what ought he to have done? The complication of events produces perplexity of mind. This had happened to him. Duty gave contrary orders. Duty on all sides at once, duty multiple and contradictory—this was the bewilderment which he had suffered. It was this that had paralyzed him, especially when he had not refused to take the journey from Corleone Lodge to the House of Lords. What we call rising in life is leaving the safe for the dangerous path. Which is, thenceforth, the straight line? Towards whom is our first duty? Is it towards those nearest to ourselves, or is it towards mankind generally? Do we not cease to belong to our own circumscribed circle, and become part of the great family of all? As we ascend we feel an increased pressure on our virtue. The higher we rise, the greater is the strain. The increase of right is an increase of duty. We come to many cross-ways, phantom roads perchance, and we imagine that we see the finger of conscience pointing each one of them out to us. Which shall we take? Change our direction, remain where we are, advance, go back? What are we to do? That there should be cross-roads in conscience is strange enough; but responsibility may be a labyrinth. And when a man contains an idea, when he is the incarnation of a fact—when he is a symbolical man, at the same time that he is a man of flesh and blood—is not the responsibility still more oppressive? Thence the care-laden docility and the dumb anxiety of Gwynplaine; thence his obedience when summoned to take his seat. A pensive man is often a passive man. He had heard what he fancied was the command of duty itself. Was not that entrance into a place where oppression could be discussed and resisted the realization of one of his deepest aspirations? When he had been called upon to speak—he the fearful human scantling, he the living specimen of the despotic whims under which, for six thousand years, mankind has groaned in agony—had he the right to refuse? Had he the right to withdraw his head from under the tongue of fire descending from on high to rest upon him?
Yet still—and here the objection came back with more strength—in this rush of good fortune that had taken hold of him, not everything had been unhealthy. Maybe there would have been selfishness in giving it up; perhaps he had done his duty in accepting it. Suddenly becoming a lord, what was he supposed to do? The complexity of events created confusion. This happened to him. Duty issued conflicting commands. Duty from every direction, multiple and contradictory—this was the confusion he experienced. It paralyzed him, especially since he hadn’t hesitated to travel from Corleone Lodge to the House of Lords. What we call rising in life is leaving the safety of the known for the dangers ahead. Which path is the right one? Who is our first responsibility to? Is it to those closest to us, or to all of humanity? Do we not stop being part of our small circle and become part of the greater family of everyone? As we rise, we feel the pressure on our virtues increase. The higher we go, the greater the strain. With more rights comes more responsibility. We confront many crossroads, perhaps illusionary paths, and we think we see our conscience pointing us towards each of them. Which one should we choose? Change our path, stay where we are, move forward, or retreat? What are we meant to do? It’s strange that there should be cross-roads in our conscience; yet responsibility can feel like a maze. And when a person embodies an idea, when he is the living representation of a fact—when he is a symbolic figure, along with being a flesh-and-blood human—isn't the responsibility even heavier? Hence the burdened compliance and the silent anxiety of Gwynplaine; hence his obedience when called to take his seat. A thoughtful person is often a passive one. He heard what he believed was the call of duty itself. Was that entrance into a space where oppression could be discussed and challenged not the fulfillment of one of his deepest dreams? When he was asked to speak—he, the timid human figure, he the living example of the despotic whims under which humanity has suffered for six thousand years—did he have the right to refuse? Did he have the right to pull his head away from the fiery tongue descending from above to rest upon him?
In the obscure and giddy debate of conscience, what had he said to himself? This: "The people are a silence. I will be the mighty advocate of that silence; I will speak for the dumb; I will speak of the little to the great—of the weak to the powerful. This is the purpose of my fate. God wills what He wills, and does it. It was a wonder that Hardquanonne's flask, in which was the metamorphosis of Gwynplaine into Lord Clancharlie, should have floated for fifteen years on the ocean, on the billows, in the surf, through the storms, and that all the raging of the sea did it no harm. But I can see the reason. There are destinies with secret springs. I have the key of mine, and know its enigma. I am predestined; I have a mission. I will be the poor man's lord; I will speak for the speechless with despair; I will translate inarticulate remonstrance; I will translate the mutterings, the groans, the murmurs, the voices of the crowd, their ill-spoken complaints, their unintelligible words, and those animal-like cries which ignorance and suffering put into men's mouths. The clamour of men is as inarticulate as the howling of the wind. They cry out, but they are understood; so that cries become equivalent to silence, and silence with them means throwing down their arms. This forced disarmament calls for help. I will be their help; I will be the Denunciation; I will be the Word of the people. Thanks to me, they shall be understood. I will be the bleeding mouth from which the gag has been torn. I will tell everything. This will be great indeed."
In the confusing and intense debate of conscience, what had he told himself? This: "The people are silent. I will be the strong voice for that silence; I will speak for the voiceless; I will bring the concerns of the small to the powerful—of the weak to the strong. This is the purpose of my destiny. God does what He wills. It’s amazing that Hardquanonne's flask, which carried the transformation of Gwynplaine into Lord Clancharlie, could have drifted for fifteen years on the ocean, through the waves, in the surf, and braved the storms without being harmed. But I understand why. Some destinies hold secret mechanisms. I have the key to mine and understand its puzzle. I am destined; I have a mission. I will be the lord of the poor; I will speak for the voiceless with urgency; I will give a voice to inarticulate protests; I will interpret the mumblings, the groans, the whispers, the voices of the crowd, their poorly expressed complaints, their unclear words, and those animal-like cries that ignorance and suffering force into people's mouths. The noise of people is as unclear as the howling wind. They cry out, but aren’t understood; thus, their cries amount to silence, and silence for them means surrendering. This enforced surrender asks for help. I will be their help; I will be the Denunciation; I will be the Voice of the people. Thanks to me, they will be heard. I will be the bleeding mouth from which the gag has been removed. I will reveal everything. This will be truly great."
Yes; it is fine to speak for the dumb, but to speak to the deaf is sad. And that was his second part in the drama.
Yes; it's good to speak for those who can't express themselves, but it's unfortunate to speak to those who can't hear. And that was his second part in the drama.
Alas! he had failed irremediably. The elevation in which he had believed, the high fortune, had melted away like a mirage. And what a fall! To be drowned in a surge of laughter!
Unfortunately, he had failed beyond repair. The rise he had believed in, the great fortune, had vanished like a mirage. And what a downfall! To be overwhelmed by a wave of laughter!
He had believed himself strong—he who, during so many years, had floated with observant mind on the wide sea of suffering; he who had brought back out of the great shadow so touching a cry. He had been flung against that huge rock the frivolity of the fortunate. He believed himself an avenger; he was but a clown. He thought that he wielded the thunderbolt; he did but tickle. In place of emotion, he met with mockery. He sobbed; they burst into gaiety, and under that gaiety he had sunk fatally submerged.
He had thought of himself as strong—he who, for so many years, had floated with a keen awareness on the vast sea of suffering; he who had brought back such a poignant cry from the depths of despair. He had been slammed against the big rock of the carefree fortunate. He believed he was an avenger; he was just a fool. He thought he wielded the power of thunder; he only managed to tease. Instead of feeling emotion, he was met with mockery. He cried; they erupted in laughter, and beneath that laughter, he had sunk hopelessly deep.
And what had they laughed at? At his laugh. So that trace of a hateful act, of which he must keep the mark for ever—mutilation carved in everlasting gaiety; the stigmata of laughter, image of the sham contentment of nations under their oppressors; that mask of joy produced by torture; that abyss of grimace which he carried on his features; the scar which signified Jussu regis, the attestation of a crime committed by the king towards him, and the symbol of crime committed by royalty towards the people;—that it was which had triumphed over him; that it was which had overwhelmed him; so that the accusation against the executioner turned into sentence upon the victim. What a prodigious denial of justice! Royalty, having had satisfaction of his father, had had satisfaction of him! The evil that had been done had served as pretext and as motive for the evil which remained to be done. Against whom were the lords angered? Against the torturer? No; against the tortured. Here is the throne; there, the people. Here, James II.; there, Gwynplaine. That confrontation, indeed, brought to light an outrage and a crime. What was the outrage? Complaint. What was the crime? Suffering. Let misery hide itself in silence, otherwise it becomes treason. And those men who had dragged Gwynplaine on the hurdle of sarcasm, were they wicked? No; but they, too, had their fatality—they were happy. They were executioners, ignorant of the fact. They were good-humoured; they saw no use in Gwynplaine. He opened himself to them. He tore out his heart to show them, and they cried, "Go on with your play!" But, sharpest sting! he had laughed himself. The frightful chain which tied down his soul hindered his thoughts from rising to his face. His disfigurement reached even his senses; and, while his conscience was indignant, his face gave it the lie, and jested. Then all was over. He was the laughing man, the caryatid of the weeping world. He was an agony petrified in hilarity, carrying the weight of a universe of calamity, and walled up for ever with the gaiety, the ridicule, and the amusement of others; of all the oppressed, of whom he was the incarnation, he partook the hateful fate, to be a desolation not believed in; they jeered at his distress; to them he was but an extraordinary buffoon lifted out of some frightful condensation of misery, escaped from his prison, changed to a deity, risen from the dregs of the people to the foot of the throne, mingling with the stars, and who, having once amused the damned, now amused the elect. All that was in him of generosity, of enthusiasm, of eloquence, of heart, of soul, of fury, of anger, of love, of inexpressible grief, ended in—a burst of laughter! And he proved, as he had told the lords, that this was not the exception; but that it was the normal, ordinary, universal, unlimited, sovereign fact, so amalgamated with the routine of life that they took no account of it. The hungry pauper laughs, the beggar laughs, the felon laughs, the prostitute laughs, the orphan laughs to gain his bread; the slave laughs, the soldier laughs, the people laugh. Society is so constituted that every perdition, every indigence, every catastrophe, every fever, every ulcer, every agony, is resolved on the surface of the abyss into one frightful grin of joy. Now he was that universal grin, and that grin was himself. The law of heaven, the unknown power which governs, had willed that a spectre visible and palpable, a spectre of flesh and bone, should be the synopsis of the monstrous parody which we call the world; and he was that spectre, immutable fate!
And what had they laughed at? At his laughter. So that trace of a hateful act, which he would bear forever—a mutilation etched in endless joy; the mark of laughter, reflecting the fake happiness of nations under their oppressors; that mask of joy crafted from suffering; that abyss of grimace he carried on his face; the scar that represented Jussu regis, a testament to a crime committed by the king against him, symbolizing the crime committed by royalty against the people; it was this that had triumphed over him; it was this that had overwhelmed him; so that the blame on the executioner became a sentence for the victim. What a tremendous denial of justice! Royalty, having taken satisfaction from his father, took satisfaction from him too! The evil done became the reason and motivation for the evil that still lingered. Who were the lords angry with? The torturer? No; the tortured. Here was the throne; there, the people. Here, James II.; there, Gwynplaine. That confrontation revealed an outrage and a crime. What was the outrage? A complaint. What was the crime? Suffering. Let misery stay silent; otherwise, it becomes treason. And those men who paraded Gwynplaine on the stage of sarcasm, were they evil? No; but they, too, had their tragic fate—they were happy. They were executioners, unaware of it. They were good-natured; they saw no purpose in Gwynplaine. He exposed himself to them. He laid bare his heart for them, and they shouted, "Continue your performance!" But—the sharpest sting!—he had laughed himself. The terrible chain binding his soul prevented his thoughts from reaching his face. His disfigurement affected even his senses; and while his conscience was outraged, his face contradicted it and joked. Then all was finished. He became the laughing man, the column supporting the weeping world. He was an agony frozen in laughter, carrying the weight of a universe of troubles, forever trapped within the joy, ridicule, and entertainment of others; of all the oppressed, of whom he was the embodiment, he shared the cruel fate of being a despair that went unrecognized; they mocked his suffering; to them he was merely an extraordinary clown drawn from some horrific mix of misery, breaking free from his prison, transformed into a deity, rising from the depths of the people to the foot of the throne, mingling with the stars, and who, after once amusing the damned, now entertained the chosen. All that was within him—generosity, enthusiasm, eloquence, heart, soul, fury, anger, love, inexpressible grief—culminated in a burst of laughter! And he demonstrated, as he had told the lords, that this was not an exception; but rather that it was the normal, ordinary, universal, unlimited, sovereign reality, so intertwined with daily life that they took no notice of it. The hungry pauper laughs, the beggar laughs, the criminal laughs, the prostitute laughs, the orphan laughs to earn his bread; the slave laughs, the soldier laughs, the people laugh. Society is structured so that every downfall, every poverty, every disaster, every fever, every sore, every agony, is resolved at the surface of the abyss into one horrifying grin of joy. Now he was that universal grin, and that grin was him. The law of heaven, the unknown force that governs, had decreed that a specter visible and tangible, a specter of flesh and bone, should be the embodiment of the monstrous parody we call the world; and he was that specter, unchangeable fate!
He had cried, "Pity for those who suffer." In vain! He had striven to awake pity; he had awakened horror. Such is the law of apparitions.
He had shouted, "Feel sorry for those who suffer." But it was useless! He had tried to inspire compassion; instead, he had stirred up terror. That's just how things work with ghosts.
But while he was a spectre, he was also a man; here was the heartrending complication. A spectre without, a man within. A man more than any other, perhaps, since his double fate was the synopsis of all humanity. And he felt that humanity was at once present in him and absent from him. There was in his existence something insurmountable. What was he? A disinherited heir? No; for he was a lord. Was he a lord? No; for he was a rebel. He was the light-bearer; a terrible spoil-sport. He was not Satan, certainly; but he was Lucifer. His entrance, with his torch in his hand, was sinister.
But while he was a ghost, he was also a man; this was the heartbreaking complication. A ghost on the outside, a man on the inside. A man more than any other, perhaps, since his dual fate represented all humanity. And he felt that humanity was both present in him and absent from him. There was something insurmountable in his existence. What was he? An outcast heir? No; because he was a lord. Was he a lord? No; because he was a rebel. He was the light-bringer; a terrible party pooper. He was not Satan, certainly; but he was Lucifer. His entrance, with a torch in his hand, was ominous.
Sinister for whom? for the sinister. Terrible to whom? to the terrible. Therefore they rejected him. Enter their order? be accepted by them? Never. The obstacle which he carried in his face was frightful; but the obstacle which he carried in his ideas was still more insurmountable. His speech was to them more deformed than his face. He had no possible thought in common with the world of the great and powerful, in which he had by a freak of fate been born, and from which another freak of fate had driven him out. There was between men and his face a mask, and between society and his mind a wall. In mixing, from infancy, a wandering mountebank, with that vast and tough substance which is called the crowd, in saturating himself with the attraction of the multitude, and impregnating himself with the great soul of mankind, he had lost, in the common sense of the whole of mankind, the particular sense of the reigning classes. On their heights he was impossible. He had reached them wet with water from the well of Truth; the odour of the abyss was on him. He was repugnant to those princes perfumed with lies. To those who live on fiction, truth is disgusting; and he who thirsts for flattery vomits the real, when he has happened to drink it by mistake. That which Gwynplaine brought was not fit for their table. For what was it? Reason, wisdom, justice; and they rejected them with disgust.
Sinister for whom? For the sinister. Terrible to whom? To the terrible. So they rejected him. Enter their circle? Be accepted by them? Never. The obstacle he bore on his face was terrifying; but the one he carried in his ideas was even more impossible to overcome. His speech seemed more deformed to them than his face. He had no common thoughts with the world of the wealthy and powerful, in which he had, by a twist of fate, been born and from which another twist of fate had driven him out. There was a mask between men and his face, and a wall between society and his mind. From childhood, he had mixed with a wandering performer and that vast, tough substance known as the crowd, immersing himself in the allure of the masses and absorbing the great spirit of humanity. In doing so, he lost, in the common understanding of all people, the particular understanding of the elite. In their lofty circles, he was unthinkable. He had reached them drenched with water from the well of Truth; the scent of the depths was on him. He was repugnant to those princes scented with lies. To those who thrive on fiction, truth is revolting; and anyone who craves flattery rejects reality if they happen to encounter it by mistake. What Gwynplaine offered was not suitable for their table. What was it? Reason, wisdom, justice; and they turned away from them in disgust.
There were bishops there. He brought God into their presence. Who was this intruder?
There were bishops present. He brought God into the room. Who was this outsider?
The two poles repel each other. They can never amalgamate, for transition is wanting. Hence the result—a cry of anger—when they were brought together in terrible juxtaposition: all misery concentrated in a man, face to face with all pride concentrated in a caste.
The two poles push each other away. They can never merge, because there’s no transition. This leads to the outcome—a shout of frustration—when they were forced together in a harsh contrast: all despair focused in one person, confronted by all the arrogance of a social class.
To accuse is useless. To state is sufficient. Gwynplaine, meditating on the limits of his destiny, proved the total uselessness of his effort. He proved the deafness of high places. The privileged have no hearing on the side next the disinherited. Is it their fault? Alas! no. It is their law. Forgive them! To be moved would be to abdicate. Of lords and princes expect nothing. He who is satisfied is inexorable. For those that have their fill the hungry do not exist. The happy ignore and isolate themselves. On the threshold of their paradise, as on the threshold of hell, must be written, "Leave all hope behind."
Accusing is pointless. Simply stating things is enough. Gwynplaine, reflecting on the limits of his fate, demonstrated how useless his efforts were. He showed how indifferent those in power can be. The privileged are deaf to the struggles of the underprivileged. Is that their fault? Sadly, no. It’s just how things are. Forgive them! To feel sympathy would mean giving up their position. Don’t expect anything from lords and princes. Those who are content are unyielding. For those who have plenty, the hungry don’t even exist. The happy turn a blind eye and isolate themselves. At the entrance to their paradise, just like at the entrance to hell, should be the words, "Leave all hope behind."
Gwynplaine had met with the reception of a spectre entering the dwelling of the gods.
Gwynplaine was received like a ghost walking into the home of the gods.
Here all that was within him rose in rebellion. No, he was no spectre; he was a man. He told them, he shouted to them, that he was Man.
Here, everything inside him rebelled. No, he wasn't a ghost; he was a man. He told them, he yelled at them, that he was a man.
He was not a phantom. He was palpitating flesh. He had a brain, and he thought; he had a heart, and he loved; he had a soul, and he hoped. Indeed, to have hoped overmuch was his whole crime.
He wasn't a ghost. He was real, living flesh. He had a brain, and he thought; he had a heart, and he loved; he had a soul, and he hoped. In fact, hoping too much was his only fault.
Alas! he had exaggerated hope into believing in that thing at once so brilliant and so dark which is called Society. He who was without had re-entered it. It had at once, and at first sight, made him its three offers, and given him its three gifts—marriage, family, and caste. Marriage? He had seen prostitution on the threshold. Family? His brother had struck him, and was awaiting him the next day, sword in hand. Caste? It had burst into laughter in his face, at him the patrician, at him the wretch. It had rejected, almost before it had admitted him. So that his first three steps into the dense shadow of society had opened three gulfs beneath him.
Sadly, he had let his exaggerated hope convince him of something both dazzling and dark called Society. He who once stood outside had stepped back into it. Immediately, and at first glance, it offered him three things and gave him three gifts—marriage, family, and caste. Marriage? He had seen prostitution right at the door. Family? His brother had attacked him and was waiting the next day, sword drawn. Caste? It laughed in his face, mocking him, the patrician, the miserable wretch. It had turned him away almost as quickly as it had let him in. So, his first three steps into the deep shadows of society had opened three chasms beneath him.
And it was by a treacherous transfiguration that his disaster had begun; and catastrophe had approached him with the aspect of apotheosis!
And it was through a deceitful transformation that his downfall had started; and disaster had come upon him disguised as a rise to greatness!
Ascend had signified Descend!
Ascend meant Descend!
His fate was the reverse of Job's. It was through prosperity that adversity had reached him.
His fate was the opposite of Job's. It was through success that hardship had come to him.
O tragical enigma of life! Behold what pitfalls! A child, he had wrestled against the night, and had been stronger than it; a man, he had wrestled against destiny, and had overcome it. Out of disfigurement he had created success; and out of misery, happiness. Of his exile he had made an asylum. A vagabond, he had wrestled against space; and, like the birds of the air, he had found his crumb of bread. Wild and solitary, he had wrestled against the crowd, and had made it his friend. An athlete, he had wrestled against that lion, the people; and he had tamed it. Indigent, he had wrestled against distress, he had faced the dull necessity of living, and from amalgamating with misery every joy of his heart, he had at length made riches out of poverty. He had believed himself the conqueror of life. Of a sudden he was attacked by fresh forces, reaching him from unknown depths; this time, with menaces no longer, but with smiles and caresses. Love, serpent-like and sensual, had appeared to him, who was filled with angelic love. The flesh had tempted him, who had lived on the ideal. He had heard words of voluptuousness like cries of rage; he had felt the clasp of a woman's arms, like the convolutions of a snake; to the illumination of truth had succeeded the fascination of falsehood; for it is not the flesh that is real, but the soul. The flesh is ashes, the soul is flame. For the little circle allied to him by the relationship of poverty and toil, which was his true and natural family, had been substituted the social family—his family in blood, but of tainted blood; and even before he had entered it, he found himself face to face with an intended fractricide. Alas! he had allowed himself to be thrown back into that society of which Brantôme, whom he had not read, wrote: "The son has a right to challenge his father!" A fatal fortune had cried to him, "Thou art not of the crowd; thou art of the chosen!" and had opened the ceiling above his head, like a trap in the sky, and had shot him up, through this opening, causing him to appear, wild, and unexpected, in the midst of princes and masters. Then suddenly he saw around him, instead of the people who applauded him, the lords who cursed him. Mournful metamorphosis! Ignominious ennobling! Rude spoliation of all that had been his happiness! Pillage of his life by derision! Gwynplaine, Clancharlie, the lord, the mountebank, torn out of his old lot, out of his new lot, by the beaks of those eagles!
Oh, the tragic mystery of life! Look at all the traps! As a child, he fought against the darkness and won; as a man, he battled fate and triumphed. From being scarred, he forged success; from his pain, he crafted happiness. He turned his exile into a refuge. As a wanderer, he struggled against the vastness and, like birds in the sky, found his piece of bread. Fierce and alone, he fought against the crowd and made it his ally. As an athlete, he wrestled with that lion, the people; and he tamed it. In poverty, he faced hardship and dealt with the harsh reality of life, and by merging with misery found joy and turned it into wealth. He thought he had conquered life. Suddenly, he was hit by new forces from unknown depths; this time, no threats, just smiles and affection. Love, sly and sensual, approached him, someone who was filled with pure love. The body tempted him, who had lived for ideals. He heard seductive words like shouts of anger; he felt a woman's embrace, like the coils of a snake; the clarity of truth was replaced by the allure of deception; for what is real is not the body, but the soul. The body is dust, the soul is fire. His true family, bound by poverty and hard work, was replaced by the social family—his blood family, but with tainted blood; and even before he stepped into it, he faced an intended fratricide. Alas! He let himself be thrown back into that society of which Brantôme, whom he had never read, wrote: "The son has a right to challenge his father!" A fatal fate called out to him, "You are not like the crowd; you are among the chosen!" and opened the ceiling above him like a trapdoor in the sky, launching him into the air and making him appear, wild and unexpected, among princes and masters. Suddenly, he found himself surrounded, not by the people who praised him, but by the lords who cursed him. A sorrowful transformation! A shameful nobility! A harsh stripping away of all that had brought him joy! His life robbed by mockery! Gwynplaine, Clancharlie, the lord, the clown, yanked from his old life and his new one by the claws of those eagles!
What availed it that he had commenced life by immediate victory over obstacle? Of what good had been his early triumphs? Alas! the fall must come, ere destiny be complete.
What was the point of starting his life with an immediate victory over challenges? What good were his early successes? Unfortunately, a fall must happen before destiny can be fulfilled.
So, half against his will, half of it—because after he had done with the wapentake he had to do with Barkilphedro, and he had given a certain amount of consent to his abductions—he had left the real for the chimerical; the true for the false; Dea for Josiana; love for pride; liberty for power; labour proud and poor for opulence full of unknown responsibilities; the shade in which is God for the lurid flames in which the devils dwell; Paradise for Olympus!
So, partly against his will and partly because once he was done with the wapentake, he had to deal with Barkilphedro, and he had given some consent to his actions—he had traded the real for the imaginary; the true for the false; Dea for Josiana; love for pride; freedom for power; humble labor for wealth full of unknown responsibilities; the shadow where God is for the bright flames where the devils dwell; Paradise for Olympus!
He had tasted the golden fruit. He was now spitting out the ashes to which it turned.
He had tasted the golden fruit. He was now spitting out the ashes it had turned into.
Lamentable result! Defeat, failure, fall into ruin, insolent expulsion of all his hopes, frustrated by ridicule. Immeasurable disillusion! And what was there for him in the future? If he looked forward to the morrow, what did he see? A drawn sword, the point of which was against his breast, and the hilt in the hand of his brother. He could see nothing but the hideous flash of that sword. Josiana and the House of Lords made up the background in a monstrous chiaroscuro full of tragic shadows.
What a sad outcome! Defeat, failure, a complete ruin of all his hopes, embarrassed by mockery. Endless disappointment! And what lay ahead for him? When he thought about tomorrow, what did he envision? A drawn sword, its tip aimed at his chest, with the hilt grasped by his brother. All he could see was the horrifying glint of that sword. Josiana and the House of Lords formed a backdrop in a grotesque blend of light and dark filled with tragic shadows.
And that brother seemed so brave and chivalrous! Alas! he had hardly seen the Tom-Jim-Jack who had defended Gwynplaine, the Lord David who had defended Lord Clancharlie; but he had had time to receive a blow from him and to love him.
And that brother seemed so brave and noble! Unfortunately, he had barely encountered the Tom-Jim-Jack who had defended Gwynplaine, the Lord David who had defended Lord Clancharlie; but he had already managed to take a blow from him and to love him.
He was crushed.
He was devastated.
He felt it impossible to proceed further. Everything had crumbled about him. Besides, what was the good of it? All weariness dwells in the depths of despair.
He felt it was impossible to continue. Everything had fallen apart around him. Besides, what was the point? All exhaustion resides in the depths of despair.
The trial had been made. It could not be renewed.
The trial had been completed. It couldn't be restarted.
Gwynplaine was like a gamester who has played all his trumps away, one after the other. He had allowed himself to be drawn to a fearful gambling-table, without thinking what he was about; for, so subtle is the poison of illusion, he had staked Dea against Josiana, and had gained a monster; he had staked Ursus against a family, and had gained an insult; he had played his mountebank platform against his seat in the Lords; for the applause which was his he had gained insult. His last card had fallen on that fatal green cloth, the deserted bowling-green. Gwynplaine had lost. Nothing remained but to pay. Pay up, wretched man!
Gwynplaine was like a gambler who has played all his cards, one after another. He let himself get caught up in a dangerous game, not realizing what he was doing; because the poison of illusion is so deceptive, he had wagered Dea for Josiana and ended up with a monster; he had staked Ursus against a family and received an insult in return; he had traded his platform as a performer for a seat in the House of Lords; for the applause that was rightfully his, he had instead received disrespect. His last chance had fallen on that fateful green surface, the empty bowling green. Gwynplaine had lost. There was nothing left to do but pay. Pay up, miserable man!
The thunder-stricken lie still. Gwynplaine remained motionless. Anybody perceiving him from afar, in the shadow, stiff, and without movement, might have fancied that he saw an upright stone.
The thunderstruck lay still. Gwynplaine stayed motionless. Anyone seeing him from a distance, in the shadow, rigid and unmoving, might have thought they were looking at an upright stone.
Hell, the serpent, and reverie are tortuous. Gwynplaine was descending the sepulchral spirals of the deepest thought.
Hell, the serpent, and daydreaming are twisted. Gwynplaine was going down the grave-like twists of deep contemplation.
He reflected on that world of which he had just caught a glimpse with the icy contemplation of a last look. Marriage, but no love; family, but no brotherly affection; riches, but no conscience; beauty, but no modesty; justice, but no equity; order, but no equilibrium; authority, but no right; power, but no intelligence; splendour, but no light. Inexorable balance-sheet! He went throughout the supreme vision in which his mind had been plunged. He examined successively destiny, situation, society, and himself. What was destiny? A snare. Situation? Despair. Society? Hatred. And himself? A defeated man. In the depths of his soul he cried. Society is the stepmother, Nature is the mother. Society is the world of the body, Nature is the world of the soul. The one tends to the coffin, to the deal box in the grave, to the earth-worms, and ends there. The other tends to expanded wings, to transformation into the morning light, to ascent into the firmament, and there revives into new life.
He thought about the world he had just glimpsed with a cold sense of finality. Marriage, but no love; family, but no brotherly affection; wealth, but no conscience; beauty, but no modesty; justice, but no fairness; order, but no balance; authority, but no right; power, but no intelligence; splendor, but no light. A relentless checklist! He went through the profound vision that had consumed his mind. He looked at destiny, situation, society, and himself. What was destiny? A trap. Situation? Despair. Society? Hatred. And himself? A defeated man. Deep down in his soul, he cried. Society is the stepmother, Nature is the mother. Society is the realm of the body, Nature is the realm of the soul. One leads to the coffin, the box in the grave, to the earthworms, and ends there. The other leads to expanded wings, to transformation into the morning light, to rising into the sky, and there comes back to life anew.
By degrees a paroxysm came over him, like a sweeping surge. At the close of events there is always a last flash, in which all stands revealed once more.
Bit by bit, an overwhelming wave hit him, like a powerful surge. At the end of events, there’s always one final moment when everything becomes clear again.
He who judges meets the accused face to face. Gwynplaine reviewed all that society and all that nature had done for him. How kind had nature been to him! How she, who is the soul, had succoured him! All had been taken from him, even his features. The soul had given him all back—all, even his features; because there was on earth a heavenly blind girl made expressly for him, who saw not his ugliness, and who saw his beauty.
He who judges faces the accused directly. Gwynplaine reflected on everything society and nature had done for him. How generous nature had been! How she, the essence of life, had helped him! He had lost everything, even his own appearance. The essence had restored everything to him—all of it, even his looks; because there was a lovely blind girl on earth made just for him, who didn’t see his disfigurement and who recognized his beauty.
And it was from this that he had allowed himself to be separated—from that adorable girl, from his own adopted one, from her tenderness, from her divine blind gaze, the only gaze on earth that saw him, that he had strayed! Dea was his sister, because he felt between them the grand fraternity of above—the mystery which contains the whole of heaven. Dea, when he was a little child, was his virgin; because every child has his virgin, and at the commencement of life a marriage of souls is always consummated in the plenitude of innocence. Dea was his wife, for theirs was the same nest on the highest branch of the deep-rooted tree of Hymen. Dea was still more—she was his light, for without her all was void, and nothingness; and for him her head was crowned with rays. What would become of him without Dea? What could he do with all that was himself? Nothing in him could live without her. How, then, could he have lost sight of her for a moment? O unfortunate man! He allowed distance to intervene between himself and his star and, by the unknown and terrible laws of gravitation in such things, distance is immediate loss.
And it was from this that he had let himself be separated—from that amazing girl, from his own adopted sister, from her warmth, from her beautiful blind gaze, the only gaze on earth that truly saw him, that he had lost his way! Dea was his sister because he felt a deep bond with her that transcended everything—the mystery that holds the entire universe. Dea, when he was just a little kid, was his innocence; every child has that innocent figure, and at the beginning of life, a union of souls is always formed in pure innocence. Dea was his partner, for they shared the same home in the highest branches of the strong tree of love. Dea was even more—she was his light, for without her, everything was empty and pointless; to him, her head was like a crown of light. What would happen to him without Dea? What could he do with everything that made him who he was? Nothing in him could survive without her. So, how could he have lost sight of her, even for a moment? Oh, unfortunate man! He let distance come between him and his guiding star, and according to the unknown and terrible laws of attraction in these situations, distance means immediate loss.
Where was she, the star? Dea! Dea! Dea! Dea! Alas! he had lost her light. Take away the star, and what is the sky? A black mass. But why, then, had all this befallen him? Oh, what happiness had been his! For him God had remade Eden. Too close was the resemblance, alas! even to allowing the serpent to enter; but this time it was the man who had been tempted. He had been drawn without, and then, by a frightful snare, had fallen into a chaos of murky laughter, which was hell. O grief! O grief! How frightful seemed all that had fascinated him! That Josiana, fearful creature!—half beast, half goddess! Gwynplaine was now on the reverse side of his elevation, and he saw the other aspect of that which had dazzled him. It was baleful. His peerage was deformed, his coronet was hideous; his purple robe, a funeral garment; those palaces, infected; those trophies, those statues, those armorial bearings, sinister; the unwholesome and treacherous air poisoned those who breathed it, and turned them mad. How brilliant the rags of the mountebank, Gwynplaine, appeared to him now! Alas! where was the Green Box, poverty, joy, the sweet wandering life—wandering together, like the swallows? They never left each other then; he saw her every minute, morning, evening. At table their knees, their elbows, touched; they drank from the same cup; the sun shone through the pane, but it was only the sun, and Dea was Love. At night they slept not far from each other; and the dream of Dea came and hovered over Gwynplaine, and the dream of Gwynplaine spread itself mysteriously above the head of Dea. When they awoke they could be never quite sure that they had not exchanged kisses in the azure mists of dreams. Dea was all innocence; Ursus, all wisdom. They wandered from town to town; and they had for provision and for stimulant the frank, loving gaiety of the people. They were angel vagabonds, with enough of humanity to walk the earth and not enough of wings to fly away; and now all had disappeared! Where was it gone? Was it possible that it was all effaced? What wind from the tomb had swept over them? All was eclipsed! All was lost! Alas! power, irresistible and deaf to appeal, which weighs down the poor, flings its shadow over all, and is capable of anything. What had been done to them? And he had not been there to protect them, to fling himself in front of them, to defend them, as a lord, with his title, his peerage, and his sword; as a mountebank, with his fists and his nails!
Where was she, the star? Dea! Dea! Dea! Dea! Alas! he had lost her light. Take away the star, and what is the sky? A black mass. But why had all this happened to him? Oh, what happiness had been his! For him, God had recreated Eden. The resemblance was so close, alas! even allowing the serpent to enter; but this time it was the man who had been tempted. He had been lured outside, and then, by a terrifying trap, had fallen into a chaotic sea of murky laughter, which was hell. O grief! O grief! How dreadful seemed all that had fascinated him! That Josiana, fearful creature!—half beast, half goddess! Gwynplaine was now on the other side of his rise, and he saw the different aspect of what had dazzled him. It was ominous. His nobility was twisted, his crown was ugly; his purple robe, a funeral garment; those palaces, tainted; those trophies, those statues, those crests, foreboding; the unhealthy and deceitful air poisoned those who breathed it and drove them mad. How brilliant the rags of the performer, Gwynplaine, appeared to him now! Alas! where was the Green Box, poverty, joy, the sweet wandering life—wandering together, like the swallows? They never left each other then; he saw her every minute, morning and evening. At the table, their knees and elbows touched; they drank from the same cup; the sun shone through the window, but it was only the sun, and Dea was Love. At night they slept not far from each other; and the dream of Dea came and hovered over Gwynplaine, and the dream of Gwynplaine spread itself mysteriously over the head of Dea. When they awoke, they could never be quite sure that they had not shared kisses in the blue mists of dreams. Dea was all innocence; Ursus, all wisdom. They wandered from town to town; and they had for food and encouragement the honest, loving joy of the people. They were angelic vagabonds, with just enough humanity to walk the earth and not enough wings to fly away; and now all had vanished! Where had it gone? Was it possible that it was all erased? What wind from the grave had blown over them? Everything was eclipsed! Everything was lost! Alas! power, irresistible and deaf to cries for help, which weighs down the poor, casts its shadow over everything, and is capable of anything. What had been done to them? And he had not been there to protect them, to throw himself in front of them, to defend them, as a lord, with his title, his nobility, and his sword; as a performer, with his fists and his nails!
And here arose a bitter reflection, perhaps the most bitter of all. Well, no; he could not have defended them. It was he himself who had destroyed them; it was to save him, Lord Clancharlie, from them; it was to isolate his dignity from contact with them, that the infamous omnipotence of society had crushed them. The best way in which he could protect them would be to disappear, and then the cause of their persecution would cease. He out of the way, they would be allowed to remain in peace. Into what icy channel was his thought beginning to run! Oh! why had he allowed himself to be separated from Dea? Was not his first duty towards her? To serve and to defend the people? But Dea was the people. Dea was an orphan. She was blind; she represented humanity. Oh! what had they done to them? Cruel smart of regret! His absence had left the field free for the catastrophe. He would have shared their fate; either they would have been taken and carried away with him, or he would have been swallowed up with them. And, now, what would become of him without them? Gwynplaine without Dea! Was it possible? Without Dea was to be without everything. It was all over now. The beloved group was for ever buried in irreparable disappearance. All was spent. Besides, condemned and damned as Gwynplaine was, what was the good of further struggle? He had nothing more to expect either of men or of heaven. Dea! Dea! Where is Dea? Lost! What? lost? He who has lost his soul can regain it but through one outlet—death.
And here came a bitter thought, maybe the most bitter of all. No, he couldn't have defended them. It was him who had destroyed them; it was to save him, Lord Clancharlie, from them; it was to keep his dignity separate from them that society’s cruel power had crushed them. The only way he could protect them was to disappear, and then the reason for their persecution would end. With him gone, they would be allowed to live in peace. Where was his mind going? Oh! why had he let himself be separated from Dea? Wasn't his first duty to her? To serve and defend the people? But Dea was the people. Dea was an orphan. She was blind; she represented humanity. Oh! what had they done to them? The painful sting of regret! His absence had opened the door to disaster. He would have shared their fate; either they would have been taken away with him, or he would have been lost alongside them. And now, what would happen to him without them? Gwynplaine without Dea! Was that even possible? Without Dea meant being without everything. It was all over now. The beloved group was forever buried in irretrievable loss. Everything was spent. Besides, condemned and doomed as Gwynplaine was, what good was it to keep struggling? He had no more hopes from people or from heaven. Dea! Dea! Where is Dea? Lost! What? lost? He who has lost his soul can find it only through one exit—death.
Gwynplaine, tragically distraught, placed his hand firmly on the parapet, as on a solution, and looked at the river.
Gwynplaine, heartbroken and deeply troubled, pressed his hand hard against the wall, as if it held the answer, and gazed at the river.
It was his third night without sleep. Fever had come over him. His thoughts, which he believed to be clear, were blurred. He felt an imperative need of sleep. He remained for a few instants leaning over the water. Its darkness offered him a bed of boundless tranquillity in the infinity of shadow. Sinister temptation!
It was his third night without sleep. A fever had taken over him. His thoughts, which he thought were clear, felt hazy. He had a strong urge to sleep. For a few moments, he leaned over the water. Its dark surface seemed to offer him a bed of endless calm in the endless shadows. Sinister temptation!
He took off his coat, which he folded and placed on the parapet; then he unbuttoned his waistcoat. As he was about to take it off, his hand struck against something in the pocket. It was the red book which had been given him by the librarian of the House of Lords: he drew it from the pocket, examined it in the vague light of the night, and found a pencil in it, with which he wrote on the first blank that he found these two lines,—
He took off his coat, folded it, and laid it on the wall; then he unbuttoned his vest. Just as he was about to take it off, his hand bumped into something in the pocket. It was the red book that the librarian of the House of Lords had given him: he pulled it out, looked it over in the dim light of the night, and found a pencil inside, with which he wrote the following two lines on the first blank page he could find,—
"I depart. Let my brother David take my place, and may he be happy!"
"I’m leaving. Let my brother David fill my role, and I hope he finds happiness!"
Then he signed, "Fermain Clancharlie, peer of England."
Then he signed, "Fermain Clancharlie, noble of England."
He took off his waistcoat and placed it upon the coat; then his hat, which he placed upon the waistcoat. In the hat he laid the red book open at the page on which he had written. Seeing a stone lying on the ground, he picked it up and placed it in the hat. Having done all this, he looked up into the deep shadow above him. Then his head sank slowly, as if drawn by an invisible thread towards the abyss.
He took off his vest and put it on the coat; then his hat, which he set on the vest. He laid the red book open at the page he had written on inside the hat. Spotting a stone on the ground, he picked it up and placed it in the hat. After doing all this, he looked up into the dark shadow above him. Then his head slowly sank, as if pulled by an invisible thread toward the abyss.
There was a hole in the masonry near the base of the parapet; he placed his foot in it, so that his knee stood higher than the top, and scarcely an effort was necessary to spring over it. He clasped his hands behind his back and leaned over. "So be it," said he.
There was a hole in the brickwork near the bottom of the wall; he put his foot in it, making his knee rise higher than the top, and hardly any effort was needed to jump over. He clasped his hands behind his back and leaned forward. "So be it," he said.
And he fixed his eyes on the deep waters. Just then he felt a tongue licking his hands.
And he focused on the deep water. Just then, he felt a tongue licking his hands.
He shuddered, and turned round.
He shivered and turned around.
Homo was behind him.
Homo was behind him.
CONCLUSION.
THE NIGHT AND THE SEA.
CHAPTER I.
A WATCH-DOG MAY BE A GUARDIAN ANGEL.
Gwynplaine uttered a cry.
Gwynplaine let out a scream.
"Is that you, wolf?"
"Is that you, wolf?"
Homo wagged his tail. His eyes sparkled in the darkness. He was looking earnestly at Gwynplaine.
Homo wagged his tail. His eyes sparkled in the dark. He was looking intently at Gwynplaine.
Then he began to lick his hands again. For a moment Gwynplaine was like a drunken man, so great is the shock of Hope's mighty return.
Then he started licking his hands again. For a moment, Gwynplaine was like a drunk person, so overwhelming was the shock of Hope's powerful return.
Homo! What an apparition! During the last forty-eight hours he had exhausted what might be termed every variety of the thunder-bolt. But one was left to strike him—the thunderbolt of joy. And it had just fallen upon him. Certainty, or at least the light which leads to it, regained; the sudden intervention of some mysterious clemency possessed, perhaps, by destiny; life saying, "Behold me!" in the darkest recess of the grave; the very moment in which all expectation has ceased bringing back health and deliverance; a place of safety discovered at the most critical instant in the midst of crumbling ruins—Homo was all this to Gwynplaine. The wolf appeared to him in a halo of light.
Homo! What a sight! In the past forty-eight hours, he had gone through every kind of shock possible. But one shock remained to hit him—the shock of joy. And it had just struck him. Certainty, or at least the light that leads to it, was back; the sudden arrival of some mysterious kindness, perhaps granted by fate; life saying, "Here I am!" in the darkest depths of despair; just when all hope seemed lost, health and salvation were returned; a safe haven discovered at the most critical moment amidst crumbling ruins—Homo meant all this to Gwynplaine. The wolf appeared to him surrounded by a glow of light.
Meanwhile, Homo had turned round. He advanced a few steps, and then looked back to see if Gwynplaine was following him.
Meanwhile, Homo turned around. He took a few steps forward, then glanced back to see if Gwynplaine was following him.
Gwynplaine was doing so. Homo wagged his tail, and went on.
Gwynplaine was doing that. Homo wagged his tail and continued on.
The road taken by the wolf was the slope of the quay of the Effroc-stone. This slope shelved down to the Thames; and Gwynplaine, guided by Homo, descended it.
The path chosen by the wolf was the incline of the Effroc-stone quay. This slope led down to the Thames, and Gwynplaine, guided by Homo, went down it.
Homo turned his head now and then, to make sure that Gwynplaine was behind him.
Homo turned his head occasionally to check that Gwynplaine was still behind him.
In some situations of supreme importance nothing approaches so near an omniscient intelligence as the simple instinct of a faithful animal. An animal is a lucid somnambulist.
In some situations of great importance, nothing comes as close to an all-knowing intelligence as the basic instinct of a loyal animal. An animal is a clear-minded sleepwalker.
There are cases in which the dog feels that he should follow his master; others, in which he should precede him. Then the animal takes the direction of sense. His imperturbable scent is a confused power of vision in what is twilight to us. He feels a vague obligation to become a guide. Does he know that there is a dangerous pass, and that he can help his master to surmount it? Probably not. Perhaps he does. In any case, some one knows it for him. As we have already said, it often happens in life that some mighty help which we have held to have come from below has, in reality, come from above. Who knows all the mysterious forms assumed by God?
There are times when a dog feels he should follow his owner, and other times when he should lead the way. The animal then relies on his sense of direction. His unwavering sense of smell offers a kind of vision in what is unclear to us. He feels a vague responsibility to act as a guide. Does he realize there’s a dangerous path ahead and that he can help his owner navigate it? Probably not. Maybe he does. In any case, someone knows it for him. As we’ve mentioned before, it often happens in life that some powerful help we think comes from below actually comes from above. Who can say all the mysterious ways God operates?
What was this animal? Providence.
What was this creature? Providence.
Having reached the river, the wolf led down the narrow tongue of land which bordered the Thames.
Having arrived at the river, the wolf walked along the narrow strip of land next to the Thames.
Without noise or bark he pushed forward on his silent way. Homo always followed his instinct and did his duty, but with the pensive reserve of an outlaw.
Without making a sound, he moved ahead on his quiet path. He always followed his instincts and fulfilled his responsibilities, but with the thoughtful detachment of an outlaw.
Some fifty paces more, and he stopped. A wooden platform appeared on the right. At the bottom of this platform, which was a kind of wharf on piles, a black mass could be made out, which was a tolerably large vessel. On the deck of the vessel, near the prow, was a glimmer, like the last flicker of a night-light.
Some fifty steps later, he stopped. A wooden platform showed up on the right. At the bottom of this platform, which was a kind of pier on stilts, a dark shape could be seen, which was a fairly large ship. On the deck of the ship, near the front, was a faint glow, like the last flicker of a tiny lamp.
The wolf, having finally assured himself that Gwynplaine was there, bounded on to the wharf. It was a long platform, floored and tarred, supported by a network of joists, and under which flowed the river. Homo and Gwynplaine shortly reached the brink.
The wolf, having finally made sure that Gwynplaine was present, jumped onto the wharf. It was a long platform that was boarded and tarred, held up by a network of beams, with the river flowing underneath. Homo and Gwynplaine soon arrived at the edge.
The ship moored to the wharf was a Dutch vessel, of the Japanese build, with two decks, fore and aft, and between them an open hold, reached by an upright ladder, in which the cargo was laden. There was thus a forecastle and an afterdeck, as in our old river boats, and a space between them ballasted by the freight. The paper boats made by children are of a somewhat similar shape. Under the decks were the cabins, the doors of which opened into the hold and were lighted by glazed portholes. In stowing the cargo a passage was left between the packages of which it consisted. These vessels had a mast on each deck. The foremast was called Paul, the mainmast Peter—the ship being sailed by these two masts, as the Church was guided by her two apostles. A gangway was thrown, like a Chinese bridge, from one deck to the other, over the centre of the hold. In bad weather, both flaps of the gangway were lowered, on the right and left, on hinges, thus making a roof over the hold; so that the ship, in heavy seas, was hermetically closed. These sloops, being of very massive construction, had a beam for a tiller, the strength of the rudder being necessarily proportioned to the height of the vessel. Three men, the skipper and two sailors, with a cabin-boy, sufficed to navigate these ponderous sea-going machines. The decks, fore and aft, were, as we have already said, without bulwarks. The great lumbering hull of this particular vessel was painted black, and on it, visible even in the night, stood out, in white letters, the words, Vograat, Rotterdam.
The ship tied up at the dock was a Dutch vessel, built in the Japanese style, featuring two decks with an open hold in the middle, accessed by a straight ladder where the cargo was stored. This design created a forecastle and an afterdeck, similar to our old riverboats, with a space between them filled with freight. The paper boats that kids make have a somewhat similar shape. Below the decks were the cabins, with doors that opened into the hold and were lit by glass portholes. When loading the cargo, a path was left open between the packages. These ships had a mast on each deck; the foremast was named Paul and the mainmast was Peter—sailing with these two masts, just as the Church was led by her two apostles. A gangway connected the two decks, resembling a Chinese bridge, spanning the center of the hold. In bad weather, both sides of the gangway could be lowered on hinges to create a roof over the hold, allowing the ship to be completely sealed during rough seas. These sloops were built very sturdily, with a beam as a tiller, and the strength of the rudder was proportional to the height of the vessel. Three crew members—a captain, two sailors, and a cabin boy—were enough to operate these heavy sea-going vessels. The decks, both fore and aft, had no guardrails. The bulky hull of this specific vessel was painted black, and on it, visible even at night, were the words, Vograat, Rotterdam, in white letters.
About that time many events had occurred at sea, and amongst others, the defeat of the Baron de Pointi's eight ships off Cape Carnero, which had driven the whole French fleet into refuge at Gibraltar; so that the Channel was swept of every man-of-war, and merchant vessels were able to sail backwards and forwards between London and Rotterdam, without a convoy.
Around that time, many things happened at sea, including the defeat of Baron de Pointi's eight ships off Cape Carnero, which forced the entire French fleet to seek shelter in Gibraltar. As a result, the Channel was clear of any warships, allowing merchant vessels to travel back and forth between London and Rotterdam without needing a convoy.
The vessel on which was to be read the word Vograat, and which Gwynplaine was now close to, lay with her main-deck almost level with the wharf. But one step to descend, and Homo in a bound, and Gwynplaine in a stride, were on board.
The ship that had the word Vograat written on it, which Gwynplaine was now near, was docked with its main deck nearly at the same level as the wharf. With just one step down, Homo jumped on board in a leap, and Gwynplaine followed with a stride.
The deck was clear, and no stir was perceptible. The passengers, if, as was likely, there were any, were already on board, the vessel being ready to sail, and the cargo stowed, as was apparent from the state of the hold, which was full of bales and cases. But they were, doubtless, lying asleep in the cabins below, as the passage was to take place during the night. In such cases the passengers do not appear on deck till they awake the following morning. As for the crew, they were probably having their supper in the men's cabin, whilst awaiting the hour fixed for sailing, which was now rapidly approaching. Hence the silence on the two decks connected by the gangway.
The deck was empty, and there was no sign of activity. The passengers, if there were any—likely, since the ship was ready to sail and the cargo was packed, as shown by the hold filled with bales and cases—were probably asleep in their cabins below, since the voyage was scheduled for the night. In such situations, passengers usually don’t come on deck until they wake up the next morning. As for the crew, they were probably having dinner in the men's cabin while waiting for the time to set sail, which was fast approaching. That explained the silence on the two decks connected by the gangway.
The wolf had almost run across the wharf; once on board, he slackened his pace into a discreet walk. He still wagged his tail—no longer joyfully, however, but with the sad and feeble wag of a dog troubled in his mind. Still preceding Gwynplaine, he passed along the after-deck, and across the gangway.
The wolf had nearly sprinted across the dock; once on the boat, he slowed down to a careful walk. He still wagged his tail—but not happily anymore, instead moving it sadly and weakly like a dog that’s worried. Still leading Gwynplaine, he moved along the back deck and across the walkway.
Gwynplaine, having reached the gangway, perceived a light in front of him. It was the same that he had seen from the shore. There was a lantern on the deck, close to the foremast, by the gleam of which was sketched in black, on the dim background of the night, what Gwynplaine recognized to be Ursus's old four-wheeled van.
Gwynplaine, having reached the gangway, saw a light ahead of him. It was the same one he had seen from the shore. There was a lantern on the deck, near the foremast, by the glow of which he could make out Ursus's old four-wheeled van against the dark background of the night.
This poor wooden tenement, cart and hut combined, in which his childhood had rolled along, was fastened to the bottom of the mast by thick ropes, of which the knots were visible at the wheels. Having been so long out of service, it had become dreadfully rickety; it leant over feebly on one side; it had become quite paralytic from disuse; and, moreover, it was suffering from that incurable malady—old age. Mouldy and out of shape, it tottered in decay. The materials of which it was built were all rotten. The iron was rusty, the leather torn, the wood-work worm-eaten. There were lines of cracks across the window in front, through which shone a ray from the lantern. The wheels were warped. The lining, the floor, and the axletrees seemed worn out with fatigue. Altogether, it presented an indescribable appearance of beggary and prostration. The shafts, stuck up, looked like two arms raised to heaven. The whole thing was in a state of dislocation. Beneath it was hanging Homo's chain.
This poor wooden shack, which combined a cart and a hut, where he had spent his childhood, was tied to the bottom of the mast by thick ropes, the knots visible at the wheels. Having been out of use for so long, it had become terribly rickety; it leaned weakly to one side; it was almost paralyzed from disuse; and, on top of that, it was suffering from that irreversible condition—old age. Moldy and disfigured, it wobbled in decay. The materials it was made from were all rotting. The iron was rusty, the leather was torn, and the wood was full of worms. There were cracks across the front window, through which a beam of light from the lantern shone. The wheels were warped. The interior lining, the floor, and the axles looked worn out with exhaustion. Overall, it had an indescribable air of poverty and despair. The shafts, raised upward, looked like two arms reaching for the sky. The whole thing was in disarray. Below hung Homo's chain.
Does it not seem that the law and the will of nature would have dictated Gwynplaine's headlong rush to throw himself upon life, happiness, love regained? So they would, except in some case of deep terror such as his. But he who comes forth, shattered in nerve and uncertain of his way, from a series of catastrophes, each one like a fresh betrayal, is prudent even in his joy; hesitates, lest he should bear the fatality of which he has been the victim to those whom he loves; feels that some evil contagion may still hang about him, and advances towards happiness with wary steps. The gates of Paradise reopen; but before he enters he examines his ground.
Doesn’t it seem like the law and the will of nature would have led Gwynplaine to throw himself into life, happiness, and love regained? They would, except in cases of deep terror like his. But someone who emerges, shaken and unsure of their path, from a series of disasters—each one feeling like a new betrayal—moves cautiously even in their joy; they hesitate, fearing that the misfortune they’ve endured might affect those they care about; they sense that some lingering negativity might still cling to them and approach happiness with careful steps. The gates of Paradise are reopening, but before entering, he checks his surroundings.
Gwynplaine, staggering under the weight of his emotion, looked around him, while the wolf went and lay down silently by his chain.
Gwynplaine, overwhelmed by his feelings, glanced around him as the wolf quietly lay down by his chain.
CHAPTER II.
BARKILPHEDRO, HAVING AIMED AT THE EAGLE, BRINGS DOWN THE DOVE.
The step of the little van was down—the door ajar—there was no one inside. The faint light which broke through the pane in front sketched the interior of the caravan vaguely in melancholy chiaroscuro. The inscriptions of Ursus, gloryifying the grandeur of Lords, showed distinctly on the worn-out boards, which were both the wall without and the wainscot within. On a nail, near the door, Gwynplaine saw his esclavine and his cape hung up, as they hang up the clothes of a corpse in a dead-house. Just then he had neither waistcoat nor coat on.
The little van’s step was down—the door was open—and there was no one inside. The faint light coming through the window faintly illuminated the interior of the caravan in a sad shadowy way. The writings of Ursus, glorifying the greatness of the Lords, stood out clearly on the worn boards, which served as both the outer wall and the inner paneling. On a nail near the door, Gwynplaine saw his vest and his cape hanging up, like clothes hung in a morgue. At that moment, he wasn’t wearing a waistcoat or a coat.
Behind the van something was laid out on the deck at the foot of the mast, which was lighted by the lantern. It was a mattress, of which he could make out one corner. On this mattress some one was probably lying, for he could see a shadow move.
Behind the van, something was spread out on the deck at the base of the mast, illuminated by the lantern. It was a mattress, and he could make out one corner of it. Someone was likely lying on the mattress, as he noticed a shadow moving.
Some one was speaking. Concealed by the van, Gwynplaine listened. It was Ursus's voice. That voice, so harsh in its upper, so tender in its lower, pitch; that voice, which had so often upbraided Gwynplaine, and which had taught him so well, had lost the life and clearness of its tone. It was vague and low, and melted into a sigh at the end of every sentence. It bore but a confused resemblance to his natural and firm voice of old. It was the voice of one in whom happiness is dead. A voice may become a ghost.
Someone was talking. Hidden by the van, Gwynplaine listened. It was Ursus's voice. That voice, so harsh in its high notes and so gentle in its lows; that voice that had often scolded Gwynplaine and had taught him so much, had lost its life and clarity. It was faint and soft, fading into a sigh at the end of every sentence. It barely resembled the strong, clear voice he used to have. It was the voice of someone in whom happiness had perished. A voice can become a specter.
He seemed to be engaged in monologue rather than in conversation. We are already aware, however, that soliloquy was a habit with him. It was for that reason that he passed for a madman.
He appeared to be talking to himself rather than actually having a conversation. However, we already know that talking to himself was something he frequently did. That’s why people considered him insane.
Gwynplaine held his breath, so as not to lose a word of what Ursus said, and this was what he heard.
Gwynplaine held his breath, trying not to miss a single word of what Ursus said, and this is what he heard.
"This is a very dangerous kind of craft, because there are no bulwarks to it. If we were to slip, there is nothing to prevent our going overboard. If we have bad weather, we shall have to take her below, and that will be dreadful. An awkward step, a fright, and we shall have a rupture of the aneurism. I have seen instances of it. O my God! what is to become of us? Is she asleep? Yes. She is asleep. Is she in a swoon? No. Her pulse is pretty strong. She is only asleep. Sleep is a reprieve. It is the happy blindness. What can I do to prevent people walking about here? Gentlemen, if there be anybody on deck, I beg of you to make no noise. Do not come near us, if you do not mind. You know a person in delicate health requires a little attention. She is feverish, you see. She is very young. 'Tis a little creature who is rather feverish. I put this mattress down here so that she may have a little air. I explain all this so that you should be careful. She fell down exhausted on the mattress as if she had fainted. But she is asleep. I do hope that no one will awake her. I address myself to the ladies, if there are any present. A young girl, it is pitiful! We are only poor mountebanks, but I beg a little kindness, and if there is anything to pay for not making a noise, I will pay it. I thank you, ladies and gentlemen. Is there any one there? No? I don't think there is. My talk is mere loss of breath. So much the better. Gentlemen, I thank you, if you are there; and I thank you still more if you are not. Her forehead is all in perspiration. Come, let us take our places in the galleys again. Put on the chain. Misery is come back. We are sinking again. A hand, the fearful hand which we cannot see, but the weight of which we feel ever upon us, has suddenly struck us back towards the dark point of our destiny. Be it so. We will bear up. Only I will not have her ill. I must seem a fool to talk aloud like this, when I am alone; but she must feel she has some one near her when she awakes. What shall I do if somebody awakes her suddenly! No noise, in the name of Heaven! A sudden shock which would awake her suddenly would be of no use. It will be a pity if anybody comes by. I believe that every one on board is asleep. Thanks be to Providence for that mercy. Well, and Homo? Where is he, I wonder? In all this confusion I forgot to tie him up. I do not know what I am doing. It is more than an hour since I have seen him. I suppose he has been to look for his supper somewhere ashore. I hope nothing has happened to him. Homo! Homo!"
"This is a really dangerous kind of craft because there are no railings on it. If we slip, there’s nothing to stop us from going overboard. If bad weather hits, we’ll have to take her below, and that will be awful. One wrong step, one scare, and we could have a rupture of the aneurysm. I’ve seen it happen. Oh my God! What’s going to happen to us? Is she asleep? Yes. She is asleep. Is she in a faint? No. Her pulse is pretty strong. She’s just asleep. Sleep is a break. It’s a blissful ignorance. What can I do to keep people from walking around here? Gentlemen, if anyone is on deck, please be quiet. Don’t come near us, if you don’t mind. You know someone in delicate health needs a little care. She’s feverish, as you can see. She’s very young. It’s a little girl who seems a bit feverish. I put this mattress down here so she could have a little air. I’m explaining all this so you’ll be careful. She collapsed on the mattress as if she had fainted. But she’s asleep. I really hope no one wakes her. I’m speaking to the ladies, if anyone is present. A young girl, it’s tragic! We’re just poor entertainers, but I ask for a little kindness, and if there's a fee for keeping quiet, I’ll pay it. Thank you, ladies and gentlemen. Is anyone there? No? I don’t think there is. My talking is just wasting my breath. So much the better. Gentlemen, thank you if you’re there; and thank you even more if you’re not. Her forehead is all sweaty. Come on, let’s go back to the galleys again. Put on the chain. Misery has returned. We’re sinking again. A hand, the dreadful hand that we can’t see, but the weight of which we constantly feel, has suddenly pushed us back toward the dark point of our fate. So be it. We will endure. I just don’t want her to be sick. I must seem foolish talking like this when I’m alone, but she needs to feel she has someone nearby when she wakes up. What will I do if someone wakes her up suddenly?! No noise, for Heaven’s sake! A sudden shock could wake her abruptly and wouldn’t help. It would be a shame if anyone comes by. I believe everyone on board is asleep. Thank God for that mercy. Now, where’s Homo? I wonder? In all this chaos, I forgot to tie him up. I don’t know what I’m doing. It’s been over an hour since I’ve seen him. I guess he went to look for dinner somewhere ashore. I hope nothing’s happened to him. Homo! Homo!"
Homo struck his tail softly on the planks of the deck.
Homo gently tapped his tail on the wooden deck.
"You are there. Oh! you are there! Thank God for that. If Homo had been lost, it would have been too much to bear. She has moved her arm. Perhaps she is going to awake. Quiet, Homo! The tide is turning. We shall sail directly. I think it will be a fine night. There is no wind: the flag droops. We shall have a good passage. I do not know what moon it is, but there is scarcely a stir in the clouds. There will be no swell. It will be a fine night. Her cheek is pale; it is only weakness! No, it is flushed; it is only the fever. Stay! It is rosy. She is well! I can no longer see clearly. My poor Homo, I no longer see distinctly. So we must begin life afresh. We must set to work again. There are only we two left, you see. We will work for her, both of us! She is our child, Ah! the vessel moves! We are off! Good-bye, London! Good evening! good-night! To the devil with horrible London!"
"You’re there! Oh! You’re really here! Thank God for that. If Homo had been lost, it would have been too much to handle. She’s moved her arm. Maybe she’s going to wake up. Quiet, Homo! The tide is turning. We’ll sail straight away. I think it’s going to be a nice night. There’s no wind; the flag hangs limp. We’ll have a smooth journey. I’m not sure what phase the moon is in, but the clouds aren’t stirring at all. There won’t be any swell. It’s going to be a nice night. Her cheek is pale; it’s just weakness! No, it’s flushed; it’s just the fever. Hold on! It’s rosy. She’s okay! I can’t see clearly anymore. My poor Homo, I can’t see distinctly. So we have to start life over. We need to get to work again. It’s just the two of us left, you see. We’ll work for her, both of us! She’s our child. Ah! the vessel is moving! We’re off! Goodbye, London! Good evening! Goodnight! To hell with horrible London!"
He was right. He heard the dull sound of the unmooring as the vessel fell away from the wharf. Abaft on the poop a man, the skipper, no doubt, just come from below, was standing. He had slipped the hawser and was working the tiller. Looking only to the rudder, as befitted the combined phlegm of a Dutchman and a sailor, listening to nothing but the wind and the water, bending against the resistance of the tiller, as he worked it to port or starboard, he looked in the gloom of the after-deck like a phantom bearing a beam upon its shoulder. He was alone there. So long as they were in the river the other sailors were not required. In a few minutes the vessel was in the centre of the current, with which she drifted without rolling or pitching. The Thames, little disturbed by the ebb, was calm. Carried onwards by the tide, the vessel made rapid way. Behind her the black scenery of London was fading in the mist.
He was right. He heard the dull sound of the mooring lines being released as the boat pulled away from the dock. At the back of the ship, a man—probably the captain—had just come up from below deck. He had untied the rope and was controlling the steering. Focused solely on the rudder, typical of a Dutchman and a sailor, he listened to nothing but the wind and the water. He struggled against the resistance of the tiller as he steered it left or right, looking like a ghost carrying a beam on its shoulder in the dim light of the back deck. He was alone there. Until they left the river, the other sailors weren’t needed. In just a few minutes, the boat was in the middle of the current, drifting smoothly without rolling or pitching. The Thames, barely affected by the outgoing tide, was calm. Driven by the tide, the boat moved quickly forward. Behind her, the dark skyline of London was disappearing into the mist.
Ursus went on talking.
Ursus kept talking.
"Never mind, I will give her digitalis. I am afraid that delirium will supervene. She perspires in the palms of her hands. What sin can we have committed in the sight of God? How quickly has all this misery come upon us! Hideous rapidity of evil! A stone falls. It has claws. It is the hawk swooping on the lark. It is destiny. There you lie, my sweet child! One comes to London. One says: What a fine city! What fine buildings! Southwark is a magnificent suburb. One settles there. But now they are horrid places. What would you have me do there? I am going to leave. This is the 30th of April. I always distrusted the month of April. There are but two lucky days in April, the 5th and the 27th; and four unlucky ones—the 10th, the 20th, the 29th, and the 30th. This has been placed beyond doubt by the calculations of Cardan. I wish this day were over. Departure is a comfort. At dawn we shall be at Gravesend, and to-morrow evening at Rotterdam. Zounds! I will begin life again in the van. We will draw it, won't we, Homo?"
"Never mind, I’ll give her digitalis. I’m worried that delirium will set in. She’s sweating in her palms. What sin could we have committed in front of God? How quickly has all this misery come upon us! The rapid spread of evil is horrifying! A stone falls. It has claws. It’s like a hawk diving for a lark. It’s fate. There you lie, my sweet child! You come to London. You say: What a beautiful city! What amazing buildings! Southwark is a lovely neighborhood. You settle there. But now it’s a terrible place. What do you want me to do about it? I’m planning to leave. This is April 30th. I’ve always been suspicious of April. There are only two lucky days in April, the 5th and the 27th; and four unlucky ones—the 10th, the 20th, the 29th, and the 30th. Cardan’s calculations have proven this beyond doubt. I wish this day would just end. Leaving is a relief. At dawn, we’ll be at Gravesend, and tomorrow evening in Rotterdam. Wow! I’m going to start my life over again at the front. We’ll move it, right, Homo?"
A light tapping announced the wolf's consent.
A gentle tap signaled the wolf's agreement.
Ursus continued,—
Ursus kept going,—
"If one could only get out of a grief as one gets out of a city! Homo, we must yet be happy. Alas! there must always be the one who is no more. A shadow remains on those who survive. You know whom I mean, Homo. We were four, and now we are but three. Life is but a long loss of those whom we love. They leave behind them a train of sorrows. Destiny amazes us by a prolixity of unbearable suffering; who then can wonder that the old are garrulous? It is despair that makes the dotard, old fellow! Homo, the wind continues favourable. We can no longer see the dome of St. Paul's. We shall pass Greenwich presently. That will be six good miles over. Oh! I turn my back for ever on those odious capitals, full of priests, of magistrates, and of people. I prefer looking at the leaves rustling in the woods. Her forehead is still in perspiration. I don't like those great violet veins in her arm. There is fever in them. Oh! all this is killing me. Sleep, my child. Yes; she sleeps."
"If only we could escape our grief the way we leave a city! Hey, we have to find happiness. Unfortunately, there will always be someone who's gone. A shadow lingers over those left behind. You know who I mean, right? We were four, and now we're just three. Life is a long series of losing those we love. They leave behind a trail of sadness. Fate overwhelms us with endless suffering; is it any surprise that the elderly ramble on? It's despair that makes the old chatter, my friend! The wind is still in our favor. We can’t see the dome of St. Paul’s anymore. We’ll pass Greenwich soon. That’s six miles down. Oh! I’m turning my back forever on those awful cities, filled with priests, judges, and people. I’d rather watch the leaves rustle in the woods. Her forehead is still sweaty. I don’t like those big purple veins in her arm. There’s fever in them. Oh! all of this is killing me. Sleep, my child. Yes; she’s sleeping."
Here a voice spoke: an ineffable voice, which seemed from afar, and appeared to come at once from the heights and the depths—a voice divinely fearful, the voice of Dea.
Here a voice spoke: an ineffable voice, which seemed distant and came both from the heights and the depths—a voice divinely terrifying, the voice of Dea.
All that Gwynplaine had hitherto felt seemed nothing. His angel spoke. It seemed as though he heard words spoken from another world in a heaven-like trance.
All that Gwynplaine had felt up until now seemed insignificant. His angel spoke. It was as if he heard words coming from another world in a divine trance.
The voice said,—
The voice said—
"He did well to go. This world was not worthy of him. Only I must go with him. Father! I am not ill; I heard you speak just now. I am very well, quite well. I was asleep. Father, I am going to be happy."
"He made the right choice to leave. This world doesn't deserve him. I just have to go with him. Dad! I'm not sick; I heard you talking just now. I'm totally fine, really. I was asleep. Dad, I'm going to be happy."
"My child," said Ursus in a voice of anguish, "what do you mean by that?"
"My child," Ursus said with a pained voice, "what do you mean by that?"
The answer was,—
The answer was—
"Father, do not be unhappy."
"Dad, don't be sad."
There was a pause, as if to take breath, and then these few words, pronounced slowly, reached Gwynplaine.
There was a pause, as if to catch a breath, and then these few words, spoken slowly, reached Gwynplaine.
"Gwynplaine is no longer here. It is now that I am blind. I knew not what night was. Night is absence."
"Gwynplaine isn't here anymore. It's now that I'm blind. I didn't understand what night was. Night is emptiness."
The voice stopped once more, and then continued,—
The voice paused again, and then resumed,—
"I always feared that he would fly away. I felt that he belonged to heaven. He has taken flight suddenly. It was natural that it should end thus. The soul flies away like a bird. But the nest of the soul is in the height, where dwells the Great Loadstone, who draws all towards Him. I know where to find Gwynplaine. I have no doubt about the way. Father, it is yonder. Later on, you will rejoin us, and Homo, too."
"I always worried that he would leave. I felt like he belonged to the heavens. He took off unexpectedly. It was only right for it to end this way. The soul soars like a bird. But the home of the soul is up high, where the Great Loadstone resides, drawing everything towards Him. I know where to find Gwynplaine. I'm sure about the path. Father, it's over there. Later, you'll join us, and so will Homo."
Homo, hearing his name pronounced, wagged his tail softly against the deck.
Homo, hearing his name called, wagged his tail gently against the deck.
"Father!" resumed the voice, "you understand that once Gwynplaine is no longer here, all is over. Even if I would remain, I could not, because one must breathe. We must not ask for that which is impossible. I was with Gwynplaine. It was quite natural, I lived. Now Gwynplaine is no more, I die. The two things are alike: either he must come or I must go. Since he cannot come back, I am going to him. It is good to die. It is not at all difficult. Father, that which is extinguished here shall be rekindled elsewhere. It is a heartache to live in this world. It cannot be that we shall always be unhappy. When we go to what you call the stars, we shall marry, we shall never part again, and we shall love, love, love; and that is what is God."
"Father!" the voice continued, "you know that once Gwynplaine is gone, everything is finished. Even if I wanted to stay, I couldn't, because we need to breathe. We shouldn't ask for the impossible. I was with Gwynplaine. It was just natural; I was alive. Now that Gwynplaine is gone, I feel like I'm dying. The two situations are the same: either he must return or I have to leave. Since he can't come back, I'm going to him. Dying is a relief. It’s not hard at all. Father, what fades here will be lit again somewhere else. Living in this world is painful. We can't always be unhappy. When we go to what you call the stars, we'll be together, never to part again, and we will love, love, love; and that is what God means."
"There, there, do not agitate yourself," said Ursus.
"There, there, don’t upset yourself," said Ursus.
The voice continued,—
The voice kept going,—
"Well, for instance; last year. In the spring of last year we were together, and we were happy. How different it is now! I forget what little village we were in, but there were trees, and I heard the linnets singing. We came to London; all was changed. This is no reproach, mind. When one comes to a fresh place, how is one to know anything about it? Father, do you remember that one day there was a woman in the great box; you said: 'It is a duchess.' I felt sad. I think it might have been better had we kept to the little towns. Gwynplaine has done right, withal. Now my turn has come. Besides, you have told me yourself, that when I was very little, my mother died, and that I was lying on the ground with the snow falling upon me, and that he, who was also very little then, and alone, like myself, picked me up, and that it was thus that I came to be alive; so you cannot wonder that now I should feel it absolutely necessary to go and search the grave to see if Gwynplaine be in it. Because the only thing which exists in life is the heart; and after life, the soul. You take notice of what I say, father, do you not? What is moving? It seems as if we are in something that is moving, yet I do not hear the sound of the wheels."
"Well, for example, last year. In the spring of last year, we were together, and we were happy. How different it is now! I forget which little village we were in, but there were trees, and I could hear the linnets singing. We came to London; everything changed. This isn't a complaint, just so you know. When you arrive somewhere new, how can you know anything about it? Dad, do you remember that one day there was a woman in the big box? You said, 'It's a duchess.' I felt sad. I think it might have been better if we had stayed in the small towns. Gwynplaine has done the right thing, anyway. Now it’s my turn. Besides, you’ve told me yourself that when I was very little, my mother died, and that I was lying on the ground with the snow falling on me, and that he, who was also very small then and alone, like me, picked me up, and that’s how I came to be alive. So you can’t be surprised that I feel it’s absolutely necessary to go and search the grave to see if Gwynplaine is in it. Because the only thing that truly exists in life is the heart; and after life, the soul. You’re paying attention to what I’m saying, right, Dad? What’s moving? It feels like we’re in something that’s moving, yet I don’t hear the sound of the wheels."
After a pause the voice added,—
After a moment, the voice added,—
"I cannot exactly make out the difference between yesterday and to-day. I do not complain. I do not know what has occurred, but something must have happened."
"I can't really tell the difference between yesterday and today. I'm not complaining. I don't know what happened, but something must have changed."
These words, uttered with deep and inconsolable sweetness, and with a sigh which Gwynplaine heard, wound up thus,—
These words, spoken with profound and unending sweetness, and with a sigh that Gwynplaine heard, ended like this,—
"I must go, unless he should return."
"I have to go, unless he comes back."
Ursus muttered gloomily: "I do not believe in ghosts."
Ursus said darkly, "I don't believe in ghosts."
He went on,—
He went on—
"This is a ship. You ask why the house moves; it is because we are on board a vessel. Be calm; you must not talk so much. Daughter, if you have any love for me, do not agitate yourself, it will make you feverish. I am so old, I could not bear it if you were to have an illness. Spare me! do not be ill!"
"This is a ship. You wonder why the house is moving; it’s because we’re on a vessel. Stay calm; you shouldn’t talk so much. Daughter, if you care for me at all, don’t work yourself up; it will only make you sick. I’m so old, I couldn’t handle it if you got sick. Please! Don’t be ill!"
Again the voice spoke,—
Again the voice spoke, —
"What is the use of searching the earth, when we can only find in heaven?"
"What’s the point of searching the earth when we can only find what we’re looking for in heaven?"
Ursus replied, with a half attempt at authority,—
Ursus responded, trying to sound somewhat authoritative,—
"Be calm. There are times when you have no sense at all. I order you to rest. After all, you cannot be expected to know what it is to rupture a blood-vessel. I should be easy if you were easy. My child, do something for me as well. If he picked you up, I took you in. You will make me ill. That is wrong. You must calm yourself, and go to sleep. All will come right. I give you my word of honour, all will come right. Besides, it is very fine weather. The night might have been made on purpose. To-morrow we shall be at Rotterdam, which is a city in Holland, at the mouth of the Meuse."
"Stay calm. There are moments when you seem completely out of it. I need you to relax. After all, you can’t really understand what it feels like to have a blood vessel burst. I’d feel better if you were feeling better. My dear, do something for me too. If he lifted you up, I brought you in. You’re making me anxious. That’s not fair. You have to calm down and get some sleep. Everything will be okay. I promise you, everything will be okay. Plus, the weather is really nice. It’s as if the night was made just for this. Tomorrow we’ll be in Rotterdam, which is a city in Holland, at the mouth of the Meuse."
"Father," said the voice, "look here; when two beings have always been together from infancy, their state should not be disturbed, or death must come, and it cannot be otherwise. I love you all the same, but I feel that I am no longer altogether with you, although I am as yet not altogether with him."
"Father," said the voice, "listen; when two people have been together since childhood, their situation shouldn't be changed, or death will follow, and there's no other way. I still love you, but I sense that I'm no longer completely with you, even though I'm not fully with him either."
"Come! try to sleep," repeated Ursus.
"Come on! Try to get some sleep," Ursus repeated.
The voice answered,—
The voice responded,—
"I shall have sleep enough soon."
"I'll catch enough sleep soon."
Ursus replied, in trembling tones,—
Ursus replied, trembling,—
"I tell you that we are going to Holland, to Rotterdam, which is a city."
"I’m telling you that we’re going to Holland, to Rotterdam, which is a city."
"Father," continued the voice, "I am not ill; if you are anxious about that, you may rest easy. I have no fever. I am rather hot; it is nothing more."
"Father," the voice went on, "I'm not sick; if that's what you’re worried about, you can relax. I don't have a fever. I'm a bit warm, that's all."
Ursus stammered out,—
Ursus stuttered out,—
"At the mouth of the Meuse—"
At the mouth of the Meuse—
"I am quite well, father; but look here! I feel that I am going to die!"
"I’m doing pretty well, Dad; but listen! I have a feeling that I’m going to die!"
"Do nothing so foolish," said Ursus. And he added, "Above all, God forbid she should have a shock!"
"Don't do anything so stupid," said Ursus. He added, "Above all, let's hope she doesn't have a shock!"
There was a silence. Suddenly Ursus cried out,—
There was silence. Suddenly, Ursus shouted,—
"What are you doing? Why are you getting up? Lie down again, I implore of you."
"What are you doing? Why are you getting up? Please lie down again."
Gwynplaine shivered, and stretched out his head.
Gwynplaine shivered and leaned out his head.
CHAPTER III.
PARADISE REGAINED BELOW.
He saw Dea. She had just raised herself up on the mattress. She had on a long white dress, carefully closed, and showing only the delicate form of her neck. The sleeves covered her arms; the folds, her feet. The branch-like tracery of blue veins, hot and swollen with fever, were visible on her hands. She was shivering and rocking, rather than reeling, to and fro, like a reed. The lantern threw up its glancing light on her beautiful face. Her loosened hair floated over her shoulders. No tears fell on her cheeks. In her eyes there was fire, and darkness. She was pale, with that paleness which is like the transparency of a divine life in an earthly face. Her fragile and exquisite form was, as it were, blended and interfused with the folds of her robe. She wavered like the flicker of a flame, while, at the same time, she was dwindling into shadow. Her eyes, opened wide, were resplendent. She was as one just freed from the sepulchre; a soul standing in the dawn.
He saw Dea. She had just lifted herself up on the mattress. She wore a long white dress, carefully fastened, showing only the delicate shape of her neck. The sleeves covered her arms; the fabric draped over her feet. The branch-like pattern of blue veins, hot and swollen with fever, was visible on her hands. She was shivering and rocking, more like a reed than anything else. The lantern cast a flickering light on her beautiful face. Her loose hair flowed over her shoulders. No tears fell on her cheeks. In her eyes, there was fire and darkness. She was pale, with a paleness resembling the transparency of a divine life in a human face. Her delicate and exquisite form seemed to blend with the folds of her robe. She swayed like the flicker of a flame, while also fading into shadow. Her eyes, wide open, shone brightly. She looked like someone just freed from a tomb; a soul standing in the dawn.
Ursus, whose back only was visible to Gwynplaine, raised his arms in terror. "O my child! O heavens! she is delirious. Delirium is what I feared worst of all. She must have no shock, for that might kill her; yet nothing but a shock can prevent her going mad. Dead or mad! what a situation. O God! what can I do? My child, lie down again."
Ursus, whose back was the only part visible to Gwynplaine, lifted his arms in fear. "Oh my child! Oh heavens! She’s out of her mind. Delirium is what I feared the most. She must not experience any shock, because that could kill her; yet only a shock can stop her from going crazy. Dead or insane! What a predicament. Oh God! What can I do? My child, please lie down again."
Meanwhile, Dea spoke. Her voice was almost indistinct, as if a cloud already interposed between her and earth.
Meanwhile, Dea spoke. Her voice was nearly inaudible, as if a cloud had already settled between her and the ground.
"Father, you are wrong. I am not in the least delirious. I hear all you say to me, distinctly. You tell me that there is a great crowd of people, that they are waiting, and that I must play to-night. I am quite willing. You see that I have my reason; but I do not know what to do, since I am dead, and Gwynplaine is dead. I am coming all the same. I am ready to play. Here I am; but Gwynplaine is no longer here."
"Father, you’re mistaken. I’m not at all delirious. I hear everything you say clearly. You tell me there’s a big crowd of people waiting for me, and that I have to perform tonight. I’m completely willing. You see, I have my reasons; but I don’t know what to do, since I’m dead, and Gwynplaine is dead. Still, I’m coming. I’m ready to perform. Here I am, but Gwynplaine isn’t here anymore."
"Come, my child," said Ursus, "do as I bid you. Lie down again."
"Come here, kid," said Ursus, "just do what I say. Lie back down."
"He is no longer here, no longer here. Oh! how dark it is!"
"He isn't here anymore, not here anymore. Oh! how dark it is!"
"Dark!" muttered Ursus. "This is the first time she has ever uttered that word!"
"Dark!" muttered Ursus. "This is the first time she's ever said that!"
Gwynplaine, with as little noise as he could help making as he crept, mounted the step of the caravan, entered it, took from the nail the cape and the esclavine, put the esclavine round his neck, and redescended from the van, still concealed by the projection of the cabin, the rigging, and the mast.
Gwynplaine, trying to make as little noise as possible, climbed the steps of the caravan, went inside, grabbed the cape and the esclavine from the hook, put the esclavine around his neck, and climbed back down from the van, still hidden by the overhang of the cabin, the rigging, and the mast.
Dea continued murmuring. She moved her lips, and by degrees the murmur became a melody. In broken pauses, and with the interrupted cadences of delirium, her voice broke into the mysterious appeal she had so often addressed to Gwynplaine in Chaos Vanquished. She sang, and her voice was low and uncertain as the murmur of the bee,—
Dea kept mumbling. She moved her lips, and gradually the murmurs turned into a melody. In halting breaks, and with the shaky rhythms of delirium, her voice transformed into the mysterious plea she had so frequently directed at Gwynplaine in Chaos Vanquished. She sang, and her voice was soft and unsure, like the buzz of a bee,—
"Noche, quita te de allí.
"Noche, get out of there."
El alba canta...."[23]
The dawn sings...."[__A_TAG_PLACEHOLDER_0__]
She stopped. "No, it is not true. I am not dead. What was I saying? Alas! I am alive. I am alive. He is dead. I am below. He is above. He is gone. I remain. I shall hear his voice no more, nor his footstep. God, who had given us a little Paradise on earth, has taken it away. Gwynplaine, it is over. I shall never feel you near me again. Never! And his voice! I shall never hear his voice again. And she sang:—
She stopped. "No, that's not true. I'm not dead. What was I saying? Oh! I am alive. I am alive. He is dead. I'm down here. He's up there. He’s gone. I'm still here. I won’t hear his voice anymore, or his footsteps. God, who gave us a little paradise on earth, has taken it away. Gwynplaine, it’s over. I will never feel you close to me again. Never! And his voice! I will never hear his voice again." And she sang:—
"Es menester a cielos ir—
"Must go to heaven—
Deja, quiero,
Deja, quiero.
A tu negro
A black cat
Caparazon."
Caparazón.
"We must go to heaven.
"We need to go to heaven."
Take off, I entreat thee,
Please take off, I beg you,
Thy black cloak."
Your black cloak.
She stretched out her hand, as if she sought something in space on which she might rest.
She reached out her hand, as if she was looking for something in the air to hold onto.
Gwynplaine, rising by the side of Ursus, who had suddenly become as though petrified, knelt down before her.
Gwynplaine, standing next to Ursus, who had suddenly gone still as if turned to stone, knelt down in front of her.
"Never," said Dea, "never shall I hear him again."
"Never," Dea said, "I will never hear him again."
She began, wandering, to sing again:—
She started to wander and sing again:—
"Deja, quiero,
"Now, I want,"
A tu negro
A black cat
Caparazon."
Caparazón.
Then she heard a voice—even the beloved voice—answering:—
Then she heard a voice—even the one she loved—answering:—
"O ven! ama!
"O dude! love!
Eres alma,
You are soul,
Soy corazon."
I'm heart.
"O come and love
"Come and love"
Thou art the soul,
You are the soul,
I am the heart."
I'm the heart.
And at the same instant Dea felt under her hand the head of Gwynplaine. She uttered an indescribable cry.
And at that very moment, Dea felt Gwynplaine's head beneath her hand. She let out an unexplainable cry.
"Gwynplaine!"
"Gwynplaine!"
A light, as of a star, shone over her pale face, and she tottered. Gwynplaine received her in his arms.
A light, like that of a star, shone on her pale face, and she stumbled. Gwynplaine caught her in his arms.
"Alive!" cried Ursus.
"Alive!" shouted Ursus.
Dea repeated "Gwynplaine;" and with her head bowed against Gwynplaine's cheek, she whispered faintly,—
Dea repeated "Gwynplaine," and with her head resting against Gwynplaine's cheek, she whispered softly,—
"You have come down to me again. I thank you, Gwynplaine."
"You've come back to me again. Thank you, Gwynplaine."
And seated on his knee, she lifted up her head. Wrapt in his embrace, she turned her sweet face towards him, and fixed on him those eyes so full of light and shadow, as though she could see him.
And sitting on his lap, she raised her head. Wrapped in his arms, she turned her lovely face towards him and fixed her gaze on him with eyes full of light and shadow, as if she could truly see him.
"It is you," she said.
"It's you," she said.
Gwynplaine covered her sobs with kisses. There are words which are at once words, cries, and sobs, in which all ecstasy and all grief are mingled and burst forth together. They have no meaning, and yet tell all.
Gwynplaine hushed her sobs with kisses. Some words are both words and sounds of sorrow, where every joy and every sadness blend and come out together. They lack meaning, yet they express everything.
"Yes, it is! It is I, Gwynplaine, of whom you are the soul. Do you hear me? I, of whom you are the child, the wife, the star, the breath of life; I, to whom you are eternity. It is I. I am here. I hold you in my arms. I am alive. I am yours. Oh, when I think that in a moment all would have been over—one minute more, but for Homo! I will tell you everything. How near is despair to joy! Dea, we live! Dea, forgive me. Yes—yours for ever. You are right. Touch my forehead. Make sure that it is I. If you only knew—but nothing can separate us now. I rise out of hell, and ascend into heaven. Am I not with you? You said that I descended. Not so; I reascend. Once more with you! For ever! I tell you for ever! Together! We are together! Who would have believed it? We have found each other again. All our troubles are past. Before us now there is nothing but enchantment. We will renew our happy life, and we will shut the door so fast that misfortune shall never enter again. I will tell you all. You will be astonished. The vessel has sailed. No one can prevent that now. We are on our voyage, and at liberty. We are going to Holland. We will marry. I have no fear about gaining a livelihood. What can hinder it? There is nothing to fear. I adore you!"
"Yes, it is! It’s me, Gwynplaine, who is your soul. Do you hear me? I, who you see as your child, your partner, your star, your breath of life; I, to whom you are everything. It’s me. I’m here. I hold you in my arms. I’m alive. I’m yours. Oh, when I think that in a moment it could all have been over—just one more minute, if not for Homo! I will tell you everything. How close despair is to joy! Dea, we’re alive! Dea, forgive me. Yes—yours forever. You’re right. Touch my forehead. Make sure it’s me. If you only knew—but nothing can separate us now. I rise from hell and ascend into heaven. Am I not with you? You said that I fell. Not true; I rise again. Once more with you! Forever! I tell you, forever! Together! We are together! Who would have believed it? We’ve found each other again. All our troubles are behind us. Now, before us, there’s nothing but magic. We will renew our happy life, and we will close the door so quickly that misfortune will never get in again. I will tell you everything. You’ll be amazed. The ship has sailed. No one can stop that now. We are on our way, and we’re free. We’re going to Holland. We will marry. I’m not worried about making a living. What could stop us? There’s nothing to fear. I adore you!"
"Not so quick!" stammered Ursus.
"Not so fast!" stammered Ursus.
Dea, trembling, and with the rapture of an angelic touch, passed her hand over Gwynplaine's profile. He overheard her say to herself, "It is thus that gods are made."
Dea, trembling and filled with the joy of an angelic touch, ran her hand over Gwynplaine's profile. He heard her whisper to herself, "This is how gods are created."
Then she touched his clothes.
Then she touched his clothes.
"The esclavine," she said, "the cape. Nothing changed; all as it was before."
"The esclavine," she said, "the cape. Nothing has changed; it's all the same as it was before."
Ursus, stupefied, delighted, smiling, drowned in tears, looked at them, and addressed an aside to himself.
Ursus, amazed, thrilled, smiling, overwhelmed with tears, looked at them and quietly spoke to himself.
"I don't understand it in the least. I am a stupid idiot—I, who saw him carried to the grave! I cry and I laugh. That is all I know. I am as great a fool as if I were in love myself. But that is just what I am. I am in love with them both. Old fool! Too much emotion—too much emotion. It is what I was afraid of. No; it is that I wished for. Gwynplaine, be careful of her. Yes, let them kiss; it is no affair of mine. I am but a spectator. What I feel is droll. I am the parasite of their happiness, and I am nourished by it."
"I don't get it at all. I'm such a fool—I, who saw him laid to rest! I cry and I laugh. That's all I know. I'm as big a fool as if I were in love myself. But that's exactly what I am. I'm in love with both of them. Old fool! Too much emotion—too much emotion. That's what I was afraid of. No; it's what I wanted. Gwynplaine, take care of her. Yes, let them kiss; it's none of my business. I'm just a spectator. What I feel is silly. I'm the parasite of their happiness, and I thrive on it."
Whilst Ursus was talking to himself, Gwynplaine exclaimed,—
While Ursus was talking to himself, Gwynplaine exclaimed,—
"Dea, you are too beautiful! I don't know where my wits were gone these last few days. Truly, there is but you on earth. I see you again, but as yet I can hardly believe it. In this ship! But tell me, how did it all happen? To what a state have they reduced you! But where is the Green Box? They have robbed you. They have driven you away. It is infamous. Oh, I will avenge you—I will avenge you, Dea! They shall answer for it. I am a peer of England."
"Dea, you’re so beautiful! I don’t know what was wrong with me these past few days. Honestly, you're the only one like you on this planet. I see you again, but I can barely believe it. On this ship! But please, tell me what happened. Look at what they’ve done to you! But where is the Green Box? They’ve taken it from you. They’ve pushed you away. It’s outrageous. Oh, I will make them pay—I will make them pay, Dea! They will have to answer for this. I’m a peer of England."
Ursus, as if stricken by a planet full in his breast, drew back, and looked at Gwynplaine attentively.
Ursus, as if hit by a powerful emotion, stepped back and stared intently at Gwynplaine.
"It is clear that he is not dead; but can he have gone mad?" and he listened to him doubtfully.
"It’s obvious he’s not dead, but could he have lost his mind?" he thought, listening to him with uncertainty.
Gwynplaine resumed.
Gwynplaine continued.
"Be easy, Dea; I will carry my complaint to the House of Lords."
"Take it easy, Dea; I’ll take my issue to the House of Lords."
Ursus looked at him again, and struck his forehead with the tip of his forefinger. Then making up his mind,—
Ursus looked at him again and tapped his forehead with the tip of his finger. Then, he made up his mind,—
"It is all one to me," he said. "It will be all right, all the same. Be as mad as you like, my Gwynplaine. It is one of the rights of man. As for me, I am happy. But how came all this about?"
"It’s all the same to me," he said. "It’ll be fine, no matter what. Go ahead and be as mad as you want, my Gwynplaine. It’s one of the rights of being human. As for me, I’m happy. But how did all this happen?"
The vessel continued to sail smoothly and fast. The night grew darker and darker. The mists, which came inland from the ocean, were invading the zenith, from which no wind blew them away. Only a few large stars were visible, and they disappeared one after another, so that soon there were none at all, and the whole sky was dark, infinite, and soft. The river broadened until the banks on each side were nothing but two thin brown lines mingling with the gloom. Out of all this shadow rose a profound peace. Gwynplaine, half seated, held Dea in his embrace. They spoke, they cried, they babbled, they murmured in a mad dialogue of joy! How are we to paint thee, O joy!
The boat kept sailing smoothly and quickly. The night got darker and darker. The mist rolling in from the ocean filled the sky, with no wind to push it away. Only a few bright stars were visible, and they vanished one by one until there were none left, leaving the entire sky dark, vast, and soft. The river widened until the banks on either side turned into two thin brown lines blending into the darkness. Out of all that shadow, a deep peace emerged. Gwynplaine, half-seated, held Dea close. They talked, laughed, chatted, and whispered in a wild dialogue of joy! How can we capture you, O joy!
"My life!"
"My life!"
"My heaven!"
"My goodness!"
"My love!"
"My love!"
"My whole happiness!"
"My entire happiness!"
"Gwynplaine!"
"Gwynplaine!"
"Dea, I am drunk. Let me kiss your feet."
"Dea, I'm drunk. Let me kiss your feet."
"Is it you, then, for certain?"
"Is it really you?"
"I have so much to say to you now that I do not know where to begin."
"I have a lot to tell you, and I don’t even know where to start."
"One kiss!"
"Just one kiss!"
"O my wife!"
"Oh my wife!"
"Gwynplaine, do not tell me that I am beautiful. It is you who are handsome."
"Gwynplaine, don't tell me I'm beautiful. You're the one who's handsome."
"I have found you again. I hold you to my heart. This is true. You are mine. I do not dream. Is it possible? Yes, it is. I recover possession of life. If you only knew! I have met with all sorts of adventures. Dea!"
"I've found you again. I hold you close to my heart. This is true. You are mine. I'm not dreaming. Is it possible? Yes, it is. I’m reclaiming my life. If only you knew! I've had all kinds of adventures. Dea!"
"Gwynplaine, I love you!"
"Gwynplaine, I love you!"
And Ursus murmured,—
And Ursus whispered,—
"Mine is the joy of a grandfather."
"Mine is the joy of a grandparent."
Homo, having come from under the van, was going from one to the other discreetly, exacting no attention, licking them left and right—now Ursus's thick shoes, now Gwynplaine's cape, now Dea's dress, now the mattress. This was his way of giving his blessing.
Homo, having emerged from under the van, was moving quietly from one person to another, drawing no attention to himself, licking them left and right—now Ursus's chunky shoes, now Gwynplaine's cape, now Dea's dress, now the mattress. This was his way of showing his approval.
They had passed Chatham and the mouth of the Medway. They were approaching the sea. The shadowy serenity of the atmosphere was such that the passage down the Thames was being made without trouble: no manoeuvre was needful, nor was any sailor called on deck. At the other end of the vessel the skipper, still alone, was steering. There was only this man aft. At the bow the lantern lighted up the happy group of beings who, from the depths of misery, had suddenly been raised to happiness by a meeting so unhoped for.
They had gone past Chatham and the mouth of the Medway. They were getting close to the sea. The calm and peaceful atmosphere made the journey down the Thames go smoothly: no maneuvering was necessary, and no sailor was asked to come on deck. At the back of the ship, the captain, still alone, was at the helm. There was only him at the stern. Up front, the lantern illuminated the joyful group of people who, after being in such despair, had suddenly been lifted to happiness by an unexpected reunion.
CHAPTER IV.
NAY; ON HIGH!
Suddenly Dea, disengaging herself from Gwynplaine's embrace, arose. She pressed both her hands against her heart, as if to still its throbbings.
Suddenly, Dea pulled away from Gwynplaine's embrace and stood up. She pressed both hands against her heart, as if trying to calm its beating.
"What is wrong with me?" said she. "There is something the matter. Joy is suffocating. No, it is nothing! That is lucky. Your reappearance, O my Gwynplaine, has given me a blow—a blow of happiness. All this heaven of joy which you have put into my heart has intoxicated me. You being absent, I felt myself dying. The true life which was leaving me you have brought back. I felt as if something was being torn away within me. It is the shadows that have been torn away, and I feel life dawn in my brain—a glowing life, a life of fever and delight. This life which you have just given me is wonderful. It is so heavenly that it makes me suffer somewhat. It seems as though my soul is enlarged, and can scarcely be contained in my body. This life of seraphim, this plenitude, flows into my brain and penetrates it. I feel like a beating of wings within my breast. I feel strangely, but happy. Gwynplaine, you have been my resurrection."
"What’s wrong with me?" she said. "Something doesn’t feel right. Joy is overwhelming. No, it’s nothing! Actually, that’s a relief. Your return, oh my Gwynplaine, has hit me—a hit of happiness. All this joy you’ve poured into my heart has made me dizzy. When you were gone, I felt like I was dying. The real life that was fading away, you brought back. It felt like something was being torn out of me. It’s the darkness that’s been ripped away, and I feel life awakening in my mind—a vibrant life, a life full of excitement and joy. The life you just gave me is amazing. It’s so beautiful that it causes me a bit of pain. It’s like my soul has expanded and can hardly fit in my body. This life of angels, this fullness, flows into my mind and fills it. I feel like there are wings beating inside my chest. I feel different, but happy. Gwynplaine, you’ve been my revival."
She flushed, became pale, then flushed again, and fell.
She blushed, turned pale, then blushed again, and collapsed.
"Alas!" said Ursus, "you have killed her."
"Wow!" said Ursus, "you killed her."
Gwynplaine stretched his arms towards Dea. Extremity of anguish coming upon extremity of ecstasy, what a shock! He would himself have fallen, had he not had to support her.
Gwynplaine reached out his arms toward Dea. The intensity of his pain clashing with the height of his joy was overwhelming! He would have collapsed himself if he hadn’t been there to hold her up.
"Dea!" he cried, shuddering, "what is the matter?"
"Dea!" he shouted, trembling, "what's wrong?"
"Nothing," said she—"I love you!"
"Nothing," she said—"I love you!"
She lay in his arms, lifeless, like a piece of linen; her hands were hanging down helplessly.
She lay in his arms, lifeless, like a piece of fabric; her hands were hanging down helplessly.
Gwynplaine and Ursus placed Dea on the mattress. She said, feebly,—
Gwynplaine and Ursus set Dea down on the mattress. She said weakly,—
"I cannot breathe lying down."
"I can't breathe lying down."
They lifted her up.
They picked her up.
Ursus said,—
Ursus said—
"Fetch a pillow."
"Get a pillow."
She replied,—
She responded,—
"What for? I have Gwynplaine!"
"Why? I have Gwynplaine!"
She laid her head on Gwynplaine's shoulder, who was sitting behind, and supporting her, his eyes wild with grief.
She rested her head on Gwynplaine's shoulder, who was sitting behind her and holding her up, his eyes filled with anguish.
"Oh," said she, "how happy I am!"
"Oh," she said, "how happy I am!"
Ursus took her wrist, and counted the pulsation of the artery. He did not shake his head. He said nothing, nor expressed his thought except by the rapid movement of his eyelids, which were opening and closing convulsively, as if to prevent a flood of tears from bursting out.
Ursus grabbed her wrist and felt the pulse in her artery. He didn’t shake his head. He said nothing and kept his thoughts to himself, only showing his emotions through the quick movement of his eyelids, which opened and closed abruptly, as if he were trying to hold back tears.
"What is the matter?" asked Gwynplaine.
"What's wrong?" Gwynplaine asked.
Ursus placed his ear against Dea's left side.
Ursus put his ear against Dea's left side.
Gwynplaine repeated his question eagerly, fearful of the answer.
Gwynplaine asked his question again, anxiously hoping for a different answer.
Ursus looked at Gwynplaine, then at Dea. He was livid. He said,—
Ursus looked at Gwynplaine, then at Dea. He was furious. He said,—
"We ought to be parallel with Canterbury. The distance from here to Gravesend cannot be very great. We shall have fine weather all night. We need fear no attack at sea, because the fleets are all on the coast of Spain. We shall have a good passage."
"We should be on the same level as Canterbury. The distance from here to Gravesend can't be that far. We'll have nice weather all night. We don't need to worry about any attacks at sea, since all the fleets are off the coast of Spain. We'll have a smooth journey."
Dea, bent, and growing paler and paler, clutched her robe convulsively. She heaved a sigh of inexpressible sadness, and murmured,—
Dea, bent over and getting weaker and weaker, clutched her robe tightly. She let out a sigh full of deep sadness and whispered,—
"I know what this is. I am dying!"
"I know what this is. I'm dying!"
Gwynplaine rose in terror. Ursus held Dea.
Gwynplaine stood up in fear. Ursus was holding Dea.
"Die! You die! No; it shall not be! You cannot die! Die now! Die at once! It is impossible! God is not ferociously cruel—to give you and to take you back in the same moment. No; such a thing cannot be. It would make one doubt in Him. Then, indeed, would everything be a snare—the earth, the sky, the cradles of infants, the human heart, love, the stars. God would be a traitor and man a dupe. There would be nothing in which to believe. It would be an insult to the creation. Everything would be an abyss. You know not what you say, Dea. You shall live! I command you to live! You must obey me! I am your husband and your master; I forbid you to leave me! O heavens! O wretched Man! No, it cannot be—I to remain in the world after you! Why, it is as monstrous as that there should be no sun! Dea! Dea! recover! It is but a moment of passing pain. One feels a shudder at times, and thinks no more about it. It is absolutely necessary that you should get well and cease to suffer. You die! What have I done to you? The very thought of it drives me mad. We belong to each other, and we love each other. You have no reason for going! It would be unjust! Have I committed crimes? Besides, you have forgiven me. Oh, you would not make me desperate—have me become a villain, a madman, drive me to perdition? Dea, I entreat you! I conjure you! I supplicate you! Do not die!"
"Die! You can’t die! No; it can't be! You cannot die! Die now! Die at once! It’s impossible! God isn’t cruel enough to give you life only to take it back in an instant. No; that simply can’t happen. It would make one doubt Him. Then everything would become a trap—the earth, the sky, the cradles of infants, the human heart, love, the stars. God would be a traitor, and man a fool. There would be nothing to believe in. It would be an insult to all of creation. Everything would be a void. You don't know what you're saying, Dea. You will live! I command you to live! You must obey me! I am your husband and your master; I forbid you to leave me! Oh heavens! Oh wretched man! No, it can't be—I remain in this world after you! Why, it’s as monstrous as there being no sun! Dea! Dea! recover! It’s just a moment of passing pain. Sometimes you feel a shudder and then it’s over. You absolutely must get better and stop suffering. You die! What have I done to you? The very thought drives me crazy. We belong to each other, and we love each other. You have no reason to go! It would be unfair! Have I done something wrong? Plus, you’ve forgiven me. Oh, you wouldn’t make me desperate—turn me into a villain, a madman, push me to ruin? Dea, I beg you! I plead with you! I implore you! Do not die!"
And clenching his hands in his hair, agonized with fear, stifled with tears, he threw himself at her feet.
And gripping his hair in despair, overwhelmed with fear and tears, he fell to her feet.
"My Gwynplaine," said Dea, "it is no fault of mine."
"My Gwynplaine," Dea said, "it's not my fault."
There then rose to her lips a red froth, which Ursus wiped away with the fold of her robe, before Gwynplaine, who was prostrate at her feet, could see it.
There then rose to her lips a red froth, which Ursus wiped away with the fold of her robe, before Gwynplaine, who was lying at her feet, could see it.
Gwynplaine took her feet in his hands, and implored her in all kinds of confused words.
Gwynplaine held her feet in his hands and begged her with a flurry of tangled words.
"I tell you, I will not have it! You die? I have no strength left to bear it. Die? Yes; but both of us together—not otherwise. You die, my Dea? I will never consent to it! My divinity, my love! Do you understand that I am with you? I swear that you shall live! Oh, but you cannot have thought what would become of me after you were gone. If you had an idea of the necessity which you are to me, you would see that it is absolutely impossible! Dea! you see I have but you! The most extraordinary things have happened to me. You will hardly believe that I have just explored the whole of life in a few hours! I have found out one thing—that there is nothing in it! You exist! if you did not, the universe would have no meaning. Stay with me! Have pity on me! Since you love me, live on! If I have just found you again, it is to keep you. Wait a little longer; you cannot leave me like this, now that we have been together but a few minutes! Do not be impatient! O Heaven, how I suffer! You are not angry with me, are you? You know that I could not help going when the wapentake came for me. You will breathe more easily presently, you will see. Dea, all has been put right. We are going to be happy. Do not drive me to despair, Dea! I have done nothing to you."
"I’m telling you, I won’t accept it! You’re going to die? I can’t handle that. Die? Yes; but only if we die together—not any other way. You’re going to die, my goddess? I will never agree to that! My divine one, my love! Do you realize that I’m here with you? I swear you will live! Oh, but you can’t have thought about what would happen to me after you’re gone. If you understood how essential you are to me, you would see it’s completely impossible! Goddess! You see, I have only you! Incredible things have happened to me. You won’t believe that I’ve just experienced the entirety of life in just a few hours! I’ve discovered one thing—that there’s nothing in it! You exist! If you didn’t, the universe wouldn’t mean anything. Stay with me! Have mercy on me! Since you love me, keep living! If I’ve just found you again, it's to hold on to you. Wait a little longer; you can’t leave me like this, now that we’ve only been together for a few minutes! Don’t rush! Oh Heaven, how I’m suffering! You’re not mad at me, are you? You know I couldn’t help it when the officials came for me. You will feel better soon, you'll see. Goddess, everything has been set right. We're going to be happy. Don’t push me to despair, goddess! I haven’t done anything to you."
These words were not spoken, but sobbed out. They rose from his breast—now in a lament which might have attracted the dove, now in a roar which might have made lions recoil.
These words weren't spoken; they were sobbed out. They came from his chest—sometimes in a mournful lament that could attract a dove, other times in a roar that could make lions back away.
Dea answered him in a voice growing weaker and weaker, and pausing at nearly every word.
Dea replied to him in a voice that was getting weaker and weaker, pausing after almost every word.
"Alas! it is of no use, my beloved. I see that you are doing all you can. An hour ago I wanted to die; now I do not. Gwynplaine—my adored Gwynplaine—how happy we have been! God placed you in my life, and He takes me out of yours. You see, I am going. You will remember the Green Box, won't you, and poor blind little Dea? You will remember my song? Do not forget the sound of my voice, and the way in which I said, 'I love you!' I will come back and tell it to you again, in the night while you are asleep. Yes, we found each other again; but it was too much joy. It was to end at once. It is decreed that I am to go first. I love my father, Ursus, and my brother, Homo, very dearly. You are all so good. There is no air here. Open the window. My Gwynplaine, I did not tell you, but I was jealous of a woman who came one day. You do not even know of whom I speak. Is it not so? Cover my arms; I am rather cold. And Fibi and Vinos, where are they? One comes to love everybody. One feels a friendship for all those who have been mixed up in one's happiness. We have a kindly feeling towards them for having been present in our joys. Why has it all passed away? I have not clearly understood what has happened during the last two days. Now I am dying. Leave me in my dress. When I put it on I foresaw that it would be my shroud. I wish to keep it on. Gwynplaine's kisses are upon it. Oh, what would I not have given to have lived on! What a happy life we led in our poor caravan! How we sang! How I listened to the applause! What joy it was never to be separated from each other! It seemed to me that I was living in a cloud with you; I knew one day from another, although I was blind. I knew that it was morning, because I heard Gwynplaine; I felt that it was night, because I dreamed of Gwynplaine. I felt that I was wrapped up in something which was his soul. We adored each other so sweetly. It is all fading away; and there will be no more songs. Alas that I cannot live on! You will think of me, my beloved!"
"Unfortunately, it's no use, my love. I see that you're doing everything you can. An hour ago, I wanted to die; now I don’t. Gwynplaine—my beloved Gwynplaine—how happy we’ve been! God brought you into my life, and now He’s taking me out of yours. You see, I’m leaving. You’ll remember the Green Box, won’t you, and poor blind little Dea? You’ll remember my song? Don’t forget the sound of my voice and the way I said, 'I love you!' I’ll come back and tell it to you again in the night while you’re sleeping. Yes, we found each other again, but it was too much happiness. It was meant to end so suddenly. It’s decided that I go first. I love my father, Ursus, and my brother, Homo, very much. You’re all so kind. There’s no air here. Open the window. My Gwynplaine, I didn’t tell you, but I was jealous of a woman who came one day. You don’t even know who I’m talking about, do you? Cover my arms; I’m feeling a bit cold. And Fibi and Vinos, where are they? You start to love everyone. You feel a bond with all those who have been a part of your happiness. We feel grateful to them for sharing in our joy. Why has it all gone away? I haven’t really understood what’s happened in the last two days. Now I’m dying. Leave me in my dress. When I put it on, I had a feeling it would be my shroud. I want to keep it on. Gwynplaine's kisses are on it. Oh, what I wouldn’t have given to keep living! What a happy life we had in our little caravan! How we sang! How I cherished the applause! What joy it was never to be apart from each other! It felt like I was living in a dream with you; I could tell one day from the next, even though I was blind. I knew it was morning because I heard Gwynplaine; I felt it was night because I dreamed of Gwynplaine. I felt wrapped up in something that was his soul. We loved each other so sweetly. It’s all fading away; there will be no more songs. Oh, how I wish I could live on! You will think of me, my love!"
Her voice was growing fainter. The ominous waning, which was death, was stealing away her breath. She folded her thumbs within her fingers—a sign that her last moments were approaching. It seemed as though the first uncertain words of an angel just created were blended with the last failing accents of the dying girl.
Her voice was getting quieter. The dark fading, which was death, was taking her breath away. She tucked her thumbs into her fingers—a sign that her final moments were near. It felt like the first hesitant words of a newly created angel were mixing with the last weak sounds of the dying girl.
She murmured,—
She whispered,—
"You will think of me, won't you? It would be very sad to be dead, and to be remembered by no one. I have been wayward at times; I beg pardon of you all. I am sure that, if God had so willed it, we might yet have been happy, my Gwynplaine; for we take up but very little room, and we might have earned our bread together in another land. But God has willed it otherwise. I cannot make out in the least why I am dying. I never complained of being blind, so that I cannot have offended any one. I should never have asked for anything, but always to be blind as I was, by your side. Oh, how sad it is to have to part!"
"You'll think of me, right? It’d be pretty sad to die and not be remembered by anyone. I’ve been a bit lost at times; I apologize to all of you. I’m sure that if God had planned it differently, we could have been happy, my Gwynplaine; we don’t take up much space, and we could have made a living together in another place. But God has chosen a different path. I can’t figure out at all why I’m dying. I never complained about being blind, so I can’t have upset anyone. I wouldn’t have asked for anything, except to stay blind as I was, by your side. Oh, how sad it is to have to say goodbye!"
Her words were more and more inarticulate, evaporating into each other, as if they were being blown away. She had become almost inaudible.
Her words became more and more jumbled, blending into each other as if they were being blown away. She had become nearly impossible to hear.
"Gwynplaine," she resumed, "you will think of me, won't you? I shall crave it when I am dead."
"Gwynplaine," she continued, "you will think of me, right? I'll want it even when I'm gone."
And she added,—
And she added,—
"Oh, keep me with you!"
"Oh, please stay with me!"
Then, after a pause, she said,—
Then, after a pause, she said,—
"Come to me as soon as you can. I shall be very unhappy without you, even in heaven. Do not leave me long alone, my sweet Gwynplaine! My paradise was here; above there is only heaven! Oh! I cannot breathe! My beloved! My beloved! My beloved!"
"Come to me as soon as you can. I will be very unhappy without you, even in heaven. Don’t leave me alone for too long, my sweet Gwynplaine! My paradise was here; up there is just heaven! Oh! I can’t breathe! My love! My love! My love!"
"Mercy!" cried Gwynplaine.
"Help!" cried Gwynplaine.
"Farewell!" murmured Dea.
"Goodbye!" murmured Dea.
And he pressed his mouth to her beautiful icy hands. For a moment it seemed as if she had ceased to breathe. Then she raised herself on her elbows, and an intense splendour flashed across her eyes, and through an ineffable smile her voice rang out clearly.
And he pressed his mouth to her beautiful, cold hands. For a moment, it seemed like she had stopped breathing. Then she propped herself up on her elbows, and a vibrant light shone in her eyes, and through an indescribable smile, her voice rang out clearly.
"Light!" she cried. "I see!"
"Light!" she shouted. "I see!"
And she expired. She fell back rigid and motionless on the mattress.
And she died. She fell back stiff and still on the mattress.
"Dead!" said Ursus.
"Dead!" said Ursus.
And the poor old man, as if crushed by his despair, bowed his bald head and buried his swollen face in the folds of the gown which covered Dea's feet. He lay there in a swoon.
And the poor old man, as if overwhelmed by his sadness, bowed his bald head and buried his swollen face in the folds of the gown that covered Dea's feet. He lay there in a faint.
Then Gwynplaine became awful. He arose, lifted his eyes, and gazed into the vast gloom above him. Seen by none on earth, but looked down upon, perhaps, as he stood in the darkness, by some invisible presence, he stretched his hands on high, and said,—
Then Gwynplaine became terrifying. He stood up, lifted his eyes, and stared into the vast darkness above him. Invisible to everyone on earth, but possibly watched over by some unseen presence as he stood in the shadows, he raised his hands high and said,—
"I come!"
"I'm coming!"
And he strode across the deck, towards the side of the vessel, as if beckoned by a vision.
And he walked confidently across the deck, toward the side of the ship, as if drawn by a vision.
A few paces off was the abyss. He walked slowly, never casting down his eyes. A smile came upon his face, such as Dea's had just worn. He advanced straight before him, as if watching something. In his eyes was a light like the reflection of a soul perceived from afar off. He cried out, "Yes!" At every step he was approaching nearer to the side of the vessel. His gait was rigid, his arms were lifted up, his head was thrown back, his eyeballs were fixed. His movement was ghost-like. He advanced without haste and without hesitation, with fatal precision, as though there were before him no yawning gulf and open grave. He murmured, "Be easy. I follow you. I understand the sign that you are making me." His eyes were fixed upon a certain spot in the sky, where the shadow was deepest. The smile was still upon his face. The sky was perfectly black; there was no star visible in it, and yet he evidently saw one. He crossed the deck. A few stiff and ominous steps, and he had reached the very edge.
A few steps away was the abyss. He walked slowly, never looking down. A smile appeared on his face, just like Dea's had moments ago. He moved straight ahead, as if watching something. There was a light in his eyes, like the reflection of a distant soul. He shouted, "Yes!" With each step, he got closer to the side of the vessel. His walk was stiff, his arms were raised, his head was tilted back, and his eyes were focused. His movement was ghostly. He moved with calmness and certainty, with deadly precision, as if there were no gaping chasm or open grave before him. He murmured, "Be easy. I’m following you. I understand the sign you're giving me." His gaze was locked on a specific spot in the sky where the shadow was darkest. The smile still lingered on his face. The sky was completely black; no stars were visible, yet he clearly saw one. He crossed the deck. A few rigid and foreboding steps, and he reached the very edge.
"I come," said he; "Dea, behold, I come!"
"I’m here," he said; "Dea, look, I’m here!"
One step more; there was no bulwark; the void was before him; he strode into it. He fell. The night was thick and dull, the water deep. It swallowed him up. He disappeared calmly and silently. None saw nor heard him. The ship sailed on, and the river flowed.
One more step; there was no barrier; the emptiness lay ahead of him; he walked right into it. He fell. The night was dark and heavy, the water deep. It engulfed him. He vanished quietly and without a sound. No one saw or heard him. The ship continued on its way, and the river kept flowing.
Shortly afterwards the ship reached the sea.
Shortly after, the ship reached the ocean.
When Ursus returned to consciousness, he found that Gwynplaine was no longer with him, and he saw Homo by the edge of the deck baying in the shadow and looking down upon the water.
When Ursus came to, he realized that Gwynplaine was no longer there with him, and he saw Homo at the edge of the deck, howling in the shadows and looking down at the water.
[Footnote 1: As much as to say, the other daughters are provided for as best may be. (Note by Ursus on the margin of the wall.)]
[Footnote 1: In other words, the other daughters are taken care of as well as possible. (Note by Ursus on the margin of the wall.)]
[Footnote 2: Una nube salida del malo lado del diablo.]
[Footnote 2: A cloud from the dark side of the devil.]
[Footnote 3: Tiller of the mountain, who is that man?—A man.
[Footnote 3: Farmer of the mountain, who is that guy?—Just a guy.]
What tongue does he speak?—All.
What language does he speak?—All.
What things does he know?—All.
What does he know?—Everything.
What is his country?—None and all.
What is his country?—Neither one nor the other.
Who is his God?—God.
Who is his God?—God.
What do you call him?—The madman.
What do you call him?—The crazy guy.
What do you say you call him?—The wise man.
What do you think we should call him?—The wise man.
In your band, what is he?—He is what he is.
In your band, what role does he play?—He is who he is.
The chief?—No.
The boss?—No.
Then what is he?—The soul.]
Then what is he?—The soul.
[Footnote 4: Traitors.]
[__A_TAG_PLACEHOLDER_0__: Betrayers.]
[Footnote 5: The above is a very inefficient and rather absurd translation of the French. It turns upon the fact that in the French language the word for darkness is plural—ténèbres.—TRANSLATOR.]
[Footnote 5: The above is a very ineffective and somewhat ridiculous translation of the French. It hinges on the fact that in French, the word for darkness is plural—ténèbres.—TRANSLATOR.]
[Footnote 6: Transcriber's note: The original text refers to "vitres épaisses", thick panes, without specific dimensions. Glass only a millimetre thick would have been rather flimsy.]
[Footnote 6: Transcriber's note: The original text refers to "vitres épaisses," thick panes, without specific dimensions. Glass only a millimeter thick would have been pretty weak.]
[Footnote 7: Gaufrier, the iron with which a pattern is traced on stuff.]
[Footnote 7: Gaufrier, the tool used to create a design on fabric.]
[Footnote 8: Art thou near me?]
[__A_TAG_PLACEHOLDER_0__: Are you near me?]
[Footnote 9: Côtes, coasts, costa, ribs.]
[__A_TAG_PLACEHOLDER_0__: Côtes, coasts, costa, ribs.]
"Their lips were four red roses on a stem,
"Their lips were four red roses on a stem,
Which in their summer beauty kissed each other."
Which in their summer beauty kissed each other.
Shakespeare.]
Shakespeare.
[Footnote 11: Regina Saba coram rege crura denudavit.—Schicklardus in Proemio Tarich Jersici, F. 65.]
[Footnote 11: Regina Saba appeared before the king and bared her legs.—Schicklardus in Proemio Tarich Jersici, F. 65.]
[Footnote 12: Book I., p. 196.]
[Footnote 13: Pray! weep! Reason is born of the word. Song creates light.]
[Footnote 13: Pray! Cry! Understanding comes from words. Music brings forth light.]
[Footnote 14: Night, away! the dawn sings hallali.]
[Footnote 14: Night, be gone! The morning sings hallelujah.]
[Footnote 15: Thou must go to heaven and smile, thou that weepest.]
[Footnote 15: You must go to heaven and smile, you who weep.]
[Footnote 16: Break the yoke; throw off, monster, thy dark clothing.]
[Footnote 16: Break free from the yoke; cast off, monster, your dark attire.]
[Footnote 17: O come and love! thou art soul, I am heart.]
[Footnote 17: Oh come and love! You are the soul, I am the heart.]
[Footnote 18: The Fenian, Burke.]
[__A_TAG_PLACEHOLDER_0__: The Fenian, Burke.]
[Footnote 19: The life and the limbs of subjects depend on the king. Chamberlayne, Part 2, chap. iv., p. 76.]
[Footnote 19: The safety and well-being of the people depend on the king. Chamberlayne, Part 2, chap. iv., p. 76.]
[Footnote 20: This fashion of sleeping partly undrest came from Italy, and was derived from the Romans. "Sub clarâ nuda lacernâ," says Horace.]
[Footnote 20: This style of sleeping partly undressed originated in Italy, and was influenced by the Romans. "Sub clarâ nuda lacernâ," says Horace.]
[Footnote 21: The author is apparently mistaken. The Chamberlains of the Exchequer divided the wooden laths into tallies, which were given out when disbursing coin, and checked or tallied when accounting for it. It was in burning the old tallies in an oven that the Houses of Parliament were destroyed by fire.—TRANSLATOR.]
[Footnote 21: The author seems to be wrong. The officials in charge of finances divided the wooden sticks into tallies, which were handed out during coin distribution and checked off during accounting. The fire that destroyed the Houses of Parliament started when the old tallies were burned in an oven.—TRANSLATOR.]
[Footnote 22: Villiers called James I., "Votre cochonnerie."]
[Footnote 22: Villiers called James I., "Your nastiness."]
[Footnote 23: "Depart, O night! sings the dawn."]
[Footnote 23: "Go away, night! sings the morning."]
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