Les Misérables - Victor Hugo (best finance books of all time TXT) 📗

Let us proceed. Here goes for the 16th! Do you want to delay, Marius?”

“No, certainly not!” replied the lover.

“Let us marry, then,” cried the grandfather.

Accordingly, the marriage took place on the 16th, notwithstanding the public merrymaking. It rained that day, but there is always in the sky a tiny scrap of blue at the service of happiness, which lovers see, even when the rest of creation is under an umbrella.

On the preceding evening, Jean Valjean handed to Marius, in the presence of M. Gillenormand, the five hundred and eighty-four thousand francs.

As the marriage was taking place under the régime of community of property, the papers had been simple.

Henceforth, Toussaint was of no use to Jean Valjean; Cosette inherited her and promoted her to the rank of lady’s maid.

As for Jean Valjean, a beautiful chamber in the Gillenormand house had been furnished expressly for him, and Cosette had said to him in such an irresistible manner: “Father, I entreat you,” that she had almost persuaded him to promise that he would come and occupy it.

A few days before that fixed on for the marriage, an accident happened to Jean Valjean; he crushed the thumb of his right hand. This was not a serious matter; and he had not allowed any one to trouble himself about it, nor to dress it, nor even to see his hurt, not even Cosette. Nevertheless, this had forced him to swathe his hand in a linen bandage, and to carry his arm in a sling, and had prevented his signing. M. Gillenormand, in his capacity of Cosette’s supervising-guardian, had supplied his place.

We will not conduct the reader either to the mayor’s office or to the church. One does not follow a pair of lovers to that extent, and one is accustomed to turn one’s back on the drama as soon as it puts a wedding nosegay in its buttonhole. We will confine ourselves to noting an incident which, though unnoticed by the wedding party, marked the transit from the Rue des Filles-du-Calvaire to the church of Saint-Paul.

At that epoch, the northern extremity of the Rue Saint-Louis was in process of repaving. It was barred off, beginning with the Rue du Parc-Royal. It was impossible for the wedding carriages to go directly to Saint-Paul. They were obliged to alter their course, and the simplest way was to turn through the boulevard. One of the invited guests observed that it was Shrove Tuesday, and that there would be a jam of vehicles.—“Why?” asked M. Gillenormand—“Because of the maskers.”—“Capital,” said the grandfather, “let us go that way. These young folks are on the way to be married; they are about to enter the serious part of life. This will prepare them for seeing a bit of the masquerade.”

They went by way of the boulevard. The first wedding coach held Cosette and Aunt Gillenormand, M. Gillenormand and Jean Valjean. Marius, still separated from his betrothed according to usage, did not come until the second. The nuptial train, on emerging from the Rue des Filles-du-Calvaire, became entangled in a long procession of vehicles which formed an endless chain from the Madeleine to the Bastille, and from the Bastille to the Madeleine. Maskers abounded on the boulevard. In spite of the fact that it was raining at intervals, Merry-Andrew, Pantaloon and Clown persisted. In the good humor of that winter of 1833, Paris had disguised itself as Venice. Such Shrove Tuesdays are no longer to be seen nowadays. Everything which exists being a scattered Carnival, there is no longer any Carnival.

The sidewalks were overflowing with pedestrians and the windows with curious spectators. The terraces which crown the peristyles of the theatres were bordered with spectators. Besides the maskers, they stared at that procession—peculiar to Shrove Tuesday as to Longchamps,—of vehicles of every description, citadines, tapissières, carioles, cabriolets marching in order, rigorously riveted to each other by the police regulations, and locked into rails, as it were. Any one in these vehicles is at once a spectator and a spectacle. Police sergeants maintained, on the sides of the boulevard, these two interminable parallel files, moving in contrary directions, and saw to it that nothing interfered with that double current, those two brooks of carriages, flowing, the one downstream, the other upstream, the one towards the Chaussée d’Antin, the other towards the Faubourg Saint-Antoine. The carriages of the peers of France and of the Ambassadors, emblazoned with coats of arms, held the middle of the way, going and coming freely. Certain joyous and magnificent trains, notably that of the Bœuf Gras, had the same privilege. In this gayety of Paris, England cracked her whip; Lord Seymour’s post-chaise, harassed by a nickname from the populace, passed with great noise.

In the double file, along which the municipal guards galloped like sheep-dogs, honest family coaches, loaded down with great-aunts and grandmothers, displayed at their doors fresh groups of children in disguise, Clowns of seven years of age, Columbines of six, ravishing little creatures, who felt that they formed an official part of the public mirth, who were imbued with the dignity of their harlequinade, and who possessed the gravity of functionaries.

From time to time, a hitch arose somewhere in the procession of vehicles; one or other of the two lateral files halted until the knot was disentangled; one carriage delayed sufficed to paralyze the whole line. Then they set out again on the march.

The wedding carriages were in the file proceeding towards the Bastille, and skirting the right side of the Boulevard. At the top of the Pont-aux-Choux, there was a stoppage. Nearly at the same moment, the other file, which was proceeding towards the Madeleine, halted also. At that point of the file there was a carriage-load of maskers.

These carriages, or to speak more correctly, these wagon-loads of maskers are very familiar to Parisians. If they were missing on a Shrove Tuesday, or at the Mid-Lent, it would be taken in bad part, and people would say: “There’s something behind that. Probably the ministry is about to undergo a change.” A pile of Cassandras, Harlequins and Columbines, jolted along high above the passers-by, all possible grotesquenesses, from the Turk to the savage, Hercules supporting Marquises, fishwives who would have made Rabelais stop up his ears just as the Mænads made Aristophanes drop his eyes, tow wigs, pink tights, dandified hats, spectacles of a grimacer, three-cornered hats of Janot tormented with a butterfly, shouts directed at pedestrians, fists on hips, bold attitudes, bare shoulders, immodesty unchained; a chaos of shamelessness driven by a coachman crowned with flowers; this is what that institution was like.

Greece stood in need of the chariot of Thespis, France stands in need of the hackney-coach of Vadé.

Everything can be parodied, even parody. The Saturnalia, that grimace of antique beauty, ends, through exaggeration after exaggeration, in Shrove Tuesday; and the Bacchanal, formerly crowned with sprays of vine leaves and grapes, inundated with sunshine, displaying her marble breast in a divine semi-nudity, having at the present day lost her shape under the soaked rags of the North, has finally come to be called the Jack-pudding.

The tradition of carriage-loads of maskers runs back to the most ancient days of the monarchy. The accounts of Louis XI. allot to the bailiff of the palace “twenty sous, Tournois, for three coaches of mascarades in the crossroads.” In our day, these noisy heaps of creatures are accustomed to have themselves driven in some ancient cuckoo carriage, whose imperial they load down, or they overwhelm a hired landau, with its top thrown back, with their tumultuous groups. Twenty of them ride in a carriage intended for six. They cling to the seats, to the rumble, on the cheeks of the hood, on the shafts. They even bestride the carriage lamps. They stand, sit, lie, with their knees drawn up in a knot, and their legs hanging. The women sit on the men’s laps. Far away, above the throng of heads, their wild pyramid is visible. These carriage-loads form mountains of mirth in the midst of the rout. Collé, Panard and Piron flow from it, enriched with slang. This carriage which has become colossal through its freight, has an air of conquest. Uproar reigns in front, tumult behind. People vociferate, shout, howl, there they break forth and writhe with enjoyment; gayety roars; sarcasm flames forth, joviality is flaunted like a red flag; two jades there drag farce blossomed forth into an apotheosis; it is the triumphal car of laughter.

A laughter that is too cynical to be frank. In truth, this laughter is suspicious. This laughter has a mission. It is charged with proving the Carnival to the Parisians.

These fishwife vehicles, in which one feels one