The Man Who Laughs - Victor Hugo (best finance books of all time txt) 📗

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?"

"Yourself," 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.

The justice raised his voice, so that if there were people outside, they might hear.

"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."

The policemen surrounded the innkeeper.

The justice continued, 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.

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,—

"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."

 

 

 

BOOK THE SEVENTH. THE TITANESS.

 

 

CHAPTER I. THE AWAKENING.

 

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.

Who has not heard the deep clamours of the soul?

Moreover, the morning was dawning.

Aurora is a voice.

Of what use is the sun if not to reawaken that dark sleeper—the conscience?

Light and virtue are akin.

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.

That chaos, the human heart, hears the fiat lux!

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.

For a while his virtue had spread its wings and flown away.

"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.

"Dea! Dea! Dea!" repeated he.

He strove to assure himself of his heart's strength. And he put the question with a loud voice—"Where are you?"

He almost wondered that no one answered him.

Then again, gazing on the walls and the ceiling, with wandering thoughts, through which reason returned.

"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.

"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?"

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!"

And raising the first piece of tapestry he came to, he rushed from the chamber impetuously.

He found himself in a corridor.

He went straight forward.

A second corridor opened out before him.

All the doors were open.

He walked on at random, from chamber to chamber, from passage to passage, seeking an exit.

 

 

 

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.

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.

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.

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.

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.

Not a living creature was to be seen. 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.

He explored every passage that he came to.

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