Les Misérables, v. 4

"That's a tough invalid," Gavroche thought. And he could not refrain from clapping his hands, but it was thrown away; it was not heard by the two combatants, who deafened one another, and mingled their breath in the struggle. At length there was a silence, and Montparnasse ceased writhing. Gavroche muttered this aside, "Is he dead?" The worthy man had not uttered a word or given a cry; he rose, and Gavroche heard him say to Montparnasse, "Get up."

Montparnasse did so, but the citizen still held him. Montparnasse had the humiliated and furious attitude of a wolf snapped at by a sheep. Gavroche looked and listened, making an effort to double his eyes with his ears; he was enormously amused. He was rewarded for his conscientious anxiety, for he was able to catch the following dialogue, which borrowed from the darkness a sort of tragic accent. The gentleman questioned, and Montparnasse answered, —

"What is your age?"

"Nineteen."

"You are strong and healthy, why do you not work?"

"It is a bore."

"What is your trade?"

"Idler."

"Speak seriously. Can anything be done for you? What do you wish to be?"

"A robber."

There was a silence, and the old gentleman seemed in profound thought; but he did not loose his hold of Montparnasse. Every now and then the young bandit, who was vigorous and active, gave starts like a wild beast caught in a snare; he shook himself, attempted a trip, wildly writhed his limbs, and tried to escape. The old gentleman did not appear to notice it, and held the ruffian's two arms in one hand with the sovereign indifference of absolute strength. The old man's reverie lasted some time; then, gazing fixedly at Montparnasse, he mildly raised his voice and addressed to him, in the darkness where they stood, a sort of solemn appeal, of which Gavroche did not lose a syllable.

"My boy, you are entering by sloth into the most laborious of existences. Ah! you declare yourself an idler, then prepare yourself for labor. Have you ever seen a formidable machine which is called a rolling-mill? You must be on your guard against it; for it is a crafty and ferocious thing, and if it catch you by the skirt of the coat it drags you under it entirely. Such a machine is indolence. Stop while there is yet time, and save yourself, otherwise it is all over with you, and ere long you will be among the cog-wheels. Once caught, hope for nothing more. You will be forced to fatigue yourself, idler; and no rest will be allowed you, for the iron hand of implacable toil has seized you. You refuse to earn your livelihood, have a calling, and accomplish a duty. It bores you to be like the rest; well, you will be different. Labor is the law, and whoever repulses it as a bore must have it as a punishment. You do not wish to be a laborer, and you will be a slave. Toil only lets you loose on one side to seize you again on the other; you do not wish to be its friend, and you will be its negro. Ah, you did not care for the honest fatigue of men, and you are about to know the sweat of the damned; while others sing you will groan. You will see other men working in the distance, and they will seem to you to be resting. The laborer, the reaper, the sailor, the blacksmith, will appear to you in the light like the blessed inmates of a paradise. What a radiance there is in the anvil! What joy it is to guide the plough, and tie up the sheaf! What a holiday to fly before the wind in a boat! But you, idler, will have to dig and drag, and roll and walk. Pull at your halter, for you are a beast of burden in the service of hell! So your desire is to do nothing? Well, you will not have a week, a day, an hour without feeling crushed. You will not be able to lift anything without agony, and every passing minute will make your muscles crack. What is a feather for others will be a rock for you, and the most simple things will become steep. Life will become a monster around you, and coming, going, breathing, will be so many terrible tasks for you. Your lungs will produce in you the effect of a hundred-pound weight; and going there sooner than here will be a problem to solve. Any man who wishes to go out, merely opens his door and finds himself in the street; but if you wish to go out you must pierce through your wall. What do honest men do to reach the street? They go downstairs; but you will tear up your sheets, make a cord of them fibre by fibre, then pass through your window and hang by this thread over an abyss. And it will take place at night, in the storm, the rain, or the hurricane; and if the cord be too short you will have but one way of descending, by falling – falling haphazard into the gulf, and from any height, and on what? On some unknown thing beneath. Or you will climb up a chimney at the risk of burning yourself; or crawl through a sewer at the risk of drowning. I will say nothing of the holes which must be masked; of the stones which you will have to remove and put back twenty times a day, or of the plaster you must hide under your mattress. A lock presents itself, and the citizen has in his pocket the key for it, made by the locksmith; but you, if you wish to go out, are condemned to make a terrible masterpiece. You will take a double sou and cut it asunder. With what tools? You will invent them; that is your business. Then you will hollow out the interior of the two parts, being careful not to injure the outside, and form a thread all round the edge, so that the two parts may fit closely like a box and its cover. When they are screwed together there will be nothing suspicious to the watchers, – for you will be watched. It will be a double sou, but for yourself a box. What will you place in this box? A small piece of steel, a watch-spring in which you have made teeth, and which will be a saw. With this saw, about the length of a pin, you will be obliged to cut through the bolt of the lock, the padlock of your chain, the bar at your window, and the fetter on your leg. This masterpiece done, this prodigy accomplished, all the miracles of art, skill, cleverness, and patience executed, what will be your reward if you are detected? A dungeon. Such is the future. What precipices are sloth and pleasure! To do nothing is a melancholy resolution, are you aware of that? To live in indolence on the social substance; to be useless, that is to say, injurious, – this leads straight to the bottom of misery. Woe to the man who wishes to be a parasite, for he will be vermin! Ah! it does not please you to work. Ah! you have only one thought, to drink well, eat well, and sleep well. You will drink water; you will eat black bread; you will sleep on a plank, with fetters riveted to your limbs, and feel their coldness at night in your flesh! You will break these fetters and fly; very good. You will drag yourself on your stomach into the shrubs and eat grass like the beasts of the field; and you will be re-captured, and then you will pass years in a dungeon, chained to the wall, groping in the dark for your water-jug, biting at frightful black bread which dogs would refuse, and eating beans which maggots have eaten before you. You will be a wood-louse in a cellar. Ah, ah! take pity on yourself, wretched boy, still so young, who were at your nurse's breast not twenty years ago, and have doubtless a mother still! I implore you to listen to me. You want fine black cloth, polished shoes, to scent your head with fragrant oil, to please bad women, and be a pretty fellow; you will have your hair close shaven, and wear a red jacket and wooden shoes. You want a ring on your finger; and will wear a collar on your neck, and if you look at a woman you will be beaten. And you will go in there at twenty and come out at fifty years of age. You will go in young, red-cheeked, healthy, with your sparkling eyes and all your white teeth, and your curly locks; and you will come out again broken, bent, wrinkled, toothless, horrible, and gray-headed! Ah, my poor boy, you are on the wrong road, and indolence is a bad adviser; for robbery is the hardest of labors. Take my advice, and do not undertake the laborious task of being an idler. To become a rogue is inconvenient, and it is not nearly so hard to be an honest man. Now go, and think over what I have said to you. By the bye, what did you want of me? My purse? Here it is."

And the old man, releasing Montparnasse, placed his purse in his hand, which Montparnasse weighed for a moment; after which, with the same mechanical precaution as if he had stolen it, Montparnasse let it glide gently into the back-pocket of his coat. All this said and done, the old gentleman turned his back and quietly resumed his walk.

"Old humbug!" Montparnasse muttered. Who was the old gentleman? The reader has doubtless guessed. Montparnasse, in his stupefaction, watched him till he disappeared in the gloom, and this contemplation was fatal for him. While the old gentleman retired, Gavroche advanced. He had assured himself by a glance that Father Mabœuf was still seated on his bench, and was probably asleep; then the gamin left the bushes, and began crawling in the shadow behind the motionless Montparnasse. He thus got up to the young bandit unnoticed, gently insinuated his hand into the back-pocket of the fine black cloth coat, seized the purse, withdrew his hand, and crawled back again into the shadow like a lizard. Montparnasse, who had no reason to be on his guard, and who was thinking for the first time in his life, perceived nothing; and Gavroche, when he had returned to the spot where Father Mabœuf was sitting, threw the purse over the hedge and ran off at full speed. The purse fell on Father Mabœuf's foot and awoke him. He stooped down and picked up the purse, which he opened without comprehending anything. It was a purse, with two compartments; in one was some change, in the other were six napoleons. M. Mabœuf, greatly startled, carried the thing to his housekeeper.

"It has fallen from heaven," said Mother Plutarch.

BOOK V

IN WHICH THE END DOES NOT RESEMBLE THE BEGINNING

CHAPTER I

SOLITUDE AND THE BARRACKS COMBINED

Cosette's sorrow, so poignant and so sharp four or five months previously, had without her knowledge attained the convalescent stage. Nature, spring, youth, love for her father, the gayety of the flowers and birds filtered gradually, day by day and drop by drop, something that almost resembled oblivion into her virginal and young soul. Was the fire entirely extinguished; or were layers of ashes merely formed? The fact is, that she hardly felt now the painful and burning point. One day she suddenly thought of Marius; "Why," she said, "I had almost forgotten him." This same week she noticed, while passing the garden gate, a very handsome officer in the Lancers, with a wasp-like waist, a delightful uniform, the cheeks of a girl, a sabre under his arm, waxed mustaches, and lacquered schapska. In other respects, he had light hair, blue eyes flush with his head, a round, vain, insolent, and pretty face; he was exactly the contrary of Marius. He had a cigar in his mouth, and Cosette supposed that he belonged to the regiment quartered in the barracks of the Rue de Babylone. The next day she saw him pass again, and remarked the hour. From this moment – was it an accident? – she saw him pass nearly every day. The officer's comrades perceived that there was in this badly kept garden, and behind this poor, old-fashioned railing, a very pretty creature who was nearly always there when the handsome lieutenant passed, who is no stranger to the reader, as his name was Théodule Gillenormand.

"Hilloh!" they said to him, "there's a little girl making eyes at you, just look at her."

"Have I the time," the Lancer replied, "to look at all the girls who look at me?"

It was at this identical time that Marius was slowly descending to the abyss, and said, "If I could only see her again before I die!" If his wish had been realized, if he had at that moment seen Cosette looking at a Lancer, he would have been unable to utter a word, but expired of grief. Whose fault would it have been? Nobody's. Marius possessed one of those temperaments which bury themselves in chagrin and abide in it: Cosette was one of those who plunge into it and again emerge. Cosette, however, was passing through that dangerous moment, – the fatal phase of feminine reverie left to itself, in which the heart of an isolated maiden resembles those vine tendrils which cling, according to chance, to the capital of a marble column or to the sign-post of an inn. It is a rapid and decisive moment, critical for every orphan, whether she be poor or rich; for wealth does not prevent a bad choice, and misalliances take place in very high society. But the true misalliance is that of souls; and in the same way as many an unknown young man, without name, birth, or fortune, is a marble capital supporting a temple of grand sentiments and grand ideas, so a man of the world, satisfied and opulent, who has polished boots and varnished words, if we look not at the exterior but at the interior, – that is to say, what is reserved for the wife, – is nought but a stupid log obscurely haunted by violent, unclean, and drunken passions, – the inn sign-post.

What was there in Cosette's soul? Passion calmed or lulled to sleep, love in a floating state; something which was limpid and brilliant, perturbed at a certain depth, and sombre lower still. The image of the handsome officer was reflected on the surface, but was there any reminiscence at the bottom, quite at the bottom? Perhaps so, but Cosette did not know.

A singular incident occurred.

CHAPTER II

COSETTE'S FEARS

In the first fortnight of April Jean Valjean went on a journey; this, as we know, occurred from time to time at very lengthened intervals, and he remained away one or two days at the most. Where did he go? No one knew, not even Cosette; once only she had accompanied him in a hackney coach, upon the occasion of one of these absences, to the corner of a little lane which was called, "Impasse de la Planchette." He got out there, and the coach carried Cosette back to the Rue de Babylone. It was generally when money ran short in the house that Jean Valjean took these trips. Jean Valjean, then, was absent; and he had said, "I shall be back in three days." At night Cosette was alone in the drawing-room, and in order to while away the time, she opened her piano and began singing to her own accompaniment the song of Euryanthe, "Hunters wandering in the wood," which is probably the finest thing we possess in the shape of music. When she had finished she remained passive. Suddenly she fancied she heard some one walking in the garden. It could not be her father, for he was away; and it could not be Toussaint, as she was in bed, for it was ten o'clock at night. Cosette was near the drawing-room shutters, which were closed, and put her ear to them; and it seemed to her that it was the footfall of a man who was walking very gently. She hurried up to her room on the first floor, opened a Venetian frame in her shutter, and looked out into the garden. The moon was shining bright as day, and there was nobody in it. She opened her window; the garden was perfectly calm, and all that could be seen of the street was as deserted as usual.

Cosette thought that she was mistaken, and she had supposed that she heard the noise. It was an hallucination produced by Weber's gloomy and wonderful chorus, which opens before the mind bewildering depths; which trembles before the eye like a dizzy forest in which we hear the cracking of the dead branches under the restless feet of the hunters, of whom we catch a glimpse in the obscurity. She thought no more of it. Moreover, Cosette was not naturally very timid: she had in her veins some of the blood of the gypsy, and the adventurer who goes about barefooted. As we may remember, she was rather a lark than a dove, and she had a stern and brave temper.

The next evening, at nightfall, she was walking about the garden. In the midst of the confused thoughts which occupied her mind, she fancied she could distinguish now and then a noise like that of the previous night, as if some one were walking in the gloom under the trees not far from her; but she said to herself that nothing so resembles the sound of a footfall on grass as the grating of two branches together, and she took no heed of it, – besides, she saw nothing. She left the "thicket," and had a small grass-plat to cross ere she reached the house. The moon, which had just risen behind her, projected Cosette's shadow, as she left the clump of bushes, upon the grass in front of her, and she stopped in terror. By the side of her shadow the moon distinctly traced on the grass another singularly startling and terrible shadow, – a shadow with a hat on its head. It was like the shadow of a man standing at the edge of the clump a few paces behind Cosette. For a moment she was unable to speak or cry, or call out, or stir, or turn her head; but at last she collected all her courage and boldly turned round. There was nobody; she looked on the ground and the shadow had disappeared. She went back into the shrubs, bravely searched in every corner, went as far as the railings, and discovered nothing. She felt really chilled. Was it again an hallucination? What! two days in succession? One hallucination might pass, but two! The alarming point was, that the shadow was most certainly not a ghost, for ghosts never wear round hats.

The next day Jean Valjean returned, and Cosette told him what she fancied she had seen and heard. She expected to be reassured, and that her father would shrug his shoulders and say, "You are a little goose;" but Jean Valjean became anxious.

"Perhaps it is nothing," he said to her. He left her with some excuse, and went into the garden, where she saw him examine the railings with considerable attention. In the night she woke up. This time she was certain, and she distinctly heard some one walking just under her windows. She walked to her shutter and opened it. There was in the garden really a man holding a large stick in his hand. At the moment when she was going to cry out, the moon lit up the man's face, – it was her father. She went to bed again saying, "He seems really very anxious!" Jean Valjean passed that and the two following nights in the garden, and Cosette saw him through the hole in her shutter. On the third night the moon was beginning to rise later, and it might have been about one in the morning when she beard a hearty burst of laughter, and her father's voice calling her: —

"Cosette!"

She leaped out of bed, put on her dressing-gown, and opened her window; her father was standing on the grass-plat below.

"I have woke you up to reassure you," he said; "look at this, – here's your shadow in the round hat."

And he showed her on the grass a shadow which the moon designed, and which really looked rather like the spectre of a man wearing a round hat. It was an outline produced by a zinc chimney-pot with a cowl, which rose above an adjoining roof. Cosette also began laughing, all her mournful suppositions fell away, and the next morning at breakfast she jested at the ill-omened garden, haunted by the ghost of chimney-pots. Jean Valjean quite regained his ease; as for Cosette, she did not notice particularly whether the chimney-pot were really in the direction of the shadow which she had seen or fancied she saw, and whether the moon were in the same part of the heavens. She did not cross-question herself as to the singularity of a chimney-pot which is afraid of being caught in the act, and retires when its shadow is looked at; for the shadow did retire when Cosette turned round, and she fancied herself quite certain of that fact. Cosette became quite reassured, for the demonstration seemed to her perfect, and the thought left her brain that there could have been any one walking about the garden by night. A few days after, however, a fresh incident occurred.

CHAPTER III

ENRICHED WITH THE COMMENTS OF TOUSSAINT

In the garden, near the railings looking out on the street, there was a stone bench, protected from the gaze of passers-by by a hedge, but it would have been an easy task to reach it by thrusting an arm through the railings and the hedge. One evening in this same month of April, Jean Valjean had gone out, and Cosette, after sunset, was seated on this bench. The wind was freshening in the trees, and Cosette was reflecting; an objectless sorrow was gradually gaining on her, the invincible sorrow which night produces, and which comes perhaps – for who knows? – from the mystery of the tomb which is yawning at the moment. Possibly Fantine was in that shadow.

Cosette rose, and slowly went round the garden, walking on the dew-laden grass and saying to herself through the sort of melancholy somnambulism in which she was plunged: "I ought to have wooden shoes to walk in the garden at this hour; I shall catch cold." She returned to the bench; but at the moment when she was going to sit down, she noticed at the place she had left a rather large stone, which had evidently not been there a moment before. Cosette looked at the stone, asking herself what it meant. All at once the idea that the stone had not reached the bench of itself, that some one had placed it there, and that an arm had been passed through the grating, occurred to her and frightened her. This time it was a real fear, for there was the stone. No doubt was possible. She did not touch it, but fled without daring to look behind her, sought refuge in the house, and at once shuttered, barred, and bolted the French window opening on the steps. Then she asked Toussaint, —

"Has my father come in?"

"No, Miss."

(We have indicated once for all Toussaint's stammering, and we ask leave no longer to accentuate it, as we feel a musical notation of an infirmity to be repulsive.)

Jean Valjean, a thoughtful man, and stroller by night, often did not return till a late hour.

"Toussaint," Cosette continued, "be careful to put up the bars to the shutters looking on the garden, and to place the little iron things in the rings that close them."

"Oh, I am sure I will, Miss."

Toussaint did not fail, and Cosette was well aware of the fact, but she could not refrain from adding, —

"For it is so desolate here."

"Well, that's true," said Toussaint; "we might be murdered before we had the time to say, Ouf! and then, too, master does not sleep in the house. But don't be frightened, Miss. I fasten up the windows like Bastilles. Lone women! I should think that is enough to make a body shudder. Only think! to see men coming into your bedroom and hear them say, 'Be quiet, you!' and then they begin to cut your throat. It is not so much the dying, for everybody dies, and we know that we must do so; but it is the abomination of feeling those fellows touch you; and then their knives are not sharp, perhaps; oh, Lord!"

"Hold your tongue," said Cosette, "and fasten up everything securely."

Cosette, terrified by the drama improvised by Toussaint, and perhaps too by the apparitions of the last week, which returned to her mind, did not even dare to say to her, "Just go and look at the stone laid on the bench;" for fear of having to open the garden gate again, and the men might walk in. She had all the doors and windows carefully closed, made Toussaint examine the whole house from cellar to attic, locked herself in her bedroom, looked under the bed, and slept badly. The whole night through, she saw the stone as large as a mountain and full of caverns. At sunrise – the peculiarity of sunrise is to make us laugh at all our terrors of the night, and our laughter is always proportioned to the fear we have felt – at sunrise, Cosette, on waking, saw her terror like a nightmare, and said to herself: "What could I be thinking about! It was like the steps which I fancied I heard last week in the garden at night! It is like the shadow of the chimney-pot. Am I going to turn coward now?" The sun, which poured through the crevices of her shutters and made the damask curtains one mass of purple, re-assured her so fully that all faded away in her mind, even to the stone.

"There was no more a stone on the bench than there was a man in a round hat in the garden. I dreamed of the stone like the rest."

She dressed herself, went down into the garden, and felt a cold perspiration all over her, – the stone was there. But this only lasted for a moment, for what is terror by night is curiosity by day.

"Nonsense!" she said, "I'll see."

She raised the stone, which was of some size, and there was something under it that resembled a letter; it was an envelope of white paper. Cosette seized it; there was no address on it, and it was not sealed up. Still, the envelope, though open, was not empty, for papers could be seen inside. Cosette no longer suffered from terror, nor was it curiosity; it was a commencement of anxiety. Cosette took out a small quire of paper, each page of which was numbered, and bore several lines written in a very nice and delicate hand, so Cosette thought. She looked for a name, but there was none; for a signature, but there was none either. For whom was the packet intended? Probably for herself, as a hand had laid it on the bench. From whom did it come? An irresistible fascination seized upon her; she tried to turn her eyes away from these pages, which trembled in her hand. She looked at the sky, the street, the acacias all bathed in light, the pigeons circling round an adjoining roof, and then her eye settled on the manuscript, and she said to herself that she must know what was inside it. This is what she read.