Vautrin's Last Avatar/Section 3
A word must here be said about this Theodore, remembered by Jacques Collin at such a critical moment. Theodore Calvi, a young Corsican, imprisoned for life at the age of eighteen for eleven murders, thanks to the influential interference paid for with vast sums, had been made the fellow convict of Jacques Collin, to whom he was chained, in 1819 and 1820. Jacques Collin's last escape, one of his finest inventions—for he had got out disguised as a gendarme leading Theodore Calvi as he was, a convict called before the commissary of police—had been effected in the seaport of Rochefort, where the convicts die by dozens, and where, it was hoped, these two dangerous rascals would have ended their days. Though they escaped together, the difficulties of their flight had forced them to separate. Theodore was caught and restored to the hulks.
Indeed, a life with Lucien, a youth innocent of all crime, who had only minor sins on his conscience, dawned on him as bright and glorious as a summer sun; while with Theodore, Jacques Collin could look forward to no end but the scaffold after a career of indispensable crimes.
The thought of disaster as a result of Lucien's weakness—for his experience of an underground cell would certainly have turned his brain—took vast proportions in Jacques Collin's mind; and, contemplating the probabilities of such a misfortune, the unhappy man felt his eyes fill with tears, a phenomenon that had been utterly unknown to him since his earliest childhood.
"I must be in a furious fever," said he to himself; "and perhaps if I send for the doctor and offer him a handsome sum, he will put me in communication with Lucien."
At this moment the turnkey brought in his dinner.
"It is quite useless my boy; I cannot eat. Tell the governor of this prison to send the doctor to see me. I am very bad, and I believe my last hour has come."
Hearing the guttural rattle that accompanied these words, the warder bowed and went. Jacques Collin clung wildly to this hope; but when he saw the doctor and the governor come in together, he perceived that the attempt was abortive, and coolly awaited the upshot of the visit, holding out his wrist for the doctor to feel his pulse.
"The Abbe is feverish," said the doctor to Monsieur Gault, "but it is the type of fever we always find in inculpated prisoners—and to me," he added, in the governor's ear, "it is always a sign of some degree of guilt."
Just then the governor, to whom the public prosecutor had intrusted Lucien's letter to be given to Jacques Collin, left the doctor and the prisoner together under the guard of the warder, and went to fetch the letter.
"Monsieur," said Jacques Collin, seeing the warder outside the door, and not understanding why the governor had left them, "I should think nothing of thirty thousand francs if I might send five lines to Lucien de Rubempre."
"I will not rob you of your money," said Doctor Lebrun; "no one in this world can ever communicate with him again——"
"No one?" said the prisoner in amazement. "Why?"
"He has hanged himself——"
No tigress robbed of her whelps ever startled an Indian jungle with a yell so fearful as that of Jacques Collin, who rose to his feet as a tiger rears to spring, and fired a glance at the doctor as scorching as the flash of a falling thunderbolt. Then he fell back on the bed, exclaiming:
"Oh, my son!"
"Poor man!" said the doctor, moved by this terrific convulsion of nature.
In fact, the first explosion gave way to such utter collapse, that the words, "Oh, my son," were but a murmur.
"Is this one going to die in our hands too?" said the turnkey.
"No; it is impossible!" Jacques Collin went on, raising himself and looking at the two witnesses of the scene with a dead, cold eye. "You are mistaken; it is not Lucien; you did not see. A man cannot hang himself in one of these cells. Look—how could I hang myself here? All Paris shall answer to me for that boy's life! God owes it to me."
The warder and the doctor were amazed in their turn—they, whom nothing had astonished for many a long day.
On seeing the governor, Jacques Collin, crushed by the very violence of this outburst of grief, seemed somewhat calmer.
"Here is a letter which the public prosecutor placed in my hands for you, with permission to give it to you sealed," said Monsieur Gault.
"From Lucien?" said Jacques Collin.
"Yes, monsieur."
"Is not that young man——"
"He is dead," said the governor. "Even if the doctor had been on the spot, he would, unfortunately, have been too late. The young man died—there—in one of the rooms——"
"May I see him with my own eyes?" asked Jacques Collin timidly. "Will you allow a father to weep over the body of his son?"
"You can, if you like, take his room, for I have orders to remove you from these cells; you are no longer in such close confinement, monsieur."
The prisoner's eyes, from which all light and warmth had fled, turned slowly from the governor to the doctor; Jacques Collin was examining them, fearing some trap, and he was afraid to go out of the cell.
"If you wish to see the body," said Lebrun, "you have no time to lose; it is to be carried away to-night."
"If you have children, gentlemen," said Jacques Collin, "you will understand my state of mind; I hardly know what I am doing. This blow is worse to me than death; but you cannot know what I am saying. Even if you are fathers, it is only after a fashion—I am a mother too—I—I am going mad—I feel it!"
By going through certain passages which open only to the governor, it is possible to get very quickly from the cells to the private rooms. The two sets of rooms are divided by an underground corridor formed of two massive walls supporting the vault over which Galerie Marchande, as it is called, is built. So Jacques Collin, escorted by the warder, who took his arm, preceded by the governor, and followed by the doctor, in a few minutes reached the cell where Lucien was lying stretched on the bed.
On seeing the body, he threw himself upon it, seizing it in a desperate embrace with a passion and impulse that made these spectators shudder.
"There," said the doctor to Monsieur Gault, "that is an instance of what I was telling you. You see that man clutching the body, and you do not know what a corpse is; it is stone——"
"Leave me alone!" said Jacques Collin in a smothered voice; "I have not long to look at him. They will take him away to——"
He paused at the word "bury him."
"You will allow me to have some relic of my dear boy! Will you be so kind as to cut off a lock of his hair for me, monsieur," he said to the doctor, "for I cannot——"
"He was certainly his son," said Lebrun.
"Do you think so?" replied the governor in a meaning tone, which made the doctor thoughtful for a few minutes.
The governor gave orders that the prisoner should be left in this cell, and that some locks of hair should be cut for the self-styled father before the body should be removed.
At half-past five in the month of May it is easy to read a letter in the Conciergerie in spite of the iron bars and the close wire trellis that guard the windows. So Jacques Collin read the dreadful letter while he still held Lucien's hand.
The man is not known who can hold a lump of ice for ten minutes tightly clutched in the hollow of his hand. The cold penetrates to the very life-springs with mortal rapidity. But the effect of that cruel chill, acting like a poison, is as nothing to that which strikes to the soul from the cold, rigid hand of the dead thus held. Thus Death speaks to Life; it tells many dark secrets which kill many feelings; for in matters of feeling is not change death?
As we read through once more, with Jacques Collin, Lucien's last letter, it will strike us as being what it was to this man—a cup of poison:—
"To the Abbe Carlos Herrera.
"MY DEAR ABBE,—I have had only benefits from you, and I have
betrayed you. This involuntary ingratitude is killing me, and when
you read these lines I shall have ceased to exist. You are not
here now to save me.
"You had given me full liberty, if I should find it advantageous,
to destroy you by flinging you on the ground like a cigar-end; but
I have ruined you by a blunder. To escape from a difficulty,
deluded by a clever question from the examining judge, your son by
adoption and grace went over to the side of those who aim at
killing you at any cost, and insist on proving an identity, which
I know to be impossible, between you and a French villain. All is
said.
"Between a man of your calibre and me—me of whom you tried to
make a greater man than I am capable of being—no foolish
sentiment can come at the moment of final parting. You hoped to
make me powerful and famous, and you have thrown me into the gulf
of suicide, that is all. I have long heard the broad pinions of
that vertigo beating over my head.
"As you have sometimes said, there is the posterity of Cain and
the posterity of Abel. In the great human drama Cain is in
opposition. You are descended from Adam through that line, in
which the devil still fans the fire of which the first spark was
flung on Eve. Among the demons of that pedigree, from time to time
we see one of stupendous power, summing up every form of human
energy, and resembling the fevered beasts of the desert, whose
vitality demands the vast spaces they find there. Such men are as
dangerous as lions would be in the heart of Normandy; they must
have their prey, and they devour common men and crop the money of
fools. Their sport is so dangerous that at last they kill the
humble dog whom they have taken for a companion and made an idol
of.
"When it is God's will, these mysterious beings may be a Moses, an
Attila, Charlemagne, Mahomet, or Napoleon; but when He leaves a
generation of these stupendous tools to rust at the bottom of the
ocean, they are no more than a Pugatschef, a Fouche, a Louvel, or
the Abbe Carlos Herrera. Gifted with immense power over tenderer
souls, they entrap them and mangle them. It is grand, it is fine
—in its way. It is the poisonous plant with gorgeous coloring that
fascinates children in the woods. It is the poetry of evil. Men
like you ought to dwell in caves and never come out of them. You
have made me live that vast life, and I have had all my share of
existence; so I may very well take my head out of the Gordian knot
of your policy and slip it into the running knot of my cravat.
"To repair the mischief I have done, I am forwarding to the public
prosecutor a retraction of my deposition. You will know how to
take advantage of this document.
"In virtue of a will formally drawn up, restitution will be made,
Monsieur l'Abbe, of the moneys belonging to your Order which you
so imprudently devoted to my use, as a result of your paternal
affection for me.
"And so, farewell. Farewell, colossal image of Evil and
Corruption; farewell—to you who, if started on the right road,
might have been greater than Ximenes, greater than Richelieu! You
have kept your promises. I find myself once more just as I was on
the banks of the Charente, after enjoying, by your help, the
enchantments of a dream. But, unfortunately, it is not now in the
waters of my native place that I shall drown the errors of a boy;
but in the Seine, and my hole is a cell in the Conciergerie.
"Do not regret me: my contempt for you is as great as my
admiration.
"LUCIEN."
A little before one in the morning, when the men came to fetch away the body, they found Jacques Collin kneeling by the bed, the letter on the floor, dropped, no doubt, as a suicide drops the pistol that has shot him; but the unhappy man still held Lucien's hand between his own, and was praying to God.
On seeing this man, the porters paused for a moment, for he looked like one of those stone images, kneeling to all eternity on a mediaeval tomb, the work of some stone-carver's genius. The sham priest, with eyes as bright as a tiger's, but stiffened into supernatural rigidity, so impressed the men that they gently bid him rise.
"Why?" he asked mildly. The audacious Trompe-la-Mort was as meek as a child.
The governor pointed him out to Monsieur de Chargeboeuf; and he, respecting such grief, and believing that Jacques Collin was indeed the priest he called himself, explained the orders given by Monsieur de Granville with regard to the funeral service and arrangements, showing that it was absolutely necessary that the body should be transferred to Lucien's lodgings, Quai Malaquais, where the priests were waiting to watch by it for the rest of the night.
"It is worthy of that gentleman's well-known magnanimity," said Jacques Collin sadly. "Tell him, monsieur, that he may rely on my gratitude. Yes, I am in a position to do him great service. Do not forget these words; they are of the utmost importance to him.
"Oh, monsieur! strange changes come over a man's spirit when for seven hours he has wept over such a son as he——And I shall see him no more!"
After gazing once more at Lucien with an expression of a mother bereft of her child's remains, Jacques Collin sank in a heap. As he saw Lucien's body carried away, he uttered a groan that made the men hurry off. The public prosecutor's private secretary and the governor of the prison had already made their escape from the scene.
What had become of that iron spirit; of the decision which was a match in swiftness for the eye; of the nature in which thought and action flashed forth together like one flame; of the sinews hardened by three spells of labor on the hulks, and by three escapes, the muscles which had acquired the metallic temper of a savage's limbs? Iron will yield to a certain amount of hammering or persistent pressure; its impenetrable molecules, purified and made homogeneous by man, may become disintegrated, and without being in a state of fusion the metal had lost its power of resistance. Blacksmiths, locksmiths, tool-makers sometimes express this state by saying the iron is retting, appropriating a word applied exclusively to hemp, which is reduced to pulp and fibre by maceration. Well, the human soul, or, if you will, the threefold powers of body, heart, and intellect, under certain repeated shocks, get into such a condition as fibrous iron. They too are disintegrated. Science and law and the public seek a thousand causes for the terrible catastrophes on railways caused by the rupture of an iron rail, that of Bellevue being a famous instance; but no one has asked the evidence of real experts in such matters, the blacksmiths, who all say the same thing, "The iron was stringy!" The danger cannot be foreseen. Metal that has gone soft, and metal that has preserved its tenacity, both look exactly alike.
Priests and examining judges often find great criminals in this state. The awful experiences of the Assize Court and the "last toilet" commonly produce this dissolution of the nervous system, even in the strongest natures. Then confessions are blurted by the most firmly set lips; then the toughest hearts break; and, strange to say, always at the moment when these confessions are useless, when this weakness as of death snatches from the man the mask of innocence which made Justice uneasy—for it always is uneasy when the criminal dies without confessing his crime.
Napoleon went through this collapse of every human power on the field of Waterloo.
At eight in the morning, when the warder of the better cells entered the room where Jacques Collin was confined, he found him pale and calm, like a man who has collected all his strength by sheer determination.
"It is the hour for airing in the prison-yard," said the turnkey; "you have not been out for three days; if you choose to take air and exercise, you may."
Jacques Collin, lost in his absorbing thoughts, and taking no interest in himself, regarding himself as a garment with no body in it, a perfect rag, never suspected the trap laid for him by Bibi-Lupin, nor the importance attaching to his walk in the prison-yard.
The unhappy man went out mechanically, along the corridor, by the cells built into the magnificent cloisters of the Palace of the Kings, over which is the corridor Saint-Louis, as it is called, leading to the various purlieus of the Court of Appeals. This passage joins that of the better cells; and it is worth noting that the cell in which Louvel was imprisoned, one of the most famous of the regicides, is the room at the right angle formed by the junction of the two corridors. Under the pretty room in the Tour Bonbec there is a spiral staircase leading from the dark passage, and serving the prisoners who are lodged in these cells to go up and down on their way from or to the yard.
Every prisoner, whether committed for trial or already sentenced, and the prisoners under suspicion who have been reprieved from the closest cells—in short, every one in confinement in the Conciergerie takes exercise in this narrow paved courtyard for some hours every day, especially the early hours of summer mornings. This recreation ground, the ante-room to the scaffold or the hulks on one side, on the other still clings to the world through the gendarme, the examining judge, and the Assize Court. It strikes a greater chill perhaps than even the scaffold. The scaffold may be a pedestal to soar to heaven from; but the prison-yard is every infamy on earth concentrated and unavoidable.
Whether at La Force or at Poissy, at Melun or at Sainte-Pelagie, a prison-yard is a prison-yard. The same details are exactly repeated, all but the color of the walls, their height, and the space enclosed. So this Study of Manners would be false to its name if it did not include an exact description of this Pandemonium of Paris.
Under the mighty vaulting which supports the lower courts and the Court of Appeals there is, close to the fourth arch, a stone slab, used by Saint-Louis, it is said, for the distribution of alms, and doing duty in our day as a counter for the sale of eatables to the prisoners. So as soon as the prison-yard is open to the prisoners, they gather round this stone table, which displays such dainties as jail-birds desire—brandy, rum, and the like.
The first two archways on that side of the yard, facing the fine Byzantine corridor—the only vestige now of Saint-Louis' elegant palace—form a parlor, where the prisoners and their counsel may meet, to which the prisoners have access through a formidable gateway—a double passage, railed off by enormous bars, within the width of the third archway. This double way is like the temporary passages arranged at the door of a theatre to keep a line on occasions when a great success brings a crowd. This parlor, at the very end of the vast entrance-hall of the Conciergerie, and lighted by loop-holes on the yard side, has lately been opened out towards the back, and the opening filled with glass, so that the interviews of the lawyers with their clients are under supervision. This innovation was made necessary by the too great fascinations brought to bear by pretty women on their counsel. Where will morality stop short? Such precautions are like the ready-made sets of questions for self-examination, where pure imaginations are defiled by meditating on unknown and monstrous depravity. In this parlor, too, parents and friends may be allowed by the authorities to meet the prisoners, whether on remand or awaiting their sentence.
The reader may now understand what the prison-yard is to the two hundred prisoners in the Conciergerie: their garden—a garden without trees, beds, or flowers—in short, a prison-yard. The parlor, and the stone of Saint-Louis, where such food and liquor as are allowed are dispensed, are the only possible means of communication with the outer world.
The hour spent in the yard is the only time when the prisoner is in the open air or the society of his kind; in other prisons those who are sentenced for a term are brought together in workshops; but in the Conciergerie no occupation is allowed, excepting in the privileged cells. There the absorbing idea in every mind is the drama of the Assize Court, since the culprit comes only to be examined or to be sentenced.
This yard is indeed terrible to behold; it cannot be imagined, it must be seen.
In the first place, the assemblage, in a space forty metres long by thirty wide, of a hundred condemned or suspected criminals, does not constitute the cream of society. These creatures, belonging for the most part to the lowest ranks, are poorly clad; their countenances are base or horrible, for a criminal from the upper sphere of society is happily, a rare exception. Peculation, forgery, or fraudulent bankruptcy, the only crimes that can bring decent folks so low, enjoy the privilege of the better cells, and then the prisoner scarcely ever quits it.
This promenade, bounded by fine but formidable blackened walls, by a cloister divided up into cells, by fortifications on the side towards the quay, by the barred cells of the better class on the north, watched by vigilant warders, and filled with a herd of criminals, all meanly suspicious of each other, is depressing enough in itself; and it becomes terrifying when you find yourself the centre of all those eyes full of hatred, curiosity, and despair, face to face with that degraded crew. Not a gleam of gladness! all is gloom—the place and the men. All is speechless—the walls and men's consciences. To these hapless creatures danger lies everywhere; excepting in the case of an alliance as ominous as the prison where it was formed, they dare not trust each other.
The police, all-pervading, poisons the atmosphere and taints everything, even the hand-grasp of two criminals who have been intimate. A convict who meets his most familiar comrade does not know that he may not have repented and have made a confession to save his life. This absence of confidence, this dread of the nark, marks the liberty, already so illusory, of the prison-yard. The "nark" (in French, le Mouton or le coqueur) is a spy who affects to be sentenced for some serious offence, and whose skill consists in pretending to be a chum. The "chum," in thieves' slang, is a skilled thief, a professional who has cut himself adrift from society, and means to remain a thief all his days, and continues faithful through thick and thin to the laws of the swell-mob.
Crime and madness have a certain resemblance. To see the prisoners of the Conciergerie in the yard, or the madmen in the garden of an asylum, is much the same thing. Prisoners and lunatics walk to and fro, avoiding each other, looking up with more or less strange or vicious glances, according to the mood of the moment, but never cheerful, never grave; they know each other, or they dread each other. The anticipation of their sentence, remorse, and apprehension give all these men exercising, the anxious, furtive look of the insane. Only the most consummate criminals have the audacity that apes the quietude of respectability, the sincerity of a clear conscience.
As men of the better class are few, and shame keeps the few whose crimes have brought them within doors, the frequenters of the prison-yard are for the most part dressed as workmen. Blouses, long and short, and velveteen jackets preponderate. These coarse or dirty garments, harmonizing with the coarse and sinister faces and brutal manner—somewhat subdued, indeed, by the gloomy reflections that weigh on men in prison—everything, to the silence that reigns, contributes to strike terror or disgust into the rare visitor who, by high influence, has obtained the privilege, seldom granted, of going over the Conciergerie.
Just as the sight of an anatomical museum, where foul diseases are represented by wax models, makes the youth who may be taken there more chaste and apt for nobler and purer love, so the sight of the Conciergerie and of the prison-yard, filled with men marked for the hulks or the scaffold or some disgraceful punishment, inspires many, who might not fear that Divine Justice whose voice speaks so loudly to the conscience, with a fear of human justice; and they come out honest men for a long time after.