Home > Authors Index > Victor Hugo > Man Who Laughs > This page
The Man Who Laughs, a novel by Victor Hugo |
||
Part 2: Book 6. Ursus Under Different Aspects - Chapter 4. Moenibus Surdis... |
||
| < Previous |
Table of content |
Next > |
|
________________________________________________
_ PART II: BOOK THE SIXTH. URSUS UNDER DIFFERENT ASPECTS CHAPTER IV. MOENIBUS SURDIS CAMPANA MUTA
Master Nicless opened it. Ursus rushed out of the tavern. 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. 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. 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. Ursus entered it resolutely. What intention possessed him? None. He came into the alley to seek intelligence. 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. 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. Just as he entered it he heard one stroke of the clock, then a second. "Hold," thought he; "can it be midnight already?" Mechanically he set himself to count. "Three, four, five." He mused. "At what long intervals this clock strikes! how slowly! Six; seven!" Then he remarked,-- "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!" He paused. "Yes, it is midnight." The clock struck a thirteenth stroke. Ursus shuddered. "Thirteen!" Then followed a fourteenth; then a fifteenth. "What can this mean?" The strokes continued 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?" 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. 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. The strokes followed each other at lugubrious 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. There is nothing so dreary as a monologue on which its cadence falls. The even returns of sound seem to show a purpose. What is it that this hammer, the bell, forges 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? He looked through the darkness in the direction in which he knew the gate of the prison to be. Suddenly, in that very spot which looked like a dark hole, a redness showed. The redness grew larger, and became 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. 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. 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. 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. The torch threw out their profiles and attitudes into relief. Fierce looks, sullen attitudes. Ursus recognized the faces of the police who had that morning carried off Gwynplaine. There was no doubt about it. They were the same. They were reappearing. Of course, Gwynplaine would also reappear. They had led him to that place; they would bring him back. It was all quite clear. Ursus strained his eyes to the utmost. Would they set Gwynplaine at liberty? 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. A second torch shone under the gateway, announcing the end of the procession. Ursus was now about to see what they were bringing with them. The prisoner--the man. Ursus was soon, he thought, to see Gwynplaine. That which they carried appeared. It was a bier. Four men carried a bier, covered with black cloth. Behind them came a man, with a shovel on his shoulder. A third lighted torch, held by a man reading a book, probably the chaplain, closed the procession. The bier followed the ranks of the police, who had turned to the right. Just at that moment the head of the procession stopped. Ursus heard the grating of a key. 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. This gate, over which a death's-head was placed, was that of 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 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. There was nothing left but a haze 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. 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 _cortege_ reappeared 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 knell ceased. All was locked in silence. A sinister incarceration of shadows. A vanished vision; nothing more. A passage of spectres, which had disappeared. 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. "He is dead!" cried Ursus. He sank down upon a stone. "Dead! They have killed him! Gwynplaine! My child! My son!" And he burst into passionate sobs. _ |
||