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The Man Who Laughs, a novel by Victor Hugo |
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Part 2: Book 7. The Titaness - Chapter 3. Eve |
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_ PART II: BOOK THE SEVENTH. THE TITANESS CHAPTER III. EVE An octagon room, with a vaulted ceiling, without windows but lighted by a skylight; walls, ceiling, and floors faced with peach-coloured marble; a black marble canopy, like a pall, with twisted columns in the solid but pleasing Elizabethan style, overshadowing a vase-like bath of the same black marble--this was what he saw before him. In the centre of the bath arose a slender jet of tepid and perfumed water, which, softly and slowly, was filling the tank. The bath was black to augment fairness into brilliancy. It was the water which he had heard. A waste-pipe, placed at a certain height in the bath, prevented it from overflowing. Vapour was rising from the water, but not sufficient to cause it to hang in drops on the marble. The slender jet of water was like a supple wand of steel, bending at the slightest current of air. There was no furniture, except a chair-bed with pillows, long enough for a woman to lie on at full length, and yet have room for a dog at her feet. The French, indeed, borrow their word _canape_ from _can-al-pie_. This sofa was of Spanish manufacture. In it silver took the place of woodwork. The cushions and coverings were of rich white silk. On the other side of the bath, by the wall, was a lofty dressing-table of solid silver, furnished with every requisite for the table, having in its centre, and in imitation of a window, eight small Venetian mirrors, set in a silver frame. In a panel on the wall was a square opening, like a little window, which was closed by a door of solid silver. This door was fitted with hinges, like a shutter. On the shutter there glistened a chased and gilt royal crown. Over it, and affixed to the wall, was a bell, silver gilt, if not of pure gold. Opposite the entrance of the chamber, in which Gwynplaine stood as if transfixed, there was an opening in the marble wall, extending to the ceiling, and closed by a high and broad curtain of silver tissue. This curtain, of fairy-like tenuity, was transparent, and did not interrupt the view. Through the centre of this web, where one might expect a spider, Gwynplaine saw a more formidable object--a woman. Her dress was a long chemise--so long that it floated over her feet, like the dresses of angels in holy pictures; but so fine that it seemed liquid. The silver tissue, transparent as glass and fastened only at the ceiling, could be lifted aside. It separated the marble chamber, which was a bathroom, from the adjoining apartment, which was a bedchamber. This tiny dormitory was as a grotto of mirrors. Venetian glasses, close together, mounted with gold mouldings, reflected on every side the bed in the centre of the room. On the bed, which, like the toilet-table, was of silver, lay the woman; she was asleep. The crumpled clothes bore evidence of troubled sleep. The beauty of the folds was proof of the quality of the material. It was a period when a queen, thinking that she should be damned, pictured hell to herself as a bed with coarse sheets.[20] [Footnote 20: This fashion of sleeping partly undrest came from Italy, and was derived from the Romans. "_Sub clara nuda lacerna_," says Horace.]
Beyond the couch, and probably masking a door, was a large mirror, on which were painted peacocks and swans. Shadow seemed to lose its nature in this apartment, and glistened. The spaces between the mirrors and the gold work were lined with that sparkling material called at Venice thread of glass--that is, spun glass. At the head of the couch stood a reading desk, on a movable pivot, with candles, and a book lying open, bearing this title, in large red letters, "Alcoranus Mahumedis." Gwynplaine saw none of these details. He had eyes only for the woman. He was at once stupefied and filled with tumultuous emotions, states apparently incompatible, yet sometimes co-existent. He recognized her. Her eyes were closed, but her face was turned towards him. It was the duchess--she, the mysterious being in whom all the splendours of the unknown were united; she who had occasioned him so many unavowable dreams; she who had written him so strange a letter! The only woman in the world of whom he could say, "She has seen me, and she desires me!" He had dismissed the dreams from his mind; he had burnt the letter. He had, as far as lay in his power, banished the remembrance of her from his thoughts and dreams. He no longer thought of her. He had forgotten her.... Again he saw her, and saw her terrible in power. His breath came in short catches. He felt as if he were in a storm-driven cloud. He looked. This woman before him! Was it possible? At the theatre a duchess; here a nereid, a nymph, a fairy. Always an apparition. He tried to fly, but felt the futility of the attempt. His eyes were riveted on the vision, as though he were bound. Was she a woman? Was she a maiden? Both. Messalina was perhaps present, though invisible, and smiled, while Diana kept watch. Over all her beauty was the radiance of inaccessibility. No purity could compare with her chaste and haughty form. Certain snows, which have never been touched, give an idea of it--such as the sacred whiteness of the Jungfrau. Immodesty was merged in splendour. She felt the security of an Olympian, who knew that she was daughter of the depths, and might say to the ocean, "Father!" And she exposed herself, unattainable and proud, to everything that should pass--to looks, to desires, to ravings, to dreams; as proud in her languor, on her boudoir couch, as Venus in the immensity of the sea-foam. She had slept all night, and was prolonging her sleep into the daylight; her boldness, begun in shadow, continued in light. Gwynplaine shuddered. He admired her with an unhealthy and absorbing admiration, which ended in fear. Misfortunes never come singly. Gwynplaine thought he had drained to the dregs the cup of his ill-luck. Now it was refilled. Who was it who was hurling all those unremitting thunderbolts on his devoted head, and who had now thrown against him, as he stood trembling there, a sleeping goddess? What! was the dangerous and desirable object of his dream lurking all the while behind these successive glimpses of heaven? Did these favours of the mysterious tempter tend to inspire him with vague aspirations and confused ideas, and overwhelm him with an intoxicating series of realities proceeding from apparent impossibilities? Wherefore did all the shadows conspire against him, a wretched man; and what would become of him, with all those evil smiles of fortune beaming on him? Was his temptation prearranged? This woman, how and why was she there? No explanation! Why him? Why her? Was he made a peer of England expressly for this duchess? Who had brought them together? Who was the dupe? Who the victim? Whose simplicity was being abused? Was it God who was being deceived? All these undefined thoughts passed confusedly, like a flight of dark shadows, through his brain. That magical and malevolent abode, that strange and prison-like palace, was it also in the plot? Gwynplaine suffered a partial unconsciousness. Suppressed emotions threatened to strangle him. He was weighed down by an overwhelming force. His will became powerless. How could he resist? He was incoherent and entranced. This time he felt he was becoming irremediably insane. His dark, headlong fall over the precipice of stupefaction continued. But the woman slept on. What aggravated the storm within him was, that he saw not the princess, not the duchess, not the lady, but the woman. Gwynplaine, losing all self-command, trembled. What could he do against such a temptation? Here were no skilful effects of dress, no silken folds, no complex and coquettish adornments, no affected exaggeration of concealment or of exhibition, no cloud. It was fearful simplicity--a sort of mysterious summons--the shameless audacity of Eden. The whole of the dark side of human nature was there. Eve worse than Satan; the human and the superhuman commingled. A perplexing ecstasy, winding up in a brutal triumph of instinct over duty. The sovereign contour of beauty is imperious. When it leaves the ideal and condescends to be real, its proximity is fatal to man. Now and then the duchess moved softly on the bed, with the vague movement of a cloud in the heavens, changing as a vapour changes its form. Absurd as it may appear, though he saw her present in the flesh before him, yet she seemed a chimera; and, palpable as she was, she seemed to him afar off. Scared and livid, he gazed on. He listened for her breathing, and fancied he heard only a phantom's respiration. He was attracted, though against his will. How arm himself against her--or against himself? He had been prepared for everything except this danger. A savage doorkeeper, a raging monster of a jailer--such were his expected antagonists. He looked for Cerberus; he saw Hebe. A sleeping woman! What an opponent! He closed his eyes. Too bright a dawn blinds the eyes. But through his closed eyelids there penetrated at once the woman's form--not so distinct, but beautiful as ever. Fly! Easier said than done. He had already tried and failed. He was rooted to the ground, as if in a dream. When we try to draw back, temptation clogs our feet and glues them to the earth. We can still advance, but to retire is impossible. The invisible arms of sin rise from below and drag us down. There is a commonplace idea, accepted by every one, that feelings become blunted by experience. Nothing can be more untrue. You might as well say that by dropping nitric acid slowly on a sore it would heal and become sound, and that torture dulled the sufferings of Damiens. The truth is, that each fresh application intensifies the pain. From one surprise after another, Gwynplaine had become desperate. That cup, his reason, under this new stupor, was overflowing. He felt within him a terrible awakening. Compass he no longer possessed. One idea only was before him--the woman. An indescribable happiness appeared, which threatened to overwhelm him. He could no longer decide for himself. There was an irresistible current and a reef. The reef was not a rock, but a siren--a magnet at the bottom of the abyss. He wished to tear himself away from this magnet; but how was he to carry out his wish? He had ceased to feel any basis of support. Who can foresee the fluctuations of the human mind! A man may be wrecked, as is a ship. Conscience is an anchor. It is a terrible thing, but, like the anchor, conscience may be carried away. He had not even the chance of being repulsed on account of his terrible disfigurement. The woman had written to say that she loved him. In every crisis there is a moment when the scale hesitates before kicking the beam. When we lean to the worst side of our nature, instead of strengthening our better qualities, the moral force which has been preserving the balance gives way, and down we go. Had this critical moment in Gwynplaine's life arrived? How could he escape? So it is she--the duchess, the woman! There she was in that lonely room--asleep, far from succour, helpless, alone, at his mercy; yet he was in her power! The duchess! We have, perchance, observed a star in the distant firmament. We have admired it. It is so far off. What can there be to make us shudder in a fixed star? Well, one day--one night, rather--it moves. We perceive a trembling gleam around it. The star which we imagined to be immovable is in motion. It is no longer a star, but a comet--the incendiary giant of the skies. The luminary moves on, grows bigger, shakes off a shower of sparks and fire, and becomes enormous. It advances towards us. Oh, horror, it is coming our way! The comet recognizes us, marks us for its own, and will not be turned aside. Irresistible attack of the heavens! What is it which is bearing down on us? An excess of light, which blinds us; an excess of life, which kills us. That proposal which the heavens make we refuse; that unfathomable love we reject. We close our eyes; we hide; we tear ourselves away; we imagine the danger is past. We open our eyes: the formidable star is still before us; but, no longer a star, it has become a world--a world unknown, a world of lava and ashes; the devastating prodigy of space. It fills the sky, allowing no compeers. The carbuncle of the firmament's depths, a diamond in the distance, when drawn close to us becomes a furnace. You are caught in its flames. And the first sensation of burning is that of a heavenly warmth. _ |
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