The french masters, p.477
The French Masters, page 477
The sidewalks were overflowing with pedestrians and the windows with curious spectators. The terraces which crown the peristyles of the theatres were bordered with spectators. Besides the maskers, they stared at that procession — peculiar to Shrove Tuesday as to Longchamps, — of vehicles of every description, citadines, tapissieres, carioles, cabriolets marching in order, rigorously riveted to each other by the police regulations, and locked into rails, as it were. Any one in these vehicles is at once a spectator and a spectacle. Police-sergeants maintained, on the sides of the boulevard, these two interminable parallel files, moving in contrary directions, and saw to it that nothing interfered with that double current, those two brooks of carriages, flowing, the one down stream, the other up stream, the one towards the Chaussée d’Antin, the other towards the Faubourg Saint-Antoine. The carriages of the peers of France and of the Ambassadors, emblazoned with coats of arms, held the middle of the way, going and coming freely. Certain joyous and magnificent trains, notably that of the Boeuf Gras, had the same privilege. In this gayety of Paris, England cracked her whip; Lord Seymour’s post-chaise, harassed by a nickname from the populace, passed with great noise.
In the double file, along which the municipal guards galloped like sheep-dogs, honest family coaches, loaded down with great-aunts and grandmothers, displayed at their doors fresh groups of children in disguise, Clowns of seven years of age, Columbines of six, ravishing little creatures, who felt that they formed an official part of the public mirth, who were imbued with the dignity of their harlequinade, and who possessed the gravity of functionaries.
From time to time, a hitch arose somewhere in the procession of vehicles; one or other of the two lateral files halted until the knot was disentangled; one carriage delayed sufficed to paralyze the whole line. Then they set out again on the march.
The wedding carriages were in the file proceeding towards the Bastille, and skirting the right side of the Boulevard. At the top of the Pont-aux-Choux, there was a stoppage. Nearly at the same moment, the other file, which was proceeding towards the Madeleine, halted also. At that point of the file there was a carriage-load of maskers.
These carriages, or to speak more correctly, these wagon-loads of maskers are very familiar to Parisians. If they were missing on a Shrove Tuesday, or at the Mid-Lent, it would be taken in bad part, and people would say: “There’s something behind that. Probably the ministry is about to undergo a change.” A pile of Cassandras, Harlequins and Columbines, jolted along high above the passers-by, all possible grotesquenesses, from the Turk to the savage, Hercules supporting Marquises, fishwives who would have made Rabelais stop up his ears just as the Maenads made Aristophanes drop his eyes, tow wigs, pink tights, dandified hats, spectacles of a grimacer, three-cornered hats of Janot tormented with a butterfly, shouts directed at pedestrians, fists on hips, bold attitudes, bare shoulders, immodesty unchained; a chaos of shamelessness driven by a coachman crowned with flowers; this is what that institution was like.
Greece stood in need of the chariot of Thespis, France stands in need of the hackney-coach of Vade.
Everything can be parodied, even parody. The Saturnalia, that grimace of antique beauty, ends, through exaggeration after exaggeration, in Shrove Tuesday; and the Bacchanal, formerly crowned with sprays of vine leaves and grapes, inundated with sunshine, displaying her marble breast in a divine semi-nudity, having at the present day lost her shape under the soaked rags of the North, has finally come to be called the Jack-pudding.
The tradition of carriage-loads of maskers runs back to the most ancient days of the monarchy. The accounts of Louis XI. allot to the bailiff of the palace “twenty sous, Tournois, for three coaches of mascarades in the cross-roads.” In our day, these noisy heaps of creatures are accustomed to have themselves driven in some ancient cuckoo carriage, whose imperial they load down, or they overwhelm a hired landau, with its top thrown back, with their tumultuous groups. Twenty of them ride in a carriage intended for six. They cling to the seats, to the rumble, on the cheeks of the hood, on the shafts. They even bestride the carriage lamps. They stand, sit, lie, with their knees drawn up in a knot, and their legs hanging. The women sit on the men’s laps. Far away, above the throng of heads, their wild pyramid is visible. These carriage-loads form mountains of mirth in the midst of the rout. Colle, Panard and Piron flow from it, enriched with slang. This carriage which has become colossal through its freight, has an air of conquest. Uproar reigns in front, tumult behind. People vociferate, shout, howl, there they break forth and writhe with enjoyment; gayety roars; sarcasm flames forth, joviality is flaunted like a red flag; two jades there drag farce blossomed forth into an apotheosis; it is the triumphal car of laughter.
A laughter that is too cynical to be frank. In truth, this laughter is suspicious. This laughter has a mission. It is charged with proving the Carnival to the Parisians.
These fishwife vehicles, in which one feels one knows not what shadows, set the philosopher to thinking. There is government therein. There one lays one’s finger on a mysterious affinity between public men and public women.
It certainly is sad that turpitude heaped up should give a sum total of gayety, that by piling ignominy upon opprobrium the people should be enticed, that the system of spying, and serving as caryatids to prostitution should amuse the rabble when it confronts them, that the crowd loves to behold that monstrous living pile of tinsel rags, half dung, half light, roll by on four wheels howling and laughing, that they should clap their hands at this glory composed of all shames, that there would be no festival for the populace, did not the police promenade in their midst these sorts of twenty-headed hydras of joy. But what can be done about it? These be-ribboned and be-flowered tumbrils of mire are insulted and pardoned by the laughter of the public. The laughter of all is the accomplice of universal degradation. Certain unhealthy festivals disaggregate the people and convert them into the populace. And populaces, like tyrants, require buffoons. The King has Roquelaure, the populace has the Merry-Andrew. Paris is a great, mad city on every occasion that it is a great sublime city. There the Carnival forms part of politics. Paris, — let us confess it — willingly allows infamy to furnish it with comedy. She only demands of her masters — when she has masters — one thing: “Paint me the mud.” Rome was of the same mind. She loved Nero. Nero was a titanic lighterman.
Chance ordained, as we have just said, that one of these shapeless clusters of masked men and women, dragged about on a vast calash, should halt on the left of the boulevard, while the wedding train halted on the right. The carriage-load of masks caught sight of the wedding carriage containing the bridal party opposite them on the other side of the boulevard.
“Hullo!” said a masker, “here’s a wedding.”
“A sham wedding,” retorted another. “We are the genuine article.”
And, being too far off to accost the wedding party, and fearing also, the rebuke of the police, the two maskers turned their eyes elsewhere.
At the end of another minute, the carriage-load of maskers had their hands full, the multitude set to yelling, which is the crowd’s caress to masquerades; and the two maskers who had just spoken had to face the throng with their comrades, and did not find the entire repertory of projectiles of the fishmarkets too extensive to retort to the enormous verbal attacks of the populace. A frightful exchange of metaphors took place between the maskers and the crowd.
In the meanwhile, two other maskers in the same carriage, a Spaniard with an enormous nose, an elderly air, and huge black moustache, and a gaunt fishwife, who was quite a young girl, masked with a loup, had also noticed the wedding, and while their companions and the passers-by were exchanging insults, they had held a dialogue in a low voice.
Their aside was covered by the tumult and was lost in it. The gusts of rain had drenched the front of the vehicle, which was wide open; the breezes of February are not warm; as the fishwife, clad in a low-necked gown, replied to the Spaniard, she shivered, laughed and coughed.
Here is their dialogue:
“Say, now.”
“What, daddy?”
“Do you see that old cove?”
“What old cove?”
“Yonder, in the first wedding-cart, on our side.”
“The one with his arm hung up in a black cravat?”
“Yes.”
“Well?”
“I’m sure that I know him.”
“Ah!”
“I’m willing that they should cut my throat, and I’m ready to swear that I never said either you, thou, or I, in my life, if I don’t know that Parisian.” [pantinois.]
“Paris in Pantin to-day.”
“Can you see the bride if you stoop down?”
“No.”
“And the bridegroom?”
“There’s no bridegroom in that trap.”
“Bah!”
“Unless it’s the old fellow.”
“Try to get a sight of the bride by stooping very low.”
“I can’t.”
“Never mind, that old cove who has something the matter with his paw I know, and that I’m positive.”
“And what good does it do to know him?”
“No one can tell. Sometimes it does!”
“I don’t care a hang for old fellows, that I don’t!”
“I know him.”
“Know him, if you want to.”
“How the devil does he come to be one of the wedding party?”
“We are in it, too.”
“Where does that wedding come from?”
“How should I know?”
“Listen.”
“Well, what?”
“There’s one thing you ought to do.”
“What’s that?”
“Get off of our trap and spin that wedding.”
“What for?”
“To find out where it goes, and what it is. Hurry up and jump down, trot, my girl, your legs are young.”
“I can’t quit the vehicle.”
“Why not?”
“I’m hired.”
“Ah, the devil!”
“I owe my fishwife day to the prefecture.”
“That’s true.”
“If I leave the cart, the first inspector who gets his eye on me will arrest me. You know that well enough.”
“Yes, I do.”
“I’m bought by the government for to-day.”
“All the same, that old fellow bothers me.”
“Do the old fellows bother you? But you’re not a young girl.”
“He’s in the first carriage.”
“Well?”
“In the bride’s trap.”
“What then?”
“So he is the father.”
“What concern is that of mine?”
“I tell you that he’s the father.”
“As if he were the only father.”
“Listen.”
“What?”
“I can’t go out otherwise than masked. Here I’m concealed, no one knows that I’m here. But to-morrow, there will be no more maskers. It’s Ash Wednesday. I run the risk of being nabbed. I must sneak back into my hole. But you are free.”
“Not particularly.”
“More than I am, at any rate.”
“Well, what of that?”
“You must try to find out where that wedding-party went to.”
“Where it went?”
“Yes.”
“I know.”
“Where is it going then?”
“To the Cadran-Bleu.”
“In the first place, it’s not in that direction.”
“Well! to la Rapée.”
“Or elsewhere.”
“It’s free. Wedding-parties are at liberty.”
“That’s not the point at all. I tell you that you must try to learn for me what that wedding is, who that old cove belongs to, and where that wedding pair lives.”
“I like that! that would be queer. It’s so easy to find out a wedding-party that passed through the street on a Shrove Tuesday, a week afterwards. A pin in a hay-mow! It ain’t possible!”
“That don’t matter. You must try. You understand me, Azelma.”
The two files resumed their movement on both sides of the boulevard, in opposite directions, and the carriage of the maskers lost sight of the “trap” of the bride.
CHAPTER II — JEAN VALJEAN STILL WEARS HIS ARM IN A SLING
To realize one’s dream. To whom is this accorded? There must be elections for this in heaven; we are all candidates, unknown to ourselves; the angels vote. Cosette and Marius had been elected.
Cosette, both at the mayor’s office and at church, was dazzling and touching. Toussaint, assisted by Nicolette, had dressed her.
Cosette wore over a petticoat of white taffeta, her robe of Binche guipure, a veil of English point, a necklace of fine pearls, a wreath of orange flowers; all this was white, and, from the midst of that whiteness she beamed forth. It was an exquisite candor expanding and becoming transfigured in the light. One would have pronounced her a virgin on the point of turning into a goddess.
Marius’ handsome hair was lustrous and perfumed; here and there, beneath the thick curls, pale lines — the scars of the barricade — were visible.
The grandfather, haughty, with head held high, amalgamating more than ever in his toilet and his manners all the elegances of the epoch of Barras, escorted Cosette. He took the place of Jean Valjean, who, on account of his arm being still in a sling, could not give his hand to the bride.
Jean Valjean, dressed in black, followed them with a smile.
“Monsieur Fauchelevent,” said the grandfather to him, “this is a fine day. I vote for the end of afflictions and sorrows. Henceforth, there must be no sadness anywhere. Pardieu, I decree joy! Evil has no right to exist. That there should be any unhappy men is, in sooth, a disgrace to the azure of the sky. Evil does not come from man, who is good at bottom. All human miseries have for their capital and central government hell, otherwise, known as the Devil’s Tuileries. Good, here I am uttering demagogical words! As far as I am concerned, I have no longer any political opinions; let all me be rich, that is to say, mirthful, and I confine myself to that.”
When, at the conclusion of all the ceremonies, after having pronounced before the mayor and before the priest all possible “yesses,” after having signed the registers at the municipality and at the sacristy, after having exchanged their rings, after having knelt side by side under the pall of white moire in the smoke of the censer, they arrived, hand in hand, admired and envied by all, Marius in black, she in white, preceded by the suisse, with the epaulets of a colonel, tapping the pavement with his halberd, between two rows of astonished spectators, at the portals of the church, both leaves of which were thrown wide open, ready to enter their carriage again, and all being finished, Cosette still could not believe that it was real. She looked at Marius, she looked at the crowd, she looked at the sky: it seemed as though she feared that she should wake up from her dream. Her amazed and uneasy air added something indescribably enchanting to her beauty. They entered the same carriage to return home, Marius beside Cosette; M. Gillenormand and Jean Valjean sat opposite them; Aunt Gillenormand had withdrawn one degree, and was in the second vehicle.
“My children,” said the grandfather, “here you are, Monsieur le Baron and Madame la Baronne, with an income of thirty thousand livres.”
And Cosette, nestling close to Marius, caressed his ear with an angelic whisper: “So it is true. My name is Marius. I am Madame Thou.”
These two creatures were resplendent. They had reached that irrevocable and irrecoverable moment, at the dazzling intersection of all youth and all joy. They realized the verses of Jean Prouvaire; they were forty years old taken together. It was marriage sublimated; these two children were two lilies. They did not see each other, they did not contemplate each other. Cosette perceived Marius in the midst of a glory; Marius perceived Cosette on an altar. And on that altar, and in that glory, the two apotheoses mingling, in the background, one knows not how, behind a cloud for Cosette, in a flash for Marius, there was the ideal thing, the real thing, the meeting of the kiss and the dream, the nuptial pillow. All the torments through which they had passed came back to them in intoxication. It seemed to them that their sorrows, their sleepless nights, their tears, their anguish, their terrors, their despair, converted into caresses and rays of light, rendered still more charming the charming hour which was approaching; and that their griefs were but so many handmaidens who were preparing the toilet of joy. How good it is to have suffered! Their unhappiness formed a halo round their happiness. The long agony of their love was terminating in an ascension.
It was the same enchantment in two souls, tinged with voluptuousness in Marius, and with modesty in Cosette. They said to each other in low tones: “We will go back to take a look at our little garden in the Rue Plumet.” The folds of Cosette’s gown lay across Marius.
Such a day is an ineffable mixture of dream and of reality. One possesses and one supposes. One still has time before one to divine. The emotion on that day, of being at mid-day and of dreaming of midnight is indescribable. The delights of these two hearts overflowed upon the crowd, and inspired the passers-by with cheerfulness.
People halted in the Rue Saint-Antoine, in front of Saint-Paul, to gaze through the windows of the carriage at the orange-flowers quivering on Cosette’s head.
Then they returned home to the Rue des Filles-du-Calvaire. Marius, triumphant and radiant, mounted side by side with Cosette the staircase up which he had been borne in a dying condition. The poor, who had trooped to the door, and who shared their purses, blessed them. There were flowers everywhere. The house was no less fragrant than the church; after the incense, roses. They thought they heard voices carolling in the infinite; they had God in their hearts; destiny appeared to them like a ceiling of stars; above their heads they beheld the light of a rising sun. All at once, the clock struck. Marius glanced at Cosette’s charming bare arm, and at the rosy things which were vaguely visible through the lace of her bodice, and Cosette, intercepting Marius’ glance, blushed to her very hair.
