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Misérables, Les Vol. 5

<h2> BOOK NINTH.—SUPREME SHADOW, SUPREME DAWN </h2> <h2> CHAPTER I—PITY FOR THE UNHAPPY, BUT INDULGENCE FOR THE HAPPY </h2> It is a terrible thing to be happy! How content one is! How all-sufficient one finds it! How, being in possession of the false object of life, happiness, one forgets the true object, duty! Let us say, however, that the reader would do wrong were he to blame Marius. Marius, as we have explained, before his marriage, had put no questions to M. Fauchelevent, and, since that time, he had feared to put any to Jean Valjean. He had regretted the promise into which he had allowed himself to be drawn. He had often said to himself that he had done wrong in making that concession to despair. He had confined himself to gradually estranging Jean Valjean from his house and to effacing him, as much as possible, from Cosette's mind. He had, in a manner, always placed himself between Cosette and Jean Valjean, sure that, in this way, she would not perceive nor think of the latter. It was more than effacement, it was an eclipse. Marius did what he considered necessary and just. He thought that he had serious reasons which the reader has already seen, and others which will be seen later on, for getting rid of Jean Valjean without harshness, but without weakness. Chance having ordained that he should encounter, in a case which he had argued, a former employee of the Laffitte establishment, he had acquired mysterious information, without seeking it, which he had not been able, it is true, to probe, out of respect for the secret which he had promised to guard, and out of consideration for Jean Valjean's perilous position. He believed at that moment that he had a grave duty to perform: the restitution of the six hundred thousand francs to some one whom he sought with all possible discretion. In the meanwhile, he abstained from touching that money. As for Cosette, she had not been initiated into any of these secrets; but it would be harsh to condemn her also. There existed between Marius and her an all-powerful magnetism, which caused her to do, instinctively and almost mechanically, what Marius wished. She was conscious of Marius' will in the direction of "Monsieur Jean," she conformed to it. Her husband had not been obliged to say anything to her; she yielded to the vague but clear pressure of his tacit intentions, and obeyed blindly. Her obedience in this instance consisted in not remembering what Marius forgot. She was not obliged to make any effort to accomplish this. Without her knowing why herself, and without his having any cause to accuse her of it, her soul had become so wholly her husband's that that which was shrouded in gloom in Marius' mind became overcast in hers. Let us not go too far, however; in what concerns Jean Valjean, this forgetfulness and obliteration were merely superficial. She was rather heedless than forgetful. At bottom, she was sincerely attached to the man whom she had so long called her father; but she loved her husband still more dearly. This was what had somewhat disturbed the balance of her heart, which leaned to one side only. It sometimes happened that Cosette spoke of Jean Valjean and expressed her surprise. Then Marius calmed her: "He is absent, I think. Did not he say that he was setting out on a journey?"—"That is true," thought Cosette. "He had a habit of disappearing in this fashion. But not for so long." Two or three times she despatched Nicolette to inquire in the Rue de l'Homme Arme whether M. Jean had returned from his journey. Jean Valjean caused the answer "no" to be given. Cosette asked nothing more, since she had but one need on earth, Marius. Let us also say that, on their side, Cosette and Marius had also been absent. They had been to Vernon. Marius had taken Cosette to his father's grave. Marius gradually won Cosette away from Jean Valjean. Cosette allowed it. Moreover that which is called, far too harshly in certain cases, the ingratitude of children, is not always a thing so deserving of reproach as it is supposed. It is the ingratitude of nature. Nature, as we have elsewhere said, "looks before her." Nature divides living beings into those who are arriving and those who are departing. Those who are departing are turned towards the shadows, those who are arriving towards the light. Hence a gulf which is fatal on the part of the old, and involuntary on the part of the young. This breach, at first insensible, increases slowly, like all separations of branches. The boughs, without becoming detached from the trunk, grow away from it. It is no fault of theirs. Youth goes where there is joy, festivals, vivid lights, love. Old age goes towards the end. They do not lose sight of each other, but there is no longer a close connection. Young people feel the cooling off of life; old people, that of the tomb. Let us not blame these poor children. <h2> CHAPTER II—LAST FLICKERINGS OF A LAMP WITHOUT OIL </h2> One day, Jean Valjean descended his staircase, took three steps in the street, seated himself on a post, on that same stone post where Gavroche had found him meditating on the night between the 5th and the 6th of June; he remained there a few moments, then went up stairs again. This was the last oscillation of the pendulum. On the following day he did not leave his apartment. On the day after that, he did not leave his bed. His portress, who prepared his scanty repasts, a few cabbages or potatoes with bacon, glanced at the brown earthenware plate and exclaimed: "But you ate nothing yesterday, poor, dear man!" "Certainly I did," replied Jean Valjean. "The plate is quite full." "Look at the water jug. It is empty." "That proves that you have drunk; it does not prove that you have eaten." "Well," said Jean Valjean, "what if I felt hungry only for water?" "That is called thirst, and, when one does not eat at the same time, it is called fever." "I will eat to-morrow." "Or at Trinity day. Why not to-day? Is it the thing to say: 'I will eat to-morrow'? The idea of leaving my platter without even touching it! My ladyfinger potatoes were so good!" Jean Valjean took the old woman's hand: "I promise you that I will eat them," he said, in his benevolent voice. "I am not pleased with you," replied the portress. Jean Valjean saw no other human creature than this good woman. There are streets in Paris through which no one ever passes, and houses to which no one ever comes. He was in one of those streets and one of those houses. While he still went out, he had purchased of a coppersmith, for a few sous, a little copper crucifix which he had hung up on a nail opposite his bed. That gibbet is always good to look at. A week passed, and Jean Valjean had not taken a step in his room. He still remained in bed. The portress said to her husband:—"The good man upstairs yonder does not get up, he no longer eats, he will not last long. That man has his sorrows, that he has. You won't get it out of my head that his daughter has made a bad marriage." The porter replied, with the tone of marital sovereignty: "If he's rich, let him have a doctor. If he is not rich, let him go without. If he has no doctor he will die." "And if he has one?" "He will die," said the porter. The portress set to scraping away the grass from what she called her pavement, with an old knife, and, as she tore out the blades, she grumbled: "It's a shame. Such a neat old man! He's as white as a chicken." She caught sight of the doctor of the quarter as he passed the end of the street; she took it upon herself to request him to come up stairs. "It's on the second floor," said she. "You have only to enter. As the good man no longer stirs from his bed, the door is always unlocked." The doctor saw Jean Valjean and spoke with him. When he came down again the portress interrogated him: "Well, doctor?" "Your sick man is very ill indeed." "What is the matter with him?" "Everything and nothing. He is a man who, to all appearances, has lost some person who is dear to him. People die of that." "What did he say to you?" "He told me that he was in good health." "Shall you come again, doctor?" "Yes," replied the doctor. "But some one else besides must come." <h2> CHAPTER III—A PEN IS HEAVY TO THE MAN WHO LIFTED THE FAUCHELEVENT'S CART </h2> One evening Jean Valjean found difficulty in raising himself on his elbow; he felt of his wrist and could not find his pulse; his breath was short and halted at times; he recognized the fact that he was weaker than he had ever been before. Then, no doubt under the pressure of some supreme preoccupation, he made an effort, drew himself up into a sitting posture and dressed himself. He put on his old workingman's clothes. As he no longer went out, he had returned to them and preferred them. He was obliged to pause many times while dressing himself; merely putting his arms through his waistcoat made the perspiration trickle from his forehead. Since he had been alone, he had placed his bed in the antechamber, in order to inhabit that deserted apartment as little as possible. He opened the valise and drew from it Cosette's outfit. He spread it out on his bed. The Bishop's candlesticks were in their place on the chimney-piece. He took from a drawer two wax candles and put them in the candlesticks. Then, although it was still broad daylight,—it was summer,—he lighted them. In the same way candles are to be seen lighted in broad daylight in chambers where there is a corpse. Every step that he took in going from one piece of furniture to another exhausted him, and he was obliged to sit down. It was not ordinary fatigue which expends the strength only to renew it; it was the remnant of all movement possible to him, it was life drained which flows away drop by drop in overwhelming efforts and which will never be renewed. The chair into which he allowed himself to fall was placed in front of that mirror, so fatal for him, so providential for Marius, in which he had read Cosette's reversed writing on the blotting book. He caught sight of himself in this mirror, and did not recognize himself. He was eighty years old; before Marius' marriage, he would have hardly been taken for fifty; that year had counted for thirty. What he bore on his brow was no longer the wrinkles of age, it was the mysterious mark of death. The hollowing of that pitiless nail could be felt there. His cheeks were pendulous; the skin of his face had the color which would lead one to think that it already had earth upon it; the corners of his mouth drooped as in the mask which the ancients sculptured on tombs. He gazed into space with an air of reproach; one would have said that he was one of those grand tragic beings who have cause to complain of some one. He was in that condition, the last phase of dejection, in which sorrow no longer flows; it is coagulated, so to speak; there is something on the soul like a clot of despair. Night had come. He laboriously dragged a table and the old arm-chair to the fireside, and placed upon the table a pen, some ink and some paper. That done, he had a fainting fit. When he recovered consciousness, he was thirsty. As he could not lift the jug, he tipped it over painfully towards his mouth, and swallowed a draught. As neither the pen nor the ink had been used for a long time, the point of the pen had curled up, the ink had dried away, he was forced to rise and put a few drops of water in the ink, which he did not accomplish without pausing and sitting down two or three times, and he was compelled to write with the back of the pen. He wiped his brow from time to time. Then he turned towards the bed, and, still seated, for he could not stand, he gazed at the little black gown and all those beloved objects. These contemplations lasted for hours which seemed minutes. All at once he shivered, he felt that a child was taking possession of him; he rested his elbows on the table, which was illuminated by the Bishop's candles and took up the pen. His hand trembled. He wrote slowly the few following lines: "Cosette, I bless thee. I am going to explain to thee. Thy husband was right in giving me to understand that I ought to go away; but there is a little error in what he believed, though he was in the right. He is excellent. Love him well even after I am dead. Monsieur Pontmercy, love my darling child well. Cosette, this paper will be found; this is what I wish to say to thee, thou wilt see the figures, if I have the strength to recall them, listen well, this money is really thine. Here is the whole matter: White jet comes from Norway, black jet comes from England, black glass jewellery comes from Germany. Jet is the lightest, the most precious, the most costly. Imitations can be made in France as well as in Germany. What is needed is a little anvil two inches square, and a lamp burning spirits of wine to soften the wax. The wax was formerly made with resin and lampblack, and cost four livres the pound. I invented a way of making it with gum shellac and turpentine. It does not cost more than thirty sous, and is much better. Buckles are made with a violet glass which is stuck fast, by means of this wax, to a little framework of black iron. The glass must be violet for iron jewellery, and black for gold jewellery. Spain buys a great deal of it. It is the country of jet . . ." Here he paused, the pen fell from his fingers, he was seized by one of those sobs which at times welled up from the very depths of his being; the poor man clasped his head in both hands, and meditated. "Oh!" he exclaimed within himself [lamentable cries, heard by God alone], "all is over. I shall never see her more. She is a smile which passed over me. I am about to plunge into the night without even seeing her again. Oh! one minute, one instant, to hear her voice, to touch her dress, to gaze upon her, upon her, the angel! and then to die! It is nothing to die, what is frightful is to die without seeing her. She would smile on me, she would say a word to me, would that do any harm to any one? No, all is over, and forever. Here I am all alone. My God! My God! I shall never see her again!" At that moment there came a knock at the door. <div style="break-after:column;"></div>

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