Les Misérables, v. 5

In moving Marius's clothes he had found in his pockets two things, – the loaf, which he had forgotten the previous evening, and his pocket-book. He ate the bread and opened the pocket-book. On the first page he read the lines written by Marius, as will be remembered, —

"My name is Marius Pontmercy. Carry my body to my grandfather, M. Gillenormand, No. 6, Rue des Filles du Calvaire, in the Marais."

Jean Valjean read by the light of the grating these lines, and remained for a time as it were absorbed in himself, and repeating in a low voice, M. Gillenormand, No. 6, Rue des Filles du Calvaire. He returned the portfolio to Marius's pocket; he had eaten, and his strength had come back to him. He raised Marius again, carefully laid his head on his right shoulder, and began descending the sewer. The Great Sewer, running along the roadway of the valley of Menilmontant, is nearly two leagues in length, and is paved for a considerable portion of the distance. This torch of names of Paris streets, with which we enlighten for the reader Jean Valjean's subterranean march, he did not possess. Nothing informed him what zone of the city he was traversing, nor what distance he had gone; still, the growing paleness of the flakes of light which he met from time to time indicated to him that the sun was retiring from the pavement, and that day would be soon ended, and the rolling of vehicles over his head, which had become intermittent instead of continuous, and then almost ceased, proved to him that he was no longer under central Paris, and was approaching some solitary region, near the external boulevards or most distant quays, where there are fewer houses and streets, and the drain has fewer gratings. The obscurity thickened around Jean Valjean; still he continued to advance, groping his way in the shadow.

This shadow suddenly became terrible.

CHAPTER V

SAND, LIKE WOMAN, AS A FINENESS THAT IS PERFIDIOUS

He felt that he was entering water, and that he had under his feet no longer stone but mud. It often happens on certain coasts of Brittany or Scotland that a man, whether traveller or fisherman, walking at low tide on the sand, some distance from the shore, suddenly perceives that during the last few minutes he has found some difficulty in walking. The shore beneath his feet is like pitch, his heels are attached to it, it is no longer sand but bird-lime; the sand is perfectly dry, but at every step taken, so soon as the foot is raised the imprint it leaves fills with water. The eye, however, has perceived no change, the immense expanse is smooth and calm, all the sand seems alike, nothing distinguishes the soil which is solid from that which is no longer so, and the little merry swarm of water-fleas continue to leap tumultuously round the feet of the wayfarer. The man follows his road, turns toward the land, and tries to approach the coast, not that he is alarmed; alarmed at what? Still, he feels as if the heaviness of his feet increased at every step that he takes; all at once he sinks in, sinks in two or three inches. He is decidedly not on the right road, and stops to look about him. Suddenly he looks at his feet, but they have disappeared, the sand covers them. He draws his feet out of the sand and tries to turn back, but he sinks in deeper still. The sand comes up to his ankle; he pulls it out and turns to his left, when the sand comes to his knee; he turns to the right, and the sand comes up to his thigh; then he recognizes with indescribable terror that he is caught in a quicksand, and has under him the frightful medium in which a man can no more walk than a fish can swim. He throws away his load, if he have one, and lightens himself like a ship in distress; but it is too late, for the sand is already above his knees. He calls out, waves his hat or handkerchief, but the sand gains on him more and more. If the shore is deserted, if land is too distant, if the sand-bank is too ill-famed, if there is no hero in the vicinity, it is all over with him, and he is condemned to be swallowed by the quicksands. He is doomed to that long, awful, implacable interment, impossible to delay or hasten, which lasts hours; which never ends; which seizes you when erect, free, and in perfect health; which drags you by the feet; which, at every effort you attempt, every cry you utter, drags you a little deeper; which seems to punish you for your resistance by a redoubled clutch; which makes a man slowly enter the ground while allowing him ample time to regard the houses, the trees, the green fields, the smoke from the villages on the plain, the sails of the vessels on the sea, the birds that fly and sing, the sun, and the sky. A quicksand is a sepulchre that converts itself into a tide, and ascends from the bottom of the earth toward a living man. Each moment inexorably wraps grave-clothes about him. The wretch tries to sit, to lie down, to walk, to crawl; all the movements that he makes bury him; he draws himself up, and only sinks deeper; he feels himself being swallowed up; he yells, implores, cries to the clouds, writhes his arms, and grows desperate. Then he is in the sand up to his waist; the sand reaches his chest, he is but a bust. He raises his hands, utters furious groans, digs his nails into the sand, tries to hold by this dust, raises himself on his elbows to tear himself from this soft sheath, and sobs frenziedly. The sand mounts, the sand reaches his shoulders, the sand reaches his neck, the face alone is visible now. The mouth cries, the sand fills it; silence. The eyes still look, the sand closes them; night. Then the forehead sinks, and a little hair waves above the sand; a hand emerges, digs up the sand, is waved, and disappears, – a sinister effacement of a man.

At times the rider is swallowed up with his horse, at times the carter with his cart. It is a shipwreck otherwhere than in the water; it is the land drowning man. The land penetrated by the ocean becomes a snare; it offers itself as a plain, and opens like a wave. The abyss has its acts of treachery.

Such a mournful adventure, always possible on some seashore, was also possible some thirty years ago in the sewer of Paris. Before the important works began in 1833 the subway of Paris was subject to sudden breakings-in. The water filtered through a subjacent and peculiarly friable soil; and the roadway, if made of paving-stones, as in the old drains, or of concrete upon béton, as in the new galleries, having no support, bent. A bend in a planking of this nature is a crevice, and a crevice is a bursting-in. The roadway broke away for a certain length, and such a gap, a gulf of mud, was called in professional language fontis. What is a fontis? It is the quicksand of the seashore suddenly met with underground; it is the strand of Mont St. Michel in a sewer. The moistened soil is in a state of fusion, all its particles are held in suspense in a shifting medium; it is not land and it is not water. The depth is at times very great. Nothing can be more formidable than meeting with such a thing; if water predominate death is quick, for a man is drowned; if earth predominate death is slow, for he is sucked down.

Can our readers imagine such a death? If it be frightful to sink in the sea-strand, what is it in a cloaca? Instead of fresh air, daylight, a clear horizon, vast sounds, the free clouds from which life rains, the barque perceived in the distance, that hope under every form, of possible passers-by, of possible help up to the last minute, – instead of all this, deafness, blindness, a black archway, the interior of a tomb already made, death in the mud under a tombstone! Slow asphyxia by uncleanliness, a sarcophagus where asphyxia opens its claws in the filth and clutches you by the throat; fetidness mingled with the death-rattle, mud instead of the sand, sulphuretted hydrogen in lieu of the hurricane, ordure instead of the ocean! And to call and gnash the teeth, and writhe and struggle and expire, with this enormous city which knows nothing of it above one's head.

Inexpressible the horror of dying thus! Death sometimes expiates its atrocity by a certain terrible dignity. On the pyre, in shipwreck, a man may be great; in the flames, as in the foam, a superb attitude is possible, and a man transfigures himself. But in this case it is not so, for the death is unclean. It is humiliating to expire in such a way, and the last floating visions are abject. Mud is the synonym of shame, and is little, ugly, and infamous. To die in a butt of Malmsey like Clarence, – very well; but in a sewer like d'Escoubleau is horrible. To struggle in it is hideous, for at the same time as a man is dying, he is dabbling. There is enough darkness for it to be Hell, and enough mud for it to be merely a slough, and the dying man does not know whether he is about to become a spectre or a frog. Everywhere else the sepulchre is sinister, but here it is deformed.

The depth of the fontis varied, as did the length and density, according to the nature of the subsoil. At times a fontis was three or four feet deep, at times eight or ten, and sometimes it was bottomless. In one the mud was almost solid, in another nearly liquid. In the Lunière fontis, a man would have taken a day in disappearing, while he would have been devoured in five minutes by the Phélippeaux slough. The mud bears more or less well according to its degree of density, and a lad escapes where a man is lost. The first law of safety is to throw away every sort of loading, and every sewer-man who felt the ground giving way under him began by getting rid of his basket of tools. The fontis had various causes, – friability of soil, some convulsion at a depth beyond a man's reach, violent summer showers, the incessant winter rain, and long drizzling rains. At times the weight of the surrounding houses upon a marshy or sandy soil broke the roofs of the subterranean galleries and made them shrink, or else it happened that the roadway broke and slit up under the terrific pressure. The pile of the Panthéon destroyed in this way about a century ago a portion of the cellars in Mont Sainte Geneviève. When a sewer gave way under the weight of the houses, the disorder was expressed above in the street by a sort of saw-toothed parting between the paving-stones. This rent was developed in a serpentine line, along the whole length of the cracked vault, and in such a case, the evil being visible, the remedy might be prompt. It often happened also that the internal ravage was not revealed by any scar outside, and in that case, woe to the sewer-men. Entering the injured drain incautiously, they might be lost in it The old registers mention several night-men buried in this manner in the fontis. They mention several names, among others that of the sewer-man swallowed up in a slough under the opening on the Rue Carême Prenant, of the name of Blaise Poutrain; this Blaise was brother of Nicholas Poutrain, who was the last sexton of the cemetery called the Charnier des Innocents in 1785, when that cemetery expired. There was also the young and charming Vicomte d'Escoubleau, to whom we have alluded, one of the heroes of the siege of Lerida, where the assault was made in silk stockings and with violins at their head. D'Escoubleau, surprised one night with his cousin, the Duchesse de Sourdis, drowned himself in a cesspool of the Beautreillis sewer, where he had taken refuge to escape the Duc. Madame de Sourdis, when told the story of this death, asked for her smelling-bottle, and forgot to weep through inhaling her salts. In such a case there is no love that holds out; the cloaca extinguishes it. Hero refuses to wash the corpse of Leander. Thisbe holds her nose in the presence of Pyramus, and says, Pah!

CHAPTER VI

THE FONTIS

Jean Valjean found himself in presence of a fontis: this sort of breaking-in was frequent at that day in the subsoil of the Champs Élysées, which was difficult to manage in hydraulic works, and not preservative of subterranean constructions, owing to its extreme fluidity. This fluidity exceeds even the inconsistency of the sands of the Quartier St. Georges, which could only be overcome by laying rubble on béton, and of the gas-infected clay strata in the Quartier des Martyrs, which are so liquid that a passage could be effected under the gallery only by means of an iron tube. When in 1836 the authorities demolished and rebuilt under the Faubourg St. Honoré the old stone sewer in which Jean Valjean is now engaged, the shifting sand which is the subsoil of the Champs Élysées as far as the Seine offered such an obstacle that the operation lasted six months, to the great annoyance of those living on the water-side, especially such as had mansions and coaches. The works were more than difficult, they were dangerous; but we must allow that it rained for four and a half months, and the Seine overflowed thrice. The fontis which Jean Valjean came across was occasioned by the shower of the previous evening. A giving way of the pavement, which was badly supported by the subjacent sand, had produced a deposit of rain-water, and when the filtering had taken place the ground broke in, and the roadway, being dislocated, fell into the mud. How far? It was impossible to say, for the darkness was denser there than anywhere else; it was a slough of mud in a cavern of night. Jean Valjean felt the pavement depart from under him as he entered the slough; there was water at top and mud underneath. He must pass it, for it was impossible to turn back; Marius was dying, and Jean Valjean worn out. Where else could he go? Jean Valjean advanced; the slough appeared but of slight depth at the first few steps, but as he advanced his legs sank in. He soon had mud up to the middle of the leg, and water up to the middle of the knee. He walked along, raising Marius with both arms as high as he could above the surface of the water; the mud now came up to his knees and the water to his waist. He could no longer draw back, and he sank in deeper and deeper. This mud, dense enough for the weight of one man, could not evidently bear two; Marius and Jean Valjean might have had a chance of getting out separately; but, for all that, Jean Valjean continued to advance, bearing the dying man, who was perhaps a corpse. The water came up to his armpits, and he felt himself drowning; he could scarce move in the depth of mud in which he was standing, for the density which was the support was also the obstacle. He still kept Marius up, and advanced with an extraordinary expenditure of strength, but he was sinking. He had only his head out of water and his two arms sustaining Marius. In the old paintings of the Deluge there is a mother holding her child in the same way. As he still sank he threw back his face to escape the water and be able to breathe; any one who saw him in this darkness would have fancied he saw a mask floating on the gloomy waters; he vaguely perceived above him Marius's hanging head and livid face; he made a desperate effort and advanced his foot, which struck against something solid, – a resting-place. It was high time.

He drew himself up, and writhed and rooted himself with a species of fury upon this support. It produced on him the effect of the first step of a staircase reascending to life. This support, met with in the mud at the supreme moment, was the beginning of the other side of the roadway, which had fallen in without breaking, and bent under the water like a plank in a single piece. A well-constructed pavement forms a curve, and possesses such firmness. This fragment of roadway, partly submerged, but solid, was a real incline, and once upon it they were saved. Jean Valjean ascended it, and attained the other side of the slough. On leaving the water his foot caught against a stone and he fell on his knees. He found that this was just, and remained on them for some time, with his soul absorbed in words addressed to God.

He rose, shivering, chilled, polluted, bent beneath the dying man he carried, all dripping with filth, but with his soul full of a strange brightness.

CHAPTER VII

SOMETIMES ONE IS STRANDED WHERE HE THINKS TO LAND

He set out once again; still, if he had not left his life in the fontis, he seemed to have left his strength there. This supreme effort had exhausted him, and his fatigue was now so great that he was obliged to rest every three or four paces to take breath, and leaned against the wall. Once he was obliged to sit down on the banquette in order to alter Marius's position, and believed that he should remain there. But if his vigor were dead his energy was not so, and he rose again. He walked desperately, almost quickly, went thus one hundred yards without raising his head, almost without breathing, and all at once ran against the wall. He had reached an elbow of the drain, and on arriving head down at the turning, came against the wall. He raised his eyes, and at the end of the passage down there, far, very far away, perceived a light. But this time it was no terrible light, but white, fair light. It was daylight. Jean Valjean saw the outlet. A condemned soul that suddenly saw from the middle of the furnace the issue from Gehenna would feel what Jean Valjean felt. It would fly wildly with the stumps of its burnt wings toward the radiant gate. Jean Valjean no longer felt fatigue, he no longer felt Marius's weight, he found again his muscles of steel, and ran rather than walked. As he drew nearer, the outlet became more distinctly designed; it was an arch, not so tall as the roof, which gradually contracted, and not so wide as the gallery, which grew narrower at the same time as the roof became lowered. The tunnel finished inside in the shape of a funnel, – a faulty reduction, imitated from the wickets of houses of correction, logical in a prison, but illogical in a drain, and which has since been corrected.

Jean Valjean reached the issue and then stopped; it was certainly the outlet, but they could not get out. The arch was closed by a strong grating, and this grating, which apparently rarely turned on its oxidized hinges, was fastened to the stone wall by a heavy lock, which, red with rust, seemed an enormous brick. The key-hole was visible, as well as the bolt deeply plunged into its iron box. It was one of those Bastille locks of which ancient Paris was so prodigal. Beyond the grating were the open air, the river, daylight, the bank, – very narrow but sufficient to depart, – the distant quays, Paris, – that gulf in which a man hides himself so easily, – the wide horizon, and liberty. On the right could be distinguished, down the river, the Pont de Jéna, and at the left, up stream, the Pont des Invalides; the spot would have been a favorable one to await night and escape. It was one of the most solitary points in Paris, the bank facing the Gros-Caillou. The flies went in and out through the grating bars. It might be about half-past eight in the evening, and day was drawing in: Jean Valjean laid Marius along the wall on the dry part of the way, then walked up to the grating and seized the bars with both hands; the shock was frenzied, but the effect nil. The grating did not stir. Jean Valjean seized the bars one after the other, hoping he might be able to break out the least substantial one and employ it as a lever to lift, the gate off the hinges or break the lock, but not a bar stirred. A tiger's teeth are not more solidly set in their sockets. Without a lever it was impossible to open the grating, and the obstacle was invincible.

Must he finish, then, there? What should he do? What would become of him? He had not the strength to turn back and recommence the frightful journey which he had already made. Moreover, how was he to cross again that slough from which he had only escaped by a miracle? And after the slough, was there not the police squad, which he assuredly would not escape twice; and then where should he go, and what direction take? Following the slope would not lead to his object, for if he reached another outlet he would find it obstructed by an iron plate or a grating. All the issues were indubitably closed in that way; accident had left the grating by which they entered open, but it was plain that all the other mouths of the sewer were closed. They had only succeeded in escaping into a prison.

It was all over, and all that Jean Valjean had done was useless: God opposed it. They were both caught in the dark and immense web of death, and Jean Valjean felt the fearful spider already running along the black threads in the darkness. He turned his hack to the grating and fell on the pavement near Marius, who was still motionless, and whose head had fallen between his knees. There was no outlet; that was the last drop of agony. Of whom did he think in this profound despondency? Neither of himself nor of Marius! He thought of Cosette.

CHAPTER VIII

THE TORN COAT-SKIRT

In the midst of his annihilation a hand was laid on his shoulder, and a low voice said, —

"Half shares."

Some one in this shadow? As nothing so resembles a dream as despair, Jean Valjean fancied that he was dreaming. He had not heard a footstep. Was it possible? He raised his eyes, and a man was standing before him. This man was dressed in a blouse, his feet were naked, and he held his shoes in his hand; he had evidently taken them off in order to be able to reach Jean Valjean without letting his footsteps be heard. Jean Valjean had not a moment's hesitation: however unexpected the meeting might be, the man was known to him: it was Thénardier. Although, so to speak, aroused with a start, Jean Valjean, accustomed to alarms and to unexpected blows which it is necessary to parry quickly, at once regained possession of all his presence of mind. Besides, the situation could not be worse; a certain degree of distress is not capable of any crescendo, and Thénardier himself could not add any blackness to this night. There was a moment's expectation. Thénardier, raising his right hand to the level of his forehead, made a screen of it; then he drew his eyebrows together with a wink, which, with a slight pinching of the lips, characterizes the sagacious attention of a man who is striving to recognize another. He did not succeed. Jean Valjean, as we said, was turning his back to the light, and was besides so disfigured, so filthy, and blood-stained that he could not have been recognized in broad daylight. On the other hand, Thénardier, with his face lit up by the light from the grating, – a cellar brightness, it is true, – livid but precise in his lividness, leaped at once into Jean Valjean's eyes, to employ the energetic popular metaphor. This inequality of conditions sufficed to insure some advantage to Jean Valjean in the mysterious duel which was about to begin between the two situations and the two men. The meeting took place between Jean Valjean masked and Thénardier unmasked. Jean Valjean at once perceived that Thénardier did not recognize him; and they looked at each other silently in this gloom, as if taking each other's measure. Thénardier was the first to break the silence.

"How do you mean to get out?"

Jean Valjean not replying, Thénardier continued:

"It is impossible to pick the lock: and yet you must get out of here."

"That is true," said Jean Valjean.

"Well, then, half shares."

"What do you mean?"

"You have killed the man; very good, and I have the key."

Thénardier pointed to Marius, and continued, —

"I do not know you, but you must be a friend, and I wish to help you."

Jean Valjean began to understand. Thénardier took him for an assassin. The latter continued, —

"Listen, mate; you did not kill this man without looking to see what he had in his pockets. Give me my half and I open the gate."

And half drawing a heavy key from under his ragged blouse, he added, —

"Would you like to see how the key to liberty is made? Look here."

Jean Valjean was so dazed that he doubted whether what he saw was real. It was Providence appearing in a horrible form, and the good angel issuing from the ground in the shape of Thénardier. The latter thrust his hand into a wide pocket hidden under his blouse, drew out a rope, and handed it to Jean Valjean.

"There," he said, "I give you the rope into the bargain."

"What am I to do with the rope?"

"You also want a stone, but you will find that outside, as there is a heap of them."

"What am I to do with a stone?"

"Why, you ass, as you are going to throw the stiff into the river, you want a rope and a stone, or else the body will float on the water."

Jean Valjean took the rope mechanically, and Thénardier snapped his fingers as if a sudden idea had occurred to him.