Виктор Мари Гюго
Les Misérables
CHAPTER V – IN THE CASE OF SAND AS IN THAT OF WOMAN, THERE IS A FINENESS WHICH IS TREACHEROUS
He felt that he was entering the water, and that he no longer had a pavement under his feet, but only mud.
It sometimes happens, that on certain shores of Bretagne or Scotland a man, either a traveller or a fisherman, while walking at low tide on the beach far from shore, suddenly notices that for several minutes past, he has been walking with some difficulty. The beach under foot is like pitch; his soles stick fast to it; it is no longer sand, it is bird-lime. The strand is perfectly dry, but at every step that he takes, as soon as the foot is raised, the print is filled with water. The eye, however, has perceived no change; the immense beach is smooth and tranquil, all the sand has the same aspect, nothing distinguishes the soil that is solid from that which is not solid; the joyous little cloud of sand-lice continues to leap tumultuously under the feet of the passer-by.
The man pursues his way, he walks on, turns towards the land, endeavors to approach the shore. He is not uneasy. Uneasy about what? Only he is conscious that the heaviness of his feet seems to be increasing at every step that he takes. All at once he sinks in. He sinks in two or three inches. Decidedly, he is not on the right road; he halts to get his bearings. Suddenly he glances at his feet; his feet have disappeared. The sand has covered them. He draws his feet out of the sand, he tries to retrace his steps, he turns back, he sinks in more deeply than before. The sand is up to his ankles, he tears himself free from it and flings himself to the left, the sand reaches to mid-leg, he flings himself to the right, the sand comes up to his knees. Then, with indescribable terror, he recognizes the fact that he is caught in a quicksand, and that he has beneath him that frightful medium in which neither man can walk nor fish can swim. He flings away his burden, if he have one, he lightens himself, like a ship in distress; it is too late, the sand is above his knees.
He shouts, he waves his hat, or his handkerchief, the sand continually gains on him; if the beach is deserted, if the land is too far away, if the bank of sand is too ill-famed, there is no hero in the neighborhood, all is over, he is condemned to be engulfed. He is condemned to that terrible interment, long, infallible, implacable, which it is impossible to either retard or hasten, which lasts for hours, which will not come to an end, which seizes you erect, free, in the flush of health, which drags you down by the feet, which, at every effort that you attempt, at every shout that you utter, draws you a little lower, which has the air of punishing you for your resistance by a redoubled grasp, which forces a man to return slowly to earth, while leaving him time to survey the horizon, the trees, the verdant country, the smoke of the villages on the plain, the sails of the ships on the sea, the birds which fly and sing, the sun and the sky. This engulfment is the sepulchre which assumes a tide, and which mounts from the depths of the earth towards a living man. Each minute is an inexorable layer-out of the dead. The wretched man tries to sit down, to lie down, to climb; every movement that he makes buries him deeper; he straightens himself up, he sinks; he feels that he is being swallowed up; he shrieks, implores, cries to the clouds, wrings his hands, grows desperate. Behold him in the sand up to his belly, the sand reaches to his breast, he is only a bust now. He uplifts his hands, utters furious groans, clenches his nails on the beach, tries to cling fast to that ashes, supports himself on his elbows in order to raise himself from that soft sheath, and sobs frantically; the sand mounts higher. The sand has reached his shoulders, the sand reaches to his throat; only his face is visible now. His mouth cries aloud, the sand fills it; silence. His eyes still gaze forth, the sand closes them, night. Then his brow decreases, a little hair quivers above the sand; a hand projects, pierces the surface of the beach, waves and disappears. Sinister obliteration of a man.
Sometimes a rider is engulfed with his horse; sometimes the carter is swallowed up with his cart; all founders in that strand. It is shipwreck elsewhere than in the water. It is the earth drowning a man. The earth, permeated with the ocean, becomes a pitfall. It presents itself in the guise of a plain, and it yawns like a wave. The abyss is subject to these treacheries.
This melancholy fate, always possible on certain sea beaches, was also possible, thirty years ago, in the sewers of Paris.
Before the important works, undertaken in 1833, the subterranean drain of Paris was subject to these sudden slides.
The water filtered into certain subjacent strata, which were particularly friable; the foot-way, which was of flag-stones, as in the ancient sewers, or of cement on concrete, as in the new galleries, having no longer an underpinning, gave way. A fold in a flooring of this sort means a crack, means crumbling. The framework crumbled away for a certain length. This crevice, the hiatus of a gulf of mire, was called a fontis, in the special tongue. What is a fontis? It is the quicksands of the seashore suddenly encountered under the surface of the earth; it is the beach of Mont Saint-Michel in a sewer. The soaked soil is in a state of fusion, as it were; all its molecules are in suspension in soft medium; it is not earth and it is not water. The depth is sometimes very great. Nothing can be more formidable than such an encounter. If the water predominates, death is prompt, the man is swallowed up; if earth predominates, death is slow.
Can any one picture to himself such a death? If being swallowed by the earth is terrible on the seashore, what is it in a cesspool? Instead of the open air, the broad daylight, the clear horizon, those vast sounds, those free clouds whence rains life, instead of those barks descried in the distance, of that hope under all sorts of forms, of probable passers-by, of succor possible up to the very last moment, – instead of all this, deafness, blindness, a black vault, the inside of a tomb already prepared, death in the mire beneath a cover! slow suffocation by filth, a stone box where asphyxia opens its claw in the mire and clutches you by the throat; fetidness mingled with the death-rattle; slime instead of the strand, sulfuretted hydrogen in place of the hurricane, dung in place of the ocean! And to shout, to gnash one’s teeth, and to writhe, and to struggle, and to agonize, with that enormous city which knows nothing of it all, over one’s head!
Inexpressible is the horror of dying thus! Death sometimes redeems his atrocity by a certain terrible dignity. On the funeral pile, in shipwreck, one can be great; in the flames as in the foam, a superb attitude is possible; one there becomes transfigured as one perishes. But not here. Death is filthy. It is humiliating to expire. The supreme floating visions are abject. Mud is synonymous with shame. It is petty, ugly, infamous. To die in a butt of Malvoisie, like Clarence, is permissible; in the ditch of a scavenger, like Escoubleau, is horrible. To struggle therein is hideous; at the same time that one is going through the death agony, one is floundering about. There are shadows enough for hell, and mire enough to render it nothing but a slough, and the dying man knows not whether he is on the point of becoming a spectre or a frog.
Everywhere else the sepulchre is sinister; here it is deformed.
The depth of the fontis varied, as well as their length and their density, according to the more or less bad quality of the sub-soil. Sometimes a fontis was three or four feet deep, sometimes eight or ten; sometimes the bottom was unfathomable. Here the mire was almost solid, there almost liquid. In the Lunière fontis, it would have taken a man a day to disappear, while he would have been devoured in five minutes by the Philippeaux slough. The mire bears up more or less, according to its density. A child can escape where a man will perish. The first law of safety is to get rid of every sort of load. Every sewerman who felt the ground giving way beneath him began by flinging away his sack of tools, or his back-basket, or his hod.
The fontis were due to different causes: the friability of the soil; some landslip at a depth beyond the reach of man; the violent summer rains; the incessant flooding of winter; long, drizzling showers. Sometimes the weight of the surrounding houses on a marly or sandy soil forced out the vaults of the subterranean galleries and caused them to bend aside, or it chanced that a flooring vault burst and split under this crushing thrust. In this manner, the heaping up of the Parthénon, obliterated, a century ago, a portion of the vaults of Saint-Geneviève hill. When a sewer was broken in under the pressure of the houses, the mischief was sometimes betrayed in the street above by a sort of space, like the teeth of a saw, between the paving-stones; this crevice was developed in an undulating line throughout the entire length of the cracked vault, and then, the evil being visible, the remedy could be promptly applied. It also frequently happened, that the interior ravages were not revealed by any external scar, and in that case, woe to the sewermen. When they entered without precaution into the sewer, they were liable to be lost. Ancient registers make mention of several scavengers who were buried in fontis in this manner. They give many names; among others, that of the sewerman who was swallowed up in a quagmire under the man-hole of the Rue Carême-Prenant, a certain Blaise Poutrain; this Blaise Poutrain was the brother of Nicholas Poutrain, who was the last grave-digger of the cemetery called the Charnier des Innocents, in 1785, the epoch when that cemetery expired.
There was also that young and charming Vicomte d’Escoubleau, of whom we have just spoken, one of the heroes of the siege of Lérida, where they delivered the assault in silk stockings, with violins at their head. D’Escoubleau, surprised one night at his cousin’s, the Duchesse de Sourdis’, was drowned in a quagmire of the Beautreillis sewer, in which he had taken refuge in order to escape from the Duke. Madame de Sourdis, when informed of his death, demanded her smelling-bottle, and forgot to weep, through sniffling at her salts. In such cases, there is no love which holds fast; the sewer extinguishes it. Hero refuses to wash the body of Leander. Thisbe stops her nose in the presence of Pyramus and says: “Phew!”
CHAPTER VI – THE FONTIS
Jean Valjean found himself in the presence of a fontis.
This sort of quagmire was common at that period in the subsoil of the Champs-Élysées, difficult to handle in the hydraulic works and a bad preservative of the subterranean constructions, on account of its excessive fluidity. This fluidity exceeds even the inconsistency of the sands of the Quartier Saint-Georges, which could only be conquered by a stone construction on a concrete foundation, and the clayey strata, infected with gas, of the Quartier des Martyrs, which are so liquid that the only way in which a passage was effected under the gallery des Martyrs was by means of a cast-iron pipe. When, in 1836, the old stone sewer beneath the Faubourg Saint-Honoré, in which we now see Jean Valjean, was demolished for the purpose of reconstructing it, the quicksand, which forms the subsoil of the Champs-Élysées as far as the Seine, presented such an obstacle, that the operation lasted nearly six months, to the great clamor of the dwellers on the riverside, particularly those who had hotels and carriages. The work was more than unhealthy; it was dangerous. It is true that they had four months and a half of rain, and three floods of the Seine.
The fontis which Jean Valjean had encountered was caused by the downpour of the preceding day. The pavement, badly sustained by the subjacent sand, had given way and had produced a stoppage of the water. Infiltration had taken place, a slip had followed. The dislocated bottom had sunk into the ooze. To what extent? Impossible to say. The obscurity was more dense there than elsewhere. It was a pit of mire in a cavern of night.
Jean Valjean felt the pavement vanishing beneath his feet. He entered this slime. There was water on the surface, slime at the bottom. He must pass it. To retrace his steps was impossible. Marius was dying, and Jean Valjean exhausted. Besides, where was he to go? Jean Valjean advanced. Moreover, the pit seemed, for the first few steps, not to be very deep. But in proportion as he advanced, his feet plunged deeper. Soon he had the slime up to his calves and water above his knees. He walked on, raising Marius in his arms, as far above the water as he could. The mire now reached to his knees, and the water to his waist. He could no longer retreat. This mud, dense enough for one man, could not, obviously, uphold two. Marius and Jean Valjean would have stood a chance of extricating themselves singly. Jean Valjean continued to advance, supporting the dying man, who was, perhaps, a corpse.
The water came up to his arm-pits; he felt that he was sinking; it was only with difficulty that he could move in the depth of ooze which he had now reached. The density, which was his support, was also an obstacle. He still held Marius on high, and with an unheard-of expenditure of force, he advanced still; but he was sinking. He had only his head above the water now and his two arms holding up Marius. In the old paintings of the deluge there is a mother holding her child thus.
He sank still deeper, he turned his face to the rear, to escape the water, and in order that he might be able to breathe; anyone who had seen him in that gloom would have thought that what he beheld was a mask floating on the shadows; he caught a faint glimpse above him of the drooping head and livid face of Marius; he made a desperate effort and launched his foot forward; his foot struck something solid; a point of support. It was high time.
He straightened himself up, and rooted himself upon that point of support with a sort of fury. This produced upon him the effect of the first step in a staircase leading back to life.
The point of support, thus encountered in the mire at the supreme moment, was the beginning of the other watershed of the pavement, which had bent but had not given way, and which had curved under the water like a plank and in a single piece. Well built pavements form a vault and possess this sort of firmness. This fragment of the vaulting, partly submerged, but solid, was a veritable inclined plane, and, once on this plane, he was safe. Jean Valjean mounted this inclined plane and reached the other side of the quagmire.
As he emerged from the water, he came in contact with a stone and fell upon his knees. He reflected that this was but just, and he remained there for some time, with his soul absorbed in words addressed to God.
He rose to his feet, shivering, chilled, foul-smelling, bowed beneath the dying man whom he was dragging after him, all dripping with slime, and his soul filled with a strange light.
CHAPTER VII – ONE SOMETIMES RUNS AGROUND WHEN ONE FANCIES THAT ONE IS DISEMBARKING
He set out on his way once more.
However, although he had not left his life in the fontis, he seemed to have left his strength behind him there. That supreme effort had exhausted him. His lassitude was now such that he was obliged to pause for breath every three or four steps, and lean against the wall. Once he was forced to seat himself on the banquette in order to alter Marius’ position, and he thought that he should have to remain there. But if his vigor was dead, his energy was not. He rose again.
He walked on desperately, almost fast, proceeded thus for a hundred paces, almost without drawing breath, and suddenly came in contact with the wall. He had reached an elbow of the sewer, and, arriving at the turn with head bent down, he had struck the wall. He raised his eyes, and at the extremity of the vault, far, very far away in front of him, he perceived a light. This time it was not that terrible light; it was good, white light. It was daylight. Jean Valjean saw the outlet.
A damned soul, who, in the midst of the furnace, should suddenly perceive the outlet of Gehenna, would experience what Jean Valjean felt. It would fly wildly with the stumps of its burned wings towards that radiant portal. Jean Valjean was no longer conscious of fatigue, he no longer felt Marius’ weight, he found his legs once more of steel, he ran rather than walked. As he approached, the outlet became more and more distinctly defined. It was a pointed arch, lower than the vault, which gradually narrowed, and narrower than the gallery, which closed in as the vault grew lower. The tunnel ended like the interior of a funnel; a faulty construction, imitated from the wickets of penitentiaries, logical in a prison, illogical in a sewer, and which has since been corrected.
Jean Valjean reached the outlet.
There he halted.
It certainly was the outlet, but he could not get out.
The arch was closed by a heavy grating, and the grating, which, to all appearance, rarely swung on its rusty hinges, was clamped to its stone jamb by a thick lock, which, red with rust, seemed like an enormous brick. The keyhole could be seen, and the robust latch, deeply sunk in the iron staple. The door was plainly double-locked. It was one of those prison locks which old Paris was so fond of lavishing.
Beyond the grating was the open air, the river, the daylight, the shore, very narrow but sufficient for escape. The distant quays, Paris, that gulf in which one so easily hides oneself, the broad horizon, liberty. On the right, downstream, the bridge of Jéna was discernible, on the left, upstream, the bridge of the Invalides; the place would have been a propitious one in which to await the night and to escape. It was one of the most solitary points in Paris; the shore which faces the Grand-Caillou. Flies were entering and emerging through the bars of the grating.
It might have been half-past eight o’clock in the evening. The day was declining.
Jean Valjean laid Marius down along the wall, on the dry portion of the vaulting, then he went to the grating and clenched both fists round the bars; the shock which he gave it was frenzied, but it did not move. The grating did not stir. Jean Valjean seized the bars one after the other, in the hope that he might be able to tear away the least solid, and to make of it a lever wherewith to raise the door or to break the lock. Not a bar stirred. The teeth of a tiger are not more firmly fixed in their sockets. No lever; no prying possible. The obstacle was invincible. There was no means of opening the gate.
Must he then stop there? What was he to do? What was to become of him? He had not the strength to retrace his steps, to recommence the journey which he had already taken. Besides, how was he to again traverse that quagmire whence he had only extricated himself as by a miracle? And after the quagmire, was there not the police patrol, which assuredly could not be twice avoided? And then, whither was he to go? What direction should he pursue? To follow the incline would not conduct him to his goal. If he were to reach another outlet, he would find it obstructed by a plug or a grating. Every outlet was, undoubtedly, closed in that manner. Chance had unsealed the grating through which he had entered, but it was evident that all the other sewer mouths were barred. He had only succeeded in escaping into a prison.
All was over. Everything that Jean Valjean had done was useless. Exhaustion had ended in failure.
They were both caught in the immense and gloomy web of death, and Jean Valjean felt the terrible spider running along those black strands and quivering in the shadows. He turned his back to the grating, and fell upon the pavement, hurled to earth rather than seated, close to Marius, who still made no movement, and with his head bent between his knees. This was the last drop of anguish.
Of what was he thinking during this profound depression? Neither of himself nor of Marius. He was thinking of Cosette.
