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Misérables, Les Vol. 3

<h2> CHAPTER V—A PROVIDENTIAL PEEP-HOLE </h2> Marius had lived for five years in poverty, in destitution, even in distress, but he now perceived that he had not known real misery. True misery he had but just had a view of. It was its spectre which had just passed before his eyes. In fact, he who has only beheld the misery of man has seen nothing; the misery of woman is what he must see; he who has seen only the misery of woman has seen nothing; he must see the misery of the child. When a man has reached his last extremity, he has reached his last resources at the same time. Woe to the defenceless beings who surround him! Work, wages, bread, fire, courage, good will, all fail him simultaneously. The light of day seems extinguished without, the moral light within; in these shadows man encounters the feebleness of the woman and the child, and bends them violently to ignominy. Then all horrors become possible. Despair is surrounded with fragile partitions which all open on either vice or crime. Health, youth, honor, all the shy delicacies of the young body, the heart, virginity, modesty, that epidermis of the soul, are manipulated in sinister wise by that fumbling which seeks resources, which encounters opprobrium, and which accommodates itself to it. Fathers, mothers, children, brothers, sisters, men, women, daughters, adhere and become incorporated, almost like a mineral formation, in that dusky promiscuousness of sexes, relationships, ages, infamies, and innocences. They crouch, back to back, in a sort of hut of fate. They exchange woe-begone glances. Oh, the unfortunate wretches! How pale they are! How cold they are! It seems as though they dwelt in a planet much further from the sun than ours. This young girl was to Marius a sort of messenger from the realm of sad shadows. She revealed to him a hideous side of the night. Marius almost reproached himself for the preoccupations of revery and passion which had prevented his bestowing a glance on his neighbors up to that day. The payment of their rent had been a mechanical movement, which any one would have yielded to; but he, Marius, should have done better than that. What! only a wall separated him from those abandoned beings who lived gropingly in the dark outside the pale of the rest of the world, he was elbow to elbow with them, he was, in some sort, the last link of the human race which they touched, he heard them live, or rather, rattle in the death agony beside him, and he paid no heed to them! Every day, every instant, he heard them walking on the other side of the wall, he heard them go, and come, and speak, and he did not even lend an ear! And groans lay in those words, and he did not even listen to them, his thoughts were elsewhere, given up to dreams, to impossible radiances, to loves in the air, to follies; and all the while, human creatures, his brothers in Jesus Christ, his brothers in the people, were agonizing in vain beside him! He even formed a part of their misfortune, and he aggravated it. For if they had had another neighbor who was less chimerical and more attentive, any ordinary and charitable man, evidently their indigence would have been noticed, their signals of distress would have been perceived, and they would have been taken hold of and rescued! They appeared very corrupt and very depraved, no doubt, very vile, very odious even; but those who fall without becoming degraded are rare; besides, there is a point where the unfortunate and the infamous unite and are confounded in a single word, a fatal word, the miserable; whose fault is this? And then should not the charity be all the more profound, in proportion as the fall is great? While reading himself this moral lesson, for there were occasions on which Marius, like all truly honest hearts, was his own pedagogue and scolded himself more than he deserved, he stared at the wall which separated him from the Jondrettes, as though he were able to make his gaze, full of pity, penetrate that partition and warm these wretched people. The wall was a thin layer of plaster upheld by lathes and beams, and, as the reader had just learned, it allowed the sound of voices and words to be clearly distinguished. Only a man as dreamy as Marius could have failed to perceive this long before. There was no paper pasted on the wall, either on the side of the Jondrettes or on that of Marius; the coarse construction was visible in its nakedness. Marius examined the partition, almost unconsciously; sometimes revery examines, observes, and scrutinizes as thought would. All at once he sprang up; he had just perceived, near the top, close to the ceiling, a triangular hole, which resulted from the space between three lathes. The plaster which should have filled this cavity was missing, and by mounting on the commode, a view could be had through this aperture into the Jondrettes' attic. Commiseration has, and should have, its curiosity. This aperture formed a sort of peep-hole. It is permissible to gaze at misfortune like a traitor in order to succor it.27 "Let us get some little idea of what these people are like," thought Marius, "and in what condition they are." He climbed upon the commode, put his eye to the crevice, and looked. <h2> CHAPTER VI—THE WILD MAN IN HIS LAIR </h2> Cities, like forests, have their caverns in which all the most wicked and formidable creatures which they contain conceal themselves. Only, in cities, that which thus conceals itself is ferocious, unclean, and petty, that is to say, ugly; in forests, that which conceals itself is ferocious, savage, and grand, that is to say, beautiful. Taking one lair with another, the beast's is preferable to the man's. Caverns are better than hovels. What Marius now beheld was a hovel. Marius was poor, and his chamber was poverty-stricken, but as his poverty was noble, his garret was neat. The den upon which his eye now rested was abject, dirty, fetid, pestiferous, mean, sordid. The only furniture consisted of a straw chair, an infirm table, some old bits of crockery, and in two of the corners, two indescribable pallets; all the light was furnished by a dormer window of four panes, draped with spiders' webs. Through this aperture there penetrated just enough light to make the face of a man appear like the face of a phantom. The walls had a leprous aspect, and were covered with seams and scars, like a visage disfigured by some horrible malady; a repulsive moisture exuded from them. Obscene sketches roughly sketched with charcoal could be distinguished upon them. The chamber which Marius occupied had a dilapidated brick pavement; this one was neither tiled nor planked; its inhabitants stepped directly on the antique plaster of the hovel, which had grown black under the long-continued pressure of feet. Upon this uneven floor, where the dirt seemed to be fairly incrusted, and which possessed but one virginity, that of the broom, were capriciously grouped constellations of old shoes, socks, and repulsive rags; however, this room had a fireplace, so it was let for forty francs a year. There was every sort of thing in that fireplace, a brazier, a pot, broken boards, rags suspended from nails, a bird-cage, ashes, and even a little fire. Two brands were smouldering there in a melancholy way. One thing which added still more to the horrors of this garret was, that it was large. It had projections and angles and black holes, the lower sides of roofs, bays, and promontories. Hence horrible, unfathomable nooks where it seemed as though spiders as big as one's fist, wood-lice as large as one's foot, and perhaps even—who knows?—some monstrous human beings, must be hiding. One of the pallets was near the door, the other near the window. One end of each touched the fireplace and faced Marius. In a corner near the aperture through which Marius was gazing, a colored engraving in a black frame was suspended to a nail on the wall, and at its bottom, in large letters, was the inscription: THE DREAM. This represented a sleeping woman, and a child, also asleep, the child on the woman's lap, an eagle in a cloud, with a crown in his beak, and the woman thrusting the crown away from the child's head, without awaking the latter; in the background, Napoleon in a glory, leaning on a very blue column with a yellow capital ornamented with this inscription: MARINGO AUSTERLITS IENA WAGRAMME ELOT Beneath this frame, a sort of wooden panel, which was no longer than it was broad, stood on the ground and rested in a sloping attitude against the wall. It had the appearance of a picture with its face turned to the wall, of a frame probably showing a daub on the other side, of some pier-glass detached from a wall and lying forgotten there while waiting to be rehung. Near the table, upon which Marius descried a pen, ink, and paper, sat a man about sixty years of age, small, thin, livid, haggard, with a cunning, cruel, and uneasy air; a hideous scoundrel. If Lavater had studied this visage, he would have found the vulture mingled with the attorney there, the bird of prey and the pettifogger rendering each other mutually hideous and complementing each other; the pettifogger making the bird of prey ignoble, the bird of prey making the pettifogger horrible. This man had a long gray beard. He was clad in a woman's chemise, which allowed his hairy breast and his bare arms, bristling with gray hair, to be seen. Beneath this chemise, muddy trousers and boots through which his toes projected were visible. He had a pipe in his mouth and was smoking. There was no bread in the hovel, but there was still tobacco. He was writing probably some more letters like those which Marius had read. On the corner of the table lay an ancient, dilapidated, reddish volume, and the size, which was the antique 12mo of reading-rooms, betrayed a romance. On the cover sprawled the following title, printed in large capitals: GOD; THE KING; HONOR AND THE LADIES; BY DUCRAY DUMINIL, 1814. As the man wrote, he talked aloud, and Marius heard his words:— "The idea that there is no equality, even when you are dead! Just look at Pere Lachaise! The great, those who are rich, are up above, in the acacia alley, which is paved. They can reach it in a carriage. The little people, the poor, the unhappy, well, what of them? they are put down below, where the mud is up to your knees, in the damp places. They are put there so that they will decay the sooner! You cannot go to see them without sinking into the earth." He paused, smote the table with his fist, and added, as he ground his teeth:— "Oh! I could eat the whole world!" A big woman, who might be forty years of age, or a hundred, was crouching near the fireplace on her bare heels. She, too, was clad only in a chemise and a knitted petticoat patched with bits of old cloth. A coarse linen apron concealed the half of her petticoat. Although this woman was doubled up and bent together, it could be seen that she was of very lofty stature. She was a sort of giant, beside her husband. She had hideous hair, of a reddish blond which was turning gray, and which she thrust back from time to time, with her enormous shining hands, with their flat nails. Beside her, on the floor, wide open, lay a book of the same form as the other, and probably a volume of the same romance. On one of the pallets, Marius caught a glimpse of a sort of tall pale young girl, who sat there half naked and with pendant feet, and who did not seem to be listening or seeing or living. No doubt the younger sister of the one who had come to his room. She seemed to be eleven or twelve years of age. On closer scrutiny it was evident that she really was fourteen. She was the child who had said, on the boulevard the evening before: "I bolted, bolted, bolted!" She was of that puny sort which remains backward for a long time, then suddenly starts up rapidly. It is indigence which produces these melancholy human plants. These creatures have neither childhood nor youth. At fifteen years of age they appear to be twelve, at sixteen they seem twenty. To-day a little girl, to-morrow a woman. One might say that they stride through life, in order to get through with it the more speedily. At this moment, this being had the air of a child. Moreover, no trace of work was revealed in that dwelling; no handicraft, no spinning-wheel, not a tool. In one corner lay some ironmongery of dubious aspect. It was the dull listlessness which follows despair and precedes the death agony. Marius gazed for a while at this gloomy interior, more terrifying than the interior of a tomb, for the human soul could be felt fluttering there, and life was palpitating there. The garret, the cellar, the lowly ditch where certain indigent wretches crawl at the very bottom of the social edifice, is not exactly the sepulchre, but only its antechamber; but, as the wealthy display their greatest magnificence at the entrance of their palaces, it seems that death, which stands directly side by side with them, places its greatest miseries in that vestibule. The man held his peace, the woman spoke no word, the young girl did not even seem to breathe. The scratching of the pen on the paper was audible. The man grumbled, without pausing in his writing. "Canaille! canaille! everybody is canaille!" This variation to Solomon's exclamation elicited a sigh from the woman. "Calm yourself, my little friend," she said. "Don't hurt yourself, my dear. You are too good to write to all those people, husband." Bodies press close to each other in misery, as in cold, but hearts draw apart. This woman must have loved this man, to all appearance, judging from the amount of love within her; but probably, in the daily and reciprocal reproaches of the horrible distress which weighed on the whole group, this had become extinct. There no longer existed in her anything more than the ashes of affection for her husband. Nevertheless, caressing appellations had survived, as is often the case. She called him: My dear, my little friend, my good man, etc., with her mouth while her heart was silent. The man resumed his writing. <div style="break-after:column;"></div>

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