The Man Who Laughs. Victor Hugo

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СКАЧАТЬ Placed there by man, he there awaited God. Above him floated, blended with all the vague distortions of the cloud and the wave, boundless dreams of shadow.

      Who could tell what sinister mysteries lurked behind this phantom? The illimitable, circumscribed by naught, nor tree, nor roof, nor passer-by, was around the dead man. When the unchangeable broods over us – when Heaven, the abyss, the life, grave, and eternity appear patent – then it is we feel that all is inaccessible, all is forbidden, all is sealed. When infinity opens to us, terrible indeed is the closing of the gate behind.

      CHAPTER VI.

      STRUGGLE BETWEEN DEATH AND LIFE

      The child was before this thing, dumb, wondering, and with eyes fixed.

      To a man it would have been a gibbet; to the child it was an apparition.

      Where a man would have seen a corpse the child saw a spectre.

      Besides, he did not understand.

      The attractions of the obscure are manifold. There was one on the summit of that hill. The child took a step, then another; he ascended, wishing all the while to descend; and approached, wishing all the while to retreat.

      Bold, yet trembling, he went close up to survey the spectre.

      When he got close under the gibbet, he looked up and examined it.

      The spectre was tarred; here and there it shone. The child distinguished the face. It was coated over with pitch; and this mask, which appeared viscous and sticky, varied its aspect with the night shadows. The child saw the mouth, which was a hole; the nose, which was a hole; the eyes, which were holes. The body was wrapped, and apparently corded up, in coarse canvas, soaked in naphtha. The canvas was mouldy and torn. A knee protruded through it. A rent disclosed the ribs – partly corpse, partly skeleton. The face was the colour of earth; slugs, wandering over it, had traced across it vague ribbons of silver. The canvas, glued to the bones, showed in reliefs like the robe of a statue. The skull, cracked and fractured, gaped like a rotten fruit. The teeth were still human, for they retained a laugh. The remains of a cry seemed to murmur in the open mouth. There were a few hairs of beard on the cheek. The inclined head had an air of attention.

      Some repairs had recently been done; the face had been tarred afresh, as well as the ribs and the knee which protruded from the canvas. The feet hung out below.

      Just underneath, in the grass, were two shoes, which snow and rain had rendered shapeless. These shoes had fallen from the dead man.

      The barefooted child looked at the shoes.

      The wind, which had become more and more restless, was now and then interrupted by those pauses which foretell the approach of a storm. For the last few minutes it had altogether ceased to blow. The corpse no longer stirred; the chain was as motionless as a plumb line.

      Like all newcomers into life, and taking into account the peculiar influences of his fate, the child no doubt felt within him that awakening of ideas characteristic of early years, which endeavours to open the brain, and which resembles the pecking of the young bird in the egg. But all that there was in his little consciousness just then was resolved into stupor. Excess of sensation has the effect of too much oil, and ends by putting out thought. A man would have put himself questions; the child put himself none – he only looked.

      The tar gave the face a wet appearance; drops of pitch, congealed in what had once been the eyes, produced the effect of tears. However, thanks to the pitch, the ravage of death, if not annulled, was visibly slackened and reduced to the least possible decay. That which was before the child was a thing of which care was taken: the man was evidently precious. They had not cared to keep him alive, but they cared to keep him dead.

      The gibbet was old, worm-eaten, although strong, and had been in use many years.

      It was an immemorial custom in England to tar smugglers. They were hanged on the seaboard, coated over with pitch and left swinging. Examples must be made in public, and tarred examples last longest. The tar was mercy: by renewing it they were spared making too many fresh examples. They placed gibbets from point to point along the coast, as nowadays they do beacons. The hanged man did duty as a lantern. After his fashion, he guided his comrades, the smugglers. The smugglers from far out at sea perceived the gibbets. There is one, first warning; another, second warning. It did not stop smuggling; but public order is made up of such things. The fashion lasted in England up to the beginning of this century. In 1822 three men were still to be seen hanging in front of Dover Castle. But, for that matter, the preserving process was employed not only with smugglers. England turned robbers, incendiaries, and murderers to the same account. Jack Painter, who set fire to the government storehouses at Portsmouth, was hanged and tarred in 1776. L'Abbé Coyer, who describes him as Jean le Peintre, saw him again in 1777. Jack Painter was hanging above the ruin he had made, and was re-tarred from time to time. His corpse lasted – I had almost said lived – nearly fourteen years. It was still doing good service in 1788; in 1790, however, they were obliged to replace it by another. The Egyptians used to value the mummy of the king; a plebeian mummy can also, it appears, be of service.

      The wind, having great power on the hill, had swept it of all its snow. Herbage reappeared on it, interspersed here and there with a few thistles; the hill was covered by that close short grass which grows by the sea, and causes the tops of cliffs to resemble green cloth. Under the gibbet, on the very spot over which hung the feet of the executed criminal, was a long and thick tuft, uncommon on such poor soil. Corpses, crumbling there for centuries past, accounted for the beauty of the grass. Earth feeds on man.

      A dreary fascination held the child; he remained there open-mouthed. He only dropped his head a moment when a nettle, which felt like an insect, stung his leg; then he looked up again – he looked above him at the face which looked down on him. It appeared to regard him the more steadfastly because it had no eyes. It was a comprehensive glance, having an indescribable fixedness in which there were both light and darkness, and which emanated from the skull and teeth, as well as the empty arches of the brow. The whole head of a dead man seems to have vision, and this is awful. No eyeball, yet we feel that we are looked at. A horror of worms.

      Little by little the child himself was becoming an object of terror. He no longer moved. Torpor was coming over him. He did not perceive that he was losing consciousness – he was becoming benumbed and lifeless. Winter was silently delivering him over to night. There is something of the traitor in winter. The child was all but a statue. The coldness of stone was penetrating his bones; darkness, that reptile, was crawling over him. The drowsiness resulting from snow creeps over a man like a dim tide. The child was being slowly invaded by a stagnation resembling that of the corpse. He was falling asleep.

      On the hand of sleep is the finger of death. The child felt himself seized by that hand. He was on the point of falling under the gibbet. He no longer knew whether he was standing upright.

      The end always impending, no transition between to be and not to be, the return into the crucible, the slip possible every minute – such is the precipice which is Creation.

      Another instant, the child and the dead, life in sketch and life in ruin, would be confounded in the same obliteration.

      The spectre appeared to understand, and not to wish it. Of a sudden it stirred. One would have said it was warning the child. It was the wind beginning to blow again. Nothing stranger than this dead man in movement.

      The corpse at the end of the chain, pushed by the invisible gust, took an oblique attitude; rose to the left, then fell back, reascended to the right, and fell and rose with slow and mournful precision. A weird game of see-saw. It seemed as though one saw in the darkness the pendulum of the clock of Eternity.

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