Les Misérables, Victor Hugo [best love novels of all time .TXT] 📗

Conciergerie, had made his escape, by turning to the left instead of to the right in “the police office.”

Gavroche expressed his admiration for this skill.

“What a dentist!” he cried.

Montparnasse added a few details as to Babet’s flight, and ended with:—

“Oh! That’s not all.”

Gavroche, as he listened, had seized a cane that Montparnasse held in his hand, and mechanically pulled at the upper part, and the blade of a dagger made its appearance.

“Ah!” he exclaimed, pushing the dagger back in haste, “you have brought along your gendarme disguised as a bourgeois.”

Montparnasse winked.

“The deuce!” resumed Gavroche, “so you’re going to have a bout with the bobbies?”

“You can’t tell,” replied Montparnasse with an indifferent air. “It’s always a good thing to have a pin about one.”

Gavroche persisted:—

“What are you up to to-night?”

Again Montparnasse took a grave tone, and said, mouthing every syllable: “Things.”

And abruptly changing the conversation:—

“By the way!”

“What?”

“Something happened t’other day. Fancy. I meet a bourgeois. He makes me a present of a sermon and his purse. I put it in my pocket. A minute later, I feel in my pocket. There’s nothing there.”

“Except the sermon,” said Gavroche.

“But you,” went on Montparnasse, “where are you bound for now?”

Gavroche pointed to his two protégés, and said:—

“I’m going to put these infants to bed.”

“Whereabouts is the bed?”

“At my house.”

“Where’s your house?”

“At my house.”

“So you have a lodging?”

“Yes, I have.”

“And where is your lodging?”

“In the elephant,” said Gavroche.

Montparnasse, though not naturally inclined to astonishment, could not restrain an exclamation.

“In the elephant!”

“Well, yes, in the elephant!” retorted Gavroche. “Kekçaa?”

This is another word of the language which no one writes, and which every one speaks.

Kekçaa signifies: Qu’est que c’est que cela a? [What’s the matter with that?]

The urchin’s profound remark recalled Montparnasse to calmness and good sense. He appeared to return to better sentiments with regard to Gavroche’s lodging.

“Of course,” said he, “yes, the elephant. Is it comfortable there?”

“Very,” said Gavroche. “It’s really bully there. There ain’t any draughts, as there are under the bridges.”

“How do you get in?”

“Oh, I get in.”

“So there is a hole?” demanded Montparnasse.

“Parbleu! I should say so. But you mustn’t tell. It’s between the fore legs. The bobbies haven’t seen it.”

“And you climb up? Yes, I understand.”

“A turn of the hand, cric, crac, and it’s all over, no one there.”

After a pause, Gavroche added:—

“I shall have a ladder for these children.”

Montparnasse burst out laughing:—

“Where the devil did you pick up those young ‘uns?”

Gavroche replied with great simplicity:—

“They are some brats that a wig-maker made me a present of.”

Meanwhile, Montparnasse had fallen to thinking:—

“You recognized me very readily,” he muttered.

He took from his pocket two small objects which were nothing more than two quills wrapped in cotton, and thrust one up each of his nostrils. This gave him a different nose.

“That changes you,” remarked Gavroche, “you are less homely so, you ought to keep them on all the time.”

Montparnasse was a handsome fellow, but Gavroche was a tease.

“Seriously,” demanded Montparnasse, “how do you like me so?”

The sound of his voice was different also. In a twinkling, Montparnasse had become unrecognizable.

“Oh! Do play Porrichinelle for us!” exclaimed Gavroche.

The two children, who had not been listening up to this point, being occupied themselves in thrusting their fingers up their noses, drew near at this name, and stared at Montparnasse with dawning joy and admiration.

Unfortunately, Montparnasse was troubled.

He laid his hand on Gavroche’s shoulder, and said to him, emphasizing his words: “Listen to what I tell you, boy! if I were on the square with my dog, my knife, and my wife, and if you were to squander ten sous on me, I wouldn’t refuse to work, but this isn’t Shrove Tuesday.”

This odd phrase produced a singular effect on the gamin. He wheeled round hastily, darted his little sparkling eyes about him with profound attention, and perceived a police sergeant standing with his back to them a few paces off. Gavroche allowed an: “Ah! good!” to escape him, but immediately suppressed it, and shaking Montparnasse’s hand:—

“Well, good evening,” said he, “I’m going off to my elephant with my brats. Supposing that you should need me some night, you can come and hunt me up there. I lodge on the entresol. There is no porter. You will inquire for Monsieur Gavroche.”

“Very good,” said Montparnasse.

And they parted, Montparnasse betaking himself in the direction of the Grève, and Gavroche towards the Bastille. The little one of five, dragged along by his brother who was dragged by Gavroche, turned his head back several times to watch “Porrichinelle” as he went.

The ambiguous phrase by means of which Montparnasse had warned Gavroche of the presence of the policeman, contained no other talisman than the assonance dig repeated five or six times in different forms. This syllable, dig, uttered alone or artistically mingled with the words of a phrase, means: “Take care, we can no longer talk freely.” There was besides, in Montparnasse’s sentence, a literary beauty which was lost upon Gavroche, that is mon dogue, ma dague et ma digue, a slang expression of the Temple, which signifies my dog, my knife, and my wife, greatly in vogue among clowns and the red-tails in the great century when Molière wrote and Callot drew.

Twenty years ago, there was still to be seen in the southwest corner of the Place de la Bastille, near the basin of the canal, excavated in the ancient ditch of the fortress-prison, a singular monument, which has already been effaced from the memories of Parisians, and which deserved to leave some trace, for it was the idea of a “member of the Institute, the General-in-chief of the army of Egypt.”

We say monument, although it was only a rough model. But this model itself, a marvellous sketch, the grandiose skeleton of an idea of Napoleon’s, which successive gusts of wind have carried away and thrown, on each occasion, still further from us, had become historical and had acquired a certain definiteness which contrasted with its provisional aspect. It was an elephant forty feet high, constructed of timber and masonry, bearing on its back a tower which resembled a house, formerly painted green by some dauber, and now painted black by heaven, the wind, and time. In this deserted and unprotected corner of the place, the broad brow of the colossus, his trunk, his tusks, his tower, his enormous crupper, his four feet, like columns produced, at night, under the starry heavens, a surprising and terrible form. It was a sort of symbol of popular force. It was sombre, mysterious, and immense. It was some mighty, visible phantom, one knew not what, standing erect beside the invisible spectre of the Bastille.

Few strangers visited this edifice, no passer-by looked at it. It was falling into ruins; every season the plaster which detached itself from its sides formed hideous wounds upon it. “The ædiles,” as the expression ran in elegant dialect, had forgotten it ever since 1814. There it stood in its corner, melancholy, sick, crumbling, surrounded by a rotten palisade, soiled continually by drunken coachmen; cracks meandered athwart its belly, a lath projected from its tail, tall grass flourished between its legs; and, as the level of the place had been rising all around it for a space of thirty years, by that slow and continuous movement which insensibly elevates the soil of large towns, it stood in a hollow, and it looked as though the ground were giving way beneath it. It was unclean, despised, repulsive, and superb, ugly in the eyes of the bourgeois, melancholy in the eyes of the thinker. There was something about it of the dirt which is on the point of being swept out, and something of the majesty which is on the point of being decapitated. As we have said, at night, its aspect changed. Night is the real element of everything that is dark. As soon as twilight descended, the old elephant became transfigured; he assumed a tranquil and redoubtable appearance in the formidable serenity of the shadows. Being of the past, he belonged to night; and obscurity was in keeping with his grandeur.

This rough, squat, heavy, hard, austere, almost misshapen, but assuredly majestic monument, stamped with a sort of magnificent and savage gravity, has disappeared, and left to reign in peace, a sort of gigantic stove, ornamented with its pipe, which has replaced the sombre fortress with its nine towers, very much as the bourgeoisie replaces the feudal classes. It is quite natural that a stove should be the symbol of an epoch in which a pot contains power. This epoch will pass away, people have already begun to understand that, if there can be force in a boiler, there can be no force except in the brain; in other words, that which leads and drags on the world, is not locomotives, but ideas. Harness locomotives to ideas,—that is well done; but do not mistake the horse for the rider.

At all events, to return to the Place de la Bastille, the architect of this elephant succeeded in making a grand thing out of plaster; the architect of the stove has succeeded in making a pretty thing out of bronze.

This stove-pipe, which has been baptized by a sonorous name, and called the column of July, this monument of a revolution that miscarried, was still enveloped in 1832, in an immense shirt of woodwork, which we regret, for our part, and by a vast plank enclosure, which completed the task of isolating the elephant.

It was towards this corner of the place, dimly lighted by the reflection of a distant street lamp, that the gamin guided his two “brats.”

The reader must permit us to interrupt ourselves here and to remind him that we are dealing with simple reality, and that twenty years ago, the tribunals were called upon to judge, under the charge of vagabondage, and mutilation of a public monument, a child who had been caught asleep in this very elephant of the Bastille. This fact noted, we proceed.

On arriving in the vicinity of the colossus, Gavroche comprehended the effect which the infinitely great might produce on the infinitely small, and said:—

“Don’t be scared, infants.”

Then he entered through a gap in the fence into the elephant’s enclosure and helped the young ones to clamber through the breach. The two children, somewhat frightened, followed Gavroche without uttering a word, and confided themselves to this little Providence in rags which had given them bread and had promised them a shelter.

There, extended along the fence, lay a ladder which by day served the laborers in the neighboring timber-yard. Gavroche raised it with remarkable vigor, and placed it against one of the elephant’s forelegs. Near the point where the ladder ended, a sort of black hole in the belly of the colossus could be distinguished.

Gavroche pointed out the ladder and the hole to his guests, and said to them:—

“Climb up and go in.”

The two little boys exchanged terrified glances.

“You’re afraid, brats!” exclaimed Gavroche.

And he added:—

“You shall see!”

He clasped the rough leg of the elephant, and in a twinkling, without deigning to make use of the ladder, he had reached the aperture. He entered it as an adder slips through a crevice, and disappeared within, and an instant later, the two children saw his head, which looked pale, appear vaguely, on the edge of the shadowy hole, like a wan and whitish spectre.

“Well!” he exclaimed, “climb up, young ‘uns! You’ll see how snug it is here! Come up, you!” he said to the elder, “I’ll lend you a hand.”

The little fellows nudged each other, the gamin frightened and inspired them with confidence at one and the same time, and then, it was raining very hard. The elder one undertook the risk. The younger, on seeing his brother climbing up, and himself left alone between the paws of this huge beast, felt greatly inclined to cry, but he did not dare.

The elder lad climbed, with uncertain steps, up the rungs of the ladder; Gavroche, in the meanwhile, encouraging him with exclamations like a fencing-master to his pupils, or a muleteer to