Les Misérables 120Book 6 · NUMBER 62 RUE PETIT-PICPUS
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Literature · Classic Novels
Les Misérables 120
Book 6 · NUMBER 62 RUE PETIT-PICPUS
HapgoodEnglish
Nothing, half a century ago, more resembled every other carriage gate than the carriage gate of Number 62 Rue Petit-Picpus. This entrance, which usually stood ajar in the most inviting fashion, permitted a view of two things, neither of which have anything very funereal about them,—a courtyard surrounded by walls hung with vines, and the face of a lounging porter. Above the wall, at the bottom of the court, tall trees were visible. When a ray of sunlight enlivened the courtyard, when a glass of wine cheered up the porter, it was difficult to pass Number 62 Little Picpus Street without carrying away a smiling impression of it. Nevertheless, it was a sombre place of which one had had a glimpse.
The threshold smiled; the house prayed and wept.
If one succeeded in passing the porter, which was not easy,—which was even nearly impossible for every one, for there was an open sesame! which it was necessary to know,—if, the porter once passed, one entered a little vestibule on the right, on which opened a staircase shut in between two walls and so narrow that only one person could ascend it at a time, if one did not allow one’s self to be alarmed by a daubing of canary yellow, with a dado of chocolate which clothed this staircase, if one ventured to ascend it, one crossed a first landing, then a second, and arrived on the first story at a corridor where the yellow wash and the chocolate-hued plinth pursued one with a peaceable persistency. Staircase and corridor were lighted by two beautiful windows. The corridor took a turn and became dark. If one doubled this cape, one arrived a few paces further on, in front of a door which was all the more mysterious because it was not fastened. If one opened it, one found one’s self in a little chamber about six feet square, tiled, well-scrubbed, clean, cold, and hung with nankin paper with green flowers, at fifteen sous the roll. A white, dull light fell from a large window, with tiny panes, on the left, which usurped the whole width of the room. One gazed about, but saw no one; one listened, one heard neither a footstep nor a human murmur. The walls were bare, the chamber was not furnished; there was not even a chair.
One looked again, and beheld on the wall facing the door a quadrangular hole, about a foot square, with a grating of interlacing iron bars, black, knotted, solid, which formed squares—I had almost said meshes—of less than an inch and a half in diagonal length. The little green flowers of the nankin paper ran in a calm and orderly manner to those iron bars, without being startled or thrown into confusion by their funereal contact. Supposing that a living being had been so wonderfully thin as to essay an entrance or an exit through the square hole, this grating would have prevented it. It did not allow the passage of the body, but it did allow the passage of the eyes; that is to say, of the mind. This seems to have occurred to them, for it had been re-enforced by a sheet of tin inserted in the wall a little in the rear, and pierced with a thousand holes more microscopic than the holes of a strainer. At the bottom of this plate, an aperture had been pierced exactly similar to the orifice of a letter box. A bit of tape attached to a bell-wire hung at the right of the grated opening.
If the tape was pulled, a bell rang, and one heard a voice very near at hand, which made one start.
“Who is there?” the voice demanded.
It was a woman’s voice, a gentle voice, so gentle that it was mournful.
Here, again, there was a magical word which it was necessary to know. If one did not know it, the voice ceased, the wall became silent once more, as though the terrified obscurity of the sepulchre had been on the other side of it.
If one knew the password, the voice resumed, “Enter on the right.”
One then perceived on the right, facing the window, a glass door surmounted by a frame glazed and painted gray. On raising the latch and crossing the threshold, one experienced precisely the same impression as when one enters at the theatre into a grated baignoire, before the grating is lowered and the chandelier is lighted. One was, in fact, in a sort of theatre-box, narrow, furnished with two old chairs, and a much-frayed straw matting, sparely illuminated by the vague light from the glass door; a regular box, with its front just of a height to lean upon, bearing a tablet of black wood. This box was grated, only the grating of it was not of gilded wood, as at the opera; it was a monstrous lattice of iron bars, hideously interlaced and riveted to the wall by enormous fastenings which resembled clenched fists.
The first minutes passed; when one’s eyes began to grow used to this cellar-like half-twilight, one tried to pass the grating, but got no further than six inches beyond it. There he encountered a barrier of black shutters, re-enforced and fortified with transverse beams of wood painted a gingerbread yellow. These shutters were divided into long, narrow slats, and they masked the entire length of the grating. They were always closed. At the expiration of a few moments one heard a voice proceeding from behind these shutters, and saying:—
“I am here. What do you wish with me?”
It was a beloved, sometimes an adored, voice. No one was visible. Hardly the sound of a breath was audible. It seemed as though it were a spirit which had been evoked, that was speaking to you across the walls of the tomb.
If one chanced to be within certain prescribed and very rare conditions, the slat of one of the shutters opened opposite you; the evoked spirit became an apparition. Behind the grating, behind the shutter, one perceived so far as the grating permitted sight, a head, of which only the mouth and the chin were visible; the rest was covered with a black veil. One caught a glimpse of a black guimpe, and a form that was barely defined, covered with a black shroud. That head spoke with you, but did not look at you and never smiled at you.
The light which came from behind you was adjusted in such a manner that you saw her in the white, and she saw you in the black. This light was symbolical.
Nevertheless, your eyes plunged eagerly through that opening which was made in that place shut off from all glances. A profound vagueness enveloped that form clad in mourning. Your eyes searched that vagueness, and sought to make out the surroundings of the apparition. At the expiration of a very short time you discovered that you could see nothing. What you beheld was night, emptiness, shadows, a wintry mist mingled with a vapor from the tomb, a sort of terrible peace, a silence from which you could gather nothing, not even sighs, a gloom in which you could distinguish nothing, not even phantoms.
What you beheld was the interior of a cloister.
It was the interior of that severe and gloomy edifice which was called the Convent of the Bernardines of the Perpetual Adoration. The box in which you stood was the parlor. The first voice which had addressed you was that of the portress who always sat motionless and silent, on the other side of the wall, near the square opening, screened by the iron grating and the plate with its thousand holes, as by a double visor. The obscurity which bathed the grated box arose from the fact that the parlor, which had a window on the side of the world, had none on the side of the convent. Profane eyes must see nothing of that sacred place.
Nevertheless, there was something beyond that shadow; there was a light; there was life in the midst of that death. Although this was the most strictly walled of all convents, we shall endeavor to make our way into it, and to take the reader in, and to say, without transgressing the proper bounds, things which story-tellers have never seen, and have, therefore, never described.
