The Man Who Laughs 52Book 2 · Not Only Happiness, But Prosperity
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Literature · Historical Fiction
The Man Who Laughs 52
Book 2 · Not Only Happiness, But Prosperity
HugoEnglish
What true things are told in stories! The burnt scar of the invisible fiend who has touched you is remorse for a wicked thought. In Gwynplaine evil thoughts never ripened, and he had therefore no remorse. Sometimes he felt regret.
Vague mists of conscience.
What was this?
Nothing.
Their happiness was complete--so complete that they were no longer even poor.
From 1680 to 1704 a great change had taken place.
It happened sometimes, in the year 1704, that as night fell on some little village on the coast, a great, heavy van, drawn by a pair of stout horses, made its entry. It was like the shell of a vessel reversed--the keel for a roof, the deck for a floor, placed on four wheels. The wheels were all of the same size, and high as wagon wheels. Wheels, pole, and van were all painted green, with a rhythmical gradation of shades, which ranged from bottle green for the wheels to apple green for the roofing. This green colour had succeeded in drawing attention to the carriage, which was known in all the fair grounds as The Green Box. The Green Box had but two windows, one at each extremity, and at the back a door with steps to let down. On the roof, from a tube painted green like the rest, smoke arose. This moving house was always varnished and washed afresh. In front, on a ledge fastened to the van, with the window for a door, behind the horses and by the side of an old man who held the reins and directed the team, two gipsy women, dressed as goddesses, sounded their trumpets. The astonishment with which the villagers regarded this machine was overwhelming.
This was the old establishment of Ursus, its proportions augmented by success, and improved from a wretched booth into a theatre. A kind of animal, between dog and wolf, was chained under the van. This was Homo. The old coachman who drove the horses was the philosopher himself.
Whence came this improvement from the miserable hut to the Olympic caravan?
From this--Gwynplaine had become famous.
It was with a correct scent of what would succeed amongst men that Ursus had said to Gwynplaine,--
“They made your fortune.”
Ursus, it may be remembered, had made Gwynplaine his pupil. Unknown people had worked upon his face; he, on the other hand, had worked on his mind, and behind this well-executed mask he had placed all that he could of thought. So soon as the growth of the child had rendered him fitted for it, he had brought him out on the stage--that is, he had produced him in front of the van.
The effect of his appearance had been surprising. The passers-by were immediately struck with wonder. Never had anything been seen to be compared to this extraordinary mimic of laughter. They were ignorant how the miracle of infectious hilarity had been obtained. Some believed it to be natural, others declared it to be artificial, and as conjecture was added to reality, everywhere, at every cross-road on the journey, in all the grounds of fairs and fêtes, the crowd ran after Gwynplaine. Thanks to this great attraction, there had come into the poor purse of the wandering group, first a rain of farthings, then of heavy pennies, and finally of shillings. The curiosity of one place exhausted, they passed on to another. Rolling does not enrich a stone but it enriches a caravan; and year by year, from city to city, with the increased growth of Gwynplaine’s person and of his ugliness, the fortune predicted by Ursus had come.
“What a good turn they did you there, my boy!” said Ursus.
This “fortune” had allowed Ursus, who was the administrator of Gwynplaine’s success, to have the chariot of his dreams constructed--that is to say, a caravan large enough to carry a theatre, and to sow science and art in the highways. Moreover, Ursus had been able to add to the group composed of himself, Homo, Gwynplaine, and Dea, two horses and two women, who were the goddesses of the troupe, as we have just said, and its servants. A mythological frontispiece was, in those days, of service to a caravan of mountebanks.
“We are a wandering temple,” said Ursus.
These two gipsies, picked up by the philosopher from amongst the vagabondage of cities and suburbs, were ugly and young, and were called, by order of Ursus, the one Phoebe, and the other Venus.
For these read Fibi and Vinos, that we may conform to English pronunciation.
Phoebe cooked; Venus scrubbed the temple.
Moreover, on days of performance they dressed Dea.
Mountebanks have their public life as well as princes, and on these occasions Dea was arrayed, like Fibi and Vinos, in a Florentine petticoat of flowered stuff, and a woman’s jacket without sleeves, leaving the arms bare. Ursus and Gwynplaine wore men’s jackets, and, like sailors on board a man-of-war, great loose trousers. Gwynplaine had, besides, for his work and for his feats of strength, round his neck and over his shoulders, an esclavine of leather. He took charge of the horses. Ursus and Homo took charge of each other.
Dea, being used to the Green Box, came and went in the interior of the wheeled house, with almost as much ease and certainty as those who saw.
The eye which could penetrate within this structure and its internal arrangements might have perceived in a corner, fastened to the planks, and immovable on its four wheels, the old hut of Ursus, placed on half-pay, allowed to rust, and from thenceforth dispensed the labour of rolling as Ursus was relieved from the labour of drawing it.
This hut, in a corner at the back, to the right of the door, served as bedchamber and dressing-room to Ursus and Gwynplaine. It now contained two beds. In the opposite corner was the kitchen.
The arrangement of a vessel was not more precise and concise than that of the interior of the Green Box. Everything within it was in its place--arranged, foreseen, and intended.
The caravan was divided into three compartments, partitioned from each other. These communicated by open spaces without doors. A piece of stuff fell over them, and answered the purpose of concealment. The compartment behind belonged to the men, the compartment in front to the women; the compartment in the middle, separating the two sexes, was the stage. The instruments of the orchestra and the properties were kept in the kitchen. A loft under the arch of the roof contained the scenes, and on opening a trap-door lamps appeared, producing wonders of light.
Ursus was the poet of these magical representations; he wrote the pieces. He had a diversity of talents; he was clever at sleight of hand. Besides the voices he imitated, he produced all sorts of unexpected things--shocks of light and darkness; spontaneous formations of figures or words, as he willed, on the partition; vanishing figures in chiaroscuro; strange things, amidst which he seemed to meditate, unmindful of the crowd who marvelled at him.
One day Gwynplaine said to him,--
“Father, you look like a sorcerer!”
And Ursus replied,--
“Then I look, perhaps, like what I am.”
The Green Box, built on a clear model of Ursus’s, contained this refinement of ingenuity--that between the fore and hind wheels the central panel of the left side turned on hinges by the aid of chains and pulleys, and could be let down at will like a drawbridge. As it dropped it set at liberty three legs on hinges, which supported the panel when let down, and which placed themselves straight on the ground like the legs of a table, and supported it above the earth like a platform. This exposed the stage, which was thus enlarged by the platform in front.
This opening looked for all the world like a “mouth of hell,” in the words of the itinerant Puritan preachers, who turned away from it with horror. It was, perhaps, for some such pious invention that Solon kicked out Thespis.
For all that Thespis has lasted much longer than is generally believed. The travelling theatre is still in existence. It was on those stages on wheels that, in the sixteenth and seventeenth centuries, they performed in England the ballets and dances of Amner and Pilkington; in France, the pastorals of Gilbert Colin; in Flanders, at the annual fairs, the double choruses of Clement, called Non Papa; in Germany, the “Adam and Eve” of Theiles; and, in Italy, the Venetian exhibitions of Animuccia and of Cafossis, the “Silvæ” of Gesualdo, the “Prince of Venosa,” the “Satyr” of Laura Guidiccioni, the “Despair of Philene,” the “Death of Ugolina,” by Vincent Galileo, father of the astronomer, which Vincent Galileo sang his own music, and accompanied himself on his viol de gamba; as well as all the first attempts of the Italian opera which, from 1580, substituted free inspiration for the madrigal style.
The chariot, of the colour of hope, which carried Ursus, Gwynplaine, and their fortunes, and in front of which Fibi and Vinos trumpeted like figures of Fame, played its part of this grand Bohemian and literary brotherhood. Thespis would no more have disowned Ursus than Congrio would have disowned Gwynplaine.
Arrived at open spaces in towns or villages, Ursus, in the intervals between the too-tooing of Fibi and Vinos, gave instructive revelations as to the trumpetings.
“This symphony is Gregorian,” he would exclaim. “Citizens and townsmen, the Gregorian form of worship, this great progress, is opposed in Italy to the Ambrosial ritual, and in Spain to the Mozarabic ceremonial, and has achieved its triumph over them with difficulty.”
After which the Green Box drew up in some place chosen by Ursus, and evening having fallen, and the panel stage having been let down, the theatre opened, and the performance began.
The scene of the Green Box represented a landscape painted by Ursus; and as he did not know how to paint, it represented a cavern just as well as a landscape. The curtain, which we call drop nowadays, was a checked silk, with squares of contrasted colours.
The public stood without, in the street, in the fair, forming a semicircle round the stage, exposed to the sun and the showers; an arrangement which made rain less desirable for theatres in those days than now. When they could, they acted in an inn yard, on which occasions the windows of the different stories made rows of boxes for the spectators. The theatre was thus more enclosed, and the audience a more paying one. Ursus was in everything--in the piece, in the company, in the kitchen, in the orchestra. Vinos beat the drum, and handled the sticks with great dexterity. Fibi played on the morache, a kind of guitar. The wolf had been promoted to be a utility gentleman, and played, as occasion required, his little parts. Often when they appeared side by side on the stage--Ursus in his tightly-laced bear’s skin, Homo with his wolf’s skin fitting still better--no one could tell which was the beast. This flattered Ursus.
