Scenes from a Courtesan's Life [147]
de Ville, if that particular class of police had been then in existence, would have allowed her to ply her trade without inspecting her permit, in spite of a sinister countenance that reeked of crime. Her head, wrapped in a cheap and ragged checked cotton kerchief, was horrid with rebellious locks of hair, like the bristles of a wild boar. Her red and wrinkled neck was disgusting, and her little shawl failed entirely to conceal a chest tanned brown by the sun, dust, and mud. Her gown was patchwork; her shoes gaped as though they were grinning at a face as full of holes as the gown. And what an apron! a plaster would have been less filthy. This moving and fetid rag must have stunk in the nostrils of dainty folks ten yards away. Those hands had gleaned a hundred harvest fields. Either the woman had returned from a German witches' Sabbath, or she had come out of a mendicity asylum. But what eyes! what audacious intelligence, what repressed vitality when the magnetic flash of her look and of Jacques Collin's met to exchange a thought!
"Get out of the way, you old vermin-trap!" cried the postilion in harsh tones.
"Mind you don't crush me, you hangman's apprentice!" she retorted. "Your cartful is not worth as much as mine."
And by trying to squeeze in between two corner-stones to make way, the hawker managed to block the passage long enough to achieve her purpose.
"Oh! Asie!" said Jacques Collin to himself, at once recognizing his accomplice. "Then all is well."
The post-boy was still exchanging amenities with Asie, and vehicles were collecting in the Rue du Martroi.
"Look out, there--Pecaire fermati. Souni la--Vedrem," shrieked old Asie, with the Red-Indian intonations peculiar to these female costermongers, who disfigure their words in such a way that they are transformed into a sort onomatopoeia incomprehensible to any but Parisians.
In the confusion in the alley, and among the outcries of all the waiting drivers, no one paid any heed to this wild yell, which might have been the woman's usual cry. But this gibberish, intelligible to Jacques Collin, sent to his ear in a mongrel language of their own--a mixture of bad Italian and Provencal--this important news:
"Your poor boy is nabbed. I am here to keep an eye on you. We shall meet again."
In the midst of his joy at having thus triumphed over the police, for he hoped to be able to keep up communications, Jacques Collin had a blow which might have killed any other man.
"Lucien in custody!" said he to himself.
He almost fainted. This news was to him more terrible than the rejection of his appeal could have been if he had been condemned to death.
Now that both the prison vans are rolling along the Quai, the interest of this story requires that I should add a few words about the Conciergerie, while they are making their way thither. The Conciergerie, a historical name--a terrible name,--a still more terrible thing, is inseparable from the Revolutions of France, and especially those of Paris. It has known most of our great criminals. But if it is the most interesting of the buildings of Paris, it is also the least known--least known to persons of the upper classes; still, in spite of the interest of this historical digression, it should be as short as the journey of the prison vans.
What Parisian, what foreigner, or what provincial can have failed to observe the gloomy and mysterious features of the Quai des Lunettes--a structure of black walls flanked by three round towers with conical roofs, two of them almost touching each other? This quay, beginning at the Pont du Change, ends at the Pont Neuf. A square tower--the Clock Tower, or Tour de l'Horloge, whence the signal was given for the massacre of Saint-Bartholomew--a tower almost as tall as that of Saint-Jacques de la Boucherie, shows where the Palais de Justice stands, and forms the corner of the quay.
These four towers and these walls are shrouded in the black winding sheet which, in Paris, falls on every facade to the north. About half- way along the quay at a gloomy archway we see
"Get out of the way, you old vermin-trap!" cried the postilion in harsh tones.
"Mind you don't crush me, you hangman's apprentice!" she retorted. "Your cartful is not worth as much as mine."
And by trying to squeeze in between two corner-stones to make way, the hawker managed to block the passage long enough to achieve her purpose.
"Oh! Asie!" said Jacques Collin to himself, at once recognizing his accomplice. "Then all is well."
The post-boy was still exchanging amenities with Asie, and vehicles were collecting in the Rue du Martroi.
"Look out, there--Pecaire fermati. Souni la--Vedrem," shrieked old Asie, with the Red-Indian intonations peculiar to these female costermongers, who disfigure their words in such a way that they are transformed into a sort onomatopoeia incomprehensible to any but Parisians.
In the confusion in the alley, and among the outcries of all the waiting drivers, no one paid any heed to this wild yell, which might have been the woman's usual cry. But this gibberish, intelligible to Jacques Collin, sent to his ear in a mongrel language of their own--a mixture of bad Italian and Provencal--this important news:
"Your poor boy is nabbed. I am here to keep an eye on you. We shall meet again."
In the midst of his joy at having thus triumphed over the police, for he hoped to be able to keep up communications, Jacques Collin had a blow which might have killed any other man.
"Lucien in custody!" said he to himself.
He almost fainted. This news was to him more terrible than the rejection of his appeal could have been if he had been condemned to death.
Now that both the prison vans are rolling along the Quai, the interest of this story requires that I should add a few words about the Conciergerie, while they are making their way thither. The Conciergerie, a historical name--a terrible name,--a still more terrible thing, is inseparable from the Revolutions of France, and especially those of Paris. It has known most of our great criminals. But if it is the most interesting of the buildings of Paris, it is also the least known--least known to persons of the upper classes; still, in spite of the interest of this historical digression, it should be as short as the journey of the prison vans.
What Parisian, what foreigner, or what provincial can have failed to observe the gloomy and mysterious features of the Quai des Lunettes--a structure of black walls flanked by three round towers with conical roofs, two of them almost touching each other? This quay, beginning at the Pont du Change, ends at the Pont Neuf. A square tower--the Clock Tower, or Tour de l'Horloge, whence the signal was given for the massacre of Saint-Bartholomew--a tower almost as tall as that of Saint-Jacques de la Boucherie, shows where the Palais de Justice stands, and forms the corner of the quay.
These four towers and these walls are shrouded in the black winding sheet which, in Paris, falls on every facade to the north. About half- way along the quay at a gloomy archway we see