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The Commission in Lunacy [5]

By Root 278 0
the Palais de Justice at Paris, where every variety of black attire may be studied, can easily imagine the appearance of M. Popinot. The habit of sitting for days at a time modifies the structure of the body, just as the fatigue of hearing interminable pleadings tells on the expression of a magistrate's face. Shut up as he is in courts ridiculously small, devoid of architectural dignity, and where the air is quickly vitiated, a Paris judge inevitably acquires a countenance puckered and seamed by reflection, and depressed by weariness; his complexion turns pallid, acquiring an earthy or greenish hue according to his individual temperament. In short, within a given time the most blooming young man is turned into an "inasmuch" machine--an instrument which applies the Code to individual cases with the indifference of clockwork.

Hence, nature, having bestowed on M. Popinot a not too pleasing exterior, his life as a lawyer had not improved it. His frame was graceless and angular. His thick knees, huge feet, and broad hands formed a contrast with a priest-like face having a vague resemblance to a calf's head, meek to unmeaningness, and but little brightened by divergent bloodless eyes, divided by a straight flat nose, surmounted by a flat forehead, flanked by enormous ears, flabby and graceless. His thin, weak hair showed the baldness through various irregular partings.

One feature only commended this face to the physiognomist. This man had a mouth to whose lips divine kindness lent its sweetness. They were wholesome, full, red lips, finely wrinkled, sinuous, mobile, by which nature had given expression to noble feelings; lips which spoke to the heart and proclaimed the man's intelligence and lucidity, a gift of second-sight, and a heavenly temper; and you would have judged him wrongly from looking merely at his sloping forehead, his fireless eyes, and his shambling gait. His life answered to his countenance; it was full of secret labor, and hid the virtue of a saint. His superior knowledge of law proved so strong a recommendation at a time when Napoleon was reorganizing it in 1808 and 1811, that, by the advice of Cambaceres, he was one of the first men named to sit on the Imperial High Court of Justice at Paris. Popinot was no schemer. Whenever any demand was made, any request preferred for an appointment, the Minister would overlook Popinot, who never set foot in the house of the High Chancellor or the Chief Justice. From the High Court he was sent down to the Common Court, and pushed to the lowest rung of the ladder by active struggling men. There he was appointed supernumerary judge. There was a general outcry among the lawyers: "Popinot a supernumerary!" Such injustice struck the legal world with dismay--the attorneys, the registrars, everybody but Popinot himself, who made no complaint. The first clamor over, everybody was satisfied that all was for the best in the best of all possible worlds, which must certainly be the legal world. Popinot remained supernumerary judge till the day when the most famous Great Seal under the Restoration avenged the oversights heaped on this modest and uncomplaining man by the Chief Justices of the Empire. After being a supernumerary for twelve years, M. Popinot would no doubt die a puisne judge of the Court of the Seine.

To account for the obscure fortunes of one of the superior men of the legal profession, it is necessary to enter here into some details which will serve to reveal his life and character, and which will, at the same time, display some of the wheels of the great machine known as Justice. M. Popinot was classed by the three Presidents who successively controlled the Court of the Seine under the category of possible judges, the stuff of which judges are made. Thus classified, he did not achieve the reputation for capacity which his previous labors had deserved. Just as a painter is invariably included in a category as a landscape painter, a portrait painter, a painter of history, of sea pieces, or of genre, by a public consisting of artists, connoisseurs, and simpletons,
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