“While we were going through the towers nothing happened worth setting down here. I remember saying to myself in Bon Bec tower:
“‘What, was it here in this little chamber, which looks just like a grocery, that there were so many agonies and so many illustrious victims martyred?’
“I tried honestly to picture to myself the horror of that chamber when the executioner and his assistants with their horrible instruments came to the prisoners with the intention of forcing them to confess crimes affecting the state. But owing to the little labels on the drawers, on which one reads ‘Senna,’ ‘Hops,’ I did not succeed.
“That Bon Bec tower! They used also to call it The Prattler on account of the horrible cries which burst from it and made the quiet passer-by shudder and quicken his steps along the quay at the sound of the King’s justice.
“Now Bon Bec tower is peaceful and very still. I am not complaining of it: it is Progress.
“But when we penetrated to that part of the Conciergerie which has hardly changed for centuries and were walking quietly along between those bare stone walls which no fresh facing, no profane plaster has ever covered, an inexplicable fever began to fill my veins; and when we were in the gloom at the end of Straw Alley, I cried, ‘Zounds! It’s Straw Alley!’
“At once I turned to see who had spoken those words. They were all staring at me; and I perceived plainly that I had spoken them myself. Indeed, my throat was still quivering from their utterance.
“The idiot of a guide asserted that we had passed Straw Alley. I contradicted him; and he shut up. I was sure of my facts, you understand, quite sure that it was Straw Alley. I told him that I had slept on the straw in it. But it is absurd. How do you suppose I could have slept on straw in Straw Alley when it was the first time I had ever been in the Conciergerie? Besides, was I sure? That is what worries me. I had an atrocious headache.
“My brow was burning even while I felt it swept by a strong current of cold air. Outside I was cool; inside I was a furnace.
“What had we been doing? I had a moment before walked quietly through the chapel of the Girondins; and while the guide was telling us the history of it, I played with my green umbrella. I was not in the least annoyed at having just behaved so oddly. I was my natural self. But as for that, I have never ceased to be my natural self.
“That which befell me later was also quite natural, since it was not the result of any effort. The unnatural is exactly what did not befall me.
“I remember finding myself at the bottom of a staircase in front of a grating. I was endowed with superhuman vigour; I shook the grating and shouted, ‘This way!’ The others, who did not know, were slow coming. I do not know what I should have done to the grating, if the guide had not unlocked it for me. For that matter, I do not know what I should have done to the guide. I was mad. No: I have no right to say that. I was not mad; and that’s a great pity. It is worse than if I had been mad.
“Undoubtedly I was in a state of great nervous excitement; but my mind was quite lucid. I do not believe that I have ever seen so clearly; and yet I was in the dark. I do not believe that I have ever had clearer recollections; and yet I was in a place I did not know. Heavens! I did not recognise it and I did recognise it! I did not hesitate about my way. My groping hands found the stones they reached out in the darkness to find; and my feet trod a soil which could not have been strange to them.
“Who will ever be able to tell the age of that soil; who will ever be able to tell you the age of those stones? I do not know it myself. They talk of the origin of the palace. What is the origin of the old Frankish palace? They may be able to say when those stones will end; they will never be able to say when they began. And they are forgotten, those stones, in the thousand-year night of the cellars. The odd thing is that I remembered them.
“I crept along the damp walls as if the way were well known to me. I expected certain rough places in the wall; and they came to the tips of my fingers; I counted the edges of the stones and I knew that at the end of a certain number I had only to turn to see at the far end of a passage a ray which the sun had forgotten there since the beginning of the history of Paris. I turned and saw the ray; and I felt my heart beat loudly from the bottom of the centuries.”
M. Longuet interrupts his narrative for a while to describe the whirl of his mind during this singular hour. He has the greatest difficulty in remaining master of his thought, the utmost difficulty in following it. It rushes on in front of him like a bolting horse whose reins he has let go. It leaves him behind and bounds ahead, leaving on the paper, as traces of its passage, words of such profundity that when he looks at them, he says, they make him giddy.
And he adds, in a paroxysm of dread:
“One must stop on the edge of these words as one stops on the edge of a precipice.”
And he guides the pen with a feverish hand, as he goes on burying himself in the depths of these subterranean galleries:
“And that’s the Prattler! These are the walls which have heard! It was not up above, in the sunlight, that the Prattler spoke; it was here, in this night of the underworld. Here are the rings in the walls. Is it the ring of Ravaillac? I no longer remember.
“But towards the ray, towards the unique ray, motionless and eternal, the faint, square ray, which from the beginning of ages took and preserved the form of the air-hole, I advance; I advance in a stumbling hurry, while the fever consumes me, blazes, and dizzies my brain. My feet stop, but with such a shock that one would believe them caught by invisible hands, risen from the soil; my fingers run over the wall, groping and fumbling that spot in the wall. What do my fingers want? What is the thought of my fingers? I had a pen-knife in my pocket; and all at once I let my green umbrella fall to the ground to take my pen-knife from my pocket. And I scraped, with certainty, between two stones. I cleared away the dust and mortar from between two stones. Then my knife pierced a thing between the two stones and brought it out.
“That is why I know I am not mad. That thing is under my eyes. In my quietest hours, I, Theophrastus Longuet, can look at it on my desk between my latest models of rubber stamps. It is not I who am mad; it is this thing that is mad. It is a scrap of paper, torn and stained — a document whose age there is no telling and which is in every way calculated to plunge a quiet manufacturer of rubber stamps into the wildest consternation. The paper, as you can guess, is rotted by the damp of the cellars. The damp has eaten away half the words, which seem from their red hue to have been written in blood.
“But in these words before me, in this document which was certainly written two centuries ago, which I passed under the square ray from the air-hole and gazed at with my hair rising on end in horror, I recognised my own handwriting.”
Here copied clearly out is this precious and mysterious document:
“I rt uried
my treasures after betrayal
of April 1st
Go and take the air
at the Chopinettes
look at the Gall
look at the Cock
Dig on the spot and you
will be rich.”
CHAPTER III
THEOPHRASTUS LONGUET BURSTS INTO SONG
ON LEAVING THE prison, Marceline and Adolphe were, very naturally, full of curiosity to learn the reasons of Theophrastus’ extraordinary behaviour; and he had the greatest difficulty in getting them away from the subject. He treated the matter lightly, declaring that the whim had taken him to visit the cellars of the Conciergerie; and he had visited them. They were even more impressed by his attitude to the guide than by his actual plunge into the cellars. That Theophrastus, the timid Theophrastus, should have browbeaten not a mere man, but an official, amazed them. Theophrastus admits that he was as much amazed as they, and felt rather proud of himself. All the evening they kept recurring to the matter until their amazement and their interest began to weaken by mere continuance of expression. But Theophrastus was glad indeed when sleep at last tied Marceline’s tongue.
<
br /> The next day he shut himself up in his study on the pretext of straightening out his accounts. Its window looks down on to the little grass-plot in the middle of Anvers Square; and he leaned out over the sill, contemplating the prosaic reality of the scene as if he could not have enough of it. He was above all pleased by the nurses wheeling along their babies in perambulators and by the shouting of the children romping about the Square.
His thought was of a great unity and a great simplicity. It was entirely contained in the phrase: “The World has not changed.”
No: the world had not changed. There were the babies in the perambulators; and as the clock struck two the Signora Petito, wife of the Professor of Italian who occupied the flat above his, began to play The Carnival of Venice.
No: nothing in the world had changed; yet when he turned round, he could see on his desk, among the models of rubber stamps, a scrap of paper.
Did that scrap of paper really exist? He had passed a feverish night, almost a night of delirium; and at the end of it he had decided that his strange adventure must have been a bad dream. But in the morning he had found the scrap of paper in a drawer of his desk...
Even now he kept saying to himself, “I shall turn round presently; and the scrap of paper won’t be there.” He turned round; and the scrap of paper was there — in his own handwriting.
He passed his hand over his perspiring brow and heaved the sigh of a grieved child. Then he seemed to come to a definite resolve and carefully put the scrap of paper into his pocket-book. He had just remembered that Signor Petito had a great reputation as an expert in handwriting. His friend Adolphe was also an expert in handwriting, but from the Spiritualistic point of view. He told the character by it. Theophrastus had no intention of calling Adolphe into counsel. There was already too much mystery in the affair to entrust it to the overflowing imagination of a medium who boasted himself a pupil of a Papus.
He went slowly upstairs and was ushered into Signor Petito’s study.
He found himself in the presence of a man of middle age, whose chief characteristics were a mass of crinkly black hair, a piercing glance, and enormous ears. After they had exchanged greetings, Theophrastus broached the subject of the scrap of paper. He drew it from his pocket-book and an unsigned letter which he had written a few days previously.
“Signor Petito,” he said, “I understand that you are a first-class expert in handwriting. I should be much obliged if you would examine this letter and this document, and inform me of the result of your examination. I assert myself that there is no connection—”
He stopped short, as red as a peony, for he was not in the habit of lying. But Signor Petito had already scanned the letter and the scrap of paper with the eye of an expert; and with a smile which showed all his exceedingly white teeth, he said:
“I won’t keep you waiting for my answer, M. Longuet. The document is in a very bad state; but the scraps of handwriting one can read are in every respect the same as the handwriting of the letter. Before the Courts, M. Longuet, before God and before men, these two handwritings were traced by the same hand!” He laid his hand on his heart with a great air.
He entered into particulars: a child, he declared, could not make a mistake about it. He became oracular.
“The handwriting in both is equally angular,” he said in a very pompous tone. “By angular, M. Longuet, we describe a handwriting in which the thin strokes which join the strokes of the letters and the letters to one another are at an acute angle. You understand? Look at this hook, and this one, and this thin stroke, and all these letters which increase progressively in equal proportions. But what an acute handwriting, M. Longuet! I have never seen handwriting so acute: it’s as sharp as the blade of a knife!”
At these last words Theophrastus turned so pale that Signor Petito thought that he was going to faint. None the less he took the letter and the document, thanked Signor Petito, and went out of the flat.
He walked straight out of the house and wandered about the streets for a long while. At last he found himself in Saint-Andrew-des-Arts Place; then he took his way to Suger Street, and opened the latch of an old-fashioned door. He found himself in a dark and dirty passage. A man came down it to meet him, and recognising him, greeted him.
“How are you, Theophrastus? What good wind blows you here?” he said in affectionate tones.
“How are you, Ambrose?” said Theophrastus gloomily.
Since they had not met for two years, they had a hundred inquiries to make of one another. Ambrose was an engraver of visiting-cards by profession. He had been a printer in the Provinces; but having put all his capital into a new invention in printing, it had not been long before he found himself a bankrupt. He was a cousin of Marceline; and Theophrastus, who was a good soul, had come to his aid in the hour of his gravest trouble.
Theophrastus sat down on a straw-seated chair in a little room which served as workshop, and was lighted by a large, dusty skylight in the ceiling.
“You ‘re a scientific man, Ambrose,” he said, still gloomily.
“Nothing of the kind!” said Ambrose quickly.
“Yes; you are. No one could teach you anything in the matter of paper.”
“Oh, yes: that’s true enough. I do know paper.”
“You know all papers,” said Theophrastus.
“All,” said Ambrose with modest pride.
“If one showed you a piece of paper you could tell the age of it?”
“Yes; I have published a monograph on the water-marks of the papers used in France during the seventeenth and eighteenth centuries. The Academy crowned it.”
“I know it. And I have the fullest confidence in your knowledge of papers,” said Theophrastus with unrelieved gloom.
“It’s well-founded; but really it’s a very simple matter. The oldest papers presented at first, when they were new, a smooth, glossy surface. But soon wire-marks appeared in them, crossed at regular intervals by perpendicular lines, both reproducing the impression of the metal trellis on which the paste was spread. In the fourteenth century they had the idea of utilising this reproduction by making it a mark of the source or mill which the paper came from. With this object in view, they embroidered in brass wire on the trellis mould, initials, words, and all kinds of emblems: these are the water-marks. Every water-marked sheet of paper carries in itself its birth-certificate; but the difficulty is to decipher it. It requires a little practice: the pot, the eagle, the bell...”
Theophrastus opened his pocket-book and held out his scrap of paper with trembling fingers.
“Could you tell me the exact age of this document?” he said.
Ambrose put on his spectacles and held the paper up to the light.
“There’s a date,” he said. “172... The last figure is missing. It would be a paper of the eighteenth century then. Given the date within ten years, our task becomes very simple.”
“Oh, I saw the date,” said Theophrastus quickly. “But is this really an eighteenth-century paper? Isn’t the date false? That’s what I want to know.”
Ambrose pointed to the middle of the scrap.
“Look,” he said.
Theophrastus looked; but he saw nothing. Then Ambrose lighted a little lamp and threw its light on the document. In holding the scrap of paper between one’s eyes and the lamp one distinguished in the middle of it a kind of crown.
“This paper’s extremely rare, Theophrastus!” cried Ambrose in considerable excitement. “This water-mark is almost unknown, for very little of it was manufactured. The water-mark is called ‘The Crown of Thorns.’ This paper, my dear Theophrastus, is exactly of the year 1721.”
“You are sure of it?”
“Absolutely. But how comes it that this document, which is dated 1721, is, in every part of it which is visible, in your handwriting?” cried Ambrose in a tone of amazement.
Theophrastus rose, put the document back into his pocket-book, and went out on stumbling feet, without answering.
I rep
roduce from the medley of documents of which his memoirs are composed the following passage:
“So now,” writes Theophrastus, “I had the proof; I could no longer doubt; I had no longer the right to doubt. This scrap of paper which dated from the beginning of the eighteenth century, from the times of the Regent, this sheet which I had found, or rather had gone to seek in a prison, was truly in my own handwriting. I had written on this sheet, I, Theophrastus Longuet, late manufacturer of rubber stamps, who had only retired the week before, at the age of forty-one years, I had written on this sheet the still incomprehensible words which I read on it, in 1721! Besides, I had not really any need of Signor Petito, or of Ambrose, to assure me of it. All my being cried, ‘It’s your paper! It’s your paper!’”
“So before being Theophrastus Longuet, the son of Jean Longuet, market-gardener at Ferté-sous-Jouarre, I had been in the past someone whom I did not know, but who was re-born in me. Yes: every now and then I ‘foamed at the mouth’ at remembering that I lived two hundred years ago!
“Who was I? What was then my name? I had a strange certainty that these questions would not remain unanswered for long. Was it not a fact that already things of which in my present existence I was ignorant, were rising from my past? What did certain phrases I had uttered at the Conciergerie mean? Who was Simon the Auvergnat, whose name had risen twice to my burning lips?
“Yes, yes: the name of long ago, my name, would also rise to my awakening brain; and knowing who I was, I should recall the whole of my reviving life in the past, and read the document at a glance.”
Theophrastus Longuet might well be troubled in mind. He was a simple, rather dense, self-satisfied soul who had never believed in anything but rubber stamps. A good-natured, strictly honest, narrow-minded and obstinate tradesman, like the bulk of his class in France he had considered religion only fit for women; and without declaring himself an unbeliever, he had been wont to say that when one died one was dead for a long time.
He had just learned in the most convincing, palpable fashion that one was never dead.
Collected Works of Gaston Leroux Page 240