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-BOOK SECOND. CHAPTER III.
KISSES FOR BLOWS.
When Pierre Gringoire arrived on the Place de Greve, he was paralyzed.
He had directed his course across the Pont aux Meuniers, in order to avoid the rabble
on the Pont au Change, and the pennons of Jehan Fourbault; but the wheels of all the
bishop's mills had splashed him as he
passed, and his doublet was drenched; it seemed to him besides, that the failure of
his piece had rendered him still more sensible to cold than usual.
Hence he made haste to draw near the bonfire, which was burning magnificently in
the middle of the Place. But a considerable crowd formed a circle
around it.
"Accursed Parisians!" he said to himself (for Gringoire, like a true dramatic poet,
was subject to monologues) "there they are obstructing my fire!
Nevertheless, I am greatly in need of a chimney corner; my shoes drink in the
water, and all those cursed mills wept upon me!
That devil of a Bishop of Paris, with his mills!
I'd just like to know what use a bishop can make of a mill!
Does he expect to become a miller instead of a bishop?
If only my malediction is needed for that, I bestow it upon him! and his cathedral,
and his mills!
Just see if those *** will put themselves out!
Move aside! I'd like to know what they are doing there!
They are warming themselves, much pleasure may it give them!
They are watching a hundred *** burn; a fine spectacle!"
On looking more closely, he perceived that the circle was much larger than was
required simply for the purpose of getting warm at the king's fire, and that this
concourse of people had not been attracted
solely by the beauty of the hundred *** which were burning.
In a vast space left free between the crowd and the fire, a young girl was dancing.
Whether this young girl was a human being, a fairy, or an angel, is what Gringoire,
sceptical philosopher and ironical poet that he was, could not decide at the first
moment, so fascinated was he by this dazzling vision.
She was not tall, though she seemed so, so boldly did her slender form dart about.
She was swarthy of complexion, but one divined that, by day, her skin must possess
that beautiful golden tone of the Andalusians and the Roman women.
Her little foot, too, was Andalusian, for it was both pinched and at ease in its
graceful shoe.
She danced, she turned, she whirled rapidly about on an old Persian rug, spread
negligently under her feet; and each time that her radiant face passed before you, as
she whirled, her great black eyes darted a flash of lightning at you.
All around her, all glances were riveted, all mouths open; and, in fact, when she
danced thus, to the humming of the Basque tambourine, which her two pure, rounded
arms raised above her head, slender, frail
and vivacious as a wasp, with her corsage of gold without a fold, her variegated gown
puffing out, her bare shoulders, her delicate limbs, which her petticoat
revealed at times, her black hair, her eyes of flame, she was a supernatural creature.
"In truth," said Gringoire to himself, "she is a salamander, she is a nymph, she is a
goddess, she is a bacchante of the Menelean Mount!"
At that moment, one of the salamander's braids of hair became unfastened, and a
piece of yellow copper which was attached to it, rolled to the ground.
"He, no!" said he, "she is a gypsy!"
All illusions had disappeared.
She began her dance once more; she took from the ground two swords, whose points
she rested against her brow, and which she made to turn in one direction, while she
turned in the other; it was a purely gypsy effect.
But, disenchanted though Gringoire was, the whole effect of this picture was not
without its charm and its magic; the bonfire illuminated, with a red flaring
light, which trembled, all alive, over the
circle of faces in the crowd, on the brow of the young girl, and at the background of
the Place cast a pallid reflection, on one side upon the ancient, black, and wrinkled
facade of the House of Pillars, on the other, upon the old stone gibbet.
Among the thousands of visages which that light tinged with scarlet, there was one
which seemed, even more than all the others, absorbed in contemplation of the
dancer.
It was the face of a man, austere, calm, and sombre.
This man, whose costume was concealed by the crowd which surrounded him, did not
appear to be more than five and thirty years of age; nevertheless, he was bald; he
had merely a few tufts of thin, gray hair
on his temples; his broad, high forehead had begun to be furrowed with wrinkles, but
his deep-set eyes sparkled with extraordinary youthfulness, an ardent life,
a profound passion.
He kept them fixed incessantly on the gypsy, and, while the giddy young girl of
sixteen danced and whirled, for the pleasure of all, his revery seemed to
become more and more sombre.
From time to time, a smile and a sigh met upon his lips, but the smile was more
melancholy than the sigh.
The young girl, stopped at length, breathless, and the people applauded her
lovingly. "Djali!" said the gypsy.
Then Gringoire saw come up to her, a pretty little white goat, alert, wide-awake,
glossy, with gilded horns, gilded hoofs, and gilded collar, which he had not
hitherto perceived, and which had remained
lying curled up on one corner of the carpet watching his mistress dance.
"Djali!" said the dancer, "it is your turn."
And, seating herself, she gracefully presented her tambourine to the goat.
"Djali," she continued, "what month is this?"
The goat lifted its fore foot, and struck one blow upon the tambourine.
It was the first month in the year, in fact.
"Djali," pursued the young girl, turning her tambourine round, "what day of the
month is this?" Djali raised his little gilt hoof, and
struck six blows on the tambourine.
"Djali," pursued the Egyptian, with still another movement of the tambourine, "what
hour of the day is it?" Djali struck seven blows.
At that moment, the clock of the Pillar House rang out seven.
The people were amazed. "There's sorcery at the bottom of it," said
a sinister voice in the crowd.
It was that of the bald man, who never removed his eyes from the gypsy.
She shuddered and turned round; but applause broke forth and drowned the morose
exclamation.
It even effaced it so completely from her mind, that she continued to question her
goat.
"Djali, what does Master Guichard Grand- Remy, captain of the pistoliers of the town
do, at the procession of Candlemas?"
Djali reared himself on his hind legs, and began to bleat, marching along with so much
dainty gravity, that the entire circle of spectators burst into a laugh at this
parody of the interested devoutness of the captain of pistoliers.
"Djali," resumed the young girl, emboldened by her growing success, "how preaches
Master Jacques Charmolue, procurator to the king in the ecclesiastical court?"
The goat seated himself on his hind quarters, and began to bleat, waving his
fore feet in so strange a manner, that, with the exception of the bad French, and
worse Latin, Jacques Charmolue was there complete,--gesture, accent, and attitude.
And the crowd applauded louder than ever. "Sacrilege! profanation!" resumed the voice
of the bald man.
The gypsy turned round once more. "Ah!" said she, "'tis that villanous man!"
Then, thrusting her under lip out beyond the upper, she made a little pout, which
appeared to be familiar to her, executed a pirouette on her heel, and set about
collecting in her tambourine the gifts of the multitude.
Big blanks, little blanks, targes and eagle liards showered into it.
All at once, she passed in front of Gringoire.
Gringoire put his hand so recklessly into his pocket that she halted.
"The devil!" said the poet, finding at the bottom of his pocket the reality, that is,
to say, a void.
In the meantime, the pretty girl stood there, gazing at him with her big eyes, and
holding out her tambourine to him and waiting.
Gringoire broke into a violent perspiration.
If he had all Peru in his pocket, he would certainly have given it to the dancer; but
Gringoire had not Peru, and, moreover, America had not yet been discovered.
Happily, an unexpected incident came to his rescue.
"Will you take yourself off, you Egyptian grasshopper?" cried a sharp voice, which
proceeded from the darkest corner of the Place.
The young girl turned round in affright.
It was no longer the voice of the bald man; it was the voice of a woman, bigoted and
malicious.
However, this cry, which alarmed the gypsy, delighted a troop of children who were
prowling about there.
"It is the recluse of the Tour-Roland," they exclaimed, with wild laughter, "it is
the sacked nun who is scolding! Hasn't she supped?
Let's carry her the remains of the city refreshments!"
All rushed towards the Pillar House.
In the meanwhile, Gringoire had taken advantage of the dancer's embarrassment, to
disappear.
The children's shouts had reminded him that he, also, had not supped, so he ran to the
public buffet.
But the little rascals had better legs than he; when he arrived, they had stripped the
table. There remained not so much as a miserable
camichon at five sous the pound.
Nothing remained upon the wall but slender fleurs-de-lis, mingled with rose bushes,
painted in 1434 by Mathieu Biterne. It was a meagre supper.
It is an unpleasant thing to go to bed without supper, it is a still less pleasant
thing not to sup and not to know where one is to sleep.
That was Gringoire's condition.
No supper, no shelter; he saw himself pressed on all sides by necessity, and he
found necessity very crabbed.
He had long ago discovered the truth, that Jupiter created men during a fit of
misanthropy, and that during a wise man's whole life, his destiny holds his
philosophy in a state of siege.
As for himself, he had never seen the blockade so complete; he heard his stomach
sounding a parley, and he considered it very much out of place that evil destiny
should capture his philosophy by famine.
This melancholy revery was absorbing him more and more, when a song, quaint but full
of sweetness, suddenly tore him from it. It was the young gypsy who was singing.
Her voice was like her dancing, like her beauty.
It was indefinable and charming; something pure and sonorous, aerial, winged, so to
speak.
There were continual outbursts, melodies, unexpected cadences, then simple phrases
strewn with aerial and hissing notes; then floods of scales which would have put a
nightingale to rout, but in which harmony
was always present; then soft modulations of octaves which rose and fell, like the
*** of the young singer.
Her beautiful face followed, with singular mobility, all the caprices of her song,
from the wildest inspiration to the chastest dignity.
One would have pronounced her now a mad creature, now a queen.
The words which she sang were in a tongue unknown to Gringoire, and which seemed to
him to be unknown to herself, so little relation did the expression which she
imparted to her song bear to the sense of the words.
Thus, these four lines, in her mouth, were madly gay,--
Un cofre de gran riqueza Hallaron dentro un pilar,
Dentro del, nuevas banderas Con figuras de espantar.*
* A coffer of great richness In a pillar's heart they found,
Within it lay new banners, With figures to astound.
And an instant afterwards, at the accents which she imparted to this stanza,--
Alarabes de cavallo Sin poderse menear,
Con espadas, y los cuellos, Ballestas de buen echar,
Gringoire felt the tears start to his eyes. Nevertheless, her song breathed joy, most
of all, and she seemed to sing like a bird, from serenity and heedlessness.
The gypsy's song had disturbed Gringoire's revery as the swan disturbs the water.
He listened in a sort of rapture, and forgetfulness of everything.
It was the first moment in the course of many hours when he did not feel that he
suffered. The moment was brief.
The same woman's voice, which had interrupted the gypsy's dance, interrupted
her song.
"Will you hold your tongue, you cricket of hell?" it cried, still from the same
obscure corner of the place. The poor "cricket" stopped short.
Gringoire covered up his ears.
"Oh!" he exclaimed, "accursed saw with missing teeth, which comes to break the
lyre!"
Meanwhile, the other spectators murmured like himself; "To the devil with the sacked
nun!" said some of them.
And the old invisible kill-joy might have had occasion to repent of her aggressions
against the gypsy had their attention not been diverted at this moment by the
procession of the Pope of the Fools, which,
after having traversed many streets and squares, debouched on the Place de Greve,
with all its torches and all its uproar.
This procession, which our readers have seen set out from the Palais de Justice,
had organized on the way, and had been recruited by all the knaves, idle thieves,
and unemployed vagabonds in Paris; so that
it presented a very respectable aspect when it arrived at the Greve.
First came Egypt.
The Duke of Egypt headed it, on horseback, with his counts on foot holding his bridle
and stirrups for him; behind them, the male and female Egyptians, pell-mell, with their
little children crying on their shoulders;
all--duke, counts, and populace--in rags and tatters.
Then came the Kingdom of Argot; that is to say, all the thieves of France, arranged
according to the order of their dignity; the minor people walking first.
Thus defiled by fours, with the divers insignia of their grades, in that strange
faculty, most of them lame, some cripples, others one-armed, shop clerks, pilgrim,
hubins, bootblacks, thimble-riggers, street
arabs, beggars, the blear-eyed beggars, thieves, the weakly, vagabonds, merchants,
sham soldiers, goldsmiths, passed masters of pickpockets, isolated thieves.
A catalogue that would weary Homer.
In the centre of the conclave of the passed masters of pickpockets, one had some
difficulty in distinguishing the King of Argot, the grand coesre, so called,
crouching in a little cart drawn by two big dogs.
After the kingdom of the Argotiers, came the Empire of Galilee.
Guillaume Rousseau, Emperor of the Empire of Galilee, marched majestically in his
robe of purple, spotted with wine, preceded by buffoons wrestling and executing
military dances; surrounded by his
macebearers, his pickpockets and clerks of the chamber of accounts.
Last of all came the corporation of law clerks, with its maypoles crowned with
flowers, its black robes, its music worthy of the ***, and its large candles of
yellow wax.
In the centre of this crowd, the grand officers of the Brotherhood of Fools bore
on their shoulders a litter more loaded down with candles than the reliquary of
Sainte-Genevieve in time of pest; and on
this litter shone resplendent, with crosier, cope, and mitre, the new Pope of
the Fools, the bellringer of Notre-Dame, Quasimodo the hunchback.
Each section of this grotesque procession had its own music.
The Egyptians made their drums and African tambourines resound.
The slang men, not a very musical race, still clung to the goat's horn trumpet and
the Gothic rubebbe of the twelfth century.
The Empire of Galilee was not much more advanced; among its music one could hardly
distinguish some miserable rebec, from the infancy of the art, still imprisoned in the
re-la-mi.
But it was around the Pope of the Fools that all the musical riches of the epoch
were displayed in a magnificent discord.
It was nothing but soprano rebecs, counter- tenor rebecs, and tenor rebecs, not to
reckon the flutes and brass instruments. Alas! our readers will remember that this
was Gringoire's orchestra.
It is difficult to convey an idea of the degree of proud and blissful expansion to
which the sad and hideous visage of Quasimodo had attained during the transit
from the Palais de Justice, to the Place de Greve.
It was the first enjoyment of self-love that he had ever experienced.
Down to that day, he had known only humiliation, disdain for his condition,
disgust for his person.
Hence, deaf though he was, he enjoyed, like a veritable pope, the acclamations of that
throng, which he hated because he felt that he was hated by it.
What mattered it that his people consisted of a pack of fools, cripples, thieves, and
beggars? it was still a people and he was its sovereign.
And he accepted seriously all this ironical applause, all this derisive respect, with
which the crowd mingled, it must be admitted, a good deal of very real fear.
For the hunchback was robust; for the bandy-legged fellow was agile; for the deaf
man was malicious: three qualities which temper ridicule.
We are far from believing, however, that the new Pope of the Fools understood both
the sentiments which he felt and the sentiments which he inspired.
The spirit which was lodged in this failure of a body had, necessarily, something
incomplete and deaf about it.
Thus, what he felt at the moment was to him, absolutely vague, indistinct, and
confused. Only joy made itself felt, only pride
dominated.
Around that sombre and unhappy face, there hung a radiance.
It was, then, not without surprise and alarm, that at the very moment when
Quasimodo was passing the Pillar House, in that semi-intoxicated state, a man was seen
to dart from the crowd, and to tear from
his hands, with a gesture of anger, his crosier of gilded wood, the emblem of his
mock popeship.
This man, this rash individual, was the man with the bald brow, who, a moment earlier,
standing with the gypsy's group had chilled the poor girl with his words of menace and
of hatred.
He was dressed in an ecclesiastical costume.
At the moment when he stood forth from the crowd, Gringoire, who had not noticed him
up to that time, recognized him: "Hold!" he said, with an exclamation of astonishment.
"Eh! 'tis my master in Hermes, Dom Claude Frollo, the archdeacon!
What the devil does he want of that old one-eyed fellow?
He'll get himself devoured!"
A cry of terror arose, in fact. The formidable Quasimodo had hurled himself
from the litter, and the women turned aside their eyes in order not to see him tear the
archdeacon asunder.
He made one bound as far as the priest, looked at him, and fell upon his knees.
The priest tore off his tiara, broke his crozier, and rent his tinsel cope.
Quasimodo remained on his knees, with head bent and hands clasped.
Then there was established between them a strange dialogue of signs and gestures, for
neither of them spoke.
The priest, erect on his feet, irritated, threatening, imperious; Quasimodo,
prostrate, humble, suppliant.
And, nevertheless, it is certain that Quasimodo could have crushed the priest
with his thumb.
At length the archdeacon, giving Quasimodo's powerful shoulder a rough
shake, made him a sign to rise and follow him.
Quasimodo rose.
Then the Brotherhood of Fools, their first stupor having passed off, wished to defend
their pope, so abruptly dethroned.
The Egyptians, the men of slang, and all the fraternity of law clerks, gathered
howling round the priest.
Quasimodo placed himself in front of the priest, set in play the muscles of his
athletic fists, and glared upon the assailants with the snarl of an angry
tiger.
The priest resumed his sombre gravity, made a sign to Quasimodo, and retired in
silence. Quasimodo walked in front of him,
scattering the crowd as he passed.
When they had traversed the populace and the Place, the cloud of curious and idle
were minded to follow them.
Quasimodo then constituted himself the rearguard, and followed the archdeacon,
walking backwards, squat, surly, monstrous, bristling, gathering up his limbs, licking
his boar's tusks, growling like a wild
beast, and imparting to the crowd immense vibrations, with a look or a gesture.
Both were allowed to plunge into a dark and narrow street, where no one dared to
venture after them; so thoroughly did the mere chimera of Quasimodo gnashing his
teeth bar the entrance.
"Here's a marvellous thing," said Gringoire; "but where the deuce shall I
find some supper?"