The Wandering Jew Part 28

His master rang the bell violently, and said to the old servant that opened the door: "Just put what is indispensable into the portmanteau of my travelling-carriage. Let the porter take a cab, and go for post horses instantly. Within an hour, I must be on the road. Mother!

mother!" cried he, as the servant departed in haste. "Not to see her again--oh, it would be frightful!" And sinking upon a chair, overwhelmed with sorrow, he covered his face with his hands.

This great grief was sincere--he loved tenderly his mother that divine sentiment had accompanied him, unalterable and pure, through all the phases of a too often guilty life.

After a few minutes, Rodin ventured to say to his master, as he showed him the second letter: "This, also, has just been brought from M.

Duplessis. It is very important--very pressing--"

"See what it is, and answer it. I have no head for business."

"The letter is confidential," said Rodin, presenting it to his master.

"I dare not open it, as you may see by the mark on the cover."

At sight of this mark, the countenance of Rodin's master a.s.sumed an indefinable expression of respect and fear. With a trembling hand he broke the seal. The note contained only the following words: "Leave all business, and without losing a minute, set out and come. M. Duplessis will replace you. He has orders."

"Great G.o.d!" cried this man in despair. "Set out before I have seen my mother! It is frightful, impossible--it would perhaps kill her--yes, it would be matricide!"

Whilst he uttered these words, his eyes rested on the huge globe, marked with red crosses. A sudden revolution seemed to take place within him; he appeared to repent of the violence of his regrets; his face, though still sad, became once more calm and grave. He handed the fatal letter to his secretary, and said to him, whilst he stifled a sigh: "To be cla.s.sed under its proper number."

Rodin took the letter, wrote a number upon it, and placed it in a particular box. After a moment's silence, his master resumed: "You will take orders from M. Duplessis, and work with him. You will deliver to him the note on the affair of the medals; he knows to whom to address it. You will write to Batavia, Leipsic, and Charlestown, in the sense agreed. Prevent, at any price, the daughters of General Simon from quitting Leipsic; hasten the arrival of Gabriel in Paris; and should Prince Djalma come to Batavia, tell M. Joshua Van Dael, that we count on his zeal and obedience to keep him there."

And this man, who, while his dying mother called to him in vain, could thus preserve his presence of mind, entered his own apartments; whilst Rodin busied himself with the answers he had been ordered to write, and transcribed them in cipher.

In about three quarters of an hour, the bells of the post-horses were heard jingling without. The old servant again entered, after discreetly knocking at the door, and said:

"The carriage is ready."

Rodin nodded, and the servant withdrew. The secretary, in his turn, went to knock at the door of the inner room. His master appeared, still grave and cold, but fearfully pale, and holding a letter in his hand.

"This for my mother," said he to Rodin; "you will send a courier on the instant."

"On the instant," replied the secretary.

"Let the three letters for Leipsic, Batavia and Charlestown, leave to-day by the ordinary channel. They are of the last importance. You know it."

Those were his last words. Executing merciless orders with a merciless obedience, he departed without even attempting to see his mother. His secretary accompanied him respectfully to his carriage.

"What road, sir?" asked the postilion, turning round on his saddle.

"The road to ITALY!" answered Rodin's master, with so deep a sigh that it almost resembled a sob.

As the horses started at full gallop, Rodin made a low bow; then he returned to the large, cold, bare apartment. The att.i.tude, countenance, and gait of this personage seemed to have undergone a sudden change. He appeared to have increased in dimensions. He was no longer an automaton, moved by the mechanism of humble obedience. His features, till now impa.s.sible, his glance, hitherto subdued, became suddenly animated with an expression of diabolical craft; a sardonic smile curled his thin, pale lips, and a look of grim satisfaction relaxed his cadaverous face.

In turn, he stopped before the huge globe. In turn, he contemplated it in silence, even as his master had done. Then, bending over it, and embracing it, as it were, in his arms, he gloated with his reptile-eye on it for some moments, drew his coa.r.s.e finger along its polished surface, and tapped his flat, dirty nail on three of the places dotted with red crosses. And, whilst he thus pointed to three towns, in very different parts of the world, he named them aloud, with a sneer.

"Leipsic--Charlestown--Batavia."

"In each of these three places," he added, "distant as they are from one another, there exist persons who little think that here, in this obscure street, from the recesses of this chamber, wakeful eyes are upon them--that all their movements are followed, all their actions known--and that hence will issue new instructions, which deeply concern them, and which will be inexorably executed; for an interest is at stake, which may have a powerful influence on Europe--on the world.

Luckily, we have friends at Leipsic, Charlestown, and Batavia."

This funny, old, sordid, ill-dressed man, with his livid and death-like countenance, thus crawling over the sphere before him, appeared still more awful than his master, when the latter, erect and haughty, had imperiously laid his hand upon that globe, which he seemed desirous of subjecting by the strength of his pride and courage. The one resembled the eagle, that hovers above his prey--the other the reptile, that envelops its victim in its inextricable folds.

After some minutes, Rodin approached his desk, rubbing his hands briskly together, and wrote the following epistle in a cipher unknown even to his master:

"Paris, 3/4 past 9 A.M.

"He is gone--but he hesitated!

"When he received the order, his dying mother had just summoned him to her. He might, they told him, save her by his presence; and he exclaimed: 'Not to go to my mother would be matricide!'

"Still, he is gone--but he hesitated. I keep my eye upon him continually. These lines will reach Rome at the same time as himself.

"P.S.--Tell the Cardinal-Prince that he may rely on me, but I hope for his active aid in return."

When he had folded and sealed this letter, Rodin put it into his pocket.

The clock struck ten, M. Rodin's hour for breakfast. He arranged and locked up his papers in a drawer, of which he carried away the key, brushed his old greasy hat with his sleeve, took a patched umbrella in his hand, and went out. (1)

Whilst these two men, in the depths of their obscure retreat, were thus framing a plot, which was to involve the seven descendants of a race formerly proscribed--a strange mysterious defender was planning how to protect this family, which was also his own.

1 Having cited the excellent, courageous letters of M. Libri, and the curious work edited by M. Paulin, it is our duty likewise to mention many bold and conscientious writings on the subject of the "Society of Jesus," recently published by the elder Dupin, Michelet, Quinet, Genin, and the Count de Saint Priest--works of high and impartial intellects, in which the fatal theories of the order are admirably exposed and condemned. We esteem ourselves happy, if we can bring one stone towards the erection of the strong, and, we hope, durable embankment which these generous hearts and n.o.ble minds are raising against the encroachments of an impure and always menacing flood.--E. S.

BOOK II. INTERVAL.--THE WANDERING JEW'S SENTENCE.

XVII. The Ajoupa XVIII. The Tattooing XIX. The Smuggler XX.

M. Joshua Van Dael XXI. The Ruins of Tchandi XXII. The Ambuscade XXIII. M. Rodin XXIV. The Tempest XXV. The s.h.i.+pwreck XXVI. The Departure for Paris XXVII. Dagobert's Wife XXVIII. The Sister of the Baccha.n.a.l Queen XXIX.

Agricola Baudoin x.x.x. The Return x.x.xI. Agricola and Mother Bunch x.x.xII. The Awakening x.x.xIII. The Pavilion x.x.xIV.

Adrienne at her Toilet x.x.xV. The Interview

INTERVAL.

THE WANDERING JEW'S SENTENCE.

The site is wild and rugged. It is a lofty eminence covered with huge boulders of sandstone, between which rise birch trees and oaks, their foliage already yellowed by autumn. These tall trees stand out from the background of red light, which the sun has left in the west, resembling the reflection of a great fire.

From this eminence the eye looks down into a deep valley, shady, fertile, and half-veiled in light vapor by the evening mist. The rich meadows, the tufts of bushy trees the fields from which the ripe corn has been gathered in, all blend together in one dark, uniform tint, which contrasts with the limpid azure of the heavens. Steeples of gray stone or slate lift their pointed spires, at intervals, from the midst of this valley; for many villages are spread about it, bordering a high-road which leads from the north to the west.

It is the hour of repose--the hour when, for the most part, every cottage window brightens to the joyous crackling of the rustic hearth, and s.h.i.+nes afar through shade and foliage, whilst clouds of smoke issue from the chimneys, and curl up slowly towards the sky. But now, strange to say, every hearth in the country seems cold and deserted. Stranger and more fatal still, every steeple rings out a funeral knell. Whatever there is of activity, movement, or life, appears concentrated in that lugubrious and far-sounding vibration.

Lights begin to show themselves in the dark villages, but they rise not from the cheerful and pleasant rustic hearth. They are as red as the fires of the herdsmen, seen at night through the midst of the fog. And then these lights do not remain motionless. They creep slowly towards the churchyard of every village. Louder sounds the death-knell, the air trembles beneath the strokes of so many bells, and, at rare intervals, the funeral chant rises faintly to the summit of the hill.

Why so many interments? What valley of desolation is this, where the peaceful songs which follow the hard labors of the day are replaced by the death dirge? where the repose of evening is exchanged for the repose of eternity? What is this valley of the shadow, where every village mourns for its many dead, and buries them at the same hour of the same night?

Alas! the deaths are so sudden and numerous and frightful that there is hardly time to bury the dead. During day the survivors are chained to the earth by hard but necessary toil; and only in the evening, when they return from the fields, are they able, though sinking with fatigue, to dig those other furrows, in which their brethren are to lie heaped like grains of corn.