This last explanation was wholly lost upon Dantès, who had always imagined, from seeing the sun rise from behind the mountains and set in the Mediterranean, that it moved, and not the earth. A double movement of the globe he inhabited, and of which he could feel nothing, appeared to him perfectly impossible. Each word that fell from his companion’s lips seemed fraught with the mysteries of science, as worthy of digging out as the gold and diamonds in the mines of Guzerat and Golconda, which he could just recollect having visited during a voyage made in his earliest youth.
“Come,” said he to the abbé, “I am anxious to see your treasures.”
The abbé smiled, and, proceeding to the disused fireplace, raised, by the help of his chisel, a long stone, which had doubtless been the hearth, beneath which was a cavity of considerable depth, serving as a safe depository of the articles mentioned to Dantès.
“What do you wish to see first?” asked the abbé.
“Oh, your great work on the monarchy of Italy!”
Faria then drew forth from his hiding-place three or four rolls of linen, laid one over the other, like folds of papyrus. These rolls consisted of slips of cloth about four inches wide and eighteen long; they were all carefully numbered and closely covered with writing, so legible that Dantès could easily read it, as well as make out the sense—it being in Italian, a language he, as a Provençal, perfectly understood.
“There,” said he, “there is the work complete. I wrote the word finis at the end of the sixty-eighth strip about a week ago. I have torn up two of my shirts, and as many handkerchiefs as I was master of, to complete the precious pages. Should I ever get out of prison and find in all Italy a printer courageous enough to publish what I have composed, my literary reputation is forever secured.”
“I see,” answered Dantès. “Now let me behold the curious pens with which you have written your work.”
“Look!” said Faria, showing to the young man a slender stick about six inches long, and much resembling the size of the handle of a fine painting-brush, to the end of which was tied, by a piece of thread, one of those cartilages of which the abbé had before spoken to Dantès; it was pointed, and divided at the nib like an ordinary pen. Dantès examined it with intense admiration, then looked around to see the instrument with which it had been shaped so correctly into form.