For my part, I make no pretensions to the erudition of the bookworm, and I cannot read the history of the Man in the Iron Mask without feeling my blood boil at the abominable abuse of power—the heinous crime of which he was the victim.
A few years ago, M. Fournier and I, thinking the subject suitable for representation on the stage, undertook to read, before dramatising it, all the different versions of the affair which had been published up to that time. Since our piece was successfully performed at the Odeon two other versions have appeared: one was in the form of a letter addressed to the Historical Institute by M. Billiard, who upheld the conclusions arrived at by Soulavie, on whose narrative our play was founded; the other was a work by the bibliophile Jacob, who followed a new system of inquiry, and whose book displayed the results of deep research and extensive reading. It did not, however, cause me to change my opinion. Even had it been published before I had written my drama, I should still have adhered to the idea as to the most probable solution of the problem which I had arrived at in 1831, not only because it was incontestably the most dramatic, but also because it is supported by those moral presumptions which have such weight with us when considering a dark and doubtful question like the one before us. It will, be objected, perhaps, that dramatic writers, in their love of the marvellous and the pathetic, neglect logic and strain after effect, their aim being to obtain the applause of the gallery rather than the approbation of the learned. But to this it may be replied that the learned on their part sacrifice a great deal to their love of dates, more or less exact; to their desire to elucidate some point which had hitherto been considered obscure, and which their explanations do not always clear up; to the temptation to display their proficiency in the ingenious art of manipulating facts and figures culled from a dozen musty volumes into one consistent whole.
Our interest in this strange case of imprisonment arises, not alone from its completeness and duration, but also from our uncertainty as to the motives from which it was inflicted. Where erudition alone cannot suffice; where bookworm after bookworm, disdaining the conjectures of his predecessors, comes forward with a new theory founded on some forgotten document he has hunted out, only to find himself in his turn pushed into oblivion by some follower in his track, we must turn for guidance to some other light than that of scholarship; especially if, on strict investigation, we find that not one learned solution rests on a sound basis of fact.
In the question before us, which, as we said before, is a double one, asking not only who was the Man in the Iron Mask, but why he was relentlessly subjected to this torture till the moment of his death, what we need in order to restrain our fancy is mathematical demonstration, and not philosophical induction.
While I do not go so far as to assert positively that Abbe Soulavie has once for all lifted the veil which hid the truth, I am yet persuaded that no other system of research is superior to his, and that no other suggested solution has so many presumptions in its favour. I have not reached this firm conviction on account of the great and prolonged success of our drama, but because of the ease with which all the opinions adverse to those of the abbe may be annihilated by pitting them one against the other.
The qualities that make for success being quite different in a novel and in a drama, I could easily have founded a romance on the fictitious loves of Buckingham and the queen, or on a supposed secret marriage between her and Cardinal Mazarin, calling to my aid a work by Saint-Mihiel which the bibliophile declares he has never read, although it is assuredly neither rare nor difficult of access. I might also have merely expanded my drama, restoring to the personages therein their true names and relative positions, both of which the exigencies of the stage had sometimes obliged me to alter, and while allowing them to fill the same parts, making them act more in accordance with historical fact. No fable however far-fetched, no grouping of characters however improbable, can, however, destroy the interest which the innumerable writings about the Iron Mask excite, although no two agree in details, and although each author and each witness declares himself in possession of complete knowledge. No work, however mediocre, however worthless even, which has appeared on this subject has ever failed of success, not even, for example, the strange jumble of Chevalier de Mouhy, a kind of literary braggart, who was in the pay of Voltaire, and whose work was published anonymously in 1746 by Pierre de Hondt of The Hague. It is divided into six short parts, and bears the title, 'Le Masque de Fer, ou les Aventures admirables du Prre et du Fils'. An absurd romance by Regnault Warin, and one at least equally absurd by Madame Guenard, met with a like favourable reception. In writing for the theatre, an author must choose one view of a dramatic situation to the exclusion of all others, and in following out this central idea is obliged by the inexorable laws of logic to push aside everything that interferes with its development. A book, on the contrary, is written to be discussed; it brings under the notice of the reader all the evidence produced at a trial which has as yet not reached a definite conclusion, and which in the case before us will never reach it, unless, which is most improbable, some lucky chance should lead to some new discovery.
The first mention of the prisoner is to be found in the 'Memoires secrets pour servir a l'Histoire de Perse' in one 12mo volume, by an anonymous author, published by the 'Compagnie des Libraires Associes d'Amsterdam' in 1745.
"Not having any other purpose," says the author (page 20, 2nd edit.), "than to relate facts which are not known, or about which no one has written, or about which it is impossible to be silent, we refer at once to a fact which has hitherto almost escaped notice concerning Prince Giafer (Louis de Bourbon, Comte de Vermandois, son of Louis XIV and Mademoiselle de la Valliere), who was visited by Ali-Momajou (the Duc d'Orleans, the regent) in the fortress of Ispahan (the Bastille), in which he had been imprisoned for several years. This visit had probably no other motive than to make sure that this prince was really alive, he having been reputed dead of the plague for over thirty years, and his obsequies having been celebrated in presence of an entire army.
"Cha-Abas (Louis XIV) had a legitimate son, Sephi-Mirza (Louis, Dauphin of France), and a natural son, Giafer. These two princes, as dissimilar in character as in birth, were always rivals and always at enmity with each other. One day Giafer so far forgot himself as to strike Sephi-Mirza. Cha-Abas having heard of the insult offered to the heir to the throne, assembled his most trusted councillors, and laid the conduct of the culprit before them—conduct which, according to the law of the country, was punishable with death, an opinion in which they all agreed. One of the councillors, however, sympathising more than the others with the distress of Cha-Abas, suggested that Giafer should be sent to the army, which was then on the frontiers of Feidrun (Flanders), and that his death from plague should be given out a few days after his arrival. Then, while the whole army was celebrating his obsequies, he should be carried off by night, in the greatest secrecy, to the stronghold on the isle of Ormus (Sainte-Marguerite), and there imprisoned for life.
"This course was adopted, and carried out by faithful and discreet agents. The prince, whose premature death was mourned by the army, being carried by unfrequented roads to the isle of Ormus, was placed in the custody of the commandant of the island, who, had received orders beforehand not to allow any person whatever to see the prisoner. A single servant who was in possession of the secret was killed by the escort on the journey, and his face so disfigured by dagger thrusts that he could not be recognised.