Fabre himself was consulted on the subject; his conscience was appealed to, and how did he decide? It was only after the bitterest struggle, that he determined on liberating his betrothed. He saw no prospect of his release, and why should he sacrifice her? Let her no longer be bound up with his fearful fate, but be happy with another if she could.
The young lady yielded, though not without great misgivings. The day for her marriage with her new lover was fixed; but, at the last moment, she relented. Her faithfulness and love for the heroic galley-slave had never been shaken, and she resolved to remain constant to him, to remain unmarried if need be, or to wait for his liberation until death!
It is probable that her noble decision determined Fabre and Fabre's friends to make a renewed effort for his liberation. At last, after having been more than six years a galley-slave, he bethought him of a method of obtaining at least a temporary liberty. He proposed—without appealing to Saint-Florentin, who was the bitter enemy of the Protestants—to get his case made known to the Duc de Choiseul, Minister of Marine. This nobleman was a just man, and it had been in a great measure through his influence that the judgment of Calas had been reconsidered and reversed.
Fabre, while on the rowers' bench, had often met with a M. Johannot, a French Protestant, settled at Frankfort-on-Maine, to whom he stated his case. It may be mentioned that Huguenot refugees, on their visits to France, often visited the Protestant prisoners at the galleys, relieved their wants, and made intercession for them with the outside world. It may also be incidentally mentioned that this M. Johannot was the ancestor of two well-known painters and designers, Alfred and Tony, who have been the illustrators of some of our finest artistic works.
Johannot made the case of Fabre known to some French officers whom he met at Frankfort, interested them greatly in his noble character and self-sacrifice, and the result was that before long Fabre obtained, directly from the Duc de Choiseul, leave of absence from the position of galley-slave. The annoyance of Saint-Florentin, Minister of State, was so well-known, that Fabre, on his liberation, was induced to conceal himself. Nor could he yet marry his promised wife, as he had not been discharged, but was only on leave of absence; and Saint-Florentin obstinately refused to reverse the sentence that had been pronounced against him.
In the meantime, Fabre's name was becoming celebrated. He had no idea, while privately settled at Ganges as a silk stocking maker, that great people in France were interesting themselves about his fate. The Duchesse de Grammont, sister of the Duc de Choiseul, had heard about him from her brother; and the Prince de Beauvau, governor of Languedoc, the Duchesse de Villeroy, and many other distinguished personages, were celebrating his heroism.
Inquiry was made of the sergeant who had originally apprehended Fabre, upon his offering himself in exchange for his father (long since dead), and the sergeant confirmed the truth of the noble and generous act. At the same time, M. Alison, first consul at Nismes, confirmed the statement by three witnesses, in presence of the secretary of the Prince de Beauvau. The result was, that Jean Fabre was completely exonerated from the charge on account of which he had been sent to the galleys. He was now a free man, and at last married the young lady who had loved him so long and so devotedly.
One day, to his extreme surprise, Fabre received from the Duc de Choiseul a packet containing a drama, in which he found his own history related in verse, by Fenouillot de Falbaire. It was entitled "The Honest Criminal." Fabre had never been a criminal, except in worshipping God according to his conscience, though that had for nearly a hundred years been pronounced a crime by the law of France.
The piece, which was of no great merit as a tragedy, was at first played before the Duchesse de Villeroy and her friends, with great applause, Mdlle. Clairon playing the principal female part. Saint-Florentin prohibited the playing of the piece in public, protesting to the last against the work and the author. Voltaire played it at Ferney, and Queen Marie Antoinette had it played in her presence at Versailles. It was not until 1789 that the piece was played in the theatres of Paris, when it had a considerable success.
We do not find that any Protestants were sent to be galley-slaves after 1762, the year that Calas was executed. A reaction against this barbarous method of treating men for differences of opinion seems to have set in; or, perhaps, it was because most men were ceasing to believe in the miraculous powers of the priests, for which the Protestants had so long been hanged and made galley-slaves.