“Is Monsieur le Maire ill? I thought he had a rather singular air.”
This cashier occupied a room situated directly under M. Madeleine’s chamber. He paid no heed to the portress’s words, but went to bed and to sleep. Towards midnight he woke up with a start; in his sleep he had heard a noise above his head. He listened; it was a footstep pacing back and forth, as though some one were walking in the room above him. He listened more attentively, and recognized M. Madeleine’s step. This struck him as strange; usually, there was no noise in M. Madeleine’s chamber until he rose in the morning. A moment later the cashier heard a noise which resembled that of a cupboard being opened, and then shut again; then a piece of furniture was disarranged; then a pause ensued; then the step began again. The cashier sat up in bed, quite awake now, and staring; and through his window-panes he saw the reddish gleam of a lighted window reflected on the opposite wall; from the direction of the rays, it could only come from the window of M. Madeleine’s chamber. The reflection wavered, as though it came rather from a fire which had been lighted than from a candle. The shadow of the window-frame was not shown, which indicated that the window was wide open. The fact that this window was open in such cold weather was surprising. The cashier fell asleep again. An hour or two later he waked again. The same step was still passing slowly and regularly back and forth overhead.
The reflection was still visible on the wall, but now it was pale and peaceful, like the reflection of a lamp or of a candle. The window was still open.
This is what had taken place in M. Madeleine’s room.
CHAPTER III—A TEMPEST IN A SKULL
The reader has, no doubt, already divined that M. Madeleine is no other than Jean Valjean.
We have already gazed into the depths of this conscience; the moment has now come when we must take another look into it. We do so not without emotion and trepidation. There is nothing more terrible in existence than this sort of contemplation. The eye of the spirit can nowhere find more dazzling brilliance and more shadow than in man; it can fix itself on no other thing which is more formidable, more complicated, more mysterious, and more infinite. There is a spectacle more grand than the sea; it is heaven: there is a spectacle more grand than heaven; it is the inmost recesses of the soul.
To make the poem of the human conscience, were it only with reference to a single man, were it only in connection with the basest of men, would be to blend all epics into one superior and definitive epic. Conscience is the chaos of chimæras, of lusts, and of temptations; the furnace of dreams; the lair of ideas of which we are ashamed; it is the pandemonium of sophisms; it is the battlefield of the passions. Penetrate, at certain hours, past the livid face of a human being who is engaged in reflection, and look behind, gaze into that soul, gaze into that obscurity. There, beneath that external silence, battles of giants, like those recorded in Homer, are in progress; skirmishes of dragons and hydras and swarms of phantoms, as in Milton; visionary circles, as in Dante. What a solemn thing is this infinity which every man bears within him, and which he measures with despair against the caprices of his brain and the actions of his life!
Alighieri one day met with a sinister-looking door, before which he hesitated. Here is one before us, upon whose threshold we hesitate. Let us enter, nevertheless.
We have but little to add to what the reader already knows of what had happened to Jean Valjean after the adventure with Little Gervais. From that moment forth he was, as we have seen, a totally different man. What the Bishop had wished to make of him, that he carried out. It was more than a transformation; it was a transfiguration.