Collected Works of Eugène Sue

by Eugène Sue

  “As the Regent,” the chronicler proceeds, “was crossing a certain street on his way to the Louvre, a workingman had the daring to call out aloud: ‘By God, Sire, if my advice had been taken, you would not now be entering here. But nothing will be done for you.’”

  These and some other instances showed, to the honor of humanity, that ingratitude, defection and the fickleness of the masses — the fruits of their ignorance and secular subjection — offered at least pleasing exceptions. The memory of Marcel remained alive and sacred in the hearts of many loyal to the popular cause. Despite the triumph of the court party, several conspiracies were started looking to the overthrow of the throne and intended to revenge upon the Regent the death of the venerated Etienne Marcel. The last of these conspiracies was organized by a rich Paris bourgeois, Martin Pisdoé. He mounted the scaffold and paid with his head for his religious devotion to the memory of Marcel.

  Jocelyn the Champion had been left for dead near the gate of St. Antoine in the midst of a heap of corpses. Informed the same night by popular rumors of the assassination of the provost and his partisans, Rufin the Tankard-smasher and Alison the Huffy hastened to the place of the massacre in order to ascertain Jocelyn’s fate. They found him covered with wounds, ready to expire, and carried him to a charitable person in the neighborhood where, thanks to their untiring care he was rescued from death. Protected by the obscurity of his name, he long remained hidden in that asylum where a surgeon, a friend of Rufin, visited him. Only slowly did he regain his strength.

  Marguerite learned of her husband’s death from emissaries sent by John Maillart, who came that same night to arrest her at her house. Taken to prison, the unfortunate woman vainly implored permission to bury Marcel with her own hands. The supreme consolation was denied her, and she was later made acquainted with the ignominies inflicted on her husband’s corpse. She soon died in captivity. The property of Etienne Marcel was confiscated for the benefit of the Regent.

  Alison, always compassionate, offered Denise, who now found herself helpless and without means, to share with her the chamber she occupied at her inn. Often the two called to see Jocelyn the Champion in his secret retreat. Among other wounds an axe-stroke deprived him forever of the use of his right arm. When his other wounds were completely healed, he married Denise; on the same day Dame Alison married Rufin the Tankard-Smasher.

  Jocelyn had inherited a little patrimony, thanks to which he could almost wholly cover the indispensible needs of himself and wife, a fortunate circumstance seeing that the weakness consequent upon his wounds did not allow him to pursue his profession of champion. The only relative left to Denise lived near the frontier of Lorraine in the town of Vaucouleurs. Jocelyn decided to move hither. Despite the little notice he had drawn upon himself during the late revolt, it would have been imprudent on his part to prolong his stay in Paris after his recovery, seeing that the re-action of the court party was implacable. Jocelyn sold his patrimony, took, not without deep regret, leave from Rufin the Tankard-smasher and Alison, and escaping a hundred dangers from the bands of English soldiers and marauders who then ravaged Gaul, he reached the town of Vaucouleurs with Denise and settled there.

  THE END

  The Executioner’s Knife

  OR, JOAN OF ARC

  Translated by Daniel de Leon

  This story is something of a byway in the series, as Joan of Arc is not related to the family that features in the saga, although she is popularly seen as a fighter against oppression, as are the family members in the series. An ancestor of the family is present at the execution of Joan, but much of this story is like a historical treatise on Joan’s life, arrest, trial and death. The real individuals involved in the life and death of Joan of Arc are depicted in detail. The strong element of historical fact is counterbalanced by the almost whimsical portrayal of French peasantry and there are whole chapters devoted to what one might call folk poetry, whilst the depiction of Joan’s evolution into a combination of a channel of the Spirit and freedom fighter owes much to the many histories of her life that would have been available to Sue. As historical context and an anchor to the wider narrative, it is an informative addition to the series.

  CONTENTS

  TRANSLATOR’S PREFACE.

  PART I. DOMREMY

  CHAPTER I.

  CHAPTER II.

  CHAPTER III.

  CHAPTER IV.

  CHAPTER V.

  CHAPTER VI.

  CHAPTER VII.

  CHAPTER VIII.

  CHAPTER IX.

  CHAPTER X.

  CHAPTER XI.

  CHAPTER XII.

  CHAPTER XIII.

  CHAPTER XIV.

  CHAPTER XV.

  CHAPTER XVI.

  CHAPTER XVII.

  CHAPTER XVIII.

  PART II. CHINON.

  CHAPTER I.

  CHAPTER II.

  CHAPTER III.

  CHAPTER IV.

  PART III. ORLEANS.

  CHAPTER I.

  CHAPTER II.

  CHAPTER III.

  CHAPTER IV.

  CHAPTER V.

  CHAPTER VI.

  CHAPTER VII.

  CHAPTER VIII.

  CHAPTER IX.

  CHAPTER X.

  PART IV. ROUEN; OR, THE MYSTERY OF THE PASSION OF JOAN DARC

  CHAPTER I.

  CHAPTER II.

  CHAPTER III.

  CHAPTER IV.

  CHAPTER V.

  CHAPTER VI.

  CHAPTER VII.

  CHAPTER VIII.

  CHAPTER IX.

  CHAPTER X.

  CHAPTER XI.

  EPILOGUE.

  TRANSLATOR’S PREFACE.

  WHETHER ONE WILL be satisfied with nothing but a scientific diagnosis in psychology, or a less ponderous and infinitely more lyric presentation of certain mental phenomena will do for him; whether the student of history insist on strict chronology, or whether he prize at its true value the meat and coloring of history; whether a reader prefer in matters canonical the rigid presentation of dogma, or whether the tragic fruits of theocracy offer a more attractive starting point for his contemplation; — whichever the case might be, The Executioner’s Knife; or, Joan of Arc will gratify his intellectual cravings on all the three heads.

  This, the fifteenth story of the series of Eugène Sue’s matchless historic novels entitled The Mysteries of the People; or, History of a Proletarian Family Across the Ages, presents the picture of the Fifteenth Century — a historic elevation climbed up to from the hills of the era sketched in the preceding story, The Iron Trevet; or Jocelyn the Champion, and from which, in turn, the outlines become vaguely visible of the critically historic era that forms the subject of the next story, The Pocket Bible; or, Christian the Printer.

  As in all the stories of this stupendous series bestowed by the genius of Sue upon posterity, the leading characters are historic, the leading events are historic, and the coloring is true to history. How true to the facts are the historic revelations made by the author in this series, and how historically true are the conclusions he draws, as they rise in relief on the canvas of these novels, appears with peculiar conspicuousness in The Executioner’s Knife; or, Joan of Arc, above all in this century, when the science of history has remodeled its theory, and, instead of, as in former days, basing man’s acts upon impulse, has learned to plant impulse upon material facts.

  In the pages of this story the central figure is the charming one generally known to history as the Maid of Orleans. If ever there was in the annals of man a figure that superstitious mysticism combined with grovelling interests to annihilate, it was the figure of the pure-minded, self-sacrificing, intrepid shepherdess of Domremy. Even the genius of a Voltaire succumbed. In righteous revolt against man-degrading superstition, his satire “La Pucelle” in fact contributed, by the slur it placed upon Joan, to vindicate the very lay and prelatical interests he fought, and whose predecessors dragged her name through the ditch and had consigned her body to the flames. Ha
rried by the political interests whom her integrity of purpose menaced and actually thwarted; insulted and put to death by the allies of these, ambushed behind religion; the successors of both elements perpetuating the wrong with false history; and even the enlightened contributing their sneers out of just repugnance for supernaturalism; — all this notwithstanding, the figure of Joan triumphed. Even the head of the prelatic political machine, which had presumed to speak in the name of the Deity with Anathema over Joan’s head, has felt constrained to fall in line with the awakened popular knowledge. The Papal beatification of Joan of Arc in this century is a public retraction and apology to the heroine born from the lowly.

  Of the many works of art — poetic, dramatic, pictorial — that have contributed to this conspicuous “reversal of judgment” Sue’s The Executioner’s Knife; or, Joan of Arc has been the most powerful. The pathetic story cleanses Joan of the miraculous, uncovers the grovelling influences she had to contend against, exposes the sordid ambitions she had to overcome and that finally slaked their vengeance in her blood. The master’s hand weaves together and draws, in the garb of fiction, a picture that is monumental — at once as a work of science, of history and of art.

  DANIEL DE LEON.

  Milford, Conn., October, 1909.

  PART I. DOMREMY

  CHAPTER I.

  JEANNETTE.

  DOMREMY IS A frontier village of Lorraine that cosily nestles on the slope of a fertile valley whose pasture grounds are watered by the Meuse. An oak forest, that still preserves some mementoes of druid tradition, reaches out almost to the village church. This church is the handsomest of all in the valley, which begins at Vaucouleurs and ends at Domremy. St. Catherine and St. Marguerite, superbly painted and gilded, ornament the sanctuary. St. Michael, the Archangel, with his sword in one hand and the scales in the other, glistens from the depths of a dark recess in the chapel. Happy is the valley that begins at Vaucouleurs and ends at Domremy! A royal seigniory, lost on the confines of Gaul, it has not yet suffered from the disasters of war that for more than a half century have been desolating the center of the country. Its inhabitants, profiting by the civil broils of their sovereign and his distance from them, being separated from his main domains by Champagne, which had fallen into the power of the English, had emancipated themselves from serfdom.

  James Darc, a member of a family that had long been serfs of the Abbey of St. Remy, and subsequently of the Sire of Joinville before the fief of Vaucouleurs was consolidated with the royal domain, an honest laborer, stern head of his household and rather rude of manners, lived by the cultivation of the fields. His wife was called Isabelle Romée; his eldest son, Peter; the second, John; and his daughter, born on “the day of Kings” in 1412, was named Jeannette. At the time when this narrative commences, Jeannette was a little over thirteen years of age. She was of pleasant appearance, a sweet and pious child and endowed with precocious intelligence. Her disposition was serious for her age. This notwithstanding, she joined in the games of other girls, her friends, and never gloried in her own superior agility when, as usually happened, she won in the races. She could neither read nor write. Active and industrious, she helped her mother in the household, led the sheep to pasture and was skilful with the needle and at the distaff. Often pensive, when alone in secluded spots of the woods she watched over her flock, she found an inexpressible delight in listening to the distant sound of the church bells, to the point that at times she made little presents of fruits or skeins of wool to the parish clerk of Domremy, joining to the gifts the gentle request that he prolong a little the chimes of the vespers or of the Angelus. Jeannette also took delight in leading her sheep in the ancient forest of oaks, known as the “Bois Chesnu”, towards a limpid spring shaded by a beech tree that was between two and three hundred years old and which was known in the region as the “Fairies’ Tree”. The legend had it that the priests of the old gods of Gaul sometimes appeared, dressed in their long white robes, under the dark vaults of the oaks of this forest, and that often little fairies approached the fountain by moonlight to see their reflection in its waters.

  Jeannette did not fear the fairies, knowing that a single sign of the cross would put any malignant sprite to flight. She entertained a special spirit of devotion for St. Marguerite and St. Catherine, the two beautiful saints of the parish. When, on feast days, she accompanied her venerated parents to divine service, she was never tired of contemplating and admiring the good saints, who were at once smiling and majestic under their golden crowns. Likewise did St. Michael attract her attention. But the severity of the archangel’s face and his flaming sword somewhat intimidated the young shepherdess, while, on the contrary, her dear saints inspired her with ineffable confidence.

  Jeannette’s god-mother was Sybille, an old woman, originally from Brittany, and a washerwoman by occupation. Sybille knew a mass of marvelous legends; and she spoke familiarly about the fairies, genii and other supernatural beings. Some people took her for a witch; but her good heart, her piety and upright life in no way justified the suspicion. Jeannette, of whom her god-mother was very fond, drank in with avidity the legends narrated by the latter when they met on the way to the “Fountain of the Fairies” whither the former frequently took her sheep to water while her god-mother spun her hemp on the banks of a nearby stream. The narratives of her god-mother of the miraculous doings of the fairies and genii impressed themselves profoundly on the imaginative spirit of Jeannette, who grew ever more serious and pensive as she approached her fourteenth year. She was frequently subject to a vague sense of sadness. Often, when alone in the woods or on the meadows, the distant sounds of the church bells, that she so much loved to hear, struck her ears, and she would weep without knowing why. The involuntary tears comforted her. But her nights grew restless. She no longer slept peacefully as is the wont of rustic children after their wholesome labors. She dreamed much; and her visions would raise before her the spirits of the legends of her god-mother or present to her St. Marguerite and St. Catherine smiling tenderly upon her.

  CHAPTER II.

  GILLON THE FURTIVE.

  ON A BRILLIANT summer day the sun was westering behind the Castle of Ile, a small fortress raised between the two arms of the Meuse at a considerable distance from Domremy. James Darc inhabited a house near the church, the garden of which bordered on that of his own habitation. The laborer’s family, gathered before the door of their lodging, were enjoying the coolness of the evening; some were seated on a bench and others on the floor. James Darc, a robust man of severe countenance, spare of face and grey of hair, was in the group resting from his day’s labor; his wife, Isabelle, spun; Jeannette was sewing. Large and strong for her age, lissom and well proportioned, her hair was black, as were also her large brilliant eyes. The ensemble of her features made promise of a virile and yet tender beauty. She wore, after the fashion of Lorraine, a skirt of coarse scarlet fabric, with a corsage that, looped over her shoulders, allowed the short sleeves of her skirt to escape at her upper arms, the rest of which remained bare and were well built and slightly tanned by the sun.

  Darc’s family were listening to the account of a stranger dressed in a brown coat, shod in tall and spurred boots, holding a whip in his hands and carrying on his shoulder a tin box held by a leather strap. The stranger, Gillon the Furtive, was in the habit of traversing long distances on horseback in the capacity of “flying messenger”, carrying the correspondence of important personages. He had just returned from one of these errands to the Duke of Lorraine and was going back to Charles VII, who then resided at Bourges. While crossing Domremy, Gillon the Furtive had asked James Darc to direct him to some inn where he could sup and feed his horse.

  “Share my meal; my sons will take your horse to the stable,” the hospitable laborer answered the messenger. The offer being accepted, supper was taken and the stranger, desirous to pay his reckoning in his own way by giving the latest news of France to the family of Darc, reported how the English, masters of Paris and of almost
all the provinces, governed despotically, terrorizing the inhabitants by their continuous acts of violence and rapine; how the King of England, still a boy and under the guardianship of the Duke of Bedford, had inherited the crown of France; while poor Charles VII, the King by right, deserted by almost all his seigneurs and relegated to Touraine, the last shred of his domains, did not even entertain the hope of ever being able to redeem those provinces from the domination of the English. Being a court messenger and therefore, naturally, a royalist of the Armagnac party, Gillon the Furtive professed, after the fashion of inferior courtiers, a sort of stupid, false, blind and grovelling adoration for Charles VII. That young prince, unnerved by his early debaucheries, selfish, greedy, envious and, above all, cowardly, never appeared at the head of the troops still left to him; and consoled himself for their defeats and his disgrace by drinking deep and singing with his mistresses. In his royalist fervor, however, Gillon the Furtive forgot his master’s vices and saw only his misfortunes.

  “Poor young King! It is a pity to see what he has to endure!” said the messenger at the close of his report. “His accursed mother, Isabelle of Bavaria, is the cause of it all. Her misconduct with the Duke of Orleans and her hatred for the Duke of Burgundy have brought on the frightful feud between the Burgundians and the Armagnacs. The English, already masters of several of our provinces since the battle of Poitiers, easily took possession of almost all France, torn in factions as the country was. They now impose upon the country an intolerable yoke, sack and burn it right and left and butcher its people. Finally, the Duke of Bedford, tutor of a king in his cradle, reigns in the place of our gentle Dauphin! A curse upon Isabelle of Bavaria! That woman was the ruin of the kingdom. We are no longer French. We are English!”