In The Slaves of Paris both villains and
their victims are trapped by their own passions and desires. Most characters in
Gaboriau have both good and bad qualities. Even Mascarin, as we find out at the
end of The Mystery of Champdoce has a
redeeming feature – he is not all evil.
Paul
Violaine’s experience of being caught in the net is the most interesting. Paul
arrives in Paris penniless with Rose. He is 23 years of age. He is the bastard
son of Montlouis, a merry young man involved in the early romantic and tragic
shenanigans of Diana de Mussidan and Norbert Duke de Champdoce. Montlouis is
killed by Octave de Mussidan, whose remorse then leads him to support Paul and
his mother financially until he becomes of age.
In the
opening chapter of Caught in the Net Paul
returns to the lodgings where Rose is waiting. He has been unsuccessful in his
search for work. Rose is not pleased and an argument follows. Paul complains:
“I ask
you have I left one stone unturned? Have I not gone from publisher to publisher
to sell the songs of my own composing – those songs that you sing so well? I
have endeavoured to get pupils. What fresh efforts can I try?” (Caught in the Net, Chapter 1)
He
defends himself: “I have no trade; I am no mechanic.” (Ibid.) At his first meeting with Mascarin, the villain pulls no
punches talking to Paul:
“You
wasted your time over music, and composed songs and, I know, an opera, and
thought yourself a perfect genius ...Foolish boy! Every year a thousand poor
wretches have been thus intoxicated by their provincial celebrity, and have
started for Paris, buoyed up by similar hopes. Do you know the end of them? At
the end of ten years - I give them no longer - nine out of ten die of
starvation and disappointment, and the other joins the criminal army." (Caught in the Net, Chapter 2)
Paul’s
character is established in the opening pages. He is ambitious but lazy. He feels a sense
of entitlement. Mascarin offers Paul 12,000 francs a year for an unspecified
job. It is an offer Paul cannot refuse. Naïve and covetous, handsome and not
very smart, Paul Violaine is just what Mascarin has been looking for. As Dr
Hortebise puts it at the cliff hanger ending of chapter 2: “… he will mould
this child between his fingers like wax.” (Caught
in the Net, Chapter 2)
“Staggering
like a drunken man, Paul Violaine descended the stairs when his interview with
Mascarin had been concluded.” (Caught in
the Net, Chapter 7). Paul is “absolutely stunned” by his good fortune.
“Paul was utterly dazed.” (Ibid.) He
remains is a state of dazed confusion for much of the rest of the
story. He next appears at Mascarin’s office “very pale, and his eyes had the
expression of some hunted creature. His attire was in disorder and betokened a
night spent in aimless wanderings to and fro.” (Caught in the Net, Chapter 10) He declares “My life has ended.”
Rose has left him, and he has been accused of stealing the 500 francs Daddy
Tantaine lent him. (Ibid.)
When
Paul describes the loss of Rose, Mascarin concludes that Paul’s “words were too
fine for his grief to be sincere.” (Ibid.)
The accusation of theft is a more serious matter. Paul is “horror-stricken,”
“utterly bewildered,” he listens to Mascarin in “breathless eagerness,” “a cold
shiver ran through his frame,” he stammers, “he was crushed down beneath this
weight of argument.” “He had lost the power of hearing.” All this happens to
Paul in the space of a couple of pages. By appearing to save Paul, Mascarin
alleviates these physical symptoms brought on by Paul’s first brush with crime.
Mascarin has captured Paul. He admits that there never was a job for 12,000
francs, but he has “taken a great liking to” Paul. Mascarin will make Paul rich.
All he wants in return is “absolute obedience.” (Ibid.)
Mascarin
takes Pauls to Van Klopen, a “man-milliner” and “Regenerator of Fashion.” (Caught in the Net, Chapter 11). Listening
to Mascarin and Van Klopen plotting “Paul’s cheek had grown paler and paler,
for, occupied as he was, he could not fail to comprehend something of what was
going on.” Paul begins to learn of Mascarin’s plans: “It was too evident to him
that his protector was engaged in some dark and insidious plot, and Paul felt
that he was standing over a mine which might explode at any moment.” (Ibid.) The various characters are “all
jumbled and mixed up together in one strange phantasmagoria. Was he, Paul, to
be a mere tool in such hands? Toward what a precipice was he being impelled!” (Ibid.)
Paul
realizes that he is trapped and there is
no way out for him:
“But
the web had been woven too securely, and should he struggle to break through
it, he might find himself exposed to even more terrible dangers. He felt
horrified at his position, but with this there was mingled no horror of the
criminality of his associates, for the skilful hand of Mascarin ad unwound and
mastered all the bad materials in his nature. He was dazzled at the glorious
future held out before him …” (Ibid.)
This
is the moment, in this progress of a young rake, when Paul Violaine moves from being a victim and a dumb tool to
being a villain’s apprentice. His weak and ambitious nature is seduced. He goes
along willingly: “I yield myself up to the impetuous stream which is already
carrying me along.” (Ibid.)
Paul’s
fall and corruption is completed when Rose arrives with her new lover and he witnesses Rose's transformation. Paul is
left gasping, his “legs bent under him, and he staggered.” This is the last
straw; now, he says to Mascarin, “I am willing to do whatever you desire.” (Ibid.)
Paul
moves into new lodgings and assumes a new identity as instructed by Daddy
Tantaine and Mascarin: “You must cast aside your old skin, and enter that of
another.” (Caught in the Net, Chapter
25) “Paul’s brain seemed to tremble beneath the crime that his companion was
teaching him.” (Ibid.) As soon as he
is alone “he was seized with such mortal terror, that he sank in a half
fainting condition into an easy-chair. … He recalled the incidents in the life
of the escaped galley-slave Coignard, who, under the name of Pontis de St. Hélène,
absolutely assumed the rank of a general officer, and took command of a
domain.” ((Ibid.)
(Source:
|
Pierre
Coignard, the “son of a vine dresser” from the Loire region (“Celebrated
Trials of the Nineteenth Century,”
p405) joined the republican army after the French revolution and “became a
corporal in the grenadiers of the Convention But his disposition was ill
disposed by nature and soon giving indulgence to his perverted habits he was
found guilty of certain acts which occasioned his condemnation for fourteen
years to the galleys.”
(Ibid.)
“After
four years of captivity he broke his irons and escaped from prison” (Ibid.) and returned to France. There he
assumed the name and identity of Count de Sainte Hélène and launched himself on a career
of crime with a gang of accomplices. He committed fraud and forgery and a
string of burglaries using his assumed aristocratic title to gain access to
wealthy households. “All the robberies in which Pierre Coignard and his band
were engaged had been conducted with a subtle ingenuity that baffled the keen
researches of even the police of Paris” (“Celebrated Trials of the
Nineteenth Century,” p412)
Eventually,
Eugène Vidocq
caught up with Coignard and he was brought to trial in June 1819. In the debate
about Coignard’s true identity he argued that the scars on his legs that identified
him were not really from small pox but “the
effect of bruises which Vidocq had inflicted by severe kicks (“Celebrated
Trials of the Nineteenth Century,”
p410). Coignard had run out of luck and the judges condemned
him "to the travaux forces for life to exposure in the iron collar
and to be branded by the letters TF." (“Celebrated Trials of the
Nineteenth Century,” p415)
The story of Pierre Coignard can be read in the April 1833
edition of Fraser’s Magazine (Vol. 7,
No XL, pp393-415) in an article entitled “Celebrated
Trials of the Nineteenth Century.” The article is a translation from the French
original Causes criminelles célèbres du XIXe siècle,
rédigées par une société d'avocats (Tome
second, 1827, pp219-287). This French compendium of famous trials was a
prime source of material for sensational writers like Gaboriau.
By the time Paul marries Flavia, he is beyond all caring:
“The change was great, but Paul was no longer surprised at anything. He did not feel the faintest tinge of remorse; he only feared one thing, and that was that by some blunder he might compromise his future ... (The Mystery of Champdoce, Chapter 34)
In the end, Paul’s weak character and overall uselessness in the endeavours of life turn against Mascarin. Like a tool used against its maker, Paul’s very nature becomes Mascarin’s greatest punishment. This is a fitting and deliciously ironic end to Gaboriau’s excellent sensation novel.
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