On April 1, 1464 mayor of Cologne Johann Breyde was chopped into quarters … with ink.
This startling image does not depict an actual flesh-and-blood execution. It is, instead, an outstanding (and conveniently for our purposes, dated) instance of an artifact from medieval Germany, the Schandbild. Such “defamatory pictures” often supplemented a Schmahbrief or “defamatory letter” — intended, as the names suggest, to impugn publicly the target over a debt, a broken promise, or some other private breach of faith.
Something like 100 of these defamations survive from late medieval and early modern Germany (approximately 1400 to 1600), many of them fantasizing about their debtors’ executions in bloodthirsty scenes that also gesture to the place that ritual, spectacle, and dishonor held on the real-life gallows. Here are a few of the more piquant examples; many more await at a wonderful Pinterest gallery here.
The purpose of defamatory letters and pictures was to bring low the reputation of their target in the eyes of a wider community — leveraging social pressure either for revenge, or to force the defamed to repair the breach.
Matthias Lentz, one of the (regrettably few) historians working on these underappreciated objects, notes* that there are even surviving contracts from Germany, Bohemia and Poland enumerating an “explicit understand about injuring a person’s reputation and bringing dishonour upon a defaulting individual … a clause called Scheltklausel that laid down the practice of publicly scolding a defaulter.” For every Schandbild or Schmähbrief there must have been a dozen other potential swindlers quietly forced by the threat of public infamy to make good their contracts.
Per Lentz, the earliest known instance of an explicit contract dates to 1379, “wherein a ducal councillor accorded a nobleman, in eventuality of the former violating the terms of the contract, the right to denounce him as a fraud by ‘posting his name on the pillory [of the councillor’s home town], or wherever he likes'” — again, linking the “mere” text to the instruments of official corporal punishment.
Nor was it uncommon for the Schmähbrief, if things got to that point, to fantasize about the debtor’s bodily suffering in brutal terms that would like invite an investigation for terroristic threats were the modern debt collection call center to deploy them in its harangue. One quoted by Lentz captioned his illustration thus:
It is customary to judge thieves and traitors according to their offences, the first is sent to the gallows, the second broken on the wheel. As I have not got power to carry out the above-mentioned acts, it is my intention to use the painter to have them painted hanging from the gallows and being tortured on the wheel.
Still, Schandbilder und Schmähbriefe meant to intimidate not physically, but socially.** It was in this capacity that the iconography of the pillory and the scaffold entered the frame: ’twas an infamy to be exposed upon them for a public crime — serving as “an indictment of those who knew the criminal … [and] a punitive stigma over his or her relatives and friends.”† Posting a slur on the repute of a prominent person — for the targets were most always people of rank, who would feel an injury to their status — taxed this same, essential, civic currency.
This is why we should let his shameful picture hang here with his coat of arms, until he has given me compensation recognized by respectable people for those unwarranted things that he and his people did … and ask all those who seek charity, who see him painted hanging, that they let him hang. (Source)
By consequence the execution imagery was strictly optional, one iconographic choice among many. From the too-few examples that survive to us it is plain that creditors delighted in their symbolic chastisement, issuing all the obloquies a grievance could devise, untethered from the confines of possible or the … sanitary.
The Schandbild frequently evinced a scatological fixation.
* Quotes form Lentz’s “Defamatory Pictures and Letters in Late Medieval Germany: The Visualisation of Disorder and Infamy” in The Medieval History Journal, vol. 3, no. 1 (2000). Lentz also has several German-language journal titles on the same topic.
** Not necessarily true of their Italian cousins, pitture infamanti. These were a similar sort of thing, but were issued not privately but by the city-states themselves against absconded offenders — a sort of quasi-execution by effigy. Many of these were painted for public spaces and removed with the passage of time so we have lost exemplars, including the products of masters — the Medici, for example, commissioned Botticelli to grace Florence with pitture infamanti of the Pazzi conspirators, which were whitewashed in 1494.
A characteristic pose for these pictures, also used in Germany, had the “victim” hanging upside-down by one foot, conjoining “metaphors of inversion” (as Robert Mills puts it) to the disgrace of the gallows. This posture is commonly thought to have inspired the “Hanged Man” tarot card.
Left: a pittura infamante study by Florentine Renaissance artist Andrea del Sarto; right: the “hanged man” card from a tarot pack.
*† Maria Boes, “Public Appearance and Criminal Judicial Practices in Early Modern Germany,” Social Science History, Vol. 20, No. 2 (Summer, 1996)
For this date’s post we welcome back to Executed Today the prolific pen of Alexandre Dumas, here working on the “fictional” side of his familiar historical fiction genre.
Dumas’s novel The Black Tulip (La Tulipe Noire) begins with the very real Aug. 20, 1672 lynching of Dutch statesmen Cornelis and Johann de Witt, and from that point unfolds the story of a fictional godson, Cornelius van Baerle — whose green thumb will nurture the titular flower along with a love for the jailer’s daughter Rosa. (To the very great wrath of van Baerle’s neighbor and murderous rival gardener, Isaac Boxtel.)
Dumas has already sown both seeds when he dates his narrative via van Baerle’s will, written when the fictional main character is in danger of succumbing to the same cataclysm that swallowed up his godfather: already smitten with Rosa, he purposes to bequeath her the bulbs, whose rare product will be worth a bounty.
On this day, the 23d of August, 1672, being on the point of rendering, although innocent, my soul to God on the scaffold, I bequeath to Rosa Gryphus the only worldly goods which remain to me of all that I have possessed in this world, the rest having been confiscated; I bequeath, I say, to Rosa Gryphus three bulbs, which I am convinced must produce, in the next May, the Grand Black Tulip for which a prize of a hundred thousand guilders has been offered by the Haarlem Society, requesting that she may be paid the same sum in my stead, as my sole heiress, under the only condition of her marrying a respectable young man of about my age, who loves her, and whom she loves, and of her giving the black tulip, which will constitute a new species, the name of Rosa Barlaensis, that is to say, hers and mine combined.
So may God grant me mercy, and to her health and long life!
Cornelius van Baerle.
And having done this, van Baerle is escorted directly to the scaffold, where we pick up Dumas’s narrative courtesy of Gutenberg.org:
Chapter 12: The Execution
Cornelius had not three hundred paces to walk outside the prison to reach the foot of the scaffold. At the bottom of the staircase, the dog quietly looked at him whilst he was passing; Cornelius even fancied he saw in the eyes of the monster a certain expression as it were of compassion.
The dog perhaps knew the condemned prisoners, and only bit those who left as free men.
The shorter the way from the door of the prison to the foot of the scaffold, the more fully, of course, it was crowded with curious people.
These were the same who, not satisfied with the blood which they had shed three days before, were now craving for a new victim.
And scarcely had Cornelius made his appearance than a fierce groan ran through the whole street, spreading all over the yard, and re-echoing from the streets which led to the scaffold, and which were likewise crowded with spectators.
The scaffold indeed looked like an islet at the confluence of several rivers.
In the midst of these threats, groans, and yells, Cornelius, very likely in order not to hear them, had buried himself in his own thoughts.
And what did he think of in his last melancholy journey?
Neither of his enemies, nor of his judges, nor of his executioners.
He thought of the beautiful tulips which he would see from heaven above, at Ceylon, or Bengal, or elsewhere, when he would be able to look with pity on this earth, where John and Cornelius de Witt had been murdered for having thought too much of politics, and where Cornelius van Baerle was about to be murdered for having thought too much of tulips.
“It is only one stroke of the axe,” said the philosopher to himself, “and my beautiful dream will begin to be realised.”
Only there was still a chance, just as it had happened before to M. de Chalais, to M. de Thou, and other slovenly executed people, that the headsman might inflict more than one stroke, that is to say, more than one martyrdom, on the poor tulip-fancier.
Yet, notwithstanding all this, Van Baerle mounted the scaffold not the less resolutely, proud of having been the friend of that illustrious John, and godson of that noble Cornelius de Witt, whom the ruffians, who were now crowding to witness his own doom, had torn to pieces and burnt three days before.
He knelt down, said his prayers, and observed, not without a feeling of sincere joy, that, laying his head on the block, and keeping his eyes open, he would be able to his last moment to see the grated window of the Buytenhof.
At length the fatal moment arrived, and Cornelius placed his chin on the cold damp block. But at this moment his eyes closed involuntarily, to receive more resolutely the terrible avalanche which was about to fall on his head, and to engulf his life.
A gleam like that of lightning passed across the scaffold: it was the executioner raising his sword.
Van Baerle bade farewell to the great black tulip, certain of awaking in another world full of light and glorious tints.
Three times he felt, with a shudder, the cold current of air from the knife near his neck, but what a surprise! he felt neither pain nor shock.
He saw no change in the colour of the sky, or of the world around him.
Then suddenly Van Baerle felt gentle hands raising him, and soon stood on his feet again, although trembling a little.
He looked around him. There was some one by his side, reading a large parchment, sealed with a huge seal of red wax.
And the same sun, yellow and pale, as it behooves a Dutch sun to be, was shining in the skies; and the same grated window looked down upon him from the Buytenhof; and the same rabble, no longer yelling, but completely thunderstruck, were staring at him from the streets below.
Van Baerle began to be sensible to what was going on around him.
His Highness, William, Prince of Orange, very likely afraid that Van Baerle’s blood would turn the scale of judgment against him, had compassionately taken into consideration his good character, and the apparent proofs of his innocence.
His Highness, accordingly, had granted him his life.
Cornelius at first hoped that the pardon would be complete, and that he would be restored to his full liberty and to his flower borders at Dort.
But Cornelius was mistaken. To use an expression of Madame de Sevigne, who wrote about the same time, “there was a postscript to the letter;” and the most important part of the letter was contained in the postscript.
In this postscript, William of Orange, Stadtholder of Holland, condemned Cornelius van Baerle to imprisonment for life. He was not sufficiently guilty to suffer death, but he was too much so to be set at liberty.
Cornelius heard this clause, but, the first feeling of vexation and disappointment over, he said to himself —
“Never mind, all this is not lost yet; there is some good in this perpetual imprisonment; Rosa will be there, and also my three bulbs of the black tulip are there.”
But Cornelius forgot that the Seven Provinces had seven prisons, one for each, and that the board of the prisoner is anywhere else less expensive than at the Hague, which is a capital.
His Highness, who, as it seems, did not possess the means to feed Van Baerle at the Hague, sent him to undergo his perpetual imprisonment at the fortress of Loewestein, very near Dort, but, alas! also very far from it; for Loewestein, as the geographers tell us, is situated at the point of the islet which is formed by the confluence of the Waal and the Meuse, opposite Gorcum.
Van Baerle was sufficiently versed in the history of his country to know that the celebrated Grotius was confined in that castle after the death of Barneveldt; and that the States, in their generosity to the illustrious publicist, jurist, historian, poet, and divine, had granted to him for his daily maintenance the sum of twenty-four stivers.
“I,” said Van Baerle to himself, “I am worth much less than Grotius. They will hardly give me twelve stivers, and I shall live miserably; but never mind, at all events I shall live.”
Then suddenly a terrible thought struck him.
“Ah!” he exclaimed, “how damp and misty that part of the country is, and the soil so bad for the tulips! And then Rosa will not be at Loewestein!”
Chapter 13: What was going on all this Time in the Mind of one of the Spectators
Whilst Cornelius was engaged with his own thoughts, a coach had driven up to the scaffold. This vehicle was for the prisoner. He was invited to enter it, and he obeyed.
His last look was towards the Buytenhof. He hoped to see at the window the face of Rosa, brightening up again.
But the coach was drawn by good horses, who soon carried Van Baerle away from among the shouts which the rabble roared in honour of the most magnanimous Stadtholder, mixing with it a spice of abuse against the brothers De Witt and the godson of Cornelius, who had just now been saved from death.
This reprieve suggested to the worthy spectators remarks such as the following:—
“It’s very fortunate that we used such speed in having justice done to that great villain John, and to that little rogue Cornelius, otherwise his Highness might have snatched them from us, just as he has done this fellow.”
Among all the spectators whom Van Baerle’s execution had attracted to the Buytenhof, and whom the sudden turn of affairs had disagreeably surprised, undoubtedly the one most disappointed was a certain respectably dressed burgher, who from early morning had made such a good use of his feet and elbows that he at last was separated from the scaffold only by the file of soldiers which surrounded it.
Many had shown themselves eager to see the perfidious blood of the guilty Cornelius flow, but not one had shown such a keen anxiety as the individual just alluded to.
The most furious had come to the Buytenhof at daybreak, to secure a better place; but he, outdoing even them, had passed the night at the threshold of the prison, from whence, as we have already said, he had advanced to the very foremost rank, unguibus et rostro — that is to say, coaxing some, and kicking the others.
And when the executioner had conducted the prisoner to the scaffold, the burgher, who had mounted on the stone of the pump the better to see and be seen, made to the executioner a sign which meant —
“It’s a bargain, isn’t it?”
The executioner answered by another sign, which was meant to say —
“Be quiet, it’s all right.”
This burgher was no other than Mynheer Isaac Boxtel, who since the arrest of Cornelius had come to the Hague to try if he could not get hold of the three bulbs of the black tulip.
Boxtel had at first tried to gain over Gryphus to his interest, but the jailer had not only the snarling fierceness, but likewise the fidelity, of a dog. He had therefore bristled up at Boxtel’s hatred, whom he had suspected to be a warm friend of the prisoner, making trifling inquiries to contrive with the more certainty some means of escape for him.
Thus to the very first proposals which Boxtel made to Gryphus to filch the bulbs which Cornelius van Baerle must be supposed to conceal, if not in his breast, at least in some corner of his cell, the surly jailer had only answered by kicking Mynheer Isaac out, and setting the dog at him.
The piece which the mastiff had torn from his hose did not discourage Boxtel. He came back to the charge, but this time Gryphus was in bed, feverish, and with a broken arm. He therefore was not able to admit the petitioner, who then addressed himself to Rosa, offering to buy her a head-dress of pure gold if she would get the bulbs for him. On this, the generous girl, although not yet knowing the value of the object of the robbery, which was to be so well remunerated, had directed the tempter to the executioner, as the heir of the prisoner.
In the meanwhile the sentence had been pronounced. Thus Isaac had no more time to bribe any one. He therefore clung to the idea which Rosa had suggested: he went to the executioner.
Isaac had not the least doubt that Cornelius would die with the bulbs on his heart.
But there were two things which Boxtel did not calculate upon:—
Rosa, that is to say, love;
William of Orange, that is to say, clemency.
But for Rosa and William, the calculations of the envious neighbour would have been correct.
But for William, Cornelius would have died.
But for Rosa, Cornelius would have died with his bulbs on his heart.
Mynheer Boxtel went to the headsman, to whom he gave himself out as a great friend of the condemned man; and from whom he bought all the clothes of the dead man that was to be, for one hundred guilders; rather an exorbitant sum, as he engaged to leave all the trinkets of gold and silver to the executioner.
But what was the sum of a hundred guilders to a man who was all but sure to buy with it the prize of the Haarlem Society?
It was money lent at a thousand per cent, which, as nobody will deny, was a very handsome investment.
The headsman, on the other hand, had scarcely anything to do to earn his hundred guilders. He needed only, as soon as the execution was over, to allow Mynheer Boxtel to ascend the scaffold with his servants, to remove the inanimate remains of his friend.
The thing was, moreover, quite customary among the “faithful brethren,” when one of their masters died a public death in the yard of the Buytenhof.
A fanatic like Cornelius might very easily have found another fanatic who would give a hundred guilders for his remains.
The executioner also readily acquiesced in the proposal, making only one condition — that of being paid in advance.
Boxtel, like the people who enter a show at a fair, might be disappointed, and refuse to pay on going out.
Boxtel paid in advance, and waited.
After this, the reader may imagine how excited Boxtel was; with what anxiety he watched the guards, the Recorder, and the executioner; and with what intense interest he surveyed the movements of Van Baerle. How would he place himself on the block? how would he fall? and would he not, in falling, crush those inestimable bulbs? had not he at least taken care to enclose them in a golden box — as gold is the hardest of all metals?
Every trifling delay irritated him. Why did that stupid executioner thus lose time in brandishing his sword over the head of Cornelius, instead of cutting that head off?
But when he saw the Recorder take the hand of the condemned, and raise him, whilst drawing forth the parchment from his pocket — when he heard the pardon of the Stadtholder publicly read out — then Boxtel was no more like a human being; the rage and malice of the tiger, of the hyena, and of the serpent glistened in his eyes, and vented itself in his yell and his movements. Had he been able to get at Van Baerle, he would have pounced upon him and strangled him.
And so, then, Cornelius was to live, and was to go with him to Loewestein, and thither to his prison he would take with him his bulbs; and perhaps he would even find a garden where the black tulip would flower for him.
Boxtel, quite overcome by his frenzy, fell from the stone upon some Orangemen, who, like him, were sorely vexed at the turn which affairs had taken. They, mistaking the frantic cries of Mynheer Isaac for demonstrations of joy, began to belabour him with kicks and cuffs, such as could not have been administered in better style by any prize-fighter on the other side of the Channel.
Blows were, however, nothing to him. He wanted to run after the coach which was carrying away Cornelius with his bulbs. But in his hurry he overlooked a paving-stone in his way, stumbled, lost his centre of gravity, rolled over to a distance of some yards, and only rose again, bruised and begrimed, after the whole rabble of the Hague, with their muddy feet, had passed over him.
One would think that this was enough for one day, but Mynheer Boxtel did not seem to think so, as, in addition to having his clothes torn, his back bruised, and his hands scratched, he inflicted upon himself the further punishment of tearing out his hair by handfuls, as an offering to that goddess of envy who, as mythology teaches us, wears a head-dress of serpents.
Masuccio’s tale is itself an Italian Renaissance gloss on an old Ovid story; its outline will be instantly recognizable to devotees of the Capulets and Montagues. But instead of dueling suicides, Masuccio ends one of the star-crossed lovers with an executioner’s blade.
In Mariotto and Ganozza, which can be enjoyed for free in the original Italian here or here, the young lovers secretly wed only to find “that wicked and hostile fortune reversed all their present and future desires.”
These violent delights have violent ends
And in their triumph die, like fire and powder …
“Fortune’s” inscrutable hand turns out to be that of Mariotto himself, who gets into a fight with some other nobleman and, slaying him, must flee into exile. Posterity must excuse Mariotto/Romeo his hotheadedness, for were he not the type to wreck his own life by murdering a guy in a street fight he also wouldn’t be the type to pursue forbidden tragic romance. That’s art.
Fortune’s fool …
“How great was the supreme grief of the two most wretched lovers, so lately wed, and how bitter their tears at the thought of what they believed to be their endless separation, he alone who has been pricked by such wounds can truly tell.” (Translation source.)
“So deep and bitter it was, that at their last parting, they seemed for a long while to have died in each other’s arms.”
It next comes to pass that Gianozza’s father, ignorant of her secret marriage to the town fugitive, arranges a match for her. This development leads our Juliet figure to seek out the aid of the friar who has secretly wed them in a scheme that is precisely Shakespearean.
The friar “made up a certain water with certain concoctions of various powders that, when the draught was ready and she had drunk it, it would not only make her sleep for three days, but seem to be really dead.” With this potion they stage Gianozza’s death; then, the friar secretly steals her hibernating “corpse” from its tomb, revives her, and packs her off to find her beloved.
He, of course, has separately received word of Gianozza’s death — and (also of course) the courier that had been dispatched pre-death elixir to clue him into the plan has been waylaid by pirates and left his essential plot spoilers at the bottom of the sea.
Disconsolate, Mariotto returns to Siena with the unproductive object of mooning over Gianozza’s grave and “weep[ing] as if their lives were ended.” Don’t worry, he has a backup plan! “If by misfortune he was recognized, he thought he would gladly be condemned as a murderer, knowing that she was already dead whom he loved more than himself and who loved him with equal love.”
This works as well as you expect, albeit with less panache than Shakespeare’s crypt climax: Mariotto gets caught in a transport of the macabre trying to break into Gianozza’s sepulcher, and is recognized as a condemned outlaw.
Before dawn, all Siena was full of the news, which reached the ears of the Court, who ordered the mayor to go and arrest him and quickly do that which the laws and the State commanded.
So, a prisoner in fetters, Mariotto was led to the palace of the mayor. When he was flogged, without needing long tortures, he faithfully confessed the cause of his desperate return. Though all alike had the greatest pity for him, and amongst the women he was bitterly wept for and thought the only perfect lover in the world, and each of them would have willingly redeemed him with her own life, yet he was at once condemned by the law to be beheaded. When the time arrived, without his friends or parents being able to aid him, the sentence was carried out.
Three days later, Gianozza — having reached Mariotto’s former refuge of exile and there learned of his misapprehension — turns up in Siena again only to discover that she is too late. Rather than stabbing herself to death right then and there as the Bard’s heroine would do, she shuts herself up in a convent “with intense grief and tears of blood and little food and no sleep, continually calling for her dear Mariotto, [and] in a very short time ended her wretched days.”
Before we dive into the grim stuff, here’s a hilariously campy pulp cover (mis)interpretation.
Less an “execution” than a human sacrifice — the village old feller’s folksy “Lottery in June, corn be heavy soon,” evokes a primal flash of blood trickling off the maize-god’s altar — the titular event is an annual tradition for a tiny American town. Though unnamed, the town and some of its denizens were patterned on North Bennington, Vermont, where Jackson was living as the wife of a professor at Bennington College.
The setting was entirely contemporary to the story’s publication, right down to the day: it hit print in the June 26, 1948 edition of The New Yorker magazine. And what took Jackson two hours to write has continued to disturb and perplex generations of readers.
In “The Lottery” (available online here (pdf)), friendly townsfolk gather “in the square, between the post office and the bank” to enact a curious civic ritual dating to a time and purpose they no longer even remember.
We see each household’s father draw a slip of paper from a battered old box and although we do not understand the reason we grasp from the dark atmosphere afoot in the crowd that something ominous is unfolding.
After the last slip is drawn,
there was a long pause, a breathless pause, until Mr. Summers. holding his slip of paper in the air, said, “All right, fellows.” For a minute, no one moved, and then all the slips of paper were opened. Suddenly, all the women began to speak at once, saving. “Who is it?,” “Who’s got it?,” “Is it the Dunbars?,” “Is it the Watsons?” Then the voices began to say, “It’s Hutchinson. It’s Bill,” “Bill Hutchinson’s got it.”
“Go tell your father,” Mrs. Dunbar said to her older son.
People began to look around to see the Hutchinsons. Bill Hutchinson was standing quiet, staring down at the paper in his hand. Suddenly. Tessie Hutchinson shouted to Mr. Summers. “You didn’t give him time enough to take any paper he wanted. I saw you. It wasn’t fair!”
“Be a good sport, Tessie.” Mrs. Delacroix called, and Mrs. Graves said, “All of us took the same chance.”
“Shut up, Tessie,” Bill Hutchinson said.
Tessie has good cause to fear. A second drawing now ensues among the five members of the Hutchinson family — Tessie and Bill, plus their three children.
And as soon as Tessie reveals the slip of paper with the black spot, her friends and even her family (“someone gave little Davy Hutchinson a few pebbles”) immediately turn on her and stone her to death.
“I hoped, by setting a particularly brutal ancient rite in the present and in my own village to shock the story’s readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives,” Jackson explained.
This date, the second of July, would in 1914 have been the eve of the thirty-first birthday of Franz Kafka, so it seems a fit occasion — shall we call it the centennial? — to mark the death of the the character “Josef K.” in Kafka’s great novel The Trial. In this captivating work — it does not feel sufficient to call it a dystopia of the emerging bureaucratic state, although this story surely helped as much as any other to put the word Kafkaesque in the dictionary — K. has spent the whole novel since his arrest on his 30th birthday grappling with an absurd trial on charges he is never told and upon evidence he cannot know.
In the last, two insipid functionaries arrive at K.’s apartment to whisk him away to his death.
Historically, Kafka began this book in August 1914, a few weeks yet from our spurious dating. It was only published in 1925 — posthumously.
Chapter Ten: End
The evening before K.’s thirty-first birthday — it was about nine o’clock in the evening, the time when the streets were quiet — two men came to where he lived. In frock coats, pale and fat, wearing top hats that looked like they could not be taken off their heads. After some brief formalities at the door of the flat when they first arrived, the same formalities were repeated at greater length at K.’s door. He had not been notified they would be coming, but K. sat in a chair near the door, dressed in black as they were, and slowly put on new gloves which stretched tightly over his fingers and behaved as if he were expecting visitors. He immediately stood up and looked at the gentlemen inquisitively. “You’ve come for me then, have you?” he asked. The gentlemen nodded, one of them indicated the other with the top hand now in his hand. K. told them he had been expecting a different visitor. He went to the window and looked once more down at the dark street. Most of the windows on the other side of the street were also dark already, many of them had the curtains closed. In one of the windows on the same floor where there was a light on, two small children could be seen playing with each other inside a playpen, unable to move from where they were, reaching out for each other with their little hands. “Some ancient, unimportant actors — that’s what they’ve sent for me,” said K. to himself, and looked round once again to confirm this to himself. “They want to sort me out as cheaply as they can.” K. suddenly turned round to face the two men and asked, “What theatre do you play in?” “Theatre?” asked one of the gentlemen, turning to the other for assistance and pulling in the corners of his mouth. The other made a gesture like someone who was dumb, as if he were struggling with some organism causing him trouble. “You’re not properly prepared to answer questions,” said K. and went to fetch his hat.
As soon as they were on the stairs the gentlemen wanted to take K.’s arms, but K. said “Wait till we’re in the street, I’m not ill.” But they waited only until the front door before they took his arms in a way that K. had never experienced before. They kept their shoulders close behind his, did not turn their arms in but twisted them around the entire length of K.’s arms and took hold of his hands with a grasp that was formal, experienced and could not be resisted. K. was held stiff and upright between them, they formed now a single unit so that if any one of them had been knocked down all of them must have fallen. They formed a unit of the sort that normally can be formed only by matter that is lifeless.
Whenever they passed under a lamp K. tried to see his companions more clearly, as far as was possible when they were pressed so close together, as in the dim light of his room this had been hardly possible. “Maybe they’re tenors,” he thought as he saw their big double chins. The cleanliness of their faces disgusted him. He could see the hands that cleaned them, passing over the corners of their eyes, rubbing at their upper lips, scratching out the creases on those chins.
When K. noticed that, he stopped, which meant the others had to stop too; they were at the edge of an open square, devoid of people but decorated with flower beds. “Why did they send you, of all people!” he cried out, more a shout than a question. The two gentleman clearly knew no answer to give, they waited, their free arms hanging down, like nurses when the patient needs to rest. “I will go no further,” said K. as if to see what would happen. The gentlemen did not need to make any answer, it was enough that they did not loosen their grip on K. and tried to move him on, but K. resisted them. “I’ll soon have no need of much strength, I’ll use all of it now,” he thought. He thought of the flies that tear their legs off struggling to get free of the flypaper. “These gentleman will have some hard work to do”.
Just then, Miss Bürstner came up into the square in front of them from the steps leading from a small street at a lower level. It was not certain that it was her, although the similarity was, of course, great. But it did not matter to K. whether it was certainly her anyway, he just became suddenly aware that there was no point in his resistance. There would be nothing heroic about it if he resisted, if he now caused trouble for these gentlemen, if in defending himself he sought to enjoy his last glimmer of life. He started walking, which pleased the gentlemen and some of their pleasure conveyed itself to him. Now they permitted him to decide which direction they took, and he decided to take the direction that followed the young woman in front of them, not so much because he wanted to catch up with her, nor even because he wanted to keep her in sight for as long as possible, but only so that he would not forget the reproach she represented for him. “The only thing I can do now,” he said to himself, and his thought was confirmed by the equal length of his own steps with the steps of the two others, “the only thing I can do now is keep my common sense and do what’s needed right till the end. I always wanted to go at the world and try and do too much, and even to do it for something that was not too cheap. That was wrong of me. Should I now show them I learned nothing from facing trial for a year? Should I go out like someone stupid? Should I let anyone say, after I’m gone, that at the start of the proceedings I wanted to end them, and that now that they’ve ended I want to start them again? I don’t want anyone to say that. I’m grateful they sent these unspeaking, uncomprehending men to go with me on this journey, and that it’s been left up to me to say what’s necessary”.
Meanwhile, the young woman had turned off into a side street, but K. could do without her now and let his companions lead him. All three of them now, in complete agreement, went over a bridge in the light of the moon, the two gentlemen were willing to yield to each little movement made by K. as he moved slightly towards the edge and directed the group in that direction as a single unit. The moonlight glittered and quivered in the water, which divided itself around a small island covered in a densely-piled mass of foliage and trees and bushes. Beneath them, now invisible, there were gravel paths with comfortable benches where K. had stretched himself out on many summer’s days. “I didn’t actually want to stop here,” he said to his companions, shamed by their compliance with his wishes. Behind K.’s back one of them seemed to quietly criticise the other for the misunderstanding about stopping, and then they went on. The went on up through several streets where policemen were walking or standing here and there; some in the distance and then some very close. One of them with a bushy moustache, his hand on the grip of his sword, seemed to have some purpose in approaching the group, which was hardly unsuspicious. The two gentlemen stopped, the policeman seemed about to open his mouth, and then K. drove his group forcefully forward. Several times he looked back cautiously to see if the policeman was following; but when they had a corner between themselves and the policeman K. began to run, and the two gentlemen, despite being seriously short of breath, had to run with him.
In this way they quickly left the built up area and found themselves in the fields which, in this part of town, began almost without any transition zone. There was a quarry, empty and abandoned, near a building which was still like those in the city. Here the men stopped, perhaps because this had always been their destination or perhaps because they were too exhausted to run any further. Here they released their hold on K., who just waited in silence, and took their top hats off while they looked round the quarry and wiped the sweat off their brows with their handkerchiefs. The moonlight lay everywhere with the natural peace that is granted to no other light.
After exchanging a few courtesies about who was to carry out the next tasks — the gentlemen did not seem to have been allocated specific functions — one of them went to K. and took his coat, his waistcoat, and finally his shirt off him. K. made an involuntary shiver, at which the gentleman gave him a gentle, reassuring tap on the back. Then he carefully folded the things up as if they would still be needed, even if not in the near future. He did not want to expose K. to the chilly night air without moving though, so he took him under the arm and walked up and down with him a little way while the other gentleman looked round the quarry for a suitable place. When he had found it he made a sign and the other gentleman escorted him there. It was near the rockface, there was a stone lying there that had broken loose. The gentlemen sat K. down on the ground, leant him against the stone and settled his head down on the top of it. Despite all the effort they went to, and despite all the co-operation shown by K., his demeanour seemed very forced and hard to believe. So one of the gentlemen asked the other to grant him a short time while he put K. in position by himself, but even that did nothing to make it better. In the end they left K. in a position that was far from the best of the ones they had tried so far. Then one of the gentlemen opened his frock coat and from a sheath hanging on a belt stretched across his waistcoat he withdrew a long, thin, double-edged butcher’s knife which he held up in the light to test its sharpness. The repulsive courtesies began once again, one of them passed the knife over K. to the other, who then passed it back over K. to the first. K. now knew it would be his duty to take the knife as it passed from hand to hand above him and thrust it into himself. But he did not do it, instead he twisted his neck, which was still free, and looked around. He was not able to show his full worth, was not able to take all the work from the official bodies, he lacked the rest of the strength he needed and this final shortcoming was the fault of whoever had denied it to him. As he looked round, he saw the top floor of the building next to the quarry. He saw how a light flickered on and the two halves of a window opened out, somebody, made weak and thin by the height and the distance, leant suddenly far out from it and stretched his arms out even further. Who was that? A friend? A good person? Somebody who was taking part? Somebody who wanted to help? Was he alone? Was it everyone? Would anyone help? Were there objections that had been forgotten? There must have been some. The logic cannot be refuted, but someone who wants to live will not resist it. Where was the judge he’d never seen? Where was the high court he had never reached? He raised both hands and spread out all his fingers.
But the hands of one of the gentleman were laid on K.’s throat, while the other pushed the knife deep into his heart and twisted it there, twice. As his eyesight failed, K. saw the two gentlemen cheek by cheek, close in front of his face, watching the result. “Like a dog!” he said, it was as if the shame of it should outlive him.
The Trial can be enjoyed (if that’s the right word) in a public domain English translation here.
The factual historicity of Esther is pretty questionable, but that debate is a bit beside the point for purposes of the present post. As folklore or fact, the story of Esther and Mordecai, of their near-destruction and the consequent execution of their persecutor, is a staple of tradition and literature.
The thumbnail version of the Purim story has Esther (Hadassah), a Jew living in the Persian capital of Susa, plucked out of obscurity to become the (or a) queen of a “King Ahasverus”.
If Esther has a historical basis, this would be about the fourth or fifth century B.C.E., and “Ahasverus” could be Xerxes (the guy who invaded Greece and made Herodotus famous), or the much later Artaxerxes II.
Esther is an orphan being raised by her cousin Mordecai, and when Esther wins “Who Wants To Live In The Persian Harem?” Mordecai advises her to keep judiciously silent about her Hebrew lineage.
Mordecai doesn’t manage the same trick, however, and offends the king’s powerful minister Haman by refusing to bow to him. This gets the overweening Haman upset at not only Mordecai but at all Jews who share his anti-idolatry scruples, and Haman persuades King Ahasverus to authorize their indiscriminate slaughter:
“There is a certain people scattered abroad and dispersed among the peoples in all the provinces of your kingdom; their laws are different from those of every other people, and they do not keep the king’s laws, so that it is not for the king’s profit to tolerate them. If it please the king, let it be decreed that they be destroyed.”
13 Adar is the date fixed for the Jews’ destruction, by pur, a casting of lots — hence the festival’s eventual date and name. Haman, of course, does not realize that this policy makes Esther his enemy.
In order to save her cousin and her people, Esther must risk a death sentence of her own by approaching the king unbidden in his inner chambers. Mordecai charges her to her duty with a timeless moral force:
“Think not that in the king’s palace you will escape any more than all the other Jews. For if you keep silence at such a time as this, relief and deliverance will rise for the Jews from another quarter, but you and your father’s house will perish. And who knows whether you have not come to the kingdom for such a time as this?”
Esther pulls this dangerous maneuver off, and gains thereby a private audience with just the king and Haman. There, she springs her trap — revealing her Jewish identity.
The king again said to Esther, “What is your petition, Queen Esther? It shall be granted you. And what is your request? Even to the half of my kingdom, it shall be fulfilled.”
Then Queen Esther answered, “If I have found favor in your sight, O king, and if it please the king, let my life be given me at my petition, and my people at my request. For we are sold, I and my people, to be destroyed, to be slain, and to be annihilated. If we had been sold merely as slaves, men and women, I would have held my peace; for our affliction is not to be compared with the loss to the king.”
Then King Ahasverus said to Queen Esther, “Who is he, and where is he, that would presume to do this?”
And Esther said, “A foe and enemy! This wicked Haman!” Then Haman was in terror before the king and the queen.
Word arrives at this inopportune juncture that Haman, who has been gleefully preparing his vengeance, has just had completed a 50-cubit (~20-meter) gallows to execute Mordecai upon. The enraged king instead orders Haman hung on it.
“Hanging” Haman on the “gallows” was traditionally interpreted in the ancient and medieval world as crucifixion,* or some analogously excrutiating way to die.
By any method of execution, though, the dramatic power of the scene — sudden reversal of fortune, virtue elevated over wickedness, the oppressed turning the tables on their oppressors, divine deliverance — is obvious.
At least the guy was remembered. Hands up if you can name any other ancient Persian courtier.
“The Punishment of Haman” is a corner of Michelangelo’s Sistine Chapel.
However, this satisfying palace politics turnabout is not the end of the story, and punishment is not reserved only for the wicked minister.
Esther persuades the king not only to revoke Haman’s order, but to issue a new one — one that Esther and Mordecai will write tabula rasa over the king’s seal.
The writing was in the name of King Ahasverus and sealed with the king’s ring, and letters were sent by mounted couriers riding on swift horses that were used in the king’s service, bred from the royal stud. By these the king allowed the Jews who were in every city to gather and defend their lives, to destroy, to slay, and to annihilate any armed force of any people or province that might attack them, with their children and women, and to plunder their goods, upon one day throughout all the provinces of King Ahasverus, on the thirteenth day of the twelfth month, which is the month of Adar
So the Jews smote all their enemies with the sword, slaughtering, and destroying them, and did as they pleased to those who hated them. In Susa the capital itself the Jews slew and destroyed five hundred men, and also slew Parshandatha and Dalphon and Aspatha and Poratha and Adalia and Aridatha and Parmashta and Arisai and Aridai and Vaizatha, the ten sons of Haman the son of Hammedatha, the enemy of the Jews; but they laid no hand on the plunder. That very day the number of those slain in Susa the capital was reported to the king.
And the king said to Queen Esther, “In Susa the capital the Jews have slain five hundred men and also the ten sons of Haman. What then have they done in the rest of the king’s provinces! Now what is your petition? It shall be granted you. And what further is your request? It shall be fulfilled.”
And Esther said, “If it please the king, let the Jews who are in Susa be allowed tomorrow also to do according to this day’s edict. And let the ten sons of Haman be hanged on the gallows.”
So the king commanded this to be done; a decree was issued in Susa, and the ten sons of Haman were hanged. The Jews who were in Susa gathered also on the fourteenth day of the month of Adar and they slew three hundred men in Susa; but they laid no hands on the plunder.
Now the other Jews who were in the king’s provinces also gathered to defend their lives, and got relief from their enemies, and slew seventy-five thousand of those who hated them; but they laid no hands on the plunder.
This bloodbath is obviously a bit more ethically problematic than Haman’s individual fate.
Now, sure, this is an event of questionable authenticity situated in Iron Age tribal mores and exaggerated by the ubiquitous ancient inflation of head counts. The subtext (“defend their lives” … “relief from their enemies”) also implies something like civil strife, blows exchanged rather than merely blows delivered. The overt text says that the victims were people who intended to do exactly the same thing to the Jews.
Still, the plain words on the page says 75,000 humans were slaughtered by a mobilized ethno-nationalist group, “children and women” among them. Just imagine the same parable about a Serb in a Bosnian king’s court, and say a little thanksgiving that the Book of Esther doesn’t identify these 75,000 as constituents of any specific demographic group that remains a going concern today.
Purim is a beloved holiday among its celebrants, but most any explication of it on the Internet comes with a comment thread agonizing over (or rationalizing) the body count. (For example.)
The fact that the story was told, and that it gained great popularity among the Jews, and by some of those in later ages came to be regarded as one of the most sacred books of their canon is, however, a revelation to us of the extent to which the most baleful and horrible passions may be cherished in the name of religion … it is not merely true that these atrocities are here recited; they are clearly indorsed.
Blessedly Purim Fest is not ultimately defined by the likes of Streicher, nor by the bloodthirstiness that is this site’s regrettable stock in trade. For most observants it’s simply one of the most joyous holidays of the year, a time for gifts and feasting and dress-up and carnivals and celebration sometimes thought of as the “Jewish Mardi Gras” or “Jewish Halloween”. Adherents have even been encouraged in all religious solemnity to drink in celebration until they can no longer tell “blessed be Mordecai” from “cursed be Haman.”
Deliverance indeed. L’chaim.
* The concept of Haman crucified in turn encouraged Jews under Christendom to use the figure of Haman (who once upon a time, could be subject to Guy Fawkes-like effigy-burning on Purim) as a veiled stand-in for the current oppressor Christ, and/or encouraged Judeophobic Christians to impute this intention to Purim observances.
On an unspecified Monday in what seems to be an unspecified autumn of the 1830s, Charles Dickens had hanged one of his most memorable characters: Oliver Twist‘s Jewish pickpocket-magnate Fagin.*
The prolific English scribbler who conjured Fagin had keen empathy for the man or woman on the scaffold, leading him to contribute some of literature’s most poignant execution scenes.
Detail view (click for the full image) of the condemned Fagin in his cell, from an 1867 edition of Oliver Twist/
This from the serialized novel that hit print from 1837 to 1839 is no exception.
Dickens does not stage Fagin’s actual hanging; the writer’s predilection is for the mind of the doomed as it reaches the precipice, and let the reader fill in the final details.
And in Fagin’s case, that mind belongs to a complex character for whom the reader likely has some empathy: despite Fagin’s villainy, he’s also the orphan Oliver’s surrogate father-figure and said urchin’s ticket out of the anonymous desperation of the urban poor.
As for the date, the murder committed by Fagin’s partner-in-crime Bill Sikes occurs in “autumn” (chapter 47) — probably early autumn since the relatively proximate chapter 38 is in “summer”. That murder precipitates Sikes’s death and Fagin’s capture almost immediately: though the ensuing juridical sequence is not directly, or even indirectly, delineated, the narrative’s sense certainly suggests that Fagin was prosecuted with all speed. A sequence of arrest-trial-execution in London at this period could easily take place within just a few weeks.**
The court was paved, from floor to roof, with human faces. Inquisitive and eager eyes peered from every inch of space. From the rail before the dock, away into the sharpest angle of the smallest corner in the galleries, all looks were fixed upon one man—Fagin. Before him and behind: above, below, on the right and on the left: he seemed to stand surrounded by a firmament, all bright with gleaming eyes.
He stood there, in all this glare of living light, with one hand resting on the wooden slab before him, the other held to his ear, and his head thrust forward to enable him to catch with greater distinctness every word that fell from the presiding judge, who was delivering his charge to the jury. At times, he turned his eyes sharply upon them to observe the effect of the slightest featherweight in his favour; and when the points against him were stated with terrible distinctness, looked towards his counsel, in mute appeal that he would, even then, urge something in his behalf. Beyond these manifestations of anxiety, he stirred not hand or foot. He had scarcely moved since the trial began; and now that the judge ceased to speak, he still remained in the same strained attitude of close attention, with his gaze bent on him, as though he listened still.
A slight bustle in the court, recalled him to himself. Looking round, he saw that the juryman had turned together, to consider their verdict. As his eyes wandered to the gallery, he could see the people rising above each other to see his face: some hastily applying their glasses to their eyes: and others whispering their neighbours with looks expressive of abhorrence. A few there were, who seemed unmindful of him, and looked only to the jury, in impatient wonder how they could delay. But in no one face—not even among the women, of whom there were many there—could he read the faintest sympathy with himself, or any feeling but one of all-absorbing interest that he should be condemned.
As he saw all this in one bewildered glance, the deathlike stillness came again, and looking back he saw that the jurymen had turned towards the judge. Hush!
They only sought permission to retire.
He looked, wistfully, into their faces, one by one when they passed out, as though to see which way the greater number leant; but that was fruitless. The jailer touched him on the shoulder. He followed mechanically to the end of the dock, and sat down on a chair. The man pointed it out, or he would not have seen it.
He looked up into the gallery again. Some of the people were eating, and some fanning themselves with handkerchiefs; for the crowded place was very hot. There was one young man sketching his face in a little note-book. He wondered whether it was like, and looked on when the artist broke his pencil-point, and made another with his knife, as any idle spectator might have done.
In the same way, when he turned his eyes towards the judge, his mind began to busy itself with the fashion of his dress, and what it cost, and how he put it on. There was an old fat gentleman on the bench, too, who had gone out, some half an hour before, and now come back. He wondered within himself whether this man had been to get his dinner, what he had had, and where he had had it; and pursued this train of careless thought until some new object caught his eye and roused another.
Not that, all this time, his mind was, for an instant, free from one oppressive overwhelming sense of the grave that opened at his feet; it was ever present to him, but in a vague and general way, and he could not fix his thoughts upon it. Thus, even while he trembled, and turned burning hot at the idea of speedy death, he fell to counting the iron spikes before him, and wondering how the head of one had been broken off, and whether they would mend it, or leave it as it was. Then, he thought of all the horrors of the gallows and the scaffold—and stopped to watch a man sprinkling the floor to cool it—and then went on to think again.
At length there was a cry of silence, and a breathless look from all towards the door. The jury returned, and passed him close. He could glean nothing from their faces; they might as well have been of stone. Perfect stillness ensued—not a rustle—not a breath—Guilty.
The building rang with a tremendous shout, and another, and another, and then it echoed loud groans, that gathered strength as they swelled out, like angry thunder. It was a peal of joy from the populace outside, greeting the news that he would die on Monday.
The noise subsided, and he was asked if he had anything to say why sentence of death should not be passed upon him. He had resumed his listening attitude, and looked intently at his questioner while the demand was made; but it was twice repeated before he seemed to hear it, and then he only muttered that he was an old man—an old man—and so, dropping into a whisper, was silent again.
The judge assumed the black cap, and the prisoner still stood with the same air and gesture. A woman in the gallery, uttered some exclamation, called forth by this dread solemnity; he looked hastily up as if angry at the interruption, and bent forward yet more attentively. The address was solemn and impressive; the sentence fearful to hear. But he stood, like a marble figure, without the motion of a nerve. His haggard face was still thrust forward, his under-jaw hanging down, and his eyes staring out before him, when the jailer put his hand upon his arm, and beckoned him away. He gazed stupidly about him for an instant, and obeyed.
They led him through a paved room under the court, where some prisoners were waiting till their turns came, and others were talking to their friends, who crowded round a grate which looked into the open yard. There was nobody there to speak to him; but, as he passed, the prisoners fell back to render him more visible to the people who were clinging to the bars: and they assailed him with opprobrious names, and screeched and hissed. He shook his fist, and would have spat upon them; but his conductors hurried him on, through a gloomy passage lighted by a few dim lamps, into the interior of the prison.
Here, he was searched, that he might not have about him the means of anticipating the law; this ceremony performed, they led him to one of the condemned cells, and left him there—alone.
He sat down on a stone bench opposite the door, which served for seat and bedstead; and casting his blood-shot eyes upon the ground, tried to collect his thoughts. After awhile, he began to remember a few disjointed fragments of what the judge had said: though it had seemed to him, at the time, that he could not hear a word. These gradually fell into their proper places, and by degrees suggested more: so that in a little time he had the whole, almost as it was delivered. To be hanged by the neck, till he was dead—that was the end. To be hanged by the neck till he was dead.
As it came on very dark, he began to think of all the men he had known who had died upon the scaffold; some of them through his means. They rose up, in such quick succession, that he could hardly count them. He had seen some of them die,—and had joked too, because they died with prayers upon their lips. With what a rattling noise the drop went down; and how suddenly they changed, from strong and vigorous men to dangling heaps of clothes!
Some of them might have inhabited that very cell—sat upon that very spot. It was very dark; why didn’t they bring a light? The cell had been built for many years. Scores of men must have passed their last hours there. It was like sitting in a vault strewn with dead bodies—the cap, the noose, the pinioned arms, the faces that he knew, even beneath that hideous veil.—Light, light!
At length, when his hands were raw with beating against the heavy door and walls, two men appeared: one bearing a candle, which he thrust into an iron candlestick fixed against the wall: the other dragging in a mattress on which to pass the night; for the prisoner was to be left alone no more.
Then came the night—dark, dismal, silent night. Other watchers are glad to hear this church-clock strike, for they tell of life and coming day. To him they brought despair. The boom of every iron bell came laden with the one, deep, hollow sound—Death. What availed the noise and bustle of cheerful morning, which penetrated even there, to him? It was another form of knell, with mockery added to the warning.
The day passed off. Day? There was no day; it was gone as soon as come—and night came on again; night so long, and yet so short; long in its dreadful silence, and short in its fleeting hours. At one time he raved and blasphemed; and at another howled and tore his hair. Venerable men of his own persuasion had come to pray beside him, but he had driven them away with curses. They renewed their charitable efforts, and he beat them off.
Saturday night. He had only one night more to live. And as he thought of this, the day broke—Sunday.
It was not until the night of this last awful day, that a withering sense of his helpless, desperate state came in its full intensity upon his blighted soul; not that he had ever held any defined or positive hope of mercy, but that he had never been able to consider more than the dim probability of dying so soon. He had spoken little to either of the two men, who relieved each other in their attendance upon him; and they, for their parts, made no effort to rouse his attention. He had sat there, awake, but dreaming. Now, he started up, every minute, and with gasping mouth and burning skin, hurried to and fro, in such a paroxysm of fear and wrath that even they—used to such sights—recoiled from him with horror. He grew so terrible, at last, in all the tortures of his evil conscience, that one man could not bear to sit there, eyeing him alone; and so the two kept watch together.
He cowered down upon his stone bed, and thought of the past. He had been wounded with some missiles from the crowd on the day of his capture, and his head was bandaged with a linen cloth. His red hair hung down upon his bloodless face; his beard was torn, and twisted into knots; his eyes shone with a terrible light; his unwashed flesh crackled with the fever that burnt him up. Eight—nine—then. If it was not a trick to frighten him, and those were the real hours treading on each other’s heels, where would he be, when they came round again! Eleven! Another struck, before the voice of the previous hour had ceased to vibrate. At eight, he would be the only mourner in his own funeral train; at eleven—
Those dreadful walls of Newgate, which have hidden so much misery and such unspeakable anguish, not only from the eyes, but, too often, and too long, from the thoughts, of men, never held so dread a spectacle as that. The few who lingered as they passed, and wondered what the man was doing who was to be hanged to-morrow, would have slept but ill that night, if they could have seen him.
From early in the evening until nearly midnight, little groups of two and three presented themselves at the lodge-gate, and inquired, with anxious faces, whether any reprieve had been received. These being answered in the negative, communicated the welcome intelligence to clusters in the street, who pointed out to one another the door from which he must come out, and showed where the scaffold would be built, and, walking with unwilling steps away, turned back to conjure up the scene. By degrees they fell off, one by one; and, for an hour, in the dead of night, the street was left to solitude and darkness.
The space before the prison was cleared, and a few strong barriers, painted black, had been already thrown across the road to break the pressure of the expected crowd, when Mr. Brownlow and Oliver appeared at the wicket, and presented an order of admission to the prisoner, signed by one of the sheriffs. They were immediately admitted into the lodge.
‘Is the young gentleman to come too, sir?’ said the man whose duty it was to conduct them. ‘It’s not a sight for children, sir.’
‘It is not indeed, my friend,’ rejoined Mr. Brownlow; ‘but my business with this man is intimately connected with him; and as this child has seen him in the full career of his success and villainy, I think it as well—even at the cost of some pain and fear—that he should see him now.’
These few words had been said apart, so as to be inaudible to Oliver. The man touched his hat; and glancing at Oliver with some curiousity, opened another gate, opposite to that by which they had entered, and led them on, through dark and winding ways, towards the cells.
‘This,’ said the man, stopping in a gloomy passage where a couple of workmen were making some preparations in profound silence—’this is the place he passes through. If you step this way, you can see the door he goes out at.’
He led them into a stone kitchen, fitted with coppers for dressing the prison food, and pointed to a door. There was an open grating above it, through which came the sound of men’s voices, mingled with the noise of hammering, and the throwing down of boards. There were putting up the scaffold.
From this place, they passed through several strong gates, opened by other turnkeys from the inner side; and, having entered an open yard, ascended a flight of narrow steps, and came into a passage with a row of strong doors on the left hand. Motioning them to remain where they were, the turnkey knocked at one of these with his bunch of keys. The two attendants, after a little whispering, came out into the passage, stretching themselves as if glad of the temporary relief, and motioned the visitors to follow the jailer into the cell. They did so.
The condemned criminal was seated on his bed, rocking himself from side to side, with a countenance more like that of a snared beast than the face of a man. His mind was evidently wandering to his old life, for he continued to mutter, without appearing conscious of their presence otherwise than as a part of his vision.
‘Good boy, Charley—well done—’ he mumbled. ‘Oliver, too, ha! ha! ha! Oliver too—quite the gentleman now—quite the—take that boy away to bed!’
The jailer took the disengaged hand of Oliver; and, whispering him not to be alarmed, looked on without speaking.
‘Take him away to bed!’ cried Fagin. ‘Do you hear me, some of you? He has been the—the—somehow the cause of all this. It’s worth the money to bring him up to it—Bolter’s throat, Bill; never mind the girl—Bolter’s throat as deep as you can cut. Saw his head off!’
‘Fagin,’ said the jailer.
‘That’s me!’ cried the Jew, falling instantly, into the attitude of listening he had assumed upon his trial. ‘An old man, my Lord; a very old, old man!’
‘Here,’ said the turnkey, laying his hand upon his breast to keep him down. ‘Here’s somebody wants to see you, to ask you some questions, I suppose. Fagin, Fagin! Are you a man?’
‘I shan’t be one long,’ he replied, looking up with a face retaining no human expression but rage and terror. ‘Strike them all dead! What right have they to butcher me?’
As he spoke he caught sight of Oliver and Mr. Brownlow. Shrinking to the furthest corner of the seat, he demanded to know what they wanted there.
‘Steady,’ said the turnkey, still holding him down. ‘Now, sir, tell him what you want. Quick, if you please, for he grows worse as the time gets on.’
‘You have some papers,’ said Mr. Brownlow advancing, ‘which were placed in your hands, for better security, by a man called Monks.’
‘It’s all a lie together,’ replied Fagin. ‘I haven’t one—not one.’
‘For the love of God,’ said Mr. Brownlow solemnly, ‘do not say that now, upon the very verge of death; but tell me where they are. You know that Sikes is dead; that Monks has confessed; that there is no hope of any further gain. Where are those papers?’
‘Oliver,’ cried Fagin, beckoning to him. ‘Here, here! Let me whisper to you.’
‘I am not afraid,’ said Oliver in a low voice, as he relinquished Mr. Brownlow’s hand.
‘The papers,’ said Fagin, drawing Oliver towards him, ‘are in a canvas bag, in a hole a little way up the chimney in the top front-room. I want to talk to you, my dear. I want to talk to you.’
‘Yes, yes,’ returned Oliver. ‘Let me say a prayer. Do! Let me say one prayer. Say only one, upon your knees, with me, and we will talk till morning.’
‘Outside, outside,’ replied Fagin, pushing the boy before him towards the door, and looking vacantly over his head. ‘Say I’ve gone to sleep—they’ll believe you. You can get me out, if you take me so. Now then, now then!’
‘Oh! God forgive this wretched man!’ cried the boy with a burst of tears.
‘That’s right, that’s right,’ said Fagin. ‘That’ll help us on. This door first. If I shake and tremble, as we pass the gallows, don’t you mind, but hurry on. Now, now, now!’
‘Have you nothing else to ask him, sir?’ inquired the turnkey.
‘No other question,’ replied Mr. Brownlow. ‘If I hoped we could recall him to a sense of his position—’
‘Nothing will do that, sir,’ replied the man, shaking his head. ‘You had better leave him.’
The door of the cell opened, and the attendants returned.
‘Press on, press on,’ cried Fagin. ‘Softly, but not so slow. Faster, faster!’
The men laid hands upon him, and disengaging Oliver from his grasp, held him back. He struggled with the power of desperation, for an instant; and then sent up cry upon cry that penetrated even those massive walls, and rang in their ears until they reached the open yard.
It was some time before they left the prison. Oliver nearly swooned after this frightful scene, and was so weak that for an hour or more, he had not the strength to walk.
Day was dawning when they again emerged. A great multitude had already assembled; the windows were filled with people, smoking and playing cards to beguile the time; the crowd were pushing, quarrelling, joking. Everything told of life and animation, but one dark cluster of objects in the centre of all — the black stage, the cross-beam, the rope, and all the hideous apparatus of death.
* Fagin was named for a workman named Bob Fagin, who showed a few tricks of the trade when the boy Dickens did his own turn in a workhouse.
** For instance, the the London Burkers in 1831 and Benjamin Courvoisier in 1840 were each condemned to death less than two months after their arrests, and each hanged within days of sentence.
On this date* in French-occupied Moscow of the War of 1812, many alleged arsonists — unnamed and unnumbered — were shot by Napoleon’s army in the ashes of Moscow.
Although real, flesh-and-blood Muscovites died, they are best known via their bespectacled fictional companion, Pierre Bezukhov, whose miraculous escape is one of the pivotal episodes of Tolstoy’s War and Peace.
Merely the greatest novel in history by some reckonings — we’ll just let Tolstoy fight it out with Dostoyevsky for top of table in the competitive 19th Century Russia literary scene — the epic War and Peace tracks that country’s transformation under the revolutionary pressures of the Napoleonic age.
In Russian director Sergey Bondarchuk’s sprawling cinematic adaptation of War and Peace, the part of Pierre Bezukhov is played by Bondarchuk himself.
Pierre Bezukhov (“without ears”) is one of the book’s central figures, the illegitimate son of a count who unexpectedly inherits, forever consumed with his next impulsive, passionate quest for meaning (boozing around, freemasonry, religion …).
Pierre finds himself present in Moscow when the Grande Armeerolls in following its Pyrrhic victory at the Battle of Borodino. His fancy of the moment is to assassinate Napoleon: “he suddenly felt that what before had seemed to him merely a possibility had now become absolutely necessary and inevitable. He must remain in Moscow, concealing his name, and must meet Napoleon and kill him, and either perish or put an end to the misery of all Europe.” And to think, a younger Pierre actually used to admire Napoleon.
Historically, the city of Moscow started burning as soon as the French occupied it. The reasons for this conflagration have been widely disputed; Tolstoy detours in War and Peace to characterize it as nothing more than the natural consequence of the occupation, when the city’s civil infrastructure has broken down and the everyday fires that spark in wooden buildings are more liable to grow out of control.
The French blamed terrorists.
A bulletin of the Grande Armee dated September 20 (Gregorian date; this corresponds to the Julian date September 8) reports on the successful efforts to bring arsonists to heel through the expedient of mass executions.
Three hundred incendiaries have been arrested and shot; they were provided with fuse six inches long, which they had between two pieces of wood: they had also squibs, which they threw upon the roofs of the houses. The wretch Rastapchin had these prepared, on the pretence that he wished to send a balloon, full of combustible matter, amidst the French army …
The fires subsided on the 19th and 20th; three quarters of the city are burned; among other palaces that beautiful one of Catherine, which had been newly furnished: not above a quarter of the houses remain. …
Manufactures were beginning to flourish at Moscow: they are destroyed. The conflagration of this capital will throw Russia one hundred years back. The weather is becoming rainy: the greatest part of the army is in barracks in Moscow.
In this paranoid occupation, the fictional Pierre, wandering Moscow armed without a good excuse, gets himself picked up by French troops.
The travail of his resulting drumhead trial offers the anti-authoritarian (and anti-death penalty) Tolstoy the opportunity to reflect on the “legal” arrangements, a passage Tolstoy dates September 8 on the Julian calendar — the same day that army bulletin above was penned.
[Pierre] learned that all these prisoners (he, probably, among them) were to be tried for incendiarism. On the third day he was taken with the others to a house where a French general with a white mustache sat with two colonels and other Frenchmen with scarves on their arms. With the precision and definiteness customary in addressing prisoners, and which is supposed to preclude human frailty, Pierre like the others was questioned as to who he was, where he had been, with what object, and so on.
These questions, like questions put at trials generally, left the essence of the matter aside, shut out the possibility of that essence’s being revealed, and were designed only to form a channel through which the judges wished the answers of the accused to flow so as to lead to the desired result, namely a conviction. As soon as Pierre began to say anything that did not fit in with that aim, the channel was removed and the water could flow to waste. Pierre felt, moreover, what the accused always feel at their trial, perplexity as to why these questions were put to him. He had a feeling that it was only out of condescension or a kind of civility that this device of placing a channel was employed. He knew he was in these men’s power, that only by force had they brought him there, that force alone gave them the right to demand answers to their questions, and that the sole object of that assembly was to inculpate him. And so, as they had the power and wish to inculpate him, this expedient of an inquiry and trial seemed unnecessary. It was evident that any answer would lead to conviction.
It’s only by Pierre’s chance ability to forge a human connection with the officer detailed to condemn him that he’s mysteriously, and arbitrarily, not sentenced to death — a fact that Pierre doesn’t even realize until he’s led out with the rest of the prisoners only to see that it’s “only” the others who are being shot. This is the narration at length from Book XII, Chapters 10-11.
On the eighth of September an officer- a very important one judging by the respect the guards showed him- entered the coach house where the prisoners were. This officer, probably someone on the staff, was holding a paper in his hand, and called over all the Russians there, naming Pierre as “the man who does not give his name.” Glancing indolently and indifferently at all the prisoners, he ordered the officer in charge to have them decently dressed and tidied up before taking them to the marshal. An hour later a squad of soldiers arrived and Pierre with thirteen others was led to the Virgin’s Field. It was a fine day, sunny after rain, and the air was unusually pure. The smoke did not hang low as on the day when Pierre had been taken from the guardhouse on the Zubovski rampart, but rose through the pure air in columns. No flames were seen, but columns of smoke rose on all sides, and all Moscow as far as Pierre could see was one vast charred ruin. On all sides there were waste spaces with only stoves and chimney stacks still standing, and here and there the blackened walls of some brick houses. Pierre gazed at the ruins and did not recognize districts he had known well. Here and there he could see churches that had not been burned. The Kremlin, which was not destroyed, gleamed white in the distance with its towers and the belfry of Ivan the Great. The domes of the New Convent of the Virgin glittered brightly and its bells were ringing particularly clearly. These bells reminded Pierre that it was Sunday and the feast of the Nativity of the Virgin. But there seemed to be no one to celebrate this holiday: everywhere were blackened ruins, and the few Russians to be seen were tattered and frightened people who tried to hide when they saw the French.
Pierre had been taken by one set of soldiers and led first to one and then to another place with dozens of other men, and it seemed that they might have forgotten him, or confused him with the others. But no: the answers he had given when questioned had come back to him in his designation as “the man who does not give his name,” and under that appellation, which to Pierre seemed terrible, they were now leading him somewhere with unhesitating assurance on their faces that he and all the other prisoners were exactly the ones they wanted and that they were being taken to the proper place. Pierre felt himself to be an insignificant chip fallen among the wheels of a machine whose action he did not understand but which was working well.
He and the other prisoners were taken to the right side of the Virgin’s Field, to a large white house with an immense garden not far from the convent. This was Prince Shcherbatov‘s house, where Pierre had often been in other days, and which, as he learned from the talk of the soldiers, was now occupied by the marshal, the Duke of Eckmuhl (Davout).
They were taken to the entrance and led into the house one by one. Pierre was the sixth to enter. He was conducted through a glass gallery, an anteroom, and a hall, which were familiar to him, into a long low study at the door of which stood an adjutant.
Davout, spectacles on nose, sat bent over a table at the further end of the room. Pierre went close up to him, but Davout, evidently consulting a paper that lay before him, did not look up. Without raising his eyes, he said in a low voice:
“Who are you?”
Pierre was silent because he was incapable of uttering a word. To him Davout was not merely a French general, but a man notorious for his cruelty. Looking at his cold face, as he sat like a stern schoolmaster who was prepared to wait awhile for an answer, Pierre felt that every instant of delay might cost him his life; but he did not know what to say. He did not venture to repeat what he had said at his first examination, yet to disclose his rank and position was dangerous and embarrassing. So he was silent. But before he had decided what to do, Davout raised his head, pushed his spectacles back on his forehead, screwed up his eyes, and looked intently at him.
“I know that man,” he said in a cold, measured tone, evidently calculated to frighten Pierre.
The chill that had been running down Pierre’s back now seized his head as in a vise.
“You cannot know me, General, I have never seen you…”
“He is a Russian spy,” Davout interrupted, addressing another general who was present, but whom Pierre had not noticed.
Davout turned away. With an unexpected reverberation in his voice Pierre rapidly began:
“No, monseigneur,” he said, suddenly remembering that Davout was a duke. “No, monseigneur, you cannot have known me. I am a militia officer and have not quitted Moscow.”
“Your name?” asked Davout.
“What proof have I that you are not lying?”
“Monseigneur!” exclaimed Pierre, not in an offended but in a pleading voice.
Davout looked up and gazed intently at him. For some seconds they looked at one another, and that look saved Pierre. Apart from conditions of war and law, that look established human relations between the two men. At that moment an immense number of things passed dimly through both their minds, and they realized that they were both children of humanity and were brothers.
At the first glance, when Davout had only raised his head from the papers where human affairs and lives were indicated by numbers, Pierre was merely a circumstance, and Davout could have shot him without burdening his conscience with an evil deed, but now he saw in him a human being. He reflected for a moment.
“How can you show me that you are telling the truth?” said Davout coldly.
Pierre remembered Ramballe, and named him and his regiment and the street where the house was.
“You are not what you say,” returned Davout.
In a trembling, faltering voice Pierre began adducing proofs of the truth of his statements.
But at that moment an adjutant entered and reported something to Davout.
Davout brightened up at the news the adjutant brought, and began buttoning up his uniform. It seemed that he had quite forgotten Pierre.
When the adjutant reminded him of the prisoner, he jerked his head in Pierre’s direction with a frown and ordered him to be led away. But where they were to take him Pierre did not know: back to the coach house or to the place of execution his companions had pointed out to him as they crossed the Virgin’s Field.
He turned his head and saw that the adjutant was putting another question to Davout.
“Yes, of course!” replied Davout, but what this “yes” meant, Pierre did not know.
Pierre could not afterwards remember how he went, whether it was far, or in which direction. His faculties were quite numbed, he was stupefied, and noticing nothing around him went on moving his legs as the others did till they all stopped and he stopped too. The only thought in his mind at that time was: who was it that had really sentenced him to death? Not the men on the commission that had first examined him — not one of them wished to or, evidently, could have done it. It was not Davout, who had looked at him in so human a way. In another moment Davout would have realized that he was doing wrong, but just then the adjutant had come in and interrupted him. The adjutant, also, had evidently had no evil intent though he might have refrained from coming in. Then who was executing him, killing him, depriving him of life — him, Pierre, with all his memories, aspirations, hopes, and thoughts? Who was doing this? And Pierre felt that it was no one.
It was a system — a concurrence of circumstances.
A system of some sort was killing him — Pierre — depriving him of life, of everything, annihilating him.
From Prince Shcherbatov’s house the prisoners were led straight down the Virgin’s Field, to the left of the nunnery, as far as a kitchen garden in which a post had been set up. Beyond that post a fresh pit had been dug in the ground, and near the post and the pit a large crowd stood in a semicircle. The crowd consisted of a few Russians and many of Napoleon’s soldiers who were not on duty- Germans, Italians, and Frenchmen, in a variety of uniforms. To the right and left of the post stood rows of French troops in blue uniforms with red epaulets and high boots and shakos.
The prisoners were placed in a certain order, according to the list (Pierre was sixth), and were led to the post. Several drums suddenly began to beat on both sides of them, and at that sound Pierre felt as if part of his soul had been torn away. He lost the power of thinking or understanding. He could only hear and see. And he had only one wish- that the frightful thing that had to happen should happen quickly. Pierre looked round at his fellow prisoners and scrutinized them.
The two first were convicts with shaven heads. One was tall and thin, the other dark, shaggy, and sinewy, with a flat nose. The third was a domestic serf, about forty-five years old, with grizzled hair and a plump, well-nourished body. The fourth was a peasant, a very handsome man with a broad, light-brown beard and black eyes. The fifth was a factory hand, a thin, sallow-faced lad of eighteen in a loose coat.
Pierre heard the French consulting whether to shoot them separately or two at a time. “In couples,” replied the officer in command in a calm voice. There was a stir in the ranks of the soldiers and it was evident that they were all hurrying — not as men hurry to do something they understand, but as people hurry to finish a necessary but unpleasant and incomprehensible task.
A French official wearing a scarf came up to the right of the row of prisoners and read out the sentence in Russian and in French.
Then two pairs of Frenchmen approached the criminals and at the officer’s command took the two convicts who stood first in the row. The convicts stopped when they reached the post and, while sacks were being brought, looked dumbly around as a wounded beast looks at an approaching huntsman. One crossed himself continually, the other scratched his back and made a movement of the lips resembling a smile. With hurried hands the soldiers blindfolded them, drawing the sacks over their heads, and bound them to the post.
Twelve sharpshooters with muskets stepped out of the ranks with a firm regular tread and halted eight paces from the post. Pierre turned away to avoid seeing what was going to happen. Suddenly a crackling, rolling noise was heard which seemed to him louder than the most terrific thunder, and he looked round. There was some smoke, and the Frenchmen were doing something near the pit, with pale faces and trembling hands. Two more prisoners were led up. In the same way and with similar looks, these two glanced vainly at the onlookers with only a silent appeal for protection in their eyes, evidently unable to understand or believe what was going to happen to them. They could not believe it because they alone knew what their life meant to them, and so they neither understood nor believed that it could be taken from them.
Again Pierre did not wish to look and again turned away; but again the sound as of a frightful explosion struck his ear, and at the same moment he saw smoke, blood, and the pale, scared faces of the Frenchmen who were again doing something by the post, their trembling hands impeding one another. Pierre, breathing heavily, looked around as if asking what it meant. The same question was expressed in all the looks that met his.
On the faces of all the Russians and of the French soldiers and officers without exception, he read the same dismay, horror, and conflict that were in his own heart. “But who, after all, is doing this? They are all suffering as I am. Who then is it? Who?” flashed for an instant through his mind.
“Sharpshooters of the 86th, forward!” shouted someone. The fifth prisoner, the one next to Pierre, was led away- alone. Pierre did not understand that he was saved, that he and the rest had been brought there only to witness the execution. With ever-growing horror, and no sense of joy or relief, he gazed at what was taking place. The fifth man was the factory lad in the loose cloak. The moment they laid hands on him he sprang aside in terror and clutched at Pierre. (Pierre shuddered and shook himself free.) The lad was unable to walk. They dragged him along, holding him up under the arms, and he screamed. When they got him to the post he grew quiet, as if he suddenly understood something. Whether he understood that screaming was useless or whether he thought it incredible that men should kill him, at any rate he took his stand at the post, waiting to be blindfolded like the others, and like a wounded animal looked around him with glittering eyes.
Pierre was no longer able to turn away and close his eyes. His curiosity and agitation, like that of the whole crowd, reached the highest pitch at this fifth murder. Like the others this fifth man seemed calm; he wrapped his loose cloak closer and rubbed one bare foot with the other.
When they began to blindfold him he himself adjusted the knot which hurt the back of his head; then when they propped him against the bloodstained post, he leaned back and, not being comfortable in that position, straightened himself, adjusted his feet, and leaned back again more comfortably. Pierre did not take his eyes from him and did not miss his slightest movement.
Probably a word of command was given and was followed by the reports of eight muskets; but try as he would Pierre could not afterwards remember having heard the slightest sound of the shots. He only saw how the workman suddenly sank down on the cords that held him, how blood showed itself in two places, how the ropes slackened under the weight of the hanging body, and how the workman sat down, his head hanging unnaturally and one leg bent under him. Pierre ran up to the post. No one hindered him. Pale, frightened people were doing something around the workman. The lower jaw of an old Frenchman with a thick mustache trembled as he untied the ropes. The body collapsed. The soldiers dragged it awkwardly from the post and began pushing it into the pit.
They all plainly and certainly knew that they were criminals who must hide the traces of their guilt as quickly as possible.
Pierre glanced into the pit and saw that the factory lad was lying with his knees close up to his head and one shoulder higher than the other. That shoulder rose and fell rhythmically and convulsively, but spadefuls of earth were already being thrown over the whole body. One of the soldiers, evidently suffering, shouted gruffly and angrily at Pierre to go back. But Pierre did not understand him and remained near the post, and no one drove him away.
When the pit had been filled up a command was given. Pierre was taken back to his place, and the rows of troops on both sides of the post made a half turn and went past it at a measured pace. The twenty-four sharpshooters with discharged muskets, standing in the center of the circle, ran back to their places as the companies passed by.
Pierre gazed now with dazed eyes at these sharpshooters who ran in couples out of the circle. All but one rejoined their companies. This one, a young soldier, his face deadly pale, his shako pushed back, and his musket resting on the ground, still stood near the pit at the spot from which he had fired. He swayed like a drunken man, taking some steps forward and back to save himself from falling. An old, noncommissioned officer ran out of the ranks and taking him by the elbow dragged him to his company. The crowd of Russians and Frenchmen began to disperse. They all went away silently and with drooping heads.
“That will teach them to start fires,” said one of the Frenchmen.
Pierre glanced round at the speaker and saw that it was a soldier who was trying to find some relief after what had been done, but was not able to do so. Without finishing what he had begun to say he made a hopeless movement with his arm and went away.
* It’s our practice (although we’re sure it’s been violated here and there) to utilize Gregorian dates universally after the mid-18th century, even for executions in Orthodox Christendom where the Julian calendar prevailed into the 20th century. For this post, seeing as it’s straight from the text of Tolstoy himself, in his magnum opus, channeling the soul of the Russian rodina, we’re making an exception: the 12-day-slower, local-to-Russia Julian calendar prevails … just like the Russians themselves did.
Late this night* in 1628 was the fictional execution of The Three Musketeers antagonist Milady de Winter.
Milady de Winter, as the heroine of Agnes Maupre’s revisionist French graphic novel series (Author interview | Another (Both in French)).
This conniving minx bears the fleur-de-lis brand of a teenage crime upon her shoulder — a very naughty beauty-mark indeed — but becomes a secret agent of Cardinal Richelieu. (Richelieu is a point of friction for the Musketeers right from the start.)
To skip to the end of things, Milady is portrayed as having orchestrated at Richelieu’s behest the (actual, historical) assassination of the Musketeers’ buddy the (actual, historical) Duke of Buckingham, which Milady accomplishes by seducing and manipulating his (actual, historical) assassin, John Felton. In reality, Felton was motivated by the stirring Republican sentiment that would soon generate a revolution; in Dumas, he’s a horny dupe who sees his seductress escaping by sea even as he’s placed under arrest.
Buckingham was (actually, historically) murdered on August 23.
The fictional narrative picks up on August 25, when the escaped Milady writes to Cardinal Richelieu from the safety of Boulogne. Unknown to her, her hours are numbered.
Milady proceeds the next morning to a convent in Bethune where she chances to encounter the mistress of her old foe d’Artagnan … and, by that night, to slay said mistress with poison just ahead of the arrival of the Musketeers.** But the Musketeers are able to track the escaping murderess down by the next evening. There, they subject her to a snap “trial”:
“We wish to judge you according to your crime,” said Athos; “you shall be free to defend yourself. Justify yourself if you can. M. d’Artagnan, it is for you to accuse her first.”
“Before God and before men,” said he, “I accuse this woman of having poisoned Constance Bonacieux, who died yesterday evening.”
He turned towards Porthos and Aramis.
“We bear witness to this,” said the two Musketeers, with one voice.
D’Artagnan continued: “Before God and before men, I accuse this woman of having attempted to poison me, in wine which she sent me from Villeroy, with a forged letter, as if that wine came from my friends. God preserved me, but a man named Brisemont died in my place.”
“We bear witness to this,” said Porthos and Aramis, in the same manner as before.
“Before God and before men, I accuse this woman of having urged me to the murder of the Baron de Wardes; but as no one else can attest the truth of this accusation, I attest it myself. I have done.” And d’Artagnan passed to the other side of the room with Porthos and Aramis.
“Your turn, my Lord,” said Athos.
The baron came forward.
“Before God and before men,” said he, “I accuse this woman of having caused the assassination of the Duke of Buckingham.”
“The Duke of Buckingham assassinated!” cried all present, with one voice.
“Yes,” said the baron, “assassinated. On receiving the warning letter you wrote to me, I had this woman arrested, and gave her in charge to a loyal servant. She corrupted this man; she placed the poniard in his hand; she made him kill the duke. And at this moment, perhaps, Felton is paying with his head for the crime of this fury!”
And so forth.
Then these obviously impartial judges judge her guilty, and have the executioner of Lille — whom they have thoughtfully procured in advance — chop off her head and dump her in a river.
“The executioner may kill, without being on that account an assassin,” said the man in the red cloak [i.e., the executioner himself], rapping upon his immense sword. “This is the last judge; that is all. Nachrichter, as say our neighbors, the Germans.”
Extrajudicial is as extrajudicial does. And in this case, Richelieu is just as happy to be rid of his duplicitous agent and, admiring the protagonist’s moxie, commissions d’Artagnan a lieutenant in the Musketeers. D’Artagnan is the fourth of the titular “three Musketeers”, so this denouement means that he’s finally made it … and he should stand by for duty in sequels continuing to mix-and-match Dumas’s fictional characters with actual, historical events.
This date’s captivating femme fatale has appropriately been portrayed by a ravishing host of silver screen sirens including Lana Turner, Mylene Demongeot, Antonella Lualdi, Faye Dunaway, Rebecca de Mornay, Emmanuelle Beart, and (most recently as of this writing), Milla Jovovich.
* August 27-28, right around midnight. Dumas isn’t specific as to pre- or post-midnight.
“Everything passed simply, decorously, and without affectation on his part,” is the entirety of Stendhal’s death scene for his man.
Julien Sorel, the flawed (or anti-) hero of The Red and the Black (Le Rouge et le Noir), is the intelligent son of a provincial carpenter who puts his wits to use trying to climb Restoration France’s treacherous social ladder.
Ambition, says Stendhal, is “the very essence of his existence,” much as it is for his milieu, and through Julien’s exertions — brilliant and resourceful at times; infuriatingly handicapped by social prejudice against the protagonist’s low birth at others — the author sets down one of the most psychologically forceful works in the canon.
Julien Sorel’s ambition also powers his youthful passion, and his fall: to conquer the mother of the children he tutors, and to likewise conquer the daughter of a nobleman.** This latter conquest has him a made man, married into the aristocracy and set with a plum military assignment that has Julien dreaming of Napoleon … so when the spurned former conquest denounces Julien to the father of that latter conquest as an upstart seducer cynically shagging his way into decent society, the incensed Julien hauls off and shoots that previous conquest. (As she kneels at Mass, no less.)
Is it a mere jealous fit? Even though his victim survives the attack, and forgives her lover, Julien obstinately pleads guilty, and insists on his own maximum culpability. It’s not only an individual criminal culpability, but a culpability of class aspiration.
‘I ask you for no mercy,’ Julien went on, his voice growing stronger. ‘I am under no illusion; death is in store for me; it will be a just punishment. I have been guilty of attempting the life of the woman most worthy of all respect, of all devotion. Madame de Renal had been like a mother to me. My crime is atrocious, and it was premeditated. I have, therefore, deserved death, Gentlemen of the Jury. But, even were I less guilty, I see before me men who, without pausing to consider what pity may be due to my youth, will seek to punish in me and to discourage forever that class of young men who, born in an inferior station and in a sense burdened with poverty, have the good fortune to secure a sound education, and the audacity to mingle with what the pride of rich people calls society.
‘That is my crime, Gentlemen, and it will be punished with all the more severity inasmuch as actually I am not being tried by my peers. I do not see, anywhere among the jury, a peasant who has grown rich, but only indignant bourgeois …’
The Red and the Black is available in its French original here; in English translation here; and as a free French audio book here. And here’s some literary analysis
* The date is not explicit in the text. The Red and the Black was subtitled Chronique de 1830, but several past-tense allusions to the event show that the main action takes place after the July Revolution of 1830 that toppled Charles X and raised Louis-Philippe to the throne. There is, however, a late and seemingly anachronistic allusion to Julien’s lover/victim intending to “throw herself at the feet of Charles X” to appeal for his life. Oh well: ambiguity is the novel’s stock in trade.