The Count of Monte Cristo, Illustrated by Alexandre Dumas (electronic reader txt) 📖

“Since my imprisonment,” said Faria, “I have thought over all the most celebrated cases of escape on record. They have rarely been successful. Those that have been crowned with full success have been long meditated upon, and carefully arranged; such, for instance, as the escape of the Duc de Beaufort from the Château de Vincennes, that of the Abbé Dubuquoi from For l’Evêque; of Latude from the Bastille. Then there are those for which chance sometimes affords opportunity, and those are the best of all. Let us, therefore, wait patiently for some favorable moment, and when it presents itself, profit by it.”

“Ah,” said Dantès, “you might well endure the tedious delay; you were constantly employed in the task you set yourself, and when weary with toil, you had your hopes to refresh and encourage you.”

“I assure you,” replied the old man, “I did not turn to that source for recreation or support.”

“What did you do then?”

“I wrote or studied.”

“Were you then permitted the use of pens, ink, and paper?”

“Oh, no,” answered the abbé; “I had none but what I made for myself.”

“You made paper, pens and ink?”

“Yes.”

Dantès gazed with admiration, but he had some difficulty in believing. Faria saw this.

“When you pay me a visit in my cell, my young friend,” said he, “I will show you an entire work, the fruits of the thoughts and reflections of my whole life; many of them meditated over in the shades of the Colosseum at Rome, at the foot of St. Mark’s column at Venice, and on the borders of the Arno at Florence, little imagining at the time that they would be arranged in order within the walls of the Château d’If. The work I speak of is called A Treatise on the Possibility of a General Monarchy in Italy, and will make one large quarto volume.”

“And on what have you written all this?”

“On two of my shirts. I invented a preparation that makes linen as smooth and as easy to write on as parchment.”

“You are, then, a chemist?”

“Somewhat; I know Lavoisier, and was the intimate friend of Cabanis.”

“But for such a work you must have needed books—had you any?”

“I had nearly five thousand volumes in my library at Rome; but after reading them over many times, I found out that with one hundred and fifty well-chosen books a man possesses, if not a complete summary of all human knowledge, at least all that a man need really know. I devoted three years of my life to reading and studying these one hundred and fifty volumes, till I knew them nearly by heart; so that since I have been in prison, a very slight effort of memory has enabled me to recall their contents as readily as though the pages were open before me. I could recite you the whole of Thucydides, Xenophon, Plutarch, Titus Livius, Tacitus, Strada, Jornandes, Dante, Montaigne, Shakespeare, Spinoza, Machiavelli, and Bossuet. I name only the most important.”

“You are, doubtless, acquainted with a variety of languages, so as to have been able to read all these?”

“Yes, I speak five of the modern tongues—that is to say, German, French, Italian, English, and Spanish; by the aid of ancient Greek I learned modern Greek—I don’t speak it so well as I could wish, but I am still trying to improve myself.”

“Improve yourself!” repeated Dantès; “why, how can you manage to do so?”

“Why, I made a vocabulary of the words I knew; turned, returned, and arranged them, so as to enable me to express my thoughts through their medium. I know nearly one thousand words, which is all that is absolutely necessary, although I believe there are nearly one hundred thousand in the dictionaries. I cannot hope to be very fluent, but I certainly should have no difficulty in explaining my wants and wishes; and that would be quite as much as I should ever require.”

Stronger grew the wonder of Dantès, who almost fancied he had to do with one gifted with supernatural powers; still hoping to find some imperfection which might bring him down to a level with human beings, he added, “Then if you were not furnished with pens, how did you manage to write the work you speak of?”

“I made myself some excellent ones, which would be universally preferred to all others if once known. You are aware what huge whitings are served to us on maigre days. Well, I selected the cartilages of the heads of these fishes, and you can scarcely imagine the delight with which I welcomed the arrival of each Wednesday, Friday, and Saturday, as affording me the means of increasing my stock of pens; for I will freely confess that my historical labors have been my greatest solace and relief. While retracing the past, I forget the present; and traversing at will the path of history I cease to remember that I am myself a prisoner.”

“But the ink,” said Dantès; “of what did you make your ink?”

“There was formerly a fireplace in my dungeon,” replied Faria, “but it was closed up long ere I became an occupant of this prison. Still, it must have been many years in use, for it was thickly covered with a coating of soot; this soot I dissolved in a portion of the wine brought to me every Sunday, and I assure you a better ink cannot be desired. For very important notes, for which closer attention is required, I pricked one of my fingers, and wrote with my own blood.”

“And when,” asked Dantès, “may I see all this?”

“Whenever you please,” replied the abbé.

“Oh, then let it be directly!” exclaimed the young man.

“Follow me, then,” said the abbé, as he re-entered the subterranean passage, in which he soon disappeared, followed by Dantès.

Chapter 17. The Abbé’s Chamber

After having passed with tolerable ease through the subterranean passage, which, however, did not admit of their holding themselves erect, the two friends reached the further end of the corridor, into which the abbé’s cell opened; from that point the passage became much narrower, and barely permitted one to creep through on hands and knees. The floor of the abbé’s cell was paved, and it had been by raising one of the stones in the most obscure corner that Faria had been able to commence the laborious task of which Dantès had witnessed the completion.

As he entered the chamber of his friend, Dantès cast around one eager and searching glance in quest of the expected marvels, but nothing more than common met his view.

“It is well,” said the abbé; “we have some hours before us—it is now just a quarter past twelve o’clock.” Instinctively Dantès turned round to observe by what watch or clock the abbé had been able so accurately to specify the hour.

“Look at this ray of light which enters by my window,” said the abbé, “and then observe the lines traced on the wall. Well, by means of these lines, which are in accordance with the double motion of the earth, and the ellipse it describes round the sun, I am enabled to ascertain the precise hour with more minuteness than if I possessed a watch; for that might be broken or deranged in its movements, while the sun and earth never vary in their appointed paths.”

This last explanation was wholly lost upon Dantès, who had always imagined, from seeing the sun rise from behind the mountains and set in the Mediterranean, that it moved, and not the earth. A double movement of the globe he inhabited, and of which he could feel nothing, appeared to him perfectly impossible. Each word that fell from his companion’s lips seemed fraught with the mysteries of science, as worthy of digging out as the gold and diamonds in the mines of Guzerat and Golconda, which he could just recollect having visited during a voyage made in his earliest youth.

“Come,” said he to the abbé, “I am anxious to see your treasures.”

The abbé smiled, and, proceeding to the disused fireplace, raised, by the help of his chisel, a long stone, which had doubtless been the hearth, beneath which was a cavity of considerable depth, serving as a safe depository of the articles mentioned to Dantès.

“What do you wish to see first?” asked the abbé.

“Oh, your great work on the monarchy of Italy!”

Faria then drew forth from his hiding-place three or four rolls of linen, laid one over the other, like folds of papyrus. These rolls consisted of slips of cloth about four inches wide and eighteen long; they were all carefully numbered and closely covered with writing, so legible that Dantès could easily read it, as well as make out the sense—it being in Italian, a language he, as a Provençal, perfectly understood.

“There,” said he, “there is the work complete. I wrote the word finis at the end of the sixty-eighth strip about a week ago. I have torn up two of my shirts, and as many handkerchiefs as I was master of, to complete the precious pages. Should I ever get out of prison and find in all Italy a printer courageous enough to publish what I have composed, my literary reputation is forever secured.”

“I see,” answered Dantès. “Now let me behold the curious pens with which you have written your work.”

“Look!” said Faria, showing to the young man a slender stick about six inches long, and much resembling the size of the handle of a fine painting-brush, to the end of which was tied, by a piece of thread, one of those cartilages of which the abbé had before spoken to Dantès; it was pointed, and divided at the nib like an ordinary pen. Dantès examined it with intense admiration, then looked around to see the instrument with which it had been shaped so correctly into form.

“Ah, yes,” said Faria; “the penknife. That’s my masterpiece. I made it, as well as this larger knife, out of an old iron candlestick.” The penknife was sharp and keen as a razor; as for the other knife, it would serve a double purpose, and with it one could cut and thrust.

Dantès examined the various articles shown to him with the same attention that he had bestowed on the curiosities and strange tools exhibited in the shops at Marseilles as the works of the savages in the South Seas from whence they had been brought by the different trading vessels.

“As for the ink,” said Faria, “I told you how I managed to obtain that—and I only just make it from time to time, as I require it.”

“One thing still puzzles me,” observed Dantès, “and that is how you managed to do all