The Count of Monte Cristo by Alexander Dumas (best book club books for discussion txt) 📖

he. "The carriage is going one way to the Piazza del Popolo, and we will go another; and, if you please, by the Corso. Take some more of these cigars, M. de Morcerf."

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"With all my heart," returned Albert; "Italian cigars are horrible. When you come to Paris, I will return all this."

"I will not refuse; I intend going there soon, and since you allow me, I will pay you a visit. Come, we have not any time to lose, it is half-past twelve--let us set off." All three descended; the coachman received his master's orders, and drove down the Via del Babuino. While the three gentlemen walked along the Piazza de Spagni and the Via Frattina, which led directly between the Fiano and Rospoli palaces, Franz's attention was directed towards the windows of that last palace, for he had not forgotten the signal agreed upon between the man in the mantle and the Transtevere peasant. "Which are your windows?" asked he of the count, with as much indifference as he could assume. "The three last," returned he, with a negligence evidently unaffected, for he could not imagine with what intention the question was put. Franz glanced rapidly towards the three windows.

The side windows were hung with yellow damask, and the centre one with white damask and a red cross. The man in the mantle had kept his promise to the Transteverin, and there could now be no doubt that he was the count. The three windows were still untenanted. Preparations were making on every side; chairs were placed, scaffolds were raised, and windows were hung with flags. The masks could not appear; the carriages could not move about; but the masks were visible behind the windows, the carriages, and the doors.

Franz, Albert, and the count continued to descend the Corso. As they approached the Piazza del Popolo, the crowd became more dense, and above the heads of the multitude two objects were visible: the obelisk, surmounted by a cross, which marks the centre of the square, and in front of the obelisk, at the point where the three streets, del Babuino, del Corso, and di Ripetta, meet, the two uprights of the scaffold, between which glittered the curved knife of the mandaia. At the corner of the street they met the count's steward, who was awaiting his master. The window, let at an exorbitant price, which the count had doubtless wished to conceal from his guests, was on the second floor of the great palace, situated between the Via del Babuino and the Monte Pincio. It consisted, as we have said, of a small dressing-room, opening into a bedroom, and, when the door of communication was shut, the inmates were quite alone. On chairs were laid elegant masquerade costumes of blue and white satin. "As you left the choice of your costumes to me," said the count to the two friends, "I have had these brought, as they will be the most worn this year; and they are most suitable, on account of the confetti (sweetmeats), as they do not show the flour."

Franz heard the words of the count but imperfectly, and he perhaps did not fully appreciate this new attention to their wishes; for he was wholly absorbed by the spectacle that the Piazza del Popolo presented, and by the terrible instrument that was in the centre. It was the first time Franz had ever seen a guillotine,--we say guillotine, because the Roman mandaia is formed on almost the same model as the French instrument. [*] The knife, which is shaped like a crescent, that cuts with the convex side, falls from a less height, and that is all the difference. Two men, seated on the movable plank on which the victim is laid, were eating their breakfasts, while waiting for the criminal. Their repast consisted apparently of bread and sausages. One of them lifted the plank, took out a flask of wine, drank some, and then passed it to his companion. These two men were the executioner's assistants. At this sight Franz felt the perspiration start forth upon his brow. The prisoners, transported the previous evening from the Carcere Nuovo to the little church of Santa Maria del Popolo, had passed the night, each accompanied by two priests, in a chapel closed by a grating, before which were two sentinels, who were relieved at intervals. A double line of carbineers, placed on each side of the door of the church, reached to the scaffold, and formed a circle around it, leaving a path about ten feet wide, and around the guillotine a space of nearly a hundred feet. All the rest of the square was paved with heads. Many women held their infants on their shoulders, and thus the children had the best view. The Monte Pincio seemed a vast amphitheatre filled with spectators; the balconies of the two churches at the corner of the Via del Babuino and the Via di Ripetta were crammed; the steps even seemed a parti-colored sea, that was impelled towards the portico; every niche in the wall held its living statue. What the count said was true--the most curious spectacle in life is that of death. And yet, instead of the silence and the solemnity demanded by the occasion, laughter and jests arose from the crowd. It was evident that the execution was, in the eyes of the people, only the commencement of the Carnival. Suddenly the tumult ceased, as if by magic, and the doors of the church opened. A brotherhood of penitents, clothed from head to foot in robes of gray sackcloth, with holes for the

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eyes, and holding in their hands lighted tapers, appeared first; the chief marched at the head. Behind the penitents came a man of vast stature and proportions. He was naked, with the exception of cloth drawers at the left side of which hung a large knife in a sheath, and he bore on his right shoulder a heavy iron sledge-hammer. This man was the executioner. He had, moreover, sandals bound on his feet by cords. Behind the executioner came, in the order in which they were to die, first Peppino and then Andrea. Each was accompanied by two priests. Neither had his eyes bandaged. Peppino walked with a firm step, doubtless aware of what awaited him. Andrea was supported by two priests. Each of them, from time to time, kissed the crucifix a confessor held out to them. At this sight alone Franz felt his legs tremble under him. He looked at Albert--he was as white as his shirt, and mechanically cast away his cigar, although he had not half smoked it.

The count alone seemed unmoved--nay, more, a slight color seemed striving to rise in his pale cheeks. His nostrils dilated like those of a wild beast that scents its prey, and his lips, half opened, disclosed his white teeth, small and sharp like those of a jackal. And yet his features wore an expression of smiling tenderness, such as Franz had never before witnessed in them; his black eyes especially were full of kindness and pity.

However, the two culprits advanced, and as they approached their faces became visible. Peppino was a handsome young man of four or five and twenty, bronzed by the sun; he carried his head erect, and seemed on the watch to see on which side his liberator would appear. Andrea was short and fat; his visage, marked with brutal cruelty, did not indicate age; he might be thirty. In prison he had suffered his beard to grow; his head fell on his shoulder, his legs bent beneath him, and his movements were apparently automatic and unconscious.

* Dr. Guillotin got the idea of his famous machine from witnessing an execution in Italy.

"I thought," said Franz to the count, "that you told me there would be but one execution."

"I told you true," replied he coldly.

"And yet here are two culprits."

"Yes; but only one of these two is about to die; the other has many years to live."

"If the pardon is to come, there is no time to lose."

"And see, here it is," said the count. At the moment when Peppino reached the foot of the mandaia, a priest arrived in some haste, forced his way through the soldiers, and, advancing to the chief of the brotherhood, gave him a folded paper. The piercing eye of Peppino had noticed all. The chief took the paper, unfolded it, and, raising his hand, "Heaven be praised, and his holiness also," said he in a loud voice; "here is a pardon for one of the prisoners!"

"A pardon!" cried the people with one voice--"a pardon!" At this cry Andrea raised his head. "Pardon for whom?" cried he.

Peppino remained breathless. "A pardon for Peppino, called Rocca Priori," said the principal friar. And he passed the paper to the officer commanding the carbineers, who read and returned it to him.

"For Peppino!" cried Andrea, who seemed roused from the torpor in which he had been plunged. "Why for him and not for me? We ought to die together. I was promised he should die with me. You have no right to put me to death alone. I will not die alone--I will not!" And he broke from the priests struggling and raving like a wild beast, and striving desperately to break the cords that bound his hands. The executioner made a sign, and his two assistants leaped from the scaffold and seized him. "What is going on?" asked Franz of the count; for, as all the talk was in the Roman dialect, he had not perfectly understood it. "Do you not see?"

returned the count, "that this human creature who is about to die is furious that his fellow-sufferer does not perish with him? and, were he able, he would rather tear him to pieces with his teeth and nails than let him

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enjoy the life he himself is about to be deprived of. Oh, man, man--race of crocodiles," cried the count, extending his clinched hands towards the crowd, "how well do I recognize you there, and that at all times you are worthy of yourselves!" Meanwhile Andrea and the two executioners were struggling on the ground, and he kept exclaiming, "He ought to die!--he shall die!--I will not die alone!"

"Look, look," cried the count, seizing the young men's hands--"look, for on my soul it is curious. Here is a man who had resigned himself to his fate, who was going to the scaffold to die--like a coward, it is true, but he was about to die without resistance. Do you know what gave him strength?--do you know what consoled him? It was, that another partook of his punishment--that another partook of his anguish--that another was to die before him. Lead two sheep to the butcher's, two oxen to the slaughterhouse, and make one of them understand that his companion will not die; the sheep will bleat for pleasure, the ox will bellow with joy. But man--man, whom God created in his own image--man, upon whom God has laid his first, his sole commandment, to love his neighbor--man, to whom God has given a voice to express his thoughts--what is his first cry when he hears his fellow-man is saved? A blasphemy. Honor to man, this masterpiece of nature, this king of the creation!" And the count burst into a laugh; a terrible laugh, that showed he must have suffered horribly to be able thus to laugh. However, the struggle still continued, and it was dreadful to witness.

The people all took part against Andrea, and twenty thousand voices cried, "Put him to death! put him to death!" Franz sprang back, but the count seized his arm, and held him before the window. "What are you doing?" said he. "Do you pity him? If you heard the cry of 'Mad dog!' you would take your gun--you would unhesitatingly shoot the poor beast, who, after all, was only guilty of having been bitten by another dog. And yet you pity a