In an Unknown Prison Land: An account of convicts and colonists in New Caledonia with jottings out and homeGriffith, George Chetwynd
History
In an Unknown Prison Land: An account of convicts and colonists in New Caledonia with jottings out and home
Griffith, George Chetwynd
Crime; Criminals; New Caledonia -- Social conditions -- 19th century; Penal colonies -- New Caledonia
Collectively they had committed every crime, from forgery to outrages for
which civilised speech has no name. The _chef d’orchestre_, for example,
was the man who, a few years ago, sent a thrill of horror through the
world by cutting the heart out of a man whom he believed to be his rival
in his wife’s affections, getting her to cook it as a sheep’s heart,
dining off it with her, and then telling her what she had been eating. In
addition to being a talented musician he was also a very clever painter
who has won quite a reputation in the island.
And yet, while this unspeakable scoundrel was controlling with his baton
the flood of sweet sounds which flowed out from the kiosk over the
moonlight-spangled lawns, the most respectable people in Noumea were
sitting about in chairs smoking and chatting; young men and maidens were
wandering about among the trees; and little children were playing round
the grassy slope on which the band-stand stood, taking no more notice of
these human hyenas than if they had been the most respectable musicians
that ever wore long hair and swallow-tailed coats.
The performance finished, as usual, with “La Marseillaise.” I stood up
and took off my helmet. Then I put it on again and sat down somewhat
suddenly. Not another person rose; not another head was uncovered. For
all the notice that was taken of it, the National Hymn of the Republic
might as well have been “Mrs. ’Enery ’Awkins,”—which did not strike me as
a particularly good thing for France generally.
When the performance was over the artists gathered up their instruments,
lolled out on to the path in front of the kiosk, and shuffled into a
sort of double line. The weary warder counted them in a languid fashion,
right-about-faced them, and gave the order to march. They shambled away
through the gaily dressed crowds in the square. No one even turned to
look at them, and I, who had seen a party of English convicts on their
way to work through a public road, ranged up with their faces to the wall
because a break-load of excursionists was passing by, wondered greatly.
The Musique de la Transportation is now, happily for the credit of
Noumea, a thing of the past. The pampered artists got to think themselves
indispensable to the gaiety of the town. So one night, having collected
more surreptitious coppers than usual, they halted on their way to
barracks, bought wine and brandy, and told the warder to go and report
them if he dared. He did dare, and the next day the Director of the
Administration published a brief edict which abolished them as musicians
for ever.
Public-domain text, read in full here on John Shaqi.
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