The Historical Nights' Entertainment: Second SeriesSabatini, Rafael
History
The Historical Nights' Entertainment: Second Series
Sabatini, Rafael
Europe -- Social life and customs -- Fiction; Historical fiction, English
“The prisoner,” he said, “confesses with calm the horrible crime she
has committed; she confesses with calm its premeditation; she confesses
its most dreadful details; in short, she confesses everything, and does
not seek to justify herself. That, citizens of the jury, is her whole
defence. This imperturbable calm, this utter abnegation of self, which
displays no remorse even in the very presence of death, are contrary to
nature. They can only be explained by the excitement of political
fanaticism which armed her hand. It is for you, citizens of the jury,
to judge what weight that moral consideration should have in the scales
of justice.”
The jury voted her guilty, and Tinville rose to demand the full
sentence of the law.
It was the end. She was removed to the Conciergerie, the antechamber of
the guillotine. A constitutional priest was sent to her, but she
dismissed him with thanks, not requiring his ministrations. She
preferred the painter Hauer, who had received the Revolutionary
Tribunal’s permission to paint her portrait in accordance with her
request. And during the sitting, which lasted half an hour, she
conversed with him quietly on ordinary topics, the tranquillity of her
spirit unruffled by any fear of the death that was so swiftly
approaching.
The door opened, and Sanson, the public executioner, came in. He
carried the red smock worn by those convicted of assassination. She
showed no dismay; no more, indeed, than a faint surprise that the time
spent with Hauer should have gone so quickly. She begged for a few
moments in which to write a note, and, the request being granted,
acquitted herself briskly of that task, then announcing herself ready,
she removed her cap that Sanson might cut her luxuriant hair. Yet
first, taking his scissors, she herself cut off a lock and gave it to
Hauer for remembrance. When Sanson would have bound her hands, she
begged that she might be allowed to wear gloves, as her wrists were
bruised and cut by the cord with which she had been pinioned in Marat’s
house. He answered that she might do so if she wished, but that it was
unnecessary, as he could bind her without causing pain.
“To be sure,” she said, “those others had not your experience,” and she
proffered her bare wrists to his cord without further demur. “If this
toilet of death is performed by rude hands,” she commented, “at least
it leads to immortality.”
Public-domain text, read in full here on John Shaqi.
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