The Mysteries of Paris, illustrated with etchings, Vol. 1Sue, Eugène
General
The Mysteries of Paris, illustrated with etchings, Vol. 1
Sue, Eugène
Paris (France) -- Fiction
The porter, followed by Rodolph, emerged from the gloomy lodge, and
proceeded up-stairs.
CHAPTER XXIV.
THE FOUR STORIES.
The damp, dark staircase looked still more gloomy through the fog of a
November day. The entrance to each separate set of apartments in this
house bore its own peculiar and distinctive character to the observant
eye. Thus, the door conducting to those of the commandant bore evidences
of having been recently painted in close imitation of ebony, being
further set off with a brass knob rubbed up to a most dazzling
brightness, while a gay-coloured bell-rope, finished by an enormous
tassel of scarlet silk, contrasted strongly with the mean and shabby
wall against which it hung.
The door of the flight above, where dwelt the female money-lender and
dealer in divination, was singularly characterised by the appearance of
that mystical symbol of deep wisdom and oracular knowledge, an owl,
which, stuffed to resemble life as closely as the artist could contrive
it, was nailed on a small bracket just above the doorway; while a sort
of small wicket, latticed with wire-work, enabled all visitors to be
duly scrutinised ere they were admitted.
The dwelling of the Italian charlatan, who was said to pursue such
fearful avocations, had, likewise, its whimsical mode of designating the
pursuits of its occupant, whose name, traced in large letters formed of
horses' teeth upon a square black board, was nailed to the
entrance-door; while, instead of adopting the classical agency of a
deer's foot or a hare's pad for the handle of his bell, there hung
dangling from the cord the hand and arm of a dried ape,--the withered
limb, the shrivelled hand, with its five fingers, each so distinctly
preserved, and the articulation of every joint so clearly defined, the
tiny tips bearing the nails long and taper as those of a human creature,
presented a close and hideous resemblance to the hand and arm of a
child.
As Rodolph passed before a door so singularly indicative of all his
worst suspicions, he fancied he could detect the sound of smothered sobs
from within. Then rose up a cry so full of agony, of convulsive,
irrepressible misery,--a cry as if wrung from a breaking heart or the
last wail of expiring nature, that the whole house seemed to reëcho it.
Rodolph started; then, by a movement more rapid than thought itself, he
rushed to the door and violently pulled the bell.
"What is the matter, sir?" inquired the astonished porter.
"That cry!" said Rodolph; "did you not hear it?"
"Yes, yes, I heard it; I dare say it is some person whose teeth M.
Bradamanti is taking out; perhaps he may be taking out several,--and it
is painful!"
Public-domain text, read in full here on John Shaqi.
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