The Mysteries of Paris, illustrated with etchings, Vol. 3Sue, Eugène
General
The Mysteries of Paris, illustrated with etchings, Vol. 3
Sue, Eugène
Paris (France) -- Fiction
We shall see in the sequel of this history that, by the aid of certain
means really prodigious in plan and carrying out, he contrived to
appropriate to himself, with impunity, several very considerable sums.
His secret and mysterious life gave him incessant and terrible emotions,
such as gaming gives to the gambler. Against all other men's fortunes
Jacques Ferrand staked his hypocrisy, his boldness, his head; and he
played on velvet, as it is called, far out of the reach of human
justice, which he vulgarly and energetically characterised as a chimney
which might fall on one's head; for him to lose was only not to gain;
and, moreover, he was so criminally gifted that, in his bitter irony, he
saw a continued gain in boundless esteem, the unlimited confidence
which he inspired, not only in a multitude of rich clients, but also in
the smaller tradespeople and workmen of his district. A great many of
these placed their money with him, saying, "He is not charitable, it is
true; he is a devotee, and that's a pity; but he is much safer than the
government or the savings-banks." In spite of his uncommon ability, this
man had committed two of those mistakes from which the most skilful
rogues do not always escape; forced by circumstances, it is true, he had
associated with himself two accomplices. This immense fault, as he
called it, had been in part repaired; neither of his two associates
could destroy him without destroying themselves, and neither would have
reaped from denunciation any other profit but of drawing down justice on
themselves as well as on the notary; on this score he was quite easy.
Besides, he was not at the end of his crimes, and the disadvantages of
accompliceship were balanced by the criminal aid which at times he still
obtained.
A few words as to the personal appearance of M. Ferrand, and we will
introduce the reader into the notary's study, where we shall encounter
some of the principal personages in this recital.
M. Ferrand was fifty years of age, but did not appear forty; he was of
middle height, with broad and stooping shoulders, powerful, thickset,
strong-limbed, red-haired, and naturally as hirsute as a bear. His hair
was flat on his temples, his forehead bald, his eyebrows scarcely
perceptible; his bilious complexion was almost concealed by innumerable
red spots, and, when strong emotion agitated him, his yellow and murky
countenance was injected with blood, and became a livid red. His face
was as flat as a death's head, as is vulgarly said; his nose thick and
flat; his lips so thin, so imperceptible, that his mouth seemed incised
in his face, and, when he smiled with his villainous and revolting air,
his teeth seemed as though supplied by black and rotten fangs. His
pallid face had an expression at once austere and devout, impassible and
inflexible, cold and reflective; whilst his small, black, animated,
peering, and restless eyes were lost behind large green spectacles.
Public-domain text, read in full here on John Shaqi.
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