Notre-Dame de Paris by Victor Hugo (e reader for manga txt) 📕

of weeping. A moment later, she laid her finger on her lips, and made a sign to Mahiette to draw near and look.

Mahiette, much touched, stepped up in silence, on tiptoe, as though approaching the bedside of a dying person.

It was, in fact, a melancholy spectacle which presented itself to the eyes of the two women, as they gazed through the grating of the Rat-Hole, neither stirring nor breathing.

The cell was small, broader than it was long, with an arched ceiling, and viewed from within, it bore a considerable resemblance to the interior of a huge bishop’s mitre. On the bare flagstones which formed the floor, in one corner, a woman was sitting, or rather, crouching. Her chin rested on her knees, which her crossed arms pressed forcibly to her breast. Thus doubled up, clad in a brown sack, which enveloped her entirely in large folds, her long, gray hair pulled over in front, falling over her face and along her legs nearly to her feet, she presented, at the first glance, only a strange form outlined against the dark background of the cell, a sort of dusky triangle, which the ray of daylight falling through the opening, cut roughly into two shades, the one sombre, the other illuminated. It was one of those spectres, half light, half shadow, such as one beholds in dreams and in the extraordinary work of Goya, pale, motionless, sinister, crouching over a tomb, or leaning against the grating of a prison cell.

It was neither a woman, nor a man, nor a living being, nor a definite form; it was a figure, a sort of vision, in which the real and the fantastic intersected each other, like darkness and day. It was with difficulty that one distinguished, beneath her hair which spread to the ground, a gaunt and severe profile; her dress barely allowed the extremity of a bare foot to escape, which contracted on the hard, cold pavement. The little of human form of which one caught a sight beneath this envelope of mourning, caused a shudder.

That figure, which one might have supposed to be riveted to the flagstones, appeared to possess neither movement, nor thought, nor breath. Lying, in January, in that thin, linen sack, lying on a granite floor, without fire, in the gloom of a cell whose oblique air-hole allowed only the cold breeze, but never the sun, to enter from without, she did not appear to suffer or even to think. One would have said that she had turned to stone with the cell, ice with the season. Her hands were clasped, her eyes fixed. At first sight one took her for a spectre; at the second, for a statue.

Nevertheless, at intervals, her blue lips half opened to admit a breath, and trembled, but as dead and as mechanical as the leaves which the wind sweeps aside.

Nevertheless, from her dull eyes there escaped a look, an ineffable look, a profound, lugubrious, imperturbable look, incessantly fixed upon a corner of the cell which could not be seen from without; a gaze which seemed to fix all the sombre thoughts of that soul in distress upon some mysterious object.

Such was the creature who had received, from her habitation, the name of the “recluse”; and, from her garment, the name of “the sacked nun.”

The three women, for Gervaise had rejoined Mahiette and Oudarde, gazed through the window. Their heads intercepted the feeble light in the cell, without the wretched being whom they thus deprived of it seeming to pay any attention to them. “Do not let us trouble her,” said Oudarde, in a low voice, “she is in her ecstasy; she is praying.”

Meanwhile, Mahiette was gazing with ever-increasing anxiety at that wan, withered, dishevelled head, and her eyes filled with tears. “This is very singular,” she murmured.

She thrust her head through the bars, and succeeded in casting a glance at the corner where the gaze of the unhappy woman was immovably riveted.

When she withdrew her head from the window, her countenance was inundated with tears.

“What do you call that woman?” she asked Oudarde.

Oudarde replied⁠—

“We call her Sister Gudule.”

“And I,” returned Mahiette, “call her Paquette la Chantefleurie.”

Then, laying her finger on her lips, she motioned to the astounded Oudarde to thrust her head through the window and look.

Oudarde looked and beheld, in the corner where the eyes of the recluse were fixed in that sombre ecstasy, a tiny shoe of pink satin, embroidered with a thousand fanciful designs in gold and silver.

Gervaise looked after Oudarde, and then the three women, gazing upon the unhappy mother, began to weep.

But neither their looks nor their tears disturbed the recluse. Her hands remained clasped; her lips mute; her eyes fixed; and that little shoe, thus gazed at, broke the heart of any one who knew her history.

The three women had not yet uttered a single word; they dared not speak, even in a low voice. This deep silence, this deep grief, this profound oblivion in which everything had disappeared except one thing, produced upon them the effect of the grand altar at Christmas or Easter. They remained silent, they meditated, they were ready to kneel. It seemed to them that they were ready to enter a church on the day of Tenebrae.

At length Gervaise, the most curious of the three, and consequently the least sensitive, tried to make the recluse speak:

“Sister! Sister Gudule!”

She repeated this call three times, raising her voice each time. The recluse did not move; not a word, not a glance, not a sigh, not a sign of life.

Oudarde, in her turn, in a sweeter, more caressing voice⁠—“Sister!” said she, “Sister Sainte-Gudule!”

The same silence; the same immobility.

“A singular woman!” exclaimed Gervaise, “and one not to be moved by a catapult!”

“Perchance she is deaf,” said Oudarde.

“Perhaps she is blind,” added Gervaise.

“Dead, perchance,” returned Mahiette.

It is certain that if the soul had not already quitted this inert, sluggish, lethargic body, it had at least retreated and concealed itself in depths whither the perceptions of the exterior