IN THE CASE OF SAND AS IN THAT OF WOMAN, THERE IS A FINENESS WHICH
He felt that he was entering the water, and that he no longer
had a pavement under his feet, but only mud.
It sometimes happens, that on certain shores of Bretagne or Scotland
a man, either a traveller or a fisherman, while walking at low
tide on the beach far from shore, suddenly notices that for
several minutes past, he has been walking with some difficulty.
The beach under foot is like pitch; his soles stick fast to it;
it is no longer sand, it is bird-lime. The strand is perfectly dry,
but at every step that he takes, as soon as the foot is raised,
the print is filled with water. The eye, however, has perceived
no change; the immense beach is smooth and tranquil, all the sand
has the same aspect, nothing distinguishes the soil that is solid
from that which is not solid; the joyous little cloud of sand-lice
continues to leap tumultuously under the feet of the passer-by.
The man pursues his way, he walks on, turns towards the land,
endeavors to approach the shore. He is not uneasy. Uneasy about what?
Only he is conscious that the heaviness of his feet seems to be
increasing at every step that he takes. All at once he sinks in.
He sinks in two or three inches. Decidedly, he is not on the right road;
he halts to get his bearings. Suddenly he glances at his feet;
his feet have disappeared. The sand has covered them. He draws his
feet out of the sand, he tries to retrace his steps, he turns back,
he sinks in more deeply than before. The sand is up to his ankles,
he tears himself free from it and flings himself to the left,
the sand reaches to mid-leg, he flings himself to the right,
the sand comes up to his knees. Then, with indescribable terror,
he recognizes the fact that he is caught in a quicksand, and that he
has beneath him that frightful medium in which neither man can walk
nor fish can swim. He flings away his burden, if he have one,
he lightens himself, like a ship in distress; it is too late,
the sand is above his knees.
He shouts, he waves his hat, or his handkerchief, the sand
continually gains on him; if the beach is deserted, if the land is
too far away, if the bank of sand is too ill-famed, there is no hero
in the neighborhood, all is over, he is condemned to be engulfed.
He is condemned to that terrible interment, long, infallible, implacable,
which it is impossible to either retard or hasten, which lasts
for hours, which will not come to an end, which seizes you erect,
free, in the flush of health, which drags you down by the feet, which,
at every effort that you attempt, at every shout that you utter,
draws you a little lower, which has the air of punishing you for your
resistance by a redoubled grasp, which forces a man to return slowly
to earth, while leaving him time to survey the horizon, the trees,
the verdant country, the smoke of the villages on the plain,
the sails of the ships on the sea, the birds which fly and sing,
the sun and the sky. This engulfment is the sepulchre which assumes
a tide, and which mounts from the depths of the earth towards
a living man. Each minute is an inexorable layer-out of the dead.
The wretched man tries to sit down, to lie down, to climb;
every movement that he makes buries him deeper; he straightens
himself up, he sinks; he feels that he is being swallowed up;
he shrieks, implores, cries to the clouds, wrings his hands,
grows desperate. Behold him in the sand up to his belly, the sand
reaches to his breast, he is only a bust now. He uplifts his hands,
utters furious groans, clenches his nails on the beach, tries to
cling fast to that ashes, supports himself on his elbows in order
to raise himself from that soft sheath, and sobs frantically;
the sand mounts higher. The sand has reached his shoulders, the sand
reaches to his throat; only his face is visible now. His mouth
cries aloud, the sand fills it; silence. His eyes still gaze forth,
the sand closes them, night. Then his brow decreases, a little
hair quivers above the sand; a hand projects, pierces the surface
of the beach, waves and disappears. Sinister obliteration of a man.
Sometimes a rider is engulfed with his horse; sometimes the carter
is swallowed up with his cart; all founders in that strand.
It is shipwreck elsewhere than in the water. It is the earth drowning
a man. The earth, permeated with the ocean, becomes a pitfall.
It presents itself in the guise of a plain, and it yawns like a wave.
The abyss is subject to these treacheries.
This melancholy fate, always possible on certain sea beaches,
was also possible, thirty years ago, in the sewers of Paris.
Before the important works, undertaken in 1833, the subterranean
drain of Paris was subject to these sudden slides.
The water filtered into certain subjacent strata, which were
particularly friable; the foot-way, which was of flag-stones,
as in the ancient sewers, or of cement on concrete, as in the
new galleries, having no longer an underpinning, gave way.
A fold in a flooring of this sort means a crack, means crumbling.
The framework crumbled away for a certain length. This crevice,
the hiatus of a gulf of mire, was called a fontis, in the special tongue.
What is a fontis? It is the quicksands of the seashore suddenly
encountered under the surface of the earth; it is the beach of Mont
Saint-Michel in a sewer. The soaked soil is in a state of fusion,
as it were; all its molecules are in suspension in soft medium;
it is not earth and it is not water. The depth is sometimes
very great. Nothing can be more formidable than such an encounter.
If the water predominates, death is prompt, the man is swallowed up;
if earth predominates, death is slow.
Can any one picture to himself such a death? If being swallowed
by the earth is terrible on the seashore, what is it in a cess-pool?
Instead of the open air, the broad daylight, the clear horizon,
those vast sounds, those free clouds whence rains life, instead of
those barks descried in the distance, of that hope under all sorts
of forms, of probable passers-by, of succor possible up to the very
last moment,--instead of all this, deafness, blindness, a black vault,
the inside of a tomb already prepared, death in the mire beneath
a cover! slow suffocation by filth, a stone box where asphyxia
opens its claw in the mire and clutches you by the throat;
fetidness mingled with the death-rattle; slime instead of the strand,
sulfuretted hydrogen in place of the hurricane, dung in place
of the ocean! And to shout, to gnash one's teeth, and to writhe,
and to struggle, and to agonize, with that enormous city which
knows nothing of it all, over one's head!
Inexpressible is the horror of dying thus! Death sometimes redeems
his atrocity by a certain terrible dignity. On the funeral pile,
in shipwreck, one can be great; in the flames as in the foam, a superb
attitude is possible; one there becomes transfigured as one perishes.
But not here. Death is filthy. It is humiliating to expire.
The supreme floating visions are abject. Mud is synonymous with shame.
It is petty, ugly, infamous. To die in a butt of Malvoisie,
like Clarence, is permissible; in the ditch of a scavenger,
like Escoubleau, is horrible. To struggle therein is hideous;
at the same time that one is going through the death agony,
one is floundering about. There are shadows enough for hell,
and mire enough to render it nothing but a slough, and the dying
man knows not whether he is on the point of becoming a spectre or
Everywhere else the sepulchre is sinister; here it is deformed.
The depth of the fontis varied, as well as their length and their density,
according to the more or less bad quality of the sub-soil. Sometimes
a fontis was three or four feet deep, sometimes eight or ten;
sometimes the bottom was unfathomable. Here the mire was almost solid,
there almost liquid. In the Luniere fontis, it would have taken
a man a day to disappear, while he would have been devoured in five
minutes by the Philippeaux slough. The mire bears up more or less,
according to its density. A child can escape where a man will perish.
The first law of safety is to get rid of every sort of load.
Every sewerman who felt the ground giving way beneath him began
by flinging away his sack of tools, or his back-basket, or his hod.
The fontis were due to different causes: the friability of the soil;
some landslip at a depth beyond the reach of man; the violent
summer rains; the incessant flooding of winter; long, drizzling showers.
Sometimes the weight of the surrounding houses on a marly or sandy
soil forced out the vaults of the subterranean galleries and caused
them to bend aside, or it chanced that a flooring vault burst
and split under this crushing thrust. In this manner, the heaping
up of the Parthenon, obliterated, a century ago, a portion of the
vaults of Saint-Genevieve hill. When a sewer was broken in under
the pressure of the houses, the mischief was sometimes betrayed
in the street above by a sort of space, like the teeth of a saw,
between the paving-stones; this crevice was developed in an undulating
line throughout the entire length of the cracked vault, and then,
the evil being visible, the remedy could be promptly applied.
It also frequently happened, that the interior ravages were not
revealed by any external scar, and in that case, woe to the sewermen.
When they entered without precaution into the sewer, they were liable
to be lost. Ancient registers make mention of several scavengers
who were buried in fontis in this manner. They give many names;
among others, that of the sewerman who was swallowed up in a quagmire
under the man-hole of the Rue Careme-Prenant, a certain Blaise Poutrain;
this Blaise Poutrain was the brother of Nicholas Poutrain,
who was the last grave-digger of the cemetery called the Charnier
des Innocents, in 1785, the epoch when that cemetery expired.
There was also that young and charming Vicomte d'Escoubleau, of whom we
have just spoken, one of the heroes of the siege of Lerida, where they
delivered the assault in silk stockings, with violins at their head.
D'Escoubleau, surprised one night at his cousin's, the Duchess de
Sourdis', was drowned in a quagmire of the Beautreillis sewer,
in which he had taken refuge in order to escape from the Duke.
Madame de Sourdis, when informed of his death, demanded her
smelling-bottle, and forgot to weep, through sniffling at her salts.
In such cases, there is no love which holds fast; the sewer
extinguishes it. Hero refuses to wash the body of Leander.
Thisbe stops her nose in the presence of Pyramus and says: "Phew!"