‘I blame the Queen.’
‘Shh.’
‘And this led to some protest, and then there was discussion of the edicts that the King wants them to register. As they were approaching the vote, the Keeper of the Seals went up to the King and spoke to him privately, and the King just cut the discussion short, and said the edicts were to be registered. Just ordered it to be done.’
‘But how can he –’
‘Shh.’
Camille looked around at his audience. He was aware that a singular event had occurred once again: his stutter had vanished. ‘Then Orléans got up, and everyone turned around and stared, and he was absolutely white, de Viefville said. And the Duke said, “You can’t do that. It’s illegal.” Then the King became flustered, and he shouted out “It is legal, because I wish it.”’
Camille stopped. There was an immediate buzz – of protest, of simulated horror, of speculation. At once he felt that hideous urge to destroy his own case; he was enough of a lawyer, perhaps, or perhaps, he wondered, am I just too honest? ‘Listen, everyone, please – this is what de Viefville says the King said. But I’m not sure if one can believe it – isn’t it too pat? I mean, if people wanted to engineer a constitutional crisis, isn’t that just what they’d hope for him to say? Actually, perhaps – because he’s not a bad man, is he, the King … I think he probably didn’t say that at all, he probably made some feeble joke.’
D’Anton noted this: that Camille did not stutter, and that he talked to every person in the crowded room as if he were speaking only to them. But someone said, ‘Well, get on, then!’
‘The edicts were registered. The King left. As soon as he was outside the door, the edicts were annulled and struck off the books. Two members of the Parlement are arrested on lettres de cachet. The Duke of Orléans is exiled to his estates at Villers-Cotterêts. Oh – and I am invited to dine with my esteemed cousin de Viefville.’
AUTUMN PASSED. It’s like, Annette said, if the roof fell in, you would scrabble in the debris for what valuables were left; you wouldn’t sit down among the falling masonry saying ‘why, oh why?’ The prospect of Camille, of what he was going to do to herself and her daughter, seemed too ghastly to resist. She accepted it as people become reconciled to the long course of a terminal illness; at times, she desired death.
NOTHING CHANGES. Nothing new. The same old dreary crisis atmosphere. The feeling that it can’t get much worse without something giving way. But nothing does. Ruin, collapse, the sinking ship of state: the point of no return, the shifting balance, the crumbling edifice and the sands of time. Only the cliché flourishes.
In Arras, Maximilien de Robespierre faces the New Year truculent and disheartened. He is at war with the local judiciary. He has no money. He has given up the literary society, because poetry is becoming an irrelevance. He is trying to restrict his social life, because he finds it difficult now to be even normally courteous to the self-satisfied, the place-seekers, the mealy-mouthed – and that is a fair description of polite society in Arras. More and more, casual conversations turn to the questions of the day, and he stifles his wish to smile and let things pass; that conciliatory streak, he is fighting hard to eradicate that. So every workaday disagreement becomes an affront, every point conceded in court becomes a defeat. There are laws against duelling, but not against duelling in the head. You can’t, he tells his brother Augustin, separate political views from the people who hold them; if you do, it shows you don’t take politics seriously.
Somehow his thoughts ought to show on his face – but he finds himself still on the guest lists, still in demand for country drives and evenings at the theatre. They will not see that he has not enough unction left to oil the wheels of social intercourse. The pressure of their expectations forces from him again and again a little tact, the soft answer; it’s so easy to behave, after all, like the nice boy you always were.
Aunt Henriette, Aunt Eulalie edge around with that stifling tact of their own, their desire always to do the very very best for you. Aunt Eulalie’s stepdaughter, Anaïs: so pretty, so fond of you: so why not? And why not make it soon? Because, he said with desperation, next year they might call the Estates, and who knows, who knows, I might be going away.
BY CHRISTMAS the Charpentiers were well settled in their new house at Fontenay-sous-Bois. They miss the café, but not the city mud, the noise, the rude people in the shops. The country air, they say, makes them feel ten years younger. Gabrielle and Georges-Jacques come out on Sundays. You can see they’re happy; it’s so gratifying. The baby will have enough shawls for seven infants and more attention than a dauphin. Georges-Jacques looks harassed, pale after the long winter. What he needs is a month at home in Arcis, but he can’t take the time off. He now has complete charge of the Board of Excise’s legal work, but he says he needs another source of income. He would like to buy some land, but he says he hasn’t the capital. He says there is a limit to what one man can do, but no doubt he is worrying needlessly. We are all very proud of Georges.
AT THE TREASURY, Claude Duplessis comports himself as cheerfully as he can, given the circumstances. Last year, during a period of five months, France had three Comptrollers in succession, all of them asking the same silly questions and requiring to be fed streams of useless information. He has to think quite hard when he wakes in the morning to recall who he works for. Soon no doubt M. Necker will be invited back, to treat us to more of his glib nostrums about public confidence. If the public at large want to think of Necker as some sort of Messiah, who are we, mere clerks, mere civil servants after all … No one at the Treasury thinks the situation can be retrieved.
Claude confides to a colleague that his lovely daughter wants to marry a little provincial lawyer who has a stutter and who hardly ever appears in court, and who seems in addition to have a bad moral character. He wonders why his colleague smirks so.
The deficit is one hundred and sixty million livres.
CAMILLE DESMOULINS was living in the rue Sainte-Anne, with a girl whose mother painted portraits. ‘Do go and see your family,’ she told him. ‘Just for the New Year.’ She looked at him appraisingly; she was thinking of going into her mother’s line of work. Camille’s not easy to put on paper; it’s easier to draw the men the taste of the age admires, florid fleshy men with their conscious poise and newly barbered heads. Camille moves too quickly for even a lightning sketch; she knows he is moving on, out of their lives, and she wants if she can to make things right for him before he goes.
So now the diligence, not worth the name, rumbled towards Guise over roads rutted and flooded by January rains. As he approached his home, Camille thought of his sister Henriette, of her long dying. Whole days, whole weeks had gone by when they had not seen Henriette, only his mother’s whey-face, and the doctor coming and going. He had gone off to school, to Cateau-Cambrésis, and sometimes he had woken in the night and thought, why isn’t she coughing? When he returned home he was taken into her room and allowed to sit for five minutes by the bed. She had transparent places under her eyes, where the skin shone blue; her bony shoulders were pushed forwards by the pillows. She had died the year he went to school in Paris, on a day when the rain fell steadily and coursed in brown channels through the streets of the town.
His father had given the priest and the doctor a glass of brandy – as if they were not habituated to death, as if they needed bracing. Himself, he sat in a corner inconspicuously, and awkwardly very awkwardly the men revolved the conversation around to him: Camille, how will you like going to Louis-le-Grand? I have made up my mind to like it, he said. Won’t you miss your mother and father? You must remember, he said, that they sent me to school three years ago when I was seven, so I will not miss them at all, and they