The Wandering Jew, Complete by Eugene Sue
The Wandering Jew, Complete by Eugene Sue
The month of October, 1831, draws to its close.
T hough it is still day, a brass lamp, with four burners, illumines the cracked walls of a large loft, whose solitary window is closed against outer light. A ladder, with its top rungs coming up through an open trap leads to it.
Here and there at random on the floor lie iron chains, spiked collars, saw-toothed snaffles, muzzles bristling with nails, and long iron rods set in wooden handles. In one corner stands a portable furnace, such as tinkers use to melt their spelter; charcoal and dry chips fill it, so that a spark would suffice to kindle this furnace in a minute.
Not far from this collection of ugly instruments, putting one in mind of a torturer's kit of tools, there are some articles of defence and offence of a bygone age. A coat of mail, with links so flexible, close, and light, that it resembles steel tissue, hangs from a box beside iron cuishes and arm-pieces, in good condition, even to being properly fitted with straps. A mace, and two long three-cornered-headed pikes, with ash handles, strong, and light at the same time; spotted with lately-shed blood, complete the armory, modernized somewhat by the presence of two Tyrolese rifles, loaded and primed.
Along with this arsenal of murderous weapons and out-of-date instruments, is strangely mingled a collection of very different objects, being small glass-lidded boxes, full of rosaries, chaplets, medals, AGNUS DEI, holy water bottles, framed pictures of saints, etc., not to forget a goodly number of those chapbooks, struck off in Friburg on coarse bluish paper, in which you can hear about miracles of our own time, or "Jesus Christ's Letter to a true believer," containing awful predictions, as for the years 1831 and '32, about impious revolutionary France.
One of those canvas daubs, with which strolling showmen adorn their booths, hangs from a rafter, no doubt to prevent its being spoilt by too long rolling up. It bore the following legend:
"THE DOWNRIGHT TRUE AND MOST MEMORABLE CONVERSION OF IGNATIUS MOROK,
KNOWN AS THE PROPHET, HAPPENING IN FRIBURG, 1828TH YEAR OF GRACE."
This picture, of a size larger than natural, of gaudy color, and in bad taste, is divided into three parts, each presenting an important phase in the life of the convert, surnamed "The Prophet." In the first, behold a long-bearded man, the hair almost white, with uncouth face, and clad in reindeer skin, like the Siberian savage. His black foreskin cap is topped with a raven's head; his features express terror. Bent forward in his sledge, which half-a-dozen huge tawny dogs draw over the snow, he is fleeing from the pursuit of a pack of foxes, wolves, and big bears, whose gaping jaws, and formidable teeth, seem quite capable of devouring man, sledge, and dogs, a hundred times over. Beneath this section, reads:
"IN 1810, MOROK, THE IDOLATER, FLED FROM WILD BEASTS."
In the second picture, Morok, decently clad in a catechumen's white gown kneels, with clasped hands, to a man who wears a white neckcloth, and flowing black robe. In a corner, a tall angel, of repulsive aspect, holds a trumpet in one hand, and flourishes a flaming sword with the other, while the words which follow flow out of his mouth, in red letters on a black ground:
"MOROK, THE IDOLATER, FLED FROM WILD BEASTS; BUT WILD BEASTS WILL FLEE
FROM IGNATIUS MOROK, CONVERTED AND BAPTIZED IN FRIBURG."
Thus, in the last compartment, the new convert proudly, boastfully, and triumphantly parades himself in a flowing robe of blue; head up, left arm akimbo, right hand outstretched, he seems to scare the wits out of a multitude of lions, tigers, hyenas, and bears, who, with sheathed claws, and masked teeth, crouch at his feet, awestricken, and submissive.
Under this, is the concluding moral:
"IGNATIUS MOROK BEING CONVERTED, WILD BEASTS CROUCH BEFORE HIM."
Not far from this canvas are several parcels of halfpenny books, likewise from the Friburg press, which relate by what an astounding miracle Morok, the Idolater, acquired a supernatural power almost divine, the moment he was converted-a power which the wildest animal could not resist, and which was testified to every day by the lion tamer's performances, "given less to display his courage than to show his praise unto the Lord."
Through the trap-door which opens into the loft, reek up puffs of a rank, sour, penetrating odor. From time to time are heard sonorous growls and deep breathings, followed by a dull sound, as of great bodies stretching themselves heavily along the floor.
A man is alone in this loft. It is Morok, the tamer of wild beasts, surnamed the Prophet.
He is forty years old, of middle height, with lank limbs, and an exceedingly spare frame; he is wrapped in a long, blood-red pelisse, lined with black fur; his complexion, fair by nature is bronzed by the wandering life he has led from childhood; his hair, of that dead yellow peculiar to certain races of the Polar countries, falls straight and stiff down his shoulders; and his thin, sharp, hooked nose, and prominent cheek-bones, surmount a long beard, bleached almost to whiteness. Peculiarly marking the physiognomy of this man is the wide open eye, with its tawny pupil ever encircled by a rim of white. This fixed, extraordinary look, exercises a real fascination over animals-which, however, does not prevent the Prophet from also employing, to tame them, the terrible arsenal around him.
Seated at a table, he has just opened the false bottom of a box, filled with chaplets and other toys, for the use of the devout. Beneath this false bottom, secured by a secret lock, are several sealed envelopes, with no other address than a number, combined with a letter of the alphabet. The Prophet takes one of these packets, conceals it in the pocket of his pelisse, and, closing the secret fastening of the false bottom, replaces the box upon a shelf.
This scene occurs about four o'clock in the afternoon, in the White Falcon, the only hostelry in the little village of Mockern, situated near Leipsic, as you come from the north towards France.
After a few moments, the loft is shaken by a hoarse roaring from below.
"Judas! be quiet!" exclaims the Prophet, in a menacing tone, as he turns his head towards the trap door.
Another deep growl is heard, formidable as distant thunder.
"Lie down, Cain!" cries Morok, starting from his seat.
A third roar, of inexpressible ferocity, bursts suddenly on the ear.
"Death! Will you have done," cries the Prophet, rushing towards the trap door, and addressing a third invisible animal, which bears this ghastly name.
Notwithstanding the habitual authority of his voice-notwithstanding his reiterated threats-the brute-tamer cannot obtain silence: on the contrary, the barking of several dogs is soon added to the roaring of the wild beasts. Morok seizes a pike, and approaches the ladder; he is about to descend, when he sees some one issuing from the aperture.
The new-comer has a brown, sun-burnt face; he wears a gray hat, bell crowned and broad-brimmed, with a short jacket, and wide trousers of green cloth; his dusty leathern gaiters show that he has walked some distance; a game-bag is fastened by straps to his back.
"The devil take the brutes!" cried he, as he set foot on the floor; "one would think they'd forgotten me in three days. Judas thrust his paw through the bars of his cage, and Death danced like a fury. They don't know me any more, it seems?"
This was said in German. Morok answered in the same language, but with a slightly foreign accent.
"Good or bad news, Karl?" he inquired, with some uneasiness.
"Good news."
"You've met them!"
"Yesterday; two leagues from Wittenberg."
"Heaven be praised!" cried Morok, clasping his hands with intense satisfaction.
"Oh, of course, 'tis the direct road from Russia to France, 'twas a thousand to one that we should find them somewhere between Wittenberg and Leipsic."
"And the description?"
"Very close: two young girls in mourning; horse, white; the old man has long moustache, blue forage-cap; gray topcoat and a Siberian dog at his heels."
"And where did you leave them?"
"A league hence. They will be here within the hour."
"And in this inn-since it is the only one in the village," said Morok, with a pensive air.
"And night drawing on," added Karl.
"Did you get the old man to talk?"
"Him!-you don't suppose it!"
"Why not?"
"Go, and try yourself."
"And for what reason?"
"Impossible."
"Impossible-why?"
"You shall know all about it. Yesterday, as if I had fallen in with them by chance, I followed them to the place where they stopped for the night. I spoke in German to the tall old man, accosting him, as is usual with wayfarers, 'Good-day, and a pleasant journey, comrade!' But, for an answer, he looked askant at me, and pointed with, the end of his stick to the other side of the road."
"He is a Frenchman, and, perhaps, does not understand German."
"He speaks it, at least as well as you; for at the inn I heard him ask the host for whatever he and the young girls wanted."
"And did you not again attempt to engage him in conversation?"
"Once only; but I met with such a rough reception, that for fear of making mischief, I did not try again. Besides, between ourselves, I can tell you this man has a devilish ugly look; believe me, in spite of his gray moustache, he looks so vigorous and resolute, though with no more flesh on him than a carcass, that I don't know whether he or my mate Giant Goliath, would have the best of it in a struggle. I know not your plans: only take care, master-take care!"
"My black panther of Java was also very vigorous and very vicious," said Morok, with a grim, disdainful, smile.
"What, Death? Yes; in truth; and she is vigorous and vicious as ever. Only to you she is almost mild."
"And thus I will break this tall old man; notwithstanding his strength and surliness."
"Humph! humph! be on your guard, master. You are clever, you are as brave as any one; but, believe me, you will never make a lamb out of the old wolf that will be here presently."
"Does not my lion, Cain-does not my tiger, Judas, crouch in terror before me?"
"Yes, I believe you there-because you have means-"
"Because I have faith: that is all-and it is all," said Morok, imperiously interrupting Karl, and accompanying these words with such a look, that the other hung his head and was silent.
"Why should not he whom the Lord upholds in his struggle with wild beasts, be also upheld in his struggle with men, when those men are perverse and impious?" added the Prophet, with a triumphant, inspired air.
Whether from belief in his master's conviction, or from inability to engage in a controversy with him on so delicate a subject, Karl answered the Prophet, humbly: "you are wiser than I am, master; what you do must be well done."
"Did you follow this old man and these two young girls all day long?" resumed the Prophet, after a moment's silence.
"Yes; but at a distance. As I know the country well, I sometimes cut across a valley, sometimes over a hill, keeping my eye upon the road, where they were always to be seen. The last time I saw them, I was hid behind the water-mill by the potteries. As they were on the highway for this place, and night was drawing on, I quickened my pace to get here before them, and be the bearer of what you call good news."
"Very good-yes-very good: and you shall be rewarded; for if these people had escaped me-"
The Prophet started, and did not conclude the sentence. The expression of his face, and the tones of his voice, indicated the importance of the intelligence which had just been brought him.
"In truth," rejoined Karl, "it may be worth attending to; for that Russian courier, all plastered with lace, who came, without slacking bridle, from St. Petersburg to Leipsic, only to see you, rode so fast, perhaps, for the purpose-"
Morok abruptly interrupted Karl, and said:
"Who told you that the arrival of the courier had anything to do with these travellers? You are mistaken; you should only know what I choose to tell you."
"Well, master, forgive me, and let's say no more about it. So! I will get rid of my game-bag, and go help Goliath to feed the brutes, for their supper time draws near, if it is not already past. Does our big giant grow lazy, master?"
"Goliath is gone out; he must not know that you are returned; above all, the tall old man and the maidens must not see you here-it would make them suspect something."
"Where do you wish me to go, then?"
"Into the loft, at the end of the stable, and wait my orders; you may this night have to set out for Leipsic."
"As you please; I have some provisions left in my pouch, and can sup in the loft whilst I rest myself."
"Go."
"Master, remember what I told you. Beware of that old fellow with the gray moustache; I think he's devilish tough; I'm up to these things-he's an ugly customer-be on your guard!"
"Be quite easy! I am always on my guard," said Morok.
"Then good luck to you, master!"-and Karl, having reached the ladder, suddenly disappeared.
After making a friendly farewell gesture to his servant, the Prophet walked up and down for some time, with an air of deep meditation; then, approaching the box which contained the papers, he took out a pretty long letter, and read it over and over with profound attention. From time to time he rose and went to the closed window, which looked upon the inner court of the inn, and appealed to listen anxiously; for he waited with impatience the arrival of the three persons whose approach had just been announced to him.
According to Wikipedia: "Joseph Marie Eugène Sue (20 January 1804 – 3 August 1857) was a French novelist... His naval experiences supplied much of the materials of his first novels, Kernock le pirate (1830), Atar-Gull (1831), La Salamandre (2 vols., 1832), La Coucaratcha (4 vols., 1832-1834), and others, which were composed at the height of the Romantic movement of 1830. In the quasi-historical style he wrote Jean Cavalier, ou Les Fanatiques des Cevennes (4 vols., 1840) and Lautréaumont (2 vols., 1837). He was strongly affected by the Socialist ideas of the day, and these prompted his most famous works: Les Mystères de Paris (10 vols., 1842-1843) and Le Juif errant (tr. "The Wandering Jew") (10 vols., 1844-1845), which were among the most popular specimens of the roman-feuilleton. He followed these up with some singular and not very edifying books: Les Sept pêchés capitaux (16 vols., 1847-1849), which contained stories to illustrate each of the Seven Deadly Sins, Les Mystères du peuple (1849-1856), which was suppressed by the censor in 1857, and several others, all on a very large scale, though the number of volumes gives an exaggerated idea of their length. Some of his books, among them Le Juif Errant and the Mystères de Paris, were dramatized by himself, usually in collaboration with others. His period of greatest success and popularity coincided with that of Alexandre Dumas, père, with whom he has been compared. Sue has neither Dumas's wide range of subject, nor, above all, his faculty of conducting the story by means of lively dialogue; he has, however, a command of terror which Dumas seldom or never attained... Seven years after the publication of Sue's Les Mystères du peuple, a French revolutionary named Maurice Joly plagiarized aspects of the work for his anti-Napoleon III pamphlet, Dialogues in Hell between Machiavelli and Montesquieu, which in turn was later adapted by the Prussian Hermann Goedsche into an 1868 work entitled Biarritz, in which Goedsche substituted Jews for Sue's infernal Jesuit conspirators. Ultimately, this material became incorporated directly into the notorious anti-Semitic hoax, The Protocols of the Elders of Zion."
After the divorce, she became the dream woman everyone longed for. James Ferguson saved Zelda Liamson and always did whatever she asked, making sure she had everything she could ever want. Zelda thought it was true love. After five years of marriage, she realized she was nothing more than his favourite pet, while he was her whole world. Then, the woman James truly loved came back, and Zelda demanded a divorce. James mocked her, saying, " You can't survive without me. What will you do without the Ferguson's name? " But Zelda did run away and never looked back, receiving marriage proposals every day. James lost his mind and returned, begging Zelda, "Please, come back to me. Give me another chance." His eyes were full of love and desperation.
For five years, I believed I was living in a perfect marriage, only to discover it was all a sham! I discovered that my husband was coveting my bone marrow for his mistress! Right in front of me, he sent her flirtatious messages. To make matters worse, he even brought her into the company to steal my work! I finally understood, he never loved me. I stopped pretending, collected evidence of his infidelity, and reclaimed the research he had stolen from me. I signed the divorce papers and left without looking back. He thought I was just throwing a tantrum and would eventually return. But when we met again, I was holding the hand of a globally renowned tycoon, draped in a wedding dress and grinning with confidence. My ex-husband's eyes were red with regret. "Come back to me!" But my new groom wrapped his arm around my waist, and chuckled dismissively, "Get the hell out of here! She's mine now."
"Let's get married," Mia declares, her voice trembling despite her defiant gaze into Stefan's guarded brown eyes. She needs this, even if he seems untouchable. Stefan raises a skeptical brow. "And why would I do that?" His voice was low, like a warning, and it made her shiver even though she tried not to show it. "We both have one thing in common," Mia continues, her gaze unwavering. "Shitty fathers. They want to take what's ours and give it to who they think deserves it." A pointed pause hangs in the air. "The only difference between us is that you're an illegitimate child, and I'm not." Stefan studies her, the heiress in her designer armor, the fire in her eyes that matches the burn of his own rage. "That's your solution? A wedding band as a weapon?" He said ignoring the part where she just referred to him as an illegitimate child. "The only weapon they won't see coming." She steps closer, close enough for him to catch the scent of her perfume, gunpowder and jasmine. "Our fathers stole our birthrights. The sole reason they betrayed us. We join forces, create our own empire that'll bring down theirs." A beat of silence. Then, Stefan's mouth curves into something sharp. "One condition," he murmurs, closing the distance. "No divorces. No surrenders. If we're doing this, it's for life" "Deal" Mia said without missing a beat. Her father wants to destroy her life. She wouldn't give him the pleasure, she would destroy her life as she seems fit. ................ Two shattered heirs. One deadly vow. A marriage built on revenge. Mia Meyers was born to rule her father's empire (so she thought), until he named his bastard son heir instead. Stefan Sterling knows the sting of betrayal too. His father discarded him like trash. Now the rivals' disgraced children have a poisonous proposal: Marry for vengeance. Crush their fathers' legacies. Never speak of divorce. Whoever cracks first loses everything. Can these two rivals, united by their vengeful hearts, pull off a marriage of convenience to reclaim what they believe is rightfully theirs? Or will their fathers' animosity, and their own complicated pasts tear their fragile alliance apart?
Vivian clutched her Hermès bag, her doctor's words echoing: "Extremely high-risk pregnancy." She hoped the baby would save her cold marriage, but Julian wasn't in London as his schedule claimed. Instead, a paparazzi photo revealed his early return-with a blonde woman, not his wife, at the private airport exit. The next morning, Julian served divorce papers, callously ending their "duty" marriage for his ex, Serena. A horrifying contract clause gave him the right to terminate her pregnancy or seize their child. Humiliated, demoted, and forced to fake an ulcer, Vivian watched him parade his affair, openly discarding her while celebrating Serena. This was a calculated erasure, not heartbreak. He cared only for his image, confirming he would "handle" the baby himself. A primal rage ignited her. "Just us," she whispered to her stomach, vowing to sign the divorce on her terms, keep her secret safe, and walk away from Sterling Corp for good, ready to protect her child alone.
I died on a Tuesday. It wasn't a quick death. It was slow, cold, and meticulously planned by the man who called himself my father. I was twenty years old. He needed my kidney to save my sister. The spare part for the golden child. I remember the blinding lights of the operating theater, the sterile smell of betrayal, and the phantom pain of a surgeon's scalpel carving into my flesh while my screams echoed unheard. I remember looking through the observation glass and seeing him-my father, Giovanni Vitiello, the Don of the Chicago Outfit-watching me die with the same detached expression he used when signing a death warrant. He chose her. He always chose her. And then, I woke up. Not in heaven. Not in hell. But in my own bed, a year before my scheduled execution. My body was whole, unscarred. The timeline had reset, a glitch in the cruel matrix of my existence, giving me a second chance I never asked for. This time, when my father handed me a one-way ticket to London-an exile disguised as a severance package-I didn't cry. I didn't beg. My heart, once a bleeding wound, was now a block of ice. He didn't know he was talking to a ghost. He didn't know I had already lived through his ultimate betrayal. He also didn't know that six months ago, during the city's brutal territory wars, I was the one who saved his most valuable asset. In a secret safe house, I stitched up the wounds of a blinded soldier, a man whose life hung by a thread. He never saw my face. He only knew my voice, the scent of vanilla, and the steady touch of my hands. He called me Sette. Seven. For the seven stitches I put in his shoulder. That man was Dante Moretti. The Ruthless Capo. The man my sister, Isabella, is now set to marry. She stole my story. She claimed my actions, my voice, my scent. And Dante, the man who could spot a lie from a mile away, believed the beautiful deception because he wanted it to be true. He wanted the golden girl to be his savior, not the invisible sister who was only ever good for her spare parts. So I took the ticket. In my past life, I fought them, and they silenced me on an operating table. This time, I will let them have their perfect, gilded lie. I will go to London. I will disappear. I will let Seraphina Vitiello die on that plane. But I will not be a victim. This time, I will not be the lamb led to slaughter. This time, from the shadows of my exile, I will be the one holding the match. And I will wait, with the patience of the dead, to watch their entire world burn. Because a ghost has nothing to lose, and a queen of ashes has an empire to gain.
Everyone whispered about how Alexander's aunt had forced him into marrying Freya. When the old woman passed and his former love drifted back into town, people watched closely and expected Freya to be brushed aside. Freya shrugged. "Truth be told, I am eager for that day to come." They mocked her for it. Yet everything flipped when Alexander posted something that spread like wildfire. "For everyone asking, I am not ending this marriage. Not now, not ever." Freya stared at the screen, puzzled. What was he trying to pull now?
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