Les Misérables, стр. 488

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 flagstones, 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 anyone picture to himself such a death? If being swallowed by the earth is terrible on the seashore, what is it in a cesspool? 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 passersby, 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