Complete Works

master; but he knows, too, that only in the continuity of effort there is a refuge from despair for minds less clear-seeing and philosophic than his own.  Therefore he wishes us to believe and to hope, preserving in our activity the consoling illusion of power and intelligent purpose.  He is a good and politic prince.
    “The majesty of justice is contained entire in each sentence pronounced by the judge in the name of the sovereign people.  Jérome Crainquebille, hawker of vegetables, became aware of the august aspect of the law as he stood indicted before the tribunal of the higher Police Court on a charge of insulting a constable of the force.”  With this exposition begins the first tale of M. Anatole France’s latest volume.
    The bust of the Republic and the image of the Crucified Christ appear side by side above the bench occupied by the President Bourriche and his two Assessors; all the laws divine and human are suspended over the head of Crainquebille.
    From the first visual impression of the accused and of the court the author passes by a characteristic and natural turn to the historical and moral significance of those two emblems of State and Religion whose accord is only possible to the confused reasoning of an average man.  But the reasoning of M. Anatole France is never confused.  His reasoning is clear and informed by a profound erudition.  Such is not the case of Crainquebille, a street hawker, charged with insulting the constituted power of society in the person of a policeman.  The charge is not true, nothing was further from his thoughts; but, amazed by the novelty of his position, he does not reflect that the Cross on the wall perpetuates the memory of a sentence which for nineteen hundred years all the Christian peoples have looked upon as a grave miscarriage of justice.  He might well have challenged the President to pronounce any sort of sentence, if it were merely to forty-eight hours of simple imprisonment, in the name of the Crucified Redeemer.
    He might have done so.  But Crainquebille, who has lived pushing every day for half a century his hand-barrow loaded with vegetables through the streets of Paris, has not a philosophic mind.  Truth to say he has nothing.  He is one of the disinherited.  Properly speaking, he has no existence at all, or, to be strictly truthful, he had no existence till M. Anatole France’s philosophic mind and human sympathy have called him up from his nothingness for our pleasure, and, as the title-page of the book has it, no doubt for our profit also.
    Therefore we behold him in the dock, a stranger to all historical, political or social considerations which can be brought to bear upon his case.  He remains lost in astonishment.  Penetrated with respect, overwhelmed with awe, he is ready to trust the judge upon the question of his transgression.  In his conscience he does not think himself culpable; but M. Anatole France’s philosophical mind discovers for us that he feels all the insignificance of such a thing as the conscience of a mere street-hawker in the face of the symbols of the law and before the ministers of social repression.  Crainquebille is innocent; but already the young advocate, his defender, has half persuaded him of his guilt.
    On this phrase practically ends the introductory chapter of the story which, as the author’s dedication states, has inspired an admirable draughtsman and a skilful dramatist, each in his art, to a vision of tragic grandeur.  And this opening chapter without a name — consisting of two and a half pages, some four hundred words at most — is a masterpiece of insight and simplicity, resumed in M. Anatole France’s distinction of thought and in his princely command of words.
    It is followed by six more short chapters, concise and full, delicate and complete like the petals of a flower, presenting to us the Adventure of Crainquebille — Crainquebille before the justice — An Apology for the President of the Tribunal — Of the Submission of Crainquebille to the Laws of the Republic — Of his Attitude before the Public Opinion, and so on to the chapter of the Last Consequences.  We see, created for us in his outward form and innermost perplexity, the old man degraded from his high estate of a law-abiding street-hawker and driven to insult, really this time, the majesty of the social order in the person of another police-constable.  It is not an act of revolt, and still less of revenge.