The Yellow Room! Who now remembers this affair which caused so much ink to flow fifteen years ago? Events are so quickly forgotten in Paris. Has not the very name of the Nayves trial and the tragic6 history of the death of little Menaldo passed out of mind? And yet the public attention was so deeply interested in the details of the trial that the occurrence of a ministerial crisis was completely unnoticed at the time. Now The Yellow Room trial, which, preceded that of the Nayves by some years, made far more noise. The entire world hung for months over this obscure problem—the most obscure, it seems to me, that has ever challenged the perspicacity7 of our police or taxed the conscience of our judges. The solution of the problem baffled everybody who tried to find it. It was like a dramatic rebus8 with which old Europe and new America alike became fascinated. That is, in truth—I am permitted to say, because there cannot be any author’s vanity in all this, since I do nothing more than transcribe9 facts on which an exceptional documentation enables me to throw a new light—that is because, in truth, I do not know that, in the domain10 of reality or imagination, one can discover or recall to mind anything comparable, in its mystery, with the natural mystery of The Yellow Room.
That which nobody could find out, Joseph Rouletabille, aged11 eighteen, then a reporter engaged on a leading journal, succeeded in discovering. But when, at the Assize Court, he brought in the key to the whole case, he did not tell the whole truth. He only allowed so much of it to appear as sufficed to ensure the acquittal of an innocent man. The reasons which he had for his reticence12 no longer exist. Better still, the time has come for my friend to speak out fully13. You are going to know all; and, without further preamble14, I am going to place before your eyes the problem of The Yellow Room as it was placed before the eyes of the entire world on the day following the enactment15 of the drama at the Chateau16 du Glandier.
On the 25th of October, 1892, the following note appeared in the latest edition of the “Temps”:
“A frightful17 crime has been committed at the Glandier, on the border of the forest of Sainte-Genevieve, above Epinay-sur-Orge, at the house of Professor Stangerson. On that night, while the master was working in his laboratory, an attempt was made to assassinate18 Mademoiselle Stangerson, who was sleeping in a chamber19 adjoining this laboratory. The doctors do not answer for the life of Mdlle. Stangerson.”
The impression made on Paris by this news may be easily imagined. Already, at that time, the learned world was deeply interested in the labours of Professor Stangerson and his daughter. These labours—the first that were attempted in radiography—served to open the way for Monsieur and Madame Curie to the discovery of radium. It was expected the Professor would shortly read to the Academy of Sciences a sensational paper on his new theory,—the Dissociation of Matter,—a theory destined20 to overthrow21 from its base the whole of official science, which based itself on the principle of the Conservation of Energy. On the following day, the newspapers were full of the tragedy. The “Matin,” among others, published the following article, entitled: “A Supernatural Crime”:
“These are the only details,” wrote the anonymous22 writer in the “Matin”—“we have been able to obtain concerning the crime of the Chateau du Glandier. The state of despair in which Professor Stangerson is plunged23, and the impossibility of getting any information from the lips of the victim, have rendered our investigations24 and those of justice so difficult that, at present, we cannot form the least idea of what has passed in The Yellow Room in which Mdlle. Stangerson, in her night-dress, was found lying on the floor in the agonies of death. We have, at least, been able to interview Daddy Jacques—as he is called in the country—a old servant in the Stangerson family. Daddy Jacques entered The Room at the same time as the Professor. This chamber adjoins the laboratory. Laboratory and Yellow Room are in a pavilion at the end of the park, about three hundred metres (a thousand feet) from the chateau.
“‘It was half-past twelve at night,’ this honest old man told us, ‘and I was in the laboratory, where Monsieur Stangerson was still working, when the thing happened. I had been cleaning and putting instruments in order all the evening and was waiting for Monsieur Stangerson to go to bed. Mademoiselle Stangerson had worked with her father up to midnight; when the twelve strokes of midnight had sounded by the cuckoo-clock in the laboratory, she rose, kissed Monsieur Stangerson and bade him good-night. To me she said “bon soir, Daddy Jacques” as she passed into The Yellow Room. We heard her lock the door and shoot the bolt, so that I could not help laughing, and said to Monsieur: “There’s Mademoiselle double-locking herself in,—she must be afraid of the ‘Bete du bon Dieu!’” Monsieur did not even hear me, he was so deeply absorbed in what he was doing. Just then we heard the distant miawing of a cat. “Is that going to keep us awake all night?” I said to myself; for I must tell you, Monsieur, that, to the end of October, I live in an attic25 of the pavilion over The Yellow Room, so that Mademoiselle should not be left alone through the night in the lonely park. It was the fancy of Mademoiselle to spend the fine weather in the pavilion; no doubt, she found it more cheerful than the chateau and, for the four years it had been built, she had never failed to take up her lodging26 there in the spring. With the return of winter, Mademoiselle returns to the chateau, for there is no fireplace in The Yellow Room.
“‘We were staying in the pavilion, then—Monsieur Stangerson and me. We made no noise. He was seated at his desk. As for me, I was sitting on a chair, having finished my work and, looking at him, I said to myself: “What a man!—what intelligence!—what knowledge!” I attach importance to the fact that we made no noise; for, because of that, the assassin certainly thought that we had left the place. And, suddenly, while the cuckoo was sounding the half after midnight, a desperate clamour broke out in The Yellow Room. It was the voice of Mademoiselle, crying “Murder!—murder!—help!” Immediately afterwards revolver shots rang out and there was a great noise of tables and furniture being thrown to the ground, as if in the course of a struggle, and again the voice of Mademoiselle calling, “Murder!—help!—Papa!—Papa!—”
“‘You may be sure that we quickly sprang up and that Monsieur Stangerson and I threw ourselves upon the door. But alas27! it was locked, fast locked, on the inside, by the care of Mademoiselle, as I have told you, with key and bolt. We tried to force it open, but it remained firm. Monsieur Stangerson was like a madman, and truly, it was enough to make him one, for we heard Mademoiselle still calling “Help!—help!” Monsieur Stangerson showered terrible blows on the door, and wept with rage and sobbed28 with despair and helplessness.
“‘It was then that I had an inspiration. “The assassin must have entered by the window!” I cried;—“I will go to the window!” and I rushed from the pavilion and ran like one out of his mind.
“‘The inspiration was that the window of The Yellow Room looks out in such a way that the park wall, which abuts29 on the pavilion, prevented my at once reaching the window. To get up to it one has first to go out of the park. I ran towards the gate and, on my way, met Bernier and his wife, the gate-keepers, who had been attracted by the pistol reports and by our cries. In a few words I told them what had happened, and directed the concierge30 to join Monsieur Stangerson with all speed, while his wife came with me to open the park gate. Five minutes later she and I were before the window of The Yellow Room.
“‘The moon was shining brightly and I saw clearly that no one had touched the window. Not only were the bars that protect it intact, but the blinds inside of them were drawn31, as I had myself drawn them early in the evening, as I did every day, though Mademoiselle, knowing that I was tired from the heavy work I had been doing, had begged me not to trouble myself, but leave her to do it; and they were just as I had left them, fastened with an iron catch on the inside. The assassin, therefore, could not have passed either in or out that way; but neither could I get in.
“‘It was unfortunate,—enough to turn one’s brain! The door of the room locked on the inside and the blinds on the only window also fastened on the inside; and Mademoiselle still calling for help!—No! she had ceased to call. She was dead, perhaps. But I still heard her father, in the pavilion, trying to break down the door.
“‘With the concierge I hurried back to the pavilion. The door, in spite of the furious attempts of Monsieur Stangerson and Bernier to burst it open, was still holding firm; but at length, it gave way before our united efforts,—and then what a sight met our eyes! I should tell you that, behind us, the concierge held the laboratory lamp—a powerful lamp, that lit the whole chamber.
“‘I must also tell you, monsieur, that The Yellow Room is a very small room. Mademoiselle had furnished it with a fairly large iron bedstead, a small table, a night-commode; a dressing-table, and two chairs. By the light of the big lamp we saw all at a glance. Mademoiselle, in her night-dress, was lying on the floor in the midst of the greatest disorder32. Tables and chairs had been overthrown33, showing that there had been a violent struggle. Mademoiselle had certainly been dragged from her bed. She was covered with blood and had terrible marks of finger-nails on her throat,—the flesh of her neck having been almost torn by the nails. From a wound on the right temple a stream of blood had run down and made a little pool on the floor. When Monsieur Stangerson saw his daughter in that state, he threw himself on his knees beside her, uttering a cry of despair. He ascertained34 that she still breathed. As to us, we searched for the wretch35 who had tried to kill our mistress, and I swear to you, monsieur, that, if we had found him, it would have gone hard with him!
“‘But how to explain that he was not there, that he had already escaped? It passes all imagination!—Nobody under the bed, nobody behind the furniture!—All that we discovered were traces, blood-stained marks of a man’s large hand on the walls and on the door; a big handkerchief red with blood, without any initials, an old cap, and many fresh footmarks of a man on the floor,—footmarks of a man with large feet whose boot-soles had left a sort of sooty impression. How had this man got away? How had he vanished? Don’t forget, monsieur, that there is no chimney in The Yellow Room. He could not have escaped by the door, which is narrow, and on the threshold of which the concierge stood with the lamp, while her husband and I searched for him in every corner of the little room, where it is impossible for anyone to hide himself. The door, which had been forced open against the wall, could not conceal36 anything behind it, as we assured ourselves. By the window, still in every way secured, no flight had been possible. What then?—I began to believe in the Devil.
“‘But we discovered my revolver on the floor!—Yes, my revolver! Oh! that brought me back to the reality! The Devil would not have needed to steal my revolver to kill Mademoiselle. The man who had been there had first gone up to my attic and taken my revolver from the drawer where I kept it. We then ascertained, by counting the cartridges37, that the assassin had fired two shots. Ah! it was fortunate for me that Monsieur Stangerson was in the laboratory when the affair took place and had seen with his own eyes that I was there with him; for otherwise, with this business of my revolver, I don’t know where we should have been,—I should now be under lock and bar. Justice wants no more to send a man to the scaffold!’”
The editor of the “Matin” added to this interview the following lines:
“We have, without interrupting him, allowed Daddy Jacques to recount to us roughly all he knows about the crime of The Yellow Room. We have reproduced it in his own words, only sparing the reader the continual lamentations with which he garnished38 his narrative39. It is quite understood, Daddy Jacques, quite understood, that you are very fond of your masters; and you want them to know it, and never cease repeating it—especially since the discovery of your revolver. It is your right, and we see no harm in it. We should have liked to put some further questions to Daddy Jacques—Jacques—Louis Moustier—but the inquiry40 of the examining magistrate41, which is being carried on at the chateau, makes it impossible for us to gain admission at the Glandier; and, as to the oak wood, it is guarded by a wide circle of policemen, who are jealously watching all traces that can lead to the pavilion, and that may perhaps lead to the discovery of the assassin. “We have also wished to question the concierges42, but they are invisible. Finally, we have waited in a roadside inn, not far from the gate of the chateau, for the departure of Monsieur de Marquet, the magistrate of Corbeil. At half-past five we saw him and his clerk and, before he was able to enter his carriage, had an opportunity to ask him the following question:
“‘Can you, Monsieur de Marquet, give us any information as to this affair, without inconvenience to the course of your inquiry?’
“‘It is impossible for us to do it,’ replied Monsieur de Marquet. ‘I can only say that it is the strangest affair I have ever known. The more we think we know something, the further we are from knowing anything!’
“We asked Monsieur de Marquet to be good enough to explain his last words; and this is what he said,—the importance of which no one will fail to recognise:
“‘If nothing is added to the material facts so far established, I fear that the mystery which surrounds the abominable43 crime of which Mademoiselle Stangerson has been the victim will never be brought to light; but it is to be hoped, for the sake of our human reason, that the examination of the walls, and of the ceiling of The Yellow Room—an examination which I shall to-morrow intrust to the builder who constructed the pavilion four years ago—will afford us the proof that may not discourage us. For the problem is this: we know by what way the assassin gained admission,—he entered by the door and hid himself under the bed, awaiting Mademoiselle Stangerson. But how did he leave? How did he escape? If no trap, no secret door, no hiding place, no opening of any sort is found; if the examination of the walls—even to the demolition44 of the pavilion—does not reveal any passage practicable—not only for a human being, but for any being whatsoever—if the ceiling shows no crack, if the floor hides no underground passage, one must really believe in the Devil, as Daddy Jacques says!’”
And the anonymous writer in the “Matin” added in this article—which I have selected as the most interesting of all those that were published on the subject of this affair—that the examining magistrate appeared to place a peculiar45 significance to the last sentence: “One must really believe in the Devil, as Jacques says.”
The article concluded with these lines: “We wanted to know what Daddy Jacques meant by the cry of the Bete Du Bon Dieu.” The landlord of the Donjon Inn explained to us that it is the particularly sinister46 cry which is uttered sometimes at night by the cat of an old woman,—Mother Angenoux, as she is called in the country. Mother Angenoux is a sort of saint, who lives in a hut in the heart of the forest, not far from the grotto47 of Sainte-Genevieve.
“The Yellow Room, the Bete Du Bon Dieu, Mother Angenoux, the Devil, Sainte-Genevieve, Daddy Jacques,—here is a well entangled48 crime which the stroke of a pickaxe in the wall may disentangle for us to-morrow. Let us at least hope that, for the sake of our human reason, as the examining magistrate says. Meanwhile, it is expected that Mademoiselle Stangerson—who has not ceased to be delirious49 and only pronounces one word distinctly, ‘Murderer! Murderer!’—will not live through the night.”
In conclusion, and at a late hour, the same journal announced that the Chief of the Surete had telegraphed to the famous detective, Frederic Larsan, who had been sent to London for an affair of stolen securities, to return immediately to Paris.
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1
prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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2
sensational
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| adj.使人感动的，非常好的，轰动的，耸人听闻的 | |
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nomination
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| n.提名，任命，提名权 | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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5
resuscitated
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| v.使（某人或某物）恢复知觉，苏醒( resuscitate的过去式和过去分词 ) | |
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6
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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7
perspicacity
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| n. 敏锐, 聪明, 洞察力 | |
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8
rebus
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| n.谜,画谜 | |
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9
transcribe
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| v.抄写，誉写；改编(乐曲)；复制，转录 | |
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10
domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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11
aged
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| adj.年老的，陈年的 | |
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reticence
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| n.沉默，含蓄 | |
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13
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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preamble
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| n.前言；序文 | |
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enactment
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| n.演出，担任…角色；制订，通过 | |
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16
chateau
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| n.城堡，别墅 | |
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17
frightful
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| adj.可怕的；讨厌的 | |
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assassinate
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| vt.暗杀，行刺，中伤 | |
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19
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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20
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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overthrow
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| v.推翻，打倒，颠覆；n.推翻，瓦解，颠覆 | |
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22
anonymous
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| adj.无名的；匿名的；无特色的 | |
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23
plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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24
investigations
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| （正式的）调查( investigation的名词复数 )； 侦查； 科学研究； 学术研究 | |
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attic
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| n.顶楼，屋顶室 | |
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lodging
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| n.寄宿，住所；(大学生的)校外宿舍 | |
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27
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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28
sobbed
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| 哭泣，啜泣( sob的过去式和过去分词 )； 哭诉，呜咽地说 | |
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29
abuts
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| v.（与…）邻接( abut的第三人称单数 )；（与…）毗连；接触；倚靠 | |
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concierge
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| n.管理员；门房 | |
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31
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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disorder
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| n.紊乱，混乱；骚动，骚乱；疾病，失调 | |
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overthrown
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| adj. 打翻的，推倒的，倾覆的 动词overthrow的过去分词 | |
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34
ascertained
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| v.弄清，确定，查明( ascertain的过去式和过去分词 ) | |
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wretch
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| n.可怜的人，不幸的人；卑鄙的人 | |
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conceal
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| v.隐藏，隐瞒，隐蔽 | |
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cartridges
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| 子弹( cartridge的名词复数 )； （打印机的）墨盒； 录音带盒； （唱机的）唱头 | |
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38
garnished
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| v.给（上餐桌的食物）加装饰( garnish的过去式和过去分词 ) | |
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narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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40
inquiry
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| n.打听，询问，调查，查问 | |
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41
magistrate
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| n.地方行政官，地方法官，治安官 | |
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42
concierges
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| n.看门人，门房( concierge的名词复数 ) | |
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43
abominable
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| adj.可厌的，令人憎恶的 | |
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44
demolition
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| n.破坏,毁坏,毁坏之遗迹 | |
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45
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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46
sinister
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| adj.不吉利的，凶恶的，左边的 | |
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47
grotto
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| n.洞穴 | |
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48
entangled
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| adj.卷入的；陷入的；被缠住的；缠在一起的v.使某人（某物/自己）缠绕，纠缠于（某物中），使某人（自己）陷入（困难或复杂的环境中）( entangle的过去式和过去分词 ) | |
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49
delirious
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| adj.不省人事的，神智昏迷的 | |
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