The Last Day of a Condemned Man

Bibliographical Note

This Dover edition, first published in 2009, is an unabridged republication of the work published by Thomas Crowell and Company, New York, in 1896. A new Foreword by David Dow has been prepared for this edition.

Copyright

Foreword copyright © 2009 by David Dow All rights reserved.

Library of Congress Gataloging-in-Publication Data

Hugo, Victor, 1802—1885.

[Dernier jour d’un condamné. English]

The last day of a condemned man / Victor Hugo ; translated from the French

by Arabella Ward.

p. cm.

Originally published: New York : Thomas Crowell & Co., 1896.

9780486120966

I. Ward, Arabella. II. Title.

PQ2285.D413 2009

843’.7—dc22

2008053681

Manufactured in the United States of America

Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501

Table of Contents

Title Page

Bibliographical Note

Copyright Page

Foreword

Preface

THE LAST DAY OF A CONDEMNED MAN - A COMEDY

Chapter I - Bicêtre

Chapter II

Chapter III

Chapter IV

Chapter V

Chapter VI

Chapter VII

Chapter VIII

Chapter IX

Chapter X

Chapter XI

Chapter XII

Chapter XIII

Chapter XIV

Chapter XV

Chapter XVI

Chapter XVII

Chapter XVIII

Chapter XIX

Chapter XX

Chapter XXI

Chapter XXII - In the Conciergerie

Chapter XXIII

Chapter XXIV

Chapter XXV

Chapter XXVI

Chapter XXVII

Chapter XXVIII

Chapter XXIX

Chapter XXX

Chapter XXXI

Chapter XXXII

Chapter XXXIII

Chapter XXXIV

Chapter XXXV

Chapter XXXVI

Chapter XXXVII

Chapter XXXVIII

Chapter XXXIX

Chapter XL

Chapter XLI

Chapter XLII

Chapter XLIII

Chapter XLIV

Chapter XLV

Chapter XLVI

Chapter XLVII - My Story

Chapter XLVIII - A Room in the Hotel de Ville

Chapter XLIX

Four o’clock

Note on The Last Day of a Condemned Man

Foreword

We do not know his name or exactly what he did. We know little about his present, less about his past, and nothing of his childhood. We do not know the name of his victim, or even with certainty that there was a victim. A book about the death penalty that does not tell us the details of the death of the victim is a rare (perhaps unprecedented) volume, yet that is the book Victor Hugo has written. We know nothing that Hugo believes to be unessential to our judgment, yet we nevertheless know everything Hugo thinks we need to know to conclude that capital punishment is an abomination.

Hugo was forthright about his intention in writing The Last Day of a Condemned Man. He abhorred capital punishment. He said the idea for writing the book came to him at the site of an execution: in the public square, as an execution was taking place, a scene Hugo says he walked upon casually.¹ Hugo wanted to see the death penalty abolished. He did not live to see that happen, but he played a role in its demise. His instrument was this novella.

To make his radical case, Hugo adopted a radical approach. Visit any abolitionist website in the U.S. or peruse any abolitionist tract and you will learn excruciating details of travesties of justice, for the American approach is to focus on particulars. I do not mean this observation as a criticism. On the contrary, the American abolitionist strategy is sensible, because it is undoubtedly true that the death penalty favors white skin over skin of color and dramatically favors wealthy defendants over poor ones. It is true that defense lawyers in capital cases are often abysmally bad. It is true that racism pervades the criminal justice system, and inserts itself most insidiously in the death penalty domain. It is true that a significant percentage, perhaps as much as a quarter, of the death row population comprises men with serious mental illness; and a handful, perhaps 3 percent, perhaps a bit more, committed no crime at all. Attention to the particulars is a sound tactic—I have used it often myself—because people who care about equality and fairness may have their support of capital punishment eroded upon learning of the inequality and inequity that characterize our death penalty regime.

In the United States, therefore, in literature as well as political discourse, discussions of the death penalty almost invariably pivot on the facts of the specific crime or the particular criminal. Briefs written by prosecutors to justify imposing a death sentence, and opinions written by judges upholding the punishment, recite in punctilious and gory detail the facts of the brutal murder (and what murder is not?)—facts that typically have nothing whatsoever to do with the legal issue before the courts. Yet our moral sense is quieted, or, if not entirely quieted, at least numbed, by these recitations. We can ignore the brutality of an execution and evade the lawlessness that is attendant to it by averting our eyes and closing our rational minds and focusing all our attention on the horrible facts of the crime.

Occasionally, a death sentence is set aside by judicial review. When that occurs, it is again, ironically perhaps, typically the result of unique facts of the case: the police or prosecutors hid a crucial piece of evidence; or all people of color were stricken by prosecutors from the jury; or the accused wrongdoer is mentally retarded, or otherwise not fully morally culpable. For expedience’s sake, perhaps, Hugo, abolitionist that he was, may have supported his latter focus on facts, for the result of this attention is that a human life is spared. But then again, if he were to remain true to his conviction that capital punishment is wrong, he might have deemed these facts irrelevant as well, for even they divert our attention from the crux of the matter, which is, quite simply, whether the death penalty is ever morally sound. Speaking of his book, Hugo said: I have tried to omit any thing of a special, individual, contingent, relative, or modifiable nature.² Morality is found in generalizations, and individual cases are the enemy of generalizations. Hugo aimed for universality, for a broad moral claim, and he hit the target in its bull’s eye.

Originally published in French in 1829 under the title Le dernier jour d‘un condamné, Hugo in this short novel strips away all the exterior, contingent, and variable facts—that is to say, all the facts that differ from one crime to another; from one perpetrator to another; from one victim to another; from one courtroom to another, indeed, from one society to another—and he leaves us with naked psychology, the interior of the human mind, the common core of all humanity. His protagonist is a man sentenced to death in France. We know little else. He has a daughter who believes he is already dead. He will face the guillotine, but, as was customary in France in the nineteenth century—and as remains the practice in China and other nations still today—the condemned does not know precisely when he will be executed until the moment is upon him. He expects his stay in prison to last around six weeks, give or take. (Hugo’s protagonist is executed at 4 o’clock. He learns the fateful hour has arrived at 3.) He dies amidst a horrible crowd ... , a crowd which longs and waits and laughs.

This scene of a public execution will be unfamiliar to contemporary readers. In the U.S., prison authorities carry out executions in relative secret, often in the middle of the night. Members of the media are present; typically, so are family members of the murderer and his victim. But the procedure takes place behind prison walls, with little fanfare and little public interest. It has not always been this way. The last public execution in America did not occur until 1936, when Rainey Bethea was hanged in front of more than 20,000 onlookers in Owensboro, Kentucky. And of course, lynchings, which some scholars regard as thematically connected to the current regime of capital punishment, were not uncommon as long as two decades later, especially in South, and these horrific scenes likewise unfolded in full view of large and boisterous crowds.

In France, executions never moved indoors, as it were; they took place in public, up until the end. There is a certain logic to having heads roll in the streets. If one objective of inflicting this ultimate sanction is to deter other crimes, it seems preferable for the citizenry to know the punishment exists, and to witness its infliction. North Korea uses public executions to intimidate its citizens to this very day. In parts of the Muslim world, public stonings have a carnival atmosphere. But seeing the state kill makes it more difficult to evade the moral question of whether the state ought to kill, and so at last, in 1981, not quite a century after Hugo’s death in 1885, France abolished the death penalty, becoming the last nation in western Europe to do so.

Like Hamida Djandoubi, who became the final victim of the French guillotine when he was beheaded in 1977 in Marseille, the character in Hugo’s novel also faces execution by guillotine, a tool conceived by Joseph-Ignace Guillotin in 1789 and used for the first time three years later. Decapitation, which had previously been reserved for executing members of the royalty, became France’s sole method of execution, replacing hanging, burning, and other methods, on the theory that a speedy cutting off of the head was less cruel than the alternatives for causing death. This same rationale led U.S. jurisdictions two hundred years later, in the early 1980s, to embrace lethal injection as a method of killing. Conceived of by A. Jay Chapman, a medical examiner in Oklahoma, lethal injection was used for the first time when the State of Texas executed Charlie Brooks in 1982. (Texas has since carried out more than 400 executions by lethal injection, a number which accounts for more than one-third of all executions in the U.S.) Of the thirty-six states that execute criminals, all except Nebraska kill inmates with a three-drug combination that initially puts them to sleep, then paralyzes them, and finally induces cardiac arrest. (Nebraska continued to electrocute inmates until the method was declared cruel and unusual by the Nebraska Supreme Court in 2008.) The history of capital punishment, therefore and paradoxically, reveals the state’s very unease with the punishment, for the history of capital punishment has been a steady if quixotic quest to identify a mode of bringing about death that is supposedly more humane than its predecessor—until at last the legislature concludes that the taking of human life is inherently cruel, regardless of the method by which the sanction is carried out. Our system of crime and punishment has progressed, so to speak, from stark brutality, to more nuanced bruality, to the recognition that all intentional homicide is brutal, to abolition.

Hugo’s protagonist says that the public see nothing but the execution, and doubtless think that for the condemned there is nothing anterior or subsequent! Hugo is no theologian. We therefore cannot learn from him whether there is indeed anything subsequent. His interest is in the anterior (and,