The Companions of Jehu HTML version

An Introductory Word To The Reader
Just about a year ago my old friend, Jules Simon, author of "Devoir," came to me
with a request that I write a novel for the "Journal pour Tous." I gave him the
outline of a novel which I had in mind. The subject pleased him, and the contract
was signed on the spot.
The action occurred between 1791 and 1793, and the first chapter opened at
Varennes the evening of the king's arrest.
Only, impatient as was the "Journal pour Tous," I demanded a fortnight of Jules
Simon before beginning my novel. I wished to go to Varennes; I was not
acquainted with the locality, and I confess there is one thing I cannot do; I am
unable to write a novel or a drama about localities with which I am not familiar.
In order to write "Christine" I went to Fontainebleau; in writing "Henri III." I went to
Blois; for "Les Trois Mousquetaires" I went to Boulogne and Béthune; for "Monte-
Cristo" I returned to the Catalans and the Château d'If; for "Isaac Laquedem" I
revisited Rome; and I certainly spent more time studying Jerusalem and Corinth
from a distance than if I had gone there.
This gives such a character of veracity to all that I write, that the personages
whom I create become eventually such integral parts of the places in which I
planted them that, as a consequence, many end by believing in their actual
existence. There are even some people who claim to have known them.
In this connection, dear readers, I am going to tell you something in confidence--
only do not repeat it. I do not wish to injure honest fathers of families who live by
this little industry, but if you go to Marseilles you will be shown there the house of
Morel on the Cours, the house of Mercédès at the Catalans, and the dungeons of
Dantès and Faria at the Château d'If.
When I staged "Monte-Cristo" at the Theâtre-Historique, I wrote to Marseilles for
a plan of the Château d'If, which was sent to me. This drawing was for the use of
the scene painter. The artist to whom I had recourse forwarded me the desired
plan. He even did better than I would have dared ask of him; he wrote beneath it:
"View of the Château d'If, from the side where Dantès was thrown into the sea."
I have learned since that a worthy man, a guide attached to the Château d'If,
sells pens made of fish-bone by the Abbé Faria himself.
There is but one unfortunate circumstance concerning this; the fact is, Dantès
and the Abbé Faria have never existed save in my imagination; consequently,
Dantès could not have been precipitated from the top to the bottom of the
Château d'If, nor could the Abbé Faria have made pens. But that is what comes
from visiting these localities in person.
Therefore, I wished to visit Varennes before commencing my novel, because the
first chapter was to open in that city. Besides, historically, Varennes worried me
considerably; the more I perused the historical accounts of Varennes, the less I
was able to understand, topographically, the king's arrest.
I therefore proposed to my young friend, Paul Bocage, that he accompany me to
Varennes. I was sure in advance that he would accept. To merely propose such
a trip to his picturesque and charming mind was to make him bound from his
chair to the tram. We took the railroad to Châlons. There we bargained with a