Key Text: Gil Blas de Santillane
Histoire de Gil Blas de Santillane
Introduction Kate Simpkins
An 1825 edition of Gil Blas, a novel by Alain-René Lesage, only briefly mentions Makandal in a footnote--a story about how he prophesies the end of white rule on the island through a performances using vases of water and pieces of cloth that magically turn colors representing the colors of people and their rule over the island; however, the inclusion of Victor Hugo’s Bug-Jargal in the exhibit hinges on that footnote, since the author of this footnote and editor of this edition of Gil Blas, François de Neufchâteau, is repeating a story already told in Relation d’une conspiration (1758) and other places, and was literary mentor and patron to Victor Hugo when the then nineteen-year old wrote his novel of the Haitian Revolution, Bug-Jargal. Most important, Hugo researched and worked with Neufchâteau on this edition of Gil Blas, further demonstrating the scientific and literary intertwining of French agronomy and West African knowledge of plants in the intellectual production of its scientists and storytellers made possible by Makandal. It reads:
The famous Makandal . . . filled three clear vases with water. He took three white kerchiefs and put them in the three vases. The first handkerchief [or cloth] that he took out of the first vase came out yellow, and it represented, according to him, the reign of the whites, which would pass. The second handkerchief came out more and more red, which represented the Caribs destroyed by the European,whose reign had passed. The last white handkerchief came out of the vase c ompletely black: “and there we have the reign of the blacks!” cried the juggler. Makandal sported this black flag at the end of a pole . . . and one can judge the effect which it produced on the assembly of these poor slaves. (Lesage and Neufchâteau1825: 286; Translation by Simpkins, from Dillon and Simpkins 729).
In short, Hugo’s knowledge of Makandal may have come from François de Neufchâteau. At least, Gil Blas references and repeats a story about Makandal that Neufchâteau repeats in a text they both wrote, all in the same year that Bug-Jargal, the story of an African revolutionary maroon with followers and super-human physical strength and social sway.
The editor of Gil Blas Neufchâteau, was the former Attorney General to Saint-Domingue, who, in 1786 as an attorney, had investigated a “nocturnal class of macandals” in Marmelade parish while under a ban against these activities. (That is, Africans were banned from gathering to make objects thought to be both poisonous and socially disruptive after laws were enacted against them following Makandal’s revolution.) Though Neufchâteau’s investigation took place in Marmelade, a different parish than Makandal’s (Limbe Parish), Marmelade was populated mostly by enslaved West Central Africans like Makandal (Margairaz 2005:138; Dillon and Simpkins 733).
More, like Moreau de Saint-Mery, Neufchâteau also wrote about the exciting new designs of the sugar mill and refinery belonging to Monsieur Belin de Villeneuve, the owner of the gin where Makandal may have lost his arm.
Neufchâteau’s footnote about Makandal in Gil Blas follows the novel’s narrative, in which a mysterious sage makes an elixir from unknown plants that induces magic healing effects. In other words, the occasion for the footnote about Makandal is a story about inexplicable knowledge related to plants; what’s more, the word “elixir” was commonly associated with West African rituals. Given this parallel, it is also notable that while in Saint-Domingue, Neufchâteau had proposed censoring advertisements for the “elixirs” maroons made in the colony (Cheney 2017, 65).
Hugo’s knowledge of Makandal through Neufchâteau and Gil Blas means that Bug-Jargal is, despite its distance from the colony, a novel that reflects elements of the first-hand knowledge and experience of one of France’s most accomplished agricultural experts, and one who is clearly unable to explain the know-how employed in African medicine or poisonmaking. Scholarship has shown that the historical fiction of Bug-Jargal relies on a combination of sources scrambled to Hugo’s fictional needs, and those sources are mainly military memoirs. But, Neufchâteau’s presence indicates that Hugo has envisioned a different kind of revolution taking place--a new knowledge to which he is intimately connected and in conflict; the novel can be understood in terms of another kind of battlefield--one that Hugo explicitly names as the theater of African and European conflict and engagement: colonial soil (Hugo 2004, 31). In this sense, Bug-Jargal is about and shaped through a war of knowledge production as much as military conflict.
Cheney, Paul. Cul de Sac: Patrimony, Capitalism, and Slavery in French Saint-Domingue. Chicago: University of Chicago Press, 2017.
Dillon, Elizabeth Maddock, and Kate Simpkins. “Makandal and Pandemic Knowledge: Literature, Fetish, and Health in the Plantationocene.” American Literature, no. 8780935 (October 6, 2020). https://doi.org/10.1215/00029831-8780935.
Hugo, Victor. Bug-Jargal. Peterborough: Broadview Press, 2004.
Lesage, Alain-René, and François de Neufchâteau. 1825. Histoire de Gil Blas
de Santillane, par Le Sage, avec des notes . . . par M. le comte François de
Neufchâteau. 3 vols. Paris: Lefèvre.
Margairaz, Dominique. François de Neufchâteau: biographie intellectuelle. Paris: Publications de la Sorbonne, 2005.
Simpkins, Patricia Catherine “Kate.” The Absent Agronomist and the Lord of Poison: Cultivating Modernity in Transatlantic Literature, 1758-1854. Northeastern University, 2016.