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56 pages 1 hour read

Frederick Forsyth

The Day of the Jackal

Fiction | Novel | Adult | Published in 1971

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Symbols & Motifs

Documents

After accepting the assignment to assassinate Charles de Gaulle, the Jackal’s first step is to amass a collection of false documents. Ironically, the man whose name is never revealed in the novel has more documentation than anyone else. His variety of documents symbolizes his shifting identity. He can be the Danish priest, the American student, the French war veteran, or an Englishman who actually died in childhood. None of these identities is the real Jackal, but the documents suggest that they are more of a true identity than anything else that the audience can latch onto. The false documents symbolize the unknowability of the Jackal’s identity, to the point where the audience can only ever refer to the Jackal by his codename, while the other characters interact with Alexander Duggan, Pastor Jensen, Marty Schulberg, or Andre Martin. The Jackal is all of these men and none of them. His false documents function as a symbol of his unknowability, symbols which contain a deeper truth about his slippery anonymity.

The attempt to track the Jackal is conducted through the medium of identifying false identities. These documents symbolize the fine line between success and failure, as well as the fine line between life and death. The Jackal kills the forger who tries to extort him for the original documents. He knew the Jackal’s actual name and, as soon as he hinted that he could not be trusted, he was eliminated. The worth of the false documents is not counted in the sum that the Jackal agrees to pay the forger, but in the speed with which he decides to take the forger’s life. Anonymity is invaluable to the Jackal, so the authorities’ attempts to track him are conducted according to the false documents that he holds. This is a fundamental irony of Lebel’s task: his one mission, he says, is to learn the name of the Jackal and this is made much harder by the prevalence of false identities. These disposable identities hinder Lebel and his men, as the Jackal sheds them as soon as he fears that he may have been compromised. Each document that he discards, each identity which he abandons, symbolizes the progress of Lebel’s case. The documents are a shield to the Jackal’s true self and they are gradually shed until the detective comes face to face with the killer.

At the end of the novel, Lebel stops the Jackal. De Gaulle survives, so Lebel succeeds in his primary objective, but he never succeeds in the goal he set for himself. With the real Charles Calthrop returning from his trip to Scotland, the police must reckon with the truth that they never learned the Jackal’s real name. The documents and false identities were as close as they came to knowing him, meaning that Lebel’s original goal is never achieved. In the final chapter, Lebel attends the quiet funeral when the Jackal is buried in an unmarked grave. In England, the authorities are preparing to wash their hands of the killer as he cannot reliably be linked to England. There are no documents left with which to identify him. In effect, the unmarked grave becomes the final document in the Jackal’s life. More than most, this document is an authentic symbol of his unknowability. Only Lebel came close to ever really knowing him and, at this juncture, he has no idea as to the man’s true identity. The grave is a symbolic document of Lebel’s failure and the unknowability of the Jackal.

The Rifle

To assassinate Charles de Gaulle, the Jackal commissions a custom-made rifle. Goosens designs the rifle according to the Jackal’s exact specifications. The specificity of the rifle is a reflection of the Jackal himself. The gun is designed in his image: It is stripped down to the pure, lethal functionality of the rifle, made to disappear without a trace until the moment at which it is needed. As Colette de la Chalonniére suggests, it is “a killer’s gun” (324). Of all the items that the Jackal acquires during his preparation, the gun is the most important. While the documents all him to pretend to be someone else, the rifle is an extension of his true self. The Jackal’s name is never actually revealed in the book, so the custom-made rifle is the closest thing to a real identification of the man. The rifle is the Jackal, in the same way that the false documents are not. The rifle is a symbol of the missing identity; the only true identity of the Jackal is that of a trained killer, an identity which is perfectly symbolized by his unique choice of weapon.

The rifle is custom built for the Jackal by Goosens. As an armorer and a supplier of weapons to the Belgian criminal underworld, Goosens has a finely tuned sense of human character. He knows that the Jackal is a killer. He understands that the Jackal is not just one of the many petty criminals or psychopaths who frequently buy his guns; the Jackal is operating on a level of professional murder far above the level of his typical customer. Nevertheless, Goosens is fascinated by the professional intrigue of the rifle. By working for the Jackal, he is placing himself in danger. Due to his understanding of armaments, he knows that this particular gun is designed to kill an important person for money. This rifle, he understands, could expose him to a great deal of trouble, both from the authorities and from the Jackal. But he cannot turn down the job. The demands of building such a rifle test Goosens’s talents, just as killing Charles de Gaulle tests the Jackal’s skills as an assassin. By taking the job and building the rifle, Goosens is showing himself to be one of the quiet, meticulous men, someone like the Jackal and Lebel. The rifle is a symbol of his membership of this collective of quiet professionals.

The rifle is custom built according to the Jackal’s demands. These demands are so specific, however, that Lebel is able to reverse engineer the Jackal’s plan. The concealment of the rifle inside the fake crutch of a fake veteran is one of the most challenging parts of the design and it is key to the Jackal’s plan for sneaking a high-powered rifle into a busy area of Paris. The brilliance of the design is a double-edged sword, however, as mention of a veteran on a crutch allows Lebel to piece together the plan in an instant. The genius of the design is almost too specific, so that it becomes the key to preventing the assassination. At the very end of the novel, the rifle becomes a symbol of the Jackal’s hubris. It causes him to be caught at the last moment.

The Firing Squad

Lieutenant-Colonel Jean-Marie Bastien-Thiry is executed by firing squad on 11 March, 1963. He goes to his death convinced that no true French soldier will ever raise a gun against him or his cause. He is immediately proved wrong. The firing squad is a symbol of Bastien-Thiry’s hubris. He is utterly convinced that he and his OAS co-conspirators are in the right. They are acting on behalf of every true Frenchman, they tell themselves. As such, the assassination of Charles de Gaulle functions in line with the old anarchist sentiment of the propaganda of the deed. The assassination will be a jolt to a numbed system, they hope, and will inspire other French people to rise up and topple the terrible Gaullist government. This does not prove to be the case.

Bastien-Thiry is a true believer in his cause. He believes so strongly that he cannot comprehend the possibility that he is wrong, nor that he has failed in his mission to kill de Gaulle. The firing squad is an immediate and symbolic rebuke of Bastien-Thiry’s hubris. He is deluded by his arrogance, to the point where he remains convinced that he will not die right up until the moment the salvo of shots is unleashed. The volley of shots from the firing squad is a symbolic rebuke of everything Bastien-Thiry believes, from his politics to his own immortality.

The symbolism of the firing squad opens the novel, establishing both the delusion and the determination of the OAS. They are so sure of their beliefs that they are willing to deny reality right up until the moment of their death. This idealistic delusion contrasts with the quiet practicality of men like Lebel. The firing squad opens the novel in a symbolic fashion, creating a literary dichotomy between functional practicality and doomed idealism. The death of Bastien-Thiry is the point which the almost-apolitical Lebel is positioned against.

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