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 ASPECTS OP PARIS. 
 
 BY 
 
 EDWARD COPPING 
 
 AUTHOR OF " ALFIER1 AND QOLDONI : THEIR LIVES AND ADVENTURES." 
 
 LONDON: 
 LONGMAN, BROWN, GREEN, LONGMANS, & ROBERTS. 
 
 1858. 
 
 The right of translation is renewed.
 
 LONDON : 
 
 FEINTED BY SPOTTISWOODB AND CO. 
 1TEW-STBEBT 8QUABE.
 
 PREFACE. 
 
 IN the following pages I have endeavoured to 
 represent some of the aspects of that fascinat- 
 ing city which is for ever claiming the world's 
 admiration. Throughout the work, I have 
 treated subjects, or described scenes, with 
 which, during a somewhat lengthy residence 
 in the French capital and its environs, I have 
 grown tolerably familiar. "While adopting 
 this course, I have tried to avoid, as much as 
 possible, the paths which previous writers 
 upon Paris have chosen. Several of the 
 chapters in the present volume contain, I 
 think it may be said, entirely original 
 matter. I more particularly allude to the 
 chapter giving an account of the new village 
 of La Varenne ; to that in which I have 
 
 1104497
 
 iv PREFACE. 
 
 described the Cliffs of Belleville ; and to that 
 where the career of Jean Journet the poet is 
 traced. In treating, too, upon the cheap 
 literature of Paris, and upon the dramatic 
 productions of the French stage, I have 
 grouped together many facts and details which, 
 I have reason to believe, have never before 
 been brought under the notice of the English 
 reader. 
 
 When I commenced this little book some 
 months ago, I determined to keep from its 
 pages all observations of a political character. 
 The grave events which shortly afterwards 
 occurred, though investing Paris with gloomier 
 aspects than she had previously displayed, did 
 not induce me to change my resolution. I 
 might, I think, have lifted a little corner of 
 the dark veil which is still covering the fair 
 face of the city ; I might have shown that the 
 features beneath, though apparently reposing 
 in a death-like calm, are working with hidden 
 passions ; but the time did not appear to me
 
 PREFACE. 
 
 opportune for acting thus ; nor does it now. 
 Any account of the present abject condition of 
 political life in Paris, must necessarily seem 
 like a reproach a reproach directed not 
 against an individual, or a party, but against 
 an entire nation. Is this the moment for 
 such a narrative ? When a rival is lying upon 
 the bed of sickness, enfeebled by confinement, 
 and worn down by suffering, do we then taunt 
 him with allusions to former strength, or 
 mocking comments upon departed energy? 
 Let us be as considerate towards our neigh- 
 bours in the day of their deep and bitter de- 
 gradation, as we should be in the case I have 
 just supposed. They are passing through a 
 period of sore trial and of profound humilia- 
 tion ; but the change may even now be coming 
 which will restore them to the position they 
 once occupied in the eyes of the world. The 
 tottering edifice that was raised in a night 
 will, probably, fall in a night, and its ruins 
 swept away, there will be nothing to tell of
 
 VI PREFACE. 
 
 the sullen pile which once threw its black 
 shadow over the earth. 
 
 In avoiding all political paths, and pursu- 
 ing only those which allured me by their 
 novelty or their picturesqueness, I have met 
 with far more agreeable scenes than I could 
 have expected to meet with had I followed a 
 less inviting route. I can only hope that I have 
 sketched those scenes with fidelity, and painted 
 them in pleasant colours. In this hope I place 
 my pictures with a somewhat trembling 
 hand perchance before the public, and leave 
 them to the fate for which they may be re- 
 served. 
 
 I will add simply by way of explanation 
 that all the chapters in the present volume 
 are now for the first time published. 
 
 London : April, 1858.
 
 CONTENTS. 
 
 CHAPTER I. 
 
 Page 
 
 BEYOND THE BARRIER . .1 
 
 CHAP. II. 
 
 PARIS ON NEW YEAR'S DAT . . . .24 
 
 CHAP. III. 
 PARIS PENNY-A-LININO . . .40 
 
 CHAP. IV. 
 THE CLIFFS OF BELLEVILLE . . . .66 
 
 CHAP. V. 
 CHEAP LITERATURE OF PARIS . . .80 
 
 CHAP. VI. 
 THE PARK OF PARIS . . . .116
 
 Vlll CONTENTS. 
 
 CHAP. VH. 
 
 Page 
 
 A NEW COLONY .... , 130 
 
 CHAP. VHL 
 PARIS PLATS ....... 152 
 
 CHAP. IX. 
 
 A SUBURBAN FETE . . . . .211 
 
 CHAP. X. 
 
 A NEGLECTED POET . ... 226
 
 ASPECTS OF PAEIS, 
 
 CHAPTER I. 
 
 BEYOND THE BARRIER. 
 
 I KNOW few sights of a more cheerless aspect than 
 those which meet the eye immediately after you 
 pass through any one of the fifty-eight octroi gates 
 or barriers by which Paris is environed, and emerge 
 into the suburbs of the capital. Before arriving 
 there you have, in most cases, left regularity and 
 respectability some little distance behind. You 
 have passed amid streets of decidedly bankrupt ap- 
 pearance. You have quitted the "monumental 
 houses," as the Parisians love to call them, of the 
 best pa^rts of the city, with their gilded balconies, 
 their lofty portes cocheres, their tasteful architec- 
 tural adornments. You have quitted too the 
 smooth bitumen, so unpleasantly hard to the feet 
 
 B
 
 2 ASPECTS OF PARIS. CHAP. I. 
 
 in winter, so unpleasantly soft in summer. You 
 have alighted upon a rough unsympathising pave- 
 ment, which in five minutes strips your soul of all 
 its poetry and your toes of all their skin, takes the 
 jaunty airiness out of your tread, and compels you 
 to walk as heavily as a Norfolk ploughman. You 
 have reached spots not yet rich enough in buildings 
 to be considered as town, and long since too reduced 
 in their agricultural circumstances to be regarded 
 as country. Here, there is a field dying of old age 
 and confinement, now bearing houses, and now 
 mangel-wurzel. There, a street prematurely stunted 
 in its growth, and perishing of financial neglect. 
 
 You are, to some extent, prepared therefore by 
 the scenes you have passed through for those you 
 are yet to reach. Yet the depressing effect upon 
 you, when you have crossed the threshold of the 
 city, and are fairly face to face with Paris of " be- 
 yond the barrier," is in no way diminished. Matri- 
 mony is not less alarming to contemplate, although 
 in arriving at it you may have traversed all the 
 rough roads so carefully laid down in the Carte du 
 Tendre. 
 
 I suppose most English readers are aware that
 
 BEYOND THE BARRIER. 
 
 Paris is surrounded by a wall, sixteen miles in 
 length, built during the reign of Louis Seize, and 
 that the suburbs, which have since grown up beyond 
 that wall, are looked upon as irregular, outlawed 
 districts by the inhabitants of the city properly so- 
 called. 
 
 These suburbs are, in fact, with but a few excep- 
 tions, the abiding places of poverty, respectable or 
 otherwise, and of labour in its grimiest and least 
 inviting aspects. I am speaking more particularly 
 of the districts included between the barrier wall 
 and the fortifications built by Louis Philippe. Be- 
 yond those fortifications, you find nearly everywhere 
 open ground, merely strewn here and there with 
 villas and other houses, until the country is fairly 
 reached. 
 
 The suburbs of Paris, then, as above defined, are 
 resorted to by workmen and people of moderate 
 means, for the sake of economy. Almost all food 
 and merchandise which enters the city is subject to 
 duty. Thus a quart of wine pays about threepence . 
 a fowl about sixpence; a quart of oil fourpence 
 halfpenny ; a leg of mutton sixpence or more, ac- 
 cording to its weight. 
 
 B 2
 
 ASPECTS OF PARIS. 
 
 These taxes are collected at the barrier gates, at 
 each of which an office, called the octroi bureau, is 
 established. All persons entering Paris through 
 these gates are bound to "declare" any food or 
 merchandise they may have in their possession, 
 under pain of being quickly searched and as quickly 
 fined, if they attempt to evade payment of the duty. 
 Every cart, truck, carriage, cab, or wagon, which 
 enters is examined, and, if need be, probed with 
 gigantic skewers, for the purpose of ascertaining 
 whether it contains any taxable commodity. In 
 such case, an account is made out by the octroi 
 clerks, and, that account settled, the cart, truck, 
 carriage, cab, or wagon, is allowed to go on its 
 way. 
 
 In the morning and throughout the day you will 
 see all kinds of vehicles drawn up outside the bar- 
 riers, under examination by the octroi clerks, or 
 awaiting it. At the Barriere St. Martin, and at that 
 of St. Denis, which open out into thickly peopled 
 suburbs, you will often find a dozen or more carts 
 and wagons in this position. As early, or, it may 
 be, as late, as eight o'clock in the morning, I have 
 frequently seen, even at the little barrier of Mon-
 
 BEYOND THE BARRIER. 
 
 ceau, seven or eight vehicles undergoing scrutiny or 
 awaiting their turn. 
 
 If I were a member of the municipal corporation 
 of Paris, I fancy I should protest against the con- 
 tinuance of a system which obstructs the movement 
 of industry at the very threshold of the capital. 
 But what have I to do with these things ? If the 
 inhabitants of Paris cannot tell where the shoe 
 pinches, is it for me to show them? Non! non! 
 millefois non! as the heroines of French romance 
 energetically exclaim when distasteful propositions 
 are made to them. 
 
 The residents in the suburbs of Paris are not 
 subjected to the duties collected at the bureaux I 
 have just alluded to. They have other and special 
 octroi dues to pay, but these are comparatively light. 
 They are enabled in consequence to buy many neces- 
 sary articles at a lower price than they could within 
 the walls. This fact, and the cheapness of house 
 rent, are the causes which induce them to live in a 
 state of semi-outlawry from the capital. 
 
 It is not surprising, under these circumstances, 
 that the aspect of the Parisian suburbs should be so 
 dismal and so disheartening. The moment you are 
 
 B 3
 
 ASPECTS OF PARIS. 
 
 " beyond the barrier," always of course excepting the 
 Barriere de PEtoile, you see that you are in a sort of 
 border district. You are no longer in the city which 
 so continually boasts of being the most magnificent 
 in Europe. Paris of the guide-books, Paris of the 
 Parisians, is not here. It is Paris of the ouvi*ier, Paris 
 of labour and economy, in which you are standing. 
 
 What is it like? 
 
 It is mean and dirty enough to be one of the 
 worst parts of London. But it lacks that life and 
 movement, that bustle and animation, which give a 
 sort of cheerfulness to the lowest districts of the 
 English metropolis. Here all is stale, flat, and 
 stagnant. The very air itself has an odour of life- 
 lessness when it has not an odour of something 
 worse. 
 
 Let us move on and not search for similes. 
 
 But what a dreary place it is ! The trees planted 
 on the pavement have a ragged and mean look. In 
 a forest, many of them would be put out of the way 
 by their brother trees for very shame. The houses 
 are beggarly in aspect ; you can see that they never 
 have been respectable. Patched and imperfect 
 garments adorn the windows, where paper is in
 
 BEYOND THE BARRIER. 
 
 many places doing duty for glass. Curtains appear 
 almost as scarce as Gobelins tapestry. Shops abound, 
 but they smell of low price and bad quality. The 
 men you see wear blouses, have thin haggard faces, 
 and unkempt beards. You would keep aloof from 
 many of them in a crowd, and give them a wide 
 berth on a dark night, or on Kevolution Day. The 
 women are slatternly, capless, and uncombed. The 
 children are lightly clad and dirty. Pie making, 
 when dirt is the flour employed, pebbles the fruit 
 and the gutter the bake-house, is not an occupation 
 conducive to cleanliness. 
 
 " Where am I ? " the astonished visitor asks, as he 
 looks around him at these various objects. 
 
 "My dear sir, you are 'beyond the barrier' of 
 Paris, only a quarter of an hour's walk from the 
 Boulevard des Italiens, the fashionable centre of the 
 most magnificent city in Europe." 
 
 It is even so ! We are but a mile from Tortoni's 
 and the Cafe Anglais, and we might fancy our- 
 selves at the very fag end of some wretched pro- 
 vincial town in Limousin or Auvergne. 
 
 We shall have no great difficulty in accounting 
 for the doleful and dreary aspect of the suburbs 
 
 B 4
 
 ASPECTS OF PARIS. 
 
 of Paris if we recal for a moment under what cir- 
 cumstances they have grown up. 
 
 From a very early period they have been pro- 
 scribed ground. Building upon them has been 
 discouraged, nay, more than once openly forbidden. 
 More than one kingly brain seems to have been 
 harassed by the notion that Paris might grow too 
 large. (Have we not, even in the present day, 
 learned doctors who proclaim that increase of po- 
 pulation is one of the greatest curses that can befal 
 a country?) 
 
 Thus Henry II. passed, in 1548, an edict, forbid- 
 ding people to build beyond the walls of the city, 
 as then fixed by the mason. People, however, paid 
 so little attention to it, that a second edict to the 
 same effect was necessary six years afterwards. 
 About a century later the wily Mazarin, intent upon 
 getting money, and heeding little by what means, 
 revived the proclamation of 1548. Of course the 
 crafty Italian did not care whether Paris became as 
 big as Babylon or as little as Stoke Pogis. He 
 simply wanted money to enable absolute royal au- 
 thority to combat the Frondeurs, whom just then 
 he was pretending to sympathise with.
 
 CHAP. I. BEYOXD THE BARRIER. 9 
 
 Henry II. in his kingly wisdom had decreed that 
 no one must "build new houses in the faubourgs 
 of Paris, under pain of the demolition of the said 
 houses, confiscation of the materials, and arbitrary 
 fines." Mazarin was bold enough, or rash enough, 
 to try and put in force this forgotten edict. 
 
 He announced in a royal ordonnance that the 
 proprietors of all houses beyond the walls of the 
 city must either demolish those houses or pay a 
 tax, " calculated upon each toise of their construc- 
 tion." Louis XIII. had gone almost as far as this 
 shortly before; Louis XIV. followed the same path 
 shortly afterwards. 
 
 Of course, monarchical or ministerial authority 
 might just as well have commanded the north wind 
 to blow warm, or the rain to fall only in the month 
 of August, as to command human activity to re- 
 main motionless within the walls of a great city. 
 People, with that adventurous energy which Power 
 has such a horror of, insisted upon stretching their 
 limbs beyond the prescribed limits. So that, about 
 half a century after Louis XIV. had been gathered 
 to his fathers, the suburbs of Paris had grown and 
 grown until they formed many small cities outside
 
 10 ASPECTS OF PARIS. CHAP. i. 
 
 that established by statute. Then was commenced, 
 it was in 1784 that longer wall which still re- 
 mains, and which included within its embrace all the 
 outlying districts. 
 
 Such of the Parisians as had escaped from the 
 imprisonment of stone barriers to the freedom of 
 open ground, murmured at the restraint imposed 
 upon them. They assailed the government with 
 epigrams, verses, calembourgs. But the walls were 
 built notwithstanding, and there, as I have said, they 
 still remain. 
 
 The existing suburbs of Paris have, then, for the 
 most part, grown up since the present limits of the 
 city were established. They have not had to struggle 
 against edicts actually forbidding their existence, but 
 they have had to struggle against the spirit of those 
 edicts, carefully guarded in the municipal mind. 
 They have laboured under the disadvantage of their 
 position, like the London citizen who, living in 
 Whitechapel, is shut out from Belgravia. They have 
 been looked upon as permanent gipsy settlements 
 established outside the town. They have gained in 
 cheapness, but they have terribly lost in considera-
 
 CHAP. I. BEYOND THE BARRIEB. 11 
 
 tion. No wonder, therefore, they present such a 
 distressed and mean appearance. 
 
 But let us pass on a little and examine them more 
 minutely. 
 
 If we proceed in a straight line out of Paris, we 
 shall, in almost every direction, soon arrive at the 
 limits of its suburbs. Those suburbs run off into 
 broken fields and patches of cultivated land over 
 which we shall sometimes notice the plough passing. 
 We may, indeed, frequently see this instrument at 
 work within the barrier. For instance, in a field 
 near Trocadero, ten minutes' walk from the Champs 
 Elysees, and in other fields at the eastern extremity 
 of the city. If we walk a step or two further 
 " beyond the barrier," we shall come, perhaps, upon 
 a stone quarry, silent and deserted, for it has long 
 since given up its treasures ; and then upon pen- 
 cilings of new streets, with one weeping, solitary 
 house standing sentinel over the turf that has been 
 taken up, and the kerb stones that have been laid 
 down. 
 
 Houses in this remote part of Paris are not of 
 precisely the same appearance as those which you 
 see in the Eue de Eivoli or on the Boulevard des
 
 12 ASPECTS OF PARIS. CHAP. I. 
 
 Capucines. Gilded balconies are at a discount. Lofty 
 portes cocheres are as rare as Flying Dutchmen. 
 Architectural adornments are no more to be seen 
 here than Cape Grisnez. You discern nothing, in 
 fact, but human habitations built of rough and ragged 
 stone, trying by means of plaster to show a smooth 
 face to the street. They are weak and slender- 
 looking houses these. You would hesitate to take 
 refuge in them during the prevalence of a stiff nor'- 
 wester. Yet they are filled, and over filled too, with 
 occupants. There are perhaps three or four families 
 on every floor of the five or less which form the 
 whole edifice. 
 
 " Heaven help them," as Yorick would say, " they 
 are but sorely lodged." 
 
 There is sometimes a little garden round these 
 houses, and you may see a few delicate-looking plants 
 struggling upwards, amid more sturdy and more 
 useful vegetation. They are poor, meagre things, 
 these flowers, and yet I fancy they gladden many a 
 poor locataire's heart. If you were to enter the 
 !iouse, in more than one room would you find, I dare 
 say, a faded bouquet on the mantelpiece. The poor 
 must have their little luxuries, happen what may.
 
 CHAP. I. BEYOND THE BARRIER. 13 
 
 They have not much else sometimes to cheer 
 them. 
 
 But if we go further, we shall be stopped by the 
 fortifications ; those twenty-three miles of costly 
 ditch and rampart; and beyond these, few of the 
 Paris suburbs yet extend. Let us retrace our steps 
 therefore ; or rather let us shift the scene to another 
 part of the same ground. 
 
 We are just outside the barriers, still within 
 hail as it were of the grand Boulevards, but we might 
 have taken oath we were in one of the tabooed dis- 
 tricts of our own metropolis. 
 
 What volumes of smoke are rising all around us ! 
 What a number of chimneys they issue from ! What 
 ranges of large and dirty factories and workshops 
 meet the eye in every direction ! What a clanging 
 there is of hammers and machinery ! What a rushing 
 sound of steam ! What a busy hum of labour and 
 labourers ! 
 
 We are in the midst of one of the working quarters 
 of the capital. Call it Grrenelle, call it La Villette, 
 call it La Chapelle, no matter which. They are 
 all much alike. They are all centres of labour, of 
 ""rh heaw labour that hardens the hand, broadens
 
 1 4 ASPECTS OF PARIS. 
 
 the back, and begrimes the face. Paris, you see, is not 
 one vast Regent Street. It has its business quarters 
 as well as its pleasure quarters. Could the one exist 
 without the other ? 
 
 You ! Smith and Brown, who pay a hasty visit 
 to the French capital, and even you ! Jones, who 
 are so comfortably settled in your apartment, under 
 the shadow of the Madeleine, you, whose knowledge 
 of Paris would lead you to describe that city as 
 bounded on the east by the Bastille, on the west by 
 the great Triumphal Arch, on the south by the Clo- 
 serie des Lilas, and the north by the Chateau Rouge, 
 you I say, Smith, Brown, and Jones, did not ima- 
 gine that the most magnificent city in Europe had a 
 quarter such as this. 
 
 Honestly? Is it not as dirty as Dockhead; as 
 smoky as South wark ; as repulsive as Ratcliffe High- 
 way ? How in fact could it be otherwise ? 
 
 There is still a feature of these suburbs a feature in 
 this case common to all of them which we have yet 
 to see. It is the outer Boulevards of which I speak. 
 We crossed them immediately after passing through 
 the barrier, but I did not care to stop you then in 
 order to call your attention to them.
 
 CHAP. I. BEYOND THE BARRIER. 15 
 
 The outer Boulevards are in no way like the inner, 
 excepting that vegetation sprouts up through their 
 pavements, in the shape of trees, more or less stunted 
 in growth. But these trees, whenever met with, are, 
 after all, an agreeable relief to the eye ; so not a word 
 more in their dispraise. 
 
 The outer Boulevards were commenced when the 
 existing wall of the city was built, but were not 
 finished until many years after. Of that wall, some 
 sixteen feet in height, they enjoy a very fine uninter- 
 rupted view. They follow it, in fact, through all its 
 course, and it divides them from the city. Houses 
 occupy one side of the outer Boulevards ; this wall 
 stands on the other. 
 
 I have said houses, but I think I ought to have 
 said, public houses, for nearly all are in some way de- 
 serving of the name. Along the whole line of the 
 outer Boulevards, (that is to say, for a distance of 
 nearly sixteen miles,) there is an almost uninterrupted 
 string of wine shops, cook shops, liquor shops, re- 
 staurants, cremeries, auberges, guingettes, cafes, ca- 
 barets, tapis-franc, tavernes, estaminets, rotisseries, 
 cuisines bourgeoises, traiteurs and buvettes.
 
 16 ASPECTS OP PARIS. CHAP. I. 
 
 Sixteen miles of tippling temples and salles-a- 
 manger ! It is wonderful. 
 
 By whom are all these places of public entertain- 
 ment kept up? Where do they all find customers? 
 you ask yourself in amazement as you trudge over the 
 wearying stones and see wine shop succeeding wine 
 shop, and restaurant following restaurant, like drops 
 of rain on an April day, their number defying calcu- 
 lation. Are eating and drinking the sole occupations 
 of the people who live beyond the barrier ? you ex- 
 claim ; are appetites here insatiable and the means 
 of gratifying them within reach of all? Have we 
 without dreaming of it arrived in the very midst of 
 the realm of Cocagne ? 
 
 I have not exaggerated. Lest it should be thought 
 that I have overcoloured my picture, let me state that 
 on the outer Boulevard, from the Barriere de Clichy 
 to the Barriere de Eochechouart, a distance of about 
 a mile, there are no fewer than ninety places of re- 
 freshment for mortal man ! I have counted them 
 myself, so I can guarantee the exactness of the 
 figures. I will not say that every part of the outer 
 Boulevards are thus thickly occupied with public 
 houses and eating rooms. On the southern side of
 
 CHAP. I. BEYOND THE BARRIER. 17 
 
 the river these establishments diminish in number. 
 The outer Boulevards there, are in fact very little 
 built upon in many places ; wherever houses occur, 
 however, they are sure to be, for the greater part, of 
 the kind I have just described. 
 
 The one great reason which explains the existence 
 of all these taverns and restaurants in such immense 
 numbers, is the low price at which they sell the com- 
 modities they supply. 
 
 Wine and meat are cheaper, I have said, beyond 
 the barrier than within the walls. Paris workmen are 
 perfectly aware of this fact, and, whenever possible, 
 eat, drink, and live out of the city. Once upon a 
 time, for instance, you could have a quart of wine at 
 some of these suburban taverns for twopence half- 
 penny. Now it is dearer. The lowest price, I have 
 lately seen marked up, is fivepence. 
 
 As for food, it can be had at almost any price. 
 You can get a dinner of soup, meat, bread, vegetables, 
 and dessert, with half a bottle of wine, for less than a 
 franc, and this without going to a very inferior es- 
 tablishment. I have never partaken of such a dinner, 
 so I cannot speak authoritatively upon the quality of 
 the dishes which compose it. In certain cases, how- 
 
 c
 
 18 ASPECTS OF PARIS. CHAP. I. 
 
 ever, reserve becomes prudish affectation. Here is 
 one. Let me therefore frankly state that I would 
 rather dine at the Maison Doree than on the Boule- 
 vard Exterieur. 
 
 As might be expected, such a number of drinking 
 places do not exist together without frequently being 
 the scene of drunkenness and of disturbance. To 
 the honour of the Paris workman it must be said 
 that he is almost always extremely sober in his habits. 
 He likes an occasional bout ; he likes now and then 
 to observe the weekly festival of Saint Monday, to 
 faire le Lundi, as he calls it ; he will labour with 
 willing hands on the first day of the week, in order 
 that he may take his recreation on the second ; still, 
 as I have said, intemperance is not his vice. 
 
 Of course there are exceptions, mauvais sujets, who 
 belie the character of the rest. There are too a set 
 of fellows, rodeurs de barriere, as they are styled, 
 wearing blouses, but unworthy of being classed among 
 the ranks of the regular workmen, who live by all 
 sorts of strange and questionable occupations. For 
 these gentry, the cabaret of beyond the barrier has 
 undying attractions. There, at all hours of the day 
 and night, they are to be seen, guzzling the filthy
 
 CHAP. i. BEYOND THE BARRIER. 19 
 
 common brandy, (which, always seems as though it 
 had been used for pickling onions before being sup- 
 plied to the public,) smoking, playing at piquet or do- 
 minoes, singing coarse songs, or quarrelling in drunken 
 anger with their companions. When tired of these 
 amusements others are close at hand in which they 
 can indulge. The resources of the neighbourhood in 
 debauchery are not soon exhausted, believe me. 
 
 By day, and in summer-time, the outer Boulevards 
 make an attempt to appear animated, which at certain 
 hours is to some extent successful. 
 
 Shortly after the breakfast bell has rung, you will 
 see every little restaurant and wine shop filled with 
 workmen gravely occupied with their morning meal. 
 Tables and chairs are placed out upon the pavement 
 for the accommodation of those who prefer to eat and 
 drink in the open air. There are always a good number 
 fond of this publicity, which at first appears so strange 
 to English eyes. In the evening, when dinner is to 
 be eaten, the scene of the morning is repeated, with 
 even more actors to fill it. 
 
 At night, the outer Boulevards glitter with but 
 little of the splendour which is seen within the walls. 
 Most of the places of refreshment are poor and mean. 
 
 c 2
 
 20 ASPECTS OF PARIS. 
 
 Here and there a handsome stone house is seen, with 
 its decorated shop front and interior gilding. But 
 such houses are rare. The majority are poorly built, 
 and without elegance of any kind. When darkness 
 falls upon Paris it invariably falls upon the outer 
 Boulevards. So that cafe or wine shop is sufficiently 
 lighted inside, little is cared for its outside aspect. 
 Besides, oil is dear, gas still dearer. Can the man 
 who sells a cup of coffee with a glass of brandy in it 
 for three halfpence, be expected to spend his substance 
 in illumination as freely as he who sells the same 
 article for sixpence ? 
 
 By about ten or eleven the outer Boulevards begin, 
 in many places, to grow deserted. Within doors, how- 
 ever, there is still life and movement. 
 
 From one cabaret you will hear rough singing pro- 
 ceed ; from another, rough swearing ; from a third, 
 the sounds of a violin, and of feet in energetic motion. 
 Look through the steamy windows of the place. You 
 see men and women dancing there, do you not ? 
 
 Yes, and their manners are as free as their dress is 
 easy. 
 
 Very well ; unless you wear a blouse, and speak 
 French slang with the practised proficiency of a chif-
 
 CHAP. I. BEYOND THE BARRIER. 21 
 
 fonnier, don't enter there. A respectable, well-dressed 
 Englishman who with his eternal voolay voo should 
 intrude among that gay company, might find himself 
 strangely regarded. 
 
 I have said that beyond the barrier is the refuge 
 of poverty. Must I add that in many cases it is also 
 the refuge of crime ? 
 
 The professional Paris thieves have a horror of 
 the interior of the city as a place of residence, for 
 suspicious movements there, are directly under the 
 eyes of authority. They set up their rest accord- 
 ingly in the suburbs. In those comparatively open 
 districts they breathe a freer air, are more at ease in 
 their occupations, and are nearer woods and fields 
 should poetic sensibility or fear of capture inspire 
 them with rural longings. The Paris papers contin- 
 ually tell us of the discovery in the suburbs of whole 
 gangs of offenders who have fixed their head-quarters 
 in those delightful localities. 
 
 Eecently a step has been taken which, it is said, is 
 to be the precursor of others, intended to place the 
 outskirts of the capital on exactly the same footing 
 as the rest of the city. 
 
 So remote were these outskirts considered until a 
 
 C 3
 
 22 ASPECTS OF PARIS. CHAP. I. 
 
 few months ago, that the Bank of France would not 
 present, or even discount, commercial bills made pay- 
 able there. The great money establishment refused 
 to send its clerks on pilgrimages beyond the octroi 
 walls. On the 1st of December, 1857, it altered this 
 system. The fortifications are now the boundaries 
 of Paris as recognised by the Bank of France. The 
 new district is however looked upon as such a danger- 
 ous locality, that the clerks who traverse it are each 
 armed with a six-barrel revolver ! Imagine Islington 
 or Clapham with such an evil reputation, that Bank 
 of England collectors would be forced to carry a 
 similar weapon! 
 
 For some time past it has been said, that the forti- 
 fications are to be the municipal boundaries of Paris, 
 and that the octroi wall is to be pulled down. Not 
 being in the secrets of the Tuileries or the Hotel-de- 
 Ville, I am unable to state what amount of truth there 
 may be in these rumours. There can be no doubt, I 
 think, that if this change were put in execution, 
 Paris would be much benefited. The suburbs of the 
 city would soon lose the lawless reputation they now 
 possess. They would at once rise in dignity and 
 importance. Building would be stimulated. There
 
 CHAP. I. BEYOND THE BARRIER. 23 
 
 would be less crowding towards the centre. Spots 
 now neglected, or half neglected, would be covered 
 with houses. Kents would fall. The people of Paris, 
 better able to stretch their limbs, would become more 
 familiar with the fresh air and healthy exercise of 
 which they stand so much in need. 
 
 But how would the many dwellers beyond the 
 existing barriers, at present so lightly charged with 
 octroi dues, like to be loaded with the same heavy 
 fiscal chains that now weigh upon Paris ? 
 
 Not much, we may be sure, and they might take 
 an ugly manner of showing it. 
 
 C 4
 
 24 ASPECTS OF PARIS. 
 
 CHAP. H. 
 
 PARIS ON NEW TEAR'S DAT. 
 
 IF you would see Paris under its gayest aspect, you 
 must see it on the Jour de 1'An, or New Year's Day. 
 The Jour de 1'An is the most popular of all French 
 holidays ; it is the Christmas Day of France. Paris 
 is lively enough on other festivals, but on this she 
 becomes thoroughly gay. Work almost entirely ceases. 
 The ouvrier puts aside his implements ; the ouvriere 
 lays down her needle ; the clerk flings away his pen ; 
 the merchant closes his ledger ; the journalist shuts 
 up his bureau ; the judge doffs his gown. The un- 
 happy shopman alone has no respite from labour. 
 Rarely, indeed, does he work so hard as on the 
 Jour de 1'An. No wonder ! All Paris goes out shop- 
 ping to-day, and he has all Paris to serve. 
 
 By noon the great movement has fairly begun. 
 Promenading purchasers fill every street ; the 
 arcades overflow; the Boulevards are entirely sub-
 
 CHAP. II. PARIS ON NEW YEAR'S DAY. 25 
 
 merged. From the Madeleine to the Chateau d'Eau, 
 and from the Chateau d'Eau to the Madeleine, four 
 goodly miles, I trow, the pavements on both sides 
 are occupied by a slowly moving mass of human 
 forms. It is impossible, be assured, to move quickly. 
 Your pace must necessarily be that of the tortoise. 
 Never mind ! The hare is fast asleep to-day. You 
 need not fear that he will outstrip you. 
 
 If the pavement were not doubly encumbered, you 
 would find it impossible to accelerate your speed. 
 Though you should have no more taste than a 
 Hottentot, no more poetry than a paviour, you must 
 stop to gaze at the glittering objects displayed in every 
 shop window. And yet to loiter here is perilous. Your 
 gold pieces are in danger. If you would return with 
 an unlightened purse and an untroubled conscience, 
 retire at once. There is a conspiracy to-day among 
 the Paris shopkeepers to rifle and strip you. Refuse 
 to listen to the voice of prudence, and they will 
 leave you as coinless as was poor Jean-Jacques when 
 he arrived in Turin under the conduct of the worthy 
 Sabrans. 
 
 If, however, you are determined after this warn- 
 ing to brave the dangers of the Boulevards, your
 
 26 ASPECTS OF 
 
 expenditure be upon your own balance sheet ! Fol- 
 low me. 
 
 Did you ever before see such a display of charming 
 objects, so calculated to decoy artless woman and 
 seduce unsuspecting man ? Every tradesman seems 
 to have opened a fancy fair. See ! the linendraper 
 puts forth his most ethereal gauzes, his most glossy 
 satins, his most tender velvets. The tobacconist 
 displays the most gorgeous hookahs, the most mag- 
 nificent meerschaums, the most fanciful pouches, the 
 richest and rarest snuff-boxes. The bookseller is all 
 a-blaze with brilliant bindings. Nothing but resplen- 
 dent gift books, gilt edged, gilt lettered, and gilt 
 covered, are to be seen on his counters. Even 
 Corneille and Racine would be excluded from this 
 company of well-dressed tomes if they made their ap- 
 pearance in paper dishabille. Then the china-mer- 
 chant arranges in the most enticing order his choicest 
 porcelain vases, his most glittering cut glass, his most 
 alluring cups and seductive saucers. A man might 
 contentedly leave off tea-drinking for ever, if he could 
 but for once sip his souchong out of this ravishing 
 crockery. And then the stationer, where has he 
 obtained all those ink-stands, which of themselves
 
 CDAP. ir. PARIS ON NEW TEARS DAY. 27 
 
 might tempt any man to rush into print ; and those 
 piles of fancy note paper, as delicately tinted as a 
 maiden's cheek ; and those writing-cases, which seem 
 almost too delicate for even the hand of Beauty to 
 rest upon ? Where, indeed ! The toy-man might 
 tell us, perhaps, for evidently he has credit at the 
 same establishment. Yet, no ! His merry-eyed, rosy- 
 cheeked dolls, were never made by mortal hands. 
 They must have been born of other dolls, some good 
 old lady from fairyland assisting them into life. 
 
 It is all clear enough now. Every Paris tradesman 
 has fallen madly in love to-day in love with ex- 
 travagant display. Why even the apothecary adorns 
 his windows with the most attractive patent medi- 
 cines and the most pleasing surgical instruments. 
 If there were an undertaker here about, depend upon 
 it he would share the general infatuation. He would 
 treat us to rows and rows of charming little baby- 
 coffins of polished oak, intermingled with the choicest 
 specimens of leaden ware for adults. 
 
 But the most brilliant displays we have yet to see. 
 Yes ! hitherto we have been merely dazzled ; now 
 we are to be fairly blinded. A man may look at 
 linen drapers, stationers, china merchants, book-
 
 28 ASPECTS OF PARIS. CHAP. n. 
 
 sellers, tobacconists, and pass on unscathed, perhaps ; 
 but not thus will he pass the shop where knick 
 knack nothings are sold or that where sweetmeats 
 make mute appeals to the greedy stomach of youth. 
 
 Knick knack nothings ! Imagine the indignation 
 of a polished Paris tradesman upon hearing his 
 objets (Part thus contemptuously designated. I 
 retract the expression. We should have a better 
 name for all these beautiful trifles in which art 
 strives to unite itself to utility these taper stands, 
 toilette boxes, jewel boxes, wafer boxes, scent bottles, 
 clock cases, pin receptacles, &c. 
 
 Granted, that art is sometimes here put to mean 
 employ, as Minerva would be if she were to go out 
 charring. Yet see how it refines and softens every- 
 thing it touches ! Look at that stand for taper and 
 lucifer matches in the centre a little boy and girl 
 are reading a book; they evidently read by the 
 light of the taper; should it go out are not the 
 matches all ready on the other side to rekindle it ? 
 
 Fortunate age ! In our forefathers' days art re- 
 mained shut up in the picture gallery or the sculp- 
 ture museum a proud beauty who scorned the 
 vulgar gaze. Now she condescendingly puts on a
 
 CHAP. ir. PARIS ON NEW YEAK S DAY. 29 
 
 homely mien and comes forth into our humblest 
 dwellings, bringing brightness into their most obscure 
 corners. But at last we have arrived at the most 
 splendid stall in the fair. We are at the sweetmeat 
 shop of which I spoke. 
 
 This a sweetmeat shop ! Why it's the last scene of 
 a pantomime without the coloured fires ! a Bower of 
 Beauty, Hall of Kadiant Light or Palace of Dazzling 
 Splendour. Where is the good spirit who ought 
 to be somewhere near about waiting to come in on 
 her magic car ? The good spirit, my gentle and sim- 
 ple sir, is behind the counter, quite ready to serve 
 you, if you wish to buy anything, but in no mood to 
 listen to your theatrical rhapsodies. 
 
 Buy ! who talks of buying here ? This is an art 
 exhibition not a lollypop shop. Those bonbons are 
 too exquisite to be eaten. I should as soon think of 
 eating the Venus de Milo or the Diane Chasseresse. 
 Eyes, not stomachs, surely, are to be feasted with 
 these beautiful coings, these charming abricots, these 
 graceful cerises ; these delicate mandarines, mira- 
 belles, Eeines Claudes, brochettes, marrons glaces, 
 angeliques, pasteques, and calissons d'Aix ! 
 
 Why ! look at the boxes and baskets in which they
 
 30 ASPECTS OF PARIS. 
 
 are contained. They would grace the boudoir of a 
 fairy. A fairy ! If Titania were to come here shop- 
 ping, Oberon would be forced to disclaim all respon- 
 sibility for her debts in order to save himself from the 
 Bankruptcy Court or Clichy. Come away, man, 
 come away, while yet another sixpence is left in your 
 pocket. 
 
 Shops, more shops ! Yes, the very pavements axe 
 covered with them. All along the main Boulevards 
 and in many of the chief thoroughfares you will see 
 line after line of temporary shops stretching away. 
 They are mere stalls unsightly edifices of rough 
 deal, hastily knocked together, but they add ama- 
 zingly to the bustle of the streets. Their proprietors 
 are mostly small tradesmen or hucksters, who are 
 allowed by the municipal authorities, in accordance 
 with time-honoured custom, to establish themselves 
 in this manner upon the public pavement for about 
 a week before, and a week after, the Jour de 1'An. 
 Purchasers whose purses will not enable them to 
 visit in safety the shops we have just been looking at 
 come, without fear, to these temporary establish- 
 ments, for the objects they sell are of inferior 
 quality and of low price. In these stalls there is a
 
 CHAP. T i. PARIS ON NEW TEAR'S DAT. 31 
 
 strange succession of the useful and the ornamental. 
 In one you will see, perhaps, devotional images; in 
 the next, fleecy hosiery. Side by side with illus- 
 trated gift books, you will find cheap fire-irons ; 
 immediately after porcelain vases come brushes and 
 brooms. 
 
 You may buy almost anything, indeed, in these 
 wooden marts. The dealers are prepared to supply 
 every want. Toys, trinkets, sham jewellery, drapery 
 goods, stationery, fruit, bonbons, pictures, cakes, 
 pocket-handkerchiefs, crockery, cutlery, bronzes, cra- 
 vats, thermometers, purses, walking-sticks, stereo- 
 scopes, papier-mache tea-trays, hat-pegs, book-cases, 
 chairs, hair-brushes, telescopes, pots and pans, al- 
 manacs, pipes, basket-work, artificial flowers, plaster 
 casts, furs, stags' horns, measurement rules, Berlin 
 wool patterns ; all may be had in these street store- 
 houses. How much per cent, under prime cost none 
 but an advertiser would be bold enough to state. 
 
 But why all this unusual display, you ask, after 
 passing miles of stall and shop, miles of shop and 
 stall ? To answer is not difficult. The Jour de 1'An 
 is a day on which everybody in France makes pre- 
 sents. As poor as a pauper, or as stingy as charity
 
 32 ASPECTS OF PARIS. 
 
 must be the man who does not open his purse strings 
 on this joyous first of January. Be his circle of ac- 
 quaintance ever so small, he cannot pass round it 
 without the aid of his generosity. 
 
 Presents are made to everybody to-day. Presents 
 to mothers, to fathers, to sisters, to brothers, to wives, 
 to daughters, to sons, to cousins, to uncles, to aunts, 
 to nieces, to sweethearts, to mere friends and acquain- 
 tances. Ladies and children come in, of course, for 
 the lion's share. If you are on intimate terms with a 
 family, not only the younger members of that family, 
 but their mammas also, expect new year's gifts, or 
 etrennes as they are called. The cost you will be 
 put to, for these presents, is no trifle. A young man 
 of but moderate means, and with but a moderate 
 number of friends, rarely spends less than a hundred 
 francs four pounds sterling upon his etrennes. 
 People whose means are more ample, will disburse 
 ten times that sum. The amount spent every year 
 in Paris on the Jour de 1'An for toys alone, is esti- 
 mated at one hundred and eighty thousand pounds 
 sterling ! 
 
 The etrennes of the superior shops are, as a rule, of 
 the most expensive kind. A box of sweetmeats seems 
 a very simple affair, and so it is when the box is mere
 
 CHAP. IT. PAEIS ON NEW YEAR'S DAY. 23 
 
 deal, and the sweetmeats homely caraway comfits. 
 But this simplicity would not suit Parisian taste. The 
 bonbons of the Jour de 1'An are of the most luscious 
 kind ; the boxes, elaborately worked and adorned, are 
 of papier-mache, mother of pearl, or carved wood. I 
 have seen them as high as twelve hundred francs 
 forty-eight pounds sterling and there are some even 
 dearer. Very pretty presents these, as it seems to me, 
 for New Year's Day. 
 
 People generally give away these etrennes, or hum- 
 bler ones of a similar kind, with a cheerful spirit 
 and a smiling face. This is only natural. Friends 
 whom we esteem, and relatives whom we love, have 
 the key of our hearts ; and that key, as is well known, 
 unlocks our money-chest. But there are other people 
 who in no way enter into our sympathies, to whom 
 we are as it were compelled to give, and to them we 
 extend our generosity with miserly reluctance. 
 
 I have said that the Jour de 1'An is the Christmas 
 Day of France. It is the day after as well. A 
 host of persons, who have no more right to ask 
 alms of you than they have to stop you on the 
 highway, assail you now with demands for unearnt 
 money. The weak-voiced, feeble-smiling Auver-
 
 34- ASPECTS OF PARIS. 
 
 gnat, who brings you water every morning in pails, 
 after the manner of the middle ages, (such extra- 
 ordinary inventions as Water Companies and New 
 Rivers not yet having penetrated into the most civi- 
 lised capital in the world,) is perhaps at the head 
 of this black band. Then comes the charbonnier, who 
 supplies you with wood and coal ; the man who brings 
 you your paper in the morning ; the servant whom 
 you regularly pay every month for serving you ; the 
 blanckisseuse who washes your linen ; the concierge 
 who peeps into your letters, and otherwise renders 
 you important aid; the butcher boy who brings 
 you meat ; the baker boy who brings you bread ; 
 the grocer's boy who brings you grocery. Your en- 
 tire morning is spent in responding to the pitiful 
 demands of these people. If only sixty or seventy 
 francs also are spent, you may think yourself lucky. 
 
 In no place are you safe from the banditti of the 
 Jour de 1'An. Exhausted, perhaps, by the voluntary 
 acts of generosity which have been wrung from you 
 during the morning, you take refuge in your restaurant, 
 and order a dejeuner. The garcon smiles upon you 
 as you enter, he smiles upon you as you sit down, he 
 smiles upon you when you have finished your meal.
 
 CHAP. II. PARIS ON NEW YEARS DAT. 35 
 
 Nay, so amiable has he become, that he brings you, 
 unasked, an orange, which he, still smiling, trusts you 
 will accept. That orange costs you a five franc piece. 
 Your digestion being thus disarranged, you make the 
 best of your way to the cafe, and take a petit verre, 
 or a little black coffee, exactly of course as you would 
 take a blue pill or a dose of quinine. But here too 
 you meet with a smiling gar^on, who obligingly offers 
 you a cigar tied up with a piece of red ribbon. Your 
 hand is again in your pocket. For cigars cost as 
 much as oranges to-day. As a last resource you fly 
 to your reading-room, hoping to wrap yourself up in 
 a journal, and thus remain concealed. But the surly 
 attendant, who for a whole year has made you wait 
 until six o'clock for the evening papers, and who has 
 always told you that the " Debats " is engaged three 
 deep, at once spies you out, and with a smile even 
 upon his face wishes you all sorts of compliments 
 upon this most auspicious day. 
 
 You get rid of him with a heavy groan and a gra- 
 tuity by no means light, and wander forth into 
 the streets, striving to forget your indignation by 
 mingling with the happy groups you see there. You 
 are really forced to give in every direction to-day. If 
 
 D 2
 
 36 ASPECTS OF PARIS. 
 
 you are not on sufficiently intimate terms with a 
 friend to make him a more expensive present, you 
 send him your card. You leave it at his residence 
 with your own hands, supposing your politeness be 
 strong enough to support you through this act of 
 pedestrianism, and turn down one of its ends to indi- 
 cate that you have been your own messenger. But if 
 your legs refuse their office, the postman's will be 
 more obliging. To those you can make appeal. 
 There is, in fact, a special postal regulation respecting 
 cards sent through the post-office on the Jour de 1'An. 
 If they are enclosed in an open envelope they will 
 be delivered in Paris for five centimes instead of ten, 
 the usual price of a single letter. The number sent 
 in this manner is consequently enormous. The un- 
 happy postman, as may be believed, has no holiday 
 on New Year's Day. Almost from early dawn he is 
 abroad heavily laden with his pack, his pack of cards. 
 How gladly would he let some one else deal them for 
 him this day ! 
 
 We will take one more look at the city ere the day 
 wanes and the early night comes on. 
 
 It will not be a gloomy night, rest certain ; cafe, 
 cabaret, and restaurant will be filled with a merry
 
 CHAP. II. PARIS ON NEW YEARS DAY. 37 
 
 company ; the shops, even after midnight chimes have 
 sounded, will still be brilliant and bustling as the 
 last labours of the day draw to a close ; the pave- 
 ment will still echo with the tread of many footsteps. 
 
 And now, while yet an hour or two of lingering 
 light remains, how look the streets ? 
 
 They are still filled with the same crowd that 
 occupied them at noon ; the same, except that it is 
 a trifle less numerous. It is even gayer, however, than 
 before. All care, in fact, seems to have fled from 
 Paris to-day. There are no more pouting children ; 
 no more frowning wives ; no more grumbling hus- 
 bands ; no more melancholy bachelors. Cheerfulness 
 and content sit on every face. 
 
 Look ! the halt, the lame, the blind, and the 
 simply indigent have been allowed to come forth 
 into the streets without let or hinderance, without 
 police interference or restriction, to draw upon the 
 stores of kindly feeling which everywhere abound in 
 Paris to-day. Ordinarily only a certain number of 
 these poor sufferers, duly registered and ticketed, are 
 allowed to appeal for charity on the public way, for 
 even beggary in Paris is a monopoly. To-day, how- 
 ever, the trade is free. 
 
 D 3
 
 38 ASPECTS OF PARIS. CHAP. n. 
 
 Indoors, as well as out of doors, there are gaiety 
 and happiness in Paris. There is a public reception 
 at the Tuileries, and all sorts of etrennes in the 
 shape of honours and promotions will be given to 
 numerous functionaries. There is a private recep- 
 tion in every household. Friends and relatives visit 
 each other who, perhaps, have been separated by 
 distance or social position all the previous year. 
 They would not miss the warm embrace, and the 
 loving words, of the Jour de 1'An, for all the good 
 or evil fortunes that might happen during the next 
 twelve months. There will be many a gay party 
 to-night, when the visits of the morning are over and 
 the last present has been made. Many an old dame 
 will forget her years as she looks upon the happy 
 group of sons and grandsons clustering round her. 
 Back to the days so distant, but which seem so near, 
 will she turn once again ; back to the days when, light 
 of foot as of heart, she danced 'mid a merry circle, 
 gayest of the gay. Ah! when others dance now, 
 she sits all alone in her chair. But how time 
 changes us ! 
 
 If old age is happy, how much more happy is 
 youth ! Look at that glad band of little ones ! How
 
 CHAP. II. PARIS ON NEW YEAR S DAT. 39 
 
 proudly they display the beautiful gifts they have 
 received ! How they pet and hug the new doll or 
 the new gun which has been given to them ! Neither 
 doll nor gun will be safe to-night except beneath 
 their pillows, depend upon it. How lovingly they 
 prattle and play ! What fine games they have at 
 colin-maillard, main-chaude, and pigeon vole! And 
 even when sleep has fallen heavily upon their eyes 
 they will still be happy. While yet the fond mother 
 held them so securely in her arms, as they sank into 
 slumber, they had wandered far away far away to 
 scenes where even her watchful love cannot follow 
 them. What would you or I give, oh reader, to have 
 such dreams as they will have to-night? 
 
 But midnight has sounded. The happy day is 
 over. We must wait another year for another Jour 
 de 1'An. 
 
 Another year! What a sad and a gloomy time 
 we shall pass, perhaps, ere we have crossed the limits 
 of this upon which we have just entered. 
 
 Courage, courage, faint heart! A day like this 
 will shed its radiance far in advance, and light us 
 over the uncertain road we have to traverse. 
 
 D 4
 
 40 ASPECTS OF PARIS. CHAP. in. 
 
 CHAP. III. 
 
 PAEIS PENNY-A-LINING. 
 
 UNDER the title of Faits Divers, or one of kindred 
 meaning, viz. Nouvelles Diverses, the Paris papers 
 every day contain a column or more of miscellaneous 
 news distributed through paragraphs of greater or 
 less length. These paragraphs are without special 
 headings to indicate their subject, so that until you 
 have read them, or at all events glanced at them, you 
 are in ignorance upon what they treat. A strange 
 medley of information do they present to the mind ! 
 The Faits Divers department is, in fact, a sort of 
 refuge for destitute facts without a roof of their own 
 to cover them. It is a kind of museum of natural 
 curiosities, in which you will see, amongst other 
 things, all those famous phenomena with which the 
 English newspaper reader is so familiar gigantic 
 hailstones, early swallows, enormous cabbages, oldest 
 inhabitants, and abundant twins.
 
 CHAP. in. PARIS PENNY-A-LINIXG. 41 
 
 The Faits Divers column of the Paris journals 
 may be said to be a little journal in itself. The 
 manuscript news-sheet that Kenaudot put in cir- 
 culation, two centuries ago, before establishing, in 
 1631, the " Grazette," the first printed newspaper pub- 
 lished in France, did not, we may be sure, contain 
 half as much matter as this one section of the modern 
 journal. But, two centuries have developed the re- 
 sources of the French press, to an extent which the 
 remarkable, though but little known founder of that 
 press, probably little dreamt of, sagacious and far- 
 sighted as he was. 
 
 The Faits Divers column of the Paris journals 
 thoroughly deserves its name. A more diversified 
 mass of information is rarely seen out of an Ency- 
 clopaedia of Universal Knowledge or an author's scrap- 
 book. It is one incessant jumble of official facts and 
 unofficial facts ; of home facts and foreign facts ; of 
 old facts and new facts ; of facts of every size, shape, 
 colour and density. You are at first fairly confused 
 by them. As on a long and rapid railway journey you 
 are hurried through such a variety of scenes that not 
 one is fairly stamped upon the mind, so, in running 
 through the Faits Divers so many subjects are pre-
 
 42 ASPECTS OF PARIS. 
 
 sented to you that the memory gathers up none of 
 them. 
 
 You stop exhausted ere you are half way through. 
 You pause to take breath. But there is no rest for 
 you. Long before you have recovered yourself you 
 are compelled, as it were, to go on again. You are 
 hurried away, perhaps, on the back of a remarkably 
 fine specimen of the Astracan brebis just arrived at 
 the Jardin des Plantes, and carried by this animal 
 into the flooded fields of the Ardeche, you pass into 
 a new safety steam boiler of novel construction, which 
 bursts five minutes afterwards, and leaves you high 
 and dry upon the summit of Mont Cenis, where 
 shafts for the great Alpine tunnel are being sunk. 
 Descending a little, you find yourself in the midst of 
 the new harbour at Holyhead, and after recognising 
 General Walker giving orders for an immediate 
 attack upon Nicaragua, you discover that you are face 
 to face with that gluttonous Gascon ploughman, who 
 is consuming a leg of mutton, four kilogrammes of 
 sausages, and a dozen litres of wine, for a wager of a 
 new pair of sabots. Ere you have recovered from 
 your disgust, you are knocked down by a runaway 
 horse, and upon rising, find yourself before the Cor-
 
 CKAP. in. PARIS PENNY-A-LINING. 43 
 
 rectional Tribunal of Paris police, upon a charge of 
 robbing a poor old woman of twopence-halfpenny. 
 You leave the Court with unstained hands, and find 
 yourself in Smithfield market, where an infamous 
 Englishman is for the hundredth time selling his wife, 
 and thence you are immediately blown away by a 
 tremendous hurricane from the north-west, which 
 carries you off to the shores of the Bosphorus, 
 where a heavy meteorological stone, weighing seventy- 
 four pounds eight ounces, falls upon your head, and 
 rubbing your eyes, you recover from the shock, and 
 find yourself at the end of the Faits Divers! 
 
 You get used, in time, to this sort of reading, even 
 as honest Sancho became, in time, accustomed to his 
 master's strange rhapsodies. You boldly jump, from 
 incident to incident, without fearing dislocation of 
 the brain. You pass from the most atrocious murder 
 to the most amusing police case, without disturbing 
 a feature. You read, now of a fire, now of a flood, 
 now of drunkenness, now of sobriety, now of robbery, 
 now of restitution, with an unchanging cheek and 
 an untroubled eye. Your susceptibilities have be- 
 come deadened. You have crossed so many times 
 over the mountain pass, that now the rocks and
 
 44 ASPECTS OF PARIS. CHAP. in. 
 
 chasms, the glaciers and precipices, the setting suns 
 and the rising moons have lost all power over you. 
 You are case-hardened in callousness. 
 
 If, however, you would avoid falling into this state, 
 confine your reading of the Paris Faits Divers to 
 those which appear in the " Siecle" newspaper. They 
 will constantly keep your sympathies in motion, and 
 hinder you from degenerating into a moral torpedo. 
 The " Siecle " has a set of Faits Divers of its own ; 
 altogether different from those which are published 
 by its contemporaries. 
 
 Direct your observation to one or two of them. 
 Notice the surprising style in which they open. 
 What a flux of grand words ! What a lavish display 
 of learning and philosophy ! You expect, of course, 
 that something surprisingly strange is to follow. 
 But no ! These affecting homilies, these erudite 
 elucidations, these sapient observations, are pre- 
 ludes to the merest commonplace. Learning is 
 ransacked to its very lockers, in order to make you 
 acquainted with a lover's quarrel. Quotation is rifled 
 of its most secret treasures, in order to explain to you 
 how a market-woman fell from her horse. 
 
 Let us take an example. Here is the commence-
 
 PARIS PENXY-A-LINING. 
 
 ment of a paragraph among the Faits Divers v, 
 "Siecle" of Monday, July 6th, 1857. Pay deep 
 attention to it, I beg. 
 
 "Woman, in becoming the companion of man, 
 ought, if she would worthily fulfil her mission, to 
 be ready to share with him, good as well as evil 
 fortunes ; adored idol, who in prosperous times en- 
 joys all the pleasures of private life, who is spared 
 all the anxieties of business, she should, when ad- 
 versity seats itself upon the domestic hearth, descend 
 from her pedestal, and take part, to the extent of her 
 powers, in the struggle to be sustained. Unfortu- 
 nately, the education of young girls is not always of 
 a kind to prepare them for the adverse eventualities 
 of existence ; surrounded, sometimes, by people who 
 flatter their vanity, they are too often accustomed 
 from infancy to believe themselves important person- 
 ages, so that become wives, everything is for the 
 best while affairs prosper ; they love their husbands 
 while the balance sheet is good ; but as soon as busi- 
 ness fails as soon as the ruinous fancies to which 
 they have been habituated must be dismissed, they 
 are the first to cry Every one for himself, and to
 
 46 ASPECTS OF PAKIS. 
 
 give the signal for disorder, in provoking a separation. 
 What devotion." * * * * * 
 
 Now what do you suppose all this moralising, 
 all this four-penny philosophy is the prelude to? 
 Simply, to a meagre narrative, which may be thus 
 briefly told: A young couple go to Bolivia to 
 establish a business on their own account there. 
 The husband spends all his wife's dowry and then 
 fails ; thereupon, husband and wife return to France. 
 The former takes a situation as clerk to the employer 
 he has formerly served. The latter goes to her 
 friends. When fairly fixed in his position, the hus- 
 band writes to his wife to join him. She refuses, 
 saying, that when he has earned back the sum she 
 brought him in marriage, she will again become the 
 partner of his fortune. This is all. There is not an 
 incident more or less, I assure you. 
 
 Now if these twaddling philosophers were really 
 worth criticism, I would ask the writer of the lines 
 just quoted, what especial reason he has for making 
 the circumstance narrated in those lines the theme 
 for his jeremiades against woman. I would ask him 
 why he so bitterly assails the whole sex because one 
 of its members has a prudent heart. I would men-
 
 CHAP. in. PARIS TENNY-A-LINING. 47 
 
 tion as a curious fact, that if women sometimes 
 refuse to answer at the call of misfortune, men, 
 far more often, are equally silent. I would advise 
 him, quite in a friendly manner, to ruin himself, in 
 order to see whether the reception accorded to him 
 then by his friends, would be much influenced by 
 the difference of their sex. I would intimate, that 
 when it was generally known his last penny had as 
 positively departed, as the summer of a previous 
 year, the sympathy accorded to him, under these 
 distressing circumstances, by Mr. Largeheart, would 
 be quite as tepid as that of Mrs. Tendersoul. I 
 would do all this, I say, if I thought the lines under 
 discussion, were really worthy of such attention on 
 my part. 
 
 But who stops to criticise the rhetoric of a show- 
 man, or the syntax of a potboy ? Why then should 
 I trouble myself, or my readers, with the ethics of a 
 French penny-a-liner ? 
 
 Let us pass on. 
 
 Here is a specimen of erudition taken from the 
 Faits Divers of the same journal, and bearing date 
 27th of January, 1857. We must do our best to bear 
 up under its heavy load of learning.
 
 43 ASPECTS OF PARIS. CHAP. in. 
 
 "On the 21st of June the hemisphere we inhabit 
 having arrived at its highest point of inclination 
 towards the sun, the rays of that planet fall per- 
 pendicularly upon the Tropic of Cancer, and are 
 projected to the bottom of a well, sunk in old days 
 by the Egyptians, under the tropical line, so as to 
 recognise in a precise manner this astronomical 
 epoch. It is on that date you see at Tornea, the day 
 without night, for on that date, the sun does not 
 set in the countries under the sixty-sixth and a half 
 degree of northern latitude ; whilst, on the contrary, 
 it does not rise in the countries under the sixty-sixth 
 degree and a half of austral latitude ; it is, in fact, 
 the summer solstice for our hemisphere, and the 
 winter solstice for the regions situated on the other 
 side of the equator." 
 
 This is tolerably overwhelming, but it is nothing 
 to what follows : 
 
 " From remotest antiquity, this season of the year 
 has been celebrated in our climates by rejoicings, 
 by religious fetes, and especially by bonfires, the 
 custom of which in certain districts has been perpetu- 
 ated to our own time. In various parts of Ofascony, 
 of Auvergne, of Perche, &c., nocturnal expeditions,
 
 PARIS PENNY- A-LINING. 49 
 
 for gathering sacred herbs, which are to preserve 
 cattle from all diseases, still take place as in the 
 time of the Druids; whilst upon the nearest emi- 
 nence of the village, lads and lasses dance around 
 the symbolic flame. In some parts of the Pyrenees 
 the cure still goes in procession to light the solsticial 
 fire, as did the priest of Diana twenty centuries ago 
 for the celebration of the Greek lacphries. Chris- 
 tianity has simply retarded some days these tra- 
 ditional fetes, and placed them under the patronage 
 of St. John." 
 
 Divine, ! reader, if you can, to what modest 
 ending all this gaudy learning conducts. You 
 would never guess, I fancy, though your powers of 
 penetrating mystery might equal those of a Poe or 
 a D'Argenson. Well, then, the conclusion of these 
 heavily laden lines merely shows how a tipsy farmer, 
 after passing the night under a heap of newly made 
 hay, was found dead next morning, suffocated by the 
 gaseous exhalations which had arisen from it ! Was 
 it worth while to give so plain a tale such an ornate 
 introduction? We might just as well place the Arc 
 de 1'Etoile as entrance gate to a dunghill ! 
 
 Another specimen and I have done. 
 

 
 50 ASPECTS OF PARIS. CHAP. in. 
 
 " What especially distinguishes the epoch in which 
 we live from the previous periods of history," (says 
 our editor in his number of the 13th of July, 1857,) 
 " is the tendency of all the civilised people of the 
 globe to naturalise amongst them the families of 
 foreign animals and exotic plants, which may suit 
 them ; what also distinguishes it, are the researches 
 everywhere made in order to render useful, pro- 
 ducts hitherto neglected. Such efforts can only be 
 applauded, for this geographical exchange of the 
 various resources of the earth must necessarily 
 ameliorate the condition of man." 
 
 This, although pompous enough, is more allowable 
 than the preceding, since it is the prelude to ob- 
 servations in which, amongst other things, is shown 
 the desirability of introducing the ostrich into the 
 Paris poultry market as an article of food ! To judge 
 by the toughness of some of the birds continually 
 found there, we might suppose that this measure 
 had long since been adopted. 
 
 But there are other Faits Divers of the " Siecle " 
 upon which a few words must be said. 
 
 Some years ago it suddenly became the fashion 
 to publish novels piecemeal in the Paris newspapers,
 
 CHAP. in. PARIS PENNY-A-LINING. 51 
 
 a small portion appearing each day until completion 
 of the whole. They occupied, as they still occupy, 
 the feuilleton, or rez-de-chaussee of the journal, as it is 
 sometimes called ; that is, the bottom part of the first 
 and second pages, which until then had been devoted 
 to periodical criticisms on literature and art. The 
 success was instantaneous and general. A short 
 story, by Alexander Dumas, recording the adventures 
 of the celebrated Paul Jones, procured for the paper 
 in which it appeared five thousand new subscribers. 
 People ran mad with delight at the novels intro- 
 duced into the journals. In Paris as in the provinces 
 nothing was talked of but this and that hero and 
 heroine of the feuilleton. When, by any accident, 
 the paper in which their adventures were contained 
 did not reach country districts at the usual hour, the 
 whole of the reading public was in a ferment. The 
 popularity of the feuilleton novel reached its climax 
 when Eugene Sue received one hundred thousand 
 francs for his "Wandering Jew," after Alexander 
 Dumas had been engaged by the " Siecle " to con- 
 tribute to that paper one hundred thousand lines of 
 fiction a year, at the remunerative rate of a franc and 
 a half per line ! 
 
 E 2
 
 52 ASPECTS OF PARIS. 
 
 For some time past the feuilleton novels have 
 been losing their attraction. In the country they are 
 still read with a certain amount of interest, and the 
 frequenters of the cafes talk over their incidents with 
 as much avidity, as people talk over politics in Eng- 
 land. But in Paris they are read with some little 
 languor. The popular taste has become cloyed by 
 satiety. It asks for something new to tickle its 
 drowsy senses. 
 
 Well ! the " Siecle," not content with publishing 
 novels in its feuilleton, publishes them in its Faits 
 Divers column also. Almost all the Paris journals 
 resort to somewhat similar means in order to amuse 
 their readers. Thus the "Pays," the "Patrie," the 
 " Courrier de Paris," &c., publish every day an article 
 called the " Chronique du Jour," or " Chronique de 
 Paris," filled, oftentimes, with stories which you would 
 as soon expect to meet with in a table of logarithms 
 as in a paper of news. Even the " Droit " and the 
 " Grazette des Tribunaux," staid legal organs as they 
 are, frequently give reports of police cases, worked 
 up in such a comic style that they might be added as 
 supplements to the works of Joe Miller and Hilaire- 
 le-Grai. French newspaper readers are so difficult to
 
 CHAP. in. TARIS PENNY-A-LIXIXG. 53 
 
 please! They must have works given to them, as 
 prizes, by the journal to which they subscribe. The 
 journal must contain a novel. It must dress up its 
 facts in fictitious clothing ! In England, you see, we 
 are terribly behind the age. Our newspapers con- 
 tain merely news and comments thereon. They 
 manage these things differently in France. 
 
 The " Siecle," as I have said, outstrips all its con- 
 temporaries by giving novels among its Fails Divers. 
 They are not very long, of course, yet they have all 
 the features of their more voluminous brethren. 
 They open with that bold abruptness in which 
 French writers of fiction love to commence their 
 works. They are full of sudden turns and surprises. 
 They end according to the good old orthodox rules of 
 French romance. 
 
 Let us take one of these miniature novels. You 
 will find it in the " Siecle " of the 24th of May, 1857. 
 It bears no title in the original, but it would be dis- 
 courteous to introduce it nameless into good company, 
 let us therefore call this little work, for want of a 
 better and more appropriate title, something as 
 follows : 
 
 E 3
 
 54 ASPECTS OF PARIS. CHAP. in. 
 
 THE FAITHLESS SOLDIER; 
 
 OB 
 
 THE CONSCRIPT'S RETURN. 
 
 ''ON the morning of the 10th of last April, a 
 young soldier, knapsack on back, cane in hand, 
 and happiness painted on his face, issued from 
 the terminus of the Strasburg railway, and with ac- 
 celerated step proceeded by the Boulevards to the 
 quarter of St. Martin. ' Hey day ! ' said the jokers, 
 as he passed, * what has he to be so pleased about ? 
 Does he carry a marshal's baton in his knapsack ? ' 
 A marshal's baton ! As if our honest fellow was 
 thinking of such a thing ! He had something better 
 than that in the little tin case hanging at his side. 
 He had his discharge there. 
 
 " This joyous trooper was Charles E , returning 
 
 from service, and who, before going to embrace his 
 brother, the sole relative left to him, ran straight to 
 his good Catherine, who had waited for him seven 
 long years. Some moments later, the liberated 
 soldier rang at the dwelling of the widow Gr }
 
 CHAP. nr. PARIS PENNY-A-LINING. 55 
 
 mother of his well-beloved; and soon after, the said 
 lady, the dear sweetheart, and her sister, welcomed 
 the traveller with exclamations of surprise and joy, 
 and with never-ending embraces ; but, strange cir- 
 cumstance ! scarcely had he entered than the young 
 man, an instant before so gay, became absorbed, 
 dreamy, almost sorrowful. The fact was, the 
 sister, younger by some years than Catherine, and 
 who, the last time Charles had seen her, was an 
 ugly dirty-skinned little wench (by the side of whom 
 the soldier's betrothed contrasted marvellously), 
 had now become a very pretty lass, with a dark 
 complexion, a slender figure, a limpid look, whilst 
 poor Catherine bore upon her face the traces of the 
 years she had passed in waiting for her lover. 
 
 "The next day, and the following days, when 
 Charles K visited these ladies, he occupied him- 
 self much less with the good Catherine, than with 
 the pretty sister, whom he madly loved, and whom 
 this preference did not in the least appear to 
 vex; but how admit to Madame Gr and his 
 intended the change which had taken place in his 
 heart? At last, after having much reflected, and 
 hesitated a long while, he thought, one fine day, that, 
 E 4
 
 56 ASPECTS OF PARIS. CHAP. in. 
 
 after all, there was no great harm in preferring one 
 to the other, since his affection did not go out of the 
 family : he bravely, therefore, took his resolution, 
 and communicated to the widow the change that 
 
 had befallen his heart. Madame Gr , who, like 
 
 a good mother, loved her two daughters equally, would 
 only give her consent on condition that Catherine 
 relinquished her rights; but as, after being con- 
 sulted, she released the young man from the pro- 
 mise he had made, all seemed to fall out for the 
 best, and preparations for the marriage, which was 
 to take place on the day before Whit Sunday, were 
 hurried on. 
 
 " The day before yesterday, at evening, the young 
 man, while paying these ladies his daily visit, pro- 
 posed a turn upon the Boulevards, which the younger 
 of the two sisters and the mamma readily accepted ; 
 as to Miss Catherine, she excused herself, alleging 
 a violent headache, and remained at home. 
 
 "About two hours after, Madame Gr and her 
 
 daughter, seeing no light in the house when they 
 returned, and hearing nobody stirring in the chamber 
 of Catherine, imagined she was asleep, and opened 
 the door in a manner to avoid waking her: but
 
 CHAP. in. PARIS PENNY- A-LINING. 57 
 
 they instantly perceived that so much precaution was 
 useless, for the poor girl, reposing in the midst of an 
 atmosphere overcharged with carbonic gas, slept an 
 eternal sleep." 
 
 As a companion to this doleful tale, let me now 
 present an equally interesting work of fiction from 
 the same collection. It is also in a mournful tone. 
 The comic element, indeed, enters comparatively 
 seldom into the composition of these Faits Divers. 
 Humour, unless flavoured with a piquant Palais Eoyal 
 sauce, seems fade and tasteless to the public palate. 
 Strong agony rather than strong laughter is what 
 the Parisians relish. 
 
 The tale which follows appeared in the " Siecle " of 
 the 17th June, 1857, as one of the Faits Divers. As 
 before, I have added a title to it. I have also 
 divided it into three chapters, in accordance with the 
 halting points in the narrative left by the author. 
 I trust he will kindly excuse these few liberties 
 which I have taken with the arrangement of his 
 work. I have altered nothing else. Here is the 
 interesting romance in question :
 
 58 ASPECTS OF PARIS. 
 
 VIRGINIA THE FALSE ONE; 
 
 OE THE 
 
 FEARFUL MYSTERY OF THE CARPENTER'S CELLAR. 
 
 CHAPTER THE FIRST. 
 
 THE DEPARTURE. 
 
 " Mais j'avais une amoureuse ! 
 Oil done est elle ? 
 Ah ! j'entends, je comprends, 
 Ah ! quel plaisir d'etre soldat," &c. 
 
 (La Dame Blanche.) 
 
 " IT is not, be assured, only in operas that the soldier 
 is exposed upon his return to find his place taken in 
 the heart of the fair one; for in love as in other 
 things the absent are always in the wrong and it 
 would be desirable that every supplanted poor devil 
 should take the matter as gaily as the soldier so 
 melodiously sung by Boieldieu. 
 
 " ' Grood bye, dear Virginia,' said a young lad of 
 twenty, as he embraced a pretty brunette of eighteen 
 before the door of the military bureau of the Kue 
 Cherche Midi ; * good bye ; courage, my darling ! ' 
 * Grood bye, my own dear Alexis,' replied the young
 
 CHAP. in. TAKIS PENNT-A-LIXING. 59 
 
 girl, sobbing as though her heart would break ; * good 
 bye, do not forget me, or I shall die, for I love you, 
 oh ! I love you with an eternal love.' 
 
 " The young man, who has all the trouble in the 
 world to restrain his tears, presses the desolate maiden 
 once more in his arms, asks her for the parting kiss, 
 enters the court, and takes his place at the rear of a 
 detachment of conscripts ranged in two files. Some 
 minutes later the detachment set off to join a regi- 
 ment in garrison at Strasburg. This took place in 
 1850. 
 
 " Alexis D was a worthy young carpenter who 
 
 was to be the husband of Miss Virginia P , the 
 
 niece of his employer; but he had not yet been 
 drawn for the army ; he was obliged to wait for the 
 conscription; and when it came, fate showed itself 
 unfavourable; seven years must pass over before he 
 could execute his matrimonial project; hence the 
 sorrow of the young girl; hence her promises of 
 eternal affection. But eternity in love is a week, 
 a month sometimes a little more but seven years 
 'tis extra-eternal."
 
 60 ASPECTS OP PARIS. 
 
 CHAPTER THE SECOND. 
 
 THE RETURN. 
 
 " POOR Alexis was completely ignorant of this ; so that 
 when, ten days ago, he returned to Paris with his 
 discharge, he was much surprised to learn that 
 Virginia was married and mother of two children. 
 ' But it is not possible,' said the worthy fellow to 
 the concierge of the house when these details were 
 given him. * It is all true, however, but if you 
 doubt it go to her uncle's, and you will see her there 
 with her husband.' l After all, I ought to have 
 expected so from the day she no longer replied to 
 my letters, but that's no reason why I shouldn't go 
 and say, How are you? to the master.' And the young 
 man threaded the passage which leads to the court 
 where the workshops of the uncle of the faithless one 
 are situated; but judge of the astonishment of the 
 concierge, when, the same day, having asked the 
 young wife, the soldier's former sweetheart, if she 
 had seen Alexis, she replied negatively ! e Dear me 
 why where can he have gone then?'
 
 CHAP. in. PARIS PENNY-A-LINING. 61 
 
 CHAPTER THE THIRD. 
 
 THE DISCOVERT. 
 
 " MR. X , a house carpenter, has in the passage 
 
 which leads from his workshops to the street, a sort 
 of cellar under the staircase, a vast and gloomy 
 place in which shavings, &c. are thrown, and which 
 is closed by a latch working by means of a string. 
 The apprentices of the establishment charged with 
 carrying to this place the sweepings thrown there, 
 complained for some days of the strange smell which 
 issued from it, and this smell becoming more and 
 more insupportable, one of them, in spite of the ex- 
 press prohibitions of the master, ventured the day 
 before yesterday to enter with a candle, and upon 
 arriving, almost dropped his light amongst the com- 
 bustible matter, at sight of a livid corpse hanging 
 from the wall. 
 
 " Mr. X , having been immediately informed of 
 
 this singular discovery, hastened to verify the fact, 
 and was much astonished upon recognising, in spite of 
 its state of decomposition, that the corpse was that of 
 his former workman, the one-time sweetheart of his 
 niece."
 
 62 ASPECTS OF PARIS. CHAP. m. 
 
 I don't think I very seriously object to a 
 little fiction in the columns of a newspaper, when 
 facts run short or grow dull. There are times when, 
 wearied with prosy records of the world's prosy 
 doings, the mind turns almost gratefully to the 
 strange and marvellous. Tell us then of the ma- 
 rine monster, stranger than Trinculo's, whose tail 
 was seen off Newfoundland while his head was the 
 object of scrutiny in Cornwall. Tell us of the re- 
 markable Spanish cat that has given birth to seven 
 little leverets at a sitting ; or of the single grain of 
 Egyptian wheat that in one year has yielded two 
 bushels of barley ! Tell us of these things, and 
 you do no great harm perhaps. But there are 
 themes which it is as well not to touch upon too 
 often in sport, and the themes of these Faits Divers 
 are of them. 
 
 When that happy monarch Louis XVIII. amused 
 himself by inventing canards for the " Nain Jaune," 
 and its companions, he was generally contented 
 with a Vampire or a Monster ; though, as we know, 
 he once went so far as that celebrated Chilian 
 Harpy, with two tails, "one having joints to the 
 extremity, in which the prey of the animal can be
 
 CHAP. in. PARIS PENNY-A-LINING. 63 
 
 enveloped; the other ending in a very sharp dart, 
 with which, it is said, it can pierce this prey." 
 
 If the French canard writers whose works we are 
 considering, followed this royal example, they might 
 simply be handed over for punishment to the 
 Society for the Diffusion of Useful Knowledge, and 
 not another word need be said upon the matter. 
 But, unfortunately, they almost always surround their 
 inventions with a black border. They inspire their 
 fancy with a skull and cross bones. They are not 
 satisfied with any subject that does not lead them to 
 an unhallowed tomb. 
 
 In both the illustrations I have given, the cata- 
 strophe is the same suicide. I take another ficti- 
 tious fact. 
 
 It opens like a pastoral. The sun is shining 
 brightly, the birds are singing, the trees are heavy 
 with summer blossoms, the fields are alive with 
 happy youth, nature is gay, and man is glad. Sud- 
 denly a shadow falls upon the scene. A man climbs 
 a tree, and hides amid the branches. There is con- 
 sternation in the neighbouring village next day. 
 Where is the blacksmith ? He is missing. He can- 
 not be found. An idler who has witnessed the
 
 64 ASPECTS OF PARIS. 
 
 incident at the tree casually mentions it. ' Tis he ! 
 The tree is reached ! The blacksmith is hanging 
 dead from one of its branches. Suicide. 
 
 I turn to another. A pretty coquette wins by her 
 cajoleries the heart of a neighbour, an honest young 
 workman. Her conquest assured, she is satisfied. 
 She pays no further attention to the young man, and 
 engages herself in marriage to some one else. On 
 the bridal day, the curtains of her neighbour are 
 observed to be closed, though the hour is late. 
 Search is made. The broken-hearted lover is found 
 hanging from the ceiling. Suicide. 
 
 Why this constant devotion to a terrible theme ? 
 Why this harping on the death string ? Is suicide 
 such a useful discovery that we need have experi- 
 ments with it every day ? 
 
 The moral effect of all this is bad. The more 
 intelligent readers of the Paris journal may be un- 
 affected by such stories, but the half educated, to 
 whom they are specially addressed, must suffer. 
 Ideas of suicide are kept constantly floating upon the 
 popular mind. What the melodramatic novel leaves 
 undone these Faits Divers finish. People accus- 
 tomed to meet with Suicide at every corner of their
 
 CHAP. ill. PAEIS PENNY-A-LINING. 65 
 
 reading, soon salute it as a familiar acquaintance. In 
 time comes the morbid desire to listen to its in- 
 sidious counsels. By far too many young French 
 people seem to think that the gates of death 
 are the only means of escape from trouble, which 
 their own imprudence, or the precocious indulgence 
 in ill-regulated affection, may have led them into. 
 They cherish this idea ; it becomes a part of their 
 creed ; they allow it to strike deep root into their 
 minds. The noxious plant grows apace ; it buds 
 and blossoms; its branches become heavily laden; 
 and then Death steps in and gathers the fruit.
 
 66 ASPECTS OF PARIS. CHAP. iv. 
 
 CHAP. IV 
 
 THE CLIFFS OF BELLEVILLE. 
 
 WHEN the visitor in Paris has grown a little weary of 
 sight seeing, as all visitors sooner or later will ; when 
 guide-book objects of attraction have begun, from 
 their very multiplicity, to fatigue him, and his eye 
 has been over gratified, it may be, by gazing on too 
 much beauty, he will oftentimes be glad to seek re- 
 lief from the feelings of satiety which oppress him, 
 by leisurely sauntering, almost without object, in and 
 about the splendid city which has claimed his pre- 
 sence. While thus idly occupied, I should like to 
 propose to him a visit to the Butte de Chaumont, or, 
 as I have chosen to translate it, the Cliffs of Belle- 
 ville. 
 
 And I would, by preference, offer my proposition 
 on some evening when the moon only appeared at 
 intervals, amid a host of rushing clouds, and the stars 
 merely showed themselves for a few minutes at a time,
 
 CHAP. IV. THE CLIFFS OF BELLETILLE. 67 
 
 and then timidly withdrew, as though Afraid of 
 coming storms. An evening when dazzling brilliancy 
 is succeeded by cloudy gloom which by contrast 
 seems even more gloomy. 
 
 " Half an hour's walk from the Porte St. Martin 
 will take us to the Butte," would be my careless re- 
 mark; and during the journey I should artfully keep 
 up an animated conversation, so as to make the dis- 
 tance seem even shorter. On a sudden, after we 
 had traversed several streets more or less dingy 
 and uninviting ; passed through one of the barrier 
 gates ; ascended a very gentle acclivity, and found 
 ourselves upon open ground, I would stop and an- 
 nounce that we had arrived at our destination. 
 
 If my companion did not evince some little sur- 
 prise at the scene before us, I should consider him 
 even more devoid of sensibility than that motionless 
 monarch which the discontented frogs obtained in 
 the good old days of ^Esop. 
 
 Eemember ! we are but half an hour's walk from 
 the very centre of Paris ; but five minutes' walk from 
 one of its octroi gates. A few minutes since, and 
 we were upon a fashionable and crowded promenade, 
 upon one of the main Boulevards of the city, amid
 
 68 ASPECTS OF PARIS. 
 
 the glare.of glittering shops and palace cafes, more 
 spacious and more splendid than halls of state. 
 Now, where are we ? 
 
 We might be on some lonely and rugged coast, 
 far away from all human habitation, except, perhaps, 
 the cottage of the fisherman, or the sea cavern of 
 the smuggler. But there is no sound of dashing 
 waves beneath ; no roar of waters, maddened by the 
 stern resistance of unyielding rocks. All is calm and 
 still. Yet no ; there is a distant hum which falls 
 lightly but steadily on the ear. 'Tis but the hum of 
 the great city from which we have just emerged. 
 There, the waves of a troubled sea are for ever beating. 
 
 We might be in some mountain district, where 
 crag and rock and fissure frown upon us at every 
 step with a grim inhospitality that seems to warn us 
 back. But we have climbed no winding paths, 
 toiled up no steep ascent, scarcely risen more than 
 a few steps from the low level of St. Denis's plain. 
 We are not among the mountains, we are not upon 
 the coast. We are simply at the Butte de Chauinont, 
 on the summit of which stands the Parisian suburb 
 of Belleville, connected with the capital by con- 
 tinuous lines of streets. Yet the scene is a strange
 
 CHAP. iv. THE CLIFFS OF BELLEVILLE. 69 
 
 one. In front of us, standing up, like a huge high 
 wall, is a lofty perpendicular cliff, bleak, bare, and 
 barren, without a tree or shrub to hide its nakedness. 
 Here and there it is jagged and broken, and by the 
 changing light of the moon we seem to see clefts, 
 down which perchance the torrents of winter roll. 
 All around us the ground is torn and split, as 
 though by some strong convulsion of nature. Pre- 
 cipitous rocks appear to rise in every direction, 
 separated by narrow passes and mimic valleys, 
 through which we can make our way. 
 
 We enter these gloomy defiles, and, mounting one 
 moment, descending the next, find ourselves now 
 upon the very edge of some precipice over which the 
 shadow of night has fallen, and which seems to dive 
 down unmeasured depths into the obscurity below : 
 and in a few minutes, we are closely shut in between 
 two barrier rocks, which rise above us, and hide from 
 our view the scene around. Still mounting, still 
 descending, the moonbeams lighting us onward for 
 an instant, and then leaving us in sullen gloom, we 
 arrive upon the very summit of the cliffs. There, 
 let us tarry awhile and draw breath. Let us gaze upon 
 the vast city-ocean beneath, stretching away with its 
 
 F 3
 
 70 ASPECTS OF PARIS. 
 
 glimmering lights into the far distance, where the 
 sky and the earth seem to have drawn together in a 
 loving embrace. Let us listen to the strange 
 muffled sounds which still arise from the busy streets 
 we have so lately quitted. Let us endeavour to 
 muse away our astonishment upon finding so wild 
 and picturesque a spot, unknown to guide books, yet 
 within bowshot of the city walls. 
 
 In all fairness it must be stated, that the Butte de 
 Chaumont looks much more wild and much more 
 picturesque when seen by the poetic light of the 
 moon, than when seen in the broad open day. If 
 we visit it to-morrow morning, some hours after the 
 sun has risen, and when the labours of industry have 
 everywhere long since commenced, we shall find its 
 aspect very different from that which so astonished 
 us on the previous evening. 
 
 What we looked upon as evidences of a convulsion 
 of nature are only evidences of the energy of man. 
 The little hills and valleys we wandered amongst have 
 been formed by excavations, and the earth arising 
 therefrom. The perpendicular cliff owes its existence 
 to the quarryman's pick-axe. There is no disguising 
 the fact. The Butte de Chaumont is simply a rather
 
 CHAP. IV. THE CLIFFS OF BELLEVILLE. 71 
 
 i 
 
 steep hill, which has been sadly cut to pieces for the 
 purpose of obtaining the stone from which plaster of 
 Paris is made. Our lonely coast and mountain dis- 
 trict prove, you see, to be merely a quarry. 
 
 No matter ! Even as a quarry, the hill is not un- 
 worthy of a visit, though seen with all its blemishes 
 exposed by the pitiless sunlight, and recognised, by 
 unmistakeable evidences, as the working place of busy 
 activity. 
 
 Its cliffs are really of great height ; they are bare ; 
 they are precipitous. The ground all around them 
 has an air of wildness, not to say of desolation. 
 It is broken, too, in every direction, and mound after 
 mound of crag-like form stretches along for some 
 half mile before the eye. The picturesque beauty 
 we saw here last night has vanished with the moon- 
 beams which created it ; but, on the other hand, the 
 scene has gained a certain bleak, and almost saddening 
 cheerlessness, which was not previously visible. 
 
 But it is time, perhaps, that I should state the 
 exact position of the Butte de Chaumont, for the 
 benefit of such of my readers as may at any time 
 experience the desire to visit it. It is situated, then, 
 just outside the Barriere de Pantin, at the northern 
 
 F 4
 
 ASPECTS OF PAEIS. 
 
 extremity of the capital. As you pass through that 
 barrier from the city, the first turning on the right 
 will lead you in a few minutes to the spot I am 
 attempting to describe. If, however, you proceed a 
 little further down the main line the Rue d'Alle- 
 magne which leads from the barrier, and quit it from 
 the right, by the Eue de Crimee, you will reach the 
 Butte from a point which better enables you to take 
 in all its features. 
 
 You will see that the street you ascend immedi- 
 ately after leaving the Eue d'Allemagne rises from 
 that thoroughfare with the regular slope of an in- 
 clined plane, and that the hill which it traverses has, 
 to the right, been cut away inch after inch by the 
 quarryman, until now, in one particular spot, a per- 
 pendicular wall of earth and stone, of from one hun- 
 dred and twenty to one hundred and fifty feet in 
 height, marks the extent of his inroads, and seems to 
 check his further progress. That wall is the high 
 cliff we have seen. Even by daylight the scene, as 
 you wind up to the summit of this cliff by the broken 
 ground connecting it on one side with the street, is 
 far from unpicturesque. At your feet is the useful 
 little railroad which links together all the Paris lines
 
 CHAP. IV. THE CLIFFS OF BELLEVILLE. 73 
 
 by a circuitous route outside the walls of the city, 
 and within its fortifications. Undaunted by the 
 huge obstacle before it, this railway boldly plunges 
 under the very foundations of the Butte, tunneling 
 its way in gloomy darkness to more level ground. 
 Just beyond the iron road, the unproductive stone 
 and earth which the quarrymen have displaced, and 
 for which they have no use, is being piled up into 
 mounds or hillocks, that every day grow larger and 
 take new form. 
 
 Little tramways have been laid down from the 
 open passages of the cliff, where the spade and the 
 pick are still at work, and along these sloping ways 
 of communication loaded wagons are running by 
 the mere force of their own impetus. Well may they 
 each have a boy to control their speed, for otherwise 
 it would necessarily be that of the charger. But the 
 little conductor cautiously keeps his hand upon the 
 break, and takes good care to properly regulate the 
 pace of his self-moving carriage. When this car- 
 riage returns, although entirely empty and unoccu- 
 pied, a good stout horse will have tough work to 
 draw it to the place it left with such easy rapidity a 
 few minutes before.
 
 74 ASPECTS OF PARIS. CHAP. iv. 
 
 Now that we have fairly mounted to the summit 
 of the hill, we may go, if we please, to the very edge 
 of the precipice and look beneath. But the feat 
 might be dangerous. The owner of the land, you 
 see, has placed a wooden railing at the particular 
 spot which tempts us, and means it as a warning to 
 adventurous curiosity. Besides, the soil is under 
 cultivation, and the plough is furrowing its surface. 
 We cannot reach the brink without disfiguring the 
 symmetrical lines which the careful husbandman has 
 just traced. Ascending paths in the background 
 will take us, however, over the top of a portion of 
 the hill, and then, descending on the other side, 
 we shall see the full extent of the quarryman's 
 operations. 
 
 A goodly slice, indeed, has he in the course of 
 years carried off from the eminence we have just 
 traversed. One side of that eminence has been 
 almost entirely cut away at this point, and the 
 ground it occupied would be completely level but 
 for the deposits of earth and clay which have been 
 cast here and there, and the unfinished excavations 
 which, in various places, have been made. It was 
 these mounds, grim, bare, and devoid of all vegeta-
 
 CHAP. iv. THE CLIFFS OF BELLEVILLE. 75 
 
 tion, which assisted in giving the spot its wild and 
 picturesque air when seen by the light of the moon. 
 
 In the immediate neighbourhood of the great cliff, 
 at its base and sides, the principal and most active 
 labours of quarrying are going on. Here men are to 
 be seen in bands of two and three and four, bravely 
 attacking the stubborn earth, and compelling it to 
 yield up its treasures. Here, too, the ground is being 
 excavated to a very low level, so that the spot 
 threatens in process of time to become a gigantic 
 hole, with sides of very unequal height. It is at 
 present a little valley; perfectly land-locked, per- 
 fectly secluded and desolate. When you are fairly 
 at the bottom of it, not a house, not a sign of human 
 habitation is to be seen. You might fancy yourself 
 a hundred miles from Paris, as you look around at 
 the rugged walls of earth and stone which hem you 
 in. There are caverns, too, where the quarrymen 
 pursue their toil, which add new features to the scene. 
 Already, however, the place begins to resemble, some- 
 what, a famous china clay pit which I remember to 
 have seen near St. Austell in Cornwall, and which, 
 according to a tradition in the neighbourhood, was 
 once worked by the Phoenicians. " Finishers " they
 
 76 ASPECTS OF PARIS. 
 
 are called by the mining people, and it was in fact 
 the " Finishers " who " began " the hole, they pun- 
 ningly say. 
 
 The Butte de Chaumont, from its desolate and 
 grim appearance, has long been a favourite haunt of 
 the Paris artists, as the jagged hill of Montmartre 
 used to be, in days when it was less thickly covered 
 with buildings than at present. 
 
 I don't suppose the Belleville cliffs would exactly 
 supply studies for coast scenery or Alpine passes, any 
 more than I suppose St. James's Park capable of 
 furnishing designs for English landscape. But I 
 fancy they offer strange combinations of form, which 
 an imaginative mind might, in the absence of more 
 striking objects, turn to good account. Painters 
 can't live amongst Apennines or Pyrenees all their 
 days, unless fate has fixed them there. When they 
 dwell in such a city as Paris, they may think them- 
 selves fortunate in finding, within easy reach of their 
 atelier, such very unpretending eminences as the 
 Butte de Chaumont. I know a French artist of 
 high standing who constantly wanders there, and 
 makes sketches of the changes that take place. He
 
 THE CLIFFS OF BELLEVILLE. 
 
 finds his profit in this, we may be certain, or he 
 would not continue it. 
 
 The view from the summit of the Butte de 
 Chaumont is very extensive on a clear day. The 
 eye on one side wanders over a diversified landscape, 
 of which the foreground is filled up with some of the 
 straggling suburbs of Paris screened behind a smoke 
 curtain, and the background, with the fields and hills 
 which, in the far distance, close up the scene. Just 
 behind long lines of buildings that seem to sidle up 
 to its very buttresses, that old historic monument, 
 the Cathedral of St. Denis, may be discerned. But, 
 seated low down upon a wide-stretching plain, and 
 almost hemmed in by other edifices, it forms a 
 very insignificant feature of the landscape. At the 
 eastern end of the cliffs you look straight down upon 
 Paris itself, commanded as it were on the left hand 
 side by the Cemetery of Pere la Chaise, and on the 
 right by the hill of Montmartre. Between these two 
 prominent objects, there is one dark mass of build- 
 ings, with spire and steeple, turret and dome, 
 column and chimney, rising above them, and reliev- 
 ing the dull uniformity of roof and housetop. There
 
 73 ASPECTS OF PARIS. CHAP. rv. 
 
 is no one building which stands out from the rest as 
 the grand old Cathedral of Cologne stands out from 
 the churches and houses which encircle it. But, 
 nevertheless, the eye soon distinguishes the two 
 massive towers of Notre Dame, the domes of the 
 Pantheon, Val-de-Grace, and Invalides, and the tow- 
 ering Arc de 1'Etoile, all proudly rising above the 
 edifices around them, and forming distinctive objects 
 in the vast panorama of the grand city. Next in 
 extent and variety to the views of Paris from Pere la 
 Chaise and Montmartre, unquestionably is that ob- 
 tained from the Butte de Chaumont. All are, how- 
 ever, very striking. 
 
 It was on the heights of Belleville that a portion 
 of the troops were stationed in 1814, who had been 
 charged with defending Paris against the army of 
 the allies. Engagements took place in the plain 
 below. Building in the outskirts of the capital had 
 not advanced far in those days, and accordingly a view 
 of the scene of operations could be obtained from 
 the main Boulevards, at the spot where the fountain 
 of the Chateau d'Eau had not long before been 
 placed. Crowds gathered there to gaze upon the
 
 CHAP. IV. THE CLIFFS OF BELLETILLE. 79 
 
 lofty Butte de Chaumont, and the hostilities going 
 on around it. The huge barracks which have 
 recently been erected at this point, will at least 
 be useful in acting as a screen, should similiar crowds 
 ever collect together for the purpose of seeing a 
 similar sight.
 
 80 ASPECTS OF PARIS. CHAP. v. 
 
 CHAP. V. 
 
 CHEAP LITERATURE OF PARIS. 
 
 IT is a little less than three years ago since the 
 Paris publisher, M. Ch. Lahure, brought out the 
 first number of a new weekly periodical, such as 
 had not previously been seen in France. The name 
 of this periodical was the " Journal pour Tons," 
 and it endeavoured to deserve its name, by the low 
 price at which it was issued, and the large amount 
 of matter it contained. Like the popular London 
 publication, of which it was an imitation in form 
 and appearance, it consisted of sixteen closely printed 
 pages, of three columns to the page, illustrated by 
 two or more wood engravings. The price appealed 
 temptingly to almost every purse. For two sous 
 a little less than a penny all the world could 
 procure a copy of the new publication. Never 
 before had cheap literature appeared in Paris under 
 so alluring a guise.
 
 CHEAP LITERATURE OF PARIS. 81 
 
 Of popular publications at a low rate there had 
 been, of course, an abundance long before 1855. 
 Indeed, so far back as 1831, M. Emile de GKrardin 
 commenced the issue of a very meritorious periodical, 
 "Le Journal des Connaissances Utiles," at a price 
 that placed it within the reach of a large mass of 
 the population. This publication was, at the time of 
 its origin, of so novel a character, that it attracted 
 a good deal of attention beyond the mere circle of 
 its readers. The Society for the Diffusion of Useful 
 Knowledge were so struck with it, we are assured, 
 that they resolved to bring out a similar work in 
 English. 
 
 From this resolve sprang that famous "Penny 
 Magazine" which for so many years was regarded, 
 and justly so, as the greatest marvel the cheap press 
 had ever produced, and which gave birth to such 
 a numerous family that its descendants are now to be 
 met with in full possession of almost all the fields of 
 literature. 
 
 In France, not only did M. de Grirardin's publi- 
 cation give rise to a number of imitators, but the 
 "Penny Magazine," spreading the influence of its 
 example across the Channel, gave rise to them also. 
 
 G
 
 82 ASPECTS OF PARIS. 
 
 A whole library of publications at two sous the 
 number rose into life. 
 
 But the reign of these works came, in time, to an 
 end. Perhaps the public was fickle and capricious. 
 Perhaps these periodicals adopted too serious a tone. 
 One and all aimed exclusively at the instruction of 
 their readers. The object was a good one, but, in 
 pursuing it too closely, there was danger of failure. 
 Unlettered people, and it was to these that the new 
 publications specially addressed themselves, are often- 
 times but infants as far as regards their mental 
 culture. Like children of smaller growth, they re- 
 quire the instruction they receive to be very judi- 
 ciously administered. When it takes too much the 
 form of a lesson they soon grow weary of it. They 
 must be coaxed into the temple of knowledge if they 
 are to enter it at all. The way must be made smooth 
 for them. The doors must be thrown wide open. 
 They must be led up to the porch by easy stages. 
 Even then, if there be not a little diversion on the 
 way, they will in many cases break down before the 
 end of the journey is reached. Whatever may have 
 been the reason, it is certain that, long before 1855, 
 these cheap publications had nearly all ceased to
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 83 
 
 exist in France, and that nothing had taken their 
 place. If a low-priced periodical now and then 
 appeared, it was generally of a comic or satirical 
 character, and had but few readers out of the capital. 
 Judged, by the quantity of matter it gave, and com- 
 pared with the organs of the daily press, it might 
 be considered far from cheap. Judged by the quality 
 of that matter it was oftentimes dear indeed. 
 
 When, therefore, the " Journal pour Tous " ap- 
 peared, with its forty-eight columns of compact 
 type and its attractive wood engravings, it found, 
 as it very justly said in its prospectus, the field of 
 cheap literature almost unoccupied. It had no rival 
 to dispute its claims upon public support. Excepting 
 periodical re-issues, in a cumbrous form, of well- 
 known novels, in numbers at four sous each (the 
 whole work usually being completed for one or two 
 francs), there was really not a single publication 
 that could be said in any way to compete with it. 
 
 Under these circumstances the "Journal pour 
 Tous," as might have been expected, at once ob- 
 tained the favour of the French public, and during 
 the three years it has existed, that favour has gone 
 on steadily increasing. The number of readers has 
 02
 
 84 ASPECTS OF PARIS. 
 
 week by week augmented, until it has now reached, 
 I believe, about two hundred thousand. Improve- 
 ment has kept pace with this success. The en- 
 gravings are more artistically executed. The paper 
 and printing appear better. Authors of greater 
 eminence, than were at first connected with the 
 journal, now contribute to its pages. 
 
 Under the editorial management of a literary man 
 of high position and distinguished name M. Jules 
 Simon the " Journal pour Tous " has become, in 
 fact, the most popular, and most widely circulated 
 publication, in all France. 
 
 Before it had become thus firmly established, 
 imitators of it had, of course, arisen. Some con- 
 tented themselves with simply following the example 
 set them by M. Lahure. Others, with energetic 
 boldness, went in advance of him. 
 
 If a weekly periodical at two sous could obtain 
 success on account of its cheapness, how much more 
 success would one obtain at half the price? This 
 was the exclamatory sort of question that several 
 speculative Paris publishers asked themselves, and, in 
 order to answer it, they at once set printers, artists, 
 and engravers to work. Several publications, at the
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 85 
 
 almost incredible price of one sou or a halfpenny 
 each, were the result. 
 
 Very soon after the "Journal pour Tous" first 
 appeared, a hardy little band of these low-priced 
 rivals began to run against it. Others at two sous 
 also entered the lists. 
 
 These cheap publications have gone on multiplying 
 to such an extent, that at the time in which I write 
 these lines, that is, the beginning of the present year, 
 they are more numerous than the organs of the daily 
 press. The Paris booksellers' shelves positively creak 
 and bend beneath their weight. A small shop win- 
 dow becomes inconveniently crowded when it at- 
 tempts to display them all to good advantage. 
 
 It may not be uninteresting, perhaps, if I here give 
 a list of these cheap periodicals, including in it the 
 " Journal pour Tous," from which all the rest have 
 sprung, and adding their price and the age they have 
 attained. As will be seen, the majority have passed 
 the trying time of early youth, and have entered 
 upon the period of what may be called journalistic 
 manhood. Most of them are in their third or second 
 year. 
 
 c 3
 
 86 ASPECTS OF PARIS. CHAP. v. 
 
 The following is a list of Paris periodicals at one 
 sou the number : 
 
 " LE PASSE-TEMPS " (third year). 
 
 " LE ROGER BONTEMPS " (second year). 
 
 "LE JOURNAL DU DIMANCHE " (third year). 
 
 " LES CINQ CENTIMES ILLUSTRES " (third year). 
 
 " L'OMNIBUS " (third year). 
 
 " LA LECTURE, JOURNAL DE ROMANS " (third year). 
 
 The last two are published twice a week ; all the 
 rest once a week. 
 
 Here is the list of Paris periodicals at two sous 
 the number : 
 
 "JOURNAL POUR Tous" (third year). 
 " LA RUCHE PARISIENNE " (second year). 
 " LA LANTERNE MAGIQUE " (second year). 
 " LA SEMAINE DBS ENFANTS " (second year). 
 " LE JOURNAL ILLUSTRE DBS VOYAGES ET DBS VOTA- 
 GEURS " (first year). 
 
 " LE MUSEE UNIVERSEL" (first year). 
 "L'ARMEE ILLUSTREE " (first year). 
 " LE MUSEE DBS SCIENCES " (second year). 
 " LA SCIENCE POUR Tous " (second year). 
 " LE VOLEUR " (second year). 
 
 Under another form, and at another price, this last- 
 named journal has existed upwards of thirty years. 
 
 The majority of the publications, the titles of 
 which I have just given, are of one complexion and
 
 CHEAP LITERATURE OF PARIS. 
 
 have but one object. That object is to amuse. 
 Nearly all their space is occupied with fiction, with 
 French fiction. A glance at the engravings which 
 illustrate it for every one of the above journals is 
 embellished with woodcuts will afford us some idea 
 of the kind of literature which best pleases the 
 readers of the cheap Paris press. 
 
 I take up a number of the " Journal pour Tous," 
 the father of this large literary family. On the first 
 page a young lady is represented with long flowing 
 tresses, and attired in a sort of military riding suit. 
 Operatic reminiscences rising up before your mind, 
 you would say she was the Daughter of a cavalry regi- 
 ment. In her right hand she holds a sword. With 
 her left she points to a cottage from which she has 
 just issued. 
 
 "You come too late," says this maiden to two 
 gentlemen, one apparently a parson and the other 
 a poacher, approaching her, " I have killed him." 
 
 And, in fact, through the open door of the cottage 
 the figure of a handsome young spark in a recum- 
 bent position is discernible. For a dead man he has 
 however a most comfortable look. He seems as 
 though he had dropped off to sleep, after dining too
 
 88 ASPECTS OF PARIS. 
 
 luxuriously at some provincial Vefour's not at all 
 as though he had just fallen under the steel of a 
 revengeful woman. But we must not, perhaps, be too 
 critical upon the backgrounds of wood engravings. 
 
 I take up one of the cheaper periodicals, "Le 
 Passe-Temps." "Flavia plunges a dagger into his 
 bosom up to the very hilt," says the legend beneath 
 the first illustration. And if you cast your eyes above, 
 there, sure enough, you will see Flavia, in the midst 
 of a crowded salon taking a murderous aim, the 
 second it would appear, at the shirt-front of a gaily 
 dressed gentleman who, with his left hand upon his 
 breast, seems to be saying ' Oh ! the vixen," ere fall- 
 ing into the arms of a friend who is preparing to 
 receive him. Further on in the same publication, 
 a respectably dressed middle-aged gentleman is de- 
 picted in the act of falling backwards down the stone 
 staircase of a cellar. On the steps just above him, a 
 Clytemnestra looking lady, very lightly clad, is stand- 
 ing; a lamp in her left hand, a dagger in her right. 
 By the exceedingly unpleasant look which glares 
 through her eyes, you can see that it is she who has 
 caused the middle-aged gentleman's rapid and un- 
 pleasant descent into the lower regions.
 
 CHAP. V. CHEAP LITERATURE OF PARIS. 89 
 
 And what have we in the illustration of the 
 " Dimanche " ? an illustration drawn with such spirit 
 and so nicely engraved, that we involuntarily ask our- 
 selves how a one-sou journal can afford to employ 
 the talent which has produced this neat embellish- 
 ment. "Claude Mouriez, wounded, utters a cry of 
 despair." I don't wonder at it. If you or I were in 
 the same position, good reader, depend upon it we 
 should do the same. For has not an adversary's 
 sword pierced him right through the body, until it 
 obtrudes through the shoulder bone or immediately 
 under the armpit? That adversary is evidently a 
 vindictive fellow. An iron grating separates him 
 from the unfortunate Claude Mouriez, and yet, 
 through the bars, he is poking away at the wounded 
 man with the most savage energy. Perhaps the two 
 gentlemen have been fighting a duel through this 
 grating, as a lion and a tiger, if educated, might fight 
 one in the menageries of the Jardin des Plantes. 
 They look smooth-faced and civilised enough to be 
 guilty of such elegant wickedness. 
 
 A few pages forward, and a new scene of terror 
 meets the eye. Two Spanish gentlemen undoubted 
 Dons, you can see at a glance are discovered upon
 
 90 ASPECTS OF PARIS. CHAP. v. 
 
 a sinking ship, over which the waves are beating. 
 The face of the one is expressive of wild horror 
 blended with guilty fear. The face of the other 
 wears a look of calm but stern determination. The 
 second Spanish gentleman holds with his right hand 
 the left wrist of the first Spanish gentleman, pointing 
 with the index digit of the unoccupied hand to the 
 uprising waters. " Don Diego, the hour of punish- 
 ment is come!" page 93, he is made to say at the 
 foot of the engraving. Don Diego is evidently quite 
 aware of the fact. He sees that the capacious caisson 
 de M. David Jones, as a sportive Frenchman with 
 Britannic pleasantry might call the ocean, is ready to 
 receive him, and he shrinks naturally enough from 
 the accommodation it will soon afford. Poor Don 
 Diego ! he would promise, I fancy, even more than 
 Panurge promised, to be safe on shore again, out of 
 this double storm. 
 
 And what have we in this pretty little paper, " La 
 Semaine des Enfants," nicely printed, nicely illus- 
 trated, a very model of typographical propriety? 
 " Assassination of the Duke of Orleans in 1407," with 
 M. Gustave Dore's signature in the left hand corner, 
 if I mistake not. Another violent death ! Whv, even
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 91 
 
 good little boys and girls then, it seems, axe to be 
 treated to a feast of blood ! History, it is true, 
 supplies the subject in this instance. But surely a 
 pleasanter page than this might have been selected 
 from its massive tome. Young minds, though per- 
 haps a little backward in picturing gory scenes, do 
 not want any aid from the engraver's or designer's 
 art. They will learn quite quickly enough by 
 themselves, of what black deeds human nature is 
 capable. ' $ 
 
 But let us not after all be too severe upon these 
 poor little publications. Before censuring them 
 very harshly we should be forced to take into ac- 
 count the present state of French romantic litera- 
 ture, its tone and tendency. This would carry us 
 into another subject and lead us too far. Certainly 
 the journals in question do not attempt to go in 
 advance of public taste. They content themselves 
 with humbly following it. Many of them contain 
 nothing but reprints of popular works. Others, 
 such as the " Journal pour Tous," give original pro- 
 ductions by the authors of those works, or by less 
 celebrated writers who tread closely in their foot- 
 steps. While the feuilleton novels of the great
 
 92 
 
 ASPECTS OF PARIS. CHAP. v. 
 
 papers soar only into the mid air, we can hardly 
 expect that those of the small papers will soar 
 higher. In time we may hope to see them do so. 
 Just at present it is perhaps too much to look for. 
 
 Admitting, however, that the literature of the 
 cheap Paris press is not of the healthiest kind, let 
 us ask whether it is not better than no literature 
 at all? I think so. A reader who begins, for in- 
 stance, with " Nanna-Sahib, ou 1'Etrangleur des 
 Indes," may in time be led to Malherbe or Pascal. 
 But if, when reading is first proposed to him, he 
 shows no partiality for the interesting work just 
 named, or for one of a similar kind, in nine cases 
 out of ten, perhaps, he will show none for more 
 serious productions. Uneducated readers must, in 
 numberless cases, commence humbly, or they will 
 never commence at all. Try to start them from 
 history, biography, or philosophy, and they will give 
 up the race at once. Make popular fiction the point 
 of departure, and they will run over a pretty lengthy 
 course of reading with scarcely a pause for breath. 
 Even if, getting jaded with this exertion, they are 
 unable afterwards to traverse other ground, their 
 mental limbs will, at all events, have been better em-
 
 CHAP. v. CHEAP LITERATUKE OF PAEIS. 93 
 
 ployed than while merely exercised with the drowsy 
 reflections of wearying leisure. 
 
 I have said that the majority of the cheap pub- 
 lications in the list already given are chiefly occu- 
 pied with works of fiction. It is but fair to state 
 that this is by no means the case with the rest. 
 
 For instance, the " Journal Illustre des Voyages 
 et des Voyageurs" is a record of home and foreign 
 travel, ancient and modern. 
 
 " La Science pour Tons," and " Le Musee des 
 Sciences," treat in familiar terms upon subjects in 
 harmony with their titles. 
 
 The " Musee Universel," gives pictorial and 
 literary descriptions of remarkable and interesting 
 objects of nature and art. 
 
 The " Semaine des Enfants," upon which I was 
 compelled elsewhere to bestow a passing word of 
 censure, really seems an admirable little journal, 
 endeavouring to convey good instruction to its 
 youthful readers in the most easy and agreeable 
 form. To English children residing in Paris, in 
 order to become acquainted with the French lan- 
 guage, this publication and the "Musee Universel" 
 would be, I fancy, very useful and attractive. Some
 
 94 ASPECTS OF PARIS. 
 
 of my little fellow-country folk, to whom I have oc- 
 casionally given numbers of them, have been de- 
 lighted with the present. For a single copy of the 
 "Musee TJniversel," which cost me only two dingy 
 greasy sous, I received on one occasion no fewer 
 than fifteen of the sweetest and purest youthful 
 kisses ! Who would not disseminate cheap literature 
 on such terms ? 
 
 I have thought it right to add the above para- 
 graph respecting the non-romantic publications, in 
 order to show that the people's literary museum is 
 not entirely filled with daggers, revolvers, swords, 
 stilettoes, and other weapons of death. The peace- 
 ful instruments of science claim and obtain, as I 
 have shown, a place there also. 
 
 These cheap Parisian publications are creating 
 almost a new branch of industry in the French ca- 
 pital. The little newsvenders' shops, or cabinets de 
 lecture, where they are sold, had previously, a very 
 limited stock of merchandise to gain profits by. The 
 daily papers were sold by street dealers who trans- 
 acted business in little sentry boxes, placed upon 
 the Boulevards, and in the leading thoroughfares. 
 If people did not go to these dealers they subscribed
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 95 
 
 to the journal they bought, and it was sent to them 
 by special messengers direct from the office. Both 
 these systems are still in vogue, and the sentry boxes, 
 less ugly than in old days, still occupy the public way. 
 Now they are made of glass, upon which advertise- 
 ments are painted that are illuminated from the 
 interior at night. 
 
 There was nothing left for the cabinets de 
 lecture to dispose of, but almanacs, song books, 
 dream books, jest books, books of riddles, and 
 coarsely executed coloured sheets, representing in 
 some fifteen or twenty engravings each about a 
 square inch in size the career of Cadet Kousselle, 
 le Eoi Dagobert, or some other popular hero. The 
 profits obtained by the sale of these productions, and 
 by lending journals and novels to read (for a cabinet 
 de lecture is often a circulating library), were all that 
 the proprietors had to depend upon for existence. 
 
 Now the daily papers have in most cases larger 
 resources and larger establishments than the minor 
 periodicals. They can afford, in nearly every in- 
 stance, to send out their messengers without charging 
 subscribers with the expense. There are, however, 
 some exceptions to this.
 
 96 ASPECTS OF PARIS. 
 
 Thus, the " Patrie," which is sold on the Boule- 
 vards, at three sous a copy, is sold to subscribers at 
 fifteen francs a quarter. At the rate per copy just 
 given, it would not cost more than thirteen francs 
 and a half. 
 
 The majority of the daily papers are, however, 
 sent to you, at exactly the same price you would pay, 
 if you sent for them. 
 
 The proprietors of the cheap weekly publications 
 cannot supply customers on the same terms. They 
 are compelled to charge such of their patrons who 
 have copies sent direct to them, a sum in addition to 
 the price per copy, which, when compared with that 
 price, assumes rather large proportions. Most of the 
 one-sou journals cost subscribers four francs a-year. 
 They cost the purchaser who buys them number by 
 number, at the office or in the news shop, only two 
 francs and twelve sous. The regular subscriber thus 
 pays fifty per cent, more for his journal than the 
 occasional buyer. Four francs, it is true, is not the 
 price per annum of all the one-sou journals. Some 
 are issued at three francs, some at three and a half. 
 The two-sou journals, in like manner, are issued, in 
 some cases, at six francs the year, and in others at
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 97 
 
 eight. In every instance the cost to subscribers is 
 greater than to ordinary purchasers. 
 
 Eeaders have noticed at what a rate they pay for 
 the privilege of subscribing to the cheap press, and, 
 accordingly, a large number do not avail themselves 
 of that privilege. 
 
 For the penny or halfpenny journal which is 
 favoured by them, they send, or go, to the little news 
 shops of which I have spoken. The proprietors of 
 these shops can well afford, out of the profits they 
 make, to despatch an errand boy once or twice a 
 week for all the journals they require, and then sell 
 them over the counter at the regular price per copy. 
 They can even afford to send to customers close at 
 hand at the same rate. 
 
 Undoubtedly the circulation of the cheap press is 
 largely increased by means of these shops. The 
 errand boy, the servant girl, or the ouvrier, see a strik- 
 ing woodcut in the window, or read a few lines of some 
 captivating tale, and are inflamed with the desire 
 to purchase tale or woodcut forthwith. The sou or 
 double sou is fumbled for, and the purchase is made. 
 Even when haphazard is less at work, there are in- 
 
 H
 
 93 ASPECTS OF PARIS. 
 
 ducements to purchase at the news shops, which 
 cannot be without their effect. 
 
 Thus, people may buy a journal in those shops just 
 as long as it interests them, and no longer. The 
 moment it ceases to please they can throw it aside 
 and take another, or spend their spare cash in other 
 things. Once a quarterly, half-yearly, or annual sub- 
 scription paid, however, there is no escape of this 
 kind. The bargain has been concluded, and must be 
 made the best of. 
 
 The circulation of the cheap Paris journals must be 
 very large. Every day, too, it is growing larger as 
 they increase in public favour. On all sides they are 
 becoming more generally read. 
 
 You will see the ouvrier employing the few leisure 
 moments which succeed his open-air meal in concen- 
 trating all his attention upon the one-sou or two-sou 
 journal he most admires. You will see the work- 
 girl hurrying along at nightfall with a similar pub- 
 lication under her arm, eager to learn what romantic 
 incident releases her favourite heroine from the danger 
 she was last week threatened with. You will see 
 the concierge earnestly spelling over some gloomy 
 romance of love and madness, his mind so occupied
 
 CHAP. V. CHEAP LITERATURE OF PARIS. 99 
 
 with what it gathers, that he scarcely raises his eyes 
 to look at you, and establish your identity as you pass 
 his little lodge. 
 
 Must I add, too, that you will oftentimes see the 
 grocer's boy and the butcher's boy calmly seated 
 in the street, by the side of their tray or basket, 
 melted into tears over some touching tale of tender- 
 ness, while you, meanwhile, looking as eagerly from 
 the window as sister Anne looked, are fretting and 
 fuming for expected coffee or promised chops. 
 
 Under such circumstances your enthusiasm in 
 favour of cheap literature is apt to take an amazingly 
 subdued tone. 
 
 Let me now speak of some low-priced publications 
 of another kind, the issue of which has recently 
 commenced in Paris. 
 
 About the time that the first number of the "Journal 
 pour Tous " appeared, there also appeared the first 
 volume of a new series of works entitled " La Biblio- 
 theque Nouvelle," published by Messrs. Jaccottet, 
 Bourdilliat, and Co., at the Librairie Nouvelle. 
 
 The price of this volume was one franc. For that 
 modest sum you had a small, but well-printed book of 
 four hundred pages or more, containing about the same 
 
 H 2
 
 100 ASPECTS OF PARIS. CHAP. V. 
 
 quantity as is usually found in two ordinary octavo 
 volumes. The English shilling books of the railway- 
 stalls, which have been so popular of late years, 
 evidently suggested the idea of this series. But the 
 copy was an improvement upon the original. The 
 French publishers whose names I have just given 
 went in advance of their London brethren. They 
 gave for tenpence even more than was sold in 
 England for a shilling, and printed their books in 
 clear, legible type, upon firm and good paper. A 
 tale, by M. Lamartine, " Grenevieve, ou 1'Histoire 
 d"une Servante," was one of the first works published. 
 Other works, by Georges Sand, Balzac, Soulie, &c., 
 followed. In a very short time the " Bibliotheque 
 Nouvelle" obtained a prosperous reputation among 
 the reading public of France. 
 
 Fully to appreciate the cheapness of this series 
 we must consider for a moment the price at which 
 French works of fiction, when first issued, had 
 hitherto been sold. 
 
 Most French novels, as I have elsewhere said, 
 appear originally in the feuilletons of the daily 
 papers. 
 
 A large number of readers make acquaintance with
 
 CHAP. v. CHEAP LITEKATUKE OF PARIS. 101 
 
 them there, and do not often seek them elsewhere. 
 But many others, who dislike reading fragments of 
 a work, day by day, in a newspaper, wait until the 
 whole is completed, and then buy it, or borrow it of 
 the circulating libraries. For these establishments, 
 in fact, a special edition is printed, which bears the 
 name of the " cabinet de lecture format." A more 
 extravagant form of publication can scarcely be ima- 
 gined. 
 
 Thus a work of only very moderate length will 
 occupy two volumes of this edition. A work of less 
 restricted dimensions will often occupy many more. 
 The " Comtesse de Eudolstadt," of Georges Sand, for 
 instance, fills five volumes. The famous " Consuelo," 
 no fewer than eight volumes. The " Histoire de ma 
 Vie," by the same authoress, twenty volumes ! 
 
 But it is the works of M. Alexandre Dumas which 
 go the greatest length in this typographical race. 
 The " Monte Christo " occupies eighteen volumes ; 
 the Memoirs of the author, twenty-two volumes 
 "Le Vicomte de Bragelonne," twenty-six volumes; 
 the " Memoires d'un Medecin," twenty-nine volumes. 
 A single work of fiction, it will thus be seen, is trans- 
 formed by the printer into a whole library. 
 
 H 3
 
 10 2 ASPECTS OF PARIS. CHAP. v. 
 
 Innocent English readers if any there be un- 
 acquainted with the exact bulk of these volumes, 
 and ignorant how much they hold, might be tempted 
 to imagine that the light reading of the French 
 public must be rather heavy work. When a novel 
 contains about as many volumes as Gibbon's " De- 
 cline and Fall," or " Fleury's Ecclesiastical History," 
 to get through it in moderate time, can be no small 
 labour, they may suppose. A Frenchman with but 
 little leisure for books must surely begin " Monte 
 Christo " on Easter Monday at latest, if he would 
 finish it by the following Christmas. As to the Eng- 
 lish student, if in a lifetime he can make himself 
 familiar with the works of one popular French writer, 
 he ought to feel that he has successfully accomplished 
 a gigantic undertaking. 
 
 Such might fairly be the ideas of a stranger to the 
 facts of the subject. 
 
 A very brief glance, however, at any cabinet de 
 lecture volume would speedily shrivel up these no- 
 tions, even as leaves are sometimes shrivelled up by 
 a single ray of sultry sunlight. You have but to turn 
 over the pages of a work of French fiction, as pub- 
 lished for the circulating libraries, to find that those
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 103 
 
 pages afford accommodation to the merest handful 
 of typographical settlers. Instead of elbowing and 
 jostling each other, like the ill-behaved letters of an 
 ordinary work, each character stands apart, as it were, 
 with its arms a-kimbo, in isolated independence of 
 the rest. You might almost fancy that every letter 
 had marched into position of its own free will and 
 pleasure, without any aid from the guiding hand 
 of the compositor. 
 
 Here, for instance, is the fac-simile of a page from 
 "Les Trois Mousquetaires," occupying exactly as 
 much space as it occupies in the volume from which 
 it is taken. I have purposely chosen what may be 
 called a conversation page, for it is in those the work 
 chiefly abounds. The terse brevity of the remarks 
 uttered by the various characters in this, and similar 
 novels, is one of the most curious features of such works. 
 Nearly everybody introduced by the authors has a habit 
 of speaking in sentences of from three to ten words 
 in length. A person who should converse through a 
 quarter of a page without stopping to allow some one 
 else to throw in a word, would be a curiosity indeed ! 
 This, then, is the " rivulet of print meandering amid 
 meadows of margin.' 
 
 H4
 
 104 ASPECTS OF PARIS. CHAP. V. 
 
 " To render you a service," 
 
 replied he. 
 
 -"Where am I?" 
 " In the cemetery." 
 - " Who are you ? " 
 -"A friend." 
 
 " Let me sleep." 
 
 " Listen," said he to me ; " do you remember 
 
 the world ? " 
 
 " No," 
 
 " You regret nothing ? "
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 105 
 
 The difficulty of getting through a volume con- 
 taining three hundred and thirty, or three hundred 
 and fifty pages such as this, need not, it will at once 
 be seen, intimidate the most drowsy reader. An 
 hour or two at the most will suffice for the perusal 
 of any tome thus lightly loaded with type. Many 
 readers whose appetites are ravenous, will make a 
 kind of literary lunch of four or five of these volumes 
 between breakfast and dinner, and be ready for 
 another such snack after tea ! I have a friend, in- 
 deed, in Paris, who frequently consumes six or seven 
 after going to bed. He is troubled with sleepless- 
 ness, and finds an hour or two's reading at this rate 
 so sedative, that it saves him from resorting to 
 laudanum. 
 
 The cost of such a form of issue as this, may be 
 judged of by the fact, that the price of each volume 
 is four francs and fifteen sous to the proprietors of 
 the circulating libraries, and seven francs and a half 
 to the public. The public, sooth to say, rarely goes 
 to the expense of purchasing any work on these 
 terms. Most people content themselves with borrow- 
 ing instead of buying. Indeed, a private library 
 must have almost the dimensions of the Bibliotheque
 
 106 ASPECTS OF PARIS. 
 
 Imperials to contain the complete edition of even 
 one popular French novelist's works published in the 
 cabinet de lecture form. 
 
 The volumes of the " Bibliotheque Nouvelle " con- 
 taining, as I have said, the matter of two of the 
 ordinary cabinet de lecture volumes, it follows that 
 Messrs. Jaccottet and Co. give for one franc what 
 Paris purchasers had previously been accustomed to 
 pay fifteen francs for. Or, to put the case in another 
 way, you can now buy a work for about the same 
 sum it would formerly have cost you to borrow it. 
 
 The success which followed the experiment of 
 Messrs. Jaccottet and Co. has stimulated another 
 Paris publishing firm, Messrs. Michel Levy and Co., 
 to issue a rival series of volumes at the same price as 
 those of the Librairie Nouvelle. Of the two, I think 
 I prefer the late comers to their predecessors. They 
 have more of a library look, the paper is thicker, the 
 type is more agreeable to the eye. Both series, 
 however, are equally entitled to eulogy as models 
 of elegant cheapness. By means of them the English 
 reader, who wishes to make acquaintance with French 
 light literature, and acquire, at the same time, a 
 small library of his own, can do so at a very trifling
 
 CHAP. V. CHEAP LITERATURE OF PARIS. 107 
 
 cost. For a franc each, he may obtain many of the 
 most popular works of Balzac, of Georges Sand, of 
 Madame de Girardin, of Scribe, of Alphonse Karr, of 
 Alexandre Dumas, pere and fils, of Emile Souvestre, 
 of Frederic Soulie, of Mery, &c. In some cases the 
 work will cost him three or four francs ; rarely, how- 
 ever, more than one. 
 
 I need hardly say that the works in the " Biblio- 
 theque Nouvelle" and in the series of the Messrs. Levy 
 are, as a rule, reprints, not original productions. Now 
 and then Messrs. Jaccottet have transplanted novels 
 direct from the newspaper feuilleton to their col- 
 lection ; as, for instance, in the case of the " Daniello " 
 of Georges Sand, and of a recent work by M. Jules 
 de Saint-Felix ; but this is not their general custom. 
 Strange as it may seem, readers who frequent 
 the circulating libraries have grown so attached 
 to the edition prepared expressly for them, that 
 they do not like the cheap intruders. Pages printed 
 as loosely as that from " Les Trois Mousquetaires," 
 just given, are certainly less fatiguing to the eye 
 than pages from the " Bibliotheque Nouvelle." This 
 it is, I suppose, which explains the dislike ; otherwise, 
 I know no reason why the " Memoires du Diable "
 
 108 ASPECTS OF PARIS. 
 
 at one franc, should not be as diabolical as at 
 fifteen. 
 
 I have thus specially alluded to the cheap publi- 
 cations of the Librairie Nouvelle and of Messrs. 
 Michel Levy Freres, but it is only fair to say that, 
 long before they appeared, the way had been to some 
 extent paved for them by the admirable reprints 
 of M. Charpentier and of Messrs. Firmin Didot 
 Freres. 
 
 The " Collection Charpentier " is well known to 
 most French readers. It consists of a large 
 number of works in 12mo, at three francs and 
 a half the volume of from four to five hundred 
 pages. In this series contemporary and light lite- 
 rature hold but a very unimportant place. The 
 works published are almost all classics. I cannot 
 undertake here to reprint M. Charpentier's catalogue, 
 but I can give an idea, in a few lines, of its contents. 
 
 Rabelais, Malherbe, Racine, Boileau, La Bruyere, 
 Pascal, Bossuet, Madame de Sevigne, Le Sage, the 
 Abbe Prevost, Marivaux, Rousseau, Chenier, &c., all 
 are to be met with there. Foreign authors of emi- 
 nence are by their side. You will find, in fact, in 
 the catalogue nearly all the world-famous master-
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 109 
 
 pieces of ancient and modern literature. Under 
 the heading of Bibliotheque grecque-fra^aise, for 
 instance, are translations (in French) of Homer, of 
 Aristophanes, of ^Eschylus, of Euripides, of Sophocles, 
 of Herodotus, of Thucydides, of Xenophon, of Plato, 
 &c. The most celebrated works of the Latin authors 
 are also to be seen, as well as selections from the 
 literature of Germany, of Italy, and of England. 
 
 The reader of light literature will go, of course, to 
 Jaccottet and Levy, the serious student to Char- 
 pentier. 
 
 The cheap re-issues of Messrs. Firmin Didot Freres 
 are entitled to take equal rank with those just named. 
 For three francs you have a good stout book of five 
 or six hundred solidly printed pages, a little too 
 solidly it may be, in small but beautifully clear type. 
 Messrs. Didot give up almost the whole of their 
 cheap series to standard authors. In that to which 
 I am alluding you will find the works of Moliere, 
 of Beaumarchais, of Chateaubriand, of Bernardin de 
 Saint-Pierre, of Buffon, of Diderot, of Fenelon, of 
 Regnard, of Pasquier, of Pascal, of Montesquieu, of 
 Madame de Stael, of Voltaire, &c., besides several of 
 those by the authors which I have already mentioned
 
 HO ASPECTS OF PARIS. 
 
 in conection with the editions of M. Charpentier. 
 Many of the three-franc volumes of Didot can be ob- 
 tained in the shops for about half price. Some of 
 Charpentier's are entirely out of print. 
 
 This chapter upon the cheap literature of Paris 
 would be incomplete without a few words upon the 
 second-hand books for which the French capital has 
 long been famous. 
 
 On the quays, which for so many miles border both 
 sides of the Seine as it passes through the city, and 
 which afford such fine breezy walks in all seasons of 
 the year on these characteristic and pleasant pro- 
 menades, I say, the dealers in cast-off volumes, or 
 bouquinists as they are called, set up their rest. The 
 parapet wall by which the foot-way is defended from 
 the river serves them for counter. Upon this they 
 spread out the open cases, often to the number of 
 twenty or thirty, in which their stores are contained. 
 
 Each case generally bears a ticket stating the price 
 per volume of what is within. There is no distinc- 
 tion between good and bad, ill bound and well bound, 
 perfect books and imperfect ones, all are to be had 
 at the Fame rate. Eggs and oranges are disposed of, 
 we know, in this promiscuous manner, and books in
 
 CHAP. V. CHEAP LITERATURE OF PARIS. Ill 
 
 their turn must, it seems, submit to similar ignominy. 
 Alas ! for the vanity of authorship. 
 
 The price affixed must I say it? is oftentimes 
 sadly humiliating to the pride of many a well-known 
 writer. Works which have become famous; works 
 which when first issued from printers' and booksellers' 
 hands, were clad in respectable well-to-do looking 
 suits, and which could not be bought except by the 
 best stocked purses, are here to be had for five or ten 
 sous, so ragged, thread-bare, and poverty-stricken 
 have they become. For a few francs, I believe you 
 might often purchase, on the Paris quays, the litera- 
 ture of an entire people, the learning of an entire 
 age. You could have a whole wagon-load of books 
 for about the same price as you could have a wagon- 
 load of potatoes. 
 
 But of course you must take what you can find. 
 If you want any particular work, the chances are 
 greatly against your meeting with it. You can choose 
 from what is shown to you; nothing more. Often- 
 times, however, real literary treasures, scarce copies 
 and early editions of rare books, are discovered by 
 book-worms and carried off in silent and trembling 
 triumph at the cost of a few pence. Their value has
 
 1 12 ASPECTS OF PARIS. CHAP. T. 
 
 been undiscovered. They have been sold off at a 
 merely nominal sum. Old, dusty, worm-eaten, and 
 disfigured, what is there to show to an unpractised 
 eye the almost fabulous value of these venerable 
 tomes? Books which at a sale would eagerly be 
 bought for hundreds of francs are continually pur- 
 chased upon the quays for the merest trifle. 
 
 The amount of business transacted by the second- 
 hand dealers must be considerable. M. A. de Fon- 
 taine de Resbecq, the author of a little work upon the 
 Quays of Paris, recently published, gives some curious 
 figures upon the subject. 
 
 As a most industrious book-worm, he was con- 
 tinually in the habit of frequenting the river side, 
 and of digging up the literary gold he found buried 
 there. One day, just as he arrived at his favourite 
 resort, it began to rain. With an amusing alacrity 
 which they always display under similar circum- 
 stances, the bouquinists at once covered up their 
 stores. The bibliophile was deprived of the delight- 
 ful occupation he had promised himself. No matter ! 
 He soon found another. 
 
 The shower was not severe enough to disconcert a 
 pedestrian. Our disappointed rival of M. Paul
 
 CHAr. v. CHEAP LITERATURE OF PARIS. 113 
 
 Lacroix, traversed therefore on foot the whole length 
 of the quays where the book-dealers stand ; counted 
 the number of those dealers, that of the cases they 
 each possessed, and afterwards obtained, by other 
 means, a variety of additional statistics upon the 
 subject. 
 
 Some of these statistics are interesting. From 
 them we find, that there are in all sixty-eight traders 
 in second-hand books upon the Paris quays. The 
 total number of volumes they ordinarily display is 
 about seventy thousand. The total number of vo- 
 lumes sold each day is from twelve to fifteen hundred. 
 The average price of each volume is one franc. It 
 follows that the gross returns per annum of the sixty- 
 eight dealers are about four hundred thousand francs, 
 or sixteen thousand pounds sterling ! 
 
 I have no means of ascertaining the accuracy of 
 all these figures. Verification of them is indeed 
 scarcely called for. Most are put forward more as 
 estimates than as positive statements of fact. From 
 those which are not of the former character we may, 
 however, draw some inferences as to the exactness of 
 the rest. 
 
 Thus, if there are sixty-eight dealers upon the 
 i
 
 114 ASPECTS OF PARIS. 
 
 Paris quays, keeping open shop day after day and 
 year after year, it is pretty evident they find their 
 occupation profitable ; sufficiently so, at all events, to 
 gain a living by it. This is in fact the case. Taking, 
 then, for basis of a calculation the total annual re- 
 turns just given, we find that the sum received every 
 day by each dealer is about twenty francs. This sum 
 appears to me rather large, but, as profit sometimes 
 is small, it may be within the mark. Anyhow we 
 have the best of evidence to show that the money 
 spent upon the quays every year for second-hand 
 books must be very considerable, since so many 
 persons succeed in supporting themselves by it. 
 
 The book-stalls of the Paris quays are, for the 
 literary idler, one of the most attractive group of 
 objects in the French capital. Over them he bends 
 for hours, picking up stray morsels of curious in- 
 formation, that even without payment he is allowed 
 to carry off in his mental wallet. There is, indeed, a 
 fascination about these open-air libraries which few 
 people, literary or otherwise, can resist. All day 
 long they are crowded with readers. Even in winter, 
 when the quays of Paris are not the most inviting 
 spots to loiter upon more especially if ice-rafts be
 
 CHAP. v. CHEAP LITERATURE OF PARIS. 115 
 
 floating in the river beneath, and wintry winds be 
 careering in the air above even at this bleak season, 
 I say, unless rain or snow be falling, the book-stalls 
 are sure to be well attended. 
 
 People cannot pass these long ranges of volumes, 
 without stopping to look, to read, and in many 
 cases, to purchase. Minutes fly rapidly away while 
 they are engaged in perusing the tattered tomes 
 of the bouquinist, and all painful, all uncongenial 
 thoughts fly with them. The world around, with 
 its hard struggles, and its chilling selfishness is for- 
 gotten. Brighter scenes have for the moment dawned 
 upon the mind. 
 
 But it is the blessed privilege of books thus to 
 cheer us, and they do not lose it even in their old 
 days of neglect and misfortune. 
 
 12
 
 116 ASPECTS OF PARIS. 
 
 CHAP. VI. 
 
 THE PAEK OF PARIS. 
 
 WHEN, in 1825, the precise but prolix Dulaure pub- 
 lished his " Histoire des Environs de Paris," that 
 part of the ancient forest of Rouvrai which bore, as 
 it still bears, the name of the Bois de Boulogne, was 
 in a sadly neglected state. Only ten years before, 
 it had been occupied by a foreign army. English 
 and Russian soldiers had encamped side by side, 
 upon its verdant slopes and in its shady avenues. The 
 fine trees, which until then had adorned it stal- 
 wart contemporaries of stalwart Franpois premier, 
 were cu^down to reappear, degraded and dishonoured, 
 as barracks for the invading foe. Nothing was left 
 but shrivelled brushwood, blasted vegetation, and 
 threadbare verdure. No wonder the historian of 
 Paris and its suburbs mourned over the ruin which 
 had taken place, and predicted that a long time 
 must elapse ere it could be repaired.
 
 CHAP. vi. THE PARK OF PARIS. 117 
 
 Thirty years have passed since Dulaure wrote. 
 Could he now see the Bois de Boulogne, in what 
 a different tone would he hasten to speak of it ! 
 The barber-favourite of Louis XL, Ollivier-le-Daim, 
 would not have more difficulty in recognising the 
 present wood as the rabbit warren of which he was 
 ranger, than Dulaure would have in believing it 
 the spot on which conquering armies had left their 
 devastating trace. 
 
 The aspect of the ancient Bois has been, in fact, 
 completely changed within the last few years. When 
 Horace Walpole was in Paris he complained that it 
 had no park. Many subsequent visitors have echoed 
 the lamentation. They have admired the fine houses 
 of the French capital, the broad streets, the plea- 
 sant promenades, the cheerful gardens; but they 
 have always qualified their admiration by this dis- 
 paraging observation, " There is no park ! " 
 
 They can do so no longer. The Bois de Boulogne 
 has ceased to be a bois; it has become a park the 
 park of Paris. London has never yet had one so 
 vast or so beautiful, and now, I think it is not too 
 much to say, she never will. 
 
 I 3
 
 118 . ASPECTS OF PARIS. CHAP. vi. 
 
 If an English writer dared to become enthusiastic 
 about the Eegent's Park, pretty as it is, his fate 
 would be certain. He would be unmercifully ridi- 
 culed as a cockney; he would be jeered at for 
 finding rural beauties within three minutes' walk of 
 the New Eoad; wags would ask him for a sonnet 
 upon the Broad Walk, or an ode to Cumberland Grate. 
 I am not altogether sure that in writing somewhat 
 enthusiastically upon the Bois de Boulogne I shall 
 escape similar treatment. If I venture to say a word 
 upon its tiny rocks and cascades will not " Switzer- 
 land" thunder down upon me like one of its own 
 avalanches? If I essay a little praise of its mimic 
 lakes, have I any mercy to expect from the " Lago 
 Maggiore ? " And if I tell of its meandering streams 
 what is there to protect me against "Rhine" waters? 
 Nevertheless I shall endeavour to screw my courage 
 up to encounter these perils. The Bois de Boulogne, 
 it will readily be understood, is in no way to be put 
 in comparison with these European halting places of 
 pleasure travel. Its Butte Mortemart is not a Monte 
 Rosa; its Mare aux Biches claims no kindred with 
 Lake Leman ; its Canton de la Retraite would never 
 be mistaken for a Vale of Aosta ; its Ruisseau d' AT-
 
 CHAP. vr. THE PARK OF PARIS. 119 
 
 menonville cannot be mentioned in the same breath 
 with even the meanest Alpine rivulet. 
 
 The Bois must be taken simply for what it is 
 the park of a great city, a spot within easy reach of 
 myriad dwellers in closed-up garrets; of myriad 
 workers in shop and office and factory ; a luxury for 
 the rich and lazy; a necessity for the toiling poor. 
 As such, assuredly, it has no equal, and on this ac- 
 count, if on no other, it will justify a little eulogistic 
 description. 
 
 You have but to see the Bois de Boulogne on 
 a fine summer's evening, more especially if the 
 evening be that of Sunday, to feel convinced it is 
 the most popular of all the Paris promenades. Every 
 avenue, every footway, every bridle path seems to 
 be full of company, company of the most varied 
 kind. 
 
 The ouvrier is here from the Faubourg of Indus- 
 try; the noble is here from the Faubourg of Idle- 
 ness; the millionaire is here from the Bourse; his 
 clerk is here also ; the fashionable lady who occupies 
 herself only with coquetting and conquest is here; 
 your blanchisseuse, who concentrates all her energies 
 
 I 4
 
 120 ASPECTS OF PARIS. CHAP. vi. 
 
 upon washing and starching, is just behind her ; blaz- 
 ino- carriages illuminated by incandescent footmen 
 are here; domestic shandydans and mouldy street 
 cabs are not absent ; spirited English horses, graceful 
 and delicate as forest fawns, are here ; broken-down 
 hacks, knee-chipped and ear-drooping, are by their 
 side. All the world of Paris is here, in fact, and of 
 course Madame sa femme has not been left at home ; 
 arm in arm, they are both taking the air. 
 
 You might think that a fete or an execution was 
 about to take place, so great is the crowd. In the 
 roadway the carriages can only move at a snail's pace. 
 On the footpath the pedestrian can go no quicker. 
 Every resting-place is filled. The free seats are free 
 no longer. The iron chairs, for the luxury of sitting 
 upon which you pay a penny or twopence, according 
 to the choice you make between fauteuils and simple 
 chaises, the iron chairs, I say, are all occupied. 
 Every boat on the lakes is engaged (admirable craft 
 they are for a gentle lubberly row with ladies and 
 children) ; every accessible spot of grass is invaded. 
 What a gay and animated scene it is ! 
 
 It is only since embellishment has been busy with 
 the Bois de Boulogne, that it has become thus fre-
 
 CHAP. vi. THE PARK OP PARIS. 121 
 
 quented. But five years ago it was a huge overgrown 
 place a sort of sylvan hobbledehoy which had 
 been allowed to shoot up without care or attention, 
 and run wild in untroubled freedom. It was not 
 wanting in beauty, for there was many a shady nook, 
 many a secluded bower, which captivated the eye, 
 and which, in summer evenings, pleasantly echoed 
 with merry laughter. 
 
 But these spots were the oases of a brushwood 
 desert ; a desert that comparatively few people cared 
 to explore. Why, in fact, pass the city walls in 
 search of shade when shade could be had within? 
 A few fashionable drives were gay enough with 
 brilliant company ; the rest of the wood was but 
 little visited. 
 
 Five years ago, then, the scene began to change. 
 Engineers, builders, architects, surveyors, gardeners, 
 and excavators were sent for; new paths were cut 
 through the wood ; new roads were laid out ; flowers 
 and exotic shrubs were planted ; grass was sown ; trees 
 were introduced; lakes were dug; artificial streams 
 were made ; grottoes were constructed ; islands were 
 formed; cascades were built; 'the wilderness was 
 changed into a smiling garden; a garden such as
 
 I 
 
 122 ASPECTS OF PARIS. 
 
 fancy loves to picture on the shores of the Golden 
 Horn or the slopes of the Sweet Waters. 
 
 Even now embellishment is still busy at her 
 labours. There are more streams yet to be made, 
 more lakes to be dug, more islands to be formed. 
 The entire wood, instead of only a small portion of it, 
 as at present, is to be stocked with graceful stags 
 and bounding fallow deer. A lofty tower is to arise 
 upon the most elevated portion of the ground. The 
 Jardin d'Hiver is to find that refuge in the wood 
 which has recently been denied it in the Champs 
 Elysees. Embellishment will not cease working until 
 she can find no spot of ground to occupy her hands 
 with. 
 
 It is only just praise to the skilful workmen by 
 whom the changes in the Bois de Boulogne have 
 been effected, to say, that those changes are in admi- 
 rable harmony with the scene in which they have 
 taken place. 
 
 Nature is everywhere followed. Nowhere is she 
 outstripped. Instead of attempting to go jauntily in 
 advance of her, architects, gardeners, and designers, 
 have humbly followed in her train. Thus, in no 
 place do you see any of that geometrical exactitude,
 
 CHAP. vi. THE PARK OF PABIS. 123 
 
 that plumb-line preciseness, of which Le Notre was 
 so fond, and which makes the deserted gardens of 
 Versailles look like so many floral illustrations of the 
 Books of Euclid. We are at Fontainebleau, at St. 
 Germain, at Windsor, rather than in the neighbour- 
 hood of the overgrown and hideous old chateau of 
 Louis Quatorze. 
 
 Here flowers are allowed to grow unimprisoned 
 within hectagonal or octagonal fortifications. Paths 
 are permitted to wind round bush and thicket, over 
 hill and dale, without hinderance or restraint, as happy 
 children might wander on a summer holiday. Eock 
 and stone, instead of being tamed by the sculptor 
 into attitudes of lifeless symmetry, are allowed to 
 retain all their native wildness of aspect. They have 
 full liberty also to welcome the rippling stream, the 
 loving moss, or the foot-weary traveller. 
 
 The effect of all this is charming. You have the 
 wild beauties of nature softened and refined by art. 
 You have the pebble, which on the sea-beach looked 
 so beautiful, rendered even more beautiful by the 
 lapidary's skill. Compared with a mountain or a 
 crag, it looks very insignificant, doubtless. But then, 
 we cannot carry off the mountain or the crag, and
 
 124 ASPECTS OF PARIS. CHAP. vi. 
 
 keep it always by us. The pebble, on the contrary, 
 we may for ever have beneath our eyes. 
 
 Alas! must it be said? There are persons who 
 regret the uncultivated roughness of the ancient wood, 
 and complain of the change which has banished it. 
 They recal, with the fondness with which we always 
 evoke the memories of the past, (for who stores in his 
 mind other than happy recollections of former days ?) 
 they recal, I say, the wild freedom of the old Bois, 
 the unmown sward, the unenclosed slopes, the un- 
 clipped brushwood, the untended flowers, the un- 
 touched footways. Their fancy warms in speaking 
 of these things. The wood has ceased, they say, to 
 be the resort of homely bourgeois and simple bour- 
 geoise, of happy grisette and joyous student. It has 
 become the resort of Kespectability in full dress, where 
 a homely coat is eyed with disdain, where a linen cap 
 is regarded with contempt. It has become a peren- 
 nial Longchamps. Its avenues are mere carriage 
 drives, its footways mere fashionable promenades. 
 The Boulevard de Grand has flown across the barrier 
 wall, and taken up its abode on the borders of Lac 
 Superieur. 
 
 It is amusing to find that precisely the same com-
 
 CHAP. vi. THE PARK OF PAEIS. 125 
 
 plaints were made twenty years ago, when the present 
 improvements were undreamt of. 
 
 M. Edouard Monnais, writing in 1835, declared 
 that nothing but dandies, fine ladies, and brilliant 
 equipages were then to be seen in the Bois de 
 Boulogne. " Though you should remain there and 
 in the Allee de Longchamps entire months, nay, 
 entire days," says he, " you would always see the 
 same things horses and carriages, carriages and 
 horses, rarely, or never, strollers on foot." 
 
 If we were to go further back we should hear the 
 same thing. For does not another French author, 
 writing ten years previously, tell us that at one time 
 such splendour prevailed at the promenade of Long- 
 champ that Englishmen have been seen there 
 drawn by horses shod with silver shoes, mounted 
 on cars the wheels of which were bound with 
 silver also ? 
 
 Yet there is weight in the complaints now urged, 
 though it is inconsiderable. 
 
 The Bois, as I have said, has become much more 
 frequented than of yore. Carriage company has 
 doubled in number. Equestrians have augmented 
 in the same proportion. Pedestrians even more so.
 
 126 ASPECTS OF PARIS. CHAP. vi. 
 
 For every ten persons who visited the place in former 
 days there are a hundred, probably, now. But if 
 there are more guests so also is there more accomoda- 
 tion for them. 
 
 The Bois de Boulogne, as it at present stands, con- 
 tains nearly eighteen hundred and fifty acres, over 
 which about sixty miles of roads, paths, and bridle 
 ways extend. These means of communication are 
 now to be met with, in fact, in every direction. 
 New avenues, new footpaths, new attractive spots, 
 have been multiplied on all sides. You can soon 
 leave, if you will, the slowly-moving crowd. You 
 have but to turn off in almost any direction from 
 the main lines, and in five minutes you will find 
 yourself alone in the midst of umbrageous trees ; the 
 gentle rippling of some tiny streamlet, or the musical 
 fall of some toy cascade, being the only sound to 
 disturb the tranquillity of your meditations. 
 
 And if many such peaceful retreats as these are 
 to be found on the seventh day of the week when 
 the army of bois visitors is so large, how many more 
 are to be found during the remaining six days when 
 it is so small ! 
 
 Often and often have I wandered during the week
 
 CHAP. vi. THE PARK OF PARIS. 127 
 
 along the winding footpaths of the wood, musing 
 upon literary studies, listening to the singing of the 
 birds, or watching the morning sunlight creep 
 through the trees, as the friendly breeze opened 
 a passage for it mid their branches. Sometimes for 
 an hour I have scarcely met with human form. 
 Not a single idler has crossed my path. The whole 
 Bois has been for the time my own. Except oc- 
 casional parties of woodmen, engaged in their daily 
 occupations, there has been no one near to scan my 
 aspect, criticise my garb, or interfere in any way 
 with my movements. 
 
 Of what consequence to me, therefore, the cut of 
 my coat, the age of my hat, the fit of my gloves, or 
 the design of my shirt studs ? 
 
 I have some English friends in Paris who frequently 
 during the summer months pass whole days in the 
 Bois. They leave their homes early in the morning, 
 laden with a basket containing the commissariat 
 stores of the day and a little apparatus for procuring 
 boiling water ; they carry with them their knitting 
 or their crotchet and a few books. While one reads 
 the others work. When a voice begins to falter the 
 book changes hands. When reading and working
 
 128 ASPECTS OF PABIS. CHAP. vr. 
 
 tire, merry tongues are not idle, I warrant you. The 
 bilious Englishman, who from time to time passes 
 along the neighbouring path, is astonished to see 
 this joyous gipsy group through the trees. He 
 listens to the ringing laughter of the bright-eyed 
 and pretty prattlers, and wonders, I dare say, why 
 their mamma and the haughty-looking English beauty 
 by her side, do not read a domestic riot act and 
 quell this shocking disturbance. The inconsiderate 
 freedom of his countrywomen, abroad, has always 
 caused him the most painful surprise. 
 
 My friends are so accustomed to pic-nic in this 
 manner that I fancy they begin to look upon the 
 Bois as, to some extent, their own estate. They have 
 bowers and glades to which they have given special 
 names. They have regular halting-places on which 
 they pitch their camp. 
 
 When some of their haunts were destroyed last 
 summer, to make way for the new Euisseau de 
 Madrid, an outcry was raised which might have 
 made a Nero tremble. Stanford's Eest, so had they 
 christened one of their favourite spots, had fallen 
 beneath the axe of the woodman !
 
 CHAP. vi. THE PARK OF PAEIS. 129 
 
 A petition to the Tuileries was for some time in 
 contemplation. 
 
 Perhaps I have spoken too warmly in favour of 
 the Bois. It has been my favourite haunt so long 
 that I have grown attached to it. I look upon it, 
 it may be, as the lover looks upon his mistress. 
 Where others see blemishes I see beauties. What 
 the unsympathising call a freckle, I call a love mark. 
 
 It may be so, I say ; it may be that my mind is 
 full of these amorous delusions. But, then, are not 
 these and similar delusions the charm of our lives ? 
 If we were to lose them would not existence be dull 
 indeed ? 
 
 Answer these questions affirmatively, and I shall 
 have good hope you will see the Bois under the 
 same aspect as that in which I have attempted to 
 describe it. If you are unable to do so the loss 
 will not be on my side.
 
 130 ASPECTS OF PARIS. CHAP. vii. 
 
 CHAP. VII. 
 
 A NEW COLONY. 
 
 IF you glance at a map of Paris and its environs, 
 you will see that the Marne, some miles before 
 entering the Seine at Charenton, makes a long bend 
 or loop, which, as delineated by the geographer, very 
 much resembles the outline of a flask. The ground 
 enclosed within this loop is for the most part a level 
 plain, protected for a considerable distance by a wall- 
 like ridge of moderately lofty hills rising abruptly 
 from the water's edge with somewhat of the steepness 
 of a precipice. 
 
 As the Marne is a navigable stream boats, barges, 
 and rafts, continually floating up and down its peaceful 
 channel the wandering course it here adopts was 
 found exceedingly inconvenient by all parties in- 
 terested in the river traffic. The entire length of 
 the bend is full eight or nine miles, but, as what may 
 be called the mouth of the bend is only about a
 
 CHAP. vii. A NEW COLONY. 131 
 
 quarter of a mile in width, a canal has been con- 
 structed at that point, connecting the two sides; 
 and thus the eight miles are diminished to a few 
 hundred yards. Nearly all the canal is carried 
 through a tunnel. 
 
 The level plain just alluded to, though formed by 
 nature a peninsula, has in this manner become, by 
 art, a species of island, not to be entered without 
 crossing water communication running either above 
 the earth or under it. 
 
 A very few years ago this peninsula contained 
 only the village of St. Maur and some outlying 
 houses. St. Maur, it will be remembered, is cele- 
 brated as the spot where dramatic representations 
 first took place in France. It is also famous as 
 having been at one time the residence of Eabelais. 
 There he studied and lived before going to Meu- 
 don. He was one of the canons of St. Maur at the 
 time. The village occupied, as it still occupies, 
 the high ground under a part of which the tunnel 
 runs. It straggles now into the plain beneath. At 
 the period to which I am alluding, that plain con- 
 tained, besides the suburbs of St. Maur, only a few 
 scattered houses, and, at its furthest extremity, a 
 
 K 2
 
 132 ASPECTS OF PARIS. CHAP. vn. 
 
 cabaret, serving as a ferry station, with two or three 
 small cottages clustering round it, on the river's 
 bank. 
 
 The spot, at the best of times, had but a mode- 
 rately alluring aspect. Hemmed in for a consider- 
 able distance by the ridge of hills already spoken 
 of, and by other hills a little more in the back- 
 ground, the view it afforded was of the most circum- 
 scribed kind, if you looked upwards to the horizon ; 
 and if you * contented yourself with looking im- 
 mediately around you, there was nothing to see but 
 wide, hedgeless fields, spreading away on all sides 
 until they reached the river, their monotony broken 
 in one or two places by little plantations of brush- 
 wood or by trifling undulations of surface. 
 
 True, the river was, as it still is, a feature of the 
 scene not altogether without a certain amount of 
 beauty. Its banks flat and uninteresting enough 
 on one side, were on the other rough and steep. Its 
 waters, hurried on by a rapid current, gave out a 
 brisk and lively sound that disturbed the silence of 
 the sleeping air. Rising from its surface little 
 islands could from time to time be seen, covered with 
 hawthorn bushes and pollards, and affording pleasant
 
 CHAP. vn. A NEW COLONY. 133 
 
 harbours of refuge behind their inner banks for the 
 fishing punt or the pleasure wherry. 
 
 But, on the whole, the plain of La Varenne, for so 
 was it called, could not be regarded as a very lovely 
 or even as a very picturesque spot. Dr. Syntax 
 certainly would not have made way for a sketch of it 
 in his note-book. 
 
 A very few years ago, however, the proprietors of 
 this spot seem to have discovered beauties in it which 
 had not previously been visible even to the most 
 scrutinising observer. They suddenly found out that 
 La Varenne was a kind of Eden which had been 
 neglected until then, but which was worthy of better 
 treatment. Why should it not become as famous a 
 resort of the Parisians as St. Grermain, Maisons- 
 Laffitte, Bougival, and other well-frequented locali- 
 ties in the environs of the capital ? 
 
 Ordinary people might soon have given a reply to 
 this question in the manner of the Auvergnats ; that 
 is, by asking another. They might have demanded 
 why excellence was almost everywhere preferred to 
 mediocrity; why beauty was more captivating than 
 plainness ; why platina was more highly prized than 
 pinchbeck? But the proprietors of the spot in question 
 
 KS
 
 134 ASPECTS OF PARIS. CHAP. vrr. 
 
 would never, we may be sure, have felt the force of 
 these retorts, and would have proceeded on their 
 course exactly as they have proceeded. 
 
 In the first place, then, they made no secret of 
 their great discovery. If the plain of La Varenne 
 had until then been an unknown country, they were 
 determined it should be so no longer. They at once 
 set to work, in order to give it the wide-spread repu- 
 tation to which they deemed it entitled. 
 
 Bravely and steadily have they kept at this occu- 
 pation ever since. They have advertised their dis- 
 covery in the Paris papers. They have everywhere 
 spread abroad the intelligence that the plain of La 
 Varenne is a capital site on which to build a village 
 of villas. They have described, in glowing terms, 
 the healthiness of its position, the beauty of the 
 scenery around it, the low price of the land to be dis- 
 posed of. They have issued prospectuses containing 
 a map of the spot, the winding course of the Marne 
 being laid down in it with astonishing fidelity. They 
 have copied this map into newspaper advertisements 
 and upon publicity posts. No means, in fact, have 
 they left untried to draw attention to this new 
 and inviting colony.
 
 CHAP. vii. A NEW COLONY. 135 
 
 Their efforts, it is only fair to say, have been at- 
 tended with a considerable amount of success. The 
 plain of La Varenne is now dotted with numberless 
 houses, in spots where, a season or two before, barley 
 or beetroot was growing. Whole streets have been 
 formed. Shops have arisen. A church has been 
 built. There is a post-office (at the general store); 
 a cafe boasting of a billiard-table ; several cabarets ; 
 more than one restaurant ; a pork-butcher's, and a 
 rope-walk ! 
 
 In fact, a village of considerable dimensions has 
 sprung up, and every year it increases in size, as 
 more land is disposed of, and more settlers arrive. 
 The owners of the soil do not stop in their endea- 
 vours to allure well-to-do Paris citizens into this 
 newly discovered America of the department of the 
 Seine. Emigrants accordingly flock there every 
 spring and summer, clear away the spot they have 
 purchased, and begin to build a house upon it. 
 Long before the chilling blasts of winter sweep 
 down from the neighbouring heights of Sussy and 
 Chennevieres, the walls have been raised, the roof 
 put on; another dwelling-place standing erect upon 
 the earth. 
 
 K 4
 
 136 ASPECTS OF PAKIS. CHAP. vn. 
 
 If La Varenne's plain was not specially alluring 
 in aspect, before the building rash broke out upon 
 its face, it is even less alluring now that house and 
 wall have seamed it in almost every direction. So 
 marked and spotted has it become, indeed, that 
 the little beauty it once possessed has well nigh 
 departed. 
 
 I suppose the village of La Varenne as it at pre- 
 sent stands is about one of the oddest-looking places 
 on the face of the earth. With a great pretence of 
 order and symmetry almost all its streets being 
 laid out in straight lines it is as scrambling and 
 ill-disposed a collection of houses as the lover of 
 unpicturesque irregularity need wish to gaze upon. 
 
 But why do I talk of houses ? There are none on 
 this unsocial plain. La Varenne St. Hilaire, for it 
 bears this second title, is not a village of human 
 habitations, but a village of dead walls. 
 
 I remember that when I visited Eupatoria some 
 three or four years ago, I walked through street after 
 street of that most dismal Crimean town without 
 seeing more than one or two dwelling-places. 
 Scarcely anything but high^ walls were visible on both 
 sides of the cheerless Koslof thoroughfares.
 
 A NEW COLONY. 137 
 
 After we had walked some little time in these 
 streets, the monotony of the scene began to weary 
 us, for dead walls, it will readily be admitted, are 
 scarcely sufficient of themselves to make up a very 
 picturesque prospect. One of my companions, a 
 promising young medical student who had come out 
 to operate upon the Turks, ventured therefore upon 
 what he doubtless thought a very natural inquiry. 
 
 " If these dead walls are Eupatoria," said he, " I 
 should like to know where the inhabitants usually 
 reside, when they are at home ? " 
 
 It is impossible to wander through La Varenne 
 St. Hilaire without feeling prompted to put a similar 
 question. You see nothing at first but long lines of 
 straight streets, planted with equally long lines of walls 
 and trees, and intersecting each other at right or 
 acute angles. Dwelling-places, or even edifices of 
 any kind, there appear to be none. 
 
 It is only after you have gone the tour of the 
 whole district that you find out it contains habi- 
 tations. They lie back, in fact, as in the Russian 
 town just mentioned, and are hidden from view by 
 the walls, with which their proprietors have thought 
 fit, for some unaccountable reason, to surround them.
 
 138 ASPECTS OF PARIS. CHAP. TO. 
 
 In many cases, however, at La Varenne, the ground 
 has merely been imprisoned thus in expectation of 
 future buildings. Inside or outside, walls, walls, 
 walls, walls, are the only objects to be seen. 
 
 As far as the picturesqueness of the landscape is 
 concerned, it is after all of but little consequence, 
 perhaps, that the houses of La Varenne are hidden 
 from view. When you catch a sight of them you are 
 far from being overpowered by their beauty. Many 
 are a single story in height, and contain, apparently, 
 one room and a small cupboard. They look like 
 connecting links between the London summer-house 
 and the family vault. The smallest of small house- 
 holds could with difficulty lodge in one of them, you 
 would say, unless all the children were at boarding- 
 school and their widowed mother resided elsewhere. 
 Built flat upon the ground, and shut out from the 
 influence of the air, they suggest ideas of sciatica 
 mingled with anticipations of black beetles, calcu- 
 lated to send twinges through even the sturdiest 
 frame. 
 
 Of course all the houses are not of this lowly kind. 
 Some are as ambitious, in aspect, as the Florentine 
 villas of Camden Town or the Gothic lodges of
 
 CHAP. vn. A NEW COLONY. 139 
 
 Canonbury. But the odd positions they are placed 
 in, and the odd contrasts which surround them, render 
 their absence from the scene by no means a deeply 
 regrettable circumstance. 
 
 As may be supposed, the streets of La Varenne, 
 under the circumstances already described, are about 
 the most dreary-looking it is possible to imagine. 
 They are, in fact, like so many churchyard avenues ; 
 but have not even tombstones to enliven them. If 
 you were to meet a ghost in one of these dismal 
 lines you would welcome him with an eager shake of 
 the hand, in despair of finding any companion more 
 closely resembling your species. But you would never 
 be fortunate enough to encounter even such unsatis- 
 factory company as this at La Varenne. Grhosts, I 
 suppose, are as fond of society as we are, and what 
 society could they hope to find in the deserted streets 
 of this deserted village ? 
 
 The High Street, it is true, and one or two other 
 streets, offer more variety. There are houses in 
 these parts of the colony which face the thoroughfare 
 and are visible from it. Nay, in more than one 
 instance, they are entirely unenclosed by walls and 
 built directly upon the street. Such is also the
 
 140 ASPECTS OF PARIS. CHAP. vn. 
 
 case, of course, with the few humble shops which 
 are to be found there. Other edifices, although, 
 perhaps, surrounded by walls or railings, do not 
 lie back sufficiently to be hidden from the sight of 
 the passers by. 
 
 At the outskirts of the colony, too, the monotony 
 of the scene is broken. There, streets, in many 
 places, are in a mere state of expectation, waiting 
 for pavement, roadway, houses, and tenants. They 
 are but tracings on turf copied from tracings on 
 paper. A scare-crow board with Rue de 1'Eglise, 
 Eue du Prince, or Place de Conde inscribed upon 
 it, is the only indication that lines of buildings are 
 hereafter to traverse the growing sward. In some 
 places, however, the road is fairly marked ou^by 
 palings, or, it may be, is quite formed with kerb 
 stones laid down to protect the footways, though, 
 perhaps, only one or two lonely dwellings have 
 arisen upon the spot. Lonely, indeed ! They look 
 as though they had been benighted there, and were 
 only waiting for a little rest to proceed on their 
 journey and take up better quarters. 
 
 Away then from these outskirts and the High
 
 CHAP. vn. A NEW COLONY. 141 
 
 Street, we find ourselves everywhere in the midst 
 of the long lifeless walls before alluded to. 
 
 What has induced the worthy settlers at La 
 Varenne St. Hilaire to build themselves in with 
 these walls I am at a loss to divine. You might 
 suppose them a body of Trappists or Capucins, so 
 great is the seclusion they appear to covet. Most 
 people, who have retired from the stifling atmosphere 
 of a crowded city and taken up their abode in the 
 country, like to breathe the fresh healthy air of 
 meadow and hill-side as fully, and as freely, as 
 possible. They choose large and airy dwellings, 
 place them in the midst of wide-stretching gardens, 
 in the open country, or on the slope of an eminence. 
 They continually go forth into the woods and fields, 
 and endeavour to indemnify themselves for town 
 imprisonment by country liberty. 
 
 The inhabitants of La Varenne evidently are not 
 like these persons. When they retire it would appear 
 to be for the purpose of shutting themselves up, not 
 for the purpose of letting themselves loose. They 
 snugly stow themselves away as they might stow away 
 some choice old wine. They seem to forget that,
 
 142 ASPECTS OF PARIS. CHAP. vn. 
 
 even though it be of the very fullest body, it runs 
 the risk, if too long locked up, of turning sour. 
 
 Mewed up within the lofty walls of their gardens ; 
 screened from all curious eyes; blockaded against 
 all intrusion ; with what do these isolation-loving 
 anchorites occupy themselves from morn till eve ? 
 Do they pass their time as Kousseau passed his at 
 Montmorency ; Gibbon at Lausanne ; Catinat at St. 
 Denis, or Charles Quint at the convent of St. Justus ? 
 Do they read, write, paint, play the piano, or turn 
 a lathe to make the days spin round ? I know not. 
 I only know that upon one of the very rare occa- 
 sions in which I saw a dweller in the La Yarenne 
 plain, at home (of course I never saw one abroad), 
 he was occupied in no such manner as I have just 
 indicated. Seated in his shirt sleeves, beneath the 
 porch of his humble dwelling, he was engaged in the 
 least ambitious of labours. He was smoking a short 
 pipe ! 
 
 During a residence of nearly a year in the out- 
 skirts of the new colony, varied by weekly visits to 
 Paris, I made many attempts to gain information 
 respecting tke manners and customs of the inhabi- 
 tants. But my efforts were not very fructuous. The
 
 CHAP. vii. A NEW COLONY. 143 
 
 settlers in the plain were for the most part, I found, 
 Paris tradesmen retired or half retired from business. 
 They had each purchased a piece of land and built 
 a house upon it. During the winter they deserted 
 these houses and resided in the capital. When 
 spring came back so did they. 
 
 Horticulture, I have reason to believe, was the 
 chief occupation of my neighbours; although I do 
 not speak with any amount of certainty upon the 
 point. One, with whom I made acquaintance, en- 
 tirely gave himself up to photography. He had 
 been in business in Paris ; had, comparatively early 
 in life, made a fortune, and with much good sense, 
 as it appears to me, had at once retired to enjoy it. 
 The class to which he belonged are accustomed to 
 act thus when they have made money, instead of 
 waiting until old age renders the enjoyment of that 
 money almost as laborious as its acquisition has been. 
 
 My photographic neighbour was thoroughly in 
 love with his new pursuit. Although he followed 
 it as a simple amateur, he worked all day long, as 
 though existence itself depended upon his labours. 
 You might have supposed that he continually had a 
 number of important orders on hand, which it was
 
 144 ASPECTS OF PARIS. CHAP. vn. 
 
 absolutely necessary he must execute without a 
 moment's loss of time. He was always taking views 
 of everything. Now of the front of his house ; now 
 of the back; now of the little outbuildings at the 
 side ; and now of the rabbit-hutch in one corner of 
 the garden. 
 
 He took portraits, too, by the hundred. Portraits 
 of his servant, of his dog, of his odd man. When- 
 ever he invited friends to see him he took their 
 portraits also. All the people in the neighbourhood 
 had been similarly treated. Imagine what striking 
 likenesses were produced, no fee being asked by the 
 producer ! And yet not exactly so, for ladies were 
 expected to pay. A kiss on both cheeks was exacted ; 
 that is to say, from the pretty. The ugly, and the 
 simply plain, were let off free. 
 
 In justice to La Varenne, I am bound to state that 
 on certain occasions it threw off its dulness and 
 put on a somewhat cheerful aspect. This was the 
 case on the fine Sundays of summer-time. On those 
 festivals, every omnibus which arrived from Paris 
 and there were seven or eight each day was loaded 
 with company ; friends and relatives of the inhabit- 
 ants. They came to pass the day at La Varenne,
 
 A NEW COLONY. 145 
 
 to wander through the meadows and woods in the 
 neighbourhood, to stroll by the river's side, to 
 clamber up its steep banks, and then return from 
 these rural rambles, with gratified mind and sharp- 
 ened appetite, to partake of the festive cheer specially 
 provided for them by their hosts. 
 
 This influx of visitors always caused quite a 
 revolution in the appearance of the village. The 
 deserted streets became animated with merry-voiced 
 promenaders. The outlying fields were invaded 
 and taken possession of by the same. The Port de 
 Creteil, a haven on the Marne, close at hand, and 
 well known as having furnished the title and subject 
 of one of M, Soulie's novels, was alive with pleasure- 
 boats and their navigators. The High Street became 
 for the time a sort of suburban Boulevard des 
 Italiens. The grand cafe there, was filled with such 
 a numerous company, that three glorias and a can- 
 nette were oftentimes ordered at one and the same 
 time. Until nearly ten o'clock at night, the whole 
 village was the scene of movement and gaiety. After 
 that advanced hour it returned to its usual state of 
 domestic tranquillity. 
 
 L
 
 !46 ASPECTS OF PARIS. CHAP. TH. 
 
 Occasionally, too, La Varenne was enlivened by 
 movement and gaiety with another aspect. 
 
 At twelve or one o'clock in the day, perhaps, the 
 sound of drum and life, or fife and horn, would 
 suddenly, and without previous warning, fall upon 
 your ear. Disturbed from your studies, or whatever 
 occupation you were engaged in, you started from 
 your seat and rushed to the window. A procession of 
 well-dressed men and women is in sight. At its head 
 are the musicians whose melody has excited your 
 attention. The gentlemen of the procession are in 
 evening dress. The ladies are in white muslin, with 
 wreaths of flowers upon their heads instead of 
 bonnets. The party walk two and two. Each 
 gentleman conducts a lady. The first couple, fol- 
 lowing the musicians, have to-day been wedded. 
 
 Yes, this is a marriage procession. The happy 
 ceremony has just taken place, and now the newly- 
 made husband and wife, accompanied by their bride- 
 maids and bridegrooms, and such other friends as 
 they have invited, are parading themselves thus 
 through the village in order that their neighbours 
 and the rest of their acquaintances may see what has 
 happened. No marriage in the environs of Paris,
 
 CHAP. vn. A NEW COLONY. 147 
 
 between persons of humble rank, passes off without 
 this processional ceremony. Bride and bridegroom 
 expose themselves to the gaze of the gaping and 
 grinning, through an entire district, quite as a matter 
 of course. An English couple, under similar cir- 
 cumstances, would look, I am afraid, extremely lamb- 
 like; nay, even sheepish. They would shun the public 
 scrutiny of bantering friends and satirical neighbours, 
 as poor Alfieri shunned it when he returned to Turin 
 by night, after his year's journey of eighteen days. 
 
 But French people, it would seem, are differently 
 constituted. Shame-faced bashfulness is certainly not 
 one of their faults. A blush in the part of France 
 I am speaking of, is about as rare as a four-leaved 
 shamrock. Certainly if it is to be found anywhere, 
 you will not find it upon the cheeks of bride or bride- 
 groom in one of these marriage processions. The 
 newly-wed, to say truth, walk along with head erect 
 and eye steady, proud and gratified, as it would 
 appear, by the interest they excite, not in the slightest 
 degree abashed, confused, or disconcerted. Well ! 
 well ! peace, prosperity, and happiness be with them, 
 say I, with all my heart. 
 
 When their perambulations have ceased, the whole 
 L 2
 
 148 ASPECTS OF PARIS. CHAP. vn. 
 
 of the company will retire to a neighbouring re- 
 staurant, where they have ordered a dinner to be pro- 
 vided for them. To supply marriage parties with 
 these banquets is one of the chief occupations of the 
 suburban tavern-keeper. He has oftentimes a large 
 room in his house capable of containing from one 
 hundred to two hundred people, and specially in- 
 tended for nuptial dinners ; repas de noces as they 
 are called. 
 
 No young couple with tolerably good prospects 
 before them, and moderately rich parents behind 
 them, allow their marriage to pass off without giving 
 a treat of this kind to their friends. After the dinner 
 there is oftentimes dancing ; and festivities do not 
 terminate until a late hour. In some cases they are 
 renewed on the morrow, and do not utterly conclude 
 until the day after. When thus protracted the ex- 
 pense is divided. The bridegroom pays for the first 
 day's entertainment ; the friends of the bride for the 
 second ; the general company for the third and last. 
 Large sums of money are of course frequently spent 
 upon these rejoicings. People will oftentimes save 
 for a whole year beforehand, in order to regale their 
 friends in a spirited manner on the day of days.
 
 CHAP. vii. A NEW COLONY. 149 
 
 It is a merry scene, that presented by a nuptial 
 party, in a La Varenne restaurant, on the occasion of 
 one of these fetes. When dinner has set and dessert 
 has just begun to dawn ; when Macon has loosened 
 the heart-strings and Champagne has fairly untied 
 them, gay indeed is the marriage festival I Toasts 
 without number are given, as brimful of sentiment 
 and kindly feeling as the glass in which they are 
 pledged is brimful of liquor. Songs are sung of 
 saccharine Tomtit tenderness ; real dove-cot lyrics, 
 with a chorus of bill and coo. They are succeeded 
 by other songs not quite so sentimental, but far more 
 gay, and these latter please all parties even more 
 than the first. 
 
 Then the jokes ! They fly about as handfuls of 
 flour might fly from a band of schoolboys in un- 
 lawful possession of a windmill. Out of the way, out 
 of the way, or you will get well dusted ! 
 
 You don't understand what it was that made all 
 the ladies titter and try to look offended, the men 
 meanwhile roaring more lustily than furnace fires ? 
 Never mind. Don't be too curious to learn. And 
 above all, don't look for the words in your dictionary. 
 You won't find them there. 
 
 1/3
 
 150 ASPECTS OF PARIS. CHAP. VII. 
 
 But let us get back to the plain. 
 
 La Varenne, despite its position, is rapidly becoming 
 a populous district. Every year, as I have said, new 
 houses are erected there, and new streets formed. 
 Its facilities of communication with Paris are being 
 increased by the formation of a railroad connecting 
 it with that city. The line will, of course, materially 
 assist in augmenting the popularity of the colony, 
 by alluring new settlers to the spot. Several in- 
 ducements already exist for people of small fortune 
 to take up their abode there, if picturesque scenery 
 be not a requisite on which they have set their 
 hearts. Land, for instance, is much cheaper than in 
 the more famous localities in the environs of the 
 French capital, such as St. Cloud, Auteuil, Enghien. 
 You may purchase it at La Varenne for eighty cen- 
 times the metre. Its ordinary price is, however, a 
 franc and a half. This latter quotation is at the rate, 
 or I miscalculate, of from two hundred and thirty 
 to two hundred and forty pounds sterling the acre. 
 
 Houses, too, may be had cheap. The proprietors 
 of the land will build you one for as low a sum as 
 three thousand francs one hundred and twenty 
 pounds sterling. Or if your ideas are more lofty,
 
 CHAP. vii. A NEW COLONY. 151 
 
 they will give you quite a little palace for ten 
 thousand francs four hundred pounds sterling. 
 
 Here, then, are advantages enough, I trust, and if 
 any discontented Briton should exist, in the environs 
 of London, who has become weary of Sydenham, or 
 who thinks Eichmond over-praised, and Muswell 
 Hill too highly placed, let him at once repair to La 
 Varenne, and throw a glance upon that suburban 
 locality. 
 
 He will, perhaps, return to his native land with 
 healthier sentiments.
 
 152 ASPECTS OF PARIS. CHAP. vm. 
 
 CHAP. VIII. 
 
 PARIS PLAYS. 
 
 NOTHING is more puzzling to the English visitor who 
 arrives for the first time in Paris, anxious to make 
 acquaintance with its dramatic amusements, than to 
 determine which of the many theatres of the capital 
 will be likely to afford him most gratification. In 
 the majority of cases, perhaps, he knows only two or 
 three sufficiently well by reputation to be sure of 
 the kind of performance they illustrate. He is 
 aware that at the opera-houses he will meet with the 
 musical drama; at the Theatre Franpais, the classical 
 drama, and at the Porte St. Martin, the melodrama. 
 Beyond this, probably, his knowledge is vague. He 
 does not know what shades of difference separate a 
 Folies Nouvelles from a Folies Dramatiques; a 
 Palais Eoyal from a Luxembourg ; a Varietes from a 
 Vaudeville. 
 
 The play-bills afford him but little information.
 
 CHAP. VIII. PARIS PLATS. 153 
 
 The titles they bear, like titles of another kind, are 
 no indications of merit. Nay, they scarcely give an 
 idea of the nature of the pieces to which they 
 belong. What instruction, for instance, can he 
 derive from such names as " Gret out of that," " Tur- 
 lututu," " Hulloa my Little Lambkins," " The Good 
 Little Fellow is still Alive," or " A Million in the 
 Abdomen ? " He might just as well expect to learn 
 the Bashmuric dialect from a marionette, or the 
 principles of Grnostical philosophy from an Irish 
 apple-woman. 
 
 It is only after a residence of some few months in 
 Paris that the visitor grows tolerably well acquainted 
 with the numerous theatres the city abounds in. 
 And, to arrive at this point of familiarity, he must 
 not only visit a fair majority of those theatres, but 
 he must read the pieces they play and the criticisms 
 passed upon them. The " Theatre Contemporaine," 
 the " Bibliotheque Dramatique," and the theatrical 
 feuilletons of the press, must for some time be his 
 weekly study. 
 
 This will surprise no one who remembers that 
 Paris is, without question, the dramatical capital of 
 Europe ; that its pieces supply to a greater or less
 
 154 ASPECTS OF PAEIS. CHAP. Tin. 
 
 extent the stage of England, of Kussia, of Belgium, 
 of Italy, of Germany, with the novelties they pro- 
 duce; that its actors are without superiors if not 
 without equals; and that its theatres are more 
 numerous than the theatres of any other city in the 
 world. 
 
 Within the barrier walls of Paris there are, in fact, 
 twenty-seven edifices devoted to the public per- 
 formance of opera and drama. Just beyond those 
 walls, in the immediate suburbs of the capital, there 
 are six others. Total, thirty-three. Keligion itself 
 has but few more abiding-places in the city. For 
 in all Paris there are only forty-one Koman Catholic 
 churches and some chapels. It would therefore 
 be about equal fighting, priest and player coming 
 to blows. 
 
 If the Paris theatres are numerous, equally nume- 
 rous are the novelties they produce in order to 
 maintain existence. Fresh titles succeed each other 
 upon the affiche as clouds succeed clouds upon an 
 April sky. Scarcely an evening passes in which new 
 pieces do not make their appearance upon the Paris 
 play-bills and the Paris stage. If successful, they 
 will often maintain their place there, week after
 
 CHAP. vin. PAEIS PLAYS. 155 
 
 week, or month after month. Many have a run of 
 a hundred nights. Some of two hundred. Instances 
 of even more remarkable longevity have been 
 known. M. Scribe, in a recent speech, alluded to a 
 piece, " La Chatte Merveilleuse," played at the Va- 
 rietes theatre without intermission during eighteen 
 months ! Five hundred consecutive representations 
 it obtained ere its attractiveness was exhausted. 
 Merveilleuse, indeed, must have been this chatte. 
 Dick Whittington's can scarcely be mentioned in the 
 same breath with it. 
 
 When Paris pieces are unsuccessful, their reign is 
 short indeed. They are deposed almost as quickly 
 as was Masaniello. Theatrical managers do not 
 understand half measures. A piece must pay or 
 must give place to one that will. Success or banish- 
 ment ; such are the conditions to be adhered to if 
 you tempt the fortune of the stage. 
 
 If every Paris theatre had now and then such 
 triumphs as those just alluded to, the inventive 
 faculties of French dramatic authors might long lay 
 dormant. But for the one piece which popular 
 favour rewards with a liberal hand, there are, per
 
 156 ASPECTS OF PARIS. CHAP. vm. 
 
 haps, ten which she treats with the most miserly 
 niggardness. 
 
 It is this which accounts for the immense number 
 of new productions which the theatres of the French 
 capital annually place upon the stage. 
 
 Let us get at a few facts upon this subject. 
 
 The dramatic critic of one of the leading Paris 
 journals stated a short time since, upon relinquish- 
 ing his post, that during the sixteen years he had 
 held it, three thousand times had he professionally 
 attended the theatre ! Three thousand times, as he 
 said with comic pathos, and never once had he 
 enjoyed the privilege of a good hiss ! But, un- 
 flagging as this unfortunate gentleman may have 
 been in the discharge of his duties, he must have 
 left some of them unfulfilled. Had he attended the 
 representation of every dramatic novelty produced 
 in Paris during the period of his office, the figures 
 just given would have been even more bulky than 
 they are. For if we take these figures and submit 
 them to a very simple arithmethical process, we find 
 that the average number of annual visits paid to 
 the theatres by this critic, was one hundred and 
 eighty-seven and a half ! But the average number
 
 CHAP. viii. PARIS PLAYS. 
 
 of new pieces produced every year upon the Paris 
 stage is upwards of two hundred ! Put this last state- 
 ment in other language and we see that the the- 
 atrical gluttons of the French capital have a fresh 
 dramatic banquet prepared for them every other 
 evening, with a supplementary banquet every fort- 
 night. What wonder if their digestion has become 
 somewhat impaired ? 
 
 As may be believed, it would be no light task to 
 pass in review the armies of new pieces which every 
 year obtain possession of the Paris stage. We 
 should be whole days inspecting the battalions of 
 farces, the regiments of melodramas, and the de- 
 tachments of comedies that would march before us. 
 We should grow weary of the examination long 
 before it was half over ; for we should find idea 
 succeeding idea, and plot succeeding plot, all ar- 
 ranged in pretty similar costume, and with only a 
 few different features in each to distinguish one 
 from the other. But such a review is not necessary. 
 We may put off our dramatic field-day to some other 
 occasion. 
 
 The number of new pieces which annually come 
 to an untimely end in Paris is, as I have said, very
 
 f 
 158 ASPECTS OF PARIS. CHAP. vm. 
 
 great. They have knocked at the door of the public, 
 but there has been no reply. They have knocked 
 ao-ain, and with the same result. What is left for 
 
 O " 
 
 them, then, but to die miserably upon the door-step, 
 of cold and neglect ? Let us leave them there. The 
 undertaker's men will soon arrive and deposit them 
 in the tomb. It is not for our sacrilegious hands to 
 disturb them in that hallowed resting-place. Suf- 
 ficient it will be, perhaps, if we make acquaintance 
 with the fortunate few who have passed the portals 
 of success, and taken up their abode in the temple 
 within. Let us, therefore, give them awhile our 
 attention. 
 
 It is only fair to acknowledge that almost every 
 piece which obtains the applause of a Paris audience 
 has qualities which to some extent justify that ap- 
 plause. You may be pretty sure to find in such 
 productions many scenes which strongly appeal to 
 the sympathies of a large number of people ; many 
 stage effects which surprise or delight the eye and 
 keep the attention excited. If you were to seek for 
 qualities of a higher kind you might not find them. 
 You might not meet with original delineations of 
 character; with faithful pictures of manners; with
 
 CHAP. vin. PARIS PLATS. 159 
 
 developments of high philosophical idea; but then, 
 you are not so exacting as to expect such pheno- 
 mena as these, so you readily forgive the French 
 drama for not displaying them. 
 
 What, however, you will not be so ready to forgive, 
 is the unhealthy moral atmosphere which pervades 
 almost all the productions to which I am alluding. 
 It is no exaggerated puritanic spirit which urges 
 me to say, that impure ingredients enter into the 
 composition of nearly every dramatic piece which 
 has obtained great success of late years upon the 
 Paris stage. And here let me observe that I do not 
 specially allude to those productions which have 
 dames aux camelias for heroines, or the faded bou- 
 doirs of a demi-monde for their scene of action. I 
 include in my catalogue many pieces which have 
 taken their dramatis personse from the open and 
 broad highways of Life rather than from its narrowest 
 and most secret courts and alleys. 
 
 There seems to be an unfortunate tendency in the 
 Parisian mind to nurture sentiments which in plain- 
 spoken English we call diseased or sickly. M. Theo- 
 phile Lavallee, who may be supposed to know some- 
 thing of his fellow-citizens, has painted, as it seems
 
 160 ASPECTS OF PARIS. CHAP. \in. 
 
 to me, the character of those citizens with no ordi- 
 nary skill. " The Parisian population," he says, " is 
 essentially, profoundly, gaulois ; that is, warlike and 
 vain. It loves, above all things, strife and blows, 
 war and conquest; it madly loves noise, fame, do- 
 minion; it delights with childish pride in being, 
 though but for a moment, the strongest, the chief, 
 the master; it would repeat without much shame 
 the vce victis of its ancestors." 
 
 It is not surprising, I think, that people who 
 possess such sentiments as these should have their 
 judgment in other respects disarranged. It is a 
 necessity, as it would seem, of their mental organisa- 
 tion. Thus we find the Parisian specially delighting 
 in the strange and marvellous, the horrible and the 
 romantic. Tell him a plain straightforward story ; 
 tell him of the successful struggles of virtue against 
 the temptation of vice, of the long sustained efforts 
 of honourable perseverance against obstacle and dis- 
 couragement, and he will gape and yawn ; tell him 
 of secret crime, of unnatural sin, or of morbid mis- 
 fortune, and he will lend you a listening ear and an 
 eager eye. 
 
 Unfortunately, the majority of dramatic pieces
 
 CHAP. viii. PARIS PLAYS. 161 
 
 produced upon the French stage lend themselves 
 only too readily to the gratification of the Parisian's 
 taste. You will scarcely ever see a successful drama 
 in which a painful termination is not brought about 
 by painful means. Even in the most popular Bou- 
 levard theatres this is the case. The audience are 
 strongly on the side of virtue. They groan, sob, and 
 tremble when she is in danger. They breathe freely 
 when she is in safety. They detest the villain that 
 maltreats her. They mutter execrations upon him 
 between their teeth. But yet their sympathies are not 
 fully satisfied unless, at the fall of the curtain, virtue 
 and vice are overwhelmed together in one common 
 ruin. Then they weep and moan in token of satis- 
 faction ; in token that their craving for harrowing 
 excitement is appeased. 
 
 If I may so express myself, a Parisian audience is 
 not content with ordinary horror, it must have horror 
 that has been well spiced and peppered. Human 
 suffering, in a natural state, is not sufficiently 
 agonising; it must be inflamed, fevered, bloodshot, 
 or it seems commonplace and dull. A mere flesh 
 wound is nothing ; the cut must have penetrated to 
 the bone, or it does not create a shudder. Hence the 
 
 M
 
 162 ASPECTS OF PARIS. CHAP. vni. 
 
 reason why so many French dramas close upon a 
 scene requiring a funeral procession or a coroner's 
 inquest to terminate it satisfactorily. What we call 
 a " happy ending," is comparatively unknown upon 
 the French stage. If dramas do not finish with 
 murder, suicide, or madness, they are almost sure to 
 be looked upon coldly by the public. Matrimonial 
 felicity, at the end of three or five acts, would be 
 regarded as insupportably hum-drum. 
 
 I do not say that such dramas as these are neces- 
 sarily immoral. It is in nearly every case far more 
 easy to make a charge of this kind than to substan- 
 tiate it. Nay, I will say that I believe many of them 
 are perfectly free from this blemish. But, unques- 
 tionably, nearly all of them are unhealthy in their 
 tone and tendency. They paint human existence in 
 by far too sombre colours. They give false ideas of 
 the human will. They take from it its power and 
 dignity. By far too often they represent us as the 
 merest playthings of an evil destiny. Of what avail 
 our struggles ? Why should we try to combat passions 
 we feel to be vicious, or endeavour to conquer desires 
 we know to be unreasonable ? If fate has willed that 
 we are to follow a certain path, follow it we must.
 
 CHAP. vm. PARIS PLAYS. 163 
 
 Now, I think the soundness of such doctrines as 
 these, is, to say the least, open to question. It is not 
 quite a settled point, at all events, that we have no 
 power to act as our reason tells us it were best to 
 act ; that we have no power to steer our little bark 
 over the stormy seas of life, so as to avoid its rocks 
 and shoals. For myself, I love to think that we have 
 this power, that we are not mere puppets moved by 
 invisible strings, but that a courageous heart, a firm 
 purpose, and a spirit of confidence tempered by 
 humility, will enable us to grapple with most of the 
 obstacles that lie in our path. This may be an erro- 
 neous estimate of our capacity, but evidently it is a 
 more encouraging one than that expounded in these 
 Paris dramas. It surely must be better to believe 
 ourselves possessed of sufficient energy to fight 
 against the enemies of our peace than to believe our- 
 selves poor, weak, sickly things, unable to maintain 
 our ground, even for an instant, when those enemies 
 assail us. 
 
 At all events, if we buckle on our sword, and pre- 
 pare for the combat, we have a chance of victory. 
 If we stand helpless when we are attacked, offering 
 no resistance, we are pretty sure of defeat. 
 
 M 2
 
 164 ASPECTS OF PARIS. CHAP. vni. 
 
 In illustration of some of the foregoing remarks, let 
 me give the outline of a piece which recently enjoyed 
 a large amount of popularity in Paris, and which 
 may be looked upon, to some extent, as the type of 
 a class. I purposely select a drama of the higher 
 kind ; one, at all events, that is distinguished by a 
 fair amount of literary merit. 
 
 Dalila, the piece to which I allude, is the produc- 
 tion of an author of education and of ability ; 
 M. Octave Feuillet. It was not originally intended for 
 representation upon the stage, and, previous to pass- 
 ing through the ordeal of performance, came before 
 the public in a volume, containing other of the 
 writer's works. It may be looked upon, therefore, as 
 the finished picture of a literary man ; not as the 
 imperfect sketch of a mere working playwright. 
 M. Octave Feuillet, indeed, is a dramatist, occupying 
 by no means an inferior rank among his brethren. 
 He is, too, a careful and conscientious writer, who 
 bestows both time and thought upon his productions, 
 and whose style is polished and pleasing. 
 
 Let us see to what purpose his talents have been 
 employed in the work we are going to consider. 
 
 When the play opens we are in Naples, at the
 
 CHAP. Tin. PARIS PLAYS. 165 
 
 house of an old professor of music named Sertorius ; 
 a man of very high genius and full of the most 
 ardent love for the art he follows. One of his pupils, 
 a young Dalmatian of great promise, Andre Roswein, 
 has composed an opera ; words and music being alike 
 his own. On the night when the story of the piece 
 commences, this opera is to be performed at the San 
 Carlo theatre, before the court and a very brilliant 
 company. 
 
 Old Sertorius has a daughter, and Martha, for so 
 is this daughter called, is in love with Andre Ros- 
 wein. But she has been studiously careful to allow 
 no hint no indication of this passion to escape 
 her. 
 
 Her father has a deeply-rooted dislike to artistes, 
 as he calls them ; that is, to all who seek to give 
 expression to their talents through the agency of 
 literary composition, painting, sculpture, or music. 
 He looks upon such people as devoid of that mental 
 stability which alone can support a man through the 
 varied trials of life, and enable him to play his part 
 in the world with benefit to himself and to those 
 belonging to him. He looks upon them as doomed 
 by the very nature of their mental organisation to 
 
 M 3
 
 166 ASPECTS OF PARIS. CHAP. vni. 
 
 a cheqiiered existence alternating with the hues of 
 hope and despair; of gilded luxury, and sombre 
 wretchedness. 
 
 Martha feels that Andre Eoswein belongs, and 
 must belong, to this proscribed class, and that all 
 prospect of union with him, sanctioned and ratified 
 by paternal consent, is vain to look for. This reason 
 it is which induces her to guard the secret of her 
 affection so jealously from every eye. She has not 
 imparted that secret to her father ; she has not im- 
 parted it to Andre Eoswein. It was born in silenc*. 
 
 ,^f 
 
 and in silence it seems likely to die. 
 
 Yet not so ; for the young composer, on his side, 
 is also in love. Martha has inspired in his breast 
 the same sentiment he has inspired in hers, though 
 hitherto he has been too diffident of his own merit to 
 declare this openly. Aware, too, of the sentiments of 
 Sertorius, he is afraid of drawing down upon himself 
 the anger of the old master, to whom he is so ardently 
 attached, by an avowal of the state of his heart. 
 
 On the eve, however, of passing through an ordeal 
 which is perhaps to decide the whole course of his 
 future career, Andre Eoswein casts aside his appre- 
 hensions, tramples upon his timidity, and spurred
 
 CHAP. viii. PARIS PLAYS. 167 
 
 into almost desperate courage by the supposition that 
 Martha does not care for him, fully and freely tells 
 her how deeply he loves. 
 
 Pay great attention, I beg, to the terms in which 
 he declares this, for it will be necessary to recall 
 them in a subsequent part of the story, when his 
 conduct has to be contrasted with his words. This 
 then is the strain in which the poetical young com- 
 poser speaks : 
 
 " How many times your sweet spirit has come to 
 bless my hours of trial bringing me courage or, at 
 least, remorse. The peace I seek, I find only in 
 your eyes ; the strength which fails me passed into 
 my heart as soon as I touched even in vision your 
 hand. 
 
 " Oh, (rod ! to live near your father and you, in 
 the holy and composed serenity of your home 
 under the charm of your presence under the in- 
 spiration of your beauty under the shelter of your 
 virtue; to live thus, to die thus! Aye, why did the 
 thought ever visit me ?" 
 
 A lover who speaks in these terms to a young girl 
 whose heart he has already conquered, need not fear 
 for the result of his eloquence. Martha, touched by 
 
 M 4
 
 168 ASPECTS OF PARIS. CHAP. vm. 
 
 the earnestness of the ardent pleader before her, and 
 anxious to prove she is not indifferent to it, tacitly 
 admits that she returns the love offered her. Andre 
 Eoswein may see, if he will, that she in gaining his 
 heart, has lost her own. The sentiments of her father 
 have kept in imprisonment her passsion. She en- 
 courages Andre to hope that those sentiments may be 
 modified, and quits him in order to prepare for the 
 opera representation. 
 
 Andre Koswein, assured of the love he has so long 
 pined for in trembling silence and timidity, seems on 
 the instant to breathe another and a lighter atmo- 
 sphere. The dull, dark, and sombre fears which have 
 overclouded his moral nature are at once dispersed. 
 He feels new life throbbing in every vein : new joys 
 stirring at his heart. The gloomy prospect which 
 only a moment previously stretched before his eyes 
 has vanished, and in its place is a dream-land scene, 
 illuminated by the bright rays of hope and love ; the 
 odours of sweet flowers filling the air, the sounds of 
 ethereal music floating on the wavelets of the breeze. 
 
 Again pay great attention, I beg, to the words in 
 which Andre Roswein gives utterance to the emotions 
 which the avowal of Martha has aroused within him.
 
 CHAP. Tin. PARIS PLAYS. 169 
 
 To be for ever by her side and by the side of her 
 father; to dwell amid the brightness of her pre- 
 sence ; to be guided by her persuasive counsels ; to 
 be stimulated by her loving glances ; such we may 
 fairly say are the desires which Andre Eoswein is 
 filled with. 
 
 " Is it true? Is it possible?" he exclaims, in the 
 spirit of another Eomeo. " She loved me ! She 
 loves me ! I am saved, then. No more fever ; no 
 more delirium ; no more struggling ; no more torture. 
 Heaven takes me back. Oh (rod ! I thank thee. I 
 thank thee from the very depths of my soul. 
 
 " She loves me!" (He looks from the window.) 
 "Heavenly splendour, for the first time I seem to 
 see it now. Pure starry brightness; melodies of 
 ocean ; breezes of Italy I've found you once again. 
 You inundate my heart. 
 
 * * * a jj er husband ! Oh ! chaste vision of my 
 troubled nights, thou art no longer a dream. I love 
 this chamber, these familiar objects; objects that 
 her hand touches at each moment; even the air, 
 agitated by the rustling of her robe. I will for ever 
 rest within this sanctuary. What joy to labour near 
 her!
 
 170 ASPECTS OF PARIS. CHAP. vra. 
 
 " When I came this evening beneath the window, 
 I saw her here ; now bending over her fairy needle, 
 graceful and motionless as the statue of domestic 
 virtue ; and now raising her face, the better to listen 
 to her father; her face grave and pensive as that of ' 
 a Muse. The picture of a better world seemed to 
 stand before my eyes; of a better life than that of 
 men. 
 
 "And I shall take my place between these two 
 heavenly beings! She loves me! What profound 
 repose has suddenly spread o'er me ! My brain but 
 now was full of tempest-thoughts. The breath of an 
 angel has passed across my brow. Oh ! the deep and 
 blest tranquillity I feel !" 
 
 You might fairly suppose that the young musician, 
 after such an outburst of passionate exclamation as 
 this, was thoroughly earnest in the love he professes 
 to entertain for the daughter of his old master. If 
 his language is exaggerated, the exaggeration, you 
 readily admit, is pardonable. The lover, of even 
 moderately poetic sensibility, who does not talk of 
 his mistress in somewhat similar strains when he 
 first hears from her lips the confession he has not 
 had courage enough until then to ask for; such a
 
 CHAP. vm. PARIS PLAYS. 171 
 
 lover, I say, may be excluded from the ranks of those 
 ardent natures whose earnest devotion to one dear 
 object, raises them for the time above every low- 
 level sentiment of ordinary existence. 
 
 You will not quarrel, therefore, with Andre Ros- 
 wein for his amorous rhapsodies. You will quarrel 
 with him for offences of a much more serious kind. 
 
 I have said that the evening on which our dra- 
 matic story commences is that fixed for the first 
 representation of the young composer's work. After 
 the interview already described, Martha and her 
 father hasten away to the theatre, leaving Andre to 
 follow on with a friend. 
 
 This friend is one Carnioli, the patron of Roswein, 
 and he deserves from that circumstance to be intro- 
 duced under cover of a little history. 
 
 Years before, while travelling on the shores of the 
 Adriatic, on his return from a diplomatic journey to 
 Turkey, Carnioli encountered, one day, a little goat- 
 herd among the mountains playing upon a rude 
 violin. 
 
 Despite the clumsiness of his instrument the musi- 
 cian drew forth such sweet sounds that the traveller 
 was delighted. He carried off the orphan boy as a
 
 172 ASPECTS OF PARIS. CHAP. Till. 
 
 prize ; treated him with great kindness and liberality, 
 placed him under the tuition of good masters, and 
 encouraged by the unmistakable signs of genius he 
 displayed, hoped to see him one day arrive at high 
 distinction. 
 
 That goatherd has now become a composer of 
 music, and is named Andre Boswein. 
 
 Carnioli may be supposed, therefore, to take some 
 interest in the fate of his promising pupil, and Andre, 
 on his side, would be ungrateful if he did not feel 
 linked by gratitude to the protector he owes so 
 much to. With an overflowing heart, and rapture 
 sparkling in his every word, Andre Eoswein imparts 
 to Carnioli the intention he has formed of marrying 
 Martha, if he can gain her father's consent. 
 
 Now, Carnioli is one of those bachelor mixtures of 
 noble generosity and pleasant cynicism, of cool judg- 
 ment and warm heart, which are so frequently met 
 with on the stage of Paris, and so seldom, so very 
 seldom, on the stage of life. 
 
 He is a philosopher too, a worldly philosopher, this 
 Carnioli, and holds some rather strong opinions re- 
 specting the infirmities of genius. Like Sertorius, he 
 places all artistes upon about the same moral level as
 
 CHAP. Tin. PARIS PLAYS. 173 
 
 pickpockets and children in arms. He believes that 
 men of talent must, if their talent is to fully 
 ripen, continually be tossed up and down upon the 
 roughest waves of life, as a little boat is tossed upon 
 a mighty ocean. He believes that they ought, almost 
 as a duty, to lead a wild vagabond existence, far 
 beyond the pale of ordinary society, in order to es- 
 cape the dangerous contagion of regular habits, good 
 manners, and decent behaviour. He believes that the 
 poet, painter, player, sculptor, or musician, who mar- 
 ries and settles down amid the tranquil scenes of 
 domestic life, is irretrievably and hopelessly lost to 
 the world ; that his mind, coddled and pampered by 
 the comforts of home, loses the energy out of which 
 are born great works ; and that the only real stimu- 
 lants to creative power are want, suffering, and 
 misery. Matrimony, in fine, he looks upon as the 
 "extinguisher" of genius; a more free and easy 
 state being, on the contrary, the oil which feeds its 
 flame ! 
 
 At the first mention of marriage with Martha, 
 Carnioli, with indignant energy, pours forth all these 
 sentiments into the ears of Andre Roswein. Nay, 
 he piques the young man's vanity by declaring that
 
 174 ASPECTS OF PARIS. CHAP. vm. 
 
 a beautiful and titled lady no other than the 
 Princess Falconieri, or Leonora, as she is indifferently 
 called has expressed the most tender interest in 
 his welfare, and that a temporary flirtation with 
 her, will be far more agreeable than a lasting en- 
 gagement with Martha. 
 
 Andre Koswein pretends to pay no heed to these 
 words. His love remains unshaken, he says ; equally 
 so his matrimonial intentions. Union with the 
 daughter of Sertorius, he looks forward to, as the 
 highest and purest happiness Providence can be- 
 stow upon him. The poetic young Dalmatian has 
 passed through the fiery ordeal of his patron's 
 teaching \vithout even the slightest injury, you fancy. 
 Alas ! this is far from being the case. 
 
 The opera is performed. It creates extraordinary 
 enthusiasm. Andre Eoswein has obtained a proud 
 triumph. He is hailed as a new Rossini, Mozart, 
 and Mercadante, according to the taste and critical 
 judgment of his admirers. Nay, more ; the very 
 lady of whom Carnioli has spoken, feigns to be so 
 delighted, that she throws the young composer a 
 bouquet, to which is attached, as though by acci- 
 dent, her handkerchief!
 
 CHAP. Till. PARIS PLATS. 175 
 
 From that moment, the tranquillity of mind which 
 Andre Roswein had previously felt deserts him, 
 His honesty of mind, it may be said, deserts him 
 also. He seems to lose all moral control over him- 
 self. He forgets the sentiments of affection for 
 Martha he has given utterance to only a few hours 
 before. He forgets the ecstasy which the avowal 
 of her love has caused him. He forgets the vows of 
 constancy he has made in presence of Carnioli. 
 Nothing will satisfy him but a visit to the lady who 
 has thrown him her loye-challenge ! 
 
 Not that he is in love with her ; not that he 
 wishes to be. Oh ! no. He simply wishes to call, 
 in order that he may see her, that he may speak to 
 her, that he may restore her pocket handkerchief ! 
 
 It is not difficult to imagine what tricks he will 
 next perform, after he has thus juggled with his con- 
 science. 
 
 Darting from the theatre, and from the congratu- 
 lations of his friends ; paying no heed to the 
 gratified Sertorius, or the rapturous Martha ; Andre 
 Eoswein flies away, midnight though it be, to the 
 residence of the ensnaring Leonora. 
 
 I will not dwell long upon the scene which follows.
 
 1 76 ASPECTS OF PARIS. CHAP. vin. 
 
 The young musician is received by the princess, who 
 treats him at first with cold civility and studied con- 
 tempt. But soon her tactics change. Extorting 
 from him a confession that he does not love her, she 
 determines, apparently for no other purpose than to 
 revenge herself for this dreadful slight, to enclose 
 the silly young man in the meshes of her fascina- 
 tions. She throws them upon him thick and fast, 
 and in a few minutes Andre Eoswein is a prisoner, 
 bound hand and foot with the silken cords of a new 
 affection. 
 
 Martha and her father have meanwhile returned 
 to their abode, where they await with impatience the 
 arrival of Eoswein. But he does not come. The 
 minutes pass slowly by, and still the truant makes 
 no sign. Martha can endure the agony of suspense 
 no longer. She goes to the window to look for her 
 absent lover. 
 
 What is it that caused her to utter that piercing 
 cry, and to fall back lifeless, as though a thunder- 
 bolt from on high had struck her ? Andre Eoswein, 
 eloping with Leonora, has just passed in a post-chaise 
 before the house ! 
 
 And this on the very night he has uttered those
 
 CHAP. Till. PARIS PLATS. 177 
 
 speeches to which I called your attention a few pages 
 back; nay, while those speeches are still lingering, 
 as it were, upon his lips ! What a noble fellow ! 
 
 But let us hasten on. 
 
 Two years elapse. Andre Eoswein still remains a 
 prisoner in the arms of Leonora. But he is no longer 
 the same Andre Eoswein as of yore. His whole 
 nature is changed. But two years before, he was 
 full of hope and energy ; the conviction of his own 
 power had given him courage ; the sweet words and 
 the loving glances of Martha had filled his heart with 
 gladness. Now he has no hope, no energy. He 
 cannot look forward ; he dares not look behind. 
 
 The voice of his genius has been stifled within him 
 almost at its birth. It is as dumb now as the voice 
 of Death. He cannot work. He has been asked to 
 compose another opera ; nay, his labours have already 
 been requited by anticipation. Not two scenes of 
 the work, as he himself mournfully tells us, are yet 
 composed. 
 
 His life has not been all enjoyment, it is evident ; 
 yet he still clings to the woman for whom he has 
 forfeited honour and reputation, and whom he still 
 
 N
 
 178 ASPECTS OF PARIS. CHAP. vin. 
 
 loves with a delirious love. There is no talk of 
 Martha ; no word of her father. They may both, 
 ere this, have sunk beneath the cruel blow they have 
 received. No matter. The past must be forgotten ; 
 expiated perhaps. Aye! expiated. There is still 
 hope in the future, and once again it comes to him in 
 seductive colours. He will work; he will strive 
 hard ; he will reconquer the peace he has lost. 
 
 Too late. Too late. The sympathy which might 
 encourage him is wanting. The woman for whom 
 he has bartered away happiness is but a stock and 
 stone. Her bosom throbs, it may be, with selfish, 
 sensual passion ; by pure affection it is never stirred. 
 She has long ago grown weary of her foolish lover, 
 weary of his fretful restlessness, his moody sorrow. 
 Long ago ! Why, it is full two years since she de- 
 coyed him into her snares. 
 
 Hear how she reproaches him, at each word, thrust- 
 ing a thorn into his already bleeding heart ! He 
 may well throw aside the pen with which he has been 
 attempting to give his fancies shape. It will not aid 
 him now. " My talent is dead," says he ; " all the 
 chords of my brain are withered and dried up, as 
 though a burning flame had passed over them. I
 
 CHAP. viii. PARIS PLATS. 179 
 
 do not tell you so ; my sleepless nights should tell 
 it for me. 
 
 " But is it for you to reproach me ? You who have 
 worn out, in sterile struggles, in miserable agitation, 
 in puerile grief, all the strength of my spirit ? Oh 
 Grod ! in so short a time such a change ! But yester- 
 day, the best gifts of Heaven, smiling poesy, and 
 fruitful youth, singing all their anthems to Hope ; 
 to-day, a void ; silence ; and the coldness of the 
 tomb ; such is my heart. 
 
 " Oh ! if there are, as 'tis said there are, certain of 
 God's creatures stripped of divine splendour and 
 divine power for their faults, I know what they suffer 
 in their degradation. I know the secret of that 
 bitterness which gnaws eternally their thoughts. 
 
 " Why cannot you you also, be made to feel these 
 torments ? You would not then insult them. But 
 you will feel them, Leonora ; yes, the day when 
 the first breath of old age casts you from your throne, 
 for ever disarmed of your power; for ever robbed of 
 your beauty; that day, I shall be revenged." 
 
 The end of this sad story may soon be told. 
 Leonora, grown thoroughly tired of her hysterical 
 admirer, furtively leaves him, and elopes with some 
 
 N 2
 
 180 ASPECTS OF PARIS. CHAP. Tin. 
 
 new companion, just as Andre Koswein has learnt 
 that this is a step she has taken some five or six times 
 before. He did not, of course, believe it when he 
 heard it, but now to be incredulous were to be insane. 
 Poor Andre ! his white marble statue proves to be a 
 statue of very common clay. What can we do but 
 pity the luckless wretch for the terrible mistake he 
 made? 
 
 Andre Eoswein flies away in search of the faithless 
 one, cries for vengeance trembling on his lips. A 
 carriage, in which he supposes she has taken flight 
 with her new companion, passes before him. With 
 a stern energy that nothing can oppose, he stops it. 
 An old man descends from the vehicle. It is old 
 Sertorius, now quite childish and grief-stricken, who 
 is conducting the dead body of his daughter into 
 Germany. Poor Martha ! She has slowly faded and 
 passed away, under the influence of the blighting 
 sorrow which has fallen upon her ! 
 
 At sight of her pallid corpse, Andre Roswein falls 
 down in a swoon. A little bark is soon afterwards 
 seen crossing the waters close at hand. Leonora is 
 seated in it, her fresh captive by her side and a gay 
 song of farewell issuing from her lips, as she glides
 
 CHAP. Tin. PARIS PLAYS. 181 
 
 away over the tranquil waves of the deep blue sea. 
 We might suppose the song a mocking dirge over 
 Andre Roswein, who now lies for ever motionless 
 on the shore. 
 
 Such is the Dalila of M. Octave Feuillet. Does 
 it not give us a charming picture of human nature, 
 set in a charming frame ? The moral to be drawn 
 from the story, apparently, is that the possessor of 
 genius must of necessity be a fool and a scoundrel. 
 I do not think it necessary to combat this ancient 
 but somewhat musty doctrine. Belief in it has passed 
 away like belief in Royal wit and mermaids. Men 
 with any love for the Art they profess, and any 
 power to embody that love, are not turned aside 
 from the path they have entered upon, by a bou- 
 quet, a pocket-handkerchief, or the glances of two 
 deceitful eyes. At the very first obstacle which 
 arises before them, they are not utterly overthrown 
 and prostrated in the dust of moral degradation, 
 without power to rise. It is an insult to the dignity 
 of human nature to believe in the possibility of such 
 utter weakness. Beings like Andre Roswein fortu- 
 nately have no existence, except in the brain of 
 
 N 3
 
 182 ASPECTS OF PARIS. CHAP. vm. 
 
 M. Octave Feuillet and his brother dramatists. They 
 are brought forward merely to minister to the craving 
 for morbid excitement, which fills the minds of Paris 
 playgoers. Misfortune which is represented as the 
 inevitable result of a decree of Fate, pleases the 
 popular taste. And the more coarsely it is painted 
 the more favourably is it received. 
 
 Dalila is a proof of this. 
 
 I am not writing an essay on public morality, or I 
 might offer additional reflections suggested by the 
 subject before us. I might speak of the dangerous 
 influence which plays such as these must exert over 
 the minds of the young and impassioned ; but my 
 readers, I dare say, have already pictured this result 
 for themselves, without my assistance; there is no 
 need, therefore, for me to light my dim taper amid 
 the circle of their blazing torches. If it be true that 
 a good story always carries its own moral, is it not 
 equally true that a bad one always carries its own 
 condemnation? The narrative of Dalila is before 
 you. Let it speak for itself. I have given it fully, 
 and, I believe fairly. Those who have any mis- 
 givings upon the point, can consult the play itself. 
 
 I have not yet spoken of the fashion which has
 
 CHAP. viil. PARIS PLATS. 183 
 
 found extraordinary favour of late years among Paris 
 dramatists ; I mean that of placing upon the stage 
 scenes and characters more fit to appear before a 
 police court than before a mixed public assemblage. 
 In every way the fashion appears to me a deplorable 
 one. What is to be gained by making a show and a 
 spectacle of the accidental deformities of our civilisa- 
 tion ? We do not put club feet in a frame, or hump 
 backs under a glass case, to be gazed at and admired 
 by all the world. Why should we treat with more 
 favour the disfigurements of our moral nature? 
 They are ten times uglier than the disfigurements of 
 the body. 
 
 We need not shut our eyes to what is going 
 on around us. We need not live in an isolation 
 of imaginary excellence, unlinked by sympathy to 
 the rest of our kind. We err enough ourselves, 
 Heaven knows, ay, even the most virtuous of us, 
 so we may well afford to recognise those who err 
 also. But we need not set them up before us as 
 objects for amusement and pastime. We need not 
 play and sport with them to beguile away hours of 
 idleness. This is not the way to purify them ; it is 
 
 N 4
 
 184 ASPECTS OF PARIS. CHAP. vin. 
 
 not the way to purify ourselves. On the contrary, 
 we stand a good chance of losing our own honesty, 
 while we are languidly pretending to teach honesty 
 to others. At the very moment when we are holding 
 up the danger signal for our companions, we may be 
 falling into the pit ourselves. 
 
 There is another blemish in modern French drama, 
 not so serious as those already alluded to, but claim- 
 ing nevertheless a word of remark. 
 
 Almost every sentimental hero of the Paris stage, 
 has a habit of talking in super-filial tones of his 
 Mother. No matter how much misery he may have 
 caused her ; no matter how long he may have neg- 
 lected her ; no matter how undutifully he may have 
 acted towards her ; ma mere is for ever on his lips, 
 accompanied by the blubberings of hysterical pathos. 
 Though during four acts he may have abandoned her 
 to wretchedness and sorrow : in the fifth, when it is 
 too late to repair the ill he has done, he is sure to 
 begin to whimper for her, like a schoolboy who has 
 lost an apple. Far be it from me to cast any ridicule 
 upon the holiest affection our hearts are capable of 
 conceiving. The name of Mother is hallowed in 
 the history of our nature. It should be uttered
 
 CHAP. Tm. PARIS PLATS. 185 
 
 reverentially by every tongue. A man may acquit 
 many debts as he passes through life, but he will 
 never acquit that which he owes to the being who 
 has given him birth. 
 
 I do not quarrel therefore with French dramatists 
 for imbuing their heroes with elevated sentiments of 
 filial devotion. I quarrel with them for stripping 
 those sentiments of all naturalness, of all simplicity, 
 and arraying them in showy flaunting robes which 
 hide the native beauty they possess. 
 
 It is not a new idea that nature needs no adorn- 
 ment. We cannot "paint the lily or gild refined 
 gold." In like manner we cannot make natural 
 sentiments more beautiful than nature has made 
 them. Yet this is what the French dramatists con- 
 tinually strive to accomplish. The love inspired in 
 us by a mother, is with them a bedizened city dame 
 rather than a simple and homely village maiden. 
 It is an alabaster statue which the sculptor has left 
 pure and white, but which clumsy hands have daubed 
 with gaudy colouring. 
 
 There is a tendency among French dramatic 
 authors to exaggerate most passions, but none do 
 they exaggerate more than this. Their stage hero
 
 186 ASPECTS OF PARIS. CHAP. viil. 
 
 talks of his mother in language which, when con- 
 trasted with his conduct towards her, becomes 
 thoroughly ludicrous. He would lead you to be- 
 lieve that she has unlimited influence over him, but 
 on the very first occasion when that influence ought 
 to operate, it becomes without power. He forgets 
 the tender being who has so much affection for him, 
 and runs away after some wicked hussey who has no 
 more heart than a millstone. 
 
 When sentiments such as I am speaking of are 
 presented to us, let us have those which stimulate 
 to actions rather than to words. Let us see them 
 cheering the waning days of old age; encouraging 
 youth in the hour of trial ; strengthening it in the 
 hour of adversity. We shall be sure then that they 
 are real and not imaginary; that they spring 
 from a healthy heart instead of a diseased mind. 
 
 I must confess, I have a profound contempt for 
 these heroes of the French stage, who snivel like so 
 many Job Trotters about sentiments they do not act 
 up to, and talk of feelings as penetrating to the bone 
 which it is pretty obvious are only skin deep. 
 
 Paris audiences do not, however, share my views. 
 With them these gentlemen are special favourites.
 
 CHAP. vni. PARIS PLATS. 187 
 
 If just before dying they do but allow ma mere to 
 escape their lips, tears of condolence and sympathy 
 are at once accorded to them, no matter what amount 
 of rascality they may have previously committed. 
 And here, I think, is the harm. 
 
 There is another point upon which I should like 
 to touch, while speaking of the French drama, 
 although I feel that some little courage is required 
 even to approach it. 
 
 We are accustomed, I think, in England, to esti- 
 mate foreign excellence of most kinds at by far too 
 high a rate, substituting enthusiasm for discrimina- 
 tion, when the latter quality, in fairness to our own 
 countrymen, is most needed. Nowhere has this been 
 more strikingly seen than in the judgment we have 
 passed upon what is called the constructive powers 
 of the French dramatists. We hold up the pieces of 
 the Paris stage, as model illustrations of those powers, 
 for all the world to copy. Do we not, in acting thus, 
 give credit to the many, for what is only rightly due 
 to the few? Numberless French dramas are un- 
 doubtedly put together with exceeding skill. Incident 
 is dove-tailed into incident; act is joined on to act, 
 with so much neatness and precision, that we are
 
 188 ASPECTS OF PARIS. CHAP. vm. 
 
 almost tempted to believe the assertion of a certain 
 waggish Parisian critic, who declares some of the 
 Boulevard authors cut out plans of their pieces in 
 wood before putting them on paper! But a good 
 majority of the pieces produced upon the French 
 stage, including almost all those of a so-called high 
 class, such as moralising M. Ponsard, or tender-souled 
 M. Legouve, favour us with, are anything but models 
 of the constructive art. 
 
 The fact is, that nearly all the productions of the 
 Paris stage which gain a footing upon the London 
 boards, have been carefully selected from among a 
 mass of others. It is their special excellence which 
 has secured for them a free passage across the 
 Channel. 
 
 I remember that when I was but a little lad I 
 saw one day a small packet of wheat about to be 
 taken to market as a sample of several sacks in 
 the granary. Upon examining the packet, I noticed 
 several grain that were dirty-looking and damaged. 
 They seemed so unsightly by the side of the others 
 that I very carefully picked them out, and threw 
 them away to the fowls in the farm-yard close at 
 hand. Shortly afterwards, when the packet was
 
 CHAP. vm. PARIS PLAYS. 189 
 
 being tied up, it was found to contain nothing but 
 wheat of such admirable aspect that it could no 
 more be considered as a fair sample of the sack 
 from which it had been taken than as a sample of 
 Egyptian maize or bilberry blossoms. 
 
 Now ! what I did to this wheat is precisely what 
 English managers and English translators do to 
 French dramas before bringing them to the dramatic 
 market of London. They very carefully cast aside 
 the dirty grains ; those that are ill-formed ; those 
 that are diseased, and leave nothing but clean, well- 
 shaped wheat in the packet. The English public 
 sees this, and this alone, and is in raptures at the 
 quality of the theatrical corn submitted to it. 
 
 If, however, we would arrive at a correct estimate 
 of the great mass of pieces which are produced upon 
 the Paris stage, we must take a fair sample of them 
 instead of one that has been picked and purified. 
 And here, as before, we need not occupy ourselves 
 with drama's that have been failures that the public 
 has refused to receive. It will be sufficient if we 
 examine those which have obtained some amount of 
 success. 
 
 Take a piece that has lived perhaps through a
 
 190 ASPECTS OF PARIS. CHAP. Yin. 
 
 hundred successive nights of legitimate triumph. 
 What a long, lumbering thing it often is ! There 
 are five acts and ten tableaux. So at least says 
 the play -bill. It might just as well have said ten 
 acts while about it. And such acts ! The piece 
 begins at seven o'clock p. M. Nothing else is played 
 during the evening, and yet the clock is on the stroke 
 of midnight ere the performance is over. Why ! 
 King Lear, played according to the original text, 
 would not occupy more time. And, of course, poor 
 Williams as our French friends, with charming 
 naivete, will still insist upon calling Shakspeare 
 of course, poor Williams, I say, never claimed to be 
 regarded as a teacher of dramatic construction. 
 
 Alfieri's pieces, which certain French critics find 
 so slow and so long, are rarely more than half the 
 length of the majority of French melo-dramas. 
 Mirra, for instance, contains measuring roughly 
 about seventeen hundred and fifty lines. Les Cheva- 
 liers du Brouillard, the successful Jack Sheppard of 
 the Porte St. Martin, contains about three thousand 
 five hundred ! Nearly double. 
 
 French dramatists are partial to pieces which 
 occupy the whole evening in representation; and
 
 CHAP. Till. PARIS PLATS. 191 
 
 they have very simple and satisfactory reasons for 
 being so. Such productions are the most remu- 
 nerative. " Everywhere," as M. Frederic Soulie 
 says, "long pieces are more lucrative than short; 
 everywhere the yard measure does its office." When 
 one piece is the sole entertainment of the evening 
 it procures for its authors, in nearly every Paris 
 theatre, twelve per cent, upon the gross receipts. 
 When other pieces are played with it, the twelve 
 per cent, has to be proportionately divided. I do 
 not blame French dramatic writers, therefore, for 
 stretching their productions to the utmost limit. 
 
 Besides, the mere length of a play is after all no 
 very great fault, provided the play be well developed, 
 and its interest fully sustained from first to last. 
 But then, in too many instances, this, alas ! is not 
 the case. Clear, simple, and closely worked out 
 plots are a rarity. Instead of the various acts 
 presented to us constituting one finished piece, they 
 constitute several unfinished fragments of different 
 pieces. Instead of each act leading us to the 
 halting-place of our journey it leads us to the 
 commencement of a fresh one. When we start 
 again we are upon an entirely new path. A few
 
 192 ASPECTS OF PARIS. 
 
 words of explanation are almost the only guides we 
 have to direct us on our way. 
 
 French dramatists are fond of putting more into 
 a play than it will properly hold; except when 
 the " Unities " are to be observed, and then they do 
 not put enough. They look upon three acts as a 
 novelist looks upon three volumes, and think they 
 can easily get as much into the one as the other. 
 But this is not always so facile. A drama produced 
 three or four years ago in Paris, and played with 
 great success for more than six months, actually 
 tried to give the history of Paris from the year 
 50 B.C. to the year 1797 I A whole army of famous 
 personages connected with the subject were intro- 
 duced. Thus we had Julius Caesar, Talleyrand, Jean 
 Groujon, Abailard, Catherine de Medicis, Joan of 
 Arc, Moliere, General Bonaparte, Mademoiselle de 
 La Valliere, Tasso, Turgot, Jeanne d'Albret, Merlin 
 the magician, Voltaire, and Charlotte Corday, all 
 crowded together into five acts. We had, in fact, a 
 panorama but not a play. 
 
 I am not much in love with the rigid rules of the 
 old classical drama, and I see no more reason for 
 confining the action of every piece to twenty-four
 
 CHAP. VIII. PARIS PLAYS. 
 
 hours, than for writing every piece upon pink note- 
 paper. But I am far from sure that it would not be 
 better to adopt the bare simplicity of ancient art 
 than to follow the crowded complexity of the art 
 that is modern. Shakspeare has allowed himself 
 some little license in the construction of his plays. 
 But he becomes almost another Sophocles by the 
 side of some of the present Paris dramatists. 
 
 To deny that many Paris plays are constructed 
 with considerable skill, or written with great talent, 
 would be absurd. Our own stage can show plenty of 
 them " not translated, only taken from the French," 
 as Sheridan says, preserving all the features of their 
 origin, though arrayed in English dress. I am 
 simply endeavouring to show that a vast number 
 of these plays, nay the majority, are as unshapely 
 and ill-built craft as ever sailed over dramatic waters. 
 They pitch, they toss, they creak, they roll, they let 
 in water, they deviate from their course, they will 
 not answer the helm ; and if some few arrive safely 
 in port amidst the hurrahs of the spectators, the 
 rest break to pieces on the rocks, or miserably run 
 aground upon the sands. 
 
 These may seem disparaging remarks, and I feel 
 o
 
 194 ASPECTS OF PARIS. CHAP. vin. 
 
 that such they are. But while we continually hear 
 so much about the excellence of French drama, it is 
 only fair, I think, that some of its demerits should be 
 pointed out. Every young writer, who seeks to attain 
 a footing on the English stage, is told to hasten to 
 France, in order to qualify himself for the honour. 
 
 " Go to Paris and see how they write plays there," 
 is the advice always given him. The advice is not 
 bad. It is only by studying what others have abroad 
 that we can properly appreciate what we ourselves 
 have at home. "II piu bello studio eke far possa 
 un u&mo nobile e quello di vedere il mondo" says 
 moralising Milord Bonfil, of the Italian comedy; 
 and, though in a weak-minded way, he says well. 
 
 If, however, there is much in French drama that 
 an English author would do well to follow, there 
 is even more, perhaps, that he would do better to 
 avoid. 
 
 That the existing stage of Paris is more productive 
 than the stage of any other city, is a proof that 
 nowhere is the dramatic art so much cultivated as 
 in the capital of France. But it is no proof that 
 French drama has yet reached perfection, or even that 
 it is half way towards it.
 
 CHAP. vin. PARIS PLAYS. 195 
 
 I should like, ere quitting this theme, to make a 
 few observations upon another closely connected 
 with it I mean the present condition of the English 
 stage. And my observations, although perhaps not 
 strictly entitled to find a place here, under the 
 heading I have given to the present chapter, may 
 yet, I think, be allowed admission as arising of 
 themselves from the subject we are considering. 
 
 When we are told to go to the Paris stage for lessons 
 in dramatic construction, it is curious to remember 
 that two centuries and a half ago our drama was in 
 a flourishing and glorious condition, rich and fruitful 
 in poetry and thought, while France, the much 
 vaunted France of the present day, was, so to speak, 
 without a drama at all ! 
 
 During the reigns of Elizabeth and James I. in 
 England, and of the four or five monarchs who 
 were their contemporaries in France, the London 
 audiences of the Globe, the Blackfriars, the For- 
 tune, the Red Bull, the Curtain, and the Cock Pit, 
 were listening to the fine productions of Jonson, of 
 Beaumont and Fletcher, of Marston, of Massinger, 
 and of Shakspeare ; while the audiences of the 
 Hotel de Bourgogne and the Marais had nothing 
 o 2
 
 196 ASPECTS OF PAEIS. CHAP. vni. 
 
 better before them than the coarse absurdities of the 
 Italian farceurs, the classical imitations of Jodelle, 
 the immature conceptions of Grarnier, and the hasty 
 commonplaces of Alexandre Hardy. 
 
 Moliere did not produce his first regular comedy, 
 L'Etourdi, until 1653. He, therefore, stands com- 
 pletely out of our calculations. Corneille did not 
 produce his first piece, Melite, until 1629. Now, 
 at that date, not only had pieces by Shakspeare, by 
 Ben Jonson, by Massinger, by Beaumont and Fletcher, 
 and by Marston been played, and played again and 
 again, but nearly all those authors were cold in their 
 tombs. A whole generation of famous English 
 dramatists had passed away before France possessed 
 a single writer who shed any lustre upon her stage. 
 Upon none of her dramatists, who nourished before 
 the immortal Pierre, can she now look back with 
 pride or gratification. 
 
 Is it not enough to humiliate us sadly and 
 grievously humiliate us when we think of what our 
 stage was in those distant days and contrast it with 
 what our stage is now ? When James I. ruled over 
 Merrie England, the dramatic art was cultivated 
 among us as it had never before been cultivated in
 
 CHAP. vni. PARIS PLAYS. 197 
 
 any other country. We had authors full of fire and 
 poetry, of genius and daring. We had a stage 
 which might have been the envy of the world. 
 Thalia and Melpomene, driven from the golden 
 climes where they first took life, had found a home 
 upon our chilly shores, and had installed themselves 
 among us in almost Olympian dignity and splendour. 
 
 How stands it with us in the age of Victoria? 
 Where are the dramatic writers who uphold the 
 reputation of our stage ? Where are the poets whose 
 works reflect the manners of our age and satirise its 
 vices and its follies ? Gone ; all gone. The scene is 
 bare and desolate. The lights have one by one faded 
 out. The voices of kings and nobles ; of stately dames 
 and lowly maidens; of rough warriors and gentle 
 bards ; all, all are hushed. The voice of the wind 
 alone is heard as it sadly moans through the clefts 
 and fissures of the ruined temple. 
 
 It is not too much to say, I think, that in the 
 present day, we have no stage at all. Year by year 
 has the theatre been sinking to a lower intellectual 
 level. All agree, at last, in declaring that it can sink 
 no lower. 
 
 We have lost nearly every writer whose name, in 
 
 o 3
 
 198 ASPECTS OF PARIS. CHAP. vm. 
 
 our own time, has become honourably distinguished 
 in connection with the theatre. Poor Jerrold has 
 been snatched from us by greedy Death. Sheridan 
 Knowles has quitted the scene of his dramatic 
 triumphs for scenes of a very different kind. Bulwer 
 has long since thrown down the pen which gave us 
 the Lady of Lyons and Richelieu. Tom Taylor 
 is left almost alone to maintain the intellectual repu- 
 tation of the English stage. 
 
 Is this as it should be ? Is it not a blot upon our 
 literary scutcheon? Is it not a stain upon our fair 
 name, which it behoves us at once to wipe away? 
 
 Strangely enough the disgrace is everywhere felt 
 and acknowledged, and yet nothing is done to re- 
 move it. In every society where conversation rises 
 above the dead level of commonplace ; in every 
 society not exclusively occupied with tea-table tittle- 
 tattle, or lap-dog politics ; in every educated and 
 sensible society, in fact, people admit that the con- 
 dition of our stage is a reproach to the nation. 
 Everybody has grown tired of seeing the same old 
 stock pieces for ever and ever revived; the same 
 worn out incidents and ideas continually reproduced 
 under new disguises ; the same stage manners and
 
 CHAP. viii. PARIS PLATS. 199 
 
 customs that were in vogue in our grandfathers' days. 
 Everybody has grown tired of seeing modern English 
 habits, as represented upon the English stage, no 
 more resemble the habits of our actual every-day 
 life, than those of the Jacobites. Everybody has 
 grown tired of seeing French farces, French comedies, 
 French melo-dramas (French tragedies let us grate- 
 fully acknowledge we are spared), continually placed 
 before us in ill-fitting English dress. The more 
 intellectual part of the community people who 
 read, think, and feel admiration for the refining arts ; 
 these people, I say, are day by day, and year by 
 year, deserting our theatres, simply because they find 
 nothing in those theatres which affords them the 
 mental gratification they can obtain in their own. 
 homes, from the pages of even the humblest dra- 
 matists of a former time. 
 
 Yet we all know how infinitely a good play is im- 
 proved, if I may say so, when ably represented. We 
 all know how even its most hidden beauties are brought 
 to light, and how the full conception of the author is 
 presented to us in clear well-defined and harmonious 
 forms. The expression which, in reading, may have 
 o 4
 
 200 ASPECTS OF PARIS. CHAP. Till. 
 
 seemed obscure or unintelligible, aids, we see, in the 
 artistic development of an important character. The 
 scene which appeared but an episode of the main 
 story ; when brought prominently forward, is found 
 to be a necessary link in the chain by which the 
 incidents of the whole plot are bound together. 
 
 Indeed, only the highly cultivated and the highly 
 poetic, can entirely supply for themselves the place 
 of player, scene painter, and musician. To a large 
 number of persons, acting is to a play, almost what 
 colouring is to a picture. It gives life and animation 
 to forms which before seemed vague and shadowy. 
 It gives motion to the waves ; radiance to the sun- 
 light ; verdure to the landscape ; odours to the flowers ; 
 melody to the breezes ; sublimity to the storm. It 
 enthralls the imagination with its fascinations and 
 spells. 
 
 The actor, in fine, has it in his power to exercise 
 a more stirring effect over the popular mind than 
 perhaps even the orator can exercise. The influence 
 of dramatic representation in refining, nay, in edu- 
 cating, might, it is evident, be carried very far. In 
 Paris, the stage, I think, has on the whole a baneful 
 rather than a beneficial effect upon the minds of those
 
 CHAP. viii. PARIS PLAYS. 201 
 
 who habitually attend the theatres. Yet its teachings 
 are not altogether without some good fruit. 
 
 The lowest frequenters of the common Boulevard 
 theatres, know, for instance, more of the history of 
 their country, than English people of far higher social 
 position know of theirs ; and the cause of this may 
 soon be told. Parisian dramatists, partly from taste, 
 and partly from the necessity, imposed by political 
 considerations, of avoiding the history of modern days, 
 go back to the history of ancient days, for scenes and 
 incidents with which to fill the stage. The great 
 events of a former epoch ; the famous personages who 
 figured in them, whether as statesmen, poets, generals, 
 courtiers, sycophants, favourites, ormonarchs; all 
 are summoned from the dim obscurity of the past to 
 appear before the modern frequenters of the Paris 
 theatres, amid the glare of theatrical decorations and 
 scenic embellishment. 
 
 I grant that these characters and these events are 
 oftentimes represented under a false or at least a 
 deceptive aspect. I grant that history is frequently 
 treated with strange liberty by the Boulevard drama- 
 tists ; that troublesome facts are as cruelly put out 
 of the way as were the two poor little Babes in the
 
 202 ASPECTS OF PARIS. CHAP, vim 
 
 Wood ; that inconvenient details are slurred over, 
 when they interfere with an interesting tableau or an 
 effective denouement. 
 
 I grant, finally, that history as represented on the 
 boards of the Paris theatres is rarely so satisfactory or 
 so instructive as in the pages of Mignet, St. Simon, 
 Loret, the Marquis de D'Angeau, Barbier, Michelet, 
 Henri Martin, or Duvergier de Hauranne. But it 
 bears, at all events, the seeds of truth; and those 
 seeds falling upon an uncultivated mind may 
 take root, and by dint of after culture bear goodly 
 fruit. Many a young imagination has, I am certain, 
 been stimulated into healthy activity by the repre- 
 sentations of the stage. Many a young reader has 
 perused his first page of history, within the walls of a 
 theatre ; ere perusing the second with more studious 
 attention in his own chamber. 
 
 Even at the worst, the man who has made ac- 
 quaintance with Henri Quatre or Louis Quatorze, 
 at the Porte St. Martin or the Ambigu, is assuredly 
 somewhat better off, than the man who has never 
 made acquaintance with those famous personages at 
 all. 
 
 But I am arguing in favour of dramatic represen-
 
 CHAP. viil. PARIS PLATS. 203 
 
 tations, forgetting that I address readers to whom my 
 arguments must be altogether unnecessary. The 
 question was settled in the public mind long before 
 my first pen was even nibbed. 
 
 Let me return to the subject more immediately 
 under discussion. 
 
 I said but now, that nothing was done to remove 
 the disgrace which attaches to us as an intellectual 
 nation, on account of the fallen condition of our stage. 
 My phrase should be altered. Something is done, and 
 therefore it should be alluded to. 
 
 Thus, a few literary men occasionally deplore, 
 through the organs of the press, the change which has 
 fallen over the theatrical world. Lovers of dramatic 
 literature, and all intellectual people of liberal views, 
 deplore it also. Old play-goers, stronger in prejudices 
 and antipathies, than in recollection and judgment, 
 mourn and shake their heads. With them the de- 
 monstration ends. Pass beyond these circles, and 
 you arrive among people from whom you can 
 expect no sympathy. Nay, there are many young 
 frequenters of the theatre, who look upon the " de- 
 cline of the drama " as a mere joke ; the very 
 phrase itself as a bore. They are right. The phrase
 
 204 ASPECTS OF PARIS. CHAP. vni. 
 
 has been repeated until it has grown wearisome to 
 hear. Let us cast it aside with other worn-out verbal 
 raiment, and let a new expression take its place. Let 
 us talk no more of the decline of the drama ; the 
 word drama when thus used is supposed, in the po- 
 pular mind, to apply only to pieces in five acts; -let 
 us use stronger terms, and henceforth speak only of 
 the " degradation of the English stage." 
 
 The degradation of which I speak seems to me 
 essentially a literary subject. Why should it not be 
 taken up by literary men ? 
 
 Almost all our theatres, it will be remembered, 
 are in the hands of actors. Now, it is with no 
 offensive intention I say, that an actor, unless he be 
 raised above the level of his calling by intellectual 
 culture or poetic power (as Shakspeare and Moliere 
 were), does not look upon the dramatic art from a 
 literary point of view. He thinks, in only too many 
 instances, of his own peculiar powers, and the best 
 means of displaying them. He lays undue stress 
 upon those characters which suit him best; and 
 because his talent will oftentimes enable him to 
 give form and vitality to a mere shadow, he is apt
 
 CHAP. vm. PARIS PLAYS. 205 
 
 to depreciate the creative power of the author, and 
 to place it beneath his own. 
 
 In some cases, it cannot be doubted, the actor is 
 infinitely superior to the miter whose works he 
 embodies. For do we not continually see pieces 
 utterly worthless as literary productions ; without 
 thought; without originality; without style; in fine, 
 without any merit worthy of attention beyond the 
 precincts of Green Eooms ; do we not continually 
 see such pieces, I say, sustained upon the merit 
 of a clever comedian through an entire season, 
 nay, through many seasons? How, then, can we 
 expect the actor, under such circumstances, to take 
 a right view of the dignity of the dramatic art ? He 
 sees that, unaided by the author's talent, he can 
 amuse and interest his auditors. How can he avoid 
 looking upon that talent as inferior to his own ? 
 Once admit this idea, however, and we may as well 
 altogether do without written drama, and go back to 
 the impromptu trivialities of the Commedie dell' Arte, 
 and the frivolous absurdities of Italian buffoons. 
 
 It seems to me in vain to look for any improve- 
 ment in the condition of the stage while our theatres
 
 206 ASPECTS OF PARIS. CHAP. vm. 
 
 are managed as they are at present. If reform is 
 to come, it must come from without. Do we expect 
 bishops to aid in promoting the separation of Church 
 and State, or fat footmen to vote for the abolition of 
 plush ? How, then, can we expect from actors 
 higher moral qualities than we ask for in other men ? 
 
 Suppose we were to have theatres under literary 
 direction, as they have in Paris. Good authors have 
 made good managers ere this. Why not again? 
 It is time, indeed, they should try. The author has 
 been the servant of the actor too long. Let him now 
 change places and become master. The position of each 
 will assuredly be on a more sensible footing after the 
 alteration. There will be more intellectual labour 
 on both sides. Authors will write better; actors 
 will play better. There will be more energy, more 
 creation, with less of drowsiness and threadbare 
 repetition. 
 
 Why, at all events, should we not have one such 
 theatre as a beginning? Our principal writers do 
 not occupy the dubious social position that their 
 predecessors occupied. Authors now-a-days, of any 
 rank and fame, have influence and consideration ; 
 for have they not the power of the press in their
 
 CHAP. vni. PARIS PLAYS. 207 
 
 hands ? What is to hinder them from exerting that 
 power in the good cause of the English stage ? 
 
 What a glorious cause it would be for an author 
 like Mr. Dickens to engage in ! He has shown all 
 his life that he has at heart the interests of lite- 
 rature. He has also shown that the interests of 
 the stage are not indifferent to him. 
 
 How much, if he would, he might benefit both ! 
 He stands as the acknowledged head of his literary 
 brethren. His fame would raise him above all 
 petty jealousies, cliques, and party views. He 
 could not fail to enlist under his banner all the 
 best intellect of the nation, or to succeed in carry- 
 ing out any reforms he might propose. He would 
 thus obtain a still firmer hold upon the esteem and 
 affection of his admirers, and earn new titles to im- 
 mortal distinction. 
 
 I am not simple enough to suppose that it would 
 be sufficient to place any theatre under literary 
 management to secure at once the success of that 
 
 O 
 
 theatre. No ! Capital must be allied to intellect 
 in a theatrical as in a purely commercial under- 
 taking. The circumstances of the time require this. 
 One half of the unsuccessful dramatic speculations
 
 208 ASPECTS OF PARIS. CHAP. Vin. 
 
 of the metropolis owe their failure to the insuffi- 
 ciency of the means with which they commence 
 existence. The merchant or banker who should begin 
 in a similar manner must inevitably fail also. A 
 theatre, like a shop, store, or warehouse, should start 
 fairly, if it is to depend for success upon something 
 more than mere chance or good luck. 
 
 Of course it will at once be said, by way of objec- 
 tion, that literary men are incapable of attending to 
 money matters, and that their ignorance of business 
 details must lead to the ruin of any undertaking in 
 which they are engaged. But to this I would simply 
 say, that with the minutiae of theatrical administra- 
 tion they need not meddle. They can find plenty of 
 clever and efficient managers, quite familiar with all 
 the business of the theatre, who will serve them ably 
 and honestly. They have but to supply the head, 
 not the hands ; and to do so, a very profound 
 knowledge of minor stage details is not necessary. 
 
 The clergyman who becomes one of the directors 
 of an insurance company does not first qualify him- 
 self for that post by occupying, even for the shortest 
 possible period, a clerk's seat in the office. The 
 Prime Minister rarely, I imagine, thinks it necessary
 
 CHAP. vm. PARIS PLAYS. 209 
 
 to learn from the charwoman how to scrub the floor 
 of the House before drawing up his budget or his 
 new bills. And the Governor and Company of the 
 Bank of England never deem it essential, I appre- 
 hend, to handle the scoop and scales with dexterity 
 in order to fit themselves for a seat in the Thread- 
 needle Street back parlour. 
 
 I see no reason, therefore, .why a literary man 
 should pass through all the stages of an actor's career 
 in order to qualify himself for theatrical direction 
 within the limits just defined. 
 
 It is not too much, I think, to predict that the 
 influence of a single literary theatre in London would 
 make itself felt all over the Metropolis. The public 
 would soon see where the best entertainment was to 
 be met with; and speedily becoming accustomed to 
 witness pieces of a higher class than it had witnessed 
 before, would not tolerate dramatic productions of 
 the kind we now so frequently see represented. 
 Managers would be compelled to follow the example 
 set them, in order to maintain even a moderate 
 attendance upon their benches. 
 
 I have thrown out the foregoing observations more 
 as hints than as proposals. It is for the influential 
 
 p
 
 210 ASPECTS OF PARIS. CHAP. vm. 
 
 in literature to give them definite shape, if they 
 merit such distinction. 
 
 Many dramatic authors must, ere this, have pon- 
 dered on the project here lightly sketched. They 
 would all be ready and willing, doubtless, to aid in 
 carrying out that project. Indeed, it seems more 
 than probable that the promoters of a literary theatre 
 would soon be embarrassed; not with the poverty 
 of the assistance offered them, but with its affluence. 
 They would, of course, be forced to make their 
 selection. The authors whose cooperation they de- 
 clined might form themselves into another society 
 the more the better and thus bring additional 
 troops into the dramatic field. The stage would 
 gain rather than lose by the arrangement. 
 
 I write with a fervent hope that my views will not 
 have altogether been put forward in vain, though the 
 day for their realisation may yet be far distant.
 
 CHAP. ix. A SUBURBAN FETE. 
 
 211 
 
 CHAP. IX. 
 
 A SUBURBAN FETE. 
 
 BEFORE visiting Paris I had a great desire to see a 
 French fete. I had formed somewhat poetical ideas 
 of it. I did not expect to find it quite so charming 
 as those estival merry-makings held in opera villages, 
 or on the harvest-fields of melodrama. I did not 
 expect to find real French villagers dressed in silk, 
 satin, and point lace, the girls with inhospitable petti- 
 coats, scarcely affording shelter even to the knees; the 
 men in crimson velvet jackets, blue tights, and worked 
 shirt fronts. I had no unreasonable expectations, I 
 say, of this kind. But I fancied there must neces- 
 sarily be something tasteful and elegant in a French 
 fete. The word itself has a soft and pretty sound; it 
 calls up pleasant pictures before an English mind. 
 You think, if your fancy be in a stay-at-home mood, 
 of fetes at Chiswick, or in the Horticultural gardens 
 of the Regent's Park ; of rustic fetes in the grounds 
 p 2
 
 212 ASPECTS OF PARIS. 
 
 of some hospitable country gentleman; of archery 
 fetes, with ravishing toxopholite nymphs, in sylvan 
 green robes, and plumed bonnets ; of fetes on 
 summer waters ; regatta races, over a wavy course 
 strewn with pearls, brighter than ever yet decked 
 kingly crown or Beauty's bosom. If your fancy be 
 inclined to ramble, it carries you away, perchance, 
 to those mediaeval festivals in which religion and 
 buffoonery oftentimes found themselves in such 
 strange alliance. You join the merry throng of 
 noisy revellers who are taking part in the Fete des 
 Fous ; you swell the shouts which issue from a 
 thousand throats at the approach of the Ass, in 
 whose honour the Fete de 1'Ane is being celebrated. 
 You join in the lusty chorus of rejoicing with which 
 the humble animal is received; you cry like the 
 maddest 'prentice lad : 
 
 Eh ! eh ! eh ! sire ane, chantez, 
 
 Car belle bouche vous ave/. 
 
 Eh ! eh! sire ane ; 
 
 Eh ! eh 1 sire ane ; 
 
 Eh I eh ! sire ane, chantez. 
 
 Or it may be that you listen to the pious mysteries 
 of the Confreres de la Passion ; muse upon the 
 moralities of the Bazochiens : laugh over the plea-
 
 CHAP. ix. A SUBURBAN FETE. 213 
 
 santries of the joyous Enfants Sans-souci ; smile at 
 the wild follies of the Eoi des Kibauts and his 
 reckless followers ; or bid adieu to seriousness and 
 reflection in company with the Prince des Sots and 
 his prime minister the Mere Sotte. When fancy, 
 indeed, is busy with a fete, no matter of what kind, 
 she is almost always pleasantly occupied. 
 
 As I have said, then, I had rather poetical ideas 
 concerning French fetes, and a great longing to see 
 one. 
 
 You need not remain many weeks in Paris, 
 especially in summer time, without gratifying such 
 a longing as this, if it possess you. Nearly every 
 Sunday, during the fine months of the year, you will 
 find that somewhere in the suburbs of the capital 
 a fete is to be held. One day it is the fete of St. 
 Cloud; the next that of Sceaux; now the fete of 
 Batignolles; now that of Asnieres; now ofVincennes; 
 now of Bougival ; now of Creteil. All these places 
 are within easy omnibus or railway ride of the city. 
 Some are at its very gates. Let us go to St. Cloud. 
 Its fete is perhaps the best specimen we can see. 
 The little railway from the Eue St. Lazare will 
 in half an hour take us to Auteuil. Thence an 
 p 3
 
 214 ASPECTS OF PARIS. 
 
 omnibus, or a char-a-banc, will carry us through 
 the Bois de Boulogne, and the village from which 
 the Bois takes its name, to the bridge of St. Cloud. 
 We have then but to walk a few inches, and we are 
 within the park where the fair is held. 
 
 St. Cloud, it must have often been said, is the 
 Greenwich of Paris. Every fine Sunday in summer 
 time it is assailed by hosts of visitors from the ca- 
 pital, who lay siege to its beautiful little park, and 
 carry its restaurants by storm. The park is, how- 
 ever, the chief point of attack. The pleasure armies 
 scale its precipitous heights, from the summit of 
 which such a fine panoramic view of the city and 
 the surrounding country may be obtained ; they 
 camp in the midst of its grassy avenues ; they oc- 
 cupy even its thickets and secluded bowers. If 
 you are fond of a quiet walk, you will avoid St. 
 Cloud that day. Its every footpath is an avenue of 
 pleasure. Laughter issues from every bush. Even 
 the grave old trees nod and shake, as though they 
 enjoyed the mirth going on around them! What 
 wicked stories they might tell us, if they had caught 
 all the love-whispers that have been uttered beneath 
 their branches ! 
 
 Of course, on ffcte day, St. Cloud is even more
 
 CHAP. ix. A SUBURBAN FETE. 215 
 
 crowded than on ordinary holidays. Soon after noon, 
 in fact, steamboats, railway trains, omnibuses, and 
 chars-a-banc arrive in rapid succession, loaded and 
 overloaded with visitors. There is quite a crowd 
 striving to enter at the park gates ; gently striving, 
 however; not in the rough disorderly manner of 
 an English crowd, but with just enough eagerness to 
 make you feel animated, though your hat be not 
 knocked over your eyes, nor your clothes torn off 
 your back. Let us enter with the rest. 
 
 We are in a fine avenue of trees immediately after 
 passing through the park gates ; and it is easy to 
 see that here is the scene of the fete. On both sides 
 are stalls and booths; on all sides are sounds of 
 music, of merriment, of rejoicing. A first glance 
 does not overpower us; does not suggest ideas of 
 fairy-land, or even its border territories. Nothing 
 very tasteful or elegant meets the eye. There are 
 ordinary gingerbread stalls; stalls where toys are 
 sold ; stalls where gambling is going on. There are 
 canvas theatres; horse-riding establishments, and 
 great exhibitions of human credulity. There are 
 swings and roundabouts. There are half-naked 
 acrobats and gaudily-attired ballet-dancers. There 
 p 4
 
 216 ASPECTS OF PARIS. 
 
 are Tom Fools feigning comic stupidity. There are 
 kings and princes in faded spangles and penny 
 diadems. There are hoarse showmen, striving to 
 awaken the sluggish attention of money- spenders 
 by harangues of such violence and ferocity, that you 
 might fancy an amicable invitation a vindictive 
 curse! And, in the midst of all this, gongs are 
 clanging, bells are ringing, horns are blowing, and 
 guns are firing. You succumb, as it were, beneath 
 these shocks. You are confused, confounded. All 
 your poetical ideas vanish. The melancholy truth 
 suddenly bursts upon you, that a French fete is 
 exactly the same thing as an English fair ! 
 
 There is no doubt about it. What is that fellow 
 bawling, whose voice is suggestive of suffocation 
 under bedclothes? Literally translated his words 
 need not be. He is merely entreating you to " En- 
 trez, entrez, Messieurs et Mesdames." He wishes 
 you to see the Extraordinary Fat Lady who is within. 
 There is no deception in this case. If you are not 
 satisfied, Ladies and Gentlemen, the sum you pay on 
 entering will be returned to you ! Eeturned to you ! 
 The Fat Lady is the greatest natural curiosity in the 
 world. She measures seventy-four inches round the
 
 CHAP. IX. A SUBURBAN FKTE. 217 
 
 waist, and weighs one hundred and ninety-four kilo- 
 grammes. The representation is about to commence. 
 The price of admission is one penny. Again, he 
 implores you to " Entrez, entrez!" 
 
 What is that hideous picture in the early penny- 
 show style of art ? It is the faithful representation 
 of a wonderful animal from Japan, presented by the 
 monarch of that empire to a French sailor. It has 
 the head of a lion, the body of a woman, and the tail 
 of a rattlesnake. It lives upon hedgehogs and 
 Brussels sprouts. It is to be seen alive. The charge 
 for admission, as before, is one penny. 
 
 And what is that picture, evidently by the same 
 distinguished artist, with such a dark background of 
 smoke, and such a light foreground of blood ? It is 
 a most accurately painted view of the taking of the 
 Malakoff. It has already done duty as the storming 
 of Constantine ; and, in a week or two, will represent 
 the capture of Canton by French troops ; the same 
 gallant fellows who, quite unaided by British valour, 
 gained the battle of the Alma, and carried on the 
 entire Eastern war, without assistance from their 
 allies. Its adaptability to the military history of the 
 time is altogether marvellous.
 
 218 ASPECTS OF PARIS. 
 
 Shall we steal away into the sylvan park, that looks 
 so invitingly beyond, and leave all these threadbare 
 marvels; all this twopenny tinsel; all this uproar 
 and confusion ? No, let us see to the end, and look 
 upon all the amusements with which suburban in- 
 nocence diverts itself. 
 
 Decidedly the most favourite recreation of the fete 
 company is gambling. Not for money: that the 
 police would soon put a stop to ; but for all kinds of 
 objects of utility and ornament. The mode of playing 
 is as diversified as the things played for. At one 
 stall you will see some young Badaud knowingly turn- 
 ing a figured dial. Gingerbread will be his portion if 
 fortune smiles. At another stall the gambler is 
 trying to pitch a large ball into small cavities evi- 
 dently not inclined to receive it. If his aim be good 
 a live rabbit will be added to his stores. At a third, 
 nine-pins are to be knocked down, under conditions 
 which ensure to the skilful player a gold-headed 
 cane. 
 
 But the object of by far the greater part of the 
 fete-gambling is crockeryware. Almost every other 
 stall is a small china shop. On the counters are 
 revolving circular tables, loaded with the articles to
 
 CHAP. ix. A SUBURBAN FETE. 219 
 
 be played for. These are of the most heterogeneal 
 kind. 
 
 There are egg-cups, tea-cups, coffee-cups. There are 
 milk-jugs, water-jugs, beer-jugs. There are tea-pots, 
 sugar-basins, salad-bowls. There are goblets, de- 
 canters, tumblers, china vases, porcelain cottages, 
 porcelain shepherds and shepherdesses, and a variety 
 of other pleasing chimney ornaments. The table is 
 surrounded by little skewers fixed in it perpen- 
 dicularly, about half an inch apart, and with lines 
 drawn from between them to the centre of the circle, 
 of which they follow the circumference. Just be- 
 yond the table is stationed a tongue, or projecting 
 piece of metal, one end of which rests between 
 the posts just named. To play the game, you turn 
 this table. As it moves round the posts fly past 
 the tongue, with a clicking noise. When the table 
 stops, the game has been either lost or won. If 
 the projecting piece of metal be found to rest upon 
 one of the lines above named, the latter result has 
 been brought about ; if not, the gamester has thrown 
 away his money to no purpose. 
 
 The price of a turn varies, according to the splen- 
 dour of the articles to be played for, from one sou to
 
 220 ASPECTS OF PARIS. 
 
 five sous. Everybody plays at this exciting diversion, 
 and, accordingly, much money is spent upon it. 
 Servant girls, or their admirers for them, will often- 
 times part with a month's earnings in tempting the 
 fortunes of the crockeryware-wheel, the tourniquet, 
 as it is called. Sooner or later they are certain to 
 gain something. In fact, the machine seems to be 
 so arranged, that for every shilling you spend, you 
 must earn about the value of three halfpence. 
 
 People gamble on, therefore, with the utmost 
 contentment, charmed with the egg-cup or mantel- 
 piece villa that now and then falls to their lot. They 
 bring home these treasures in high glee ; forget they 
 have cost about eight times their value, and look 
 upon them as cheap additions to the menage. 
 
 Occasionally the more valuable articles exposed on 
 the table are won, though, as a rule, they seem to 
 be removed from the vulgar influences of chance. 
 When, however, they share the fate of their humbler 
 companions, there is great rejoicing among the 
 players, and much wrathful sorrow depicted on the 
 faces of the proprietors. On such occasions, you will 
 see gratified gamesters heavily laden with a huge 
 salad-bowl, or with a vase big enough to hold a
 
 CHAP. ix. A SUBURBAN FETE. 221 
 
 garden, proudly exhibiting these tokens of their good 
 fortune all over the fair. An English friend of the 
 present writer, once won, at St. Maur, a sugar-basin 
 of such dimensions, that he might easily have used 
 it as a foot-bath. He carried it for some hours in 
 his hands, until, at last, not knowing what to do with 
 it, and beginning, with all a Briton's pride, to feel 
 terribly ashamed of his treasure, he privately made a 
 present of it to a dirty little boy. 
 
 There is really nothing more to see in the fair. 
 If we loiter until the stars begin to shine through the 
 trees, and the distant lights of the great city to 
 glimmer above the foliage of the wood, we shall have 
 but little more to tell of, when we return, like Moses 
 Primrose, to relate all the wonders we have seen to 
 the group of listeners at home. We shall notice, as 
 the day wanes, stall, booth, and show, gradually break 
 out into smoky illumination. Festoons of varie- 
 gated light will wave above our heads. Little oil 
 lamps will grow up, as it were, ready illumined 
 beneath our feet. The fountains of running water 
 will be prettily lighted up with coloured fire. 
 When the last sun rays have melted away, and the 
 King of Light has fairly left his throne; rocket,
 
 222 ASPECTS OF PARIS. CHAP. ix. 
 
 squib, and cracker, Bengal fire, and Catherine wheel, 
 will madly rejoice over his departure. But ere many 
 minutes are past, their rejoicings will end in dismal 
 darkness; a few broken sticks, a little smouldering 
 tinder, will be all that is left of this brief brilliancy. 
 
 It is barely ten o'clock. Shall we go yet ? No ! 
 there is still another sight to see, the Bal. Ah ! at 
 last, then, we shall meet with something that will 
 give a stamp of originality to the suburban fete. 
 At last, we shall meet with the taste and elegance 
 we had pictured, A Bal ! it must be graceful and 
 pretty. The word of itself calls up visions of rosy- 
 cheeked maidens and happy young men ; of sweetly 
 scented flowers and delicious harmony. Let us away 
 to the Bal at once. The very thought of it has 
 made us elastic and sprightly. 
 
 We reach the Salle de Danse. It is a long canvas 
 room, in other words, a tent, as we see by the ex- 
 terior. This first sight of it somewhat interferes with 
 our elasticity ; somewhat mitigates our sprightliness. 
 But never mind! We shall be satisfied, doubtless, when 
 we enter. We shall, at all events, see some pleasant- 
 looking girls, gracefully gliding through polka, waltz, 
 or mazurka, their bodies undulating to the melody
 
 CHAP. IX. A SUBURBAN FETE. 223 
 
 of the dance, as the ocean undulates to the sing- 
 ing breezes of spring. We pay our money, with uii- 
 repining spirit, and pass into the room. 
 
 But what are those sounds which suddenly fall 
 upon our ear ? Have we by mistake entered a me- 
 nagerie at feeding-time ? Surely brass never before 
 became so blatant and bellowing. It is awful. If 
 those boisterous blowers have no respect for their 
 own lungs, the ears of the company might be held 
 sacred. " That strain again." Spirit of Apollo ! a 
 drum is now aiding this noisy band. 
 
 And the dancing ? 
 
 Learned doctors once gravely tried to ascertain 
 how many disembodied spirits could dance on the 
 point of a needle without jostling each other. The 
 proprietors of this airy ball room seem, in like 
 manner, to be endeavouring to ascertain how many 
 dancers can be crammed together under canvas, 
 without falling victims to suffocation. This dancing ? 
 Why it's a street row set to music ! Where are the 
 police ? 
 
 And the young girls " their bodies undulating to 
 the melody of the dance," &c. &c. (see, to the infinite 
 humiliation of the writer, the previous paragraph in
 
 224 ASPECTS OF PARIS. CHAP. ix. 
 
 which these ridiculous words appear) these young 
 girls, I say, where are they ? 
 
 Young girls there are in abundance in too great 
 abundance, it may be, but the veriest moon-struck 
 poet could not conscientiously give their bodies credit 
 for undulatory motion, except of the most tem- 
 pestuous kind. Why ! they are not dancing a qua- 
 drille ! They are running a race ; playing at romps, 
 at puss in the corner, or hunt the slipper, or kiss-me- 
 who-can. The young husseys evidently know more 
 about gymnastics than grace. Without a doubt, all 
 are pupils of M. Triat. 
 
 Why! when the gendarme's eye was turned, I 
 solemnly affirm that I saw a young, wicked-looking, 
 bright-eyed beauty, tap her partner on the cheek ; 
 not with her hand ; not with her finger ; but with her 
 Toe. With her toe. I repeat the words as proof of 
 my sincerity. Do young ladies who know anything 
 about grace thus make their feet do duty for their 
 hands ? Impossible ! 
 
 " This a Bal ? " says that coarse fellow Blunt, as he 
 drags me away out of this salle de sawdust and red 
 benches. " Well, they may call it a Bal if they like, 
 but ' I ' call it a sixpenny hop." Blunt is incorrigible,
 
 CHAP. IX. A SUBURBAN FETE. 225 
 
 and will always speak in this shockingly vulgar 
 manner. 
 
 Let us, however, do our friends justice at parting. 
 We have at least seen one novelty at their suburban 
 fete, which we might long look for in an English 
 fair. "We have everywhere seen sobriety and good 
 order. There has been no pushing, no hustling, no 
 rude thrusting aside of women, children, and well- 
 dressed men. There has been no degrading drunken- 
 ness ; none of the brutal violence it gives rise to. 
 People seem to have come here to be amused ; not 
 to guzzle themselves into beastly ferocity. Positively 
 there has not been a single fight, or the sign of one. 
 
 How is this? I suppose Paris idlers reserve all 
 their combativeness for Eevolution-day and the 
 barricades. Then, as we all know, they fight stoutly 
 enough. English idlers have no Kevolution-days, and 
 the art of barricade-building has not yet reached 
 them. Their pent-up pugnacity has, therefore, no 
 vent. Is it for this reason that they so frequently 
 change a frolic into a fight, and take black eyes home 
 to their children instead of fairings ? 
 I leave the question an open one.
 
 226 ASPECTS OF PARIS. 
 
 CHAP. X. 
 
 A NEGLECTED POET. 
 
 IF you some day make the acquaintance of a person 
 whom you would describe and perhaps not without 
 reason as the most singular in all Paris, that per- 
 son will assuredly be Jean Journet the poet. I have 
 said poet, but I ought perhaps to have employed 
 another word. By all who are familiar with him, 
 Jean Journet is called the Apostle, and it is a title 
 which pleases him, for he himself is the author of it. 
 An apostle too, he is. For twenty years he has 
 travelled over various parts of Europe on a self-im- 
 posed mission. He is a disciple of the celebrated 
 Socialist Fourier, and would teach the doctrines of 
 his master to all the world. 
 
 Jean Journet's career has been a strange one. He 
 himself has related a portion of it; others are not 
 wanting who might add to his details. Few, indeed, 
 is the number of French literary men who could not
 
 A NEGLECTED POET. 227 
 
 do so, for with nearly all, Jean Journet has at some 
 time been in communication. Georges Sand, Victor 
 Hugo, Lamennais, Alexandre Dumas, M. Cousin, 
 each has been made acquainted with the poet's elo- 
 quence. If they have not been converted by that 
 eloquence it has been from no want of boldness or 
 perseverance on the part of the orator. Jean Journet 
 is not abashed by great names or great reputations. 
 He enters into the studio of the most famous author 
 with as little unconcern as he enters into the cottage 
 of the humblest agricultural labourer. He accosts 
 the prime minister in his bureau with as much con- 
 fidence as he accosts a blind fiddler on the Pont 
 Neuf. For him there is no distinction of persons. 
 If all men are not equal they ought to be; at all 
 events he has, as he believes, a duty to fulfil, and it 
 is no light obstacle which can stop him in the dis- 
 charge of it. 
 
 Before entering into a more particular description 
 of this singular person, let me give a sketch of his 
 career. 
 
 Jean Journet was born at Carcassone in Langue- 
 doc, or, as we should now write it, in the department 
 of the Aude, on the 24th of June, 1799. As a boy 
 
 Q2
 
 228 ASPECTS OF PARIS. CHAP. x. 
 
 we are told he showed no kind of aptitude for learn- 
 ing. On the contrary, he was a dull scholar. The 
 teaching of the professors wearied him. He could 
 not settle down upon the college forms. The play- 
 ground was his most favourite resort. His parents, 
 grieved at the dispositions their son displayed, and 
 seeing there was but little hope he would qualify 
 himself for a more learned profession, sent him to 
 Paris to study the mysteries of the apothecary's 
 science. This was in 1817. 
 
 With what amount of attention Jean Journet may 
 have followed the pharmaceutical lessons he received 
 there is no voice to tell. We only know that, be- 
 coming acquainted with some ardent French re- 
 publicans and Carbonari, he was admitted to their 
 councils ; enrolled a member of one of their clubs ; 
 and that, soon after, he quitted Paris, went to Spain, 
 and took part in the insurrection that then broke out 
 in that country. 
 
 Poor Jean Journet was not successful in his mili- 
 tary career. Made prisoner after an engagement 
 with the French troops, who had been sent by France 
 to support the Spanish government against the revo- 
 lutionists, he was taken to Perpignan and confined
 
 CHAP. x. A NEGLECTED POET. 229 
 
 in the gloomy dungeons of the Castillet. For nearly 
 two years he remained there. During this period 
 his position was far from agreeable. He was some- 
 times incarcerated in a damp and filthy cell, with 
 the sewer deposits of the prison filtering through the 
 walls. The rolling overhead of a diligence that 
 passed every night at the same hour was the only 
 indication he had of the progress of his days. In all 
 probability he would have been executed, like many 
 of his companions in arms, had he not when made 
 prisoner been found attending to the wounded in a 
 medical capacity. To this circumstance he owed, at 
 the expiration of his two years' imprisonment, not 
 only life, but liberty. 
 
 A little sobered by the harsh lesson he had re- 
 ceived Jean Journet returned to Paris. He did not 
 long remain there. The desire to settle in life seems 
 to have taken possession of his mind at this period, 
 and he at once gratified it. He married ; went to 
 Limoux, a small town near his native place, and 
 established himself in business there as an apothe- 
 cary. For seven years he steadily followed this 
 peaceful profession, none but the most ordinary do- 
 mestic incidents marking his career. He would
 
 230 ASPECTS OP PARIS. 
 
 seem to have prospered and to have given good signs 
 of business capacity. His brothers, at all events, 
 thought sufficiently well of his perseverance and 
 industry to propose that he should join them in the 
 direction of an important manufactory. Jean Jour- 
 net without hesitation became their partner. 
 
 The business thrived, and the future poet, now 
 fairly passed the threshold of youth, might have 
 been supposed settled for life in the new under- 
 taking. His brothers have made a fortune by it. 
 He might have done the same. But other destinies 
 were in store for him. 
 
 One day he was fortunate or unfortunate enough, 
 as the reader may decide, to meet with a book 
 published about two years before, which completely 
 changed the order of his ideas. It was the " Traite 
 de 1' Association Domestique Agricole," or, as it has 
 since been called, " Le Traite de 1'Unite Universelle," 
 by the social reformer Charles Fourier. After read- 
 ing that book the fate of Jean Journet was settled. 
 There was no more question with him of factories or 
 fortune-making ; he had other things to occupy his 
 thoughts. " From that moment," say^ his bio- 
 grapher, " he no longer belonged to himself. Ke-
 
 CHAP. x. A NEGLECTED POET. 231 
 
 garding it as a crime to work for a single family 
 when the great human family, represented by the 
 mass of the labouring population, was stagnating, at 
 every point of the devastated globe, in the bottomless 
 abysses of ignorance and misery," he determined to 
 devote himself to a new crusade. 
 
 He left his brothers and their manufactory ; he 
 left his wife and children; he left the comforts of 
 his home and the friends he had gathered round 
 him, and flew away to Paris. There the new long- 
 ing of his heart was almost immediately gratified. 
 He had an interview with the man who had inspired 
 him with the strange resolution he had just taken. 
 He saw and spoke with Fourier. This alone was 
 enough to give the new disciple renewed courage to 
 undertake the task he had imposed upon himself. 
 
 Jean Journet seems to have arrived in the French 
 capital at an opportune moment. The ideas of 
 Fourier, so M. Pellarin assures us, were just then 
 becoming pretty widely known, actively propagated 
 as they were by the journal "La Keforme Indus- 
 trielle" and by lectures delivered in Paris and in 
 various other towns. The disciples of the social 
 reformer were full of hope and confidence. They
 
 232 ASPECTS OF PARIS; CHAP. X. 
 
 saw the future before them painted in the most 
 captivating colours. The triumph of their doctrines 
 was at hand. If the world had hitherto' rolled on 
 in ignorance so many years, it was to continue on that 
 course no longer. The time had come for change ; 
 not partial or slow-moving, but universal change, 
 that should sweep across the earth with the burning 
 eagerness of a tropical hurricane and remove in its 
 passage all the old established landmarks. The 
 relations of society were to be put on a new footing. 
 It was impossible for men to shut their eyes to the 
 truth when the truth promised such rich advantages 
 to them. Alas! the disciples of Fourier seem to 
 have little remembered of what stubborn stuff hu- 
 man nature is made. 
 
 Jean Journet was completely carried away by 
 the prevalent excitement. He thought there was 
 not a moment to be lost; that the new doctrines 
 must at once be experimented with, in order to 
 demonstrate their soundness to the entire world. 
 Unaided he resolved to put them in practice. Bid- 
 ding a hasty adieu to Fourier and his Parisian 
 followers Jean Journet returned to the country. He 
 had fully resolved upon the plan he meant to follow.
 
 CHAP. x. A NEGLECTED POET. 233 
 
 Without hesitation he sold his share in the manu- 
 factory ; turned all his property into cash ; and hired 
 a large farm in the environs of Toulouse, upon which 
 he at once began to practically develop the theories 
 of his master. 
 
 As might have been expected, when a man of five 
 and thirty commenced pursuits for which no previous 
 knowledge or experience had prepared him, the 
 model farm of the environs of Toulouse did not 
 answer the expectations of its founder. Jean Jour- 
 net, nevertheless, bravely struggled on with it for 
 some years, in spite of many obstacles ; but at last 
 he was fairly obliged to confess himself beaten. He 
 did not lose courage, however, by his defeat. On 
 the contrary, it gave him new energy and new hope, 
 as defeat often will. He resolved from that time 
 forward still to devote himself to the cause he had 
 embraced, but in another manner. With a staff in 
 his hand and nought but a scrip upon his back, he 
 would go forth and expound the doctrines of Fou- 
 rier to all France. 
 
 It was about the time he formed this re- 
 solve that Jean Journet first felt poetic power 
 awakened within him. Until then he had expe-
 
 234 ASPECTS OF PARIS. CHAP. X. 
 
 rienced no inclination to write. Until then he 
 scarcely knew that his language was governed by 
 grammatical laws; or if so, the laws themselves 
 were unknown to him. He could not have written 
 five lines of prose correctly, we are assured. Yet, 
 on a sudden, he found poesy flowing from his heart, 
 as though some rivulet of Parnassus had taken its 
 source there. 
 
 The Toulouse farm abandoned, our poet hastened 
 away to Paris, leaving, as on the previous occasion, 
 his wife and his "young children behind. He arrived 
 in the French capital more full of hope and en- 
 thusiasm than ever. So convinced was he that the 
 realisation of his favourite theories was soon to be 
 accomplished, that he could not prevent himself 
 from forestalling, as it were, the period of that 
 realisation, by his warm-hearted demonstrations of 
 joy. He hastened to the office of the PHALANGE, 
 the weekly organ of Fourier's doctrines, and seeing, 
 as his eulogistic biographer says, " a future apostle 
 even in the porter of the bureau, he embraced him, 
 as well as all the clerks, with multiplied demon- 
 strations of the most fraternal sympathy." 
 
 And now Jean Journet began the life of a wan-
 
 CHAP. x. A NEGLECTED POET. 235 
 
 derer in good earnest. He went about from town to 
 town, from province to province, explaining the 
 views of his master to all who would listen, and to 
 many who would not. In the cafe or the market- 
 place ; on the high road or in the bye-path ; in the 
 rare chateau or the frequent cottage ; wherever, in 
 fact, he was allowed to penetrate, there did he hold 
 forth. The writer of a letter in "Le Journal de 
 Charleroi" thus described, in 1840, the wandering 
 life of Jean Journet : 
 
 " With the staff of the traveller in his hand, he 
 goes from town to town to expound the doctrines of 
 his master. Those who pity him, he pities; those 
 who insult him, he pities still more. When, two 
 years ago, he quitted his mountains, to preach what 
 he believes the truth, he calculated all the annoy- 
 ances that would welcome him upon his journey ; he 
 asked himself if his courage would endure all priva- 
 tion ; brave all indignity ; and it was only after he 
 had well estimated his strength, that he quitted the 
 paternal roof to devote himself to his apostleship." 
 
 A cruel life was this for the poor poet, for little was 
 the encouragement or sympathy he received. If he 
 now and then found a patient and kindly-disposed
 
 236 ASPECTS OF PARIS. CHAP. X. 
 
 listener, he more frequently met with those who 
 jeered at his earnest harangues, and ridiculed his 
 travel-worn garb. It must have needed some stout- 
 ness of heart, to support such a life ; and we may 
 well believe that Jean Journet oftentimes found his 
 courage grow weak and tottering as his limbs. He 
 indeed confesses this in the following lines from his 
 poem entitled " Eesolution," published in 1841. 
 
 " Que de force, que d'audace 
 Doit animer Fimprudent 
 Qui veut emporter la place 
 Ou le doute est triomphant ! 
 Mon ame parfois succombe 
 Dans un si rude travail, 
 Et la voute de la tombe 
 M'apparait comme un bercail. 
 
 " Tantot en lave brulante, 
 Mon espoir veut deborder ; 
 Tantot ma nef chancelante 
 Au torrent craint d'aborder ; 
 Tantot, apotre intrepide, 
 Je sens mon cceur tressaillir ; 
 Tantot, disciple timide, 
 Je suis pret a defaillir." 
 
 Upon returning to Paris, Jean Journet seems to 
 have forgotten the discouraging incidents of his 
 provincial pilgrimage, and to have taken new heart. 
 In his country journeys, he had carried with him
 
 CHAP. x. A NEGLECTED POET. 237 
 
 several pamphlets and poems, which he gave away 
 to those who were not rich enough to buy them, and 
 sold to those who would become purchasers. He 
 now wished to obtain greater publicity for these 
 works than they had yet secured ; and, in order to 
 realise his wish, determined to adopt a somewhat 
 bold expedient. On the 8th of March, 1841, he 
 went to the Grand Opera, securing a good place by 
 early attendance. When the curtain fell upon the 
 first act of " Kobert le Diable," Jean Journet dis- 
 tributed his pamphlets in every direction with an un- 
 sparing hand. He knew that in acting thus he was 
 violating the law, and that he would have to pay the 
 penalty of his misdemeanour. But for this he was 
 prepared. He gave himself up at once, therefore, to 
 the police, expecting that, at the worst, he would 
 suffer a day or two's imprisonment. He was within 
 little of suffering imprisonment all his life. 
 
 He was taken before the commissary of police, and 
 immediately subjected to a verbal examination. At 
 its close, he was removed to a cell, where he passed 
 the night. The next morning he was removed in 
 the prison-van to a bureau close to Notre Dame. 
 An ordeal awaited him there, for which he was but
 
 238 ASPECTS OF PARIS. 
 
 little prepared. Two persons clerks as it might 
 appear were writing at a desk. They began to talk 
 to the poet as though in sport, putting several 
 ironical questions to him, which he replied to in 
 ironical terms, not caring to let these gentlemen 
 amuse themselves entirely at his expense. If they 
 chose to play the fool, why should not he ? 
 
 Alas ! he little knew what was to be the cost 
 of the game. The seeming clerks were medical 
 men, who had been examining the poet in order 
 to test his sanity. Convinced, by his answers, that 
 he was mentally deranged, they gave orders such 
 as they were accustomed to give in similar cases. 
 Jean Journet was conducted to the madhouse of 
 Bicetre ! 
 
 For a description of what followed, I cannot do 
 better, I think, than borrow from the poet himself. 
 His account of the scenes he took part in at Bicetre 
 is written with no slight vividness. The reader 
 will judge for himself whether the language em- 
 ployed resembles that of insanity. 
 
 " I was conducted into, a dormitory occupied by 
 about a hundred madmen," says he, after some pre- 
 liminary details. " I was made to take off all my
 
 CHAP. x. A NEGLECTED POET. 239 
 
 clothes, which were replaced by others, extremely 
 Grothic, extremely old, but perfectly clean. 
 
 "I went into the court, and eagerly asked all 
 the servants and keepers I could find, for an in- 
 terview with the director ; some smiled ; others 
 shrugged their shoulders. I wandered distractedly 
 until bed-time among the crowd of madmen, idiots, 
 and epileptic persons. 
 
 " I had observed that No. 9, my right-hand neigh- 
 bour, was ill, since he was one of the few who had 
 not risen. By his immobility and his sufferings I 
 judged that he was very ill. This circumstance 
 aggravated the sadness which presided over my 
 couch. About ten o'clock, a pill had been admi- 
 nistered to him that he could not swallow, but which 
 he chewed and moistened in his mouth. From this 
 moment, to the corpse-like smell which had until 
 then so horribly oppressed me, was added an odour 
 of musk and assafoetida ; and headache was joined to 
 my heartache. I had been for about two hours in this 
 state, when frightful convulsions, preceded by a long, 
 hollow, terrible cry a cry which did not belong 
 to our ordinary nature compelled me to turn my 
 looks towards the sick man, and I saw a face, round,
 
 240 ASPECTS OF PARIS. CHAP. X. 
 
 flat, livid, hideous! The keeper arrived. Soon 
 after, the death-rattle was heard; and the man, 
 having laid out the corpse, returned, saying, 'He's 
 the first off;' the only impious remark I heard while 
 in the asylum. 
 
 " The day came ; the hour for rising sounded. 
 For forty-eight hours I had scarcely closed my eyes. 
 I was obliged to dress. The dormitory was cleaned 
 and swept ; the beds were raised and arranged in 
 a row; we awaited the visit (of the doctor). For 
 me this moment was solemn, but I was prepared 
 for it." 
 
 The doctor came. Jean Journet sought, by means 
 of arguments, and by citations from his writings, to 
 show he was no madman. But the medical gentle- 
 man was used to such displays. To his mind, the 
 poet's eloquence only more completely proved the 
 poet's insanity. He turned towards his pupils, and 
 repeating some of the words Jean Journet had ut- 
 tered, indicated to them that the monomania had 
 taken a lofty flight. Then, giving orders to the at- 
 tendants, he prescribed for the patient, medical 
 treatment of a weakening kind ; baths every three 
 hours ; sprinkling of cold water upon the head ; half
 
 CHAP. x. A NEGLECTED POE1. 241 
 
 allowance of food; and finally, that he should be 
 conducted to the " Admission." 
 
 Let the poor poet describe in his own words what 
 kind of place this was. 
 
 "The 'Admission' is the spot where the new 
 comers are put. If they are thoroughly mad, they 
 remain there until their system, tamed by strong 
 treatment, accommodates itself to more peaceful 
 habits; for the insane up to a certain point are 
 susceptible of education. 
 
 "When, on the contrary, their conduct is more 
 or less moderate, they are immediately sent away 
 into various dormitories, arranged according to the 
 importance of their malady. In the afternoon I was 
 conducted into this frightful abode. 
 
 " The ' Admission ' is a court planted with trees, 
 preceded by a thick wall, and terminated by a solid 
 high grating. Right and left are cells, each destined 
 for one person; four pavilions, two of which are 
 occupied by the sick, complete the plan of this in- 
 fernal habitation. Each of the two pavilions con- 
 tains six beds three on the ground-floor, three on 
 the first, and only upper floor, communicating by a 
 narrow and steep staircase. 
 
 B
 
 242 ASPECTS OF PABIS. 
 
 "Upon entering into the court, I found it oc- 
 cupied by nearly all its inhabitants, given up to 
 those habits which fill with such profound melancholy 
 the persons who see them, though but for an in- 
 stant. These poor wretches were henceforth to be 
 my only society. Some, in a stupid immobility, 
 resembled hideous statues; others, agitated by a 
 feverish impulse, regularly paced the court, or turned 
 round rapidly. Several gave way to the most ve- 
 hement vociferations, to the most exaggerated ges- 
 ticulations. There were some who were more or 
 less bound, according to the nature of their habits 
 and the period of their malady." 
 
 Scenes such as these soon had their effect. Jean 
 Journet, weakened by the medical treatment to 
 which he had been subjected, could not bear up 
 under the influence of the horrible sights and sounds 
 around him. He began to feel his reason tottering ; 
 his courage giving way. 
 
 " It seemed to me," he says, with no slight force 
 of imagery, " that my body and my mind were like 
 unto a pair of millstones, which, propelled by an 
 incommensurable force and in opposite directions, 
 consumed each other for want of an intermediary
 
 CHAP. x. A NEGLECTED POET 243 
 
 substance upon which they could exercise their 
 energy." 
 
 Fortunately, at this juncture, when Jean Journet 
 seemed likely to become as mad as he was supposed 
 to be, a friend appeared on the scene armed with 
 authority which obtained his release. The grateful 
 poet quitted the asylum, without speck or spot upon 
 his sanity, to recommence his apostolical career. 
 
 The event just narrated gave wider reputation 
 to Jean Journet than he had previously enjoyed. 
 It carried his name into many circles, where 
 hitherto that name had not penetrated. He was not 
 slow to take advantage of this increased fame, in- 
 troducing himself to most of the distinguished 
 literary men of the day, or if he could not do so, 
 writing to them instead. But alas ! the man who be- 
 lieves himself inspired is not always the most likely 
 to inspire others. In almost every direction he 
 went, Jean Journet met with discouragement. His 
 over-confidence and over-enthusiasm, in great part 
 explain this. Men accustomed to receive homage 
 from others rather than to render it, are ill-prepared 
 to welcome a visitor who lectures them in a dictato- 
 rial tone upon their errors and shortcomings, and 
 
 B 2
 
 244 ASPECTS OF PAEIS. 
 
 announces that from him alone can they receive the 
 truth. Neither royalists nor republicans ; neither 
 socialists nor capitalists ; neither rich men nor needy 
 men, were prepared to hear this language. 
 
 And Jean Journet was exacting too ! If you did 
 not give him your whole sole undivided attention, 
 while he preached to you, he would stop short 
 and wait until you were ready to do so. He must 
 have your entire ear or he was not satisfied. A piece 
 of it would not content him. Even now, he is almost 
 as extortionate. While speaking to me, a few months 
 ago, he held out one of his books. I took it from 
 him and began to look at it, he meanwhile continuing 
 to talk. But as soon as he saw in what direction my 
 glance was directed, he stopped. 
 
 " Excuse me," said he, " you may be able to read 
 that book and listen to my conversation at the same 
 time ; but I on my side, cannot talk unless you attend 
 exclusively to me." Of course I apologised for my 
 unintentional rudeness, and laid down the volume. 
 
 Jean Journet has several times been before the 
 public since the occurrence at the opera. In more 
 than one socialist undertaking he has played a part. 
 He was connected with the association established
 
 CHAP. X. A NEGLECTED POET. 245 
 
 years since by John Young in the environs of Dijon. 
 There he secretly composed, in 1843, his poem, enti- 
 tled " Le Jugement," while engaged in sawing wood ; 
 an occupation that had been given to him under the 
 express condition that his Muse should remain silent. 
 The association in due time came to the same end as 
 Nathaniel Hawthorne's in the Blythedale Komance. 
 
 After the events of February, 1848, the road 
 for Jean Journet's reforms seemed open. But under 
 the Eepublic, men's minds were too much occupied 
 with the grave political questions every day arising to 
 give much attention to the disciple of Fourier. Jean 
 Journet, though free to publish and to circulate his 
 verses, did not make more progress than before. 
 Again, he had recourse to a gratuitous distribution of 
 his books and pamphlets in a place of public enter- 
 tainment, the Theatre de la Kepublique, atoning for 
 his misdemeanour, by a short imprisonment. At the 
 Peace Congress held in Paris in 1849, he asked for a 
 hearing, and his request being granted, commenced 
 an harangue in favour of his cherished doctrines. 
 But the audience became impatient before they became 
 converted, and the unfortunate orator indignantly 
 stopped the flow of his eloquence. 
 
 BS
 
 246 ASPECTS OF PARIS. CHAP. X. 
 
 In the course of his many wanderings, Jean Jour- 
 net has visited Spain, Italy, Savoy, Switzerland, Bel- 
 gium and England. To Belgium he has carried his 
 teachings more than once. His second visit to that 
 country was immediately after the coup-d'etat. He 
 was obliged, in fact, at that period, to leave France ; 
 for the new power there looked upon him with an 
 unfavourable eye. In Belgium, he began to expound 
 his doctrines, in the most public manner, and, as he 
 assured me, with promise of excellent success. But 
 the Jesuits took the alarm, if Jean Journet's own 
 statement may be received. They dreaded the effects 
 of his teaching, and secretly represented to the civil 
 authorities that he was doing much mischief by un- 
 dermining the morals of the lower classes. The poor 
 poet was privately called before the police-minister. 
 That functionary treated him with much politeness, 
 but begged him, in the interest of public order, to 
 leave the country, offering at the same time to 
 supply him with money to pay his fare to England. 
 
 Jean Journet did not attempt to resist an appeal 
 thus gently made, but at once embarked at Ostend for 
 London. In our great labyrinth capital, he was, as it 
 were, completely lost. He could not speak our Ian-
 
 CHAP. x. A NEGLECTED POET. 247 
 
 guage. He was too old to learn it ; he was unable, 
 therefore, to propagate his doctrines very actively, 
 except among such of his fellow-countrymen as he 
 met with. But the majority of these were exiles 
 like himself, poor, and without consideration. People 
 of better position were not easily reached. 
 
 Sad and gloomy enough must have been the days 
 that Jean Journet passed in London ! Alone, among 
 strange people, speaking a strange tongue, with bank- 
 rupt hopes and beggared energy for his sole support, 
 what could he do to advance his cause, or to make 
 himself known ? Yet for nearly three years did he 
 remain in the great city, an unrecognised unit among 
 the many thousands congregated there. The dis- 
 tress and misery he sometimes endured were very 
 great. " I cannot tell you what I suffered then," he 
 said to me in the course of conversation. " I was 
 often on the point of starvation." 
 
 At last his companions in misfortune resolved that 
 something must be done for him. They collected a 
 subscription among themselves, in order to enable him 
 to return to France. They knew, and he knew, that 
 arrest would be the immediate consequence of his land- 
 ing ; but Jean Journet thought it would be better to 
 B 4
 
 248 ASPECTS OF PARIS-. CHAP. x. 
 
 die in confinement upon his native soil than to die of 
 hunger among foreigners. He bade a final adieu, there- 
 fore, to inhospitable London, and returned to his own 
 country. Directly he set foot upon French territory, 
 he gave himself up to the police authorities. He ex- 
 plained to them his position, and the reasons which had 
 induced him to leave England. He was treated very 
 gently and almost at once allowed to go at large upon 
 parole. Shortly afterwards he was informed that 
 upon promising obedience to the laws and to live in 
 quiet, he would be allowed to return to Paris. Evi- 
 dently authority thought that if ever he had been 
 capable of doing much mischief, his power had now 
 deserted him. There was no fear that the State 
 would be much troubled by such as he. Jean 
 Journet gave the promise required, and set out for 
 the French capital Undisturbed, he has lived there 
 ever since. 
 
 If the poet is mad as the world declares him he 
 is mad upon the subject of his doctrines alone. Talk 
 with him upon any ordinary topic, and you will find 
 his conversation as reasonable and as simple as the 
 conversation of most men. When the weather, for 
 instance, or some cognate subject of equal importance,
 
 CHAP. x. A NEGLECTED POET. 249 
 
 is under discussion, Jean Journet's observations take 
 no higher flight than the observations of most mortals. 
 On my table, at the time of the poet's visit to me, a 
 few months ago, there were several numbers of an 
 edition of Shakspeare, published periodically. He 
 cursorily looked at them, read the name on the cover, 
 and asked in the most tranquil manner : 
 " Did Shakspeare write all that?" 
 " Oh, yes," I replied, " and more. Only a third of 
 his works are here." 
 
 " Ah, then he wrote no small quantity in his life- 
 time," was Jean Journet's comment. 
 
 The observation was one of perfect accuracy, but 
 it did not strike me as being such as must necessarily 
 have emanated from a deranged intellect. Any of 
 my readers might, I fancy, have said the same thing 
 without danger of Bedlam. 
 
 When Jean Journet, however, talks upon his fa- 
 vourite topic, and I am bound to admit that he talks 
 of but little else, his conversation ceases to have that 
 straightforward simplicity to which I have just alluded. 
 His utterance becomes hurried, his words convey no 
 connected meaning to the ear. At least for myself I 
 must confess that after listening an entire hour to his
 
 250 ASPECTS OP PARIS; CHAP. x. 
 
 explanations of the great discovery by which all men 
 were to be made happy, rich, and well-conducted, I 
 understood no more of the matter than when I first 
 gave up my ear to him. Every now and then such 
 terms as " universal unity," " mathematical truth," &c. 
 entered into my mind, but it was in the midst of such 
 a buzzing from other words, that what these terms 
 had to say instantly became inaudible. I do not 
 assert that this was necessarily the fault of the 
 speaker. He did his best to convert me, and I did 
 my best to be converted. Neither of us being able 
 to succeed, there was nothing for it but to shake 
 hands and part. 
 
 Some idea may be formed of the magnificent style 
 in which Jean Journet converses upon his favourite 
 topic, by the following passage from a letter he ad- 
 dressed in 1843 to M. Nothomb, the head of the 
 Belgian ministry. The terms employed, and the tone 
 of the whole extract, strongly recal those which em- 
 bellish his harangues. 
 
 " Charles Fourier, my master," says he, " the 
 greatest genius the world can produce (since integral 
 truth can only be discovered once upon each globe) 
 Fourier, after forty years of obstinate labour, succeeded
 
 CHAP. x. A NEGLECTED POET. 251 
 
 in discovering the laws which (rod has destined for 
 us, for the constitution of society. Under the empire 
 of those laws, which are very easy to realise, slavery, 
 mendicity, &c., will disappear. On the other hand, 
 agriculture, the pivot of all future social institutions, 
 will receive development that will quadruple its pro- 
 ducts; integral association, that is, association of 
 capital, of talent, of labour, will at the same time 
 immensely diminish expenses ; finally, health, riches, 
 justice, (rod's will, God's law, all can be at once 
 realised, if an intelligent, devoted, influential man 
 should will it; if you should will it." 
 
 What shall I say of the poetry of Jean Journet ? 
 I must make the terrible admission, I suppose, that 
 it no more converted me than his prose. It is full, 
 however, of the most amiable sentiments, of the most 
 encouraging predictions, of the most ecstatic ideas. 
 Line after line, too, is printed in large type. There 
 are enough capital letters to convert anybody. But 
 the poems are mere exclamations rhythmically ar- 
 ranged. You might fancy you were reading the 
 works of some precocious intellect, which, filled with 
 half-formed ideas, gives utterance to them in all their 
 crudeness, making superfluity of language cover de-
 
 252 ASPECTS OF PARIS. CHAP. x. 
 
 ficiency of thought. They axe rhapsodies, in fact. 
 You listen to them as you might listen in a vast 
 crowd to some far distant orator whose words only 
 reach you at intervals. You know the object of the 
 discourse; you catch the occasional exclamation or 
 the emphatic phrase; but the full significance of 
 the speech remains an enigma to you. 
 
 The poems have reference of course to the system 
 of which Jean Journet has made himself the ex- 
 pounder. Their titles suggest this at once. Thus 
 you find, " The Eesurrection of the Globe," " The 
 Soldier of the Future," " The Fall of Holophernes," 
 "The Standard of Faith," "Let us Awake," "The 
 Marseillaise of the Workers," " The False Prophets," 
 " The Star of Progress," &c. But if you wished to 
 gain a clear idea of the nature of the system treated 
 upon, you would be puzzled to find it amid the vague 
 generalities of the poet's words. Fourier, as may be 
 imagined from a passage in prose previously quoted, 
 is treated almost as a deity. Sacred names, in fact, 
 are placed side by side with his, in a manner that to 
 many must, I fear, seem profane. 
 
 To enjoy these poems to the utmost you must 
 hear their author read them. He is always ready to
 
 CHAP. x. A NEGLECTED POET. 253 
 
 do so, whenever he can find anybody to listen to him. 
 At least eight or ten has he read to me. After the 
 first few lines his fancy seems to warm ; his voice 
 rises ; his cheek deepens in colour ; he appears to he 
 carried away into a happier world of thought on the 
 melodious wings of his own poetic fancies. And he 
 is carried away. But he cannot long continue on 
 his dizzy course. He stops to point out to you the 
 beauties of his verse that you may be affected also. 
 He cites line after line with admiring emphasis, just 
 as we might cite passages from our favourite author. 
 Oftentimes he is almost melted to tears as he hangs 
 thus fondly over the creations of his brain. And 
 there is no acting in this. Jean Journet thoroughly 
 believes in his own power. 
 
 "You are an orator as well as poet, are you 
 not ? " said I to him after he had read to me with 
 impassioned energy his "Marseillaise des Travail- 
 leurs." 
 
 " I am the finest orator in all France," was his in- 
 stant reply. 
 
 If you should ever meet with Jean Journet you 
 must be prepared for a disappointment. His ap- 
 pearance is not such as your fancy will have pictured,
 
 254 ASPECTS OF PARIS. CHAP. X. 
 
 if your fancy was as errant as mine. I thought to 
 find a man with the dignity and sedateness of his 
 voluntary mission impressed upon every feature and 
 made apparent in every movement. I found, in- 
 stead, a cheery-looking comfortable sort of person, 
 who, although about sixty, entered my room with 
 the bachelor briskness of five and forty, and took me 
 by the hand as warmly as though we had been 
 whipped together in schoolboy days for stealing the 
 same apple. Must I say it too? Fresh air and 
 travel seem to have so well agreed with Jean 
 Journet, that his body has acquired a visible ten- 
 dency towards the rotund. Altogether, he has more 
 the appearance of a hard-working master- carpenter 
 than of a pilgrim bard. 
 
 I confess I was pained as I gazed upon this man, 
 who has sacrificed half a life in what he considers the 
 cause of truth, and who now sees the tomb open be- 
 fore him so coldly and so cheerlessly. His tone in 
 speaking to me was not desponding, nor was there 
 anything resembling complaint in his words. But at 
 parting his voice seemed to tremble a little and to 
 vibrate with pathos. 
 
 "I begin almost to despair sometimes," he said;
 
 CHAP. X. A, NEGLECTED POET. 255 
 
 " I begin to despair of finding anyone to succeed me 
 and continue the good work. All who have aided me 
 have died away, and now I am left all alone. I am 
 growing old too, and cannot do much more. I should 
 like to see the cause in safe hands before I die." 
 
 Not a complaint did he make of his poverty or of 
 the neglect with which the world had treated him. 
 It was the " good work " alone which seemed to oc- 
 cupy his thoughts. 
 
 I knew, however, that he was not rich, and I 
 stoutly pressed upon him the small sum at which 
 he sells the copy of his poems. He was on the point 
 of leaving me without asking for it! Nay, more, 
 when I offered him the money he hesitated a mo- 
 ment ere accepting it. 
 
 But I vanquished all his scruples by solemnly de- 
 claring that every author had a right to be paid for 
 his works ; that if he wanted any book I might 
 write, I should not abate one farthing of its price in 
 his favour ; finally that I was merely a purchaser, not 
 a patron. 
 
 His mind at ease, he wished to give me another 
 copy of his poems by way of present; but I only 
 consented to take it on the same terms as the other.
 
 256 ASPECTS OF PARIS. 
 
 I have introduced Jean Journet to my readers, 
 but should any of them wish for a more close ac- 
 quaintance with him they can consult his volume of 
 poetry *, or chat awhile with him when they come to 
 Paris. He will be very glad to expound his doc- 
 trines to them if they give him the opportunity. 
 
 From the work just named many of the facts in 
 this chapter have been drawn. Others I have re- 
 lated, much as they fell from the poet's own lips. 
 I have every reason to believe in their accuracy, for 
 even they who are most disposed to ridicule Jean 
 Journet never have accused him of falsehood or mis- 
 representation. 
 
 * " Poesies et Chants Harmoniens," par Jean Journet. Paris, a 
 la Librairie Universelle de Joubert, No. 2, Passage du Sauraon. 
 June, 1857. The Poet's address is 108, Rue St. Honore, where the 
 above work may also be procured. 
 
 THE END. 
 
 LONDON : 
 
 PUINTKD BY SPOTTISWOODB AND CO. 
 NEW-STREET SQUARE.
 
 Ar'A'FAT nPYW 
 \&&&i>i*t\l\gl\JltL 
 
 OF 
 
 NEW WORKS IN GENERAL LITERATURE 
 
 PUBLISHED BY 
 
 LONGMAN, BKOWN, GBEEN, LONGMANS, AND ROBERTS, 
 39, PATERNOSTER Row, LONDON. 
 
 CLASSIFIED INDEX. 
 
 Agriculture and Eural Affairs. 
 
 Parry's fAdmirall Memoirs . 
 Russell's Memoirs of Moore . 
 
 
 20 
 
 Bavldon on Valuing Bents, &c. . 
 
 6 
 8 
 
 Souther's Life of Wesley 
 ' Life and Correspondence 
 
 211 
 26 
 
 Hoskvns'sTalpa .... 
 London's Agriculture . ..-.." 
 Low's Elements of Agriculture . 
 
 13 
 
 17 
 17 
 
 Stephen's Fcclesinstical BioeraphT 
 Strickland's Queens of England . 
 Sydney Smith's Memoirs 
 
 26 
 28 
 27 
 2 
 
 Arts, Manufactures, and Archi- 
 
 SvmonHs'sf Admiral) Memoirs . 
 Tavlor's Lovola .... 
 '" Weslev 
 
 27 
 27 
 27 
 
 tecture. 
 
 
 Waterton's Autobiography and Essays 
 
 31 
 
 Bourne on the Screw Propeller 
 
 A 
 
 
 
 Brande's Dictionary of Science, &o. 
 " Organic Chemistry 
 
 6 
 
 7 
 
 Books of General Utility. 
 
 
 Cherreul on Colour . 
 
 9 
 
 Acton's "read -Book 
 
 5 
 
 Crest's Civil Fneineering 
 Fairhairn's Information for Engineers 
 
 9 
 10 
 
 " Cookery-Book 
 Black's Treatise on Brewing . 
 
 5 
 6 
 
 Gwilt's Encyclopedia of Architecture 
 
 11 
 
 Cabinet Gaiett.er . . . 
 
 a 
 
 Harford's Plates from M. Aneelo . 
 
 11 
 
 
 8 
 
 Humphry's FnraMff Illuminated 
 
 14 
 
 Cust's Invalid's Own Book 
 
 9 
 
 Jameson's Sacred and Legendary Art 
 
 14 
 
 Gilbarfs Loeic for the Million 
 
 11 
 
 " Commonplace- Book 
 
 14 
 
 Hints or. Etiquette .... 
 
 12 
 
 Konia's Pictorial Life of Luther . 
 T oudon's Rural Architecture . 
 
 11 
 
 17 
 
 How to > T urse Sick Children . 
 
 13 
 ] j 
 
 MacDousall's Theory of War 
 
 18 
 
 " on Makinff Wills 
 
 14 
 
 Malan's Aphorisms on Drawing . 
 
 18 
 
 Kssteven's Domestic Medicine 
 
 IS 
 
 Moselev's Engineering . 
 
 21 
 
 Lardner's Cabinet Cyclopedia 
 
 in 
 
 Piece's Art of Perfumery . . 
 Richardson's Art of Horsemanship 
 
 23 
 23 
 
 Maunder's T-easurr of Knowledge 
 
 17 
 19 
 
 Scharfs Pate-Book of Events in Art 
 
 24 
 
 " Biographical Treasury 
 
 19 
 
 Scrivenor on the Iron Tr.ide . 
 
 24 
 
 " Geoeranhical Treasury 
 
 19 
 
 Steam-Engine, hv the Artisan Club 
 Svmington on the Beautiful . 
 
 B 
 
 27 
 
 " Scientific Treasury 
 
 19 
 19 
 
 TJre's Dictionary of Arts, &c. . . 
 
 31 
 
 Natural History . 
 
 19 
 
 
 
 Piesse's Art of Perfumery 
 
 23 
 
 Biography. 
 
 
 Porket and the Stud 
 PTcroft's Ent-lish P^ading . 
 
 12 
 
 23 
 
 Araso's Lives of Scientific Men 
 
 li 
 
 Peece's Medical Guide . 
 
 23 
 
 Buckingham's (.1. S.) Memoirs 
 
 7 
 
 Rich's Companion to Latin Dictionary 
 
 21 
 
 Bunsen's Hippolvtus 
 
 7 
 
 Richardson's Art of Horsemanship 
 
 23 
 
 Crosse's (Andrew) Memorials 
 Gleig's Essays 
 
 9 
 11 
 
 Riddle's Latin Dictionaries . 
 Roeet's Enelish Thesaurus . . 
 
 24 
 
 J4 
 
 Green's Princesses of England 
 
 11 
 
 Rnwton's Debater .... 
 
 24 
 
 Harford's Life of Michael Angelo . 
 
 11 
 
 Short Whist 
 
 25 
 
 Lardner's Cabinet Cvclopipdia 
 
 16 
 
 Thomson's Interest Tables . 
 
 2fl 
 
 Maunder's Biographical Treasury 
 
 19 
 
 Webster's Domestic Economy 
 
 32 
 
 
 19 
 
 West on Children's Diseases . 
 
 32 
 
 Meriv.ile's Memoirs of Cicero 
 
 19 
 
 Willich's Popular Tables . . . * 
 
 32 
 
 Mountain's (Col.) Memoirs . 
 
 21 Wilmot's Blackstone . . . 
 
 32
 
 CLASSIFIED INDEX. 
 
 Botany and Gardening. 
 
 Hassall's British Freshwater Alga; . 12 
 
 Hooker's British Flora .... 13 
 
 " Guide to Kew Gardens . . 13 
 
 " " " Kew Museum . . 13 
 
 Lindley's Introduction to Botany . . 15 
 
 ' Theory of Horticulture . . 15 
 
 " Amateui Gardener . .' ! 17 
 
 " Tre.-s and Shrubs ... 17 
 
 " Gardening .... 17 
 
 " Plants 17 
 
 " Self-Instruction for Garden- 
 ers, &c 17 
 
 Pereira's Materia Medica . . .22 
 
 Rivers's Rose Amateur's Guide . . 24 
 Wilson's British Mosses . . . .32 
 
 Chronology. 
 
 Blair's Chronological Tables ... 6 
 
 Brewer's Historical Atlas ... 7 
 
 Bunsen's Ancient Egypt ... 7 
 
 Calendars of English 'state Papers . 8 
 
 Haydn's Beatson's Index ... 12 
 
 Jaquemet's Chronology .... 15 
 
 Nicolas's Chronology of History . . 16 
 
 Commerce and Mercantile 
 Affairs. 
 
 Gilbart's Treatise on Banking . . 11 
 
 Lorimer's Y'oung Master Mariner . . 15 
 
 Macleod's Banking 18 
 
 M'Culloch's Commerce and Navigation 18 
 
 nor on the Iron Trade 
 Thomson's Interest Tables . 
 Tooke's History of Prices 
 
 . 24 
 
 . 28 
 
 Criticism, History, and Memoirs. 
 
 Blair's Chron. and Historical Tables . 6 
 
 Brewer's Historical Atlas ... 7 
 
 Bunsen's Ancient Egypt ... 7 
 
 " Hippolytus .... 7 
 
 Burton's History of Scotland ... 7 
 
 Calendars of English State Papers . 8 
 
 Chapman's Gust'avus Adolphus . . 8 
 
 Connolly's Sappers and Miners . . 9 
 
 Convbeare and Howson's St. Paul . 9 
 Fischer's Francis Bacon . . .10 
 
 Gleig's Essays 11 
 
 Gurney's Historical Sketches . . 11 
 
 Herschel's Essays and Addresses . . K 
 
 Jeffrey's (Lord) Contributions . . 15 
 
 Kemble's Anglo Saxons . ... 15 
 
 Lardner's Cabinet Cyclopaedia . . 16 
 
 Macaulay's Critical and Hist. Essays . 17 
 
 " History of England ." .17 
 
 " Speeches ... 17 
 
 Mackintosh's Miscellaneous Works . 18 
 
 ' History of England . . 18 
 
 M'Culloch's Geographical Dictionary . 18 
 
 Maunder's Treasury of History . . 19 
 
 Merivale's History "of Rome . . .19 
 
 " Roman Republic ... 19 
 
 Milner's Church History .... 20 
 
 Moure's (Thomas) Memoirs, &c. . . 20 
 
 Mure-s Greek Literature ... 21 
 
 Normanby's Year of Revolution . . 22 
 
 Perry's Franks 22 
 
 Raikes's Journal 23 
 
 Riddle's Latin Dictionaries . .24 
 
 Rogers's Essays from Edinb. Review . 24 
 
 Rogefs English Thesaurus ... 24 
 
 Schmitz's History of Greece ... 24 
 
 Southey's Doctor 26 
 
 Stephen's Ecclesiastical Biography . 26 
 
 " Lectures on French History . 26 
 
 Sydney Smith's Works .... 26 
 
 Lectures . . 26 
 
 " Memoirs ... 26 
 
 Taylor's Loyola *7 
 
 '' Wesley 27 
 
 Thirlvrall's History of Greece . . . 28 
 
 Thomas's Historical Notes . . 28 
 
 Thornburv's Shakspeare's England . 28 
 
 Tuwnsend's State Trials ... 28 
 
 Turner's Ansrlo-Saxons . . . . 28 
 Middle Aees . . . .28 
 
 " Sacred History of the World . 28 
 
 Vehse's Austrian Court .... 31 
 
 Wade's England's Greatness ... 32 
 
 Whitelocke's Swedish Embassy . . 32 
 
 Young's Christ of History ... 32 
 
 Geography and Atlases. 
 
 Brewer's Historical Atlas . . .7 
 Butler's Geography and Atlases . 7 & 8 
 
 Cabinet Gazetteer 8 
 
 Johnston's General Gaietteer . . 15 
 
 M'Culloch's Geographical Dictionary . 18 
 
 Maunder's Treasury of Geography . 19 
 
 Murray's Encyclopedia of Geography . 22 
 
 Sharp's British Gazetteer . . 25 
 
 Juvenile Books. 
 
 Amy Herbert 
 
 Cleve Hall 
 
 Earl's Daughter (The) .... 25 
 
 Experience of Life 25 
 
 Gertrude 25 
 
 Howitfs Boy's Country Book . . 13 
 
 " (Mary) Children's Year . 13 
 
 Ivors . 25 
 
 Katharine Ashton 25 
 
 Laneton Parsonage 25 
 
 Margaret Percival . ... 25 
 Stepping-Stones to Knowledge for the 
 
 Young 27 
 
 Medicine and Surgery. 
 
 Brodie's Psychological Inquiries . . 7 
 
 Bull's Hint's to Mothers . ... 7 
 
 " Management of Children . . 7 
 
 Copland's Dictionary of Medicine . . 9 
 
 Cust's Invalid's Own Book ... 9 
 
 Holland's Mental Physiology ... 12 
 
 " Medical No'tes and Reflections 12 
 
 How to Nurse Sick Children ... 13 
 
 Kesteven s Domestic Medicine . . 15 
 
 Pereira's Materia Medica . . 22 
 
 Reece's Medical Guide .... 23 
 
 Richardson's Cold-water Cure . . 23 
 
 West on Diseases of Infancy ... 32 
 
 Miscellaneous Literature. 
 
 Bacon's (Lord) Works .... 5 
 
 Brougham's (Lord) Acts and Bills . 7 
 
 Defence of Edipu of faith ... 10 
 
 Eclipse ot Faith 10 
 
 Greg's Political and Social Essays . 11 
 
 Greyson's Select Correspondence . . 11 
 
 Gurney's EYening Recreations . . 11 
 
 HassaH's Adulterations Detected, &c. . 12 
 Haydn's Book of Dignities . . .12 
 
 Holland's Mental Physiology . . 12
 
 CLASSIFIED INDEX. 
 
 Hooker's Kew Guides . . . .13 
 Hewitt's Rural Life of England . . 13 
 
 " Visits to Remarkable Places . 13 
 Button's lOo Years Ago . ... 14 
 Jameson's Commonplace-Book . .14 
 Jeffrey's (Lord) Contributions . . 15 
 Johns's Land of Silence and of Darkness 15 
 Last of the Old Squires .... 22 
 Macaulay's Critical and Hist. Essays . 17 
 " Speeches .... 17 
 Mackintosh's Miscellaneous Works . 18 
 Maitland's Church in the Catacombs . 18 
 Martineau's Miscellanies . . 19 
 
 Moore's Church Cases . . . .21 
 Pycroft's English Reading ... 23 
 Rich's Companion to Latin Dictionary 23 
 Riddle's Latin Dictionaries ... 24 
 
 Rowton's Debater 24 
 
 Seaward's Narrative of his Shipww-ck . 24 
 Sir Roger De Coverley .... 25 
 Smith's (Rev. Sydney) Works . . 26 
 Southey's Common place- Books . . 26 
 
 " The Doctor, &c. . . .26 
 
 Stephen's Essays 26 
 
 Stow's Training System .... 27 
 Thomson's Laws of Thought . . 28 
 Townsend's State Trials. ... 28 
 Yonge's English-Greek Lexicon . . 32 
 " Latin Gradus . . .32 
 
 Zumpt's Latin Grammar . . .32 
 
 Natural History in general. 
 
 Callow's Popular Conchology . . 8 
 
 Ephemera and Young on the Salmon . 10 
 
 Garratt's Marvels of Instinct . . . 11 
 
 Goese's Natural History of Jamaica . 11 
 
 Kirby and Spence's Entomology . . 15 
 
 Lee's Elements of Natural History . 15 
 
 Maunder's Natural History ... 19 
 
 'Turton's Shells of the British Islands . 28 
 
 Van der Hoeven's Handbook of Zoology 31 
 
 Water-ton's Essays on Natural History . 31 
 
 Youatt's The Dog .... 32 
 
 " The Horse .... 32 
 
 One- Volume Encyclopaedias and 
 Dictionaries. 
 
 Elaine's Rural Sports .... 6 
 
 Brande's Science, Literature, and Art . G 
 
 Copland's Dictionary of Medicine . 9 
 
 Cresv's Civil Engineering ... 9 
 
 Gwilt's Architecture .... 11 
 
 Johnston's Geographical Dictionary . 15 
 
 London's Agriculture .... 17 
 
 " Rural Architecture . . 17 
 
 " Gardening . . . .17 
 
 " Plants 17 
 
 " Trees and Shrubs . . .17 
 M'Culloch's Geographical Dictionary . 18 
 " Dictionary of Commerce . 18 
 
 Murray's Encvclopsedia of Geography . 22 
 Sharp's British Gazetteer ... 25 
 Ure's Dictionary of Arts, *c. . .31 
 
 Webster's Domestic Economy . . 32 
 
 Keligious and Moral Works. 
 
 Amy Herbert 25 
 
 Bloomfield's Greek Testament . . 6 
 
 Calverfs Wife's Manual .... 8 
 
 Cleve Hall . 25 
 
 Conybeare's Essays 9 
 
 Conybeare and Howson's St. Paul . 9 
 
 Cotton's Instructions in Christianity . 9 
 
 Dale's Domestic Liturgy . . . u 
 Defence of Eclipse of faith . . .10 
 
 Discipline jo 
 
 Earl's Daughter (The) . 
 
 Eclipse of Faith j 
 
 Englishman's Greek Concordance . 10 
 
 " Heb. * Chald. Concord. 10 
 
 Experience (The) of Lift ... 28 
 
 Gertrude jj 
 
 Harrison's Light of the Forge . . 12 
 
 Hook's Lectures on Passion Week . 12 
 
 Home's Introduction to Scriptures . 13 
 
 *' Abridgment of ditto . 13 
 
 Hue's Christianity in China . 
 
 Humphrevs'sPflraWes Illuminated . 14 
 
 Ivors, by the Author of Amy Herbert . 25 
 
 Jameson's Sacred Legends . . .14 
 
 " Monastic Legends . . 14 
 
 *' Legends of the Madonna . 14 
 
 " on Female Employment . 
 
 Jeremy Taylor's Works .... 15 
 
 Katharine Ashton 25 
 
 Konig's Pictorial Life of Luther . . n 
 
 Laneton Parsonage . . . . . 25 
 
 Letters to my Unknown Friends . . 15 
 
 " on Happiness . . . u 
 
 Macnausht on Inspiration . . . 18 
 
 Maguire's Rome 13 
 
 Maitland's Church in the Catacombs . 18 
 
 Margaret Perciwl 35 
 
 Martineau's Christian Life . .Is 
 
 " Hymns .... 18 
 
 Merivale's Christian Records . . 19 
 
 Milner's Church of Christ ... 20 
 
 Moore on the Use of the Body . . 20 
 
 " " Soul and Body . . 20 
 
 " "s Man and his Motives . .20 
 
 Morning Clouds 21 
 
 Neale'u Closing Scene .... 22 
 
 Powell's Christianity without Judaism . 23 
 
 " on the Claims of Revelation . 23 
 
 Readings for Lent 25 
 
 " Confirmation ... 24 
 Riddle's Household Prayers ... 24 
 Robinson's Lexicon to the Greek Tes- 
 tament 24 
 
 Saints our Example .... 24 
 
 Sermon in the Mount .... 24 
 
 Sinclair's Journey of Life . . .25 
 
 Smith's (Sydney) Moral Philosophy . 26 
 
 " (G.V.) Assyrian Prophecies . 25 
 
 " (G.) Wesleyan Methodism . 25 
 
 " (J.) Shipwreck of SU Paul . 26 
 
 Southey's Life of Wesley ... 26 
 
 Stephen's Ecclesiastical Biography . 26 
 
 Taylor's Loyola 27 
 
 " Wesley . > ... 27 
 TheologU Germinica .... 7 
 Thumb Bible (The) .... 28 
 Tomline's Introduction to the Sills . 28 
 Turner's Sacred History .... '.'i 
 Young's Christ of History ... 32 
 " Mystery 32 
 
 Poetry and the Drama. 
 
 Aikin's (Dr.) British PoeU ... 5 
 
 Arnold's Merope ..... 5 
 
 " Poems ..... 5 
 
 Baillie's (Joanna) Poetical Works . . 5 
 
 Cali-erfs Wife's Manual .... 8
 
 4, CLASSIFIED INDEX. 
 
 De Vere's May Carols ... 10 
 
 Cecil's Stable Practice . . " . . . 
 
 .- 
 
 s 
 
 
 The Cricket-Field 
 
 9 
 
 Goldsmith's Poems, illustrated . . 11 
 
 Davy's Fishing Excursions, 2 Series 
 
 10 
 
 L. E. L.'s Poetical Works . . . 15 
 
 Ephemera on Angling , . . . 
 
 10 
 
 Linwood's Anthologia Oxoniensis . 15 
 
 ' Book of the Salmon 
 
 10 
 
 
 Hawker's Young Sportsman . 
 The Hunting-Field 
 
 12 
 12 
 14 
 
 Macaulay's Lays of Ancient Rome . 17 
 MacDonald's Within and Without . 18 
 
 Idle's Hints on Shooting 
 
 " Poems . . . . 18 
 
 Pocket and the Stud .... 
 
 12 
 
 Montgomery's Poetical Works . 20 
 
 Practical Horsemanship .... 
 
 12 
 
 Moore's Poetical Works . . . . 20 
 
 Richardson's Horsemanship . 
 
 23 
 
 " Selections (illustrated) . . 20 
 
 Ronalds's Fly-Fisher's Entomology . 
 
 24 
 
 " LallaRookh .... 20 
 
 Stable Talk and Table Talk . 
 
 12 
 
 " Irish Melodies .... 21 
 
 Stonehenge on the Greyhound 
 
 27 
 
 National Melodies . . .21 
 
 Thacker's Courser's Guide 
 
 27 
 
 " Songs and Ballads ... 20 
 
 The Stud, for Practical Purposes . 
 
 12 
 
 Reade's Poetical Works . . . . 2.J 
 
 
 
 Shakspeare, bv Bowdler .... 25 
 Southey's Poetical Work ... 26 
 
 Veterinary Medicine, &c. 
 
 
 " British Poets .... 26 
 
 Cecil's Stable Practice .... 
 
 e 
 g 
 
 Thomson s seasons, us rate 
 
 Hunting-Field (The) .... 
 
 12 
 
 
 Miles's Horse-Shoeing .... 
 
 20 
 
 Political Economy & Statistics. 
 
 " on the Horse's Foot 
 Pocket and the Stud .... 
 
 20 
 12 
 
 Dodd's Food of London .... 10 
 Greg's Political and Social Essays . 11 
 
 Practical Horsemanship .... 
 
 12 
 23 
 
 M'Culloch's Geog. Statist. &c. Diet. . 18 
 
 Stable Talk and Table Talk .' '. '. 
 
 12 
 
 " Dictionary of Commerce . 1 
 
 Stud (The) 
 
 12 
 
 Willich's Popular Table* ... 32 
 
 Youatt's The Dog 
 
 32 
 
 
 " The Horse 
 
 52 
 
 The Sciences in general and 
 Mathematics. 
 
 Voyages and Travels. 
 
 Baker's Wanderings in Ceylon 
 
 6 
 
 Arago's Meteorological Essays . . 5 
 
 Earth's African Travels .... 
 
 6 
 
 " Popular Astronomy ... 6 
 
 Berkeley's Forests of France . 
 
 6 
 
 Bourne on the Screw Propeller . . 6 
 
 Burton's East Africa .... 
 
 8 
 
 " 's Catechism of Steam- Engine . 6 
 
 " Medina and Mecca . 
 
 8 
 
 " Great Eastern Steamer . . 6 
 
 Carlisle's Turkey and Greece . 
 
 8 
 
 Boyd's Naval Cadet's Manual . . 6 
 
 
 10 
 
 Brande's Dictionary of Science, &c. . 6 
 
 Forester's Sardinia and Corsica . 
 
 11 
 
 " Lectures on Organic Chemistry " 
 
 Halloran's Japan 
 
 11 
 
 Cresy's Civil Engineering ... 9 
 
 Hill's Travels in Siberia .... 
 
 12 
 
 De la Beche's Geology of Cornwall, &c. 9 
 
 HinchlifTs Travels in the Alps 
 
 12 
 
 De la Rive's Electricity .... 10 
 
 Hewitt's Art-Student in Munich . 
 
 13 
 
 Grove's Correlation of Physical Forces . 11 
 
 (W.) Victoria . 
 
 13 
 
 Herschel's Outlines of Astronomy . . 12 
 
 Hue's Chinese Empire .... 
 
 14 
 
 Holland's Mental Physiology ... 12 
 
 Hudson and Kennedy's Mont Blanc 
 
 14 
 
 Humboldt's Aspects of Nature . . 14 
 
 Hnmboldt's Aspects of Nature 
 
 U 
 
 " Cosmos . . . .14 
 
 M'Clure's North-West Passage . 
 
 22 
 
 Hunt on Light 14 
 
 MacDougall's Voyage of the ^Utolnte . 
 
 18 
 
 Lardner's Cabinet Cyclopaedia . .16 
 
 Osborn's Quedah 
 
 22 
 
 Marcet's (Mrs.) Conversations . . IS 
 
 Pfeiffer's Voyage round the World 
 
 22 
 
 Maury's Earth and Man .... 19 
 
 Quatrefages's Rambles of a Naturalist . 
 
 23 
 
 Morcil's Elements of Psychology . . 21 
 Moselej 's Engineering and Architecture 21 
 
 Schener s Central America . 
 Seaward's Narrative . 
 
 24 
 24 
 
 Owen's Lectures on Comp. Anatomy . 22 
 
 Snow's Tierra del Fuego . 
 
 24 
 
 Pereira on Polarised Light . . 22 
 
 Spottiswoode's Eastern Russia 
 
 26 
 
 Pesohel's Elements of Physics . 22 
 
 Von Tempskv's Mexico and Guatemala 
 
 31 
 
 Phillips's Fossils ol Cornwall . . . 23 
 
 Weld's Vacations in Ireland . 
 
 32 
 
 " Mineralogy . . . .22 
 
 " United States and Canada . 
 
 32 
 
 " Guide to Geology ... 23 
 
 
 
 Portlock's Geology of Londonderry . 23 
 Powell's Unity ol Worlds . . 23 
 
 Works of Fiction. 
 
 
 " Christianity without Judaism 23 
 
 Crnikshank's Falstaff . 
 
 9 
 
 " Order of Nature ... 23 
 
 Howitt's Tallangetta 
 
 13 
 
 Smee's Electro-Metallurgy . . .25 
 
 Macdonald's Villa Verocchio . . 
 
 17 
 
 Steam-Engine (The) .... 6 
 
 Melville's Confidence-Man 
 
 19 
 
 Rural Sports. 
 
 Baker's Rifle and Hound in Cerlon . 5 
 
 Moon's Epicurean 
 Sir Roger De Coverler . . . . 
 Sketches (The), Three Tales . 
 Southey's The Doctor, *c. 
 
 21 
 
 25 
 25 
 26 
 
 Berkeley's Forests of France . . . 6 
 
 Trollope's Barchester Towrs . 
 
 28 
 
 Elaine's Dictionary of Sports. . . 6 
 
 " Warden . . . . 
 
 28
 
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 Biography. 
 
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 Persons of all Ages and Nati.' 
 
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 Natural History. 
 
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 ipular Dictionary of An 
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