"Si tu veux savoir comme est ampleDe Notre Dame le grand temple,Il y a, dans œuvre, pour le seur,Dix et sept toises de hauteur,Sur la largeur de vingt-quatre,Et soixante-cinq, sans rebattre,A de long; aux tours haut montéesTrente-quatre sont comptées;Le tout fondé sur pilotis—Aussi vrai que je te le dis."
"Si tu veux savoir comme est ample
De Notre Dame le grand temple,
Il y a, dans œuvre, pour le seur,
Dix et sept toises de hauteur,
Sur la largeur de vingt-quatre,
Et soixante-cinq, sans rebattre,
A de long; aux tours haut montées
Trente-quatre sont comptées;
Le tout fondé sur pilotis—
Aussi vrai que je te le dis."
While repeating this poetical description, you have only to remember thatune toiseis the same as a fathom,—that is to say, six feet; and then, as you turn your head in all directions to look about you, you will have the satisfaction of knowing exactly how far you can see in each.
I had another source of amusement, and by no means a trifling one, in watching the influx of company. The whole building soon contained as many human beings as could be crammed into it; and the seats, which we thought, as we took them, were very so-so places indeed, became accomodationsfor which to be most heartily thankful. Not a pillar but supported the backs of as many men as could stand round it; and not a jutting ornament, the balustrade of a side altar, or any other "point of 'vantage," but looked as if a swarm of bees were beginning to hang upon it.
But the sight which drew my attention most was that displayed by the exclusive central aisle. When told that it was reserved for gentlemen, I imagined of course that I should see it filled by a collection of staid-looking, middle-aged, Catholic citizens, who were drawn together from all parts of the town, and perhaps the country too, for the purpose of hearing the celebrated preacher: but, to my great astonishment, instead of this I saw pouring in by dozens at a time, gay, gallant, smart-looking young men, such indeed as I had rarely seen in Paris on any other religious occasion. Amongst these was a sprinkling of older men; but the great majority were decidedly under thirty. The meaning of this phenomenon I could by no means understand; but while I was tormenting myself to discover some method of obtaining information respecting it, accident brought relief to my curiosity in the shape of a communicative neighbour.
In no place in the world is it so easy, I believe, to enter into conversation with strangers as inParis. There is a courteous inclination to welcome every attempt at doing so which pervades all ranks, and any one who wishes it may easily find or make opportunities of hearing the opinions of all classes. The present time, too, is peculiarly favourable for this; a careless freedom in uttering opinions of all kinds being, I think, the most remarkable feature in the manners of Paris at the present day.
I have heard that it is difficult to get a tame, flat, short, matter-of-fact answer from a genuine Irishman;—from a genuine Frenchman it is impossible: let his reply to a question which seeks information contain as little of it as the dry Anglicism "I don't know," it is never given without a tone or a turn of phrase that not only relieves its inanity, but leaves you with the agreeable persuasion that the speaker would be more satisfactory if he could, and moreover that he would be extremely happy to reply to any further questions you may wish to ask, either on the same, or any other subject whatever.
It was in consequence of my moving my chair an inch and a half to accommodate the long limbs of a grey-headed neighbour, that he was induced to follow his "Milles pardons, madame!" with an observation on the inconvenience endured on the present occasion by the appropriation of all the best places to the gentlemen. It wasquite contrary, he added, to the usual spirit of Parisian arrangements; and yet, in fact, it was the only means of preventing the ladies suffering from the tremendous rush ofjeunes genswho constantly came to hear the Abbé Lacordaire.
"I never saw so large a proportion of young men in any congregation," said I, hoping he might explain the mystery to me. What I heard, however, rather startled than enlightened me.
"The Catholic religion was never so likely to be spread over the whole earth as it is at present," he replied. "The kingdom of Ireland will speedily become fully reconciled to the see of Rome. Le Sieur O'Connell desires to be canonized. Nothing, in truth, remains for that portion of your country to do, but to follow the example we set during our famous Three Days, and place a prince of its own choosing upon the throne."
I am persuaded that he thought we were Irish Roman Catholics: our sitting with such exemplary patience to wait for the preaching of this new apostle was not, I suppose, to be otherwise accounted for. I said nothing to undeceive him, but wishing to bring him back to speak of the congregation before us, I replied,
"Paris at least, if we may judge from the vast crowd collected here, is more religious than she has been of late years."
"France," replied he with energy, "as youmay see by looking at this throng, is no longer the France of 1823, when her priests sang canticles to the tune of "Ça ira." France is happily become most deeply and sincerely Catholic. Her priests are once more her orators, her magnates, her highest dignitaries. She may yet give cardinals to Rome—and Rome may again give a minister to France."
I knew not what to answer: my silence did not seem to please him, and I believe he began to suspect he had mistaken the party altogether, for after sitting for a few minutes quite silent, he rose from the place into which he had pushed himself with considerable difficulty, and making his way through the crowd behind us, disappeared; but I saw him again, before we left the church, standing on the steps of the pulpit.
The chair he left was instantly occupied by another gentleman, who had before found standing-room near it. He had probably remarked our sociable propensities, for he immediately began talking to us.
"Did you ever see anything like the fashion which this man has obtained?" said he. "Look at thosejeunes gens, madame! ... might one not fancy oneself at a première représentation?"
"Those must be greatly mistaken," I replied, "who assert that the young men of Paris are not among herfidèles."
"Do you consider their appearing here a proof that they are religious?" inquired my neighbour with a smile.
"Certainly I do, sir," I replied: "how can I interpret it otherwise?"
"Perhaps not—perhaps to a stranger it must have this appearance; but to a man who knows Paris...." He smiled again very expressively, and, after a short pause, added—"Depend upon it, that if a man of equal talent and eloquence with this Abbé Lacordaire were to deliver a weekly discourse in favour of atheism, these very identical young men would be present to hear him."
"Once they might," said I, "from curiosity: but that they should follow him, as I understand they do, month after month, if what he uttered were at variance with their opinions, seems almost inconceivable."
"And yet it is very certainly the fact," he replied: "whoever can contrive to obtain the reputation of talent at Paris, let the nature of it be of what kind it may, is quite sure thatles jeunes genswill resort to hear and see him. They believe themselves of indefeasible right the sole arbitrators of intellectual reputation; and let the direction in which it is shown be as foreign as may be to their own pursuits, they come as amatter of prescriptive right to put their seal upon the aspirant's claim, or to refuse it."
"Then, at least, they acknowledge that the Abbé's words have power, or they would not grant their suffrage to him."
"They assuredly acknowledge that his words have eloquence; but if by power, you mean power of conviction, or conversion, I do assure you that they acknowledge nothing like it. Not only do I believe that these young men are themselves sceptics, but I do not imagine that there is one in ten of them who has the least faith in the Abbé's own orthodoxy."
"But what right have they to doubt it?... Surely he would hardly be permitted to preach at Notre Dame, where the archbishop himself sits in judgment on him, were he otherwise than orthodox?"
"I was at school with him," he replied: "he was a fine sharp-witted boy, and gave very early demonstrations of a mind not particularly given either to credulity, or subservience to any doctrines that he found puzzling."
"I should say that this was the greatest proof of his present sincerity. He doubted as a boy—but as a man he believes."
"That is not the way the story goes," said he. "But hark! there is the bell: the mass is about to commence."
He was right: the organ pealed, the fine chant of the voices was heard above it, and in a few minutes we saw the archbishop and his splendid train escorting the Host to its ark upon the altar.
During the interval between the conclusion of the mass and the arrival of the Abbé Lacordaire in the pulpit, my sceptical neighbour again addressed me.
"Are you prepared to be very much enchanted by what you are going to hear?" said he.
"I hardly know what to expect," I replied: "I think my idea of the preacher was higher when I came here, than since I have heard you speak of him."
"You will find that he has a prodigious flow of words, much vehement gesticulation, and a very impassioned manner. This is quite sufficient to establish his reputation for eloquence amongles jeunes gens."
"But I presume you do not yourself subscribe to the sentence pronounced by these young critics?"
"Yes, I do,—as far, at least, as to acknowledge that this man has not attained his reputation without having displayed great ability. But though all the talent of Paris has long consented to receive its crown of laurels from the hands of her young men, it would be hardly reasonable toexpect that their judgment should be as profound as their power is great."
"Your obedience to this beardless synod is certainly very extraordinary," said I: "I cannot understand it."
"I suppose not," said he, laughing; "it is quite a Paris fashion; but we all seem contented that it should be so. If a new play appears, its fate must be decided byles jeunes gens; if a picture is exhibited, its rank amidst the works of modern art can only be settled by them: does a dancer, a singer, an actor, or a preacher appear—a new member in the tribune, or a new prince upon the throne,—it is stillles jeunes genswho must pass judgment on them all; and this judgment is quoted with a degree of deference utterly inconceivable to a stranger."
"Chut! ... chut!" ... was at this moment uttered by more than one voice near us: "le voilà!" I glanced my eye towards the pulpit, but it was still empty; and on looking round me, I perceived that all eyes were turned in the direction of a small door in the north aisle, almost immediately behind us. "Il est entré là!" said a young woman near us, in a tone that seemed to indicate a feeling deeper than respect, and, in truth, not far removed from adoration. Her eyes were still earnestly fixed upon the door, and continuedto be so, as well as those of many others, till it reopened and a slight young man in the dress of a priest prepared for thechaireappeared at it. A verger made way for him through the crowd, which, thick and closely wedged as it was, fell back on each side of him, as he proceeded to the pulpit, with much more docility than I ever saw produced by the clearing a passage through the intervention of a troop of horse.
Silence the most profound accompanied his progress; I never witnessed more striking demonstrations of respect: and yet it is said that three-fourths of Paris believe this man to be a hypocrite.
As soon as he had reached the pulpit, and while preparing himself by silent prayer for the duty he was about to perform, a movement became perceptible at the upper part of the choir; and presently the archbishop and his splendid retinue of clergy were seen moving in a body towards that part of the nave which is immediately in front of the preacher. On arriving at the space reserved for them, each noiselessly dropped into his allotted seat according to his place and dignity, while the whole congregation respectfully stood to watch the ceremony, and seemed to
"Admirer un si bel ordre, et reconnaître l'église."
It is easier to describe to you everything whichpreceded the sermon, than the sermon itself. This was such a rush of words, such a burst and pouring out of passionate declamation, that even before I had heard enough to judge of the matter, I felt disposed to prejudge the preacher, and to suspect that his discourse would have more of the flourish and furbelow of human rhetoric than of the simplicity of divine truth in it.
His violent action, too, disgusted me exceedingly. The rapid and incessant movement of his hands, sometimes of one, sometimes of both, more resembled that of the wings of a humming-bird than anything else I can remember: but thehumproceeded from the admiring congregation. At every pause he made, and like the claptraps of a bad actor, they were frequent, and evidently faits exprès: a little gentle laudatory murmur ran through the crowd.
I remember reading somewhere of a priest nobly born, and so anxious to keep his flock in their proper place, that they might not come "between the wind and his nobility," that his constant address to them when preaching was, "Canaille Chrétienne!" This was bad—very bad, certainly; but I protest, I doubt if the Abbé Lacordaire's manner of addressing his congregation as "Messieurs" was much less unlike the fitting tone of a Christian pastor. This mundane apostrophe was continually repeated throughout thewhole discourse, and, I dare say, had its share in producing the disagreeable effect I experienced from his eloquence. I cannot remember having ever heard a preacher I less liked, reverenced, and admired, than this new Parisian saint. He made very pointed allusions to the reviving state of the Roman Catholic Church in Ireland, and anathematized pretty cordially all such as should oppose it.
In describing the two hours' prologue to the mass, I forgot to mention that many young men—not in the reserved places of the centre aisle, but sitting near us, beguiled the tedious interval by reading. Some of the volumes they held had the appearance of novels from a circulating library, and others were evidently collections of songs, probably less spiritual thanspirituels.
The whole exhibition certainly showed me a new page in the history ofParis as it is, and I therefore do not regret the four hours it cost me: but once is enough—I certainly will never go to hear the Abbé Lacordaire again.
La Tour de Nesle.
It is, I believe, nearly two years ago since the very extraordinary drama called "La Tour de Nesle" was sent me to read, as a specimen of the outrageous school of dramatic extravagance which had taken possession of all the theatres in Paris; but I certainly did not expect that it would keep its place as a favourite spectacle with the people of this great and enlightened capital long enough for me to see it, at this distance of time, still played before a very crowded audience.
That this is a national disgrace, is most certain: but the fault is less attributable to the want of good taste, than to the lamentable blunder which permits every species of vice and abomination to be enacted before the eyes of the people, without any restraint or check whatever, under the notion that they are thereby permitted to enjoy a desirable privilege and a noble freedom. Yet in this same country it is illegal to sell a deleterious drug! There is no logic in this.
It is however an undeniable fact, as I think I have before stated, that the best class of Parisian society protest against this disgusting license, and avoid—upon principle loudly proclaimed and avowed—either reading or seeing acted these detestable compositions. Thus, though the crowded audiences constantly assembled whenever they are brought forward prove but too clearly that such persons form but a small minority, their opinion is nevertheless sufficient, or ought to be so, to save the country from the disgrace of admitting that such things are good.
We seem to pique ourselves greatly on the superiority of our taste in these matters; but let us pique ourselves rather on our theatrical censorship. Should the clamours and shoutings of misrule lead to the abolition of this salutary restraint, the consequences would, I fear, be such as very soon to rob us of our present privilege of abusing our neighbours on this point.
While things do remain as they are, however, we may, I think, smile a little at such a judgment as Monsieur de Saintfoix passes upon our theatrical compositions, when comparing them to those of France.
"Les actions de nos tragédies," says he, "sont pathétiques et terribles; celles des tragédies angloises sont atroces. On y met sous les yeux du spectateur les objets les plus horribles; un mari quidiscourt avec sa femme, qui la caresse et l'étrangle."
Might one not think that the writer of this passage had just arrived from witnessing the famous scene in the "Monomane," only he had mistaken it for English? But he goes on—
"Une fille toute sanglante...." (Triboulet's daughter Blanche, for instance.)—"Après l'avoir violée...."
He then proceeds to reason upon the subject, and justly enough, I think—only we should read England for France, and France for England.
"Il n'est pas douteux que les arts agréables ne réussissent chez un peuple qu'autant qu'ils en prennent le génie, et qu'un auteur dramatique ne sauroit espérer de plaire si les objets et les images qu'il présente ne sont pas analogues au caractère, au naturel, et au goût de la nation: on pourroit donc conclure de la différence des deux théâtres, que l'âme d'unAnglaisest sombre, féroce, sanguinaire; et que celle d'unFrançaisest vive, impatiente, emportée, mais généreuse même dans sa haine; idolatrant l'honneur"—(just like Buridan in this same drama of the Tour de Nesle—this popular production ofla Jeune France—la France régénérée)—"idolatrant l'honneur, et ne cessant jamais de l'apercevoir, malgré le trouble et toute la violence des passions."
Though it is impossible to read this passagewithout a smile, at a time when it is so easy for the English to turn the tables against this patriotic author, one must sigh too, while reflecting on the lamentable change which has taken place in the moral feeling of revolutionised France since the period at which it was written.
What would Saintfoix say to the notion that Victor Hugo had "heaved the ground from beneath the feet of Corneille and Racine"? The question, however, is answered by a short sentence in his "Essais Historiques," where he thus expresses himself:—
"Je croirois que la décadence de notre nation seroit prochaine, si les hommes de quarante ans n'y regardoient pasCorneillecomme le plus grand génie qui ait jamais été."
If the spirit of the historian were to revisit the earth, and float over the heads of a party of Parisian critics while pronouncing sentence on his favourite author, he might probably return to the shades unharmed, for he would only hear "Rococo! Rococo! Rococo!" uttered as by acclamation; and unskilled to comprehend the new-born eloquence, he would doubtless interpret it as arefrainto express in one pithy word all reverence, admiration, and delight.
But to return to "La Tour de Nesle." The story is taken from a passage in Brantôme's history "des Femmes Galantes," where he says,"qu'une reine de France"—whom however he does not name, but who is said to have been Marguérite de Bourgogne, wife of Louis Dix—"se tenoit là (à la Tour de Nesle) d'ordinaire, laquelle fesant le guet aux passans, et ceux qui lui revenoient et agréoient le plus, de quelque sorte de gens que ce fussent, les fesoit appeler et venir à soy, et après ... les fesoit précipiter du haut de la tour en bas, en l'eau, et les fesoit noyer. Je ne veux pas," he continues, "assurer que cela soit vrai, mais le vulgaire, au moins la plupart de Paris, l'affirme, et n'y a si commun qu'en lui montrant la tour seulement, et en l'interrogeant, que de lui-même ne le die."
This story one might imagine was horrible and disgusting enough; but MM. Gaillardet et * * * * * (it is thus the authors announce themselves) thought otherwise, and accordingly they have introduced her majesty's sisters, the ladies Jeanne and Blanche of Burgundy, who were both likewise married to sons of Philippe-le-Bel, the brothers of Louis Dix, to share her nocturnal orgies. These "imaginative and powerful" scenic historians also, according to the fashion of the day among the theatrical writers of France, add incest to increase the interest of the drama.
This is enough, and too much, as to the plot; and for the execution of it by the authors, I can only say that it is about equal in literary meritto the translations of an Italian opera handed about at the Haymarket. It is in prose—and, to my judgment, very vulgar prose; yet it is not only constantly acted, but I am assured that the sale of it has been prodigiously great, and still continues to be so.
That a fearful and even hateful story, dressed up in all the attractive charm of majestic poetry, and redeemed in some sort by the noble sentiments of the personages brought into the scenes of which it might be the foundation—that a drama so formed might captivate the imagination even while it revolted the feelings, is very possible, very natural, and nowise disgraceful either to the poet, or to those whom his talent may lead captive. The classic tragedies which long served as models to France abound in fables of this description. Alfieri, too, has made use of such, following with a poet's wing the steady onward flight of remorseless destiny, yet still sublime in pathos and in dignity, though appalling in horror. In like manner, the great French dramatists have triumphed by the power of their genius, both over the disgust inspired by these awful classic mysteries, and the unbending strictness of the laws which their antique models enforced for their composition.
If we may herein deem the taste to have been faulty, the grace, the majesty, the unswervingdignity of the tragic march throughout the whole action—the lofty sentiments, the bursts of noble passion, and the fine drapery of stately verse in which the whole was clothed, must nevertheless raise our admiration to a degree that may perhaps almost compete with what we feel for the enchanting wildness and unshackled nature of our native dramas.
But what can we think of those who, having ransacked the pages of history to discover whatever was most revolting to the human soul, should sit down to arrange it in action, detailed at full length, with every hateful circumstance exaggerated and brought out to view for the purpose of tickling the curiosity of his countrymen and countrywomen, and by that means beguiling them into the contemplation of scenes that Virtue would turn from with loathing, and before which Innocence must perish as she gazes? No gleam of goodness throughout the whole for the heart to cling to,—no thought of remorseful penitence,—no spark of noble feeling; nothing but vice,—low, grovelling, brutal vice,—from the moment the curtain rises to display the obscene spectacle, to that which sees it fall between the fictitious infamy on one side, and the real impurity left on the other!
As I looked on upon the hideous scene, and remembered the classic horrors of the Greek tragedians,and of the mighty imitators who have followed them, I could not help thinking that the performance of MM. Gaillardet et * * * * * was exceedingly like that of a monkey mimicking the operations of a man. He gets hold of the same tools, but turns the edges the wrong way; and instead of raising a majestic fabric in honour of human genius, he rolls the materials in mud, begrimes his own paws in the slimy cement, and then claws hold of every unwary passenger who comes within his reach, and bespatters him with the rubbish he has brought together. Such monkeys should be chained, or they will do much mischief.
It is hardly possible that such dramas as the "Tour de Nesle" can be composed with the intention of producing a great tragic effect; which is surely the only reason which can justify bringing sin and misery before the eyes of an audience. There is in almost every human heart a strange love for scenes of terror and of woe. We love to have our sympathies awakened—our deepest feelings roused; we love to study in the magic mirror of the scene what we ourselves might feel did such awful visitations come upon us; and there is an unspeakable interest inspired by looking on, and fancying that were it so with us, we might so act, so feel, so suffer, and so die. But is therein any land a wretch so lost, so vile, as to be capable of feeling sympathy with any sentiment or thought expressed throughout the whole progress of this "Tour de Nesle"? God forbid!
I have heard of poets who have written under the inspiration of brandy and laudanum—the exhalations from which are certainly not likely to form themselves into images of distinctness or beauty; but the inspiration that dictated the "Tour de Nesle" must have been something viler still, though not less powerful. It must, I think, have been the cruel calculation of how many dirty francs might be expressed from the pockets of the idle, by a spectacle new from its depth of atrocity, and attractive from its newness.
But, setting aside for a moment the sin and the scandal of producing on a public stage such a being as the woman to whom MM. Gaillardet et * * * * * have chosen to give the name of Marguérite de Bourgogne, it is an object of some curiosity to examine the literary merits of a piece which, both on the stage and in the study, has been received by so many thousands—perhaps millions—of individuals belonging to "la grande nation" as a work deserving their patronage and support—or at least as deserving their attention and attendance for years; years, too, of hourly progressive intellect—years during which themarch of mind has outdone all former marches of human intelligence—years during which Young France has been labouring to throw off her ancient coat of worn-out rococoism, and to clothe herself in new-fledged brightness. During these years she has laid on one shelf her once-venerated Corneille,—on another, her almost worshipped Racine. Molière is named but as a fine antique; and Voltaire himself, spite of his strong claims upon their revolutionary affections, can hardly be forgiven for having said of the two whom Victor Hugo is declared to have overthrown, that "Ces hommes enseignèrent à la nation, à penser, à sentir, à s'exprimer; leurs auditeurs, instruits par eux seuls, devinrent enfin des juges sévères pour eux mêmes qui les avaient éclairés." Let any one whose reason is not totally overthrown by the fever and delirium of innovation read the "Tour de Nesle," and find out if he can any single scene, speech, or phrase deserving the suffrage which Paris has accorded to it. Has the dialogue either dignity, spirit, or truth of nature to recommend it? Is there a single sentiment throughout the five acts with which an honest man can accord? Is there even an approach to grace or beauty in thetableaux? or skill in the arrangement of the scenes? or keeping of character among the demoniacaldramatis personæwhich MM. Gaillardet et * * * * * have brought together?or, in short, any one merit to recommend it—except only its superlative defiance of common decency and common sense?
If there be any left among the men of France; I speak not now of her boys, the spoilt grandchildren of the old revolution;—but if there be any left among her men, as I in truth believe there are, who deprecate this eclipse of her literary glory, is it not sad that they should be forced to permit its toleration, for fear they should be sent to Ham for interfering with the liberty of the press?
It is impossible to witness the representation of one of these infamous pieces without perceiving, as you glance your eye around the house, who are its patrons and supporters. At no great distance from us, when we saw the "Tour de Nesle," were three young men who had all of them a most thoroughly "jeunes gens" and republican cast of countenance, and tournure of person and dress. They tossed their heads and snuffed the theatrical air of "la Jeune France," as if they felt that they were, or ought to be, her masters: and it is a positive fact that nothing pre-eminently absurd or offensive was done or said upon the stage, which this trio did not mark with particular admiration and applause.
There was, however, such a saucy look of determination to do what they knew was absurd,that I gave them credit for being aware of the nonsense of what they applauded, from the very fact that they did applaud it.
It is easy enough sometimes to discover "le vrai au travers du ridicule;" and these silly boys were not, I am persuaded, such utter blockheads as they endeavoured to appear. It is a bad and mischievous tone, however; and the affecting a vice where you have it not, is quite as detestable a sort of hypocrisy as any other.
Some thousand years hence perhaps, if any curious collectors of rare copies should contrive among them to preserve specimens of the French dramas of the present day, it may happen that while the times that are gone shall continue to be classed as the Iron, the Golden, the Dark, and the Augustan ages, this day of ours may become familiar in all men's mouths as the Diabolic age,—unless, indeed, some charitable critic shall step forward in our defence, and bestow upon it the gentler appellation of "the Idiot era."
Palais Royal.—Variety of Characters.—Party of English.—Restaurant.—Galerie d'Orléans.—Number of Loungers.—Convenient abundance of Idle Men.—Théâtre du Vaudeville.
Though, as a lady, you may fancy yourself quite beyond the possibility of ever feeling any interest in the Palais Royal, its restaurans, its trinket-shops, ribbon-shops, toy-shops &c. &c. &c. and all the world of misery, mischief, and good cheer which risesétageafterétageabove them; I must nevertheless indulge in a little gossip respecting it, because few things in Paris—I might, I believe, say nothing—can show an aspect so completely un-English in all ways as this singular region. The palace itself is stately and imposing, though not externally in the very best taste. Corneille, however, says of it,—
"L'univers entier ne peut voir rien d'égalAu superbe dehors du Palais Cardinal,"
"L'univers entier ne peut voir rien d'égal
Au superbe dehors du Palais Cardinal,"
as it was called from having been built and inhabitedby the Cardinal de Richelieu. But it is the use made of the space which was originally the Cardinal's garden, which gives the place its present interest.
All the world—men, women and children, gentle and simple, rich and poor,—in short, I suppose every living soul that enters Paris, is taken to look at the Palais Royal. But though many strangers linger there, alas! all too long, there are many others who, according to my notions, do not linger there long enough. The quickest eye cannot catch at one glance, though that glance be in activity during a tour made round the whole enclosure, all the national characteristic, picturesque, and comic groups which float about there incessantly through at least twenty hours of the twenty-four. I know that the Palais Royal is a study which, in its higher walks and profoundest depths, it would be equally difficult, dangerous, and disagreeable to pursue: but with these altitudes and profundities I have nothing to do; there are abundance of objects to be seen there, calculated and intended to meet the eyes of all men, and women too, which may furnish matter for observation, without either diving or climbing in pursuit of knowledge that, after all, would be better lost than found.
But one should have the talent of Hogarth to describe the different groups, with all their variedlittle episodes of peculiarity, which render the Palais Royal so amusing. These groups are, to be sure, made up only of Parisians, and of the wanderers who visitla belle villein order to see and be seen in every part of it; yet it is in vain that you would seek elsewhere the same odd selection of human beings that are to be found sans faute in every corner of the Palais Royal.
How it happens I know not, but so it is, that almost every person you meet here furnishes food for speculation. If it be an elegant well-appointed man of fashion, the fancy instantly tracks him to asalon de jeu; and if you are very good-natured, your heart will ache to think how much misery he is likely to carry home with him. If it be a low, skulking, semi-genteelmoustache, with large, dark, deep-set eyes rolling about to see whom he can devour, you are as certain that he too is making for a salon, as that a man with a rod and line on his shoulder is going to fish. That prettysoubrette, with her neat heels and smart silk apron, who has evidently a few francs tied up in the corner of the handkerchief which she holds in her hand—do we not know that she is peering through the window of every trinket-shop to see where she can descry the most tempting gold ear-rings, for the purchase of which a quarter's wages are about to be dis-kerchiefed?
We must not overlook, and indeed it would not be easy to do so, that well-defined domestic party of our country-folks who have just turned into the superb Galerie d'Orléans. Father, mother, and daughters—how easy to guess their thoughts, and almost their words! The portly father declares that it would make a capital Exchange: he has not yet seen La Bourse. He looks up to its noble height—then steps forward a pace or two, and measures with his eye the space on all sides—then stops, and perhaps says to the stately lady on his arm, (whose eyes meanwhile are wandering amidst shawls, gloves, Cologne bottles, and Sèvres china, first on one side and then on the other,)—"This is not badly built; it is light and lofty—and the width is very considerable for so slight-looking a roof; but what is it compared to Waterloo-bridge!"
Two pretty girls, with bright cheeks, dove-like eyes, and "tresses like the morn," falling in un-numbered ringlets, so as almost to hide their curious yet timid glances, precede the parent pair; but, with pretty well-taught caution, pause when they pause, and step on when they step on. But they can hardly look at anything; for do they not know, though their downcast eyes can hardly be said to see it, that those youths with coal-black hair, favoris and imperials, are spying at them with their lorgnettes?
Here too, as at the Tuileries, are little pavilions to supply the insatiable thirst for politics; and here, too, we could distinguish the melancholy champion of the elder branch of the Bourbons, who is at least sure to find the consolation of his faithful "Quotidienne," and the sympathy of "La France." The sour republican stalks up, as usual, to seize upon the "Réformateur;" while the comfortable doctrinaire comes forth from the Café Véry, ruminating on the "Journal des Débats," and the chances of his bargains at Tortoni's or La Bourse.
It was in a walk taken round three sides of the square that we marked the figures I have mentioned, and many more too numerous to record, on a day that we had fixed upon to gratify our curiosity by dining—not at Véry's, or any other far-famed artist's, but tout bonnement at a restaurant of quarante sous par tête. Having made our tour, we mounted au second at numéro—I forget what, but it was where we had been especially recommended to make this coup d'essai. The scene we entered upon, as we followed a long string of persons who preceded us, was as amusing as it was new to us all.
I will not say that I should like to dine three days in the week at the Palais Royal for quarante sous par tête; but I will say, that I should havebeen very sorry not to have done it once, and moreover, that I heartily hope I may do it again.
The dinner was extremely good, and as varied as our fancy chose to make it, each person having privilege to select three or four plats from a carte that it would take a day to read deliberately. But the dinner was certainly to us the least important part of the business. The novelty of the spectacle, the number of strange-looking people, and the perfect amenity and good-breeding which seemed to reign among them all, made us look about us with a degree of interest and curiosity that almost caused the whole party to forget the ostensible cause of their visit.
There were many English, chiefly gentlemen, and several Germans with their wives and daughters; but the majority of the company was French; and from sundry little circumstances respecting taking the places reserved for them, and different words of intelligence between themselves and the waiters, it was evident that many among them were not chance visitors, but in the daily habit of dining there. What a singular mode of existence is this, and how utterly inconceivable to English feelings!... Yet habit, and perhaps prejudice, apart, it is not difficult to perceive that it has its advantages. In the first place, there is no management in the world, not even that of Mrs. Primroseherself, which could enable a man to dine at home, for the sum of two francs, with the same degree of luxury as to what he eats, that he does at one of these restaurans. Five hundred persons are calculated upon as the daily average of company expected; and forty pounds of ready money in Paris, with the skilful aid of French cooks, will furnish forth a dinner for this number, and leave some profit besides. Add to which, the sale of wine is, I believe, considerable. Some part of the receipts, however, must be withdrawn as interest upon the capital employed. The quantity of plate is very abundant, not only in the apparently unlimited supply of forks and spoons, but in furnishing the multitude of grim-looking silver bowls in which thepotageis served.
On the whole, however, I can better understand the possibility of five hundred dinners being furnished daily for two francs each, by one of these innumerable establishments, than I can the marvel of five hundred people being daily found by each of these to eat them. Hundreds of these houses exist in Paris, and all of them are constantly furnished with guests. But this manner of living, so unnatural to us, seems not only natural, but needful to them. They do it all so well—so pleasantly! Imagine for a moment the sort of tone and style such a dining-room would take in London. I do not mean, if limited to the sameprice, but set it greatly beyond the proportion: let us imagine an establishment where males and females should dine at five shillings a-head—what din, what unsocial, yet vehement clattering, would inevitably ensue!—not to mention the utter improbability that such a place, really andbonâ fideopen to the public, should continue a reputable resort for ladies for a week after its doors were open.
But here, everything was as perfectly respectable and well arranged as if each little table had been placed with its separate party in a private room at Mivart's. It is but fair, therefore, that while we hug ourselves, as we are all apt to do, on the refinement which renders the exclusive privacy of our own dining-rooms necessary to our feelings of comfort, we should allow that equal refinement, though of another kind, must exist among those who, when thrown thus promiscuously together, still retain and manifest towards each other the same deference and good-breeding which we require of those whom we admit to our private circle.
At this restaurant, as everywhere else in Paris, we found it easy enough to class ourgens. I feel quite sure that we had around us many of the employés du gouvernement actuel—several anciens militaires of Napoleon's—some specimens of therace distinguished by Louis Dix-huit and Charles Dix—and even, if I do not greatly mistake, a few relics of the Convention, and of the unfortunate monarch who was its victim.
But during this hour of rest and enjoyment all differences seem forgotten; and however discordant may be their feelings, two Frenchmen cannot be seated near each other at table, without exchanging numberless civilities, and at last entering into conversation, so well sustained and so animated, that instead of taking them for strangers who had never met before, we, in our stately shyness, would be ready to pronounce that they must be familiar friends.
Whether it be thiscausant, social temper which makes them prefer thus living in public, or that thus living in public makes them social, I cannot determine to my own satisfaction; but the one is not more remarkable and more totally unlike our own manners than the other, and I really think that no one who has not dined thus in Paris can have any idea how very wide, in some directions, the line of demarcation is between the two countries.
I have on former occasions dined with a party at places of much higher price, where the object was to observe what a very good dinner a very good cook could produce in Paris. But this experimentoffered nothing to our observation at all approaching in interest and nationality to the dinner of quarante sous.
In the first place, you are much more likely to meet English than French society at these costly repasts; and in the second, if you do encounter at them a genuine native gourmet of la Grande Nation, he will, upon this occasion, be only doing like ourselves,—that is to say, giving himself un repas exquis, instead of regaling himself at home with his family—
"Sur un lièvre flanqué de deux poulets étiques."
But at the humble restaurant of two francs, you have again a new page of Paris existence to study,—and one which, while it will probably increase your English relish for your English home, will show you no unprofitable picture of the amiable social qualities of France. I think that if we could find a people composed in equal proportions of the two natures, they would be as near to social perfection as it is possible to imagine.
The French are almost too amiable to every one they chance to sit near. The lively smile, the kind empressement, the ready causerie, would be more flattering did we not know that it was all equally at the service of the whole world. Whereas we are more than equally wrong in the other extreme; having the air of suspecting that every human being who happens to be thrown into contactwith us, before we know his birth, parentage, and education, is something very dangerous, and to be guarded against with all possible care and precaution. Query—Do not the Germans furnish something very like this juste milieu?
Having concluded our unexpensive repast with the prescribed tasse de café noir, we again sallied forth to take the tour of the Palais Royal, in order to occupy the time till the opening of the Théâtre du Vaudeville, with which, as we were so very close to it, we determined to finish the evening.
We returned, as we came, through the noble Galerie d'Orléans, which was now crowded with the assembled loungers of all the numerous restaurans. It is a gay and animated scene at any time of the day; but at this particular hour, just before the theatres open, and just after the gay people have all refreshed their animal spirits, Paris itself seems typified by the aspect of the lively, laughing, idle throng assembled there.
One reason, I believe, why Paris is so much more amusing to a looker-on than London, is, that it contains so many more people, in proportion to its population, who have nothing in the world to do but to divert themselves and others. There are so many more idle men here, who are contented to live on incomes that with us would be considered as hardly sufficient to supply a lodging; small rentiers, who prefer beingmasters of their own time and amusing themselves with a little, to working very hard and being very much ennuyés with a great deal of money. I am not quite sure that this plan answers well when youth is past—at least for the individuals themselves: it is probable, I think, that as the strength, and health, and spirits fade away, something of quieter and more substantial comfort must often be wished for, when perhaps it is too late to obtain it; but for others—for all those who form the circle round which the idle man of pleasure skims thus lightly, he is a never-failing resource. What would become of all the parties for amusement which take place morning, noon, and night in Paris, if this race were extinct? Whether they are married or single, they are equally eligible, equally necessary, equally welcome wherever pleasure makes the business of the hour. With us, it is only a small and highly-privileged class who can permit themselves to go wherever and whenever pleasure beckons; but in France, no lady arranging a fête, let it be of what kind it may, has need to think twice and thrice before she can answer the important but tormenting question of—"But what men can we get?"
The Vaudeville was very full, but we contrived to get a good box au second, from whence we saw, greatly to our delectation and amusement, threepretty little pieces,—"Les Gants Jaunes," "Le Premier Amour," and "Elle est Folle;" which last was of the larmoyante school, and much less to my taste than the lively nonsense of the two former; yet it was admirably well played too. But I always go to a vaudeville with the intention of laughing; and if this purpose fail, I am disappointed.
Literary Conversation.—Modern Novelists.—Vicomte d'Arlincourt.—His Portrait.—Châteaubriand.—Bernardin de Saint Pierre.—Shakspeare.—Sir Walter Scott.—French familiarity with English Authors.—Miss Mitford.—Miss Landon.—Parisian passion for Novelty.—Extent of general Information.
We were last night at a small party where there was neither dancing, music, cards, nor—(wonderful to say!) politics to amuse or occupy us: nevertheless, it was one of the most agreeablesoiréesat which I have been present in Paris. The conversation was completely on literary subjects, but totally without the pretension of a literary society. In fact, it was purely the effect of accident; and it was just as likely that we might have passed the evening in talking of pictures, or music, or rocks and rivers, as of books. But Fate decreed that so it should be; and the consequence was, that we had the pleasure of hearing three Frenchmen and two Frenchwomen talk for three hours of the literature of their country. I do not mean to assert that no other person spoke—but the frais de la conversation were certainly furnished by the five natives.
One of the gentlemen, and that too the oldest man in company, was more tolerant towards the present race of French novel-writers than any person of his age and class that I have yet conversed with; but nevertheless, his approval went no farther than to declare that he thought the present mode of following human nature with a microscope into all the recesses to which passion, and even vice, could lead it, was calculated to make a better novelist than the fashion which preceded it, of looking at all things through a magnifying medium, and of straining and striving, in consequence, to make that appear great, which was by its nature essentially the reverse.
The Vicomte d'Arlincourt was the author he named to establish the truth of his proposition: he would not admit him to be an exaggeration of the school which has passed away, but only the perfection of it.
"I remember," said he, "to have seen at the Louvre, many years ago, a full-length portrait of this gentleman, which I thought at the time was as perfect a symbol of what is called in France le style romantique, as it was well possible to conceive. He was standing erect on the rocky point of a precipice, with eye inspired, and tablets in his hand: a foaming torrent rolled its tortured waters at his feet, whilst he, calm and sublime, looked not 'comme une jeune beauté qu'on arracheau sommeil,' but very like a young incroyable snatched from a fashionable salon to meditate upon the wild majesty of nature, with all the inspiring adjuncts of tempest, wildness, and solitude. He appeared dressed in an elegant black coat and waistcoat, black silk stockings, and dancing pumps. It would be lost labour," he continued, "should I attempt to give you a more just idea of his style of writing than the composition of this portrait conveys. It is in vain that M. le Vicomte places himself amidst rocks and cataracts—he is still M. le Vicomte; and his silk stockings and dancing pumps will remain visible, spite of all the froth and foam he labours to raise around him."
"It was not D'Arlincourt, however," said M. de C* * *, "who has either the honour or dishonour of having invented thisstyle romantique—but a much greater man: it was Châteaubriand who first broke through all that was left of classic restraint, and permitted his imagination to run wild among everything in heaven and earth."
"You cannot, however, accuse him of running this wild race with his imagination en habit bourgeois," said the third gentleman: "his style is extravagant, but never ludicrous; Châteaubriand really has, what D'Arlincourt affected to have, a poetical and abounding fancy, and a fecundityof imagery which has often betrayed him into bad taste from its very richness; but there is nothing strained, forced, and unnatural in his eloquence,—for eloquence it is, though a soberer imagination and a severer judgment might have kept it within more reasonable bounds. After all that can be said against his taste, Châteaubriand is a great man, and his name will live among the literati of France; but God forbid that any true prophet should predict the same of his imitators!"
"And God forbid that any true prophet should predict the same of the school that has succeeded them!" said Madame V* * *—a delightful old woman, who wears her own grey hair, and does not waltz. "I have sometimes laughed and sometimes yawned over the productions of theécole D'Arlincourt," she added; "but I invariably turn with disgust and indignation from those of the domestic style which has succeeded to it."
"Invariably?" ... said the old gentleman interrogatively.
"Yes, invariably; because, if I see any symptom of talent, I lament it, and feel alarmed for the possible mischief which may ensue. I can never wish to see high mental power, which is the last and best gift of Heaven, perverted so shamelessly."
"Come, come, dear lady," replied the advocateof what Goethe impressively calls 'la littérature du désespoir,' you must not overthrow the whole fabric because some portion of it is faulty. The object of our tale-writers at present is, beyond all doubt, to paint men as they are: if they succeed, their labours cannot fail of being interesting—and I should think they might be very useful too."
"Fadaise que tout cela!" exclaimed the old lady eagerly. "Before men can paint human nature profitably, they must see it as it really is, my good friend—and not as it appears to these misérables in their baraques and greniers. We have nothing to do with such scenes as they paint; and they have nothing to do (God help them!) with literary labours. Have you got Bernardin de Saint Pierre, ma chère?" said she, addressing the lady of the house. The little volume was immediately handed to her from a chiffonnière that stood behind us. "Now this," she continued, having found the passage she sought,—"this is what I conceive to be the legitimate object of literature;" and she read aloud the following passage:—
"Les lettres sont un secours du Ciel. Ce sont des rayons de cette sagesse qui gouverne l'univers, que l'homme, inspiré par un art céleste, a appris à fixer sur la terre.... Elles calment les passions; elles répriment les vices; elles excitent les vertus par les exemples augustes des gens de bien qu'ellescélèbrent, et dont elles nous présentent les images toujours honorées."
"Eh bien! a-t-il raison, ce Bernardin?" said she, laying aside her spectacles and looking round upon us. Every one admired the passage. "Is this the use your French romancers make of letters?" she continued, looking triumphantly at their advocate.
"Not exactly," he replied, laughing,—"or at least not always: but I could show you passages in Michel Raymond...."
"Bah!" exclaimed the old lady, interrupting him; "I will have nothing to do with his passages. I think it is Chamfort who says, that "un sot qui a un moment d'esprit, étonne et scandalise comme des chevaux de fiacre au galop." I don't like such unexpected jerks of sublimity—they startle more than they please me."
The conversation then rambled on to Shakspeare, and to the mischief—such was the word—to the mischief his example, and the passionate admiration expressed for his writings, had done to the classic purity of French literature. This phrase, however, was not only cavilled at, but in true French style was laughed to death by the rest of the party. The word "classic" was declared too rococo for use, and Shakspeare loudly proclaimed to be only defective as a model because too mighty to imitate.
I have, however, some faint misgivings as to the perfect sincerity of this verdict,—and this chiefly because there was but one Frenchman present who affected to know anything about him excepting through the medium of translation. Now, notwithstanding that the talent shown by M. Ducis in the translation of some passages is very considerable, we all know that Shakspeare may be very nearly as fairly judged from the Italian "Otello" as the "French Hamlet." The party were however quite sincere, I am sure, in the feeling they expressed of reverence for the unequalled bard, founded upon the rank he held in the estimation of his countrymen; this being, as the clear-headed old lady observed, the only sure criterion, for foreigners, of the station which he ought to hold among the poets of the earth.
Then followed some keen enough observations—applicable to any one but Shakspeare—of the danger there might be, that in mixing tragedy and comedy together, farce might unfortunately be the result; or, if the "fusion," as it has been called, of tragedy and comedy into one were very skilfully performed, the sublime and prodigious monster called melodrame might be hoped for, as the happiest product that could be expected.
It being thus civilly settled that our Shakspeare might be as wild as he chose, but that it would beadvisable for other people to take care how they attempted to follow him, the party next fell into a review, more individual and particular than I was well able to follow, or than I can now repeat, of many writers of verses and of novels that, I was fain to confess, I had never heard of before. One or two of the novel-writers were declared to be very successful imitators of the style and manner of Sir Walter Scott: and when this was stated, I was, to say the truth, by no means sorry to plead total and entire ignorance of their name and productions; for, having, as I fear, manifested a little national warmth on the subject of Shakspeare, I should have been sorry to start off in another tirade concerning Sir Walter Scott, which I might have found it difficult to avoid, had I known exactly what it was which they ventured to compare to him.
I do not quite understand how it happens that the Parisians are so much better acquainted with the generality of our light literature, than we are with the generality of theirs. This is the more unaccountable, from the fact so universally known, that for one French person who reads English, there are at least ten English who read French. It is, however, impossible to deny that such is the fact. I am sure I have heard the names of two or three dozen authors, since I have been here, of whose existence, or of that of their works, neitherI, nor any of my literary friends, I believe, have had the least knowledge; and yet we have considered ourselves quiteau courant du jourin such matters, having never missed any opportunity of reading every French book that came in our way, and moreover of sedulously consulting the Foreign Quarterly. In canvassing this difference between us, one of the party suggested that it might perhaps arise from the fact that no work which was popular in England ever escaped being reprinted on the Continent,—that is to say, either at Paris or Brussels. Though this is done solely as a sort of piratical speculation, for the purpose of inducing all the travelling English to purchase new books for four francs here, instead of giving thirty shillings for them at home, it is nevertheless a natural consequence of this manœuvre, that the names of English books are familiarly known here even before they have been translated.
Many of our lady authors have the honour apparently of being almost as well known at Paris as at home. I had the pleasure of hearing Miss Mitford spoken of with enthusiasm; and one lady told me, that, judging her from her works, she would rather become acquainted with her than with any author living.
Miss Landon is also well known and muchadmired. Madame Tastu told me she had translated many of her compositions, and thought very highly of them. In short, English literature and English literati are at present very hospitably treated in France.
I was last night asked innumerable questions about many books, and many people, whoserenomméeI was surprised to find had crossed the Channel; and having communicated pretty nearly all the information I possessed upon the subject, I began to question in my turn, and heard abundance of anecdotes and criticisms, many of them given with all the sparkling keenness of French satire.
Many of les petits ridicules that we are accustomed to hear quizzed at home seem to exist in the same manner, and spite of the same light chastisement, here. The manner, for example, of making a very little wit and wisdom go a great way, by means of short lines and long stops, does not appear to be in any degree peculiar to our island. As a specimen of this, a quotation from a new romance by Madame Girardin (ci-devant Mademoiselle Delphine Gay) was shown me in a newspaper. I will copy it for you as it was printed, and I think you will allow that our neighbours at least equal us in this ingenious department of literary composition.
"Pensez-vous Qu'Arthur voulût revoir Madllede Sommery?"
"Non: Au lieu de l'aimer,Il la détestait!"
"Oui, Il la détestait!"
I think our passion for novelty is pretty strong; but if the information which I received last night respecting the same imperious besoin here was not exaggerated by the playful spirit of the party who were amusing themselves by describing its influence, we are patient and tame in our endurance of old "by-gones," in comparison to the Parisians. They have, indeed, a saying which in few words paints this craving for novelty, as strongly as I could do, did I torment my memory to repeat to you every word said by my lively friends last night:
"Il nous faut du nouveau, n'en fût-il plus au monde."
It is delightful to us to get hold of a new book or a new song—a new preacher or a new fiddler: it is delightful to us, but to the Parisians it is indispensable. To meet in society and have nothing new for thecausette, would be worse than remaining at home.
"This fond desire, this longing after" fresh materials for the tongue to work upon, is at leastas old as the days of Molière. It was this which made Madelon address herself with such energy to Mascarille, assuring him that she should be "obligée de la dernière obligation" if he would but report to her daily "les choses qu'il faut savoir de nécessité, et qui sont de l'essence d'un bel esprit;" for, as she truly observes, "C'est là ce qui vous fait valoir dans les compagnies, et si l'on ignore ces choses, je ne donnerais pas un clou de tout l'esprit qu'on peut avoir;"—while her cousin Cathos gives her testimony to the same truth by this impressive declaration: "Pour moi, j'aurais toutes les hontes du monde s'il fallait qu'on vînt à me demander si j'aurais vu quelque chose de nouveau que je n'aurais pas vu."
I know not how it is that people who appear to pass so few hours of every day out of sight contrive to know so well everything that has been written and everything that has been done in all parts of the world. No one ever appears ignorant on any subject. Is this tact? Or is it knowledge,—real, genuine, substantial information respecting all things? I suspect that it is not wholly either the one or the other; and that many circumstances contribute both to the general diffusion of information, as well as to the rapid manner of receiving and the brilliant style of displaying it.
This at least is certain, that whatever they do know is made the very most of; and though somemay suspect that so great display of general information indicates rather extent than depth of knowledge, none, I think, can refuse to acknowledge that the manner in which a Frenchman communicates what he has acquired is particularly amiable, graceful, and unpedantic.