Unconscious Comedians | Page 5

must manage the best they
can with my workmen, a hundred of 'em, who'll make them sing

another tune before they've done with them."
"Two years. Ha! that meddling prefect! he shall pay dear for this; I'll
have his life if I have to give mine on the scaffold--"
"Which state councillor presides over your section?"
"A former newspaper man,--doesn't pay ten sous in taxes,--his name is
Massol."
The two Parisians exchanged glances.
"Who is the commissioner who is making the report?"
"Ha! that's still more queer; he's Master of Petitions, professor of
something or other at the Sorbonne,--a fellow who writes things in
reviews, and for whom I have the profoundest contempt."
"Claude Vignon," said Bixiou.
"Yes, that's his name," replied Gazonal. "Massol and Vignon--there you
have Social Reason, in which there's no reason at all."
"There must be some way out of it," said Leon de Lora. "You see,
cousin, all things are possible in Paris for good as well as for evil, for
the just as well as the unjust. There's nothing that can't be done, undone,
and redone."
"The devil take me if I stay ten days more in this hole of a place, the
dullest in all France!"
The two cousins and Bixiou were at this moment walking from one end
to the other of that sheet of asphalt on which, between the hours of one
and three, it is difficult to avoid seeing some of the personages in honor
of whom Fame puts one or the other of her trumpets to her lips.
Formerly that locality was the Place Royale; next it was the Pont Neuf;
in these days this privilege had been acquired by the Boulevard des
Italiens.

"Paris," said the painter to his cousin, "is an instrument on which we
must know how to play; if we stand here ten minutes I'll give you your
first lesson. There, look!" he said, raising his cane and pointing to a
couple who were just then coming out from the Passage de l'Opera.
"Goodness! who's that?" asked Gazonal.
THAT was an old woman, in a bonnet which had spent six months in a
show-case, a very pretentious gown and a faded tartan shawl, whose
face had been buried twenty years of her life in a damp lodge, and
whose swollen hand-bag betokened no better social position than that
of an ex-portress. With her was a slim little girl, whose eyes, fringed
with black lashes, had lost their innocence and showed great weariness;
her face, of a pretty shape, was fresh and her hair abundant, her
forehead charming but audacious, her bust thin,--in other words, an
unripe fruit.
"That," replied Bixiou, "is a rat tied to its mother."
"A rat!--what's that?"
"That particular rat," said Leon, with a friendly nod to Mademoiselle
Ninette, "may perhaps win your suit for you."
Gazonal bounded; but Bixiou had held him by the arm ever since they
left the cafe, thinking perhaps that the flush on his face was rather
vivid.
"That rat, who is just leaving a rehearsal at the Opera-house, is going
home to eat a miserable dinner, and will return about three o'clock to
dress, if she dances in the ballet this evening--as she will, to-day being
Monday. This rat is already an old rat for she is thirteen years of age.
Two years from now that creature may be worth sixty thousand francs;
she will be all or nothing, a great danseuse or a marcheuse, a celebrated
person or a vulgar courtesan. She has worked hard since she was eight
years old. Such as you see her, she is worn out with fatigue; she
exhausted her body this morning in the dancing- class, she is just
leaving a rehearsal where the evolutions are as complicated as a

Chinese puzzle; and she'll go through them again to- night. The rat is
one of the primary elements of the Opera; she is to the leading danseuse
what a junior clerk is to a notary. The rat is-- hope."
"Who produces the rat?" asked Gazonal.
"Porters, paupers, actors, dancers," replied Bixiou. "Only the lowest
depths of poverty could force a child to subject her feet and joints to
positive torture, to keep herself virtuous out of mere speculation until
she is eighteen years of age, and to live with some horrible old crone
like a beautiful plant in a dressing of manure. You shall see now a
procession defiling before you, one after the other, of men of talent,
little and great, artists in seed or flower, who are raising to the glory of
France that every-day monument called the Opera, an assemblage of
forces, wills, and forms of genius, nowhere collected as in Paris.
"I have already seen the Opera," said Gazonal, with a self-sufficient air.
"Yes, from a three-francs-sixty-sous seat