Kitabı oku: «Old and New Paris: Its History, Its People, and Its Places, v. 2»
CHAPTER I.
STREET CHARACTERS
The Cocher – The Bus-driver – The Private Coachman – The Hackney Coachman – The Public Writer – The Flower-girl – The Oyster-woman
A PARISIAN who is not rich enough to keep a distinguished chef of his own will occasionally order a dainty dinner to be forwarded to him from some hotel or restaurant; and in these cases the repast, as soon as it is ready, is sometimes put into a hackney cab and driven to the house of the consignee by the cocher, who is not unaccustomed to find this “fare” more remunerative than the fare he habitually conveys.
A glance at the cocher, as another of the Parisian types of character, may here be not inopportune. As a matter of fact, however, the cocher is not one type but several. The name applies to the driver of the omnibus, of the fiacre, and of the private carriage. As to the omnibus driver, he is more amiable, more easy-going, less sarcastic than his counterpart in London. Nobody would ever hear an omnibus driver in Paris say, as one has been heard to say in London, when a lady passenger requested to be put down at 339½ – Street, “Certainly, madam, and would you like me to drive upstairs?” Nor is the Paris cabman so extortionate as his London brother; for the fare-regulations, by which there is one fixed charge for the conveyance of a passenger any distance within a certain radius, precludes the inevitable dispute which awaits the lady or gentleman who in our metropolis dares to take a four-wheeler or a hansom.
Already in the sixteenth century hackney carriages were driven in the streets of Paris; and any differences arising between the cocher and his passenger were at this period referred to the lieutenant of the police. The private coachmen, attached to the service of the nobility, found their position a somewhat perilous one in an age when quarrels were so frequent on the question of social precedence. If two aristocratic carriages met in some narrow street, barring each other’s way, the footmen would get down and fight for a passage. Serious wounds were sometimes inflicted, and even the master would now and then step out of his vehicle and, with drawn sword, join in the affray. The coachman, meanwhile, prouder in livery than his master in braided coat, remained motionless on his box in spite of the blows which were being dealt around. It is related that when on one occasion a party of highwaymen attacked the carriage of Benserade, poet, wit, and dramatic author, his coachman sat calmly at his post, and amused himself with whistling whilst his master was being stripped of everything. From time to time he turned towards the robbers and said, “Gentlemen, shall you soon have finished, and can I continue my journey?”
The private coachman varied in those days, as he has always done, according to the position of the master or mistress whom he served; and Mercier, writing at a later period, indicates a sufficient variety of cochers of this class. “You can clearly distinguish the coachman of a courtesan,” he says, “from that of a president; the coachman of a duke from that of a financier; but, at the exit from the theatre, would you like to know where such and such a vehicle is going? Listen to the order which the master gives to the lackey, or rather which the latter transmits to the coachman. In the Marais they say ‘Au logis’; in the Isle of St Louis ‘À la maison’; in the Faubourg Saint-Germain ‘À l’hôtel’; and in the Faubourg Saint-Honoré ‘Allez!’ With the grandeur of this last word no one can fail to be impressed. At the theatre door stands a thundering personage with a voice like Stentor, who cries: ‘The carriage of Monsieur le Marquis!’ ‘The carriage of Madame la Comtesse!’ ‘The carriage of M. le Président!’ His terrible voice resounds to the very interior of the taverns where the lackeys are drinking, and of the billiard rooms where the coachmen are quarrelling and disputing. This voice quite drowns the confused sounds of men and horses. Lackeys and coachmen at this re-echoing signal abandon their pint-pots and their cues, and rush out to resume the reins and open the doors.”
The profession of the hackney coachman has always been and still is subjected to a special legislation. In Paris anyone exercising it must be at least eighteen years of age; carry upon him the official documents in virtue of which he wields his whip; present to his fare the card which indicates the number and tariff of the vehicle, and which the passenger must retain in view of possible disputes; show politeness to the public; receive his fare in advance when he is driving to theatres, halls, or fêtes where there is likely to be a crush of vehicles; never carry more than his legal number of passengers, and not smoke on duty. When travelling he must take the right side of the road, avoid intercepting funeral processions and bodies of troops, go at walking pace through the markets and in certain other specified places; and, from nightfall, light up his vehicle with a couple of lamps. The lamps used for the cabs of the Imperial Company are blue, yellow, red, or green. These different colours are intended to induce passengers leaving the theatre at night to take, by preference, those vehicles which belong to the quarter in which they live; blue indicating the regions of Popincourt and Belleville; yellow those of Poissonière-Montmartre; red those of the Champs Élysées, Passy, and Batignolles; and green those of the Invalides and the Observatory. Besides the penalties pronounced by the penal code for causing death or personal injury through careless driving, minor infractions of the regulations are punished, by the prefect of police, with suspension of licence or, in certain cases, final withdrawal. The proprietors and masters are responsible for any offences committed by the coachmen, and for any loss or injury to luggage or other goods confided to their vehicles for transport.
The law which prescribes to Paris cabmen one uniform fare for journeys of no matter what length within a certain radius would at first appear to be very much to the advantage of the public, who are thus protected from extortion. It has a great drawback, all the same. In London a cabman is always delighted to see a gentleman step into his vehicle, even though the welcome he evinces be rather that of the spider to the fly. He unhesitatingly drives him to his destination, and the gentleman, even though he is fleeced at the end of the journey, at least gets where he wished to go. But the Paris cabman is fastidious. If the destination mentioned by the intending passenger does not exactly suit him, he is prone to shake his head, ply his whip, and drive away with an empty vehicle.
The alacrity and enthusiasm of the London cabman are due to the fact that when he has his passenger safely inside the hansom or “growler” his soul is animated by the hope of obtaining a fare indefinitely in excess of the legal tariff. The uniformity of fares in Paris deprives the cabman of any enthusiastic interest in his work, as it likewise strips him of some of the curious and amusing characteristics which he might otherwise exhibit.
In our own metropolis a famous millionaire, having ridden one day in a cab for the distance of a mile and a half, tendered the driver a shilling in payment of his fare. The driver stared at the coin in the palm of his hand and then proceeded to remonstrate. “Both your sons, sir,” he said, “whenever they ride in my hansom, pay me at least half-a-crown.” “I dare say they do,” replied the millionaire, “for they have an old fool of a father to back them up.” In Paris, where this millionaire had a brother as rich as himself, such an incident would have been impossible.
Another figure of the Paris streets is, or rather until some twenty-five years ago was, the Public Writer; not the contributor to an important daily paper, but an unhappy scribe whose task it was to put into epistolary form such matter as was entrusted to him for the purpose by illiterate cabmen, workmen, and servant girls. The little booths with desks in front where he exercised his strange profession have disappeared as Paris has been demolished and rebuilt. The spread of education among the lower classes was really his death-blow.
The public writer was usually an old man, sometimes one of erudition, who had been reduced by severe reverses or persistent misery to a very low position. He wrote a beautiful hand, and could on occasion compose a poem. He could execute a piece of penmanship in so many different handwritings (seventeen or eighteen), and his flourishes and ornamentations were so magnificent, that he would never have prostituted his pen to the service of shopgirls and domestics had not starvation stared him in the face. Moreover, the cultivation of an acquaintanceship with the Muses solaced him, and caused him to forget the day of his greatness when, holding the diploma of a “master-writer,” he inscribed the Ten Commandments or executed a dedication to the king on a bit of vellum smaller than a crown piece. He could dash off verses at a moment’s notice, and had always in reserve a varied assortment of festive songs, wedding-lines, epitaphs, and simple and double acrostics, to serve whatever occasion might arise.
Above the Public Writer’s door, which he threw open every morning to his clients, this legend was inscribed: – “The Tomb of Secrets.” The passer-by thus learned that there – in the words of a French chronicler – “behind those four coarsely-whitened windows of the entrance door, was an ear and a hand which held the key of human infirmities; that there, smiling and serviceable, Discretion resided in flesh and blood. Curious to see everything, you approached; a few specimens of petitions to the Chief of the State, drawn up on official paper and sealed with wafers, gave you a foretaste of the master’s dexterity. Moreover you could read, in a position well exposed to view, some piece of poetic inscription, deficient in neither rhyme nor even reason, and cleverly calculated to allure you forthwith. The running hand, the round hand, the English hand, and the Gothic hand alternated freely in the ingenious composition, not to mention the flourishings with which the lines ended, the page encased in ornamented spirals, the capitals complicated with arabesques, and so forth. One day we read one of the writings peculiar to this profession, and copied it with a haste which we do not regret to-day when the booth where we saw it has been removed. This booth, a mere plank box, three feet square, whence issued during forty years an incalculable number of letters, petitions, and other documents, was situated in the quarter of Saint-Victor, at the foot of the Rue des Fossés, Saint-Bernard. Its occupant was a man named Étienne Larroque, an old bailiff whom misfortune had reduced to this poor trade. Nearly eighty years of age, this Nestor of public writers was known to everybody.”
To the pedestrian his signboard proclaimed the particulars of his profession in a piece of poetry which might at all events have been much worse, and of which the metre was marred only by one fault – a certain line with a foot too much. Dressed in a frock coat maltreated by years, the writer, continues the before-mentioned chronicler, sat in his office, with his spectacles on his nose, and all his pens cut before him. He placed himself eagerly at the service of anyone who crossed the threshold. Sometimes the strangest revelations were confided to him. Installed in his cane arm-chair, furnished with a cushion which he had sat upon till it was crushed to a pancake, he lent a grave ear to the pretty little rosy mouths that came to tell him everything, as though he were a confessor or a physician, and took up his pen to write for them their letters of love or complaint. More than one unhappy girl came to him to sigh and weep and to accuse the monster who had sworn to wed her; more than one fireman came to confess to him the flame which was burning in his breast; more than one soldier to request him to pen a challenge.
As the depository of secrets innumerable, the Public Writer was a most important personage; or would have been had he been able to take full literary advantage of the confidences entrusted to him. Richardson’s knowledge of the female heart is said to have been due to the good faith with which he inspired a number of young ladies, who thereupon gave him, unconsciously, material for such characters as Pamela and Clarissa Harlowe. They consulted him now and then about their love letters. But the Public Writer had love letters, letters of reproach, letters of explanation, letters of farewell, to write every day, and by the dozen. It is not recorded, however, that any Public Writer was sufficiently inspired, or sufficiently interested in his habitual work to turn the dramatic materials which must often have come beneath him into novels or plays.
The personage known as the Public Writer was at least a more useful institution than the book entitled “The Complete Letter-Writer,” the function of which is to supply correspondence in regard to every possible incident in life. The Public Writer was, if up to his work, capable of suiting his language to peculiar cases, whereas the Complete Letter-Writer was an oracle whose utterances came forth hard and fast, in such a way that the ignorant devotees could not change them. Thus the illiterate persons who could not read at all had a clear advantage over those whose education enabled them to read the Complete Letter-Writer, but not to apply it. In an excellent farce by M. Varin, one of the best comic dramatists of the French stage, an amusing equivoque– or quiproquo as the French say – is caused by an ignorant young man in some house of business addressing a love letter to the dark-haired daughter of his employer, which expresses admiration for locks of gold such as belong in profusion, not to the girl, but to her buxom mother. When the husband’s jealousy is excited and a variety of comic incidents have resulted therefrom, it appears that the unlettered and moreover foolish young clerk has copied his epistle out of a letter-book, and, thinking apparently that one love letter would do as well as another, has addressed to a girl with dark hair a declaration intended by the author of the Complete Letter-Writer for a woman who is beautifully blonde. No such mistake as this could have occurred had the amorous young clerk told his case to a Public Writer, and ordered an appropriate letter for the occasion.
Another interesting type of street character in Paris is the bouquetière or flower-girl. She is more enterprising and engaging than her counterpart in London. She will approach a gentleman who happens to be walking past and stick a flower in his button-hole, leaving it to his own sense of chivalry whether he pays her anything or not. Nor does the device infrequently produce a piece of silver. There is generally one flower-girl in Paris who poses as a celebrity – either on account of her beauty or of other qualities of a more indefinable character. Fashionable Parisians resort to her stall and pay fantastic prices for whatever bloom she pins to their breast. The flower-girl of the Jockey Club, who used to attend the races and ply her trade in the enclosure of the grand stand, expected a louis as her ordinary fee.
The oyster-woman, too, is a highly important personage. Paris consumes three hundred million oysters a year, and the dispensing of these bivalves keeps the lady in question sufficiently active whilst the season lasts. At breakfast-time or dinner-time, with a white napkin thrust in her girdle, a knife in her hand, and a smile on her lips, she is to be seen stationed at the entrance to restaurants in anticipation of the waiter rushing out and shouting: “One dozen,” “Two dozen,” or “Ten dozen – open!” A police ordinance of September 25th, 1771, forbade oyster-women to exercise their trade between the last day of April and the 10th of September, under penalty of a fine of 200 francs and the confiscation of their stock. This ordinance was destined to fall into disuse; but inasmuch as the prohibited months are those in which oysters are at their worst, the écaillères of Paris do in fact to-day suspend their trade during May, June, July, and August – months which they devote to the sale of sugared barley-water and other cooling beverages.
In Paris a sempstress is supposed to be “gentille,” a lingère, or getter-up of linen, “aimable,” a flower-girl “pretty.” The oyster-woman, although not characterised by any one particular quality, is credited with a combination of qualities in a more or less modified degree. Without being in her first youth, she is young; without being in the bloom of beauty, she does not lack personal charm; and frequently she invests even the opening of oysters with a grace which may well excite admiration. La belle écaillère is indeed the name traditionally applied to her. With the origin of this name a tragic story is associated.
There was once a charmingly pretty oyster-girl named Louise Leroux, known as La belle écaillère. She had a lover named Montreuil, a fireman, who, in a moment of frantic jealousy, plunged his sword into her breast. This horrible crime at once rendered “the beautiful oyster-girl” famous, not only in Paris, but throughout Europe; and in due time the legend of her life and love took dramatic form, and found its way to the stage. The interest excited in her unhappy end was all the greater inasmuch as her murderer had eluded justice by flying to England, where, in London, he set up as a fencing master. The Gaieté Theatre achieved, in 1837, one of its greatest successes by putting on the boards, under the title of La Belle Écaillère, the tragic history of Louise Leroux.
Since then the name has been familiarly applied without discrimination to the female oyster-sellers of Paris, many of whom have well deserved it. But while bearing the name, they have abandoned the traditional fireman, as rather too dangerous a commodity. In lieu of firemen they have captivated notaries, financiers, and others in superior stations of life; whilst one is known to have turned the head of a state minister, who, even if he did not marry her, confessed the passion with which she inspired him by devouring thirty-two dozen of her oysters every morning before breakfast. The flame within him had first been excited by the siren’s ready wit. As he was entering a restaurant one day, a friend who accompanied him remarked: “To-day, my dear sir, more than ever, France dances on a volcano.” “What nonsense!” cried the écaillère; “she dances on a heap of oysters!” Next day the exclamation was reported in a Paris journal, which easily turned it to political account.
There was another oyster-girl who solved a question of lexicographic definition which had hopelessly baffled the Academicians. A new edition of the Dictionnaire de l’Académie was being prepared, and it became necessary to establish the distinction of meaning between the two expressions de suite and tout de suite. The forty Academicians were all at variance about it, and were about to tear their hair, when one of them, Népomucène Lemercier, exclaimed: “Let us go and dine at Ramponneau’s. That’s better than disputing. We can discuss the matter during dessert.” “Agreed,” replied another member – Nodier. The Academicians forthwith set out, and when they had arrived at their destination one of them, Parseval-Grandmaison, who ordered the dinner, said to the écaillère: “Open forty dozen oysters for us de suite, and serve them tout de suite.” “But, sir,” replied the oyster-woman, “if I open them de suite, I cannot serve them tout de suite.” The Academicians looked at each other in astonishment. The problem had been solved. They had now discovered that of the two expressions tout de suite indicated the greater celerity.
