Part 6

Lumbering slowly down the Boul' were ponderous carts piled high with vegetables, on their way to the great markets of Paris, the Halles Centrales. The drivers, half asleep on the top, were greeted with demands for transportation, and a lively bidding for passengers arose among them. They charged five sous a head, or as much more as they could get, and soon the carts were carrying as many passengers as could find a safe perch on the heaped vegetables.

"_Aux Halles! aux Halles! nous allons aux Halles! Oh, la, la, comme ils sont bons, les choux et les potirons!_" were the cries as the carts lumbered on toward the markets.

Mr. Pugson had positively refused to accept our resignation, and stoutly reminded us of our promise to see him through. So our party arranged with a masculine woman in a man's coat on payment of a franc a head, and we clambered upon her neatly piled load of carrots. Mr. Pugson, becoming impatient at the slow progress of the big Normandy horses, began to pelt them with carrots. The market-woman protested vigorously at this waste of her property, and told Mr. Pugson that she would charge him two sous apiece for each subsequent carrot. He seized upon the bargain with true American readiness, and then flung carrots to his heart's content, the driver meanwhile keeping count in a loud and menacing voice. It was a new source of fun for the irrepressible and endlessly jovial American.

Along the now quiet boulevard the carts trundled in a string. All at once there burst from them all an eruption of song and laughter, which brought out numerous gendarmes from the shadows. But when they saw the crowd they said nothing but "_Les étudiants_," and retreated to the shadows.

As we were crossing the Pont-au-Change, opposite the Place du Châtelet, with its graceful column touched by the shimmering lights of the Seine, and dominated by the towers of Notre-Dame, Mr. Pugson, in trying to hurl two carrots at once, incautiously released his hold upon the Dancing- Girl, which incontinently rolled off the vegetables and was shattered into a thousand fragments on the pavement of the bridge--along with Mr. Pugson's heart. After a moment of silent misery he started to throw the whole load of carrots into the river, but he quickly regained command of himself. For the first time, however, his wonderful spirits were dampened, and he was as moody and cross as a child, refusing to be comforted even by Madeleine's cooing voice.

The number of carts that we now encountered converging from many quarters warned us that we were very near the markets. Then rose the subdued noise that night-workers make. There seemed to be no end of the laden carts. The great Halles then came into view, with their cold glare of electric lights, and thousands of people moving about with baskets upon their backs, unloading the vegetable carts and piling the contents along the streets. The thoroughfares were literally walled and fortressed with carrots, cabbages, pumpkins, and the like, piled in neat rows as high as our heads for square after square. Is it possible for Paris to consume all of this in a day?

Every few yards were fat women seated before steaming cans of hot potage and _café_ noir, with rows of generous white bowls, which they would fill for a sou.

Not alone were the market workers here, for it seemed as though the Boul' Mich' had merely taken an adjournment after the law had closed its portals and turned it out of doors. The workers were silent and busy, but largely interspersed among them were the demi-mondaines and the singing and dancing students of the Quartier, all as full of life and deviltry as ever. It was with these tireless revellers that the soup- and coffee-women did their most thriving business, for fun brings a good appetite, and the soup and coffee were good; but better still was this unconventional, lawless, defiant way of taking them. Mr. Pugson's spirits regained their vivacity under the spell, and he was so enthusiastic that he wanted to buy out one of the pleasant-faced fat women; we had to drag him bodily away to avert the catastrophe.

In the side streets leading away from the markets are _café_s and restaurants almost without number, and they are open toute la nuit, to accommodate the market people, having a special permit to do so; but as they are open to all, the revellers from all parts of Paris assemble there after they have been turned out of the boulevard _café_s at two o'clock. It is not an uncommon thing early of a Sunday morning to see crowds of merry-makers from a bal masqué finishing the night here, all in costume, dancing and playing ring-around-a-rosy among the stacks of vegetables and the unheeding market people. Indeed, it is quite a common thing to end one's night's frivolity at the Halles and their _café_s, and take the first 'buses home in the early morning.

The contingent from the Boul' Mich', after assisting the market people to unload, and indulging in all sorts of pranks, invaded the élite _café_s, among them the _Café Barrette, Au Veau Qui Tête, Au Chien Qui Fume, and Le Caveau du Cercle._

At this last-named place, singing and recitations with music were in order, a small platform at one end of the room being reserved for the piano and the performers. Part of the audience were in masquerade costume, having come from a ball at Montmartre, and they lustily joined the choruses. Prices are gilt-edged here,--a franc a drink, and not less than ten sous to the garçon.

The contrast between the fluffy and silk-gowned demi-mondaines and the dirty, roughly clad market people was very striking at the Café Barrette. There the women sit in graceful poses, or saunter about and give evidence of their style, silk gowns, India laces, and handsome furs, greeting each new-comer with pleas for a sandwich or a bock; they are always hungry and thirsty, but they get a commission on all sales that they promote. A small string orchestra gave lively music, and took up collections between performances. The array of gilt-framed mirrors heightened the brilliancy of the place, already sufficiently aglow with many electric lights. The Café Barrette is the last stand of the gaudy women of the boulevards. With the first gray gleam of dawn they pass with the night to which they belong.

It was with sincere feeling that Mr. Pugson bade us good-by at five o'clock that morning as he jumped into a cab to join his good spouse at the Hôtel Continental; but he bore triumphantly with him some sketches of the showy women at the Café Barrette, which Bishop had made.

As for Madeleine, so tremendously liberal had she found Mr. Pugson that her protestations of affection for him were voluble and earnest. She pressed her card upon him and made him swear that he would find her again. After we had bidden her good-night, Mr. Pugson drew the card from his pocket, and thoughtfully remarked, as he tore it to pieces,--"I don't think it is prudent to carry such things in your pocket."

[0152]

BOHEMIAN CAFÉS

VERY often, instead of having dinner at the studio, we saunter over to the Maison Dar-blay, passing the wall of the dismal Cimetière du Montparnasse on the way. The Maison Darblay is in the little Rue de la Gaieté, which, though only a block in length, is undoubtedly the liveliest thoroughfare in the Quartier. That is because it serves as a funnel between the Avenue du Maine and five streets that converge into it at the upper end. Particularly in the early evening the little street is crowded with people returning from their work. All sorts of boutiques are packed into this minute thoroughfare,---jewelry-shops, pork-shops, kitchens (where they cook what you bring while you wait on the sidewalk), theatres, _cafés chantants_, fried-potato stalls, snail merchants, moving vegetable- and fruit-markets, and everything else.

In the middle of the block, on the western side, between a millinery- shop and a butcher-shop, stands the Maison Darblay, famous for its beans and its patrons. A modest white front, curtained windows, and a row of milk-cans give little hint of the charms of the interior. Upon entering we encounter the vast M. Darblay seated behind a tiny counter, upon which are heaped a pile of freshly ironed napkins, parcels of chocolate, a big dish of apple-sauce, rows of bottles containing bitters that work miracles with ailing appetites, and the tip-box. Reflecting M. Darblay's beamy back and the clock on the opposite wall (which is always fifteen minutes fast) hangs a long mirror resplendent in heavy gilt frame; it is the pride of the establishment, and affords comfort to the actresses when they adjust their hats and veils upon leaving.

M. Darblay is manager of the establishment, and when it is reflected that he weighs two hundred and sixty pounds, it may be imagined what accurate adjustments he has to make in fitting himself behind the small counter. When a boarder finishes his meal he goes to M. Darblay and tells him what he has had, including napkin and bread, and M. Darblay scores it all down on a slate with chalk and foots it up. After the bill is paid, the tip-box is supposed by a current fiction to receive two sous for Marie and Augustine, the buxom Breton maidens who serve the tables; but so rarely does the fiction materialize that, when the rattle of coins is heard in the box, the boarders all look up wonderingly to see the possible millionaire that has appeared among them, and Marie and Augustine shout at the top of their voices, "Merci bien, monsieur!"

At the opposite end of the room, in full view, is the cuisine, with its big range and ruddy fires. Here Madame Darblay reigns queen, her genial, motherly red face and bright eyes beaming a welcome to all. She is from Lausanne, on Lake Geneva, Switzerland, and the independent blood of her race rarely fails its offices when M. Darblay incautiously seeks to interfere with her duties and prerogatives, for he retreats under an appalling volley of French from his otherwise genial spouse; on such occasions he seeks his own corner as rapidly as he can manage his bulk to that purpose. She is a famous cook. The memory of her poulets rôtis and juicy gigots will last forever. But greatest of all are her haricots blancs, cooked au beurre; it is at the shrine of her beans that her devoted followers worship.

And her wonderful wisdom! She knows intuitively if you are out of sorts or have an uncertain appetite, and without a hint she will prepare a delicacy that no epicure could resist. She knows every little whim and peculiarity of her boarders, and caters to them accordingly. The steaks and chops are bought at the shop next door just when they are ordered, and are always fresh.

There are eight marble-top tables lining the two walls, and each table is held sacred to its proper occupants, and likewise are the numbered hooks and napkins. An invasion of these preserves is a breech of etiquette intolerable in Bohemia.

Even the white cat is an essential part of the establishment, for it purringly welcomes the patrons and chases out stray dogs.

Situated as it is, in a group of three theatres and several _café_s chantants, it is the rendezvous of the actors and actresses of the neighborhood. They hold the three tables but one from the kitchen, on one side, and they are a jolly crowd, the actresses particularly.

They are a part of the Quartier and echo its spirit. Although full of mischief and fun, the actresses would never be suspected of singing the naughty songs that so delight the gallery gods and so often wring a murmur of protest from the pit. There are ten who dine here, but from their incessant chatter and laughter you would think them twenty. On Friday evenings, when the songs and plays are changed, they rehearse their pieces at dinner.

Bishop is openly fond of Mademoiselle Brunerye, a sparkling little brunette singer, who scolds him tragically for drawing horrible caricatures of her when he sits before the footlights to hear her sing. But it is always she that begins the trouble at the theatre. If Bishop is there, she is sure to see him and to interpolate something in her song about "_mon amant Américain_," and sing it pointedly at him, to the amusement of the audience and his great discomfiture; and so he retorts with the caricatures.

Upon entering the restaurant the actresses remove their hats and wraps and make themselves perfectly at home. They are the life of Darblay's; we couldn't possibly spare them.

One of the actors is a great swell,--M. Fontaine, leading man at the Théâtre du Montparnasse, opposite.

His salary is a hundred francs a week; this makes the smaller actors look up to him, and enables him to wear a very long coat, besides gloves, patent-leather shoes, and a shiny top-hat. He occupies the place of honor, and Marie smiles when she serves him, and gives him a good measure of wine. He rewards this attention by depositing two sous in the tip-box every Friday night. Then there are M. Marius, M. Zecca, and M. Dufauj who make people scream with laughter at the Gaieté, and M. Coppée, the heavy villain of the terrible eyes in "Les Deux Gosses," and Mademoiselle Walzy, whose dark eyes sparkle mischief as she peeps over her glass, and Mademoiselle Minion, who kicks shockingly high to accentuate her songs, and eight other actresses just as saucy and pretty.

The students of the Quartier practically take charge of the theatres on Saturday nights, and as they are very free with their expressions of approval or disapproval, the faces of the stage-people wear an anxious look at the restaurant on that evening. The students will throw the whole theatre into an uproar with hisses that drive an actor off the stage, or applause, recalls, and the throwing of two-sous bouquets and kisses to an actress who has made a hit.

Promptly at six-forty-five every night the venerable M. Corneau enters Darblay's, bringing a copy of _Le Journal_. He is extremely methodical, so that any interruption of his established routine upsets him badly. One evening he found a stranger in his seat, occupying the identical chair that had been sacred to his use every evening for six years. M. Corneau was so astonished that he hung his hat on the wrong hook, stepped on the cat's tail, sulked in a corner, and refused to eat until his seat had been vacated, and then he looked as though he wished it could be fumigated. He has a very simple meal. One evening he invited me--a rare distinction--to his room, which was in the top floor of one of those quaint old buildings in the Rue du Moulin de Beurre. It could then be seen what a devoted scientist and student he was. His room was packed with books, chemicals, mineral specimens, and scientific instruments. He was very genial, and brewed excellent tea over an alcohol-stove of his own manufacture. Twenty years ago he was a professor at the Ecole des Mines, where he had served many years; but he had now grown too old for that, and was living his quiet, studious, laborious life on a meagre pension.

At one table sit a sculptor, an artist, and a blind musician and his wife. The sculptor is slender, delicate, and nervous, and is continually rolling and smoking cigarettes. His blond hair falls in ringlets over his collar, and he looks more the poet than the sculptor, for he is dreamy and distrait, and seems to be looking within himself rather than upon the world about him. Augustine serves him with an absinthe Pernod au sucre, which he slowly sips while he smokes several cigarettes before he is ready for his dinner.

The artist is his opposite,--a big, bluff, hearty fellow, loud of voice and full of life. And he is successful, for he has received a medal and several honorable mentions at the Salon des Champs-Élysées, and has a fine twilight effect in the Luxembourg Gallery. After dinner he and M. Darblay play piquet for the coffee, and M. Darblay is generally loser.

The blind musician is a kindly old man with a benevolent face and a jovial spirit. He is the head professor of music at the Institution des Aveugles, on the Boulevard des Invalides. His wife is very attentive to him, taking his hat and cane, tucking his napkin under his chin, placing the dishes where he knows how to find them, and reading the papers to him. He knows where everybody sits, and he addresses each by name, and passes many brisk sallies about the room.

One poet is vivacious, not at all like the dreamy species to which he belongs. True, he wears long hair and a Quartier Latin "plug," but his eyes are not vague, and he is immensely fond of Madame Darblay's beans, of which he has been known to stow away five platefuls at a meal. Often he brings in a copy of _Gil Bias_, containing a poem by himself in the middle of the page and with illustrations by Steinlen.

A strange, solitary figure used to sit in one corner, speaking to no one, and never ordering more than a bowl of chocolate and two sous of bread. It was known merely that he was an Hungarian and an artist, and from his patched and frayed clothes and meagre fare it was surmised that he was poor. But he had a wonderful face. Want was plainly stamped upon it, but behind it shone a determination and a hope that nothing could repress. There was not a soul among the boarders but that would have been glad to assist in easing whatever burden sat upon him, and no doubt it was his suspicion of that fact and his dread of its manifestation that made him hold absolutely aloof. Madame Darblay once or twice made efforts to get nearer to him, but he gently and firmly repulsed her. He was a pitiable figure, but his pride was invincible, and with eyes looking straight forward, he held up his head and walked like a king. He came and went as a shadow.

None knew where he had a room. There were many stories and conjectures about him, but he wrapped his mantle of mystery and solitude about him and was wholly inaccessible. It was clear to see that he lived in another world,--a world of hopes, filled with bright images of peace and renown. After a time his seat became vacant, and I shall presently tell how it happened.

These will suffice as types of the Maison Darblay, though I might mention old M. Decamp, eighty-four years of age, and as hearty and jovial a man as one would care to see. In his younger days he had been an actor, having had a fame during the Empire of Napoléon III. And there were a professor of languages, who gave lessons at fifteen sous an hour, a journalist of the _Figaro_, and two pretty milliner girls from the shop next door.

The great event at the Maison Darblay came not long ago, when M. Darblay's two charming daughters had a double wedding, each with a comfortable dot, for M. Darblay had grown quite rich out of his restaurant, owning several new houses. The girls were married twice,--once at the Mairie on the Rue Gassendi, and again at the Eglise St. Pierre, on the Avenue du Maine. Then came the great wedding-dinner at the Maison Darblay, to which all the boarders were invited. The tables were all connected, so as to make two long rows. The bridal-party were seated at the end next the kitchen, and the front door was locked to exclude strangers. M. Darblay was elegant in a new dress suit and white shirt, but his tailor, in trying to give him a trim figure, made the situation embarrassing, as M. Darblay's girth steadily increased during the progress of the banquet. He made a very fine speech, which was uproariously cheered.

Madame Darblay was remarkably handsome in a red satin gown, and bore so distinguished an air, and looked so transformed from her usual kitchen appearance, that we could only marvel and admire. Then came the kissing of the brides, a duty that was performed most heartily. Madame Darblay was very happy and proud, and her dinner was a triumph to have lived for.

Bishop sat opposite the wicked Mademoiselle Brunerye, and he and she made violent love, and behaved with conspicuous lack of dignity. M. Fontaine, the great, had one of the chic milliners for partner. Old M. Decamp told some racy stories of the old régime. When the coffee and liqueurs came on, the big artist brought out a guitar and the poet a mandolin, and we had music. Then the poet read a poem that he had written for the occasion. The actresses sang their sprightliest songs. Mademoiselle Brunerye sang "_Ça fait toujours plaisir_" to Bishop. M. Fontaine gave in a dramatic manner a scene from "_Les Deux Gosses_," the heavy villain assisting, the cook's aprons and towels serving to make the costumes. Bishop sang "Down on the Farm." In short, it was a splendid evening in Bohemia, of a kind that Bohemians enjoy and know how to make the most of.

There was one silent guest, the strange young Hungarian artist. He ate with a ravenous appetite, openly and unashamed. After he had had his fill (and Madame Darblay saw to it that he found his plate always replenished), he smiled occasionally at the bright sallies of the other guests, but for the most part he sat constrained, and would speak only when addressed,--he protested that his French was too imperfect. It was so evident that he wished to escape notice entirely that no serious effort was made to draw him out.

That was a hard winter. A few weeks after the wedding the Hungarian's visits to the Maison Dar-blay suddenly ceased. The haunted look had been deepening in his eyes, his gaunt cheeks had grown thinner, and he looked like a hunted man. After his disappearance the gendarmes came to the restaurant to make inquiries about him. Bishop and I were present. They wanted to know if the young man had any friends there. We told them that we would be his friends.

"Then you will take charge of his body?" they asked.

We followed them to the Rue Perceval, where they turned us over to the concierge of an old building. She was very glad we had come, as the lad seemed not to have had a friend in the world. She led us up to the sixth floor, and then pointed to a ladder leading up to the roof. We ascended it, and found a box built on the roof. It gave a splendid view of Paris. The door of the box was closed. We opened it, and the young artist lay before us dead. There were two articles of furniture in the room. One was the bare mattress on the floor, upon which he lay, and the other was an old dresser, from which some of the drawers were missing. The young man lay drawn up, fully dressed, his coat-collar turned up about his ears. Thus he had fallen asleep, and thus hunger and cold had slain him as he slept. There was one thing else in the room, all besides, including the stove and the bed-covering, having gone for the purchase of painting material. It was an unfinished oil-painting of the Crucifixion. Had he lived to finish it, I am sure it would have made him famous, if for nothing else than the wonderful expression of agony in the Saviour's face, an agony infinitely worse than the physical pain of the crucifixion could have produced.

There was still one thing more,--a white rat that was, hunting industriously for food, nibbling desiccated cheese-rinds that it found on the shelves against the wall. It had been the artist's one friend and companion in life.

And all that, too, is a part of life in Bohemian Paris.