Part 7

On the Rue Marie, not far from the Gare Montparnasse, is the "Club," a small and artistically dirty wine-shop and restaurant, patronized by a select crowd of musketeers of the brush. The warm, dark tones of the anciently papered walls are hidden beneath a cloud of oil sketches, charcoal drawings, and caricatures of everything and everybody that the fancies of the Bohemians could devise. Madame Annaie is mistress of the establishment, and her cook, M. Annaie, wears his cap rakishly on one side, and attends to his business; and he makes very good potages and rôtis, considering the small prices that are charged. Yet even the prices, though the main attraction, are paid with difficulty by a majority of the habitués, who sometimes fall months in arrears. Madame Annaie keeps a big book of accounts.

Of the members of the club, four are Americans, two Spaniards, one an Italian, one a Welshman, one a Pole, one a Turk, one a Swiss, and the rest French,--just fifteen in all, and all sculptors and painters except one of the Americans, who is correspondent of a New York paper. At seven o'clock every evening the roll is called by the Pole, who acts as president, secretary, and treasurer of the club. A fine of two sous is imposed for every absence; this goes to the "smoker" fund. Joanskouie, the multiple officer, has not many burdensome duties, but even these few are a severe tax upon his highly nervous temperament. Besides collecting the fines he must gather up also the dues, which are a franc a month. All the members are black-listed, including the president himself, and the names of the delinquents are posted on the wall.

The marble-top tables are black with pencil sketches done at the expense of Giles, the Welshman, who is the butt of the club. He is a very tall and amazingly lean Welshman, with a bewhiskered face, a hooked nose, and a frightful accent when he speaks either English or French. He is an animal sculptor, but leaves his art carefully alone. He is very clever at drawing horses, dogs, and funny cows all over the walls; but he is so droll and stupid, so incredibly stupid, that "Giles" is the byword of the club. Every month he receives a remittance of two hundred and fifty francs, and immediately starts out to get the full worth of it in the kinds of enjoyment that he finds on the Boul' Mich', where regularly once a month he is a great favorite with the feminine habitués of the _café_s. When his funds run low, he lies perdu till mid-day; then he appears at Madame Annaie's, heavy-eyed and stupid, staying until midnight. Sometimes he varies this routine by visiting his friends at their studios, where he is made to pose in ridiculous attitudes.

The "smoker" is held on the last Saturday night of each month, and all the members are present. Long clay pipes are provided, and a big bowl of steaming punch, highly seasoned, comes from Madame Annaie's kitchen. Mutually laudatory speeches and toasts, playing musical instruments, and singing songs are in order. The Spaniard, with castanets, skilfully executes the fandango on a table. Bishop does the danse du ventre. Joncierge gives marvellous imitations of Sarah Bernhardt and other celebrities, including Giles, whose drawl and stupidity he makes irresistibly funny. Nor do Gérôme, Bouguereau, and Benjamin Constant escape his mimicry. Haidor, the Turk, drawls a Turkish song all out of tune, and is rapturously encored. The Swiss and the Italian render a terrific duo from "Aida," and the Spaniards sing the "Bullfighters' Song" superbly. Sketches are dashed off continually. They are so clever that it is a pity Madame Annaie has to wipe them from the tables.

On Thanksgiving-day the Americans gave the club a Thanksgiving dinner. It was a great mystery and novelty to the other members, but they enjoyed it hugely. The turkeys were found without much trouble, but the whole city had to be searched for cranberries. At last they were found in a small grocery-shop in the American quarter, on the Avenue Wagram. Bishop superintended the cooking, M. Annaie serving as first assistant. How M. Annaie stared when he beheld the queer American mixtures that Bishop was concocting! "Mon Dieu! Not sugar with meat!" he cried, aghast, seeing Bishop serve the turkey with cranberry sauce. A dozen delicious pumpkin-pies that formed part of the menu staggered the old cook. The Italian cooked a pot of macaroni with mushroom sauce, and it was superb.

"The Hole in the Wall" eminently deserves its name. It is on the Boulevard du Montparnasse, within two blocks of the Bal Bullier. A small iron sign projecting over the door depicts two students looking down at the passers-by over bowls of coffee, rolls also being shown. It was painted by an Austrian student in payment of a month's board.

The Hole is a tiny place, just sufficiently large for its two tables and eight stools, fat Madame Morel, the proprietress, and a miniature zinc bar filled with absinthe and cognac bottles and drinking glasses.

The ceiling is so low that you must bend should you be very tall, for overhead is the sleeping-room of Madame Morel and her niece; it is reached by a small spiral stair.

A narrow slit in the floor against the wall, where the napkin-box hangs, leads down to the dark little kitchen. It is a tight squeeze for Madame Morel to serve her customers, but she has infinite patience and geniality, and discharges her numerous duties and bears her hardships with unfailing good-nature. It is no easy task to cook a halfdozen orders at once, wait on the tables, run out to the butcher-shop for a chop or a steak, and take in the cash. But she does all this, and much more, having no assistant. The old concierge next door, Madame Mariolde, runs in to help her occasionally, when she can spare a moment from her own multifarious duties. Madame Morel's toil-worn hands are not bien propre, but she has a kind heart. For seven years she has lived in this little Hole, and during that time has never been farther away than to the grocery-shop on the opposite corner.

Her niece leaves at seven o'clock in the morning to sew all day on the other side of town, returning at eight at night, tired and listless, but always with a half-sad smile. So we see little of her. Many nights I have seen her come in drenched and cold, her faded straw hat limp and askew, and her dark hair clinging to her wet face. For she has walked in the rain all the way from the Avenue de l'Opéra, unable to afford omnibus fare. She usually earns from two to two and half francs a day, sewing twelve hours.

The most interesting of the frequenters of the Hole is a Slav from Trieste, on the Adriatic. He is a genius in his way, and full of energy and business sense. His vocation is that of a "lightning-sketch artist," performing at the theatres. He has travelled all over America and Europe, and is thoroughly hardened to the ways of the world. Whenever he runs out of money he goes up to the Rue de la Gaieté and gives exhibitions for a week or two at one of the theatres there, receiving from fifty to sixty francs a week. The students all go to see him, and make such a noise and throw so many bouquets (which he returns for the next night) that the theatrical managers, thinking he is a great drawing-card, generally raise his salary as an inducement to make him prolong his stay when he threatens to leave.

But he is too thoroughly a Bohemian to remain long in a place. Last week he suddenly was taken with a desire to visit Vienna. Soon after he had gone four pretty Parisiennes called and wanted to know what had become of their amant.

D------, another of the habitués of the Hole, is a German musical student. Strangers would likely think him mentally deranged, so odd is his conduct.

He has two other peculiarities,--extreme sensitiveness and indefatigable industry. He brings his shabby violin-case every evening, takes out his violin after dinner, and at once becomes wholly absorbed in his practice. If he would play something more sprightly and pleasing the other habitués of the Hole would not object; but he insists on practising the dreariest, heaviest, and most wearing exercises, the most difficult études, and the finest compositions of the masters. All this is more than the others can bear with patience always; so they wound his sensibilities by throwing bread and napkin-rings at him. I hen he retires to the kitchen, where, sitting on the cooler end of the range, he practises diligently under Madame Morel's benevolent protection. This is all because he has never found a concierge willing to permit him to study in his room, so tireless is his industry. If I do not mistake, this strange young man will be heard from some day.

Then there is W------, a student in sculpture, with exceptionally fine talent. He had been an American cowboy, and no trooper could swear more eloquently. He has been making headway, for the Salon has given him honorable mention for a strong bronze group of fighting tigers. His social specialty is poker-playing, and he has brought the entire Hole under the spell of that magic game.

Herr Prell, from Munich, takes delight in torturing the other habitués with accounts of dissections, as he is a medical student at the Académie de Médecine. The Swede, who drinks fourteen absinthes a day, throws stools at Herr Prell, and tries in other ways to make him fight; but Herr Prell only laughs, and gives another turn of the dissection-screw.

The glee club is one of the features of the Hole. It sings every night, but its supreme effort comes when one of the patrons of the Hole departs for home. On such occasions the departing comrade has to stand the dinner for all, after which, with its speeches and toasts, he is escorted to the railway station with great éclat, and given a hearty farewell, the glee club singing the parting song at the station. Bishop is leading tenor of the glee club.

LE CABARET DU SOLEIL D'OR

IT is only the name of the Cabaret of the Golden Sun that suggests the glorious luminary of day. And yet it is really brilliant in its own queer way, though that brilliancy shines when all else in Paris is dark and dead,--at night, and in the latest hours of the night at that.

My acquaintance with the Golden Sun began one foggy night in a cold November, under the guidance of Bishop.

Lured by the fascinations of nocturnal life in the Quartier Latin, and by its opportunities for the study of life in its strangest phases, Bishop had become an habitual nighthawk, leaving the studio nearly every evening about ten o'clock, after he had read a few hours from treasured books gleaned from the stalls along the river, to prowl about with a sketchbook, in quest of queer characters and queer places, where strange lives were lived in the dark half of the day. His knowledge of obscure retreats and their peculiar habitués seemed unlimited. And what an infinite study they offer! The tourist, "doing" Bohemian Paris as he would the famous art galleries, or Notre-Dame, or the Madeleine, or the _café_s on the boulevards, may, under the guidance of a wise and discerning student, visit one after another of these out-of-the-way resorts where the endless tragedy of human life is working out its mysteries; he may see that one place is dirtier or noisier than another, that the men and women are better dressed and livelier here than there, that the crowd is bigger, or the lights brighter; but he cannot see, except in their meaningless outer aspects, those subtle differences which constitute the heart of the matter. In distance it is not far from the Moulin Rouge to the Cabaret du Soleil d'Or, but in descending from the dazzling brilliancy and frothy abandon of the Red Mill to the smoke and grime of the Golden Sun, we drop from the summit of the Tour Eiffel to the rat-holes under the bridges of the Seine; and yet it is in such as the Cabaret of the Golden Sun that the true student finds the deeper, the more lastingly charming, the strangely saddening spell that lends to the wonderful Quartier Latin its distinctive character and everlasting fascination.

Though Bishop spoke to me very little of his midnight adventures, I being very busy with my own work, I began to have grave apprehensions on the score of his tastes in that direction; for during the afternoons ridiculous-looking, long-haired, but gentlemannered persons in shabby attire, well-seasoned with the aroma of absinthe and cigarettes, would favor our studio with a call, undoubtedly at Bishop's invitation. They brought with them black portfolios or rolls of paper tied with black string, containing verses,--their masterpieces, which were to startle Paris, or new songs, which, God favoring, were to be sung at La Scala or the Ambassadeurs, and thus bring them immortal fame and put abundant fat upon their lean ribs! Ah, the deathless hope that makes hunger a welcome companion here!

Bishop would cleverly entertain these aspiring geniuses with shop talk concerning literature and music, and he had a charming way of dwelling upon the finish and subtlety of their work and comparing it with that of the masters. It usually ended with their posing for him in different attitudes of his suggesting. Why waste money on professional models? As Bishop's acquaintances became more numerous among this class, we finally set aside Tuesday afternoons for their reception. Then they would come in generous numbers and enjoy themselves unreservedly with our cognac and biscuits. But ah, the rare pleasures of those afternoons,--as much for the good it did us to see their thin blood warmed with brandy and food as for their delightful entertainment of us and one another.

The studio was warm and cheerful on the night when Bishop invited me to accompany him out. I had been at work, and presently, when I had finished, I flung myself on the divan for a rest and a smoke, and then became aware of Bishop's presence. He was comfortably ensconced in the steamer-chair, propped up with pillows.

"Aren't you going out to-night?" I inquired.

"Why, yes. Let's see the time. A little after eleven. That's good. You are finished, aren't you? Now, if you want a little recreation and wish to see one of the queerest places in Paris, come with me."

I looked out the window. A cold, dreary night it was. The chimney-pots were dimmed by the thick mist, and the street lamps shone murkily far below. It was a saddening, soaking, dripping night, still, melancholy, and depressing,--the kind of night that lends a strange zest to in-door enjoyment, as though it were a duty to keep the mist and the dreariness out of the house and the heart.

But the studio had worn me out, and I was eager to escape from its pleasant coziness. And this was a Saturday night, which means something, even in Paris. To-morrow there would be rest. So I cheerfully assented.

We donned our heaviest top-coats and mufflers, crammed the stove full of coal, and then sallied out into the dripping fog.

Oh, but it was cold and dismal in the streets! The mist was no longer the obscuring, suggestive, mysterious factor that it had been when seen from the window, but was now a tangible and formidable thing, with a manifest purpose. It struck through our wraps as though they had been cheesecloth. It had swept the streets clear, for not a soul was to be seen except a couple of sergents de ville, all hooded in capes, and a cab that came rattling through the murk with horses a-steam. Occasionally a flux of warm light from some _café_ would melt a tunnel through the monotonous opaque haze, but the empty chairs and tables upon the sidewalks facing the _café_s offered no invitation.

In front of one of these _café_s, in a sheltered corner made by a glass screen, sat a solitary young woman, dressed stylishly in black, the light catching one of her dainty slippers perched coquettishly upon a foot-rest. A large black hat, tilted wickedly down over her face, cast her eyes in deep shadow and lent her that air of alluring mystery which the women of her class know so well how to cultivate. Her neck and chin were buried deep in the collar of her sealskin cape. A gleam of limp white gauze at her throat lent a pleasing relief to the monotone of her attire. Upon the table in front of her stood an empty glass and two saucers. As we passed she peered at us from beneath her big hat, and smiled coquettishly, revealing glistening white teeth. The atmosphere of loneliness and desolation that encompassed her gave a singularly pathetic character to her vigil. Thus she sat, a picture for an artist, a text for a moralist, pretty, dainty, abandoned. It happened not to be her fortune that her loneliness should be relieved by us.... But other men might be coming afterwards.... All this at a glance through the cold November fog.

As we proceeded up the Boul' Mich' the _café_s grew more numerous and passers-by more frequent, but all these were silent and in a hurry, prodded on by the nipping cold fangs of the night. Among the tables outside the _Café d'Harcourt_ crouched and prowled an old man, bundled in ill-fitting rags, searching for remnants of cigars and cigarettes on the sanded sidewalk. From his glittering eyes, full of suspicion, he turned an angry glance upon us as we paused a moment to observe him, and growled,--"_Allons, tu n' peux donc pas laisser un pauv' malheureux?_"

Bishop tossed him a sou, which he greedily snatched without a word of thanks.

At the corner, under the gas-lamps, stood shivering newspaper venders trying to sell their few remaining copies of la dernière édition de la presse. Buyers were scarce.

We had now reached the Place St.-Michel and the left bank of the river. We turned to the right, following the river wall toward Notre-Dame, whose towers were not discernible through the fog.

Here there was an unbounded wilderness of desolation and solitude. The black Seine flowed silently past dark masses that were resolved into big canal-boats, with their sickly green lights reflected in the writhing ink of the river. Notre-Dame now pushed its massive bulk through the fog, but its towers were lost in the sky. Near by a few dim lights shone forth through the slatted windows of the Morgue. But its lights never go out. And how significantly close to the river it stands! Peering under the arches of the bridges, we found some of the social dregs that sleep there with the rats. It was not difficult to imagine the pretty girl in black whom we had passed coming at last through dissipation and wrinkles and broken health to take refuge with the rats under the bridges, and it is a short step thence to the black waters of the river; and that the scheme of the tragedy might be perfect in all its parts, adjustments, and relations, behold the Morgue so near, with its lights that never go out, and boatmen so skilled in dragging the river! And the old man who was gathering the refuse and waste of smokers, it was not impossible that he should find himself taking this route when his joints had grown stiffer, though it would more likely end under the bridges.

The streets are very narrow and crooked around Notre-Dame, and their emanations are as various as the capacity of the human nose for evil odors. The lamps, stuck into the walls of the houses, only make the terrors of such a night more formidable; for while one may feel a certain security in absolute darkness, the shadows to which the lamps lend life have a baffling elusiveness and weirdness, and a habit of movement that makes one instinctively dodge. But that is all the trick of the wind. However that may be, it is wonderful how much more vividly one remembers on such a night the stories of the murders, suicides, and other crimes that lend a particular grewsomeness to the vicinity of the Morgue and Notre-Dame.

We again turned to the right, into a narrow, dirty street,--the Rue du Haut-Pavé,--whose windings brought us into a similar street,--the Rue Galande. Bishop halted in front of a low arched door-way, which blazed sombrely in its coat of blood-red paint. A twisted gas-lamp, demoralized and askew, depended overhead, and upon the glass enclosing it was painted, with artistic flourishes,--"Au Soleil d'Or."

This was the cabaret of the Golden Sun,--all unconscious of the mockery of its name, another of those whimsical disjointings in which the shadowy side of Paris is so prolific. From the interior of the luminary came faintly the notes of a song, with piano accompaniment.

The archway opened into a small court paved with ill-fitted flint blocks. At the farther end of it another gas-lamp flickered at the head of a flight of stairs leading underground. As we approached the steps a woman sprang from the shadow, and with a cry, half of fear and half of anger, fled to the street. At that moment memories of the cosiness of our studio became doubly enticing,--one cannot always approach unfamiliar underground Paris with perfect courage. But Bishop's coolness was reassuring. He had already descended the steps, and there was nothing left for me but to follow.

At the foot of the stairs were half-glass doors curtained with cheap red cloth. A warm, thick, suffocating gust of air, heavy with the fumes of beer, wine, and tobacco, assailed our cold faces as we pushed open the doors and entered the room.

For a moment it was difficult to see clearly, so dense was the smoke. It was packed against the ceiling like a bank of fog, diminishing in density downward, and shot through with long banner-like streamers of smoke freshly emitted.

The human atmosphere of the place could not be caught at once. A stranger would not have known for the moment whether he was with thieves or artists. But very soon its distinctive spirit made its presence and character manifest. The room--which was not a large one--was well filled with an assortment of those queer and interesting people some of whom Bishop had entertained at the studio, only here their characteristics were more pronounced, for they were in their natural element, depressed and hampered by no constraints except of their own devising. A great many were women, although it could be seen at a glance that they were not of the nymphs who flitted among the glittering _café_s, gowned in delicate laces and sheeny sculptured silks, the essence of mignonette pervading their environment. No; these were different.

Here one finds, not the student life of Paris, but its most unconventional Bohemian life. Here, in this underground rendezvous, a dirty old hole about twenty feet below the street level, gather nightly the happy-go-lucky poets, musicians, and singers for whom the great busy world has no use, and who, in their unrelaxing poverty, live in the tobacco clouds of their own construction, caring nothing for social canons, obeyers of the civil law because of their scorn of meanness, injustice, and crime, suffering unceasingly for the poorest comforts of life, ambitious without energy, hopeful without effort, cheerful under the direst pressure of need, kindly, simple, proud, and pitiful.