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;