Ninety-Three. Victor Hugo

went hither and thither offering lavender-water, garters, and false hair, and selling stocks at the same time; there were stock-jobbers on the steps of the Rue Vivienne, with muddy shoes, greasy hair, woollen caps with fox-tails, and the dandies of the Rue de Valois, with their polished boots, a toothpick in their mouths, and beaver hats on their heads, to whom the girls said "thee and thou." The people hunted them down as they did thieves, whom the royalists called "active citizens." Robbery, however, seldom occurred; the fearful destitution was matched by a stoical honesty. With downcast eyes the barefooted and the hungry went gravely past the shop-windows of the jewellers of the Palais Égalité. During a domiciliary visit made by the Section Antoine at Beaumarchais' house, a woman plucked a flower in the garden: the crowd boxed her ears. A cord of wood cost four hundred francs in coin. People were to be seen in the streets sawing up their wooden beds. In the winter the fountains froze, and two pails of water cost twenty sous; every man was his own water-carrier. A gold louis was worth three thousand nine hundred and fifty francs. A ride in a fiacre cost six hundred francs. After a day's ride the following dialogue might be heard: "How much do I owe you, coachman?" "Six thousand livres." The trade of a greengrocer woman amounted to twenty thousand francs a day. A beggar was known to have said: "Help me, for charity's sake! I want two hundred and thirty livres to pay for my shoes." At the entrance of the bridges might be seen colossal figures, sculptured and painted by David, which Mercier insultingly called "enormous wooden Punchinellos." These figures represented Federalism and Coalition overthrown. No infirmity of purpose among the people. There was a gloomy sense of pleasure in having put an end to thrones. No lack of volunteers ready to lay down their lives: every street furnished a battalion. The flags of the district went hither and thither, each one with its own device. On the banner of the Capuchin District might be read, "No one will shave us;" on another, "No other nobility save that of the heart." On the walls were placards, large and small, white, yellow, green, and red, printed and written, on all which might be read this war-cry: "Long live the Republic!" Little children lisped, "Ça ira."

      These little children were the nucleus of a great future.

      Later on, a cynical city took the place of the tragical one; the streets of Paris have displayed two distinct revolutionary aspects, – the one preceding the 9th Thermidor, and that which followed it. After the Paris of Saint-Just came the Paris of Tallien. Such are the constant antitheses of Almighty God. Immediately after Sinai, the Courtille appeared.

      Paroxysms of popular folly may always be expected. The same thing had taken place eighty years before. After Louis XIV., as well as after Robespierre, the people needed breathing space; hence the Regency at the opening of the century and the Directory at its close, each reign of terror ending in a Saturnalia. France fled from the Puritan as well as from the monarchical cloister with the joy of a nation escaping from bondage.

      After the 9th Thermidor, Paris was like one gone mad with gayety. An unwholesome joy prevailed, exceeding all bounds. The frenzy of life followed the frenzy of death, and grandeur eclipsed itself. They had a Trimalcion whom they called Grimod de la Reynière; also an "Almanach des Gourmands." People dined to the accompaniment of trumpets in the entresols of the Palais Royal; the orchestras were composed of women beating drums and blowing trumpets; the "rigadooner," bow in hand, reigned over all; they supped after the Oriental fashion at Méot's, surrounded by censers of perfume. The artist Boze painted his daughters, innocent and charming heads of sixteen, "en guillotinés," – that is, bare-necked and in red chemises. The wild dances in ruined churches were followed by the balls of Ruggieri, Luquet Wenzel, Mauduit, and the Montansier; to the dignified citoyennes making lint, succeeded sultanas, savages, and nymphs; to the bare feet of the soldiers, disfigured by blood, mud, and dust, succeeded the bare feet of women adorned with diamonds; and together with shamelessness came dishonesty, – which had its purveyors in high places, and their imitators in the lower ranks. Paris was infested by swarms of sharpers, and every man had to watch his "luc," or in other words, his pocket-book. One of the amusements was to go to the Place of the Palais de Justice to see the female acrobats on the tabouret; they were forced to tie their skirts down. At the doors of the theatres street-urchins offered cabs, crying, "Citizen and Citizeness, there is room enough for two." They sold no more copies of "The Old Cordelier" or of "L'Ami du peuple;" but in their stead they offered "Punch's Letter" and "The Rogues' Petition." The Marquis de Sade presided at the section of the Pikes, Place Vendôme. The reaction was both jovial and ferocious. The Dragons of Liberty of '92 were revived under the name of Knights of the Dagger. At the same time there appeared on the stage the type Jocrisse. There were the "Merveilleuses," and after the "Merveilleuses," the "Inconcevables." People swore fantastic oaths by "sa paole victimée" and by "sa paole verte." This was the recoil from Mirabeau to Bobèche. Paris vibrates like an enormous pendulum of civilization; now it touches one pole, now the other, – Thermopylæ and Gomorrah. After '93, Revolution suffered a singular eclipse: the century apparently forgot to finish what it had begun; a strange orgie, interposing, took possession of the foreground, and thrusting the dread Apocalypse behind, it drew a veil over the monstrous vision, and shouted with laughter after its fright; tragedy vanished in parody; and rising from the horizon's edge the smoke of carnival obscured the outlines of Medusa.

      But in the year '93 the streets of Paris still retained the imposing and fierce aspect of the beginning. They had their orators, like Varlot for instance, who travelled about in a booth on wheels, from the top of which he harangued the passers-by; their heroes, one of whom was called "the Captain of iron-shod poles;" their favorites, like Guffroy, the author of the pamphlet "Rougiff." Some of these celebrities were mischievous, others exerted a wholesome influence. One among all the rest was honest and filial, – it was Cimourdain.