In the Days of My Youth: A Novel

by Amelia B. Edwards

After the dense atmosphere of the clothes-market, it is a relief to emerge upon the Boulevart du Temple--the noisy, feverish, crowded Boulevart du Temple, with its half dozen theatres, its glare of gas, its cake-sellers, bill-sellers, lemonade-sellers, cabs, cafés, gendarmes, tumblers, grisettes, and pleasure-seekers of both sexes.

Here we pause awhile to applaud the performances of a company of dancing-dogs, whence we are presently drawn away by the sight of a gentleman in a moyen-âge costume, who is swallowing penknives and bringing them out at his ears to the immense gratification of a large circle of bystanders.

A little farther on lies the Jardin Turc; and here we drop in for half an hour, to restore ourselves with coffee-ices, and look on at the dancers. This done, we presently issue forth again, still in search of amusement.

"Have you ever been to the Petit Lazary?" asks my friend, as we stand at the gate of the Jardin Turc, hesitating which way to turn.

"Never; what is it?"

"The most inexpensive of theatrical luxuries--an evening's entertainment of the mildest intellectual calibre, and at the lowest possible cost. Here we are at the doors. Come in, and complete your experience of Paris life!"

The Petit Lazary occupies the lowest round of the theatrical ladder. We pay something like sixpence half-penny or sevenpence apiece, and are inducted into the dress-circle. Our appearance is greeted with a round of applause. The curtain has just fallen, and the audience have nothing better to do. Müller lays his hand upon his heart, and bows profoundly, first to the gallery and next to the pit; whereupon they laugh, and leave us in peace. Had we looked dignified or indignant we should probably have been hissed till the curtain rose.

It is an audience in shirt-sleeves, consisting for the most part of workmen, maid-servants, soldiers, and street-urchins, with a plentiful sprinkling of pickpockets--the latter in a strictly private capacity, being present for entertainment only, without any ulterior professional views.

It is a noisy entr'acte enough. Three vaudevilles have already been played, and while the fourth is in preparation the public amuses itself according to its own riotous will and pleasure. Nuts and apple parings fly hither and thither; oranges describe perilous parabolas between the pit and the gallery; adventurous gamins make daring excursions round the upper rails; dialogues maintained across the house, and quarrels supported by means of an incredible copiousness of invective, mingle in discordant chorus with all sorts of howlings, groanings, whistlings, crowings, and yelpings, above which, in shrillest treble, rise the voices of cake and apple-sellers, and the piercing cry of the hump-back who distributes "vaudevilles at five centimes apiece." In the meantime, almost distracted by the patronage that assails him in every direction, the lemonade-vendor strides hither and thither, supplying floods of nectar at two centimes the glass; while the audience, skilled in the combination of enjoyments, eats, drinks, and vociferates to its heart's content. Fabulous meats, and pies of mysterious origin, are brought out from baskets and hats. Pocket-handkerchiefs spread upon benches do duty as table-cloths. Clasp-knives, galette, and sucre d'orge pass from hand to hand--nay, from mouth to mouth--and, in the midst of the tumult, the curtain rises.

All is, in one moment, profoundly silent. The viands disappear; the lemonade-seller vanishes; the boys outside the gallery-rails clamber back to their places. The drama, in the eyes of the Parisians, is almost a sacred rite, and not even the noisiest gamin would raise his voice above a whisper when the curtain is up.