He stands perfectly still, with his right arm crooked as if he were going to place his hand over his heart and bow, with his left arm slightly curved at his side. Grace. This is a pose denoting grace. He got it somewhere from an illustration. And he holds it. Here is life. The real stuff. The real thing. Lights and laughter. Glories, coiffures, swell dames, great actors, guys loaded with coin. His little Mongolian eyes blink through his amusing aplomb. Here are gilded pillars and marbled walls, great rugs and marvelous furniture. Here music is playing somewhere and people are eating off gold-edged dishes.
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And now you will smile at me, not him. Because watching him of evenings, on and off, a curious notion takes hold of my thoughts. I have noticed the race oddities of his face, the Mongolian eyes, the Slavic cheek bones, the Italian hair. A mixed breed, this little fop. Mixed through a dozen centuries. Fathers and mothers that came from a hundred parts of the earth. But down the centuries they had one thing in common. Servitude. The Carlovingian courts, the courts of the De Medici, the Valois, and long before that, the great houses that lay around the Roman hills. Dragged from their villages, east, west, north and south, they flitted in the trappings of servitude through the vast halls of tyrants, barons, Caesars, sybarites, debauchees. They were the torchbearers, the caitiffs, the varlets, the bathkeepers, the inanimate figures whose faces watched from the shadows the great orgies of Tiberius, the bacchanals of satraps, kings, captains and squires.
And here their little great-great-grandson stands as they stood, the ghost of their servitude in his sluggish blood. He is content with his role of watcher as his people were content. These slightly grotesque trappings of his are a disguise. He wishes to disguise the fact that he is of the torchbearers, the varlets, the bathkeepers who produced him. So he imitates servilely what he fancies to be the distinguishing marks of his betters—their clothes, their manners, their aplomb. This accomplished, he is content to yield himself to the mysterious impulses and dreams that move silently through him.
And so he takes his position beside his people—the mixed breeds dragged from their scattered villages—so he stands as they stood through the centuries, their faces watching from the shadows the gorgeousness and tumult of the great aristocrats.
MOTTKA
Since most of the great minds that have weighed the subject have arrived at the opinion that between poverty and crime there is an inevitable affinity, the suspicion with which the eye of Policeman Billings rested upon Mottka, the vender of roasted chestnuts, reflected creditably upon that good officer's grasp of the higher philosophies.
Policeman Billings, sworn to uphold the law and assist in the protection of property, viewed the complications and mysteries of the social system with a simple and penetrating logic. The rich are not dangerous, reasoned Policeman Billings, because they have what they want. But the poor who have not what they want are, despite paradox and precedent, always to be watched closely. A raggedly dressed man walking in a dark, lonely street may be honesty itself. Yet rags, even when worn for virtue's sake, are a dubious assurance of virtue. They are always ominous to one sworn to protect property and uphold the law.
There is a maxim by Chateaubriand, or perhaps it was Stendhal—maxims have a way of leaving home—which claims that the equilibrium of society rests upon the acquiescence of its oppressed and unfortunate.
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