It is springtime in Paris! It is night in the Paris of a thousand memories. Can you, now remote in the American winter, hear again through the bang of the steaming radiator and the crunch on the winter's snows the song that Sauterne sang into your heart on the terrace named after the lilacs—on that wonderful, star-born evening when all the world seemed like a baby's first laugh; all full of dreams and hopes and thrilling futures? And can you rub the white cold off the panes and look out across the Atlantic to a warmer land and see again the Gardens of the Tuileries sleeping in the moon glow and Sacré CÅ“ur sentinelled against the springtime sky and the tables of the cafés along the Grand Boulevards agog and a-glitter and the green-yellow lights of the Ambassadeurs tucked away in the trees and the al fresco amours at Fouquet's and the gay crowds on the Avenue de l'Opéra and the massive splendour of Notre Dame blessing the night with its towered hands and girls shooting ebony arrows from the bows of ebony eyes? And no smell of Child's cooking filters into the open to offend the nostril, for the sachet of the Bois de Boulogne breeze is again on the world. Ah, Bois de Boulogne, silent now under the slumbering heavens, where your equal? From the Prater to the Prado, from the Cassine to Central Park, one may not find the like of you, fairy wood of France!
Romance hunter, come with me. Stomach-turned at the fat niggers dressed up like Turks and Algerians and made to lend an "air" to the haunt of the nocturnal belly dancers in the Rue Pigalle, sickened at the stupid lewdities of the Rue Biot, disgusted at the brassy harlotries of the Lapin Agil', come with me into that auberge of the Avenue Trudaine where are banned catch-coin stratagems, fleshly pyrotechnics, that little refuge whose wall gives forth the tableau of Salis, he of the Niagaran whiskers and the old Chat Noir, strangling the adolescent versifiers of Montmartre, the tableau of the crimson rose of Poetry blossoming from out their strangling pools of blood. Come with me and sing a chorus with the crowd in the "conservatoire" of the Boulevard Rochechouart and beat time, like the rest of it, with knife on plate, with glass on table. Come away from the Brasserie des Sirènes of Mademoiselle Marthe in the Faubourg Poissonnière, from the Rue Dancourt, from the Moulin Rose in the Mazagran—from all such undiluted cellars of vicious prostitution—if these be Paris, then West Twenty-eighth Street in New York.
Look you, romance seeker, rather into the places of Montépin and Eugène Sue. The moon is down. The sound of dance is stilled in the city. So go we into the Rue Croissant, with its shaveless thuggeries and marauding cabs. It is dark, very. And very quiet. And the sniff of unknown things is to be had in the air. Dens of drink with their furtive thieves ... the enigma of the shadows of the church of Saint Eustache ... slinking feet to the rear of you ... at length, the Rue Pirouette and the sign of the angel Gabriel on the lantern before the house. Here is good company to be found! Well do I remember the bon-camaraderie of Henri Lavérte, that most successful of Parisian burglars, of the good Jean Darteau, that most artistic of all Parisian second story virtuosi, of pretty Mado Veralment, who was not convicted for the murder of her erstwhile lover Abernal, nor, at a later date, for that of her erstwhile lover Crepeat, both of whom, so it had been rudely whispered by her enemies, had rashly believed to desert her for another charmer. Witty and altogether excellent folk. Indeed, I might go further from the truth than to say that in no woman have ever I found a deeper, a more authentic appreciation of the poetry of Verlaine than in this Mademoiselle Mado.
So, too, up the stone steps and into the Caveau of the Rue des Innocents ... and here—likewise a jolly party. Inquire of most persons about Le Caveau and you will be apprised that it is a "vile hole," "a place of the lowest order." It is dirty, so much I will grant; and it is of a Brobdingnagian smell. Also, is it frequented almost entirely by murderers, garroters, and thieves. But to say it is a "vile hole" or "a place of the lowest order" is to say what is not true. It is immeasurably superior to the tinselled inn of the Rue Royale. And its habitués constitute an infinitely more respectable lodge. If the left wall of the cavern contains its "roll of honour"—the names of all the erstwhile noted gentlemen patrons of the establishment who have, because of some slight carelessness or oversight, ended their days in the company of the public executioner—I still cannot appreciate that the list is any the less civilised than the head waiter's "roll of honour" at the celebrated tavern in the Avenue de l'Opéra. Nor do the numerous scribbled inscriptions on the other walls, such saucy epigrams as "To hell with the prefect of police," "The police are damned low flea-full dogs" and the like impress me less favourably than the scribbled inscriptions on notes of assignation placed covertly by subsidised waiters into the serviettes of the Callot-adorned Thaïses in the spectacularized haunts of the Bois. The piano in Le Caveau may be diabetic, senescent, and its operator half blind and all knuckles (as he is), but the music it gives forth is full of the romance of Sheppard and Turpin, of stage coach days and dark and nervous highways, of life when life was in the world and all the world was young.
Paris when your skies are greying, how many of us know you? Do we know your Rue du Pont Neuf, with its silent melodrama under the dawning heavens, or do we know only the farce of your Montmartre? Do we know the drama of your Comptoir, of your Rue Montorgueil, when your skies are faintly lighting, or do we know only the burlesque of your Maxim's and your Catélans? Do we, when the week's work of your humbler people is done, see the laughter in dancing eyes in the Rue Mouffetard or, in the revel of your Saturday night, do we see only the belladonna'd leer of the drabs in the Place Pigalle? Do we hear the romance of your concertinas setting thousands of hobnailed boots a-clatter with Terpsichore in the Boulevard de la Chapelle, in Polonceau and Myrrha, or do we hear only your union orchestra soughing through Mascagni in the Café de Paris? Do we know the romance of your peoples or the romance of your restaurateurs? Which? I wonder.
Paris has changed ... it isn't the Paris of other days ... and Paquerette, little Easter daisy in whose lips new worlds were born to you, little flower of France the music and perfume of whose youth are yours still to remember through the guerrilla warfare of the mounting years—little Paquerette is dead. And you are old now and married, and there are the children to look out for—they're at the school age—and life's quondam melody is full of rests and skies are not always as blue as once they were. And Paris, four thousand miles beyond the seas—Paris isn't what it used to be!
But Paris is. For Paris is not a city—it is Youth. And Youth never dies. To Youth, while youth is in the arteries, Paris is ever Paris, a-throb with dreams, a-dream with love, a-love with triumphs to be triumphed o'er. The Paris of Villon and Murger and Du Maurier is still there by the Seine: it is only Villon and Murger and Du Maurier who are not. And if your Paquerette is gone forever, there is Zinette—some other fellow's Paquerette—in her place. And to him new worlds are born in her lips even as new worlds were born to you in the kisses of another's yesterday ... and the music and the perfume of Zinette's youth shall, too, be rosemary some day to this other.