Then, the street singers of Paris, with harmonium, violin and a bundle of tender, sentimental songs. Four of them, as a rule; four men in jerseys, scarlet waistbands and blue corduroy trousers. They, too, come out particularly at night and establish themselves under a gas-lamp. And all around them stand charming, bareheaded girls from the neighbouring blanchisseries and milliners’ shops; and the adorers of those maidens—young, amorous MM. Georges, Ernest and Henri—from the grocer’s, the butcher’s, the printer’s; and workmen and charwomen and concierges; and probably a cabman or two, and most likely a soldier, a lamp-lighter, a policeman.
“Love is Always in Season, the latest and greatest of valse-songs, created by the incomparable Mayol,” announces the vocalist. A chord from the harmonium and violin, and the singer, in a not unmelodious voice, proceeds to assure us that “though the snow may fall, or the skies may frown, or the seas may roar, Love, sweet love, is Always in Season.”
General applause. Cries of “C’est chic, ça” from the charming, bareheaded girls. Sighs and sentimental glances from their faithful adorers.
“Buy Love is Always in Season. Only two sous, only two sous! The Greatest, the most Exquisite valse-song of the day,” cries the vocalist, holding up copies of the song. “Buy it at once, and we will sing it all together.”
At least twenty copies are sold. “Attention,” cries the vocalist. And then, under the gas-lamp, what a spectacle and what song! Everyone sings; yes, even this huge, apoplectic cabman: “Though the snow may fall....” Everyone sings: the soldier, the workmen, the decrepit old charwomen: “Though the skies may frown....” Everyone sings: the very policeman’s lips are moving. And how the charming, bareheaded girls sing and sing; and how amorously, how passionately do their adorers raise their voices: “Though the seas may roar.... What matter, what matter!... Since love, sweet love, is always in season!”
Of course children, with their lively, irresponsible games, provide delightful street scenes. No piano-organs, alas! to which they may dance. We have but three or four piano-organs in Paris, and these play only in elegant quarters, for the pleasure of portly, solemn butlers. However, the children hold theatrical performances on the pavement, which, if animated and dramatic, are scarcely convincing; indeed they must be pronounced bewildering, chaotic. René, aged six, proclaims himself Napoleon; Jeanne, his sister, declares herself Sarah Bernhardt; André strangely states that he is an Aeroplane; others most incoherently become a Horse, the President of the Republic, Aunt Berthe, a Steamer on the Seine, the Dog at the neighbouring chemist’s, and (this, a favourite, amazing rôle) the Eiffel Tower! Then, when the parts have been duly selected, after no end of wrangling, then, the play! Much extraordinary dialogue between Napoleon and the divine Sarah; more between the Eiffel Tower and the President of the Republic; still more between the Aeroplane, the Seine Steamer and Aunt Berthe. And then dancing and singing and skipping and——
Well, at once the most irresponsible and irresistible street scene in Paris. Or, at least, second only in irresponsibility to the fêtes of Mardi Gras and Mi-Carême.
Year after year, the cynic is to be heard declaring that confetti has “gone out” and that no one really rejoices at carnival time; but year after year, when Mardi Gras and Mi-Carême come round, confetti flies swiftly and thickly and gaily in Paris, and only a rare, elegant boulevardier, or some dull, heavy bourgeois remains indifferent to the excitement of the scene.
Confetti, in fact, everywhere! Already at nine o’clock this morning—blithe morning of Mardi Gras—it has got on to my staircase, and from thence into the dining-room and on to the breakfast-table. Suddenly, confetti in my coffee. A moment later, confetti on the butter. And when I unfold the newspapers, a shower of confetti.
“It is extraordinary,” I murmur to the servant.