The Paris Sketch Book of Mr. M. A. Titmarsh. William Makepeace Thackeray
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Vassal.
“Between eleven and twelve o'clock, some young men, to the number of 400 or 500, assembled on the Place de la Bourse, one of them bearing a tri-colored banner with an inscription, 'TO THE MANES OF JULY:' ranging themselves in order, they marched five abreast to the Marché des Innocens. On their arrival, the Municipal Guards of the Halle aux Draps, where the post had been doubled, issued out without arms, and the town-sergeants placed themselves before the market to prevent the entry of the procession. The young men passed in perfect order, and without saying a word—only lifting their hats as they defiled before the tombs. When they arrived at the Louvre they found the gates shut, and the garden evacuated. The troops were under arms, and formed in battalion.
“After the passage of the procession, the Garden was again open to the public.”
And the evening and the morning were the first day.
There's nothing serious in mortality: is there, from the beginning of this account to the end thereof, aught but sheer, open, monstrous, undisguised humbug? I said, before, that you should have a history of these people by Dickens or Theodore Hook, but there is little need of professed wags;—do not the men write their own tale with an admirable Sancho-like gravity and naïveté, which one could not desire improved? How good is that touch of sly indignation about the LITTLE CATAFALQUES! how rich the contrast presented by the economy of the Catholics to the splendid disregard of expense exhibited by the devout Jews! and how touching the “APOLOGETICAL DISCOURSES on the Revolution,” delivered by the Protestant pastors! Fancy the profound affliction of the Gardes Municipaux, the Sergens de Ville, the police agents in plain clothes, and the troops with fixed bayonets, sobbing round the “expiatory monuments of a pyramidical shape, surmounted by funeral vases,” and compelled, by sad duty, to fire into the public who might wish to indulge in the same woe! O “manes of July!” (the phrase is pretty and grammatical) why did you with sharp bullets break those Louvre windows? Why did you bayonet red-coated Swiss behind that fair white façade, and, braving cannon, musket, sabre, perspective guillotine, burst yonder bronze gates, rush through that peaceful picture-gallery, and hurl royalty, loyalty, and a thousand years of Kings, head-over-heels out of yonder Tuileries' windows?
It is, you will allow, a little difficult to say:—there is, however, ONE benefit that the country has gained (as for liberty of press, or person, diminished taxation, a juster representation, who ever thinks of them?)—ONE benefit they have gained, or nearly—abolition de la peine-de-mort pour délit politique: no more wicked guillotining for revolutions. A Frenchman must have his revolution—it is his nature to knock down omnibuses in the street, and across them to fire at troops of the line—it is a sin to balk it. Did not the King send off Revolutionary Prince Napoleon in a coach-and-four? Did not the jury, before the face of God and Justice, proclaim Revolutionary Colonel Vaudrey not guilty?—One may hope, soon, that if a man shows decent courage and energy in half a dozen émeutes, he will get promotion and a premium.
I do not (although, perhaps, partial to the subject,) want to talk more nonsense than the occasion warrants, and will pray you to cast your eyes over the following anecdote, that is now going the round of the papers, and respects the commutation of the punishment of that wretched, fool-hardy Barbés, who, on his trial, seemed to invite the penalty which has just been remitted to him. You recollect the braggart's speech: “When the Indian falls into the power of the enemy, he knows the fate that awaits him, and submits his head to the knife:—I am the Indian!”
“Well—”
“M. Hugo was at the Opera on the night the sentence of the Court of Peers, condemning Barbés to death, was published. The great poet composed the following verses:—
'Par votre ange envolée, ainsi qu'une colombe,
Par le royal enfant, doux et frêle roseau,
Grace encore une fois! Grace au nom de la tombe!
Grace au nom du berçeau!' *
“M. Victor Hugo wrote the lines out instantly on a sheet of paper, which he folded, and simply despatched them to the King of the French by the penny-post.
“That truly is a noble voice, which can at all hours thus speak to the throne. Poetry, in old days, was called the language of the Gods—it is better named now—it is the language of the Kings.
“But the clemency of the King had anticipated the letter of the Poet. His Majesty had signed the commutation of Barbés, while the poet was still writing.
“Louis Philippe replied to the author of 'Ruy Blas' most graciously, that he had already subscribed to a wish so noble, and that the verses had only confirmed his previous disposition to mercy.”
* Translated for the benefit of country gentlemen:—
“By your angel flown away just like a dove,
By the royal infant, that frail and tender reed,
Pardon yet once more! Pardon in the name of the tomb!
Pardon in the name of the cradle!”
Now in countries where fools most abound, did one ever read of more monstrous, palpable folly? In any country, save this, would a poet who chose to write four crack-brained verses, comparing an angel to a dove, and a little boy to a reed, and calling upon the chief magistrate, in the name of the angel, or dove (the Princess Mary), in her tomb, and the little infant in his cradle, to spare a criminal, have received a “gracious answer” to his nonsense? Would he have ever despatched the nonsense? and would any journalist have been silly enough to talk of “the noble voice that could thus speak to the throne,” and the noble throne that could return such a noble answer to the noble voice? You get nothing done here gravely and decently. Tawdry stage tricks are played, and braggadocio claptraps uttered, on every occasion, however sacred or solemn: in the face of death, as by Barbés with his hideous Indian metaphor; in the teeth of reason, as by M. Victor Hugo with his twopenny-post poetry; and of justice, as by the King's absurd reply to this absurd demand! Suppose the Count of Paris to be twenty times a reed, and the Princess Mary a host of angels, is that any reason why the law should not have its course? Justice is the God of our lower world, our great omnipresent guardian: as such it moves, or should move on majestic, awful, irresistible, having no passions—like a God: but, in the very midst of the path across which it is to pass, lo! M. Victor Hugo trips forward, smirking, and says, O divine Justice! I will trouble you to listen to the following trifling effusion of mine:—
Par votre ange envolée, ainsi qu'une,” &c.
Awful Justice stops, and, bowing gravely, listens to M. Hugo's verses, and, with true French politeness, says, “Mon cher Monsieur, these verses are charming, ravissans, délicieux, and, coming from such a célébrité littéraire as yourself, shall meet with every possible attention—in fact, had I required anything to confirm my own previous opinions, this charming poem would have done so. Bon jour, mon cher Monsieur Hugo, au revoir!”—and they part:—Justice taking off his hat and bowing, and the author of “Ruy Blas” quite convinced that he has been treating with him dégal en égal. I can hardly bring my mind to fancy that anything is serious in France—it seems to be all rant, tinsel, and stage-play. Sham liberty, sham monarchy, sham glory, sham justice—où diable donc la vérité va-t-elle se nicher?
… …
The last rocket of the fête of July has just mounted, exploded, made a portentous bang, and emitted a gorgeous show of blue lights, and then (like many reputations) disappeared totally: the hundredth gun on the Invalid terrace has uttered its last roar—and a great comfort it is for eyes and ears that the festival is over. We shall be able to go about our everyday business again, and not be hustled by the gendarmes or the crowd.
The sight which I have just come away from is as brilliant, happy, and beautiful as can be conceived; and if you want to see French people to the greatest advantage, you should go to a festival like this, where their manners, and innocent gayety, show a very pleasing contrast to the coarse and vulgar hilarity which the same class would exhibit in our own country—at Epsom racecourse, for instance, or Greenwich Fair. The greatest noise that I heard was that of a company of jolly villagers