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“Well, well, my good friends, that’s the finishing touch! I see now that I knew nothing of the ways of Paris.”

“At any rate, you are learning what you can see in ten minutes in the Passage de l’Opera,” said Bixiou. “Look there.”

Two persons, a man and a woman, came out of the Passage at that moment. The woman was neither plain nor pretty; but her dress had that distinction of style and cut and color which reveals an artist; the man had the air of a singer.

“There,” said Bixiou, “is a baritone and a second danseuse. The baritone is a man of immense talent, but a baritone voice being only an accessory to the other parts he scarcely earns what the second danseuse earns. The danseuse, who was celebrated before Taglioni and Ellsler appeared, has preserved to our day some of the old traditions of the character dance and pantomime. If the two others had not revealed in the art of dancing a poetry hitherto unperceived, she would have been the leading talent; as it is, she is reduced to the second line. But for all that, she fingers her thirty thousand francs a year, and her faithful friend is a peer of France, very influential in the Chamber. And see! there’s a danseuse of the third order, who, as a dancer, exists only through the omnipotence of a newspaper. If her engagement were not renewed the ministry would have one more journalistic enemy on its back. The corps de ballet is a great power; consequently it is considered better form in the upper ranks of dandyism and politics to have relations with dance than with song. In the stalls, where the habitues of the Opera congregate, the saying ‘Monsieur is all for singing’ is a form of ridicule.”

A short man with a common face, quite simply dressed, passed them at this moment.

“There’s the other half of the Opera receipts–that man who just went by; the tenor. There is no longer any play, poem, music, or representation of any kind possible unless some celebrated tenor can reach a certain note. The tenor is love, he is the Voice that touches the heart, that vibrates in the soul, and his value is reckoned at a much higher salary than that of a minister. One hundred thousand francs for a throat, one hundred thousand francs for a couple of ankle-bones,–those are the two financial scourges of the Opera.”

“I am amazed,” said Gazonal, “at the hundreds of thousands of francs walking about here.”

“We’ll amaze you a good deal more, my dear cousin,” said Leon de Lora. “We’ll take Paris as an artist takes his violoncello, and show you how it is played,–in short, how people amuse themselves in Paris.”

“It is a kaleidoscope with a circumference of twenty miles,” cried Gazonal.

“Before piloting monsieur about, I have to see Gaillard,” said Bixiou.

“But we can use Gaillard for the cousin,” replied Leon.

“What sort of machine is that?” asked Gazonal.

“He isn’t a machine, he is a machinist. Gaillard is a friend of ours who has ended a miscellaneous career by becoming the editor of a newspaper, and whose character and finances are governed by movements comparable to those of the tides. Gaillard can contribute to make you win your lawsuit–“

“It is lost.”

“That’s the very moment to win it,” replied Bixiou.

When they reached Theodore Gaillard’s abode, which was now in the rue de Menars, the valet ushered the three friends into a boudoir and asked them to wait, as monsieur was in secret conference.

“With whom?” asked Bixiou.

“With a man who is selling him the incarceration of an UNSEIZABLE debtor,” replied a handsome woman who now appeared in a charming morning toilet.

“In that case, my dear Suzanne,” said Bixiou, “I am certain we may go in.”

“Oh! what a beautiful creature!” said Gazonal.

“That is Madame Gaillard,” replied Leon de Lora, speaking low into his cousin’s ear. “She is the most humble-minded woman in Paris, for she had the public and has contented herself with a husband.”