Europe After 8:15/Paris
PARIS
PARIS
PARIS
FOR the American professional seeker after the night romance of Paris, the French have a phrase which, be it soever inelegant, retains still a brilliant verity. The phrase is "une belle poire." And its Yankee equivalent is "sucker."
The French, as the world knows, are a kindly, forgiving people; and though they cast the epithet, they do so in manner tolerant and with light arpeggio—of Yankee sneer and bitterness containing not a trace. They cast it as one casts a coin into the hand of some maundering beggar, with commingled oh-wells and philosophical pity. For in the Frenchman of the Paris of today, though there run not the blood of Lafayette, and though he detest Americans as he detests the Germans, he yet, detesting, sorrows for them, sees them as mere misled yokels, uncosmopolite, obstreperous, of comical posturing in ostensible un-Latin lech, vainglorious and spying—children into whose hands has fallen Zola, children adream, somnambulistic, groping rashly for those things out of life that, groped for, are lost—that may come only as life comes, naturally, calmly, inevitably.
But the Frenchman, he never laughs at us; that would his culture forbid. And, if he smile, his mouth goes placid before the siege. His attitude is the attitude of one beholding a Comstock come to the hill of Hörselberg in Thuringia, there to sniff and snicker in Venus's crimson court. His attitude is the attitude of one beholding a Tristan en voyage for a garden of love and roses he can never reach. His attitude, the attitude of an old and understanding professor, shaking his head musingly as his tender pupils, unmellowed yet in the autumnal fragrances of life, giggle covertly over the pages of Balzac and Flaubert, over the nudes of Manet, over even the innocent yearnings of the bachelor Chopin.
The American, loosed in the streets of Paris by night, however sees in himself another and a worldlier image. Into the crevices of his flat house in his now far-away New York have penetrated from time to time vague whisperings of the laxative deviltries, the bold saucinesses of the city by the Seine. And hither has he come, as comes a jack tar to West Street after protracted cruise upon the celibate seas, to smell out, as a very devil of a fellow, quotation-marked life and its attributes. What is romance to such a soul—even were romance, the romance of this Paris, uncurtained to him? Which, forsooth, the romance seldom is; for though it may go athwart his path, he sees it not, he feels it not, he knows it not, can know it not, for what it is.
Romance to him means only an elaborate and circumspect winking at some perfectly obvious and duly checked little baggage; it means to him only a scarlet-cushioned seat along the mirrored wall of the Café Américain, a thousand incandescents, a string quartette sighing through "Un Peu d'Amour," a quart of "wine." Romance to him is a dinner jacket prowling by night into the comic opera (American libretto) purlieus of modern Montmartre, with its spurious extravaganzas of rouge and roister, with its spider webs of joy. For him, there is romance in the pleasure girls who sit at the tables touching St. Michel before the Café d'Harcourt, making patient pretence of sipping their Byrrh until a passing "Eh, bébé" assails their tympani with its suggested tintinnabulation of needed francs: for him—"models." And the Bullier, ghost now of the old Bullier where once little Luzanne, the inspiration of a hundred palettes, tripped the polka, the new Bullier with its coloured electricity and ragtime band and professional treaders of the Avenue de l'Observatoire, is eke romance to his nostril. And so, too, he finds it atop the Rue Lepic in the now sham Mill of Galette, a capon of its former self, where Germaine and Florie and Mireille, veteran battle-axes of the Rue Victor Massé, pose as modest little workgirls of the Batignolles. And so, too, in that loud, crass annex of Broadway, the Café de Paris—and in the Moulin Rouge, which died forever from the earth a dozen years ago when the architect Niermans seduced the place with the "art nouveau"—and amid the squalid hussies of the fake Tabarin—and in the Rue Royale, at Maxim's, with its Tzigane orchestra composed of German gipsies and its toy balloons made by the Elite Novelty Co. of Jersey City, U.S.A.
The American notion of Paris under the guardianship of the French stars, of Paris caressed by the night wind come down from Longchamps and filtered through the chestnut branches of Boulogne, is usually achieved from the Sons of Moses who, in spats and sticks, adorn the entrance of the Olympia and the sidewalks of the Café de la Paix and interrogatively guide-sir the passing foreign mob. This Paris consists chiefly of a view of the exotic bathtub of the good King Edward of Britain, quondam Prince of Wales, in the celebrated house of the crystal staircase in the Rue Chabanais, of one of the two "mysterious" midinette speak-easys in the dark Rue de Berlin (where the midinettes range from the tender age of forty-five to fifty), of the cellar of the tavern near the Panthéon with its tawdry wenches and beer and butt-soaked floors—of tawdry resorts and tawdrier peoples.
Do I treat of but a single class of Americans? Well, maybe so. But the other class—and the class after that—think you these are so different? So different, goes my meaning, in the matter of appropriating to themselves something of the deep and very true romance that sings still in the shadowed corners of this one-time Flavia of capitals, that sounds still, as sounds some far-off steamboat whistle wail in the death-quiet of night, pleading and pathetic, that calls still to the dreamers of all the world from out the tomb of faded triumphs and forgotten memories?
True, alas, it is, that gone is the Paris of Paris's glory—gone that Paris that called to Louise with the luring melody of a zithered soul. True, alas, it is, that the Paris of the Guerbois, with its crowd of other days—Degas and Cladel and Astruc and the rest of them—is no more. Gone, as well, and gone forever is the cabaret of Bruant, him of the line of François Villon—now become a place for the vulgar oglings of Cook's tourists taxicabbing along the Boulevard Rochechouart. Gone the wild loves, the bravuras, the camaraderie of warm night skies in the old Boulevard de Clichy, supplanted now with a strident concatenation of Coney Island sideshows: the "Cabaret de l'Enfer," with its ballyhoo made up as Satan, the "Cabaret du Ciel," with its "grotto" smelling of Sherwin-Williams' light blue paint, the "Cabaret du Néant," with its Atlantic City plate glass trick of metamorphosing the visiting doodle into a skeleton, the "Lune Rousse," with its mean Marie Lloyd species of lyrical concupiscence, the "Quat'-z-Arts," with its charge of two francs the glass of beer and its concourse of loafers dressed up like Harry B. Smith "poets," in black velvet, corduroy grimpants and wiggy hirsutal cascades to impress "atmosphere" on the minds of the attendant citizenry of Louisville. And gone, too, with the song of Clichy, is the song from the heart of St. Michel, the song from the heart of St. Germain. "Tea rooms," operated by American old maids, have poked their noses into these once genuine boulevards ... and, as if giving a further fillip to the scenery, clothing shops with windows haughtily revealing the nobby art of Kuppenheimer, postcard shops laden to the sill's edge with lithographs disclosing erstwhile Saturday Evening Post cover heroines, and case upon case displaying in lordly enthusiasm the choicest cranial confections of the house of Stetson....
What once on a time was, is no more. But Romance, notwithstanding, has not yet altogether deserted the Paris that was her loyal sweetheart in the days when the tricolour was a prouder flag, its subjects a prouder people. There is something of the old spirit of it, the old verve of it, lingering still, if not in Montmartre, if not in the edisoned highways of the Left Bank, if not in the hitherward boulevards, then still somewhere. But where, ask you, is this somewhere? And I shall tell you. This somewhere is in the eyes of the Parisian girl; this somewhere is in the heart of the Parisian man. There, romance has not died—one must believe, will never die.
And, having told you, I seem to hear you laugh. "We thought," I would seem to hear you say, "that he was going to tell us of concrete places, of concrete byways, where this so gorgeous romance yet tarries." And you are aggrieved and disappointed. But I bid you patience. I am still too young to be sentimental: so have you no fear. And yet, bereft of all of sentimentality, I re-issue you my challenge: this somewhere is in the eyes of the Parisian girl, this somewhere is in the heart of the Parisian man.
By Parisian girl I mean not the order of Austrian wenches who twist their tummies in elaborate tango epilepsies in the Place Pigalle, nor the order of female curios who expectorate with all the gusto of American drummers in La Hanneton, nor yet the Forty-niners who foregather in the private entrance of 16 Rue Frochot. I do not mean the dead-eyed joy jades of the café concerts in the Champs Elysées. I do not mean the crow-souled scows who steam by night in the channels off the Place de la Madeleine. The girl I mean is that girl you notice leaning against the onyx balustrade at the Opéra—that one with lips of Burgundy and cheeks the colour of roses in olive oil. The girl I mean is that phantom girl you see, from your table before the Rotonde across the way, slipping past the iron grilling of the Luxembourg Gardens—that girl with faded blouse but with eyes, you feel, a-colour with the lightning of the world's jewels. The girl I mean is that girl you catch sight of—but what matters it where? Or what she leans against or what she wears or what her lips and eyes? If you know Paris, you know her. Whether in the Allée des Acacias or in the boulevard Montparnasse, she is the same: the real French girl of still abiding Parisian romance; the real French girl in whose baby daughter, some day, will be perpetuated the laughter of the soul of a city that will not fade. And in whose baby girl in turn, some day long after that, it will be born anew.
Ah, me, the cynic in you! Do you protest that the girl of the balustrade, the girl of the Luxembourg, are very probably American girls here for visit? Well, well! Tu te paye ma tête. Who has heard of romance in an American girl? I grant you, and I make grant quickly, that the American girl is, in the mass, more ocularly massaging, more nimble with the niblick, more more in several ways than her sister of France; but in her eyes, however otherwise lovely, is glint of steel where should be dreaming pansies, in her heart reverie of banknotes where should be billets doux.
And so by Parisian man I mean, not the chorus men of Des Italiens, betalcumed and odoriferous with the scents of Pinaud, those weird birds who are guarded by the casual Yankee as typical and symbolic of the nation. Nor do I mean the fish-named, liver-faced denizens of the region down from the Opéra, those spaniel-eyed creatures who live in the tracks of petite Sapphos, who spend the days in cigarette smoke, the nights in scheming ambuscade. Nor yet the Austrian cross-breeds who are to be beheld behind the gulasch in the Rue d'Hauteville, nor the semi-Milanese who sibilate the minestrone at Aldegani's in the Passage des Panoramas, nor the Frenchified Spaniards and Portuguese who gobble the guisillo madrileño at Don José's in the Rue Helder, nor the half-French Cossacks amid the potrokha in the Restaurant Cubat, nor the Orientals with the waxed moustachios and girlish waists who may be observed at moontide dawdling over their café à la Turque at Madame Louna Sonnak's. These are the Frenchmen of Paris no more than the habitués of Back Bay are the Americans of Boston, no more than the Americans of Boston are—Americans.
* * * * *
It is night in Paris! It is night in the Paris of a thousand memories. And the Place de la Concorde lies silver blue under springtime skies. And up the Champs Elysées the elfin lamps shimmer in the moist leaves like a million topaz tears. And the boulevards are a-thrill with the melody of living. Are you, now far away and deep in the American winter, with me once again in memory over the seas in this warm and wonderful and fugitive world? And do you hear with me again the twang of guitars come out the hedges of the Avenue Marigny? And do you smell with me the rare perfume of the wet asphalt and feel with me the wanderlust in the spirit soul of the Seine? Through the frost on the windows can you look out across the world and see with me once again the trysting tables in the Boulevard Raspail, a-whisper with soft and wondrous monosyllables, and can you hear little Ninon laughing and Fleurette sighing, and little Hélène (just passed nineteen) weeping because life is so short and death so long? Are you young again and do memories sing in your brain? And does the snow melt from the landscape of your life and in its place bloom again the wild poppies of the Saint Cloud roadways, telegraphing their drowsy, content through the evening air to Paris?
Or is the only rosemary of Paris that you have carried back with you the memory of a two-step danced with some painted bawd at the Abbaye, the memory of the night when you drank six quarts of champagne without once stopping to prove to the onlookers in the Rat Mort that an American can drink more than a damned Frenchman, the memory of that fine cut of roast beef you succeeded in obtaining at the Ritz?
* * * * *
Did I mention food? Ah-h-h, the night romance of Parisian nutriment! Parisian, said I. Not the low hybrid dishes of the bevy of British-American hotels that surround the Place Vendôme and march up the Rue de Castiglione or of such nondescripts as the Tavernes Royale and Anglaise—but Parisian. For instance, my good man, caneton à la bigarade, or duckling garnished with the oozy, saliva-provoking sauce of the peel of bitter oranges. There is a dish for you, a philter wherewith to woo the appetite! For example, my good fellow, sole Mornay (no, no, not the "sole Mornay" you know!), the sole Mornay whose each and every drop of shrimp sauce carries with it to palate and nostril the faint suspicion of champagne. Oysters, too. Not the Portuguese—those arrogant shysters of a proud line—but the Arcachons Marennes and Cancales supérieures: baked in the shell with mushrooms and cheese, and washed down exquisitely with the juice of grapes goldened by the French suns. And salmon, cold, with sauce Criliche; and artichokes made sentimental with that Beethoven-like fluid orchestrated out of caviar, grated sweet almonds and small onions; and ham boiled in claret and touched up with spinach au gratin. The romance of it—and the wonder!
But other things, alackaday, must concern us. Au 'voir, my beloveds, au 'voir! Au 'voir to thee, La Matelote, thou fair and fair and toothsome fish stew, and to thee, Perdreau Farci à la Stuért, thou aristocratic twelve-franc seducer of the esophagus! Au 'voir, my adored ones, au 'voir.
Voilà! And now again are we afield under the French moon. What if no more are the grisettes of Paul de Kock and Murger to fascinate the eye with wistful diableries? What if no more the old Vachette of the Boul' Mich' and the Rue des Ecoles, last of the cafés littéraires, once the guzzling ground of Voltaire and Rousseau and many such another profound imbiber? What if no more the simple Montmartroise of other times, and in her stead the elaborate wench of Le Coq d'Or, redolent of new satin and parfum Dolce Mia? Other times, other manners—and other girls! And if, forsooth, Ninette and Manon, Gabrielle and Fifi, arch little mousmés of another and mayhap lovelier day, have long since gone to put deeper soul into the cold harps of the other angels of heaven, there still are with us other Ninettes, other Manons and other Gabrielles and Fifis. "La vie de Bohéme" is but a cobwebbed memory: yet its hosts, though scattered and scarred, in spirit go marching on. The Marseillaise of romance is not stilled. In the little Yvette whose heart is weeping because the glass case in the Café du Dôme this day reveals no letter from her so grand André, gone to Cassis and there to transfer the sapphire of the sea and mesmerism of roses to canvas, is the heart of the little Yvette of the Second Empire. In the lips of Diane that smile and in the eyes of Hélène that dream and in the toes of Thérèse that dance is the smile, is the dream, is the dance in echo of the Paris of a day bygone.
Look you with me into the Rue de la Gaité, into the Gaité-Montparnasse, still comparatively liberated from the intrusion of foreign devils, and say to me if there is not something of old Paris here. Not the Superba, Fantasma Paris of Anglo-Saxon fictioneers, not the Broadwayed, Strandified, dandified Paris of the Folies-Bergère and the Alcazar, but the Paris still primitive in innocent and unbribed pleasure. And into the Bobino, its sister music hall of the common people, where the favourite Stradel and the beloved Berthe Delny, "petite poupée jolie," as she so modestly terms herself, bring the grocer and his wife and children and the baker and his wife and children temporarily out of their glasses of Bock to yell their immense approval and clap their hands. I have heard many an audience applaud. I have heard applause for Tree at His Majesty's in London, for Schroth at the Kleines in Berlin, for Féraudy at the Comédie Française, for Skinner at the Knickerbocker—and it was stentorian applause and sincere—but I have never heard applause like the applause of the audience of these drabber halls. The thunders of the storm king are as a sonata against the staggering artillery of approbation when Pharnel of the Montparnasse sings "C'est pas difficile"; the howlings of the north wind are as zephyrs against the din of eulogy when Marius Reybas of the Bobino lifts a mighty larynx in "Mahi Mahi." Great talent? Well, maybe not. But show me a group of vaudevillians and acrobats who, like this group at the Gaité, can amuse one night with risqué ballad and somersault and the next with Molière—and not be shot dead on the spot!
Leave behind you Fysher's, where the smirking monsieur fills the red upholstery with big-spending American hinds by warbling into their liquored bodies cocoa butter ballades of love and passion, and come over to the untufted Maillol's. And hear Maillol sing for the price of a beer. Maillol's lyrics are not for the American virgin: but, at that, they sing laughter in place of Fysher lech. Leave behind you Paillard's, vainglorious in its bastard salades Danicheff, its soufflés Javanaise; leave the blatant Boulevard des Italiens for the timid bistrop of Monsieur Delmas in the scrawny Rue Huygens, with its soupe aux legumes at twenty centimes the bowl, its cotelette de veau at fifty the plate. A queer oasis, this, with old Delmas's dog suffering from the St. Vitus and quivering against the tables as you eat; with its marked napkins in a rack, like the shaving cups in a rural barber shop, one napkin a week to each regular patron. Avaunt, ye gauds of Americanized Paris. Here are poor and starving artists come to dine aristocratically on seventy-five centimes—fifteen cents. Here are no gapings of Cook's; here no Broadway prowlers. A dank hole, yes, but in its cracked plaster the sense of Romany sunsets of yonder times. Leave behind the dazzling dance places of theatrical Montmartre, American, and come back of the wine shop in the Rue de la Montagne-Sainte-Geneviève! Leave behind the turning mill wheel, American, and come into the Avenue de Choisy, where over a preglacial store a couple of cornets baffle the night and set a hundred feet in motion, feet from the Gobelin quarter, feet from the Butte-aux-Cailles! More leathery feet, to be sure, than the suéde feet of the Ziegfeld Montmartre, but kicking up a different wax dust, the wax dust of a different Paris.
* * * * *
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 Coeur 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 
PARIS
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 world 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.
The only thing that changes in Paris is the Paris of the Americans, that foul swelling at the Carrara throat of Youth's fairyland. It is this Paris, cankered with the erosions of foreign gold and foreign itch, that has placed "souvenirs" on sale at the Tomb of Napoleon, that vends obscenities on the boulevards, that has raised the price of bouillabaisse to one franc fifty, that has installed ice cream at the Brasserie Zimmer, that has caused innumerable erstwhile French working girls to don short yellow skirts, stick roses in their mouths, wield castanets and become Spanish dancers in the restaurants. It is this Paris that celebrates the hour of the apéritif with Bronx cocktails and "stingers," that has put Chicken à la King on the menu of the Soufflet, that has enabled the ober-kellner of Ledoyen to purchase a six-cylinder Benz, that has introduced forks in the Rue Falguiére, that has made the beguins at the annual Quat'-z-Arts ball conscious of the visibility of their legs. It is this Paris that puts on evening clothes in order to become properly soused at Maxim's and cast confetti at the Viennese Magdalenes, that fights the cabmen, that sings "We Won't Go Home Till Morning" at the Catélan, that buys a set of Maupassant in the original French (and then can't read it), that sits in front of the Café de la Paix reading the New York Morning Telegraph and wondering what Jake and the rest of the gang are doing back home, that gives the Pittsburgh high sign to every good-looking woman walking on the boulevards in the belief that all French women are in the constant state of desiring a liaison, that callouses its hands in patriotic music hall applause for that great American, Harry Pilcer, that trips the turkey trot with all the Castle interpolations at the Tabarin. It is this Paris that changes year by year—from bad to worse. It is this Paris that remembers Gaby Deslys and forgets Cécile Sorel, that remembers Madge Lessing and arches its eyebrow in interrogation as to Marie Leconte. This is the Paris of Sniff and Snicker, this the Paris of New York.
But the other Paris, the Paris of the canorous night, the Paris of the Parisians! The little studio in the Rue Leopold Robert ... Alinette and Reine and Renée ... the road to Auteuil under the moon-shot baldaquin of French stars ... the crowd in the old gathering place in the Boulevard Raspail ... the music of the heathen streets ... dawn in the Gardens of the Luxembourg....
Yes, there's a Paris that never changes. Always it's there for some one, some one still young, still dreaming, still with eyes that sweep the world with youth's wild ambitions. Always it's there, across the seas, for some one—maybe no longer you and me, exiles of the years in this far-away America—but still for some one younger, some one for whom the loves and adventures and the hazards of life are still so all-wondrous, so all-worth-while, so almighty. But, however old, however hardened by the trickeries of passing decades, those who have loved Paris, those to whom Paris has lifted her lips in youth, these never say good-bye to her. For in their hearts sings on her romance, for in their hearts march on the million memories of her gipsy days and nights.