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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..14f2e5d --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #69400 (https://www.gutenberg.org/ebooks/69400) diff --git a/old/69400-0.txt b/old/69400-0.txt deleted file mode 100644 index f6228f8..0000000 --- a/old/69400-0.txt +++ /dev/null @@ -1,807 +0,0 @@ -The Project Gutenberg eBook of Gay life in Paris, Multum in parvo -library, vol. 2, no. 18, June, 1895, by Anonymous - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Gay life in Paris, Multum in parvo library, vol. 2, no. 18, June, - 1895 - -Author: Anonymous - -Release Date: November 21, 2022 [eBook #69400] - -Language: English - -Produced by: Demian Katz, Craig Kirkwood, and the Online Distributed - Proofreading Team at https://www.pgdp.net (Images courtesy - of the Digital Library@Villanova University.) - -*** START OF THE PROJECT GUTENBERG EBOOK GAY LIFE IN PARIS, MULTUM IN -PARVO LIBRARY, VOL. 2, NO. 18, JUNE, 1895 *** - - -Transcriber’s Note: - -Text enclosed by underscores is in italics (_italics_). - -Additional Transcriber’s Notes are at the end. - - * * * * * - -MULTUM IN PARVO LIBRARY. - -Entered at the Boston Post Office as second class matter. - -Vol. 2. JUNE, 1895. Published Monthly. No. 18. - - - - -GAY LIFE IN PARIS. - - - How Life is Enjoyed by the - People of that Great - Metropolis. - - Smallest Magazine in the world. Subscription price - 50 cts. per year. Single Copies 5 cts. each. - - PUBLISHED BY - A. B. COURTNEY, - Room 74, 45 Milk Street, - BOSTON, MASS. - - * * * * * - -[Illustration: THE QUEEN OF THE MABILLE.] - - * * * * * - -GAY LIFE IN PARIS. - - - - -Preface. - - -There is an old Italian proverb, “See Naples and die,” but the French -paraphrase it in a more pleasant way and say “See Paris and pray to -live there until the end of the world.” It is with some of the females -of Paris that we have to deal in this little book. Life in the great -Metropolis is far different from the comparatively sober method of -living in our American cities. A well known journalist says: “Men and -women plunge into the lovely city as into a bath of pleasure, buffet -with the breakers, float a brief time on the cosy sea of life there, -and are then sucked down in the dark and sinister depths where ruin, -disease and death lay in wait for the prey they are sure of in the -end.” Of course this writer doesn’t mean that all men and women get -into the evil way, but he does mean that a greater proportion are -tempted by evil in Paris than in any other place. - - - - -The Jardin Mabille. - - -The day of the Jardin Mabille went by several years yet, but the -memories of it remain. The nearest approach to it, at present, is an -establishment in the Latin quarter of Paris. The Mabille was a very -elaborately and artistically arranged garden, a maze of thickets, -odorous with flowers. It had an immense closed hall for winter use. -Here once a week was held a masked ball which lasted from Saturday -night to daybreak of the Sabbath. The wickedest dances, notably the -can-can and the hula-hula, were invariably reserved for the closing -hours of the affair. The women who frequented these balls were bad, -yes, very bad, and they were met there by men in all walks of life. -Even Napoleon III has visited this den of iniquity incognito. The -writer of this had occasion to visit the Jardin Mabille and other -similar places in Paris once in company with a detective. One of the -notable dances seen was the bacchanal or wine dance. It is accompanied -with the most astonishing sensational effects. The gas burns low, -loud gongs bray dismally, cymbals clash, and the hall is brilliantly -illuminated with red and blue and green fires, amongst which pistols -are discharged and shrieks are heard in various parts of the room. -Never was a madder scene enacted in real life than the bacchanal and -the valentine on New Year’s eve. But is it real life after all, or is -it only Paris and a kind of giddy dream? We, who come only to look on -and to renew our feeble, but I trust virtuous, indignation at such -sights, turn at last from the girls in boys’ clothes and the boy in -girls’ clothes; from the jaunty sailor girl-boy who has just ridden -around the room on the shoulders of her captain; from the Queen of -Darkness who swept past us in diamonds and sables and never so much as -suffered her languishing eyes to rest for a moment on any one of us; -from the misery of the jealous one in the corner who has been robbed of -his prize, and the melancholy of the two who are advising one another -to go home, for they have each had more than enough; from all this we -turn at last and find the streets blank and cold, and over the roofs -comes the sound of bells that are calling the faithful to prayer. - -As a resort the Jardin Mabille ranked about with the Sixth Avenue dives -of New York. The general class of patrons were the same at both. The -attractions are the loose women; the attracted the silly, young and old -men. - -I have encountered there grave American business men and government -officials, and famous actresses and _prima donnæ_, bent on -investigating the gilded vice for which the Mabille has become -notorious. Indeed, the experience was said to be one without which -one’s knowledge of Paris was incomplete, and as long as the Jardin -Mabille existed, it never lacked patrons to make its sugared infamy -profitable. God be thanked that this vile institution is of the past, -and it is our regret that some French Parkhurst does not arise and -clean out the similar establishments whose gilded doors are open as the -reader is perusing this. - -[Illustration: A PAIR OF FRENCH DANCERS.] - - - - -Ballet Dancers. - - -The reader may be supposed to be familiar with the architectural -splendors of the Paris Opera House. To some minds these splendors will -perhaps become more vivid when it is said that they cost 40,000,000 -francs, say $8,000,000. I omit all general description and pass at -once behind the scenes to the _foyer de la danse_ or green-room of the -ladies of the ballet. - -It is a splendid room, decorated with allegorical panels and mirrors. -All around the room run bars fixed against the wall, and covered with -red velvet. The dancing “subjects” use these bars to stretch and twist -their legs, and to exercise the muscles of their backs. Before the -fireplace stand the children and small fry of the ballet. On each side -of the fire, dozing and gossiping are the mothers of the figurantes, -armed with baskets and knitting needles. In the middle of the room -is a little group of men, hats in hand, carefully dressed, chatting, -laughing, and apparently waiting for something. - -They are the _habitues_, and they are waiting for the arrival of the -_premiers sujets_. - -Soon these ladies appear, one by one, walking with that movement of -the hips that only dancers have, the foot turned outward and enveloped -in loose gaiters, which make them look like Cochin China hens. These -gaiters are destined to preserve their satin shoes and stockings from -dust and dirt. With a little watering-pot that they carry with their -finger tips, like shepherdesses in Watteau’s pictures, they proceed to -water about three square feet of floor; then flinging into the glass -a general and collective ogle at the group standing behind them, they -go through a variety of steps, pirouettes, smiles and capers for five -minutes. - -Then comes a little repose. The group of men breaks up, and those who -are intimate enough approach and talk to the dancers. What they say -to them is a secret. Meanwhile, the call man cries with a voice like -a rattle, “Gentlemen and ladies, they are beginning.” This is not -true. It is like saying dinner at six for half past. The incident, -however, is useful to those ladies who wish to cut short a tiresome -conversation. The reply is a caper. - -After a few minutes the call man returns: “Gentlemen and ladies, they -have begun.” - -This time it is almost true. Then the ladies take off their gaiters, -hand the watering-pots to their mothers, to their chamber-maids, or to -the persons who combine these two offices, and with much strutting and -muscular mannerism direct their steps toward the stage. - -Those who enjoy the privilege of the entry to the _foyer_ of the opera -are the subscribers, the Ministers, influential journalists, and a few -other persons whom it pleases the director to gratify. All rich folk, -you may be sure, for unless you are rich you cannot be an habitue -of the opera. As Hector Berlioz used to say, “Music is essentially -aristocratic, a girl of noble lineage, that princes alone can endow -nowadays.” - - - - -How Divided. - - -And now let me say a few words about the ladies of the ballet. They -are divided into premiers, sujets, coryphees, figurants and comparses. -I maintain the French terms for the simple reason that there are no -Anglo-Saxon equivalents. - -The _corps de ballet_, like an army corps, is composed of platoons, -divided first of all according to the sexes, and then into quadrilles, -first and second. The pay in the second quadrille is 700 to 800 francs -a year; in the first, 900 to 1,000 francs; a _coryphee_ gets 1,200, -1,300, or 1,400 francs. The next stage is _sujet_, with an engagement -of three years and a salary beginning at 1,600 francs and increasing up -to 2,000 francs in the last year. - -These are the stages through which the members of the ballet of the -opera pass. And what a hard time they have! Take, for instance, the -_coryphees_ and the members of the two quadrilles. They arrive at the -opera, say a quarter to 9 in the morning, each armed with a leather -bag, containing a pair of stockings, some dancing shoes, a corset, a -chimisette, a comb, a hand mirror, a button hook, a box of face powder, -a piece of bread, two sardines, some potatoes, and a bottle containing -more water than wine. - -Each one climbs up to the fifth story and enters a room, where her -comrades of the quadrille are dressing. In five minutes she has put on -her class costume--low necked chimisette, with short sleeves, muslin -skirt, rose-colored stockings, shabby satin shoes, a blue ribbon round -her neck, and in her corset a bunch of brass medals, a piece of red -coral, and two little crosses. These are her fetiches. No danseuse who -respects herself can do anything without her fetiches or lucky charms. - -Up two more flights of stairs, she arrives in the large square -instruction room under the cupola, with the floor slightly inclined to -reproduce the slope of the stage. The only furniture is a chair for the -teacher, Mme. Merante, a chair for the violin player, Francois Merante, -and all around the room bars such as we have already seen in the _foyer -de la danse_. - -“Take your places, young ladies!” cries Mme. Merante. The girls place -themselves at the bar, and holding it now with the right hand and now -with the left, twist and dislocate their bodies in every possible -fashion. This is only a preparation for the lesson proper. After these -exercises, the teacher calls the pupils into the middle of the room, -and then begin the figures and pirouettes. If our heroine is ambitious, -she will not be content with the lesson alone, but undertake in a -corner by herself a number of intricate and peculiar dislocations -during the intervals of repose. - -The lesson is over. It is 11 o’clock. The girls hurry to their -dressing-rooms to change their linen, after which they breakfast in -company on sardines, radishes, sour apples, gossip and fried potatoes. -At noon the bell rings for rehearsal. The girls have to come down on -the stage, and finish their breakfast while the stage manager calls out -the names and the ballet master talks to the composer. The rehearsal -drags along until 4 o’clock. Then the girls climb up again to their -dressing-room, put on their ordinary clothing, and leave the theatre. - -It is 5 o’clock by the time they reach their homes, where their -mothers, worthy _concierges_ or washerwomen, are waiting for their -daughters to peel the potatoes for dinner. They have only time to -wash, to hurry through their dinner, and return to the opera in time -for the first act. A _coryphee_, for instance, will play a page in -the first act, appear in the second, and take part in the ballet in -the third. During the fourth act she remains in her dressing-room, and -does a little crochet, but hardly has she done a few points before -the call man’s voice is heard in the lobbies: “Ladies, the fourth act -is finished.” She changes her costume, scampers down the stairs, and -rushes upon the stage. The curtain falls. The _coryphee_ regains her -dressing-room, puts on her ordinary clothes, and leaves the theatre. -It is nearly 1 o’clock when she reaches her home, and, after eating a -bit of bread and cheese while she undresses, she creeps into her narrow -bed. Her day’s work is over. - - - - -Hard Labor for Girls. - - -Indeed, there is but little poetry in the existence of the smiling and -light-footed dancers whose pirouettes afford so much pleasure to the -old gentlemen in the orchestra stalls. They begin often at the age of -5 or 6 in the _class des petites_, and then every day in the year they -practice and toil and chatter and caper until from _rats_ they become -successful _figurantes_ at the rate of one franc a night, members of -the first and second quadrilles, _coryphees_ and _sujets_. Then at the -end of their first three years’ engagement begins a period of bitter -grief. For then it often happens that, instead of encouraging them and -giving them a decent salary, the administration of the opera chooses -its stars from among foreigners. - - - - -A Borrowed Mother. - - -The _danseuse_ always has a mother; if the fates cut the thread of the -days of her natural parent, she will borrow, hire, or buy a new one. -It is an article of primary necessity. The mother holds her daughter’s -shawl in the wings, watches her dance, covers her shoulders when her -_pas_ is over, and offers her a little bottle of cold beef tea to -quench her thirst and keep up her strength. Take for a sample mother -Mme. N., who begins her day as a fruit seller at 6 o’clock in the -morning. She mounts into her little cart and trots off to the Central -Market, where she lays in her provision of cabbages, turnips, carrots, -and salads. Then, on summer evenings, about 8 o’clock, a tall lackey -enters her shop, and Mme. N., dressed in her Sunday best, gets into -Mons. de P’s victoria and takes a ride in the Bois de Boulogne with her -daughter. Mme. N. is a living encyclopædia, a gazette of the market and -of the court. - -[Illustration] - - - - -French Female Beauties. - - -If you enjoy nice photographs of female beauties, here is your -opportunity. For only ten cents, we will send to you forty photographs -of the most charming French girls in tights. Each photograph is mounted -on a card and the lot of 40 card photos makes an exquisite, unique and -_petite_ collection. Ordinarily, you know, pictures of actresses in -tights cost ten cents each, but here we make the remarkable offer of -forty separate card photographs. Send ten cents, silver or stamps, to -Keystone Book Co., Box 1634, Philadelphia, Pa., or to the firm from -whom you purchased this little volume. - - - - -Incident in a Dive. - - -One day when the writer of this was visiting one of the low dives of -Paris, in company with a detective, the latter said to him: - -“Do you see that fellow at the third right-hand table, reading a -letter to a drunken woman? He is an ex-lawyer’s clerk who has gone -to the dogs through strong drink. He hangs round pot-houses and, for -a drink, writes begging letters and bogus letters of reference for -customers. Every time he is arrested for being drunk his pockets are -full of well-written notes, addressed to prominent people, recommending -meritorious cases of necessity to their notice. The next table is -occupied by two prostitutes smoking cigarettes, and a couple of -sneaking blackguards who secretly sell obscene pictures and transparent -cards on the boulevards. Still further on are a lot of the ‘bankers’ -or hawkers, who sell newspapers and pamphlets with loud cries of ‘Last -night’s murder!’ or ‘Frightful scandal--full and minute particulars!’ -Mixed in with them are street singers, street musicians and other -Bohemians of the lowest class.” - - - - -Unmasked. - - -On receipt of 30 cents we will send, postpaid, a large book entitled -“Mabille Unmasked.” It tells of the wickedest place in the world, how -it was started, who have patronized it, and what has happened there. It -is one of the greatest sensational books of the age. A notable feature -is that it is full of pictures taken from life. Send 30 cents, stamps, -to U. S. Supply Co., Box 329, Lynn, Mass. Another sensational book is -entitled “Coney Island Frolics.” It is profusely illustrated. Sent -postpaid for 30 cents by U. S. Supply Co. - - - - -Deep In Sin. - - -At the entrance to the Rue de Trois Portes, the writer made a sudden -move. “Here’s a poor, ragged woman lying stretched out on the sidewalk. -She looks as if she might be dead.” - -“Dead drunk,” responded the Chief of Detectives, cynically. “Even -animal life seems suspended. Do you detect a very loathsome smell? It -is a combination of all the drinks and perfumes popular among women of -her kind. She is still young--hardly thirty years old.” Between her -thick lips gleamed fine white teeth. She must have been pretty at one -time. - -“How disgusting she looks, all plastered over with mud.” - -“She is what they call a ‘sidewalker.’” - -“What’s that?” - -“It is the slang name for a class of prostitutes whose only home is -the scaffolding round some old house that is being pulled down, or -some new one that is being built. They carry on their trade in the -open air under bridges, in the trenches of the fortifications, in back -alleys, where there are no janitors. Once a week, regularly, this one -fetches up in the station-house. She comes lawfully by her drunkenness. -Her mother died in hospital of delirium tremens. Her father committed -suicide while drunk. She herself has almost got to the end of her rope. -Some day, coming out of a pot-house, she’ll drop dead in the street, -and then she’ll be on show, for the last time, at the Morgue. Although -known to thousands, nobody will claim her body, and she will be turned -over to the medical school for dissection.” - -“What was her parents’ business?” - -“Her mother’s trade could not be classified. Her father was a -perambulating ‘fence,’ who used to peddle stolen goods from door to -door.” - - - - -A Hellish Babel. - - -A saloon called “The Senate” contained tables almost touching each -other, at which customers, male and female, were packed like herrings -in a barrel. - -The uproar was something indescribable. Some were shouting, some were -screaming, some were reciting obscene verses. Five or six indecent -choruses were being sung at the same time. Language of incredible -foulness was roared from one to another, shrieks of drunken laughter -and the crash of broken glass were incessant. - -To overhear one’s neighbor, one had to bend his ear right to his mouth. -The solitary waiter, sweating like a runaway horse, was in evil humor. -Woe to the man who stood in his way. - -Everything was paid for in advance, and all drinks cost 15 centimes -(7-1/2 cents). - -The decorations of this dive are its most remarkable -characteristic--for the paintings on the walls, which were singularly -well executed, were filthy and obscene beyond description. Human -beings, male and female, were represented, life size, engaged in -performances and operations which are never mentioned even among -savages. - -[Illustration: ADIEU--ALA FRANCAISE.] - - * * * * * - -Transcriber’s Note: - -Punctuation has been made consistent. - -*** END OF THE PROJECT GUTENBERG EBOOK GAY LIFE IN PARIS, MULTUM IN -PARVO LIBRARY, VOL. 2, NO. 18, JUNE, 1895 *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/69400-0.zip b/old/69400-0.zip Binary files differdeleted file mode 100644 index 5d3fb63..0000000 --- a/old/69400-0.zip +++ /dev/null diff --git a/old/69400-h.zip b/old/69400-h.zip Binary files differdeleted file mode 100644 index 8299958..0000000 --- a/old/69400-h.zip +++ /dev/null diff --git a/old/69400-h/69400-h.htm b/old/69400-h/69400-h.htm deleted file mode 100644 index da64985..0000000 --- a/old/69400-h/69400-h.htm +++ /dev/null @@ -1,1168 +0,0 @@ -<!DOCTYPE html> -<html lang="en"> -<head> - <meta charset="UTF-8"> - <title> - Gay life in Paris, by Anonymous—A Project Gutenberg eBook - </title> - <style> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -h2{font-size:large} - -.p1 {margin-top: 1em;} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -@media print { hr.chap {display: none; visibility: hidden;} } -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;margin-top:0.5em;margin-bottom:0.5em} - -div.chapter {page-break-before: always;} -.nobreak {page-break-before: avoid; - padding-top: 0;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; -} /* page numbers */ - -.boxit{ - max-width: 24em; - padding: 1em; - border: 0.15em solid black; - margin: 0 auto; } - -.displayinline{display:inline-block; line-height:1} - -/*fractions*/ -.fnum, .fden { font-size: .7em; } -.fnum { vertical-align: text-top } -.fden { vertical-align: text-bottom } - -.nowrap { - white-space:nowrap; - word-spacing:-0.2em; -} -/* end fractions */ - -.center {text-align: center;} - -.caption {font-weight: bold;} - -/* Images */ - -img { - max-width: 100%; - height: auto; -} - -img.w100 {width: 100%;} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -/* Transcriber's notes */ -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; } - -/*CSS to set font sizes*/ -/*font sizes for non-header font changes*/ -.xxlargefont{font-size: xx-large} -.xlargefont{font-size: x-large} -.largefont{font-size: large} -.smallfont{font-size: small} -.boldfont{font-weight:bold} -.sansseriffont{font-family:sans-serif} - -/* Illustration classes */ -.illowp100 {width: 100%;} -.illowp49 {width: 49%;} -.x-ebookmaker .illowp49 {width: 100%;} -.illowp58 {width: 58%;} -.illowp89 {width: 89%;} - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Gay life in Paris, Multum in parvo library, vol. 2, no. 18, June, 1895, by Anonymous</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Gay life in Paris, Multum in parvo library, vol. 2, no. 18, June, 1895</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Anonymous</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: November 21, 2022 [eBook #69400]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Demian Katz, Craig Kirkwood, and the Online Distributed Proofreading Team at https://www.pgdp.net (Images courtesy of the Digital Library@Villanova University.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK GAY LIFE IN PARIS, MULTUM IN PARVO LIBRARY, VOL. 2, NO. 18, JUNE, 1895 ***</div> - -<div class="figcenter illowp49" style="max-width: 57.1875em;"> - <img id="coverpage" class="w100" src="images/cover.jpg" alt="Cover."> -</div> - -<hr class="tb x-ebookmaker-drop"> -<div class="chapter"> -<div class="boxit"> -<p class="center xlargefont sansseriffont boldfont">MULTUM IN PARVO LIBRARY.</p> - -<p class="center">Entered at the Boston Post Office as second class matter.</p> - -<hr class="full"> - - -<div class="center"> -<p class="displayinline xlargefont sansseriffont" style="vertical-align:top">Vol. 2.</p> -<p class="displayinline center" style="vertical-align:top; margin-left:1.5em; margin-right:1.5em">JUNE, 1895.<br> -Published Monthly.</p> -<p class="displayinline xlargefont sansseriffont" style="vertical-align:top">No. 18.</p> -</div> - -<hr class="full"> - -<h1 class="nobreak">GAY LIFE<br> -IN<br> -PARIS.</h1> - - -<p class="center xlargefont boldfont sansseriffont">How Life is Enjoyed by the<br> -People of that Great<br> -Metropolis.</p> - -<hr class="full" style="margin-top:1em"> - -<p class="center">Smallest Magazine in the world. Subscription price<br> -50 cts. per year. Single Copies 5 cts. each.</p> - -<p class="center p1"><span class="smallfont">PUBLISHED BY</span><br> -<span class="boldfont largefont">A. B. COURTNEY,<br> -Room 74, 45 Milk Street,<br> -BOSTON, MASS.</span></p> -</div></div> - -<hr class="tb x-ebookmaker-drop"> - -<div class="chapter"> -<div class="figcenter illowp58" style="max-width: 21.5625em;"> - <img class="w100" src="images/i002.jpg" alt=""> - <div class="caption"><p class="center">THE QUEEN OF THE MABILLE.</p></div> -</div></div> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p class="center xxlargefont nobreak" style="margin-bottom:0.5em">GAY LIFE IN PARIS.</p> - -<h2 class="nobreak">Preface.</h2> -</div> - - -<p>There is an old Italian proverb, “See Naples and -die,” but the French paraphrase it in a more -pleasant way and say “See Paris and pray to live -there until the end of the world.” It is with some -of the females of Paris that we have to deal in -this little book. Life in the great Metropolis is -far different from the comparatively sober method -of living in our American cities. A well known -journalist says: “Men and women plunge into<span class="pagenum">[3]</span> -the lovely city as into a bath of pleasure, buffet -with the breakers, float a brief time on the cosy -sea of life there, and are then sucked down in the -dark and sinister depths where ruin, disease and -death lay in wait for the prey they are sure of in -the end.” Of course this writer doesn’t mean that -all men and women get into the evil way, but he -does mean that a greater proportion are tempted -by evil in Paris than in any other place.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak">The Jardin Mabille.</h2> -</div> - - -<p>The day of the Jardin Mabille went by several -years yet, but the memories of it remain. The -nearest approach to it, at present, is an establishment -in the Latin quarter of Paris. The Mabille -was a very elaborately and artistically arranged -garden, a maze of thickets, odorous with flowers. -It had an immense closed hall for winter use. -Here once a week was held a masked ball which -lasted from Saturday night to daybreak of the -Sabbath. The wickedest dances, notably the can-can -and the hula-hula, were invariably reserved -for the closing hours of the affair. The women -who frequented these balls were bad, yes, very -bad, and they were met there by men in all walks -of life. Even Napoleon III has visited this den of -iniquity incognito. The writer of this had occasion -to visit the Jardin Mabille and other similar -places in Paris once in company with a detective.<span class="pagenum">[4]</span> -One of the notable dances seen was the bacchanal -or wine dance. It is accompanied with the most -astonishing sensational effects. The gas burns -low, loud gongs bray dismally, cymbals clash, and -the hall is brilliantly illuminated with red and blue -and green fires, amongst which pistols are discharged -and shrieks are heard in various parts of -the room. Never was a madder scene enacted in -real life than the bacchanal and the valentine on -New Year’s eve. But is it real life after all, or is -it only Paris and a kind of giddy dream? We, -who come only to look on and to renew our feeble, -but I trust virtuous, indignation at such sights, -turn at last from the girls in boys’ clothes and the -boy in girls’ clothes; from the jaunty sailor girl-boy -who has just ridden around the room on the -shoulders of her captain; from the Queen of Darkness -who swept past us in diamonds and sables -and never so much as suffered her languishing -eyes to rest for a moment on any one of us; from -the misery of the jealous one in the corner who -has been robbed of his prize, and the melancholy -of the two who are advising one another to go -home, for they have each had more than enough; -from all this we turn at last and find the streets -blank and cold, and over the roofs comes the -sound of bells that are calling the faithful to -prayer.</p> - -<p><span class="pagenum">[5]</span></p> - -<p>As a resort the Jardin Mabille ranked about -with the Sixth Avenue dives of New York. The -general class of patrons were the same at both. -The attractions are the loose women; the attracted -the silly, young and old men.</p> - -<p>I have encountered there grave American business -men and government officials, and famous -actresses and <i lang="it" xml:lang="it">prima donnæ</i>, bent on investigating -the gilded vice for which the Mabille has become -notorious. Indeed, the experience was said to be -one without which one’s knowledge of Paris was -incomplete, and as long as the Jardin Mabille -existed, it never lacked patrons to make its -sugared infamy profitable. God be thanked that -this vile institution is of the past, and it is our regret -that some French Parkhurst does not arise -and clean out the similar establishments whose -gilded doors are open as the reader is perusing this.</p> - -<div class="figcenter illowp89" style="max-width: 18.4375em;"> - <img class="w100" src="images/i005.jpg" alt=""> - <div class="caption"><p class="center">A PAIR OF FRENCH DANCERS.</p></div> -</div> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum">[6]</span></p> - -<h2 class="nobreak">Ballet Dancers.</h2> -</div> - - -<p>The reader may be supposed to be familiar with -the architectural splendors of the Paris Opera -House. To some minds these splendors will perhaps -become more vivid when it is said that they -cost 40,000,000 francs, say $8,000,000. I omit all -general description and pass at once behind the -scenes to the <i lang="fr" xml:lang="fr">foyer de la danse</i> or green-room of -the ladies of the ballet.</p> - -<p>It is a splendid room, decorated with allegorical -panels and mirrors. All around the room run -bars fixed against the wall, and covered with red -velvet. The dancing “subjects” use these bars -to stretch and twist their legs, and to exercise -the muscles of their backs. Before the fireplace -stand the children and small fry of the ballet. -On each side of the fire, dozing and gossiping are -the mothers of the figurantes, armed with baskets -and knitting needles. In the middle of the room -is a little group of men, hats in hand, carefully -dressed, chatting, laughing, and apparently waiting -for something.</p> - -<p>They are the <i lang="fr" xml:lang="fr">habitues</i>, and they are waiting for -the arrival of the <i lang="fr" xml:lang="fr">premiers sujets</i>.</p> - -<p>Soon these ladies appear, one by one, walking -with that movement of the hips that only dancers -have, the foot turned outward and enveloped in -loose gaiters, which make them look like Cochin<span class="pagenum">[7]</span> -China hens. These gaiters are destined to preserve -their satin shoes and stockings from dust -and dirt. With a little watering-pot that they -carry with their finger tips, like shepherdesses in -Watteau’s pictures, they proceed to water about -three square feet of floor; then flinging into the -glass a general and collective ogle at the group -standing behind them, they go through a variety -of steps, pirouettes, smiles and capers for five -minutes.</p> - -<p>Then comes a little repose. The group of men -breaks up, and those who are intimate enough -approach and talk to the dancers. What they -say to them is a secret. Meanwhile, the call man -cries with a voice like a rattle, “Gentlemen and -ladies, they are beginning.” This is not true. It -is like saying dinner at six for half past. The incident, -however, is useful to those ladies who wish -to cut short a tiresome conversation. The reply -is a caper.</p> - -<p>After a few minutes the call man returns: -“Gentlemen and ladies, they have begun.”</p> - -<p>This time it is almost true. Then the ladies -take off their gaiters, hand the watering-pots to -their mothers, to their chamber-maids, or to the -persons who combine these two offices, and with -much strutting and muscular mannerism direct -their steps toward the stage.</p> - -<p><span class="pagenum">[8]</span></p> - -<p>Those who enjoy the privilege of the entry to -the <i lang="fr" xml:lang="fr">foyer</i> of the opera are the subscribers, the -Ministers, influential journalists, and a few other -persons whom it pleases the director to gratify. -All rich folk, you may be sure, for unless you are -rich you cannot be an habitue of the opera. As -Hector Berlioz used to say, “Music is essentially -aristocratic, a girl of noble lineage, that princes -alone can endow nowadays.”</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak">How Divided.</h2> -</div> - - -<p>And now let me say a few words about the -ladies of the ballet. They are divided into premiers, -sujets, coryphees, figurants and comparses. -I maintain the French terms for the simple reason -that there are no Anglo-Saxon equivalents.</p> - -<p>The <i lang="fr" xml:lang="fr">corps de ballet</i>, like an army corps, is composed -of platoons, divided first of all according -to the sexes, and then into quadrilles, first and -second. The pay in the second quadrille is 700 to -800 francs a year; in the first, 900 to 1,000 francs; -a <i lang="fr" xml:lang="fr">coryphee</i> gets 1,200, 1,300, or 1,400 francs. The -next stage is <i lang="fr" xml:lang="fr">sujet</i>, with an engagement of three -years and a salary beginning at 1,600 francs and -increasing up to 2,000 francs in the last year.</p> - -<p>These are the stages through which the members -of the ballet of the opera pass. And what a -hard time they have! Take, for instance, the -<i lang="fr" xml:lang="fr">coryphees</i> and the members of the two quadrilles.<span class="pagenum">[9]</span> -They arrive at the opera, say a quarter to 9 in the -morning, each armed with a leather bag, containing -a pair of stockings, some dancing shoes, a -corset, a chimisette, a comb, a hand mirror, a -button hook, a box of face powder, a piece of -bread, two sardines, some potatoes, and a bottle -containing more water than wine.</p> - -<p>Each one climbs up to the fifth story and enters -a room, where her comrades of the quadrille are -dressing. In five minutes she has put on her class -costume—low necked chimisette, with short -sleeves, muslin skirt, rose-colored stockings, -shabby satin shoes, a blue ribbon round her neck, -and in her corset a bunch of brass medals, a piece -of red coral, and two little crosses. These are her -fetiches. No danseuse who respects herself can -do anything without her fetiches or lucky charms.</p> - -<p>Up two more flights of stairs, she arrives in the -large square instruction room under the cupola, -with the floor slightly inclined to reproduce the -slope of the stage. The only furniture is a chair -for the teacher, Mme. Merante, a chair for the -violin player, Francois Merante, and all around -the room bars such as we have already seen in -the <i lang="fr" xml:lang="fr">foyer de la danse</i>.</p> - -<p>“Take your places, young ladies!” cries Mme. -Merante. The girls place themselves at the bar, and -holding it now with the right hand and now with<span class="pagenum">[10]</span> -the left, twist and dislocate their bodies in every -possible fashion. This is only a preparation for -the lesson proper. After these exercises, the -teacher calls the pupils into the middle of the -room, and then begin the figures and pirouettes. -If our heroine is ambitious, she will not be content -with the lesson alone, but undertake in a -corner by herself a number of intricate and peculiar -dislocations during the intervals of repose.</p> - -<p>The lesson is over. It is 11 o’clock. The girls -hurry to their dressing-rooms to change their -linen, after which they breakfast in company on -sardines, radishes, sour apples, gossip and fried -potatoes. At noon the bell rings for rehearsal. -The girls have to come down on the stage, and -finish their breakfast while the stage manager -calls out the names and the ballet master talks to -the composer. The rehearsal drags along until 4 -o’clock. Then the girls climb up again to their -dressing-room, put on their ordinary clothing, -and leave the theatre.</p> - -<p>It is 5 o’clock by the time they reach their -homes, where their mothers, worthy <i lang="fr" xml:lang="fr">concierges</i> -or washerwomen, are waiting for their daughters -to peel the potatoes for dinner. They have only -time to wash, to hurry through their dinner, -and return to the opera in time for the first act. -A <i lang="fr" xml:lang="fr">coryphee</i>, for instance, will play a page in the<span class="pagenum">[11]</span> -first act, appear in the second, and take part in -the ballet in the third. During the fourth act she -remains in her dressing-room, and does a little -crochet, but hardly has she done a few points -before the call man’s voice is heard in the lobbies: -“Ladies, the fourth act is finished.” She changes -her costume, scampers down the stairs, and -rushes upon the stage. The curtain falls. The -<i lang="fr" xml:lang="fr">coryphee</i> regains her dressing-room, puts on her -ordinary clothes, and leaves the theatre. It is -nearly 1 o’clock when she reaches her home, and, -after eating a bit of bread and cheese while she -undresses, she creeps into her narrow bed. Her -day’s work is over.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak">Hard Labor for Girls.</h2> -</div> - - -<p>Indeed, there is but little poetry in the existence -of the smiling and light-footed dancers whose -pirouettes afford so much pleasure to the old gentlemen -in the orchestra stalls. They begin often -at the age of 5 or 6 in the <i lang="fr" xml:lang="fr">class des petites</i>, and -then every day in the year they practice and toil -and chatter and caper until from <i lang="fr" xml:lang="fr">rats</i> they become -successful <i lang="fr" xml:lang="fr">figurantes</i> at the rate of one franc a -night, members of the first and second quadrilles, -<i lang="fr" xml:lang="fr">coryphees</i> and <i lang="fr" xml:lang="fr">sujets</i>. Then at the end of their -first three years’ engagement begins a period of -bitter grief. For then it often happens that, instead -of encouraging them and giving them a<span class="pagenum">[12]</span> -decent salary, the administration of the opera -chooses its stars from among foreigners.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak">A Borrowed Mother.</h2> -</div> - - -<p>The <i lang="fr" xml:lang="fr">danseuse</i> always has a mother; if the fates -cut the thread of the days of her natural parent, -she will borrow, hire, or buy a new one. It is an -article of primary necessity. The mother holds -her daughter’s shawl in the wings, watches her -dance, covers her shoulders when her <i lang="fr" xml:lang="fr">pas</i> is over, -and offers her a little bottle of cold beef tea to -quench her thirst and keep up her strength. Take -for a sample mother Mme. N., who begins her day -as a fruit seller at 6 o’clock in the morning. She -mounts into her little cart and trots off to the -Central Market, where she lays in her provision of -cabbages, turnips, carrots, and salads. Then, on -summer evenings, about 8 o’clock, a tall lackey -enters her shop, and Mme. N., dressed in her Sunday -best, gets into Mons. de P’s victoria and takes -a ride in the Bois de Boulogne with her daughter. -Mme. N. is a living encyclopædia, a gazette of -the market and of the court.</p> - -<div class="figcenter illowp100" style="max-width: 16.25em;"> - <img class="w100" src="images/i012.jpg" alt="Swimming lady."> -</div> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum">[13]</span></p> - -<h2 class="nobreak">French Female Beauties.</h2> -</div> - - -<p>If you enjoy nice photographs of female beauties, -here is your opportunity. For only ten cents, -we will send to you forty photographs of the most -charming French girls in tights. Each photograph -is mounted on a card and the lot of 40 card -photos makes an exquisite, unique and <i lang="fr" xml:lang="fr">petite</i> -collection. Ordinarily, you know, pictures of -actresses in tights cost ten cents each, but here -we make the remarkable offer of forty separate -card photographs. Send ten cents, silver or -stamps, to Keystone Book Co., Box 1634, Philadelphia, -Pa., or to the firm from whom you purchased -this little volume.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak">Incident in a Dive.</h2> -</div> - - -<p>One day when the writer of this was visiting one -of the low dives of Paris, in company with a detective, -the latter said to him:</p> - -<p>“Do you see that fellow at the third right-hand -table, reading a letter to a drunken woman? He -is an ex-lawyer’s clerk who has gone to the dogs -through strong drink. He hangs round pot-houses -and, for a drink, writes begging letters and bogus -letters of reference for customers. Every time he -is arrested for being drunk his pockets are full of -well-written notes, addressed to prominent people, -recommending meritorious cases of necessity to<span class="pagenum">[14]</span> -their notice. The next table is occupied by two -prostitutes smoking cigarettes, and a couple of -sneaking blackguards who secretly sell obscene -pictures and transparent cards on the boulevards. -Still further on are a lot of the ‘bankers’ or hawkers, -who sell newspapers and pamphlets with -loud cries of ‘Last night’s murder!’ or ‘Frightful -scandal—full and minute particulars!’ Mixed in -with them are street singers, street musicians -and other Bohemians of the lowest class.”</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak">Unmasked.</h2> -</div> - - -<p>On receipt of 30 cents we will send, postpaid, a -large book entitled “Mabille Unmasked.” It tells -of the wickedest place in the world, how it was -started, who have patronized it, and what has -happened there. It is one of the greatest sensational -books of the age. A notable feature is that -it is full of pictures taken from life. Send 30 cents, -stamps, to U. S. Supply Co., Box 329, Lynn, Mass. -Another sensational book is entitled “Coney Island -Frolics.” It is profusely illustrated. Sent postpaid -for 30 cents by U. S. Supply Co.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak">Deep In Sin.</h2> -</div> - - -<p>At the entrance to the Rue de Trois Portes, the -writer made a sudden move. “Here’s a poor, -ragged woman lying stretched out on the sidewalk. -She looks as if she might be dead.”</p> - -<p><span class="pagenum">[15]</span></p> - -<p>“Dead drunk,” responded the Chief of Detectives, -cynically. “Even animal life seems suspended. -Do you detect a very loathsome smell? -It is a combination of all the drinks and perfumes -popular among women of her kind. She is still -young—hardly thirty years old.” Between her -thick lips gleamed fine white teeth. She must -have been pretty at one time.</p> - -<p>“How disgusting she looks, all plastered over -with mud.”</p> - -<p>“She is what they call a ‘sidewalker.’”</p> - -<p>“What’s that?”</p> - -<p>“It is the slang name for a class of prostitutes -whose only home is the scaffolding round some -old house that is being pulled down, or some new -one that is being built. They carry on their trade -in the open air under bridges, in the trenches of -the fortifications, in back alleys, where there are -no janitors. Once a week, regularly, this one -fetches up in the station-house. She comes lawfully -by her drunkenness. Her mother died in -hospital of delirium tremens. Her father committed -suicide while drunk. She herself has almost -got to the end of her rope. Some day, -coming out of a pot-house, she’ll drop dead in the -street, and then she’ll be on show, for the last -time, at the Morgue. Although known to thousands, -nobody will claim her body, and she will be -turned over to the medical school for dissection.”</p> - -<p>“What was her parents’ business?”</p> - -<p>“Her mother’s trade could not be classified. -Her father was a perambulating ‘fence,’ who -used to peddle stolen goods from door to door.”</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum">[16]</span></p> - -<h2 class="nobreak">A Hellish Babel.</h2> -</div> - - -<p>A saloon called “The Senate” contained tables -almost touching each other, at which customers, -male and female, were packed like herrings in a -barrel.</p> - -<p>The uproar was something indescribable. Some -were shouting, some were screaming, some were -reciting obscene verses. Five or six indecent -choruses were being sung at the same time. -Language of incredible foulness was roared from -one to another, shrieks of drunken laughter and -the crash of broken glass were incessant.</p> - -<p>To overhear one’s neighbor, one had to bend his -ear right to his mouth. The solitary waiter, -sweating like a runaway horse, was in evil humor. -Woe to the man who stood in his way.</p> - -<p>Everything was paid for in advance, and all -drinks cost 15 centimes (<span class="nowrap">7 <span class="fnum">1</span>/<span class="fden">2</span></span> cents).</p> - -<p>The decorations of this dive are its most remarkable -characteristic—for the paintings on the walls, -which were singularly well executed, were filthy -and obscene beyond description. Human beings, -male and female, were represented, life size, engaged -in performances and operations which are -never mentioned even among savages.</p> - -<div class="figcenter illowp100" style="max-width: 24.375em;"> - <img class="w100" src="images/i016.jpg" alt=""> - <div class="caption"><p class="center">ADIEU—ALA FRANCAISE.</p></div> -</div> - -<hr class="tb x-ebookmaker-drop"> - -<div class="chapter"> -<div class="transnote"> -<h2 style="margin-top: 0em">Transcriber’s Note:</h2> - -<p>Punctuation has been made consistent.</p> -</div></div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK GAY LIFE IN PARIS, MULTUM IN PARVO LIBRARY, VOL. 2, NO. 18, JUNE, 1895 ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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