Paris is a beast of a city to be in—to those who cannot get out of it.
Rousseau said well, that all the time he was in it, he was only trying
how he should leave it. It would still bear Rabelais’ double etymology
of _Par-ris_ and _Lutetia_.[29] There is not a place in it where you can
set your foot in peace or comfort, unless you can take refuge in one of
their hotels, where you are locked up as in an old-fashioned citadel,
without any of the dignity of romance. Stir out of it, and you are in
danger of being run over every instant. Either you must be looking
behind you the whole time, so as to be in perpetual fear of their
hackney-coaches and cabriolets; or, if you summon resolution, and put
off the evil to the last moment, they come up against you with a sudden
acceleration of pace and a thundering noise, that dislocates your
nervous system, till you are brought to yourself by having the same
startling process repeated. Fancy yourself in London with the footpath
taken away, so that you are forced to walk along the middle of the
streets with a dirty gutter running through them, fighting your way
through coaches, waggons, and handcarts trundled along by large
mastiff-dogs, with the houses twice as high, greasy holes for
shop-windows, and piles of wood, green-stalls, and wheelbarrows placed
at the doors, and the contents of wash-hand basins pouring out of a
dozen stories—fancy all this and worse, and, with a change of scene, you
are in Paris. The continual panic in which the passenger is kept, the
alarm and the escape from it, the anger and the laughter at it, must
have an effect on the Parisian character, and tend to make it the
whiffling, skittish, snappish, volatile, inconsequential, unmeaning
thing it is. The coachmen nearly drive over you in the streets, because
they would not mind being driven over themselves—that is, they would
have no fear of it the moment before, and would forget it the moment
after. If an Englishman turns round, is angry, and complains, he is
laughed at as a blockhead; and you must submit to be rode over in your
national character. A horseman makes his horse curvet and capriole right
before you, because he has no notion how an English lady, who is
passing, can be nervous. They run up against you in the street out of
mere heedlessness and hurry, and when you expect to have a quarrel (as
would be the case in England) make you a low bow and slip on one side,
to shew their politeness. The very walk of the Parisians, that light,
jerking, fidgetting trip on which they pride themselves, and think it
grace and spirit, is the effect of the awkward construction of their
streets, or of the round, flat, slippery stones, over which you are
obliged to make your way on tiptoe, as over a succession of
stepping-stones, and where natural ease and steadiness are out of the
question. On the same principle, French women shew their legs (it is a
pity, for they are often handsome, and a stolen glimpse of them would
sometimes be charming) sooner than get draggle-tailed; and you see an
old French beau generally walk like a crab nearly sideways, from having
been so often stuck up in a lateral position between a coach-wheel, that
threatened the wholeness of his bones, and a stone-wall that might
endanger the cleanliness of his person. In winter, you are splashed all
over with the mud; in summer, you are knocked down with the smells. If
you pass along the middle of the street, you are hurried out of breath;
if on one side, you must pick your way no less cautiously. Paris is a
vast pile of tall and dirty alleys, of slaughter-houses and barbers’
shops—an immense suburb huddled together within the walls so close, that
you cannot see the loftiness of the buildings for the narrowness of the
streets, and where all that is fit to live in, and best worth looking
at, is turned out upon the quays, the boulevards, and their immediate
vicinity.
Paris, where you can get a sight of it, is really fine. The view from
the bridges is even more imposing and picturesque than ours, though the
bridges themselves and the river are not to compare with the Thames, or
with the bridges that cross it. The mass of public buildings and houses,
as seen from the Pont Neuf, rises around you on either hand, whether you
look up or down the river, in huge, aspiring, tortuous ridges, and
produces a solidity of impression and a fantastic confusion not easy to
reconcile. The clearness of the air, the glittering sunshine, and the
cool shadows add to the enchantment of the scene. In a bright day, it
dazzles the eye like a steel mirror. The view of London is more open and
extensive; it lies lower, and stretches out in a lengthened line of
dusky magnificence. After all, it is an ordinary town, a place of trade
and business. Paris is a splendid vision, a fabric dug out of the earth,
and hanging over it. The stately, old-fashioned shapes and jutting
angles of the houses give it the venerable appearance of antiquity,
while their texture and colour clothe it in a robe of modern splendour.
It looks like a collection of palaces, or of ruins! They have, however,
no single building that towers above and crowns the whole, like St.
Paul’s, (the Pantheon is a stiff, _unjointed_ mass to it)—nor is
_Notre-Dame_ at all to be compared to Westminster-Abbey with its Poets’
Corner, that urn full of noble English ashes, where Lord Byron was
ashamed to lie. The Chamber of Deputies (formerly the residence of the
Dukes of Bourbon) presents a brilliant frontispiece, but it is a kind of
architectural abstraction, standing apart, and unconnected with every
thing else, not burrowing, like our House of Commons (that true and
original model of a Representative Assembly House!) almost underground,
and lost among the _rabble_ of streets. The Tuileries is also a very
noble pile of buildings, if not a superb piece of architecture. It is a
little heavy and monotonous, a habitation for the bodies or for the
minds of Kings, but it goes on in a laudable jog-trot, right-lined
repetition of itself, without much worth or sense in any single part
(like the accumulation of greatness in an hereditary dynasty). At least
it ought to be finished (for the omen’s sake), to make the concatenation
of ideas inviolable and complete! The Luxembourg, the Hospital of
Invalids, the Hall of Justice, and innumerable other buildings, whether
public or private, are far superior to any of the kind we have in
London, except Whitehall, on which Inigo Jones laid his graceful hands;
or Newgate, where we English shine equally in architecture, morals, and
legislation. Our palaces (within the bills of mortality) are dog-holes,
or receptacles for superannuated Abigails, and tabbies of either
species. Windsor (whose airy heights are placed beyond them) is, indeed,
a palace for a king to inhabit, or a poet to describe, or to turn the
head of a prose-writer. (See Gray’s Ode, and the famous passage in Burke
about it.) Buonaparte’s Pillar, in the Place Vendôme, cast in bronze,
and with excellent sculptures, made of the cannon taken from the Allies
in their long march to Paris, is a fine copy of the antique. A white
flag flaps over it. I should like to write these lines at the bottom of
it. Probably, Mr. Jerdan will know where to find them.
‘The painful warrior, famoused for fight
After a thousand victories once foiled,
Is from the book of honour razed quite,
And all the rest forgot, for which he toiled.’
The new streets and squares in this neighbourhood are also on an
improved plan—there is a double side-path to walk on, the shops are more
roomy and richer, and you can stop to look at them in safety. This is as
it should be—all we ask is common sense. Without this practical
concession on their parts, in the dispute whether Paris is not better
than London, it would seem to remain a question, whether it is better to
walk on a mall or in a gutter, whether airy space is preferable to fetid
confinement, or whether solidity and show together are not better than
mere frippery? But for a real West End, for a solid substantial _cut_
into the heart of a metropolis, commend me to the streets and squares on
each side of the top of Oxford-street—with Grosvenor and Portman squares
at one end, and Cavendish and Hanover at the other, linked together by
Bruton, South-Audley, and a hundred other fine old streets, with a broad
airy pavement, a display of comfort, of wealth, of taste, and rank all
about you, each house seeming to have been the residence of some
respectable old English family for half a century past, and with
Portland-place looking out towards Hampstead and Highgate, with their
hanging gardens and lofty terraces, and Primrose-hill nestling beneath
them, in green, pastoral luxury, the delight of the Cockney, the
aversion of Sir Walter and his merry-men! My favourite walk in Paris is
to the Gardens of the Tuileries. Paris differs from London in this
respect, that it has no suburbs. The moment you are beyond the barriers,
you are in the country to all intents and purposes. You have not to wade
through ten miles of straggling houses to get a breath of fresh air, or
a peep at nature. It is a blessing to counterbalance the inconveniences
of large cities built within walls, that they do not extend far beyond
them. The superfluous population is pared off, like the pie-crust by the
circumference of the dish—even on the court side, not a hundred yards
from the barrier of Neuilly, you see an old shepherd tending his flock,
with his dog and his crook and sheep-skin cloak, just as if it were a
hundred miles off, or a hundred years ago. It was so twenty years ago. I
went again to see if it was the same yesterday. The old man was gone;
but there was his flock by the road-side, and a dog and a boy, grinning
with white healthy teeth, like one of Murillo’s beggar-boys. It was a
bright frosty noon; and the air was, in a manner, _vitreous_, from its
clearness, its coolness, and hardness to the feeling. The road I speak
of, frequented by English jockeys and French market-women, riding
between panniers, leads down to the Bois de Boulogne on the left, a
delicious retreat, covered with copse-wood for fuel, and intersected by
greensward paths and shady alleys, running for miles in opposite
directions, and terminating in a point of inconceivable brightness. Some
of the woods on the borders of Wiltshire and Hampshire present exactly
the same appearance, with the same delightful sylvan paths through them,
and are covered in summer with hyacinths and primroses, sweetening the
air, enamelling the ground, and with nightingales loading every bough
with rich music. It was winter when I used to wander through the Bois de
Boulogne formerly, dreaming of fabled truth and good. Somehow my
thoughts and feet still take their old direction, though hailed by no
friendly greetings:—
‘What though the radiance which was once so bright,
Be now for ever vanished from my sight;
Though nothing can bring back the hour
Of glory in the grass—of splendour in the flower:’—
yet the fever and the agony of hope is over too, ‘the burden and the
mystery;’ the past circles my head, like a golden dream; it is a fine
fragment of an unfinished poem or history; and the ‘worst,’ as
Shakspeare says, ‘returns to good!’ I cannot say I am at all annoyed (as
I expected) at seeing the Bourbon court-carriages issuing out with a
flourish of trumpets and a troop of horse. It looks like a fantoccini
procession, a State mockery. The fine moral lesson, the soul of
greatness, is wanting. The legitimate possessors of royal power seem to
be playing at _Make-Believe_; the upstarts and impostors are the true
_Simon Pures_ and genuine realities. Bonaparte mounted a throne from the
top of the pillar of Victory. People ask who Charles X. is? But to
return from this digression.
Through the arch-way of the Tuileries, at the end of the Champs Elysées,
you see the Barrier of Neuilly, like a thing of air, diminished by a
fairy perspective. The effect is exquisitely light and magical. You pass
through the arch-way, and are in the gardens themselves. Milton should
have written those lines abroad, and in this very spot—
‘And bring with thee retired Leisure,
That in trim gardens takes his pleasure.’
True art is ‘nature to advantage drest;’ it is here a powdered beau. The
prodigality of littleness, the excess of ornament, the superficial
gloss, the studied neatness, are carried to a pitch of the romantic. The
Luxembourg gardens are more extensive, and command a finer view; but are
not kept in the same order, are dilapidated and desultory. This is an
enclosure of all sweet sights and smells, a concentration of elegance.
The rest of the world is barbarous to this ‘paradise of dainty devices,’
where the imagination is spell-bound. It is a perfectly-finished
miniature set in brilliants. It is a toilette for nature to dress
itself; where every flower seems a narcissus! The smooth gravel-walks,
the basin of water, the swans (they might be of wax), the golden fishes,
the beds of flowers, chine-asters, larkspur, geraniums, bright
marigolds, mignonette (‘the Frenchman’s darling’) scenting the air with
a faint luscious perfume, the rows of orange-trees in boxes, blooming
verdure and vegetable gold, the gleaming statues, the raised terraces,
the stately avenues of trees, and the gray cumbrous towers of the
Tuileries overlooking the whole, give an effect of enchantment to the
scene. This and the man in black by Titian, in the Louvre just by (whose
features form a _sombre_ pendant to the gay parterres) are the two
things in Paris I like best. I should never tire of walking in the one,
or of looking at the other. Yet no two things can be more opposite.[30]
The one is the essence of French, the other of Italian art. By following
the windings of the river in this direction, you come to Passy—a
delightful village, half-way to St. Cloud, which is situated on a rich
eminence that looks down on Paris and the Seine, and so on to
Versailles, where the English reside. I have not been to see them, nor
they me. The whole road is interspersed with villas, and lined with rows
of trees. This last is a common feature in foreign scenery. Whether from
the general love of pleasurable sensations, or from the greater warmth
of southern climates making the shelter from the heat of the sun more
necessary, or from the closeness of the cities making a promenade round
them more desirable, the approach to almost all the principal towns
abroad is indicated by shady plantations, and the neighbourhood is a
succession of groves and arbours.
The Champ de Mars (the French Runnymede) is on the opposite side of the
river, a little above the Champs Elysées. It is an oblong square piece
of ground immediately in front of the École Militaire, covered with sand
and gravel, and bare of trees or any other ornament. It is left a blank,
as it should be. In going to and returning from it, you pass the fine
old Invalid Hospital, with its immense gilded cupola and outer-walls
overgrown with vines, and meet the crippled veterans who have lost an
arm or leg, fighting the battles of the Revolution, with a bit of white
ribbon sticking in their button-holes, which must gnaw into their souls
worse than the wounds in their flesh, if Frenchmen did not alike
disregard the wounds both of their bodies and minds.
The Jardin des Plantes, situated at the other extremity of Paris, on the
same side of the river, is well worth the walk there. It is delightfully
laid out, with that mixture of art and nature, of the useful and
ornamental, in which the French excel all the world. Every plant of
every quarter of the globe is here, growing in the open air; and
labelled with its common and its scientific name on it. A prodigious
number of animals, wild and tame, are enclosed in separate divisions,
feeding on the grass or shrubs, and leading a life of learned leisure.
At least, they have as good a title to this ironical compliment as most
members of colleges and seminaries of learning; for they grow fat and
sleek on it. They have a great variety of the _simious_ tribe. Is this
necessary in France? The collection of wild beasts is not equal to our
Exeter-‘Change; nor are they confined in iron cages out of doors under
the shade of their native trees (as I was told), but shut up in a range
of very neatly-constructed and very ill-aired apartments.
I have already mentioned the Père la Chaise—the Catacombs I have not
seen, nor have I the least wish. But I have been to the top of
Mont-Martre, and intend to visit it again. The air there is truly
vivifying, and the view inspiring. Paris spreads out under your feet on
one side, ‘with glistering spires and pinnacles adorned,’ and appears to
fill the intermediate space, to the very edge of the horizon, with a sea
of hazy or sparkling magnificence. All the different striking points are
marked as on a map. London nowhere presents the same extent or integrity
of appearance. This is either because there is no place so near to
London that looks down upon it from the same elevation, or because Paris
is better calculated for a panoramic view from the loftier height and
azure tone of its buildings. Its form also approaches nearer to a
regular square. London, seen either from Highgate and Hampstead, or from
the Dulwich side, looks like a long black wreath of smoke, with the dome
of St. Paul’s floating in it. The view on the other side Mont-Martre is
also fine, and an extraordinary contrast to the Paris side—it is clear,
brown, flat, distant, completely rustic, full of ‘low farms and pelting
villages.’ You see St. Denis, where the Kings of France lie buried, and
can fancy you see Montmorenci, where Rousseau lived, whose pen was near
being as fatal to their race as the scythe of death. On this picturesque
site, which so near London would be enriched with noble mansions, there
are only a few paltry lodging-houses and tottering windmills. So little
prone are the Parisians to extricate themselves from the sty of
Epicurus; so fond of _cabinets of society_, of playing at dominoes in
the coffee-houses, and of practising the art _de briller dans les
Salons_; so fond are they of this, that even when the Allies were at
Mont-Martre, they ran back to be the first to give an imposing account
of the attack, to finish the game of the Revolution, and make the
_éloge_ of the new order of things. They shew you the place where the
affair with the Prussians happened, as—a brilliant exploit. When will
they be no longer liable to such intrusions as these, or to such a
result from them? When they get rid of that eternal smile upon their
countenances, or of that needle-and-thread face, that is twisted into
any shape by every circumstance that happens,[31] or when they can write
such lines as the following, or even understand their meaning, their
force or beauty, as a charm to purge their soil of insolent foes—theirs
only, because the common foes of man!
‘But let thy spiders that suck up thy venom,
And heavy-gaited toads, lie in their way;
Doing annoyance to the feet of them
That with usurping steps do trample thee;
Yield stinging-nettles to mine enemies;
And when they from thy bosom pluck a flower,
Guard it, I pray thee, with a lurking adder,
Whose double tongue may, with a mortal touch,
Throw death upon thy baffled enemies.’
No Parisian’s sides can ‘bear the beating of so strong a passion,’ as
these lines contain; nor have they it in them to ‘endure to the end for
liberty’s sake.’ They can never hope to defend the political principles
which they learnt from us, till they understand our poetry, both of
which originate in the same cause, the strength of our livers and the
stoutness of our hearts.