Now, it so fell out that one Carnival evening Maitre Cardot was entertaining guests at Mlle. Turquet's house--Desroches the attorney, Bixiou of the caricatures, Lousteau the journalist, Nathan, and others; it is quite unnecessary to give any further description of these personages, all bearers of illustrious names in the /Comedie Humaine/. Young La Palferine, in spite of his title of Count and his great descent, which, alas! means a great descent in fortune likewise, had honored the notary's little establishment with his presence.
At dinner, in such a house, one does not expect to meet the patriarchal beef, the skinny fowl and salad of domestic and family life, nor is there any attempt at the hypocritical conversation of drawing-rooms furnished with highly respectable matrons. When, alas! will respectability be charming? When will the women in good society vouchsafe to show rather less of their shoulders and rather more wit or geniality? Marguerite Turquet, the Aspasia of the Cirque-Olympique, is one of those frank, very living personalities to whom all is forgiven, such unconscious sinners are they, such intelligent penitents; of such as Malaga one might ask, like Cardot--a witty man enough, albeit a notary--to be well "deceived." And yet you must not think that any enormities were committed. Desroches and Cardot were good fellows grown too gray in the profession not to feel at ease with Bixiou, Lousteau, Nathan, and young La Palferine. And they on their side had too often had recourse to their legal advisers, and knew them too well to try to "draw them out," in lorette language.
Conversation, perfumed with seven cigars, at first was as fantastic as a kid let loose, but finally it settled down upon the strategy of the constant war waged in Paris between creditors and debtors.
Now, if you will be so good as to recall the history and antecedents of the guests, you will know that in all Paris, you could scarcely find a group of men with more experience in this matter; the professional men on one hand, and the artists on the other, were something in the position of magistrates and criminals hobnobbing together. A set of Bixiou's drawings to illustrate life in the debtors' prison, led the conversation to take this particular turn; and from debtors' prisons they went to debts.
It was midnight. They had broken up into little knots round the table and before the fire, and gave themselves up to the burlesque fun which is only possible or comprehensible in Paris and in that particular region which is bounded by the Faubourg Montmartre, the Rue Chaussee d'Antin, the upper end of the Rue de Navarin and the line of the boulevards.
In ten minutes' time they had come to an end of all the deep reflections, all the moralizings, small and great, all the bad puns made on a subject already exhausted by Rabelais three hundred and fifty years ago. It was not a little to their credit that the pyrotechnic display was cut short with a final squib from Malaga.
"It all goes to the shoemakers," she said. "I left a milliner because she failed twice with my hats. The vixen has been here twenty-seven times to ask for twenty francs. She did not know that we never have twenty francs. One has a thousand francs, or one sends to one's notary for five hundred; but twenty francs I have never had in my life. My cook and my maid may, perhaps, have so much between them; but for my own part, I have nothing but credit, and I should lose that if I took to borrowing small sums. If I were to ask for twenty francs, I should have nothing to distinguish me from my colleagues that walk the boulevard."
"Is the milliner paid?" asked La Palferine.