In our days Eugène Sue, Balzac, and Victor Hugo have introduced argot in some of their works, taking, no doubt, Vidocq as an authority on the subject; while more recently M. Jean Richepin, in his _Chanson des Gueux_, rhymes in the lingo of roughs, bullies, vagabonds, and thieves; and many others have followed suit. Balzac thus expresses his admiration for argot: “People will perhaps be astonished if we venture to assert that no tongue is more energetic, more picturesque than the tongue of that subterranean world which since the birth of capitals grovels in cellars, in sinks of vice, in the lowest stage floors of societies. For is not the world a theatre? The lowest stage floor is the ground basement under the stage of the opera house where the machinery, the phantoms, the devils, when not in use, are stowed away. Each word of the language recalls a brutal image, either ingenious or terrible. In the jargon one does not sleep, ‘on pionce.’ Notice with what energy that word expresses the uneasy slumbers of the tracked, tired, suspicious animal called thief, which, as soon as it is in safety, sinks down and rolls into the abysses of deep and necessary sleep, with the powerful wings of suspicion constantly spread over it--an awful repose, comparable to that of the wild beast, which sleeps and snores, but whose ears nevertheless remain ever watchful. Everything is fierce in this idiom. The initial or final syllables of words, the words themselves, are harsh and astounding. A woman is a _largue_. And what poetry! Straw is ‘_la plume de Beauce_.’ The word midnight is rendered by _douze plombes crossent_. Does not that make one shudder?” Victor Hugo, after Balzac, has devoted a whole chapter to argot in his _Misérables_, and both these great authors have left little to be said on the subject. Victor Hugo, dealing with its Protean character, writes: “Argot being the idiom of corruption, is quickly corrupted. Besides, as it always seeks secrecy, so soon as it feels itself understood it transforms itself.... For this reason argot is subject to perpetual transformation--a secret and rapid work which ever goes on. It makes more progress in ten years than the regular language in ten centuries.” In spite of the successive revolutions referred to, a number of old cant words are still used in their original form. Some have been, besides, more or less distorted by different processes, the results of these alterations being subjected in their turn to fresh disguises. As for slang proper, it is mostly metaphoric.