If an opulent banker should desire to gratify his vanity by having the performances of one of these great ‹artistes› in his ‹salons›, he will soon find by experience the full truth of my theory. He desires a rich treat, a lively satisfaction—he desires it eagerly—and only one person in the world can furnish it. He cannot procure it otherwise than by offering a large remuneration. Between what extreme limits will the transaction oscillate? The banker will go on till he reaches the point at which he prefers rather to lose the satisfaction than to pay what he deems an extravagant price for it; the singer to that point at which she prefers to accept the remuneration offered, rather than not be remunerated at all. This point of equilibrium determines the value of this particular service, as it does of all others. It may be that in many cases custom fixes this delicate point. There is too much taste in the ‹beau monde› to ‹higgle› about certain services. The remuneration may even be gracefully disguised, so as to veil the vulgarity of the economic law. That law, however, presides over this transaction, just as it does over the most ordinary bargain; and Value does not change its nature because experience or urbanity dispenses with discussing it formally on every occasion. This explains how ‹artistes› above the usual standard of excellence succeed in realizing great fortunes. Another circumstance favours them. Their services are of such a nature that they can render them, at one and the same time, and by one and the same effort, to [p148] a multitude of individuals. However large the theatre, provided the voice of Rachel can fill it, each spectator enjoys the full pleasure of her inimitable declamation. This is the foundation of a new arrangement. Three or four thousand people, all experiencing the same desire, may come to an understanding, and raise the requisite sum; and the contribution of each to the remuneration of the great ‹tragedienne› constitutes the equivalent of the unique service rendered by her to all at once. Such is ‹Value›. As a great number of auditors may combine in order to witness an entertainment of this description, so a number of actors may combine in order to perform in an opera or play. Managers may intervene, to save them the trouble of a multiplicity of trifling accessory arrangements. Value is thus multiplied, ramified, distributed, and rendered complex—but it does not change its nature. We shall finish with some exceptional cases. Such cases form the best test of a sound theory. When the rule is correct, exceptions do not invalidate, but confirm it.