“Well, this illustrates the difference between friendship and boon-companionship. Friendship permeates the heart of man; good-fellowship only gives it a superficial tint.” “I comprehend,” said Eusebe. “To-day, the manner by which color may be rendered permanent and friendship lasting is ranked among the lost arts,” continued the painter. “He who discovers the first will become rich; he who finds the second will be happy.” “If you will consent,” stammered Eusebe, “we will seek them together.” “Agreed: it will not kill us,” responded Paul; and they separated. CHAPTER XII. The son of the respectable philosopher M. Martin had now been at Paris for two weeks. He spent the day in various ways, but in the evening he was invariably found at one of the places of amusement. In order to become acquainted with the different features of the French stage, he had resolved to visit all the theatres of the French capital, commencing with the most distant. In the first place, he visited the “Délassements Comiques.” On that occasion the attraction consisted of a “Review of the Year,” an allegorical spectacle in fourteen tableaux. Eusebe was unable to comprehend the drift of the piece, and returned to his lodgings in a melancholy mood. On the following evening the provincial went to the “Folies Dramatiques,” where they gave another “review.” He could not comprehend this effort at all, and retired before the close of the piece. His mind was more hopelessly puzzled than it had been on the previous evening. On the third evening he went to the “Variétés,” where there was another “review.” This time the provincial thought his brain was turned. “Ah,” said Eusebe, “I am the most ignorant being in the world, or else all the comedians and those who listen to them are fools. Why do they paint their faces like Indians? Why do they wear costumes which do not belong to any nation? Why do the public laugh so loudly at seeing them deceive a foolish old man? Why do they applaud when the comedians make use of words with a double meaning? Why do they sing _àpropos_ of nothing? How do they manage to speak my mother-tongue so that I cannot understand it? I will go no more.” On the following evening, however, he resumed his visits, saying that perhaps the theatres were not all alike! He passed five hours at the “Gaieté,” listening to the history of a lost child. On the ensuing evening he went to the “Ambigu,” to witness the representation of a drama based upon the history of a foundling. Subsequently, at the “Porte Saint-Martin,” he had the immense satisfaction of seeing in a single piece a child lost and found, then lost again, and, finally, recovered. At the “Français,” at the “Odéon,” at the “Gymnase,” at the “Vaudeville,” and at the “Palais Royal,” the provincial saw the same piece in fifteen different forms: a young man wished to wed a young woman, and, notwithstanding a thousand obstacles, he succeeded in accomplishing his object.