While life outside was so colorless and so mean, the interior life of society assumed a somber aspect of silence; hypocrisy ruled in all departments of conduct; English ideas of devotion, gaiety even, had disappeared. Perhaps Providence was already preparing new ways, perhaps the herald angel of future society was already sowing in the hearts of women the seeds of human independence. But it is certain that a strange thing suddenly happened: in all the salons of Paris the men passed to one side and the women to the other; and thus, the one clad in white like a bride and the other in black like an orphan began to take measurements with the eye. Let us not be deceived: that vestment of black which the men of our time wear is a terrible symbol; before coming to this, the armor must have fallen piece by piece and the embroidery flower by flower. Human reason has overthrown all illusions; but it bears in itself sorrow, in order that it may be consoled. The customs of students and artists, those customs so free, so beautiful, so full of youth, began to experience the universal change. Men in taking leave of women whispered the word which wounds to the death: contempt. They plunged into the dissipation of wine and courtesans. Students and artists did the same; love was treated as glory and religion: it was an old illusion. The grisette, that class so dreamy, so romantic, so tender, and so sweet in love, abandoned herself to the counting-house and to the shop. She was poor and no one loved her; she wanted dresses and hats and she sold herself. O, misery! the young man who ought to love her, whom she loved, who used to take her to the woods of Verrieres and Romainville, to the dances on the lawn, to the suppers under the trees; he who used to talk with her as she sat near the lamp in the rear of the shop on the long winter evenings; he who shared her crust of bread moistened with the sweat of her brow, and her love at once sublime and poor; he, that same man, after having abandoned her, finds her after a night of orgie, pale and leaden, forever lost, with hunger on her lips and prostitution in her heart. About this time two poets, whose genius was second only to that of Napoleon, consecrated their lives to the work of collecting all the elements of anguish and of grief scattered over the universe. Goethe, the patriarch of a new literature, after having painted in "Werther" the passion which leads to suicide, traced in his "Faust" the most somber human character which has ever represented evil and unhappiness. His writings began to pass from Germany into France. From his studio, surrounded by pictures and statues, rich, happy and at ease, he watched with a paternal smile, his gloomy creations marching in dismal procession across the frontiers of France. Byron replied to him by a cry of grief which made Greece tremble, and suspended "Manfred" over the abyss as if nothingness had been the answer of the hideous enigma, with which he enveloped him.