The Eve of the French RevolutionLowell, Edward J. (Edward Jackson)
History
The Eve of the French Revolution
Lowell, Edward J. (Edward Jackson)
France -- History -- Revolution, 1789-1799 -- Causes; France -- Social conditions -- 18th century
It is seven o'clock. The market gardeners, with their empty baskets,
are jogging on their weary horses toward the suburbs. Already they
have supplied the markets. They meet only the early clerks, fresh
shaven and powdered, hastening to their offices. At nine, the town is
decidedly awake. The young barber-surgeons ("whiting" as the Parisians
call them), sprinkled from head to foot with hair powder, carry the
curling-iron in one hand, the wig in the other, on their way to the
houses of their customers. The waiters from the lemonade-shops are
bringing coffee and cakes to the occupants of furnished lodgings. On
the boulevards, young dandies, struck with Anglomania, contend
awkwardly with their saddle-horses.
At ten lawyers in black and clients of all colors flock to the island
in the river where are the courts of law. The Palace, as the great
court-house is called, is a large and imposing pile of buildings, with
fine halls and strong prisons, and the most beautiful of gothic
chapels. But the passages are blocked with the stalls of hucksters who
sell stationery, books, and knicknacks.[Footnote: Mercier, vi. 72,
iv. 146, ix. 171. Cognel, 41.]
In the rue Neuve des Petits Champs they are drawing the royal lottery.
The Lieutenant-Général of Police, accompanied by several officers,
appears on a platform. Near him is the wheel of fortune. The wheel is
turned, it stops, and a boy with blindfolded eyes puts his hand into an
opening in the wheel, and pulls out a ticket, which he hands to the
official. The latter opens it, holding it up conspicuously in front of
him to avert suspicion of foul play. The ticket is then posted on a
board, and the boy pulls out another. The crowd is noisy and excited at
first, then sombre and discouraged as all the chances are exhausted.
Public-domain text, read in full here on John Shaqi.
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