This desperate aspiring to paradise lost, this deformed dream of the beautiful, is not less tenacious on the part of the man. He turns towards the woman; and this preoccupation, become insensate, persists even when the dreadful shadow of the two red posts of the guillotine is thrown upon the window of his cell. The day before his execution Delaporte, chief of the Trappes band, who was wearing the strait-jacket, asked of the convict Cogniard, whom, through the grating in the door of the condemned cell, he saw passing by: “Are there any pretty women in the visitors’ parlor this morning?” Another condemned man, Avril (what a name!), in this same cell, bequeathed all that he possessed--five francs--to a female prisoner whom he had seen at a distance in the women’s yard, “in order that she may buy herself a fichu a la mode.” Between the male and female wretch dreams build a Bridge of Sighs, as it were. The mire of the gutter dallies with the door of a prison cell. The Aspasia of the street-corner aspires and respires with the heart of the Alcibiades who waylays the passer-by at the corner of a wood. You laugh? You should not. It is a terrible thing. II. The murderer is a flower for the courtesan. The prostitute is the Clytia of the assassin sun. The eye of the woman damned languourously seeks Satan among the myrtles. What is this phenomenon? It is the need of the ideal. A sublime and awful need. A terrible thing, I say. Is it a disease? Is it a remedy? Both. This noble yearning is at the same time and for the same beings a chastisement and a reward; a voluptuousness full of expiation; a chastisement for faults committed, a recompense for sorrows borne! None may escape it. It is a hunger of angels felt by demons. Saint Theresa experiences it, Messalina also. This need of the immaterial is the most deeply rooted of all needs. One must have bread; but before bread, one must have the ideal. One is a thief, one is a street-walker--all the more reason. The more one drinks of the darkness of night the more is one thirsty for the light of dawn. Schinderhannes becomes a cornflower, Poulailler a violet. Hence these sinisterly ideal weddings. And then, what happens? What I have just said. Cloaca, but abyss. Here the human heart opens partly, disclosing unimaginable depths. Astarte becomes platonic. The miracle of the transformation of monsters by love is being accomplished. Hell is being gilded. The vulture is being metamorphosed into a bluebird. Horror ends in the pastoral. You think you are at Vouglans’s and Parent-Duchâtelet’s; you are at Longus’s. Another step and you will stumble into Berquin’s. Strange indeed is it to encounter Daphnis and Chloe in the Forest of Bondy!