The Ladies' Paradise

CHAPTER I.-2

M. Jaluzot is famous in Paris for the rare ability he displays in turning everything into advertisement, and this of course is an extremely valuable gift, as advertisement is the very life of the huge magasins de nouveautés. Some years ago the "Printemps" was burnt down; and when the necessary rebuilding operations began M. Jaluzot prevailed upon the Cardinal Archbishop of Paris to come and bless the foundation stone of the new edifice. This inspiration—well worthy of M. Zola's hero—secured to M. Jaluzot extensive patronage among the devout; and it was important at the time that he should reconcile himself with society, for on the occasion of the burning of his establishment the entire Parisian press had reproached him with showing greater eagerness to rush off and purchase an umbrella, for protection against a shower, than to minister to the needs of the numerous employees who had been cast on the pavement of Paris by the catastrophe. Hence the nickname to which I have previously referred.

With the every-day life of the Parisian drapery employee the present work is very largely concerned. From the personal investigations I made at former times, the many conversations I had with employees of this class, the numerous corroborative statements I have read in the works of other French writers, I believe M. Zola's pictures of the "counter jumper's" existence at the period dealt with, to be scrupulously accurate. It will be noticed that these pictures slowly change in certain respects as the story proceeds. Mouret at last begins to take more interest in the material comforts of his staff, provides it with better food, and treats it generally in a more reasonable manner; whilst among the employees themselves, their depravity and vulgarity, hidden beneath a surface elegance and politeness, is at times altogether stamped out, at others thrust back far more deeply. To the Boucicauts of the "Bon Marché" largely belongs the honour of having improved the material well-being, and raised the moral tone of shopmen of this class; and their example has been very generally followed. Still, as every Paris "calicot" well knows, there is one great emporium whose internal organization is still open to serious criticism.

"Calicot," I may mention, is the French equivalent of our term "counter-jumper"; and in this introduction to a work which deals so largely with the "calicot's" life it may not be out of place to explain the origin of the nickname. It dates from 1817, when a vaudeville called " Le Combat des Montagnes, ou la Folie-Beaujon" by Scribe and Dupin was performed at the Paris Théâtre des Variétés. At that period, with the wars of the Empire still fresh in their recollection, the Parisians generally evinced a cordial respect for those who had seen service; and the young men of the capital, promenading on the boulevards, were fond of affecting a military appearance and demeanour. Matters even came to such a pass that drapers'-assistants, commis-marchands as they were then called, cultivated huge moustaches and wore spurs on their boots even when behind their counters. To this ridiculous craze Scribe and Dupin alluded in their vaudeville, into which they introduced a certain "counter-jumper" called Monsieur Calicot, whom the other characters of the play at first mistook for some survivor of the Old Guard. The result, as might have been expected, was an explosion of rage among all the drapery employees of Paris. They besieged the theatre, and desperate and sanguinary battles ensued in the auditorium. The authorities, however, declined to place the vaudeville under interdict; and after several interventions on the part of the police, the irate employees were cowed by the presence of a detachment of grenadiers, who, with loaded muskets, stood on either side of the stage throughout each performance. And from that time to the present day "calicot" has been French for "counter-jumper" [1] so far as drapery is concerned.

However, the vaudeville did not cure the "calicot" of his partiality for moustaches. These he still cultivates, as all who have been in Paris well know; indeed he frequently grows a beard as well; but as such hirsute appendages have long since ceased to be the exclusive property of the military, nobody taunts him with affectation concerning them. On the other hand he has wisely renounced the practice of wearing spurs behind his counter, and if he sometimes evinces a little military precision or even swagger it would be unwise to deem this assumed; for in these days of the universal conscription it may well have been acquired by real service in the ranks. Indeed, we must not sneer at the "calicot"; he answers his country's call as readily as any other of her sons.

It remains for me to say a few words concerning the moral of this book. The story of Denise's struggles, hardships and temptations, her quiet courage and gentle steadfastness is invested by M. Zola with that simple pathos which adorns so many of his works. The young girl passes through the fire and emerges from it unscathed, protected by her own sense of rectitude and the purity of her love, whilst others, alas, are devoured. No more beautiful example of feminine resistance to evil could be imagined. We follow the heroine's fortunes with emotional interest and take a kindly satisfaction in her reward. Possibly, we might wish that she had loved a somewhat worthier man than Mouret, in whom there are many moral blemishes; but the reflection imposes itself, that under her caressing influence these blemishes will disappear, that Mouret will throw off all that remains in him of the old Adam and prove worthy of the love that he himself feels and has inspired. And surely woman's love can have no holier mission than that of the reformation of man. What, moreover, would become of humanity if a woman's heart were to be given only to the immaculate, in accordance with the paradoxical dictum of some latter day lady-novelists? Does not the woman who brings an erring man back into the straight path that he may contribute to the common weal, achieve more good than she who simply plights her troth to one as blameless as herself? And thus a halo encircles M. Zola's heroine, Denise, the personification of all that is best and truest in the female heart.

One word more. The compass of the present introduction does not permit me to establish a comparison between the relative positions of French and English salesmen and women in the great drapery establishments. I fear, however, from all I have heard, that several of M. Zola's strictures on the treatment meted out to the employees of Octave Mouret's bazaar, might be applied to English houses. And thus whilst I recommend this book to women, whom its subject cannot fail to interest and who will take a warning from the extravagance of Madame Marty and find a bright example in the unswerving rectitude of Denise, I also submit it to the attention of those who are seeking in this country to improve the position of shop employees, for I feel certain that they will find many a useful hint in its searching and accurate pages.

ERNEST A. VIZETELLY.

Merton, May 1895.

[1] I find that Brunet who played the part of M. Calicot wore the following typical costume: high boots with spurs, white trousers, a buff waistcoat and a frock coat made of a green and white "mixture"— chicorée à la crême, as the tailors of those days termed it.

THE LADIES PARADISE. CHAPTER I.Denise had come on foot from the Saint-Lazare railway station, where a Cherbourg train had landed her and her two brothers, after a night spent on the hard seat of a third-class carriage. She was leading Pépé by the hand, while Jean followed her; all three of them exhausted by their journey, frightened and lost in that vast city of Paris, their eyes raised to the house fronts and their tongues for ever inquiring the way to the Rue de la Michodière, where their uncle Baudu lived. However, as she at last emerged into the Place Gaillon, the girl stopped short in astonishment.

"Oh! just look there, Jean," said she; and they remained stock still, nestling close to one another, dressed from head to foot in black, the old mourning bought at their father's death. Denise, rather puny for her twenty years, was carrying a small parcel in one hand, while on the other side, her little brother, five years old, clung to her arm, and in the rear her big brother in the flower of his sixteen summers stood erect with dangling arms.

"Well I never," said she, after a pause, "that is a shop!"

They were at the corner of the Rue de la Michodière and the Rue Neuve-Saint-Augustin, in front of a draper's shop, whose windows displayed a wealth of bright colour in the soft, pale October light. Eight o'clock was striking at the church of Saint-Roch; and only the early birds of Paris were abroad, a few clerks on their way to business, and housewives flitting about on their morning shopping. Before the door of the drapery establishment, two shopmen, mounted on a step-ladder, were hanging up some woollen goods, whilst in a window facing the Rue Neuve-Saint-Augustin another young man, kneeling with his back to the pavement, was delicately plaiting a piece of blue silk. In the shop, which was as yet void of customers, and whose employees were only just beginning to arrive, there was a low buzz as in a bee hive just awakening.

"By Jove!" said Jean, "this beats Valognes. Yours wasn't such a fine shop."

Denise shook her head. She had spent two years at Valognes, with Cornaille, the principal draper in the town; and this Parisian shop so suddenly encountered and to her so vast made her heart swell and detained her there, interested, impressed, forgetful of everything else. The lofty plate-glass door in a corner facing the Place Gaillon reached the first storey amidst a medley of ornaments covered with gilding. Two allegorical female figures, with laughing faces and bare bosoms unrolled a scroll bearing the inscription "The Ladies' Paradise"; then, on either side, along the Rue de la Michodière and the Rue Neuve-Saint-Augustin, stretched the windows of the establishment, not limited merely to the corner house but comprising four others—two on the right and two on the left which had been recently purchased and fitted up. It all appeared endless to Denise, thus seen in perspective, with the display down below and the plate glass windows above, through which a long line of counters was to be perceived. Upstairs a young lady, dressed in silk, could be espied sharpening a pencil, while two others, beside her, were unfolding some velvet mantles.

"The Ladies' Paradise," read Jean, with a soft laugh, like a handsome youth who already has thoughts of women. "That's a pretty name—that must draw customers—eh?"

But Denise was absorbed by the display at the principal entrance. There, in the open street, on the very pavement, she beheld a mass of cheap goods—doorway temptations, bargains to attract the passer-by. Pieces of woollen and cloth goods, merinoes, cheviots, and tweeds, hung from above like bunting, with their neutral, slate, navy-blue, and olive-green tints relieved by large white price-tickets. Close by, on either side of the doorway, dangled strips of fur, narrow bands for dress trimmings, ashen-hued Siberian squirrel-skin, swansdown of spotless snowiness, and rabbit-skin transformed into imitation ermine and imitation sable. Below, in boxes and on tables, amidst piles of remnants, appeared a quantity of hosiery which was virtually given away; knitted woollen gloves, neckerchiefs, women's hoods, cardigan waistcoats, a complete winter show with colours in mixtures, patterns and stripes and here and there a flaming patch of red. Denise saw some tartan at nine sous, some strips of American bison at a franc the mètre, and some mittens at five sous a pair. An immense clearance sale was apparently going on; the establishment seemed to be bursting with goods, blocking up the pavement with the surplus of its contents. Uncle Baudu was forgotten. Even Pépé, clinging tightly to his sister's hand, opened his big eyes in wonder. However a vehicle in coming up forced them to quit the roadway, and they mechanically turned into the Rue Neuve-Saint-Augustin, following the windows and stopping at each fresh display. At first they were captivated by an intricate arrangement: up above a number of umbrellas, placed obliquely, seemed to form a rustic roof; upon rods beneath them hung a quantity of silk stockings displaying neat ankles and well rounded calves, some of them dotted with rosebuds, others of divers hues, the black ones open-worked and the red ones elegantly clocked; whilst those which were of a flesh tint, looked, with their satiny texture, as soft as skin itself. Then, on the baize covering of the show-stage, came a symmetrical array of gloves with extended fingers and narrow palms recalling the hands of Byzantine Virgins, all the rigid and, as it were, adolescent grace which characterises feminine frippery before it is worn. However, it was especially the last window which detained their eyes. An exhibition of silks, satins and velvets, in a supple, vibrating scale of colour, here set, as in full bloom, the most delicate hues of the floral world. At the top were the velvets, deeply black, or white as curds; lower down came the satins, pinks and blues, bright at their folds, then fading into paler and paler tints of infinite delicacy; and lower still were silks, the rainbow's variegated scarf, the several pieces c****d shell-wise, plaited as though round some female waist, endowed, as it were, with life by the skilful manipulation of the employees; and between each motif, each glowing phrase of the display ran a discreet accompaniment, a light, puffy roll of creamy foulard. Here too at either end of the window, were huge piles of the two silks which were the exclusive property of the establishment, the "Paris Delight" and the "Golden Grain"—articles of exceptional quality destined to revolutionize the silk trade.