ll thank him for it. As to the three sous over, why, I shall earn them
by imitating the voices of the personages, instead of speaking like you
and me. That will be another obligation you will owe to this wealthy
capitalist, whom you ought to adore."

"Come, no more blarney, but begin!" said the Skeleton.

"One moment, gents!" said Pique-Vinaigre. "It is but right that the
capitalist who has given me ten sous should be the best situated, except
our _prevot_, who has first choice."

This proposal squared so well with the Skeleton's project that he
exclaimed:

"True; after me he ought to be best placed!" And again he looked
significantly at the prisoners.

"Yes, yes; let him come nearer," said the prisoners.

"Let him sit on the front bench."

"You see, young man, your liberality is recompensed; the honourable
company sees that you have a right to the front seat," said
Pique-Vinaigre to Germain.

Believing that his liberality had really better disposed his hateful
companions in his favour, and delighted thus to follow up Rigolette's
earnest desires, Germain, in spite of considerable repugnance, left the
place of his choice, and went towards the story-teller, who, having
arranged four or five benches around the stove, by the aid of Nicholas
and Barbillon, said, with emphasis:

"Here are the dress-boxes. All respect to the worthy--the capitalist
first."

"Now, then, let those who have paid take their seats," added
Pique-Vinaigre, gaily, firmly believing that, thanks to himself, Germain
had nothing now to fear. "And those who have not paid," he added, "will
sit down or stand up, which they please."

Let us sum up the arrangement of his scene. Pique-Vinaigre was standing
up near the stove ready to commence; near him was the Skeleton, also
standing up, and with his eyes intently fixed on Germain, ready to rush
upon him the moment the turnkey left the cell. At some distance from
Germain, Nicholas, Barbillon, Cardillac, and other prisoners, amongst
whom was the man with the blue cotton nightcap and gray blouse,
occupying the remoter benches. The majority of prisoners, grouped here
and there, some sitting on the ground, others standing and leaning
against the wall, composed the secondary figures of this picture,
lighted, a la Rembrandt, by three lateral windows, which threw strong
light and deep shadows on forms so variously characterised and so
strongly marked. The turnkey, whose departure was to be, unknown to
him