of the city of Paris,--that chimerical
creation like the ship which is its emblem, that creature of reason
moving on a thousand paws which are seldom unanimous in motion.

This guardian of the cemetery may be called a concierge who has reached
the condition of a functionary, not soluble by dissolution! His place
is far from being a sinecure. He does not allow any one to be buried
without a permit; he must count his dead. He points out to you in this
vast field the six feet square of earth where you will one day put all
you love, or all you hate, a mistress, or a cousin. Yes, remember
this: all the feelings and emotions of Paris come to end here, at
this porter's lodge, where they are administrationized. This man has
registers in which his dead are booked; they are in their graves, and
also on his records. He has under him keepers, gardeners, grave-diggers,
and their assistants. He is a personage. Mourning hearts do not speak to
him at first. He does not appear at all except in serious cases, such as
one corpse mistaken for another, a murdered body, an exhumation, a
dead man coming to life. The bust of the reigning king is in his hall;
possibly he keeps the late royal, imperial, and quasi-royal busts
in some cupboard,--a sort of little Pere-Lachaise all ready for
revolutions. In short, he is a public man, an excellent man, good
husband and good father,--epitaph apart. But so many diverse sentiments
have passed before him on biers; he has seen so many tears, true and
false; he has beheld sorrow under so many aspects and on so many faces;
he has heard such endless thousands of eternal woes,--that to him sorrow
has come to be nothing more than a stone an inch thick, four feet long,
and twenty-four inches wide. As for regrets, they are the annoyances of
his office; he neither breakfasts nor dines without first wiping off
the rain of an inconsolable affliction. He is kind and tender to other
feelings; he will weep over a stage-hero, over Monsieur Germeuil in the
"Auberge des Adrets," the man with the butter-colored breeches, murdered
by Macaire; but his heart is ossified in the matter of real dead men.
Dead men are ciphers, numbers, to him; it is his business to organize
death. Yet he does meet, three times in a century, perhaps, with an
occasion when his part becomes sublime, and then he _is_ sublime through
every hour of his day,--in times of pestilence.

When Jacquet approached him this absolute monarch was evidently out o