Gaudissart II

GAUDISSART II

To know how to sell, to be able to sell, and to sell. People generally do not suspect how much of the stateliness of Paris is due to these three aspects of the same problem. The brilliant display of shops as rich as the salons of the noblesse before 1789; the splendors of cafes which eclipse, and easily eclipse, the Versailles of our day; the shop-window illusions, new every morning, nightly destroyed; the grace and elegance of the young men that come in contact with fair customers; the piquant faces and costumes of young damsels, who cannot fail to attract the masculine customer; and (and this especially of late) the length, the vast spaces, the Babylonish luxury of galleries where shopkeepers acquire a monopoly of the trade in various articles by bringing them all together, – all this is as nothing. Everything, so far, has been done to appeal to a single sense, and that the most exacting and jaded human faculty, a faculty developed ever since the days of the Roman Empire, until, in our own times, thanks to the efforts of the most fastidious civilization the world has yet seen, its demands are grown limitless. That faculty resides in the "eyes of Paris."

Those eyes require illuminations costing a hundred thousand francs, and many-colored glass palaces a couple of miles long and sixty feet high; they must have a fairyland at some fourteen theatres every night, and a succession of panoramas and exhibitions of the triumphs of art; for them a whole world of suffering and pain, and a universe of joy, must resolve through the boulevards or stray through the streets of Paris; for them encyclopaedias of carnival frippery and a score of illustrated books are brought out every year, to say nothing of caricatures by the hundred, and vignettes, lithographs, and prints by the thousand. To please those eyes, fifteen thousand francs' worth of gas must blaze every night; and, to conclude, for their delectation the great city yearly spends several millions of francs in opening up views and planting trees. And even yet this is as nothing – it is only the material side of the question; in truth, a mere trifle compared with the expenditure of brain power on the shifts, worthy of Moliere, invented by some sixty thousand assistants and forty thousand damsels of the counter, who fasten upon the customer's purse, much as myriads of Seine whitebait fall upon a chance crust floating down the river.

Gaudissart in the mart is at least the equal of his illustrious namesake, now become the typical commercial traveler. Take him away from his shop and his line of business, he is like a collapsed balloon; only among his bales of merchandise do his faculties return, much as an actor is sublime only upon the boards. A French shopman is better educated than his fellows in other European countries; he can at need talk asphalt, Bal Mabille, polkas, literature, illustrated books, railways, politics, parliament, and revolution; transplant him, take away his stage, his yardstick, his artificial graces; he is foolish beyond belief; but on his own boards, on the tight-rope of the counter, as he displays a shawl with a speech at his tongue's end, and his eye on his customer, he puts the great Talleyrand into the shade; he is a match for a Monrose and a Moliere to boot. Talleyrand in his own house would have outwitted Gaudissart, but in the shop the parts would have been reversed.

An incident will illustrate the paradox.

Two charming duchesses were chatting with the above-mentioned great diplomatist. The ladies wished for a bracelet; they were waiting for the arrival of a man from a great Parisian jeweler. A Gaudissart accordingly appeared with three bracelets of marvelous workmanship. The great ladies hesitated. Choice is a mental lightning flash; hesitate – there is no more to be said, you are at fault. Inspiration in matters of taste will not come twice. At last, after about ten minutes the Prince was called in. He saw the two duchesses confronting doubt with its thousand facets, unable to decide between the transcendent merits of two of the trinkets, for the third had been set aside at once. Without leaving his book, without a glance at the bracelets, the Prince looked at the jeweler's assistant.

"Which would you choose for your sweetheart?" asked he.

The young man indicated one of the pair.

"In that case, take the other, you will make two women happy," said the subtlest of modern diplomatists, "and make your sweetheart happy too, in my name."

The two fair ladies smiled, and the young shopman took his departure, delighted with the Prince's present and the implied compliment to his taste.

A woman alights from her splendid carriage before one of the expensive shops where shawls are sold in the Rue Vivienne. She is not alone; women almost always go in pairs on these expeditions; always make the round of half a score of shops before they make up their minds, and laugh together in the intervals over the little comedies played for their benefit. Let us see which of the two acts most in character – the fair customer or the seller, and which has the best of it in such miniature vaudevilles?

If you attempt to describe a sale, the central fact of Parisian trade, you are in duty bound, if you attempt to give the gist of the matter, to produce a type, and for this purpose a shawl or a chatelaine costing some three thousand francs is a more exacting purchase than a length of lawn or dress that costs three hundred. But know, oh foreign visitors from the Old World and the New (if ever this study of the physiology of the Invoice should be by you perused), that this selfsame comedy is played in haberdashers' shops over a barege at two francs or a printed muslin at four francs the yard.

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