Behind the Beyond, and Other Contributions to Human Knowledge

II.—The Joys of Philanthropy

"GOOD-MORNING," said the valet de chambre, as I stepped from my room.

"Good-morning," I answered. "Pray accept twenty-five centimes."

"Good-morning, sir," said the maître d'hôtel, as I passed down the corridor, "a lovely morning, sir."

"So lovely," I replied, "that I must at once ask you to accept forty-five centimes on the strength of it."

"A beautiful day, monsieur," said the head waiter, rubbing his hands, "I trust that monsieur has slept well."

"So well," I answered, "that monsieur must absolutely insist on your accepting seventy-five centimes on the spot. Come, don't deny me. This is personal matter. Every time I sleep I simply have to give money away."

"Monsieur is most kind."

Kind? I should think not. If the valet de chambre and the maître d'hôtel and the chef de service and the others of the ten men needed to supply me with fifteen cents worth of coffee, could read my heart, they would find it an abyss of the blackest hatred.

Yet they take their handful of coppers—great grown men dressed up in monkey suits of black at eight in the morning—and bow double for it.

If they tell you it is a warm morning, you must give them two cents. If you ask the time, it costs you two cents. If you want a real genuine burst of conversation, it costs anywhere from a cent to a cent and a half a word.

Such is Paris all day long. Tip, tip, tip, till the brain is weary, not with the cost of it, but with the arithmetical strain.

No pleasure is perfect. Every rose has its thorn. The thorn of the Parisian holiday-maker is the perpetual necessity of handing out small gratuities to a set of overgrown flunkies too lazy to split wood.

Not that the amount of the tips, all added together, is anything serious. No rational man would grudge it if it could be presented in a bill as a lump sum at breakfast time every morning and done with for the day.

But the incessant necessity of handing out small tips of graded amounts gets on one's nerves. It is necessary in Paris to go round with enough money of different denominations in one's pocket to start a bank—gold and paper notes for serious purchases, and with them a huge dead weight of great silver pieces, five franc bits as large as a Quaker's shoebuckle, and a jingling mass of coppers in a side pocket. These one must distribute as extras to cabmen, waiters, news-vendors, beggars, anybody and everybody in fact that one has anything to do with.

The whole mass of the coppers carried only amounts perhaps to twenty-five cents in honest Canadian money. But the silly system of the French currency makes the case appear worse than it is, and gives one the impression of being a walking treasury.

Morning, noon, and night the visitor is perpetually putting his hand into his side pocket and pulling out coppers. He drips coppers all day in an unending stream. You enter a French theatre. You buy a programme, fifty centimes, and ten more to the man who sells it. You hand your coat and cane to an aged harpy, who presides over what is called the vestiaire, pay her twenty-five centimes and give her ten. You are shown to your seat by another old fairy in dingy black (she has a French name, but I forget it) and give her twenty centimes. Just think of the silly business of it. Your ticket, if it is a good seat in a good theatre, has cost you about three dollars and a half. One would almost think the theatre could afford to throw in eight cents worth of harpies for the sake of international good will.

Similarly, in your hotel, you ring the bell and there appears the valet de chambre, dressed in a red waistcoat and a coat effect of black taffeta. You tell him that you want a bath. "Bien, monsieur!" He will fetch the maître d'hôtel. Oh, he will, will he, how good of him, but really one can't witness such kindness on his part without begging him to accept a twenty-five centime remembrance. "Merci bien, monsieur." The maître d'hôtel comes. He is a noble looking person who wears a dress suit at eight o'clock in the morning with patent leather shoes of the kind that I have always wanted but am still unable to afford. Yet I know from experience that the man merely lives and breathes at fifty centimes a breath. For fifty centimes he'll bow low enough to crack himself. If you gave him a franc, he'd lie down on the floor and lick your boots. I know he would; I've seen them do it.

So when the news comes that you propose to take a bath, he's right along side of you in a minute, all civility. Mind you, in a really French hotel, one with what is called the old French atmosphere, taking a bath is quite an event, and the maître d'hôtel sees a dead sure fifty centimes in it, with perhaps an extra ten centimes if times are good. That is to say, he may clear anything from ten to twelve cents on the transaction. A bath, monsieur? Nothing more simple, this moment, tout de suite, right off, he will at once give orders for it. So you give him eleven cents and he then tells the hotel harpy, dressed in black, like the theatre harpies, to get the bath and she goes and gets it. She was there, of course, all the time, right in the corridor, and heard all that proceeded, but she doesn't "enter into her functions" until the valet de chambre tells the maître d'hôtel and the maître d'hôtel informs her officially of the coming event.

She gets the bath. What does she do? Why, merely opens the door of the bathroom, which wasn't locked, and turns on the water. But, of course, no man with any chivalry in him could allow a harpy to be put to all that labour without pressing her to accept three cents as a mark of personal appreciation.

Thus the maître d'hôtel and the valet de chambre and the harpy go on all day, from six in the morning when they first "enter into functions" until heaven knows when at night when they leave off, and they keep gathering in two cents and three cents and even five cents at a time. Then presently, I suppose, they go off and spend it in their own way. The maître d'hôtel transformed into a cheap Parisian with a dragon-fly coat and a sixty cent panama, dances gaily at the Bal Wagram, and himself hands out coppers to the musicians, and gives a one cent tip to a lower order of maître d'hôtel. The harpy goes forth, and with other harpies absorbs red wine and indescribable cheese at eleven at night in a crowded little café on the crowded sidewalk of a street about as wide as a wagon. She tips the waiter who serves her at the rate of one cent per half hour of attendance, and he, I suppose, later on tips someone else, and so on endlessly.

In this way about fifty thousand people in Paris eke out a livelihood by tipping one another.

The worst part of the tipping system is that very often the knowledge that tips are expected and the uncertainty of their amount, causes one to forego a great number of things that might otherwise be enjoyable.

I brought with me to Paris, for example, a letter of introduction to the President of the Republic. I don't say this in any boasting spirit. A university professor can always get all the letters of introduction that he wants. Everyone knows that he is too simple to make any commercial use of them. But I never presented this letter to the President. What was the use? It wouldn't have been worth it. He would have expected a tip, and of course in his case it would have had to be a liberal one, twenty-five cents straight out. Perhaps, too, some of his ministers would have strolled in, as soon as they saw a stranger, on the chance of picking up something. Put it as three ministers at fifteen cents each, that's forty-five cents or a total of seventy cents for ten minutes' talk with the French Government. It's not worth it.

In all Paris, I only found one place where tipping is absolutely out of the question. That was at the British Embassy. There they don't allow it. Not only the clerks and the secretaries, but even the Ambassador himself is forbidden to take so much as the smallest gratuity.

And they live up to it.

That is why I still feel proud of having made an exception to the rule.

I went there because the present ambassador is a personal friend of mine. I hadn't known this till I went to Paris, and I may say in fairness that we are friends no longer: as soon as I came away, our friendship seemed to have ceased.

I will make no secret of the matter. I wanted permission to read in the National Library in Paris. All Frenchmen are allowed to read there and, in addition, all the personal friends of the foreign ambassadors. By a convenient fiction, everybody is the friend of this ambassador, and is given a letter to prove it, provided he will call at the Embassy and get it. That is how I came to be a friend of the British Ambassador. Whether our friendship will ripen into anything warmer and closer, it is not for me to say.

But I went to the Embassy.

The young man that I dealt with was, I think, a secretary. He was—I could see it at once—that perfect thing called an English gentleman. I have seldom seen, outside of baseball circles, so considerate a manner. He took my card, and from sheer considerateness left me alone for half an hour. Then he came back for a moment and said it was a glorious day. I had heard this phrase so often in Paris that I reached into my pocket for ten cents. But something in the quiet dignity of the young man held me back. So I merely answered that it was indeed a glorious day, and that the crops would soon head out nicely if we got this sunshine, provided there wasn't dew enough to start the rust, in which case I was afraid that if an early frost set in we might be badly fooled. He said "indeed," and asked me if I had read the last London Weekly Times. I said that I had not seen the last one; but that I had read one about a year ago and that it seemed one of the most sparkling things I had ever read; I had simply roared over it from cover to cover.

He looked pleased and went away.

When he came back, he had the letter of commendation in his hand.

Would you believe it? The civility of it! They had printed the letter, every word of it—except my own name—and it explained all about the ambassador and me being close friends, and told of his desire to have me read in the National Library.

I took the letter, and I knew of course that the moment had come to do something handsome for the young man. But he looked so calm that I still hesitated.

I took ten cents out of my pocket and held it where the light could glitter from every point of its surface full in his face.

And I said–

"My dear young friend, I hope I don't insult you. You are, I can see it, an English gentleman. Your manner betrays it. I, too, though I may seem only what I am, had I not been brought up in Toronto, might have been like you. But enough of this weakness,—will you take ten cents?"

He hesitated. He looked all round. I could see that he was making a great effort. The spirit of Paris battled against his better nature. He was tempted, but he didn't fall.

"I'm sorry, sir," he said. "I'd like to take it, but I'm afraid I mustn't."

"Young man," I said, "I respect your feelings. You have done me a service. If you ever fall into want and need a position in the Canadian Cabinet, or a seat in our Senate, let me know at once."

I left him.

Then by an odd chance, as I passed to the outer door, there was the British Ambassador himself. He was standing beside the door waiting to open it. There was no mistaking him. I could tell by his cocked hat and brass buttons and the brass chain across his chest that it was the Ambassador. The way in which he swung the door back and removed his hat showed him a trained diplomat.

The moment had come. I still held my ten cents.

"My lord," I said, "I understand your position as the only man in Paris who must not accept a tip, but I insist."

I slipped the money into his hand.

"Thank'ee kindly, sir," said the Ambassador.

Diplomatically speaking, the incident was closed.

>III.—The Simple Life in Paris

PARIS—at least the Paris of luxury and fashion—is a childless city. Its streets are thronged all day with a crowd that passes in endless succession but with never a child among them. You may stand on the boulevards and count a thousand grown-up persons for one child that goes by.

The case, of course, is not so extreme in the quieter parts of the city. I have seen children, sometimes two or three together, in the Champs Elysées. In the garden of the Tuileries I once saw six all in a group. They seemed to be playing. A passer-by succeeded in getting a snapshot of them without driving them away. In the poorer districts, there are any quantity of children, even enough to sell, but in the Paris of the rich, the child is conspicuous by its absence. The foreign visitors come without their children. The true Parisian lady has pretty well gone out of the business.

Here and there you may see driving past with its mother in an open barouche, or parading the Rue de la Paix on the hand of its nurse, the doll-like substitute for old-time infancy, the fashionable Parisian child. As far as the sex can be determined by looking at it, it is generally a girl. It is dressed in the height of fashion. A huge picture hat reaches out in all directions from its head. Long gloves encase its little arms to prevent it from making a free use of them. A dainty coat of powder on its face preserves it from the distorting effect of a smile. Its little hundred dollar frock reaches down in a sweet simplicity of outline. It has a belt that runs round its thighs to divide it into two harmonious parts. Below that are bare pink legs ending in little silk socks at a dollar an inch and wee slippers clasped with a simple emerald buckle. Therein, of course, the child only obeys the reigning fashion. Simplicity,—so I am informed by the last number of La Mode Parisienne,—is the dominant note of Parisian dress to-day,—simplicity, plainness, freedom from all display. A French lady wears in her hair at the Opera a single, simple tiara bound with a plain row of solitaire diamonds. It is so exquisitely simple in its outline that you can see the single diamonds sticking out from it and can count up the price of each. The Parisian gentleman wears in his button-hole merely a single orchid,—not half a dozen,—and pins his necktie with one plain, ordinary ruby, set in a perfectly unostentatious sunburst of sapphires. There is no doubt of the superiority of this Parisian simplicity. To me, when it broke upon me in reading La Mode Parisienne, it came as a kind of inspiration. I took away the stuffy black ribbon with its stupidly elaborate knot from my Canadian Christie hat and wound a single black ostrich feather about it fastened with just the plainest silver aigrette. When I had put that on and pinned a piece of old lace to the tail of my coat with just one safety pin, I walked the street with the quiet dignity of a person whose one idea is not to be conspicuous.

But this is a digression. The child, I was saying, wears about two hundred worth of visible clothing upon it; and I believe that if you were to take it up by its ten-dollar slipper and hold it upside down, you would see about fifty dollars more. The French child has been converted into an elaborately dressed doll. It is altogether a thing of show, an appendage of its fashionably dressed mother, with frock and parasol to match. It is no longer a child, but a living toy or plaything.

Even on these terms the child is not a success. It has a rival who is rapidly beating it off the ground. This is the Parisian dog. As an implement of fashion, as a set-off to the fair sex, as the recipient of ecstatic kisses and ravishing hugs, the Parisian dog can give the child forty points in a hundred and win out. It can dress better, look more intelligent, behave better, bark better,—in fact, the child is simply not in it.

This is why, I suppose, in the world of Parisian luxury, the dog is ousting the infant altogether. You will see, as I said, no children on the boulevards and avenues. You will see dogs by the hundred. Every motor or open barouche that passes up the Champs Elysées, with its little white cloud of fluffy parasols and garden-hats, has a dainty, beribboned dog sitting among its occupants: in every avenue and promenade you will see hundreds of clipped poodles and toy spaniels; in all the fashionable churches you will see dogs bowed at their devotions.

It was a fair struggle. The child had its chance and was beaten. The child couldn't dress: the dog could. The child couldn't or wouldn't pray: the dog could,—or at least he learnt how. No doubt it came awkwardly at first, but he set himself to it till nowadays a French dog can enter a cathedral with just as much reverence as his mistress, and can pray in the corner of the pew with the same humility as hers. When you get to know the Parisian dogs, you can easily tell a Roman Catholic dog from a Low Church Anglican. I knew a dog once that was converted,—everybody said from motives of policy,—from a Presbyterian,—but, stop, it's not fair to talk about it,—the dog is dead now, and it's not right to speak ill of its belief, no matter how mistaken it may have been.

However, let that pass, what I was saying was that between the child and the dog, each had its chance in a fair open contest and the child is nowhere.

People, who have never seen, even from the outside, the Parisian world of fashion, have no idea to what an extent it has been invaded by the dog craze. Dogs are driven about in motors and open carriages. They are elaborately clipped and powdered and beribboned by special "coiffeurs." They wear little buckled coats and blankets, and in motors,—I don't feel quite sure of this,—they wear motor goggles. There are at least three or four—and for all I know there may be more—fashionable shops in Paris for dogs' supplies. There is one that any curious visitor may easily find at once in the Rue des Petits Champs close to the Avenue de l'Opera. There is another one midway in the galleries of the Palais Royal. In these shops you will see, in the first place, the chains, collars, and whips that are marks of the servitude in which dogs still live (though, by the way, there are already, I think, dog suffragettes heading a very strong movement). You will see also the most delicious, fashionable dog coats, very, very simple, fastened in front with one silver clasp, only one. In the Palais Royal shop they advertise, "Newest summer models for 1913 in dogs' tailoring." There are also dogs' beds made in wickerwork in cradle shape with eider-down coverlets worked over with silk.

A little while ago, the New York papers were filled with an account of a dog's lunch given at the Vanderbilt Hotel by an ultra-fashionable American lady. It was recorded that Vi Sin, the Pekin Spaniel of Mrs. H. of New York, was host to about ten thousand dollars worth of "smart" dogs. I do not know whether or not this story is true, for I only read it in the Parisian papers. But certain it is that the episode would have made no sensation in Paris. A dog eating in a restaurant is a most ordinary spectacle. Only a few days ago I had lunch with a dog,—a very quiet, sensible Belgian poodle, very simply dressed in a plain morning stomach coat of ultramarine with leather insertions. I took quite a fancy to him. When I say that I had lunch with him, I ought to explain that he had a lady, his mistress, with him,—that also is quite usual in Paris. But I didn't know her, and she sat on the further side of him, so that I confined myself to ordinary table civilities with the dog. I was having merely a plain omelette, from motives of economy, and the dog had a little dish of entrecote d'agneau aux asperges maître d'hôtel. I took some of it while the lady was speaking to the waiter and found it excellent. You may believe it or not, but the entry of a dog into a French restaurant and his being seated at a table and having his food ordered creates not the slightest sensation. To bring a child into a really good restaurant would, I imagine, be looked upon as rather a serious affair.

Not only is the dog the darling of the hour during his lifetime, but even in death he is not forgotten. There is in Paris a special dog cemetery. It lies among the drooping trees of a little island in the Seine, called the Isle de la Recette, and you may find it by taking the suburban tramway for Asnières. It has little tombstones, monuments, and flowered walks. One sorrow-stricken master has inscribed over a dog's grave,—"Plus je vois les hommes, plus j'aime mon chien." The most notable feature of the cemetery is the monument of Barry, a St. Bernard dog. The inscription states that he saved forty lives in the Alps.

But the dog craze is after all only a sign and sample of the prevailing growth and extent of fashionable luxury. Nowhere in the world, I suppose, is this more conspicuous than in Paris, the very Vanity Fair of mundane pleasure. The hostesses of dinners, dances and fêtes vie with one another in seeking bizarre and extravagant effects. Here is a good example of it taken from actual life the other day. It is an account of an "oriental fête" given at a private mansion in Paris.

It runs thus:—"The sumptuous Paris mansion of the Comtesse Aynard de Chabrillan in the Rue Christophe-Colomb was converted into a veritable scene from the 'Thousand and One Nights' on the occasion of a Persian fête given by her to a large company of friends.

"In the courtyard an immense tent was erected, hung with superb Persian stuffs and tapestries, and here the élite of Paris assembled in gorgeous Oriental costumes.

"The countess herself presided in a magnificent Persian costume of green and gold, with an immense white aigrette in her hair."

Notice it. The simplicity of it! Only green and gold in her costume, no silver, no tin, no galvanized iron, just gold, plain gold; and only "one immense white aigrette." The quiet dignity of it!

The article goes on:—"Each of the sensational entries was announced by M. André de Fouquières, the arbiter of Parisian elegance.

"One of the most striking spectacles of the evening was the appearance of Princesse P. d'Arenberg, mounted on an elephant, richly bedecked with Indian trappings. Then came the Duchesse de Clermont-Tonnerre and the Comtesse Stanislas de Castellane in gold cages, followed by the Marquise de Brantes, in a flower-strewn Egyptian litter, accompanied by Pharaoh and his slaves.

"The Comtesse de Lubersac danced an Oriental measure with charming grace, and Prince Luis Fernando of Spain, in an ethereal costume, his features stained a greenish hue, executed a Hindoo dance before the assembly."

Can you beat it? His features stained with a greenish hue! Now look at that! He might have put on high grade prepared paint or clear white lead,—he's rich enough,—but, no, just a quiet shingle stain is enough for him.

I cannot resist adding from the same source the list of the chief guests. Anybody desiring a set of names for a burlesque show to run three hundred nights on the circuit may have them free of charge or without infringement of copyright.

"Nearly everyone prominent in Paris society was present, including the Maharajah of Kapurthala, Princess Prem Kaur, Prince Aga Khan, the Austrian Ambassador and Countess Szecsen, the Persian and Bulgarian Ministers, Mme. Stancioff, Duc and Duchesse de Noailles, Comtesse A. Potocka, Marquis and Marquise de Mun, Comtesse du Bourg de Bozas, Mrs. Moore, Comte and Comtesse G. de Segonzec and Prince and Princess de Croy."

I am sorry that "Mrs. Moore" was there. She must have slipped in unnoticed.

What is not generally known is that I was there myself. I appeared,—in rivalry with Prince Luis Fernando—dressed as a Bombay soda water bottle, with aerial opalescent streaks of light flashing from the costume which was bound with single wire.