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Updated: May 5, 2025
As well, perhaps, but not better. Mme Gavarni said that the niece was forgetting the way the cripple had slid his feet. The niece said yes, that was so, maybe she was. Henry said nothing. He merely perspired. He made progress slowly. This could not be blamed upon his instructress, however. She did all that one woman could to speed him up.
The wide mouth of the present Boulevard Saint-Michel, a short way round the corner, had not yet been forced open to the exhibition of more or less glittering fangs; old Paris still pressed round the Palace and its gardens, which formed the right, the sober social antithesis to the "elegant" Tuileries, and which in fine, with these renewals of our young confidence, reinforced both in a general and in a particular way one of the fondest of our literary curiosities of that time, the conscientious study of Les Français Peints par Eux-Mêmes, rich in wood-cuts of Gavarni, of Grandville, of Henri-Monnier, which we held it rather our duty to admire and W. J. even a little his opportunity to copy in pen-and-ink.
Then comes, in the third place, poverty in rags, the poverty of the people, the poverty that is poetic; which Callot, Hogarth, Murillo, Charlet, Raffet, Gavarni, Meissonier, Art itself adores and cultivates, especially during the carnival. The man in whom poor Agathe thought she recognized her son was astride the last two classes of poverty.
I will stop here at the greenroom of the Ballet commended by Monsieur J.-J. Weiss, to give a slight sketch, clever as a drawing by Saint' Aubin or a lithograph by Gavarni, which Monsieur Ludovic Halévy has contributed to a journal and in which he also praises the romance that the feuilletoniste of the Débats has criticized with an authority so discriminating and a benevolence so profound.
Du Maurier is as graceful as Gavarni, but his sense of beauty conjures away almost everything save our minor vices. It is in the exploration of our major ones that Gavarni makes his principal discoveries of charm or of absurdity of attitude.
Mme Gavarni had the trying habit of endeavouring to stimulate Henry by frequently comparing his performance and progress with that of a cripple whom she claimed to have taught at some previous time. She and the niece would have spirited arguments in his presence as to whether or not the cripple had one-stepped better after his third lesson than Henry after his fifth. The niece said no.
It filled him with a singular pride such as he had not felt since his first rise of salary at the bank. Mme Gavarni was moved to dignified praise. 'Some speed, kid! she observed. 'Some speed! Henry blushed modestly. It was the accolade. Every day, as his skill at the dance became more manifest, Henry found occasion to bless the moment when he had decided to take lessons.
That legacy of hate, inherited from the 1830 poets, of the bourgeois, was a merry play for Rops. He is the third of the trinity of caricature artists, Daumier and Gavarni being the other two. The liberal pinch of Gallic salt in the earlier plates need not annoy one.
"Guys exercised on Gavarni an influence which brought into being his Invalides du sentiment, his Lorettes vielles, and his Fourberies de femmes." It is not quite fair to compare Guys with Rops, or indeed with either Gavarni or Daumier. These were the giants of French illustration at that epoch.
As a humorist he was certainly thin compared to Leech; as a satirist he was certainly feeble compared to Gavarni; in dramatic, not to say imaginative, qualities he cannot be spoken of in the same breath as Cruikshank; but as an artist was he not their superior?
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