he was not above taking the fiddle himself sometimes in a relation’s house, and getting up a little impromptu dance.  In those days, all the handsome men in France were away at the wars exchanging sabre-cuts with the handsome men of the Coalition.  Pons was said to be, not ugly, but “peculiar-looking,” after the grand rule laid down by Moliere in Eliante’s famous couplets; but if he sometimes heard himself described as a “charming man” (after he had done some fair lady a service), his good fortune went no further than words.

It was between the years 1810 and 1816 that Pons contracted the unlucky habit of dining out; he grew accustomed to see his hosts taking pains over the dinner, procuring the first and best of everything, bringing out their choicest vintages, seeing carefully to the dessert, the coffee, the liqueurs, giving him of their best, in short; the best, moreover, of those times of the Empire when Paris was glutted with kings and queens and princes, and many a private house emulated royal splendours.

People used to play at Royalty then as they play nowadays at parliament, creating a whole host of societies with presidents, vice-presidents, secretaries and what not—­agricultural societies, industrial societies, societies for the promotion of sericulture, viticulture, the growth of flax, and so forth.  Some have even gone so far as to look about them for social evils in order to start a society to cure them.

But to return to Pons.  A stomach thus educated is sure to react upon the owner’s moral fibre; the demoralization of the man varies directly with his progress in culinary sapience.  Voluptuousness, lurking in every secret recess of the heart, lays down the law therein.  Honor and resolution are battered in breach.  The tyranny of the palate has never been described; as a necessity of life it escapes the criticism of literature; yet no one imagines how many have been ruined by the table.  The luxury of the table is indeed, in this sense, the courtesan’s one competitor in Paris, besides representing in a manner the credit side in another account, where she figures as the expenditure.

With Pons’ decline and fall as an artist came his simultaneous transformation from invited guest to parasite and hanger-on; he could not bring himself to quit dinners so excellently served for the Spartan broth of a two-franc ordinary.  Alas! alas! a shudder ran through him at the mere thought of the great sacrifices which independence required him to make.  He felt that he was capable of sinking to even lower depths for the sake of good living, if there were no other way of enjoying the first and best of everything, of guzzling (vulgar but expressive word) nice little dishes carefully prepared.  Pons lived like a bird, pilfering his meal, flying away when he had taken his fill, singing a few notes by way of return; he took a certain pleasure in the thought that he lived at the expense of society, which asked of him—­what but the trifling toll of grimaces?  Like all confirmed bachelors, who hold their lodgings in horror, and live as much as possible in other people’s houses, Pons was accustomed to the formulas and facial contortions which do duty for feeling in the world; he used compliments as small change; and as far as others were concerned, he was satisfied with the labels they bore, and never plunged a too-curious hand into the sack.