The claqueurs were admitted to the theatre and took their seats some time before the entrance of the paying public.  M. Auguste had thus ample opportunity of deciding upon his strategic operations, of placing his advance guard, of securing the position of his main army, and of defending its flanks and rear.  The paying public thus found itself curiously intermixed and imprisoned by these hosts of claqueurs, and victory usually crowned the efforts of M. Auguste, who was careful to arrogate to himself the results of the evening’s proceedings.  “What a splendid success I have achieved!” he would say; completely ignoring the efforts of the composer, the artists of the theatre, and the manager, who were perhaps entitled to some share of the glories of the performance.

Auguste, as Dr. Veron relates, made his fortune at the opera.  He was in receipt of annuities from several artists of established fame.  Success could hardly be achieved without his aid.  The friends, patrons, and family of a new artist, to ensure his or her success, invariably paid court and money to Auguste, the price of his services corresponding with the pretensions of the debutant.  And then he undertook engagements of an exceptional kind, sometimes even to the prejudice of his manager.  Artists required of him some times a sudden increase of their success—­that, for a few nights only, an extraordinary measure of applause should reward their exertions.  Their engagements were expiring or were about to be renewed; it was desirable to deceive both the public and the manager.  The vital question of salary was under consideration; an increase of their emoluments was most desirable.  So, for a while, the mediocre singer or dancer obtained from Auguste and his auxiliaries unusual favour, and the manager was induced to form very erroneous opinions upon the subject.  Rumours, too, were artfully circulated to the effect that the performer in question had received liberal offers from England or Prussia; that his or her merits had roused the attention of rival impresarios; the Parisian manager was cautioned at all costs to retain in his theatre ability and promise so remarkable.  But with the signing of a new engagement, at an advance of salary, came disenchantment.  M. Auguste’s services were now withdrawn, for the performer’s object was attained; and the management for some time to come was saddled with mediocrity, purchased at a high price.

But little difficulties and deceptions of this kind notwithstanding, Dr. Veron approved the claque system, and constituted himself the friend and defender of Auguste.  It was not only that Auguste was himself a very worthy person—­an excellent father of a family, leading a steady and creditable kind of life, putting by, for the benefit of his children, a considerable portion of his large annual earnings as chef de la claque—­but the advantages of artificial applause and simulated success seemed