.

we must go with the fashion. Do, sol, mi, do, la, si, do, re! That's not so bad; it gives a fair idea of a daisy, especially to people well up in botany. La, si, do, re. Confound that re! Now to make the blue lake intelligible. We should have something moist, azure, moonlight—for the moon comes in too; here it is; don't let's forget the swan. Fa, mi, la, sol," continued Schaunard, rattling over the keys. "Lastly, an adieu of the young girl, who determines to throw herself into the blue lake, to rejoin her beloved who is buried under the snow. The catastrophe is not very perspicuous, but decidedly interesting. We must have something tender, melancholy. It's coming, it's coming! Here are a dozen bars crying like Magdalens, enough to split one's heart—Brr, brr!" and Schaunard shivered in his spangled petticoat, "if it could only split one's wood! There's a beam in my alcove which bothers me a good deal when I have company at dinner. I should like to make a fire with it—la, la, re, mi—for I feel my inspiration coming to me through the medium of a cold in the head. So much the worse, but it can't be helped. Let us continue to drown our young girl;" and while his fingers assailed the trembling keys, Schaunard, with sparkling eyes and straining ears, gave chase to the melody which, like an impalpable sylph, hovered amid the sonorous mist which the vibrations of the instrument seemed to let loose in the room.

      "Now let us see," he continued, "how my music will fit into my poet's words;" and he hummed, in voice the reverse of agreeable, this fragment of verse of the patent comic-opera sort:

      "The fair and youthful maiden,

       As she flung her mantle by,

       Threw a glance with sorrow laden

       Up to the starry sky

       And in the azure waters

       Of the silver-waved lake."

      "How is that?" he exclaimed, in transports of just indignation; "the azure waters of a silver lake! I didn't see that. This poet is an idiot. I'll bet he never saw a lake, or silver either. A stupid ballad too, in every way; the length of the lines cramps the music. For the future I shall compose my verses myself; and without waiting, since I feel in the humour, I shall manufacture some couplets to adapt my melody to."

      So saying, and taking his head between his hands, he assumed the grave attitude of a man who is having relations with the Muses. After a few minutes of this sacred intercourse, he had produced one of those strings of nonsense-verses which the libretti-makers call, not without reason, monsters, and which they improvise very readily as a ground-work for the composer's inspiration. Only Schaunard's were no nonsense-verses, but very good sense, expressing with sufficient clearness the inquietude awakened in his mind by the rude arrival of that date, the eighth of April.

      Thus they ran:

      "Eight and eight make sixteen just,

       Put down six and carry one:

       My poor soul would be at rest

       Could I only find some one,

       Some honest poor relation,

       Who'd eight hundred francs advance,

       To pay each obligation,

       Whenever I've a chance."

      Chorus

      "And ere the clock on the last and fatal morning

       Should sound mid-day,

       To old Bernard, like a man who needs no warning,

       To old Bernard, like a man who needs no warning,

       To old Bernard, like a man who needs no warning,

       My rent I'd pay!"

      "The duece!" exclaimed Schaunard, reading over his composition, "one and some one—those rhymes are poor enough, but I have no time to make them richer. Now let us try how the notes will unite with the syllables." And in his peculiarly frightful nasal tone he recommenced the execution of his ballad. Satisfied with the result he had just obtained, Schaunard congratulated himself with an exultant grimace, which mounted over his nose like a circumflex accent whenever he had occasion to be pleased with himself. But this triumphant happiness was destined to have no long duration. Eleven o'clock resounded from the neighbouring steeple. Every stroke diffused itself through the room in mocking sounds which seemed to say to the unlucky Schaunard, "Are you ready?"

      The artist bounded on his chair. "The time flies like a bird!" he exclaimed. "I have but three-quarters of an hour left to find my seventy-five francs and my new lodging. I shall never get them; that would be too much like magic. Let me see: I give myself five minutes to find out how to obtain them;" and burying his head between his knees, he descended into the depths of reflection.

      The five minutes elapsed, and Schaunard raised his head without having found anything which resembled seventy-five francs.

      "Decidedly, I have but one way of getting out of this, which is simply to go away. It is fine weather and my friend Monsieur Chance may be walking in the sun. He must give me hospitality till I have found the means of squaring off with Monsieur Bernard."

      Having stuffed into the cellar-like pockets of his overcoat all the articles they would hold, Schaunard tied up some linen in a handkerchief, and took an affectionate farewell of his home. While crossing the court, he was suddenly stopped by the porter, who seemed to be on the watch for him.

      "Hallo! Monsieur Schaunard," cried he, blocking up the artist's way, "don't you remember that this is the eighth of April?"

      "Eight and eight make sixteen just,

       Put down six and carry one,"

      hummed Schaunard. "I don't remember anything else."

      "You are a little behindhand then with your moving," said the porter; "it is half-past eleven, and the new tenant to whom your room has been let may come any minute. You must make haste."

      "Let me pass, then," replied Schaunard; "I am going after a cart."

      "No doubt, but before moving there is a little formality to be gone through. I have orders not to let you take away a hair unless you pay the three quarters due. Are you ready?"

      "Why, of course," said Schaunard, making a step forward.

      "Well come into my lodge then, and I will give you your receipt."

      "I shall take it when I come back."

      "But why not at once?" persisted the porter.

      "I am going to a money changer's. I have no change."

      "Ah, you are going to get change!" replied the other, not at all at his ease. "Then I will take care of that little parcel under your arm, which might be in your way."

      "Monsieur Porter," exclaimed the artist, with a dignified air, "you mistrust me, perhaps! Do you think I am carrying away my furniture in a handkerchief?"

      "Excuse me," answered the porter, dropping his tone a little, "but such are my orders. Monsieur Bernard has expressly charged me not to let you take away a hair before you have paid."

      "But look, will you?" said Schaunard, opening his bundle, "these are not hairs, they are shirts, and I am taking them to my washerwoman, who lives next door to the money changer's twenty steps off."

      "That alters the case," said the porter, after he had examined the contents of the bundle. "Would it be impolite, Monsieur Schaunard, to inquire your new address?"

      "Rue de Rivoli!" replied the artist, and having once got outside the gate, he made off as fast as possible.

      "Rue de Rivoli!" muttered the porter, scratching his nose, "it's very odd they should have let him lodgings in the Rue de Rivoli, and never come here to ask about him. Very odd, that. At any rate, he can't carry off his furniture without paying. If only the new tenant don't come moving in just as Monsieur Schaunard is moving out! That would make a nice mess! Well, sure enough," he exclaimed, suddenly putting his head out of his little window, "here he comes, the new tenant!"

      In fact, a young man in a white hat, followed by a porter who did not seem over-burdened by the weight of his load, had just entered the court. "Is my room ready?" he