"On my faith, the rector of the university ought to have done the same. What say you, Master Guillaume Rym?""Monseigneur," replied Guillaume Rym, "let us be content with having escaped half of the comedy. There is at least that much gained.""Can these rascals continue their farce?" asked the bailiff.

"Continue, continue," said the cardinal, "it's all the same to me. I'll read my breviary in the meantime."The bailiff advanced to the edge of the estrade, and cried, after having invoked silence by a wave of the hand,--"Bourgeois, rustics, and citizens, in order to satisfy those who wish the play to begin again, and those who wish it to end, his eminence orders that it be continued."Both parties were forced to resign themselves. But the public and the author long cherished a grudge against the cardinal.

So the personages on the stage took up their parts, and Gringoire hoped that the rest of his work, at least, would be listened to. This hope was speedily dispelled like his other illusions; silence had indeed, been restored in the audience, after a fashion; but Gringoire had not observed that at the moment when the cardinal gave the order to continue, the gallery was far from full, and that after the Flemish envoys there had arrived new personages forming part of the cortege, whose names and ranks, shouted out in the midst of his dialogue by the intermittent cry of the usher, produced considerable ravages in it. Let the reader imagine the effect in the midst of a theatrical piece, of the yelping of an usher, flinging in between two rhymes, and often in the middle of a line, parentheses like the following,--"Master Jacques Charmolue, procurator to the king in the Ecclesiastical Courts!""Jehan de Harlay, equerry guardian of the office of chevalier of the night watch of the city of Paris!""Messire Galiot de Genoilhac, chevalier, seigneur de Brussac, master of the king's artillery!""Master Dreux-Raguier, surveyor of the woods and forests of the king our sovereign, in the land of France, Champagne and Brie!""Messire Louis de Graville, chevalier, councillor, and chamberlain of the king, admiral of France, keeper of the Forest of Vincennes!""Master Denis le Mercier, guardian of the house of the blind at Paris!" etc., etc., etc.

This was becoming unbearable.

This strange accompaniment, which rendered it difficult to follow the piece, made Gringoire all the more indignant because he could not conceal from himself the fact that the interest was continually increasing, and that all his work required was a chance of being heard.

It was, in fact, difficult to imagine a more ingenious and more dramatic composition. The four personages of the prologue were bewailing themselves in their mortal embarrassment, when Venus in person, (~vera incessa patuit dea~) presented herself to them, clad in a fine robe bearing the heraldic device of the ship of the city of Paris. She had come herself to claim the dolphin promised to the most beautiful. Jupiter, whose thunder could be heard rumbling in the dressing-room, supported her claim, and Venus was on the point of carrying it off,--that is to say, without allegory, of marrying monsieur the dauphin, when a young child clad in white damask, and holding in her hand a daisy (a transparent personification of Mademoiselle Marguerite of Flanders) came to contest it with Venus.

Theatrical effect and change.

After a dispute, Venus, Marguerite, and the assistants agreed to submit to the good judgment of time holy Virgin.