"That's Monsieur Dutocq," said Antoine. "I know him by that pickpocket step of his. He is always moving round on the sly, that man. He is on your back before you know it. Yesterday, contrary to his usual ways, he outstayed the last man in the office; such a thing hasn't happened three times since he has been at the ministry."Here follows the portrait of Monsieur Dutocq, order-clerk in the Rabourdin bureau: Thirty-eight years old, oblong face and bilious skin, grizzled hair always cut close, low forehead, heavy eyebrows meeting together, a crooked nose and pinched lips; tall, the right shoulder slightly higher than the left; brown coat, black waistcoat, silk cravat, yellowish trousers, black woollen stockings, and shoes with flapping bows; thus you behold him. Idle and incapable, he hated Rabourdin,--naturally enough, for Rabourdin had no vice to flatter, and no bad or weak side on which Dutocq could make himself useful. Far too noble to injure a clerk, the chief was also too clear-sighted to be deceived by any make-believe. Dutocq kept his place therefore solely through Rabourdin's generosity, and was very certain that he could never be promoted if the latter succeeded La Billardiere. Though he knew himself incapable of important work, Dutocq was well aware that in a government office incapacity was no hindrance to advancement; La Billardiere's own appointment over the head of so capable a man as Rabourdin had been a striking and fatal example of this. Wickedness combined with self-interest works with a power equivalent to that of intellect; evilly disposed and wholly self-interested, Dutocq had endeavoured to strengthen his position by becoming a spy in all the offices. After 1816 he assumed a marked religious tone, foreseeing the favor which the fools of those days would bestow on those they indiscriminately called Jesuits. Belonging to that fraternity in spirit, though not admitted to its rites, Dutocq went from bureau to bureau, sounded consciences by recounting immoral jests, and then reported and paraphrased results to des Lupeaulx; the latter thus learned all the trivial events of the ministry, and often surprised the minister by his consummate knowledge of what was going on. He tolerated Dutocq under the idea that circumstances might some day make him useful, were it only to get him or some distinguished friend of his out of a scrape by a disgraceful marriage. The two understood each other well. Dutocq had succeeded Monsieur Poiret the elder, who had retired in 1814, and now lived in the pension Vanquer in the Latin quarter. Dutocq himself lived in a pension in the rue de Beaune, and spent his evenings in the Palais-Royal, sometimes going to the theatre, thanks to du Bruel, who gave him an author's ticket about once a week. And now, a word on du Bruel.
Though Sebastien did his work at the office for the small compensation we have mentioned, du Bruel was in the habit of coming there to advertise the fact that he was the under-head-clerk and to draw his salary. His real work was that of dramatic critic to a leading ministerial journal, in which he also wrote articles inspired by the ministers,--a very well understood, clearly defined, and quite unassailable position. Du Bruel was not lacking in those diplomatic little tricks which go so far to conciliate general good-will. He sent Madame Rabourdin an opera-box for a first representation, took her there in a carriage and brought her back,--an attention which evidently pleased her. Rabourdin, who was never exacting with his subordinates allowed du Bruel to go off to rehearsals, come to the office at his own hours, and work at his vaudevilles when there.
Monsieur le Duc de Chaulieu, the minister, knew that du Bruel was writing a novel which was to be dedicated to himself. Dressed with the careless ease of a theatre man, du Bruel wore, in the morning, trousers strapped under his feet, shoes with gaiters, a waistcoat evidently vamped over, an olive surtout, and a black cravat. At night he played the gentleman in elegant clothes. He lived, for good reasons, in the same house as Florine, an actress for whom he wrote plays. Du Bruel, or to give him his pen name, Cursy, was working just now at a piece in five acts for the Francais. Sebastien was devoted to the author,--who occasionally gave him tickets to the pit,--and applauded his pieces at the parts which du Bruel told him were of doubtful interest, with all the faith and enthusiasm of his years. In fact, the youth looked upon the playwright as a great author, and it was to Sebastien that du Bruel said, the day after a first representation of a vaudeville produced, like all vaudevilles, by three collaborators, "The audience preferred the scenes written by two.""Why don't you write alone?" asked Sebastien naively.
There were good reasons why du Bruel did not write alone. He was the third of an author. A dramatic writer, as few people know, is made up of three individuals; first, the man with brains who invents the subject and maps out the structure, or scenario, of the vaudeville;second, the plodder, who works the piece into shape; and third, the toucher-up, who sets the songs to music, arranges the chorus and concerted pieces and fits them into their right place, and finally writes the puffs and advertisements. Du Bruel was a plodder; at the office he read the newest books, extracted their wit, and laid it by for use in his dialogues. He was liked by his collaborators on account of his carefulness; the man with brains, sure of being understood, could cross his arms and feel that his ideas would be well rendered.
