Paris and the Parisians in 1835 (Vol. 1) — Background and Themes

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Trollope, Frances Milton, 1780-1863 Project Gutenberg 2012 Not confirmed
Paris (France) -- Description and travel; Paris (France) -- Social life and customs -- 19th century Readers of public-domain and historical texts
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Words 96,159
Reading time 419 min
Text sections 10

For Paris and the Parisians in 1835 (Vol. 1) — Background and Themes, the stored edition analysis reports 96,159 words, 6 hr 59 min estimated reading time, and 10 detected text sections.

The text analysis averages about 29.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Paris (France) -- Description and travel,” connecting these edition facts with the source record’s subject description.

Frances Trollope's 1835 letters from Paris blend sharp social observation with political commentary, capturing the city's post-revolutionary tensions through vivid street scenes and conversations with legitimists and doctrinaires.
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Catholics who filled every corner of the theatre, and listened to him with attention so unbroken, and admiration so undisguised? I know not. But for myself, I can truly declare, that my Protestant and reformed feelings were never more gratified than by listening to this eloquent history of the proudest moment of our great apostle's life, pronounced in the centre of Cardinal Mazarin's palace. The concluding words of the discourse were as follows:

"Sommé pendant quatre ans de se soumettre, Luther, pendant quatre ans, dit non. Il avait dit non au légat; il avait dit non au pape; il dit non à l'empereur. Dans ce non héroïque et fécond se trouvait la liberté du monde."

Another discourse was announced to conclude the sitting of the day. But when M. Mignet retired, no one appeared to take his place; and after waiting for a few minutes, the numerous and very fashionable-looking crowd dispersed themselves.

I recollected the anecdote told of the first representation of the "Partie de Chasse de Henri Quatre," when the overture of Mehul produced such an effect, that the audience would not permit anything else to be performed after it. The piece, therefore, was _remise_,--and so was the harangue of the academician who was to have followed M. Mignet.

You will confess, I think, that we are not idle, when I tell you that, after all this, we went in the evening to _Le Concert Musard_. This is one of the pastimes to which we have hitherto had no parallel in London. At half-past seven o'clock, you lounge into a fine, large, well-lighted room, which is rapidly filled with company: a full and good orchestra give you during a couple of hours some of the best and most popular music of the season; and then you lounge out again, in time to dress for a party, or eat ices at Tortoni's, or soberly to go home for a domestic tea-drinking and early rest. For this concert you pay a franc; and the humble price, together with the style of toilet (every lady wearing a bonnet and shawl), might lead the uninitiated to suppose that it was a recreation prepared for the _beau monde_ of the Faubourg; but the long line of private carriages that occupies the street at the conclusion of it, shows that, simple and unpretending as is its style, this concert has attractions for the best company in Paris.

The easy _entrée_ to it reminded me of the theatres of Germany. I remarked many ladies coming in, two or three together, unattended by any gentleman. Between the acts, the company promenaded round the room, parties met and joined, and altogether it appeared to us a very agreeable mode of gratifying that French necessity of amusing one's self out of one's own house, which seems contagious in the very air of Paris.

Easter-Sunday at Notre Dame.--Archbishop.--View of Paris.--Victor Hugo.--Hôtel Dieu.--Mr. Jefferson.

It was long ago decided in a committee of the whole house, that on Easter-Sunday we should attend high mass at Notre Dame. I shall not soon forget the spectacle that greeted us on entering. Ten thousand persons, it was said, were on that day assembled in the church; and its dimensions are so vast, that I have no doubt the statement was correct, for it was crowded from floor to roof. The effect of the circular gallery, that at mid-height encompasses the centre aisle, following as it does the graceful sweep of the chapel behind the altar, and filled row after row with gaily-dressed company up, as it seemed, almost to the groining of the roof, was beautiful. The chairs on this occasion were paid for in proportion to the advantageousness of the position in which they stood, and by disbursing an extra franc or two we obtained very good places. The mass was performed with great splendour. The dresses of the archbishop and his train were magnificent; and when this splendid, princely-looking personage, together with his court of dignitaries and priests, paraded the Host round the church and up the crowded aisle spite of the close-wedged throng, they looked like a stream of liquid gold, that by its own weight made way through every obstacle. The archbishop is a mild and amiable-looking man, and ceased not to scatter blessings from his lips and sprinkle safety from his fingers'-ends upon the admiring people, as slowly and gracefully he passed among them.

Frances Trollope opens her 1835 Parisian correspondence with a preface that admits to having revised her own political opinions after mixing with people of all parties. This self-awareness sets the tone for a narrative that is less a travelogue than a series of contested observations. The excerpts show her moving through the city with a legitimist and a doctrinaire, each offering contradictory interpretations of the same scenes—riots versus good order. The reader is drawn into a Paris where every street corner, from the Quai Voltaire to the Rue du Bac, becomes a stage for ideological debate.

Voices in Dialogue

The excerpts reveal a distinctive narrative structure: Trollope frequently embeds extended conversations between named or initialed speakers, such as de L—— and M. P——. These dialogues do not merely report opinions but dramatize the clash of perspectives. When a legitimist warns of riots and a doctrinaire predicts good order, Trollope lets both speak before interjecting her own question. This technique gives the reader access to the raw arguments of the period without the author dictating a conclusion. The voices are further characterized by their language—the legitimist's bitter irony, the doctrinaire's calm assurance—and by their physical reactions, such as laughing heartily at the ferocious-looking young men. Trollope herself often remains a listener, her presence signaled by a brief query or observation, which keeps the focus on the disputants rather than on her own judgment.

The Street as Political Theater

Trollope's eye for detail turns Parisian streets into a gallery of political types. On the Quai Voltaire, she notes the shop windows displaying lithographs of "remarkable people" for five sous, and later the "marvellously uncomely portraits" of the Prévenus d'Avril. These images are not mere decoration; they prompt a reflection on physiognomy and rebellion, quoting Shakespeare to link the faces of the accused to their supposed villainy. The description of young men with "dark glances" and "terrific meaning" leaning against statues echoes the language of Macbeth's witches. Trollope's prose moves fluidly from the material—the massive candlesticks and grotesque timepieces of Louis Quinze style—to the symbolic, as when she notes that royal carriages stop at shops resembling pawnbrokers'. The city itself becomes a text to be read for signs of political mood.

Pace and the Pause for Reflection

Trollope varies her narrative pace by alternating brisk movement with lingering description. A walk across the Pont Royal and along the Quai Voltaire is punctuated by a long, almost static passage on the contents of shop windows—books, engravings, old carvings—that slows time and invites the reader to browse alongside her. This pause is deliberate: it contrasts with the rapid-fire dialogue that precedes it and allows Trollope to shift from political argument to aesthetic appreciation. The mention of the royal family's taste for ponderous decoration adds a layer of social commentary without breaking the leisurely rhythm. Later, the encounter with the portraits of the Prévenus d'Avril reintroduces tension, but the prose retains its measured, observational quality. This control of tempo—from the quick exchange of views to the patient inventory of objects—gives the narrative a texture that mirrors the city's own contrasts between haste and contemplation.

Readers approaching this volume should attend to the way Trollope uses her own uncertainty as a structural device. She does not claim to have resolved the contradictions she witnesses; instead, she presents them as they unfold, often leaving the last word to her interlocutors. The letters reward those who read for argument as much as for atmosphere, and who enjoy tracing how a single walk can generate a debate about legitimacy, order, and the faces of rebellion.

I’ve always found a peculiar quiet kinship between Frances Trollope’s restless Paris streets, where every glance hides a political ache, and that other foreign gaze — the one among Korea’s top-knots, recording customs with the same knowing tenderness. Both authors watched strangers, yet recognized their own vulnerability. Their pages share a patient, almost melancholic wonder, as if letters from far places always whisper the same secret. Fifteen Years Among the Top-Knots; Or, Life in Korea — Themes and Context sits near Trollope on my shelf, two confidantes confiding across decades.

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