It certainly is sad that turpitude heaped up should give a sum total of gayety, that by piling ignominy upon opprobrium the people should be enticed, that the system of spying, and serving as caryatids to prostitution should amuse the rabble when it confronts them, that the crowd loves to behold that monstrous living pile of tinsel rags, half dung, half light, roll by on four wheels howling and laughing, that they should clap their hands at this glory composed of all shames, that there would be no festival for the populace, did not the police promenade in their midst these sorts of twenty-headed hydras of joy. But what can be done about it? These be-ribboned and be-flowered tumbrils of mire are insulted and pardoned by the laughter of the public. The laughter of all is the accomplice of universal degradation. Certain unhealthy festivals disaggregate the people and convert them into the populace. And populaces, like tyrants, require buffoons. The King has Roquelaure, the populace has the Merry-Andrew. Paris is a great, mad city on every occasion that it is a great sublime city. There the Carnival forms part of politics. Paris⁠—let us confess it⁠—willingly allows infamy to furnish it with comedy. She only demands of her masters⁠—when she has masters⁠—one thing: “Paint me the mud.” Rome was of the same mind. She loved Nero. Nero was a titanic lighterman.