e into it:
and after all your journeyings in the fields of thought, the monument
reared with your life-blood is simply a good or a bad speculation for
a publisher. Your work will sell or it will not sell; and therein, for
them, lies the whole question. A book means so much capital to risk,
and the better the book, the less likely it is to sell. A man of
talent rises above the level of ordinary heads; his success varies in
direct ratio with the time required for his work to be appreciated.
And no publisher wants to wait. To-day's book must be sold by
to-morrow. Acting on this system, publishers and booksellers do not
care to take real literature, books that call for the high praise that
comes slowly."

"D'Arthez was right," exclaimed Lucien.

"Do you know d'Arthez?" asked Lousteau. "I know of no more dangerous
company than solitary spirits like that fellow yonder, who fancy that
they can draw the world after them. All of us begin by thinking that
we are capable of great things; and when once a youthful imagination
is heated by this superstition, the candidate for posthumous honors
makes no attempt to move the world while such moving of the world is
both possible and profitable; he lets the time go by. I am for
Mahomet's system--if the mountain does not come to me, I am for going
to the mountain."

The common-sense so trenchantly put in this sally left Lucien halting
between the resignation preached by the brotherhood and Lousteau's
militant doctrine. He said not a word till they reached the Boulevard
du Temple.

The Panorama-Dramatique no longer exists. A dwelling-house stands on
the site of the once charming theatre in the Boulevard du Temple,
where two successive managements collapsed without making a single
hit; and yet Vignol, who has since fallen heir to some of Potier's
popularity, made his _debut_ there; and Florine, five years later a
celebrated actress, made her first appearance in the theatre opposite
the Rue Charlot. Play-houses, like men, have their vicissitudes. The
Panorama-Dramatique suffered from competition. The machinations of its
rivals, the Ambigu, the Gaite, the Porte Saint-Martin, and the
Vaudeville, together with a plethora of restrictions and a scarcity of
good plays, combined to bring about the downfall of the house. No
dramatic author cared to quarrel with a prosperous theatre for the
sake of the Panorama-Dramatique, whose existence was, to say the
least, problematical. The management at t