uff.

"You are making a mistake," said Etienne.

"You won't find any one that will take their paper," said Barbet.
"Your book is their last stake, sir. The printer will not trust them;
they are obliged to leave the copies in pawn with him. If they make a
hit now, it will only stave off bankruptcy for another six months,
sooner or later they will have to go. They are cleverer at tippling
than at bookselling. In my own case, their bills mean business; and
that being so, I can afford to give more than a professional
discounter who simply looks at the signatures. It is a
bill-discounter's business to know whether the three names on a bill
are each good for thirty per cent in case of bankruptcy. And here at
the outset you only offer two signatures, and neither of them worth
ten per cent."

The two journalists exchanged glances in surprise. Here was a little
scrub of a bookseller putting the essence of the art and mystery of
bill-discounting in these few words.

"That will do, Barbet," said Lousteau. "Can you tell us of a
bill-broker that will look at us?"

"There is Daddy Chaboisseau, on the Quai Saint-Michel, you know. He
tided Fendant over his last monthly settlement. If you won't listen to
my offer, you might go and see what he says to you; but you would only
come back to me, and then I shall offer you two thousand francs
instead of three."

Etienne and Lucien betook themselves to the Quai Saint-Michel, and
found Chaboisseau in a little house with a passage entry. Chaboisseau,
a bill-discounter, whose dealings were principally with the book
trade, lived in a second-floor lodging furnished in the most eccentric
manner. A brevet-rank banker and millionaire to boot, he had a taste
for the classical style. The cornice was in the classical style; the
bedstead, in the purest classical taste, dated from the time of the
Empire, when such things were in fashion; the purple hangings fell
over the wall like the classic draperies in the background of one of
David's pictures. Chairs and tables, lamps and sconces, and every
least detail had evidently been sought with patient care in furniture
warehouses. There was the elegance of antiquity about the classic
revival as well as its fragile and somewhat arid grace. The man
himself, like his manner of life, was in grotesque contrast with the
airy mythological look of his rooms; and it may be remarked that the
most eccentric characters are found among men who give their whole
energ