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CHAPTER I. SOME EXPLANATIONS WITH REGARD TO THE ORIGIN OF GAVROCHE'S POETRY. THE INFLUENCE OF AN ACADEMICIAN ON THIS POETRY
At the instant when the insurrection, arising from the shock of the populace and the military in front of the Arsenal, started a movement in advance and towards the rear in the multitude which was following the hearse and which, through the whole length of the boulevards, weighed, so to speak, on the head of the procession, there arose a frightful ebb. The rout was shaken, their ranks were broken, all ran, fled, made their escape, some with shouts of attack, others with the pallor of flight. The great river which covered the boulevards divided in a twinkling, overflowed to right and left, and spread in torrents over two hundred streets at once with the roar of a sewer that has broken loose.
At that moment, a ragged child who was coming down through the Rue Menilmontant, holding in his hand a branch of blossoming laburnum which he had just plucked on the heights of Belleville, caught sight of an old holster-pistol in the show-window of a bric-a-brac merchant's shop.
"Mother What's-your-name, I'm going to borrow your machine."
And off he ran with the pistol.
Two minutes later, a flood of frightened bourgeois who were fleeing through the Rue Amelot and the Rue Basse, encountered the lad brandishing his pistol and singing:--
La nuit on ne voit rien,
Le jour on voit tres bien,
D'un ecrit apocrypha
Le bourgeois s'ebouriffe,
Pratiquez la vertu,
Tutu, chapeau pointu!
 At night one sees nothing, by day one sees very well; the bourgeois gets flurried over an apocryphal scrawl, practice virtue, tutu, pointed hat!
It was little Gavroche on his way to the wars.
On the boulevard he noticed that the pistol had no trigger.
Who was the author of that couplet which served to punctuate his march, and of all the other songs which he was fond of singing on occasion? We know not. Who does know? Himself, perhaps. However, Gavroche was well up in all the popular tunes in circulation, and he mingled with them his own chirpings. An observing urchin and a rogue, he made a potpourri of the voices of nature and the voices of Paris. He combined the repertory of the birds with the repertory of the workshops. He was acquainted with thieves, a tribe contiguous to his own. He had, it appears, been for three months apprenticed to a printer. He had one day executed a commission for M. Baour-Lormian, one of the Forty. Gavroche was a gamin of letters.
Moreover, Gavroche had no suspicion of the fact that when he had offered the hospitality of his elephant to two brats on that villainously rainy night, it was to his own brothers that he had played the part of Providence. His brothers in the evening, his father in the morning; that is what his night had been like. On quitting the Rue des Ballets at daybreak, he had returned in haste to the elephant, had artistically extracted from it the two brats, had shared with them some sort of breakfast which he had invented, and had then gone away, confiding them to that good mother, the street, who had brought him up, almost entirely. On leaving them, he had appointed to meet them at the same spot in the evening, and had left them this discourse by way of a farewell: "I break a cane, otherwise expressed, I cut my stick, or, as they say at the court, I file off. If you don't find papa and mamma, young 'uns, come back here this evening. I'll scramble you up some supper, and I'll give you a shakedown." The two children, picked up by some policeman and placed in the refuge, or stolen by some mountebank, or having simply strayed off in that immense Chinese puzzle of a Paris, did not return. The lowest depths of the actual social world are full of these lost traces. Gavroche did not see them again. Ten or twelve weeks had elapsed since that night. More than once he had scratched the back of his head and said: "Where the devil are my two children?"