These four ruffians formed a sort of Proteus， winding like a serpent among the police， and striving to escape Vidocq's indiscreet glances "under divers forms， tree， flame， fountain，" lending each other their names and their traps， hiding in their own shadows， boxes with secret compartments and refuges for each other， stripping off their personalities， as one removes his false nose at a masked ball， sometimes simplifying matters to the point of consisting of but one individual， sometimes multiplying themselves to such a point that Coco-Latour himself took them for a whole throng.
These four men were not four men; they were a sort of mysterious robber with four heads， operating on a grand scale on Paris; they were that monstrous polyp of evil， which inhabits the crypt of society.
Thanks to their ramifications， and to the network underlying their relations， Babet， Gueulemer， Claquesous， and Montparnasse were charged with the general enterprise of the ambushes of the department of the Seine. The inventors of ideas of that nature， men with nocturnal imaginations， applied to them to have their ideas executed. They furnished the canvas to the four rascals， and the latter undertook the preparation of the scenery. They labored at the stage setting. They were always in a condition to lend a force proportioned and suitable to all crimes which demanded a lift of the shoulder， and which were sufficiently lucrative. When a crime was in quest of arms， they under-let their accomplices. They kept a troupe of actors of the shadows at the disposition of all underground tragedies.
They were in the habit of assembling at nightfall， the hour when they woke up， on the plains which adjoin the Salpetriere. There they held their conferences. They had twelve black hours before them; they regulated their employment accordingly.
Patron-Minette，--such was the name which was bestowed in the subterranean circulation on the association of these four men. In the fantastic， ancient， popular parlance， which is vanishing day by day， Patron-Minette signifies the morning， the same as entre chien et loup--between dog and wolf--signifies the evening. This appellation， Patron-Minette， was probably derived from the hour at which their work ended， the dawn being the vanishing moment for phantoms and for the separation of ruffians. These four men were known under this title. When the President of the Assizes visited Lacenaire in his prison， and questioned him concerning a misdeed which Lacenaire denied， "Who did it?" demanded the President. Lacenaire made this response， enigmatical so far as the magistrate was concerned， but clear to the police: "Perhaps it was Patron-Minette."
A piece can sometimes be divined on the enunciation of the personages; in the same manner a band can almost be judged from the list of ruffians composing it. Here are the appellations to which the principal members of Patron-Minette answered，--for the names have survived in special memoirs.
Panchaud， alias Printanier， alias Bigrenaille.
Brujon. [There was a Brujon dynasty; we cannot refrain from interpolating this word.]
Boulatruelle， the road-mender already introduced.
Laveuve.
Finistere.
Homere-Hogu， a negro.
Mardisoir. (Tuesday evening.)
Depeche. (Make haste.)
Fauntleroy， alias Bouquetiere (the Flower Girl).
Glorieux， a discharged convict.
Barrecarrosse (Stop-carriage)， called Monsieur Dupont.
L'Esplanade-du-Sud.
Poussagrive.
Carmagnolet.
Kruideniers， called Bizarro.
Mangedentelle. (Lace-eater.)
Les-pieds-en-l'Air. (Feet in the air.)
Demi-Liard， called Deux-Milliards.
Etc.， etc.
We pass over some， and not the worst of them. These names have faces attached. They do not express merely beings， but species. Each one of these names corresponds to a variety of those misshapen fungi from the under side of civilization.
Those beings， who were not very lavish with their countenances， were not among the men whom one sees passing along the streets. Fatigued by the wild nights which they passed， they went off by day to sleep， sometimes in the lime-kilns， sometimes in the abandoned quarries of Montmatre or Montrouge， sometimes in the sewers.They ran to earth.
What became of these men? They still exist. They have always existed. Horace speaks of them: Ambubaiarum collegia， pharmacopolae， mendici， mimae; and so long as society remains what it is，they will remain what they are. Beneath the obscure roof of their cavern， they are continually born again from the social ooze. They return， spectres， but always identical; only， they no longer bear the same names and they are no longer in the same skins. The individuals extirpated， the tribe subsists.
They always have the same faculties. From the vagrant to the tramp， the race is maintained in its purity. They divine purses in pockets，they scent out watches in fobs. Gold and silver possess an odor for them. There exist ingenuous bourgeois， of whom it might be said， that they have a "stealable" air. These men patiently pursue these bourgeois. They experience the quivers of a spider at the passage of a stranger or of a man from the country.
These men are terrible， when one encounters them， or catches a glimpse of them， towards midnight， on a deserted boulevard. They do not seem to be men but forms composed of living mists;one would say that they habitually constitute one mass with the shadows，that they are in no wise distinct from them， that they possess no other soul than the darkness， and that it is only momentarily and for the purpose of living for a few minutes a monstrous life， that they have separated from the night. What is necessary to cause these spectres to vanish? Light. Light in floods. Not a single bat can resist the dawn.Light up society from below.
这四个匪徒联合起来，成了一种变化多端的海怪，迂回曲折地钻警察的空子，“用不同的外貌、树、火焰、喷泉”来竭力躲避维多克阴沉的眼光，互相交换姓名和窍门，藏身在自己的影子里，共同使用他们的秘密窟和避难所，好象在化装舞会上取下自己的假鼻子那样改变他们的个人特征，有时把几个人简化为一人，有时又把一人化为几人，以致可可·拉古尔本人也以为他们是一大帮匪徒。
这四个人绝不是四个人，是一种有四个脑袋、在巴黎身上做大买卖的神秘大盗，是住在人类社会的地道里作恶的怪章鱼。
由于他们势力的伸张和因他们的关系而结成的地下网，巴伯、海嘴、铁牙和巴纳斯山总揽着塞纳省的一切盗杀活动。他们对着路上行人进行下面的政变。善于出这类主意，富于黑夜幻想的人都来找他们实现计划。人们把脚本供给他们，他们负责导演。他们还布置演出。任何杀人越货的勾当只要油水足，需要找人帮一把，他们总有办法分配胜任和适当的人手。当一件犯罪行为在寻找助力，他们便转租帮凶。他们有能力对任何阴惨悲剧提供黑演员。
他们经常傍晚棗这是他们睡醒的时候棗在妇女救济院附近的草地上碰头。在那里，他们进行会商。他们面前有十二个黑钟点，足供他们安排利用。
“猫老板”，这是在地下流传的人家送给这四人帮会的名称。在日趋消失的那种怪诞的古老民间语言中，“猫老板”的意思是早晨，正如“犬狼之间”的词义是傍晚。这名称，猫老板，也许是指他们活计结束的时刻天刚蒙蒙亮，正是鬼魂消散，匪徒分手的时候。这四个人是用这个字号露面的。刑事法院院长到监狱里去看拉色内尔时，曾向拉色内尔问到一件他不肯承认的案子。院长问道：“是谁干的？”拉色内尔回答了这样一句官员不懂、警察有数的话：“也许是猫老板。”
我们有时能从一张出场人物表去猜测一个剧本，同样，我们也几乎可以从一张匪徒的名单去估计这匪帮。下面棗这些名字是由专门记录保存下来的棗便是猫老板的主要伙伴的传呼称号：
邦灼，又叫春天，又叫比格纳耶。
普吕戎（原有过一个普吕戎世系，我们还会提到的）。
蒲辣秃柳儿，那个已经出现过的路工①。
寡妇。
地角。
荷马·阿巨，黑人。
星期二晚。
快报。
弗宛恩勒洛瓦，又叫卖花姑娘。
光荣汉，被释放了的苦役犯。
煞车，又叫杜邦先生。
南苑。
普萨格利弗。
小褂子。
克吕丹尼，又叫比查罗。吃花边。
脚朝天。
半文钱，又叫二十亿。
等等。
①见本书第二部第二卷第二章。
我们只提这几个，最坏的几个已经提到了。这些名字都有代表性。它不只是说明个人，而是说明一种类型。这些名字中的每一个都代表文明底下的那些奇形怪状的毒蕈中的一种。
这些人是不轻易露面的，并不是人们在街头巷尾看见走过的那些。他们在黑夜里狠狠地干了一晚以后，疲乏了，白天便去睡觉，有时睡在石灰窑里，有时睡在蒙马特尔或蒙鲁日一带被抛弃了的采石场里，有时睡在阴沟里。他们把自己掩埋起来。
这些人到哪里去了呢？他们仍然存在。他们从来就一贯存在。贺拉斯曾说他们是吹笛子的穷汉、卖艺人、小丑、江湖郎中。并且，只要社会将来还是今天这个样，他们将来便也还是今天这个样。在他们窟窖的黑顶下面，他们将永远从社会潮湿的漏隙中生长出来。他们成了鬼，再回来，依然如故，不过他们的名字换了，他们的外皮换了。
个人被剔除，族类仍存在。
他们的感觉器官还是那么一些。从剪径贼到挡路虎，那是一个纯血统。他们能猜出衣袋里的钱包，能嗅出背心口袋里的表。金和银对他们来说，是有味的。有些憨老财，可以说是具有可偷性的。那些人便耐心地跟着这些老财们。他们见到一个外国人或外省人走过，便会突然惊觉，象个蜘蛛。
那些人，当人们夜半在荒凉的大路上遇到或瞧见了，那模样是可怕的。他们不象是人，而是有生命的雾所构成的形相，他们好象经常和黑暗合成一体，是看不清的，除了阴气以外没有旁的灵魂，并且只是为了过几分钟的厉鬼生活才和黑夜暂时分离一下。
怎样才能清除这些厉鬼呢？要有光明。要有滔天泻地的光明。没有一只蝙蝠能抗拒朝曦。应该去把地下社会照亮才是。
