eight o’clock
Here and there an amateur among the audience admired the new pieces of music which served as accompaniment to two or three great successes , but they attributed the improvement vaguely to `` progress . '' No one cared to know the composer 's name ; like occupants of the _ baignoires _ , lost to view of the house , to gain a view of the stage , Pons and Schmucke eclipsed themselves by their success . In Paris -LRB- especially since the Revolution of July -RRB- no one can hope to succeed unless he will push his way _ quibuscumque viis _ and with all his might through a formidable host of competitors ; but for this feat a man needs thews and sinews , and our two friends , be it remembered , had that affection of the heart which cripples all ambitious effort . Pons , as a rule , only went to his theatre towards eight o'clock , when the piece in favor came on , and overtures and accompaniments needed the strict ruling of the baton ; most minor theatres are lax in such matters , and Pons felt the more at ease because he himself had been by no means grasping in all his dealings with the management ; and Schmucke , if need be , could take his place . Time went by , and Schmucke became an institution in the orchestra ; the Illustrious Gaudissart said nothing , but he was well aware of the value of Pons ' collaborator . He was obliged to include a pianoforte in the orchestra -LRB- following the example of the leading theatres -RRB- ; the instrument was placed beside the conductor 's chair , and Schmucke played without increase of salary -- a volunteer supernumerary . As Schmucke 's character , his utter lack of ambition or pretence became known , the orchestra recognized him as one of themselves ; and as time went on , he was intrusted with the often needed miscellaneous musical instruments which form no part of the regular band of a boulevard theatre .