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- Herausgeber: DigiCat
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
Henri Murger's "Bohemians of the Latin Quarter" is a vivid portrayal of the lives of struggling artists and intellectuals in 19th-century Paris. Through a blend of narrative prose and lively anecdotes, Murger captures the essence of bohemian life, marked by ephemeral joys and profound suffering. The book is stylistically rich, employing an immersive realism that transcends mere documentation, inviting readers into the chiaroscuro world of artistic aspiration, camaraderie, and romance. Murger's keen observations of social dynamics and the vibrant, often harsh realities of life in the Latin Quarter render this work an essential text in the literary context of its time, foreshadowing the Impressionist movement and the emergence of modernist literary themes. Born in 1822, Henri Murger was deeply influenced by his own experiences in the Latin Quarter, where he lived amidst poverty while pursuing a career as a writer. His encounters with other aspiring artists and their fervent idealism cultivated a sense of nostalgia and a critical perspective on the artistic struggle. His lived experience imbued his narrative with authenticity, providing a window into a transformative cultural moment in Europe. "Bohemians of the Latin Quarter" is an indispensable read for those interested in the intersection of art, literature, and society. Its intimate portrayal of young creatives grappling with existential challenges resonates across generations, making it a timeless exploration of the human spirit in the face of adversity. I encourage readers to immerse themselves in this exquisite tapestry of life and art, as Murger's insights continue to inspire and provoke reflection. In this enriched edition, we have carefully created added value for your reading experience: - A succinct Introduction situates the work's timeless appeal and themes. - The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists. - A detailed Historical Context immerses you in the era's events and influences that shaped the writing. - A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings. - Reflection questions prompt you to engage personally with the work's messages, connecting them to modern life. - Hand‐picked Memorable Quotes shine a spotlight on moments of literary brilliance. - Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.
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Veröffentlichungsjahr: 2022
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Bohemians of the Latin Quarter
Table of Contents
Introduction
Between hunger and hope, Bohemians of the Latin Quarter charts the stubborn gamble by which young creators stake comfort against conviction, testing whether camaraderie, wit, and the daily invention of beauty can outpace rent deadlines, empty cupboards, and the cold impartiality of Paris, as the desire to make something lasting meets the necessity of making do, and as the thrilling freedoms of youth run alongside the quiet costs of persistence, so that every sketch of laughter bears the shadow of lack, and every sacrifice for art raises the intimate question of what, in the end, is worth keeping or letting go.
Henri Murger’s book, known in English as Bohemians of the Latin Quarter, emerges from mid-nineteenth-century Paris, where cramped garrets and bustling cafés framed a distinct subculture of aspiring painters, poets, and musicians. The work belongs to a tradition of realistic, episodic sketches that interweave humor with pathos, presenting a mosaic rather than a continuous plot. Murger first introduced these figures in periodical form before gathering them into a cohesive volume, and the setting remains consistently the Latin Quarter, a neighborhood synonymous with students and artistic experiment. Read today in translation, the book stands at the crossroads of urban realism and romantic sensibility.
At its outset, the narrative introduces a loose fraternity of friends who share rooms, dinners, ideas, and precarious schemes, their days arranged around small triumphs, seasonal hardships, and the pursuit of work that almost never pays on time. Episodes follow their attempts to balance creative labor with survival, moving from lively studio visits and café conversations to night walks and improvised festivities. The voice is brisk and affectionate, often ironic without cruelty, and the pacing favors quick scenes punctuated by sudden turns of feeling. The prevailing tone is buoyant yet edged with melancholy, a seesaw that keeps the pages agile and humane.
The themes surface less as arguments than as living predicaments: how art negotiates necessity; how friendship redistributes luck; how love both inspires and complicates the work at hand; and how youth’s expansiveness contracts under recurring bills and winters. Murger examines the price of authenticity in a marketplace that measures value differently, revealing subtle economies of favors, credit, and reputation. The Latin Quarter becomes a testing ground for identity, where costumes, poses, and genuine vocation mingle. Throughout, the book invites reflection on responsibility and freedom, on what communities owe their members, and on the bittersweet arithmetic of choosing commitments under scarcity.
Although rooted in a specific time and place, the portrait resonates with today’s readers who recognize the volatility of creative work, the grind of the gig economy, and the mutual aid that blossoms when formal structures fail. The bohemian apartment anticipates present-day coworking corners and shared sublets; the scramble for commissions mirrors freelance hustle; the convivial table resembles digital networks that circulate opportunity and care. Murger’s scenes also pose durable questions about wellness, boundaries, and the ethics of self-exposure in public life. In tracing ordinary improvisations, the book offers a language for dignity amid precariousness and for joy that does not deny limits.
Stylistically, the writing blends lightness of touch with selective detail, preferring a quick brushstroke to heavy exposition and trusting readers to infer the deeper stakes beneath banter. The episodic structure encourages pauses between chapters, each scene standing clear while contributing to an evolving portrait. In English, different translations preserve this nimble swing between comedy and compassion with varying textures, yet the core rhythm—a flash of wit followed by a quiet afterthought—remains perceptible. The city itself functions as an organism, its seasons, streets, and dwellings shaping mood and action, so that setting and character illuminate one another without overwriting the reader’s imagination.
Beyond its pages, the book helped crystallize the modern image of bohemia, shaping later literature and stage works, and famously providing the seed for operatic adaptations, including Puccini’s La Bohème. Yet its lasting power lies not in mythmaking alone but in the measured tenderness with which it observes ordinary courage. Readers encountering it now may notice period assumptions about class and gender; approaching those elements critically enhances rather than diminishes the work’s insight. Entered with patience, the scenes reward by revealing how small acts of loyalty and attention build a life, making the book a companion for uncertain, creative times.
Synopsis
Henri Murger’s The Bohemians of the Latin Quarter presents a sequence of interlinked scenes about young artists living in Paris’s Latin Quarter. Drawn from sketches first published in Parisian periodicals and later collected as a book in the mid-nineteenth century, it follows a close-knit circle—Rodolphe the poet, Marcel the painter, Schaunard the musician, and Colline the philosopher—as they attempt to create while surviving day to day. Their world mixes airy idealism with practical hardship, rendered in a tone that oscillates between comedy and melancholy. The episodic design yields a portrait of a milieu, emphasizing friendship, improvisation, and the rhythm of a life devoted to art.
In the opening episodes, scarcity shapes nearly every decision. Rent falls overdue, fuel runs out, and the pawnbroker becomes an unwelcome confidant, yet the friends meet adversity with elaborate ruses and cheerful bravado. A mislaid coin, a borrowed coat, or a staged celebration can sustain them through a freezing evening. Murger details makeshift feasts, contested stoves, and inspired economies that suspend hunger long enough for work to proceed. The tone remains light even as consequences loom, sketching a code of mutual aid and exuberant wit. In these pages poverty is both antagonist and tutor, teaching dexterity without extinguishing aspiration.
Romance enters as both refuge and complication. Rodolphe’s affection for Mimi and Marcel’s tempestuous bond with Musette offer warmth, laughter, and brief reprieves from hardship, yet the same passions stir jealousy and volatility. Tender gestures—a ribbon, a shared dinner, a poem hastily written—sit beside quarrels sparked by unpaid bills or fleeting flirtations. Murger presents these partnerships as improvisations akin to the friends’ art: inspired, fragile, and shaped by circumstance. The changing seasons of love mirror the city’s own cycles, and while the narrative reports separations and returns, it focuses less on melodrama than on the effort to reconcile desire with survival.
Ambition keeps the group in motion. Rodolphe pursues publication with editors who admire talent but pay slowly or not at all; Marcel searches for a buyer who sees more than a fashionable subject; Schaunard auditions and hustles for pupils; Colline parries hunger with philosophy and odd jobs. Murger satirizes patrons, magazines, and trends without bitterness, noting how a lucky commission or a brief fashion can transform a week. Small triumphs occur—an accepted article, a portrait hung, a lesson secured—producing communal feasts and renewed vows to persevere. Yet the market’s caprice remains, making vocation both sustenance and hazard.
Seasonal chapters underscore how weather dictates destiny. Winter tightens its grip on the garret, turning ink to ice and breath to smoke, and illness shadows the cafés and dance halls. The friends scrounge coal, share blankets, and devise ceremonies to distract from hunger while tending those who falter. Visits to charity offices and clinics reveal a parallel Paris of officials, clerks, and wards, rendered with rueful humor and restraint. The episodes hint at the toll exacted by persistent privation without reducing characters to mere symbols, balancing convivial misadventure with pauses of quiet worry that complicate the book’s buoyant surface.
As the cycle advances, choices sharpen. The bohemians wrestle with whether to preserve absolute freedom or accept compromises that promise steadier shelter and recognition. Friendships change as opportunities beckon or disappoint, and romances reveal what affection requires when resources ebb. Murger’s tone grows reflective, attentive to memory, as if weighing what can be kept from a fleeting stage of life. Without sensational revelation, the narrative edges toward departures, new arrangements, and a tempered acceptance that ideals and necessities must coexist. The Latin Quarter remains vivid, but the characters’ perspectives widen, and their creative identities evolve under the pressure of time.
Beyond its individual stories, the book shaped the modern idea of bohemia by fusing observation with romantic color. Murger records the texture of student Paris while acknowledging the allure and cost of living for art, a balance that preserved freshness for later generations. The characters’ camaraderie, quick wit, and precarious rituals inspired adaptations on stage and in music, and the work remains a touchstone for portrayals of struggling youth in great cities. Its enduring resonance lies in the questions it poses—how to sustain creativity, love, and dignity under constraint—presented with sympathy and irony rather than grandiose conclusions.
Historical Context
Henri Murger’s Scènes de la vie de bohème, known in English as Bohemians of the Latin Quarter, emerged from Paris in the mid-nineteenth century. Murger began publishing the sketches in Parisian newspapers in 1845; a successful stage adaptation followed in 1849, and the collected book appeared in 1851. The work is set chiefly in the Latin Quarter on the Left Bank, before Baron Haussmann’s renovations transformed the city after 1853. Its milieu reflects the cramped garrets, cafés, and printers’ offices surrounding the Sorbonne and nearby schools. Murger, himself a struggling man of letters, drew directly on the neighborhoods where he lived and worked.
The Latin Quarter’s identity as a student district was anchored by the University of Paris (the Sorbonne), the Collège de France, and faculties of law and medicine. Nearby stood the École des Beaux-Arts, drawing young painters and sculptors, while libraries and quayside bookstalls supplied affordable reading. Cheap eateries, coffeehouses, and modest boarding houses clustered along narrow streets, offering credit or refuge to impecunious students. The state pawnshop, the Mont-de-Piété, long served Parisians who pledged clothing, books, or tools to bridge lean months. Such institutions and routines framed everyday life for aspiring writers, artists, and musicians seeking recognition in mid-century Paris.
Politics shaped this milieu. Under the July Monarchy (1830–1848) of Louis-Philippe, a prosperous bourgeoisie dominated public life, while the press operated under restrictive laws after 1835. Yet newspapers, illustrated weeklies, and satirical journals multiplied, paying modest fees for short prose and verse. The February Revolution of 1848 toppled the regime and inaugurated the Second Republic, briefly expanding political clubs and the freedom of assembly. For young writers and caricaturists, these shifts brought opportunity and risk: journals opened, folded, or changed line overnight. Murger wrote amid this volatility, as Paris debated citizenship, labor, and culture in streets, cafés, and editorial offices.
Economic strains pressed hard on the capital during Murger’s formative years. Poor harvests in 1846–1847 and a financial crisis in 1847 pushed artisans and clerks into insecurity, fueling the upheavals of 1848. Rents in central Paris remained high relative to wages, and winter heating, food, and clothing could consume meager incomes. Mutual-aid societies and philanthropic kitchens offered limited relief, with church and municipal charities supplementing family remittances from the provinces. Many hopeful writers, actors, and painters arrived from outside Paris, competing for scarce commissions or column inches. This precarious economy underlies Murger’s portraits of intermittent work, resourcefulness, and chronic negotiation of debt.
Parisian arts in the 1840s balanced Romantic legacies and emerging Realist sensibilities. The École des Beaux-Arts trained artists for the official Salon, where a jury favored academic conventions and state commissions. Writers such as Victor Hugo and Alfred de Musset had defined earlier Romantic revolt; critics including Charles Baudelaire began assessing contemporary painting in essays like the Salon of 1845. At the same time, journalism rewarded vivid urban observation. Young poets, composers, and painters formed ateliers and circles that debated style, politics, and survival. Murger’s scenes draw on this culture, depicting aspiration shaped by institutions that alternately nurtured and excluded.
Parisian theater and music offered visibility but were tightly regulated. The state licensed theaters and maintained censorship; repertoires were divided among opera, drama, and vaudeville houses. Popular venues like the Théâtre des Variétés and the Opéra-Comique drew mixed audiences seeking novelty, song, and topical satire. In 1849 Murger, collaborating with Théodore Barrière, brought La Vie de bohème to the stage, whose success helped secure publication of the prose collection. The period’s appetite for scenes from everyday life favored materials drawn from studios, garrets, and cafés. For novices, however, entry depended on contacts, patrons, and luck as much as talent.
Before Haussmann’s works began in 1853, Paris retained medieval street patterns, inadequate sewers, and crowded housing. Such conditions contributed to deadly cholera epidemics, notably in 1832 and again in 1849, which hit poorer quarters hardest. On the Left Bank, students and artisans relied on charitable hospitals like the Hôpital de la Charité, while military facilities such as Val-de-Grâce served other needs. Public spaces like the Luxembourg Gardens offered respite from cramped lodgings. This urban fabric—alternating between picturesque and perilous—formed the backdrop for Murger’s vignettes of daily survival, companionship, and the small pleasures that punctuated otherwise uncertain lives.
Upon publication, Murger’s portraits helped codify “bohemia” as a modern social type: educated, creative, and precarious outsiders clustered in the Latin Quarter. The book’s mixture of sentiment and reportage reflects France’s passage from the July Monarchy to the Second Republic, when civic ideals confronted economic limits. Without programmatic manifestos, it observes how credit, friendship, and improvisation sustain ambition under a bourgeois order. Its sympathetic, unsentimental humor critiques social pretensions while admitting art’s costs. The work’s influence proved lasting, shaping later depictions of artistic life in France and abroad, and providing a touchstone for discussions of youth, poverty, and creativity.
Bohemians of the Latin Quarter
PREFACE
The Bohemians of whom it is a question in this book have no connection with the Bohemians whom melodramatists have rendered synonymous with robbers and assassins. Neither are they recruited from among the dancing-bear leaders, sword swallowers, gilt watch-guard vendors, street lottery keepers and a thousand other vague and mysterious professionals whose main business is to have no business at all, and who are always ready to turn their hands to anything except good.
The class of Bohemians referred to in this book are not a race of today, they have existed in all climes and ages, and can claim an illustrious descent. In ancient Greece, to go no farther back in this genealogy, there existed a celebrated Bohemian, who lived from hand to mouth round the fertile country of Ionia, eating the bread of charity, and halting in the evening to tune beside some hospitable hearth the harmonious lyre that had sung the loves of Helen and the fall of Troy. Descending the steps of time modern Bohemia finds ancestors at every artistic and literary epoch. In the Middle Ages it perpetuates the Homeric tradition with its minstrels and ballad makers, the children of the gay science, all the melodious vagabonds of Touraine, all the errant songsters who, with the beggar's wallet and the trouvere's harp slung at their backs, traversed, singing as they went, the plains of the beautiful land where the eglantine of Clemence Isaure[3] flourished.
At the transitional period between the days of chivalry and the dawn of the Renaissance, Bohemia continued to stroll along all the highways of the kingdom, and already to some extent about the streets of Paris. There is Master Pierre Gringoire[1], friend of the vagrants and foe to fasting. Lean and famished as a man whose very existence is one long Lent, he lounges about the town, his nose in the air like a pointer's, sniffing the odor from kitchen and cook shop. His eyes glittering with covetous gluttony cause the hams hung outside the pork butcher's to shrink by merely looking at them, whilst he jingles in imagination—alas! and not in his pockets—the ten crowns promised him by the echevins in payment of the pious and devout fare he has composed for the theater in the hall of the Palais de Justice. Beside the doleful and melancholy figure of the lover of Esmeralda, the chronicles of Bohemia can evoke a companion of less ascetic humor and more cheerful face—Master François Villon[2], par excellence, is this latter, and one whose poetry, full of imagination, is no doubt on account of those presentiments which the ancients attributed to their fates, continually marked by a singular foreboding of the gallows, on which the said Villon one day nearly swung in a hempen collar for having looked too closely at the color of the king's crowns. This same Villon, who more than once outran the watch started in his pursuit, this noisy guest at the dens of the Rue Pierre Lescot, this spunger at the court of the Duke of Egypt, this Salvator Rosa of poesy, has strung together elegies the heartbreaking sentiment and truthful accents of which move the most pitiless and make them forget the ruffian, the vagabond and the debauchee, before this muse drowned in her own tears.
Besides, amongst all those whose but little known work has only been familiar to men for whom French literature does not begin the day when "Malherbe came," François Villon has had the honor of being the most pillaged, even by the big-wigs of modern Parnassus. They threw themselves upon the poor man's field and coined glory from his humble treasure. There are ballads scribbled under a penthouse at the street corner on a cold day by the Bohemian rhapsodist, stanzas improvised in the hovel in which the "belle qui fut haultmire" loosened her gilt girdle to all comers, which now-a-days metamorphosed into dainty gallantries scented with musk and amber, figure in the armorial bearing enriched album of some aristocratic Chloris.
But behold the grand century of the Renaissance opens, Michaelangelo ascends the scaffolds of the Sistine Chapel and watches with anxious air young Raphael mounting the steps of the Vatican with the cartoon of the Loggie under his arm. Benvenuto Cellini is meditating his Perseus, Ghiberti is carving the Baptistery doors at the same time that Donatello is rearing his marbles on the bridges of the Arno; and whilst the city of the Medici is staking masterpieces against that of Leo X and Julius II, Titian and Paul Veronese are rendering the home of Doges illustrious. Saint Mark's competes with Saint Peter's.
This fever of genius that had broken out suddenly in the Italian peninsula with epidemic violence spreads its glorious contagion throughout Europe. Art, the rival of God, strides on, the equal of kings. Charles V stoops to pick up Titian's brush, and Francis I dances attendance at the printing office where Etienne Dolet[4] is perhaps correcting the proofs of "Pantagruel."
Amidst this resurrection of intelligence, Bohemia continued as in the past to seek, according to Balzac's expression, a bone and a kennel. Clement Marot, the familiar of the ante-chamber of the Louvre, became, even before she was a monarch's mistress, the favorite of that fair Diana, whose smile lit up three reigns. From the boudoir of Diane de Poitiers, the faithless muse of the poet passed to that of Marguerite de Valois, a dangerous favor that Marot paid for by imprisonment. Almost at the same epoch another Bohemian, whose childhood on the shores of Sorrento had been caressed by the kisses of an epic muse, Tasso, entered the court of the Duke of Ferrara as Marot had that of Francis I. But less fortunate than the lover of Diane and Marguerite, the author of "Jerusalem Delivered" paid with his reason and the loss of his genius the audacity of his love for a daughter of the house of Este.
The religious contests and political storms that marked the arrival of Medicis in France did not check the soaring flight of art. At the moment when a ball struck on the scaffold of the Fontaine des Innocents Jean Goujon who had found the Pagan chisel of Phidias, Ronsard discovered the lyre of Pindar and founded, aided by his pleiad, the great French lyric school. To this school succeeded the reaction of Malherbe and his fellows, who sought to drive from the French tongue all the exotic graces that their predecessors had tried to nationalize on Parnassus. It was a Bohemian, Mathurin Regnier, who was one of the last defenders of the bulwarks of poetry, assailed by the phalanx of rhetoricians and grammarians who declared Rabelais barbarous and Montaigne obscure. It was this same cynic, Mathurin Regnier, who, adding fresh knots to the satiric whip of Horace, exclaimed, in indignation at the manners of his day, "Honor is an old saint past praying to."
The roll call of Bohemia during the seventeenth century contains a portion of the names belonging to the literature of the reigns of Louis XIII and Louis XIV, it reckons members amongst the wits of the Hôtel Rambouillet, where it takes its share in the production of the "Guirlande de Julie," it has its entries into the Palais Cardinal, where it collaborates, in the tragedy of "Marianne," with the poet-minister who was the Robespierre of the monarchy. It bestrews the couch of Marion Delorme with madrigals, and woos Ninon de l'Enclos beneath the trees of the Place Royal; it breakfasts in the morning at the tavern of the Goinfres or the Epee Royale, and sups in the evening at the table of the Duc de Joyeuse; it fights duels under a street lamp for the sonnet of Urania against the sonnet of Job. Bohemia makes love, war, and even diplomacy, and in its old days, weary of adventures, it turns the Old and New Testament into poetry, figures on the list of benefices, and well nourished with fat prebendaryships, seats itself on an episcopal throne, or a chair of the Academy, founded by one of its children.
It was in the transition period between the sixteenth and eighteenth centuries that appeared those two lofty geniuses, whom each of the nations amongst which they lived opposed to one another in their struggles of literary rivalry. Moliere and Shakespeare, those illustrious Bohemians, whose fate was too nearly akin.
The most celebrated names of the literature of the eighteenth century are also to be found in the archives of Bohemia, which, amongst the glorious ones of this epoch, can cite Jean Jacques Rousseau and d'Alembert, the foundling of the porch of Notre Dame, and amongst the obscure, Malfilâtre and Gilbert, two overrated reputations, for the inspiration of the one was but a faint reflection of the weak lyricism of Jean Baptiste Rousseau, and the inspiration of the other but the blending of proud impotence with a hatred which had not even the excuse of initiative and sincerity, since it was only the paid instrument of party rancour.
We close with this epoch this brief summary of Bohemia in different ages, a prolegomena besprinkled with illustrious names that we have purposely placed at the beginning of this work, to put the reader on his guard against any misapplication he might fall into on encountering the title of Bohemians; long bestowed upon classes from which those whose manners and language we have striven to depict hold it an honor to differ.
Today, as of old, every man who enters on an artistic career, without any other means of livelihood than his art itself, will be forced to walk in the paths of Bohemia. The greater number of our contemporaries who display the noblest blazonry of art have been Bohemians, and amidst their calm and prosperous glory they often recall, perhaps with regret, the time when, climbing the verdant slope of youth, they had no other fortune in the sunshine of their twenty years than courage, which is the virtue of the young, and hope, which is the wealth of the poor.
For the uneasy reader, for the timorous citizen, for all those for whom an "i" can never be too plainly dotted in definition, we repeat as an axiom: "Bohemia is a stage in artistic life; it is the preface to the Academy, the Hôtel Dieu, or the Morgue."
We will add that Bohemia only exists and is only possible in Paris[1q].
We will begin with unknown Bohemians, the largest class. It is made up of the great family of poor artists, fatally condemned to the law of incognito, because they cannot or do not know how to obtain a scrap of publicity, to attest their existence in art, and by showing what they are already prove what they may some day become. They are the race of obstinate dreamers for whom art has remained a faith and not a profession; enthusiastic folk of strong convictions, whom the sight of a masterpiece is enough to throw into a fever, and whose loyal heart beats high in presence of all that is beautiful, without asking the name of the master and the school. This Bohemian is recruited from amongst those young fellows of whom it is said that they give great hopes, and from amongst those who realize the hopes given, but who, from carelessness, timidity, or ignorance of practical life, imagine that everything is done that can be when the work is completed, and wait for public admiration and fortune to break in on them by escalade and burglary. They live, so to say, on the outskirts of life, in isolation and inertia. Petrified in art, they accept to the very letter the symbolism of the academical dithyrambic, which places an aureola about the heads of poets, and, persuaded that they are gleaming in their obscurity, wait for others to come and seek them out. We used to know a small school composed of men of this type, so strange, that one finds it hard to believe in their existence; they styled themselves the disciples of art for art's sake. According to these simpletons, art for art's sake consisted of deifying one another, in abstaining from helping chance, who did not even know their address, and in waiting for pedestals to come of their own accord and place themselves under them.
It is, as one sees, the ridiculousness of stoicism. Well, then we again affirm, there exist in the heart of unknown Bohemia, similar beings whose poverty excites a sympathetic pity which common sense obliges you to go back on, for if you quietly remark to them that we live in the nineteenth century, that the five-franc piece is the empress of humanity, and that boots do not drop already blacked from heaven, they turn their backs on you and call you a tradesman.
For the rest, they are logical in their mad heroism, they utter neither cries nor complainings, and passively undergo the obscure and rigorous fate they make for themselves. They die for the most part, decimated by that disease to which science does not dare give its real name, want. If they would, however, many could escape from this fatal denouement which suddenly terminates their life at an age when ordinary life is only beginning. It would suffice for that for them to make a few concessions to the stern laws of necessity; for them to know how to duplicate their being, to have within themselves two natures, the poet ever dreaming on the lofty summits where the choir of inspired voices are warbling, and the man, worker-out of his life, able to knead his daily bread, but this duality which almost always exists among strongly tempered natures, of whom it is one of the distinctive characteristics, is not met with amongst the greater number of these young fellows, whom pride, a bastard pride, has rendered invulnerable to all the advice of reason. Thus they die young, leaving sometimes behind them a work which the world admires later on and which it would no doubt have applauded sooner if it had not remained invisible.
In artistic struggles it is almost the same as in war, the whole of the glory acquired falls to the leaders; the army shares as its reward the few lines in a dispatch. As to the soldiers struck down in battle, they are buried where they fall, and one epitaph serves for twenty thousand dead.
So, too, the crowd, which always has its eyes fixed on the rising sun, never lowers its glance towards that underground world where the obscure workers are struggling; their existence finishes unknown and without sometimes even having had the consolation of smiling at an accomplished task, they depart from this life, enwrapped in a shroud of indifference.
There exists in ignored Bohemia another fraction; it is composed of young fellows who have been deceived, or have deceived themselves. They mistake a fancy for a vocation, and impelled by a homicidal fatality, they die, some the victims of a perpetual fit of pride, others worshippers of a chimera.
The paths of art, so choked and so dangerous, are, despite encumberment and obstacles, day by day more crowded, and consequently Bohemians were never more numerous.
If one sought out all the causes that have led to this influx, one might perhaps come across the following.
Many young fellows have taken the declamations made on the subject of unfortunate poets and artists quite seriously. The names of Gilbert, Malfilâtre, Chatterton, and Moreau have been too often, too imprudently, and, above all, too uselessly uttered. The tomb of these unfortunates has been converted into a pulpit, from whence has been preached the martyrdom of art and poetry,
This despairing song of Victor Escousse, stifled by the pride which had been implanted in him by a factitious triumph, was for a time the "Marseillaise" of the volunteers of art who were bent on inscribing their names on the martyrology of mediocrity.
For these funereal apotheoses, these encomiastic requiems, having all the attraction of the abyss for weak minds and ambitious vanities, many of these yielding to this attraction have thought that fatality was the half of genius; many have dreamt of the hospital bed on which Gilbert died, hoping that they would become poets, as he did a quarter of an hour before dying, and believing that it was an obligatory stage in order to arrive at glory.
Too much blame cannot be attached to these immortal falsehoods, these deadly paradoxes, which turn aside from the path in which they might have succeeded so many people who come to a wretched ending in a career in which they incommode those to whom a true vocation only gives the right of entering on it.
It is these dangerous preachings, this useless posthumous exaltations, that have created the ridiculous race of the unappreciated, the whining poets whose muse has always red eyes and ill-combed locks, and all the mediocrities of impotence who, doomed to non-publication, call the muse a harsh stepmother, and art an executioner.
All truly powerful minds have their word to say, and, indeed, utter it sooner or later. Genius or talent are not unforeseen accidents in humanity; they have a cause of existence, and for that reason cannot always remain in obscurity, for, if the crowd does not come to seek them, they know how to reach it. Genius is the sun, everyone sees it. Talent is the diamond that may for a long time remain hidden in obscurity, but which is always perceived by some one. It is, therefore, wrong to be moved to pity over the lamentations and stock phrases of that class of intruders and inutilities entered upon an artistic career in which idleness, debauchery, and parasitism form the foundations of manners.
Axiom, "Unknown Bohemianism is not a path, it is a blind alley."
Indeed, this life is something that does not lead to anything. It is a stultified wretchedness, amidst which intelligence dies out like a lamp in a place without air, in which the heart grows petrified in a fierce misanthropy, and in which the best natures become the worst. If one has the misfortune to remain too long and to advance too far in this blind alley one can no longer get out, or one emerges by dangerous breaches and only to fall into an adjacent Bohemia, the manners of which belong to another jurisdiction than that of literary physiology.
We will also cite a singular variety of Bohemians who might be called amateurs. They are not the least curious. They find in Bohemian life an existence full of seductions, not to dine every day, to sleep in the open air on wet nights, and to dress in nankeen in the month of December seems to them the paradise of human felicity, and to enter it some abandon the family home, and others the study which leads to an assured result. They suddenly turn their backs upon an honorable future to seek the adventure of a hazardous career. But as the most robust cannot stand a mode of living that would render Hercules consumptive, they soon give up the game, and, hastening back to the paternal roast joint, marry their little cousins, set up as a notary in a town of thirty thousand inhabitants, and by their fireside of an evening have the satisfaction of relating their artistic misery with the magniloquence of a traveller narrating a tiger hunt. Others persist and put their self-esteem in it, but when once they have exhausted those resources of credit which a young fellow with well-to-do relatives can always find, they are more wretched than the real Bohemians, who, never having had any other resources, have at least those of intelligence. We knew one of these amateur Bohemians who, after having remained three years in Bohemia and quarrelled with his family, died one morning, and was taken to the common grave in a pauper's hearse. He had ten thousand francs a year.
It is needless to say that these Bohemians have nothing whatever in common with art, and that they are the most obscure amongst the least known of ignored Bohemia.
We now come to the real Bohemia, to that which forms, in part, the subject of this book. Those who compose it are really amongst those called by art, and have the chance of being also amongst its elect. This Bohemia, like the others, bristles with perils, two abysses flank it on either side—poverty and doubt. But between these two gulfs there is at least a road leading to a goal which the Bohemians can see with their eyes, pending the time when they shall touch it with their hand.
It is official Bohemia so-called because those who form part of it have publicly proved their existence, have signalised their presence in the world elsewhere than on a census list, have, to employ one of their own expressions, "their name in the bill," who are known in the literary and artistic market, and whose products, bearing their stamp, are current there, at moderate rates it is true.
To arrive at their goal, which is a settled one, all roads serve, and the Bohemians know how to profit by even the accidents of the route. Rain or dust, cloud or sunshine, nothing checks these bold adventurers, whose sins are backed by virtue. Their mind is kept ever on the alert by their ambition, which sounds a charge in front and urges them to the assault of the future; incessantly at war with necessity, their invention always marching with lighted match blows up the obstacle almost before it incommodes them. Their daily existence is a work of genius, a daily problem which they always succeed in solving by the aid of audacious mathematics. They would have forced Harpagon to lend them money, and have found truffles on the raft of the "Medusa." At need, too, they know how to practice abstinence with all the virtue of an anchorite, but if a slice of fortune falls into their hands you will see them at once mounted on the most ruinous fancies, loving the youngest and prettiest, drinking the oldest and best, and never finding sufficient windows to throw their money out of. Then, when their last crown is dead and buried, they begin to dine again at that table spread by chance, at which their place is always laid, and, preceded by a pack of tricks, go poaching on all the callings that have any connection with art, hunting from morn till night that wild beast called a five-franc piece.
The Bohemians know everything and go everywhere, according as they have patent leather pumps or burst boots. They are to be met one day leaning against the mantel-shelf in a fashionable drawing room, and the next seated in the arbor of some suburban dancing place. They cannot take ten steps on the Boulevard without meeting a friend, and thirty, no matter where, without encountering a creditor.
Bohemians speak amongst themselves a special language borrowed from the conversation of the studios, the jargon of behind the scenes, and the discussions of the editor's room. All the eclecticisms of style are met with in this unheard of idiom, in which apocalyptic phrases jostle cock and bull stories, in which the rusticity of a popular saying is wedded to extravagant periods from the same mold in which Cyrano de Bergerac cast his tirades; in which the paradox, that spoilt child of modern literature, treats reason as the pantaloon is treated in a pantomime; in which irony has the intensity of the strongest acids and the skill of those marksmen who can hit the bull's-eye blindfold; a slang intelligent, though unintelligible to those who have not its key, and the audacity of which surpasses that of the freest tongues. This Bohemian vocabulary is the hell of rhetoric and the paradise of neologism.
Such is in brief that Bohemian life, badly known to the puritans of society, decried by the puritans of art, insulted by all the timorous and jealous mediocrities who cannot find enough of outcries, lies, and calumnies to drown the voices and the names of those who arrive through the vestibule to renown by harnessing audacity to their talent.
A life of patience, of courage, in which one cannot fight unless clad in a strong armour of indifference impervious to the attacks of fools and the envious, in which one must not, if one would not stumble on the road, quit for a single moment that pride in oneself which serves as a leaning staff; a charming and a terrible life, which has conquerors and its martyrs, and on which one should not enter save in resigning oneself in advance to submit to the pitiless law væ victis.
H. M.
CHAPTER I
HOW THE BOHEMIAN CLUB WAS FORMED
One morning—it was the eighth of April—Alexander Schaunard, who cultivated the two liberal arts of painting and music, was rudely awakened by the peal of a neighbouring cock, which served him for an alarm.
"By Jove!" exclaimed Schaunard, "my feathered clock goes too fast: it cannot possibly be today yet!" So saying, he leaped precipitately out of a piece of furniture of his own ingenious contrivance, which, sustaining the part of bed by night, (sustaining it badly enough too,) did duty by day for all the rest of the furniture which was absent by reason of the severe cold for which the past winter had been noted.
To protect himself against the biting north-wind, Schaunard slipped on in haste a pink satin petticoat with spangled stars, which served him for dressing-gown. This gay garment had been left at the artist's lodging, one masked-ball night, by a folie, who was fool enough to let herself be entrapped by the deceitful promises of Schaunard when, disguised as a marquis, he rattled in his pocket a seducingly sonorous dozen of crowns—theatrical money punched out of a lead plate and borrowed of a property-man. Having thus made his home toilette, the artist proceeded to open his blind and window. A solar ray, like an arrow of light, flashed suddenly into the room, and compelled him to open his eyes that were still veiled by the mists of sleep. At the same moment the clock of a neighbouring church struck five.
"It is the Morn herself!" muttered Schaunard; "astonishing, but"—and he consulted an almanac nailed to the wall—"not the less a mistake. The results of science affirm that at this season of the year the sun ought not to rise till half-past five: it is only five o'clock, and there he is! A culpable excess of zeal! The luminary is wrong; I shall have to make a complaint to the longitude-office. However, I must begin to be a little anxious. Today is the day after yesterday, certainly; and since yesterday was the seventh, unless old Saturn goes backward, it must be the eighth of April today. And if I may believe this paper," continued Schaunard, going to read an official notice-to-quit posted on the wall, "today, therefore, at twelve precisely, I ought to have evacuated the premises, and paid into the hands of my landlord, Monsieur Bernard, the sum of seventy-five francs for three quarters' rent due, which he demands of me in very bad handwriting. I had hoped—as I always do—that Providence would take the responsibility of discharging this debt, but it seems it hasn't had time. Well, I have six hours before me yet. By making good use of them, perhaps—to work! to work!"
He was preparing to put on an overcoat, originally of a long-haired, woolly fabric, but now completely bald from age, when suddenly, as if bitten by a tarantula, he began to execute around the room a polka of his own composition, which at the public balls had often caused him to be honoured with the particular attention of the police.
"By Jove!" he exclaimed, "it is surprising how the morning air gives one ideas! It strikes me that I am on the scent of my air; Let's see." And, half-dressed as he was, Schaunard seated himself at his piano. After having waked the sleeping instrument by a terrific hurly-burly of notes, he began, talking to himself all the while, to hunt over the keys for the tune he had long been seeking.
"Do, sol, mi, do la, si, do re. Bah! it's as false as Judas, that re!" and he struck violently on the doubtful note. "We must represent adroitly the grief of a young person picking to pieces a white daisy over a blue lake. There's an idea that's not in its infancy! However, since it is fashion, and you couldn't find a music publisher who would dare to publish a ballad without a blue lake in it, we must go with the fashion. Do, sol, mi, do, la, si, do, re! That's not so bad; it gives a fair idea of a daisy, especially to people well up in botany. La, si, do, re. Confound that re! Now to make the blue lake intelligible. We should have something moist, azure, moonlight—for the moon comes in too; here it is; don't let's forget the swan. Fa, mi, la, sol," continued Schaunard, rattling over the keys. "Lastly, an adieu of the young girl, who determines to throw herself into the blue lake, to rejoin her beloved who is buried under the snow. The catastrophe is not very perspicuous, but decidedly interesting. We must have something tender, melancholy. It's coming, it's coming! Here are a dozen bars crying like Magdalens, enough to split one's heart—Brr, brr!" and Schaunard shivered in his spangled petticoat, "if it could only split one's wood! There's a beam in my alcove which bothers me a good deal when I have company at dinner. I should like to make a fire with it—la, la, re, mi—for I feel my inspiration coming to me through the medium of a cold in the head. So much the worse, but it can't be helped. Let us continue to drown our young girl;" and while his fingers assailed the trembling keys, Schaunard, with sparkling eyes and straining ears, gave chase to the melody which, like an impalpable sylph, hovered amid the sonorous mist which the vibrations of the instrument seemed to let loose in the room.
"Now let us see," he continued, "how my music will fit into my poet's words;" and he hummed, in voice the reverse of agreeable, this fragment of verse of the patent comic-opera sort:
"How is that?" he exclaimed, in transports of just indignation; "the azure waters of a silver lake! I didn't see that. This poet is an idiot. I'll bet he never saw a lake, or silver either. A stupid ballad too, in every way; the length of the lines cramps the music. For the future I shall compose my verses myself; and without waiting, since I feel in the humour, I shall manufacture some couplets to adapt my melody to."
So saying, and taking his head between his hands, he assumed the grave attitude of a man who is having relations with the Muses. After a few minutes of this sacred intercourse, he had produced one of those strings of nonsense-verses which the libretti-makers call, not without reason, monsters, and which they improvise very readily as a ground-work for the composer's inspiration. Only Schaunard's were no nonsense-verses, but very good sense, expressing with sufficient clearness the inquietude awakened in his mind by the rude arrival of that date, the eighth of April.
Thus they ran:
"The duece!" exclaimed Schaunard, reading over his composition, "one and some one—those rhymes are poor enough, but I have no time to make them richer. Now let us try how the notes will unite with the syllables." And in his peculiarly frightful nasal tone he recommenced the execution of his ballad. Satisfied with the result he had just obtained, Schaunard congratulated himself with an exultant grimace, which mounted over his nose like a circumflex accent whenever he had occasion to be pleased with himself. But this triumphant happiness was destined to have no long duration. Eleven o'clock resounded from the neighbouring steeple. Every stroke diffused itself through the room in mocking sounds which seemed to say to the unlucky Schaunard, "Are you ready?"
The artist bounded on his chair. "The time flies like a bird!" he exclaimed. "I have but three-quarters of an hour left to find my seventy-five francs and my new lodging. I shall never get them; that would be too much like magic. Let me see: I give myself five minutes to find out how to obtain them;" and burying his head between his knees, he descended into the depths of reflection.
The five minutes elapsed, and Schaunard raised his head without having found anything which resembled seventy-five francs.
"Decidedly, I have but one way of getting out of this, which is simply to go away. It is fine weather and my friend Monsieur Chance may be walking in the sun. He must give me hospitality till I have found the means of squaring off with Monsieur Bernard."
Having stuffed into the cellar-like pockets of his overcoat all the articles they would hold, Schaunard tied up some linen in a handkerchief, and took an affectionate farewell of his home. While crossing the court, he was suddenly stopped by the porter, who seemed to be on the watch for him.
"Hallo! Monsieur Schaunard," cried he, blocking up the artist's way, "don't you remember that this is the eighth of April?"
hummed Schaunard. "I don't remember anything else."
"You are a little behindhand then with your moving," said the porter; "it is half-past eleven, and the new tenant to whom your room has been let may come any minute. You must make haste."
"Let me pass, then," replied Schaunard; "I am going after a cart."
"No doubt, but before moving there is a little formality to be gone through. I have orders not to let you take away a hair unless you pay the three quarters due. Are you ready?"
"Why, of course," said Schaunard, making a step forward.
"Well come into my lodge then, and I will give you your receipt."
"I shall take it when I come back."
"But why not at once?" persisted the porter.
"I am going to a money changer's. I have no change."
"Ah, you are going to get change!" replied the other, not at all at his ease. "Then I will take care of that little parcel under your arm, which might be in your way."
"Monsieur Porter," exclaimed the artist, with a dignified air, "you mistrust me, perhaps! Do you think I am carrying away my furniture in a handkerchief?"
"Excuse me," answered the porter, dropping his tone a little, "but such are my orders. Monsieur Bernard has expressly charged me not to let you take away a hair before you have paid."
"But look, will you?" said Schaunard, opening his bundle, "these are not hairs, they are shirts, and I am taking them to my washerwoman, who lives next door to the money changer's twenty steps off."
"That alters the case," said the porter, after he had examined the contents of the bundle. "Would it be impolite, Monsieur Schaunard, to inquire your new address?"
"Rue de Rivoli!" replied the artist, and having once got outside the gate, he made off as fast as possible.
"Rue de Rivoli!" muttered the porter, scratching his nose, "it's very odd they should have let him lodgings in the Rue de Rivoli, and never come here to ask about him. Very odd, that. At any rate, he can't carry off his furniture without paying. If only the new tenant don't come moving in just as Monsieur Schaunard is moving out! That would make a nice mess! Well, sure enough," he exclaimed, suddenly putting his head out of his little window, "here he comes, the new tenant!"
In fact, a young man in a white hat, followed by a porter who did not seem over-burdened by the weight of his load, had just entered the court. "Is my room ready?" he demanded of the house-porter, who had stepped out to meet him.
"Not yet, sir, but it will be in a moment. The person who occupies it has gone after a cart for his things. Meanwhile, sir, you may put your furniture in the court."
"I am afraid it's going to rain," replied the young man, chewing a bouquet of violets which he held in his mouth, "My furniture might be spoiled. My friend," continued he, turning to the man who was behind him, with something on a trunk which the porter could not exactly make out, "put that down and go back to my old lodging to fetch the remaining valuables."
The man ranged along the wall several frames six or seven feet high, folded together, and apparently being capable of being extended.
"Look here," said the new-comer to his follower, half opening one of the screens and showing him a rent in the canvas, "what an accident! You have cracked my grand Venetian glass. Take more care on your second trip, especially with my library."
"What does he mean by his Venetian glass?" muttered the porter, walking up and down with an uneasy air before the frames ranged against the wall. "I don't see any glass. Some joke, no doubt. I only see a screen. We shall see, at any rate, what he will bring next trip."
"Is your tenant not going to make room for me soon?" inquired the young man, "it is half-past twelve, and I want to move in."
"He won't be much longer," answered the porter, "but there is no harm done yet, since your furniture has not come," added he, with a stress on the concluding words.
As the young man was about to reply, a dragoon entered the court.
"Is this Monsieur Bernard's?" he asked, drawing a letter from a huge leather portfolio which swung at his side.
"He lives here," replied the porter.
"Here is a letter for him," said the dragoon; "give me a receipt," and he handed to the porter a bulletin of despatches which the latter entered his lodge to sign.
"Excuse me for leaving you alone," said he to the young man who was stalking impatiently about the court, "but this is a letter from the Minister to my landlord, and I am going to take it up to him."
Monsieur Bernard was just beginning to shave when the porter knocked at his door.
"What do you want, Durand?"
"Sir," replied the other, lifting his cap, "a soldier has just brought this for you. It comes from the Ministry." And he handed to Monsieur Bernard the letter, the envelope of which bore the stamp of the War Department.
"Heavens!" exclaimed Monsieur Bernard, in such agitation that he all but cut himself. "From the Minister of War! I am sure it is my nomination as Knight of the Legion of Honour, which I have long solicited. At last they have done justice to my good conduct. Here, Durand," said he, fumbling in his waistcoat-pocket, "here are five francs to drink to my health. Stay! I haven't my purse about me. Wait, and I will give you the money in a moment."
The porter was so overcome by this stunning fit of generosity, which was not at all in accordance with his landlord's ordinary habits, that he absolutely put on his cap again.
But Monsieur Bernard, who at any other time would have severely reprimanded this infraction of the laws of social hierarchy, appeared not to notice it. He put on his spectacles, broke the seal of the envelope with the respectful anxiety of a vizier receiving a sultan's firman, and began to read the dispatch. At the first line a frightful grimace ploughed his fat, monk-like cheeks with crimson furrows, and his little eyes flashed sparks that seemed ready to set fire to his bushy wig. In fact, all his features were so turned upside-down that you would have said his countenance had just suffered a shock of face-quake.
For these were the contents of the letter bearing the ministerial stamp, brought by a dragoon—orderly, and for which Durand had given the government a receipt:
