At this point rose the reporter. He had been recognized for years as the coming servitor of the press. But a few of him in the early days had been dissolute, had written without proper regard to facts, and had brought discredit not only on himself but the chivalry which others believed in. He began to brace up, to pull himself together, to be better educated, to dress in excellent taste, and, above all, to write better copy. Henry Murger had published a series of sketches under the title "_Scenes de La Vie de Boheme_." These few pictures described the Paris life of that period, beyond a doubt; but here in New York a few bright men sought to revive the spirit and the _couleur de rose_ of the Quartier Latin. It was a clever idea, but it didn't last. In one of the bleakest corners of the old graveyard at Nantucket stands a monument to Henry Clapp, the presiding genius of the Bohemian Club that sat for so many years in Phaff's cellar on Broadway. Its roll contained many of the brightest names known in the history of the American press. They were true Bohemians,--once defined by George William Curtis as the "literary men who had a divine contempt for to-morrow." How cleverly those choice spirits wrote and talked about their lives away back in the fifties. Get a file of the New York _Figaro_, or some of the Easy Chair papers in _Harper's_ of that period, and enjoy their cloud-land life! I only quote one sentence and it is from "the Chair," though I half suspect Fitz James O'Brien, rather than George William Curtis, penned it:-- "Bohemia is a roving kingdom--a realm in the air, like Arthur's England. It sometimes happens that, as a gipsy's child turns out to be a prince's child, who, perforce, dwells in a palace, so the Bohemian is found in a fine house and high society. Bohemia is a fairyland on this hard earth. It is Arcadia in New York." Ah! yes, this is all very beautiful, but rent had to be paid; and the literary workers of to-day never forget that journalism is the only branch of literature that from the outset enables a man to live and pay his way. And yet when we remember Henry Clapp, Fitz James O'Brien, N. G. Shepherd, and Ned Wilkins, we feel that every working newspaper man is better to-day because they struggled and starved; because they lived in the free air of Bohemia. With the worker in the art, "the struggle for existence" begins with his first day's apprentice task as a reporter. No man ever became a journalist who did not serve that apprenticeship. There is no hope for him outside of complete success. It requires several years for him to learn to get news and to properly write it. One failure will blight his entire career. Unlike any other commercial commodity, news once lost cannot be recouped.