Vie de Bohème: A Patch of Romantic ParisWilliams, Orlo
History
Vie de Bohème: A Patch of Romantic Paris
Williams, Orlo
Paris (France) -- Intellectual life; Paris (France) -- Social life and customs
imitations of Alfred de Musset, who was an almost inevitable model for
any lyric youngster of the day; his more serious effort, a drama called
"Le Vengeur," good enough to burn for warmth in a draughty garret, is
not vouchsafed to us in quotation by Rodolphe's creator. Marcel was
obviously not a very gifted painter, in spite of his famous _Passage de
la Mer Rouge_, which was sent up in a different guise to each Salon and
inevitably rejected, and when this great work was sold to become a
shop-sign the artist's pride was not in the least revolted. Schaunard
never gives any signs of musical inspiration till at the close he
publishes a successful album of songs, and Colline, polyglot philosopher
as he is dubbed, abandoned his career before anything tangible had been
achieved to make an advantageous marriage and give musical evenings. It
would, of course, be pedantic to insist upon these considerations in the
case of a book of short stories which aims chiefly at amusing, but it is
impossible not to be struck in reading the "Scènes de la Vie de Bohème"
by the absence from the conversation of the characters of any indication
of their artistic ideals. Save when Schaunard tells the sugar-merchant
that he was a pupil of Horace Vernet, murmuring to himself, "Horreur, je
renie mes dieux," and Marcel makes a scornful allusion to the "école de
bon sens," the only proof that they are true artists lies in their
creator's own assertion, of which he is not entirely mindful in the
_dénouement_. The worst sinner of all is Colline, for this mine of
knowledge, throughout the book, is made chiefly remarkable for the
composition of dreadful puns. This may be partly due to that want of "a
little more art and a little more poetry" of which Janin accused Murger,
but the fault was not only personal. The second _cénacle_ and the
brotherhood of the Impasse du Doyenné were, without doubt, just as
commonplace in their ordinary conversation, but what lifted them off the
ground was the enthusiasm of a hotly waged artistic struggle, which by
Murger's day had died down. His four heroes are Romantics in general,
but in no sense champions of any cause.
Public-domain text, read in full here on John Shaqi.
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