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
The conversation is compared with some aptitude to a Spanish town
devastated by an earthquake, which confounds in one ruin palaces and
huts, churches and houses of ill-fame. So in their talk the ideal and
the grotesque, poetry and cynical jesting are confounded pell-mell.
Silence is made while a passage from Victor Hugo is declaimed, after
which four discourses are pronounced. Three are by Borel, Clopet, and
Bouchardy respectively, concealed in the names of Reblo, Noel, and Don
José, and the second discourse is delivered by the swarthy O'Neddy
himself, who,
_Faisant osciller son regard de maudit_
_Sur le conventicule,_
pours out a passionate complaint that poets have too long been under the
yoke of governments and codes of law. The evening closes with a violent
tumult. The punch has done its work, and the _cénacle_ is a-screaming
with the ecstasy of energumens.
_Ce fut un long chaos de jurons, de boutades,_
_De hurrahs, de tollés et de rhodomontades._
They danced and sang like the demon crew in the master's "Ronde du
Sabbat,"
_Et jusques au matin les damnés Jeune-Frances_
_Nagèrent dans un flux d'indicibles démences._
It is to be hoped that the worthy fruiterer was sleeping quietly in
another part of Paris, and only the potatoes were kept awake and sleep
banished from the pears.
If at this point our reader feels inclined to throw up his hands and
exclaim "How disgusting!" he will be well advised to put down the book.
One cannot approach Bohemia without a certain sympathy for youthful
excesses, howsoever opposed they may be to one's personal predilections.
If the _cénacle_ indulged in occasional orgies--which, even allowing a
good deal for "local colour" in O'Neddy's "Pandæmonium," they certainly
did--they had a great many compensating virtues, such as complete
disinterestedness and a consuming love of art, which were not
conspicuous in Paris at the time. Maxime du Camp in his memoir on
Gautier sets the extreme limit to which reasonable criticism of them
can go when, after remarking on the promise given by a violent youth for
a fruitful middle age, he says:
Public-domain text, read in full here on John Shaqi.
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