Marking Bohemia: Henri Murger's "Scenes de la Vie de Bohème"

In 1851, Henri Murger published "Scenes de la Vie de Bohème," portraying the Bohemian life of four artists in the Quartier Latin. Some say the book defined the colorful ways of Bohemianism; others say is merely "marked" or even mocked what was a serious social and political rejection of bourgeois values and comforts. The book remains widely read, and the argument endures, as well.  

This podcast was created by Roger Mummert for www.theparisproject.net.

Transcript

Marking Bohemia: 

Henri Murger’s “Scènes de la Vie de Bohème”

In travel, there is a paradox called “marking.” A key travel destination inevitably becomes marked as such: “This Mayan ruin is an authentic relic, a must-see for anyone touring the Yucatan.” Yet, once such a site is marked as authentic, it no longer conveys authenticity. It becomes a meta-site, a sign, a tourist-encircled marker of authenticity. And the serious traveler must trek deeper into the jungle in search of pristine authenticity. 

This marking process occurred with the original Bohemia of Paris. In particular, it was marked by the publication—and the popularity—of “Scenes de la Vie de Bohème” by Henri Murger (1822-1861). This is a tale of four friends living together in the Bohemia of the Quartier Latin in the 1840s. It appeared as a series in the literary journal Le Corsaire from 1845-48. Then Murger collaborated with playwright Théodore Barrière in adapting it for the stage in 1849, and its run at the Théâtre des Variétés was a huge success. That prompted its publication as a book in 1851, and it has been widely read ever since. 

Some see Scenes de la Vie as the definition of Bohemia; others say it merely marks it. Or mocks it. 

Whatever your perspective, Scenes de la Vie is a fun read, despite its amused tone and sunny ending that call its veracity into question. Critics say Murger failed to recognize Bohemianism as a serious social and political battle cry against bourgeois values and the comforts afforded by industrialization and worker exploitation. Murger, they say, presents Bohemianism as a mere phase by children of privilege who are throwing an artistic temper tantrum in between a bourgeois upbringing and a bourgeois adult career. 

Murger, in fact, lived in Bohemia for a decade beginning at age 19. He formed a group called “the water drinkers,” its members being too poor to afford wine. This era ended abruptly for Murger’s when his great success in chronicling the foibles of Bohemia catapulted him out of poverty at age 29. Standing on the other side of the street, he reflected:

“La Boheme, c’est la stage de la vie artistique.” 

Bohemianism is just a stage in the life of an artist. Further:

“C’est la préface de l’académie, de l’Hotel-Dieux, ou de la morgue.”

It’s a preface to the Academy, the hospital, or the morgue.”

Clearly, Murger had an eye for animating Bohemian life, one where artists float through life on dreams. His characters always find a way: They alternate between burning their furniture to keep warm and friending a patron who provides a feast or a commission to sustain their artistic visions. 

Scenes de la Vie illuminates one the most enduring ideas of Paris, that life lived for art is a supreme human aspiration. And that, in that pursuit, Paris is the only place to be. 

Scenes de la Vie has four main characters who are brought together by happenstance:

Alexander Schaunard is an artist trained in both painting and music.To rid his mind of his overdue rent, Schaunard pounds his piano and composes verse. When going out, he stuffs his possessions in his pockets, never knowing when he will be evicted. In fact, his eviction sets the story in motion. (Schaunard is believed to be modeled on Alexandre Schanne, a painter, musician and poet.)

Gustave Colline is a philosopher who roams about town in a long overcoat with books stuffed into every pocket. He gives lessons in mathematics, logic, botany and science to earn a meagre wage, which he spends on books. (Colline is believed to be modeled on Jean Wallon, a writer, philosopher and theologian.)

Marcel is a painter. He moves into Schaunard’s apartment, and he extends hospitality, forming an inseparable foursome they call “The Bohemian Club.”  (Marcel is believed to be modeled on the writer Champfleury, a roommate of Murger’s during the lean years.)

Rudolph is a poet "in rapport with the muses.” By day, he edits a fashion magazine. (Murger, himself, edited a fashion magazine, and Rudolph appears to be based on him.)

So the story begins with a toast to the formation of the Bohemian Club: “Let us celebrate this fine day!”

Throughout Scenes de la Vie, the foursome struggle to live as artists and to find food, drink and rent money. They ride the carousel of love, taking mistresses, suffering broken hearts, and bringing flowers to dying muses. And they gather often to drink, philosophize or simply to vent at the Café Momus, its name derived from the god of satire. Café Momus actually existed. It was located on rue de Prêtres-Saint-Germaine l’Auxerrois near the Louvre; it was demolished in the 1850s.

At the end of Scenes de la Vie, the members of the Bohemian Club depart Bohemia to live bourgeois professional lives. At a final banquet, Marcel calls on the group to move on, saying they had become “slaves to habit, not to a passion…It is this bondage we must escape, where we exhaust ourselves in a ridiculous and shameful slavery.” 

Marcel adds: “We have had our days of fun, of carelessness, and of paradox. All that is very fine; a good novel could be made of it.” 

The final chapter, “One is Only Young Once,” occurs a year after the death of Mimi, Rudolph’s tragic muse. Rudolph suggests to Marcel that they dine at their old haunt on rue Dufour. “I am perfectly willing to reminisce about the past,” replies Marcel, “but it will be over a good bottle of wine, and seated in a comfortable arm-chair…I have been corrupted. I no longer like anything but what is good."

And so Bohemia ends for the Bohemian Club. And perhaps for this chapter of Bohemia in Paris. Soon, Bohemianism would be re-energized with Baudelaire, Verlaine, les poetes maudits, the Paris commune…new chapters, new generations. 

And the marking of Bohemia would continue.

Murger’s publication of Scenes de la Vie was akin to the opening of Hair on Broadway. Under bright lights, the raucous hippie life lost all whimsy and magic. It became marked, codified, co-opted. From that moment forward, anyone still living or romanticizing the hippie lifestyle (“Hey, I was there, man.”) was ridiculous, indulgent, passé. Similarly, the authentic Bohemia had been marked by Scenes de la Vie, and it was never the same.

Murger’s success allowed him to retire to a country home, where he wrote other works including “Scene de la Vie de Jeunesse” (Scenes of Youth) and “Les Buveurs d’Eau” (The Water Drinkers). Murger never duplicated his initial success, and he blew through his money and died poor at age 38. A Bohemian ending. 

A statue of Henri Murger stands in the Jardin du Luxembourg just outside the Senate building—a most un-Bohemian honor. But was Murger really a Bohemian—or merely a marker of one? 

Murger left us a bit of an answer. Said he: "Search a Bohemian, find a bourgeois.”