Not that I think I left this to the second day. Very probably I lost no time in going to the office of the Saturday Press, as soon as I had my breakfast after arriving, and I have a dim impression of anticipating the earliest of the Bohemians, whose gay theory of life obliged them to a good many hardships in lying down early in the morning, and rising up late in the day. If it was the office-boy who bore me company during the first hour of my visit, by-and-by the editors and contributors actually began to come in. I would not be very specific about them if I could, for since that Bohemia has faded from the map of the republic of letters, it has grown more and more difficult to trace its citizenship to any certain writer. There are some living who knew the Bohemians and even loved them, but there are increasingly few who were of them, even in the fond retrospect of youthful follies and errors. It was in fact but a sickly colony, transplanted from the mother asphalt of Paris, and never really striking root in the pavements of New York; it was a colony of ideas, of theories, which had perhaps never had any deep root anywhere. What these ideas, these theories, were in art and in life, it would not be very easy to say; but in the Saturday Press they came to violent expression, not to say explosion, against all existing forms of respectability. If respectability was your ‘bete noire’, then you were a Bohemian; and if you were in the habit of rendering yourself in prose, then you necessarily shredded your prose into very fine paragraphs of a sentence each, or of a very few words, or even of one word. I believe this fashion prevailed till very lately with some of the dramatic critics, who thought that it gave a quality of epigram to the style; and I suppose it was borrowed from the more spasmodic moments of Victor Hugo by the editor of the Press. He brought it back with him when he came home from one of those sojourns in Paris which possess one of the French accent rather than the French language; I long desired to write in that fashion myself, but I had not the courage.
This editor was a man of such open and avowed cynicism that he may have been, for all I know, a kindly optimist at heart; some say, however, that he had really talked himself into being what he seemed. I only know that his talk, the first day I saw him, was of such a sort that if he was half as bad, he would have been too bad to be. He walked up and down his room saying what lurid things he would directly do if any one accused him of respectability, so that he might disabuse the minds of all witnesses. There were four or five of his assistants and contributors listening to the dreadful threats, which did not deceive even so great innocence as mine, but I do not know whether they found it the sorry farce that I did. They probably felt the fascination for him which I could not disown, in spite of my inner disgust; and were watchful at the same time for the effect of his words with one who was confessedly fresh from Boston, and was full of delight in the people he had seen there. It appeared, with him, to be proof of the inferiority of Boston that if you passed down Washington Street, half a dozen men in the crowd would know you were Holmes, or Lowell, or Longfellow, or Wendell Phillips; but in Broadway no one would know who you were, or care to the measure of his smallest blasphemy. I have since heard this more than once urged as a signal advantage of New York for the aesthetic inhabitant, but I am not sure, yet, that it is so. The unrecognized celebrity probably has his mind quite as much upon himself as if some one pointed him out, and otherwise I cannot think that the sense of neighborhood is such a bad thing for the artist in any sort. It involves the sense of responsibility, which cannot be too constant or too keen. If it narrows, it deepens; and this may be the secret of Boston.
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