to fill the whole night.  It had a solemnity which the modern comer to New York will hardly imagine, for that tide of omnibuses has long since ebbed away, and has left the air to the strident discords of the elevated trains and the irregular alarum of the grip-car gongs, which blend to no such harmonious thunder as rose from the procession of those ponderous and innumerable vans.  There was a sort of inner quiet in the sound, and when I chose I slept off to it, and woke to it in the morning refreshed and strengthened to explore the literary situation in the metropolis.

I.

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.