MURGER, Henry (1822-1861), French man-of-letters, was born in February 1822 at Paris. His father was a concierge, with which employment he combined the trade of tailoring. At the age of fifteen Murger was sent into a lawyer’s office, but the occupation was very uncongenial to him, and his father’s trade still more so. He thus incurred the paternal displeasure, and in his devotion to literature and liberty began to meet with not a few of the hardships which he afterwards described. He was, however, for a time saved from actual want by the employment of secretary to the Russian Count Tolstoy, which was procured for him by Μ. de J ouy (an old academician of the classical faction, but a very kind friend to youthful literary aspirants) in the year 1838. For the next ten years little positive is known of Murger’s life except that it probably provided the experiences, and certainly supplied him with the ideas, of his most famous book. He made his first independent appearance as an author in 1843 with a book entitled Via Dolorosa, but it made no mark. He also tried journalism, and the paper Le Castor, which figures in the Vie de Bohème, and which combined devotion to the interests of the hat trade with recondite philosophy and elegant literature, is said to have been a fact, though a shortlived one. At length he was introduced to better work, either in the Corsaire, then a favourite organ of the second romantic generation, or in the Artiste ∙, for both stories are told. In 1848 appeared the collected sketches called the Vie de Bohème. This book, which is of its kind famous, describes the fortunes and misfortunes, the loves, studies, amusements, and sufferings, of a group of impecunious students, artists, and men of letters, of whom Rodolphe represents Murger himself, ...while the others have been more or less positively identified. Murger, in fact, belonged to a set or clique of so-called Bohemians, the most remarkable of whom, besides himself, were Privat d’Anglemont and Champfleury. The Scènes de la Vie de Bohème have been very variously judged. Their very easy-going morality, and the supposed danger of their pictures in prompting to imitation have prejudiced some readers against the book. It is fair, however, to Murger to say that he neither holds up the Bohemian as a hero, nor in the least disguises the hardship and the folly of his ways. He was himself an instance of the dangers of Bohemianism. From the date above mentioned it was perfectly easy for him to make a comfortable living by journalism and general literature. He was introduced in 1851 to the Revue des Deux Mondes, and contributed to it for two or three years, and he never had any difficulty in securing or keeping literary employment. But he was a slow, a fastidious, and a very capricious worker, and his years of hardship and dissipation had very seriously impaired his health. He continued, however, to produce work pretty regularly, publishing Claude et Marianne in 1851, Le Dernier Rendezvous and Le Pays Latin in 1852, Adeline Protat (one of the most graceful and innocent if not the most original of his tales) in 1853, and Les Buveurs d ’ Eau in 1854. This last, the most powerful of his books next to the Vie de Bohème, exhibits a reverse side to the picture by tracing the fate of certain artists and students who, exaggerating their own powers and foolishly disdaining merely profitable work, come to an evil end not less rapidly if more respectably than by dissipation. Some years before his death, which took place in a maison de santé near Paris on 28th January 1861, Murger went to live at Mariotte, near Fontainebleau, and it was there that he wrote, and in 1859 published, an unequal book entitled Le Sabot Rouge, in which the character of the French peasant is very uncom-plimentarily treated. Besides the books already mentioned, Murger’s published works fill several volumes of prose and one of verse. The poems contained in the latter (Les Nuits d'Hiυer) are not very strong, but graceful and frequently pathetic. The prose volumes, with the exception of a novel of some scale, Les Roueries de l'ingénue (which the author left unfinished at his death), consist almost exclusively of short tales in the manner, and more or less on the subject, of the Vie de Bohême. All exhibit the same characteristics — an excellent descriptive faculty, lively humour in drawing the follies of youth, frequently pathos, and not seldom a tender and poetical melancholy.
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