It was this same cynic, Mathurin Regnier, who, adding fresh knots to the satiric whip of Horace, exclaimed, in indignation at the manners of his day, "Honor is an old saint past praying to." The roll call of Bohemia during the seventeenth century contains a portion of the names belonging to the literature of the reigns of Louis XIII and Louis XIV, it reckons members amongst the wits of the Hotel Rambouillet, where it takes its share in the production of the "Guirlande de Julie," it has its entries into the Palais Cardinal, where it collaborates, in the tragedy of "Marianne," with the poet-minister who was the Robespierre of the monarchy.

It bestrews the couch of Marion Delorme with madrigals, and woos Ninon de l'Enclos beneath the trees of the Place Royal; it breakfasts in the morning at the tavern of the Goinfres or the Epee Royale, and sups in the evening at the table of the Duc de Joyeuse; it fights duels under a street lamp for the sonnet of Urania against the sonnet of Job.

Bohemia makes love, war, and even diplomacy, and in its old days, weary of adventures, it turns the Old and New Testament into poetry, figures on the list of benefices, and well nourished with fat prebendaryships, seats itself on an episcopal throne, or a chair of the Academy, founded by one of its children.
It was in the transition period between the sixteenth and eighteenth centuries that appeared those two lofty geniuses, whom each of the nations amongst which they lived opposed to one another in their struggles of literary rivalry.

Moliere and Shakespeare, those illustrious Bohemians, whose fate was too nearly akin.
The most celebrated names of the literature of the eighteenth century are also to be found in the archives of Bohemia, which, amongst the glorious ones of this epoch, can cite Jean Jacques Rousseau and d'Alembert, the foundling of the porch of Notre Dame, and amongst the obscure, Malfilatre and Gilbert, two overrated reputations, for the inspiration of the one was but a faint reflection of the weak lyricism of Jean Baptiste Rousseau, and the inspiration of the other but the blending of proud impotence with a hatred which had not even the excuse of initiative and sincerity, since it was only the paid instrument of party rancour.
We close with this epoch this brief summary of Bohemia in different ages, a prolegomena besprinkled with illustrious names that we have purposely placed at the beginning of this work, to put the reader on his guard against any misapplication he might fall into on encountering the title of Bohemians; long bestowed upon classes from which those whose manners and language we have striven to depict hold it an honor to differ.
Today, as of old, every man who enters on an artistic career, without any other means of livelihood than his art itself, will be forced to walk in the paths of Bohemia.

The greater number of our contemporaries who display the noblest blazonry of art have been Bohemians, and amidst their calm and prosperous glory they often recall, perhaps with regret, the time when, climbing the verdant slope of youth, they had no other fortune in the sunshine of their twenty years than courage, which is the virtue of the young, and hope, which is the wealth of the poor.
For the uneasy reader, for the timorous citizen, for all those for whom an "i" can never be too plainly dotted in definition, we repeat as an axiom: "Bohemia is a stage in artistic life; it is the preface to the Academy, the Hotel Dieu, or the Morgue." We will add that Bohemia only exists and is only possible in Paris.
We will begin with unknown Bohemians, the largest class.