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smock, blue pantaloons, and a blue cap procured for him the name of Bleuet, or, as we should perhaps say, Blueling, if indeed we may coin for the occasion one of those familiar, affectionate diminutives, so common in the Italian, rarer in the French, and almost unknown in our masculine tongue. An only child, and an invalid, poor Bleuet was of course a spoiled child, his mother's darling and pet. His wishes, his sick-child's caprices were her law, and she gratified them at the cost of many a secret privation. She seemed to know—maternal love hath often the faculty of second-sight—that her poor boy, though only the child of the humblest parentage, was destined to rise one day far above the station in which he was born. She attired him better than children of his class commonly dressed. She polished his manners as much as she could,—and 'twas much, for women, even of the lowest classes, have gentle tastes and delicacy. She could not bear to think that her darling should one day sit cross-legged on the paternal bench, and ply needle and scissors. She breathed her own aspirations into the boy's ears, and filled his mind with them. O mothers, ye do make us what ye please! Your tears and caresses are the rain and the sun that mature the seed which time and the accidents of life sow in our tender minds! She filled him with pride,—which is a cardinal virtue, let theologians say what they will,—and kept him aloof from the little blackguards who toss and tumble over the curb-stones, losing that dignity which is man's chastity, and removing one barrier between them and crime.

      He was, even in his earlier years, exquisitely sensitive. La Blache, the famous singer, occupied a suite of rooms in the house of which his father was porter. One day La Blache's daughter, (now Madame Thalberg,) who was confined to her rooms by a fall which had dislocated her ankle, sent for the sprightly lad. He was in love with her, just as boys will adore a pretty face without counting years or differences of position (at that happy age a statesman and a stage-driver seem equal,—if, indeed, the latter does not appear to occupy the more enviable position in life). He dressed himself with all the elegance he could command, and obeyed Mademoiselle La Blache's summons, building all sorts of castles in the air as he arranged his toilet and while he was climbing the staircase. His affected airs were so laughable, she told him in a mock-heroic manner what she wished of him, and probably with something of that paternal talent which had shaken so many opera-houses with applause:—"I have sent for you to teach me the song I hear you sing every day." This downfall from his castles in the air, and her manner, brought blushes to his cheek and flames to his eyes, which amused her all the more; so she went on,—"Oh, don't be afraid! I will pay—two ginger-cakes a lesson." So sensitive was the child's nature, this innocent pleasantry wounded him with such pain, that he fell on the carpet sobbing and with nerves all jangled. How the pangs poverty attracts must have wrung him!—But let us not anticipate the course of events.

      As he advanced in life he outgrew his disease, and became a chubby-cheeked boy, health's own picture. He was the favorite of the neighborhood, his mother's pride, and the source of many a heartache to her; for, as he grew towards manhood, his father insisted every day more strenuously that he should learn some trade. His poor mother obstinately opposed this scheme. Many were the boisterous quarrels on this subject the boy witnessed, sobbing between his parents; for his father was a rough, ill-bred mountaineer, who had reached Paris through the barrack and the battle-field, neither of which tends to smooth the asperities of character. The woman was tenacious; for what will not a mother's heart brave? what will it not endure? Those natures which are gentle as water are yet deep and changeless as the ocean. Of course the wife carried her point. Who can resist a mother struggling for her son? The boy was placed as copying-clerk in an attorney's office. All the world over, the law is the highway to literature. The lad, however, was uneducated; he wrote well, and this was enough to enable him to copy the law-papers of the office, but he was ignorant of the first elements of grammar, and his language, although far better than that of the lads of his class in life, was shocking to polite ears. It could not well be otherwise, as his only school was a petty public primary school, and he was but fourteen years old when his father ordered him to begin to earn his daily bread. But he was not only endowed with a literary instinct, he had, too, that obstinate perseverance which would, as one of his friends said of him, "have enabled him to learn to read by looking at the signs in the streets, and to cipher by glancing at the numbers on the houses."

      Murger always attributed a great deal of influence upon his life to the accident which had given his father artists for tenants. Not only La Blache, but Garcia and his incomparable daughters, Marie Malibran and Pauline Viardot, and, after they left, Baroilhet, the opera-singer, had rooms in the house. The handsome boy was constantly with them, and this early and long and intimate association with Art gave him elegance and grace and vivacity. The seeds sown during such intercourse may for years lie buried beneath the cares and thoughts of a laborious life, and yet grow and bring forth fruit as soon as a more propitious atmosphere environs them. Comrades in the office where he wrote likewise had influence upon his career. He found among the clerks two brothers, Pierre and Emile Bisson, gentlemen who have now attained reputation by their admirable photographic landscapes, especially of Alpine scenery. They were then as poor and as uneducated as Henry Murger. They lived in a house inhabited by several painters, from whom they caught a love and some knowledge of Art. They communicated the contagion to their new comrade, and the moment office-hours were over all three hastened, as fast as they could go, to the nearest public drawing-school. All three aspired to the fame of Rubens and of Paul Veronese. Murger had no talent for painting. One day, after he had been guilty of some pictures which are said to be—for they are still in existence—enough to make the hair of a connoisseur of painting stand on end, Pierre Bisson said to him, "Throw away the pencil, Murger; you will never make a painter." Murger accepted the decree without appeal. He felt that painting was not in him.2 He took up the pen and wrote poetry. There is nothing equal to the foolhardiness of youth. It grapples with the most difficult subjects, and knows it can master them. As all of Murger's friends were painters, except his father and mother, and they were illiterate, his insane prose seemed as fine poetry as was ever written, because it turned somersets on feet. Nobody noticed whether it was on five or six or fifteen feet. His father, however, had heard what a dangerous disease of the purse poetry was, and forbade his son from trying to catch it,—vowing, that, if he heard again of its continued pursuit, he would immediately make a tailor of him. Of course, the threat did not deter Murger from the chase; but instead of pursuing it openly, he pursued it by stealth. The sportsman became a poacher. Pierre and Émile Bisson quitted the attorney's office and opened a studio: they were painters now. Henry Murger managed to filch an hour every day from the time allotted to the errands of the office about Paris to spend in the studio of his friends, where he would write his poetry and hide his manuscripts. Here he made the acquaintance of artists and literary young men as unfledged as himself, but who possessed the advantages of a regular scholastic education. They taught him the rules of prosody and the exercises proper to overcome the mere mechanical difficulties of versification. This society made Murger more than ever ambitious; a secret instinct told him that the pen was the arm with which he would win fame and fortune. He determined to abandon the law-office.

      His father was furious enough at this resolution, and more than one painful scene took place between them. The boy was within an ace of bring kicked out of doors, when his troubles reached the ears of a literary tenant of the house: this was no other than Monsieur de Jouy, a member of the French Academy, and quite famous in his day for "L'Ermite de la Chaussée d'Antin," and a tragedy, "Sylla," which Talma's genius threw such beams upon as made it radiant, and for an imprisonment for political offences, a condiment without which French reputations seem to lack savor. Heaven knows what would have become of the poor boy but for this intervention, as his mother was dead and he was all friendless. Monsieur de Jouy procured him the place of private secretary to Count Tolstoy, a Russian nobleman established by the Czar in Paris as his political correspondent. The salary given was meagre enough, but in this world all things have a relative as well as an intrinsic value, and eight dollars a month seemed to the poor lad, who had never yet earned a cent, a fragment of El Dorado or of Peru. It gave him independence. His contemporaries have described him as gay, free, easy, and happy at this period. He had ceased to be dependent upon anybody; he lived upon his own earnings; he was in the full bloom of health and youth; and the horizon before him, even though clouded, wore all the colors of the rainbow. His father gave him a garret in the house, and continued to allow him a seat at the table, but he made young Murger

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