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Bohemia Quotes

Browse 39 quotes about Bohemia.

Bohemia Quotes

“Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.”

“I was pleasantly disappointed on entering Bohemia. Instead of a dull, uninteresting country, as I expected, it is a land full of the most lovely scenery. There is every thing which can gratify the eye - high blue mountains, valleys of the sweetest pastoral look and romantic old ruins.”

“If we assiduously cultivate our powers of exaggeration, perhaps we, too, shall obtain the Paradise of Liars. And there Raphael shall paint for us scores and scores of his manifestly impossible pictures... and Shakespeare will lie to us of fabulous islands far past 'the still-vex'd Bermoothes,' and bring us fresh tales from the coast of Bohemia. For no one will speak the truth there, and we shall all be perfectly happy.”

“The modern picture of the artist began to form: The poor, but free spirit, plebeian but aspiring only to be classless, to cut himself forever free from the bonds of the greedy bourgeoisie, to be whatever the fat burghers feared most, to cross the line wherever they drew it, to look at the world in a way they couldn't see, to be high, live low, stay young forever -- in short, to be the bohemian.”

“Cemeteries in Bohemia are like gardens. The graves are covered with grass and colourful flowers. Modest tombstones are lost in the greenery. When the sun goes down, the cemetery sparkles with tiny candles... no matter how brutal life becomes, peace always reigns in the cemetery. Even in wartime, even in Hitler's time, even in Stalin's time.”

“Philosophy, art, politics, religion and bohemia have never sought to do away entirely with the status hierarchy; they have attemptee, rather, to institute new kinds of hierarchies based on sets of values unrecognised by, and critical of, those of the majority.. They have provided us with persuasive and consoling reminders that there is more than one way of succeeding in life.”

“If you look at life as a whole, we have to admit life's good where we live. But in an evil Twilight Zone kind of way there's nothing else to choose. In the old days there was always a Bohemia or a creative under-world to join if the mainstream life wasn't your bag - or a life of crime, or even religion.And now there's only the system. All other options have evaporated. For most people it's the System or what... death? There's nothing. There's no way out now.”

“The closing period of the fifteenth century witnessed the slow but sure increase of the churches of the Brethren. Although far from being unmolested, they yet enjoyed comparative rest. At the commencement of the sixteenth century their churches numbered two hundred in Bohemia and Moravia.”

“For the slow labor of realizing a potential gift the artist must retreat to those Bohemias, halfway between the slums and the library, where life is not counted by the clock and where the talented may be sure they will be ignored until that time, if it ever comes, when their gifts are viable enough to be set free and survive in the world.”