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 the national cause were called, feasted almost to excess as a token of joy when they noticed on the Graben ‘two well-dressed men who were talking Bohemian.’ On the other hand, they were deeply depressed when two young girls of the citizen class, who had been talking Bohemian, suddenly dropped into German on their approach, saying, ‘Take care they hear us talking Bohemian; they will take us for peasants.’

As was natural in the case of so musical a nation as Bohemia, the patriotic movement found expression in music also. Early in the nineteenth century ‘Slavic balls’ were instituted at Prague. At these balls the hall was entirely decorated in the Bohemian national colours (red and white), and conversation in Bohemian was alone allowed. It was the intention of the originators of these gatherings to send out the invitations in the Bohemian language, but the Austrian police officials, with the inquisitiveness characteristic of the Metternich period soon became acquainted with this intention, and raised objections. It was finally decided that the invitations should be both in German and in Bohemian. The old national songs were again sung as far as the police authorities permitted. New songs, celebrating the glory of Bohemia, also were composed. Such were the one beginning with the words ‘Já jsem Cech a kdo je vic?’ i.e., ‘I am a Bohemian, and who is more?’ that was composed by Rubes. Yet better known is the famed ‘Kde je domov muyKde domov můj [sic]?’ (Where is my country?) which the traveller will constantly hear at Prague, as the present Government, wiser than its predecessor, raises no objection to its being sung. The song has indeed become the national air of Bohemia. It was composed by Joseph Tyl (1808–1856), one of the best modern Bohemian dramatists, and by him introduced 136