Translated by Howard Eiland and Kevin Mclaughlin

PREPARED ON TIlE BASIS OF TIlE GERMAN VOLUME EDITED BY ROLF TIEDEMANN

THE BELKNA P PRESS OF HARVARD UNIVERSITY PRESS

CAMBRIIlGE, MASSACHUSETTS, AND LO NDO N, ENGLAND 1999
 CONTENTS

Copyright 0 1999 by the Praidcnt and FdIows oJ HlJ"\IWd CoIkgl:

All righu rcscrvro
Translators' For eword '"
Printed in the Uniled SCites of America
Thi" work iJ a lr.lIUlation of Walta Benjamin, Dtu PaJ.Sagt'n.WtTA:, edited by RolfTICdauann, copyright
o 1982 by Suhrbmp \Ulag; volume 5 of w.aJta" Benjamin. Guammdu Sdtrijtnt, pttpan:d with the co-
Exposes
"Paris, the Capital or the Nineteenth Century" (1935) 3
opention ofTheodor W. AdQmo and Gcnhom Scholan, alitcd by Rolf Tw:douann and Hermann
SchwqlpenhiU5Cl". wpyrigI:u 0 1972, 1974, 1977, 1982, 1985, 1989 by Subrkamp Verlag. "Diakctia 11.1 a "Paris, Capital or the Nineteenth Century" (1939) 14
~till.ft by RQlfTlCdauann. wall fint publilhed in EngIiID by MITPr-eu. copyright 0 1988 bytbe
Mauach.usetu Institute ofTcchnology. 27
Convolutes
Publicatioo of this book has been 5Upponed by a grant from tht- National Endowment for the Humani· 29
ties, all indepcndcnt fcdcral agalC)·. Overview
Coo,.-c- photo: Wailer lkJ~amin, ca.. 1932. PhOtographer unknown. Courtesy of the Thcodor w: Adorno 827
Arch.iv, Frankfurt am Main. Firs1l Sketches
FronliJpiccc: Pam~JOtIITroy, 1845-1847. Photographer unknQ....n. Courtuy MUJ~ Camavalct, Paris.
Photo copyright C PhOlotheque des MusCa dt b. V.ue o:k Paris. Early Or af18
"Arcades" 871
Vignette.: pages i, 1, $25, 891. 1074. [m liml Frru>¢s d'Archilecture: pa~ 21, Hans Mcyu-Vedcn:
pagt: 869, Robert DoUna.u. "The Arcades or Paris" 873
885
"The Ring or Saturn"
Library of Congress C3taloging.in·Public:a.oon Data
~amin, Waiter, 1892-1940.
[Pauagcn-\lkrk. English] 99201 75 Ad d end a
893
l1w: an:ada ptqca I Walter Benjamin: Expose of 1935, Early Version
lraluiated by How:W Eiland and K£vin McLaughlin: Materials ror the Expose or 1935 899
p~ on the ~is of the Germa.n m lume edited 1:.)' RolfTl<!:dcmann. 919
p. 011. Materials ror "Arcades"
Ind udC:l inde.x.
ISBN 0~74-{)432&X (alk. paper)
,-
I. liedernann. Rolf. II. Tlll~
I 929
PT2603.E455 1>'33513 1999 J
"Dialectics at a Standstill," by RolfTtcdemarut
"The Story of O ld Benjamin," by Lisa Ftttko 946
944' .361081--dc2 1 99-27615
955
Translators' Notes
Designw by Gwc:n Nefsky Frunkfcldt 1016
G uide to Names and TemlS
lOSS
lndCJt
nIustrations

Shops in the Passage Vero-Dodat 34 A page of Benjamin's manuscript from Convolute N 457
Class roof and iron girders, Passage Vivienne 35 A gallery of the PaIais-Royal 491

The Passage des Panoramas 36 A panorama under construction 529

A branch of La BellcJardinierc in Marseilles 47 A diorama on the Rue de Bondy 534
TIle Passage de l'Opera, 1822-1823 49 Self-portrait by Nadar 680
Strtet scene in from of the Passage des Panoramas 50 Nadar in his balloon, by Honore Dawnier 682
Au Bon Marchi: department ston: in Paris 59
17It Origin ofPainting 683
I.e Pont deJ ploniteJ, by Grandville 65
Rut 7'mnmonain, It 15 avril 1834, by Hanori Dawruer 717
Fashionable courtesans wearing crinolines, by Honore Daumier 67
Honore Dawnier, by Nadar 742
Tools used by Haussmann's workers 134
Victor Hugo, by Eticlme Catjat 747
Interior of the Crystal Palace, London 159
L'Artiste et {'amateur dll dix-neu uieme J;e& ~750
La Ca.sJt-ti ft-omanit, ou La Fureur du jollr 164
L'Homm e de I'arl danJ l 'nnbaTTaJ lk Jon m/Ii" 751
The Paris Stock Exchange, mid-nineteenth century 165
Alexandre Dumas ~rc: , by Nadar 752
The Palai.s de I'lndusttlc at the world exhibition o f 1855 166
L'Efrangomanie blamie, 0 11 D 'Em Franfilu if n 'y a pa.s d '~nl 783
I.e Triomphr du knllid()Jcope, ali I.e tombeau dujeu (hinou 169
Actu(J/iti . a caricature of th e painter Gustave Couroet 792
Exterior of the Crystal Palace, London 185
A barricade o f the Paris Commu ne 794
C h arles Baudelaire, by Nadar 229
The Pom-Neuf, by Charles Meryon 232 The Fourierut missionary J eanJoumet, by Nadar 813

Theophile Gautier, by Nadar 242 Walter Benjamin consulting the Grand DictiormoiT( univuJeI 888

The scwcrs of Paris, by Nadar 41 3 Walter Ikojamin at the: card cataJogue of the Bibliothtquc Nationale 889
A Paris onmibus, by Honore Oaumier 433 TIle Passage Choiseul 927
Translators' Foreword

T
he materials assembled in Volume 5 of Walter Benjamin's Gesammelle
&hrjflen, under the: tide Dill PtUJagen-W"* (first published in 1982), repre-
sent research that Benjamin carried out, over a period of thirteen years, on
subject of the Paris arcades-les pa.ssagt.s-which he considered the most
imponant architectural form of the nineteenth century, and which he linked with
a number of phenomena characteristic of that century's major and minOT preoc-
cupations. A glance at the overview preceding the "Convolutes" at the center of
the work reveals the range of these phenomena, which extend from the litaary
and philosophical to the political, economic, and teclmological, with all sOrtS of
intennediate rdations. Benjamin's intention &om the first, it would seem, was to
grasp such diverse material under the general category of Urgtschichtt; signifying
the "primaJ history" of the nineteenth cenrury. 1bis was something that could be
realized only indirectly, through "cunning": it was not the great men and cele-
brated ev(~ts ofD'aditional historiography but rather the "refuse" and "detritus"
of history, the half-concea1ed, variegated traces of the daily life of "the collective,"
that ''VaS to be the object of study, and with the aid of methods more akin-above
all, in their dependence on dwtcc:-to the methods of the nineteenth-cenrury
collector of antiquities and cwiosities, or indeed to the methods of the nine-
teenth-ttntury ragpicker, than to those of the modem historian. Not concepcu.aJ
analysis but something like dream interpretation was the model. The nineteenth
century was the collective dream which 'We, its heirs, were obliged to reenter, as
patiencly and minutely as possible, in order to follow out its rammcations and,
finally, awaken from it. TIlls, at any rate, was how it looked at the outset of the
project, which wore a good many faces over time.
Begun in 1927 as a planned collaboration for a newspaper article on the
arcades, the project had quickly burgeoned under the influence of Surrealism, a
movement toward which Benjamin always maintained a pronounced ambiva·
lence. Before long, it was an essay he had in mind, "Pariser Passagen: Eine
clialektische Feerie" (Paris Arcades: A Dialectical Fairyland), and then, a few
years later, a book, Paris, die Hauptsladt ,us XIX. ]alzrhundulJ (Paris, the Capital
of the Nineteenth Century). For some two-and-a-half years, at the end of the
Twenties, having expressed his sense of alienation from contemporary ~
writers and his affinity with the French cu1rural milieu, Benjamin worked inter-
mittently on reams of notes and sketches, producing one short essay, "Der
Satumring oder Etwas vom Eisenbau" (!be Ring of Saturn, or Some Remarks
on Iron Construction), which is included here in the section "Early Drafts." A
hiatus of about four years ensued, until. in 1934, Benjamin reswned work o n the
arcades with an eye to u new and far-reaching sociological perspectives." The
scope of the undertakillg, the volume of materials coUected, was assuming epic
proportions, and no less epic was the manifest intenninabili~ ? f the task, which
Benjamin pUJ'5ued in his usual fearless way-step by step, nsking engulfment--
beneath the ornamented vaulting of the reading room of the Bibliotheque Na-
tiona.le in Paris. Already in a lena of 1930. he refers to The AmuUs Project as "the
theater of all my struggles and all m y ideas."
In 1935, at the request of his coUeagues at the Institute of Socia.I Research in
New York, Benjamin drew up an expose, or documentary synopsis, of the main
lines of The Arcades Proj({J; another expose, based largdy o n the first but more
exclusively theoretical, was written in French, in 1939, in an attempt to interest
an American sponsor. Aside from these: remarkably concentrated essays, and the
brief text ,;The Ring of Saturn; the entire Arcades complex (without definitive
tide, to be sure) remained in the fonn of several hundred notes and reBections of
varying length, which Benjamin re~d and grouped in sheafs, or " con~lutes,"
according to a host of topics. Additionally, from the late Twenties on. It ~u1d
appear, citations were incorporated intO these materials-passages drawn mainly
from an array of nineteenth-century sources, but also from the works of key
contemporaries (Marcel Proust, Paul Val~ry, Louis Aragon, Andre Breton, Georg
Simme1, Emst Bloch, Siegfried Kracauer. Theodor Adorno). These proliferating
individual passages, extracted from their original context like collectibles, were
eventually set up to communicate amo ng themsdves, often in a rat!ter subterra-
nean manner. The organized masses ofhistoricaJ objects-the partirular items of
Benjamin's display (drafts and excerpts)- together give rise to "a world of secret
affinities," and each separate article in the collection, each entry, was to constitute
a "magic encyclopedia" of the epoch from which it derived. An image of that
epoch. In the background of this theory of the historicaJ image, constituent of a
historicaJ "mirror world," stands the idea of the monad-an idea given its most
comprehensive fomlUl ation in the pages o n o rigin in the prologue to Benjamin's
book on German tragic drama, Ursprung rkJ deutschen rrauerspiels (Origin of the
German Thuerspid)-and back of this the doctrine of the re8ective medium, in
its significance' for the object, as expounded in Benjamin's 1919 dissertation,
"Der Begriff der Kunstkritik in der deutschen Romanek" (The Concept of Criti-
cism in Genllan Romanticism). At botto m, a canon of (nonsensuous) similitude
JUles the conception of the ArcaMs.
Was this conception realized? In the text we have before us, is the world of
secret affinities in any sense perceptible? Can o ne even speak of a "world" in the
case of a literary fragment? For, since t.he publication of dIe Pa.su:gen- Werk, it has
become customary to regard the text which Benjamin himself usually called the
Pasjag~Ulrhl:it, Or just the PasJagen, as at best a "torso," a monumental fragment
or ruin, and at worst a mere notebook, which the author supposedly intended to
mine for mort' extended discursive applications (such as the carefully o utlined
and possibly half-completed book on Baudelaire, which he ",,"'Orked o n from 1937
to 1939). CertainlYI the project as a whole is unfinished; Benjamin abandoned
work on it in the spring or 1940. when he was forced to Dee Paris berore the ,.
advancing Genoan army. Did he leave be1Und anything more than a large-scaJe
plan o r prospecrus? No, it is argued, 17Ie Arcade; Project is just that : the blueprint
for an unimaginably massive and labyrinthine arch.itecrure-a dream city, in
effect. This argument is predicated on the classic distinction between research
and application, FOrsr:llung and DarsJdlung (see, for example, entry N4a,5 in the
"Convolutes"), a distinction which Benjamin himself invokes at times, as in a
letter to Gershom Scholem of March 3, 1934, where he wonders about ways in
which his research on the arcades might be put to use, or in a letter or May 3,
1936, where he tells Scholcm that not a syUable of the actual text (eigroJlichtTI
1i xt) of the Pa..uagroarb~;t exists yet. In another of his letters to Scholem of this
period, he speaks of the futu re construction of a literary fonn for this text. Similar
statements appear in letters to Adorno and others. Where 17re A1'CiUks Projut is
conlXrned, then. we may distingui.sh between various stages of research, more or
less advana:d, but then: is no question of a realized work. So runs the lament.
Nevertheless, questions remain, not least as a consequence of the radicaJ starus
of "study" in Benjamin's thinking (see the Kafka essay of 1934, or Convolute m
of the Arcades, "Idleness"). For one thing, as we have indicated, many of the
passages of reHection in the "Convolutes" section represent revisions of earlier
drafts, notes, or letters. Why revise for a notebook? The fact that Benjamin also
transferred masses of quotations from acrual notebooks to the manuscript of the
convolutes, and the elaborate o rganization of these cited materials in that manu-
soipt (including the use of numerous epigraphs), might likewise bespeak a com-
positional principle at wo rk in the project, and not just an advanced stage of
research. In fact, the montage fonn-with its philosophic play of distances, tran-
sitions, and intersections, its perperually shifting contexts and ironic juxtaposi-
tions-had become a favorite device in Benjamin's later investigations; among
his major works. we have examples of this in EjnbalmsJra.ue (One-'Way Street),
Ikrlitlt'r Kindh~;1 um Neunu lmhuntkrt (A Berlin Childhood around 1900). "Dba
den Begriff der Geschichte" (On the Concept of History), and "Zenttalpark"
(Central Park). What is d istinctive about 17u: .Arcade.; ProjecJ-in Benjamin's
mind, it a1ways dwdt apan-is the working of quotations into the frame\\'Ork of
montage, so much so that they eventually far o utnumber the commentaries. If
we now wen: to regard this ostensible patchwork as, de facto, a determinate
literary fo nn, one that has effectively constructed itself (that is, fragmented it-
self), like the Journaux inljmes of Baudelaire, then surely there ",,"'Ould be sig-
nificant repercussions for the d irectio n and tempo of its reading, to say the leasr.
TIle transcendence of the conventional book foml would go together, in this
case, with the blasting apart of pragmatic historicism-grounded, as this always
is, on the premise of a continuo us and homogeneous temporality. Citation and
cOlmnentary m.iglu then be perceived as intersecting at a thousand different
angles, setting up vibrations across the epochs of recent history, so as to effect
"the cracking open of natural teleology." And all this would unfold through the
medium of hints or "blinks"-a discontinuous presentation deliberately opposed
to traditional modes of argument. At any rate. it seems undeniable that despite
the infomlal, epistolary armounec.ments of a "book" in the works, an eigenllidufTl
Buch, the resc.a.rcll project had become an end in itself.
 Of course, many ruders will cono.Jr with the German editor of the PaJJagrn-
Wa-k, Rolf TIedemann, when he 3peak.s, in his essay "'Dialectics at a Standstill"
(fint published as the introduction to the German edition, and reproduced here.
in trallslation). of the "oppressive chunks of quotations" filling its pages. Part of
Benjamin's purpose was to document as concretely as possible, and thus lend a
<'heightened graphicness" to, the scene of revolutionary change that was the
nineteenth century. At issue was what he called the "conunodification of things."
He was interested in the Wlsettling effects of incipient high capitalism on the most
intimate an:as of life and work--especially as reflected in the work of an (its
composition, its dissemination, its reception). In this "projection of the historical
into the intimate," it was a matter not of demonsttating any straightforward
cultural "decline," but rather of bringing to light an uncanny sense of crisis and of
security, of crisis in security. Particularly from the perspective of the nineteenth·
century domestic interior, which Benjamin likens to the inside of a mollusk's
shell, things were coming to seem more entirely materia] than ever and, at the
same time, more spectral and estranged. In the society at large (and in Baude-
laire's writing par excellence), an unflinching realism was ru1tivated alongside a
rhapsodic idealism. 1bis essentially ambiguous siwation--one could call it, using
the term favored by a number of the writers studied in 1ht ArwdtJ Project,
"phantasmagorical"-scts the tone for Benjamin's deployment of motifs, for his
recurrent topographies, his mobile cast of characters, his gallery of types. For
example, these nineteenth-century types (fi1neur, collector, and gambler head the
list) generally constinne figures in the middle-that is, figures residing within
as weU as outside the marketplace, between the worlds of money and magic-
figures on the threshold. Here, funhermore. in the wakening to crisis (crisis
~ked by habiwal complacency), was the link [0 present-day concerns. Not the
least CUIUting aspeCt of this historical awakening- which is, at the same time, an
awakening to myth-was the critical role assigned [0 humor, sometimes humor
of an infernal kind. This was one way in which the documentary and the artistic,
the sociological and the theological, were to meet head-on.
To speak of awakening was to speak of the "afterlife of works," something
broUght to pass through the medium of the "dialectical image." The latter is
Benjamin's ceno-al tenn, in 'fht Arcades Proj td, for the historical object of inter-
pretation: that which, undcr the divinatory gaze of the coUector, is taken up into
the collecto r's own particular time and place, thereby thro'A-mg a pointed light on
what has been. \-\'doomed into a present moment that seems to be walUng just
fo r it- Ioactualized." as Benjamin likes to say- the moment from the past comes
alive 3$ never before. In this way, the <;now" is itsdf e.:{perienced as prefomlcd in
the <;then," as its distillation- thus the leading motif of "precu rsors" in the text.
'The historical object is reborn as such into a present day capable of receiving it,
of suddenly "recogn.izing" it. TIlls is the famous "now of r« ogniz.ability" a tai
da- Erknwharluit}, which has the char.acter of a lightning fl ash. In the dusty,
cluttered corridors of the arc.;\des, where street and interior a re one,.ruslOrical
time is broken up into kaleidoscopic distractions and mo mcntary come-ons.
myriad displays of epheme ra, thresholds fo r the passage of WlllU Gerard de
Nerval (in Aurilia) calls "the ghOSts of matcrial things_" Here, at a distance from
what is nonnally meant by "progress,'" is the ur-historica1, coUective redemption
of lost time, of the times embedded in the spaces of things.
The German edition of the PaJJagtn ' Wa-~ contains-besides the two uposb we
have mentioned, the long series of convolutes that foUow, the "Erste Nonzen"
(here translated as '" FIrSt Sketches") and " Friihe Entwiirfe lt ("Early Draftslt) at the
end-a wealth of supplementary material relating to the genesis of 7M. AruukJ
Projut. From th.is textual-critical apparatus, drawn on for the Translators' Notes,
we have exttacted three additional sets of preliminary drafts and notations and
tranSlated them in the Addenda; we have also reproduced the introduction by the
German editor, Rolf Tiedemann, as well as an account of Benjamin's last days
written by Lisa Fittko and printed in the original English at the end of the
GcmWl edition. Omitted from our volume are some 100 pages of excerpts from
letters to and from Benjanlin, docwnenting the growth of the project (the major-
ity of these letters appear elsewh~ in English); a partial bibliography, compiled
by TIedemann, of 850 works cited in t.he "Convolutes" ; and, finally, precise
descriptions of Benjamin's manuscripts and manuscript variants (see translators'
initial note to the "Convolutes"), In an effort to respect the unique constitution of
these manuscripts. we have adopted Tiedemann's practice of using angle brack-
ets to indicate editoriaJ insertions intO the texL
A salient feature of the German edition of Benjamin's "Convolutes"
("Aufzcichnungen und Materialicn") is the use of two different typefaces: a larger
one for his reflections in Gennan and a smaller one for his numerous citations in
French and German. According to Tiedemann's ina-eduction, the larger type was
used for entries containing signilicant commentary by Benjamin. (In <;FtrSt
Sketches," the two differmt typefaces are used to demarcate canceled passages,)
'Tb.is typographic distinction, designed no doubt for the convenience of readers,
although it is without textual basis in Benjamin's manuscript, has been main-
tained in the English translation. We have chosen, however, to use typefaces
differing in style rather than in size, so as to avoid the hierarchical implication of
the German edition (the privileging of Benjamin's reflections over his citations,
and, in general, of German over French). What Benjamin seems to have con-
ccived was a dia1ectical reIation-a formal and thematic interfusion of citation
and commentary. It is an open, societary relation, as in the protocol to the
imaginary world irm (itself an unacknowledged citation from Baudelaire's
Paradis o.rtificitls) mentioned in the "Convolutes" atJ75,2.
As for the bilingual character of the text as a whole, this has been, if not
entirely e.liminated in the English-language edition, then necessarily reduced to
merely the citation of the o riginal titles of Benjamin's sources. (Previously pub-
lished translations of these sources have bee:n used. and duly noted! wherever
possible; where two or more published translations of a passage are available, we
have uied to choose the one best suited to Benjamin's context.) In most cases we
have regularized the citation of year and place of book publication, as well as
volume and issue number of periodicals ; bits of information, such as first names,
have occasio nally been supplied in angle brackets. Otherwise. Benjamin's irregu·
lar if relatively scrupulous editorial practices have been preserved .
A5 a further aid to ruders. the English-language edition of 1"h.t AraukJ ProjUl
includes an extensive if not exhaustive "Guide to Names and Terms"; tranSlators'
notes intended to help cOlllexrualize Benjamin's citations and reflections; and
cross-references serving to link panicular items in the "FlI'St Sketches" and "Early
Drafts" to corresponding entries in the "Convolutes."
 Translation duties for this edition ~ divided a.o; follows: Kevin McLaughlin
translated the Expose of 1939 and the previously untranslated French passages
in ConvolUt'es A-C. F. H , K, M (second half), 0 , Q;I, and p- r. Howard Eiland
tranSlated Benjanrin's German throughout and was responsible for previously
untranslated material in Convolutes 0 , E, G. I,j , L. M (firslhalf) , N, P, and m. as
wcll as for the Translators' Foreword.

In conclusion, a word about the tranSlation of &nuo/ut. A5 used for the grouping
of the thirty·six alphabetized sections of the PasJogen manuscript, this tenn, it
would seem. derives not from Benjamin himself but from his friend Adomo (this
according to a communication from Rolf Tiedemann, who srudied with
Adorno). It was Adamo who first sifted through the manuscript of the "Aufzeich·
nungen und Materialien," as TIedemann later called it, after it had been hidden
away by Georges Bataille in the Bibliotheque Nationale de France during the
Second \-\brld War and then retrieved and delivered to New YOrk at the end of
1947. In Germany, the term Klmvolut has a common philological application: it
refers to a larger or smaller assemblage-literally, a bundle-of manuscripts or
printed materials that belong together. The noun "convolute" in English means
"something of a convoluted form." VW: havt: chosen it as the translation of the
German term over a number of other possibilities, the most prominent being
"folder," "6Ie," and "'sheaf." The problem with these more common English
terms is that each carries inappropriate connotations, whether of office supplies,
computerese, agriculture, or archery. "Convolute" is strange, at least on first
acquaintance. but so is Benjamin's project and its principle of sectioning. Aside
from its desirable closeness to the German rubric, which, we ha~ suggested. is
both philologically and historically legitimated, it remains the most precise and
most evocativt: term for designating the daboratdy intertwined collections of
"notes and materials" that make up the central division of this most various and
colorful ofBenjaminian texts.

The translators are gratefu1 to the National Endowment for the Humanities for a
rwo-year grant in support of the translation, and to the Dean of the Graduate
School of Brown University, Peder Estrop, for a generous pUblication subven-
tion. Special thanks are due Michad w.Jennings for checking the entire manu'
script of the translation and making many valuable suggestions. "*- are Cunher
indebted [0 Wmfried Menninghaus and Susan Bernstein for reading portions of
the manuscript and offering excdlent advice. Rolf Tiedemann kindly and
promptly answered our inquiries concerning specific problems. The revic\\"t.rs
enlisted by Harvard University Press to evaluate the tranSlation also provided
much hdp with some of the more difficult passages. Other scholars who gener·
ously provided bibliographic information are named in the relevant Translators'
Notes. Our work has grearJy bene..6ted at the end from the resourceful. vigilant
editing of Maria Ascher and at every stage from the foresight and discerning
judgment of Lindsay Waters.
Paris, the Capital of the Nineteenth Century
<Expose of 1935>

The waters ilK blue, the plants pink; the evening is SWttt to
look on;
One goes for a walk; the granMJ damts go for a w-.uk; bdtind
them stroU the !Jenus dames.
-Nguyen Tmng Hiep, Parir, tspitak de fa Fronct; RtctleiJ de UtrS
(Hanoi. 1897), poem 2S

I. Fo urier, or the Arcades

The magic columns of these palaces
Show to lhe amateur on all sides,
In the objcc15 their porticos display,
That industry is the rival of the ans.
- N'IlIwaux iabka,," de /tuiJ (Paris, 1828). vol. 1, p. Xl

Most of the Paris arcades come into being in the decade and a half after 1822.
The firSt condition for their emergence is the boom in the: textile trade. Magasiru
d~ nouvcautiJ, the first establishments to keep large stocks of merchandise on the
premises, make their appearance, I They are the forerunners of department
stores. This was the period of wbich Balzac wrote: "TIle grt:at poem of display
chants its stanzas of color from the Church of the Madeleine to the Porte Saint-
Om.is." 1 The arcades art a center of commerce in luxury items. In fitting them
out, an enters lhe service of the merchant. Contemporaries never tire of admir-
ing them, and for a long time they remain a drawing point for foreigners. An
flltHira ted Guide 10 Paris says: "These arcades, a recent invention of indusO"ial
luxury, are glass-roofed, marble-panded corridors extending through whole
blocks of buildings, whose owners have joined to~ther for sudl enterprues.
Lining both sides of these corridors, which gel their light from above, are the
most elegant shops, 50 that the jJaJsagr is a city, a world in miniature." The
arcades are the scene of the first gas lighting_
The second condition fOT the emergence of the arcades is the beginning of iron
construction. TIle Empire saw in this technology a CQmribution to the revival of
 a:rc.hitecrure in the classical Greek sense. The architectural theorist Boetticher
expresses the general view of the matter when he says that. "with regard to the
art fonDS of the new system, the fonnal principle of the Hellenic mode" must
com e to prevail.! Empire is the style of revolutionary terrorism, for whicll the
state is an end in itself. just as Napoleon failed to understand the functional
nature of the state as an instrument of domination by the bourgeois class, so the
architects of his time failed to understand the functional nature of iron, with
which the consauctive principle begins its domination of architecrure. These
architc:Ct5 design supports resembling Pompeian columns, and factories that imi·
tate residential houses, just as later the first railroad stations will be modeled on
chalets. "Construction plays the role of the subconscious.''' Nevertheless, the
concept of engineer, which dates from the revolutionary wars, starts to gain
ground, and the rivalry begins between builder and decorator. &01(' Polytech-
nique and Ecole des Beaux-Arts.
For the first time in the history of architecture, an artificial building material
appt'ars : iron. It undergoes an evolution whos(' tempo will accc:Jerate in the
course of the century. nus development enters a decisive new phase when it
becomes clear that the locomotive-on wruch cxpt'riments havt: been conducted
since the end of the 1820s-i5 compatible only with iron tracks. The rail be-
comes the first prefabricated iron component, the precursor of the girder. Iron is
avoided in hom e construction but used in arcades, exhibition halls, train sta-
tions-buildings that serve transitory purposes. At the same time, the range of
architectural applications for glass expands, although the social prerequisites for
its widened application as building material will come to the fore o nly a hundred
years later. In Scheerban's Glasarchitdtur (1914), it still appears in the context of
utopia.J
Each epoch drearw the one to foUow.
-Michdct, ~AYCnir! AYCnir! '"
~rrc::spo~ding to the fonn of the new means of production, which in the begin-
nmg L'l still ruled by the form of the old (Marx), are images in the collective
~ns~ousnes~ in which the old and the new interpenetrate. These images are
:ro>h urta.ges; m them the collective seeks both to lM:rcome and to transfigure the
unmatunty of the social product and the inade(luacies in the sociaJ organizatio n
of production. At the same time, what emerges in these wish images is the
resolute effon to distance oneself from all that is antiquated- which includes,
however, the recent past. These tendencies deflect the imagination (which is
given impetus by the new) back upon the prim al past. In the cUu.m in which each
epoch entertains images of its successor, the latter appears wedded to clements of
primal history f Urgm n;(hie->-mat is, to elenlents of a classless society. And the
experiences of such a society-as stored in the unconscious of the collective-
engender, through interpenetration with what is new, the utopia that has left Its
trace in a thousand configurations of life, from enduring edifices to passing
fashions.
These relations are discernible in the utopia conceived by Fourier. Its secret cue
-
is the advent of machines. But this fact is not directly expressed in the Fouricrist
Iiterarure, which takes, as its point of departure, the amorality of the business
wo rld and the fals(' morality enlisted in its service. The phalanstery is designed to
restore human beings to re1ationsrups in wruch morality becomes superfluous.
The highly complicated organization of the phalanstery ap~ as machinery.
The meshing of the passions, the intricate collaboration of paJSion.J mialni.fleJ with
the jm.JJiml cahalute, is a primitivt: contrivance formed-on analogy with the
machine-from materials of psychology. This mechanism made of men pro-
duces the land of milk and honey, the primeval wish symbol that Fourier's utopia
has 6lled ,,,tith new life.
In the arcades, Fourier saw the architectural canon of the phalanstery. Their
reactionary metamorphosis with him is characteristic: whereas they o riginally
serve commercial ends, they become, for him, places of habitation. The phaJan·
Stery becomes a city of arcades. Fourier establishes, in the Empire's auster(' world
of forms. the colorfu1 idyll of Biedenneier. Its brilliance persists, however faded ,
up through Zola, who takes up Fourier's ideas in his book. Trauail, just as he bids
fareweU to the arcades in his 1htrtJe Raquin.-Marx came to the defense of
Fourier in his critique of Carl Grun, emphasizing the fonner 's "colossal concep-
tion of man."l H e also directed attention to FOurier's humor. In fact, jean Paul, in
his "Levana," is as closely allied to Fourier the pedagogue as Scheerban, in his
GiaJ.s Architecture, is to Fourier the utopian.-
U. Daguerre. or the Panoramaa
Sun. look. out for youndf!
-A.J. WICItt, DnwreJ littiraim (Paris, 187()), p. 374
j ust as architecture, with the first appt'arance of iron construction, begins to
outgrow an, so does painting, in its tum, with the first appearance of the pano-
ramas. The high point in the diffusion of panoramas coincides with the introduC-I
tion of arcades. One sought tirelessly, through tedmical devices. to make
panoramas the scenes of a pt'rfect imitation of nature. An attempt was made to
reproduce the changing daylight in the landscape, lhe rising of the moon, the
m sh of waterfalls. ~acqu es-Louis) David counsels his pupils to draw from nature
as it is shown in panoramas. In their attempt to produce deceptively lifelike
changes in represented nature, the panoramas prepare: the way not only fo r
pho tography but for (silent> 6lm and sound 61m.
Contemporary with the panoramas is a panoramic literature. Le Liure deJ
crnt-et-un [The Book of a I-Iundred-and-Onel, UJ Frall(au peillu par eux-mimtJ
[TIle French Painted by Themselves], LL Diabie a Paro rnle Devil in Paris], and
La Grande Ville [TIle Big City1 belong to this. l bese book3 prepare the belletristic
collaboration for which Girardin, in the 18305, will create a home in the feuille-
ton. They consist of individuaJ sketches, whose anecdotal fonn cOlTesponcis to
the panoramas' plastically arranged forrground, and whose infonnational ~
corresponds to their painted backgrowld. l'b.i! literature is also socially pano-
ramic. For the last time, the worker appears, isolated from his class, as pan of the
~tting in an idyll.
Announcing an upheavaJ in the relation of an to technology, panoramas are at
the same time an expression of a new attitude toward life. The city dwci1er,
who~ political supremacy over the provinces is demODSD'ated many times in the
course of the century, attempts to bring the countryside into town. In panoramas,
the city opens out to landscape-as it will do later, in subtler fashion , for the
Bineurs. Oaguerre is a student of the panorama painter PrevoSt, whose estab-
lishment is located in the Passage des Panoramas. Description of the panoramas
of Prevost and Daguerre. 1n 1839 Daguerre's panorama bums down. In the same
year. he announces the invention of the daguerreotype.
(Fran~ois) Arago presents photography in a speech to the National Assembly.
I
He assigns it a place in the history of technology and prophesies its scientific
applications. On the other side, artists begin to debate its artistic value. Photogra-
phy leads to the extinction of the great profession of portrait miniaturist. This
happens not just for economic reasons. The early photograph was artistically
superior to the miniature portrait, The technical grounds for this advantage lie in
the long exposure. time, which requires of a subject the highest concentration; the
social grounds for it lie in the fact that the lirst photographCJ3 belonged to the
avant-garde, from which most of their clientele came. Nadar's superiority to his
colleagues is shown by his attempt to take photographs in the Paris sewer system:
for the first time, discoveries were demanded of the lens. Its importance becomes
still greater as. in view of the new technological and social rrality, the subjective
strain in pictorial and graphic information is called into question.
The world exhibition of 1855 offers for the firSt time a special display called
"Photography." In the same year. Wiertz publishes his great article on photogra·
phy, in which be defines its task as the philosophical enlightenment of painting.9
llis "enlightenment" is undCJ3tood. as his own paintings show, in a political
sense. Wienz can be characterized as the first to demand, if not actually foresee,
the use of photographic montage for political agitation. With the increasing \
scope of communications and transport, the infonnationa1 value of painting di·
minishes. In reaction to photography, painting begins to stress the elements of
color in the picrure. By the time Impressionism yields to Cubism, painting has
an.ted for itself a broader domain into which, for the time being, photography
cannot follow. For its pare, phOlography greatly extends the spherr of comrnodjry I
exchange, from mid-century onward, by ftooding the market ....ith countless im-
ages of figures , landscapes, and eventS which had previously been available
either not at all or only as pictures fo r individual customers. To increase turnover, I
it renewed its subject matter through modish variations in camera technique-
innovatiuns that will detemu.ne the subsequent history of phOlography.
m. Grandville, or the World Exbibiliom
~. when all the world from Paris to China
Pays heed to your doctrine, 0 divine SaiJu-5imon.
The gloriow Colden Age will be reborn,
RiVl!fS will Bow with chocolate and tea,
Sheq> roasted whole will frisk on the: plain.
And !3utttd pike will swim ill the: Sc:ioe.
FricasSttd spinach will grow on the growld.
Garnished with crushed Cried croutons;
The treC5 will bring forth apple compotes,
And fanners will harvest boots and coats.
It will snow~, it will rain chickens,
And ducks cooked with turnips will fall from the sky.
-LangL! and Vanduburth, LAuiJ-Bronu et" Soint-Simonial
(Tbd.tfC du Palais-Royal, February 27, 1832)10
\r\brld exlubitions are places of pilgrimage to the commodity fetish. "Europe is
off to view the merchandise," say:. Taine in 1855. II The world exhibitions art:
preceded by national exhibitions of indusay, the first of which takes place on the
Champ de Mars in 1798. It arises from the wisb "to entertain the working classes,
and it becomes for them a festival of emancipation." I! The worker occupies the
forrground, as rustomer. The framework of the entertainment indusay has not
yet taken shape j the popular festivaJ provides this. Chaptal's speech on indusay
opens the 1798 exhibition.-The Saint-Simonians, who envision the indusaiali-
zation of the earth, take up the idea of world exhibitions. Chevalier, the
first authority in the new field, is a student of Enfantin and editor of the Saint·
Simonian newspaper u Globe. The Saint-Simonians anticipated the development
of the global economy, but not the class struggle. Next [0 their active participa·
tion in industrial and commercial enterprises around the middle of the century
stands their helplessness on all questions concerning the proletariat.
\r\brld exhibitions glorify the exchange value of the commodity. They create a
framework in which its use value rrcedes intO the background. They open a
phantasmagoria which a person enters in order to be distracted. The entertain-
ment industry makes this easier by elevating the person to the level of the
commodity. H e sUITt.nders to its manipulations while enjoying his alienation
from himself and others.- The enthronement of the commodjty, with its luster
of distraetion, is the secret theme of Grandville's an. 1bis is consistent with the
split between utopian and cynical dements in his work. Its ingenuity in repre-
senting inanimate objects corresponds l O what Marx calls the "theological nice-
ties" of the commodity.'3They are manifest clearly in the spicia'jt~a category of
goods which appears at this time in the luxuries industry. Under Grandvill~' 5
pencil, the whole of natut(' is transfonned into specialties. He presents them U1
the same spirit in which the advertisement (the term ridame also originates at this
point) begins to present its articles. He ends in madness.
Fashion: ~Madam Deathl Madam Deathl"
-Lcopardi. "Dialogue- between F:uhion and Ocath~1I
\\brld exhibitions propagate the universe of commodities. Grandville's fantasies
confer a commodity character on the universe. They modemize it. Saturn's ring
becomes a cast·iron balcony o n which the inhabitants of Saturn take the evening
air. The: literary counterpart to this graphic utopia is found in the books of the
Fourierlst naturalist To ussend . -Fashion prescribes the ritual according to which
the commodity fetish demands to be worshipped. Grandville extends the author-
ity of fashion to objects of everyday use, as well as to the cosmos. In taking it to
an extreme, he reveals its nature. Fashion stands in opposition to the organic. It
couples the living body to the inorganic world_To the living, it defends the rights
of the corpse. The fetishism that succumbs to the sex appeal of the inorganic is its
vital nerve. The cult of the commodity presses such fetishism into its savice.
For the Paris world exhibition of 1867, Victor Hugo issues a manifesto: "To the
Peoples of Europe," Earlier. and more unequivocally, their interests had been
championed by dc:legations of French workers, of which the first had been sent to
the London world exhibition of 1851 and the second, numbering 750 ddegates,
to that of 1862. The latter delegation was of indirea importance for Marx's
founding of the lntc:mational W:>rkingmen's Association.-The phantasmagoria
of capitalist culture attains its most radiant unfolding in the world exhibition of
1867. The Second Empire is at the height of its power. Paris is acknowledged as
the capital of luxury and fashion. Offenbach sets the rhythm of Parisian life. The
operetta is the ironic utopia of an enduring reign of capital.
IV. Louis PhiUppe, or the Interior
'Ibe bead ...
On m( night tabk, lik( a ranunculu5,
R CSLS .
- Baudelaire:. ~ Un( Martyn:~l~
Under Louis Philippe, the private individual makes his enttance on the stage of
history. 111e expansion of the democratic apparatus through a new c:lectorallaw
coincides with the parliamentary conuptio n organized by Guizat. Under cover
of this cOmJption. the ruling class makes history ; that is, it pursues its affairs. It
funhers railway construction in o rder to improve its stock holdings. It promotes
the reign of Louis Philippe as that of the private individual manabring his affairs.
With theJuly Revolution, the bourgeoisie realized the goals of 1789 (Marx).
For the private individual, the place of dwelling is for the first time opposed to
the place of work. The fornler constinnes itself as the interior. Its complement is
the office. The private individual, who in the office has to deal with realiry, needs
the do mestic interior to sustain him in his illusions. 'This necessity is all the more
pressing since he bas no intention of allowing his commercial consil1erations to
impinge on social ones. In th( formation of his private environment, both arc:
kept o ut. From this arise the phantasmagorias of the interior-which. for the
private man, represents the universe. In the interio r, he brings together the far
away and the long ago. His living room is a box in the theater of the world.
Excursus on Jugendstil. The shattering of the interior occurs via Jugc:ndstil
arOlUld the tum of the century. Of course, according to its own ideology, the
Jugendsri1 movement seems to bring with it the c0n:'ummation .0: the. in~~r.
Tbe tranSfiguration of the solitary soul appears to be Its goal. indiVIdualism IS Its
theory. With van de Vc:lde, the hou~ becomes an expression of the personality.
Ornament is to this house what the signa~ is to a painting. But the real
meaning of Jugendstil is not expressed in this ideology. It represents the last
attempted sortie of an art besieged in its ivory tower by technology. 'Ibis attempt
mobilizes all the reserves of inwardness. They find their expression in the medi-
umistic language of the line, in the Bower as symbol of a naked vegetal nature
confronted by the technologically anned world. The new elements of iron con·
strucUon-girder forms-preoccupyJugc:ndstil. In o rnament, it endeavors to win
back these fo nns for art. Concrete presents it with new possibilities for plastie
creation in architecture. Around this time, the real gravitational center of living
space shifts to the office. The itTeal center makes its place in the home. The
consequences ofJugendstil are depicted in Ibsen 's M(J.It~ Buildn: the attempt by
the individual, on the strength of his inwardness, to vie with technology leads to
his downfall.
I belie~ ... in my 5oul: the TIUng.
-UOI1 Dwbcl, CkwrfJ (Paris. 1929), p. 193
The interior is the asylum of an. The: collector is the true resident of the interior.
He makes his concern the transfiguration of things. To him falls the Sisyphean
task of divesting things of their commodity character by taking possession of
them. But he bestows on them only COJUlOtsseur value. rather than use value.
The collector d reams his way not only into a distant o r bygone 'world but also
into a belter one-one in which, to be sure, human beings are no better provided
with what they need than in the c:vc:ryday world. but in which things are freed
from the drudgery of being useful .
l 'b e interior is not just the universe but also the ctW of the private individual.
To dwell means to leave traces. In the interior, these are accentuated. Coverlets
and antimacassars, cases and containers arc: devised in abundance; in these, the
traces of the most o rdinary objects of use are imprinted. In just the same way, the
traces of the inhabitant are inlprinted in the interior. Enter the detective story,
which pursues these tracc:s. Fbc:, ill his "Philosophy of Fumirure" as weU as in his
detective fiction, shows himself to be the first physiognomist of the domestic
interio r. The criminals in early detective novc:ls are neither gentlemen nor
apaches, but private cititens of the middle class.
V. Baudelaire. or the Streets of Paris
Everything becomes an allegory for me.
- Ballde:birc. "Le Cygne""
Baudelaitt's genius, which is nourished On melancholy, is an allegorical geniu~.
For the first time, VI1ith Baudelaire, Paris becomes the subject of lyric poetry. TIlls
poetry is no hynm to the homeland; rather, the gaze of the allegorist, as it falls on
the city, is the gaze of the alienated man. It is the gaze of ~e Saneur, ,;,hose way
of life still conceals behind a mitigating nimbus the conung desolatlOn of the
big-city dweller. The flMeur stillstands on the threshold~f ~e metropolis as of
the middle class. Neither has him in its power yet. In neIther 15 he at home. He
seeks refuge in the crowd. Early contributions to a physiognomi~ of the ~~d
are found in Engels and Poe. The crowd is me veil through which the familiar
city beckons to the ftineur as phantasmagoria-now a landscape, now a. ~m.
Both become elements of the department store, which makes use of Sanene Itself
to sell goods. The department store is the last promenade for the Si\n~ur.
In the 8ineur, the intelligentsia sets foot in the marketpJace-ostCIlSlbly to look
around but in truth to find a buyer. In this intennediate stage, in which it still has
patrons' but is already beginning to familiarize itsdf VI1ith the markel, it appears as
the boMme. To the uncertainty of its economic position corresponds the uncer-
tainty of its political function. The latter is manifest ~O~l . ~early in the ~r~fe~­
siona! conspirators, who all belong to the boMme. Therr uubal field of aCtlVl~ 15
the army; later it becomes the petty bourgeoisie, occasio~y th~ proletanat.
Nevertheless, this group views the true leaders of the proletanat as Its advers.aT)"
The Communist Manifesto brings their political existence to an end. Baudelarre's
poetry draws its strength from the rebellious pathos of this class. H e sides with
the asocial. He realizes his only sexual communion with a whore.
Easy the way that leads into Avemw.
- vuWI. 71re Ameid!l
It is the unique provision of Baudelaire's poetry that the image o.f the ,,:oman an.d
the image of death intenningle in a third: that of Paris . The Paris o~his poems IS
a sunken city, and more submarine than subterranean. The chthoruc e1.ements of
the city-its topographic formations , the old abandoned bed of the Seme-have
evi.dendy found in him a m old. Decisive for Bauddaitt in the "death-frau,ght
idyll" of the city, however, is a social, a modem substratc. The. modern IS a
principal aC(%nt of his poetry. As spl~en.' it fracru~, the i~eal ("~pleen et ideal"1'
But precisely the modern, la mOlunuti, tS always atmg prunal history. H ere, ~
occurs through the ambiguity peculiar to the social relations and products of this
epoch. Ambiguity is the manifest imaging of dialectic, the law of dialectics at a
standstill, ibis standstill is utopia and the dialectical image. therefore, dream
image. Such an image is afforded by the conunodity per se: as fetish. Such an
image is presented by the arcades, which are house no less th~ street. Such
an image is the prostitute-seller and sold in one.
I travel in order to get to Know my geography.
- Not<: ofa madman, ill Marcel RCja, L:Arl dUe fL,.foU5 (Pam. 1907), p. 13 1
111e last poem of us Fleurs du mal: ;'Le VOyage." "Death, old admiral, up anchor
now." 111e last journey of the Baneur; death. Its destination: the new. "Deep in
the Unknown to find the IIroJ!", 18 Newness is a quality indepcndelll of the use
value of the commodity. It is the origin of the illusory appearance that belongs
inalienably to images produced by the collcctive unconscious. It is the quintes-
sence of that false consciousness whose indefatigable agent is fashion. Tbis sem-
blance of the new is reflected, like one mirror in another, in the semblance of the
ever recurrent. 11le product of this reflcction is the phantasmagoria of "cu1rural
history," in which the bourgcoisie enjoys its false consciousness to the full. The
art that begillS to doubt its task and ceases to be "inseparable from ( .. . ) utility"
(Baudelaire)!? must make novelty into its highest value. The arbiter nOlJarum mum
for such an art becomes the snob. He is to art what the dandy is to fashion.-Just
as in the seventeenth century it is allegory that becomes the canon of dialectical
images, in the nineteenth century it is novdty. Newspapers Bourish, along VI1ith
magasins de 'IOUfJI!a utis. The press organizes the market in spiritual values, in
which at first there is a boom. Nonconformists rebd against consigning art to the
marketplace. They rally round the banner of lart pour Jart. From this watchword
derives the conception of the. "total work of art"-the Gesollltkuru/werk-which
would seal art off from the developments of technology. The solemn rite with
which it is celebrated is the pendant to the distraction that transfigures the com-
modity. Both abstract from the social existence of human beings. Bauddaire
succumbs to the rage for Wagner.
VI. HOU,8smann , or the Barricades
I venerate the Beautiful, the Good, and all things great;
Beautiful nature, on which great art rests-
How it enchants the ear and challUS the eye!
Ilovc: spring in blossom: women and roses.
- Baron H3USS mann, Crmfim'()fI d 'IUI IWII dnJ(1l1t vieux1i!
The Bowery realm of decorations,
The chann of landscape, of archilecture,
And all the effect of scenery rest
Solely on the law of pers pective.
- Fnru BOhle, T1i(Qla· Qlltdli.,mlt5 (1.'lu nich), p. 74
HaussmaJUl'S ideal in city planning consisted of long perspectives down broad
strnight thoroughfares. Such an ideal corresponds to the tendency- common in
the nineteenth century-to ennoble technological llecc=ssities uu'Ough artistic
ends. The institutions of the bourgeoisie's worldly and spiritual dominance were
to find their apouleosis lviu:ti.ll Ule fram ework of the boulevards. Before their
completion, boulevards were draped across with canvas and unveiled like monu'
mcnts.- Haussmann's acovlty is linked to Napoleonic imperialism. Louis
Napoleon promotes investment capital, and Paris experiences a rash of specula·
tion. Trading on the stock exchange displaces the forms of gambling handed
down from feudal society. The phantasmagorias of space to which the Oaneur
devotes himself lind a counterpan in the phantasmago rias of time to which the
gambler is addicted. Gambling convens rime into a narcotic. <Paul> Lafargue
explains gambling as an imitation in miniature of the mysteries of economic
Buctuation.~l The expropriations carried out under Haussmann call fonh a wave
of fraudulent speculation. The rulings of the Coun of Cassation, which are
inspired by the bourgeois and Orleanist opposition, increase the financial risks of
Haussmannization,
Haussmann tries to shore up his dictatorship by placing Paris under an emer-
gency regime. In 1864, in a speech before the NationaJ Assembly, he vents his
hatTed of the rootless urban population, which keeps inCKaSing as a result of his
projects. Rising rents drive the proletariat into the suburbs. The quarh'm of Paris
in this way lose their distinctive physiognomy. The "red bdt" forms . Haussmann
gave himself the title of "demolition artist," artUie dimofisseur. He viewed his
work as a calling, and emphasizes this in his memoirs. Meanwhile he estranges
the Parisians from their city. They no longer feel at home there, and stan to
become conscious of the inhuman character of the metropolis. Maxime Du
Camp's monumental work Paris owes its inception to this consciousness.~ The
JirimituleJ d 'uTl HauJS1nmmiJi give it the form of a biblica1lament.:l3
The true goal of Haussmann's projects was to secure the city against civil war.
H e wanted to make the erection of banicades in Paris impossible for all rime.
With the same end in mind, Louis Philippe had already introduced wooden
paving. Nonethdess, banicades played a role in the February Revolution. Engels
studies the tactics of barricade fighting. zl Haussmann seeks to neutralize these
tactics on two fronts. Widening the stteets is designed [Q make the erection of
barricades impossible, and new streets are to futnish the shortest route between
tlle barracks and the wo rkers' districts. Contemporaries christen the operation
"strategic embellishment."
Rcvealto these depraved,
o Republic, by roiling their plots,
\bur great Medusa face
Ringed by ~d lighliling.
- l'¥brkers' 50llg from about 1850, in AdolfStahr; Zwei
Mnnnle;f! PaTiJ (Oldenburg. 1851 ), vol. 2, p. 1992.'1
The barricade is resUITCcted during the Commune. It is stronger and better
secured than ever. It stretches across the great boulevards. often reaching a height
of two stories, and shidds the ~nche s behind it.Just as the Communist ManjftJto
ends the age of professional conspiratOrs, so the Commune puts an end to the
phantasmagoria holding sway over the early years of the proletariat.1t dispels the
illusion that the task of the proletarian revolutio n is to complete tlle work or 1789
hand in hand with the bourgeoisie. nus
illusion dominates the period 183 1-
1871 , from the Lyons uprisi.ng to the Commune. The bourgeoisic never shared in
this error. Its battle against the social rights of the proletaria t dates back to the
great Revolution, and converges widl the philanthropic movement that gives it
cover and that is in its heyday under Napoleon III. Under his reign, this move-
ment's monumental work appears: Le Play's Ouun'crJ europrem [European WOrk-
c,rsj .u Side by side with the concealed position of philanthropy, the bourgeoisie
has always maintained openly the position of class warfare.2l' As early as 1831 , in
the Journal dtJ dibaiJ, it acknowledges that "every manufacrurer lives in his
factory like a plantation owner among his slaves." If it is the misfortune of the
workers' rebellions of old that no theory of revolution directs their course it is
also this absence of theory that. from another perspective, makes possible 'their
spontaneous energy and the enthusiasm with which they set about establishing a
new society. 11Us enthusiasm, which reaches its peak in the C ommune, wins over
to the working class at times the best e1enlents of the bourgeoisie, but leads it in
the end to succumb to their worst elements. Rimbaud and Courbet declare their
suppon for the Commune. The burning of Paris is the wo nhy conclusion to
Haussmann's work of destruction.
My good father had been in Paris.
- Karl Gutzkow, Briefl (,lUI Pa~ (Leipzig, 1842), vol. I, p. 58
Balzac was the first to speak of the ruins of the bourgeoisie. 21 But it was Surreal-
ism that first opened our eyes to them. The developmelll of the forces of produc-
tion shattered the wish symbols of the previous century, even before the
monwnents representing them had collapsed. In the nineteenth century this
development worked to emancipate the forms of construction from art,just as in
the sixteenth century the sciences freed themselves &om philosophy. A stan is
made with architecture as engineered construction. Then comes the reproduc-
tion of naruce as photography. The creation of fan tasy prepares to become prac-
tical as commercial an. Literature submits [Q montage in the feuiUeton. All these
products are on tlle point of entering the market as conmlodities. But they linger
on the threshold. From this epoch derive the arcades and i"tiroielm, the exhibition
halls and panoramas. They are residues of a dream world. The realization of
dream elements, in the course of waking up, is the paradigm of dialectical think-
ing. Thus, dialectical thinking is the organ of historical awakening. Every epoch,
in fact, no t only dreams the one to follow but, in dreaming, precipitates its
awakening. It bears its end within itself and unfolds it-as H egel alread y no-
ticed-by cunning. With the destabilizing of dle market economy, we begin to
recognize the monuments of the bourgeoisie as ruins evell before they have
cnunbled.

Paris, Capital of the Nineteenth Century
Expose <of 1939>
Inlroduction
History is lik(:Janus: it has twO faces. Whether it looks at the pa.u or al the present., it
sees ~ same things.
- MaximeOu Camp, /'ariJ, vol. 6, p. 315
The subject of this book is an illusion e.xpres~d by Schopenhauer in the rauow-
ing Cannula: to seize the ~ce of history, it suffices to compare Herodotus and
the morning newspaper.l What is expressed here is a fttling of vertigo charac-
laistic of the nineteenth cmtury's conception of history. It corresponds to a
viewpoint according to which the course of the world is an encUess series of raw
congealed in the fonn of things. The characteristic residue of this concepcion is
what has been called the "History of C ivilization," which makes an inventory,
point by point, of humanity's life forms and creations. The riches thus amassed
in the aerarium of civilization hencc:fonh appear as though identified for all rime.
This conception of history minimizes the fact that such riches owe not only their
existence but also their transmission to a constant c:fTon of society-an effort,
moreover, by which these riches are strangely altered. Our investigation proposes
to show how, as a consequence of this reifying representation of civifu.ation, the
new forms of behavior and the new economically and technologically based
creatio ns that we owe to the nineteenth celltury enter the universe of a phantas-
magoria. These: creations undergo this "illumination" not only in a theoretical
mannel; by an ideological transposition, but also in the immediacy of their per-
ceptible presence. They are manifcst as phantasmagorias. Thus appear the ar-
cades-first entry in the field of iron construction ; thus appear the world
exhibitions. whose link to the entertainment industry is signi6cant. Also included
in this order of phenomena is the experience of the 8,ineur, who abandons
himself to the phantasmagorias of the marketplace. Corresponding to these
phantasmagorias of the market, where people appear only as types. are the
phantasmagorias of the interior, which are constirnted by man's imperious need
to leave the imprint of his private individual existence on the rooms he inhabits.
As for the phantasmagoria of civilization itself, it found its champion in Hauss-
mann and its manifest expression in his transfonnauons of Paris.-Neverthdess,
the pomp and the splendor with which commodity-producing society surrounds
itself, as well as its illusory sense of ~curity, are not immune to dangen; the
collapse of the Second Emp~ and the Commune of Paris remind it of that. In
the same period, the most dreaded adversary of this society, B1anqui, revealed to
it, in his last piece of writing, the terrifying features of this phantasmagoria.
Humanity figures there as damned. Everything new it could hope for rums out
to be a reality that has always been present; and this newness will be a.! little
capable of furnishing it with a liberating solution as a new fashion is capable of
rejuvenating society. Blanqui's cosmic speculation conveys this lesson: that hu-
manity will be prey to a mythic anguish so long as phantasmagoria occupies a
place in it.
A. Fourier. or the Ar cades
I
The: magic columns of these palais
Show to cnthwiasts from all parts,
With the objccu their porticos display,
1bat industry is the rival of the am.
-MJU/NIIIlIl 7abltlJUX tit PllrU (Puis, 1828), p. Xl
Most of the Paris arcades are built in the fifteen years following 1822. The first
condition for their development is the boom in the textile trade. Magasiru de
TWuutautis, the first establishments to keep large stocks of merchandise on the
premises, make their appearance. They are the forerunners of department stores.
TIlls is the period of which Ba1z.ac writes : "The great poem of display chants its
stanzas of color from the C hurch of the Madeleine to the Porte Saint-Denis." The
arcades are centers of commel"Ce in luxury items. In fitting them out, an enters
the service of the merchant. Contemporaries never tire of admiring them. FOr a
long time they remain an attraction for tourists. An llluslrllltd GUIde to Paris says:
"These arcades. a recent invention of industrial luxury. are glass-roofed, marble-
paneled comdors extending through whole blocks of buildings, whose owners
have joined t~ther for such enterprises. Lining bOth sides of the arcade, which
gets its light from above, are the most elegant shops, so that the jJasJagt! is a city,
a world in miniature." TIle arcades are the scene of the first attempts at gas
lighting.
The second condition for the emergence of the arcades is the beginning of iron
construction. Under the Empire, this techno logy was seen as a contribution to
the revival of architecnm: in the classical Greek ~nse . The archit«rural theorist
Boetticher expres5f!S the general view of the matter when he says that, "with
regard to the art forms of the new system, the Hellenic mode" must come to
prevail. The Empire style is the style of revolutionary tcrrorism, for which the
Slate is an end in itself. Just as Napoleon failed to understand the functional
narurt of the state as an instrument of domination by the bourgeoisie. so the
architects o f his time failed to understand the functional naturt': of iron, with
which the constructive principle begins its domination of architecture. These
architeclS design supporu resembling fbmpe.ian colunms, and factories that imi-
tate residential houses, juSt as later the first railroad stations will assume the look
of chalets. Construction plays the role o f the subconsciow. Nevertheless, the
concept of engin eer, which dates from the revolution ary wars, starts to gain
ground. and the rivalry begins bet\\un builder and decorator. Ecole Poly tech-
ruque and Ecole des Beaux-Arts.-For the first time since the Romans, a new
artificial building material appears: iron. It will undergo an evolution whose pace
will accelerate in the course of the cenrury. This development enters a decisive
new phase when it becomes clear that the locomotive-objea of the most diverse
experiments since the ~ars 1828-1829-usdully functions only on iron rails.
The rail becomes the first prefabricated iron component, the precursor of the
girder. Iron is avoided in home construction but wed in arcades, exhibition halls,
train stations-buildings that serve transitory purposes.
II
It is easy to understand that every mass-typc "interest" which
assertS itself historically goa far ~nd iu rca1limiu in lhe
"idea" or "ulllI.gination," when it lint comes on the sceru:.
-~-tarx and Engels, Die J/ci1W /W",i!ir
The secret cue for the Fourierist u top ia is the advent of machines. The phalan-
stay is designed to restore human beings to a system of relationships in which
morality becomes superfluous. Nero, in such a context, would become a more
usefuJ member o f society than Ftnelon. Fourier does not dream of relying on
virtue for this; rather, he relies on an efficient functioning of society, whose
motive forces ~ the passions. In the gearing of the p assions, in the complex
meshing of the PassifmS m«anutes with the Pa.ui(JTI cabaliJte, Fourier imagines the
collective psychology as a clockwork mechanism. Fourierist hannony is the nec-
essary product of this combinatory play.
Fourier introduces intO the Empire's world of austere fonDS an idyll colored by
the style of the 1830s. H e devises a syste.m in which the products of his colorful
vision and of his idiosyncratic treatment of numbers blend together. Fourier's
"harmorues" are in no way akin to a mystique of numbers taken from any other
tradition. They are in fact direct outcomes o f his own pronouncements-luOlbra-
tioos of his organizational imagination, which was vcry highly developed. Thus,
he foresaw how significant m~tings \vrn.dd become to the citizen. For the phalan·
stery's inhabitants, the day is organized not around the h ome but in large halls
similar to those of the Stock Exchange, where meetings are arranb"Cd by brokers.
In the arcades. Fourier recognized the architecrnral canon of the phalanstery.
'1tis is what distinguishes the "empire" character of his utopia, which Fourier
himself naively acknowledges: "111e societarian state will be all the more brilliant
at its inception for having been so long deferred . Greece in the age of Solon and
Pericles could already have undertaken it.'" The arcades, which originally were
designed to serve commercial en ds. become dwcllulg places Ul Fourier. The
phalanstery is a city composed of arcades. In this ville (71 pauoges, the engineer's
construction takes on a phantasmagorical character. The "ory of arcades" is a
dreanl that ....;n chaml the fan cy of Parisians well Utto the second half of the
century. As late as 1869, Fourier·s "SDttt-galleries" provide the blueprint for
Moilin's Pam en l'an 2000. 1 H ere the ory assumes a strucrnrc that makes it-with
its shops and aparanent.s-the ideal backdrop for the fueur.
Marx took a stand against Carl Crun in order to defend Fourier and to
accentuate his "colossal conception of man.") H e considered Fourier the only
man besides Hegel to have revealed the cssentia..l mediocrity of the petty bour-
~ois. The systematic overcoming of this type in H egel corresponds to its humor-
ous annihilation in Fouricr. One of the most remarkable features of the Fourierist
utopia is that it never advocated the exploitation of narurt by man, an idea that
became widespread in the following period. Instead, in Fourier, technology ap-
pears as the spark that ignites the powder of nature. Perhaps this is the key to his
strange representation of the phalanstery as propagating itself "by explosion."
The later conception o f man's exploitation of nature reflectS the actual exploita-
tion of man by the owners of the means of production_ U the integration of the
technological into soc:iallife failed, the fauJt lies in this exploitation.
B. Grandville, or the World Exhibilions
I
Yes, when all the world from Paris 10 China
Pays heed to your doctrine, 0 divine Saint-Simon,
The glorious Golden Age will be reborn.
Riven will flow with chocoIale and tea.
Sheep roasted whole will frisk on the plain,
And sauteed pike will swim in the Seine.
Fricasseed spinach will grow on the ground.
Garnished with cmshed fried croutons;
The trees will bring forth apple compotes,
And fanners ",,111 harvest boou and ccau.
I! will ! now wine, it will rain chickens,
And ducks cooked with turnips ",,111 fall from the sky.
-Langlt and V:l.Ilderburch, uuu-Bnmu (lit Sai,,/·Simllli/CI
(Thllllf(: du l:lalai.'I·RoyaI. ~bruary 27, 1832)
\\b rld exhibitions are places of pilgrimage to the conunodity fetish. "Europe is
ofT to view the merchandise," says Tainc in 185S.6 1nc world exJlibitions were
preceded by national exhibitions of industry, the first of which took place on the
Champ de Mars in 1798. It arose from the ....-ish "to entertain the working classes,
and it becomes for them a festival of emancipation.l!1 The workers would consti-
tute their first clientele. The framework of the entertainment industry has not ~t
taken shape; the popular festival provid~ this. Chaptal's cdebrated speech on

industry opens the 1798 ahibition.-The Saint-Simonians, who envision the
industrialization of the earth, take up the idea of world exhibitions. Chevalier, the
first authority in this new field, is a srudent of Enfantin and editor of the Saint-
Simonian newspaper Le Globt. The Saint-Simowans anticipated the dcvt:lopment
of the global economy, but not the class struggle. Thus, we see that despite their
participation in industrial and commercial enterprises around the middle of the
cenrury, they were helpless on all questions concerning the proletariat.
WOrld exhibitions glorify the occhan~ value of the commodity. They create a
framework in which its use value becomes secondary. TIley are a school in which
the masses, forcibly occluded from consumption, are imbued with the exchange
value of commodities [Q the point of identifying with it : "00 not touch the items
on display." \o\brld exhibitions thus provide access to a phantasmagoria which a
person enters in order to be distracted. Within these diua-twtTllnlts, to which the
individual abandons himself in the frarncv.'Ork of the entertainment industry, he
remains always an dement of a compact mass. This mass delights in amu.scme:nt
parks-with their roUa coasters, their "twisters," their "caterpillars"-in an atti-
tude that is pure reaction. It is thus led to that state of subjection which propa-
ganda, industrial as well as political, relies 00.-The enthronement of the
commodity, with its glitter of distractions, is the secret theme of Grandville's art.
Whence the split between its utOpian and cynical elements in his work. The
subtle artifices with which it represents inanimate objectS correspond to what
Marx calls the "theological niceties" of the commodity.' The concrete expression
of this is clearly found in the spiciaJiti-a category of goods which appears at this
time in the luxuries industry. \-\brld exhibitions construct a universe of sPicWlitiJ.
The fantasies of Grandville achieve the same thing. They modernize the uni·
vt:r5C. In his work, the ring of Saturn becomes a cast-iron balcony on which the
inhabitants of Saturn take the evening air. By the same token, at world exhibi·
tions, a balcony of cast·iron would represent the ring of Saturn, and people who
venrure out on it would find themselves earned away in a phantasmagoria where
they seem to have been transformed into inhabitants of Sarum. The literary
counterpart to this graphic utopia is the work of the Fourierist savant Toussend.
Toussenel was the natural-sciences editor for a popular newspaper. His zoology
classifies the animal ","'Orld according to the rule of fashion. He considers woman
the intermediary between man and the a.ni.maIs. She is in a sense the decorator of
the animal world, which, in exchange, places at her feet its plumage and its furs .
"The lion likes nothing better than having its nails trimmed, provided it is a
pretty girl that wields the scissors.'"
II
Fashion: "Madam Death ! Madam Death!"
-I...copm:Ii, "'Dialogue between F:uhinn and Ikath~'~
Fashion presaibes the ritua.! according to which the commodity fetish demands
to be worshipped. Grandville extends the authority of fashion ta objects of
everyday usc, as well as to the cosmos. In taking it [Q an extreme, he reveals its
natun:. It couples the living body to the inorganic. world. To the living, it defends
the rights of the corpse. The fetishism which thus succumbs to the sex appeal of
the inorganic is its vital nerve. The fantasies of GrandviUc correspond to the
spirit of Cashion that Apollinaire later desaibed with this image: "Any material
from nature's domain can now be introduced into the composition of women's
clothes. 1 saw a charming dress made of corks . ... Steel, \\'001, sandstone, and
6.1es have suddenly entered the vestmentary am ... . They're doing shoes in
\knetian glass and hats in Baccarat crystal."11
C. Louis Philippe, or the lnlerior
I
I believe ... in my soul: the '"Thing.
-Leon Ikubd, (hum (Paris, 1929). p. 193
Under the reign of Louis Philippe. the private individual makes his entry into
history. For the private individual, places of dwelling arc for the firSt time op-
posed to places of work. The former come to constitute the interior. Its compte-
mem is the office. (For its part. the office is distinguished clearly from the shop
counter, which. with its globes, wall maps, and railings, looks like a relic of the
baroque fonns that preceded the rooms in teday's residences.) The private indio
vidual. who in the office has to deal with realities, needs the domestic interior to
sustain him in his illusions. This necessity is all the more pressing since he has no
intention of grafting onto his business interests a clear perception of his social
function. In the arrangement of his private surrowldin~, he suppresses both of
these concerns. From this derive the phantasmagorias of the interior-which, for
the private individual, represents the universe. In the interior, he brings together
remote locales and mentories of the past. (-lis living room is a box in the theater
of the world.
The interior is the asylum where an takes refuge. The collector proves to be
the true resident of the interior. He makes his concern the idealization of objects.
To him falls the Sisyphean task of divesting things of their conunodity ch~cter
by taking possession of them. But he can bestow on them only cOllno~seur
value, rather than use value. The coUeaor delights in evoking a ,,"'Orld that 15 not
just distant and long gone but also better-a world in w?ich, to be sure, bum~
beings are no better provided with what they need than m the real world, but m
which things are freed from the drudgery of being useful.
II
The. head .
On the night table, like a ranuncu1us.
R<..~.
-Baudelaire. "Une Mattyn~ 12
The interior is not just the universe of the private individual; it is abo his etui.
Ever since the time of Louis Philippe. the bourgeois has shown a tendency to
compensate for the absence of any trace of private life in the big city. He tries to
do this within the four walls of his apartment. It is as ifhe had made it a point of
honor not to allow the traces of his everyday objects and accessories to get lost.
Indefatigably, he takes the impression of a host of objects; for his slippers and his
watches, his blankeu and his umbrellas, he devises coverlets and cases. He has a
marked prererence (or velour and plwh, which preservt the imprint of all con·
tact. In the style characteristic of the Second Empire, the apartment becomes a
son of cockpit. The traces of its inhabitant are molded into the interior. Here is
the origin of the detective stor)', which inquires into these ITaCc.s and follows these
tracks. Ebe- with his "Philosophy ofFumiture" and with his "new detectives"-
becomes the first physiognomist- of the domestic interior. The criminals in early
detective fiction are neither gentlemen nor apaches, but simple private citizens of
the middle class ("The Black Cat," "The Tell-Tale Heart," "Wtlliam Wilson").
1II
This seeking fo r my home ... was my affiiction.. _. Where is-
111)' home? I ask and M:ek and have sought for il ; I bave not found it.
-N'ICU_sthc. AiJo 3""'01 <aff21!lIul,';'
The liquidation of the interior took place during the last years of the nineteenth
century, in the work ofJugcndstil, but it had been coming for a longtime. The art
of the interior was an an of genre. Jugendstil sounds the death knell of the gerue.
It rises up against the infaNation of genre in the name of a mal du ;iedt:, of a
peqx:tually open-armed aspiration.Jugendstil for the first time takes into consid-
eration certain tectonic forms, It also soives to disengage them from their func-
tional relations and to present them as natural constants; it strives, in shon , to
stylize them. The ncw elements of iron construction-cspecial1y the girder-
command the attention of this "modem style." In the domain of ornamentation,
it endeavors to intcgrate these forms into an. Concrete puts at its disposal new
potentialities for architecllirC. With van de Velde, the howe becomes the plastic
expression of the personality. Ornament is to this house what the signature i..'! to a
painting. It exults in speaking a linear, mediumistic language in which the Bower,
symbol of vegetal life, insinuates itself intO the very lines of construction. (!be
curved line ofJ ugendstil appears at the same time as the title u; FlelJrJ du mal. A
SOrt of garland marks the passage from the "Flowers of Evil" to the "souls of
Bowers" in Odilon Redan and on to Swann'sfoirt (fjlleya.)It-Hencefortb, as
Fourier had foreseen, the true framework for the life of the private citizen must be
sought increasingly in offices and commercial centers. TIle fictional framework
for the individual's life is constituted in the private home, II i..'! thw that 'The
Maskr Builder takes the measure ofJugendsril. The attempt by the individual to
vie with tedmology by relying on his inner Sights leads lO his downfall : the
architect Solness kills himself by plunging from his tower. IJ,
D. Baudelaire, or tbe St reet.8 of Pari.!!
Everything for me becomes aUegory.
-Baudelaire, ~Lc Cygnc:"16
Baudelaire's genius, which feeds on mdancholYI is an allegorical genius. With
Baudelaitt, Paris becomes for the first time the subject of lyric poetry, This
poeb')' of place is the opposite of all poetry of the $Oil. The gaze which the
allegorical genius tums on the city betrays, instead, a profound alienation. It is
the gaze of the Baneur, whose way of life conceals behind a beneficent mirage the
anxiety of the future inhabitants of our metropolises, The 81neur seeks refuge in
the O"Owd, The crowd is the veil through which the familiar city is tran.5formed
for the 8fu1eur into phantasmagoria. This phantasmagoria, in which the city
appears now as a landscape, now as a room, seems later to have inspired the
decor of departtnCfit SlOres, which thw put fIanerie to work for profit. In any
case, department stores are the last precincts of 8Anerie.
In the person of the 8aneur, the intelligentsia becomes acquainted with the
marketplace. It surrenders itself to the market, thinking merely to look around;
but in fact it is already seeking a buyer. In this intermediate stagc=, in which it still
has patrons but is starting to bend to the demands of the market (in the guise of
the feuilleton). it constitutes the 6onirM. The uncenainty of its economic position
corresponds to the ambiguity of its political function. The latter is manifest
especially clearly in the figures of the professional conspirators, who are reauited
from the boMme, Blanqui is the most remarkable representative of this class. No
one else in the nineteenth century had a revolutionary authority comparable to
his. The image of Blanqui passes like a Hash of lightning through Baudelaire's
"Litanies de Satan." NeverthelCS$, BaudeIaire's rebellion is always that of tM
asocial man : it i..'! at an impasse. The only saual communion of his life was with
a prostitute.
II
They \\ICtt the sam~ , had risen from the same hen.
These cemenarian twins.
The Baneur plays tlle role of scout in the marketplace. As such, he is also the
explorer of the crowd. Within the man who abandons himself to it, the crowd
inspires a sort of drunkenness, one accompanied by very specific illusions: the
man 8atters himself that, on seeing a passerby s""''Cpt along by the O"O\ ..,'d, he has
accurately classified him, seen straight through to the innennost recesses of his
sou1-al1 on the basis of his external appearance. Physiologies of the time
abound in evidence of this singular conception, Balzac's work provides exceUent
examples. The typical characters seen in passersby make such an impression on
the senses that one cannot be surprised at the resultant curiosity to go beyond
them and caprure the special singularity of each person. But the nightmare that
corresponds to the illusory perspicacity of the aforementioned physiognomist
consists in seeing those distinctive traits-traits peculiar to the person- revealed
to be nothing more than the dements of a new type: so that in the final analysis a
person of the greatest individuality wouJd tum out to be the exemplar of a type.
ibis points to an agonizing phantasmab'Oria at the heart of 8Anerie. Baudelaire
develops it ~th great vigor in "Les Sept Vicillards," a poem that deals ~th the
seven-fold apparition of a repulsive-looking old man. This individual, presented
as always the same in his multiplicity, testifies to the anguish of the city dweller
who is unable to break the magic circle of the type even though he cultivates the
most eccentric peculiarities. Baudelaire describes this procession as "infernal" in
appearance. But the newness for which he was on the lookout all his life consists
in nothing other than this phantasmagoria of what is "always the same." (!be
evidence one couJd cite to show that this poem tranScribes the reveries of a
hashish eater in no way weakens this interpretation.)
III
Deq> in the Unknown to find the new!
- BaudcWrc. hLe \byage~J8
The ke:y to the: allegorical form in Baudelaire is bound up ~th the specific
signification which the commodity acquires by virtue of its price. The singular
debasement of things through their signification, sometlUng characteristic of sev-
enteenth-cenrury allegory, corresponds to the: singular debasement of things
through the:ir price as commodities. This degradation_ to which things are subject
because they can be taxed as commodities, is counterbalanced in Baudelaire by
the inestimable value of novelty. La nouueauti represents that absolute which is
no longer accessible to any interpretation or comparison. It becomes the uJtimate
entrenchment of art. The final poem of u.s Fleur; du mal: "i.e Voyage." "Death.
old admirn.!, up anchor now."I~ The 6.naI voyage of the 8aneur: death. Its destina-
tion: the new. Newness is a quality independent of the we value of the commod·
ity. It is the source of that illusion of which fashion is the ~Iess purveyor. The:
fact mat art's last line: of resistance should coincide with the commodity's most
advanced line of attack-this had to remain hidden &urn Baudelaire:.
"Spleen et ideal"-in the title of this first cycle of poems in U.s Fleur! dll maL,
tlle oldest loanword in the French language was joined to the most recent one.'"
For Baudelaire, there is no contradiction between the two concepts. He recog-
nizes in spleen the latest transfiguration of the ideal ; the ideal seems to him the
first expression of spleen. With this title, in which the supremely new is presented
to the reader as something "supremely old;" Baudelaire has given the liveliest
fonn to his concept of the modem. The linchpin of his entire theory of an is
"modem beauty," and for him the proof of modernity seems to be this: it is
marked with the fatality of being one day antiquity, and it ~eals this to whoever
~messes its hirth. Here we meet the quintessence of the unfo~en. which for
Baudelaire is an inalienable quality of the beautiful. The face of modernity itself
blasts us with its inunemorial gaze. Such was the gaze of Medusa for the Greeks.
E. HaU8SIIIBJUI. or tlu~ Barricades
I
I venerate the Beautiful, dIe Good, and all thinV great:
Beautiful nature, on which great an rest3-
HO\" it enchants the ear and charms the: eye!
I love spring in blossom: WOJDc:n and roses.
- Baron Haun wann. OMfWirm d '/tTl liM ~ll U~2 1
Haussmann's activity is incorporated intO Napoleonic i.mperialism, which favors
investment capital. In Paris, speculation is at its height. Haussmann's expropria-
tions give rise to speculation that borders on fraud. The: rulings of the Court of
Cassation, which are inspired by the bourgeois and Orleanist opposition, in-
crease the financial risks of Haussmannization. Haussmann tries to shore up his
dictatorship by placing Paris under an emergency regime. In 1864, in a speedl.
before the National Assembly, he vents his hatred of the rootless urban popula-
tion. 1bis popu1ation grows ever largu as a result of his projects. Rising rents
drive: the proletariat into the suburbs. The: quartim of Paris in this way lose their
distinctive physiognomy. The "red belt" fomu. Haussmarm gave himself the title
of "demolition artist." He believed he: had a vocation for his ....,ork, and empha-
sizes this in his memoirs. The centraJ marketplace. passes for Haussmann's most
successful construction-and this is an interesting symptom. It has been said of
the De de la Cite, the cradle of the city, that in the wake of Haussmann only one
church, one public building, and one:: barracks remained. Hugo and Merimee
suggest how much the transformations made by H aussmann appear to Parisians
as a monWllenl of Napoleonic despotism. The inhabitants of the city no longer
feel at home there: they start to become: conscious of the inhuman character of
the:: metropolis. Maxime Du Camp's monumental work Paro O\\o'CS its existence
to this dawning awareness. The etchings of Meryon (around 1850) constitute the
death mask of old Paris.
The true goal of Haussmarm's projccts w.l!i to secure lhe city against civil war.
He wanted to make the erection of barricades in thc streets of Paris impossible
for all time. With lhe same end in mind, Louis Philippe had already introduced
wooden paving. Nevertheless, barricades had played a considerable: role in the
February Revolution. Engels studied the:: tactics of barricade fighting. Haussmann
seeks to forestall such combat in two ways. \oVide::niog the suc=ets will make the
erection of barricades impossible, and ne ..... SttCCts will connect the barracks in
straight lines ~th the workers' districtS. Contemporaries christened the opera-
tion "strategic embellishment."
 II
The Bowery realm of decorations,
The charm of landscape, of archileClUTc.
And aU the effect o f sccnay rest
Sold}' on the law of pc:npcctive.
- Frall.t Bohle, 71Iwln--CaluhismUJ (Munich), p. 74
Haussmann's ideal in city planning consisted of long straight streets opening
onto broad perspectives. This ideal corresponds to the tendency-common in
the nineteenth cenrury-to ennoble teclmological necessities through spurious
artistic ends. The temples of the bourgeoisie's spiritual and secular power were to
find their apotheosis within the framework of these long streets. The perspec-
tives, prior to their inauguration, were screened with canvas draperies and un-
veiled like monuments; the vicw ,",,'Culd then disclose a church, a train station, an
equcsaian statue, or some other symbol of civilization. 'With the Haussmanniz.a-
cion of Paris, the phantasmagoria wall rendered in stone. Though intended to en-
dure in quasi-perpetuity, it also reveals its brittleness. The AVOlue de I'Optra
-which, according to a malicious saying of the day, affords a perspective on the
port~r 's lodge at the Louvre-shows how unrestrained the prefect's megalo.
marna was.
III
Reveal to these depraved,
o Republic, by foiling their plots,
'lliur great Medusa face
Ring<d by "" lightning.
-Picnc Dupont. CMnI dis (lwrim
The barricade is resurrected during the ComuuUle. It is stronger and better
de~igned than ever. It stretches across the great boulevards, often reaching a
height of two stories, and shields the trenches behind it. Just as the Commul1u/
Manjfosto ends the age of professional conspirators, so the Commune puts an end
to the phantasmagoria that dominates the earliest aspirations of the proletariat. It
dispels the illusion that the task of the proletarian revolution is to cornple~ the
work of '89 in close collaboration with tM: bourgeoisie. nus illusion had marked
the period 1831-1871, from the Lyons riots to the Commune. TIle bourgeoisie
never shared in this clTOr. Its battle against the social rights of the proletariat
dates back to the great Revolution, and converges with the philanthropic move·
ment that gives it cover and that was in its heyday under Napoleon III. Under his
reign, this movement's monumental work appeared: Lc. Play's OUI/nus europims
[European \\brkersJ.
Side by side with the oven position of philanthropy, the bourgeoisie has always
maintained the coven position of class struggle.21 As early as 1831 . in the Journal
deJ (lihatJ, it acknowledged that "every manufacturer lives in his factory like it
plantation owner among his slaves." If it was fatal for the workers' rebe.Uions of
old that no theory of ~olution had directed their course, it was this absence of
theory that, from another perspective, made pOssible their spontaneous energy
and the enthusiasm with which thcy set about establishing a new socicty. This
enthusiasm, whicll reachcs its peak in the Commune, at times won over to the
workers' cause the best e1emcnts of the bourgeoisie, but in tlle end led the
....,orkers to succumb to its .....,orst elements. Rimbaud and Courbet took sides with
the Commune. The burning of Paris is the wolthy conclusion to Baron Hauss·
mann's work of destruction.
Con clusion
Mcn of the nineteenth century, the hour of our apparitions is
fixed fon:\-'o; and a1 ......ays brings w back til(: \lCI'f same ODCI .
- AuguMe BIanqui., L'ElmJill par kJ (lJfra (I'arls, 1872), pp. 74-75
During the Conunune, Blanqui was held prisoner in the fortress of Taureau. It
was the~ that he wrote his L'Etemi/i par leJ aJtm [Etemity via the Stars]. This
book completes the century's constellation of phantasmagorias with one last,
cosmic phantasmagoria which implicitly comprehends the severest aitique of all
tM: others. The ingenuous reSections of an autodidact, which form the principal
portion of this work, open the way to merciless speculations that give the lie to
the author's revolutionary elan. The conception of the universe which Blanqui
develops in this book, taking his basic premises from the mechanistic natural
sciences, proves to be a vision of hell. It is, mo~ovcr, the complement of that
society which Blanqui, near the end of his life, was forced to admit had defeated
him. The irony of this scheme-an irony which doubtless escaped the author
himself-is that the terrible indictment he pronowlces against society takes the
form of an unqualified submission to its results. Blanqui's book presents the idea
of eternal retw'I1 ten years before Zarath,J.Jlra-in a mrumer scarcely less moving
than that of Nietzsche, and with rul extreme hallucinatory power.
nus power is anything but triumphant; it leaves, on the contrary, a feeling of
oppression. Blanqui here strives to trace an image of progress that (immemoria.1
antiquity parading as up-to-date novelty) rums out to be the phantasmagoria of
history itself. Hc~ is the essential passage:
The ~mire UIl.ivCrsc: is coDlpos~d of astral systems. To Cr~3(~ [hem. nature: has only a
hundre::d limp/I! hodiu at its disposal. Despitc the grCiit advantage it d~ri\'~s from
these resources, and t.he:: inllulll~rabk combinations that thes~ reSOun;:~5 afford its
f~t)·, the result is nec~s5arily afoilr number, likc that or dl~ dements ulenl'
sch'Uj and in order to fiU il.5 c:xpanst'. natun: must rcp<'at to infinif)' ~ach of il.5
&rigI'tyJ1 combinations or ty~j. So ~dl hea\'cnly bod}'. what~\'er it might be, exists in
infinite number in time and spaCl:, not only in onf of its aspects but as it is at each
~econd of its existen~~. from binh 10 death. . .. 111~ urth is onc of thcs~ hcavrnly
bodic.s. Every human being i5 thus et~mal at every second of his or h~r exi.ncoce.
What I writ~ at um moment ill a ~dl of tile Fort du T.·lUreau I havc wrilt~n and shall
 write throughout all ctenuty-at a table, with a pen, clothed as I am now, in circum-
stances like these. And thus it is for everyone... . Tlle nlUllber of our doublCll is
illfuutc in time and spatt. One tarulot in good conscience demand anything more.
These doubles exist in 8c.sh and bone-indeed, in trowefS and jacket, in crinoline
and clugnon. They are by no mearu phantoms ; they are the present eternalized.
Here., nonethdcu, lies a ~at drawback: there is no progress.... What we: aU

NVOLUTES
"pt0grC5s" is confined to each particular world, and vanishCli with it. Always and
everywhere. in the tenTsoial arena, the same drama, the same setting, on the same
narrow stage-a noisy humanity infawatcd with its own grandeur, believing iUiClf to
be the universe and living in its prison as though in some immense realm, only to
founder at an early date along with its globe. which has borne with deepest ~
the burden of human arrogance. !be same monotony. the same: immobility, on
other hea\'Cllly bodies. The universe rqx:at! it.sdf endlessly and paws the ground in
place. In infinity, eternity performs-imperturbably-the same routines.23

1bis resignation v.ithout ho~ is the last word of the great revolutionary. The
century was incapable of responding to the new technological possibilities with a
new social order. That is why the last word was left to the cnant negotiators
between old and new wbo are at the hean of these phantasmagorias. The world
dominated by its phantasmagorias- this, to make usc of Baudelaire's term, is
"modcmity.HBlanqui's vision has the entire universe entering the modernity of
which Baudelaire's seven old men are. the heralds. In the end, Blanqui views
novelty as an attribute of all that is under sentence of damnation. Likewise in Cid
et mftr [Heaven and Hell], a vaudeville piece thal slightly predates the book: in
this piece the lomlents of hell figure as the latest novelty of all time, as "pains
eternal and always ncw.n The people of the nineteenth century, whom Blanqui
addresses as if they were apparitions, are natives of this region.
Over view

" Arcad~ , MagllJin.r dl N rJU utQuti J, '" Fourier 620

Sales Clerlu 31 X MaJX 651
B Fashion 62
" Photography 671
(; Ancient Paris, Catacombs, Z The Doll, The Automaton 693
DemOliriOOll, I)ccline of
Paris 82 • Social Movement 698
o Boralom, Etcma1 Rc:turn 101 b Dawnier 740
E; Haussmannization, Barricade c
Fighting 120 d Literary History, Hugo 744
F lIon Consttuction 150 e
G Exhibitions, Advertising, I
Grandville 171
g The Stock Ex~, Economic
H ~ Collector 203 Hi5tory 779
I TIle Interior, The Trace 212 b
.. Baudelaire 228 I Reproduction Technology.
K On:am Cit)' and Dream House, Lithogrnphy 786
Dreams of the Future:, Ii. llit Commune 788
Anthropological Nihilism.
I The Seine, The Oldest Paris 796
Jung 388
I. ~am House, Museum, Spa 405 ID Idleness 800
M TIle flincur 416 D

N On die Theory of Knowlcdb"C. o

llleOry of Progress 456 p Anthropological Materialism,
o Prostitution, Gambling 489 History of Sects 807
p 1bc Srrc:cu ofParu !i16 q
q Panorama 527 r Ecole fulytedmique 818
R Mirron 537
S Paiming,Jugtl'wtil, Novelty 543
"•
T Modes of Lighting 562 u
U Sainl·Simon. Railroads 571 v
V Conspir.tcies, <Am/Jagl107l1lngtl 603 w
A
[Arcades, Magasins de Nouveautes, Sales Clerks1

1bc magic colunms of these palaces

Show to the amateur on all sides,
10 the objectS their porticos display.
TIlat industry i.o! the rival of the arts.
_MChruUOli nouvelle," ciled in N DUW tJlIX t'ab/((JUx de PariJ, 011 OIJ~Til/j­
liolU JUT ItJ
I1IMrirl rl USIIgtJ du Pansrnts /114 rom"",.,,(=,1 dll XIX'
Jil(k (Paris, 1828), vol. 1, p. 27

For sale the bodies, die VoiCd, thc tttmendoU$ unquestionable

~a1th, what will ne...~r be sold.

- Rimbaud 1

I/.ln speaking of the inner boulevards," says the lIlw tratl'd Guide. to Pam, a com-
plete picrure of the city on the Seine and its environs from the year 1852, "~
have made mention again and again of the arcades wbich open onto them. These
arcades, a recent invention of industrial luxury, are glass-roofed. marble-paneled
corridors extending through whole blocks of buildings, whose owners have
joined togetbl!r for such enterprises. Lining both sides of these conidors, which
get their light from ab~, are the most elegant shops, so that the arcade is a city,
a world in miniature 0 Fl:lneur o, in which customers will find everything they
need. During s udd~l rainshowers, the arcades are a place of refuge for the
unpn::pa.red, to whom they offer a secun::, if restricted. promenade-one from
which the merchants also benefit!' 0 "'bther 0
This passage is the locus classicus for the: presentation of the: arcades: for not
only do the divagations on the Baneur and the weather develop out of it, but,
also. what there is to be: said about the construction of the arcades, in an eco-
nomic and architecrural vein, would have a place here. [AI . I]

NUIIICII uf lIIul!(uiru (Ip. tlOll lleuuh~lI: La f 'iUc jl ' IIQllllellr. La "rlllult·, Le Page lllcQ II-
sta nl . IAl Masq ue dt' F" r (Th ~ Irull Ma sk ) , Le P('Iil Cha l't' rull Rou!;t' <Lilde n etl
Hidin@U UIII I ). Pt'tile N"III~ll e , La C h a llmi .~n: .,IIl·malld .. <The C"rma ll Cottllge) .
Au MlIlTldouk . Le Coin .lll III RIIt· ( On the S I rt:t'lc,'rn e r )-IH.m c~ thllt mustl y comt:
from suceeuful \'ilIHltl villcs. 0 Mytholugy DA g1uvt:r : Au Ci-Oevallt J e une Homm t·.
A confectiouer: Aux Armes de Wc.rtller.
 " The n um e of t1w jcw(oic r YlalHls ov'!r the ",Iwl' doo r in large irl'tl jtl letl er~-inl ai d
wilh Iiiif' illlil:4Iion @"' IJJ ~ ." Edull r.l Krol uff. Sclliklerll nsefl IWI Pari.~ ( Ha mhurg,
1839). vol. 2 . p . 73. " I .. IIII~ Galcric Vi-rll- Dodnl, there is D grOCt!ry s tore; above itA
door. o lle read y IIle ius(' riplio n ; ' Gas irullomie CUSmollOlile. · The llll/h'iduu! c ha r-
arlers of the 8ign Itrc ("rmetl. in comic fashion , frOIl! l lli(H!I . phe asa n u , harel,
alld en , lob ... ler s. fi sh. hird kitlner s. and so forlh ." Kruloff. Sch ilt/eruns en ClUI
l~rj,. \'1,1. 2. p . 75. 0 Grllnd" illc 0 (Al ,2]
As business incrt~d , the proprietor would purchase stock fOT a week and, to
make room for the goods being stored, would withdraw to the en~sol. In this
.< way, the boutique became a 11Iugluin. [Al .3]
t It was the time in which Balzac could write : "The great poem of display chants its
..f
sfanzas of color from the Church of the Madeleine to the Pone Saint·Denis." Le
Diable aPariJ (Paris, 1846). vol. 2. p. 91 (Ba.lz.a.c, ilLes Boulevards de Parisi.
(AJ")
"T he (10 ), 1111' wu n! $IJeci(l/t y was discoveretl b ), Her Majf'st y Industry, quee n of
f'rlillce unci of neighbo rin g rcgion/! : 011 thai da y, il is sa id . Me rc ury, special god of
mercha ni l o lind of ~evtra l ol her ~ ocilll &pecillltie& , kn ocked Ihree lim~8 with his
t"a1! Ur.CU MO il the fru nl of thc S luck E:I>r.ba nge and sWllre h y the heard of Proseq ,ine
a a
thllt thl' w(ml wall fllle wi th him ." Mytho logy The word is ulle,! initially, how-
"ver, o nl y for IU:I>ury items. La Grande Ville: Nouveau Tableall de Pari& ( Paris,
1&14), vol. 2 , )1 .5 7 (Marc .' o ur nicr. ,·Lt:s Spicialil&!! parisienoes" ), [AI ,5]
" The IIIU'rnw IIn'Cls surrllwlliing the O pera and the h azard s to wh.ich pe destrians
",'e re e:l>po~ed Oil clllI~rging (rom this theater. which is always bes ieged by ca rriages.
gave a group of speculalOn ill 182 1 the idea of using some o( the s t.ruclures sepa-
rating the new Iht'.lI ler from the bo w e v.rd . I Thii! e.nle rprise . a SOUN:e of riches (or
iLs originliluril. wa§ a l t he sa llie time u( gre at benefil tu the Imhlie . I By way of a
sma ll , lIurrow I'o \'ered a rcalle huilt of wood . on .. ha tl , in fact . Ilireet acCf!~, with
a ll the set.'urit y of tlu: Ope ru's vestibule, to these galleries. a nd from the re to tbe
iJo ule vanl. .. , AI,ov" the entahla ture of Do ric pilas teNi di vidin g the , hops ril!e
11'0'1) fi lIon of apar tmenls. OIU! aho \'e the apartmentll--ru nnillg tile lengt h of the
galll·rics-rcigu8 1111 enormous g1a ~ s - pullcl l roof. ,. J . A. Dlllam·c. Ili, toire ph y-
, ii/lie, cillile e t marl/Ie de Pu ri&delmi&1821 j u, qu 'ci no' jour, (Pa ris. 1835) , vol. 2.
pp . 2R-29. (Al ,6)
Ulllil \870. the clu·rillgll rul l'\l II ..• sll'cets, O n the narro"," sillc:wu lks t he 1 11!1 1 t: ~ triull
1'0'118 c Xl r"mely (' r tlJnJlc.l . UIU! 8(1 ~ tl'(,lIill g l ook place princi pally ill Ille IIrl:uJ es,
wl,il'" uffc l't·J prolct'liull f"ulI) "ntl wl!utiler a nd from t h.: traffic . " O ur la r,.cr
1OII'Ct'l.!lll .lt l lOur witl '~I' s i l l c.wll l k ~ un' s ui led IlIthc s w(.' t1 lI i nc rie t ha i for u ur falh er ,
wa ~ iIl1PfJ ~l" ihl,' c' XI"'pl in th~' arclh lt'i!. " 0 I-l inc ur 0 E dn wnd Be a u rt>Jlaire. Pri m
d 'J.jer e ' "'(llIjcm r J'llII i : l..n C/lro ,. i(I'U~ de, rue' ( Pari.i , 1900), p. 6~, [A I a.l \
Names of a rc ade.: Pauage dee Pl,i no r amas . Pa~sage Ve ro-Dodat , Passage JII Deilir
(leading iu earlier d ays to a houlle of ill repule), Pau age Colbe rl , Puslige Viv!-
C!lne. Passage till Ponl-Ne uf. Passage du Cllire. Puuage.de la Reunion , Passllge de
l' Ope r a , Passage. de la 'frillite , Passage du Che val-Bla nc, Passage Pressiere cBes-
siere;;?), Pa~ ~ age tl u Bois de Boulugne, Passage Grosse-lete. (The Passage dee
Panoramas was kn own at firs t a, Ihe Pailsage Mi res.) [Ala,2]
The Pas.>age Ve ro-Dodat (built belween the Rue de Boulay and tbe Rue Grenelle-
Saini-Hono re ) " owes its na me to two rich pork butchers, Messie u rs Ver o a nd
Oodllt . ",·ho in 1823 unde rtook il ~ cOIJstructlon logethe r with tha t of the adjace.nt
Iwildings-an immense de velupment , T his led someone at the time to descri be this
a rtatle ail a ' Iovdy work u( arl fra nled by two neighborhoods. ' " J, A. Dulaure,
JljJtoire p hysulue, C;I)"'~ el morole de Pa ris dep uU 182 1 jusqu 'iJ Ro.jour. (Paris,
1835) , \ ' 0 1. 2. p . 34. [Al a,3]
T he Passage Vern-Dodal ha d mar ble fl ooring. The actre88 Raehe llived there for a
while. IAla,4)
No. 26, Galerie Colbert : "The re, ill the guise o£ a femlile glover, s hone a beauty
thai WRlI IIPllroachahle hut thai , in the mallcr of youth, attached importance
only to iLs own ; she required he r favo rites tu suppl y her with the finery from
which ilhe hoped to make a fo rtulle . . . . This young lind beautiful woman under
glae;; ",'as ca lled ' the Absolute'; but philosophy would h ave wasted its time pursu-
ing her. Her maid was Ihe one who sold the gloves; she wanted it that way." O Dons
a Prostitutes 0 <C ha rid) W euve, Les AncieRRe.t JUo uons de Poris, vol. 4 ( Paris,
1875), p . 70. [Ala,5]
Cour du Commerce: "H er e (using s beep) the fi rs t experiments were oollilucted
wi th the guillotine; iLs inve nto r lived a t tha t time 011 the Cour du Commerce and
the Rue de l' Ancienne-Comedie:' Lefc uve. Les Anciennes JUauons de Pom , vol.
,~ , p. 148 . (Ala,6]
"The Passage du Caire ,~ whe re the main husiue58 is lithographic printing, mUilt
h,1\'e d t.:ck..d ilse lf o ul in lights when Nal'1I1ellli 11.1 a bolished the sta mp dUl y un
t'lIInllu:rciai cir culars ; this emum:ipatiull ma de the arcade rich , a nd it showed its
apprI..'ciatioll wilh cXllc ndilu rcs rllr heautifica tilln. Up 10 that poinl, whe n if
!'u incd , Ulnb rdl as hnd been llt:clle(1 in i t~ galle ries , ",·hidl in several placci! lac kcd
glass cllverin g." Lt>re u ve . Le, Allaic,trW5 MlIi,'iOru de Pari.!. "01. 2 , p. 233 . 0 Drea m
lI olisCY0 Wea ther 0 (Egypliall urlia mClllutio n). IAIa ,7j
Impasse l\taulH'rt , f(lf'IIII·,·ly II'Ambo ise, AroullIl 1756, a l NOll , 4--6, a fl uiso ner
resided with her Iwu 118s iSl a nlll, All three we re fo und dClIl I one lUorruu g- killl."tI
Ihrougll inhalation of 10xlC fumc N. fA la,8)
Shops in the Passage Vbo-Dodat. Counesy of the MusCe Camavalet, Paris. Photo copyright
C Phototh~ue des Musees de la Ville de Paris. See Al a,4.

Years of ~ckless financial speculation under Louis XVIII. With the dramatic
signage of the magaJillJ de noulMautiJ, art enters the service of the businessman.
[Al a,9]

" After the Pus8age de PallorUIlIII8, which went huck to t.he yea r 1800 and which
had an e8tabli, lu:u !"eIHltation ill society, there was, b y way of example. the gaUery
that was ope ned ill 1826 hy the hutcher s Vero allli Ood al an~1 t.hat was pictured ill GI:u, roo~ and iron girders, Passage Vivielllle. Photographer unknown. CoUCCOOIl or
Ihe 1832 lithogra ph hy ArllOilt. After 1800 we lIIust go a U the way to 1822 to meet J oh3.lU\ Fnedrich Geist; courtcsy Prestd verlag, Mun.ich. See A la,2.
with a new a rcade: it is bclwt:en this {late ami 1834 thai the majori ty of the~
singular pas8ugewllY' are cons tructed. The most importullt or Ihem II rc groul>ed in
 an area bounded by the Rue Croix-de•• Petit.8-Champs to the lOuth , the Rue de la
Grange-Bateliere to the north. the BouJevard de Seb as tolH>1 to tile east , and the
Rue Ventadour to the wesl. " Marcel Poete, Une vie de cite ( Paris. 1925), pp . 373-
374. [Ala,IO]

Shops ill the Pal8age des Panoramas: Re&taurant Veron . reading room, music
s hop . Marquis. wine merchants, hosier, haberdas hen. tailors, boolmaken, ho-
sien!, bookshops. caricaturist. Theatre dell Varietes. Compared ,,";th tim. the Paa-
sage Viviellne was the "solid" arcade. There, one found no luxury s hops. 0 Dream
Houses: arcade as nave with side ch ape ls. 0 [A2 ,I]

People associated the "genius of the ] acobins with the genius of the industrials,"
but they also attributed to Louis Philippe the saying: "God be praised, and my
shops 100." The arcades as temples of commodity capital. [A2,2]

The newest Paris arcade, on the Champs·Elysoos . built by an American pearl

king: no longer in busine". 0 Decline 0 [A2,3]

"Toward the end of the ancien regime, there were altemplBto establis h bazaar-like
~ hOp8 and fixed · price stores in Paris. Some large magaliru de nouveautu-such
as Le Diable Boite ux, Le. Dew: Magotll. Le Petit MateIo!, Pygmalion- were
foundl.-d during the Relitoration and during the reign of Louis Philippe; but thelle
wer e businesses of an inferior sort compared to today'B establishments. The era of
the de partment BtoreR da teR, in fact . only from the Second Empire. Tbey have
undergone a great deal of development since 1870, and they continue to develop."
[ <mile> Levasse ur. Huloire du commerce de w France. vol. 2 (Paris, 1912),
p.449. [A2.<]

Arcades as origin of depanment stores? Which of the magasins named above

were located in arcades? [A2 ,5]

The regime of specialties furnishes also-this said in passing-the historical-mate-

rialist key to the 80urishing (if not the inception) of genre painting in the rorties
of the previous cenrury. With the growing interest of the bourgeoisie in matters
of an, this type of painting diversified ; but in confonnity with the meager artistic
appreciation initially displayed by this class, it did so in tcnns of the content, in
terms of the objects represented. There appeared histo rical s(%nes, animal srud-
ics, scenes of childhood, scenes from the life of monks, the life of the family, the
life of the village- all as sharply defined genres. 0 Photography 0 [A2,6]

The in8uence of conunercial affairs on Lautreamont and Rimbaud should be

The Passage des Panoramas. Watercolor by 3.uunknown artist, ca. 1810. Counesy of looked into! [A2,7]
Agc:nce Giraudon. See A2,I .
" Arlother characteris tic de riving chiefly from the Direc tory [presumabl y until
a round 1830??] would be the Iightllcu of fabri cs; un evcn the cold e~ t ,lays, olle was
 , ee n o nl y r urcly in furs 'w warm o Vf:r cOaIS, AI the risk oflo8illg their II kin , womc n
,'lotiH:!ll du~ msclvell as Ilmngl, thi' hurs IUl C~~ of willtc.r no longer existed . a ~ tlwugh
nnfUrl' h... j s udtlc.llly 11O.!ell 1,'un8furlllc,1 iulo an ete rua l p a rodi \le:' <J ulllI) G rund-
CU I·le,'c t. U $ EMgwlCfI;,~ d~ If) ' oi/e ff ~ ( Pa ris) . p . xxx h ', [A2,B]
In other fCSpeCts as well, the theater in those days provided the vocabulary for
articles of fas hion, H ats a la Tarare, a la Theodore, it Ja Figaro, a la Grande·
PretreSse, a la Jphigeruc, a la C alprenade, a fa Victoire, TIle same liio.ism't: that
seeks in ballet the origin of the real betrays itself when- around 1830--a news·
paper takes th e name u Sylphe. oFas hion 0 [A2,9)
Alexandre Duma\l at II diulICT (.Iarty gi \'en by Prillo;cij ~ l\-I3lhilde. The v{'r se is
aimed al Nafl,)leou Ill .
j In thei r imperial SI)I.. ndor.
The uucle a nd nephew arc equal :
.. The .lIwlt seized the ca pitals .
Th .. nephew sci1," ~ Ollr cllpilal.
Icy s ilc nce fullowed . n eportcli in M/WlOires till comIc Horac.e de Vi f'I,C /J 5te15I1r le
reglle. de /VCIIJo/e()II Ill. vol. 2 ( I'urili, 1883), p . 185, IA2,lO}
" The c:o llliue~ b-Ua "lUlteed the ungoing life of the Stol; k Exchange. Here there wus
nCl'e r clos ing lim('; the re was almost ne ve r oigIlt. When the Cafe Tortuni finally
closcd iu doors. the O::OhUIIII of shu:k jo bLc rs wo ulti head acr oss thc adjacent
houle varth a nd mennde" up and down the re. collecting io fro nt of the Passage de
l'Ope ra'-' Julius Roclenhe rg, Paris be; Son'lellscheili lIIul l..nmpelllicht ( Leipzig,
1867). p . 97, [A2, Il ]
S I)OOILiation in railrfllHi s tOl'ks ulllie r louis PhiliPIlt!· IA2,12]
"Of th.: sa me e.xtrac tio n . (urtlllwlIlore [that is, fr IJIIl the house nf Roth!u-hildJ. is
the IIl11l1ZiJlgly doque nt Mire~, wh(l need,. only to s peak ill o rde r II) l"ulll'inct: his
c n.,]it,)I·s tllal I"sses a.'e I'rofilll- imt whose nanlt: . aft er thc 8candalous trial
agains l hinl . was !Iune tlldcss o blileralC,l frolll the Pllssag'>l\1ires . which thereupou
b L"f:u m c the Passage des PrWI't!s (wilh thl; flllllOli S dining ft) i.lIII S of Pete r .. res t a u ~
I"Ullt) '-' lludl!lIllt'r g. p(lris bei SOlHumsc/H'iU ulld L.mlll)e ,.licht (Leipzig. 1867) ,
p . 98, [A2a, l ]
Cr y fl f Ihe vendo r>! of ~ t u ,: k~(:xchall g.. lists till the HI'eel : In Ihe c \'el1t uf II ri ~ c ill
pricc ~. " Iusc in the 5t",:k markd l" ln till: o'vent of" fall . -- Vul"iutio ng in tlw ~ I"c.k
ma rkt"l !" TIlt! te rm " full "' wa ~ fo rhiddc n liy the poli r.I', {A2,a,2]
In its imponancc for tJ1Caffairs of tJle c()uluJI!, the Passage de rOpera is compara·
ble m the Kranzlercckc, Spccu!.uor 's argot "in the period preceding the outbreak
or lh e Germ a n war [o f 18661: the 3·perccllt intCJ·cst was c;aHcd Alplwn.rr"lIe; t.he.
land credit, Ie gTrll ErneJt; th~ Italian revenue, Ie pauuu Vrctor; the credit for
movables, Ie petit J ulu ," In Rodenberg <Leipzig, 1867>. p. 100. (A2a,3]
Ra nge of a stoc kb roker 's fee: between 2.000.000 uin ami 1.400,000 fr<tn cs.
[A2a,4)
" The arcades, nearly all of which date from the Restoration ." Theodore Muret ,
L'Huto;re por k theatre ( Paris, 1865), vol. 2, p, 300. [A2a,5]
Some details concerning Avont. pendant. et apres ( Befo re, Duriug, and Afte r), by
Scribe and Rou gemont. Pre mie r o n June 28, 1828. The first part of the trilogy
re presents the slIde ty of the ancien regime, the second part depic hl the Reign of
Terror, and the third takes place in the society of the Resto ration pe riod. The
main characte r, the Ge ne ral , has in peacetime become an indus trialist and indeed
a great manufacturer, " Her e manufacturing replaces, at the highest level, the field
worked by the soldie r-laborer, The praises of industry. no less than tbe p raises of
lVurrior$ and laureoles, were sung by Restoration vaudeville. The bourgeois class,
with its various levels , was placed opposite the class of nobles: the fortune ae~
quired by work was opposed to ancient heraldry, to the turrets of the old manor
house. Thill Third Estate, having beeome the dominant power, received in turn its
flatt ere rs ." Theodore Mure t, L. 'Histoire par le theatre. vol. 2, p. 306 . [A2a,6]
The Galeries de Bois . " which disappeared in 1828-1829 to make room for the
Galerie d ' Od ean~, we re made lip of a triple line of shop s that could hardly be
called luxurious. There were two pa r allel la nes cove red by canvas aDd planks,
with a few glass panes to le t the daylight in. He re one. walked quite simply on the
packed earth , which downpours sometimes transformed into mud . Yet people
callie from all over to c rowd into this place , which was nothing s hort of mag~
nifieeot , aDd stroll be tween the rows of shops that would seem like mere booths
compared to those that have come after them . These shops were occupied chieRy
by two industries. each ha ving il8 own appeal. There were , fi rs t, a grea t many
m.iIlin er~. who worked 011 large s tools fa cing outward , without even a window to
Sel)a rate them ; and their s pirited eX"pression9 were, for many strollers , no lunall
part of the place's attraction. Anll the n the Gule ries de Bois were the center of the
new hook tl"ade.'· Theotlore Muret. L'Histoire par Ie theatre , vol. 2, I'P. 225---226 ,
[A2a,7]
Julill ~ Rode nbe rg 0 11 the small reading room ill the Passage de )' Opera : " What It
cheerful air this ~lII a ll. half·darkened room has in my memory, with its high book·
shel ves, its green tables , its red ·hllirctl 8arr;on (a grea t 10l·er of books , who was
ul .... ays reading novels insteall uf hringing them to othe rs). ils German newspape rs ,
.... hich every Illuming glallJencd the heal"t of the Ge rma n ahroad (all exccpl the
Cologne pa pe r~ which on ave rage mll,le an appea rance only unce in ten t.!a Yij). But
when the re is a ny news ill Paris. it i~ here that one can receive it. SoftJy whi$pered
(r ur th.: redhead keeps a sharp lookout to make sure that neithe r he nu r uther
readers " 'ilI he Jisludled hy this). it ItaMlleR from lipR10 ear. paRselJ almnst iDlIH'.r+
1'~ pLiltl y f rum p e ll lit pUJlc.r. allIl finally fro lll writ.ing desk 10 nearh y letle.rbox, The
j.:ooJ (Ium .> till brl rtlUII has a fl'il~II"l y smiltl for 1111 , II l1d ,,"pcrs 1111(1 ~nve.lopcs for
I'u rrd lllllllicnl!i. Tlw earl y mail is J is palCllc(1. Cologne and Augdmrg have their
new,, ; und nuw- il ifl noontillw!- Io tllt~ tln ·e rn .'· Rodenbe rg, Puris bei Sonllen-
sch eill I/ml Lam/llm licht (Leipzig, 1IJ67\, pp. 6-7, [A2a,8)
'"'The 1)"~lIage 1111 Caire ill highl y remini,.etml . 0 11 a smuUer IicalE'. of the PUIIl!uge du
Su unlOn , which in the Jla61 exiilted on tlll~ Hue Montma rtre, 011 Ihe site of the
IlI'esclIHluy Rile BachulInlont:' Pa Ld l...i:uUIIiLIII, " ViNlx Pa ris:' Mercure de
fnlllce(O(:tober 15. 1927), p, 503. [A3,11
" Shll jltl 1111 Iht' 11111 mmld . devoted to trades fOlllll lllowherc else, liurmoun hld by a
slIlaU , ol.l+fus hiolletl ml'uu nine "'ith windows Ilia I eadl hcur a number, on an
csculch<-'QII. eOI'N!8lKtmling III a purlicula r slwp , From tilll \! to time, a doorway
gh'ing Onlo a corritlor; lit lilt: end or
the corridor. a sIDaU s tairway Icullillg to these
IIIczzaninciI, Nell r tiUI knoh of Ollt! of theiit! doon, thi ~ balulwriuen sign :
Tilt! worker nt! J(1 door
would be obligecl if.
ill l'io!;:ing Ilu) door,
)'1111 rdr/l ill!!,1 frolll ~I u lllming it.
[A3~1
A.Dotller lIign ill l'ilClI iJl th .. ~a nll' pill ee (Le/lut aud , "-viI'II" Parill ," Mercu re de
f'rmlf.'e [l 92il , pp . 502-503):
AAGELA
211(1110M, 10 the right
[A331
a
Olll lHUlll' for tll'purtlllent ~ tlll'C!l : docks bOil ma rclle-Ihat ~. " llillCOtlllt II\leks."
<S i gfri ed~ Git:tlillu , B(lmm i" Fnwl.:reich <Leipzig ttut! Berlin. 1928). p, 3 1.
IA3,' 1
Evolution of the department Slore fro m the shop that was housed ln arcades,
Principle of the dcpamueul store: "'The floors fo rm a single space, They can be
taken ln, so to speak, 'at a glance,'" Giedion, Bmull in Frankrricn., p, 34, [A3,5]
Gicdion shows (in Ballt:1l in FranArYicn, p, 35) how the axiom, "\ \elcome the
crowd and keep it seduced " (Sciellct rt l'illl/IIJtriC, 143 {1925J, p, 6}, leads to
COTnlpl architectural practices in the construclion of the deparulleul store Au
Printemps (1881 - 1889). Function of commodity capitaJ ! [A3 ,61
"Even ""!JIlII'n . wllf! wert furltid den 10 enter the Siock Exchange, asscDlhled al the
cluelr in orJf·r to J:lea n ~UIIIC ill(l.il' a tiltn ~ of markel pri ce~ /lIIIJlo rclay Iheir orders
III Itr (Jk c " ~ thr(lU ~h L111' iron gr'uting.·· til 'frllluju rlll(l!ioll de I'lIri" SO U J te Se(;oll1l
t,'mlJirr (a lliitors l'oeil.'.. Clumml , lIe.nriot) <Puris . 19 10).611 the occasion of the
I,,dliililioll of till' lihl'a ry and till" hisloril'a.1 wo rks of the ci ty uf Paris, p , 66,
IA3,71
.. , \~ have no speciaJty"- this is what the weU-known dealer in secondhand
goods, Fremin, "Ihe man with the head of gray," had written on the signboard
advertising his wares in the Place des Abbesses, H c.n:, in antique brie-a.-brae,
reemerges the old physiognomy of trade that. ill the first decades of the previous
cenlury, began to be supplanted by the rule of the Jpicialili , TIlls "superior
scrap-yard " was called All PhiJOJ()pheby its proprietor" What a demonstration and
demolition of stoicism! On his placard wefe the': words: "Maidens, do not dally
under thc leaves! " And : "Purchase nothing by moonlight." [AS,8)
E\'illcnll y 11t!1)lIle ! lIIoked in Ihe ar cades at a lillie wh('n il was nul yet customary to
!nuke in Ihe s treet . " 1 lUost say a word heN! IIhout life in the arcades . favored
hUllllt nf atroUers and smokers. Ilu~lI w r of ol'cratiullS for ever y kim! of smaU
l.tlIsineu. In ear l! url'ode therl' is ut 11~3\l 1 olle cleaning eslablis hment , In a saloll
that is as de~a lltl y fu r nished as il s inlended u lle permits, geutlemcn sil upon high
8100ls KII,I cornfort llbly pertMe u nc!W5pajler whil .. SOlllt'tme busily brushes the dirt
off their d otlulIg Illld Louis. ,. Ferdinand vo n Gall . Porn und .5eine Salam , vol. 2
~O ld enhur~. 1845). PI" 22-23 , [A3,9]
A fint willi eI' gllrt!t'" - Il g1anell-in II pace with flower beds. espalier s, aod fouo-
tains. in pa ri untlergronnd-oll the 6po l where. ill Ute gardt'll of the Palais--Royal
ill IBM (1l IUllodll ), as well?). Ihl! reservl,ir waS lucaled. Lui.1 uul in 1788, [A3,lO)
" It is al Ihe ..ud of th t' Res toration llial \'I'e see thl" first lIIug usinJ de nou vecuW!':
~8 Vcp r .., Siciliennc8 , u- Solitaire.La Fille Mal GarJee, Le Sold al Luhoureur.
Les DCIl " MagvI8, Le '·'I:til Saiut-TholJllls , u- GUb'lle-Dt! nier d'elmy Winningl!)."
<Ludell) l)ul)('I·h ullil d)i (' rr~ ) IrEs pezl'1. lIi!Jlnire <ill Pu ris ( Puris . 1926), p, 360.
[A3, 1] ]
" 111 11120 , . , IIII' 1'1l s~ llge Vi ull('t li nd 111I~ I'ussug" .Ies Deux PII \'iUOIlS we n ' opcned ,
'l'hL'S f' arl·al le!. werl' IIIIIIIIl I!; 1111' n Qvd til'~ of tileir J ay. The rt's uh of I'riwltl! inilia-
lin'. Ihcy wl' r,' l'\I\'I'I'I'11 gull l'I'i c~ housing ~ llOpll ti ull fu~ hi ll ll llIade prosl'l'roll s, Till:
/t1ll ' 1 1'1Imuu ~ "" as Iltc I'o ;;~ug(' l it'S Plllllll'II IlUIS. whil'll fl fl uri,~ hl'd from 1823 10 183 1.
' Un S Ullll ay ~ .· ul'St'r\'clll'luh el, unl' "" 1'111 en mU SilI' "II) !.II+' llunorumus or d iil' t o
Ih,· l, u lIl,' vul'Il ~ , ' It wu s ahl(, I'rh'ute inili nti,'c Ihal crt'a lt'll, SOllll'whul hup+
1I:ll';lI l'IlIy. I Itt' hOIll; illll lll'VI'lopm"llts kn uwu !I ~ l'i,eK. lilt' s hllrt strcctft ur IIt'ail cntl",
Ituih III !IhUI"t.. 1 CXPl'U~I' hy II syllllic:II" of prOpC'rly U"'·lll'l"S . ,. LUl'icn Duhcd l allli
Pit'I'n' II' Espczl'1. lIi~fQirl! lIe /'"ri.. ( PMis. 1926). pp. 355-356, [A3i1. I]
In 1825, ope ning or IIII~ " PlU\lIogell Dlluphine. SlIuoelle. ChoiJieul" anll (If tJle Cite
Hergere. '· tll 182i . . . th e Pa.u ogel; CoUH!rt . Cru u ul, lie I'Il1dUlilrie ... . 1828111W
dlt~ ol>ening ... (lr till' P.II.1s a~t.'IJ Urlltly and deli Gr .llviUiers and the hepunillgs (If
the Calt' rif' d 'Orleans al the Pll lai ~- n oYIII , which replace. I the w...... le n galleries
tllal hue! burued d01O'1i thol )'I~ar.'· Duhl:1'I1 011111 II'Espczd. lJiJtoire c/e "uri!.
PI" 357-358. [A3a,2]
'''The IIIU:estor uf tile ,Iepartmenl 6tore!l, La ViU.~ Ilc Pa ris . 1I1'I)('a r(·d III 174 Rue
Montmartre i.o 1843. " DuJ.H.:dl and d ' EIi»ezel. lIi",oire lie Puris . II. 389. [A3a,3]
·' Rai.lI ~ h ower8 1111110)'
me , illl I gll\'e one the slip in 11 11 IIrelldt:. Tht! rc II rt: a great
many or these gla.!lIl-covered walkwuy" . whii'h uflcn l 'rOSS tlwough II,,: Mockll of
buildings 111111 make 8evcral bronchings. Ihll8 afrO/'ding welcome ilhol·lcuts. Here
and there Ihey a.re constructed with great elcgtllu:e. IIlId in had weather or after
dark. when they a l'e iii lip "right as d ay. they off,'r promcnades-a nd very popu-
lar they are-pailt row" or g1illering shops." Eduard De nie DI , Hriefe 611.1 Paris
(Berlin . IMO), p . 34 . [A3a.4]
Rlle-gulerie.-"Th e $ Ire~I-8(,llery ... is tJle most important featul'e of a Phalao-
stery a nd ... cu nnot lie cOllceived of in civilization .... Slreel-gullericl! ... lire
heated in ....inter a llil vl'utilated ill Slimmer .... The street-galler y. 01' cOlltinuow
peristyle, extends Illong the 5et"lIl1d story.... 1'I1I)8e .... ho have seell the gallery of
the Louvre ma y take it OIl It mood for the street.guIJe.ry in B a nnoIl Y." E. Siloor-
ling, OicI;()lIflllire de sociologic IJh(l/(lflsterifllme Wuris. 1911). p . 386; citing
<Charleu Fourier, TI, €o rie de "unile IIni verselle ( 1822), p . 462 , unci Le NO UlH::att
MOllde ill(/u,flrie/ 1'. 1 sociewire (1829), Pfl . 69, 125,272. In oJdition : Clllerie. -
"AU portions of th ... central ciliflee ra n be Ira\'t~rsed 1Iy meuml of u wide gallery
which rllm along the sec:!lJnll flonr .... T hlls. ('\'t~ry lhi.ng is linked by a lIerie~ of
passagewayil which ar e .. heltcrcd , elf'gu nt . lind cOllullrtalJle in winter thank ~ 10 Ihe
help of hCll t c r~ allil ventiJatMs." E. Silherling. Oiclil)llttuire. PI" 197- 198; citing
Fourier, Th eorie ",ix/e. au ~pec ut(lli tJe, el ~Ylltl!i!se roulilliere d(> f'lI ssrn;;fltion,
p. H .I [A3a,5)
The Passage Ilu Caire adjoining Ih.· fornwr Cour .lcI Mirllcles. Built ill 1i990n th~
sit ~ of th!' old ga rden of tlltl CUllvt'nt of lhe D;t ugblcn of God. lA3a.6]
Trade and traffic are the two components of the street. Now, in the arcades the
second o f these bas effectively died out: the traffic there is rudimentary. The
arcade is a strect or lasciviolls commerce only; it is wholly adapted to arousing
desires. Because in Ulls street the juices slow 10 a standstill. tJle conmlOdity
prolifcrlltcs along t.he m a rgins and emers into rantastic combinations. like the
tissue in tUnlors.-The Bftn eur sabotages the traffic. Moreover, he is no burer. H e
is m erchand i.se. IAJa.7}
ror the first time in history, with the establishment or department storu, consum-
ers begin to consider themselves a mass. (Earlier it was only scarcity which
taught them that.) H ence. the circus·like and theatrical element of commerce is
quite atraordinarily heightened. [M, l ]
With the appearance or m ass·produced articles, the concept or specialty arises. Its
relatio n 10 the concept of originality remains to be explored. !A4 ,2)
.. , grant tha i busineu at the Pnhli.§· R() yal has had ils d ay; bllt I believe Ihal this
should Ire altributetiliot to the ab8l!nce of streetwalkcrll but to the erectioQ of new
arcades. alliliO the enlargement and refurbiilhing of s .... ver al others. I will mention
the Passugell d ... I' Opera, du Grand·Cerf, du 5allllloli . lit' W!ro-Dodat. Delorme, de
Choiselll , alld des Panoramall. ,. F: F. A. Bcraud . LeI! I'"m es publiqlles de Pu,-u et to
police qui Ie! regit (Paris and Leipzig. 1839), vol. I , p . 205. [M.3)
.. , du not know if bUlIiness at the Palais· Royal has ~ally suffered froftltbe absence
of femme. de debauche~ but ",hat is certain iii thai puillic deeelicy there has im-
provell enormously. ... It seellls to me, furthermore. thllt resp« tllble women now
willingly do thei.r ~hoppin g in the shops of the gaUeries . . . ; tJlis hlls til be an
ad\'antage for the merchants. Fill' when the Palais~ R oYll l was invadt:d by a Iwarm
of practically nude pro~titut es , Ihe gue of the crowd wlll lurllt'tl towa rd Ihem. and
the pf'oJlle who enjoyed this IIH!t.'tacle were never the onf!S wilo patronized the local
businesses. Some were already ruined by their disurderl y life, while othen, yield.
ulg 10 the aUllre of li.bertini~ m. had no thought Ihell of Jlurchasing any goods. even
IIc~e6ij ities. I helieve I r.an affirm ... that, during tb o~tl times of inordinate toler-
alice. sevcral shops at the Palui,·Royal were c1olled , ulI ll ill others buyer l were
rare. Thus. hUliut'u did not al aU prosper there, aotl it wOllld be more accurate to
say th at Ihe I ta~a tion of husine8ll at thai time wall owing r ather to the free circu-
lation of the flUes publiqlles Ihan to their absence. whid today has brought back
iulu tht: gaUeries and the garden of thil palace numeroUil !>troUen ..... ho are far
IllOre fa vo rahle tu Lusine8ll than prostitutes and Iibertinell." F. F. A. Beraud . Le.
Pilles pllblil}ul!1 de Pari., Waris lind I...cipzig. 1839). vul. I . I'p. 207- 209. [MA)
The catk are. nll t<1
With ,oonnen. " 'jlh IlIIokenl;
'l'hll th ealenl are IJac ked
Wilh eheerful speela lon.
Tht' a rt.a<l es are dw.rlllill~
Wit" lu wk er s . ..i lh e lllhtl ~i ll~ l!i.
Antl l!it:k"ockel8 wriltW t:
1J"i1illtllbc ftiineurs.
E:n ner y a lul Le llllline . Paris In ,.lIi,.
d ted in IJ . Guunl ull de Ceoouill uf, I.e, Re-
frui n. de In rue de 1830 ii 1870 (Pa ri • . 1879). PI" ,1(.-47.- Ttl he " um plI''i~d willI
Baudeiaire'iI "C rcl1u~ cul e ,Iu suir.... lA4a.l ]
" And thosi' who ctlllnol pay for , , , tI s helter ? They sleep whereve r they find a
place, ill IlUssagt:ll. arcacil!s. ill \;orner/S whe re the police a nd the owners ICllve the m
uluJiSlurlwd ," Frictlriuh Engels, Die L1I8e del' IIrl/eitclIJell Klr,sse ill E" g llw d ,
21111 c.1. (Leipzig, 1848). p ,1(' (,' Oi" l/;rn u.:u Sllidtll" j,:i [A4a,2]
" Ill IlJI t he s h o)l~. like n unifo rlll , t ilt' oll k ('OlmtCI' is ud o l'llc,1 willi ,'uun tcrfd t
\Jo ins. in every kim l of melal a nd in evel'y fo rma l , met'eilessly naile,l ill place like
bird" of p l'l:Iy 011 a door- uniJllpca uhable evide nce of the IH'oprictor's scrupu lous
honest y." Nadal', QIUIIIlI {itfl i:s IJllOlOgrapil e (paris <I 90(h), p, 294 (,. 1830 t:l en\'i-
rons"), {A4a,3}
Fourier 0 11 tl,,' s tl'cel~gu l lt: ri es: "1'0 spcud U winter's day ill It Phalallstcry, to \'isit
a lll'urts of it without I'xpus ure \(I tJlt~ cle me nt", to go to the Iheale r a nd the o pe ra
in Light e11.thes a nd colo red s hoes without worrying about I.he mud a mi the (:0111 ,
would he II. c har m sllllo\'ellhat it WOlle wo uld s umee to make OUI' citiCii and castles
St'1'1II dctcstablt!, If the P ha la nstc r y wCl'e put to I:ivilizcd uscs . tlte mer e cunven -
ience Iff its s hch el"c<l . heated , a nd vc ntilated passageways ..... o uld ma ke it e llor·
mous ly vu hlilhh', ~ Ii a pn)pcl'l), \'alue ' . . would he douhle l h ut of a nothe r buiidiug
its size," E , Puissun , f ou r ier [AnlllOlogy] ( Paris, (932), p. 144. [A4a,4]
·'TiI .. st l'l'"Ct ~ gIl Ue l'ies are II 1II0d" of intCl'llU1 communicatioll which ..... o uld IlIQuC be
sufficient to inspire (listl uin for tilt: pa laces a lld greal d lics OJ( .·iviliza tiun . , . , The
ki ng of France is one of t he leading mo na rchs of el\'iii zatio n; he d oes lIot even have
a porch in hi" Tui leriet P:lhll:C. The king, till! llueen , tile royal famil y, when t hey
get into 0 1' ou t of thcir curri ages. are fOl'ced to gel. as wet ail all Y petty bourgeoit
..... ho SIlIllIlIOIiS II. cob be f',1!"1). his slwJ>' Doubtless the killg .....ilI ha\'e on hand , in the
event of I"Ilill , a good lIla ll Y foo tmc n a nd courtier s to ho ld 8U umbre Ua for him ... ;
but hf: ..... ill .. till he lackillg a porch 0 1' a roofthat ..... ouJtl shelter his pllrt)'., .. Let U ll.
describe the .s tree t ~gaU er i es wbjeh a re o ue Il( Ihe mns t dmnning and predous
or
ft:lI. tu1"CS a Jlal uce of Ha rllloll )" ' , , The Pha lanx has !lU oulsi<1e st.reets or IlpCII
routlwa ys cXJln~ell 10 the cle.me nts. All portions of the ccnlrll.l edifice 1:11.11 he tra-
\'c rsed b y lIIeau s of a ..... ide gallcl'y ..... hich rullS a loug lhe sccond fi l}()I' of the whole
btliltl ing, At ('a('1i extre mity of this s pacio us corridor th >:I'c ure elevate,1 passages,
slIPl'llrlcd by columllS, and a lsl> allrll uli~<e unrlcq;l"ollnd passages whi uh connect
nllt.w parh ,,( Ihe Phalanx (md tlte acl j llining buildill g~. Thus. ,'\'erylhing is linked
by II SI·ri,·s uf passagewa ys which a re sheltercIl , 1'11:g!lllt . ollli eumfurta ble in wiutl' r
tlliluks 10 the help of Ilc a"'!'! alld vl'u til ntol"il .... The s lreN·gaUc.")'. <II' cOIuimwu3
perisfyle. ('lIit'ntis a lo ng the Sl~ond slory. It ('o uld nOI be placed 0 11 till" ground
Iltmr. siJlce 111I~ 10""(:1' parI uf Ih e building will be Ir:l v{'l·so.:d by I:a rrillgl' UII ~
trauCeS .. , , T bc s lr~'e t ~gll lll' I'ics of a Phula nx willli aloug just (l Il C s i.le \If tllc CCIl -
tl'al cllifiee II. nd s lrCl(;h II) t.he 1;1111 fjf \'Ilc h of its WillI?'>' AU of t hesl' w ill g.~ "Olltuill a
doubl,' 1'0 1'0' uf l'OOIll,i . Thll s. "III' n .w of I'()ums louks UII I upo n the fiel(l ~ lind gar-
,!t,us. ulUlthc "l lwl" looks Oll t UPOII t.he ~ 1 1·('t'I ~l!a ll.'ry, The ~ 1I·'·"I -gall(, l·y, th ull . will
he Ihn'.' Sh'I'i" s It j~l l with wiml(,w5 .. II 1IIlt' ~ i(I . · . , , ' TIlt' ki ll'Itl'IIJj and S(l IlII' of till'
public halls will be located o n the ,,"ouod Roor. Tht:re will a lso be trap doors in the
floors of the ,lining roo ms on the second stor y. ThuiI, the lables may be gel in 1111:
kitchens belo w and simply rai~d through the t rap dOllrfl when il is time to ea t.
T hese trap door~ will be particularly u ~eful during £estivitit:s, such as the visits of
traveling carava ns and legions, whe u tbere will be too man y pt:ollie tu eal in the
o rdinary dining rOOIllS. The n doub le rows of tahles will be set ill the s t ree l -gaUcr~
ies, a nd the rood will be passed lip from the kitchen . I The principal public halls
~ h ould not he situa ted on the gro und Roor. There are two reason /S ror this. The fin t
is th ll l the patriarc h, and children , who have difficulty climbing ~ t airs, , hould he
ICjdged in the lowe r parts of the huilding. The second is that the children should 6e
kepi in isolation from the no nindustrial activities of the ad ults," Poisson, Fourier
[Anthology J (Paris, 1932), pp, 139-144, 7 [AS)
Yu. parbl.eu! Yo u know the power o£Tibet ,
Implaca ble enemy of proml innocence,
Hardl)' doci it alllJ-ea r than it carries away
The bookk eeper'. wife and the burgher's daugh ter.
The alern prude a nd the frigid coquette:
It 8i!nal~ the victory of lovers;
For ru hion tolerate. no resistance,
And not to have il pUl ~ one to ahame.
h~ fabric. hra \'ing the current bon mOl,
SoflelU in ;18 fo ld~ the a rrows of ridicule;
Seeing it, )'ou think of a magical taw man:
It hraoes the Sljirilll and l ubjugales the beart;
For it to appear is alrf.ady a triump h, itl coming a conquest;
It reigns u conqueror, as lovereign, at mu ter;
And treating ils 'Iui\'er as a burdtcn quite useleu,
Love h u fu bioned ill bancieau of cashmere,
Edouard [d ' Anglemont] , Le Cachemire, one~a ct comedy in verse, performed for
the first tillle in Paris at the Theatre Royal de )'Odeon , on Dt:cember 16, 1826
(Paris, 1827), p. 30, rASa.!]
De!vau on Chodruc-Ouclos: "Umler the re ign of Louis Philippe, who owt:d hilll
uothing, he ... did what he had done unde r the reign of C ha rles X, who in fa ct
owed him something, .. , His bone8 took 11101'1:1 time to rot tha n his uam ~ took 10
eraHe itself from the memory of me n ," Alfred Delva u , LeJ Lion.! du j Ollr (Paris,
1867) , pp , 28-29, [A5a,2}
,·It was 11 0 1 until afte r the cxpeclilion to Egypl ,~ when lH::u pie in Franct: gavc
thuu ghltll expanding the use o( precious cas hme re fah ric, thllt a woman , Gr!!ek hy
birth , introduced it to Paris. M . Tcrnault , , . conceived the admirable project of
raising Hindustani gllats in Fra nce. Since Ih!!n , ' .. there ha ve Leell p lc nty ,,(
wur ke r!! 10 tra ill and tra,le" 10 e!!tahlis h , in order for us to compe te s uccessfttUy
against produc ts re no wncd through su mun y ct:nturlt:s! Our mlinUfllCllll"crS are
heginlling II) I riumph . . . over WOffi('11 's prej udice against Frf' lIch 8 h uwl ~ .... We
have mUlutgcl110 rnake WOIIII'II forget for a mornent Ille ridiculQus fahri c.dl~d i gn 8 of
t.he Hindu8 lIy hllfJpil y I·eprotluc:.ing Ihe "j\'idlle88 anll hriJljanl ha rmony of the
1I0wers fOllnd in ollr own gllrdcns. There is U Look in whil:h 11 11 these inlcrcl!ling
8uhjeetoi ul'e d.isCUlIllt·IJ bot h knowledgeahly and d egu lldy. L 'lIi.s,oire de.s .scil all.s.
hy M. Hey, Ihollgh written for the IIlmwlllllUlufnclUrers of Puris. is guurulllt:cd to
ca ptivll le WOlIIl'n .... This hook. together with its author'iI magnificent manufac-
tured go...ds, will Ulllloubtf'IUy help to diu ipate frf'IICh l:leople's infaluation wi lh
Ihe work of fol't' ig:ners. M . Rey. IIUlllllfuclurer of s hawls made of wool. cas hmere,
d c . ... has hrought 0 111 ~ ve ral cashmeres ranging ill price from 170 to 500 [raIlCH.
WI' OWf' 10 him . alllong other improvements • .. . the graee[ul imitatiou of uative·
grown nowell! ill pluf'e of tilt' biza rre palms of the Orif'lIt. Our "raise woulllliOI he
l'<lual to the hellcfi 18 he IIII!! helilowetl, ... nor could it reuder the high hOllor l.h at
Ihis liUera tcur-lIIanllfactli rer d est'rves for his long rcsearch a nd his taleliis. We
mus t hc cuutenl merely 10 name him." Chclloue and H. D., N otice.sur " expo! ition
a
des I)rocl"j,s de l'illliu.strie el des (lrl. tlui a liell DOlla; etl 1827 (Donai , 1827),
Ill" 24-25. [A6, I]

AIII:r 1850: .. It is during dUlse years that the department siores are crealed : Au
0011 Marl'lu}, Lc Lou\'re. La Belle Jurdiuihe. Tolal sales for Au BOil Marchb ill
1852 we re only 450,000 (runcs; b y 1869 they had r isen 10 21 miUioll ." Cisela
FreulI~I , I..a P/lOlOg rtll,hie rill poi/lt rle v"e sociologill"e (manuscript , PI" 85-86);
citing ul\'i8de. lIi.stoire de Prance. [A6.2]
A branch of La BclIeJardiniere in Marseilles. From Le },fonde il1UJtri. March 28, 1863. See A6,2.
" The pri nters ... ....ere IIblt' lo ap propriale, al the end of the eighteenth cenlury. a
vaSl area: ... Ihe Passage du Caire and ils environ8.. " . Bul with theextellsioll of
the houndaries of Puri!!. pr inlf'U ... were diilpt'rsed 10 1111 parts of the cilY....
Sieur Ceceherini. who offered to patrons his news paperil and his books." J . Lucas-
Ala:!! A gllIt o£ priu teu! Today ....orkers corrupled by the spiril of speculatioll
Duhreloll, L 'AfJaire Alilxuu/. Oil Lolji.s-Philiplle trufJu e ( 1836; rpl . Paris, 192i),
oughl 10 relllelUill'r thai . . " hrl ....een the Rne Saint- Denis IIlId the Cour ties ~lir·
PI' · 114-11 5. [A6a,l ]
aelee till're !!till t'~i ~ ts a long, s moke-filled gaUery .... here their trlle household godJJ
Iif' £orgollt-II . ,. Edollard FOllcaud , Pari.s irwenleur (P-.. ris. 1844), p " 154. [A6,3J
011 the occasion of dis tu r hanccs IIUocia led with the hllria l of General Lamanlue
011 June 5, 1832 , the IlaSliage du Sanmoll waH the ~ce ll e of a hattie waged 011
Descr iption .,f the Puilll.uge Ilu Sillllllun , ...... hich . h)' wa y of Ihrt!e stolle sleps,
barricades, ill which 200 worker &('onfronlt:d Ihe troops. [A6a.2]
opell(ollulllO thc Rue l\1onlorgalt'il. It wu 11 narro .... corridor Ilecoratt.,<l ....ith pilllJJ-
lers ~ uJll'o rlill g a ridged gla ss roof ..... hich .... as liuer ed witb garhage thro.... n frolll
" Murtill ; Busincss. yu u ~ee. sir, .. . is 1.111' rult-r of Ibc worltl!- Desgefl oi.s; I am of
I lI'i~hburill g houses. AI Ihe cnl ra nce. the signboard- a tin 8a lmoll indicati ng the
r our .,))iniOIl. Monsieur Martin , but Ihe ruler alone is 1I0t enough: therc lIIusl be
muj n "'Illru tl~r i s l i l ' ~Jf tlH' I'l lI l'~: Ih., air was filled ....ilh Ihe s nwU of fis h ... li lld ulllQ
slIbjel·til. And that is ...·here painling, sc u l"lu l't~ . mu ~ i c cumc ill .... - Mur,in ; A
Ille s nwllu£ gu rlit-. It WIIS Iwn· . nlw\'t· all . that thoSI! IIrri"ing ill l'ori8 fr('111 lite
little of Ihat b IICCl'ssa l·Y. s urd )" . .. !1IIt! . .. I mysdf haw' encourage{l lhe a rlS.
ilvu th of FI' llnl '~ ....ou IIIIIITung.· 10 1111'1'1 .. . " Through the doors of Ihe 11110,,8,0111:
Why, in my last es lahlis hment . tilt· Cu£i: lie F,"a nCll, I hud IIIUIlY paintiJlgs on
s piel.1 Ihlllk)' ull'uvl' ~ whlTl' 1I0 lll c lim e~ II pit'ce of III1.hoga llY fur nilllrf' , till' dn ",~ k
ulll'goricaJ s ubjecls ... . Whal is IIIUI'C, 1 t:lIgaged IIII1$icialiS for the e \·enings ..
(IIr"illl"I' flf IIII' I'.. riUlI . wo ul,1 nuu mgl' III calell u ray of light. Furl lll'r on . II ilmull
Finally. if I ma)' invite yo u 10 lI el'ollll'III1Y IIIC . " ., YOII ....iIl 81·.· lInder my pcrisl yle
iJn r hllZ)' with IIII' 81110kt· of 1"11II"c,, "iJlt'~: n s hop selling pro.luds from 11\1' l'o lol1il~S
Iwo "cr y la rge. sCll ntil y alliretl ~ l a lu e8. cadi ...·ilh a light fi Xlul'j> 011 ils hc'IlI.- De!-
unll I'millill/! u l'Ul'ioUil fru gran.·.· "f t'xOlic plants. ~ Jli ct's. anti fru ilS; II lIullroo,"
ge rmi.s; A Light fi Xlure?-Mfirtill; Thllt ill. my illcR nf sculpt ure: il IIIII ~ I ~e rve SOllie
UfiCII fIJI' .lunciuS un S l1n.l ay~ uml workdu y evellillgll : finall y the I'cnding r(HUIl of
purpose .... All th o~ statues wilh all 111'111 or 1.1 II'!; ill the ai r- wlml are they good
fo r, lIince they've had no pipe inl talled to carry gall? ... What are they good for?"
Theodore Barrier e, Les Po risien.t, produced at the Theitre du Vaudeville on De-
cember 28, 1854 (Paris, 1855), p. 26. [The play illlct in 1839.] [A6a3]

There wall a Passage du De8ir. <See Ala ,2.) [A6a,4]

Chodruc-Duc1o&--a l upernumerary at the Palai8- Royal. He was a ro yalisl , an

oppo nent of the Vendee. a nd h ad groundll for complaining of ingratitude under
Charlel X. He protested by appearing publicly in rags and letting his beard grow.
IMa,5]

Apropos of an engraving that pictures a shopfront in the Passage Vero-Dodat :

" One cannot praise this arrangement too highly-the purity of its line8; the pictur-
e8(lue and bnlliant effect produced b y the gaslight giobes, which a re placed be-
tween the capitals of the two double columns bordering each IIhop; and fin ally the
sbop partitions, which are let off by reRecting plate p 88I1." Cahinet dell Enampes
(in tbe Bibliotbeque Nationale, Pan S). [A7,1]

At No. 32 Passage Brady there was a dry-c1earungel tablishment , Maison Donmer.

It was (fa mous) for its "pant workrooms" and itl " numerous personnel. " A con-
temporary engraving shows the IwcH tOry bwlding cr owned by small mansards;
female workers in great number. are visible through the windowlI ; from the ceil-
ings hangs the linen . [A7,2]

Engraving from the Empire: Th e Dance of the Shawl amons the Three Sultanw.
Cabinet d es Eatampes. [A7,3]

Sketch and Roor plan of the a rcade a t 36 Rue Hauteville , in black. blue . and pink.
from the year 1856. on siamped paper. A hotel attached 10 the arcade is like-
wise represented. In boldface: " P ropert y for lease." Cabinet de8 Estampel .
IA',' I
The firSt deparunent stores appear to be modded on orientaJ bazaars. From
engravings one sees that, at least around 1880, it was the fashion to cover with
tapestries the balustrades of the staircases leading to the atrium. For example, in
the sto~ called City of Saint-Denis. Cabinet des Estampes. [A7,5]

-rIle Passage de l'Opera , with itB two galleries, the Galerie de I' Horloge a nd the
Galeritl tlu Ba rometre .. .. The opening of the Opera 0 11 the Rue Le Peletier, in
182 1. brought this arC811e into vogue, a nd in 1825 the duehe88e de Derry came in llle Passage de l'Opera, 1822-1823. Courtesy of the Must!e Camavalet, Paris. Photo copyright
I lt:r~on to inaugurate a ' Eurol'ama' in the Galen e du Bar ometre . ... The grisettel () PhotOlhcque des Musl!:es de la Yule de Paris. See A7,6.
of the Restoration da nced in the Idalia Hall , built ill the basemen t. La ter. a cafe
caUed the Divali ti l' " Opera was e8lablil hed in the arcade . .. . Also to he found in
the Passage de r Opera wal the arms manufacturer Car on. the music publisher

,. \
·.~phbyOpitz., 1814. Courtesy of the
Strttt 5CCIle in front or me Passage des Panoramas· Li.. ",~. ~
Bibliotheque Nationale de France. 5« A7,7.
U t nd 6nally the perfume shop of the Olle ra .. . .
Ma rguerie . the p astr y chef Ro e • ~ ,u re en cheveux - wltich is to say. man u-
". the re wu Lemonmcr, a T
In lit t Ilion , . . . . . . 111111 (mlcr a l items made of hnir.
"
fa e,uTer of halulkerd ucfs. rellqulme8 ~ 1830-1879 ( Parill ( 1930)) . PI" 14- 16.
d ' Ari~ te. Lt. Vie S f i.e mo nds du b OilieV O •
'''('he Passa ge de. IJa no ra maJi, so nllmc..,,1 in me mo ry of the t wo l' Anoramas tha t
, slood 0 11 ei the r !jill., of illl enl r a llcewa y a mi I.h ul disuppea retl in 183 1. '- Pa ul
d 'Aris l.e, I--t) Vie et Ie mm ule ,/ .. boufevtlrd ( Purill) . p. 14. [A7,7]
T he bCliutiful upotileosis of the ·'mane! of the Indian , h awl," in the section o n
hlliiall IIrl ill Michl·lel 's lJiMe lie l'IuHtul/l i' e (Paris. 1864). [A7a,l }
An d J ehud a he n Iiall',,)'.
In her .iew. wo uld II/u 'e bee n IlO nored
Qui le eno ugh hy being kepi in
,\n,' l'rell y box of ea rdboard
Wil" tome n~ ry BWllnk y Chinese
Ara ht:~tIUe8 1 0
decorah: il .
Likea bonbon box {rom Marq uis
In I.he Pauage Panorama.
Heinric h Heinc. flebra isclle Melodic,... " J e hud a ben 1:lalevy," pa rt 4, in Ro-
man.:ero. book 3 (cited in a lette r from Wiese ngr und).· [A7a,2)
Sign boa rds. Aft er the rebus s tyle came a vogue fo r lite rar y and military all usioDs.
" If 1111 e ruptio n of the hilltop of Montma rt re ha p pened to swallow up Paris, as
Vesuvius swalluwed up Pompeii, o ne wo uld be a ble to re<:ODstruCl from o ur sign-
boards. afte r fift een hundred years, the history of o ur milita r y triumphs a nd of
our lite ra ture." Vic to r Four nel, Ce qu 'O" 1I0il dmls leI rue' de Pam ( Pa r is, 1858) ,
p . 286 ("Enseignes et affiche8·'). [A7a,3)
Chaptal, in his speech on protecting brand names in industry : "Let us not
assume that the consumer will be adept. when making a purchase, at distinguish.
ing the degrees of quality of a material. No, gentlemen, the consumer cannot
appreciate these degrees ; he judges only according to his senses. Do the eye or
the touch suffice to enable one to pronounce on the fastness of colors, or to
detemune with precision the degree of fineness of a material, the nature and
quality of its manufacrure?" ~ean·Antoine·C l au de) Chaptal, Rapport au nom
d'une commission .speciall! charget fk I't!xamm du projl!! dl! loi rl!latif aux a/tiration.s I!!
.suppositions tk nonu .sur II!S produit..s jabdquiJ {Chambre des Pairs de France, ses·
sion of July 17, 18241. p. 5.-The importance of good professional standing is
magnified in proportion as consume.r know·how becomes more specialized.
[A7a,")
" Wllll t lihall I s a y now of Ihal couli:ue whic h . 11111 con le nt wi tll ha rho ring a two-
hOur ill joga l sessiun 01 t he S iock Excha ngt-. s pawncll o nce agaiu nOllo n!; ago . ili l he
open a ir, Iwo d e I1l O Il ~ lra lio ll ~ Ilt'.r d uy 011 Ihe Bo ule va rd 1 1~'8 italie n!!, a c rO~H from
•• p , the PII~lUlgl' lie l' O,,;oru o whe re fi,'c o r six 1!UIlIIt'cll mal·kcl ~ flf'clllal o'·fi. fOI·lIli.ng a
au
CU'lIpnct lIIau, follo"" ed d U III~ il y in tilt! wa ke of !lomc fOI·t y IInlict"uset.l broken, a U
{A7,6] the whill' speaking ill low voices like co nfi pirators. while police office" prodded
the m (ru nl beilinll tu get them to move on , IU one proos (al. tired shttJ.' !Icing ICIIto
th .. ;;la ughte rholl sl" ,. M. J . DLII:o~ (de Couclrin). Camme rl', on lie rui" e (j 10 l.lo /lrJe
(pari ~. 1858), p . 19 . [A7a.5]
It was a t 27 1 Rue Saint.-Mllrtill , in t.he l'u ssage tlu C lu~vHI Itnulje. thai Lurcnllirf"
committ ed hi ... lIIunlenJ. iA7a,6]
A sign: '-L'epe-scie" (The SlIwc tl-O(( EI,e{e]). '" [A7a,7]
From a prospectus: "Tu tJ'e inha bit.mll o( the Rueil Bea urcgarll, Bouriwll- Villl"-
ne U\'e, du Caire, lind de la COllr dell Mi racles .... A plan (o r two covered a r ell.tlea
running frum the PllI.ce du Caire to the Rue Beaurega rd . elltlillg di rec tly in frunl of
the Rue Sil inie-Barbe. ami linking the Rue Bllllr!.JolI- V·a.llclleuvc with dlt: Rue
Hauleville .... Centleme n , for some time now we ha" e bet~1I collt:erned aoout the
fu tu re of this neighbo rhood , anti it pains us to 800 lhal prupe rties 80 close 10 the
boulevar.1 carry a value so (lir bduw whlit they ought to ha ve. This s tute- of affairs
would change if lilies o( communication we re opened . S ince it is impossible 10
construcl ne",' tlt n.-els in this Ilrea, due In tile greot unevenness of the ground , and
8ince the ollly "'urkable pla n i8 the olle we hove the honor uf submitting tu yu u
here, we ho pe, Ccnll t>meo , that in your capacity Ill! oWllcn ... y<m will ill tu r n
honor us with yOllr coope ratioll Bnd affiliation .... Eve ry par tner will be retluin!d
ttl pay an installment of 5 fran cs o n each 250· fran c share in the (uture compally.
Ali soon all a capital sum of 3,000 fra m:f is realized , tili8 pruvisionlll s ubscr iption
will beeome fmal- nid 811m being judged at presellt suffi cient. ... Pa ris, this 20tJI
of Octo"!!r, 1847." Prillte.1 pros pectus invilillg subscriptiolls. {A8,I)
" 1.11 the Passage Choisew . 1\t. Comte. ' Physician to the King,' presents his eelc-
brlited tro upe of ehiltl acWrs extnlOrdirw;re.s in tl.e inte rval betwet:.11 two magic
~ hows ill ""hic h he himself pe rforms ." J ,· L. C rozc, "Qudques s pe(""tades d e Paris
pendant r ete de 1835" (Le Temps, August 22 , 1935), [A8,2)
" At this tuming puinl in his to r y, tile l'ariliia n sho pket'"llCr mak e~ two discowries
t hat r('volutloni1.:e the woriJ of i(l nmwerJUl e: the display o( guo.ls IUld tile male
e mplo yee, The display, wlt..ich lead s him 10 d eek (Jut his sllop from fl oor to ceiling
a nd 10 sac rifice three hUlldred yards of male rialto garlall(l his fat;ade like a fl ag·
Hilil); anti the male employee. who repluces the lieductio u of 111 .11 11 I,y WOlllal1-
something eoneeivetl hy the sho pkeep!!rs of the a ucien regime--with till' sechl("linn
of woma n Ity mun , whic h is j>sycliulogillllily lIIore astute, Togt'llu:r wilh Ilw s~' come8
the flxcll,)rice. lhe known and .ullulegoliuhle cos t." II . Clo utol a nd H.-II . Va l c lI ~ i .
l..e Par;, ,ie. '" l.,a Gomedie III/muine"; Hu/.";m c ~t $1'" !ollrniuellr, (Pal·is. 192(1),
JlI' . 3 1-32 ( "l\1a ga~ in @ .It, 1I0U\' I'U UI CS'· ). [A8,3]
Whl!lI a mORrlSin d~ 1I00wea llies re nted Ihe spacl': rurmeriy U""U I,i,',1 hy II c h:d. tilt'
.:.lilOr uf to C01m~(lill l"mlllilw. B ~.lza(' wroll:: " 7'h l" liumlll! CQm eily IHI ~ yidded Ito
the comed y of collllhm!!J"eS. ·· (ClolI:1ltJ1 a.ul Val ell ~i. I.e Pori' de - IAl Comerlie Im.-
lIIoi"e.'· p .37.) (A8A ]
I'a s~age dll COllullerc,,-Sailll -Alldri!: a readins r(.HIIII . (A8a, l ]
"OIlC" t.he socialis l gO \'ermllcllt had hccomc t.he Ii'gitimut c o wncr of nlilhe h OIl ~es
uf Paris , it halldell Ihem Ol'er to th~ a rchiteclJI wi th th ~ onlc r . . . 10 elilahlis h
~ 'rf't'I '8011e rie.s . . , ' The arc hit t.'(:ts at.'t;omplis hl,.1 the missio n e ntru.llle,1 to Ihem all
"" cU as could ht, cxJ)ecleli . 0 11 the sccond stor), of .w('rr ho use.. t1lCY took all the
rHU ms tha t faced the streel alltl t1elllolis ht'll the inten'cning par:titiuns; lhey the n
opeued up la r ge ba)'11 itl the cJi\'iding walls, the re by o bt ai.1ling s trttl-galleries tha t
Iliul the hl!igllt a.ml widlh of all o rdina r y room OJul that ut:cupied tile e ntire lellgth
of a lJlOI'k of huil.lingd. In the newer (/Utlrtier$ , whcre IIcighbo rilig houses have
thei r fl uors a t approxima tely the stille height. the galle riejj co uld be joined 10-
gt,the r Oil a fairly even level. .. , But o n olde r f treets , .. the 000r8 had to be
t'ardull y raised or 10were.l. anti often the huiMeN had tv resib'll the mse1vcw to
giving the floor a rather st eeJi s lant , or brea ki ng it up with sta irs. Whe n all the
bloeks o r ho uses were tllUS lraver ilt.d b y galleries occuJl yi ng . .• their lIt.'1:ond s tory,
it relllainc.1 o nl y to connect thcse isolated sections It) o ne ano ther in ord er to
cons titute a network. , . embracing the whole cilY, Tlus was easily J Olle by e reet-
ing COl'l'red walkways across e ve ry s treet . . . . Walkwa ys of the Bailie sa r i, hUI
muc h lo nger, we rc likewise put lip over Ihe vario us bouic va n]s , ovcr the 8<jUllrcs,
a nd over the bridges thai c ross the Seine , so d ial ill the e nd . , , a pe rsou could
51rull through the e.ntire ci ty withollt e ve r being t'Xposed to the ele ments .. , , As
8t)01l as the Pa risiall8 had got a tas te or the new galle ries, they lo~ t aU dcsire to sel
ft">Ot ill th t' streeb of old- whic h , they ofte n lIui.1. wel'e fit only for d ogs." Tony
Moili n , " o.rU en ran 2000 ( Pa ris, 1869). liP. 9- 11 . [A8a.2J
"The secund fl oor cont ains thl" s treet-galle rics. . AJollg the le ngth of the grea t
a"e nues .... they fo rm sl rt.:e t· salo us .... The. othe r, lIIu(""11 Jells li pacio us gaUeries
a re de..- orated more modestl y. They have 1)Ct: 1I resen-cd fo r l"e tuillJus iliesse.s thai
here .lisplay t heir merchaudi se in such II way tlla t Jlassers hy circula te no longe r in
fro ut or the shoJls but in tht'ir interiur:' TUllY Moilin. 1'1Ir;ot en ron 2000 (1'aris.
1869), pJl. 15- l6 (·'Maisons-motli:les"'). [A8a,3]
Sale$ c1c rk ~ : " The n ' are allellijl 20,I){)O ill Pari.s .... A grea tllumhc r ,,( sales d e rk~
ha\'1l Oc" 11 educated ill till! " lassies .. , : Ulle ~Vt' ll fi nd a mO Il ~ the m paintc r a nti
urr hitectli ullaffiliut etl with un y wfH'ks hop , wh .. ust! u gr,:ut d" al of tlld r knowlellg"
... of I hese lwo hrllndll:s of a rl in cl.mstruttillg lli ~ pl a)"~, ill I I ~ t t" rminillg tllf; d esign
of II('W ite ms, ill dirt,,·ting Ihe creatio n of (ashiuns. "' Pierrl' Laro u s~l' , Cnlnll Oic~
limllHlire IIni uer.scl till XI X' siecle., \,(,1. 3 ( Puri~, 18(17), fl . ISO (a rticle on "Cali·
1'101 ") . [A9,1 ]
" Why llitllhe uuthor tlf ";'.u/e$ III" lIlQellrs" ~Stu. li es uf !\llluners) .-110051' to I)re-
Sell! , in a ""ol'k O( fi ction. lifelike p'H'trllil s of thl' notabl c~ of hi" d ll)'~ DUllht lC8!1 fur
 hill own amUlIeme nl first of all •.•. Thill e:J[plaio&the dellcriptio ru. Fo r the direct
cit aliom., a n d llie r r eason nlWit be found- and ",'e lee none beller tJl a n his IIOmiS·
taka ble aim of providing Iluhlicity. Bulzllc i, olle of the fi ra t 10 have divined the
power of tile a dve rtiseme nt a nd. abo ve all, the disgu.i3ed a dve rtiiernent. In those
d ays. , .. the newspapen were unaware of such power, . . . At the ver y ruM! ,
around midnight . 8 8 workers wer e fin i5hin~ up the layo ut •• dverti. in~ writen
might sLip in lit the bottom of a column lIom e lines on Pite de Regnauh or Brazilian
Blend. The ne WHpape r advertisement al such Wa.8 unknown . More unknown , till
wali a proeen 81 ingenious at citation in a Dovid .. . . The tradesmen nllme d by
Balzac ... a re clearly his own .... No one under . tood better than the author of
Celar Birotteult the unlimited potential of publicity... , To confirm thil, one need
only look al the epithe18 .•. he attaches to his manufacluren and their productl.
Shamelessly he dubl them: the renolVned Victorine: Plaisir, an iUwtriow h a ir~
Ii dresser ; Staub . the molt celebrated tailor of ws age; Gay. afamow haberdasher
] . . . on the Rut1 de la Michodie.re (even giving the address!); ... ' the cu.illine of the
.. Rocher de Cancale, ... the premier rel tauranl in Paris, .. , which is 10 lay. in the
entire u:o,.ld ...• H. Clouzot and R .~ IJ . Valent i. Le Pori! de "w Comedic hu-
moine"; Bol.:::oc et se.lfourniueura (Paris . 1926). pp . 7- 9 and 177- 179. {A9,21
The Pa88age Vero-DOOat conn«lt the Rue Croix.d ell- Peti18, Cbamps with the Rue
Jean-Jacques- RouMeau . In the latter, a round 1840, Cabet held his meetin pl in hit
rooms . We get an idea of the tone of Ihese gath ering8 from Martin Nadaud'a
Memoires de Leonard, ancien ga~on ~on ; " Fie was still holding in lli» hand the
towel anJ razor be h ad just been ul ing. He leemed filled with joy at seeing U I
rellp« tahl y attired. with a lerious air : 'Ab, Meslieu rs,' he said (he did not say
'Citizens'), ' ifyour ad ver sa ries could only llee yo u now! You would diu rm their
criticismll. Your dress and your bearing are. those of well-bred men .· .. Cited in
Char les Benoist. " L' Homme de 1848." part 2, Revue de" deux monde. (February
I , 1914). I'p. 64l-642. -1t was characteristic of Cabet to believe that worken
nt,"ed not busy lhem5elves with writing. IA',31
S t rect -68 lo n ~: "1'he lar gest and mOllt favo rably siluated amon, these (street,
galleries} were tUlefully decorated and sumptuousl y furnish ed . The walls and
ct'.ilings were covered with .. . rare ma rble, gilding, ... mirrors. and paintings.
Tlu' window! were adorned with splenditl hangings and with curtainll embroidered
in marvelous patterns . Chairs. (auteuils. sofas ... offered comfortable sea tin ~ to
tired stroUen. Finally, there were artistically designed objects, antique cabi-
neUl •.. . glass cases full of c uri08 itie~ , ... porcelain va ses containing fre8h fl ow-
ers, aquarium8 full IIf live fi sh , and avia ries inhabited by ra re bir tls. The!le
completed t.he decor ation of the 1I1reet-galleries. which Lit up the evening with ...
gilt t:alldelabr u and cry5lal lam ps. The govel'llment had wa nted the st~'UI he-
longing 10 the people of Paris to surpllss in magnificence Iht: Ilrawing roonlll of the
mosl powerful sovert:igns .... Finlt thing in tllll morning, the IItreet-galJcries al'f'
lunlt~ d o ver 10 atlenJ llnUl who air them out . IIweep them ca refully, hrush , dun,
nlld polish the furnilure , a nd everywhere impose the most scrupllloull cleanlinellS.
T lltln , depending on the lleason , the windowlI a re either llpe.ned or closed, s nd
either a fire is Iii nr th(" blinds llre Ic,wer("d .. .. 8cl"·t."t'. n nine 8mllt'I1 ,,'dock Illis
c1eanill5 is a ll cOlnpl,·It'11. alld flll 8sl·n;by. UIII.ill.hcn feW Rml far bdw('cn _ hegi n to
nppeul' ill grt'8 Iel' number". I';nl I'unce 10 Ihe gallerics is 8tl'il·t! y foriJidd elJ to ully-
o,u' who is d irt y nr 10 t'ar r icrs of heav), lomb; smoking Ullli lipill.ing i1.re lik{'wisc
!>rohihit('d here: ' To ny Moilill , llu ris en I'fW 2000 ( Ilaris. 18(,9), fi JI. 26-29 ("As-
J>>:'I ·t (I~ ~~ ,·Ue<i-gll ll·ries" ). [A9a.l ]
T he nlflwuin$ ele nOl/ veal/tes uwe tlwir l'xistent·(· til Ihl' frt"t'dom of trade cstah -
li811t.'tl by Na poll"OlI I. " or those establishmenlS. ramo us ill 18 17, \O'hich gave thcm~
~ d,'t's lI alllt'll like LII Fille Mill Ca l'tlee. Le Oiallll: Boih'UX, Lc lU lI s~ lu e de Fer. or
l .e~ Deux Magots. lin t IIlIe I·('moins. Many ur thllst' whirh replacell then. IInder
Louis I-'hilippe abo fU lImlcrcd lalcr on- lik .. La Ilelle FCl'nliere alld La Cha U8&ee
,I'Anlili . Or els.- they were sold a tliUie prufit- Iike I.e: COill de Ril e and I.e Pau ... re
Oiahle:' G. d'A",cul'l, " Le M ~u lli5l'lI e de III vie modl~ rll e." pari I : " lAls Gramls
]\llIga8iIl8." Revue des de,u mmldes (July 15. 1894) . fl . 3:14. [A9a,2]
The office of PhiliJ>OII '/ii weekl y La Cur;CQlll re was in the Passage Vero-I)odal.
[A9a.3]
Pa5sagc du Caire. Erecled afler apolcou's return frum Egypl . Contains l onle
IwtlentiollS of Egy!>t ill the r elil'fll--8 f1h illx-likf' head s o\'cr the entrance. a mong
ul lu:1' things. ''1'he ar("Ulles a re satl. gloomy, und al ....ay5 inh'.rsectillg ill a mllllller
Ilis.agn.'eable to the eye .... They soom . . destined to house lithographers' IItll ~
,lius and binders' IIhol1s, as the adjoi ning strL'et iii J estined ror the manufacture of
slrlll'l' IIIIIA; pecIcstrillllS gellerall y avoid them. ~ Elie Oe rllll~ l. " R"e el Passage d"
Caire," Pflri.! chez lIoi (Pllris ( 1854)) . p. 362 . (AIO. l ]
;"In 1798 alld 1799. Ihe Egyptian campaign lellt frightful importance to the fashion
for 6hawls. Some generals in the expeditionar y army. laking IIllvantage of tJle
I"'ox imit y of InJin, sell I hallie sll o....11> ••• of casllmcre 10 Iheir wivcs a011 lOlly
fricnds .... From then on. the di.!lease that Inight Le calle(1 cashmere fe\'er took on
~ignifi ("lI nl proloortiolls. It lwgan to spr('atl Juring tht., Consula te, grew greater
" IHler till' Empire. lIeeume gigu ntic tluring the ltestlll'1l1ioll , r CIlr.hcd "olos8ul size
1Il1llt·r the Jllly MOllllrchy, 8,HI hus fiu ull)' a,o;~ um ed Sphinx-lik .. dillU'lI ~ ion s s ill ('\!
Iht' Fd,r ua,.), Ut'volution of I8<UI. " Prlr;.~ ell !!: soi ( Pa,.is), p . 1:l9 (A. Durand ,
"Chii ll!l!-CuchelllirCli iuJiclI:! ,'1 frall('a.is"). Contain! all inlcn it·w with M. Mul'-
till. 39 nue Rich('lieu. prUllril!IUr of a stnn ' ('ulle,1 T he I"JiulIs: l-VpO,·ts thai shilwl8
wllidl Cll rl i"'r ...... rc prh'ell Letwccn 1.500 allil 2 ,000 fl'IIII(" ~ ('all now h... boughl ro,.
8{)o hI I ,(\()() fran u . (AIO.2:)
Fro!)) Brll 7.il' t·, C aLri!'\. IIIl1I Dllm l' I·~ IIII . l..es l~rl u f/se.~ .!111'.s r ue.s, \'lI utl{'ville in (lnl'
~iI' l .
prl'scnh'll for till' first lillll'. in Pa l·is. al lhl' Th(~;ilre ll l:~ Va l·i.~ l c fi ll 1\1£" '("h 7.
1827 (I'aris . 1827'), -U('gilln ing Ilf II W il l; by 1111" shureilUldl'r Du] ingol:
f'ur ..h .. Bn:g.leA. I rorn.
Cnl1lillUal rdraill ~ uf Ihllnb:
 In Ihe P....ge I>dom le
I-Ye IIUIIi hunllrl'l d Iholleano rrIlIl C~. ( PI" 5-6)
" I hear Ihey wlI. nl 10 roof all Ihe slreeU "f Puris wi th glalls. Tha t ""ill make for
loYdy IlUlhoust.'1I; we will live in tbem like mel"lIs" (V, 19 ). [AIO,3}
From Girard , Des TombeUlu , o u De l'lnfllle'l ce des irutitlltioru jllnebres ! IH- /.e!
mot'lIrs (Parill, 1801 ): "Th~ new Puuage du Caire, nellr the Rue Saint-Deni;!_ - .,
ill paved in part with fun erary stones_ on which the Gothic in;!criptiolls and the
emblems h ave not yel been effaCf:d : ' The author wishes to draw altention here to
the decline of piety. Cited in Edoua rd Fournier, Chroniqlles et legendes des rues
de P(Jm (Paris, 18M), p. 154. [A10,41
Brazier, Gab r iel. li nd DlImersa n _ /~s Passages et les rues. ou W Glle rre dec;laree,
va udeville in ooe act , performed for the 6rs t time, ill Paris, at the Theatre dell
Varie!!!S on March 7, 1827 (Pari". 1821). -The party of an:ades-adver sa ries is
composed of M. Duperron , umh rella merch an t; Mme. Duhelder, wife of a carriage
provider ; M. Mouffetarcl. hatter ; M. B1ancmanteau . merchant and manufllcturer
of clogs ; and Mme. Duhae, r entier--each one wming from a differelll part of
town . 1'11 _ Dulingot , who lias bought stock in the arcades, has championed their
calise. His lawye r is M_ "llIlr; that of h is opponenl8 , M. Contre. In Ihe tlecond 10
lU I (fOllrteenth) scene, M. Conl re appears at the head of a column of stret!lB.
which are decked with ban ncf'i proclaiming their names. Alnong them are the Rue
aux Ours , Rile Bergere, Rue du Croissanl , Rue du Puils-qui-Parle, Rue du
Cnnd-Hurleur. Likewise ill the next scene-a procession of arcades with their
b allnen: Passage du Saumon, Panage de l' Ancr e. Passage du Grand-Cerf. Pu-
sage du Ponl-Neuf, Passage de l' Ollers , Pauage du llanorama (.sic) . I.n the follow-
illg scene , the last (sixteenth), Luteee ': emerges from the bowels or the earth , at
firsl in the guil.!e of an old woman . In her pr esence. M_Contre ta kes up the d efcn ~e
of Ihe slreets agll iost the a rcades. " Ollt' hUlltlred fort y-four arcades open thelT
mouths wilie 10 deyour our custo mers, to siphon orr the ever-rising 80w of our
crowds. both acti ve and idle. And yo u want us itreets of Paris 10 ignore this d ear
infringemelll of our andenl righls! No. we demand . __ the inlerdiction of our one
hllluired fort y-four oppunent8 and , in addition . 6fteen million . fi ve hundre;:1 thou~
sand fra ncs in damages and inlcrcU" (p . 29). The argumenl by M_ POllr in favor of
the arcades tukes Ihe form of ver se. An extract :
We whom Ihey wo uld banish--we are more than uOj.C ful.
Il a>'l=we nol, by virt ue of our cheerful ll8pecl,
Elleourlilged all or Paris in Ihe fu hioll
Of ha1.IiIsf'!!. IhoM' ml rlll &0 famou ~ in Ihe Eli!'!
,\nd whl l aft Ih~ Wllllll lhecrO'HI admirea?
TheM. ,)rnamcnU. these columnll aJ,.we l ll?
Y"l' ' ti think r Oil W"re in Attllma; and thi~ lemple
I ~ cre.!I"d lu cmn/lu'rt'e ill' good ta8lfO:. (1'1)' 29--30)
Lutece arbil rale8 the diJ1e~n«.'lI: " 'The affai r i8 settled . Gt'nics of ligili . hurkell
to my voice.' (At Ihill mOlllcn!. IllIl wllllie ga ller y iJi ,mddcnl y illuminated h)' gas-
lighl .)" (p . 3 1). A hallt'l of , trCelli und IIrca(leM c()lIdudl'8 the va uJI'viLie. [A l Oa, I]
" I do 11 0 1 II I all hesitate tu wl-itl' -as IIIll11str(lUS ns Ihis ma y St.'C1II tu st'riuulI writer8
0 11 Brl- th nl il wail the salC'll clerk wlln laulI ~' hel l lithography. _ .. Condemnw to
imillitiuns of Ruphud . 10 Ori!;t'iscs hy Rcgll auh . it would perhaps have died ; tbe
alt'll l·lerk sllved it _" Henri 80«1'1101. La LilllOg mlJhie (Pllris (IK95» , »jJ. 5()....5 1,
[All ,l [
In 1111:: l'asugf' Vi~ie lll'"
She lold me: " I-m rrom \'i~nn a!'
Anll ~ hc lidded :
'- lli ~t: witl. m )' uncle.
The hrolher or I~a l)a!
I take caft IIr hi. ruruncle-
It hu its charms, Ihis fllie. ,.
I promised to meel the IllI mk lagain
I.DIhe Paua,f' Bonne- Nouyelle:
But in the Puaage Brally
I waited in Yllin . '\
Na rd ue Lebeau , dted by I~o n - Pa ul Far~,'ue. "Cafi., de Paris," part 2 (in Vu. 9,
4 16 (Ma rch 4 ,1 936)].
IIU . [A II ,21
" There seems no rellson , in particular, althe first aud mosllitcral glance. why the
litOry should be called afl er lhe Old Curiosity Shop. Only two of the characters
lIa\'!! au ythillg to do wilh such a lihop , and they leave it for ever in the fi rs t few
pages .. . . Out whell we fee llhe situation wilh more 611clity we realize that this title
is !omclhing in the nature of a key to the whole Dickens romance. His tates always
slarted fro m some splendid hinl ill the stn.-ets. And shops. perhaps the Ino!tl'oeti-
cal of all things _ often set his fan cy !alloping. Eve.ry shop. in raet . was 10 him the
door of romance . Among ullthe huge st' riul schemes ... il ill a matter of wonder
that he ne\'er started an endless pcriooica l called lilt' Th e Stree" and divided it
inlO >i hopH . !.Ie coultllUlvl' written an u quil!ite romalU'e ('ailed 7'lIe Buker i Shop:
II llother called Th e Chemist $ Shop: another called Tlt e Oil SIIOI)' to keel' t'OlllpallY
with TIIt~ Old Cu riosi'y Shop ." G. K. C I I~il t crlulI , Dickel/s. tra ns. Laurent lind
Marti n-Dupont (I'liris, 1927), PI" 112-83. 1.1 [A 11 .3]
"O IH~ lIIay wOllllt·1' tn wllal ,')C h' nt Four ier him ~cU Iwljeve\1 in hi fu ntu sies. In hi ~
ma nuscripts Ilt~ j llmeLimes cnmpl uins nf crilics \0\' 110 tnkt· Iilcl'lIl1y whal ill meant as
fib"l.U·u tiYc, a nd wllu in ~ i51 IIIl1rC()Ycr UII Slteuki ng of IIi!! 'stUlli"11 whims.' TIIl'r!' may
have been a l least a modil'tUII of JdiJ,f'I'u tl' dlUrlulauism III WlJrk in 1111 thi_all
II lIcmJlI 10 luunch Ilis lIyslem li y mellns of Ihe II-w lies of cOlllmerdu l udvertisin!.
wruch had begun to develol•." F. Armand anti R. Maublanc. FOllrier (Puns, 1937),
vol. I.p . 158. 0 E1I:hihition 8 0 [Al h.l )

Proudhou', confe!lsiOIl ncar tilt: end of his lire (ill his book De la jll ~ ljcell--{:;o lll ­
"arc witll Fourier 's vision of the p halallstery): " It has been neces5ar )' for me 10
becoflle civilizl."41. Dul m:cd I approve? The lillie hit of civilizing I've rt!CeiveJ
di!guSI8 mtl .... I hale houses (If more than one slory_ houses in which, by conll'ust
with the social hierarchy, the mcck are r ai8et1 on biJ;h while tile grea t are lidded
ncar the grollnd .'- Citell in Armand Cuvillier, Ma rx ct Proudllon: II ia 'limiere tlu
MlIrx i&me. vol. 2, part 1 (Pun!. 1937), p . 211. [All a.2]

Blantlui: " ' I wore, ' he say" ' the fi rs t tricoloretl cockade of 1830 . Illade by Ma-
dame Bodill in th(! Pa!sage do Commerce. '" Gustave Gtffroy, L 'Enferme (Paris,
1897), II . 2'W . [Alla,3]

Baudelaire call still write of " a book as dazzling as an Indian handkerchief or

Ihawl ." Baudelair e, L 'A rt romantilluc (Paril). p. 192 (" Pierre Dupollt"). 1.
[AlIa,4]

The Craur.ut Colk'1:tioll possesses a bea utiful rep roduction of the Pasub'C des
Panoramal frolll 1808. Also found ther e: a prospectus for a Iltlotblacking I hop, in
which it ill a question mainly of Puss in Boots. lAlla,S)

Baudelaire to his mother 011 December 25, 1861, concerning an atlemplto (lawn a
shawl: " I was told that , with the approach of New Year's Day, there was II glut of
eashmerel in the stores, alld that they were tryi ng to discourage the puhlic from
bringing any more in. " Ch arles Baudelaire, LeUreJ a Ja mere ( Parill. 1932),
p. 198 . {All a,6]

" Our epoch will be the link betwccn Ihe age ()f isolated forces rich ill oriJ;inai
creativeness and thaI of the uniform bul Icvc(jllg forcc which gives monotony to its
products . casting the.m in maUd, alld foUowing out one ullifyillg idea- the uhi-
1IIIIIe expression of lIocial eomlllunjticiI.'" H. tie Balzac. L '/filutre ClIIuJiJSrr rt, cd.
Calmann-Le"y (Paris. l83i), p. I .I~ [Ali a.']

Sales at Au Bon Marc.he, in the years 1852 to 1863, rose frolll 450,000 to
7 million francs. The rise in profits could have been considerably less. "High
rumover and small profitS" was at that lime a new principle, one tha t accorded
with the {\\'o dominant forces in operation: the multirude of purchasers and the
mass of goods. In 1852, Boucicaut allied himself" with Vidau, the proprietor of Au
Bon Marche, the magaJill d~ nouueautis. "111e originality consisted in seUing Au Boll Marche departmcill store in Paris. \MxxICut, ca. 1880. Sec AI2,1.
guaranteed merchandise at discount prices. Items, firs t of all. \vcrc marked with
fixed prices, another bold innovation which did away with bargaining and ....ith
'process sales' -I.hat is to say, "ith gau ging the price o f an article to the physiog-
nomy of the buyer; then the 'return' was instituted, allowing the customer .to
 caned his purchase at will; and, finally. employees were paid almost entirely by
- commission on sales. These wttr: the constitutive elements of the new organiza-
tion:" George d J\vend. "Le M ecanisme de la vic modemc: Les Grands Maga-
sins," & tJue de; tkux mondu, 124 (Paris, 1894). pp. 335-336. [A12 ,1]
TIle gain in time realized for the retail bwiness by the abolition of bargaining
may have played a role initially in the calculations o f department Stores. [A12 ,2}
A chapter, "Shawls , Cashmeres;' in Borne's Indwtne-Au.JItelkmg im Louvre
<Exhibition of Industry in the Louyre) , Ludwig Borne , GeJammelte Schriften
(BarnLul'g a nd Frankfurt am Main , 1862), vol. J, p. 260. [AI2,3]
Ilebunked , I Had he wor n a penlke. he'd 1I0t be defunct : Another ... pit'ture ,
repn'!!leptiog a village maide n ali t he knee-II 10 receive II. &ur land of rU~I:!a--t(l k ell {I f
her virtue--from the hands of a dlt~va li cr. urll H mellt ~ the door of a milliner '.
shop." Lliliwig Burne. Schildenmgen (IIU Paris ( 1822 IHld 1823) . 011 . 6 ("Die
Uden" (S h opl ~), in Gesammelte Schriflen (Hamburg and Frankfurt a m Main ,
1862). vul. 3. p". 46-49 . IAl2aJ
On Baudelaire's "religious intoxication of great cities'!:'· the deparunent stores
arc: temples consecrated to this intoxication. (AI3]

The physiognODIY of the ar cade emerges with Baudelaire in a H:ntence at the

beginni.ng of " Le J oueur ginerewt"': ..It seemed to me odd that I couJd have passed
this enchanting haunt so orten without l uspecting that here was the enlran«:."
dlaudelaire. Oeu vres, ed . Y.-G. I.e Danlce (Paris, 1931 ),) vol . I, p. 456. 17 (A12 .4]

Specifics of the department store: the rustomers perceive themselves as a mass ;

they are confronted with an assortment of goods; they take in all the Boors at a
glance; they pay fixed prices ; they can make exchanges. (A12,5}

" In those p ar llJ of the city wbere the theatera and public walks .. . are located,
wht!n! therefore the majority of foreignera live and wander, there is hardly a
buildin g witbout a shop. It takes only a minute, only II step. for the forces of
attraction 10 gather ; II minule laler, a Ilep furth er on, and the pal&erb y iJ standing
before a different shop . •. . One'. attention is spirited away III though by violence,
aud one has no choice hUI to sland there and remain looking up until it r eturns.
The name of the shopkeeper, the name of his mer chandise, inscribed a daMn times
0 11 placards that hang on the door. and above the windows_ beckon frum all l ide.;

Ihe exterior of the ar chway reflembles the exercise book of II .choolboy who writes
Ille few words of a paradigm over and over. Fabrics are not laid oul in sampleR but
are hung before door and window in completely unrolled bolt•. Often they are
attached high up on the third story and reach down in . undry foldt all the w.y to
the pavement. The shoemaker hili painted different-colored shoes, ranged in roWI
like Laltaliolls, acr08S thetntire fa\,ade of his buildin~ . The sign for the locknmiths
i.ll a ~ iJo: -foot - high gold-plated key; the giallt gale!! of heaven could require no larser.
On Ihe hosien ' shops are p ainled wrute sloclUoga four yard. high, and they will
starlle y,'u in Ihe dark when they loom like ghOStR.•. . But foot and eye are
Il rre~ t ed in a nobler ami more charming fasbion b y the paintin g~ displayed before
man y I!torefronu . .. . Th ~se painting" are, not infrequently, true works or art,
a nd if they were to hang in the Louvr e, they "" ould inspire in connoisseur. alleast
pll·/tslIl'f' if nlJl admiration . .. . The 8hol> of a wigm aker is adorn!!'! with a picture
I.hat. 10 he ~ 1I1'f:. is poorly executed hut distinguished by an amusillg cunception .
Crm'"11 I' rinct AJ ,~ alo m hangs by his hair frum a Iree and is pierced by thl:! lance of
(u l l'lIemy. Undernea th runs the verle: ' Uereyou see Absalom in,hili hopeI quite

B costs, and manages single-handedly the liquidation that in French is called rivolu-
[Fashion]
Fashion: Madam Dealbl Madam Death!
-Giacomo Leopardi, "Dialogue bctwttn Fashion and Dcath~ L
Nothing dies; all is u-arufonncd.
- Honoridc Balz.ac, FhshJ, JujtlJ,jragmmlJ (Paris. 1910). p. 46
And boredom is the grating before which the courtesan teases death.
oEnnui 0 [Bl,l]
Similarity of the arcades to the indoor arenas in which one leamed to ride a
bicycle. In these halls the figure of the woman assumed its most ~ductivt as~:
as cyclist That is how she appears on contemporary posters. Chertt the palnter
of this feminine pulchritude:. The costume of the cyclist, as an early and uncon-
scious prefiguration of sportswear. corresponds to the dream prototypes that, a
little before or a little later. are at work in the factory or the automobile. Just as
the first factory buildings cling to the traditional form of the residential dwelling.
and just as the first automobile chassis imitate carriages, so in the clothing of the
cyclist the sporting expression still wrestles with the inherited pattern of d.e~c.e,
and the fruit of this struggle is the grim sadistic touch which made this Ideal
image of elegance so incomparably provocative to the maJe world in those days.
oD ream H o uses 0
" In these ),ear. [around 1880), not only does the Renaissance fa shion begin to do
mischief, but on the other 8ide a new interes t in sportt-above aU. in equestrian
sporlll-arise8 amollg women , and together these. two tendeoci.ea exert an influence
on fashion from quite different directions . The attempt to reconcile these senti-
men ta dividing the female 80ul yields results thai , in the year a 188Z-1885, are
original if Dot always beautiful. To improve matters, dress designers simplify and
take in the waist a8 much as ponible. while allowing the skirt an amplitude aU the
more rococo ." 70 Jahre deutJche Uooe (1925). I'P. 84-87. [BI ,3)
Here fashion has opecankthe bwincss of dialectical exchange between wo~
and ware betwc"'CD -oteasure and the corpse. The clerk, death, tall and
loutish, measures the century by the yard, serves a" ~uin himself to save
Han. For ~ashion was never an . g other than the panxiy of the mod cadaver,
rovocabon of death throu the wo and bitter COlloquy with deca w
perc:d between sluill bursts of mechanical laughter. t IS as on. And that is
wfiy s e changes so quickly; she titillates death and i" a.Jn:ady something differ-
em, something new, as he casts about to aush her. For a hundrm years she holds
her own against him. Now. finally. she is on the point of quitting the fidd . But he
~as on the banks of a new Lethe, which rolls its asphalt Stream through
arcades, the annature of the whores as a battle memorial. 0 Revolution 0 Love 0
[B l ,' ]
S qullre~. 0 .quare in Paril . infinile 8howplace.
where the mooillle Madame Lamort
winds and bind. the restle.. w.y. of tbe world,
thuee endle&t ribbon •• 10 ever-new
crt.tions of bow. frill . Rower. cockade, . nd frnil-
R. M. Hilke. Duine&er Eleg~n (U:ipzig, 1923), p. 23.2 [BI ,5]
"Nothing hae II p lace of ita own . lave fashion appointe that place." L 'EJpm d'Al -
phonJe Kurr: <Peruee&extraite, de JIM oeUL're' complelen (Parie, 1877), p. 129.
" If a woman of la!lte, while undresling a t n.i&ht , ahouJd find ber~df con ~tituted in
reality a8 she h al p retended to be during the d ay, I like to think ahe'd be diJcov~
ered next morning drowned in her own tears." AJphon~e Karr, cited in F. Th.
Vischer. lt1o<le '''1<1 Zyni&mlu (Stuttgart. 1879), pp. 106-107. [B l ,61
With Karr, there appears a rationalist theory of fashion that is closely related to
th~ rationalist theory of the origin of religions. The motive for instiwting long
skirts, fo r example, he conceives to be the inte.ral certain women would have
had in concealing an unIovdy <foob. Or he deno unces, as the origin of certain
types of hats and certain hairstyles, the wish to compensate for thin hair. (Bl .7)
(Bl,2) Who still knows, nowadays, where it was that in the last decade of the previow
century women would offer to men their most seductive aspect, the most inti-
mate promise of their figure? 10 the asphalted indoor arenas where people
learned to ride bicycles. The woman as cyclist competes with the cabaret singer
for the place of honor on posten. and gives to fashion its most daring line.
[B I,B]
For. ~e ~hilosopher, the most interesting thing about fashion is its extraordinary
aJ'ltlClpaoou,S. It is well known that art will often- for example, in picrures-pre.
ccde the perceptible reality by years. It was possible to Stt sD'eeu or rooms that
s~one in all sorts of fiery colors long before technology, by means of illuminated
Signs and other arrangements, acwally set them under such a light. Moreover,
the sensitivity of the individual artist to what is coming certainly far exceeds that
of the gra"de Mme. Yet fashion is in much steadier, much more precise contact
with the coming thing, thanks to the incomparable nose which the feminine
collective has for what lies waiting in the future. Each season brings, in its newest
creations, various secret signals of things to come. Whoever understands how to
read these semaphores would know in advance not only about new ~nts in
the arts but also about new legal codes, wars, and revolutions. 3- Here, surely,
lies the greatest chann of fashion, but also the diffiru1ty of making the channing
fruitful. [Bta,l )

"Whether you translate Russian fairy tales, S'o\-'Cdish family sagas, or English
picaresque novels-you will always come back in the end, when it is a question of
setting the tone for the masses, to France, not because it is always the truth but
because it will always be the fashion." <Karb Gutzkow, Bn4e ails Paris, vol. 2
<Leipzig, 1842>, pp. 227-228. Each time, what sets the [One is without doubt the
newest, but only where it emerges in the medium of the oldest, the longest past,
the most ingrained. This spectacle, the unique self-construruon of the newest in
the medium of what has been, makes for the true dialectical theater of fashion.
Only as such, as the grandiose representation of this dialectic, can one appreciate
the singular books of Grandville, which created a sensation toward the middle of
the century. When Grandville presents a new fan as the "fan of Iris" and his
drawing suggests a rainbow, or when the Milky Way appears as an avenue
illuminated at night by gaslamps, or when "the moon (a self-portrait)" reposes on
fashionable velvet cushions instead of on clouds~at such moments we first
come to see that it is precisely in this century, the most parched and imagination.
starved, that the collective dream energy of a society has taken refuge with
redoubled vehemence in the mute impenetrable. nebula of fashion, where the
W1Clerstanding cannot fonow. Fashion is the predecessor-no, the eternal dep-
uty-ofSurrealism. [Bla,2)
A pair of lasciviou8 enV-avings by Ch arles Vernier entitled A Wedding on Wheels-
showing the. departure and the r eturn . The bicycle offered un8u..spectetl poasihili.
lie8 fo r the depiction of the r aised skirt. [B l a,3}
A definitive perspective on fashion follows solely from the consideration that to
each generation the one immediately precc=ding it seems the most radical anti-
aphrodisiac imaginable. In this judgment it is not so far wrong as might be
supposed. Every fashion is to some extent a bitter satire on love; all sexual
perversities are suggested in every fashion by the most ruthless means ; every
fashion is filled with secret resistances to love. It is worthwhile reflecting on the
following observation by Grand·Carteret, superficial though it is: "It is in scenes
from the amorous life that one may in fact perceive the full ridiculousness of
certain fashions. Aren't men and women grotesque in these gesturts and atti·
tudes- in the tufted forelock (al..ready extravagant in itsclf), in the top hat and the
nipped-waisted frockcoat, in the shawl, in the grande; pamilaJ, in the dainty fabric
b oots?n Thus, the confrontation with the fashions of previous generations is a
Le Pont des planetts (Intcrplanclary Bridge). Engraving by Grdlldvillc, 1844. See Bla,2.
matte.r of far greater importance than ~ ordinarily suppose. And one of the
most significant aspeCts of historic.-u costuming is that-above all, in the thea-
ter- it undertakes such a confrontation. Beyond the theatcr, the question of
costume reaches deep into the life of art and poetry, where fashion is at once
preserved and overcome. [Bla,4)
A kindred problem arose with the advent of new velocities, which gave life all
altered rhythm. This lauer, too, was first tried out, as it were, in a spirit of play.
The loop-the-loop came on the scene, and Parisians seized on this entenainment
with a frenzy. A chronicler nOles around 18 10 that a lady squandered 75 fran cs in
one evening at the Pare de Montsouris, where at that time you could ride those
looping cars. The new tempo of life is often announced in the most unforeseen
ways. For example, in POSters. '"These images of a day or an hour, bleached by
the elements, charcoaled by urchins, scorched by the sun-although others are
some.times collected even before they have dried- symbolize t"O a higher dCbrrce
even than the newspapers the sudden , shock·filled, multifornl life that carries us
away." Maurice Talmeyr, La Cile rill wIg (Paris, 190 1), p. 269. ln the early days
of the poster, there was as yet no law to regulate the posting of bills or to provide
protection for posters and indeed from posters ; so one could wake up some
mOrning to find one's window placarded. From time inlmemorial tltis enigmatic
need for sensation has found satisfaction in fas hion. But in its ground it will be
reached at last only by theological inquiry, for such inquiry bespeaks a deep
affective attitude toward historical process on the part of me human being. It is
tempting to connect this need for sensation to one of the seven deadly sins, and it
is not surprising that a chronicler adds apocalyptic prophecies to this connection
 and roretells a time when people will have been blinded by the effects of too
- much electric light and maddened by the tempo of news reporting. FromJacques
Fabien, Paris en JQnge (Paris, 1863). [B2. l )

" On October 4 , 1856. the Gymnasium Theater presented a play entitled w

Toi-
fette~ TapaseJj~el <The Flashy Dresser s), It Wal the heyda y of the crinoline, and
puffed-out women we~ in fas hion. The actreSi playing the leading role. having
gr.sl)ed the satirical intentions of the author, wore a drell whose skirt. exagger-
ated by design . had a fullness that was comical and almosl ridiculous. The day
after opening nigbt , she wall asked by more than twenty line ladies to lend her
dreiS 8S a model, and eight daYl later the crinoline had doubled in II lze." Maxime
Ou Camp . Paris, vol. 6 <Paris, 1875), p. 192. (52,2)

"Fashion is the recherche-the alwaYI vain. often ridiculou • • sometimes danger-

ous quest- for a liuperior ideal beauty." Ou Camp, Paris, vol. 6, p . 294. [B2,3]

The epigraph from Balzac is well suited to unfo lding the temporality of hell: to
showing how this time does not recognize death, and how fashion mocks death;
how the acceleration of traffic and the tempo of news reporting (which conditions
the quick successio n of newspaper editions) aim at eliminating all discontinuities
and sudden ends ; and how death as caesura belongs together with all the straight Do ib.l du dtai·_il. m... . 'll61t~lU ••tllli.j., to .
lines of divine temporality.-\\Ue there fashions in antiquity? Or did the
Fashionable courtcsam wearin . o lin Ii·'"
"authority of the frame"} preclude them? [B2,4] ca . . ... g o:m cs. ulograpb by Honore Daumier, 1855. The
ptlon reads. Ladies of the: derru-monde:, bill having no demi·skiru." See 82,2.
"She was everybody's contemporary." ( Marcel~ Jouhandeau , Prudence Haute·
chaume (Paris, 1927). p. 129. To be contt7Tlporaj~ de tout k motUk-that is the A knit 8ca ri-a brightly striped muffler- WOn! also, in muted color s. by m~D .
keenest and most secret satisfaction that fashion can offer a woman. [B2,5]
{B2a,4]

An emblem of the power of fashion over the city of Paris: "I have purchased a F. Th. Vischer on the men's fa shion orwide 81eeves lhat raUbelow the wrisl. " What
map of Paris printed on a pocket handkerchief.' Guttkow, Briefi aus Paris, vol. 1 ",.~ have here are DO longer a rms but the rudiments of wings, Slumps of ~nguin
<Leipzig. 1842), p. 82. [B2a, l ] :'lI g,8, .6sh fins. The movement or Ihese shapeless appendages resembles the . ".
... cu allon_lh lidi . k·
.. .. . e s ng. Jer III ~, pllddling--or a rool or simpleton." Vischer
Vernunftlge Gedllnken ilbt:r dic ,·etzi,e Mode •" p . '" . [B2a,S)'
Apropos or the medical dilicun ion con cf!rnin~ the crinoline: Some people thought
tu jUlilify its U8e , together with that or the petticoat , b y noting " the agreeable and
8alutar y coollle81i which the limbs enjoyed underneath . . .. Among doctor s. [how- ~rtant political critique of fashion from the standpoint of the bourgeois:
ever,] it ill acknowledged that this celebrated coolness has already led 10 chills, and ounen the auth?r of these reasonable opinions first saw, boarding a train, a
these have. ocealiioned the unfortunately )lremature end or a . itualion which it wa. y Ig ~ weann~ the newest style of shin collar, he honestJy thought that he
the original purpose or tbe crinoline to conceal. " F. Th . Vi8cher, Krituche Gange. was ooking at a pnest; for this white band encircles the neck at the same height
new llerics. no. 3 (Stuttgart . 1861 ), p. 100: " Yer niinftige Gedanken tiber die jetzige ~ ':" ~.kno~ ~llar of tJu: ~atholic cleric, and moreover the long smock was
Mudc" ( R ~aso n able Opinions on Current Fa,bionJ). [B211.2] , 'aU reco~~g a layman 10 the very latest fashion, he inuuediatcly under-
St00<1 that ..... ·. '0 , lor
. thlS shirt collar signili•• r
us eve...... 1-.:_
, Ul.U'g. •
everything is one-
It W:l K i'ouulne.. ror the Frellch fu hion8 of the Revolution and the Firat Em)lire to
co~~ordats 10cludedl ~d why not? Should we clamor for enlightemnenr like
° e you~? Is ~ot hierarchy more distinguished than the leveling effected by a
"haU
mimic Greek proportionli with clothi.n g cut ami sewn in the modern manner." s ow splI1tua1libe rallon.
· hielI m
. the end always aims at disturbing the pleas-
w
Vi8cilcr, " Vernilllrtige Gedanken tiber die jetzige Mode," p. 99, [B2a,3] Ure of refined people?'- It may be added that . l.:. u · · .
uu;, co ar, III tracmg a neat little
line around the neck, gives its wearer the agn:eable air of someone freshly be-
headed, which accords 50 well with the character of the blase_" To this is joined
the violent reaction against purple_ VlScher, "Vemiinftige Gedanken uber die
jetzige Mode," p. 112. [B2a,6)
On tlle reaction of 1850-1860: " To show one'8 colora is con&idered ridiculou8; to
be 8tricl i8 100ked on I I childisb. In l uch a 8ituation , how could dren not bec:ome
equally colorlen, flabby, and , at tbe 8a me time, Darrow?" Vilcher, p. 117_ He thua
brings the crinoline into relation with that fortified "imlterialiam which spread8
oul and puffs up exactly like ill image here. and which, a8 the 18.11t aDd Itrongest
exprell8ion of the refl ux of aU the tendencie. of the year 1848, lettle. ill dominion
like a hoop skirt over aU aspecll, good and bad, jU8tilied and unjusti6ed. of the
revolution"(p.119) . (B2a,7}
" At bottom, these things are l imultaneou81y free and unfree_ It is a twilight zone
where neeeuity and humor interpenetrate. _ , . The more fanta&tic a form . the
more intensely the clear and ironic consciou sness work. by the side of the servile
will. And this consciou8nen guarantees thai tlte foUy will not last ; tbe more <:on-
8<:iou8l1e8s grow • • tbe nearer comes the time when it aCtl. when it turns to deed,
when it throw8 off the felters, ,. ViKber, pp . 122-123. [B2a,8)
One of the mOSI important texts for elucidating the eccentric., revolutionary, and
surrealist possibilities of fashion-a text, above all, which establishes thereby the
colUlection of Sw-realism to Grandville and others-is the section on fashion in
Apollina.ire's Pot/e a.ssassini (Paris, 1927), pp. 74ff.' (B2a.9]
How fashion takes its cue from everything: Programs for evening clothes ap- ......
peared, as if for the newest symphonic music. In 1901 , in Paris, Victor Prouvt:
exhibited a formal gown with the title, "Riverbank in Spring." (B2a,1O]
Hallmark of the period's fashions: to intimate a body that ~r knows full
nakedncss. (B3,ll
"Around 1890 people discover that aillc. i. no longer the most elegant mate ial for
j lret"t c1olhel; henceforth it is allotted the previoullly unknown function of lining_
l-' rom 1870 to 1890. clothing ill extraordinaril y expe n ~ iv e. and changes ill fHlhion
are accordingly limited ill many cases to Ilrudent .... terations by which new apparel
call be derived (rom remodeling the old." 70 Jahre deutsche Mode ( 1925), p . 71 .
{Jl3 ,2)
" 1873 . . . , when the giallt skirts thai 8trelchtXI over Qushions attached to the
derriere. witJl tlu:ir gatJlered draperie" their pleated frills . their embroidery, and
tbeir ribhons, seem to haVl: iu ued lell from the work. hop of a lailur thall from
that of an upholsterer:' J . W. Samson. Die Fratummode der Ce8ern~art (Berlin
and Cologne. 1927), pp. 8-9. {B3 .3J
No immortalizing so unsettling as that of the ephemera and the fashionable
fomlS preserved for us in the wax museum. And whoever has once seen her
must, like Anc:irt Breton. lose his heart to the female figure in the Musee Grevin
wbo adjusts her garter in the comer of a l o~. (Breton,) Na4ja <Paris, 1928~,
p. 199. 7 [B3,4}
"The flower trimmings of large white lilies or water lilies with sterne of rush . whicb
look lIO charming in any coiffure, unintentionally remind one of delicate . gently
/looting lIylphids and oaiadel . Just 80, the 6ery brunette cannot adorn herself
nlore delightfully than with fruit hraided in graceful little brallchea---c:herriea, red
rurrllnlJl , even bunches of grapes mingled with ivy and flowering graS8e8-0r than
with long vivid red velvet fuch&ias, whose leave. , red-veined and as though tinged
,,;th dew, fornl a crown: auo at her disposal is the very lovely cacllU lpecW.W .
with its long white 6lamenll. In general. the flowen chosen for decora~ the hair
are qnite large; we saw one such headdres8 o( very picturesque and beautiful white
roses entwined with large pansiea and ivy branches, or ra ther boughs, The ar-
rangemen t or the gnarled a nd tendriled branches 1"18 so felicitous that it seemed
nature itself had lent a hand-long branches bearing buds and long atcrJUI swayed.
al the sidcs with the sligbtellt motion ." Ocr Bazar, third year (Berlin, 1857), p. 11
(Veronika vun G . • "'Die Mode" ). {B3,5}
The impression of the old-fashioned can arise only where, in a certain way,
reference is made to the most topical. IT the beginnings of modern architc:cture to
s ome extent lie in the arcades, their antiquated effett on the present generation
has exactly the same significance as the antiquated effect of a father on his son.
{Jl3,6)
In my formulation : "The eternal is in any case far more the ruffie on a dress than
Some idea."I DDialectical Image D [83,7]
In fetishism, so. does away with the boundaries separating the organic world
from the inorganic. Clothing and jewelry are its allies. It is as much al home with
what is dead as it is with living Besh_ The latter. moreover, sbows il the way to
establish itself in the fanner. Hair is a frontier region lying between the two
~gdoms of sexus. Something different is disclosed in the drunkeTUless of pas-
Sion : the landscapes of the body. These are already no longer animated, yet are
.~ tiJl accessible to the eye, which. of course, depends increasingly on touch and
smell to be its guides through these realms of death. Not sddom in the dream,
however, tllere are swelling breasts that, like the eanh, are all appareled in woods
and rocks, and gazes have sent their life to the bottom of glassy lakes that
sllmlber in the valleys. These landscapes are traversed by paths which lead
 ~~ int.o the world of the inorganic. Fashion itself is only another medium
enlJClng It still more deeply into the universe of matter. rro.8]
"'Tbi.. yellr. · laid ~riuou&e . ' fa shi?n8 are bizarre a nd common . simple allli fnll of
flillt uy. An )' material from nature s domain ca ll now ~ introd uce,1 illlo till: eom-
• positioll
. of
. women',
. . c.!othes. I saw a charming Jreu nu"de of co,ks. . .. A IIIUJor ·
designer IS thinking about laun ching tailor-made-outfi t.!! made of old bookhindings
done in caU.. . . Fish bones are being worn a lot on lJa t, . One often ~s de.lido uf>
yo~ng girls dreu ed like pilgrims of Saint James ofCompostell8; Uleir outfil8. al ill
fittmg. are studded with coquillel Saint-Jacque!!. Steel, wool, , and.sllme, and hie..
have lIuddenly entered the veslmentar y aru .. .. Feathen n ow decorate not ollly
h alll b.ut shoes. and gloves; and next year they' ll be on umbrellas. They' re doi ng
.shoes In Venetian glass and halll in 8accarat crystal. . . . I forgot to tell you tb al
las t Wedn~day I saw 0 11 the buulevards on old dowager dressed ill mirrors stuck
to fah~c. Tbe effect was sumptuous in the sunlight. You 'd have though t it WIIS a
gold nunc out ror a walk. Later it atarted raining alld the lady looked like a silver
mine . . .. "'as bio~ is becoming prActical a nd no longer look. down on anything. h
ennohles everything. It doeR for materials whllt the Romalltics rnd fllr words. , ..
Guillaume Apollinaire, I.e Poe'e 4S1oSline, new edition (Paris, 1927), pp . 75--77.Q
(B3a,1]
A caricaturisl--circa 1867--represents the frame of a hoop skirt as a cage in
whicb a girl imprisoru bens and a parrot. See Louis SOllolet , La Vie pa rnierme
.ous Ie Secon d Empire (Parn. 1929). 11. 245 . [83a,2J
" It was b athing ill tile sea .. . that struck the first blow against the solelllll and
cllmhersome crinoline." Loui. Sonolel, La. Vie parnienne .OWl Ie Second Empire
(Paril, 1929), p. 247. (B3a,3]
"Fashion c~nsists ?nly ~ atremes. Inasmuch as it seeks the extremes by narure,
there ~~ ror It nothing mo~, when it has abandoned some particular form,
than to g'J.Ve Itself to the opposile fonn." 70 Jahre deul,ICM Mode (1925). p. 51. Its
uttermost extremes: frivolity and death. [B3a.4]
"We took the crinoline to be the symbol of the Second Empire in FranCe-(lf its
~verblown lie., iu hollow and purse- proud impudence. It toppled ... , but ...
J~ .st be~ore the rail of the Empire, the Parisian world had time to indulge a nother
Side of Its temper ament in women '. fashio ns, and the Rt-public did not disdain to
follow illl leud ." F. Th . VIseiler, Mode lind CynumWl (St uttgart , 1879), (l . 6. The
new fu hion to which Vischer alludes ia explained : " T he dress is cut r1iagonully
across the body lind I lTetched over . . . the belly" hI . 6). A little later he I Ilt:ak Nof
the women thus attired as " naked in their c1othea" (p . H). [83a,.5J
Friedell explains. with regllrd to women, " thlll the hi~ tor y of their 111't~u shows
l urprisingly few varilltions. It is not much mlli'e thall a rcgulllr rotation of 11 few
quickl y a ltering, bUl aao quicldy reins ta ted. nuanCell: the length I)f the tnin , the
height or die ooiffure, the shortnelS of the slt:eves , the fullnen or the l kirt , the
placemenl uf the neckline and of the waist. Eyen rarneal revolutiolls like the boy-
i.'l h hairc.uts ra ."'li~'lIab lf' tod ay li re onl y the ' eternal re turn of the Bame. ,., EgoD
Friedcll . KU/lllrge!Jcilicilte ller Neu..::.eit, vol . 3 (Munich . 19:H ). p . 88. Women '!
faB hions ar~: t.hus distinguislled . al;l:ording to the lIutbor. frum the more diverile
a nd more cattj;oril:a l fas hioll! for Illen . IB'.11
"or ullthe promises made b y <Etiellne) Cabet's novel Voyase en l carie <Voyage to
I ca ri a~. at least one has been realized . Cabet had ill fact tried to provei.n the novel.
...·hich conUliJlI his l ys teUl . Ulat the communist state of the future cowd admit no
proouct of the inlagi natioll ami cuuld l uIfer 11 0 ch ange in its institutions. He had
therefo re h alilletl from ICllria all fu hioll-particularly the capricious priestel8cs
of fas hiOn . the IIlOClilitell-aS weU os goldSmiths and all other profellions that
~ .. rve ItlXUry. allli had deman ded that tlreu, utensils, and the like showd never
be altered ." Sigmund Englander, Ceschichle der JrafUosuchen Arbeiter-
Au ociationen (H amb urg. 1864). vol. 2. pp. 165--166. [B4,21
In 1828 the first performance of Lo. Mutlt( de Porh'ci took place. 10 It is an undulat-
ing musical extravaganza, an opera made of draperies, which rise and subside
over the words. It must have had its suc:cess at a time when drapery was begin.
ning its uiumphal procession (at first, in fashion, as Turkish shawls). 'Ibis revolt,
whose premier task is to protea the king from its own effect, appean ;u a prelude
to that or 183()-to a revolution that was indeed no more than drapery covering
a slight reshuffle in the ruling circles. [B4,3J
Does fashion die (as in Russia, for example) because it can no longer keep up the
tempo-at least in certain 6e1ds? [84,4J
Grandville's works are true cosmogonies of fashion . Pan of his oeuvre could be
entitled "The Struggle of Fashion with Narure." Comparison between Hogarth
and Grandville. Grandville and Lauttiamont-What is the significance of the
hypertrophy or captions in Grandville? (84 ,51
" Fashion . .. ill a witness, L Ui a witne8s to the history oCtile great world only. for in
cuuntry . . . the pour peuple hllve rashions as little as the)' have u history.
(: \'(' ry
alit! their ideas . their tastes. e\'f' 1I their lives Lard y change. Without do"ht • . ..
Imillir lift: ill Ilegiuning to pcnetrlltc the poorer lIou,,:hnII16, b ut it ....i11 take time."
Eugene MOlltl·IIt:, Le XIX' $iiicie vee" pur dellx.frum;ui.~ (parill). p. 241. [B4.6J
The following remark makes it possible to recognize how fashion functions as
camou8.age for quite s~cific ime~sl5 or the ruling class. "Rulen have a great
aversion to violent changes. They want everything to stay the same-if possible,
for a thousand years. U possible. the moon should stand still and the sun move
110 farther in itS cOurse. TIlen no one: would get hungry any more and want
diona. And when the ru1en have fired their shot, the adversary should no 10nF
be penniucd to fire ; their own shot should be the last." Ikrtolt Brttht, "FUn!
Schwierigkeiten beim Schreiben der Wahrheit," Un;«l Zril, 8, nos. 2-3 (paris,
Basel, Prague. April 1935), p. 32. [B4a.l J
MacOrlan, who emphal izel& the analogiefl to Surreawm in Grandville's wurk,
draws attention in thil conoection to tbe work of Walt Oil iley. un whidl he CO Ql-
menu: " It ill not in the leaat morbid . In thill it di ver!,:es from the hUlllor of Grand-
ville, which always bore within itself the M eedS of death ." cPierre. !'tlMcOrlan ,
" Grandville Ie pn:curMeur," Arts et meliers g rnphiques. 44 (December 15. 1934).
<p o24). [B4a,2]
liThe presentation of a large couture coUection lasts two to three hours. Each
time in accord with the tempo to which the models are accustomed. At the close,
a veiled bride traditionally appears." Helen Grund, Vom Wm'll der Mode (Mu·
nich : Privately printed, 1935) , p. 19. 1n this practice, fashion makes rcfermce to
propriery while serving notice that it does not stand still before it. [B4a.3J
A contemporary fashion and its significance. In the spring of 1935, something
new appeared in women's fashions : medium-sized embossed metal plaqueues,
which wert wom on jumpers or overcoats and which displayed the initial letters
of the bearer's first name. Fashion thus profited from the vogue for badges which
had arisen among men in the wake of the patriotic leagues. On the other hand,
the progressive restrictions on the private sphere are here given expression. The
name-and, to be SUrt, the first name-of persons unknown is published on a
lapel. That it becomes easier thereby to make the acquaintance of a Sb"anger is of
secondary importance. [84a,41
" The creators of fas hions ... like to frequ ent suciety lind extract from iii grand
duinp! an imprellllion of the whole ; tbey take part in ita artiatic life, are present at
premieres and exhiliitiona, and read the boob that make II sensation . In other
words , Ihey a re inspired by the ... ferment ... which Ihe busy prescnt day can
offer. Bnl since no present moment ill ever full y cui off from the past , th~' lalle.r also
will offer attractiolls to tbe creator, ... though only that which harmonizes wilh
the reigning tone can be u lled . The toque tipped forward over the. fore hea ~I , a style
we owe to the l'llanel exhibition , demunstrates quite simply Ollr new readiness to
confront the end of the previoull century." Helen Grund . Yom Wesen der Mode.
p. 13. [B4a.51
00 tbe publicity war between Ihe fallhion houi;C a nd the lashion columnists: " The
fashion writer 's taMk ill made easier b y the fa cilhat our wiahell coincide. Yet it ill
lIIade more difficult by tbe fa clthat no lIt'.wllpalJer or lIIagulIllne may rt'I!:H rtl as new
whal another has a lread y puhlished. From this dilemma, we a nd t.he £allhion
writer a re Raved only hy the photographers allli designer il. who manage through
the I~Olle and lighting 1.0 bring oot different aspecU of 0 single pieet'?f clol.hing. The
mOBt important maplIines ... have their own photo . tudios. which are equipped
with all the latest technical and artistic r efin ement. , and wruch employ highly
talented spe(:ialized photogra phers. _ . _ But tile publication of these documentll is
nol pe rmitted until the customer ha. made her choice, aud that meKn, UlUKUy four
tu six ","eek, after tbe initial showing. The reason (or this measure?-The ","oman
who tlPJJetirs in society wea ring theae new clothes will berRdf not be denied tJle
effect of surprise." Helen Grund. Yom We.en der Mode, pp. 21-22. [B5.1]
Accordin!,: to the aumma ry of the firat six iu ues, the ma!,:azine published by
Stephane Mallarme. La Dern~re Mooe (Paris, 1874), contains "a delightIul l por_
live sketch , tbe r elult of a conversation with the marvelous naturaliat TOUl8enel. "
Rcproduction of this . ummary in Miflotour-e. 2. no. 6 (Winter 1935) cp o27).
IB5.2J
A biological theory of £al bion tbat take. its cue Irom the evolution of the zebra to
the horse. as described in the abridged Brehm (p. 771): II '""This evolution spanned
millions of years .... The tendency in horses is toward the cr eation of a first-class
runner and courser .... The most ancient of the existing animal type. have con-
spicuously . triped coats. Now, it is very remarkable that the external ItripeS of the
:u'.bn display a certain correspondence to the arrangement uf the ribs and the
vertebra inside. One can alao detennine very clearly the arrangement of these
parts from the unique StriPUI!,: on the upper forele!,: and up per hind leg. What do
these stripe. l ignify? A protective function can be ruled out .. _ . The Stripel have
been ... preserved d espite their ' purposeleSlineu and even unsuilablenet!lI.' and
then:fore they mUl t ... have a Ilarticular signmcance. Iso'l it likely thKt we are
dealing here with outward stimuli for mtemal relponses, Much as would be espe-
ciaUy active during the matin!,: season ? Whal can this theor y contribute to our
theme? Something of lundamental importance, I beLieve.-Ever since humanity
IJaslied from nakedness to clothing. 'IICnaeleSli and nonsensical' fa shion has played
the role of wise nature .... And insofar al (ashion in its mutationll . , . p rescribes
a Cowtant revision of aU eleme.nlll of the figure •. .. it ordains for the woman a
continu~1 preoccupation with her beauty." Helen Grund. Vom Wf'sen der Mode,
pp.7-8.
IB5.3J
At the Puria world exhibition of 1900 the.re was a Palais du CO~lume. in which ","!IX
dolls arranged before II painted backdrop displayed the costumes of various peo-
ples and the fashions of various ages. [B5a. l )
"Out a8 for u~, we see ... around us . .. theeffet:1I of confllsioll lind wasle. inflicted
!' y the disordere~1 movement of the ","orld today. Art knows no compromille with
hurry. Ollr ideals ar e good for tell yean ! The ancient and excellellt reliance nil the
judgment of posterit y h ll;s been Siupidly replaced I,y the ridiculou.s superstition 01
lI ovelty. which al!!lignMthe mOMt WU.i Wry ClltiS to our ellterprise8. condemllino!\ tlll'lII
to the crealion of what il most perillhaLle. of what must be perilillable by itl
Itatun:: the senllation of newlleu .... Now. everything tu be Heel! here has bt:t!1I
enjflYet.i. hUll r hurmcd and (lelighted Ihrough the centuries, and the whole glory of
il calmly lells WI: ' 1 AM NOT III ,,"'G N~;W. Time may weU s poillhe IDal.e rial in which I
I!Xilil; hul fur so long a~ it doel! nOI delilroy me, I canllOI be deslroyed by the
imliffcrNlcc or cOlllcmpl IIf a ny IIIUIl wtlrthy of the name:' Paul Valery. " Prcam-
bule" (preface Iu Ihe calalogue of Ihe exbihition " Italia n Arl from Cimabue to
Tiepolo," allhe Pdil Palois. 1935). pp . iv. vii. tJ [B5a.2)
"The ascendancy of tbe hourgeoisie workll II change in women's wear. Clothing and
hair8ly les ta ke on added dimenllions ... ; s.houldenl are enlarged hy leg-of-muuon
&leevell . and ... it wall nOllong before the old buop-peuicuau came back into favo r
and fuU skirts were the Ihing. Women , thus attOutered , appeared de8tined for a
se(!Clltur)' lifc--fanlil y life--!lince tbeir manner of dr~lI had about it nothing that
could ever su~es t or seem 10 further the idea of movement . It was jUlit theol)posite
with the aelvent of the Suu nd Empire: famil y tiell grew IIlack. and an ever-l.ucr eas·
inl5 luxury corrupted morulll to liuch an extent that it became difficult to distin-
guish all honest woma n from a courlesan on the ba,i, of c!othin, alone. Feminine
attire had thus been tra n..,foTlued from head to toe ... . Hoop sk.irl8 went the way
oftbe accentualed rear. Everything that could keep women from remaining scated
WQ S en co Llragcd ~ lmything that could have impederl their walking Will avoided.
They wore their hair 01111 their clothell a81hough they were 10 be viewed ill profile.
For the profLIe ill the "ilhoudle Of someone . .. who passel, who il IlhOUI to vanish
from our sight. Dress became 1111 image of the rapill movement that carriC! away
the. world ." Charlell Hiane, "Consideratiolls sur Ie velement dell femmes" (lnstitut
de France. Oclohcr 25. 1872). I)P ' 12-13. [B5a,3)
''In o rder (0) grasp tire enence of contemporary fashion . one. need not recur to
motives of an indh'idual nature, sucb as ... the desi~ for change. the R n se of
beauty. Ibe "alision fur drcssing up . the drh'c to COliform . DoubtJe8s IIUW motive.
have. at various time• . ... played a pari ... in the creation of c1oth~ . . .. Never-
tJ.e1es , fa llhion, as we under Slund it tod ay, bas no individual motives but only a
social moti ve. a nd il il an accurate l)Crception of tms social motive that determine.
the fuU a ppretiBlion of fashion 'lI eSlience. Tms molin is the e(fort to ditltinguish
the hig llf~r dnilsclI of society from the lower, or more t'8 1~ia Uy from the middle
c!aues .... Fashion is the h a rrie~olltinuaUy railed anew becBwe continually
tQrn dQwll-by whi('h Ihe £ashiollable world seeks to segregate itself from the
middle rt'gio n of lIociety; it ill the mad pursuil of that elan vanity dlrouy. wmch a
single vhenolllcllull cndh:ssly repeats itself; the endeavor of one group to establish
a lead, IwwC"er minimal , oVI'r itil purSlIer,. ami tht: endeavor of the other group to
make uJl the dis.tance hy immediatel y adopting the newell fa shions of the leader s,
The ch aracteristic fealures of cOlltemporary fa shion a re thus ex plained : uhnve all ,
i18 ori Kill1l ill Ihe upper cirdcli and its imitation in IIII' middle IItruta of SOf;il!ly.
Fadliull mOVCe:I from IUP tn hollom , 1101 vice ,·crsa .... An attempt hy the miclilJe
c-I a;!~cs to introlhu:c Q lie.... fushion woulll ... ne\'cr succeed , though Iwtlting wuuhl
Stl.;t lilt' tlpl ter cllI l'I.oJe~ Iwlter than ttl see Il,e form er wilh their own @f't "f fu shiOlIIl.
([Not,. : ) Whit'h ,Ioel< 110t deli'r Ihem fro m loukjng for new tleMiguli in the Rewer of
the Paritian denti·monde and bringing out fa shions that clearly bear the mark of
their unlleemly origin•• IllI Fr. Villcher ... has pointed out in his ... widely ot"n-
sured but , 10 my mind , . .. highly meritorioull cReay on fashion. ) I]euee the UIl -
ceasing variation of fasmon . No sooner Ilave tbe middle classes adoPled a newly
introduced fu bion than it ... loses iu value for the upper classtlil . . . . Thus,
novelty is the indispe.Dl!Itble condition for aU fa shion ... . The duralion of a fa sh-
ion ill inversely proportional to the , wiftnel8 of itl diffusioD; the ephemerality of
fasmonl hail incr eued in our da y at the meanl for their diffusion have expaudt!t.l
via our perfuted communication, technique. . . . . The social motive referred to
ahove explains. finall y, Ihe third characteristic feature of cOlltemporary fa shion :
its ... t'franny. Fu hion compri.es the outwa rd criterion for judging whether or
not one 'belongs in polite society.' Whoever dOt':s not repudiate it altogether must
go along, even wber e he ... firml y refuses 1I0me new development .... With thi •. a
judgment is pa9scd on fillmon .. , . II the clane. that are weak and foolish enough
to imitate it were to l5ain a &e:nse of tbttlr own proper worth , . . . it would be aU lip
with fa smon , and beauty could once again assume the position it ha ~ had with aU
those peoples who . , . did not feel the need to accentuate class differences through
clothing or. where thitt occurred. were sensible enough to reape<:t them ." Rudolph
von Jhering, Der ZlCIeck im Recht, vol. 2 (Leipzig, 1883), pp. 234-238. 13
[B6 ; Ma,l }
On the epoch of Napoleon III: " Making mOlley bct:omes the obje<:t of a n a lm o~t
se.llsual fervor. and love become. a finan cial concern . In the age or French Roman-
ticism , the erotic ideal W all the working girl who give. her self; now it is the tart who
sella henlClf.... A hoydenish nuauce came into fasmon : lame9 wore collal'll and
a
craval., overcoata. drease. cut like tailcoats, ... jackets la Zouave, dolmans,
walking sticks, monocles. u,ud, hanbly contrasting colors are preferred- for the
coiffure as weU: fiery red hair La very popol.,..... The paragon or f. llmon is the
8rande dame who play. the cocotte." EgoD FriedeU. Kulturgeschichte der
Netueit. vol. 3 (Municb , 1931). p . 203. The " plebeian charaeter" of Ihis fasm on
represenu, for the author. an ""Ivasion ... from below" by the nouveaw: riches.
[B6a,2!
"Cotton fabri cs replace brocades and lIatim , ... and l)Cfore long, thanks to ...
the revolutionary spirit, th~ dren of the lower clallsell becomes more seeml y und
agreeuble to the eye ... Edouard Fouc.II ud , Paru inventeur: Physiologie de l'illd/IS-
trieJrant;aUe (Paris, 1844), p . 64 (referrilll5 to the Revolution of 1789). [B6a,3)
An auemhlage whiell , on clUller inspection , JlrOVeH to be eOmp08Ctl O:lltirc!y of
picces of clothing together with unurled clnlls' head9. Caption; " Dolls on (chairll,
mannequins with false. necks. faille hair, false aUracliults-vvilii Longchomp! "
Cabinet des Estaml)Cs. [B6a,-I]
"ll, in 1829, we were to enler the shops of Delisle. we would lintl It muJlitllllt.
of dive r~ fabric. : Japanese, Alltllmbrellque , coal'lle oriental, 8tocoliue. m l..otide .
sil,·uiu" . :(.[I1:,;oliu(:. C hin c~e l1aga-zillkoff. .. . With the Revolution of 1830, ... the
~'"u l'l "f fU 8hioli Iliul l'I'O~iI~~~llht: Sdll .. Illllll.he Chuullllee d 'Anlill IUIII rcplaced the
II d ,; lunuti,~ faubourg:' I'aul d 'Arisl(" Lfl Vie e' Ie lIIomle till bou. /evllrtl. 18,10-
IH70 d'aris. 1930~.1l' 227 . £860.5]
"Th.. "" cll-w-du buurgeois. lUI Il friend of order. P~YIi his ~upp ti crll at I("ast oncc U
yt'ur; hut tilt' IIlU Il uf fu sh.ioll , tile so-called lion, pay& h.ill laiJllr t'very ten year!!. if
he pays him ala ll." tic'" lhge in P(lru (Paris, July 1855), p. 125. fD7.1 ]
" It is I ""liu ill"'I~lIt ed lies. At p"'~,;e llt , thc iorguoll ha ~ replacl'd them .... Tile tic
ill"''''''I'!; dnliing Ihe eye with a ccrtuiu movemcllt of the mOlllh uml II cCI'lain move-
IIlI'lIllIfllll' 1'('81 .. _ . Tt.c fa ct> of an degant mall , houltl a lwuYII hll\·e ... something
il·ritatef.l uuo convulsive IIholl t it. One 1;.1111 attribute thcse fa cilll agilatioDl! either to
a natural ~a t.anilim_ III II..! f,,\·..r of the p asiliQn.'!, or flnuU y to anytbing one IikeB,"
Puris-l'il."t!ur. hy the aut hun ..( till' memoirs of HithO<luct [Taxilf" Dclord] (Pari"
IR54). I)I)· 25-26. [B7,2]
'1 '111: \'oguc for buying one'. "" a rdrobe in Lomlon look hllid o lll y umong men; the
fa shiun lilnunf!: wUlllen. eV I~1I fordglll·rs. has always bt.'en 10 be outfitted in Paris,"
Chari,·)! S,·ignuIJtls. Ili:fluin! sillcer e de ia nlilia n fr(Hu,clise ( Pari ~, 1932), p. 402.
[B7,' [
MIIITI·lin , tlw fOHlIII"r of u! Yif' Purnienne. hai set forth " the four age1l of the
crinoline." [B7,4)
Till' t' r inuline i:l " the unmiUllkalJle iymbol of reaction 011 the pari of an imperial-
ism tllllt l!preadl! out alUl jluffs ulJ ... ,allli that ... seltiell it'llonUlliun like a hoop
skirt lI\'er oil aspcc,s, good alld bad, j ustified unci ulljn s l ifi.~d , uf the revolu-
lio1ll. .. . It Bet-IlUlII n l'uJlrice flf the 1II0IlU~ III, IIllfJ it has Cl tnblit hed itself as the
t'1IIi1l e nt uf II pI·dud . lilt· thc Secund of Dec~ml.HlI'."'1 F. Th . Visciu'I', cited in
E, III:II'II Fuehs, Dip Knrik(ltur df>r ellrQpiii!Jcherr Volker (Munich <1921» , vol. 2,
.l~ ~ und Ihllt a 8t:Cond cause--the private-capitaliat mode of production, whicb in the
III 1111" ca rl)' 18<10s. t.lwre is a nucleus of modistes ollt be nue Vi" ienlle, [87.6)
Simmcl calls attention to the fact that "the inventions of fashion at the prescnt
limc arc increasingly incorporated intO the objective sintation of labor in the
cconomy... . Nowhere d oes an article first appear and then become a fashion;
nuher. articles arc immduced for the express purpose of becoming fashions.~
~nle contrast put rOlward ill the last sentenCe may be eorrelmed, to a certain
CXICnt. with th.-.t between th e reudal and bourgeois eras. Georg Simmei. Phifruo-
plujt/u: KII/tur (Leipzig, 1911 ). p. 34 (" Die Mode").'} fB7.7J
Sill1l1lO'l "x plaill ~ """"y WIIIIII' II ill jtf' llI'ral are t.h.: ~ l u lI.l\c hl·~ 1 a,lhcn' nt~ IIf fa s h -
j'lII .. • . !'j p.·cili/·a li y: rrolll cliO' w" lIkl1 ':s~ (If the sucia l PII~i lion to w.hil'" WVlIlen have
been COlldcnmed for the grealer part of hi'lory deriveIJ their intimate relatioo with
all that i.!l 'elitIIlCtltl ."· GeorS Simmel , PhilolOI)I,uche Kultur (Leipzig, 19 11 ), p. 47
(" Die MlIdl'''). 11> £87,8]
The following analysis of fashion incidentally throws a light on the significance of
the mps that were fashionable among the bourgeoisie during the second half of
the century. "The accent of atb'actions builds from their substantial center to
their inceptio n and their end. This begins with the most trilling symptoms, such
as the , . , switch from a cigar to a cigarette: it is fully manifest in the passion for
travelin g. which, with its strong accentuations of depanure and arrival, sets the
life of the year vibrating as fully as possible in several short periods. The ...
tempo or modem life bespeaks not only the yearning for quick changes in the
qualitative content of life, but also the force o f the fonnal atb'acUon of the bound-
ary-of inception and end." Georg Sinune1, PhiJruophiJdu! Xu/fur (Leipzig, 1911),
p. 41 ("Die Mode").11 [B7a.l ]
Simmel assertl that kfaahioll! differ for different elassell--tbe falhioo, of the up-
Iw.r strat um of BUcicty are never identical with thOle uf the lower ; in fact , tbey are
ubantlulI~1 by t he former at soon 08 tbe hailer prepares 10 appropriate them."
Ceorg Silnmel , Pllilo50plluclle Kuhar (Leipzig, 191J), p. 32 ("Die Made" )."
[B7a,2]
The quick changing offa-Ihion means " thai falhions can no longer be 10 expensive
... al they were in earlier times .... A peculiar circle . .. arisel here: the more an
article. bet:ome& subjec. to rapid changee of fa shion , tbe greater the demand for
cheap jlrlllluCII of itl kind ; and tbe clieal)C:r they become, the more tbey invite
consumers Hod constrain producen til a quick change of fasbion. " Georg Simmel,
Philusophische Kuitur (Leipzig, 1911), Pl" 58-59 ("Die Mode")." £87a,3]
Fuchs on J h,-,- rillg'l alllliYlis of fllshioo ~ " It must ... be reiterated that the concern
for segrl'gatillg the dallses is only one cause of the frequent variation in faeruons,
i.lllereslli of ii, profil margin must continually multiply the possibilitiea of lurn-
o\'n-is of equal importance. Thill caUlle ha, escaped Jbering entirely, u bu a
third: Ihe fun ction of eroti" stinmilltion in fashion , which operates moal effectively
when the erotic altractiouil of Ihe man or the womao appear in ever new sel-
tillg~. .. It~ ri cdrich \lischi'll'. who wrote IIbout fa shion .. , twenty years before
J htlring, did IInl yet recognize, ill the genesis of fashioll . Ihe tendencies li t wurk to
kecp tlu: c1aSSI:!! Ilividetl ; ... 1111 the olher hand, he wall fully aware of thtl erolic
[Iruhlems of Il rc ~~. ,. EdulI rd fuchs, lflU.Jfrier ,e Siu engeschiclJ le 110m !t1ittelalter
',is zu r Gegelltullrl: Das lIiirgerliche Zei,al,er. enlarged edition (Munich ( 1926 ?~),
PII.53-54 . [B7a.4]
[(IliaI'd Fllchll (lflllMrierfe Sillengelchich re IJQm Miuelulter II", ~ur Gegenwurt:
lJu.J lJiirge rlid.e Zeitu l, er, e.nla r~ed ed .. pp . 56-57) cite8-witJIOut reference.-a
remark !ly F. Th. Vucber, Ilccorrung to which the gray uf men 'a elulhing "ymLfll-
izea tbe " utterly h1101.e'' characler of the masculine wurh.l , its duliJlen IUIII illI:rtia .
IBO, II
"One of tbe sure, t and moat deplorableaYlDptoms of that wf)akne88lo1ud frivo lity or
characte.r which marked the Romantic age was the child ish and fala l nntiUIi of
rejectin,; the deepest undentandin,; of technical procedurell • ... the conllciousiy
lustained and orderly carrying through of a work ... -all for the lake of the
l p<lntaneou8 impuhes of the individual 5eD8ibility. The idea of creating worka of
laating value lost force and gave way, in mOl t mind., to the delire to a~lOnis h ; IIort
wail condemned 10 a whole seriell of brea ks with the past . There arose a n automatic
a udacity, which became.1 ohligatory as tradition b ad been . Finally, that switch-
ing-at high frequ ency---()f the tastes of a given public, which ia called Fashion,
replaced with iu esse.nti.l chlln,;eablt:neu the old hllbil of slowly formin,; styles,
IIchools, and rep utlltions. To aay that Fashion took over the destinies of tbe fine
arU is all much as 10 Bay that commercial interests were creeping in ." Paul Valery,
PieCfJl l ur "art (Pari,), pp. 187-188 (" Autour de Corot").:Q (8 8,2]
"The great al1ll fundameutal revolution has been in conon prints. II has re1luirecl
the conlbilled effortl of acience and art to force rebeUious and lIn,;rate.flli colton
fabri cs to undergo every d ay so many brilliant transformation s and to Il pread
them everywhere. within the reach uf the poor. Every womao used to wear a lJIue or
black dress that she kept for ten yearll without washing, for feur it might tear hi
pi«eII. But now her husband , a poor worker, cover s her with a robe of fl owen for
the price of a d ay's labor. All the women of the people who di~ pl ay an iris of a
thoWiand color s on our promenadea were fonuerly in mourning." J . Michelel, Le
Peuple (Paris. 1846). pp. 80-81.21 {B8.3]
Ult is no lon~e r a rt , as in earlier times, but the clothing businel! thai furnishes the
prolo type of the modern man and woman .... Mannequins become the model for
imitatiun , and the l oul becomes tbe image of the body." Henri Polles, " L' Art du
commer ce," Vendredi, <1 2> (February 1937). Compare tiCI and English fu shioDs
for men . [88.4]
"One can elltimate that, in Hamlony. the changes in fas hion ... and til .. impe rfe('.-
tion8 in llIanufactu rin,; would occasion aD annuaiiosli tlf 500 fra nr.1l per per~tJ n ,
since. even the poon!:st of Harmonian! has II wardrohe of c10thell for e\·er y sell-
SOli • • . • AI fa r us c1ntrullg aud furniture a re f.oncerlled , ... I-I armony ... uims
fo r infinite variety with the leasl possible cUDsumption .... The excellence ur the
products of societary illliustry .. . entail perfection for each ulld every nlDllllrar-
lured object ,lo thai furniture and clothing ... hecome clemu!." <Fourier.) citl'll
ill Armand and Mauhlullc, Fourier (Parill . 1931). vol. 2. pp . 196 , 198. [DBa. I}
"This lasle for mudcrnil Y is devdoped 10 8\1ch an exlenl I.hul 8 audelaire , like
Babal:, ex.teud~ it to the 1II0lti I.rifling details of fa ~ hjon and dreu. 80th writefll
study these things in tb emselv e~ and turn them iuto moral and philosophical ques-
tion s, for these thiD ~ reprellent immediate reality in iu ket:nellt, mosl aggreuive.
anli perhaps m()~ l irrilatin& guiile. but also al il il mosl generally e1t"perienced ."
[Note:] " 8e ~ id el, for Hiludeillire, lhese mallen link UI) with hi~ important theory
of (land yillm. wher e it ill • question. precisely, of murality and modernity." Roger
CailJois, " Paris , m ythe moderne," NoulJf!Ue RelJu.e!ram;aue, 25, DO. 284 (May I ,
1937), p. 692 . [B8a.2}
·'SeD8ational event ! T he belle. da me., one flOe d ay, dec:ide to puff up the derriere.
Quick. by the thousand •• hoop factories! ... But what is a ' imple re~ment on
ilJu5trioua cOCCyxed? A trumpe.ry, no mOn!: ... . 'Away with the rump! Long live
crinolines!' And l udderuy the civilized world turns to the production of IImbuJa_
lory bella. Wby has the fair sex forgotten tbe deli8,hts of band bells? ... It is not
enough to keep one', place; yo u UlWit make lome noise down there .... The qua,..
tier 8rftJa and the Faubourg Saint-Germain are rivals in piety, no leAS than in
"Ias ten and ChignODI. They mi8,ht all well take tbe church all their model! At
ve~pef8, the organ anel the cle(5)' take turna intoning a vene from the P lilims. Tbe
fine lames with their little belli could foUow this e1t"ample, words and tintinnabula _
tion hy turns spurring on the conversation." A.. Blanqui, Critique Jociale (Paris,
1885), vol. I , pp. 83-84 (uLe Luxe").-" Le Luxe" is a Jlolemic against the luxury-
goods industry. [B8a,3]
Each generation experiences the fashions of the: one immediately preceding it as
the most radical antiaphrodisiac imaginable:. In this judgment it is not so far off
the mark as might be: supposc:d. Every fashion is to some extent a bitter satire on
love:: in c:vuy fashion, perversiti~ are suggeste:d by the most ruthless means.
~v~ry fashion stands in opposition to the organic. Every fashion couples the
livmg body to the inorganic world, To the living, fashion defends the rights of the
corpse. The fetishism that succumbs to the sex appeal of the inorganic is its vital
nerve. (B9,1]
Where they impinge on the present moment, birth and death-the fonner
tJu:ough natural cirrumstance5, the latter through social ones-considerably re-
StIlct the field of play for fashion. 1hi.s state of affairs is propc:rly elucidated
through two parallel circumstances. The firs t concerns birth, and shows the
Ilatural engendering of life "overcome" (aJifgehobem by novelty in the: realm of
fashion. The second cirrumstanc:e concerns death : it appears in fashion as no less
"overcome; and precisely through the sex appeal of the inorganic, which is
something generated by fashion. [B9.2J
!he detailing of feminine beauties so dear to the pcKtry of the Baroque, a process
~n which each single part is exalted through a trope, s~tly links up with the
tmage of the corpse. This parceling out of feminine beauty into its noteworthy
constituents resembl~ a dissection, and the popular comparisons of bodily parts
to alabaster, snow, preciow stones, or other (mostly inorganic) fonnations makes
the same point. (Such d ismembemlent occurs also m Bauddaire: "I.e Beau
Navire.") [Bg., )
LippI on IheMoml>er (:6UJI of men'. "Inthing: He think /! that " our gelleral avenion to
hrif;ht colun;. t.'!Ipel·ially in c10thiug (or men , evinc:u very d ea.rly a n oft -uoted
peculiarity of our cha racter. Gray is all theory; green-and not only Veen bUI also
ret! , yeUow, blue-ill the goMell tn:e of life.%: In OUr prediJeclion for the various
sluulell of gr ay . .. rU.llning tu IJlack , we find an unmista kable social reAecriori of
ulLr tendency to privilege t111~ thenry of the fonnalioll of intellect above aU d Ie.
Even lhe heautiful we clln 110 longer just enjoy ; ralher, ... we must finl llubjecl it
tu crilic:iSOI , with the consequence that ... our i pirituallife becomell ever more
cool aud colorless. " Thcodor LipPII, "Uber die Symbulik unserer KJeidung, n Nord
und Sijd, 33 (Bres.lau and Bcrlin , 1885), p . 352. fB9,4]
Fashions are a collective medicament for the ravages o f oblivion. The more short-
lived a period, the more susceptible it is to fashion. Compare K.2a,3. [B9a,!]
Focillon ou the phantasmagoria of fa shion : "Most often , .. it creates hybrids; it
imposes 011 the human being thc profile of an auima). . , . Fashion thU!! illvenlll an
artificial humallilY which is 1101 the pas8ive decora tion of a formal environment ,
but that very environllwnt itself. Such a humanity-b y turns heraldic, theatrical,
raDtastical , architectural- ta kes , all its ruliug principle, the lwetics of ornament,
and what it caUs ' linc' ... i3 llf.:rhal)s but a subtle compromise between a certain
physiological calion . , , aud imaginative design ." B enri Focillon , Vie da /Omlf!'
(Parill, 1934). p. 'lI .:3 [B9a,2]
case, the woman would have btt:n the four-footc=d companion of the man, as the
dog or cat is today. And it seems only a step from this conception to the idea Utat
the frontal encowlter of the two parmers in coitus would have been originally a
kind o f perversion; and perhaps it was by way o f this d eviance that the woman
would have begun to walk uprigbL (See note in the essay "Eduard Fuchs : Der
Sammler und dc=r Historiker.,,)24 [810.2]
" It would .. . be interesting to trace the effects exerted by this 1liSItosilioll tu
uprigbt pOllture o n tbe structure and fun ction of the rest or the body. There it uo
doubt that all the particulal'l of an organic f:.lltity are held logethel' in intimate
cohesion, but with the IIresent state of our scientifiC knowledge we mUllt maintain
that the eXl1'aordinar y influences ascribed herewith to sta nding upright CalUlot ill
fact be proved .. , . No lignificant reperCUll8iOIi can be demonstrated ror tlle struc·
ture a nd (unction of the inner or gans, and Herder'iJ hypothesu--accordillg to
",·hich aU force. would react differently in tbe upright lIostu re. and the blooil
stimulate the nervel differently-forfeil all credibility al Boon all they are r eferred
to differences manifestl y important for behllvior," Bermann Loue, lItikrokol mo.
(Leipzig, 1858), vol. 2, p. 9O.!S [lllOa, l]
A panage from a C08metica prospectus, characterilltie uf the fas hioull of the Second
Empire. The manufacturer recommends "a cosmetic . .. hy mean s or which ladie••
if they .0 dellire. can pve tl.eir complexion the gJon of rose tafreta ." Cit ed in
Ludwif;: Borne, Ce,ammelle Schriften (Hamburg and Frankfurt am Alain . 1862).
vol . 3. p . 282 ("Die Indu. trie--AuuteUung im Louvre"'). fBlOa.21

Thue is hardly another article of dress that can give e."Pression to such divergent
erotic tendencies, and that has so much latitude to disguise them, as a woman's
hat. Whueas the meaning of male headgear in its sphue (the political) is smetly
tied to a few rigid patterns, the shades of erotic meaning in a woman's hat are
virtually incalculable. It is not so much the various possibilities of symbolic
reference to thc= sexual organs that is chic=Oy of interest hc=re. More surprising is
what a hat can say about the rest of the o utfit. H (dc=m Grund has made the
ingenious suggestion that thc= bonnc=t., which is conlemporanc=ow with the crino-
line, acrually provldes men with directions for managing the lanu. Thc= wide
brim of the bonnet is rurnc=d up-thereby dc=monstrating how the crinolinc= must
be mrnc=d up in ord er to make sexual access to the woman c=asiu for the man.
[B1O,l )

For the females of the species 'lOrno Jflpiens-al the earliest conceivable period o f
its existence-the horizontal positioning o f the body must have had the greatest
advantages. II made pregnancy easier for them, as can be dc=duced from the
back-bracing girdJes and truSses to which pregnant women today have recourse.
Proceeding from this consideration, one may perhaps venrure to ask : Mightn't
walking crect, in general, havc= appeared earlic=r in men than in. womc=n? 10 that

[Ancient Paris, Catacombs, Demolitions,
Decline of Paris]
E.a.oiy the way that leads into AVl!nlUS.
_Vu-gil l
Even the automobiles have an air of antiquity here.
-GuillaulUe Apolli.uain-!l
How gratings-as allegories- have their place in hell . In the Passage Vivienne.,
SQllptllI'C.S over the main entrance representing allegories of commerce. ICI ,I]
Surrealism was born in an arcade. And under the protection of Whal muses!
ICI .'I
The father of Surrealism was Dada ; its mother was an arcade. Dada, when the
two first mel, was already old. At the end of 1919. Aragon and Breton, out of
antipathy to Montpamassc and Mon~, transferred the site of their meet-
ings with friends to a cafe in the Passage de I'Opera. Construction of the Boule-
vard HaUsSlllatlli brought about the demise of the Passage de 1'0pera. Louis
Aragon devoted 135 pages to this arcade; in the sum of these three digits hides
the number nine-the number of muses who bestowed lheir gifts on the new-
uOn! Su rrealism. They are named Luna. Countess Geschwitz, Kate Greenaway,
Mors. Cleo de Me.rode, Dulcinea, Libido, Baby C3dlffil, and Friederike Kemp-
ner. (Llstead ofCoumess Geschwitz: lipse?')l le i ,3J
C:.shil·" u~ Ounnt'.
Pausulliug 11I·ndUl·.·.1 hi,; lopoj;:raphy of Crt.'t!Ce arollllli A.D. 200, a l u time whell the
"'ult lI ih'~ lind nmlly htiler mUI1UIllf'nlll ha.l Legull 10 filII inln ru in.
Few lhulgs Ul the hiswry of humanil'Y are as wcU known to us as the history o f
Paris. -tens of thousands of volumes a rc dedicated solely to the investigation of
this tiny spot on the earth's surface. Authentic guides to the antiquities of the old
Roman city-Lutetia Parisonun-appear as early as the sixteenth cenrury. The
catalogue of the imperiall.:ibrary. printed during the reign of Napoleon Ill, con-
tains nearly a hundrt:d pages under the rubric "Paris; and this coUection is far
from complete. Many of the main thoroughfares have their own speciaJ litera-
ture, and we possess written accounts of thousands of the most inconspicuous
houses. In a beautifuJ tum of phra.!!e. Hugo von Ho&nannstha1 called <this city~
"a landscape: built of pure: life." And at work in the attraction it exercises on
pc:ople is the kind of beauty that is propcr to ~at landscapes-mort: prt:cisely, to
volcanic landscapes, Paris is a counterpart in the social order to what Vesuvius is
in the geographic order: a menacing, hazardous massif, an ever-active hotbed of
revolutiolL But just as the slopes of Vesuvius, thanks to the layers of lava that
cover them, have been transfonned into paradisal orchards, so the lava of revolu-
tions provides uniquely fertile ground for the bloS!oming of art, festivity, fashion.
o Fashion 0 (e l ,6J
Balz.ac has secured the mythic constitution of his world through precise topo-
graphic contours. Paris is the breeding ground of his mythology-Paris with its
two or three great bankers (Nucingen, du Tillet), Paris with its great physician
H orace Bianchon, with its entrepreneur cesar Birotteau, with its four or five
great cocottes, with its usurer Gobseck, with its sundry advocates and soldiers.
But above all-and ~ see this again and again-it is from the same streeu and
comers, the same little rooms and recesses, that the figures of this world step into
the light. What else can this mean but that topography is the ground plan of this
mythic space of tradition (Traditionsraum>, as it is of every such space, and that it
can become indeed its key-just as it was the key to Greece for Pausanias, and
just as the history and situation of the Paris arcades are to become the key for the
underworld of litis cenrury, into which Paris has sunk. (el,7]
Th construct the city topographically-tenfold and a hundrt:dfold-from out of
its arcades and its gateways, its cemeteries and bordellos, its railroad stations and
its ... , jUSt as formerly it was defined by its churches and its markets. And the
mort: secret, more deeply embedded figures of the city: murders and rebellions,
the bloody knots in the network of the streets. lairs of love, and conBagrations.
o Flineur O [et,S]
Couldn't an exciting 6lm be made from the map of P-d.ris? From the unfolding of
IC !.4] its various aspects in temporal succession? From the compression of a centuries·
long movement of streets, boulevards, arcades, and squart:S into the space of half
an hour? And does the flineur do anything different? [J Aineur 0 [el,9J
le i ,5J
"1'''' o81eps from the Palais-Royal. between the Caur dell Fontaine! and Ihe Rue
NeuYe-d eM-Boltll-Enfanta , there it a dark a nd lorluou.; lillie arcade adorne.l Ll' II
puLIir. 8cribe lind a greengrocer. It could restmLle the CIIYI: of Caeu8 nr of Tro-
 plwniu8, Lui it cuulll never rt:!lembl~ an arcade---evl!o with 81)(Jd wiD and gu
light.iu.@j:'<Allrt.·(hOdvllu . Le,DeuQIj.$ de Pori! ( Pam. 1860), VP . 105- 106.
{CIa, I]
One knew of places in ancient Greece where the way led down into the under-
","Orld. Our waking existence likewise is a land which. at ccnain hidden points,
Ic:aru down imo the underworld-a land full of inconspiruow places front which
2 dreams arise. AlJ day long. suspecting nothing, we pass then by. but no sooner
.g has sleep come than we are eagerly groping our way back to 105(: ourselves in the
1 dark corridors. By day, the labyrinth of urban dwellings resembles conscious-
ness; the arcades (which are galleries leading into the city's past) issue Ulltt·
1
marked onto the stJ'ttts. AJ. night, however, under the tenebrous mass of the
houses. their densa darkness protrudes like a thrat, and the nocturnal proes-
trian hurries past-unless, that is, we have cnboldened him to tum into the
narrow lane.
~ But another system of galleries runs underground through Paris : the Mttro,
where: at dusk glowing red lights point the way into the underworld of names.
J Combat, Elysee, Georges V, Etienne Marcel, SolfCrino. Invalides, Vaugirard-
they have all thrown ofT the humiliating fetters o f street or squan:::, and here in the
lightning.scored, whistle· resounding darkness are transfonned into m.isshapol
sewer gods. catacomb fairies. This labyrinth harbors in its interior not one but a
dozen blind raging bulls, into whose jaws not one Theban virgin once a year but
thousands o f anemic young dressmakers and drowsy clerks every morning must
hurl themselves. 0 Street Names 0 Here, underground, nothing more of the colli·
sion, the intersection, of names-that which aboveground fonos the linguistic
network o f the city. H ere each name dwells alone; hell is its demesne. Amer,
Picon, Dubonnet are guardians of the thrahold. [Cla.2)
" Doet!n't c"t-r )' qua rtier have its true apogee some time before it il rully built UI)?
At thai point itl planet detJcrii>ea a curve as it draWl Dear bUlinesses, tint Ihe J a r~
and then the smaU. So l on~ 18 the street is l till somewbat new, il belong! to the
conunon people; it gelS d ear of them only when it is smiled on hy fashion . Without
naming pricel, Ihe intcre8loo parties dispute among Iheffisclvel for the right. to
the 8maU houliel lUld the apartment •• but only 80 long all the beautiful women, the
ont"1 willa the radiant degance thai adorns not only the salon hut the whole IlI)uae
and eVfl.1I the streel , conlinue to hold their receptions. And shouJd the lady bef;ome
II pedelilriu li . I he. will wa nt some "ho,, ~. and often the etreet must pay nol a little for
u~'ceJill g t.oo quil·kly to Ihi ~ wi~ h . Courtyards are made smaller. and man y are
t!lItirdy dOIll' away with : II.e housell drllw do~er together . In the cud . Ihere cornell
a New Year ', I)ay WIIl! 1I it is cUlisidered Lad furm tn lIa" e SIII:h all IlddrelS on one's
visiting ,·a"l . By tllt!1I the majority of tcuau Ls ar.. hllsinenes mdy, aml lhe gateway"
of till' ncighhol'i.ond 11 11 longt'r ha\'l' IlIIleh to IO!le if !lOW and again tbey furnish
asylum for olle of the ~ III It U I radeH I~o"le whlllie millera hle stall, have replact!(l the
~ ho p s ." ~C harl j>". ufeuve. us Ancil'rme. MaUQrlS de Po rn .01lS NUlloleon ffl
(Pari, II ml Brllllllclt. Una ). vol. I. II. 482 . ' D Fallhiuu 0 (C h.3]
It is a sad testimony to the lmderd eveloped amour-propre of most o f the gKat
European cities thai so very few of them-at any rate, none o f the Geml3l1
cities- have anything like the handy, minutely detailed, and durable map that
exiSts for Paris. I refer to the excellent publication by Taride, with its twenty.two
maps of.aU the Parisian ammdusrmmlJ and the parks ofBoulagnC' and Vmcenna.
Whoever has stood o n a st:n=etcom er o f a strange city in bad weather and had to
d.eal with one of those large paper maps- which at every gust swell up like a sail,
np at the edges, and soon an::: no mon= than a liu..le heap of dirty colon=d scraps
with which one tomlen ts o neself as with the pieces of a puzzle-learns from the
stud y of !lIe Plan 1im'tk what a city otap can be. People whose imagination docs
not wake at the perusal of such a text, people who would not rather dream of
their Paris experiences over a map than over pho tos or travd notes, are lx:yond
help. [Ch.,4]
Paris is built over a system of caverns from which the din of Metro and railroad
mounts to the surface, and in which every passing omnibw or ouck sets up a
prolonged echo. And this great technolo gical system of tunnels and thorough-
fares interconnects with the ancient vaults, the limestone quarries, the grottoes
and catacombs whlch, since the early Middle Ages, have time and again been
reentered and traversed. Even today, for the price o f two francs , one can buy a
ticket of admission to this most nocturnal Paris, so much las expensive and less
hazardous than the Paris o f the upper world. The Middle Ages saw it differently.
Sourcc:s tell us that then= were clever persons who now and again., after exacting
a considerable sum and a vow o f silence, undertook to guide their fellow citizens
underground and show them the Devil in his infernal majesty. A financial ven-
ture far less risky for the swindled than for the swindlers : Must not the church
have considered a spurious manifestation o f the Devil as tantamount to blas·
phemy? In ather ways, too, this subterrnnean city had its uses, for th~ who
knew their way around it. Its streets rut through the great rustoms barrier with
whi~ the F~ers General had secured their right to receive duties on imports,
and m the sIXteenth and eighteenth cenruries smuggling operations walt on for
the most pan below ground. \I\e know also that in times o f public commotion
mysterious mmors travded vcry quickly via the catacombs, to say nothing of the
prophetic spirits and fortunclellcrs duly qualified to pronounce upon them. On
the day after Louis XVI Bed Paris, the revolutionary government issued bills
o rdering a thorough search of these passages. And a few years later a rumor
suddenly sp read through the population that cenain areas of town were abou t to
-~ ~,I)
'Ii, 1'e,'OflstrUCI the cit y allio rr~1I1l illljorlftline8 (spri ngs. wells). "SUIRt! strct!l~ bave
prciicrved tht'llc ill lIa nll:. ahhough the most eeichr.!lle(1 amun!; Iht'.rn . dlt~ Pllits
t
I'AIIIUllr <W{·U of Lt.",j' l . wlud.
. wa ~ IUCIlIt.-d nol filr from the Innrketplllf'e on Ihe.
Hue d e la Trl1ll./ul t·ri~ ·. l.n8 h'~11 Ilri ~'tl . fiJI ". tI UJI, and sfllootlu:t1 over wil hulIl II trRee
r,·mai,ung. lIe lll.'e, lilt'r.-- is hunlly anyl hing I~· fl of the t:<:hoillg "" eUIi which iI"'-
\'id pd a name fur the Hlle du l'uitJi-q lu-Pllrl". or of tJUl wells whjeh tIn! tanner
Adam-I'flermite h lld dug in the quarrier Saint-Victor. We have known the RUe! de
l' uits-MaIlCOD8eil , du Puils-de-f 'er, du Puite-dll-Cha"itn:, du Puits-Ceri llin . du
BOD-PuilS . lind fln aUy tJ,C Huc du PII.iU, wlliclt, afler being the Rue du Bout-du-
Monde . lwcame the Impaslie Saillt'-C l a lld~l onlm a rtre. The marketpi llce weu',
t,he bucket-drawn IO'CUS. tJle wllter carrien a re all giving way 10 the public wells,
a ll~1 our children, who will easily draw water even on the hlp Aoon of the tallest
huiltlingJ'l in Paris, will be amazed thai we have preserved Cor 80 lon« tJlese primi-
ti\'t~ means of supplying one of hUDlankintl's mo ~ t imperious nl.."eds," Maxime du
Camp. Pl.l rU: Sea urganef. sef!onctiuflf el sa vie (Parill, 1875), vol. 5 .11. 263.
[C' ,'j
A different topography, not architectonic but anthropoce:ntric in conception,
could shmv us all at once, and in its true light, the most muted quartier: the
isolated foum:enth arrondis.umml. That, at any rate, is how JulesJanin already
saw it a hundred years ago. If you wuc= born into that neighborhood, you could
lead the: most animated and audacious life without ever having to leave it. For in
it are found, one afte:r another, all the buildings of public misc=ry, of proletarian
indigence. in unbroken succession: the: birthing clinic, the orphanage, the hospi-
tal (the famous Sante), and finally the great Paris jail with its scaffold. AI. ni~
one sees on the narrow unobtrusive: benches-not, of course, the comfortable
ones found in the squares- men stretche:d out asleep as if in the waiting room of
a way station in the: course of this terrible joumey. [C2,3J
Th~ are architectonic e:mblems of commerce: steps lead to the apothecary,
whereas the: cigar shop has taken possession of the comer. The: business world
knows to make use of the thrc=shold. In &om of the arcade, the skating rink, the:
swimming pool, the railroad platfonn, stands the tutelary of the threshold: a hen
that automatically lays tin eggs COntaining bonbons. Next to the hen, an autO--
mate:d forruneteUer-an apparatus for stamping our names automatically on a
tin band, wlUch fixes our fate to our collar. [C2 ,4!
tn old Paris. there were executions (Cor exaoll.le, by hanging) in the olHm street .
[C',5j
Rodenber g .'! IJea ks uftbe "stygian existe.nce" or certain wOrthlC88 8eCllriti~ uc.b
a~ /ihare& ill die Mires fUIIlI - which lire 8 ~,ld by the "~ ruli ll -time crooks" of Ihe
Stock Ext'lIange ill the hOlte of a " Culu n! restlrr«Lion hrou~h l to Ila88 by the day's
market Iluotation,." Juliu8 Rodenherg, Pa ris bei Sormen$chein ,HId Lompenlicht
(Ucrlill. 1867 ), PI'. 102- 103. [C2a,1]
Conscrvativc= tendency of Parisian life: as late as 1867, an entrepreneur conceived
the: plan of having five hundred sedan chairs circulate throughOut the ciry.
[C2a,2]
Conccm.illg the mythological lOpography of Paris: tJle character gi~n it by its
gales. lJ11portant is their duaJiry: borde:r gates and triumphal arches. Mystery of
the boundary stone which, although located in the heart of the city, once marked
the point at which it ende:d.-On the other hand, the Arc de: Triomphe, which
today has become a naffic island. Out of the fidd of experience: proper to the
threshold evolved the gateway that transfonns whoever passes under its arch.
The Roman victory arch makes the: returning gene:ral a oonque:ring hero. (Ab-
surdity of the rdie:f on the inner wall of the arch? A classicist misunde.rstanding?)
lC2a.31
The gallery that Ic:ads to the Mothers' is made of wood. Likewise, in the large-
scale ralovabons of the: urban scene, wood plays a CODS Lant though evc=r-
shifting role: : amid the modem traffic, it fashions, in the wooden palings and in
thc= woodm planking over open substructions. the image of its rustic prehistory.
o Iron 0 [C,.,4j
.. It is the obscurely ruinK dream of northerl y ' treeu in a big city-nol only Pari"
perhap8, hut al, o Berlin and the largely unknown Lonnon---obllcurely rilling, in a
rainlen twilight that is nonetheleu damp. Tbe streett grow n arrow and the hou,"
right and left draw closer to«ether ; ultimately it become.'! aD a rcade witb grimy
shop windows, a gallery of glass, To the right and left: Are tholle dirty hilltros, with
waitresse. lurkin« in black-and-white silk blouses? It sLinu of cheap wine. Or is it
Ihe ga ri, h vestibule oCa bordello? As I advance a little furth er, h owever, I see on
both sides amall summer-green doon and the rusLic window sbutters tbey call
voleu, Sitting there, little old ladie• • ~ spinning, and throu«h the windows by the
somewbat rigid flow ering plant , a8 though in a country garnen, I see a fair-, lUnned
yOUDg lady in a gracioua apartment , and she sings; 'Someone is ' pinnin~
, ilk .... , .. Franz Hessel. manUicript . Compare Strinditerg, '"Tbe Pilot', Triah .--
[C2a,S]
At the mo-ance, a mailbox : last opportunity to make some: sign to the: world one:
is le.aving. [C2a.6]
Underground aigbtleeing in tbe sewers. Pref erred r oule: Ch iitelel- Maddeine.
[C2a.7]
"'The rulOS or the Church and of the aristocracy, of feudalisnl. ur the Middle Agefi.
are sublime-tJley fill lhe wide-eyed victur' oC tod ay with admiration. Bul tJle
ruins of the bour!wisie will be a n ignoble ddrillil oC pasteboard . plllSter, anti
coloring," (Honore lie Bab ae and other authors ,) l..e Diable (i Par~ (l'P ris, 1845).
vvl. 2, p. 18 (Balzac. "Ce qui map unil de Paris"). 0 Collector 0 iOa.S!
... All this, in our eyes, is what the arcades are. And they were nothing of all this.
"It is orny today, when the pickaxe: menaces them, that they have at last become
the: uue sanctuaries of a cult of the: ephemeral. the ghostly landscape of damnabk
pleasures and professions. Places that yesterday were incomprehensible, and that
tomorrow will never know." Louis Aragon, Le POJlan th Poro (Paris, 1926),
p. 19.' OCollector O lC2a,9]
 Sudden past of a city: windows lit up in expectation ofChristtna! shine as though
their lights have been burning since 1880. [C2a, IO)
The drt:am-it is the earth in which the find is made that testifies to the primal
history of the nineteenth cmtury. 0 Dream 0 [C2a,ll)
Reasons for the decline of the arcades: widened sidewalks, dearic light, han on
.~ prostitution, culturt: of the open air. [C2a,12)
1 The rt:birth of the archaic drama of the Grt:eks in the booths of the trade fair.
TIle prefect of police allows only dialogue on this stage. "This third character is
1
~
mute, by order of Monsieur the Prefect of Police, who pennits o nly dialogue in
theaters designated as nonresident." Gerard de Nerval, u Cabaret de fa M"e
Sagflt t (Paris d927)), pp. 259- 260 (<OLe Boulevard du Temple autrdois et
aujourd'hw"). [Cl,l]
j At the entrance to the arcade, a mailbox: a last opportunity to make some sign to
the world one is leaving, [C3.2]
The city is onJy apparently homogeneous. Even its name takes on a different
sound from one disaiCllO the next. Nowhere, unless perhaps in dreams, can the
phenomenon of the boundary be experienced in a more originary way than in
cities. To know them means to understand those lines that, nmning along:side
railroad crossing! and across privatdy owned lots, within the park and along the
riverbank, function as limits; it means to know these confines, together with the
enclaves of the various districts. fu tluuhold, the boundary stretches across
street.'l ; a new precinct begins like a step into t..ht: void-as though one had
unexpectedly cleared a low step on a fiight of stairs. (C3 ,3)
At the entrance to the arcade, to the skating rink, to the pub, to the tennis coon:
pnuutJ. The hen that lays the golden praline-eggs, the machine that StampS our
names on nameplates and the other machine that weighs us (the modem gnotIJi
~a u ton)/ slot machines. the mechanical fortunetdler-thesc: guard the threshold.
They art' generally found, it is worth noting, neither on the inside nor truly in the
open. They protect and roark the transitions ; and when one seeks out a little
greenery on a Sunday afternoon, one is rurning to these mysterious Pentltt J as
well. oDream House 0 Love 0 [C3,4]
The despotic terror of the hand bell, the terror that reigns throughout the apart·
ment, derives its force no less from the magic of the threshold. Some things shrill
as they art" abollt to cross a threshold. But it is strange how the ringing becomes
melan choly, like a knell, when it heralds depanure-as in the Ka.iserpanorama,
when it starts up with the slight tremor of the receding image and announces
another to come. 0 Dream House 0 Love 0 lea.5)
These gateways- the entrances lO the arcades-are thresholds. No stone step
serves to mark them. But this marking is accomplished by the expectant posture
of the handful of people. Tightly measured paces reflect the fact , altogether
unknowingly, that a decision lies ahead. 0 Dream House 0 Love 0 (C3.6J
Olher t!tlUrlli of nLiradf'1j be8i<it:!! Ihe one in Ihe Pau age du Caire that ill t:elebrutcd
if.! Notre·Dame de p(lri~ <The ElLlLlchback of Notrt' Dame.) " In the aid ['oris neigh-
horltood of tile Marais. 011 the Rue del! TourneUee. lire tbe Palisuge ami the Cour
drs Miracleli. Tl!ere were other CQtlrs de. lIIir(lck~ tilL the Rue Saini-DelLis, the Rue
tlu U:II' . Ihe Rue de Neuill y. Ihe Rue ties CO<luilles, the Rue tie la JUl!8ie.lltle, the
Hue Saint-Nicaue, an ti the promOlltory of Saint-Roell." (Emile de> Lab&lolliere
J/iJtoin!. (des enviro"n dll. " OltVenu Pnri.'! (Paris <1861'1» , p. ;n . [The hiblicai
plj u agcs afler which these courlll were nametl: Isaiah 26.1--5 and 27.J
In referellce 10 Haul;smnDn', successes \o\' ith the water supply and the drainage of
Paris: "The poetl would say Ihnl lIaU8 ~ mann was inspiretl mOl'e by the divillities
below than hy the god, aIHlve.·' Lucien Dubech and Pie!.'re d'E' pezel, Jli&toire de
(C3,7J
It.ri.s (Paris, 19'26), p, 418. [C3,8]
Metru. "A greal Illany of the 8tatiulls ha ve been given IIbsurd lJaDle!. The WONI
8t't!JIIS 10 beJollg 10 the one al tbe corner of Ihe Rile 8repaet and the Rue Sailll-
Slihin, which ultimalely joined together, in the ahbreviation 'BregueI4Sahin ,' the
name of a watcbmaker and Iht'l nume of a saint. " Dubech and d ' Espezei. Jlutoire
de Puri.s. II. 463, [C3,9]
\!\bod an archaic dement in street construction : wooden barricades. [C3, IO]
June In~ urrettion, " Must of Ihe prisoners were Iransferred via the 'Iuames and
Sublerranean pusages which Itrt 10cate,1 uliller the fortsuf Parill, anti wlLich are ~1I
t'xh'nsh'e that IlaLr Ule populaliun of the city coultillt! conlailletl there. The cold in
th(:;;e underground cllrridorl is so inlen8e that man y bad 10 run continllaUy or
mov(" Iheir urmli ailoltllo keel' frOIll freezing, amino olle dart.'(llo lie down 011 tht:
cultl ato nes . ... The prisollerli gave aU tbe pau ages namt's of Paris lIrt:eIJl , and
whenever they mel olle a.ll olher. Ih(:y exchanged addrcsses," [npander,
<Cesr.hichte tif'f fnlll::ij~i$cI"m Arb",ile ,-..AII5Ol!illtiotlen (HIlIllIJUrg, 11:1(1)), "'01. 2,
I'p . 3 14--315. [C3a.IJ
"The Paris slOIlt: (IUa rrics art· u.11 inlcn:oIlIlCt·tffl . .. . 111 s(" 'eral place" pilJars hU\'e
" CI'1t $d IIjJ 1i0 Ihul Ihe t'Oor !Iuel! lIot ea ... e in. 1Jl olher places Ihe waU" ha ... e beell
rj·inforcctl . Thc!le walls forlll long passages untler the ea rth , Jjke n arruw "trt.'i'tll.
0 " several Jlf thCIII , ul Ihe eml , numberli have hCi'1l illllt'riht'd 10 J)rcv"nl wrong
tUI·It ~ , !Jul willlOul II guil1(' olle ~ lIot • . . likely 10 "'{'l1l11l'e into Ihclle cxIIUU~If'd
,,,·!tlltS of limeslollt' ... if olle Joes nol wi ~ h , . . 10 ri ~ k iltarvatioll. "'-."'1'111' legl'",1
a{'cunljJlg tn whit'h ulle can $t'f' the litll rli hy tl uy frilln llat· Illllhl·b of tilt Parili
tlll llrri('8" lll'iginlltctl ill all old mille shaft " I.illit was cllveretl OVt'r UII til<' s urface by
a Btunc 81ab in which there ts a Bma ll hole .ome Hi" millimeten in lIiameter.
Through thill holt", the daylight . hines into the gloom below Like a pule , tar." J . F.
lJt"II 7.~nbc rg. Briefe gellchrieben flilf d fl flr Reise n.ach Pari, (Dortlllund , 1805),
Yol. I, PII . 207-208. (C3a,2]
" A tbing which 8nlOkellllllli dllcked on the Seine, making the noise of n 8wimming
dog, wcnl allli came benealh the windows of the Thilerics. from the Pont Royal to
tht' Pont Lollis XV; il was II piece of mechllnism of no grellt yallle. II sort of toy, the
daydream of a yillionary. a Utopia-a 8teamboat. The Parisian8 looked upon the
uBeless thing wit h indifference." Victor Hugo, Les Misernbks, p art I.' cited in
NalJar. Quondj'elais photographe (paris d9O<h). p . 280. [C3a,3)
"As if an enchanter or lI @tage nlanager, atthe tirstpeal ofth e whisl1e fromthe fiut
IO(,IImotiYe. g.llve II Bignal to aU things to awake and take flight. " Nadar , Quond
j'etllu pho,og rtll,he (Puria), p . 281. [C3aA]
Characteristic is the birth of one of the great documentary works on Paris-
namely, Maxime Du Camp's Paris: SeJ orgarU:J, JU foru.tiOIU et Ja uie dafIJ fa
jecoTlde moilit du XIX' siede, in six volumes (Paris, 1893-1896). About this book,
the catalogue of a secondhand bookshop says: "It is of great interest for its
documentation, which is as exact as it is minute. Du Camp, in fact, has not been
averse to trying his hand at all sorts of jobs-perfonning the role of omnibus
conductor, street sweeper, and sewerman-in order to gather materials for his
book. His tenacity has won him the nickname 'Prefect of the Seine in partibw,'
and it was not irrclevant to his elevation to the officx of senator." Paul Bourget
describes the genesis of the book in his "Discours acad6nique du 13 juin 1895:
a
Succession Maxime Du Camp" (AnlhologU de l'Acadimie Franfiliu [Paris, 1921),
vol. 2, pp. 191- 193). In 1862, recotUlts Bourget. after experiencing problems
with his vision, Du Camp went to see the optician Secritan, who prescribed a
pair of spectacles for farsight~. Here is Du Camp: "Age has gotten to me. I
have not given it a friendly welcome. But I have submitted. I have ord~d a
lorgnon and a pair of spectacles." Now Bourget: "The optician did not have the
prescribed glasses on hand. H e needed a half hour to prepare them. M . Maxime
Du C amp went OUI to pass this half hour Strolling about the neighborhood. He
found himself on the Pont Neuf. ... It was, for the writer, one of those moments
when a man who is about to leave youth behind thinks of life with a resigned
gravity that leads him to find in all things the image of his own melancholy. The
minor physiological decline which his visit to the optician had just confirmed put
him in mind of what is so quickly forgonen : that law of inevitable destruction
which governs everything human .... Suddenly he began- he, the voyager to the
Orient, the sojourner through mute and wury wastes where the ~ and consists of
dust of the dead- to envision a day when this to\\'O, too, whose cnormou~ breath
now filled his senses, \\-'Quld itself be dead, as so many capitals of so many
empires wen:: dead. TIle idea came to him. I1mt it would be extraortlinarily inter-
esting for us 10 have an exact and complete picrure of an Athens at I1le time or
Pericles, of a Carthagc at the time of Barca, of an Alexandria at the time of the
Ptolernies, or a Rome at the time of die Caesars . . .. By one of those keen
intuitions with which a magnificent subject for a work Bashes before the mind, he
clearly perceived the possibility of writing about Paris this book which the histo-
rians of antiquity had failed to write about their towns. H e regarded anew the
spectacle or the bridge, the Seine, and the quay.... The work ofhis mature years
had annoWlccd itself." It is highly characteristic that the modern administrative-
technical work on Paris should ~ inspired by classical history. Comp~ funhc:r,
concerning the decline of Paris. Uon Daudet's chapter on Sacrt Coeur in his
ParU viw (Experiences of Paris~. '· lOl)
T he following remarkable sentence from the bravura piece " Pari. ltOuterrain ," in
Nadar ', QU-lmd j'elGis photogrflphe: ';11l hill hutory of sewer8. written with the
genial pen of the puct IlI ntJ pitilo80pller, Hugo ment.ions at ODe poillt (after a de-
icr iptioD that he hall made m ure sti rring than a Ilrama) that , in China, not a single
peasallt return! hurne , after !elling hi! vegetable! in the city, without bearing the
heavy load of an enormous bucket fiU eil with precious fertilizer" (p . 124).
[C4a,11
Apropo! of the gatea of Paris: " Until the moment yo u saw the toll collector appear
between two columns, yo u could imagine yo urself before the gatel of Rome or of
Athens." Biographie univerJeUe onciellne et moderne. Dew edition puilLished un-
der the.directiuD of M. Michaud , vol. 14 (Paris, 1856), p. 321 (article by P.}O~ L.
FOlilaille). [Ola,2]
" In a book by Theophile Gau tier. Caprices e l ::i&;:ogs, I find a curious page. 'A
great danger threatens us,' it says. ' The modem Babylon will not besmasbed like
the tower of Lylak ; it wi1l not be 108t in a lea of asphalt like Pentapow , or buried
under the sand like T hebes . It will simpl y be depopulated alltJ ravaged by the rail
of Montfaucon .· Extraordinary vilion or a vague Lut prophetic dreamer! And it
bas ill essence proven true .... The r ail of Montfaucon .. . have not entJangered
l'uris; Hall8smann 's a rll of embelli! hment have driven them off .... But from the
height! of b1ontfaul!on the proleta r iat have descended, a nd with gunpowder ami
petroleum they h ave begun the destruetioll of PllIri&which Gau tier foresaw." Max
Norda u . Am den! wahren Milliardtmiomle: /t,ruer Studien und Bilder (Leipl.ig,
1878), vol. I. pp. 75-76 ("Otlllt: yille" ). (C4a.3]
In 1899, during work UII the Mi tro , foundu tions of a tower or the Bastille ""ere
discovered on the Rue Saillt· Antoillc. Cuhinet des E6 tamJlt'~. (C4a.41
Halh of wille: "1 'lw warehouse, which cOllais18 plllrLly of ya ults for the spi('its and
partly of wine cellars dug ou t of 8tone. forms ... , as it wt'rt:. a city in which the
streets bear the na me, of the lIIost importa nt wine regions of France." Achl 'fage in
Paris (Paria, July 1855), pp. 37-38, IOla,5)

" The cellura of till: Cure Anglaid ... extend qllite .. dialllllr,e lIuder IllIl boul.wards.
furming the mual COUlI)licated d efil es . Tlu~ manllgement took the trouhle to divide
them int o IItreets .... You hu ve the Rue du Buurgogne, the Ru(' dll 80rd,·aux. du:
Rue .Iu Bculllle, the Rile de I'Ermitage, the Rue {Iu Chamoortill , the "rll88road8 of
.. . TOllneullx . You come. to a cuol grotto ... filled Wilh &hellfllih .. . ; it is the
grollo for the willel of Champagne .... Tbe great lords of bygone tluys conceivl:d
the idea of dining in their stables . ... Bllt if YOII wa nt to dine in II really eecentric
falihion : uiue nt lei caws!" Tuile Delord , Paris-vive14r (Pa ris. 1854), lIP' 79--8 1,
83- 84. {C4a,6]
" Relit assured that when Hugo 8aw a beuar on the road •... he I\aw him f()r what
be i ~, for what he really i8 in r eality : tbe ancient mendicunt , the ancient l upl'li-
cu nt , ... on the uncient road . When he looked at a n,arLle 81ah 011 Olle of lIur
mantle picc:t:8. IIr u cemented brick in one of our modenl chimneys, he saw it for
whal it i8: the slone of the hea rlh . The andellt hearthstone. Whell he looked al a
door to Ihe8trcel . a nd at a doorstep , which is us ulilly of cut slone. he di BtiugWsh..-d
clellrly on Lbi B 810ne the ancient line, the sacr ed threshold, rur it is one IIlId the
same line, " Charles Pcguy. Oeuv,.es completes. 1813-1914: Oeuvres e1e prose
( Pari.!! , 1916). PP ' 388-389 ("Vietor· Marie. Comte Hugo") . [CS, I)
aThe wine 8hol's of the Fauhourg Antoine resemble those tll\'crIlS on Mount
A,·cntinc. a bove. the Sibyl '8 cave, which communicated with thc dj~p and 8acre<!
aff!atuiI; tavern8 whou tables were almos t tripotls . and where men drank what
Enniu!! calls ' the l ibylline wine. ,,. Victur Hllgo, Oeuvre! COm lJfetes. IIOVelS , vol. 8
(Pari8, 1881 ), pp. 55-56 (Le8 Miserable! . part 4). 11 [C5,2]
'1'ho.l!e ""ho have traveletl ill Sicily will remember the cele brated convent ""here,
as II re,uit of the earth ', capacil y for drying and preseuing bodies, the monks at II
certain time or year can deck out in their ancient regalia all the gra ndees 10 whom
tllt': y ha ve accordetlthe hospilality of the grave: ministers. POIH!s. ca rdinal ~. war-
riors. untl kings. Plocing them ill two row!! wi thin their s pacious catacombs , they
allow tim Imblic to pau between these rows of skeletons . . . . Well , this Sicilian
convenl givcs U il an image of our society. Under t.he pompou s garb tha t adorns our
a.rl and litera ture. no heart beats-there are only dead mell , who gaze at yOIl with
staring t"yes. luSIerle5s lind cold. when you ask the century where Ihe inspiration
is. wherc tbc aru, where the lilerature. " (Alfred) Neltement , Les Ruin C:If morale!
et i"/ elle(; tue lle~ (pari~ . Octohcr 1836). p . 32. This 'lilly be compared with HIIgo'5
··A l'An: d ~ Triolllplle" (If 1837. (CS.3]
Th" IU511wu chapters of U'>o Claretit" s Pari$ 11epllu !e.r origine& jllsf/" 'e" 1'0" 3000
( Paris. 1886) an' cntitled " The !tllin8 of Paris" and "The Yea r 3000. ,. Tile first
COlltains II I'aroplirast: or Victor Hugo's verses on the Arc de Triompill" The 8l'colI(1
rel'rodu ce~ a lectll.re un the alll.iquilies of Paris tllat are prClJervetl in the fal110us
" Acad;;'mie de Floluima .. . lOCated in La Ceoel'ire. This is a new co'n tinent ...
dillc(Jvered belwee.n Ca lH! Horn and the lIouthern territories ill the yea r 2500"
(p.347). (C'.'J
" There was . at the Chatelet ,le Paril, a broad 10llg cellar. This cellar was eight feet
{Ieep below the level of the Sdne. It had ueither wi.ndows nor ventilators ... : men
couJd enter, but ai r could nOI . The cellar had fur a ceiling a stune arch, and for a
floor. ten inchetl of mud .. . . Ei~t feet above the fl oor. a lOllS manh'e hellm
crossed tbis vault rrom side to Bide; from this beam there hUllg, at illtervaill. chains
... and at the end of thelle chain8 there were iron collar,. Men condemned to th t'.
galleY8 were put into tltis cella r until the day of tbeir de parture for Toulon . They
were pus bed un.ter this timber. wbere eacb bad his iron 8winging in the darkness,
waiting for him . . . . In order to eat. they had to draw tht'.ir bread, which was
thrown into the mire, up their leg with their heel, ~'ithin reach of their band ... .
In tills hell-Bepuleher, what did they do? What can be done in a sepll1cher: they
agollized. And what can be done in a hell: they 88ng .... In this cellar, almost all
the argot song8 were burn. It is from the dungeon of the Grand Chatelet de Paris
that the melancholy gaUey refrain or Montgomery come8: ' Timaloumisawe. timou-
lamison. · Most of these 80ng8 are Ilreary; some are cheerful." Victor Hugo,
Oeuvres comp~fe5 novels, vol. 8 (Pari!! . 1881). PI'. 297-298 (Les Mi! erables).'%
DSubterranean Paris 0 [C5a, l]
011 the theory of thresholds: ''' Between those who go on foot in Paris and th08e
..... ho go by carriage, the ollly difrerence i8 the running board.' a8 a peripatetic
pbilosopher haa said . Ah , the runnin ~ board! ... It is the point or deparlure from
onecouotry to another. (rom misery to luxury, from thoughtlessness to thoughtful-
nen. It is the hyphen between hinl who is noth.in~ and him who is all . The quetltion
i8: where to put one's (oot." Theophile Ga utier, Ettules philosophique.5: Paris et lu
ParisiefU au XIX" .riicle (paris, 1856). p. 26. (CSa,2]
Slight fores hadowing of tile Metro ill thill description of model houses of the future:
" The basements. ver y 8pacious and well Iii . art all connected . ronning long galler-
ies which follow the course o( the 8lree18. Here an underground railroad has been
built-not ror human travelen, to be s ure, but exclUl;ively for cumbersome mer-
cha ndise, ror wine . wood , coal. and 110 rorth , which it deliver s to t.he interior of the
horne . . . . These undcrgroun.1 trains acquire a steadily growing imllOrtance.'·
TOllY Moilin , Puri! en Can 2000 (Puris, 1869). pp. 14-1 5 ("Maisons-modeles").
[C5a,31
Fragment8 from Victor Hugo's Utle " A rAre de Triomphe":
"
Ah... YII Panl erie. aud mulle....
Whocan tell- unfat.hllmahlequeiuon-
What would be 10l t from the uni ver.. 1 c:lamnr
On the day th ai ,>ani rell ~ ilenl !

III
Sile nt it wi lilw. II onetheletlll!-AIter 110 mlln y d llwnl,
So m a n y mont~ a nd yun. 110 m a ny played-out « nlurie..
When Ihill Lank , where the , Iream breaks again. ! the echo ing hridp ,
II return ed 10 the modell l a nd murmurin g r eed!!;
Willm Ihe Seine ~h a l1 flee th e ob~tructing atones,
C(llUlurnin g some old dome coll, paW into ita depth. ,
Heedful of the !leotle breeze th at u rriel 10 the cloud.
The rui llinr; of the leave. a nd th#. IIOD8 Olf binI.;
When it , h llll Row, al ni&ht. pale in the d llrkD_.
Hapl)Y' in the drow! ing of itt long-troubled coune,
To Iieten allast 10 the countlen voicel
Pan ing indil linc ti y beneath the Btllrry Ilty;
Wh en thit city. mad and churlith aU- llnert'.
Tha ' hu lenl the r. le reacrved for iu walla ,
And . IU m ing to d Wit under the biowl of ill h.allUMr,
CODvertJ! b rnn U! 10 coinA I nd ma rble to fl qllone.;
When the r OOr8, th e bell •• the tortuous hi ve..
Porchu . I)",dimeo!" archei fu11 of pride
That ma ke- ul' this dly. many-voiced and tumu1luou"
Stiflio !!, inCllrieable, and 1« .mDl 10 Ihr- eye,
When from the wi de plain alllh",e lhinp have paucd,
And nOlhing r emain. of pyramid and p antheon
8uliwO !!r anile lowen buill by Char lema gne
And II hron:Ee column raiBed by Napoleon .
\'o u , th!:.n . will complete the sublime lriangle!
IV
T hll,l, arch . you wilJloom elern al and intact
When a ll th at the Seine now mirro ... in itJ llurfa ce
Will have vanished forever ,
When of that cily- the equ l l, yet, of Rom __
Nothin l! will be left exce pt In I nl!ei . an elgie, a man
Surmou nting Ihrff summi lll!
V lIoorboardli l UBpen,)ed over the nb yu, their clJlorful fl owered wallpaper l till
No . time ta ke. notbing away from things.
More tha n one IlO rtico wro ngly va unted
I.n it. "rotracted mellmorpholiU
Come. 10 bea uty in the end .
On the monumenlJ we !"evere
T;me C &&I I II 80mber IIpell .
SIn:I"h in8 (ron, fatade 10 al'lIf:·
N",Yer . thou!!h it crlleu and rulli ,
1, Ii,,,, ro be ... h;",h timt. p.~.:J. fr om tht. m
Worth the one it pu u hll" k on .
II i. time who ehisels a grOO Yt
In an iOlligenl arch-.tone:
Wh o r lllu hi~ knowing thumb
On Ihe corner of. ha rren marhl e . Iab ;
It i! l it: who . in co rrec ting till: work.
IJltrod u L~1 a living anake
Midst the knots of a gra nite hydra.
I think ' _ a Golhic roof 81a rt la ughin g
When . from iu and ent fria e .
Time r emOYe6 a 810ne and pllt8 in a IIe8t .
"Ill
No. IEvery lhing will be dlEad . NOlhinl!! lefl in th i. campagna
But a va nished po pulation , lIiJI ar ound .
Dul th.., dull eye of man a nd th il living t.ye of Cod,
But a n ar ch, and a column , lind Ihere, in The mi,l,ile
or thia . ih·ered-over riYt.r. still . foam,
A ch urch half-Ilranded in the mili t.
February 2. 1837 .
Victor Hu ~o . Oeu\.Ire. complete• • Poetry, vol. 3 ( Paris , 1880), PI). 233-245.
IC6; C6a.lJ
Demolition ~ it elJ: ~ ources for teac hin ~ the theor y of cons truction. " Never have
circums tanceli been more fa vorable ror thili genre of IItu!! y than tbe epoch we live
in IOday. During the past twelve yean, a multitude of buildings-among them,
churches and c1oistera--bave been demolis hed down to the fi rst layers or their
foundatiollS ; they have all proYitled . . . useful in. truction ." Chllrl es- Fran~ois
Viel, De /,lmpu~~ance de~ mal"em(J.tiqlle~ pour on lLrer in ~oiidile des batimeM
(Paris , 1805), pp . 43-44. (C6a,2]
Demolition l ite8: " T he hi,;h wa1l8. wi th their biste ....c(llored Linea around the chim-
ney Ruea, reveal, like tbe cro88-seclion of an architectura l p lan , the myster y of
intimale di&l rihutiollll . . . . A curious spectacle. tlu:lJe (J pen houses, with thd r
~ howing the s hll ile IIf the r ooms .•hcir s tairt:ascs leatling nowhere 1I 0 W, their edln r8
upen To Ihe sky. their bizarre collapsed iuteriorli nnd haW' red ruins. It all relem·
I.l eli • thougb without di e gloomy 10 ll C, Ihm e uninhahil nhle str uctu rea which Pira-
nesi outlined wilh s uch feveris h inielliiil y in his etchings." Theophile Ga utier,
Mo!ai'q ue d e ruir,e,, : Paris er ie. "a ris iell~ WL XIX' . i.ecle, " y Alexa ndrr- Dumas.
Thcophile Gautier. Arlene lI ouu uye. Puul de M\J ~~et . Louii EnDuh . II..lld DIL .'uyl
( Puris. 1856), I'p. 38-39. (C7, I]
CUlldu,.ioll o( d .•(Jui ~~ Lurinc'6 article "Le6 Boulevards": "The hC)ul e vanl~ will die
o( Oil IHieurism: the explosion of g 0 8." P(Jri.f chez soi (Paris ( 1854), 1" 1i2 (anthul-
ogy issllctl II)' Pa ullJoiza r(I ). [C7,2)
Ba utlelaire to POlllt:l - M ll l a ~s i ~ Oil January 8. 1860. c:oncernillg Mer yo u : " In uuc of
his large !lillles. lie Iitlhlltiluted fur iI little l.ilJI(){)1I a cloull of prcdalury hirlb . a nd
wlwlI I poin tc,1 oul t o him thai it WIIS implausihle thai so mllny eaglell cUllld be
f01l 1lt1 ill tI Parisian sky, he anlil'\'eretl tllIH it WIIS not without a basis in fact. since
' those nlt'll ' (the cml'(~ro r 'e gO\'ernmellt) had often reieB9t'd caglt."'fI to stud y the
pn~.ugcs according tu the rites, lind that this had been rellorled in lile newspa-
l}Cn-·~_ven in Le Monitellr. "1 1 Cited in Gustave Geffroy. Cli arks Meryo ,. (Pa rill,
1926), Pl>. 126- 12 7. [C7.3)
On tbc triumphal arc h : " The trillml'h was all institution of the Romall sta te and
was Cflnllitioned on the Iw sliession of the field -commander's righi- the rip;bt of the
milita ry imfJf~ rium~which, however. wall extinguillhed on the da y of the tri-
umph . . . . Of the VIl.';OIlIl provisiollil attaching to the right of triumpb , the most
important wall thai tile terrilorial bounds of the city. , . were 1I0t to be crossed
prematurely. Otherwise the. commander would forfeit the rights of the a Ullpicell of
war- which held olil y for olH!ratiollll conducted olltsille till: citY-liud with them
Ihe claim ItJ triumph , . . . Every defilement . all guilt for the nlllrll e rO Il ~ haltle{and
perhaps originally this included the da nger POtied hy the II pirit8 of the IIlaill). ill
removed from the cl.lmlllll nder and the arm y; it remains .. , ou tside the lIacred
ga tewa}'.... Such II conception ma k" it clear ... that the p o rIa triumpllUlis Will
nothing less than a monument fo r the. glorification of victory." Ferdinanli Noack.
1'riumph IIlId Triumphbogen. Warburg Lilirary Lecturefl. vol. S (Leipzig, 1928),
I'p. 150- ISI , 154 . [C7.4)
"Ed~ar Poe crealed a ch aracu."r who wanders the streel8 of capilal citi!!!!; lib called
him the Man of tllt~ Cr owd . The resllessly inquiring engra\'cr is the. Man of
Stolle•.. , , Here we Ila ve . .. an . , , artist who ,lid not stull y and draw. like
Piranesi, the remoants of a bygone existence. yet wboile work gives one the 8ensa-
tioll u( p1" 'lIi,;tent nostalgill .. .. This is Charles Meryon . His wurk a8 1111 cllgraver
rCllrt'1lent8 one of the profoundest potmltl ever wrilten aLflul a city" ami what is
trul y original ill all these &triking pictures is that they seem to he. the image. despite
Iwing drawn directly from life. of things that are finished. that are Ilea,1 or almut to
die. , .. Thi ~ imJlre88ion exists independentl y of the most scrullulous Hlld realistic
reprOtlUt:liulI nf s uhj ~ t s chosen by the artisl , Tbere was sonwt hing of tile vision-
ary ill Merynn . and he undouhtedly divined that these rigjd alld un yielding forms
\'n :l'c I:phellll'ral , Illut tht:l>~ singular beautiell were going thr wa y of all fl esh . lie
li"h!lIf'ti tn the language dPokeu h y st.rcels a nti alleys thill , since the ('arliest da YIi of
the !'il),. wt're hcing continually torll Ull II n ti rt.'tIone. alld that is wh y hi" evoca ti\'e
poctr y J»akeH cfllll act with llll'" lolidtlle ,\ ges through tIle ninrlt..'t'lith-cciltury cilY,
.... hy it ra;!iutcli eterllul nlelancilOly Ihrough the vision of illllllt"diatc appearllllcef "
'·OM Parill ill gone ( II U IlUmall hea rt I c:.hal1ges half so (ast as II city's fa e,e) ,·,It Th e~r
two linea by Baudelaire could .erve a. an epigraph to Meryon'li cutire oeuv re,,"
Gustave Geffroy, Chllrle, Meryon (Paria. 1926). PII . 1-3. [C7a,l )
" There i~ no need to imagine that the allcient porW triltmphllm was alr eady au
arched gateway. On the contrary, l inee it served an entirely symbolic act , it would
originally have lH:cn erected by the simple8t of mean&--namely, two posts and a
straight lintel. .. Ferdin and Noack. Triumph urad Triumphbogen. Warburg Library
Lectures. vol. S (Leipzig, 1928), II , 168. [C7a,2)
The march through the triumphal arc h a. rite de pauoge: " The. ma rch of the
troops through the narro .... gateway hae been ctlmpared to a ' rigorous passage
through a narTOW opening,' something to which the significance of a rebirth at-
tacheli:' Ferdinand Noack, Triumph und Triumphbogen , Warbur g illrary Lc.-c-
lUres, \'01. 5 (Leipzig, 1928), p . IS3 , [C7a,3}
The fantasies of the decline of Paris are a symptom of the ract that technology
was not accepted. These visions bespeak the gloomy awareness that along
with the great ciries have evolved the mearu to raze them to the ground,
[07a.4]
Noack mentionli " tbat Scipio'! arcb stood not above but opposite the road that
leads up to the Capitol (adversus viam , qua in Capitolium ascenditur). , .. We
are thus given insight into the purely monumental character of these structu res.
which are without any practical meaning." On the other hand , the cultic sig-
nificance of these structures emerges a8 clearly iu their relation to special ooca-
sioll8 88 in their isolation : " And there, where mllny .. , later ar cheslitaod-at the
beginning and end of the &tree!, in the vicinity of Lridgcs . at the entrance to the
forum , at tile city limit- there was operative for the , .. Romans a conception of
the sacred n boundary or thres hold ." Ferdinand Noack , Triwnph und 1ii-
umphbogen , Warburg Lihrary Lecture • . vol. S (Leipzig, 1928), pp. 162 , 169 ,
(C8. ' )
Apropos of the bicycle: " Actually one II bould nol de<!cive oneself about the real
purpose of the €asmonllhle new mount, which a poet the other day referred 10 as
the horse of the Apocalypse." t 'lllwLrCltion. June 12, 1869. cited in Veadredi ,
October 9, 1936 (IA ui" Cherolllld, "Le Coin ties vie ux"). [C8,2J
Concerning the fire thai dt:8 tro yed the hippodrome: " The g08sips of the district see
ill Ihis disaster a vi ~ itati o n o( the wrlltll of hea vell nn the guilty s pectacle of the
velocipedes ," I.e Gauio i." Dctliller 2 (3?), 1869, cited in Vendredi. Octoher 9, 1936
(1.(1l1is Cheronnet , "i.e Coin IleJl vicllx"). Til(" hippodrome was the silt" (If ladic.'
hicydr races. [CS,3]
To elucidate Le, Myuer es de Paris a nti IIimila r works, Caillois refen to Ihe ronwn
noir. in particula r The My&lerie$ oj Udlilphu . on account of the " p reponder-
ance of vaults and underground pan ages." Roger Caillo~, " Paris, mythe
ruudcrne." NUlllIelk Revue !rmlliC1ue. 25 , no. 284 (May 1, 1937), p. 686.
[ca,.]
"The whole of the riveS6uche, aU the wa y from the Tour de Nesle to the Tombe
.Issoire .. . , i@nothing but a hatchway leading from the surface to the depths. And
if the moderll demolitions reveal the mysteries of the upper world of Paris, per-
haps one day the inhabitants of the Left Bank will awaken startled to discover the
mysteries below. " Alexandre Dumas, Le, Mohicaru rk Pam , vol. 3 (Paris. 1863) ,
[Ca ,5]
" This intelligence of Blanqui's •... this tactic of ! ilence, this politic! of the cata-
combs, must have made Barbes hesitate occasionaUy, a8 though confronted with
... an une1tpected stairway that suddenly gapes and plllDges to the cellar in an
unfamiliar house:' Gustave Geffroy, L'Enfenne (Paris, 1926), vol. I , p , 72,
[Ca,']
<Regis> Messac « in Le " Detective Novel" et l'injluence ch to pen.,~ scwntifique
[Paris, 1929].> p . 419) quotes from Vidocq's Memoires (chapter 45): "Paris is a
spot on the globe, but this spot is a sewer and the eJ!lptying point of all sewers:'
[C8a, lj
fA Panorama (a literary and critical revue appearing five times weekly), in vol-
ume 1, number 3 (its last number), February 25, 1840, under the title "Diffirult
~estions ": "Will the universe end tomorrow? Or must it-enduring for all
eternity-see the end of our planet? Or will this planet, which has the honor of
bearing us, outlast all the othu worlds?" \hy characteristic that one could write
this way in a literary revue, (In the first number, "To Our Readus," it is acknowl·
edged, furthennore, that fA Panorama was founded to make money.) The
founder was the vaudevillian Hippolyte Lucas, (C8a,2j
Saint who each nighlled back
The entire flock to the fold . diligent shepherdeu.
When the world and Paris come to the end of their term,
May ),ou, with II firm ijtep and a light hand,
Through the last ya rd and the laMl portal.
w d back, through the vault and the folding door,
The entire Rock 10 the right hand of the Father.
Charles Peguy. La Tapu,erte. de Sainte·Genevieve, cited in Marcel Raymond, De
Baudelaire au Surreawme (Paris , 1933). p . 219. I ~ [C8a,3j
Di8l.rUlil of cloi ~ te r8 and clergy during the Commune: "Even more than with the
incident of Ihl' Rue P icpus, eve r ything I)Os8ihle was done to excite the popular
inHlthnatiull thanks tu the
~. , . vaults of Saint-laurent. To the voice of
, the preu was
added publicizing through images . Etienne Carjat phologra plu:-d the skelelolllJ ,
' with the aid of electric light. ' , .. Mter P icpus. after Saint-laurent , at an intervaJ
of ~o me dIl YS, tile Convent of the Aii!;umption and the Churcll of Not.re· J)ame-des-
Vir-lOires, A wave of madJleU (lvertl)uk tile capital. Everywhere peoVlc thought
they were fmding Luried vaultlJ and skeletonil.·· Gilur ges laronze. lIilfoire de la
Commune de I B7J (Parill, 1928), p . 370. [C8a,4j
1871: "The popular imagination could give itself free reign , and it took ever y
opportunity to do so, There wasn' l oll.e civil-service official wlto did nOI seek to
expose the method of treachery then in fallbion: the s ubterranean rut~lhod . In tbe
prison of Saint-Lazare. they searched for the underground passage which was sahl
to lead from the chapel to Arge nteuil- that is, to cross two branches of the Seine
IIlId some ten kilometers as the crow flies . At Saint -Sul pice,the passage suppolledly
ab utted the chateau of Versailles. 'I Georges Laronze, flu toire de to Commune de
1871 (Paris . (928). p. 399. [C8a,5]
" A8 a matter of fact , men had indeed replaced the prehistoric wate.r. Many centu-
rie~ after it had witbdrawn, they had begun a similar ovt·rflowing, They had
spread themselves in the same hollows, pushed out in the same directions. It was
down there--toward Saint-Merri , the Temple. tbe Hotel de Ville, toward Les
Ualles. the Cemetery of the Innocenl.ll . and the Opera, in the places where water
had found the greatest difficult y el caping, 1>laceli which had kept oozing with
infiltrations, with subterranean streams-that men , too, had most completely
saturated the soil. The most densely populated and busiest qltartwrs still lay over
wbll! had OlU!e been marsh ." Jules Romain~ , Le, Homme' de bonne volonte.. Look
I , Le 6 octobre (Paris <1932)) , p. 191 y. [e9, I}
Baudelaire and the cemeteries: " Behind the high walls of the houses , toward Mont'·
martre, toward Menilmontant , toward Montparnasse, he imagines at dusk the
cemeteries of Paris, these three other cities within the larger one--cities smaller in
appearance tban tbe city of the living, which 81!tlmS to contain them, but in reality
how nlllch more populous, with their cJosdy packed little compartments arranged
in tiers under the gronnd, And in the samt" places where the crowd circulatt:l!
tOllay-the Square des Innocents. for exa mple--he evokes the ancienl ossuaries,
now leveled or entirely gone, 5wallowefl Ull ill thll sea of time with all their dllad ,
like shillS that have sunk with all their crew a board ." Franvois Porcllt~ . La Vie
dOltloureu.!e de Clw.rle" Baudelaire, in series entitled Le ROlllnn cle~ Grande"
E:r:i$Iencf!S , ntJ , 6 (Paris <1926)), pp , 186-187. [C9,2j
Pllrallel passage to the ode on the Arc de Trio mphe, Humanity i, apostrophized:
Aa for yuur ci ti es. Bahels of nl{"",",e nt ~
Whe re all events clamor a l o nce.
H o... ~ ub~ l a " tia l are Ih.:)" ? ArdIn . to"'erll. ",·ramid;;-
I wuuld nut be s urprillfll if, in its humid iocandcfil:eflCC ,
The dawn n ne mnrni"g 8l1ddl:nl), rli ~~o l "ed them.
 Along with lhe dcwdrol'~ on ~a&~ a nd th yme.
And all your nubl l'! dwellinp, nll.ny-Lil'!rlld ,
End u,,11 8 helll'" of ~ tune and graM
Whf'r" , in lhl'! M unli ~llt . t.ht" . uLd l'! !lCl1H'! nt /" 8&1':8.

Victor Ilugu. Lu Pin de Sa lan: Diell (l)arU , 1911 ), I'P. 475-476 ('''Dieu- L·Ange''').
o
[CO,3} [Boredom, Eternal Return]
Leon Doudel on Ihe view or Paris rrom Sacre Coeur. " From high up y(m can see
Ihis popuJa tion of palacel, monumentl, houlel. and hovels. whicb 8eem to have Must the SUD therefore murder all dreams
gatJ't'- red ill eJl:)leCllltion or lome cataclysm, or or 8everal CIltaclY8J1lll-meleorologi._ the pale children of my pleuure grounds?'
cal, pe rh a p ~, or lIocia l. , , . AI a lover or hilliop AanCIU anel, which never rail 10 Th~ day.! have grown so still and glowering.
stimulate my ound and nervel ",;Ih their bracing bars b wind , I bave spent bOlln SatLSfactlon 1W"e5 me with nebulous visions
0 11 Fourvieres looking al Lyons, 011 NOire-Dame de la Garde looking at Marseille.,
willie dread malta away with my salvation~
on Sacre Coeur looking at Paris .. .. And , yes, at 8 certain moment I heard in as though I wen: about to judge my God.
myself 80mething like a 11M:8in , a strange admonition, and I 8aw thele three mag- -Jakob van HoddQ l
nificent dtiell .. . threotenlld wilh coUaplie. with devaslation h y fire and flood , with
carnagt'. wilh rapid erosion , like rOre8ts leveled en bloc. At otber timll8, I saw them Boredom waiu Cor death.
preyed. upon by a n ohscure, 8uhterr aUl:an t'.vil , which IUldermined the mOnlUllenta -Johann Peter HebcP
and neighborhood 8, cau"ing entire sectionll or the proude5t homes to crumble ..••
From the 81andpoinl or theee p romontorie8, what appears most clearly is the men· Waiting is life.
ace. The agglomer ation i5 menacin g; theenormOU8 1abor is menacing. Fur man hae - VJC1orHuF
need DC labor, that ie clea r, bUI he has other l leed S as weU .. , . He OCled8 to isolate
himselr Ilnd lu rorm groupe. 10 cr y out and 10 revolt, to regain calm aod to sub-
mit .... FinaUy, the need for suicide ie in him; and in the lIociety he rOrIOlI , it is
slronger than the instinct ror 8eLf-p~8ervatio n . Hence, ae one look, oul over
Paris , Lyons, 0 1· Marseille8, rrom the heights or Saere Coeur, the J.' ourvie.ree, or
Notre-Dame de la Garde. what astounds one is that Paril, Lyons , and Marseille8
have endured," Uon Oaudet , Pa ris veeu, vol. I , Rive droite (Pari, <1930». Child with its mo~er in th~ panorama. The panorama is presenting the Battle
pp .220-22 1. [e9a,I] of Sc:dan. The child finds It all very lovdy: "OnlY. it's too bad the sky is so
=~-"That's wh at the weather is like in war," answers the mother. 0 DiG-
" In a long Ilen e' or c1auical write" Crom Polybiul onward, we read or old, re--
nowned cities in which the streets have become lines or empty, crumbling sheUe, .Thus..the panoramas too ~ in fundamental complicity with this world of
where Ihe cattle Lrowse in forum and gymnasium . and the amphithealer il a sown OUSt, this cloud ·world : the light o f their images breaks as through curtains of ram.
field , dotted with emergent ~ I a tues and hernui. Rome bad in the fifth cenlury of our [D l ,l }
era Ihe l'0puJation or a village, but illJ imperial palace. were IItill habitable." "T I · P .
Oswald SllCllgier, Le Dedin de l'Occit/ent <tranl. M. Tazerllut>. vol. 2. pI. I (Parie, , li S a rls [of Ba udeiaire'l] is very different rrom the Paris or Verlaine which
1933). p. 151.'; [C9a,2] ~ I ..wlf has already raded , The olle ill somher and r ainy, like a Paris on w~ch the
;"1age of Lyons has been lIuperimpo/ied; the other i8 whitish and dUlity like a pastel
? Uaflhod. One if surrocaling. whereae the other 18 airy. with n~w huildinga
~"'a lt e red in
F ' a W.ll8 IcIan d , am I• lIot ra r away, a gale leading to withered arbors ,"
r.. u,ou; Porche. Lo Vie doulo urewe de Charle!l Baudelaire(Pari8. 1926), p, j 19.
[D1.2}

The me.re narcotizing effect which cosmic fortes ha~ on a shallow and brittJe
PC:rsonality is attested in the relation of such a person to o ne of the highest and
OlOs t genial manifestations o f these forces: the weather. Nothing is more charac-
 terisuc than that precisely this most intimate and mysterious affair, the working
of the weather on humans, should have beco me the theme of their emptiest
chatter. Nothing bores the ordinary' man more than the cosmos. Hence, for him,
j the deepest cOlmection between weather and boredom. How fine the ironic
overcoming of this attitude in the story of the splenetic Englishman who wakes
first symptoms of the Revolution <of 1830) had broken o ut. When they came to
prepare the room for the festiviti es of the young couple, the people in charge
found it as the Revolution had left it. On the ground could be seen traces of the
military banquct-candle ends, broken glasses, champagne corks, trampled
cockades of the Games du Corps, and ceremonial ribbons of officers from the

1 up one morning and shoots himself because it is raining. Or Goethe: how he

managed to illuminate the weather in his meteorological swdies, so that one is
tempted [Q say he undenook this work solely in order to be able to integrate even
Aanders regiment." Karl Gutzkow, Briife aUJ Paris (Leipzig, 1842), vol. 2, p. 8Z A
historical scene becomes a component of the panopticon. 0 Diorama 0 Dust and
Stifled Puspective D [Dla,l ]

J the weather into his waking, creative life. [01 ,3]

Baudelaire as the poet of Spleen de Pari!: " One of the centraJ motifs of this poetry
-' He explains that the Rue Grange-Bllteliere is pllrticularly ,lusty, that one gets

'" is, in effect, boredom in the fog, ennui and indiscrimillate ha:r.e (fog of the cities).
tn a word, it is spleen. " Frall~ois Porche. La Vie douloureu.!e de Charles Baade-
terribly gruhby in the Rue Reaulllur." Louis Aragon, Le Pay.HJn de Paris (Paris,
1926), p. 88} [Ola,2J

luire( Parill ,1926), p. 184. [01 ,4]
In 1903, in Paris, Emile Tarrueu brought out a book entitled L'Ennul~ in which all
human activity is shown to be a vain attempt to escape from boredom, but in
which, at the same time, everything that was, is, and will be appears as the
inexhaustible nourishment of that feeling. To hear this, you might suppose the
work to be a mighty monument of literature-a monument ture perenniUJ in
honor of the ltudium lIi/tu of the Romans.' But it is only the self-satis6ed shabby
scholarship of a new Homais, who reduces all greatness, the heroism of heroes
and the asceticism of saints, to documents of his own spiritually barren, petty-
bourgeois discontent. [01 ,5)
" When the French went into Italy to maintain the rights of the throne of France
over the duchy of Milan and the kingdom of Naples, they returned home quite
amued at the precaution. which Italian genius had taken against the excesllive
heat; and, in admiration of the arcaded galleries, they strove to imitate theln. Tbe
rainy clinlate of Paris_ wiul its l:eJebraled mud and mire, suggested the pillara,
which were a marvel in the old daYII . Here , much later on, was the imptltUS for the
Place Royale. A strange thing! It was in keeping with the same motifs that. under
Napoleon, the Rue de RivoU , the Rue de Castigliolle, and the famous Rue des
Colollnes were constructed." The turban came out of Egypt in this manner as well.
l..e Di(lhle ir Pam (Paris, 1845), vol. 2, )p . ] 1- 12 (Babac, "Ce Iluj disparait de
Paris").
How many years separated the war mentioned above from the Napoleonic CXI:>e-
ditioll to Italy? And wher e is the Rue des Colonllcs located ?~ [01 ,6]
"Rainshowers have given birth to <many) adventures.'" Diminishing magical
[D1.7]
power of the rain. M ackintosh.
As dust. rain takes its revenge on the arcades. -Under Louis Philippe, dust settled
even o n the revolutions. When the young due d'Orleans "married the princess of
Mecklenburg, a great celebration was held at that famous ballroom where the
Plush as dust collector: Mystery of dustmotes playing in the sunlight Dust and
the "best room." "Shortly after 1840, fully padded furniture appears in France,
and with it the upholstered style becomes dominant." Max von BodUl, Die Mode
Un XIX. Jahrhundert, vol. 2 (Munich, 1907), p. 131. Other arrangements to stir
up dust : the trains of dresses. "The true and proper train has recently come back
into vogue, but in order to avoid tlle nuisance of having it sweep the streets, the
wearer is now provided with a small hook and a string so that she can raise and
carry the train whenever she goes anywhere." Friedrich Theodor VlScher, Mode
o
und zYnismw (Stuttgart, 1879), p _ 12. Dust and Stifled Perspective 0 [Ola,3)
The Galerie du Thermometre alld the Galerie du Barometre. in the Passage de
l'Opera. [Ola,4J
A feuilletonist of the 1840s, writing on the subject of the Parisian wea ther. bas
determined tbat Corneille spoke only once (in Le Cid) of the stars, and that Racine
8poke only once of the sun. He maintains, further. that stars and flowers were first
discovered for literature. by Chateaubriand tn America and thence transplanted to
Paris. See Victor Mery, "I .e Climat de Paris ," in Le Dinble ii Puris nol. I (Paris ,
l845), I). 245). [01a,S}
Concerning some la!reiviou8 pictures; " It is no longer the fan that 's the thing, but
the umbrella-invention worthy of lhe epoch of the king's nstiol1aJ guard. The
umbrella encouraging amorous fanta sies! The umbrella furni .shing discreet cover.
The canopy, the roof, over Robinilon's island ." J ohn Grand-Carteret , /A!
Oecolleteet te re ,rOWlSI! (Paris ( 1 9 10~), vol. 2, p. 56. [Dla,6]
"0 Illy here," Chirico once said , "is it possible to paint. The l;Itrl'etl! hllve such
gradations of gra y.... " [Ola.?l
'I'hl:: Pa risian atmnsphere remindll CSrtl 8~ of the wa y the Ncapolitan coastline looks
when the sirocco blows. [D 1a,B]
 Only someone who has grown up in the big city can appreciate its rainy weather,
which altogether slyly sets one d rtuning back to early childhood. Rain makes
everything more hidden, ruakes days nOt only gray hut unifonn. From morning
j until evening, one can do the same thing-play chess, read, engagt: in argu-
ment- whereas sunshine, by contrast, shades the h OUTS and discountenances the
] dreamer. The latter, therefore, must get around the days of sun ...vith subter·
fuges-above all, must rise quite early, like the great idlers, the waterfront loafus
and the vagabonds : the dreamer must be up before the sun itself. In ~c: "Ode ~
f.. Blessed Morning; which some: years past he sent to Enuny Henrungs. Ferdi·
nand Hardekopf, the only authentic decadent that ~rmany has produced,
confides to the dreamer the best precautions to be l:aken for SurUly days.'
(Dt a.9)
"Tu give 10 dUll dU 8 t II semblance of con, istency. 1111 b y soaking it in blood ." LoW.
Veuillot . Les Odeurs de Pa ru (Pa ri8. 1914), p . 12. [D l a.l0)
Other European cities admit colonnades into their urban perspective, Berlin
setting the style with its city gates. Particularly characteri~tic is the Ha?e Gate-
unforgettable for me on a blue picture postcard represen~g Belle-~cc P~t%
by night. The card was tranSparent. and when you held It up to the light, all Its
windows werc~ illuminated with the very same glow that came from the full moon
up in the sky. [02,1]
"T he Lmihlings eonfl tr uctcd ror the new Paru revin aU the stylel. T he enJlemble it
nut lacking in a certain unit y, however, lJec::ause a U the 8tylet he loDg to the catego ry
or the u:d iou. -in ract , the most tedious or the tediou8, which il the e.mphatic and
the aligned . Line up! Ere./ro nt ! h seellUi tha t the Am yhion (If this city iH a corpo-
r al. ... I He moves great quantilie! of thing&---fihowy, &lately, colou al-and all of
them are tedio us. He move! other thinp, extremely ugly; Ihey too are tediou" I
Tlu!se gr ea l streetll, thele greal q uays, lhese great h OUM:II, these great lewers, their
phYlliogn omy l}()Orly copie11 or )JOOrl y d reamed-aU h an a n inde.fin able 8o me~
indicative or unexpected alld irregular forluoe, They exude tedium." Veuinot , Le.
Odell rll de Puris ( Pa ris, 1914 >, p. 9. 0 Haussmann 0 [02.2J
PeJlelltll describes a visit with a king of the Stock E xchan ge , II multimillionaire:
"Al I Clitcre{1 tllfO' cou rtya nl of the house. a squad of grooml in red vests were
uccupied ill r ubbing down a half dozcll English h orse ~ . I ascended a marble stail"-
cuse hunS with a gia llt gi l~' ed chandelier, Ilnd ellcounler ed illl.he vestibule /I. maj or-
domo with wltite crava t pm' Illllmp calve,. He led me into a la rge g.las~-I"oofed
gaUery whOle walls were decorated entirely with eaJueliiall alld h oth oll ~ e plullt •.
Somcl.hillg like 8upp resse{1 lIoredom lay in thl:'! ai l"; ut the very fi rs t ste p . ~ou
" rea tlll'd p vupo r as of opium . Ithell passed. between two rowl or pcrchc~ 0 11 wluch
IJllrakecl8 from va rill ll ~ cuulllric8 were rouiting. T hey we re red , hIUl~ . p 'een , gr ay,
yellnw, a nd white; hut all 81~nl ed to "uLfer fr om home.icklleu. At the eltlreme end
of t11t~ galler y stl,H)d a 8mall ta ble oPllOsite II Renaisss nce-llyle fi re place. ror at thi.
IJO ur the master of the houHe took his brea kfas t. ... After 1 had waited a quarter
\If a n hour, he deigned to appear. . . . He yawned , 100kCiI sleepy, and 8ctmed
continu ally on the puiot or lIodding off ; he walked like a somnambulis t. Hil fatigue
had infttled the Wa UlJ or his mansioll . T he p ara keets s tood out like his separate
thoughts . eal·h O ll~ ma teria lized and a ttached to a pole . . .. " 0 Interior O<Julius)
Bo.lcnherg. Paris bei Sotmen5chein und LampenlU:ht ( Leipzig, 1867) . pp . 104-
105. [02,3]
Fetes / ront;u.ilJes, 0" Pa ri.s en minia ture <French Fe8 ti~'ities, or Paris in Mini-
ature>: prod uced by Rougemont and Centil a t the Theatre des Va rietia. The plot
has to ,10 wi th the marriage of Napoleon 1 to Marie-Loui&e. and the conversation ,
8t this point . concer ns the planned festivities. " Neverthele!!s," l ays one of the
characters, "th~ weather ia ra ther uncertain ."- Re ply: " My fri end , you m ay r elit
assured that this day is tbe choice of our sovereign ." He then atrikes up a long that
begi n!:
At hia piercing I!la n ~ . douht nOI-
The future i8 rflvu led;
And when good "" u ther ia re<luiY'CId ,
We look 10 bia star.
Cited ill Theodore Muret . L '1Ii.s'oire par Ie theatre, 1789-1851 ( Pam, 1865), vol.
I , p. 262 , [02 ,4J
"1'his d ull, glib sadness called ennui. " Louis Veuillot . Le, Odeurs de Paris (Pam,
1914). p . 177. [02,5]
" Along with every outfil go a few accelsories ""hich show it off to best effect-tbat
is to i lly, which cost lots of money because they a re 80 quickly ruined, in particular
by every downpour." Thi& a propOI of the top hat . 0 Fallhion 0 F. Th. Vucher,
Ve rnun/ rige Ged anken uber die j etzilIe Mode ( in Kriri.sche Giinse, new series. no.
3 (Stuttgart , 1861), fl . 124. [02,6]
\~ are bored when ~ don't know what we are waiting for. That we do know, or
think we know, is nearly always the expression of our superficiality or inatten·
tion. Boredom is the threshold to great deeds.-Now, it would be important to
know: What is the dialectical antithesis to boredom? [02,7]
Tbe quite humorous book. by Emile Tardieu. L'E'l1Iui (Paris, 1903). whose main
thesis is that life is purposeless and groundless and that all striving after happi-
ness and equanimity is futile. names the weather as one among many factors
supposedly causing boredom. -lbis work. can be consid ~d a sort of breviary
for the twentieth centlU')'. [02 ,8J
Boredom is a warm gray fabric lined on the inside with the most lusttous and
colorful of silks. In this fabric we wrap oursdves when ~ dream. \o\t are at

home then in the arabesques of its lining. SUl the sleeper looks bored and gray
within his sheath. And when he later wakes and wants to tt::lJ of what he
dreamed, he communicates by and large o nly this boredom. FOr who would be
j able at one stroke to tum the lining of time to the o utside? Yt:t to narrate dreams
signifies nothing else. And in no o ther way can o ne deal with the arcades-struc-
time, an indilfel'l"nt expcndirure of the all too quickly passing hours-these are
qualities that favor the superficial salon life." Ferdinand von Gall, Pari; und seine
Salo1lJJ vol. 2 (Oldenburg. 1845), p. 171. [02a ,7]
Boredom of the ceremonial scenes depicted in historical paintings, and the dolu
}Iv "i(1l1e of battle scenes with all that dwells in the smoke of gunpowder, From

1 rures in which we relive, as in a dream, the life of our parents and grandparents,
as the: embryo in the womb relives the life of animals. Existence in these spaces
Rows then without accent, like the events in drams. Flinerie is the rhythmics of
the imagts d'Epi"aJ to Manet's Execution if Emperor Ma:<imilian, it is always the
same-and always a new-fata morgana, always the smoke in which M ogrcby
( ?~ or the genic from the bOltle suddenly emerges before the dreaming! absent-

f this slumber. In 1839, a ragt= for tonoises overcame Paris. One can "1::11 imagine
the elegant set mimicking the pace of this C1UtllR more easily in the arcades than
on the boulevards. oFlaneur 0 [02a,11
minded art lover. 0 Dream House, Museums Oil [02a,8]

" Boredom is always the extemal surface of Wlconscious events. For this reason,
it has appeared to the great dandies as a mark of distinction. Ornament and
boredom.
On the double meaning of the term tnnproin French..
Factory labor as economic infrastructure of the ideological boredom of the up-
per classa. "The miserable routine of endless drudgery and toil in which the
same mechanical process is repeated over and over again is like the labor of
Sisyphus. The burden of labor, like the rock, always keeps falling back on the
worn-out laborer." Friedrich Engels, Die lAgt dn- arhrittmlen Kla.ue in England
~2nd cd. (Leipzig, 1848) ~, p. 217; cited in Marx, Kapital (Hamburg, 1922). vol. I,
p.388.11
CI..:·ss pill yeri a t the Cafe de la Hegence: Hit was there thai c1.,ver playe" could be
set'n playillS with their back!! to the 1;IIC!lSholird. It Will! enough for tbem to hear the
name of Ihe "it:1:e moved by tlulie opponent lit each turn 10 he aSlured of winning.'"
IJiswire clef cufi. de Paris (Paris. 1857). p. 87. [02a,9]
{D2a,2]
" In sum . clalsic urbll.n a rt , afler pre8entin5 ita maslerpie<:es, feUinto decrepitude
[02a,3] at the time of tht> philosophes and the constructorl of IIY8tel1l!l . The end of the
dghtccnlh century law the birth of illnunlt:rahle project. ; the Commifl8ion of Art-
i~1B brought tJU~ llI into accord with a body of doctrine. and the Empire adapted
1111: 111 withont ereative originality. The fl exible and animated dalSical Ityle 'Was
succeeded by the Iylll;!ma tic and rigi d .,8Cudodul ical uyle... . The Arc de 1'ri*
ompbe ~ h oe8 the gate of i..oujl XIV; the Vendume column i! copied from Rome;
tlH' Church of the Madeleine. thll Stock Exchange, the Palail-Bourbon are 80
man y Grllco-Homan temples," Lucien Dubech and Pierre d' Espezel, Hutoire <k
[02a,4] Pnris (Paris. 1926). p . 345. 0 Interior 0 (O3,l l

The feeling of an "incurable imperfection in the very essence of the present"
(sec:u; PitJi;irJ et Ie; jour;, cited in Gide's homage)l! was perhaps, fo r Proust, the
main motive for getting to know fashionable society in its innennost n:ctSSeS,
and it is an underlying motive perhaps for the social gatherings of all human
beings. [02a,5]
"The First Empire eOIJied the triumphal arches and monuments of the two clan i*
cal centurietl. Then there was an attempt 10 revive and r einvent more remote
lllooels; the Seeond Empire imitaled the Renaiuance, tbe Gothic, the Pompeian .
Afler this eame an epoch of vulgari ly withuut style." Dub« h and d' Espezel, Hi,,·
loire de Paru (paris. 1926), p. 464, 0 Iliterior 0 (03,2]

On the 118lonll: " AUfa ces evinced the unmilltakable Ira(:t!a of boredom , and coover-
sations were in gcnera l IIcarce. quiet , and aerioUI. Most of these people viewed
dancing aa drudgery, to which you had to suhmit ~a u8e it waa BUlfl)()&ed to be
good form tQ dance." Further on, the proposition tha t " 110 other city iu Eu rope.
perhaps , dil plaYll lluch a dearth of satisfied . cheerful , Lively faces a l ihJ soi rees a8
Paris d oes in ils salons . . .. Moreover, i.n no other society 8 0 mueh as ill th.is one,
and by rea8()n of fu hion no leu than real conviction, is the unhearable horedom
10 roundly lamented ,'" "A nalural consequeuw of thill is thai social affairs art!
ma rked hy lIilcnce and r eserve. of II sort that at larger gat herinp in ot.her citiell
wouJd 01 0 1 1 l:trtainly be d ill exception." FerdiualHI vun Gall , Paris lind "eine
Salon&, vol. I (Oldenburg, 1844), pp. 151- IS3 , 1.58. [02a,6}
The following lines provide an occasion fo r m editating on wnepieCC! in apart-
ments : " A certain blitheness, a casual and even careless regard for the hurrying
AlIlIOUJlCenwllt for u hook h y Benjamin Gastineau , La Vie en chemin defer <tife
011 tht' Hailroulb:"La Vie en cltemin defer i 8 all entrancing prose poem . It ill an
epir of modern life, always fiery and turbulent , lI. I)anorama of gaiety and leara
PUhillg Iwfore 118 like the dll~t of the nib hefore Ihe window ~ of the coach," By
U" lljamin Gastincau, Puris en rose (Paris, 1866), 1" 4. [03,3]
Rather than p;lSs th e time, one must invite it in. To pass the time (to kill time,
txpd it): the gambler. Tune spills from his every pore.-To store time as a
battery Stores energy: the 8ineur. Finally, the third type: he who waits. H e takes
in the time and renders it up in ::altered fonn-that of expectation. '• [03,4]
;'This rel:cndy d c pu!;it f!( llilll e~ t u lle--lh e hed on which Pa ris reliu-readily er llm ·
h l c~ inlO u (l u ~1 which, like a illimcsluue dUIII, ill very flainfuJlo tJle eyel aDd l\ln p,
 A tiltJe r ain doe. nothing a t a U to hdp . since it LA im.medialdy a bsorbf:d a nd t he peii . T hey have had to be exhumed wilh the hel" of a h rush . if no t a pickuxc."
8u ri'a Cl'l left d ry o nce again ." " Here i8 the I flurce of t he unp rc l)oUe8~ i n g bleached H. de Penc, Pam intime (Pa ris. 1859). p . 320. [03a.5]
gray of t he hOU MCii . which a re a U buill from t he b ri llie lime!!tone Dlim:d m~a.r Pa ris:

j IIf; r e, too . th e oripn of the dun-co lored alate r oofa UI I I b la ck en with l oot over llll!
yean, a l well a~ til l!! rush, wide c himneY8 which defa ce eve n the pUhlic Imild·
"The introd uction ur the Macullam 8y~ t em (or p aving the boulev a rd ~ gave rille to
IIII OIUOU8 c:an call1rea. Cham &how8 the Pari, ian.8 blinded by dUSI, and he pro-
] iogs •... and which in 80 me diatriclt of the oM city stand 80 cloet: IOgd her Ihal
they almost b lock the view entirely." J . F. Benll:cnberg. Briefe gesd lrielHlfi auf
poses 10 erect . . . H 8ta t\l(' with the inscr iption : ' In recugnition of Macadam, rrom
the grateful oculists and opticians.' Othert represent ,Jedestnans moullted (i U
ciner Reise nach ParU (Dortmund , 1805). vol. I , pp . 112. 1 11 . [03,51

i"
" Engda told me that it wall in Pa ris in 1848, a t the Cafe de III Ri:gence (oue of the
earlien cellters of the Revolution of 1789), that Man: first laid out for hjm the
economic dcterminiJJ m of hU m aterialist theory of history." Puul Lafa rgue.
" Pt:rllontiche Erinner ungt:n an Friedrich Engelll," Vie lIelie Zeit. 23, 0 0 . 2
(Stuttgart , 19(5). p . 558. [03.6)
Boredo m-as index to particip ation in the sleep of the coUerove. Is this the
reason it seems distinguished, so that the dandy makes a sh ow of it? [03 ,7)
In 17S7 there were onl y three cafell in PllIr ill.
5tilu traver sing marshes and bog~. · · {'mis sous 10 Ri pu blique de 1848: lixpOIilion
(II' hI BibliothetJue el des Tr al)OllX hUlonques de 10 Ville de Puri.! (1909) (Poete.
Bl'llUrepaire, Clouto t, Hennol]. p . 25. [03a,6]
~ Only E ngland could have prod uced cland yism. Fr ance is as ilHlalIBhle II( it a8 its
neighhor it incapahle o( anything likl' our ... lions, who are as eager to please as
the ,Iandies are d isdainfuJ of plcuing.... O'Orsay ... was natu r ally ali(I passion-
alelr pleb ing to everyo ne, ~\'cn to men. whereas the dandies pleased only in
displeasing . . . . Between tbe lion and the dand y liC!! an ab yn. 8ut how much
wider the abyss bctweell the da nd y and the (op!" Laroll88e, (Cr(w d Dicrionnoire
Imi uerselle) d lJ du·tu!u vieme siilcle<, vol. 6 (Pari8, 1870), p . 63 (articil' lin the
[03,,1) da nd y» . [04,1]

In the seccJlld-to-la8t chapter o( his bOilk Po ri.!: From Its Origi"" to the Year 3000
Maximll of Empire p ainting: " The new a rtists accept onl y ' the heroic style , the
(Paru, 1886), Let. Clarelie ' peaks of .II cr ys tal canop y th at would slide over tlle city
sublime ,' and tbe sublime is a ltain~ onl y with ' the DUlle and d rape r y.' .. . Paint-
in use of rain. " I.n 1987" is tbe title o( this ch apter . [04 ,2)
ers a re l upposed to flOd their inspiration in P luta rch or "Homer, Uvy or Virgil.
lind , in keeping with Oavid '8 reconlmendation to GrOll, a re sup posed to choose ...
With reference to Chodruc·D udos : "~ are haunted by what w as perhaps the
' subjects known to everyone.' ... Subjcclll taken rrom co ntenlpor ary li£e wer e.
remains of som e rugged o ld citizen of H erculaneum who , having escaped &om
bei!ause or the clothing styles. unworth y or 'grea t art.'" A. Malet and P. Grillet ,
his underground bed , rerurned to walk again among us, riddled by the thousand
X IX' siecle (Paril. 19 19}, p . 158. 0 Fashion 0 [03a,2)
furies of the volcano, living in the midst o f death." Mimoim rh Chodruc·DudOJ,
<d,J. Ango and Edouaro GoWn (paris, 1843), vol. I , p. 6 (preface), The fin,
" Happy the man wh o is an observer ! 8 0redom, ror him , ill a _'ord devoid of
Ilaneur amo ng the dic/aJJij. [04 ,3)
sen,e." Victor Fournel , Ce qu. 'on lJoit d",u les rues de Pari.! (Pari,. 1858), p . 271.
[03a,3]
The wo rld in which one ill borcd - " So wha t if one ill bored! What illJ1ucllce Clln it
IJOssibly have?" " Wh at influeDee! ... What infi uC!lIce. horedom, with 1I.8? 8ut an
Boredom began to be experienced in epidemic. proportio ns during the 184 0s.
cnormQII8 influence, . . . It deci, ive influence! For ennui , YllU see, the Frenchman
Lamartine is said to be the firs t to have given expression to the malad y. It p lays a
has a horror ver gin g 0 11 veneration . Ennui. io hill eyes, ill a terrible god with a
role in a little Story about the famous comic IXburau. A distinguished Paris
dev utl'd cult following. It ill onl y in the gr ip of boredom tll(Jttllll Frenchlllllll call be
neurologist was consulted o nc day by a patient whom he had not seen before.
SCriuII 8.·' Edouanl PaiUeroR. J~ Monde ou I'on .s 'f:!nn llie ( 188 1), Act I . SCt:IIC 2: in
The patient complained of the typical illness o f the times-weariness with life,
l\iiJlcrQn . Thearre comp le r, v,,1. 3 (Paris ( l9 11 ». p. 279 . [D4,4)
deep depressions, bo~dom . "There's no thing wrong with you," said the d octor
after a thorough examinatio n . Just try to relax-find something to entertain
Michdet " offer s a descri Plion . (1111 of inlelligence HIIII comp u,sion . IIf the r(mdition
you . Go see D cburau some evening, and life will look d ifferent to you ." "Ah. dear
of tllf< fi rst specialized (al'Wry workers ur ound 18'&.0 . T here wt're ' trlll' h d l ~ of
sir," answered the patient, "I am Deburau." [03a .4J
l,,,rcrI um' in UII' , pinn in g aud weu\'illg mills: "Eller. eVf!r, e l·er. i ~ lhe ulI\'Brytllg
l'ihrcl thu nder in g in your ears from the uull/malic l'lluil' lucnl which shukcHeven
II d urn from lllt"~ Co urses de 10 Ma rche: " T he d\1st ex ct!t:~leJ all eX Ilt:'C.tu tionli. Till: Ihe fl oor. O nc can never go:l u ~.,1 to it .' Orten the rema r ks of Mk hel.:t (for exam·
d ega nt ful k back frUIO the n eea a re \'irt uaUy en~ ru8t ~,j : Ihey r"mi~tl yu u of Pom· Ille. O il revl·rie und tht: rll ythnlRuf ~ lirfcrcDt occupllliull1!l) 11IItici vate . 0 11 all iuloi·
 li ve level , the experimental KUBl yse/! of mode rn 1)8ych ologiatlf." Georgee Fried·
mann , lAI Cru~ dll 11rog r eJ (Pa ri!! (1936) , p . 244; quotation frum Michelet , Le
Pl'llple (Paris. )B%) . p. 83 .11' [D4.S}
"'aire droguer, ill the ,;eose of loire auendre , "'to keep waiting," belongs to the
urgut (If the: armies of the Rc:volution and of the: Empi n:. According to <Ferdinand>
BrulIQl , Hutoi re de la (eHlg lle /rom; Que, vol. 9. La RelJolu.lWn et {'Empire ( Paris,
193i) cpo 99h [04,6]
Purls;an Life: "'The contClllpo rur y Bccne ill preserved , like a s pecimen under glalB,
in II IcUer of recommcndation to Mt:l c:Ua given by Baron SlaniBias de Frascals to
" hia friend Baron Gondre.mnrck . T he writer, tied to the 'cold country' in whicb be
lives. sigh s for the ch ampagne s lIp pe.n , Metella '8 sky-blue boudoir, the songs, the
glamur of Paris . the gay a nd glittering cilY, throbbing with warmth and life, in
whic.l. d.ifferenees of station are abolished . MeteUa reatls the leiter to the straw of
Offenhlleh 's music, which s urrounds it with a yearning melancholy, as thou&b
JlariBwere paradise- lost. and at the same time with 11 halo of bliss as though it were
the paradise to come; and, us Ibeaction continues, one i8 given the impression that
the picture given ill the leiter is beginning to come to life." S. K.e·lIcauer, JacqlU!S
Offenbach and do s l'o.ru seiner Zeit (Amsterda m, 1937), pp. 348-349 .·~
ID4a.1)
" Rumauticism ~nds in a thcury of boredom, the characteristicaUy modern aenti-
ment: that ia, it end, in a theory of l)Ower, or a t lean of ener~.... Romanticism,
in effed. ma rk .. the recognition b y the individual of H bundle or in8tinclll which
80cidy bat a strong interest in o:pn:ssing; but. for tbe most pa rt, it manifeslll the
ahdicll tion of th e struggle .... The Ruma ntic writer ... turll1l toward ... a poetry
or refugt: aDd escape. The effort of BalzlIc and of Baudelllin: is exactly the reverse
of this and tentls to integrate into life the postuJatelf which the Romantics were
rcsiUled to working witll IInly on the leve.! of art . ... Their effort u tbuslinked to
the myth according 10 which imagination plays an ever-increasing role in life."
Hoger Cailloi ~. " Paris. my the mOOerne." Nouvelle R elluf! frarn;aue, 25, no. 284
(May I , 1937) . pJI . 695, 697 . [D4a,2]
1839: " France is bored" (Lam artine). [04a.31
Blludcluire in his essay a ll Guys: " Dalulyillm is u mysterious instilution , no leu
pct'uliur than t he tlud . It is of greu.l ulltiquity, Caella r, Catiline, and Alcihiades
prllviding us with dazzling ua mpl.·s; and very wide~ prea d. Chaleaubrialld bllving
ftllilul it ill the (ore~ t s and by the lakes of the Nt'w World ." Baudelaire. L'An
rlmwnt;que ( Pari ~) , p. 91. 11 (04a,41
T he G II Y~ chapter in L 'Art ronUlntique. 011 dandies: " They li re all represelltutives
... nr th ul compelling nreil. 1I11IlI onl y 100 rure Iml ay. for comhating ami destroying
triviality.... Dandyism is I.he lalll ' park of heroism IIlIIid ,le('IIc1t:llce: and the Iype
uf .Iandy d.is(.'6vered hy uur tru vd er in North Amerit:a tl oe~ 110thing to invali~lIte
this idell ; for how can we be sure lhallh08e tribes which we call 'sllvage' may not in
fact be the di.sj eclcl membm of !;Tenl extinct civili:tIl liona? ... It is hardly neees-
~a ry to say dUll wile.n M'IIll\ieur G. skelches one or his dandies all paper, he never
fails 10 give him his lIi8111ricili personaU ty-hiJl lep:ndary penwnalilY. I would
.'enture to say, ir we were lIot sl>caking of the presenl time and of lhinge gener ally
cOlisidered fri,·olous." Baudelaire, L 'Art romantique , vol. 3, ed . Rachette (Pa m ),
pp .94....95. 1- [05.IJ
Bauclelnirll ,Iest'ribcs the imJlre~8ion thai the. consummate d andy must convey: " A
ri"h 111[111, perhaps. but more likely an oul-of-work Hcrcule. !" Baudelaire, L 'Art
romllflfique (PHril). p. 96. 19 [05,2]
Ln the eS!lIy on Guyt, the crowd appears as the supreme remedy (or boredoru :
"'An y man . ' he said Olle day, in the counle of one of thMe convenations which he
illumines with burning glance and evocalive gesture, 'any man ... who can ye t be
bored ill th e heart of the mldtitude is a blockhead! A blockhead! And I despise
him !" Baudelaire, L jl rt romantique, p . 65,!O [05,3]
Among all the subjects first marked out [or lyric expression by Baudelaire, one
can ~ put at the forefront: bad weather. [05,4]
Ali attributed III cutain "Carlin," the well-known anecdote about Debur8u (the
II.
actor affii cle(l with horedom) forms the piece de resi8tance of the venified Eloge de
or
l"mnlli <Encomium to BoredoDl>, by Charles Boiu iere. the Philotechnical Soci-
ety (Paris. 1860).-" Carlio" is the oameo( a breed of doga; it comes from the Srst
name of aD Italian actor who playt!.1.l Ha rlequin . (05,5]
"Mollotony feeds on the new." Jean Vaudal, I.e Tuble"" flair; cited in E. J.loux.
"L' Esprit lit's livrell," NO ltvell.e! litteruire., Nlivembllr 20, 1937. [05,6)
Coumerpan to Blanqui 's view o[ the world : the universe is a site of lingering
catastrophes. (O5.7]
On L'E/~ili par Ie; wires: Blanqui, who, on the threshold of the grave, recog-
nizes the Fort du Taureau as his last place of captivity, vmtes this book in order to
o~n new doors in his dungeon. [05a.I)
On L'Elmliti pur Ie; (Islrrs: Blanqui yields to bourgeois society. But he's brought
ttl his knces with such force that the throne begins to totter. [D.'ia.2]
On L'Elrrn ili par I~J aJlre;: The people of the nineteenth century see the StarS
against a sky which is spread Out in this text. [05a.31
It may be that the figure of Blanqui surfaces in the "Litanies of Satan"; "You who
give the outlaw that serene and haughty look" ( Baudelaire, OawreJ, > cd. Lc
 Danu=:c, (vol. 1 [Paris, 193 1],) p. 1 38).~1 In point of fact, Bau delaire did a drawing
from memory that sh ows the head o f Blanqui. {D5a,41
j To grasp the significance of nourxQuti, it is necessary to go back to novelty in
]
everyd ay life. \Vhy d oes everyone share the newest thing with someone else?
Presumably, in order to triumph over the dead . TIlls only wh ere there is nothing
really new. [05a.5]
f Blanqui's last work, written during his last imprisonmen t, has remained en·
tircly UlUloticed up to now, so far as I can sec. It is a cosmo logical speculation.
Granted it ap pears, in its opening pages, taSteless and banal. But the awkward
" deliberations o f the autodidact are mOOy the prelude to a speculation that o nly
t.h.i.s revolutionary could develo p. ~ may call it theological, insofar as heU is a
subject of theology. In fact, the cosmic vision of the world which Blanqui lays o u t,
taking his data from the mechanistic natural sciener of bourgeois society, is an
infernal vision. AI. the same time, it is a complement of the society to which
Dlanqui, in his o ld age, was forerd to concede victory. What is so unsettling is
that the p resentation is entirely lacking in irony. It is an Wlconditio nal surren der,
but it is simultaneously the mOSt terrible indicunent o f a society that p rojects this
image o f the cosmos-Wlderstood as an image of itself-across the h eavens.
With its trenchant style, this ...."rk displays the most remarkable similarities b oth
to Baudelaire: and to Nietzsche. (Letter ofJanuary 6, 1938, to Horkheimer.}t'l
[D5:.1,61
From B1anqui'a L 'efem ite par ks aslre,; " Wha t ma n d oes not fmll hinu elf some-
timei faced with Iwo opposing courBes? The olle he declines would make for a fa r
differeot life, while leaving him his p articular individ uality. One leads to miIIer y,
shame, servitude; the other, to glory a nd liberty. Here, a lovely woma n and h appi·
!less; Ihere, fury and tlesola tion . I am spea king now for both sexes. Take your
chances or yo ur choice--it makes no difference, for you will nol escape your
destiny. But IlenillY finds no footing in infinity, which knows no alterllalive and
makes room for every thin&;. There exist5 a world wh4'! re a DIan follow! the road
thai , ill the other world , his double did not take. His existence divides io two. a
g10he fllr each; it biIurcalea a aecond time, a third time, tho u ~a nd8 of times. He
thus pOSBeues fuD y formed doubles with innumer ahle variants , whir h, ill In ulti·
plying, always represent him a8 a IJer aon but capture only fragment ~ of his tics tiny.
All that one might bave been ill thil world , olle is ill another. M Ollg with one's
elilire existeoce from birth to death . experienced in a moltitutle of places . olle also
liv!'lI, in Yl't olher placea, ten thousand llifferen t veuionll of it. " Citell ill Goslave
Cdfroy, t 'Enferme (Paris, 1897), p . 399. [06,1]
From the conclusion of t 'Eternite par les uslres: " What 1 wri te al thill mOllwllt in
a cell of the Fort Ilu Tllureao I have written alld "hall write throughout all eter ·
uily-Itl II tuble, with II pell, clothed ail J am now, in circ umst" n!!e8 like Ihese:'
Cited in Gustave Geffroy, L 'Enf ermi (Paris, 1897), I). 401. Right It fl er ·th i~. Cd·
froy writes: ·'I.! e th us inscr ibes his £ate, al ellch in8hwl of its Iluration, a!!r OSS ~h e
UUJllber leil~ IIta r@. Hi~ IIrlllon eell is multiplied to i.nfinit y. Throughoul 1.lIe enbre
IIrtt. ven t:, h • ." the same confined m un thai he is 0 11 this ea rth , with his rebellious
~Irellgth a nd his freetlom of thought." [D6.2] '"
From the conclusion o£ L 'eternili pu r Ie... (/S tres: " At the present time, t.he entire
life of our "Ianet , fr om birth to death, with all its erimee and miseric~, is being
J
Iive{1 pa rtly here and p artly tilere, day by day, on myriad kind red planelll. What [
we vu ll ' progreu' ie confined 10 each pa rticular world. and vauishes with il . AJ·
""ay ~ and ever ywhere in the lerrestriailire na, the same ,Irama , tbe same selling.
on the same lIurrow tage.-a noisy humanity infutualed with ils own grandeur, r
bt"lieving itself to be the univer ile and living in its prison &8 though in 80me im·
mense realm , only to foomler at an earl y date along with il8 gJobe , which has borne
",; tll II ~ pes l disd ain , the b urden uf human arrogance. The slime monotnny, the
same inullobUily. on other heavenly bodies. T he ulilven e repeals iuelf endlessly
and paws the grouDtI in plalle ." Ciled in Gustave Ce£froy, L 'Enfe rme (Paris,
1897), 1" 402. [06a,11
B1anqui expressly emphasizes the scieutilic charHcler of hill th e~e8, which would
have nothing to do witb Fourierist fr ivolitit': s. " One mUill coocede thai eac.h par-
ticular combina tion of materials and people ' i8 bound to be repeated thousa nds of
time~ in order to satisfy Ihe demands of infinity.'" Cited in GeCfroy, L 'Enfe rme
(Paris, 1897) , p. 400 . [06a,2]
B11Ul11Ui's misanthropy: "'The varialions begin with those living creatures that
have" will of thl!ir own , or something lik~ eal'ricea . All soon as buman beings enter
the 8CCntl:, inulgination enler t with them. It is not aa though thtl:y havtl: much effecl
on Ihe plauet. ... T heir tur bulent activity never 8t'riou Nly disturhs the nalural
progreniou of physical phenomena, Ibough it dis rup ts bumanil)·. It iMtherefore
;uh i sable 10 a nticipate thi, subversive influence, which ... tear s apa rt nution8
and hri ngs down empires. Certainl y these bruta lities r UII their course witllOut
e,'en scr atching the terrestri al surfau. The disappearance of the disroplorfl would
leave no tr ace of their self· ttylcd sovereign presence, and would suffice to return
nat ure to il. virtually unmolested virginity." Blantlui , L 'E' ernite <pa r le8 asfre.
(Paris, 1872», pp . 63-64. [06a,3)
Final ch apter (8. ··Uesome") of Blanllui's L 'Etemite p (lr Ie! fl 5Irp.s: "Till' entire
tt nivt' r~e is composetl of alltral sylilems. To Cn)alc them, lIature has unly a hulltlrctl
simllle bodies a t illl tliSJl08al. De.lpile thc great ad vantage it ,Ierives from thcse
resuurces , and the i llnllmt~r a bl e combin8tions that Illest: resourcea aifurli i ~ feo
cuntlity. Ihe resull is nl!1!euaru y afini,p. Illllnher, like thai of th., clellleliU tJu~ m·
lit:lvcs; and ill order to flU ils expanse , nature mUMt re ,,"~ LII to infi nity .. ach nf iu
origi1lal combinations or ' ypes. I 5u each hea vt~ nl y Lotl y, whutcver it lIIiJ;ht bl',
e"iu&in infillite num ber in time 8.nd sp ace, not mJ1y ill orle of i!! aspects h ut as it i&
at eadl St..<cond of ill existcllt..-e, £ronl birth to dealh. All the h1~in l;ll d istr ih ulW
-
:! ac ru!!!. it ~ ~ lIrra ce , wilt:UII!r large or 5mull , living 6r inanima1t:. share the privilege
of thi8 perpe tuit y. 1 1'111' ea rth ilf o ne of thclt! heavenly hodic8. Every human being
ill lhull eh:rllul a l every ~el:o nt1 o f his Qr her existe nce. Whll.t I writfl at this mo ment
j ill a cell of t.il t' Fori ;Iu Taureau I IlIlve written ami shall wrile throu~ou' " II
clc rllit y- at II table, with a pen . clothed a s I am nGw, in circuDl81a ncei like the.e.
] Ami thull it is for ever yo ne. I All worldl are engulfed. one after another, in the
rtlvivifyillg fl ame, to be reborn from them and consumed by them once more--
monotonoUII lIow of ao hourglass tbat ele rnaUy empties and turn, iuclIover. The
I.. new i8 a lway. uM. and the old alway. ncw. I Yet WQn ' , tbose who are interested in
exl ra te rrcfilria l lifll emile a l a mathe matic al deduction which 8ccorda them not
onl y immortality bot e te rnity? The Dumber of our doublel ill infinite in time and
811al'l:. One cannot in guod conscience demand an ything more , Th~ doublet uUt
in fles h and hOIle--iudeed . in lToul er8 and jacket, in crinoline a nd chignon . They
are by no meaDS IIhanloDls; tlley arc the present cternaLizctl . l Uc re. nonethelell8,
Liel a great drawb ac k : tilere il no progress, alaI. but me rely vulgar reviaioru and
re prinll. S uch a re the exempla rl, the ol tensible ' original editions,' of aU the
worlds pasl .ll lId all the worlds to come. Only the chapter on bifurcationl ia atill
Ol)\!n 10 bOI)\!. lei us nol forget : flU th(lt one mig ht have been in thu world. one u
itl unutller. l in Ihil world , progrclli is for 001' descendanlll alolle. They will have
morc of II chalice thall we did . AU the beautiful things e ve r leen on our world have.
of course. already beeu set.:u- are being seen at thia instant a nd wiD alway. be
&tlell- by our t1escenda n ll , a nd b y their doubles who have prec!cded and will fol·
low them. Scions of a fin er homanity. they ha,'c a lready mocked and re viled oor
existe nt.'e 0 11 d ead ,,'o rldl. while ove rta king a nd l ucceeding U B. They continue to
Icorn UI 011 Iht' Li ving worldll fT()m which we have fuappeared, a nd their contempt
fo r UII will ha \'e 11 0 eud o n the worlds 10 come. I The y a nd we, aud all the inhabi·
ta nlli of lUir vlanet, are re born vri80nerll of the moment a nd uf the place to which
dettin y hili auigned Oil in the serie8 of Earth'l avatan. Our continoed life de~d.
on tha t of tbe pla ne!. We are merely phenomena that a re ancillary to ill res urrec-
tiOIlIl. Men of tht' nineteenlh century. the hour of oor apparition. is fixed forever.
a nd alwaY8 hrill g~ us bac k tbe very . ame onet, or a t mOil with a prospect of
felici tous varianlll . The re is no thing her e tha t will much gratify the yea nling for
improve menl . Wha l to do? I have-sought not al all my pleasure, hut onl y the truth.
lIe re the rl) is ndthe r revelatilln nor prophecy, hut rather a s imple (Ieduc tion on
the halOiJl of 81M!ctra l anuJysis und La placia n cosmogony. The&e two discove ries
mllke us ete rnul. Is it u windfall? ut us profil from it. Is il a mys tification? Let u8
rCl ip' (II1.,;:!" e8 10 il . I . .. I At bottom . this e te rnil y tlf the human being a mong
the s tars is n meluncholy thing, a nd this seques lering of kindred wo rld ll by the
iIlCJ(orubl{, harrie r of space i8 e vell mo n : s ad . Stl lIIallY identicul po pulaliolls paIs
away wilhoul ~ u 8 pcc liJ1 g olle a nolhe r '& exis tence! BUI no--thill has finall y been
tliscovc rcll , ill the niuet t."I!n th ccntury. Yet who iii inclined to IIdie ve it ? I Until
no w, the pasl h'ls. ror us. nleant harharis m, whe reus Ihe future has aignified pro·
grl '~M . ~ .' i elll '''', ha ppinells, illus io n ! Tl, is l)a ~ l . o n a U 611r cOuulcl'J)art worlds, haR
S('en th., mllSI hrillianl civil.i:!:al.io ns di.~a pJH' ar ....ithoulleaving a tra t.'C, MOll they will
continuc 10 lLisulJllear willlOulleuving n trace. The rulurt" will wil.Aen yel apin , on
biUiunlt M world•• t he ip1o ra nce. foll y, and cruelty of our bygo ne eral! I AI the
pretent lime, the entire life of o ur "IUIICI, from birth to death. with a U it. crime.
alld miseries. is heillg li,'ed )lllrLl y herc ami portly ther e, .Iay h y d ay. 011 myriad
kindrl~ 1 "lullet8. Wllut we c ull ' "rogn 'ls' i~ confilletl to eac h particular world , a ud
vunis lu:!I with it . Alwa YIi a nd I" 'c r y.... he re in Ihe tcrrC Hl.riul Mrena . the Harne drama.
the same selling. o n the ~a m e n il.rrow Il uge--u n oi ~ y huma ni ty infatua ted with ill
own gruntleur. lw lif'\·illg itself 10 lie thc univerle a Ullli \' ill~ ill its pril on as though
in !lOlIIe immcme rt:Mlm . onl y 10 ro umll:r a t 8 n carly d Mte along wilh its yobe-, which
hah borD e wilh dCCI)e8t dis dain the hurden of hllWan arrogance. Thellame monot.-
0 11 )' . thl" /la me immo bility. (in othe r heavenl y bodiea. The uni verse repeau itself
f'm:l1essly a nd paws till" gJ'uund in place, In inflnily. e te rnit y perforrns--impe.r.
tur ha blY-lht' same mlllillc ~." Auguste B1amlui . L 'etemite par ie, wIre,: fly -
Iw tlli!Je tU t rfmo miqul! (poris. 1812), PI" 13-16. The elided paragraph !Iwells on
Ihe "consolation" afrord l!fl by the idea thai tbe doubles of lo\·ed ones departed
fro m Eartb Ilre III this ve ry hou r keeping o ur o wn ,1(JuJJies company o n a nothe r
"Iullc t. [07; 0 7a]
"Let U ll think thi$ thought ill its most te rrilile form : exis tc nce 81 it is. without
'meani ng or aim . yet rec urring ille vitnbly withoul any fi.nal e into nothingness: the
eternnl return [po45] .... We Ileny eRiI goalB: if ex.iate uee had one, it would have
to ha\'e been reac hed ." Friedricll Nie tzsche. Cesam melte Werke (Munic h ( 1926»,
\'01. 18 (The Will 10 Powe r. hook I), p. 46 .» [08,IJ
"The doct linc of .. te rna l r('l!UrrllllCe would t.ave ,cholar/y pre!S uPpoHilions."
Nietzscllc . Gesummelte Werke (Munich). vol. 18 (Th e Will 10 Powe r, hook J),
p. "9 .~' [08,2)
"The old ha hil , however. of auocia ting a goal wilh e ve r y event ... i8 IiO powerful
that it retluires a n effo rt fo r a thinke r not to fa U into thinking or the ve ry aimie.ll.ll-
1It.'U or the world MI inte nded . T hi.!l notio n- tha t the wo rld inte ntionally a voids a
goal ... - must occur to a ll thoBe .... ho wonM like to force on the world Ihe capMcity
fo r eterntll /lo velt)' [ po 369J .... T he world . a8 fort.'e, may not be thoughl of all
unlinliLed , fo r it Cflnnor 1M! 80 thoughl of . . . . T llUlf-the world also lacks the
Cal)urit y for ete rnal nO\'elty," Nieu:uhe. Gesummelte Werke. vol. 19 (Th e WiU to
Power, hook 4). II . 370.:'; [08,3J
", 'h.. world . . . U\'es nil itlll'lf: ill cxcr CIlI.. nhl arc ils lIuliris llllle nt. " Nie tzsche.
G('~llIIlmelte U" l,! rJ.·e. "'111. It) (TIll' IVilI to Po wer. hook 4). p . 3i l. t • {DS,4]
'1'1... '''')rl" " wi thou t goal. 11111,'88 the ju)' of Iht' f·ird u is il~clf a goal: witho ut will ,
unlt's.o:. II ring ft"f;l ~ good willt llwur.1 iI Ht:if.·' Nich:sd,c. Ge,ammelte Werke. vol. 19
('/'/'/, Will til l)fHIII'r. hOI!1i. 4), p . 314,2: - [OS,SJ
0 .. ~' I (' rna l O'CUrl·t"I ...e: " 'I'll(' IIn'll l Il,o ught as u M cdu ~ a I,eu{l : all r..a lurf>S of 1.11,·
Wnr hl ht'colIIC' lII utioulcss. a fruzell Ilf'a l h thrut·... Frit'tlri,·I. N il·lzulle. Ge~mllmelt f!
It .. rke (Munich d925», vul. ).J (UIIIJubfi$I! ed 1't'/Hlr•• 1882-1H88). p. 188.
[08,61
 "We have created Ihe wdghtieal thuught- now let au creole the being for whom it
ill liglll aud plcasillg!" Niet:uche , Gell(J mmelte Werkf! (Munich). vol. 14 (U'I/JUb-
lilllied PfJperll , 1882-1888), p . 179. [08.71
j Analogy between Engels and Blanqui: each rurned to the natural sciences late in
lif" [08,8]
'' If the world ma y be thought of Il6 a certain definite quantity of force and atl a
certain defmilC number of centen of force--and ever y ulber representation Te-
IIIUinS ... we/eu-it followll thai , in the great dice game of existence, it IUU8tIl8SN
through a calculable nlUJlber uf comhillationll. 10 iufinite time , every llOstlihle
cornhination wuuld at some time or unother be reufu:oo; mort: : it would be r ealized
all infinite number of timcs. And since between every comhin ation alltl ih next
recurrence a U other l)Ou ible combinations would have to take place, .. . a circu-
lar movement of Itbllolutely identical seriea is thug demunstrated .. .. This cuocep-
Lion is not simply a mechanistic COlIl.leptiOIl ; for if it ....cr e that, it would nOI
condition an infinite recurrence of iclentiCll 1 cases hut It finlli l l.ate. Becawe the
world has no t reached dlie, mechunistic theory must be considered lUI imperfect
and merely pruvisional hypothesis." Nietzsche , Gestlrnmelte Werke (Munich
<1926» , vol. 19 (Th e Will to Power". hook 4) , p. 373.::e [08a, 1]
~ the idea of ~ternal recurrence. the historicism of the nineteenth century cap-
Stzes. As a resuJt, ~vuy tradition. even the most recent, becomes the legacy of
som~~g that has already run its course in the inunemoriaJ night of the ages.
Traditlon hencefonh assumes the character of a phantasmagoria in which primal
history ent ~rs the scene in uJtramodem get·up. [08a,2]
Nietzsche's remark that the doctrin~ of eternal recurrence does not cnbrace
mechanism seems to him the phenomenon of the perpetuum mobile (for the worW
wouJd be nothing e.lse, according to his lea.c.hings) into an argument against the
mechanistic conception of the world. {08a,3J
On the problem of modernity and anti(llIily. " The exutcllce tha t has lust its IItabil-
ily and its direction, a nd the world lhat has losl it! coherence and its significa nce,
~o me togetlu:r in the ""ill of ' tile elt'rnal recurrence of the ta me' as tht: attempt to
rClleat-(ln the pea k of moderllil y. in a symbol-the lire whidl tlu> Creeks lived
within the li ving cosmOll of'il e visi ble worlel ." Karl Lowi th . Nietzsches Philosoph ie
del" eU'igen Wifldflr"kuflfi dp.s Gleiche" (Berlin . 1(35), p . 83. (OHa.4)
L'Eternili par Its aJtrt:J was written four, at most five. yeaTS after Baudelaire's
death (contemporaneously with the Paris Commune?).-TIUs text shows what
the stars are doi.ng in that world from which Baudelairc. with good reason,
excluded them.
[09,1 ]
'11e idea of elemal recurrence coqjures !.he phamasmagoria of happiness from
the misery of the Founders Years;n TIus doctrine is an attempt to reconcile t.he
murually colltnldictory tendencies of desire: that of repetition and that of eter-
l1iry~ Such heroism has its counterpart in the heroism ofBauddairc, who conjures
the phantasmagoria of modernity from the misery of the Second Empire.
[D9,2]
The notion of eternal return appeared at a time when the bourgeoisie no longer
dared COWl! a ll the impending devdopmenl of the system of production which
they had set going. The thought of Zarathustra and of eternal recurrence belongs
IOgethcr with the embroidered motto seen on pillows : ";On1y a quarter hour,"
[09,3]
Criti(lue of the doctrine of eternal recurrenCI' : "As naluru] ~citmti s t ... , NieLUche
is u philosophizing dilettante, uud a8 founder of u religion he ill a ' hybrid of
! icklll!.u and wiU to power '" [llrcfuI:e to Ecce Homo] (p. 83).:!oj " T he entire doctrine
thus seem.'! tu ~ nothing othcr t.han an experiment ur the human wiU and an
lI t1empl to elernllli.ze aU Olll' doings and failingti , an atheistic lI urrugllle for religion .
With this accords the homiletic style and thr. compo8ition of Zar"athwtrrJ , which
dOwn 10 it., tiniest details often imitatell the Ne .... Testament" (pp. 86-87). Karl
Lowith. iVietzscllell Plaiwsophie d er" cwige n Wiederklmfl dell Gleichefl (Bcrlin ,
1935), [09,4]
There is a handwritten draft in which Caesar instead of Zarathustra is the bearer
of Nietzsche's tidings (LOwith, p. 73). That is of no little momenL It underscores
the fact that Nietzsche had an inkling of his doctrine's complicity with imperial-
ISm. [09,5]
Lowith cullHNiet:u che', " new divinatioll . . . ,he l!ynthesis of divination rrom Ihe
8!arl! ....ith dh'inatioll from lIolbingneu , " 'hich is the last verity in the deserl uf the
freedom uf individual caJlucity" (p. 81). [09,6J
From " Les Etuiles" (T he S ta rs ~ , b y LMlIIllrtine:
Thll ~ thelf~ g1ohe. of g01ll . t.he~e ;&Ia"d. of ligh t.
SOllgll t in~ tinr.l;vely by Ihll dreaming eye.
Fl.sh 1111 by Ihe !honsA n•.1! (rom (ugitive sh. dow.
Uk t ~li uc: ri ~ Il u ~t oPlhfl ttac k, of pight ;
I\ od Ihe hrea lh of the evenin g th ai Rici in illf wake
S.. ntb thenl swirlipg til rough Ihe rndiAnCt of ~ I,aee .
All dUll WI' 8eek- lovc. trull, .
TIII'~e fruil~ of Ihe.lky. (1111"11 on ell rth 's (> lIla te.
Tl, ruIIghuul )'CUlr Lrillialltl"limr.! wo) 10llg to ~ee-­
NOlllri, h fore ... t r Ih ... r hildn n "f lif,.;
And u n~ ,lay nlan l'.erh. I '~ ' hi. lit·.ti n,- fulfill,.,I.
Will rerl>ver in you aU lhc: Ihi np he lo u lo~ t.
<Al phon so· d e) Lamartine . OeU lJrf's N IF"/J/et f!s , vul. I (Parill, 1850), 1'" . 22 1. 224
( Mc(litfl t iml$). " Ili ~ IIwtHt litinn dO!lell with a reverie ill .... hil·h Lalllurtim' iii pll'u~t:d
10 imagine lJ i m ~df Irull llfunn~J illtu a ~ Iar a llloug stU n!. [OYa, IJ
 From kt.· lnfini J a ll ~ lei cit:lu" dnfinit y in the Skit." by Lamartine:
MIlII . lIoncthdeu . tha i in,li8eovcr ll iJI e ill,;o(!l .
w.
C rawlinl! 11 .... "1 Ihe ho U... uf a n o h,ellre o rb .
j Ta kes Ihe meUllre of I.hf:llf: fie r)' "Ianeu.
AlI8i gll~ t.he m th eir Ilia Ci: in the hellven8,
] Thinkill&. wil h handll that r.a mwi m llnaee the cu mpu".
To ~ ift eun@ like Vains of ,and.
!..
Anll Sa tnrn bedilnmerll,y itl di 8tanl ring!
Lamartille. Oeuvre! cQmpletes (Pari8, 1850). PI' . 8 l -82 , 82 ( Harm onie. poetiques
et religiell.lle8) , [09a.2]
Dislocation of hell : "'A nd, 6.nally, what is the place of punishments? All ~gions of
the universe in a condition analogous to that of the earth, and still worse." J ean
Reynaud, Ta'Te tt ciel (Paris, 1854), p. 377. This uncommonly faruous book p~'
scnts its theological syncretism , its philruophie re/igieuJe, as the new theology. The
eternity of hell's torments is a heresy: "'The ancient trilogy o f Earth, Sky, and
Underworld finds itsdf n=duced, in the end, to the druidical duality o f Earth and
Sky" (p. xili). [09•.3)
Waiting is, in a sense. the lined interior ofbon=dom . (Hebel : bo~dom waits for
death.) [09.,4J
" 1 alwaYB arrived firsl , It wall my lot 10 wait for her:' J .-J. Rousseau, Le!l Con!eJ-
. ions. ed . Hillium (Parill <193 L» . vol. 3 . p. 115.][ [09a,5]
Fir~ t intimation of Ihe doctrine of eternal recurrence at the end of the fourth book
of Die frohli.clle Wiuen8c1la!t: " Uow, if Borne day or nighl a demon were to Ineak
aft er you into your loneliest IOlldineu and lay to you: 'Thill lire ait you now live it
and ha\'e lived it , you will ua \'e 10 live once more and inllumerable times more; and
ther.. ",ill be nothing new ill it , llUl every paul and every joy and every thou&ht and
sigh and everyt hing immeasurably smaUOJ' great in yuur life must relurn to yon-
all ill tlt(. same IIl1cceuion and 1I1!lluence--evell this epider and this moonlight
hetween the trees, and eve" this moment lind I myself. 1'hl"' eternal hourg.la81 of
...xi ~ te l1ct· is turnell o",:r and over, ami yOIl with it , a dust grain of dll ~ t .' Wou l.1 you
IIOt .. . cu rse the ,lenwlI wlio spokll thus? Or did YOII once eXIH:riem'l! a tremel!-
dIms mumelll whell you " 'tlllM hu" e ans" 't:red him : ' YUII a re a got! ami never have
I hea rd uJl yt hlng mort: go .lI y ! '·' ·~ Ci tL'() ill wwith , NielzsdleJ 1'lliloJopllie der
f'lciseri Wiederkmt/t ({leI Gleichell (Uerl.in . 1935» . 1). 5i-58. [010,1]
Blauqw 's th eory as a ripititi()TI du my/he-a fundamental example o f the primal
history o f the nineteOlth century. In every century. humanity has [ 0 ~ held back
a grade in school. Sec the basic fomlUlation of d lC problem o f primal history, o f
UrgeJchichit:, in N3a,2; also N4,1. [0 10,2)
"Etemal return" is ulcjimdamenta/foml of the urgeschir:htJichro, mythie eousOous,
nesS. (My[hic because it does no t reflect.) [010,3]
L ·I;.·terttite p"rles uMrell hould be comparetl ",ilh till' spirit of '48, u it IIl1ilnllh'
Heyn8ud 'i! Terre f!.t del. With rcgllrd to thill. Ca s ~oll : "On discovering bilj ea rthly
dcdiny, Illall feeL! a sOirt of \'ertigo and cannot a l first rej'OIll'ile Illuillelf to thiB
,11'''iny alom: . He mllst link it up to the greatest »08~ i.hle immcilsil y of time 11 1111
' pace. Only in till' cOlltext of its moat 8wl!t!ping breadth ,,·ill be intoxi(,ll te ltimsdr
with being. with mU"ement , with prop-e,s. Only thell ca n he in all cunfidellce and
ill 1111 dignity pronounce the sublime wordlJ of J ean Reynaud : ' I hllve long millie a
practice uf the uILi ve r~e. · " " We rllld nothing in tile universe that call1UJt serve to
d.,.vate 11'. lind we li re genuincl )' elevated ollly in taking advantage of wbat the
IIni ver 5e offer s, Tilt' ~tar8 themselve8. in their suhlinlt' hierarr.1IY, a re hut a ,erie"
of steps by ""hieh WI:! motlllt progreuively toward infinity:' c J ea n ~ Callsou, Quar-
mlle·huit <Paris. 1939>, pp. 49.48. [0 10.4]
Life within the magic circle of eternal return makes for an existence that never
em erges from the auraec. [DtOa, l]
As tife becomes mon= subjeet to administrative norms, people must learn to wd..it
more. Games of chance possess the great charm of f~eing people from having to
wait. [01 0a,2]
The boulevardier (feuilletonist) has to wait, whereupon he really waits. H ugo's
'Waiting is life" applies first of all to him. [0101.3]
The essence of the mythical event is n=rum. Inscribed as a hidden figure in such
events is the futility that furrows the brow of some o f the heroic personages o f
the underworld (Tantalus, Sisyphus, the Danaides). TIUnking o nce again the
thought of etemaJ recurrence in the nineteenth century makes Nietzsche the
figure in whom a mythic fatality is n=alized anew. (The hell o f eternal damnation
has perhaps impugned the ancient idea of eternal recurrence at its most fonnida ·
ble point, substituting an eternity of tormen ts for the eternity of a cycle.)
[0 10a.4]
TIle belief in progress-in an infinite perfectibility understood as an in.finite
ethical task- and the representation of etemaJ rerum are complementary. They
are the indissolu ble antinomies in the face of which the dialectical conceptio n of
historical time must be d eveloped, In this conception. the idea of eternru return
appears precisely as that "shallow rationalism" which the belief in progress is
accused of bcing t while fai th in progress seems no less to belong: to the mythic
mode of th ough t than d ocs the idea of eternal n=tum. [0 10a.5)

E "" hieh lo'....er\!1J up ill lIIaj e~ l i e g1nry I tl the heuvens like II prime.val fore, l. II book in
[Haussmannization, Barricade Fighting]
TIle nov.~ry realm of decorations,
11l(: chaml orlandsca~, of architccrurc:,
And all the effect of scenery rest
Solely on the law of pcTsp=ctlvc.
- FnlIll BOhle, 1At1l/rr-CaltclliJIIIIIJ, odLr ltu.,flristiJcJu Erll/anmg """.
Kltitlimcr wniiglich im Biill1lnrkbrn iibliflln mmm. oiirtl'r (MwUcb),
1'. i4
I \'OlC7lItc the Beautiful. tht' Good, and all thing! great;
lkautiful nature, on which great an resl5-
H ow it cndlaJ1Ui the car and channs the cyt!!
1 love spring in blossom: womCll and f'Q.'Ie5.
-CJ,yrJJion d ',m 111m drot7l1lllitux (Baron HaUSlimarul, 1888)
11lt breathless capitals
Opelled thcl15ch "CI to the cannon.
- Pim'c Dupont, ~ ChaN dtJ iludiotlb (PariJ. 1849)
· nlC characteristic and, properly sJ>(aking. sole decoration of the Biedcrmeier
room "'was afforded by the curtains, which-e.xtremeiy refmed and compounded
prefenlbly from several fablics of different colors-were furnished by the uphol.
Mcrcr. For nearly a whole century aftez>vard, interior decoration amo wlts , in
theory, to providing insuuctiolls to u pholsterers for the tasteful arrangonent of
d r.lperies." Max von Boehn, Die Modr. ;111 XIX. Jahrhunder/J vol. 2 (Munich,
1907). p. 130. This is something like the interior's perspective on the window.
P'·'·-'I'f'/·th·ul l'l,uraClcr 'IC lilt' 'Till"I]"". wilh il li IIIUllif(llll f101l1l .·..1I.
~i ... 1... l til'olll ~ Wl' I'C wo .. " ulul.·.. 'lI'a lh.
l'I"' p -~ hi,)", l"iwlvri(·. p,·nil',·ttivul figul't," "f ~ pef"c h : " '"ddt' nl ally, tile rlgure of
\::rl'ah' I .·fT.· ... I. l"lIlpluyt'cllJy all Frt'llI'll oralor8 fro m their p(H,l i lllll~ llulil rilrunes,
lIuII II,I;; !,!"I'll y mu e h like Ihi g: ' Tllt'rt' Wll~ in tile Middle Ages a hOt)k which CUDce.n-
truted lite s pirit IIf tllf' linlr~s Q ~ a mi rro .. eOllcent ru te, IllI' ray~ of the SlIn , a book
whid' ... u bouk fvr which ... fin ally, a book wh ich . . . by whjch and th rough
which [ the n1ll8t lung-windt.-d SI}t!i'ifications follow] ... a book ... a hook . .. this
IJilok was Iht· Dilli"e Comedy.' Loud appla use." Karl Gutzko w, Brk/e Uu,f Pari.!
(Leipzig, 1842), vol. 2, Ill" 151- 152. [E1,3]
Strategic basis for lhe perspectival articulation of the city. A contemporary seek-
ing 10 justify the construction of large thoroughfares under Napoleon I I I speaks
o f them as "unfavorable ' to the habitual tactic of local insurrection.'" M arcd
Poete, V"e u;e de cit; (Paris, 1925), p. 469. "Open up this area o f continual
disturbances." Baron Haussmann, in a memorandum calling for the extension o f
the Boulevard de Strasbourg to Chatelet. Emile de Labedolli~re, it Nouut:au
Pam, p. 52. But even earlier than this: "They arc= paving Paris with wood in
order to deprive the Revolution of building materials. Out o f wooden block.s
there will be no more barricades construaed." Gutzkow, Bn'¢ nUl Pam, vol. 1,
pp. 60-61. What this means can be gathered from the fact that in 1830 there
wel'e 6,000 barricades. (E l.']
" In Paris . .. they lire fl eeing the IIrcade8. 8 0 lung in fa shiun , as one flees stale air.
The arcades un' d ying. From ti me to time, one of them is closed, like the sad
Passage Delllrllle, where, in Ihe wilderness of the galler y, fema le figures of a taw-
dry an tiquit y used tu dance along the shopfronls. as in Iht' scene, from Pumpeii
inlf'rl'reted by Guerinon Henehl , T ire arcade Ihat for Ihe Parisian was .II sort of
slIluu·walk . where yo u strollt.-d and smoked and chatted , is now notbing more than
a species of refuge which yo u think of when it r aiu8. Some of the arcade!! main lain
II cert ain a tt raction on acco unt of this or that fallled esta blishment still to be found
the ..e. Bul it is IIle lena nt 's renown thai prolongs the excitement. or rat her the
tlca th Uglllly, of lire plncc. Tire arcades have one grell t defect for moder:1I Parisians:
yuu r.o uld say thut , just like certaill paintlngll dOlle from stilled perspecti ve!!.
a
II,tfre in 1It!t!t1 of air." Jul,'s Clan·tie, La Vie Pari!. 1895lParil. 1896). PI" 47£(,
[E1,5]
Th~ radical transfom13tion of Paris was carried OUt under Napoleon HI mainly
along the axis running through the Place de la Concorde and the H 6tel d e Ville.
It may be that the Flllllco·Prussian War of 1870 was a blcssing for the architec-
[EI ,I] tural .
. wlage 0
r Pan.5, seemg
. th at Napoleon III had intend ed to alter whole d is.
Incts of the cit)'. Stahr thus writes, in 1857, that one had to make haste now to sec
AI I"ulIt fi ve to lht: old Paris, lo r "the new rulel; it seems, has a mind to leave but little of it
{EI ,2] standing." (Adolf Stahr, Jfac/tfiirifJaJjml, vol. I (Oldenburg, 1857), p. 36.)
[EI .O]
111e stil1cd perspective is p lush for tlte cycs. Plush is lhe material o f the age of
louis Philippe. DDusl and Rain 0 (E 1,7)
 Regardin g "stifled perllpecLives": "'Yo u can come 10 Ihe p"noramnlo do Jrswinp
from nature .' David l uiIJ Ilill s tude llt8 .·· E mile de LahedoUiere, Le NUI/ IleU U Pam
(Paris).!>. 3 1. [EI ,8)
Among the most impressive testimonies to the age's unquenchable thirst for
perspectives is the perspective painted on the stage of the opera in the Musee
] Grevin. (This arrangement should be described.) [E1.9)
" Having, as they do , the a ppearKuce of walling-ill a UI 8l1iive eternit y, IbulS-
iJ ma nn', urban work~ a re u wholly app ropria te repl'esclitUlioli of the absolute gov_
ernin g principles of the E mpire: repressioll uf every ind ivid ual fo rma tion . every
or gluu c leU·development , ' fund amental haIred of aU individuality. ,,, J . J . H one~_
geT, Gnm tUteine ciner allt$emeinen Kulturgeschichte der n e~sten Zejt. vol. 5
(uipzig, 1874), II. 326. BUI Louis Philippe was alreatl y known all the Roi.-Mm;on
'" <Maso n Kin g>. [E la,l ]
On th ~ trall5fornla tion of the cit y unde r Napoleon III : " The SUb 80il hal been
profoundly disturh(:d hy Ihe insta Ua tiou of gas nlailill a nd the construction o(
sewen . . .. Ne\'er hefore in Paris h ave 80 nlany building s upplies been moved
about . $0 many hOU HC~ and aparlllu:.llt buildings cons tr uc led. 80 man)' monume n18
res tored or e recte d, 80 ma ny fa\~ades dre81ed with cut ~ tlm e . ... It wa. necell8ary
to ac t quic kly and 10 take advantage of properties al:ll" irell a l a ve r y high 0081: a
doub le stimulus. In Paris. sha llow b a~menl il ha"e taken the place of lleep cellare,
wlLicil r~ lui red excavations a full I tory deep. The use of COlu;r ete and cement ,
whic h was firilmad e p088ible by the Iliscovcries of Vieat. has contribUled both to
the r eailonable COll i a nd to tlll~ boldne88 of thelle , ub ~ tru ctions." E. Levasseur,
Histoire deJi ciaueJi ouvr wr eJi e l de l'induJl trie en Fnlllce de 1 789 1870 , vol. 2a
(Parillo 19M) , pp. 528-529. 0 Arc ades 0 [Ela,2]
" Paris. liS wt\ bud it in t11t~ pe riod fo Uowing the Re vo lution of 1848, was abou t to
heco m ~ uni nhabitable. Its populatio n bud been greatly e nla rged and unsett1ed by
the illt"eS8a nl acti vity or the ra ilruad (wlwlIf! ra ils extenued furlber eac h day and
linketi llp with t.hose uf neighboring countries), aod now Ihis Ilopulutio n Wail suffo-
caling iJI the narrow, hmglell , putrid alleywll.Ys in which it was forcih ly confined ."
~Maximtl) 011 Camp . l'(lr i.s, \'01. 6 <Parill, 1875>. p . 253. [Ela,3)
Expropriatioll' uUtler Ha Uu malill . "Cert llin harri8tr rs ma de a s pecialt y of this
kind of cuse .... They de£ellded real I:Ml.ltc f'x prop ria tio Il8. indUijlriul expropria-
tions . II:II HIII exprOprill.lilJlIs. sentime ntHI f'x pro priHtiulIs; they s pok,~ IIf a roof for
fa t1 u:rs allli II. cradle fur iufanls .... ' li ow did yu u make YUll r fortulle? · a pnrvellu
waij as k ~.I : ' I'''e be('ll ex propriated .' came t hc n-spu n!e .... .A III"W imlns tl")' was
(' reu ted. which, (JII the lu't:lext of t uking in hand tile ill"'rclits of IIIC' expropriated .
ditl nul s hrin k fro m the " lIs,·, 1 fruml. . .. It soughl u ul ~ mall mlllluful'lurcril a mi
cqlliPI'l.'1 lllic m wit.h tlt'luiled UI:CUI/III I!uuk ll. fuille i.ll vl·lIl oric;;, a lltl fuke mcrc han·
dise t haI ufH!n wall lIothing more tha n logs wrapped ill pape r. It wo uld .. ve il pro-
cure gro Upll of c us tomer! 10 fillihe shup 011 t he day thej llry nlade their prescribed
\'isil. It fllhrif'a led leaM!~xlIggera l ed . ,·xtended . a lltc(la tcd--t)1I sliceu of old
puper be ll rin g offi cia l IIla mpli. which it hat! ma uagell to pn)(' ure. It would have
stores nllwl y repa inte d lind daffed with improvised clcrkll, whom it (laid three
francs a d ay. It was a 80rt of midnight gang Iha t r iflcd the till uf the city govern-
me nL " Ou Camp , Paris . vul. 6, pp. 255-256. (EIa,4]
Engels' c ritil(ue of barricade lac tics: "The 11I 08t that t he ins urrection caD a ctuall y
implel1lt:llt ill Ihe way o£ l ac tinl practice is tJ lII co r recl cOlls tructio n a lld defe nse of
p single h llrriclldc." Bul "eyen in t he d.llllllic period o £ st reel fightin g, . . . the
ba r ricpdtl produced more or II mora l t han a ma te ria l eJfec.t . It was a means of
;;haking Ihe I leadfastne88 uf the military. U il held o n Wllililus was a u a ined. the n
\'iGlory W iUI WOIl ; if not , there was de f~at. ·' Friedrich E ngds. Ilitroduction to Karl
Mar;.;:, Die KllU senkampfe if! Frcmkre idl, .18'UJ- 1850 (He rlin , 1895) , pp . 13.14. I
(Ela.5)
. No less retrOgrade than the tactic- of civil war was the ideology of class suuggl.e.
Marx on the February Revolution: "In the ideas of the proletarians, ... who
confused the finance aristocracy with the bourgeoisie in general; in the imagina-
tion of good o ld republicans, who denied the very existence of classes or, at most,
admitted them as a resuJt of the constirutional monarchy; in the hypooiticaJ
phrases of the segments of the bourgeoisie up till now excluded from power-in
0/ the bourgroisie was abolished with the introduction of the
all these, the rule
republic. All the royalists were transfonned into republicans, and all the million-
aires of Paris intO workers. The p hrase which corresponded to this imagined
liquidation of class relations was fratemiti." Karl Marx. Die KitwenAiimpfi in
FranRrnch (Berlin, 1895), p. 29.2 [£la,6)
In a ma nifestu in which he proclaimll the righl 10 wo rk, Lamartine I pellks of
tile "atl vcni llf I.he indus lrial Chri$I. '" l ournal des economiste.s. 10 ( 1845), p . 2 l2 .J
o Indus t ry 0 [Ela,7]
·'The reconst ruction of till" city ... . hy uhligiug 11m workers 10 find Iutlgillgs in
.)utiying urrondiueme nll. h us dissoh'ed Ihe bo uds ur neighllorhootl tha t lIre-
vio us ly united t hem with I h~ bo urgeoisie.'· U:.vasllcnr, Ili&toire d elf ciflsself ou·
"rierel et de f'indlllltrie e n Fran ce, "\'1.11. 2 <Pllri9. 19o"h. p . 775. (£2 ,1}
" Pa ris is (flllsty a nd dOlle.·· wuill V,,-ujJIut , I..es Odeurll d l! Puris ( Paris. 19 14).
p. I 't [E2 .2J
l.turks . illlu ure8. und puhlic ga rdl·lIs first inllta lletl u nller NII I'tlll'UII III . Bet'ween
furt y uml fifl )' wl~ rc ITt·atl:11. (£2,3)
COlI.8lruclion in the fauhou rg Saint-A.llloine : Boulevard Prince E ugene. Bow&-
ya rd MIt'i/; all, lint! Bo ule va rd Rich urd Lenoir, alslrll tegie axel. [E2 ,4)
The heightened expression of the dull perspective is what you get in p;Uloramas.
It signifies nothing to their detriment but only illuminates their style when Max
Brad writes: " Interiors of churches, or of palaces or art galleries, do nOt make fo r
beautiful pano rama images. They come across as Bat, dead, o bstructed." <M ax
Brod,) Oiler die &Mnneit nIW/i,ner Bilder (Leipzig, 1913), p. 63. An accurate
description, exupt that it is precisely in this way that the panoramas serve the
o
epoch's will to expression. Dioramas 0 (E2.5)
On June 9 , 1810, a t the Theatre de III Rue de C hart reil , It play by Barre, Rade l,
a ud Del fo nta iucli il given iu fir st perfo rma nce. E ntitled Moruieur DurelU:-f . ou Le.
Embelli.lletnents de Pu ris. it prese nl e a eeriCil of ra pid l cellel as ill It rev iew, 8how-
ing the ch a nges wroughl in I'ar isia n life by Na poloon I. " An archilOCI who ig the
be are r (If (l ne o r thOle signific a nt names ro r merl y in use o n the IIl agt:. M . Olln:.lief,
hU8 ra brica ted a minia tu re Puris, whic h he inle nds 10 e xhibit. Huving la bo red
thirt y years on this proj ect , he thinks he has fin ished il a l lllst ; but suddenl y a
'crea tive spirit' tl l'pearH. Ilml proceed s to prune and sharpe n the wo rk , cr eating
Ihe lleed fo r inf:e8!ialll cQl'rec ti ollij and additions:
Thi~ vast lind w~a hll Y <:al,ilal.
Arlonled 1\; lh hiAlioe nl(mumt ols.
I k« p 88 a ca rdhoard modd in my room,
Ami I follow I.h.. t mlK: llishmt OIf.
1.1111 alwlIYI I find mY KIf ill arre.r.-
Uy m )' worrl , it's ~ttinll Je~ ptra l e ;
Even in IIlinialurt. olle I:a oool do
Whal Illa\ ma n dot. full-tc:alt.-
Tile pla y end ll .....ith a n a po theosis of Ma r ie-Louise . whuse port ra it the goo dellS of
the cit y lir PlI ria ho lds. as her lo ve liest o rna ment. high a bo ve the head 8 of the
a llllk uL'tl. Ciled in Theodo re Murd . L 'His wire par Ie th eli tre, 1789-1851 (pari ••
18( 5), vol. J. pp . 253-254. [E2 ,6)
Use or o mnibuileJi 10 Imild ha r r ic adea. The ho rses we re unha rnessef!' the IlB uen-
J(ers we re Jlut off. thl' "ehicle wai lunlt"d ove r, a mi the lIag was fuste ned l u a n a xle.
[E2.7)
O n IIII' t xp ru pr iuliolls: " Befnre the war. tbere was tulk of de mulii hing Ihe Pallsage
/111 Cu ire in urfl.' r to (Jul u ci rc u8 11111he sill'. Toda y the re ', a sllo rlag.. orrllnd~, li nd
the profJril,to .. ~ (a ll rort y-fo ur of the m) ure hurd to pleast:, Le, '11 ho pe Ihere', Ii
II hllrtuge of flJud ~ fo r a I Ullg tillll: III ':Ulllt~ a lltl the propric tors become II tili hartler 10
please. T Ill' hi,I,'o u8 ga p IIf Ihe Uuult:vart! 1:l a ussnlllllJl al 1111:: co rne r "r the Hue
Drouo t. wit.h a U th," c har ming IltJu ~ei! it has hro ughl !IIII'm . Iilwulll "oule nl U8 ro r
the IIIl,ml· ut .·· Pa ul LCll ui Il UiI . " Vieu"" Paris," Me rc llre de ,.' rtl flf;e ( O':l ull~ r 15,
192; ). p . 503. [E2,8)
nllu u mann and the C hll mhf:r uf Oc "utie~: " O ne tla y, in a u excess of terror . they
u cc u ~t...d him or hll \'ing crealed a tll!Jcrt ill lilt' vc r y cente r of Paris! T ilUl ,ICliert W IIS
the Bo ule va rd Se bu to pol. ,. Le C urhus ic r, Url!(llli&ml! ( Pa ris ( 1925)). I)· 1 '~9 .·
[E2.9)
Vel'Y importalll : " H lt U 8s m a llll '~ ~'lui)lmellt"- i1Ju lO tra ti (J ns ill Le Corbu iiier, Ur-
150.5 Va r io us 1I1U1Vrls, pic ks . whe-elh urrowli. a nd so on.
b(l lI isme, p . [E2,10)
J ule8 Fe rry. CO mp,eJ!allllut;(I" eJ d 'lIWlu mu nn <Paris, 1868). Pa mphlet dirrtled
aga ins t B a u§sma nn 's a utocra ti,· ma n ugem.. nt of finan ccs. (E2. 11 )
" T he a vcnues [BIIU88mltllll] eUI we rc c nUrr.l y a rbitrary: the y we re not based 0 0
strict deductio ns of the scit:nce or town 1.la nning. T be measures he took wer e of II
fina ncial a nd milit a r y c harat·ler." Le Corh1U;ier, Urbrmis ml! ( Pa ris). p. 250.·
[£2a.l )
" . .. the impossibility of obtaining permission to photograph an ad orable wax-
. work figure in the Musee Grevin. on the left, betv.·een the hall of m odem political
celebli.ties and the hall at the rear of which, behind a curtain, is shown 'an
evening at the thealer': it is a WOnlan faslening her garter in the shadows, and is
the on1y statue I know of with eyes-the eyes of provocation." Andrt Breto n,
Na4ia (Paris, 1928), pp. 199-200.1 Very striking fus ion of the mo tif of fashion
with that of perspective. 0 Fashion Q [£2a.2)
To the characterization of this suffocating world of plush belongs the description
of the role of flQ\vCfS in interiors. After the fall of Napoleon Bonaparte , an
attempt was made at first to rerum to rococo. But this was hardly feasible. The
European situation after the Restoration was the following: IiTypical1y, Co~­
thian columns are used almost everywhere . . . . This pomp bas something
oppressive about it, just as the restless bustle accompanying the city's tranS-
fonnation robs natives and foreigners alike of both breathing space and space for
reflection .... Every stone bears the mark of despotic povo'er, and aU the ostenla-
tion makes the atmosphere, in dIe literal sense of the words, heavy and close ....
One gymvs dizzy with this novel display; one chokes and anxiously gasps for
breath. The feverish haste with which the \\'Ork of several centuries is accom -
plished in a decade weighs o n th e senses." Die Gremboit71,Joumal of politics and
literature « Leipzig,> 1861), semester 2, vol. 3, pp. 143- 144 ("D ie Pariscr Kunst·
ausstellung von 1861 und d ie bildcnde KUIl.'it des 19 .... Jahrhundel1s il~ Frank-
reich"). The aUlhor probably J ulius Meyer. These rem arks are aUlled at
Haussm rum. D Plush 0 [E2a.3]
Remarkable propensity ror stnlctUrtS thal convey and connect-as, of cour~e.
the arcades d o. And this connecting o r mediating function has a literal and spaual
as well as a figurati ve and Stylistic bearing. One thinks, above aU_or th~ way th~
Louvre links up with the Tuileries. ~TIle imperiaJ government has built pracu-
 cally no ncw independent buildings, aside from barracks. But, then, it has been
all the more zealous in completing the barcly begun and half·finished works of
previo.u~ ccntu.rics .... At first si~t, it seems str.mgc that the governm ent has
made It Its bllSIl~CSS to preserve CXlsting 1ll0 nwnclllS .... TIIC govcnullent, how-
ever, does not aun to pass over the people like a storm; it wants to engrave itself
lastingly in their existence .... Let the old houses collapse, so lo ng as the old
monuments remain." Di~ Grt:mbol(1/ (1861), semestCT 2, vol. 3, pp. 139-141
(~ Dic Pariser KUTlStausstelJung von 186 1"). 0 Dre."UIl H ouse 0 [E2a,4}
Connection uf Iht, r ail r oads 10 fl aussmunn', proj ects. From a memorandum b y
lI auu manll : "The railway Sialions un:' lod ay tJle prilll:illul enlr yways inlo Puris.
To pul them ill f!nnllllUlliea lion wilh lhe cil y center Ity means of large arter ies is a
fII'l!el!si l y uf Ihe firsl order:' E . de Lahetlolliere. lIu toire du no u veau PcJru, p . 32 .
This aJl plies ill p81'licu lar to Ihe so-called Boulevard du Centre: the exle,ulion of
till' lJutdCl'UI·d lie Strasbourg to Ch il lell'! by what is Iml ay the 8 0ulevllrd Sf!h all-
w pu!. [E2a,5}
. Prumenade. He establis hed !I olll.ital", School" Ca ll1JlIISes. li e gave us u whole
,Openin g uf lhe 80ultwa r d S ,~bast opollike Ihe Ilu vdling of a munumenl . "At 2:30 iu
li lt· a(II'rlloOI1 . ul Ihe IIIOIDent the [imperial) procell~ i o l1 WO !; uppruuchil1g (rom the
Boult'.\·ul·d Sa inI -DelLis. an imm en ~e seri ul. whid. hud mas ked Ihe entrance to tbe
Buulevard lit' Seh aSlopol frmn this side. wu dr8Wl1 like 0 curtain . This drapery
IlUd h t."t'.D I.. ,ng IJt'.I ~'eell Iwo Moorish ('oillmns . 0 11 Ihe pcdelltals o( whiGh wl!re
Iii,'lll'cs I·eprcsenl.illg the artll. Ihe scienccs, iudustl·Y. and commerce:' Labcdol-
lii-re. f1i~ t oire (/u fI(.l u veuu Pu ris. 1" 32. [E2a,6J
H aussmann's predilection for perspectives, for long open vislaS, represents an
attempt to dictate an fo rms to technology (the technology of city planning). 'Ibis
always results in kitsch, {E2a,7]
1.I 0 \l ~S m 1LOII 0 11 himsdf: " Born ill Paris, in the old Faubourg du Roule, whieh is
juin,',1 no,,- 10 Ih,· Fa ubourg Suinl -liollure at tile poillt where the Boulevard
II UlIss nlU ll1i I'utls ami the t\\'CIlII C d., Friedl nlld be9flS; studen l a l the CoUege
1l "nri I V ami till' 01.1 Lyci-e Na poieull. which is situaled on the Mont agne Sainte-
(;1.' 1lI ' \' i \~ \'I·. wl1('.re I laler s tll (lit~d at Ihe Inw sehoul und , at odd mOl/wnlS, al the
S.. ..J )Ot Ill It! II lJd tilt' College II., Frll llce . I took walks, mort'Over. thrlJ ugh all paris o (
1111' f' il y. alllil ",' IU u(lell a luur h"II , du rillg my yo ulh , ill prolracted ('onteml'lutiuli
"f II 111111' o( Ihis lII ull y-sidl,,1 I'aris , II mup which reveall:d tu me wea knesses in the
lIelllO"III·k 1)( I)ultli .. ~ lreC I li'. I n" li pit£: m y lung reliidellG" ill Ilu~ provinces (110 leslI
Ih:lI1 1IIO"t'IJty-lwu )'t'a r!J!) . I Ita v.' 1I111f1 l1gl~d In rNa ill my nh~mo ri~s lind illlprf" !Jion,;
.. f ('lI·nlt·.· tillll'!! ...'I thaI. ",' 111"/1 I ,,'as "'/lI,II'lIly callell UpOIl . so me days ago . IcJ flin'Ct
tht· II'u nsfo nnaliull of lilt' Cll pitlll of ti lt' Empire (u" t' r which lile l 'uileries IIIltI City
lI ull lll'" "III'/"l'lltly ulif'i;S,el"ill'!l rlll), I f,·1! llI y ~elf. in fucl. I.ell<:r prcpu rclilltllll fi ne
m i~!tl 1111\'(' ~ Ul'pust'f l I ~, fllifill tllis eOlllplt·x fIl i s~ i o lf . IIIltI relill y. in uny ca§e. 10
~' Illo 'r IJUld ly illlo) till'" h!'a rl of II... pl'(,iJlelllJl 10 be resolv,..1. ,. Mp.ltf fl j"e~ du Huro n
1l,IU.UIII(l1I11 . ,.,,1. 2 ( Pa ris. IIWO). PI'. 3j~5. Demull stru tl~S vcry ;"" 11 how il ill
u(len tiillhm ct' alulU! tlta l, into!r"('ning bclweeu plun a mi w'lI'k. !'ua lil"8 Ih., pla n Itl
he realized . fE3. IJ
ilo IlO"8 uroll Ha usslllullll lIt1 n lllcell tllJo n the drt'lI l11 cily Ihul Pllri il still wus ill 1860.
From an article uf 1882 : " There we re hill. i.1l Pa ris, e\'ell 0 11 the Bo ul cl· ard ~ ....
\X'e lac ked wa ter, mar kets. lighl in those remote times-s';I1 ...:d y thirl y yea rs ago.
Sume gae jets had begull to al'peur- Ihat is all . We IUf'ke,J C hllrc.l1i:~. too. A DUIll -
he r or lhe IlIore a ncielli llneli, including the mosi heaulifllL wer e ser ving 88 slores,
barrllcks. ur on icr-s. T he othe ... were wholly concealed by a gro" "lh of lumllledown
ho\·e!s. Still , the Rllilroatis exisled ; ellcll fi ay in Paris they discha rged tor rents o(
Irul,c1ers who eould neither lodge in our h u u ~es nor rou m through ollr lortuulls
st.reell. I ... He [ilaussmanu] demolis hed some qlUJrtierf--(J lle might SIlY, eutire
towns, T here ,,'ert' cries Iha l he "'ould b ring 0 11 the plague; he tolerated such
oulcrie8 alld gave liS instead- th rough ltis wcll-considert'(1 a rcilitl!clllral hreak-
through s-air, health , lind life. Sometimes it Wll 8 a Slreel till!.! Iu:. f'rellled , some-
times an Avenue or Boulevard ; sometimes it was a Sllua,·e. a Public Carllen , a
r il'er. 1:le dug magnilict'.lll sewers. " Memoiref rill Baron IllllusnUl"If , vol . 2 ( Parill,
1890), Pt>. x. xi . Extr ucts (rom un a rticle by Jule. Simon in L.e C(wioil. Ma )· 1882.
The lIumerous ca l'itlilieiters a ppea r 10 be It ch ar acteristic urthogrll phie inte rven-
tio n by l:Ia ussmltnll . [E3,2J
From II cOIl\'er sation , luter on . helween Na polt:OlI 11.1 alld Ilausslllalin . a poleon :
"How right yo u are tu mainta in Iha l tbe People o( France, who a re gcner ally
th uught 80 fi ckle, are at Imttom the mosl routine peo)lle in Ihe WOI"lII! ~ "'Yes, Sire.
Ihough I would add : with rcga rd 10 things! . . • I luys.-lf 11111 char getl with the
double uffense of having undul y dis turbed Ihe Populati611 of Pllri~ by bOfl fever -
santo b y ' buuleva rd.i%illg: almost all the qlw r liens or Ult: cil y, and o( having aJ,
10"" 00 it to keep the Ilame profil e in ule aa me setting (or too 10Ilg.·' Memoire5 dfl
B(lrOn II llUssmann . vol. 2 ( Pari ~, 181)(}) . Jlp. 18- 19. (Compa re E9. 1. > [E3,3]
From a diseuu ion between Na poleon 11.1 and lIa ussmann on Ihe laller 'S ailsllming
his dutic. ill Paris. 1:la uu mann : " 1 would afld Ihal , ahhough the population of
Puri8 as II whole. was ~ y mputhetj c 10 Ihe pla ns for lhe tra ll ~fo l'lllati oll --ll r. as il was
cll lled then, the 'emhellishllll'llt ' --{If the Capita l of the Empi re. till' ~·ea tf.'.r part of
Ihe Lourgeoisie 8 n,1 allllost a ll Ihe aris tol'rary I'O',' rl' hoslile. " Wh y though?
.1Iemoirr.f rlu 8(J rOlI HmJ.5slIIrUln . \' 111. 2 ( Pa ris. 1890). p . 52. [E3 ,4]
" I lefl Munich u n tlU' ilixlh o ( Fdlrua r y. S p Cll1 te n (I a y~ ill arl' hil'Cii ill Ilurl.lll'rn
111l 1r. and arri\·ed in Rome under a pouring rai n . I fu und 1111' n uu...... llluu f)izatiofl uf
the city wf'U ad va llced.·' Hriefc t:O Ff Fertli,,(Uld Gregllrol"ilu 1111 de.1l StllflfuckrNiir
Her-III /tim VO II TMIe., t·,1. lI ermanl1 \'1111 Pell',·slio-lf'ff (8 erli.n . Ifl9·1.), p . 110.
[E3.5]
Nicknllmc for H a u s~ m u lln : " '")ash a Oijnlan ." III.'. himself Illll k.'!! Ihe c,)mlllf'lIt , with
ref erence III his providing Ihe city with spring waleI' : " I musl build mytIClr all
 IHIUClluel .'" Allotllt~ r hOIl mol : " My lilies? .
lioni8l .•,
[E3,6]
" 111 1864 . 111·relHling the ariJitrary dlltracter or the city's government . [ Ha uM_
tII llIlllj il4loptell a tone or ra re boldne!!!J. ' for iu inhabit8l1 t11 . Paris is either a great
lIIa l·kctpl/.U'c fir cons umption . a gianl llioekyard or labo r, all arcna or ambitions, or
di mply a rendczvous or pleas urcll. It is nol their home . . _ .' Then Ihe 8tatement
that pl,lcmicis tll wi ll au ach to hi, reputation like a stolle: ' If there arc a grea t many
wllo 1'01111' to filld 811 honorable 8ilualiOll in the ci l y, . . . then' are also other8
\'crlllliJle nomads in the mith t of Parisian 8ociety, who li re a bsululely Iles titute 0;
municipal sentiment. ' And , ret!alling that everything- railroads, admi nistrative
networkll, hranc he!l or national activity--e \'entually leads 10 Paris. he concluded :
·It is t.hus not surprising that ill Fr ance, countr), or aggregation and or order, the
cllpitala lmost a l"'aY8 has been placed, with regard to its communal organi.z.ation,
Ulldt'r all emerlllenc), regime ...' Georgefi L.aronze . fA! Buron lIauumann (Paris .
1932). 111'. 172-173. S peet:h or No \'ember 28, l864. [E3a,I]
Polilicill ca rillOns r~ l'n!se nt ed " Paris aB Lounded by the wha rves of the Englis h
Channel and th""f' nr the IIQ uth or France , liy the highways of the Rhine valley Ilild
of S pain ; (Jr, according 10 Cham , li S the city which gels ror Christmas the houses in
tilt' suhurhs! ... One ca ricuturt: s how8 the Rue de Ri"'oli s tretching to the h ori-
:UlII ." Georges Larooze. I..e Buron lIuu.umann (Paris, 1932), pp . 148- 149.
[E3a.2]
,
"'New a rteries .. , would lillk the l.'e:uter or Paris wilh the railroad &lations, reduc-
ing co n gl~s ti on in the la lter. Others would take part in the battle a5ain&! poverty
li nd revolution ; they w01l1d be strategic ro ute8, breaking through the sources of
('onl nb-to n 1111(1 the centers of un rCNl, and permitting. witb the influx or hetter air,
Ihe arrival of a n a rmed force, h ~ n ee cOllne.:ting, like the Rue de Turhigo, th~
goverllmenl with the bllrrac ks, alld , like the Boulevard du Pri.nce-Eugene. the
barrat·ks with tile subu rbs." Georges L.aronze, Le Bar-on lIauuman n, pp. 137-
131::1. [E3a,3]
"A n iIHlt'lH'tlIlcllt tleru ty, th ~ comte dc Durrort-Cinac, ... objeeted that these
III',,' huulc\'arcis, ..... hk h were. s up posed to aid ill rep reu ing Ilisiurbances, would
alsv Inuk,: them mon: likely bCI·aust'. ill order to cons truct Ihem, it was necessar y
II) Il S,Wlllhlc II mass or wOI·kerB. ,. Georgeil Lal·onze. fA! /Jaron l IallU rtHmtl . p . ] 33 .
[EJa,4j
IInu!ilima nn cI·ldJraleil Ille birthllay-ttr name day (Apri l 5)!'-or Napoleon Ill.
" lhllluiul; II", Ie.ngt h of the C h a mIJ~- El ys&!iI. rrom lh ~ P lace de hi COllcurde 10 Ihe
F.I,oile, thl'rl' waij 11 scaUOlted Uon'n ur 124 sculpted a rcatl u r,·,,+tiiing Oil a double
I'll'" uf (·ohu11n". -It iii a r~mini 8CI' n Ce . · L.e COIl.flillj/ iQ 'Hl e l !!Ought to elC Jllain , ' or
ConlovlI IImlt"e Al hamb ra. ' _ .. T he \'isual efrecl wali thuli vcry illriking, with the
liwirling " ra m·hes uf the. fiftY-lix gn:-at Mrt.'e llights a long the avenue, the refl ections
from the liurraCC1l below. and Ihe fli ckering or fl ameli frvm the fi ve hundred tll 0 1l-
sa nd jets or g80!l." GI.'O rge8 Laronze. fA! Baro" IloIU.fwfl n" . p. 119. 0 Fliiueur Q
[E3a.5]
On Haussmann : " Paris now cened forevcr 10 be a conglomer ation or timaU W"' ns,
each wi th il8 d istinctive physiognomy and way or Iire--when : une was born and
where. one died , whcre. a ile nc\'er dreamed of lea ving home. a nd where nuture and
history had floUahora ted to realize variety in unit y. The centralization , the mega-
loma nia , created an ar tificial city. in whil:h the Par i8illll (and this i ~ the crucial
point) no longer feels Ilt home; and so, as lIoon as he call , he leaves. And thus a !lew
need arises; the cr avi ng ror holiclllYs in tile country. On thl! ot her hand , in the city
Ileserted by its inhabitant8, the roreigner arrives on 80 ' pecified tlate-the s tart or
'the season .' The Parisia n , in his uwn town , which ball hecume a cosmopolita n
crossroads , now seems like one deracinated ." Lucien Dubeeh and Pier re
d ' Espezei. <llutoire lIe Pa ris (Paris, 1926)., PII . 427-428. (E31,6]
" ~t ost or the time. it was necessar y to resort to" jury of expropriations. It! memo
bers, ca\'i!ers from hirtll , adversaries on principle. &howed themselves generOU8
with fund s which, 85 they supposed, cost thelll nothing and from which each wall
hoping one day to benefit. In a ilingle session where the city might ofrer a million
Ilnd a half, the jury wo uld demand from itllearly three million . The beautirul field
of speculation! Who .....ouldn ·t wa nt to do his part? There were barris te rs specializ-
ing in the mailer ; there were agencies guaranteern@;(in return for a commission) a
serious profit ; ther e were operatiolls ror simulating a lealle or It commercial trans-
IICtiOll , and ror dOCIOrrn! account books." GCllrgell L.arllnze. fA! Baron 1l(Ju.u-
mann (Paris, 1932). liP , 190- 191. {E4,I]
From the f..amentution5 raiseO agai nst II . U8Mmann : " You will live 10 sce the city
grown desolate and bleak. I Your glory will he great in the eyes of rutu re IIrchae-
ologislS . bUI your lu t days will he sad llnd bitler. I ... I And Ihe hea rt of the city
will slowly freeze. I ... I Lizardil, stra y dogs. ami rats will ruJe over this mag-
nificence. The injuries inflicted by time will accumulate on the gold or the balco-
ni ~s , and on the painted mu rals . I .... I And loueiillt:lls, the tedious godden of
deseru. will come and settle upon this ne... empire yOIl wil l ha\'e nlade for her hy so
rormidable a labo r:' Pari.! desert: Lamen'1I1ion5 d 'utl Jeremie hau.umannise
«(Pa ri!!, 1868), I'p . 7-8). [E4 ,2]
" Tiw prohleln or the embdlishmc nt---or. more precisely, of Ihc I'cgencl'lItio n--(lf
Pa~ i s Itrost' about 1852. Until then , it had ht.'i!lI possible to lea\'e this great city in
its stale of dilapillation . but now it hecanlt' nccessa.ry to Ilelll with the mutter. This
..... a~ because. by It rorl uitous cuincidence. France lind Ihe count rie..; around it Wf'rt:
,~o ml' l e l ing the cllnSlruCI.ion or Ihose long lines or railroad I rack" which cr is8cr os;!
Europe." Paris IIOlI l.lellU juse par lin flune u,. ( Parill , 18fl8), p . 8 . {E4.3]
,. , read , ill a lmo k ..... hid1 enjo yed grca l SlI ce:ess lUI yea r. t.hat the stn:eLs or Paris
had been elilarged 10 l)ermit icleas to circulate and , above .. n, regiments to paIS.
 This maLicioull 81alemenl (which comet! in the wake of mht'r .) ia I.be t:tluivalenl of
lIa ying thai Paril! has been 8Iralcgicali)' cmbelljs.hed . WeU. oJO be il .... I tlo nol
hesitate to proclaim tllal IItralcgic emhellillhml!nl!! are tile 111 (18 1 adrllirahle of em -
hcllis hmenhl." Par~ n o uJ,-e1J1I jugi. pnr unJUine"r ( Paris, 1868). pp . 21 - 22.
IEI,' 1
" They say that the city of Paris has condemned itself to forced labor, in Ib e sense
that . if it ever ceased iu varioull cOllstnl(]tion proj(,l:ts and forced its nunterous
workers to re turn t(, their resptlC tive pro\·inccs. from that da y forward its loU
revenues would diminis h consider ahly." Paris 1I01.IlJe alt jugi. par 1111 Mlleur
( Paris, J8(8), p . 23. [E4,51
Prtlvo"alto link the right to vole for the Paris municipal council to pruof of at lea81
Mlcen months' resi(lence ill the city. Part of the reasoning: " If you cxamule the
matter closely. yo u will soon realize that it is precisely during the agitated , adven-
IUrou" and turbulent period of hill exis tence ... that a ma n ret!idell in PariJ,"
Paris nOllveuu juge pur IHlfltmcllr. p . 33. [E4,6}
" It i" mlllerstOOtl that the folli e~ of the city promote n:ason of IItate," Jules Ferry.
ComptelJ jamalJtiqlU'.1J d 'IIIIUlJIJmarlll ( Parill, 1868), p . 6. [E4 ,7]
"The concessions. worth hundred s of millions, a re apportioned suh r08a . The
principle of public adjudication is ect allide, as ill Ihat of cooperatioll." Ferry,
Compte' jnntfUtiqllt!J. p. 11. [E4a,1]
Ferry allalyzf!1I (pp'. 21-23 of his ComptelJjantalJli(/Uell) the judgment. rendered in
cllSes of expropriation-judgments which. in the course of Hau8snlann 'l projeds,
tOllk on a tendt'IiCY unfavorable to the cit y. Following a decr ee of December 27,
1858--which Ferry r ega rdl as merely the nornlalization of an ancient right, but
whicll Ha uu mann rega rds as the eslabLidmlent of a new right- the city wal de-
nied the pOlsihility of expropriating in their entirety Jlropertiell which lay in the
way of the new arleriel. The expropriation wulimited to those portions inunedi-
aldy retluired for the COI18lrucUon of the strt!et&. In this way. the city losl 0111 on
the profits it had hoped to make from the sale of remaining plots of lallll , whOM!
value Wa driven up b y the construction . {E4a,2}
From Hau,umann ', memorandum of Decenlber II , 1867: '"There is a deep -rooted
a nd long-"ta nding conviction Ihal the last Iwo methods of acq uisition did not by
uny meulls aUlumulit:aUy te rminale the lenllnt,' occupancy. Bul the ellllrt of All-
peab has ruled . ill varioul dt."Cision8 spanning tbe period 1861-1865. tbat. viI-a.
viII the city. the judgrn t!nt retJuiring the conliellt of tilt! seUcr. taken togetbcr ,",' ith
till: pri"ale Cunlruct , hal the ~ffccl ip~o JUTe of Iliu ulving the leaiie of IIle lenanll.
A a COnk'tlucIiCe. mBIl)' of the lenants doing bUliineu in hon kS aCll uired for
the city hy mutual HKr~(' IIIt:nl ... hu ve IIctcd t!i annul I.hcir lease,. Ldllrt the dute
of cxprnpl'iulion anel hll ve IlcmlUuled 10 be inlnlediatdy evicted a nd compcn-
SUled .... The cit y .. . has had 10 pay ellormous , unforeseen indemnities." Cited
ill Ferry. CII"'IIIc~jalltrJ.Stjqllel. p . 24. (E4a,3]
" I...ou.is-Nllpoleon 80nupBrte felt Ius "Ileulilll! to be the securing of the ·bourgeoi~
onl('r.· ... Industry and trade, the affair!! of the hourgeoisie, were til prosper. An
immell.'ie number of concenioos were. givcn out 10 the railroads; public s ubven-
tions were granted ; credit wall orgallized. The wealth and luxury of the bourgeois
wo rltl illcreaSdl. The J850, saw the ... !Jf'ginmngs of Ihe Parisian department
s torCK: Au Dj)o Marche. Au Louvre. La Belle Jardiniere. Tbe lumove.r at Au Boo
M a rch ~which. in 1852 , was only 450,000 frao c.-rose. by 1869 , to 21 million."
Gisela Fn:u lld . " Elltwicklung der Photographie in Frunkreich" [manuicript].'
[E4a,4]
Arount! 1830: "The Rue Sainl- Deuis and Rue Saint-Martin are the principal at'-
teries in this qu.artit!r, a god8t'.lId for rioter a. The wa r for the streets was deplorably
t!88Y there. The rebels had only t.o rip lip the pavement alltlthen pile up various
objecls: furniturt frum Ileighhoring houses, crales from the gr ocer 's, and. if need
be, a pallsing omnibus, which they would 8top , gallantly helping the ladiell to
disembark . In order to gain these Thcrmopylaes . it was thull necessary to demolUh
tJle hOllses. Tbe line infantry would advance into tbeOIH!n , heavily armed and well
\-"q uipped . A handful of i"surgenu behind a barricade could hold an entire regi-
IlIClit at bay." Dubech UIIlI tl'Espezel. HiJtoire de Paris ( Paris. 1926), pp . 365-366.
IE",51
Under Luuis Philippe: " In the inlerior of the city, the governing idea &eems to have
been 10 r earrange the strategic lines thai played 80 important a role in tbe historic
days of Jul y: th ~ line of the llilays. tile Ime uf the bouleva rd •.. . . Finally, at the
center, the Rue de Ramhuteau , gralldsire. of the BauJ& monnized thoroughfare.: it
presented . at LeI HaU~, in the Marais, a breadt h thai seemed considerable
then- thirteen mcterll." Ouboch lind d ' Esl»czel, Hilloire de Paris (Paris, 1926).
1'1'.382-383. [E5, I]
Saint-S im oniall ~: " During the cholera epidemic of 1832. they called for the demo-
Lition of crowdC4l , clollely built neigbborhoods , which was exct:.Ueol . But they de-
mOlllled thai LuuiJ Philippe and l.afayette lit:! the Ilace with shovel and pickaxe.
the workerll were s upposed 10 work under thr ru n:c tion of uniformed Polytechni-
eiall!! , aOllto the sound (If military music; the mOBt beautiful women in Pam wt're
to come. Plul offer their encouragemcnt ." Duhccll and d ' Espezd. lli, toire de Pam.
1'fI. 392--393. 0 Imlustrial Dcvelopmelll 0 Sf!t':rt't Socil:u t's 0 [E5,2]
"AII cffMIlI notwith"tufHling, the newl y constructed buildings ,lid not s uffice to
u('co nlmodate the expropriated . The fCl! uit was a grave crisis in ~OUl : they dou-
Llel\. In 1f!.51 . tile po pulatioll was 1,053,000; aft er the annexation ill 18(m, it
illcrCBIICl1 III more than I ,H25,OOO. AI t11(~ cud of the SecolUl Empire, ['Brill had
60.000 bouse~ ami f112,OOO AI)arlmeullI, of which 481 ,000 were r ented for leIS than

500 franc,. Buililillg8 grew laller. but ctilillgtl became lower. The government hlld
to "au a IlIw ralluring II minimum ceiliulS height of 2 meter s 60 ('~ntimet er8."
Oubech und d ' Espczel . PI" 420-421.
" Scandalous fortunes were anllu";ed by thos~' ill the prefect's iUIlt' r circle. A It'gend
attributes to Madame Ha \ls;;mann a nah'e remark in II lIalon: ' It is curious that
eVl.'ry time we buy a hou;;e. a boult:vard (HI"1OC8 through it. '" Oul>ech a nd
d ' Espezcl. p . 423 . [ES,4!
"
.g
.~ "At the e ud of his wide avenues, HaullHlllann constructs-for the sake of pcrsptle-
tive--va riou s mOllument.: a Tribunal of COlllmerce at the e lltl of the Boulevard
Siballtopol, and bastard churches ill aU styles , s uch as Saint-Augustin (where
J
Bahard copies Byzantille structures), a new Saint-Ambroise. and Saillt - Fran ~o i8-
Xavier. At the end of the Chau811t!e d ' Nltin . the Church uf La Trinite imitatell the
'" Ren aissance style. SlIillte-Clotiide imitatell the Gothic Htyle. while Saint-J ean de
Belleville, Saint-Marcel , Saint-Bernlml, and Silint-Eugi!ne a r~ all products of iron
con~ tru ct-ion and the hideous ... mbrllllllreS of false Gothic .... Though Hauu mann
had s om ~ good idea8, he realized them badly, Ue de pendetl heavil)' on perspec-
tives, for example. and took ca re to pili nlOlIIlJIlen!& at tile end of hill rectilinear
streeU. Tht' idea was exceUcnt . but what awkwardne811 in the €!Xl."t;ulion! The
Doulevard de StrlU! bourg fra mes the enormOU8 fli ghl of s tel" at the Tribunal of
COIIIIUerCtl. lind the Avenne de l' Opera providell a vil;la of the porter ', looge at the
wu\·re." Duhech ami d·£8pe7.el, pp . 416, 425, [E5,5)
" Above all. the Pa rili of the Second Empire ill crueUy lacking in beaut)·. No t out: of
these grcat straight avenues has the chMrm of the mllgllificent curve of the Rue
Saint-Antoi.ne. and no hOllse of th.iil period Mfford/l anythi ng like the tender de-
light. of an eightcenth-c~tury fa~ade . with illl rigorous and gracefuJ order s. Fi-
naU y. thi ~ illogica l city is struclllraUy weak . Alread y the architecu an:; saying that
the Opera i8 cracked , that Ltt Trinite is ennnbling, and that Sllint-AlIglIsUn ill
britt le," Duhec:h and d 'Es()ezel. p . 427. [ES,6)
" In Hauilsmann's time, there was a need for new roads, IllIt not ne(:essaril y for the
new rQad a he Imih. ... The 111081 u riking featu re of Ius projecu is their scorn for
historical eXIH'.rience, . .. HaUilsmann lays Ollt all a rlificial city, like something in
Cannda or the Far West . . . . His thuruughfares ra rel y pU8liess any utililY and
IH~vel' an y belluty. MO$l a re ali toniah.ull! architectural illtrullion8 that bepn jus t
about an ywhere allil cnd lip nowhere. while dClltroyi ng el'er ything in their path ; to
c urv~ thcm would ha ve been enough to pl't:St!r\'e prt.-ciouti old huildillg@ ... , We
IIIU!!t nOI accuse hilll of too mucll I-I aulls ma llnizatioll . hut of too little. In spit e of
Ihe megalulIJoniu of Iii;; theol·ies. his visiull .....as , in Ilrll clic~, lIul large enuugh .
No wher e 41id he Bnticipllte the future. Ilis ViiltU8 lauk 1II11I'IiIudt·: hi!; st l'eelS art! too
narruw. Ilis I!llIIcclltion is gramliolle bill not grlllUl ; IId tller ill it j u ~ t or pruvidl" nt. ,.
Dllbedl li lld tl ' Espezel. PI" 424-126 .
'' If we hud to Ilefin e, in a wonl , I.he new s pirit that WIIS CHilling 10 I're~ id e uv,' r the
Irallsfornlati on of Pari..'!. we would hllve 10 {'a ll it IllegalunllIllia. The emperor' lllld
hili preff:cI aim IU ma ke Paris tht' capitalliut unly of Frll nce bU I IIf till" worll!. , ..
{E.5,3\
CO~lII opll l itan (Jari.'! will h~'lhe result ," Dubecll und d 'Esl'czd, p . 404 . [E.5a.2)
" Three fa cts will duminate the projt"(;t to transform Paris: a s trategic fact tll at
demand" at the city', centcr, the break-up of the ancient capital alul a nt·w ar-
rangemelll of the huh of Pari,>;; a naturul fa ct, the pusll westwa rtl : and II fact
entailed by the !ystemalic megalomania of the idea of unnexing Ihe 8uburhll."
Dllhech Ilnd d'Espezel , p. 406. [E5a.3]
J .. 11!8 Ferry, upponent of lfall8smallll, at the lIeW8 of the sUI'I'Clider at Se(lan : "The
II rmies of the t'- rnperor a re defeated !" Cited in Dubech alld d' EII!)flzci , p. ,130.
(£5 • •41
" Until flau lsmllnn , Pa ris had been a city of moderate 41imcnlliollS, where it WDS
l ogi~:al to let experience ruJe; it dCl'e1oped according to prt-8Sures dictated by na-
ture. according to laws inscribed in the fll cts of his tory a lld in the face of the
landscape. Brusquely, Haun mann aCl.'t;lleratetl ami crowns the work uf revolution-
ar y and imperial centrilliza tion . . . . All Mrtificial IIl1d inordinate creation ,
emerged like Minerva from the head of Jupiter, born amid the abuse of the s pirit of
Duthority, thiMwork had need of Ihe spirit .If au thority i.ll ortlc.· to develop accord-
ing to its own logic. No sooner Will it burn , thlln it was cut 0(( at die stlUI·ce ....
Here was the p aradoxical lipectar.le of a construction artificial in principle but
a bandoned in fact olily to ruJes imposed by nature." Dubeell and tl'Espezei.
pp.443-444. {E.5a,5!
" Hauu mann cut immenlle gaps right through Paris. and carrit.'ii out Ihe moet
startling operations. It seemed li S if Paris wouJd ne\'cr endure Ilili surgicill ('x veri-
InellIS. Aud yet , tOO M)" docs it not exillt merel y III a colIsl!qllence of hill d uring lind
courage? Hill equipment wu meager: the Iho\'j·I , the pick , the wagn n , the trowel ,
the wheeUlarrow-t he lIimpit' tools of every race. , . before the mech lUliclli agl.'.
His achievement was trul y admirllble." LA! Cor hll ~ie r. U rb(/fli~ me (pari .. <1925».
p . 149 .~ [ESa.6)
The mighty seek to securt: their position with b lood (police), with cunning (fash-
ion), with magic (pomp). [£Sa,7}
Till' widt·nillg of the 8treelS, it was ~a id . WIIS nt:t.'t'lI8itllted by the crinolinf'. [E.5a,8)
Manlier of life II III O ll g th .. mu nns, ",ho often ('allle fr om Man·he 0 1' Limousin . ~The
tleseriPliull dat ...!> rrom 185 1- lIerore till' grell t influ x of this lI(}(:iul SII'allllll ill t ilt!
Wilke of lI ao ~lI rnanll '" wQI·ka .) " The m aSO Il ~. whuile wa y of life ili lIIo re Ilistin('t than
thHt of othcr emigrant', bt"iolll; on linarily to famili cs of 8 1111111 fal'llle r· llVo ~dlVlr1t'r8
estllhlillhed ill the rural towll8hi!lh Dud provided wilh imli vidual pM.'! lurBKe. all"w-
. [E5a, l]
~
OJ
·s..,
~
? lead s l ometimes to the lort of coarst'- nen found ... a mong the sedentar y workers
'"
u
1g
.=
.~
•~
~
..
:c
Tools used by Haussmann's worken. Artist unknown. &c £5a,6.
Lng for the maintenance of al leasl one dai r y cow per famil y. . . . Dur ing hia .~
jOllr" in Paris. the mason lives with all the economy that i8 consistent with an
unma rr ied situation ; hi, provisionli ... come to ap proximately thirty-eight franc.
a month ; his lodgings . .. cost onl y eight fr anc! a month . Worker. of the tame
profession or.lilll.lril y share a room. where they sleep 110'0 b y two. This ch amber is
barely h elilcd ; it is lil by meaDS of II tallow candle. which the lodgers take tur ns in
buying . . . . I-Iavillg reached the age of fo rt y-fi ve, the m1l80 11 . . . hencefor th re-
mains 011 his prove rt y to cultivate il himself.... This way of life fo rnl s II marked
contrasl to thai of the sedent ar y 1)Ol'ulaLion ; neverlhele.8 . aft er some yea rl. it
tends visibl y to alter ... . T hus, d uring ILis 8tay in Par is. tile yo ung maso n IlIIOWI
him8e1f more willing th illn bdore to cont rac t illegitimate unions, to spend money 0 11
d otlling. a nd to frtliluent variolls gathering places allli placea of pleasure. AI he
becomes leu ca puhle of elevating hiJlIsdf to the colltlition of prov.rictor, he. find s
himself more s usceptible to feeLings of j ealousy toward the upper clanet of society.
This de pravi ty,to which he s uccumbs far from the influence of hi, famil y•... and
in which the love of gain develop' without the counterweight of reiigiollilentiment.
of Parill." F. Le Play, Les Ouvrier. eu ropee~ ( Parill. 1855), p. 277. [E6, I )
On the politics of fm ance under Napoleon Ill : "The fill ancial policy of the Empire
has been consis tentl y guided b y t,..·o main concerns: to compenn te for the in·
l uf6ciency of normal revenueJI and to multiply lhe constr uction proj ects that keep
capital moving and provide jobs. T he trick was to borrow ,..; thout opening the
ledger and to undertake a great num ber of works without immedia tely overloading
the budget .... T hus, in thesl)ace of lleventeen yea", the imperial government h as
had to procure for itself, in addition to the na tural products of ta xation , a l um of
four billion three hund red twent y-two million fra ncs. With the gathering of this
enonnOUI subsidy. whether b y di rect loans (on wlLich it was nece88ar y to pay
interest) or b y putting to work availa b le capital (on ""hich revenue. were 1081),
there h as re,ulted from these cxtra·budgeta ry operation' an increase of debu and
liabilitiell for the s tate." Andre Cochut, Ope ratio~ et tendance.. fi nanciere. du
Second Empire (Paris. 1868), pp . 13,20-21. [E6,2)
Al ready at the time of the June Insurrection , "'they b roke through walls so al to be
able to p all from one house to another." Sigmund Englander, Ge.chichre der
Jranzosuchen Arbeiter·A.I.Iociationen (H amburg, 18M), vol. 2, p . 287. [E6,3)
" In 1852, ... being a Bonapa rtis t opened up aU the pleasur es in the world . It wall
these peop le who, humauly s peaking, were the most avid for life; therefore, they
conquered . Zola W 88 agitated and amazed at this thought ; 8udden1 y, here Wills tbe
formula for those men who, each in hit own way a nd from hil own vantage point,
had fo unded a n empire. Speculation (chief of the vital functions of this empi.re),
unbridled telf~nri chmeDt . pleaBure seeking-all th ree were glorified theatricall y
in exhibitio ul and festivals. which by degrees took on the a81,ed of a Babylon . And
along with these brilliant masse8 taking par t in the II pothco8i8, close behind
them •... the obscure maileR who were awaking and moving to the forefront ."
Heinrich Mann , Geut lind TCi t (Berlin . 193 1), p . 167 ("Zola"). [E6a, l )
Around 1837, Dupin , in the Calerie Colbert , iu ued a lIeries of colored Lilhographll
(signed Pruche <?>, 1837) re presenting the theatergoing public in va rioull P08tU re&.
A few plates ill t.he series: Spectator. in High S/)irjl", Specta tor.. Applauding,
SpectCl tor. Ilitriguing. Spectators Accomponying tIle Orchestro , Atfentive Spec·
to tor., Weeping Spectutors. [E63,2)
Beginnings of city planning in Boissel', Di$collrl contre lei ..ervilllde. IJllblique.
<Discourse agains t P uhlic Ellsemcnlll> of 1786: "Since tile natural community of
goods has been broken up and Ili8tributed , ever y individual propert y owner Iial
built as he plca8es. In the pllst . the social order would not have suffered fronllhis
trelltl , but now Ihlll urban comltrllction proceeds a t the entire di!lcretiun . anllto
tile enlire a("·anlage. IIf the IIWnerl!, tllere is no longer a ny consideration al "II for
Ihe securit y. health. or comIort of society. This is particul arl y the case in Parill,
where clmrchell and palal:e., huulevards and walkway!! are budt in abundance.
while hOUSUlg for the great majority of inhabitants is relegaled to tile IIhadows.
Boiu d des{'ribe" in graphic d etail tile filth and perilll that th rea ten the poor pede••
trilln Oil the strctll.. of Parill .... To this miserable arrangement of street. he now
turns his allentioll, and he effectivel y solves the proLlem by propm ing to Ira.OI·
form the grollnd noon of houses into airy arcadet. which would offer protection
from the vehides and the weather. He tbus anticipates Be.l1amy'a idea of 'one
umL reUa over all h eadll.'''l~ C. Hugo, "'Oer SOJlia!illQlus in Frankreich wiihrend
der groasen Revolution ," part I . " Fran~ois Boissel." Die ne ue Zeif, Il , no. 1
(Stuttgart , 1893), p . 8 13. (E6a,3]
On Napolt!Qn 1.11 arouud 1851 : " Be is a socialist with Proudhon , a reformer with
Cirardin , a reactionKry with T hiers, K moderate republican with the l upporters of
tbe republil:. Knd an enemy of democracy and r evolution with the legitimist.ll. Ue
promises everything and s ubscribell 10 everything." Friedrich Sy;arvatiy. Parill.
vol. I [the uuly volume to appear] (Berlin, 1852). p. ,WI.. (E6a,41
" wuill Napoleon , ... thil representative of the lumpenproletariat and of every
type of fraud and knavery, dow)y draws ... aU power to himlelf.... With glad
elan , Daumier ~mergell. He creates the brilliant ftgureof Ratapoil. an audacious
pimp and ch arlatan . Anti thill ragged marauder, with his murderoul cudgel for·
ever concealed behind hill back, becomes for Daumier tbe embodiment of the
downfaUeu Bonallartist idea." Fritz Th . Schulte, " Honore Da umier," Die neue
Zeit , 32, no. I (Stuttga rt <19 13-1914», p. 835. [E7, ' }
With reference to the transforlnation of the city: "'Nothing lellll than a compallll il
req uired . if you are 10 find yo ur wa y." Jacques FaLien , Poru en !onge (Pari• •
1863). p . 7. [E7,2J
The follllwing remark . by way of contras t, throwlI all interesting light on Pa ris:
"Where money, industry, allil riches are present , there are fa~adell; the houlles
have ul!swned fa ces that lIerve to indicate the differences in clallll. In London , more
llulII clscwhere, the di staJll'e~ a re pitilessl), marked .... A proliferation of ledge. ,
bow windows. "orllilles, columulI--8Q mun y columns! The column ;8 nobility."
Fernalltl Leger. ·'LOllllres." LII . 5, 110.23 (June 7, 1935).11 . 18. {E7,31
The Jislllninalivt: or Ihl'< age-()IJ Ma rais
Ra rely seu root in the Quartier d ' Anlin.
An d (rOIn Menilmonlanl , I:a lnlluokollt puint ,
HI! . urvr.y. Parle u (rom a heillht:
lI i~ d,rlrt and (ru!! .. lity won' tlel him budge
From d,i. ' 11Ot where Ihe flUII'" hll\·r. d rol'llCd him.
[LeOIl Guidall , J fA! 7'riomf,h lJ r1p.~ omnibu.5: Poeme heror-comique (Pari~, 1828),
p .7. [E7,' ]
" Hundred s of thoul ancls uf familiel, who work ill the center of the capital, sleep in
Iht" outskirts. Thil movement re&eml,les t.he tide: ill the morning the worken
slrea m into Paris, and in the evelling the ..a me wave of peol'le Rowl out. h is a
melanchol y image .... I would add ... thaI it is the brsl time that humanity hal
a!lsi5ted in a spectacle .0 dis piriting for the people." A. Granveau , L 'Ollvner
devont 10 !ociele (Paris. 1868), p . 63 ("leI Logementl a Paris"). [£7,5J
Jul y 27.1830: "Out8ide the IIChoo!. men in shiruleevetl were already rolling cask.;
othe rs brought in paving 810nel and Band by wheelbarrow; a h arricade was be-
gun .'" G. Pinel . fli.f'oire de l'Ecok I)oly,echnique (Paris. 1887), p . 142 . [E7a,I]
1833: "The plan 10 surround Pari, with a he lt uf furtifi cations ... aroused pa8-
~ ionate interest at this time. It W 88 argued that detached forts would be useleu fur
the defeullt: ufthe interior, and threateni.ng only to the Impulation. The opposition
....as UIUVeI:8111. ... Steps w.... re takl~1I to orgallill:e a large popular dl'lmODstration on
Jul )' 27 . Informed of theMe preparations. , . , lhl'l government abanduned the proj-
et;t . . .. Nevertheles8 •. . . on the da y of the review, numerous cries of ' Down with
thl'l forts!' echoed in advance of the proccssion : 'A blu U!!fort, r.retachi,! A ba! Ie!
baMille, f' " C . Pinet, lIi,toire de l'Ecole polytechnUiu.e (Paris, 1887), pp . 2 14-215.
T he government ministers took their r evenge with the affair of the "Cunpowder
Cons pirac),.·'ll (E7a,2J
Engravings rrOIll 1830 show how the insurgent. threw all .orlll of furniture down
on the troopl from out of thl': windows. ThU was a reature e6pecially of the battles
On the Rue Saiut--Antoine. Cabinet del Esta mpes. [E7:&,3]
Rattier in\'okes a dream Paris, wweh he caLla " the false Paris"-as distinguished
from the real one: "t he purer Paris , ... the truer Paris, ... tbe Paris that dOClln',
exist" (p . 99): "'It is grand . at this 1II0DIent in time, to set weU·guarded Babylon
wa bing in the arms of Memphis, anti to aet London dancing in the rmbract: of
Peking. ... One oftllellt: fine morning8. Fra nce will bave a rude awakening when it
realizes it is llonfllled within the wllolls of Lutetia , of which she forms hut a cr088-
'·oatl" .... The nexi dll Y. haly, Spllin . Denntark , and Russia will be incorporated
h y decree illto the l'Brisian municillalil),; three daY B late r, the city gates wiU be
pushetl huck to Novu)'a Zcml ya and 10 the Land of the Pal)llans . Paris will be the
world. and the ulliverije v,·iJl be £'a ris. The savannahs and the pampall and the
DIad," f'orelll will compose the Jlublic ga rdelll of litis greater Lutetia ; the AlI)S, the
P),renees, the Andes, the Himalayas wi.ll be the Aventine and tht:: scenic hiUs of this
iu(lomrara hle city-knolls of pll:asllre. stull y, or solitude. But all this is !ltillnllth·
ing: Parill will OIOWlt 10 tlte . kicM a llli ca le the firmament ..rflnnamentll; it will an·
nell'. as suhurbs, the "I,,"eu alld Ihe sta .... •• Paul· Ernest tie Rattier, Pu,u n '~i.'e
 pal ( Paris, 1851) . PI" ,n-49. Thei l' ea rl y fanta sics s hould I.e compared with th t'
sa l.irell on Il llussmulIlI I)uhlis hed len yea rs lalt·... [E7a.4J
Already Raltier a 8i1igns to hitl false )'am " 8 uni(IOe Hnd 8 imlJl~ lIys te'" of traffic
control that links ~eo metrically, and in paralld line!i, IiIU the a venues of this false
Parili 10 a single ceDter. the Tuilerics-Ihis being an admira ble method of d efeose
a lld of m a intaining orde r." Paul- ErnfOS! d e Raltie r , Pam II 'existe pr" (Parill.
1857), p. 55. [E',I)
c ·· Wllell. las t )'ear, thOtlsumls (If workers llIurcllt.'d tllrllugh the stret:lH of tllc capitul
.g
.~ ''The fal se Pan8 has the gUOII lasle to recognize that !lothing is more useless or
more immoral than a riol. Though it may gain the upper halld (or a few minutes. it
J is (Iuclled for se"cral centuries. InSlcad of occupying itself with 1H>lilicI, .. It I ii
peul:eahly absorbed in questions of economy. .. A prince who is againJit fraud
. .. knows . .. Ycry well ... thai gold , a grea l deal of gold , is rr quired . . . on our
planello build a slepladder 10 Ihe s ky. " Paul-Ernesl de Rallier, Paris n'exute p tu
( Paris. 1.857), pp. 62,66-67. [E8,2]
Jul y Revolution: "Fewer were fell ed ... by bullets than by olher proj N": til e~ . The
large squareil of granite with which Paris is paved were dragged up to Iht' top flo ors
of the hous!!!! alld dropped on Ihe heutls uf Ihe soldiers:' Frietlrich von Raumer,
Uricfe aUl Paru und Fr",~krcich in! Jahre 1830 (Leipzig <1831», vol. 2, p. J45.
[E8,3]
Report of a third party. in Raumer', book: " I saw a group of Swi.u , ,,'ho had been
kn~lin g a nd begging for their live • • killed amid j eering. and I
III1 W the stripped
bodies of the gravely woullIled thrown roniemptllouilly onlO tile Itarricades to
make tbem higher." Friedrich von Rallmer, Bricf c (lUl Puril uml Fr(l1lkreit:!h in
Jahre l B30( Leipzig, 1831 ), vol. 2, 1'. 256. [E8,4]
Desc riptions of barricades of 1830 : Ch . Motte, R evoltHio,,,, de I'u rn, 1830; Pia"
Ji8uratif del barricade. ainl i (Iue de. pOlitioTU et mOl.ll1cmen's d e, cito,-enl armea
et dell troupes ( publis hed by the author (Paris. 1830» . [E8,5]
Cal)tion for a plate in l.es Ruines de Paris: 100 plwtQ8 ruphie• • by A. Lielrerl
( Paril , 1871) , vol. I : "Barrkade of Ihe Federa les, C(lilstructed by Gailla rd
Senior... [EU]
" ~rh en the empcl'or . .. enterij his I;apital, the fift y horse uf hill l'a rringe arc III a
~:tIlO I); belween Ilu' Gateway Qf Pari8 and his Lou vre , he paU ij e~ IIndl'r t,.·o tllOlI-
~ a lldlriumphal arc heI alld )Ianci before fifty colossi erected tn hi" image .... And
this illolizing of the sovereign h y his s ubjects ca uses !W1l1t: tlillmay a lllon ~ the la tlcr-
d ay pious. to whom it occurHlilal their idols wert' never I·t'ci pit'llhl of lI ul:h hum-
age. " Arsene Houssayt:. "Le Pari" fulllr": in (Dllma ~. Caluicr. Houllsaye. alit!
hillers,) Pori.! et kl Po ri.!ie,uall X/,'{- sieck (P."ris. 1856), p . 460. [E8.7J
High d aily allowa nces for the de pulies IIlItler Nupuleoll n I. [Ea,S]
" Tbe 4.054 b arr i clld~ of Ihe 'Three Gloriouil l)aY8' were mad c front
8 ,125,000 pavilll; s tOllo': i!. " l..e Roman/illite [.: " hiLitioll !'alalttgu e (at the Bib-
lioliteqllc Nutiollule), J aliliury :?2- l\1 arc.b 10. 1930; ex pla na lory note to no. 635,
A. de Grandsagnc and M . Plant , Revolution de /8:10. pia" de~ combats de "uris].
[ES,']
in a menacing calm ; wllcn , at a time of peal:e lind conllll('rcial prosperit y. they
interru)Jtell the coursc of their work . , . , the government 's firsl responlO ihilit y was
10 hike forceful nll'lISUrcs agai nst a Ilis turhance that was s lltlle more IlangcrllllS
fur nol knowing itself as s uch ." L. de Carne . " Puhlicalions democr atillut:s el
cOlmnunistea," ReV Ile des deux nwndes. 21 ( Paris . 184 1). p . 746 , [ESa, l ]
" What fate docs the prellf:1I1 movemenl of socit!ly have in store for arcrut(.'Ct urf:?
1.....1 uil look arolilltlus, . . . Ever more monUDlCIiU . evt'r more palaces . On all sillea
rise up grea l 'shme hiol:kA, alld everything tends towa rd Ihe solid, the Iteal'y, tlte
\·ulgor; tlte genius of art is imprisoned b y s uch Ult imperative. ill which the imagi-
lIalion no longer has any rOom to "lay. can no lunger he greal, bUI rather is
exhausled in representing .. , Ihe tier ed orders on fa.;ud es and in (it:coralillg
frieze>f and the Ilorllers of window framel . In the intf:rior, (tnc finds s Lili more of
the court. more of the peristyle •. . . with the little r ooms more ami more confined ,
the s tuflies and boudoir exiled 10 tile niches untler the spiral staircase, . .. ·where
they constitute pigoonholes for people; it i!! the cellular s yslem upplir.d to the
family group, The proltlem Itet:omes how, in a p Vt:1l spa(."e, to ma ke Ulie of the least
11 1111111111 of maleriala and 10 pack in the greatest IIItIIlher of l)eople (\O'hile isolating
them all from one anolh t: r) . . . . This tendcll cy-i ntl C(~(I , this fait accompli-ill the
resuh of progress ive s ubdividill A: . . . . 1.11 a word , ea clt for ltim!elf and Cflch by
lIint.selfhas increasingly ht.'Come the guiding principle of SOciel)', while the puhLic
wealth ... is M:atlered and B(IUandered. Such ure the callses. at this moment ill
France. for the demise of mOllumentaU y scaled residential a rcltitet:turt. For pri-
vate. hahilationlf, as they become narrower, are a ble to s uslain hut a ua.rrow uri.
The a rtis!, la"king s pace . is r,.ducoo 10 ma iling statueltes and easel paintings ... .
III tlte prest-lilly em.. rgi ng elillditions of sOI:icty, a rt is drh·"n inlo 11.11 impa 88~ wlt en~
il suffocates for lack of uir. It is alread y s ufferillg lite effl:cls tlf litis ncw f1 0rm of
Iimilt...1 .. rtisli!: facllity. which certaiJl 801l1B, suppllst·dl y 1.II l va lll~ed , Sl;!cm III l't'gurtl
a ~ the goal uf II ...ir philanlhropy... , III an:hite,·t lu·c. w,' dll 1I0t mak"ur t for ar( ,
sake; we d u IIot rai;;c monuments for the sol" PUfPlliC (If Il-Ct:llpying the imagination
of archil ects and furni shing work for paillli'rll allil sculp to rs . " 'hat is ''':I·.. sliury,
thell. is to UPI)ly the 11101l1l1ll('lIlallllod" uf const ru(:tillil . , 10) alllhe t'lcmenu of
human tl\O·cJljllg. \lI" mus t make it pussible 1101 on ly fur a few )Jrivileged il1tlivilillab
Itul for all peuplc to live in I)aluct.-s. Alld if OIlC is 111 III'CIII')' a puhw,.. mit' sllO ulil
,.rOIk.rl y Livf: there t ogetllt~r witb tither s. in (,onos of uuoc.ialioll ... . Where urt ill
t'oncernOO . tllerefore . il is only 1111" IIsstlf'iutioll of nil c.lemt'.l1l11 of the eommunit )'
IllIlt can lauucl, Ihe immense development we are outlining:' D. Laver,lant. De la
",i.uiOll lie "tlrI et dl! r81e des artistes : S"/oII de 1845 (Parill, 1845). (rom the
ufllee!> IIf Lo I'lw/twge. pp . 13-15. [ESa,2]
" For H.llle lillll' now, .. there have lif.."t!I.1 efforts to discover whcre this word
1101l/evord could have come frolll . As for m e. I a m 6nally 8Sti8fied a5 10 the etymol.
ogy: il is merel y a \'ariant of the word OOlllever.!emenl (commotion , u plu~avab."
E(louard Fournier, Ch roniqllel e. tegentiel des rues de l'oru ( Parie. 1864), p . 16.
[E',ll
" Mnnsieur Pit'orfl, attorney for the city of Pan s •... has energetically defe nded
Ihe int ere~ t s of Ihe city. What he has been presented with in the way of antedated
least'S at tile momcnt of expropriations, what he has had to contend with in order
to nullify falltasljc tiUeli ami rC(luce Ihe claims of the expropriatC(1 is a lmo~ 1 he-
yu nd belief. A collier for the city one day placed befor.. him a lea&e. antedated
sume years, on IJa per bearing o£6cial s taml)s. The simple man believed himself
aln·ady in p068ession of a ~·t.'ighty sum for his shanty. But he ilid not know that thi.
paper bol"t!, in ilS watermark. the date of its manufacture. The attorney raised il to
the light; it hUtI heen made thrt..-e yeare after the date !!tamped ." Augu8te Lepage,
I~:I CafoJ poli.'i(llle~ et lifteraires de Pam (Paris ( 1874», p. 89. [E9,2)
Observatiollll on Ihe phyeiology of the uprising, in Niepovie', book : "'Nothing has
I>hanged on the surface. uut there is somcthing unus ual ill the air. The cabriolets.
omnibuses. a mI hackney coaches seem to have quickened their pace. and the
flri\'ers keep turning I.heir heads as though l omeone were after them. There are
more grOU I)8 standing around than i8 115ua1. ... People look at one another with
II IlXjO U.o; illil·rrogatioll ill their eyes. Perhaps thi B urchin or thi B worker hutening
lIy will know 1011ielhing; and he is stopped lind quel!tioned. What ', going on ? ask
the 1'8Ssersby. And the urchin or the worker responds. with a smile of utter iJldif-
ference, 'Tltey are gathering al the Place de la Butille: or ' They are gathering
IIcar the Temple' (or somewhe.re ('Ise), a nd then hurries off to wher ever the.y are
!;!llhering. . . . On the siles themselves , the .cene is p(1:lIy much all he said : the
Jluplilatioll 11118 massed to such an elltent thai you elln hurdl)' get through . The
pa \'cmcnt is s trewn witll s heel!! of p alter. Whal is it ? A proclamation of Le
Monileur rI?publicain , wh;(·h dates from the Year 50 of the one ami indivisible
French rl'l'"hlif·. People han: gathered , YOIl are told , to disf'u8if the proclamation.
The simp!! hll\'c not yet been closed; sholS have not yt:l llcen fired .... Now tlll:n ,
Iw hol.l the ~ "vi o r!' . . . . All of a sudden. the holy " a ll aLion has halted before a
house. a lit! . j,u t as quickl y_ Ihe third-story windows are thrown open anti packets
of ('artriII j;e$ min down .... The di ~ triblltion is acco mpliJlhed in the twinkling of
all cy.. ",14 1, wilh that . Ihe hattaLioll iR tlis patl'iu!d 011 the ru.n-a portion 10 one
~ ill c. a portinn 10 the otill'r.... Ve hidcs are 110 longer pussing 0 11 the st.reels; tllI:re
is less lIoi ~ I·. Aud that 's why nne cun Ilear. if I do 1I0t deceive myself .. _ Listen ,
they' re beuling t.he drum. It is the call lu a rnls. The lIulhorilies lire rOllsed:'
Gaetan Niepovic, Etude& plly,iolo8 iques , ur leJ g rande, nlf; 'ropole~ {lll l'E;urope
occidentale: Puru (Paris, LMO). PI' . 201- 204. 206. [E9.3J
A hllrricaflt:: " At the entrllnce tu a "arrow street , all olllllibllll lies witll itll four
wlll!els inlhe ai r. A "Beof crales. which had served perhaps to hold urlillgU, risC8
to the right and to the lefl . lind hehind tJlem, between the rims of the wheels and
thl' oJlenings. snlall firC5 are bla:l!ing, continuall y emilti.ng small blue douds of
dmoke." Gaetan Niepovie, Etudes physjolog iqltes ~ ur le, g randes m e.ropo/es de
rE/lrope occidenta le: Pu m ( Pa rill, 1840). p. 207. [E9a, I)
1H68: dea th of Meryon. [E9a,2)
" II lias httn said that Charld and Raffel by thcmst:!\,eil pre parc(1 the way for the
Sccond Empire in France." Henri Bouchot , /..(1 UtilOg r(lpilie (Parill (1895»),
pp.8-9. [E9a.3J
Fronl Arago'. letter on the encirclement or Paris (Assucia lions Nationaleli CD
F~\'eur de la Prellse Patriote) [elliract from Le Na .ional ur Jul y 2 1, 1833]: " All the
projected forl8. with regard 10 distance_ wuuld give access 10 the 1110. t pOJlulous
(Iistricts IIf the ca pital" (p. 5). " Twl1 uf the forts, those of Italic ami Pussy, would be
(' nuugh to set fire to aU section! of Paris on the Left Hank uf the Seiue; ... two
others, Fort Philil)pe and Fori Saint-Chaumon t, cuuld cover t.he rcst uf the city
with their circle of fire" (p . 8). [E9a,4J
III Le FiBaro of April 27. <1936 .) Gaetan San voi8in cites thjll remark by Maxinle
Du Camp: " U Ihere were only Parisians in Puis. there would he no revolutionar-
ies." Compare with similar statements by UaU88111an n . [E9a,51
"A one-act play hy EngellJ, written ill hasle and pcrformed in September IM7 al
the Gennan Alliance for Workers in Brussels, already represented a hattle on the
barricadell in a Cerman petty . tate--a baltle which entled wilh the abtlication or
lile prillce and Ihe proclamation of a repuhlic." C ustav Mayer_ Friedrich Engels.
vol. I , Friedrich Engeu in Jeiner Frjj]'zeil. 2nd ed . ( Berlin (1933»), p . 269. 12
[E9a,6)
Ouring the 8upp reuilln of the J line Ins urrection , a rtiUcry cam£' to be used for the
first lime ;n Sired fightin g. [E9a,71
Haussmann's attitude toward the Parisian population recalls that of Cuizot to·
ward the proletariat. Guizot characterized the proletariat as the "external popula·
tion." (See Georgi Plekha.nov, "Ober die Anfange der Lehrt vom Klassenkampf,"
Die neue Zt:it, 21 . no. 1 (Stuugmt, 1903). p. 285. [E9a ,8}
The building of barrira(les uppeurli in Fourier lI iI a n cllumple or " nOlisalllricd "ut
impassione(1 work ." IE9a,9J

T il" IIraeth.'t! of hamhoo7.ling lilt: munici pal exp ro p ria tiolll COnJminee btea me a n
ill chllrtl'Y under I1 IIU U Dl iUIII . "S m il il i ru d e r~ and ~ h Ollkl.:·e pe rli ... would be I UP-
plied \O; lh (alse Imokl Plld invt:llloriC:!! . D"d . when lI eces~ ary, lltei r premiseli would
(it IlIrlu :d out) lIe newl y n -d':1!ol'"at..d a nd refurnisheol; while d uri ng Ihe vi8it uf the
l'lllllmitlef' to Ihe p r .. mi se ~, 11 conslollt strea m of unexpt'cted t:lIslnme1'"8 wo uld pour
in ." S. Krocollcr. Ja cques OjJenbflcll um l das Pari!! sei"er Zeit (Amstcrda m ,
] 1937). p . 254.'J [E 10.l )
City planning in Fourier : " Each avenue, each street , IOholll<l open onto some par-
ticula r pr~ IH!i.· I , whellU' r Ihe I:o ulllry"ide or a public mOllumt! nt. T he cuSlom of
civiJizt'd nations-where streets cumc 10 an end wil.b a wall . as in fortre8sc8, or
with It hea p of t!urth . as in the newer sections of Ma rsd llt!s--d lOuld be avoided .
Evt-ry hnuse Ihol faces the slree t "huultl I.e obliged to have ornamenla tion of Ihe
fi rst ciass, in the ga rdells a8 well as on Ihe buildings." Charles Fourie r, Cile.
O/l vrii re,: lJe. modifica liomc ;, i" troduire rlmll " architeclure ties viUe!! (extract.
[Ulm La PhfdlHlse, (Par is, 1849), p . 27. [E IO.2)
In co nn ~tio u with l-I uLlsslllann : " The mylhic siructurcdcvelopi ra pidly: opposing
the vall city ill Illc legendar y her o destined 10 conquer it. III fac t , there are h ardly
uny wo rks of Ihe period thai do nul conlain some invocation illl pin!d by the
ca pital. and the celebratefl cr y of RustignUI,H is of unus ual implicily. .. , Tbe
h",roes of POIlSUII (\11 Ter rail are more lyrical ill Iheir inevit able a pllBtrophe to the
' ,mKler u Babylon ' (Ihis is alwaY8 the n ame used for Puris). See. for example, that
... of the . .. false Sir Williams in tht' Ilovell.e Club de!! VIIlets de coeur; ' 0 Pariii,
1~lI ri s ! You are the true Uahyloll . Ihtl true a renll of intellectual battlll , the true
lellip le where evil h as itH cult and its prieslhood ; a nd I a m 8Ure Ihal the hreath of
Ihe al'change! of IIhudows pan es over you tllf' rnall y. like the winds over the infi nit y
of Iht' seIlS. 0 motionless tempest. ocea u u( slone, I waDt to be Ihul dllr k ea&le
""hi,·h. amid you r angr y ""ave!, disllai ns Ihe li, htning a nd , Ieeps cheerfull y on the
thu nder storm. hil grlla l wing extendcd . I wu nl to be Ihe gellill8 of Ilvil, the vultu re
uf the lIellS, of this 1II0st pe rfidious a nd tempelilUous Joea 1111 which the human
pas8iOlls 1055 a nd ullfur l." · Roger Caillois, " Paris . Iu yth t- lIIul.lerlle," No uve lle
UevlleJrulIf;aise. 25. 110. 284 (May I . 1937), p . 686. [E IO,31
llIall(luiSI re \'oll of May .1 2 , J839 : ""He hlHI wailt!<1 II week 10 pr ofi l fro m the inl tal-
lation IIf IU'W Iroops u nfa miliar with Ihe ma)l.'e of Paris litree ts. The thousantl lIIen
UII wlmlll he ('Olilltl:<I (ur till" ellgagellleni ""I're supposed 10 aSllt"lIIble helwL't:1l lhe
HtII· Silint-Denis unci Ihe Rue Suiul ·l\1 arljn . Ulld ~ r a magn ificent SUIi , .. 111-
wll l"Il Ihrt:e in Ihe aftcrnuun . in the midst of a b urgconing Sund ay cr owd , Ihe
rC"ululjoll ary Lund a ll al onre musters und 8PI>ears. Immedi alely a vacllum .•
sil" III:'-. lif;tli ill a roll lllililf'm ," Gu;;;hlv" Gf'ffruy. ,~ '/;nferme ( I~ari;;. 1926). "01. I.
1111.81-82. [E 10a.l)
J II 1830, ro p l~ W IIij lI ~el l . am ong oliler lliiulo;&, 10 ba rricade Ii1Calr't" ·ls. [l::lOa.2)
Ra8tignac'B fa muus chalh:nge (citl!:fl ill Me8S1lc <Le " Detective Nove' " et "influence
d e IfJ J.H!ruee ,ciclIl jfiql£e ( Pari.s. 1929]), liP , 4 11J.-.4.20): " Eugene , IlOW alone,
walked a few steflll 10 the tupmOSI part of the graveya rd. He saw Pa ris, s pread
wi ndin~y a lung tl u: IWII banks of the Seine. Lights were ~gi nnin g to twi nkle. His
gaze fixed i t~df aLmo!!1 avidly on the space belween the column in tbe P lace
Ve nd3me uud IIII! cUJlula of Les IlIvaBdes. There li ved the world inlo which he had
wished to pellctrule. He fa ~ le ned on the murmurous hi ye II. look that 8eemed al-
read y 10 he sur king the honey frolll ii, allli utten!d Ihelle wurll,: ' Now I' m read y
for you! ''''·; (EIOa,3)
To Ihe Ihelles ofH IlUllmaDn corre&ponds Ihe tabulation of Du Camp . according to
which the population of Par is during the Commune was 75.5 percent (nreigner8
nnll provincia ls, [E I0a,4)
For the Blanquist putsch of August 14. 1870, 300 revolvers and 400 heavy dag·
gers were made available. It is characteristic of the street fighting in this period
that the workers preferred d aggers to revolvers. [EIOa,5}
Ka ufmanll places at Ihe bend of his chapter entitJed " Archilectural Autonomy" an
epigraph from Le Corlfrat social: "a form . , . in which each is uniled with all, yet
olleys onl y himself a nd remains as free all before.-Such is the fund amental prob-
lem thai the lIocial contract solvel" (p . 42). '· In this chapter (p . 43): " [Ledoux]
j U5lifi e:s the sep ara tioD of the buildinp in the 8C(:ond proj ect for Ch aux with the
wo rds: ' Retu r n 10 principle .. . . COll8ull nature; man is everywhere isola ted ' (Ar-
chitecture. p . 70) , The feudal principle uf prerevolutionary society .. . can have
1111 furth er yalid.ity now. .. The a utonomously grounded fo rm of ever y object
makes all stri ving after Iheatrical effect appear sell8eleu ... , At a stroke. it would
seem , , , , the 8 ar Gqut' art of the prospect disappeare from sight." E . Kaufma nn,
VO rl LedolU bis Le Corbu, ier {Vienna a nd Leip-zig, 1933), p . 43 . [EIOa,6J
"1'he n!lIuncilltion of Ihe pictu resllue has its a rchitecillral fl:(lwvalent in the refun l
of ull pr OS I~cl - a f't . A highl y lIignifieaut symptom is the Rudden diffu8ion of the
silhouette ... , Sleel ~ngravin g and wood engraving supplant the meu otin t. which
had flu uri ~ h ed ill the Ba roque. age .... To anticipate Ollr conciusioDII, ... let it be
snid·tha l the a utonfllUO US p rinciple retains its effi cacy _ . . in the 6"1 decadell after
the ar.:hil ecill re of the Revolution . becomi ng ever weaker wilh the passage of time
Ulilil, in the later decades of t.be nineteenth centu ry. il i8 virtually unrecognir:~
lI ille." Emil Kaufm a nn , Von l.edou:c bi!! Le Corbll, ier (Vienna and Leipzig. 1933),
prl, 4 7, 50, [E ll ,l )
Na puleoll Cllill llrti : builder of till: nl i~ l y ba rricade Ih al . in 187 1, stood al the
~ nlrallceuf Ih ~ R II~ Ruya le a ud the Rue de Ri vol.i. [E II ,'J
" AI th~ corller of the Rue d., la Ch auuee ...I'AJltin Il llllllll~ Rue Basse-d o. Rampart ,
there sih 11 house. lhat is rema rkable for Ihe carya tid, on the fatao.le facing the RII Il
 Basse-du -Rampart. Because this latte r street must disappear, the magn ifif:ent
ho use with the caryatids. Imilt o nl y twen ty yeura ago , i ~ going to be .Iemolished .
The jury for expropriatio ns granls t.l1e three "lillion fran(: ~ tle luanded by the
owner a mi approvell by the ci t y. Thrt:e millio n! What u 1II1c.fuJ and prolluctive
expenditure!"' A uguste Bla nqui , C ritique sociflle , 1101. 2, f'rtlgmenl!l el 1IOICS
( Paris . 1885). p . 341. [E II ,31
"Aga inst Paris. Obdurate scheme It) dear out the ci l~.. to dis perse its population of
wurkers. Hypocritic alJY-(j1l a humanitarian IH'etex t- lhey pl'opose to redistrib-
ute thro ugh uut the 38 ,000 townships of France the 75 ,000 workers affec ted by
unemployme nt. 1849." Bla nqui, Criliqllc socifllc . \·ul. 2 , Fmgmcllt.y el nolCI
(Paris,1885).p.3J3. [E 11,41
"A Monsieur d ' Hallrinco urt rceelltly expounded the strategic tlleol'y of civil
011
war. The troops mu~t neve r he a Uowed to .'I llcnd "Hle h lime in tilt' main a r eas of
disturbance. They are l~l)rrllpted by cuntact with the re hels and refuse to fire
freely when re fl res~ ion be(:omcs necessary . ... The best s ys tem : construct c ita dels
dominating the sus pect towns and rcully at any moment 10 um h them . Soldie rs
mUlil be kept gar riso ne d , a .... ay (rom the popular contagion." Auguste Blanqui,
Critique !lociflle, 1101. 2 (Paris, 1885 ), pp . 232-233 (" Saint-Etienne. 1850" ).
[E II ,51
"The HaU8l1maniZUOOli of Paris and the provi nces is one o( the great plagues of the
Seco nd Empire. No one will el'er kn ow IIOW ma llY tho uSUllds of unfortunates halle
lost the ir lives as a con8eIJue lillc of deprivations occasionelJ by these scnseJeSll
constructions. The del'o uring of so mon y millions is One the principal cau ses of the
prpsent dis tres~ ... . 'Whe n building goe~ ....ell, everything goes well ,' runs a po pu-
lar adage, which has attained the s tatus or ecollomic axiom . By this s tuntlard , a
hundred pyra mids or CheoJJs . rising together into the clouds. wo uld allest to
overflowing prosperity. Singular calculus. Yes, in a well-ordered state , where
thrirl did not strangle exchange, construction would be the true measure of puhlie
rortune. For then it would reveal a growth in pupulatio n a nd an ext.'C8S of labor
that ... wo uld lay a foundation ror the rU lllrl!. til allY o ther circ umstances, the
trowel merely betra ys the murde rous ra nt nsies of a bsolutism_ which . .... hen its rury
fo r war momentarily slac ke lls, is tleized by tile fury r(lr Iwilding . . . . A ll merce-
nar y tonguell halle ht:en loosed in a chorus uf eeltlbr ation (or the great works tha t
are renewing the race of Paris. No thin l; so sad. so lacking in social spolllune.ity. as
this Ya8t shifling of stones h y tile hand of d c~ po tis m . The.re is no more dis mal
synl)itom of decade llce. In prOI'IIrtioll as Ro mc collapsed ill agony. il s mOnumenl1l
grew mure numerous and more culoss a l. It was Luilding it" OWl! IIcpult·lle r a nd
making really to die glorio usly. But IlS for Ihe modern .... odd- it h a~ nu widl til die.
a nd human siupidity is lIt~ ar in g its cnd . People are wea/'y of grandiose hlJ mici.JaI
act". TIU' proj ects thai ha vc so dis rupted Il u l r.ap ital. Nlrulitio nt'd us they :n:e 011
repressiOIl and \'lI niI Y, ha ve failed flU' futul'e lin leRR tllau l ilt' pI"C ~I· nl. " 1\. Bi a nq ui ,
Crilique sociule , vol. I . CrJ/Jital el lruvuil ( Paris. 1885). vv. 109- 111 (co nclus io n
of " Le. LUJ[e"). The fo rt~wo rd to Crjllilut el trrllJllif is dat ll,l Ma)' 26. 1869.
[Ella ,11
" The illusions ahout the fantastic "trut·tures a rt· dIspelled. N,w,'he re ore tlwrc
ma te rial" (Jther tillm Ihe hUIIJrt'11 simple borlic.~ . .. . It iii with Ihis meage r assort -
lIle nlthatthe unillene is necessarily madc a llli remade, willl(>\ll respite . 1\1 . Hallss-
malin had just al! milc h 10 rebuild Puris with ; he had precisely the"e m a l ~riul s . II is
1101 lIariety that sta nds o ut in Ilis constnlctiollS. Na ture . whidl a lso de lnoli);he>l in
order to recolls truct. d ocs a little bettcr witll tile tllings it c reateS. It kn ows how to
OIake !'I uch goml use ufitll meager resourct's t.hat one hes itates to sa y ther e is a limit
to the urigina lilY or its works." A. Blanqui , L 'fl emile I )Clr /.es ustres: Hypothese
ast rollomitlUe (Paris. ) 1172), p. 53. [Ell a,21
Die neue Wtltbiihne~ 34, no. 5 (February 3, 1938), in an essay by H. Budzislawski,
"Croesus Builds n (pp. 129-130), quotes Engels' "Zor Wohnungsfrage" <On the
H ousing Qyestioru of 1872: "In reality the bourgeoisie has only one method of
settling the ho.u sing question after it.s fashion-that is to say, of settling it in such a
way that the solution continually poses the question anew. This method is called
'Haussmann.' By the term 'H aussmann,' J do not mean merely the specifically
Bonapanist manner of the Parisian Haussmann-cutting long, straight, broad
streets right through closely built working-class neighborhoods and lining dIem
on both sides with big luxurious buildings, the intention having been, apan from
the strategic aim of making barricade fighting more difficult, to develop a spe-
cifically Bonapanist building-trades proletariat dependent on the government,
and to tum the city into a luxury city pure and simple. By 'H aussrnann' l mean
the practice, which has now become gencral, of making breaches in the working-
class neighborhoods of aUf big cities, particularly in those which are centrally
situated .. . . The result is everywhere the same: the most scandalous alleys ...
disappear to the accompaniment of lavish self-glorification by the bourgeoi-
sie . .. , but-they reappear at once somewhere else, often in the immediate
neighborhood." 11_ With this goes the prize question: Why was the mortality ratc
in London so much higher in the new working-class districts (around 1890?)
than in the slums?-Because people went hungry so that they could afford the
high rents. And Peladan's observation: the nineteenth century forced everyone to
secure lodgings for himself, evcn at the cost offood and clothing. fE 12. I}
Is il true, as Paul WCsthcim maintains in his article "Die neue Siegesallee" (Di~
IIt:U(Welthiihlle, 34, no. 8, p. 240), that H aussmann spared Parisians the misery of
large blocks of8ats? [EI 2.21
Haussmarul who, faced with the city plan of Paris. takes up Rascignac's cry or "A
nous deux maintcnant! " [EI 2.3}
" Tile uew boulcyartll! lI aye introduced light and air into unwholeeome districts,
IHlt IIIIY(: dune 110 h y wiping out . alollg their way, almost aU the eUllr tyards ami
g:lrdc nll-whif;ll lIIoreoyer have Lt!clI ruled out hy the progressive rise in reol
,'sl.ah·' lu';"CS." Victor r' ollrnd , Puris 'IOIIL'e<Ul ct. Pnri.s fulur (Paris. l868), p. 224
("Conclusion "), [EI2,4-J
The 0111 Paris hcwailiJ the monotony of the uew streets; whereupon the lIew Paris
l'eSI)ond s:
Why alllhe~ n:proaches? .. ,
TlulOks to the straight line, the calle of traYei it affordll.
One ayoid" the ~ hock of many a veILic!II.
Ami . if one'll eyes are good , une likewise avoids
Till: fools. the borrowen , the hailiffs, the bores;
LUi but 1I011easl, down the wholr. lenglh oCthe IIvenue,
Elicil paslw.rhy now avoids the others. or nods from afar.
_M. Barthelemy, Le Vieux Pari.! et Ie nOlweau (Paris, 1861 ). pp. 5-6. [EI2., IJ
The old Paris: " The rent de\'ours all , ami they go without nleat." M. Barthelemy,
Le Vieux Pn"';s el U! nouvenu(Paris, 1861 ), p, 8 . [E12a,2]
Victol' t~ourllcl , in his Paris flouvea" el p(lri~ jutllr (Paris, 1868), particularly in
the section "UIl chnpitre des nunes de Paris mooerne;' gives an idea of the scale
on ..... hkh J-I aussmanll engineered destrnction ill Paris . " Modern Paris is a parvenu
that goes back 110 furth er in time than its own begiunings, and that razes the old
jJalaces and old churches to build in their place heautiful white houses with stucco
ornllments ami p asteboard statues. In the previons century, to write the annals of
the monuments of Paris was to write the annals of Paris itself, from its origins up
through each of its epochs; SOOIl , ho .....eyer, it will be ... merely to write the annals
(If the last Iwelil y years of our own ex.istence'l1 (pp , 293-294), [E 12a,3)
Fournel, in his eminent demonstration of Haussmanu', misdeeds : "From the Fau-
bourg Saint-Germain to the Faubourg Saint-Honore, from the Latin Quarter to
the cnvi"ons of tbe Palais-Royal , from Ule Faubourg Saint· Denis to the Chaussee
d 'Alltill , from the Boulevard des haLiens to the Boulevard du Temple, it seemed,
in each case, that you were passing {rom oue contin ent to another, It aU made for
so many distinct smaU cities within the capital city-a city of study, a city of
hlllllllcrce, a city of luxury, a city of refuge, a city of movement and of popular
plea:>ures-all of tllt!m nonetheless Linked to onc a nother b y a host of gradations
ami tl'ansitiOlls, And this is what is being obliterated , _ by the construction
e\'I'I'ywhere of t.he 8am!! geometrical and r ec.tilinear street , with its unvarying mile-
lung perspective and ib contiUIlOUH row ~ of hou!If:s Ihat are always the same
house." Victor Founle1 , Puris "OIwer/U et PfJris fidur. pp. 220-221 ("COIl-
.. tusion ·'). [E12a,4-)
"They .. ' transplallt the Boulcyard d es lIatiens ill its entirety to the Montagne
Sainte-Gellevlt!\,t!--with about as much utility anll projit as II hothouse flower in
the forest-ami they create Rues de Rivoli in lite an{'ient city cellter, which has no
need of them. Eventually this cradle of the capillil, haying been demolished , will
comprise at most a barrac ks, a church . a hospital . and a palace. ,. Victo r Fournel,
Pari.s nOltvefJlt et Pam jllfur (Paris, 1868), p. 223. The last thought echoes a
stanza from Hugo's "A I' Arc de Triolllflhe ." [Et 3, I]
Haussmann's work is accomplished today, as the Spanish war makes clear, by
quite other means, [E13,2]
Temporary tenants under Haussmanll : " The industrial nomads among the lIew
ground-floor Parisians fall into three principal categories: commercial photogra-
phers ; d ealers in brie-a-brae who run bazaars and cheap shops ; and exhibitors of
curiosities. particularly of female giants. UI) to now, these interestin g p ersonages
have number ed among tbose who have profited the 1II0st from the transfonnation
of Paris." Victor Fournel , Pam nouveau et ParisJlttlir (Paris, 1868) . pp. 129-130
("Promenade pittoresque i trave rs Ie nouveau Paris"). (E13.3]
" The covere.l market of Les HaJJes, b y ulli\'ersal COllsent, constitutes the most
irreproachable eonstrtlction of the past dozen years .. , . It manifests one of ulOse
logical harmolues whieh satisfy the mind by the obviousuess of its sigJufication, "
Victor Fournel, Paris tlOlweau ct Pari.sjutl,r, p. 213. [E13.4-]
Already Tinot invites specula tion : "The city of Paris is supposed to make a series
of loans totaling hundred s of millions of franc s and, at the sallie time., purehase the
better part of a tlUartier in order to rehuild it in a manlier conforming to the re-
quirl!ments of taste, hygiene, and ease of communication . Here is matter
for spt!(!u1ation ." Amedee de Tissot , Puru et l.Amdres cnmpnre6 ( Paris. L830),
pp.4647 . [E13.5J
In Le Passe. Ie prellent , Covenir de la Reprtblique. (Paris. 1850), p . 31 (cited in
(jean) Cassou , Quumnte-huit (Paris , 1939>. pp . 174-175), Lamartine already
speaks of the ""nonladic, indecisive, and dissolute city dwellen who are corrupted
by their idleness in public places and who go whicheve r way the win(l of fa ctiollal-
ism Illows. heeding the voice of him ..... ho shouts the I(ludest .'· [£13a. l ]
Sta hl on the Purisian tenement houses: " It was already [in the Middle Ages] all
overpopulated metropolis Ulat was squeezed within the tight belt of a walled for-
tification. For the mass of people , tbere were neither single-famil y ho uses lIor
separately oWlled houses nor even modest cottages. Bllildings of llIan y stories ,",'ere
erected on the narrowest or lots. generally allowing only two , often oltiy one, front
window (though elsewher e three-windo ..... hOllilCS were the rul(·). These buildings
usuaUy rcnUlilled wholly unadorned , ami when they did not simply come to a stop
 al Ih~ lop, tlJf!rc was ill 1II0si a singll' guhll' affixed there, . , , On the rOO(M, Ihe
situa tion wall jjlrHll jo;e ellough , with unallsuming Superslruclure, and mall8arilcli
nestJed lIe,,1 1(1 Ihe chimney !IUI>S, which wen;:. pluo'!l,<1 eXl remel y dolle 10 one an-
ol lll'r." Sla hl SI'CS. ill Ilie frl!t!tlom o( the roofiug slruclures-II (ret·d"m 10 which
moflern arr hilecU in Jlllris lik .. wise allhere--" a (ilntas tic and tho roughl y Gothic
element ," Fritz Slil hl . P(lrj.f (Berlin (1929»), pp. 79-80. [EISa,2)
" Everywhere , , , tlte peculiar clLimneys lien 'c only 10 heighten the disorder o(
Paris of the past three cCJlIurie6, For Uau" mann took over nol ollly tbe (orm of
the a vellue alld houle-v"rli hut ,,180 the (or!l1 o( tile house (rom the imperial capital
laid out by !Auill XIV. Thai i, ""lIy hillltreehi can perform the (unction of making
th l" city inlO a cOIISJliCUOlI! unily. No, he hal not d estroyed Paris; ~alher, he h ili!
brought it to completion .... Thia mll ~ t be ackno ....ledged e\'en when yo u realize
how much heaut y wass8crificed . , , . Il aussmann waBassuredly a (an atic-bul his
wod ccouJd be acco mpLished onl y by a fa natic.-' Fritz Stahl , Paris: Eine Stadt au
KunstlCJerk (Berlin). pp . 173- 174. (EJ4a]

,~ Ilwsl' form s {lhe mallsa rdes].This is ... a trai t COmmon 10 aU Parillian houses,
Even Ihe oMesl o( them bavt' thai high waU from whicb the 101" of the chimney
g
nu t's ~" t t'ml. ... We ilre far rt!llIO\'etl here from the Roman slyle, which hll' been
laken In he lite fOllud atinn o( Pllrisian a rchitectu re. We are in fact nearer illl

J opposite, the Gothic , to wbidl the chimneys clearl y aUude .... IJ we wan t 10 caU
Ihis more loosely a " northern IItyle:' then we can see that a second , , , northern
" clemenl ill prt:s~ 1I1 10 mitiga te the Roman character of the streets. This is none
other IlllIn Ihe modern houlevurtls and In·enues. . , which are planted, (or the
!I1osllla rl , wilh trees; . , . and row, of trees . of course, are a feature of the north·
ern cil),," .' ritz Siahl , P(lri.J (Berlin), pp. 21- 22. [E13a,S)

In Paris, llle mndern hou se has "developed gradually oul of the pree"jsting one.
This could ha ppen because th t· preexisting Ollt: was alread y a lar ge 10wnllOlll(l of
the type cr eated here, .. in the sevcntc..-enth century 011 Ihe Place Vendome, wheN;
Imlay Ihe resitit'lltiull}alacel o( form er times ha ve come 10 harbor busine8l! e8tab-
lishmcnt l of every kind- wilhout having s uf(erefl the lealit altera tion to their
fa{adc, . ., Frilz Sta hl. Pori.! (Berlin ). p . L8. (£14]

A plea for Hauu mann : ··It is well knuwn thai ... the nineleenth centur)' entirely
lost . togt'ther with otller fundamental concepts of art, the concept o( the city as . , .
u unified whole, Ht'nccforlh there was no longer any city p lanning. New h uildinga
....ere introduced into the old nelwork of Slret!ts without a Illan. ami they were
t'x-panded ~;lh olll II pla n , . , . What can properly be called the a rchitectural bU-
tory of II city ... was in Ihill way everywhere terminated . Paris is the only excep·
tion , IIllll as s uch it was greeted with incomprehension and disapproval"
(I'P· 13-14). " Tlu't"e generations (ailelilo understood what city plallniug is, We
know wllllt it is, hut ill our case Ihi ~ knowledge generally brings only regret for
missed 0Plwrtunities, .. , These considerations make it possihle 10 lIppreciule the
only city plulIIlI'r of gelliu ~ in the modenl world- a 111811 , moreover, whll inllirecdy
cl'I'ated all till: Anlt'!'ican nl('tropolisel" (pp. 168-169), " It is solely in thill pcrspec·
Ii V!: , thcll , tlilit H ll u~s mlil1n '8 grea t tll(>I'ollghfa res take on their relll mea ning. With
them, IIII' lIew city . , . illleM'('ncs ill the old and . ill a cerlain ~ I'1I 8e, draws on the
0111. without ndlel'wiije violuling its cllaracter. Thus. lht:Sc lllUrollgllfarc'!l lIIay be
i oid IIIIIlIVC, 1I 10llg with their utility, an aesthetic e£iect . s uch thai the old d ty and
the ne \'\' are lint Idl ~ tlllliling opposite each oilier. as is the 1!llse ev!'r ywllt:re clse,
but a re drawli IOgclhc r into une. The momeni you come OUI of some ancit'nt lane
unt o line o( I-lallu _milllll's avenues, y<tu're in contact with lhill newer Pnris--the

F Frallct". 111111 wiUI it the up hols tl'rW IItyle bt!come" lioOlillllnt ." Max von Doehn, Die
[Iron Construction]
Each epoch dreams the: one 10 follow.
- Midlekt. "Avenirl Av.::llirr~ (Eu~, 73, p. 6)
Dialectical deduction of iron construction: it is contrasted both with Greek con-
strucrion in stone (raftered ceiling) and with medieval construction in stone
(vaulted ceiling). "Ano ther art, in which ano ther sUltie principle establishes a lone
even more magnificent than that of the other two, will struggle from the womb of
time to be born .... A new and unprecedented ceiling system, one that will
naturally bring in its wake a whole new realm of art forms , can . . . make its
appearance only after some particular matcrial-fo mlcrly neglected, if not un-
known, as a basic principle in that application-begins to be accepted. Such a
material is ... iron, which our ~tury has already staned to employ in this
sense. In proportion as its Static. properties are tested and made kno.......", iron is
d estined to serve, in the architecture of the (urure, as the basis for the sys~m of
ceiling construction; and with res pect to statics. it ill: destined to advance this
system as fat beyond the Hellenic and the medieval as the sysu:m o f the arch
advanced the Middle Ages beyond the monolithic stone-Iimel system of antiq-
uity... , If the static principle o f force is thus borrowed from vaulted construc-
tions and put to work fo r an entirely new and unprecedented system, [hen. with
regard to the art forms of the new system, the foruml principle of the Hellenic
mode must find acceptance." .(um hU';l{krijiihng~ GthurtJtag Karl Boettichm
(Berlin, 1906). pp. 42, 44-46. (The principle of Hellenic architecrure and Ger·
manic architecture as carried over into the architecture of our rime.) (FI ,1J
Glass before its ~ , premature iron. In the arcades. both the most brittle and the
strongest materials suffered breakage; in a certain sense, tlley were d cfl ?we~d.
Aro und the middle of the past century, it was nOt yet known how to build wuh
glass and iron. Hence, the light that fell from above, through the panes between
the iron supports, was dirty and sad . (FI,2]
''The mid- IR30s set' [he ll"p~llrallce uf IIII' fi rti l ir(H1 fUrnilUrt', ill the furm of
Ledltcads. t huir8 . smull l a bl ~!I, jllnJinierf'J: and il i ~ highl y cllaraclerislil' of tbe
CPOeil d, al II,is funlilure wall prl'ferred IJccli ulie it I:ould lJe lII urle to imilule pc.....
(!!Cd r a.ny t YI)e of wood, S hortl y afl er 1&10. fully padded funulure appear. in
MOllf' illl XI X. )lIll r IIllFIIlerr. vol. 2 (Munich . 19(7), 1>. 131.
The lWO great ad vances in technology-gas' and cast iron-go togetha, "Aside
[FI ,a)
from the great q uantity of lights maintained by the merchants, these galleries are
iUuminated in the evening by thirty-four jets of hyd rogen gas mOWlted on cast·
iron volutes o n the pilasters." The quote is probably referring to the Galerie de
a
l'Opera. J. A. Dulaure, H uto;'" dt ParU . , . depuu 1821 jUJqu nru jOUTl, vol. 2
« Paris, 1835), p. 29>. (F 1,4]
"The stagecoach gallops up to the quay. by the Seine. A bolt o f lightning Bashes
over the PoOl d 'Austerliu. The pencil comes to rest," Karl Gutzkow, Bri.efi aUJ
Paris, vol. 2 <Leipzig, 1842>, p. 234. The Austerlitz. Bridge was one o f the first
iron structures in Paris. With the lightning 8ash above, it becomes an emblem of
the dawning technological age. C lose by, the stagecoach witll its team of black
horses. whose hoofs snike romanticsparks. And the pencil of the German author
who sketches them : a splendid vignette in the style of Grandville.
[F1.51
" In reali ty, we kllOw of no bellutiful thea lers, no beautiful ra ilroad elatio ns, DO
heltllliflll e,.hihitioll bails. nu bea utiful cosinos-thal j..; to say. no bllulltiful hOUlles
of indu Blry 0 1' of frivolity." Maul'ice Talmeyr, U I eire du sang ( Paris, 1908),
p. 277. [FI,6]
MlI.gic of ('ust irun : '· nll.hIJlIc' .... as a b le then to cOllvince himself Iha l the ring
urI)Uml utiJi planet ....as nothing olher than a circula r lullcony 00 ",·b..it;h the inhabi.·
tlm U of SlItlirn strulll'ti ill the eve ning 10 get a In~ lIlh of fres h air." Grand ville, Un
(/Ilfre 11Io"de (Paris d84-<b). p . 139. 0 H II.~ hi!i h 0 (F I,7]
In mentioning factories built in the style of resid ential houses, and o ther things o f
this kind, ",1: must take into account the following parallel from the history o f
architecture: "I said earlia that in the period of 'sensibility,' temples were erected
to friendship and tenderness; as taste subsequen tly turned to the classical style, a
hosl .of temples or temple·like buildings immediately sprang up in gardens, in
parks, 011 hills. And these were d edicated nO[ o nly to the Graces or to Apollo and
the Muses; farm b uildings, tOO, including barns and stables. wae built in the
style Of telllplcs." Jacob Falke, Gmn;cll/t tin modernen Gmhmadu (Leipzig, 1866),
pp. 373-374. nlere are thus masks of architecture, and in such masquerade the
architecture of Berlin around 1800 appears on Sundays. like a ghost at a costume
ball. fFla ,l ]
"Every tra.desman imitates the materials and meulOds of others, and thinks he
has accomplished a miracle of taste when he brings out porcelain cups resem·
bling ule work of a cooper, glasses resembling porcelains, gold jewelry like leather
thongs, iron tables with the look of rattan, and so on. Into this arena rushes the
confectioner as well-quite forgetting his proper domain, and the touchstone of
his taste-aspiring to be a sculptor and architect." Jacob Falke, GMch ichtt: del
modt:rnt:1I Gmhmadu, p. 380. This perplexity derived in pan from the superabun-
dance of lechnical processes and new materials that had suddenly become avail-
able. The effort to assimilate them more thoroughly led to mistakes and failures .
On the other hand, these vain attempts are the most authentic proof that techno-
logical production, at the beginning, was in the grip of dreams. (Not architecture
alone but all technology is, at certain stages, evidence of a collective dream.)
[Fl a,2)
" With iron constructioD-a secondary genre , it is true---a new art was burn . The
east-llide railroad station designed by Duquesnay, the Gare Ill' ('Est, was in this
r egard wo r thy of architects' attentiun. The use of iron greatly increased in that
period , thanks to the new l:omLinations to which it lent itself. Two quite difrerent
but equall y remarkable works in this genre deser ve to be mentioned 6rst : the
Bihlilltheque Sainte-Genevieve and the cental marketplace, Les Hailes. The latter
is ... a veritahle archetype: reproduced several times in Paris and other citiell , it
proceed ed , a8 the Gothic cathedral had IJone, to appear all over France . ... Nuta-
ble improvcments can be obscrved in the details. The munumenta) Icad-wurk has
bceome rich and elegant ; the railings , candelabras, and mosaic flooring alltC!ltify
to an often succenruillucst for beaut y. Technological advances have mllde it pussi-
hie to sheathe cast irun with copper, a procen which must not be abused . Ad-
vances in luxury havc led, even more s uccessrully, to the replacement of caHt iron
by bronze. something which has turned the streetlarupll in certain puhlic places
into objets d 'art." 0 Gas 0 Note to this passage: " In 1848. 5,763 loll.s of irun en-
tered Paris; in 1854, 11 ,771; in 1862 , 41,666; in 1867, 61 ,572. " E. Levasseur,
a
Hisloire des classes ouvriere~ et de l'indwtrie en France de 1789 1870. vol. 2
(Paris, 1904), pp . 531-532. [Fla,3}
" Henri LaLrouste, an artist whose talents are sober ami IItlvere. SUCGcssfully in-
auguratcd the orllilmental use of it-on in the COllstructiOIl of the BihliutLellue
Sainte-Genevii':ve and the Bihliotheque NatiOllalc." Levasseur, lIistoire des
ClaSSflS outJriere$, p . 197. [Fla,4]
First COllstructiun of Les Hailes in 1851 , long aftcr lht' proj ect had hoon approved
by Napoleon in 1811 . It met witlt gen eral disfavor. This shme stnlcture wu ~ kllown
as lefort de 1a lIaUe. " It was an unrortunate IIttempt which will not be repclltcd .
_ . . A mode or CUlllltruction better 8uited to the en t! propused ",ilIl1uw be sought .
The glassed sectiuns or the Gare d e rOuest and the memo ry (If the Crys tal Palace,
which had housed the wur ld elthibitioll at London ill 185 1. were no doubt re~ pu n ­
sihle for the idea of using glllS!! and cast iron almost exdusivdy. Today we ('a n sec
the justification for turning 10 s uch lightweight materials. which , betler tha n any
others , fullill ed thl' j:ollditiulIlI laid down fur these eslahliMlullcnts. Work nil Lcs
Halles hlUl not let ull since 1851 , yct they are , till flul fini shed .·' Maxime 011 Caml',
Pn ru (Paris, 1875), vol. 2 . lip. 12 1- 122 . [F la,S)
Plan fur u truin station intended tu rephu~ .. the Car c Saint-Lazare._COl'lwr of Place
de III Mutlclcinc 8nd Ruc Tronch!!!. " Accorlling In tile report. the nils-supported
by ' e1egu lll ea 8 t~ il'on arches !'ising twent y feet a bo\'e the !wound , ami having a
1£,lIb'lh uf 615 IIlclcrs'- wou.IJ huve crossed tile Rue Saint-Laza r e, the Rue Saint _
Ni(:(j IIl B. tin- Rue d es Malhurins, alld the Rllc Castellanc , each of which would ha ve
had ilS own IItation . " 0 Flaneur. ltaiJroad stati un n ~a r <?) the streets 0" ... Mcrely
b y looking at them , we call see how little Ihese pillns actually anticipated the future
of the railroad s. Althuugh descrihed as 'mon umenta!" the. fu~a de of this train
stlltion (which , fortunatel y, was Ilever built) is of uJlus uall y small dilnension8; it
wtHlhi 1I0t evcll scrve to accummudate oue of th o~e shops that Ilowaday!! extend
along the corners uf certaul illten.eetioll!!. (t is a lIurt of halianate building, th ree
Slories lugh. with each stney Ila vingcight windows; the main entrance ill marked by
Ii slairway or twent y-rour stepll leailing to a semicircular porch wide ellough ror
nve or six persons to pass through side b y side." Du Camp , Pu rL,. \' 0 ) . I , pp. 238-
- ~Q
The Ga re de l' Ouest (today?) presents " the douhle aspect of II raclvr y in uperation
and a ministry." Du Camp , Paris , vo). 1, p . 241. " With your back tu th tl three
tllnuds that pau under thc HouJevaril des Batignolles, YO Il can take in the whulc of
the Irain stuliun . You Se(.' that it almust has the shulte (If an unmcnsc mandolin: the
rail Mwou ld ronn the strings, und tile signal j)()sts. placed at eW'ry crossing or tbe
truck.s. ",·ou.lll fonn the pegs." 011 Cllmp, H,d." \ ' 01. 1, p . 250. [F2,2]
"C baron .. . rUlll tld by the in ~ talla tion or a wi.l·e footbridge ovcr the Styx," Grand-
ville, Uri autre mOllde (Paris, 1844), p . 138. (F2,3]
The first act ofOffeIlLat;h 's Vie purisielllle takes plare ill a ra ilroad station . "The
illdu6trial movement seems to r un ill the bl ood or this generation- to slIch all
extent that . fur exa mple, Flachat has built his house on a plol of land where. on
ei ther side , trains 11.1'1; always whistling by." Sigfried Giedion , HlJmm in Frunkreich
(Leip7.ig and Berlin <11)28» , p . 13 . Eugene Fla chat (1802- 1873). huilder of rail-
ruad s. d e~ ignc r. [F2.4)
On the Gllicrie ll' Orliians 'ill Ihe Palai8-Ruyal (IB29-1831): " E vell Fontaine. one or
tile originators of ti m Empire styl,;. is cUllvt!l'led ill lalllr years to thc lIew material.
III J835- 1836. 1II00"t:llvo·r. bt~ "'phll'ed the woode'l fillo r ing of till' Galcrie deB
BlitHillc~ in V,;rslIilles witb all iroll IIssl'mM y.-'I'bcse galleriea. like those ill tbe
Palnis- Uflyal, wt:rc sUhlle(IUfmtiy Ilcrfectcd ill Italy. fur \I~ . tlIC), a l'e n point or
,Iepartllrc for II ",,,,' urcllitetturlll prul,lems: tl'ain ~talilnU:i, ;ulIl thl! lik ... :· Sigfricd
CictiiulI , Huu en in f 'nmkreicll , p . 2 1. [F2.5]
'"The complkaled ~:nnll trlll:tinn (0111 of iroll lind COPI)er) of the Corn Exchange in
1811 wus Ihe wOl'k of tl .., Qrchit\.'Ct Bellangii Iln~1 the engin eer Brunei . It ill l.he fl ul
lime, lu our knowledge. t hul urchilpct a nd e ngineer are no longer united in one
11t1·$(Jn . . . . Hill o..!r. the builde r of the Care du Nord. gOI ilL. insight into iron
CllnBlrnc tinn from Uellunge. - ' atUJ'ully, il is II mutte r more of un application of
iron t hall U l!lln Slrllctio n in inln . Tec:hniquci of wood cons lruction were Himply
transposed lu i.rlJu :- Sigfril':d Cicdion , Bnuen in Frmlkreich , 11. 20. [1"2,6]
Apropos of Vcugny'j cO"e red mllrkel hu.ilt in 1824 nea r the Madeleine: " The s len-
(I"rneu of Ihe d elicate Clut-iron columns hrings to mind Pompeian waU paintinp.
' Thc conll tructio n , in iron 8111.1 callt iro n , of the new marke t near the Madeleine i.
une of the mOllt gracefuilic hievemeu ts in Ihis gen re. One cannot imu Yne a nYlhing
mort' e1I'gant or in bclh:r tallte. .' EA:k. Traile ." S igfried C ie~Jion _ Bamm in
Frrlllkreidi. p . 21. [F2,7]
'''The most important 8tel' toward iudllst.riaLization: mechanical Jlrda bricatioll of
~ Jlt:cili c
furlllll (lIt:etiolls) o ul of wrought iroll or s teel. The field s inte rpe ne trate: ...
in 1832. railrultll workc r~ hcgan 11 0 1 with lauililingeolllpollcnts hut. with rails. l:Ie re
i@the I)oinl of dc parlul'c fo r ~ec.ti o llal iron , which ill the Imsis of iron construction .
[Nute 10 thi l\ paunge: The lIew method s of construction penetrate slowl y into
industry. Doulale-T irOIl wa s II s~ 1 ill fl ooring for the firs t time in Parill ill 1845.
when tile maSOll8 were o ul un strike alld the pril;e of wood had risen due til in-
creased construclion 111111 large r I panll.]" Ciedioll , BOllen in Frankreich , p. 26.
[F2,8)
The first stnJctures made of iron served transitory purposes: covered markets,
railroad stations, exhibitions. Iron is thus inunediatdy allied with functional
moments in the life of the economy. What was once functional and transitory,
however, begins today, at an altered-tempo, to s~m fonnal and stable. [F2,9]
"Les Hailes "olls isl of two grQups uf pavilio ns j oined to each other by covered
IlIlIes . It is a 8cunewiaa t timid iron s tructure thai avoids the gene rous 8pllOS of
B Ul'eau und Flaclla t allli o b viously keep s to the model of the greenbuuse."
Giedioll . B(luen ita FranA'reich , I" 2H. {F2a. l ]
On the Gare tlu Nu nl : " He re they ha ve elltirely avuided that II blllul ll l1l:e of Ipace
wlli~ ' h is fOlllld in wlliling clllryways, alul rc~taurants IIroulid IBHO . lind
,'01)111 8.
which I"d to the pr,) hlell1 of the rllilnlllti station alii exaggerllh:d bal'ollue palace."
Giedioll , Bfl/len ill FrIll/ I.' reid,. p. 3 1. (F2a.2]
"Wherever the nineteenth celltury reels itself to be unobserved. it grows bold."
Giedion, &lUen in Fmnk,.d,h, p. 33. 1n fact. this sentence holds good in the
b'Cneral fonn thai it has here : the anonymous art or the illustrations in family
magazines and dUldren's books, ror exanlple, is proor or the point. [F2a,3)
Railroad stations ~Btlhnhiift) used to be known as EisenhaJmhijft.3 rF2a," )
There is talk or renewing art by beginning with rorms. But are not rorms the true
mystery or nature, which rt:5ervcs to it:sclf the right to remunerate-precisely
through them-the accurate, the objective. the logical solution to a problem posed
in purely objective tenus? When the whed was invented. enabling continuous
forward motion over the ground, wouldn't someone there have been able to say,
with a certain justification. "And now, into the bargain, it's round-it's in thefimn
ifa whee!.'" An:. not all great conquests in the 6dd of forms ultimatc1y a matter or
tedmical discoveries? Only now ~ \\'e beginning to guess what forms-and
they will be determinative for our epoch-lie hidden in machines. o;To what
extent the old rorms of the instruments of production influenced their new ronns
from the outset is shoWJlr . .. perhaps more strikingly than in any other way, by
the attempts. before the invention of the present locomotive, to construct a loco-
motive that actually had two feet. which, after the fashion of a horse, it raised
alternatc1y from the ground. It is only after considerable development of the
science of mechanics, and accun1Ulated practical experience. thai the fonn of a
machine becomes settled entirely in accordance with mechanical principles, and
emancipated from the traditional foml of the tool that gave rise to it." (In this
sense, for example, the supports and the load, in archi.tecrure, are also "'fonus.")
Passage is from Marx. }(apilal, vo!.l (Hamburg, 1922), p. 347n.' [F2a,5]
TIrrough the Ecole des Beaux-Arts. architecture is linked with the plastic arts.
"'That was a disaster for architecture. In the Baroque age. this unity had been
perfect and self-evident. 10 the course of the nineteenth century, however, it
became untenable." Sigfried Giedion, &lIrn in .Franll.reidl <Leipzig and Berlin,
1928>, p. 16. 1bis not only provides a very important perspective on the & .
roque; it also indicates that architecture was historically the earliest field to out-
grow ~e concept of an, or, beuer, that it tolerated least well bdng contemplated
as "an"-a category which the nineteenth century, to a previously unimagined
extent but with hardly more justification at bouom, imposed on the creations of
intellectual productivity. {F3.l ]
TIle dusty fata morgana or the winter garden, the dreary perspective of the train
station. with the small altar of happiness at the intersection of the tracks-it all
~oldcrs under spurious constructions, glass before its time, premature iron. For
III the first third of the previous century. no one as yet understood how to build
with glass and iron. That problem, however, has long sin ce been solved by
hangars and silos. Now, it is ule same with the human materiaJ on the inside or
~e arcades as with the materials of their construction. Pimps arc the iron bear·
II1gs of this street. and its glass breakables are the whores. fFd.2]
'''The new 'arehit t'Ctlire' <&lIt1l> has itll o rigin in the moment lOf indus try'll forllla-
tio n . 81'ouud 183l1--l.he mOmt.'nt uf lIlulal.iclII f,·o Ul the c r afl l ma nl y to the illllllSlrinl
prutluction pruee..... Cietliun.lJmum in ,"' r tlnkreich . lJ. 2 . [F3 .3J
"Railroad tracks," with the peculiar and unmistakable dream world that attaches
to them. are a very impressive:: c.x.ample of just how great the natural symbolic
powcr of teclmological innovation a n ~ . In this regard. it is illuminating to learn
of the bitter polemic waged against iron rails in the 18305. In A 1Tl:atUt in
Elr.mr://fllry Locomotion, for example, A. Gordon argued that the steam carriage (as
it was called then) should run on lanes of granite. It was deemed impossible to
produce enough iron for even the very small number of railway lines being
plalUled at tha t time. [F3,4]
It mlls t ~ kept ill mind that the magnificent urban views opened up by new
COnstruCllOIlS in iroll-Giedion, in his &lIen in Fran/mien (illustrations 61-63),
gives excellent examples with the Pont Transbordeur in Marseilles-for a long
rime were evident only to workers and engineers. 0 Marxism 0 For in those days
who besides the engineer and the proletarian had climbed the steps that alone
made it possible to recognize what was new and decisive about these structures :
t.hc feeling of space? [F3,5]
In 179 1. Ihe I.erm ingcniellr begun 10 be UliW in France for those officers .skiUed in
IIII' a,'''1of fnrtifu;uliun and siege. "At the .same time. and in Ihe same country, the
ol'pH ~ ilioli hetween ' COlllilrllctioll' alld 'a rchitecturc' hegan to make itself felt: a nd
I)('fort' long il flgurell in lH!nloual attacks. Thill untithcsis had been entirely un-
kn uwn in iiII' past. ... But in the illnwnerable adllhetie treatises which after Ihe
stomls of t lie Revolution ~uidetl French art back into r egular cha llneL1I, . • . the
conslrllclellrs stood opposed to the llecorul ellr~ . luul wilh Ihis I.he furth er question
arOlW: l)ililiOI lht: illgelliellrl , as 1111: UUidl of the form er , ne.:ellsa rily occupy with
thcm. ~oda ll y speakiur;. u ,listinct camp?" A. C. Mf>YI·r. Eise"bmlle" (Esslingen,
1907) .11. :t {F3,6]
"'The let'hnillue (If stone arehileclurc ig I!ter eotomy ; that of wood is lectonic!!. What
dlws U'1I1i construction IUn'e in I;ommon wilh the one or the other"" Alfred Goll-
hoM Meyer. Ei.Jenlmuten (Esslingen, 19(7) , p. 5. " 1.11 !!tone we feel lite natural
II I)ir it of the mass. Iroll is, for U9, only artificiall)' cfllnpreuetl (Iurability and
t('lIsti ly" (II. 9). " 'rOil ha ~ a tell sile strength for ty times grea ler than that of stone
lind 1<'11 tillt e~ greater Illun tlll.ll of .0'0011 . "llhough ilMtlct wdght is olily four times
Ihul uf UOlle ami (lill y eighltuncs lhut of wood. III comparison with a wtllne mau uf
Ihe !UI.OIe dilllclIsilJns. thcrdore. a.1I iron body l)OueueiI. ""ith only four timet; the
w('ight. a Ivad limit (orty limes. higller" (p. II ). [F3.7)
"Thi ~ m ah~ l·in l. ill its fl n t hunJrcd yea rs, has IIlready undl'rgooi' l'~SC lltial tru lI s~
f(JI' maliun!l--i~ a ~ 1 iron. wrought iron. ingot irOn--1l0 thut tOOay til.(' cngillt.'er htl.s ut
Ilil' Ili ~ IIU S Il I a huilJinlt lIIa tnial t'Ounpl"lely Jifferenl fcolII thul of 80llle fill y yean
Uj::O •••• In tht' IWNlw/'live of hiSlorical rd lectioll , Ihesc are ' ferment,,' of It Jis(lui.
"Iill ~ illsllI l,ilit y. No "dll'l' building mlllcl·inl offerllu nYl hing rCllwldy similnr. We
~ lnll.J 111' 1'1' III Ih~' b" ginning of u ,I"vd",mlt'nt Ihul i ~ " u rll til I'rlll·,·t'll lIl Il furiull s
puce .. . . '1'111' ... ('(lIItJitionll of tJu: muterial ... lire volatilizell UI ' Umitlcu
pouibiliuC'8 ."· A. G. Meycr. Eisenballten . p. 11 . iron II lI revolutionary building
material! [F3a,l ]
Meanwhile, how it looked in the vulgar consciousness is indicated by the crass
yet typical utterance of a contemporary journalist, according to whom posterity
will one day have to confess , "In the nineteenth century, ancient Greek archi~c·
cure o nce again blossomed in its classical purity." Europa, 2 (Stuttgart and
Leipzig. 1837). p. 207. [F3a,2]
Railroud ~ Ialion .~ a6 "ahodeil of art." " If \\'iertz had hall a t hi ~ dispo8al ... the
pu1>lic lIIonumcnl8 of mo(lcrn eivilizatjoll- r ailway statiolls, legisJative chamberl ,
univ('niIY leclure haUs. marketplaces . town haUs- ... who can say what bright
and dramatic new worlds hl' would ha\'e traced upon his canvas!" A. J . Wie.rtz,
Oe lwre~ li/feruires (Pari.8, 1.870), pp, 525-526. [F3a,3]
The technical absolutism that is fundamental to iron COfL'ltruction-and funda·
mental merely on account of the material itself-becomes apparent to anyone
who n=cognizes the extent to which it contrasts with traditional conceptiofL'l of
the value and utility of building materials. "Iron inspired a ~ distrust just
because it was not iuunmediately furnished by natun=, but instead had to be
artificially prepared as a building material. 1bis distrust is only a specific. applica·
tion of that general sentiment of the Renaissance to which Leon Battista Alberti
(De ( I: tudjficaton'a [Paris, 1512}, fol. xliv) gives expression alone point with the
words: 'Nam est quidem cujusquis corporis pars indissolubilior, quae a natura
CODocta et counita est, quam quae hominum manu et ane conjuncta atque,
compacta ese <For theK is, in each thing. a part that is the wor.k and the assem-
blage of nature, and that is mOK indissoluble than that which is produwl and
assembled by the hand of m an with his am." A. G. Meyer. E isenhau fen (Esslin-
gen, }.907), p. 14-. {F3a,4J
It is worth considering-and it appean that the answer to this questio n would be
in the negative-whether, at an earlier period, technical necessities in architeeture
(bUt also in the o ther arts) detennined the fonns, the style, as thoroughly as they
do today, when such techno logical derivation seem s actually [0 become the
signature of everything now produced. With iron as a material, this is already
clearly the case, and perhaps fo r the first time. Indeed. the "basic fonns in which
iron appears as a building material are ... alread y themselves, as distinct synthe-
ses, pat11y ncw. And th eir distinctiveness. in large measun=, is the product and
expressio n of th e natural properties of the building material, since such properties
have been technically and scientifically developed and exploited precisely for
lh~u fonus. The systematic industrial process whidl converts raw material into
immediately available building material begins, with iron, a t a much earlier stage
than with previously existing building matelials. Between matter and material, in
this case, there is a relationship quite different fro m lhal bctween stone and
ashlar, clay and tile, timber and beam : with iron, buildingmatcriaJ and structural
,• form are, as it were, more homogeneous." A. G. Meyer, EU(1lh«ulen (Esslinge.n,
1907), p. 23. [F3.,5]

1840-1844: " The construction of fortifi cations, inspired by Tiller s. . Thiers .

who thought that railroads would never work, had gates cons tructed in Paris at
the ver y moment when railroad stations were needed. " Duhech and d ' Espezel,
flistoire de Paris (Pans, 1926), p. 386. [Fla,6]

• "From the. fifteenth century onward, this nearly colorless glass, in the form of
window panes, rules over the house as well. The whole development of interior
space obeys the command : 'More lightl'~-In sevente.enth-century Holland, this
d evelopment leads to window openings that, even in houses of the middle class,
ordinarily take up almost half the wall... . 1The abundance of light occasioned
by this practice must have. . soon become disagreeable. Within the room,
curtains offered a relief that was quickly to become, through the overzealous an
of the upholsterer, a disaster... . 1 The development of space by means of glass
and iron had come to a standstill. I Suddenly, however, it gained new strength
from a perfectly inconspicuous source. I Once again, this source was a 'house,'
one designed to 'shelter the n eedy,' but it was a house neither for mortals nor for
divinities, neither for hearth fires nor for inanimate goods; it was, rather, a house
for plants. I The origin of all present-day architecrure in iron and glass is the
greenhouse." A. G. Meyer, Eisenbauten, p. 55. o Light in the Arcades 0 Minors 0
The arcade is the hallmark of the world Proust depicts. Curious that, like this
world, it should be bound in its origin to the existence o f plants. [F4,l )

On the Crystal Palace of 1851: "Of aU the great things about this work, the great-
est , in every sense of the word, i8 the vaulted central hall . ... Now, here too, at
fint , it was not a space-articttlating architect who did the talking but a-gar-
dener .. . . Thi8 i8 Literally true: the main reason for the elevation of the central
h all was the presence, in this 8ection of Hyde Park , of magnificent elm trees, which
neither the Londoners nor Paxton himself wished to see felled . Incorporating them
into his giant glass house, 88 he had done earlier with the exotic plants at
Chatsworth , Paxton almost unconsciously-but nonetheless fWldam entally--en-
hanced the architectural value of his construction. " A. G. Meyer, Eisenbauten
(Es81ingen , 1907), p. 62. [F4,2]

In opposition 10 the engineen and builders, <Charles- f'ran ,<ois) Viel, as architeet,
publishes his extremely violent , comprehensive polemic against static calculation ,
Interior of the Crystal Palace, London, from a photograph by William Hcruy Fox Talbot. See
UJlder the tide De l 'lmplliu ance des mathemariques pour auurer ill solidite des F4,2.
biitiment5 <On the U6eleu neu of Mathematiu for Assuring the StahiLity of Build-
ings> (Paris. 1805). [F4,3]

The following h olds good for the arcades, particularly as iron structures: "Their
most essential component ... is the roof. Even the etymology of the word 'halI'6
points to this. It is a covered, not an enclosed sp ace: the side walls are, so to
speak, 'concealed.'" TIlls last poi.nt pertains in a special sense: to the arcades,
whose: walls have o nly secondarily the hmction of partitio ning the hall ; primarily,
they SCfve as walls or fa/?des for the conuntrcial spaces within them. The pas·
sage is from A. G. Meyer, Eurnbullten, p. 69. [H ,4]
TIle arcade as iron cons truction stands o n the verge o f horizontal extension.
That is a decisive condition for its "old-fashioned " appearance. It displays, in this
regard, a hybrid character, ·anaJogous in cenain respects to that of the Baroque
church-"the vaulted 'hall' mat comprehends the chapels only as an extension o f
its own proper space, which is wider than ever before. Nevertheless, an attraction
'from o n high' is also at work in this Baroque hall-an upward.tending ecstasy,
such as jubila~ from the &acoes on the ceiling. So long as ecclesiastical spaces
aim to be more than spaces for gathering, so long as they strive to safeguard the
idea of the eternal, they will be satisfied with nothing less than an overarching
unity, in which the vertical tendency outweighs the horizontal." A. G. Meyer,
EiJ~lIbatltt71, p. 74. On the other hand, it may be said that something sacral, a
vestige of the nave, still attaches to this row o f commodities that is the arcade.
From a functional point of view, the arcade already occupies the field of horizon-
tal amplitude; architecturally, however, it still stands v.ithin the conceptualfidd of
the o ld "hall." [Fol,S]
The Galeric del Mllchines, built in 1889 ,: was torn down in 19 10 "out of artistic
liadism." [F',' I
Historical extengion of the horizontal : ·' From the palaces of thf: Italian High Ren-
uissance, the ch ateuux of the French kings lake the ' gIlUery,' which- as in the case
of the ' Galler y of Apullu' pt the Louvre and the "GaUery of Mirron' at Versailles--
bel'urnes the emblem of majesty itself. ... l it !! new triumphal advance in thf: nine-
teenth centu ry begills under tbe sign of the purely utilitarian structure. with tiaO!le
halls known a8 wardlOlises and markets, work!;hops and fa ctorieM: the problem of
railroad St.atiOl18 lind , aho.!c aU, of exhibitions leads it back to art. And every-
when : the Ilemulul for continuollil horizon tal extensiull is .110 greal Ihat the slone
a rch und thl.' woodell eeiling can bllve only " ery limited applications .. .. UI Gothic
Ur ll ctllrl"~ , the waUIi turn inlo Ihe ceiling, wh e rta~ in iron halls of Ihe ty pe ...
rCl'rcsf nted by the Galler y of Machinf:! in Paris, the ceiling slide.!! O\'er tlle wull!!
wilhout inlerruption ." A. G. Meyer, Huell/mulen . "" . 74-75. [F4a, I}
Neve... before was the crilerion of the "minimal" so important. And that includes
the minimal element of quantity: the "litue," the "few." These are dimensions
that were well established in tcdUlologica1 and architectural constructions long
before literature ma de bold to adapt lhem. Flmdamentally, it is a question of
the earliest manifestation of the principle of mo ntage. On building the Eiffel
Tower : "'llms, Ule plastic shaping power abdicates here: in favor of II colossal
sp•.'m of spiritual energy. which chrumcls the inorganic m'H~rial ene::rgy into the
smallest, most efficient fonns and cOluoins these fonns in the:: most effective
manner.... Eae::h of the twelve thousand me::tal fittings, each o f the two and a half
million rivets, is machined to th e:: millimete::r.. .. On this work site, one:: hears nO
chisd·blow liberating form from stone::; here thought reigns ove.r muscle power,
which it tranSmits via cranes and secure scaffolding." A. G. Meyer, EiJenbauten,
p. 93. 0 Precursors 0 [l-'4a,2]
" HaU8sm1UIII Y!'tI ~ incapahle of huving what could be 1!lI l1 ed a policy on raiin)ati
lilations ... . Dc~ pit e a directive from till': emperor, who jll ~ tJ y baptilted kllMurell
' the new gateways of Pam ,' the COlltinUed developmellt of t.he r ailroadMsurprised
rveryone. SlU1Jlluing aU expectations .... The habit of a certain cmpiricism was
nOI easily lJ\'ercolllr ." Dubech and d' Espeltei , lIiJlloire de Purill (PlIri.!l , 1926),
p.419. [F4a,3]
Eil'fel To\·,er. " Greeted at first by a lilorm of protelt , il has remained tluite ugl y,
though it proved useful for reliC_nh 0 11 wirelcss telegra phy, ... It has lK.'t: 1l said
thlll this worllltxhibitioo marked Ihe triumph I)f i.ron construction . It wUlLld he
truer 10 Illy that it marked ill bankruptcy." Duheeh and d 'Elipezei . f1u toire de
Pori", PI" 461-462. [F4a,4]
'·Around 1878. il WU Ii thought lblll liulvation lay in iron construction . It!! ' yen rlling
for verticulity' (a8 Salomon Remach put it), the predominance of empty BI)acel
over filled spacel , and the lightneu of iii visible frame raised hOI)e8 that a styh: W aH
emergillg in whieh the essence or the Gothic geniu!! would be revived lind rejuve-
nated b y a !lew spirit aDd new malcriaJs. But when eligUlL't:r s er et:tcil the Galerie
des Ma c hinc~ und the Eiffel Tower ill 1889, people IleSpllirl!d of tlle art of iron .
Prrhaps 100 soon ." Duhet:h and d ' Espezel, H illtoire de Parill. p. 464. (F4a,5]
Beranger: " His , ole reproach to Ihe regime of Louis Philippe was that il I'"t Ihe-
republic to grow ill II hothou ~e ." Franz Diederich , " Victor Hugo:' DU! neue Zeit ,
20, DO . 1 (Stuttgart , 19(1 ), p . 648. [F41l.,6]
" The palh that lead" from tlle ElIlpire form of the first locomotive tu the fin -
ished objective alld fUli ctional form or today marks an eVllhllion :' Joscph Aug.
Lux , " Ma.schineniistbt: tik ," DU! lIeue Zeit , 27 , no. 2 (Stuttgart , 19(9), p . 'l39.
[F4a,7]
"Tbu!;e cndowl!d "lith 1111 et>r1eciaUy fin e artistic COn&ciCIICt' have hurlNl down ,
frum Ilu' altar uf urt, curse aftf'I' I!urse 011 the hu.iltling 1!lIginccn . It !iunice" tn
mention Ru ~ kill ." A. G. Meyer, EUelibultl en (EilSlil1gclI , 1907), p . 3. [FS, lJ
COllccrnillg tlil' arti~ ti c idea of Empire. On DUlimicr : "lie d is played till: grea t!,';1
elllhusiasm for mllSIJwar cltcitatio";!. Tirelessly his pellcil exalts lh.~ t en ~ ion aull
mO\'cmellt IIf mllscle.'! .... 8uI the Jlllhlit· of which he Ilreamcil WII' pru portiollt'd
,IiCferellti y frum tllis ignoble , .. ~ UI·il'ly of lihllpkceper li . li e yea rnl'd fll r II 8(wial
ntiB,," Illal would 1I11ve provided , like that of Hon{Jienl GI·....'1!ce. a bust! fnull ",·hiclt
 poople ,·,,"It.! raise dll'm s. · l v~j. H!! from II Il.e clcsta l, ill vigoroull heatH y.. .. A gro- like the tOII ~ of Boucher ', !;atl':1l." Edollard Foucaud. Paris iflllenle /lr: Phy.iologie

- ''';;'l ue .li!!ln rlio n mu ~ 1 . .. r Ci li1t wile n!h" Lourge.>ii ie i8 vit' wed from the II ngleo(
s uch id ell ljl. Dau lllie r 's ca rirllturc8 wc re thus the ulm ust illvo hllltary Cll n.~etl" ellce
o f a 10fl Y IIlIIl>it.ioli !hitl failctl in its uim of a tlullcnwnl witJ, tile miildl.·-clasj; rub-
de l'industrie frulI(;(lue (pllri8. 1844). pp. 92- 93 . (F5a.2)

Th(' S{IU III'C O ll JlO~ i t(' the C are du riord Wil S known i ll 1860 as the Plpce de
Ii" " .. III IM35 . 1I 1l 1l1li'lII pt UII th e lif,' {If the k.ill t I1n:....' IlIl'l l un . • . u Pl)Orlllllity to noubni~ . [F5a,3]
" lIrlllil ... th ... holdncss of the pres!!, which had bt:e.n Iluhtid y Llamed for the deed ,
1'.llil iclll curica tu r e I" 'caille impossible .... Elence. the dnwings of la wyer!! done In engrll vin!;l1 of the IJerioll, horlSeS a re pranc ing aCr6U railroad statio n espla.

.. in Ihis pe l'jod are ... hy for Ihe most p llJIliunate and luuma ted . T be courtrUoOm is
Ihe olll y pill e t: where pilchI'd haltles ClUJ still be waged ill 11.11 their (ury, and luwyers
un: the o lil y IH"Opie ill whom lin emph uticully muscula r rhe loric und u profe8S ion~
Illulell. IIl1d S((lg{'coaclu,:s roU by in clomb of d ust. [FSa,4j

CHptio li fo r a w~llxlcut representing a ca tllfalqul! in the Care du Nord : " Last

ully dramutic pose h uve mude for all d ll borate pbysiognomy of the hody," "'ritz
Th , Schuh e. " lI oll o ~ Illlwnie r:' Die n 4'lIe Zeit. 32. no. I (S tUtl ~ rt <1913» ,
PI" 833-335.
The miscarriage of Ba1tard's design for Les Halles. built in 1853, is due to the
sam(' unfortuna te combination of masonry and ironwork as in the original proj.
eo for the London exhibition hall of 185 1, dIe- work of the Frenchman Horeau.
Parisians referred to BaJtard's st:ructure, which was subsequently tom dO\vu. as Ie
fort de la Halle. [F5.3}
rf'l\ pecu puid 10 !\1eyerht..'Cr in Parill al thesnre de chemin de fer du Nord."
[F5a,S)
{F5.2J
Factories wi th gll ilerics inside a nd winllillg iron staircu&e l . Eurly prospectuses and
ilIus trutio nllho w p roduction rooms und dis play rooms. whic h are often under the
sume roof. fo mUy rcp l'f!8cntcd in crOSS~8ection Like doU hnuses. Tbus a prOtipectul
of 1865 fur lhe fuutwellr COmlJany Pine l . Not infrequentl y one sees ateliers. Like
those of .,hologrupher s, wi th sliding shalles in front of the skylight. Cabinet des
Es ta lll pe~ . [F5a,6J

On till' C r ys tal Palacl·. with tht> elm' iu itll midsl : " Under these ~ IUII arc.he8,
tbank;; to uwningli. VCllliluto rs, and gmhing foullluim . visitors re vel in a delicioWi
t oo iliells. In the wQrlb of Olll! o b ~erve r : ' You might think yo u were under the
L.iB uws uf lIome fa hulous riVI!r. in th...:ry8l ul pa la ce of a fairy Or nlliad . , .. A. Demy,
"';u(li ltiMorique ($ llr feJ t'xpo$itionJ IInilie rJeJft'J de llu ru ( Puris. 1907)., I' . 40.
[F5.' ]
The Eiffel Tower : " It is clulracle ristic of this m051 famo us conSlructio n of the
e poch thill , for a ll iu gigan tic ~t a ture , . . . it neYerthelc8I feels like a knickknack .
which .. . 8peaks fo r the facl t.hal the 8ccond~ra t e a rtistic sensibility of the era
could think , iu gcner a l. only within the fram ework of genre Ilnd the teehnitlue of
Jiligree." Ego ll FriedeU. Kltltnrs eJchielite der Neltzeit. vol. 3 (Munich , 1931 ).
p. 363 , [FSa,7]

"After the closing of the London Exhibition in 1851 , people in England won· "Michel C he valier Belli do wn his drea ms of the ne ...· lemple in a poem:
dered what was to become of dIe Crystal Palace. AlLhough a clause inserted in I woul cl have you see. my tl!ml'le. Ih ~ Lord God said.
the deed of concession for the grounds required , . . the demolition . .. of the
building, public opinion was unanimous in asking faT the abrogation of this T hc C1}\umns of the tl!mple
clause. .. . The newspapers were full of proposals of all kinds, many of which \'(Iere strong beamB:
were distinctly eccentric. A doctor wanted co tum the place into a hospital; Of hollow c a ~l · irun (:o lunm8
Was Ihe orga u o flhi ~ new temple.
an other suggested a bathing establishment. . . . One person had dIe idea of mak·
ing it a gigantic library. An Englishman with a violent passion for Bowers msisted
em seeing the whole palace become a garden.n The Crystal Palace was acqutrm The frv. llI<" wurk Wll' of iron , of molded ~ Ied .
by Francis Fuller and transferred to Sydenhanl. A. S. de Doncourt, U j & posib'ol1l Of ('Opper IIml of liron]!c.
ulIiu('rJl'lleJ (Line and Paris <1889» . p. 77. Compare F6a, 1. Tne Bourse could 1'111' nrdlile.'1 11••111111111:11 illilluilihe cuhlmlUI
r~pmellt a nything; the Cryslal Palace could be um l for a nYlhing. {F5a,l j Lik!' . 81ringed in81rllmcIII "1>011 II w()/j{lwilid .

F ro;lt .. Ille tl!mpll' "aln.... mo rl:{l\'cr. a' "ad. mome nt uf Lht' ti llY.
" Furn itun' ma kin g in t ulJlllllr irOIi . . . riva l" furwlurt' making in 100'(1111 1, 111111 e l't:.l1
1'1... ~r!Un'la uf a l it." " ha rmony,
S UI'I I:I ~!<" S it. FUl'nihu·j· " r Iilldl i.rOll . wil l, IHlk ...'i.i · 1)1I culor. . .. ena mell,{1 wilil Row·
1'111' ~ lcn,l c r slliro< rru/! "I' like ll lighining ro.l ;
e rs " I' ",'itl! flall e rn l! imi tilling thOllt' .,f illlllilJ WOOl!. is , ' I.'g~ 11t and nicely tur m'll. [I re a ch ~tlt o thr drill/Is,
 artS-a view which is, unhappiJy, dttply rooted in him and deeply pondered."
Victor Hugo, Ot UllffS compleltJ, novels, vol. 3 (Paris, 1880), p. 5.~ [F6,31

Be.fore the decision to h.uild the Pabis de l'Indusme 'o was made, a plan had
eJOstcd to roof over a section of the Champs-EJys~es-along with its trees-in the
maImer of the Crystal Palacc. [F6,4j

Victor Ilugo, i.1l NQlre-Dome de Puris, on the Bourse: " If il be Ihe r ule that Ihe
ar(" hite£tu r e of a ImiMing shotlld be adapled to ils fun ction , ... we can hardly
wOllllel' cllough III 11 monumenl which mighl equall y well he u king'l palace, a house
of commolls . a 10WII hall , a college, a rilling sellOol. all acade my, a ware.houlIe, a
law COIII·I. It museum , a harrack., a sepulcher, a lemple, or a thealer. For the
pre§en t. it is a slo.:k excha nge .... It is a s tock exclumge in Frollce jusl all it would
!III VI' bcell II temple in C reece . . . . We have the colonnude encircling the monu-

---. -~
ment , beneath which. 0 11 days of high religious solemnity. Ihe theor y of s tockbro-
ker~ and jobbers can be maj eNticully expounded . These, for s ure, arc very I ta tely
La CasJt-tilt-omanit, ou La Fllftur dujour (Picru~ fume Mania, or They're All the Rage These
, monuments. if we add to them many fine streets, ail am using and di verse as the
Days). S«: F6.2. Rue de Ri voli , t.hen I do not deSI)air but that one d ay a ballooll's-eye view of Paris
will offer U ll tha t wealth of lim:s .. .. thai d iversity of aspect , that somehow ...
tUlcxpech."C.1 bea ut y, whic h charac terizes a checkerboard." Victor Hugo, Oeuvres
To ~k there e1eclric rorce; COII/plele" 1I0 VelS, vol. 3 ( Paris, 1880), PI" 206-207 (NOIre-Dome de H"Jris).1I
S tunus have charged it wit h vit a lity ami tCD8io n .
[F6a.lj

At the lop oflhe minareu

T he Ielegra ph ,,'U waving iu armll.
Bringi ng from all parts
Good neW8 to the J)fflple.··

Henry- Relll! D' AUemagne. Le, SOifil-SimofliclI'. 1827-1837 (paris, 1930). p . 308.
[F6,11

The "Chinese puzzle," which comes into fashion during the Empire, reveals the
century's awakening sense: for consnuction. The problems that appear, in the
puzzles of the period , as hatched portions of a landscape, a building, 01' a figure
are a first presentiment of the cubist principle in the plastic artS. (To verify:
whether. in an allegorical representation in the Cabinet des Estam pes, the brain·
teaser undoes t.he kaleidoscope or vice versa.) [F6,2j

"Paris it. vol d 'oiseau" (A Bird's-Eye View of Paris)-NQtre-Dame (Ie Paris, vol. 1,
book 3-condudes its overview of the architecntml histOry of the cit)' with an
ironic characterization of the prcsem day, which culminates in a description of the
architecwml insignificance of the Stock Exchange. The importance of the chap-
ter is underlined by a note added to the definitive edition of 1832, which says:
MThe author ... enlarges, in one of these chapters, upon the ClllTCIlI decadence of "fbe Pari, Stock Exchange, mid-Ili.llc:u:c:nth CCJltu ry. Counc:5Y ofthc: Paris Stock Exchang,
ardlitecmre and the now (in llis view) aLmost inevitable dCLllisc of this king of the Sec F6a, l. .

The: Palais de: I'lndustrie: at the: world exhibition of 1855. Sc:e F6a,2.
PaJais de l'lndustrie: " One u struck by tbe elegance and lightness of the iron
framelo\' ork ; yet the engineer, . , . Monsieur 8arrau.h , has shown more skill than
taste. As for the domed yaSii roof, . , . it is awkwardly placed , and the idea evoked
... ill ... thllt of a large cloche: indu.stry in a hothouse .... On each side of the
entrance ha ve heen placed two s uperb locomotives with their lender s." Tills last
arrllllgc.llIenl presuma bl y occasioned by the distribution of prizell which closed the
exhibition on Novemhe r 15. 1855, Louis [nault, "Le Palais de I'lndu8lrie," in
[Jflri.! e' Ie, Pnri.sien.! (III X IX' !iecle (Parill, 1856), pp , 3 13, 3 15, [F6a,2]
FrOIll C hurl c~ - )o~ rllll~oi8 Vie! , De l"IIIPlliuullce des ma,hemCl'iquell l)OUr (u,urer la
lj(Jlidile (Jell bii,ifrlfU/U (Paris, 1805): Vie! distinguishes ordonllfJ.nce <pla nning. lay·
0 111> from cOllstrue/ioll lind fuults I.hc yo unger a rchilects IIhove all for in ~ uffi cienl
knowletlge "f lhe formel·. Uh illlll lel y responsible is " the lie'" direction th ut Jlublic
illstruct.iun in this uri has !ak~' II . in the wake of our politicuilempcsis" ( p. 9), " As
for Ihe geometel's whu pructice are hil ecturt:, their buildings-m; regu rds iuvcntion
ami CUlIstl·IIf'lioll- PrcJV,· Ihe nullity of mutll eln u lj c ~ wl.ere O rnf)1U1 (1 I1 Ce 1IlIIl lItruc·
Itlrul stuhililY are COllccrnc,r' (p . 10). "The mathematicians, .. claiJII 10 huve , . '
~o n cil eoJ b.,ldncu witll Ijtal,ilit y. II ill only under the lIegis of algl'hru thai these
11'0'0 wo rds can meet" (p . 25 ; it remains 10 he determined whethcr this l a~ t selilellce
is mea lit ironieB Uy. or whctller it di ~ lill glli 8 h e~ hetwt.'C1l algehra and malhcmBtieS).
The lIuthor criticizes tht' r ont ,Iu Louvre un,1 tilt: r ont de III Cite (both hridge8
rrom t803) ill accunla llct' wilh the prind plelJ uf Leon Dlluistu AUlerti. [F6a,3]
A.:cording to Vid. the fi N t bridge. to be built on a constructi vc basis woult! have
been underta ken a rountll 730. fF7. 1]
III 1855. the [lotd du Uouvre was constructed a t a ra pid tempo, 80 a8 10 be in place
fo r the oJICuing of the world exhibition . "For the Arlit time. the entrepreneu r!! used
electnc lighl on the site, in order 10 double the d ay's lahor; some ullexl~ ted
,ldays occurred; the ci ty was jUl t coming out of the £amoul! carpenter s' strike,
which pUI an end to wood-frame structures in Pans. Conse<luently, the Hotd dll
Louvre possesses the ra re distinction of having wedded , in il8 d esign, the wood
puneling of old h ouses to the iroll fl ooring of mo<lern buildings." V" G. d ' Avenel,
" Le Mecanisme de la vie modcrne," pa rt l. "Les G rands Magasins," RevlU! de,
del/X montles (Jul y I S, 189,1), p. 340. [F7,2)
" III Ihe begilluing, railroad carll look like stagecoaches, autobllses like omnihuaes ,
electric ligh tl! like gas duuu.ldicrs, allil the lalll like petrolclun lamps." Leon
Pierre-Quint . "Signification Ilu cinema ," L'Arl cillemCllographique, 2 (Parill.
1927), I). 7. [F7,3]
Apropos of the [ lIlpire style of Schinkel: "'The building that hrings oul the I~
cation , the substructu re Ibat embodielJ the t.rue lIeat or invention, . . . these
things rl!5emble-a \'eb.icie. They convey architectural ideals. which on.ly in thill
80rt of wa y can stili he ' practiced ,'" Ca rl Linfert , " Vom Ur sprung gTosser
Baugedanken ," Frankf llrter Zeitung, January 9 , 1936. (F1,4]
On the ....orld e:dtihition of 1889: "We ca n say of trus festivity that il bas been
celebrated , abol'e aU , 10 the glory of iron , ... Ha ving undertaken to give readen
of I.e Co rrespondtlnt a roUYI idea of industry in connection with the EXI)()sition du
Cham p de Mal'S . ....e have ehosell for our thenle ' Metal Structures and Railroadll.'"
Alhert de Lapl'arelit . Le Sii d e dll fe r (Paris, 1890), I'P , vi.i-vili . [F7,5]
0 11 the Crystal Pnluee; "The arc hitect , I'axtoll , umll.he cont rac tors. M es~ rs . ..~O )(
li nd Hcmlerson . had systclIlatil:aU y resolved nol to use purts ....ith large dilucn-
sions. The heavieSI were hollow clist-il'OIi gil'llerll . eight meters long. nOlle ofwhicb
wdg hed mon : than II 1011 . . , , Theil' chief merit wus that they w!'rc ecoliOluicul. ...
MurcO\'er, tht' excl'ulioll of till' plllll was l'clIlllrkahl y I'u pitl , sin ..e a U the part!> were
(Of a SUI'! that the fa ctorics could ulul('rlake lu deli vcr quickly." AII,ert lie LapI'ar-
1'111 . Le Sied e dllfer (pa ris. 1890), p . 51) , [F7,6j
(...a ppare nt dh'i;ies iron s tru'~ tun's ilil o Iwu .· la ~S '·II: iron struetu.res with stolle
facings amllru!! iron slructures. lie ph,,!cs the follo ...·iug exa mple amoll/!: the fi n l
 IIOrt. " Labrousle ...• in 1868 •... gave to tile public tlte reu.lillg room of Ihe
Bihliotlll-;que Nationale .... It iii difficuh 10 imagine anYl hing morc sa tisfying or
more harmonious thall this grellt cha mber of 1, 156 S((lIure mlllel. with ilH nine
fretted cupolas. incorporating a rclll!~ of iron lattice ulld reliLing on sixteen light
ca~ t -i ron I;olumns, l ....eI\·e of wh.ieh are set againsl the wa lls , wlLile four. completely
•
free-standing, rise from the floor on pedesta l, of the 8Bllle melal." Albert de Lap-
parent, Le Sieck dllfer (Pa ris . 1890), pp . 56-57. [F7a,1]

The engineer AJexis Darrauh , who with Viel buill the Palace of Indus try ill 1855 ,
was a brother of Emile Darrauh . [F7a,2)

In 1779. the firs t cut-iron b ridge (that of Coalbrookda le). I.n .1788. iu builder!!
was awa rded the Gold Medal of the English Society of Arts . " Since it was in 1790,
furthermore , that the architect Louis completed the wrought-iron framework for
the Theatre FralU;uis in Paris, we ma y say t.hal the centen ar y of metal cOllstruction
coincides almost exactl y with that of the French Revolu tion .'" A. de Lal)parent , Le
Sieck du fe r (P ari •• 1890), Pi>. 11- 12. [F7a,3)

Paris, in IB22 : a " woodwork strike." [F7a,4]

00 the subject of the Chinese puule, a lithograllh : The Trif.lmp/l of the Kaleido-
3COpe, or the Demise of the Chinese Game. A reclining Chinese man with a brain-
teaser s pread out on thc gro und hefore hilli . On his s houlder. u fe lliale fIgure has
planted her foot. In one hand, she carries a kaleidoscope; in the other. a paper or
a scroll with kaleidolicope I)atlerlli!. Cabinet des Estampes (daled 18I B). [F7a,5]
" The head turnl a nd the heart tightens when, for the fIrst time, we visit those fairy
halls where polis hed iron and dazzling COPI)er seem to mo\'e and think by them-
selves, while pale and feeble man is om y the humble servun l of those s teel gianu."
J . Michelet , Le Pel/pie (Paris, 1846), p. 82 . The author ill 110 way fCUT!! that me-
chanica l p roduction will gllin the upver ha ntl over hUlllall beings. The individual-
ism of the consumer seems to him 10 spea k agai nst tlus: each " man now ... wants
to be himself. Consequentl y, hc will orten ca re It!8s for products fa bricated by
clane" without any individuality that speaka to lLis OWII" (ibid .• p . 78).13 [F7a,6)
" VioUet-le-Duc ( 181 4-- 1879) s hows thatlhe archile.:!s of the M.iddle Ages were also
engilll.."CTM and resourceful iuvenlOni." Amedee OZl!nfa nt . " La Pdnture murale,"
Ell cyclopediefrtr/U;aise. vol. 16. Aru CI fjll ~r(jmres dUllS fa s(Jcihfi conlem/)O-
raine, part I , p . 70, colulIIlI 3. [F'.II
P rolest against t.he Eiffe1 Tow('r : " We COllie . IIIi writers. pll inten , 8clllJll or~. archi-
tects •. . . in Ihe 1I11 1llC of Frl'lIl'h IIrt li nd French hi ~ tllry_ hot h of which II ". ' threul-
" lied , ... 10 prole" againSllhe .'olliltruction . in t.hl' "cry h"ln'l of (Jllr eapilill. of
Ihe uselesli alul lIumstrOllll Eiffel To,...:r . . . . It ~ barha rOIiS lIIass o\'erwllcllllil
Notre- Dame. the Sainle-Chalk.Lic, Ihe Tower of Sainl-J u.eq ue.... AJI our monUllleliU
Le Triomphe drt ~a1iidOJcope, ou U 7Om/Jt(l.u du jeu chinois (!be
l iiumph of die Kaleidoscope, or TIle Demise of die Chinese
Came), 1B18. Councsy of the Dibliotheque Nationale, Paris.
See F7a,5.
an- tlebased . our arehitC<!ture diminis hed ." Ciled in Loui! CherOllnel , " Les Trois
Grll ll(l-mcres dc I'ex position ." Vendredi, April 30. 1937. [F8,2]
Supposed ly therc wcre Irt·CS within !\1l1sard's " Harmony H all ," on the Boulevard
MOlllmarlrc. [F8,3]
.. It was in 17B3 , ill tlu: constrm:tiun of the 'I'hcu tl'e Fram;uis , tltat iron was C III-
ploreJ ror t.he firs t time 0 11 a large scale. by till' architect Louis. Never l)Crhaps.
It a ~ II wQt'k iiU amluciolls (,I.~ n allempte.1. When , in 1900 , Ihc theater was rcbuilt in
Ihe aftermath uf II fire. it WIIS wi th a wdght of irun one huml red times greater than
Ihlll .... hich the urcilitecl Louis hutllllw,l for till' illimil Irll8swork. COlliltruction in
il'un hll~ pro\·itle.11I ~ 1II ...e8siun uf IJllihlingti. uf which Ihe grelll reallint; room of the
llilJliuthe..lue Nalionaic (,y LuIJrotUle was tile firiit, and one of Ihe most suceeS8-
filL . . Dut iron rl.'(luircs costly mai ntenu. nee ... _ The wurld exhibition of 1889
marked tllC triumph IIf c"l'oMc~1 i roll"'ork . .• ; at t.he exhihitiou of 1900 . ncarly a U
tilt" irlln f" a mes wei·.... co vered wilh pl us terwurk .'· L ·f;ncrcllJfJcdiejrulIf.ojsl!. vol.
Hi. 1("",(*1 . pp . 6-7 (Auguste Perrcl. "U:9 BeslJills ,,"Ilcctifs t:I r al"l'hitecturc").
W8,41
G
The "'triulllpl. l1f cxJlo~cd irOliwork" ill the age: ofthegc nre: " It ma y he . .. tile ... [Exhibitions, Advertising, Grandville1
e nthu siaslU for mac.hille techllology 1I 11~1 the failh in the sUI>crior dnrllbilit y of its
malcl·jall! tha t explains why the auriLute ' iron ' is used ... whe ue ver ... power
IIlHlllccellsit y lire slipposed to be ma nifest. Iron are the laws of nature. a mi iron is les , when all the world from Paris to China
till' ' st ride of the work!!I' haltulion '; the . . . union of tb .. Cermllll empi.re is suppos- Pays heed 10 your doctrine, 0 divine Saint-Simon,
The gloriuus Golden Age \\ilI be reborn.
edly made of iron , lind 50 is ... the chanccUor himSelf." Dol( St!!rllbergcr, Pano-
Ri vers will Bow with chocolate and tea,
rO lllo (H a mburg, 1938), p. 3l. (F8.5]
Sheep roasted whole will frisk on the plain,
And Sauteed pike ....ilI swim in the Seine.
The iroll ball'nlIY. " In its mostl'igorous fo rni , tbe house has a unifo rm fUliade . ... Fricasseed spinach will grow on die ground.
Articulatio n resu.its only from doors and wiDtlows . In Frunce. the window is, Garnished with crushed fried croUlOns;
\\; thollt exceptlo n , even in the poorest hOUli~! . II porle-jelletre, .II ' French window' The trees \Vi1I bring forth apple compotes,
o pe ning to the lIoor.. , . T his makes a railing III!t:l!ssary ; in the )Qorer h ou~s it is And fanners \Vi1I harvest boots and coats.
a pluin iron bar, bill in the wealthie r ho uSi!s it is of wrought iroll .. . . AI II certain It will snow wine, it will rain chickens,
Siage . tllC rlliling becomes lUi ornamCllt .... It furtber cuntrihutes to tht: artlcuJ lI- And ducks cooked with turnips will fall from die sky.
tlon of the fa{ade by ... acce nting the lowe r line of the willll!)w. Ami it fulfill s hoth - Ferdinand Langit and Emile Vanderburch, Loui.r-BrllTlu d k &;111-
funiltiOlls without breaking the "lane of t he fa~ade . For the great architectural SiT/t/lflim: P4rodi~ tie Louu Xl (ThtilrC du Palais·Royal, February 27,
1832), cited in Thbxion: Mun:t, L'HiJ/l1irt par k tMatTe, 1789-1851
mass of the modern house, witll its insistent lateral extension. this a rtlcuilition
(Paris, 1865), vol. 3, p. 191
COIII~lllot pOS8ibly s uffice. The II r chitec tli ' Lu.ildwg-sense demanded that the ever
stronger horizontal tendency of the house ... be givell exprellsioll .... And they Music such as one gets to hear 011 d ie pianofones of Saturn's
discovered the m ea n ~ for thi~ intire traditional iron griUe. A cro~s the enti re length ring.
of the huildi ng front , (III Ollt' ()I' two ~ t ori es , tlle y set a b alcollY provided with an
- Heclor Berlioz, .A Irtlvus dUlllis, authorized German edition pn:.
iI'oll grating of tllis type, which , being black, s tunds o ut \'c ry distinctl y und makes pared by Ridlard fbhl (Leipzig, 1864), p. 104 ("Beethoven im Ring
It "igorolls wlp ression . These bal'::orues, . . . ujllo the lIIust recent pel'iod of huild- dcs Salum~J
ing. wen! kept ve ry ua rrow : a nd if lilrollgh theln tile sev!!rit y "f the ~ nrface i~
overl:ome. what can he Gall!!tl the relief of d m fa-;ad e re mains no netheless ,)wte
fial , overcQming the t'ffectof the wall as little as dOt:s the sculpted ornamentation ,
likm"i ~c hpt fl at. In the eillie of adjoining h o usc~, these balcony raili.llgs fuse with
one a n o tlu~ r illld liolisillilla tt' the illlpre~s i o n of a walled st reet ; and thi ~ effec t is
hf! ighte ned hy t he fac t thUI, where \'t' r the uppe r .. tories ure used for commercial
From a European perspective, things looked this way: In all areas of production,
I'lirpusm;, tile proprie tors )JUt up . .. not s ignboa nls but matc hed gilded leltcl'S in
from the Middle Ages until the beginning of the nineteenth century, the develop-
"'H II UII "tyle. which. when well s lll1lled II llr uss the irOnwo rk. ap pear purdy decor a-
ment of technology proceeded at a much slower rate than the development of art.
tin:," Fr·itl. Sta hl. Puril (Be rJiIi ( 1929»). PV . 18- 19. (F8a]
Art could take its time in variously assinUlating the technological modes of
operation. But the transfommtion of things that set in around 1800 dictated the
tempo to art, and the more breathtaking this tempo became, the more readily the
dominion or fashion overspread all fields. Fiually, we arrive at the present state of
things: lhe possibility n ow arises that an will no longer find time to adapt some-
how 1.0 tech nological processes. TIle advertisement is the ruse by which the
dream fo rces itself on indusrry. [G 1,1J

Within the frames of the pictures iliat hung on dining room walls, the advent of
whiskey advertisements, of Van Houten cocoa., of Amicux canned food is her-
aided. Naturally, o ne can say that the bourgeois comfort of the dining room has
survived longest in sm all cafes and other such places; but perhaps o ne can also
say that the spacc of the cafe, within which every square meter a.nd every hour
arc paid for 1U0re punctually than in apanment houses, evolved Out of the latter.
The apartment from which a caU was made is a picture puzzle ('fxiN"bild> with
the caption: Where is thc capital hiding? IGl ,2]
Grandville's works an= the sibylline books of pub/jdti. Everything that, with him,
has its prelintinary foml as joke, or satire, attains its true unfolding as adver·
tisement. [GI ,3]
HUlllihill of a Parisiall lextilelf denIer from the 1830s: " Ladies alltl Gt'litiemen : I I
ilsk yo u I II ClIst lU I illtl ulgenl eye on the fo llowing ohservations; my desire to COIl ~
IriL \lt~ hi )"our eterlln l snlvnlioll impels me to address YOII. Allow me to djrect yo ur
atten tion 10 the study of t he Holy Scri p tur es, R8 Wf' U as to the extremdy moderate
pril:c~ which I b a\l~ hl·cn the first to intr oduce into tile fidtl of hosier y, cottoo
goods. nnd n'lutt'd p .·UdIiChl. No. 13, Rile Pave-Saint-Sau ve ur." Edu nnl Kroloff,
Schilderll ugell IlIU Puri. (Humburg, 1839), vol. 2 , pp. 50--51. [CI,4]
Superposition lJm l atlyer tiHing: " III ahe PalaiB- Royal, 1101 loug Ilgo. between tbe
COhlllll18 Oll the uPI)cr ~Iory. I h n pp(' n~ 1 to see a life-sizcd oil painting repr~
IIt': lIting, ill very li,'t'l y colorB, a Frcnch gCIlf' r al in full -dreu uni(orm , I tuke out my
8 pect al· ll·~ 10 I'xallliut:' ilion· closely the hi:ltorical ~ ubj ect of the pictu re. and my
general il! l!illi ng in a ll arnll·hair Iwltti nJ; !lut a bare foo t: the podialrist . klleeling
hefon' him , cxciseS lhc corns." J. F. Reicbllrllt . Vertraute Briefe (utS Pa ru (n nm~
burg. 1805), vol. I. p. 178. IGI,S]
In 1861. the first lithographic poster suddenly appeared on walls here and there
around Londoll. It shO\\led the back of a woman in white who was thickly
wrapped in a shawl and who, in all haste, had just reached the top of a ilight of
stairs, where, her head half turned and a finger upon her lips, she is ever so
slightly oJXning a heavy door, through which one glimpses the starry sky. In this
way Wtlkie Collins advertised his latest book, one of the greatest detective novds
ever written: The Woman in White. See Talmeyr. La Cirt tlu JIlng (Paris, 190 1),
pp.263-264. [CI,6]
It is significant th at J ugendstil failed in interior design , and
SOOD afterward in
architecture 100, whereas in the street, with the poster, it often found very suc-
cessful solutions. TIus is fu Uy confimled in Behne 's disceming critiq ue: "By no
means was Jugendstil lidiculous in its original intentions. It was looking for
renewal because it clearly recognized the peculiar contradictions arising between
imitation Renaissance art and new methods of production determined by the
machine. But it gradually became ridiculous because it believed that it could
resolve the enonnous objecuve lcn!lions fOlmally. on paper, in the studio." 0 In·
terior 0 Adolf Belme , .NeueJ Wohnm-Neufj Bau~ (Leipzig, 1927), p . 15. Of
course, in the end, the law according to which an action brings about an opposi.te
reaction holds truc for J ugendstil. The genuine liberauo n from an epodl, that I!I,
has the structure of awakening in this respeCt as well : it is cntirdy ruled by
cunning. Only with cunning, nOt without it. can we work free of the realm of
dream.. But there is also a false liberatio n ; its sign is violence. From the beb..uming,
it condemned JUgt'ndstillo failure. DDream Structure 0 (GI.7}
hmcnnost, decisive significance of the advertisement: "Good posters exist ...
only in the domain of trifles, of industry, or of revolutio~." Ma~ce TaIrneyr, ~
Ci/l tlu sang (Pa.ris, 1901), p. 277. The sanle thought WIth which the bourgeo1S
hcre dctects the tendency of advertising in its early period: "In short, the moral of
the poster has nothing to do with its art, and its art nothing to do with the moral,
and this defines the character of the poster" (ibid., p. 275). lCI,S]
J ust as certain modes of presentation-genre scenes and the like-begin, in the
course of the nineteenth century, to "cross over" intO advertising, so also intO the
realm of the obscene. The Nazarene style and the Mak.an style have their black
and their ..colored lithographic cousins in the 6dd of obscene graphics. I saw a
plate that, at first glance, could have passed as something like Siegfried's bath in
dragon blood: green sylvan solitude. crintson mantle of the hero, naked 8esh, a
sheet of water-it was the most complicated embrace of three human bodies, and
it looked like the frontis piece of an inexpensive book for young JXople. This is
the language of color characteristic of the posters that 80urisbed in the arcades.
'When we hear that portra.its of famous cancan dancers like RigoJeue and
Fricheue would have hung there, we have to imagine them colored like this.
Falser colors are possible in the arcades; that combs arc red and grttn surprises
no one. Snow White's stepmother had such things, and when the comb did not
do its \\"Ork, the beauciful apple was there to help out-half~ , half poison-
green, like cheap combs. Everywhere gloves playa starring role, colored ones,
but above all the long black variety on which so many. fo Howing Yvette G uilbert,
have placed their hopes for happiness, and which will bring some, let us hope, to
Margo Lion. And laid out 0 11 a side table in a tavern, stockings make for an
ethereal meat counter. [G l a,lJ
The writings of the Surrealists treat words like trade nanles, and their texts are, at
bottom, a foml of prospectus for Cl1lcrprises not yet ofT the ground . Nesting
today in trdde names arc fib'11lcnts sllch as those earlier tllOught to be hidden in
the c."l.che ofhpoetic" vocables. [Gla,2]
In 1867. u Wa ll plIl)Cr dca ll·l· put ul l hiMJl(l~II: I·iI Hli till' cululllilii or hridges. [G I a,3}
Many years ago, on the streetcar, I saw a poster that, if things had their due in this
\\"Orld. would have found its admirers, historians, exegetes, and copyists just as
surdy as any great poem or painting. And, in (act, it was both at the saDlc time.
 As is sometimes the case with very deep, unexpected impressions. however, the
shock was too violent: the impression, if I may say so, struck with such force: that
it broke through the bottom of my consciousness and for yean lay irrecoverable
some:where in the darkness. I kne:w only that it had to do with "BuUrich Salt" and
that the original wareho~ for this seasoning was a small cellar on Aotrn'C:U
Strec:t. w~ere for years I had circumvented the temptation to gc:t out at this point
and mqwre about the poster. There I traveled on a colorl~s Sunday afternoon in
that northern Moabit, a part of town that had already ontt appeared to me as
though built by ghostly hands for jwt this time of day. That was when, four rears
~go, 1 had come to LUtzow Street to pay CUStoms duty, according to the ""'eight of
Its enameled blocks of houses, on a china porcelain city which I had had sem
from Rome. There wen: omens then along the: way to signal the approach of a
momentous afternoon. And, in fact, it ended with the story of the discovery of an
arcade, a story that is too berJinu,h to be told JUSt now in this Parisian space of
remembrance. Prior to this incidem, however, I stood with my two beautiful
companions in front of" miserable cafe, whose window display was enlivened by
an arrangement of signboards . On one of these was the legend "Bullrich Salt." It
contained nothing else besides the words; but around the:sc Wlilten characters
there was suddenly and effortlessly configured that desen landscape of the
poster. I had it once more. Here is what it looked like. In the foreground , a
horse-drawn wagon was advancing across the desen. It was loaded with sacks
bearing the words "Bullrich Salt." One of these sacks had a hole, from which salt
had already trickled a good distance on the ground. In the background of the
desen landscape. two posts held a large sign with the words "Is the BesL" But
what about the trace of salt down the de:sert trail? It fanned leners, and these
letters fanned a word, the word "Bullrich Salt." Was not the prttstablished
hannony of a Leibniz mere child's play compared to this tightly orchestrated
pred~rination in the desen? And didn't that poster fumish an illla~ for things
that no one in this morta.! life has yet experienced? An image of the everyday in
Utopia? (Cla.4)
"'!be store known as La Chaussee d~Jltin had recently alUlounced its new
inventory of yard goods. Over two million meters of baregc. over five million of
grenadine and poplin. and over three million of other fabrics-altOgether abont
eleven million meters of textiles. Lt 1intamarrt now remarked, after reconmlend-
ing La Chaussee d'Antin to its female readers as the 'foremost house of fashion in
the world,' and alsu the 'most dependable': 'TIle entire French railway systcm
comprises barely ten thousand kilometers of cracks-tllat is, only ten million
meters. TIlls Ol/e store, therefore, witll its stock of tc:'(tiles. could virtually stretch:1
tcnt over all tile railroad tracks of France. "which, especially in tlle heat of
summer, would be very pleasant.'" 11m!': or four other C5L'lblishments of this
kind publish similar figures , so that, ,vith all these materials combined, one could
place not only Paris . .. but the whole dlpu.rtnnmt of the Seine under a massive
canopy, ' whidl likewise would be welcome: in rainy weather: But we cannot help
asking: How are stores supposed to find room to stock tills gigantic quantifY of
goods? 111e answer is very simple a.nd, what is more, very logical: each finn is
always larger than the others.
"You hear it said: 'La Ville de Paris, the largest store in the-capital,' 'Les Villa
de France, tile largest store in the Empire:; 'La Chaussee d:A.nrin, the largest store
in Europe.' 'Le Coin de Rue, the largest store in the world: -'In the world': that
is to say. on the entire earth there is nonc larger; you'd think that would be the
limit. But no: Lc:s Magasins du Louvre have not been named, and they bear the
title ;The largest Stores in the universe.' The universe! Including Sirius appar-
ently, and maybe even the 'disappearing twin stars' of which Alaander von
Humboldt speaks in his Kosmru.'"
Here we see the connection between capitalism's evolving commercial adver-
rising and the work of Grandville.
-Adolf Ebeling,> Lebel/de BiMer aus dem modernen Paris, 4 vols. (Cologne, 1863-
1866), vol. 2, pp. 292-294. [G2,11
"Now then, you princes and sovereign states, resolve to pool your riches, YOUT
resources, your energies in order to ignite, as we do our gas jets, long-extinct
volcanoes [whose craters, though filled with snow, arc spewing tom:nts of in8am-
mabie hydrogen]; high cylindrical towers would be necessary to conduct the hat
springs of Europe int.o the ai.r, from which-so long as care is taken to avoid any
premature contact Wlth cooling waters-they will tumble down in cascades [and
t1~creby warm th.e atmosphere]. Artificial concave mirrors, arranged in a semi-
arcle on mountallltops to reflect the rays of the sun, would suitably augment the
tendency of these springs to heat the air." F. v. Brandenburg, Victoria! Eine neue
Welt.' Freudevoller Ausrufin Bnug darat{, daBal!! urumn Planeten, hesoruim a'!!dn-
~'I UfU bewohlllen nord/i,hen HalhAugel eine totale 'femperalllr.vminderung hinsichl·
lIeh der Vmnehrung tier atmruphiirisehal Wlinne eingdreten ist;" 2nd expanded ed.
(&din, 1835) <pp. 4-5,. Gas 0 o
1bis fanatasy of an insane mind effectively constitutes, under the inBuence of
the new invention, an advertisement for gas lighting-an advertisement in the
comic-cosmic style of Grandville. In general, the close connection between adver-
rising and the cosmic awaits analysis. (C2,2)
E~bitions. "~ regions and indeed, retrospectively, all times. From fanning and
nUllIng, from mdustry and fro m the madtines titat were displayed in operation,
to raw materials and processed materials. to art and the applied arts. In all these
we see a peculiar demand for premanlre synthesis, of a kind that is characteristic
of the nineteentll century in oUler ~as as well: think of the total work of art.
-:p~rt from indubitably utilitarian motives, the century wanted to generate a
VISion of the human cosmos, as launched in a new movement." Sigfried G iedion,
&/llen in Franltreich (Leipzig and Berlin, 1928), p. 37. But these "premature syn-
theses " also bespeak a persistent endeavor to close up the space of existence and
of developmem. To prevent the "airing-om of the classes." [G2.3]
Ap rol'otJ I)r th ~ t!x ilibitjQn or IM7 , I)rgu.ll i):lld lu!cording to statistic al principles:
'''To take a tu rn aho ut this plat.'e. circ ula r like tbe equa tor, ill literally 10 trll Vei
 a r(llilullhe wo rld . fo r a U IlIlliu nll IrQ\'t! come he re; e ne mies are ~·oe x.i s tin g ill Iwace.
JU81 as, at till: ur iboln of thin gs. Ihe di vi ne spirit wus IltlVcring o ve r till' orl! of llll'
wate r ll. ~ o flU'" if Ilovers IWI', til i.. orb o f irUIl "" 1. '1:.I."1'I)II;,io /l Un ;lJcr lfeUe de / 867
il/u..Hrf:e: P"b/icillion iTJIcrnll,ionule fllltorisee 1m,. fn commj.njml iml~ri(lk. vol.
2. p _322 (ci led in Gil'dion , ( BaUnt in Fnmltrtith,) p . " I). (C2.41
In t:f) lIllcc;tion wilh the exhibition of 1867 . On OffenlHlch . " For' the 1'0$1 lell yea rs .
liUs ve rve of the comic author and this joyo us illsl)iralion ur
1111.' cumpOst!J' ha ve
heen vying wilh roch other (or ranla8tic and sercmlipiloUB effec:llI : bU I onl y in
1867. tile yea r of the Universal Exposition . did they IIl1 am till' height of hila rity,
the. uhimuteexilreu iun of I heir exubera llce. J The SU C1;f' 88 of thia thCloI ter cOllIlJa ny,
already so great . IIecame tleliriou8--8ometiLing of whicll our Jl~ lt y "ictories or
toda y ca n fu rnish no id~a. Paris. that summer. suffered 8unstroke:' From the
" speech before the Academic Frll.n~,a i se by Uenri Laved an, D« ember 31 , 1899 (on
the d l'cfioll of Mcilhuc). [C2a, l ]
Advertising is emancipated in Jugendstil. Jugendstil posters are "large, always
figurative, refined in their colors but no t gaudy; tJley show balls, night clubs,
movie theaters. They are made for a frothy life-a life with which the sensual
curves of Jugendstil are well matched." Fran/rfurter <e£lung, signed F. L. On an
ahibition of posters in Matmheim in 192Z 0 Dream Consciousness 0 [G2a,2]
The firsl 1...oll(lon ell.hihition hrings together industries fro m ur(luml the world .
f ollowing this, the South Kensington museum is foumlcd . Second world exhibition
in 1862 . likewise ill Wildon . With the Munich e"hihition of 1875 , the GemlBn
Renaiuu nce style comes into fa shion . [G2a,3]
Wiertll on t.he occasion of a world exhibition : " Wh at , trike" one al fi rst is not at all
the !lLings people a l'e making today Lilt the thing5 they will be making in the future.
I The humall spirit hegill8 IlJ accnlltom itself to tbe power of mat ter." A. J . Wiertz,
Oelwre, littertlire., (PariS. 1870), p . 374. [G2a.4]
Ta lmeyr c a U ~ the po~ter " the art of COlllorrah .'· La Cile dll l UllS (Paris. 1901 ),
p. 286 . 0 JIIgclHh!til 0 (G2a ,5]
lndusoial exhibitions as secret blueprint fo r museums. Art : industrial products
projected into the past. [G2a,6)
J oseph Nash painted a series of watercolors for the king of England showing the
Crystal Palace, the edifice built expressly for London's industrial exhibition in
185 1. 1ne first world exhibition and the. first monumental structure in glass and
iron ! From th esc watercolors, o ne sees with am azem ent how lh t: exhibitors took
pains to decorate the colossal i.nterior in an o riental·fairy-tale style, and how-
alongside the asSOrtment o f goods that 6lled the arcaded .....-alk.s- bronze mo nu-
menu, marble statues, and bubbling foun tains populated the giant halls. 0 Iron
DInterior 0 [G2a,7]
The design for the Crystal Palace is by J oseph Paxton, chief gardener to the duke
of Devonshm, for whom he had built a conservatory (gn=enhouse) o f glass and
iron at C h atsworth H o use. His design provided for fireproofing, p lenty of lighl,
and tJle possibility o f speedy and inexpensive assembly. and it prevailed over
those of the London Building Committee, whose competition was hdd in vain.1
[G2a,8]
·'Yes. long live t.he Lt~r of VicIIIIB! Is it native IlJ this lantl Ihat prodm:es it? Tn
trut h , I tlo 1I0t know. Out of one t.hing, there ca n be no duubt : it iii a refmed and
comfo rting brew. It il not like the hen of Sirasbollrg ... or Bava ria . . . . h is
di~· jn e beer •... clear HI tbe thought of a poet, Light a s a swallow in flight . robust
a nd alcohol-charged as the pen of u Gemla n philosopher. It is digested like the
purest water. and it refres hetl like ambros.ia ." Ad'·ertiseme.nt Cor I-~ an ta Beer or
Vte.nna . No. 4 , Rue l:Ialcvy, near the Nouvt'l Ol~ra , Nt'w Yea!:'s 1866. Almanuch
i,ldiculeur parisien (Paris, 1866). p. 13. [G2a.Q]
"Another new word : lu recw.me
(advertisement). Will it ma ke a fortu ne?" Nadar.
Qlland j'etai.! photo8rtlpile (Paris <1900», I)' 309. IG2a,IO]
Between the February Revolution and the June Insurrection : " All lhe wlllls were
cO"ered with revoilltionary 1)()IIeri which, lome years laler. Alfretl Delvau re-
printed in two thick volume. under lhe title us Muruilk s relJolurionnairu. 10
that tooay we can Rilll get some idea of this remarka ble. lIoster litera tllre. There
was scaree.ly a palace or a church 0 11 which these notices couJd 1I0t he seen . Never
hefore wal Illch a multitude of placa rds on view in any city. Even t.he governme.nt
made 118e. or tlLis medium to l'uhli811 it!! deer ees alld proclamations, while thou-
sa nd s of,olher people res(lrtedto (ifJicile!J ill orller 10 air Iheir views publicly on all
I)()ssihle questions. As the time for tIlt: OI)cllillg of the National Assembly drew
ncar, tile la ngu age of the poste.r11 grew wilder and mort: pa ~s ionate .... The Dum-
he.r of public criers inert-ased t v~ry Ilay ; thousa nds and thousandl of Parisian s,
who had ntlthing e1~e to 410, became news velulors." SigmlUl(l Englander,
Gescll icllte d e r jrtlll;:o!J;, d,e,. Arbeiter-A6MJcif.tiotien (Hamburg. .I864), vol. 2,
!Ill . 279-280. [G3.l J
"A ~ l l()rt merry pit'(!e thnt iii cU.'I ttlnllll"ily prest'nled here before tile pt;r-fo rmance (If
a III'W play: I/ urleqllill uffidlellr <Ha rlequin the BiII -S tkk e r ~. 1.11 O Ii C tlojte fuon y
alld cl,arming !ij!ent', a 1}Ol!ler for tile comedy il ~ tu(' k Oil Cuillmbine's house." J . F.
R4·il'hardt . Verlrculle IJrieje fIIl & l~ri!J ( n a mhur ~. 1805). ~·ll i. I. p . '\.5i . {G3,2)
" These d ays, u good mUIl Y hO Il ~es in Pari5 appea r I II Le dcroratccl in the l lyle of
Harlequin's COSlume; I nwan a pa td lwurk.-r lurge gr een , yellow. l.a word illegible]
and pink pir.i!cS of pa l)Cr. The hill -sti ck er~ wrangle over the wall~ a.nd cOme ttt
I,luws o\'cr a strech;(,rllt>r. The lH"81 of il is Ihal aU I"Cie po&wn; I:o\'cr olle another
up a l lcust lell timl:8 u (Iuy." Eduanl Krolofr. S<=ililderlmge n (U U Pu ris ( lf a mlmq~:,
1839). vol. 2, p. 57, [G3,3)
" I)uul SirliUllill , horn in 1814. has hCf'1I 1I1'live ill tht' thcater !linc,' 1835; he hlls
511pplc'IIIcnied Ihill acti vil y wilh practil:a l efforts in Ihe fidd of confectionery. The
rellul18 IIf I.h e~e efforlll lH::t!kon no lelll tenlplingiy from the- large dis pl ay window in
thc Ru t' ,Ie la Paix than the ij ugar almonds, Lonholl8, hOllcy cakes, amI IIWeel
erlickcrlI offered 10 th e public ill the form of Olle~lI ct dramatic ~ k ct ch Cll 01 the
Pa lai,,~ Ho ya l. " Rudolf GOlll dlall, " Da8 Theater uml D"ama des Secoll,i Enlpire,"
in Uruere Zei, ; Deutsche Revue--MontllUchrifl ZUni Conver:sa tioll slexicon
(Leil'zi!. 1867), p , 933 . IG3,4]
From COllpi'fO'l spcf'I;II 10 the Academie Fralltaise (" Hesponse to Hercdia ," May
30 , 1895) . il can be inferred thai a s trange sort of wl'itleli image coulrl form erly be
lIeell ill Paris: "Ca lli~raphie masterpiece8 which . in the tlld days . were exhibited On
every I!tT'f'Ctcorncr, Hud in which '\IO'e could admire the portrait of Berangcr or ' The
Taking of Ihe Bas tille' in the form of I'aravbll" (p. 46), [G3 ,S}
Lc Charivari of 1836 has an illustration showing a poster that covers half a
hOllS('from, The windows ~. lefr uncovered. o:cept for one, it seems. Out of
that a man is leaning while cutting away the obstructing pica: of paper.
IG3,']
" E ssence d ' Am azill y. rragrance a nd an tisevtic; hygienic toiletricH fro m Duprat
aod Clllllpany," " U Wf' have named our eSlience after tbe daugbler of a cacique. it
is onl y 10 indicate Ihllt tilt· vegetal ingredients 10 which this diBtillal.ioli owes illl
surprisillg effectiveness come from the same torrid climate as she docs, The term
' antiseptic' belongs to the 1C'.xieon of 5cicnce, and we UMe it only to Iw int out thai,
apart frum the incomllllrilble benell" uur product offers to iadit.'fl, it posseslieil
hypellic ,'irtues calcula ted 10 win lhe confidence of all tholle willing 10 be convinced
of its 811lutllr), adion. For if our lotion , uulike tilt: Wlllcr Hof tile Fuulltain of Youth ,
has no I>ower to wash away the acculllulate(1 yean , at leasl it does hll vc, in adlli-
ti ull 10 olher merits, the inestimable IIdvallt age (we believe) of I'eijtoring to the fun
extent of i18 former rallia nce tin' los t majesty of tha i consummate entit y. that
mas terl'i tte of C reatio n whicb . with the elegance , vurity. and grace of its forms.
nl:.kcs Ull t.he lovelier half (If Immallit )" Without tile pNIVide.ntial &Ullerv('ntioll of
our di8covery, this mOllt hrilliaul ami ~Idic llt e ornamcllt- I·eliembling. in the len-
tier charms or its 1II),lItcriuus strllctun: , a fragile hlo~liu m that wiltl al lilt' first hard
ra in- would cnjoy, at I,.'st, Ilul a fu giti ve spll·nllor. aft er the f~u l i ll g uf ""hidl il
II'lus t /leNls languis h under the ruimi us dmlfl "f ilJne.s, the fatiguin g dl!lIIand!! uf
nursiuJ::. 01' die 110 I c~s illjurioll!l l·mh nll:c fOf the Vitil c~8 eorset. J)'·\·c!0PI·'1. abli vl'
all , in till" int erestll of liIIli c~. Ollr EUt'IIce d 'Allllu;ilI y an ~ wcrs to II,,· mosl cxacting
luul mu.'U intimate relluircmclIlS of their luilt'l.h!. It unit es, thaukij tl) a happ y
infU8illn, all tJlal is lI ece~lIa ry to reviv ... fOliter, a.ml t llhallce na tural allrucLi(llls.
WitJl0llt the !!.Iightesilictrimenl ," (Cit ed in ) Charlee Silllollli . I'flru de 1800 if 1900
( Pari~. 19(0). vol, 2. " , 5 10 ("Une Heelume lie parfum,",ur I!n 1857"). 5 [C3a. l ]
"Gravely, till' 5lHHlwieh, ullIll bear s his duuble burdell , light us it is, A yo ung lady
,",'llOs" ro hlflllily is onl y telllp,lrary limill's a t the walking Iwsler. ye t wishes to read
it (' \'en a&sill' ~ lIlilell, The hll l'''y author of llfO r abdominal u lience likewise bean; a
bllrtll'lI or h.i s own ." (T he husiJaod IllIs hi" wife 011 hi!! riglll arm alld a la rge box
IIndt·r his ler. . Along wi th fnur other l)COple. they arc duslered around a B alld ~
widHllun S{,,'II frOIl1 tht· back .) T"xt IH:enmpullYlug a lithograph eutitJed
·'l.· l1 onullc-urfic.ht s ur 18 Plaet' des Victoireli." from NUll lJecmx Tableaux de Paris,
tn l lO platt' 63 [ IIII' lithographs are by MarIN)' This book is a sort of Ilo! a rth ad
" sum Delpliini, (G3a,2]
Ut'gillning (If Alfred Delvau 's prefllce III i.es Muruilles revo /Uliontl(lireJl: " These
re \'o!utionary placard s-at Ihe bottom uf which ",'e set our oliscure name--form
un immense and uniqul' composition, one without prece.lent , we believe. in the
hi ~lIJry of Imoh. They arc II collt:eth'e work. The author is Monsieur Everyone--
MI'1.n !-Ierr Olllnes, as Luther says," Les Mumilles rellolutionnuires de 18'18, 16th
e(I , ( Paris (1852). vol, 1, p , 1, [G3a,3]
"When . in 1798, under the Direetory. I.he i~l ea of pllhlie exhibitions I'I'a8 ilJ a ugu~
ru ted on the Champ de Ma rs. ther e were 110 exhibitors. of whom twent y.five were
uwanlcd med als." Pufais rle f'/ndllstrie (distributed by H. Pion). [G4,1]
" Beginning i.II 1801 . tht producls of newl y emerging induslries wer e exhibited in
the cour lyard of tile Lou\'re." Lucien DuhCC'h and Pierre d' Espezel, lIu roire de
Pu ri" (I"oIris, 1926). p . 335, [G4,2}
" En'ry five yean-i.n 1834, 1839, and 1844--the prllducl8 of ind unry are exhib-
iled in Marign y S'luare," Dubt:eh and d 'Esl)Czei , HUlOire de Paris, p . 389.
IG4,3j
"The firijl l!Xhiliitioli dal es back 10 I 791t ~et llV 011 the Champ del\1ars, it was,.·
all I'xhibi tion uf the products or French indns try and ",'as conceivt"d h y fra ll ~o i 8 d e
Nf'ufdui.teall . T llcn: were th ree nationlll ('xhihiliulls IIlIder the Eml'ir(' (in 1801 ,
1802. allli 18(6). the fir~ t 11'1''' ill the courl ya rd of the Lo uvre, the third al the
J.lvali(les, Thel'c \I.'ere Ihn,,'t· thu'ing the Ilt'storation (in 18 19 , 1823 , lind 1827), all
~II Ihe LOII VI't'; ,lil'('I' (!tll'illg tllf' Jul y Monarchy (ill lK3'L 1839. and 1M4), un the
Plul'e ~ I e 13 CUlicurile alii I till' C ll a nIJlil~ "; I Ys(>I's; ami 11111' uliller the Second Rf' puh-
lie" in 18<19. 'I'h",n . rflilowinl! the e:l"alllple I}f EngiulIll , .... hich bad o rgalliz~d an
internatiOllal ClChihitilili in 185 1, IIIIp!'rial Fra llce III'M worhl exhihilioll i on the
Cha mp ,Ie Mars ill 1855 alill 1867. Thc fi ~ l lI aw the I.irlh of 1.1,,· Paluill de 1' 1ndll s~
tril' , dl! /fll)lishcd durin!; till' IlcpuiJlic; Ihe ~cc ond Wil li II dd.iriUU8 fcsti\'lIllIIlIrkillg
the high poillt of the Sccolld F.mpire. III 11:178. a ne .... exhibition wall orga uized to
attest tu rebir th arler defellt ; it was held on the Challll' de Mars ill II temporary
palace tl rected by Fo rmige. 11 is c haracttlris tie of these tlllOrm() US fairs to be
e phf'mera l, yel eae h of Ihe m hus h·rt ils trace in Pa ris. The cx hihiliull uf 1878 was
rcslmnsi hle fo r the Trocadhu. tha i eccentric p a laCl~ daJl I.ICJ Ilown OU lilt' 10 1' uf
CIlIIoillol by Davioud and Uo urdaill. ulul alsu ro r Ihe footbridge a t PIIo8SY, Luih to
re plat'f! Ihe Pont d' le nll, whic h Wll.t\ 11 0 longe r usahle. T he cxhihitiun of 1889 left
IWo hinl1 tile Galerie des l\h!chinee. ",'hich WI'S e\'cnlu llil y torn down , a hllOugh the
Eiffel Tuwe r still ~ t a nd 8'" I}ubech a nd d 'Espeze.1. lJi! ' Qire de IJ(Jri$ ( PIIoriS. 1926),
p . 461. [G4.4J
''' Europe ill off to view the mercha ndi8t:: HaiJ RClilllI--colltemptnuu.\I !Y-{l( the
1855 exhibition. " Paul Morand. 1900 ( Pllris, 1931), p. il . [G4,5]
"" This year hail been lost ror propagandll,' says a socialis t orator II tlhe CUIIgrt!illl of
1900." Paul Morand , 19(}() (Paris. 193 1). p . 129. [G4 ,6]
" 111 1798, a universal ex position of indus try was anno UlII:ed : it wall to take place
... on the Champ de Ma n. The Dir«tory had c harged the millilite r of t he interior,
Fran ~ois de Neufchatellu, with organizing a nat.ional fel/ti"al to commemorate the
fo unding of the Re public. The minis ter had conferred with se ... eral people, who
pro posed holding contellts a nd garnes , like grea sy~pol e climbing. On(1 persoll s ug~
gested that a great market be. set up afte r the fashion uf countr y fairs , but o n a
la rger scale. Finally, it wal Proposed that all exhi bition of I)aintin gs be illcluded .
Thele last two suggestiom; f;a ...e ..~rll.n~ui il de Neufclla teau the idell or pre8t:llting 8D
exhibition of indus try in cele brMtjon (If the n ation al festivill Th uI, t he fi rst indus-
trial eXpo!iition is born from the ""ish to a muse the workin g classel, a nd it becomes
for the m a festh'al of emancipation . . . . The increasingly po pular c ha rac ter of
indus t ry starl.8 to become evident. ... Silk fabrics are re placed by woolell8 . a nd
satill a nd lace b y male rials more in keeping with the domcstic rClluircme nts of the
T hird Estate; woolen honne ts lind corduroys .... Chaptlll, tile s l'uk e~ man for this
exhihitio n . calls the in{lustria l II tale h y its nallle for the first timt'." S igrnund
Englander, Gl'!chichfe der jrfw:.osi$chen Arbeitl'~s.,ocifllionefl ( Ha mbu rg.
1864). vol. 1, pp. 51-53. [G4,7]
" In cell'bratinr; thl' centenary of the grea t Revolution . the French bourgeoisie has,
as it were, intentionally lei out 10 de monstrate 10 tbe proleta riat " d ocll/o$ the
C(;ollomic possibility and lIetlt:lsity of II sucilll uprising. Tbe wo rM exhibition has
given Ihe proletaria t an excelle nt idea of the unpr.:tlt.'tle nlelllcveJ uf del'e1opmclIl
which the means of productio n have reauht'll in all ell'ililed lands-a de ...e1opmcnt
far t""..xct:eding the holdest utopian flllltasies of the centnry pn!ct'fling this o nc ....
T he exhihitioll has furth er ilemons t rll ted Ihat modcrn devdopnwlIl of the force\! fir
production must of neceuily Icad 10 illlilistrial crises lilal. gi ... CIl Ihe all ard,), e u r~
rend y reigning in production . will fi nl y grow more anlte wit'!, till' passage o r lime.
aud Iwnce mo re destruc tive 10 II H~ co une of the world t:cOIlUII1)·. ,. G. Ph:kl' IlIlO\·.
""Wie die Bou rgeoi.!lie ihrl!r H.'volutioll gt..'t.ie nkl ," Oil' ne ue Zei,. I). 110. I (Stuuga rt .
1891), JI. 138. [G4a,1 1
'~DeS IJiIC all till' p08luring with ",·hic h Teutonic Ilrrul!:n"Ct"" tries 10 represen t the
('a pital of Iile n" if'h a8 the brightes l beacull uf civilill!ation , Berlin bas 1101 yet beell
able to luount a wurld exhi bitiun .. , . To try 10 f'XC II.'le Ihis d eplorable fa c t by
"llI illling Ihllt wurlll exhihitiolls hnl'e had their day lind 1I0W a re nOlhin~ hut f;lI ud y
and gramliose vanity fllirs . and 110 forth. i ~ a craM Ill·asion. We have no wil h to
.Ieny 1110' drawbllcks of worM exltihitions . . . ; nl'vertl.e!eS8. in every calle they
,·t-main incolllpllrably more Il(l"" crfu l levcn of human ruhurt: tha n l he countleu
1.H1I·r(lcks aud c hu n' hcs with which Bel"iin h as been inundated at such great cost.
The "ceUITcnl i.llil.inl.i ... e~ to cstablisl. a wurld exh.ibilioll have foulltl er ed, 6rHt of
1111 , Oil till' l!u'k uf e nergy ... IIffii cling t he bo urgeois ii!. allll, second. on the poorly
Ilisl:'l.li8ed rest'lIll11c nt wi th which a n abso luLi s t ~fe ud a l milila ris m looks o n a nything
Ihat could th reu tl'n itJ.-alas !---litill germinating rool.ll." <Anon ymou8,> " Kl au~
cnkiimpfe.·' Die ne ueZeil. 12, no. 2 (Stuttga rt , 1894), p. 251. {G4a.2]
On the occasion o r t he world exhibition of 1861 , Victor Hugo issued a manifCllto to
the Iwul,lel bf Europe. [G4a,3]
Che ...a lier Willi a disciple of Enfantill. Editur of Le Globe. [G4a.4]
Apropos of n ola ud de la Pla tie r e's Encyclopedie rnelhodique: '"Turning 10 Ie!
tr)UntifucIUre!, ... Rolllnd writes: ' Illdustry is horn of need . " , .' It might appear
from this l hal the term ill being used in the classical sense of indWlno . Wha t
follo",'s provides clarificatio n; . BUI this fecund and perverse riverhead, of irrcSU-
lar a nd re trogrt:jsive dis l)o8ition . eventuall y Came do wn frorn the upla nd, to flood
the fiddll. lind Soo ll no thing could satisfy t he need which overspread the land . ' •. "
What is significant is his read y ernploymtlnt of the wortl indwtrie. more than thirty
years he fore lhe "" o rk of Chapta!, " Ue nri Ha user. Le, DCbuu dlt capitu/ume
( Paris, 1931), PI" :Jl 5-3 16. (G4a,5]
"With price lug a£fixetl , thc commodity cornell lin the nlarket . Its ma terial q uality
a nd illdi\'idu olit y a l'e me rely a n incenti ... e for buyinr; a nd selling; ror the locia]
measu re o(il.8 value. I lich quality ill o r lI O importa nce whal.8Oever. T he commodity
hilS bec(tme an ahs trllctio n. Once escaped fro ni tile hand of the producer and
t!i\'elled o r its real partkularity. it ceases to be a prod uct and to be ruled over b y
IHunall IJ"i llgs. It bas acquired a ' gilOStly objt!Cli ...ity' anlileadll a life of its own .• A
"omlllllliity a ppeant. at firs t ilight , to be a lri\'ial and easily unde rs tood thing. Our
a nalysis iil.ows thai , ill n~ality, it is a vucd a nd cumplicll ted thing. abounding ill
melap hysical ~ u"llcti e~ a nd theological niceties. ' Cut off from the will of man , it
~ll jgll s itself in a lIl ys t("'iOUi hicl'a n :hy, ,Je ... dll" ~ or Ilediues exchangeability, and .
ill ace(l rdam'e will. itl! nWll peculiar la"".!'. pe rforms li B an ac tor (til a phan tom s tage.
In till' la ngua gl' of the com nJ(tdities excha llge. C(lttOIl ',oars; copp·er ·SllllllpS.'
I'urn ' is acti ..... : 1'lIal 'is s luggis h : wheat ' is 011 the road t6 recovery: IIl1d pe tro·
It",ull "dis pluy Ii IlI'a lthy Ir~ lld " Things hllvl~ ga ined a utonomy. a nd Ihe y take 00
11111111111 rea tu re!! .... T he commodit y has iJt.'C1i trallsro rmell into all idol dla t , 0.1-
t110 ugh t1 1t~ " rltti uct of huma n hallds. disposeH over till: huma n . l\fto.rx spellks or the
f~l.i s h dUII'aeler of the eommodil y, 'This feti sh charaCler of Ihc conllllO(lity worltl
hilS illl origin ill Ihe I'l:clllillr sodul c1luructcr of the lahor thHt protillces commodi.
l.il·S, . ' _ It is lOnly th ~ purticular social nolation hetween lJt,:o plc thai hen : aUlimes,
in tilt: I'Yc~ of tllt'~e I't~Jlle . the phantasmagorical form uf II reltlliOIl between
thingi', .,~ 0110 IWhle, Kurf Mnrx (Hellt-rau (1928» , PII , 384-385 . [G5, I I
" According t(l official est.imlltI'S. a total of abo ut 750 ~· orkers. chosen by their
comradei or else nallled b y the entrepreneuni themselves. visited London', world
.. " hibition in 1862 , , , , TheofflciaJ churacler of this delegation, lind the mallner in
which it wal conUituted . naturally inspired little confitlence in the revolutionary
and rc.pu hlicall emigre from to"rllnce, Thi!\ circuJnstalice perhaJlIJ exl)lains why die
il icil of UII organizetl reception for Ihi8 deputution originated with the editors of an
organ dedicated to the cooperative movement. ... AI the urp.llg Ilf the editorial
staff of The Working Mall , a commiltee was formed to Jlrepa~ a wdt:ome for the
FM!nch worker s .... Those named to participate included .. , J. Morl Ou Peto, .. ,
and j Oleph Pu:ctfm . ... The intt:re8ls of industry were put foremost , .. , and the
neet.1 ror un agreement hetwecn workers and entrepreneurs, as the sofe nll~lm s of
bellering the difficult condition of tbe workers . was strongl y underlined ... , We
("an not ... rega rd this gathering as the birthplace, .. of the IllIcrllatiullal Work.
ingmeu's A!lsncialiOIl . That is a legend. , .. The trulh is sinlpl)" that this visit
IICtluircll . through its ilulircct consequences, 1II0IDeutous imltOrtance as a key step
0 11 Ihe wily to an Ullllcr8tan(ling between English and French workers."
D. Itjazanov. " Zur Geschichte der er8len Interoationale," in M(lrx · Engel&Archiv,
vol. I d"rankfurt a m M a in . 192R~, Ill" 157,159--160. [G5,2)
"Alread y, for the fi rs t world exhi bition in 1851. some of the workenl proposed by
the ent repreneurs were ~lIt to London at the state's e~pell se. Tln>re wall a lso,
howe\'er, an independent delegatilln dis patched to London on the initiative of
Blanflui (the economist) allil Emile tie Girardin ... , This delegation suhmitted a
gencral re port in which , to be Mure. we find no trace of the attempt to estahlish a
perrnanen t liaison with English workers, but ill which the lIeed for peaceful r ela·
tions betwttn England alld Franct: is stressed . . . , In 1855, t.he sectmd world
exhihition took place, this tinle in Paris, Delegalions of workers from the capital,
as well as from the vrovilll..'t!~, wer e now totally barred . It wat fea retl that they
would gi\'e work t· rs un opportunit y for organizing, " D, Rj azanov, " Zur Ccschicht t::
tlcr ersten Intcrnlltillllalf::' in MlIrx-Etlsels Archiv, ed. Rjazanov. vol. I (Frank.
furt alii Mllin), pp . 150- 151. [G5a,l }
The subtleties o r Grandville aptly express what Marx calls the "theologkaJ nice-
ties'" of tlle commodity. [C5a.2]
"Thc sCnilt' or taste is a t!arrin!;t: willi four wlu.'t!ls . ...·hicll arc! ( I ) Ga stronomy; (2)
Cuisilll:; (3) Compa ny: (4) Culture."' Frum <Flluricr's) Nall l'emt MOllett! indu.Mrief
el sociiitclire ( 1829). cited hi E . Poiuo n. F{mrier ( Palis. 1932).11. 130. (G5a,3)
CoIUlection of the first world exhibition in London in 1851 with the idea of rree
t::rade. {G5a.4]
'"The world C'..xhihiljolls have losl much uf their original r haracte... The enthusiasm
111111, in 1851 , was f.. 1t in tilt': m08tllisIJMr atc circles hllil6uhIJidetl, and ill its place
has clime a kind of cool ralrulation . III IRS I , we were living in tile ....0 of free
trade, ... For some decades now, we have witnes!iCd the spread of vrot et: tion ~
i..,m. , .. ParticiJlution ill Ihe eJd.ihition w.ollle8 ... a !lorlof rt!presentation . • . ;
and whereas in 1850 the r uling tenet was that the gO \'cmmen t need not concern
itst'lf in this affair. t.he situ ation toda y is so far advllnced that the gO\'erument of
each country can be considered a veritable entrepreneur,'" Julius Lessing, Da.s
I,u/be l ahrhundert tier Welwllu reflungen (Berlin , 1900), pp. 29-30. IG5a,5)
In London . in 1851 , " apl>eared .. , the first cast·steel cannon by KniPP , Soon
thereaft er. the Prussian minillter of war placed all order for more than 200 exem.
plars of this model. " Julius l.eMsing. D(J~ h(Jibe j(lhrhILnc/ert tier Weftouu(eUun-
ge n (Berlin , 19(0), p. II. [G5a,6]
" From the 8ame sphere of thought tllal engendered the great idell of free trade
arose . . , tile 1I0lioli that no one would come IIway empty· hallded- rather, the
contrary- from an exhibition at which he h ad staked his best so as to be able to
take home the best that otber »COJlle had to orfer,. . Thill bole! conception , in
which the idea for the exhibition origUlatt:d. was pul into action, Within eight
months . ever ything was finished , ' An ahsolu te wonder that bas become a part o(
hilltory. ' At the foundation of the entire undertaking. remarkably enough. rests
the principle that such a work mus t be backed Dot by the sta te but b)" the free
activity of its citizens .... Onginally, twu private contractors, the Munday broth·
crs, offer ed to build , . t thcir own risk . a palace costing a million mar ks. But
grander proportions wer e resoh'ed 011. and the necessa ry funds for guarallteein~
the enterprise. totaling many million8, were s lIb~cribed in short order. The great
new thought (oulld a great lIew furm . The engi neer Pax ton built the Crystal Pal·
ace. I.n every l a~d rang oul the news of something fahulous and un p reced ented: a
palace of glass and iron was going to be built , one that would co\'er eighteen acres.
Not long before this. Pllxton hlld constructed u vaulted roof of glau and iron for
one of the greenhouses at Kew, in which luxllriant palm!! were grnwillg, aud thil
ac hievement gave him the rOllrag~ til IlIk .. lin the lIew tusk , CI",scli as a site for the
exhihition wall tlu~ lillest park in London, Hyde Park , which offered in the millillt:
a wide opt'n mcadow, Irltvcrlie(! along il s 8 h o rt ~ r IIxis hy a.n avenue of splendid
elms. But anxious Illllookcl's SUIll. raised II cry of alarm l e~ t these t rt.~s be ~a lTifi ced
for the sa ke of a whilll . 'Theil I ~ h a ll roof over tile trees,' was PaJlton '& answer, and
lit! lH"oceed ed I tl de~ i gJl thc Ir lln.~c pt , which . with ils 8t'lIIicylindrieal \'a ult elcva lt.>41
11 2 reet above tlw gn)ullll. . . accOIIII1Wduit'd tllf' wllo1e ro~' of f': lru s . It is i ll the
Iliglll" ~ t degree remarkablt· 111111 si,,'nifirulil that this G I'cat Exhihil.ion of l..onduII-
ilorn uf modern CO II/;C I)li(t n ~ of 61('alll powl'r. elect ricity. and Jlhotogr ll phy. and
modern clJllcelltionli of fret: trade--ahouJd al tile 811 mI.' lime ha\'e afforded the
decisive impehls. within this period as a whole. for the revolution in ar tis tic form8.
To Imiltl a palace out of gla88 a nd iron seemed to die world . in tho!!tl daya, a
fa nlaillic ins pi ru tion for a tCIl1Jlora.ry piece of architecture. We 81..'e now th at it was
the fi rs t grcat ad va nce on the road to a wholly new world of forms .... The con-
8tl'uctive style , as opposed to the hi uorical , tyle. hus becomc the watchwo rd of tile
lIIodern muvement. When did this idea make its triumphal l:lltry into the world? In
tile year 185 1, with the Cr ys tal Palace in London . At fint , IJeOI,lc thought it impos-
s.illie that a I,alace of colossal proportio ru could be built from glass and iron . In the
puhlications of the d ay, we find the idea of assembling iron components, 80 fanli!-
iar to U5 now, represented a~ 80mething extraordinary. England can bOllSt of hav-
ing accompLished this quite 1I0vei task in the space of eight nwnth,. ufl ing iu
existing factories, without any additional capacity. ODe po ints out triumphantly
that .. . ill tlle sixteenth century a small gla~efl window was still a luxury item,
whereas todltY a building covcring eighteen acrcs can be COllstructed entirely out
of glass. To a man like Lothar Ducher, the meaning of this lIew 8tructu re was clear:
it was the ulldisguised ar chitectural expression of the t.ra nsverse strength of , len-
der iron components. But the fantastic cha rm which the edifice exerted on aU 10uls
went well beyolld , ueh a characterization, however crucial for the progra m of the
futurc; and ill dus regard , the. preser vation of the magnificent row of trees for the
ccnlral trausel't was of capital importance. Into this space were transpo rtt.od all the
horticultural glories which the. rich conservatories of England had been able to
cultivate. Ugluly 1>lumed palms from the tropici mingled with the leafy crOWDI of
the fiv e-hund red-year-old chnl; and witlun this enchanted forell the decoratol'l
arra nged masterpieces of plas tic art , statuary, large bronzes, and specimells of
other artworks. At the center stood all imposing crystal fountain . To the right and
to the left ra n galleries in which visitol'!l passed from olle national exhibit to the
other. Overall , it 8eemed a wonderland , a ppealing more to the imagination than to
the inteUect. ' It is with sober economy of phrase that I term the prospect incompa-
rabl y fairy -like. This space is II summer night's dream ill the midnigllt Sl1n'
Exlerior of the Crystal Palace, London. See G6; G6a, I .
(Lothar Bucher ). Such sentimcnts were registered through out the world . I myself
recaU, from my childhood , how the news of the Cr ystal Palace reached us in
Germany. and how pictures of it were hung i.n the middle-class parlors of distan t
provincial tOWII S. It seemcd thcn that the world we knew from old fairy tales--of dis proportion here bet ....een die period of gestation and the duration of the enter-
pri!le," l'a1.lturice PCclI.rd , ~, Exposition, intern(lliomJie5 (lU point de vue .lCO /llr
the princess in the glass l:offiJl , of queens and elves dwelling in crylltal houHcs-had
COllie to life ... , alld these impressions have persisted through the decades. The mil/lie et 5uciat , purticlilierement en France {pa ris, 190 1). p . 23. [G6a,3)
great tran£cl>t of the palace and part of the pavilions were transferred to Syden-
ham . where the building stands tooay;- there I saw it in 1862 , with feelings of awe A hoo kseller 's postcr apl)ea rs in 1..e5 Murailles re volmionnnire5 (Ie 18,18 with tile
a nd the sht.'t: refU delight. It hus tuke n four (it..'1:uties, lIumer ous fires, a lltl muny fo llowi ng expl ana tory rema rk : " We offcr tilis afficlle. as la ter we shall offer others
ilepredaliolls 10 ruin this magic. although even toda y it i!:l \l till not completel y unreilited to the electiolls or to the political evcllts of the. day. We offer it beca use it
vu ni;;lu::d .·' Julius Le;;sing. DU$ IUJlbe Jahrhull dert der Weltuu.fStelluJlseli (Berlin, tl'L1s wily a nti how certain manufa('turers profit from certain occalion s." 10'1'0111 the
19(0), Pl" 6- 10. [G6 ; G6a, I) IHlster: " Rend tilis importallt notice agaillst Swindlers . MonJ!ieur Alexandre
Picrre, wisiling to ;;top the d nily nb uses created by tile gener al ignorance of the
Organizing the New York cxllibilion of 1853 fcllio Pllinea!:l Burnum . [G6a.2) Arg"l and J urgon of swimllcrs a nd dnngcrulls men , hilS malle good use of the
unhllPpy time he was forced to Rpend wilh them It S 11 victim of the fall en Govern-
" IA: Pllty lills calculated thai the number uf yea rs re<.luiroo to prcpare a world menl : no .... reuured to liLert y b y our l.\Oble n eJ>uhllc, be has jUl.t puhlishe(1 the
exhibition eq llals the number of months it ruus .... There is ohviously a . hocking frui t ofthOAe sad studies he. wal able to make in llrison. He is 1101 afraid 10 descend
into the midst of these horrible places. Imd even into the Lions' Dcn . if by theft'
means ... he can shed liglu on Ihe principal wo rds of tl.eir convt: rlla l.io ll ~. lind
thu s lIIake it pOlj~ i bl e to avoid Ihe misforhUiCII III1tI ahu8c8 tbat rc~ uh frolll not
knowing t.hcse wordl . which wilil now were intelligillie onl y to swimlierM .... On
~ 1I1 (' from public ve lld or~ ami fronlthe Autllor.·' LeI! Mllrui/J~1i rellolmillnno irel de
1848 (Purill <1852,) . vol. l. p . 320. {G7. 1]
If the conunodity was a fetish, then Grand ville was the tribal sorcerer. IC7,21
Secoml Empire: "'The governmellt'Rcantlidates ... were able to print their proda·
mations on white paper. a color reserved exclusively fo r officiaJ pu" lic ati o ll ~. "
A. Malet a. Dd P. Grillet , XIX' siede ( Paris, 19 19). 1" 27 1. [G7,3)
lnJugendstil we see. for the first timc. the integration or the human body into
advertising. DJugendstil 0 [G7,4]
Worker delegatiuns at the world exhihition of 1867 . At the tOI) of the agenda is the
demand fo r the ab rogation of Article 1781 of the Civil Code. which read.: " The
employer 's word Ih aU be taken liS true i.n Iii, statement of wage~ "llportiolled , of
sll.lary paid for the yea r ended , and of accoun ts given for the curreDt year"
(p . 14O).-"1'h.: delegationll of worker s at the exhihition8 of Lond un and Paris in
1862 a lill in L867 gave a di rection to the lIocial movemcnt of the Second Empire.
and even , we may lay. In that of the seccmd half of the nineteenth century. . , .
Their reports were compared to the retlords of the Estates Ge n ~ra l ; the former
were the l igna! for a social evolution , jus t all the lalter, in 1789, had been the ca use
of a political and economic revolution" (p . 207).-{Thill comparison to mcs [rom
Michel Chevalier.] Demlmd for II ten-hou r workday (p. 12 1).- "'Four hundred
thousand free tickets were dislriliuleti to the workers of Parill and vario us
depart ements. A barracks with nlOre than 30,()(M) heds wail p ut at the dispollal of
Ihe viliitingworkers" (p . 84). Henr y Fougere, Les Deiega!ionll ou vrjerell (.1/1.% expo-
sitioru universelk ll (Montlut_on , 19(5). (G7,5]
Cathemlgs of worker delegatitln. of 1867 al Ihe " tra inillg ground of the PIl98age
Raoul. ... Fougere, p. 85. [C7a, l]
'1'he exhibition had long since dosed , hut the dclegatc!K t:o lliinu ed their discus-
sions. and the pa rliament of wo rkers kep t hoMing IIt~IISiolll ill lhe Passage Raoul. '"
IIcn ry Fougere, LeI Deli-g(ltioIU OIlIlriere. (lUX expositiallll ImillerseliCIf 51111.! Ie
5ecorad empire ( Montlu toll. 1905), IIp. 86-87 . Ahogl·t1ler, the scssiollll lasted frOlIl
Jill" 2 1. 186 i, until Jul y 14. 1869. [G7a.2]
Internaliona l Ass<tcialiuu of Worket'1l. "·TIIt' ,h ' lll'iation . . . datcs fl'OIlI 1862.
from the time of the ""orld exhi bition in London. It wu llu-re Ihnl Englis h and
French worken firs t lIIet . tu hulll tliSCII S8 io n ~ a nd 11I...'"Ck lIlululI.1 enliglltdullt· nl. ·
Stlllellll'lIt made by 1\1.. Tolain (1 11 March 6. 1868 •... during Ihe linil l uit " rought
hy t.he gO \"'rnmCIII agaiJU;1 the Inler national Auociatiou or \\'orkers." lIenry
Fmlgere, Le~ IJI>MgatiQ,1S oUl"ieres tllloX exp mdt imlll IlIlilicrlJellell .m ll!! Ie IJcclmd
ClllfJirc (!\1onllll\'''II . 1905) . p, is. TIll' firsl great meeting ill Loudon liraftetl a
dl·daration of sympathy for th(' liIM'ration uf Ihe Polt: . [G7a.3)
In Ihc Ihrl'e or rnur repOl1s by the "" orker dcleglltions who look (lart in the world
t.xhillitioll of I K67 . there lire dcmallds fur the abolitioll of stll.nd.illg armj es II lul for
gellcrlll tli!lllrllllllllcllt . DclcgatiollHor Jlorcelain painters. I)inno repairmen . 11m&-
lII0kl'ri . alltlnll'c hllDics . See Fong!\ re . pp . 163- 164 . IG7a,4]
1867. " Whoever visited the Chaml) de Mll rs for the first tim~' !l;ot a singular impre5_
~ i on .
Arri ving by the central a\'eDUtl, he I II"" a t lirHt ... ollly iron alld smoke ....
This initial impreK~ i o n ('xerlCII sudl all illfiueJlct: nn the visitor thut. ign oring the
tempting di\'ersions offered by the arcade. he would has ten toward the muvement
lind 1I0ise that aUracted him . At ever y point _ .. wlJ('re the lllaCiJinc&WI!re nwmen-
tluil)' RI.iI1. he could hellr the s trains of stea m-powercd orga ns and thc s ymphnnies
of brass lnstrumt: nts.·' A . S. lie Dflllcourt . Le~ Exposition. Ilniverselles ( Lille aDd
I)aris ( 1889)), Pl'. IJ 1- 11 2. [G7a,5)
T heatrical ~'urkjj llert ll.ining 10 the world exhihition of 1855: Pa ris trop petit.
AU!,'lISI 4, 1855. TI,,::iitl"e du Luxembourg: Pa ul Meurice. I\"is. J ul y 2 1, Porte-
Sai nt· Martin ; T ht.'"Odo re Barriere and Paul tie Kock, L "l:lisloire de Puris and w
Gra nfl5 Siedes. September 29; Les Mode!! de l"eXIJosition ; D:.im boom boom: Re-
vile de l'ex /aibitioll ; Seb astien Rheal. La I'jswn lIe "'a wtw. ou t 'Exl ,mitiotJ uni-
I...'erselle de 1855. In Adolp he Oem", Eu ai hi&lorique ' !lr U!S e.xpos j,jona
ulliverselles de Pur;,. ( Paris, 1907), p . 90. [G7a,6]
Loudon 'lI world exhibition or 1862: "No trace rernainetl lIf the etlifying impression
made h y the e,;hibitioD of 185 1. ... Neverthelen, this ex llihition h lltl sOllie note-
wo rth y r esults .. , . T he greatCiit surprise ... Clime from China. UI) to this time,
Europe had seen nothing of Clli nese art except ... Ille ordinllry porcelaius sold on
the 1Il1l1'kel . Bui 1I 0W the Anglo-Chinese war had takc n place ... , a mi the S ummer
Plllal'{' had bt.~ n Imrned to tht! grouDtl , II UPIKtSClll y as IIu nis hlllc llI .~ III Iruth ,
howevt-r, Ihe English IUHI s uccet.'tled eVI'1I ilion' thun their allies, th e Frl'nch , ill
ca rr ying away u large pnrtitlll of the h -C1l8ures a massed ill d ilit palace . and these
treasures were 8ublk'(j lU'ntiy IJUI fi ll exhibit in lulllion i.n 1862 . For I.he sake of
,Ii;r.cretion. it was wo mell r atllCI' ttallU 1111'11 • • • wht) actC(1 a ~ e:l: hihil orlO'-· Julius
I ~lis ill g, Do s IUlIlw. ju/'rllllllder/ ,/1'r Weit(IU$$I ellllrlge li (Bcrlin , 19(0). II. 16.
ICg,1]
Lessing (D(u 11I11I1e jllhrflllnr/crt der Ir'e ltllll-'utd/llllge n [Berlin. 1900] . p . " )
poiu lil UI' the diffcrclwl· llI't",·ti; n thc ,"",urlll l'xhiLi litlUii allli till" fnirs. For the Inlier,
tile lIIerchulll!! bruugllt Iheir wholc I!ltlc k of goml.!! along wi th tlll'm , T he wodd
exhi hitionl IIrt:lI UPIJoOse II. con/iiderahle d cveloJl ment of commercial 118 wdl all iD'
JU6lriai credil- that i$ lo @ay.credit on tlu' pari uf the c u ~ tom er.!l . a ~ well as 0 11 tile
pu rl of til(' farm @tuldng tlleir onl!!". {CR,2]
" YOIII ddil,erat("!y "1If11O close your eye! in ur,ler 110110 r ealize Iliulthe fair 0 11 t.l1I'
CholllV de Marl! ill 1798. Ihal the ! upe rh porticOt!! of Ihe l:uurlyortJ of tile louvre
amllhe courlya rd of ,lie Invalides C(JlIlIlructll(l i.n the following years. anti , fili ally.
Ihal the memurable royal ordinance of J anuary 13. 1819,10 have powerfull y con-
Iri lmtL-d 10 the glorious d e\'f~l o pment of French industry.... It was resern,;ti for
Lhe king of Frallce to Iransform Ihe ma~ifi cellt gallerie6 of his palace illto an
immense hazaar, illurder Ihat his IH!Opie might cOlltemplate ... Ihese ullblOOllied
I r(l"hi ~ raised III' by the genius of tile Itrts and Ihe genills of IH':IIL-e: - d'.lIeph-
C h ltrl es ~ Chcnou a nd B.D.• Nolice mr I'('xpo! ilion de! produiu lie l'inllu! lrie el
de5 orl! flui 0 ell tum u lJoIJa; en 1827 (Houai. 182 7). p , 5. [C8,3]
1bree dilferent delegations of wo rkers were sent to London in 1851; none of
lhem accomplished anything significant. Two wen= official: one represented the
National Assembly, and one the municipality of Paris. The private delegation
was put together with the suppon of the press, in particular of Emile de Girardin.
The workers themselves played no part in assembling these delegations. [GS,4]
The dimensions of the Crystal Pa lnee , according to A. S. DonCOU I·t , u ! Expo!i--
fion s unilJersdle! (Ulle nnd Puris <1889» , p . 12. The long side! measured 560
IIIctt" rs. [C8.5]
0 11 tile workers' del~'glt tion s to the Great Exhibition in London in 1862: "Electoral
offices ....ere being rapidly organized whim , on the eve of elections. an incident . ..
Itrose In imlH!de Ihe OIH! raliolls. The Paris V0]jce ... took umhragf' at this Ullprece-
ili'llte(! d evduJlment . and the Worken Commission was ordered to cease its ac-
th'itics. Convinced thai this measure . . . could only be Ihe resuJt of a mis-
understanding, membt'.rs of thf' COlllllliu iou took their aplMl:1t1 directl y to Hit
Maje@ty.... The emperor ... was. ill fact. willing to authorize the COlllnUs8sion to
pursue illl task . The elections ... rellulted in tht" 6('1t.'t'lion of two 11I111IIretl dele-
gu les .... A peri",1 of len IIa Y8 had been granted 10 each grou p 10 Itccompli8h its
mi n ion. Eaeh delegate ri'!Ceh'ed . on his departure. the sum of 11.5 fran cs, a see-
fUhl-dass I'uuml-trip trui n ticket, lodging, alld a meal, 11M well as a pau 10 the
ex hihitiuli .... This grl'u t Jlupular mo\'ementlook p1:we withoutl.hc slighu:81 inci·
J eut Lhnl . 1·IlI..Jd ha\'" been tCl"lncd rcgl·tlllabltl.." Rap/JOrl .f ,le .• Je.tegll b tie!
o " ur;~ r.~ WJri .• ielu (ll 'CX1)Osition tie l.ondres en 1862, (Jllblik5 lJur Itl (;olllllli$5ioll
aUI/,.ii1"c (I~lIri 8. 1862- 1864) [ I voL! ]. PI). iii- iv. (The IloCUI111'I1t 1!llIIl uins flfty -
tllre,' n 'p"rls hy J"icglltium from the tliffel·I'nt trull t,s. ) [GSa ,l]
Pari ~ . lIi55. " Follr InCOllloti-'cs wt"re b'uurdillg till' hall flf mal·him'li. ii k l~ thosc
I(rl'a l hulls of Ni lll'va h . III' like 1.111" s "hill xe~ to be l!t.... '1 lit the I!nlra lll;e til EgYillian
tcmplc.s. Thi ~ hllll Wit " II. In.l\!! IIf iron a nd fire a lld watt' r ; tllll ean wcre ..Jcafl:ued .
Ihc eye~ Ilazzle.l .... All ...·as in motion . O ne 8ltW wool cornl.ed. clotll twisled . ya rn
dipped. grain thrclihed . cual I:lxJral:lcd, I:hocolate relined , and un anll 011. All
IiXhiLitorli withollt exception .... CI·1;l IIl1l1wcd IIl1.tiiit y and IIteam , contrary to whot
went on in LOlulon in 185 1. wl.lt·" IIlIly thc English ..xhihil orli had had the benefit of
fire and water." A. S. Ollllcourl , L.i5 Ii,·Xl1OJ1ition5 univer5elle5 (LiDe ami Pari ~
d889», p . 53 . {G8a.2]
1.11 1867. tbe "oriental quarter" waif t.he center IIf attraction . [G8a.3]
Fift~n million visilors to the exhibitiOn of 1867. [C8a,4]
in 1855 . for Ille first time, merchltlldist' could be marked with a price. [C8a,5]
"Le P lay had ... understood how neces88 ry il would hecome to find wbat we caU.
in modern parlance, ' It draw'--IIome Itar attraction. He likewise foresaw that thill
necessity would lead to mismllllagement of the exhihitions, and this iii the iu ue ...
to which M. Claudio-J anet addresscll hinl8eLf in 1889: 'The ecollomist M. Frederic
Passy, a worth y man , bas fur many years now, ill his s peeches 10 Parliament and to
tile Academic. b,een denouncing Ihe abuses of the s tr~t fairs . Everythiug he soya
about the gingerbread eltir .. . cil n also be said {allowing for differences in magni.
lude} of the great centennial ce.lehration . '" A note at this point: " The centennial
celehration , in fnet , was 8 0 succcuful that the Eierel Tower , which cost 6 million
francs, had already earlled . hy the ftftb of November, 6 ,459.581 fran cs." Maurice
Pi.'urd. Le! Expoaitions internotionClle! (lU point de vue economique et !ociale,
parliculieremenl en Fran ce (Parill, 190 I ). p . 29. (G9,1]
Tlu: exhibition palace or 1867 on the Champ de Mar~o lllpared by soule to
Rome's Colo.!l8eum: " The arrangement conceived by Le Play. tbe head of the exhi-
hition committee. wall a mOllt feliciioull one. The objecL8 on exbibit were distrib-
uted . according to their ulaterial • in eight cuncentric g811ericlI: twdve ave nues ...
hranched out from die ceuter. and the l)rincipalnal.ioll8 IIccupietllhe SeCloMl cut
hy those radii . In this way•... by !trolling around the gaUeries, one couJd ...
survey the stale of one particula r industry in a ll the differeot countries, whereas,
L)' strolling up the avenuell that crussed them , one could survey the state of the
different branches of industry ill each particu lar country." Adolphe Demy, Euai
hislorique ! Ilr le5 eXl)05ilion ! Itniver&elle. de Pari.! (Paris. 1907), 1'. 129. -Cited
Ili're is Tbeoplille Gautier's article abo ut the palace ill U A10llilcu r of Seplemoor
[7. 1867: " We have before liS, it set:ms, a luunument created on another plan et, on
.Iupilt!r or Sa lu.rn. accol'ding to It tOllte we do nol recugnize allil witll a coloration til
.... hich our cyes are flut accustomcd ." Ju st hcff)r!' tbis: "'flit' great IIzure gulf, with
its blood-colored rilU . produce!! It vertiginous cfft'C1 111111 unsettle,; ollr itleas of
archilelll u.re . '" [Gg,,[
He.sistancc 10 the world ... hihilioll (Jf 185 1; "Till! king of Pru .~! i a fnrbude Ihl! royul
princl! alUl prim.:eu ... frllill traw·ling to Lur.u liln .... The dililomatic corJl.i rl!-
fused to address any wunl (If congratullttions to tile 111It:e1l . ' At this mumCllt , '
 wro le ... Prinet' AJ herl 10 hi t mo the r on April 15. 185 1. ... ' the Oflpo ne nt3 of the
Ex hibition a re hurd II I wtlr k . . . . The fo r f'Jgn er l. they cry, will stat't A ra dica l
r t"olulioll 11!'t't' ; IllI'y will kill Vic toria li nd myself a nti procl a im a re ll repuhlic.
Moreove r. the plugue will surd y res uh (rom the inAu.x of s uch multitude. a nd wiU
tlt' vo ur those who 11IIYC nol bee•• driven awa y b y tile high priceR on everything.""
,\d ulphe Oemy. EU(l; hiMOrillUI! .sur ie" eXlmsition! ufliveru.lle, (Puris. 1907) .
"
.5
.~
p.38. [G9,3]
FrKIlt;oil uc Neufch li lea u 00 t.he exhibition of 1798 (in Di my, En ai hiMorique ,m ,.
::! universefLu ). " 'The French, ' he declared , . . . ' Iulve amazed
If'!I eXI J(J.s itiOlI!
Europe by the I wirtne8ll uf their militar y 8uceClle!! : they 8hollid launch a career in
commerce alld the urts with ju ~ t the same fervor '" (I)' 14) , "This initial exposition
• .. is really an initial campaign. a campaign di sa~ tro us for English industry"
( p . IS).-Martial ch ar acter of the opening p rocession : "( I) a conUnj!el1t of trum-
" pe lers; (2) a t.letachment of ca valry; (3) the first two squads of mace bearers. (4)
Ihe dr um!!; (5) a military ma rching balltl ; (6) a squad of infantry; (7) the her alds;
(S) the festival mars hal; (9) th e a rtists regis tered in the exhibition ; ( 10) the j ury"
(p. 15).-Neufchiteau a wards the gold Rledal to tbe most heroic assa u.lt on English
industry. [G9a,l ]
T ilt' second exhibition , in Year lX . It was supposed 10 bring together, in tbe court-
ya rd of the LouVI"e. works of induslry and of the plastic arts. But the a rtists
refused to exhibit their work alongside that of manufactu rer I (Demy. p. 19).
[G9a,2)
Exhibition of lIH9. "The king, on the occasion of tile exhihition . conferred the
title of b aron on Tern aux and Oberkampf.... The granting of aristocr atic titlell to
industrilliisli! had I'rm'oked some criticisms. In 1823 , no new ti tle! wer e con-
ferred .·' Dcmy, Eu ai lI iltorique. p . 24. [G9a,3!
Exhibition of 1 fW;~ . Madame de Girardin's comments on the event , ~ in) Vicomte de
La llna y. J.A!.ttre.s fJflri,~if!tUl eS , vol. 4 , p. 66 (cited in Demy, Eua; hi.st(}riqlle. p, 27):
" 'It is II pleullUre, ' she remar ked . 'stran gdy akin to a nigh tma re .' And ~ he "'en t on
to r:numcrate the inguJa rities. of which the.re was no lack : the Hayed horse, the.
colossal beetle.. 111t~ moving jaw, the Chr0l10me.tric Turk who marked the hours by
the numb.. r of his somersa ul ts, and- last but not lea8l-1\o1 . and Mme, P ipelel, the
tundergcs in l.e$ Myster~ de f 'uriJ, 12 as angels." {G9aAI
Wo rld exhihitiou of 185 1: 14 ,837 exhibito rll; thai of 1855 : 8O.(}()(J. IGga,5!
In 1867. till' Egyptian exh ib it wa~ IlOu&ed ill a buildi ng wh us~ {Icsign was hast..-d Oil
all Egypti an h! lIlple. IG9a,6]
In his 110\'1,1 "fIl e f'o rt rf!lIS . Wa l "ol ~ de"c ri b~s the p N"C"lI utiOI1Mtha t were taken in a
luolgillg-hulllJc spcl'ially dt:sigllcil to we!l)umc vi&itors to the world cxhihitioll uf
185 1. TIII~1If: prcl:aulioD5 i.ncilnled continuous police Sllnd llancc of the d ormito-
ries, tim presence of a chaplain . a lld a regular morning vi ~ i t hy a doctor. [G 10, I]
\l'alpQle deseribc8 the C r y~ t al Palace, with the glIISS foun tain at iUl center lind the
nill elm_ tim luller " looking !l lmost likl": the l io n ~ of the fore.;t caught in a net of
glass" (11 , 3(17). He des(!rilies the booths decora tt..-d with expeusive carpetli . !tnt!
above a ll tilt: mad u llI:s. "1'here were in the machine-room tile. ' .relf· acting mules:
the J acquard lace. machincs, the en velope machines . tile IlOwer looms, the model
locomoti ves, centrifugal pumps, the ve rtical 8tt'am-engin es. all of these working
like. mad , while the thousaluis nea rb y. in their high hals a nt! b ODll e lll , sa t p atientl y
waiting, passive, un witting that t.h e Age or Man on this Planet was doomed ." HUSh
Walpole . 7'he Fo rtress (H amhurg, Pa ris , and Bologn a (1933» , p . 306." [G I O,2]
I)dva u s peaks of " men who, each evening, h ave thei.r eyes glued to the dis play
window of La Belle Jardinere to watch Ihe da y's receipts being counted ." AJfred
Delva u , LeJ fleureJ pfJruienne. (paris. IS66), p . 144 ("Huit heures du ,oir").
[GIO,']
In II ' p<xch to tile Senate. 0 11 J anuar y 3 1, IS68, Michel Chevalier makes an erfort
10 save the previous yea r 'l Palat..'e or Illdustry from <ICitruction , Of the various
possihilities he lay, out fur u lvagiog tbe buildin g, the 01081 noteworth y is tha t of
us ing the interior-which . with its circular form . is ideaJl y suited to such a pur·
IlOKe--for practicinfl troop maneuvt:r&. He al80 proposes developing the structure
into a pe rmanent merch andise mart for imports. The inlention of the opposing
party Seems to have been to keep the Champ de Mars free of all constructioo- this
fo r mjjjtar y reaSlI1I8. S~ Michel Chevalier , Dilwltrs .sur une petition reclamanl
com r/! la destm ctiorJ dupolou de r Expo.sitiorJ Imiverselle de 1867 (Paris. 1868) .
[GI O,' ]
" The worltl exhiLitiol18 . . . callnot fa il to provoke the most exac.t eomparisons
hetween the prices a nd the qu alities I1f the same article as produced ill different
coulltrit:8. !low the schl)Qi of absolute freedom of trade rejoices th"ll ! The world
exhibitions contrihute ... til the reduction . if 110tthe aholition , of custom duties."
.I\ chilll· d(' COl1l8UIII ~?), Hiltoire cles l'~pos irions de, IJrodltiu de I 'illdu.st r~
fr(ln ~a ;8e (poria. 1855) . p. 544. [G I Oa, l)
E\'e r y i n~ ILl S lry. in f'.x hi hi ling illl irophie&
In lhi~ bazaar <If IIn i\'e" ~ II II'r~re8l! ,
S~m& If. hu\'c borrowed II fai..,. ·~ magi !": wand
To blHll lh... Cry~I " 1 Palal·e.
Hiel. In e n . Mholal1l . a r lilllll. pr<)If" la ri lln&-
Ea eh one labun rur lhe.conlmon ~ .. I;
Antl .juini ng I U~ lhf:r likl' no hle Lrol lw....
AIIIII'vc 81 hearl Ih .. hHIJp incH" " f <!IIeh.
Clairville and JuleJ! Cord..icr. Le Pa/t/il de Crido l, 0 11. Les Parisie n$ ;, Londres
[TlII!ii tr~ de la I'nrte,SlIilll-Mllrtin . Ma y 26. 18511 ( P"ris. 185 1), 1" 6, IG IOa,2)
The laSI IWO lablcll ux from C1airviJlc's Pafais de Cri.,tr,l tuke p lace ill frOli1 of a nti
in sid ~ the Cryslal Palace. The stage di rectiOlls for the ( Ilext to~ lasl t" blea u: "T he
mai n gaUery of the Crystal Palace. To the lefl , downs tage, u !Jed , 0 1 the heatl of
which is a large dial. AI center stage , a limalilable holding small sacks alld pOls of
curth. To the right , a n electric,,! mac hine. Toward the rear, a n exhib itioll of van-
(I US producis (based 011 Ihe descriptive e ngraving dtlne in London)" (p. 30).
[GIOa,3]
Adve rtiseme nt for _M arquis Chocolates, from lIH6: " Chocolate from La Maisoll
Marquis, 44 nue Vivienne. a t the Passage dcs PanOramas.-The time has ClIme
when c hocola le praline, and all the other va rieties of chocoilit defanwil ie. will be
~I"ai l a ble . .. from the House of Marqu.i ~ in the most varied and graceful of
fo rms, . , . We a re privileged to be able 10 an nounce 10 o ur I'eadel's Iha l, once
again. an asso rtment of pleasing verses. judicious ly selected from a mo ng the year's
purest , most gracio us, a nd most deva ted pllbli ca tio n ~ , will accompa n y the exqui-
site confections of Marquj~, Confident in the favorable ad\'a ntage tha t is OU I"II
alone, we rej oice to "ring logether tha tlHlissall t lIallle with so much lovely verse,"
Cabinet des Estampes, {GI0a,4]
Palace of ImIU6lry, 1855: " Six pavilions border the huildingon four sides, aDd 306
arcades run through the lower story. A n eno rmous glau roof provides lighl to the
illte rior. A.s ma teria l ~. o nl y 8lune, iron , and zinc have heell usetl; building costa
amounled 10 11 millioll francs .... Of partic ul a r in teresl are IWO large paintings
on glass a t the eastern a nd wes tern e nds of the main gallery. , .. The figures repre-
se!lled on these appear 10 be life-ilize. ye t are 110 less tllan six me ters high ," Achr
Tage in Pflr;s (Paris , Jul y IB55), pp. 9- 10. The paintings o n glass show figures
re prese nling imluillrial Frallce ami Jusl.ice. [Gl l ,l]
" I have ... wrillen , together with my collabo ra tors o n L'A relier, thai the nlOmenl
for economic re\'olution has come . . . , alt ho ugh we ha t! all agreed some time
pl'e viollsly tha t the workers of Europe had achieved suHdarilY a nd that il was
nt'cessa r y now to move 0 11. hefo re a nything else, 10 the idea of a political fcde ra lioll
of peoples." A. Corhon , Le Secret tlu peupl~ de f~flril (Pa l'is, 1863) . p. 196, Also
p. 242: " In ~ \Im , the p olitica l a ttitude of the wo rking class uf Paris co nsiilts almo~1
clilirt:1y in tilt! pa ~s ioll ate desi.re 10 serve Iht". mO\'t'lnelll of federation of national i-
ti e~." [Gll ,2]
Ni na La .~~ave. Fic ~c hi '8 bdowm. was c.m ployed , afte r his eXCC;lltioll un February
19. 1836. us a cashil:r ut Ih,! Cafe (Ie la Renuissllll,:e 011 till! P l ae,~ de 10 Bou rse.
[GI1.'[
Auimal symholism in TOll8send : the mule. " The mole is .. . lI ul the eml,ielll of a
s ingle c haracter. I t is Ihe emble m of a whole 80cial pe riod : the l»eriod olf indusl.rY ·iI
infllney. the Cydopl:nn p.:r iod. , .. It is the ... allegorica l exp" essioll of the a bso-
lute I'rt'oomiuan cc of brute fOl'c(' o\'c r intd lcct ual force . . . Man y cstimahic
IIlI ulogis ts find a marked r~semJ,lali ce belwL'tln molcH, Wllich "pllll'U Ihe IlOil a nd
pie rce passagcs of ilublerl'allcilli commilnicalitlil . .. . IlIU I tlu~ lllol1upolizcl's of rail-
roads and stag{' I·Ollles . . . . The I~xtrc me II c r vo u ~ sl'usi!Jility of the ruolc. whie h
fears the light . .. , uthnirahl )' cha raCle rizes the obs linate oh~Cllr allli S Ill of those
mono polizel's of bunking a nti of Il"a nSpol·ta tilln . who alJ!o fear the light."
A. To ussc nf"l, l~ 'ESl)rit d~s 1~ I.es: Zoologie pUJS iOlllleile-M(lmmijeres ,Ie frlmcc
(Paris, 1884), pp. 469, 473-474.11 [GilA]
Animal symholism in Toussenel: the marmot. "Tllt~ lIIannot . , . loses ils hair a t itll
wo rk- in allusion It) Ihe painful la bo r of the chillilley swt,ep. wllo ruhs and spoilJ!
his dothes in his occupa tion." A. T()IlSscnfll. L 'E$pril des be l l'S ( Paris, ]884),
. _" ~ Il ~
Plant "ymhQlis lII ill Tou ,,~el1cl: the vine. " The vine lo\'es to gossip ... ; it nlOllnlll
familia rl y to the shou.lde r of plum Iree, olive. or elm, and ig intimllte with all the
tree!." A. TO II~sen eJ , L 'Esprit des bere.!: ( Paris, 1884). p. 107 . [Gll ,6]
Toussencl expounds the theory of the circle and of the parabola with reference
to the different childhood games of the two sexes. TItis recalls the anthropo-
morphisms of Grandville, "TIle figures preferred by childhood are invariably
round-the baH, the hoop, the marble; also the fruits which it prefers: the cherry,
the gooseberry, the apple, the jam tan . ... The analogist, who has observed these
games with continued attention, has not failed to remark a characteristic differ-
ence in the choice of amusements, and the favorite exercises. of the children of
the two sexes .. , . VVhat then ha.s our observer remarked in the character of the
games of feminine infancy? He has remarked in the character of these games a
decided proclivity toward the ellipse. I I observe anlong the favorite games of
feminine infancy the shuttlecock and the jump rope ... , Both the rope and the
cord describe parabolic or elliptical curves. Why so? Why, at such an early age,
this preference of the minor sex for the elliptical curve, this manifest contempt for
marbles, ball, and top? Because the ellipse is the curve of love, as the circle is that
of friendship. The ellipse is the figure in which God ... has profiled the form of
H is favo rite creatures-woman, swan, Arabian horse, dove ; the ellipse is the
essentially attractive form .... Astronomers were generally ignorant as to why
the planets describe ellipses and not circumferences around their pivot of atttac·
tio n; they now kJ10W as much about dtis mystery as 1 do." A. Toussencl, L'Esfrn"l
dubiteJ, pp.S9- 91. 1!, {GIl a. I]
Tousscllel posits a symbolism of curves, according to which the circle represents
friendship; the ellipse, love; the parabola. the SClLse of family ; the hyperbola,
ambition. In the paragraph concerning the hyperbola, there is a passage closely
relaled to Grandville: ';TIle hyperbola is the curve of ambition . . ' . Admire the
detennmed persistence of the ardent asymptote pursuing the hyperbola in head·
 long eagerness: it approaches, always approaches, its goal ... but never attains
it." A. Toussenel, L'Espn'J des beles (Paris, 1884). p. 92.11 [Glla,2]
Ani m:\l sYlnholjslII ill Tu u/iscnl'l: lhl! hedge.hog. " G ILllt ()n{JU ~ a nll repulsive. it is
also the purtrait of I.hc scurvy 8lu\'c of the l)en , trafficking with all s ubjects. seUiug
pustmus lc r"s appointments anti tllcatt:r pusses, .. . ami dra wing.. from his
sorr y Clwis tiull conscience pledges lind apologies at fixed prices .... It is said thai
Ihl' Iledgchog is the only Ilullllruped of Fru llce on whicll the vellum of the viper hU8
110 effect . I shouJd have guessed litis exception merely from analogy. .. For
{'''plain . . . how cal umn y (the vipe r) can stillg the Litc"ary blackguard."
A. 1'01l85Cllcl. L 'E~prj, de~ betes (Paris. 1884). pp . 476, 4711. 1$ [Cll a,3)
" Lightning is the kiss of cloud!;, stormy but faithful. Two lovers who adore each
other, and who will tell it in s pite of all obstacles . are two clouds altimated with
" oppusite d ectricities, aliI! s welled with tragedy." A. Totlssenel , L 'E~pri' des betes:
Zoof~lgie I'IISSi01l11elle-.'I1lHflmiferes de Frclnce, 4tll cd. ( Parill, 1884), pp. 100-
I O I. I~ (C12 ,I)
The firs t edition nfTuulIsenel's l .'EsI)rit des betes appcllred in 1847. (GI2 ,2]
" I have vaiuly questioned Ihe archives of antiquity 10 find traces of Ihe seller dog.
I ha ve appealed to the memory of the most lucid somnamlJlllists to allcertain the
epoch wheu Ihis rat.' e appeare<1. All the iufol'mation I could procurf' .. . leads 10
Ihis conclusion : mt: setter dog is a creation of modern times." A. Toullsellcl, L 'Es_
prit de. betes ( Paris. 1884), p. 159 .1<' [GI2.3)
"A beautiful youllg womoJl is a true voltaic cell , ... ill which the captive fluid Is
retainell by the form of surface/l aud the isolating virtue of Ihe hair; 8 0 that when
this fiu.id would escape from its sweet prison , it must make inc.redible efforts,
which produce ill turn. hy influence ou bodies differeniJy animated , fearful rav-
ages of altracl.ion . . .. The history of the human race swarms with examples of
inldligenl and learned men, intrepid heroeil, ... transfix ed merely by a woman's
('" ye ... . The holy King David proved liial he perfectly ulider s laa~llh e condensing
properties of !,ulilOhed elliptical surfaces when he took IIl1to him..elf the young
Abigail!' A. Tousscncl. L ·E.~I)ril ties betel> (Paris, 1884), PI" 101- 1O3.!1 (G12 ,4J
'I'oulllO{'IJI.,1 explai ns Ihe rotation of lhe earlh as the resultant of II centrifugal f"rce
and II fo ....:e (jf attractioll . Further an: "The IItar , . begins 1.0 wah:!: its frenetic
waltz . ... E\'I:rythillg rll siJ('"s. stirs, WllrlllS up. shill e~ on the /i urfHee of the g1ohe.
whidJ (lilly the eVI:ning hefm'e was entullIiJeil in the frigitl sih'ncc of night. Marvel-
ous o; pe.!llIcif' for IIII~ wdl-plul'c.J o{,8crver--change of SCt' l1e wonderful to hehold .
r fl r the rt'.Volution look pillce hctween two ~ un ~ alld , thai vtcry eveni ng. an ame-
th ys t SI.:l r ma.le its firs t appearan ce i.1I Ollr skics" (p . 45 ). And . allullins to the
lIo1o;ullislll of eurlier epochs (If the cUI'IIi: " \1;',.. know the eff,:cls Wllich the lint Wltltz
usuall y has Oil deli('atc cOli stitutioll ~ .. . . The Eurth , too. "'as rudely awakened by
its fint ordeal. " A. Toussend , l,'Esprit (I~II belt's: Z(mlog ie. 1JIISs io rlllcfle. ( Parilf .
1884), Ill" 44-45 . [G12 .5}
Principle of Toussenel'!I zoology: " The runk of the sl'edes is ill direct proportion tu
iu resemblance to thc human being." A. TOlIs8enel, L 'Esprit rles beres (Paris,
1884), I)' i. Compart' the epigraph to tbe work: '''The Les ttiIing about mall i8 his
dog.'-Charlel. '· [GI2a,l )
The aerunaul Poiteviu, s ustained hy great publicity, uliJerlook an " asce.ntto Ura_
nus" accompanied in the gondola of his balloon by yo ung women dressed 8 S
mythological figures. PariJ sous la Repubfique de 1848: ExpositioFl de la Bib-
fiot"eque et des travall..( "iJtoriques de lfJ ViUe de Paris (1909). p. 34. [G 12a,2)
We can speak of a fetishistic autonomy not only with regard to the commodity
but also-as the following passage from Marx indicates-with regard to the
means of production: "If we consider the process of production from the point of
view of the simple labor process, the laborer stands, in relation to the means of
production, . . . as the mere means . . . of his own intelligent productive activ-
ity. .. . But it is different as soon as we deal with the process of production from
the point of view of the process of surplus·value creation. The means of produc-
tion are at once changed into means for the absorption of the labor of others. It is
now no longer the laborer that employs the means of production, but the means
of production that employ the laborer. Instead of being consumed by him as
material elements of his productive activity, they consume him as the fennent
necessary to their own life process . . . . Furnaces and workshops that stand idle
by night, and absorb no living labor, are a 'mere loss' to the capitalist. Hence,
furnaces and workshops constitute lawful claims upon the night labor of the
workpeople." 22 111is observation can be applied to the analysis of Grandville. To
what extent is the hired laborer the "soul" of Grandville's fetishisticalJy animated
objects? (G12a.3)
" Night dis tributes the steUar essence 10 Ihe sleeping p lants. Every bird which ffiea
has the thread of the i.nfiltile in its claw. ,. Viclor Hugo , Oeuvres COI1lI)ietes ( Paris,
1881). novels, vol. 8, p. 114 (Les Mi.~e,.abtes, Look 4).13 [G12a,4)
Drumont calls TouS8cnei "olle of Ihe greatest ,.rose writers of the ce.ntury."
Edouard DrumOllt. u s fleros elles pi,res (Paris ( 190<h), p . 270 e'Toussener'J.
[G I2a,5J
Technique of uhibition ; "A fUJldamelllal rule . Il'lickl y learned tll1'(lUgh observa-
tiun, is tllal 00 object dltluld be plBced tlirectly un the floor, 011 a II'vel with the
wulkwa ys. Pia nos, furnitu re , phys kal upparat us, and machines are hettel' di.~­
played O il u pedestal or ruised platform . The best exhihits make use uf two ' Illile
distinct sy8tems: disp lays under glass alld upeu d.i splaY/l. To bl' eure, SO lm: prod-
ucts. by their very lIulure or becau ~e of their value , huve I(> he protected from
c\)utact wilh the ai r or the ha nd ; ot he" he nefit from being left uncovcred." expo-
j jlion IInjllerl fdle de 1861. ii Pa6j : Album d~ imlnllolionj k. pl'l-J remurquablu
de (' Ex/lOsi/ion r1e 1862. " wmlre•• publil. p ar la commusion imf,eriak pour
jervir de rell.5eigrumu:nl Cl!/.X eXf)oslmls des di verjes natioll S (Pll ris, 18(6) <p . 5).
Allnull of pla te>! in large folio. witll ve ry inter esting illustration8, some in colot',
sllllwiJlg-iu cron-sec:tiun o r longitudinal &eetiOIl , as the case may be---the payil-
iunll uf lhe world ex hibition of 1862. Bibliotheque Natio nale. V.644. [G13,1)
Paris ill the yea r 2855: " Our man y yis itors from Satu rn alul Mars have entirely
furgutten , since arriyi ng her e. the IlOrir.ons of tbeir mothe r plane t! Paris is hence-
forward the capilill of c reation! . . . Where are yo u . Champs-Elysees . fayored
t heme of newswrit.erJII ill 1855? . .. 8u:t:ting along Ihis thoroughfarf' that is pa ved
widl hollow iro n a nd roofed willi I:r yslal are the 0011 a nd ho rnets of finance! The
capitalists of Ursa Major lire c:ollferring with the IIlockbrokers (If Me rcury! And
comilll; on Lbe market this l'ery day are s hares in thi: debris of Vellus half con·
sumed by ill! own fl a mu!" Arselll! Ho ussaye. "t.e Puris futur." in Paris et ks
Pari.ien. au XIX' j iede ( I>ari.s . 1856). pp. 458--459. IG13,2]
At the lime (If die c~~ l u" li s hmc nt . in London , of the General Council of Ihe Workers
Int e rn a ti o n a l .1~ the roUowing re ma rk circ ulated : "The child born in the work-
lihOIlS of Puris was nu rsed in U>ndon ." See Charles Benoi51 , "L..e ' My the' de I.
c1ad8e o uvriere," Retllre des deux /JIondell (Marc h 1, 19 14), p. 104. [GI3,3)
"St!i:ing that the gall!. hall is Ihe s ole occll~ ioll on whic h me n contain themseJ yeB, let
us get used to modeling all our ins titutions on gatherings lI uch 118 these , where the
woman is queen." A. Toussene! , l..e Monde de. oijeolU, vol. 1 ( Parill, 1853).
p. 134. And : " Ma n )' men are courteoU! and gallant at a ball. doubting Dot th.t
ga lla ntry ilia comma ndment o r God" (ihid ., p. 98). [G13 ,4)
0 11 Ga briel Engelm a nn : " When he pnLli8bed hill Euau lithographiques in 1816.
great care was ta ke n to rt-produce this medallion liS the rro ntispiet.:e 10 his book,
wilh the inscri ption : ' Awarded to M . G. Engelman n of Mulhouse (Upper Rhine).
l.urge-8cale execution. a nd refilleme nt , of the art of lithograph y. Encourageme nt.
1816 .'" He nri 80uduJI . l..a Lithog ruphie ( Paris c 1895) . p. <38>. IG13,5)
On I.he LOlldon "" o rM e xhibition : " III makillg t he ruunch of thisello rmo ul! exhibi-
tiull . Ih,· ohserve r IIOOn rf'alizes thai . to avoid confusion •... il hall been necessary
In dU lilel' Ihe different na tionalities in a eertaill lIumher of groupll, und that the
olll y uliefuJ way of eKtahlis hing these industrial gro ulling& was to do so on the basis
of---<iddl y c no ugh- relipous beliefs. EMeh of the great religious di visiolls of liu-
ma nity ('orres l'uncb. in efff!C' l • ... to II pa rti(:ulllr mode of existe nce and of intius-
trial aClil'ily." Mkhcl C h ~\· Mlier. Du Progres ( Pari 8. 1852), p. 13. [GI3a ,l]
From t hO! fi rlil dlU ph'r of Cupit"l: " A commodit y uP llears , at first /light . a ve r y
trivial t hing aod euily unders loucl. Its ana ly8is "hows t hat in reM lity it i, a very
clueer Ihing, II boullciing in IIlC'taphysical Im l, tleties a nd tlu!ologil:al nicctit."8. So far
1111it is a valuc in Uk . thcr!' is not bing mYllr rious abo ut it. ... T Ill' form of wocxl is
alte red b y makinp: a ta hle o ut of it : neycrthdesll . thi ~ table rClna.in ~ wood , a n
ol'dinary mall)rial thillg. Iv. ~oon as it step'" fo rdl us commodi t y, howe ver. it i..o
transformed illlU II IlIlItCI'ia l imma teria l thiug. II no t o nl y II tunds with lt8 feel 0 11 the
gro und , bu t. in the fu cl' of all othe r ('unlm mlities, it Sla nd, on ill! head, a nd uut of
il6 wooden bra.in it e\·olv.'& nolions mo rt' whims ically Ihan if it had s udde nl y begu n
to dallce. --::; Ciled in Franz Me hring, " Karl Marx und das Gleichnis," UI Kort
Marx au Denker. M efl sch. rmd Rcvo luf i(miir. cd. Rj uza nov (VI ~nlUl and Be rlin
c1928». I" 57 (first publishccl in Di£nelte l eil. Marc h 13. 19(8). [G I3a,2]
He nun co nll'"1'{'1I the world n hihitiolls to the great Greek r~s lival s . the Olympiao
games, a nd t he I)ana th l'.naea . But in contra&1 to these, Ihe WOrld C)[IJibitio ns lack
pt>c try. " Twice. Euro pe hilS gone off to vie w the me rchalldise and to compMre
prollucu and ma te rials ; allli lID returning from this ne w kind of pilgrimage, nf) one
has complained of m1 8ing MnyllJing." Some paget! later: "Our cen tury te nds to-
ward neithe r the good nor the bad ; it te nds toward the medioc re. What s ucceeds in
every elldeavor nowada ys is mediocrit y. " Ernest Renan , EllIa is de morale el de
critique ( Paris. 1859), lip . 356--357. 373 ("La Puesic de l' Exposition " ). [G 13a.3)
"'as hish visioll in Ihe casillO a t Aix- la-C hllpeUe. -rile ga ming hlille li t Au-Ia-
Chapelle is nothing s ho rt of a n inte rnatiOllal congress, where the coins of a U king-
doms and oU cuun triell are welcome .... A storm of Lc0IJOlds. Friedrich Wilhelms,
Queen Victurias, and Napoll!ons rain dOWlI . . . 1.111 the tahle. Looking over this
shining a!Jul'ium , I thougllt I could see ... the effigies of the sovereigns ... irrcyo-
cably fad e rrom their reJ! pective eCIIS, guineas, or ducats, to ma ke room for other
visages e ntirely IIl1k nown 10 nle. A grea l ma lly of tbese fa ce! .. . wo regriDillces ..•
of "C)[ation , or greed , or or fury. There we re hllppy ones IOu , hut only a few ....
Soon thi ll phenumellon ... grew dim a nd passecl a wa y, a nd a no the r sort of vision,
no less eIClraordinary. 11 0 ...• loomed berore me. . . The bourgeois e ffi ~et whicb
had sup pla nted the monarch began tile mselyes to move about withill the metallic
diskll ... tha t confined the m . Before IOllg, they had separated rrom Ihe dis ks. T hey
appeart'd in full relief; then their hr ads burgeoned OUI into rOllndel1 forms. They
luul taken 1111 • • • not olily faces but living fl esh . They had a U sprung Lilliputian
"odi~s. Enrything assumed a s hape ... somehow or othe r; a nd cr eatures e",actl y
like us. excel1t fo r their sixe, . .. hegun 10 euliven the gamillg table. from whic h all
c url't'ncy had va uished . I heard Ihe ring "f cCiins s ir uck by the steel of the c ro u-
pie r 's I·a ke. hut thi H Wll ~ all Ihul I'cmainell uf the old resulluncc ... of Iuuis anel
'~C: UII . which hud hecollle nu~n . Theile 11I10 r myrmido ns were now tllkin!; to their
11I~ls. fra nli.· lit the apprOacil of the murtl ~ rous ra k(' or the c rOll pier ; but escape
.... as imp<.ss iblt: . ... Then .. . th e d ...·arfis h l! tll kes. uh IiSt.'Cllo admi t defeat . wt:1'I!
ruthlcsllly capturecl by t he fa tal rake, wl.ich gat he red Ihl.'l11 illl o the cruupie r's
dUlciling hund . T Ill' cl·uupi,·r-lmw h .. rrihl(·!-Icmk up em·h HIIII4I1 hody dnilllil y
betwee n his fm gel'$ lind dl'\'oll nod il wi l.h guslO. In 1,...85 1.111111 half all hUllr. I ijaw
some half-d ozen of lhelle i111 pruclenl Lilli putiMn5 hurled illlu the a h YM of this tern-
 hie lonlh .... Rut whll l ap lJulJeilmc- I.he mo!\t wile Ihal , 611 rnisinll; my '!yCg (14Itn-
gl,tlwr Ly I:hancc) to lin: gu lJcry lI ur ro ulidi ng this lIa Ue.y Iff d"alh , I noticed 1101 j U ~ 1
a n l'xlraor,lin ury likf! lIc!!1I LIII a cOlllplcte idenli t y hclwet:n II", ~e v e ra l kin gpins
playing the Jjft'-si:l!,'d galll~ nllli Ihe miniature hUlllans struggling Iher,' on tJIC ta-
Lie .... WI, al '. mort!. Illese kin gpins ... a ppean:tl tll me ... 10 C() II UP8~ in dcs-
pera tion p reci&ely 118 their dliJdlike fa cllimile!! welT ove rtake n hy til t: formilla ble
rak .... They ccllled to ~ h ll re _ .. a lilhe.sc nsa liolls of thei r lillie dlllll,lc8; li nd nevcr.
for as lo ng li S I th'e, wiJI J forgel the look a nel the ~estur&-full of I"!lred II.nd
desp air- ",·hic h one. of those gamblers di rec ted to"'·a rd Ihe Lallk at the ve r y mo-
men t tha t his tin y simulacru m. cora lled by the rake, wenl 10 satisfy the ra ve nous
aplJetite of tlu~ croup ier." Felix Mornand . Ui Vie del eaux (Paris, 18(,2). 1'1' . 2 190-
22 1 (" Aix- Ia-Cha pcllc"). (C141
It woul? b~ useful to ~mpare the. way Grandville portrays machin~ to the way
Chevalier, In 1852. still speaks of the railroad. H e calculates that two locomo-
tives, having a total of 400 horscpowu , would correspond to 800 actual horses.
H ow would it be possible to harness them up·~ H ow supply the fodder? And, in a
note. he adds : "It must also be kept in mind that horses o f Besh and blood have
to rest after a brief joum ey; so that to furnish the same service as a locomotive,
one ~uS t have on hand a very large number o f animals." Michel C hevalier,
Cllfmllru defer: Extmil du dictio1l1ullre de l 'iconomie politiqllt (Paris, 1852), p. 10.
[CI4a,1]
T he principles informing the. t'..x hilJitioll of objttl!! in Ihe Ca lerie des Mac hines of
1867 were derived from Le Play. [C I4a,2]
A divinatory representation o f architectural aspectS of the later world exhibitions
is fo und in Gogol's essay "On Present-Day An:h.itecrure." which appeared in the
mid -lbinies in his collection Arahesqua. "Away with this academicism which
commands that buildings be built all one size and in one style! A city should
consist of many different styles of building, if we wish it to be pleasing to the eye.
Let as many contraSting styles combine there as possible I Let the solemn Gothic
and the richly embellished Byzantine arise in the same street, alongside colossal
Egyptian halls and elegantly proportioned Greek sO"Ucturesl Let us see there the
slightly concave milk-white cupola. the soaring church steeple, the o riental miter.
the italianate Oat roof, the steep and heavily ornamented Flemish roof, the quad-
rilateral pyramid, the cylindrical column, the faceted obeliskl"J6 Nikolai GogoI,
"Sur lJ\rc:h.iteclUre du temps plisent; cited in W1adimir "W=idlc, Abti/{u us
d'Aristit (paris d936~) , pp. 162- 163 ("L"Agonie de I'art"). [CI4a,3)
ro urif·r I·cfl'rll l.o lhe fo lk wisd u lIllhat fIJr smile ti n,,! has lidi llctl -'Civililta liull" 88
Ie ",om/e (; rebcmr. <IIII! wlIrld con tra riwise). [CI4aAJ
f'o uri .. r callflOI r!'~ i ll l ,lelH·ribing a banque t Iidtll>U the "u"k ~ of the l!:uphrlllf'S to
hono r till' ,-il'l ura ill bOl h a ComilCl ition a mo ng :tealo us dam work" r8 (600.000) a lul
/I (:Ollte& l of I'Bstry e'Hlk s. The 600.000 a lhleles of iflllu8try are furni shed with
300_000 !.ottles of cl,ampagrlO' . wllos.. corks. ;It a signal from tlul "command
to .... (!r ... a,... Il IlIJlll'pl·c1 l1imu lt ll lleolu!ly. '1'0 edlO 11](·ollglloUI the " mountaiulf of the
t: "phraIC!I." CiWtl ill (Arma ud IHllh MIIIIIJlnlllc . Fourier ( Pari~ . 1937»), yol. 2,
pp . 178-179. IGlh.5)
-I\>or Stars! Their role of resplendence is really a role of sacrifice. Creators and
servanrs of the productive power o f the planetS, they possess none o f their own
and n~ust resign. thc.m.selves to ~ e thankJ~s and monotonous career of providing
tordilight. They have luster Without enjoyment; behind them shelter, invisible,
t.be living creatures. These sJave-queens are nevertheless o f the same stuff as their
h.:1.ppy subjectS .... Oauling Hames coday, the.y will one day be dark and cold,
and only as planets can they be reborn to life after the shock that has volatilized
the retinue and its queen into a nebula." A. B1anqui, L'Ekrnitf par k; aslrtJ (Paris.
1872), pp. 69-70. Compare Goethe: "Euch bedaur' ich, ungiuckselge Sterne"
d pity you, unhappy stars).» [G IS,l ]
"'fhe slicriMy. the stock exc ha nge . ulld the ha rrac·ks-t1lOse three mus ty lairs Iha t
togellter vo mit night , lIIi~e ry, ond ll';lIth upon the nations. Oc tober 1869. ,. Augus te
BhlDqui_ Critu/ue l ociule ( Puris. 1885), vol. 2. p . 35 1 (" rra gm ents el no tes").
[Cl5,' ]
"A rich death is II ,·Iosed ubys.8." From the liflie •. Augu ste Blanqu.i . Critique Jo-
d ule (Pans_ 1885), vol. 2, p . 315 (" Fraglll e nt ~ eIIlIJte&" ). [CI5,3]
An imuge d 'Epi rwl by Selle n e shows the worM exhibition of 1855. [CI S,' ]
Elements of intmticarion at work in the d etcctive novel, whose mechanism is
described by Caillois (in terms that recall the world of the hashish eater): "The
~cters o f th~ ~dish imaginatio n and a prevailing artificiality hold sway over
this ~trangely VIVId ....,orld. Nothing happens here that is nOllong premeditated ;
nothing co,:,esponds to appearances. Rather, each thing has been prepared for
use at the nghl moment by the omnipotent hero who wields power over it_ '"*-
recognize in aU this the Paris of the serial il1lltallments of FantOmQJ." Roger Gail-
lois, "Paris. mythe modernc." Nouudle R f'IJ llejhw{aise, 25. no. 284 (1\rIay 1. 1937),
p.688. [G IS,SI
"Ever y d il }' I $LO;: pouilll; he'lI'u lll my windo w u o:erluin number of Kalmucks,
Olia gt:li_ Intiinn". Chi llIlIllCIl . 1111\1 iuwi" lIt (;rl!~k~ _ 1111 " 1II1'e 01' Ie .... POriSiO llizcd ,"
Cha rll'S [luud,·lai ...·. Oeu lJ res. <l·d . IIIl1I ltrlllotlll~ll hy Y.-G. Le Da lilec ( PnliB,
1932)_) VIJI. 2_ p. 9'J , "5uloll ,-Ie IB--Ir. : ' SI'CtiUII 7, --I),.n ,I,,"1 N du mod e lc" ). ~~
[GIS,']
All vc r lisinl; lililiel' .111' t: mpin'_ 110:"0 1'11;111; til Fer,lillll lill Bruno!. IJi$loire .Ie lu
IUllguefrml(:lIiJ~ (k~ (Jrigi"'~$ .l 1900. vul. 9, L(I /l el/oluti(}f' et rf.:mpire_ pari 9,
·' Lt·" Evc-nemcnts , l e~ in9ti.llltiolis et 10 longue" ( Paris, 1937): "We ~ h u ll frt!ely
imtlgine thaI a mUll of genilill eonl'l'ive.llhe i,lea of cns hrining, wit.hin li u' bUliality
(if lhl' vernacular, certain voc llhll'~ cldf'u la lcdto lIeduce readers and buyer", und
Ihll t III' cho.'Se Greek not oilly heea use il furlli.'S hes inexhuulitihle resOllrcell 10 work
...ilh IIUI also Iweause, leu widely kuown I.han Latin , il has Iht' Illlvanta ~c or bei.ng
, . . incumprehcn.'S ible 10 a gencraliun Ics8 verlied in t ill' lilildy of aueien!
G n 'fi;f' . . . . Only. we know neil her who this mUll was, nor what his nationalit y
might be, nor eve.n whctllf:r he exisled or nol. Let U9 suppose lhat , , . Crt!ek words
ga ined currency little by lilde until , Ollt'. (lay, .. , the idea ... wus born .. , that,
hy tbeir own inlruuie virtue. ""!)' I:ou ld ~erve for advertisin!\ ... . 1 myself would
li.kc to thillk that .. , se\-eral generations and severalnatioliS weill into the making
Ilf t hat \'erLal billLoard , the Cree.k mOlls ter thai ellticetl by 8urprisc. I helieve it
",U8 durin, the epoch I' m s J>cloIking of t.hat the movement began Itl take s ha pe . .
The age of 'comagenic' h air oil had arri,-oo ." Pp. 1229- 1230 (" Lei Causes du
triomphe till grec"). (GI5a,1J
" Whlll wOlild a modern Winckelmann say . , were he COllrroflteti by a product
from Ch.ina-sonll:thillg strange, bizarre, contorted UI form , illtcu8e in color. and
801lielinw8 Sf' ddicate 8 5 to he uJlllosl evanescent? It is, nevertheless, an example of
lIJ1iVI'rsai heauty. But in order to IUlderstaml ii , the critic, the 8peclator, mUilt
I'ffect withjll Illmself a mys terious trllnsfornl atioo : and by means of a phenomenon
of the will acting 011 the imaginatioll, he lIIust learn by himself 10 pa.rticipate in the
milie u which hus given hirtll to this Btrange flowerillg.,. Furtller alollg, 011 the same
"age. all pear " those mys terious flowc rs whose dee" color clli!lave8 the eye and
lalllalizt:1 it with ils shape:' Charles 8audelaire . Oea_v", ... <cd. LA: Dantc<! (Panll.
1932),) vol. 2, pp. 144-145 ("Expositiolllllliver8elle, 1855").:-0 IG15a.2)
'·I.n French poetry before Baudelaire, as in the poetry of Europe gencraUy, the
style a llli ill.:eentil of the Orient were /lcver more thall a fa intly puerile and facti -
tious galliC. Wid, I.e.. Flellrs rlu mal. the strange color is nOI produced wi thout a
k l.'ClI sense or escape, Baudelaire , .. im'iles himself to a bsenn: .... In making a
jnurney, he gives us the feel of ... unexplored lIaturt:. where the tra \'e.ler parts
cumpany with himself.... D oubtlj~ S8 , he leoves the ruitul and spirit uncballged ;
hUI I. .. pretIClits a new visio n of his 80ul , It iJl tropical , A!ril:all . blaek, ('nslaved.
lie..., is Ihe tr ue I"CHmtry. all actua l Africa, an authen tic IndiH." Andre Suares,
Prefucc to Chade!! Baudelairc , ~ .. "'leurs tlu mal (Paris . 1933). P)I. XX\'- llX\-ii.
[GI6,I }
Prostitution of space in hashish, where it serves for all that has becn,a<1 IG16,2)
GrandviIJr's masking of nature: \\itll the fashions o f midcelHW"}'- nature under--
stood as the cosmos, as well as the world of animals and plan ts- leIS history, in
th e guise o f fashion, be derived from the eternal cycle o f natlJJl:. Whcn Grand·
villc pl'~'iC1l1S a new fan as the "fan of iris," when the .Milky \Vay appean; as an
"avenue" illuminated at night by gas lamps, w hen " the moon (a self-portrait)"
reposes. o n fashionable ~Ivet eushions instead of on d o uds, then history is being
seculanzed and drawn Into a natural context as relentJessly as it was tluee hun-
dred years earlier with allegory. IG 16,3)
The planetary fashions o f Grandville are so many parodies, drawn by nature of
human history. Grandville's harlequinades rum into Blanqui's plaintive ballads.
[GIG,4-)
"TIII' exhibitions a re the onJy properl y nlOllern fc stivals:' 1II'rm UIIIl Lotze, !lIi-
krokosmos, vol. 3 ( Leipzig. 1864), p . ?
IGI'.SI
111.e wo~ld exhibitions ~'t.re rraining schools in which the masses, barred &om
consummg, learned empathy with exchange value, " Look at everything; touch
nothing," IG 16,6J
The entenainment industry refines and multiplies the varieties of reactive behav-
ior ~~ng the n~asses. In this way, it makes them ript for the workings of
advc:msmg. The link between this industry and the world exhibitions is thus well
established. [G16,71
Proposal for u rban planning in Pari8: " It wouJd be advisable to vary the furms of
Ihe houses and, all for the dilltricl8 , to employ different architecturai orden. even
those in no way cla8l!ical---1lueh alltbe COtillc, Tllrkish . Chinese, E~tiall , Our-
nIese, and 10 forth:' Amedee de TissOI, Pori.. er, Lemlres compares ( PurilI , 1830),
p, 150.- The architt'cture of future ex:JriLitioll8! [GI Ga, I]
"As 10llg as tillS ulIlIl>e.llknble cOlis truction [t he Palace of I.ndustry] s urvives, .. . I
s hall take utisfa ctiou in rcnuullciug the title ' mall of lellel's' , . . ,Art and indus.
Iry! Ye~, it was in fll ci fur them alone tha t , in 1855, thili impossible IlIlIgle of
galleries was reserved . this jumhle where the poor "'rilers Ilave lint even ht.' i'll
granted six squ are fl.-et- the space of a gra\'e! Clory 10 d.ee. 0 Sta tioncr . . . .
Mount to the Capitol. 0 PuJllisli1"r . _ . ! Triumph, yo u artis ts and indus trial" you
who "a" e hadlbe. honorl lIod the profit of a world exhibitioll. ",hereas pOOr litera-
lure ... " (pp . v-vi). '·A world exhiliition for the man or
leiters , a Cryslill Pllillce.
for the aUlhor- motHs te!" Whis perings of a 8curriloll8 .Iemoll whom BaLuu , uecor, l-
ing to IllS " Lettrc Ii Charles A8sdineau." i ~ sUPI)Oset! 10 hll\'I' encounlt-rellonc {lay
along the ChaJnps- EI Y~l~'s, ililiPulyte BallOlI . Le .. Pfiyelill i"nocellts ( Pal"is . 1858).
p , xiv. [GI6a,2)
ExhiioitiOllll. "S uch t rall ~itury inUalJalioliS. li S a rull', have had 110 inJlucllcc tin till:
ctmfigl.lratioll of citics, . .. It is ot herwi.il' ... in Paris. Pn,,'isd)' ill dlt~ fal 'l II1al
he.re gialll exhil)itiun8 cou lll he ~ I"t up in the midillt: or town , an.llhal n('a r ly 1I l way ~
they woul{l le<lve I~ hilld.ll monumcnt well suilNl1U 1.11t: f'i l y'~ gellera l aSI)&'I_ I'''''o-
ciilely in thill , onc cnn rt.'Cognize II.Itl. bltl.ilsing of II great origin al layo ut ami ' If u
f'o nlilluing tradition uf urban pla.llninJ'j. Purls could . . . orga nize even the most
i llllllt:U I>e exhibition 0 ail to be .. . acc(;,~ iLle from the Place de la COllcorde. AJong
tbe quays leading wcst from tlus Still are. for a distance of kilometers, the curbij
D
IlIn'e beeu set back from t.he river ill 8uch a way that very wide lanes a rc opcned , [The Collector]
which , abulldulltly plallted with row8 of trees, make for the I tlvelie~ 1 Jlo ~~ ible
exhibition routes." Fritz Stuhl , Puris (Berlin <1929)) , I). 62. [G16a,31
All these old things ha~ a moral value.
-Charla Baudelain: L

I believe ... in my soul: the Thng.

- Uon Dcubel. lkUIITtJ (Paris, 1929). p. 193

H ere was d\e last refuge of those infant prodigies that saw the light of day at the
time of the world exhibitions: the briefcase with interior lighting, the meter-long
pocket knife, or the patented umbrella handle with built-in watch and revolver.
And near the degenerate giant creatures, aborted. and broken-down m atter. 'M:
followed the narrow dark corridor to where-bet\\'een a discount bookstore, in
which dusty tied-up bundles teU of all sons of failure, and a shop selling only
buttons (mother-of-pearl and dIe kind that in Paris are called de Jantauie)-there
stood a sort of salon. On the paJe-colorcd wallpaper full of figures and bWt!i
shone a gas lamp. By its light, an old woman sat reading. They say she bas been
there alone for years,. and collects sets of teeth "in gold, in wax, and broken."
Since that day, moreover, .....e know where Doctor Miracle got the wax out of
which he fashioned Olympia.2 0 DoUs 0 [HI.I]

"The crowd throngs to dIe Passage Vivienne, where people never feel conspicu-
ous, and deserts the Passage Colbert, where they feel perhaps too conspicuous.
At. a certain point, an attempt was made to entice d\e crowd back by filling the
rotunda each evening with hanno nious mwic, which emanated invisibly from
the ·windows of a mezzanine. But the crowd came to put its nose in at the door
and did not enter, suspecting in this novelty a conspiracy against its custOins and
routine pleasures." Le Liv" del Ctn t-et-/lJ/~ vol. 10 (Paris, 1833), p. 58. Joifteen
years ago, a similar attl."tl1pt was made- likewise in vain- to boost the <Bcrlim
depamllent store W. WCrtheim. Concerts were given in the great arcade dtat ran
through it. (H 1,21

Neva· lruSt what writers say about their own writings. When lola undertook to
defend his 7? niJt Raquin against hostile clities. he explained tJlal his book was a
scientific study o r lhe temperaments. H is task had been to show, in an example,
 e:xactly how the sanguine and the nervo us temperaments aCI on one anothe:r-to
the detriment of each. But this explanation could 5.1.tisfy no one. Nor does it
explain Lhe admixture of colponage. the bloodthirstiness, the cinematic goriness
of t.he adion. Which- by no accident- takes place in an arcade.~ If this book
rcalJy expounds something scientifically, dlen it's the death of the Paris arcades,
the decay of a type of architecture. The book's atmosphere is Saturated with the
poisons of this process: its people drop like Bies. [H 1.3]
III 1893. llll' c()Coll cs ",'en' drivi!1I rrOm the arl:a,lcli. ~n , ')
Music seelllS to have settled into th('s(' spaces omy with their decline, only as the
orchestras thenlSeives began to seem old·fashioned in comparison to the new
mC'Chanical music. So that, in fact, these orchestras would just as soon have taken
rc:fuge there. [The ..theatrOphonc" in the arcades was, in certain respects, the
forerunner of the gramophone,) Nevertheless. there was music that confonned
to tlle spirit of the arcades-a panoramic music, such as can be heard today only
in old·fashioned genteel concerts like thost of the casino orchestra in Monte
Carlo: the panoramic compositions of <Felicien ~ David, for example-I.e Diur!,
ChriJtoph Colomb, H(1'(ulanum. When, in the 1860s (?), an Arab political delega·
tion came to Paris, the city was very proud to be able to mowll a perfonnance of
Le Dis(1't for them in the great Theatre de l'Opera (?). [HI ,5]
"Cineor ama!!. 1'he Gralul C lollt' Celeste: n h>igalltic sphere forty-six meters ill di-
ameter, ",·here yo u can hl'ar tiUl ",ulii,' of Sa ini -Saelll~ ." Jul,,!! Ciliretie. U I Vie Ii
I\!rij 1900 {l'uris, 19(11), p. 6 1. 0 DiQranlQ 0 [H I ,6]
Oflen these inner spaces harbor antiquated tradcs, and even those that are
thoroughly up to date will acquire in them something obsolete. They are the site
of infonnation bureaus and detective agencies, which there, in the gloomy light
of the u pper galleries, follow the trail of the past. 1n hairdressers' windows, you
can see the last women with long hair. TIley have richly undulating masses of
hair, which are "pennanent waves," petrified coiffures. TIley ought to dedicate
small votive plaques to those who made a special world of these buildings-to
Baudelaire and Odilon Redon, whose vcr)' name sounds like an all too well-
rumed ringlet. Instead, they have been betrayed a.nd sold, and the head of
Salome made into an ornam ent-if that which drcanlS of the console there belo w
is not the embalmed head of Anna Czyllak.' And while these things arc petrified.
the masonry of the walls above has become brittle. Brittle, tOO, are 0 Mirrors D
<See RI ,3.) (Hln, l]
f r
What is decisive in collccting is that the objcct is detached from all its o riginal
functions in order to enter into the closest conceivable relation to things of the
same kind . lllis relation is the dianletrie opposite of any utility. and falls into the
peculiar category of completeness. What is this "completeness''? It is a b'T3.nd
atlempl to overcome the wholly irrational character of the object's mere presence
at hand through irs integration into a new, expressly devised historical system :
the collection, And for the: true coUector, every single lhing in this system be·
comes an encyclopedia of all knowledge of the epoch, the landscape, the indus·
try, and the owner from which it comes. It is the deepest enchantment of the
colleeror to enclose the particular item within a magic circle, where, as a last
shudder runs through it (the shudder of being acquired), it rums to stone. Evtry.
thing remembered, everything thought, everything corucious becames sode,
frame, pedestal. seal of his possession. It must not be assumed that the collector.
in particular. would find anything stran~ in the tqpos "JJm'0uraniOJ-that place
beyond the: heavens which, fo r Plato,.s shelters the unchangeable archetypes of
things. H e loses himself, assuredly. But he has the strength to pull himself up
again by nothing more than a straw; and from out of the sea of fog that enve10ps
his senses rises the newly acqumd piece, like an island.-Collecting is a fonn of
practical memory, and of all the profane manifestations of "nearness" it is the
most binding. Thus, in a certain sense, the smallest act of politica1 re8cction
makes for an epoch in the antiques business. \'\t construct here an alarm clock
that rouses the kitsch of the previous century to "assembly!, [Hla,2]
Extinct narure : the shell shop in the arcades. In ;'The Pilot's Trials," Strindberg
tells of "an arcade with brightly lit shops." "Then he went on into the arcade.. , ,
That was evtry possible kind of shop, but DOt a soul w be seen, either behind or
before the counters. After a while he stopped in front of a big window in which
the:re was a whole display of shells. As the door was open, he went in. From Boor
to ceiling there were rows of shells of every kind. collected fro m all the seas of the
\\IOrld. No one was in, but there was a ring of tobacco smoke in the air.... So he
began his walk again, following the blue and white carpet. The passage wasn't
straight but winding, so that you could never see the end of it; and there were
nlways fresh shops there, but no people; and the shopkeepers wert: not to be
seen." The unfatbomabililY of the monbund arcades is a characteristic motif.
Strindberg, Miirc/le'l (Munich and Berlin, 1917), pp. 52-53, 59.' [Hla.3)
One must make one's way through LeJ FleurJ du mal with a sense for how thi.ngs
arc raised to allegory. The use of uppercase lettering should be foUowed carefully.
[Hh,4]
At th(' conclusion of MaHeu et mimoir(t l3crgson develops the idea that perception
is a function of time. If, let us say. we \\lCre to live vis·a·vis some things more
calmly and vis·a·vis others more rapidly, according to a different rhythm, there
would be nothing "subsisteDl" fol' llS, but instead everything would happen right
bc:fore our eyes: everything would strike us. But this is the way things are for die
bl"J'eat coUector. The)' strike him. How he hinlSelf pursues and encounters them,
what changes in the ensemble of items are effected by a newly supervening
1-1
item---.tU this shows him his affairs in constant flux. H ere, the Paris arcades art'
exalUined as though they were properties i.n the hand of a coUeaor. (At bottom,
w~_ may say. the coUeclor lives a piece of dream life. For in the dream, tOO, the
 rhythm of perception and expcri~ce is altered in such a way that c:vc:rythillg-
even the sccmingly most neutrnl-comes to strike us ; everything concerns us. In
order to understand the arcades from dle ground up. we sink them inLO the
dccpe:a stratum of the dream; ~ speak of them as though they had struck us.)
[HIa .5]
"\bur lmderstanding of allegory assumes proportions hitherto unknown to you;
= I will note, in pass ~g. that allegory-long an object of our scorn because of
maladroit painters, but in reality a most JpiriluaJ an fonn , o ne of the earliest and
most natural forms of poetry-resumes its legitimare dominion in a mind illUltU-
nmed by intoxication." Charles Baudelaire, I.es Paradis arlijicitb (Paris, 1917),
p. 73.' (On the basis of what follows, it cannot be do ubted that Baudelaire indeed
had allegory and not symbol in mind. The passage is t.'lken from the chapter on
hashish.) 1lte collector as allegorist. 0 Hashish 0 [H2 , I]
''The publication .ill 1864>of L 'lli3loire d e III societe!rum;aife pendant to RellO/lI -
rio1l 1'.1 SOlU I.e Direeloire opens the eru of the curio--and the word 'curin' . hould
IIot be taken us Pf!jurative. In tbose dUY", the historical curio was called a ' relic.'"
Itcmy de Gounllunt , J~ Dew:ieme Uvre des mruques (Paris, 1924), p. 259. This
pasRlIge concerns a work by Edmond anll Jlliea de Goncon rt . [H2.2]
The uue method of making things present is to represent them in our space (not
to represent ourselves in their space). (lbe collector does just this, and so does I-
the anecdo te.) Thus represented, the things allow no mediating construction
from out of "large contexts." The same method applies, in essence, to the consid-
eration of great things from the past-the cathedral of Chartres, the temple of
Paestum-when, that is, a favorable prospect presents itself: the method of re-
ceiving the things into o ur space. 'M: don't displace o ur being into theirs; they
step into o ur life. [H2.3]
Fundamentally a very odd fact- thaI collector's items as such were produced
industrially. Since when? It would be necessary to investigate the various fash·
ions that governed collecting in the nineteenth century. Characteristic of the
8iedernleier period (is this also the case in France?) is the mania for cups and
saucers. " Parents. children, friends, relatives, superiors. and subordinates make
their feelings known through cups and saucers. The cup is the preferred gift, the
most popular kind ofmckknack for a room.Just as Friedrich Wlihelm HI filled
his stUdy wid] pyramids of porcelain cups, the ordinary citizen collected, ill the
cups and saucers of his sideboard, the memory of the most important events, the
most precious ho urs, of his life." Max von Boehn, Dil' Moth im XIX. JaArhuTI-
(kr/, vol. 2 (Mun ich, 1907), p. L36. IHV I]
Possession and having are allied with the tactile, and stand in a certain opposition
to the o ptical. Collectors are beings with !anile instincts. Moreover, with dIe
recent nlI"n away from naturalism, the primacy of the optical that was det"enru-
nate for the previous century has come to an end. 0 FUneur DT he Ilaneur optical,
the collector tactile.' £H2,5]
Broken-down matter: the elevation of the commodity (0 the status of allegory.
Allegory and the fetish character of the commodity. [H2.6]
One m ay stan from the. fact that the true collector detaches the o bject from its
functionaJ relations. But that is hardJy an exhaustive: descriptio n of this remark·
able mode of behavior. For isn't this the foundation (to speak with Kant and
Schopenhauer) of that "disinterested" contemplation by vinue of which the col-
lector attains to an unequaled view of the object-a view which takes in Olore,
and other, than that of the profane owner and which we would do best to
compare to the gaze of the great physiognomist? But how his eye comes to rest
on the object is a matter elucidated much more sharply through another consid-
eration. It must be kept in mind that, for the collector, the world is present, and
ind«:d ordered, in each of his objectS. Ordered, hOl'l'eVer. according to a surpris-
ing and, for the profane understanding, incomprehensible connection . TIlls con-
nection stands to the customary ordering and schematizatio n of things something
as thcir arrangem~t in the dictionary stands to a natural arrangement. ~ need
only recall what importance a particuJar collector attaclu:s not o nly to his object
but also to its entire: past, whether this concerns the o rigin and obj«tive ebarac·
teristic.s of the thing or the details of its ostensibly external history: previous
owners, price of purchase, current vaJue, and so on . All of these-the "objective"
data together with the other-come together, for the true collector, in every
single one of his possessions, to form a whole magic encyclopedia, a world order,
whose outline is the fate of his object. Here, therefore, within this circwnscribed
field, we can understand how great physiognomists (and collectors are physiog-
nomists of the world of things) become interpreters of fate. It suffices to observe
JUSt one collector as he handles the items in his showcase. No sooner does he
hold them in his hand than he appears inspired by them and seems to look
through them into their distance, like an augur. (It wouJd be interesting to srudy
tI~e bibliophile as the only type of collector who has not completely withdrawn
his treasures from their functional context.) [H2,7 ; H2a, 1]
TIlt:. great collector Pachinger, \r\blfskehl's friend, has put together a collection
~t . in its array of proscnbed and damaged objectS. rivals the Figdor collection
~ Vienna. H e hardly knows any more how things stand in the world; explains to
~ visito rs- alongside the most antique implements- the usc of pocket handker-
chiefs. hand mirro rs, and the like. It is related of him that, one day, as he was
crossing the Stachus. he stooped to pick something up. Before him lay an object
h.e had been pursuing for weeks : a misprinted streetcar ticket that had been in
mcul.ation for only a few hours. [H2a,2)
An apology for the collector ought not to overlook tills invective : "Avarice and
old age, remarks Cui Parin. are always in coUusion . Widl individuals as with
 societies, the need to accumulate is one of the signs of approaching death. This is
confirmed in the acute stages of prcparalysis. There is also the mania for collec·
tion. known in ncurolob'Y as 'collcctionism.' I From the collection o f hairpins to
the cardboard box bearing the inscription: 'Small bits o f string are usdess.'" u;
&pt Pichi; rapitou.'I: (Paris, 1929), pp. 26-27 (Paul M orand , "L'Avaricc"). But .
compare collecting done by children! [H2a.3J
= " )11111not !Jure I lIhouM lIav,) been 110 thoroughly pO!J8eued by this one subject . but
fur I.hl" lIeapll of fllnta litie thing I had seen huddled together in the curiosity_
llealer 's warehouse. These . crowding 0 11 my mimi , in connection witJl the child ,
and galhering round her, as il wert. brought her condition palpably before me, I
had her image, without any effort of imagUlation , surrounded _nd besel by every-
Ihing Ihal was foreign to illl nalure, and farthest removed from the sympa thies or
her lIex lI11d ugc. U these helps 10 my fa llcy had all ~Il wanting, alld I had 1H:t'1i
forced to imagi ne her in II commoll chamber, with notilill!; unusual or IUlcuUlh iu
ill appearallce, it ill very prollable thlll I should have ht:en less impreued with her
strallge and solilury Slate. As il WII S, IIhe seemed to exist in a kind of allegory,"
CharlCI Dickenll, Ocr Rllritiitenladen (Leipzig, ed.lnsel), pp . 18--19.- [H 2a,4j
Wiesengrulld, ill all unpublished essay on The Old Curiosity ShOll . b y Dickenll:
"1'"ell's death i8 deddetl in the !lentence that readll: 'There wc ...~ some triftes
tht'.re--pnor ullt']ef!1O thing3-lhal she would have liked 10 lake away ; hUI that was
impossible.' ... Yet DickeDs n :cognized that the possibility of tra nsition aui! dia-
I ~ ti cal rt:fIC UC was inherent in tlUs world of things. tlLis lost , rej ecled world ; 8 1ul he
eXl'rt:'5scd it . belt,.r I.bao Romllntic nature-wo rlilLiII wall ever able to do. ill tlu:
powcrful allcgory or money IO'ilh wlLich the depiction of the industria l cily cods:
' . . • 110'0 old . baltered . s.nloke-encrusted penny pieces. Who knowl but they shone
as brigh tl y in the eyes of angels, as goMen gUll! Ihal huvfl been chronicled ou
tombs?, .. tO [H2a.5)
"'MOil t'nthusias ts lei thelllselvt'Nbe guided by chance in fonning their coUection .
like bibliophilcs ill their browl!ing .... 1\1 . Thiers has proceeded otherwise : before
aucmhling ItioJ l'oUa:tion. he formed it 11 8 II whole in ltis head; he laid oul hill plan
ill advance, allil he has ' IJelit thirty years executing it. ... M. Thiers p08Be8Se8
what he wllnted 10 possess . . .. And what was the point? To arrange arllllllli him-
~ df II Inilliutllrt' of the IIni ve rse--that ill, to gather, within an environment of dgh ty
~ qllure meter!!. Ilomtl und Florcllce, Pompeii _nd Venicc, Dresden and the Hague,
Ihe Vulil'un a nd Ihe E8corial , Ihe British Mllseum and lhe Hermitagc, the AlhulII'
lira IIlId the SlImmcr Pa lllcc. , .. Alill M. T hien has beell llLle to I'calize thii vast
"roj/·ct wilh ')Illy mOllelit expcIIliiture8 made each year o\'er a thirty-yeor I)C-
I·illd ... . St.-eking. in purticular. 10 utlllr n the wall.-; IJf his residence with the lIIost
pn:('iIHU; 8ou v" nirKof his "oyugcs. M . Thiers had rCllouetl "OpiCi mllde of the III UH I
fu muu ~ 1' lI illlin g~ . . .. And ~(I , un ent('rillg hill home, you lind yo urself illlllicilialdy
SIJI"rolilule,1 Ly 1IIIIIIIerl'i'!I'CII creat t.'tl in hul y {llIrin!; die ilge of Leo X. Tile wnll
r,will l: t.hc windowd i ~ occupied II)' Th e Lu, Judg ment . hllng betwt.-en The Dillpu,e
uf Ih e floly SlI crumelit nlloJ '/'lie SellOul of A,heflll . Titian', AUllnrptiotl adornil the
Il1 a nldpi cc~, m-Iwl!I!lI l'llf~ COllJllllllliQ/' of Sui/II Jerome II lId Tile l'rllfllf!lSlI rut;oll .
7'lr e MlidolllUJ oISai'" SiXllIlI lllukclI a pair with Sf,;nl. Chi la. ulul 011 the pilaster
lin' fl"amed dltl Sillyls of Hupt.:,,'I. IJI'IIO't."t'1I the Spoliufi.;iu and the I>ictllrt· rcpre-
.;;t' nLill ~ C""gory IX liI'livl'rilig the ,Icerclu l!! 10 a Ilclt·gate of the COIll,i.slory... .
These (·opies all hd ng reducf'd ill lI("cortialU..'C with the ~a llle 8f:ale, III" nearly 110 ••••
thl' rye discln"cr in Ihem. with JlI~il s ure. the I"t!lalive prupo rtiollil of the origillals.
They ar~ paitlll'1l in ...· a h'l·t~!llor.- · Clturle BlIIIIIJ, Le Cubiflet de M . Thien (Puris.
IBil ). pp. 11)...18. [H3,l j
" Casimir P":rier lIai,1 fJllI! dll Y, while vie....in" Ihe arl collection of an illustriuu.il
clll.husiast ... ; "Alllht.'Se paintillg8 are very prctt y-but they' re dOf'UlIlDl ta pi-
Iu''- ... T(l{lu)'• ... one could say tl) CMimir Peri ... r ... thai , .. paintings ... ,
...·hell Ihey a re illll.!c(laUlliclitic, that drawings, when recognizahly liy the hand of
a Inll ster .... ~ IC("I' a sleep Ihat is resto rative allll profitahle .... The, . , sale of
the cu riosities and paintillgs of Momicur It ... hUN J1roven in rOUlld figures Ihal
works of lIenius possess a VIII III' just II I solid 11 11 thc OrManll <Railroad Co.) and II
lillie mOI'e ~t.'Curc than howled wlI.l't.'1I01181-'8." Charies B1aIlC. Le l'rellQr de lu cu-
riusirl!. \ ' 01. 2 (Pllris. 1858), 1" 578. [H3 ,2]
TIle positiut countcrtype to th~ coUector-which also , insofar as it entails the
I liberation of things from the drudgery of being useful, represents the consumma·
tion of the collector-can be deduced from these ""Dreis of Marx: "Private prop-
erty has m ade us so stupid and inert that an object is our; only when we have it,
when it exists as capital for us, or when ... we we it." Karl Marx, Du hiIlorUcM
MalerioliImus, in Die Friiluchnflnl, ed. Landshul and M ayer (Leipzigd932»), vol.
1. p. 299 ("Nationalokonomie und Philosophie").'1 [H3a,II
"All the physica llllld ilitelll'(;luul >It!n&cs have ~II replaced hy the ~illlJlle aliena-
tiotl of allihelle !ll'IISI"8. the sense or IItw illS ' ... (On the c!a legory or ha vins , see
Hess in TU'ellty-O"e Sheeu)." Karl Marx . Der lJulIori.f('he Mnterialillmus
(Leipzig). vol . I, p. 300 (.. nt.illllllliikonumic. ullIl Pltiloiloplue "). I! [H3a,2j
-- 1 1'an , in p ract.ice. rdlltt· lIJ y~df humllllly 10 an ohjt.'1'1 only if Ihe objeci reillte8
iw·1f lttunun ly to ma n." Karl Murx , lJer M~'ori$c" e MtI' erin fismws (leipzig). voL
t , " . 30() (•• 'ati"nali.ikUllllluil' lIIlIl l'hi IOlwphie").IJ {H3a,3]
T he "oilecliulls \If Alexanth'" !III SOllllucranl in 1111' hllitiings IIf tllt1 Musel: Cluny.
{H3a,4J
rnlC quodlibet has somclhing of the genius o f both coll~cLDr and flaneur.
[H3a.5J
TIle collector actualizes latent archaic representations of property. 111ese repn::·
senrations may in fact be colmecl'cd with taboo, as the foUowing remark indio
 cates: uh ... is .. . cenain that taboo is the primiti~ form of propeny. At first
emotivcly and 'sincerely,' then as a routUIC legal procas, declaring something
taboo would have constituted a title. To appropriate to oneself an o bject is to
render it sacred and redoubtable to others; it is to make it 'participate' in o neself....
N. Gutcnnan and H . Lefebvre, La Co IIJrlrn(t: myJti/iit: (Paris. 1936), p. 228.
[H3a,6)
= PU S8.lIgei IIy Marx from "NalionaWkul1omie und PhilClsl)))hie-: "'Private property
has III~Hl e UA80 stulJilill lll1 illerl1hailUlllhject is Ullr~ lInly when WI" ho ve it:' " AU
the ph y~ ic ll l ll n d intellectual senses ... hllvt' been I'cpitu!<:tl by the ~im pl e aiil!nll.
lion lIf all theSe senlles. the seilS<: of IUlVing. ".1 Cilt!!1 ill Hugo Fi8eher. KarllUarx
lind sein Verllii/tnis:u Staot und IVirtsc/uift (Jella . 1.932), p . M. [H3a,7]
The Im CI!8tors !If Balthazo r Claes were coUl'etors. (H3a,8]
Models for Cuusin Puns: SOllllllerard, Suuvagcot. J acaze. [H3a,9]
The pbysiologica1side of collecting is imponant. In the analysis of this behavior,
it should not be overlooked that, with the nest·building of birds, collecting .c·
quires a clear bio logical function. There is apparently an indication to this effect
in Vasari's treatise on ardutecrure. Pavlov, 100, is supposed 10 ha~ occupied
himself with collecting. [H4 ,11
Vasari is s uppu ~cd 10 lul\' ~ maintained (ill his I.rcatille 011 architectu re?) that
tli.. lerm "grQIIlS<jue" cOlllet from thl' g roU.)C~ ill which collectors hoard their
treas ures. [H''>]
Collecting is a primal pheno menon of slUdy: the student collects knowledge.
[H',3]
In ducidating the rclalio n of medieval man to his affairs, Huizinga occasionally
adduces the literary genre of the " testament": "This literary fonn can be ...
appreciated o nly by someone who remembers that the people of the Middle Ages
were, in fact, accustomed to dispose of even the meanest [!] of their possessions
through a separate and detailed testament. A poor woman bequeathed her Sun-
day dress and cap to ber parish, her bed to her godchild, a fur 10 her nurse, her
everyday d ress to a beggar woman, and four pounds toumou (a sum which
COIlStituted her entire fonune), together with an additional d ress and cap, to the
Franciscan friars (Champion, Villoll, vol. 2. p. 182). Shouldn't we recognize here,
100, a quite trivial manifestation of the same cast of mind that sets up evay case
of virtue as an cternal example and sees ill e~ry customary practice a divinely
willed o rdinance?" J. Huizinga, H~rfJJt rUJ Mittelaftm (Munich, 1928), p. 346. "
What strikes one 1I10St about tills 1100ewortilY passage is that sllch a relation to
movables would perhaps no longer be possible in an ab'C of standardized mass
production. It would follow quite naturally rrom this to ask whether or not the
fomlS of argumentation to which the author alludes, and indeed cenajn forms of
Sc.holastic tho ught in general (appeal to hereditary authoritary), bclong together
with the forms of production. 'nle collector devdops a similar relations hip with
his objects, whicll arc enriched through his knowledge of their Origin and their
duration in histol'y-a rdationship that now secms archaic. [H4.4]
Perhaps the most deeply hidden motive of the person who collects can be de-
smbed this way: he takes up the struggle against dispersion, Right from the start,
the great collector is struck by the confusion, by the scatter. in wllich tile things of
the world arc found. It is the same spectacle that 50 preoccupied the mcn of the
Baroque; in particular, the 'world image of the allegorist cannot be explained
apart from the p35sionate, distraught concern ....ith this spectacle. TIle allegorist
is, as it were, the polar opposite of the collector. He has gi~n up the attempt to
elucidate things through research into their properties and relations. H e dis·
lodges things from their COntext and, rrom the outset, relies o n his profWldity to
illuminate their meaning. The COllector, by contrast, brings together what be·
longs together; by keeping in mind their affinjties and their succession in rime, he
call eventually furnish infonnation abOlll his objects. Neve.rthdess-and this is
more important than all the differences that may exist between them- in every
collector hides an allegorist, and in e~ry allegorist a collector. As far as the
collector is concerned. his collection is never complete; for let him discover just a
single piece missing, and everything he's collected remains a patchwork, which is
what things are for allegory from the beginning. On the other hand, the allego-
rlsl-for whom o bjects represent only keywords in a secret dictionary, which will
make known their meanings to the initiated-precisely the allegorist can never
have enough of things. With him, one thing is so little capable of taking the place
of another that no possible re8ection suffices to foresee what meaning his profun·
dity might lay claim to for each one of them.l • [H4a,l ]
Animals (birds, ants), children, and old men as collectors. (H4a,2]
A son of productive disorder is the canon of the mmoire inlJO/olllaire, as it is the
canon of the coUector. "And 1 had already lived long enough so that, for more
than one of tile human beings with whom I had come in contact, I found in
antipodal regions of my past memories another being to complete the picture. . ..
In much the same way, when an an lover is shown a panel of an altar screen, he
rc:m~mbers in what church. museum, and private coUectio n the other pands are.
dispersed Oikewise. he finall y succeeds. by following the catalogues of art sales or
fn:qucming antique shops, in finding the mate to the objecl he possesses and
tbereby completing tile pair, and so can reconstruct in his mind the predella and
tile entire altar)." Marcel Proust. Le TemjJJ r~trouui (Paris), vol. 2, p. 158.'r The
'~ imoire Vf1lolltair~. on the oth er hand, is a registry providing the object with a clas·
slficatory number behind whicll it disappears. "'So now we'~ been tllcrt:." r t've
had an cxpcl;ence.") How th(' scatter of allegoricaJ properties (the patchwork)
relates to this creative disorder is a question calling for furtllC' r study. [H5,J J
 I
[The Interior, The Trace]
" I.n 1830, RomanticiJlIll ....a8 gaining the upper hand in literature. It DOW im'aded
\ architecture and placarded house (stadel ,.,;!h a fanta stic ~ot hici8 m , one aU too
oft en made ofputeboa rd . II imposed iuelf on furniture making. ' AU of a sudden ,'
~ Uy M 8 rellOrter 011 the exhibition of 1834. ' there is boundless enthusiasm for
. trangely !lhaped furniture . From old chateaux. from furniture warenoUies and
junk shops, it has been dugged 0111 to embellish the saloos, which in every other
respect 8rc modern . . . . ' Feeling inll pired , furniture manufacturer! have Seen
prodigal with tbeir ' ogiye8"und machicolations.' You 8t..>e heds IInll armoires bri..
thllg with bUltlementt . like thirteenth-century citIUJelS ." E . Levasseur, <Hu toire
a
dCI ciallles ouvrieres et de l'irl(lustrre e n France, de 1789 1870 (Paris, 19(4).>
yol. 2. pp. 206-207 . [II ,I]
Apropos of a medieval armoire, this in~ting remark from Behne: "Movables
<furniture> quite clearly developed out of immovables <real estate>." The armoire
is compared to a "medieval fo rtress. Just as, in the lauer, a tiny dwelling space is
surrounded in ever-widening rings by walls, ramparts, and moats, fonning a
gigantic outwork, so the contents of the drawcrs and shelves in the almoin:. are
ovenvhelmed by a mighty o utwork." Adolf Behne, Neues Wollnerl-Neue.! Bauen
(Le;prig, 1927), pp. 59, 61-62. [11.2)
The imponance of m ovable property, as compared with inunovable property.
Here o ur task is slightly easier. Easier to blaze a way intO the heart of things
abolished or superseded, in o rder to decipher the contours of the banaJ as picture
puwe- in order to stan a concealed William leU from OUt of wooded entrails, or
in o rder to ~ able to answer the question, "Where is the bride in this picture?"
Picturt: puzzles, as schemata of dreamwork, were long ago discovered by psycho-
analysis. V*, however, with a similar conviction, are less on the trail of the psyche
than on the track of things. 1M! seek the totemic o-ce of objects within the thicket
of primal histOl),- The very last-the topmost-face o n the totem pole is that of
kitsch. [11,3)
The confrontation with furniture in Poe. Snuggle to awake from the coUective
dream. [Il .4)
How the interior defended itself against gaslight: "AlmOSt all uew houses have
gas today ; it bums in lhe inner courtyards and o n the stairs, though it does not
yet have free admission to the aparttuents. It has been allowed into the antecham-
ber and sometimes even into the dining room, but it is not \\-"CJcome in the
drawing TOODL 'W hy not? h fades the wallpaper, l1'1at is the only reason I have
run across. and it carries no weight at aU." Du Camp, Paris, vol. 5, p. 309.
[11 .5)
Hessel speaks of the "dreamy epoch of bad taste." Yes, ~ epoch ~ whoU ~
adapted to the dream. was.-fumiWed in dreams. 111e alternation in styles-
Gothic, Persian, Renaissance, and so on-signified : that over the interior of the
middle-class dining room spreads a banquet room of Cesare Borgia'S, or that OUt
of the bo udoir of the mistress a Gothic chapel arises. or that the master's study, in
its iridescence, is transfomled into the chamber of a Persian prince. The photo-
montage that fixes such images for US corresponds to the most primitive percep-
rual tenden cy of these gmera.~ns . Only gradually have the images amo ng
which they lived detached themselves and settled on signs, labels, posters, as the
figures of advertising. [11 ,6J
A series of lithographs from 1&:-, showed women reclining voluptuously on
ottomans in a draperied, crepuscular boudoir, and these: prints bore inscriptions:
On the Banks of Ihe 1izgtIJ, On the Banks ofthe Neva, On the &nks 0/the Seine, and
so forth. The Guadalquivir, the Rhone, the Rhine. the Aar, the Tamis-aU had
their rum. lbat a natio nal costume might have distinguished these: female figures
one from another may be safely doubted. It was up to the ligrnde, the caption
inscribed beneath thcm, to conjure a fannu y landscape over the represented
interiors. 111.7]
To render the image of those salons where the brazc was enveloped in billowing
cu,rtains ~d swoUen cushions , where. before the eyes of the guests, full-length
IIU1TOrs disclosed church doors and settees were gondolas upon which gaslight
from a vitreous globe shone down like the nloon. 11l,8J
" We hayc witll~lIsed the ullprcl.:edt'nted- nlurnagetl betwl"t'/l stylbi that ODe w{)uld
haye believetl eter nally irlt;()Illpatible: hilts of till- I<~i rilt Empire or the RClilorulion
Wbrn \o·it.b Louis XV jltcket!> , Directory-style gO Wn!i IJlIired with high- h~.I c<:llInkl c
bouts-and . still bellt·r. low-....ais ted coat.s wurn uYer Iligh-....aisled .Irl:~'":s:- Jnlm
(: ra ll.I-Cartcrl: t. Le,t EI;;lIfl11 CP.~ de III ,oileUe ( PariJt), p . );"i. [I la , I)
NIl IlIt:~ of tlifrcrcnt ty"c~ nf trllyc!illg car fnull the .'url), yell rs of the railroad :
11I-r!in (clu~ed IIml 1)1';-11). tlitigence. furllj~ht.·d '·"'Ic h . nnfllrnisllcd cOII(:h . 0 Iroll
CUlI.SlrUdiulI 0 11I 3,2J
··This yell.r, tl)O. IIJ1ri.lIg Ilrrh'ed t·llrlier uud nUJrc heu uliflllihull CYf'r, ~u il lu!, 10 IdJ
t he Irutil , ...... ,'olJd n u t riSluly re nwlIl l.er llll~ 1·);i~ I .... IIt'c .,r ....inlt-r in tl,,·se JUlrls. nor
 whether the fireplace was there (or any purpose other than supporting on its
manIC! the timepieces and cillUJelabru that lire known to ornament every room
here; for the true Pari,l;ian would l"1l1.her e at one (:Ollrse les8 per clay than forgo his
' mllllltlipiece arrangc menl. '" Lebende Bilder UIU dem nlodermm fur-is, " vols.
(Cologlle, 1863- 1866), vol. 2, p. 369 ("Ein klliserliehes Familienhild").
1lueshold magic. At the entrance to the skating rink, to the pub, to the tcruris
court, to resort locations: Pf:1lait:.J. The hen that lays the golden praline-cggs, the
machine that stamps our names on nameplates, slot machines, fortune telling
Under the bourgeoisie, cities as well as pieces of furniture retain the character of
fortifications, ';Ttll now, il was mefortified dry which constantly paralyzed tOwn
plaruling," Le Corbusier, Urv(misme (paris <1925». p. 249.~ [lIa,31
[lIa.3]
TIle ancient correspondence between house and cabinet acquires a new variant
through the insertion of glass roundels in cabinet doors. Since when? \\he these
also found in France? [Ila,gJ

- devices, and above all weighing devices (the Delphic gn6//ii seautcm1 of our day)-
these guard the threshold. OddJy, such machines don't flourish in the city, but
rather are a component of excursion sites, of beer gardens in the suburbs. And
when, in search of a link greenery, one heads for these places on a Sunday
afternoon, one is rurning as well to the mysterious thresholds. Of course, this
same magic prevails more covertly in the interior of the bourgeois dwelling.
Chairs beside an entrnnce, photogJjlphs Banking a doorway, are fallen household
deities, and the violence they must appease grips our hearts even today at each
ringing of the doorbell. Try, though. to withstand the violence. Alone in an
aparttnent. try not to bend to the insistent ringing. You will find it as difficult-as
an exorcism. Like aU magic substance, this too is once again reduced at some
point to sex-in pornography. Around 1830, Paris amused itself with obscene
lithos that featured sliding doors and windows. These were the Images diteJ Ii
porlu d ii/mitre5, by Numa Bassajet. [l1a,41
Concerning the dreamy and, ifpo!Jsihle, oriental interior: " Everyone here dreams
of inlltant fortune; e veryone aims to have. lit one stroke. what in pellceful and
indu8triOUH times would C08t a lifetime of effort. The creations of the poets are full
of sudden metumorpholles in domestic existence; they all rave about marquise!!
and princesses, about tbe prodigies of the Thoulland and One Nighu, It is an
opium trallce that has overspread the whole population , and indwtry is more to
blame for tlus than poetry, Industry was respons ible for the swindle in the Stock
ExcbllllgC. the ex ploitation of aU things made 10 serve artificial needs, and the .. .
dividend ll.·' Gutzkow, BrieffJ aWl Paru <Leipzig, 1842>, vol. I , p. 93, [Ila,51
TIle bourgeois pasha in the imagination of contemporaries: Eugene Sue. He had
a castle in Sologne. There, it was said, he kept a harem filled with women of
color. Mter his death, the legend arose that he had been poisoned by the Jesuits.'
[12,1]
GlItzkow re ports thai tile exhihitioll salolls were full of oriental scenes calculated
to arouse enthusillsm for Algiers . [12,2J
On the ideal of "distinction." "Everything tends toward the 8ourisil, toward the
curve, toward intricate cOIlVoluti·on. \>Vhat the reader does not perhaps gather at
fim sight, however, is that this manner of laying and arranging things also incor-
porates a setting apart---one that leads us back to the knight. I The c:upet in the
foreground lies at an angle, diagonally. The chairs are likewise arranged at an
angle, diagonally. Now, this could be a coincidence. But if we were to meet with
this propensity to situate objects at an angle and diagonally in all the dwellings of
all classes and social strata-as, in fact , we do-then it can be no coincidence. .. .
In the first place, arranging at an angle enforces a distinction-and this, once
more, in a quite literal sense. By the obliquity of its position, the object sets itself
off from the ensemble, as the carpet does here ... , But the deeper explanation for
all this is, again. the unconscious retention of a posture of struggle and defense./
In order to defend a piece of ground, I place myself expressly on the diagonal,
because then I have a free view on two sides. It is for this reason that the bastions
of a fortification arc constructed to fonn salient angles .... And doesn't the
carpet, in this position, recall such a bastion? ... IJust as the knight, suspecting
an attack, positions himself crosswise to guard both left and right, so the peace-

..•.
While art seeks out the intimllte view, . . . induslry mllrches to the fOl'c." Oc·
tave Mirhellu , in U FY5ureJ (1889). (See Encyclopedie d 'a rchitecture [1889]
) ~~
011 the exhihition of 1867. " These high galleries, kilome ters ill length , were of an
uflfleltiaLle grandeur. The lIoise of mac hinery filled them. And il s hould 1101 be
forgotten thai , whell this exhibition held its famou s gala s , gue~18 8tjIJ dru\'e up to
the felltil'itics in II conch-and -eight. As wa ~ u ~ lIal with rooms at this pe rioll. a t-
Ic ul pts were IIIlu.le---lhrlJugh furniture-like iJll1 tllllllti<JIIs-1CJ prettify these twe nty·
five-metcr-ltigh gaUt'ries alullu r.·lie ve the Ilusterity uf their Jellign . One tHood ill
fear uf line's own mlignihHlc.·' SigfrietJ Giedio n. Bauen i" Frtmkre.ich (Leipzig II.lId
Berliu , 1928>. 1). 43. [1101,71
loving bwgher, several centuries later, orders his art objects in such a way that
each one, if only by standing out from all the rest, has a wall and mOal surround-
ing it. He is mus truly a Spim viirger, a militant philistine." Adolf Behne, .Nmts
Wl)hl/~I-Nr IlI!5 Btllll!1l (Leipzig, 1927), pp. 45- 48. In elucidating this point, the
author remarks half-seliously: "The gcmlemen who could afford a villa wanted
to mark their higher standing. What easier way man by borrowing feudal fonns ,
knight.ly fonus ?" (ibid. , p. 42). More universal is Lukacs' remark tllat, from the
perspective of the philosophy of history. il is characteristic of the middle classes
that tbeir Ilew opponent, the proletariat, should have entered the arena at a
momcnt when tile old adversary. feudalism, was not yct vanquished. And they
will never quite have done with feudalism. [12.31
 Maurice Banes has characterized ProUSt as "a Persian poet in a concierge's box."
Could lhe fi rst, person to grapple with !.he enigma of the n.inclccmh-ccnlury
interior be anything else? (l1\C citation is in Jacques-Emile Blanche, Me; Modele;
[Paris. 19291 ?) ' 112.41
Anllounce me nt pul.lishcd ill tile ncw' p " lH:.f il; "'Notice .- Molis ie ur Wie rtz offcl"iIlO
pailll a picture free nf ~:h a rge (o r a ny lo \'ers of painting who , poll8csslng 811 uriginal
Rubelll or Raphael. wOllld like 10 p lace his work as II peudaJ'l1 beside til(: "" ork of
eilher of tll ~ masters," A. J. Wiertz . Oeuvre" lilterairef (Pariil , 1870). I" 335.
- 112.5]
Nhlcteenth-ccnrury domestic interior. The sp;u:e..d.is ~jtself=p~ o~ like an
~~g creature, the costumes of moods. The self·satis6ed burgher should knO;-
something of the feding that the ne.'C' room might have witnessed the coronation
of Charlemagne as .....'CUas the assassination of Henri Iv, the signing of the Treaty
of Verdun as well as the wedding af Otto and Theophano. In the end, thing! are
merely mannequins, and even the great moments of world history are only
costumes beneath which they exchange glances of complicity with nOlhingnes~
with the petty and the banal. Such nihilism is the innermost core of bourgeois
coziness-a mood that in hashish intoxication concentrates to satanic COntent·
ment, satanic knowing, satanic calm, indicating precisely to what extent the
nineteenth-ttntury interior is itself a stimulus to intoxication and dream. 1bis
moOa involves, furthermore , an aversion to the open air, the (so to spe · ra·
nian amlosphere, which throws a new light on the extravagant interior design of
the period. To live in these interiors was to havt woven a dense fabric about
oneself, to have secluded onest.lf within a spider's web, in whose toils world
events hang loosely suspended like-so many insect bodies sucked dry. From this
cavtm , one does not like to stir.J [12,6)
During my second experiment with hashish. Staircase in CharlotteJoeJ's studio.
I said: "A structure habitable only by wax figures. I could do so much with it
plastically; Piscator and company can just go pack. Y\buld be possible for me to
change the lighting scheme with tiny levers. I can tranSfonn the Goethe house
into the Covent Garden opera: can read from it the whole of world history. 1 see,
in this space, why I collect colportage images. Can see everything in this room-
the sons of Charles III and what you will."<i [12a. 1]
" Tlw 8c rrlltcd cullurs un!! puffed lil eeve~ ... ""h.ic:h wel'c mis tuke nl y Ilmuglllitl be
the gul'lJ of m e, jj t:y u ll uc li,~ s . " J II"OIJ raJke, Ceschichte des /IIQ(ierllflll GCSdH/I{U:k ,
( L;·j fl l.ig, 1866). p . 31~ 7 . [123,2)
"Silu;c tllr g1ill{·ring a rcudc" hUH' I"'t'll ,'ul through till' slrcets. tl u~ Pulllis. Hoyal
ha " d fc"li yd y 10 111 ,mt . SonIC wOlllll l ay: since thc timCIl haY l'. growu more virt uoU8.
Wha l ""l're o nce ~ m a ll ctJbilUu~ Imrli(: uiier. "f ill rellUle hU\'e no ..' br conm ~ "Ulki "g
room!! in eilffeeho UlIt:8 . EHclr ,·off,·!·hon!l-e III," II smoking room known U8 tile lli-
G ulzkow, Briefe {Ill.' Pur;., (Leipzig. IIH2). '0'01. 1, p. 226. 0 Ar uudes 0
, :£10 ."
[12a,3]
"The gn:ut Be rlin indLUlriul c",ILillitinfl ii full of imlJOsing R ~ n a i.U Hll ce rooms: even
Ihr as htrays ur~ i.1I untilluc lIyll'.. III I'. c tlrluins Ita ye to he IIl!curt'; d with halbe rdl.
cUltlll1t' huU 'IH' ye r ulrli ill windl)w ulld cabine t." 70 Jahre deuuche Mode ( 1925).
p. i2 . [12a.41
An observation from the year 1837. "In those days. the classical style reigned,
just as the rococo does today. With a stroke of its magic wand, fashion . ..
transformed the salon into an atrium, armchairs into curule seats, dresses with
trains intO tunics, drinking glasses into goblets, shoes intO buskins, and guitars
intO lyres.- Sophie Gay, D"" Salon d"" Friiulein Contt!l (in Europa: ClzruniA der
gr.biUkten Welt, ed. August Lewald, vol. 1 [Leipzig and Stuugan, 1837], p. 358).
Hence the following: ""What is the height of embarrassment?" "When you bring
a harp to a party and no one asks you to play it." 1bis piece of drollery, which
also illuminates a certain type of interior, probably datcs from the Hrst Empire.
[J2a,5)
!;As to Baudelaire's 'stage properties'-which were no doubt modeled on the
fashion in interior decoration of his day-they Dlight provide a useful lesson for
those elegruu ladies of the past twenty years, who used to pride themselves that
not a single 'false note' was to be found in their town houses. They would do well
to consider, when they contemplate the alleged purity of style which they have
achieved with such infinite uouble, that a man may be the greatest and most
artistic. of writers, yet describe nothing but beds with 'adjustable curtains' .. . •
ha1Is like conservatories . . . , beds filled with subtle scents. sofas deep as tombs,
whamots loaded with Bowers, lamps burning so brieBy .. . that the only light
COmes from the coal fire ." Marcel Proust, Clzroniqur.s (Paris <1927)), pp. 224-2251
(the titles of works cited are omitted). These remarks are important because they
make it possible to apply to tlle interior an antinomy formulated with regard to
museums and town planning- namely. to confront the new style with the mysti·
ca1·nihilistic expressive power of the traditional, the oI anriquated." Which of these
two a1tematives Proust would have chosen is revealed not only by this passage, it
may be added, but by the whole of his work (compare rr.nfimu'-"closed-up,"
~ mus [}'I') . [J2a,6]
Desideratum: the derivation of genre painting. What function did it serve in the
rOoms that had need of it? It was the last stage- harbinger of the fact that soon
these Spaces would no longer, in general, welcome pictures. "Genre painting. .. .
Conceived in this way, an could not fail to reson to the specialties so suited to the
m~rketp l acc: eacll artist wants to have his own specialty, from the pastiche of the
MJddle Ages to microscopic painting, from the routines of the bivouac to Paris
fashions, fium horses to dogs. Public taste in this regard does not discrlnU·
 nale.... 'The same pic.ture can be copied twenty times without uhauscing de-
mand and, as the vogue prescribes, each wdl-hpt drawing room wants to have
onc of these f'ashionable .fUrnishingJ." W ler-tt. Oe,IVW littiraire; <Paris, 1870>,
pp.527-528. [12 •. 71
Against the: armature of glass and iron., upholstery o ffers resistance with its
[e."(tiles. 113, 1)
O ne need only study with due exactirudc the physiognomy of the: homes of great
- collectors. Then one would have the key to the nineteenth-century interior. Just
as in the former case the objects gradually take possession of the residence, so in
the latter it is a piece o f furniture that would retrieve and assemble the sty~tic
traces of the centuries. 0 'Abrld of Things 0 [13,2)
Why does the glance intO an unknown window al~ys find a familr at a ,meal, or
e~ a solitary man, seated at a table under a hangmg lamp, occupIed wuh some
obscure niggling thing? Such a glance $ the germ cdl o f Kafka's work. [13,3]
The masquerade of styles, as it unfolds across the nineteenth «mury, resuhs
from the faa that relations of dominance become obscured, The holden of
- Wit'sengr ulld cites anti 001lllllent8 on a pU8suge from Ihe Dillry o/u Seducer-a
power in the bourgeoisie no longer necessarily exercise this po.....er in the places
where they li~ (as rentiers). and no longer in direct unmediated forms . The style
of their residences is their false immediacy. Economic alibi in space. Interior alibi
.
.Ul wne. ~~
"'The art would be to be able to fed homesick, even though one is at home.
Expertness in the use of illusion is required for this." Kierkegaard, Sijmtlit:~
'.Ver..t.!' <properly: G.!'SQlnm.!'it.!' Wer..tn. vol. 4 ~ena, 19 14), p. 12 <Stag.!'J 011 Life';
H-ap.' This is the Cannula for the interior. [13,5]
" 'nwllrdneu is thc hhltor ical prison of primordial human nature." Wiesengrulld.
Adorno , Ki4!rkegaCird (Tfihingen . 1933). p . 68.~ {13,ti]
Second Empire. "' It is this epoch thai lleeli the birth of the logical H)>eciaLization ~y
genus and lipecies thai still preva ils in most homes, li nd tha t r eserves oak aDd lio.hd
wa lnut for the dining room a mi 8tud y. gilded wood ond lacquers for the t1 ruwlIIg
room , marquetry olld ve neering for the lJec '· 1room ." Lo tlllI· Sono Ite , LoVie
porilielille l OU'"' Ie Second Empire (paris . 1929), p . 25 1. [13.7}
" WIIIII d omina led Ihis conception of fllrnis hiug. ill II mallner IlO pronouP('ed as 10
j'pil omi'tf" dIe wllole , WU I tiltltaste fur dra ped fuhricli . Mm ple hangingH, a lld the lI.rt
uf lIa rmoll i:r.ing them all in a vis ual t:lIscnlble.'· Luuis Sonnlet , Ln Vie parisie lltl e
~(l1U Ie Seco nd Empire ( I'arls, 1929). " . 253 . [13.8]
"The dra wing room!! of t.he 5(.-':011.1 Empire I'ontailled ... a piece of fu r niture (Iwtt!
rt:Crn tl y iU"('nted and lod ay completely j'xtinct : it. W ll~ the jiulleu.se. You IIDt on it
as tride. ,,·hile Icaning bst;k 0 11 uphoilltcrctl llrm- relltll 111111 enjoying II cigar." Louis
Snnulct . U . Vie pariJIie mte $Q/U Ie Secufld Empire ( Puis, 1929), p . 253. [13,9)
0 11 the " fili gr'!e of chimneys" u "fat a morgana" (If the inlerior; " Whoever raist:'!!
"hi eyes to the wi th Iheir irOIl rDiliugs tracing the upper edge of the long
IIOII SetOpS.
gray boule\'urd hlocks , dis('o\'cnJ the va riety and inexhll1l8tihility of lhe concel,t
'cbinule)'" In 1I11 11egrees of III:iglll, breadth , 11 1111 length , the s mokes tllcks rise fro m
their base iJl the eommOIl stolle flu es; they runge fro m simple day pipes. oftentimes
half- broken and s toolled with age . 11. 1111 those tin pipe!! wi tll Ral plate. or pointed
('a ps .... to revolviug chimney cowls urtfull y llerforu tctllike visor s or upen 011 one
side. with b izar re soot· hlat:kened metal fl a ps .... It ill dIe ... lender irony of the
une single form by whil·It llaris . .. halJ h t:t! 1l ahle to preser"e the fIIa gic of inti.
mucy.... So it iii as if the urba nc coexi ~ h!ll ce ... that is characteristic of this city
wcre to hI:: filet with aga in 11)1 there on tlte rooftops. " J oachim von U dmer&eo ,
" Parlser Kumine;' Frunk!urter Zeitung, Fe bruary 10. 1933. [13,101
IJassage tha t he i~o ns id t'.J'8 the key t o Kicrkcgaard's "entire llI~ u " re": " Environment
and t.ettill~ ~ till have a great infIucm.:c upon one; there is something ahout them
which s taml'lI itself finnl y a nd deeply in Ihe memory, or r ather 0l)))n the whole
l OW. and whicll is thcn"'fore never forgotten . However old I may hecome, il will
always be impossible for me to think of Cordelia unlid slIrroundi019' different from
thia Little room. Whell ) come 10 visit her, lite maid admiLl me to the h all ; Cordelia
herself comes ill from Iler room , arut , just as I open tlte door to eUler the [ivi.ng
roo m, s he OlleDI her door. /10 thai oW' eyes I Dect exacd y in Ihc d oorway. The Ihing
room is slllali . comforlaLle, Linle more than a I!8hinet. Ahhuugb I ha ve 1I0 W seen it
frolll lIIall Y different "iewpoinLl, the out' dea reHt to me is lilt' view from the !lora .
She sits there b y my side: in fro nt of liS sta nds 0 round tea lable. over which is
draped II rich ta blecloth . O n th t' ta ble s tands a lamp s haped like a fl ower, which
shoots lip vigorously to beu r iii crown , I,veI' which a deLicalely cut paper s hade
hangs down lIO lightl y that il ill never slill . The lamp'lI form rl'lIIindi olle of oriental
IIIUlla: the sh atl~'8 mO\'efllcnt . !If mild oril.'n lal li N;:e'te@ . The floor is conceuled by a
carpet woven frolll a cert.uin kind of o~ier. ,,·hich inum"tlilliely betray! its foreign
OrlgUl. For d ie mo mellt . ) II,t the lamp bero me the kl:Yllute of III)' landscape. ) am
' itting tlw rc with her outslrcld led 0 11 tlJ(' Hou r, 111111;,1' the la mp 's nuwl·ring. At
uthcr tilll u I lei the (lsil'r rug c\'oke Ih(lu gbt8 (If a shil'. of Ull officer's Cilhill- we
sail nut illltJ the middle of tlw grea t 111'1.'11.11 . WIlI'n ,,',' sit a l II distallci' rroni the
windl)w, wr gaze dircctl y illhl heU \'ell 'll \'U8t horizoll . . .. Cordelia 's r ll "ironment
mus t hllve uo fu reground . b ut onl y the infini te ImMll e~,; (If fa r hori'tolllO" (Gel/tlnl .
.,.
me/te ScJ.rifte ri <propel'I)' : Wc rk f' (J ell" . 19 11 I), ,,01 . I. mJ. 348...J4'J I f..'it lu:rIOr]).
It'seugr lUul remark,; " Jltiita8 c",lel'lIu l hi ~ t o ry is ' ,-ell" ell-II" ill iulCl'lIu l hilltor y.
~(' lI\hlull ce <Sclieill ) is ill Ihe imerictlr II p IU:C. KierkcguD rtl,w 1II0re ,lisCt' n ll'd lilt'
d enlent of IIcmhlunce in all IIIr.rely refl "o!l~W IIlIti rdiccl.illll: intrasu.(,jecti,·e reali ty
 tJmn he lIee8 lilrllugh the Ht:lllh'llnce of the spatial in Ule imQgtl of the interior. Bill
Iwre lu: i , expo ~cJ by the malenu!. . . . The contents of IIle inle rior are lII e~
decoratiOIl . II I.it:naleJ from the purpo8et1 lhey represent. deprived of thd e own use
\'ulue. engendered solely II)' t11 ~ isolated dweiliDg-S p IU~ . . . . The self is over-
whelmed ill iLS own domain by commodities and their historical euence. T ild e
sembla nce-churacter i8 hitlorically-ecoDomicaUy produced by the alienation of
IMlg from use value. Oul in the interior, thinp! do DOl n:main alien .... Foreil9l-
nl!!!8 tran, fonull it.self from alienated things into expreuion: mute thing!! speak Il'
'symbou. · Thl' uellering of things in the dwelling·space i. caUed ' UrriiDsement .'
- Historically illusory (GtJCAjdJ//jdl Jdt~inl/(ifle> objects are arranged in it I II the leDl-
LiQnee of ullchangeable nature. In the interior. archaic image unfolt! : the i nla~e of
the Rower a that of organic life; the image of the orient all IIpedfically the home.
land of ycarnillg: the image of the sea as thaI of eternity Haclf. For the &emblim ce
10 which the hiiloriCDI hour condt'Dins things is elernal."'t Theotlor Wieaengmnd-
Ado rno , Kierkegrwrd (Tubingcn , 1933), pp. 46-48 . 111 [13 ;II}
The bourgeois who came into ascendancy with Louis Philippe sets ston: by the
transformation of narure into the interior. In 1839, a ball is held at the British
embassy. Two hundred rose bushes'jlI"C ordered. "The garden," so runs~ eye-
witness account, "was covered by an awning and had the feci of a drawing room.
But what a d rawing room! The fragrant, well'Slocked Bower beds had turned
into eno rmous jardiniem , the graveled walks had disappean:d under sumptuous
carpets, and in place of the cast·iron benches we found sofas covered in damask
and silk; a round table held books and albwns. From a distance, the strains of an
orchestra drifted intO this colossal boudoir." [14,11
Fashion jounulis or the IJeriod containeil instructions for preserving bouque18 .
114.21
'"Like od alisque upon a i himmerint; bronze di van , the proud city Liea amid
11 0
warm , vine--clad hills in the lIerpentine valley of the Seine." Friedrich Enge:Lt, " Von
Pari! nach Bern," Die neue Zeil. 17, no. I (Stuttga rt , 1899). I'. 10. [14 ,3)
lbe difficulty in reBecting on dwelling: on the one hand, there is something
age-old-perhaps eternal-to be recognized here, the image o f that abode of the
human being in the maternal womb; on the other hand, this motif o f primal
history notwithstanding, we must understand dwelling in its m ost extreme fonn
as a condition of ninetcenth-cenrury existence. The original form of all d wdling
is existence not in Utc house but in the shell. The shell bears the impression o f its
occupant. In the most extreme instance, the dwelling becomes a shd!. The Trine-
teencll cenrury, like no other century, was addicted to dwelling. It conceived the
residence as a receptacle for the person, and it encased him with all his appune·
nances so deeply in the dwelling's i.nterior that one might be reminded o f the:
inside o f a compass case, when:: the instnunent with all its accessories lies embed-
ded in deep, usually violet folds of velvet. What d idn't the nineteenth cenrury
i.nvent some sort of casing for! fbcket watches, slippers, egg cups, thermometers,
playing cards- and, in licu of cases, there were jackets, carpets, wrappers, and
covers . The twentieth century. with its porosity and transparency, its tendency
toward the "ocU·lit and airy, has put an end to d\\oclling in the old sense. Set off
against the doU ho use: in the residence o f the master builder Solness are the
"homes for h wnan being:'l." 11 Jugendstil unsetded the world of the shel1 in a
radical way. Today this world has disap~d entirely, and dwelling has dimin·
ished: for the living, through hOld rooms; for the dead, through crt.m.atoriums.
11' ,' 1
~To dwell" as a transitive verb-as in the no tion of "indwelt spaces";'l herewith
an indication of the frenetic topicality concealed in habitual behavior. It has to do
with fashioning a shcU for ourselves. [14,51
" From under s Lltlie coral branchcs aDd bUl heli, they swam into view; from onder
every tKllle , ever y chair; fru m out of the drawerH of the oM-rashioned cabinets and
wardrobcs IhKt i tood ~;thin this lit range clubroom- in short , from ever y hand'a-
breadth cof bidi.ng which the spot Ilrovided to the smallest of fI sh , they suddeld y
canle to liCe alld showed themselves." Friedrich Ger stiicker, Die verlunkene Sladt
(Berlin : Neurel.J alld I-lenius, 1921 ), p. 46. [148,1)
From a review or Eugene Sue', Jui! erranl (Wandering Jew>. criticized ror various
reaso ns. including the d enigratiull or llie J C!luitli and tlle unmanageable abundance
ur charactcnl who do nothinlll but al>pear and dillappear: "A novel is not a place
olle punes through ; it is a place one inhabits." Paulin Limayrac, " Du Roman
actuel 1'.1 dc 111.1 11 ro mancienl," Revue des deux mondel, II . no. 3 (paris, 1845),
p. % I. [~~
On Literary Empire. Nel>ODlOcime Lemercier hrint;8 onlO the stage, under allegori-
cal names. the- Monar chy, the Church , thl" Aristoeraey, the Demagogues, the Em-
pire. the Police, Uteralun :, and the Coalition uf European powers. Hit arti.Htic
mearu : " the fan tastic a ppLieil t: mhleIll8ticall y." Hill maxim : "Alluliions are my
weapolIs; allegory, my hucld.·r." NI- ponlllcene Lemereier, Suile de '0
Panhy-
por:ril inde. ou Le Spec,,,cle i,l/erlml dll dix· nell viem.e sieck (Paris, 1832), PI). ix ,
vii . [14a,3]
Frmn tllt~ ··EXpOSl· I)reiimilluirc" to L.cmcn :ier 'lI LampClie et Dugllerrr!': " A short
prca mbl.· is IIl'r.c8~ ar y In inlrothu'c my u\uliellce to the cQDlpositional stra.legy uf
thi ~ 110e lll . w ho ~e ~ ubj ctjl i8 prui ~ ,' for the ,Iilll'overy Illude by the Wustriou8 ar tist
M. Ouguel....·; t],i~ iii, II di8CtlVcry f,If Clltllli illterest tu the Academ)' or Science and
the AClltlcmy of Fine Art~. ror it .:0l1e,·r118 the I ttltly £If liraw-iog liS much us the
$111'])' vr physics ... . 0 11 tl1I' ocrasion of such a n hOOlllge, I would Like 10 see a ncw
in vt:ntioll i.1l l}Qctry all plied lIItlli, cxtra.ordinary d iAcovery. We know thllt ancicnt
It, yth u l o~ .. , t:XIIJaincll IllIlUnl phcuomena b y lI)'mbolk beings, acli ve rt' J>re·
stntationlj .or th.· lIa rl.icular principici embodied in things . ... Modem imit ationl
 hllve . up 10 now. borrower! only the fomlll of duuicaJ 11Of:lry; I llIn endeavorin g 10
IIpproprill.te for II ~ the principle and the s ubs ta nce. TIl!' lenclc ut,y of the ve r~ifi erll
of o ur century ill 10 r!!duce the art of the mU~e!I til I'rllclicallilld trivia l re alities.
easily comprt!iJcl1sible by Ihe average pc>rson. ThiA is 1101 progrCI! Lilli dl..'Cudt'nce.
The ongiual c nlhllsiHll m of Iht' a nc ients. by contras t , tcndetllo elevate the human
intc Uigcllce hy initililing it into thosc ecrets of nalu re revealed by the e1cgantJy
ideal fahles .. , . It it not without encouragement that llay bare for you the foun -
d.tion ~ of my theory, which I have applied .. . 10 Newtonian pb.ilollophy in my
Allanliade. The lea rned geometer Lagrange has been so generous lUI 10 voice ap-
- proval of my IIltemp! 10 crea le for our modern muses tha t great rarit y: a tlI COSG-
I'hy . . . conforPiing to ac« ui red knoVt·ledge." NelK)P1uCene lA!me rdcr. Sur lu
Decouverte de I'ingenieux IJein ,re du diorama.: Setm r:e l}f1blique RtlllUelie de. cinq
ocademre:s de j elldi 2 mai 1839 (paris . 1839), pp. 2 1-23. [I4a.4]
On tht!- iUu8ionistic; painting of th .. J uste Milieu: 13 "'The painter must ... be 11 good
dramatis t , a gootl co!;ttuner. and a skillful dir«tor. . . . The publie ... is much
more inte rested in the ~ uhj ectthlln in the artistic (Iulllities. 'bn' t the most difficult
thing lhe hle nding of colors?-No, res ponds a connoiBBeur. it 's getting the fis h ',
scales right . Sli ch wa ll the idea of aesthetic creation a mong prOrellSOr8, lawyers,
dodo r8; evcrywllcJ'c one a dmired lhc miracle of trompe-l'oeil. AllY lIIi-;;rmally
s uccclIsrul imitation w!luld guruer praillc. '" GiIlela FrclUld . "L.a Pho togra phie du
point tie vue sociologit(ue" (Manuscript, p. 102). The quotation ill from Juletl
Breton , NOl IJeilllre! dll ,;ecie, p . 41. [15, 11
Plush-the material in which uaces are left especia1ly easily. [15,2]
Furthering the fa shion in knic kkllacu are the advances in metullurgy . .... hich has
iu o rigin ll in the First EUlpire. " During this period. grUUpll of cupidll ulld bacchan-
tell apl'eurt'4.l for the finltime .... Today. a rt owns a shop and dil! pluys the mar-
vels of iu crealionlf on shelves of gold or crystal , whereas io those tlaye
ma!ll erJ)i~es of s tatuary, reducell in preciJre I'rOI)ortio o , were soltl at u discount .
The Thr f'f! Cruce, of Canova fOUlld 11 place ill the boudoir, while the lJ(l cchanlU
ami t he f 'ul/n of Pradier hud Ihe honors of the bridal c bamlJer." Ellouurd Fou-
caud, Pnru ;nL'en,eur: PI'),! iologie de l'indlt~ lriefra'It;(lile ( Parill , 1841). PI" 196-
197 . (15,3]
" Thi! lIcic nct. of the pus ter ... ha s atiainclllhat rare degree of pcrf" cti(lll a t which
s kill turlill into art . And hcn' I am 1101 spcaking IIf lhose extraordimLl'y placards
• • • Oil whkh e"l'~rl s ill l:uUigraphy .. underl llkc to r cpl'll>M!lI t Nllpull:oll 011
ho rsebac k by tUl iuSt'oious "<.JIllbinal:ion (If (jllell in which the cou nc of hill histury
iii sinmit ullI'ollsl)' IUlnule" a lld d epicted . No. ( s hall confinc mYl!elf to ordinary
1111810'1')1. Ju ~ 1 wt.oe how fa r liu;se have ilct'll uiJIe to (lus h tim dmIU"lIc," of tYilO'
gru"h y. the ~Ct lli eli oll'" of lhe \·iglw lIe. the fu ~c ina tinnll IIf color, by IIs ing lilt' lIIost
\'arictl ami h r iUillnlllf huell 10 le nd pe rfulious s upport to the rU le" of tJ,~ publill h-
ers!" Victor Fuurtu:I, Ce (Ill 'Q " lJail (Ifill! Ie, rile, de Paris ( Paris, 1858), pp . 293-
29'l (" ElllleigIlCll l't u(fi (' ht'~'·). [15.4]
Interior of Mplll)lllltl Karr'! u"artlllt~lIt : " Ue liyes like /10 o ne d se. These days he',
,JI\ the 5ix th or seventh Boor ubove the Rue Vivie nne. The Rue Vivienne for a n
a rtisl! His Hpprtlllt:nt is hung in blac k : he hal windowpanes of viole t or white
fl'osLed glass. He has ne ither tahle. nur c hairs (at IIImt, a lI.ingie c hair for exceli-
tio nal \'is itors), alltlll!! s l~ p' on a divan- fully dresutl , I'm told. He lives like a
Turk. o n cus hions. und writes lIitting 011 the floor.... His walls are decorated with
\.prious o ltl th illS!! ' .. ; C hinese valleS, d eatll · heads. fencer'~ foils , and tobacco
pipes orllPme nt e\'e r y corner. For u servant , he h al a mulatto .... hom he outfits in
~I. arlet from head to loe.- Jules Lecomte, Let l..ettre! (Ie "an Engefsom, ed. Al-
me ras ( Paris , 1925). pp. (»-&1. (IS,S]
From Daumier'OJ CroquiJ Wi! au 5(1/011 (Sketches Made at the Salon). A solitary
art-love r illdicaling a pict ure 011 which two miser a ble poplars are represented in a
fl a t IUlidscape: " W hat society could be a & d egcne rate and corrupt a s ours? .. •
E\'eryon tl looks at pictu res of more or leS8 mons trou s scenes, hUI 110 one 810pS
hefore Ull image of hea utiful ulIII pure nature ." (15a,11
00 tlle occasion of u mllrtler cale in 1..!.IIllion wlLich turned on the discovery of a
suck cOllta ining the victim 's body pa ris. together with remnanu or clothing; from
the laller, the police were able to draw ct::rtllin conclus ionll. " 'So man y things in a
minuet! ' a celebruted dancer u.!letl to say. So many things in ao overcoal !-when
circumstullceB and men make it spellk. You will s uy it 's a bit much to expect II
person, each timo! i1e ac«uire1ll1 topcout, to cons ide r that oo eday it may lIerve him
a s a windinfj s li.:et. 1 admit that my suppositio ns a.r e lIat exactly rose-colored. But,
I rel~at , . . . the week' e \'enUl have been d o leful ." 11 . de Pene, Paris intime
(paris. 1859) . I). 236. [I5a,2)
Furniture lit the time IIf the Resturation : ·'sofa s. divll1l8, oltomalls, love scali,
rt.':t.'linc n. settees." J lu!tlues Rubit(uet . t 'Ar, el Ie gou, SOUl la Rest(luratlon ( Paris ,
1928), p . 202. (1511,3]
" W" have IIlreally said ... thutllUllia nit y is rcgrcssing to the s tate of cave dwelle r,
awl so 'm- bllt thllt it is rcgrcu ing in 1111 estra ngetl. malignalll form. The savage in
h is cavl: . . . ft'('ls .. . at IW IlIi' thcre .. . . But tlli' hu ~enll"lIt apartnulIlt of the "oor
man is it h c,stilo! tlv.'dli n g, . a n ulif' lI . re8 1ruiniJIg powl"r, which gives itself up to hjPl
'lilly illsofa l' as he givt·g up III it Ilis IJlood a nd swelll.' S li ch u dwelling call ne ve r feel
tiki' hOlllP , a place whe re he miglll li l la,;! exl'laim, ' Here I am at hUlue!' Ins tead ,
til<' 1,I>or mllll iilltill hilllllelf ill 801llCi) ne d sr 's home, , ' . SlImCOlle wllO dail y lie' in
wait fur hilll a nd lilruws hilll 0111 if hc d ocs 1101 pay his relit. H e is aho awartl of the
contrast in tlllaHt y IJdv.'eell his .Iwelling 111111 a illlmall dwelling-a reside nce in that
o lher ....orld , the he ave n of wealth:' Karl Ma r x. Del' l,i! ' oriM!h e Muleriulunllt.J,
 I~. wnd8hut and Maye r (Leipzig c1932» . vol. I , I" 325 ("Na tio llulOkuDomie und
Pltiloi ollilic " ). I I [ISa,4J
Valery on Poco Ile ulllie rlill el! the Ameri ca n wrill; r '8 incomparable ilillight into the
cOlulitjon s and eJfeeu of literary work in general: " Wha t di stinguishell a trul y
gem:ral phe nome non ill ils fertilit y. . . . It is therefore not lIurprillin g that Poe,
posscl!8ingllo effective and lI ure a method , became the inventor of IIcvt!ra.1different
lill!ra ry Corms-that he provided the fi"! .. . eumpleB of the licienlific tale. the
modern cosmogcmic poem, the delective novel , the lite"lIture of morbid psycho--
- logical 81ates. " Valery, " Introd uction" ,o Baudelaire. Le, Fleur. du rrwl <Paris,
1926~ , p . XX . I~ [15a.5]
In the following description of a Parisian salon, Gautier gives drastic expression
to the integration of the individual into the interior: "The eye, entranced. is led to
the groups of ladies who, Buttering their fans, lislen [0 the talkers half-reclining.
Their eyes are sparkling like diamonds ; their shoulders giistOl like satin; and
their lips open up like flowers ." (Artificial things come forth!) Paris e! les ParisitnJ
aux XIX' sieck (Paris, 1856), p. iv (fheophile Gautier, "Introduction") . [16,1]
./
Balzac's interior decorating in the rnther ill-fated property Les Ja.rdies: '~ "1his
house ... was one of the romances on which M . de Balzac worked hardest
during his life, but he was never able to finish it ... . 'On these patient walls,' as
M. Gozlan has said, ' there were charcoal inscripriol1.'l to this effect: "Here a facing
in Parian marble"; " H ere a cedar stylobate"; "H ere a ceiling painted by Eug6le
De1aooix"; "H ere a fireplace in cipolin marble."'" Alfred Neuemellt, Histoire dt
la liltiratuft ftanraist sous Ie tpUlImIC1Itnt de juille! (Paris. 1859), vol. 2, pp. 266-
26Z [16,2[
Devdopmem of "The Interior" chapter: entry of me prop into film, [16,3]
E. R. Cumus cites the following passage from Balzac's Petits &urgeois: "'lbe
hideous unbridled speculation that lowers, year by year, the height of the ceilings,
that fits a whole apartment into the space formerly occupied by a d rawing room
and declares war on the garden, will not fail to have an influence on Parisian
morals. Soon it will become necessary to live more outside the house than within
it." Ellls t Roben Curtius. Baluu: (Bonn, 1923), p. 28. Increasing importance of
the streets, for various reasons. [16.4]
Perhaps there is a connection becween the shrinking of residential space and the
elaborate furnishing of the interior. Regarding the first, Balzac makes some telling
obsc.rvatlons: "'Small pictures alone are in demand because large ones can no
longer be hung. Soon it will be a fomudable problem to house o ne's library. ...
One can nO longer find space for provisions of any son. Hence. o ne buys things
that are not calculated to wear wdl. I"n le shirts and the books \von)t last, so there
you are. TIle durability of products is disappearing on all sides!" Ernst Robert
Curtius, & Iuu (Bonn, 1923), pp. 28- 29. [16,5)
" Sunsl:tlj I:ul their glowing colorll on the WIIU S of !lining room and drawing room ,
filtering 80flly throllgll lovely hanginS'! or intriCllte high will/lows with lIIullioned
panes. All the furniture is immense , fant astic, stra nge, armed wilh locks and
secret!! like aU civilizet.l ~oub . Mirrorli , metals, fabrica, pottery, and wur ks of the
goldsmith 's arl playa Dlilte mYlIterious sYfnpbony for the eye." Charles Baude-
Illire, Le Spleen de Puri-!, ell. R. Simon (Puris), p . 27 (" L' lnvilation all voyage" )Y
[16a, I)
Etymology of the worll " comfort ." " I.n English, it uSt:d ttl mean coruomtion ('Com-
rorter' is the epithet applielilo the I:loly Spirit). T heil the .IIeose became , instead,
welt-being . Today. in allia ngliages of the world , the word de~igna t e8 nothing more
than ratiollal convenience." Wlallimir WeilDe , Lei Abeilles d 'Ari.uee (Pari.
d936)). p. 175 ("L' Agonie de I' a rt"). [16a,2]
" T he arlist' midUlelteB . . . no longer occupy room!; r ather , they live in studiot.
(More a nd Dlore, yo u hear ever y place of habitation called a '9tudio.' 89 if people
were mure and more bei:orning arti.llli or students.)" Henri Polli:t;, " L 'Art du com-
merce," Vendredi. February l 2, 1937 . [16a,3]
Multiplication of traces through the modem administrative appararus. Balzac
draws attention to this : "Do your utmost, hapless Frenchwomen, to remain
unknown, to weave the very least little romance in the midst of a civilization
which takes note, on public squares, of the hour when every hackney cab comes
and goes; which COWlts every Jetter and Slamps them twice, at the exaCt time they
are posted and at the time they are delivered; which numbers the houses .. . j
which ere lo ng will have every acre of land, down to the smallest ho ldings .. • ,
laid down on the broad sheets of a survey-a giant's task, by command of a
giant." Balzac. Modestt Mig1IDn,'· cited in Regis Messac, u
"Detective NolJt:l" (tt
I'injiuenu tk la peruie sO'OI/ifiqun (Paris, 1929), p. 46 1. [16a,4-]
" Victor Hugo works standing up, ami, since he cannot find a 9u.itable antique to
Serve as his desk, be writes on a stack of 8tools anillargc books which i5 cuvered
....itll a C8Q>et . It is 0 11 the Bible. it i9 on the Nuremher g Chronicles, that the poet
leauli Il.nd s pread! his Ila per! ' Lo uill Ulh ach. Les Contemporains (Paris. 1833),
~!itcd ill Raymo nd Escllolit'r. Victor Hugo rucoflf e par ceux qui r Ollt vu (Puris .
193 1), p . 352 . (17,1]
Tbe Louis Philippe style: "The belly overspreads everything, even the time-
pieces." [17,2)
There is an apocal)'ptic interior- a complement, as it were, of the bourgeois
interior at Dlidcentury. It is to be found with Victor Hugo. H e writes of spiritual·
 istic manifestations : "J have been checked for a moment in my miserable hwnan
amotlr-jJr0pl'e. by ~ctua1 revelation. coming to throw around my littJc miner's lamp
a streak. of IIghtmng and of meteor." [n u.s C07ltnnp/atio1lJ, he writes :
* listen (o r any sounw in th~ dism.a.l emp'y spaces;
Wandering through the shadows, we listen 10 the brea th
'Olal makes the darkncn shudder;
And now and then, lost in unfathomable nights,
W: sce lit up by mighty lights
TIl(: window of eternity.
- (Cited in Claudius GrillCl, Vu/or Hugo spin'le <Lyons and Paris, 1929~ , pp. 52,
22.) ( 17~1
1.A,ldsi " v a round 1860: '''The apa rlrllenl ... was situated on the Rue d ' Anjou . It
~'a l decorated ... wi th ca q H!llI . door curta ins , fringed valances. double dra ~ r_
le8, 80 thai YOII wtJuld think the Stone Age ha d been succeeded by an Age of
Hangings." umisc W(' i ~8. Souuenir., d'lI m! e"fan ce repuMicaine (Paris (1937),
' I'
p, - -.
The relation of the Jugendstil interior to its predecessors comes down to the fact
that the bourgeois conceals his alibi in history with a still more remOte ali..bi in
natural history (specifically in the reahn of plants). [17.5)
Th: ~tuis, dust covers, sheaths with which the bourgeoi.'i howdlOld of the pre·
cedmg century encased its utensils wue so many measures taken to cap~ and
preserve lmees.
On the history of the domestic interior. The residential charnaer of the rooms in
the early faaories, though disconcerting and inexpedient, adds this homely
touch : that within th~ spaces one can imagine the faaory owner as a quaint
figurine in a landscape of machines. c:m:arning not only of his own but of their
future greatness. With the dissociation of the proprietor from the workplace, this
charnaeristic of factory buildinS! disappears. Capital alienates the employer, too,
from his means of production, and the dream of their futuTc: greatness is finished.
TIl.is alienation process culminates in the emergence of the private home.
(11 ••1)
" During Ihe fi n l tlccadc8 of the nineteenth ct"ntury. furnilUre a nd the objects that
~ UI' r()U lltl cd U8 for IIlle {I ud pleasure WCft~ relatively Bimple and d ura!,I.:, anti li e--
t;lI nlcd with the lIt!clls IIf lloth tlu~ lower and the upper strahl. This rCHuitecl in
I>c o)lll"', attachment, 11 8 they grew up , to th ~ objccts ofthcir l! ulToulltlings . . .. The
diffcrcntiation of objects has b roken down this 8ilua lioll i.1l thrt.-e differelll
"""Yi! . . . _ Firs t . thc , hcer rlUlilitity of \'I!r y $Jlccificall y formed o bj ~t>l makc a 1·lolie
... rd lol tionll l!ip lu "ad! of thcm " !(Ire diffi.:ult . . . . 1'lIi&is expres~ecl ... in lin'
l"III ~"wift!'i! ...ulII'h.i nt tha t the ta re of 1.111' IlO usehol.l J.wcOIlICII ct!rcmoniLlI fctillh·
is m .... Thi ~ COlu:tU'rcnl lliff,!relltin ti(ll1 has Lhe sa me cfft~ t 1111 consecutive. differ -
clltiatiun . Changel in fllShioll tli8ruJlI d lln ... prooeu of . . . 1Il!lIin!i1atiol1 hetwCt:n
subjcct and obj ecl. ... [In the third place. ther e is] the nlUltitude of l!Iylefi l hat
crm frn ntHuS when we vicw lile oLjccu that ~ urro und 11&." Georg Simmf"l . Philo, o_
pllie tie l Gelde~ (Lc:ip7.iS. 19(0) . pp. 49 1-494. IQ [17a.2]
On the theory of the trace. To "the Harbor-Ma.o;ter, . .. [as] a son of . .. deputy-
Nepnme for the circumambient seas, ... I was, in common with the other sea-
men of the port. merely a subject for official writing, 6lling up of fonus with all
the artificial superiority of a man of pen and ink to the men who grapple with
realities outside the consecrated walls of official buildings. What ghosts we must
rove been to him! Mere symbols to juggle with in books and heavy registen,
without brains and muscles and perplexities ; something hardly useful and decid-
edly inIerior."J 05eph Coruad, Die &Jw.ttenlinie (Berlin <l926» , p. 51.29 (Compan::
with the Rousseau passage <cited belOW).) [17a,3]
On the theory of the trace. Practice is eliminated from the productive pI'OCOS by
machinery. In the process of administration, something analogous occurs with
[17,4]
heigbtened organization. Knowledge of human nature, such as the senior em·
ployee could acquire through practice, ceases to be decisive. TIm can be seen
when one compares Conrad's observations in "The Shadow·Line" with a pas·
sagt from w Cq,ifiJJioTIJ. [18,1)
On the theory of the trace : administration in the eighteenth century. As secretary
to the French embassy in Venice, Rousseau had abolished the tax on passports
[17,6] for the French. "As soon as the news got around that I had reformed the passport
tax, my only applicants were crowds of pretended Frenchmen who claimed in
abominable acttnts to be either from Provence, Picardy. or Burgundy. As I have
a fairly good ear, I was not easily fooled , and I doubt whether a single Italian
cheated me out of my JequiTl, or a single Frenchmen paid it." Jean:Jacques Rous·
seau, fA ConfiSJionJ. ed. Hilsum (Pam <1931». vol. 2, p. l3Z'l [18.2)
8audelaire. in the introduction to hill tranillation of Poe'!; " Philosophy of Furni-
tu re ," which originaUy a ppeared in October 1852 in Le Magtuin des familkl :
" Who among U ll. in hill idle hours, ha, not taken a delicious pleasure in cons truct-
ing Cor rumw lf a model apartment , a drellm b ou~e, a house of dreams?" Cha rlel
8 auddoire, Oellvres COm/Jlele! . ed . Crepel . UiJtoire! g rotesqlles et ! eriellses par
P'M ()luria, 193i ), p. 3M. {lS.S]
J
[Baudelaire]

For it pleases me, all for your sake, to row

My own oars here on my own sea,
And to soar h~venward by a suan~ avenue,
Singing you the unsung praises a rOeath.
- Pierre RoruaM, ~Hynme de la Mort," A lAv:yJ tkJ M aJlln'.f !

" Baudelaire', problem ... must have . .. posed itself in thesc terms: ' How to he a
great poet , but neither a Lamartine nor D Hugo nor a Mussel. ' I do not say that
tllese words were consciously Ca nnulated, but they must have been latent in
Baudelaire's mind ; they even constituted what was the essential Ba udelaire. They
were his rauon d 'etat . .. . B a udelai re co ~8 ide red Victor Hugo; and it is not impos-
sible to imagine wha t he thought orrum .... E\'erything that might scandalize. and
thereb y instruct and guide a pitileu young observer in the way of his own fulure
arl , ... Baudelaire must h ave recorded ill h.is mind , distinguishing the admira tion
forced upon him by Hugo's wonderful gifts from the impurities, the impru-
dences , . . . that is to say, the chances for life and fame that so grelll an artist left
behind him to he peaned ." Paul Valery, Introduction (Cha rles Baudelaire, LeJ
Fle urJ du mal, with aD introd uction b y Paul Valer y [ Pa ris <l926> J, pp . x, xii , xiv).:
Prohlem oCthe p oncif·l (J I ,I]

"ror a few yean hefore the Revolution of 1848 , everyone is hesita ting betweell a
pure arl and a social art, and il is only wen lifter 1852 that l'urt p ourrart gaills the
upper h and ." C. L. de I...iefd e, Le Sa int,-SimoniJme da m la p oe5ie jran{a iJe etl!re Charles Baudelaire, 1855. Photo by Nadar. Mus~e d'Orsay, Paris ; photo copyrigh t
O RM N.
1825 eU 865 <Haa rlem, 1927), p. 180. (J 1,2J

Leconte d e Lisle, in the preCace to his Poome! et pOe!ie5 of 1855: " The hymns a nd
odell inspired by steam power and electric telegraphy leave me cold ." Cited in
C. L. de LieJde. Le Sa inl-SimoniJme dan! k. poeJie jram;aiJe entre 1825 et 1865,
p . 179. [J I,3]
Baudelaire's " Lee Bonncs Soc-ura"' <The Killd Sisten > may he cOlllpa red with the
Sainl-Simollian poem " La Rue" <The Sireeb, by Savinien Lapointe , shoema ker.
T ile lalter is c;m cerned ollly wilh prostitution and, at the elld , evokes memories of
the youth of the faUen yo ung women :
Oh! Do not _ k 10 know aU Ihat debauchery doe..
To withe r the Ro wen a nd TlI OW theOl down ;
III i t ~ wo rkin!!:. it is pre mat u re a t delll.h
And will m a ke yo u old de81li te your ei!!:llIttn year,.

'b vO! "ity on IllIlm! Pity!
Wh~n on the corn~r you ~ h ouM knod c against them,
Their anSelie racet b. thed in the glow or good reea liM .
Olinde I{oclriguell, Poesies sociakl du Qu vriers (Paris. 1841 ). I>p. 20 1, 203.
(]1.4]
Dalel. Oaucle.lairc'M fl n liclter to Wagner : February 17, 1860. Wagn~r's conceru
in Paris: "~ebru ary I and 8, 1860. Paris premiere of Ta nnha u.ser: Man h 13. 1861.
When was Daudelairt:'s artide in Lo RevlU europeenne?' (Jl ,51
Baudelaire planned "an enormous work on the peintres des moellrs cpainter . of
manners>." CrelJet, in thi8 connection , cites his statement : " lnlagee--nI Ygreat . my
I)rimitive passion .") J acqucM Cnipet . "Mieucil baudelairiennel." Mercure de
France, 46th year, vol. 262 , no. 894, pp . 53 1- 532 . [J I ,6]
'"Baudelaire .. . can ~ till write. in 1852 , in the. preface to Olll>0nt 'li Charuom: 'Art
was ther eafter insep arable from morality and utility.' And he speab there of the
' puerile Utopia of the ijchool of art for art i ~ ake . 'fi . .. Nevertheless. hc changes
his mind 800n after 1.852 . Tlus conception of social art may perhaps be explained
by his youthful relations. Duponl was his friend at the moment when Baudelaire,
'alnm81 fanalically repul)lican under the monarchy,' was meditating a realistic
aod communicatory flOCtry." C. L. de Liefd e. Le Sa int.-Simonilme dlm.s lCl poesit!
frtlnr;Clue entre 1825 ~ t 1865 (Haarlem. 1921>, p. liS. [Jla, l]
Baudelaire soon forgot the February Revolution. ; Telling evidence of tlus fa ct ba8
been IluhLished b y J acque, Cripel , in ".Mieu es baodelairieunes" (Baodelairean
Morsels> (Mercure de F'rance. vol. 262, no. 894, I)' 525), in the form of a review of
tbe Hu toire de NeuiUy et de Ie. chateaux, by the abbe BeUanger, a r eview which
Baudelaire probably compo&ed at the request of his friend the lawyer An celle, and
wbich a t the lime pres umably apl>cared in the preu. Tbere Baudelaire llpeab of
the bi&tory ofthe place " from Roman times 10 the terriLle days of February, when
the chi teau was the theater lIocl 'puil of the most ignoble passion!!. of orgy and
destruction:' [Jla,2]
Nada r de8crilw, thl" outfit worn by Baudelaire. who is encountered ill the viciuit y
of I.il'l residence (or 1843-1845), the Hotel Pimodnn . "' Black tro llsen .Irawn well
ahove his polished booU!; a blue workman 's blouse,sliff ill its new rulds; hill hlallk
h air. naturaUy curl y, WOril long-his only t oiffure; bright linen , stric:tl y wilhout
starch ; II raint moustache onder hi ~ !lose and a bil of beard 0 11 his chill ; ruse-col-
orei:1 gloves. Iluite lIew.. . . Thus arrayed a nd ha lless, Baudelaire walkell ahout
his (1lUlrlier of tlw cily al 1111 oneven Ilace, both nervous and languill. like a cat .
chlK'ling t'tlC' h stone of I_he lIavemenl as if he had tel IIvoid "rushing an egg. " Ciled
in Firmin Maillard. La Citfi cles in lellect-m:u (Paris ( 1 905~), p . 362 . [j la.3]
Baudelaire- after his enforced sea voyage'--was a wdJ·travded man. [jla,4]
Baudelaire 10 Pou let-Ma lassis, on Jallullry 8, 1860, lifter II. visit from Mer yon:
"Aft!'r hll ieft nit'. I wondertcl how it was lhal I . wht) h ave alwaY8 had Ihe mind a nd
we nerve~ to go lIIud , have never uctually gone mad. In all seriousnClls, I gave
heaven a Pharisee's thankll for this: '" Cited in Gu! laVe Geffroy. Charlet Meryo,.
(Pam . 1926). p . 128. [j la,S]
f rom t h e (eighth ~ sec:tion of Baudelaire's "'S.lon de 1859." Tbere one finds. apro-
pus of Mcr yon , Ihiil phrase: " the profound and cumplex charm of a capital city
which has grown old and worn in lite glories and tribulations of life." A Little
furth er on : " I have rarely 8een the nat ural soleffilut y of an immense city more
poeticaUy reproduced . Those maj estic acc umulations of stolle i those ! pires 'whose
finge r8 point to heaven '; those obelisk, of industry, JlI>c",ring forth their conglom-
erationl of smoke against tbe firmament; those prodigiel of scaffolding ' round
buildings under rep llir, applying their openwork architCi;ture, so paradoxically
beautiful, upon ardutceture ', solid body ; that tunlultuou! sk y, ch arged with a n-
ger and spite; those limitleu perlpcctives, unly incr eased by the tbought of aU the
dfllmll they contain ; -he forgot not one of the complex elements which go to make
up the painful and glorionl decor of civilization . . . . Bill a cruel demon hal
touched M. Meryon'8 brttin . . . . And from that moment we have never cellsed
waiting anxiously for somc('onsoLing new!! or this ijillgular naval officer who in ODe
short da y turned into a mighty a rtist , and who bade fareweD to the ocean's solemn
adventures in order to p aint the gloomy majeuy of this moat disquieting of capi-
tllls. " I" Cited in GUlitave Geffroy, Char fel lUeryon (Paris, 1926), pp. 125-126.
(]2,1]
The editor Deli.tre conceived a plan to puhlish an alhum of Meryon 's etchinge with
text by B audelaire. The plan feU tllrough ; but it had already been ruined for
Baudelaire when Mer yon demanded, in8tead of a text 8uited to the poet, a pedan-
tic explication of the p ictu red olonumcn18. Baudelaire complains of rbe matter in
his letter of Februar y J 6, 1860. to Poulet-Malassil. [J2,2]
!\ter yo n placeel th t:se. lines under his etchin!!: Le Pont-Nevf:
H ",1't': liu the exacllikeneu
or th e I. te Pun t-N",ur.
AU newly refurbi~I ..:u
Per rt.'Cl':llt oruinIlIlC"'.
o ICllnlO!d doctur••
S killrll' .u rgllo ll~.
Wh y 1101 do for liS
" '''at'. hel'lI donI' ror thi. , tone bridge?
According to Geffroy-who evidentl y ta ke& them from a llot her \'er8ion of the etch-
ing-the 11161 two Lines are: "Wililell why I't!lI0va tj on~ f H ave been rorced 00 this
stOne bridge." Gusla ve Geffrny. ChorieJ Aferyon (Paris. 1926) , p . 59. [J2,3]

The funt-Neuf. Etching by Charles Meryon, 1853-1854. SeeJ2,3.
Bizarre features on plates by 1\1eryon . " The Rue d es Chantres": squ arely in the
foreground , aflilled at eye-levd on the wall of what would seem to be a nearly
windowless house. is a poster bearing the words " Sea Baths." <See Geffroy, Char-
Ie! Meryon , p. 144.) - ''1'he CoUege Henry IV," about which Geffroy writes :"All
around t.he school , the gardens, and neighboring houses, the space is empty. and
suddenly Meryon hegins to fill it with a landscape of mountain and sea , replacing
the ocean of Paris. The sails and masts of a ship a ppear, sonle flock s of sea birds
are taking ",<lng, and this phantasmagoria gathcrs around t.he most rigorous de-
sign , the tall buildings of the school regularly pierced by windows, the courtyard
planted with trees, . .. and the surrounding houses , with their dark rooftops,
crowded chi.mneys , aOtI blank fa .. ades" (Ceffroy, Charks Meryon , p. 151}.-''1'he
Admiralty": in the clouds a troop of horses, chariots, and dolphins advances upon
the ministr y; ships alld Hea serpents are lIot lacking, and several human-shaped
creatures are to he SCC:II in the multitude. "This will be ... the last view of Paris
engraved b y !\1eryon. He bids adieu to the cit y where he suffered that onslaught of
dreams at the hOllse, stern as a fortreu, in which he did service as a young ensign ,
ill the springtime of Ili.s life. when he was just seuing Ollt for the ilistant isles"
(Gcffroy. Chflrles Mery ml , p. 161 ). 0 Flincllr 0 [J2a,l]
" Meryon 's elleclltioll is incompurable. Bcrald.i sa ys. The most striking thing is the
hcnuty und dignity of his firm , d ecisive line. Those fmc straight edges are said to be
executed thus: the p late is set upright on an easel, the etching DeclUe is held at
arm's length (like a rapier), and the hand moves slowly from top to bollom."
R. Castindli , " Cha rles 1\1er yolI ," lntroduction to Charles Meryon , Eaux-fortel
$ lIr P(lri.!, p . iii . [J2a,2J
Mervoll p roduced his twellty-two etchillgs of Paris between 1852 and 1854.
. [j2.,3]
When did the "Puris article" ((Irticle de Paris ) first appear? [j2.,4]
What Baudelaire says about a drawing by Daumier on the subject of cholera
could also apply to cenain engravings by Meryon: "True to its ironic custom in
cimcs of great calamity and political upheaval, the sky of Paris is superhi it is
quite white and incandescent with heat." Charles Bauddaire, It; Dmins de
Daumier (Paris <1924», p. 13. <Seej52a,4.) 0 Dust, Boredom 0 (J2a,SJ
"The splenetic cupola of the sky" -a phrase from Charles Baudelaire, Le Spken
de Puri" , cd. Simon (Paris), p. 8 ("Chacun sa chimere"). II [J2a.6J
"The pltilosophica1 and Ilterary Catholicism .. . of Baudelaire had need of an
inter mediate position .. . where it could take up its abode between God and the
Devil. Tbe tit1e Le5 Limbel (Limbo> marked trus geographic determination of
Baudelaire's p~ms, making it possible to understand better the order Baudelaire
wanted to estaLlish among them, ""ruch is the order of a journey-more exactly, a
fourth journey after Dante's three journeys in Inferno. PltrgatoriQ. and ParadUo.
The poet of Florence lived 011 in the p oet of Paris." Albert Thibaudet, Hutoire de
la litterClture fram;aue de 1789 ii no" jour$ (Paris (1936)), p. 325. 12 [J3,1]
On the allegorical element. " Dickens . . . mentions, among the coffee shops into
which he crept ill those wretched days , one in St. Martin 's Lane. ' of which I only
recollect that it stood near the church , and that in the door there was an oval glass
plate with COFfE~: ROOM painted on it, addressed towards the 8treet. If I ever lind
myself in a very diHerent kind of coffee room now, but where there is such an
inscription on glass , and read it backwards 011 the wrong side, MOOR EEFfOC (as I
oft en u sed to do thell in a dismal r everie), a shock goes t1lrougb my Llood .' That
wild word , ' 1\1oor Eeffoc, ' is the motto of all effective reallsm." G. K. Chesterton,
Dick e"" (series entit1ed Vie tie" hom me" illmtre", no . 9), trans . from the EIIgl.ish by
Laurent and Martin-Dnpont (Paris, 1927), p. 32 ,13 [J3 ,2]
Dicken s and stenography : " He describes how, after he had learnt the whole- exact
alphabet , ' there then appeared a procession of new horrors, called arbitrary
r haracters- thc mOllt d eSI)()tic characters I have ever klloWII ; who insisted, for
instance. that a t.hing like the beginning of a cobweb meant "exllCctation ," and that
II !)tll-and-illk skyrocket siood for "disadvantageous.'" He concludes, ' It was al-
nlost heartbreaking.' But it is significant that somebody else, a colleague of his,
(:onduded , ' There never Will s uch a IIhllrthand writer. ,.. C. K. C lu:~ tcrtoll . Dick .
en.f (81·rir.1I elltitlf'd llie des homme. illu.f.re.f, no. 9), trall8. Laurent IIlI d Martin -
OUl'o)nl ( I~rili. 1927). flP . 40-41." (J3,3)
Valery (Int rlliludio nt v Let f leur. Ju mul [Paris, 1926J , fl . I(XV) t; pl·akij of a com.
bination of "eternity and intimacy" in Baudelaire. · ~ [J3 ,4)
From the III·tide Ly Barlley J 'AureviUy in Article. ju.! ficati/t IHm r C/mrk fl Baude-
Wire, autellr de. "'leur. J lt mat(Paris, 1857), a booklet of thirt y-tllree pages, with
other contributions IIy Du lamon , Asselineau , and Thlerry. which was p rinted at
Baudelaire's expen8C fo r the trial: I~ '1'he lmet. terrifyin5 and terr ified, wanted U B
10 inhale the aLomirUltion of th at dread basket thai he carries, pale canClthoNl. un
his head bristlin5 with hurror. , , . His talellt ... is itself a fl ower of evil culti vated
in the hothouses of Decadence.... There is something of Dante in the author of
i.es Fleurs du mal, but it i. the Dallte of ao elKlc h in dttline, a n atheist and
m(l{lernist Dante. a Dallle come after Voltaire ." Cited in W. T, Bantly, BUlldelaire
Judged by HilJ Contemporuries (New York <1933», pp. 167-168 (collection of
lextl in Frendn . [J3" 1]
Ga utier's note 0 11 Bauddaire ill Le" Poole:Jfrml(;uilJ : R ecueil des ch"ft -d 'oe rwre de
h, l~lJie frallt;(lue , cd . Eugene Crepet (Paris. 1862) , vol. 4, Lea ConlemporuinJ:
" We ncvcl' rea d Le~ Fle rtr, Ju mal . .. without thinking involunt arily Iof that tale
by Haw thorne (entitled " RaJlpaccini's Daughter"> . . . . His muse rellcmlllea the
doctor' s d aughter whom no poi SOli can h arm, but whose pallill and anemic complex-
ion betrays the influence ofthe milieu ahe inhabits," Cited in W. T. Band y. Burme-
wire Judged by iii, Co nfemporarie. (New York), p. 174. <See J29a.3), 1J3a.2)
Main themes of Poe', aest hetic. acco rding to Valery: philosophy of composition,
theory of the a rtifidal, theory of modernity. theory or the strange and exceptionaL
[J3 , ~]
" Thus. Baudelaire's problem might have---indeeJ , must have---posl!(l itself in
thesl' lerms: ' How to he a great poct , bUI neither a Lamartine nor a Hugo nor a
Mllnet ,' I do not sa y tha t these words were cOllsciously formulated , hUI they must
ha ve been latent i.n Ba udelaire's nuncl: tlley even constituted what was the eueu -
tial Ba udela ire. They were bis r(luon d 'ewt. In the domain of f' relltioll , which il
also !.lit' Ilomain 'If pride. the Ilted to come Oll t and he distinci is I'art of life i t ~elf. "
Paul Valer y, Introduction to Baudelaire, LelJ Fleurt d" mol (l'arill, 1928), p. 1(. 11
[J3,,4]
Rt'gil> MeSSl1l' ( d A! " Oetecli ve No vel" et I'influence (Ie La I,ensee scienlifi'lrte [ Paris.
1929 1,> p . ,121) pllinls 10 the i nflu en c~ of thl' " Two Crepusculell" <" Le Cr cJ>uscule
till 1II1I.Ii n·' amI ,.tt:. Crcpuflcule Ilu soir," in Les "'leurlJ rill nmb, fi rsl I'uhlishecl
Febr ua ry I . 1.852. in 1..0 Setlluine dl elilra le. on certain Ilas~agc8 in PUllson Ilu
Terrai!'11 Drllln f!I de (~ri•• which begall to appear. in instaUmell 18. ill 1857.
[J3a,5J
The title originally planned ror Spleen de Pn ru was Le Promeneur solitaire. For
Le Fle urs till mulit WPII Le, l..im!Je.nUmbo> . [J4, I)
From "Conse.i1s aux j l~ un ell litter ateu rs": " If olle is willing to Ih't' in stu bborn
contemplation of lomorrow's work , Ilaily penevera nce wi U serve inspiratiQIl .'"
Charles Ba ud t"laire, L'A rt romantiqrre. r.d . Haehelte-, vol. 3 (Pari,), p . 286.I.
]j4,2]
Baudelaire confeilSt"s to h aving had , " in childhood , the good fortUlle--(lr the mis-
fortune---of reading only book. for ad ul ts." Charles Baudelaire, L 'Art roman_
tiquf! (Paris), p . 298 ("' Dramel et roman Ahonnetes" ). I· [j4,3]
On Heine: "~ hi8) works are corrupted by ma terialistic sentimentality." Baude-.
laire, L 'A rt ronrantiqlte , p . 303 ( .... t. ' Ecole paj'ellllc").:!11 [j4.4)
A motif that wa ndered from Spleen de Pnru to " L'Ecole paienne": " Why don ' t the
poor wear gloves when they beg? They would make a fortune." Baudelaire, L 'Art.
romanlique (Paril), I). 309, ~1 [j4.5)
"The time is not far off when it will be undeutood tha t every lite.rature that refuses
10 walk hand in hand with science a nd philosophy ill a homicidal and suicidal
literature." Baudelaire, L'A rt ronrllnlUIUe (Pari8), p . 309 (concluding sentellce of
uL' Ecole pa·ienne").!t [J4,6]
Baudelaire 0 11 the child raired in the company of the Pagan School: "His sow.
conslan tl y excited and unlppea.soo . goes abo ut the world . the busy, toiling world ;
it goes, I say. like a prostitute, cr ying: Plastique! PIOlJtique! The 1)la8tic-lhll
frightful word give. me goose Reih ." Ba udelaire. L 'Art romantique (Paris).
p . 307. u Compar e J 22a.2. fJ4.7]
A passage from the portrait ofViClor Hugo in which Baudelaire, like an engravu
who sketches his own image in a remarque, has portrayed himself in a subordi-
nate clause: "[f he painu the sea, no JeQJcajJe will equal his. The ships which
furrow iu surface or which CUt through its foam will have, more than those of
any other painter, the appearance of fierce combatanu, the character of will and
of animality which mysteriously emerges from a gr:ometric and mechanica1 appa-
ratus of wood, iron, ropes, and canvas; a monstTOus animal created by man to
which the wind and the waves add the beauty of movement.'"' Baudelaire, £.:Arl
rmnanh"qut (Paris), p. 32 1 ("Victor Hugo'V ' fJ4,8]
A plll'ase apropos of Auguste Barhier : ';111t' natural indolence of IhUlle who J epend
on ins pira tion ." Buudclaire. 1.,:.1 rt. rommuique(Pari8), p . 335 .~'; [J401. l )
Baudelaire describe.-; the ~try of the lyric poet-in the essay on Banville-in a
way that. point for point, brings intO view the exact opposite of his own POCD"}' :
"The word 'apotheosis' is one of those that unfailingly appear under the pen of
the poet when he has to describe ... a mingling of glory and light. And if the lyric.
poet has occasion to speak of hinl5df, he will not depict himself bent over a
table•... \YTeStling with intractable phrases, . .. any more than he will show
himself in a poor, wretched, or disorderly room; nor. if he wishes to appear dead,
will he show himself rotting beneath a linen shroud in a wooden casket. That
\\"Quld be lying." Baudelaire. J.:Art romanHqu~ (Paris), pp. 370-371.:16 (J4a.2J
In his I!ssay Of) Banville. Ba udelaire mentio ns mytlltllogy together with allrgor y,
uno the n eontillUCil: " Mytholngy is a ~Iictio n liry of living hie rog.lyphies." Ba ude-
laire, l. 'Ar, romn fltique ( PUrill). p . 370.r. (J4a.3)
Conjunction of the modem and the demonic: "Mode.m poetry is related at one
and the same time to painting, music. sculprure, decorative art, satiric philosophy.
and the analytic spirit . .. . Some could perhaps see in this symptoms of depravity
of taste. But that is a question which I do not wish to discuss hue." Nevertheless,
a page later, after a reference to Beethoven, Marurin, Byron, and Poe, one reads:
"I mean that modem art has an essentially demoniacal tendency. And it seons
that this satan.ic side of man ... increases every day, as if the devil, like one who
fattens geese, enjoyed enlarging it by artificial means, patiently force-feeding the
human race in his poultry yard in order to prepare himself a more succulent
dish." Bauddaire, L'Arl romantiqut (Paris), pp. 373-374.'· The concept of the
demonic comes into play where. the concept of modernity cOllverges with
Catholicism. [J4a,4]
Regarding Leconte de Lisle: "My natura] predile.ction for Rome prevents me
from fe.ding alllhe e.njoymem that I should in the reading of his Greek poems."
Baudclaire, L'Art romantique (Paris), pp. 389-390." Chthonic view of the. world.
Catholicism. [J4a,5]
It is very important that the modem, with Baudelaire, appear not only as the
sigllat~ of an epoch but as an energy by which this epoch immediatdy trans·
forms and appropriales antiquity. Among all the relations into which modernity
ente.rs, its relation to antiquity is critical. Thus, Baudelaire sees confirmed in
Hugo "the. fatality which led him .. . partially to transfonn ancient ode and
ancient tragedy into the poems and dramas that we know." Baudelaire, L'Art
r(}mall /ique (Paris), p. 401 ("us MiJirahlu "j.3lI This is also, for Baudelaire, the
fu nction of Wagner. [J5. 11
T ill' gcs turl! wilh wilic h the a ngel cllH ~tises tile mi!lcreanl : " Is it 1101 uliefu l for the
poet . the I'hil(lstll'hcr. to 'Ilk", egois tic lI ul'Jlilll!HH by the hair from time to time li nd
IUI Y to ii , whil.. r ubhing il8 now ill 1,lotHl and dUllg: 'See your handi work a nd
swu Llow i l ' ~" Cha rlell Ba udelain: . L ~ rl roman tique (Paris). p. ,&06 (';tn
MillhuMes").JI [JS.2J
"Tlw Church •... t haI Plla rmae y whe r'" Il l.! o ne has tilt' righlto , lumbe r !" B a ud e~
lair;,:, L 'A r' rOm(lntiqlle ( Puri ~) . p . " 20 ("Mu daIll6 lJOll(" .,."),J.f [J5,3}
" Mada me 80varr. in what ill m('lllt forceful, mon ambitious. and abo most coutem·
plative in he r na tu re. bas remained a mlin . J U4 t all Palla. At he na 8 pran~ full y
a nlloo from Ihe bead afZeus,.u tbis strangeamlrogYllou8crt'li ture hal! kepi all the
It tlru ~) ti o n of a virile soul ill It clJ umliug feminine bUlly." Furthe r alo ng. on
Flaubcrt : "'All inlellcclll(Ji wo men wiIJ be grateful 10 him for ha ving raised the
fe male to 10 higll a level .. . a nd for having mafle he r share in that comhinatioll ()f
calc ula tion and reverie .... hich constitutes the perfel;t beiUIll·" Baulldaire, L'Arr
r,mwllt;(/Ue., )I)) . 4 15, 419. 11 US,4]
" Hyste ria!' Wh y couldn' t this phY8ioiogicai my6ler-y be made the 811m and B uh~
' Ia~ ce of a lite ra ry work- this myw ter-y which the Academie de Medecine b as not
yet wolved a nd which , manifesting itself in women by the lIensation of a lump in the
throat lhal seems to rise .. .• s howl itseU in excitable me n " y el'er y kind o r impo-
tence al weU as by II te nde nc y towa rd e ve r y kino of e xct!a ," Ba udelaire, L 'A rt
rom(Wfiqlw (Ps ru), p . 418 ("!tf(l(lame Bovary"),l-1 US,S)
From " Pierre Dupont": " Whatever the party to whic h unl! belongs •. , . it i. impos.
lible not t('l he 1I10\'ed by the l ight of that sickl y thronA' breathing the dU8t of t be
.... orksilops, ... sleeping among vernlin , . , -lhal sighing IIlId languishing thrung
, .. which looks lo ng Slid sadl y at the lI un8hine a nd shadows of the grtat parb ."
Baudelaire. L'An. roma ntique (Pari.). pp. 1 98- 199 .~ USa, ! )
From " Pierre Dupont": " By exclUlling morality, a ud oft en e ven punion , the puer-
Ue Utopia of the school of orr/or art; Ja ke was ine vitably ste rile ... . When ther e
IIprear ed a poet, aw kward at times, but IIlmost always great , who proclaimed i.o
impassio ned language the sacredness of Ihe Revolution of 1830 lind sang of the
destitutio n of Engla nd a nd Irela nd , d espite hill defecti ve r hymell, despite his pleo-
oasms , ... the qu t:5tio n was seltJed . a nd art was the reafte r insepa ra ble from mo-
r alily a nd utilit y. " 8audelaire, CArt roma fltiq ue (Parill), p. 193.ltI The pasllage
refe rs to RDrbier. [J5a,2)
'"The optimism of Dupont. hill unlimited tru. l in the ua tural goodnelis of man , his
faoll tical love of lla lUrt' constitute the greatest share of hiij tale nt ." Baudelaire,
t ~rt roma rtriqllc (paris). p . 20 1 .)~ [J5a.3)
'" was nOI a t aU I Ur)ri$ed to oml , . . in 1(ulIIlliimer. I.o he ng rin , ulIll The "" yi,'Il
Dutclt"wn. an excellc nt method or l'onslrueti un , 8 spirit of urrle r a nd divi ~ iOJl Ihal
recalls lhe architecture of ancient tragelliclI ." 8 s tul ...htire , l, 'A r' rnma ntiqlle
(Paris), )I. 225 (" Richard Wagne r eI T(lnnhii UJc r" ) ..JIl [J5a,4)
",r, in IuscllOice of s ubj ects II'IIJ in
his JrAmutic method , Wagne r ro:!~ I'mbI 1!8 antiq-
uit y, h y the pas"ionule ene rgy of hiil ex prc ~ ion he i!l tod ay t he truelit rep re-
sen la tive. of modern II Ut U ~." Baudelaire, t 'Ar, romffntique ( Parill) . 1" 250. oW
USa,S)
Baudelaire in " L'Art philOl!uphique," an essay coneerm:d mainly with Alfred Re-
thel: " Here twer ything-placr., decor. furnU.hingIJ, aecelllUriel (see Bogarth , fur
cxample)---everything is allegory, allusion. hieroglyph, reb us." Baudelaire. L 'Art
rOIlIll,,'u/ue, (1 . 131 ..... Ther e followB a reference to Micllelct's interpretation of
Uiirer'I M eloncho/io'_ USa,6)
Va.riant of the pauage on Meryun cited b y Geffroy, in " Peultrel et aqua-fortiste!l"
( I B62): " Just the other da y II yo ung American artist , M. Whistler, witlshowing ...
Q SCI of etchings .. . r eprellenting the hanks of the Thome.; wonderful tangles of
riggiug, ya rdarms and rope; farru.gos of fog, furna ces, and corkSert::W8 of smoke;
the profound aDd intricate poeu 'y of a vast capital .... M. Meryon , the true type
of the CODsumnlJ:l.le etcher, could nut neglect the call .... In the pungency. fine"e,
lind sureness of his drawing. 1\1.. M.er yon recalls all tbat wa. best in thcold elcher!!.
We have rarely seen the natural sole-mnil)' of a great capital more poetically d &-
picted . T hose. majestic accwnulations of stone; those 'apirea whose finge rs point to
heavell': those oheliilk. of industry, spewing forth their conglomerations of smoke
agaim!t t.he nnnitment i tllose I)rodigies of scaffolding ' round buiJdings under .re-
pair, applying their opeowork architecture. of sucb psradorica l and arachnean
hea ut y, upon arcmtecture's solid bod y; tbal foggy sky, ch arged with anger and
spite; those Iimitle81 per spectives, only increased by the thought of the dramas
they contain-he forgot not one of the complex elemenu which go to make up the
painful and g1orioue decor of civiliution ." Baudelaire. L:Art rortl(Jnlique (Paris),
pp . 1l 9- 12 1. ~ 1 (J6,1]
On Gu}'ll: " The festival.! of the Bairam , ... in the mid. t of which , like a pale SUD ,
call be discerned the endlees eDnui of tile lale sultan," Biludelairt, L:Arr romara--
tique(Pa ris)_ p. 83.~ []6,2]
On C uys: -'Wherever those dt:e p , impt:luous desire!, war. love, and gaming, are in
full llood , like Orinocos of the human heart ...• our observer is always punctu-
ally on tilt: spol." Bauddaire. l.'Art rom(lntique (Pari.), (I . 87 ."" 116.3]
Baudelaire as antipode of Rousseau, in the maxim from his essay o n Guys: "For
no sooner do we take leave of the domain of needs and necessities to enter that of
pleasures and luxury than we see that nature can counsel nothing b ut crime. It is
this infallible Mother Nature who has outed parricide and caruubalism." Baude-
laire, L'Arr romantiqut (Paris), p. 100:" (J6,4]
"Very difficull to note d own in shonhand"-this. from the essay on Guys, is
Baudelaire's appreciation, obviously very modem, o f the movement of carriages.
Baudelaire, L'Arl romanliqut (Paris), p. 113." []6,5]
ClOSing ilenlences of the Gu)'s ('ssay : "'He has &one ever yw her t' in quest of the
e phe m~' rDI. the- fl eetillg form s of l:.eAlity in the life uf our day, the cbar acteristic
troilS uf ""hal , with tile reader ', permiuioD , we have called ' modernity. ' Orten
bizarr~. viulent . excessive. LUi alwaYI full of poetry. he haa succeeded , in his
drawings, ill IliatiUing the biuer or head y Davor of the wi.ne of Life." Baudelaire.
L'Art roman,ique(Pa ria), II . '114.~ (J6a, J]
The figure of the " modem" and that o f "allegory" must be brought into relation
with each other: "\\be unto him who seeks in antiquity anything other than pure
art, logic, and genera1 method! By plunging too deeply into the past, . , . he
renounces the ... privileges provided by circumstances; for ahnost all o ur origi-
nality comes from the stamp that b"me imprints upon our feelings uen.sab"on.o."
Baudelaire, L'Arl romanlique (Paris), p. 72 ("I.e Pcintre de la vie modeme").4T But
the privilege of which Baudelaire speaks also comes intO force, in a mediated way,
vis-a.-vis antiquity : the stamp of time that imprints itself on antiquity presses OUl
o rit the allegorical configuration. (J6a,2]
Coocernillg'''Spleen el ideal," these reHection. from the GUYI essay : " Modernity is
the transitory, the fugitive. the contingent ; it is one half of a rt , the other half being
the eternal a ud immutable.. , U any particular modernit)' is to be worth y of
becoming a ntiquity, one must extract from it the myneriou8 beauty that human
life involuntarily gives it. It is to this task tbat MODl>icur G. particularlyaddrellle8
himself. " Baudelaire. L 'Art romanlique (Pari!), p. 70. In a nother place (p . 74), he
speaks of " this k se"dary translation of external life. ".s (J6a.3)
Motifs of the I}()t!ms in the tbeoretical prose. "l..e Coucher du 80leil romaDtique"
<Romantic Sun&eb : " Dandyism is a aunset; like the declinin& daystar, il is glori-
ous , witbout heat and £uIJ of melancholy. BUl alas, the rising tide- of democracy ...
is daily overwhelming these laat r epresentatives of human pride" (L 'Art romon-
tique, p . 95).-"Le Soleil" <The Sun): "At a time when other~ are asleep , MODsieur
G. is bending over his table, darting onto a sht:el of paper the same glance that a
moment ago he was dirt-oeting toward external things, skirmishing with his pencil,
his pen , his brush , spillshing his gloss of water up to the ceiling, wiping his pen OD
ruj shirt , in a fernlt:nt of violent activity, as though afraid that the images might
escaJje bim . cantankerous though alone, dbowing hinuuM on" (L 'Art roman,ique,
p.67).4'1 U6a,4]
Nouveautt: "The child sees everything in a state of newness ; he is a1ways drunA .
Nothing more ~mbles wbat we call inspiration than the delight with which a
child absorbs fo rm and color. . .. It is by this deep and joyful curiosity that we
may explain the fixed and animalIy ecstatie gaze o f a child confronted with
something new." Baudelaire, J.:Arl romantique (Paris). p. 62 ("I.e Peintre d e la vie
modeme"). Perhaps tllis explains the dark saying in "I..:Oeuvre ella vie d 'Eugene
Delacroix": "For it is true to say that, generally speaking, the child, in relation to
the man, is much closer to original sin" (!:Art romantique, p. 41 ).50 1J7.11
The sun : ··the boistt"rous ~ un beating a talloo upon his ... ind(lwpa n ~·' (L 'Art ro-
mffntifllJe, p. 65); .... tlle la.n dscapes of tile Veal city ... buCft:led by thellun" (L 'Arf
rOrtlanfique, PJl . 65-66).51 1J7,2)
 In " L'OeuYre ella vie d ' Eugelle DeIRc roix " : '''file whole visilile univer~e ie bUI a
Blorehouu : of imllgeJI and l igne:' Ba utldaire. L 'A r, romnntillue. p . 13.5l [j7,3]
j. From tbe Guye ellsay: " Beaut y ill made up of an ctl'l'na l, inva l'i able d ement .. .
and of a relative , circumsta ntial element, which will lw. .. . the age--it6 fnll biuns,
illl morl/h, iu c:motions. Without Ihis lIecond d emeul . which might be Ilcseribed as
the amu ~ ill g , enticing, appetizing icing on tile divine cloIke, the fint elt:menl would
be beyond our powers of digelition . ,. Baudelaire. L 'A rt roma ntique, pp . 54-55.r.:.
1J7.4]
On nouveaule: " Ni&ht! you ' d plellsc me more witil(lUllbese sta rs I whlcll spea k.
language I know all too well ." Fleurs (dll, mol>. ed . I>IoIYOI, p . 139 ("Obsellliion ") ..w
1J7.5]
The subsequent appearance of the Bower inJugendstil is oot without significance
for the title La Flerm du mal. This work spans the arch that reaches from the
ttudium uiku of the Romans 10 Jugendstil. 1J1.6J
It would be imponant to determine Poe's relation to Latinity. Baudelaire's inter-
est in the technique of composition could have led him- in the end-as surely to
Latin culture as his interest in the artificiaJ led him to Anglo-Saxon culture.
\\brking through Poe, this latter area of culture also conditioru-al the outset'-
Baudelaire's theory of composition. Hence, it becomes more urgent to ask
whether this doctriru: does not, in the end , bear a Latin stamp. [J7,1J
Th e Le&bioru- allainting by Courbet.
1J7.8]
Nature, according to Baudelaire, knows this one luxury: crime. Thus the sig·
nificance of the artificial. Perhaps ....'C may draw on this thought for the interpreta·
tion of the idea that children stand nearest to original sin. Is it because, exuberant
by narure, they cannot get out of harm's way? At bottom, Baudelaire is thinking
of parricide. (Compare L'Art romantique [Paris], p. l OO.)U [J7a,l J
The key to the emancipation from antiquity- which (see in the Guys essay, Dlrl
romantique. p. 72)5<1 can furnish only the canon of composition-is for Baudelaire
a11egorese. [J 7a,2J
Baudelaire's manlier of reciting. lie gal hered hilt fri \:! nd j--Au tollio Walrip()n ,
Gabriel Oanlru~e. Mala88is , Od vu u-" in II modelll cafe on the Rue Dau-
phine . ... The lloel began b y ordenlll; punch : then . wilen he saw us aU d islKlsed
toward benevolence , ..• he would recile to us ill a " oiel' at once mincing, lIofl ,
HU ly, oily, Rnd yet mordant , some enormity or othl'r- "Le Vin de l' IIII1'II18ill" (The
Murden: r 's Will e ) or " Une Cha rugn r." <Ca rrion >. Th(' "onlrast belween dlt~ vio-
lence of the inlages and Ih tl perfect Jlhtcidity. lhe sua ve a lltll'lIlphatic accentualioll .
or thl' delive ry wRll lruly striking." Jule;! LeYaUoi8, Milieu de 5iec.k : IIlemoire. d 'l.in
critiq'le (l'llris <1 895», (lp. 93-94. (J1a.3j
"The ramous phrue, ' I ""ho am the SUIl of a priest' ; the glee he was said tn fLoel in
(.uting lIulll, when be "" ould imagine he "" as munching the brains of small children ;
the story of the glu ier who , 01 hill rll'fluellt , climhcd six flighl ,; of slairs under a
heavy load of wimlowpanes in oPll refllive s ummer heal. onl y to be told he was not
needed-all JUJl t 110 man y insanitiea , li nd probabl y filisehoods, which he delighted
in amu siug." Julel l...evalloi•• Milieu de 5iecle: IIlemoire5 d 'un critique (Paris),
pp . 94-95. (J7a,4j
A remarkable prOllo\weernenl Ly Baudelaire on Gautier (cited in JuJeli Le vallois,
Milieu de 5iecl.e: IItemo irer d 'lIn critique [Paris] , p . 97). It is recorded by Charle8
lie l..ovelljoul. " Un Oernier Ch apitre de "histoire dl!l oeuvres de BalJlac," in
L'Echo del theatres of August 25 . 1846, as foUows: " Fat, Ja ~, sluws h , he has no
ideas, and call ollly string words together as the Osage strings bead. fur . neck-
laee."<See J 36a. l. > (J7a,5J
Highly significanl letter from Baudelaire to TOllu enel: " Monday, Januury 21,
1856. My dear Tousselle), I really wa nl to thank you for yo ur gift. I didn ' t know
the value of your book- I a dmit it simply and baldly.... For a long time I ' ve been
rf.'jecting alnlOst all books with a feelin g of disgust . II 's been a long time, too, since
I've read anything 80 a b&olmely illltruc ti ve and anllu ing. The chapter on the
falcon and the bird8 thai hunl on nlan 's behalf is a musterpiece in itself. I There
are exp reslliolls in your book thut r ecall those of the great masters and which a re
c ri r.~ of lruth-expressionll whose lOlle i8 irresistibly philosophical, lIuch al.
' Every animal is a s phinx : and . with regard til analogy, ' Whal repolle the mind
find s in gende Iluietude. sheltered by 80 fertile and so simple a doctrine. for which
none of God's works is a mYl te:ry!' .. . What ill beyond d oubt il thai you are II
poet . (' ve been saying for a "ery long time thai the poet is supremely intelligent . ..
and that imagination is the mosl , t:.iellfijic of racultie • • (or it alone Clin undentand
the utliverJaillllotogy, or wha t a mystic religion caUII correspondence. But when [
try to Pllblish such slateulentll, (' m told I'm mad . ... What is absolutely certain is
that I have a philosophical Cllst o( mind tbat allowlI me 10 see clearly what ie true,
eV1:'1I in zoology, although I' m neither a huol.!;man nor a naturalist. . . , One idea
hlls-been IIppe rnlolit in my IhoughlS since l sta rt t:d reading your book- and this is
that you ' re a true intelligell(;c which has walltlcred into a secl. All thillgs consid-
ered . wha t do yo u owe to Fourier? Nothing, or " er y tittle. Wilhout Fourier you
would ~ lill il e what yo u are. RatiOlulI met! didn ' t fl, wail Fourier 's Il rrh'al 011 earth
to realize that nature is a lunSl/tlge. all allegory, a mold , all emoou ing, if yo n
like . . . . Your Look a rou:!lC. in me 101 grellt man y (iorni allt though ts-a nd where
originul .. it! is CQncerned , as weU Ila .. . Jorm molded 011 a n idea. I"'e oft en thought
Ihat noxious, disgusting anima ls wert:. IJerbaps. merel y tllC t:o ming to life ill bodily
form uf Illan 'II euil thought ... . . . Thus, the whole of n O lll N! participates in uriginal
sin . I Don ' t hold my llOldlleu 111111 IItraightforwardlleu IIgainsl me, hut- hdieve

Theophile Gautier, 1854- 1855. Photo by Nadar. MUS« d'Orsay,
Paris; phQ[o copyright 0 RM N. SeeJ7a,5.
ti. at I am yo ur devoted ... Ch . Baudelaire. ,,:;; Henri Cordier, Notuw.fUr Baude-
laire (Puris, 1900), pp . 5-7. The nliddle section of the leiter IJOlemicizes againlt
Tousscnd 's faith in progress and his dellunciation of de Maistre. [JSI
"Origin of the name Baudelaire. n cre is ""hat M. Georges Barral hal written on
this subject ill the La R eVile des wnosites revolution"aires : Baudelaire explained
till! ct)'mology of his name, which . he said , ca me not from bel or berm but from
bfllld or bald. ' My 118me il something tcrrible,' he declared . ' As a matter of fa ci.
the blldelaire was a saber with a short . broad bl ade and a convex cutting edge.
hooked at the tip .... It was introduced into France after t,he Crusades alld used
ill Paris until Brouml 1560 for e):eciltillg criminals. Some years agll, in 1861 , dur-
ing e):cuvu ti o ll ~ carried oul lIeur the Punt-au-Change. they r~ove red the bode-
h,ire used hy the uttlltioncr al the Grund Chittdet in tile twelfth ct!ntllry. It was
deposih'fl in Ille MUdce de Cluny. Go and ha ve a ItHl k . It is frightening 10 see. I
sluilider to think how the profil e of my face a pproximatl"f! the profile of this bade-
loire. '- 'But your name is BCludeioire,' I replied , ' not Bodela;re. '- ' Badeillire,
lJaudcinire by corruption . It 's the u, me thing.'-' Nol at all ,' I say. ' Your lIanle
comes from baud (merry), baudimenl (merril y), &'ebflUdir ( 10 make merry). You
a re kiml allli cht:erful. ' - 'No, no, I um ",;cked lind sad .· .. Louis Thomas, Cu-
rio!;IeS sur Ulmdelaire (Pa ris, 1912). pp . 23-24 . (J8a,1I
Jul!'s Janin published an a rticle in 1865. in L 'lndependonce beige. reproaching
UeLne ror his melancholy; Baudelaire drafted a letter ill response. " Oaudeluire
lIIailltains that melancholy i.l! the source of all sincere 1)Ot:try." Lows Thomas ,
Curiosi,es sur 8fllldelaire (Paris. 19 12). p. 17. (J8a.2]
On a visit to an Acade mician ,Sf! Baudelaire refers 10 Le& FLeurs du bien that ap-
peared in 1858 and claims the name of the author- Henry (probably Henri) Bor-
deau):-as his own pseudonym . See L. Thomas, Curiosites s ur Baudelaire (Paris,
191 2). p. 43. (J8a,3)
';011 the n iSaint-Louis, Baudelaire felt at borne every""hertl; he wall as perfectly at
his case in the alreet or on the quays all he would have been in bis own room. To KO
into the island was in 110 way to quil his domain . Thus, one met him in slippers ,
0 111
bareheaded , and dressed in the tunic that ser ved as his work clothes .... Louil
Thomas, Curi()sitessur Balldelaire (Paris, 1912), p. 27. [J8a,4)
" ' When I'm lIuerly u/()ne,' he wrote in 1864, 'I'll seek oul a religion ('Fabetall or
Japallesc), ror I despise the Koran too much , and on my deathbed I' U forf!wear
thaI la8t rdigion 10 show beyond doubt my disgust ""ith universal stupidity. '''59
Louis Thomas, CuriQsi' e& sur Baudelaire (paris, 19 12), pp . 57-58. (J8a,5)
Baudelaire's production is masterly and assured from the beginning. [J9, I)
Dates. FLeurs du mal: 1857, 1861 . 1866. Poe: 1809-1849. 8audeJaire's discovery
of Poe: arou nd the end or 1846. (j9,2)
Renl Y de Gourmont has drawn a paraUei belween Athalie'! dream and "w Mi ta-
morphoses du vampire"; Fontainas has endeavored 10 do likewise with Hugo's
" Fan tomes" (in Les Orienudes) and "Lea Petite1l Vieillet:' Hugo: " lJow many
maidens fair, alas! I' ve seen fad e and die . ... One form , abo\'c aU . .. ....., U9,3}
Laforgu e on Baudelaire: " After all the liberties of Romanticislll , he was the first to
diso;:over theee rough comparisons wllicll sudlleni y, in the midst of a harmo nious
lH'riod, calise him to Imtllis fout in his "late: ob,·iou8. e):lIggerated comparisons
which seem al timcs llownright America n: lliscollcerting purplish fla sh and dazzle:
' Nigl.. was thickening ... like a partition!' (Other en mples aholllld .) <Her walk is
like> a serpcnt at the end of a Slick ; her hair il\ an oceulI; her head sways with the
gentleness of a you ng elephant; her ho<iy Jealls like a frail vCliel plunging its
yardarms illto tJle wa ter ; her saliva moun1810 her mOllth like a wave IIwollen lIy the
 mching of r umhling glacier.; her neck is a tower of ivory: her teeth are IIheep
perdlcd 011 the hillll II Love Hebron . -Thi. is Americanism luperimpo~C(1 o n the
metapho rical IIUlgullge of the 'Song of Songs.''' Jule& Laforgue, Melanges po~~
j.. lutlllcS (l'a rilj, 19(3). PI" 111-114 ("Notes sur Ba udelaire").·' Compare J86a ,2.
U9.41
-'Ill lUI' fogs 11\0118 the Seine, the ltorm of his youth and the marine l unll of hi,
memories have loosened the 8trin gll of an incurably plaintive and shrill Byaa nline
viol." Jule8 Laforgue, l'tfelonSfl! pmthumes (paris , 1903), p . 114 ("Notes lIur
Baudelaire")."'" (J9.5]
When the 6rsl edition of us Fleurs du mal appeared, Baudelaire WBB lhirty-.U:
yean old. 1J9,6]
Le Vav8ueur dC8Cribet bim around 1844: "Byron attired like Beau BnlmmeU. "
U9.7I
The Petits l'oome~ en prose were first collet:ted posthumously. U9,81
" He was th!! fi ra tto brca k with the public," Laforgue, MelangeJ IJ05thum eJ (Paris,
1903). p , 115.1>3 [J9,9)
" Baudelaire tbecat , n indu, Yankee, episcopal, alchemist .--Cat; hill way o( .. ~
' my dear' in that solemn piet.~ that opens with 'Behave, my SorNw!'-Yankee:
the use o( 'very' before an adjecth'e; his curt descriptions o( land ~cape, and the
line 'Mount, nly spirit , wander at your ease,' whicb the initiatetl recite in metallic
tOlltll; hill hatred of eloquence and of poetic confidences; ' Vapo rous pleasure will
drift out o( sight I All ... ' wha t then? Hugo, Gautier, and othe" before him would
have made a French . oratorical eomparison ; he makes a Yankee one and , without
llettled prejudice, rt'.mains in the air: ' All a syiphid pirouettes into the winp' (you
can see the iron wirell and i tagt' machinery).-Hindu : his poetry is closer to the
Indian than that o( Leconte de Lisle with all his erudition and du.zLin~ intricacy:
'uf sobbing (ountains and of birds that lIin ~ I endless obbligatos to my trYllu.·
Neither II great ht'art nor a great intellect . but whllt plaintive nerves! What open
senses! What a ma,,.-iclll voice!" J ulea Laforgue, MelangeJ pOl thllmfi. (Paris, 1903),
pp . U 6- 1I 9 ("Notes aur Baudelaire").... [J9a, l]
One of the few clearly articulated passages of the Argument du /iurt: Jur fa Bel~
gique--in chapter 27, "Promenade a Malines ": "Profane airs, adapted to peals of
bells. lltrough tile crossing and recrossing melodies, I seemed to hear notes from
"La Marseillaise." The hymn of the rabble, as broadcast from the belfries, had
lost a little of its harshness. C hopped into small pieces by the hammers, this was
nOl the usual gloomy howling; rdther, it had taken on, to my ears, 3 childish
grace. It was as tllOUgh the Revolution had learned to stutter in the language of
heaven." Baudelaire, OeuurtJ, vol. 2, ed. ¥(vcs,...G<trard,> Le Oantec(Paris, 1931-
1932>, p. 725. [J9a,2]
"~rolll the "Note detaehee" in Ihl! huok on 8e1gium : " I am 11 0 Ilupe, and I have
nl!ver beell a du pe! I say, 'Long live the Revolution! ' as I would say, ' Long live
Destruction! Long live EXJlilltion! Long live Punishment! Long Ih'c Death! '"
Baudelaire, OellVreJ, vol. 2. ed . Y.·C. Le Dantec, pp . 727-728.~ (J9a.3)
Argument du livre Jur ia Belgique, chapter 25 . "Architecture-Chul"'t!helt_Relig.
iOIlS.'" " Bruaseili. C hurch e~: Sainte-Cudule. Magnificent stailled-g1Bl1s winduwa .
Beau tiful intenst! colors, like those "'ilh which a I>ro(ound soul invests aU the
obje(;ts o( Li(e." Baudeillire, Oeu vreJ, \'01. 2, ed. Y.·C. Le Dllntec, p . 722.-" Mort
des amanu" -JugendstiI- l-l as hillh. [J9a,4)
"I asked myself whether Baudelaire. , . had lIot 8ought, th rough hiIItrionica and
psychic trall.s(er, to revive the adventurea of the prince of Denmark . . . . There
wo uld have. been nothing 8urpri'ing in hia having performed (or him,self tbe drama
o( EIs.inort:." Leon Datltlet, Flambearu (Paris ~ 1929» , p . 2 10 ("Baudelaire").
[J1O,11
"The inner life ... o(Cbllrlell Baudelaire ... seem! to have puslled ... in con stant
fiuctuatiou between euphoria lind aura. Hence the double chllractt:r of his poemll,
which, on the one hand , reprea.enl a luminous beatitude and , on the other, a state
of ... taedium vitae." Leon Daudet, Flambeaux (Paris), p . 212 ("Baudelaire").
Ul0.21
J eanne Duval. Madame Sahatier, l\1arie Dauhrun . Ul0.31
" Ba udelaire " ' 11 out of place in the stupid nineteenth century, Ae be.lonp to the
Renaissance .... This ca n be felt even in the bepnnings o( his poems, which recall
those o( Ronsard .'· lkon Daudet, Flambeaux (Parill). p. 216 ("Baudelaire; l..e
Malaise et ' l' aura "'). [J10,4)
Leon Daudet voices a ver y unfavora ble j udgment 0 11 Sainte-Deuve's Baudelaire.
UIO.51
Among those who have pictured the city of Paris, Balzac is, so to speak, the
primitive; his human figures are larger than the stttets they move in. Baudelaire
is the firSt to have conjured up the sea of houses, \Vith its mwtistory waves.
Perhaps in a context with Haussmann. [J1O,6]
"The baudelaire . . . is a kind of culla8f . . . . Bruad and ahort and double·
etlgerl, . . . die IlIuulclaire ensures a dead ly thrust. for the hand th ai holds it ia
near Ihe IJOint." Victor-Emile Michelet , Figllre6 d 'evocalellrs (PllriS, 19 13), fl . 18
("'Baudelaire , ou U Divulateur douJourt' ulC"). [JIO,7]
"Tile daluly. Baudelaire haa lIaid, 'lIhouJd aspirc to be 8ublin>e, COlllillually. He
lIhould Iivc and sleep ill [rout or a mirror. ,..,.., Loui. Thollllll, Curio$ites IIlr lJaude.
laire(Paru . 19 12), !,p. 33-34.
Two stam;ae b y Baudelaire. found 0 11 the Jlage of 8n album:
NoMe , trollg·armed woman, who 81eellllnd drcam
throligholiliong da ya wilh nu thoughl of !jood ur cvil.
whu wear ro bes proudly t1unll in Grecian &Iyle;
you whom for man)' yc. ... (which 11«01 Blow 10 me onw)
my lips. Wf': U vel'8Cd in lu.ciou. kiues,
cherished wilh . Ulhe dc\'Olion of II monk ;
pri e8le~8 of debauch, my siSler in IU81 .
who tliatlained to c.rry anti nourish
a male child in your h. llowed urn,
hul rf':ar and ftC!(' the appallinll81igmata
which virtuc.earvP.<'l wilh ilf degrading blade
in ,,~gn a nl matron,' It. nb . ~~
Louis Thoma8, Curio3iteJ sltr Blllldewire (Paris, 191 2). p . 37 .
"He is always polite to whal i. ugly." JulCi Laforgue . Melange. poJthume. (Paris,
19(3), p . 114 .... /j IOa,3}
IJI0,8)
R6ger AIlard- i.n Baudelaire et " 1'1!.· 'prit nouveau " (Parill , 1918). p . 8---cumparee
Bautlt·h.irc·. poems to Madame Subaticr with Honliard 'lI fJ ocms to HClene.
[JIOa.4]
"""'0 writers prufolludly influcol't:t.i Ba udelaire. or rather '''''0 books ... . One ill
Iht' {(,.licio ... Diuhle a mOltretu, Ily Cazolle; the other, Diderot'li La Religiewe. To
th~ (i rsl . man y of the poelDJl owe their re8tiess frenzy . . . ; with Diderol, Baude-
laire ga thcrl lhe . omher vi u lel ~ of Lesho8." Allhis poinl . in a nOle, a citation from
.A pollIulllirt" 1I commentary til his edition of Ba udelairc's OeulJre, poe'ique.; " One
"'ould prubuhl y 11111 go wrung ill taking Cazolle u ~ the hyphen thai had the
honor of uniting, in ... Baudelaire, tlle lIpint of tlle Revolution's writerl! with thai
of Edgar f"oc ." Roger Allard . BllUdela ire et ""Esprit nouveau" (Paria, 1918),
PII . 9--10. <See J 20a.2 .) IJI 08,5)
"The Oavo r olf late autumn ... which Ba udelai re savor ed ... in the literary de-
(]1O,9J composition of low Latin. " Roger Allard , Baudelaire e t "I'EJprit nouveou" (Paril,
19 18) , p . 14. [Jll , l)

" He W 8jJ thefirat to write abou t himself in a mooerate conleuional manner, and to
leave of( the inspired tone. I He Wilt tbe 6.rst to lI peak of Parill frum the point or
view of one of her daily damned (the lighted gas j etll flickering with the wind of
Prostitution , the r estaurlln t!l and their air venls, the hospitals. the gambling, the
logtl resounding as they are &a ..... n and then dropped 0 11 the paved court yarde. aDd
the chimney corner, and the catll, bedll. lItockingll, drunka rds. and modern per·
fumes}--all ill a noble, r emote. and lI uperior fu hion . _ .. The firllt also who ac-
CUlies himself ralher than appearing triumphant, who . ho ..... 1i hill wounde, bU
Ia.r:inen, h ill bored u8Clesllne81 at the heart of thill dedica ted. workada y century. I
The firsl 10 bring to our litera ture the horedom implicit ill sensuality, logether with
its strange decor : the sad alcove , ... and 10 take plcusurc in doing so . . . . The
Painted Ma&k of Woman and iu heavenl y extension UI sunset .. _ Spleen and
illness (not the poetic aspecU of consulllption but rather neurosill) ..... ithout ever
once using tbe ",·ord ." Lafa rgue, Melanges poslhumes (Paris, 1903). PI>_ 111-
11 2,'" U IOn, l)
" Baudela ire . . . ill the most mUlIicaJ of French poet •• alonr; with Racine and Vel'.
laine. But Wherl!a5 Racine pla ye omy the violin , Baudelaire plays the whole or.
cheslra." Andre Sliares, Preface to Cha rles Baudelaire. Le, Fleur$ du mal (Pam ,
1933), pp . xxxi\·- xxxv. [J ll .2)
" If Baudelaire is supremely contailletl. as no olle sUlce Dante has been , it ill be-
ca use he al .....ay. concentrates 0 11 the inner life, as Danle focused on dogma. " Audre
Sua res. Pre.face to Baudelaire. Le, Fleur. du mol (Pam. 1933). p. XXJt:vw .
(]11 ,3J
Le, Fie!!rs rill mal is tile Ilif enlO of the niuelet:llth century. But Baudelaire', de.
' pair calTies him infwitely heyolllilhe wrath of Dante." Andre Suare., Prefa ce to
UaudeJaire . us Fleur. du mal (Parill. 1933). p . xili . [J ll .4]
"'There U 110 artist in \'e'rlli' lIilH! rior 10 Baudelaire." Andre Suares. Prefa ce 10
Bil utlelai rc. l.e. Fle.,rs dll mClI(Pa ris . 1933), p . xxiii . (JlI ,5]

" From the mys tl!riOlIll darkness i.n which they had germinated. lIt',.1I1 Ollt .ecret
roou . and n:ared their fecund stalks, Les Fkurs du mal ha ve gone u n 10 blossom
magnificentl y. ul>4! uing up their somber jagged corollas ,·!'.ined willI the culo rJ of
life and , under all endJeli!! 8ky of glor y anti lIcandal , i ca ttering their heady per-
fumf;8 of love, of sorrow, and of Ileath ." Helin de Hegnil'r, ("Baudelaire ct LeJ
flel!rs du mal," introductory et811Y) in Chllr les Baudelaire, " I..e. Fleur' f /l! I/Ial" el
"utre~ 1)~ m e' (Pari!! (1 930)) , p . 18 . /j IOa,21
!\pulliutlirc: " Uaudeluire ilf the llcioll of Laclo, allli Erlgar Poe." Citetl in Rilger
AlIllrJ . Blilu/eillire el "'I'E5pril IIO/ltleau" (I)llriS. 1918), p . 8. (] 11 .6J
The "Clloix dl' Inaxuut's consolalllet $UI" r amollr" <Sd ccted Consolalor y Maxim'
0 11Lu" c> cO llt u in ~ 1111 e )(C U I"6 11 ~ U II ugliness (first published March 3. 18<1-6 , UI Le
Cur, ai rc-SlIICUt ). The hclo\'t't.I IrKi c'.lIItractcd smuUplJx Kllll lllifferctl Rears , which
frortl tlren on 141'11 lire 10vcr 'H Ilt:light : ;' You run It gruve ri. k, if yuur pockma rkell
nUlItre88 betray!! yuu . of being able to con!!ole yourself ollly with pocknlarked
,,·omell . For certain spirits, more precious and more jaded , deligbt ill ugliness
proceeds from lI.n ohllcllrer sentiment still- the thir@ 1 for the unknown and lhe.
taste for the horrible. It is this sentiment. , . which drives certain 1~t.8 into the
di,,~ecting r Ollm or lhe clinic, and women 10 public exec;utions. 1 am sincerely sorry
for the ma n who callnot understand I.hill-he ill a h arp wlw lacks a bass string!"
Baudelaire, Oel/vre.!. vol . 2, ed . Y.-C. i.e Dllntec, p . 62 1.... [j 11 .7]
The idea of "com:.spondences" surfaces already in the "Salon de 1846," where a
passage of Knisleruma is cited. (5« the note by Le Dantec, OeulJw, vol. I,
p. 585.)" lJ 11 ,8)
In considering the aggressive Catholicism displayed in Baudelaire's later work,
o ne must bear in mind that his writing had met with scant success during his
lifetime. 1bis could have led Baudelaire, in rather unusual fashion, to align
himself or rather to identify himself with the completed works. His particular
sensuality fo und its theoretical equivalents only in the process of poetic composi·
tion: these l."quivalents, however, the poet appropriated to himself as such, uncon·
ditionally and without any sort o f revision. They bear the trace of this o rigin
precisely in their aggressiveness. [jlla, l ]
"'He has ti n iI blood-ret! cravat and ruge gluves . Yes, it is 1840. , . , Some years,
even veen glOVed were worn . Color disappeared (rom outfits only reluctantly. For
Baudelaire Will nol atolle in sportint; that purple or Luick-colored cravat . Not
alone in wearing pink gloves. Hill trademark is in the combination o( the two
e(ft!Cls with the "'lick outfit." Eugene Mur~ an , Les Caulle.! de M. Paul Bourget et I.e
bon ch ou de I'hilinte (Paris , 1923), pp . 236-237. [jlla,2]
" Hill utterances. Gautier thought . were full of 'capital Id lers and italics. ' He
ilppea red .. . surprised at what he himself said. as if he heard in his own vuiee the
words of a stranger . But it musl be admitted thai hill women and his sky, hil
perfumes, hill lIoltalgia, his Christia nity and bis " emulI , his ocean s and his trop-
ics, made for II subjt!Ct matter of IItwming novelty.... I do nol even critici:l:e hil
jerk y gail, . . . which made people compare him to a spider. It wn the beginning of
that a ngulilr geiliculiltion which , little by Liltle . would displace the rUllndt:d gracell
of the old ....orld . Her e, 100. he is a prec ursor." Eu,;ene. Marsan, Les CU/lne.! de
M . Paul Bourge , et Ie bon chou de Philinte (Paris. 1923), pp. 239-240 . [J ll a,3]
" His gestu res were lIoble , slow, kepI ill close 10 the body. nil! lJ()litcll e~s IUlCm ed
urredell ht!t! ulIse it WIUJ a legacy or the eightl!euth century, Baudel aire beuig the SO li
uf all olel man whu bilt! kno wn the salulI!!. " Eugene Marsall , Lelf Cu nmM de M. Pull'
Jjo urJ~l:' t I:'t Ie bOil clwu de Philinte (Paris. 1923), p. 239. I1 lla,4]
'l'ht' re arc IWO different \'ersions of Baudelaire's cldml ill Brussels. ;: G ~lIrge;l
RI~ n I!Y. willi n~ JlrtxlU Cell Loth , prefen tlu~ ti ne Ly the \·hrolliclcr Tartli~u . " In a
horrible funk ," wriles the latter, " BQudeiaire rt:a,1 a nd lItamDlered and trembled.
hill teeth chau ering, li18 nOlle huried in Illll manuscript. It was a disas ter: ' Camille
Lccuonnicr. on the otlter haml. caDIt: a way with the " imprcnion of a lIIu@:uiflcent
tlliker. " Georges Reney. Ph y~ ionomies liueraire.! (BrulIlIe!J. 19(7) , pp. 267. 268
(--CharleJ Bllullelaire"). [j 12.l J
·' He . . never millIe a seriuus erfort to under stand what. was e1l:tf:.rnal 10 him ."
Ceorge;! Rency, Phpionomie.! lilteraire.! (Brusllels . 1907). p . 274 (" Charlet
Ba udelaire" ). (J 12 ,2J
" Baudelaire is a8 incapable or love as of labor. He loves ali he writes , by fil8 a ud
starts, a nd then relapses into the di.llllolute egoism or a liQueur. Never does htl-s how
the Blightesl curiosity abo ut human affairs or the sli~h tell t COll8ciouslleu of human
evolution .. .. His arl could ther erore be said .. . til , in by r ea;;on of it s narrow_
ness and singula rity ; these, indeed . are deC~ts which pUI ocr sane and uprigh t
minds 8nch as love clear works or universal import. " George. Rency. Phy.!iono-
mil'.! litteraire.! (Brussels, l 907). p. 288 (""Charles Baudelaire" ). (J 12.3J
" Like many IlUolher lIuthor of his da y. he was 1I0t a writer hut a stylist . HiMimages
are a~o8 t alway. inappropriate. He will say of a look tllat it is 'gimlet-sharp.' ...
He will call repentance ' the las t hOllelry.' ... Baudelaire is a still WO I'8e. wriler iu
prose than in verse .. .. Be duet not even know grammllr. ' No French writer. ' he
SIlYII , 'ardent for the &lory or the Dation , ca n , without pride a lltl withollt regrets
,Liver[ his gu e . .. ' The solecism here i.s not only ftagrallt ; it is foolish ." EdmoQli
Scherer, Etude, mr lo. litterature contemporaine, vol. 4 (PuriH, 1886), PI', 288-
289 (" Ba uddairc"). [J12,4J
~Bau.d elairt' is a sign not or decaden ce in leiters hUI of the general lowering oC
IOt~gence." Edmond Scberer. El/ldes .!ur fa litl eralllre conlempor1line, vol. 4
(Pan s, 1886), 1>. 29 1 ("Charlet! Baudelaire" ). [J 12,5]
BrUlletiere recogni:t;es, with Gaulier. th at Baudelaire h u opclled new territory fur
PI~·try. Amollg tile criticisms registered against hi.n. by the Literllry historiaD ill
tb.s·. " Moreaver, he was a poet l\' h0 I aclted more thall unedemellt ofl w art- llola-
~I y (accordiot; to pt!ople who knew bim) the gift of th.inkillg directl y in \'t~.r ~. --
h~rclin
..
a l i tI' UrIlDt-bere-,
.. L 'EVQ I/IlIOn
. de l fl p oe.!ie
• Iyrique e n Fra nce 011 }(lX'
.!lede. vol. 2 (paris. 1894), I). 232 (" Le SynlbulisnJc"). U12 .6J
Brllueliere
• •
(L'E 110It ' d
II IOn e" " '~ I yrlque
... 1Xff!..! . en FrfHlce flU X IX' $iec1e. vul. 2
[ I ans . 1894]) dilltinguislles Baudelaire UII olle sid!" from the 81'11001 of nu~kill oml
"' 11 .t he otller from the RU8Sianllo\'~wl8. In both tht'l;e 1I10vemcn ls he SrtH cur;rnts
wIlH.' h . with good reason . resist the dermdefl ce proclaime.1 by Baudda ire, ol'llOsing
to I"VcrYlhillg h ypercuhivated tbe primitive sinlplir ilY IIlId innocence of lIatnral
man. A synlhesis of theae autithetica llendClJciell wouM III~ rcpresente.1 loy WN g-
lu!r. -BruDl!liere arriv(."tt ul tlus relatively positive estimation o( Baude1aire only
belilledly ( 1M2 ). [J12a. l ]
On Bauddain- in rdatillll to Ilugo and Cautier : " lie Ireats l.h ~ grea t mu ters he
learned (rom as he Irtlll lll women : lu~ adtH·es allll vilifies them:' U.-V. Chlltelain,
B(Jlldela ire . I'hamme e l Ie poete (Puris). II. 2] . [J 12a.2]
Baudelaire on Hugo: "Not only does he express precisely and translate liu:ralJy
what is clearly and distinctly visible, but he expruses with indispensable obscu-
rity what is obscure and vaguely revealed." C iting this sentence in Bauddajr~,
I}!tomm~ d Ie potte (Paris). p. 22, Chatclain rightly says that Baudelaire is perhaps
the o nly man of his time to have understood the "sccret Mallanneism" of Hugo.
[]12.,31
" Barely sixty people folluwed the hearse in the sweltering hea l; Banville and
Auelineau . undcr II gathering stonn , DIode beautiful speeehetl that nobody could
hear. With the e.xeeption of Veuillflt in IA'UniverJ, tbe pres~ Wll' eruct. Everything
bore d own on hi.. remains. A gale dispersed hia friends: bis enemies ... caUed
him ' mad . ,,, U.- V. Ch att:iui n , Bfludelai re. l 'hammee, I.e poe' e (Paris), p . 16.
[J12a,4J
For Ihe experiellce of the COrre$pomlanceJ. Ba udelaire refers occosionally to
Swcdenborg. anJlllso 10 hashish . []12.,51
Baudelai re. at a COIlL't!rt ; " Two piercing hlllck tiyes. gleaming with a pt.'Cu1iar viviJ·
Deilil. alolle a nimated the figure that seem..d frozen in it. shell ." Loredan Larcbey.
Fragme/lt 5 tie 50lwenir, (Puri~. 1901 ). p . 6 ("'Le Boa tie Baudeiaire--l.' lmpet..'Ca·
hie Banville"). [J12a.6}
Lart:hey ia on eyewitness 10 Baudelaire's first visit to an Academician-a call paid
to Jules Sondca u . Larchey find s himself in the entrance hall soon after Baudelaire.
"WheD J urrived , ... a tlhe appointed IUluf, a bizarre ~ I:recta cl e informed me I had
been prec:eded. All aro ulld the hat-pegs of the antecha mber wae coiled a 1005
s<:a rlel boa. one of thosc hil US ill chenille of which young workillg--clas8 women are
" articular1 y fontl ." L. uu rrhey. Frogmen" cJ.1l $ou tJenirJ), p . 7. [J 12a,7}
Tubleuu of decadence; " Behold our great citics IlIlder Ihe fog of tobacco smoke
thllt envelops them. thoroughJ )' w d,lclI b y Illcohol . infused with morphine; il is
tJu!n : Iha l hutlillnilY comes llIlltiuged . Hest IIssured thai this source breeds more
/·pileptics. idiots, and llu assinll than poets." Maurice. Barris. Lo Folie de Charles
UU/ute/oire (Paris <1926». pp. 104-105. 11 13 .1]
" In t!olld usioll, I wo uld Uke 10 imagine !hBt a governnlt"lIl l1 uch all WI! cOllc..ivc Bfter
1111: modd (,r Hohllt:s wflulrl illrive ttl a rrc~ l . hy lIome ,·igorollS thCntpt.:Uli,· mcthod ,
Ih~ II prellfl of tilt'''· dOctrU1CIi. which are U pfolim:tive of maJingcrcrs and trouhle--
luakers all they lire useless for rorming citUens . . . . But I Ihink th aI the wise
,I" s pot. arter carl:ful rCfl Cc.ljnn , would refrain f.-mil inten ·cIUng. fuithfu..l to tile
tratlitiun of a.1I a~B ble philosophy: li pres 11 0 m Ie deluge." Maurie'e Barres. La
f olie r/l': Charles 8(.IIIdef{lire (Paris) . PI'· 103-104. IJ 13.2]
··Haudelaire wa' pt.:rll ups onl), a hard .wor ki ng soul who felt and untier st(}(ltl whill
Wtl S 11(' \'1' through 1'· Ot:. and who (U.\wiplined Ilimself in til(! cuurst' of his life Itl
bt"'Colllc SI;et·iulizt:d ." Mouriee Barn!!. u. Fulie de Charle, Baudelaire (Paris),
p. 98. U I3,3]
··Le l us perhaps guard agaillst taking theu' poets too tlluckly for Christian/!. The
lilurgit·allaujlJuuge. tile angels, the Sa tans ... are IIII·rel y a miJe ell $Celle for the
artist who judge, that Ihe pictureS(IUe is well wo rth II M ass . "~ Mau rice Barrell, La
Folie de Charles BUI/delflire (Paris). PI)· 44- 4 5. U I3,4]
" Uis best pagel are overwhelming. He rendered sUIK: rll prose inlo tlifficuh verse."
Maurice Barres , La Folie de CI'(Jrlell lJaiu/elf/ire (Parill). I). 54. [J 13,5J
"Scattered acro u Ule sky like luminous seed s of gold ond silver. radiating out frolll
lilt' decl) darkness of night. the stan reprellent [for Baudelaire] the ardor and
energy of the humBu imagillation:' Elisabeth Schinzei , Notur !Hld Nu ,ur$ymbolik
be; Poe, Baudelnire und den frmuo, ischen Symbali.stell (Diiren [RlWleiandj,
1931). p . 32. [J 13,6]
""Hi,. voire ... mum ~Illik e th .. Iliglutinle rumble of vehicleil , filtering into IJlushly
up holslered bedrooms." Maurice Ban es, Ln "'olie (Ie Churle, Buudelai re (paris),
p. m []~
" It lIIigItI St:.'tlIlI, al fir~ t . that Blludeluire's ocuvre was rdati vely infertile. Some wits
cCllllpBred it to a narrow basin dug with errort in a gloomy spot shrouded in
haze... . . The innuenee. of Baudelai re wu ~ revealed in l..e ParlUlue contemporain
.. . o( 1865 .... Three fi gure elDerge: . . . Stephall.. Malla nn ~. Pa ul Ve.rlaine. and
Maurice Rollillal : ' Ma urice Ba rr~8, La Fulie de Cllllrie., Boudelf/ire (Paris).
JIll· 6 1, 63, 65. [J 13.SJ
··A nd Ih" plac(' occupied b y radal epithets OniOIl/! the roh hle lit that lillie!··
MIIII.rit·e Barrt:iI. UI "-olie tie Charles 80udeJa ire (Pa ris ). p . IW. (J l ga.l ]
FIUIII!cl·' Itl o a llll,·laire: " You praise til.. l1e~ 1t wit llf)ut loving it. ill u mdulII·holy.
rl!"tadlcd WII )' Ihal I fmd "Ylllpulllt~tj c . Ali! Itow well yo u UIlJerSland lilt' IUII"'!(lolli
or ex i~ It ' lwe!":I Cile,1 ill Malu·;ce B u rri: ~ , IA(/ f ·o/ie de C"o rI4~~ IJruulcluire (Puris) ,
I' · :11 . [J13a.2J
Uaudelaire's predilection forJuvenal may well have to do with the laner 's being
One of the first urban poets. Compare this observation by ThibaudCI: "In survey·
 ing the great epochs of urban life, we see that the more the city provides poets
and other people with their inteUcctual and moral life, the mon: forcefull y poetry
is pushed outside the city. When, ... in the Greek world, that life was fosten:d
i. within the great cosmopolitan centers of Alexandria and Syracuse, these ciries
gave birth to pastoral poetry. When the Rome of Augustus came to occupy a
similar positio n of cen uality, the same poetry of shepberds, ... o f pristine nature,
appeared with the BucoJiu and the Georgia of Virgil. And in eightecnth-cemury
France, at the most brilliant moment .. . o f Parisian existence, the pasto ral reo
appears as pan of a rerum to antiquity.... The only poet in whom one might
find a foretaste of Baudclairean urbanism (and of other things Baudelairean as
weU) would be perhaps, at certain moments, Saint·Amant.n Albert Thbaudet,
Inttriam (Paris <1 924», pp. 7-9. • [J13a,3)
"'In paning fN)m alllht:Se Rtl mantic poet!! to Ba udelai re. we plliS frolll II landscape
of nature 10 II landscape of a lllne 111111 flellh .... A religio us . we of nature, wwch ,
for these . . . Romantics, W illi pa rt of their familiarity with nature, has become
with Baudl·lair!! a hatn::11 of nat ure." [?] (J 13a,4]
Bomleiaire on MU8~e l : "Except at the age of one's fir st Communion- in other
wortls, at the age wh!!n ever ything hll ving to do with p ro~ tihll eH and !!ilk s tockings
produces a religious errect- I hll ve never heen a ble to endure th at par agon of
lady- killers, hill spoiled-child's impudence. invoking heaven allli heU in tales of
dinner- table COII\'ena tion" hi, mudd y tor rent of mis ta kea in gra mmar and p ros-
ody, and fin ally his utter in capaci ty to understanll the proces, by which a reverie
becomes a work of art ."n Thihaudet , who quotefl this remark inlnterie ur. (p . 15),
j uxta poses it with one by Brunetiere on Baudelaire: " li e'. jus t a Sa tan with.
furnis hed a pa rtnum t , a Beelze bub ofth e dinner tahle" h•. 16). [J 13a,5]
" A sonllet like 'A Une Passante' ~To a Woman Passing By•. a stanza like the last
stanza uf that so nn el 7~ . . . could blossom onl y ill till' milieu of a great capital ,
where human beings live together as Slr ll ngers to one II notlll:r and yet as travelers
on the same journey. Am on,; aU Ibe capitals . Paris alone producu IlUch beings as a
ualural fruit. " Al h~rt T hibllutlet , Interieurs ( Paris). !lp . 22 (,'Baudelai re").
1J14.11
" lie car ried a bout him as sorrowful trophy ... a hu rdt'li of memories, Stl thaI he
6fleml!(l to live in a continuul pllr llmllesia . ... T he puet ca rrics within himself 8
lil·jug duree <perduratioll) which Oll (j r~ call fo rt h .. . and with which they mi~~
gle .... This city i", a du ree, nn invete rate life-form , a memury . . .. If he luved ID
... a J t'allll1! Du val some immemorial litrt:tch of night ...• Ihit will he only a
liymlml ... " f tJllltlrue dll ree ... I.hlll is l."Uus uhsl8l1tiul ~' i th the life and Ltill~ of
IJu ri!>, the duree uf those v('ry oM , rUIIII}led creatu res whu (it Ik-~ mcd to hi m) ought
to furm. like tllt~ ca pital itself, III U!lIsiw! blocks and uliendillJi; emha nk me uts uf
men\IJ ri .. ~." ( Hefcrellct' is 10 •. ~~ PclilCll Vieille$:') AlI~rl T hihaudd , Interiel,r.
( Pa r is), (11)' 24_27 (' ·Blllldl'laire"). [J 14,2]
Thihaudl'l jllX lapuse8 BaudelliLre's "' Une Ch arQgnc" <Carrioll) wi th Ga utier ', " LII
Comfil ie de III mort" <The Comedy ur Death) ulUl Hugo's " l.,' Epopee dll vcr " <The
Epie of the Wo rm } dn le rie ur5, p . 46). (j14,3]
1bibaudet adverts very aptly to the connection between confession and mys-
tification in Baudelaire. TIuough the lauer, Baudelaire's p ride compensates itself
for the former. "Evcr since Rousseau's CtmfiuiofIJ, it seems that all our literature
of the personal has taken its departurt: from the broken-down fumitwt of relig-
ion, from a d ebu nked confessional." TIllbaudet, 1111irit:urs (Paris), p. 47 ("Baude-
laire"). Mystification a figure of original sin. (j 14,4)
'fhibuUl lel (l nterieurf , p. 3·' ) ciles a r emark from 1887, in which Brunetie.re calls
Bli uddai re " a s pecies uf ur iental idol, monslroUI! and missha pen . whose natural
rleformi ty is heightened by stra nge colon ." (j 14,5]
[n 1859 MilttraJ's Mi reille apl>earw . Baudelai re wal incensed at the book', I UC.
c:e8S. 1J14.61
Ba udelaire to Vigny: "The onl y praise I as k fur this buo k is that readers r e(lognize
it's 110 1 a mere album , but has a beginning and an end . "7'; Ciled in Thibaudet ,
l"terielmf (Paris)_ p . 5. {j14,7]
Thiba udet concl udes his dlsay on Ba udelaire with tJle allegory of the sick mUlle,
\0\·110, 0 11 Rastignac 1:liU un the Right Bank of the Seine. forms a pendant to tbe
Moutaglle Sain le-Ceuevieve Oil the Left Bank (pp. ~ 1). {j14,8]
Ba udelaire: " or aU our great poets, the one who writes woul- if Alfred de Vigo y
be eltcepted ." Thihuudet, Interieurf ( Paris), p. 58 ("Ba udelaire") . (j1 4,9]
Poulet-l\1alulisill had h.ill "shop" in the Passttge d~ P rinces , called in thOlie d ays the
Passage Mirell. [j 14a.l ]
- Viulet hoa on which clirlf'd his long graying locka , ca refully maintained, which
/:a\'e him a Bomewha i d erical a pl)earancc." d ules lIusson) ChampRe ury, Sou ve-
"ir., et portrait!! lip. jeu"eue (Pa ris. 1872), p . 144 (" Rencolitre de Baudelaire").
[j14a.2]
" 11,· wo rked , nOI HlwuYIi consciou5ly. a lthut lIlislllldl'rHtliluling which iSQlalt:d him
i ll h i! 0101'11 ti me; Ill' wo rke.1 a l it all the more us this misllllliersianding was ... In:ady
ta king shape ill hilnsd f. lIi~ private no teB, pubLii!hed pos thumously, a re Jluinfu!ly
re\'('aling in this 1·1'811e1·t . ... Att ~ OOll as this artist of iuculllililrahle sub tlety 81)(,lIk8
It( himJ!lelf. he u aston is hingly a",k-wanl. lrn'parahl y he lae b pride-Io the point
"" " t're he reckous inceliJOalltJ y wi l h f(wls, eitlu'r tu u~loulld th!!llI, to s h.:x;k them, or
li fter all 10 infnrm them d ial he absol uld y does nu t rl.ockliU wilb fool,:' Andre
Gide, Prefa<:e to C barle~ Baudelaire. Lu FLeurlI du mal. ed . Edouard PeLlelan
(Paris, 1917). PI' . xiU-xiv.llI [J 14a,3]
''' This hook hus not been written for my wives, my daughteri. or my si ~ t eC!l; he
says. speaking of Lell Fleurs du mal. Why warn us? Why this sentence'? Oh , !limply
for the pleasure of affronting b ourg~i s morals, with the words ' my wives' dipped
ill . a ~ if careleuly. He values tllem , however. since we fmd in hill private journal:
'This Callnot shock my wives, my daughters , or my sisters .• ,. Andre Gide, P reface
to Charles Ba udelaire, Lei Fleur, d" mal, ed . Edouard PeLletan (Paris , 1917) ,
~~ Ul~
" Without doubl , Baudelaire is the artist about whom the most nonst'nse haa heen
written ." Andre Gide, Prefau 10 C h~ a rles) B<audelair:e>. Les Pleurs du mal, ed.
Edouard PeUetan (Paris, 19 17). p. xii.8.l [J 14a,5]
... Lei Freurs du mal is dedicated to what Gautier claimed to he: magician of French
letters, pure artist, impeccable writer-and this was a wu y of saying: 00 not be
deceived; wbat I venerate ill the art and Dot the thought; my poem~ will bave merit
not be<:ause of their movement, passion , or th ought. but because of their fonn,"
Alldn! Gitle, Preface to Ch. B . . Lell Freu rlI ciu mal, ed . Edouard Pelletan (Paris,
1917), PI" x.i _xii .'iI [J14a,6]
"Now he quietl y convt:rses with each one of us." Andre Gide. Preface to Ch. H.,
Le& Fleurll du mal. ed. E. PeI1etan (Parill, 1917), p . xv.II: [J14a,7]
Lemaitre in his article " Baudelaire," published originally in the " Feuilleton
Dramatique" seetion of Le Journol dell debau . and writtcn on the occasion of
Crepet's edition of the Oeuvrell pOf thu11U!1 et Correllpo1lciunCeil ineditell: " Worst of
a ll , I sense that the unhappy man is perfectly incapable of developing the Be sibyl-
line notes. The pemee& of Baudelaire are mosl often only a sort of painfnl and
pretentious stammering.... One cannot imagine a Ielis philosophical mind ." Jules
l.t:maitre, Lell Contemporaim, 4th series (Paria, 1895), p. 2 1 (" Baudelaire" ).
Brooding! <See J55a , h. [J15,1]
After Calcutta. " On his return , he cnter s into possession of his plltrimollY. seventy
lh ou ~a ntl francs. Within two years . heh88 spent h alf of it. ... For the lIellt twenty
years, he Lives on the income provided hy thl! remaining thirt y-fi ve thou ~a nd
fra ncs .... Now, llur ing Ihl!se twenty yean, he runs up IUl lllore than ten thousund
fra nclI in new debu . Under these conditiolls, as yo u can imagine. he couldn ' t have
lnclulgl:d very often ill Neronian orgies!" Jul u Lemaitre, Lel ContemporaillS, 4th
series (Parill, 1895). 1" 27 . [J 15,2]
Bourget draws a cmul'a risoli between Leonard" and Baudelaire: "We are tlrawn
irresi$1iLly 10 prolonged Dlt.- dilation 0 11 the enigma of this painter. of this poet. On
being studiously contemplated . the enigma eurn: nder8 i18 eecrct. " Patti Bourget,
Euaill de plydlOlogie contemporCline. vol. I (Paris , 1901), p . 4 ('·Oaulleillire" ).
1J15.31
;'l'Ie excels at beginning a poem with words Qf unforgettable solemnity, at once
tragic and r ueful : 'Wbat dot:s it matttlr to rue Ihal yll u are wi!\tJ? I Bc lovely-and
be sad ! ... ' Elsewhere: " Sudden as a knife you thrust I inlO Illy sorry bear!. ... '
And elsewhere: " Pensive us cattle resting on the beach , I thl!Y are staring oul to
jea . . .. ' " Patti Boorget, ElISlIilf de pllychologie contemporai1le, \'01, 1 (Paris,
19( 1). pp . 3-4.113 [J15,4]
Bourget sees in Benjamin Constant . Amiel, and Baudelaire thrce kindred spiritll.
iDtellt'cts stamped b y the clprit d'flllalYle, typcs detcrmined by decudence. The
l!ctailell appendix to "Baudelaire" is concerned with Constant'e A dolpM. To-
gethcr with the SI)irit of analysis. Bourget considen ennui an element of deu-
deDce. The third and lu t cha pter of his essay on Baudelaire, "Theon e de la
decadencc." develops this idea with reference to the late Roman Empire. (J15,5]
1849 or 1850: Baudelaire draws from memor y the head of B1anqui. See Philippe
Soullauit, Baudelaire (Paris <1931» , illustration 011 p . 15. (J15.6]
" It i ~ all a harmony of artifices, of delilierate contradictions . Let us try to note
some of these. Realism and idealism are mingled. Along with description tllat takes
extravagant pleasure in the most dismal details of physical reality there is , at the
samc time, r efined expression of ideas and beliefs that exceed the immediate im-
pressiun made on U 8 by bodies--There ill a union of the most profound sensuality
with Chr istian asceticism . 'A horror of life. and an ecstatic joy Ul life,' writes
Baudelaire somewhere. 8t ... There is also. speaking of love, the combination of
adora tion and contempt for woman . . . . Woman is lIeeli as a sla ve, as an ani-
mal , ... yet to her the same homage, the saDIe prayen are addressed as to the
immaculate Virgin. Or ra ther, she is seen as the universallrap ... and worshipped
(or her d ea~Uy power. And that is not all: evell as on e seeks to render the most
artlent passion, one also labors 10 find for it . , . the most llDexpected form .. .-
that is. what bespeaks t.he greatest 8ang~froitl aud e\'en absence of passion ..
Olle bdie\'es, or one. pretends to believe, in the devil ; he ill en\'isaged by tunis. or
Simultan eously, as the Father of Evilllnd as the grea t Loser alld great Victinl; and
(me {IIJligbu in proclaiming one's impiety in the language of . . . the fllithful. 'Pro-
grc~s' is cursed ; the industrial civilization of the centu.r y is execr ated • .. . a lld , a t
tilt' sa me time. the poel revels in the special color alld brilliaucy Lhi ~ civilizlItion
hag Lrought to hu ma n life .... Such, I believe, is the hasic intent of Uaudclairism:
alwaY5 to unite two oppo..ed orders of feeling ... alit! . at bottulil . two divergenl
concept.iollll of tJu!. world !lnd of life--Ihe. Christian alltl the {Itller. til'. if you like.
the pn ~t and the present. It is a masterpiece of the Will (like UnlHleiaire, I cal)ital-
tzt'). the las t wu rd in illventivenellll ill the. realm of feeling." Jules Lemujtre, Le!!
COnrcmporain" 4th lIeries (Puris. 1895), PI'. 28--3 1 ("Baudelaire") . !l1 5a.l ]
Lemnitre ohser Ve8 thaI Buudelaire r eaUy dld ereate a pancif. Ii cliche, as he Mel out
to (10. [J 15a.2]
"Thc hlimlly upl'urah ul uf tleslr uetiUII" -where ill thi,.; phrasc ill Baudelaire? In
I)cSlrUl:tio ll . ·~
" I..u [J 15a.3J
" You cuuM IJU t him du wn U8l)erfect embodiment of the ' Parisian pestimillt .'
tilt:
IwO wortb which earlier wouJd ha\'e jarred on being coupled :' Paul Bourget,
Eu uis de psyclwlogie cantemparf.i ne. vol . I ( Paris, 1901) , p. 14. [j15a,4}
Baudelaire hud briefl y considered re producing. as the frontispiece to the lecond
t!4lilion of Le, Fku r" a dance of deuth b y H . Langlois. [j 15a,51
"Th ~ different mell inha bit thili man at one and the lIame time .. .. These three
men are all quite nlOtJern , a nd more motlern s till is their Iynthesu. The eruill of
religious faith . tbe cit y life of Paris, ami the scientific spirit of the age ... are 10
thoroughl y ullietl here a8 to aplJea r inscparable .... Faith has died out. whereat
mysticis m , tllllugit inlcUevtu uUy discrediletl . stilllJermeates the sen, ibility.. . . We
cuuM lIote ... the usc of liturgitlMl terminology to cele brate sensual p leas ure . .. or
tliat curious work of ' prose' in decadent Latin style which he entitled 'Franeiscae
mcatl laudcs.· ... 011 the olher hand . his lihertint: tas tes came from Paris. Ever y-
where in his ... poelllll ill It backdrop of Parisian vice, aR well u a backdrop of
Catholic ritual. He h all obviously penetrated-a nd wi th hail'-raising experiencee,
we IIIIo1 Y bt: sure--the mosl wretc.hed IItrata of this unchaste city. He has eaten at
cum mon dirult~.r lablu beside painted women whose mouths drip blood through
nlas ks of L't)ruse. He h as s L~ pt in brothels, and has known the ranoor of hroad
daylight illumi nating_along with the faded curtains, the still more faded face of the
,,·oman-fOl'-itire. lie hal sought out ... the unthinking SpaslD that ... cures the
mal de pe n.sel'. AlId , al the same time, he has stopped and chatted a l t'very Itrect-
corller in tuwn . . . . He has led the life of the literary ma n, ... aod he h as ...
" 'hetted the b1i1de of his s pir it wber e that of others would h ave been dulled ." Paul
Bourget , Euai.s de p'ycliologie COfll emporaine, vol. 1 (Paris , 1901), pp. 7-9
("BaUt lelaire"). [j16,IJ
Riviere provides a sequence of felicito us glosses on Baudelaire's poetic proce-
dure: "Strange procession of words! Sometimes like a weariness o f the voice, ...
an utterance fu U o f frailty : ' I dream. of new flowers, but who can teU I if this
sordid swamp of mine affords I the mystic nourishment on which they thrive [qui
firaitleur vigueurl.' Or: 'a favoring Goddess makes the d esert bloom [Cybtle, qui
les aime, augmalll: ses verdu rcs] ....' Like those who feel themselves completely
in command of what they want to say. he seeks at first the most remote o f tenns;
he then invites their approach. conciliates them, and infuses them with a quality
you would not have thought could be theirs . . .. Such poetry cannot be the
produCt o f inspiration .. , . And just as the unfolding thought ... slowly breaks
free of the obsanity in which it began. so the poetic trajectory retains a certain
slowness from its long virtua.lity : 'H ow sweet the greenish light o f your elo ngated
eyes: ... Every o ne of Baudelaire's poems is a movement... . Each constitutes
some particular phrase, q uestion, rc.m.inder, invocation, or d edication, which has
a specific direction." Jacques Riviere, Eludu (Paris), pp. 14-18.'" [J 16,2)
Frontis piece ( by Hops) to du' colll·ction of Oiluddai re's pOCUll! clltitled Le.s Epm.-e.
(Wreckage> . It preseut.!l a Dlultifaf'etctJ a ll"gor y.- Plan t o use lin etching b y Urac-
quemj)nd 118 Ule frontis piece to the (second edition of) u.
f"leul's du mal. Baulle-
lai rt' (Iescribes il ; " A s keleton turning into a In-e, with Icgs and ribs fOrming the
trllnk , the arms Blrt'lcile·d oul 10 make a cross and burs ting into Icaves and buds.
-:;heh ering sever al rows of poisonous pla nts in lillie pots . Lined up as if in II gar-
J ener'5 hothouse.'')r. [J 16.3)
CU riOU li nOliun of SoupuuJl 's: "AII11118t u1l uf the Jloem ~ ure mort" or less directly
ill.'! pired by a prinl or a painting.... Ca n it he said that he sacrificed to fa shion?
(1 .. dreaded being alone .. . _ His weakness obliged him to look for things t o lean
on." Philippe SOupuuJl, BlIudelaire ( Pari M( 193 1» , p. M. (JI 6u,I )
" In the years of hi ~ nla turity und reSignaliuu. he nevcr s poke .. wonl of regret or
complaint ahont his ehildhmu1. ·' Arthur Holitseher. " Charles Buudela ire," Die
Uf era",r, vol. 12 , pp . 14- 15. 1116a.2]
"T hese images . . . du Dol ailll to caress our imaginatioll ; they are (lislant Hod
stuwed , the wa y u voice sounds when it emJ>has i ~es something.. .. Like a word
! I'0ken in our ellr when we lea SI expected it , the poet i8 suddenl y hard by: ' You
relUemher ? You remember whal I' m 811.ying? Where did we see- l hat together, we
who dOIl' 1 even know each other?" J HCflue&!til·iere. Erude, (Pari,). p". 18-19.
[J16.,3]
" Baudelaire under stood the clairvoyance of the heart that lines uot ac knowledge
aU it experiences .... II is a hesitation , a holdillg hack , a modetit gaze." J acques
Rhtiere , Etude, (Puris). p. 21. 1116a.4]
" Uncs of verse 110 pcrft'1:t . 8(J mcal urt' J . Ihula t first oue hesitateli to grant them aU
their meaning. A hoJW &tirs fill' a minute--tloubt u~ tu their I~rofundit y. But one
ncet! Q'nJy wait." Ja C(IUeli Ri vii':!'e, Eludes ( Pa ris), II . 22. lJ16a.51
On BHuddairc's " Cn: jllw'lllc du ma l.i.II " <'l\vilighl of Du yhrt:ak): ,cEloich line of
" Cr;' pII SI~ ule !l1l lII utin " -wit lw ul ~ trid e ll uy, witl. t! t' votiou--ev., kel a mitiffll'tunc:'
J UI·qU.:" Ri vier.l. "-'Iude, (I'!tris). p . 29. [J16a.6)
"'I'he Ilcvo tioli IIf a hC.II rl mOl'ed to t;('Slasy li y weakness .... 'I'hougll ht' 5 pcak~ of
the m(lSI horrihlt! thinp'o !.IU' fil:rC t' IW ~~ of Ilia rt.'8Ik'(; t Icnli8 him 101 8uhLle decl:nc),.·'
Ja t'q ucs Ri viere. Erutle, ( PUri8\ . PI" 27-28 . 1J16a.7]
Accurding IU Chaml'lIcury, Baudelaire wu uld lUlve hought up all the uDsold item.
from the Salon uf IM5 . [J16a,8]
" Oumleloire knew t.he art of tnUl1!forming his features a8 well U 8 any el!caped
convict. " d ules) Cllillnpfle ury, SOItlJf!:nir$ el porlm,', de jeutleue ( Paris, 1872),
p. l35 ("ReDcontre de Baudelaire").-Cour(,et complained of the trouble he had
completing the portrait!)f Baudelaire; Ihe suhj t:(; t lookal different from one dllY to
Iht' next . [J16a,9]
8au~l elllire '8 liking for porter. [j16a,lO]
"UaUilelaire'! favorite flO'I~'ers " 'ere neil her daisy, carnation , nor rOSf!:; he would
brea k into ra ptures at the sight ()f those thick-Iea \'ed 1)lants thai look like vil)ers
ahoul 10 faU on their prey, or spiny hedgehogs. Tormented forlll s, bold ft}rm&--
l ueh wall this lIoet'8 ideal:' ChulllpHeury, Souve"irs et portrailS de jeuneJJe
( Paris. 1872), p. 143. [j16a,11)
Gide. in Ins preface 10 Les Fleurs (ill mal, lays t-mp hasi!! on the "centrifugal aod
tlisintegrating" force which Baudelaire. like DOliloevsk y, reeogni:ted in himself and
which he felt to be ill oPl)Osition to his productive concentration (p . xvii).-
[Jl', l)
" Tbis las te Cor Boileau and RII(:ine was nol an aCfeclalion in Baudelai re .... Tbere
is sumething more in Le, Ffel~rs d" mat than tbe ' thrill of the new'; there is •
rl'turll to Iraditional French verse .... Even in his oervous malaise. Bauddllin
relailll!! a certain sanity." Rerny de Go urmont . Promenadu iillerairu, 2nd teriet!
( Paris, 19(6), pp . 85-86 ("Bauddaire et Ie 80nge d 'Alhalie"). {j17,2}
Poe (as cill.:d in Remy de Gourmont . Promenade, uuerairf!$ [Paris, 1904], p . 371 :
" Ma rginolia s ur Edga r Poe et &Ur Baudelaire" ); " The assura nce oC the wrong or
error oC any action is often the one uncuuquerable force winch inlpels us. aod
alone impds us, lo it s prosecution." '" [J 17,S]
CUII.3lruction of " l..' Echee de Ba udelaire" (Baudelaire's defeao , by Rene La-
Corgue. As a child , Baudelaire ill 8uppo!le~IIO have witue..sed Ihe coiluli of his nu r&e
or his motht'r with her (firsl or aec:ollll ?) hushand ; be would fmd himself in the
positioll (If thirtl p~~rsOIi in a love rclaliunship and would settle dowli in that posi-
tiun; he would llccoUic II voyeur alld fretlUell! bordellos mainly IU~ a voyeur; owing
to tln!! lIume fLXutiu o on the visua l, he woultllJeCu me a critic and experience a n~
ror obje(·uvily. "su thll t nothing iii ' Ioiil 10 view. ". He ""otlld hf-Ioug to a d ellrl y
defined category (If pa tiellts; " For Ihem, 10 st.'t! mellns to sc)ar II Ijc)ve everything,
like I:Uglt·S, in compleh: s!!eurit y, IIlullo realize a 801'1 of QmnilKJtcnce by identifica-
lion lit once with the In UIi a llli wilh 1111: WOIIIIIII •. •• TIII' ~e ure the people who then
devdol' Ihal falal tllS Il~ for lhe aiJsoiul.C . .. , ami who, tll killg rdu gt' in tin: domain
of pure imagina tiOIl , luse Ihe uae of their hearts" (L 'Echec {Ie Baudelaire [Pana,
193 1]. JlJl. 201. 2()'l)."IJ {j17,4J
" Uaudduil'c luved Aupie.k widwul being Owure of it , all(1 ... his reaHon fflr con-
tinually provoking hi!! 81cpfatlll'r Wit S ill QI'dt'r 10 he lovcu hy him .... H J eanne
Olu'a l played a part ill the l)Ut:t 'lI emotional life IIlIalogous to that played by
."upick , we CIIII undcrsla nll why Bauclf' laire was ... sexuall y IWe8ened by her.
."Ofl so ... Ihill nnioll s tOOII. ralher, for a Ilunlo!IeXual ullion , in which Baudelaire
dlicny pluycd the passive rlllt.- -thul of the wOlmm. " Hemi Lllforgue, L 'Echec de
f1(1IH/eiaire ( Paris, 1931), pp. J75, 177. ~I !j17,5)
llis (riend~ i!omelimes called Bau.ldaire ":M onseigne ur Brllmnlell ." 1111,61
On Ihe cumpulsiun to lie, os seCD in Baudelaire; " The (lirc!!1 aDd spolltaneoua
e.'(pression of a Iruth hecO Ill Cil, Cor Ihese s ubtJe alld tormeuted consciellcel. the
rqui,'alelll of slIccess ... in incesl: 8UCC!!I8, tJlat is 10 !ay, in a spbere in whieb il
Clln be rea lizt:fl simply by ' good sense.' ... For in those cases where 1I0rmal texu-
ality is re preAlled , gQQ(I ~ellile is (llted to lliek an objeci . to Hene Laforgue. L'Echec
de Btllu/eitlire ( Pari", 193 1), 1'. 87. "'1 (j 17,7)
Anatole France-w Vw fitteraire, vul. 3 ( Pam . 189 1}---on Baudelai re; " His leg-
I·ml. crea ted by hi~ friend. and admirer s, a bounds in mar ks of bad taBle" (p. 20).
" The 1II0 S1 wretched WOlllIHl encountered at night in the shatlows of a disreputable
alll'Y take8 Oil , in his mind . u I ragie grande ur: seven demoll ~ are in I.hem ['1 lIud the
whole mYilticlI1 s ky looks ~Iown on this 8inner whose soul is in peril. He tells himself
thai the viletl Ic.isses J't'SQund through 1111 elernit y. lind he brings to bear on th4
olOmenlur)' encounter eighteen centurieil of devilishncss" (p. 22). " He is attracted
10 women only to the IKJill1 lIt:(;eSSllry (or irrevOCllble Ion tlf his sow. He ill never a
lover, IIntllll' would 11 01 evcn be II debauchee if de baucher y were not superlatively
impious . . . . rle would have lIothill/l: to do with wtllllcn if he were not hoping
tha i. through thelll . lie ('ould offend God and make the angels weep" (" .22).
{j17a, l]
" At 00110111. I.e hud Lut hll lf u fuilh . Only his spirit wus t':o mplcleiy Chrilltian. His
IIt'lu 'l a nd iliteUtlt' t remaillcd emp ty. There iii a s tory thlll olle tlay a naval officer.
" IW of his (ri"mls, s hQ""ed him a manit ou lhal he had hroughl back from Africa. a
IIl1111SlwllS Iittlc Iwutl carvcd from a piece of wood by II poor black mall .-' II is
Ilwfully u gl ~.· su y~ the orlicer, ami he Ih",'w it away di8tluinfull y.-·Tuktl ca l'e,'
Baudelaire said ill all ullx inu~ IOll e, ' Il·~t il prove Ihe Irul"@';u,I !' They wcre I.he m01l1
prufountl wnrdl he ever IIllct·cd . li e (,t·!i,·vtd in unknown g.... l_ noll!!uSl for the
pll'u8l1re or I!I II~ phcmill g. " A llal olf' Frall!'c. I Al Vie iilfemirl', vol. 3 ( J>3ri ~. IM1).
ft· 23 ("Cllllrlt'Ji Hlluddain·"). fJ I7a.2]
[J 17a.3]
"The hYPOlht!6iJJ of 8audeiaire'l P.G. <porRiY!lf! seneroLe) hal perlisted for half a
century 1I.lIIl stiU rt'igr.1Hin certain quarlt!n . Nevertheless, il is baseJ on a gr058 and
d(:mollstrahle error and ill without auy foundation ill fp cl. • .. Daudelaire fliflnot
flie from P.C. bUI from sofl ening of tlle brain . tlie CQnseqllell{'e of a lilroke ... and
of a ha rdening of the cerehral arterie!)." Louil-Antoille-Jusllne Caubert . La
NevrQ!le de Baudelaire (BnrdealU , 1930). pp . 42-43. The argument against gen-
era l paralysis is matit:. likewise in a trea tise, by Raymond Trial. La Maiudie de
8(1udewire (Pan., 1926) . p . 69 . But he !leeS tbe bra.in disorder as a CQnseqtIellce of
syphilis. whereas Cauhert bc.Jjeves tbat IYllbilis hUl nol bet:n conclusively estab-
lished in Daudelaire'!) case (see p . 46); he cites Remond alill Voivc.nel. Le Genie
iilleroire (Paris, 191 2). p. 41 : " Baudelaire Was . . the victim of liclerosil of the
cerebral arteries." [J 17a,4}
In his cisay "Le S adis mecbe~ Baudelaire," published in La Chronique medicoLe of
November 15, 1902. Cabanes defends the thesis that Baudelaire was a "'sadistic
madman" (p. 727). (J18,I]
Ou Ca mp on Baudelaire's voyage <'to the indies": " He arranged supplies oftive-
stock for lhe English a rm y ... , and rode about on elephants while composing
vel"lle." 011 Camp ad ds in n note: " I have been told that this a necdote is 8lJurioul; I
have it from Baudela ire himself, a nd I h a\'e 110 r eason to doubt its veracity, thoup
it may perhaps be faulted for II s urplus of imagination ." Maxime Do Camp, Souve-
nirs litteraire!l, vol. 2 (Paris, 19(6), p . 60. (J18,2)
Indicative of the reputation that precedetl Baudelaire before he had pu.iJJjahed
anything of importance. is thill re mark by Gautier: " I fear that with Baudelaire it
will be as it once was with Pelrus Borcl . In our younger d ays , we used to 8ay: Hugo
h88 only to sil and wait ; lUI 800n lUI Petrus pubJjshes something, he will diup-
penr .... Toda y, the name of Baudelaire i ~ bra ndished before us; we are told thai
when be pllbJjshes his poem8. MU SSd , Laprade. Bnd ( will dissolve inio thin air. [
don' t believe it for a moment . Baudelaire will burn Ollt just 0 1 P etrus (lid ." Cited
in Maxime 011 Camp, Souvenirs iilleraires, vol. 2 (Puris. 1906). pp. 6 1-62 .
[]18,3]
" As a writer, Buudelaire had one great defect. of wbich he hall nil inkling: he Will
ignora nt. Wbat he knew, he kllew weU ; bUI be knew very linlf:. History. physiol-
o~, archaeology. philosopll)" aU duded him .... The external world searcely in-
ten.'Sloo him; III: liaw it perha ps, but assuredly he never studied it :' Maxime Du
Camp, SOIwenir!l liUeraires, vol. 2 (Puris, 19(6). p. 65. [J18,4)
From the e\'ulu atioll!! of Baudelaire by his teucherK at Ihe Lycee. Lo uis.le-G rund :
" Head y millfl. A few lup~e8 ill taste" (ill Itlu~ t u ric). "Cumluct sOIliClinll's rather
unrul y. This &11111,·nl . as he hilliself admits . il-rt IlIS convinced that Ilistory is per-
f.:'£tl y u'II'leu'" (in Histor y).- Letter uf AUgull1 II . 1839 . to his 8tcllfather. afler
"lI rnillll: hi8 bUf:calalll'ca le: " I did ratlll~r poorly ill Illy cx.amillatioll8, t::l"cepl for
Latin and Creek- in which I did vt'ry well. And thill is whal saved me.·"'13 Charlea
Uaudd ui rt: . Ver!l hlti"." ed . Jul.:1 Mouquel (Paris. 1933) . Ill'. 17.18, 2(1. [j18,5)
Ael"orilillg to (jol!C!l'hill) Pilaflan . " , 'hi:orie p laSlique t i t: l' ulltiroS)'lIe- (Mercu re
de "'rlmee. 21 [ 19101, I" 650). the and rogyne uPI,>ear " in ROSselli ami Bum.,..
J OII !!;; .
Erne!;1 SciJljere. Bom/eloire (Paris. 1931). p. 262 , 0 11 " tlu~ death of artilits": " Re.-
reading h is work , (tell myself that , were he making hill debut a8 u writer now, 11 0 1
Hilly wuuld he lIot be singlf:d oul for distinction . hut he wou ld be judged mal-
adroit : ' [j 18,7]
Sci.llii:l·e refers to t.he ~ tor y " La Fanfarlo" as a documeut whose importa nce for
Ila udelaire', biography has 11 01 heen sufficientl y recogrlued <Baudelaire , p . 72>.
[]18,8]
" Oaudelaire will keep to the end this intenniUent awkwardness which was 10
fflreign to the da:u:ling technique of a 1:lugo. " Erne!t Seilliere, Baudeluire, p . 72.
[J 18,,!]
Key panages on the ullsuitability of pauio n in art : Ihe l econd preface 10 Poe, the
~ IUll yo f Ca ut.ier.'" [j18a,2]
The firstlectnre ill Brullseis was concerned with Gautier. CamiUe Lemonnier com-
pares it to a Mas!! celebrated i.n honor of the master. Baudelaire i, said to have
flisplayetl , nn this oceasion , "t he grave lieauty of a cardinal or letters officiating at
the uhar of the Idea l." Cited in Seilliere , Baudelaire (Parill. 193 1), p . 123 .
[J 18a,3)
" 1" the drawing room 0 11 the 11luce Royu le, Bauddaire had himself iniroouced as
a fen <enl disciple but .. . Hugo, ordinarily so skillful in sending awa y his visilOnl
happy. did not understalld the lIrtificialu le character and the exclusively Parisian
Il r edilections of the young mun .. .. Their relations nonetheless rClnained cordial,
1·lugo ha\'ing evidently not rt!IHI the 'Salon de 1846'; alltl. in hili ' Ri.flexions sur
IIUf'lqucit- ullS de llIe 8 contemporains' <Refl eelionK nn SOIll~ of My COlltelllPOrar.
icn, IlaUtlelairt IIhllwl'd hilllllf'lf n'ry admiring, tlVf'lI rather pcreelltive. if withoul
!treat profulldity:' Erlle81 Seilliere, Hfmdclaire(Paris, 1931 ). p . 129 . 1118a,4)
Ulludelain ·. rt'purlll SeilBert' (p. 129). is s llpl',,~efllo lill v,' f'njoyed strulling often
alung thc Caonl fi e I'Ourf:(I' [J 18a.5)
1\I""i1 the f)lIfll y!;-Uuutlei airc's fon .bears 011 hi~ IIIntlu.:r ·s ~ iJ'~lI l1t hin g
is
knuwn. [J18a,6)
" 111 187fl. i ll UII artit-Ie eOl.itl",1 ' Chez feu 111 0 11 IIIl1ill'C ' (A t tht· Hom" of My Late
Melltor), Cluflel would eVllke ... Ihe ruucll.Ln: trlli t ill the pltylliognOIll Yof the pOCI.
Never. lIueol"lling to t.hill will1 e~ & , ... was he more furhitltlin g tlum whcn ile wAnted
IIIIIPI)t;ltr j oviltl: Ilill voice look on a tl uq uieting edge , while Ius vi.! comu;u matle
Qlle siJutltlcr. On the prel.:,,1 "f ('lCorcizing tile evil lilliritll of hi. auditorll. and with
hur~ 1 8 or laughter piercing a8 8obs. he told them uut ragllOUll lales of Iry. U beyond
lht' grQve which froze the blood in tbdr veins ." Ernest Seilliere, lloudelaire
(Paris. 1931), p. 150. 111 8a,7)
Whe.r~ in Ovid is th~ passag~ in which it is said that th~ human fa ce was mad~ to
Leconte de Lisle's opinilln that Baudelai re mUlit have composed his poems by
ve r~ iIying a pro~e tlrQft i~ taken UI) by Pierre Louy" Oell,u res coml,l.etell. vol. 12
(Paris. 1930). p. liii ("Sui te ii Poeti11Ile"), Julcs MOUiluet commcuts on tbis view in
Cilarlell Baudelaire. Ifer.f l(lli",. imrUllul:ti un IIn,1 not es by Jule8 Mouquet (Parill,
1933). p. 13 1: " Let:onte de. Lisle anll Pierre Lou YII. ca r ried a ....ay by their anlipa _
thy to Lhe C/J ristian poet of Le. f'leurs du mal, deny that he had any poetic
gift!- Now. according lu t'l(' testimony of friends of h..i8 yo uth, Baudelaire had
~ tartt-d oul by wriLing thousands of Lines of flu ent verse 'on allYand every subject ,'

mirror th~ stan?B 1118a,8)
Seilliere notn thai the poem!! attributed apocryphally 10 Baudelaire were aU
lleerollhilic in character (p. 152).
" Finany, al we know. the p&8sional anomaly has II pilice in theart of Baudelaire, at
least under one of iu aIiIHlCU. lbat or Lelhos; the other has not yet been made
admillsiltle hy the Ilrogre88 of moral naturism,'" Em eljt Seillie.re, Buudelaire
(Paris. 193 1). p , 154. 1118a,IO)
a
The sonnet "Qyant moi, si j 'avais un beau pare plante d 'ifs" <As for me, if only
I had a fine park, planted with yews>,w. w hich Baudelaire apparently addressed to
a young lady of Lyons some time around 1839-1840, is reminiscent, in its closing
line-"And you know that too, m y beauty, whose eyes are tOO shrtwd"-of the
last line of "A UnePassante," [j 19,1)
The piece "Vocations; in Splu n de Paris, is of great interest-particularly the
account of the third child. who " lowered his voice : 'It certainly gives you a funny
feding not to be sleeping alo ne, and to be in bed with your nurse. and in the
dark, , .. If you ever get the chance , try to do the same-you 'U see!' f While he
was talking, the eyes of the young author of this revelation had widened with a
sort of srupefactio n at what he was still feeling, and the light of th~ setting sun
playing in his untidy red curls seemed to be lighting up a sulfurous aureole of
passion." f7 The passage is as notable for Baude1aire's concepcion of the sinful as
for the aura of public coo/wia. [j19,2]
v.. hich lae could hardly have done without ' thinking in verse, ' He deliberately
~ill ec l in this rnellit), when . , .. at abolll the age of twenty-t .... o, he began to write
IlIl' poems which he e.lltitlf'tl fu'tlt i.e, Lelb ~nnel, then Le, Um bes . . .. The Petits
I'oemes ell IJro,e .. , • in whidl Ille poet retllrnli to themel ht' had already treated
IJ 18a,9)
in verse, were cornpolleil a t least tl'lI years aft er Les FleurJ du mal. That Baude-
Illire had difficult y fas hioning verse ill a legend which he lilinllelf lM!rhapll .. .
helped spread. '" [J19,4)
Accul'lling 10 RaYll10ml Trial , in u,
Ml,li,die de llaudelaire (Paris. ]926). p, 20.
recent rescarch hall shown tbat hereditary syphili ~ 01111 aClluired syphilis are not
mutually excl usive . T hUll. ill Ullulleillit't", cai e, acquired syphilis would have
joined with tbe heredita ry straill transmitted b y the fath er a nd manifest through
hemiplrgia in both suns ant! ill his wife. [J19a.l )
Baudelaire, 1846: "u evcr yo ur ft iineur's curiosity hus landed you in a street
brawl, ~ rh a l)8 you will havr. felt the same delight as J have ofteo felt to lee a
prOlector of the public'B slumberfl-a policeman or a municipal gua rd (the real
armY}--lhumping a rt'publicun . And if 80. like me. you will ha\'e said in your
heart : ' T hump on , thump a little harde r ... , The man whom thou thum pest it an
elll!mr or ro~ ami of IJerflimes. and a maniac for uleruiu , He is Ihe enemy of
WaUeatl. the enemy of Raphael. ""'1'1 Cited in R, Trial , 1..6 Maladi4! de Baudelaire
(Paris , 1926) . p. 5 1. [J 19a,2)
"SI>t"ak neither of opium nor or j t:u uDe Dllval if ),ou ....ould crilicize Les Fleurs du
mal:' Gilhert Maire. " La Pef!lonnalitc de Baudelaire," 111ercure de France. 21
(Jalluar), 16 , 19(0), p. 24-1 , fJI9a .3)

Bltutlelaire It! his mother on J an uary 11 , 1858 (cited ill Char les Baudelaire. Ver,
latill .~. ell. Mouquet [Parill , 1933J . p . 130): " YOII haven ' t noticed tha t in Les Fleurl
du mfiL there are twu p(Hlms concel'f1ing yo u , or at leusl alluding 10 in t.imate dt~ lail.a
of our fOl'lner' )j(I: . going buck 10 that time of yO ur widowho(,d which Icrlme with
stich strange 11 1111 1\1HI IIlclIlories--olle: 'jf' n'ai paR Huhlic , voisine dt' la ville'
(Neuilly). lind till' IIlher, which fullow s it : 'La s(:rvanle 1111 gra nd coeur dont
\' 011 8 etic~ j alou8c' ( M llri ctt;:)'~ I lefl these pot-illS withotll tilles and withou t an y
flll·ther 1·larilicutioll , 1...:c au!;C I hll\'l~ a horr(uo of prustituling intima lc ramily
maUt'h, ., ....... [J 19.3}
" To ct)lu:eive Buudclaire withoul recourse to his biogrltphy- tbis is the fumlamell-
til l objet· t allli fin ul goa l or IJllr IIlllkrtuki ng." Gilbert Maire. " La .Personnaliti .Ie
BUlllldairt'," Mercure ,Ie J.'ffllfce. 2 1 (.la uIlDry 16. 1910), p . 244. [J 19a,4)
<'jul'llues C";'pel woultllike u ~ 10 louk un OllulJduil't! in such II way that the sincer-
ity 'If his life wouJ,J au u n , U~ of tilt' valul' nr llis work, and thllt, ~ympaLhiz ilig with
tlu: mall , we wou],1 I I~ nrll 10 love IWI Il lire nnt! work:' Gilb" rl Maire. " La PeTsull-
IlIllile de llulI(leiaire." Mere"r" tit" ,.·rll/lCf!, 2 1 (Fehrual'y 1, 19 10), p . 4 14.
(J1 9a,5)
Maire wrile» (II . 4 17) thul Ih ~ " incomparable .~n sibilily " of Barres walichooled
on BaUliclll.ire. UI9a.,6]
Til Ance.Ue, 1865: "OUIl call IIUIh pOlllletS Ii ullique gelliu, and he a f ool. Victor
1:lugo hus p \'en li S a mple proof of thaI. . . . The Oceall itself tired of his com-
puny.,' no! {j19a,7]
Poe: ''' 1 would 1101 be able to love,' he will say qu.ile d ea rl y. ' did nol deuth mix ita
breath with that of Beaut y!"lti Cited ill Eruest Seilliere, B uudelaire (Paril, 1931) ,
p . 229. The au thor refenr to the time when , after Ihe dellth of Mrs. J ane Stanard,
the ftft eell-year-01t1 Poe would slielld 10llg nights in the graveyard , often in the
rain , at the site of hcr gr ave . [J19a,8]
Baudelaire to hi8 mother, concerning Le, Fleurs du mal: "This book ... POSSetileti
bea ut y d Ull is sinister and cold : it was created with fury and paliellce."lot
••• It
1119.,9J
Letter from Ange Pechnul ja to Baudelaire. February 1866. The writer expresses
his admiratiou , in particuJar, for the sensuous interfll8ion in the pOOl 'a language.
See Erne»t Seillie.re, Baudelaire (Pa ris, 1933), PI>. 254-255. 1119a,10]
Baudelaire ascribes to Hugo an "interrogative" poetic character. l1,o,IJ
There is probably a cOIUlection between Baudelaire's weakness or will and the
abundance or power with which certain drugs under certain conditions endow
the will. "Archiu:cte de mes feerics IJe raisais, a ma volonte, I Sous un tunnel de
pierreries I Passer un oc6m dompte."'1l1 (J20,2]
8audelaire', inllf: r c:-:pe ricnctlll: "Commentators have !lomewhal falsified the aitu-
ation ... in insilliing overmuch on the ,heory of univerlial analogy, as formuJated
in the sOllnel 'Corres ponilam:cs,' while ignoring the rev('rie. to which Baudelaire
was inclined .... There were moments of depenonatization in his existence, mo-
ments of ~ e1f- forgetting and of commwllcation with ' revealed paradises.' .. , At
t.he end of bis life ... , hf: abjured t.he dream, ... blaming his moral shipwreck on
his ' penchant for reve rie.'" Albert Beguin , Lilme roman,iqlle e' le rive (Mar--
seilles, 1937), vol. 2, i>p. 401 , 405 . (J20,3]
III his book l..e PurmlSlie, Therive Iloilltli to the dccisive inJIuencc of painting and
the graphic arts on a great many of Baudelaire'" poemll. He lIees in tlus II charac-
teristic feature of the Par llass.ian school. Moreover, he sees Ballddaire's poetry ali
lUi inter Jlf' nf'tration of Parnllliiian a nd Symbotilillendencics. [J20.4]
" A PI'UPI," ;\iI Y10 imagine O;l VI'1) 11I11.ure. through the vi. inn Ibal ot.her~ huve had of it.
' La G ~uI)I C ' cumell uul (lr Midll'llIlIgclo ; 'Heve Ilurillicn ,' oul uf Simone Martilu ; ' A
Une Mutlonc' i. a Baroflue Slallle in II Spanish cllupd:' Andre Tllerivc. Le Pm'-
ntm~ (Puris. 1929) , p . 101. [J20.5]
Thi·rive [mils iu Baudelaire " te r tain ga ucherici. which . loda),. on" cau ' l hel p
thi/lking mighl he trails of the suhlime." Antlre Therive. Le Ptlrnf'Uf! (Paris,
.192'.1). p. 1)9. [J20,6]
In :111 arlil'i(' cUlitlcd "Une Arll'cdole cllntrouv':oe ,mr Baudelaire" <A ,"' ahricated
AUI-.:dotf' aho ut Baudelaire). in the Fortnightl y Heview BO!Ction of the Mercure de
France (May 15, 192 )), Blllllielaire's llllcgetl sojau rn a nd ac tivilY with a conserva _
ti\'O;l newslHl llcr in Chateauroux is dispuled by Ernest Gau bert. who examinetl all
tJll' pcriudicaljj frum the town. a nd who trace, th tl anCCllole back to A. Ponroy (a
fri en(1 of DaLulelllirtl" who hlld family ill Chatea u rOll") , from whom Cr epel got it.
Mercure de Fnwce, 1<IS, IIJl. 281 -282. [J20,7]
Da~dc~. in an inspired. phrase, speaks of Baudelaire's "trap-door disposition-
which IS also that orPrincc H amIel." Uon Daudct, UJ I?leriru d 'Emmaii.! (Cour-
n'n- d(J Pap-Bar, 4) (Paris d92B)), p. 101 ("Baudelaire: Le Malaise et I'aura"').
l1'O,8J
"'T~leme ... of ... the affirmatiOIl flf a mysterio ull IIrcsence at the back ofthin~,
aHlQ tllf' fl elllhs of the soul- the p resence of Eternity. Hence the ObscHl:Iion with
~iUII:piC4:"II ' anllthe lleed 10 break out of the eonfilles of one', own life through the
m:'llclIse prolo.llgu tion of a ncestral ml~ mory alld of formcr lives." AU,crt Beguin,
LAme rOlllllnlullLe et le reve (Ma r8cillcs. 1937), vol. 2, p . 403 . [J20a, l ]
~oger Allard in II. polemic agaill81 tile introdtlctioD 10 L 'Oeuvre poetique de
Ch(.rle, Brmdeillire. et.Iited by Guillaullle ApoWnairc (Paris: Bibliotheque des
Curieux) . 1.11 this introduction , Apolliuairc advances tile lhe~is that Baude.laire
~'llilc ina ugural ing tile modern ~I'irit , played linlf' part in its development; hi~
lIltlUf: IICe i~ Ilcarl y spent. Baudt·luire ill !laid to ht.· II. CI'O~8 bctwccn Larlllll and Poe.
Allard replics: " In Our view, two wril ers profoundly influenced Daudelain: . or
r'dlher two hoolcs .... One. is ... U Viable umoureux (Tbe Oevil in un·e). by
CUIJ!lC; II'e other. Dillerot 's 1..(. He.ligieu.se <fILe Nu n ). Twu nntel al thill poi.nt :
"0 ) M. AIJolli nuin· /'ould nol tlo ulhel'wise than 1!lllLle the autJlor of Le Viable
Ulllllllr(,II.I': in u lillie concerning the last lin ... of till' 80ll ncl ' Le Possi:<le': 'One wonJd
P"~I:uhly lIot go \'I'rong i.n laking Cuzoll.- uS tJlt' hyplll'll Illal had the honor of
O:lII l1lg, in UUluldui" e's lIIind. tJII~ ~ piril of tilt' Hl' vullltiou ',I! writer!! with Ihut of
E" ga r I'Ole . . (2) "'IIt' poem aec'umpull ying a lew -r from Baudda irc to Saillte-Ueuve
('lltJ Lc f!luud ill Ihc t!clitioll furnished hy M. Apollillain:: ' ... with eyt'~ darker ami
ilIon' 1,llie than lhe N un whose I ~u .1 anti Oblicell!! story is kllown 10 11 11 •.•• '1111 A
r,'w lin eli' 1a I cr, WI'elllllCupun I, It: "Irllt Ilrafl of a ~ tUII Z;1 uf ' Lellhus. '" Itog"r Allanl ,
U!uulclfl;rl.' 1'1 " /'f;SI)ril tltJIlilf:lw" (Paris. ) !l I M), fl . 10. [J20a,2]
UOD I)audel . in " Baudelaire: LeMaJaise etl'aura,'" aeQ whet.he r Ba udelaire did
not in Bome degree play Uumlel UPI)ollite AUl'ick and iaill mother. [J20a,3]
Vigny wrote "u Mont des oliviers" partly in order to refute d e Maisrre, by
whom he was deeply inBucnccd. [J20a,4]
Jules Huma inil (u s Hommes de bonne ooionle, book 2 , Crime cle Quin ~ lf e <Paris,
1 932~ , p . 171 ) CODipares the Oineur 10 Baudelaire', " rugged swimmer r eveling in
the waves."lo.; [J20a,5]
Compare " the secret harvest o f the heart" ("u Soleil") with "Nothing eva
grows, I once the hean is harvested" ("Semper eadem "). KIf These fonnulation!!
have a bearing on Baudelaire's heightened artistic consciousness : the blossom
makes the dilettante ; the fruit, the master. [J20a,6]
T he eesay IIU Duponl was co mmissioned by Dupo nl ', pllhLisller. U21 ,l ]
P(N'm 10 Sara h . a round L8J9. It contains this sta nza:
Thousilio 8e1l1Orne shoee slit. lold lit.r 8oul ,
T he good Lord would la ugh ir with th is wrt.t c~h
I l lruck a haught y pose like 8(lrne Ta rturre,
I who sell my Iho~ht a nd "'ollid he an author.I"l (J21,2]
" Le l\1auvaiil Vilrier"- to he comp art~d with Laft'adio's Rete s rutllil <gratuilOW
acl) .I811 (J21.31
AWhcn, your heart on fitt with ,'alor and with hope,
you whipped the: monc:ylc:nders out of thai place-
}"ou wert' master then! But now, has not 1nI10rse
picrccd your side even deeper than the spear ?!~
1bat is, remorse at having let pass so fine an opponunity f~r .proclaiming ~
dictatorship of the proletariatl " Thus inanely comments Seilli~re (<Baulie/atrt
[Paris, 1933],) p. 193) on "Le Renicmcnt de Saint Pierre." [J21.4)
Apropos these lines from "Lesbos"-"Of Sappho who died on the day ~f.her
blasphemy, I . . . insuJting the rite and the d;si~ted ~rship "'~~ere
(p. 2 16) remarks: "It is not hard to sec that the ~e ob~ect of~ au~st'
sOO.'
religion, whose practice consists in blaspheming and m msultmg tradlbonal otes,
is none other than Satan." Isn't the blas phemy, in this case, the love for a young
[J2 1,S]
man?
From the obiruary notice. "Charles Baudelaire," by Jules yanes,
\V~cl;"appeared
Septemher 7, 1867, in La Rlu: ;;Wtll he havc ten years oftmmortality. (p.190).
~TI1CSt: arc. moreover, bad times for the biblicists of the sacristy or of the cabaret!
Ours is an age o f gaiety and distrust, onc that never long suspends the recital o f
nightmares or the speaacle of ecstasies. It has now become clear that no o ne else
had enough foresight to undertake such a campaign al the period when Baude-
laire began his" (pp. 190- 19 1), "Why did.n't he become a professor of rhetoric or
a dealer in scapulars, this didactician who imitaled the blasted and d owntrodden,
this classicist who wanted to shock Prudho nune, b ut who, as Dusolier has said.,
was only a hysterical Boilea u who wenl to play Dante am ong the cafes" (p. 192).
Notwithstanding the resounding error in its appreciation of the importance of
Baudelaire's work,. the ob itu ~ry contains some perceptive passages, particularly
those concem ed Wlth the habItus ofBaude1aire: "H e had in him something of the
priCSt, the o ld lad y, and the ham aaor. Above all, the ham aaor" (p. 189). The
piece is reprinted in AndIi Billy. us Ec,.ilKlins de combat (Paris, 1931); o riginally
appearro in La Situation. !J2I ,6]
Key passages on the stars in Baudelaire. (cd. Lc Dantec): "Night! you'd please me
more without ~ese stars I which speak a language I know all too well- I I long
for darkness, silence, nothing IhC"e ..." ("Obsession," <vol. 1,) p. 88).- Endingof
"Les Promesses d 'un visage" ( vol. 1" p. 170): the "enonnous head of hair- I
. : . ~hi~ in ~arkness rivals you, 0 Night, I deep and spreading starlcss
N'~~! - Yet neither sun nor moon appeared, I and no ho rizon paled " ("Rive
panslen," <vol. I,>p. 11 6).-"What if the waves and winds are black as ink" ("Le
~ge," <vol. .1,) p. 149).-Compare, however, "t.es ~ux de Iknhe.," the only
WClghty exception « vol. 1.> p. 169), and, in another perspective. the constellation
of the StarS with the aether, as it appears in "Delphine et Hippolyte" « vol. 1 ~
p. 160) ~d. in "Le"Voyage" (<vol. l ,~ p. 146 ~sec. 3)). On the other hand, high1~
charactensnc that Lc Crepuscu1e du soir" makes no mention of stars. I I I [J2 1a,l ]
:Le Mon joyeux" couJd represent a reply to Poe's fantasies of decomposition:
and Ict me know if one last twinge is left . . . ."111 !J2la,2)
A ~ard~nic a~cent marks the spot where it is said of the stars: "decent planers, at
a urne like this. I renounce their vigilance-" (" 5epuJrure"). I'" !J2 la.3]
Ba~dclai.re introduces into the lyric the figure of sexual perversion that seeks its
o~Jects o n the street. Wha t is most characteristic, howcver, is that he d oes this
With ~e p hrase "trembling like a foo' " in o ne of his most perfea love poems "A
Une Passante "II. •
. ~ I a.~
Figure of thc big city whose inhabitants arc frightened o f catlledra1s : "Vast
Woods, )"Oll tCrrify me like cathedrals" ("Obscssioo").J' 1 [J21a,S)
"Lc Voyage" (sec. 7) : o;Come and revc1 in lhe swcet delight I of d ays where it is
always afl"n,oo I " u~ f _ . I. Id to sce III
· .me
L emphasiS
. o n this..
." n u l l 100 vO tlme o f day
Somcthing peculiar to the big city? [J2 Ia,6]
The hidden figutt that is the key to "Le Bako n": the night which holds the lavttS
in its embrnCl! as, after day's departure, they dream of the d a\VTl, is starless-
"The night solidified intO a wall:'IlJ 1J2Ia.7)
To the glance that encounters th e "Passante" contrast George's poem "Von einer
Begegnung" <Encounter>:
My glances drew me from the path I seek.
And crazed with magic, mad to clasp, they trailed
TIle slender bow sweet limbs in walking rurvcd,
And \\"et with longing thm, they fd! and failed
Befort: into your own they bold1y swerved.
Stefan George, Hymnrn; Pilg"janrtrn; Aigabal (Berlin, 1922), pp. 22-23,11'
(]22,1]
" 'The unexampled ogle of a whore ' glinting toward you like II silver ray , lite
wavering moon releases on the l ake' :I1~ !IO begins tbe las t poem. And intu this
extraordinary sta re, wltieh bring8 uncontrollable tears to the eyes of him who
met:ts it without defenKe" Berg looked long and avidly. Fur him , however, 8S for
Baudelaire, tile merct'.nllr y eye became a legacy of the prehistoric world. The
arc-ligh t moon of the hig city 8.ltines for him like something out of the age of
hetaerism. He neetb unly to ha ve it refte<:ted. as on a lake, and the b anal reno
itself all the distant pas t; the ltineteenlh-century commodity betrays ill mythic
taboo. It W88 in such a 81)irit lhllt Berg composetl Lulu,,'" Wiesengrund. Adom o.
" Konze.rturie ' Der Weill,'" in Willi Reich , Albun Berg, with Berg's own writings
aud with e.mtributions by Theo(lur Wicsengrund-Adurno a nd Ermt Krenek (Vi-
erula .l..eipzig. Zurich <1937)), p . 106. [J22,2]
What's with the dilation of the sky in M ayan's engraving? [J'l'l.3]
"Le OrCpuscule du marin" ocrupies a cruciaJ position ~ us Fleur; ~u 11UJ~. The.
morning wind disperses the douds of myth. Hu.ruan b~gs ~d thClt afTaus ax:
exposed to view. The prerevolutionary da\VTl glimmers U1 this p OCIll. (In fact,
was probably composed after 1850.) [J22,4]
The antithesis bet\\"een allegory and myth has to be dearly develo ped. It was
owing to the genius of allegory that Baudelaire did not succumb to thc abyss of
myth that gaped beneath his feet at every step. [J22.5]
'''The depths heing the multitudes: VictOI' Hu!;o'& lJolitude I}("eoml'~ a lJolitud~
overrun , II iwo rminr; suli tude:' Gabriel Bounourc. "Ahinles (If' Victo r 1It1~~:
" (l"I , IS 1936) . I). 39. The aulhor uniJeniCUres tite ('\(>mcnl of paJlBtVI Y
" f:!$ ures . . [ 226)
in Ungo'~ 1'''IH~l"ieIiCe of the l:ruwJ . J '
"Naehtgeda nken " (Nighl Thoughl.$), by GQethe: " I pity yo u , unhappy sia n, I whl)
lire 5U beliutifuJ and II.hine sl) l plt: ndidly. I gladly ~ illing the slr ugping SB ilor witb
,'()Ilr light , I uud yel Ilave III, rewa rd fronl gods 01" nu~n : I for yOIl do nut love , yo u
11I1l'" m:ver kno ...·n lov,.! 1 Ceaseleuly by everl utinS huu rs , yuur d ance is led
;I c rtl~~ the wid,. Ileavens. 1 11010" VlIsl II. jou rney yuu h ave. made alread y I since I,
rep"sing in Illy liwecthcart 'll urmll, 1 forgot DI )' thoughts of yo u and of the lnid-
lIighl !"' ~' (j22a,l )
The followin g argument-which dates from a period in which the decline of
sculpture had become appartnt, evidently prior to the decline of painting-is
very instructive. Baudelaire makes exactly the same point about sculpture from
t.he perspective of painting as is made today about painting from the perspective
of film . "A picture, however, is o my what it wants to be; there is no o ther way of
looking at it than on its own terms. Painting has but o ne point of view; it is
exclusive and absolute, and .therefore the painter's expression is much more
forceful" Baudelaire, Onium, vol. 2, p. 128 ("SaJon de 1846"}. Just before this
(pp. 127- 128): "The spectator who moves around the figure can choose a hun-
dred different points of view, except the right one."'t' (Compare ~ J 4,7. [J22a,2)
On Vir.tur Hugo, aro und HM·O: "At that sume period. be began to realize that if
man is the 8ulitary animal, the solitary man is II man uf the cr owd s [p o39] .... It
was Victur lIugo who gave Bautlelaire that sense of the irradia ntlife of the crowd ,
and who taught bim that ' multitude and solitude [are) equ al and interchangeable
ler m ~ for the IJOet who is aeth'e and productive .... '1ft Nevertheleas, what a dif-
feren ce between the sOlilude which ti,e great a rtil t of spleen ehose for himself in
Bnl ~!lCls in order ' to gain all inalienllble individualtrulU(uillity' and the solitude of
the magus uf J er sey, hawlled ut that same moment hy shadowy apparitionl ! ...
Hugo', solitude ill 1I0t au cuvdulte, II Noli mp.. tangere, a collcentration of the
individ ulIl in ltis {Iifrerenee. It is . ra ther. a participation in the cosmic mYltery. an
entry il1lU the realm of "rinlitive forces" (PII. 40-4 1). Gahriel Bounuure, ..Ahimes
lif" Victor Hugo," MesureJ (July 15 , 1936), PI'. 3941. fj22a ,3]
Froltl U. Collier des jOllrs (The Necklace of Days), vol. I , cited by ReillYde Gour-
1II01t1 in Jlldith Cail lier (Paris, 19().1), p. 15: " A rillg of the beU interrupted us and
th(': lI. widlout a sound , a very singular IJerson I'nl ered the room anll made a . light
ho.... of lhe hend . J had tlte impreuion of a priest without his cassock . 'Ah , her e's
Balddariusl' eriell my fatber, t'xlelltling his hand to the nIlWcOnlt~r." Baudelaire
u[ft'n; II gloutllYjt:81 on the 8uLjeci of Judith 'l nickname, " Ouragan" ( llurriea n e~.
]J23. 1]
"A I 1111' "ufe caUt:tlthe Dh'ulI Le Pdt!tier, Theodore de BllllvilJe " 'uuld 8CC Ballde-
lain· ~i llillg licn :e1y, ' Iike all a llgr y Goethe' (as he 8ays in a puc m). next 10 <the
g,·ntl.· Assdinca u ...· l..eon [Jululel. Le. SIUJlitie X.IX· Siecle (Pllris . 1922). PI' . 139-
140. [J23.2]
 Apropos of " The greathearted servant . ." and the end of " I...e Voyage" ("'0
Death. oM capilli II • • • "), L . Doudet llpeaks of a ROll811rdhlll Right (in I.e Stupide
XU.' Siede. p . 140). [J23,3]
" My flit her had ca ught a g1impl!e of Baudelaire. and he told me about lUll impre._
.. !lion: a hizarl'e lind alra bili ou~ prince among hoon. " LeO Ii Dandet , I~ Swpide
.U X· Siede (J>ari~, 1922), p. I'U . [J23,4]
Bautlelaire caUs Hugo a " genius without horders. "In [j23,Sj
It is p~mably no accident that, in searching for a poem by Hugo to provide
with a pendant, Baudelaire fastened on one of the most banal of the banal-" Les
FantOmes." In this sequence of six poems, the first begins: "How many maidens
fair. aJas! I've seen I Fade and die." The third: "One fonn above al1,-'twas a
Spanish maid." And further on: "What caUS(:d her death? Balls, dances-daz-
zling balls; JThey filled her soul with ecstaSY and joy." This is fol1QY.'ed by the
story of how she caught cold one mo ming, and eventually sank into the grave.
The sixth poem resembles the close of a popular ballad: "0 maidens, whom such
festivefiteJ decay! I Ponder the story of this Spanish ma.id ."I~' [J23,6]
With Baudelaire's "La Voix" <The Voice) compare Victor Hugo's qU'OD "ee
eDtend sur la montagne" cWhat Is Heard on the Mountain). The poet gives ear
to the world storm:
Soon \\-ith that "oice confusedly combined,
Two other voices, vagu~ and veiled, J find.
And seemed eadl voic~, (hough mixed, distinct to be,
As twO 0'05s-currents 'neath a strtam ),ou sec.
One from the seas-uiwnphant, blissful song!
Voice of the waves, which talked themselves among;
The otha, which from Lhe earth to heaven ran.
Was fuU of SOrTOW-dl~ complaint of man.
The poem takes, as its object, the dissonance of the second voice, which is set off
against the hanno ny of the first. Ending:
Why God . . .
Jouu Ul dx: fatal hymn since earth began,
[j23,7j
The song of Nature, and dlC cries of man?I'J5
bolutt!{1 ul'SI'rvatiuns from Burhl~ y IrAureviUy's " M. Charles Baudelaire": " .
sCiUld.imes imagillt! ... lhat. if Timon of Alhem had had the genius of Arclwochus,
lit: "","uld IlItve I)t>:eD a ble to write in this manner on IlIIman nature and to insult it
wllilt" rem lering it!" (p . 381). "Conceive, if ),ou ""i11. a lallguage more "Iaslic than
l)I)ctic. a langull!;I' hewn and "haped like bron:te a nd storm. ill ""hich uch phrase
Ila ~ it/i vuiuttlli atlld fluting" (Jl. 37R). " 'fhi8 profound dreamer ... 811kl,.'( l him.!leLf
... what would beeome of poetry in pa88ing thrtlugh It head organi~t:d. for exam-
pit". like tllat of Caligula or I:lelioKa halu8"' (p . 376).-"1'hIlB. likc the old Goethe
who transformed himsdf illtn u seller of Turki~ h "ltllt.iJJeB in his Diuff11 ... , the
author of Le$ FIe"rs du mat turned villainous, blasphcm ou ~. imllious for the 8ake
of his thought" (PI' . 375-376). dulc8> UarlK:y d 'AureviUy. X IX Siecle: 1.e5 Oeu.
IJre5 el, les homme" vol. 3, u s /Joete, (Paris, 1862). [J23a,l]
",\ critic (M . T luerry, in I.e Monilellr) malle the point recelltly in a very fine
app reciation : to discover the parentage of this implacable poetry .. . one must go
bar.k to Dante ... !"' (p. 379). This analogy Barbey make8 emphatically bis own :
"Daute's muse looked dreamily 0 11 the Jnferno; tbat of I.e. Fleurs dll mal brealhCII
it ill through innamel1 nostrilll, all a horse inhale8 811raPOel" (p. 380). Barbey
d'Aurevilly, XIX' Sieele: l.es OeulJre, fll les homme-s, vol. 3. Le5 PoetflS (Pari8,
1862). [J23a.2J
Barbey d 'Aurevilly on Dupont: "Cain triumphs over the gelitleAheI in this man'!
talent and thinking-the Cain who i8 coarse, ravenous, envious, aud fierce, a nd
""ho hall gone to the cities to consume the dregs of al:cullIulated reSentments and
share in the faille ideas thaI triumph there!" Barbey d ' Aurevilly, I.e XIX' Siecle:
l.es OeUIJre5 et Ie, homme5, vol. 3, Le. Poete$ (Paris, 1862). p. 242 (<1M. Pierre
Dupont "). [J23a,3]
A manu8cril}! of Goethe's " Nachtgedanken" belln the notation, "'Modeled on the
Greek . " [J23,,4j
At the age of deven, Baudelaire experienced first hand the workers' rebellion of
1832 in Lyons. It appears that no trace remained in him of any impressions that
event might have Id't U23a,5]
" One of lhe arguments he nlakes to his guardian . Allcelle, i8 ra ther curious. It
see m~ 10 him that ' the new Napoleonic ~gime. after iIIustration8 dcpicting the
hattlefield. ought to lleek illustrationll depicting thfl arls and leiters. , .. Alphonse
Sec::he. La Vie des Fleurs du mal (Paris . 1928), p . 172. 1J23a.6]
The sense of "the abyssaJ" is to be defined as "meaning." Such a sense is always
allegorical. [J24.1 ]
With Blanqui, the cosmos has become an abyss. Baudelaire's abyss is starless; it
should not be defined as cosmic space. But even less is it the exotic space of
theology. It is a secularized space: the abyss of knowledge and of meanings.
~t constitutes its historical index? In Blanqui, the abyss has the historical
Index of mechanistie natural science. In Bauddaire, doesn't it have the social
index of nOulKt1.uli,1 Is not the arbitrariness of allegory a twin to that of fashion?
Jj24,2 j
 Explore the question whether a conncaion exists between the works of ~
~e~ricaJ imagination and u:e .c0"~jpondancts. In any case, these are two whoUy
disonct sources for Baudelam: s production. 'That the first of them has a very
considerable share in dIe specific qualities of his poetry carulot be doubted. The
nexus of meanings might be akin to that of the fibers o f spun yam. If 'Nt: can
.. distUlbruish between spinning and weaving activity in poeLS. then the aUegoricai
imagination must be classed with the fonner.-On the other hand, it is not
impossible that the correspondences play at least some role here, insofar as a
word, in iLS way, calls forth an image; thus, the image: could detemtine the
meaning of the word, or else the word that of the image. [J24,3]
D isappearance of allegory in Victor Hugo. IJ".4]
Do f)owers lack sows? Is this an implication of the title LeJ F71!,m du maf? ln other
words, are Bowers a symbol of the whore? Or is this title meant to recall Bowers
to their true place? Pertinent here is the letter accompanying the two t.ripwCI.I/~
<twilight) poems which Baudelaire sent to Femand Desnoyers for his Fontaine"
bll!au: Pa)Jag(j, Iigl!fltUJ, JouuenirJ,jantairitJ (1855). <&e below, 24a.b (J24,5]
Utter detachment of Poe from great poetry. For one rouque, he would give fifty
Molieres. The Iliad and Sophocles leave him cold. This perspective would accord
perfectly with the theory of l'art pour ['art. What was Baudelaire's attitude?
IJ24.6]
With the mailing of the "CrepIl8cule." to rernand Desno yers for his Fontain6~
bleoll (Paris, 1855): " My dear Desno ye rs: You ask me for IWme venles for your
little HDthology, verses ahout Noture. I believe; abolll forest!l, great oak trees.
verdure, inSt."Cts--and perllaps even the sun ? Out yo u know perfectly weU that I
can ' t become !It!lItimeDtai about vegetation a nd that Illy HOW rebel!! against this
strange new relipoll .. .. I shall never believe that the 10aU of the 80dl live in
plants . ... I have always thought . even , thai tllere was sometlling irritating a nd
impudellt abo ut Nature in its fresh a nd rampanl 8tatc. "1~ Cited ill A. Siche, La
Vie del Flellrs dll. mol <A miens, 1928), JlJl. 109-110. [J24a,l J
"Les Aveugles" <Blind Men>: Crepet g1vcs as source for this poem of Baudelaire's
a passa~ from "Des Vetters Eckfenster tt <My Cousin's Comer Wmdow~a
passage about the way blind people hold their heads. H offmann considers the
heavenward gaze to be edifying. <Sce T4a,2.) [J243,2J
Louis Coudall criticized Baudelaire 011 Novembe r 4 , 11:155. on tllll lIusitl of poe ms
pllhliJlI.CII ill ,,,(,1 ReVile de. deu:c mondes. "Poetry thot iii ... naus-r.ating. glacial ,
strui!;lu r.·om the e1lurnel housl' and Ihe tlluughte l'iltllue." Cite<i ill Frall ~'lI i s Por-
('h6, La 1'ie doulounl:'lSf! (Ie Churw HUI/delaire (teries plilltJed Le Romun des
s m'ldes exu,etlces. vol. 6) (Parill <l926>), p . 202. lJ24a.3)
The reviews by <Bubey> d"Aurevilly and A8IIelineau were turned d own by Le PaY'
aJI<i La RellUr.jram;flise. respectively. [J24a,"]
The ramous statement by Valery on Baudelaire (seeJI ,l> g<xs back, in essence,
to the suggestions Sainte-Bcuve sent to Baudelaire for his counroom derense. "In
the field of poetry. everything was taken. Lam~ had taken the skies. Victor
Hugo, the earth-and more dl3Jl the earth. Laprade, the rorests. Musset, the
dazzling life o f passion and orgy. Others, the heanh, rura.llife, and so on. Theo-
phile Gautier. Spain and iLS vibrant colors. What then remained? What Baude-
laire has taken. It was as tllOUgb he had no choice in the matter.. . .tt Cited in
Porche, Ln Vir doulourt uJe de Charll!J 8aucklairt <Paris, 1926>, p. 205. [J24a,5]
Very plausible indication in Porclle to the effect that Baudelaire did not produce
the many decisive variants lO his poems while seated at his desk. (See Porche,
p. 109.) 1J2".6]
" rUidius Ihtl poet one evening at a public hull . Ch arles Monselet acco&ted him:
' What a re yo u doing bere? '- 'My dea r feUow; replied Baudelaire. ' I'm wa tching
the !leath's hea<is pass!"" Alphonse Seche, La Vie del Fleurs (I" mal «AmicuS,)
1928). p. 32. 1J25.I]
" His ea rnings have been reckoned: the lotal ror his entire life docs nol exceed
ixteen thouund rruncs. Calulle Mende. calculated that the a utllor . . . would
have received about one rranc seventy centimes pt."r day as payment for his liter ary
laOO,.. . ., Alphonse seehe, La Vie del Fleur. du mot «Arnicn B,) 1928), p. M .
IJ25.2]
According to Se<:he, Baudelaire's aversion 10 a sky that was " nlllcb too blue"--()r
ralher, much too bright-would have come from his stay on the island of ft-lauri "
tiU!. (See See-iIe, p. '~2 .) (J25.3J
S~h e illH:.uks
of a pronflullced similarity between Baudelaire's letteTi to Mlle.
Daubrun and his lellen to Mme. Sabaticr. (See p. 53 .) [J25,4)
According to Sech6 (p . 65). ChHmpfleury would huve taken pari with Baudelaire
ill the foumling of ~ Snt/lt public. [J25.5]
rrar{JJul till the pe riod a.1'OlIlId 1845: " We ullderstood lillie of thl! use fir tables ror
working, Ihinking, I!o mpu~ illg .... For my part . J Ila .... Ililll composing verses on
the rUII .... hill! he was out in the Sircelll: I never SIlW him scaled before a ream of
paper." Cit I'll in Sl:cilc, 1,,(,1 1'ie ties Fleurs du IIIfll(1928), p . 84. []25.6]
T he way Baudelaire prei'ented himsel£ tlnring his Br\lsMeI~ lectuTt· on Cuutier, a&
descrihed "y CarniHe Lenmlluit'r ill I .AI 1';~ bel8e: "Baudelaire mude olle think of II.
mall or the church , wilh those beuulirul gCJ;;lIIres or the pulpit. His ljortlinen cuffs
 Rulle,"c,1 like the 81eevell of u c1eri.:ul frock. He de ve loped hill 8ILbjecl witll lUI
U IIll U~ 1 evn n sclil'a lll1u: llluu8 m~Si, proclaimiug I,j ~ venerlltiun for u lite ra ry mu ~ l er
• in the Liturgical tone&of II liillli" " Illlnoundng II mundale. To hirU8elC, 110 d ouht . he
] WU8 celc bntiu j!; II Musil full of g10riuulI images; he had the grave beauty..,f a curdi-
1. u81 of \ell en uffi ciating at the uh ar of the Ideal. His .!Inloolh. pule "i!lage 10'118
shaded in the ha lft une uf the lamplight. I watched lUll eyes move like hlack s un.!!.
His mo uth hUll II Ufe of i18 oWn within the life a nd exprell8ion~ of his (aer'; it W88
tbin and quivering witb II delica te vibrancy under the drawn bow of hi. word8.
And £rom i1 8 ha ughty height the head commllnded the attention of the intimidated
audience." Ciled in Seche. La Vie des FleurJ du mal ( 1928), p. 68. (J2S,7J
Baudelaire transferred his application for the playwright Scril)t!', 8eal in the.
Academic Frall ~ai8e to Ihal of IIle Catholic priest Laconlaire. (J2Sa,1]
Cautier: " Baudelaire loves ample polysyllabic words . a nd with th ree or four of
these words he sometimes fa shions lines of verse. that seem immense, lines that
rceOllll.te in II tlc.h II way as to lengthen the meier." CitCiI in A, Sechti, La Yw del
f'lellr~ tIll mal «Amiclls,) 1928), p, 195 , [J2Sa,2]
Gautier: " To the extent that it was possible, he hani s llt~d elOI.luclICe ill poetry."
Cited in A, Sechii, La Vie des FleU r! du mal (1928), p , 197, [J2Sa,3]
E. Faguet in an article in La R evue: "Since 1857, the nellrasihellia among U 8 h88
8carC1'. ly abaled; a ile 1:(lIlld even say thai it has been on the rise. Hence, ' there ill no
cause for wonder.' al RODsant once said , Ihal Bauddaire I t ill hill his follow·
e ra. , .. " Cited in Alphonse Stich", La Yle des f'leurs du mal ( 1928), p , 207.
[j25',4j
Le f'isl.ro IJUblishes (dale?) an article by Gustave Bourdin that was written at the
instigation of Interiur Mini81er Rillaut. The lauer bad shortl y before, a8 judge or
publi('" pro8e(:utor, suffered a setback with the acquittal of Flauhert in tbe trial
against Maritim e Bovo ry. A few daYI la t!!r came Thierry's article in Le Moniteur.
" Why clid Sainte-Relive . .. leave it to Thierry to tell readers of I.e Monitellr ahuut
I.e.~ f'lellrs c/u "!(II? Sointe--Beuve doubtless refuled to write ohout 8oudf'loire',
hook bccll:u;;e he deemed it more pnldent 10 efface the ill c.freet hi8 articIe on
fthu/(lnle /I(Hmry Il od hall in the inner circIell of the. government. " Alphonse S(>che .
W Viedl!l Fte ur~ dll /llill ( 1928).lJp. 156- 157. 121 (J2Sa,S]
1be denunciation in Bourdin's article is treacherously d isguised as praise for
precisely those poems singled out in the indicnnent. After a disgusted enumeT3-
tionorBaudelai.re's topics, he writes: "And in the middle of it all, four poems-'Le
Reniement de Saint Pierre,' then 'woos; and ty,·o entitled 'Femmes damnees'-
four masterpieces of passion, of art, and of poetry. It is understandable that a poet
of twenty might be led by his imagination to ueat these subjeclS, but nothing
excuses a man over tJlirty who foislS such monstrosities on the public by means
of a book." Cited in A1phonse seche, La Vie de; Fl~rs du mal (1928), p. 158.
{J2Sa.6]
From Edouanl Thierry'e review of Lei Fle"rs dll mal in Le MOflireur (July 14,
IUS??): " The Florentine of old wOIII.1 8 l1r~ l y recognize. in this French poel of
today, th!! rhara el ~rifl ti c ardor. the terrifyinl; utterance. the ruthlt!lll imagery, and
the sonori ty of his braten lines .... I leave hi8 book and hill talent uoder Dante's
stern warning. " 1# Ci ted in Alphonse Si!ehe , I.e Vie des FleUr, du mal (1928).
PI" 160-161. 1J26.IJ
Baudelaire's great dissatisfaction with the frontispiece d esigned by Bracquemond
according to spcci6cations provided by the poet, who had conceived this idea
while perusing Hyacinthe Langlois' HiJtQir~ des dnnses marabm. Baudelaire's
instructions: "A skeleton turning into a tree, with legs and ribs fanning the trunk,
the anus stretched out to make a cross and bursting into leaves and buds, shdteI'-
ing several rows of poisonous planlS in little polS, lined up as if in a gardener's
hothouse." (See j16,3.) Bracqucmond evidently runs into difficu1ties, and more-
over misses the poet's intentio n when he masks the skeleton's pelvis with Bowers
and fails to give ilS anns the form of branches. From what Baudelaire has said,
the artislsimply does not know what a squdette arborescent is supposed to be, and
he can't conceive how vices are supposed to be represented as Bowers. (Cited in
Alpbonse 5eche, La Vie des FleurJ du mo./ [(Amiens,) 19281, pp. 136-137, as
drawn from letters.) In the end, a portrait of the poet by Bracquemond was
substiruted fOT this planned image. Something similar resurfaced around 1862, as
fuulet·MaJassis was planning a luxury edition of UJ F7nm du mal. He commis-
sioned Bracquemond to do the graphic design, which apparently consisted of
decorative borders and vignettes ; emblematic devices played a majoT role on
these. (See 5eche, p. 138.)- The subject that Bracquemond had failed to ttnder
~Y3.S taken up by Rops in the frontispiece to UJ Epaues (1866). U26,2]
List of reviewers for Les Fleurs du mal, wilh the ncwllp apers Baudelaire had in
min{1 for thf'm : Bulot, Lacaussade. Gu stave Rowand (La Revue europeenne);
Co:tlan (Le Monde illu~lre): Sainte-Reuve (I.e Moniteur): Dellchanel (Le J ourna l
de; rleblm): Aurcvilly (1.£ 1'(1 ),'); j llllin (I.e Nord): Armand Fraisse (Le Salut
public d e L,.orlj); GuUinguer (u. Ca:eltfl de f'rllflce). (Acco["ding to Secht'i,
.~ .) ~~
The publication rightll ror Rl.ltldelllirtl'~ clltirl' ot'lI vre were a m:lioned uftcr bis
,Icath to Mkhcl LCvy for 1.750 rrance. {J26,4]
T h!! ''1'ablea u~ PurisielU' " ul'l'l~a r onl y with tile tecoml t'dilion \Jr I.e Fkurs du
mol. 1126 .5)
T he tlelinilh'e title for the hook was pr(ll)Osed by Uiplffil yte Babuu in the Cafe
LamLlin . (J26a,I)
" L'Amour t't Ie erune" (Eroll and the SkuU ), " Tllis PUCIII (If Baudelaire's Wa&
inspired by IWO works of thc eugruvcr Henri Gohzius." Alphouse Sedll~ , La V'ae
det! Fleurs du mal « Amiclls,) 1928). p . III . [J26a,2)
., A Ulle Passaute." " M . Crcpet mcntions as possible source a pasijage from "Dina ,
la Lelle Juive.' in Petrus Borel '~ Champa vert ... : ' For mc. the tllOught that Ihill
lightoing fla d l tllal dazzled UJ; will never be seen again. .; thai two uislcnce&
made . . . for huppillcss together , in this life allli in eternity, ure forever sun_
dered . _ . -for me, this thought is profouudl y saddening. ", Cited in A. S~b c, La
Vie des Fleur$ du mol, p . 108. [J26a,3J
" n eve parisien." Like the speaker in the poo.m . COlldantin Guys also rose at nOOD;
hence. accurwng to Baudelaire (Ieu cr of March l3, 1860, tn Puulel-Malassia), the
dedication . I!? [J26a,4)
BautleJaire (where?),Jlj poinb to Ihc third hook of the Aeneid all source for "Le
Cygne. ,. (See Sccile, p. 104.) [J26a,5]
To the right of the barricade ; to the lcft of the barricade. It is very significant that,
for large portions of the middle classes, there was only a shade of difference:
between these two positions. TIlls changes only with Louis Napoleon. For
Bauddaire it was possible (no easy trick!) to be friends with Pierre Dupont and to
participate in the June Insurrection on the side of the proletariat, while avoiding
any sort of run-in when he encountered his friends from the Ecole Nonnande,
CheIU1evieres and Lc Vavasseur, in the company of a national guardsman.-It
may be recalled, in this context, that the appointment of Genera1 Aupick as
ambassador to Constantinople in 1848 goes back to Lamartine, who a t that time
was minister of foreign affairs. [J26a,6}
Work on LeIS Fleurll du nml Ul' through the fi rst edition : fifl een years. 1126 .,7]
Proposa l of a Brussels pharmacist to POuICI-Malassis: in excha nge for a commit-
ment to buy 200 copies. he would he allol'l'cc\to advertise 10 readers, in the back
pages of LeIS Paradis nrtificiels. a hashish extract preJlarcd by his firm. Baude-
laire's veta won onl with tlifficult y. [J26a,8j
From <Barbey) d'Aurevi.lly"s lettcr 10 Baudelaire uf Fchruary 4, 1859: ~ Villain of
genius! In poetry. J knew you 10 be a sacred viper spcwillg your vcnom in I.he fa cet!
of dI ll 8-1 and th e 8-.' Bul now the viper has 8j1ruut e~ 1 wing!! and iii soaring
tbrnugll the d(ll ul ~ to shool il8 poi son inll) 111t'- very eyes of lht' Stili !" Citetl in
Ern e~ t SeiJlien·. nuudl.!l(lire ( f>ar i ~_ 193 1). 1). l 57 . [J27, I)
(n HonDeur, lIe had bung two ,'aintillgll .. ver his bed , One of them. painted by his
father as pendant 10 the other, showed an amorolls scene: the other, dating from
an earlier time, a Temptatioll of Sa int Anthon y. In the center of the lir.st pi.clure. a
lnlCdulllte, [j27,2]
"Sand is inferior to Sa de!"I~1 [J27.3]
" We ensur e. that our confessions are well rewarded"l32-this should be compared
with the practice of his leiters. [J27,4]
Se.illiere (p. 234) cites <Barbey> d'Aurevilly: "Poe's hidden objective was to con-
found the imagination of his times. , . , Hoffmann did not have this terrible
power." Such puuJance tm-Jole was surely Baudelaire's as well. fJ27,5}
0 11 Delacroix (according 10 Seillier e. p. Il4): " Delacroix is the artist best
etluipped to portray modern woman in her heroic manifestations. whether these
he understood in the divine or the infernal sense. , .. It seems that sucb color
thinks for ilself, illdependently of the objects it clothes, The effect of the whole ia
aimosl musical. "111 [J27.6)
Fourier is said to have presented his " minute discoveries" 100 " pompously. "134
[J27,7]
Scillicre represents as his particular object of study what in general detomincs
the standard for the literature on Baudelaire: "It is, in effect, the theoretica1
conclusions imposed on Charles Baudelaire by his life experiences that I am
particularly concerned with in these pages." Ernest Scilliere, Baudekire (Paris,
1931 ), p. 1. [J27,8]
Eccentric behavior in 1848: '''They've jusl arreKted de F1otte; he said. ' Is it
because his hands smelled of gunpowder ? Smell mine! '" Seillier e, Balldelaire
(Paris. 1931), p. 51. [J27,9)
Seilliere (p. 59) rightly contrasts Baudelaire's postulate, according to which the
advent of Napoleon HI is to be interpreted in de Maistre's sense as "providen-
tial," with his comment: "My rage at the coup d'etat. H ow many bullets I braved !
Another Bonaparte! 'What a disgracel " Both in "Mon Coeur rIDs n u."llj a
[J27.,I]
The book by Seilliere is thoroughly imbued \'lith the position of its author, who is
p.resident of the Academic: des Sciences M orales et Politiques. A typical premise:
.. fbe social question is a question of mora1ity" (p, 66). Individual sentences by
Baudelaire are invariably accompanied by the author's marginal glosses.
[J27a.2)
 Hourdin : 1001~ in ·J Mw of V. .lle melllant. Le Figura i.n 1863 publishe& II viole nt auack pontmar tin in hi' critique. of the porlrait or Baudelaire b y Nargeol : " T hi, engrav-
by POlilmli rtin on 8audelaire. I.n 1864, he hal l!! publication of till" Peti'll PoemCII C it ing Sh OWli lU U face Ihal is hngga rll . Minisler. ravaged . a nd malign ; it is the face of a
prose ufte r two insta llme nt8. VillemC88a nt : " Your poem, bo re everybod y." Sf*- hero of the Court I)f Assize!!, or Ilf u pt'llsiunt'cr from Bicetre." Comlmre B2a,6

t. Fralu;o ill l"orclll! . La Vie dou/rmreuse tie Chartell Bfllldeluire (lieriCII c ntilled I.e
Rmll(lll dessrmu/ell f!xiJten CCII, vol. 6) ( Parill <1926,), p . 2(. 1. [J21a.3}

On Lamartine: " A bit of II 8trumpd. II bit of II .... bore.'· Cited in Fr a n~o is Porche,
(Vischcr : Ihe "freshly heheaded" look).

Adverst' criticism frum BrulleLiere in 1887 and 1889. In 1892 and 1893 come the
currectionil. The sC(luelu:e : Questions de critique (J lUle 1887); Eu ui , uria 'ittera_
[J28.S]

La Vie doulourewe de Charlell Baudelaire (IICrieti entitled Le ROnlan de,sronder ture conlemporaille ( 18.89); NOUueflllX Eu ais ,ur la lillerfllure conlemporain.e
eximmces, \' 01. 6) (Pans). p . 248. (J27il,4] ( 1892); Evolution de la poesie iyr iqlte en Fran ce (l 893). '" [J28.6]

Relalioll to Victor Hugo: " !'Ie bad solicited from him II prcJllcr to the stud y on
Physiognomy of Baudelaire i.n lue la&! yea,..: " He has all aridity in aU bi.e features
Gautier, aud . ....ith the aim or forcing Victor Hugo'. hand. bad even dedicated &ome
",·Iuch contrast! aha rpl y wit h the in tenlJily of hie look . AJ)ove aU. he has that eet t~
ltoen.! to him ." Fran~ois Por chi:, La Vie douiourewe de Charle, Baudelaire (se-
his lip ~ which indicates a moulh 10115 acc ustomed 10 ,:bcwing only as hes." Fran ~oi,
ries entitlet.l Le Roman de, g nJnfles exutences, vol. 6) (Paris), p. 251. [J27a.SJ
Porche, La Vae t/oulollre.lloJe de Charier ROllde.hlire (series entitled Le Roman de~
grande, exj~ l e.nces . vol . 6) (Paria ~ 1926» , p. 29 1. [J28,7]
Tide of the first publication of pieceli from Lu Paradis artificieb in La R evue
contemporaine, 1858: " De I' ldeal artificiel" <O n the Artificialldeab . [J27a,6]
I H6 l. Suicidal i~"uJees. Arlelle Houssaye of iAl R evue cOIlle.rnporain learns that
~ome or the. Petit" Poemes en pro~e apllearing in his journal have already appeared
Sainte-Bcuve', article in l..e COfl~ titutionnel of J anuary 20, 1862 .1"" Subsetluentiy,
m the La R eVile jClIIlaisiste. Publication il lIul pended ._La Revue des deux
88 ea rly 98 February 9-a8 Boullelaire is toying willi the idea or lleelaring hi,
mondes rej ectJI the euuy on GUYII.-f...e Figart) brings it out wilh an "editorial
cllndidacy for l.acordaire's seat instelld of for Scrwe's, which wa, his original nott'" hy Bourdin .
"lilli- the admonition: "Leave the Academie as it is, ma rc , urprist.-d thaD U28,8}
shocked ." Bauddaire withdraws his application . See Porcbe, La Vie dOlllourewe
Firlit Iet:lures in Belgium : DeJacroix, Ga ntier.
de Charles BRiulelaire (Paris), p. 247. [J27a,7] [J28a, IJ

"Note that this innovator has not a single Dew idea . M ter Vigny, one must wait The t\linist? of the In terio r refulel 10 ill/ille it. 8tam" to Le, Puradi. arrificie/S ,
until Sully-P r udhomme to find new ideal in a French poet. Baudelaire never (See. Porche, p . 226.) Whlltlloc@ lilu signiCy? {]28a,2]
entertains anythuig but the mOil threadba re platitudes. Ue is the poet of aridity
and banality. " Benediction": the artist here below is a martyr. "L'Albatros"~ tbe Porche (p. 233) points out that Baudelaire throughout his life retained the mind-
artist flounders in reality. " Les Pharell": artists are the beacons of humanh y. •. . set o f a youn~ man of. good family. -Very instructive in this regard: "In every
Brunctiere is surely right : there ia nothing more in "Une Cbarogne" than the change there IS some.thing a~ once: vile and agreeable, some element of disloyalty
wonlM of Ecclesiasticll8, ' With aU Resh , OOlh m aD aDd beast , ... are death and and restlessness. 'Ibis suffioentJy explains the French Revolution." '~ The senti.
bloodshed ...•I ]: Emile Faguet, " Baudelaire," La Revue, 87 (19 10). p . 619. :~t r:ecalls Proust-who was also ajilJ dtJamdl,. The historical projected into
[J28, I} e mtnnate. [J28a,3]

" He has almost no imagination . His inspiration iii amazingly meager." E. Faguet, ~h'eting between Bi lldeillire and ProudhOIl in 1848 at Ih~ offices of Proudhon ',
" Baudelaire," t o Revue, 87 ( 19 10), p . 616. {j28,2] jla~y newspalJer, l.-e Rcpre,elltfJIlf till. [Jell/lIe. A chance encounter, it end, with
1IIt'Ir having dinner lugeLhcr 011 lIu' Roe Nt:llve- Vi vil'nne. [J28a,4]
fa guet drawll a comparillou between Scnancuur and Bamltdai rt.,--whul's I"ure, in
fta vu r of the form e.r. [J28,3] The hypothesis thai Baudelaire, in 1848, helped to found the conservative news-
paper Le &priJtnlant dt I'/ndrt (later ed ited by Poomy) comes from Rene Johan-
J .-J . Wein (Revue cOluempoNline, J anuary 1858): "Tlli ~
line uf venit' ... rcsem- nct. The. newspaper supported the candidacy of Cavaignac. Baudelaire's
hies one lIf tllUse spinning tops tllat wouJd hum in the guller." Ciled in Camille :Ila?ora~on at that mo~eOl, assuming it took place at aU, may have involved a
Vl: r~i ul. "Cintluaulc ans aprel Baudelaire," RClme fie Pari", 24th year ( 1917). ystificaoon. Without his knowledge, his trip to Clclteau roux was subsidized
p . 687 . {j28,4] through Ancelle, by Aupick. [j28a.Sj
 According 10 r..., OQntt:c, the Aecond tercet of "Sed Non Satial,," i!l in !lome Ilegree prt!!lSe8 . . . . AU machinery is lIacred , like a work of 1101'1" (cited in Pord,,! .
linked ttl " 1~8 I A·~ bi c "n ..s." [J28a.6J p. 129).-Comllare " the blootly MPlmratlll1 of Deslructiun ."I ~ [J29.7)

.~ By 1843 . Itecorlling til Prllrolld .a great '"any poems from Le Flellrl du lTI(.Ilwere 1849: u RepriJenJanl de I'llidn. Baudelaire's participation nOt established with

l. alrcucly writh!lI . [J28a,7] certainty. If the article <lActuellement" (At the Present T une~ is written by him,
then a certain mystification at the expense of the conservative principals at the
newspaper is not o ut of the question. [J29.8)
to 1845. Mill(: Gold·Bug" is translated by Alphonse Borghers as "Le Scarabtt
d 'or," in La Rroue bdlannique. The next year, La Qyotidjarru: publishes an adapta·
1851: with DUllOnt and La Ch amhaurlie. La Republique du peupk. democratic
tion, signed by initials amy, of "The Murders in the Rue Morgue," wherein Fbe's
almanac; "Editor, 8audelair.:." Only "L' Ame elu vin" <The Sow of the Wille) is
name goes unmentioned. Decisive for Baudelaire, according to Asselineau, was
published Ihe~ with his signatllre. [J29,9]
the tranSlation of "The Black Cat" by Isabelle Meunier, in La Dimocyah'e pacifique
(1847) . Characteristically eno ugh, the first of Bauddairr:'s translations from Poe,
1852: v.;lh Champfleury a nd MOlIse.let. [A Se maine. lhiu;lrak. [J29.1O]
to judge by the d ate of publication guly 15, 1848), was of "Mesmeric Revela·
tion.1t [J28a,8]
February 1854- Hotel de York , R.ue Sainte-Anne
1855: Baudelaire writea II leiter to George Sand, interceding on behalf of Marie _Ma y Hotel ..III Marm;, Rue de Seine
Daulirun . [J28a,9] 1858 Hotel Voltaire, Quai Voltaire
December 1858 22 Rile Beautreillis
"AJwItY8 vcry politc. \'f~ry huughty. anti very unctuous at tbe sam e time, tbere was
ahollt him somelhuig reminiscent of the monk , I)f tile suldier, and of the cII!lnlulJOli- Summer 1859 Ha lel de Dieppe. Rue d ' Amsterdam
tan ." Judith Cladel, Bon$hommell (pllris, 1879), cited in E. and J. Cr epd, Charks [J29. 11 ]
BOlldeloire( Pa rill, 1906), p . 237 . (J29, 1)
At the age of twenty·seven. Haudelaire was gray al the lemples. Jj29,12]

In his " Notes t'! t dQCumellts pour nion a vocat ," Baudelaire refcn to the letters on
art and morality which 8alzac addrelUie4110 H..ippolyte Castille ill the new. paper
La Semlline. ,.... [J29,2]
Lyo ns is noted for its truck fo~ . [J29.3]
In 1845, apparent suicide allcmpt: knife wound in the chest. [J29.4]
" It is " artly a life of leisu re tliat has enabled me to grow. -To my veat dctri-
melli- for leisure without fortlill e breetls deb ts .... But also 10 my grea l profit , 118
rcgards sensibilit.y and meditation .... Other men of leiters are, for the 01 081 part ,
base ignorant drudges:'lu Ciled in Porche, <La Vie doulollreu.se de Charlel
HII/It/clair'C (Pll ri8. 1926).~ p . 116. 11 29 .51
LClui6 Goudull', article ill I.e f'iga ro of November 4 , 1855 . which look aim lit the
Jlublil-nlinn of pl'erm ill La Revue {/es deux mmu/e~. caused Midu:1 Uivy to give 11)1
the right ! to 1.£, Fleurs rlu mal to I'oulel-Malllssis. 1129,6]
IlWH: J~ Sallllimblic. with Chnmllfleury and Touhin . First is.o;ue. February 27,
written arul"diled in le81! I.han Iwo hOllrs. In that laHue. prClluma),l y IIy the h and
of IJau{ll'laire: " /\ few misguided hrethren have s ma ~ h ed IlUme mL'C lianica l
From Charles AlISelilieall. Baudelaire: Recueil J 'Anecdotes (in Crepet, Charles
Baudew.ire [Paris. 1908]. <pp.279£f.) published in exten.so): the BtOry of
AJiselin.:au·s handkercruef. III Baudelaire's obstinacy. Provocative effecl8 of his
"diplomacy." His mania for @hockingpeople. fJ29a. l )
From Gautier's obituary for Ba udelaire. Le Moniteur. Seplember 9 , 1867: '"&rn
in India , and ImSse8~in g a thorough knowledge of the English language, he made
his debllt with his tra nslations of Edgar Poe." Thwphile Gautier. Porlraits con-
temllQrairu (Paris, 187-1), )1 . 159. [J29a,2]
A good ha lf OfGalltier'H obituary notice ill occu)1ied with Poe. The part de\'ote4l lo
Le8 "'wurs (/u m(J/ dept!llds 011 metaphors which Guutier exlracts from a ~ Iory by
IJll wthorne: " We never read /..e. Flel~rs du, mul. by Blludelairt', without thinking
inVOluntarily of thut talc by Hllwlhornc (t'.lIlhled " Uappaccini"s Daughter"): it has
those 80mber ami ru rla Uic rlllol"8 . those verdigris hlossoms and heady l)6rfullle8.
IUs II1I1;;e "escmhl('s the dm:lur's dllllghier whllnl no poison fla il harm. lmt ,,·llOse
pallid and anemic complexion betr/ly~ t.l1I~ innucllet" of !lIe milieu she iuhabitN."
'l'h~phile Gautier. PorfrfJit~ contemrlOr(lins (paris, 1.874), p . 163. <See J3a ,2.)
112901.3)
Gautier's characterization of Baudelaire, in his Hutoire du Rrnnantisrne, is not
much more than a successio n of questionable metaphors. "TItis poet's talent for
 concentration has caused him to reduce each piece to a single drop of essence
- enclosed in a crystal Bagon cut with many facets ," and so on (p. 350). Banality
JX:rvades the entire analysis. "Although he loves Paris as Balzac iovt:d it; al-
though, in his search for rhymes, he wanders through its most sinister and
mysterious lanes at the hour when the reflections of the lights change the pools o f
rainwater into pools of blood. and when the moon moves along the broken
outline of the dark roofs like an old yellow ivory skull; although he stops at times
by the smo ke-dimmed windows of taverns, llitt:ning LO the croaking song of the
drunkard and the strident laugh of the prostirute, . .. yet very often a suddenly
recurring thought takes him back to India." Theophile Gautier, Histoirt! du Ro-
manlismt (Paris, 1874), p. 379 ("u Progres de la poCsie fran~e depuis 1830"),1'"
Compare Rollinat!
Interior or the Hotel Pimodan : 110 sideboard , no dining rOOlD table. (rosled gla88
panes. AI that pllint , Baudelaire had II servant. [j29a.,5]
185 1: new poema in l..e Meu{Jser de l 'AlllembIee, The Saint-Simonian Revue poli-
tiqlte IOrnR ,Iown hll! monuRcriptll. Porche rema rkR that it looks very much III
though Uoudelaire was 1I0t really able to choose where 10 publiah . [J30,1]
The (ortune Baudelaire inherited in 1&12 lotaled 75.000 (ranCII (in 1926, equiva-
leut ttl 'LSO,OOO francs) . To hiR colleaguea-Banvilll"--he passed (or " very ricb ."
B e loon aft erward dillereetJ y left home. (J30.2]
AI! Porche nicely putfl it «La
Vie dolt[Qltreuse de ChMies Baudelaire [Paris,
19261,) p . 98}, Ancell", wall Iheemhodimcnt of the " legal world ." U30.SJ
J ourney to Bordeaux in 1841 by stagecoach, one of the last.-A very severe
stonn Baude1aire went through on board the ship commanded by Captain Saliz,
the Paqllebot tUJ Mm du Sud, appears to have left little trace in his work. (J30,4]
Baudelai re's mother waR twent y-six al1ll biA fath er sixty wbell tJley married in
1819. [J30~]
In tbe Hotel Pimorian , Baudelaire wrote with a red goose quill .
" Mesmcrie Revelation." certainly nol Ollt: o( Poe', nlOre Ilistinguishcd wo rks , ill
the only 8tory to be tran slated by Haliliciaire during the Amerif'a ll author's life-
tjme. 1852: Pot: hiogra ph y ill La. Revue de Pnru . 1854: heginning oftllf' Iranslatioll
work . !J30,7J
h should bt: remembered thatJeanne Duval was BaudeJa.ire's first love.
Mc¥ling;; wilh Ili ~ 1II111 hcr ill till; Lou vre .Iu ring tltt: yeun of ,lis8cm. i(JII with Aupick .
T he ban1lueu urgauiu d by Philoxcne Doye r. Baudelaire give;! reading. of "Une
C ha roKJI ~.·' " Lf. ViII de " UlIBiIlIin," " Delphine el llipI'olyte" (Porche . <lA' Vie dou.-
(O il reuse de C/la rl.e, Baudefllire rParis . 19261,) p . 158). [J30,10)
I'orclu! (p. 98) .lrawJ:I allclltioll 10 tile flll:1 thill, wilh Sal;)!; . Ancellc, and Aupiek .
IJa ud r.lairr hall relatiollil of a typical sort. [J30,111
Sexual preoccupations, as revealed by the titles of projected novels : "Les En·
seigneme.nts d'utl monstre" <Education of a Monster>, "Une Inmme ador&:"
<Beloved Slattern), "La Maitresse de I'idiot" <The Idiot's Mistress), "Les
Tribades" <The Dykes), " l 'Entretcneur" <The K£epen. !J30,12J
1J29a,4J
Consider thai Baudelaire not infrequently, it appears, loved to humble himself in
long conversations with Ance11e. In this, too, he is ajilJ tUfamiIJe. More along
these tines in his farewell letter: "I shall probably have to live a very hard life, but
I shall be better off that way."'u [J30, 13]
Clade! mentiuns a " n oble and transcentleol disserta tion·' by Baudelaire on the
phYKiognomy of language. having to tlo with the colors o( word8, their peculi arities
aM sourct!Bof light, and finally thdr moral characteristic,. [j30a,l ]
Indicative of a perhaps not Wlcommon to ne in the exchanges between the two
writers is ChampHeury's letter of Mardt 6, 1863. Baudelaire, in a letter now lost,
had declined CharnpHeury's proposal to meet a female admin:r of the Flt!urJu
du mal and the writings of Poe, making a point of hi! dignity. ChampBeury
responds: "As for my compromised dignity, I refuse to hear orit. Stop frequenting
places of far worse repute.1i-y to imitate: my life of hard work; be as independent
as I am ; never have to depend o n others-and then you can talk about dignity. I
The word, in fact, means nothing to me, and I put it down to your peruJiar ways,
which are both affected and natural" (cited in E. and]. C~pet, <Chariu Baude-
laire {Paris, 1906].>appendix, p . 341 ). Bauddaire (Let/W, pp. 349ff.) writes back
on the same day. '~ [j30a,2}
Hugo to Baudelaire, August 30 , 1857. 1·le acknow led ge~ r eceipl of Le, "'/eur, du
[J30,O] lIIai. " Art iii like the heavens; it is Ibe infilljte fidd . You have just proved Ihat. Your
fle lll" (I" ma { are as r atlial1l a nd da:u.ling as the starl." Ciled in Crelte t . p . 11 3.
Conlpare the greal leiter of Oclober 6. 1859, containing the forowla and credo of
!Jr0grflSI;. [J30a,3J
r'uu l dt MoienCIi to Bau delaire. May 14 , 1860. " You Il ave lhiK gift for Ihl' new.
sOlUething tba l lIas always liI'emcd to me 1'~'Ci o llJi--i",Iet:11. almo&1 sacred ." Cited
!J30.8J ill Crfpel. p . 4 13 . [J30a,4]
Ange Pcchlll~ia, Bucharest. February 11 - 23, 1866. In this lo ng letter full of great
]J30,9] admiration, an cx.act outJook on la fHJ6 il! pure: "'I would say something more: I
:un convinced that, if the syllables that go to fonn verses of this kind were to be
t:ranslatcd by the geometric fonns and subtle oolors which bdong to them by
analogy, they would possess the agreeable texture and beautiful tints of a Persian
carpet or Indian shaw!. I My idea will strike you as ridiculous; but I have often
fdt Like drawing and coloring your verse?' Cited in Crepet, p. 4 15. 1J30a,5]
Vigny 10 Blludelaire. J anuary 27 , 1862: " How ... unjust you are, il ilet' mi to me,
towll rd this iuvely bouquet , AO variously scented with odors of ~ pring, fur h aving
given it a title it does not d eserve, IIlld how much I Ile plore tha t poisonous air
which you sometimes I,."e
in from the murk y hourne of U ll llll et '~ graveyard ."
Ciled ill Cr epet , p. 44 1, [J30a,6}
From the letter thai Baudelaire !!ent to Empress Eugenie, No,'ember 6, 1857: " But
the fine, lncre-ased by COilll that are unintelligible to mr, t-xct.-edi the resoun::el of
the proverbial povert y of poets, and , , .• convinced that the heart of the Empreu
is opt'n to pity for all tribulations, slliritual as well as material, I bave conceived
the idea . Jter a perioll of illdt.'Ci8ion and timidit y that lasted ten days, of appealing
to the gracious goodness of your Majesty and of entreating yOllr inten'ession with
the minis ter of justice."H: H . Patry, " L' Epilo~e du pruccl! des 1-'Leur. till rnal: Une
a
Leu rt' inMite de Baudelaire I'lmpcratrice ," Relme d'llilHoire litteraire de /a
Fran ce. 29uI year (1922), p. 71. [l3 t ,1]
From Sch ll unard , Souvenirs (Paris , 1887): "' I detest Ihe countryside.' !ay.
Baudelai re in explanation of hi, ballty Ileparture from Iionfleur, ' particularly in
@ood weather. The penilltenl SWlBhiue oppresaes me .... Ah! speak to me of thOle
everchanging Parisian s kies Ihat laugh or cry accor lling ttl the wind , and that
never, in their va ria ble hu t and humidity, hal'e any effect on the iilupid cropl, . , ,
I am perhaps affrontin g YOllr com'ictioll~ as a landllcape painter, but I must t~
YOII further ulal an open hod y of water is a monstrous thing to me, I want It
incarcerated , l;ontaincd within tim geometric walls of a Ilu ay. My favorite walkilll
"lace is the embankment alon g the Canal de l'Ourcq , .. (cited in Crc" et , p . 160).
1J31,2)
Cri:I)Ct juxtaposes Schaunard', rt' Jlort with the leU('r to Desnoyers, IlIId then ~
mark, in clo!fing: " What ran we cOllclude from all thil? Perhaps simpl y that
Baudela ire belonged to that famil y or unfortunates who desir.. onl y what they do
not haye and IOl'e only the place wlit'.&"e they a re not" (C repet , p . 16 1). [J3 1,3}
Baudelaire's ~incerile wus form er ly much di~clis81~11. Trol;l!s of this dchatc arc still
to he found in Crcpet (see p . -172). {J31,4}
"'1'11 .. laughter of children is like the blonoming of a Howcr.... It is a plant .~e
joy. Alld 1'0. in grnt" ral. it ill more like a s mile--tlomt"l.hing analogou.!! to the w-a~n,
of II llo&'. tail . or the purri ng of II cat . Aud if t1u~r(" still rt:llIai n$ sam.. d u.tincuo n
bel .... ~ n the la ughter of children and such e:"pn::88ions of a nimal contentment , ...
IILi ~ is IJet'allse their laughtcr i.. 1I0t entirely frile of ambition , a~ iii onl y prolJtlr tl.l
little acr aps of men- that iI. t l.l budding S lt t an ~." " De l'Euellce d ll rire." OClulre"
..-d . Le Dantt'1;, vI.Il. 2, p . 174 .·.... [J3 1,S]
~t knew ange~, and also tears; he did not laugh. Vtrginic 'NOuld not laugh at
the Sight of a cancature, The sage does not laugh, nor d oes mnoce:nce. "The
comic clemenr is a damnable thing, and o ne of diabolical origin." "De l'Essence
du rite," OeuureJ, ed. uDantec, vol, 2, p. 168. lIt fj3la,11
Baudelaire distinguishes the "significative comic" from the "absolute comic" Th
latter alone is a proper object of reflection: the grotesque, I~ rj3 1a'2~
A111:gorical interpreta ti un of modern clothi.ng fur mcn , in the "Salon de J846": "A.
for the garb , the out~r Ilusk . of the modern hero, ... is itnolthe necessar y ~arb or
our suffering age, which w~a rs the synlllOl of l)Crpetlial mou r ning even on itt thin
black 5houldcrl? Notice how the black ~ uit and l he frock l;l.Iat POSSesli not 001
their Iw litical beaut y, which is ao expression of uni" eraal equality, bUI als6 tbl!i~
IJOetie heauty, which is an r:xpression or the public souJ...-an endle.!!! proceniun of
hired mournera, political mourners, amorous mourners, bourgeois mournera. We
are all of 1111 cele brating lome fun er al. " Oeu vres , ed . Le Dantcc, vol . 2, It. 134.1$1
[J".,3)
~e incomparable force of Poc's descriptio n of the crowd. One thinks of early
Iith~phs by Senefelder, Like. ""Der Spieldub" (The Players' Club~, "Die Menge
nach Einbruch der ~eIhel~ <The Crowd after Nightfall>: "The rays of thr:
~ lamps, feeble: at first In theu- struggle with the dying day, had now at length
gamed ascend~cy, and threw over everything a 6tful and garish lusta. All was
~~ ~t splendid-as that ebony to which has been likened the style of Tenu.I.
!ian.. Edgar Poe, .NoulMlIes His/oim extraordinaires, trans. Charles Baudelaire
(Paris <1886,), p. 94. 0 Fl1neur O (J3Ia,4]
"Ima~natioll is not fantasy . . . . Imagination ill till almost djvine fa culty which
pe rcelYes ... the in timate and secret N:lalion8 of things. tI.e correslKmdence8 a nd
th~ aoalogie~." <Oaudelai re,) "No tes nouvelles s ur Ed gar Poe," N6uvelk. iliA.
to'N!JI extraordinaire., pp . 13-14. I» (J3 1a,5J
Pure!y emblt:matic book ilIuslration--urnamellteti willi tievice_whlch Orae-
(I\lemond had desipu:d for tllf' plallned de luxe ellilioll of I.e" Fleur~ du mal
II round
. ' y 1) f I IIe p Iate was so II
1862 . The onl y I.op I II f Cha IllJl(leul·Y. and later
lIC(llured lIy Ave ry (New York). [J3 t a,6]
Concerning the. conception of the crowd in Victor Hugo, two very characteristic
passages from " La Perue de 1a reverie" (The Propensity fo r Reverie):
Crowd without name! Ch aos!-Voiccs, eyes, footsteps.
Thwe never S«n, thme lteVe:r known.
Alllhe Iiving!-cities buzzing in the car
More than any beehive or American woods.
The following passage shows the crowd depicted by Hugo as though with the
burin of an engraver:
TIle night with its crowd, in this hideous dream,
Came on-growing denser and darker tOgether--
And, in these regions which no gaze can fathom,
The increase of men meant the deepening of sbadow.
All became vague and uncertain; only a breath
That from moment 10 momen! would pass,
As though to grant me a view of the. great anthill,
Opened in the far-n::aching shadow some valleys of light,
A! the wind that blows over !he tossing waves
VVhitens the foam, or furrows the wheat in the 6dds.
Victor Hugo, Oeuurts comp/au, PoiJie, vol. 2 (UJ Orientaiel, &uiiieJ d'automne)
(Paru, 1880), pp. 363, 365-366. 1132,1]
Jules Troubat-Sainte-8euve'! secretary-to Poulel-Malassis, April 10, 1866:
" See, then, how poets aJways eud! Though the social machine revolves, and regu-
lates itself for the bourgeoillie. for profelSiofial men , for workers, . . . DO benevo-
lenl statute is being established to guarantee those unrul y natures impatient of all
retltraint the possibility, at least , of dying in a bed of their own.-'8ut the
brandy? ' someone will ask. What of it ? You too drink . Mister Bourgeois, Mister
Grocer; YOIl have as mauy vices as-and even more than- the IJOet .. , , Babac
. burns himself out with coffee; Musset besots himllelf with absinthe and still pro-
duces his most beautiful 8Ian'lIlS; Murger die~ alone in a nursing home, like Baude-
laire at IhiJ very moment. And nol oue of these writers is II Rocialist! " (Cited in
Crepet , <Bfludelaire [Paris, 1906] ,> p». 196-197.) The literary market. [J32,2]
In II draft of lhe letter to Juletl Janin (1865), Baudelaire plays Juvenal, Lucan. and
PetrOlliull off against H orace. [J32,3]
Letter 10 Jules Janin : " melancholy, alwaYIl inseparl1hle from the feeling for '
Lel1t1t y. " Oeuvres , ed . Le Dantee, vol. 2 , p. 610. ]J32,4]
"Every epic intention . . . is the result of an imperfect sense of art." <Baudelaire,)
"Notes nouvelles sur Edgar Poe" (Jr(ouvelleJ HutoireJ exlraordinaires [paris) 1886],
p. 18). 'll This is, in embryo, the whole theory of hpure poetry." (Immobilit.ation!)
]J32.']
According to Crepet «Ramiei(lire [Pari~ , l906] , ) p . 155). most of the drawings left
by 8audelaire portray " maca bre scenes," [J32a.l ]
"Am ong all the hookH in the worililoday. the 8ible being the sole exception , us
fleurJ (lu mof i ~ the 1I108t widdy Jluhlishcd and the most llftcntran slated into other
language" ." Andre Suar;-'s. 1"0;$ GrmldJ ViVlHltS (Paris <l93Ib) , )1 . 269 (" 8au,If'-
lairf' ct u s "leurs tl" mal") . [J32a,2)
"The life of Bau.telaire iJ a deject for ane<:dotel." Andre Suares. n-oiJ GrtmdJ
Vivant.! (Paris), p . 270 ("Oamlelaire et LeJ FkILr.! du mar). [J32a,3)
" Baudelaire does 1101 deecribe." Andre Suares, Tro;~ Grafldl ViutHlIJ (Paris),
p. 294 ("8audelaire et ~J Fk lLrJ d" nwr'). [j32a,4)
in the "Salon de 1859: ' vehement invel(;tlye against l'amoar-apropos of a cri-
tillu!!. of the Neo-Greek school: " Yet aren ' t we quile weary of seeing paint and
ma rble squandered on behalf of this elderly scamp ... ? . . . His hair is thickly
curled like a coachman 'lI wig; his fat wobbling cheeks press against his nostrils and
his eyes ; it is doubtless the elegiac sighs of the universe which diJtl:nd his nelh , or
per haps I llhould My his mea', for it is IItuffed , tuhulouI, and hlown Ollt like a bag
of lard hanging 0 11 a butcher's hook ; on his mountainous back is attached a pair of
butterfl y "ings." Ch. B .• OeuvreJ. ed . Le Daotec (Puris), vol. 2, p . 243.1 ~
U32.,,]
''There is a worthy publication in which every contributor knows all a nd has a
word to say ahout all. a journal in which eyery member of tbe staff .. . can instruct
us, by tunls, in politics, religion, economics, tbe fine arte, philosophy, and litera-
ture. In this vast monument of fatuity, which leans toward the future Like the
Tower of Pilia, aod in which nothing len than the happinese of humankind is being
worked uut . , ," Ch. B .• Oeuvre.!. ed . Le Dantel(; (Paris), vol. 2, p . 258 ("Salon de
1859"). (i.e Globe?)llo6 [J32a,6]
I,n defense of Ricard: " imitation is the intoxication of supple and brilliant minds ,
lind orten even a proof their superiority." Ch. B., OeuvreJ , ed. i.e Dan tec, vol. 2,
p. 263 (" Salon de 1859"). Pro domo!157 [J32a,7]
" Tllaltouch ofslyness whicb is always mingled with innocence." Ch . B., OellvreJ,
ed. Le Dantee, vol. 2, p . 264 ("Salon de 1859"). On Ricard. l !'>!! [J32a,8]
Vigoy in "I..e Mout des oLiviers" <Mounl of OLive8), against de Maistre:
i1e haa heen on IhiBearth for many long a!!leB.
Born from han h mllsten and fal.te-speakin!!lsages.
Who 8till V/:X thl'! 8pirit of each living nation
With silUriuu8 ennr.eptioDJI of my true redem ption. I ~ 1133,1]
" Perhaps unly Leopardi, E.tgar Poe, and DostoevJlky nperieuced such a dearth of
iU11lpiness, sudl a power of de6olation . Round aLout hin) , thi8 century, which in
other rl."sp« t8 lOeems so Aourishil1g and multifariolls. takes 0 11 the terrrihie aspect
of II d e~erl. ,. Edmond Jaloux , "Le Centenaire de Baudelaire," lA1 Revue h ebdo~
madaire. 30th year, 110. 27 (July 2 , 1921). p. 77. [J33,2J
<'AU hy himself, Blludelaire mllde poetry a method uf alJaly~i8. a form ofintruspec-
tio n . III Ihis, he ill very much the contemporary of FlliuLert ur of ClaUf11l Her -
nard." Edmond Jal ou~, "i.e Centenaire de Baudelah·e," La Revue hebdo-
madCJire. 30th yellr. 11 0. 27 {J ul y 2, 192 1). 1). 69. [J33 ,31
List of Baudelaire's topics, inJaloux: " DUVOUS irritability of the individual de·
vOled to solitude ... ; abhorrence of the human condition and the need [0 confa
dignity upon it through religion or through art . .. ; love of debauchery in order to
forget or punish oneself . . . ; passion fOT travel, for the unknown, for the
new; ... predilection for whatever gives rise to thoughts of death (twilight,
autumn, dismal scenes) ... ; adoration of the artificial; complacency in spleen."
Edmond Jaloux, '-Le: Centenaire de Bauddaire," La Revue hebdomadaire. 30th
yeat; no. 27 Uuly 2, 1921 ), p. 69. Here we see how an exclusive regard fOT
psychological considerations blocks insight into Baudelaire's genuine originality.
[J33,41
Influence of w Fleur; du mal, around 1885, on Rops, Moreau , Rodin. [J33,51
Influence of "Les Correspondances" on Mallanne, [J33,61
Baudelaire's influence on Realism, then on Symbolism. Moreas, in the Symbolist
manifestO of September 18, 1886 (I.e Figaro): "Baudelaire must be considered the.
true precursor of the present movement in poetry." U33 .7]
Claudel: " Baudelaire has celehrate~1 the only p a8llion ",·hich the nineteenth cen-
tur), could feel with sincerit y: Remorse." Cited in Le Cinqua nt.enaire de CluJrles
Baudelaire (Paris, 19 17), p . 43 . (Compa re J 53, I .) U33,8)
"A DanteStlUe nightmare." Leconte de L.i.s le. cited in L.e. Cinquflfuenaire tk
Charle. Baudelaire (Paris. 19 17), p . 17. [J33., 11
Ed oua rd Thier'J'Y compa'J'es Le. Fleur. de mal to the ode written by Mirabeau
during his imprisunment at Vwcenuell. Cited in Le Cinquanrenaire de Charles
BlIIIJelllire(Pa 'J'is. 1917), 1' . 19. [J33a,2]
Verlaine (wher e?): ""I' he profound originality of Baudelaire is ... to h. \'e repre-
sented , in a powt: rful and esseutial way. modern man . . • . By thill. 1 mean only
modern man in the physical sem;e ... , modern man with his senses Iltir'J'ed up an.d
vibrating. his IiJlirit painfully subtlt:. his brains aturatt:d with tobacco, a nd hiI
blood on fi re wilh alcohol. ... Charles Baudelaire ... may be said tn personify the
ideal type. the Hero if you will. of this individuality in sensiti vity. ~~w~lere.else.
nol e\'en in Heinrich Heine, will you fmd it accentuated so 8trollg.iy. CIted In Le
CinqUfln,enaire de Charles HCJlldelaire (Paris, 19 17). p. 18. {J33a,3]
u:sbia ll motifs ill n abal' (Lt, Filie OIlX yellx d'or); Gautic.· ( M(ulemouelk de
i\luupin); Dt'latu uche(FrasoletrCJ). [J33a,4]
Poem! for Marit: Daubrun : "Chan t d 'autonwe ," " Sonnet d ' autoDlne." (133.,5]
Meryon and Baudelaire were bo'J'n in the same yea r; Mer yoll died a yt'ar after
Baudelaire. [J33a,6)
In the years 1842- 1845. act:ordillg to Prllrond , Bumldaire was fa scina ted with a
port rait of II wOlllan Ily Greco in the Lou\'re. Cited i.n Crt:ltet , ~Charlell lJCJudelaire
( Puris, 190('1.> p . 70. [J33a,7J
I)roject d ltled May 1846: " Lcs Amour'll el la mort de Lucaill" <T he Loves and the
Oeall. of Lucall). [J33a.8)
" lie w as t w~nt y- two years vld, and he f01l1ll1 himself immediately provided with
elllploymcnt at the town hall of the seventh arrOOlIi.ue ment- ·in the Registry of
Oeatlls,' he kept rCIJeating with an ai r of satisfaction." Ma urice Rollinat , Fin
d'oeuvre ; cited in Gustave Geffroy, Maurice Rollinat. 1846-1903 (Parill, 19 19).
1).5. [J33a,9]
Barbey d ' Aurevilly has placed Rollillat between Poe a nd Baudelaire; and he caO.
Rollinal " II poet of the tribe of Dantc." Cited in Ceffroy, Mal/rice Rollina t, p . 8.
[J33',IOI
ConlposiLioD of Bamldaireau poems by Rollinat . [J33a, 11J
" La Voix" ~Th e Voice>: " in the pil ', deepest da rk, I distinctl y see stra nge
worlds. "I"" [J33a,12J
According to Cha rles Toubill , Baudelaire in 1847 had two domiciles, Oil the Rue de
Seine alld the Rue de 8abylone. On days when the rent wa' due , he often spent the
night with fri e nd~ ill a third . See Crepet , <Churle. Balldelaire, (pa ris, 1906).>
p.48. [J34, 11
Crepel (p . 47) cou.nts fourtl!Cn addresses fur Baudelaire between 1M2 a nd 1858,
nut including I:I onflcur Slid sonle temporary lodgingt. H e lived in the Quartier du
Temple, tile lie Saint-Louis, the Qua rtier Saint-Germain , the Quartier Mont-
martre , the Quarticr de la Relluhlitlue. [J34,2]
"You are passing through a great city that has grown old in civilization--one of
those cities which harbor the most imponant archives of universal life-and your
eyes are drawn upward •."mum~ ad ;itkra; for in the public squares, at the comers
of the crossways, stand motionless figures, larger than those who pass at their
feet, repeating to you the solemn legends of G lory. 'War, Science, and Martyr-
dom. in a mute language. Some are pointing to the sky, whither they ceaselessly
aspired ; others indicate the earth from which they sprang. They brandish, or
they contemplate, what \V3S the passion of their life and what has become itS
emblem: a tool, a sword, a book, a torch. vitai lampada!Sc you the most heedless
of men, the most unhappy or the vilest, a beggar or a banker. the stoue phantom
takes possession of you for a few minutes and commands you, in lhc name of the
past, to think of things which are not of the eanh. f Such is the divine role of
sculprun:." Ch. B. , Oeuures, ed. Lc Dantec, vol, 2, pp. 274-275 ("Salon de
1859'V" Baudelaire speaks hen:: of sculpture as Lhough it were prest:nt only in
tht: big city. It is a.scu.lptutt that stands in the way of the passerby. 11tis depiction
contains something in the highest degree prophetic, though sculpture plays only
Lhe smallest part in that which would fulfill lhe prophecy. Scu1ptuTe is found <?>
only in the city. U34,3)
Baudelaire speaks of his partiality for "Lhe landscape of romance," more and
more avoided by painters. From his description, it beco mes evident that he is
thinking of struCtures essentially Baroque: "But surely our landscape painters are
far tOO herbivorous in their diet? They never willingly take their nourishment
from ruins . .. . J feel a longing for ... crenellated abbeys, reflected in gloomy
pools; for gigantic bridges, towering Nillevitc constructions, haunts of dizzi.
ness-for everything, in ShOll, which would have to be invented if it did not
already exist!" Ch. B., Oeuurt.l, cd. Le Dantec, voL 2, p. 272 ("Salon de 1859'V"
[)34,.)
"Imagination ... decomposf".lI all creation ; nnd with the Taw malcrial8 accumu-
laled and illi rosed in accordance with rules whose origins one canOOI find except
in the furth est depths uf the soul , it creates a n~w world- it produces th~ sensation
of newness." Ch . B.• OeuvreJ. vol. 2 , p . 226 ("Sp.lon de 1859").ll>.l U341l. 11
On the ignorance of paint~ rs. with particular reference to Troyou: " He paints on
alld 0 11 ; he 8Iol's up his soul and continues to paint, until at last be hecomes lik.e the
artist of the 1II0ment .. .. Tbe imitator of th~ imitator fmd s his own imitators, and
ill Ihis way each I/ursues hill dream of greallll:ss, Slopping up his soul more and
more thorough1y, aod above aU reading nothing. 1I0t c'·en The Perfect Cook,
which al any rate would have been able 10 open up for him a career of greater
glory, if less profit. " Ch. B., OClwrc$. vol. 2, p. 219 ("Salon de 1859"),u"
[)'4>,21
"The pleasure ofbcing in a crowd is a mysterious expression of sensual joy in the
multiplication of number. ... Number is in all . .. . Ecstasy is a number.... Relig'
ious intoxication of great citia." Ch. B., Oeuuw, vol. 2, pp. 626-627
("Fusees").'~ Extract the root of the human being! [J34a,3)
"TJu~ arahes«ue is the most spiritualistic or du igu s." Ch. B.. Oeuvres. "01. 2,
p. 629 (.. Fu&tts··).I.... [) ) .....
""'or Illy pari , I say: the sole and IIUltreme plea.!iure of love lies ill the absolute
knowled ge of living edt Allllm811 111111 woman know. rrolll birth , that in evil is to be
found 1111 vllluptuoIl8nc8s." Ch. 8 ., Oeuv"eJ, \'01. 2. fl . 628 ('·"'II ~CCII").'·:
[J34a,5)
"\bltairt: jests about our immortal soul, which has dwelt for nine months amid
excrement and urine .. _ . He might, at lcast, have traced, in this localiution, a
malicio us gibe or satire directed by Providence against love, and, in the way
humans procreate, a sign of original sin. After all, we can make love only with the
o rgans of excretion." Ch. Baudelaire, Oeullre.s, vol. 2, p. 651 (" Ma n Coeur ntis a
nu'V" At this point, Lawrence's defense of Lady Chatterley should be men-
tioned. 1J34a,6)
Beginnings, with Baudelaire, of a devious rationalization of the charms exCrted
on him by prostitution: "Love may arise from a generous sentiment- namely, the
liking for prostirution ; but it soon becomes corrupted by the liking for O\VIler-
ship" ("Fusees"), "TIle human heart's ineradicable love of prostitution-sowu:
of man's horror of solitude.... Thc man of genius wants to be mu----that is,
solitary./ The glorious thing ... is to remain Qut by practicing your prostitution
a
in your own company" ("Man Coeur ntis nun). VOl. 2 , pp. 626, 661. 1" 1134a,7]
III 1835 Cuotle', Le Diu.ble urno"rellx is puhlishl-.I, with It preface by Gerard de
Ne.rval. Baudelaire's line in "i.e Possooe"-"Moll cher DcIzehulh, je I' adore"---is
an explicit cilation of Cszotte. " Oaudelaire's verse has a J cmouiacal sound mucb
stranger than the diabolism or the age of Loui! Philippe." Claudius Grillet . Le
Viable dans 10 liuerature au XIX' siecie (l.yons and Paris, 1935), pp. 95-96.
[)35,I)
Leller to his mother on Decenlber 26, 1853: " Beside&, I am so accuatomed to
pbysical discomforts; J know dO well how t o put two shirtil IInder p lorn coat and
trousers 80 threadhare that the wind cuts through them; I know !lO weU how lo put
stra .... or even paper solei in worn-out . hocs thai I hardly red anything ~cept
moral suffering. Nevertheless, I must confess thai J ha'·e reached the poiot of
heing afraid to make brusque movemenlf or to walk very much, for fear of tearing
my clothes evell more. n Ch . B. . De,.nie,.es Le'tres inedites ii sa. me,.e, illtroouctioo
and notes by Jn cllues Crepet (Paris, 1926). pp. 44-45.170 1J35,21
The Goncourts report in their journal on June 6, 1883 , the visit of a yOllng man
rrODI wllOm they learn that t.he hudding scholars al the high sehooi llre divided into
two camp~. Thc rutu re ~ tud e l1 b or lhe. Ecole Nornlal(' hll,'e laken Ahout lind Sar-
rey as the.ir modl·lsi the oth('rf!. Ed lnoml ill' GOlleonrt an,1 Uaudelairc. J ournul des
Goncouru, vol. 6 (Parill , 1892). p. 2&1. 1J35.3J
To hi~ mother 011 March 4. 1860, concerning etchings hy /'II eryon : "The hideous
all,1 colossal fi gure in the rr()tIliijpiece i~ nl1c or the fi gurcs tlct:oratinJ!: the exterior of
Noire Dame.. III Ule baekground is Purill . viewed rrllll) a JII'ighl. Huw the. devil this
mall manages to work so calmly over an pbYIi , J tlo lIot kllow.'· Cit . 8 ., De,.nii!res
I..e ll rel fi su me,.e, introlJuctiUIi and notes hy Janlues Crepel (Parill, 1926),
pp. 132-133. {J35,4]
 I.n t.he Dernii rell LeUre5 (p. 145), thill phrase tor Jeanne: " that aged beauty who
ha~ now becom e 811 invalid . "171 H e wanl!! to Icave he r a n annuity after his d eath.
1135,S]
·~
..J
Decisive fo r the confrontation bChvtt.n Bauddaire and Hugo is a passage from
Hugo's letter of November 17, 1859, to Vtllemain: "Sometimes I spend the whole
night meditating on my fate , before the great deep, and . .. all I can do is exclaim:
Stars! Stars1 Stars!" Cited in Claudius Grillet, VuJor Hugo ,Spidle (Yrons and
Paris, 1929), p. 100,17.' [J35.6]
The multitudes in Hugo: " The prophet seeks out solitude. . He goes into the
desert 10 think . Ofwhal? Of the multitudell." ougo , William ShakclIpeare. <part 2,
book> 6 . (J35,7)
Allegor y in the spiritualist protocols from J ersey: " Even pure abstractions fre-
quented Marine-Terrace: (dca, Death. the Drama . the Novel. Poetry, Criticism,
Humbug. They .. . preferretl to Plake their appearance during the day, while the
dead came at nighl ." Claudius GriUet . Victor Hugo $pirilc (LYOIl8 and ParU.
1929). p . 21. [J35a,l]
The " multitude"" in Hugo figure a ~ the " depths of the shadow" in Le. Chiitimenu
(" La Caravane," p ari 4) , Oeuvres complete., vol. 4. poe.ie (Paris, 1882), p. 397:
"The day when our plunderers, our tyrants beyond number, I Will know that
someone sti rs in the depths of thc shadow." [J35a,2]
On Le~ Fleurs dIL mal: " Nowher e does he make a direct allusioll to hashish or to
opium visions. [n this we must admire the superior taste of the poet, completely
taken up as he is with the philosophic construction of his poem." Georges Rooen-
bach, L 'Elite (Puri;!, 1899), PI" 18-19. [J3Sa.3]
Rodenhach (p. 19) cmpb allizes, like Beguin . the experience of the corre.pon-
dances in Baudelaire. [J35a.4]
Baudelaire to ~Bar h ey> II'AureviUy: " Sh ould yo u take Communion with hands on
hipll?" Cited in Georges Rodcuhach , L 'Elite (Paris, 1899), p . 6. [J35a,S)
Three generations (avcurding to Georges Rodenbach, L 'Elite [Paris , 1899], pp. 6-
7) revolve a llllllt the "lIplendid rc~ toration of Notre Dame." The firllt . fo nning as it
were a ll ollter circl ~ . is rC)Jr~ sented b y Victor Hugo . The lIecond, r epresented by
<BarbcY' d ' Au.revill y, Baudelaire, ami Hello , forms an inner circle of devotion .
The thir d iRmade up of the.gruup of !latanists; HuyslIlans, GUllitU. Pi ladll n.
]]35.,6]
" Howt:ver he-uutiful a house may he. it i5 firBL Qf all- before we consider its
bea uty-so many fLocl h igh 11 1111 so mlilly feet "dde. Likewi3e, literature. which is
the most prieclch mliterial, ill fiut of all the filling up of so many columns. and a
literar y arvhitect wholle nam ~ i.n itself is not II guarll.ntee of profit h ns to scU at all
kinds of prices." Cli. B., Oeuvres. vol. 2. p. 385 ("Coliseib aux jeulies Iit-
{j3Sa,7]
Note from " Fusees": " The portrait of Seremu by Seneca . That of S.ogiru. by
Saini J onll Chrysostom. Acedia . the malady of monks. Taer/ium vitae ... "
Chl'l rles Baudelaire. Oeuvres, vol. 2 , p. 632.174 [J3Sa,S]
Char les-Henry Hirsch descrihes Baudelaire, in comparison to Hugo, as " more
capable of adapting to widely varying temperamenlS, thanks to the keennells of his
id ca~. sensation8, and words . ... The lessons of Baudelaire endure by virtue of
.. . the strict rorm which keeps them before our eyes." Cited in Le Cinquantenaire
de Charles Balulelaire {paris , 191 7), p . 41. [J36,1]
A rt!mark by Nadar in rus memoirs: Around 1911 . the rureclOr of an agency for
newspaper clippings told him that BlI.udelaire's name used to show up in the news~
paper s as often as the nanles of Hugo, Muuet. and Napoleon. See Le Cinquan.-
temlire de Charlel Baudelaire (Puris, 191 7), p. 43 . 1J36,2}
Passage from Le Salut publique lI.uributed by Crepet to Baudelaire: "CiweQs
should not give heed .•. to such as tbese--to Barthelemy, J eao J ouruet , and
others who extol the republic in execrable verse. The emperor Nero had the laud-
able habit of rountling up all the bad poetll in an amphitheater and Hogging them
cruelly." Cited in Cr epet. (Charle~ Baudelaire (Paris, 19(6), ) I)' 81. (J36,3]
Passage (rom Le Salut publiqu.e attributed by Crepet to Baudelaire: " lntelle(lts
have grown. No more tragedieli, no more Roman history. Are we not greater today
thall Brutus?" Cited in Crepet , p. 81. [J36,4]
Crepet (p. 82 ) quotes the Notes de M. Ch(,mpjkltry: "De Floue perhaps belongs
with Wronllki . Blanqui, Swedenhorg, and others, in that somewhat bizarre pan-
th('on which lately elevated Baudelaire. following upon the r eading of his texts, the
t\'ehl8 of the da y, and the Ilotoriety attained overnight by certain fi gures."
1l",5]
·'Tht'. work of Edgar P06-with the eX(Jeption of few beautiful poenls-is the botly
of ao art from which Baudelaire has blasted the 1I0UI. " Andre Soares , S ur to Vie
(Parill, 1925). vol. 2 , p . 99 (" Idees !lur Edgar Poe" ). [J36,6]
Baudelaire' s theory of imagination, as well as his doctrine of the short poem and
the short story, are influenced by Poe. TIle theory of ['art pour l'a rt, in Baude-
laire's fonnulation, seems to be a plagiarism. {j36.7]

In hi' commemorati ve addrf'.IlH, Bunville drawl attention to Baudelaire', clallHical
technique. [J36,8)
"Comment on paie 8e! dette! (IUand on a dll genic" (How a Geniuli Paye Hili Debtt )
aplleared in 1846 und conlaina, under Ihe appcllalive " Ihe second friend ," the
following IHlrtrait of Gautier: "The secl)nd fri end WIU , and 1I1i1i is, fat , lazy, and
IIluggish ; whut ill more, he hilS no ideas arul can only st.ring words togelher liS the
Ollilge IItringli beads for a nel!.k.iace." Ch. B. , Oeuvrell, vol. 2, p . 393. m [J36a,1}
Hugo: " As for nle, I am conllcious ofth e sta rry gult in my , {ml." " Ave. dea-mori-
turull te salutat : A Judith Gautier," Victor Allgo , Oeuvrel chouies : PoesieJ et
drames en uer$ (Paris <1912», p . 404. [J36a,2]
In his famous description of the lecture Baudelaire gave on Gautier in Brussels,
Camille Lcmonnie::r represents in a fascinating way the mounting perplexity into
which the:: lecru.rer·s positive glorification of Gautier plun~ the audi~ce. They
had got the impression, as the talk went on, that Baudelarre was gemg to tum
with some inimitable sarcasm from all he had said, as from a kind of decoy, in
order to develop a different conception of poetry. And this apectation paralyzed
the listeners. [J36a,3j
Baudelaire-Camille Pelletan', favo rile poet. So suyli Rohert d e Bonnierea,
Memoires d 'aujourd'hui, vol. 3 (Pa ris, I888), p. 239. [J36a,4]
Robert {Ie Bonnierel, Memoires d'Qujourd 'hm, vol. 3 (Paril, 1888), puhli, hee, on
liP. 281-288, lin exasperated Ictter I;t!nt 10 Tai~le by th~ direct~r of '~ Revue
liberale on January 19 , 18&1. in whicll he cOlllplalns of the mtranl lgence displayed
by Baudelaire ill the COUr5C of negotiation ~ over Clltl in the piece "'.....,..,
-- voeabonl
. .,
._- d n .) (J36.,s]
(S pl+:t<n e ,-an& .
A passage from Rodenbach that exemplifies something typical in the descriptio~
of the city-namely, the forced metaph~r: "In th~ cities sadden~d ~ ch~tr!;>'
of weathercocks,' Birds of iron dreanung [I) of 81ght to the skies. Cited 111
C. Tourquet·Mi1nes, 7?u: lriflunlct if BaudekJiu in Franu and England (London,
1913), p. 191.- Parisian modernity! [J36a.61
In the "Salon de 1846" one sees how precise Bauddaire's concept of a politics of
art already was at that time : section 12 ("Dc \'Eclecrisme et du do~te") ~d
section 14 ("De Qyelques Douteurs") show that Baud~aire w~ conso~ ear r
on of the need to bring artistic production into line WIth certam fixe~ ~U1ts. ~
section 17 ("Des Ecoles et des ouvriers"), Baudelaire speaks ofatorruz.aaon as f
symptom of weakness . He lauds the schools of old : " 7hl:lI you had sch~b 0
painting' now you have emancipated journeymen ... - a school.. .. tha~ IS, the
inlpossibility of doubt." Ch. B., Ol:uum, vol. 2, p. 13 1Yll Compare Ie PO'flClj!
1J36a,11
On a , bf'et wit.h the 8ketch of a (emule figure and two portrailN of a male head, an
inscriplion in dating Ilack 10 the nim:teellth celllury; " Portrait of Blunqui
(Augusle), a g(HKI likeness druwlI from memory by Baudela ire in 1850, perhaps
18<~9 ? " l{el'rlKluctioli in FeJi Glllltier, Charlel BalUlelaire (Bruli8e1s, 19(4), p. iii .
[j37,I)
"He \\'ould (hurn his brains in order to produce astonishme::nt." 1bis comment by
Leconte de Lisle occurs in the untiLled article by Jules Clarctie that appears in u
1innbt:ulI and that reprints substantial portions of C laretie's obituary notice. U
'fombeull dt: Churlt:J BlIudelaire (Paris, 1896), p. 91. Effect of the endings of poems!
[j37,2]
"0 Poet, you who turnCtl the work of Dante 1I1)lI.ide .lo,,·u , I Exalting Satan to the
heights and Ol!8CClitling to God." Closing line~ of Verbaeren', "A Charleli Ballde-
luin:, " UI Le Tumbeau de Cltarks Baudelaire (Pari.!!, 1896), p . 84. (J31,3)
[11 Le Tombeall ele Churk, Blludewire (Parili, 1896), there is .II. text by Alexandnl
Ourousof, ""L'Archilecl ure se<:rele tlea Fleurs duo mal." It represenlll an oft·
repeated attelllpt to establish dislinct cycles in the book, and consisI8 elilientially in
Ihe selection IIf the poelll8 inspired b y J eannf" DuvaL It makes reference to the
IIrtide JluLlished by (8arhey ~ d 'A ureviUy in Le Pay, on July 24, 185 7 ~ in which it
WIIS maintain(.>O for the fmlt time that there is a "secret archih..c ture" in the hook .
[j31,4]
" The t"Chnes of the unconsciouli are 80 strollg in him- literary creation being, with
him, 80 close 10 pbYlIicaJ effort- the cllrrenl3 of pa n ion are so strong. !IO drawn
out , so slow and paiuful, that all his psychic being resides there with hili physical
bt:in!:." Gustave Kalw , preface to Chu rle8 Baudelaire. " Motl Coeur nau a rlU " el
" fusee," (Paris. 19(9), JI. 5. [J31,5J
" if Poe had been a real influence on him , we would find Borne trace of tltis in
Iluudeluire '8 way of imngining ... scenes of actitln . In fa ct . the greater his immer-
liion in the work of the Americall writer_ the more he avoids fantasies of action ... ,
HiMprojected work ~. his lilies for novelli .. . all had to do with various ... psychic
crises. 01 one liuggelll3 an ad venture of any kind ." Custuve Kahn. preface to
Cllades Blluddaire, "Man Coeur mis iI flit " et " F".s ee," (Pa ris . 1909). pp . 12- 13.
1137,6\
Kuhn discerns ill Bauddain' u " refulla l tn takt· the opporlu nity offered hy the
liflltlre of the lyric pretut. " Gus-Ia" e Kahil , prefu('e 10 Ch . B .. "MOil Coeur mu Ii
"II' '' !!I ""'usees" (Pal'ili, 1909). 11. 15. [J37,7J
or Ihe "" eurs J" Ifwl ilJulltraled by Ihulill for Paul Gallill1l1rd. Maudair writes:
" YUII fed thul Ihillin hUil 1IIIIIdlt:.1 thl} hook, taken il up IIIItI 1'111 it dowlI a lmllJred
tillle" . thut he hall n!all i.t wlii]", oul 011 walks, a nd at the end of a 10llg evening has
 s uddenly reope ned it unde r the lamplight and. haunted by a vene. picked up rue
pe n . Qlle call ldl wileri'. he ,.Qulled. what p age he c reased [!]. how ull ilpa ring he
lI1us l have Iu.."tln of the volume; for he had nol been give n SOllie d e luxe cop y ll00tliog
i. to he protected from d amage. It wa ll very much , li S he himlleU liked to de8cribe it ,
lhil' pocket Baudelaire: ' Charle$ Baudelaire, Ving l-Sept PoemeJ tie. f"le urs du
nwl. iflll~m?J par Rodin (Paris. 1918), p. 7 (preface by Camille Mauclair).
1J37• •IJ
The penultima~ paragraph in "Chacun sa chimb-e" ~ To Every Man His Chi·
mera) is distinctly reminiscent of Blanqui: "And ~ procession passed by me and
disappeared in the haze at the horizon, just where the roWlded surfatt of the
planc=t prevents the human gaze from CoUowing." Cb. 8" OeuureJ, vol. 1, p. 412.11'
1J37 ••2J
On the painter Jules Noel: "He is doubtlel8 one of those who impose a daily
111II0UIII of progreu upon thcmse!ve8." " Saloo de 1846," Oeuvres, vol. 2 , p . 126. 1:-'
1J37 ••3J
In th ~ comment on Lei fleurs du mal that Sa inte-Be uve sendl to Baudelaire in a
leUe r of (Jum) 20, 1857, he Suds thill to 8ay ahout the s tyleofthe book : " a e uriow
poetic gift a od an almost preciotu lack of conlltraint in ex:pre8llion ." Immediately
foUowing: " with yo ur pearling of the de tail, with your Petrarchum of the ho rri-
ble." Cited in Etienne Charava y, A. de Yl6nyet Charle, Baudelaire. candidau
L'Acmiemie/nul(;aiJe (Pa m, 1879), p . 134. iJ37a.4]
" It scemll 10 me that in ma ny thin p you do oot take yo urllelf serioUlly e noupa."
Vign y to Baudelaire o n J a nuary 27, 1862, a propOli of Ba udeiaire'll candid acy for
the Academi('. Cited in Etie nne Chara vay, A. de Visny et Charlu Baudelaire,
CfHulidatl ii l'Ac fJdemie /raR(;aue ( Paris, 1879), pp . 100-101. [J37a,5]
Jules Mouquet, in cthe introduction to>his edition of Chcarles) Bcaud~), Vm
retrouui5: Manoil (Paris, (929), looks into the relation between Baudelaire and the
poems published by cG.) Le Vavasseur, E. Prarond, and A Argonne in Vm
(Paris, 1843). There tum out to be a number of filiations. Apart from aaual
contributions by Baudelaire that appear in the second section under the name of
Prarond, there att important correspondences, in particular that of "Le lU:ve
d'un curieux"llO to "Le Revet' by Argonne (pseudonym of Auguste Down).
JJ37 •• 6J
Among the twe nt y-three l'oemJl of Lei fleurl du mat kntlwn 10 ha ve been composed
by tlu: li umlllcr of l843 : " Allfgu rie ," " J e n'ai pas o ub(jf," " La ServN nte au gr a nd
cocur," "Le Crc pullcu le d u matin .·' [J38, 1]
" UuuJditire feels a c:ert Nin r~e rve a boul showing his wo rk lu the puhlic : he IJOJ)-
lis lwfI hill poc mil umler lI ul:ccssive pseuclunymlJ: Praro nd , Prival tl'AlIglelllo nt •
picrre de Fayill. 'La Fanfarlo' a pJ.K:ars ... on J alluary I. 1847, 8igned by Charle8
Dulays." Ch . B., VerI r etroulle•. I;!d . JIIICH Mou(luet ( Paris, 192 9 ), p. 47. [J38.2]
Till' following s.mllet from the botl y or w(lrk hy Praro" .1 is attriLuted by Mo uque!
to Bauddaire:
8 0rn in 1.I,e blUlllo a nam eleujade.
Thf. chiltl grew IIp ~peaking IIrgul:
By the agl' of len. he h. d gr. tllI. ted from the llewe ... ;
Grown. he would 8ell hill i~ t er-i. a jllck-of-a U.trade,;.
iii. b.ck hu ti,e curve or an old fl ying buttreM:
rle u n !mirr oUlthe wII)' to every cheall borcl t.llo:
lUll look i. II m.b:ture or . rrosanc,. a nd cunning;
lie's the one to .en t: III W41chdoS for riole ....
Wu-coillaillring keep. hit thin solei in place;
On hi. uncovered pallct a dirty wellch la ughll
To think of lu:r Im. band deeei\'ed b)' IInchu te Pari,.
PleLda n oralor ur the MIOf'.kroonl .
l:Je talkHpolitic. willi II,e corner grocer.
Here i. whllf . c.lled an en/rllll de PnrU .
Charles Baudelaire, Ver5 re,rOll ve. , ed. Jules Mou<fue t ( Paris, 1929). pp. 103-
1().1.
a 1J38.3J
Freund contends " that the lIIus icalit y of the poem does nflt p resen t itself a.!! a
specific . . . technical quality but is rather the a uthentic etho8 of the poet .. , .
Mus icality is the fo rm ta hn by l'art p o ur Cart in poetry." Caj e tan Freund , Ocr
Vers BfJudelairel (Munich , 1927), p . 46. [J38,4]
On the puhlication of poems under t he LitJe Le, Limbe, CLimho) in Le Meuagerde
/'Aue".blie, April 9, 185 1; "A Hmall booklet e nLided La Preue de 1848 contains
the foUowin~: 'Toda y we see annou ncell in I. 'Echo de. marchu"cU de vi" a collec-
tion of poems caUed Le. Limbe" These are without doubt socialis t p OCOlS a nd .
conseque ntl y, had pocru ij. Yel a nolhe r feUow haa become a disciple or Proudhon
through eithe r too milch o r too lilde igno ra n.:e. , .. A. de III Findiere a nd George8
Dcscaux , C/IIJrle5 IJaude/oire (lleries Cll ti tlt.·tI Eunu de biblio8raphie con tempo-
rfline, vol. l)(Paris, 18(8), p . 12. [J38,5]
Modemity-anticlassica1 and classical. Anticlassica1: as antithesis to the classical
period. Classical : as heroic fulfillment of the epoch that pUts its stamp on its
expression. [J38a. l ]
There is evidently a cOIUlection between Baudelaire's unfavorable reception in
!klgiUffi, his ~putation as a police spy there, and the Ictter to & Figaro conccrn.
mg the banquet for Victor HugO.Hil [J38a.2J
Note dIe rigor and dcgance of the title Cun'(Jjitis tJthitiqutJ. 111 [J38il,3J
The t~:lll:h i li gS of Fuur ier : "All huugh . ill nature, therc arc ccrtain plollts whicll a.r e
nlo rc Or leu IlOl y, l:crlai,1 , .. animal.l! more or 11:85 5acred : Ilnd althuugh ... we
nlay rightly cuncllille that cer tain nations ... Ila ve been prepared ... by Provi_
,Il'nec (or a deh:r miued goa l ... - ncvcrt heless alii wish tu do here i8 aSSert thcir
etluu ilitiLil y in the eyes of Him who iM ul1lldin ahle." e h . D., Oeuvre" vol. 2 , p . 143
("Exposition Uni vcrselle. 1855" ). "11 U38il.41
" One of those tUJ rruw-minlied nl{)(iertl flrofeuor, of aesthetics (lUI they are called
by Heinrich Heine), . ' . who!H! stiffened finger., paralY1;oo by the pen , can no
longer r UIi with agility over the immellse keyboa rd of correl pondence.!" Ch_ B. •
Oe/Ulrc • . voJ. 2, p . H 5 (" Expusition Uni ver sclle. 1855"). 181 U38a.S]
" In lhe luallifold I'rCKlu ctiulll of art, there is sonlething always new which will
forever I!Bcape Ihe rules alld a nalYlieH of the scimol! " eh. B .. Oeu vre" vol. 2,
1). 146 (" Exposition Uw ve rsclle , 1 855-') . 1 ~ Analogy to faswCln . [J38a,6]
To the norion of progress in the history of art, Baudelaire opposes a monadologi-
cal conception. "'lransfcrrt:d into the sphere of the imagination ... , the idea of
progress looms up with gigantic absurdity.... In the poetic and artistic order,
inventors rarely have predecessors. Evuy flowering is spontaneous, individual.
Was Signorelli really the begetter of Michelangelo? Did Perugino contain
Raphael? The artist depends on himself alone. He can promise nodting to future
centuries except his own works ." Ch. B., CHuureJ, vol. 2, p. 149 {"Exposition
Universelle, 1855").11I6 [J38a.7]
Toward a crili11lle of Ihe ('oncept of I'rogress in gene ral : " f'or this is how disciples
of the philosopher .. of steam a nti sulfur matches llnderSland it : progren a ppears
to them only in the fo nn of a n iudefi ni te ser ies. Where ill tbat gJlarantet:l?" Ch . B.,
Oeu vres . vol. 2, p . 149 ("Eqmsition Unh 'erseUe, 185S"}."11' [J38a,8]·
" The IItor y is told of Balzac . .. tha i one d ay he found himself in front of a _ . •
melalll'huly wi nter 8cene . hea \'y with hoa rfrost and thinl y IIJri nkled with co ll a~es
and wrel" hed -Iooking peasa nlJl ; alltl thll t, after gazing at II little houst: from which
a thin wir;p of smoke was rising, he crit....1. ' How beautiful it is! Bul wbllt a re they
dning in th at t:Oltllgc? Wha t ar e their Ihou(th ts? What a re their @orrows? 1:las it
been II guod h ar\'es t '~ No doub, ,hey h(l ve bills 10 po)'?' Laugh if you will .III M . de
Bilizac. I llo IIlIt kllllW the nume of t.l1o: I'll iuter willJ!Ie honor it was to @el the great
novelist'oj, lSoul a-llui" er with anxiety lind conjcc·turc ; hili I think thai in thiA ",'ay
.,. he has giveu llli all f'.:(ccUenl.lelIIiClIl in ('riticiSIII . Yo u will uft el! find me app raiJ-
ing a pi c ltJ rl~ I'x d tl ~ iv dy fo r Ihe ~ UIII uf ideu ur of dr~ 'n l1l s tillil it s uggests 10 rlly
lIIiml. ·' Cli . It . Oeu vres. vol. 2. JI . 147 (" Ex pusiliull Universclle, 1855").1/111
[]39. I]
Copclusion oftb e "Salon de 1845": " T ile painter. the true paillier for whom we pre
looking, will be he who c:.pn sna tch it.1 I:pio q ualit y from the life of tod ay and can
OIake III see und lI.udf'rslund . ",·jl h br ill!" or wit h Ik'-ncil, ilOw great ami ,lUetic we
UI'e in our cravu U and our IJall'lll-leuther booili. Next year let us hllpe that tilt' Ir ue
Mocken 11111)' grant UIS the extraordillury delight of celebrnting tilt: advent of the
flew !"' Ch . B .. Oeu vres. " 0 1. 2. pp . 54-55. llw (J39.2J
" tb for the ga rL . the ou ter hll.ilk . uf tlle modern hero .. . , bas uol this much-
Illu ligned garb its own lIati ve bea uty allli charm? fa it not the necessary gadl of our
sl1fft'ring age, whjch .... ears the sym.hoi llf Jlt:rpetu al mourni ng even 0 11 ilJl thin black
~ h oll lll {,r!i? Notice how Ihe black l uit aud the frock coat pon en not only tlleir
politkll l beuuty. which is lUi expres.iliuu of universul equ ality, h ut II IISO tJlCir poelic
heauty. whieh ill an exprenioll of the public 80ul- an endless pro~:elili i oll of bir ed
mou r Uf' r8, political mourners, amo rous mourners . hourgeois mourners. We ar e
nU of U II celebru ting some funeral. I A unifllr m Li" ery or mourning hear s witness to
e(IU aIiI Y.... Don ' t these puckered I;reasel , playing like serpents a round the mor-
tified fl esh , have their own myster ioll8 grace? I ... For the herocs or the Iliad
can not compare with YOII . 0 Va ut rin . 0 Rastigoac, 0 Birottt a u- Ilor with yo u . 0
Funt al1 l1 res, ""110 d ared nul publicly recount yo ur sorrowlS weari ng tllI~ fun ~real
alld rWllJlled frO('..k coa t of tod ay: nor with yo u, 0 Honore. ..Ie Balzac. you the mOMt
heroic . the mOit a nl llzin~. the most r Olllantic a nd the mOfit I)oetic of all the charae-
lers th at you h ave ,Irawll from your fertile bosom!" Ch . B., Oeuvres. vol. 2.
111'. 134 . 136 (","Saloll dc 1846: De J'HerOlsme ~ Ie la vie moderne").'''11 The Just
senlence c(md udc.l! the &celion. !J39,3]
"For when I hear men like Raphael and Veronese being lauded to the skies, with
tbe manifest intOltion of diminishing the merit of those who came after them, ...
I ask myself if a merit which is al ltQ.Jt the equal of theirs (I will even admit for a
moment, and out of pure compliance, that it may be inferior) is not infinitely
more 1nmtarioUJ~ since it has triumphantly evolved in an atmosphere and a
territory which an: hostile to it." Ch. 8., OeuvrtS, vol. 2. p. 239 ("Salon de
1859").'91 Lukacs says that to make a decent table today, a man needs all the
genius once required of Michelangelo to complete the dome of St. Peter's.
[]39,.11
~audclaire's attirude toward progress was not always the same. Certain declara-
tiOns in the "Salon de 1846" contraSt clearly "".jth remarks made later. hl that
cssay we fmd , am ong other things : "TIlere are as many kinds of beauty as there
are ho:abitua1 ways of seek.ing happiness. 11Us is clearly o:plained by the philoso-
phy of progress . . .. Romanticism will not consist in a perfect execution, but ill a
conception analogous to the ethical disposition or the age" (p. 66). In the same
text: "Dclacroix is the latest expression of progress in art" (p. 85). C h . B.,
O~u tJrtJ> \101. 2. llI'J [j39a,2J
The importance of meory for artistic CWltion was not something about which
Baudelaire was cll."ar, initially. In me "Salon de 1845," discussing the painttt
Haussoullier, h e asks: "Is M . Haussoullicr perhaps one o f those who know too
much about their art? l113t is a truly dangerous scourge:' Ch. B .. Oeuuw, vol. 2,
p.23.'oO [J39a,3J
A critique of lhe idea of progress, such as m ay b ecome necessary in connection
with a presentatio n of Baudelaire, must take great care to differentiate itself from
the latter's own critique of progress. This applies still mOTe unconditionally to
Baudelaire's critique of the nineteenth century and to that entailed by his b iogra-
phy. It is a mark of the warped and crassly ignorant portrait of Baudelaire drawn
by Peter Klassen that the poet should appear against the background of a cenrury
painted in the colors of Gcilenna. The o nly thing in this century really worthy of
praise, in the author's view, is a certain clerical practice-namely, that moment
"when, in token of the reestablished kingdom of the grace o f God, the H oly of
H olies was canied through the streets of Paris in an entourage of shining anna-
ments. This will have been an experience decisive, because fundamental, for his
en~ existence." So begins this presentation of the poet framed in the d epraved
categories of the: George circle. Peter Klassen, Baudelaire ('M:imar d 93 b ), p. 9.
[j39" OJ
Gauloism'e in Baud elaire: "To organize a grand conspiracy for the extennination
of the J ewish race. I TheJ ews who arc librario.lu and bear witness to the &dnnp-
lion." eh. 8., OeUl/W, vol. 2, p. 666 ("Man Coeur mis a ouj.19-I CClinc: bas
continued along these lines. (Cheerful assassins!) (J40,1)
" More mililary lIIe1aph oT6: 'The poetl of co,nbat .' ' The vanguard of literature.'
TIlliJ weaknclI.8 for mmla ry metal)hoT6 is II sign of lIalurell that are nOlthemselv.,.
mililani, bUI a.re made for J iscipline-that is to say, for eonfonnilY. Natures
collgerulaUy dome8tic. Belgilill nlllurt:5 thai can think unly in unison. " Ch. B, .
Oeuvre. , vol. 2 . p. 654 ('"'Mon C~ ur mis a nu" ).I ~ [J40,2]
" If II poel delll/lluled from the stale the right to keep a few hourgeoill in his stahle,
l)Cople wllulll he very lIuF1lrised ; whereas if II bourgeois demanded a roas t poet,
~op l e would find this 'Illile ualural.""' Ch . 8 ., Oeuvre., VIII. 2, p . 63S
('"' FusCt-il").'''' [J40,3 j
"This book ill uolmade for my wi" e~, my daughlers. or my "islt:r 8.-1 han: little to
do with dtlch things:' Ch. 8 ., Oellvres. vol. 2, p. 635 ( " f"u~cc~ · ').' ~7 [J'~ O,4J
Baudelaire's esrrangement from the age: "TeU me in whal salon, in what taverDt
in what social or intim ate gathering you have heard II single witty remark uttered
by a spoiled child (compa.n: p. 217 : "The artist is today .. . but a Jpoik d child, a
profmmd remark, to ma ke o ne ponder or dream ... ? If such a TCmark has been
Lhrown OUL il may ind eed have bcen not by a politician or a philosopher, bu t by
someone of an outlandish profession, like a bunter, a sailor; or a taXidennist. But
by an artist . . . , never." eh. 8., OeuvreJ, vol. 2, p. 2 17 ("Sa1on de 1859"). This is
a sort of evocation of the "amazing travelers."'" [J40.S]
G(Juloi.serie in Haudelaire: " I.n illl lll O~ t widely accepted sense, the wor d ' Fr~nch -
111/11" menu.!! I1twdevilliste • ... Everything that towerli or "Iullges. abov6 or below
him . Cll tl ~e!l him pl"Ulit'.lIt.1y 10 lake. tl.1 lUll heel8. The lIuhlime always affects hun like
II ri ul. and hc tJPCIIS Ius Moliere oul y ill fear alld Irembling-a nd beca use omeolle
11118 persuaded hUll Ihat Moliere is an amusing author:' Ch . B .• Oeuvre•• "01. 2.
p. III f'S alon tie 1846: De M. Horace Vernet").'''' (J40,6]
Baudelaire k nows , ill t.I,e "Salun de. 1846.'- '"Ihe fata l law of propensities." Ch . B.,
Oeuvre!, vol. 2, p. 114 .~ (j40,7]
Re the litle Le. Limbes (Limlll)), compare the paBiage frOIll the "Salon tie 1846" 00
Delacrou: 's paUl ling Women of Algiers: " This little poem of an interior ... &eems
somehow to exhale the heady Icent or a house of ill repule, which quickl y enough
gtudl's our thoughls toward Ih efathomleu Iimho of slldneu," Ch . B., Oeuvre••
vul. 2, p. 85.:!O1 (j40,8]
AJlropos a dClliclion of SaUlson by Decamps, in the "Salon de 1845": "Samllon ,
that ancient co u ~ iu of Hercules and Baron von MilnchhauK Il." Cli . B., Oeuvre"
vol. 2. 11. 24 .~ (J40a. l)
"T hus. France was diverted from ils natural coune, Il! Baudelaire hal shown , 10
bet:ome II vchidi> of the desJlirituawalioll- the ' heslialization'--of folk and
st.ate." Pder K.1P Ut:II . Balldelaire (Weimar ( 193 1» , p. 33. [J40a,2]
C1osin~ line of La Ugende dea liecle •• part 3, section 38 ("Un Homn,e aw: yew:
pro(oud!l pusait" ): "0 scholar tlf ah yual things alone! " Victor Hugo. Oeuvre,
completes , Poe,ie, vol. 9 (Paris, 1883), p. 229. [J40a,3)
"The houlder with the pensive profile." Victor Hugo , Oeuvres completes, Poesie ,
vol. 9 (P-"ris, 1H83) , p. 19 J (Le Groupe des ;llylle$. no . 12 , " Dante"). [J40a,4)
Crou('lwll! ou Ihf" l ummit. the !;rim tphin."" Nalure drtam8.
I'ctrif)'io! ",·it.h ilf ahY'i-gaze:
The mllgllij ulied 10 wondrl)u ~ flil!ht~.
Tht: 81utlio us grO llp ur I,a le Zoro88tria lJl .
Sun-lluc rs a nd ijc a nller iO of the Sian.
TIl!' ,Io u.!,..:!. Ilw astuun,\c,l.
T Ill' nighl ~,·ol ... etI in riot ·roun.llln.· 6l,hinx .
If ",.~ "uulJ on~f' lifl up ib rnollstNHl5 P"''''·.
SO fllMin a ling to th.. mim i of )"uteryur
U~<:w' un ju~ t a8 mtlch IIllI n"',·,,1 1.I '·no'e. ).
 Undernelllh Ihlll dllrk lind flllill claw
We'd find I1li~ one word , Love.
" Mall d er.eivt'i himself! B e lee. how da.rk all is for him ." Victor Hugo. La Legende
j des sieelel . part 3 (""'Unr, bres"), in Oeuvres complete., Poelie. \·01. 9 ( Paril ,
1.. 1883). I'p . 164--165. Ending of Ihe pocm. [J40a,5]
Emling or "Lu nuit! La nwt! La lIuit!" (N~ht ! Night! Nighl!):
o se pulchen! I hear the fearlul organ of the sh. dow,
Fonned from 1111 th e erie. ofmmher nllture
And the crash of rocky reefl;
Dealh plllYI the clllvier re30unding through th e hrancha.
And the key •• now blllck . now white. lire 1111
Your tomhl tonf!tl and your biers.
Victor Hugo, La Ugende d el sikcles, part 3 ("Tenebrel"), in Oeuvres completel,
poe.ie, vol. 9 ( Paris, 1883), p . 161. {j40a,6]
In La Ugen<k de; siiclrs (The Legend of the Ages), part 3, poems like: "Lea
C hutes: Fle:uves ct poetes" <The Falls: Rivers and R:>c.t5) and " Desint~ressement"
(D isintereste:dness ..-thc one: devoted to the torrents of the Rhine, the: other to
Mont Blanc-provide an especially vigorous idea of the perception of narure in
the nineteenth century, In these poems we find the allegorical mode of vision
uniqudy interfused with the spirit of the vignette. [J40a,7]
From Theodore de Danville. Me. Souvenirs (PariJl. 1882), e b . 7 ("Charles Baude-
laire"') . Their first m~ ting' " Niplt had CQmc----luminous 80ft enchantretUl. We had
IcJt the Luxembourg aDd were walking along tbe out!':r boulevardJl, through 8treete
whOle movement Mnd mYllte rioulI tumult the poet of Le. Fleurs du mal bad alway.
.0 ullenti vely cherished . Privat 11 'Angiemont walked a little apart from UII, in
silence" (p. 77). [J41 .11
From Theodore de Banville, Mel SOllvenirJ (Pa ris , 1882): " I no longer recaU
which Mrican count ry it was in which be wall put up by a family to wbom hit
pa.rentJl had sent him. At an y rate . he quickly became bored with theeonventional
mllnners of hia hostl, aud took of( by himself for a mountain to live with a taU
young womlln of color who undentuod no French . and who cooked him s trangely
s piced rago uts in a burnis hed copper cauldron, a round which Jlome n aked little
hluck childrell were dllncing and howling. Oli . hut those rago utll! How well he
~:U lljurelJ them up. ilml how 0111: would have 1(I\'ed to try them! " (p . 79). [J4t.2)
" 1.11 hill lodgings al the Hiitel Pimothm, when I wenl tll t re for the fi rs t time to visit
him, there were no dictionarics, no N!Jla rate stud y- not evcn " trJble with wriling
mul.eri{lu ; nor Wll8 there a sideboard or II separate dillinlS room . ur anything else
resembliug the d &:or of u bourgeois apartment. " Theodore de UM.nville, {lies Sou,.
IJfmirs ( Par is, 1882), pp . 8 1-82. [J4 1,3J
On Joseph d e MaiJltre: "To the pretenJlion8 aud the insolence or metaphysic!. he
responded with the his torical." J . Bar bey d ' Aurevilly. )()Jeph (Ie lUuu l re, Riaflc
de. Saint-BonrJel , L{I(:ordaire, Gralry. C/lro ( Par ill. 19 10).11. 9. [J4 1,4J
"Somt', like Ba udelaire, ... ideDt.iI'u:d the: ,lemon. JltMj!geral but reoriented them-
selves, and ollce more honored God. 11 would nunctlieleSi be uujullt to ex~ 1 from
these preCUrSOrii D s urrender of the huruan facli hiCIJ ftI co'"plete as that rt:4uireti,
fur examplt·. i.n the IIOrt of mys terious dawn it lI~ms we have begun til live ut
p re~e nt ." StanisllUi Fumet , No Ire Bfludelaire [ ae ri+':/I cntitled Le Roseau tJ'or. vol.
8] (pa ris, 1926). )1 . iii. 1141 ,5]
" This great I'Ut'-til: success thus re presents-if we add to tbe8e 1,500 copiel the
prilil-run or I ,O()O , plus the overruns fronl the first edition-a /lum total of 2, 790
copies maximum in circulation . Wha t other poet of our day, except Victor Hugo ,
could boa,t of IIl1cb a demand for hill work?" A. (Ie la Fineliere and Georges
Descaux , Charlet Baudelaire [ len til el1titled En a u de bibliogrflph ie contempo-
raine, vol. 11 (Paris, 1868). Note on the second edition of Le, FleurJ du mal.
1J41 ,.)
POl'.: "Cyrano de Bergeral: become a pupil orthe ostrunomer Arago" -) ollrnal del
Conco urt , Jul y 16, 1856.::U'_"Ir Ed gar Poe dethroned WIIJt~: r Scott and Mcrimee,
i£ realis m and hohenUanism triumphed all down the line, if certain poenl! about
which I hllve nothing to say (for fnirness bids me he silent ) were taken seriously b y
... honelt and weD-intentioned men , then this would no longer be decadence but
an orgy." Pontmarlin , Le Spec w.teur. September 19, 1857: cited in Leon Lemon-
mer, EcJ&a r Poeet Ja crifUJueJrOnt;aue de 1845 ii 1875 ( Paris. 1928), pp . 187,2 14.
[J4t., IJ
On aUegory: " Limp armJl , like weapons dropped h y olle who flees.'$1 1J4h.2)
Swinburne appropriates for himself the thesis that art has nothing to do with
morality. 1J41a.3]
"us Fleur. du mil l M.re II ca the~lr a l. " ErneSI Ra)'naud , Ch . Bcwdela ire (Pari.,
1922), p. 305 (citing Go nzagutl tie Reyuold, CharleJ Baudelaire). [J4 1a,4]
" Oauddaire frels amltormellts himself ill producing the least word . ... For hinl ,
art ' i8 a duel ill which the artist shrieks wilh Wrror ill'forc heing ovcrCOIIU'. "'M
Eruest Ru ynauti , Ch. U(ludelairc ( Puris. 1922). 1'1" 3 17-318. [J4la,5]
Raynaud recognizes the incompatibility of Baudelaire and Gautier. H e devotes a
lo ng chapter to this (pp. 310-345). 1J4 t:o.,6]
olBaudclairc submitted [0 the ~uiremelilS of ... buccaneer editors who ex-
ploited the vanity of socialites, amatc;u rs, and novices, and accepted manuscripts
only if one took o u t a subscription ." Ernesl Raynaud, Ch.. &u(u/aire (Paris,
1922), p . 3 19. BaudeL'lire's own conduct is th e complement of this state o f affairs.
He would o ffer th e same manuscript lO several different j o urnaJs and authorize
reprints withoUl acknowledging them as such. [J4 1a.7]
B u u~lel u in: 's essay of 1859 0 11 Ca utier; "Cautier ... could not have m.iainterpl'i!ted
the pit.'CI'. This is lllUlle dea r by the fact tJlIlt , in writing tht: p refal:e to the 1863
edition o( Le, Fle"r, du m(ll. he ""iltily N!paid Baudelaire (or his ellsay." Emen
Ra yna lld . Ch . Baudelaire (Paris, 1922). II . 323. [J41 a,8]
" III other n!lI l}t~d8, what witnl~8 mOIl tellingly 10 lhe eviJ sl)CU of those timet; is
t.he sto'1' o( Balzac, ... who ... aU his life fairly cudgeled hill brain s 10 mas ter .
style, ""ilhou! ever attaining One , . .. (Note: ] The discordancy o( tJlOse times is
Ilndcrllcored by Ihe (al'l Ihat the pr isons of La Roquette and Maus were built with
the same gunu with w ll il~ h Libert y Tree~ ....ere planted everywhere. Bon aparwl1
propllganuda ...·ae harshly suppressed. but the ashes uf Na po leon were brou~t
home .. , . T he center of Paris was cleared and its streets wt:re opened up , but the
city wal! ' lrangled wilh a belt o( forlificatio ns. " Erne!!1 Raynaud , Ch. HfJlldela ire
(Pari!!, 1922). pp. 287- 288. [j4 1a,9]
Aft cr referring 10 the marriage of uncient Olympus with the wood spritea and
rairies of Banvilll': " Fnr his IJa rt . liule wishing to join the evel'-sweJling prooession
of imitalorMon the higll road o( Romanticism, Charles Baudelaire looked about
hinl for a patJl to originality.. . Where to cast hit lot? Creat wal lUI indeci·
siu n .... Then he noticed thut Christ , J ehovah, Mary, Mur y Magdalene. the an·
gl·liI. and ' tlll.:ir I'h ahlDxes' all occupied a place in this poetry. bUllbat Sata n nevef'
aplH!arOO ill it. An error in logic : he re80lvoo to cor rect Ihis .... Victor Hugo had
made la diable rie a fanta stic 8{'tting for 80rne aucient legcmls. Baudelaire, in con·
trasl , aCllloUy iucarCf' ra tt'(llIIotierll mall- the mall o( the nineteenth cenIUf'y-m
the prison or heU." A1ei.le Dusolier. Naif Ce ns de kllre, (Pari9. 1864). pp. 105-106
("M. Cha rles Bautld aire" ).
(]42.1)
"H e certainly would have made an excellent reporter for the witchcraft trials."
A1cide Dusolier, No; Gnu (u leUreJ (Paris. 1864), p . 109 (I'M , Ch, B.") . Baudelaire
must h ave enjoyed reading that. [J42 .2]
Wllh Dusolier, considerable insigh t into details, but total absence of any perspec'
tive 011 tJle w ho le : "Obscene m ysticism , or, if you prefer, m y.stical obscenity-
h ere , I have said and I repeat, is the double character of UJ Flt:11rJ du mal." A1cide
Dusolicr, No; Gms de leltreJ (Pari,s. 1864), p , 112 . [J,$2 ,3]
.. w~ ....uuld ro'SI' I' VI) Iiolhing. 1101 even !lrai.se. I 1I1t1:;;t then to the J1rt:81~ m:e. in
M. Uauddaire'" pudic galll·ry. uf certain t/,bleau.x /m ri.sie llJl (I wo ulll Ila ve lire-
ferr!',1 efUlX-jor. e. (elehings) a~ a mure accurate aml -mur!! cha racteristic tt' rm)
p088eossing grea t vigor and fllarvelou ll prt.'Cioiion ." Alcide DU801icr. NOiJ Gen, de
IeureiJ ( Purie. 1864), 1111. 112- 1I 3 (" l\ter yolI·'). [J42AJ
There is a reference in Dusolicr, a propos of " Femmes damnecs," to La &ljgi~us~
~'fhl! Nuro-but Diderot is not mentioned. [J42 ,5J
A further judgment from Dusolicr (p. 114); "BUI can one say, 'H ere is a poet'?
~. if a rhetor were an orator."The legend about the relation between verse and
prose in Baudelaire goes back to Dusolier. Shock! {j42,6]
Closing wurf l ~; '"'If I bad to ~ um up in a phrase what Baudelaire is by nature and
whllt ht' woultllike to penuade us lhat he is . I would uy without any hesitation : he
ill a hys terical Boileau . J May 6, 1863 ." Aldde DU801il'r, Naif Gen$ de leUreiJ
(Pari~. 1864), p . 11 9. {j42.7]
Bau dclaire's horoscope. prepared for Raynaud by Paul F1amban: "The psycho-
logical enigma o f Baudelaire is seen almost entirely i.n this alliance of two things
ordinarily the leaSI suitcd to being linked together: a wonderfully flu ent poetic
gift and a crushing pessimism." Ernest Raynaud, Cn . BtlUdt:iaire (Paris, 1922),
p. 54. The Baudclairean psychological antinomy in its tritest fonnulation,
(]42 .8)
" Is Ih.i ~ 10 say th at we 111I1 SI IIccellsa ril y assimila te Baulldaire to Dante , a8 1\1. de
Reynold. fo Uu ....ing the lead o( I::rnest Rayna ud , has dOlle? U it is a qUelltioo o(
IJtM!tic genius, surely admiratioll ... can go 0 0 (urlber. l( it is a queslion or pbi1o--
sopltical tendency, I .... ould n1llrel y remark tha t Dante ... , ....eU in advaoce o( b.i.a
time.. intrOOUC1!8 into his work idcae tJlat ur e alread y tluite modern , as Lameonais
hail nicely demoostr ated , .... hereas Buudelaire ..• gives rull exp res8ioll to the Ipirit
or the Middle~es aDd is, accordingly, behind the timet. T hus, utile truth bt: told ,
far from continuing Dante. he dif(en (rom him altogether ." Paul Souday. "Con·
:r.ague de R er nold '~ C harlet UallClelaire" (L.e, 1empl, April 21, L9'2 1, "w
Livres'·). (J42a.l]
" N(lw ellitions of Lell ,"'/.eurs du mal huve. brtn announced or are starting to ap·
pe ur. Up 10 II OW th r rc hU\'e ht:eu only 1....0 UII the market, one. ror six frall C!. the
uth"r fur th ro..... rrallC! fifty. And now one at t.....!nt y Sou8." Paul Sou day, "I.e. Cill'
Ilualltcnairc de Baud <,laire" (Le 1'emplf. JUlie 4 , 19 L7).:100, [J42a.2]
A'·"IlI·lliu!; 10 SOlldlly- in II n :vil'w nr Usut\d llirr '" It'l tel" (I.e l em/JIS . August 17.
1 9 ! 7}-Ullu~l e l uil'e earned u tnlill of L5,UOtl frUIIl!Nill tw,·nl y· fi ve yea rs. [J42a,3]
" '1'11/' .'01' stlll"\ly slups . ...·jl b their air of idlelle@8 nnd lluSllllgill. ,.~...,-; (]42.,4)
Thes i ~ of Puw De8jarJius: ··Ulludc!llir., i8 luc killg in ve rvl~t.h a t ill to >lily. IH' hili
Ill'illeas hut ulily sclIslitioIUI. " £>Ilul Oe.8jll rl lills. " C h a rl c~ Uaudt"laire.:' R ev ul!
bJeue (paris. 1K87). p . 22. [J42a,5]
" Baudelaire d ves IInl give us a lifelike representatiOIl or objecla; htl ia more 1':0 0 -
ccrllcd 10) IIh -eJl the image in memory thall 10 e mbelliij h or porlruy it." Paul DCN-
jardillll, ;'Charl...s Duullduire..'· Rev lU! bk/U~ (Purill . 1887). p . 23 . [j42a,6]
Souday tries to d ismiss the C hristian vellcities of Baudelaire \-\lith a reference to
Pascal [j42a,7)
Kafka says: dependency keeps you young. [J42',8]
"'Thill sen alion is the n renewed ad infinitum Ihrough aSlonis hment .... AU of .
l udden , Baudelaire drawl back from ""ha t ill most fam.iliar to him anti eyes it in
horror.... He dra Wl bucl.lrom hinuelj; he look. upon himself all somelhin5Quite
lIe w ali(I prodigioul ly interellting, although 11 little unclea n : ' Lord give me IIlren8th
and courage to behold I My botly a nd my heart ""illJOut diilgust!" ''* Paul D~
jarllins, " Charles Baudelaire ,~ Revue blelte (I'aris , 1887) . p . 18. [J42a.9)
Baudelaire's fatalism : "At the time of the coup d 'etat in December, he felt a sense:
of outrage. ''Nhat a disgrace!' he cried at first ; then he came to see things 'from a
providential perspective' and resigned himself like a monk." Desjardins, "Charlea
Baudelaire," Revue Melle (ISS7), p. 19. (J42a, IO)
Baudelaire-according to D esjardins- unites the selUibiliry of the Marquis de
Sade with the d octrines ofJansenius. [J43.l]
"True. civi.1i:t.atioll ... hal nothing 16 110 with ... taLI ~-turning' '2II'J_a n allusion to
Uugo . [J43,2)
" Que diras-Iu ce 80ir ... " ( Whal Will You Say Tunight ... ) invoked uthe poem
of It " lUau ill whum a decided a ptit ude for the most arduous s peculations did not
exclUile a I~:try Ihut wu s 8ulid. warm, colorful , essentially o ripnal a nd humaoe .~
Chllrles Barbara, L 'Au flS! in«t du Pom- Rouge (Pa ris, 1859). p . 79 (the soonet,
lIP· B2--83). [J43,3]
Ba rres: " In him tile s implest w\)rd be trays tileefforl by ~' hi c b be attained so wAh
a lel·d ." Ciled ill Cidc. " Buudduire et M. Faguet ." Nou Vf'.lle R eV ile fran r,aiM.
(November I. 1910). 1" 5 13.: 10 [J43,4j
"A IJilrase of Brlltietic rc'lI is e ven more til our )lurpuse : ' ... Hi' lac ks ani mation
tllld imagin a tion .' .. . Agreell tbill lIe laeks unimutillll a lltl imagina tion ... . The
(Iliell tillll urise R(llillee-. nfte r a U, we 114.1 have Le!l Fleurs rill "wl) w h cth(~r it ill indeed
e~senli u ll y tile imaginuliun which makes till! puet ; II r. 8iIlC(' MM. Fagllel lind
Brlt llelie re l'el'lIIilll y a re in favor of giving IIII' lIam~ IIf ptlel r y lu a kiml of versified
uruIO I·Y. ~' Iwtllt'r WI' wtl ullillol II" ~'e11 til hail Baudd a in~ lIiI AOllwthing other at ud
mill',· thun a " oct : till' fi ncl urtiSI in )XH'lry:' AU!I ~ Cicl" . " Outltldairtc el
M. FOb'uel ," IVo u u,.lle Re lll"~ franfillise, 2 (Nol'emht' r I. 191O). ltp. 5 13-5 14. C ide
quoleS, in cunllectiolt with t.his. 8ttudclaiu'8 rormula, "The imaginatio n , thai
qU et' 1i ~If the fll c wliea:' a mi CO li cetl C~ Ih ut the puel was UDaware IIhlle truelltale of
uffairs (I" 5 17).11 1 [J43,5]
"T he lI('ell»ng illu)lpropriutl~n ei!l of lerlllll, ~' hldl will irritate sOllie critics 110 mltf!h ,
I.hal ! killful illl lul~' isen eu of ""hich Rpcirre alreatd y mpde !lUGh mUled y lise , ...
Ihal air-s pact' . tlull inle r vlI l, hclWI!Crr imuge a nd idea , between tbe word and the
,1»llg. ii jusl whe re ,llere is room for Ihe pue.lic emOlion 10 come and dwell :'
./\ . Gide. I; Buuddairt' cl M . Fagl.le t." N OII Vf'.11e Re l'lIe frcHl~aise, 2 (November I.
1910). p. 5 l 2.m U <&3,6)
" Entluriug fa mt' is prullliscd only 10 those ""rile rs ""ho f!lln offer to s uccesiive
gl'nc ration!! u nourislllllt'.111 c<mnantJ y re newed ; fo r e ve ry generation arriveH on
the SCt!JlC wit h its own particula r hunger:' A . Gide, "Oaudelaire et M.. Faguel ,"
l\'oulH!:lle Revue fram;tli$e, 2 (Novemlter I , 1910) . p. 503. t 13 [J43,7J
fa guel clllllplains of the lack of movemenl in Buudelaire, und Gide, making refer-
ellct' to Bauddaire's " I hale aU move ment" and to the ite rative poemll, re marks:
"A8 if the greates t novelty of his a rt had lIot been to immobilize his poems, to
tlt' veio p them ill depth !" Cide, " Baudelaire el M. Faguet;' Nou velle Revu.e
f rufI(. aise, 2 (November I , 19 10), l'P. 507, 508. 211 {J43,8}
Of the line, "Limp amu ... ,n Proust says, in the prd'ace to (Paul Morand,>
1'nulm Stach (Paris, 192h, p. 15, that it sounds like something from Racine's
Bn·lannicw.2I' - The heraldic cllaracter of the image! 1143a, l)
Very a50lte judgment by Proust on Sainte-Beuve's behavior toward Baudelaire,
in the preface to TendreJ Slocks?I' [J43a,2)
Of those ';tUDt>8 ... grantillg a kind of yo ry tu tbe c rowd ,'" Proust rema rke «"A
Propo~ de Ba udelaire ." NOlulf!lle Revue fru ru;aise [J une 1. 1921],> p . 646): " It
wo uld !et!1n Unlwlisihle III hCUf'r tlUlt . '':1, 1143a,3)
" I Ila ve IlOll IluII time 10 ' Ileak Ile re of the part played in Baudelaire's wo rk by
uncient d til!s . or uf Ilw sf'a rlet IIl) l e the y Ht rike. here and ther e, ill the fabric of his
IIIJdry:' Mared l'rollSt . " A I>r opos de Uaulldaire ." Nou velle Revtlejrrm r,uue
(.Junt' l. 1921), p. 656 . m 11<&3a,4]
I' h nl$t Ihinks t hat 1.111' c'JIIeiuding lines or Imth <Racine's) AndrumfH:llt~ a lld
diuu,lelnire's ) ';u. Voyajtl'" rail fl a t. Ht' ill offe nded by the extrCIIlI' ~ implicil Y of
tll•.1S(' "n tlin p. ~I~ 1J433,5]
" ,\ "aliilul is 11 0 1 ~' llfIll y IIcf!c.su ry III 1I111n ." Sena nl'1l11r, Ohermunn , ed. FaS(IUI·)Je
(Pa ris( I90I », I'. 24.8.fflI [J43a.6)
 " I-Ie was the firsl ... to show Llle woman ill her lw.Jroom . ill the midllillol only of
hel" jewel.!; and IIC"lImell. hili of her mu.kcup, h,',. lille" .. , b ...... Ire u eli. Irying to
d N:.id.: if ~ h e prefcn D ,cllllo/Jetl/Il~ 1II Qr (I ,slrfliShl hem . I-Ie compares her ... to
i. animal_ to the elCIJllo"" the monkey. and Lhe ,,"n/;e:' John C harpentier, '; L.a
Poesic brilalillique ct Oauilelaire," Mercure- de FrtUice. ),n (/llay 1, 19'21), p . 6 73.
[]43.,7]
On allegory: "'His grcalclI! glory, '.HOle Thoollhile Gautier [ill the "rcfaee to the
1863 edition of Le, Fleurs du mull , ' will be 10 have introduced into till: realm of
stylistic possibilities whole clu"e~ of object;;, sensutions. fi nd effCt11io leIt IInnamed
hy Adam . the g«-al lIo me ncia tor.· He name, ... the hOlleS aud rtlgre lli. the curiosi-
ties aud fears , thai seethe ill the darkness of th!!; innl!r worltl ... J ohn CLarpentier,
" La Poisie britannique c i Bamlda ire," Mercure de "·roTlC€, 147 ~I a)" l , 1921)1
p . 67<1. [J43a,8}
" L'luvilation au voyage,'" lransllllt.."ll inlo Ru ~ ian !ly MI:n':Ilhkuvski, became a
gypliy romance enlilled " HoluLka mo·ia ." [J43.,9]
III Cl!lmcl;tioll with " L' lrn! mcl)jublt:: ' Cripet (LeI "'lellr~ rlu "'(II , ed. Jacquell
Crepel [Paris, 19311 . ,•. 449) cites Ihe foll owiug pU8suge from Les Soirees de Saint~
I'etersbourg: "Thai ri"cr which ont! crosses bUI once; thai pitcher of the
Danaidcs, (llwaYI (ull anll alwuY5 empl y; thallh'er ofTitYU8, ollClllYs regenerated
under Ihe bea k of the vulture thai ulwu),s devoul'il it anew • ... - thelle are 80 many
speaking hierogl YJlM, a boul wltich il ill impossible 10 IJe mistaken . ~ I [J43a,10]
u 'Her 10 Caloune, dir« tor of u! Revue conte"'llOrnine , a ll February II, 1859:
" The dUlice of death is nOI a J.lcr~on bUI an allegory. It lIeem... to me that it IIhould
1101 be ca pitalized. All eXlremely well-kuown nllegory." Les Fbwrs d'l mal, ed.
Crepel ( Paris . 1931 ), 1" 459.U:! U.s. 4,1J
Hegarding " L ' Amour du lIIen ~o llge" d ..o"e of Det!t!in . From a letter 10 A1pboDI!e de
Calonne: "'The word 'royal' willliclp the reader undl'rslllntilhe nlela phor. which
tralll!COr"lDti memor y into II crown of loweril , like those Ihol wcigh down the broWM
of lhe gotltle;;;;t!!i of nwtllri,y, ofJerti/i.I)", of wi$d om ." "'/eurs till mul, aI. J aC(lue&
Cr epet (parill, 1931), p. 4-M .m (j44,2)
PlulIllcd cycle of pot! mll "Oucirocritic" <Drellnl Intl"rprl·talillll): " Symptoms of
ruin . Vasl Pdusgi.: IJUildill g~. tine 011 lOp of Ihe ulher. Aportll1l'lItli. rooms, 1I!lnples ,
glllleries, stairwa ys. eUI-':U, hcl vc.ler(·s. lanlerns. fountain s. slatuell.-Fissurefl
Il nd cracks. Dampllt'88 re8uiti.ng fronl a re~el,\, t>ir situ llteJ neur l1u' sky. -How to
wurn peo"le and nolion!? Let nil whill pf'r warllin g~ into ,h., t:a rs of I.he mOsl inlelli-
g('.ll . I Higl. up. a column cr llcks allil itil iwo {'nds "hift. N"thing has eoll:lpsed all
yel. I ell n no longer find till' ",'uy out. I go .10wII , thclI clim L La.· k up. A lower. -
Luhyrinth . I n.... "r "uI'I:tt.It:.! ill ICMviJlg. I live fnrcver in II huilding un the poipt of
coUlipsilig. a LUil,ling IIndf"·milll.'iJ I,y a I!Cl)rcl malo'd y.-I n.-.;koll up in my mind.
to Ollluse myself, whether such Il prodigious ma811 of alOUell. marhle hlockll. Slal-
uC!. alld wall. , whi.. l. are all aboul 1.0 collide with ontl another. will he greatly
~ u.ll.icd by thai lUuhjtude of brains, human fl csh . 111111 .d13t1cretl boncli.-1 iiee s uch
lerrible Ihings in my tlreams thai sometime.! I wish I euuJil sleep no mort:. if onl y I
could be ",un: of nOI becoming too weary. ~ Nad ur , Cllarle$ Baudeluire inlime
(Paris. 19U). !lp. 136--137 [<Baulldaire, Oeflvre,.) ed . Le DUII I ~, " 01. 2,
I" 6C)()V~ · [J44,3]
Prousl U II " Le 8a II)01l": " MuIl Y of the lines ill Rau tldaire'jl ' Lt- BalcolI' convey a
similar impression of mys tery" (p. 644). This in eonll'UBt to Hugu : " Victor Hugo
ulwaYM does wonderfull y whal he has 10 do. , . . Bul the filliric:lting--even wlum il
iii It fabrica ting of the impalpable-iii a lwaya visiblc," Marcel Prou ~ t , " A Propoa
de IJuudduino," Nouve lle Revlle Jrum;aue. 16 ( Parill , 1921 ). PI" 643-644.ID
IJ",4]
On the ilerative poems: " The world of Baudelaire ia a strange sectioning of time in
which oll1y tbe red -Ietter day8 can appear. Tltis explainlliluch frequ enl expl"Cl8ioua
il8 'If SOllie e"coing,' aDd ao 011." M. PrOU1!I, " A PropOli d e Baudelaire," N Ollvelle
RevlleJrtlnf,aue. 16 (Julie I , 1921), p. 65V~h [J44,5)
Meryon'a Idler of March 31 , 1860, I(,l Nadar: be lille" Dol wish 10 be photogra phed
by him . [J44,6}
"As 10 Baudelaire'll ' "age prope.rties'-... they mighl provide a u.sefullell8on for
those degant lafliCl or the pasl twent y years, who . . . wuuld do weU to consider,
when they cuntemplole the alleged purily of Ityle which the)" have achieved with
s uch infiltile troulJh: . th tll a man may be the greatest and m08t artistic of wrilers,
yet tlescrihe nothing bUI beds with ' adju ~ taL It: curtains' (' Piecell condanwee8'),
hallil like cooscrvaloriee ('Vile Martyre '), bc:da fil lell with s ub tle scents, SOfll1 deep
u tombs, whalnots loadt'd with Rowerll, lamps burning 110 briefly (,Piec(''11 condam-
nCes' ) tbat the only ligbt comell from the coal f,re. Ba udelaire's world is a 1)lace to
which , at rare momenlS, a lH!rfumed breeze rrom I.he ouler air bringl n:freshment
anti a SC'II !1t' of Illl1giC •••• thanks to those porticoell ... 'ol)en onto ullknown skies'
(' J...a Morl '), Qr ' which the s uns of the Ii1"U tinged wilh a thousand 6re8' (' La Vie
anti:rit:urt" ):' M . ['roust , " A PrOP08 (1(' Baudelai re ." NOIHoelle Revuefrun(.uise.
16 (JuIII' I , 19"21). p. 652 .1:~ 1J4h..I J
Olltlw ·' Pii:cl·s ,:ollliannu!cs": " T hey lake Iheir " Iuetl ollce mort' alnOIl& till' gralld -
l'~ t I'H(' m $ ill II ... hOllk. like tllO~e cl·y~ la l · cll: ar WU"I'~ 1.11111 h ClIvc majestically after
a night of 6101'111 . II ml , I,y illl c rpu~ i Jl g tlleir c l"I:~1iI 1"c'lwel~ 1I Ihe sl)Cclalor lIud the
illllllelll>l' S Wt' I' P "f the UI!CaJl , gi"c a 6t' n ~I' "f i Jlal'c a llli di ~ lall c(' 10 tllt~ ,'iew,"
I' r ou,;t . ' ·A Prup05 de Blludclai,·c,'· NOIllld/e UmlUcJru ll f,uise. 16 (JUII<' I , 1(2 1).
P· 1)55. mI U"' 4a ·2J
" Ho w did he Clime 1.01 he !ttl inleret>letl in lesbianll , .. "! " ' 110'11 VigJlY. ragi n ~ againsl
WOllU:.II, Ihougllt 10 flllt! Ihe explanation of the mys tery of Iht!ir scx in Iht: fa cl Ihul
 women give s uck ... . in their psychology ('Alwa ys lite companion wl l o~e heart is
'"
M
untrue'), it ill easy 10 see wby, in bill frustrated ami j ealou!! p 8ii1ion . he could write :
'Woman will have Comurnah . and Ma n will ha ve StHlom.· But lie dOell. lit least . lee
tlu~ two 8eJU:~ 11.1 011118, fa cing each o the r 88 enemie&a cross II great gulI.... But thill
did nul hold true of Baudelaire ... . Tlus 'colloeclioo ' between Sodum aud Go-
mornh i.s what , in the flll a l se<;hOIl of Illy novd, ... I ha ve shown in the person of
11 brutish crealure, Cha rles Morel (it il ullually to "rumh creatures that this pllrt
is lI11olted). But it would seem that Bilutielaire CIIsl himself for it. and looked 00 the
role as It privilege. 11 wouJd be intensely interesting 10 know why he chose to
IIossume it, and how well be actluiltet! himself. Wha t i.e comprehensible in a Charles
Morel becomes profoundly mysterious in the author of U~ Fleur, dl.l mot. .. Marcel
Proust , "'A Propos de Baudelaire:' No uve.Ue R evuefram;l.I~e, 16 (June I , 1921),
1li>.655-656.%:'I [J44a,3]
Louis Menard- who , under thc pseudonym Loujs de Scnncville. had published
Promellilre deli vre <Prometheus Uubound>-in l...a Revue philosophique el re·
ligieusc of September 1857 (cited in Les Fleurs d" mal. ed . Crel)Ct [Paris, 19301.
pp. 362-363): "Though he talks incessantly of the vemtin and scorpioos in his I Oul
and takes himself for the avatar of all vices, it is easy to lee thllt his principal
def~ t is an overly Libertine imagination-a defet:t all too common among thole
erudite l)crIIODJi who ha ve passed their yo uth in scclullion . , .. Let him enter into
the community of buman life, and he will be aLle to find a characteristically ele--
vated form for vibrant , wholesome creations. He will he a paterfamilias and will
publish hooks of the snrt that could be read to hi, child ren. Until then, he will
remain a schoolboy of 1828, lIuffering from what Geoffroy Saint· Hilaire ealli ar·
rested development ." [J4S,I]
From the l ummlltion delivered hy M. Pinard : "'I portray evil with ill intoxica-
tiOIlS, yo u say, but aillo with its miserics and shames. So In: it . But what of aU those
many reader!J for whom you write (for yo u puhlish thousands (Jf copieil of your
book. and at a low price) those numerous readers o( every clan, age, and condi· -
tiOIl? Will they ta ke the alltidote of which yo u speak with such eOflll>lacency?"
Cited in l..es Fleurs du mal. ed . Cr ellet (Paris. 1930). p. 334. (J45,2]
An article by Louis Goudall in U Figaro of November 4, 1855. opens the way for
oiticislll5 of "university pedants." Goudall wriles, afu:r the publication of ~
in La Rrou~ tW deux mondeJ: "After the fading ofhis surprise celebrity, Baudelaire
will be associated exclusively with the withered fruits of contemporary poetry."
Cited in UJ FlturJ du mal, ed. Crepet (Paris, 1930), p. 306. {j45,3]
In 1850 , An cliueall Ita .... Baudcluire wit.h II copy (Jf the I>ocms in ~crihed ily a c:allif!;·
rlll'her and bound ill tW l> gilde~J ~Iullrto vtllulllc8. [J45.4]
Crepel (Fleurs du lI1 a l , etl. Crt':I}ct , I). 300) ~ay~ that , around 1K46, lIIallY of
Baudelaire.'8 frielicis knew his PfJelll ~ hy heart. O nly three of the I)ot'ms had been
pullli,8hed at thllt poiut. U4S .5]
May L852: "'A'' ' Lim~s <.Limbo): intimate poems of Ceorge8 Durllnt , eolle<:ted and
I'uhlishf'd by his friend Th . veron:' [J45,6]
AUIIQUncillS l..es Lim/JfUI ill tilt' , ,-'Comt iU Ili' of L 'Echo de. mllrchcmds de vin : "us
/,imoo5: )I111'lllii hy Charles Uatuldaire. Tbe book will be published on February
24. UWI . ill I"' rill and Leipzig. " {J45,7]
1.A'I'untc lie Lisle in La R evue europeenne of December I , 1861. Among other
Ihillgi! . he speaks of " that strange mania ft)r dressing up the discoveries or mod-
l.rll industry in had verse." He refers 10 Baudelairc's oeuvre as "stamped with the
vigt)rll us seal or long meditation." The Inferno Illays a hig part in his review. Cited
ul/.,es Flellr. cllI nlal, ed. Crellet , pp. 385, 386. {J45a, l]
S winhllrll~l'~ artide in TIl e Speclutor of September 6, 1862. The author was
Iy,cnty· flve. yea" old atthc time. [J45a.2]
Paris, for Gonzague de Reynold. as "antechamber to the Baudclairean He.U."
Tum to tllL~ second chapter, "La VIsion de Paris," in part 2 (entitled "L'Art el
l'ocuvre" ) ofhis book CharltJ &udelnirt (Paris and Geneva, 1920), and you find
nothing but a longwindcd, subaltern paraphrase of certain poems. [J45a,3]
\'illon and Uaultelaire: " hI the one, we find the mystical and macab re Christianity
of a ll ugtl ill the proee8. of l o~in g its f«itll ; in dIe otber, the more or IciS sccularized
Christianity of un age seeking to recover its faith ." Goltzague de R eyooltl , Charles
Blilu/ewire (paris and Geneva , 1920), p. 220 . (J45a,4]
Reynold .Iraws a Bc.hematic parallel between tbe fifteenth anti the nineteenth cen-
turies as periods of decadence, in which an extreme realism prevails alongside an
extrenu: idealislll, together with unrest. pt:~9 imi 8 m , lIud egoislll . [J45a,5]
Imitlltio ChriJlt i, hook I , )larlilgraph 20 , "De amore 80lituclinus el 8ilentif': " Quid
IloO le1l alihi villere , quod hie nun vides? Ecce; caelum et terra et omnia elementa :
1I:lIn l'X i8lil onmia sunt facta ..,~JO [J45a,6]
MaLiarmc, in tht: IIpening picct: uf DivIIS"'iOfI..!, ' ·Formerly. in the IJIlirgilili of a
or
U' l rUEL\lK~:" : ··T his turrellt tr.ars iJlumiliated b y tbe bengllilight of the artificer
Sli lalt. ~' hu ro meR from he.himl." tephane MaUarme, Divugations (Paris, 11:197).
/1 . ftO . [J45a.7J
U"':" mLel' 'I. liN 7: " After New Year's Day, I alll starting H new kind of writing, . ..
Ih t· No n ·1. It is nol nece~"lIry rur me tv point out to yu u till! gravit y. the bcu ut y, and
th t· iufluih' IlUu ibilitics uf that a rt ." Ch(ll rlc ) 8 (atuiclllire), ulIrd it sa mere
~ I'll ds . 1932) . p . 2". :~ 1 {j45a.8]
IJt '·t:mJ.... r 8 , l8JlH : " Anuther reason I would he hlllJI>Y ir YUII were ahle hI comply
with my rl!(luest is that I very much fear II revolu tionary uprilling, a nd nOlhing ie
more deplorahle lhan to be utterl y without mOlley lit I Uf'h a time:' Ch. B., i..eure,
a .m me re (PUM!! , 1932). i" 33 .tn [J45a.9]
" From th r ~nd of the Second E mpire .Iowl] to (our own Ilay. the evolution in
philo@ol,hy a nd the blooming of u..
Fleur! du mul have been concomitant. Thit
explains the peculia r destin y of a work whose fundllmc nllli I,arh . though still
en yelopell il.1 shadow, are becoming clearer with every passing day. " Alfred Capus,
I.e Gouloi.J. 1921 (cited in Le.J He,m du mol, ed . Crepet [Purls. 193 1] , p . SO).
11",11
On March 27 , 1852. he mentions to his mother some "'ieldy articles , hastily writ-
le n. " <Charles Baudelaire,) Leures ii so mere(Paris, 1932), p . 39.2» [J46,2]
March 27 , 1852: '1'0 begel childre n islhe onl y thiug whic h gives moraJ intelligence
10 the fem ale. As for young women without status I1n.1 without childr en , Ihey show
nothing Lui ('Otluelry. implacahililY, and elegant debauc he ry." Lettres merea '0
(Paris, 1932),1'. 43. 111 [J46,3]
In a leiter 10 his mol her. 8autldaire refers to the relltLing room . in Ildwtion to the
cafe, as a refu ge in which to work . [J46,4]
Dccr:mber 4 , 1854: "'Shouldl resign myself to goinS to bed and staying the re for
lack of c1oulell·t" Let.tre. a.Ju me re (Pnrls, 1932). 1" 74.u.> (On p. 101 , heas lu for
the loan of some handke rc hiefs.) [J46,5)
Dect'mher 20, 1855, afler loying with the idea of pctitioning for 11 subvention!
" Never will Illy name appear 011 filth y government paper." Leure. .JO mere, a Decemhe r 23 , 1865: " 1£ I can ever regain Ihe freshneu a nd e nergy I've sometimes
p . 83. ~ 1146,61
Problematic pllssage from a le tter of July 9 , 1857 , concerning Le. FIe.lr. (lu mol:
" Morco\'e r, IIlarmed myself by the honor I was going 10 inspire. I cui out a Ihird of
il at the proof &lage." Lef.tre, (j .JU mere, p. ] lO. :'1 ; [J46,7]
Sl,leeli de I'flrM apvears for a time, ill 1857 (see I). III , le tte r of Jul y 9. 1857), to
have Ilad Ihe title PoemC.J noctllrTI€' . [J46,8]
Planned eliHay (Leur€. (i . (' me re . p . l 39) Oil Mat·hiavelli a lld Condorce!. [J46.9]
May 6. 1861 : " 'And what ahout Cod!' you ",·W sa y. I wish with all mr heart (wilh
wha t s incl'ril y I alOIlt: can kllow) to belie ye thaI an exle rior invisihle )'dllg i.&
I'ollcerlled wilh my fat e. Bul wlla l call I do to make myself hdieve il ?" U Ure, U, (I
me re. p . 173 . t J;l 1J46, lO]
Ma y 6. 1861, " I um ft.rty )'eurs nlclulIIl1 CIUUI,,1 think uf sehoul wi ll.oul lIui u . any
1II<H·e 1111111 I eun thillk oflhe fear whidl my II tc)lfalh cr iJI8pired in m ~. ,. ullre.J ii.J(J.
mere. ,) . 176Y· . [J46a,l \
July 10, W61 , o n tile pla nned de lu xe edition : " Where is the mama who will gi ve
I.e. ,.'le ur, ,III //lui as a present 10 he r cI.illlren? And whert' is Ihe pal'a?" ktlre. ii
~(I mere, p . 186. 1146.,21
IUs i'ye!! siraincd wilh working in Ihe Lo uvre: " Two hloods hol goggJe-eyes. " Let-
(I ~ll mhe. 1'. 191 .
Irl's (j46a,3]
UII I.e' Mi.Jer(lble.f-Aogu ~ t 11. 1862 : '4'he book is disgus ling and clumsy. Ou this
!C' lr.·, .. ve s hown that I possess Ihe al'l of lying.'" Lettre, ii SCI me re, p . 212 . uo
[J46a,4]
June 3, 1863. He spea ks of Pari.s . " where I have been borcd rur month~, U ~ no oue
wa~ ilVl'r borell befor e." Let/reI! a.
$ U fIIP-re. I). 218. 2~ 1 1146.,51
Conclusion or "Grepuscule du soit" ; the muse herselr, who turns away from the
poet to whisper words or inspiration to dIe air. [J46a,5]
Hunt/claire plunned a "refutalion nf the prefa ce to the life of Caesar by Napo-
leon m." [J46a,7J
LI a lette r of /\tay 4. 1865, Baudelaire me ntions to hill mother an "immensely lou~"
article appearing in La Revue ge rmanique. Lettre. a ,u
me re, p . 260.:1.2 {j46a,8]
Mllrch 5, L866: " 1 like nuthing so llIuC'h as 11.1 he alone. Bul that is inlpuu ible; and
il 8e~ m 6 Ihul "i e Btlutleitlire $c/uJ(J1 exists ." Le'/re. a $11 mere, p. 301 .:4J [J46a.9]
enjoyed. I'll assuage my wra th in horrible books. I'd like to selthe entire human
race IIgain.!!1 me. That offers a pleasure thai could cons ole me for everything."
ultre, ,j , a me re, p . 278 . : ~ [J46a, lO]
" AI! a mall adv tIllC':s through life ... , whal the worM hU ll agreed to c ull ' heauty'
luses muc h of ils imllOrtalice. .. Henceforth bea ut)' wiJI be no more than the
Jlrom;.Je of IluJlpineu . ... Bea ul y lO·ilJ be. the form whic h promises the ruo" kind-
"" ilS , Ihe Inollt loyalt y 10 a n uath . I.h e mOSI hones ty ill fulfilling a pled,;e . Ihe mos t
sul.tlel y ill ului t'l'S hmding rdlltionsltips" (p . 424). And a little furth er o n , wil.h
ro::.ferc ncc lu "L' fo:cole pltlt".llne." to whirh these lines wrillen ill Mil allium cOlls titut e
U ,, (.It·! "111110' i'OHMI p08sihly Sll ccet!.1 in cllnvincing a yOtlllg ~ell ltcrhraill Ihal 110
o~ t1 S u a J d i'~ ire is fIIill gll~d willt tht" irr.!sistihlf' sympathy I fed fOI· old wome n- fur
tl""st" creat ures who hUl'e s uffered greutl y through Ihdr lu,·erll , their hus band.,
tJ.~ir ,·hiltlrl'lI . a nJ also through I.hdr own mis ta kes?" Ch . n.. Oell vres ct)mp~te$.
,·tl . Le Da nlei' . vol. 2. fJl> . 424_4 2S."lt.:> (147, IJ
" I'' ur SOf1l'~ lime . ... ill hUll sttlllc(l] to mt\ Ihat I am havi ng a Lutl dr"IIOl , th ul I a m
hurtling thro ugl. SJlU" C Ilud titul a multituJe of wootll·n. guld"II , alltl silve r illul~
lire fllUin g wilh IlIe , hunhling after me, humping inlo me , lIod breaking my IWltd
und bllck. " Ch. H" Ocuvrp.!I ctJmpletes . vj)1. 2 . pp. 421)..42 1 ("L' Ecj)le
"ulcnllc··) .~ Compa re the am::c\IOII' abo ut B:Hllleiairll und the Mexir.a n idol
<J 17a.2'1>, {J41,2]
Toward the end of the Second Empire, as the regime relaxes its pressure, the
theory of ['art pour l'art suffers a loss in prestigt:. {J47,31
From the argument of the Guys essay, it would appear that Baudelaire's fascina·
tion with this artist was COTUtected above all with his handling of backgrounds,
which differs little from the handling of backgrounds in the theater. But because
these pictures, unlike scenery on a stagt:, arc [Q be viewed from close up, the
magic of distance is canceled for the viewer v.ithout his having to renounce
the judgment of distance. In the essay on Guys. Bauddairc has characterized the
gaze which he.re and in olh« places he himself turns toward the distance. Baude-
laire dwells on the. expression of the oriental courtesan : "She. dirtas her gaze at
the horizon, like a beast of prey: the same wildness, the same indolent disuac·
M
cion, and also at times the same fixity of attention. Ch. B., OtuureJ, vol. 2,
p.359.lf7 {j41,4J
In his poem L' HeaUlUntiI1l0 rOllm eIlO~" <The Self.TormcnIQr), Baudelaire himself
s peaks of his shrill voice. 1141,5)
A decisive value is 10 be accorded Baudelaire's efforts to capture the gaze in
which the magic of dista nce is extinguished, (Compare "Li\mour du men·
songe.") Relevant here: my definition of the aura as the aura of distance opened
up with the look that awakens in an object perceived ."" [J41,6J
l11e gaze in which the magic of distance is extinguished : "Let your eyes plunge
intO the fixed stare I of saryresses or water splites" ("L'Avertisse.ur" <The Look·
out)V.~ [J 41 a.O
Among tbe !>ro~e poem6 pl anot.'() hUllefl unwritten is ·'La Fin du monde." Its blil6ic
thrmr is l>erhapii he~ t illdicilled in Ihe CoUowillg I'uu age from '·Fusee8," no. 22:
'"'I'he world is aboul 10 I:: OffiC 10 an end . T he only reason il iihould continue is that
it I:: x.isls. Whut II wt': uk arglllllent. compure,l wilb aU t he arptJllclltii 10 th e contrary.
ulI.1 es pedaUy the fuU llwing: · Whut. in future. is the worltltO do ill Ihe sight of
heuvNI'!' For, supposing it (·.-mtin ued to IUl ve Illuterial c,xi6tt;!IICC , wouJd this exiiit~
e ll ec be worthy of Ihe 11 11 111 1': , ur of the Enr.ydope,li u of Histol'Y¥ .. . For m y part , I
who S(lmctime.8 fed mysdf Collst ill Lhe ri.lic\1lotl~ rule or proplwt, I kllow that I ililKU
never n...t:eive so much a il a doc·tor's charity. Lost ill t.hiIJ hll sl' wllrld. jos ued lIy the
lIIob. l um like a wellry mlill willi !k.'t:" hellind him . ill Ihe rll·lllili uf the yean, only
d i~ illu ;jiUlllll ent ulld hillt·rlleS8, ami in frunt o f him o llly a tellll}est thai hringll
nothing new, ... I St:e ll\ 10 hU \' I' ...·ulld.·red ocr.... Ne\'eri licleu, I shall II'I tbelM"
jlUgl'H~ l a ll d-~'cu lI ~e I wi"h lu ~t:t un exact dUI" 10 my tUl!cr:· Cit. B. , Oellvre.I.
vol. 2, pp. 639, 64 1-642.:sG_l n the malll18er iJlt , tlll~ re is a variant ror Ihe la81
....or<l: ·'sadncss ."
1141a,2]
The ~iea: that begins •. "The wo rld is coming to an end" ("Fusees,'" no. 22),
contaIns, mt~"O\'en WIth the apocalyptic reverie, a frightfully bitter critique of
Second Empire society. (It reminds one here and there:, perhaps, of Nietzsche's
delineation of "the last man.") Ths critique. displays, in pan, prophetic features
Of the coming society, il is sa.i~ that "nothing in the sanguinary, blasphemous, 0;
unnatural d~ams of the utOpians can be compared to what will actuall ha
pen .. .. Rulers \vill be compelled, in order to maintain their position and c~ate~
semblance of .or~er, to resor:r to ~e~ods .that would appall present-day mankind,
hardened as It 15 . • . • Jusnce-if, m this fonunate epoch, any justice can still
e.xlst-will forbid the existence of citize.ns who are unable to make a fonu
Those times att perha~ ~uite d~e at hand. Who knows whether they : . ~~;
here already-whether It 15 not stmply the coarsening of our natures that k
. . ha «1"
us fro m nooang w t sort of atmosphere we mady breathe?" C h, 8., (kUlIrtJ,
vol. 2, pp. 640-64L~1
[J47a ,3J
"The gil)t of il all , in the eyes of hislory nnd of the Frcnch people. i!:! Ulal Na pn~
~eo \l 1I1 's grellt ciainllO rcnowll will have h~1I thai he showed h.) .... ullybody at all,
il only he gelS hold of LIlt" telegraph and the printing presses, can govern a poeot
Qaljo~ . ~~olle .whu I~eli:ves thai 8111:b things call be do ne without the people's
lH::rnusslOn II a ll ImhCt:tle. Ch . D.• Oeuvres , vol. 2, p. 6S5 ("Mon Coeur nUl ii. nu ..
11 0. 44) , - 1148, '1]
"A sense of solitude, l illce my child hooll. Despite my family, and ~pecially amid
c(lm paniou ~ scllse of a.n eternally lonely de~ tiny, " CII , B., Oeuvre$, vol, 2,
p. 645 ("'M(III C(H::ll r mis ii nu ·').~5.l [J48,2J
'::ruth , ror a U itMmultiplicity, is not two· fal!(."il."' Ch . B.• Oeuvre.!, vol. 2, 1>. 63
( Sa loll de UM6: Aux D ourgeoi~"), :.;.j [J48,3J
"'AUe, ,,, is one of ,1,-
~ 11 0 II
J est genre/i 0 f art ."' Ch . 8 ., Oeuvre$, vol. 2, p . 30
(··Sll l(ln lie I84S").U>
1J" ,41
'1'~l! ",:illlI1ust have lieconu: II hi&hl y deveJol>ed uII11 producth'e (acuit y til be IIhle
1,;~gJ v"- li s ~lttll\Jl . , . III work!:! . . , of Ihe lIt.'eUlIIll"tlllk .... The ~pedll l.,r elljoys lh~
~ 1Y~~·::)~I\'1 his eye drink~ ill U)e swell!.·' CI!. II .• Ofl/lI!re,. vol. 2 , (p. 26) ("Sld oll de
1J48.51
·"rtU.1 ill , f . •. . .
I. ca II progress . fillS dlm helll'ul), all Illvellt.ion of o'unlemp'J["IlI"Y philo!lo'
'; 11 " 111 . licl"lIsed ""il!aulli lhe sanct.i ull of Na lll rl! ur Cnll- thii lIl u J"rn IUIlIl':nl casU
\ urk silluluW6 over ever y obj""<!1 of knowlt'flge. L.il,,~rly va lu, ht:ll · J1l1nislmH':1l1 d ilf-
°1'I'H'orl! , ., eh" 8 . 0 "-lIvreJ . 1'(0 I. 2, 11 . 1'18 (··Exp'Jsitiuli U'liversclle.
' 1 8S5") .~
1J48.61
"Slupidity i~ of len the ornam enl of beauty. It is whal gives 10 the eyes I.hat gloomy
timpiJ.ilY flf hl llr:k.isli pool. 811(1 tllUt oily calm tlf tropical .ellll." CII. 0. , Oeuvre.,
vol. 2. p . 622 ("Choix d ll lllUXimC8 CUlI suI.mles sur I ' amour·').~~; 1148,7)
"'A lasl . general rule: in love. be wn", of the moon and the I IlIr,; h cwllre of the
VeliliS de Milu:' Clio D.• Oe'Hlrel. vol. 2, II . 624 ("Ch oU: ti l" mnxiW CM eonsoJantea
li llr l' amour").z.I& [j48,8)
Baudelaire was always after the gist. His epoch forbade him to fonnulatr: it in
such a way that its social bearing would ~come immediately intelligible. Where
he sought in fact to make it comprehensible-in the essays on Dupont., as in the
theon=:tical musings in a Christian vein-he instead lost sight of it. Nevertheless,
the formulation he attains at one point in this context-"How much can you get
for a lyre, at the pawnshop?"-gives apt expression to his insistence on an art
that can prove itself befon=: society. The sentence from Ch. B., OeuurtJ, vol. 2,
p. 422 ("1.:&ole pa'ienne"}.219 (J48,9)
With r egard to allegory: " What tlo you expect from heavell or from the Itllpitlily oC
the public.? Enough mOlle y to raise altars to Priapus and Bacchus in YOllr attica?
• , . I umlentamltlu: rage of ico uoclast s and o f Muslims against images. I admi t aU
tb e r emorse of Sllint Augustine fo r the too grea t p leasure of th e eyes." Ch. D"
Oeuvre. , vol. 2 , IIp. 422, 423 (" l ' Eeole pa"jenne'· ). ~ [148a, l)
It belongs to the physiognomic profile of Baudelaire that he fosters the gestures of
the poet at the expense of the professional insignia of the writer. In this, he is like
the prostiune who adtivates her physiognomy as se."'(ual object or as "beloved" in
order to conceal her professional dealings. []481,2)
If the poems of U J EpaueJ, in Proust's great image,261 are the foamy wave: cresu in
the ocean of Baudelairean poetry, then the poems of "Tableaux parisicns" are iu .
safe harbor. In particular, mese poems contain hardly any echo of the revolutio n·
ary storms that we~ bn=:aking over Paris. In this rupect they resemble the poc:~
of Heym, composed forty years later, in which the corresponding state of affam
has now risen to consciousness while the "Marseillaise" has been interred. The
last two tercets of the sonnet "Berlin Ill," which describes the sunset in Berlin in
winter. n=:ad as follows:
A paupers' graveyard upheaves black, stone after stone;
TIle dead look out on the rt'.d sunset
From their hole. II ta5tCl like strong wine.
TIley sit knitting aU along the wall.
Soot}' C.1 p 5 on their naked tC':mplcs,
To d lC old attack song, dlC ~ Marseillaise.n
Georg Heym . Dichtungnl (Muruch. 1922), p. 11 . 0",,3)
A decisive line for the comparison widl Blanqui: ""When earth becomes a trick-
ling dungcon n ("Spleen TV") . ~ [jol-BaA)
The idea of the immobilization of nanm: appears, perhaps as n=:fuge fo r the
prescient imagination immediatdy before the war, in poems by Georg Heym,
whose i.mages the spleen of Baudelaire could not yet ha~ lOuched : "But the seas
congeal. On the waves I The ships hang rotting, morose." Georg Heym. Die".
IU1/g~ (Munich. 1922). p. 73 (collection entitled Umbra, uibu). [J4SI,5)
It would ~ a big mistake to sec in the theoretical positions on an tak.en by
Baudelaire after 1852-positions which differ 50 markedly from those of the
period around 1848-the fruits of a devdopment. (lbere art not many artist!
whose work anests so little to a development as that of Bauddaire.) These
positions represent theoretical extKlllcs, o r which the dialectical mediation is
given by Baudelaire's whole oeuvre, without being entirely present to his con.
scious reflection. The mediation resides in the destructive and purificatory char-
acter of the work. 1ltis art is useful insofar as it destroys. Its destructive fury is
directed not least at the fetishistic conception of art. Thus it serves "pure" art, in
the sense of a purified art. 1149,IJ
TIle first poems of UJ FleurJ du mill ate all devoted to the figure of the poet. From
them it emerges. precisely insofar as the poet makes appeal to a station and a
task, that society 110 longer has such t.h.ings to confer. 1149.2]
An examination of those places where the "I" ap pears in the poems of Baudelaire
might result in a possible classificatory grouping. In the first 6ve: poems of UJ
FkurJ du mfll, it surfaces but a single time. And further on, it is not unusual to
find poems in which the "I" does no t occur. More essential-and, at the same
time, more deliberate-is the way in other poems. like "Reversibilite" or "Har·
monie du soir," it is kept in the background. 1149,3J
"'La Helle Durothee" -lIh e must huy bal:k h e r ele vl!D-year-oIJ sis ler. ~ jJ'9.<)
-- I a ssurt' yOIl thai the sccontls are n ow Il trongl y acce nted , and rush out oflbe clock
"rying, ., am Lifc , uubt:arlthlc tlllJ illlJllut:ab le W e!'" Ch. 8. . Oeuvres, vol. 1.
p. 4 11 ("ta Cluunl,rtl Jouble").a. 1149•5 ]
FrQm --Q UclII1l('8 'UOt8 Il"illlru,IIIClioll" 10 Ihe "Sa loll ti e HI4S"; " Antl a t th e very
Outset . .... ith n'(crc ne,' It) lliut imJlc.r·till t'lit ,1t~S igliutiulI , ' the bourg~oi s,' .... t: beg 10
~ t n t,· Ihat WI: in 110 way 1I11I1I'C the p,·cjll,liet!" tlf IIUI' gn!al eonfrcrt!!! ill th~ world of
ft'·I. ""liu for ~o m .. yenTII III'w hn ve J>etll I! tri,·illg Iheir utmOij t to caSI anath ellia upon
Ih;jl inoffe.nsive b"ing .... Ami , lill ully, I.h~ Tallk s tlf lire artiSIJI the.'lll!eJvt:s contain
60 IIHl ll y bUltI'gf'ois thnl il i.o; ht·lh:r . (I II tlie whul... Ito SUPIlTt:KS a word whic.h tJoes lIot
Iidillt' no y !lurti/'lIlar viet· of ,·aBle.'· Detll/rel, vol. 2. PI' . 15- 16 .%<0.:; The ",nm e len -
tlC' lO'Y iu tilt! Jlrt:fllcc ...Aux UOllrgf"oi ll." of the "Sulull d e J.S-J6:' U ol- 9.6)
The figure of the lesbian woman belongs among Baudd~ 's heroic exemplars.
[He himself gives expression to this in the language of his satanism. It would be
no less comprehensible in an unmetaphysica1 criticallanguage.J The nineteenth
century began openly and without reserve to include the woman in the process
of commodity production. The theoreticians were united in their opinion that
her specific femininity was thereby endangered ; masculine traits must necessarily
manifest themselves ill women after a while. Baudelaire affirms these traits. At
the same time, however, he seeks to free them from the domination of the
economy. Hence the purdy sexual accent which he comes to give this develop-
mental tendency in woman. The paradigm of the lesbian woman bespeaks the
ambivalent position of "modernity" vis-a-vis technological development. {What
he cou1d not forgive in George Sand, presumably, was her having profaned,
through her humanitarian convictions, this image whose traits she bore. Baude-
laire says that she was worse than Sade.)2<06 lJ49a,1}
The concept of exclusive rights was not so widely accepted in Baudelaire's day as
it is today. Baudelaire often republished his poems two or three times without
having anyone take offense. He ran into difficulties with this only toward the end
of his life, with the IHitJ Poemn m proS(. lJ49a,2]
From his seventeenth year, Baudelaire Jed the life of a <litterateur?>. One cannot
say that he ever thought of himself as an "intellectual" or engaged himself on
behalf of "the life of the mind." The registered trademark for artistic production
had not yet been invented. (In this situation, moreover, his imperious need to
distinguish himself and withdraw worked to his advantage.) He refused to go
along with the defamation of the bourgeois, under the banner of which there was
mobilized a solidarity of artists and men of letters that he considered suspect.
Thus, in the "Musee c1assique du Bazar Bonne-Nouvelle" <Classical Musewn of
the Good-News Bazaar) (Oeuum, vol. 2, p. 6 1), he writes: "The bourgeois, who
has few scientific notions, goes where the loud voice of the bourgeois artist
directs him.-If this voice were suppresscd, the grocer would carry E. Delacroix
around in triumph. The grocer is a great thing, a divine being whom it is neces-
sary to respect, homo bona( fJoiuntatis!"J(j/ In more detail a year earlier, in the
preface to the "Salon de 1845." [J49a,3}
Baudelaire's eccentric individuality was a mask under which he tried to con-
ceal-out of shame, you cou1d say-the supra-individual necessity ofrus way of
life and, to a certain extent, his life history. [J50,1]
To interrupt the course of the world-that was Baudelaire's deepest intention.
The intention ofJoshua. [Not so much the prophetic one: for he gave no thought
to any sort of refonn.] From this intention sprang his violen ce, his impatience,
and his anger: from it, tOO, sprang the ever-renewed attempts to cut the world to
the hean [or sing it to sleep]' In this intention he provided death with an accom-
paniment: his encouragement or its work. [J50,2]
."'propos of " Harmon i ~ du 8uir" a nd other ite rative poems: Balllieluire notes ill
Poe " repetitious of the s ame line or uf several li nt:s, illsis tent reihlra tiollS of
pllrases which simulate t he ohesssiol1S of melancholy or of a fix ell i,lea. I I "Notes
Ilo uvellcs slIr Edgar Poe," in NOIUlfl lw 5 lIistoirfl5 flxtroordinu ires (Paris <1886»,
V. 22.2611 LmmoLilizatioll ! {.J50,3)
" Lord give me streugl h anll cOurage to behold I my bOll y a nd my heart without
Jisgu st!" With this, jw: t apo~e: " T ile dandy shou1d aspire to be ~ lI hlim e, COlltin U-
ally. He should live and sleep in fro nt of II mirror." Oeuvre~, \ ·0J. 2. p. 643 ("Mon
Coeur nlis Ii 1111 ." nO. 5). T he lilies of verse are rrom "Un Voyage II. Cydu!re. "2M
US.,']
TIle close of "La Destruction" (published in 1855 under the title aLa Vblupte"!)
presents the inmge of petrified unrest. ("Was like a Medusa-shield, I image of
petrified unresr"-Gottfried Keller, "Verlorenes Recht, verlorcnes GlUck.")
US.,5]
On "Le Voyage," opening stanZa: the dream of distance belongs to childhood.
The traveler has seen the far distant, but has lost the belief in distance. U50,6)
Baudelaire-the melancholic. whose star pointed him into the distance. He didn't
follow it, though. Images of distance appear [in his poems] only as islands loom-
ing out of the sea of long ago, or the sea of Paris fog. These islands are seldom
lacking in the Negress. And her violated body is the figure in which the distance
lays itself at the feet of what Baudelaire found near: the Paris of the Second
Empire. [J50,7]
The eye growing dim at the moment of death is the Ur·phenomenon of expiring
appearance <Schn'm. USa,S}
';Les (lelites VieiUes" <The Little Old Wornell): " Their eyu ... glint li.ke holes
whne water sleeps at night. "2;0 U50.9]
Baudelairt's violent temper belongs together with his destructive animus. \-\e get
nearer the matter when we recognize here, too, in these bursts of anger, a
"strange sectioning of time.":;! U50a,l ]
Baudelaire, in his best passages, is occasionally coarse-never sonorous. His
mode of expression at these points deviates as little from his expelience as the
gestures of a perfect prelate deviate from his person. [J50a,2}
Although the general COntOurs were by then already lost to view, the concept of
allegory in the first third of the nineteenth ccnrury did not have the disconcerting
quality that attaches to it today. In his review of us Poisit:J de Joseph. Delonnt:, in
.u Globt: of April 11, l829, Charles Magnin brings together Victor Hugo and
Sainte-Bcuve with the words : "They both proceed ahn05l continually by figures,
allegories. symbols."' <Cited in Charles Augustin Sainle-Bcuve,) Vie, palsies d
prosits de ] rueplt Delorme (Paris, 1863), vol. I , p_295. U 50.. ,3]
A comparison betwa'!Il Baudelaire and Sainte-Beuve can unfo ld o nly within the
narrow confines of subject matter and poetic workmanship. For Sainte-BcU'\,~
was a gcnia1 and indeed cozy sort of author. Charles Magnin justly writes in u With Sainte-Scuve, a standard of sensibility : "Ever since our poets, ... instead of
Globe of April 11 , 1829: "His spirit might cloud over for a while, but no sooner
does it compose itself than a fund of nawra1 benevolence rises to the surface."
(ficre, it is not the benevolence but the surface that is decisive.) I<Without doubt,
this is the source of that sympathy and indulgence which he inspires in us."
(Cited im Vie, poisies d pt:nJles de J ruejJh De/ormt (Paris, 1863) , vol. 1. p. 294.
IJS·',· I
Miserable SOlUlet by Sainle-Scuve (I.es ConJolationJ [Paris, 1863J. pp. 262-263):
"I love Paris and its beautiful sunsets of autumn,'" with the dosing lines: "And I
depart, in my thoughts mingling I Paris with an Ithaca of beautifu1 sunsets."
(J50a,5]
Charleti Mllgnin in his review IIf Le~ Poesie. d e Joseph Delorme, ill Le Globe. April
11 , 1829: ';Douhtlcss Ihe alexandrine wilh a variaLle Cllesura I:alls £or a stricter
rhyme. - <Cited in) Vie . poesie, ef pert.!ee. de Joseph Delorme (Paris , 1863), vol. 1,
p. 298. U50a,6]
Conception of the poet, according toJ05eph Ddorme : "The idea of consorting
with dect beings who sing of their sorrows here below, the idea of groaning in
hannony to their lead, came to him like a smile amid his sufferings and lightened
them a little." Vre, potsit.J t.I pnuleJ tk Jru~h Dt.lormt (Paris, 1863), vol. 1, p. 16.
The book has an epigraph from Obtrmarmi this fact sets a limit to the influence
which Obmnanll couldhave exercised on Baudelaire. U51 ,1)
Sainte-Scuvt=, notes Charles Magnin, half approving and half d eploring, "de-
lights in a cenain crudity of expression, and abandons himself ... to a son of
linguistic shamelessness .. _ . The harshest word, however shocking. is almost
always the word he prefers." I.e GwlN, April 11, 1829, cited in Vie, poisitJ d
pt.nsit.J dt. J osrph Delorme (Paris, 1863). vol. 1, p. 296. Close on this (p. 297),
Magnin reproaches the poet for having presented the girl in the poem "Ma
Muse" as a consumptive: ..-~ would not mind if the poet showed us his muse
poor, grieving, or ill-clad. But consumptive! " The consu mptive Negress in
Baudelaire. ~ get some idea of Sainte-Beuve's umovations from lines like
"nearby, the opening of a ravine: I A girl washes thrudbarc: linen there day after
day" ("Ma Muse," in vol. 1, p _93), or, from a suicide fantasy, "Some local fellows,
I _.. I Mixingjeers with the ir stupid stories, I Will chat idly over my blackened
remains I Before: padcing them off to the graveyard in a wheelbarrow" ("Le
C rcux d e la valllc," in vol. I , p. 114). U51 ,2]
Sainte-BellYe's characterization of hiBown poetry: " . hllve endeavored ... to bt:
original in my fa Bhiun . which is humble Dud bourgoois , ... calling by their name
the Ihingl! o£ private life, but pn!£erring Ihe tbatchetl COllage 10 lhe boudoir." V'te.
,wesies el Pf!Iueet de. Joseph Delurme (Parill, 1863 ), VI)I. I . p . 170 ('"Pensees," no _
19). 1J5I ,31
saying 'a romantic grove,' a 'melancholy lake,' ... started saying 'a green grove'
and 'a blue lake,' alarm has been spre:ading amo ng the disciples of Madame de
Stacl and the Genevan school j and already complaints can be heard about the
invasion of a new materialism . . . . Above all, there is a dread of monotony, and it
seems far tOO easy and far tOO simple to say that the leaves are gtt=0l and the
waves blue. On this point, perhaps, the adversaries of the picturesque deceive
themselves. The leaves, in fact, are not always green; the waves not alwaY' blue.
Or rathee, we find in natutt ... neither green, nor blue, nor red, propaly speak·
ing; the natural colors of things are colors without names .... The pic.turesque is
not a box of paints that can be emptied." <Sainte-Scuve, Vie, poijUj t.t Jnruiej tk
]U<Ph Dd,,,", (Paris, 1863),> pp. 166-167 ("Pens/es; no. 16). (J5I ,' 1
"'fhe alexandrine . . . resembles somewhat a Ilair of IOIlg.'! , gleaming and golden, if
siraighl and rigid; it is not for rummaging ahout in nooks and cranwes .-Our
mod+>rn ver se is 10 a degree partitioned and articuwted in the marmer of in&eetll,
bul. like them . it haa wings." Vie , poel ies el pert.!eu de JOlcph Delorme (Parill.
1863) , vol. I , p . 161 (" Penseell ,"no , 9), [JSb,l ]
'fhe sixlh o£ JO/lcph Delorme'. pem~ee, Illll!embies a number o£ exarupla and
Ilrefigl.lratiolls o£ the modern alexandrine, £roni Rotrou , Chenier, Lamartine.
Hugo , anti Vigny. It notes thai they are 1111 infurllled Ly " the full , the larllle, the
copious." Typical ill Ihis verse by Rotrou: " I m y~e lf have ~ een them-{the Chrit-
tianll} looking so sercne-- I Dri.lling their hynUl$ to 'he "kiet in buJI3 of brorue."
(p. J ~'). US 1>,21
'1 'he poetry o£ Andre Chenit r . .. is. as il were . the landscape £or which La-
nlartine has dOlle tile sky. ,- Delorme. vol. I , pp . 159- 160 (" Pensees;' no. 8).
U5 Ia .3 ]
In the preface or February 1829, Sainte·Beuve provides the poetry of Joseph
Delorme with a more or less exact social index. H e lays weight on the fact that
Delorme comes from a good family, and even morc on his poverty and the
hUmiliatio ns to which it has exposed him. [JSl aAJ
What I propose is to show how Baudclaire lies embedded in the nineteenth
century. The imprim he has left behind there mUSI stand out dear and intact, like
that o f a stone which , having lain in the ground for decades. is one day rolled
from its place. [J5 la ,S]
The unique importance of Baudelaire resides in his being the £ina and the most
unflinching to have taken the measure of dle self-estranged human being. in the
double sense of acknowledging th.is being and fortifying it with annar against the
reified world.m U5Ia,6]
Nothing comes closer to the task of the ancient hero in Baudelaire's sense-and
in his cennuy-than to give a fonn to modernity. U5Ia)]
n
In the "Salon de 1846 (OnwreJ, vol. 2, p . 134), Baudelaire has described his
social class through the clothes they wear. From this description it emerges that
heroism is a quality of the on e who d escribes. and not at all a quality of his
subject. The "heroism of modern life n is a subterfuge or, if you prefer, a euphe-
mism. TIle idea of death, from which Baudelaire never broke loose, is the hollow
matrix readied for a knowledge that was not his. Baudelaire's concept of heroic
modernity, it would seem, was first of all this: a monstrous provocation. Ana10gy
with Daumier. U52.1]
Baudelaire's truest posrure is ultimately not that of Hercules at rest but that of the
mime who has taken off his makeup. 1b.is gutus is found again in the "ebbings"
of his prosodic construction-something that, for s~ra1 commentators, is the
most precious clement of his ars poe/ita. [J52,2]
January 15. 1866. on L.e Spleen tie PariJ: " Finally, 1 am bopeful tha t one ofthe&e
days I'll be abll! 10 shuw a new Jo~eph Delorme linking his rhapsodic meditation to
every chance event in hill Runerie." Ch<aril!s) B<au<i!!iai re), Lettre~ (Paris, 1915).
p.493.!'ll (J52,3]
JatlUary 15. '1866, to Sainte- Beuve: " In certain places in Joseph Delorme I lind a
few 100 many lutes, lyres , harps, and J ehovahs. This c1ashl!s with the Pariti.an
poems. Mor eover, yo u'd come with the aim of destroying all thaI. " Ch. B., LeUrel
(Pa ris, 19 15), p . 495. 2N {j52,4]
An image that Baudelaire summons to explain his theory of the short poem.
particularly the sonnet, in a letter to Amtand Fraisse of February 19, 1860, serves
better than any other description to suggest the way the sky looks in M eryon:
"H ave you ever noticed that a section of the sky seen through a vent or b etween
two chimneys or two rocks, or through an arcade. gives a more p rofound idea of
the infinite than a great panorama seen from a mountaintop?" Ch. B., uttre;
(Pari;, 19 15), pp. 238-239.m 1.152 ,5)
Ajl r o p o~
of Pilld li , in "Qudques ca ricuiliris h:~ etnmgcrs" : '" wish thai 8omeone
would in V'·11I it neologism. tllat 11111111:0 111: would mallufaclurt' a wunl {Icslilled 10
destroy one" a nd for IIU thill species of p tlllcif-the IJOncijill (;{lfldtiCI und beha vior.
wh ich creeps into the life of a rtists as into their w{lrks." Cit. R .• Oellvres. vol. 2.
iJ. 2 11. 117" (J52,6]
Baudelaire's usc of the concept "allegory" is not always entirely sure: "the . . .
allegory of the spider weaving her web between the ann and the line of a fisher-
man, whose inlp atience never causes him to stir." Ch. B .• O I!UIJUJ, vol. 2, p. 204
("'Qye.lques caric."lturistes errangers").717 (J52a, l]
t\ga illst lht" proposition " TIlt' gcnius ma kes his ....ay:' Ch. B., OeuvreJ, vol. 2.
p. 203 (" Qudque! Cli riI:ultu·istell etnlllgers·'). [J52a,2]
AIJUut Cavarni: " Like tlU men of letters-being a man of Il!tlers h imself-he is
slightly taint ed with .;orruption." Ch. B.. Ocltvre.s, vol. 2 , p. 199 ("Qucl1Iues cari-
cjj lUr istes fru'IC;ltis'·) . ~;K [J52a,3]
In "Qud{lu l!~ carica turisles fran'tai s," on a clt·awing by Oll uDlier dealing with
dloler ll: " True 11.1 its ironic custom in times of great caianlil Y a nd jJolitical up-
heaval, till! sky of Paris is superb; it is quite white and inca ndescent wilb heat . .. •
The squlI.re is dl!serted and like lin oven- more desolate, even. than a populous
s'lullre after a r iot ." Cit. B. , Oeu vres , vol. 2, p . 193.2" [J52a,41
I.n Le Globe of March 15. 1830. Ouvergier de Ha uranne writell of !.eli Co n.1ola~
t io~: " h is 110 1 at all ce.l·taullhallhe Posillipu h as not inspired M. Sainte-Beuveas
much as his Boulevard d ' Enfer" «cited in Sainte-Bellve, l.es Consoultiuns (Paris,
1863.1,) p. 114) . [J52a,5]
Critique of JU5eph Delorme and Les COIIsoullions hy Farcy, a July insurgent who
feU U. battle !lhortly after composing thelle lines: " Libertinism is poetic when it is a
tra nsport of impassioncd principle ill li S, when it is audacious philo~o phy, bllt Dot
whell it is merdy a furtive aherTlltiun. a shameful cOlifeSlliuJl . This stale Qf mind
... iJi acrordll ... v';th the poet. who should always go along unaffe('t..d . with head
held high. and who requires ('nthllsiasnl . or tile bitler deiJths of passiun ." From
tile manullcript published by C. A. Sainte-Relive in !.e, Coruolationll: P~ n,ee.
c/ 'I/Oj'it (Pa ris, (863) . 1'. 125 . [J52a,6}
Frum the rritillue of Sailltr- Bell vc hy Farc)': " If the t rllwll is intolerable til him ,
tilt' vaSlut'lIs of Spat;e o ppres~es him evell 0101"(:, II situ ation thaI is I ~ss poetic. Re
hilS lIot shl)wlI th e pr ide or the range 1& take command of all this nallLre, 10 1i8tt'n
to it, IIlld c l·~ t ll lld it. allli n·mlcr its gra ntl s pcc.:tacles." ; ' I-I ~ was r ight ," comments
Sa illte- BNIW' (p. 126). C. A. Saillte-Oeu vc. !.es CQ" sola(ion.~: Pe ll.1ee8 d '(IO(i(
rPo';sie~ de Sfl i/Ue-Hell v~. part 21 (I'nriil . IH(3), p . L25. [J52a,7]
Baud elaire's OCUVH! has perhaps gained inlportance-mora! as well as Iiterary-
through the fact that he left no novel. [J52a,8]
 Tht:, mentaJ capacities that matter in Baudelairt: are "souvenirs" 0 r·ale c h uma.n
be mg. somewhat the way medieval allMFnries are souveninl of
1 ' ' ' Cl dd -0- .
me
gods "B d
. aUe-
arrc, au ~ncc wrote, "takes as his subject the only inner experience lert to
people of th~ runetccnth ce:ntury-namdy, mnoese." Now. this very likely paints
too rosy a P IClUJ"e : remorse was no less past its time than o ther inner t"~
~ I . dR ' - or--' .....nca
onncr y tanornte. emorse m Baudelaire is mc~ly a sou ve~ like
. I d ' , repentance
~c . lOpe, an ~ven.~s.ulSh. wbidl was ovenaken the moment it relinquished
Its place to morne mom oslJe (glum indifference)" -
. U53,1)
As ~udelaire, after 1850, took up the doctrine of l'arl pour f'art, he expli 'll
cam~ through a renunciation ~hich he had undenaken in sovereign spirit a~th~
very mSlanl he made allegory mla the annaturr: of his poetry; he gave up win
art as category of the totality of existence. lJ53,2~
The b~er, whose startled gaze falls on the fragment in his hand, becomes an
allegonst. 1153 ,3]
If "te call t,o min~ j~t hoY.: much Baudelaire as a poet had to respect his own
precepts, his own Wights, his own taboos, and how saictly circumscribed on the
othe~ han~, the tas~ of his poetic labor were, then we may come to see ~ him a
~IC ~t. Th~ 15 no ~ther book of poems in which the poet as such presents
himself WIth so little varuty and so much force. 11lis fact provides a basis for the
frequent comparison with Dante. U 53,4)
What proved so fascinating to Baudelaire in late Latin literature, particularly in
Lucan, may have been tile use this literature made of the names of gods-a
practice in which it prq>ared the way for allegory. Usenu discusses this.2lI1
(]53,5)
SCleneli (lr horror in Lucan : tile Thessalian witciJ Erichtho, and the Jlrora nation or
tbe dead « BeilJml civile,> book 5. lineR 507-569); the desecration or the head or
Pompey (book at Iille& 663-691); M~ lu lia (book 9, liues 624-653). [J53,6)
"Lc: Goucher du solcil romantique"~landscape as allegory. U53,7)
Antiquity and Christianity together determine the historical annature of the
allegorical mode of perception ; they provide the lasting rudiments of the firs t
alle~ri~ ~encc:-~t of the High Middle Ages. "The allegorical o utlook
has Its ongrn m tile con.llict betwecn. the guilt-laden physu, held up as an example
by Christianity, and a purer natura demlm [nature of the gods]. embodied in the
~theon. With the revivaJ of paganism in the: Renaissance., and of Christianity
111 the Counter-Refonnation. allegory, the form of their conflict. also had to be
renewed " « Walter Benjamin,> Urspnmg des deutschm T'rau mpiels (Berlin, 1928],
p- 226).ZItt In Baudelaire' s case, the m atler is clarified if we reverse the fonnula.
The allegorical experience was primary for him; o ne can say that he appropri-
ated from the antique world, as from the Christian, no more than he needed to
set going in his poetry that primordial experience-which had a substrate en·
tirdy sui generis. [J53a, L]
The passion fo r ships and fo r self-propelled toys is, with B3ud~. perhaps only
another expression of the discredit into which. in his view, the world of the
organic has fallen. A sadistic inspiration is palpable here. [J53a.2]
'-All the Dli;;cr~a ntll o£ m~ lodrllma-acl1 urRed , rlamn t.-d , and ratall), marked witb a
grin which runs from ea r to ear-are in Ihe pure orlilollollY or laughter • . . .
!..pughler illsalanie; it is thURpro£lIundJy human ." Ch _ B., Oellvre!. vol. 2, p . 171
C'Oe " Essence du rire"). ~I
[J53a,3)
It is a shock that brings someone engrossed in reverie up from the depths.
Medieval legends invoke the state of shock peculiar to the researcher whose
lonbrlng fOT more-tllan-human wisdom has led him to magic; the experience of
shock is cited here as the "derisive laughter of hell." "Here ... the muteness of
maller is overcome. In laughter, above all, matter takes on an abundance of spirit,
in highly ceccoaic d isguise. Indeed, it becomes so spiritual that it far outstrips
languagt. Aiming stili higher, it ends in shrilllaughte:r" (Ur;prung des deutschen
'fraumpieu, p. 227) .:IM Not only was sllch strident laughter characteristic of
Baudelaire; it reechoed in his ear and gave him much to think about. [j53a,4)
Laughter is shattered articulation. U54 ,1)
On the Bight of images and the theory of swprise, which Baudelaire shared with
Fbe: "'Allegories become dated because it is part of their nature to shock."* The
succession of allegorical publications in the Baroque represents a sort of Sight of
images. [J54.2]
On peai6ed unrest and the Bight of images: "The same tendency is characteristic
of Baroque lyric. TIle poems have 'no forward movemeOl, but they swell up from
v.rithin.' If it is to hold its own against the tendency toward absorptio n, the
allegorical must constantly unfold in new and surprising ways." Urspnmg. p_ 182
(citing Fritz. Strich).U1 [J54,3)
O nce the scheme of allegory has been metaphysically detennined according to its
thredold illusionary nature. as "illusion of freedom - in the exploration of what is
fo rbidden ; .. _illusio n of independence-in the secession from the conununity of
the pious; ... illusion of infinity- in the empty abyss of evil" (Ursprung, p. 230),-
then nothing is easier than to assimilale whole groups of Baudclaircan poems to
this design. TIle first pan can be represented by tile cycle "Aeurs du nlal"j the
second pan. by the cycle "Revelte"; while the third could be elaborated without
difficulty from "Spleen et ideal!' U 54,41
The image or petrified unrest, in the Baroque, is "the bleak confusion or GoI· beclllll5e or t.he greedy Irony
gotha, which can be recognized as the schema underlying lhe allegorical figures which infiltrate. m)' 8O,,1?
in hundreds or the engravings and desoiptions or the period" (Ursprun~ ,. L' II e ll III U II timorou nu':nos. '>:0<:; (J54a,3j

~- ~ ~~
;'La Bcaute"~ntails petrifaction, but not the unrest on which the gaze of the
rine extent of Baudelaire's impatience can be gauged from these lines in "Sonnet a1legOr1st falls, 1J54a,4)
d'automne": "My hean, on which everything jars I except the candor of the
primitive animal."N:I 1J54,6] 011 Ihe felill b :
Pre('ioU8 min .. ra la rorm her poliahed eyCli.
Experiencel emptied ou t and deprived oftbe.ir substance: "'Last ... we I [of the] ami in her ~tntng(' symbolic nature where
Muse's priesthood ... I have drunk without thirst and eaten without hu nger!" aogt-I and 8ilhin~ uDil t-. where diamoo.! ,
("L ' Examen de minuit n) .:¥1 (J54,7J "ohi . and t teel dbllol ...e iotoone light.
"hines fore... e r, USCIClii U a Blar,
Art appears truly bare and austere in the light of an allegorical consideration: Lhe IIlerile womao's icy majelly.

And on that last and terrible day, " A...ee ses "etenll~nts ...•'t9~ ]J5b,5]

To escape the vengeance from above,
He must show barns whose uttenn05t
Ra:esscs swell with ripened pain,
And blooms whose shapes and hues will gain
The suffrage of the Heavenly HOSLm
"La Ranc;:on." Compare "Le Squelette labouTC:ur."
" For 1I0urs? Forever! luto that splendid mane I let me braid ruhiea, ropell of
pea rls to bind I you indissolubly to my desire.'" ("La Chevelure.")::0111 1J54a,6)
When he went to meet the: conswnptive Negress who lived in the city, Baudelaire
saw a much truer aspect of the French colonial empire than did Dumas when he
[J54,8] took a boat to Tunis on commission from Salvandy. U54a,7]

COllcernjng the ....strange set:tioning of time," the final stanza of " L' Avertisseur": Society of the Second Empire:

Despile whal he ma y hope or plan, \'ictinu! in teart. the hangman g1oriflcd;

There i. no momeDlleft when man the hanquet 5eIllODed and {ClItoonw with blood:
h nol l ubjeclto the conijlanl the poi!iOn or lHlwer dOg.'l the dupot'l "'eins,
Warning' o(thjij odious Serpent .:l'Jl and the proplt. kjijA the knout thal lCOurgel them .

" IA! Voyage. " :1W {j55,I]

To be cumpared with "L ' Horloge" and " Reve parisien:' 1J54a,1}

The domb: " I..e Voyage," section 4 , slanza 3, {j55,2]

AboUI laughter : " Beguiled lIy ghostl y laugbler in the air I llis reasou fallers.
grasps at phantom ,trllws," (" Sur l..e TUlle en priJon d'Eugene Oelacroix .") AUlumnal motif: " L'Ennemi ," "L' lnlprevu," "Semlter Eadem :' [J;;.']
)liMmirth i8 the re ...eue or Melmoth 'llneer
Or Ihe t nickering or MeV hi~ lo"heICli. Sa t:m in " Les Litanies de Salim" : " grea t killg of subterranean things'·- "-Yoll
lir ked by the lurid lighl or II Fury"8 tord. ""hose Ilright eye knows the deep ari;euals I Where tht: Imrie!1 race of mdalB shlm-
thai burns them to a eri!!, liulln ...e! UI cold, bers. ~:tw [J55,4]

" Vcrl! pnur Ie portrait de M. Honore Oaumier. 'r.!'Jol [J54;i,2}

C rllni t' r cit: Cossoglll.IC'S theory ofthe s ubhnma ll , with regard to " Abel et Ca\'n .'"
[J55,5]
The derisive laug hler frolll the clouds iJl " I...a Deatric.. ,"
For I_a m I n••1 a d;&IIo.. all" .. On rhe Christian de:termination of allegory : it has no platt in the: cycle
"Revolte." [J55,6]
in II.e ~Ii ...;ne areo rd ,
 00 allllgo'1': "L'Amour etlecl"iine: ViCIIX Cul-tle-Iampe," " AlJegurie.'" "Une GrQ_ have been under the compulsion o f returning at least once to each of his main
\'ure fuRlusliqut•. •• [J55,7] motifs. [J55a,2]
.~ ... The sky wu NUlIVI'. Ihe l!oCa lier ll ne; for me
Baude.laire's aUegory bears traces of the violence that was necessary to demolish
j from now ull {'vl'r),d,illg was loJou/l)' IInil Mack
the harmonious fa~de of the world that surrounded him.
. - Ihe worse for lfIe--and as ifin a shroud
my " "arI18Y huried in this p U ~gory .
[J55a,3]

In B1anqui's view of the world, petrified unrest becomes the status of the cosmos
"Un Voyage a Cythcre. " .\(11 itself. llte course of the world appears, accordingly, as one great aUegory.
[j5S.']
[JS5a,4]
"Steeling my nerves to play /I. hero's part" ("1.e8 Sept Vieillards ' '). ~
[j55.']
Petrified unrest is. moreover, the formula for Baudelam:'s life history, which
"Les Sept Vieillards" on the subject of etemal sameness. Chorus girls. k.nows no development. (J55a,5]
[j5S.l0]
TIle state of tension subsisting between the most cultivated sensibility and the
List of allegories: Art. Love, P/e(uure, Repentance. Ennui, Dcstructi(lll , the Now,
JIlost intense contemplation is a mark of the Baudelairean. It is reflected theoreti·
Time, Death , Feur, Sorrow, Evil , Truth, Hope, Vengeance. Hate, Respe1:t , Jeal-
cally in the doctrine of correspondences and in the predilection for allegory.
OUIlY, Thoughlll. (J55, ll)
Baudelaire never attempted to establish any sort of relations bet'Neen these.
Nevertheless, such relations exist. [J55a,6)
" L' I rremediahlc"--(Jutalogue of emblems. [j55. l2]
Misery and terror-which, in Baudelaire, have their arrnarure in allegorical per-
The allegories stand for that which the commodity makes of the experiences
ception-have become, in Rollinat, the object of a genre. (I'his genre had its
people have in this century. (J55,13]
"artistic headquarters" at Le Chat Noir cafe. Its model, if you will, may be found
T he wish to sleep. "1 hate all passion, and wit grat es on me" (" Sonnet in a poem like uLe Vm de I'assassin." Rollinat was one of the house poets at Le
II ' a utullllle").3II.1 Chat Noir.) [JSSa,7]
[j55.l4]

" A slnuollS Reece ... I .. . which in darkllcs~ rivals yo u , 0 Night , I deep and
spreading shl rless Night!" (" Les Promesses d'un visage" ). 36 1 {J55, JS]
" The tliuying stairs that swaUow up his soul" ("S ur Le Taue en prisml J ' Ellgene
Ddacroix").30:; (J55,16]
The affinity Baudelaire felt for late Latin literature is probably corutected with his
passion for the allegorical art that had its first flowering in the High Middle Ages.
[J55.17]
"De J'Essence du rire" con tains the theory of sat.an.ic laughter. In this essay,
Baudelaire goes so far as to adjudge even smiling as fundamentally satanic.
Contemporaries testified LO something frightful in his own manner of laughing.
[j55 •••]
1ltat which the allegorical intention has fixed upon is sundered from the custom·
ary COnlexts of life: it is at once shattered and preserved. Allegory holds fast to
the ruins. Baudelaire's desbUctive impulse is nowhere concerned with the aboli·
tion of what falls to it. (But compare. "Rcvolle," J55,(6~ . ) [J56,1]

To attempt to judge Baudelaire's intellectual powers on the basis of his philo-
sophical digressions, asJules Lemaitre has done,lOIi is ill·advised. Baudelaire was a
?ad philosopher, a better theorist in matters of art; but only as a brooder was he
~ncomparablc. H e has the stereorypy in motif characteristic of the brooder, the
~mperturbability in warding off disturbance, the readiness each rime to put the
Image at the beck and call of the thought. The brooder is at home among
allegories. {j55a,l]
111e atQ'aeuon whic.h a few basic situations continually exerted on Baudelaire
belong! to the complex of symptoms associated with melancholy. He appears to
Baroque allegory sees the cOlllsC only from the outside; Baudelaire evokes it
from within. [J56,2]
Baudelaire's invectives against mythology recall those of lhe medieval clerics. He
especially detests chubby·c.heeked Cupid . His aversion to this figure has the same
roots as his hatred for Beranger. [J56,3]
Baude.laire regards art's workshop in itself [as a site of confusionJ as the "appara·
tus of dCSbUction " wruch tbe allegories so often represent. In the notes he left for
a preface to a projected third edition of U j Fleur; du mal, he writes: "Do we show
 the p~blic ... the mechanism behind o ur effCct.'l? ... Do we display all the rags.
the pamt, the pulleys, the chains, the altcrations, the scribbled-over proof sheets_
in short, all the horrors that make up thc sanctuary of art?" Ch. B., O~II/Jres, vol.
I , p. 582.- (j56,4j
Baudelaire a8 mime : ""Being a, chaste a8 paper. a s sober a8 willer, 8S devoUI 88 a
WOlnall al Holy Communion. as harmless 88 a sacrificia l lamb, I would 1101 he
displeased 10 he taken (or a lecher, a drunkard, an infidel. a murderer." Cb. D.,
Oeu vres, yul. I , p. 582 (Sludies (or a p reface 10 Us FIe",.s d" mal).lo.o!I 1156.5]
Solely (or the p uhlicalion o( l.es Fk urs du mal and Petits Poemes en prose. Bau-
delaire 8ent nOliCf:1 to more than twenly-five periodicals. 11 0 1 oounting the new.-
papen . 1156.6]
BarOllue detailing or the remale body: "Le Beau Navire" (The Fine Ship). To the
contrary: "Tout eotiere" <Altogether ). (j56,7J
Allegory:
fhnt it', roolish 10 build illlyt.hing on human hearts--
For IIV1':l'}'thing cracb, ye •• t'ven love and beaut y.
l'iU Obli vion HiD gl them into iu hod
And giveJ tb;;nl over lu Eternity!
in hi, "Confe85iOIl. " :JI1'I
1156,8J
Fetish : "who 1I0W. rrom Pit 10 Empyrean scorned I by aU but me ... I ... I my
jel-eyed . Iiltue. angel with brazen brows!" (" J e Ie donne ce8 ven. ")~I' 1156,9]
'·M.,iebela nge!o I No man 's land wher(' every UercuJes I heeomes II Christ." ("w
Phares.")lll [J56a, 11
" An echo rel>eated by a thousand labyrinths." ("Les Phares.")JII 1156.,2)
"La Muse venal" shows to what degree Baudelaire occasionally saw the publica·
tion of poems as a fonn of prostitution. [J56a,3]
" Your Chridian blouclstreum coursi ng strong I and s t epd fa~t us the copious Claa-
aiCKI vein." ("LII Muse ma lade. ")~I J [j!i6a ,4]
In Baudelaire's case, the really decisive indication of class betrayal is nOI the
integrity which forbade his applying for a government" grant bUI the incompati-
bility he fell with the ethos ofjoumali.sm. {.I56a,5]
Allegory views existence, as il does art, under the sign of fragmentation and ruin.
L'lIri pour J'ari ettcts the kingdom of art o utside profane existence. Common to
both is the renunciation of the idea of harmonious totaliry in which-according
to the doctrine of German Ide.alism no less than that of French eclecticism-an
and profane exislence are. merged. [J56a,6]
TIle portrayal of the crowd in Poe shows that the description of confusion is nOI
the same as a confused descriptio n. [J56a,7]
Rov,rers adorn the individual stations of this Calvary [of male sexualiry]. They
are 80wers of evil. (J56a.8]
UJ Flt:UrJ du rrw.1 is the last book of poems to have had a European·wide rcver-
beration. Before. that: Ossian, and H eine's Buch tkr Liedl'r<Book of Songs).
1156.,9J
The dialectic of commodity production in advanced capitalism: the novelty of
products-as a stimulus to demand-is accorded an unprecedented importance.
At the same time, "the eternal rerum of the same" is manifest in mass production.
[J56a,1O]
In Blanqui's cosmology, everything hinges o n the stars, which Baudelaire ban-
ishes fro m his world. [J56a,lI ]
The renunciation of the magic of distance is a decisive moment in the lyric poetry
of Baudelaire. It has found its s~ign fomlUlation in the first stanza of "Lc
\ byage." [J56a,12]
It belongs 10 the Via Oolorosa of male sexuality that Baudelaire perceived prcg-
nancy, in some degrtt, as unfair competition. On the other hand, solidarity
between impotence and sterility, U57,l]
TIle passage in which Baudelaire speaks of his fascination with painled theatrical
backdrops-Where? Qia,4. (j57,2]
Baudelaire's destructive impulse is nowhere concerned with the abolition of whal
falls to it. This is re8ecled in his allegory and is the condition of its regressive
tendency. On the other hand, allegory has to do, precisely in its destructive furor,
with dispelling the illusion that proceeds from all ~ given order," whether of art or
of life: the illusion of totality o r of organic wholeness which transfigures that
Qrder and m akes it seem endurable. And this is the progressive lendency of
allegory. [J57.31
%enever humanity-aspiring after a purer, mo re innocent, more spirirual exist·
ence t.han il h..1.S been granted-looked arowld for a token and pledge of this
existence in nature, it generally found it in the plant or animal kingdom. Not so
Baudelaire. His dream of such an existence disdains community with any tem::s-
trial nanm: and holds to the clouds. Man y ofhis poems contain cloud motifs (nOt
to mention the transfiguration ofPari5 in "Paysage" (Landscape.). What is most
appalling is the defilement of me clouds ("La Beatrice"). [J57.4]
From m e perspective of spleen, the buried man is the "transcendental su~ect of
history." :)u [J57,5]
Baudelaire's financial misery is a moment of his personal Golgotha. It has fur.
Dished, together with his erotic misery, the defining features of the image of the
poet handed down by ttadition. The Passion of Baudelaire: understood as a
redemption. [J57.6]
Let us emphasize the solitude of Bauddaitt as a counterpan to that of Blanqui.
The lauer, too, had a "destiny etemally solitary" ("Mon Coeur nUs nu," no. a
12).m (j57,7]
On the image of the crowd in Poe: H ow well can the image of the big city turn
out when the register of its physical dangers-to say nothing of the danger to
which it itselfis exposed-is as incomplete as it is at the time of Poe or Baudelairc.?
In the crowd, we see a presentiment of these dangers. (jS1,8]
Baude\airt's readers are men. It is men who have made him famous ; it is them he
has redeemed?" [J57,9]
Baudelaire would never have written poems, if he had had merely the motives
for doing so that poets usually have. (j57a,1]
On impotence. Bauddaire is a "maniac, in revolt agairut his own impotence."
Incapable of satisfying the sexual needs of a woman, he made a virtue of necelI'
sity in sabotaging the spiritual needs of his contemporaries. He himself did not
fail to notice the connection, and his consciousness of this COlUlection is seen
most clearly in his style of humor. It is the cheerless humor of the rebel, not for a
moment to be confused with the geniality of scoundrels, wbich at that time was
already on the rise. TIlls type: of reaction is something very French; its name, fa.
rognt, is not easily rendered into other languages ."1 (j57il,2J
It is in its transitoriness that modernity shows itself to be u1timatdy and mast
intimately akin to antiquity. The uninterrupted resonance which u.s F7ror.s du
mal has found up through the present day is linked to a certain aspect of the
urban scene, one that carne to light o n1y with the city's entry intO poetry. It is the
aspect least of all expected. What ma.kes itself felt through the evocation of Paris
in Baudelaire's verse is the infirmity and decrepitude of a great city. Nowhere,
perhaps, has this b«n given more perfect expression than in the poem "Cripus'
cule du marin," which is the awakening sob of the sleeper, reproduced in the
matcrials of urban life. Th.is aspect, however, is more or Jess common to the
whole cycle of "Tableaux parisicns;" it is present in the transparence of the city, as
conjuttd by "Le Solei1," no less than in the allegorical evocation of the Louvre in
"Le Cygne." 1J5h,3]
On the physiognomy of Baudelaire. as that of the mime: Courbet reports that he
looked different every day. [J57a,4]
With the inhabitants of Romance·language nations, a refinement of the sen·
sorium does not diminish the power of sensuous apprehension. With the Ger·
mans, on the other hand, the refinemcnt, the advancing cultivation of sensuous
enjoyment is generally purchased .,."jth a decline in the an of apprehension; here,
the capacity for pleasure loses in conccnttaOOll what it gains in delicacy. (Com·
pare the "reek of wine-casks"llt in "Lc VUl des chiffonniers.") 1J57a,5]
The eminent aptitude for pleasure on the part of a Baudelaire has nothing at all
to do with any son of coziness. The fundamental incompatibility of sensuous
pleasure with what is called GemiiJlidlAeit is the mark of an authentic culture of
the senses. Baudela.irc.'s snobbism is the eccentric repudiation of complacency,
and his satanism is the readiness to subvert this habit of mind wherever and
whenever it should arise. [JSB, I]
The streets o r Paris, in Meryon's rendering, are chasms, high above which 80at
the clouds. [J58,2]
Baudelaire wanted to make room for bis poems, and to this end he had to push
aside others. He managed to devalue certain poetic liberties of the Romantics
through his classical deployment of rhyme, as he devalued the ttaditional alexan·
drine through his introduction of certain ebbings and points of rupture. In shon,
his poems contained special provisions for the elimination of competitors.
[J58,3]
Baudelaire was perhaps the first to have had the idea of a market-oriented origi·
nality. which JUSt for that reason was more original in its day than any other. The
crlation of his poncym led him to adopt methods that were the stock in trade of
the competition. His defamatory remarks about Musset o r BCranger have just as
much to do.,."jth this as his imitations of Vicror Hugo. [J58,4)
Ibe relation of the crowd to the individual comes, practically of itself, to unfold
as a metaphor in which the differing inspirations of these two poets-Hugo and
Baudclaire-can be grasped. \-\breis. like images, present themselves to Hugo as
a surging, relentless mass. With Baudelaire, in COntrast, they take the side of the
solitary who, to be sure, fades into the multitude, but not before appearing with
singular physiognomy to o ne who allows her gaze to linger. U58.5]
What good is talk of progress to a world sinking into rigor mortis? Baudelaire
found the ~ence of such :\ world set dO\..'Tl with incomparable power in the
 work of Poe, who thus became irreplaceable for him. Poe: described the world in
which Baudelaire's whole poetic c.merprise had its prerogative. £158,6)
.~ TI1C idea of Baudelaire's ae...thetic Passion has given to many parties in the critical
I. titeramre on Baude.l.a.iff the cluracter of an image d'Epinal. These colon=:d prints,
as is wcll known, often showed scenes &om the lives of saints. (J58a.l)
There are weighty historical circumstances making the Golgotha-way of impo-
tencc trod by Baudelaire into one marked out in advana= by his society. Only this
would explain how it was that he drew, as traveling expenses along the way, a
precious old coin from among the accumulated treasures of this society. It was
the coin of allegory, with the scythe·wielding skeleton all. one side, and. on the
o bverse, the figure of M elancholy plunged in meditation. [J58a,2)
That the stars do not appear in &udelaire is the surest indicator of that tendency
of his poetry to dissolve illusory appearanc.es.~ [J58a,3)
The key to Baudelaire's relationship with Gautier is to be sought in the man=: or
Icss clear awarencss of the younger man [?J that even in art his destructive
impulse encounters 110 inviolable limit. In fact, such a limit cannot withstand the
allegorical intention. Moreover, Baudelaire could hardly have written his essay
on Dupont if the critique of the concept of art entailed by the latter's established
practice had not corresponded to his own radical critique. 10 referring to Gautier,
Baudelaire successfully undertook to cover up these tendencies. 1J58a,4)
In the flancur, onc might say, is reborn the son of idler that Socrates picked out
from the Athenian marketplace to be his interlocutor. Only, there is no longer a
Socrates. And the slave labor that guaranteed him his leisure has likewise ceased
to exist. [J58a,5)
Streets of ill repute. Considering the importance of forbidden fonns of sexuality
in Baudelaire's life and work, it is remarkable that the bordello plays no role in
either his private documents or his work, There is no counterpart, within this
sphen::, to a poem such as "Lc: Jeu.'" The brothel is named but once: in ilLes Deux
Bonnes Soeurs." [J58a,6)
For the £Ianeur, the "crowd" is a veil hiding the "'massCS."ll1 [J5 •. ' ]
That Hugo's poetry takes up the motif of table·turning is perhaps less notewor-
thy than the fact that it was regularly composed in the presence of such phenom·
ena. For Hugo in exile, the unfathomable, insistent swann of the spirit world
takes the place of the public. [J59,3)
The primary interest of allegory is not linguistic but optical. "Images-my great,
my primitive passion...,w [J59.41
TIle elaborate theorems with which th(' principle of "art for art'S sake" W~
enunciated by its original propon('nts, as by subsequent literary history, ulti-
mately come down to a specific thesis: that sensibility is the true subject of poetry.
Sensibility is, by its namn::, involved in suffering. If it experiences its highest
concretization, its richest determination, in the sphere of the erotic, then it must
find its absolute consummation, which coincides with its transfiguration, in the
Passion. It will define the idea of an "aesthetic Passion." The concept of the
aesthetic appe.'U'S here with precisely the signification that Kierkegaard gives it in
his erotology. [j59,5)
TIle poetics of l'nrt pour I'art blends seamlessly into the aesthetic Passion of us
Fleurs du mal. [j59,6]
The "loss of a halo'Ul.1 concerns the poet first of all. H e is obliged to exhibit
himself in his own person on the markd. Baudelaire played this role to the bilt. His
famous mythomania was a publicity stunt. [J59,7)
The new dreariness and desolation of Paris, as it is described by Veuillot, comes
on the scene, together with the dreariness of men's attire, as an essential moment
in the image of modernity, [j59,8)
Mysti6cation, with Baudelaire. is an apotropaic magic, similar to the lie among
prostitutes. [J59,9)
The commodity form emerges in Baudelaire as the socia1 content of the allegori-
cal fonn of perception. Forn} and content are united in ~ prostiWtc, as in their
synthesis. [J59,10]
Baudelaire perceived the significance of the mass-produced article as clearly as
did Balzac. In this, his "Americanism," of which Laforgue speaks. has its firmest
foundation. He wanted to create a pon#, a cliche. Lc:maitn: assures him that he
succeeded. (J59a, l)
Apropos of Valery's reflections on the situation of Baudelaire. It is im ponant that
Baudelaire met wilh competitive relations in the production of poetry. Of course,
rivalry between poets is as old as the hills. But in the period around 1830. these
rivalries began to be decided on the open market. It was victory in that field-and
not the paU'onage of the gentry, princes, or the clergy-that was to be won. TIus
condition weighed more heavily on the lyric than o n othe.r fonns of poetry. The
disorganization of styles and of poetic schools is the complement of that market,
which reveals itself to the poet as the "public." Baudelaire was not based in any
sty le. and he had no scllool. It was a rea] discovery for him that he was compet-
ing against individuals. 1J59a.2)
 US Flnm du mtll may be considered an arsenal. Baudelaire wrote certain of his
poems in order to destroy others written before him. [JS9a,3]
No one ever felt less at home in Paris than Baudelaire. Every intimacy with thinJ;l
is alien to the allegorical intention. To touch on thing5 means, for it, to violate
tllCffi. To recognize thing5 means, for it, to see through them. 'Wherever the
allegorical intention p~vails, no habits of any kind can be fonned. H ardly has a
thing been taken up than allegory has dispensed with the situation. Thing and
simation become obsolete for allegory more quickly than a new pattern for the
milliner. But to become obsolete means: to grow strange. Spleen lays down
centuries betv·:een the present moment and the one just lived. II is splcen that
tirelessly genCTates "antiquity." And in fact , with Baudelaire, modernity is noth-
ing other than the "newcst antiquity." Modemity, for Baudelaire, is not solely
and not primarily the object of his sensibility; it is the object of a conquest.
Modernity has, for its annaturc, the allegorical mode of vision. [J59a,4]
The correspondence between antiquity and modernity is the sole constructive
conception of history in Baudelaire. With its rigid armature, it excludes every
dialectical conception. [J59a,5]
On the phrasc, "I have little to do with such things,",m in the draft of a preface to
UJ Fletm du mal. Baudelaire, who never founded a family, has given the word
"familiar" in his poetry an inflection filled with meaning and with promise such
as it never before possessed. It is like a slow, heavily laden haywagon in which lhe
poet cans [0 the bam evuything which throughout 1m life he had to renounce,
Compare "Correspondances." "Boh6niens en voyage," "Obsession." [J60, l}
The passage "where everything, even horror, turnS to magic"325 could hardly be
bener exemplified than by fue's description of the crowd. [J60,2}
Concerning the opening line from "La Servante au grand coeur": on the words
"of whom you were so jt!alouJ'~'a falls an accent that one would not necessarily
expect. The voice, as it were, draws back from jealous." Therein lies the frailty
of this already long·past situation. (j60,3]
On "Spleen I": through the word "mortality," the city with its offices and its
statistical registers lies embedded in spleen, as in a picture puz.zle <VexiN'hi/d>.
[J60,4j
The whore is the most precious booty in thc triumph of allegory-the life which
signifies death. This quality is the only thing about her that cannot be bought,
and for Baudelaire it is the only thing that maners. (j60,5]
Around tlle middle of the century. the conditions of artistic production under-
went a change. TIlis change consisted in the fact that for the frrst time the: foml of
the commodity imposed itself decisively on the work of art, and the fonn of the
masses all its public. Particularly vulnerable to these developm~ts , ~ ~n. be
seell now unmistakably in our century, was the lyric. It is the uruque dlStmctJo~
of Us Fit!urJ du mal that Baudelaire responded to precisely these altered condi-
tions with a book of poe.ms. It is the best example of heroic conduct to be found
in '"' life. [J60,6j
11le heroic bearing of Baudelaire is akin to that of Nietzsche. 'Though Baudelaire
likes to appeal to Catholicism, his historical experi.ence is !lO nethel~s that ,:,hich
NietzSChe fixed in the phrasc "God is dead." In NIetzsche s case, this expcnence
is projected cosmologically in tlle thesis that nOthin.g new occurs an~ more. In
Nieu.sclle, the accent lies on eternal recurrence. which the hwnan being has to
face with heroic composure. For Baudelaire, it is more a matter of "the new."
which must be wrested heroically from what is always again the sanle. [J60.7]
The hiswrical experiences which Baudelaire ,vas one of the first to undergo (it is
no accident that he belong5 to the generation of Marx. whose principal Vt'Ork.
appeared in the year of his death) have become. in o~r day, only more ~dc­
sp~ad and persistent. The traits displayed by capitaJ mJune 1848 have, .smce
then. been engraved still more sharply in the ruling classes. And the particular
diffirultics involved in mastering the poetry of Baudelaire are the obverse of the
ease with which one can give oneself up to it. In a word, there is nothing yet
obsolete about this poetry. This fact has detennmed the character of most of the
books concerned with Baudelaire: they are feuilletons on an expanded scale.
[J60., l j
Particularly toward the end of his life, and in view of the limited success of .his
work, Baudelaire more and more ~ himself into the bargain. He BW1g him-
self after his work, and thus, to the end. confirmed in his own person what he had
said about the Wlllvoidable necessity of prostitution for the poet. (J60a,2)
One encounters an abundance of stereotypes in Baudelaire, as in the Baroque
poe~ , []60.,3j
For the decline of the aura. one thing within the realm of mass production is of
overriding importance: the massive reproduction of the image. [J60a,41
Impotence is lhe key figure of Baudelaire's solilUde.w An abyss divides him from
his fellow men. It is this abyss of which his poetry speaks. [J60a.5}
V\t may assume that the crowd as it appears in fue, with its abrupt and intennit-
tem movements, is described quite realistically. In itself, the description has a
higher truth. TIlese are less the movements of people braing about their .business
than the movements of the machines they operate. VVith uncaruty foresIght, Poe
scems to have modeled the gestures and reactions of the crowd on the rhytllOl of
these machines. The 8aneur, at any rate, has no part in such behavior: Instead, he
fonus an obstacle in its path. l-Iis nonchalance would therefore be nothing othu
than an unconscious protest against dle tempo of the production process. (Com-
pare 02a, I.) [J60a.6J
Fog appears as a consolation of the solitary man. It fills the abyss surrounding
him, [J60a,7]
Baudelaire's candidacy for the Academie was a sociological experiment. [J61 ,1]
Series of types-from the national guardsman Mayeux, through Gavroche, to
the ragpicker, to Vtreloque, to Ratapoil.3I' {J61 ,2]
Baudelaire's allegorical mode of vision was not understood by any ofhis contem-
poraries and was thus, in the end, completely overlooked . [J61,3]
Surprising proclamations and mystery-mongering, sudden attacks and impale-
trable irony, belong to the raison d 'itat of the Second Empire and were charac-
teristic of Napoleon III They are no less characteristic of the theoretical writings
of Baudelaire. [J61,4]
The cosmic shudder in Victor Hugo has litde in common with the naked terror
that seized Baudelaire in his spleen. Hugo felt perfecdy at home in the "WOrld of
the spirits. It is the complement of his domestic existence, which was itself not
without horror. [J61,5]
The veiled import of the first section of "Chant d'automne" : the season is named
only in the tiny phrase "autumn is here,ltm and the following line says that, for
the poet, it has no other meaning than as a foreboding of death. To him, it has
brought no harvest. [J61 ,6]
In the guise of a beggar, Baudelaire continually put the modd. of bourgeois
society to the test. His willfully induced, if not deliberately maintained, depend-
ence on his mo ther no t only has a psychoanalytically identifiable cause; it also
has a social cause. [J61 ,7]
The labyrinth is the right path for him who always anives early enough at his
destination. For the Saneur, this destination is the marketplace, [J61 ,8J
The path of one who shrinks from arriving at his goal will easily take the form of
a labyrinth, [For the Saneur, this goal is the marketplace.} The same holds for the
social class dmt dOes nOt want to know where it is heading. Moreover, nothing
prevents it from reveling in this roundabout way and hence substituting the
shudder of pleasure for the shudder of death. This was the case for the society of
the Second Empire. {j61,9]
\lVhat concemed Baudelaire was not manifest and short-term demand, but latent
and long-term demand. U J F/~urJ du mol demonstrates not only that he correctly
assesscd SUdl a demand but, in addition, that dtis sureness in evaluation is
inseparable from his significance as a poet. {j61,1 0J
One of the most powerful attractions of prostirutio n appears only with the rue of
the metrOpolis-namcly, its operation in the mass and through the masses. It was
the existcnce of the masses that first enabled prostirution to ovcrspread large
areas ofthc city, whereas earlier it Imd been confined, if not to houses, at teast to
the streets . TIle masses first made it possible for the sexual Object to be reflected
simultaneously in a hundred different forms of allurement-fonus which the
object itsdf produced. Beyond this, salability itself can become a sexual stimulus ;
and this attraction increases wherever an abundant supply of women under-
scores their character as commodity, With the exhibition of girlsl:lO in rigidly
uniform dress at a later period, the music hall review explicidy introduced the
mass-produced article into the libidinal life of the big-c.ity dweller. [J61a,ll
As a matter of fact, if the rule of the bourgeoisie ......-ere one day to be stabilited
(which never before has happened, and never can), dlen the vicissitudes of
history would in actuality have no more claim on the attention of thinkers than a
child's kaleidoscope, which with every tum of the hand dissolves the established
order into a new array. As a matter of fact, the concepts of the ruling class have in
every age been the mirrors that enabled an image of "order" to prevail. [J6Ia,2J
In L'Ettnliti par leJ astm, Blanqui displayed no antipathy to the belief in prog-
ress; between the lines, however, he heaped scorn on the idea, One should not
necessarily conclude from this that he was untrue to his political credo, The
activity of a professional revolutionary such as Blanqui does not presuppose any
faith in progress; it presupposes only the detennination to do away with present
injustice, The irreplaceable political value of class hatred consists precisely in its
affording the revolutionary class a healthy indifference toward speculations con-
cerning progress. Indeed, it is just as wonhy of humane ends to rise up out of
indignation at prevailing injustice as to seek through revolution to better the
existence of future generations. It is just as worthy of the human being; it is also
more like the human being. Hand in hand with such indignation goes the linn
resolve to snatch humanity at the last moment fro m thc catastrophe looming at
every tum. That was the case with Blanqui, He always refused to develop plans
for what comes "later." [J6 1a,3]
Baudelaire was obliged to lay claim to the dignity of dIe poet in a society that had
no more dignity of any kind to confer, Hence the bOlif[fJ1wm ·e of his public
appearances. 1J62, IJ
The figure of Baudelaire has passed into his fame. For the petty·bourgeois mass
of readers, his sto ry is an imag~ d'Epinal, an illustrated "life history of a libertine.
1t
TIUs image has contributcd greatly to Baudelaire's reputation- little though its
purvcyors may have numben:d among his fri ends, Over this image another
imposC$ itself, one that has had a less widespread but more lasting effect : it shows
Baudelaire as exemplar of an aesthetic Passion. [j62 ,2J
TIle aesthete in Kierkegaard is p n=destined to the Passio n. See "'TIle U nhappiest
M an" in Eitn"IOr. [j62 ,3]
The. grave as the secret chamber in which Eros and Sexus settle their ancient
quam:1. 1J62,4)
The starS in Baudelaire present the rebus image <Vexiuhild> of th( commodity,
They are .. the eternal rerum o f the same" in grat masses. [j62,5]
Baudelaire did not have the humanitarian idealism of a Victor Hugo or a la-
martine. The emotional buoyancy of a Musset was not at his disposal. H e did
not, like Gautier, take pleasure in his times, nor could he deceive himself about
them like Leconte de Lisle. It was not given him to find a refu~ in devotiollS, like
Verlaine, nor to heighten the youthful vigor of his lyric elan through the betrayal
o f his adulthood, like Rimbaud. As rich as Baudelaire is in knowledge ofrus craft,
he is relatively unprovided with stratagems to face the times. And even the grand
tragic pan he had composed fo r the arena of his day-the role of the "mod-
em"-could be filled in the end only by himself. All this Baudelairt no doubt
recognized. The eccentricities in which he took such pleasure were those of the
mime who has to perform before a public incapable of fol1owing the action on the
stage-a mime, funhermore , who knows this about his audience and, in bi3
perfonnanct, allows that k.nowled~ its rightful due. [j62.6J
In the psychic economy, the mass·produced article appears as obsessio nal idea. ~t
answers to no naturaJ need .} Th( n( urotic is compelled to channel it violendy .
among the ideas within the naruraJ cirru1ation process. [J62a,l ]
The idea o f eternal recu~nce transfonns the historical event itself into a mass'
produced article. But this conception also displays, in another respect-on itS
obverse side, one could say- a trace of the eco nomic circumstances to which it
owes its sudden topicality. TIlis was manifest at the moment the security o f the
cond itions o f life was considerably diminished through an accelerated succession
o f crues. The idea o f demal recu~nce derived its luster from the fact that it was
no longer possible, in all circumstances, to expect a recurrence of conditions
across any in terval of time shorter than that provided by eternity. The quotidian
constellations vcry gradually began to be less quotidian. Very gradually their
recurrence became a little less frequent, and there could arise, in consequence,
the. obscure presentiment that henceforth Olle must rest content with cosmic
cons tellations. H abit, in shan, made read y to surn:nder some of its prerogatives.
Niet7.sche says, "I l~ short-lived habits,".Jo.1! and Baudelaire already, throughout
his life, was incapable of d eVeloping regular habits. H abits arc the annature of
lo ng experience <EifahNlllfP' whereas they are decomposed by individual experi·
ences ,Erlehnwn. [.J62a.2]
;\ paragraph v f the ·' lJial.s8Ima la ad §I: illHum" d ~a l 8 widl horcdonl. It doseil with
Ih." scntelll..'t.': " My 80ul i.s like the Dead Sell, over which no bird can fl y; wh~n it has
flown mi.lway, then it IIinkll llowli to d'"8th lind dl:"struction." Soren Kierkegaard .
";"t weder-O,ler (J ena , 1911 ), vol. I , I)' 33. COnlJlare 'o J am a graveyard tbat the
m uoll ahhurs" ("SpIt.'t:1l 11 ").= [j62a.3J
Melallc.holy, prille. and imagl~s. "Carking care is my feudal castle. It is built like an
eape's llcll llj)vn the IJeak of a mUlIIlIain 10RI ill the c1oudi. N o one can take it by
sIQrm . From this abode I dar t down inlo Ihe worJd of re.ality 10 sei~e my prey; but
I do 11 0 1 remain down there , I hear my quarry aloft to my strongbold . What I
caplure arc illlugea:' Soren Kierkcgaard. Entwerle""()der (J ena, 1911 ), vol. 1.
p. 38 (" Diapsalmata uti se illsum").a.J3 1162a,4)
On the use of tile lerm " ae~ theLi c" in Kierkegaard. In c.boosing a gvvernellK. vile
lakes i.lto aCl:ount " also her aellthclic qualificaLioJls for amusing the children."
Sorcn Kierkeguu rJ , Enllllf!tler-Ode" (J ml8 , 19L1). vol. I , p. 255 ("The Rotation
Methvd").»1 [J63.1J
8lantlui', jOllrney: " One lirell of Living in the cOllntry. and moves to the city: one
tires of one', native hint!. and travels abroad ; one is europa miide <tired of
Europe., a nd goetl to America ; aud so on. Finally Olle. indulges in a seutimental
hope of endless jvurneying& from star to star." Sore.n Kierkegaard , Entweck~
Oder (J enu , 191 1), vol. I, II . 260 ("The Rolation Method ").1l:> [j63.2]
8 ... rClJom: " it callses a .liz7.ine8S like. that produced by looking down into a yawnin(l:
«hasm, imd Ihill ,Iizzinetls ill inGnite. " Kierkegaa rd , Efltwede,...()rler, vol. I, p, 260
("The Rvta tioll Metllod").:ut [J63,3]
On the PlUsion of tile. Qesthelic mlln in Kie.rkegaard and its foundation in memory:
';J\tI!OlOry is e.mpllutictlUy Ihe real dement of the unhappy man .... If I imagine P
m a ll who hilllllcif hUll IUIlI IIlI .-Ilildhood , ... bUI who nOw .. . dillcovered a Jllh ~
h":. ut y that lllcre is in c1ljldhovd , a n,1 wllo w(luld IIOW rl!memher his nwn child-
hood , (:OI1SIIlIlIl )' "'loring buek inln thllt l:lllJlllness of the past, then I woulli llavc an
1':\:1"1.'11 ('111 iIIustnllioll of the truly unhappy mUll ." Sor!!n Kierkeguard . ";nt weJer-
Oder (.lei Ill . 19111, ",,1. , pp . 203-20<1 ("TI.II:" UnhapIJie8t Ma.II·').m [J63,4J
Baudelaire's desire to write a book in which he would spew his disgust with
humanity into its face rr:calls the passage in which Kierkegaard confesses to using
the either-or as "a.n inleljcction" which he would "shout at mankind, just as boys
shout 'Yah! YahI' after a J ew." Kierkegaard, Enhwder-Oder Uena, 1913). vol. 2.
p. 133 ("'Equilibrium berween the Aesthetical and the Ethical in the Composition
of Personality") .- (j63,5)
On the "8~Clio ll illr; of lime. " "Thill .. . i~ lhe most u.ICtI Ll lIte eJl:IIlT.lsion fur the
aesthetic e,uslellce: it iii in the momelli . Hence till: prodigious usciUatiulll ltI which
the mall wlllllive8 1lt:81lmlicaUy is exposed ." Kierkegurd, E'lhvede,...Od(!r. vul. 2,
p. 196 (" Ell wlihrium between the Aeslhclical antlth c Ethical in the Compusition
of Perso llalit y"). ~ (j63,6)
On impotence. Around the middle of the cenrury, the bourgeois class ceases to
be occupied with the future of the productive forces it has unleashed. (Now
appear those countcrpans to the great utopias of a More or Campanella, who
had welcomed the accession of this class and affirmed the identity of its imel'C5ts
with the demands of freedom and justice---'now appear, that is to say, the utopias
of a Bdlamy or a Moilin, which are mainly concerned with touching up the
notion of economic consumption and its incentives.) In order to concern itself
further with the future of the productive forces which it had set going, the
bourgeoisie would first of all have had to renounce the idea of private income.
1'bat the habit of "coziness" so rypical of bourgeois comfort around midcentury
goes together with this lassirude of the bourgeois imagination, that it is one with
the luxW}' of "never having to think about how the forces of production must
develop in their hands" -these things admit of very little doubt. The dream of
having children is merdy a ~ggarly stimulus when it is not imbued with the
dream of a new nature of things in which these children might one day livt, or for
which they can struggle. Even the dream of a "better humanity" in which our
children would "have a ~tter life" is only a sentimental fantasy rc:miniscent of
SpittWeg when it is not, at bottom, the dream of a ~tter nature in which ~
would live. (Herein lies the ine.xtinguishable claim of the Fourierist utopia, a
claim which Marx had rc:cognU.ed (and which Russia had begun to aa onJ.) 1be
latter dream is the living SOUItt of tile biological energy of humanity, whereas the
former is only the muddy pond from which the stork draws children. Baude-
laire's desperate thesis concerning children as the creatures closest to original sin
is nOt a bad complement to this image. [J63a, l )
R~ Ihe dallces of ,I e~ th : " Modern artillll are far too neglectfu l of IlI oStl magnificent
allegories of the MitldJe Age,:' Ch . B., Oeuure.!, vol. 2. jl. 257 (USal un de
1859") .~ (j63a,2)
It is impotence that makes for the bitter aJp of male sexuality. From this impo-
tence springs Baudelaire's attachment to the seraphic image of \\'Oman, as well as
his fetishism . It follows that Kdler's "sin of the poet"-namcly, "to invent sweet
images of ....,omen, I such as bitter eanh never barbors ":WL-is cenainly not his.
Keller's WOOlen have the s.....eetness of chimeras. Baudelaire, in his female figures,
remains prc:cise, and therefore French, because with him the fetishisti c and the
seraphic clements do not coincide, as they al .....ays do in Keller. U64 ,lJ
"Of courie. Marl( ~O(J Engel.ll ironizetl an absolute idealis t faidl in Il,·ogren.
(Engd ~ conIIne-lid, Fourier for havi n5 introduced the futu re JisllllPcarance of
hUlllllrul y inlU his refleclionll 011 hiJtury, as Kant intrtHluced the futurtl dillaj>pear-
alice of lht" iwlar lIy811!IU. ) iu this COllllt!t:tiun. EU8e111 all o makes fun fif ' the talk
ahQul alimitllhltl hllnlllP Jlf'rfoclibilily. ' ..= Leul!r of <Uermunm OUllcker to Crete
Sl,·ffill. Jill )' 11;1, 1931:1. [J64,2)
TIle mythic eoncept of the task of the pott ought to ~ defined through the
profane concept of the instnunent.- The great poet never confroms his work
simply as the producer; he is also, at the same time, its consumer. NaturaUy, in
contrast 10 the public, he consumes it not as entertainment but as tool. This
instrUlllental charaaer represents a use value that does not readily enter into the
exchange value. 1J64,3)
On Baudelaire's "Crepusrule du soir": the big city knows no true evening twi-
light In any case, the arti.6.ciallighting does away with all transition to night. The
same state of affairs is responsibJe for the fact that the stars disappear from the
sky over the metropolis. Who ever notices when they come out? Kant's tran-
scription of the sublime through "the starry heavens above Ole and the moral law
'Nithin memu could never have been conceived in these tenus by an inhabitant of
the big ciry. [J64,4)
Baudelaire's splem is the suffering entailed by the decline of the aura. "Adorable
Spring has lost its perfwne .~ [J64,5)
Mass production is the principal economic cause-and class warfare the principal
social cause-of the decline of the aura. (J64a,1]
Dtl Mais tre on the "lIava5e"-a refl ectioll direcleti agllirut Rousseau : "One need
omy glance lit the savage to set: the cune written ... on tll tl ~xttlrDai form of his
botl y.. .. A furmidaiJIe hand wt:ighing on these doomed raees wipes out in them
the Iwo djs tinclive churacteris ti u of ou r grande ur: forellight and perfectibility.
'I'h(· sllvage culll the tree duwlI 10 gather the fruit ; he unyokes tlltl ox that the
missiunllry hll 8 just ellu'usled 10 him , and cook, it with wuod from the pluw,"
Juseph lie MlliSlre. US Soirees de Sfl in,-petersbollrs. {:t! . Hattier (Pilril <1922».
p. 23 (!wcond dialol-'uc).)\; 1J64a,2}
Tlu· Kni!;llt in thc tiJird (Iiulnguc: " I "'·I.lIIM vcry IIlllch like. though it coil! IIl C
dCIIl'iy. lu ,liscO\'{'I' I) truth Ca l)uiJle of d lOCkillg the whnle hUlIl uli race, l wtluld
~ Iut e it pluinly ttl eVCrYOlIl' 's fucc:' J 05cjJh de Maistrt, JA!S S fJjree.~ de SlIillt-Pelers-
lmllrg . l!tl. II l1ltier, p . 29. [J64a,3}
"Bewurf'. uiJ(1 ve all . Olltl Vl!ry '·... 11111011 prej u clicl~ ... - namdy, the ht-li..f that the
grtlut repllllll i,l ll of n hook Ilre.;tII/I'('lIeAa ll ")C:ll'Uloivtl a.1I1I l'eusun~IJ kfltlw!t..·dge of
Ihu l I)f}uk. Such is not till' I·USI'. I u s~ urt: yl) U. T I II~ Ij; n 'HI majorit y are "ul'uhlc or
 ju.lging solely b y the lighl ~ of a ratl lll-T , maU number of me n who first fldiver 10111
o pinio n . They pass on , and this t,opinion survives the m. The om.' books arrh 'ing on
t.h l' IIc'rue leave 110 lime (or reading an y o tlu:r&; llnd 110011 1111: 8(' othe rs are jud gt:d
i. (luly Ilccortliug 10 II vllgue re putatiull ." J OII""II de Maistre. t..e, Soireel de Sui,.,.
f¥.ter , boIiTS. cd . Hattier (Paris). p. 4'1 (sixth dialogue). (J64a,4]
" Tlu: wholt' cU TIIa . continually stet'pcd in blood , i ~ nothing hUl lHI imlll('1I8e altar On
....·hiell tll'cry Ih 'ing thillg must be sacrificed without enll. without restraint , without
n"spite. until the consummation of the world , thl' extincti'~11 of c\-il , the death of
dea th ," De MaiSlre , Soiree" ed . Hattie r. I), 61 (seventh llilllugue :"La Gue rrc"),:HII
[J.b,S]
Tbe characters in u.s
Soir&,J de Sailll·/flm bourg: the Knight has felt the influence
o rVoltaire, and the Senator is a mystic, while the Count expounds !.he doctrine of
the author himself. (J64a,6]
" Out do you rewe. gentlemen , the 101ln::e of this HOOt! of iUl ulenl ductrines which
uncc.n :mo niowl y judge Cod and caD him 10 account {or hi8 orde n? They com~ 10
us frolll that grt!a t pl.alam: we call .!(It/(IIlt, <inldh..'t!llIal;J) a.lld whom we have 001
been able ill this age to keep in tlit'ir place, which i8 a !It!condary 006. At other
tinlf~s, there were very few savants. a lld a ve r y s mall minorit y of tlw \·er y . maH
minorit y were ungodly; today one see.. nothing but sa vunlJ . It it a profession , ...
c ruwtl. a n a tion . a nd amo ng them the alrt!a tl y unfortuna te e xception bas become
Ihe rule. On every 5ide they have us urped a limitless influe nce; yet if there is one
tbillg certain in tltis world , it is, to my mind . that it is lIot for scieuce to guidc men.
Nothing necessary for Ihill i8 entrnstell to science. Oue wouM have to be out of
On e 's mind to bcli e v~ that God has cbal"'ged the academiel with tuching IIl1 what be
is allli whal we owe t.o him. It rests with tbe pl"'ela te • • the noble •• the gr-eat officen
tlf stale to be tile I"'epositorieil and guardians of the saving troths, to teach nation.
what is bad lind what £ood , whatlrue a nd wha t falat:. in the monl a nd IIpirituai
orde r. Othe r s have 110 right to l"'eallOIl nn Ihill kind of IDlittel'. They ha ve tile na tunl
IIl:iclICell to alllUlle thc m. What are they complainillg about?" De Mais l Nl. Le.
Soirees de Saint. Petersbonrg. ed. Hatticr ( Pad.), p. i2 (cighth dialogu e).a.47
[J.S. I]
On judiciall,roccdurt's: "Ulldel"' the rule of Muslim law. lI utho rit y punis hea. e yeD
widl ,Ieatb , the lIIall it tru.llM dellcnc. it. al the very 1Il0IlU'II! li nd place it !leUetl
Ilim : tlUII Lrusque cllfOI"" 'clnCIII of the Illw. ""biuh hilS nflt lac kcd Mind admirc rH. i.
IlI'vl,.·thdeSH 0111.1 uf till; IIIlIlIy pl'uofH of tim I.rutlllizatioll allli di vinc CC II SUI'C of
Ih e6t. I~op l cs. Among UII. things arc Iluite lliffcNlllt . T he c ulprit lIIu ~ t I~ al"'rellctl;
lit' mmit 1)(- c hargpd ; lit' IIIl1s t dcrelld IUlIIsdf; hc mUlIl ahu\'e all sdtJc hi.. cOllscicuce
a mi his "" oddl y " Uain: prac ticallll"'l"'a nl;t'lIIclIIlI ful"' his I'ullis iullellllllust be mucic.
F in uUy, 10 lak l, "ver yilling inlo IICCOlint. It (,(,rtain tinll' mus l h(, It'fl 10 ta ke him to
til(' al)poillt.:d "lace of punu. hmcllt . The scaffold is an (liu,,'; it 1·11111101 th{'l'crore IJoe
I'itlwr ~\'t up in u certain plnce o r nwv,'d , eXccl't II)· alttlwrily. The!;c ,Idays,
pruiseworthy in thei r very elulesHivc nes ... ye t still not lac king their 1,lillil dct.rac·
101"'5.are DU le6B a proof of o u.r s uperiority." DeMailllnl. I..e.Soiree. de Saint·
(Jeter, oollrg . ed . Ha llicl' ( Paris). II. 78 (te Dth dialogueV'" [J65,2]
God appears in de Maistre as myJlm'um tmnmdum.l . '
Ln the seventh dialogue ('1...a Guern="), a series of sentences beginning with the
fannula "War is divine." Among these, one of the most extravagant: "War is
[J65.3)
divine in the prou=etion granted to the great Ie:ade:n, even the most daring, who
are rarely suuck down in barue:." Soiriej de Sainl·/flm bourg, pp. 61-62 .~
1J65a, IJ
TIlcre is, in Baudelaire a latent tcnsion bet\',l~n the destructive. and the idyllic
aspects of dcath-betw«=erl its bloody and its palliative: nature. [J65a.2]
J ugendsriJ phrasroJogy should still be considered progressive in Baudelaire.
[J.S.,3]
"Destruction's bloody rerinue"351is the coun of allegory. [J.S.,4]
The historicism of the nineteenth century is the: background against which
Baudela..i.rt.'s "pursuit of modernity" stands out. (Vtllemain, Cousin.) (J65a.5]
So long as there is semblance in history, it will find in nature its ultimate refuge.
The commodity, which is the last buming-glass of historical semblance <&heim,
celebrates its triumph in the fact that nature itself takes on a conunodiry charac·
ter. It is this commodity appearance <wo'rerucheim of nature that is embodied in
the whore. "Money feeds sensuality." it is said, and this fonnula in itself affords
only the barest outline of a state of affairs that reaches well beyond prostitution.
U nder the dominion of the commodity fetish. the sex appeal of the: woman is
more or less tinged with the appeal of the conunodity. It is no accident that the
relations of the pimp to his gir"lfriend, whom he sells as an "ankle" on the
market, have so inflamed the sexual fantasies of the bourgeoisie. The modem
advertisement shows, from anodlu angle, to what extent the attractions of the
\~'olllan and those of the commodity can be merged. The sexuality that in fonner
tunes-on a social levcl-was stimulated through imagining the future of the
producti\'e forces is mobilized now through imagining the J>O'o"er of capitaJ.
U·S, .•]
llle circumstance of thc new is perhaps nowhere beller illuminated than in the
figure or the Rancur. His thirst for the new is quenched by the crowd, which
appears self·impelled and endowed with a soul of its own. In fact, this collective is
nothing but appearance. This "crowd," in which the fl tineur takes delight. is just
thc cmpry mold with which, st'venty years later, the lfJllc.sgemdmc!tajl (ltople's
Community,U2 was cast. TIIC H5.neur who so pridcs himself on his alertness. on
 his nonconfonnity, was in this respect also ahead of his contemporaries: he was
the first to fall virum to an ignis fatuus which since that tim ... has blinded many
millions. [j66, 1]
Balldclai~ idealizes the experience of the commodity, in that he ascribes to it, as
canon, the aperience of allegory. [j66.2j
If it is imagination that presents corresponclc:nces to the memory. it is thinking
that consecrates allegory to it. Memory brings about the convergence of imagina-
tion and thinking. [j66,3]
With the new manufacturing processes that lead to imitations, semblance is
consolidated in the commodity. [j66,4]
Between the theory of natural correspondences and the repudiation of nature
exists a contradiction. It is resolved insofar as within the memory impressions
become detached from individual experiences, so that the long experience stored
up in those impressions is released and can be fed into the allegoricalfu7'ldw. <See
j62',2.. [j66,5]
<Stefarn George translated "Spleen et IdeaI" by "Triibsinn und Vergristigung"
<Melancholy and SpiritualizatiOID, thus hitting upon the ...ssentia1 meaning of the
ideal in Baudelaire. [j66,6]
With Meryon, the majesty and decrepitude of Paris come into their owo.
[j66,7]
In the fonn taken by prostitution in lhe big cities, the woman appars not only as
commodity but, in a precise sense, as mass-produced article. TIlls is indicated by
the masking of individual expression in favor of a professional appearance, such
as makeup provides. The point is made srill more emphatically, later on, by the
unifonned girls of the music·hall review. [j66,8)
Baudelaire's opposition to progress was the indispensable condition for his suc-
cess at capturing Paris in his poetry. Compared with this poetry, all later big-city
Iyrie must be accounted feeble. What it lacks is pn=:cisdy that reserve toward its
subjea matter which Baudclain=: owed to his frenetic hatred of progress.
[J66a,l ]
In Baudelaire, Paris as an emblem of antiquity contrasts with its masses as an
emblem of modernity. [J66a.2]
On Lt: Sp/(nl til.' Paris: news items arc the leaven that aUows the urban masses to
rise in Baudelaire's inlagination. [J66a,3]
Splecn is the reeling that corresponds to catastrophe in pennanencc. {j66a,4]
It is a very specific experience dIat the proletariat has in the big city-onc in many
respects sintilar to that which the inunigrant has there. [j66a.5]
To me fiftneur, his city is-eVf.":n if, like Baudclaire, he happened to be born
there-no longer native ground. It represents ror hin} a theatrical display, an
arena. [J66a,6]
Baude~ never wrote a whore-poem from the point of view of the whore. {But
compare: Brecht, UJ,bllch/U, Stiidlebewohne" no. 5.)as:! (j66a.71
Preface '0 DIII'0nt 's poems ill 1851 ; eua)' on Dupont ill 1861. [J66,,8]
In theerotology of the danmed-as that of Baudelaire might be called-infertility
and impotence an: the decisive factors. They aJorl( are what give to the cruel and
ill-famed moments of desire in sexual life a purely negative character-something
that is lost, it goes widlom saying, in the aa of procreation, as in relations de-
signed to last an entire lifetime (that is, in marriage). These realities instituted for
the long terol-children, marriage-would lack all assurance of longevity, had
not the mOSt destructive energies of the hwnan being entered into their creation,
contributing to their stability not less but more than many another energy. But
these relations are legitimated, through this contribution, only to the extent that
this is really possible for decisive libidinal movements in PIT-Kllt-day society.
[J6',,9]
The social value of marriage rests decidedly on its longevity, insofar as this latter
holds within it the idea of an ultimate and definitive-if continually deferred-
"confrontation" of the spouses. From this confrontation the couple are preserved
so long as the marriage itself lasts-which is to say, in principle, for the rest of
their lives. [J67,1]
Relation between commodity and allegory: "value," as the natural buming-glass
of semblance in history, outshines "meaning." Its luster <&hdm is more difficult
to dispel. It is, moreover, the very newest. In the Baroque agc=, the fetish character
of the commodity was still relatively wldevcloped. And the commodity had not
yet so deeply engraved its stigma-the proletarianization of the producers-on the
process of production. Allegorical perception could thus constitute a style in the
seventeenth century, in a way that it no longc=r could in the nineteenth. Baude-
lair... as allegorist was entirely isolated, He sought to recall the experience of the
commodity to an alIeg01ica1 experience. In this, he was doomf.":d to founder, and
it becam ... clear thaI the relemlessness of his initiative was exceeded by the relent·
lessness of reality. H ence a strain in his work that feels pathological or sadistic
only ~cause it missed out on reality-though jusl by a hair. [J67.2}
It is one and the Same histOlicaJ night at the onset of wltich th... owl of Minerva
(with Hegel) begins its Bight and Eros (with Bauddaire) lingers before the empty
pallet, torch extinguished, dreaming of bygone embraces. 1J67.3]
The experience of allegory, which holds fast to rums, is properly me experience
of etemal lransiencc. (J67,4)
Prostitution can lay claim (Q being considered "-work ,. the moment work be-
comes prostimtion. In fact. the lorttte»' was the first to carry out a radical renun-
ciation of the cosmme of lover. She already arranges to be paid for her time: from
there. it is only a short distance to those who demand ~w.l.ges." (J67,5J
Already at work inJugendstil is the bourgeois tendency to set nature and technol-
ogy in murual opposition, as absolute antitheses. Thus. Futurism will later give
to technology a destructive antinatural accent; in Jugendstil, the energies des-
tined to operate in this direction art beginning to unfold . The idea of a world
bewitched and. as it were, denatured by technological development infonns a
good many of its creations. (J67,6]
The prostinlle does nOt sell her labor power; her job, however, entails the fiction
that she sells her powers of pleasure. Insofar as this represents the utmost exten-
sion attainable by the sphere of the conunodity, the prostitute may be considered,
from early on, a precursor of conuuodity capitalism. BUl precisely because the
conunodity character was in other respects undeveloped, this aspect did not need
to stand out so glaringly as would subsequently be the case. As a matter of fact,
prostitution in the Middle Ages does not, for example, display the crudeness that
in the nineteenth cennuy would become the rule. (J67a, 1]
The tension between emblem and commercial logo makes it possible to measure
the changes that n..we taken place in the world of things since the seventeenth
cenrury. (J67a,2]
Strong fixations of the sense of smell, such as Baudelaire seems to have known.
could makc= fctishism likely. [j67a,3]
The new fcrmcnt that enters into the ltudium villU and rums it to spleen is
[J67a,4j
self-cstrangcment.
H ollowing out of the irmer life. Of the infinite regress of re6e~tion that,. in ~
manticism, in a spirit of play, both expanded tllC space of life In evcr-wldelU~lg
circles and reduced it wiUUII ever nalTower fram es, there remained to Baudclatre
only lhc "sombcr and lucid exchange" with himself. as he represcnts it ~ the
image of a convcrsation between U1C jack ofhcarts and the qucen of spades 11l an
old pack of cards. Latcr. Julcs Renard will say: "His hcart .. _ more: alone Ulan
an ace of hearts in the middlc of a deck of cards:'J" [J67a,5]
TIlcre may \\--ell be Ule closest connection between the alJe~ori.cal ~g.ination
and the imagination put in thrall to lhi.nk.ing during haslush Il1t000Cauon. At
work in the latter are different sorts or powers : a genius of melancholy gravity,
another of Ariel-like spiriruality. [J67a,6]
In view of its position immediate.ly after "La Destruction," <in iLJ FleurJ du mai,)
"Vne Martyre" is ricll in associations. The allegorical imention has done its work
on this martyr: she is in picces. (J67a,7]
In "La Mort des amants," correspolldc=nccs weave away without any hint of al-
legorical intention. Sob and smile-as cloud formations of the human face-min-
g1e in the tereets. Villiers de I'lsle-Adam saw in this poem, according to a letter he
wrote to Baudelaire, the application of the latter's "musical theories." (J67a,8)
"La Destruction" on the demon: "he 6lJ.s my burning lungs I with sinful cravings
never satisfied .~ The lung as ule seat of desire is mc= boldest intimation of
desire's unrealizability that can be imagined. Compare the invisible stream in
,;Btnediction." [J68,l )
Of all the Baudelairean poems, "La Destruction" comprises the most reJentless
elaboration of the allegorical intention. The "bloody retinue," which the poet is
forced by the demon to contemplate, is the court of allegory-the scattered
apparatus by dint of which aUegory has so disfigured and so unsettled the world
of things that only the fragments of that world are left to it now, as object of its
brooding. The poem breaks off abruptly ; it itself gives the impression-doubly
surprising in a sonnct-of something fragmentary. (j68,2!
Compare " Le Vi" t.l t:! l:hif(onnieJ" - ~ilh "Dan K ce Cahriolet ," by Sainte-Beuve
(d.es Crmaoifltioru" vol. 2 [Puris, 1863]. p. 193):
Su led in Ihill u briolel , I examin e the man
Who driVel! me, Ihe mll n who ', little mOn! IbaD machi ne.
Ilideou. wit.h hi. Ihi ck hu l'<l. hi. \0115 matted hai r :
"iL~ II lId ..i ne a nd . 1« 11weigh Iiown hi. !IOlli. h eYe;!.
Ilow fll r l hell . l thollghl _ean l\LImanil y jillk?
And I IInw back 10 the o ther eorller of tile ~a l .
The l)(lel goes 0 11 to ask himself wh!!tller hi ~ own soul iM nol just as unkempt HI the
~oul (If Ille c·oll r hm a n . Baurlc·laire ment.i.,n! Ihi8 poem in his letter fir January 15 ,
1866. to Sainte-Ucuve ..u: 1J68.3]
The ragpicker is the most provocative figure of human misery. "Ragtag" <Lump-
1:1Iprolr:farim in a double sense : dothed in rags and occupied with rags. "Here
we have a man whose job it is to pick up the day's rubbish in the capital. H e
CoUects and catalogues cverything tllat thc= great city has cast off, everything it
has losl. and discarded. and broken. H e goes through the archives of debauchery,
and the. jumbled alTay of refuse. He makes a selection, an intelligent choice; like
a Oliser hoarding treasure, he coUects the garbage that will become objects of
utility or pleasun: when reflll'bished by lndusrrial magic" ("Du Vm et du
hasc.hisch," Oemm:J, vol. I , pp. 249-250). As may be gathered from this prose
description of 185 1, Baudelaire recob'llizes himself in the figure of the ragman.
The poem presents a further affinity with the poet, immediately noted as such: "a
ragpicker stumbles past, wagging his head I and bumping inlO walls with a poet's
grace, I pouring o ut his heartfelt schemes to one I and all, including spies of the
police:' .oM (J68,4]
Much can be said on behalf of the supposition that "u Yin des chifTonniers" was
written around the time of Baudelaire's espousal of "beautiful utility." (The
question calUlOt be settled with any certainty, because the poem first appeared in
the book. edition of us FleuTs du maJ.-"u VIn de l'assassin" was published for
the first time in IM8-in L'Etho des marchands de vinJ!) The ragpicker poem
strenuously disavows the reactionary pronouncements of its author: The criti-
cism on Baudelaire has overlooked this poem. [J68a,l]
"Bdieve nil:, the wine of the barriere, hall effectively pre~erved tbe 8hocks to
which govcrnmcnlal slruclurclI have been suhject. " Edouard Foucaud, Porn in-
veli lcur; Php iologie de L'ifidlUlrieJram;;o i3e (Paris, 1844). p. 10. [J68a,2]
AproJlos of "Le Ym dell chilTonllicrs'"': "There's braMij in nul' puckets, I Pierre,
lei 's go Ull n hinge: I 011 Mondays, you know. I I love to knock about. I I know ofa
wwc (or two SOliS I That 's IIlIt half hall , I Anti eo, leI's go haVf~ some fun , I Let',
walk up It) Ihe burriere, ... 1:1 . Gourdon de Genouillac, Les ReJrain.!l de ifI rue, de
1830 a 1870 (Paril, 1879), p. 56. (J68a,3]
Traviel oflen drew lhe tYlN! of the ragpicker. !J68·,'1
The SO il of the proletarian figures in "L'Ame du vin" with d ie words, " this frail
athlete of life"»L-an infinitely sad correspondence of modernity and antiquity.
!J68. ,51
With regard to the "sectioning of time": the hidden construction of "Le VUl des
anlallts" is grounded in the fact that only rather far along does the now surpris-
ing light fall on the situation al hand: the ecstatic drunkelUlcss which the lovers
owe to lhc wine is a moming drunkefmess. "into the blue crystal of the mom'
ing""JdI_ this is the sevcntlliine of this fourteen-line poem. [J68a,6]
In the situation of tlle lovers "cradled gentIy on the wing I of the cormiving
whirlwind," JIll it is not far·fetched to hear a reminiscence of Fourier. "-nle whirl-
winds of planetary spheres," we read in Silberling's Dictionnairr tir Jotiologie pha,-
ImlJli rilmnr (Paris, 1911 ), p. 433, "so measured in tIlcir motion that at anyone
mo ment they pass over billions of places-arc, in our eyes. the seal of divine
justice 0 11 I..he Bucnmtions of matter" (FoUlier, 'fMode t'n concrtl 011 positilX,
p.3201· Ll68.,7]
Baudelaire. builds stanzas where it would seem almost impossible to construct
them. Thus . in the sixth stanza of "Lesbos :" "ambitious heans I that yearn, far
from us. for a radiam smile I they dimly glimpse o n the rim of other sk.iesl"ati1
[j68a,8]
On the desecration of the douds : " Wandering a wasteland at high noon I . .. I
saw a dismal stOnndoud bearing down I upon my bead, bristling with vicious
irnPS "~-this is a conception that could stem directly from a print by Meryon.
11 69.11
It is rare in French poctr)' that the big city is evoked through nothing but the
immediate presentation of its inhabitants. 1b.is occurs with unsurpassable po\'.tt
in Shelley's poem on London <cited in MIS). (Wasn't Shclley's London more.
populous than the Paris of Baudel~?) in Baudciaire, one encounters merely
traces of a similar perception-though a good many traces. In few of his poems,
hmvcver, is the metropolis portrayed so exclusively in terms of what it makes of
its inhabitants as in "Spleen I." 1bis poem shows in a veiled way how the soulless
masses of the big city and the hopelessly depleted existence of individuals come
to complement one another. The first is represented by the cemetery and the
suburbs-mass assemblages of citizens; the second, by the jack of hearts and the
queen of spades. (J69,2]
The hopeless decrepitude of the big city is fcit particularly keenly in the first
stanza of "Spleen I." (J69,3)
In the opening poem of us FleurJ du mal, Baudelairc= accosts the public in a most
unusual fashion. H e cozies up to them, if not exactIy in a cozy vtin. You could say
he gathers his readers about him like a camarilla. (J69,4)
The awareness of time's empty passage and the taedium uiliu are the [W() weights
that keep the wheels of melancholy going. In this regard, the last poem of the
"Spleen et ideal'" sequence corresponds exactly to the sequence "La Mort."
1169,51
The poem "VHoriogc" <The C lock) takes the allegorical treatment quite far.
Grouped about the clock, which occupies a special position in the hierarchy of
emblems, are Pleasure, the Now, Time, Chance, Vtrtue, and Repemance. (On
lhe s)'lphid, compare tIle "wretched tIleater" in " L'!rreparable,"J/j, and on tIle inn,
tIle allbergt in the sanlC: poem.) (J69,6]
Ule "grotesque and livid sky" of"H orreur syrupathique":l/i.~ is the sky of Meryon.
1169.7]
On the "sectioning of rime," and on "VHorlogc" in particular, Poe's "CoU<XJuy of
Monos and Una": "TI1Cfe seemed to have sprung up in tIle brain that of whicll
110 words could convey lO the merely human intelligence even an indistinct
concepcion. Let me teml it a mental pendulous pulsation. It was the moral
emboduncnl of man's abstract idea of Time . ... By its aid I measured the irregu-
larities of the clock upon the mantel, and of the watches of the attendants. 1bcir
tickings came sonorously to my ears. The slightest deviation from the true pro-
portion ... affected me just as violations of abstract truth are WOHl, on earth, to
affect the moral sense" (Edgar Allan Poe, NOllvelles Hiltoim atraordinaim <Paris,
1886~, pp. 336-337).- This description is nothing but one great euphemism for
the utter void ohime to which man is surrendered in spleen. {j69a,1]
"... until night I voluptuously reaches for I the horizon, consoling all- I even
bungu, concealing all- I even shame" ("La Fm de la journee")""- this is the
swnmer lightning of social conflicts in the nighl sky of the metropolis. {j69a.2]
" Yuu Set' I" . for sellinr; lJfr my darknes5. more ! mockingl y 10 magnify the "pace I
whieh bars me from those blue immensities" ("'J e t ' adore a l'egal ... "). J uxta-
pOlle: " And the. !lUIII/HI faell-which Ovid thought was made 10 mirror the IIItan-
lee it now, no 10n!;!!T expreuing anything but a crazy ferocity. or rigid in a kind of
dcath!" (Oe Ullre,. vol. 2_ II. 628 [" Fusees," no. 3]).39\ [J69a,3 j
In studying the allegorical in the work of Baude1ain:, it would be a mistake: to
undervalue the medieval element in relation to the Baroque. It is something
difficult to describe, but may be grasped most readily if we recall how very much
certain passages. certain poems ("'Vers pour Ie portrait de M. H onore D aumier,"
"L'Avertisseur," "Le Squelette Laboureur"), in their pregnant simplicity, contrast
with others that are overburdened with meanings. This bareness give.! them the
sort of expression one: finds in portraits by Fouquet. U 69a,41
A Blanquisllook at the terrestrial globe: 1<] contemplate from on high the globe in
its rondure, I and I 110 longer seek there the shelter of a hut" ("Le GoOt du
neant").361 The poet has made his dwe lling in space itself, one could say-or in the
abyss. [J69a,51
Representations pass before the melancholic slowly, as in a procession. ~
image, typical Ul this complex. of symptoms, is rare in Baudelaire. It occurs m
"Horreur sympathique": "your vast mourning clouds ! are the hearses o r my
dreams.",mI [J70,1]
"TIlen all at once the raging bells break loose, I hurling 10 heaven their aw~
calcrwaul" (" Spleen lV'V71The sky thai is assailed by the bells is the same III
which Blanqui's speculations move. [J70,2j
"Behind the scenes, the frivo lous decors I or all existence. deep in the abyss, I
I sec distillctl), oLher, blighter ......o rlds" ("La VOix") . These aJ'C the worlds of
L'Etmritl par lu (JJtreJ. Compare "Le GoufIre" (The Abyss>: "my windows open
0 11 Infinity.nm [J70.3]
If we bring together "L'Irrtmediable" with tm: poml Mouquet attributed to
Baudelaire, "Un J our de pluie" <A Rainy Day>, then il becomes quite dear that
what inspires Baudelaire i.s the state of surrender 10 the abyss. and we see also just
where this abyss actually opens. The Seine localizes "VnJour de pluie" in Paris.
Of this locale W~ read: "In a fog heavy with poisonous vapors, I men are buried
like sneaking reptiles; I though proud of their Strength, th~y snunble blindly
aJong I more painfully with each step" (vol. 1, p. 212). In "L'lrrbnediable," this
image of the Parisian streets has become o ne of the allegorical visions of the abyss
which the conclusion of the poem describes as "apt emblems": "A soul in torment
descending I . .. intO an echoing cavern I ... or vigilant slimy monsters! whose
luminous eyes enforce I the gloom" (vol. 1, pp. 92-93).:m [J70.4]
Apropos of tilt: u talogue of CllIblemll presented by Ihe poem " L' lrremediabie,"
C..fpet eites a passage. (rom de Maiure's Soirees de Suint-PetersbQurg: "That river
which one e rosse~ but once ; thul pitcher of the Danaides, ofwoy~ full and alw0Y'
en.pty; that liver of 1'ityw, alway, regener ated under the Leak of the vuhu rt: that
lII,wyt tlevours it allt'W, . • •- Ihelle are so many speaking hieroglyphs, about
which il i~ impolI~ ible to be m.i~ tuken . '·m [J70,Sl
The gesrure of benediction, with outstretched arms, in Fidus (also in Zarathw·
Ira 1)-the gesture of someone carrying something. [J70,6]
From the draft or Bn epilogue 10 the lieeond edition of Let Fleurs du mal: " your
nlagic cobbles piled for barriulles, f your chea p orator!' baroque rhetoric. !
rantin g of 10" e while your scwers run wilh blood . I swirling to heD like mighty
fh·ers"'(voJ. 1, p . 229V~s [J70a.l]
"Benediction" presents the poet's path in life as Passion : "he sings the very
Stations of his cross." In places, the poem distantly recalls the fantasy in which
Apollioaire, in Le Poet~ QJJQ.J£i"t (ell. 16), has imagined the extennination of poets
11)' unbridled philistines : ~ and blinding flashes of his intellect I keep him from
noticing the aJIgry lllob."A [J70a,2]
A Blanqui!it look at htIDlall.ity (and, at the same time, one of the few verses by
Baudelaire that unveils a cosmic aspect): ~the Sky! black lid of thai enormous pot
I in which ilUlUmerable generations boil" ("Le Couvercle").11:71 (j 70a,3)
It is, above all, the "recollections" to which the "familiar eye"lIII appertains. (Il:Us
gaze. w hicll is no n~ o ther than the gaze o r certain portraits. brings fbc to mind.)
(j70a .4]
"On solemn eves of Heavenly halVe5ting" ("I:Imprevu")l>L-an aunmmal Ascen-
sion. [J70a.S1
"CybCle, qui les aime. augl1lente ses verdures"'38L-in Brecht's beautiful transla-
tion: "Cybcle. die sie liebt, legt mehr Griin vorl' ("Cybele. who loves them,
shows mort: grttn "). A mutation of the organic is implicit here. [J70a.6)
"Le Gouffl'~" is the Baudelaircan equivalent of Blanqui's "vision."
[j70a,71
"0 wonns. black cronies without eyes or ears"l&L-here is something like sympa.
thy for parasites. (J70a.8J
Com"arison or eyes lu illuminated llliovwilldowl!! "Your eyeR, Lit up like shope to
lure their tradc I ur fircworkB in the park on holidays. I insolently make use o(
borrowed power" (" Tu mettrui8 1' univers").:W (J70a,9]
Concerning "La Servaute au grand coeur": the words, "of whom you wc.rt= so
j ta/mll,":I.t.l in the 6rst line, do not bear precisely tne accent one would expect. 1be
voice, as it .....'CtC, draws back from ja/au.$(. Ths ebbing of the voice is something
extremely charactcrisec. (Remark of Pierre Leyris.) [j70a,IO]
The sadistic imagination tends toward mechanical constructions. It may be that,
when he speaks of the "nameless elegance of the human armature," Baudelaire
sees in the skeleton a kind of machinery. The point is made more clearly in !OLe
Vm de l'assassin": "'That bunchl They feel about as much I as plowshares break-
ing ground- I plow or harrowl Which of them I has ever known True LoYe."
And, unequivocally: "Blind and deaf machine, fertile in cruelties" ("Tu mettrais
I'uuivers").- [j71 ,1}
"Old·fashioned" and "immemorial" are still united in Baudelaire. The (things>
that have gone out of fashion have become inexhaustible containers of mCllO-
ries. It is t.hus the old women appear in Baudelaire's poetry ("w Petites
Vieilles"); thus the departed years ("Recueillement"); it is thus the poet compares
himsdf to a "stale boudoir where old·fashioned clothes I lie scattered among
wilted fem and rose" ("Spleen 11").316 [J71.2]
Sadism and fetishism intertwine in those imaginations umt seek LO :UUlCX all
organic life to the sphere of the inorganic. "0 living matter, henceforth you 're no
more I TItan a cold stone encompassed by vaguc fear I And by the desert, and
t.he mist. and sun" ("SpleenlJ").JIW The assinUiation of the living to dead matter
was likewise a preoccupation of Flaubert's. The visions of his Saint Anthony are
a rriumph of fetishis m. and wonhy of those celebr:l.ted by &sch on lhe Lisbon
altar. (J7 1,3)
If "Le CrepuscuJe du matin" opens with the sound of reveille in the barrack.
squares, one must remember that under Napoleon HI. for reasons easy to under-
stand, the interior of the city was fillcd with barracks. (J71 ,4]
Smile and sob, as cloud fonnation of the human face, are an unsurpassable
manifestation of its spirituality. (J7I ,S]
In '" Revc parisien." the forces of production are seemingly brought to a standstill,
put out of commission. The landscape of this dream is the dazzling mirage of the
leaden and desolatc terrain that in "De Profundis clamavi" becomes the universe.
"'.At. frozen sun hangs overhead six months; I the other six, thr: earth is in its
shroud- I no trees, no water, not one creature here, I a wasteland naked as the
polar nonh!1t3II; [J71,6J
The phantasmagoria of "R!ve parisien" recalls that of the world exhibitions,
where the bourgeoisie cried out to the order of property and production their
"Abide, you are: so fair! "3118 [j71 ,7]
PI'Ollst 011 "gl'alltjllg u kiml of glory 10 the. cruwd": "It would seem impunible to
better that. ...JI!'I [j71a,1]
"And which, on those golden evenings wnett Joufid YDum!! nvivt'lllD- the second
half of the line collapses on itself. Prosodically, it works to contradict what it
affirms. 'This is, for Baudelaire, a characteristic procedure. [j7Ia,2]
"Whose name is known only to the buried prompter".191...-this comes from the
world of (b( (compare "Remords posthume," "Le Mort joyeux"). (J71a,3]
The only place in Le F"kurs du mal where the Baudelairan view of children is
contravened is the fifth stanza of the first section of "w Petites Vieilles": "the
eyes of a clUld, a little girl who laughs I in sacred wonder at whatever shine.sI "3n
To arrive at this outlook on childhood, the poet takes the longest way-the way
leading through old age. [j71a,4]
In Baudelaire's work, poerns 99 and 100 of us F7nJrS du mal stand apan-as
Strange and solitary as ule great stone gods of Easter Island. we know that they
belong to the oldest parts of the text; Baudelaire himself pointed Ulem out to his
ma Uler as poems referring to her, poems to which he had given no tiue because
any advertisement of this secrel eOrUlection was odious to him. What tllese
~ nlS mark out is a death·tranced idyll. Both, but especially t.he first, breathe an
OUr of peace such as rarely obtains in Baudelaire. BoUl present the image of the
fatherless famil y: the son, howe vcr, far [rom occupying t.he place of the fatller,
leaves it cmpt)'. 111(: dis tam SUIl 111at is setting in the first poem is the symbol of
lllc faulcr, of him whose gaze-"huge open eye in the curious sky..-~-tingers
 without jealousy, sympathetic and remote, on the meal shared by mother and
son. TIle second ~ evokes the image of the fathalcss family situated not
around a table but around a grave. The sultnness of life pregnant with possibili·
j ties has cntirdy yielded to the cool night air of death. U 7La,S}
J.. The "Tableaux parisiens" begin with a transfiguration of the city. The first,
second, and, if you like, third poem of the cycle work together in this. "Paysagr:"
is the city's tete-a-d!te l'I'ith the sky. The only d ements of the city to appear on the
poet'S horizon are the "workshop full of singing and gossip, and the chimney-
pots and s teeples."a~ Then "Le Sole.il" adds the suburbs; nothing of the urban
masses enters intO the first thue poems of "Tableaux parisiOlS." The founh
begins with an evocation of the Louvre, hut it passes immediately, in the middle
of the second stanza, intO lamentation over tIle: perishability of the great city.
1172,1]
"'Drawings to which the gravity I and learning of some forgotten artist I . , . I
have oonunurucalcd beauty"J9L-Ja Beauli appears hen:, thanks to the definite
article, as sober and "impassive." It has become the allegory of itself. (J72,2]
On "Brumes et pluies" <Mists and Rains>: the city has become strange to the
Saneur, and every bed Mhazardous."* (Multitude of night lodgings for Baude-
laire.) ]In,']
~ may be surprised to 6nd the poem "Brumes et pluies" among "Tableaux
parisiens." ]t verges on imagery of the country. But aln=:ady Sainte-Beuve had
written : "Oh, how sad the plain around the boulevard I" ("La Plaine, octobre,"
mentioned by Baudelaire (ontre Sainte·Beuvt on January 15, 1866).- The land·
scape of Baudelaire's poem is, in faa , that of the city plunged in fog. It is the
preferred canvas for the embroideries of boredom. [J72,4]
"Le Cygne r (The Swan> has the movement of a cradle :OCkin.g ba~ and ~orth
between modemity and antiquity. In his notes. Baudclatre wntes: Conce~ve a
sketch for a lyrical or fairy houJfonntn"~. a pantomime.... Steep the whole Ul an
abnomlai, dreamy atmosphe re- the atmosphere of grrat Jays. Let there be some-
thing lulling about it" ("Fusees," no. 22).- TItcse great days are the days of
recurrence. ]J72.5]
On the "fow demons in the aunosphere":3"" they return as the "demons. of ~e
cities" in Georg Heym . They are grown more violent but. because t.hey discla.un
their resemblance to the "businessmen; they mean less. [J 72,6]
Closing@I:.Iuzaof ··Oi.: Ou nu""'n ut: r St iidtc" ~ D"mi) u 5 ,If ti ll' Cilies). h y Ht'ylll :
Hili the , I ~nl o n~ an ' !!ru"'in~ l'<..lossal .
T ht hm'ni 011 ,I",ir I...... b (trAM hlf>(H i rrem' tilc sky.
Earthquakes rumble in th e bell y urtbe citi~
Bencal.h tht:ir houvell. fi re in their Wilke.
Georg Heym, Didlfllll6efl (Munich . 1922), 11 . 19. [J12a. l ]
~Je t'adore a I'tgal de 13 vaUte nocrome" d
Ni glj[)~l"IIL-nowhere
adore you no less than the vault of
more clearly than in this poem is Se.xus played off against
Eros. One must rum from this poem to Goethe's "Selige Sehnsucht" <Blessed
Longing>"" to see, by comparison, what po'o'o'e:rs are conferred on the imagination
when the saua] is joined with the erotic. {j72a.2]
"Sonnet d'automne" describes, in a reserved but scrupulous way, the State of
being that conditions Bauddaitt's erotic experiences : "My hean, on which
everythillgjars, I . .. I is unwilling to disclose its hellish secret, I . . . I I hate all
passion . . . I Let u~ love each other gently." 1l:tis is like a distant reprise of the
stanZa in the West-D.rl/jell" Divan where Goethe conjures out of the houris and
their poet an image of the erotic as a sort of paradisal variant of sexuality: '"1beir
friendship reward his endeavor, I Compliant with sweet devotions, I Let him live
with them forever : I All the good have modest notions."tItI (J72a.3]
Marx on the Second Repuhlic: " Pass.ions without truth. tr uthl without pau ioD ;
heroci without heroic deedl , history wi thout eventl; developme nt, whose BoLe
driving force seems to be. the calendar, wearying with COllSlant rlllletitioD of the
. ame tellsions and relaxation • . ... If any section of hi8 tory has been painted gray
on gray, it is thil. " Karl Marx, Oer ach l%ehnte Brumaire desl.oui& Bonaparte, ed.
Rjarr;anov (Vienna and Berlin d927» , pp . 45-46.1I.ll l172a.4]
The opposite poles of the Baudd.airean sensibility find their symbols equally in
the skies. The leaden, cloud.l~s sky symbolizes sensuality in thrall to the fetish;
cloud formations arc the symbol of sensuality spirirualized. (]72a.5]
Engt!llI to Marx on D~ember 3, 1851 : " Fo r today, at any rale, the ass is as free .. .
1411Ihe old mall 011 the evening of the Eighteenth Brumaire, so completely unre-
strained thai he can'l help exposing hill a sinine self in all directio ns. Appa Uing
IlerSIH!d h 'e o( no resilltance !" 1iI1 (Karl MllfX , Ocr ucht%ehntll BnunClire des Low
HOllo/JUrlP-. ed. Hjuzano v (Vit'llua and Berlin1 . p. 9). [J73,.I ]
Engd g I" Marx 011 J)ecemlJcr 11 , 18.51 : " ' f, this time , the proletariat failed to fight
eN m(l ue. it wall IIt't!a ulle it wall fll1l y aware of it.'! OWIi . .. impotence lind was
prc jlllrcli 10) auhm..il with fa talis tic resignation 10) a rellt:wed cycle of Republic,
Empire. restoratioll , a lld rresh revuiulioll , until .. . it regained frcllh Itrength"l01$
(M il fX • lJer uclll;;eil,lte Bntlll(lire, p . to). 1]73,2)
- As ill known , May 15 [IfW8] had 110 olher rl!liuh l ave dun of removing Blanqui
lind hig cumraull:lt--thal is , Ihe real leaden; of the I'roletariall parly. Ihe revo lu -
 Liolliny 11OmmWlistll-frOlll t.he public stage for th... entire. dUrll.tion of the cycle."
Marx. Der achtzehrue IJrllnl(Jire. ed. Rjazanov. p . 28.I0Il 1J73,3)
America's spirit world enters into the description of the crowd in Rx.. Marx
speaks of the republic which in Europe "signi6es, in gencral, only the political
.. fonn of revolution of bourgeois society and not its conservative form of life-as
for example, in the United States of North America. where ... classes ... ha~
not yet beconte fixed, . .. when: the modem means of production ... compen_
sate for the relative deficiency of heads and hands, and where, finally, the fever-
ish, youthfuJ movement of material production ... has left neither time nor
oppornmity for abolishing the old spirit ,""urld." Marx, D~ acntunntt Brumairt,
p. 30. ' 1;1;1 It is remarkable that Marx invokes me world of spirits to help explain the
American republic. (J73,4)
If the crowd is a veil, then the journalist draws it about him, exploiting his
numerow connections like so many ~ductive arrangements of the cloth.
U"~]
The revolutiona r y hy-elcetioll8 of MlI.rch 10, 1850, sent to tbe parliament in Paria
an exclusively social-democratic mandate. But these.elec::tions wo uld find ua senti-
mental commentary in Ihe April hy-e1ection , tbe election of Eugene Sue." Marx,
Ocr ocht ~ehnre Brumoire. I" (~. - {j73,6j
Apropos of<:.LeCrepuscule du mutin ." Mun: sees in Napoleon III "a man wbo does
no t decide by night in order to execute by day, but who decide!i by day and exe-
cutes by night. " Mau , Der oeh'zehn'e Brumaire, ed. Rjazanov, p. 79. 409 lJ73a, l}
Apropos of " Le Crepuscule tlu malin": "Paris u rull of rumors of a coup d 'etat.
The capital is to be filled with troopa during the night ; d ie nex l morning is to hrill3
,Iecrees.·' Quoted froll! the Eu ropean daily press of Septemher and October 1851.
Marx , Oer acht::ehnte Brumaire, I)' 105:"" lJ73a.2) -
Marx ("aIls the leaders of the Paris pruletariat tbe "barriculle commanders." Chr
oehtzehnte Brumaire. p. 113.'" 1J73a.3)
Sainte-Bcuvt's remark about Lamartine, whose poems represented the sky (JIIU
Andre Chenier's landscapes (J5 1a,3). sbould be compared v.rith the words of
Marx: "'While, in its accord with society, in its dependence on natural forces and
its submission to the authority which protected it from above, the small holding
that had newly come into being \-'t'3S narurally religious, the small holding that is
ruined by debts, at odds v.rith society and authority, and driven beyond its own
Mutations naturally becomes irreligious. Heaven was quite a pleasing accession
to the narrow strip of land jWt won, more particularly as it makes the weather; it
becomes an insult as soon as it is thrust forward as substiNte for the small
holding." Marx. De.,- acnlUlmtt: Brumllirt, p. 122."1 Sainte-Bcuve's analogy, com-
bined with this passage from Marx, provides the key to the character and dura·
tion of the policica1 influence which Lamartine derived from his poetry. Com-
pare, in this cOlmection, his negotiations with the Rwsian ambassador, as
reported by Pokrovski <cited in dI2,2). (]73a,4J
Ambiguity of the heroic in the figure of the poet : the poet h~ abou.t him some-
thing of the destitute soldier, something of the marauder. His fcnang <Ftchtnl)
often recalls the meaning of this word ll3 in the argot of vagabonds. (j73a,5)
Ma rx o n the parasitic crelltures of the Secoud Empire: "Leslthey make n mistake
ill Iht: YCll ril, Ihey COUllt Ihe minules." Marx. Ocr (l cht%eh nfe BrlLmuire. p. 126,4'"
U73.,O]
Ambiguity of that concc:ption of the heroic which is hidden in ~e Ba~delairean
image of the poet. liThe culminating point of the idie; naPOIiOnltTI~I IS the pre-
ponderance of the anny. The army was the po~'nl d 'Ilonntur of the small.hol~g
peasants; il was they themselves tranSformed Ulto her:oes' ... But the encuuca
against whom the French peasant has now 10 defend his property are ... ~e tax
collectors. TIle small holding lies no longer in the so-<alled fatherland, but tn the
register of mo rtgages. The army itsclf is no longer the ~ower of ~e ~asant
youth; it is the swamp-Bower of the peasant lumpenproletanat. It cOnslS~ ~ large
measure of mnpla{4ntJ, of substirutes, jwt as the second Bonaparte lS himself
only a rempla(ant, the substitute for Napoleon. . . . One see that All. i&:s
napolionimnl!J are ideas of the undeveloped small holding in the freshness of Its
youth; for the small holding that has outlived its day, they are an absurdity."
Marx, Ikr (UlIlunnlt Brumairt. ed. Rjazanov, pp. 122- 123.115 11 74 ,1\
On Satll nislll: "When the puritans at the Council of Constance cOlUlllained of the
dis80lute lives of the pupes ... , Cardinal Pierre d' AiUy thundered al them: 'Only
tbe devil in pt'f80n can still save the Catholic church , a nd yo u ask for angela.' In
like manner, after the coup d'etat, the French bourgeoisie cried: Only the chief of
the Society of Decem.be r 10 can still save bourgeois society! Only theft can still alive
property! Only perjury can save religioll! On1y hastardy can sa,'e the family! O nl y
disorder call 8a,'c order!" Marx , Dcr (lcht%ehntc Brumaire, ed. Rjaunov,
p. 12'1.11. [J74,2)
--One elill visuuJizc j·lt-arl), Ihi" upper iltratum or the Society of DI!-1:t'mber 10. if one
r('II" ('ls Ihat WrOn-Crcvel is its prellcher of mor ulJl alill Gr anier de CU8&ugnac ill
thillk,·I·." Marx. D.'r ucJll:ehflte Bmmaire. ed . Hjuzll.uov, p. 127 .41': [J74.3]
-nle "magic cobbles piled for barricades," in Baudelaire's drafl of an ep~oguc.'~'·
define the limit which his poetry encountcrs in its immediate confrontatlon With
social subjeCts. The poet says nothing of the hands which move these cobble-
Stones. In ;ole Vm des chif[onruers," he was able to pass beyond this limit.
UN ,4]
Cloaing wleB of "Le Vin deB chiffonnien:' in the version of 1852: " Already God
hlul given them sweel Bleep; I He added winc. divinc son of the sun ." The distinc_
tiun helwecli God and lIIan ("Man added wine .. . ") dl:l.tes from 1857. [J74a, l]
In the last section of "Salon de 1846" (section 18, "De I'H ero'isme de la vie
modeme"), suicide appears, characteristically, as a "particular passion"-the
only one, among those mentioned, of any real significance. It represents the great
conquest of modernity in the realm of passion: "Except for Hercules on Mount
Oeta, Cato of Utica, and Cleopatra, . .. what suicides do you see in the paintings
of the old masters?" Ch. 8., Oeuvres, vol. 2, pp. 133-134. m Suicide appears, then,
as the quintessence of modernity. [J74a,2]
In se(:Lion 17 of " Salon de 1846," Baudelaire 8 peak~ of "th e funereal and rumpled
frock coat of loday" (p. 136); 8nd, before that, of this " uniform livery of mourn_
ing": " Do not these puckered creases, playing like serpents around the mortified
fte,!j. h , hl:l.ve their own mysterious grace?"' (p. 134). Ch. B. , Oeuvrel , vol, 2.-UO
1114••3J
Nietuche on the winter of 1882- 1883, on the Bay of RapaUo: " Mornings, I ....ould
walk in a southerly direction on the splendid road to Zoagli, going up put pines
with a magnificent view of the 8ea; in the afternoon •... I walked around the wbol~
bay ... all the way to Portofino. This place aDillhis scenery came even cl08er to
my heart bocause oftbe great love that Emperor Frederick HI felt for them .... It
was on theile two walks that the whole of ZaralhlUtru I occurred to me, and
especially Zarathustra him~lf as a type. Hathtr. he overtook me." Friedrich
Nietzsche, Alia Sprach Zarathwtra. etl. Kroner (Leipzig), pp. xx-xxi. Compare
this with a description of the Fort du Taureau;Ul [J14a,4]
Against the background of his "philosophy of the noontide:"-the doctrine of
eternal recurrence-Nietzsche defines the earlier stages of his thinking as philoso- .
phy of the dawn and philosophy of the morning. He, too, knows the ".5(:ctioning
of time" and its great divisions. It is certainly legitimate to ask whether this
apperception of time was not an element ofJugendstil. If in fact it was, then we
would perhaps better understand how, in Ibsen, Jugendstil produced one of the
greatest technicians of the drama. []14a,5)
The closer work comes to prostirucion, the more tempting it is to conceive of
prostirution as work-something that has been customary in the argot of whores
for a long rime now. This rapprochement has advanced by giant steps in the
wake of unemployment; the "Keep sD1iling"'~ maintains, on the job market. the
pr.tctice of the prostirute who, on the love market, flashes a smile at the customer.
1175.IJ
TIle description of the labor process in its relation to nature will necessarily bear
the imprint of its social stnlcture as well. IT the human being were not autflentilfJlJy
exploited. we would be spared the inauihenh"c talk of an exploitation of nature.
nus talk reinforces the semblance of "value," which accrues to raw materials
only by virtue of an order of production founded on the exploitation of human
labor. "'-b-e 'flu exploitation to COme to a halt, work, in turn, could no longer be
d laracterized as the exploitation of narure by man. 1t would henceforth be con.
ducted on the model of children's play, which in Fourier fonus the basis of the
~iJDPassioned work" of the Hannonians. To have instituted playas the canon of
a labor no longer rooted in exploitation is one of the great merits of Fourier. Such
work inspirited by play aims not at the propagation of values but at the ameliora-
tion of nature. For it, too, the Fourierist utopia furnishes a modeJ, of a son to be
fo und realized in the games of children. It is the image of an earth on which every
place has become an inn. The double meaning of the word (WirtJduJ.jl> blossoms
here: all places are worked by human hands, made useful and beautifu1 thereby;
all, however, stand, like a roadside inn, open to all. An earth that was cultivated
according to such an image would cease to be part of "a world where action is
never the sister of dreanl ."~Zl On that earth, the act would be kin to the dream.
1175.2J
Fashion determines, in each case, the acceptable limit of empathy. 1175.3J
The unfolding of work in pllly presupposes highly developed fo rces of produc-
tion, such as only today stand at the disposal ofhwnanity, and stand mobilized in
a direction contrary to their possibilities-that is, they are poised for an emer-
gency. Nevertheless, even in times of relatively undeveloped productivity, the
murderous idea of the exploitation of nature, which has ruled over things since
the nineteenth century, was in no sense detenninative. Certainly this idea could
have no place so long as the prevailing image of nature was that of the Jll.inista·
ing mother, as reflected in Bachofen's conception of matriarchal societies. In the
figure of the mother, this image has survived the inconstancies of history, though
it obviously has grown more blurred during those periods in which mothers
themselves become agents of the class that risks the life of their sons for its
commercial interests. There is much to suggest that the second marriage of
Baudelaire's mother was not made any more bearable for him by the fact that she
elected to marry a general. This marriage evidently has a share in the evolution
of the poet's libido; if the whore became tbe mastering image of the latter, this
mirriage plays its part. Of course, the whore is. fundamentally, the incarnation of
a narurc suffused with commodity appearance. She has even intensified its power
of delusion insofar as, in cooullerce with her, an always fictive pleasure arises,
one that is supposed to corresond to the pleasure of her partner. In other words,
the capacity for pleasure itself now figures as a value in this conunen:e-as the
object of an exploitation pcrpcttated no less by her tllan by her panncr. On the
~ther hand, one sces here the distoned, more than life·size image of an availabil·
Ity that holds for everyone and is discouraged by none. 11le unworldly ecstatic
lasciviousness of the Baroque poet Lohcnstein has stamped this image in a man-
ncr that is highly reminiscent of Baudelaire: "A beautiful woman, yes, arrayed in
a thousand splendors, l Is a sumptuous table where the many sup and take their
fill, I An inexhaustible weUspring of never failing waters, I Yes, of love's sweet
milk; and from a hWldred conduits 1111e luscious nectar ruru" (Daniel Caspers
von Lohenstein, AgrippitlQ [U:ipzig, 1724}, p. 33). The "beyond" of the choice
governing relations bern'een mother and child, and the here and now of the
choice governing ~Iations ~t\',"Cen prostitute and client, make contact at a single
point. 'Th.is point defines the situation of Bauddain='s libido. (Compare X2,1:
Marx on prostitution.) (J75aj
The lines from "Selige Sehnsucht" -"No distance can weigh you down, I You
come Hying, fascinated"uL-describe the experience of the aura. The distance that
is there in the eyes of the beloved and that draws the lover after it is the dream of
a better natutc. The decline of the aura and the waning of the rln=am of a better
natutt-this latter conditioned 00 its defensive position in the class struggle-are
onc and the same. It follows that the decline of the aura and the decline of sexual
potency are also, at boltom, ooe. U 76,lj
1ne fornlula of L'Ett7Tliti par lu astru-"The new is always old, and the old
always new"n~cOITCSponds most rigorously to the e.'(perience of spleen ~gis.
tered by Baudelaire. (J76,2]
A passage from L'Elmtili par 1e.J aJlres-"The number of our doubles is infinite
in time and space, ... These doubles exist in flesh and bone-indeed, in trousen
and jacket. in crinoline and dugnoo"'-may be compared with "Les Sept Viei1·
lards" :
Doubtless to you my dread scans ludicrow,
unless a brotherly shudder leu you stt:
for all dleU inunineot deCKpitude.
these sevetl monsters had dcrnaJ life!
I doubt if I could havc SUT\ti\"ed an eighth
such apparition. fatha and son ofhimsclf,
inexorable Phoenix, loathsomc avatar!
_ I turned my back on thc whole damned parade.
The "monstrous shoreless sca."I2t. which the poem evokes in the closing line; is
the ag;tated univcrse of L'Et(!rnili par Ie; a;tm. [J76.3)
"The houses seemed to be stretched upward by the mist I and looked like the tWO
quays of some swollen river." 117 An image reminiscent of Meryon. lnc~ is some-
thing sinlllar in Brecht. 1J 76 ,4j
With gloomy irony. B1anqui demonstrates what a "better humanity" would be
'worth in a lJ..:lm~ which can nevcr be better. [J16,5]
Lamartine's industrial Christ reappeani at the end of the century. Thus Vcr·
haeren, in "Le Depart":
Alld what would evili matter. and demented boun,
And vats of vice in which the city ferments,
U' one day, from dll: depths of fogs and shadows,
A new Christ rues, sculpted in light.
Who lifu humanity toward him
And baptizes it in the fire of newborn StaTS .m
Baudelaire was not possessed of any such optimism-and that was the great
chance for his presentation of Paris. C ited inJuics Desai:e, "Ocr Zug nach der
Stadt," Dit! nro(! Zeil, 21 , no. 2 (Stuttgart, 1903) (p. 57h. [J76,6)
10 the historical action which the proletariat brings against the bourgeois class,
Baudelaire is a witness; but Blanqui is an expert witness. [J76a,1]
If Baudelain= is summoned before the tribunal of history, h e will have to put up
with a great many interruptions; an interest that is in many respects fordgn to
him, and in many respects incomprehensible to him, conditions the line of ques·
tioning. Blanqui, on the other hand, has long since made the question on which
he speaks entirely his own; hence. he appears as an expert where this question is
tried. It is therefore not exactly in the same capacity that Baudelain= and Blanqui
;m: cited to appear before the tribunal of history. (Compare Nll,3.) [J76a,2 j
Abandonment of the epic moment: a tribuna.l is no sewing circle. Or better: the
proceedings are instituted, not reported. [J76a,3}
The interest which the mate.rialist historian takes in the past is always, in part, a
vital interest in its being past- in its having ceased to uLst, its being essentially
dead. To have certified this condition with respea to the whole is the indispema·
ble prerequisite for any citation (any calling to life) of particular paru of this
phenomenon of what·bas·been. In a word: for the specific historical interest
whose legitimacy it is up to the materialist historian to establish, it must be shown
that one is dealing with an object which in its entirety, actually and irrevocably,
~bclongs to history.'" 1176a,4)
~nle comparison with Dante can serve both as an example of the perplexity of
lhe early reception of Baudelaire and as a.n illusrraoon of Joseph de Maistre's
remark that the earliest judgments conccrning an author arc bequeathed to the
Subsequent criticism. <SceJ64a,4., [J76a.5)
In addition to the Dante comparison, the concepl of ditaMnU figures as a key·
word in the reception. It is there in Barbey d'Aurevilly. Ponmwtin, Brunctiere,
Bourget. [J76a,6j
For the: mate:rialist dialectician, discontinuity is the: regulative: idea of the: tradition
of the ruling classes (and therefore, primarily, of the: bourgeoisie); continuity, the:
regulative idea of the: tradition of the: oppressed (and therefore, primarily, of the
proletariat). The: proletariat Iivea more slowly than the: bourgeois class. The
aamples of its champions, the: pen:eptions of its leaders, do not grow old, or, at
any rate, the:y grow old much more slowly than the: e:pochs and great personages
of the bourgeois class. The waves of fashion bruk against the compact mass of
!.he: downtrodden. The movements of the ruling class, by contrast, having once
come: into their ascendancy, maintain in themselves a reference to fashion. In
particular, the ideologies of the: rulers ~ by their natu.re more changeable than
the ideas of the oppressed. For nOl only must they, like the ideas of the latter,
adapt each time to the situation of social conflict, but they must glorify that
situation as fundamentally harmonious. Such a business is managed only ecttn-
tricaUyand desultorily; it is modish in the fullest sense of the word. To undertake
to "salvage" the great figures of the: bourgeoisie means, not least, to conceive
them in this most unstable dimension of their operation, and precise1y from out
of that to extract, to cite, what has rmtained inconspicuously buried beneath-
being, as it was, of so little help to the pQ\verful. To bring together Baudelaire and
Blanqui means removing the bushel that is covering the light. m [J77,1]
Baudelaire's reception by poets can be easily distinguished from his reception by
theorists. The latter adhere to the comparison with Dante and the concept of
decadence; the former, to the maxim of art for an's sake and the theory of
correspondences. (J77,2]
.'nguel (whefe?) sees the st:cret or Blluddaire', influence in the extremely wide-
81Jread chronic nervousllt:18. (J77,3]
TIle "jerky gait" of the ragpicker (seej79a,5) is not necessarily due to the effect of
alcohol. Every few moments, he must stOP to gather refuse. which he throws into
his wicker basket. U77,']
For Blanqui, history is the straw with which infinite time is stuffed. U77a. 11
'" I cume ~ 8tOP, ror I ~m 8utldenly ex.bauste4J. ~P ahead , it ~ppellr8. the pat~
ttl
d escends without warning. precipi tuusly: 011 aU !lUleR. abY8ll-1 dare lIut look .
Nit:tzsche, <Werke: Grou- und KleillokravtHugflbe ,) vol. 12, p. 223 (cited in Karl
Lowith , Nietuches Philosophie J er ewigen Wictlerkllnft des CleicllfUi [Berlin.
]935]. p. 33). [j77a,2]
lne hero who asserts himsclf on the stage of modernity is, in fact, an actor lint of
all. He clearly appears as such in "Le.s Sept Vieillards," in a "scene to match the
actor's plight," "steding" his "nerves to playa hero's part."1» [j77a,3]
The figure of the poet in "Benediction" is a 6gure from Jugendscil. The poet
appears, so to speak. in the nude. He displays the physiognomy of Joseph
Delorme. [j77a,4]
The "'natura1 bellevolencc~ which Magnin (J50a,4) cd.ebrales in Sainle-Beuve-
his coziness. in shorl-is the complement of the hieratic bearing of Joseph
Delorme. U77a,S]
II can be seen from the portraits that Baudelaire's physiognomy very early
showed the marks of old age. Among other things, this accounts for the oft-noted
resemblance bet\o\'ecn his features and those of prelates. U77a,6]
Valles was perhaps the lint to complain insistently (as Souday would do later)
about Bauddaires "backwardness" (J21,6) . (j77a,7)
Allegory recognizes many enigmas, but it knows no mystery. An enigma is a
fragment that, together with another, matching fragment, makes up a whole.
Mystery, on the omu hand, was invoked from time immemorial in me image of
the veil, which is an old accomplice of distance. Distance appears veiled. Now,
the painting of Lhe Baroque-unlike that of me Renaissance. for example-has
nothing at all to do with this veil. Indeed, it ostentatiously rends the veil and, all
its ceiling frescoes in particular demonstrate, brings even the distance: of the: skies
intO a nearness, one that seeks to startle and confound. 11tis suggests that the
degree of auratic saruration of human perception has fluctuated widdy in the
course of history. (In the Baroque, one might say, the con.fl.jct between cult value
and exhibition value was variously played out within the eonfines of sacred art
itself.) While these fluctuations await funher clarification, the supposition arises
that epochs which tend toward allegorical expression will have experienced a
crisis of the aura. U77a,S]
Baudelaire mentions, anlong the "lyric subjects proposed by the Acad6nie,"
"Algeria, or the conquering civilization." Ch. B., OeuIJW, vol. 2, p. 593 ("L'Esprit
de M. Vtllemain j. Desecration of distance. U78,1]
0" Ihe -' llbyslj": " dl!l'thli of li pact!, allegofical ur th t! tlepth5 of timt'." eh. B.,
Ue/lVre. , vol. I , p. 306 (Le. Parodi! arti}icit?ls, " L -HtJmme-dieu ") :1.1' [J78.2]
Allegorical dismembennenl. The music to which one listens under the influence
of hashish appears, in Baudelaire, as "the entire poem entering your brain, like a
dictionary that has come alive:' Ch. B., OrulJru, vol. 1. p. 307. m [J78,3)
During the Baroque, a fomleriy incidental component of allegory, the cmblem,
undergoes extravagant development. If, for the materialist historian, the medic-
vaJ origin of allegory still needs elucidation. Marx himself furnishes a clue for
understanding its Baroque fonn. H~ writes in DaJ lVJpitaJ (Hamburg, 1922), vol.
I , p. 344: "Th~ collectiv~ machine .. . becomes more and more perfect, th~ more
th ~ process as a whol~ bcconlCS a continuous one-that is, the less th~ raw
material ~ int~rTUpt~d in its passage from its first phase to its last ; in oth~r words,
the more Its passage from on~ phase to anoth~r is ~ffe:cte:d not omy by the: hand
of man but by the machinery itself. In manufaaure, the isolation of each detail
process is a condition imposed by th~ nature of division of labor, but in th~ fully
developed factory the continuity of those processes is, on the contrary, impera.
tivc." us Hue may b~ found th~ key to the Baroque procedure whereby meanings
arc: conferred o n the set of fragments, on the pieces into which nOt so much the
whole as the process of its production has disintegrated. Baroqu~ emblems may
be conceived :u half·finished products which, from the phases of a production
process, have been convened intO monuments to th~ process of destruction.
During th~ Thirty Yr:ars' War, which, now at on~ point and now at anotho:
immo bilized production, the "interruption" that, according to Marx, chara~
t~rizes ~ach particular stage of this labor process could be protracted almost
indefinitely. But the real triumph of the Baroque emblematic, the chief exhibit of
which becomes the death's head, is th~ integration of man himself into the
operation. The death'! head of Baroque alle:gory is a half·finished product of
the history of salvation, that process int~rrupt~d-so far as this is given him to
realize- by Satan. [J78,4)
The financial ruin of Baudelaire is the consequence of a quixotic struggle agahut
th~ circumstances that, in his day, determined consumption. The individual con·
sumer, who vis·a·vis th~ artisan commissions work, 6gures in the mark~tplace as
customer. Thue he does his part in the clearance of a stock of commoditie.!
which his particular wishes have had no influence whatsoever in producing.
Baudelaire wanted to have such particular wishes refl.eaed not only in his choice
of dothing-th~ tailor's was, of all the branches of business, ~ one that had to
reckon longest with the consumer who commissions work-but also in his furni-
ture and in other objects of his daily use. H e thus became dependent on an
antiquary who was less than ho nest, and who procured for him paintings and
antiqu~ furniture that in som~ cases proved to b~ fakes. The: debts which he:
incurred thro ugh these dealings weighed on him for the rest ofrus life. (j78a,l J
In th~ final analysis, the image of petrified unrest call~d up by allegory is a
historical image. It shows th~ forces of antiquity and of Christianity suddenly
arrested in their COntest, turned to stone amid unallayed hostilities. In his poem
on the sick m use, with its m asterfu] verse that betrays nothing of the chimerical
nature of the pods wish, Baudelaire has devised, as idea1 imag~ of the m use's
hea1th. whal is really a fommla for h~r distress: "Pd wish .. . 1 Yow- C hristian
blood to Bow in waves that scan I With varied sounds of ancient syJlables."U.
1118,.21
In the ~try of Baudelaire, no twithstanding the new and original signature
which allegory inscribes there, a medi~val substrate makes itself felt beneath the
Baroque d ement. This involves what Bel.Old calls .. th~ survival of the ancient
gods in medieval humanism."us Allegory is the vehicle for this survival. 1179,I J
At the moment when the production process closes itself off to people. the stock
in trade becomes accessible to them- in th~ fonn of the department store.
Jj79,21
On th~ theory of dandyism. 1be: tailo r's is th~ last line of business in which the
rustomcr is still catered to o n an individuaJ basis. Story of the tv..-dve frock
coats.n. More and more, the person commissio ning work plays a heroic role.
1179,31
Insofar as the 8~eur presents himself in the: marketplace, his flanerie reflects th~
flucruations of commodities. Grandville, in his drawings, has often depicted the
advcnrures of the strolling commodity. (J79,4)
On th~ phrase "racked by their labors";oI:l1 with the Saint,Simonians, induscial
labor is seen in the. light of sexuaJ intercourse; the idea of the joy of working is
patterned after an unage of th~ ple:uure of procreation. Two decades later, the
relation has been reversed ; the sex act itself is marked by the joylessness which
oppresses the industrial worker. [J79,5)
It ,.\'ould be an error to think of the experience contained in the: correJpondanus as
a slffip~e counterpart to certain c:xpe:riments with synesthesia (with hearing colors
or Stttng sounds) that have been conducted in psychologists' laboratories. In
Baudelaire's case, it is a m.a~r less of the wdl-known reactions about which
effete or snobbish art criticism has mad~ such a fuss , than of rhe medium in
which such reactions occur. This medium is th~ memory, and with Baude1aire it
~as possessed of unusual density. The corresponding sensory data correspond in
It;. they are: teeming with memories, which run so thick that they seem to have
~en not from this life at all but from som~ mo re spacious uie antbieuTe. It is this
pnor existence that is intimated by the "familiar eyes"l.1l! with which such experi-
ences scrutinize th~ one who has them. [J19,6)
What fundam~ntally distinguishes the brood~r from th~ thinker is that the for-
mcr not only meditates a thing but also meditates his meditation of the thing.
The: case of th~ brooder is that of th~ man who has arrived at the solution of a
great problem but thcn has forgotte:n it. And now he: broods-no t so much over
the matter itself as ov~r his past reflections on it. The brooder's thinking, there·
fore, bears th~ imprint of m~mory. Brooder and allegorist are rut from the same
doth. (J79a,IJ
 " While the IJar/i(lmenUJry purly ojOnlfJr ... dt.-stroy[edJ with it, OWII handa. in
til(' . 1ruggle againll1 the other ciulIe8 of 8ociety. aU the cunditioll! for illl own
regime • •he Jlarl.iamcntary regime, the e%trupurliamenfory mult of fIl e oourgeoi.-
~ie, on the other Iland •... by its hrutal maltreatment of ill! own preu , invited
Bonaparte 10 @uppreu and anuihilate ill! $peakiug and writing lJection . it.8 JMlliti.
.. danl and iu literati , ... in order tha t it might dum he able to pllr.sue it, private
affairs with fuU confidence in the protection of a 8trong alld ullrestricted govern.
ment." Karl Marx. Der acht;ehnte 8rllmaire de~ Louis Bonaparte. ed . Rjazanov
(Vil!Jlnll and Berlill d927~) . p . IOO . 1;t9 (]79a,2]
Baudelaire is quite as isolated in the literary world of his day as Blanqui is in the
world of conspiracies. [J79a.3]
With the increase in displays of merchandise and with the rise, in particular, of
magasiru rk nouveauUs, the physiognomy of the commodity emerged mo~ and
more distinctly. Of course, even with his sensitive receptivity, Baudelaire never
would have ~gistered this development had it not passed like a magnet over the
"precious metal of our will,'lUOover the iron ore of his imagination. In fact, the
ruling figure of that imagination-aUegory-corresponded perfectly to the com·
modity fetish . [J79a,4]
The bearing of the modem hero, as modeled on the ragpicker: his "jerky gait,"
the necessary isolatio n in which he goes about his business, the interest he takes
in the refuse and detritus of the great city. (Compare Baudclaire, "De I'Heroisme
de la vie moderne," in vol. 2, p. 135: "The pageant of ... life ...")"' [J79a,51
The uncovering of the mechanical aspects of the organism is a persistent ten-
dency of the sadist. One can say that the sadist is bent on replacing the human
organism with the image of machinery. Sade is the offspring of an age that was
enraptured by automatons. And La Mettrie's "man machine" alluded to the .
guillotine, which furnished rudimentary proof of its truths. In his bloody·minded
fantaSies, J oseph de Maistre-Baude.l.airc:'s authority on matters political-is
cousin to the marquis de Sade. [J80, 11
The brooder's memory ranges over the indiscriminate mass of dead lore. Human
knowledge, within this memoty. is something piecemeal- in an especially preg-
nant llcnse: it is like the jumble of arbitrarily cut pieces from which a puule is
assembled. An epoch fundamentally averse to brooding has nonetheless pre-
served its o utward gesture in the puule. It is the gesrure, in particular, ~r ~e
allegoriSt. Through the disorderly fund which his knowledge places at his dis·
posal, the allegorist rummages here and there fo r a particular piece, holds it next
10 some other piece. and tests to see if they fit tOgether- that meaning widl this
image: or this inlage with that meaning. The resuh can never be known before-
hand, ror th~ is no natural mediation between the two. But this is just how
mau(:f'S stand with commodity and price. The "metaphysical subtleties" in which
the conlIUodity ddights, according to Marx,"2 are, above all, the subtleties of
price formation . How the price of goods in each case is arrived at can never quite
be foreseen, neither in the course or their production no r later when they enter
the markel. It is exactly the same with the object in its allegorical existence. At no
point is it written in the stars that the allegorist's profundity will lead it to one
meaning rather than another. And though it o nce may have acquired such a
meaning, this can always be withdrawn in favor of a different meaning. The
modes of meaning fluctuate almost as rapidly as the price of commodities. In faa,
the meaning of the conunodity is its price: it has. as commodity, no other mean-
ing. Hence, the allegorist is in his clement with commercial wares. As flAneur, he
has empathized with the soul of the commodity; as allegorlst, he recognizes in the
"price tag," with which the merchandise comes on the market, the object of his
broodings-the meaning. The world in which this newest meaning lets him sc:tt1e
has grown no friendlier. An inferno ragell in the lloul of the commodity, for all the
seeming tranquillity lent it by the price. [j80,2; j80a, l]
On fetishism: " It may be that, in the emblem uf the 5tone, only the mOl t obvious
features urthe cold, dry earth are to be seen. But it is quite conceivable and •.. by
nO mcan8 improbable that the inert ma u contains a reference to the genuinely
theological conception of lhe me1ancholic which iii founli in olle of the seven deadly
8ins. This is acedia ." <Walter Benjamin.> U"'prung des de utschen Ttauer.pieu
<Berlin , 1928>, p. 151..&4:1 [j80a,2j
On "the ~Ioitation of nature" 075,2): such exploitation was not always re-
garded as the basis of human labor. To Niewche, it quite rightly seemed worthy
of remark that Descartes was the first philosophical physicist who "compared the
discoveries of the scientist to a military campaign waged against nature." Cited in
Karl I...Owith, .Nie/z.JCMJ Plu'losophie tkr twigrn Wieikr!utifi deJ Gleichen (Berlin,
1935), p. 121 (<Niewche. Wtrk, Gross· urul Kkino!lavausga!Je,>vol. 13, p. 55).
1180.,31
Nietzsche call! Herac!ilul " a slar Ilevoid of atmosphere. '........ Cited in Uiwith,
Niet;!lches Philo50phie, p. 110 ("01. 10, pp . ,15££. ). [j80a.4j
The great physiognomic similarity between Guys and Niewdle is worth empha-
sizing. Niewche ascribes to the pessimism of India "that tremendous, yearning
rigidity of expression in which the Nothing is reflected" (cited in LOwith,
Nil!/z.Jehl!J Phi/ruophie, p. 108 [vol. 15. p. 162J) ..j.j~ Compare this to the way Baude·
I~rc describes the gaze of the o riental courtesan in Guys (J47,4); it is a gaze
dU"Ccted toward the horizon, one in which rigid attentiveness and profound
diso-action are united. []80a.5)
On , uicille us signDture or IIJuciernity. " One cannot 8uf6cienll y condemn Christian-
ity for hU"ing devalued tile w lml (.If lI uch II grt:at IJUrij'ying lIiltilin ic movemt:lIl. III
was perhaJls alrelilly being fomled •.. . through cuntinual deterrence from tile
dee.d o/nihifj, ,,.. which is l uici{le" (citell in Lowith , Nie tucheJ Phil(l~opllie. p . 108
<vol. 15. ,,1" 325.186» ...... [JIB .I]
On lh eaby.s. 81u.l on the phra.e " I balk al sleep ae if il were a hole": " Do yo u know
the terror wh.ich al8aill him who is railing u. leep?- He it terrified down III his toea,
because the ground tee ms 10 give way. and the dream begins" «Nietz l>Cbe.)
Zara lhrufra . ed. Krijner [Leipzig), p . 215).,"1 [J8 1,2J
Comparison or the " s inuoui lleece" with the " d eep and lipreading starlen Night!"
(fina l Lines or " Lea Prome8ses d'un visage")."" [J8 1,3]
The particulars of the boulevard press are, later, the sum and substance of the
stock market reportS. Through the role that it gives to the talk of the town, thc:
pehte prme paves the way for this stock market wonnation. [J81 ,4]
His confederates obstruct reality for the conspirator as the masses do fo r the
Dinew-. 1J81.S)
On the Right of images in allegory. It often cheated Baudelaire. out of pan of the
returns on his allegorical imagery. One thing in particular is missing in Baude-
laire's onployment of allegory. 1bi.s \\'e can recognize if we call to mind Shelley's
great allegory on the city of London: the third pan of "Peter Bell the Third," in
which London is presented to the ruder as hell. <See MlS.) The incisive effect of
this poem deIX"ds, for the most part. on the fact that Shelley's grasp of allegory
makes itself felt. It is this grasp that is missing in Baudelaire. This grasp, which
makes palpable the distance of the modem poet from allegory, is precisely what
enables allegory to incorporate into itself the most immediate realities. With what
directness that can hapIX" is best shov.n by Shelley'S poem, in which bailiffs,
parliamentarians, stock·jobbers, and many other types figure. The allegory, in its
emphatically antique character, gives them all a sure footing, such as, fo r exam·
pie, the bwinessmen in Baudelaire's "Cripuscule du soir" do not have.-Shelley
rules over the allegory, whereas Baudelairt is ruled by it. {j81,6j
Individuality, as such, takes on heroic outlines as the masses step more decisively
into the picrure. 1bis is the origin of the conception of the hero in Baudelaire. ~
Hugo, it is a matter not of the isolated individual as such but of the democratic
citizen. That implies a fundamental difference between the two poets. The resolu·
tion of this discord would have, as precondition, the dispelling of the illusion
(Schein) which it reflects. This illusory appearance comes from the concept of the
masses. Considered apart from the various classes whicll join in its formatio n,
the mass as such has no primary social significance. Its secondary significance
depends o n the ensemble of relations through which it is constituted at anyone
time and place. A theater audience, an anny, the population of a city comp~
masses whkh in themselves belong to no particular class. The free market mulu·
plies these masses, rapidly and o n a colossal seale, uuofar as each piece of
merchandise now gathers around it the mass or its potential buyers. The totalitar--
ian states have take.n this mass as their model. TIle Vo/ltsgtmt£lIJduifi <People's
Co nununity ~ aims to root out from single individuals everything that stands in
the \'t'3.y of their wholesale fusio n into a mass or consumers. The one implacable
adversary still confronting the state, which in this ravenow action becomes the
agent or monopoly capital, is the revolutionary proletariat. This latter dispels the
illusion of the mass through the reality of class. Neither Hugo nor Baudelaire
could be directly at its side fo r that. (J8 Ia, l]
On the inauguratio n of the heroine: Baudelaire's antiquity is Roman antiquity. At
omy one point-and it is. of course, irreplaceable-does Greek antiquity break
intO his world. Greece presents him with that image of the heroine which ap-
peared to him worthy and capable of being carried over intO modernity. Grea
names stand at the head <?> of one of his greatest poems: "Femmes damnees:
Delphine et Hippolyte." nle heroine <is endowed) with the features of lesbian
dove ). (J81a,2]
"'T hlls. the poet'e thought . uCter mt:andering cap riciously, opens onto the vaBt
l)erS" cl:tivC's or the flll ~ 1 IIr rutu re; hilt thelle skies are too vut to be everywhere
PUNl. alld the temperat u re or the climate too warm not to h rew 8torms. T he idle
passerhy. whu cOlltemplatc8 l hese areas veiled in mourning, (eds tears o( hysl'eria
come to his eyes." Ch . 8 ., vol. 2, p. 536 ("Marceline Desbordes-Valmore,,).m
IJS'.!)
On "Le Vm des chiffonniers" : the reference to "police spies" suggests that the
ragman dreams of rerurning to combat on the barricades. [J82,2]
~City. 1 am an ephemeral and no t·too-discontented citiz.c:n of a metropolis obvi·
ously modern because every known taste has been avoided in the furnishing3
and in the outsides of the houses. as well as in the layout of the city. Here you
would not discover the least sign of any monument of sUperstitiOIL In short,
morals and speech are reduced to their simplest expression. These millions of
people, who have no need of knowing o ne another, conduct their education,
their trade. and their old age with such sinUlarity that the duration of their lives
must be several times sho ner than is the case, according to some insane statistics,
with people on the continent." Anhul' Rimbaud, OtllureJ (Paris, 1924), pp. 229-
230 {I11umifl(lli(mJ) . ~ Disenchanmlent of "modemity"J [J82.3]
"C rilllinal s Ilillgu 8t me a~ if Ihey WI'I'r I:Cl illI·lllf'i." Arthu r Rimbaud , Oeuvre~
(Pal-il , 1924), p. 258 (U ,U'~ ,sai501l ell cli/er. " Maul'aill Suug"),'l" (J82,4]
One could try to show, using the example o r Baudelai.re. thatJugmdstil arises out
of weariness-a weariness that manifestS itself, in his case, as tha t or the mime
who has taken ofT his makeup. [J82 .5J
Modernity, in this work. is what a lnldemark is o n a piece of cutlery or an optical
instrument. It may be:: as durable as one could wish; if tlle company which
produced it at some point goes under, it will come to ~~ obsolete. Bur to
impress a trademark on his work was Bauddaire's avowed intention. "To create a
ponel! "m And perhaps, for Baude.1aire, there is no higher honor than to havr:
imitated, to have reproduced, with his work this state of affairs, one of the most
profane of all in the commodity economy. Perhaps this is Baudelaire's gt"tatest
achievement, and c.c:nainly it is one of which he is conscious: to have become so
quickly obsolete while remaining so durable. U82.6: J82a,l]
TIle activity of the conspirator can be considered a sort of uprooting. comparable
to that occasioned by the monotony and terror of the Second Empire. U82a.2]
The physiologiesu:! were the first booty taken from the marketplace by the
8aneur-who, so to speak, went botani.zi.ng on the asphalt. {J82a,3]
Modenuty has its antiquity, like a nightmare that has come to it in its slecp.U.
11 82 .,41
England remained, until late in the previous century, the graduate school of
social consciousness. From there, Barbier brought back his cycle of poems enti·
tled Law.n <Lazarus) and Gavami his sequence Ce qu (»1 voil gralis Ii UmdreJ
(What Can Be Seen for Free in Londom, together with his character Thomas
VlI"eloque, the figure ofhopcless destitution. U82a,S]
Between AugustuS, calm of~, and 1Tajan, pun: of brow,
Resplendent and unmoving in the great azure.
On you, 0 pantheons, on you. 0 ponals,
Roben Macairc with hiJ v.'Om-out booa t
Victor Hugo, UJ CMh'menl.s, ed. Charpentier (Paris), p. 107 ("Apotheose").
1182. ,61
"H e hDil allain8! him . . . tlie title uf Le, Fkur3 du mal, which is a s ham litle,
diaagreeaLly anecdotal , and which particularizes to excess the universalit y of hi,
impulse." Hen ry Bataille, "Baudelaire," ComooJiu (Januar y 7. 192 1). U82a.7J
Apropos of "the nearly deafening street"l),j and other similar expressions, it
should not be forgotten that the roads in those days were generally paved in
cobblestone. [J82a.8]
Nisurtl i ll 111(' fO"cword 10 the fir ... 1 I:.litiull of I.e Pofites lali" 1 de la decadence
( IS:H ): " 1 t'ndt'Hl'or 10 f')tp lain by what ner.eniliet; . .. II.e l!Unum 81lint IIrriv~s al
Ihi8 singular >ttute uf exha ulitiun . in whidl the moti t buuntiful imaginutioll" .ore nu
lunger ca lla ble of I.rue poetry anJ can managf' onl y to debase thcir Innguag"'8 with
icandal. ... 1.11 conclll! iull . I touch 0 11 certain resemblances bel ween the poetry of
our time and that or the time of Luca ll . . .. tn a country VI'here lilerature governs
tllt~ minds of 1111, 11 , and evt··n politio;, .. . lemb its voice to everything progres-
si ve, ... critici, m . .. is .. . a tBlik 0.1 once Iiu'! rary alld nlOral. " D. Nillard , Etudel
de moeurl el de critique lur leI poiitelwliru de fa decadence ( Parill, 1849), vol. 1,
pp. x. xiv. U83 ,I]
011 the feminin e ideal-'"'ghattly thin"-of Baudelaire : ""Bul it ill essentially the
modern woman here, the French wonlao of the period preceding the in"entioD of
the bicycle." Pie.... re Caume, " Ca usenes lI ur Baudelaire. fA NOI~velle Revue
( Pans. 1899), vol. 119. p. 669 . {J83,2]
Nisa ...tI denoullcetl, as a l i~ or decatlellce ill Phae.lrus. "a continual , affec:ted
employment of the abet.-act ror the eOllcrete . . .. Thus. instead of a IOllg neck, be
says: ' length of neck. ' colli longitudo. n D. Nisard , Etude. de moeurIl et de critique
sur fe, poete.wtiru de 10 decadence (Pa ... is, 1849). vol. I , pp. 45. 1183,3]
On the question of the declining birth.-ate and of balTenneu: "There ill no hOI.eful
expeelation of the futu ...e, nor allY elan. without some guiding idea, some goal:'
Jules Romainll, Ccw (iepend de vow (Pan s <1939», p . 104 , 1183,4]
"IntO the depths of the Unknown" -with this, compare the great passage by
Turgot on the known: "I cannot admin:= Columbus for having said, 'The earth is
round, and therefore by traveling westward I shall meet the land again: because
the simplest things are often the most difficult to find.-But what distinguishes a
hardy soul is the confidence with which it abandons itsdf to unknown waters on
the faith of a deduction. What would genius and enthusiasm for truth be in a
man to whom a known truln had givr:n such courage'" Turgot, O~"reJ (Paris,
1844), vol. 2, p. 675 ("PensW; et &agmen"") . ~ 1183,51
Being reduced. to rags is a specific fonn of poverty-by no means the superlative
form. "'Poverty takes on the peculiar character of raggedness when it 0CCW1
amidst a society whose existence is founded on an inDicate and richly articulated
system for the satisfaction of needs. Insofar as poverty borrows bits and pieces
from this system, fragments isolated from all context, it becomes subject to needs
from which it can find no . .. lasting and decent deliverance?' Hermann Lotze,
MiArolwsmru, vol 3 (Leipzig, 1864), pp. 271-272.w lJ8311.l}
Lotze's reflections on the worker who no longer hancUes a tool but operates a
machine aptly illuminate the attitude of the consumer toward the commodity
produced under these conditions. "He could still rt:cognize in every contour of
the finished product the power and precision of his own fomlative touch. The
participation of the individual in the work of the machine, by contraSt. is limited
to . . . manual operations which bring forol nothing directly but merdy supply to
an inscrutable mechanism the obscure occasion for invisible accomplishments."
Hermann Lotze, Miirolu)Jmo.I, vol. 3 (Leipzig, 1864), pp. 272-273. 1J83a.2]
 Allegory, as the sign that is pointedly set off against its meaning, has its place: in
art as the: antithesis to the beautiful appearance c&lrein) in which signifier and
signified flow into each other. Dissolve this brittleness of allegory, and it forfeits
all authority. That, in fact, is what happens with geme. It introduces "life" into
allegories, which in rum suddenly wither like Bowers. Sternberger has touched
on this state of affairs (Panorama (Hamburg, 1938" p. 66): "the allegory that has
become a semblance of life, that has given up its lastingness and its rigorous
validiry for the red pottage" oflife ,~~justly appears as a creation of the genre. In
Jugendstil, a retrogressive process seems to set in. Allegory regains its brittleness.
U83.,3)
On the foregoing remarks by Lotte: the idler, the Bmeur, who no 'longer has any
understanding of production, seeks to become an expen on the market (on
prices). [J83a,4J
" The challters 'Pcrsc<:uuon ' and ' Murder' in Apo Uinllire'lI Poete lLSsauine con-
tain the famou s desf.rip uoll of a pOgTom against poels. Publis hing houses are
stormed. hooki of poems thrown on the fire , poets beaten 10 death. And the lIame
scenes aN! taking p lace al Ihe same time all over the world . In Aragon , ' Inlagma-
tion ,' ill antici palioll of such horrors, mars hals its forces for a lasl crusade."
Walter Benjamin , "'Der Silrrealis mu8," Die literamche Welt,S. no. 1 (February
15, 1929) ..m (J84,lJ
"It is hardly a coincidence that the cenrury which has long been that of the
sttongest poetic language, the nin~teenth c~ntury, has also been that of d~cisive
progress in th~ sciences." Jean-Richard Bloch, "Langage d 'utilite, langage
poetique" (EngdopMie/ransaue, vol. 16 [16-50], p. 13}. lndicate how the forces
of poetic inspiration, having been driven from their earlier positions by science,
were compelled to make inroads into the commodiry ","'Qrld. (J84,2J
On Ihe q U ~liitioJ\ raised by J .-R . Bloch. the qUCfltiou of the. developmelll of science
and of pOt:Lic language. Chenier 's " invention" :
All the artM conjoin. ami human IICijlnce
CoulcJ nOI extend the bounds (If its alliam;e
Withtlllt r. nlargi ng Ihtl8 the scope: for ve.r~.
Wha tl (m!!; travai l 10 win Ihe uni verfe !
A lIew C)'!'cle ond II hu ndred diffl'renl wor ld8 befall
Our Ja8 0118 flr~1
deli vered fro m the ocea ll '~ Ihrall :
Whal a wealth of wllrlll)' &C(~lIes. of images suMirnc.
Bor n of those great 8ubjed8 re!lf:rv.:<1 for <lur time! 1J84.')
On "Les Sept Vieillards." The very fact that this poem stands isolated \v\thin
Baudelaire's oeuvre fortifies the assumption tl13t it occupies a key position there.
If this position has remained unnoticed until now, this may have to do with the
fact that a purely philological oomm~ntary has missed the mark with this poem.
Yet the rd~vam datum is not so far afidd. Th~ piece corresponds with a particu-
lar passage from us Paradis artjjidt:l1. ft is this passage, however, that can shed
light on the philosophical import of the poem. [J84.4]
The following passage from UJ Paradu artjficieis is d~cisive for "Les Sept Vieil-
lards." It makes it possible to trace the inspiration for this poem back to hashish:
"The word 'rhapsodic: which so well pomays a train of thought suggested and
dictated by the outer world and the hazard of circumstance, has a great and more
terrible truth in relation to hashish. Here, human reason becomes mere Botsam,
at th~ mercy of all currents, and the train of tllOUght is irifiTiilt:ly more accelerated
and 'rhapsodic.''' Vol. 1, p. 303.4OtI [J84a,1]
Comparison betw~en Blanqui and Baudelaitt, in pan d~riving from Brecht's
fonnulations: the defeat of Blanqui was the victory of Bauddaire-of the petty
bourgeoisie. BJanqui succwnbed; Baudelaire succeeded. Blanqui appears as a
tragic figure; his betrayal has tragic greatn~ss ; he was brought down by th~
enemy within. Baudelaire appears as a comic figure-as the cock whose triumphal
crowing announces the hour of betrayal. t1i1 [J84a,2)
If Napoleon III was Caesar, th~n Baudelaire was the Catilinarian existence.
U8',,3)
Bauddaire unites the poverty of the ragpicker with the scorn of the cadger and
the despair of the parasite. [J84a.4]
The significance of the prose poem "Ferte d'aureole" cannot be overestimated.
First of all, there is the remarkable pertinence of the fact that it spotlights the
threat to the aura posed by th~ experience of shock. (Perhaps this relation can be
clarified by reference: to metaphors of epilepsy.) Extraordinarily decisive, more-
over, is the ending, which makes the exhibition of the aura from now on an affair
of fifth-rate poets.-Fmally, this piece is important because in it the inhabitant of
the big ciry appears menaced more by th~ traffic of coaches than he is nowadays
by automobiles. [J84a,5]
CaLiline figures in Baudelai re among the dandies.-tIi! U85, I)
Love for the prostirute is the apotheosis of empathy with th~ commodity.
U85,')
"'Recucillement" should be presented as Jugcndstil poetry. The dljtmtes amlits
cdead yeafS)-I6.'\ as allegOlies in the style of Fritz Erler. [J85,3j
The hatred for genre painting that can be discemed in Bauddaire's "Salons" is a
sentiment rypicaJ ofJugends til. [J8S.4J
Among the legend8 which circulated ahout Baudelaire Is the foll owing: lie is 8Up-
IW!!Cd to have re~1I1 Balzac whiJe crou ing the Ganges . In Henri Grappin , .... Le
l\1ysticisme pootillUC de C Uijtavc Flaubert." Revue de P(lriJ (December land 15,
1912), p . 852. (J85,5}
" Life h as only (lnf! rei;) cha rm- the charm of gambling. But what if we d o not care
whetber we ~'ill or 108e?" Oeuvru complete!, vol. 2 , p. 630 ("Fu&ees"). 1601 (J85,6]
"Comnler ce il euentiaUy !atanic . ... Commer ce is sal anic buause it is one of the
forml o( egoil m- the lowen and viJe8t ." Oeuvru comple,e!, vol . 2, p. 664 ("Mon
Coeurrzm a nu·').1OS (J85,7]
"What il love? The need to es<:ape (rom oneself.. , . The more a man cultiyates the
arts , the leIS oClen he gets an erection .... To copulate i, to aspire to enter into
another-and thea rti8t never emergea from himself," Oeu vre! complete., cvol. 2 . ~
PI" 655, 663.- (J85,8]
" It il partly a life of lei, ure that has en abled me to grow. To my great detriment-
(or leillure wilhout fortune breed, debts . . . . But a1so to my great pr06t , &8 re·
ga'rds sensibility and meditation and the faculty of dandyism and dilletanti.sm.
Other men o( lelte,.. are, for the most part , base ignorant drudges." Oeuvres
complete•• yol. 2. p. 659 ("Mon Coeur .. ."). ,167 (J85.9]
"~ I h ave (ull y proved . 10 work ill leu wearisome Ihan to amusconeself. Oeuvrft
11
comptele • . yol. 2, p. 647 ("Mon Coeur ... "}.""" (J85,lO]
On Ihe d ance o( death (compare K7a .3, the passage £rom Huxley): "The woodcuts
with which the Parisia n printer Guyot March ant ornamenled the 6rst edition of
Ihe Da ~e Mtlcabre in 1485 were. very probably, imitated fr om the most cele-
brated of III esc painted death danee&--namely, thai whkh, llince 1424. covered the
waU! of the cloister of the cemetery of the Innocents in Pari •.... The d a nnin~
person whom we 8ee coming back forty time!! 10 lead away the living oripn. ll,
represents nol Death itsel( bUI a corpse: the living man Buch aa he will prellentl,
be. In the Htanus, lhe d ancer is called " the dead mao" or " the dead woman." II i,
a d ance of Ihe dead and not of Death .... It is only toward lhe end of the century
thai the fi gu re of the greal dancer, of a corpse witb ho llo~' anti A eshlc~8 body.
becomcs Il skeleton , as Holbein depicl8 it. " J. Huizinga . Herbsl des Miueltllte r•
(Munich , 1928). pp . 204-205.-11>'1 (J85a, IJ
On ullegor y, " The cha racters in 1.£ Roman ck la Ro!e--Bd·Aeclleil , Duulce
Mercy, Fa ux Semhlanl , HllmJ.le Requeste, Danger. Honle, Peul'-a re on a level
"'ith tbe audlentic me.lieyal rcpresentatinnll of virtues and vice. ill huma n form:
a llegorie. or, something more than this, half-belieyed mytbologems." J . Huizillga ,
lI erb$t de. Miuelczlten (Mllnich. 1928), p. 162. ••• [J85a,2j
On " the metaphyIJicII of the agent provocateur"; " Without heillg too prejUlUced in
the maUe r, un >:; !IIay 81m red II lillie u neasy in reading l.£! iUy, 'en!$ e a1mu [Le.
M,vd ere! 8 (11(""1 de! theUt re. tie l'(lri$]'7' 10 think lhllt B a udelai r~ hud a hand in
tws. If he hilllsdf lias dis()wllcd t.hi, piece of youthfuJ extravagance, there are
lIonethdell! gun,1 rt!al!O Il H fllr hclieving, with M. Crepel, th at he is in facl one of the
a llthor~. FlI'rt: then is • Ba lulr illire on the brink o( blackmail, lipite(u! towa rd aU
success? Thill wOllld 8uggest thatlhroughout hill ra reer. from tbese MYllere! to tbe
Am oenitate! Belgicue, the grea t poel had need . from time to time. (If voiding a sac
of venum.·' J ean Prel'ost , rel·jew of lhe work mentionoo. La No tluelle R elJlJe
/ ru n(;aiJe, 27 , no. 308 (May I, 1939). p. 888. [J85a,3J
Apt'QI)()8 o ( Baudelaire', " Au Leeteur." "The fir81 six book8 of Ihe Confeu jo~
have ... a certain ~lIly a llt age built into th!!ir very subject : each reader, inso(ar ••
lie i8 lIot the 81ave o( Lilera ry or muudane prejudice•• becomes an accomplice."
Amlre Monglon.I , 1.£ Prero ",un'i!rtl~ frnn ({(lill, \' 0 1. 2, Le Muj"re dell a mes sensi-
bks (Grenobltl. 1930), II. 295. (J86, 1]
In an important passage by de Maistre, we not onJy encounter aUegory in its
satanic provenance, and in the very perspective that wouJd la ter be that of Baude-
laire; we also discover-here invested with the mysticism of Saint-Martin or
Swedenborg-the corrdp01ldanw. And these latter constitute, revealingly. the
antidote to allegory. The passage is found in the eighth of W Soirlel tk Saint-
lttmbourg. and reads: "One can form a perfectly adequate idea of the universe
by considering it under the aspect of a vast museum of natural history exposed to
the shock of an earthquake. The door to the collection rooms is open and
broken ; there art no more windows. Whole d rawers have fallen out, while others
hang by their hinges, ready to drop. Some shells have rolled out into the hall of
minerals, and a hwnmingbi.rd's nest is resting on the head of a crocod.iJe. What
madma.n, though, could have any doubt of the original intention, or believe that
th~ edifice was built to look thi.5 way? ... The order is as visible as the disorder;
and the eye that ranges over this mighty temple of nature reestablishes without
difficulty all that a fatal agency has sha nered, warped, soil~d, and displaced. And
th~re is more: look closely and you can recognize already the effeCtS of a restoring
hand . Some beams have been shored up, some paths cut through the rubblei
and, in the general confusion. a multitude of analogue; have. already taken their
place once again and come into contact."m [J86,2)
O n Baudelaire's prosody. A phrase has been applied to it that originally referred
to Racine: "graze the prose. but with wing5." [J86,3J
CnllC~ rllilig Blluddair,,', " Voyal;c II Cythcre":
C}'1hr./'a is Iln"! r". delllell'iI an d IUlliubri"u!I.
Ahsurd ,Iea lh '~ l...aJ or tl.t! drellm or love.
Am I 5l~lI m ; nl! skllll Or lll"lI ~ ur.· ...
 No ",orO! heo!8 sipping ~le wdrOIJ and thymI:.
(lut . lwaYB thO! blue aky aloo"e.
Victor 1'1111];0. Le, Contempw l.iolil (·'Cerigo·'). [J86a.l ]
The theory of poetry as facul ty of cxpression-"Where other Olen must suffer
grief in silence,l A god gave me the JXM"ef to speak m y painnll'l_is formulated
with particular decisiveness by Lamartine in the "first" (it is actually the second)
preface to his MiditatiotU of 1849. The "striving for originality at all costs," to say
nothing of an authentic refIection on original possibilities, preserves the poet-
Baude1aitt above all-from a poetics of mere expression. Lamartine writes: "I
imitated no one; I expressed myself for myself. There was no an in this, but o nJy
an easing of my own hean.... I took no thought of anyone in putting down
these: lines hen: and there, unless it was of a ghost and of God:' Les GralldJ
Ecriuains tk la FraMe, vol. 2, "Lamartine" (Paris, 1915), p. 365. [J86a.2]
Apropos of Lafargue's n:mark about the "crude comparisons" in Baudelaire
(J9,4). Ruff observes: "'The originality of these comparisons is not so much in
their 'crudity' as in the artificial character-which is to say. hUrruJn character-of
the inlages: wall,lid, the wings of a stage. The 'correspondence' is understood in
a sense opposite to that customarily proposed by the poets, who lead us back to
nature. Baudelaire, by an invincible propensity, recalls us to the idea of the
human. Even o n the human plane, if he wishes to magnify his description by an
image, he will often look for some other manifestation of humanity rather than
having n:course to nature: 'the chimney-pots and steeples, dle ciry's mast;. '"411
Marcel A. Ruff, "Sur l'Architecture des Fleurs du maJ." Rwue d 'histoire littlrain
tk la Fra1Ut, 37, no. 3 (July-September 1930), p. 398. Compare the phrase
"whose fingers point to heaven; in the paragraph o n Meryon ~2,h .-The same
motif. rendered innocuous and put into psychological terms, in Rattier's conver-
sion of the Baneur to industrial activity. [J86a,3)
III Barbier ', l)Oem "Le, Milleurs de Newcutle," the e.iglllh stanza cOllchulel Ihis
way : " And many a Olll! who dreams, within his secret lIoul. I Of doml!sticcomforu,
IiInd his wife', blue eyes, I Discovers in the pit's embrace an el'erhutin~ tomb."
AUgu HII! Barbier. la m bes el./memel (Paris, L841), liP, 240-24 1; from IliecoUec.tioli
Lazare. which is !luled 1837. alill which records his impresiliolill of Englalili . Com-
pare thege lincli to the last two lincs of"Le Crepuscule du soir.·· [J87, 1]
Professional conspirator and dandy meet in the concept of the modem hero.
This hero represents for himself, in his own person, a whole secret society.
[j87,2]
On Ih., 1!"n/'r llliOIl uf Va lJe~: " It is thaI gencration which, under the lIa rlen Ilk)' of
Ihe SecI,,\tl Elnpirt·, grew UI) in the (ace of II . •• fulure without faith IIr grelttllcs", to
Hermann Wendcl , ".Jules Valle,;' Die " e lle Zeil. 3 1. IUt . I (Stultgart, 191 2),
p. 105. [J87,3]
"W h ~n is II 1·lIurlier ... not idle ami cllntemplll liveT' Lu Bruyere. [J87,4)
Re5l1r<iill5 "sludy": " ThO! fl esh is 1i11l1. alas! a nd a ll t.he booiul are reaJ .·· Malla rme.
"Orise marine," PM~i~! (Paris. 19 17) . fl . 43 ; 1;5 (J87.5]
0 11 id l emls~: " Imagine a perpet ual itllenells •... with II profound balred or dlat
idlenellil," <Ba udeluin:: ,. letter hi hi.t! mother tlr S a tur~la)', Dec:cmher 4,1847. Let-
m~~ (J la mere (1laris d 932~). p. 22Y' (J87,6J
Baudelairt: speak" [where?l uf Ihe " hllbit of )lutting orf until the neltt day ... ' 0
many impurtant thiugs fur 80 man)' )'eur8:'~7: (J87,7]
Early high capitalism, defined by Wiesengnmd Oeuer ofJune 5, 1935) as "mod-
ernity in the striCt St~." (J87,8)
On idleness: Baudelaire's satanism-of which so much has been made-is noth-
ing more than his way of taking up the challenge which bourgeois society flings
at the idle poet. 'Ibis satanism is only a reasoned reprise of the cynical and
destructive velleities-delusions, in the main-that emanate from the lower
depths of society.~l1 [J87,9]
On idlenen. " Hercule, ... labored tuo , ... bUllhe goal of hill career WII S r eally
a1wa)'s a suhlime lei8ure. and for that n::a80n he became one of the 0lympillu8. Not
iIO this Prometheus, the in ventur of education alld enliYttenment. , . , Beeause he
seduced mankind intu working, [he] now ha, to work himself. whether he wants to
or not. He'U have I)lellt)' of opportunhy to be ho red, and will Dever be free of his
r.hainll. It Friedrich Schlegel, Lflci,lde (l.eip7.ig), 1'1" 34-35 (" ld)'Ue tiber den MUll-
lIiggallg" <An Id),11 of I dlellt~lIs).~:"'I [J87a.l ]
"And so this is what I said to lIlyself ... : '0 Idlene,,,, IdlenclIlI! You are the Ufe
brl!u tb uf innocence and inilpirution. The bJeNsed breathe ),011 , and blcued iii he
who has you and c h cri~ hllll you , yOIl hoi)' jewel. ),ou 1I0ie fragInl' nl of godlikenl!u
~'lJme down to li S (rum Ilaradisc!'" Scld~gd. Lllcinde p. 29 (" hI )'lIc iiber Ilcn Mii ~­
~igga ng·');1.'IiJ [J87a,2)
!r),and ulilit y lire 111l! II l1gcl$ uf ,iep lh who, v.i th fiery ~ wo rd 8. IJre\'enl mall 'l
;' IUtlu@
return til Pllnuiisc .... Ailil ill all purls IIf Ihe wod d_ it is the right 10 idl ell e~8 thul
dJstinguisllcs till' superior froUl the iufllriu r classes. II li llIe intri n ~i c IJrinci"ll: of
a ristocracy." Schlegel. I.llcimle ( IA·ip~ i g) , II . 32. IlIl (JR7a,3]
" UuudeJuire'" wI'.ighty phru ing, chllrg~ 1 lUI though with "uid e.I~tricity:' Jules
Rena rd . j (Ju maL <ill/odi" 1 887- 1895~ , ed . GallimanJ (Pari" d 925»). p. 7.
(J87a,4}
"Meanwhile darkness dawns, filled with demon familian I Who rouse , reluctant
as businessmen, to their affairs."·1Il...-.1t may not be o ut of place to find here a
reminiscence of Poe's desaiption of the crowd. (J87a ,5]
Just as in "A Une Passante" the crowd is neither named nor described, so the
paraphemalia of gambling make no appearance in "uJeu." [J87a,6]
In contrast to Cabet, to Fourier, and to the roving Saint·Simonian utopians,
Blanqui can be imagined only in Paris. Moreover, he represents himself and his
...."Ork i! belonging only in Paris. At the opposite pole is Proudhon's conception
of great cities (Alla,2)! [J87a,7}
Extracts from the preface which Pyat l'IJ"Ote for the 1884 edition of I.e Chiffonn~
de ParU <The Ragpicker of Paris), These statements are imponant as indirect
evidence of the connections that wt between Baudelaire's oeuvre and radical
socialism. "TIlls painful but salubrious drama ... has merely carried through the
logical evolution of my thinking, in advance of • .. the same evolutio n in the
people .. . . It is republican thinking in my first play, Une RiuoIution d'autrefois tA.
Revolution of Olm.; republican-democratic in Ango, Ie mlJT£n <Ange, the Sailor>;
democratic and social in I.eJ Drox Serrurim <The T,,/o Locksmiths), Diogi1uJ,
and U Chi/fomlieri but it is always a progressivist thinking tending toward the
ideal, toward . . . completion of the work of '89 . .. . There is no doubt that
national unity has been attained . .. and political unity as well . . . I But social
unity remains unachieved. There arc scill two classes having little in common but
the air they breathe ... ; nothing can unite them but mutual respect and love.
How many wealthy French men marry poor French women? The aux lies
there ... . Let us come back to Jean .... I conceived this drama in prison. to
which I had been condemned in 1844 for having avenged the republic on the
monarchy. Yes, it is a product of imprisonment, like those other popular protesta·
tions DQn Qyixott and Robin.son CruJot:; Jean has at least that in common with
these inunonal masterpieces. I conceived it the evening of the perfomlallce of its
elder sibling Diogenes, which Wi! produced while I was behind bars. By a very
direct filiation of ideas, the Cynic suggested to me the Ragpicker ; the lantern of
philosophy suggesled the candle of the pariah; the tub suggested the wicker
basket; the disinterestedness of Athens suggested the zeal of Paris. J ean was the
Dioge.nes of Paris. as Diogenes was theJean of Athens. The natuJa.l inclination of
Diy mind and spirit led me to the people; I am draw'll to the caUS(' of the masses.
My poetic practice. ever in harmony with my politics, has not o nce separated the
author from the citizen. Art, in my opinion.... - not art for art's sake, but art for
the sake of humanity-should .. . gravitate [Oward the people. In fact, art follows
what is savcreib'1l, conmlcncing \'lith the gods, continuing with kings. nobles , and
bourgeoisie. and ending with the people. And the initiative fo r that end. in Us
$e1'TUrUn, had to reach its basic principle, its very center of gravity, in Le ChfflOn-
'Ii". FOr while bourgeois art .. . displayed its radiance in Hemani, Ruy Bias, and
other 10VUlI of queens, . .. republican art . . . was announcing another dynasty,
that of the ragpickers .. . . On February 24, 1848, at noon, after the victory over
the monarchy of Louis Philippe, the drama of 'rags and tatters' was perfonned
gratis befo re the anned and triumphant populace. It was during this memorable
perfonnance that the actor ... recovered the cro\'lll in the baskeL What a historic
day! What an indesaibable e£feo! Author, actors, dittctor. and spectators. all
standing tcgr:ther and clapping their hands to the singing of La MarJeillaist, to
the sound of cannon.... 1 have spoken of the birth and the life ofJean. As for his
death :Jcan was crushed, like the Republic. beneath the landslide of December.4a
The play had the honor of being condenmed together with its author, who had
seen it applauded in London. in Brussels, everywhe~ except Paris. Thus, in a
society based on the family-and at a time when ... the rights of incest, in &ni,
the rights of adultery, in Antony, the rights of the brothel, in Rolla, all enjoyed an
open 6e1d-Jean, representing the rights of the family, was proscribed by the
saviors of family and society?' Rlix Pyat, I.e ChjjJonm'er de Paris, drama in 6ve
acts (Paris, 1884), pp. iv- viii. [J88;j88a,1]
It would appear that Baudelairc has given no thought to the classical corso of
£Ianerie-the arcade. But in the lyric design of IOU Crtpuscu1e du marin," which
concludes "Tableaux parisiens," the canon of the arcade can be ~cognized. The
cenrra1 portion of this pDWl is composed of nine couplets which, while chiming
one with ano ther, remain well sealed ofT from the p~ceding as well as the follow·
ing pairs of lines. The reader moves through this poem as through a gallery lined
with showcases. In each one, the immaculate image of naked misery is on display.
The poem closes with two quatrains that, in their presentation of things earthly
and celestial, match each other like pilasters. (J88a,2]
The infernal time of gaming is something Baudelairc got to know less through
the actual practice of gambling than through those seasons when he was prey to
spleen. [J88a,3]
"Pa ris , wilen seen in a ragpic ker 's hamper. is nothing much .... To think that I
h.y" all Pa ris he re in this wicker basket .. . r· Fronl I)Y31 , Le ChifJonnier. ci ted in
(Jean> Cassou. Quorante-hllit (Paris <1939>),11. 13. {J88a,4]
The Cite !)orec""" was tile ragpickers' metropoli l>. 1188•.5J
Portrait of Blall'lui hy Ca!l§ou ; " Blallljlu was forllu;d 10 act-to act wi thout osten-
tation o r scntimc ntality ; he j:ould gr llS" what pver WIl8 8trictl y real aud Itutliclltlc in
the situation at hand . Bu t the " overty. obs(,urit y. a lltl (~ hl c nelS of the . ituation
restricted IIi, ndioll to n Ae ries of fruitless sorties " nci to un acceptance of 10 llg
impriijOllmclIl . lie knew hiIllM e!( cUII!\eJllned to a pun-ly preparatory and symbolic
a i ~ l cnce.tu an a ltituJe of patiencc with the gloom and fetters. And hi8 wbole life
was 8pent in Ihis t;latc of mind. [I e hecllllle, ill time , a wan allliemaciated old man.
But II .. will never be cOlilluered . He cannot be conquered." J ean Can on, Quar_
an'e-hlli, (Paris), p. 24. (J89,l j
Conarning Hugo, but also Baudelaire's "Les Petites VicilJes" (neither men·
tioned here by Cassou): "For such, indeed, is the novelty of the Romantic <:en.
rury : it is the scandalous presence of the satyr at the table of the gods, the public
manifestation of beings without name, beings without any possibility of exist·
encc-slaves, Negroes, monsters, the spider, the nettle." Jean Cassou, Qyarante-
huil (Paris), p. 27. (One thinks here of M anes description of clilld labor in
England.)m [J89,2)
It would perhaps not be: impossible to find in BaudeJaire's poem "Paysage" an
echo of '48 and of the mysticism of work characteristic of that time. And it might
not be: inappropriate to think, in this cOIUlection, of the fonnula coined by Cas-
sou with reference to Jean Reynaud's -rerre et del: "The \r\brkshop expands all
the way to the stars and invades eternity." Jean Cassou, Qyarante-huiJ (Paris),
p. 47. [J89,3)
~Tt:gier. VeJ ChJue& dongerewe. de fa population d011J k, g rande. viik. (et th.
moyenJ de leJ rendre meiUeuren (Paris. 1840). vol. 2, p. 347: "The wage! of the
ragpicker. like those of the worker, an: inseparable from the prosperity of indUI-
try. The latter has . like nature itaelf. the sublime privilege of breeding with its own
debriJ. T hi.ll privilege is the more precious for humanit y 81 it propaSlltellifewithiD
the lower levels of society, while making the intermediate a nd highest levelA the
ornament of wealth ." Cited in Ca88oll , Quaronte-huil . p. 73 . [J89.4j
" F'or Oanltl is the COllstant model of the5e men of ' 48. They are imbued with his
langulISi: and h.is tales. lind , like him , are committed to proscription; they are
hearers of a vagabond homeland . charged with prophetic tidings. accompanied by
shadows and voices." J elln CIIUOU. Quurante-huit (Paris), p. Ill . [J89a,lj
CaS80tl, descrihing Oaumier's models: .. the huncbed silhouette8 of men in long
shabby frock coats who are looking at engravings. and all tholle Bll udelairean
characten. descendants of J ean-Jaeq ue8' liolitary walker.... J ea n Cassou , Qual'-
(1II1e-hllit (Paris), II . 149. [J89a,2j
Regarding a ooIUlection that Illay be fell between Baudelaire's "generosity ~f
heart" and his sadism , one should refer to ProUSt'S portrait of Mlle. Vmteuil
(which. by the way, was probably conceived as a self·portrait): "'Sadists' of Mlle.
Vmteuil's sort are creatures so purely ~ntimc:nta1, so virtuous by nature, that
even scnsua1 pleasure apP'=ars to them as something bad. a privilege reserved for
the wicked . And when they allow themselves fo r a moment to enjoy it., thq
endeavor to imperso nate, to assume aU the outward appearance of wicked pco--
pie, for themselves and their partners in guilt, so as to gain the momentary
illusion of having escaped beyond the control of their own gentle and scrupulous
natu.reS i.n to th~ inhwnan world of pleasure." Marcel Proust, Du COti de cha
Swann, vol. I, p. 236. I"-One might also think here of Anatole Franc~' ! note on
the Bauddaircan erotic. Yet one is justified in asking whether every sadism is
structured like this o ne, since the conccpt of evil to which ProUSt relates it seems
to exclud~ awareness. Sexual intercourse between human partners (in contrau to
that between .mimals) includes awareness, and would thus perhaps also include a
more or less high degree of sadism. Baudelaire's reflections on the sexual act
would therefore carry more weight than this Proustian apologetic. [J89a,3j
On the suhject of Ihe ragpicker, compa re tbe conditions in England described by
Marx in the &e/;tion " Die moJ erne l'olanufa ktur." in DaJ Kapitul «vol. I ,) ed.
Kuneh <Herlin , 1932), p. 438). [J89a,4}
I~rous l on the allegories by GioUo in Santa Maria dell' Arena: " In later years I
undentood that the arre8ting s lrangene8~ ... of these freseocs lay in Ihe grea t part
played in eaeh of them by its symbols . wltile the fselthat these weredepieted not 81
symbolll (for the thoughl 8ymbolized was nowhere expressed ) but as real thinge.
3cluaIJy felt or malerially handled, added 80mf!lhing more preci!le and more literal
to their meaning, something more /;onCrele a nd more striking to the len on they
imparted . And even in the case of the poor kitchen-maid, was nol our attention
incessantly drawn 10 her belJy by the load whieh ftlled it ... ?" Ma rcel Prouu. VII.
Cotedechu Swann (Paril), vol. I , pp . 121_122 .-r [J90.11
In Baudelaire's theory of art, the motif of shock comes into play not only as
prosodic principle. Rather. this same motif is operative wherever Baudelaire
appropriates Poe's theory concerning the importance of surprise in the work of
art.-From another perspective, the motif of shock emerges in the "scornful
laughter of heU"·" which rOUSes the startled allegorist from his brooding.
[J'O,2]
On information, advertisements, and feuilletons : the id.1eyI'Y must be: fumi5hed
with sensations, the merchant with rustomers, and the man in the street with a
world view. (J90,3j
Aprop<'!iI .,f ·· Reve I'urisien ." Crepet «(in Baudelaire, l.e~ FiellrJ du mal, Oeuvre",
r.uIII/" eteJ.) Conllnl edition [ 1~ari 8, 1930]. p. 463) ci les a pa $~ llge from a leiter to
Aipholll;c III~ CIIIOIIIIC: " Movemenl gelieruUy implies uoise, to the extent that
Pythagoru I llriblilcu lIIu ~ic to the moving spheres. Bul dream, whicll 1H:)llIralee
llting>la llli hreak,~ IiiI'm Ilown . Crf!att'8 the new. "1'0 , CrelW.t further dte8 un article
which Erlletit 11,·110 puhlii!lu'd in La RMJ ucJrom;uiJe of NO\'ember 1858. und,:r the
litJe ·' 011 genre fa lltlll8lillue'" ,The Cenre of the f'antastir> , and which 8BUlIdaire
would have lleell . UeUo writea: '·In the symbolic: orller. bea ut y dantb in inverse
prop<lrlion lu life. The Illiluralisl thull da !l8ifit!~ lI ature us £OUOW8; animal kingtlom
fint , veAeul.L1e kIngdom next . mineral kingdom lael . Ae i, ~ded by the order of
life. The poet will 5MY: mineml kingdom flnl. vegetable kingdom afler thai. and
Ullimal k ingdom lU I. He will be guided hy the or.ler of Leaut y:' {j90,4]
Apropo8 of " I~' Horloge, " C repet (Conard, p . 450): " A correspondent for L'l nler-
media ire des CMrcheurs et curieux (Tbe Organ of the Lllfluisitive aud the Curi-
Olin, M. Ch . Ad. C. (Septemher 30. 1905), reported that Baudelaire had removed
Ihe hands from hi8 clock and wrinen on the face : ' It's later than you think! '"
{j90a,1]
On nOl'elty anll the £amiliar: "One of my dream8 was the synthesis ... of a certain
seagirt place and iu medieval »ast . . . . This dream in whiell . . . the sea b ad
turned gothic. this drcam in which •.. I helieved Ihall wa ~ attaining to the imPOB-
sihle--it seemed to me that I had often dreamed it before. But as it ill the property
of whal we imagine in our sleep to multiply itself ill the "ast, and to appear, even
whclI novel , familillr, 1 IiUPPOled that 1 wa ~ mistaken." Marcel Proust, La COle de
Cuerrnanle. (Paris, 1920), vol. I, p.13L 'I~1 [J90a,2]
A rigorously Baudelairean reminiscence in ProUSl. to which, above all, the com-
ments on Meryon (in "Salon de 1859") should be ~mpared. ~ust s~ of
railroad starions as "those vast, glass·roofed sheds, like that of Samt·Laz.are uUO
which 1 must go to find the train for Balhec, and which extended over the rent
bowels of the city one of those bleak and boundless skies, heavy with an a~u­
larion of dramatic menaces, like catain skies painted with an almost ~latl
modernity by Mantegna or Veronese, beneath which could be acco~plished
only some solenlll and tremendous act, such as a departure by tram or ~
Elevation of the Cross." Marcel Proust, A /'Omhre ,us jrontsfiJ/es tnfituTS (Paris),
va1.2, p_63 .on 1J90 •.3J
T he 8tam:a beginning «If rape and arso n ." from " An Leeteur." ill cited. hy Proust
( Lo P ritonniere (Pari;;. 1923). vol. 2> p . 241 ) with thi8 characteristic addition:
"But I can at least assume that Buudelaire is not sincere. Whereas OOl to-
evsky . . . " At iu ue is the latter '8 " prt!Occupalion with murder." This all in a
convenaUon . WlUI ~ .
'.' AILI)crtlne. I~l [J90a,4]
Apropos of "A Une Passante": "When Albertine returned to my room, she wal
wearing 8 gamlent of black l atin which had the effect of making her &eelll paler, of
turning her into the pallid , a rdent PariBian. etiolated by want of fresh air, by the
atnlOsphere of crowd8 and perhaps by hllhitual vice . whose eye~ seemed more
reRtlees because they wen: not brightened by any color ill her cheek ... " Mareel
ProU81, Lt. PrLrormiere (PUril, 1923). vol. I , p , l 38.m [J90a.5]
Meryoll shows himself equal to the compecicion provided by photograp~y. It was
probably the Wt time this was possible ror a graphic artist, as far as the l1Ua~ of
the city is concerned. Writing about medieval Paris, Stahl says tha~ on the. sIte of
the ancient curia "arose buildings that wen: much too large, agamst which the
housa abutted with one yard after another, ... and with blind aJJeys. Photogra-
phy is useless hen:. Hence, we rum to the engravings of the great draftsman
Merron." Fritz Stahl, PariJ (Berlin <1929» . p. 97. [j91, 1)
Insight into the physiognomy of "overpopulated Paris" is afforded by the back-
ground-empty of human beings-in Meryon's Pont au (hal/gr:. On this back·
grotUld we meet with one or twO very narrow (window-wide) and, as it were,
spindJy houses. Their window openings strike the viewer like gazes : they bring
to mind the gazes of those spindJy, hollow-eyed children who appear-often
gathered together in great numbers-in pictures of poor people from that era,
and who stand there abashed and close-packed in a comer like the tenements in
Meryon's engraving. (J91 ,2)
C()nccrnlng Meryon '8 ven;e8 on the PODI Neuf <J2,3), compar e- the old Parisian
expreHsinn . " li se pOrte comme Ie ponl neuf" ("he is h ale and hearty" ). [191 ,3]
Baudcla.i.re. greal despiser of the countryside. of greenery and fields , nevertheless
has this peculiarity : No onc could be less inclined to view the big city as some-
thing ordinary, narural, acceptable. 4tJ [J91.4]
Baudcla.i.re bad the good fortune to be the contemporary of a bourgeoisie: that
could not yet employ, as accomplice of its domination, such an asocial type as he
represented. Thc incorporacion of a nihilism inm its hegemonic apparatus was
reserved for the bourgt:oisie of the twentieth century. [19 1,5]
" I Clln ulider stMUU how it is that city dweller8 , who 8ee only walls a nd streellland
crimes. have so Little religion." J ean-Jacquet! Rou.sseau , us Con/eumru. ed. Hit-
sum (Pari8 <l93h). vol. 4. p. 1i5.- [J91,6)
A criterion for deciding whether or not a city is modem: the absence of monu-
ments. "New York is a city without mo numents " (DobJin). -Meryon rumed the
tenements of Paris into monuments of modernity. (J91 a, I)
In the introduction to his published translation of one of Poe1s tales in L'IIlUJtra-
tion (April 17, 1852), Baudelaire characterizes the American aut.hor's field of
interests, and mentions, among other things, Poe's "analysis of the eccentrics and
pariahs of this world " (Cb<arles) B<audelaire>, OrolmS complittJ, cd. Crepet, 'fro-
ductio1lJ: NOII!J(lIu His/aim t!xtrtUJrdi7laires [Paris, 19331. p. 378):191 The phrase
corresponds, in lhe most striking manner, to the self-portrait which B1anqui
introduced- as rebus ima~, so to speak-intO L'EJerniti par les aJtm: " Blanqui
... recognized himself to be 'the pariah' of an epoch." Maurice Dommangel,
Augwte Blanqui Ii Br:lle·/Ie (Paris, 1935), pp. 140- 141. (J9 Ia.2J
He M~ryon'8 Pont «" chmlge: " The block-tenement! of ROllle, 8uch 88 the f5l1ll0118
LII ~ ul a FelicuJllc, ruse, witll U 8treet b~ uflth of only thn-e to fiv/l meters, 10 heiglltJ
tllat have never been teen ill Western Europe IIl1d II.re 8een in ooly a few cities in
 AtJlcriCIl. Near the Cllpilol , the ruofs alread y reached to the level of the hill ~s addJe,
lJul lI.lwaYli Ihe IiplemJid tJI ,uls-citi e~ harhor latJIentahle poverty and degrllded hab-
its , Dutltllt: DlI.ic. and mansu rlb, tlie cello.f1I and hack Courlllare h reeding 8 new
type of raw Ili ull . . .. Di(Hloruli l ell ~ of a deposed Egyptian king who Will reduced
10 li\'ing in olle of thcse wre tclll~tl UplJe ....floor tenements of Rome," Oswllid
Regarding spleell . 8hmilUi to Lacftmhre. S~ "l elllber 16, 1853: " Even the Dews
from the true Empire o£lhe D~IHIIIIUI:I II M! more interesting than the newlI from thi8
dismal hall in Ihe Kingdom of Ibe S halll~" where we are being qua rail tined . Notluug
more wretched than tbis ahut-away existence. thi!! tosllillg and turning a l the bot-
tom of a j ar, likeelliden tryi ng to filliithe WD y (Jul ." Ma urice Domma ngel, Blanqlli.

. Svcngler. Le Dedi" de {'Occident <trans. M. Ta:l.:erouh, vol. 2 (Paris, 1933),

p. 143....... (J9 1a,3]
Ii BeUe-lle< Parili. 1935), p. 250. 1192,51

On tlie decline in the birthrate: "'When theordillury thinking of a lugh! y cultivated
voo ple begin!! to regard 'liaving ehildren' as a question of pro', and cou's, the
great turning poillt has come .. , . AI that point begins prudent limitation of the
number of births .... In subsequent Roman times, it became appallingl)' general.
At IlrSI explained by the econolluc misery of the timt!5, very 'OlIn it cealed to
explain it8etf at all. " Os"" aid Spengler, Le Decli.fl de I'Occident, vol. 2 (Paris).
p. 147. Compare p. 146: the peasant feels himself to be a link in the c.hain of
forebears and descenliallts.- [J 91a,4]
COllccrlling the title. Les Fkurl du mal: " Dunllg naive epuchs, and a, lute as 1824,
the title of a volume of pootr y simply indicated the genre taken up by the author.
There were od cs, epistles, light vel'lle, heroic ver se. satire!!. Today, the title la •
symbol. Nothing i&more refilled . When the author harbor! lyric intention!!, 1M:
gives ltis collection a sonoroue and mU6icallabe:l: Melodies, Preludes . .. Tender-
hearted £nenlls o£ nalure pre£er 10 take their titles £rom The Good GarMner i
Almanllc. Thus. we have Dead uuves, ... Branches of Almond . ... We bave
Palm s and Cyprencs . . . . And then the Rower s: Plowers of Noo n, FloWe" of
l' roVfmce, Flowers oJrheAlps, Flo wers of 1M Fieuu .'" Charles Loualldn:, "StatU-
tique litteraire: La Poeilie depuis 1830 ,"" Revue des deux mondes, 30 (Paris, June
15, 1842 ), p. 979 . [j92, 1)
After II vaill attempt a t flight from Bd.ie-Isle, Olanqui wa ~ throwD for a month into
the dungeon known all "'Chiiteau fo'ouIluel. " Dommangel r e£ers to " the dreary and
oppressi" e lIucceuioD of hOUri and minutes that hammer the ~ ku1I." Maurice
Dommanget . Blanqui Ii BeUe·lle , p. 238. {j92a, l ]
The following lineH £rom Barbier should be compared with pa rts o£ Baudelaire',
poem " Paysage. >1 Cited in Silinte-Heuve, Porlraits contemporains, vol. 2 (Pan.,
1882). p . 234 ("Briseux et Auguste Barhier ").
What inex pN:ssiiJJe happin""s, what P.e81811y,
To be a living ra y of divinit)';
To look down (rom Ihfl orb ..d canop y of heaven
On the dU81of world. glietenin g hclow,
To hear, at every insta nt of their hrighl awak ening,
A thousand eune at th .. ir .ong; like L1le bird.r
Ob, what felicity 10 live Ilmong thin gs of bea uty,
And to eavor the . weet"""s witboul needinl! rea8(llUl!
How lovd )' 10 he weU without wi8hing; to he beller,
And withoul ever htvinll to tire of Ihe . ki,.,.! U92a,2]

The original Ii tie of " LeI Sept Vieilla rd,": " Fantomes parisien6. " ;;01 (J92.2]

MFrom the beginning, the proclamation o f Equality as a constitutional principle

was not on1 y an advance for thou ght, but a danger as well " (Max H orkhe.imer,
"M aterialism us und M oral; ZritJehriflfiir Sozial.forJdzung[1933), no . 2, p . 188.)"1
Within the zone. of this danger lie the absurd unifonnities in Poe's d escription of
the crowd. The hallucination o f the seven identical old m en is in the same mold.
(J92,S]

It is onl y as commodity that the thing has the effect o f alienating human beings
from one another. It p rodu ces this effect through its price. What is d ecisive is the
empathy with the exchange v alue of r.he commodity, with its equalizing sub-
strate. one absolUle qualitative invariance of the time in which labor that gener-
ates exchange value runs its coUJ'SC-such absolute equality is the grayish
background against which the gaud y colors of sensation stand o ut.) [J92,4]

K to us, first sauck us; LO establish them is the affair of memory. Indeed, awaken-
[Dream City and Dream House, Dreams of the
Future, Anthropological Nihilism, jung]
My good father had been in Paris.
- Karl Gutzkow, Bn'rft QILI Paris (Leipzig, 1842), vol. I, p. 58
Library where the books have melted into one another and
the titles have faded away.
-Dr. Pierre Mabilk, ~l"rtfacc . 1'EllIgt dts prilUpl j1Dpu/airt.J,~
Mi"l)laure, 2, no. 6 (\'VUlta 1935), p. 2
111c Pantheon r.usillg itli somber dome toward the 50IIlbu
dome of the sky.
-l\mJon du Tcrn.il, Us Dra!ll# tU PariJ>vol I. p. 9'
1while the collective consciousness s~ intO ever deeper sI~. But JUSt as the
Awakening as a graduatfO:d process that goes on in the life of the individual all in
the life of generations. Sleep iu initial sta~. A generation's experience of youth
has much in common v.;th the experience of dreams. Its historical configuration
is a dream configuration. Every epoch has such a side turned toward dreams, the
child's side. For the previous cenrury, this appears very dearly in the arcades. But
whereas the education of earlier ~nerarions a plained these dreams for tb~ in
tenus of tradition, of religious doctrine, present-day education simply amounts to
the distraction of children. Proust could emer~ as an unprecedented phenome-
non only in a generation that had lost all bodily and natura1 aids to remem·
branc~ and that, poorer than before, was left to itself to take possession of the
worlds of childhood in merdy an isolated. scattered. and pathological way. What
follows here is an apc:riment in the technique of awakening. An attempt to be-
come aware of the dialectical-the Copernican- tum of remembrance. [K l ,I]
-[be Copernican revolution in historical perception is as foUows . Fonnerly it was
thought that a fixed point had been found in "what has been," and one saw ~e
prescnt engaged in rentatively concentrating the forces of knowl~dge on this
ground. Now this relation is to be ovenurneci, and what has been 15 to berome
the dialectical reversal-the 8ash of awakened eonsciousness. Politics attains
primacy over history. The facts beeome something that just now firs t happened
ing is the great exemplar of memory: the occasion on which it is given us to
remember what is closest, tritest, most obvious. What Proust intends with the
experimental rearrangement of furnir:u.re in matinal half-slumber, what Bloch
recognizes as the darkness of the lived moment,' is nothing other than what here
is to be secured on the level of the historical, and collectively. There is a not-yet-
conscious knowledge of what has been: its advancement' has the suucture of
a",,-akening. {KJ ,2]
ThCK is a wholly unique experience of dialectic. The compelling-the drastic-
experience, which refutes everything "gradual" about becoming and shows all
seeming "development" to be dialectical reversal, eminently and thoroughly
composed, is the awakening from dream. For the dialectical schemawm at the
core of this process, the Chinese have often found , in their fairy taJes and novel-
las, a highly pregnant expression. The new, dialectical method of doing histo
presents itself as the an of experiencing the present as waking ,",'Orld, a world to
which that dream we name the past refers in auth. To pass through and carry out
Wlull has been in remembering the dreamt-Therefore : remembering and awak-
ing are most intimately related. Awakening is namely the dialectical, Copernican
rum of remembrance. [Kl,3]
The nineteenth century a spacetime <Zet'lraum> (a dreamtime «eit-Iraum» in
which the individual q:msOousness more and more secures itself in n:Beain ,
sleeper-in this respect like the madman sets out on the macrocosrnic journey
through his own body, and the noises and fee.lin~ of his insides, such as blood
pressure, intestinal chum, heartbeat, and muscle sensation (which for the waking
and salubrious individual converge in a steady surge of health) gmerate, in the
extravagantly heightened irmer awareness of the sleeper, illusion or dream im-
agery which rranslates and accounts for them, so likewise for the dreaming eol-
lective, which, through the arcades, communes with its own insides. ~ must fol-
low in its wake so as to expound the nineteenth cenrury-in fashion and advertis-
ing, in buildings and politics-as the outcome of its dream visions. [Kl.4]
It is one of the tacit suppositions of psychoanalysis that the clear-cut antithesis of
sleeping and waking has no value for determining the empirical fonn of con-
sciousness of the human being, but instead yields before an unending variety of
concrete states of COI15ciousness conditioned by every conceivable level of wake-
fulness within all possible centers. The situation of consciousness as patterned
and checkered by sleep and waking need only be transf~d from the individual
to the collective. Of course, much that is external to t.he former is inlemaJ to tlte
latter:. architecrure, fashion- yes, even the weather-are. in the interior of the
collective, what the sensoria of organs, the feelin g of sickness or health, att inside
the individual. And so long as they preserve this unconscious, amorphous dream
 It is not on1y that the forms of appearance: taken by the dream coUective in the
0
~
configuration, they are as much natural processes as digestion. breathing, and the
~ nineteenth century cannot be thought away; and not only that these fomlS char-
like. They stand in the cycle of the eternally selfsame, until the collective seizes
acterize this coUective much more decisivdy than any other-they an:: also,
w
upon them in politics and history emerges. [KI.S)
rightly interpreted. of the highest practical import, for they allow us to recognize
~ the sea on whieh 'we navigate and the shore from which we push off. It is here,
"Who wiu inhabit the ""tern III home? Who will pray in the church where he W &.II therefore. that the "critique" of the nineteenth cenrury-to say it in one word-
Ii baptized? Who will still know the room when;" be raised his first ell'. whert: he ought to begin. The critique not of its mechanism and cult of machinery but of its
j ",-itncued II las t breath? Who will he able to relit his brow wove tlle lIill or II window narcotic historicism, its passion for masks, in whicll nevertheless lurks a signal of

....
u where, tiS II youth. he would hu n formed those wilking dreams which are the grace true historical existence, one which the Surrealists were the first to pick up. To
of dawn within the long and ImBiber servitutlc of life? 0 rooLS of joy torn from the decipher this signal is the concem of the present undertaking. And the revolu-
tmman IOU)! " Louis Veuillol, Les Odeurl de Paru (Pans, 1914). p . II. [Kla,t] tionary materialist basis ofSum::alism is sufficient warrant for the fact that, in this

J .;
The fact that we wert: children during this time belongs together with its objec-
tive image. It had to be this way in order to produce this generation. That is to
~
:t say: we seek a teleological moment in the context of dreams. Which is the
moment of waiting. The dream waits secretly for the awakening; the sleeper
A surrenders himself to death only provisionally, wailS for the second when he will
~ cunningly wrest himself from its clutches. So, too, the dreaming collective, whose
•c children provide the happy occasion for its own awakening. 0 Method 0
t:l "
c
(Kla,2)
~ \ Task of childhood: to bring the new world into symbolic space. The child, in fact,
:01 can do what the grownup absolutdy cannot: recognize the new once again. For-
I us locomotives already have symbolic character because we mel with them in
childhood. Our children, however, will find this in automobiles, of which we
ourselves see only the new, elegant, modem, cheeky side. There is no more
insipid and shabby antithesis than that which reactionary thinkers like Klages try
to set up between the symbol-space of nature and that of techno~o~. To each
truly new configuration of nature-and, at bottom, tedmology IS Just such a
configuration-there correspond new "images." Every childhood discovers th~
new images in order to incorporate them intO the image stock of hwnaruty.
o Method 0 [KIa.3}
It is remarkable that constructions in which the expert recognizes anticipations of
contemporary building fashions impress the alert but architecturally unschooled
sense not at all as anticipatory but as distinctly old-fashioned and dreamlike. (O ld
railroad stations, gasworks, bridges.) [Kla.4]
signal of true historical existence, the nineteenth cenrury gave supreme expres-
sion to its economic basis. fK13.6)
Attempt [0 develop Giedion's thesis. "In the nineteenth century," he writes,
"construction plays the role of tile subconscious."J \-\buldn't it be better to say
"the role of bodily processes"-around which "artistic" architectures gather, like
dreams around the framework of physiological processes? [K1a.7]
Capitalism was a narural phenomenon with which a new dream-filled sleep came
over Europe, and, through it, a reactivation of mythic forces. [Kla,8]
The first tremors of awakening serve to deepen sleep. [Kla,9)
"Slrange. by the way. lhllt when we lurvey thil whole inteUeclual movemenl,
Scrihe appear. III the only one to occupy himself directly II nti thoroughly with the
present. Everyone else bllHies himself more with thll l.ast tlUln with the powen and
iOlere~ll that w i their own time in motion .... It was the past, moreover-it Willi
the hi!ltory of philosophy-that rueled eclectic d octrine; and. filiQ Uy, it wat the
history or literature wh08e treasures were disclosed , in ViUmnain, by a criticism
incapable of ent erin~ mOre deel,ly into the literary life or iu own period." Julius
Meyer. Geschichle der modernellfran.:o,illchenll1alerei (Leipzig, 1867), pp . 4 1 ~
416. [K2, I]
What the child (and, through faint rem.iniscence, the man) discovers in the pleats
of the old material to which it clings while trailing at its mother's skirts-that's
what these pa~ should contain. 0 Fashion 0 [K2.2)

It is said that the diaJectical method consists in doing justice each time to the
" T he nind~nth century : singular fusiol! of individualistic and collectivist tenden-
Concrete historical situation of its object. But that is not enough. ror it is just as
des . Unlike virlUaUy every pre\;OU8 age. itlabt:ls aU actiond ' individualistic' (ego,
much a matter of doing justice to the concrete historical situation of the inlm:st
natinn. art) while s ubtt!rraneanly. in despised everyda y domaillS. it nece811arily
taken in the object. And this situation is always so constituted that the interest is
furllisbe8. a8 in II delirium, th ~ elements ror a collective formation . .. . With tlIis
itself prdorrued in that object and, above all, feels this objea- concn=:rized in itself
r llw material , we must occupy ou rselvcs--with gruy builtlings, ma rket hu lls, de--
:llld upraised from its fomler being into tile higher concretion of now·being
partnlCnl stort.• • exhibitiollll." Sigfried Giedion. 8twell in Frallkreich (Leipzig
<J tht.u in> (waking beingl). In what way this now-being (which is something other
and Berlin). I). 15. [K1a.S]
than the now-being of "the present time" <]elltuih, since it is a being punctuated
and intermittent) already signifies, in itself, a higher concretion- this question, of
course, can be entertained by the dialectical method only within the purview of a
historical perception that a t all points has overcome the idcology of progress. In
regard to such a perception, 0 0(: could speak of the increasing concentration
(integration) of reality. such that everything past (in its time) can acqu~ a higher
grade of actuality than it had in the moment of its existing. How it marks itself as
higher acruality is determined by the image as which and in which it is compre-
hended. And this dialectical penetration and aaualiz.atiOD of fo rmer COntexts
puts the truth of all present action to the test Or rather. it serves to ignite the
explosive materials that are latent in what has been (the audlemic figure of which
isfashi(Jtl). To approach, in this way, "what has been" means to trtat it not IUsto-
riographically, as heretofore, but politically, in political categories. 0 Fashion []
[K2,3J
The imminent awakening is poised, like the wooden horse: of the Greeks, in the
Troy of drea=, [K2,4J
On the doctrine of the ideological superstructure. It seems, at first sight, that
Marx wanted to establish here only a causal relation between superstructure and
infrastructure. But already the observation that ideologies of the superstruaure
reflect conditions falsely and invidiously goes beyond this. The question, in
effect, is the following : if the infrastructu.re in a certain way (in the materials of
thought and experiena=) determines the superstructure, but if such determina-
tion is not reducible to simple reflection, bow is it then-entirdy apart from any
question about the o riginating cause-to be characterized? ru its expression. The
supcrstruaure is the expression of the infrastructure. The economic conditio ns
under which society exists are expressed in the su perstru~preciscly as, with
the sleeper. an overfull stomach finds not its reflection but its expression in the
contents of dreams. which, from a causal point of view, it may be said to "condi-
tion." The collective, from the first, expresses the conditions of its life. These find
their expression in the dream and their interpretation in the awakening. [K.2,5]
Jugendstil-a first attempt to reckon Mth the open air. It finds a distinctive
embodiment, for example, in the drawings of Simpliciuimlls, which clearly show
how. in order to get a little air, one must become satirical. From another per-
spective, Jugendstil could blossom in the art:ificial light and isolatio n in which
advertising presC!llts its objects. 1bis binh of plein air from the spirit of the
interior is the sensuous expression of the siruation of Jugendscil from the view-
point of the philosophy of history: Jugendstil is the dream that one. has come
awake. ~See S4a, l . ~ 0 Advertising 0 [K2.6]
Just as technology is always revealing naruce from a new perspective, so also, as it
inlpinges o n human beings, it constantly makes for variations in thdr most
primordial passions, fears, and images of longing. In dlis work I mean to wrest
from primal history (Urgt:.J,hicntn a portion of the nineteenth century. The
alluring and threatening face of primal history is clearly manifest to us in tile
beginnings of technology, in the living arrangements of the nineteenth century; it
has not yet shown itself in what lies neatc:r to us in rime. But it is also m ore
intense in technology (on account of the latter's narural origin) than in o ther
domains. lbat is the reason old photographs-but not old drawings-have a
ghostly effect_ {K2a.l ]
On Wiertz's picture 'ThoughtJ and VuionJ 'If a &un"t:d Head, and its explication.
The first thing that snikes one about this magnetopathic experience is the grandi-
ose sleight of hand which the consciousness executes in death. "\-Vhat a singular
thing! The head is here under the scaffold, and it believes that it still exists above,
forming part of the body and continuing to wait for the blow that will separate it
from the trunk."' A Wiertz, OeullreJ IitttraireJ (Paris, 1870), p. 492. The same
inspiration at work here in Wieru animates Bierce in his exo-aordinary shon
story about the rebel who is hanged, and who experiences, at the moment of his
death, the flight that frees him from the hangman.' {K,2a,2]
Every current of fashi on or of world view derives its force from what is forgotten . •
This downstream flow is o rdinarily so strong that only the grOllp can give itsdf
up to it; the individual- the precursor-is liable to collapse in the face of such
violence, as happened with Proust. In other words: what Proust, as an individuaJ,
directly experienced in the phenomenon of remembrance, we have to expuience
indirecdy (with regard to the nineteenth century) in studying "curttnt,tI \lfash_
ion,"' "tendency"-as punishment, if you will, for the sluggishness which keeps
us from taking it up ourselves.' [K2a,3]
Fashion, like architecture, inheres in the darkness of the lived moment, bclongt' -
to the dream consciousness of the collective. The latter awakes, for example, in
advertising. [K2a.,4]
"Very interesting .. . huw lhe fascis tiza lilJlI of 81'iJ'llce had to IIlkr Ilrocisely thme
elements in Freud which still Item frtlm tbe enlightened . materialistic pe riod Q r thc
buurgeoiJl.ie ...• (II J ling• .. . the III1COIISciOIlJl. ... is 11 0 longcr jJllovidual- that is,
oot ao. acllwrell condition in the single .. . humall Lcillg. hut a stock uf primal
IlIlllla nit y r enewing it ~ df ill the Ilre-'lt'lIt ; it is 1I0t repreSSion hut fruitful ,·elnru ."
Ernst Rloeh . ErlMclwft (!ie,cr Zeit (Zurich , 1935) , II. 25., .8 [K2a.5]
Historical index of childhood according to Marx. In his derivation of the nornUl-
bve character of Greek art (as an art springing from the childhood of the human
race), Marx says: "Doesn't the child in every epoch represent the character of the
period in its natural veracit}'?'''' Cited in Max Raphacl, Proudhon, M arx, Pi(two
(Paris, 1933), p. 175. [K2a.6]
More than a hundred years before it was fully manifest, the colossal acceleration
of the tempo o f living was heralded in the tempo of production. And, indeed, in
the foml of the tn.'l.chine. "The. number of implements that he himself [that is, the
hwnan being] can use simultaneously is limited by the. number ofhis own natural
instruments of production, by the number ofhis bodily organs . ... The jenny, on
the other hand, even at itS very binh, spun with twelve to eighteen spindles, and
the stocking loom knits with many thousands of needles at once. The number of
tools that a machine can bring into play simultaneously is, from the vuy first,
emancipated from the organic limits that hedge in the tools o f a handicraftsman."
Karl Marx, Das Kapilal, vol. 1 (Hamburg, 1922), p. 33Z,9The tempo of machine
operation effects changes in the economic tempo. "'In this country, the main thing
is to reap a huge. fortune with as little delay as possible . It used to be that the
fortune resulting from a conunercia1 house begun by the grandfather was
scarcely run through by the time the grandson died. 'lbings don't happen that
way any more; people want to enjoy without waiting, without having to be
patient." Louis Rainier Lanfranchi, Voyag~ Ii Paris, au &quum des hommes d des
chases dtln.s edte caPI~ale (Paris, 1830), p. 110. [Kl,l]
Simultaneity, the basis of the new style o f living, likewise comes from mechanical
production: "Each detail machine supplies raw material to the machine next in
order; and since they arc all working at the same time, the product is always
going through the various stages of its fabrication, and is also constantly in a Stale
of tranSition from one phase to another. . .. The coUective machine, now an
organized system of various kinds of single machines, and of groups of single
machines, becomes more and more perfect, the more the process as a whole
becomes a continuous o ne-that is, the less the raw material is interrupted in its
passage from its first phase to its last; in other words, the more its passage from
one phase to another is effected not by the hand of man but by the machinery
itself. In manufacture the isolation of each detail process is a condition imposed
by the nature of division of labor, but in the fully developed factory the continu-
icy of those processes is, on the co ntrary. imperative." Karl Marx, Das Kapi/aI,
vol. 1 (H amburg, 1922), p. 344." [K3,2]
rUm : unfolding <result?)'} of all the fonus of perception, the tempos and rhythms,
which lie preformed in taday's machines, such that all problems of contemporary
an find their definitive formulation only in the context of film. 0 Precursors a
[K3,3]
A small piece o f materialist analysis, more valuable than most of what exists in
this field : "V\e love thesc hard, solid blocks of material which Haubert raises and
lets fall with the intermittent thud of a steam shovel. For if, as 1 found recounted
in some book or otller. sailors at sea used to catch die glow of Flaubert's lamp as
he wo rked through the night, and take their bearings from it, as if from a Iight~
house beam, so too it might be said that when he 'unloaded' a good round
phrase, it had the regular rhytlun of one of those machines used in excavating.
Happy a« they who can feel the beat of this obsessive rhythm." Marcel Proust',
Chroniques (Paris, 1927), p. 204 ("A Propos du 'style' de Haubert") . Ll1 (K3,4]
In his chapter on the fetish character of the commodity, Marx has shown how
ambiguous the economic world of capitalism seems. It is an ambiguity consider.
ably heightened by the intensification of capital management-as we see cxon-
p1ified quite clearly in the machines which aggravate exploitation rather than
alleviate the human lot. Isn't there implicit here a general connection to the
equivocalness of the phenomena \o\-'C are dealing with in the nineteenth cen tury?
The significance of intoxicatio n fo r perception, of fiction for thinking, such as
was ncvcr before recognized? "One thing has disappeared in the gmeral up-
heaval, and it was a great loss for an : the naive and therefore dependable accord
of life and appearance" -sowe read, charna eristically, inJulius Meyer's Geschich/e
(in modmtenfiamiisu("~ Malmi Mil 1789 (Leipzig, 1867), p. 31 . {Kl,5]
On the political significance of film. Socialism would never have entered the
world if its proponents had sought only to excite the enthusiasm of the working
classes for a better order of things. What made for the power and authority of the
movement was that Marx understood how to intettSt the workers in a social
order which would both benefit them and appear to them as just. It is exactly the
same with art. At no point in time, no matter how u topian, will anyone win the
masses over to a higher art; they can be won over only to one nearer to them.
And the difficulty consists precisely in finding a form for an such that, with the
best conscience in the world, one could hold that it iJ a higher art. lbis will never
happen with most of what is propagated by the avant-garde of the bourgeoisie.
Here, Berl's argument is perfectly correct: "The confusion over the word 'revolu-
cion'-a word which, for a Leninist, signifies the acquisition of power by the
proletariat, and which dsewhe« signifies the overturning of recognized spiritual
values-is sufficiently attested by the Surrealists in their desire to establish Pi-
casso as a revolutionary... . Picasso d eceives them. .. . A painter is not more
ftvolutio nary for having 'revolutionized' pain ting than a tailor like Polret is for
having 'revolutionized' fashio n, or than a doctor is for having 'revolutionized'
medicine." Emmanuel Berl, "Premier pamphlet," Europe, 75 (1929), p. 401. The
masses positively require from the work o f an (which, for them, has its place in
the circle of consumer itelns) something that is warming. Heft the 8ame mOSt
readily' kindled is that of hatred. Its heat, however; bums o r sears without provid·
ing the "heart's case" which qualifies an for consumption. Kitsch, on the other
hand, is nothing more tltan an with a 100 percent. absolute and instantaneous
aVailability for consumption. Precisely within the consecrated fonns of expres·
sian, therefore, kitsch and art stand irreconcilably opposed. But for developing,
living fonns , what matters is that tlley have within lhem something stirring,
useful, ultimately heartening-that they take " kitsch" dialcctically up into them-
selves, and hence bring themselves near to the masses while yet surmounting the
kitsch. Today, perhaps, 6lm alo ne is equal to this task-or, at any rale, more n!ady
for it than any other art fo rm. And whoever has recognized this will be inclined
to rusallow the pretentions o r abstract film, as important as its experiments may 1118 . .Revoilltillu a nd Wlllr, like II fever. are III:St ll ui leti to get il moving . . _ . Seeing
be. He will call ror a closed season on- a narural preserve ror-the son o rltitsch thai the psyc hology of the ind.ividua l is now out moded , let 11 8 ca U upon a sur t uf
whose providential site is the cinema. Only film can detonate the explosive stuff nllillral history (of vulcullic rh yl.lull" and Muhlerr a nelln BtreamS. T he re is nothing
which the nineteenth century has accum ulated in that strange and perhaps ror- 0 11 the su rface IIf Ule e arth th ut WB Ii 1101 once 8ubterranean (water. earth, lire).

merly unknown material which is kitsch. But just as with the political structure or Nothing in the intellec t tha t hilS IIOt Leen di geBtetlluld circulated in the de pullI ."
film , so also with o ther distinctively modem means o r expression (such as light- Dr. Pierre MIl Lille_ " PrHllce ii 1' £108e de, prejt18e$ popJ.liaire.," MinvtoJ.lre, 2.
ing or plastic design): abstraction can be dangerous. [K3a. l ] 110.6 (Winter 1935).1'. 2. [K4,2]

O ne can cl:tar.1cterize the problem of the form of the new an straight o n: When "The r~elll pa ~ t a.lwa ys IIN'.sents itself as u lo ugh annihil illed by catasl rophes. "
and how will the worlds of fonn which , without our assistance, have arisen, for Wiesengrulld , in a le ttf' r <of J une 5, 1935). Ii [K4,3]
c-umple, in mechanics, in 6Im, in machine construction. in the new physics, and
which have subjugated us, make it clear for us what manner of nature they Ap ropos of H en ry Bordeaux', reco Uectionli of his yo uth : '"In lIum , the nineteenth
contain? When will we reach a state of society in which these fonus , or those cent ury ra n its course wi thollt in the least a ppearing to announce the twentieth:'
arising &-om them, reveal themselves to us as natural forms ? Of course, this Andre TIle ri\'e. " let livres ,'- Le Temps (Juue 27. 1935). [K4,4]
brings to light only one moment in the dialectical essence of technology. (Which
moment, is hard to say: antithesis if not synthesis.) In any case, there lives in The embe ... blaze in your eye.,
technology another inlpulse as weU: to bring about objectives strange to nature, And you Hallh like I mirror.
Ha\'e you hoovctl . have you winp.
along with means that att alien and inimical to nature- measures that emanci-
My blaek-Hanked 1000omoti vr.?
pate themsclVC5 £rom nature and mas te r it. (l(3a,2]
See il ~ mane ripple,
Ueten 10 titsl whinn y:
Un Gra nd ville: ';Oetween a n uninformed vis ion of the street! a nd a knowled ge of itAgallol' ill a rumble
t he ucc ult de ri ved frum c urtoma llcy o r astrolugy, a kllowledge o pe nl y lurmented Of a rtillery and Ihunder.
hy flora a nd fa una lind by a d rea m-humaoit y, he managetl to lead a huuntlltlts
imugin ury Life within a fa hulou$ rl!allll of prima l poet ry . . .. Gra ndville wal per- Refrain :
hapi Ule fanll tlraflJl ma li eve r 10 give the larval life of d rell.DlIL a rational plalltic Feed yuur ho rse ill oat.!
fonn . Evitl!:'. nl b~ lI eal h Illli poiled a ppe ara nce, however. il that flebik neJcW Saddled, bridled-whi! t1e and we' re uff! Ride
" Itid" whic h Ilil>cOllcerts a nd provokes disqu ietude--so metimes t rouhlinA At . gallop aeroN ,I.e briclge. under Ibe areb,
enough ." MaeOrlan. " Gra mlville Ie p recu rse ur." Arts et naerier, s raphiqne•• 44 Plow your way tbrour;h hill and ,Iale--
(Decenlber 15. 1934). pp . 20-21. The essay presen18 (G r a nd ville ) III a forerunner Nu mount can ri val you....
(of Surrea.l.il!m, "articularl y uf ~ urreal ii1 mm
(Mi lits , Wah Dis ney). {K4,1] Pierre-Du pont, " Le C hauffe ur de locomotive" (Pari.) ('"Pa8ilagedu Caire"),
[K4a, l ]
Co nfrQnta tiQII between the " viscera l Wlconseious" and the " unconscioull of obliv·
iun" -the first of whic h is predominantly indh'idua l, the IIt.-co nd IJretlominantly "Yesterday, looking down from t he tower of Not re Dame. I was able to take in t.hiJ!
(·uller-tive; " The uthe r pari of t.he uncunscious is malle up uf the mass of thinse gigantic city. Who buill t he first h uuse. ami wheu will the last one eo Uapse? When
II'amed ill Ihe coune of the centu rieg and in the cOllrse of a life. Ihings which were will t he ground uf Paris loo k li k ~ tha t of T heLes <lr Babylon?" Friedrich \'UII
'·' lIIscioUI o ncl' lind which , hy tliffusion , have eliu~red uh li viu n . ... Vasl su bma- ltaumcr,· Briefe (leU Pllri.s uml "'ranhreich im ) llhre 1830 (Leipzig. 183 1), vol. 2,
rille fUlld . ill which a ll cultures_ a ll s tudie!l_ a ll proceedillgs of mind IIIHI will . all p. 127. (K4a.2]
sudal 1I111·j",illgll, all s tru~l t' 8 lire collt:Clcd in II formless mire, . . . The l'all8iolla l
1'1';lIIc llt>l of illliil'illua l;; hav t: ret)t:i1ell. dimmed , Alllhilt remain a re the givens of D' Eie hthal"lI a dditiulls tu D\I\"I!yric r '~ ,,11111 uf Ihe " new city." They have to do with
tile o:xh!rnal wurlll, mo re fir le;;s Irumfol"llIetl a nd diges ted . It ill of the t' xle rnal the temple . Signili ulIlIl Ihut Ouve Yl"icr himself l ays, " My temple i:4 II woman! "
wodd th ll t thi ~ 1IIII"II118riu IIMill IlItltlt: ••. . Durn of so<:iallife _ this ImlUlIlI 1)('llIng8 10 Cuulller;; d -Eiciltha l: '·1 think Itliit Ihe templl' will co nlain the pa lace of ma n and
~Ucil' ti l!~. The s ped !.!11 olUl UIO' illdiv;,Jual CUUJlt fo r little in it : o w )" 1.lttl rlll!t' Ba lltl the tilt' pulace of WOlUllll ; t he man will go to l)a>l8 the flight with the woman , a nd the
uge II'aw' tllcir lI ulI·k . Thi ~ {:ll urmUll ii la bo r lIod("rl a kclI in the ShOlJllw8 I·UIIICH lu WOman will come 16 ...·o rk durin g I.IIC Ila y wilh Ihe man . BelwCt!1I tlte IwO pala ces
ligh t illlh·O!ums . I.holl"hl ~. d Ci· i ~ illlui, pml liho ve a ll at mOlnell18 I)f cr illi, o r Olf 80ctal will he tI;t: lelll ple pro per, the place tor cOlllllluui<lll . where tlte man a lld the woman
1I1,11I;:lIvlIl : il f/lrms I.he greul "olmlloli grouluL tile reserve of peo plc! a nd indivitiu- join wiul a U Wllmefl a lul 0111111'11 : and the re Ihe cOlIl,le willnt:it hcr res t nor labur ill
isolation . . . . The temille ougl,t to re prellent an androgyne. a ma.n and a
wo man . ... T he ~ a lm: method of llivision should be employed tbroughollt die city,
throughout the realm , thn,ughout Ihe world : there will be the hemispllcro of mall
and the hemisphere of wonlan ." Henry-Rene d ·Allelllagm:. U.1f Sa in /,-Simotlierl!f.
1827-1H37 (Paril, 1930), p . 3 10. {K4a.3]
T he Paris of tlte Saint-Simonians. From the draft plan sent b y Charle Duveyrier
to L 'A dvoctlt. with the expe1::lation of b a vin~ it incorpora ted into Le Livre de.
cent-et-UII (which . evidentl y, it was not): "We wanted to gi\'c a human fnr m to the
firs t city inl p ired by ollr faith .'" " The Lord , in his gooclne.s.s, hassJloken th rough
the mouth of man : he sends .. , Paris! It is on the banks of your r iver and within
your wa Ul Ihall I haU impress the liCal of my new ltount y.... Your kinga and yo ur
l)(!Ople.s have Dlarl:hed wilh the slowness of ccntn riell, anil they have fin aUy a rrived
at a nlagnifi cent place. It is there that the head of my city will repose . . . . The
palacell of yo ur kinga will be ita hrow•. .. and J shall tend to itl beard of migh\'y
cheltnut t.rees .... From tilt: tup of that head I will sweep away tbe old Christian
temple . ... and in this clea ring I will arrange a headdreu uf tree~ ... . Ahove the
breast of my city, in I.hal sympathetic foyer where the I)assionil all diverge and
come together, wher e sorrows a nti joys vibrate, J will build my temllle, . .. sulwr
plexlIl of the giant .... T he l1iUs of Roule and ChaiUot will form ils fl anks; there I
will ealahli, h b ank and univer sity, marketplaces and publishing houses.... I will
extend Ihe left a rm or the colossus along the ban k of Ihe Seine; it wiD run ...
opposite ... Palsy. T he corps of enginCi'nI .. . will constitute the uPrler portion .
which will streich towa rd Va ugira rd. and I will make the forearm from the wUOI.I
of all the SIH!Ciali.ted sehoolll of ph Y8icaillcience .... In between , ... I will alsem-
ble allthefl:ra mmar schools and high schools for my city to I)refll to itl brea8! , there
on the left whfO re the uni ven ity i8 lodged . I will n tend the righl a rm of the giant , 118
a 8how offoree. all the wa y to the Care- de Saint-Ouen . . .. I will load this arm with
workshllps of small industry, a rcadel . galleries. ha.tua rs .... I will fonn the r ight
thigh a nd leg fro m aU the large manufacturing establishmenlil . T he riAht foot wiU
touch NeuiU y. The left thigh wiIJ offer foreignenl a long row of hotels . The left leg
will reach to the Boil! de Boulogne . ... My city is in the )l0l tu re of a lIIa n about to
set off. His ft:et a re hron.te; they a re resting on a double road of slone aud iron.
Here ... vehielee of tr am port a nd inslrumenlll of comnlunic&liun are ma lll.ra~
lurell; here ca rriagell race about . . . . Between its knees is a n I!quelltrian art:lla i
helween its legs , a ll immense hippodr ome. "" Henry- Relle d'AIJemagllc , /-e8 Sain l-
Simonie,.,. 1827- 183 7 (Pa ris . 1930), )lp. 309-3 10. T he idt~ a for tltis prOI)Osul goes
hack tu Enfantill , who ~l c vdopl:d plUIIII for the city III Ihe fulul·c willi the a ill I)f
allalomil'ul e1la rts. [K5]
Bul ' 111. lilt' Ori t lll 8 '"nm()n ~ yo·, "
To go irri ga te iu de8u l.!I;
HRille !.iSh int" th e ai r
T he I<iWe... or II", "i/te nOlwelie.
F. Mayn ard . " L'Avenir eat bea u:' in Foi nouvelle: Chunls e l dWrl-tll)'" de 8 l1 r-
a
n ullt, Vim.:nrd . .. , 1831 183" (Paris , J allt.llu y I , 1835). book J , p . 81. Regard -
ing the motif of the desl:rt. (IomplI. n : Rouge! de Lisle'll " Chanl des indllstrie.ls" a llli
" le Desert" by FHicic.n David . [K5a, l]
Paris in the year 2855: " T he cit y is 75 miles ill cir cumfer ence. Versailles ILIId
Fontainehleau- neighborhoods lost a rnon ~ 80 ma ny othcr ll--iientl into Ie 8 tra n_
quil borough s refres hing ~rfurues from tree!! th at are twent y centuries old .
Se.vre!!, which has hei!ume the regular market for the Chinese. (Freneh citi.tenl
lIince the wa r of 2850). dis play•... illl pagodas with their echoing little beUs; in itll
mid!!t can still be found the factories of an earlier age, reconstructed in porcelai n a
w reine." Arsene Uouu aye, "t.e Paril fu tur:' in PlI ris et kif Porn ie ns a u X IX'
,ied e (Paris . 1856), p . 459. [K5a,2]
Chateauhriand on the Obe lisk de la Conoor de: "The hour will come when the
obelisk of the desert will find once again , on Murderers' Square. the silence and
50litude of Luxor. " t~ Ciled ill Louis Bertra nd , "Discours sur Ch atea ubriand ." Le
1'emp, (September 18 . 1935). {K5a,3]
Saint-Sinton once proposed " turning It mOIUitain in Switzerland into II Slatue of
Na poleon. In one hand . it would h" id an occupied city; in the other, a lake." Counl
C USlav " O il Schlabrendorf. in Paris, on event8 and persons of his day {in Carl
C ustav J ochmann , Reliquum : Alt.! 8eine n nllchs eltlu enen Papieren , ed. Heinricb
Zschokke . vol. I (Hechingen , 1836). p . 146]. [K5a,4]
Noctu r nal Paris in L 'lIomme qui rit : " The little wanderer was suffering the in-
defin able depre88ioll lllade by a sleeping town . Its ailence, as of a p a ral ~ed an ..'
nesl . maket; the head swim . AIJ its lethargics mingle their nightmares, illl siumbenl
are a cr owd."" Cited in R . Caillois, "Paris . mythe modem e." Nou veUe RelJlle
fr anl;ou e. 25 , no. 284 (1\1ay 1, 1937). 1)' 69 1. [K5a,5]
" Bcca use the coUeetive unconscious is ... a deposit of world- processetl embedded
in the u ructure of the brain and the 8ympat hetic Ilerv() us system, il c()nstitule&...
a sort of timeless and eternlll "" orld-intage wfli ch counter balllllt:es our conscious.
momentary pictu re uf lite w()rld." C. C. Jung, Sef! k nprobleme der Ges en wart
(Zurich . Leipzig, anil Stuttgart. 1932). p . 326 ("Ana lyti!!che Psychologie lind Welt-
anschauung") . I~ {K6, IJ
Jung calls the c(iIJSeiOUlIne8S--lln oClau ion !-"our Promethean ~;oll<fuesl. " C. C .
J ung. Seelenpro M./!me del' Gescll wfl r l (Ziirich , Leipzig, and StUlIg3rt , 1932) .
p. 219 (" Die Lcbt!n KWc.n~ I c.·') , AIIII in allllther conlext: "To be 'unhistorical' is lilt'
Prolnethean sin . In this lense, moder n lIIan li ves ill sin . llis lr er con.:U:iOIl,111eU is
th ll $ S llpt . ,. Ihid .. p . 104 ("I)as Secienllrllhlem dell mod cr nell MCllsciJell").I¥
[KO.2)
"There can be no doubt that from ... the memorable yean of the F~nch Revo-
lucon onward, man has givt:n a mo~ and mo~ prominent place to the psyche,
his increasing attentiveness to it being the measUJ'e of its growing attraction for
him. The enthronement of the Goddess of Reason in Notre Dame seems to have
been a symbolic gesture of great significance to the ~tem world-rather like
me hewing down of V\btan's oak by me Christian missionaries. For men, as at
me Revolution, no avenging bolt from heaven struck the blasphemer down."
C. G. Jung, &t/enprobl~ ckr Gtg~wart (ZUrich. Leipzig. and Snutgart, 1932).
p. 419 ("Das Seelenproblem des modemen Men.schen").1111 The "vengeance" for
th~ two historical points of depanure is being exacted today, it would seem,
simultaneously. National Socialism takes the one affair in hand;Jung, the other.
[K6,3)
As long as there is still one beggar around, there will still be myth. [K6,4)-
" Moreover. all ingeniolls improvement had been introouced into the.COll.8trIlCtiOD
of "'Illaret. The administration bought them prefa bricated . made to order. Tren
of colored cardbOllrd and taffeta fluwers contributetJ greatly to these oase_. and
cure had eVI:ll licen taken to cOllceal ill the leaves 80me artificial birds that sang tbe
whole day 101lg. l 'llUs, what is pleasallt in nature had heen preserved . while every·
thing unfit and unworth y in nature had been eliminated." Victor Fourncl. Pan.
nouveau et Paris fUlur (Paris, 1868), I). 252 (" Paris fu tur"). [K.6,5)
'"The workll of M. Haunmann gave ri Be. at leut in the heginning, to a bost of
rather IItruug!! or gra ndiose projects .... For example, the a rchitect M. Herard
Ilublished . in 1855, a proposal for building footbrid ges at tbe intersection of the
Boulevard Saint· Denill and the Boulevard de sebastopol: these footbridgel, incor·
por ating gaUeril!ll. would make for a continuous SIIUllnl. each side of which would
he defm ed liy the angle fonned attht' cn~s~ingoftb e two ho ule\·a rdJl. l'tt. J. Brame.
in 1856, exhibited a series of Lithographs detailing his phm for a metropolitan
railway Line--in Paris, spedflcally-with a system of an:: hes ~ upportin g the raill,
widl walkways U II the side for petleillriuns. and with elevated croll8oven 10 connect
these sidewalks .. . . At around the same time, in a " lA:tter to the loUniHter of
Conlmerce," a lawyer called fur the e8tabllihment of a series of a wning.s rU{1oing
the len~h of til!! 8treets to shelter the IHldestrian , ... wbo would hllve nu further
need of a ca rriage or umbrella. Not 10llg after tbis. an arllhited . . . propo!;f'{! to
reconstruct the entire historic city rl'nler ill Gothic lityle, ilO a .. to bring it into
ha rmollY ....ith Notrc Dam!!." Victor FOil rnel, [Juris rtO llllfW l1 et Pam fliLur (Paris,
18(8), pp. 384-386 . [K6a,l]
From Fuorllcr ll challter " Paris fUlur ": " There \'\'r re first-. second·. and third-
dan .·afes .. . . ulul , for each calt'gor y. the munbt'r of rooms. tables. billiard ta·
hies. mirroN. orlluml"..nl;; . anti giJditlgll was carefully regulated . . . . Tllcre ....ere
mus ter 6 tr~'eU nn.l l>Crvice ;;1I't-tts, just a~ there are lIIus ter stairway. a nd fen ·iee
stairwaYII in ....eU·urganized hou~ ... . On the fal,!lIdeur Ih~ b arrackll , It has-relief
.. • depicted. in an ether eallLimbus . Puhlic Ortler drcued liS an infantryman: an
a ureole ubo\'c hi.s liro .... he ...as bUilY laying low the hundred·headed l:I ydra of
DocenlraLizution .... Fifty SCl1tinel, . posleil at lhe fifty wi ndo,,'s of the barracks
opposile the fifty houlevan)s, were ahle to see, through field g1uslSes. at a distance
of fifteen or t...enl y kilometeril . the fift y sentinel8 Ilt the fifty gates .... Crowning
MQntmartre was a domc decoratcd with a giant d ectril! dock . which could be
viewed from two 8itles and heard [ro m four. and which served to regulate all the
duc ks in the city. The great goal 80 long sougbt bad finaJl y been ae bievetJ : that of
making Pari, an object of luxury and curiosity. ruther than of use--a ville d 'erpo_
sition, a display city placed under glass, ... an ohj t.>t: t of admiration an ti envy to
foreigners , unhear allie for its inbllbitunu ." V. ."ournel , pp . 235-237, 240- 241.
[K6a,2]
Crititlue h y Fournel of Ch . DUlleyrier', Saint·Simunian city: "We cannol continue
with the exposition of lhis rash mt!la pbor ofM . Duveyrier 's . which he develol" ...
with a trul y stupefying single-mindedneu, and without an y sense or the way in
which h is ingenious distrihution ,,"ould r eturn the city uf Paris, in the nunlc of
progress. 10 thul period of the Middle Ages wben cal:h brunch of industry or trade
was confined 10 its own qIUJrtier.·· Victor Fournel. Pa ris nouveau et Puru fumr
(Puris , 1868). pp. 374-375 ("Le8 PreeUrlleUr6 de M. lJuuI8mano" ). [K7, 1]
" Wes baU 'peak of a monument e pecially dear to our hea rt , one which haa come to
seem. with II climate such 8S OUni . a virtual necessity: ... the winter garden! . • ,
Near Ihe center of the city. u vast piece uf ground callable of holding. Like the
Colosseum in Rome, a large part or the population , would I... enclosed hy a great
Lighted vault , a little like the Crystal Palace in Landon. or like our market haUs of
today; the columns would he of cast iron , with only II hit of lIone to 6tren~ben the
fo undatiou., .. . . 0, my winter gartlen . wbat u ~ I would make of yo u for mY'
Novutopiall8! In the grea t city of Paris, by contrast , they have bui.lt a heavy,
dumsy, ugly monument of stOlle , which no one knows whal to do with. Here, in
recent mOllths, tht' painting! of our artists have-bccn displayetl , fa cing away from
the light . baking al onl y a HLightly greater relll(lVe from the h1az..ing sun ." F. A.
COllturil'r tie Vienne , Pam modem e: Plan d'une ville modele que t'(l)jtellr u up-
llelee sVovutopie (Pa ris. 1860). Pl' . 263- 265. [K7,2J
0 11 the Ilream h o u ~e: " ',n all southern counl.ntS, where the pnpulur conception of
IllI' strect rt'<fuircs thai the exterior>! of Iwulles "1'I'I!ur mort' ' Ii" ed ill ' tlulli their
interior!! , tllis ex hihitinn of the pr ivate lif!! of the re"idcntJl I:onfcr!l 011 their dwcU·
i.ng6 the qualit y of a secret place, which pi1lues the f'urios it y of f(Jreigu er8. TIll'
iml)n! ~~ i o ll mllde is the ~a me in fairs : evt"rythillf/. tilf' re ill! {'on~ignec l to tll1' sl.rcl'l
"'it h slu:h alillndun thai "'ha h'ver is 111ft then> lakl'llI 011 Ihe 1}O" 'cr of a mY8tt'ry."
Alll'it'li. Dllpassugc, ·· I"ci.ntll re~ ft) rllill (·~ . " Arls el melil!r., grtJ /Jhiqlle& ( I ~3~).
[K7.3)
Couldn't one: compare the: social diffe:rentiacion present in architc:ctun:. (5«
Fournel's description of c,lfes in K6a.2; or front stairs versus back stairs) with the:
social djffe:renciation a1 work in fashion? [K7a, l j
On amhropologica1 nihilism, compare NSa,I : CClinc, Bcnn. [K7a,2)
"The fIft eenth century ... wall Q time wht'll corpses, skulls and ~ keletun s wer e
extn,,'a!;lllltly I)QPular, Puinted , 8clllplell . written about IlUd dramaticllUy repre-
sented , the Danse Macabr e was everywhere. To the fifteenlh.cenlury artist , a good
deatll.appeal Wall as slIrt! a key tu popularity as a good sex·llllpeal is at the present
time." Al.lous HUllley, Croisiere ,l'hiller: <Voyage) e n AmeriqlU~ elmlrate (Pari.!!
(935)), p. 58 ,=' [K7a,3)
Coucl.:rning tlte inlerior of the hOOy: " The motif and iu elabur ation go hac" I;
J ohn Ch ry805lom's 'Oil Women a nd Beauty ' (OIJe ra , ed. B. de Montfaucon
[Paris. 1735], vol . L2 , p , 523)." " The hea uty of the hody is men:ly ~ 1U1I ·dee ll ' For
if, like the legeJulary lynx of Boeolia , men were to Bee what lies bellealh the . kin,
they would re<!oil in dil!gust al the sight of a woman . That weU· knowD chann it
nothing but mUCuil and hlood , hUlIlor/l and hile. Just 8top t,o conliider wbat i.e
hidllen lIwa)' ill du! nostrils , Ihe Ihruat , or the b4!Uy: everywhere filth . And if, in
facl, we shrink from touching mucus or dung with even the lip or our finger, bow
cuuld we ever wish to mnhral!c the sack or excr..nll::n tJJ itself?" Odoll of Cluny,
Collatiu num, book 3 (aoUgoe), vol. 133, p. 556; cited in J . Huizint;a , Herb3t cka
Millewlters (Munich, 1928), p . 197, :12 [K7a,4J
Re the psychoa nal ytic theory of memory: "Freud'M later rellea rchet> Dlade it clear
that this view [the l;tJllcepl of repreuion] musl be enlarged. , .. The machinery of
repression , .. iJi. . a special case of the, , . flignificant process which occurs
when the ego is IInC(llial to meeting certain demands made upon the mental mecha·
ni ~ m . The IIi Oft' gelleral proct:~S uf dd'ense does not cancel tlle strong impressions;
it only lays them aside .. , . It will he in tJlI~ intereMt of clarity for me to dta te the
"onlraSI hCI"'"Pctl nU:lIIory and rcminillCI~IICC with delibcrate blunlueili: the fUllc-
lion IIf mdllory Ilhe a uthor iticJlliJie!l the Mpllt:re of " forgl!lfuJ nt!i!s" with " uncon·
lil'ious 1I1t"1Il0ry~ (I" 130)] is 10 prolect our imprcssions: rcminiscence aims III their
tiissolution. Euemially nJf!IIIIH'j' ;.0; ('o nscr JJllfiIIC; r e",j"i.o;cellC€. d e! tr nCLioe."
T hc01lur Rcik , Der iiIJerrwlchte P.1ydi0108e(Ld,len. 11)35). PI" 130-132.23
[K8,11
~ For instance, we experience the death o f a near relacive ... and believe that we
fed our grief in all its dcpm .. " but o ur grief reveals its depths only l ongafter~'e
t.hink that we have gol the bener of ie" The "forgotten" grief persists and gains
ground : COlllp~ the death of [jle grandmother in Prowt. 1'0 aperieuce means
10 master an impression inwardly that was so strong we could nOI grasp it at
once." TIus definicion of experience in Freud 's sense is something very different
from what is meant by those who speak o f having "had an aperiencc?' Thcodor
Reik, Der iibm-aschtt Rych% ge (Lc:iden, 1935), p. 131.2• [K8,2)
What is laid aside in me: unconscious as content of memory. Proust speaks of the
"thoroughly alive and creative slccp of the unconscious .. . in which the things
that bardy toUell us succeed in carving an impression, in which our hands take
hold of the key tJlat rums the lock, the key for which we have sought in vain,"
Marcel Proust, La Prison"i"t (Paris. 1923), vol. 2, p. 189.2) [K8,3]
The classic passage on "involwnary memory" in Proust- pn:.iude to the mOment
ill which the effect of the madeleine on the narrator is described : "And so it was
that. for a long time afterward, when I lay awake at night and revived old
memories of Combray, I saw no more o f it than this sort o f luminous pando , , . I
must own that I could have assured any questioner that Combray did include
other scenes. , .. But since the facts which I sbould then have n:.caIIed wou1d
have been prompted only by the voluntary memory, the intellectual memory,
and since the informacion which that kind of memory gives us about the past
preserves no thing of the past itself, I should never have had any wish to pondu
over this residue of Combray... . And so it is with our own past. It is a labor in
vain to attempt to recapture it : all the efforts of o ur intellect must prove futile.
The past is hidden somewhere outside the realm, beyond the reach., of intellect,
in some material object , .. which we do not suspect. And as for that object, it
depends on chance whether we come upon it or not before we ourselves must
die." M arcd Proust, D u COli tk chn Swann, vol. 1, pp. 67-69,2111 (K8a,IJ
The classic passage on awakening at night in a dark room and the ensuing
orientatio n : """When I awoke like this, and my mind struggled in an unsuccessful
attempt to discover where I was, everything would be moving round me through
the darkness: things, places, years. My body, still tOO heavy with sleep to move,
would make an e:ffort to construe the fonn which its tiredness took as an orienta·
tion of its various members, so as to deduce from that where the waJJ lay and the
furniture stood. to piece together and to give a name to the house in which it
IllUSt be living. Its memory, the composite memory o f its ribs, knees, and shoul-
der'blades, offered it a whole series of rooms in which it had at one time: or
another slept. while the unseen walls kept changing) adapting themselves to the
shape of each slIccessive room that it remembered, whirling madly through the
darkness, And even befon:. my brain ... had collected sufficient inlpressions , ' .
10 identify the room, it, m y body, would recall from each room in succession
what the bed was like. where the doors were, how d aylight came in at the
windows. whether there was a passage o utside, what 1 had in my mind when I
wcm lO sleep. and had found there when I awoke." Marcel Proust, Du COli dt
rha. Swami, vol. 1, p. 15 .11' [K8a,21
Proust o n nights of d eep sleep after great exh auscion : "Good nights. , . rum so
cITectivc:1y the soil and break through the surface stone of o ur body thai we

discover there, where our muscles dive down and throw out their twisted roots
and breathe the air o f the new life, the garden in which as a child we used to play.
There is no need ro travd in order to see it a gain: we must d ig dO\vn inwardly to
discover it. W'hat once covered the earth is no longer upon it but beneath: a mere
excursion d ocs not suffice for a visit to the dead city-excavation is necessary
also." These words run counter to the injunction to revisit the sites of one's
childhood. And they lose not a whit of their sense when taken as a critique of the
mfflwirt! lJ(}/Ollta;re. Marcel Proust Le Giti de GJurma ntes (Paris, 1920), vol. 1,
p. 82.~~ [K9,1}
Linking of Pl'Oust's oeuvre to the work of Baudelaire: "One o f the masterpieces
of Frendl literarure- Syhric, by Gerard d e Nerval- like the MimQim d'outre-
/Qmbe (of Chaleaubriand) ... , contains a sensation of the same dlaracter as the
savor of the madeleine .... And finally, in Baudelaire, these reminiscences art.sti1l
more frequent and obviously less incidental and therefore, in my opinion, deci-
sive. H ere it is the poet himself who, with lUore variety and more indolence,
purposely seeks in the odor of a woman's hair or her breast, for example., inspir-
ing resemblances which shall evoke for him 'the canopy of overarching sky' and
la harbor filled with masts and sails: I was going to endeavor to recall the poems
of Baudelaire which are based in similar maImer on a transferred sensation, in
o rder d efinitely to place myself again in line with such a noble literary heritage
and reassure myself that the work I was now about to Wldertake without any
further hesitation was worth the effort I was going to devote to it. when I reached
the foot of the stairs ... and suddenly found myself ... in the midst of a fete.."
Marcel Proust, Lt 'femps rell'Q uui (Paris <1927» , vol. 2, pp. 82-83.:11> [K9,2]
" Mun i ~ himself. ill man , (lnl y at the surface, Lift the skin . dissed : be re hegin the
machines. It ill then yo u lose yo urself ill un inexplicable s \lb ~ ta n ce, somdhing alien .
til everything YOII know, antI which i~ lI<IJu:lheless the essential. '· Paul Valery.
Callier B. 1910 ( Paris <1930» , pp. :\9-40. [K9,3]
Dream city of Na poleQIl r: " Napoleon. wlu, Ilrigilla lly had "'anted hI eret:t tbe Are
de Triompbe somewh('re insitIt: dill cit y. like the IJi ~ app()inlillg Ilu t effort made at
Ihe Place dn CarouslleI , le t himself be pers uutletl hy Funlaillc to s tur! con!>lruclioD
west of the cit y, where a large Irm;! of land was nl his IJispulS8 l, (III all impel'inl Paris
tlmt wuuld I\ urpass tlte r<lynl city_ Ve rsailles included. Betwccn the: s mumi, of the
Jh 'cnuc d es Cbamps-Elys('i'H a lld the Seint', . . . 0 11 11.1.' plateau wbere tutlay the
Ttoead .... ru stuntl ~. WII S 1<, lit' built , ' " 'itll palal'es fnr Iwt·" ·(· kin gs and ,)wir reU-
1I111'S_' ... ' lIul ;)IIly tllt' lII u ~ t bl'auUful l'il y Ibul eyer' was.l,ul till' m n ~ 1 hl'. autiful
(:il y IluH e y.,,· ('ollid be.' The Arc de 'l'riompho:. W8 ~ t·(I lu:ci \·.~J lIi1 lhc lint cdificc of
Ihill cily." Frilz S lahL Pari., ( Bl;.rlill <l929)). pp . 27-28 . [K9a. l]
L
[Dream House, Museum, Spa]
1ne genteel variant of the dream house. The entrance to the panorama of
Gropius is described as follows: "One enters a room decorated in the style o f
Herculaneum; at its center the passerby is drawn for a moment to a basin inlaid
with shells, in which a small fountain is plashing. Straight ahead, a little flight of
stairs leads to a cheerful reading room where some volumes are.displayed-nota-
bly, a collection of books designed to acquaint foreigners with the royal mli-
dence," Erich Stenger, Daguerw DiQt'ama in Berlin (Berlin, 1925), pp, 24-25.
Bulwer<-Lyttom's novel. When did the excavations begin? Foyers o f casinos, and
the like, bdong to this degant variant of the dream house. Why a fountain in a
covered space is conducive to daydreaming has yet to be explained. But in order
to gauge the shudder of dread and exaltation that might have come over the idle
visitor who stepped across this threshold, it must be remembered that the discov-
ery of Pompeii and Herculaneum had taken piace a generation earlier, and that
the memory of the lava-d eath o f these twO cities was covertly but all the more
intimately conjoined with the memory of the gmt Revolution. For when the
sudden upheaval bad put all end to the style of the ancien regime, what was here
being exhumed was hastily adopted as the style of a glorious republic; and palm
fronds, acanthus leaves, and meanders came to replace the rococo paintings and
(hinoueri~s o f the p revious century. 0 Antiquity 0 [Lt ,l ]
" SutiJellly, howeyer, they want to tranilform the Frellch, with one wave of a magic
\\, ulUl , into a peo ple of classical antiquity ; anJ on this whim of dreamers isolated in
t!id,· privalt: libraries (the gmlde~s Minerva nOlwithHtanding), numerous artilStic
t lldf'llYO r s ha ve tlepemled ." Friedric h J ohann Lon:llz Meyer , Fragme flte aus
Pa ri$ jill IV"" Jallr der j rtlnzo$iscilen Reptwlic (Hamhurg, 1797), yol. 1. p . 146.
J ~~~ D ~~
Dream houses of the collective: arcades, Y,rinter gardens, panoramas, factories ,
wax. museums, casinos, railroad Stations. [Ll ,3]
TIle Care Saint-Lazare: a puffing, wheezing princess with the stan" of a clock.
"For QUI' type of mall," says J acques de LacreteUe, "crain stations are truly faeto-
ries of dreruns" ("Le Rc!veur parisien," XOll l.Jf!lIe Rnlllt:.fransaut:.,> 1927). To be sure:
LOCiay. in the: age: of the automobile and airplane, it is only faint, atavistic terrors
which scilJ lurk within the blackened sheds; and that stale comedy of farewell and
reunion, carri«l. on befoK: a background of Pullman cars, tums dIe rnil\Ola}'
platfoml intO a provincial sta~. Once again \\'C see perfonned the timel'."Om
Gr«:k melodrama : Orphew, Eurydice, and Hermes at the station. Through the
mountains of lugga~ surrounding the figurt: of the nymph, looms the steep and
rocky path, the crypt intO which she sinks when the Hermaic conductor with the
signal disk, watching for the moist eye of Orpheus, gives the sign fo r departure.
Scar of departure, which zigzags, like the crack on a Greek vase, across the
painted bodies of the gods. [Ll ,4]
The domestic interior moves outside. It is as though the bourgeois wen: so sure
of his prospc:riry that he is careless of fa!?de, and can c:xdaim: My house, no
matter where you choose to CUt intO it. is fa!?de. Such fat;ades, especially, on the
Berlin howes daring back to the middle of the previous century: an alcove does
not jut out, but-as niche-tucks in. The street becomes room and the room
becomes street. The passerby who stops to look at the: house stands, as it were, in
the alcove. 0 Fl.meur D [LI ,S]
011 th ~ dream hOllse. The arcade as I ~mp le : the habitue of those " obscure ba·
zaan" of the oourgeuis arca(l~s "wiU fmd himself aimosl on foreign ground in the
Pa sla g~ de rOpera. Ile will be profoundly ill al ease tht'.J'e; he will be anxiow to
leave. Anolher moment and he will discover himself R mallter. as if be bad pene-
trated the temple of God. " I.e Lillre des cellt-eI·UII , vol. 10 (Pam, 1833), p. 71
(Amedee Kcrmd . "'Les Passages de Paris"). [Ll ,6]
Apropos or the colored wimlowJlllnes which were beginning to he UlstuUed in &tair-
ways (autl these .flair! were orten waxed! ) Alphonse Karr writes: " The Kttlin:ase
h ilS remained something that look" more like a machine of war ror defendillg one',
hlluse against enemies Ihan a means of ~:omruuni clltioll allil 8tHlell8 offered to
frientis." Alphonse Karr, 300 pnges, new edition (Paris, 1861 ), "" . 198-199.
[L1 .n
Thf' bouse has always shown ilklf " bardy receptive 10 new rormulations." Sig-
rried Ciedioll. Baaell in Prankreich <Herlin. 1928), p . 78. (Ll.8]
Arcades arc houses or passages having no outside-like the dream. [LIa,l j
Museums unquestionably belong to the dn:aro hOllses of the collective. 10 can·
sidering them, one would want to emphasize the dialectic by which they come
uno contact, on the one hand. with scienci.6.c researcll and. on the other hand,
with "the drt:amy tide of bad taste." "Nearly every epoch would appear, by virtue
of its ilmer d isposition, to be chieOy engaged in wlfo lding a specific architectural
problem: for the Gothic age, this is the cathedrals ; for the Baroque, the palace:;
and for the early nineteenth century, with its regressive tendc:ncy to allow itself to
be saturated with the past: the museum." Sigfricd Ciedioll, BauQI in Fran.lr.Tt!ieil,
p. 36. This thirst for the past fonus something like the principal object of my
analysis-in light of which the inside of the museum appears as an intcrior
magnified on a giant scale. In the years 1850-1890, exhibitions take the place of
museums. Comparison between the ideological bases oCthe tl'.'O. [Ll a,2)
"TIIt' niut'lI.'Clith ('clllury provided aU lIew rrelltioll8, in every area or elldeavor,
with hil'lIJril'ililll; masks. Thill was no less true in the field of arc hitecture than in
the field IIr illdtl ~ lry or 8bt:it: ty. New possiiJilitieR of COlIst.ruction were being intro-
"ut~cd. bUI "eoplt, f,·" IIllIIo.!!1 fear at the ad" cnt of thesc fl ew possibilities aud
1)(.'i·tllt'I\~ l y Imri~ ·~ltbclII ill thcatrical d ~coratioll . The ellOrmoll.'1 collective ap para_
IU S of imlu-"Iry W II~ ht'ing put ill place. hut its ~ignifica ll ce WBiJ altered entirely by
the fac t Ihllt Ihe bClldlts of Ihe production procr.ss wl~ re a Uowed 10 accrue to onJy •
~ m a ll number. This historicizing mll6k is indi8~ olubl y botUld 10 the ima«e of the
nillf'lec::u th CcuIUT)', and is 110110 be gainsaid ." Sigfried Giedion , Bauen in Frallk~
reich . liP. 1-2. ILla,3]
Lc Corbusier's work .seems to .stand at dle temunw of the mythological figura .
tion "hollse." Compare the following: "Why should the house be made as light
and airy as possible? Because only in that way can a fatal and hert:ditary monu'
memaliry be brought to an end. As long as the play of burden and support,
whether acruaUy o r symbolically exaggerated (Baroque), got its meaning from
the supporting walls, heaviness was jwtified. BUI today-with the unburdened
exterior wall- the ornamentally accenruated counterpoint of pillar and load is a
painful farce (American skyscrapers)." Giedion, Sauro ill Franlreidl, p. 85,
[Lt. .•)
Le Corbusier's "contemporary city'" is yet another settlement along a highway.
Only the fact that now its precincts arc traveled over by autos, and that airplanes
now land in its midst, changes everything. An effort must be made to secure a
foothold here from which to cast a productive glance, a fo rm·and-distance--creat-
ing glance, on the nineteenth ceutury. ILl a.S]
- 1'111' condominium is "If' last incarnation (If the ba conial m8.lIor. It o,,"'Cj ils exist-
t'lwe azul ils form 10 t hl~ Lrutal egoistic clllllpetitiun of intiividuallandowueu for
Ihe r i{;hts to It: rrilMY lillli . ill the struggle for existence, wali Leing broken up and
p:trc·dt.'il <HIt, We art! thert·fon:l IlOI IlUrpriscd III ireI' Ihc foTni of Ihe manor hOllse
1'1'(~I) I'<:ar itl g liS well- in the walletl courtya rd , Ol\t' III'I:Upllllt sed\l(le~ llilllSI:lf frOIll
Ullothel'. und thlll ill (lid hclpS lo explain why. in til!' "1111 , II l'iullwe rellllllUlI ufthe
...'h.,11' sur vives." ~\ l lolf Hdme, Ne lleJ lfIulllllm - J\ " ' III!1I B(lllell (~ipzig, 1927),
l'p.IJ3-9'1. ILIa.G]
:1'111' IIIUS~'UIII .t" ,In'o m hOllsl'. L' \\'e 11 0\'1' seen hn w the Jj'JUrLollll alreatl y Ihuuglll it
IlIIl'urt;lIIt Iha l I lit' UIIf'I'S It) rll o'If tI'('ir house 1)1: g1orifit'~ I I" .. llhlll the .. arlier Ilisiory
\,If Frllllce . in aU ils ~ pll'",lur aflu lIip-lilil·llllL;e. he re" o'Igllizcd once aguill. Hence,
Ihey ai lio arranged 10 have ()ublanding momenlS from French history and Frenc h
cuhural evoltlliol) d~ pi e l ed 011 the cdJin~ of the u..uvre." Julius Meyer.
Cesch;c/l' /! cler nwdernenfranzijsl$chell Mufe rei (Leipzig, 1867). p. '~2IJ . [Lla.7J
InJune of 1837-"to the everlasting glory of France"-the historic museum of
Versailles was opened. A suite of rooms that one needs almOSt two hours merely
to traverse. Battles and scenes of parliament. Among the painters: Gosse,
Lariviere, Heim, Devrna, Gerard, Ary Scheffer, and others. Here. then, the
collecting of pictures turnS into : the painting of pictures for the museum. [1..2,IJ
Interlacing of mUS/lum and domeiltic inlerior. lot. Chahrillat ( 1882 , director of the
A.rnbigu theater) one day inherits a complete waxworks mUl;eum , "set up in the
Passage de (lOpera , right above the clock. " (Perhllpil it was the old Bartko£(
Museum .) Chahrillat is friend s with Ii. certain bo/lemien, a gifted draftsman . who
at the time is homeless. This man has an idea. Among the waxworkll in ~s !DU·
seum is one group representing the visit of Empress Eugenic to chole ra patients in
Anucus. At the right, the empress snliles on the patie nts; to the left is a Sister of
Charity in white cornet ; a nd lying on an irun cot , pale and emacia ted bentloth the
fine c1elln h('IJdothes, is a dying man , The museum closes al midnight. The drafta·
IIIl1n opines: Nothing simple r than to remove, with due care. the cholera patient,
loy him on the floor. and take his place in the bed . Chabrillal gives bis permiu ioD ;
the wax figures mean little 10 him . t'or the nexl six weeks, then , Ihe artist, having
just been th rown out of his hotel, spends the night in the bed of the cholera victim,
and each morning he awakens under the gend e glance of the sieknurse and the
smiling glonl:e of the empress. who lets her blond hair fall on him. From Jules
a
Claretie. u., Vie Paris , 1882 (Paris <1883» . pp, 301(f. [L2,2)
"How much I admire those men who decide to be shut up at night in a museum
in order to examine at their own discretion, at an illicit time, some portrait of a
woman they illuminate by a dark lantem. Inevitably, afterward, they mu.st kn~
much more about such a woman than ....-e do." Andre Breton, Ntuya (Paris
<1928)), p. ISO? But why? Because, in the medium of this image, the transforma-
tion of the muscum into an interior has taken place. [L2,3]
The dream house of the arcades is encountered again in the church. Encroach·
ment of the architectural style of the arcades on sacred architecture. Conceming
Notre Dame de Lorette: "The interior of this building is without doubt in excd·
lent taste, only it is not the interior of a (nuren. The splendid ceiling would
suitably adorn the most brilliant ballroom in the world; the graceful lamps of
bronze, with their frosted glass globes in different colors, look as though .th~y
came from the city's most elegant cafes." S. F. Lahrs <i\ Bn'ye au; ParuJ LD
Europa: Chrrmi/i der grbilddtll mit (Leipzig and Stuttgart, 1837), vol. 2, p. 209.
[L2.' [
" As for the lIew lintl lUll yel fiJlis l u~d Ihealers . they appear to helong 10 110 particu-
IlIr slyle. The intentio n . evidently, i.1I III integrate prh'lIte in lo puhlie usell by GOII·
strllcting priV'IIC resil":ntial dwellings all a round !h., pe r inu:te r, 80 that thelle the a.
lers CIIII hurdly hel;om'l nnything other thnn 1;01088111 containe rs. giant capsules for:-
a ll 60rtll "e things." Grenzboren . 1861 , 21111 ~emeste r, vol. 3, ". 143 (" Die Pari~er
Kumtall ~s teUull g vlln 1861"). (L2,5)
TIunk of the arcade as watering place. What we wouJd like is to stumble upon an
arcade myth, with. a legendary source ~t. its center-an asphalt Vt'Cllspring arising
at the heart of Pans. The tavern advemsmg beer "on tapn srill draws on this myth
of t.he waters. And the extent to which healing is a n"t~ tk pa.uag~, a transition
c.xpericnce, becomes vividly clear in those classicaJ corridors where the sick and
ailing tum into their recovery, as it were. Those halls, too, are arcades.! Compare
fountains in the vestibule. [L2.6]
The dread of doors that won't close is something everyone knows from dreams.
Stated more precisely : these are doors that appear dosed without being so. It was
with heightened senses that I learned of this phenomenon in a dream in which,
while I was in the company o f a friend , a ghost appeared to me in the window of
the ground floor of a house to our right. And as we walked on, the ghOSt
accompanied us from inside aU the houses. It passed through all the walls and
always remained at the same height with us. I saw this, though I was blind. The
path we, travel through arca~es is fundamentally JUSt such a ghosl walk, on which
doors gIVe way and walls Yield. [L2,7]
The figure of wax is propcrly the setting wherein the appearance (&hnTl) of
humanity outdoes itself. In the wax figure, that is, the surface area, complexion,
and coloration of the hUDlan being are aU rendered with such perfect and unsur-
passable exactitudc that this reproduction of human appearance itself is outdone,
and now the maImcquin incarnates nothing but the hideous, cunning mediation
o
bct'o'.-ecn costume and viscera. Fasruon 0 [L2a,l)
Dcsl:riptiun of a wax mUl;el.lnl as dream hUl.lse: "Once visitors reached the final
landin g, the y looked around Ihe I:I)rner intt) a large. brightly lit room. There was,
su 10 say. no une within , thollgll it was filled with prim!es, c rinolines. uniforms. anti
giants at the l~ntrance. The woman wenl 110 fnrlller, and her escort paused beside
hcr. pi1lued by Ii baleful pleasure. ThGy lIal down on the s tep!!, ami he told her of
tile It' rrf)j- he had ('Xperiellf'w as a lu)y ill reading ahout ill-fam ed castle" where 00
l 'll!' livl'll 1111)" longer. hut where 011 stormy night ... there were lights burning at all
rhc windows. What was going un inside? Whal gathering was the re? Where. was
Ih;'.1 light ~'()lIIillg from ? lie IHlll drl;umed of ,. alc.hillg a glimp~c or tlUIi assemhly
willi \·· IIIlDging
. f rUIlil ' .
t Ie wlnduw lellge, ins fa et: prc~se ol agains t the winJowl.anes of
th., \l1I~fJellkable nlum:' Ernti l Bloch , " LciL und Wnchsligur:' Frankfurter Zeit -
Illig <!Jecl'lIIher I!L 11)29>. [L2a,2)
"N. ulIlller1.25: Ca~ lall '~ mazc. At firs t. wurld trll.ve!{"I·s autil!rtiSl1i s upposc them-
s: lvc~ transported irllO th .. rorest of colunUll! lhal ill the magnifiCt:lIt musque u£
C'lrtiova i~l SPllin. As ureh IIlIGCcco.Is ardl ill that edifice, one column crowds upon
tile nexi ill p~r~ p. :ctive. (lffering fabulou s viSla8 IIUtI unlhink aLly long avenues
whidl fl O .. nc /'ould full ow to tile end . Then . s uddenl y. we behold an image that
II.kes 11 8 illto the very heart of the famuu s Alhambrll of Gnlnada. We eee Ihe
tapestr y pattern of the Al hambra , witll iu inscription ' Alia II is All ah ' (God is
great). and already we are s tanding ill a garden . in the orange grove of thc Alham_
IJra . But before the visitor arrives at this courl ya l'd , lIe mugt pass through II series
o[ labyri nthine di vagations." Catalogue of Cutan 's panoplicon" (from extr acts in
theFrarlkf lirter ZfJitulI,g). [L2a,3J
"The jj,uccess of the Romantic school gave rise, a rt/und 1825. to the market in
modern paintings. Before that, art lovers W -;1I1 to the hOlll c~ of artis ts. SeUen of
artists' pigmeut!l-Ciroux . S uisse . Binallt , Benillt.'-began to fun ction as midlU&-
mell . The fil'st rctail h OUSe was opened by Goupil in 1829." <Lucien> Duhech anti
<Pierre> d ' Espezel , fli.'l w ire rle Puri..'l ( Paris. 1926), p. 359. IL2a,4]
" The Opera is line of the characteristic creations of the SeCl)nd Empire. It wall
designed by all unknown yu ung architect . Charles Garnier. whose. plan was 8e-
lcc.tt."t.I from among 160 proj ects suhmiltetl. His theater. COllstrllctetl in the years
1861- 1875. was conceived as a place uf pu geoillry.... It was the stage on which
imperial Paris (loul,1 gaze at itself wi th 8utisfactioll . Classes newly risell to power
and to fortune , Llent.lulgI! of co~ m opolitall elements-this was a new world , and it
caUed for II new name! people IU) longer spllke of tile Court, but of Ie Tout Paris <all
fashlollable Paris> .... A theater conceived as an urban tenler, a cellter of social
life--this wa~ a new idea. and a sign of the times ." Dubech und d ' Espezel, H i..'l loire I
de Poris, Jlp . 411-412 . [L2a,5]
10 set up . within the actual city o f Paris, Paris the dream city-as an aggregate of
all the building plans, street layouts, park projects, and street·name systems that
were n ever developed. [L2a,6]
The arcade as temple of Aesculapius, medicinal spring. The course of a cure.
(Arcades as resort spas in ravines-at Schuls·Tarasp, at Ragaz.) The gorge as
landscape ideal in the nineteenth century. [1.3,IJ
Juc4ue" F'ahien , Pu ris eu sOllge ( Paris, 1863). rl!ports 011 tin- moving of .the Porte
Saint-Martin anti the Porte Saint-Denis: " ThI.'Y lire no 11~!;s admire!l on the ij umuu ts
of the F'u u.lJOUI·gs Suint-Martin alltl Saint -Denis" (p. 861. In this way, thf' areas
around the gates, wludl had stlllk 'Inite noticeably, we re. a hle to reguin their ol'igi-
nallevel. !L3,2]
Proposal tCJ CI)\'I:r till: dead bodie! ill the IllCJ r guc' wilh a ll oilcloth f"o/ll Ihe neck
,low II . "T hl~ public lines up altlll" dour ami i ~ a.il nweJ tv eXamine at illl ld1l ure thl':
/lillie e a d al'(~r$ of th e unknown Ilea. I ... 011(' Ilay, mora lily ....iU lie. givt'll il ~ due;
and thcl'eurter the w"I'ker who II .., W "VCS 01 IUllchtime 1,0 visil tilt· morgul~III!.Iul ll
in pockets , pipe ill nloutl,. smik un lip~ill order to crack jokcs OVl.'r the InOIT.. or
less putrefictl naked hotuea, of hoth lIexes, will ijoon lose interellt in the sparse
mis e-ell~"cime. 1 d o not exaggerate. These smutty scenes ar e enacted every day at
the morgue; ()eorle laugh there, smoke there, and chatter loU/Uy," Edouard Fou-
ca ud , Pnri..'l illvcnteur: Phy-,iologie de l'in(I!l$triefran~aise ( Puris, 1844). liP, 212-
213. (L3,3]
All eugraving from around l830. perhaps a little earlier, s how~ copyists at work in
vario us eenatic postures. Caption : " Artistic lllspirulion ut the Museum. '1 Cabinet
J es Eslampes. (L3.4]
On the beginnings of the museum at Versailles: " M. de Montalivet was in a hurry 10
a(:lluire a quantit y of paintings . He wauted them everywhere, and , since tbe
Challlhers had tlecried prodigality, he was determined to buy t: heaply. The trend
wall toward thrift ... M. d ~ Montativet willingly ... let it be thought that it was he
hi mself who, on tbe qua ys and in the dealers' s hops, WllS buyulg up third-ra te
canvases .... 'No , .. . il W illi the reigning princes of art who were indulging in this
hideous businellS , .. The copies aud pastiches in the museum at Versailles are the
mos t grievous confinllatio n of the r a pacity of those master artists, who became
t ulre prene urs and harterer s of art ... . Business and industry decided to eleva Ie
themselve8 to the level of the artist. The latter, in order to satisfy his need for the
luxuries which were beginning to tempt him . prostituted ar t to slJeCulation and
brought a bout the degeneration of the artistic tradition by his calculated reduction
of II rt to the proportions of a trade." Tluslast refers to the fa ct that [ around 1837]
painters were passing ou to their students commissions they had accepted them-
seh·es. Ga briel P elin, Le, Laideurs du beau Pari" (Paris. 1861), pp . 85, 87-90.
[L3.S)
On suhterranean Paris--old sewers. " We shall form a n image more closely resem-
bling this strange geometric plan by sup posing that we see spread upon a back-
ground of darkness some grotesque alphahe t of the Eas t jumLled as in a medley,
tile ij,hapcless letters of which are joined to one another, apparently pell-mell and
011 if h y chance. sometimell hy tbcir corners , sometimes by their extrem.ities,"
Victor [Iugo. Oeuvres completes, novels, vol. 9 (Paris, 1881), pp. 158-159 ( LeI
Mi."~ rllblesp I1.3a,IJ
St'wers: " All manllt'r of phantoms hawit these long solitary corridor s, putridity
au.1 mias ma. ever ywhere; he.re and there a breathing-hole through which Villon
witlun ChalS wiul Rahelais without ." Victor Hugo, Oeu vres completes, novels, vol.
9 ( Parill, 1881). p. 160 (Les Mi..'lerllbles).b IL3a.2]
Vietor lIugo 0 11 the ohstacles wlul:h hindered Parisia n diggi.n g anti tunneling 0 1-'-
i:l'atioIlS: " Paris is built upon II. de posil "i.ngulllrl y re bellious 10 the spade. to the
h~.. {(~ the drill , to human control. NOlhiug more .liffi(: uh to piert:e and to pene-
Iral\: Ihan th ut gt'ologicul formatioll upon which is ~ upcrl'olled the wOllderful his·
tl)rieru formation called Pa ris; 8S ~ OOIi as ... labo r COllllllellces ami venlures into
that sheet of aUu vium , subterranean resistance abounds. There are liquid claya,
living springs, hard rocks, those aoft deep mlrea which tcclmical science calls
mOl/lnrile •. The pick ud vanoos luooriously into these calcareous strata alternuting
with seams of very fine clay and laminar schisto, e bed s. encrusted with oysler
d lells conteml)Ora ry wilh the p re-Adamile oceans." Victor Hugo, Oeu vr es com_
pletes, novels, vol. 9 (Pa ris, 188 1), 1'". 178- 179 (Les Mis erables).1 [1.3a,3)

Sewer : " Parn ... called it the Stink-Hole .... The Stink-Hole was 11 0 les8 revolt-
ing to hygiene than to legclld. The Goblin Monk h ad appear ed under the fetid arch
of the Mouffetard sewer ; the corplles of the MarmOU8CIJI had heen thrown into the
sewer of tbe Harillerie .... T he mouth of the 8ewer of the Rue de la Mortellerie was
famOll8 for the pestilence which came from it .... Brune8cau had made a begin-
ning, but it req uired the choler a epidemica 10 determine the vast reco nstruction
whicb ba8 since laken place." Victor Hugo, OCI/vres completes. nO\·el8, vol. 9
(Pari8. 188 1), pp . 166, 180 (Les Miserobles, " L' IRlestin d e I..kvia tha n" ). I [1.3a~ 4)

1805--Bruneseau's descent into the sewers: " H ardly had Brulleseau (l'R ssed the
fi rs t bra nchings of the subterra nean network, when eight out of the twenty labor-
en refu8ed to go further.... They advanced witb difficult y. It was nOI uncommon
for tlae 8tepladde1'8 to plunge into th ree feel of mire. The lantern. flickered in the
nUa8m a8. From time to time, a sewerman who h ad fainted Was ca rried out. At
certain places, a p recipice. The 80il had . unk, the pa\'ernent hud crumbled , the
sewer had chan,;:ed inlo a blind weU; they found no solid ground. One man sud-
denly disllppeared; tbey hlld grellt tlifficuh y in recove ring him . On the advice of
Fourcro y. they lighted fro m po int to point, in the places , "fflciently purified , great
cage!! full of oakum saturated with resin, The wall , in places, wa. covered with
shupeleu fuugi--one would have said with tumo rs. The stoue itself seemed dis-
eased in this unhreathable atmollphere, ... They thought they recognized here
Hlld there, emeRy under the PaJai. de Justice, some cell, of ancient dungeons buill
in the sewer itself.... An iron coUtU hung in one of these cells. They walled them
all up .... The complete . urvey of the underground sewer system of Parn occu-
pied seven years, from 1805 10 1812 .. .. Nothing equaled the hor ror of this old
voiding cr Yllt, . . . Cllvern, v-a ve. gulf piCl"ced with streets, titanic nlOlehill, in
which til e mind seems 10 see prowling th rough the shadow ... that cnonnous blind
mole , the »1181." Victor Hugo . Oe u vres completes, novels, vol. 9 (Paris, 1881 ), l lle sewers of Paris, 1861- 1862. Photo by Nadar. Counesy of the Bibliotheque Nation-
lip . 169- 171, 173-174 (Les Miserflbles. " L' lntestill de I..kvialhllll" ). ¥ [tA,I) ale de France. See U ,I.

In connection with the passage from Gerst1i.cker. 1o An undersea jeweler's shop:

"~ came into the underwater hall of the jeweler's. Never would one have
believed it possible to be so far removed fro m terra finna. An immense dome . ..
overspread the entire marketplace, which was fill ed with the brilliant glow of
electricity and the happy bustle of crowds, and an assortDlelll of shops with
glittering display windows." Uo C larecie, Paro tUpuu $tS origintJ jU$qu 'tn I'an
3000 (Paris, 1886), p. 337 ("En 1987"). It is significant that this ima~ resurfaces
JUSt when the beginning of the end has arrived for the arcades. [1..4 ,2]
Proudhon takes a keen interest in the paintings of Courbet and, with the help of
vague definitions (of "ethics in action "), enlists them in his cause. [lA ,3)
V\befully .inadequate references to mineral springs in Koch, who writes of the
poems dedicated by Goethe to Maria Ludovica at Karlsbad : "The cssenciaJ thing
for him in these 'Karbbad poems' is nOl the geology but ... the thought and the
SCo:sation that healing energies emanate fro m the otherwise unapproachable per-
 son o f the princess. The intimacy of life at the spa creates a fdlow feeling ... with
the noble lady. Thus, . . . in the presence of the mystery of the. springs, h~th
coma ... from the proximity of the princess~ Richard Koch, Da Zauber der
Hdlqudkn (Stuttgart, 1933), p. 2 1. IlA,",)
Whereas a jauntey ordinarily gives the bourgeois the illusion of slipping the ties
that bind him to his social class, the watering place fortifi es his consciousness of
be10nging to the upper class. It does this not only by bringing him into contact
with feuda1 strata. Momand draws attention to a morc: elementary circumstance:
"In Paris there art no doubt larger crowds, but nonc 50 homogmeous as this one;
. for most of the sad human beings who make up thoS(: crowds will have eaten
either badly or hardly at all.. .. But at Baden, nothing of the sort: evayone is
happy, seeing that everyone's at Baden." Felix Mornand, La Vae de; eaux (Paris,
1855), pp. 256-257. [lA.,I)
The meditative stroU through the pump room proves advantageous to business,
chicHy through the agency of art. The contemplati~ attitude that schools itself
on the work of art is slowly transformed into an attitude more covetous of the
wares on display. "Having taken a rum before the Tn"nkhallt, .. . or beneath the
frescoed peristyle of this Greco-Gennan·ltalianate colonnade, one will come in·
doors, ... read the newspapers for a while, price the art objects. examine the
watercolors, and drink a small glassful." Rlix Momand, fA V"U' deJ ttnJ)C (Paris,
1855). pp. 257- 258. [lA.,2)
Dungeons of Ch atelet (sce also C5a , h : " Those ceUiI, the nlere thought of which
8lri.kcs terror into the hearts of the people, ... have. leut their sWnes to the one
theater ahove. aU where people love 10 go (or a good time. since there they hear of
the und yi ng glory of their &ons on the field s of LattJe." Edoll ard Fournier,
Cllroniqllel el iegende31 del mes ck Pam (Paris. ISM). pp. 155-156. The refer-
ence is lo Ihe Thea tre du Chald et , originally a circW! . [Ua,3]
'fhe rcvised title page of Meryo n's EUllx-/orles s ur I'n ris ( Etchings of PariS) lie-
picts a weighty stonc whose age is aUeiled to by the cncru Nted Nhells and the
cracks. The till,: of the cycle is engr a,·ed in this slone. " Ourty remarks tha t the
m elli . a llli tlu~ imprint of moss prest' rved in the limegtont'. indicate clearl y that
this Sftm e W ll@ eh o~ n from among the 8pecimellil of allcient Parisian ~ oil in the
II Uarric~ flf Montmortre." Cust.ove Ceffro y, Charles Meryon (Puns. 1926), I) . 47.
(Ua ,4)
In " Le J out! ur gCIl!! reult," Ulludelaire nl~ls with Satoll in his infernal gamblillg
deli. " a dauling 5uLterra nean Ilwelling of a fabulous luxur y IIl'yolIIl a uything t1u~
IIlllJer haiJilatitills tlf Pari;; could offer." Chules 8aUllclaire . Le S,' ~n tie Pllris,
etl. H. Simon (Paris). p . 49." (U a,5]
The gate bdongs in a context .....i.tJl the n"le; de jJaJStlge. W
However it may be
indicaled , a ile enters the way- whet11cr it be b etween two sticks driven into the
ground and sometimes set leaning toward each othu, or through a me trunk
split in the middle and opened up, ... or under a birch limb bent into an
a.rdl.... In these cases, it is always a matter of csc::aping a hostile ... element,
getting clear of some stain, separating off contagion or the spirits of the dead,
who cannot follow through the narrow opening." Ferdinand Noack, Tn"umph und
'triumphhogen, series cntitled Vortrii~ der Bibliothek Warburg. vol. 5 (Leipzig,
1928), p. 153. Whoever enters an arcade passes tJlTOUgh the gate·way in the
opposite dirtction. '~ (Or rathu, he ventures into the intrauterine world.) [LS, 1J
Aeeording to K. !\Idster, Die HllUuch ll1elle in S,Jrucl,e Ilnd Religion der Romer.
Proceedings or tilt' Heidelb crg Academy of Sciences, Division of P lliiollopby and
History, 1924- 1925. Trelltise 3 (Heidelberg, 1925), thl! threshold dOl!s 1I0t have for
thc C rL"eks, or imieed for any other people. the importance. il has for the Romani.
T he treatise is conCf'rned essentia lly with the genesis of the , ublimis UII the exalted
(origi nally what is carried aloft). (LS,2]
·'Nevertheleu . we Bee a continuous stream of new work8 in which the cit y is the
main c:haracter, present th roughout . and in which the name of Paris almost always
figures in the titJe, indicating Ihat dill- publil: likel things this way. Under these
condjtions. h ow could ther e not develop in each reader the deep-seated conviction
(""hich i8 evident even today) that the Pans he knows i. not the only Paris, not even
the truc ouc, that it is only a sta~ set , brilliantly illuminated but too normo£-a
pi ~ of sceuery which the stage bands will never do away with , and whicb conceals
anodu:r Parill. the real Paris, a noctu ma l, spe<:tral . impe rceptible Paris." Roger
Cailloil, " Paris, mylhe moderne," Nouvelle Revue from;ai,e, 25 , no . 2M (May I ,
1937), p . 687. [1.5,3]
" Cities. like furestl; , have tbeir dens in which aU their vilest and nmst terrible
monslers hide." Victor Hugo. Lei Miserables. part :3 <Oeuvrel completel. novels,
'·01. 7 (PuriB. I88I ), p. 306)." [LS,4]
There arc relations between department store and museum, and here the bazaar
provides a link. The amassing of artWorks in the mweum brings them intO
communication with commodities, which-where they offer themselves en
masse to the passerbr-awake in him the notion that some pan of this should fall
m ~ _~ ~~
··The ci ty of the dead , Pere Lachnise ... The word ' 1'l:metery' callnot proper ly he
clsed for this purlinll ar layoul , whicb ill modeled on the necropolises of the andellt
","uri I!. This ,·cntaLle urhall cstahlillhmellt-wi th its i tone houses (or the d ead and
it! prufusiOIl of sta tues , which , in contrast to I.h.; custom of tbe Chnlltiall north ,
rt!present Ult! Ileall a$ li ving- ia cOlweivcol throug.hout a~ a continua tion ur the d ty
of U1C living. ,. (Till! name comcs from the o ..... ner of the la nd . the father confe88or of
Louis XIV; the plllll i ~ by NIlPIlIcon I. ) Fritz Stahl. Pari.6 (OerUn <1 929». JlI) . 16 1-
162 . [L5a]

M streets. With each step, the walk takes 0 11 ~ater momentum; ever weaker grow
[The Flaneur]
A landscape haunts, intense: as opium.
- Ma1Iarmf.! ~ ~Autrd0i5, en \Uarg~ d\m &r.udcla.irc,w in Dioog"h~)
To read what was never written.
_ Hofmanruthai L
And 1 travd in order to get to know my gCOb'Taph)',
-A madman, in Mared ~a., I:Arl dw. kJ.foliJ (P'aris, 1907). p. 13 1
~ built of sheer lifi ," 'iSH"ofmanmfhatOnCc. put it. LandScap:e-
All that can be fOWld aJlY'yhcre can be found in Paris.
~ Paris beCOiiies for
- VICtor Hugo, Us j.filirahlu, in Hugu. Otuvm romp{(lr.J (ParU,
188\ ), novels. vol. 7. p. 30. rrom the clJaptcr ~&(:<: Paris, Ecce
Homo"l
But the great reminiscences, the historical shudder-theK are a ttumpery which
he (die 8aneur) leaves to tourists, who think thereby to gain access LO the genius
loci with a military password . Our friend may well keep silent. At the approach of
his footsteps, the place has roused; speechlessly, mindlessly, its mere intimate
nearness gives him hints and instructions. He stands before: Notre Dame de
Lorene. and his soles remember: here is the spot when: in former times the cheval
de rrnforl-the spare horse-was hamessed to the omnibus that clim~d the Rue
des Martyrs toward Mommart:re. Often, he would have givt:n all he knows about
the domicile of Balzac or of Gavami, about the site of a surprise attack or even of
a barric.'l.de. to be able to catch the scent of a threshold or to recognize: a paving
.,. stone by touch, like any watchdog. [MI ,I]
'\rf- { ;
')1
The street conducts the BMeur into a vanished time. For him, every street is
precipitous. It leads downward- if not to the mythical Mothers, then into ~ east
"f ~\ that can be a.I1 the morc spcllbil.!5:!iDg because it is nat his a.....,.l, not pnva!e.
Neverth eless, it always remains the time af a childhood. But why that of the life
he has lived? In the asphalt over which he passes, his steps awaken a surprising
resommcc. The gaslight that streams down on the paving stones throws an
equivoca1light all tlm double ground. [1\1 1.2}
An intoxicacon comes over the man who walks long and aimlessly through the
the temptacons of shops, of bistros, of smiling women, ever more irresiscble the
magnetism of the next street comer, of a distant mass of foliage, of a street name.
lnen comes hunger, Our man wants nothing to do l'Iith the myriad possibilities
offered to sale his appetite. Like an ascetic animal, he flits through unknown
districts-until, utterly exhausted, he stum bles into his room, which receives him
coldly and wean a strange air. [M 1.3]
Paris created the type of the Baneur. What is remarkable is that it wasn't Rome.
And the reason? Does not dreaming itself take the high road in Rome? And isn't
that city too full of temples, enclosed squares, naconal shrines, to be able to enter
lout mhlre-with every cobblestone, every shop sign. every step, and evc::ry gate-
way-into the passerby's dream? The national character of the Italians may also
have much to do with this. For it is not me foreigners but they themselves, the
Parisians. who have made Paris the promised land of the Baneur-th? liiiaSCipe
t, in fact, L!I w a t
the Bineur. Or, more precisely: the city splits fQ.r him into Its
rualectica1 j>OiE!:...!t opem up to him as a landscape, even as it closes around him
as a room. [MIA]
111at anamnestic intoxication in which the Bineur goes about the city not only
feeds on the sensory data taking shape before his eyes but often possesses itself of
abstract knowledge-indeed, of dead facts-as something experienced and lived
through. TIlls felt knowledge travels from one person to another, especially by
~rd of mouth. But in the course of the nineteenth century, it was also deposited
m an immense literarurc:. Even before Le.feuve. wbo described Paris "strttt by
street, house by house ~ there lvc:re numerous works that depicted this storied
landscape as backdrop for the drcam.ing idler. The study of these books consti·
tuted a second existence, already whol1y predisposed toward dreamingj and
what the Baneur learned from them took form and figure during an afternoon
v.<lik before the aperitif. \\buldn't he, then, have necessarily felt the steep slope
b~hind the church of Notre Dame de Lorette rue a.I1 the more insistently under
his sales ifhe rea1itt:d : here, at one time, after Paris had gotten its first omnibuses,
the chroal dt rmjOrt was ham essed to the coach to reinforce the two other horses.
[MI .5]
O ne must make an elTon to grasp the altogether fascinating moral constitution of
the passionate Bineur. The police- who here, as on so many of the subjects we
arc treating, appear as apens-provide the following indication in the repon of
a Paris secret agcot from Octobe.r 1798 (?): "It is almast impossible to summon
:Ul~ maintain good moral characte.r in a thickly massed population where each
mdivi51uaJ, unbeknownst to a.I1 the others. hides in the crowd, so to speak., and
blushes before the eyes of no one." C ited in Adolf Sclunidt, ParUn- Zu.Jtiintk
wiiJrrrnd tUr Rroolution, vol. 3 (Jena, 1876). TIle case in which the Bineur com·
pletely distances himself from the type of the philosophical promcnader, and
takes on the features of the werewolf restlessly roaming a social wilderness, was
fixed for the first time and forever afterward by Poe in his slory "The Man of the
Crowd." [M1.6)
The appearances of superposition, of overlap, which come with hashish may be
grasped through the concept of similitude. When we say that one face is similar
to another, we mean that certain features of this second face appear to us in the
first, without the lauer's ceasing to be what it has been. Neverthe1ess, the possi-
bilities of entering into appearance in this way are not subject to any criterion and
are therefore boundless. The category of similarity, which for the waking con-
sciousness has only minimal relevance, attains unlimited relevance in the world
of hashish. There, we may say, everything is face: each thing has the degree of
bodily presence that allows it to be searched-as one searches a face-for such
traits as appear. Under these conditions even a sentence (to say nothing of the
single word) puts on a face , and this face resembles that of the sentence standing
opposed to it. In this way every truth points manifestly to its opposite, and this
state of affairs explains the existence of doubt. TrotlI becomes something living;
it lives solely in the rhythm by which statement and COWlterstatement displace
each other in order to think each other.3 [Mla,I)
Valery Larbaud on the "moral climate of the Parisian street!' uRe1ations always
begin with the fiction of equality, of Christian fraternity. In this crowd the inferior I
is disguised as the superior, and the superior as the inferior-disguised morally,
in both cases, In other capitals of the world, the disguise barely goes beyond the
appearance, and people visibly insist on their differences, making an effort to
retain them in the face of pagans and barbarians. H ere they efface them as much
as they can. Hence the peculiar sweetness of the moral climate of Parisian streets,
the chann which makes one pass over the vu1garity, the indolence, the monotony
of the crowd, It is the grace of Paris, its virtue : charity. VIrtUOUS crowd . , ,"
Valery Larbaud, "Rues et visages de Paris: Pour l'a1bum de Chas-Laborde,"
Commm:e, 8 (Sununer 1926), pp. 36-37. Is it permissible to refer this phenomenon
so confidently to Christian virtue, or is there not perhaps at work here an intoxi-
cated assimilation, superposition, equalization that in the streets of this city
proves to carry more weight than the will to social accreditation? One might
adduce here the hashish experience "Dante Wld Pc:trarCa,''' and measure the
impact of intoxicated experience on the proclamation of tlle rights of man, This
all unfolds at a considerable remove from C hristianity. [M13,2)
The "colportage phenomenon of space" is the Baneur's basic experience, Inas-
much as this phenomenon also-from another angle-shows itself in the mid-
nineteenth-century interior, it may not be amiss to suppose that the heyday of
Ranerie occur ill this same period, Thanks to this phenomenon, everything poten-
tially taking place in this one single room is perceived simultaneously, The space
winks a t the Baneur: 'W hat do you think may have gone on here? Of course, it
has yet to be explained how this phenomenon is associated with colportagt:.'
oHistory 0 [M I a,3)
A true masquerade of space-tllat is what the British embassy's ball on May 17,
1839, must have been. "In addition to the glorious Rowers from gardens and
greenhouses, 1,000-1 ,200 rosebushes were ordered as part of the decoration for
the festivities. It was said that only 800 of them could fit in the rooms of the
embassy, but that will give you an idea of the utterly mythological magnificence.
lne garden, covered by a pavilion. was rumed into a Jalon de '()n~Jation , But
what a salonl The gay Bower beds, full of blooms, were huge jardiniereJ which
everyone came over to admire; the gravel on the walks was covered with fresh
linen, out of consideration for all the white satin shoes: large sofas of lampas and
of damask replaced the wrought-iron benches; and on a round table there were
books and albums. It was a pleasure to take tlle air in this immense boudoir,
where one could hear, like a magic chant, the sounds of the orchestra, and where
one could see passing. like happy shadows, in the three surrounding Hower-lined
galleries, both the fun -loving girls who came to dance and the more serious girls
who came to sup." H. d'AJmeras, La ViI: paminJ1U! JOur (Ie ri:gne de) Louis-
Plu'llppe <Paris, 1925), pp, 446-447. The account derives from Madame de
Girardin. 0 Interior 0 Today, the watchword is nOl entanglement but transpar.
ency. (Le Corbusierl) [MIa,4)
The principle of colportage illustration encroaching on great painting, "The re-
pons on the engagements and battles which, in the catalogue, were supposed to
illuminate the moments chosen by the painter for battle scenes, but which failed
to achieve this goal, were usually augmented with citations of the works from
which these reports were drawn, Thus, one would find at the end, frequently in
parentheses : Co.mpa{57leJ d'Efpag;rze, by Marshal Suchet ; Bulleti'l de la Grande Ar-
mie eI rapports q/fideiJ; Gau lle de France, nwnber , . , ; and the like; Hu/oire de la
ritJoiution jran(llUe, by M . Thiers, volume , .. , page ... ; Vic/oim d conquau ,
volume ... , page ... ; and so forth and so on." Ferdinand von Gall, Pam und
Jei/le Sa/ons (Oldenburg, 1844). vol. 1, pp, 198-199. [M2, )]
Category of illustrative seeing-hllldamemal for the Bineur. Like Kubin when
he wrote Andere Seile, he composes his reverie as text to accompany the images,
[M2.2J
Hashish , One imitates cenail1 things one knows from paintings: prison, the
Illidge of Sighs, stairs like the Ullin of a dress, [M2,3]
'v\k know that, in the COUfse of Ranerie, far--off times and places interpenetrate the
I~dscape and the present moment. When the authentically intoxicated phase of
this condition annOunces itself. the blood is pounding in the veins of the happy
Bfmeur, his hemt ticks like a clock. an d inwardly as weU as oUlw ardly things go
on as we would imagine: them to do in one: of those: "mc:cha.nical pictures" which
in die: nine:te:mth century (and of COUIX earlier, too) enjoyed great popularity,
and which depicts in the foreground a shepherd playing on a pipe, by his side two
children swaying in time to the music, further back a pair of hunters in pursuit of
a lion, and very much in the background a train crossing avcr a trestle bridge.
Chapuis and celis, Lt Montie deJ au/qmoJeJ (Paris, 1928), vol. 1. p. 330.' [M2,4]
The attitude of the 85..nwr---epitome of the political attitude of tllC middle classes
during the Second Empire. [M2,5]
With the steady incrtase in trnffic on the streets, it was only the macadamization
of the roadways that made it possible in me end to have a conversatio n o n the
terrace of a cafe without shouting in the o ther person's ear. (M2.6J
TIle laissez.·faire of the Bineur has its counterpan even in the revolutionary
phiJosophemes of the period. "'~ smile at the chimerical pretensio n [of a Saint·
Simon] to trace all physical and moral phenomena back to the law of universa1
attraction. But we forgel too easily that this pretensio n was nOl in itself isolated;
under the influence of the revolutionizing narurallaws of mechanics, there couJd
arise a current of natural philosophy wh.ich saw in the mechanism of nann-e the
proof of just such a mechanism of social life and of events generally." <Will)')
SpUhler, Dn- Sain/·SimOl1umw (ZUrich, 1926), p. 29. [M2,7J
Dia1ectic. of 8inerie : on one side, the man who feels himself viewed by all and
sundry as a true suspect and, on the o ther side, the man who is utterly Wldis-
coverable, the hidden man. Presumably, it is this dialectic that is devdoped in
"'The Man of the Crowd." [M2,8]
" Theory of die transformation of th ~ city into coulltryside: thig WIUl ••• the main
theme of my unfinished work on MaulJosSaDl. ... At isaue was the city as huuting .
ground . a nd in general the concept of the hunter v1ll yed a major role (as in the
theory of the uniform : aU hunters ItHlk alike)." 1..el1er from Wi~sengrund . June 5,
1935. [M2,9}
TIle principle of 8!nerie in Proust: "'Then, quite apart from all those literary
preoccupations, and without definite attachment to anything, suddenly a roof, a
gleam of sunlight re8ected from a stone, the smell of a road would make me stop
still, to enjoy the special pleasure that each of them gave me, and a1so because
they appeared to be concealing, beneath what my eyes could see, something
which they invited me to approach and take £rom them. but which. despite all my
efforts, I never managed to discover." Du Gali de (hn. Swann <(Paris. 1939), vol. I,
p. 256.)7- TIlis passage shows very clearly how the old Romantic sentiment for
landscape dissolves and a new Ro mantic conception of landscape emerges-of
landscape that seems, rather, to be a cityscape, if it is true that the city is m e
properly sacred ground of Hillene. In iliis passage, 3t any rate, it would be
present.e d M such for the first time since Baudelaire (whose work does not yet
portray the arcades, tho ugh they were so numerous in his day). [M2a,1]
So the 8ftneur goes for a walk in his room: "WhenJohannes somctimes asked for
pennission to go out. it was usually denied him. But o n occasion his father
proposed, as a substitute, that they walk up and d own the room hand in hand.
nus s~med at firs t a poor substitute, but in fact ... something quite novel
awaited him . The proposa1 was accepted, and it was left entircly toJohannes to
decide where they should go. orr they went, then, right out the front entrance,
out to a neighboring estate or to the seashore. or simply through the streets,
exactly as J ohannes couJd have wished ; for his father managed everything.
While they strolled in this way up and down the 800r of his room, his father told
him of aJJ they saw. They greeted other pedestrians ; passing wagons made a din
around them and drowned out his father's voice; the comfits in the pastry shop
",,-ere more inviting than ever." An early work by Kierkegaard, cited in Eduard
Geismar. Siirro Kier/;.egaard (Gottingen, 1929), pp. 12- 13. H ere is the key to the
schema of Voyage au/ollrtle ma dUlmbrt.' [M2a.2]
"The manufacture.r passes over the aaphalt conscious of its quality; the old man
8earchu it carefull y. foUow. it just all loug as he can, bappily taps hill cane JlO the
wood rc&onatei. and recalill with pride that he pe.raonaUy witnessed the laying of
the lirat sidewalks; the lH>et ... walks on it pensive Bnd unconcerned , muttering
Unet\ of verae; the stockbroker hurries pllllt , calculating the advantagell of the last
rise in wheat ; and the mOllcll.p slidell acro88." Alexis Martin. " PhYliiologic de l' BII'
phalte." Le Boheme. 1. no . 3. (April 15. 1855}-Charle8 Pratlier. editor in chief.
[M2a,3]
On the Parisians' technique of inhabiting their streets: "'Retwning by the Rue
Saint·Honore, we: met with an e10quent example of that Parisian sbttt industry
which can make use of anything. Men were at work repairing the pavement and
laying pipeline, and, as a resuJt, in the middle of the street there was an area
which was blocked off but which was embanked and covered with stones. On
this spot street vendors had immediatdy installed themselves, and five or six
were selling writing implements and notebooks, cutlery, lampshades, ganer-s,
embroidered coUars, and all sons of trinkets. Even a dea1er in secondhand goods
had opened a branch office here and was displaying on the stones his bric-a·brac
of o ld cups, plates, glasses, and so forth , so that business was profiting, instead of
Suffering, from the brief disturbance. They are sinlply wizards at making a
vmue of necessity:' Ado lf Stahr, .Nalh fibif Jahren (Oldenburg, 1857), vol. I ,
p.29.'
Seventy years later, I had the same apcrience at the COITler of the Boulevard
Sain~·Gennain and the Boulevard Raspail. Parisians make m e street an interior.
[M3.1]
 "It is wonderful that in Paris itself onc can actually wander through countryside."
Karl Gutzkow, Briife au; Paris (Leipzig, 1842), vol. 1. p. 61 . The o ther side of the
~IOO: is thus touched on. For if 8a.ner1e can transfonu Paris into o ne grtat
Ultenor- a h~ whose rooms are the quarJias, no less clearly demarcated by
thresholds ~ are real ~ms-the.n, on the other hand . the city can appear to
somcone walking through It to be Without thresholds : a landscape in the round.
[M3,'[
But in ~e ~ ana1ysis, onl.Y the reYOlu~on ~tes an open space for the city.
Fresh all" doctnne of revolunons. Revolullon disenchants the city. ConmlUne in
L'EdUCtltifm ;rntimtnlale. lmage of the street in civil war. (M3,3J
Street as domestic. interior. COllccl"Iling the Passage flu Pont ~Neuf (bdwecn the
Hue GU!!n~galid and the Rue de Sf!ine): " the s hop ~ resemhle c10~et H." No ulJeaux
'/flbleu/l.X de Puris. (m Ob!ervaliaru !IIlr les m<eurs et us ugel de, Porisielu all.
commencement ti" ,YlX- siecle (1'ari8, 1828), vol. I, p. 3<1. [M3,",]
Tile courtyard of the Tuilerie8; " immense IiD\'OnUah plAnted with JamppolO t.!l iD~
stead of hanalla tree!!." Paul-Erllest de Rattier, Parit! n 'exisre fHU (Paris, 1857).
a Gas 0 [M3,5J
Passage Colherl : '"The gas lamp illuminating it lookll likc a cOConul palm in Ihe
middle o( a savamlll.h ." O Gas OLe Livre del cent~t~ltn (Parili, 1&33), vol. 10 , p. 57
(Amedee Kennel . " u s Passages ,Ie Paris"). [M3.6J
Lighting in the Passage Colbert: "1 admirt the regular series of those crystal
globes, which give off a light both vivid and gentle. Couldn't the same be said of
comets in battle formation, awaiting the signal for departure to go vagabonding
through space?" u Livre du ,enl·e/-un, vol . 10, p. 57. Compare this transforma-
tion of the city into an astral world with Grandville's Un Autre Mtmde. Gas 0 o signs are a wall decoration as good as, if not better than, an oil painting in the
[M3,7j
In 1839 it was considered elegant to take a tOlloise out walking. lbis gives us an
idea of the tempo of fianerie in the arcades. [M3,8]
GII S la\'t~ Claudin it! dllppost'd to have i aid ; " On the day .... Ili·n a r.Jet ('~ II .'1es III he a
r.JN and b et:omC 8 II ·chateauhriand. ' wht'11 II mullOD "tr w i.e called an ' Irish stew.'
or when the waiter cries Ollt , ' Monitcur, clock!' to indicate that this IIc ...·sl'nIJl"r wall
re(luest!:.1 hy the ('ustolller 8illjng under the clock-:'II thai ,lay. Pal"i s .... ill have
IJt.<e n trul y det h rom:II!" Jules Clarctie. i..t, VieiJ Pari" 1896 (Paris. 1897), 1" 100.
[M3,>[
"There-on the Avenue des Champs·E1ysecs-it has stood since 1845: the
Jardin d 'Hiver, a colossal greenhouse with a great many rooms for social occa·
sions, for balls and concerts, although, since its doors are open in summer too, it
hardly deserves the name of wintt:r gardm." When the sphere of planning crt:.
ates such entanglements of closed room and airy nature, thm it serves in this ,Yay
to mee:t the deep human nee:d for daydreaming-a propensity that perhaps
proves the O1.le efficacy of idleness in human affairs. Wblde:mar Scyffarth, I%hr-
ntlllnungm i'l Paris 1853 und 1854 (Gotha, 1855), p. l30. (M3,IOJ
The mmu at usTrois Freres Provenpux: "Thirty·six pages for food , four pages
for drink-but ve:ry long pages, in small folio , with closely packed text and
numCfOUS annotations in fine prine" The booklet is bound in velvet. Twenty
hors d'ocuvrcs and thirty-three soups. "Forty-six beef dishes, among which arc:
seven different beefste:aks and eight filets." "Thirty·four preparations of game:,
forty-seven dishes of ve:getables, and se:venty-one varieties of compote." Julius
Rodenberg, Pari.! hei Sonnetu,hein u'ld Lo.mpetllich' (Leipzig, 1867), pp. 43-44.
R3nerie through the bill oHart:. (M3a,1]
The best way, while dreaming, to catch the afternoon in the nct of evming i5 to
make plans. The: Baneur in planning. [M3a,2]
;'Le CorllUsitl r 's houses depend on neither sJlatialnor plastic artic ulatioll : the air
palses through them! Air becollies II constitutive factor! What matten, therefore,
is neither s patiality lH!r lit: nor plasticity per !Ie but oilly relation lind ioterful ion ,
There is but one indivisihle s pace. The integumenlll separating inside from outside
fall away. " Sigfried Giedion. Bouen in Frankreich <Berlin , 1928>, p . 85. [M3a,3]
Streets are the: dwclling place of the collective. The collective: is an eternally
unquiet, eternally agitated being that- in the space between the building froDts-
e:xperiences, Ie:ams, understands, and invents as much as individuals do within
the privacy of thw own four walls, For this collective, glossy enameled shop
drawing room of a bourgeois ; walls with their "Post No Bills" are its writingdcsk,
newspaper stands its libraries, mailboxes its bronze busts, benches its bedroom
fumiturt: , and the cafe tt:rrace is the balcony from which it looks down on its
household. The ~ction of railing where road workers hang thw jackets is the
vC!tibule, and the gate:way which leads from the row of courtyards o ut into the
open is the long corridor that daunlS the bourge:ois, being for the courtyards the
cntry to the chambers of the city. Among these latter, the arcade was the drawing
room. Mort: than anywhere else, the street rt:vea1s itself in the: arcade as the
funtished and familiar interior of the m asses. (M3a,4J
The intoxicated interpenetration of street and residence such as comes about in
the: Paris of the nineteenth century- and especially in the: expcrie:nce of the
a3ne~has prophetic value. For the new architecture lets this interpenetration
become sober reality. Giedion on occasion drnw5 attention to this: "'A detail of
anonymo us engineering, a grade crossing, becomes an clement in the arclUtec-
ture" (that is, of a villa). S. Giedion, Bauro in Fran/mi," <Berlin, 1928), p. 89.
IM3a ,S]
" Hugo. in I.e, lIIuerobk,. hal provided an amazing description of Ihe f aubourg
Saini-Marceau : ·It was n6 longer a I'lalle of solilude. ror there were people passing;
il wal DOt t.he country, ror there were hOUleR and stree ts: it ~'115 not a cily, ror Ihe
sl.reets had ruts in them . like the highwa ys. aDd grass grt'w along their border~ ; it
wall not a village. for the haulieR were too lorty. Whal was it then? It was an
inhabited place where there was nobody, it Wall a desert place where there was
somebody; it was a boulevard of the great city, a street oC Pari_wilder ot night
th an a rorcst, and gloomier by day than a graveyard. "'I. <Lucien) Duhech and
(Pierre> d'Espeul. Histoire de PariJl (Paris, 1926), p . 366. (M3t.61
""The lal l ho ne-drawn omnibull made its fioal run on the ValleuNainl S ulpiee
line in January 191 3; the last horse-drawn tram, on the Panlin-Opera line in April
of the same year." Dubech and d ' Esl>ezel, Hisroire de Paris. p. 463. (M3a,7]
"On J alluary 30, 1828 , the first omnibus began operation ou the line runniug alDng
the bouleva rd CrDm the Bastille tD tbe -Madeleine. The fare was twenty-five or
thirty centimes; the cal' stopped where olle wished . It had eiglltet:u to Iwenty seats,
and its roule was divided into two stages, with the Saini-Martin gate all midJloint.
The VDgue for this inventiDn was u traorrunary: in L829, the compan y was r un-
niufl,: fifteen Iioe., and rival companies were offering Btiff comJ>etition- Tricycles,
ECDssaiJld; <SCDts Women), Bearnaiscs <Gascon Women> . Dames Bla nches <Lame.
in White). Dubeeh and d ' E!lper.e1 , Hisloire de Paris, p . 358-359. (M3a,8]
" Mter an hour the ga thering broke up. a nd (or the 6rst time I fDWld we !ltreets o(
Paril nearl y deserted . On the houJevards I met only unacco mpanied IJersolU. and
Dn the Rue Vivienne at Siock Market Squar e, where by da y you bave tu wind your
way through the crDwd , there waIn ' ! a soul . J could hear nothing but nl y own step.
and the mUnTIur orroontailll where by day you cannol escape tbe deafening bun.
In the vicinity or the Palais Royal I encountered a patrol. The loldiers were ad-
vancing single file along bDth sides uf the s treel, clost: to the houses. at a distance oC
fi ve or !lix pac,,! (rom one another 80 as not to he attacked at the ~a me time a nd 10
as lo be able to reuder mutual aid. This reminded me that , at the very beginning or
my slay here, I bad been advised to proceed in this manlier myst'U al night when
witll several Olhers, bUI , if I bad tD go home alone, always to take a cab ." Elluard
De\Ticlll , Briefe tilts 1'1IriJl ( Be rlin , 1840), p. 248. (M4 .1]
On tlif' omnilllllleS. " The driver Iltol'S and you mount Ihe few ste ps ur tlli' conven-
ienl little 8tairclllle lind look aliout for a place in the car. where he lldll'8 extend
lengtln"'isc 0 11 the right and the lefl. wilh ruom for up 10 sixleen I>cuplt'. You ' ve
hardl y sel foot in the car when it s tar" rolling again. The t:o nductor h at once morc
pulled tbe cord. antI , willi" quick movemenl thai callses a lidl 10 8(1u lul. he
udvanl:es die lIet'dle 011 a tr1l 1l~ Jl1Ire nl d.ial tu imlil:ll le tliat another pt:r8011 hll9
t·nten.'tI; by thi,. mean, Ihey kl~V Iruck qf l·ecC.ipl ~. Nqw that the car is moving, you
rl'"ach calml)' int u YOllr wallet anti p"y the f"rc. If you huppell to be silting reaSon-
abl)' rar from tile co nductor, the mOlley Iravels Croll1 hand to hand umollg the
paslIenge-rs : Ihe wt· lI -tl~N'iI'd lad y takes il fronl lire workingm an ill tilt." blue j ackel
ond passe;! it 0 11 . This i8 all ltct:omplis ht'd easily, ill r outiJiti fashion , alill withoul
II ny bOlhe-r. Wllell StlIllCOIlt' i ~ ttl exit.lhe comilielor agai n ptalls Ihe cord and brings
the car 10 a bait . If it i! ~oi ll g uphill- which tn JJaris it orten is--alld therefDre ia
goinK 1II0re slDwl y. lIIe n will r ll ~ I D lll a ri l y climb 0 11 and orf without the car', having
to stop ." Eduard Ot'nienl. Briefe tllll I'aru (Berlin. 1&10), p. 61--62 . [M4,21
.. It WII S afler the Exhibition of 1867 llial onc br·gan to see tbost' velocipedes which ,
some year!> later, hafl a vDgue as widespread all it was short-Ji ved. We ma y recall
thai under the Dirf!(',ury l!ertaiJI Incroyables il could be tleell ridillt; velociferes.
which were bulky. badly elJllstructetl \'elncil'edel. 011 May 19. 1804. a play entitled
VP.locifirc, was perCnrllll:cI at the Vaudl·ville; il contai ned a song with this verse:
You. pllrli &an~ or the ACIIII" gll it .
CU/ldum:n wl,o hllvil lost the ~ Jlur.
Would yo n n llW IlCCd~rll te
BeYllnd the pro mpt "clocircre?
Le/lrn then how tv ~ult8tillile
Dexterity ror 811«<:i.
By tile beginning of 1868. however, velocipedes were in cireulatiol1 . and soon the
Jlublie walkways wert' everywht're rurrowed. Ve/oCll'men replaced boatmen . There
....ere gymnasill and arenas fur velucipedillu. ami cODlI>etitions were set up 10 chal-
lenge the Ikill of amall'ure.... Today the velocipede is 6uis hed and ror gDtten ."
U. Gourdou de Genouillae, Pa m u lm lH!r, lu lIieckJl (Paris, 1882), vDI. 5, p . 288.
1M•.')
The peculiar irresolution of the lIaneur. Just as waiting seems to be the proper
state of the impassive thinker, doubt appears to be that of the flfrneur. An elegy b)'
Schiller contains the phrase: "the hesitant wing of the buuc:rfly.'I12TIlls points to
that association of wingedncss with the feeling of indecision which is so charac-
teristic of hashish intoxication. (M4:t.I J
E. T. A. H offmann as type oflhc IUncur; ~ Des Vetters Eckfcl1ster" (My Cousin's
Corner Window) is a testament to this. And thus Hoffmarm's great success in
France, where there has been a special understanding for tills type. In the bio-
graphical notes to the 6vc-volume edition of his later writings (Brodhag?),'3 we
read: ;'H offmann was never really a friend of tile great outdoors. "Vhat mattered
to him more tllaJl aJl)'thing else was the human being-communication with,
obseRVations about, the sinlplc sight of, hunlan beings. Whenever he went for a
walk in summer, which in good weather happened every day toward evening,
then ... there was scarcely 3 tavern or pastry sho p where he would no t look in to
see whether anyone-and, if so, who-might b e then=." [M4a.2J
Menilmonta nl. " I.n thi8 immense quar,ier where meage r salaries doom WOlllf'.n and
children to eternal privation , the Rue dt' la Chine alld those strt:el, which j ui n and
cut across it , such as the Rue des Parlonls a nd that a mazing Rue Orli lB, 8U fa ntas~
tic with ill roundaboutl and its sudden turns, it! feRcel of uneven wood 8Iat", itl
uninhabited summerhouses. itl d eserted ga rdcnJJ reclaimed b y lIalure where wild
shrubs a nd weeds a re growing, sound a noteaf appeasement aud of rare calm . ...
It is a cUllnlry path under an open sky where most of the people who pall!! i'eem to
have eaten and drunk ." J .~ K. Huys mans. Croquu PurUien.t (Paris. 1886). p . 95
("La Rue d e la Chinc"). [M4a,3]
Dickens. " '" hill letters. he complains repeatedl y when traveling, even iii the
mounlain. of Switzerland , . , . about the lack of . tn:e l noise, which was indi8 pen~
sable 10 him for his writing. ' I can ' t express how much I want the.e [ Itreets] ,' be
wrote in 1846 from Lausan ne, where he was working un une of Ius ~a test novels,
Dombey find Son . ' h seems as if they supplied something to my brain , which it
canllot bea r, when IJUsy, to lose. For a week or a fortnight I can write I)rodigiousiy
in a retired place, . , and n day in London sets me lip again and stn.rU me. But the
toil a nd labor of writin!. d ay after da y. without tha t magic lantern. is im. ~
men,e ... , My figures seem disp08Cflto stagnate witlumt crowds about them. , . .
In Genoa ... I had two miles of slreelll 811ea6t, lighted al night , to walk about in ;
and a great tbeater to repai.r 10 , every nighl . "'11 < .~ram~ Mehrin g, ~ "Charles Dick·
ens;' DUl neue Zeit , 30 , no. J (Stuttgart. 19 12), pp . 62 1--622. (M4a,4]
Brief description of misery; probably under the bridges of the Seine. "A bohemian
woma n Nleeps, her head tilted forwa rd, her emply pursl'" between her legll. Her
blouse is covered with pinll Ihat glitter in the II UII , alllllhl': few a ppllrlenance8 of her
househulll and to ileU ~two brushes. an 01)Cn knife. a closed tin- a.re so weU
arranged thai thi!; semblance of orller creates a lmost an air uf intimacy, the
shadow of an interieltr, aro und her." Marcel Jouhandea u , Imugu de Pari, (Paru
<l934 ~), p . 62. [M5,! )
" ( H audda i re's~ 'Le Beau Navir e' <The Good S hi p~ created quite a stir.... It was
the eue for a whole series of sailor l ongs, which set"rna l to ha ve Iransfurnled the
Pari&ians into mariner s and inspired them witll dreams of boating... , I.n "" ealthy
Vr.niee where hlll"ury shines, I Where golden Jlorticoes glimllier in till! water. I
Wlu:re palaces of gloriuulI marble reveal I Mas terworkj of art a mi trcasurell di ~
"ine, I I have only my gondola . I Sprightly as a hird I ThaI darts and Hies al i18
ea5e. I Skimming the surface of the waters:' H. Gourd un de Gtllouillac, I.e! He·
Jrairu de in. rite. de 1830 ii 1870 (Pitrill. 1879). vp . 21 - 22. (M5.2)
'·'Tellmc. wllat ill lhul awful ~ lcw which smells so bad Knll is warming ililha t jl:reat
pOl?' l a ys a provinciul 1I0rl to an old porler. ;ThAI , my clear l ir. ill a ba tch of
JlaYing slUlits thll t lire be ing bak~J 10 IJUVe ollr ponr boulev.LI rd , which ij looking 110
worn! .. . 1\5 if It roiling wa ~ II ' t nicer wlwII you walked 01 1 the lIoil . Ihe way YOll do
in u gardell '" 1M Grcmde Ville: J\'olll1eflll 1"b1eau de }Juri! (Pari.s, 1844), vol, ] .
p . 3:« ("I..e oitunll\'·). [M5.3)
On lhe first Ollinilmses: "COmlH!titiun hal aLread y ellll:rged in the fu nn of ' Les
Dallies Olandit'S.· ... Theile cars are poinled entirely in wllile. and the drivers,
t1n:ssed ill ... white, ol}CI'atc 8 bellow wilh t.heir fOtl l that plays the tune from La
D(lme Blanche: ' The lad y in ..... hile is looking a l yOIl ... '" Nadar , QlI.olld j'itai5
pllOtog rflplle (Par i" ( 190(h), pp. 30]-302 (" 1830 et environs"). [M5,4]
Musset onl·e named the ;;t.'Ction of thc houlevards thaI lit.os hehind the Theatre des
Varietes . and that is not much frClluCnled b y lliineurl , the Ea~ t Indies. <See
Mllu. 3 . ~ (M5,5)
The:: 8ane::ur is the:: observer of the:: ruarke::tplace. His knowledge. is akin to the::
occult science o r industrial 8uctuations. H e is 3 spy ror the:: capitalists, on assign·
men t in the:: realm of consumers. [M5,6]
The 81neur and the masses : here Baudelaire::'s " R~vc parisien" might prove very
insttuctive. (M5,7]
The idleness of the 8aneur is a demonstration against the division oflabar.
[M5,S)
Asphalt W ill firS! used for l itlewalk8. [MS,' }
"'A town , lI11ch 8S Londoll , wllere a lIIao Dlay .....ander for hou rs together without
reaching the beginning of the cud , without nleeting the slightest hillt which could
lead to Ihe inference Iha l there is (1)1': 11 I:uunlry withill rcacb , is a strange thing.
This colo.ual centralization , tlus heaping logether of 110-·0 and a half million. of
human beillg& al one point . III" ~ multiplied the power of this two alld a half nlill.ioDs
a hundredfold : ha ~ raised I..olldon to the l:ommerciaJ cu pitol of the world , created
the giant docks and allselllhied till' dUlusalid vessell! Iha l continually cO\'cr the
'I'h ll meli . ... But the saeriliCe8 which all this has cuM ilt.~:()me apparent laler. After
rnamin.g the streets of tilt: C81)ilal a lJay or two, ... uue realizes for tile first time
tha t theSe Lnudollcn have l#eel! for ced to &acrifice Ihe bCSI 1llI lllitit!! of their lm ~
man nBlun: to bring 10 pUS8 1111 the lIIu rvch of civilization . • .. TIll' very turmoil uf
th .. slreetl hU!!lIolllet hing repu!si\'c a lJHut it- iomethiTlg aga ill:ll ...·hiell hlllllan na-
lure re bels. The hundred s of thousa nds of a ll classes a llli ranks cro .....ding past
each olher-aren 't the)' all hllman beillgt wilh the same qualities alld powers. and
"" ith Ihe same inlerest ill IlCing happy? Alld aren ' l they obliged , in the cllIl , tl) seek
hIIJlPIII. ~1I8
. III
. tII tt S/tIllC Wil Y, l.y the lI un1+' IlIO!aIlS? t\nd ~ till Ihey ('rllwll 1Iy onc
Il IlQther a~ though tlley hacllllJtlling ill ","mIll O Il . nuliling to do with one a llolher,
li nd their only agreemen l i8 Ihe lacil (lne--t.hal each keel' IU his own ~ id e of the
Ilav(:1I1ellt , 1i0 as nol 10 .Iday Ihe o"posing ureams of the crow.l-while no man
thinks to honor anuther wilh so much as a glance. Thfl brulal indifference, th
II nfed ing isolation of each in his "ri" ale interest becomes Ihe more repellent and
nffe ll8h 'e, the more thelle individuals a re cro....ded tugether wi tllin a limiled sJlace.
Alld ho ....ever much one may be a ....are Ihal this illolation of the indh'idual, this
na rro w self-seeking, is the fun.lamenta) I)rinciple of our lIociely everywhere. it ie
nowhere so shamelC:6l1ly barcfa(led , 110 "elf-conscious, al just here in the crowding
of the great city." Friedrich Engels, Ok Luge der Qrbeite"de" KI(lSIIe ill E"gland.
2ml ed. (Leipzig, 1848). pp. 36-31 (" Die grossen Stltdtc")!' [M5a,l ]
" Dy ' hohemialls' I nlean tllat cia" of individuals £01' whom ...Jtistence is a problem,
circumstances a myth , and ("rtune all enigma ; who have nu Snrl of fixed abode, DO
Illace of refuge; wbo belong nowlillre and are met with evt'ryw here; who have no
particular calling in life but follow fifty professions; wilO . for the mnat part , arise
in the morning without knowing .... hel't' they an: to dine ill Ihe everullg; who are rich
today, impoverilihed lomorrow; wbo are ready to live honestl)· if they can , and
otherwise if they caollol ." Adolphe d 'Enoer y and Grange, Le. Bo'u!mielU de Paris
<A play in five acu and eight tableaux) (Pari!!). pp . 8-9 (L'Ambigu-Comique. Sep-
telllhe.r 27 , 1843; series entitled MClga, in theatml).
[MS.,2)
" Then from oul of Saint Martin'. Gate I The romantic Omnibus Rashed by."
[Ib m Co~l a n ,] Le Tri4mphe de. OmniblU: Poeme heroi:..comique (Paris, 1828),
~ IL ~~
" When the fi rs t German railway line .... ae abo ut to he construcled in Bavaria, the
medical fac ult y at Erlangen published an expert OIJinion ... : the rapid movement
would cause ... cerebral disorders (the mere lIighl of a train rushing by could
already do trus), aud it wali therefore necessary. a t the It:ast, to build a wooden
barrier five feet high 0 11 both sillcs of the track. " Egon Friedell , Kulturge,chichte
der New:eit (Munich , 1931). \ ' 0 1. 3 , p. 91. [M6.2]
" Deginning around 1845 ... there were r aiJroads and 8tea mer& in all parlli of
Europe, and the new meanli of IranSI)orl ....er e celebr ated .... Pictures, lette ....
SlOries of travd ....ere Ihe preferred ~enre for authora alld readerl." Egon Friedell,
KllflUrge,chichle der Neu:ei, (Munich , 1931), vol. 3 , p . 92. [M6,3]
The following observation typifies the concerns of the age: "When one. is sailin~
on a river or lake one's body is without active m ovement .... The skin expen-
ences no contraction . and its pores remain wide opc=n and capable of absorbing
all the emanations and vapors o f the surrounding envirorunent. The blood ...
remains ... concen trated in the cavities of the chest and abdomen. and reaches
the exrn:mities with difficulty." J.·F. Danai, De /'ftiflunue des lK1)'a{p sur I'hommt
t:I sur Se.f maltu1iu: Ouuragt: sp&.inlemenl tUJh·ni au ...: gr:ru Ju montle (Paris, 1846),
p. 92 ("Des Promenades en bateau sur les lacs et les rivieres"). [M6,4]
Rema rkable (Ii, tinction bet....een ft aneur ami ruhhenu!ck (badaud); "Let u, not .
ho ....eyer, confUle tht' Rane ur with the rubherneck ; then: ill n Nuhtlc .L{ference ....
The average Ra.llt'ur ... ie always in fulll'ossc8Siull j,f his indi vidu ality. while thai
of the rubberneck d i8appe.aTll , aLIiOrbetlilY t.h.· n l"rnul world , ... whid. moves
him to the poinl of int Ollication and t:(:stusy. Un.ler I.he influence of the ' lH:c::tacie.
Ihe rubberneck b..'Cometl nn impersonal heing. I-Ie is no 10llger a man- he is the
public; he il the cro ....d . At a dilltallrc from nalure. his nail'e soul agio ...., ever
iru:lim..'tl to r everie, . . . the true rubberlleck dellCrVe& the admiration of aU upright
and ~il1cere l.ea rU." Victor Fournel. Ge flU 'on VIIi, (lall s u~, rue, de P(lru (PUrill.
1858), p . 263 C'L 'Od ys~(~ II ' UII lIaneur IlanMleN rue" de Paris") . [M6,S]
'[be phantasmagoria o f the fuincur: to read from faces the profession, the ances·
try, the character. IM6,6]
III 1851 1" there wile stiU a regular 5tagecoach line between Paris and Venice.
~' .7J
On. die colpor tage phellomelloll of &puce: "'The se n ~e of mys tery,' wrote OdiJon
Redon . who had learued the secret from du Vind , ' comes from remainiug always
ill tbe equivueal , wilh double and triple pe rHpecLives. or inklings of pef'lipe<:tive
(imagetl within images}-forms that take &h apc and come illto heing according to
the s t a t~ of mind of the spectator. All thi ngs more ellgge&tive just beeauae they do
appear. , .. Ciled in Raymond E&cholier, ··Artiste ." Aru er nlli rierl graphiquel , No.
47 (J une I , 1935), p. 1. [M6a.1 ]
The Ralleur al ni~ht. -Tomorrow. perhaps, ... nocta mbulillm will have had illl
day. Bllt al least it will be lived to the fuU during tbe thirty or forty years it will
la81. ... The individual can rest from time to tiUIf'; stoppillg places and waysta-
tion, are permitted him. But be does not have the right to sl ~ p. " Alfred Delvau .
Les lIeure. pari. ienne. (Paris. 1866). Pl'. 200. 206 ("Dcux lIeures de matin").-
That nightlife wali significantly e1(telllled i ~ f:vitlCIiI already from the fa ct that , as
DeJvau recolillts (p. 163). the Itorea ....ere dOl ing al tell o' clock. [M6a,2]
In the musical revue by Barre. Ratlet, uud I)esfontaines. M. DureUe!. O il Petite
Revile des embeUiueme,., de Pa m (P aris . 1810). perfllrmetl at the T heatre de
Va udeviUe 011 JUlie 9, 1810. Paris in the fll rm of a model constructed Ly M. Dure-
tief haij migrated illto the Icellery. The choruH.Ieclares " how agrllcable it iii to have
aU of Pari~ in OIl C 'S drawing r oom" (p . 20). Th.. plot re"oh'es a round Ii wagllr
hl~ l wcclI t.lll' urchitccl Oure1ief aOlI tl.e painter F"rdinund ; if thc forlllt'r, ill his
1I1(lIlci of Parill . omitll a ny Hort uf "embdlishnll'nt," then his (laughter Victorine
straightaway hdoJlgHto Ferdinand . whu ot hcr ....iSl· lIa8 10 wait Iwo yea rs for her. It
t llrll s nut th ai Ourdid hus forgotten Her Majesty tl.e Empress Marie L.ouiije. " Ihe
1l\0~ t beautirul urllanw nt" of Park [M6a.3]
The city is the realization of that ancient dream of humanity, the labyrinth. It is
this reality to which the flaneur. without knowing it, devotes himself. Without
knowing it: yet nothing is wo re foolish than the conventional thesis whieh ration-
alizes his behavior, and which forms the uncontested basis of that volumino us
literature that traces the figure and demeanor of the 8ftneur- tbe thcsis, namciy,
that the flancur has made a study of the physiogno mic appearance of people in
orde r to discover their nationality and social station, character and destiny, from
a perusaJ of their gait, build, and play of features. The interest in concealing the
true mo tivc:s of the Hftneur must have been pressing indeed to ha~ occasioned
such a shabby thesis. [M6a,4}
In M axime Du Camp's poem loU Voyageur," the flineur wears the costume of
the traveler:
"I am afraid to stop-il's the engine of my life;
Love galls me so; I do not wanl to !O\'C."
kMove on then, on with your bitter aave1s!
The sad road awaits you : meet your fate."
Maximc Du C amp, u s Chants motkr'ms (Paris, 1855), p. 104. [M',! ]
Lithu~raJlh _ Cobmefl lJoing Bailie with Omnibw D,.illf!r!l. Cabinet dell EstampC/!.
]M',']
All earl y all 1853 . Ihere are offi ciaJ IItatillticlI concerning vehicular traffic a l certain
llan8ian n e rvecelll ~r&. " In 1853 , lhirty-<me omnibull iines were &erving Paris, and
it ill worth noting Ihat , with a few e ~Cleptions , tbese lines were dell i~at ed by the
same I~Ue r~ used for the autohull Lines operating at that time. ThUll it wall that the
· Made.leiJle-Halltillc' lint' wall already Line E.... Paul d ' Ariste, u., " ie elle monM
(/11 bouiell{lNi. 1830-1870 (Paris <1930» . p . 196. [M7,3)
At conllet:ting IItationll for the omnibulJ, paIl6c n~r8 were caUed up in numerical
order and h ad ttl answer wllt'n called if they wanted to Ilresen 'c tbeir nght to •
eat . ( 1855) [M7,4]
"The absinthe hour . . . date!! from the burgeoning . . . of the IImaU press. In
eurlier timell, ",·hen there Wli S nothing but large serious newspapera . . . . there W~II
110 absinthe huur. This Ilell,.e de l 'absinthe is the logical con&equence of lhe Pan-
siall gOBsip COlunlII8 IIlId tahloids." Guhriel Guillemot, Le Boheme (PUnl , 1869),
p. 72 (" PhYlliob'1l0mie8 !,urisicllnes·'). [M7,5]
Louis Lurine u Trd~ieme Ammdwnn.cll dt: Paris (Paris, 1850), is o ne of the most
noteworthy t'estimonials to the distinctive physio gno my of the neighbo rhood.
TIle book. has certain stylistic peculiarities. It personifies the qua,.tier. Fo~ulas
like "The thirteenth amJTulwemrnl dcvol~ itself to a man's love o nly when It can
furnish him with vices 10 love" (p. 2 16) arc not unusuaLL' (M7,6]
DiderOI 'H " UIIW hcuutnu l the IItreet!" is a favorite phralle of the chronic.leu o(
f1iill cr ic. ]M ',']
ReSarding Ihe legcnd oflhe lliineur: " With the uid of a word I overhear in pau ing,
I reconstruct au entire coll versation , un entire exil tence. The in8ection of a voice
suffices (or me to attach the name of II deudly sin to the man whom I have ju&t
jostled and whose profile I glimpsed ." Victor Foumd , Ce qu'on voir cUJrI$ lea "ues
cle Pa ris (Parill, 1858), p . 270 . [M7,8]
In 1857 ther e wu still a cOiu:h tlepllrting from the Rue Payee-Saint-Andre al6 A. M .
for Venice ; the trip touk six week,. See Fournel, Ce qu 'on voit dont lea roes de
PU,.u (Parill). )). 273. [M7,9]
In o mnibuses, a dial that indicated the number of passengers. Why? As a control
fOT the conductor who d istributed the tickets . [M7, IO}
-' It is worth remarking ... Lhal Lhe umnihus 8eems to subdue and to Itill aU who
approach it.. Thuse who make their living from travelers . . . can be r ecognized
ordinarily by their coarse rowdine88 . . " , but omnibus employee5, virtually alone
among transit workers. display no t.racn of such behavior. It seemll all though a
fJalming, drowsy influence enlltllatell from thia heavy machine, like that which
sends marmots and turtles 10 sleep at the onllet of winter." Victor Fournel. Ce
qll ' O ll voit claM tes m es de PlI,.i.s (Parill, 1858), p . 283 ("'Cochers de 6acre8.
r.oc hers de remise et cocllcra d ' omnibulI"). [M7a,11
"At the time Eu!ene Sue'll Myster-el de Poris wall published , no one, in certain
neighborhoodll or the capital, doubled the existence or a Tortillard , a Cbouette. a
Prince Rudolplle. n Cha rles wuandre. Lei Icues subve,.sives de notre temps
(pa rill. 1872), p . 44. [M7a,2]
The first proposal for an omnibus lIylltem came from PascaJ and wall realized
Ull(ler Louill XIV, ...·ith the characteristic ret;triclion " that lIoldie" . pagei. foot -
!lIen , allli other liver y. including laborers and hired hands, were not permitted
entry into said coaches." In 1828. introduction of the omnibuses, about which a
p{)s t~ r tellB us: " Thesl' " erueleR ... warn of thei,. approach by snunding specially
dE:!!igned horns." ElI Shll~ d 'Au r iac. fli5toi,.e anecdotique de l"imlust,.ie fran r;o.i.se
(Paris. 1861 ). pp. 250. 281. [M7a,3]
Among the phantoms of the cit)' is "La.mbert"-an invented figure . a HfineuT
perhaps. In any case. he is allotted the boulevard as the scene of his apparitio ns.
l otte is a fam ous couplet with the refrain, "Eh, Lambert !" Delvau, in his LifJ'fIJ
dujuur <Paris, 1867). devotes a paragra ph to him (p. 228). [M7a,4]
A rustic figure in the urban scene is descnb ed by Dclvau in his chapter "Le
PaUVTe it cheval n <Poor Man on Horsebaclo, in U $ Lions dujou,.. "This horseman
was a poor devil whose means fo rbade his going o n foot, and who asked for alms
as another man might ask for directions .... This mend icant ... on his lilde nag.
\vith its wild mane and its shaggy coat like that of a rural d onkey, has lo ng
remained befo re my eyes and in my imagination ... . H e d ied-a rentier?' Alfred
Delvau, us LionJ dujour (Paris, 1867), pp. 11 6- 117 ("Le PaU VTC a cheval").
[M7a,S]

Looking to accentuate the Parisians' new feeling for nature, which rises above
gastrono mical temptations, Rattier writes : "'A pheasant, displaying itself at the
door of its leafy d welling, wou1d make its gold-and-ruby plumage sparkJe in the
sunlight . .. , so as to greet visitors . . . like a nabo b o f the forest ." Paw-Ernest de
Rattier, Paris n 'eXUlt pas (Paris, 1857), pp. 71 - 72 . 0 Grandville 0 [M7a,6]

,·It ia emphatically not the counterfeit Paris that will ha ... e produced the rubber-
neck .. . . Aa for the Hi neur, who was always- -<m the sidewalks and before the
display windows-a man of no account , a nonentity addicted to charlatan!! and
ten-cent emotion., a . tranger to aU that WIlS not cobblestone. ca b, or gaa lamp , . . .
he has become a labo ~ r, a wine s rower, a manufacturer of wool. sugar, and iroD .
He i. no longer dumbfounded at nature 's ways. The germination of a plllnt no
longer seems to him external to the fa ctor y methods 1I/II! tl in the Faubourg S aint ~
Denis ." Puul~ E rlle't de Rattier, Poris n 'uiste pall (Pa ris . 1857) , pp_ 74-75.
IM8,ll
A Paris omnibw. Lithograph by Honod Daumier, 1856. The caption ~ads: "Fifteen
In his pamphlet Lc Sii clt mnudit (Paris, 1843), which takes a stand against the centimc:s for a full bath ! My word, what a bargain !" Stt M8,5.
corruptio n of contemporary society, Alexis Dumesnil makes use o f a fiction of
Juvenal's : the crowd on the boulevard suddenly stops still, and a record of each
"The genial Va utrin , disguised as the abbe Carlos Herrera , had fureseen the Pari-
individual's tho ughts and objectives at that particular mo ment is compiled
sia ns' infatuation with public transport when he ill\'csted all bis fund. ill tramit
(pp. \03-\04). IM8 ~)
companies ill urder to ilettle a duwry on Lucien de Ru bempni'" Poete . Seaure-
" aire, Clollzot . and Henriot, Une Promena de a tra ver.s Pa n. au tempI de. ro-
"The contradiction belwet'n town and country . .. is the r r asse8t expres. ion of the
marttiqut!l : E XI)05ition de III Biblioth eque et des Tra v(If.I.X h isloriqu el de la Ville de
liubjet:tion of the indi ...idual to tile di ... isioll of labor, 10 a spcc.ific activity forced
I'aris (1908). p. 28 . [M8,6]
upon him-a subjection that makes olle man into a na rrow-minded city animal ,
another into a nurro w~minded country animal : ' <Karl Marx ancl Friedrich Engel• •
Die deutsche Ideologie) in Marx-Engels A rclli ll. "'01. I. ed. D. Rjazano\' ( "" rank~ "Therefore the one: who sees, withou t hearing, is much more .. . wonied than
furt am Main <1928» . pp . 2H-272 ,11 [M8,3] tile one who hears \vithout sc=eing. This principle is o f great imponance in under-
standing the sociology o f the modem city. Social life: in the large city . . . shows a
AI the Arc d e Triumphe: "Ceaselessly up alld duwn these streets pa rade the cabri- great prepo nderance of occasions to Stt rather than to hear people. One explana -
olets, omnibuses. swallows. velucifere8, r it ndines. damel blanche5. Ilnd nil the tion . . . o f special significance is the devclopme:nt of public me:ans o f transporta-
uther public cUllveyallCtlS, whate ...er they mlly he called- not to meutioll the inllu ~ tion. Before the appearance of omnibuses, railroads, aJld streetcars in the
lIIera ble wbiskies , hf' rlills, harouclle., ltorsellIell , and horSt'womell ." L. Rellstab. nineteenth century, me:n were not in a situation where, for minutes or ho urs a t a
Puri.s im Friihju hr 1843 (Leipzig, 184<' ), "01. I. p. 2l2. The uuthor also mentions time. they could o r must look at one another witho ut talking to one another?'
a n omnibus that carried iRS destin ation written on a fl ag. [M8,4] C. Simmcl, Mi langts de philruophit rilaliuule: Conln'bulion Ii ItJ culture phil010-
pn;que <trans. Alix Guillain> (Paris, 1912), pp. 26- 27 ("'Essai sur la sociologic des
Around 1857 (see 1-1 . de Pene . I'oris illtime fPa r is_ 1859) , p. 22-1-), the upper level sens ") . I~ TIle Slale of affairs which Simmc1 relates to the condition o f uneasiness
of the ulIlllihus WIIS c10tied h i wumen. IM8,S] and lability has, in other respeCtS, a certain part to play in the vulgar physiog-
no my. The difference between this physiognomy and that of the eighteenth
century desetveS study. [M8a, I]
·'Varis. , . dre8Sel up a ghllSl in old nllmbe" of Le Cons,irutionnel. Dnll produces
Chodruc Duclos." Victor lIugo, Oeuvres complete,. nO\'d s, \' 01. 1 ( Paris, I881),
p . 32 (l..e.! lUiserable., ch . 3)."'" [M8a,2]
On Victor Hugo: "'The morning, for him . was consecr ltted 10 icdentary labors, the
afler noon to lahora of wandering. He adored the upper levels llf omnibuses-those
'traveling balconies,' as he called them-from which he could 51udy at his leisure
the various aspects of the gigantic city, He claimed that the deafening brouhaha of
Paris produced in him the same effect as the sea." Edouard Drumout, Figuru de
bronte ou s(atuel de neige ( Paris c190(h), p . 25 ("Victor Hugo"), [M8a,3)
Separate existence of each quartwr: a rOllRd the middJe of the century it WII/I still
be.ing said oCthe De Saint·Louis that if a girl there lacked a good reputation, she
had to Beek her future husband outside the dis trict . [M8a,4]
" 0 night! 0 refreshing darkne u! ... in the s tony la byrinths of the metropolis .
IIcintillation of sta rs , bright burds of city lights, yo u are the fireworks of the
goddess L.ibcrt y! " Charlell Uauclelaire . Le Spleen de ParU. ed . Hilsum ( Paris),
1'. 203 ("I.e Cr epuscule du lIoir"V 1 (M8a.5]
Names of omnihu5e5 around 1840, in Gaitan Nie povie, Etude. ph y.wlogique, '/u"
le, grandes melropoles de l'Europe occidentale {Paris, 1840), p , 113: Paruienne&,
HirondeUes <SwaUown, Citadines, Vigilantes <Guardianes8eB>, Aglaiall, Deltas.
[M8 ••6)
Paris as landscape spread out helow the paillterll: " AI )'ou cr088 the Rue Notre--
Dame--de· Lorette . lift up you r head and diJ"e(:t your gaze ut one of thost' platform• .
crowning the Italianate house,. YOIi cannot fail 10 notice, etched against the sky
lIev('n storiell above the le\'e! of Ihe pavements. lomcthing resembling a Hcarec:row
l!tllck oul in a field . , .. At fint you see a dressing gown uJKln wbich all the colors of
the r ainhow are blcndetl without haJ"DIon y, a pai r of long trOUM"r s of outlandith
s ha pe . and slippera impossible In describe.. Under Ihis hu rieStlue IIpparel hides a
young painter. ,. Poru chez .oi ( Paris ( 1854)). 1' 1)' 191 - 192 (AJberic Secoud . "' Rue
Notre--Dame..d e-Lorette·'). [M9,11
Gef(roy, under the illlfJreuion made h y the works of MeryolI : " These are rcpre·
senloo things ..... hich givc to the viewer the pos~ ihility uf d rea ming thenl ." Gustave
Ceffroy, Charle, Meryon (Paris , 1926). p , 4 . [M9.2]
" The omnibus-Ihal I...n 'ialha.ll of coadlwurk----r.riuc rollscs with all the man y ca ....
riagell at the l pet:d of lightnin&!" Thi:ophilt: GauIler [in Edoultrd Fournier, I'llris
tiemoli.. 2ml CII. . with a "n·fllce by M. Theophile Gautier ( Paris, 1855), p . iv].
(This preface oPI)eared- p rell umahl y as u review of the fi rst L-tlition- in l..e
j\lonite ur IIni versel of Jalluary 2 1, JSS4 . II would aplJt!ar tu be whoUy or in part
idenlicaJ tu Gauticr's "-l\IoU'iIIUt: de ruint:S." in "ari, e' les I"nrisien, Ult XIX' . ieck
[Paris. 1856]. ) [MO.' [
" The mosl hetcn lgcncoll8 tcmporal clements t.hlls cuexi;;t in the city. If we ste p
from a ll eightcclltlH'clllliry hOllse ;lIto one from the sixteenth century. we tumble
do"'u the slope of time. RiSlu next door s tulld ~ II GUlliic chlll·l·h, olld wellink to the
de pths. A few slt'ps flll·ther, "'e are ill It sln°ct from Oul of the early ycan:! of
UismaITk '8 rlll t· ... • ali(I once again climbing the mountain of time, Whoevcr Ilt:ts
foot ill 8 city feel.. caughl tip as ilia weI! of drClI.ms. where the most remote past is
linked to tht: events of loday. One house allies with a ll otlll~r, no matter what period
Ihe)' come from , a nd a street iii OOrn . And thcn iusofar liS this street , which ma y go
hack to tile age of Goethe, ruw into another, whil·h ma y ,late from the Wilhelmine
years , the dis trict emerges . . . . The climactic po int!! of the city are itll &qua ru:
her e, from every direction , COn\'erge not onl y numcrous stree ts but all the strea ms
uf their his tory. No sooller have they flowed in than they are containi:d ; the cdgCII
uf the square scrve as qua ys, so that alrcady the outward form of the "quare
provides information ahoutlhe history that was played llpon it . ... Thinp which
find no expre.llliull ill political event!!, or find only minimal exprellllion , unfold in
the cities: they are a lI uJlcrfin e instrument , responsive as an Aeolian haq,.......despite
their specific gravity-to the living historic vibrations of the ai r." Ferdinand Lion ,
Geschichte biotogisch geaehen (Zurich a nd Leipzig <1935», PP' 125-l26, 128
(i.Notiz uber Stadte'·). [M9,4J
Delvau beliel'C8 he can recognize the social strata of Parisian society in Rinerie as
easily u a geologist recogni7;I's geological strata . [M9a. l]
The lII un of lelltln : " The most poignant realities ror hilll al'e not HpetJtaelea but
studies." Mfretl Delvau, l.es DeuQIU de PariJ ( Parill, 1860), p . 121. [M9a,2J
"'A man ... ho goes for a walk ought nolto have III concern himself with any hazardll
he ma y run into or with the regullttions of u d ty. If an am using idea entera hill
head , if u CU.rioliS IIhopfront comt:s inlo vie"" , it is nulural that he would wa nl to
crolls the streel without confronting d a n gt!r~ such as our grandparents could Pili
have imagi ncd . But hi' cannOI do this today without tukillg a huntlred precautions,
...ithout ch« king thl' huri w n . witllout a5king the advice (If th(' pnlir.e Ilcpa rtmenl ,
wit iioul mixing witll U Ilu:.tcd and brea lhless henl , fur ... i1ullIlhe wa y i ~ ma rkcd out
ill u,l vll nce by bits of shining metol. Lf he triell III cllileet the whimsicltl thoughts
thutmay have '~(!IIII' to milld. vt:r y pO!l~ ibl y OI~I·lt s iOlied by ~ i j!:h tll on the strt,t:t . he ia
tleafened by "ur horn8, s tupefied by Illud ta lken . .. anll demoralizl',1 by Ule
IicrUJls or COllversaliun , of political meetings. of j azz . ... hidl esellpt: slyly from tile
"'ill(lo.ws. In former timcs. morcover, hill ilrutilel"ll , lilt" ruhberuec:kll , who umhled
Itlong Sll eUlIiJy down I.he sillewalks a nd Slopped a 1II01llt:1I1 evcrywllllreo lcnt 10 the
Strealn of humanit y a &Clltlelles~ and a trHlltjlliJIit y whicll it has losl. Now il is a
to ...... t' lit whe...e yo u ar e "'011(.'(1, buffeted , CIIIII up. lind swept 10 one lIide lind the
..tiwr.... Edmond J aloux, " L..: Ot' rlli ~ r folii lleur:' U Temp~ (Mlly 22. 1936).
(M9a,3)
"1'0 lean witholll hcillg forced in IIny way, and to follow your inspiration as i( the
mere (uc t of turning right or lurning left alrcady eonstituted 1111 essentially poetic
act!' Edmolltl Jaloux , " kDe rnier flaneur," I.e Temps (May 22. 1936). [M9a,4)
" Oickens .. . could nol remai n in Lau8anne because, in order to write hi. noveu,
he needed the immense labyri nth of London streets where he could prowl about
contilluoutly.... Thomall De Quincey .. , , all Baudelaire tells us, WII S 'a sort of
periplltetic, II "reel philosopher pondering his wa y endlessly through the vortex of
the great cit}',"-- Edmond J alou" , "'Le Dernier l-laneur:' fA Temps (May 22,
(936). {M9a,51
" Taylor's obsession , aud that of his collahorators and succe810rl, u the ' war on
Ri nerie.·.. Geor ges Friedmann, La Crise du progres (Paris ( 1936) , p . 16.
IM IO,11
The urban ill Balzac: " Nil lure appears to him in its magical aspect as the arcanum
of maHer. It appeal1l to him in ils symholic aspect a8 the reverberation of human
cnergies anll aspiratiolls: in the crashing of the ocean 's wavefl . he experience. the
'c.~ altation of human forces'; and in the. show of color and fra grance produced by
fl owers , he reads the cipher of 10ye'l longing. AJways , for him , Ilatu re lignifiet
something other, an intimation of spirit. The opposite movement he dou not rec-
ognize: the immersion of the human back into nature, the say ulS accord with Ital1l.
do ud .. ..... ind•. He was far too cngrolsed by the tellsions uf Imman existence,"
Ernst Rohert Curtius, BCluac (BOlin . 1923), pp. 468-469. ~1l0~1
;'Balzac li yed a life . " . of furi ous has te and premature collapse, a life such as that _
impllsed 011 tilt: inhabit a nts of hig cities by the ~lIruggie for existence in modem
society.... In Daluc's cote \o\'e see, for the 6rl l time, a geniuil who sh area such.
life and Ii" e! it a5 his 0101'11 ." Erllsl Robert Curtiut, Bauac (Bonn , 1923), pp. ~
465 . On Ihe question of tempo , com!,are the following: " Poetry a nd arl .. , derive
from II ' quick inspection of things. ' . " . Ln Seraphila . velocity is introduCtld as.an
esSt'ntial feature of a rtistic intuition : " that ' mind's eye' wbose. rapid percepbon
ell ll fO ngender \o\' ithin the IlIul , as on It CIInvas, the most di vcr 8e land8cal>et of the
wor ld :';!l Ernst Robert Curtius, Babae (8 0nn , 1923), p . 445. [MIO,3J
';If Cod. has imprinted e,"ery ma n's destill Y in hill physioplomy, . . . why
shoullin' t the human hand 5um lip th at p h ySlOgnomy " "III ". , r . SlIIce
I !leU ' the hand
"" mpriscs human action in its eUli.rely and id itl> lillie IlIealiH of mall ife~latio~?
III~nCf' pnlmilltr y. . . . Ttt foretell lhc even ta of a man 's life from the I ludy of his
hand is a fca t ... 110 more extraord.in ary Ihan telling a soldier he is going 10 fight.
a barrifter that he is going to plead Ii! (:a U III!:, a cobhlcr Ihat he it! going to make
boota or slu)e8 , a farmer that ht' i!l going to fertilize and pluugh his land . Lei us take.
a stiU fllore striking example: genius is a lor l of immatt:rial ~ IUI whose r ays give
pulor to cverything I' a~~ing by. Cannot 1111 illiol be inunedia tcly recognized by
('hanlctt' ristic8 which are the opposite of tholie-shown by a man of genius? .. , Most
(lhser" anl people. ~ Iud ent s of social na ture in Pa ris, are able to tell the profe8!lion
of a " a .~scrby liS they k'C him approach ." Il onore de Balzac. Le CO lls itl Pons . in
OeU!lreH:ompiefe$ , vol. 18, Scenell de W lJie /J(lrisie'ltle. 6 (Paris. 19 14), p . 130.:-1
[MIO,41
"Whlil mel! call love is very small, ,'ery re.tricted, and very weak comllared with
this illcffah l{· orgy, this holy prnstitutioll of the lIoul which gives illelf entirely,
poetry and cha rity, to the unforeseen that reveals itself, to the unknown that
haJlpt'lls along:' C h a rl ~ Baudelai re. Le Spleen de Puris. ed . R , Simon , p. 16
("LeIJ Foulct" ).!S [MlOa,l)
"Which of us, in his monleills IIf ambition, h85 1I0t dreamed of the nUracle of II.
poetic prose . musical, without rhythm and without rhyme. s upple enough and
rugged enuugh tu allap t itllt:lf to the lyrical impulses of the suul , the undulation. of
revcrie, the- jibes of cOllscience? l it was, above all. out of my exploration of huge
cities, out or the medley of tbeir innumerable interrelations. that this baunting
ideal waa horn." Charles Baudelaire. Le Spleen de Paris. ed . R. Simon , pp. 1-2
("A ArsClle Hou&8aye").:6 [MIOa.2)
"There is nothing more profound . more mysterious, mor e pregnant, more insicli-
tl us. more dazzling than a window lighted by. single candle ." CharJes 8audelaire,
I.e Spleen de Puris. ed . R. Simon (Paris). p . 62 ("Les Feni!tres"}.:; [MIOa.3)
"The artiit ieeks eternal truth anti knOW! nothing of tht! eternity in his midst . He
admires tbe t":lIl umn of the Babylonian temple and scorns the smokestac k on tbe
factory. Yet wbal i. the difference in their lines? When Ihe era of coal-powered
illilustr y is over, people wilJ admire the vestigell of the lu t smokestack"! as tod ay
"'"e admire the remains of templtl. columnll , ... The steam vapor 8(l dete8ted by
wri ters allowli them to divert their admira tioll .... Instead of waiting to visil the
Bay uf Bj~lIglll to lintl ohjccts to exclaim over, they m.ight have a lillie curiosity
aiJout the. objccts they see in dail y liCe. A porter al the Gnre de I'f~st ill no Icu
Ilictures(lut' Ill an /I coolie in ColomOO .... To walk out your front door aB if yo u1vc
jll"t arriv('d frolll a foreign counl.ry; to di/Jeove r the world in which YOIl Illready
Ih'{': 10 hegililhe day as if you ' ve jllst gollCll offthe hoat from Singapore IIml have
II n .. r Secn YOllr o\o\'n doormai ur the peoplc 0 11 IIII~ la nding ... - it is this th at
rt: \'eals Ihe humanity befo re yo u , un known ullill 1I0 W." Picrre HamJl' " La Littera-
IUrt', ima ge de la sodete" ( En cydoped;efrunr;(~ i.se. "01. 16, Ar u e' /itteru ,ureli
duns /11 "(oc ;4!' e con/em/lOraine . I. 1" 64). 1M 103041
Chesterton fas tens 011 a i lleCimen of English a rgot 10 characterilEe Dickt'lis ill his
rdati(tII 11.1 lilt' litreel : " He ha8 1.he key to the llreet" issai ti of someone 10 whom the
,Ioor is c1oscd . " Oi,:kclIs himself had , ill the most ~ acTe,1 a nd serioull sellse of the
lerm , the key II) the ~ tr ~cI ... . His earth Wail tlie atoncs of the U Teet ; his llt.l lrs were
lilt' lamps of the IItreet ; his hero was the man in the streel. Ue I:oul,1 open the
illmust door of hill h O Il ~e-th r ,Ioor that leads into that lIecret I)Ullilge which is
lined with houses and roofed wil.h sta rs." C. K. Chesterton , Dicker". series enti_
tled Vies deJ homme, iUII.Jtrc,. vol. 9 , tramdated from the English b y Laurent and
Martin-Dupont (Paris, 1927). p. 30. n [MIl ,I)
Dickem as a child : " Whenever he had done drudging. he had no other resource hut
drifting. ami he drifted over half London . He was a dreamy chiltl. L!Jinking mostly
of his own drea ry pros l~ I B. , . , He did Dot go in for ' observation ,' a priggiBh
habit ; he did not look at Ch aring Cr oS!! to improve his mind or count the lamp-
pOSI8 in Holhorn to practice hili arithmetic. But unconsciously he. made all these
placell the scenes ofth t> monlilrous drama in his miserable little. sou) , He walked in
darkneu und('r the lamps of Holborn, and W 08 crucified at Charing Crou. So for
him ever aflerwa rds thcst' places had the beauty that onl y belongs to hattlefields ,"
C. K. Chesterton , Dick enl. series entitled V'J.C del homme5 illlUlre" vol. 9, tranl_
luted from the. English by Laurent and Ma rtin-Dupont (Paris, J 92i). pp . 30-31.19
(Mil ,']
On the psychology IIf the ft aneur: '·The. undying scenes we I:all all see if we shut our
eyes a re not the SC.'lIes thai we hllve 6lare.t at IInder the direction of guide-books;
lhe scenes we see arc the IIcen e~ a l which "" edid not look at a ll- thclcenes in which
we walke,1 when we were thinking Ilbout something else-abollt a lIin . or a love. \
affair. or somec.hildish sorrow. We can seethe background now because we did Dol
lICe it then . So Dicken@,Iill not stump these places on hi.!! mind ; be ua mltCd hill
mind on these pilleI'll." C . K. Ch l'slerton. Dickem. series elltiti.,1 Vie chi homme'
illlll lre', vol. 9 . translated fro m the Eng.lish by Laurenl and Martin-Dupont
(Pari •• 1927), " . 3 1.- [M H ,S)
Dickenll: " In May of 1846 he ran over to Switzerland and tried to write Dombey
and Son al Liluu nue . .. , He could not get on . He auributed this t>8pecially to hiB
10\'e of Londoll and his 101l@ of it , ' the ab sence of streets and numbert of
figures. , .. My figure8 Heem disposed to stagnate wit hoot crowds abo ut them. ,II
C. K. Chesterton , Dicken.. , IralllllalOO from the English by I..a urenl and MartiD-
Duponl (Paris, 1927), 11 . 125.' 1 {MIla,l )
" In ... I.e Voyuge de MM. Dllnmllln p e.re etjiu , two p rovincials lir e deceived into
thillking thai Paris is not Paril hut Vellice, which Illey hili! sci 0111 10 vi!l.it . . . .
Paris Q8 all intoxication of aU the senses, as a "Iacf:. of ,ldiriulII ." S. Kracaue.r,
J flCqll.C' Offe'llxtc!' Illid ria. Pari.! .einer Zeit (Amster.lam , 1937). p . 2H3 .l:
[Ml la,2)
According to a remark by Mussel, the "E ast Indies" begin at a point beyond the
boundary o f the bo ulevards. (Sh ou1dn't it be called instead the Far East?) (See
Kracauer, 0ffmbach, p. I05.)3.1 {Mlla.S)
({racauer write!! that " the boukllurdier•... esc:hewell nature .. .. Ntlture. wtlS a8
PllltolUC, ti S volclillic. as Ii..- I'cu"lc." S. Krllcouer. J acques Offenbach (Amster.
dam. 1937), " . 107.)1 [Mlla,4)
On the detective Ilo\·d : " We must hike 1.111 all f!~ t a hJjs h cd fael thal 1hV! metamor-
p l l o~ i s of the city is due 10 a t.ransl'ositioll (.If the setting-namely, frolll Ihe sa van.-
fWI! auclfores, of Fenimore CoolH!r, where every hroken brnocb sir;nifies B worry
ur a hope. wheret" '!!r y tr ee trunk hidf'1I a n enemy rifl e or the bow of a n invisible
ani l silt'o t avengt!r. Beginnin g ",; th Balzac. 011 writers h avf! clearly rttorded this
,Ielll and faithfull y rcnd,>rcli to Cooper what they owet.l him . Works like u, Mohi~
C(H1 ' de Htris. b)" AJextlmler Duma&--wor ks where the title says aU-are ell-
tremely commo n ." Rogf!r Cai.llois. " Paris. mythe motlerne," NO ll velle Revue
! rall('uise. 25, no. 284 (MIlY I . 1937). PI" 685-(~6. {Mlla,5]
Owing to the influence of Cooper, it becomes possible for the novelist in an
urban setting to give scope to the experiences of the hunter. TIlls has a bearing on
the rise of the detective Story. [M ll a,6)
" h SrtlllS reasonahle 10 say Ihat there exisl8 . . . a phalltasmagorical reprC'"
sentntiull of Parill (and , IIIUTt: generaU y, of the hig city) with such power over the
imagination that tile 'Iuestion of itll accuracy would never he posed in practice-a
representation created fl:lltireiy hy the book , yet so widespread as to make up , ..
part of the collecti ve mental atmoMphere:' Roger Caillois. " Paris, my the mod-
erne." Nouvelle R evlt~fra nt;ai.Je , 25 , no. 284·(May I , 1937), p . 684 . [MI 2, l)
""The Faubourg Saint-Jacque, i, olle of the 01011 primitive suburbs of Pam . Why
is tha i? Is it because it is lIur rouncied by four hospitals as a citad el ulurrouoded
by four bastions. and thcse hospitals keep the tourists away from the neighbor-
hOod? Is il hec:tl use, leading 10 no nlajor artery and termina ting in DO center, ...
the " lace it rurel y visited b y cuKCitCS? Thus . as 800n ali one appears In the dis tance,
the lucky urchin who spiel il first cups his hallth around hill mouth and gives a
signal to all till' inhabitallls of tlle (Kllhuurg, just a ~ . on the sea!;hore, the one who
firSI 511UI II a sai.1 0 1.1 the horizon gives u signal to thc other s." A. Dumas, Lel Molti·
e(l"$ de Pnris, vol . I (Paris, IH59). I)' 102 (cil . 25: "0,', il est question des sauvages
1111 FCl uholl rg Suint-J acques"). The cha pter descrihes nothing but the arri val uf a
.IJia1i1l hcfo l'e a hou8c in tilt' ,li!!lr i.'I. No one suspect!! Ih at the object is a mUllical
Instr uillenl , hUI a ll arc CIITll,,'III'cd " y Ih.' siglll of "a huge pie..-c. uf Illllhogany
.
{po 103). For mallOgullY fu r nilurl' was IIi! yel h anlly knuwn ill this qlturticr.
(MI ',']
1'11.· first 1O"01'.ls of all ad vt'rliscmclIl for U~ Mohicans de Pu.r~; " Pari! -The Mo-
Ili,'ulu ! . , . Twu IIlI mes U8 discurlluli l a ~ Ihe Ilui ... h·c of tlO"OI gigantic unknOlO"lIl,
confTf>lIting each other at the hrink of 1111 BbYh trB\'er!led hy tllat d et:tric light
whose source is Alexa ndre DUlU ue." [MI2,3)
 Frolltispie...-e or I.he Iwrll vo lume o f LeI Mohica~ de Pun.. (Paris . 1863): "Tbe
- Virgin Forcs,"' (or Ihe Rile d 'Enrcr). [MI2,4)
" What wtJllderful precautions! What vigilance! What ingenious pn!I)llratiolls li nd
keen altclltion to Iletail! The North American savage who, Cl'en as he moyea,
oLLileratc8 hi. footprint8 in Imler to elude the enemy al his heels is 1101 more
.;killful or more nu~ticuJl)tU in hil prec::a utions, " Allrw Nellcmcnt , E ludel lur I.e
f cltilleflJlI . romfm. vol. 1 (Paris, 1845), p. 419. [M12,5]
\1J.gny (according 10 Mil s Corkran , Cetebrirics and I (Lonllon , 1902>, citoo in
L. Seeile, A. de Ylglly, vol. 2 <Paril, 1913), p . 295). on viewing the chimneys of
')ans; " I adore these chioUleys .. .. Oh. yes, the 8moke of Paris is more beautiful
10 me than the solitude of forests and mountains." [M 12,6]
One does well to consider the de:te:ctiv(: story in conjunction with the: methodical
genius of Poc=, a.! Valery does (in his introduction to us FleurJ du mal [Paris,
1928], p. xx): "To reach a point which allows us to dominate: a whole: field of
activity m=cessari.ly means that one: perceives a quantity of possibilities .. .. It is
thuefore not surprising that Poe, possessing so ... sure a method, became the
inventor of se:V(:ral differem literary forms-that he provided the firSt ... exam-
ples of the scientific tale, the modem cosmogonic poem. the detective novel. the
literarure of morbid psychologica1 states ...!$ [M!21l,1]
CORf,:erning Poe's " Man of the Crowd." this passage from an article in La Semaine
of October 4, 1846, attributed to Balzac or to Hippo! yte CM8LiUe (cited in Meuac
(Ue "De ,u,ioe Novel" e' ["injllUmce de hi pemee IckntiJUJl1-e [Paris, 1929]).
p . 424): " Our eye is fixed on the man in society who mOVe8 amo ng Jaws, s nares. the
betrayals of his confedera tes. as a 811vage in tbeNew World moves Kmong reptileil.
ferocioul.l heasts. and enemy tril>eM ." [M!2a,2j
Apropos of "The Man of the Crowd": BulwCf<·LyttoD> orchestrates his desaip-
tion of the big-city crowd in Eugrne Aram (pt. 4, ch. 5) with a reference: to
Goethe's observation that every human being) from the humble:st to the most
distinguished, carries around with him a secret which would make him hateful [0
all others if it became known. In addition, then: is already in Bulwer a confronta·
tion between city and country that is weighted in favor of the city. [MI2a.3]
AprO(lOli of detective fiction: " In dlt· American beru-fantailY, the Indi an 's cha rac·
ter plKYS II leading role . .. , Ouly the Indian rites of initiation can compa re with
the rlllhieiliinen allli sovagcry of rigoro us Ameril:all traini ng.... In everything on
", lliuli t.he AIm:rican has really l et hi ~ hea rt , we call:h It glimpse of II", IJulian , His
c)I;lrlwrdinary l!tJIU!Clllratiun 011 II. particular goal . his tf'lI"city uf purpo!lt' , bis
unflinc:hing endurance of t.he greatest hardslLi ps--in all thi~ the 1c@:cnd ary virtuell
of the ImliKIl lind fllU elllll'cssioll :' C. G . Jung. See leflprolileme der Gegellu}{Irt
( ZUrie·h , I..t'ipzig. Stuttgart , (932), p . 207 (,'See!e uilil Ercl.... )..... [M 12a.41
Ch"ptcr 2 , "Ph)'lIiugumnie d e 18 rue:' in the .4rs umen' d" liure IlIr lu Belgique:
" Wuhing of the sidewalkll and the fu\,aclcs of houselI , I!VCII wht'n il rllUll1 in to r-
l"I:nl ii . A nalionullllalliu, a univers ulmanilt . ... No display winduws in the shops.
nunt'rie , 80 dear 10 nation, .. ndowed with imllginltlion , impolIsihle in Brulilleill i
nothing hi ~t."tl , alulilic rOluis impou ihle." Baudelaire, Oeuvre,. vol. 2, ed . Y.·C .
Le Dantec< Paris. 1932>. pp. 709-710. (M12a,5]
Le Uretoll re pa-oaches Ba lu c with !allvi ng oCferecltlte reader " KII excesa of Molti·
('8 11l1 in spencer jacketil and of Jr()(lllUis in frock coats ." Citt'tl in Reljis Messac. Le
"Detectiue Nouer et l'injlm'.n{·e de hi IH!nree scientifilJue (Pari8, 19"29). p . 425.
(MI3, 1]
Frolll the opening pages of Le,1I1Ylterel de Pllri.; " Everyone hlls read Ihose admi-
rable pages UI which Fenimore COOller, Ihe American Waller Scott , has brought to
life the fierce. ways of the savages, their colorful and poetic speech, the thousand
lrick~ they lise when following or fl eeing their em.:m.ics . ... It is our inlenl 10 brin~
before the eyes of the reader lIome episodelll in the uvea of varions other harbari-
anil, no less removed from the civilized world dllm the trihe~ 80 well portrayetl by
Cooper:' Ciled in Regiil Messac. Le "Detective Novel" (Paris, 1929). p. 425. 3 •
[M13,2]
Noteworthy COlU1ection between 8inerie and the detective novel3.t the beginning
of Us Mohicans de Paris: ..At the outset Salvator says to the poetJean Robert, 'You
want to write a novd? Take Lesage, Walter Scott, and Cooper. . . .' Then, with
characters like those of the 'fhowarul alll! On~ .Nights, they cast a piece of paper to
the winds and follow it, convinced it will lead them to a subject for a novel, which
is what in fact happens." Regis Messac, LL "Delectiue .Nouel" el I'injluence de la
pensi~ ;cientf/ique (Paris, 1929), p. 429. [M13,31
0 11 tile epigollcil of Sue and Babac. "wbo ca me Hwarming to the serial no\'e!s. The
Lnflut'lIct> of Cooper makes itllelf fdt here sumetimes directl y and sometimes
thruugh the mediation of Balzac or olher imitators. Paul Fe-val, beginning in 1856
with Le, CQlll e allX d'or ('J'he Golden Knives>. boldl y trans poscs the habits and
evell the inhal)i tan ts of the prairie to a Parisian setLi ug: we find t!tere K wontler-
folly giftetl dog nllmet! Mohican . all American.style duel hetween !tullter>! ill a
Pa ri. stWurb , and u redskin called Towah WllO kiUs IIlltl scal(Jil four of his cnelllit's
ill II hll.ckncy cab in Illc middle of Parill. and pe rfornUlthis feal with s uch dexterity
thatlhc Ilriver nt'ver lIoticell . Lllter, in Les HuM,s IIQir~ <TIll' llJu ck Allin') (1863).
Ile lJiuhi (Jlics thOle ctllllpariiltills of whil'h Balzllc is i ll fond: ' Cool.er\1 l lavagd in
UI\, middle o)f Paris! Is 1101 Ih .. hig cil Y 3 S mYli t l"rioll~ a& the forestl! of the Ncw
World?'" All adwlinllul rcmark: " C(lmparc abll t:baptc.rll 2 alld 19. in ",hjch he
brings two vagabOlIlI, on the iI,'ene. Echalot alltl Similt)l". · lIuI·tIll S of I/ur lakeii uf
IIIlId , iroquois of till' gUller.·" Ri-gis Meliu c. u
'·V!'ter.lilif! NOlwl"", {'infillence lie
Iv l"msee. scicruifique, Kcries t'ntitll!tllJibliotltitl{lIf' de I lt , -e Vil!' ,1(, filt erutllre CO" ,,"
l·fJ ~e. vol. 59. PI'. 425-426 . [M13.41
"Thai potl ry of te rror whic h the. lI tralago:-ms of e ne my lrihef al war create ill the
hClirt of I.hc for.l ~ t 8 of Amcd ca, allli ofwh.ich Coopcr has matle f oc h goOtI Uie, was
!lHac hed to Ille ijmallt!sl d t:tail8 'lf Pllri.'lian life. The pa.'l8cuhy, the 8hll1'5, the
hackney ca rriages. a pe rso n s ta nding at a window- to the mell who ha tl heell
lIumhercll off fo r thc defen l!e of Peyradc's life, e verything preScfltetit.he ominOUI
intere!t whic h in Cutll* r 'lI no vels may be fou nd ill a tree t ru nk, a beaver',. dam , a
rock, a bufIalo ~ kill, a motio nleu ca noe. a branch tlrooping over the wa te r."
Balzac. A com bien l 'umour revient fl UX tlwillardJ.J8 (M 13a, 1]
Prefonned in the figure of the fiineUT is that of the detective. lbe Baneur re-
quired a social legitimation of his habirus. It suited him very weti to sec. his
indolence presented as a plausible front , behind which, in reality, hides the riv·
eted attention of an observer who will not let the unsuspecting malefactor out of
~. ~~
At the end of Baudelaire's essay on Marceline Desbordes-VaImore emerges the
promen(ulj who strolls through the garden landscape of her poetry; the perspec-
tives of the past and future open before him. "But these skies are. tOO vast to be
everywhere pure, and the temperature of the climate too warm .... The idle
passerby, who contemplates these areas veiled in mourning, feels tears of hysteria
come to his eyes." Charles Baudelaire, I:Art romontiqu( (Paris), p. 343 ("Mar-
eeline DesbordesValmore n)." The promroror is no longer capable of "meander-
ing capriciously." He takes refuge in the shadow of cities: he becomes a Baneur.
[M13a.3]
Jult:!! Claretie rt'iatell ufthe aged Victor Hu@o,atthe time whenhe was livinf!:onthe
Rue Pigalle, tha t he e njoyed r iding through Parill o n the u pp~r le yel of omnibUllel.
He loved looking dow n , from this e minellce, on the hus l1e of I1le slJ"eetli . See Ra y-
mond E~cLuli er, Victor lIugo rucontepar cew: qui J'o nt vu (Paris , 193 1), p . 35G--
Jules Claretie, " Victor Hugo." [MI3a,..]
" Do you recull a tableau . . . ,crea te.1 hy the mon powe rful pe.n of o ur da y, which
is entitled "The Man of the Crowtl ' ? From he hind the window of a cafi , a CODvalel-
cent , co nte mplating the c rowd ""ilh delight , mingle! in thought with all the
Ihollgllill pulHatillg "rauml him . H aving jU8t e6capt:d from the s hadow of delith , be
joyfully brclithel in all tilt! ger ms anti emana tions of life; having been o n the Imint
of forgettins ever ythin g, he !l OW nmemllt~ rs and arde ntl y wis hc8 to remember
e verything. Finally. he rus hes into the crowd in sea rch of all unkllo"'u per Bon
wlmn fa~;I:, glimpsed tllIIlllentari.ly. fQ llcinated him. Curiosit y has lJeco nu: II fatal,
irrcsislil.It, pUlliun." Ilil uddaire. L 'Art romeJIIliqlle (Puri.'j). p . 6 1 ("Le Peilll.re de
In "it' Inmle rm'''):1U [MI4,t ]
Alr;'Hll v Anti ,,'· lA' UnIO n . UIJ'.:UC. rlwm me c l l'ocu vrc <Pa ris. 1 905~ , COIllJlurel
DaLzHc;~ dlllrHct(: r&-" lhe II~UTl'r-§ , tilt' Htlurne ),s, I.h e lJunkeT!l"-to Mo hican8.
who m they rl'"~lIIhl e 'liOn:- l imn Iht·), d o the PuriJ;iuns. Sec aillO n"'lIl), t.l e Go ur-
mOIlI, PromenruJeJ liueraire~ . ~1..'C()lId serics ( PMri ij, 1906), pp. 11 7- 11 8: " Lea
Mllilres lit' UQlzlic.") [M14 ,2]
FruJIi Baudeiaire'Ii PtJ.Jee~: "'I\1UII ... is alwa ys ... in a s ia le of sa\·agery. What a re
the perils of jungle a utl prairie compa red to the daily 8hock.!! and conlLicts of
ci\'i1izatioll? Whclhel' u mll n e mhrucell hi ~ du pe on the boulevard. o r spea rs hil
prey in unknown fo re~ I.!I. is he nol ... the most highly l,crfected healt or pre y?" "
~14.3J
There we re rep resentatio n' ( lithographil?) by Raffel of Eeoslillises a lld Tricycle!.
(Sce 1\13a,8.) [1.114,4]
"When Babau:. Lifts tht: roofl o r pe nel.rlttell t he wa ll~ in orller 10 clear a sl)ace for
observa tion, . . . you lilltCII a t the door8.... In the interesl of sparking yo ur imagi-
na tion, that is •... you ure "Iuying the role of what our neighhor~ Ihe Englilih , in
t.hl'ir prud.iJb.llels . call the ' 1)Q li~)e detective' !" lliJipolYle Babou , La Verite s lIr k
ctU tie. M . Champjleu ry ( Paris, 1857), 1" 30. [M14 ,5J
It would be profitable to discovc:r certain definite features leading toward the
physiognomy of the city dweller. Example: the sidewalk, which is reserved for
dl~ pedestrian, runs along the roadway. Thus, the city dweller in the course of his
most ordinary affairs, if he is on foot, has constantly before his eyes the image of
the competitor who overtakes him in a vehicle.-~y the sidewalks were
laid d own in the interests of those who go by car or by ho~ . When? (M14.6]
"For the perfect Oallt: ur, . . , it is a n imme nle jo), to let up house in the hea rt of the
nmltitutle . a mit..I the e bb a nd Row.... To be away fronl home, yel to fed o neself
everywhe re a t home: to lIee the world , to be li t the cen te r of the wo rld , yet to
remain hidde n fro m t he world--!luch are a few of tile slightest pleas ures of those
indepe rltlenl , pll8sionate, impartial [! !l na turel which the tongue call hut clUJllli1y
defin e. The s pectator is a IJrim:e whtl e VI'ryw here rejoices in his incognito .... The
lover of univcTillIllife ellte rs into the crowd liS Ihough it wen: an imme nse reservoir
or 1·It~ClJ"i c elle rgy. We lI1ight Alsu liken him to a mirro r 118 vas t as the crowd it&elf; or
to II kQie.idolcope endowed "'jlb coJt sdousnellS, ..·ruch , with each one of it.!! move-
IItI'lItS, represen ts the multiplicity of life a nd the fli c ke ring grace of an the e1emeliU
OJf life:' llalulclu ire, L 'Art ramunliquc ( Paris), pp. 64-65 ("Le Peinlre de la vie
mo,lernc" ). '2 [MI4a.l ]
TIll' Pads o f 1908. " A .I'a r isill ll used 10 crowlls. to traffic, a nd ttl choo~ing his
.sll·'-"' I ~ ct,uldstill go for lung wll iks a t a steady pa('e amI even wililout.takiug muc h
tare. Generall y 1l1>ell killg. Ihe a bunda nce of 111"111111 u( t ransportatio n hal l not yet
gi\'CII III Ort~ t han th rt:e m illiOIl peolll,' the .. . idea Ihllt they couili move aLout jus t
a~ Ilu'y Uk.:tI ami Ihat .iis ta m:e Willi Ihl' In81 thing thaI counte,!. " Jules Romaill.'j .
Le.~ 110m me. de IJOlllle Dolo,,'e, iJouk I . I.e 6 octobre ( P",rill ( 1932). p . 2()"1 ..u
[M14a,2]
In Le 6octohre, in C hapter 17, "Le Grand Voyage du petit ~on" (pp. 176- 184),
RomaulS describes how Louis Bastide makes his jo urney through M ontmartre.
fro m the comer of the Rue Ordener to the Rue Custine: "H e had a mission to
accomplish. Somebody had commissio ned him to fo Uow a eertain course, to
carry something, or perhaps to bear news of something" (p. 179). 11 In thi! game
o f travd. RomalllS develops some perspectives-particularly the aJpme land-
scape of M ontmartre with the mountain inn (p. 180)-which resemble those in
which the 05.neur's imagination can lose itSclf. [M 14a.3J
Maxim of Ihe ll ii neur : " III Our siandardized and uniform world . it is right here.
deep below thl' 8urrace. Ihat we mus t go. Enrangcmcnt and 8urpriM- . the most
thrilling exoticism, are aU clo!le hy." Daniel HaleV)'. Pays parisif'lIs (Pari, <1 932~) .
p . 153. IM I4a,4]
lnJules Romains' Gn'me lk QyineUe (LtJ H ommeJ de bOn/Ie fJO/onti, book 2), one
finds something like the negative o f the solitude which is generally companion to
the flineur. It is. perhaps, that friendship is strong enough to break through such
solitude-this is what is convincing about Romains' thesis. "According to my
idea, it's a1ways rather in that way thai you make friends with anybody. You are
p resent together al a moment in the life o f the world, perhaps in Ule presence of a
Beeting secret of the world-an apparition which nobody has ever seen before
and perhaps nobody will ever see again. It may c=ven be something very litde.
Take two men going for a walk, for example, like us. Suddenly, thanks to a break.
in Ule douds, a ray of light comes and strikes the top o f a waU; and the top of the
wall becomes, for the moment, somelhing in some way quite extraordinary. One
o f the two men touches the other on the shoulder. The odler raises his head and
sees it tOO, Wlderstands it too. Then the thing up there vanishes. But they will
know in adernul/l that it once existed." Jules Romains. &s Hommes de /Hmne
fIO/onli, book 2, Crime de O!!ind ll' <Paris, 1932>, pp. 175-176. n [MI5,!]
M"lIanut:. " He luul croued lbf' P lace and the Pont tie l' Europe almoll every d.y
(be confide.1 Iu Coorge Moor('), grippet.l by the tem ptation to tlirow himself £rom
the In·igl1ls uf the hrillgc UIiIO Ihe irun r ails. Wider the trainl, t!IO lUI linaUy to elcape
Ilus lIlC4.liocrit y of which he wai! pri soner." Daniel Halevy, PtIY' parisien! (Pltris
d9:i 2~) . p . 105. [M I 5,2]
Mit'lu:-1t' t wri lt'8: ·' I . prallg III' like a pal.· hladtl of gra ss bt'lwt.'1~u Ihe l'uviuS 910UCS"
(cilell ill Hulfvy, l'uY1l pllrisie,u . p . 14). [MI 5,3]
TIle tangle o f Ule fore st as archetype of mass existence iu Hugo: "An astonishing
chapler o f usMiJirables contains the fo Uowing lines: 'What had j ust taken place
in this street would not have surprised a forest. The trces, the copse, the hcath,
the branches roughly intenanglcd, the taU grass, have a darkly myslerious exist-
ence. ·nLis wild multitude sees there sudden apparitions of the invisible: there.
what is below man distinguisbCll through the d ark what' is above man."'-lli Gabriel
Bounoure: "Abimes de Victor Hugo; MeJureJ U wy 15. 1936), p. 49. DCcr.
sciicker passage 0 1M 15.4J
'·R...search into Ihal , {"riou, diseuse. hal retl uf tht! home. Pathology c)f Ihe disease.
I'rogrel'sivt' growth of the d isease." Cha rh:1 Baudelaire. Oeuvre., ed. L..e Danlec.
\·u1. 2 (Puri.;. 1932). p. 653 ("'Mun Coeur Ulill Ii nu "). ·I~ [MI 5,5J
Leiter accompanying Ille two ··Crepullelllt!" poem;! ; 10 Ferna nd Desnoyers. who
jluhlished them in lus Fontainel,lelUl (pltril, 1855): " I' m sending YOll two piecel of
I)OI"II'Y thlilmore or lellll slim up the r eVt"rie, that a8Sa il me in the twiligbt buurs. hi
Lilt" dfOjllhs tlf the wood .;, sllII l iJi by those va nits thai n!f;a U lIacmtie.s and cathe-
dral!!. I thi.nk of ollr amazing citieA, ami tha t prodigious mu&c which rolls over the
summit8 secm,; 10 me a Ira !Il lation tl f tilt· lamentations of mallkind ." Cited in
A. Serh':;, La Vie des flell " dll flint (PlIri~ , 1928), p. 110." 0 Baudelaire 0
[M 15a,1]
The classic early desoiptioll of Ule crowd in Ebe: "By far the greater number of
those who wenl by had a satisfied, business·like demeanor, and seemed to be
thinking only of making dleir way through the press. Their brows were knit, and
their eyes rolled quickl y; when pushed againsl by fellow-wayfarers they evinced
no symptom o f impatience. but adjusted their dOUles and hurried on. Others,
still a numerous class, \,,'ere resuess in their movements, had Bushed faces, and
talked and gesticulated to themselves, as if feeling in solitude on account o f the
Vl:'ry denseness of the company around. Whc=n impeded in their progress, th~
people suddenly ceased muttering, but redoubled their gesticulations, and
awaited, with an absent and overdone smile upon the lips, the course o f the
persons impeding thClD. If jostled , they bowed profusely to the jostlen, and
appeared overwhelmed with confusio n." Ebe. J(oulltlks HlJtoireJ alTaoniinairts,
trans. Ch. B. (Paris d886». p. 89.'· (M l Sa,2J
" Wllat are th~ perils of jungle a lI(I prairie cornparetl 10 the daily shock, and
cOIulic18 of civilizlltiulI? Whctller a man t' mhrace8 his dUI>t. 011 Ihe boulevard, or
spea rs his lIre)' in IInknuwll fore~ I ', ill lu: nut elernal man- that is to say, the m08t
highl y perfc('ted hea~1 uf pre),?" Chade!! HUlltldai~, OeulJrf'S. ed . Le Dautec. vol.
2 <Pa ris. 1932.>. p . 637 ("FUIlt!c8").r.u [MI 5a,3]
:rne image of antiquity that so dazzled France is sometimes to be found in
1TI11nediatc p roximity to UIC ~lremel y modem image of America. Ba1zac on the
~omlllercial traveler: "Sec! \Vhat an. athletc, what an arena, and what a weapon:
e.. the "'Orld, and his longue! A danng seaman, he embarks widl a stock of mere
words to go and fish for money. five or six hundred thousand francs, say, in the
frozen IXean. Ute land o f savages. o f Iroquois-in France!" H . de Balzac, L'JlluJtre
GUlldwart, ed. Caimann·Uvy (Paris), p. 5 :" [MI5a.4]
Description 0)( the crowd in Baudelairtl, 10 be ,~o ln p arcd witl. the .IWlcriplion
!'oe:
T he guller. dillmal hed . ea rries along ill foulneakl.
Carriet, Loili nf\ , the RCr ell of the sewe" ;
It alapmill corrosive wavet agai rul the houses.
Rushes on to jaundice and corrupt the rivl"r Seine,
a.
SIOli hing ... hi!-I, the Imccs of pedestrian, .
00 Ihe BlilllH:ry " aveIDent" everyone vaMeI hrulal and ~t.lr·a h~orhed .
Elhowing aml sllaneri ng U 8 with mud , or thru~ ting 11 11 asi.l.. ,
III their hu rry to arrive 8Omewh e~ .
Everywhere mire IUld deluge and opacity of ~ky :
D ire tabll"all i llch as dark Ezekiel might have drl"aml.
Ch . 8 ., Oeuvres , vol. I <Pari., 1931>, p. 2 11 (Pof:imes divers , " Un Jour de
plwe" ).'!' (M16,1]
On the detective novel :
The man who hasn' t li~ed anything, who 11"£1 no picture,
\Vb" was Dot tllt' rl", who Ilthl nOlhing:
rIow cltn th ey catch him?
Enue th e trar;u.
Brecht , Versuche <4-7 (Be.rlin . 1930)), p. 116 (LeselJll ch fur S liidtebewohner;
110. 1).$3
The masses in Bauddairt. They slRtch before the 8ineur as a veil: they are the
newest drug for the solitary. -Second, they efface all traces of the individual:
they are the newest asylum for the reprobate and the proscript.- Fmally, within
the labyrinth of the city, the masses are the newest and most inscrutable laby·
rinth. Through them, previously unknown chthoruc traits are imprinted on the
image oflhe city. (M16,3)
The social base of 81nene is journalism , As 8Aneur, the lit.erary man ventureS
into the marketplace to sell himself. Just so-but that by no means exhausts ~
social side of flanerie. "weknow," says Marx, "that the value of each commodity
is determined by the quantity of labor materialized in its use value, . by the
working-time socially necessary for its production" (Marx, D(J.J Ko,~/taJ, ed.
Korsch <Berlin, 1932>, p. 188).6'The journalist, as Baneur, behaves as if he tOO
were aware of this. The number of work hours socially necessary for the produc-
tion of his particular working energy is, in fact , relatively high; insofar as he
makes it his business to let his hours of leisure on the boulevard appear as part of
this work time, he multiplies the lalter and thereby the value of his own labor.. In
his eyes, and often aI.so in the eyes of his bosses, such value has son~thing
fantastic about it. Naturally, this would not be the case if he were no t 10 ~e
privileged position of ma king the work time necessary for the productio n of his
ill use value available to a general and public review by passing that time a ll the
boulevard and thus, as it were, exhibiting it. [MI 6,4]
The press brings into play an overabundance of infonnation, which can be all the
more provocative the more il is exempt from any use. (On1y the ubiquity of the
reader wou1d make possible a utilization: and so the illusion of such ubiquity is
also ~neraled .) The acrual relation of this infomlaoon to social existence is
determined by the dependence of the infonnation industry on financial interests
and its a1igrunent with these interests. -As the infonnation industry comes into
its own, intellectual labor fastens parasitically on roery matt':rial labor, JUSt as
capital more and mort' brings rotTJ material labor into a relation of dependency.
[MI6a, lJ
Sirumcl's apt remark concerning the uneasiness aroused in the urbanite by other
people, prople whom, in the overwhdnling majo rity of cases, he sees witho ut
hearing," would indicate that, at least in their beginnings. the physiognomies
<correction : physiologies> were motivated by, among other things, the wish to
dispel this uneasiness and render it hannless. Otherwise, the fantastic pretensions
of these little volumes could not have sat well with their audience. (M 16a.2]
There is an elTo n to master the new experiences of the city within the framework.
of the old traditional experiences of nature. H ence the schemata of the virgin
forest and the sea (Meryon and Ponson du Terrail). [MI6a,3]
[M16.2J \
'&ace and aura. TIle trace is appearance of a nearness. however far removed the
~ thing that left it behind may be. The aura is appearance of a distance, however
close the thing that ca.J.1s it fonh. In the trace, we gain possession of the thing; in
the aura., it takes possession of us. (M16a,4]
~'a ilhrul to m)' oM 1'-IIlablislll:d wa y.
I like to lurn the ftreel into a stutly;
Ilow often, tllI' n. a. chant e cOntlU(;~ my ,irea mi ng 811' 1)5.
I blu nder, UIll.war e5. intl) II group of pave ... !
Au~ste.Mal""lleille Ba rtiu! lemy, Pclris: Rel!Ue so ' irif/lle Ii M, C. Defeuerr , Prefe r de
Pnl«:e(Parill, 1838)' 1). 8 . (M 16a,5]
" M. k U~lon saYi th a t it ill dU' IISUI:t'l"8, auorlleys. alUllilinke rs ill BahO:iu' _ rulher
Mohican~, and he lll'lit'vclI
(hltn II ... Parisilt1l8, \01'110 ijOmctimC8 SCI:III liki' ruthlt'8s
that tl... inflllelll'c o f Ft!llimure CMper ..... all lI ul pal·li.:ularl y a.l v8l1tagcflllli (01" ,III:
~utlt(pr of Gobseck . This is po~sihle, IJUt tIiIli('ult 10 prove:' Remy d c Gourmou t.
I rOml'lIudt'5 liltPrt. ireJ, 21141 81;'r ies ( Paris_ 19(6). )JJl. 11 7- 118 ("Lea Muilrt!s ,Ie
Bul:cae" )
. ~ J~JJ
·~rI1t. jos tling crowd e.Jnt!!is a nti Ihe. lIloll,'y ,li!HJrtlt! r "r IIIctruptllitan cORimUlli':II'
hUn ..... ould ... lit' ullbt:ll railic wilhout ... p~ychologj(-u l di~ tallt·e. Suwe "onlt: n1po.
na r y urban c uhu re ... forces us l(i OO I)hYllica Uy close to a n e normo us number o(
proplc • . .. pt."Qpll~ wouM ~ ink l:olIIl'lt:teiy in'" tlespair if the ohjec tifu;a tiofl o(
social reiationship, ,lid 1I0t brillg with it a n inner bound ary and reserve. The
lJ.ecuniary c ha r acter or relationships, eithe r OIJ4l:nl y or co ncea led ill a tht)UI~and
(o rlllll, pined [0] .. . (unclionw dis tance belween people I.hnl is IlII inner prOlec-
tiOIl . . . agu ins t the overcrowded pro,umity." Ct."Or g S imnl t'l. Philosophie de.
GeWe~ (uip'lig, 19(0). p. 514 .06 (M17.2]
Prologue to Le Ftanellr, newspaper for the masses, published at the office of the
town crier, 45 Rue dc la H arpe (the first and, no doubt, only number, dated May
3, 1848): "To go out strolling, these days, while puffing one's tobacco, ... while
dn=anling of evening pleasures. seems to us a century behind the times. ~ are
not the son to ~fuse all knowledge of the CUSLOtnS of anothu age; but, In our
strolling, let us not forget our rights and our obligations as citizens. The times are
necessitous; they demand all our attention, all day long. Let ~ be ~eurs, but
pattiotic Baneurs." (J. Montaigu). An early ~pecim.en of ~at dislocanon of word
and meaning which belongs among the deVlces ofJoumalism. (MI7,3]
Regarding the intoxication of empathy felt by the 8llneur. a great passage from
F1aubert lOay be adduced. It eould we.ll date from the period of the composition
of Madam~ BOllary: "Today, for instance, as man and ""Oman, both lover and
mistress, 1 rode in a forest on an autumn afternoon under the yellow leaves, and
1 was also the horses, the leaves, the wind, the ""Ords my people uttered, even the
red sun that made them almost dose: their love-drowned eyes."~ Cited in H enri
Grappin, "Le Mysticismc poetique (et l'imagination> de Gustave Flaubcn," Rt:~
[llJt (It Paro (December 15, 1912), p. 856. [M17a,41
On the intoxication of empathy felt by the Haneur (and by Baudelaire as well),
this passage from Flaubert : "-1 see myself at different moments of history, very
clearly. ... 1 was boatman on the Nile, leno [procurer] in Rome at the time of the
Punic wars, then Greek rhetorician in Suburra, where I was devoured by bed-
bugs. J died, during the C rusades, from eating too many grapes on die beach in
Syria. I was pirate and monk, mountebank and coadunan-perhaps Emperor of
the East, who knows ?"~ Grappin, "Le Mysticisme poetique <et I'imagination> de
Gustave Flaubert," &vut: de Paris (Ikcember 15, 1912), p. 624. [M 17a.SI

Balzac aOllcdote; " He wall with a friend olle da y whcn he puu ed a beggar in rags On
the IJOuJevartl. !:lis compallion ""'1118 8stolli8hed to lee Babac to uch m. own s!ef:ve
Ilell is II d lY mu ch like London-
with hill h alul ; he h all jusl felt th .. re thecllllspicuo us rip that gaped a t the elbow o(
A popul ollll aJld a ~D1o ky eily;
the m.. odicant.,. Allatole Cerfberr a nll J well Christuphe. Reper-lOire de to or
Ther1! ar1! all tol1.il 1)Wllle I&n(\onll,
ComMie humaine de H . de Balzac ( Pari. , 1887). p . viii (Introduction by Paul And the re i51iltJeur nu rlln do ne;
[MI"Z4] Smllll jll.5lice ~JlOwn . aud 81ilJ telll pity.
Bourget). '
II
Apropos of Haubert's remark that "observation is guided above all by ima~'
tion,"17 the visionary faculty ofBa1za.c: "It is imponant to not~ first of all, ~t this T hCr1! it II Cu Ue , and II Cln ning.

A Col,ile u . an d a CII~tl f'reagh;

visionary power could never be exercised dirr:ctly. Ba1z.ac did no~ have ~ to
AU IIOrt. or cai tiff CO '1"lel plannillg
live; ... he did not have the leisure ... to study men, after th~ fas~on of ~olitre
Al l so rb of eozeninll; for t~pannin g
and Saint-Simon, through daily. familiar contact. H e cut ~ CXlSteno: 1Il twO, CO TJ)~t... le~8 currlllUlhan tltey.
writing by night, sleeping by day" (p. x.). Balzac speaks of a retrospecDve pene-
tration." "Il would seem that he took hold of the givens of experience ~d then UI
tossed them. as it were, intO a oucible of dn=ams." A. Cerfberr and J. Christop~e, There il a * •• , wl,u bu lOl!l
RiPertoiTl'de fa Cmnidi~ numain~ de H. de Balzac (Paris, 1887), p. xi (Introducoon lli~ ,,·il., or ....1<1 1.llem. none knnwll which:
by Paul Bomstt). IMI1.,I } lie ... alk~ abuu l 11 duuljlll fo;hu! l,
An,.! 1II0IIgh as Illill ill, f'rau,1 a lmO~I­
Empathy with the commodity is fundamentally empathy with exchange valU~ E v~r grow8 Inore grim allli rich .

itself. TIle Bineur is the virtuoso of this cmpad.1Y.. H e takes the concept of ketI m:u- IV
ability itself for a stroll. J ust as his final ambit IS the department store, his las
. 3Jilaoon. .I.S ... 1'hen- is a Cl,anccry COllrt ; a ki ns;
IIlC Ule san d WI·c1I-man. [MI7a,2]
A maIlUfU(" llIri"l!" moll: a H I
or Ihie ,'~ who loy 1.lu': mMlvl'8 Ilrt" $i",,1
1.11 II hra!iSI'ri.. in IJle \'icinil v uf tim Cll rc Sllinl~I..II"l.IIn:, d"1; Euci nles (I'd s hilliself Similar lhieve!! 10 r"pre8t'nl ;
. E I J . (Mlla,3) An II I'm)'; IIml li IllIhli,- .11:111.
to bc Ii I rea J YIII ' U ltllll .
 v Ti.. ~ot , ill jll ~ tifyill g hi AprO I)O~u lt o lax luxury hor8e~: " The inlolt'ra hle noille made
WI,icll III~ ILB M~ch cll1O:: of ,u' lle r mo ney,
An.1 III("H nll--l.ci ng int erp N: LM -
·"B,:o'a. kl'i' l' yon r wllx-give U8 tJu~ hQl,e,..
,\ 1111 we will "h.nl , ..·hil" dUu are I UDO )',
F1o..·.. r"'. whieh in wi nter I!r.n "" insle.d ,'·
VI
There is a gna t talk or revolution-
Anti . ~ru l ehancll or de!lpoliam-
~rman 6Ghlie~lI m ~onru.sion­
Tumull&-Ioli triu-rlll!e--dclusion-
Gin-t!uicide-a nd mclbOllil!m;
VII
1'4l1ie8 1ot), o n ",i nc lind Lread.
Ami meal. 8ml hec r. and tCli, lind c111~"se.
FrolU whic h those Ila inuis pure a re fed.
Who go rg" I II~f"rtl Ihey rceltu bed
TIUi tenfold t:SIIe l1ce of aU Ihe8e.
IX
l.awyen-judgl!f---Old hohno('ben
Are LIII'rn--hailiff5-('I," llceUor_
Bi5bol",--grt.a1 81111 lillie robber_
Rhynle8ter_ lIamIIMClL"l::r1I---1Ilock-jobm:n-
~"'n of glorr in tim " '11111.-
x teach his visitor "the rudinlcms of the an of secing."'f3
T luuJtii " 'IK>l<l' Irlule ill. m'er ladie!!
To lea n, Il nd flirt , and 8lare. and 8im l~r.
Till . 11 th ai ill di\'inll in wn maJl
Grow, ~rulli. e"urt~u~, ~mooth , inliuman,
Crud JieJ ' twixt a , mile IInti a ,.-himpe r,
S helley, " ' )N,' r Hdl L1w Third" (" Pilr t the Third: He U").oo [M ISI
illuminating for L11e conception of the cro......d : in "Des Vcncrs Eckfenster" <My
Cousin's Comer Wmdow), the visilor still thinks that the cousin watches the
activity in the marketplace only because he enjoys the play of colors, And in the
long run, he thinks. this will surely become tiring, Sinlllarly, and at around the
same time. Gob'Ul writes. in "The Lost Letter," of the illUlUal fair in Konotop:
"There were such crowds moving up and down me streets tllat it made one giddy
to watch mcm.~ RUJJiJcht GeiPrIlJ/"-Gtsdlichlen (Munich d92h), p. 69.~1
jMI8a.l]
ilay ltnd nigh t b y tWI:llly Iho ll ~u lIIl priva te ,:arriagcII in the st reets of Parill, the
cVlltiJllliI1 s hu kin!; of Ihe h OIl!!('ji. Ihc inconve.nience find insomnia lha t result for 110
In !lll~' inhabi t a nts of Ihe cil y- aJlthi8 de8erve8 some cumpellsation ." .AmEtloo de
'rissul, I·flri.~ el l.omlre, eomJJf.r~$ (Pllri8, 1830), 1111. 1i2-173, {M 18a,2]
Tltt' HUlII'ur lind til{' ijltoprrollts: "Firij t of uU, the .... a re the f1 iine uNi of the boule-
Vllrt!, ",·b"lie e ntirt' exislence unIol1ls h etwC'!C.n t.lle C hu reh of the Madeleine a nd t he
Th;;lill't: (Iu G)' n!lI a ~. Eal'h d ay set'ti tlu' n! rtturninS to thill na.rrow space, wruc h
Ihey n.'\·,'r palJ .. beyond . examining the tlis plllYs or goods , s l1rVeying the shoppers
St'lIlcd hcforc tilt· ,loonJ of cafill. ' , . T hey wo uld be able to teU you if Go upil or
Ucrorgt.' l.a ve pu l out a ne"" print or a Dew painting. a nd if Barbedie nne has
1-e)Jositionellli vase II r 1111 IIrra llg,: ml'.lIt ; they know aU til e IJhotographers' 8Iudios
by hellr t II IH I couJ.! rerile the. se<lue nee of signil withoul omitting a single one."
Pierre Lurouue. Gmnd Dic';onfUl;re unillerlcl ( Paris <1872», vol. B, p . 436,
[M1aa,3]
On me provincial character of "Des Vcuers Eckfenster." "Since that unfortunate
period whcn illl insolent and overbearing enemy inundated our country," the
Berlin populace has acquired smoother manners. ")Ou see, dear cousin, how
nowadays, by contrast, the m arket offers a delightful picture of prosperity and
peaceful manners:' E. 1: A. H offmarul. AUJgewiihlle &hrj/ltn, vol. 14 (Stuttgart,
[839), pp. 238, 240." [M19,11
1be sandwich'man is the last incam.ation of me 8aneur. [MI9,2}
On the provincial character of "Des Vetters Ec.kfenster": the cousin wants to
[M 19,3}
0 11 July 7. 1838, C. E. Guhrauer wriles 10 Varliliagen aLolII Heine: " Be wal
ha\'ing a Lad lime ,..ilb hilJ eye, ill the 8pring. 011 o ur la81 meeting, I accompanied
him pari of t he ,,'ar alou l': the boulevllrd . T he s plendor and vitality of thai unique
8treet nloveJ me to houndle88 II dmiratioll , wlliJe , againsl llLis. Heine now laid
"'ci!;hl)' e mJ)h as i ~ VII Ihe borrors IIl1elldilig lhill ccuh:r of the world ." Conlpare al80
Engf'ls U ll th e ITIIW, I ~M5I1 , I >. Heinrich ll l!im· . Ge.tl lriiche, ed . Hugo Bieber (Ber~
lill. 11)2(,). p . 163. [MI9,"}
" T lu!! o;i ly lIla rk e41 h y II \'it a ljty, Ii cir~lIllIlitln . lin a ctivit)' ""ithoul equal is a illu, by
;, ~illgIlJ<lr e 'JIIII·U~I . II ... plnn' wlu:'I'" 0 111' jiluls the 111081 idler s, 10llngers, anti ruh~
)"" ' w'I'k!!:' Pi':I'!',' L"nlHlisc. GrlJlullJicl;fII/II(I;re IlIIjller~cl ( Pllris <1872» . vol. 8,
I' · l:i(i (/II'lid,· •· .. Iitlell " FlulI,·lIr''). [MI9,5]
IJt'~d Wriling fro m Pllris tn hi!; wife. Scpl ~lIIht'r 3, 18:.!i: "As I gu thro ugh the
~ Ir"t · l,;. till' ""oplc lu(,k jU';1 II", !l lI m c 118 in He rlin. everyone tlrellsed the sa me,
ahout t he 8 1lm~ fo.l 'eil . thc lIaml ' appcurauce, ),(:1 in Ii IJOpuluus muU ." Briefe lion
"."/ ~ I Karlll ,-,d It..;"zi, . 18K7). purt 2 . p . 257 (lVerkf'. vol. 19 , part
1m. / I I // " ... . " ' . ' . .
"
2" M
Londres (London>
h is an immense place, and so spread out
111011 it takes a day to cross it by onuuhw.
And, far and wide, thert is nothing LO see
Bm houses, public buildings, and high mOllunlcnts.
Set down haphazardl)' by the hand of time.
Long black dUInncys, the stt:eples of industry,
Opm thdr mouths and c.,xhalc fun~
From their hot bdlies [0 the open au;
Vast white domes and Gothic spires
Hoot in the vapor above the heaps ofbriclu.
An eve.r sv.-clling, unapproachable: ri~r.
Rolling its muddy currents in sinuous onrush,
Uk.e that frightful Stream of the undcrwo~ld.f>!
And ~d O\'cr by gigantic bridges on pu~n
'That mimic the old Colo!u US of Rhodes,
AllOWJ thousands of ships 10 ply their way;
A great tide polluted and always unsettled
lkcircu1ates the riches of the world.
Busy stockyards, ofl('n shops are ready
-10 receive a universe: of goods.
Above, the sk.y tormeilted, cloud upon clo~d ,
The Stu\, like a corpse, wears a shroud on Its face,
Or, sometimes, in the poiwnou5 aDuosphert,
Loolu out like a miner coal-blackened.
ll1CfC, amid the somber mass of things,
An obscure people li\'eS and dies in silencc-
Millions of bcings in thr.ill to a fatal iustinct,
Seeking gold by avenues devious and straight.
10 be compared with Baudelaire's review of Barbier, his portrayal of Mc,]'on, ~e
pcxms of "Tableaux parisieus." IJl Barbier's poetry. twO dements-the d~,:,
cion" of the great city and the sociaJ unrest-should be pretty .mu~ dis
. h d Onl traces o f these elements still ~main with Baudel:ure, tn wholD
guISe . y ' dl Aguste
they have beell joi.ned to an altogether hetcrogeneous t.hir e e~ent. u e se-
Barbier, l amhts rI jJOOneJ (Paris. 1841 ), pp. 193- 194. TIle poem IS fro~1-I~9a, lJ
quence L milrt of 1837.
If one compares Baudelaire·s discussion of Meryo n with Ba~bic~'s. "Lond:~
one asks o neself whcthcr the gloomy image of the Mm?st disqUle~lg dO~ ~e
tals ""L-the image. that is, of paris-was no t very m:nenally dcte.rn~m~ y trial
texts of Barbier and of l:UC. London was certainly ahead of Pans U1 llldus "I
devd opnlclll.
Beginning of Rousst:au's Second Promenade: "H aving therefore decided to de'
scrilx my habirual state of mind in this, the strangest siruation which any mortal
[lI.119 ,61 will ever know, I couJd think of no simpler or su~r way of carrying out my plan
th.11l to keep a faithfu1l'ecord of my solitary walks and the ~veries that occupy
dIem. when I give f~e rein to my thoughts and let my ideas follow their natural
course, unrestricted and unconfined. These bours of solitude and meditation aK
the o nly ones in the day when I am completdy myself and my own master; with
nothing to distraCt or hindcr me. the oruy oncs when 1 can truly say that I am
what nature m eant me to lx." J can:Jacques Rousseau, us RWuies du promt:1leur
Jo/ilaire; p~ceded by Di:c ]OIm Ii Ennt:1lonlJille, by Jacques de LacreteUc (Paris,
1926), p. lS.t7- The passage p~sents the integral link between contemplation
and idleness. What is decisive is that Rousst:au already-in his idlencss-is
e1u0ying himself, but has not yet accomplished the turning outward. [M20,1]
" Lomlon Bridge." "A little while ago I was Yo'lll.kiJlg Ilcrou London Bridge and I
paused ItI contemplate what is for me an elldJess plessure--the sight of II ricb,
thi(~k , IJomp!e,.; waterway whose na creo u ~ ~h eets and oily patches_ cJuuded with
,,·hite snlOke*puf(s , are louded with a confmiou of s hips .. . . I !ellued upon my
dllllws . .. . Delight of vision held me with II ravenous thi n l , involved in the Illay of
a light of inexhaustiLle riehnesM. But endJeuly pacing and ftowingat my back I was
aware of another river, a r ive r of the blind eternally i.n purs uit of [ its] immediate
material ObjC4:t. This seemed to me no crowd of indh'idual hein!!:s, each with his
OW II his tory. his priva te god. hill trell8u reil and hia scar~. his interior monologue
and ltiBfat e; rather I made of it- unconsciolhlly, in the depths uf my body, ill the
shaded places of nl y cyes--u. flux of identical particlel. equally sucked in by the
,ame nameless void, their deaf headlo n!!: CUT rtlnt IIllltering monotonously over the
bridge. Never "a" e I so fd t 8ol.itude, minglt!tl with pride and allguish ." Paul
Valfry, CIIO&e& llUe'I d'aris, 1930). pp. 122-124,611 [M20,2]
Basic to IUIIerie, among other things, is the idea that the fruits of idleness are
more precious than the fruits of labor. TIlc Haneur. as is ":c11 known, makes
"studies." On this subject, the nineteenth-.:cnrury Laroussc has the following to
say: "J-lis eyes open, his ear ready, searching for something entirely different from
wha t the crowd gathers to see. A word dropped by chance will reveal to him one
of those character traits that cannot be invented and that must be drawn directly
from life : .thosc physiognomies so naively attenuve will furnish the painter with
thc expressio n he was dreaming of; a noise, insignificant to every other ear. will
strike that of the musician and give him the cue for it harmonic combinacion;
cvell fo r the thinker, the philosopher lost in his reverie, this cxternal agitation is
profitable: it SUI'S up his ideas as the stoml stirs the waves of the sea .... Most
nlcn of genius ,",,'Cre grea t flaneurs-but industrio us, productive B:ineurs . . ..
O ften it is when the artist and the poet seem least occupied ....ith their work that
they arc most profoundly absorbed in it. In the firs t years of this ccntury. a man
was Sc.":en walking each and every day-regardless of the weather, be it sunshine
tMI9a , ~ Or snow-around the ramparts of the city of Vienna. TIlls man was Beethoven,
who, in the midst ofhis wanderings, ","'Quid work out his magnificent sympbonies
in his head before putting them down on paper. For him, the ","'Qrld no longer
aisted: in vain would people greet him respeCtfully as he passed. H e saw noth-
ing; his mind was elsewhere:' Pierre Larousse, Grand Diclionnairl: IIn;lXnt:i (Paris
<1872», vol. 8, p. 436 (article cntitled, "Flaneur"). [M20a,1]
Beneath the roufllo£ Puris; "i hclOe " ari8ian lO avuJlnuh, cOllsisting of roof, leveled
out to (tlrm II plain , h ut coveri ng ubys8e1l h."Cming with population. ,. Bal:r.uc, La
Peou de chagrin. cd. F1ammarion. p. 95.11¥ T he tmd of II long descri ption IIf the
roof-land8c8 1>e8 of PliriS. IM20a,2]
'1l1~ most ~a~cteristie building projects of the nineteenth century- railroad
stallOns, exhibJC~n ~, deparonent stores (according to Giedion) -alI have
malters of coUecuvc unportancc as their object. The O§neur feels drawn to these:
~ despiscd , C'vcryday" strucrun:s, as Giedlon calls tllem. In these constructions
the appearance: of sn=a:t masses o.n ~e s~gc- of history was already foreseen:
l11cy fOln} the ccccntnc frame WIthin which the last privateers so readily dis-
played themselves. (See KIa,S.) [M21a,2]

Description of the crowd in Pro list : ..AJJ thesc pCIITllc whu puced " I' and dowo the
seawall promenade. tacking as violently as if it had ],t.."C1I lhe deck of II ship (for
they cOllld lIut Lift a leg without a l the same lime waving t he ir arlll.~ , tu r oing their
head! and eyes . &euling their 8hou lder 8. compensating by II balancing movemenl
on one 8ide for the movement they had jusl mlltlt~ fi n the other, and puffing oul
their faces), aud who, pretending not to see 80 as tn let it be thought that they were
1I0t interested . ],111 covertl y ....atclling. for fear of nnmillg wgain8t tile people who
were walking bc~ id e or coming towordli lhem, did. in fa ct, butt iuto them, became
eutllDgied with tllem, becallse each wa s mutuaUy tllC ohjeci of the ~a me leeret
attention veiled bencath the su me 81ll'a.rcnt dil!dain : their \O"e-and CODStl<f uently
their fea r--of the crowd being olle of the most powerful motivCll in aU men.
whether they seek to please ot her l>eOple fir 10 astonish tbem , or to 8bow them tbal
they despise them." Marcel Proust , II l'Ombre des jeune,jiUes en.fleun (Pam),
vol. 3, p. 36.';0 [M2 1,1]

The critique of the J(ou'I.H!lkJ Huloiw l:xtraordinaim which Armand de Pont·

martin publishes in Le Sptclattur of September 19, 1857, contains a sentence that,
although aimed at the overall character of the book. would nevertheless have its
rightful place in an analysis of the "man of the crowd": "It was certainly there in
a striking fornI, that implacable democratic and American se:verity, reckoning
human beings as no more than numbers, only to end by attributing to numbers
something of the life, animation, and spirit of tile humall being." But doesn't the
scntence havc a more immediate reference to the H U/(liru tx/raordinainJ, which
appeared earlier? (And where is "thC' man of the crowd"?) Baudelaire, OtuureJ
lomplilu, TranslatiollS, XoulXllu Hu/oireJ ~xtraordi1U1im, ed. Crepet (Paris. 1933).
p.315.-The critique is, at bottom, mean-spirited. (M2 I ,2]

The "spirit of noctambulism" fin ds a placc in Proust (WIder a difTercm name):

';The capricious spirit that sometimes leads a woman of high rank to say to
herself 'What fun it will be!' and then to end her evening in a deadly tiresome
manner, getting up enough energy to go and rouse someone, remain a while by
the bedside in her evening wrap, and finally, finding no thing to say and noticing
that it is very late, go home to bed." Marcel Proust, U "Umpj rdrourX (Paris). vol.
2, p. 185.11 [M21a, l]
N
[On the Theory of Knowledge, Theory of Progress]

TUlle:! are more interesting than people.

-Honor~ de Balzac, CritiqUt lifth-aire, Illtroduction by Lou4 Lumc:t
(Paris. 1912), p. 103 (Cuy de la Ponnerart'. Hisll1in tk l'Amj,aJ
<AI..,)

The refoml of consciousness consists lokt, in ... the awaken-

ing of the world &om its dream about itsc:lf.
- Karl Marx. lkr hiJloriJck .J.,IQlma/WnuJ : Dit FriiW rifi(ll. (Leipzig
<1932» . vol. I, p. 226 (lener from Mane: to RuS'!; Kreuunach, Sep-
tcmba 1843)'

In the fields with which we are concerned, knowledge comes only in lightning \
fiashes. The text is the long roU of thunder that follows. [Nl,l}

Comparison of other people's attempts to the undenaking of a sea voyage in

which the ships are drawn off course by the magnetic North Pole. Discover this
Nonh Pole. What for others are deviations are, for me, the data which determine
my course.-On the differentials of time (which, for others, disturb the main
lines of the inquiry), I base my reckoning. [Nl ,2]

Say something about the method of composition itself: how everything onc is
thinking at a specific moment in time must at all COSts be incorporated intO the
project then at hand. Assume that the intensity of the project is thereby attested,
or that one's thoughts, from the very ~ginnillg, bear this project within them as
their tdos. So it is with the present portion of the work, which aims to charac-
terize and to preserve the intervals of reBection, the distances lying between the
most esscntial parts of this work, which are nuned most intensively to the out·-
side. [Nl ,3]
To cultivate fields where. until now, only madness has reigned. Forge ahead with
the whetted axe of reason, looking neither right nor left so as not to sucrumb to
the horror that beckons from deep in the primeval forest. Every ground must at
some point have been made arabic by reason, must have been cleared of the
A pa~ ofBcnjamin 's mauwcript, showing th(: beginning of
Cou\"O!ute N.
1Illde.rgrowth of delusion and myth. 1b..is is to be accomplished here for the
terram of the ninetcelll.h century. [N I ,4]
-nlcse nOles devoted to the Paris arcades were begun under an open sky of
cloudless blue that arched above the foliage ; and yet-owing to the millions of
leaves th!lt wt:re visited by the fresh breeze of diligence, the stenorous breath of
the researcher, ~le storm of youthful zeal, and the idle wind of ruriosiry-they've
been covered with the dust of centuries. For the painted sky of summer that looks
 down from the arcades in the reading room of the Bibtiotheque Nationale in Paris
has sprf:ad Ollt over them its dreamy, wIlit ceiling. [N I ,S]
TIle pamos of this work: there are no periods of decline. Altcmpt to see the
nineteenth century JUSt as positively as I tried to sce. the seventeenth, in the work
011 1TGlim pid. No belief in periods of decline. By !.he same loken, every ciry is
I beautifill LO me (from outside its bordcrs),jusl as aU t.-uk of particular languages'
having greater or lesser value is 10 me unacceptable. [N1,6)
J And, later, the glassed-in spot facing m y seat at the Staatsbibliothek. C harmed
circle inviolate. virgin terrain for the soles of figures I conjured. [N l ,7]
Pedagogic side: of this undertaking: "To educate the image-making medium
within us , raising it to a stereoscopic and dimensional seeing into the depths of
historical shadows!' The words art Rudolf Borchardt's in Fpilegomma ttl Dank,
vol. I (Berlin. 1923). pp, 56-57. (N'.8)
Delimitation of the tendency of this project with respect to Aragon : whereas
Aragon persists within the realm of dream, here the con cern is to find the constel-
lation of awakening. 'While in Arab'Oli there remains an impressionistic element,
namely the "mythology" (and this impressionism must be held responsible for
the many vague philosopheIlles in his book) ,~ here it is a question of the dissolu· ,
tion of "m ythology" intO the space of history. That, of course, can happen only
through lhe awakening of a not-yet-conscious knowledge of what has been.
(N1.9]
This 'work has to develop to the highest d egree the art o f citing without quotation
marks. Its theory is intimately related to that of mo ntage. (NI, tO]
"Apart from a certain haul-golit chaml," says Giedio n, "tlle artistic draperies and
wall-hangings of the previous ce.ntury have come to se~ musty:' digfried>
Giedion, Bauen in Fra1lli.re£cn (Leipzig and Berlin <1928)). p. 3. ~, however.
believe that the ehann they exercise o n us is proof that these things, too. contain
material of vital importance for us- not indeed for our building practice, as is the
case with the constructive possibilities i.nherem in iron frameworks, but rather for
()ur understanding, for the radioscopy, if you will, of the situation of the bo~
geois elass at the moment it evinces tlle first signs of decline. In any case. matcnal
()f vital inlportance politically; this is demonstrated by the attachment of the
Surrealists to tllese things. as much as by their exploitation in contemporary
fashion. III o ther words: just as Giedion teacllcs us to read off the basic features of
today's archiu::clUre in tlle buildillb"S erected around 1850, we. in tum. would
n:i:ogn.ize lOehy's life. tOday's fo m ts, in the life and in dle apparently secondary.
lost fOnIts ofl.ha t epoch. [Nl,l1]
''In the windswept $tallways o f the EUfel Tower, or. better still, in the st«:1 sup'"
ports o f a Pont Trarubordeur, o ne meets with the fu ndamenraJ aesthetic experi-
ence of present-day architecture: through dle dUn net of iron that hangs
suspended in the air. things stream-ships. ocean, houses, masts, landscape,
batbor. They lose their distinctive shape, swirl into o ne another as we climb
downwa:cI, merge simultaneously." Sigf~ed ?iedion, Bauen in Fra1lli.reicn (Leipzig
and Berlin), p. 7. in the same way, the histonan today has only to creCl a slender
but sturd y scaffolding-a philosophic structure-in o rder to draw the most vital
aspens o f the past into his net. But JUSt as the m agnificent vistas of the city
provided by the new construction in iron (again, see Giedion, illustrations on
pp. 61-63) for a lo~g time were ~rved exclusively for the workers and engi-
neers, so too the philosopher who WLShes here to gamer fresh perspectives must
be someone immune to vertigo-an independent and, if need be, solitary" worker.
[N1a,1]
The book on the Baroque exposed the seventeenth century to the light of the
present day. Here, something analogous must be done for the nineteenth century,
but with greater distinctness. [Nla,2]
Modest methodological proposal for the a.UwrnJ·rustorical dialectic. It is very
easy to establish oppositions, according to determinate points of view, within the
various "6elds" of any epoch, such that on one side lies the "productivc:," "for-
ward-looking," "lively," "positive" part of the epoch, and on the other side the
abortive, retrograde, and obsolescent. The very contours of the positive element
will appear distinctly only insofar as this element is set ofT against the negative.
On the other hand, every negation has its value solely as background for the
delineation of the lively, the positive. It is therefore o f decisive importance that a
ne~ partition be applied to this initially excluded, negative component so that, by
a displacement of the angle of vision (but not of the criteria!), a positive element
emerges a.n~w. in it too-something different from that previously signified. And
50 on, ad infirutum, until the entire past is brought intO the present in a historical
apocatastasis.1 [Nla,3)
The.foregoing, put differently: the indestructibility of the highest life in all things.
Agamsl the prognosticators of decline. Consider, tho ugh: Isn't it an affront to
Goethe to make a film of Faust, and isn't there a world of difference between the
poem RlUSI and the film Fau.st?YI=s, CCrtainlv. But agam' isn't there a whole world
fd 'it ' • •
o I c.rence between a bad 6lm of Faust and a good one? What matter are never
tJu:~ "g!Tc'at " but o n Iy tI1e w
"'aleCl.1cal
' contrasts, which often seem indistinguishable
frolll nuances. It is nonetheless from them that life is always born anew.
[NJa,4)
1~ ~ncompass both Breton and Le Corbusier- that would mean dr.twing the
SPlnt of colltemponu), France like a bow, wid) which 1000wlcdge shoots the
lllOment in the h eart. [NJa,5]
 .1an lays bare the causal connection bct\\-'ttO economy and cu]ture, For us, what
malleI'S is the thread of c:xpression. It is not the economic origins of culture that
.....jJJ be presented, but the expression of the economy in its culture. At issue, in
other words, is the attempt to grasp an economic process as perceptible U,..
phenomenon, from out of which proceed all manifestations of life in the aJ'Cades
(and, accordingly. in the nineteenth century). [Nla,6]
TIlls research-which deals fundamentally with the expressive character of the
earliest industrial products, the earliest industrial architecture, the earliest ma-
chines, but also lhe earliest department stores, advc.rtisemcnts, and so on- thus
becomes important for Marxism in two ways. Hrst, it will demonstrate how the
milieu in which Marx's doctrine arose affected that doctrine through its expres-
sive character (which is to say, not only through causal connections) ; bUl. ~cond,
it will also show in whaL respects Marxism, tOO, shares the expressive character of
the material products contemporary with it. [N l a,71
Method of this project: literary montage. 1 needn't Jay aJlything. M erdy show. I
c5 shall purloin no valuables, appropriate no inge~ous formulations. ~ ut the rags,
z the refuse-these I will no t inventory but allow, m the only way poSSible, to come
intO their own: by making use of them [Nla.81
Bear in mind lhat commentary on a reality (for it is a question here of conunen-
tary, of interpretation in detail) calls for a method completely. ~erent &:om~
required by commentary on a text. In the one case, the soenrific mamstay 11
theology; in the other case. philology. [N2, l1
It Illay be considered one of the methodological objectives of this work to demon-
strate a historical materialism which has annihilated within itself the idea of
progress. Just here, historical materialism has every .reason to d~stinguish itSClf
sharply from bourgeois habitS of thought. Its founding concept IS not progras _
but actualization. [N2,2]
Historical "understanding" is to be grasped, ill principle, as an afterlife of that
which is understood; and whal has been recognized in the analysis of the "after-
life of wor ks," in the analysis of "fame ," is therefore to be considered the founda-
tio n of hislory in generaL [N2,3]
How this work was wrilten : ~g by rung. according as chance wou~d offer :
narrow foo thold and always Like someone who scales dangerous helghLS an
• . di
never allows himself a moment to look around. fo r fear of becoDllng uy .
(b~
also because he would save for t.he cnd the full force of th e panorama operung
c , __)
a u! to IW lI •
[N' .' )
Overcoming the concept o f "P!"Ob'TCSs" and overcoming the concept of ~period of
decline" are tWO sides of o ne aJld the same lhing. (N2,51
A cenrral problem of historical materialism that ought to be seen in the end: M ust
the Marxist understanding of history necessarily be acquired at the e.xpense of
the perceptibility of history? Or: in what way is it possible to conjo in a height-
ened grapJ.-ucnc:ss (AflJchlll~lir.hltn.'{) to !.he realization of
me:~arxist method? The \
first st:lge 1Il uus undertaking will be to carry over ule pnnelple of montage into
history. Illal is. to assemble large·scale consrructions out of the smallest and
most precisely cut components. Indeed, to discover in the analysis of the small
individual Illoment the crystal of !.he total event. And, therefore, to break with
wlgar historical naturalism_ To grasp the consrruction of history as such. In the
structure of commentary. 0 Refuse of History a [N2,6]
;\ Kierkegaard citation ill Wiesengrund . with commentary fuUowing: "'One IWly
arriYflllt Il similar consider ation of the mythical hy heginni ng wilh the imagi8tic.
\t' hen. ill an age uf reflection , oue &eel the imagistic protrude ever 10 sligbdy and
II n oh ~cryed ill a rd lective representa tion and , like 1111 amedi]uvian fossil, suge81
aJl o t1l1~r s pecies uf existence which washed away tlouhl , one will perhaps be
UIlIUiIlCl1 thul the i.mage could ever ha ve pla yed such an importan t role.'
Kie rkcgaanl ward, off the 'amazement' with what follows. Yet thill amuement
heruI41s the deepest insighl iutu the iuter rdation of dia lectic, myth, and image. For
it is lIul as the conlinuowlly li ving ami pr esent dlat natu re prevails ill the dialectic.
i}iull'4:1ic cOllies 10 u stop ill the image, und , in the cOlltext of recent hinor y, it cites
tI\l' my tbical as what ii long gone: lIatu n- a8 p rimal hiJl tory. For tills re:1t801l . the
images-which . like tJI OSC of the interieur. hring dialectic and myth to the poinl of
indiIfert-ntiUlion-a re tr uly 'antediluvian fossi l,. ' They may be called dialec:tical
imugel. to UBC Benj amin 's ex p~8B i on , whose compelling defmitiol1 of ' aUe~ory'
also III)I,IB t.rue for Kie rk e~aa rd '8 aUegorical intention ta ken as II figure of histori·
CIl I llill icctic and mythical natu re. According to thiiJ definition . 'in allegor y the
"ltscrvf'r is confrlJlltl'd with tJlt~ fa eie.f hippocro tico of history, a petrified IJrimor-
dilllla ll,llOo:n pt:. " 'l'hw d or Wiescngrund-Adorno. Kierkegoard (Tilhingen. 1933).
I)· 60.' 0 Refuse of History 0 [N2,7)
Onl)' a ulo ugtuless observer can deny that correspondences come into play
between the world of modem technology and the archaic symbol-world of my-
thOlogy. Of course, initially the technologically new seems nothing more than
t.h~1. But in the very next childhood memory, its traits are a\rc:ady altered. Every
clliJ~hood achieves something great aJld irreplaceable fo r humanity. By the inter-
est It takes in techno lobrical phenomena, by the curiosity it displays before any
son or invention o r machinery, every childhood binds the accomplishments of
teclUlology to ule old worlds of symbo l. There is nothing in the realm of nature
~1;1I from the o utset would be exempt fro m such a bond . Only, it takes form not
In the aura of novelty but in the aura of the habitual. In memory, d Uld hood, and
dream , UAwakening a (N2i1, IJ
'111e mOmentuDl of primaJ histOry i.n the past is no lo nger masked, as it used to
be, by the tradition of ch urch and family- this at once the consequence and
condition of technology. The old prehistoric dread already envelops the world of
om parents because we o urselvcs are no longer bound to this world by tradition.
The perceptual worlds <Merltwellrn> break. up more rapidly; what they contain of
the mythic comcs more quickly and more brutally to the fore; and a wholly
dilTerelll perceptual world must be speedily set up to oppose it. nus is how the
accelerated tempo of technology appears in light of the primal history of the
present. 0 Awakening 0 [N2a,2j
It's nOt that what is past casts its light on what is present, o r what is present its
light on what is past; rather, image is that wherein what has been comes together
in a Bash with the now to fonn a constellation. In other words, image is dialectics
at a standstill . For while the relation of the present to the past is a purely tempo-
ral, continuous one, the relation of what-bas-been to the now is dialectical: is nOI
progression but image, suddenly emergem.-Only dialectical images are genuine
images (that is, not archaic); and the place where o ne encowlters them is lan-
guage. 0 Awakening 0 [N2a,3)
In studying Sinunel's presentation of Goethe's concept of truth,' I came to see
very clearly that my concept of origin in the 1'rallmpitl book is a rigorous and
decisive transposition of this basic Goethean concept from the domain of nature
to that of history. Origin- it is, in effect, the concept of Ur-phenomenon ex·
tracted fro m the pagan context of nature and brought into theJewish contexts of
history. NQ\Y, in my work on the arcades I am equally concerned with fathoming
an origin. To be speciEc, J pursue the origin of the forms and mutations of the
Paris arcades from their beginning to their decline. and I locate this origin in the
economic facts. Seen from the standpoint of causality, however (and that means
considered as causes). these facts would not be primal phenomena; they become
such o nly insofar as in their own individual devdopment- "unfolding" might be
a better term-they give rise to the whole series of the arcade's concrete histori-
cal fonus. just as the leaf unfolds from itself all the riches of the empirical world
of plants. [N2a,41
"A& I stud y this age which iii so dose to us and ~o remote, I compare myself to •
surgeon operaling wilh loca lllllellthetic: I work in areaS Ihllt are numit . dead-yet
the patienl it alive and can still tlllk. " Paul Morancl. 1900 (PUrill, 1931), I'p . 6-7.
[N2a,5]
What distinguishes images from tile "cssences" of phenomenology is their his-
torical index. (Heidegger seeks in vain to rescue history fo r phcnomeno~ogy
absttactly through :O histo ricity."je These imagcs arc to be tho ught of enurely
apart from the categories of the "human scienccs," from so-called habitus, from
style, and the like. For the hislOIical index of the images nOt o nly says that they
belong to a parocular time; it says, above all. that they attain 10 legibility onl~ at
a particular time. And. indeed, this acceding "to legibility" cons titutes a specific
critical point in the movement al their interior. Every present day is determined
by the images thaI are synchronic with it: cadl "now" is the. now of a paJ'ocular
recognizability. In it, truth is charged to the bursting point with ome. (!his point
of explosion, aJld no thing else, is the death of the inle"h'o, which thus coincides
with the birth of authentic historical ome, the time of truth.) It is not that what is
past ~ts its Ii~t on what ~ present. or what is present its light o n what is past;
rather, una~ 15 that wherem what has be.en comes together in a flash with the
nOW10 foml a constcllaUon. In other words : image is dialec.cics at a standstill. For
while the relation of the present to the past is purdy temporal, the rdation of
wh.'ll.~.been t~ the . no~ is dialectical:. not temporal in nature but figural
~ hildJiCh>. Only dialectJcal lJDages are genullldy historical-that is, not an:ha.ic-
images. The image that is n=ad-which is to say, the image in the now of its
recognizability-bears to the highest degree the imprint of the perilous critical
moment on which all reading is fo unded. (N3, I)
Resolute refusal of the concept of "timeless truth" is in order. Nevenhcless, truth
is n~t-as Marxism would ~ave it-a merely COlltingent function of knowing,
but IS boWld to a nucleus of wne lying hidden within the knower and the known
alike. 1bis is so true that the eternal, in any case, is far more the rume on a dress
than some idea. [N3,2)
Outline th~ story of 17/e Arcade; Project in terms of its development. Its properly
problematJc component: the refusal to renoullce anything that would demon.
strate the ~terialist .~resentation of history as imagistic <bifdhafl> in a higher
sense than 1Il the tradinonal presentatio n. (N3,3)
A mnark by Ernst Bloch apropos of 1h.e ArrtUks Projul: "History displays its
Scotland Yard badge." It was in the context of a conversation in which I was
describ~g how this work-comparable, in method, to the process of splitting the
atom-I~berates the enormous energies of history that are bound up in the "once
upon a tlme" of classical historiography. The history that showed thin&5 "as they
n=ally Wett" was the strongest narcotic of the century. [N3,4J
"The truth will not escape us," reads one of Keller's epigrams.' He thus formu-
lates the concept of truth with which t11C:Se presentations take issue. [N3a,I)
"Primal history of the nineteenth century"-this would be of no interest if it were
~ndcrstOod to m ean that forms of primal history arc to be recovered among the
~ ...entory of thc nineteenth century. Only where the nineteenth century would
e rrcscmed as originary fonn of primal history-in a form, that is to say. in
whIch the whole
tha ' aJ Iustory
. of p run . . ill allew .
b'TOuPS Its m.lJDages appropnate
. to
I ctntury-only thcre does the concept of a primal history of the nineteenth
centurt! ha .
. I ve mearung. [N3a.2]
~ aWake~g perhaps the synthesis of dream consciousness (as thesis) and wak-
Illg Consciousness (as anritllcsis)? 1nen the mo ment of awakening would be
identicaJ with the "now of recognizability," in which things put on their true-
surrealist-face. Thus, in Proust, the imponance of Staking an entire life on life's
supremely dialecticaJ point of rupture: awakening. Proust begins with an evoca-
tion of the space of someone waking up. [N3a,3J
"If I insist on this mechanism of contradiction in the biography of a writer ...• it
is because his train of thought cannOt bypass certain facts which have a logic
different from that of his thought by itself. It is because there is no idea he adheres
to that truly holds up ... in the face of certain very simple, elemental facts: that
workers are staring down the barrels of cannons aimed at them by police, that
war is threatening, and that fasci.sm is already enthroncd ... . It behooves a man,
for the sake ofhis dignity, to submit his ideas to these facts, and not to bend these
facts, by some conjuring trick, to his ideas, however ingenious." Aragon, " D~­
fred de Vigny a Avdeenko; Commune,2 (April 20, 1935), pp. 808-809. But it is
entirely possible that, in contradicting my past, I will establish a continuity with
that of another, which he in tum, as communist, will contradict. In this case, with
thc past of Louis Aragon, who in this same essay disavows his Pay.ran de Paris:
"And, like most of my friends, I was partial to the failures, to what is monstrous
and cannot survive, cannot succeed .... I was like them: I preferred error to its
opposite" (p. 807). [N3a.4J
In the diaJectical image, what has been within a particular epoch is aJways,
simultaneously, "what has been from time inunemorial." As such, however, it is
manifest, on each occasion, only to a quite specific epoch-namely, the one in
which humanity, rubbing its eyes, recognizes just this particular dream image as
such. It is at this moment that the historian takes up, with regard to that image,
the taSk of dream interpretation. [N4,11
The expression "the book of natuJ"e" indicates that one can read the real like a
text. And that is how the ~ality of the ninetemth cenrury will be treated here. W::
open the book of what happened. [N4,2]
Just as Proust begiru the story of his life with an awakening, so must e~
presentation of history begin with awakening; in fact, it should treat of nothing
else. nus one accordingly, deals with awakening from the nineteenth cenrory.
, [N4,3}
The realization of dream elements in the course of waking up is the canon of
dialectics. It is paradigmatic for thetbinkcr and binding for the historian. [N4,4]
Raphael seeks to correct the Marxist conception of the normative character of
Greek an: IIlf the normative character of Greek art is ... an explicablc fact of
history, ... we will have ... to dctennine ... what special conditions led to each
rcnascence and, in consequence, what special factors of ... Grttk art these
renascences adopted as models. For the totality of Greek art never possessed a
normative character; the renascences ... have their own proper history.... Only
a historical analysis can indicate the era in which the abstract notion of a 'nOrm'
... of antiquity was born . ... This notion was created solely by the Renais·
sance-that is, by primitive capitalism-and subsequently taken up by classicism,
which .. . commenced to assign it its place in a historical sequence. Marx has not
advanced aJong this way in tlle full measure of me possibilities of historical
marerialism." Max Raphael. Proudnon. Marx. Pica.uo lParis (1933», pp. 178- 179.
[N4.5]
It is the peculiarity of technological fomlS of production (as opposed to an fornu)
that their progress and their success are proportionate to the transparrncy of their
social content_ (Hence glass architecture.) [N4,6j
An important passage in Marx: "It is rec.ognized that where . .. the epic, for
example, ' . . is concerned ... . certain significant creations within the compass of
art art possible only at an early stage of artistic development. If this is the case
with regard to different branches of art within the sphere of the arts, it is not so
remarkable that this should aJso be the case with regard to the whole artistic
realm and its relation to thc generaJ development of the society." Cited without
references (perhaps 'fluIorien deJ MenrtlMrJs, vol. l ?)' in Max Raphael, Proudhon,
Marx.. pj(.(1J.JQ (Paris <1933>), p. 160. [N4a. IJ
The Marxian theory of art: one moment swaggering, and the next scholastic.
[N4a,2]
ProposaJ for a grallation of the. 8ul){-ntruclure. in A. Asturaro , Ii materialismo
storieD e 10 soc;utogia generale (Genoa , 11)04) {reviewed by Erwin SzaOO iu Die
nelle Zeit , 23 , no. I (Stuttgart]. p. 62): " Economy. Family and kinship . Law. War.
Politics. Moralily. Religion. Art . ~ieDce . '· [N4a,3}
Strange remark by Engels concerning the "social forces ": "But when once their
nature is understood, they can, in the hands of the producers \\"Orking together,
be transformed from master demons into willing servants." (I) Engds, Die
Entwirltlung des Solia/ismuJ t/(m d" Utopi.e zur Wwen.sduifj (1882).' [N4a,4]
Mar x. in the uftcrwOI"l1 10 the lIecond editiolt uf DIU Kllpiwl : ·' Rcsca rch half In
" I'propl·iat e [he material in d.;l nil , to ana lyze its \·ariOU8 forms of development , to
Itllte nUl tllcir inller '·IIII11CClioli . Oul )' ufter this work is clOIle. call !.III' uc tuai
1I1U\":1l1l.: nt be. prf·lie nlc,1 ill cUI"r,·spoluling fa.~ hion . If thill i ~ don e~ lI ccl's~ fully. if the
lif,. "f[llI· material j!l rdle""'d hac k iIiI 1,lcIII , [hell illllU Y appear 115 if we had beflJr~
tb Itn a Ilriuri I!O n6Inlt"tinll .'· Kllrl MllrJle. Oll.' KlIpi,al. vol I , cd . Kors('.h (Berlin
dIJ32~) ~ p . 45.... [N4a,5J
 The partirular difficuJty of doing historical research on the period following
the close of the eighteenth century will be displayed. With the rise of the mass.
circulation press., the sources become irulUmerable. [N4a,6]
Mjcheici is Ik.rfectl y willing to lei the people be knowll as " barbariQlIs." "; Bar.
burioIl8.' I like the word . and I accept the term ." And he says of their wrilers:
"Their IOl'e is boundless ami 80metimcll too grea l, for they may d evole Ihcmselve8
to details wilh Ihe delightfulawkwardne!l!l of Albrecht DUrer, or with the exceuive
,)olisia of J ean-J acques Rousseou , who d0e8 llol concea.l his a rt ellough; and b y thU
minute deLaii they compromi8e.th e whole. We. musl nOI hlame them 100 mu.;h . It La
... the luxuriance of their u p allil vigor.. , . Thi8 8ap wanll to give ever ything at
once--Ieaveil . fruit. and flowe u; il bend8 nnd twislI the hranches. Tbese defeell of
many grt:al workeu arc of len found in my books, which laek their good qualitie8.
No matter!" J . M..icheJet , Le PeufJle (Paris. 1846) , pp. xxxvi-xxxvii. It [N5,1)
Lener from Wiesengrund of August 5, 1935 : "The attempt to reconcile your
'dream' momentum-as the subjective element in the dialectical image-with the:
conception of the latter as model has led me to some formulations . .. : With the
vitiation of their use value, the alienated things are hollowed out and, as ciphers,
they draw in meanings. Subjectivity takes possession of them insofar as it invests
them with intentions of desire and fear. And insofar as defunct things stand in as
images of subjective intentions, these latter present themsdves as immemorial
and eternal. Dialectical images are canstellated between alienated things and
incoming and disappearing meaning, are instantiated in the moment of indiffel\
\ cnce between death and meaning. While things in appearance are awakened to
what is newest, death transforms the meanings to what is most ancient." Wtth
regard to these reSections, it should be kept in mind that, in the nineteenth
century, the number of "hollowed-out ~ things increases at a rate and on a scale
that was previously unknown, for technica.l progress is continually withdrawing
newly introduced objects from circulation. [N5.2J
"The critic can start from any form of theoretical or practical consciousness, and
develop out of the actual forms of existing reality the true reality as what it ouglu
to be, that which is its aim." Karl Marx, Dn' hiJlorische MaterialiJmUJ: Die Friill·
Jchnjlen, ed. Landshut and Mayer {Lcipzig (1932» , vol. 1, p. 225 Oetter &om
Marx to Ruge; Kreuzenach, September 1843).'1The point of departure invoked
here by Marx need not nece.ssari.ly connect with the latest stage of development.
It can be undertaken with regard to long·vanished epochs whose "ought to be"
and whose aim is then to be presented-not in reference to the next stage of
development, but in its own right and as prefonnation of the fin al goal of history.
[N5.3]
Engels says (Marx und ETlgelJ ii!Mr m erhoch: AUJ tb:m Ntuhla.u, Marx·Engels
Archiv, ed. Rjazanov, vol. 1 [Frankfurt am Main (1928~ I, p. 300): "Il must not be
forgotten that law has just as liltle an independent history as rcligion."ll What
holds ror law and religion holds for culture even more. It would be absurd for US
to conceive of the classless society, its fonDS of existence, in the image of cuJtu.ra.I
humanity. [N5,4)
" Our eI~t' l itl" r ry must he: f{t'form of cO IISeiOIl Mf'~8 11(\1 til rough dogma!!. hut
tllr fl ll~h Ihe u"alysid of mrSlkA I ~tJlI lIdotl 8 'h~lf~ thnl i ll llll cl~u r to illidf. whether it
IIppi'uri ill II religious or II )lulitil-lI 1 form . Then l"H!o ple will $ee tha i the wO!·ld haa
IUllg pOB!;essed Ihe (Ircam !If II thing- and lhlll it olil y lI l'ed~ 10 po;;~CIIs Ihe con-
sd U\l ~ lleU of Ihili lhin(; ill ortll'r n 'all y Itl lJ08seu it :' Karl Marx. Der hiuoruche
M(J,crifl/i~mlls : Die FriihscllrijlCJI . ed . LundshUI 1tllilMayer (Leipzig ( 1932» ). \'01.
I. PI" 22(.....227 (Iettt·r from Ma rx 10 Ru ge; Krellzenuch . Septemb er 1843). It
[N5a,l )
A reconciled humanity will take leave of its past-and olle fonn of reconciliation
is gaiety. "The present German regime .... the nullity of the ancien rtgime
exhibitc:d for all the world to set, ... is only the comedian of a world order whose
r~al hfflJeJ are dead. History is thorough, and passes through many stages when
, she carries a worn-out fonn to burial. The last stage of a world-historical form is
its comedy. The gods of Greece, who had already been mortally wounded in the
Prornelheu..s BOI/Tld of Aeschylus, had to die yet again-this time a comic death-in
the dialogues of Lucian. Why does history follow this course? So that mankind
may take leaVl: of its past gaily.tI Karl Marx, Du hiI/orisck Ma/crialiImUJ: au
FrUMchnjlat, ed. Landshut and Mayer (Leipzig), vol. 1, pp. 268 ("Zur Kritik der
Hegelschen RechlJphilfJSophie").ll Surrealism is the death of the nineteenth century
in comedy.
[N5a,2]
~b rx (MtlrX lind Engeb iiber F'ellerbacll : Aus dem Nach/rlu, Marx· Euge.la Archil',
vol. I [Fra nkfurl tUIl Main ( 1928)] , p . 30 1): '"Therl'" is no history ofpolitic8. law.
.IIcience., t'" tc., of art , religion. e l c:'I~ [N5a,3]
Die heilige fo·umilit'. on thl'" s ubject uf Bacon's materialis m: " Matter, s urrounded
by a S(' 1l8U OU a I'IJt!tic gillmur, SI'elllS 10 IIltraCI man 's wlltlle elllilY wilh winning
Iihliles:' 11 [N5aAJ
" 1 regret ha,·ing Ireatc(1 in only 1.1 \'er y illcom pletr ma nlier those facts of dail y
t'Xisleno:e--foo!l, ciOlbing, s hch('r, family roulin e~. eivil law. ~' rl: a li on , social
....lutiOIl:!--·witirh IUlve nlwa ys lJL'C1I of prime COllce ru ill Iht" lift: of II.... grea l major-
it y uf illllh·icluill~." C hal·Il'~ SeignoiJoil. lJ;stoire sincere de In 1I (I,iim /rfllu;tJ;se
I Pll r i~. '1933). " . xi. [N5a.51
Ad notam a fornlula ofVaUry 's: "What distinguishes a truly general phenome-
is its fertili ty.~ "
11011 [N5a,6]
Barbarism lurks in the ver)" concept of cultUl"t"!- as the concept of a fund of values
which is coll..~idered indepcndem not, indeed, of lhe production process in which
these vruues originated, but of the one in which they survive. In this way they
serve the apotheosis of the latter ("'"Oro uncertain>, barbaric as it may be.
(N5a,7]
To determine how the concept of culture arose, what meaning it has had in
different periods, and what nec:ds its instirution corresponded to. It could, insofar
as it signifies the sum of;jcultural riches," tum o ut to be of recent origin ; certainly
it is not yet found , for example, in the cleric of the early Middle Ages who waged
his war of annihilation again..! the teachings of antiquity. [N6, 1]
MicheJet-an aulhor who, wherever he is quOted, makes the reader forget the
book in which the quotation appears. [N6.2]
To be wlderlined: the painstaking delineation of the scene in the first writings on
socia] problems and charity, like Naville, De fa Charitlligale; Fregier, Da Claues
do.ngereuses; and various others. (N6.3)
" I callnot imillt too 8trongly on the facl that , for an enlightened nlateriolisl like.
Larorgue, economio dcterminillm iK1I0t the ' absolutely perfeci illKlruDlCllt' which
'can provide the key to aU the problems of his tory. ' " An~l re DrctolJ. PosiluJII
poUtique du sUrri!ali.sme (Paris <1935» , Pl'. 8-9. [N6,4)
All historical knowledge can be represented in the image of balanced scales, one
tray of which is weighted with what has been and the other with knowledge of
what is present. Whereas on the first the facts assembled can never be too
hwnble or too numerous, on the second there can be oruy a few heavy, massive
,vcigln.. [N6,5]
"'The only Ilttitudl! worthy or philoso phy . .. in the indus trial era is ... restrain t.
The '8Cientilicily' of a Marx ~ loe8 nol mean t hat philosoph y renOUDce8 ill ta,k ... ;
rather. it indicatel lhat philosOI>hy hoMs itself in reserve \llllil illt' predominance
or an unworthy reality is broken ." Hugo F'iseher. Kurt Mun. ulld seill VerhjjJt,. ...
:z;u Staat ulld Wiruchuft (Jella , 1932), p. 59, [N6.6)
It is not without significance that Engels, in the context of the materialist concep-
tion of history, lays emphasis on classicality. For the dcmoDl;tration of the dialec-
tic of development, he refers to laws "which the actual historical process itsdf
provides, insofar as every momentum can be conside.red to be at the point of its
full ripening, its classical.ity." Cited in Gustav Mayer, Fn·edn"cn Ellgelr, vol. 2,
Engrls uud der Atifstieg der Arbeirtrbewegung III Europa (Berlin (1933»), pp. 434-
435. IN'.1]
Engels in a leiter to) /'tI..,hrinl;. july 14. 1893: " It i§ IIho\·t> a ll this IItD.hIHUN' of an
independent history of st a t e cU li s tihII.iOIl ~ . of liy&11'1'lU of law, of i~ l t'olu,;il·a ll·o n cl'p·
liunl in every 5epU rall! Ilomain. thaI daulOi mOill people. If Luther II IltI Calvin
'o,·ercome' the offi cial Calholir. religioll , or Uegcl 'overcomell' Fichte and Kanl , or
Rousseau with his ro·JlllhLicall Curll r(lf ,oci(ll ilJllirt:clly 'ovcrl:omt:s' the conslilu.
tional Montes«lIitlu . this il a prm:eu which rf'mailll! within theology, philosophy.
or political sciellce. represt:uts II stllgc in the hi~lo ry of these part.iClllar spheres of
tllOUgll1 and nevr.r paues beyoud tJu~ 8pl1l:re of thought. And since the bourgeois
illu.siull of the eternity a ll(1 fi nality or cQ pitalill1 protlucliou lin been added to this,
(,l·ell Iht' o,·ercoming of till' mf'rcantilists hy the phy, iocrats and Adam Smith is
rt'gnrded as a II heer victor y of Ihought; nut as the reflection in thought or changed
t'I·llntlmi(' fa el.il, bUI u the finoU y achie",!d correcl unders ta nding or ac tual contli-
tion~ 5ubsisting alway, onel everyw here. "I. Cited in Gustav 1'!fayer, Friedrich
Engel.s. vol. 2 , Engels lind der All/sties der- ArbeiterbewegunS in Europa (Berlin),
PII . MjO-"5L [N6a.l)
" What Schlosser couJd say in response 10 Ihe8e r eproaches [ur peevillb moral
rigor J. aud what he 1l10ulil lIay. is thi,: that IU810ry and life in general. unlike
nOl'els allli stories, do 1I0t teMch a lell80IJ of s uperficial j oit' de vivre, even to the
happily eonstituted spirit and senses ; that the contemplation or history is more
likely 1.0 inilpirtl. if nOI contempt ror humanity, then Ii ~ omber vision or the world
alld strict prind plt'li for Living; that, at leas t on Ihe very greatest judges or the
world and huma nkind , on men who knew how tel measure outward affairs by their
OWII inlier life. 011 II ShakeBpelire. Dante. or MaehiaveUi, the way of the world
always IIlacie the 6"rt or inlpreu ion lhat conduces to seriousness and Heverity."
G, G. Cervin"s , Friedrich CI,r-utoph Sch loJler(Leipzig. 1861), in Deut.sehe Denh-
r-eden, ed. Rud olf Borchardt (Munich. 1925). ,). 312. [N6a,2]
The relation of tradition to the technology of reproduction deserves to be stud·
ied. "Traditions ... re.late to written communications, in general, as reproduction
of the latter by pen relates to reproduction by the press, as successive copies of a
book relate to its simultaneow printings." Carl Gustav Jochmann, Ueb~ die
Sprack (Heidelberg, 1828). pp. 259-260 ("Die Riioochritte der Poesie")."
[N6.,3]
Roger Caillois, ;jParis, my the modeme" (Nouvelle Revue jra1l{aiJe, 25, no, 284
[May 1, 1937], p. 699), gives a list of the investigations that one would have to
undertake in order [0 illuminate the subject further. (1) Descriptions of Paris that
antedate the nineteenth tenruey (Marivaux, Restif de La Bretonne); (2) the strug·
gle between Girondists andJacobins over the relation of Paris to the provinces;
the legend of the days of revolution in Paris: (3) secret police under the Empire
an~ the Restoration; (4) ptillture InQr-ale of Paris in Hugo, Balzac, Baudelaire; (5)
obJecti~e descriptions of the city: Dulaurc. Du Camp; (6) Vigny, Hugo (Paris
aflame m L'Annel' ttm·b1t). Rimbaud, [N7.1)
~lill to be established is t.he corutection between presence of mind and the
rncthod" of dialectical materialism. It's not just thai one t.vill always be able to
detcct a dialectical process in presence of miud, regarded as o ne of the highest
fomu of appropriate behavior. 'What is even more decisive is that the dialectician
cannot look o n history as anything other than a constellation of dangers which
he is always, as he follows its development in his thought, on the point of
avening. [N7,2j
" I{evolutioll is tlrll mll l)er h ll p ~ nlore thlln II history. lind itil pathos ill II I:fllldition
8 crirical state.
at imperious 11 8 its authenticity!' 81aDllui , cited in Geffroy, 'j
'Enferme (Pari.,
1926). vol. I, p, 232.
Necessity of paying heed over many years to every casua1 citation, every Setting
mention of a book.. [N7,4]
To contraSt the theory of history with the observation by Grillparzer which
EdrnondJaJoux traIUlates in ':Journaux intimes" (Le 7'emPJ, May 23 , 1937): "To
read into the future is difficult, but to see purely into the past is more difficult still.
I say purely, that is, without involving in this retTospective glance anything that
has taken place in the meantime." The "purity" of the gaze is not JUSt difficult but
impossible to attain. [N7,5]
It is important for dIe materialist historian. in the most rigorous way possible, to
differentiate the construction of a historical state of affairs from what onc custom-
arily calls its " reconstruction ," The "reconstruction" in empathy is one-elimen-
sional. "Corutruction" presupposes "destruction." [N7,6j
In order for a part of the past to be touched by the present instant <AMllaiitat>,
there must be no continuity between them.
The fore- and after-history of a historical phenomenon show up in the pbalome·
non itself on the strength of its dialectical presentation. What is more: every
diaJectically presen~d historical circumstance polarizes itself and becomes a force
field in which the confrontation between its fore-history and after-history is
played out.. It becomes such a field insofar as the present instant in~rpenea-ateS it..
<See N7a, 8.) And thus the historical evidalce polarizes into fore- and after-his-
tory always anew, never in the same way. And it does so at a distance from its
own existence, in the present instant itself-like a line which, divided according
to the Apollonian section,lJ experiences its partition from outside itself. (N7a.1]
Historical materialism aspires to neither a homogeneous nor a continuous eJ(~
sition of history. From the fact that the supersO'Ucture reacts upon the base, It
follows that a homogeneous history, say, of economics exists as little as a homoge'
neous history of literature or of jurisprudence, On the other hand , since the
clifferent epochs of the past are not all touched in the same degree by the present
day of the historian (and often the recent past is not touched at all; the present
fails to "do it justice"), continuity in the presentation of history is unattainable.
[N7a,2]
Telescoping of the past through the present. [N7a,3] ,•
111e reception of great, much admired works of art is an ad plum ire_rJ [N7a,4)
-me materialist presentation of history leads the past to bring the present into a
[N7a.5)
[N7.3] It is my intention (0 withswld what Vale.ry calls "a reading slOWed by and
bristling \Vim the resisWICCS of a refined and fastidious reader." Charles Baude-
laire. U J Flam dll mai, Introduction by Paul Valery (Paris. 1928), p. xiii,u
[N7<l,6J
My thinking is related to theology as blotting pad is related to ink. It is saturated
wim ~t. ,,*re one to go by the blotter, however, nothing of what is written would
remam. (N7a,7)
It is the present that polarizes the event into fore- and after-history_ [N7a.8]
,
On the question of the incompleteness of history, H orkheinler's letter of March
16, 1937: "The determination of incompleteness is idealistic if completeness is
nOI comprised within it. Past injustice has occumd and is completed. The slain
are really slain.... If one takes the lack of closure entirely seriously, one must
believe in the LastJudgment ... . Perhaps, with regard to incorupletale5S, there is
\ a difference between the positive and the negative, so that only the injustice, the
horror. the sufferings of me past are irrqxtrable. The justice practiced, the joys.
(N7.7] the v.'Orks, have a different relation to time, for their positive charaaer is largdy
negated by the transience of things. This holds firSt and foremost for individual
existence, in which it is not the happi.ness bUI the unhappiness that is sealed by
death." The corrective to this line of thinking may be found in the consideration
[hat history is not simply a scialce but also and not least a fonn of remembranct
(~ingerkn km>. What science has "determined," remembrance can modify. Such
mmdfulness can make the incomplete (happiness) into something complete, and
the complete (suffering) into something incomplete. That is theology; but in
remembrance we have an experience thai forbids us to conceive of history as
fundamentally atheological, little as it may be granted us to try to write it with
immediately ~eological concepts. [Na.l ]
The unequivocally regressive function which the doctrine of archaic images has
fOr Jung comes to light in the following passage fTOm the essay "Ober die Bezie-
hungen der analytischen Psychologie zum dichterisdlcn KUIlSrwerk": "The crea-
tive p rocess ... consists in an unconscious activation of the archetype and in an
... e1a~or:ation of this original image into the finished work. By giving it shape,
the arnst m so~e. measurc translates this image into the language of the pre-
scn,t. . .. The.~ lies the ~.cial signiJicOlncc of art : ... it conjures up the fornu in
which the Zeitb'ClSt, the Splnt of the age. is most lacking. The unsatisfied yeaming
of the artist reaches back to the primordial image in the unconscious which is best
fitted to compensate the ... one-sidedness of the spirit of the age. This image his
longing seizes Oll , and as he ... brings it to consciousness, the inlage changes its
fonn until it can be acccpted by the minds of his contemporaries , according to
their powers!' C. G. Jung, &e1~prohleme du Gegenwart (ZUrich, Leipug, and
Stuttgart. 1932), p. 71.2~ Thus, the esoteric theory of art comes down to making
arche types "accessible" to the "Zeitgeis[." {N8,2]
InJung's production there is a belated and particu1arly emphatic claboration of
one of the dements which, as we can recognize today, were first di.sclosed in
explosive fashion by Expressionism. That dement is a specifically clinical nihil-
ism, such as one encounters also in the: works of Berm, and which has found a
camp followc:r in CCline. TIlls nihilism is born of the shock imparted by the
interior of the body to those who bUt it. Jung b.irosdf traces the heightened
interest in psychic life back to Expressionism. H e writes: "Art has ~ w.ay of
anticipating future changes in man's fundamental outlook, and expresSlOrust an
has taken this subjective tum well in advance of the more general change." See
Seelenprobleme der Gegenwart (ZUrich, Lcipug, and Stuttgart, 1932), p. 415-
"Das Seelenproblem des modemen Menschen ").~ In this regard, we sho~d ~ot
lose sight of the relations which Lukacs has established between Expresslonum
and Fascism. (See also K7a,4.) [N8a,I}
"Tradition, erranl fable one coUecllI, I I.nlermittenl liS the wind in the leave. ...
Victor Hugo. La Fin de Soton (Paris. 1886). p. 235. {NSa,2)...
Julien Benda, in Un Rigulier daTU Ie si},k , cites a phrase from Fuste1 de Cou·
Ianges: "lfyou want to relive an epoch, forget that you know what has come after
it." 1ba.t is the secret Magna Charta for the presentation of history by the
Historical School, and it carries linle conviction when Benda adds : "Fustd n~
said that these measures were valid for Wlderstanding the role of an epoch m
history." {NSa,3]
.. f
Pursue the question of whether a connea:ion existS between the secuIanzaFlOn 0
time in space and the allegorical mode of perception. The former, at any rate (as
becomes clear in Blanqui's last writing), is hidden in the "worldview of ~e
nannai sciences" of the second half of the cenrury. (Secu1ariz.ation of history in
{N8a,4]
Heidcgger.)16
Goethe saw it corning: the crisis in bourgeois education. He confronts it in
Wilhelm Meister. H e characterizes it in his correspondence with Zeiter. [N8a.5}
Wtlhclm von Humboldt shifts the center of gravity to languages ; Marx an~
Engels shift it to the natura! sciences. But the study of languages has cronolluc
functions, too. It comes up against global economics! as the study of natural
sciences comes up against the production process. IN9. I]
Scienti6c method is distinguished by the fact that, in leading to new objects, it
develops ncw methods. JUSt as fornl in art is distinguished by the fact that,
opening up new contents, it develops new forms . h is only from 'Nithout that a
work. of art has one and dilly onc fonn. that a treatise has one and only one
method. (N9,2]
On the concept of " rescue M: the wind of the absolute in the sails of the concept.
(The principle of the wind is the cyclical.) The trim of the sails is the relative.
IN',3}
Whar are phenomena rescued from? Not only. and not in the main, from the
discredit and neglect into which they have fall en , but from the catastrophe repre-
sented vcry often by a certain strain in their dissemination, their "enshrinement
as heritage."- TIley are saved through the exhibition of the fissure within
them.- There is a tradition that is catastrophe. [N9,4]
It is the inherent tendency of dialectical experien ce to dissipate the semblance of
eternal sameness, and evcll of repetition. in history. Authentic political experi-
ence is absolutely free of this semblance. (N9,5]
What matters for tile dialectician is to have the ,'lind of world history in his sails.
Thinking means for him: setting the sails. What is imponam is how they an:: set.
\-\bIds are his sails. The way they arc set makes them into concepts. fN9,6]
The dialectical image is an image that cmerges suddenly. in a Bash. "What has
been is to be held fast- as an image Bashing up in the now of its recognizability.
The resOle that is carried out by these Dlearul-and only by these-can operate
soldy for the sake of what in the next moment is already irretrievably lost. In this
connection, see the metaphorical passa~ from my introduction to J ochmann,
, concerning the- prophetic gaze that catches fire from the summits of the past.'P
[N' ,7}
Being a dialectician means having the wind of history in one's sails. The sails arc
the concepts. It is not enough. howNer. to have sails at onc='s disposal. What is
decisive is knowing UI(: art of setting them. [N9,8]
~e concept of Pl'Ob'TCSS must be b'TOunded in ule idea of catastrophe. 11lat
tlungs are "status quo" is thc Cata5lrophe. It is nOI an ever-present possibility but
what in cach case is briven. Thus Su-indbcrg (in 10 Dama.fCus?) :1. hell is not
something that awaits us, but this life here and now. [N9a.1 I
It is good to give materialist investigations a truncated ending. (N9a,2]
10 the process of resale belongs (he finu. scemingly brutal grasp. (N9a.3]
The dialectical image is that fonn of the historical object which satisfies Goethe's
requirements for the object of analysis: to exhibit a genuine synthesis. It is the
primal phenomenon of history. [N9a.4]
The enshrinement or apologia is meant to cover up the revolutionary moments
in the occurrenC(: of history. At heart, it seeks the establishment o f a continuity. It
sets store only by those elements of a work that have already emer ged and played
a part in its reception. The places where tradition breaks off-hence its peaks and
crags, which offer footing to one who would cross over them - it misses.
[N'.,51
Historica1 materialism must renounce the epic element in history. It blasts the
epoch out of the reified "continuity of history." But it also explodes the homoge-
neity of the epoch, interspersing it with ruins-that is, with the presenL [N9a,6]
In every true " 'ork of art there is a place where, for one who removes there, it
blows cool like the wind of a coming dawn. From this it follows that art, which
has often been considered refractory to every relation with progress, call provide
its true definition. Progress has its seat not in the continuity of elapsing time but
in its interferences-where the truly new makes itself felt for the first time, with
the sobriety of dawn. [N9a,7)
FOr the materialist hiswrian, every epoch with whidl he occupies himself is only
prebiswry for the epoch he himself must live in. And so, for him. there can be no
apparance of repetition in history. since precisely those moments in the course
of history which matter most to him, by virtue of their indtl as "fore·history,"
become moments of the present day and change their specific character accord-
ing to the catastrophic or triumphant nature of that day. [N9a,8]
Scientific progress-like historical progress-is in each instance merely the first _
step, never the second, third, or n + I -supposing that these latter ever belonged
not just to the Vt'Orkshop of science but to its corpus. That, however, is not in fact
the case; for every Stage in the dialectica1 process (like every stage in the process
of history itScif), conditioned as it always is by every stage preceding, brings intO
play a fundamentally new tendenCYl which necessitates a fundamentally new
treatment. The dialectica1 method is thus distinguished by the fact: that, in leading
to new objects, it develops new methods, JUSt as fo nn in art is distinguished by
the fact that it d evelops new fo rms in ddineating new contents. It is only from
without that a work of art has one and finly o ne fonn, that a dialectical treatise has
one and only one method. [N t O,I]
Definitions of basic historical concepts: Catastrophc-to have m issed the o ppor-
runity. Gritica1 moment-the status quo threatens LO be presCived. Prob'TCSS-the
first revolutionary measure taken. (N 10.2]
If the object of history is to be blasted o ut of the continuum of historical succcs·
sion, that is because its monad ological structure demands it. TIlis structure first
comes to light in the extracted object itself. And it does so in the fonn of the
lustorical confi'Olltation that makes lip the interior (and, as it were, the bowels) of
the historical objeCt. and into which all the forces and interests of history enter on
J reduced scale. It is owing to this monado logica1 structure. that the historical
object finds represented in its interior its own fore·history and after-history.
(TIms. for cxample, the fore ·history of Baudelaire, as educed by current scholar·
ship. resides in allegory: his after·history. inJ ugendstil.) (N IO,3]
Fomling the basis o f the confrontation with conventional historiography and
~e ushrinemen t" is the polemic against empathy (Grillparzer, Fustel de_ Con-
langes). [N1O,4)
The Saint-Simonian Barrault distinguishes betwcen ipoqurJ urgauiqua and ipo-
qun ,"tiqu(.J. (See U15a,4.) The derogation of the critica1 spirit begins direaly
after the v ictory o f the bourgeoisie in the July Revolution. [N IO,5J
The destructive or aitica1 momenrum of materialist historiography is registered
in that blasting of historical continuity with which the historical object first consti-
rutes itself. In fact, an object of history C3IUIOt be targeted at all within the
continuous elapse of history. And so, from time immemorial, historical narration
has simply picked out an object from this continuous succession. But it has done
so v.rithout foundation, as an expedient; and its first thought was then always to
reinsert the object into the continuum, which it would create anew through
empathy. Materialist historiography does not choose its objects arbitrarily. It
does nOl fasten on them but rather springs them loose from the order o f succes·
sion. Its provisions are more cxtensive, its occurrences more essential. [N I Oa,l ]
[ForI the destructive momentum in materialist historiography is to be conceived
as the reaction to a constellation of dangers, which threatens both the burden of
tradition and those who receive it. It is this constellatio n of dangers which the
materialist presentation of history comes to engage. In this constellation is com·
prised its actuality; against its threat, it must prove its presence of mind. Such a
presentation o f history has as goa! to pass, as Engels puts il, olbeyond dle sphere
of thought."~ [NIOa.2]
'T'~ l~inkillg belongs the movement as well as the arTelit of thoughts. Where
thmkmg comes to a standstill in a constellation samrated with tensions-dlCI"C
the dialectica1 in)age appears. It is the c.aesura in the movement o f mought. Its
POsition is namrally not an arbitrary o ne. It is to be fOlmd , in a word. where the
tcnsio n between dialectical opposites is greatest. Hence., d,e object constnlcted in
~he materialist presem ation of lu.~tnry is itself the dialectical image. TIle lauer is
l~entical v.riUt the historical object: it justifies its violent expulsion from the con·
bnllu m of historical process. fN 1Oa,3]
The archaic fonn of primal history, which has been summoned up in every
epoch and now once mort: by Jung, is that" form which .makes semblance in
history still more delusive by mandating nature as its homeland. [Nil , I}
·1'0 write history means giving dates their physiognomy. (N1I.2]
-Ole events surroundi.ng the historian, and in which he himself takes part. will
underlie his presentatio n in the form of a leXt written in invisible ink. The history
which he lays before the reader comprises, as it were, the citations occurring in
this text, and it is only these citacions that occur in a manner legible to all, To
write history thus means to cile history. It belongs to the concept of citacion,
however, that the historical object in each case is tom from its context. [NI I ,31
On the dementary doctrine of historical materialism. (1) An object of history is
that through which knowledge is constituted as the object's rescue. (2) His[Qry
decays into inlages, not into Stories. (3) Wherever a dialectical process is realized,
we are dealing with a monad. (4) The materi..aJ.ist presentation of history carries
along with it an immanent critique of the concept of progress. (5) Historical
materialism bases its procedures on long experience, common sense, presence o f
mind, and dialectics. (On the monad: NlOa,3.) [NI l ,4]
The present d etermines where, in the object from the past, that object'S fore·
history and after·history diverge so as to circumsaibe its nucleus. [NII ,SJ
To provt: by example that only Marxism can practice great philology, where the
literature of the previous century is concerned. [N l l,6]
1'he regions which were the first to become enlightene::d are nOl those where the
sciences have made the greatest progress." Tu rgot, Otuum, vol. 2 (Paris, 1844),
pp. 601-602 {"Second cliscours sur lc=s progres successifs de I'esprit hUlllain"}.-
The thought is taken up in the later literature, and also in Marx. [NU ,7J
III the course of the nineteenth century, as the bourgeoisie consolidated its posi-
tions of power, the concept of progress would increasingly have forfeited the
critical functions it originally possessed. (In this process, the doctrine o f natural
selection had a de::cisive role to play : it popularized lhe notion that progress was
automatic. The extension of th(: concept of progress to the:: whole of human
activity was funhered as a result.) With Turgot, the concept o f progress still had
its critical functions. In particular, the concept m ade it possible to direct people's
attention to retrograd e tendencies in history. Turgot saw progress, charac-
teristically, as guarant~d above all i.1I the realm of mathematical research.
[N Il a, l]
" Uul wha l II 1l1/e(·tal'il' 11m ~ \lI! l'ess jo ll of m e ll ', opinious prt! St:ll t~ ! Therc I st-"(!k the
IJI'og.1'Ci;; or Ihe Iuull nll mi nd . ami I linil \'irtually lIotlli lll; but t.he I,islory of iu
c rru ra. Wh y is iu ctlu rllt-"-whic h i8 110 l ure. fro m the very liral ~te p' . in the fic.l d of
mathemaLicul 81uwe&---«o unstead y in everythinr; elk. 8nli loO a pl to go uJjlrayl' •• .
In tlUlI , low progrClI8itlll of opinio ns ami errors, ... I fa ocy Iha t T!Iee those flrs l
leaves. d IOse ~ hea th ll which nat ure ha ll "h'en to t he newly ,;rowi ng stems of plalll..5,
iU lling bcfu re them from tile ea rth , uml "'ilhe ring om' by OllC 1111 IIthel' shea ths
COllie in lu cxilltcnce. IIlIl i.1 III Ins t t hc slelll ilself lII ukc~ illl a ppell r llllce a nd
i.& crowued with Rowers and frui t-a ayml,ol (lr la tc-emerplIg t r uth ." Thrgol.
Oeuvre." vol. 2 (Pam, I Mi.). pp. 600.-601 ("Secolld tlillCOllfll ~ lI r tell progresluc-
rClillifs de 1'f'..lIllrit humain" ).11 [N I la,2]
A lime! to progress still exists in Turgot : "In la ter times, ... it was necessary for
them, through reBecti.on, to take themselves back to where the:: first men had been
led by blind instinct. And who is not aware that it is hue that the supreme dl'on
of reason lies?" Turgot, Ot uzmJ, vol. 2, p. 610.~ l1tis limit is still present inManc;
later it is lost. [N Il a,3]
Already with Turgot it is e::vident that the conce::pt of progress is oriented toward
science, but has its COlTtcti~ in an. (At bottom, not even an can be ranged
exclusively under the concept of regression; neither does J ochmann's essay de-
velop this concept in an unqualified way.) Of courS(:, Turgot's estimate of art is
different from what ours would be today. "Knowledge of nature and of truth is as
infinite as they are; the ans, whose aim is to ple::ase us, are as limited as we are.
Tune constantly brings to light new discoveries in the sciences; but poetry, paint-
ing, and music ha~ a fixed limit which thc= genius of languages, the imitation of
nature, and the limited sensibility of our organs detennine.... Th(: great m en of
the Augustan age reached it, and arc. still ou r m odels." Turgot, Oeuflt'tJ, vol. 2
(Paris, 1844), pp. 605-606 ("Second discours sur les progres successUs de I'esprit
humain").;A Thus a programmatic rmWlciation of originality in an! [NI2, I]
"The re are c1cmen1..5 of t he artll of t usle whic h could he perfected with ti me--fo r
exumple, pc rlpccti ve. which (icpe nds on optic.. Bul locli l colo r, Ihe imitation of
nalure, a nd the express ion or the passio ns a re of all time!>." Turgot, Oeuvres, vol.
2 (Paris, 1844). p. 658 (""P lli n du t>t:t:olld d i81l0 llril sur i'lusloire ulliversdle").:M
[N J2,2J
Militant representation of progress: "It is not error tha.t is opposed to the progress
of truth; it is indolence t obstinacy, the spirit of routine, everything that contrib-
Utes to inaetion.-The progtUs of even the most peaceful of am among the
ancient peoples of Greece and tllcir republics was punctuated by continual wars.
~t was like thcJ ews' build ing the walls ofJ erusalem with one hand while defend-
I~g them with the other. llleir spirits were always in ferment, their heans always
high with ad\'enture; and e::ach day was a further enlightenment." Turgot,
Oeuvres, vol. 2 (Paris, 1844), pp. 672 ("Pensees et fragmen ts"}. [N 12 .3]
~ence- of mind as a political category comes magnificently to life in these
....'ords ofTurgot : "Before we have leanted to deal with chings in a given position,
they have already changed several times. Thus,we always percei~ events too
 latc, and politics always needs to foresee, so to speak. the present !' Turgot',
Onwm , vol. 2 (Paris, 1844), p. 673 ("Pensees et fragments").):! [NI2a. 1J
"1' III~ ... rluliculJy allcl'c.d luruhl'upt! fir Iht' lIillctCt'nlh centur y remain8 vi6ihlc to
thia tla y. II I Jell s l ill Iract''' . II WII$ s haped hy the rui lroatls . ... ThO! focal pOinl! of
Ihil higturicul lonilsrape a n~ present whe r e ver motl,lItain Uiultullllel , 1!llnyml and
vbuillct, lurN!1I1 and ftlni culur, river and iron bridgt: ... revl:ul their kinship . .. ,
hi ulltheir singularity. tlu"ge things announce that na lure has 1101 wilb,irllwn . amid
the t r iulliph of It'dmologic al civiliutioll. into the numdeu a nll inc huute. Iha l the
pllre COlllltrllflion of IJri.lge. or tunnel di,1 nol in itself . . . us urplhc la ndl.lcll l>e. but
Ulat ril'c.r uud mountain at once took their side. aDd not a8 subjugated adversaries
but 88 friendl y powers .... The iron locomoth'e thai disappears into the moun tain
IUDlid , . . seems . . , 10 be returnillg 10 its native element, wherelhe raw material
oul uf which it W IUI nllule lies slumbering." Oolf Sternberger, PlInorfHt l ll.• oder
An$ichren 110111 19 . )lIJlrhuFlt/erl ( Hanthurg, 1938), PI" 34-35. [N 12a,2]
The concept of progress had to run coumer to the critical theory of history from
<5 the moment it ceased to be applied as a criterion to specific historical develop-
" ments and instead was required to measure the span bet\yeen a legendary incep-
tion and a legendary end of history. In other words: all soon as it becomes the
signature of historical process a.I a whole, the concept of progress bespeaks an
uncritical hypostatizatio n rather than a critical interrogation. nus latter may be
recognized, in the concrete exposition of history, from the fact that it outlines
regression 3tleast as sharply as it brings any progress intO view. (Thw Turgot,
Jochmann.) [Nl 3, l)
Lotze as critic of the concept of progress: Min opposition to the readily accepted
doctrine that the progress of humanity is ever onward and upward, more cau'
tious reflection h:u been forced to make the discove:ry that the course: of history
takes the fonn of spirals-some prefer to say epieydoids. In shon, there has
never been a deanh of thoughtful but veiled acknowledgments that the impres-
sion produced by history on the whole, far from being one of unalloyed exulta·
tion. is preponderantly melancholy. Unprejudiced consideration will always
lament and wonder to see how many advantages of civilization and special
charms of life are lost, never to reappear in their integrity?' H ermann Lotze,
Mikroltrumru, vol. 3 (Leipzig, 1864). p. 21.~ [N 13.2)
Lout as critic of the concept of progress : "It is not . .. clear how we are to
imagine one course of education as applying to successive generations of men.
allowing the later of these to panake of the fruits produced by the unrewarded
effons and often by the misery of those who went before. To hold that the claims
of particular times and individual men may be scorned and all t11eir misfortunes
disregarded if only mankind would inlprove overall is, though suggested by
noble feelings , merely ent.husiastic thoughtlessness. .. Nothing is progress
which docs nOt mean an increase of happiness and perfection for those very souls
which had suffered in a previous imperfect state." Hermann Lotze, MikroMsmOS,
vol. 3 (Leipzig, 1864), p. 23.31' If the idea of progress extended over the totality of
recorded history is something peculiar to the satiated bourgeoisie, then Lotze
represents the reserves called up by those on the defensive. But contrast H older-
lin: 0;1 love the race of men who arc coming in the next centuries."38 [NI3,3]
A thought·provoking observation : "It is o ne of the most nOle\\o"Orthy peculiarities
of the human heart . .. that so much selfishness in individuals coexists with the
gt:nera1 lack of envy which every present day feels toward its future ." This lack of
envy indicates !hat the idea we have of happiness is deeply colored by the time in
which we live. Happiness for us is thinkable only in the air that we have
breathed, among the people who have lived with us. In other words, there
vibrates in the idea of happiness (this is what that noteworthy cira.unstance
teaches w ) the idea of salvation. 1bis happiness is founded on the very despair
and desolation which were ours. Our life, it can be said, is a muscle strong
enough to contract the whole of historical time. Or, to put it differently, the
genuine conception of historical time rests entirely upon the image: of redemp-
tion. (The passage i.~ from Lotze, Mikrokru11lOJ, vol. 3 [Ldpzig, 1864], p. 49.)3fI
[N13a,l]
Denial of the notion of progress in the religious view of history: "History, how·
ever it may move forn-ard or fluctuate hither and thither, could not by any of i~
movements attain a goal lying out of its own plane. And we may spare ourselves
the trouble of seeking 10 find, in mere onward movement upon this plane, a
progress which history is destined to make not there but by an upward move-
ment at each individual point of its COUTse fonvard;" Hermann Lotz.e, Mihdru·
mos, vol. 3 (Leipzig, 1864), p. 49.-10 [N13a,21
Connection. in Lotze, between the idea of progress and the idea of redemption:
"The reason of the world would be turned to unreason if ~ did not reject the
thought that the work of vanishing generations should go o n forever benefiting
only those who come later, and being irreparably wasted for the workers them·
selves" (p. 50). This cannot be, "unless the ","Orld itself, and all the flourish about
hislorical development, are to appear as mere vain and unintclligible noise.. . .
Tht in some mysterious way the progress of history affects them, too-it is this
conviction that first entitles us to speak as we do of humanity and its history"
(p. 5 1). Lotze calls this the "thought of t.he preservation and restoration of all
things" (p. 52).tl [N 13a.3)
C ultural history, according to Bernheim, developed out of the pOsitivism of
Comte; Bcloch's Grult HUlary «vol. 1,> 2nd edition, 191 2) is, according to him, a
textbook example of Comtean influence. Positivist historiography "disregarded
. .. the state and political processes, and saw in the coUective intellectual develop-
ment of-society the sole content of history.. . . The elevation ... of cultura1
history to the only subject worthy of historical research! " Ernst Bernheim, Mil·
te/ail«/iene :(ntaruduUlungm in iltmn EinjlUJS atif Po/ililt und Gucni/!dw:llreibung
n-ubingen, 1918), p. 8. {Nl4, I)
"' The logical categor y of tinJl: (Ioes nol j!;overll the ver h ,.;jnlll(;h /18 (onc m.ight
eX I>eet .' St range a~ it mlly 8~n1 . the expression of the future .ltte5 not oppear to be
~iluatetl on the 5amt: It:vel of tile InulIIUI mill.1 all tlu, l"x prCUilJll of till' pll81 ami of
the prCl!ent . ... ' The fUlureuftcn has 1111 cxlln!n ion of its uwn ; or if it has one. it is
a ("omplicated expr t:8sion without parallel to that of the present or the I>a§!: ...
'There is no reason to believe thaI prehilltoric Indo-European ever p08seued a
true future teme' ( Meillet)." J ean-Richard Bloch, "Lallgage d ' utililt:, langage
1wt!li1Iue" (E ncyclopediefra n( Clue. vol. 16 [ 16-50]. 10). [N14,2]
Simmel touches o n a very important matter with ule distinction between the
concept of culture and the spheres of autonomy in classical Idealism. The separa.
tion of the thn=:e autonom ous d omains from o ne another preserved classical
Idealism from the concept of culture that has so favored the cause of barbarism.
Sinmld says of the cultural ideal: "It is essential that the independem values of
aesthetic, scienti6" ethical, ... and even religious achievements be transcended,
so thai they can all be integrated as elements in UlC dcvclopment o f human
nature beyond its naruraJ state." Georg Simmel, Philruophie tW Geldes (Leipzig,
1900), pp. 476-477,,1 [Nlt.3j
" There has !lever beeu a period of hislor y ill which the cultu re peculiar to it h••
lea\.tmed th .. whule of humanity, or eve.n Ihe whole of that ont: nation which was
~ pecially didinguished hy it. All dcgrt!cs anti s hades of moral barbarism. of mental
obtuilelle8.8. and of physical wrelcilewll!lIs have lIiWtlyli been Cound in juxtapol itioo
with cuhured rdinenlenl of Jjf~ . . . and fret' particil>ation in tile benefiu of civil
flnler." Hermann Lutze. Mikrokos mo" vol. 3 (l ...eipzig, 1864). PI" 23-24.~J
(N 14a,l]
Ttl th tl ,·iew that .. tlltlre is progress enough if• .. . while the Dlal l of mankind
~maills mired ill an uncivilized condition , the cil·ilization of a small minority it
constantly ijtruggling upward to greater and greater heighl8," Lotze rcspond, with
the question : ··How. upon such auumfltiom;. Ctlll we be entitled to speak of one
his tory of mIlDkilld?" Lotze. /lfihrokosmM, vol. 3. p . 25. 14 [N14a,2]
I ..
"The way ill whiell the cuhurf' of palll limes i.s for till! llul/ll pari hllnded (own ,
Lotze sayl, " lca~i8 directly back to the very opposite of Ihut ut which historical
development shouill aim : it lead s. that is , to the formation of UII instinct of culture,
which contillually takes Ill' nlOre and mor(" of the clenlt'IIU of ci\'i!izllliiJlI , thul
making them II lirclt~sll I)OJlliCil~ioll , and withdrawing thenl frllm the sllhere of that
1"I1IIscious ac ti vity by the errorts of whidl t.he)" ....ere at firs t ohtllincd" (p . 28?
Accordingly; "Tile progrc8lI of sdellct: il 1101 . . . .•liredly, humall IIrflgresl: It
wllulll he this if, ill proportilln to til(' inCI"ease ill accumulated trulh!!, ther~ ....ere
also a ll itll:re.ase in IIIt~n 's t()neern for L1n~ m ... and in tile dCilrncss of their insight
~'oncernillg them." l.otzt:, Mikroko.mIOl. \'01. 3, p . 29 . '~ [N 14a,3 j
Lotze 011 hum a nit y : .. It call nnt I... said t.hat ml' ll grow t(l what they a n : with 9
consciOu Slless of this growth . allli with all acwlllpanyilll[l: rcml'murallce 1)£ their
I'1"' ViOIl8 condition : ' l.,utz tl, Mikrokosmos. vol. 3. p. 3 1.1<1 (N 14a,4}
Lotze's vision of history can be related to Stifter's: "that the unruly will of the
individual is always restricted in its action by universal conditions not subject to
arbitrary will--conclitions which are to be found in the laws of spiritual life in
general, in the established order of nature ... " Lotze, MiA:roko.rfflOJ, vol. 3, p. 34.11
[N lb,5}
To be compared with SOfter's preface to Bunte Slein~ <Colored Stones): '"'Let: us at
the ou tset regard it as ccnnin that a great effect is always due to a great cause,
never to a small one.n HiJloir( de ]u/(s Cisa~ voL 1 (Paris, 1865) (Napoleon III) .
(N14a.61
A phrase which Baudelaire com for the consciousness of tune peculiar to some·
o ne intoxicated by hashish can be applied in the de6.ni.tion of a revolutionary
historical consciousness. H e speaks of a night in which he was absorbed by the
effects of hashish: "Long though it seemed to have been ... , yet it also seemed to
have lasted only a few seconds, or even to have had no place in all eternity."
<Baudelaire, Ckullm, ed. Le Dantec (Paris, 1931 ),) vol. 1, pp. 298-299."
[N15.! ]
At any given time. the living see themselves in the midday of history. They are:
obliged to prepare a banquet for the past. The historian is the herald who invites
the dead to the table. {N15,2)
On the dietetics of historical lilerature. The contemporary who learns from
books of history to recognize how long his present misery has been in prepara-
tio n (and this is what the historian must inwardly aim to show him) acquires
thereby a high opinion of his own powers. A history that provides this kind of
inStruction docs nOl cause him sorrow, but anus him. Nor does such a history
arise from sorrow, unlike Ulat which Flaubert had in mind when he penned the
COnfession : "Few will suspect how depreSS(!d olle had to be to wldel1ake thr
resuscitation of Carthage."~~ It is pure Clmo.uti that arises from and deepens
SOrrow. (N 15,3)
Example of a "cultural historical" perspective ill the l\l()rSe sense. Huizinga
speaks of tile consideration displayed for the life of the cOllunon people in the
pastorals .o f the late Middle Ages. "Here, too, belongs that interest in rags and
laners which ... is already beginning to make itself fclt. Calendar miniarures
note with pleasure the threadbare knees of reapers in the field, while paintings
 accentuate the rags of mendicants . . . . H ere begins the line that leads through
Rembrandt's etchings and M uriDo's beggar boys to the smet types of Stein.len....
.J. H uizinga, /ierbJI ties Mittt:laltm (Municlt, 1928), p. 44 8.~ At issue, of course, is
actually a very specific pheno menon. (N 15 ,4]
" T Ill' pust h ll.5 I,·rt images of itself in litcr ar y lexts . images compar able to those
whieh a rc imprintcli II)' light on a phottlsClui tivl' pilite. The fut urc alOne pus&eues
!I~v ('I !)pc r.;; act.ive enough 10 ilcan such ~ ur fll ce s l )e rf~I · t1 y. Many page!! ill Ma riva nx
01' llouiSNHI contain a IlIy&tcrious meaning which the fi rst reatlt.rs of the1M' texta
rould not ful.l y h a\'e d ecipherl:l.l." Andre Monglond , Le P rero nwnti.$me. /rm u;ou,
\'111. 1.1..e UerO! p rero nwntique. (GI"I!lIohle, 1930), (I . xi i.
r
A revealing vision of progress in H ugo, "Paris incendie (L'Annie It'rriblt):
What! Sacrifice everything! E,'Cfl the granary!
\"'hat! The library, arch whcre dawn arises,
U nfathomable ABC of the idral. where pro~ ,
Eternal reader, leans on it5 d ho\vs and dreams .. .
O n the style o ne should strive for : "It is through everyday wo rds that sty.le bites
intO and peneuates the reader. It is through them that great thoughts .ci.twlate
and are accepted as genuine, like gold or silver imprinted with a. recogruzed seal.
TIley inspire confidence in the person who uscs them to make Ius thoughts more
understandable; for o ne recognizes by such usage of co mmon language a man
who k.nows life and the world, and who stays in touch with thins!, Mo~,
these wo rds make for a frank. style. They show that the autho r has lo ng ~­
nated the thought o r the feeling expressed, that he has made them so mucl~ his
own so much a matter of habi~ that for him the most commo n apresS10fLI
suffi~ to express ideas that have become naru.ra.l to him after lo ng deli~~on.
In the end, what one says in this way will appear more: truthful, fo r n~g 15 SO
clear: when it comes to words, than those we call fam..iliar; and clanty 15 some-
thin~ so charnClcristic of the truth th at it is often confused with it." No thing more
sublle than the suggestion: be clear so as to have at least the apJX3l4llce of truth.
Offered in this way, the advice to write simply-which usually harbors resent-
ment- has the highest autbo rity.J. j o ubert, Oeuvm (Paris, 1883), vol. 2, p. 293
[N 1Sa 3}
("Ou Sryle," no. 99).
TIle person who cowd develop the j oubertian diaJectic of precepts wo uld pro-
d uce a stylistic!! worth mentio ning. For example, j ouhert recomm~nds the usc of
"everyday ....-erds" but wan u agaUut "colloquial language; which "apresses
things relevant to o ur present customs only" ("Ou Style," no. 67 < OeutJfts, vol. 2,
~ ~. [N 16, 1]
" AU hea utiful a pre,;,;ion§ aN" susceptible of 111 0 1"1' dIa n line lIIeani ng. When a
Ilt~ll u tirul clOi preu iou p N!knt ~ a meanul ~ more beautiful thau the author', own , it
IIhouid be otJO])tt:t.l ." J . J oui.w.rt , Oeu vres (paris , 1883). vol. 2 , p. 276 ("On Style,"
no. 17). [N 16,2]
With regard to political econo my, Marx characterizes as "its vulgar dement"
above all "that dement in it whid l is mere reproductio n- that is, representation
of appearance." Cited in Korsch, Karl M arx <manuscripp, vol. 2, p. 22 .S ) This
vulgar clement is to he denounced in Other scienccs as well. [N 16,3}
CtJllcept of na lure in Ma rx : " If UI I-Icgcl .. . ' physica i lialur e likeftise cncroaches
011 ,",' fl rld hil tory,' theu Ma rx I:ollccivc/l lIalun: frOll! the heginning in social catego-
ries. Physical nalure dOl!R 1I0t ent er d irectl y into wllr ill hjstory ; ra ther , it enter B
(N ISa,l } uldi recti y. as a pruce8s of ma terial prod uctiou I,hal gOt'I on , fr om lhe earliest
moment . 1I0t ouly between nlan and n alure but also between man an d man. Or, to
use. lan guage Ihat will be clear tu phil mlopher~ as well: in Ma rx 'B rigorously lOCial
~ c ic llce , th nt pure natltre presupposeti by ullllllman acti vity (the. ei;ollomie natllra
Iww ro n.'l) is replaced everywlu:rt' h y na lure as ntateriu l IINJllllctjon (the economic
nawra no wrata }--that is , hy a social 'maller ' mediated and transformetJ
thnl ugh h uman IUldal acti vity, and thus at the ,unle time capable of further change
and modifi cation in the IJI'eBellt ami tlte future." Kor8l;b , Karl Mu r.t, VIII. 3, p . 3 .:.:1
[N l6,4]
Korsch pro vides the fo llowing reformulation IIf the Hegelian triad in Marxian
terms: " The Hegelilm ' cf)lItraJictioli ' was replaced b y the 8tr uggle of the social
claiSe!!; the dialecticul ' negatioo,' by the p roletariat ; alld the dialectical 'synthe-
lis,' by the I>rolelarian revolutio n ." Korsell , Ka rl Mrlr.t. vol. 3, p . 45 ." (N16.5]
Restr il!tio n of the materialist conception of histor y in Kor8ClI : "As the material
mode of production change\! , so tJot's the sy~ tenl of mediations existing between the
material bast! a ntJ its Iw liticala nlt juridical super structur e , with ill! corresponding
social forms of consciousneu . Hence, the gener al propositions of matcriali8l social
theory cOIil:ernlng thl.! rela tions between e.conomy and politic. or econOllly antJ
ideology, or concerning ~ u ch general cOllcepts a8 clau and cla ss ~ trllggle, ... bave
a tJifferellt meaning for each s pecifi c epoch a nd , strictl y spe aking, a re valid, in the
particular form Ma rx gave them ""ithin the prescnt bourgeoi8 sQCiety, onl y fo r this
Sf)l:illly.... Only (or contemporary hourgeois ~ocidy, where the sp heres of eton-
0 11ly and politics are formally allil entirely sepa rated from cach utber, and wbere
'
worke rs us citizens o( t hl~ sta te are frl.'t' and IXl8kuetJ of etlual rigltu. clues the
u it'lItific tJelllonstr atioll uf their actu al ongoiJlg lack o( freellllnl UI the el!ollomic
~ p ll c r c hlt vc 1he chur:lclcr of a theurt'til'lI l disc!uvel·Y." KOfiw h , \'01. 3, PII . 2 1- 22 .
fN l 6a,I)
Kor sch makes ··tlu~ ~" I· millg.ly IHtrllllolOiil:al ohllcrvatio n {whil·h is n(llwtlll'l t:~s ...
SUiled lu t he fmul am /1II0ril mature (orlll o( Munda n science) that in lite m a l eri a Ji ~ 1
SUI·ia! theory of Mar x tile ellsem!.ie of sorial rdu lions , which hourgl.'Oili lIociol0gi5t8
t ~at as an intlepcndenl tJomuin .. . , already is in vestigated necor tJing to i18 oLjec-
live, , ,content by the hi.lltorica l and locial science of eCIlIImnic', .. ' , III th u 'eme,
M(lrx ~ ml.tpri(.Ii.:It $ocilJ ,riem;e u Ilot 3ociolog), but economiC$.'· Kor c h, Karl
.llurx. \'u i. 3. ". 103 .;'1 [N 16a,2]
A I'itali"n from l\1urx t ill dl!" mutahilit y of nalur{' (in Kor8dl , K(.r/ Mll rx. vol. 3,
p. 9): " En'n Ihe naturally grown val'iatiolls of the human spccie;;; , lI u('1I us differ _
ences of race, ... rlill and IIlU ~ t bc abolished in the Ilistorical process ... ;;~
(N16a,3]
Doctrine of the supersl r udur... according to Korsell : "'Nei ther ' dialectical caul!al_
ity' in illl philosophic delillilion. nor dcienti1ic ' l;JI.usality' supplemented by 'inter--
lU'tinlll;.' is l u£ficienl 10 dch:rmine the particular kimls of connection8 and
.·elations exi5ting hctw t't:1l thc c(:ollomic ' Lase' and UIt: juridical and political '8U-
per structure ... " together with the ' I:o"relpondillg' forms of cOllsciou8ncu ....
TYo'entielh-cclltur)' natural llcience has learned thai the 'cau8al' n:la tioOi which
thc resea rcher in a gi" cn fi eld hal to establish for lhat field cannot be defined in
tcrml! of a genen .. 1cO'lI:4:lll or law of cauliality, but mUl t be determined I pecifically
for each separa te field ,· [·See Philil'P Frank , D,u KOII.m 1seletz und leiM Gren-
ze'l <The Law of CU lIso..lity and It6 Limit s> (Vienna , 1932) .] .. . The greater part of
the resnlts , , . ohtuined by Ma rx " lui Engcl8 con~i S I not ill theoretica l formula~
Lions of the Il CW prindple hut ill its s pecific application to II series of , , . questioDs,
which are dth t'r of fund amental practical importa nce or of all extremely l ubtle
nature theoretit·ally, . . . • [· Here , for example, belong the questions raised by
Marx at the cnd of Ult! 1857 ' Introduction ' <to the Gnmdriue> (pp . 179ff. ), and
which conc('rn the ' unequal devdopmcnl ' of different s pheres of socia llife~ un-
!)(fual devcio}Jlllent of mahll'ial production vis·a-vis arli8tic production (and of the
various arts among themselves), the level of education il. the United StateB al
compared tt) that nf Europe, une<lual de\'d opmellt of the relationl of production
as legal relation!, and 50 forth .] The more precise scientific determination of the
present cOlltexts is l till a ta8k (or the future ... , a talk whose center will lie, once
agai n . lIot in theoretical formulati on bllt in the further applicatioo and telting of
1I11~ p"incil'le8 implicit in Marx's work . Nor sllould we ad here tOO strictl y to the
words of Marx , who orten used his terms only fi gur lltive!y-as, for iostance, in
describing the cOllnccljous uncler consideration here as a rela tion hctl'o' t:e:n ' ba8C"
and ·stl)Jt'.Mitructure.· as a 'cvr N!l polidencc,' and 1 0 Oil , , •• In all tlu,!~ e calle5. the
Marnan COII(:I:p18 (al Sorel Ilnd Lenin , among tile later Marxist!!, underltood best)
art' lIot intt'mlcll as new dogTnatic fl'lI l'r!, a!! p rees t a bli~ h ctl cOllilition8 Yo'llirh nillst
ht" mel ill some pa rticular 1l,',ll'r Icy an y ' materialisl' i,u"CSligation . They a re,
I·a lhcr. u wholly umlobrrlml.ic brui(lc 10 reticarch and actiou ." Kortich , KI/r/ Mar)!:
(mllllllse"ipt), vol. 3. PI" 93-96,"'"
\falerialist I'(inception of hislor y 8 1.111 matcrialist phiJusuph y: "Thc formulas of
matcriali3t hititury Urat were 1( 1)1)lh:t1 by Marx and Engel ... solely 10 the . ' ,
i'U'CdiglltilJlI 'If huurgeoi.;; snricly, nnd transferred 10 other histol'ical (teriods only
wilh suit<lhlc d ul'O,·utiulI . IUl vt' h l' l ' lI detucilcd by lhl~ MarxiSI epigollcs from this
ti(lccilic Il)lplic!ltioll. a ll\l in gt" lf'ral from ever)' historicnl cOllnection , lind out of
5O-CaUcll historic:al materialism IIICY have made a UniVCrilal .. , lociologicaJ tlle-
ory, From lhis ... leveling ... of ma teria list theory of society. it was ollly II step to
the idea thll l once again lod ay--or r.~ pecia U y tIMla y- it Yo' a~ nece6sar y 10 shore up
the hi.;;loriclil allil economic sciellce of Marx . not onl y with a general sociall'hilosQ-
phy hut e\'~ 11 with a ... uni versal materialist world view embracing the totality of
uatun: unll @oricty. Thus, the .. , scicntific (orms into which the r eal kernel of
•.iglIICillith-century philoliophical materiamm hatl evolved , , . were ultimately
j·a rried back to wll at Ma rx himself hall once ulllllilltaka.bly r epudiated as ' Ihe
philosophical phraJ>e8 of the I\lalerililli8ts about matter,' Materialist social lcience
.. ' dlle$ I1l1t need ... any such philosophic I UPIJOrt . T his most important advalll:e
. .. carrietl 0 111 by Marx was la ter overlooked even by . . . ' orthodox' inte'l)retenr
,)f Marx . . They have thus reintroduced their own backward attitude!! into a
theory which l\brx had consciously transformed from a philosophy into a science.
It is the almost grotesque historical fate of the Marx-orthodoxy that, in repulsing
lhe attackl of re\'isionists, it ultimately arrives, on aU imlwrtant issues. at the veery
same standpoint al that taken by iu adversaries, rill' example, the leacLing r epre-
8t'otaLive of this school , ... Plekhanov, in his eager pUr8 uit of that ' philosophy'
which might be the t.rue foundati on of Marxism. finally hit upon the idea of pre-
senting Marxism as ' a fonn of Spinoza 's philosophy (reed by Feuerbach of iu
theological atldentlum. "· Korsch . Karlltfarx (mallu8I::ript ). vol. 3, pp. 2~1. ~1
[NllaJ
KOflch cites Baco n , from the Novum Organum: ''' Recte crum verila@tempo"s
lilia dicitur nOli a uctoritas.' On th at authority of all a uthorities, time , be had
based the superiority of the new bourgeois empirical science over the dogmatic
science of the Middle AgeB." KOnlf: h . Korl Marx (malluscript), vol. 1. p . 72. '"
[N18. l]
I "'For the positi ve use, Marx replaceil the overweening postulate of Besel tllat the
truth must be COllcrete with the ratiorutl principle of 1/}eci[lCation, , , . The real
intercijt li('ij . ill the specific t.ra its through which each porticIlh, r historical
sociely i~ d i5tinSlluhed from the common features of l ociety in general Ilnd in
which . therefore, its development is cOlllprised .. , , In the same manner, au exact
SOcial science rallllOI form its gener al concepu b y ainlpl)' abs tracting from some
and r.etaining other more or less arbitrarily chosen t' haracteristics of the gi ven
hi~torical form of bourgeois society. It can secure the knowlc<lgt' of the general
I'hntainccl ill Ilult particular fm'm uf ij ~lcit! t y oilly lly t.lll' minute irn'{'stigation "f aU
lhe hi~t .. r ij·al "ullllitinIlS tlllIl.!r1 yi llg itll cmer gence (r.. m !llIutlle.r ... Wl e .. f sudc ty
(N Il]
:111\1 f.'om Ihe a,·t lllli modification of its present fornl ul1Ilt:r exactl y d tablished
f un,litiuns, .. , TilliS, the only gcnuine lawl! in sodal 81'icllce are lawl of ,Ievciop-
IJh'III . " Ko r8d l. K(lri Marx (manuscript). yol. I , I'p. 49-52." [N18.2J
~e authentic concept of universal history il a messianic concept. Universal
history, as it is understood today, is an alTair of obscurantists. IN J8.3]
-[be now of recognizability is the moment of awakening. (Jung would like to
distance awakening from the dream.) [N 18,4]
In his characteruacion of Leopardi, Sainte-Beuve declares himsdf ""persuad«l ...
that the fuU value and o riginality of literary criticism depends on its applying
itself to subjects for which we have long possessed the background and all the
immediate and more distant contats." C.-A. Sainte-lkuve, PorlTai/,J contmljHr
raim, vol. 4 (Paris, 1882), p. 365. On the other hand, it must be admitted that the
absence of certain of the conditions demanded here by Sainte-Sc.uve can have its
value. A lack o f fee ling for the most delicate nuances of the text can itself cause.
the reader to inquire more attentivcly into the least of facts within the social
relations underlying the work of art. Moreover, the insensitivity to fine shades o f
meaning can more readily procUl~ for one (thanks to clearer apprehension of the
contours of the ""'Ork) a certain superiority to other aitics, insofar as the feeling
for nuances d oes not always go together with the gift for ana1ysis. [N 18a,1]
Critical remarks on technical progress show up quite early. The author of the
treatise On Art (Hippocrates?): "I believe that the inclination . _ . of intc.lligence ls
to discover anyone of those things that are still unknown, if indud it is btt/(T to
haut discolMrtd them /lran not to halJt: ,Ulnt! so at all." Leonardo da Vooci: "H ow and
why I do not write of my method of going undern'ater for as long as I can remain
there without eating: if I neither publish nor divulge tlus information, it is be·
cause of the wickedness of Olen who would avail themsc:lvtS of it to commit
murder at the bottom of the sea-by staving in ships and sinking them with their
crews." Bacon : "In , .. 1llt: Nw Atlantis, . . . he entrusts to a specially chosen
commission the responsibility for deciding which new inventions will be brought
before the public and which kept secret.r' Pierre-M axime Schuhl, MaclJini.sme d
fthi/osofthie (Paris, 1938), pp. 7, 35. -"TIte bombers remind us of what Leonardo
da Vinci expected of man in Bight: that he was to ascend to the skies 'in order to
seek snow on the mountaintops and bring it back to the city to spread on the:
sweltering stTeets in summer" (Schuhl, Mach.inismt! tt phJ1ruophie, p. 95).
[N18a,2)
It may be:: that the continuity of tradition is mere semblance. But then precise1y
the persistence of this semblance of persistence provides it with continuity.
[Nl9,I]
l:)rOllilt , all rf)po ~ of a dla ti nn (from a le lll!r by <G Ilt'Z d ll) Bab:IIC 10 M. d e Forgueao)
which he evide ntl y lm rro w{'d fn)lll J\.Ionll!Slluio u., to whom his comme nl8 are ad-
drt:'ued . (The pail"alW nll~y ('om ai n a nonst'.llsical slip of Ihe pcn o r a printer "
j·rror.) " It was fiftee n ,lays ago tlial I removed it [ thai is, tI,e citation) from my
f1,·(wf ljlWi!l8.. . _ My hook ...·i!l1l0 ,Iaubl he 100 little relld for there 10 h ave bt!en
uny risk. of t urnis hilll; your dla tion. Furthe rmort:. I witlulrf'w it less for your sake
tl,un for the sake of th t: lie.ntcner itst-II. In raCI , I Io-clievc II1I'rc exis ts rtl r every
ben uliflll 8f:IlIt'IlI'fl un imllrc"c riplihlc rigl.t whic h rend,," it illuLienaLle 10 alilak-
I' r~ e:r;.te pl Ihe o ne for whom it waits, according In a df!li Ullativn wl, ic h is ill de ~
liIlY:- Corrcsponrlllflc{' generfltc rlc Man:el I'rO/U f . \luI. I . /.;I'ltre3 U H.ofler! de
M"nles'll/ifJrI (pari! _ 19311), PI' . 73-74 .'.... [NI9,2]
l11c pathological clement in the no tion o f "culmre" comcs vividly to light in the
effect produced on Raphac=.l, the hero of 'flit Wild AJJ~ Sk.in, by the enonnous
stock of merchandise in the fo ur-story ancique shop into which he \'t:ntures. "To
begin with, the stranger comp.1..I'Cd . .. three showrooms-crammed with the
relics o f civilizations and religions, deities, royalties, masterpieces of art. the prod-
u ctS of debauchery, reason and unreason-to a nurror of many faer.ts, each one
representing a whole ....,orld .. .. The young man's senses ended by being
numbed at the sight of so many national and individual existences, their au then-
ticity guaranteed by the hurnan pledges which had survived them .... For him
this ocean of furnishings, inventions, fashions , works o f an, and ~lics made up
all endless poem .. .. H e clutched at every joy, grasped at every grief. made all
the fonnulas of existener. his own, and ... generously dispersed his life and
fcclinS! over the images of that empty, plastic nature . . .. He fd t smothered
under the d ebris of fifty vanished centuries. nauseated with this surfeit of human
thought, oushed under the weight of luxury and an.• . . Alike in its caprices to
our modem chemistry, which would reduce CKation to one single gas, does not
tile soul distill femuJ poisOIlS in the rapid concentration of its pleasures .. . or its
ideas? Do not many men perish through the lightning action of some moral acid
or other, suddenly injected intO their innermost being?" Balzac. fA /tau lk cJw.-
grin, «I. Flammarioll (Paris), pp. 19, 21 - 22, 24_~1 [N19,3]
Some theses by Focillon which have appearances on their side. Of course, the
materialist theory of art is interested in dispelling such appearance. " ~ have no
rig4t to confuse the state of the life of fo m lS with the state of social life. The time
tha~ g1vtS suppon to a work of art does no t give definition either to iu principle
o r to its specific foml " (p. 93). "The combined activity of the Capetian monar~
cllY, the episcopacy, and the townspeople in the development of Gothic cathe·
drals shows what a decisive influence may be exereised by the alliance of social
forces. Yet no matter how powerful this activity may be, it is still by no means
qualified to so lve problems in pure statics, to co mbine relationships of values.
The vario us masons who bonded two ribs of stone crossing at right angles
beneath the north tower o f Bayeux .. . I the creato r of the choir at Saint-Denis.
were geometers working on solids, and not historians interpreting timc. [I!} TIle
mo.~t ancntive study o f the most ho mogeneous milieu, of the mosl closely woven
concatenation of circumstances, will not serve to give liS the design o f the towers
of L., on ~ (p. 89). It would be necessary 10 follow up o n these reflections in order
to show, firSt, the difference between the theory of milieu and the UlCOry of the
forces o f production, and, second, the difference between a " ~construction" and
a historical interpretation of works. Henri Focillon, Vie deJ fl nnes (Paris, 1934),61
[N 19a, I)
Focillon on technique: "It has been like some observatory whence both sight and
study might embrace within one and the same perspective the brreatest possible
number of objectS and their greatest possible diversity. For technique may be
interp~ted in many various ways: as a vital force. as a theory of mecha.ni~, or as
a mere convenience. In my own case as a historian, I never regarded technique aa
o
the automatism of a laaft,' nor as .. , the recipes of a 'cuisine'; instead I saw it aa
[prostitution, Gambling]
a whole poetry of action and ... as the means for attaining metamorphoses. It
has aJways scented to me that ... the observation of technical phenomena not Love: is a bird of ptwngr,
only guarantees a certain conuoUable objeCtivity, but affords entrance into the
- NI1IIINII.U% liJhk",u: (/t I'tuu, /II/ ObHnoa!K,m ~1tT Ie.J III«fm tt UJtIgtJ tkJ
very heart of the problem, by pmenting il 10 UJ in the same. t~ andfrvm the same RuiJinlJ lUI rot/ItflnlCnmtt dll XJ),· JiHk ~ 11;128), \"01. 1, p. 37
jXJillt f!f umu aJ il iJ presented to 1M artUl. " The phrase ItaliCIZed by the author
marks the: basic error. Henri Focillon, Vie desformu (Paris, 1934). pp. 53-54.'" ... in an aKade,
[N 19a,2] \"\bmcll ~ as in thcir boudoir.
- Brazier. Gabriel a.nd DuITler$ilIl, u s ~s din nt(.J, flU u. Gllm't
The " activity on the )lltrt of a style in the process of selI-definition .. , is generally didarit (Paris, 1827), p. 30
kllllWII IlS uu 'evolution,' this term being here understood in its broadest and most
general scnle, Uiologicai llcience checked and modulated the concept of evolution
wit h painstaking cure; a rehat.'Oiogy, 0 11 the other hand , took it limply all . , .•
metho.1 of c1alllliliea tion. I bave elsewhere pointed out the d angers of 'tlvo)ution':
ill! deceptive ortll:rlillc8I. ita sing.le-mindfti diref:tness, its use, inlhose problematic
cases ... , of the eXI)etlil!llt of ' tra llilitions,' its inability to ma ke room ror the
rl!volutjon ary enl!rgy of inventors." n ellri Focillon , Vie de! form e! (Paris, 1934), Hasn't his eternal vagabondage everywhere accustomed him to reinterpreting
"p . 11- 12.""' [N20] the image of the city? And doesn', he t:ransform the arcade into a casino, into a
gambling den, where now and again he :stakes the red, blue. ydlow plOTU of
feeling on women, on a face that suddenly surfaces (will it rrtum his look?), on a
mute mouth (will it speak?)? What, on the baize cloth, looks o ut at the gambler
from every number-luck, that is-here, from the bodies of all the wm:nm,
winks at him as the chimera of sexuality: as his type. nus
is nothing other than
the number, the cipber, in which just at that moment luck will be called by name,
in order to jump immediately to anomer number. His type-that's the number
that pays off thirty-six·fold, the one on which, \vithout even trying, the eye of the
voluptuary falls, as the ivory ball falls into the red or black compartment. He
leaves the Palais-RoyaJ with bulging pockets, calls to a whoR:, and once more
celebrates in her arms the communion with number, in which money and riches,
absolved from every earthen 'weight. have come to him from the fates like a
joyous embrace returned to the full . For in gambling haJl and bordello, it is the
saDle supremely sinful delight: to challenge fate in pleasure. Let unsuspecting
idealists imaginc that sensuaJ pleasurt:, of whatever stripe, could evcr dClem llne
Ul(' theological concept of sin . l11e oribrin of U"ue lechery is nothing else but this
stealing of pleasure from O Ui of the COuI'Se of life with God, whose covenant with
-such life resides in the name. 11le name itself is the cry of naked lust. TIils sober
thing, fateless in itself-the name- knows 110 orner adversary than the fate that
takes its 'place in whoring and tha[ forges its arsenal in superstition. 11ll1s in
gambler and prostitute that sUpt"rstitiOIt which arranges the 6gmcs of fate and
 fills all wanton behavior with fateful forwardness, fateful concupiscence, bringing
even pleasure to kneel before iu throne. [0 1,1]
,
! "When I lurn hack in thought 10 tiUl Salon ties Etrangeu, ali il was in the secoud
!
,i decatle of our (."eut u r y. I see befor e me the fin ely etched reatu res anti gaUant figurec
of the 1:lungarilin Count lIunyady, the grea test gambler or his day, who back then
,,f look all society's b reat h away.... Flunyad y's luck for a long time was extrao rru·
; nar y; no hank could withstand his assault , and his winnings must have amo unted.
l to nearly two million rru ncs. His manner was surp risingly calm and extremely
distinguished ; he sat there, as it a ppeared , in complete equ animity, his right hand
in the hrealit of his j ac ket. wlLile thousands of fra ncs hung u pon the raU or a card or
a roll or the dice. Hili valet , however, confi tled to an indiscreet friend that Mon-
siellr 's lU!rv(.'lI were lIot so sleely all he waoted people 10 believe, and Ihal of •
morni ng the cOllnt more oft en tha n not would bear the bloody trace& or hill nw ,
which ill his cxeitemelll he had d ug into the flesh or his chest as the game was lak-
ing a tiangerouif tur n ." Capt ai.1I Cronow, Aw del" g r ossen Welt <Pariser lind Lon-
dotler SillenbiMer, 18JO-1860. ed . I-Ieillrieh Conrad > (Stuttgart . 1908), p . 59. 1
[Ol ,'[

On IIle way BlUchcr ga m.b lcd in Paris. see C r onow's hook , Aw del" grosse n We"
<pp . 54-S6> . When he had 101ft , he forced the Bank or France to ad va nce him
100,000 (ra ncs so he coultl continne playing; after Ihis scandal broke, he h ad to
lea ve Paris. " Blucher never quit Salon 11 3 a t the Palais· Royal, and spent I U;
million during h is 8tay: aU hili lands were in pledge al the time or hil dep arture
from Paris." Paris look in more d uring the occupation <of 181 4) than it paid oul
in war repara tions. [01 ,3)

It is only by comparison with the ancien regime that one can say that in the
nineteenth century the bourgeois takes to gambling. [0 1,4]

The following account shows very conclusively how public immorality (in con-
trast to private) carries in itself, in its liberating cynicism, iu own corrective. It is
reportcd by Carl Benediet Hase, who was in France as an indigent tutor and who
sent letters home from Paris and other stations of his wandering. "'As I was
walking in the vicinity of the Pont Neuf, a heavily made·up prostitute accosted
me. She had on a light muslin dress that was tucked up to the knee and that
dearly displayed the red silk drawers covering thigh and belly. '71enJ, tifflS, man A gallcry of thc PaJais·RoyaJ. From a watcrcolor cmitlcd La Sm-h·t du nllmiro 113 artis t un.
ami,' she said, 'you arc young, you're a foreigner, you will have need of it." She ~llown, 1815. Scc:01 ,3. '
thcn seized my hand, slipped a piece of paper into it, and disappeared in the
crowd. 11un.king I had been given an address, I looked at the missive; and what
did I rtad?-An advertisement for a doctor who was claiming to cure all imagin· ··Ali ~or II Ie vlrlue
· f
0 WOlllell , Illave Lut U llt' rC~ I'0 ll se to lIIukc to thoile who wo uld

able ailments i.u the shortest possible time. It is strange that the girls who are ltsk me abollt this: it slrongly resembles lhe cu r tai ns ill theaters . ror their petti-
responsible for the malady should here pul in hand the means to recover froID COl.Ill! riilt! each evening th r~ timcs r ut hel' thalt ollce," Comte Horl.lee (Ie VieJ-
it." Carl Benedict Hase, Briefi lIOn tier Wamkrung und aUJ ParU (Leipzig, 1894), C~8lel t Memoira &/Jr Ie regne de Napoleon 1~1 (Pa.m. 1883), vol. 2, I). 188.
pp.48-49. [01,5) (O l a, l )
"HirolldeJiu-women who wOrk the window." Levic-Torca, ParU-Nocmr (Po.uis,
1910). p. 142. -[be windows in the upper StOry of the arcades are choir lofts in
which the angels that men call "swallows" are nesting. [0(a.21
On wh.·u is "dose" (Veuillot: " Paris is musty and closej in fashion : the "glaucous
gleam" under the petticoats, of which Aragon Speaks.1 The corset as the torso's
arcade. The absolute antithesis to this open·air world of today. What today is de
rigueur among the 1000"C5t class of prostitutes-not to undress-may once have
been the height of refinement. One liked the woman rdroullie, tuchd up. H essd
thinks he has found hen: the origin of \o\tdekind's croties; in his view,
Y*:dekind's fresh·air pathos was only a bluff. And in orher respects? 0 Fashion 0
(Oh,3]
On the dialectical fu nction of money in prostitution. It buys pleasure and, at the
same time, becomes the expression of shame. "I kncv.'; says Casanova o f a
procuress, "that I would not have the strength to go without giving her some·
thing." 1bis striking admission reveals h.is knowledge of the most secret mecha·
nism of prostitution. No girl would choose to become a prostitute if she counted
solcly on the stipulated payoff from her partner. Even his gratitude, which per-
haps results in a small percentage more, would hardly seem to her a sufficient
basis. H ow then, in her unconscious understanding o f men, d oes she calculate?
Ths we cannot comprehend, so long as money is thought of here as o nly a
means of payment o r a gift Cenain.ly the whore's love is for sale. But not her
client's shame. The latter seeks some hiding place during this quarter·ho ur, and
finds the most gcnial : in money, There are as many nuances of payment as the~
are nuances of lovemaking-lazy and swift, furtive o r b rutal. What does this
signify? The shame-reddened wound on the body of society secretes money and
closes up. It fonus a metallic scab. VW:: leave to the roue. the cheap pleasure of
believing himself devoid of shame. Casanova knew better: impudence throws
the first coin OntO the table, and shame pays out a hundred more to cover it.
lOla."]
" T he da nce ill whic.h .. . vulgu ril Y mukcs its a ppcarallt'e with IIDexumplcd impu ~
dellt.."e ill tilt' traditiunal FrelJe-h \llIafir ille. When th ", dam'en mu nuge to offclld
Hgailisl eve ry 1t'. IIi1er feding by their panlomimt..'"-wilhuut. IlIJwcver. going su far
1110 l u hUl'C hi ft'ar being ejl'IJII'II frum tilt" room by the Oil-dilly puJjee agcnt.8-ulen
Ihill t Ylle (If Ilalll;C is cullcll I/lIil/elm . Out whc D aU m oj l'ill st'. lItimclll is Irampled UII
Ly Ihc lIIil lIlWr uf dl c c1ull cj u g . whl'lI at l a~t. aft c r 11:lIgL h)' IH~;;itu l iu li . till' $ltrS(!fj /i1l
de villc fl·d 1.I')III(lI'lI c ll \H rt't"u lllh ...hllu·\·r;; 10 111 sense of decorullI wilh lilt: c UlI lOllI -
ary won I,l , ·' Ounce. III<1rl' II CI;Cllll y IIr you will Ill" shown Iht' dll(lI"! '~ IIII; 1I Ihis
illh'usHiI 'uli,m or. Iwlll' r. ' thi ~ Ilcgra,la liulI ' i.'l kIlO"'1I as cluJ/llie . I . .. 'I'll!" he~ tial
1!.'·USS U(' d .•• has I.,tltu II ... I'n'atillll uf it poliee onlina ncc .... MCII . al'I'orllingly,
a re no l a ll uwccll U III'PCIII' al l llt"!le ImUs e.i lh~r ma.skc.1 o r ill j·Oj IUIlIi' . Thi.~ is in pa rt
10 prcvclll l hd r I,ci ng telllpl e.1 "y t\wil" lli s gu i ~c lu behave "till more "il{.jy bul MIMI ,
alii! I·hid l y. ill tlu' t'Vf; n l u Ilance r ~ Il<lu.l d reac h I.he PUriS.illll lie p lu ~ ult.ru uf lie-
pn. vil y in duucillg and IJubst"lluc nll y 1>tl sllO .... n III the d uo r hy the , e rgelUlII de
ville. 10 make !lure he will be recugll.i~cd thereafter ami kep t fru lll rec nttldn g the
room . .. . W(lIIICII, 011 the ol h!!1" 11111111 . arc 1I0t allowed 10 uppeHr ulliess t he y al"e
mll.;;kcll:· Fcnli.nllllil , ' (In Ca ll . I~(lri!l "",I seille SII /onll (Oldcllhurg. 1844), vol. I.
jJJl. 209. 213-2 14. [Ola.51
Comparison of today's eronc fields of action with those of the m.iddle of the
previous century. The social play of eroticism rums today on the question : How
far can a respectable woman go without lo sing herseU? To n=presen t the joys of
adultery without its actual circumstances is a favorite device of dramatists. The
terrain on which love's duel wirh society unfolds is thus. in a very broad sense,
the realm o f MCree" love. For the Forries, Futies, and Sixties of the previous
century, however. things ....'"Cre entirely different. Nothing illustrates this more
d early than the account of the oIpensions" which Ferdinand von Gall provides in
his book Paris und .uin~ SaJ{JIl.J (Oldenburg, 1844-1845) <vol. 1, pp. 225-231>.
lnere we learn that in many of these boardinghouses at the evening mea1-
which. l'Iith prior notification, strangers tOO could attend-it was the rule to
bring in cocottes, whose job it was to play the part of girls fro m good families. In
fact , they were not d isposed to let down their masks tOO quickly, prefening
instead to wrap rhemselves in endless layers o f respectability and famil y connec-
tion; to strip these away entailed an elaborate game of intrigues that ultimately
served to raise the women's price, What is exp ressed in these relations, it goes
without saying, is less the period's prudm~ than its fanatical love of masquerade.
102,11
More o n tile mania fo r mas ka: " We know from tile IIlatistics 011 prostitution t hat
the (aileD ","oman taktls a ce rtain pride in being deemed by lIa tu re still wo rth y of
mo t.herhood _a feeling tbat in no way ucl udes ber aversi.o n to the hardship and
djsfigureme nt tllat goes along with 1h..i8 hOllo r. She Ihu8 willingly c boosea a middle
way 10 ex.hibit her cOllllition : 8111: keeps it ' (or Iwo mOllths. for three montha,'
naIUraU)· nOl lou&l.""r:' F. T h . \fische r, Mode und Cy" i.rmw (Stuttgart . 1879). p . 7.
o F a ~ h.i oll 0 (02,2)
In prostitutio n, one finds expressed the revolutionary side of technology (the
symbolic side, which creates no less than discovers). "As if the laws of nature to
which love subm.its were nOt more ryrarulical and more odious than the laws of
society! The metaphysical meaning o f sadism is the hope t.hat the revolt of man
\'oill take 011 such i.mcnsit.y a~ to summo n nature to change its laws. ror, with
WOmen no longer wanting to endure the ordeal of pregnancy, the risks and the
Sufferings of delivery and of ,niscarriage, nature: l'Iill be constrained to invent
same other means for pc:.rpc:tuating humanity on this earth." Enuu3.lluel Berl,
"Premier Pamphlet," Euro/JI:, 75 (1929), pp. 405-406. And in fact: the sexual
revolt abrainst love not only springs from the fanatical, obsessional will to plcas-
Ure; it also aims to make narure adaptable and o~d.ient [Q this will. The rrailS in
question here appear mo re dearly still when prostitution (especially in the cynical
form it took toward the end of the century, in the Paris arcades) is regarded less
as the opposite than as the decline of lave. It is then thai the revolutionary aspeCt
of this decline ruses, as though of its own accord, with the very same aspeCt in the
decline of the arcades. [02,31
Feminine faun a of the arcades : prostitutes, griseues, o ld-hag shopkeepers, female
street vendurs, glovers, dnnoiullts.-This last was the: name, around 1830, for
incendiaries disguised as women, [02,41
Arollncl 1830: "'T he Palais. RoyaJ is stiD e,oough in fashion tbat the relltin& or
chairs hrings ill IIOme 32.000 francs to Louis Philippe, and the tax on gaming.ome
five anti 11 half million to the treasury.... The gambling hou8elI of the PaJai, · Royai
rival those of Ihe Ce.rcle tleil Etrallgen lin the Rue Grange-Ba leUere II nti of Fras·
eati on the Rue de Richelieu," <Lllcien ) Duhech an ti ( Pierre ~ d ' EsIJezd . Ilirtoire
de "a rn (Pa ris, 1926), p . 365 . [02,5)
Rites de passage-this is the designation in folklore for the ceremonies that attach
10 dealh and birth, to marriage, puberty, and so forth. In modem life, lhese
tl'ansitions are becoming ever more unrecognizable and impossible to experiroce.
\'\~ have grown very poor in threshold experiences. Falling asleep is perhaps the
o nly slIch experience that remains to us. (But together with this, there is also
waking up.) And, finally, there is the ebb and How of conversatio n and the sc:xual
pcnnutations of love-experience that surges over thresholds like the changing
6gures of the dream. "How mankind loves to remain transfixed," says Aragon,
"at the very doors of the imagination l" Paysan <df! Paris (Paris, 1 926)~, p. 74.1 It is
not only from the thresholds of these gates of imaginatio n that l~rs and friends
like to draw their energies; it is from thresholds in gemral. Prostitutes, howevu,
love the thresholds of these gates of drea.m.-The threshold must be: cardiilly
distinguished from the boundary. A Schwdk <threshold) is a zone. Transforma·
tion, passage, wave action are in the word schwtllm, swcll, and etymology ou~t
not to overlook these: SO\SCS .~ On the o ther hand, it is necessary to keep in mind
the immediate tectonic and ceremonial context which has brought the word to its
current meaning. 0 Dream House D [02a, l)
Under the northeaijl peristyle of the Palais-Royal lay Ihe Cafe del Aveuglee,
''"There. a half·do!;cn blindmen from the Quinze· VlDgt~ H081'itaiunceasingly per·
furllll.>d more or leu deafening music from six 0 ' dock in the evening 10 one o'clock
in 111t~ morning; for the uliderground eslablishmt' ntij were ')peu to Ihe puhlic only
frum tlusk 10 dawn . Tlmy were the prt!ferred rendezvous of 111tJ1ie lilJcllseti D"yadll
and Nysiads. Iho~c impure Sirells who Itt leltst had til(' merit of elillferrillg mOVe--
mcnt U lid life on Ihi ~ immense Luzaar of plt'3s ures-sad, somlwr ,nul lIIule Itlda}'
ItS t.he hrol hds of I-Ien:ululleum ." lIiSli}ire del cafes dl1 I'liri., c.tlraill! del
menwirc5 d 'un Ilil)ellr (Par is, 1857), p . 7. [02a,2]
" On Ot:t·t·l).l ber J I , 1836 , nU thtl guml.ling Imuse!! Wf'r"e dOiled h y ulllhnr il ), of Ihe
poliet•. At Frailcali. there WIU It Slllall riot. Thill was Ih~ IIlOrlltl hlow to Ihl' l'n IHill-
!loylt l. alrend y tielhroneti llinoo 1830 by the houleva rd:' DulJe(:h a lld d ' Espe:r;t'.i,
lIiltoirc lIe Pu rn (Paris, 1926). p. :~89 , [02a,3]
'·Tahun. Tallc),rllntl . Un8llini . Dalzltc"-nameJ us gamhlertl ill EJollnr,J G.,urd oll .
U!I f"(J llchellrs lIe flliit (pllris . 18(00). p . I '~ . [02a.41
" I submit IIHlt II,,~ pu !~ ioll fur gamhlillg iJi IIII' lIohlesl (If aU p3U.iOIlS. hci-ause il
t'(llII p rt'lieruh alliliheni. A seriell Hf lucky r olls !O \' I'I me more fJl~as ure than a man
",ho d<)el! nol gamille clln have over a l:tCri,}j1 uf several yean!. I play by intuition .
ptl r {"esprit- d ull is 10 lill y. in Ille nU)~ 1 kc:t'nl y (('il Itnd deU('ale mallner. Do you
think I recugnize gain ollly ill It'mlS of till: goM Iha l comes my way? You are
mistaken . I see il ill term;; of 111f" j oys ...·hid. gold procures. anti I SII\'ur tll t'm 10 the
ful l. T ht'ile joys. vivid and lI('orc.hing a8 lighilliug, urI' 100 raJjitl-frre 10 become
tlistllSleful , and IQO di vt'f"ie 10 bt'(olne h.-.ring. Ili,'e It IlIlIulred lives ill olle. If it is
a vopge. it is Uke Ihal of all clectrit' s park .... If I keep my fi Sl llhul tight. and if I
huM 01110 my hanknoleil. il is he.uuse I kllOw IIH~ value o( time too well to III)t':nd il
Like other Illen. Ttl give mysdf to Oll t) plea5urr alolle ,",'ould calise me to IOlle II
thousand uthers .... I have II pir itllul ph' allures , IIlul I waul 11 0 other s." Edoua r d
Gourdoll , LeI5 FlIltchell r5 (Ie 1I1l;t (P aris . 1860), PI' , 14- 15. Tire passage cited from
1,11 Bru yi:;",~-Co mpare : ' 0 Wha t? .1 no lunger ael us I might choose.?" Wa lle nstein . S
{02a,5]
"'T he gambling COJl ce~K ion8 inclutled the Mnison du Ce.rcle dc ~ Elrangel"s, at 6 Rue
Grllug.,..Balcliere j Ihe Maison de Livr y, known as Frascati . at 103 Rile Richelieu ;
the MaislI1I Dunulls, ,10 Rue dll Mont· Ula u('j lht' Muison Muri\'au.J[ , 13 Rue Mari-
VIIW:: the Maiso n Pal)hos. 11 0 Ru t' dll TClllplc; the Mujson Dauphine, 36 Rue
DuuJ,hint' ; and at the Palais-Ruyal. 110. 9 (thruugh no. 24). no . 129 (through 11 0 .
L37). no , 119 (e.J[lending frum no. J(tl). no. 1:;'1 (extending fro m no. 145), These
businesses, tlespite Iheir grea l numhcr. wert not t' nough for the gambler s. Specu-
la tion brought ahuIII the opening of olher s which the poUce ....e re not always able 10
monitor effectively, The palrons playetl « urte, houillOtle. a nd baCCar a l. Theell·
tah U..,brueliu were managed by ... hidl..'O us·looking old women , disgraceful rem-
nallili of t'\'er y vice. They gave llaclilscl" es oulto he widolO's of gelU:raLs; they were
I)rotected by self-slylt:d coloud s . who ref'civctl II sltare of the lake. This stale of
lhings continued unlil1 837, .... hen tile gamb ling cSluhlishmcllls were shut do .... n:·
£tlollard Gounlon . Le5 FOllc/lcur5 de rl uit (Paris 1860), p. 34 . [0 3. 1)
Cu urdon. nMcl Ih al. in cel'win cirdl~~, IIII' galllbll'I'~ ....1' ..(' almoSI t'xclusil'eiy
W(" ne u (Le5 FfJuchell r$ de '11Iil , liP . 55ff.). [03.2]
""1'lu' lull-'clHll re uf the mllllici p!tl t;1H1I'tISlIIlut un IUH'IWluH' k. pllll'ed !.i ke u feli s h al
Ih(: dOflr of u gamhici' dowll 0 11 hi8 IUt'k . Ira _ rt'lIIainell i.1I the untlalil of ou r eir/'Ie.
'I'llI' wurt h), I ronpcr, hdj~villS hilllildf slatiolll'll tiU' rt' to pll y hOIl.)r to I.he guel ls 01
~O lile rl"·cplioll . was I!rcli lly II lIIazcll al 1.111' ~ i I ClU!c of tllf' ;l11'ecl allll Ibc house . .... hen
tor
~ ud tl,· nl )' ..a t a rolUllilUlC 0 ' cI,)ck in lire lIIorlliu j;. 1111" iilU l " ielilll tile green lullics
rellt l·neel. Ali UII other cvelliuI!JS . uml til!tijJilt· lhc infiul'ut,,, 'If Ilrt' ff' lis" . the ga ml,I"r
had 101;1 heavily. He rings Ihe heU ; no oue clime . l.Ie rill&! again ; lIothulg SliM! UI
th .. IUdge of the. slcelling Cerberus, an'd Ihe J our is ullreientirlg. lmputient , irri·
lult·,I. provokt!.1 ahove all IIy d Ie lu!;ses he hUll jus l sU~laiul'd , dll: lenDnt smasbes D
pant:: of glass with lUll wfllking-~ ti ck 10 ruuse the porte r. He re the mmudpul guarda-
mUll . untillhen a merl' sl'ec:.tator of this nt)(:lurnal Sc.C Ilr.. bt:!ievd! it is his duty to
intcn ·t:nt:. lie s toops down . lleizclI the troublclllakf'r by lilt: collar. Iwisu him onto
Ius horse. aud trots IIlIIortly orr tu lUll harracks, delighll:tlto IlIu'e a dt!Ccnt pretext
fur !'ullis )Ullg a fac tion hc dislikes .... E,,"plullations lIulwillu tBllding, the gamhler
spe nt Ihe n.ighl 011 It c:amp cul.·' i::llo uard Gourtlun . ~JI f'OIl(: h llll rll de "uit ( Paris,
1860). pp . 18L- 182 . (03,3J
On the Plllais·Ruyul : "The former minister of polict· , Me rlin . proposed turning
this palace of IlUu ry 01111 intemperate pleasure inlt) harrRe kll• Illul SCI to shul out
thai vile breed of bWllanit y fr om tbeir habitual ga the ring place." F. J . L. Meyer,
Fragment#! lUU Parn i". IV }ahr de r fran::o$;lIchen ReJmbtik lJlamLurg, 1797),
vol . l . p . M. 103,4]
Ot·h ·a u on the ION'lles of Montmartre : "They are 1101 wUllle n- lhey are nights,"
Mfred Delvau , u's Denous (Ie PlIri$ ( Paris 1860). p . 142 , (03.5]
Lsn't there a certain structure of money that can be recognized only in fate, and a
certain s tructure of fate that can be recognized only in money? 103,6]
Professors o f argot:" "Fbssessed of nathing more than a penea knowledge of
martingales, series, and intermittences, they sat in the gambling dens from open'
ing to closing time and ended their evening in those grottoes of bouillotte nick- ......
named Baural houses. Always on the lookout for novices and beginners •. _ •
these bizarre professors dispensed advice, talked over past throws of the dice,
predicted the throws to coltle. and played for others. In the' event of losses, they
had onJy to curse the toss or pUI the blame on a drawn game, o n chance, on the
date of the month if it was the thirteenth, on the day of the week if it was Friday.
in the event of a win, they would draw their dividend, over and above what they .
skimmed during their management of funds-a transaction which was known as
'feeding the magpie.' These operalors divided into different classes: the aristo-
crats (all colonels or marquis o f the ancien regime), the plebeians born of the
Revolution, and finally those w ho offered their services for fifty centimes." Alfred
Marquiset, ]m... d jou~urJ d'alltrr:/ou, } 789- } 837 (Paris, 19 17), p . 209. The book
contains valuable information o n the role of the aristocracy and the military in
the cultivation of gambling. {03a.l]
Palalll- Ro yai. " The second story ill inhabited lurgely by Ihe Iligh-dass femme,
perrluclI .... On the third lIoor IIl1d nu Imradis. in Ihe mamllrlill. rt':side those of II
lower grade. Their livelihood 4-01l1I't'ls them 10 Ii\"l~ in U... ceulc,- of Ihe city, in the
Pala is. Hoy ul. ill Ille Ru t': TrIl\·I·rlli!\:re. ami SlIrroumling areas ... , Pc rhapil 600-
800 live ill tlu' Pulais-Royal. Imt a fo r grealer nUIIIIH:r go walking the rl' in uu~
e vc nin p . for Ihul i;! wlwre m\.sl of till' itUers are lu be fOllllt! , On the Hue Sainl-
Honorf: IlUtI sumf! 1t,ljorenl !l tr'~I s . al evening_ they !ltoml in II row jusl like tht'!
cahriolelll for rt': nl in th~ Palais during lin- day. Rill their IHllllhers dimilli ~ 11 as o ne
"lOves furlh er away, ill tile rilY, fro m lhe Pa l ai ~. n oya l. " J . F. Bc nzellherg. IfripJe
gll$ci,rieiH>n flllfe;nc r R p.ise lIf1 ch P(lriJ (Durtmuud, 18(5). vol. I , liP. 261. 263.
Thl' author cSlimo lCIi lin: IIl1mhe.r of/p.mmclJ IJeNlllclJ al " H.I·ount! 10.000-'; " before
t he Hev.)iulion. ul'enrding 10 a police rf'Jlort . Ih ..y lIulllht:,..~1 28.000" (p. 26 1).
103a.2J
"Viet: Ilat! a';collIplis llt:d it ll ellillomary lu sk , for lu:r as fOl'the OUlers. It hilt! rdine(1
und rcnd(·rt·d dCllirable I.hc bru zen uglincss of her fn ce. Although tin: girl had 10M
I1l1IlI' of t.he s uburball «juain lness of hcr origills, she hUll become-wilh her s howy
jewelry a nti her phYllicu l allraclions oste ntalious ly worked up through creams-
c<lpahle of dimulatiug ami te mpting the b ••red appc tites and dulled senllibilitie&
that are ellJjvl"lI'd unly by Ihe pro\'ocatiunll of makeup ami the swirl of lavis h
gowns:' J .-K, Hu ys m~ns . Croquill Imrilliem ( Parill. (886). IJ, 57 e 'VAmb u.
lelllte"), (0 3a.3]
.. It is useless to) fl.X IK:cl thai Lourgt:ois cUllltl t:ver succeed in comprehending th t!:
II.
phe nomena of Ihe dist ributio n of wealth. Fur. wilh th .. tlevdoJlme nt of mechanical
IJroducliulI . prOperly ill depersonalized and arl'ltyt:d in thc: impersonal cnllec:tive
fonn of tile joiul stuc k compan y, whose shares a l'C finally caught up ill the whirl.
pool of the Stoc k Excha nge ... . They are , .. lo~ t by Olle, WO[] by ullol.her--in-
deed . in a manner 80 rt:lniniscent of gambling that I.he buying and !reUing of s locke
is aCluaUy kn own as ' playing' the market. Modl'rn economic' tlc \·e.!opme.ot as a
whole tcuds more a nel lIlore 10 Ira nliform eapilalilll society inlo a giallt inte rna-
tiollal ~a mhlillg house. wht:re tile bourgeois wuu and 108f:t1l ca pital in conseque.nce
of e ve nts which remain unknown 10 him . . _ . Tln- ' inexplicahle' is e nthroned in
bourgeois lIociely as in a gambling hall . . . . Sucee88I:' a nd failUre!!. thus arisi[]g
from caUSes Ihlll ure unanticipated . gene rally unintelligible. and 1it.'Cmingiy tie-
pendent ou ell/Hlee. predisposc the bOllrgeoifl to Ihe ga mhlel"s frallle of mint! .. , .
The t!apit alis l whose furl,une is tied IIJI in stocks and bond s, wb.icb are s ubject 10
vuriationil in markel villue lilld yield for whieh he docll llol uuders land the ca llsell.
i a professional gll lnblcr. The gambler_ howe\·cr . ... is II s upreml'l y s UI)Crstitiou ~
he ulg. Tile habilues of p:a,nbling ca6.ino!f alway, pn8Seu magic fnnnuJaillo conjure
Ihe rllle!f. On .. will mutter a pra rer 10 Sa ini Anthon y uf Pallna or ~OIllC olher spirit
of tll«· heavells ; anOlher will pluce his bel onl y jf a cerlain f'f)lo r hal won : while 1I
Ihiru h!lltls a rabbit'~ fool ill his left haod : a mi so o n . 'I'h~ int'Jl:plica hlt· in ~ociCI~'
('m·e/ops the bourgeois . II ~ Ihl' illt·xplicuble in uullln:. tlu' !!tl\'age:' I)aul Lafarl,'l ... .
'-ni,' Ur;;ul,' h<':1I tit's G(jll c~~lullbt!n~:' Die tlelle Zeit , 2'L IIU. [ (SllIlIgul't . \~(6).
\), 512. 104 , IT
AII"[ph Siaht, 111>'l1linllS u certain Chicllrll II~ I'rl'lIlie r CII11I'Ul1 Ilalu'l'r al Ih l • Bill
M~hilll!, allli IIH.lintains Illat he ,Ianeel\ lIudl'r dll' s Ur\'l'ilIoIWf' of tw u pvlirt' foCr-
gClOn l $ \\' hf,se solc reslw lIs iLililY i" to keel' a ll cyt· toll dIe Ila nring uf Ihill one IIIlln . I II
'-Ul.lncf·tioll wilh Ihi,;: dw 51u tcme nl--.-ilell. willltolli SIK'dfic re(t·rcncell . in WHlde-
IUar Seyffarlh . lfiJhrtlehnllHigen in Pu rill. 1853 "",1 1854 (Godla , 1855), 1" U(,......
 "" Iia t ooly the SUlte riu r ' t re ngth of t he }Joliee force ';ilD k4:t:p within certuiu barely
- a tll!tlUIl IC LOIIJJJ ~ til e lit-Ulali,y (.hhe l-"uris erow,I•. '· (04 .21
T ile " Origil1ul"- o illi rt o f primil.iw· m ll ll with 1' lI o nll UU ~ hen nl who CUll i1e seen in
the Pulais-Royal- is called ChllllrlJ(' Dudo.'! . {04,31
" Is it an tusignilicillit delight 10 temp' Cortune? Is it a pl ea s ll ~ !lnuitl of intoxica_
ti un to !lIsle in one lic.!ond monthil , years, II whole Iifetimc of (cau lind h opcs'~ I was
1101 lell yca r s 01,1 wht'li M. Grcpind . my maHer in the junior d uu, I'cad us the
faLle L 'Uomme e' Ie gellie <The MIUI lind Ihe CCll it· ~ . Yel I remember the tale
beller than if I had read it y(.'!ll·nlay. A genie p Yt!lI II Loy II ball of thread , a nd leU.
him : ' T his is the threa t.! of yOll r lif" , Take it. Whell you Ilmltime heavy 0 11 yo ur
hOlu.I8, pull it uut ; yo ur cl ay ~ wiU I}OSS quick I)r sll)w. according as yu u ullwind the
holl ra pidly or ti ttle b y IiI tie. So Iflllg liS yo u lea ve the thr ClI.d ulone , YU II wiU remain
.<;tal ionary at Ihr .!IlIme hour of yo ur existence,' The Loy look the th read ; fi rst be
pullL..J 0 1 il 10 hecome a m a ll , thclI 10 nlarry the girl be loved . then to &ee his
,
d uhl rell gru",' "I" to win oCfices Illid profit Ulltl IIOllor, to ab r idge a rucietiea. to
elWU IM: grid s and tI m infirmities that cOllie with the yellrs, ulI~1 finall y, alns! to Cui
s hort a lJCt:.vish old llge. I-Ie hlld Liv.,j just four mOliths and six dllYs since tbe dllte
of the gtlllic's ,isit. Well, what iii gamLling. I iIIwultJ Like 10 know. bitt tile art of
prod ut'i ng in II st:cund the c:hllnges that Des tin y ordinarily effcctll onl y in the
cOli ne of Ulan y houri! or even ma ny years, the a rl of collecting illio a ilingle m.llInt
the emutio ns tlis perilcd throughout tltt: slow-moving cxis tclleeof urdino ry men. the"""
sct:rel of Living u "" hole liff'time in a few nunutell-iu a word. Ihe gtm ie'''' ball of
th read ? GarnMing ill a haml-tu- halul ellCOllnlcr wilh Fate . . . . T he Slake is
money-in other wortb, immediate , infinite possihilities. , .. P erha ps tbe OU I
card tllmed , the baU now rolling. will give the player pa r ks ami gurdenil , field, uod
forests. eastJes anti OIl1 nors lifting hell vellwa rd their I)oinled turrel8 lIod fretted
roofs. Yes, thaI tiltJe bouncing baU holds wilhiJl it Il /'ret! of good lund and roof8 of
slil le with scull)lt-.tJ chiruneys reflected in the broud hosom of the Loire; it coolaini
trea8un :s of arl . ma r vl'1s of tas te, j ewels of p rice. the mosl exqu.i >iile bodiel in all
Ih e wo rld , na y! eve n ~ o tll 8---!!o ul s 110 one e"'rr d reomt.'tl wer e vellul, II U tbe dt.,<:orll·
liolls. aU Ihe dijjtinctiolls. all tile elega nce, allli all the puiil80nce "f t.lle world ... -
Alltl yo u wouItl huvt' me give up gamMing? Nay ; if gambliug onl y u\'ailed 10 give
enilleu hoves. if vur olily "is:ioll of il were th e smile of its gl·ec.n eyes. it wo uld be
loved Icss fanatically. Hul it haJj 1I0ils of ad amant ; il is cr ud alld h·r rible. At it'
CllpriCt· il gives puvI'rl y allli wrelc!u.:dot:Ss alllJ sllOnw- lhut i" wh y itil ",otaMeI!
allor!: it. The fascina tioll flf d allger il!- at lhe hntlolll of all grea l p assions. There is
no fulLlellS of IJleOilllre unl e~lI lh e pn.'"(:.ipicc: is m:ar. It is lilt: minglillg of ter NJr witb
d,.liglu thaI iulO,ocalt.'fi. Ami ",·hlll mon: ler r ifying than ga mhling? It gil'ell and
lakes IIWIlY; itil logil' i ~ Iwl our lugie. It is ~ Iullih and h lim l a nd tlea r. It is a lmighl Y,
It is n (; ...1. . .. It 111/'; ils \,..,Ia.ri,·,; li nd its ilaints . \·.. 110 luve it for itsd r. IIfl l fOI" whal
il prultlil!<:S. alltl wh" fnll ~ I u""n in a ~Jo ntl i(tn w h~:n il.ll Itlow "Irike;; " W ill . It s lri p~
Ihc-III rul hll!>isly. II mllhey lay Ihe ,.I ame 011 thf·n1 Si~l vf")j. nul (.I ll Iheir d u ty. ' I plnyed
/I had ga me,' they Slly, They fi nd fault wil.h themselveM; d lCy ~ I " 1101 Li ll' pheDle
d wir Gud ." An liiole Fran ce. Le jurl/i" t/'Ep icu re ( Pa ris) . pp . 15- 18 ,' (04a}
Bt.nlllli ;;ceks 10 allvocll tf! . Ihrongh eXlellsive IIrgumenla liOIl . the bellefil ll of lid·
miILi s tro ti\',:-a ~ opposed to ju tlicial- llI"oecedings ugaill8t p ro~ litlites: " Thus . the
j allclU ory of j ustice will 11 01 ha \'t! been p uhlid y sullied Ly a u unclean IIffair. and
t1,,~ crime iii l'"ui.. heJ . b UI in u {Li ;;~' reli o u llry manner, by virtue of a p articula r
"nlilllillct' of the P refe~.' 1 of Polite." F. F. A. HCra Ul!. Le, FiUes publiques de Paris
el fiI /Joii!'e (IU; le$ ri git ( Pa ris and Lripzig, 1839). vol. 2, p . 50. (05, 1]
"A ,"UriO Il ( l unIcal) .. , iii Il. handsome youllg mUll , iltrong aud well built , who
k1l1l"' 5 how It) defend ILimseU, to dress well . to d ance. Ihe ch" hue and the cancan
wilh eit!ga llt:c . to be obligillg toward girls devo ted 10 the cult of VenulI, lind to
pro"idl' for them in tilne8 I)f cI)nSpiCUOII8 da nger ; who knows also how to get them
respecl alllilu rOI'ee Ihem to condllctlhcllIseives d ~e nt1 y.. , , Here , then . we have
II dasi of individu als who . from time immemorial. ha "e dislinguished tbemselvea
by their IIttracti" e a plJearK lICC, b y their exemplary eunduct. and b y the aervices
they have n mdel-eU sodely. allli ",·ho 1I0W are redllce.l to dire circum. tooces."
a
50.000 Voleun de plus Puris. O il R i!.clu llwt;oll des UII CW" " marlollS de '" capi·
full'. . cOllt re l'ordOllllu nce (Ie M. Ie Prefel d e police. concernant IesjilJe.. pu.bliqu.es;
Par Ie bellll Theodore C(lIIc" n . cited in F. F. A . Beru ud, u ..
Fille. pu.bliq~. de
1'uris ella police qlli Ie. regit ( Pa ris and Leipzig. 1839). vol. 2. p. 109-110. 113-
114 . [The pamphlet slightl y lI utwales lhe work tha t cites it .] (0 5,2]
Fro m the police edict of April 14. 1830, r egulating prosti tution : " Art, (1) , , , They
are forbidden 10 appear al an y ti me . or on an y prt:lexi. io the urcadCll . in the
puhlic ga rdells, or on tilt: ho uleva n ls. Art . (2) Fille .. publiques lire not permitted to
engage in proslitulion except ill Liceni!etl brothels (muisoll..'l de tole rance), Art , (3)
fille.. isoUies-that ill to say, those who do 1I0t reside in Iiccn sed IJr utheltt-ma y not
eUler these IlII use. unlil IIfl er the lighting of the Slreet laml'l ; they must I'roeeed
dirt:t: t.I y Illere lilld be drt:8sed simply alld dt:c::ently.... Art. (4) They may nol , in a
5iugie el·ening. lea \'e one license" brothel to go 10 anotller, Art . (5) Unattached
girls /11 11 111 lellve the Licensed "rothel, alld return home by eleven o' clock in tbe
e\'cning, ... Art. (7) Lict:nsed hrothels ilh oll be indieltled h y un entry Light and, in
tile ead y hOul·';. hy all older wOln an tending the door, .. , Signet! : Mangin."
F. F. A: Ui·n HItI. us FWe. fl ublili lle! rle Pari.. el lu police (lui les regit ( Plin s and
Lt:i jJzig. 1839). \'01. 2, v. 133- 135. 10 5.3]
UOIILl~e" ('u rllla l"ked fU I· lilt' '. rigll(/e rl'orrlrc: lhree frult ell fur identification of a
"r..,~ t il uh' Ul uJ~' r the a ge IIf twent y-o ne; faItccll frullI:il fo r illelltilica lion of ItII illicil
l,rHtll+'!: twenty-fl" e frOIll':8 for iilenlification fir a "roille! of nlloOrs. Ber ll ud . w
f'illes ,m lJlil/llr.$. 0 ' 0 1. 2.> Ill). 138-J:W. (0 5.4]
EX I'hlliuliu II~ o(f" retl 10)" U;'I'/11111 cUllcl'r lling hill JlroJlo~l.t l~ fu r new l"I~glllati",";. ( 1)
Willa re~pe('1 lu the 01~1 WtJlllan at tim thr~!lIhold ! "T he st..-eolld I.Qrligrll.llh pruhilJilS
thil! woman from va""ing beyond the dool1itep, becaUAe it uften happens that ahe
has tbe audacity to step out aDd iutercevt passersby. Wit.h my "WII eye~ I huveaeen
thel:le panders take nU'n hy the IIrm or hy the coat and , so to II peak . (urce tlll:m to
enter tJu~ir housea." (2) With respect to the interdiction on commerce for prosti-
tuln: " . would IIlao forbid the opening of IItorell or shups in which fille, pubIUJIU!:'
are inlllaUoo as millineNl. teamslresses, seUers of perfume . and the like. Worn!':"
who work in thela t tores and shops will station thelmelvel! al open doo rs or win-
dows in order to lend l i~ab to pallSenby... . There are othcrs more ingenioull
who do.e their d oor s aud window. but send signals through glass parte. unpro-
vided with curtains; or the curtaint are left open just enough tu permit easy com-
munica tion bel ween outside and interior. Some o( thetle women rap against the
front of the IIbop each time a man pasSeti by, so that he r etnnll to the IIIHlI where
the noise was heard; and then . uch scandalous lignll and beckoningt ensue aa
cuuJd escape the attention of no one. All these shops are found in the arcadell!'
F. F. A. Beraud, Le, Filla publiq~ de Puris e' 1(1 police qui Ie. rpgi' (lJariMand
Leipzig, 1839), vol. 2, pp. 149-150, 152-153. (05a, l )
Bi:rIlud declures himscl! in favor of an uniimil,ed number of brothels. " Art. (13)
Every woman or girl or legal age who has s uitable space in her living quarters ( • •
lealll twO rooms), and who is authorized by her hus band if she is married , ... will
he able, al the proprietor or principal tenant or the house-llhe inhabits , to become
mistreu or tJltl. housc and to obtain a license for operating a brothel ." Her aud. UI
Filb?, publique, de Poru, vol. 2. p. 156. [05a,2]
e1gt~whe re . thc inve8tigatio n ~ of the police turn IIJl man y more girls cl1gugell ill illidt
P"ostitulion tllan Juring aU the rest of Ihe year. I have often inquired into the
•.uu~eg of these peri.,dic Burges uf debauchery, bot there illn ' , an yone--e.vell in the
J}d tUilliSlration- who call a n ~ we r thi ~ ,(ueuiun . I huve to rei), on my own observa-
liolls bere. 111111 . after lIIuch lH:rlleverallce, I hani finally sueeeeded ill eliscovering
diC" tnle print:i ple of thig illerca8e in prostitution ... a t .. . certain times of the
yea r. . . . With the approach of New Year'. Day. oCthe Fea!;t .,( Kings , and the
ft'stivalli of the Virgin .... girls like to 19"e a mi receive presents or to offer bea uli-
Cui hOlHlucts; they al$o want a new eif'en rur lill'mseh 'es. or a hat in tJle newest
fa8ilion , and, lack..ing the necessar y pecuniary means .. .. they turn for some d aYI
to prostitution 10 a<:quire such mellns . . . . lIere, then , ar e the motives for the
n-c rudesct!.l1ce ill aelS of d ebauchery al certaill intervals and during certain holi-
clays." f. F. A. Be.raud. Le, Fille. publiquel de Pa m et 1(1 police qui b?& regit (Paris
;Inti Ldpzig. 1839), vnl. I , pp. 252-254. [06,2]
Againlit the medical examination at police head tIUa rh:r s: "Every woman seeD
"" alking alollg the Rue de J erusalem , either to or from the IHllice iltation there, is
immedilltel y stigmatized with the oamefille pubfique. .. It is a reguJar scand al.
011 the days sct aside Cor vi8 it ~, one always find s the approaches to the station
overrun by a large number or men awaiting the appearance of these uuhappy
creatures. kllowillg. lUi they do . Ihat dmse who Icuve by the dispensary have been
deemed heulthy:' F. F. A. Derau!!. u s Filkl publie/ue, de Pari" vol. 1. pp. 189-
190. [oo,3[

Her aud'! proposal ill that every girl, even a minor, , hould. if she so deairet, be
regis tered aJ a prol titute. From bis argument: '''Your feelinS of dut y demands.
continual l urveillanee to protect thelie children . . .. To s purn them i, to take on
one', head all the con&equencell of cruel abandonment . . . . They must be regia-
tered , then . aDd s urruunded with aU the vigilance of authurity. instead of return-
ing them to an atmosphere of corruption, lei U I t ubmil tbese hardl y nubile girl. 10
a regular life in a houlie specially designed to receive them... . Notify their pa ....
cots . AI 80011 as they undenta od that the di.ssolute life of their daughten will
remain undisclosed, thai it is a sec:ret religiously guarded by the administration,
they will consent once again to acknowledge them:' Beraud . Le, Fille' publiqlUll ,
(vol. 2,> PI' . 170-171. 105a,3]
" Why d01l' 1 ... the police allow. . sOllie or the mistresses of the better-known
hOIlHe8 of prostitution to give ... evening parties, ball, . alul concerts. with the
addition oC lables for i:t:arte? Theil , at least, Ihe shurpers could he ca re.fuUy
" The l oretU~8 prererrCfI the neighborhood aro und Notre Dame de Lorette because it
""as new. and becIlUSf'., as lhe first oceuplluts oCthe n:cently constructed buildinAl,
they paid luwllr !'enUi. (06,4)
"U it is a different Bort of allure that yo u seek , go to the Tuiieries, to the Palais-
Royal, or to the DouJevard dCi haLielli. There you will see mo re than one urban
siren !!eated on a chai r, her fect reilling un another chair, while beside her a third
chair 1ie4 vacant. It i.tl a magnet for the ladie, ' man .. . . Thc milliners' , hopl ...
likewise offe.r a muJtitude {If resources for ent.husiasu . There you dicker over
hats-pink. greell. yellow, lilac. or plaid . You agre.e on II price: you give yo ur
address : and next day, at the appoi nted hour, you ilee arri ve at your plae:e not only
Ihe hut h ul the girl who WIUI Jlositiunt..-d behiull it , and who Willi crimping, with
,1,.lleah' lingcril, the ga ute, Ihl" rihbon, or Sllllle other' frill so plea~ing In th;~ la-
dil·Ii.·· F. F. A. 8haud. I.e' Fillc. publilIIIC .• d~ Pild.; Preceriees d '/Ule notice ,.;.10-
ri(JIfI: S llr Itl pros tl~tlltio" dll~;; lc.~ , fi ve" peC/pllls de lu terre, by l\1.A.M., \' 01. I ,

watched , whereas in other circles (gambling houses are meant] this is impossible.
aee.ing that police action ... there is ... virtuaUy niL " F. f . A. Uha ud. Le, Filk.
,mblique$ de l'aria el lUllfllicequi kl regi, (Paris and Leipzig. 1839), vol. 2. p. 202.
[OO,I[
" There ure. ... epochs. !!eDSon" of the year evo!;n , which are fatal to the vi rtue of a
grellt ma ny ylllHlg Purisie""el . During these pe riods , in the Licen.set.l brollll·.11Ii and
pp. "ii- dv t Prauetl. {06a.lJ
"1'lIl1t the numher of Jillcs pllb/i'/UC:S al first S t"CIIIS \'er y grt'ul is owing 10 a ~ ort lIf
IJliantaslllago ri a prolluccu by IIII' cumi.uSll und goingli of tllese WOlllen along a rou-
line cin~ ujt. which has thl' effect of mu.lti plyil1g tllt;m to infmilY.... AIMing III thi ~
illUsion is t.he fuct Ihat. on II sinpe evening. thejillf' pllblique very ofh:1I spuru
Inultip l ~ dillguist!8. With 1111 eytl jU~ 1 the l ea ~ t Lit pru(:ticed . it ill easy 10 C'onvince
onellClfthat the woman who at eight u'd ock is drCl8e(1 in a rich Ilnd elegant outfit is
the same 100'110 8Jlpearll a, a chl':llp gr~clle al nine, and who will show herself a l ten
in II peasanl tln'lili, It iHthill way al uU points ill Ihe eapitullo whidl prostitlltl.... are
Iluhit ll ully .lruwlI. Fur exulliple: follow onc of thelle prill down the boule\·a rd .
between the I'urte S lI.inl ~ Martin 8ml the I'ortc Suint -Ilenis, She i ~ attired ror the
nonce in a hal with reallier s lind a silk guwu C(>ven-d by II 8i1a ",·1. She lurm into the
Rue Saini-Martin . keeping always 10 uU' right-huntl lIitle, COlllell to the IIl1rNJW
stl'I..'t!l8 Ihlll border the Rue Sa int-Denis . und enters one of thl; IIUlllerou.!! Louse8 of
Ilelllluchery located there. A short liln .. later. IIhe comes out wearing her gray gown
or r ustic weed.!!." F. F. A, Ueraud . Les FilIe, publiqlle8 de Paru (l~ris and uipzit:.
1839). vol. I. PI" 51- 52 . 0 Fashion 0 [06a,2j
u !! Filles de marbre <The Marhle Muidens), a pla y in five act•• with sonp, by
JIoL\l . ThcOtlore Barriere a ud Lambert Thibuusl: performed for the firet time. in
I~ari!l, al the T heatre Ilu Vaudeville, May 17 . 1853. The fir st ac t h as the main
c!lsractcrs uI'pea ring all ancient GreekH; lht: hero , Itaphuel, who laler dies for love
uf the marble maiden. Marco, i.s here the sculptor Phillias, who creales the figures
of marble, Th .. IIcl closes with a smile from the slatues: the y remained motion1ess
when Phidiu8 promisell them fame, bul turn smiling to Gorgia 8. who promises
tht:1Il 1Il0ney. (07,IJ
" YOU !Iee, ••• in l~ris uu!re a re two kind s of women . just as there an! two kinds of
honsl'S ... : the bourgeois house. where one lives onl)' lifter signing a lealle. and the
rooming hOllse, where oue lives by ule monih . . . . I-low are they to he distin-
gui&hetl? .. , By Ihe sign .... Now, the outfit ill the ilign of the female . . . , and
there are outfiu of slIeh doquence thai it is absolutely a8 if you could read on the
second floor the advertilleillent, ' Furnished Alutrlmenl 10 Let '!" Dumanoir and
Th . Barriere, Le~ Toilett es toptlselue,: Co medic en lUI (l et e ( Pun.. 18S6), p . 28.
107,2J
Nicknames of the drum I:orps ul the Ecole Polytechni<fue around 1830: Gavotte ,
Vaudc\·ilIe, M ;' l odranlt~. ZCJlhir. Around 1860: Urin d ' Amour <Blade of Love).
Cuin e de Nymllhe ( ymph ', Thigll). <G.) Pind . ( llu toire de " Ecole poly(f!()h-
IIit/lle( Puriii, 1887).> p . 2 12 . [07,3j
Buurlier proposeR that Ihe gamhling house!! rcoflcll I'ollceuions and Ihat the re-
cdrl! be used to build an ol)Cra h ou}!~"one Uil magnilk'en t as the ' tock Ex-
clllmgc"-aIlJ a hospital. Loui ~ Bourli~ r. Epfrre aux detrtl c reu r~ du j eu (Pam.
183 1). p, vii. [07,4j
A!!ainl>t thc !;8 mhlillg IlrllI of O..nazl't- ".. hich, a nJUn!; other thillgs. ellgaged in
iIlt'ga l busiJICSii prlwtiet'$ h y u$lng. in lIS gU lIlhlinl> houses, II higher e.xchange-rate
U II gold for I h U ...· II traIlS IlI' tiOIl!~-IIIt; rollowing tra t' t apl'l'llrl'll : Louj/i DOlIl'lier.
I'cli';oll a MM . les (/eputh (Pilrill [Cltleril'!! d ·Orli·unij]. JUlie :~u. 18:~9) . Htl urlier
...·IIS a fonner elllplo" ee of Ihe firm. (07,5]
0 .. th" D<JOr or Ihfl Stock EJl.c h .. n~. a. un o ur parquet .
\ 'n u come lake your ~h a lll't:tI. wa ~("rwhal )'uu rna )':
lte.1 an,I 1,1""k .Il l . ren te d quoro n'c. rise II lId (all III Ihfl lJour«.
or CVf' r y Iflu "",I " ' ·... r y lI"ill are I'I)uall)' The H'\lI.r cl'.
FI'" if "Ia,'ill! 11,t: markel is j" ~llike our roule tt e ,
Why "rMtril,,' Ihe lalll'r alllltll.: former . h"' ~
Louis Bourlil·r. S furl t't!~ r; I'occa~ion de 1(1. loi (Jlli sUPllrim e III ferme des jew:;
:l tltlrI'~sel's (i III Chtwlbre (pari,. lRJ7). <p , 5), (0 7.6)
A grell t Pl'illl (lilllOgrllph) from 1852, Mllison tJe j eu <Gambling House ). s how~ at
('I'ut t'1' tiu- elllhlt~lIIati c fi gure of u pallther or tiger. 011 whose coat, a. thou~ ou a
rug. the Iwller half of a ruulette tallie iSliet . Cabinet d e~ ESlaml)l!s. (07a, l j
" Lt>rd lt8 ",'cre " ariuusly priced . lIecol'dilig Ii) the districts in wbit h they lived."
Gding from the cheaper to the more expensive: Rue (Ie Grammollt, Rue du Helder,
nues Saint-Lazart' and Chaussic--d ' Alitin. Fuuhourg du Roule. Paul IPAriste, 1.0
Yil! e' Ie nW,lde du boulevard, 1830-1870 (Paris <1930»). PI" 255-256. (07a,2j
" Women a rc 1I0t allowed in the.S tock Ell-change when price' a re being quoted , but
Ihey call bl' IIt!eIl stalliJilig a round in grOUpli outside. impatientl y awaiting tbe great
orad.: of lile day." Acht Tase ill Paru (Paris . Jul y 1855), p. 20. [07a,3j
~ ln the thirteenth arronlJwfflImJ there are women who expire as they begin to
make love; they whisper to love a lasl sweet nothing." Louis lA.uine, I.e 'Ji-eiu'hne
Arrolldiss~7IIrot de Paris (Paris. 1850). pp. 219- 220. A nice expression for tbeLady
ofCamcilias, who appeared two years later, <See OlOa,7,) (07a,4)
At the tillle of the Restoration : '·It was DO disgrace to gamhle. . ThNJugh the
coming aUfI goin g of lIoltliers. who were alll)ost always adept al game!! of chance .
tile Na poleonic wars luuJ ~ prcad abrtlllll the pleasure of gamhling." Egon Caesar
Coute COI·ti . Dcr- Zmti)f'rer 0 0" Homburg ulld Monte Curio (Leipzig ( 1932»).
Il.30. [07a,5J
JUllual'Y I. 18JI.I. " Aftel' the 11I'ohihition , dIe FI'ench bankers in the Palais-Roytll ,
11('lI u7.,-·! awl Chaberl. 11"purted for Ua.len-ButICIi lind Wieshaoell. and many em·
,,1"),I"'s went 10 P Yrillon l , Aachen . Spa . and d iewhere." Egon Caesar Collie Curti .
/)(' r lllllifflrcl' V(JII JJ om/J//rg !lit" MotHe Carlo (uipzig), pp . 30- 3 I . [07a.6J
I-'r"lII M. J . Ducos (d(' C(Jllllriu). Comme nt on se mine Ii hi Bourse (Paris, 1858):
" 111 III> ""ay Ilcsirinj; 10 a lllu·k I" gilima te rig.hts. Ilul\'e nuthing 10 say ugainst the
""rinus VPt'I';Iliuns of IIIl' Stlll'k MUl'k('l . operutionll fnr whidl ! tockbroker s wcre
~ l'cci li! · n.lI )' I·rt'lllt'ti. My "riticislll COllcerns Iht! COllllnissitJllS charged 0 11 Iictil.i tJu ~
IIHu·kets., . . as well"" the usurio us ellrnin gs" (" .7). " Nu matter how fa"orahleit
Illil;lu huppe n 10 lw. 1.llI'rt· is 11 0 luck . in tllf' "Ioying of the Siock Exchaugc. thaI
could withlltand the exorhitant com1l1l8610U& of the Ilockllroker.s. , .. On the
Rhine, there are two gambling establishments (at Homlllirg and Wiel>hatlen) where
t.hey conduct a game of Irenle el qlloroll'e in which II 8ligllt cummisilion of 62 1/ 2
cellLimej for every 100 fra ncs is d educted in advalll:e .... This iii ... one thirty.
second of the Blockbruker ', c:ommiu iOIl and the earniJlglf combined . Trenle el
quoronle is played for ~ a ud hlack, juilt as on the Stock Ma rkel oue plays for the
nse and fa U, ""ith the difference tbll.t the odlls ar e always ulI.clly the same with the
former a nd an y kind of fuud is impossible--the weak , there, heing nol at aU at the
mercy o( the Ilrong" <p. 16>. [07a,71
In the prOVUIl:eS, s peculaLion 011 the Stock Exch ange was Ilcpelident 0 11 "getting
lIews from Pans . .. about the flu ctuation!! in the eJ(ch ange of the most important
81ocks, ... SpeciaJ couriers alld carrier pigeollil had to ser ve tltis end, and one of
the fa \'onte methods in a France dial , in those days, W 88 dotted with windmills was
l() transmit signals [rom miU to miU . II the window of one of theM! mills W 88 opened,
that meant a ri&e in prices, and the si~al was taken up by nearby mills and passed
on ; if the window remained dosed. then a fa U in pricefl ""as indicated. And the
news traveled in this way. (rom mill to mill, out of the capital and into the pro\··
incell," The 81I1.II C brother s. however, preferred to ma ke moe of the optical tele-
graph, which waa legally reserveti for the goverllment. "Olli! fiu e day in 1834, al
tbe request of an agent for Blanc . a Parisian telegraphist in all official telegram
&ent all H to BordeauJ( , which was supposed to indica te a riae in stockll. In order to
nlark dtill letter, and abo to guard agai nst discovery. he inserted after the H •
&ymbol denoting error." Difficulties cropped up aJong !ltis rout t:, alld so the BlanC!!
combined this method with another. " II. for ua mple, tbe Frellcb stocks at 3
l)Ilrcclit showed an advance of at least 25 centimes, then the Paris agent for the
B1ancs, a cert ain Gosmalld , sent II packet containing gloves to the telegraph official
in Tours, wbose naDle W illi Cuibout , and ""ho was prudently addressed on the
parcel as a manufacturer of gloves and stocking!. Hut if there was a decline of a.
least the same allloWlt, tlicn Cosmll.nd sent stockingll or necktie!!. The addreae
written on this pac ket carried a letler or a number which C uibout then immedi-
ately dispatched, together with tbe error symbol , in a ll official telegram to Bor-
deaux ," This system ftwetioned for about two yea rs. Reported in thf' Gazette de.
Tribllnuux of 1837. Egon Caesa r Conte Corti. Der Zw.tberer I;o n /lomburg und
Monle Ca rlo (Leipz~ <1932)), I)P' 11- 19. [08,1)
Amorous Conversations of Two C irls of the Nin eteen th Cenlllry lit Firetiide (RoDle
alld Paris: Verlag GrangllzlW , Vacht' & Cie). Some remarkable forlllUl ations: " Ab ,
an alill clint. how l!imph: these wunhi. li nd yr t so cJ(prcssive. Look at III ~ 1I0W-
how do you like my ass . th.~n . 111111 my I:Ullt , dear l ,ise?" (p . 12). " fllth e temple the
~ acrificcr. in the allus lhe fu refill g.. r as sex tOil . on the clitvri, two fingers as dea-
t' UIIS; and thlls fll""ailed the I.!Iing8 that shuuld comc Ilwrc. ' lfmy IISS is in the right
position. thell plt'asc. Ill y friend . begin!· .... The names of the t"'·o girls! Eli8e and
L.i rulamin~ . [08,2]
wurnte 011 the fo sltion cor respo ndent Consta nce Aubert , who had ItII imJlortant
" osition 111 Le TempJ. II.nd whose arLides were paid for with (Ieliveries of faeltion-
Ilhle itemll from t.he IlUlISCllllboul wllieh she ha(1 wriltcn : "The pelt becOmes a true
.'Iourcc of capital which . Ila y b y da y. can rlJ( the amo unl uf ....venue one ""ishl.' I to
(lbtllin . AJI of Parill 1>t'Comes II. buzaar " 'here 1I0tbing ekll l>e~ tile hand that reachell
(or il . It's already her-II t.jllite a while sillctl Ihis Iland was eJ(tcnded." Jules
I..r.'f'omtc, l..e. l..eltrcs de VIlt! f:ngelgom , cd. Henri d ' Almer&! (Paris, 1925),
I)' 190. l£('omte'lI IClIl'rI liMIt appeared ill 1837 ill the 'rIlli!perlliun' of Brussels.
[08a,11
" It i ~ by lhe tl'miclicy ,If the mind caUcd rcminisccnce that the wish es of Iht' mDn
('omlelllllt:d to t.he gliuering captivit y of citic8 incline . . . toward a Slay in the
coun try. lowu.rd Ilis originuilibode. or allt'asl toward the IHlSSe5sion of a l imple,
tra lltluil gardclI , Ilia ,.yes DSpire 10 relit 0 11 ~omc greenery, sufficiently far away
from the stre5ses of Ihe shop COlluter or the intnulive r ays of the liv~ r oom lamp.
IIi,; sellse of smcU, I'onlinually assa ulted by pestilent emanaLions, longs for the
s«':nt of fl owcrs. A border of modelll and mild violets would altogether ra vish hil!
sellses . ... Thilj happiness ... ,Icllied him . he would push the illus.ion so far as to
trausform till' ledge of his wiUllow into a hanging ga rden , and the mantelpiec.:c of
Ilis unassuming parlor ifllo an enamel hed of blossolllll alld leavcs. Such is the man
of tht city. and such is the source of his passion for the flowers of the fields ....
Thllse reilectilJllII induced m e to set op a numbe.r of looms on which I hll.d weavert
make 11t.'1!ign s imitating the flowers of naturll, ... The demand for these kinds of
shawls was ellonll01.1 .... They were sold he for e being nlade: the orden for their
deli,'ery strl'8metl ill .... This brilliant periucJ of shawls, thisll:oldeo age of manu-
faClure ... did 1I01l u8t 10llg, yet ill fran ce it r esulted in M virtual goldmine, from
which f1o"" e,1 w"-lI.hh that was all the mo re cOllsiderable in that ita maio source wall
foreign . AJullg with the fact of this remarkable demand , it may be of interett ... to
know in wlull lIIallller it gcnerally propaga ted itself, Just as I had expected , Paris
hought up "ery few s huwl5 ",'itb natural flow ers represented on them. It wall the
,"
IlrOl'lIIces that demarllied these shawls, in prolJOrtioll to their distance from Ihe
capital; and ford gn eOlintriCl, in proportion to their dista nce from Fra nce. And
their reign ill llOt yel over. J stiU s uppl y countries all af'ross Europe, where there ill
hll rill ya challCIl for a , hawl of cashmere hearing artificial designs ... , On the basill
of ""ha t PariJ:l Ilid ri ot do in the case of sllawl8 with natural-Ho"" er design s, ..
('nuldn ' , UIIC eO lll'luile. n 'cogllizing Paris as the r eal centcr of hlSte, that the [ar-
tllt'r Olle 'gt'ls from this " itv, til .. closer one come~ to 11 11. 1111'01 illdillutiOIl~ and feel-
illK's; tlr, i.n IIlher worl1 8, tillit lu te alld nDturalm!ljll hllvc. ill this cue, IInthing ill
",')IIIIIIUIl_ UIIII ar.: evell lIlutlllilly l·xclusive?" J. Il" y, Mlillufact un:r IIf Cuslullcre
Shu""I.'! . Etudes fUlllr .t erl/ir Ii f'hilll oire des dlfiles ( flllri s, 1823). PI'. 201- 202 .
2!H-?06
. - . TI, ' · ClI" I'""
J III " IC D"bl"
I III ,' lelille
' jNa UunD
" Ic ('Olltams
" . on t IIefrOIlU~" "lcce.
" an
1 1I ~l: riJlt i u lI by 11 11 cli rl y rClld,'r : " This trcati ~1l on II !It:cmingl y lrivial s uhjet::1 ... is
rf'llI ar kul,le fur ,1111 lIurily alill c1llgan'!t" of itll IIlyl.. , U8 Wt·U as fur an ,'rUilitioli
WlJrtllY ufAn a r (' IHlrili.-l." (08a ,21
Should the 80wer fashions of the Biedermeier period and the Restoration be
linked to an unconscious discomfort with the growth of the big cities? [08a,3]
" At Lhe beginning of the reign of Louis Philippe, public opinion was a lsft [ like dUll
nf tOllay f.once rning the S tock Market] opposed to games of chance . . . . The
Chamhe r of Deputies ... voted for their suppressio n , enn tho ugh the stale de-
rived from them an a nnual revenue of twenly million fran ci . . . . Attbe 11 r"e8enl
time. in Paris. play o n tbe Stock Marke t does not provide anything like t we nty
million per year to the gove rnme nt ; but. o n the other ba nd , it d uet! produce at least
one hundred nillLion for those stockbroke rs, o Utiti(le broken,' a nd U8urera ...
who reported earnings . . . • raising al times the inleres t rate 10 above 20 per--
eenl.-These htlDdred million are won from tbe four or five thousand undiscern-
ing players who. hy tee kin g naively 10 take advan tage of one a n other. get
comple tely take n themselvel!" (tha t ii, by the stockbrokers). M. J. Ducol (de GO b-
drin), Comment on JC raine a 10 BourJe (Pam, 1858), Pl" v-vi. (09,1]
During the July Revolution , the Stock Exchange was used al a military hOlpital
and munitionl fa ctory. Prisonen were e mployed in the ma nufacture of grapes hot.
See Tricolel, E.quu.e de lJuelque••cene, de l 'inlerieur de lu Bour.e <Paril,
1830>. It WIl8 al80 used a8 II treasury. Silverware looted fronl Ihe Tuileriell wa,
brought there. [09,2)
There were I hawl8 that took twenty-fi ve to thirty daY8 to weave. {09,'1
Rey argueR in favo r of Frcnch cashmeres. Among other lhinp , they bave the
adva ntage of ileiD~ new. Which Indian shawls are not . "Need 1 mention a U the
revela it bal witnessed. a U the torrid IcenelJ-to say no more--it haa served to veil?
Our modest a nd discreet Fnmchwomell would be more tha n a little enu,arralsed if
they ClIme to know tlu! o rUecedent, of that shawl which makes them 10 happy'"
Nevertbelell. the aut hor does not wish 10 endor st: tlle opinion acco rdin~ to which
a U shawls have already been Wllm in India-a proposition just al false 81 that
"which 8ays that t.he tea coming o ut of China has already beenllteeped:' J . Rey,
Elude, pour servir a l'h isloire des cl,ale, (Pans, 1823) , pp . 226--227 . (09,4)
The first 8hawlfl appcar in France in the wake of the Egyptian call1llaign .IO
{09,51
Onward. my Iillten , march on, nighl and day.
AI every hour. lind a t livery pril·e. to make love.
Ilere below we Ire .. on~ train l'd b y (ale
To _ave Ihe home lind aU re~ ,~'(:lable ,,·omen.
A. Barbie r. Satires et p ae mes: La~m'f:! ( Paris. 1837), p . 27 1; rilcd in Liefde. Le
SlIjnt.Simo " i~lIIe daTI' kl polosiefra,l(;tlue <entre 1825 el 1865 (H uurlclII . 1927» ,
p . 125 . [09.6J
In the sixteenth section of Baudclaire's Spleen tk Paris, "t:Horloge1t me C lock>,
we come upon a conception of time which can be compared to thai of the
gambler. [09,7)
Regarding the influence of fashion on erotic life, a telling observation by Eduard
Fuchs (Die KildAalll r dn- europiii.Jlnen Vii/Aer, vol. 2 <Munich, 1921>, p. 152]:
"\\bmcn of th(' Second Empin= do not say, 'I lovt him,' but rather, 'I fancy
hilll'-1'ai un capn'u pour lui.''' [09,8)
J . Pplll:o{1 dcpicts the high-kic kiu!I; leg in the callcan ..·jth the insc ription : " Preliellt
arms!" Eduard Fuchs. Die Korikutur del' eurQpiiischen VOlker. vol. 2, p . 171.
[09'l, 11
"Many of the 8 aLtmle IililOgraJlh ~ puhlis hed in the 1830. featured simultaneo uli
oLsct'.lIe va riatio ns for the lover of directly e rotic images .. .. Toward the end of
the T hirtit!8. these lIoyeltied pan ed grad ually out of !alhion ." Eduard Fuchl ,
lfflLslrierle Sittengelchichte vOn! Mittellliter bil =IH · Cegen llJort: Da, biirgerliche
Zeiwller. supple melll (Munich). p. 309. [09a,2)
Ed uard .'ucbs mentio ns " the ullpearanr.eof a n iUustruted catalogue of prolltitutes,
which coul(1 dale from 1835- 1840 . The catalogue in question consillts of twenty
erotic lithographs in color. each one of which has printed at the bottom the address
of a prostitute!' Fi vt' diffe rent arcades figure amo ng the fint seven addresses in
the catalogue. Ed uard F ueili. 1U/I.~trie rt e Sitl ense5chichte l.'Om Mittelllfter bis zur
Ge8enllJart: Da s biirgerliche Zeitalter. supplemenl (Munich), p . 157 , [09a.3)
As Enge.1s was being trailed by police agen t,. in c(l n~uen ce of stalt:mentl made by
itinerant German arUsan8 (amon« whom hill agita tion , up until the weake ning of
CrUo'. po~ition, had met with little SUCCC5I1). he '>'nlea to Marx : " If the sus picioUII-
lOOking individ uals who have been fo Uowmg me fur the pas t fourteen days really
are pol.ice s pies, ... tht'll Heloldlluarte rs will have handed o ut , ofla te, a good many
udmissioD tickets to the bal, Montesquie u , Valellti no. Prado, a nd the rest. I am
inde bted to M. Delestiert for an aCllu aili ta nce with 1i0llle " cry lovely grisetles and
fot milc h ploisir"' u Citt.'(1 in C Ulltav Maye r. friedrich Enge/.$. vol. 1. Friedrich
Engelll in seiner Friih::eit . 2...l cll. (He rlin < 1933». p . 252 .
[09a,4)
~.II 11148. nil a tri V thro ugh Frulwll'H Willl:-Jlr(lducilljll rq,oiollti, Eugds di~covl'r$
Ihal l'ul·II (jf tht'~e wi nCH l) rodll!'I~~ II di.ffe re nt illtuxiclI lilJII . and that with a f~w
IJIIItJI'~ rOil I:all I)a~~ lIu·ough ... all illll~"III\'\Jia Lt' Slagl:lS . frum tile Musarll (1IJa -
\Jrille tl"> th e I'-, a rsci" "luse. rrom I.,II' 111141" glut'l y {J r t he "aIJCUII III 111(> wll
' tl ardor of
r~'\I" IULi ll ll a r y fever." Ciled ill Gustav Mayer. Friedrich Engels. vol. I. Friedric h
".'I!!CU i'r~eincr Friillzeit (Ut·rli.n). p . 3 1\1. 1: [09a.5J
" After the C ufe de Paris d OHeti in 1856. the Cafii Anglai, .. ame to occup y a p08itioQ
dllrin@the Second Empire correllJ,lo liLling to thai of the Cafe LIe I>ari ~ Iluring the
reign of Louis Pbilippe. II W4l1 41 ta ll whitl' building with a malW of eorriLlon and
innume rable public 41nLl private rooms." S. Kracaue r, Ja cques OJJfmbaeh ulld d(h
l'uri.r Jeille r Zeit (A Uls tc nhuli . 1937), p. 332.13 [09a,6J
"The fadory worker s in France call the prostitution of thd r wivcs anLl daugbter .
Ih .. X'~ working bour, which is lite rall y c orred." Kurl Marx . Der 'li.rtoriJehe Mate_
ri(lJi."II/l5 . cd . Landshul IIlld Mayer (Leipzig <1932 ) ), ". 318 . 11 [010,1)
'1 ' he prillt selle r .. . ""illilrovide, on r equetit , the address of lhe model who has
posed fo r his obllce.nc I'hotOgrulllis." Gabriel PHin , LeJ Laideur5 dll beau Paris
(Pa ris . 1861 ). 1" 153. In the II ho l" of the~ imng iuJ. ob.8ccne I,iclures of individual
mOlle ll! we re hun~ in the winLlow. while pielUreli of group8 we re fOIIOt! inside,
[01O,2J
Dunce halls , a cconling to Le Cnricut"ri.~ te of Augus l 26. 1849: SalOIl t!u Sauva~ ,
Sa lon d ' Apollon, Chilleau des Brouillards, PariJ 50145 /(1 Republique de 1848.
Expos ition of the City of Paris ( Paris. 1909) , p. 40. [OIO.a}
'1'he regulatio n o( the hours of wo rk . . was lh~ firsl ratio nal bridle o n the
Iliurde r uus , me aningless c aprices of fa s hion--caprict's Iltat consort so badly with
the syste m of mode rn indus try." Footnote here; ""j ulm Bellerl remarked a ll (u
buc k all 1699: ' The uncerla ult y offas hioos does inc realle neL'eII.!IitoU!l I)OOr' (Eu"1'
(lbOld the Poor. Manufa clIIre8 , Trade. Plantation J, uncllmUio ralify, p. 9)," Karl
Ma n: . DiU Kapital. ed , KOrllch (Berlin <1932 » . p. 454. 15 [010.' 1
Frum the Petition elel JiUe5 pub/iqlles de Pari.! a MM. Ie PrI'/et ele police ele"
~disee par Mlle, Pull/ille f!t "posti/tee par MM. Ie. epiciers, eabareliers, ,..
III01Wdie rJ et march(ll1dJ de comeJlible5 de la capilaie . . . ; '1 ' be bus inelill in itllelt
ill IIl1fortWlatcly llwt(' ill-Ilaid , but with the compe litio n of othe r wome n and of
elegant lawed, who pay 110 la xes, il has oc..:ome whoU y unprofit a hle, Or are we aU
the mu re bla meworth y bc..'"Cautie w~ lakeca sb while they lak" casltnH!I'e sba",·!.;;? The
cit y "harte r guaranlees pe nollul frt.-etlom 10 e veryone; if Our I)('titioll to Monsieur
Ie PrHel pro\'es unavuiling. thcn we s hall .. , appl y lIIlhe Chambe rs, Othe.rwile.
il would he beller 10 livI> ill the kingdom of CoICOI)!la . whl!rc girls of our sort
forme,1 one uf tlu.· fo rty-four <li visions of the populace allli . 8S tlu·il· s olc responsi-
bility. had ollly til dance hefore Ihe king-which service we urll I're llart'd 10 render
Hill Hunor tJl ll llI·e.fecl . IIhnulllllt' e ve r wish it. ,. Frie.dric h \'on RUUIll f' r, Briefe UiU
,J"ris Il1Id Frunkreicll inc Jahre 1830 {Leipzig, 183 1}, vol. I. PI" 206-207.
[010,51
TIlt' a utlmr of the prtJal:t: 10 journc l '~ Poesies 1I1wa ks IJf " wurklihop@in\'olving
differc nt killll ~ of ne'!llIewo rk , whe n.', . ' . for fort)" centime. Iwr Iluy. the wom".u
a lld yuung gi.rlll with no wurk woult! ... tlluande r . , . llldr ... hcah.h. Nearl y all
of Ihcsf' IInfOI·tun !lle wo men . , . a.1"e fo rced to f",11 bank 011 the fifth quarte r of their
day." j.>an Jourllc!. ,Joe5i,,-s e t chmlt5 harm O /li~ rl & ( Puris: A la Librairie Uni-
v('ri!dlc II., Juubc rt . 2 Paua!;e du Saulllou. e l chez l'ulllellr, JUDe 1857), p, !.xxi
(E(liIM'l l'l"cface). (01 0,6J
"'Lc Troltoit de 13 Rue des Martyrs- cites m any of Gavami's captions but makes
nO me ntion a l all of G uys, who nevertheless could h ave furnished the immediate
model for the fo Uowi.ng description : "It is a pleasure to see them walking down
. hi); asphalt pavement, one side of their dress hitched up jauntily to the knee, so
as to Bas h in the S lU\ a leg fine and nervous as thai of an Arabian horse, full of
exquisite quivers and trem ors, and terminating in a half·boot of irreproachable
elegana=. Who cares about the morality of these legs ! .. . What one wants is to
go where they go." Aifrcd Delvau, LeJ Dmou.I d~ Paris (Paris, 1860), pp. 143-44
(Ml..cs lroltoirs parisicns" <Parisian Sidewalk.s~). [01001, 1)
Pro l~aI of C anilll'l; To use part of the Ilroct.'1!d s fro m the slate lotte ry 110 8i.ncome
fur g:ullhler s who ha \'c rt'Mhed u ce rlain age. [010a,2)
Lotter y a gcn u: "Their s hop~ always ha ve two ur three exill and seve r al com parl-
"Ients. so as 10 fac ililHte the o verlHpping operations of gambling and usury and to
l1 i1ow cOlls ide ration for timid l:uslomers. It i!I nol unus ual for man and wife, with-
UIII s Uiipectilig a t hing. to be s ilting right beside e ach o the r in these myste rious
euhicles. which each thinks to utili~e so c unningl y alone," Carl C UilCav j ochmallll ,
Reliquien , ed . Hdnrich Zscho kke. vol. 2 (Hedlingen , 1837), p, 44 ("Die. Glilckl-
i J!iele" ( Glim eli llf C hHnCe~). [010a.3)
" If it il the Itclicf ill my8lt'ry Ihat make!! belie vers, the n there are evide ntly morc
1,e1ieving galllblt'rs ill the worlt! thall helievillg worsh ipers." Carl CUlitav
Joe!unanll . RelilJltiell , cd. Heinrich Zschokke. \,,,1. 2 ( Hcchingell, 1837), p . 46
(" Die C liick.'!lpil·it" ' j. [01 0a.4J
Ael'o"d illg to Po i56on . " Mc moire ~ur It:s cil a nces ' Iue les jeux de basard . admis
dOllS les ma i"Oll8 de j e ll II .. Paris. presentc nl i la ba ullue" <Relw rt on the Odds
PI·...stntcllto the Balik by the Galllt's of C III~ncc O pc rating in the Cambling Ho uses
"r Pa ri,;). a9 relld hefo rf' the Al'Ulle my of SCiCIICC8 ill 1820 . the )'early lurnover in
Ircfl lt'-t' I_lm wa s 230 mill.inll fralll :S (ba nk.'s earniJl gs, 2,760 ,(00); in roulette. 100
Inillioll frulII 's (with th t' hank earning 5.000.000). Set· Ca rl C u,;lav jociunallll,
U"/h/llilm . 1" 1. IIt·ilwi t h ZSdlOkkt·, VIII. 2 (H,·(' hingen . 1837), p . 51 (" Die Gli.lc ks-
~ l'i ,· I ,'''J . [0 IOa.5]
Cambling is the infel1l£ll counterpart to the music of the heaVt'nly hosts,
{0IOa,6J
O n l.I a /i- \·y·d "rOil/ rim : " I..elf f'il ks de nmrbre huel inl rollueeJ Ille a ge uflhe courlc-
fla u . a nd Frou/rou marked iI, e llii. . . . Froufro u hrcak, lloWIi unde r the, ..
"rain or knowing dial her lire is ruinetl , ami rmaJJ y s b~ ret u rns 10 her ramily, a
dying woman ." S. Kracaller, Jacllu es Offenooch Imd dOiJ 1"n.riiJ seiner Zeit (Am.
slt'rtlam , 1937). pp . 385-386. The cOIlli"d y Les Fille$ de nUlrllre was an answer to
Duma'" Ltl DIJm~ al&X ccullfllias of the yea r berore. t~ [OIOa,7]
" The gamhler iA driven Ly euentially narcissistic anti aggreiij,ive desires ror om..
lIivotence. These, insorar a~ tbey a re not immediatc.ly !.inked 10 dirt"(:tiy erotic
desires. are char ac terized hy a greater tempural radius of extensiUIi. A direct
deliire for coitus may. through orgasm. he 8a ti~ fied more rapidly tha n the narci•.
sist. aggressive desire for omnipotence. T he fact that genitallt'!xuality, in even the
IIIllst favt)rabl e cases. leaves a residUt: of tlissatisfaclion goes back , in turlt, to three
fach : nol a ll pregenital desires . sudl as later are s ubsidiary to genitality, can be
accommodated in coitus; and frum the lItandpoillt of the Oedil)US complex. the
object is always a surrogate. Together with thetlC- two ... considerations !oetI ...
the facl ,lUI ' the imPU88ibility of acting out largt>-scale unconsciou s aggre8sioD
cOlltributes to tbe lack of latisfaction . The aggression abreacted in coitus is very
much domesticated .. .. Thus it happens that the nllr ciuis uc and aggre8sive
rictiull ur ulllnil)otc.nce becomes above aU a caus\! of suffering: ,,'hnever on that
account hu experienced the mech ani~m or plell8ure as "brcilcted in !ame8 of
chance , and pOllsesslng, as it were. cternaJ value, succwnbs the more readily to it
in proportion as he i.e committed to the ' neurotic p leuure in duration ' (pfeifer);
and, 88 a consequence of pregenital fixa tions, he is less ah)e to a9llimilate sucb
Illeasure tu lIormal 8exulI.ut y.. .. It should also be hurTle in mind that , acco~
to Freud, the It'!xuauty or human beings bears the stamp of It fun ction that dwin· -
(lies. wherea" this cannot in a ny way be predicated of the aggn:uive and narcissU-
tic tendencies." Edmund Bergle.r. " Zu r Psychologic tiC!! Hasardspie.len," Imago.
22, no. 4 (193f1), pp. 438-440. [011 ,1]
"The game of chance rel)t·eM:.nts the only occasion 0 11 which the pleasure principle.
Ilnd the omn.ipotence of its thougbts and des lre~. need not be renouncet.i , and OD
which the reality princi ple offers 110 Iltlvuotage~ IIvcr it. 111 this retention or the -
infantile fiction of omnipotence lies postllllmous aggress.ion agai n8t the ... author-
ity which has ' inculca ted ' the realit y Ilrinciple in the child . This unconscioUll
aggressio n . togetber with the opera tion of the omnipotence ofidell.s and the experi-
ellce of the WOCililly viable I'cpressed exhibition. conspires to rurm a triad of ple8l-
ures in gambling. This triad stands opposed to a triad of punishnlcnts cUlistituted
fro nl out of the unconscious desire or losll. the UlJI'onscious homosexuul d e~ ire for
domination. Mild the defamation of s<W!iety.. .. At lhe d t.'Cpe~t level , tht' !ame of
chance il love's will to he exto r ted by all U11(:onscifltls ma~{jc hj 8 Iic desigll . Thi.s is
why the gambler alwuY AIOlles i.n the long run. " EdnulIld Berglcl', " Zur P~ yc hol ogie
dl':ii Ha ~ard~pielers," Im (180, 22_ no . 4 ( 1936) , p . 440. [011.2J
Oril'.f accoullt of Ern.st Simmd 's ideail on t.llt> psychology (,f the gambl" r : " Tbe
ull!atiaLle gn:ell that limh no rest wit hin an unclldillg vicit}u ~ drclc, wht're 10Sl
h.'Ctlme8 lIlain a ud gain becomes IOIll!. jl! suititfl arist' fr.1D1 the lIarci.ssistic oomp ul~
sion to rertilize a nd give bil1h to oneRelf in an llnal birth fant aty, . ut"llas&in5 and
rcplal.ing one's own flltber and mother in all endlessly escalating process. 'Thus.
ill thc lil 8t an iliy@ia. die pa s~ iun fur gamhling satisfies the claim or the bisexual
ilieaJ . which the lIarcissist dist'ovcrs in hinlaclf; a t stake is the rormation of a
compromise between masculine. aud reminine. llctive and pa88ive. sadistic alII)
lIuliluchistic; and in the end il ill the unrt'"oived decisiun between genital and anaJ
liltit!u that confronts the gll mbler in the wt·\I· kllown symbolic colllrs or red and
hlac k. The pll8sion for gamhlill(; Ihlls serves an au toerotic satisfal'tion , wherein
iK'ttilig is foreplay. winning is orgaslII_ and 108ing is ejacu lation , di"Iecation , and
t'lIstrauon .'" Edmund Berglcr. " Zur Psychologie Ilee li asardspielerR," I maso. 22 ,
110.4- ( 1936), PV. 409-410; wilh refcrellce 10 Ernst Sillllllel, " Zur Psychoanalyse
ties Spielers," Inl crn(ltionoic Zeiuchrift fiir P&ychoanuly&e. 6 (1920) , p. 397.
[Olla .l]
"\l'id, the discovery or Tahiti , ilt.'Clarell Fourier, with the example of an order in
...·hieb " large-8eale uuluury" it compatible with erotic freedom , "'conjugal slaY·
cry" lias become unendu rable. I ; [01Ia,2J
Apropos of Freud's conjecture that sexuality is a dwindling function "of" the
hwnan being, Brecht remarked on how the bourgeoisie in decline differs &om
the feudal class at the time of its downfall: it feels itself to be in all things the
quintessence of humankind in general, and hence can equate its own decline with
the death of humanity. (This equation. moreover, can playa part in the uruni.stak-
able crisis of sexuality within the bourgeoisie.) The feudal class, by virtue of
privileges, fdt itself to be a class apart, which corresponded to the reality. That
enabled it, in its waning, to manifest some elegance and insouciance. [01 Ia.3!
Love for the prostitute is the apotheosis of empathy with the commodity.
[Olla,4)
Magiftlralt) ur Pili rill! Marc h wilil the , y, letn .
Pursue Ihe good work orMangin and Belleyme:
O".ip'. 118 chi leault ror the filthy Phryne5.
P.. ~tilenl , lonely, lind dark qUflr'ierl.
.Augusti". Marseille> Barthelemy, Puri.$: R evue sotirique il M. G. Deleuer' (Paris,
1828), 1'. 22. (012.1J
A description of the lower class of prostitute that had seuJcd in the vicinity of the
city gate, the harri(r~. It comcs from Du Camp, and would make an excellent
caption for many of Guys's watercolors: "If one pushes open the barrier and the
door that closes the entrance, one finds oneself in a bar furnished with marble or
wooden tablcs and tighted by gas ; tlU'ough the clouds of smoke g1ven off by the
pipes,. one distinguishes garbage men, diggers, caners-drinkcrs, for the most
pan-seated before a Bask of absinthe and talking to creatures who ~ as gr0-
tesque as they att pitiable. All of these creatures are dressed. in ahnost the same
way, in that red cotton fabric that is d~ar to A&ican Negroes, and out of which
the curtains in little provincial inns ~ made. What coven; them cannot be called
a dress; it is a beltJess smock. puff~d up with a crinoline. Exposing the shoulders
with an outrageously low CUt, and comingjust to the l~vel of the knees, this o utfit
gives them the look of large, inflated children, prematurdy aged and glistening
with fat, wrinkJed, dazed, and with those pointed h~ads that arc tlle sign of
imbecility. When the inspectors, checking the registration book, call them and
they get up to reply. they have all the chann of a circus dog." Maxime Du Canlp,
Paro: &; organa, .w/onCHD1U et J(1. vi~ dJI11J 10. second~ moi/il du XIX' Jihk vol. 3
(Paris, 11m!), p. 447 ("La Pro.citucion"). (012,2)
"The h atic principle ... of gamhLing ... cOllsists in this: .. . that ellch round is
independent o( the one preceding .... GamLling strelluously denies all aClluired
conditions, all antecwents .. . pointing to pre\'i(lUHQI:ti{IIIS; aud that i!J what dis-
tinguiilhes it from work. Camhling rejects ... this weighty palit which is the main-
stay o( work . aud which makes (or seriousness o( purpose, (or attention to the 10DJ
term, for right . and for power.... Tbe idea o( beginning again , ... and of doinS
better•.. . occurs often to olle (or whom work i8 a struggle; bUI the idea is • •.
useless • . . . and une must 8111nlillc 011 with LlI8Ufficit,:111 n!8uhs:' Alliin <Emile-
Auguste Charlier ), Les Idees elk, ages <Paris. 1927 ) , yol. l , lll'. 183-184 (>Ole
Jeu""). (Ol2.3]
The lack of consequences that defines the character of the isolated experience
<Erltbni.J) fOWld drastic expression in gambling. During the feudal age, the latter -
was essentially a privilege of the feudal class, which did n ot participate directly in
the production process. W'hat is new is that in the nineteenth century the bour-
geois gambles. It was above all the Napoleonic annies that. on their campaigns,
became the agents of gambling for !he bo~oisie . 1012a, I)
The significance of the temporal element in the intoxication of the gambler has .
been noticed before this by Gourdon, as well as by Anatole France. But these twO
writers see only the meaning time has for the gambler's pleasure in his winnings,
which, quickly acquired and quiekJy surrendered, multiply themsdves a hun-
dredfold in his imagination through the numberless possibilities of expenditure
remaining open and, above all. through the one rea1 possibility of wager, of mile
enj~u. What meaning the factor of time might have for the process of gambling
itself is at issue in neither Gourdon nor France. And the pastime of gambling is,
in fact , a singular matter. A game passes the Lime more quick1y as chance comes
to light more absolutely in it, as the number of combinations encownel'ed in the
course of play (of coups) is smaller and their sequence sha ner. In other words, ~e
greater the component of chance in a game.. the more speedily it elapses. nus
state of affairs beeomes decisive in me dispositio n of what comprises the authen-
tic "intoxication" of the gambler. Such intoxication depends o n the peculiar
capacity of thc game to provo ke presence of mind through the fact that, ill rapid
succession, it brings to the fore constellations which work-each one wholly
inde~dent of the others- to summon up in every instance a thoroughly new,
original reaction from the brambler. 'Ibis fact is mirrored in the tendency of
gamblers to place their bets, whene.ver possible, at the very last moment'- the
moment, moreover, when o nly enough room remains for a purely reBexive
move. Such reflexive behavior o n the part of the g-dmbler rules Out all "interpre.
tation" of chance. The gambler's reaction to chance is more like that of the knee
to the hanmlC1' in the patellar reflex. [012a,2)
The superstitious man will ~ on the lookout for hints ; the gambler will react to
th~m even ~eIore they can be n;cos,ruzed. To hav~ ~o.reseen a winning play
WIthout havmg made the most of It t.vill cause the ururnoated to think that he is
"in luck" and has only to act more quickly and courageously the next time
around. In reality, this occurrence signals the fact that the SOrt of motor rdIex
which chance releases in th~ lucky gambler failed to materialize.ll is only when it
does ?ot take place that "what is about to happen." as such, comes clearly to
consoousness. (013,I J
Only the future that has not entered as such into his consciousness is parried by
the gambler. (013,2]
The prosaiption of gambling could have its deepest roots in the fact that a
natural gift of humanity, one which, ~cted toward the highest objects, elevates
the. human being beyond himself, only drags him d own when applied to one of
the ~ean~ t o~jects : mo~ey. Th~ gift in question is presence of mind. Its highest
manifestaoon lS the readmg that 111 each case is divinatory. [013.3]
The peculiar feding of happiness in the one who wins is marked by the fact that
money and riches, otherwise the most massive and burdensome things in the
v.'Orld, come to him from me fates like a joyous embrace returned to the full.
They can be compared to words oflove from a woman altogether satis6ed by her
man. Gamblers ilK types to who m it is not given to satisfy the woman. Isn't Don
Juan a gambler? [013,4]
"During. the period of facile optimism, such as radiated from the pen of an Alfred
Capus. 11 WM customary on the boulevard to attribute everything [0 luck."
GastC?/l Rageot. "Qy 'est-ce qu'un evenement?:" I.e Temps, April 16, 1939. -The
.~ .
g~r lS a means of conferring shock value all events. of loosing them from the
COnlexts of e.xperiellce. ' ~ It is not by accident that people bel on the results of
elections, Oil the o UlbrPlk of war, and so on. For the bourgeoisie in n"rticul~
lOr ' . . ' r-- ,
I l Ocal affaIrs easily take the fo nn of events on a gaming table. -nus is /lot so
?lllch the case for the proletarian. H e is better positioned 10 recognize constants
Ul the political process. [013,5]
l 'lh: C~lIIetery uf the IlIlIocell tfj HII IJI·OIllCll oJC. "SlIdl wa s die IIlact' wlJil:\J Ihe
Pari10lanll
' u f t. IIe 'f . ~ CHlllltCI'"!UU'! 10
II tt.:Clllh eelliliry f~IIIIt!lIlcd a ll a ~ Ol· t of IlI glILrl(Ju
","- the Palu.i, . R.., yal or 1789 . . . . [II 5pile or t.he iUoe!Iltan' burial! and exhun18tions
going 0 11 tho' I'c. it wa ll /II JJllhlir lounge a nd /II rtndeJlVOll8. SImp' were e81ab lili hed
before the charnel llOu6e@, and pro8titute8 strolled nnder the cloi"leu ." J . UuiJl_
only al olwning tillle." Bab:ac, La Pelfu de chngrin . Editions F1amma rion (Puris),
~~ ~ "' J
inga, Herbs, de, MiUeloflers (Munic h , L928), p . 2 10.lQ 1013a ,11 Prostitutio n opens a market in feminine types. [014,2J

Are fOrlunetelling cards mo~ ancient than playing cards? Does the card game
represent a pcjoration of divinatory technique? Seeing the futu re is certainJy
aucial in card games, too. [013a,2]
Money is what gives life to number; money is what animates the marble maiden
.~n ·
On gambling: the less a man is imprisoned in the bonds of fate, the less he is
detcnnincd by what lies nearest at hand. (OJ 4.3J
The ideal of the shock-engendered experience <Erltbnu> is the catastrophe. This
becomes very clear in gambling: by constantly raising the stakes, in hopes of
~~ getting back whal is lost, the gambler steers toward absolute ruin. (014 ,4]

Gracian's maxim-lO in all things, know how to win time to your side"-will be
understood by no onc better and more gratefully than the one to whom a
long-chrnshed wish has been granted. With this, com~ the magnificent defini-
cion which Jouben gives of such time. It defines, contrariwise, the gambler's
time: "There is time even in eternity; but it is not a terrestrial or worldly time. . ..
It destroys nothing; it completes." J.Joubert, lhuits (Paris, 1883), vol. 2, p. 162.
[OHla,4]

Concerning the heroic clement in gambling-as it were, a corollary to Baude-

laire's poem "Le J eu ":"A thought which regularly crosses my mind at the gam.
bling table ... : What if one were to store up all the energy and passion ... which
every year is squandered ... at the gaming tables of Europe-would one have_
enough to make a Roman people out of it, and a Ro man history? But that's jwt
it. Because each man is born a Ro man, bourgeois society aims to de·Romanizc
him, and thus there are games of chance and games of etiquette, novels, Italian
operas and stylish gazettes, casinos, tea parties and lotteries, years of apprentice-
ship and travel, military reviews and changing of the guard, ceremonies and
visits, and the fifteen or twenty close·fitting garments which daily, with a salutary
loss of time, 3 person has to put on and take ofT again-all these have ~ .
introduced so that the overabundant energy evaporates unnoticed!" Ludwtg
BOrne, GtJammelte &hriflen (Hamburg and Frankfurt am Main, 1862), vol. 3,
pp. 38-39 ("-O as Gasunahl dCT Spieler" <GambICTs' Banquet» . [O I3a,5]

" Out ean yo u realize what delirium , what frenzy, IlOllieUeli tlte mi lul of a man
impatientl y waiting for a gambling den to open? Betweell the evening gambler and
the morning gamhler tht' l ame Iliffert llU exilil8 n ~ IH;lwecn the IIl1 nchalant hUi-
hand IlIIcl tile culatic lover wailing umler his mistrtllill'S window. It is oul y in .the
morning tllal quivering p8llliion a UII IItark need In anifcst themsc.ln:s in aU their
horror. AI lliallime uf d ay. YOIl Cii D stare in wonderm!!nt at t.he true gsmhler--O ne
who hilS nol ea ten or sl!!Jlt , Lived lIr tlllIu ~ht . 80 cruell y hall he been scou rged by the
lash of hiil vjl;e .... AI thai baJeful huur, you will nlt:e t wilh l'ycil whosc steady calm
i ~ frightening, wilh fa cci that hold yo u sltellbouncl ; YO ll will interctpt gazes which
lift the cards lIII ! i Kreeliily peer bcnl!alh thelll. Gaming-ho ..,I".8 Ibell rcar h s ublimity
p and their earliest green glow at dusk is the automatic signal for the Start of spring
[The Streets of Paris1
In short. the streets of Paris
~e sct to rhyme. Hear how.
-Beginning of Dil des rlteJ tk Rim. by Guillot (Pari$, 1875), with
prWce, n(Kd, and glouary by &Igar !\Jarc:u.sc (first ,",,-ord o£ W
second line in the original : M\Vas
ft
)
\Ak lea~ an imprint each time WI! emer into a history. L
They spoke of Paris as Ja " jill' qui remut'-the city ~t never stops moving. But
no less important than the life of this city's layout IS here: the Wlconquerable
POWCl" in the names of strttts, sqUlll't:S, and the~ters, 3 powtr w!llc.h
.persists in the
face of all topographic displacement. Those little theaters which, m the day! o[
Louis Philippe, still lined the Boulevard du Temple-how often has,one of them
been tom down, only to resurface. newly built, in some other quarlur. (To speak.
of ;ccity districts" is odious to me.) How m~ street. names, e~en today, prese~
the name of a landed proprietor who, (enrones earlier, had ~s demesne o,n th~
groWld. The name "'ChAteau d'Eau," rdening to a long-vamshed ro~tru.n. still
haunts various ammdi1.mnNits today. Even the beuer-known ea~g estab-
lishments art, in their way, assured of their small municipal immonality-to say
nothing of the ~at literary immortality attaching to the Rocher d~ Can~, the
\lefour the Trois Freres Proven~ux. For hardly has a name made Its way to the
field of gastronomy, hardly has a Vatel or a Riche achieved its f~e,. than all of
Paris including the suburbs, is teeming with Petits Vatcls and PeOtS Riches. Such
is the' movement of the streets, the movement of names, which often enough run
at cross-purposes to one another. [PI ,II
And then the timeless little squares that suddenly are there•.and ~o which no
name attaches. Thcy have nOl been the object of careful planrung, like the Place:
Yendome or the Place d es Greves, and do nOl C!~oy the patron~ge of 'world
L'-t but owe their uistenu to houses that have slOl'Vly, sleepdy, belated.ly
Ill:> ory. _L th treeS
assembled in response to the SWlmlOllS of the century. In SUUI sq~ares , e .
hold sway; even the smallest alford thick shade. Later. however, III the gaslight,
their leaves have the appearance of dark-grce:n frosted glass near the street lamps,
in the big city. [Pl.2]
TIll' Quurlit'r de rEur'OlJe already !;'xi~ l ed as a proje('I, irJI~ lIrl'orulilllll the flamell of
Ihf' Europeall capilal&. in 1820. • [Pl .3]
On Fehr'lIlll')' 4, 1805, houses were firSI !lumbered , II)' imperial de<:rt'fl. Prcvioull
allt' nlpl ~ to 110 this-in January 1726--bad mel wilh violent resistance . Owners of
houses 11e<:lurcd themselves ready to num ber Ihe s id ~ entrauces, but nol their
carriage entrances. The Revolotion had aJrf'ady introduced the numbering of
hnuses according to dislricts; iu some IHstnc", thertl ",'f're 1.500-2,000 numbers.
[P1,4)
Afler tile ana.sinH-lion o( Murat , Montmartre ""as rellamed !\tont-Ma rat . [PI ,5]
The function of the saints in the naming of Parisian streets suddenly became
clear during the Revolution. To be sure, the Rues Saint-Honore, Saint-Roeh, and
Saint·Antoine were, for a while, known as H onore, Roch. and Antoine, but it
could nOt take hold; a hiarus had opened up that to the ear of the Frenchman was
unendurable. [Pl.5]
"An enthusiast of the R.t:volution once proposed transforming Paris into a map of
the world: n// streets and squares were to be rechristened and their new names
drawn from noteworthy places and things across the world." Pursue this in
imagination and, from the surprising impression made by such an optical-
phonetic image of the city, you will recognize the great importance of street
names. Pinkerton, Mercier, and C. F. Cramer; Ansidrtrn tin Hnupls/tul/ dafian*
lOJUu,en Knum-eidu rom Jahrt 1806 nn, vol. 1 (Amsterdam, 1807), p. 100 (ch. 8,
;oNcologie," by Pinkerton). [Pl ,7]
There is a peculiar voluptuousness in the naming of streets.
[p1 ,81
" TII(> name La Hotluette, givell 10 two prisons, a Itl"eet , and an enti re dis trict,
cornel frorn the plant of that name (Eruca satil!a ). which U8ed to Oou"l h in (01"-
nl~rI)' uniuhahited areas ." La Grande Roquette was, (or a long time , the prisOIJ in
which those 8t'ntenced to dea th awa ited tile outcome of their appeal. Maxime Du
CtIiIlP, Paris, vol. 3, p . 2M. [pl.9]
TIle sensuality in street names-cenain1y the only sort which citizens of the
{oWn, if need be, can still perceive. For what do we know of streetcomers, curb-
Stones, the an:.hitecrure of the pavement- \o\'e who have never felt heat, 61th, and
thc edges o f the stones beneath our naked soles, and have ncver sautinil.ed the
uneven placement of the paving stones with an eye toward bedding d o\vn on
~- [PII ~
" Pout d ' Austerlitz! Its ramous name tlvllkes ror me sometliing (Iuite oilier Ihllll the
hattie. Oetipite wlllli llftlple haw: mai11luilled 10 me . DIUJ whidl I aI'cepl ror f{lrm '.
sake, il Wil li lilt· battle thai look illl nam tl r"om the britlgc. An C)I;plaulltiun for thi8
look IIhaJ>t' in my mi nd on the hajJis or my rever ies, my recollection uf d istrllcled
i ehooldays. alill Blllllogit:s in the i nvor ami sount.! or ct'rluin wordil. Jb II t·hild , I
always kept this eXJllauatioli undcr Illy hat; it wu pll r t uf my sccrellanguu ge. AIIII
herc il ill : at the lime of wa rs. CI'U8Udc8, a llli rcvolutiulls. 1111 tile e \'c of battlc, the
warriors woultl proceed with their eni igns to tlli9 bridge, oM as lhe hill" and
there, in aU lolemnity, wowd drink 11 CUJ> of auslerlilz. ThiIJ aus terlitz . formidable
brew, WD II quite l imply the bydromel of our ancellors. the Gaols , hulumn' bilter
lind more 6lIed wit h lIeltzer." Cbarles VBd rac (Charl!!8 Mt"IIlIager >. <i.es ) Ponts de
Paris <Parill. ca . 1930> . [pla,l ]
Excursus on the Place. du Maroc. Not only city and interior but city and open air
can become entwined, and tnu
intertwining can occur much mort concretely.
Theft is the Place. du Maroc in Belleville: that desolate heap of stones with ita
rows of tenements became for me, when I happened on it o ne Sunday afternoon,
not only a Moroccan desen but also, and at the same time, a monument of
colonial imperialism; topographic vision was entwined with allegorical meaning
in this square, yet not for an instant did it lose its place in the heart of Belleville.
But to awaken such a view is something ordinarily reserved for intoxicants. And
in such cases, in fact, st:rc:et names are like intoxicating substances that make our
perceptions mort stratified and richer in spaces. One couJd call the energy by
which they tranSport us into such a state their uerlu iuo!a!n'(e, their evocative
power-but that is saying too litLie; for what is decisive here is not the association
but the interpenetration of images. This state of affairs may be adduced, as well,
in connection with ce.rtain pathological phenomena: the patient who wanders the:
city at night for hours on end and forgets the way home is perhaps in the grip of
this power. [Pla,2]
Street names in h _RII Brunct , Le lUessianis me---arg clflis ution generate de I'an..:
SCI corutitntion generale, part I ( Paris, 1858): Bowcvard of Fioundcrs , Boule-
vard of J ewelers. Boulevard of Merchants. Boulevanl of Munufa<llurerS, Boule-
vard or Metalworkers, Boulevard of D)'uri . Boulevard of Printers, Boulevard of
Siudents , Boulevard or Writers, Bou..levard or Arlit ls. Boulevard of A(hnini8tra'
tori .-Quartier Lows XIV (detailed argument for this name, p . 32. illVOlvillg "em-
belliilhmenl"' or Ille Saint-Mlirtill and Saint-Dcnis gat t' wuy ~ ): Conrection Street,
Exportation Square, Cer amics Street . Buokbin~linfl: Strl·e!. [p la,3)
" I read of a geographic scllemc ill which 11aris wouM he IIII! Tnap . alltl I~ ackll ey
coaeheli the profetl ~ors. Certainly, I would ralher hll\'I' lluris 1.11' a g..·iJgraphic map
thall D \'olume in t.he Romlln calendar: and thc lIanll! of 8l1iols . wi lh whir h th e
II reels are ba ptized. Cllnnot corn p ar~ . in e.ilher eu phon y or ulilily. with du~ lUI nice
ofdlc l",wlI ~ Ihallul\'C l;et! n l'rtJI'0~ ed 118 j ulr!;litule~ for 1.111'111 . Thus, 1111: Fllubourll>
Suinl·Dl!nis. IIcconling 10 Ilris piau , would he culled IIII' faubuIII'g lie VfliC"', i-;
enll t'.!: Ule fo' auho urg Sainl~ Marcea ll wooltl hecome the Fauhourg lie Maraeille: the
Place de Grevcs wouJd be ko o wn " ~ Ihe Place de TOlin or de Bourges; llnd 110 un ,"
Mercicr. 1..e NOIi I/ClI" Pam <Paris , 1800>. vol . 5, p . 75. [pl a.4]
Hue fl ('tl lmnu;ubles Indu illricls-l'I ow old ill thii street? [Pl a,5]
A surprising argument, a hundred years ago, in favo r of an American system for
demarcating streets : "You poor professors! who teach mo ral philosophy and
belles lettrcs! Your names are posted in small black letters on a strtetcorner, above
a milestone. The name of this jeweler is as dazzling as a tho usand fires - it shines
like the sun. It is for sale, but it is expensive." Mercier, Le Nou/Xau Paris, vol. 4,
pp. 74-75. [pla,6]
AprOIJOS of the tllcory of s t.reet lIana ~lI : " Prope r nom es, 10 0 . have an effect Ihal iii
CUllccptUBUy unburdened and purdy acolI$lic . . . . To borrow an expretllion frorn
Curtiull (p. 65), proper names a rt' "ba re formula!!" which I)rousl can fill uJ> wilh
f..-elings beeall:le tlley have not yel been rationa1ized by language." Leo Spitzer,
StiLswdieti (Munich . 1928). vol. 2 . p . 434. [pla,7)
~Street," to be understood, must be profiled against the older tenn "way." With
respect to Lileir mythological nantres, the two wo rds are entirdy distinct. The
way brings with it the terrors of wandering, some ~verberation of which must
have struck the leaders of nomadic ttibes. In the incalculable turnings and resolu·
tions of the way. the~ is even today, for the solitary wanderer, a detectable trace
of the power of ancient directives over wandering hordes. But the person who
travels a street, it would seem, has no need of any waywise guiding hand. It is not
in wandering that man takes to the street, but rather in submitting to the monoto-
nous. fascinating, constantly unrolling band of asphalt. The synthesis of these
twin terrors, however-monoto nous ,vandcring- is rtprese:nted in the labyrinth.
~ Anciquity O [n,ll
Whoever wishes to know how much at home we are in entrails must allow
himself to be swept along in delirium through streets whose darkness greatly
o
resembles the lap of a whore. Antiqwty 0 [P2 .2]
How names in the city, though, first become potent when they issue within the
labyrinthine halls of Lile Metro. Troglodytic kingdoms-thus they hover o n the
horizon: Solfenno, Italie and Rome, C onco rde and Nation. Difficult to bdieve
that up above they all run out into one another, thal under the open sky it all
draws togethcr. 0 Antiquity 0 [P2,3]
The tm e expressive character o r street names can be recognittd as soon as they
are Set beside refonnist proposals fo r their nomlalization. For example, Pujoulx's
proposal fo r nam ing the streets of Paris after the ciues and localities of France,
laking i.nto consideratio n their geographic positions relative to one anoLilcr, as
well as their population, and having regard for rivers and mo untains, whose
names would go especially [Q long streets which cross several districts-all of this
"in order to provide an ensemble such that a traveler couJd acquire: geographic
knowledge of France within Paris and, reciproca.lJy. of Paris within Francc." J. B.
Pujoulx. Paris a lafin du di:c-llIlitieme ji~cle (Paris. 1801). p. 81. 0 fUncric 0
[I'2,4J
"Se\'enteen of lhe ga t e~ correspond to imperial routes .... In these namei. ODe
would .eek in vain for a gener al system. What a re Antibt::s. Toulouse, and Bile
doiug there bellide La Villette and Sainl-Ouen? ... If one had ""anted to esta blish
&ome distinctions, olle could hav," ~ \'en to each gate the name of the French city
most clit tant in that clirectiun:' E . de LabedoWere, H Uloire du nouveau (Paris),
~L [1'2~
" Some bene.tillial me.as u~s by the municipal magistracy date from the time of the
Empire. On Novemhl:r 3. 1800, ther e was, by decree, a gelleral revision of street
nnmes. MUijt uf the grotestlue "ocahleil invenled by the Revolution djsappeared .
The lIalll0>8 of li'lliticians Wl"!re almost all replaeed by the names of military men."
Luuien Duheeh and Pie.rre d 'Espezel, Hisfoire de Pu nll (Pa ris, 1926), JI. 336.
[P2,6J
" In 1802 . ill vu riOIlS lIeighburhooos-Rue tlu Monl-Blan.:. Cha ussee d' Antio-
sidewalks were built. witll all elevathm of three or four inchel. There was then & D
efforl to gct rid of the gutters in the center of the streets." Lucien Dubech and
Pierre d'Elipezel, Uistoire de Paris (Paris. 1926), p . 336. [P2.7]
" Ln 1805, the new lIystem of sequential numbering of houses , begun un the ioitia~
tive of FrocllOl and stiU ill effect today: even nwu.uen separated from odd, the
even numbers on the r ight and the odd on the lefl , according ., one move • •••y
from the Seine or follow& its course. The numbers were ""rute and were placed on •
red background in streets paraUel to the river. on a black backgroulld in streeb
~rpe.lldi cular to it.·' Lucien Duhec:h and PierTe d 'Espe.ze1. flistoire dl! ParU
(Parill, 1926). p. 337. [P2,8)
Around 1830: " The Cha uuee. d'Allti.n is the neighborhood of the nouveaux ricbee
of the fin anciu l world . All these. districts in the western pa rt of town have been
dillcre(Hled : the city plannen of the period believed thai Paris was going to develop
ill the direction of th e sllitl'llter wurks, an opinion 111111 ought to imlill prudence in
tollay's Ilcvclopcrs .... A 101 o rlllu~ Chaussee d ' Antin had trQullll' fin ding a bu yer
al 20,000 tn 25,000 fralt cs." Dllbech and d ' Espczd , lli!Jt oire. de. Pflris (paris,
1926), p . 364. [P2a.1J
July MOllarchy: " While mOllt of the lilrt.'et names re.ca lling politicul eVt-litii were
,ll1Im away with. new O llt! ! "PI}I!llreti commemorating a dale: the Rill: till 29 JIUI-
let. ·· DubeclJ lind d 'Espe.zel. Hu rQire de Pu.ru, p . 389. [P2a,2]
" I know nnthing more ridicuinul and more inconsistent thall the names of streetll,
squares. hliml alleys. and u.ull-tlc-iulC in Paris. Let us choose at random some of
these names in one of the more I!ea utifulneigliborhood.s, a nd we canllot but Dote
this incolu:rellce and caprice . I arrive by tlte Hue Croix-d es-Petiu:-Champ&; I
l'ross the Place des Vicloires; I turll illto the Rue Vuide-Gousset , which takes me to
the Passage des Petits-Peres . from which it is oilly a short di.stance. to the Palais-
Egalite. What a salmagundi ! The first name caUs to mind a cult object and a nutic
landscape; the second offers military triumphs; tile third . an ambush ; the fourth ,
the memor y of a nickname gjven to a monastic order ; and tbe lasl. a word wrucb
ignoranue . intrigue, and a mbition have taken lurna a busing." J . B. Pujouh, Paris
iJ lufin du XVIII' sieck (Paris. 1801 ), pp . 73-74. (P2a,3]
>-Two steps from the Place de la Bastille in the Faubourg Saint-Antoine, people still
say . •, am goillg to Paris' .... This auburb has it. own mores and cu stoma, even iu
own language. The municipality baa numbered the houses bere, aa in aU other
parts of Paris ; but if y()U ask one of lhe inhabitanu of this suburb for his address ,
he will always give yo u the name his house bears and not the cold , official num-
ber.... This house is known by the name 'Tt) the King of Sillm,' that by 'Star of
Gold '; rhia house is called 'Court of the 'TWo Sisters, ' and that one ia called 'Name
or J esus'; others carry the name ' Bas ket of flt)w ers.' or ' Saint Esprit,' or ' Bel
Air,' or ' Hunting Box.' or 'The Good Seed o· n Sigmund Englander, Gesch ichte der
fratuii3 ~ che." Arbeiterouociotionen (Hamburg, 1864), vol. 3, p . 126. (Pla,4]
Excerpt from a proposal for naming Slrte18 which presumably steDls from the
Revolution : " Someone ... I)ropoaed giving 8lr eeU and aUeys tbe DamCil of virtues
and generous IICntimenU, without reflecti.ng thai this moral nomenclature was too
limited for the great number of streets 10 be round in Paris. One senaea that in
0 0 •
this I)roj cct tllere was a certain logic in tile arrangement of bames; for example, the
Ru t' de la Jwtice, or Ihat of I'Humonite. had necessarily to lead to the Rue du
BOflheur, 0 • while the Rue d e la Probite ... had to cr088 all of Paris in leading to
•
the most beautiful neighborhoods." J . B. Pujoub. Paris Ii laftn du XVIII- ,iecle
(Paris, 1801 ), pp. 83-84. (P2a,5]
Concerning the magic of street namcs. Deh 'au on the Place Maubert: " It is lIot a
S(luare ; it is a large hlot. ItO fuU or fi lth and mire that even the lips HuU y themselves
ill pronouncing this n8111e from the thirt(.'f'.nth century- not because it is old but
Utl1lau.se it e.xhal e~ an odor of iniquity. 0 which ahocb the sense of smell ."
•
A. I)t:!va u . Le3 Dessous tie I'uru (Parill, 1866), p. 73. [P2a,6]
" iL is lIot ~IIJle.rflulltlS to observe. that a foreigner, willi. on arrh'illg in a city, start&
Otltcv... r ywhere judging hy apltear8 llces , eould well suppose. in coming upon these
unsY8t...!natic ami inlligrlifica nt d reet na mes, that the rea~onin g of those who live
htore was no less lo()sely cOllllectf"{l ; alit! , certainl y, i£ eeveral streeU presented him
with base or ol.sl'ene nanlel!. lIe would have grounds for be lieving ill the immorality
of lile inhabita nts." J . U. Pujouhc . "n ru a lafin dlJ XVIII ' s;ec/e ( Paris, nm l),
p ,77, (P3, I]
RatiunalilJlII IQUk parlieuJa r offense at Ilamcs like Rue drs M u u vaili -C ar~u n 8 , Rue
1'irr-8oudin , Rue Mauvai8cs-Pa l·oll!l. Rue Femme-san a-Tetc . Rue du Chat qui
Pechc. Rue Courlaud· Villai n .: It i8 Bueh Illact!!l that arl' fretlUf'lItCtl. iiIly8 Pujoulx ,
Ly thulle wllo won't listen to hi8 llrUftOSals, [P3,2]
"What a pleasure for the resident of the South uf Fra nce Iu rediscover, in the
linIlles of the various dislricts of Paris, tholle of the placl:: wllere he was born , of the
tow n where his wife came inlo I.he worM , of the village where he spe nt his early
yean."' J , B. Pujoulx, Pari3 Ii hlfin rill XVIII' siecle (Paris, 1801 ), p. 82. [Pa,3]
"The hawken chome their n l::~'8 1,apen acco rding to which neighlmrhooos they
wa nt to work in , and even wit hin these areaa there are nuances that muat be
distinguished . One 8treet read, Le Peuple, while an otlU'c r will have only La
Reforrne, but the str eet perpendicula r to these, which connects them, takes L'A.,·
aemblee nationale. or perhapll li'Union . A good hawker ought tn be able to teU
you , with an eye to the promige. made b y aU the aspiring legislaton and written
UpOI1 our waUs, whal JH!rcentageorthe vote in a p articular arrOlldiuement each of
thcse political mendicants can expect to h ave." A, Privat d 'Anglemont , Pum in·
connu, (paris, 1861 ), p . 154,0 f1 i ncllr 0 [P3,4}
What was oth~ reserved for o ru y a very few words, a privile::~d class of
words, the:: city has made possible for all words, or at least a great many: to be
elevated to the noble:: status of name. This revolution in language was carric=d out
by what is most gene::ral: the street,- Through its StrUt namC".S, the city is a
linguistic cosmos. [P3,S]
Apro pus of Victor Hugo's "comma nd of image, The few insigh u we have into hi.
methods of composition confirm tha t the fuculty of interior evocatio n was much
s tronger in him than in other people. T his is why he was a ble-from memory. aod
without taking any nolel-to describe the quartier of Pur is through which J ean
VaJjean escapes in LeJ Muerableai a nd this description is s trictly afcura te, s treet
by l reel. house by houst"." Paul BOllrl!:et . oLi tuary notice for Victor Hugo in the
Journal de~ debars: '; Vi c l ~lr Hugo deva nt r opinion" ( Pa ris, 1885). p, 9 1. [P3,6}
On an etching: ;' Ru c. Tircchupe-in 1863 as it was in 1200." Cuhillct dell
~_~ ~n
In all engraving froln 1830. one can sce n mall scn ted on a Ir~ trunk ill the
Bouleva rd Sa inl· Df' IILs , {Pl,8]
In 1865 . on the Bouleva rd des CaJilldlleS, a t the corner oftlw Hlle d e Seze ant! the
Rue Cawnarl.in. the ti r81 refuse. or slreel-island , Wll8 inslal l,·d . [P3a,1J
'"The wa y II.e Clllup,,I!;u 10 1I111ke fat:e~ at thc entra nce 10 t.he morgue: the way the
~ huwo frs come Lh t' l~ 10 recile Ih6r grotl'.sq ul' jokt's .. . in liue b u plal'c: lit e way Ihc
"nlwtl . . ' gU llwr8 ;,rulIl1Il Iu laugh their lill at the ufh'll indeccnt anli.·" uf u
j u ~l el", afler gaping al fi" e t:utlavers laid ulii side hy ll.i~ l e .... NO ...... lhlll·s ",'hilt I
I'all revolt ing, . , J" ViCIo)I' Fl)lIrlld. Ce (1,,'u 1I "oi, dmu Jell ruf'S fi e P/lris ( Paris.
1858). p . 355 (" La Morgue"), [p3a,2J
C hOSIS of Ihe cit)' : " Holllllnticis m nn 11h' tlet·lint: ... delights in legends, While.
C.'ol·gt' SnlHI. Jre~ se(1 us a lU all , ~ IIPI)Oselll y ri.le~ 0 11 hurlleh llck ucrus ~ Plll'i\! in thtl
C(fll1 l'uny of La lllll l'lill" , ,In 'ssed as a wo mUII , Dumll ~ hus his nuvels wl·ilten in
I·cll .. rs and drinks l'Ilnmpugllc lIJ1l11airs with va rio u ~ 1H' II'cue~, Or, heltt.l" yet , Bu-
lIlas does !lot exis t : he is olily II nl ythi~:aJ being, II trade !l lIme illvcllled ily a synlli-
flt te (of ~ I i lors," J . Lut"'as· DuLretoD. Lo Vie rl "A lu tllll/re Dllmu!! Pere ( Paris
<1928)). p. I'l L [P3a,3)
" Here. liIen , , , . i8 111e, ,. DictiOllnuire de ltlill ngue l:e.r,e <Dictinnar y of Slang> ,
of ""hich I .....ould like Ilt'.u ple 10 sa y. , . ""ha t was said of Sebas tien Mercier 's
1ilblcmt tie P(lri, -namcly. that it was e(lIICl'h'ed in the s U'eet and ..... ritten on a
milestone. ,. Alfred I)ch 'nu , Dictioflflflire de ia ImlSllc lIerte ( PuI'is, 1866), I)' iii.
[p3.,,]
A niCi! descr iption of el.:gnlll Ileighllorhootb: " the nobilit y, silClIlly bunkered in
theM: cloistral s treet, a in an immen ;;e ami s l , l~ml id monaster y of JH!acc lind
refugt'." Paul · Erlle~ t n attier, P(lri.s n 'exil te W" Waris. 1857). p , 17. [P3a t S]
Aro und 1860, the Paris Lridgc, wer e. still jnmfficit'lll for the traffic. between the
two bunks; there was frC(lucnt recour5~ to ferrie., The fare fu r Ihis ser vice w as two
Stlus: proletarians, tlll!r cfore. could ouly rarel y make !I,e (If it. ( From P,·E. Rat·
licl', ['oris II 'exiMe pil l (paris . 1857), lip. 49-50. [P3a,6]
" 1" Augo, the VClldonll" Column , the Arc .Ie Trionll'lle. and the Invalides go hand
in hant!. if I ma y pul it thi ~ wny. There is a historical allli political, a rcal aud
lilerary connection amOllg these three monuments, TI)t!ay. , .. th t' position of these
Ihree te.rms, their relation , hall c h a ll gl"~1. T hl" Column has Leen cffectivel y ' IIP-
phlnll"ti. ill Slti te of VuillaUllle. Ami il is Iht' P'lIltilenn Ihal has CLlIl"!. as it were, tLl
r .. placf' il--1!~ I":1~ ia ll y sillf'c li ngo's s uccess in bringing it III yil' l~1. ,., to iil)l'ltk , til
the tWt'nllllen. Tlillay, Ihe tril0lty of monument s iii till' AI"I' dl' Triollillhe. Ihe PUIl-
11.<'0 11 . aud IiJo' Chu rdl O)f Ih., Ill va lid e~." C h a d.·~ Pi·guy. Oeu vre!! c()"'JlIMe.~.
18 1:~_ 1. 9 1 .1: DllI/ vre, ric IJrI)$C ( J>lIris. 191 6), 1.1 . 419 ("' Vi,'I' ,I·.Mal·ic. Coml e 1111150"').
(S. ~ C6: Om. 1, scrlion II I.) [P3a.7)
'''I'he tnu> Paris i .. br !la lu!"t· a (I!lrk , mil'),. malUll urOJUiI city. ("oufined wi lhin its
" arrf}"" laneii . ... wunning lO'iti, hli nd a ll.;:)'s. l'ul... -t! ....... a(". a nd myslI' I'iuus JlIIS-
~ a t:t')o, with la hyrillths Ihat It'ad yo u 1<1 tlw ,Ic\il: a ~ i l )' wllt'l"t: 1.lltl poinwtl ruu rs of
lilt· sQmher 11 0 11 ;;0;:11 joill lugdhcr UI' there 111'11 1' 1110' dlllltis /Jlltl tlllll> ~b'Tud ge yOIl
the bit of blue which the northern sky wouJd give in alms to t.h e veat capital. .. ,
Tht, true Paris i:8 full uf freak I hows. f'el'O!;itories at thrt:e centime. a night for
unllenrd-of Ilt.'ingll anti Immnll pluUltnrnagorias ... , There, in a cloud IIf amrno_
Iliac vapor. .. . alld 0 11 bedl that have not Ix-en made since tile Crelll.ion, repoa,inl!l
side by sitl .. are hundreds. thOIUUlnds, of charlatan• • of match &CUen. of accordion
plHyers . IIf hunchhacks, of the hlind and the lame; of dwarfs. legleu cripples . and
tllell whnsc noses were biuen un in quarrels, of ruhbcr-jointed men , downs malt_
ing a corn!'bac k , and . word ~ w allowers; of jugglen who halance a vea!!y pole on
the tips of Iheir teeth ... ; children with four legs. Basque giantl and other kind!!.
Tom Thumb in bi!> twentieth reincarnation. plant-IHlople whose hand or arm is the
soil of a living tree. which eprollu each year ils crown of branches a nd leavCl ;
walking skeletons, transparent huma ns made of light , .. aud who&C faint voice
can make iliielfheard 10 an allentive ear , , , ; orangutans with human inlelligence;
mon~terll who speak French ," PauJ-Ernesl de Rattier. Paris n 'e:%ute pcu (Pari••
1857). I'll. 12. 17-19. To be compared with thill are Hugo'.II drawingll. aDd alto
IIoU5.11malln 's vision of Paris. [P4,I)
Fa ll" of the republican oPpollition I.mder C uizot. " L'£m«ncipation, of Toulouae,
ciles the words of a conservalive 10 whom someone had eXllreslled pity for the
plight of those politica1 prisoners languishing behind bars: ' I will feel 80rry for
them when mushrooms begin v owing on their backs. , .. J ean Skerlitc.h , L 'OPlnWlI
,mbli(IUe en Fran ce d 'apre! kl poe&jc politiquc et sociale de 1830 Ii HUB
<Laullanne , l901 >, llP ' I 62-L63. [P4,2)
" Wilh this magic title of Pari&, a play or review or book is alway! au ured of
lI uccellll ."· TheojJhile Gautier. ftnl lIenlence of the Introduction to Paris ct tu
Pari&ieTL! au XIX· .ied e (Paris . 1856) . jJ. i. [P4,3)
" The universe doel! nOllring but gather the cigar bulls of Paris." Theophile Gau-
tier, Introduction. Paris et le, Parisiens au XIX~ , ied e (paris, 1856), p . ill . [P4.4}
"A 10llg time ago. someone had Ihe idea of I>wpling the Champe-Ely. t!ell with
81a lul"1I, The momenl for lhi. h al still not arri'·ed ." Th , Gautier, " Etudes philoso-
phiquell ," Pliris et I.e! Parisiens (Illxrx·u iecle.> p. 27 . [P4,5]
"Thirly yea rs ago . . . il was . till . , . virtually Ihe &eWer il had been i.n ancient
limes. A very large number of streel!l . whose surface iii now crowlle!l . were then
hollow C8Urie",'ay'l. Yuu very oflell saw, at the low point where the gUllers of a IItreet
or a fi(IIHlf'e lenllin8led. largt' rectangular gratings with gn-at ha rs. tlle iron of
whicll IIllOnc . poli~ hed Ly tlu~ feel of tbe lIIuhjtutle. dangerous anti , tipper)' for
wagonil. allil making horses Hwmble. ,. In 1832 . in man y "Iree t•• ' . . die old
GOlhic clllllt!a still cYllirally liho .... ed it~ jaw». They wer e enormous, lluggi ~ h ga pll of
SllIne. sometimes SlirrOIlIHIt.od b y iltone blocks , disiliaying monumenlal effront-
ery," Vidor lingo , Ol!u vres COnJJlJ£tl!'. lIovd,l . vol. 9 (Parill. 1881 ). V· 181. ( Le,
Miserables}.' (p4a, l]
On the wall of thl! Farmer N-Gl!lIcral, undl!r Louis XVI : " Tilt' mur <wall ) hy which
Paris i~ immured lIIakl'lI Paris murmur," [Pb .2]
A.~ 1\ legeml of Ihe morgue. Maillard cit l!lI lhe (olillwing remarks from E. Tuier, Le
1l.t bleuu (I~ PlIri&( 1352): "'111 thi~ lillilding Lives a clerk who . . . I,aii a family. Who
kntl ws wlwther the dc/·k·s daughter d oes not hav!' a piano in her room and , on
Sl.Indar o:vt'ning;s . docs lIot dance with her (riends to Ihe strains of the ritorneUo8 of
PilCKIo !Ir MUlIanL" According to MaWard , bo....evr r. the clerk did 1I0t live in the
nlllrgull in 1852. Ciwd in .' irmi.n Maillard , R eclle rches hiltoriques et critique, sur
la MorS/le (Paris. 1860). Ill' , 2(,...27 . T he account goes back , a8 Ma illard himself
explailU . to a report of 1830 hy Leon GotJan , wmch for ilS I)a rt waslomewbat
fellilletonislic. [p4a.3]
"The Place Maubert . accu rsed lIquare whieh hides the name of Albertu! Magnus."
Pori, chez !o; <Pari8, 185<h, p. 9 (Louis 1.lIrine, uA Iravers lell rllt:,s" ). [p4a,4]
I.n Mercier. Nouvetlu PClri! ( 1800), vol. 6 , p . 56, it iii recounted Ihat " the myd eri-
OU 8 hornhlowers .. . in fact nlade a pretty siniiiter noise. It was uot tll announce.
Ihc sale of water thai they IIIIHle this 1l0iMe; their lugul!ritJu8 LiarI', Ilignified fan-
fart: of terror, wail most often a threat of arson : 'They were in the taverns . and
they would communicate from one Ilcighborhood 10 the IIt~t , ' iiay' Mercier. 'All
their harmonized sounds were cenlrally coordinated. and when they played with
redouLled (orcl". one expected something to happen. You wonld listen for a tong
willIe, understanding nothing; hut ill all this uproar there was il language of tedi-
lion . Thesl' plots were 110 11"1111 deep for In'ing hatched so blalantly. It hilS been
remarketlthat , at the time of Ihe firell, till' sigilli was mo re prompt . more ral)id.
nlOre iihriU . When the blaze broke oul at LeI; CeJ e~ tills . . , , Iny brain bad heen
!Iulled the IIlty before hy the !loue of the horns. On another I)(:cullioll , the ears were
aSiiailed by 1111" crackillg of whips: 011 SOllie da ys , it waii a hUllging 011 IIo,:ell. One
tre mbles at these ket:n dail)' alarms.·,. Edouard Fournier. Enigmcs de, rue, de
Puri& (Puris. 1860), vp . ;2- 73 (" Sur IluclqllCS bruils de Parijj"). [p4a.5)
C. Buugl ti. Chez les p roph elell sociuliMl!1 (Puris, 191 8). cit~ . ill till' eii~ay " I': AIli ·
rillce intd lectuelle fra nco-allcmIUlde" (I'. 123). Borne's phrase aboul the unet;; of
l'uris: Ihoil'" glorioll! ~ treet l! " wllOse pU\'cmCllt 0 111' ought 10 trea,1 wit h hare feet
Qui)'... 11'5,11
TI,t' A\'l'!lUe Hilel,,:1 lea/Is ttl the. CCtlle.tery of Mllntnutl'lrC , About this. Oaniel
HaICv)' writes (f'IIYs purilielll [Pari" ( 11)32> I, p . 276): "Hul'iwl. Ihe tra jo;f'dielllte.,
is here Ihe. heraltland patrone!!s. " (p5,2j
"The importance accorded the traffic of pilgrimt-many people in those day!! web'
III VI:Dl:rale rdict-is attt:sted by tllIl. fa.:t that tile old Roman road, wi th itll two
sectio ns, wall named after the principal desunations of such IJilgrimage: in the
north , Sa int-Morun. after the Cathedral of Tours; and in the lIouth, Saint_
Jaclluell. after lile Spanis h Jagfl di Cflmpoatella." Fritz Stahl , Pari.$ (Berlin
d929».p.67. [PS.31 [Panorama]
The oft-formuJated observation that the neighborhoods of Paris each have a life
Does anyone still want 10 go with me: into a panorama?
of their own is given support by Stahl (Parir, p. 28) in a reference to certain
Parisian monuments. (He speaks of the Axe de Triomphe, and one could also - Max Brod, Wm- die St:};ii1I};dl };iiJJlidr" Bilder
(Leipzig, 1913). p. 59
mention Notre Dame or Notre Dame de Lorene.) Forming a background to
important streets, these buildings give their districts a cemer of gravity and, at the
same time, represent the city as such within them. Stahl says "that each monu-
mental edifice ... appears "lith an escon, like a prince with his train of followers.
and by this retinue it is separated from the respectfully withdrawing masses. It
becomes the ruling nucleus of a neighborhood that appears to have gathered
around it" (p. 25). [P5.4] Thel'e were panoramas,· dioramas, cos nlor amall, diaphanoramu, navaloramas,
pleoramas (plea, " f lail." " I go by water"), falltoscOpe (I). fant as ma. parostase&,
"Ilantas magorical and fa ntasmaparastatic experience., picturesque journeys in a
room, geor amas; optical picluresllues, cineor amas, phanoramall, l tereoramas. cy-
cloramas, panorama dramatique .
. " n ou r lime so rich ill 1' 0 110-, COSIllO-, Ileu-, myrio-, kigo- and dio-ramas." 1\1. G,
Saphir, ill the Berliner Cou rier, Ma l'cll 4. 1829: cited in Erich Stenger, Daguerre.
Diorama in Berlin (Berlin , 1925), I' , 73. [<V .I]

The post revolutionary VersaiUes liS waxworks: '"The leftover royal statues were
n:motIeled. T hat of Louis X]V in the great Salle de l'Orangerie wears a liberty cap
in place of Ihe 1:lliseled-away peruke, carries a pike instead of tbe official baton;
anti , so that no olle mistahs the identity of the newly created god of war, there is
rTilteli at the foot of the statue: 'Frt'nch Mars, protector of the liberty of the
world .' A similar prank was played "'ith COUBtou 'S colossal bas-relief, repre-
aenting Louis X IV 011 horseback , in the large gallery ..f the chateau. The geniU8 of
fam e, who descends f rom Ille clouds, holds a liberty Clip o\'er the bare head of the
king, instplld of the laurel wreath of former times ." 0 Colportage 0 F. J . L. Meyer,
"'rtlg mellte aWl ['aris im IV. Jallr der Jmnz.iisis chell Retmblik (Hamburg, 1797).
\'ui. i. p . 3 15. [<V ,2]

011 lilt' exhibition of II grO ujJ of thieves reJi roduced ill WII)!; . which (aro und 1785)

..... :as put tugclhl'r by CUI·ti lls or I'IHtl"l e othel' elltrCl'rencur for tilt! fair in Sa iut-
Lau/'{'ul: "SI)IIIt' wt' r(l cllai nt!11 alld clad ill rags, w hil ~ others were a111111st naked
a'ltl l)'ing un li t raw. It was a fairty graphic rendCI·illg. The ollly purtrai t!l that were
likt'lIe~ses ,",'erc thuSe or lhe twu or t.hree ICiitlers; but ~i. n ce I.h .. gung was lal·ge. the
"WIW I' hatl ht."-~ Il oh ligell to find them some clllllpany. , look it fur granted th:lt he
Ilud fn ; lliuncd th ese othe l'S mure ur leu according I{) whinl , aud widl tliis thought
iii mind I W!I ;; I'Irtllt!r cas ually strolling past d U! s wart hy face~ften obscured liy
tIle coar!le moustacheM tlf Ihese inferior brigand_ heu I thollght I IJO!rceived
he nea lh thd.r I'cpulsivc appearancc 80mc cha rac teristic. Ihlll ..'cre nOI a l aU unfa-
milia r. A. I looked more dOlid y. I ~ca nlC con vinced Ihal dlt' OWll/'r of Ihe Inall ter
thieves (who was a lso the owner of the other wax:wo rk ~ ) . wan lin j:: 10 make use of
SOnll' wax I1 gul'cs thllt Wt'rt" 110 longer in flUihioll . or of lIome COlllmissioned portraits
thai were s uhsetlUelllly rt'jt."1:leti . had dreued them up in rags. loaded Ihem with
chains, anti ,;Iightl y cli.;digured them in IInler to place Ihem here "'it h the great
thieves .. .. I couJd not hdp smiting whell I cOlIsi.leretll.hat the ",ife of one of the
subjects miglll ...e11 discover. among these gentlemen . the portrait of her husband
that hud Ollt:C been so gluriousi y cOllllllissioned. And , ,·cally, I am not joking when
I liay I.hal l liaw among this grOUJl all cxrdlellilikellcs6 of Ung U€I." who, everaJ
monlhs ea rlil'r. IUIIJ enjoyed II place of honor in the other room. and who undoubt_
edl y had Lt.'"C1l transported here for eeonOlnit: r elliClns. aud 10 fill oul lhe prison. "
("Simon-Nicolas-Henri Lillgllcl , 1736- 1794; pol ygraph IIl1d lawyer; exC(:uted on
the guilloliue.) J . B. Pujoulx . 1'(lris tllll fin €In XVII I' .~iec/e( l'lIris, 180 I), pp . 102-
103. 0 Colporlage 0 (QJ,3]

"Waiting" can be associated with the exhibition of imperial panoramas as much

,
as with boredom. It is highly significant that 8rod, in a gloss on "panorama," hits
upon all the keywords of this investigation: "fashion," "boredom," "gaslight,"
A paJlo~a under COflSIruCDOn, in an ima~ originally published in L'llluJlration. Courtesy of
~ro_ ~~
tht Syndicat Automl' lind VCTlagsgescllschaft, Frankfurt am Main. Se~ Q.! 3,1.

"A melange of Morgue and Muscc de Luxembourg": this was how Jules C laretie
characterized the battle panoramas. La Vie Ii Pam, 1881 (Paris), p. 438.10 t.hae
panoramas we perceive that wars, tOO, arc subject to fashion. Max Brod, in his
"Panorama," sees "inactive officers ... searching about for suitable battlefields [0
wage their imaginary colonial wars." II is a wardrobe of battles : the impecuniOUS
come and look around to see if somewhere there is not a used battlefield they can
make their OWll without going to great expense. (QJ ,5]
Play 0 11 words with "-ralllo" (0 11 the modd of ;'diora lna" ) iJI Balzac. a t the
nillg of Pere Gorio!.:
It remains to be discovered what is meant when, in the dioramas, the variations
in . ligh~g which the passing day brings to a landscape take place in fifteen or
thirty mmutcs. Here is something like a sportive. precursor of fast·morio n cinema.
t~phy-a witty, and somewhat malicious, "dancing" acccleration of time,
wluch, by way of contrast, ma kes one think of the hopelessness of a mimesis, as
Bretqn evokes it in NadjQ: the painter who in late afternoon sets lip his easel
besin- before the Vieux·Pon in Marseilles and, in the waning lighl of day, constantly
[QJ. ,6] alters the Iight·relations in his picture, until it shows only darkness. For Breton,
however, it was "unfinished."J [Ql a,4]

SelUp of the panoramas: View from a raised platfonn. surrounded by a balus-

trade, of surfaces lying round about and beneath. 111e painring runs along a
cylindrical wall approxim ately a hundred meters long and twenty meters high.
TIle principal panoramas of the great panorama painter Prevost: Paris, Toulon,
Rome, Naples, Amsterdam. Tt.lsit, Wagrdm, CaJais, Antwerp, London, Aorenee,
Jerusalem, Athens. Among his pupils: Dab'lterrc. [Q}.a ,l]
1838; Ihe !lotontle de,. Pa nurum3S eOlls trll('ICll lIy lIiuorff. D Irull [
To rdleet rigorously 0 11 the particular pathos that lies hidden in the art of the
panoramas. On the particular relation of this an to nature but also and above
all . ' ,
, to history. How peruliar this relation was may be gathered from these sen·
:.: IIC£S by W!ertz. whose painting, in fact, has a disrincLly panoramic tendency.
r~lere has been much talk of reaJiSIll in painting. Gener.tlly speaking. paintings
wluch arc called 'rcaJisric' are rarely in keeping with lhis rubric. Pure realism
[Q).,2[ oUght to manage things SO that a represented object wouJd seem within reach of
yOur hand .. . . If, in general, what is properly tenned trompe·l'oeil has been little
appreciated; that is because lip until now this genre of painting has been practiced
[Q) •.3i
only by mediocre: paintC.fs, by sign painters, those restricted lllel"Cly to the re:pre.
sentauon of U:rtam still-life objects .... Will the example of M . Wieru gi~ birth
to a new genre?" Commentary on La CurieuJe. in the catalogue written by the
painter himself and entitled L'Att/ier (Ie M . Wierh.. In (kuum /ittirajres <Paris,
1870>, pp. 501-502. 1Q).,5]
" Nortumoroma. A new "ort of L'O licerl will entertain the fashionable society of
Paris this ,,;nter. AJI that the music expresses , durins these concerts , will be rm~
up-rell villihle t1lrougll painted lrallspaN:ucif:s of 8ulM'!rior fluality. Haydn ', Crea,..
tion iR UI rehearsal ulld. accompanied h y the appropriate phantasmagorias, will no
doubt doubly capti va te the senses of the audience.. I To me, however. this arrange..
ment ~~ms morc suited 10 gay and IJenlimental diversions thaD to thili ~rea t work.
I Thus, fur example. a litrikingly lifelike and moving portrait of Malibran is to
"1'I)eo r, while, behind the Hcenes, a very hnt' s in~er tleLiverll an ita lian aria-..
though oue were hearing the sbade of Malibran sing." August Lewald . Album der
Boudoir$ (Leipzig and Stuuga rt , 1836). Pl" 42-43 . [QJ.a,6]
From time to time in hi, d iorama , Daguerre would have, a mong otlu~ r things, ~
Church or Saint-Etienne du Mont. Midnight Mass. With or~ap. At the end : extin-
guishing or caudJes. [QJ.s,1)
The fact that film today articulates all problems of modem form-giving-undc:J-.
stood as questions of its own technical e.:cistence-and does so in the most
strin gent, most concrete. most critical fashion, is important for the following
comparison of panoramas with this medium. "The vogue fo r panoramas, among
which tlle panorama of Boulogne was especially remarkable. corresponds to the
vogue for cinematographs today. The covered arcades, of the type of the Passage
des Panoramas. were also beginning their Parisian fortunes then." Marcd RXte,
Une Vit de citi Paris (Pari;, 1925). p. 326. (QJ.a,8J
.J acques- Luuu) David e:d ltlrted his I tullents to ma ke studies of nature in the
panorama. 1Q) ,,9]
'" Many people imagine that art can be perfected indelinitdy. This is an error_
There is a limit at which it stops. And here is why: it is because the conditions in
which the imitation of nature is confined are immutable. One wants a picture-
that is to say, a Bat surface. surrOlUlded or not surrounded by a frame-and on
this surface a representatio n produced exclusively by means of various colored
substances .. . . Within these conditions, which constirute the picture, e~rything
has been attempted. TIle most difficult problem was perfect relief, deep perspec-
tives carried to the most complete illusion. The stereoscope resolved it." A. J.
Wiem.. (ku llm lil/iraim (Paris, 1870), p. 364. This comrm:nt not only ~ws an
interesting light o n the points of view from which people looked at things lik.e
stereoramas in those days: it also shows very dearly that lhe theory of "progress"
in the arts is bound up ,'lith lhe idea of lhe imitation of nature, and must be
discussed in the context of this idea. [Qt,l}
-fbe multiple deploymem of figures in the wax museum opens a way to the
colportage phenomenon of space and hence (0 the funclamcmal ambiguity of the
arcades. TIle wax statues and busts-of which one is mday an emperor, tomor.
row a politicaJ subversive, and the next day a liveried attendant; of which another
represents today Julia Montague, lOlllOlTOW Marie Lafargue, the day after tomor-
row MadaJue Doumergue-all are in their proper place in lhese optical whisper-
ing-galleries. For Louis Xl , it is tllC Louvre: for Richard I I. the Tower; for Abdel
Krim, the dcsen ; aJld for Nero, Rome. 0 Aaneur O [Q7.2]
Dioramas take the place of 111e maglc lantcm, which knew nothing of perspec.
tive, but with which. of course. the maglc of the light insinuated itself quite
dilTercntly into residences that were still poorly lit. "Lanteme maglquel Piece
curieusel~ Witll this cry, a peddler would travel through the streets in the evening
and, at a wave of the hand, step up into dwellings where he operated his lantern.
The riffi,h~ for the first exhibition of posten still ch aracteristically displays a
magic lantern. [ru,3)
Thl'.re wall II. georama for a while in Ihe Gu lerie Co l b~rt .-Th e geora nla in the
rourtL'enth arrotJdiuemell/ contained II HllIall-scalt: natural reproduction or
FraIlL'e.-1 I~ , ']
lo the same year ill whir.ll Oaguerre invented "hotography. his ,Uorama burned
tlown. 1839. 0 Precursors 0 (ID,S]
There is an abundant literature whose stylistic dlaracter forms an exaCt counter-
part to the dioramas, panoramas, and so forth. I refer to the feuilletonist misce1la-
'Ii~ and seri~ of sketches from midcentury. "'brks like La Grande Ville (The Big
City>, u Dwblt Ii Pari.r me Devil in PariS', us Fra1lfflU peinLf par (!/lx-mema
<'!be French as Painted by Themselves>. In a certain sense, they are mora]
dioramas-not only related to the others in their unscrupulous multiplicity. but
te~calIy constructed JUSt like them. To tlle plastically worked, mon::: or less
~eta.iled foreground of the diorama corresponds the sharply profiled feuilletonis ·
tl c vesturing of the social study, which latter supplies an extended background
analogous to the landscape in tlle diorama. rru,6]
-m: sea-"never lhe same'" for ProUSt at Balbec, and lhe dioramas with their
~ed lighting, which selS the day marching past the viewer at exactly the speed
wllh which it passes before the reader in Proust. Here, I.he highest and the lowest
fo nns of mimesis shake hands. [Q1,7)
'~c wax museum <PQ1/optiAum) a manifestation of the total work of an. The
uru:ersalism of the nineteenth ccntury has ilS momunCllI in the waxworks. Pan-
° PUCon: not o nly d ocs o ne see everything, bm one sees it in all ways. [Q7,8}
··Nuva lorarn u. " Eduard DevriCllt , 8rief'!(lUfl /~(lri$ ( Uerlin. l &tO ), p. 57. 1~,9J
Principal p anoramic repre!let1talions by I'Tivost (or the panora ma, of "'p a"a~e."
" Paris. TouJon , R () nu~. Naples. Amslerdaln. Tilllit , Wagram , Calais. Antwerp.
unltlo'i. Florence, Jt· ru ~ al t! m . IIml AthcRlI. All Wtlre conccivell in the lIame man·
ncr. Hill spedalors. !liluated on a plulfonn surrounded by II. halU8lratle. al though
on the SUl1uuil o( II L~ntral buililing. commanded a view of the entire horizon . Each
t:a.nvas, afli"ed 10 the inner wall of II cylindrical room , had a circ umference o( 97
meter!. 'l5 centimeters. 2 nlillimeten (300 fet!t) aud a height of 19 mden. 42
eentinml!!rs (60 feet). Thul . the eighteen panoram," b y Prevost repre8ent a s ur-
(ace area of 86,667 meten, 6 centimeteN (224,000 feet)." Lal:.edolliere. lIiuoire
du tlQU uw." Pari! (Paris), p . 30. [m ., l}
III The Old Cilriosity Shop, Dickens speak s of the " unchanging air of coldness and
gentility" about the waxwork .b D Dream House 0 [Q1a,2J
Daguerre and the Acad emy [ Fralltaise?]: " Lemer cier .. . ~ave me a ticket 10 •
puhlic se~s io ll of the Institute .. .. At thill se5llion he is going to recite a poem about
Daguerre's machine: ~S ee Q3a . 1> in order to revive interest ill the thing, for the
inventor losl his whole apparatus in a fire in his roolilo And 10. during my Jojount
in Paris, there 'A' U lIolhillg 10 Bee of the wondr(lUH operation of this machine."
Eduard Devl'ient , Brif'fe (.IIU Pllris (Berlin . 1840), p. 260 [ letter of Al'ril28. 1839].
[Q1'~[
In the Palnis-Ro yal, the " Cafe du MOllt Saint-Bernard. a very odd sight. on the
ftrst floor opposite thf' staircalH'.. (A c:oUeehou!>e where, roundabout 011 the walh,
are painted Alpine pallturel. At the height of the ta hlel iii a Inlall gallery in wruch
miniature moddll constitute the foreground of the paintinS: small COWl. S,viu
chaleill. mills, 1I0wen [lIhouJd perhal)1 be cowherdll1, alld the Iike--a very odd
sight .)" J . F. Bell:l!cni>erg. Brief,. gelchrieben uuf e ille r R ei!e rKU:h Pam (Dort-
mund . 1805) , yoJ. I , p. 260. [~a!'l
A poster : " The French La nguage in Panorama ." In J . F. Benzenherg, vol. I.
p. 265. I n the same conle"t , illformalion concerning the regulation that applie. to
hiJIRticker s. [01 8 ,51
7
An t:.ltccptionally detailed deiieriptioll of the program al the Pier re Theatre ill
Bt!nzenberg, YOl. I , pp , 287-292. [~a,61
The interest of the panorama is in seeing the true city-the city indoors. ~t
stands within the windowless house is the true. Moreover, the arcade, tOO, t5 a
....-indowlcss house. The Mndows that look down on it are like logo from which
one gazes inm its interior. but one cannOt s« out these windows to anything
outside. (\'\'hat is true has no windows; nowhere does the aue look out .to the
universe.) [~a,71
- Tile illusion waii cOlllplete. I Tl't!ogllize.1 a l first glance all tile mOllunlenu Ilnd aU
tile placcli , doWII to t.he Iinle cOllrt)'ard where I lived in a room II' t.he Convent ot
I.he 1:I(.ly SuviQr. Neyer did II traveler undergo such un a rdullu8 trial; I t:ouJd Dot.
ha \'f' e"I)C(;led Illal J erusalem and Alhell8 would be trlUll:lfer retllo Parill in order 10
cfllwincc fll C of trut.h or iIIuliion ." Chatcuuilriulld , in Lhe IJrefu ce to hiH"jneruire
(/I, <Pari! tj > Je rll~ (j/em. dletl in Emile de labedolliertl. Le NO UtlellU (Puri8), p . 30.
[~ , 1 1
111c iJmcmlOS[ glowing cclls of the city of light, the old dio ram as, nested in the
arcades, one of which today still bears the name Passage des Panoramas. It was,
in the first moment, as though you had entered an aquarium. Along the wall of
the great darkened hall, broken at intervals by narrow joints, it stretched like a
ribbon of illuminated water behind giass. The play of colors among deep-sea
fauna cannOt be more fiery. Bur what carne to light here were o pen-air, atmo-
spheric wonden. Seraglios wert: mirrored on moonlit waters; bright nights in
deserted parks loomed large. In the moonlight you could recognize the cW.teau
of Saint-Leu, where the last Conde was found hanged in a window. A light was
srill burning in a window of the chateau. A couple of times the SWl splashed wide
in between. In the clear light of a summer moming, one saw the rooms of the
Vatican as they might have appeared to the Nazarenesj no t far beyond rose
Baden-Baden. But cand1elight. too, was honored : wax tapers encircled the mur-
dered Due de Berry in the dusky cathedral that served as m ortuary chapel, and
hanging lamps in the silken skies of an isle of love practically put roWld Luna to
shame. It was an ingenious experiment on the moonstruck magic night of Ro-
manticism , and its noble substance emerged from the trial victorious. [~ ,2J
The waxwork figure as mannequin of histo ry.-In the wax museum the past
enters into the same aggregate state that d istance enters into in the interior.
[Q1,3[
On the world-travel panorama, ..... hich operated under the name "Le Tour du
Monde" ~t the Paris world exhibitio n of 1900, and which animated a changing
panoranuc background with uving figures in the foregroWld, each time costumed
accbrdingiy. "The '"W:>rld·Tour Panorama' is housed in a building thai has al-
read y caused a generaJ sensation because of its biz:trtt exterio r. An Indian gallery
crowns the .....alls of the edifice . ..... hile rising al the comers are the tower of a
pa~oda. a Chinese LOwer. and an old Portuguese lower." "Le To ur du Monde~" in
Drr Pariur WeltollJStdlung in Wort lind Bild. ed . Dr, Georg Malkowsky (Berlin,
1900), p. 59.-The similarity of this architecture to that in zoological gardens is
worth no~g. [~ .4J
'l'llrcf' stages in U 'mt rcicr'fI twtl/Jeiie et DCllJuerre: ( I) preSl!lItlltion or 81a tiollary
IJllI1 u rama.~; (2) prC!>I'nl atiol1 uf Ihe technique of their animation , which Daguer re
1;01 {rom l a ml..elie: (3) descr iption of the overcnming of lampa ie by the tireleu
J)agu crrt.. In Ilw fullo wing, the 'ir~1 stage (Ihe. thinl under 0 Plmlograph y 0) .
Oagut'. rre. in Ihl' low" r w'":", hi &IlruJi'll "ru ~h
MiKtll a nl<liulII tJlea l ~ r of optic ••
Ht\lt:aLl in I.he d .. rK of a gillnt lllldoo; ure
Bright M ri w nBuf a wo~sUJnll ' lCn" "rtiv".
W . Pll lllllll i. magic; and hit confluent ¥ ta.

_._-----_.3
Diorama Oil the Rue de Bondy, 1837. Courtesy of the BibliotMque Nationale de France:.
See Q;Ja,3.
One4: th e lICe ne ill comJll ete a nd in place all a r ollml.
Tra n, (orm a b are do th covering circula r ...alb
To a mirror of nature il!!elf.
"'t! Jlomucene Lemercier, Sur lu Decou verre de l'ingenicux IJeinlre du dioromG
[afterward : J.ampMie et DaguerreJ (ins tilul Royal de France. Annua l Public Se&-
sian or the Five Academics. Thursd ay, May 2 , 1839. chaired b y M. Chevreul.
presidellt {Pa ri" l839] , "I" 26-27). (Q}a.1J
After Ihe July Revolution . Dagucrre'.!i diorama included II view of ';Ia P lace de "
8 astille. J Illy 28, 1830." Pinel , fliJtoire de l 'Ecole polytechnil/ue <l:tan l, 1887 ) .
p . 208. [Q}a,2J
Diol'umas aillie Choteau d'Euli (lulcr the Place tie In Ri- publilluc) li nd 011 the Rue
lie BmHly. Cahillc l des ESl a mpes. (Q}a,3J
A print advertising tim manufaclure of prt:eision ins trlUue nlll. J . l\1,.,ltcni a nd Co.,
62 HUll llu C ha teau d ' Eult , refers (aft er 1856!) to, a lllo ng o llll'I' Lhings. " QP para tu8
of IIluUltlllllllagoria, po lyor ulIIP8. dioramas, and 8uch :' Cabine t IICII Estampt:lI.
[(V.AI
Empin. ,'igm·tte; "T he Pa lio ra IlHl .'- All iIlust.ratioli plate, line n or )Iape r. sllOwing
tij:htropl' walke rs in the lui.ld l(· bTO IIIUI. Arnur, with the pllintl·tl t'ap of u car ni val
down o r of u town e dt·r, poinl s to a puppe t theat er in t ilt' fo reground , whe re a
lulight kn eels be rortl his lud y while tlt:daring his lo ve. This aU in a la lld.8cape.
Cahinct ties Estump"s. [(V•.51
" I prcpun·d myseU to reedvl' lh e de/XJ~ ilion:r o r the women sht: called his IUHlO-
rlltJli$le.f-tllat is 10 say, t hose who wa lk up a nd tlUWII a ll the pano ra mas, particu-
la rl y the o ne o n the Bonlevn rd Muntm urtre:' P. C uisiu , /.,(1 Galllnterie .f01l8 fa
SlIllI'f'8 lmle rle~ loi., ( Pa ris. IHI5), pp. 136-137. [Q;Ja.6J
"Carpo rallla . . . S l ~dal i~ in g in iiII' "IUIli.§. IImn'n, alUl f r uits of India. " J.-L.
C rozt'. "QlIcillues S pel·tades tie Puris "elltlant I'ete lie 183;;" (Le Te mp.f, Augu st
22. (935). [Q;Ja,7]
The panora mic principle i.1l Bab:uc: " Our investigatioll has e na bled us to take
account of some t hree hundred real names in the Paris of the period 1800 to 1&15,
durin g whic h the cha ra cters of the COllledie hll muine de velop. If one a dded to this
thE' poutica l figures. the writer.8 a mI playwrights. the cele brities of all kinds who
aJlpea r in Ba b ac', narratives . . . witho ut a ny link to the actio n , the total
would pe rh a p! mUlint to fh'c IUIlItI I·cd . I t H. Clouzol and H.-H. Valensi, Le PlIru de
la Comedie hlwUlille; 11(Ii:llc et 5e5/0It nliuellr.f ( Paris, 1926), p. 175. [Q1,I)
Passage des Panoramas ... You ....iII havegues8etl Illa t this arcade owes its !lame to a
" articular spectad t' introdlll!ed ill Fra nce in J ll llua ry 1799. Tbe first Panorama in
Paris was mule r the 1lirect.io ll uf a nJa n from the United Sta tes ... by the lIa Ole of
Robert F ulton .... Fulton , a t the lime of the pla n to invade England . presented to
the e mperor a relJOrl 011 the immediate cunversio n of the imperial navy to
sleam . . . . Ha ving been rej ected in fo' ra nee. this ellgilleer went o n 10 succeed in
America, alld it iii said tha t , "" hen finall y returning to Saint- lie le ne 10 die, the
emperor saw through his s pyglass a steamboat which bore Ihe name Th e Fulton ."
Lo uis Lu rine. " Les IJo ule \'a r t&," in Pa ris c/'e; .foj ( Paris <1854», p. 60. 1~ ,2 1
Bal:r:ac: " Whe n in 1822 he vis ilil the lliur a ma run hy Daguer re, he-enthus ias tically
caLis it o lle uf the miracles of t he century_' a thousand pro blems are rCliolved .'
And .... hen the da b'Uer rco t YJlt! is .1.·\'du lH!t! twent y yea rs later. he a llo ws a photo-
gra.ph of himself tl'l be mude a nd wriles a ltogether deliriously of this inventio n .
""1~It'h he cla ims hi have Jlmp hesicil a1reatly in Lollis Lomber, (1835):' [Note a t
1~I:s poin t ; Corr <esl}omio ll ce ( 1876» , vol. I. p. 68 (l'oIIlJlarC Go rio/ ); l...ellre.f <il
I f.'r(J/lg ikc), vol. 2 <19(6 ), p. 36. J EI'IISI ltuhel'l Curtills. Hni;a c ( oonll . 1923),
~ al. ~~
Dickens'
. . "11lcrc noated b' Clore ,mil . . n 0 f a monstrous magazme,
. a VISio . enurely
.
W~ttcn by him self. ... One characteristic thi ng he wis hed to h ave in the peri-
(xh~. He suggested an Arabian Nights of London. in whidl Gog and Magog,
the gJanlS .of th e ciry, sho uld give forth duonidcs as enomlOUS as themselves."
C . K.; C~cstcnon. Didlnu, trans. La urent and M artin -Dupont (Paris, 1927),
P. 81. Dickens had nu m erous projects for serials. [Q4.4)
The world e;&:hibition uf 1889 had a " Panorama Ilistorique,- p UI logether hy
Stevell~ und Cervex , al the conciu! ioll IIf wltich a white-haired Victor Hugo was
shown hefo n: an allegliricill monument of Frallce, whieh ill IUru Wil li fl a llketl hy
allegnrit.'II of labor a nti o( national tlefenJle, [Q1,51
Duhhasar '8 Fell ~ l . by the condut·tor and ctllllposer J ulliell (cirra 1836): "Tht: chief
role ... (Ievolved upon Seven b rilliantl y cuillred lranspurenl s, whid. gleamed 80
failla stically in the darkoesR that J ullien's orchestra, instead of be ing the principal
atlraction , Rank to being mu d y an accompaniment . T ills fealll for Ihe eyes , whieh
was called a ' uocturnor ama. · was pruduccd by II met:hunical device," S. Kraeauer.
JCl cques Offenbach and da! Pa.riJ !einer Zeit (Amsll'.rd am , 1937). p , M .~ [Q1a, l]
" Punoramu" lfI- the best kn own of the Crt..'t:k-ha8ed coi ll age~ which cmerged dur.-
ing the French Revolution. "Ou tht' seventh of Florea!, in Iht" year VIl , Rohert
.' retlon d ' uhon?> look oul a patent '(or Ihe puqKl!Je of exhibiting cin:ula r pit.-
lun:8 calletl " PllnOr amIl8. '" T his first IIltcmpl woultl lead 10 the idea of a ' peri-
panorama ,' then a ' co!imo ra ma ; and laler a · pllnlllt'rP.Orama- (18 13)," Ferdimuld
Brunot. lliJ roire de to lan8 ue Jran{u iJe des ongine! jusqu 'u 1900; vol. 9, La
Revoiutiora et I'Empire; section 2, Les £I!enemenu. Ie! i,u titutim!S el hl la"8ue
(Paris. 1937), p . 1212 ("Les Nomt:llclalure!! sous loll Revolution"). l~a,21
From J o!!eph Dufour (1752-1827) .....1'. ba ve " hangin g tablellux"--lltrips ".·dve to
fdl cen meter s long, illustrated in the mannt'r of panor amas. They shuw la llds(fapee
(Ho8poruII , h aly). genre 8cell e~ (slIvagC1l of the Soulh Seu). mylhologies. IQJa,3]
" I wo uld r ather return 10 Ihe tlioramlls, whose brutal and cllormou8 111agic has the-.
power to impose on me a useful illusioll . I would rat her go 10 the theatt: r and feast
my eyes 0 11 Ihe !lCf'.ner y. in which I find my dt:arest drCanlHIlrtistically v::pressed
un d tragiclilly concentra ted . These things. because they arf' fllille, u.re infinitely
cloller 10 the lru th ." Cha rles Bautlelaire. Oeuvre" et! . Le Ounlee, vol. 2 <Parle,
1932~. I). 273 (" Salon de 1859." B«tion 8. "l.k Pa)·lIl1gc").1I lQ1a.41
In Balzuc 's work8. the numbcr of slIpt·rnumerarie8 rUIl8 10 five 1!lIlIIirf'tl per1lO1I8.
Fivf' hundred of his ch aracters appea r episodically without heillg illiegraletl into
th t: action . [Qfa,5j
R
-
[Mirrors]
The way mirrors bring the 0 1 expanse l the streets, into the cafe- this, too,
belongs to the interweaving of spa~ to the spectacle by which the Bineur is
inductab!y draWit"During the day, often sober; in the evening, more buoyant,
wh; the gas Barnes glow. The art of the dazzling illusion is here developed to
perfection. The most commonplacc tavern is dedicated to deceiving the eye.
"Through mirrors cxtending along walls, and refl.cccing rows of merchandise right
and left, these cstablishmcnts all obtain an artificial ansion a fantastical mag-
nitude, by lamplight" Karl Gut:zkow, Briefi aus Paris (Leipzig, 1842), vol. I ,
p.225.
Thus, precisely with the approach of night, distanl horizons bright as day open
up throughout the city. [R.I.l}
Hue, in colUlection with the mirror motif. should be mentioned the story of the
man who could not bear to have, in thc intcrior of his shop or bistro, the Icgend
on thc outer windowpanc incessant1y before his eyes in mirror writing. To dis-
c.ovcr an anecdote that accords with this. [R.l ,2]
Britt1e::, too, are the mosaic thresholds that lcad you, in thc style of the old
restaurants of the PaIais-Royal, to a "Parisian dinner" for five francs; they mount
boldly to a glass door, but you can hardly believe that bchind this door is really a
rcstaurant. The glass door adjacent promises a "F't:tir Casino" and allows a
gllmpse of a ticket booth and thc prices of seats ; but were you to open it-would
it Opcn into anything? Instead of entering the space of a thcatcr. wouldn't you be
stcpping down to the street? "Where doors and walls arc madc of mirrors, there is
no telling outside from in, with aU thc equivocal illwnination.' Paris is the city of
~lTOrs. Thc asphall of its roadways s~nooth as glass , and at lhc entrance to all
bIStros glass partitions. A profusion of windowpanes a nd mirrors in cafes, so as to
ma ke the inside brighter and to give all the tiny nooks and cralUues, into which
~risian taverns separatc, a pleasing amplitude. \\.bOlen here look at themselves
more than elsewhere, and from this comes lhc distUlccivc b~u ty of the
P-.a.risiclme. Before any man catches sight of her, she alrcady sees herself tell times
~fiected. But the man, 100, sees his OWn physiognomy Rasb by. He: gains bis
linage more quickly here than el.sewhe.-e and also sees himself more quickly
merged with this, his image. Even dl!.E>::=,,~ o~r E.,,,-,,.,.,~~~=~~v,,cil~c~d!,!!muTO~
·,,,,~
...,,-,an,,,,
over that wide bed of the Seine, over Paris.,L the sky' is s read o ut like the crystal
mirror gutgOVerthe b beds in brothels. [R 1.3]
Where were Ih e~e miJ:fUr~ m :lIIufa clur~t1 ? And ...·hell di411Iu.· custOIlI of furni8hin«
hll l'S witJllhcm llrisc? (R 1,4]
S in ~
when the l'U!ltom of inserting mirrors, w steall of CIoI nvase8. into the CXVellJllVe
carved frallll~1I of old I)ainling'? [R1,5)
Let two mirrors reflect each adler; then Satan plays his ravorite crick and opens
here in his way (as his partner does in lovers' gazes) the perspective on infinity. Be
it now divine, now satanic: Paris has a passion for milTor·like perspectives. The
Arc de Thomphe, the Sacre Coeur, and even the Pantheon appear, from a dis·
tance, like inl3.ges hovering above the ground and opening, architecturally, a fata
morgana. 0 Perspective 0 (R I ,til
At the end of the 1860s, Alp honse Karr wriles that no onc knows how tu make
mirrors any IIlOI·C. [RI,7)
TItat the last but a1so the greatest work of this mirror nl3.gic is still around to be:
seen is owing, perhaps, more to its high production COSts than to its drawing
poM:r and profitability, which today are already on the decline. This work. is the
"Cabinet des Mirages" at the M~e Grivin. H ere vvere united, one final time, __
iron supporting beams and giant glass panes imersccting at countless angles.
Various coverings make it possible to transform these beams into Greek columns
o ne moment, Egyptian pilasters the next, then into street lamps; and, according
as they come imo view, the spectator is surrounded wi~ unending fo~ts of
GrecO'"Roman te.mple columns, with suites. as it ....'ere, of lIUlumerable railroad
stations, market halls, or arcades, one succeeding another. A Buctuating light and
gentle music accompany the performance, and CO?ling bc:ore each ~forma·
oon is the classic signal of the hand bell, and the Jolt, which we recogruze from
our earliest trips around the world, when, in the Kaiserpanorama, before our
eyes that were full of the pain of departure, an image would slowly disengage
from the stereoscope, allowing the next one to appear. (R1.8)
Mallarme as genius of mirrors. [R1a, 1]
fortune, an ll wbereas there i, scarcely iii h uusellOld ill Franf:'e Iha l doe, 1I0t p(HIses~
lilt lea8t one or IWo, nothiog is rarer in England titan 10 cURIe UIHHI olle of our
mirroN!. even in castles." Adllillhe BltiOiIUi, fl g,oire (Ie {'exposition deIl IJrot/uj'lI
de l'indu.Jtriejm fl t;ai.se ell ' 827 ( Pltri ~, 1827), I)' 130. fR 1a.3)
£goistil..- "Iila l is what one hccomes i.1I Paris, w lll~ rI' you call hllrllly tllke a sl.ep
without cutching sight uf yo ur deul'iy heloved self. Mirror after mirror ! 1/1 cafes
lind resla urants. in I!.bup8 lind stores, in h air clltting IIa lon, and litera ry talons. in
hliltiHi and everywhere, 'every inch a mirror ' !" S. F. l.a hrs<?> . Brieje alU Pari.s, in
Europa : Chronik der gebildeten We fl , ed. Augu81 Lewald (Leipzig IiI nd Stuttgart ,
1637), vol . 2, I)· 206. [Rl a.4]
Redon paints things as if they appeared in a somewhat clouded mirror. But his
mirror world is Bat. averse [0 perspective. [Rla,5]
" So long ItIi tJ,e p late &lass was produced solely through expansion of a g)als cy lin ~
der blown with the nlolltb a t Ihe end oftbe pipe. itJi dimensions had a COlUlant and •
~elatively confined limit , ~ne determined by the luug power expended in the bl ow~ ~
mg. Onl y recently was this replaced by compressed air. Bul with the intrlllluction _
of the. casting prOCelJs ... in 1688. thele dWIensiOll8 were immedialely und ' ig-
nificantl y incr eased .'" A. G. Meycr, Ei.se nbuuten (Eu lingen, 1907), PI' . 54-55.
Note to tIIill pU8uge: " The 6r5t mirrON! cast in Paris lilte said ... to have measured
IJ4 b)' 50 inehea, all compared to a IIlaximum of 50 by 45 in ches before this."
[Rla.6)
Actually, in th~ arcades it is ~ot a matter of illuminating the interior space, as in
other fonus of ITOn construco.OIl, but of damping the exterior space. [Rla,7]
00 Ihe Iighl thai reigns in the a rcades: "A g1aucou8 g1~tl m, seell~y flI te red
I,hruugh deell waleI', with the special quality of paJ,., hrilliance of a Ie, suddeN )'
reveal~ under iii lifled skirt . The grea t American passion for cily plan nillg, im.
I'ort~d lIlto Pari, hy a prefect of (Jolice during the Second Empire ami now Lein g
applied Itt tlil: talk of redra""ing dIe map of our ca pilal ill straighllinef;, will IIUIIII
~fleU tht: doo lll of these human allU.II rium8. AilllOugb the life that urigiJlally quick-
ellell them
- hU8 d.rome . d away, Ih ey d eseI've. f1 t'vert hcless. to he regarded ali the
o
';':t 1't!po8il rie uf several modern nlyths." 16u.is Arlilgon, U P(J)'Jtlll de Pori.s
( arts.l926), p . 19. t D Mythology O [R2. 1]

''The lUallufat;IIlI't: tof mirrors ill Pllri ~ 111111 Sainl-Gu baiu , ' mirl'nr~ k nown all OV(lr Outside surITed(>
"t1 Ie green, transparent IJ·d c Iill·mg the streel 10 a level high above
j
th c houses' and th
EurolJ!" 111111 Wil.holll seriuus ri,'ul.' I:UIlI.iIlUt.~ un uIHll t:d : ' Levasseur. Hiswire del . , ere. up an d down, swam the queerest fish often nearly human
ciussel oll vrieres <fll (Ie "intlu.slrie f'n P rrlflce. lie J 789 tl 1870 (Paris. 1903)), vul.
tn appearru
. Ice. . . .
The street .Itself could ha~ come from somc ' prehistonc book
I, (I. 446. [RIa,2] ~ ga ble d h owes WI·th IIIgh
Iof Ullagcs·' o--Y L' .
poUlted roofs and narrow windows the
aUer sometimes '_;gh . '
. s....... t across. somel:lmes a ll a slant, lhe sides of the houses in
"Our lIurn)r.I art' gruwi ng IUI'SI'I' hy li lt: \Iay. ""hit-h lI1 :1k~~ them mQre Itnd more SOn~
cl spo~ .1mo" ..• I ,,- d
overgrown Wlul S ICu:; an seaweed, though in olher SpoLS
soughl uflf' I' lhruugh"ut EUI·u pt·. Tuduy I.hey un ' wi thin rllII gt· or Ihe m05111litldling ean and well preserved, a.nd adorned with tasteful paintings and shell
 figures ... . Before every door stood 3: tall shady coral ott: and planted not
infrequently along the walJ.s. like the grapevines and roses W~ traill on slender
treUises at home, were polyps with spreading arms lhal reached in tllcir luxuri-
arlCe' hi.gh above the windows, ofeen to the ve ry gables that protruded from the
roofs." Fried rich Ccrsticker, Die ~rSIllI.~l'tl l' Stadt « Berlin :> Nc:ufeld and Henius,
192 1), p. 30. If a work of lilcralure, an imaginative composition. could arise from
" repressed economic com e nts in the consciousness o f a coUcccivc:, as Freud says it
can from scxual contents in an individual consciousness, then in the above de-
scription we ","'QuId have before our eyes the consummate sublimation of the
arcades, with their bric-a-brac growing rankly out of their showcases. Even the
vitreous radiance of lhe globes of the street. lamps, t.he utter pomp and splendor
of gas lighting, enters uuo this undersea world of Gerstiickcr's. The hero sees, to
hi.s am azclllcm, "that. wit.h the gradual infusion of twilight, these undersea corri·
dors just. as gradually lit up by themselves. For everywhere in the bushes of coral
and sponge, among the wreaths and thick curtains of seaweed and the tall waving
seagrass lowering up behind. were sitting broad·brilmncd, glassy·looking medu-
sas. which already at the outset had given off a wcak, greenish phosphorc.sceru
light that quickly picked up strength at the approadl of darkness and now was
shining with great intensity." Gerstackcr, Die uemw}uf!t! Stadt, p. 48. Here, the
arcade in Gerstiicker in a different constellation: "H ardly had they left the house
than they entered intO a wide and airy, crysta1-cro\o\l1led passageway, OlitO which
nearly all me neighboring houses seemed to issue : just beyond this, however, and
divided from it o nly by a perfectly tranSparcnl partition that appeared to be
fo nned of thin sheets of ice, lay the luminous waters." GersL.~cker, Die uersunkne
SI<UiJ, p. 42. [R2,2]
As rocks of the Miocene or Eocene in places bear the imprint of monstroUS
creatures from those ages, so today arcades dot the metropolitan landscape like
caves containing the fossil remains of a vanished monster: the consumer of the
pre.imperial era of capitalism . tile last dinosaur of Europe. On the walls ? f these
caverns their immemorial Bora, the commodity, luxuriates and enters. like can-
cerous tisslle, into the most irregular combinations. A world of secret affini~
opens up wilhin: palm tree and feather duster, I~airdry~r ~nd V:nus de Mi1~
prosmeses and letter-writing manuals. TIle odahsque lies U1 "''alt. next (Q
inkwell. and priestesses raise high the vessels into which we drop cigarette butts
as ince.nse offerings. TIlcsc items 011 display arc a rebus: how one. ought to read
here the birdseed in me fixative·pan, tile. flower seeds beside the binoculars, the
broken screw atop the musical score, and the revolver above the goldfish bowl-
is rigllt on the tip of one's tonb'Uc, After all, nothing of tllC lot appears to be neW.
'11e goldfish come perhaps fro m a pond that dried up long ago. t.he rc.volver .was
a colTtus delicti. and these scores could hardly have preserved theU' preVIOUS
·c . '" d ·
owncr from starvation when her last pupils stayed away. nil SIlF, to Ie
oJ dream·
ing collective itself. the decline of an economic era seems like the end of .tl1e
world. the writ.er Karl Kraus has looked quite correctly on the arcades, wluch,
fro m a notller angle, 1ll1lst.lL1.ve appealed to him 35 the casling of a dream : ''In the
Berlin Arcade, the.re is no grass growing. It looks like the day after the. end of the
world , althOUgll people ~ still moving about. O tg'olnic life is witherc:d, and in
Litis conditio n is put on display. Castan's Panopticon. Ab, a sunmlcry day there,
alllo ng the waxworks. at six o'clock. An orchesb"ion plays mechanical music to
accompany Napoleon Ill's bladde.r-stOne operation. Adults can sec the syphilitic
dlancrc of :l Negro. Positively the very last Aztecs. Oleographs. Street youths,
hustlers. with thick hands. Ouu ide is life: a third·rate cabaret. The orchestrion
p\..1.)·s '\bu'te a Fine. Fellow. Emil.' H ere God. is made by macltine." (Karl Kraus,)
/l'or.hlJ (Vienna and Leipzig, 1924), pp. 20 1- 202. [R2,3)
On !.Iii' Cr ystal Pala':I' of l8S I: "Of I'ourli~, for 8elltl u,m tl per ccption. these glass
SlIl'f:lI'es al'~ t.11I: IIlS{'h·I!i pra('ti ra Ur di~solve.1 in light . I In its ba sic principle, this
is by no md lll Milomcthing altogc.thel· lIew; rutileI'. itil pr.:history goes back Centuries
at I" ast, if lI"t ruillellllia . .For it IIegins witll Ihe .11!4:isiun to cover the wu.Us with
~ h i llin g mt:'iul plates. f ... That itl lhe first ~ h! I ' 011 the wa y to Ihe lIew va lu81iull of
!I1~a ct· ut wurk in the e rrs ta! Paillce. III the. domed cbamh(:r uf the My(!enaeans,
thill cOIlL't!jltioll of SIHlI'e was a lready 8(, tlexiclt...Uy in fOrL' t tbat the entirr. . pace of
thi.' I'()om could be dissoln:c1 ill hlsl!"!r ... In t.his wu ... howc\'el' One sac me Iba
fundamentatlllcalis of aU spat.ial organization : e()lItra ~ t . The whole of the 8 ucceed ~
iJlg historical devdoplllcnt was d ~l ermined thruugh Ihis mc:m s-althougll . from
Ihe IJe rSIK!cti v~ uf "'hal ('ollcerm lUI at Ill'eBc nt , this devdopllleni fint begillJ only a
t.houlia nd yea rs later. lInti then no 1(H1ger with the -Iusler ' of melal but ,.itll that of
g1as8. I ... The higll puinl Ilere is with the window of tile Gothic cathedral ....
The increasing transpa rency of glass in colorlen glasing drQW8 the outer world
inl u Ihe illterior space, while covering the Willi s wilh mirrors prtlj eCt8 the image uC
tile inlerior s puce into Ihc outer wOI·I,1. In either ('al!-e lh.. ' wall.' a8 a container of
s pace , is deprived of ils iligni/ka nce, The ' lus ter' increasingly fonei18 the d..i!tinc·
livc color th at. was part of its character aud becomcs I'veI' more exclusively just a
mi r ror IIf eXh,rnallighl . I This process t:ulminale.1 in t.he profa lle interior space of
IIii' ~ 'o'ellt eellth cent ury, ,,"'iwre it was no lunger only Ihe enlhrusurCIJ of WindO"'8
Ihul "," ' 1'1" fiU"it ,.itll pla te ~a lls d ea r as Wall:r, bUI also the remaining 8unaees of
duo Wil li $urrolllldillg the 1' 01.1111, partifularly ill plac'I:' that lay opposite u window
fllll'lIi ll ~: in the 'mirror gailO'dell lI( the rococo inh·rior~.· I ... 8uI in this the
prinl'iple of I!ont ra~ t 81ill prevaild. _ .. In the SaiJlle-Chapclle. IllIw",'er, .Ill! ill
~ V"rsuj lJ e'8> Hall o( Mirro r s, thi~ n ·latioll belween ~ tlr-f:II:e and lighl was co nsti ~
lult·d ill slIch II wa y that it. is 1111 IUllgt·1' the Jigltl Ihat interrupl.'!! Ihe surface area bul
Ih t.' MII'faCt' ur;'a Ihat lnh·rrupt.s IIII' Light . I In II'rnl1l of the uufol.liu j; 'o'll lllllliull of
~ p ll.'1·. lhe l-e(ol'(', we ~t't · 0 .·oJltinuous I'r"s:ressioll . AI il ~ t' ml !l1.allll 1.111' g rel''' ~
huus,·s. 11 11;1 1111' 1IIllis uf the Cry.; tnl Palllc.' i.1I Lu ndon.·' A. C . lU rye r. f:i.~,,"b.tIIlfw
jE-~ l illgcn. 11)07). PI'. 65-6(1. {R2a.l J
Qlle may compare the pure m:lbric of those walls of mirrors which we k.now from
feud al times witll tlle opprcssive magic worked by tile alluring mirror·walls of
the a rcades, which invite us into seductive bazaars. D Magasins dt .Nou"lJt:uulb 0
[R2a. 2]
~.!Uhe ambi~i~ o f the arcades: their abundance of mirrors, which fabu ·
lous! am lifies thc= s aces and makes onOltabon matt d ' ru t. r a1thoup!
this mirror world may have many aspects, indeed infinitely many, it remains
ambiguous, ou6re:ea~. It Ii : It is always this om'-and never nothlng_
o ut of which another inunediately arises. The space that u-ansfomlS itself does so
s
in the bosom of nothingness. In its tarnished, dirty mIrt;;rs, things exchange a [Painting, Jugendstil, Novelty]
Kaspar·Hauser-look with the nothing. It is like an equivocal wink coming from
nirvana. And here, again, we are brushed with icy bttath by the dand yish name
of Odilon Redon, who caught, like no one else, this look of things in the mirror To CTeatc= history \Vith the very detrinu of history.
of nothingness, and who understood, like no one else, how to join with thin!;5 in - ReillYde Gounl\ont. u I!- Li!}rt' tk. 1/I11.I1/"tJ (Paris, 1924). p. 259
Jheir co.llusionJrith nonbein~}be whispering o f gazes fills the arca~. There is
no thing here that does not., where one least expects it, open a fugitive eye, E\"el1[5 profit from noc being commented on.
blinking it shul again ; but if you look more closely, it is gone. To the whispering -A1fn:d Deh':lu, Prcr3('e to MurailJtJ ritJoJuti~Mi'Q (P:uU), vol. 1, p. 4
of these gazes, the space lends its echo. "Now, what," it blinks, "can possibly
have com e over me?" "* stOp short in some smprise. "What, indeed, can pos. Pains etc:mal,
And ever fresh,
sibly have come over you?" Thus we gently bounce the question back to it.
Hide from their heans
o A1nerie [p [R2a,3)
All your terrors.

"Impges uf inleriors a.re L11 the center of Ihe earl y Kicrkegaard ', philosophical -\bose oftlle Dcvi1, slUlg while he InIUromll a desolate and rocky
constructiuns. T hese imMges are, in fa ct . produced hy philosoplly, .. . but they Ianru:apc into a boudoir; &om Hippolyte Lucas and Eugblc Banf
Lt C~I tl/'erifrr: Rmt (Paris, 1853), p. 88 '
poinl beyond this stratum in virtue of the thinge they hold fas t .... T he great motif
of refit:Ction belonge 10 the inren eu r. The "salucer ' ber;ins a nOle: 'Why can ' I you While procreation wed to be the fas h.ion,
be quiet aDd weU behavt!d? You have done nothing the entire morning e,;.cept to ~ think of that, pardon, as tripe.
shake my awning, I'ull ot my window mirror, play with Ihe. beU-ropc from the third
story. rat tle the windoWIJane8--in ,.hort . do ever ything pOllsible to get my atten- - - ro W!, ~ 2 (\'Y.Jgner in the homunculw scene)1

tion!' ... The window mirror is a characteristic furnishing of the spacious nine--
leenth-century apartment .... The function or the window mirror is to project the
endlcn row of apartment buildings illto the enup8 ulated bourgCi)is living roolD;
by this mcan s, the living room dominatCli lile reflected row at the same time that it
is delimited by it ." Theodor Wiell4!ngrund-Adorllo. KierkegalJrd (TUbinpm,
1933). I}. 45." 0 flinenr 0 Interior 0 [R3.1) "llislory
' .. 'iI< e. J IIIIUS.. .It h lIS two racel W)It~lher it look ' 0 "
Prek t . . Ie past or to t h e
v I 0 . 11 ~R the same thing8. " d1axirne~ Du Camp, Paril <Parill. 1869-1875) ,
To be cited in ttference to the physiologies, even though coming later, is the 0 .6, p . 3 15. D Fashion 0
{S' ,l l
a
passage from the kLettre C harles Assclineau," in which Babou gives free rein to
his nonconfonrust and antimodemist sentiments. "1 know thai the public of ··It haS' orlen hu,).... ed t • •.
. / . ¥ J1 ollie ItJ n OI(' certuUl tn vla) event!! pll88ing before. my ey"
today, being the most seemJy of all publics, loves to admire itself n l jamille in as s , IOWm '" 't . . I . .
., • to a <flll e. (ln gma as)}(.'"Ct . m whil'll I foodly hOI>ed to discf'rD Ille Ipiril of
those very large mirrors which adorn the cafes of the boulevard, or which the It' J>erllld· 'TI · . ) . I J II
,. , . liS. . "'UII f tt' mysdf. '''''as holl/ull o ha ppell lotla)' and could uot
hand o f an arty d ecorator has kindly installed in its bedroom." Hippolyte Babou, HI V!' Jel" lI oilier thall il i~ It i ~
h . . r, .
. , ,. ., .
U ~ Ign (I till tllll e~. weU. lillie tillies 0111 uf tell . I
us Pa)1mf innocents (paris, 1858), p. x viii. (R3,2) Ill'r to m c II cr058 the. ve ' .,
" . I Y 81UII(' eVr'nl ""II I anulogolls circumstances ill old menl -
!If11 fi r old Ju stor y b >oks "' \
"~a s hioli 0 I . I lIato'e" ram·e. Le Jardin d '/:.'p icllre (Paris). p. 11 3.!
{SI ,21
lbcch . [c. .,
. angc 10 aSlUons, ulC ctcmally up·to -date <das ErJ.lirr-lil!uh"ur> "'" ~, " c •.
•Oneal" 'd . " '" . "'., ......... , ~. ¥

POl" . CO ILSl eratlon; It IS tnlly overco me o nly through a consideration lhat is

IUca.I (theolo gical). Politic.s recognizes in ("vcr), actual constellation the genu-
indy unique- what will m:ver recur. Characteristic of a fashionable considera·
cion. which proceeds from bad con temporariness, is the foUmving item of infor·
mation, which is found in Benda's La Truh iJon des c1ercs <'The Betrayal of the
Intellectuals) : a German reports his amazemem when, sitting at a table d'Mle in
Paris fourteen days after the stonning of the Bastille, he heard no one speak of
politics. It is no differem when Anatole France has the aged Pilate chatting in
Rome of the days of his govemon;hip and saying, as he touches on the revolt of
the king oftbcJews, "Now, what was he called?)!' [SI.3J
Definition of the "modem" as the new in the contat o f what has always already
been there. The always new, always identical "heathscape" in Kafka (lkr ProujJ)
is not a bad expression of this state of affairs. "'\>\buldn't you like to see a piaure
or twO that you might care to buy?' ... TIto relli dragged a pile of unframed
canvases from under the bed ; they were so thickly covered with dust that when
he blew some of it from the topmost, K. was ahnost blinded and choked by the
cloud that Bew up. ' Wild .Nature, a heathscape: said the painter, handing K.. the
picoore. It showed two stunted mes standing far apart from each other in darkish
grass. In the background was a many-hued sun.'Iet. 'Fmc,' said K: 'I'll ~uy it.' K's
higher concreteness, redemption of periods of decline. revision of pcrioditation
presently stan~s at su~ a poim, and its utilization in a reactionary or a revolu:
DOnary sense IS now being decided. In this regard, the writings of the Surrealists
and the new book by Hcidegger point to one and the same crisis in its two
pOssible solutions. (51,6J
Rem)" de GOllrlllOflt 011 the "HiKtoire .lt' 18 6oc.icle frll.lI~~lli8e penda.nt 18 RevolutiuD
ct SOIll! Ie Directoire": " It wilt the fuudalUeJltal originality of I.he GoncO Url.8 III
rrealt' hi.8tor y with the very Jetntus o( bistory." Remy lie Go urmont . Le 11- Livre
Jf'~ ma~qlles (Poris , 1924). II· 259. (Sla.l l
"If one takes from history only the most galeral facts , those which lend them-
sdves to parall~ and to tllCOIies, then it suffices, as Schopenhauer said, to read
only the morn~n.g paper and Herodotus. All the rest intervening-the evident
and fatal repeutJon of the most distant and the OlOst recent facts-be
_"' d I .. D _ comes
tCUl?US an use ess: .lU;UIy d~ Gounnont, l.e U- Livre des masques (Paris, 1924),
p. 2.'>9. The passage:: IS not altirely clear. The wording would lead one to ass
~
lI " 'm the course of history concerns the great facts as much as- th
.... t repetition

curtness had been unthinking and so he was glad when the paInter, IJlStead of ~mall. But the author himself p~bably has in mind only the former. Against ~
being offended, lifted another canvas from the floor. 'Here's the companion It should be shown that, preCISely in the minutiae of the "intervening " th
mall clfs . ___ :1' ' e
picrurt: he said. It might have been intended as a companion picrure, but that: ete y s ame IS UWJll1est. (Sla,2J
was nO[ I..he slightest difference that one could see between it and the other; here
.....-ere the twO mes, here the grass, and there the sunset.. But K. did not bother The ~onstructions of history are comparable to military orders that discipline the
about that. 'They'rt fme prospects,' he said. 'I'U buy both of them and hang ~ true life and confine it to b~cks. C?n the other hand: the street insurgence of
up in my office: 'You seem to like the subject: said the painter, fishing out a thin::I ~e anecdote. The anecdote bnngs things near to us spatially, lets them alter our
canvas. 'By a lucky chance I have anolher of these soodies here.' .But it ~ not ~e}t re~resents the strict ~t:ithesis to the sort o f history which demands "empa.
merely a similar soody, it was simply the same wild heathscape a~. The ~amter y, ~hich makes everything abstract. The same ~chnique of nearness may be
was apparently exploiting to the full this opportunity to seU off his old plCtUfell, pracllced, calendricaUy, with respect to epochs. Let us imagine that a man dies on
'l'Utake that one as weU: said K. 'How much for the three picoores?' ',,*'u seUle the very da~ he turns fifty, which is the day on which his son is bom, to whom
that nat time: said the painter... _ 'I must say I'm very glad you like trn;se ~e s:une thing happens, and so on. If one were to have the chain comme:nce al
picturts, and I'll throw in aU the others under the bed as well. They re ~e bme of the birth. of Christ, the result would be that, in the rime since we
heathscapes every One of them- I've painted dozens of them in my time. Some L~ ~ur chronolog:.cal reckoning, not forty men h..we lived. Thus the imam" of
people won't have anything to do with these subjects because they.'re lOO ,s"omber, a. l.u.stoncal cours e 0 f'tune IS
. all ' ' 0 -
tOt y translonned as soon as one brings to bear on
but there are always people like yourself who prefer somber plcoores_ Frant If a standard adequate and comprehensible to human life. 1b.is pathos of near-
Kafka, D" Prouji (lkrun, 1925), pp. 284-286' 0 Hasru..h o [51,4) ness, ~e hatred of the abstract configuration of history in its "epochs " was at
Work Ul the great skeptics like Anatole France. ' {S la,3}
The "modem," the time of heU. The punishments of hell are al'ways the newest
thing going in this domain. What is at issue is not tll:lt "the same thing hap~ Thr ere has. never been an epoch that did not feel itself to be "modem" in the sense
CCCcntn d d 'd beli .
c, an 1 no~
(j
over and over;' and evcn less would it be a question here of eternal rctum . It III des eve Itself to be Standing directly before all abyss. The
rather that precisdy in thai which is newest the fa ce of the \""orld never alters; that .. L~t~y clear COIlSOousness of being in the middle of a crisis is something
w~~ h . E .
this newest remains, in every respecl., the sarue.-11Us constitutes the eterruty of M m umaJUty. very age ullavoldably seems to itself a Ilew affl". The
1l1odem " howe' . d ' . . 0-
hell. To detenninc the totality of traits by whieb the "modem" is defined would th ' vcr, IS as vane m Its mearung as the different aspects of one and
be to represent hell. (SI ,5J e Same kaleidoscope. <Compare NIO, L) (5 13.4)

or vital
intCI"CSl to recognize a particular point of development as a crossroads. <?onnection between the colponab'C intention and the deepest theolooical illten.
bOII. I t · . b- k& kl d' I . o·
The new historical think.i.ng that, in general and in particulars, is dlaracterized by DlIlTOrs It ac ar y, lSp aces mto the space of contemplation what
only holds good in the space o f the just life. Namely: clm the world is always ~
samc (that all eventS could have taken place in clle same space). O n 3. theoretical
plane, d espite everything {despite the keen insight lurking within itl, this is a tired
an d withered tmth. Nevertheless, it finds supreme cOnhnnation in ule existence
of the pio lls, to whom aU lhings serve ule greatest good, as herc.lhe space. serves
all that has happened. So deeply is ule theo logical clement sunk in the realm of
colportage. One might ev~ say that the deepesl truths, far from having risen
above the anim.'"Il torpor of human being, possess lhe mighty power of being ab~
to adapt to Ule dull and conwlonplace-indeed, of mirroring themsclves, after
their fashion. in im:sponsible dream s. iS la,5}
No decline of Ule arcades. but sudden rransfonnal"ion. At one blow, they becarur.
ute hollow mo ld from which the image of "modernity" was cast. Here., the
cenrury mirrored with satisfaction its most recent past. [S Ia,6)
Every date from the sixtecnt.h cenrury trails purple after it. Those of the nine-
teenul century arc only now receiving their physiognomy. Especially from the
data of architecrure and socialism. [S la,7]
Every epoch appears to itself inescapably modem -but each one also has a right
to be taken thus. W hat is to be understood by "inescapably modem," however.
cillerges vcry clearly in the following semence: "Perhaps our descendants wiD
understand the second main period of history after Christ to have its inception in
lhe French Revolution and in the rum from the eightecnul to the nineteenth-
centu ry. while grasping the first main period ill tenns of the development .of.the
whole Christian world, including the Reformation." Al another place, It II •
question o r "a great period that ruts more deeply than any other intO the hist~
of ule world-a period witho ut religious founders, without refo nners or lawglV'
ers." Julius Meyer, Guchichte lkr llIodernen Frml1.iiJiulirn M (lfeu; (Leipzig, 1~6~.
pp. 22, 21. TIle author assumes U13t history is constantly expanding. But this ':"
in reality, a consequence of the fact that industry gives it its truly epochal charac-
ter. TIle feeling that an epochal upheaVal had begun with the nineteenth century
was no special privilege of H egcl and Marx. [S l a.8)
111(" dreaming collective knows no history. Events pass before it as always ide.nti·
cal and always new. TIIC sensatloll of the newest and most modern is, in fa';,t'-h:
as much a dream fo m mtion o r events as "ule eternal rerum o f the saOle.
perception o r space that corresponds to this perception of ~i1ne is Ul~ inte~ne­
lrating and superposed transparency of the world of the flan.clIr. ~lIS feeling of
spacc lhis feeling or time, presidcd at the bu1.h o f modern femllclOllls m. 0 Dre.'Ul1
'. r. . [52. 1]
C ()Uecuvc •
"What drives us into contcmplation of the past is the similarity bt:tweell \~hat I~
been and m u' own life, which arc somehow Olle being. llU'Ough grasping thiS
identlty, w(' can transport ou rselves into even the purest of all regions-intO
deaul." Hugo von HofmalUuthal, Bllch der Freu"de (Leipzig, 1929), p. IlL'
[52,2]
Very striking how H ofmaruuthal calls this "somehow one being" a being in the
sphere of death. Hence the inllllOrtality of his "religious novice," that fictional
c.haJ'3cter of whom he spoke during his last meeting with me, and who was
supposed to make his way through changing religions down thC' ~nturies, as
through the suite of rooms of one grand apartment.7 H ow it is that, within the
narrowly confined space of a singte life, this "being somehow one" with what has
been leads into the sphere of death- this d awned on me for the first time in Paris,
during a conversation about Proust, in 1930. To be sure, Proust never heightened
but I1Ither analyzed humanity. His moral gRatncss, though, lies in quite another
direction. With a passion unknown to any writer before him. he took as his
subject the fid elity to thing! that have crossed our path in life. Fiddity to an
aftemoon, to a tree, a spot of sun on the carpet; fidelity to garments, pieces o f
furniture, to perfumes or landscapes. nne discovery he ultimately rnak.es on the
road to Mescglise is ule highest "moral teaching" Proust has to offer: a son of
spatial transposition o f the JtmjJtr idem.) I grant that Proust, in the deepest sense,
"perhaps rdllges himself on the side of death." His cosmos has its sun, perhaps, in
death, around which o rbit the lived moments, the gathered things. "Beyond the
pleasure principle" is p robably th(' best coounentary there is on Proust's works.
In order to understand ProUSt, generally speaking, it is perhaps necessary to
begin with the fact that his subject is the obverse side, k reuerJ, "not so much of
the world b ut of life itself." (S2,3)
The eternity oC the olH!rclla . 8ay. Wieseogrund in hit eASay on t.hiA Corm,' is tht:
eternity tiC yes terdar (S2,4J
I. Perhaps 110 simulacrum h all provided 118 wilh all ensemble of objec18 mOTe pre-
ci~dy alluooo to lhe (;olleept of ' idear Ihan IIiat great simulacrum which conati-
illi CIt U I C revolutionar y orllumental Dn:hitt.'t:lure of Jugcndstil. No eoUective effort
hus ~lIect:ed ed ill erea lln!; a dream .....orltl illl pll re, aUlI HS disturbing, ali tbese
JugendSlil hllildillgs . Silllllieci. 118 Ihey Ilrt, 1.111 the margillii of arc.hitecture, they
allllll' "ollslilute the rt':lllizatiol1uf dcsires in which an I!Xcessh'ely violent and cruel
aUlOmllli ~ lI\ painflilly betraY8 the ~ o rt Qf hatred for n :alilY umlllccd fur refu ge In
all i. II'al lO'ur ltl that w,' IIlId in t·hildboud lIeul'usis." Salvudor Dall. "L'A ne
!JuU rri." I.e SlI rrp.tI/i.sme (HI .sen'ice!lt! If! r p.vullUifm . l. 110 . 1 ( Paris. 1930), p . L2.
r: In.lust t·y 0 All vI!rtilling 0 (S2,5)
"Here is whal we can still love: the inlposillg block of those rapturous and frigid
StruCtures scattered across all of Europe, scorned and ncglected by anulologic:s
~d sludies." Salvador Dali. "L'Ane pourri." Lr Surrialisme (IU J(11Jiu de fa rivolu·
ilOll, 1, no. I (Paris, 1930), p. 12. Perhaps no city comaillS more perfect examples
of this Jugendsril than Barcclona. in the works of the architect who d~ign('d the
Church of the Sagrada Familia.' [521,1)
Wiesengrund cite. ami commeuU (In a pasiage fro m Kierkegaard'ii Re.petition:
" One climbs the atai rs to tbe fiMlt Roor in a gas-iUuminult:(1 building. OpelU II little
door, and atands in the eJllry. To tbe left ill a glall door lellding 10 a room . One
continues directJ y ahelld iJIIG an anter oom. 8 eyolul aN' two entirely identical
roonUl, identically furnished . as though one were the nli.rror reRection of the
other." Apropos ofthill pauage (Kierkegaard. <Ceaammelte) Werke . vol. 3 <Jen •
1909 ) . p . 138). which he cite!! at greater length, Wie8engruud rema rks: "'('be duo
• Louys write!! " Ie throne," WitJl the older Lutinute spelling; everywhere ar e fount!
plication of the room is unfathomable, l!eeming to be a reflec:tion witbout being eo.
Like thelle rooms, perhaps all Bemblauce in history re~lII bl e8 itself, 80 lont; at it
itself, obedient to nature. I>CMlist.!! as semblance." Wiesengruud-Adorno, lGv-.
kes oord (iUbingen . 1933), II . 50. 1' 0 Mirror 0 Interior 0 {S2a,2J
On the motif of the heathscapes in Kafka's Der ProujJ: in the rime ofhcll, the new
(the pendant) is always the eternally selfsame. [521,3]
After the Commune: " Englaud welcoml!(l the exiles and did everything it coUld to
keep them. At the exhibition of 1878, it became clear that she h ad risen .Ln"
France and Paris to take the premier position in the appUed arts. If the modem
' tyle retunloo to France in 1900, this is perhaps a distant consequence of the
barbarous manner in which the Commune was repreued ." Dubecb and d ' Elpesei.
lIi.stoir-e de Pam (Parie. 1926). p . 437 . [52&,.1
Wfh e desire was to create II style out of thin air. Foreigu inRueuCt!.ll favored the
' modern style,' which WOll almost enti rely inspired by lIoral decor. The Enp."
P re-Raphaelites IIl1d the Munich urhanists provided the model. Iron CODStruCtioa
was succt:eded by reinforced concrete. This WRB the nadir for architec:ture, ODe
which coincided with tbe deepest political depression . It was lit tltis moment thaI-
Puris acquired those buildings li nd mouuments which were so ve ry strange apd ao
IittJe in aCC::(Ird "'ith the older city: tbe building in composite style deaiped by
M. Bouwens a.t 27 Quai d ' Orsay; the subway slleh en; the Samaritaine departntelll
sto re, erected by Frantz J ourclain in the middle of the historic landscape of the
Qua rtier Saint-Germain l'AuxernJis." Dubech anel d ' Es pezd. lIi.u oire de Pan..
p. ~. ~ through the pages down below, it rustles up above.
" What M. Arsene Ale:umdrto. the.lI . caLl! ' the profnulIIl charm of streamers blow'
ing in the wind' -this serpentine effect il that of the OClol'us style, of green , poorly
fireel cer ltllli/;s. of lines foret·J and lit retched into tentacular ligamenls, ?f matter
torlu re..! fo r no gOOfI reason .... Go urds, pumpkins. hihiscus rools , and volutetl
are tJu: in"piration for li n illogic.. 1 furniturt: UIHJn which apl)ea r bYllrangeas, bau.
IHJliantheli. and Ileacock reutJlcn-crt:ations of artislli i.n the vip of an unfo rtU~
nille pallSion for ~ ylliliolslomd ' poetry.' .. . In all er a of light lin..! eleetricity, wba l
triumphs i8 the aqu ari wn , the greenish , the ilublnarine. the hyb rid., the poi80n-
PauJ 1\1urIlIllJ . 1900 (Parill. 193 1). IIp . 101 - 103.
Oil S ." (S2a,61
"Till!> $tyle uf 1900. mun:ovcr. infec:11 tJlt~ wllole of litcrature. Never wall writing
nll/re prelcntiouil. I.n IIOVr..I!i. the particule i,. nllli j!;8tory (or narnes: there is Ma-
dallle (ie Scr imeuiie.. Madame tie Girionnc. Madam!! lie Charmaille, Mon8ieur de
pbocas; impossible namel: Yanis, Damolla . Lord Et;:in urd .... The U sende$ rlu
Moyen ose. h )' Gaslon Pfiri5 , which has just I!ome out. plays to the fervent cult of
the' lIt' o-Gothic: it offers nothing but Grails, Isoldes, Ladies of tJlt~ Unicorn. Pierre
abys5eli. YlliageM. gyrell, and the like. . The triumph of the y." Paul MOrll n11
1900 (Parill, 193 1), 1'1'. 179- 181. [53.1)
..It ~ccnled to me wortllwhilc to bring tot;ether, in all i1Isue of the journal [MillO-
wure, 3-4) containing 8evend admirable specimells of Jugendstil art, a certain
number of medium.i&tic designs .... in fact . onc ill inlmediately struck by similari-
tiell ~tween these two modes of e.xpre88ion . What ill Jugendstil. [ am tempted to
as k. but an attempt 10 gener alize and to adapt medium.istic design , painting, and
sculpture to dwellingli and furnituu? We find there the same discordance in tbe
details; the lame impossibility of upetition that guides the true, captivating
~ teroo typy ; the same delight in the nevcr-f!nding eli I'Ve (whether it be growing fern.
or ammonite . or embryonic curl); tbe same profusion of minutiae, the conteml)la-
tion of which seducell the eye away from pleasure in the whole . . . . It could be
maintained that these two enterprises are actually conceived under the same IIlgn ,
which might well be tha t of the ootoPUIl: " the OClUpus," as Lautreamont hall l aid,
" with the gaze of , ilk ." From one part to another, in temu of plas tic deaip, down
to the very !!mallest feature, it ill the triumph of the fl(luivocaJ: in terms of interpre-
tation , down to the mOlit insignificant detail , it is the triumph of the complex. Even
the borrowing, ad ua uscam , of subj ect.!!, accessory or otherwilie, from the plant
world ill common to theae two modes uf expreuion (which respond , in pr inciple, to
quite different needKfor externalUation). And both of them display, to all equal
der;ree, II telldency til evoke superfi cially ... certain a ncient artforms of AIIia a nd
the AmericlIlI." Andre Breton , Point dujour (Parill <1934 » . PI' . 234-236.
153.21
The paintcd foli.'ge on the ccilings of the BibliothCque Nanonale. As one leafs
[53 ,31
"Just II' .. .
plect''' 0 r rur luturc
· graVitate . Iowan I Oll ~ 1I1111t I Icr--c I al"{:lIport lind COlli
ru ~k li re aClually the fruit of such cOllvergence--so il scems that wlillt . fle)Qr~ , and
1'('llillgS li re IlO~~e8i1Cil ll( a IleCuliar )lOwer o( Iltt rllction . Inc.realliugl y. furniture iii
liee<Jlllifig untrlllllllw riable. immO\'ahle; it elill&!! hI walls and corners, stic:ks fut to
floors, uud , as it were. tllkes rool. ... ' Detached' w(tl·k~ of a rt , like. paintingll that
IIcl·d 10 be. hung or ~culptll rt that hll ~ to he plal·I'd . are wht'rever p os~ ib l e ea-
1'1.""'·00
- , anu' IllS
I · tem II'llcy I·II very matcn.a IIy 8 I>etleu• hy t.he revival of wall paillt -
o ing, rrl!~coeli • •.It'co rlltive lupeAlry. olld gill8". painling.... Ll thill wa y, nllpe rhlll_
."
~
nf>lIl <:01111:111.11 of lin, h OIll t! li r e IIh~o rLed in exchange, while the orcupnnt him.elI
lose& the power of mo ving !l ltoul freely IIIItI heeomes Illlnc hed ttl ground an.1 prop..
rrty." Doll Stl! rnlJ(!rgi'-r, " J ugcllthtil ," Die. neue Rundschuu . 45 (Septemher 9
•
1934). pp. 264-266 . [saa, l]
·,It ill by meane of the rich lind Iw wenul contour thai .. I.hc figure o f the I Ou]
I )(!(!ODU~8 o r llllmcnt. .. . Maeterlinck ... praisei'! silc llcr (in Le Tresor de. humble.
(T he Trell8ure of the 11umLle». tha t 8i1ence which d oes ""!
depend un the arbi-
tra r y will of two Bev ara!e lw.ings but rather ....CUII up, 80 10 BIle-ok. nil a third beine.
lI ufficicnt 10 itself. thereafter growing to coveloI' the luvers and, in thil way. fir-It
en aLLing Ibei.r illtimac y. Tlus veil of s il en e~ revellh itsf'1f dearly enough a8 a fona
of contour ur I S a truly animated . . form of ornament : ' Dolf Sternber8tT,
" Jugendlltil :' Die neue Rundschnu, 45 (September 9, 1934). p. 270 . [53a,2)
"Thu8, every house appearA ... to be an organism which expre18es it, interior
through ih exterior, anti vall de Velde unmistakat.l y betroya ... the mood for hie
viaion of the ci ty of c;haractcra ... : ' To anyone who objects that dua would be.
earni val of cunfusion ... , we wuultl point to the h armonious and gladdeninAiat-
pres8ioll produced b y a ga rdcu where terrestrialalld aquatic plaula are growilat
freely. ' H the city i8 a garden fuU of freely growing bouse.organi, nIH, it i. nOI dcu
where , in ~ u ch a "i. ioll, man wou1d occupy a place, tm1e18 it be that he i. ca.
within the interior of thili plant life, lumself rooted a nd I/;u ac bed to the .0il--laDd
or wateT-lulll , a,. if by enchantme.nt (metamorpbosis). rendered incapable
movinS otherwise thall as the plant that frame. and ellcase& him should move ..• •
It i.1I sometiuJl! like the a81ral body which Rudolf Steiner envisioned and ellperl-
ellcl..- d-Uudolf Steiner , ... whose . .. scbool , .. endowed 80 many of its wora
, .. with an ornumental solemnity, the curved signatur e of whieb is nothin~ "tiler
tha n a vestige of J ugendstil ornamellt ." See the t:iililly '8 elligraph from Ovid, Me"~
morpho,u, book 3, lines 509-510: "But whell they SOUgilt his body, they rouad
u geoISie, fifteen years before history woke them with a bang.
nothing, I Only a lIower "'i th a yeUow center ' Surroumled with white petab." ,
Stern~rge.r, "Jugclldu il; ' "" . 2(18-269, 254. [S3a.3]
The view of Jugendstil represented below is very problematic, for no histo~
phenomenon can be grasped exclusively under the category of flight; such 8i~
is always registered concretely in tcnns of what is 60wn. "What . , . rctDIJfiI
outside ... is the din of cities, the unbridled fury not of the clements but of
industry, the. all-inclusive sovereignty of the modem econo mics of exchange, the:
world of ongoing activity, of tcclmologized labo r, and of the m asses, the world
that appeared to the exponents of Jugendstil as a general uproar, stilling and
cltaotic." Dolf Sternberger, :.Jugendstil," Die ,urJt' RUlldIcll.all, 45 (September 9,
1934), p, 260. [5<,Il
'<1'htl most C'l1l.ru.'teril!li.~ "'urk of Jugcndstil j<l the hml.'le. Mortl pn:cisely. tbe
~i.llg.le.fumily dwelling." Stcl'llhe.rger, -,J ugelltl~lil." Die m!Ue J( unll,dulU. 45 (~P"
lemiJer 9 , 1934) , I" 264. [54,2:)
Vcl"oll speaks, at one point. of Ihe " fulu re De.m:dicblles wh ... will wrile the hislor y
of IJaris as il wa!l in the. ninelet'nd. ('entu ry." Alfred Delv8u , Le, Oeuo u~ de Purit
(J'aris. 1860)· 11 · 32 ("Al t:X8 ndre Prival d'Angl t:mont"). (S4,3)
J llgt'ndstii lind socialist housing policy: " The. a rl of the future will be more per-
~ ... nal IJIIIII wbol has come before. At no other time has man's passion for !lelf-
!uUl""lt·dgt- l..ren 80 ~ trl) ng as it iS loollY, a.nd the.. plllce wbere he can best fulfill and
Iransform his uldividua lit y is the houlle, the house which each of us, according to
his ... hearl'~ desire. will build . , .. In each or us ISlumbertl a r;:ift for ornamental
jnvt-ntioll ... lIuf6cit'lIliy c.ompeUing .. , 10 aUow us 10 dispense with any middle-
m lUi in order to "uild 6ur hou8e:' AItt:.r citing these Lin es from van de Velde.'s
RerlC/ u$(/ti ce in modem en KflFlJtgcu:cr be <Renaissan ce in tbe Modern Decorative
Arln. Karski continuet: " }o' or anyolle.. who reads this. it mwt be absolulely clear
that suc.h all idea l is iml){)u ihle in the prt:iient state. of lIOCiety, and that ila realiza-
tion is reserved for socialism." J . Karski, "'l't1oderne KUDslstromungen und Sozial-
iSIIlUB." Die neue Zeit. 20, 11 0. I (Stuttgart d 901- 19(2). pp . 14&-147, (54,4]
Among the stylistic elements that t nter into Jugendstil from iron construction
and lechnical design, one of the mOSl imponant is the predominance of the uuu
over the plein, the empty over the full . [54,5)
J ust as Ibsen passes judgment o nJugendstil architecture in 1M Masl" Builder. so
he passes judgment on its female type in Hedda Gabler. She is the theatrical s~ter
of tho~ diseuJe~ an~ dancers who, in Boral depravity or innocence, appear naked
and WIthout obJecuve background o nJugendstil POSters. (S4,6)
When we. ~ave to get up early o n a day of depa.rture, it can sometimes happen
that, unwilling to tear ourselves away from sleep, we dream that we are out of
bc;d. ~d getting dressed. Such a dream was dreamed in Jugendstil by the bour-
[S4a, l)
"T~al is the 101lgiul:; to d"" cli millst Ihe waves I alld have no homeland in time."
Rallwr Ma rill Rilke. Oie/riihetl Cedichte (It:.ipzig, 1922), p. I (epigraph).
(S4a,2)
~nle Paris Street," at the Paris world exhibition of 1900 realizes in an extreme
cr, th e I'd ea ofthc Pllvatc
Olann . .that.IS characteristic
' ofjugendstil
,
. dwelhng : "Here
1rI a long ro b
W , II
ild mgs 0 van o us kinds ... have been erected ... The satirical•
' r . .
ncwsp"'per ~
se ... R'Ire has set up a Punch and Judy show.... The originator of the
th rpcnUne dance, Laie Fuller, has her theater in the row. Not far away ... a house
at a ~pcars to be standing o n its head , with its roof planted in the. earth and its
dOOrsilJ .. k
111 . S po!fluog s yward, and which is known as 'The Tower of \o\bnders.' ...
p, ~ Idea, at any rate, is original." In. Heine.. "Die Strasse von Paris," in Die
Qlllr-r Wdlau.s.sleflung in Wort urld Bi/d, ed. Dr. Gcorv Malkowsky fll _rlin 1900)
P.78. -0 , ........ , '
ISh,3)
On the ups ide-down manor houle: "Thill little ho use. con5truetea in Gothic . tyle,
stands ... lile r" Uy 011 its head ; lhul ill, itll roof, with itll chimne YIL and turrell. it
stuck into the gro und , willie ilil foundation poinl3 to ule heave n,.. Na tura lly, aUthe
WindowlI, door9 , balconies. ga Uer iell. moillinp. omamclltS. aod inllcriptionl art:
uplid e d own 100, a nd even the race o r the gra udfllthe r clock obeYI this h:n~
de lley .... So far, Ihis mad idea isallluiling ... , bul ollce you are inside. it hecotnel
tiresome. The re. you are . . . yourself . . . upside down , togethe r with . .. the
obj ects on view. ... O ue lICClla taLle IIcl for lunch . II rathc r richly furnillhed salon.
all well III a bathroom .... The a djoining roonl . .. a nd lome othen, too, are
actua lly lined with concave. and convex mi rron. Tilt'! contractors call them quite
simply ' la ughing chambers. '" " I.e Manoir it I'en ve.n," Die Pflriser Weltauutelhm.!
in Wort und Bild, ed. I>r. Georg Ma lko wllky (Berlin , 19(0). p. 474-475. {S4a,4}
On th~ London world exhibition of 1851: "we still reside amid the aftert:ffeas of
what this exhibition achieved-not only in the realm of technology and machinea,
but in th~ realm of artistic d~ve1opme.nt.... \\t ask ourselves today whethtt the:
movem~nt that led to the production of monumental buildings in glass and iron
.. , was not also herald~d in the design of furniture and ut~nsils. In 1851 this
question could not have arisen, although th~re were many thin~ ~t could ~
notcd. In the first d~cades of th~ nineteenth c~ntury, mechanized mdwtty m
England had advanced to the point where furnishings and utensils were being
stripped of superfluous ornamentation so as to be ~ufa~ more ~
through machines. In this way there ~merged, for furrurure especially, a .senell, of
very simple but thoroughly constnJctiv~ and altogether s~nsible: for:ns ' m which
we are: again beginning to take an interest, The wholly m~ern ~~ of 1~!
which eschews all ornament and puts the accent on pure line, mamtalllS a direct:
link to that d~licatcly balanced and compact mahogany furniture of 1830-1850.
But in 1850 no one: appreciated what bad amady in fact been .reached in the
pursuit of new and fundamentaJ forms." (Peopl~ su~bed, ms~d, to.the
historicism that initially fost~red a vogue for the Renaissance.) Julius Lenmg,
Das Italbe Jah rlturukrt der Wt/tauSJteJlungro (Berlin, 1900), p. 11- 12. [55,1) .
In connection with Kafka's Titore11i <Sl ,4>, compare: the program of the natural-
ist painten arowld 1860: "According to them, th~ position of the artist [Qward
nature ought to b~ ... iJllpe~naI.-so mu~h so ~t he sh~~ b~ capa~lea::
painting the same picture ten tmles U1 successIon, WIthout hesltatulg and ,;'tt:
having the later copies diller in any way from those: thaI cam~ b~fore. Gisela
Freund, LA Photographie au point de vue iociologique (manuscript, p. 128). ISS,:lj
Perhaps an attempt should be made to e.xt~nd the scoJX o~ this inquiry up to ~
threshold of th~ war, by tracing the ill.8uenc~ ofJ ugendstil on the youth move
Il . (SS.3)
mmL
The fa~ade of the. "'Wormation" Building on the Rue Reau~ur is an exan.lple of
Juge:ndstil in which the: ornamental modification of suppornng SD"Ucture5 IS seen
particularly ckarly, [55,41
lPfl.uenc~ of the processes of technological reproduction on the realists' theory of
p:unti.llg: "According to them, the position of the artist toward nature ought to be
completely impersonal-so much so lhal he should be capable of painting the
saJlle picrure len times in succession, widlOut hesitating and without having the
lat~r copies differ i.n any way from t.hose: that came before." GiseJ.e Freund, La
Photographie rtI FraTICtf au XIX' Jiecle (Paris, 1936), p. 106. [55,51
Careful au~ntion should be given to th~ relation of Jugendstil to Symbolism,
which bring5 our its esoteric sid~. Thc.rive writes. in his review of Edouard
Dujardin, Mal/anni par un lUJ Jietu (Paris, 1936): "In an astute preface [Q a book
by Edouard Dujal'din. J~an Cassou explains that Ie Jymbolimfe was a mystical,
magical enterprise, and that it posed th~ ~t~m.a.l problem ofjargon-'argot essen·
tialized, which signifies, on the part of the artistic caste, the will to absence and
escape.' ... What Symbolism liked best was th~ s~miparodic play with ~ams,
with ambiguous fonns; and this commentator goes so far as to say that the
m&nge of aestheticism and bad taSte of the son popularized by Le Chat Noir
(((if' cone; for caft conart, leg-o'·mutton sleeves; orchids; and hairstyles inspired
by wrought·iron designs) was a necessary and exquisite combination." Andre
n16Iiv~. "Les Livres" (Le 1'empj,June25, 1936). (55a, IJ
DelUler labored four years on a portrait that hang5 in the Louvre, and along the
way he did not scom. the tm: of a magnifying glass to obtain a reproduction
perfectly faithful to nature. This at a tim~ when photography had a1rc:ady been
invented. <II> So difficult is it for man to relinquish his place and allow the
apparatus to take over for him. (Sec GiseJ.e Freund, La Photographie en Rance au
x/x' .uecle {Paris, 19361! p, 112.) [55a,2J
In a prefiguration ofJugendstil, Baudelaire sketches "a room that is like a dream,
a o-ul.y Jpiritual room.... Every piece of furniture is of an elongated form,
~d and prostrate. and seems to be dreaming--endowed, on~ would say, with
~ sOlIU1ambular existence, lik.~ minerals and plants." In this lext, h~ conjures an
Idol that might ",,-ClJ call to mind the "unnatural mothers" ofSegantini or Ibsen's
Hedda Gabler : "the Idol . . . Yes, those are h~r e:yes ... those subtle and teniblc
e)'~ that I rccogniz~ by their dread mockery." Charlcs Baudelaire, Spum de u
Panr, cd. R. Simon (Paris), p. 5 ("La Chambre double").11 (55a.3J
I ~l Ihe " 0,,1,; The Nig/llsi</e 6/ H"i!, by Edmuml 8 . d 'Auv~rgm' (Loudoll , lI.d .,
1· lr~ ..1910) . IIII'CI' Ig
' II 1111:1111011.
•
o n pHg" 56. of the 01,1 C ha l Noir cafti (Rue VicIO....
Mlla~r). wlwl"c. O\'I'r IIII! du ur. Ihere Will lUI ill6criplion 111111 read: ;' Puliserby, be
,.. (In it 1,' II" r rr .... 1I1 .... ,. .
IIIQ<lI"'1
~_ l. "ie81'llgrund.}--Rollmat ~
III Lc C hat Noir. (See
J:. . . II .i.) ISSa,4)
" Wll;u 1""011111 lie fu rtJlf'r frmll 115 th a n Ille IIlIIa:t illg IIl11biti ..m of II Leu ua n l" , ",'ho.
e"!I& .. .
id, 1'llIg . . 1
I' lt lnllll ~ Itll a suprcllle (' JU , II ~ uprCIII" ,li~IIIIIY of knowledge. II l1d
t1t:"lI hllg Iha l il cu lled fur OllllliliciclIl~e, ,Iillllot he~jlllic 10 emll!uk 011 a univer~a l
1I 11 11 1 )"~ i.!l whose df~ llth 11 11£1 precision Icave 115 Ove rwhelmed? TIle ,lal!lIf1ge from the
IIncient grandeur of painting to iu "reBent condition i.li quite perce ptible in the
IIrlwurks and writings of Eugene Delat':ruix . This mooern . full of ideas , is tortured
wilh restieu ness ami a .liense of impotence; at each ins tant lIe encounten the Iimiu
of his resources in hill efforu to equailhe maSlerHof the pa8l . Nothing c:ouJd beUer
illustrate the diminution of tbal indefmable for ce and fullness of earlier dll Y8 tban
the spectacle of that very noble artist, divided against himllelf, embarking nerv_
ously on a la81 struggle to auain the grand style ill art." Paul Valery, Piece, sur
l'(Jrt ( PariH). pp . 191-192 ("Autom' de Corot"). '" [86,1]
"The vietories of art seem bought b y the lou of chara r ter." Karl !\lux , "Die
Revolutionen von 1848 und das Proletariat," speech to mark the fourth anniver _
sa ry of the foundation of tbe (C hllrtill t ~ People s Paper: puhlished in l 'lle Peop~.,
Paper, April 19, 1856. [In Karl Marx at, Denker. Mensch ,,"d Revol"tiorUir, ed.
D. Rjaunov (Vienna, Berlin ( 1928 » , p. 42.]15 [56,2J
Doli Sternberger'li essay " Hohe See und SchifflJruch" <High Seas and Shipwrec:b
is concerned with the " transfomlatioJUI of an allegory." .. It is from allegory that
genre ill born. Shipwreck a~ a llegory lIipUfies .. , the ephemerality of the world ill
general; shipwreck as genre is a peephole looking out on a world beyond ours, OD a
dangerous life that is 1I0t our life but is nevertheless neceuary . . , , This heroic
genre r emains the liign under wweh Ole reorganization and reco nciliatiOIl of soci-
ety . . . bepnll ," as he writes in another pau age with refer enre to Spielhap'.
Sturmflur (The Breaking of the Storm > (1877). Die neue Rllmlschau, 46 (Aupl
8, 1935). pp. 1.96. 199, [86,3}-
"Private comfort was vinually unknown among the Grew. These citizens of
small towns, who raised in their midst so many admirable public monumentS.
resided in houses that wen:: more than modesl, houses in which vases (though
masterpieces of degance, to Ix sure) constiruted the only furnishings. Ernest
Renan, &sais de morale d de critique (Paris, 1859), p, 359 ("La Poesie 1l'Exposi-
tion"). To be compared with this is the character of the rooms in the Goetht
House.-Note the quite opposite love of comfort in Baudelaire's production.
(56,4)
" For from Baying thai tbe progress uf art ill parallel 10 that Illude by 1I Ill1tion in the
lasle for ' comf ort ' (I a m rorced to use thill barbarous wo rd to u preu un idea quite
un-French), we can unetluivocal1y state . on the contrll ry, that the epochll and the
countries in which comfort became the puhlic', principal allrac tioll ha ve had the
lea!!t lalent fo r art .... Convenience ellciudes Htylt:; a po' rrum lUI Englis h rueW..,.
is better adapted to ils end than aU the \'aSCI or Vulei or Nula . Thes.. latter are
works or a rt , wherl"as Ihe English pot ,",ill never be. an)·thillg LoUt a housebold
IItenllil. . , . The im':o)lIte~table ronclu ~io n is that lIowher" in his tory ill t.he progretll
of induHlry in a ny wily pa raUd to thl" progrns of urt ." J<:rnl~8 t Heuan , Eu(,u de
moral et de critique ( Puri.li. 1859). pp . 359, 361 , 363 (" Lu Pot!sje lie l' Exposition"'),
(S6a,l)
"The ral)id overpopulation of tbe ca pital had the effect , . . of reducin5 the s urface
area in rooDlll . Alrelldy in his 'Salon de 1828: Stendhal wrote : 'Eight d ay8 ago, I
..·{·nt to look for all al,a rt.ment 011 the Rue Godot-de-Mauroy. I wa, slruck b y the
8Ulall n c~~ or lhe room~. The cenlury orpainuJlg is uver, I Hai,lto myse.lIwilh a sigh ;
onl y engraving can prosper.·., AmElli:t: Olenfllnt. " La Peinture murale," (in E:ncy-
('topidiefranc;oise, vol. 16, Aru et litteratu f'e' dans M , oeiete conte mporaine. I
(Paris, 1935>, p. 70). [56a,2]
Uauddaire in his review of I'tfa clflme Boo(lry: " Realism- a repulliive iruult flun ! in
the faec of e\'ery allalytie writer, a vague a nd elastic word which for the ordinary
mull ~ i gnilies not a ncw means of creation , but a minute dC8cription of trivial
dctails." Baudelaire, L itrt rorrulIlrull£e. p . 'U3 . 16 [56a,3]
hi Chapter 24, " Beaux-Artli," of the Argument du li vre su r M Befgique: " Special-
iSls .-Onc )lainter ror sunshine, olle ror S IlOW, 0 0 " rOr moonlight , ont!; for furni -
lurc, one ror fabrics, one for flowers-and 6ubdi vision or specialties ad
infinitum .-Collaooration a necel8ity, as in inelustry." Baudelaire. Oeuvres, vol.
2, ed. Y. -G. I..e Danlec <Paris, 1932 >, p. 718, [86a,4}
'''The eleva lion of urban life to the level of myth signifies right away, for the more
clearheaded, a keen predis~ition of modernity, The position which this latter
concept occupies in Baudelaire is weU known , . , , For him. all he l ayl! , it is a
'principal and enential problem, ' a Iluestion or knowing whetber or nol his age
P OBIie SIleS 'a specific beauty inherent in our new passions.' We know his answer: it
is the-conclusion of that e888Y which , at least in itl range, remawli the mOlit consid·
erable of his theoretie writings: 'The marvelous envelops and permeates us , like
the atmosphere itself: but we do not see il .... For the lu!rotlli of the Iliad cannnt
110mparl' with you , 0 Vautrin, 0 RMs tignac. 0 Birotleau- nor \o\ith you, 0 Fon-
lanares, who dar ed nut publicly recount yo ur 8o)rrows wearinlj the funereal and
'(U'lpled frock coat of tooa y: nor with yo u, 0 Hono re de Babac, you the most
lleroic. the nlOst ama:lling, the most rumantic, ant.! the most pUdic of all the charae-.
Icl'!! that yo u have drawn from your rertile bosom' (Baudelai re. 'Salon de 1846.'
lef'tiun 18)."1: Rogl"r Caillois , "Paris , my the moderne, Nouvelle Revuefroll(;oue,
25. no, 284 (May I . 1937). pp . 690-691. (87,11
III Chapler 24, " Bea llX-Alu;' of the Argument du livre '"l" til Belgique : "'A few
paj::.!~ on thai infamous pose ur named Wiert z, a favorite uf English cuck neYB ."
Ullllddaire. Oeuvres, vui. 2. ~1. Y.-G, l.Al Dantec <Paris, 1932> , p . 718, AJld pallie
72u: " llItlcp('IItI~llt paillung. -Wiert:ll. Charlatan , Idiot . T hief . . . . Wiertl. Ihe
,.hiJosuplicl"-pliinler and littera teur. Mooern moonshine. The Chrisl uf humani-
tarians, ... Inanity cllrnparahle III that of Virtor Hu~o at the end or Le. Contem-
IJlfltiolls . Ahulition of tl'~lIlh '" ~tiIlK. inflIJite power of hWllonil Y. I Ins(:ripuulls on
.... ull,;, GnlVl; uffens!:8 IIgaillst FrllllCt' and French critiCIL . Wiert:r.·s mallill1~ . above
u!1. .. . llrtls1JE:ls the copitlll ofth e wUrl{1. Parili ll province. Wi.. rt7.'s houk!!. P lagia-
n ~ 1J18. lit: doesn ' t kll"w how 10 draw. and his stnpitlity ill 118 mllssive as hi~ pants .
Thil phony, in ' "111 . knows how 10 manage hh! afflli n . Out wl.at will Orll,l; e1a do
with aU this aft~r hi' death? I Trumpe-I'oeil. The be.!IQWI ra mera. Napoleon io
bdJ. The book of Wah:rloo , Wiflrt:& lu.d \'ill.l0r Hugo are nut 10 IH \'e t.he world ."
IS7,2)
Ingres, in his Riporut au rapport Jur 1'£Colt deJ Beaux-ArtJ (paris, 1863), makes the
blwllesl possible defense of the insritutious of the school before the Minister of
Fine Arts. to whom the conunwucauon is directed. In this. he does nOt take sides
against Romanticism. His response has to do, from the beginning (p. 4), with
industry: "Now people want to marry industry to art. Industry! 'W=: want none of
it! Let it keep to its place and not come plant itself on the steps of our
school .. . !"-Ingres insists on making drawing the sale basis of instruction in
painting. One can learn the use of colors in eight days. [57a,1]
Daniel Halevy re mem.bers sLoeing ltali6lD models in mil childhood-women drelSed
in the COll tWIl C of Sor rento with a la n.bourim: in their hand • . ""ho u.ed to ItllDd
chHtting at th e ((mntain in the P lal.'e PignUe. See Rale\·y. Pay, parisien, <Pam.
1932>, p. 60 . 157a,2]
The life of Howers inJugendstil : from the Hewers of evil e.'(tends an arc, over the:
Bower-souls of Odilon Redon, to the orchids which Proust weaves into the er0ti-
cism of his Swarut. (S7a'!1
Scganrini's "unnatural mothers," as a motif ofJugends til, closely related to Us
Luhiemus <see JI9,4). The depraved woman stays clear of fertility, as the priest
stays clear of it.Jugendstil, in fact, describes MO distinct lines. That of perversion
leads from Baudelaire to Wlide and Ileardsley; the hieratic line leads through
Mallarme '0 George. In the Old, a third line stands Out more vigorously, the only
o ne that hert and there emerges from the realm of art. This is the line of emanci·
pation. whicll, taking its deparrure from LeJ Flnm till. mal, conjoins the under-
world that produces dIe ragehuch eincr VerioreTltn" with the heights of Zara·
UlUstra. (Ibis, presumably, the point of the remark made by Capus.) [S7a,4j
Motif of infertility: IbS01'S \..umcn characters don', sleep with their men; they go
"hand in hand" widl them 10 encounter something terrible. I S7a,5)
, the consciousness of the artistS. who were uneasy about the new processes of
The pervcrse Hower·glance of Odilon Redon. IS1.,6)
FomlUlas of emancipation in Ibsen: the ideal challenge ; dying in beauty; homes
for human beings <sec 14,4); onc's own responsibility (7'he Lady.from tht &~).
ISS,I )
Jugendstil is Ihe styliz.ing style par ~ccllence. IS8.2)
-)ne idea of etl.':nu.i return in .(arathuJtra is, according to its true nature, a styliza-
uon of the woridview that in Blanqui still displays its infemaJ traits. It is a
stylization of existence down to the tiniest fractions of its temporal process.
Nevertheless: Zarathllstra's style disavows itself in the dOCtrine that is ex· ,
pounded through it. (58,3)
J,
111e three defining "motifs" ofJugendstil: the hieratic motif. the motif of perver- ,
sion. the motif of emancipation. They all have their place in Les Flam du mal,- to
each of them one can assign a representative poem from the collection. To the
tl
firSt, " Benediction"; to the second, "1>elphinc et Hippolyte to the third, "Les
;
Litanies de Satan." (58,4)
Zarathustra has, first of all, appropriated to himself the tectonic dements of
Jugendstil, in contrast to its organic motifs. The pauses especiall~, which are
characteristic ofhis rhythmics, are an exact counterpart to the tectomc phenome-
non so basic to dlis style-namely, the predominance of the hollow form over the
filled foml. [58,51
Certain themes of Jugenclstil are derived from technological forms. Thus the
proli1es of tron suppons that appear as ornamental motifs on fa'i3des. Stt the
essay [by Martin?] in the Fran/ifurter Zt'itung, circa 1926-1929. 158.6)
"Benediction": "So thoroughly \\Iill I twist this miserable tree I that- it will never
put forth its evil-smelling budsl"19 TIle plant motif of Jugendstil, and its line,
appear here-and cenainly not in a passage more ready to hand, [58,7]
Jugendstil forces the auratic. Never has the sun worn a more glorious aureole;
ncvp- was the eye of man more radiant than with Fidus. Maeterlinck pushes the
ul\folding of the auratic to the point of absurdity. The silence of the characters in
his plays is one of its manifestations. Baudelaire's "I>t:.ne d'aureolell1(lstands in the
most decided o pposirion to this Jug01dstil mo tif. (58,8J
Jugendstil is the second attenlpt on the part of an to come to rerms with technol-
ogy, The first attempt was realism. There the problem was more or less present in
technological reproduction. rnle theory of realism demonstrates this; see 55,5.)
lnJugcndstil, the problem as such was already prey to repression. Jugendstil no
I? ngcr saw itself threatened by dIe competing technology. And so the confronta·
liOn with teclmology that lies hidden within it was all the more aggressive. Its
recourse to technOlogical motifs arises from the d fon to sterilize them ornamen-
tally. (It was this. we may say in p3.!lsing, that gave Adolf 1..oos's struggle aga.irut
Ofnament its salient political significance.) (S8a, I]
The fundamt:ntal motif ofJugal.dstil is the 1J"aJU6guracion of infertility. Tht: body
is portrayt:d, prcbably, in the fonns that prettde sexual maturity. [58a,2]
Lesbian love carries spiritualizacion forward into the very womb of the woman.
There it raises its Iily·banner of " pure love," which knows no pregnancy and no
family. [S8.,3J
The consciousness of someone prone to splet:n furnishes a miniarure model of
the world spirit to which the idea of eternal recurrence would have to be as-
cribed. • [58a,4]
"There, man passes through forests of symbols I Which observe him with famil·
iar eyes." "Correspondances."11 It is the flower·gazes of Jugmdstil that emerge
here. Jugendstil wins back symbols. The word "symbol" is nO[ often found in
Baudelaire. [S8a.5]
The development that led Maeterlinck, in the course of a long life, to an ex-
tremely reactionary posicion is logical. [S8a.6]
The reaccionary attempt to sever technologically consciruted fo~ from ~
functional contexts and tum them into natural constants-that 15, to stylize
them-appears, in a mode similar to Jugendstil, somewhat btu in Futurism.
[58.,1]
The sense. of sorrow which autumn awakens in Baudelaire. It is the season of
harvest, the time when the Bowers are undone. Autumn is invoked in BaudelaiR:
with partirular solemnity. To it are consecrated the words that are perhaps the
most mournful in all his poetry. Of the sun, it is said: "He bids the oops to grow
and ripen I in the immortal heart that would always flower."2\! In th~ figure of the
heart that would bear no fruit, Baudelaire has already passed Judgment on
Jugendstil, long before its appearance on the serne. 159,lJ
"This seeking for my horne ... was my al1l..iction .... Whe.re iI-my home? I a,k
and seek and ha ve sought for it ; I have not foullcl it. Oh. eh!rnal Everywhere; o~,
eternal Nowhere." Citation from Zamthwlra. in Karl Uiwith . Niel:5chel fh~
I(llophie tier ewiBeli W"U!derkll nft <Berlin, 1935), p. 35 [COlli pare the ~ke e ; "
p
~aph , 54.11 ,2], ed . Kroner, 1" 398.:.1 f.S9 . ]
It may be supposed that in the typical Jugendstil line-conjoined in fantas~
montage-nerve and electrical wire not ~e~~ently meet (and .that the vegethe
nervous system in particular operates, as a linlltUlg fonn , to mediate be~en
world of organism and the world of technology). "The fin-de-s~cde cul~ of the
nerves .. . maintains this telegraphic image of exchange, It "'as saJd .o,f Stnnd~
by his second wife, Frida •. . . that Ills nerves had become so sellS.luvc: to aen
spheric electricity that an approaching thundcrstonn would send Its Signal ova
them as if over electrical wires." Dol! Sternberger, Panorama (Hamburg, 1938),
p.33. [S9,3J
lnJugendstil, the bourgeoisie begins to come to tenus with the condicions-not
yet. to be surc, of its social dominion-but of itS dominion over namre. Insight
inlO these conditions engenders a strain at the thresbold of itS consciousness.
Hence the mysticism (Maeterlinck) which seeks to deBect this pressure; but
he nce also the reception of technological fonns in Jugendstil-for example, of
hollow space. [59,4]
TIle chapter in <Malhuslra entitled "Unler TOchtem du Wuste" <Among the
Daughters of the Desert) is instructive, not o nly for the fact that the Rower
maidens-an important Jugendstil motif-make an appearance here in
NietzsChe, but also in view of Nietzsche's kinship with Guys. The phrase "deep
but without thoughtS""l' perfectly captures the expression worn by the prostitutes
in Guys. [59a.l]
The extreme point in the technological organization of the world is the liquida·
tion of fertility. The frigid woman embodies the ideal of beauty inJugendstil.
Uugcndstil sees in every woman not Hdena but Olympia.) (S9a.2)
Indi\~dual, group, mass-the group is the principle of genre. For Jugmdstil, the
isolacion of the individual is typical (see Ibsen). {59a,3J
Jugendstil represents an advance, insofar as the bow-geoisie gains access to the
technological bases of its control over nature; a regression, insofar as it loses the
pov-.-eTof looking the everyday in the face. (That can still be done only within the
security of the saving lie .)~The bourgeoisie senses that its days are numbered;
all the more it wishes to stay young. Thus, it ddudes itself with the prospect of a
longer life or, at the least, a death in beauty. {S9a,4)
Segantini and Munch ; Margarete BOlune and Przybyszewski. {59a,5J
Vaihinger's philosophy of the "as if" isJugendstil's little death knell, sounding for
those condemned. (59a.6]
" Wi th th r' ea rl y works of HClinebique. and the Perret b rothers , a new chapter
" PI".'IK in the history of urc h.ih:cture. Tlrf' desire for eleape and renewal, it should
he I l.hlt"d , had been St!Cn in thf' ~.rrOrt8 of the JugendstiJ Ichool, ""hich failed miser-
, aIJl y. 1'hesc arc hil,·cl8. il sccmCl!. woultl turlnre stolle 10 the poinl of exhau, tion ,
1111,11 11"'1 Ihu, pre pared the way for a lieree reaction in favor of simplicilY. Arcbi-
h·l·tura) art was 10 he rf"horn in serene form s IIII'nugh t.he ulili:tuljon of new matcri-
Ilk" Marcel Zahar. " Le~ l'emian(."t'8 actuelles de r architecture," E:n c )"Clopedk
/ron{fli,e. \' 01. 17. p. 17). [S9a,7]
In his "Salons," Baudelaire has given himsdf o ut as an implacable foe of genre.
Baudelaire stands at the beginning of that "modem style" which ~presents an
attempt to liquidate genre. In Les Ff~urs du mal, this Jugendstil emerges for tht:
first time with its characteristic 80ra! motif. [S IO,11
The foUowing passage from Valery (CkuUTt's comp1et~s, J , cited by -Iberive, u home [0 sleep in our own bed, once we have made up our mind to penetrate into
'{roI/», April 20, 1939) reads like a reply to Baudelaire: "Modem man is a slave to
modernity... . "* will soon have to build heavily insulated cloisters .... Speed,
numbers, effects of surprise, contrast, repetition, size, novd ty. and credulity will
be despised there.ltlll [SI0,2)
Concerning sensation: this pattern-novdty and the depreciation that befalls it,
with a shock-has found a peculiarly drastic expression since the middle of the
nineteenth cenrury. The worn coin loses nothing of its value; the postmarked
stamp is devalued. It is probably the first SOrt of voucher whose validity is
inseparable from its character of newn~. (!be registration of value goes to-
gether here with its cancellation.) [SI0,3)
On the motif of sterility in Jugendsti1 : procreation was felt to be the least worthy
manner of subscribing to the animal side of creation. [5 10,41
The "no" to bt. grasped as the antithesis of what goes "according to plan." On the
subject of planning, compare Scheerban's Le.sabindio: we are all so weary because
we have no plan. [510.5]
"Novelty. The cult of nove.lty. The new ill one or tholle poisonoull stimulants which
end up becoming mOfe neceuary than any rood ; drugs which . ollce they get III hold
on us, need to be taken in progressive.ly huger dOllell ulltil they ~re ratal, though
we' d die without them. It is a curiou1! habit-growing thull attacht!llttl that perish·
able part or things in which p recisel y their no\·elty consists .... PMul V~lery. Chose.
luel <Paris, 1930>, pp . 14- 15." {SIO,6} .
Decisive passage in Proust conc.uning the aura. He speaks of his journey to
Balbec and comments that it would probably bt. made: today in an automobile.
which, moreover, would have its advantages. "But, after all, the special attraction
of the journey lies not in our being able to alight at places on the way ... , but in
its making the difference bet\\.u n departure and arrival no t as impercepti~te but
as intense as possible, so that we are conscious of it ... intact, as it existed m our
mind when imagination bore us from the place in which we were living right to
the very heart of a place: we longed to see, in a single sweep which seeme?
miraculous to us not so much because it covered a certain distance as because It
united twO distinct individualities of the world, took us from o ne name to an'
other name; and this diffe.rence is accentuated (more I.han in a foml of locomo-
cion in which, since one can sto p and alight where one chooses, there can scarcdy
be said to be any point of arrival) by the mysterious operation that is perfonued
in those peculiar places, railway stations, which do not constitute, 50 to speak. a
part of the surrounding town but contain the essence of its personality, just as
upon their signboards they ~ its painted namc .... Unhappily those marvel·
ous places which are railway stations, from which one sets o ut for a remote
destination, are tragic places also, for ... we musl. lay aside all hope of going
the pestiferous cavern through which we may have access to the mystery, into
ooe of those vast. glass·roofed sbeds, like that of Saint-Laz.are, into which I must
go to find the train fo r Balbec, and whicll extended over the rent bowels of the
city onc of those bleak and boundless skies, heavy with an accumulation of
dramatic menaces, like certain skies painted with an almost Parisian modernity
by Mantegna o r Veronese, beneath which could be accomplished only some
solemn and tremendous act, such as a departure by train o r the Elevatio n of the
Cross." Marcel ProUSl, A l 'Omb" tkJjeun~Jfilles enjl~urJ (Paris), vol. 2, pp. 62-
~ ~~
Prouill on the nluseum : " Bul in this reepecl . all in ..ve ry uther. our age is infected
witb a mania ror showing things only ill the en\'irollment that properly belongs to
them , thert!by supprcsHing the enential thing: the act or mind which ieolated them
rrom tbat cllvirulllllf'nl. A picture is nowada ys ' prellellted ' in the midst or furlli -
ture. ornament s, hangin gs or the same period , II IIcllondhand &Cherne of decora·
tion . , • ; and among these. the masterpiece at which we glance lip from the lable
while we dille does nOI give us thai exhilarating delight which we caD exp~ t rrom it
onl y in a public gallery, which lIymholius rar betler by its bareness. by the abllence
or all irritating d elail, tholle innermost spaces inlo whicb the artist witbdrew to
create it." Marcel Proust . A l'Ombre des jellne. filks en jleUrI (Pam), vol. 2,
fill. 62-63. :0.0 (Sl1 ,l)
How does modernism becomeJugendstil? ISIl,'I
,
Battlefield or bazaar? " In form er times. we rna )" ret:all , there was , in literature, a
movement of generous and disinterested activit y. There were schools and leaders
of schools, par1i ~ and leaders or parties. system! combating other systems. intel·
1!!Clual currents and COllntercurrents .. , - 8 passionate, militant liter ary lire . .. .
Ah )·CS, ar ound 18;~O. I shuulJ sa)" a U the nll'- lI of lellers used to glory ill lM!ing
! oldier8 011 lUI eXl'ellitioll , lUIJ wlla t they reiluirell nr puhlil"ity they gol , in the
shallow (lr SllnW haullcr or utlit'r, rrom the prnud ~ umml)n .;; to tht' field o( hat·
til· ... . Wlla t rt'mainH to li S loday Qr all thill hra\· ~ show? Our rortfathe rs fought
the ~ood fi ght , a nd we--we manufucture and scll . Amid the con(usiun nr Ihe pre-
Sl'lI t, whlll i!i 1Il0.;;t dl!llf to llIe is that ill plact' o f the bll.ttlcficld hll vt! ellllle myriad
Hhupi allli workshOI' S, where each d ay IICel\ the prodllftion anti vellllillg or the
1I1'1o'('" 8t ras hiolls ~ lItl what . in gt·neral. is kJltllo·n a ~ Ihr "(l riJl Orlick." ··Vee , modille
is thl' word for Ollr gencra tion or tllink er~ alUl !lrCUIIl("r!l:· Ifippolyte Bahou . l.-el
"{lyenJ in~ocenls ( r a rill , HISS). lip . vii- \'iii (" Lellre Ii Charl~ Aliselinca u -).
1511 ,3]
 " During this l ame r eril)(!. the IllllOlint of IItrr:et lighting more than douhlell. Gas

T "
wall JlOW u ~ed illlliead of oil . New s treet lamps took the place of the older appara-
t li S . anti permanent ligllting was s ub~ tiluted for intermillent lightillg." M . Poete.

E. Clouzot. G. I-I enriot. La Tran.r!ornwtioll de Pa ris $OUS Ie Seco nd Empire.

( Paris. 1910 >, p. 65 (Exposition de la Bihliotheque et des Travaux hi81t)"I{Utll tie
[Modes of Lighting] III \·j llc de Pari,,). rn,71

Et nocrumis facibus illustrata.]

-Medal or 1667, commemorating the intrOduction
011 thl' ladie!! of th t': CIIsh register : " All day long they go about in hai r curlers and
dre"sing gowlI; after 81111t1own , huwever. when the gill! ill lil . Ihey make their ap-
j
of sU"CCt lighting pt:arallce, arraye!1 as for a ball . Seeing them. then, enth ro ned at the cashier ',
de~ k. surrounded by Ii sea of light. olle nlay weU think back to The Blue Library!
alld the fairy lale of the "rinee with golden hair and the enchanting princess, a
eomvariso n the mort' ad missible inusmuch as Parisian women enchant more than
tlll'Yare enchanted ." Eduard !<.roloff. Scltilderungen ow Paru (Hamburg, 1839),
\'01. 2. pp. 76-77. rn ,sl
"Nllpoleon h ilS c()verings of wool. veh 'et . sillr. . embroidery, gold . and silver; II gI...
TIle tin racks with artificia1 Bm.,us, which can be found at refreshment bars in
ball for his bali wreath, of the immortals: and an eternal gaJ lamp." Karl Gu, ••
railroad stations, and elsewhere, arc vestiges of the Boral arrangements that
kow, Briefe "'UiParill (Leipl'lig, 1842), vol. I , p. 270, <See "The Ring of Saturn.",
rOli11crly encircled the cashier. [Tl ,9]
rn, l]
NOle relating 10 1824: " Paris was illuminated, this year, by means 11 ,205 ,treelor Du Bartas called the sun "G rand Duke of Candles." Cited by M . Du Camp, Po,;,
lamps .. .. The entrepreneur hali heen hired to provide lighting for the entire city (Parill. 1875), \' 0 1. 5. p . 268. [TI ,JO]
for at least forty millute&--that is to uy, beginning twent y minutes before the hoW'
prescribed daily. and fmiBhing ''''tm l y minutes later; he ClUJ lIJ18ign no more than
'''The lanlern carriers will have oil lallh:rns with "six thick wicks'; they will be
twenty-five lamp" to each Jalnplighler. " J .-A. Dulaure. lIisloire <phyJiqlle. civile
81aliol1OO al poslJJ, each one separated from the next by a distance of eight hundred
et morale> de Pari.! depui.! 1821 jusqu 'Ii '10'
jour. (Pam (1835». voL 2 , pp. 118-
pacell .. . . They will han a tinted lamp hUllg above their posl that will serve as a
119. rn,2] beacon , and 00 their belts ao hour pau of a quarter hour 's duration, bearins the
. hield of the city.... Uere, once again, it was a matler of empiricism; theae wan-
" A dreamlike setting. where the yellowish Aickering of the gas is wedded to the
(Iering lamps provided no securily at all to the city, and lhe carrieTS beat up the
lunar frigidity of electric lighl."· Georgel Montorgueil , Pam au h(uam (Paril,
VCQIJle they were acco mpan ying on more than one occaRion . Lacking anything
1895), p. 65. rn,3]
bell er. howe\'er, the city used Ihem; alltlthey were user! so loug lhat they were s till
rn,'] III be found at the beginning of the nineteenth century. " Du Camp, Porn, vol. 5,
1K57, the flul electric streetlightl (allhe LoUHC).
p.275. rn ,11}
Originally gal wal delivered to fas hionable establishlllcnu in conlainen for daily
consumption . ... rn .S] HThey [ tile la ntern carriers] would hail hackne)' cabs. would serve as crier-
, ~f'Ort8 for chauffe ured ca rriages. auel would accompany late-night paBBersby
" 1 Imldly declare mYIle!f the fri end (Jf Argand lamps; IhesI!. 10 lell the trulh, are
" gill II) their homel! , coming up to their opurll1lentll and lighting the candlell. Sonll:
conlent with I heddin j; light and do 11 0 1 dazzle Ihe eyes. Much less volatile thull gas.
dllilll Ihat Ihese lallte rn carriers \'ulunturiJy gave accounts every morllillg to the
thf!ir oil never callses explosions; wilh Ihe.m we breathe more freely, und die odor
Ih:ut r nant gelleral of police all wha llhc)' had noticed during the night." Ou Camp,
i.!l leu offensive. Truly incomprehellilwle to me is the existence of a U tho&e s hop- Iloris. vol. 5, p . 281. [Tla,11
kt~pc" who. entrl!lIched in our arcatles, remain-at 1111 hour;; and in thl' warmeli t
of wealhert--Witliin s hops wlU're, on account of the gus, il feels like the TropiCl."
o Arcadel 0 N(wve(lll3c 'ubkuux ele l'uru, Oil Ob$er vnlion$ $ur le$ moellr$ at UI- "The I'aten l orimIJurtatiulI lake" tlul b y Winsor for Paris is tlated December I,
USC~ dC$ Pnri.,ien.t (.Ill COllllllelicement dr, XIX' $iecle (Pll ri ~, 1828), Vtll. I , p . 39. 1815; in January 18 17, the Pas~age de, Panoramas was illuminated .... Tht: first
rn ,'] altempl>! by bU lIill CIISCS wer e not lit all .alil fllctory; the public seemed resistant to
Ihill kiml of lighting, which wa ~ H lUl lleCtl~d or being dall geruu ~ alld o( " olluting
breathahle air," Ou Camp , Pur;" vol. 5. p . 290. [1' la,2]
"This 1I".ee vi"ited by commercial df'..A th , under Ihis. ga8 . . . whkh 8(.-e1l' ~ 11.1 trem_
ble at the th uught of nol beiog paid for." Louill Veoillot . Le$ O.leltr. de Po n.
(Parill, 19 14). p . 182. [1' la.3]
"GlasA iii deiluned to play an important role in melal-arcbitet:lure. 1.0 pla l~e of thick
walll who8C sulidilY and resistance is diminished by a large number of allCrtu r"e8,
our houses will he so filled wi.th opeuings that they will appea r diapllllha u8. Theile
wide openings, (urnished with truck glass, single- or doublc-pa lll..,<I, frosted or
transparent , will tra nsmit- to the inside during the day allli III the o ut~ ide . t
n.ight- a magical radjaoce." Gobard, " L'A rchitecture .Ie I' ave nir," RelllU.
se,wrale d 'nrchitect/.lre ( 18.19), p . 30 lS. Ciedion . Bemen in frankreich <Leipzi«
and Berlin , 1928~, p . 18) . [1'h.,4]
Lamps in the form o ( vallell. The rare fl ower "light." a8 !Ioue in oil. (Tile (orm on_
fa shionable copper eugravingof 1866.) rna,S)
The old gaB torche, that burned in Iheope n air often had a fl ame in Ihe shape of.
butterfly, a nd were knllwn accordingly as papillon&. [1'la,6)
In the Ca rcellamp. a c1ookwork drives Ihe oil up into tbe burner; whereat in tbe
Argand lamp (quinque,), the oil drips into the burner from II reservoir above ii,
thereby producing a , badow. rn a.1]
Arcades-they radiated through the: Paris of the Empire like: fairy grottoes. For
someone entering the Passage des Panoramas in 1817, the sirens of gaslight:
wouJd be singing to him on one: side:. while: oil-lamp odalisques offered entice--
ments from the othu_With the kindling of dectric lights, the: irreproachable: glow
was atinguished in these: galleries, which suddenly became: more diffirult to
find-which wrought a black magic at entrancc=ways, and which looked within
themsdves out of blind windows. [l' la.8]
When , 011 Febnlary 12, 1790, the Marquis de Favros was {-xecutcd for plottinl
against the Revolu tion , the P lace de Creve and the scaffold were udorllt'11 with
Chinese la nterns. J [1'(11,9]
" We uid , in the fir!;t vlliume. thnt C"ery historica l peri(}(l iii ilatJu!11 in /.I llistilldjve.
light , whetllcr diurnnl or noclllrnui. Now, for the firsl time, this wudd has all
artificial illumination in the form of gaslight , which h urst onto dw scenc in London
at a timc when Na pol ~lIn 'H l iar "las begin.ning 10 decline, which entered Pa ris more
II I' 1t!A8 l:a ntemp"rlllwuu$ly willI the Bourbons. and whic!.. lIy slow IIl11ltCIH 1('iouf
advallcef, iinally took P\)>Jttes8ioli of all ,ltreeLS allli puLlil' locaLitiefO. Dy 1840 it waf
Haring eV41r ywiaere ,l'vt: n iu Vit:nna. In lhi' strident and gloomy. sharll1l nd llicker-
lPg.prosaic a nd gholllly illumination , larg41 i.n 8ect, are busily moving about: 8hop -
keep~rs. " Egon frieddl . Kulturge.chichte der NelUeil_ vol. 3 (Munich , 193 1),
1)' R6. [[Ia,IOJ
On the Ca fe Mille et Une Nuiu: "Everything tllere was of an unprecedented mag-
nifit:e nce. In ordl'r 10 gi"e yo u a 8en.!le of it , it will suffice to say that the beautiful
limonndiere had , for her seat al Ihe counter, . . . a throne, a verilable royal
tbrune. on Wrul'll Oll e of the great potentates of Europe had sat in all his maj ellty.
How did tbis throne gel 10 b.. tllere? We cou ld not say; we affirm the (act ....;thout
undertaking to explain it. " lIislQire des cafos de Paris , extrai'e des memoires d'un
lIi,;tmr (Paris, 1857), p. 3 1. [[I a,l1)
~Cas has replaced oil , gold has dd hroned woodwork , billiards has pul a 810p to
dominoes anti backgammon . Where one formerly heard only the buzzing of flies.
one no...· lislens to the melodies or Venli or Aubert ." fl i3toire de. cafi. de Paris,
exfr(lite de. rmim(Jire' d 'un !Jiveur (Paril, 1857). p . 114. (T2, 1]
Grand Cllfe du XIX" S i ecl ~pen ll 1857 011 Ihe Boulevard de Strasbourg. " The
greell felt tOp8 of numerous billiarll tahleH Clln be seeJi there; a 8plendid counter is
i11l1minated by gas j eu. Directl y Ol'posite is a white marble fountain, on which the
allegorical subject is crowned bya luminous aureole." Hi3toire de. CGfo. de Paris ,
exlraile des memaire$ d 'lttl uiveur (Pari.8, 1857). p. 11.1 . [1'2.2J
"'As ea rly as 1801, LeboD had a ttempted to install gas lighting at the Holel
Seignelay,47 Rue Saint-Dolllinique_The system was improved at the beginning of
January 1808: Ihree hundred g81 jete iii up the H06pital o( Saint-Louis, with such
8 U OCe&S tbat three gas-j et factories were built." Lucien Duhecb and Pierre
d'E! pezel, lIi..ttoire de Pari& (Paris. 1926). I~. 335. [1'2,3]
"' [n ,matters of municipal administration , the two great woru of the Restoration
wert' gas lighting and the crea tion of onlDibuseil. Pari! was illuminated in 1814 by
5.000 street lamps, ller vicet.i by 1421amplighters. In 1.822 , tbe government decided
thai street!! would be lit by gas ill proportion as the old contracts came due_ On
June 3_ 1.825, the Compagnie .Iu Ga7, Portatif' I<'ran\,ais ondertook , (Dr the hn t
li mt'. to light up a square: the Place Vellflt3me recei ved four multiple-jet street
h"nllS at the corners of tIJelJulu mn lind t.....o slrt!t!tlamps lit the corner s of the Rue
tie Castiglione. In 1826, Ih!!r!! wert" 9.000 gas burners in Paris: in 1828_ there were
10.000, ·.....itll 1,500 8ubsc:ribers. three gas cmllpa nieR. and (our gas-j et fa ctories,
\Hl!; of which WA S 0 11 Ihe Lefl Dank ." Duhech lind d 'Espczcl, Histoire de Pari&,
p. ;S58. [1'2,4]
From all eiglllt'entll-eeniury pn}Sllt:ct lls. "Lighting Projet.:t , P roposed hy Sub-
8~ri 'llio l1 for _ Decnra tillg tim FllmOlls T horoughfare of the Boulevard Saint-
Antoine": " The Boulevard will he iIIuminllted hya garland of Lantcrnll that will
extend on hoth sides betweell I.he trt:e8 . Thi8 illumina tion will take place t .....ice
weekly, on Thur~tla y~ atul SumlaY8. alltl , when there is a MOUII , on t.he IIaY8 after
the abo ... eml!nliuncd weekda YII. Lighting will begin at I.e n \,' c1o.:k , alul all wiU he
illumina ted by d c ...en . , .. Since thill sort of evening Promt: na(\(' is ~ uill:d unly to
Lords alld Men of Wealth who have r:a rriages, il is only 10 tlJt'lI1thul we offer this
s ub8crilJtion . Suh scriptiull for this year is al Ihe rale of ) 8 pounds for each Iiouse.
in subsequent yean. however. il will cost onl y 12 pounds. the 6 additional pounds
this yea r being for the initial expenses of instaUation" (p . 3). '1'he Cufi... and
Theaterltbat horder thi. famoui llromen ade are j ustl y celebrated : Yes-I lay this
to their Alory-it was the handsome Lanterns adorning their ilIU8tri.,US Bootbs
that gue me the idea of uni versal Illumination. The celebrated Chevalier Sen an_
doni bas promised me designs for the Arcades, for the Garlands. and for tbe
elegaol Monogram•• Ilesign. worthy of his fecund genius. III there a liogle one of
our ,...ealth y style-Ietten who doel nol heartil y I UI}port this hrilliant Projeflt?
Adorned in tbis manner, the BouJe\'8rd will ~ome a wcll-appointed Ballroom,
one in which Carriagel will sen 'e 88 Box Sea18." [1"2,5)
"Mtcr the theater I went to a cafli, which was all newly decurated in RenaiAlance.
style. The walls of the Plain room were entirely covered by mirrors let between
gildell columns. T he cashier eiu at aU times behind a large and sumptuous table
placed upon II pilluorln ; before her is silverware. fruits, flowers, sugar. and the
box for the S U'{OIll . It i8 cuslomary for every paying customer to leave Ii amaU
gratuity for the waiter; this is thrown by the latter into the hox . Itll contents are
later equllUy (livided ." Eduard Devrient , BrU!jc aw Paris (Berlin . 1840), p , 20.
[1'2.,11
Between the February Revolution and the June Insurrefltion: " When the club
meetinp were over, worken took to the streets, and UIC sleeping bourgeoie were
either awa kened by crie. of 'Des lampions! Des lampions!' in conBC(luence of
which they would bave to light their windows; or else wanton gunllho18 roUled
them (rom their beds in terror. , .. There were endlelll torchlight procewQIII
through the st.reeU of Paris, and on one occasion it happened that a girl allowed
heraell to be undreued and shown naked to the crowd by turchlight : for the
crowd , this Was merely a remi niscence of the Goddess of Liberty of the first French
Revolulion .... At OIl C point the prefect of police, Caussilliere. is~ ued a proclama-
tion against these torchlight proceuions-but Ihe elliet terrified the citizenry of
Paris still more, because it stated thai the people were supposed to brandish
torchel only in the event of l ome threat to t.he republic." SigmUi1t1 EngUin(ler,
Ge,chichte der j ron zolilchcn Arbeiter-Auociarionell (Humburg. 1864) .... o\. '2,
p .277-278 . {T2a,2j
.. It was l tililhe womell willi c1eane.1 the oily street Ilimps by tillY, li nd lit til t: m at
night , climbing ul' und IllIwn wilh the aid of an cxtcntl ahle rupe kelJt 1 000 k c~1 ill. a
toolbox du r ing the. Ilay-sillce gas. which for IWme yl'a rs Illul m~1J hl llziIIg U1
EligLilh Iuwn.s, ha.1 yel to he j UI'I)lied. The merchant.!! who sulll tilt} oil anll the
Argand lamps wished tu avoid . 11 fa ...orable mention of Ihis otlll'r ~lJ urce o( ligbt ,
and they 800n fou nd two highly r l'l'lIl ahle writcl'll, meu.iellu Charle8 Nodier and
A UII! d ie PichuI, ... to tlf'1I0Ulll'e" .. ill octavo forma l. all the pr(lhlcma and lH!r-
ve rsities t'onllt'cted wil.h ga~. indllililll!; I he 11 1I1It;r r of Ollr complete allnihillitiOIl by
l'.):pinsion al the hanti5 " f malefacl(.r"." Natla r, Qflllntl j'ett,i, photogrophe (Pa ri.s
d90<h). PI" 289-290. [T'2a,3]
Fireworks and iIIulIlinations were alread y on I.he scene during the Rcstoration ;
they were sel off whene"er a measure proposed by Ihe ultraroyali5ls wal defeated
ill Ille Chamber. [T2a,4]
,,\pl'O I' U~ of an in.!!titlltt' for the blind and the insane, this excursus on electric light :
" 1 cOllie now to the facls. T he bright light of eleclricity tle rved , at fl U I, to illumi-
na te the subterranean gallerics of mines: after thai, public squarel! and streets;
then faelOrie8, worklhopl, stores . Iheater", military barrac ks: finally, the tiomes-
tic interior. The eyes , initially. put up rllther well with this penetrating Dew enemy;
hut , by degree8, they weretlnded . 8lindneu began as something temporary, soon
I.ecame periodic, and ended 8S a chronic prohle.m. This. then , was the first re-
~ ult--6 u.ffici entl y compl·ellensiLle. I hdieve; but what abou t the lnsanity latcly
... isiled Oil our Icaders?- Our grt'.111 heads of finance. industry, hig busineu have
leen fit . , . 10 scnd . , . their thoughts arOllnd the world , while they themselvCI
remain al rest . . . . To this end. each of them has nailed up , in a corner of hil
orficc, electric wi rel connecting hiH exet!uth'e desk with oW" coloniell in Mrica,
Asia, and tile Americas. Comfortabl y ~ellled before hiA IIchedules and account
book5, he ca n communicate directl y over tremendoull distances; at a touch of the
finger, he can ret:eive repo rts from all hie fa ...... nung agents on a Btartling variety of
mailers. One branch-correspondent lells him , at len in tbe morning. of a ship-
wrecked "esseJ worth over a million ... ; a nother. at five after len , of Ihe unex-
peeted lale of the mosl pr03perous house in the two Americas; a third, at teo after
tell , of the glorious entrance, into the IlOrt of Marileilles, of a freighter carrying the
fruj ta of a Northern California hanesl . A1J thill in rapid succcssioo. The poor
hrains of tllese men , robust as Ihey wer e. hll\'e simply givell way. just as the
ijhoulders of lome lI erclileli of the nUUkell)lace would give way if he ventured to
loud them with len sacks of wheat instead of onf', And Ihis was the second res ult ."
J aCtlues Fabien . PflfU en ,ollge (Paris, 1863). PI'. 96-98. {T3 ,l j
Julien l..euler. PlIri, flU g(Jz (Paris, 186 1): " I close Iht' l:urtai ns (III the sun . II is well
allli ,Iuly Iml 10 rest: let us Npl'a k no more ofil . Il cllceforlh . r shall know no other
light than thut of glls" U)' 10). T ile vuhulI{' contains th rt.-e lIovelJas in addition to
the Puisian vigllettes. of ""hit'll till' lirHt giVt'li il its title. {T3.2]
In th~ Plac:e dl:' l' I:lotei lIe ViU~:·t_aroulltl 18<l.8-then ' wali a Cafti dll Gaz .
m,31
T Ilt misforlll~e8 of Ainu! Argand . The vu riOIl~ improvl'ments he mnde in tllc old oil
I"ml_ the. double current IIf a ir. Ihe fo se wnven ill the shupt: of.ll hoUo w cylinder,
the glan tubing, ant.! 10 forth- were at 6nl laid claim to by Lange in England (. /t. la petite vertu" <The. StroOing Suitanlll of Night again$! O ur Lordi the ~t.reel
ma~1 witll whom Argand had bee. n a JJodllled ), before being I iolen in Paris by Laml)Y; To EallY Virtlle >. 1769 :
QUIIl1IUt:t , who gave his nallle to the invention. And thU!! Argand e nded in misery:
The poor "·Oman timl. , ;nstu.d
" The mi, anthropy to whicll he succumbed afler the wit hdrawal of hia vate.nl led O(III Yrr~ . only laml'II08IJ1
him 10 Net!k a compen8atioo of sortl in the occult ' cicnces . . . . ' During Ihe lall t IlIlh i ~ daulillg 10WII ,
years uf hi, life. he was 1et:1I wandering through graveyards gathering bone~ and Onet' a ~I:l'ontl Cythera.
dU l l fro m tombs. which lie would then lIubmil 10 c hemical proce'liell in the hope Wrn-,rr n )'mJ>h~ would walk .
of fiutting io death the IICCret of prolonging life.'" He him' elf died younK, Tl:nlil:r mOlhI:.... of ddighl,
A( nloine lte) Drohojowska. Les Grandc$ Indu.8.m l de la fro nee: L'Eciairasc They a re forced loda y
(Paris ( 1881»), p. 127. [f3a.l j To aqu« :r.e IhemselYt:II ;nlO II. hm,;,
I.n lither words, 1111 1I(:logenarian fi s cn:,
Which. b)' ,,·lty of B., or F. , tll. ku Ihl:.JD
Careel, inventor of the la mp that operates by clockwork. Such a lamp has to be To ,,·hl:.re fi aerl:iI ha,·c nothing 10 tlo. , ..
wound up . It contain! a clockwork mechanism that pumpl Ihe oil from a reservoir Muericordin , when om:e the night
at the bottom up into the wick . Carce!'s adv8nce ove r e llrlieroillamp..-which had U'ililct ),ou lell\"e the hoyel;
the rellcr\·oir locllted above the wick, whence the oil dripped down--,:oll8itted in For life is so needy.
eliminating the shadow caused by Ihi8 oyerlying l'e!crvoir , IIi, inYcotion date. Nola single comer or carretour
from 1800. RiB elUeigne: " B.-C . Ca rce! , inventor of the Lycnomenc8, o r mechani_ The . treet light dou not reach.
callanlp8. manufacture8 IBid lamps." [f3a,2) It i. a hurning-p '" thai piercea tllrough
T Il#. plan ~ we made by day... .

''The c hemical ma lch ii, without doubt, one of the vilelll devices that civilizatiOD Edouard Fournie.r, Les Lanternel: f/ i81.oire de l'a neie" eciairage de PoriA (Pari8,
h u ye t produced .... It i8 thanks to tim that each of us carriea a round fire in hi. 1854), p . 5 (fro m the IipeciaUy paginated printing of the poem). [1'4,11
pocke t , . , . I .. . detell thi8 permanent plague, a lwaYI primed to triMer an u plo-
, ion , always ready to roast humanity individually ove r a low Aamc . II you follow In 1799, an engineer installed gas lighting in his house, and thus put into practice
M. Alphonse KarT in his crusade against tobacco. you should Hkewi! e raise the what previously had been known on1y as an experiment in the physicist's labora·
banner in opposition 10 these matc hes .. .. If we did not have in our pockeu the tory. [1'4,2]
Jlolillibility of making s moke. we "'ould smo ke leu. t1 H ( enn> de PeDe. Paru intinM
( Paris. 18S9). pp. 119-120. [r3a.3] It it po88ihlt . yo u know, 10 a yoid Ihele lletba t kt
By chooling the sht lter of eoyered a rcad Cl! ;
Thollflh. in theae lane! the idler £a"lIl'I.
Accordin g to Lurine ("l..cs Boulevarls ," in PariJ chez 'Qi (Paris. 18;;4 » : the firsl
Spiral, of lIIue ~ mok e rial: from Hava nu.
gas lighting-1817, in the Passage des Panoranlas. [T3a,4]
Make (or U~ . hy YOlir errorls, a gentler life.
Regarding the de finitiye installation of street lamps in the Sircelll of Paris (in Clear from our ,,11th all hump~ and jolt! .
March 1667): " I know of no one but the abbe Terrasllon, among the men of letters. And ward orr. for a lime, the deatll y yoleanoes
who sJloke ill of the la nlt:rns .. . . According to hinl , decadence ill Ihe realm oC Of reolling room. a nd re,laurantl .
At dusk. P"I! orden 10 llearch
lell er~ he gan with Ihe establis hmen t of 81reet lighu . 'Before tltis period ,' he once
Thllte _" ota ,h:fil t d by the odorlt!•• gu.
8aid . 'eve ryone relurned home early, from fear of 100 in~ the ir live!. a nd thi' fact
,\mll n $Oun,I I"e a larm wilh eri e!! of fu r
worked to the a d van tage of labor. Nowadays , people sta y oul at night, and..work .\1 Ihe ~l:e l)ing in of nllmmablc f"me~ .
less .' Surely there is Irllih in this observation and the inve ntion of gas iii not likely
to giYC it the lie," Ellouard Fournie r, Les Lantenae,: flu/Qire de l'rmeie n eclairuge Barth~I'·,n y. Pn riJ: ReVile 5ulirique n M. C. De/enerl (Paris, 1838), p . "16. [[4,3)
de Pam ( Paris. 18M) • .,. 25 . [T3a,5)
"' Whlll a ' I,ic llliid invc nlion Ihill gas Iightin& i.J!! . Gottfried Seml)Cr exclaimll. ~In
[0 the ~ec oml half of Ihe 176Os. a lIumbe r of pamp hle l8 we re puhiishcJ dial dea lt hu.... ma y diffc rent ,..ay~ has it 1I0t t>nrit:hed the fcs tive occasitllls of life (POliO
wit ll thc new Slrtl(l1 light s in poe tical fo rm . The following verses come from the tnt-lltiou il8 iufinite imptJrtunce for our practical nccd 8)! ' Thill s triking preemi-
poem " I.A:S S uhnm~1I oocturuelS et a mhula nles contrl:' NOllre.igneul""ll les re ye.rhere8: IICllce of the £I:slh·e oVI' r II II~ IllIjly. or rathe r tile nightly. imllCrative!l--for, Ih anks
to Ihil gene ral illuminatio n , urha n nighttime itself become! a . ort of ongoing ant-
"uued festival- d early betrays the o rieutal character of thi8 fonn of lighting....
The fll cl that in Be rlin , after what is now twent y year, of ope ratiull . a gQS company
can buas t of sca rcely te ll tllousand I)rivate clIstomers in the yt'lu 1846 can he. "
ex plained ... in the follo wing manne r : ' For the m o~ t pa.r t , of course. o ne could
l)Oint to general commercial alld 8(>cial fac ton to accoll nt for this plicilome non '
there was s till . in fact , no rr:allleed for inc reased activit y during the e vening and
nighttime hours.'" Dolf Ste rnbe rger. Pmwramci ( l1 amhurg, 1938), pp. 201, 202.
Citation8 from Go ttfried Semper, Wiueruchaft ! Indlutrie IHld Kilns. (Brunswick
1852). p. 12; and from H(mdbuch flir S teinkol!ie ng ll:!bflieudulmg, ~ 1. N. B .
•
Schilling (Munich , 1879), p . 2 1. [Th,l]
Apropos of tht: covt:ring over of the sky in the big city as a consequence of
artificial illumination, a sentence from Vladimir Odoievsky's "The Smile of the
Dead": "Vainly he awaited the gaze that would open up to him." Similar is the
motif of the blind men in &ude.lairc., which goes back to "Des \kners Ed-
fenster." I [1'4a,2]
Caslight and electricity. " I reached tim Challlp8-Elyaet:.s, where the cafo&concer'"
seemed like blazing hearths among the leaves. The c hestnut t.rees . brushed with
yellow light , had the look of pain ted objet:ts, t he look of phos pho rescent trees. And
the elect ric globes-like s himmering, pale moon8, like moon eggs falle n from the
sky, like mo ns trous, livillg pear llt---dimmed , with their nacreous glow. mysteriow
and regal, t he Hann, je ts or g88, of ugly, dirt)' gas, and t.he garlands of colored
~au. '" Guy de Maupassa nt , Claire d e lune (Paris . 1909), p . 122 ("La nit cauebe--
mar n <The Nigh tmare ». [T411.,3]
Gaslight in Maupassant: "'Everything was clear in the mild night air, from the
planets down to the gas lamps. So much fire shone there above, just as in the
town, that the shadows themselves seemed luminous. The glittering nights an:
merrier than the brightest of sunny days." Guy de Maupass3nt, ClaiT/: de fune
(Paris, 1909), p. 12 1 ("La Nuit cauchemar"). In the last sentence, one finds the
quintessence of the "Italian night." (T5,1]
The cashier, by gaslight, as living image-as allegory of the cash register. (T5,2]
Poe ill the " Philosophy of Furnitu re" : ';C la re is a leadill,\l e rror in t.he ph.i1 ~so pby
of Ame rican householJ d t!tlortltioll .. _ . We a.re vjulelltly ellamo rt'd of ga~ alld of
glass. The former ig tOlo.l1 y inad missible within dours. Its ha rs h ami ullstead y light
offend!!. No olle havillg bot l. iJrains and eyes wi ll II SI' it.-' Chllrle8 Baud~laire,
OelwP"t'& compiete:!, ell. Cr;:pet ( Pa rill, 193 7), II. 207 (lIillflJirell g role&(IIUlI et
.erieu-,c! pa r Edga r Poe). S _ (1'5,3]
u
-
[Saint-Simon, Railroads]
"Cha racte ristic' of the e ntire pe riod up to L830 i5 the sluwness of the sl'rt!ad of
machines . . . . The IIIclita Lit)' of e ntreprene urs, ecooo nlica Uy s peaking, was still
con:rer"ath'e; otherwise, the iml)Ort dut y on i lt!llm eD gi n~, which were Dot yel
prodUced by more tha n a handful of fa c torics in France. could not have beeu
raised to 30 IJer cent of the value. French indus try at t he tinle of the Re8tor a tion
was thus aliU, in enence, tho rou ghl y tied tn tin' pre revolutionary regime." Willy
Spuhler. Der Saint·Simoni&mw: Lehre IUIiI Le"en uon Saint-Arnaud Ba:am (Zu-
rich , 1926), 1' . 12. (U I ,I]
"Corrcsl)ouding to the laborious development of la rge-licale industry is t he slow
formation of the modern proletariat .... The actu ul proletarianization ... of the
working mU!\elI i8 err~'ed o nl y at the end of the 18308 and I 840s." SpUhler, Der
Saint-Simoni&mu._ p. 13. [Ul ,2]
" During Ihe whole pc rilKl of the Resto ration ... the Chamber of Del)uties (oUowed
a commercial policy of the m08t extreme p rotectionis m .. .. The old theory of a
Lalallce of trade WIi S again in full 8wing , 8 S in till" days of me rcantiligm ." SpUhle r,
Der Suin.-Simon;,fF)utfj (Zuric h , J 926), pp . 10- 11 . [tI I ,3]
•
.. It was o ul y in 184 1 that a mmlest little law cunccrning child 11I1)()r was ap proved .
Of jott'res t is th t' objt.'Ction of the fa mous physicis t Cay-Lussac, who ijaW in the
illicnention "an Ollsel of Saint -Simonia niiinl o r of phala nsteriani.'jm.-' SpuWer.
Der Sn ;n, -Simollj&tml& , p. IS. {U 1.4.]
" Aphrodi te'8 birlill travel the @kiClO from Pari8 10 Ams tnda m. a nd untler their wiug
is cliPVl'd II Ij ~ t ur tlail y Iluotatious frum t ilt: Sh .ck Exc ha ngc; II teh:graph "enJ ~ It
lue~s ll gl: £rum PIII'iS t(, B,'ussd ll ('o ucerning the ri ~l: in 3 pe rccllt a unuitiell ; couriers
ga ll up ovel' highwlI YII 1111 vll uting hO"lOes; , III: umhlllHuu lors of real kings ha rgain
wilh illclIl ki llgli.ulul Nalhuu HOlhsc hiltl i.n 1..0'111011 will sl.o,," YOII , iI yo u pa y him II
v i ~i t. II t:us kct ju s l a rr ivj·,1 frum Br uzil with frell),)y mined Jiumund8 intended 10
CO ' · ... r t he interest nil til(" l'urrj'lIl Braziliun ,Ic hl. Is n' t that inlc restiuKT' Karl
Clltzkow, 0ffpII I/jelie CIIIJrak rere_ pa ri I ( ll umIJU rg_ I (ti S), I" ~ 280 (" Roth-
.,.ililtl""). [U 1.5)
'''Tile influence and d evelopment of Saint Simo niani ~ m. up until the end oC the
ninetetmt!. cenlury. had almost nothing to do with tJle working clan . Saint -Simoni _
anism provided an impetus and li n icleal for the spirit of IItrge-sC'ItJe iuduBtry a Dd
fo r the rea l i~aticlII (If IImhitious workll. The Saint-Simonian Perei re brothe" con_
trolled Ihe r ailrl)all . banking, and real esla te operation ~ ofthe Jul y Mona rch y and
Ihe Second Enlpire. The Suez ClIlla!. for which Enfantin and Lambert-Bey would
stud y the plan. and work oul the conception at a time when Ferdinand d(' Lettep.
wall consul in Cairo. lUIs remained t.he prototype of the Saint-Sinlonian planetary
enlerprise. We may. withoul helitation , cont.rast the grand oourgeou: project of
Sainl-Simonianism, which is based on production and action, with the perir OOur-
geou project of the Fourie"sl phalanstery. which is based on consuUlption and
pleasure: ' Albert Thibaudet, Le. Idee. poliriqlU!:' de 10 Franf;e (Pari., 1932).
pp . 61-62. 0 Secret Societie. 0 [U l.6]
"'Girardin . .. founded La Preue in 1836 ; he invented the popular. low-priced
newspaper and the roma n Jellilleton, or serial nove1." Duhoch and d 'Espt!zel.
[UI,l]
llutuire de Puri. (Pari8, 19'1 6). p. 391.
" In the Jlllst several years, a eomplele revolution has occurred in the cafell or
Paris. Cigars and pipes have invaded every corner. Formerly, ther e wa, ' mokilll
only in certain speeial elltabLishments known as e.t(lmirlet. <public housel>, which
were frequented l olely b y persons of low IItanding; today people 6U1oke nearly
everywher e .... There ill one thing we cannot forgive the princell of the houle of
Orleall&-n ameiy, for having 110 prodigiously increalled the vogue fur tobacco, this
malod oroul and nauseating plant tbat poisons both mind and body. All the toni of
Louis PhllipiW! . mokt'd like chimneYII; no ODe encouraged the coruumption or thiI
Du ty product nlore than they. Such consum ption no douht fa ttened the public
treallury- but al the eiIlpense of public health and human intelligence." Hu toiN
chs cafes de Paru, e.tfraite des memoirs d 'un viveur (Paris, 1857) , pp. 91-92.
[Ula,l]
" SYlnholilm i! so deeply rooled .. . that it is found nol jusl in liturgical riles. 10
the pre\'ious century. didn' t the disciples of Enfantin wear wailltcoals that but-
toned in the back . so 811 10 draw attention 10 tbe [raternal assistance which one
man renders another?" Rnber t Jacquin , Notion. sur Ie lang age d ·apre. Iu
trauaux du P <ere) Ma rcel ) ollue (Parill, 1929). Jl . 22. ... [Ula,2]
" In 1807, there were over 90.000 workers in PHris practicing 126 profel8iona.
They were 811bject to strict slll»ervi8ion! ail80ciationil were pruhibited . employment
agendes were regulated , and work hours ...·en.· fixell. Sala ries went from 2 fran c.
50 . to 4 fra ll c~ 20. yielding 0 11 average of 3 francs 35. The .... orker ate II hearty
brellkflllll , a lighl IUlidl . and an evening supper." Lud('11 Dubech and Pierre
d ' Eal'ezel, JIj.sroire ,Ie Pori. (I'a ris , 1926). p. 335. [V III.3)
"On August 27. 18 17. the IIteamshiJl/-e Clinie llu commerce, illvt:nted by the Mar-
quiS tie J ouffro),. h all ~a ih..>d the Seine bclwt'cn th ~ PUIII-R" yal and Ihe Pont Loui~
},.'VI. " Duhecl. Ilnd d' Espezcl. ff i. IQire de Pari". p. 359. [V I a,4-)
The national work s hu p ~ 1 "'hlld beell t' rell tt'd according II) the provo@alof a moder-
ate. <Alexa ndre.Thomas) Marie. hecau!:iC Ihe Rcvolulion had guaranteed the e.x-
i ~ l en('e or the wurker tbrough hill work. and btca uae it wail lIecesaary to sa ti ~ fy the
demanclll of the extremists . . . . The work il h oJl~ were orga nized , in a manner at
onCt' democr atic and militaristir . inlO brigades , wi til elected chiefs ." Dubech Bnd
d·E~ pczd. Jlu toire de Pa ~. pp . 398--.199. [V l a,5]
The Saint-Simonialli. ""In tin: nlagniflcenl disorder of ideas that accompanied Ro-
manticism . they had grown euolIgh . by 1830 , to abandon Iheir loft on the Rue
Taraune and 10 establish th cm selv ~lIll n the Rue Taithout . Here. they gave loctu res
befor" 8n audience of yo ullg men drp.ued in blue and womell in white with violet
5carvr.8. They had acquired the newsp ape r I.e Clobe, and in its pages they advo-
cated a program of reforms .... Thegovcrnmenl , ... 0 11 the pretext of lIupporting
the emancipation of women. dt:eided 10 prOSf!4::U IC Ihe Sainl-Simonians. They came
til the hearing in full regalia , ancl to the acelllnpanilllelit or hUllting horns. Enfan-
till wllre wriuen on his cheSI, in large leiters, thc two words Le Perc, and he calml y
declared to the presiding judge that he Wall in fact the fatber of humanity. He then
tried to hypnotize the magistrate8 by 8taring into their eyes. He waillentenced to
one year ill prison . which erfC1:tively pili an eud to these follies." Dubeeh and
d ' E~ pezel , lIutoire de Paris . pp. 392-393. 0 Ibusslllann 0 Secret Soeietiell 0
[Vla,6]
" Girardin publillhed ... a brochure with the title, "'Wh y a Constitution?"' It was
his idea that the entire French con. titution should be replaced by a lIimp!e declara-
tion of ten linell, which ... would he engr aved 011 Ihe fi ve-franc piece." S. Enpan-
d,er <Ce.chichte der Jran~o.uch en Arbeite,...Assoeia lumen (Hamburg, 1864», vol.
4, pp. 133-134. [V b .7]
'"'At the time of the Revolution , a new d emenl heglln to a ppear in Pari5: lar ge-licale
industry. Th.is was a consequence of tilt' Ilisal'pearalll.'e of fellda l guilds; of Ihe
reign of unfethlrecl libert y thllt followed in their ...·ake; IInti of the wars against
Eligilllld , which made IIcccu ar y the production of ilemll previously pr~l(; u red by
impllrt . By the end of the Empire. IIii' evolution wail cOlllplt"le. From the revolu-
tio nary period 011 . thcl'e wen: faCIQriC8 eSlahlishe<1 for the production of sahpeter.
firearlus. woolcll alld culton ruhric•• prelll'n cd meat. anti smail utensils. Mechani-
cal ~ pinnin g mills for COtto" a nd li.lIt:n wen! d evdu l tl~tJ. will. tim cncouragemclIl tif
Calonlle. beginning ill 1785 ; raetot'i" 8 for the prn,lcu·tioll of b ro nze were CIIII -
Sirucll:il under Louis XVI ; a nd chemicallilld Ilying "00l118I1il)8 were rounded by the
COtUIt d 'Artois in J a \·d. Oidol Sa illt-LCger r ail II l1ew IIII1l'hine. ror IHl per produc-
tion 0 11 lh~ Rue Sainte-Alllle. In 1799, Philipllf' Lc bull re<'('iveJ a fl U tent 1111 a
proc~u for produd ng gus ligbting, Frllm SeJltember 22to September 30, 1798, the
fir!!t ;pnblic ex hihitioll of the product.!! of French manufactu ring and industry' w.. iJ1ll'orl~ce, fr~m till! poiJII of view I.If journalism , dian 11 11 even l of S"!RI c
qUI'IIC~ In Amel'lca o r Asia ." J ean Moriell val Le, Createu,., d k , ons(\-
Ilett.! on the Cllamp lie Man," DuiH!'(;h a mi d ' Espezel, Ilil toire de Pa ris (Pari. Frlllice ( Paris ( 19Jih ), II. 132, ' C ' grande preue en
1926). p , 324, 0 E:to: hibitiolll! 0 [U2, l j fU2 a.2J

011 tile Sa illl ·S imOll il1 l1 ~;

"Sehool constituted by a ve ritable corps of industrial .. /. 'Aluograph e was rUfI Ily 80urdin 1 because ViII I'k
. • , I emeuanl , I e Napolw I· I
cllbollleers and entl'cprcllcurs, re presentatives of big bll Sill C88 underwritten by the I., II I,porllon kingdoms. Thill curiolJs m." ' ' .J
, vl!ry mrrependelll of ..
n , ovel
I
01'11' " IIlolle. He wo uld ' collaborate ''' J-. '"
power ofthe barth." A, Pinloe.he• Fourier et /£ socullisme (Pari,. 1933), p , 47, • .. II orltmva I LeI
1 _
Cr ' splnt
1 , .. , rare y
IJrI'J$~ err France ( Paris). p , H 2. , efHeltra ( e IUgrOlulc
[\12.21
[U2a,3J
"Although tilt' worker .IIs8ociatiollii were aU run in e:to:emplary fuhion, ably aDd poetry uf SQ iot ·Simolliulli~ D1 : '; In the preface to Ii fi I
honcsiJy, ' , , memhers of the bourgeoisie were nevertheless ullanimou8 in tbeir , Ie IlIt vo ume of Le Prod
A, Ccrc et auncht:8 all urgtllt appeal to arti " A Ucteur,
s ... . nd8uchcz wl I,
disapproval. M081 uf the bourgeoisie wo uld ft.:el a certain al'Prt: hellsion in pal .ua, (1't'l 1'/ III tI'Ie leadershiJl of the coop ti • III a er SII C·
. crll ve mOvemcol appea led I th
before one of the houses that bore the sigll , , , aud tbe emblem of a worker " ~ l s ill similar lerm ~
of urli It was 8 I h fi ' 0 e community
.... uc ICZ W 0 Irl t ob ser ved th t I ,.
association. Though Ihese s hops wen: distinguis hed from other. similar buaineue. IIlId roman ticism s hIre "'(,"'" , in .L 'd ' b ' ' .. a c a.ll.lllClsm
ule wor Wit which the tb S ' S'
onl y by tlle inscription 'Asilocia tion fra ternelle d ' ouvrien: Liberti, Ep.Ii~ aus-a re occupied , jUilt as legitimacy and li.ber Ii d" d y- e amI· nnoni·
rralernite, ' on the petit b ourgeois they had the effect of snakeM in the gran _ n...litica l world • , • , In 1825 a monumenl
Y "
a 11mcd lY:i e bet"·ee.n themselves the
miglll suddenl y s trike at an y time. It Hufficed for the bour&eois to think of the doc Canal. Pierre Rique; On thi was ~rect to the builder oflhe Langue.-
F'ehruary Revolution . whil'h had been the I.Iri~ of th e~e associations, . , . For
.
hyllln . '" The literar y c1lronicler for' _ P _ J s OCcaWlolI, Soumet com'JOMed ti ·
a s rnng
tllt'ir part, the associations of worker s made every pouihh: effort to conciliate the r1I11l0ll H composer, hllil..'(1 th lA!
h'
r(J(lUeleur.
'
Leon Hal' b h
. evy, rot ero the
f
clry.' S h ese verses, w Ich he characlerilted a, ' industrial po.
bourgeoisie, hoping to gain its support. It was for this reasoll that many of the. , ' . oum~t , owever, onJy p artl y fulfiUed h h .
fur nished their sho));) in the most I plendid manner, S6 Bll to draw their share tI SinlOliians h ad placed in hi If I " . . I e opes which the Saint.
m. ater 0 11 , 10 his DWlne E ~ .
customers. T he privation! wbieh the workers Ihus laid upon themse!vCI, ia . . IIII! hammer 's clang and III . . d' popee. uoe can s till hear
e nOl8y gnu In, of the f ' d '
effort to withs tand tllecompetitioll , are beyond belief. While that part of the abup predsely here, in Ihe poet'M....eateill k h h gealll 0 10 uU na] labor, it is
'b " e- wor , t at t e pro ..... rui t, , h '
which was open 11.1 Ihe Jlublic was filt ed oul in the coslliell way, lhe worker hiaueIf I strllchollS 18 mall.ife8t II " r- or mctap YSlcal
. , .. . a evy, moreover w him I{
wnuhl he sitting Gil the Iloor of a workroom that often was totllUy lacking in equlp- lIallivy jluhliMhed hi, ~o ' . , , as Ie a poel, .. . In 1828
e$leJ eurGpee'''rel d ' 183
ment. " Sigmund Engla nder. Ge,chichte der !run:o, uchen Arbeite"..AuociatioMll Simoll , wllo had d.ied in 1825 " H Th ' :. ' . an m I wrotl! 1111 ode to Saint.
(Hamburg, 18M), W II. 3, I>P. 106-108, 0 Secret Societies 0 (iJ2,1) IM I<'Irislik ," Die n('ue Zeit 21 . 2 ~;ow, Aus den An.flingen dcr 80zialUtischen
, , nG. IUltgart , 19(3), PJI' 217-2 19. fU2a, 4]

Influcnceof the fewlleton in its eurl y da y" "There are newspapers for one IOU ' "
? n II review, by Saiute-8 t uve in the R eV ile del d
newspapers ror len centimes . .A dealer obllene! II soUd bourgeois passin, by, wbo. , The "Cries which Saint . 8 , el.l.% m.ande" February IS, 1833:
aftel' carefuJl y pe rusi.ng his Constilllfio''''el .. . , negligently folds it and pull il ia I
Iy tllc flalll e of Bruhe'U
e eUve, .. r evlewetl were th
, .,.
rt e I erary rcmlliliS of a poet
his pocket. T he dealer accos ts this plu cky realler, presents him with either I.e
. 1 e, w 10 w ed very yo ung In hi8
SUlllte-8 l! uve draWl! attcntio I I ' .. , accoun t . furth trmore,
S· . II 0 It IIOve which bore th h . .
"CU(I/£ or La R i-vG/lltioll , which 1:1.I8t onl y a SOli , and says to him: ' l\-\oosie ur. ilyoa . (Um, SlnlOnienne and ., . b I u,
e c ar aeler llillc title
like. I will give you . in exchange fo r the p al)Cr you ' ve jusl fioi.slu~d , Le. Peuple, by idca, T hlil ihe a u:"o \01' II C . : , 1 emolliltr ates the triumph of the Saint.Simon.ia li
I r. a Certain 1'ofadll me Le Bas b ' I
citilten Prouclhon, Qlld its s upplement conlaining a serial by the famous Men ....... I Irltllgll a ruther im,)rohllbl r Jl U , nngs a 10U I thi8 triunlph
Scnneville, ' The hOllrgwis allows himself to be persuaded , Whal good is a Com" r r01l1 tilt< vf'ins of.,ou,' '.' , . I' Cuurse fI event_
mena I h r
y, 1 e trans u ~io n of blood
I IIUC(·tet With S' alnl S' .
tutionnet you 'VI' alr.'"dy rea.l? He givea "I' his newspaper a nd accellU the uther. t-"''''ci!iQstically educa ted I"""" , 1. • IIIIGlllao doctrine illio thost: of hia
cllliced , 1I i1 he is. by tilt· sO\'ercign lIame of Menars·Senlievilir . Oflt'n he for~UI I' . ... ~ e( - ma y ue rcga rd I '
\ 11'111 : a llilc.8illlle tim, " . h . el III tlI>sellce as 11 11 urtisticexI" .
. , OWI' V,'r II rlllgs t I .
himSelf. in his delight at being rid of Sll tedious II bUrilen , IIlId luldii'1l11flther &tMI I ~ltl. This lllYJilical elemcru had' ' h " b .,11 t Ie rn ys ticai llide of Saint ·SimOJuan_
in lo t.he Largai n ," A, 11 r i" 111 d'AnglcnlUnt, Paris inconnu (Paria, 1861). pp, ISS- ~ . . s oru y core founl t k
"jOurn by the ' family' ill d .. I , • 1 Mar expressioll during the
156. {U2a.l] "'\rlf'lndingc jJisooc in II I.i',
,. It!
r,
COt Ie movemen l l.ik ·
.
IClr 11.81 11 aceofrefu ,e 0 th R " "
0 e oe ellllnlOnt.llnl. Thia
d
hl,l; litl'ral ur&--pocms .son , . , eWlsc engen er cllli correlfpund.
Th ~ ... ell· known I)rincip]e of VillcmC.IISDIII : ';Ihal an iucillenl which is cOlJ1lJleteir . • ga, a,untna exerdses in vc I
mllll(~ syml,oliSIII eould h" "" ,. , ~ nJ L rile alit fl r OIl&--wliuJic ellig'
. ' l .. rs 00 .. 0 y Y II. ~ '"
urt.!illury, bul whidl UCI;UrM 011 t.lw huulevards or thei r ell\'irnns, has much mO'" !'Utlr>ill Iry the violr.llcc of pol.if ' I d . C cw Ulltlltl C~ .. .. Thrown ofl
lca all econOllllC tlevcJ0 ll rnc.nI3. Sa int .S iIlJ Oll iallli~1II
had run agro und on metap h)'sics:' H . Thul"t1w, " Aus den Anfiingell de l" so)~a listia­
ch ell RcUctri.. tik ," Die neue Z'.i, . 2 J. 110 . 2 (Stuttgart, 1903). I'p. 219-220 . [Va,l}
Utopian socialis m. "The .. lass of capitalists ... lunk"11 on it", )llIrtisalll! li S mere
eccentrics and harmleu enthusiasts. .. These partisalls thel11selve8, furlher~
more, did aU that was humanly posl!ible ... to warrllnl s uch all impreuion. They
wore clothes uf a very pa rticular cut (Sainl-Simollia ns. fol" exam pltl, huttooed
their coats ill the bac k so as to be re nlinded. while dressing. of their reliance on
t.heir fellow mll n aud thcreh y of the nl!cli for union), or else Ihey wore ullusually
large ha u , very long beards. a nd so on ." Paul Lafargue. " Del" K1assenkampf in
Fr ankreich ;' Die lleue Zeit. 12, no. 2. p . 6 1ft (U3,2j
" Mter Ihe Jul)' Revolution, the Saint-Simoniam took OVer even the frontline 0 1"-
gall of the ROllian tics, Le Globe. Pierre Lerou x hecame the edito r." Franz Died_
erich , "'Vicwr Hugo." Die m!lle Zflif, 20 , no . 1 (Stultgart. 1901 ), 11 . 65 1. [U3,a]
From a report on the Nuvemhe r 1911 iU lle of the journal of Austria n social democ:-
racy, Del" Ka mpf: " ' On Saint-Simon 's 150t b birtllday, ' . . . Max Adler wro te: . ..
H ~ was known as a 'sociaUst' at II time when this word meant something entirely
di£(erent from what it means today.... As fill" as tile clan s truggle is concernCld , he
sees onl y the opposition of industrialism to the old regime: bourgeoisie and work·
en he eonsideNJ together MS II single industrial cla ss , whose ric her memben he
caUII upon to tnke an inter esl ill the lot of their impoverished feUow worken .
Fourier had II clea rer view of the need for a new fornl of society:' Review 01
I'eriodicah , Die IIel«!! Zeit . 29, no. I ( 19 1 I), pp. 383-384. fU3,']
Engels on Fe ue rbach ', Wesen des Chris flmfllnu <Enellce of Ch ristianit y>. " [vea
the shortcomingA of I.he bouk contributffi to its immediate effect . lu literary,
sometimes even high-RowD , st)'le secured for it a large public and was. al any rate.
r.-fres hing aft el" long years of a bstr act and abstruse Hegdiaoilling. The same it
tr ue of its extravagantllt!ifi cation of love, which . coming afte r tbe now inlOler~
sover eign rule of ' pure reason ,' h ad its e)o;cuse . ... But wbat we must nol £orgd W
that it was Ilrec.:isely these 1\0\' 0 weaknetJIcs of Feuerbach that ' true socialiAm:
\o\'hich had been s preading Like a plague in 'educated ' Cerman y since 1844 , look ..
its !!tarting point . )lutting litt' ra ry phrascll ill the place of scientifiC knowledge, the
Liheration of man kind by mea.n!! of ' love' in placl' of the ('mancipalj~n of the
proleta riat through the economiC . transfornlatJOn. of prod u("llOn-
" 1D Ii IIIIrt • 10slnA
T
it8e1f in the nauseous fin e writing and ecstasies of love I)'piliffi h y Il err IUIri
Griln ." f"ri ellrich Engel!!. " Lullwig Fe ue rbach und Iler AU8ga llK.der klassiscbell
deuLSche.n Pbilosophie . ,. lJie ne ue Zei,. 4 (Stutlgllr1. 1886). p . 150 [review of C.~·
Starcke, Lucllt.'ig Felu rbacll ( SIUltga rl , 188 ~. -)] ~ fU 3a,1}
" Railroads . . . d'~mandcll. In:sidcs Olher iIll IJll8~iltilities, It IrDIU;fol"lllatioll ill t~
mode of prop,.n )' . . .. UJI IIlIlil l.hcn . in facl . It bo)urgeo>is ('ouM r un all indust.riAI
or a busine",,, r onr .. rn with 0 111 )' hi.!! OWIl mOlley. or al mOll! with Ihat of Olle or twO
fricnds and ar tlua inta OCL'5 .. .. lie ma naged Ihe moncy hims .. lr, and was lhe aelual
proprietor of the faclory or Imsine.u e~ llthli "J IDltm l. BUI rail rmuls had IIc!:tl of
S il l' " mas!livc IImOU nl!! IIf 1:Ill'ilul I.hllt it I;ould 11 0 longel' Ill' concenlrltled in Ihe
hUlich of only II few imlividuuls . AnJ 8(, a grt'ut lIIon y bllurgeoi.il were forced 10
""ntrllSI their JlreciOll.il fllll.!lI . .... hieh had llevt'1" berQrf' been allowed oul of their
sighl . 10 11eO,,1 .. whos\' names they hardl y knew. . . Once. 1111' nloney was gi,'cn
owr. they would lose a ll cOlllrol over it ~ in ve~ tm e.1l1 utili could not expect to claim
1111 )' proprietar y righ 18 over lerminals. (;a l"ll. lo.:ollloljves , allli Ille like . . . . Tiley
WN', ' ('ntiticd onl)" to a s hare of Ihe profits; ill place of a n ohjcci . ... they wer e
~ "I'n .. . II Illcre piece IIf 1'II1"'r that J"t! jlI"CSellled the 6ctioll of an infinitely smllll
lIliflulIgl"as paLlc piece of the real pmperly. wllO"e name was primed at the boltonl
in largt' leiters .... This proc\'dure ... stood in s ueh violent cOlltrast to what Ihe
bourgeoisie "" IS used to ... Ihal its (lcfeDiIe \'o ulll be underta kt'n only by people
who . .. were 8uspected of wantillg to onrthrow till:. order of soeiety--tlocialisu, in
~h o rl. Finl Fourier and tlu~n Saint-Simon e)o;wlll!d t1us IIUlhilil\ation of property in
Ihe rorm of paper sccurities ." Paul Larargue, "Marx' historischt' r Ma terialismus."
OW ne ue Zeit , 22, no . 1 (StUltgart . 190-1-), p . 831 . [U3a,2}
" EvCI'y da y, there is II riot. The stmlents, aU SOliS of the bou rg~is i e , are fruterniz-
ing here wit h the workers. and the workers believe the time hUI! come. They are
also ilCriously counting 011 the pupils from the Ecole Poly technique." Nadal".
Qua ndj'etais phofogn,[Jhe ( Paris <1900,), p . 287 . [U3a,3]
" It is not in pruletarian circles. Dot eYeD III democratic circles . tha t tile initial
iml}tIUS . . . for the esta bli$hment of lahul" exchanges i8 to be found. The idea was
firs t advanced in 1.842 by /'t1 . lie Molinari , editor-in-chief of Le Journal de' econo-
milte,. It wus Molinari himself who developed tlus idea in all article Ire ... wrote
entitled ' L'Aveni r des chcmins de fcr ' <T he Futu re of the Railroads). 1.11 order to
indicate jus t how much limes had changed . he r eferred to Allam Smith, who had
said ,. in effect , that la bor was the commollity nlOst difficul t to transport . Against
this, he IIffirmetlthat laLor power had nnw become mobile. ": urope and the whole
World now s tantls open I t) it as a market. ... The nlBin Jloint of the conclu8ion
which Molinar i drew in ' I. ' Avenir des chcmins de fer,' in fal'tJ r of the in ~tilution 8
thai "'ere to serve as lahor exr. hangcij , wa.~ thc foll owing: the principii I cuu6e for
lilt' low rate of wagcs ill thc f I"clluentl y recurring llill proportion IH!l ween the nUIlI-
I'f"r of workers aud thc demand for wn rk ; contributing fUrlht' r tn the problem is
the hi!;h COlleentration of ""cor kers pOjlulalioll in certain cenh:r& of prQd uction . ...
e il" : tl' wor k\'1"1! the l1l{'all8 . . . Ly whil·11 Ihey (:an 1'lIllllge thei.r place \If I"esitlellce at
I.,.... COSI: give them . 100 . t.he Jlossibility of knowing wilen: they wi U hea Lle to Sud
\'l'IIrk ill IIIIl mu~ t fuvo raIJle ,·irtUlIls tuIlCeti .... If \o\'orkcl"S hcgill IravO!iing quickl y
und , u(,cJ\'e all , chea ply, lahor exdlUlIgL'S will 8tHIIl arise. " On Ibe l)rO(lo;;al to
"rt'U It' U Inltill" re port: "'Thi s prolJOsal. whidl wai! p ubl.i ~ II I'.1 ill l--e COUl"r;er
~rf"'rfli~. etliloo hy Xllvicr Durrieu , lurnelllllall"rlj .Iirectl y to Ihe work" N . .. :
We wo uld Iik" . .. 10 n' ud t!r a st:I""iee 10 wo rkel" by pu illis hing i.n our column;; .
11"~t to the stock markr.t quolatio nll, a lis t of wo rk avai laLle . . .. 'ol' ha l is Ihe
purpollC of nock market quotations? They report, as we know, the rate of «~
cha nge of govcrnment secllrities and ahares of stock . " . 0 11 various marketa
arolllld the worM . . . WitllOu l the aid tlf these nla rket reporU, the ca pitalista
would ofIeII have no idea where to iove!!1 t.heir money; without these lish , they
would lind tllemselves in the lame situatiun aij worken who .. . have no idea where
to go 10 find work .... The worker is a vendor of work , and . as such , he bas a very
material interest ill knowing what the ma rket outlets are fo r hi8 goodll. It. Louia
Heritier. " Die Arheitllhiirllcn . Die neue Zeit , 14. no. I (Stuttga rl , 1896). pp. 645-
~. ~, ~
NOlablc= diffc=rmce bc=nvc=en Saint-Simon and Marx. Thc= fornler fixc=s the number
of exploited as high as possiblc=, reckoning amo ng them c=vc=n thc= entreprmeur
becausc= hc= p ays intc=rut to his creditors. Marx, on thc= other hand, include.s aD
those who in any way exploit anothc=r--even though they thansdves may be
victims of exploitation-among the b ourgc:oisie. (U4,21
It is significant that the thc=oreticians ofSaint-Simonianism are unfamiliar with the
distinction between industrial and financial capital. All social antinomies dissol'W:
in the fairyland which It! progril projc=ClS for thc= nc=ar future. (U4a,I)
"Let U I examine some of the large man ufacturing citi~ of France. . Never,
perhaps, has a defeated and retreating arm y presented a more lamentable speeta~
cle than the triumphant industrial army. Caze on the workers of Lille, Reiml,
Mullioulle, Manchester. and Liverpool. and tell me if they look like victo".!"
Eugene Buret , De In JUi.sere dell clnue. InborielUes en Ansl.ererre eE en Frane.
(Paris, 1840), vol. I , p . 67. (U4a,2J
On the political role o f intellectuals. Important : the "Letter to M. I...amart:ine" by
Emile BarrnuJt, editor o f I.e Toain dt.s trauailleurl. rDie socialistischen und com-
munistischc=n Bewegungen scit der dritten franzOsischen Rc=volution," appendix
to <Lorenz von) Stein, Soa"alumUJ und YmmunumuJ dt.s neuhgm Frank reicJu
(Leipzig and Vic=nna, 1848), p . 240.] fU4a,3!
To ascertain: whether or n ot, in the prc=imperial agc:, a relativdy greater propor-
tion of thc= profits of capital went into consumptio n and a relativdy lesser propor-
tion into new inve.stmc=nts. (U4a,4j
1860: ;'NafJoleun entcred into a tradl! agreement with the Engli~h government ... ;
acconlillg 10 the provisions of this trealy, clilltoms duties were cOll siderably low·
ered on f" rencll agricuitural l>r oducts iml)Orted by Enpand. anti 11 11 6nglillh maDU~
faclured goodll imll<trted h y Fro lice. Thill trealy was \'cr y favo rable 10 the I!'a8S
puhlir .... Onlhf' other hand . in unler 10 hold their own a~llin 8 1 Engli ~ h competi-
tion , French illdu8try was forced 10 lower the priccs of ils produc! 8. The illunedi·
ate conSt!(luellce W& I ••• a certain rapl'rochemc=nl with the O PIJU~ itio n . Ainuug 10
counter the resistance of ... industria listll. Napoll!(Jn tuok steps 10 enlist the suP""
porI IIf the liberals. This Icd . ultimately. to the transformation of the regime a nd
tbe emergence of Ihe Lillera) Empir~ . ·· A. Malet lind )). Grillet. XIX' Sieck (PariJJ.
1919). p . 275. (L.oosclting or cont rols un the pre I . so at! to cuubie coverage of
d"hu tC8 in the Chamber.) [U4a,5J
C l o 8~ iflcatio n of the Jlr~~. under tile Healor atiull . Ultra~<'! ) : La C(t:etre de
fr(ln ce. UI Q/Jot idienne, Le Drtlpe(llJ blanc, l~ JOl/rnal dell diibuts (ulltil 1824).
illd,'penli cnl8: Le Globe. Le Min e,.ve, a nd , from 18:10. d u.ring tile lasl yea r of tlu:
Re§lIlra tioli . l~ Nfltionfll. I~ TempJ. Co n ~ titu tio n a lis ts: Le Conltitlllimlnel, Le
Courrier !rom;fl u . anll. a fter 1824, Le JUI/rnal (les di buts. {U4a,6]
Because of the rarity o f newspapers, thc=y were read by groups in the cafes.
Othenvise, they were available only by subsoiption, which cost around eighty
francs per yt3T. In 1824, the twelve m ost widdy cirrulating newspapers had,
togethc=r, some 56,000 subsoibcrs, For thc= rest, both the liberals and thc= royalists
were concerned to kec=p the IO\'.'er classes away from thc= nc=wspaper. (U4a,7]
Thf' '"la\Ol of jllstice aDd of love," rej ected by the Chamber of Peer" " One detail
~ lIffices to demonstrate the spirit of the project : every printed sheet . be it only a
nutification card , would have been subject to a tax of oue franc per copy!'
A. Malet and 1'. Grillet. XIX' Sieck (Paris. 19]9). p. 56. [US. I]
" Sa illl ~S imon Iillgen o\'er the history of lhe futee nth-eighte~n th centuries. and
give8 to the social c la ll~s of this IHlriod II more cuncrete anll specificaUy economic
dt.-scription . Uencc. it iMthill part of Saint-Simon'! sys tem tha t il of greatest impor-
taoce for the genesili or the theory of clan 8 tru~e, and that exercises the.ltrong~ t
influ ence on its subsequellt development. . . . Although. for later periodll. Saint·
Simon empba8i%e8 the economic momellt in hi!!' cha racterization of clallflC8 and the
causell of their growth and decline ... , in order to be consistent he would have
had to see. in this economic activity, the true rools of the social clanes as well. Bad
he I'aken this atel), he would inevitably h ave attained to a muterialist conccption of
hi8lt1ry. But SaiJlt·Simon IIIwer took this step, anll hill general conception remains
idealist .... The &e(:ond point that is 110 surprilling in S aillt ~Si mun 's clals theory, in
view of its (liscrepancy wilb the acluill rdatiollS anlollg the dUlLses of the period. is
Ihe n."p resent lltion of the 1'las8 of intiulltrilliists all ht) mogeneou8.. . . The mani-
festl y t:&8entill l differences Ihal ex illt helween proleta rians 11 1111 e n lrepr~lI eurs are
fu r hinl exter n"l , and their antago nism iii grounded in mutual mi!lundentauding:
the intere;;-IJJ of the llirecton of imlu su'ial elll t rJ!ri~R, in realit y. coincide with th e
interests uf till' nHlSSt's ... . This elltirely unfuumll:tI asst! rt.iun resolve~ for Sa ill l~
Silll ull the vcry r~a l social contrailiction . l!.a lvaginJollhe unil )' uf thl~ indul tri u! clau
a'ltl . witll it , the "e r~p« ti ve on ir. pcat.."t!fu l ImiMing-up of tlte new lIot.'ial sys tem."
\1. Volgin , "Oller d.ie histurische Std lung Saini -Simons," in Mnr:c. f.ngeu Archil"
ttl. O. Hja:./;allt!v, \' 0 1. 1 (Fraukfurt 11 111 Mai n (1928 )) . pp . 97- 99. [US,2]
Sa int-Simon: ·· I..east or all does thl' imlu.n rial system rl:tlllin' tlu~ ovc.ri\N!ing of
indiViduals. for with a ' yltem in which t.he immedia te goal ill tilt' weU-bd ng of the
Rlll ily. there ought not ttl he a ny energy walltml un maintllini.n,; )lower over thesc
peoplt:. who 110 longt·r threaten the ui81i n g order... , 'ThiH(uncti un o( nl aiDtaib~
ing im ler CII II lhcll !'lUlily hecome . . . a tas k shure(1 lIy a ll citizens, wllether it be to
contain trnuhlcmukers or to setLle IlisllutcS."' Illstead o( an instrument for the
domination o( m en . the i tllte 8YSII'1I1 hccollles a !Y8km fur the a(lmini8t ration of
,hillg9.. .. Amltlic chi{'( task o ( Ihis ad milliSlrative authorit y, ,,·holle age nts will be
the ~ehola r8. urtists. 1I11t1 irulu.itriali"u , . .. it 10 orga n iz~ the cultivation of the
terrestr ial g1oiJl!.'· V. Vulgin . "Obcr die histol'ische Stellung Saint ·Simons," in
MlIrx-Engelil Archiv. al. D. Rj azanuv. vol. 1 (frankfurt am 1\1ain), III•• 104.--1.05.
[U5.3J
On the idea o( the hlt.ul work o( art . according IQ Saint,Simo n , Oeuvre" choi.6iu,
vol. :I, PI" 358-360: "Sainl·Simon indulges in fan t a ~ ies abou t the dc\'elopment of a
cult through the combined d(om of p rollliels. I,oels, muft icians, 8eul ptor 8, and
architects. Mllhe arts are to be uniled so as to mllke the cult useful to lIociety, and
80 ali , through the cult. to restructure humaoity in thespiri l ofCbristian morw."
On Saint-Simon's idea of progress (polytheism, monOtheism, ~cognition of
many laws of nature, recognition of a single law of narure): "Gravitation is
supposed to play the role of the unive~ absolute id~ ~d re:pla~e ~e id~a of
God.n Ott/ I1W tnoiJitJ, vol. 2, p. 2 19,· oted by V. Volgm, Ober die rustonsche
Stcllung Saint-Simol1s." in Ma rx·Engels ArrhilJ, vol. I (Frankfurt am Main),
p. 106. [U5a,6]
"" I n Ihf'SylitCIII or I.he Sainl-SinUlUians. bllllkil 11 0 1 onl y play the pari o( forces that
nrglllli:r;t" intlustry. They ure the one un li.lote which the systcm IIOW in place has
dC"dol'ffl to counter th t' ana rchy tha i d evours it; they are an element of the
system or I.he future ... , one thul is free of t~ e sumula nl of pcrsonal enrichmenl ;
the)' Ilre II social insti lUtiun .·' V. Volgin . "Ober die historiliche Stellung Samt·
5inlolls," in Marx-EngeuArchiv, ed. Rjal8llov. \' 0 J. I (Frankfurt am Maio), p . 94.
[U6. l J

\~ Volgin . "Ober die hislorische Siell ung Saint·Simons: ' in Mu rx-Engel.!' Archiv,
vol. I (Frankfur t Iml Main), II . 109. [USa,l]
Conccrning dl t reprCSt'lIlatioli of Lollis Philippe.-Sainl.Simon teaches that "the
industrial system is 1I0t in contradiction with royal power. Tbe king will become
Ihe Firllt Indu8trial , jusl as he h as hL"en the Fi rst Soldier in the kingdom."s V. Vol.
gin. "Ober die historische Stellung Saint·Simons," in Marx-Engell Archiv. vol. I
(Frankfurt a m Main ), p. ] 1.2 . [U5a,2]
Saint-Simon was a forerunner of the technocnus.
1\.'0 1)8S6ages (rom Le Globe (October 31 and November 25 . 183 1), concerning tbe
workers' ul.wising in Lyolls: '·we • •Iefender s o( AI.L workers-from the leaden of
industry to the humhlest laborers" ; and concerning the working class: "'It is ago--
niziug (or U $ to see Ihe workers degrlHled by brutality. Our heart bleeds a t the sight
uf such mOl'al privations , «uite a8 hidcous, in their wa y. 811 phYll.ical priu·
lions . ... We woulillike .. . 10 in~pi re the workers with . . . our own sentimenl8 of
ol'dcr, pt;aCC t and fri endl y aCI~ord ." In Ih e same publication , an expression of
a l}p rO\'i~l for the a dtl~u of Ihe SaiDl·Simonilins from LyolIs, who " have preserved
Saillt-Simoni ull calm ." Cill·tl in K Tu rle, " Der Lyo ner ,\rhe itera ufsland," in
Mllrx-Enge4 A rchiv. ed. Rjaza no v. vol. 2 (Frankfur t am Main, 1928), PI)' 108.
109. III . [Uj)a,4)
lmportant material relating to the history of the railroad, and particularly of the
locomotive, in Karl Kautsky, Dit matuitlfistiJdu: Gm hichLJaiiffa.wmg, vol. 1 ~
lin, 1927), pp. 645fT. What emerges is the great importance of mining for the
railroads, not only because locomotives we~ first used in mines but also because
iron rails came from the~. ~ are th us referred back to the u.se that was made of
rails (originally, no doubt. of wood) in the operation of tipcarts. [U5a,S}
"The chief lallk o( an industrial syslcm is said to be theelJta blishmenl of a ... pla n
of wo rk tha i could be ca rried 0 111 by society.... But .. . his ideal ill comiderably
cloliCr to lita tc capitalism than to ~ocia li sm . With Saint-Simon , ther e i, no talk of
the abolition of private propert y, of cxpropriations. Only up to a certain IKlint
tlOCI! the state s uhmit the activity of industrialists 10 the general plan . . . .
Throughout hie ca reer Saint-Simon . . . W8! drawn to large-scale projeCIll ... ,
~gi nning with the plaus ror the Panama a nd Madrid canals and ending with plans
to transform the planet into a par adise." V. Volgin . " Ober die hislorische SteUung
Saint-Simons," in Marx . Engeh Arclliv, vol. I (.' rankrurt am Main) . pp. 101 - 102,
116. [U6,2]
[U5••3J
"Stocks have b~n ' democratized ' so that all the world ca n share in the benefits of
1l1Oderll association . For it is IIlIIler th t' banner of 'association' that people have
g1 urified L1u: accumulation of capital in j oint·stock companies, over whicb grand
fm ~ ncien now exercise HOYCreign ty at the expense of the shareholden ." W. texis ,
Gewerkvereine l/tId Urltcrnelmlerverbiinde in Frankreich (Leipzig, 1879), p. 143,
ci l(!(1 in D. Rjaza no\'. " Zur Geschichte der enten lntem ationale," joMorx-Engels
It rr.iliL', cd . D. Rj87.anov. vol. -I (Fr llllkfur l am Ma in). p. 144. [U6,3)
Emile Pcrcirc, ex-Saint-Simonian , wa ~ tbe founder of Credit Mobilicr.-Cheval-
il'r presents him , in Lt.I Religion Saint ·S imonien ~, as " a former studcnl at the
Ecul,· 1~l yt cchni(llIc." {U6,41
Rc the history or newspapers. Differentiation according to sociaJ classes and mass
circulation of literarure, which, under C harles X, was mobilized againsl congre·
g".Ilions. "Voltaire::. more: or less abridged. is adapted to the needs and circum·
stances of all levels or society! Then: is the rich man's \bltaire, the '\bltaire:: for
O\'I11crs or medium·sizcd propeny,' and the cottager's Voltain:. Then: arc also
editions of 'larftljfo at three sous. lnere a.rc: n:prints of .. Holbach.
Duprais<?), . .. Volney. Things are set up in such a way that .. . mo~ than
2,700,000 volumes were put into circulation in less than seven years." Pierre de Ia
Gorce, La RrJlaurahoTl, vol. 2, Charles X (Paris), p. 5 8. [U6,5J
~ting for the Rivilaleur, who will bring on .the end of the bourgeoisie and who
will ,render ~ to the father of the ~amily for J>C?ccfuUy administering the
Lord s estate. nus, presumably, an allusIOn to Enfantm. At the beginning o f the
text, a son of lament for the proletariat; the pamphlet also refers to this class in
closing: "Emarui paleur pacifique! He travels the world over. everywhere working
for the liberation of the proletarian and of \\-'OMAN.1t The lament: "If ever )'Ou ha~
visited our workshops, you have seen those chunks o f mo lten iron which we
draw from .the furnaces and cast into the teeth of cylinders that rum more rapidly
than the wmd. These furnaces emit a liquid 6.re that. in its boiling and heaving,
throws off a shower of glowing drops into the air; and from the teeth of the
cylinder, iron emerges drastically reduced. ~ too, in truth, are hard pressed like
these masses of iron. If ever you have come to Our workshops, you have seen
those mining cables that ace wound around a wheel, and that unwind in the
search for blocks of stone or mountains of coal at a depLh of twelve hundn::d feet.
The wheel moans upon its axle; the cable stretches tight with the weight of its
enonnous charge, ~! too, arc drawn taut like the cable; but we do not moan Iilr.e
the wheel, for we are patient and strong. 'Great God! What have I done; aies the
voice o f the prople, consumed with a sorrow like that of King David. 'What have
I done that my hardiest sons should become cannon fodder, and my loveliest
daughters be sold into prostiwtion?' Michel Chevalier, '"'Religion Saint.-5imo-
nienne: Le Bourgeois, Ie rt:vClateurlt (pamphlet (Paris, 1830), pp. 3-4, i>.
(U6a,11
Chevalier ill 1848. He $peaks of th~ forty-yea r 8ojourn of hrael in the wiJderne8l.
before it entered the Promised Land . " We. too. will IlIlve 10 pause fur II; tirae.
before advancing inlo au ~ ra .. , of ... prosperi ty for wo rkers. Let U8 accept tb.it
kuo n of waiting . . . . And if 80me pen ulis endeavor 10 lltir up the wrath of the
populace . .. on Ihe prelext of haslenillg the advenl of Il(:ttcr timcs •.. . then lei U.IJ
emhluillon the words that Bcnjamin Franklin , u worker \o\'ho became a j!;re.,
ma n • .. . on.·c spoke to his fellow cilizells: ' If anyon~ 811yS to YOll thai yu u can come
into weahh lIy some mpa nll other than industry and frugality. then pay him 00
heed : He's a viper. ,., Frankli n . CorlJeil.J pour foi re fOrW/I(!- (Paris. 1848), PI" i-i.i
um:fa ce by Michel Chevalier}.; [U6a,2)
The pre8!! lInder Charles X: "Ollllllf the m e lllhcr~ of til(' coorl . M. Su ~ lhc n e de la
n ocbefollculllt , ... cOllceivefltl.c grand projfCt of nbsorbillg the uPl'usilioll neWI-
"alters by buying them u".Butlhe ( 111 )' onej that woul,1 , ·o n s.~ nl lo tlte liral had no
influence to 5clI ." Pierre de la Gon·c. IAi /(e$I(IIIr(l/iOfl . vol. 2 . Chtlrle, X ( Pard) .
1" 89. (U7, 11
The FOllril'ris ts jUflk"'ll forwartllO mll U conl'erliiulIS amoll,lil lhe puhli,' lifter the),
ililrodllc",.d II fcuillclOIi in l.A1 1'/l(IlcUlge. See Fe rruri . "I)cs Idee!! el .Ie l'el;"Je de
"~o urier, " Retlue deH/eUJc morlfle~ . 14, no. 3 (1845). p . 432 . (U7.2]
"0 fbcts! You have eyes, but you do not see-and cars, but you do nOl hear!
Grear things ~ unfolding ill your Iludst, and you give us war chants!" [Iberc
follows a characterization of lhe warlike inspiratio n for "La Marseillaise.") "This
bymn to blood, these frightful imprecations bear witness nOI to any danger that
mighl be threatening the COWltry, bUI" to the impotence of liberal poetry- poetry
wiUIOUl inspiration beyond that o f war, struggle, and endless complaint. . .. 0
people! Sing, noneulcless, sing "La Marseillaise," since your poets arc silem or
can only recite a pale imitation of the hymn of your fathers . Sing! The harmony
of )'our voices will yet prolong Ule joy with which triumph had filled your soul;
for you, the days o f happiness are few and far between! Sing! , . . 'rour joy is sweet
to those in sympauly with yo u ! It has been so long since they heard anything but
moans and groans from your lips!" "Religion Saint-SinlOnienne: La Marseillaise"
(extract from L'Orgfmisalrur, Septembcr II , 1830) (according to the catalogue o f
c.he Biblio thcque Nationale, the aUUlor is Michel Chevalier], pp. 3-4. The ani-
maring idea of lhis rhapsody is the confrontation of the peaceful.July Revolution
with the bloody Revolution of 1789. Hence, this observation : "Three days of
combat sufficed to overrum the throne oflegitimacy and divine right. ... Victory
\vent to the prople, who live from their labors-the rabble that aowds the
workshops, the populace that slaves in misery, pro letarians who have no prop-
eny but their hands: it was the race of men so utterly despised by salon dandies
and proper folk. And why? Because they s,,",ocat blood and tears to get their bread,
and never strut about in the balcony of the Comic Opera. After forcing their way
intO the heart of the palace, ... they pardoned their prisoners ... ; they ban-
daged the wounded . .. . Then they said to themselves : 'Oh, who will sing of our
exploits? Who will tell of our briory and our hope.s?'n ("La M arseillaise," as
above, p. I ). (U7,3]
From a reply to an unfriendly review (in La Rroue de PariJ) of Charles Praclicr's
literary labors : oIFor three years now. we have been appearing daily on the city's
'sidewalks, and you probably think we have grown accustomed to it all ... . \\HJ.,
you are mistaken. hI fact. every time we step up on our soapbox, we hesitate and
look around us for excuses ; we find Ule weather unpropitious, the crowds inat-
tentive, the mect too loud. "'~ dare IlOt admit that we o urselves lack daring....
And now, perhaps. you undcrstand ... why somcpmes we exult in the thought of
Our work; .. , and why, seeing us filled with enthusiasm, . .. you-and others
with you-could take it for undue pride." Ch. Pradier, "'Reponse La Rruue de a
Pan.,," in Le BuMme, Charles Pradier, editor·in-ducf, vo l. 1. no. 8 (June 10,
1855). TIle passage is entirely c.hardctcristic of the bearing- at once honest and
unC('rlain- of tltis newspaper. which did not make it past its initial year o f publi-
cation. As early as the first issue. it marks itself off from the lax. mo rally emanci·
pated hallimr and makes mcm ion o f the pioWi I-lussite scct. the Freres Bohbnes,
founded by Michel Bradacz. which it would like 10 ensure a literary POSterity.
[U7a,J]
Sll lu pl,. of tile l>ty l,~ of II.e IIIlWIIl'upe" LA!. IJohemf': " Wlillt lI uffc("!! fl rudl y in tIlt:
g.. rretll ill illtclligcnc", arl , poct ry. tJUl l101I1! ... For til l'" 80ul is II wallet contlli.ning
 unl y the bunknotes of paradise, and tb" shupket:l>ett uf thU world would nail this
money to their counler like a coin fallen from the ha nd, of a counte.rfeiter." Alex4
andre G uerin. " LeM Mallu rde.,'" Le. Boheme, 1, 110 . 7 (May 13, 1855) . fU7a,2]
FrOln u cOnfrOlltution hetwecn the II11derclaS8 ilit elll~ctunl!! 111111 the ruling-dau
intellectuals: " You prince!! of thought , j ewds of the intellect .. . . since you have
moved 10 di80wn U8, we in tUl'll have a bjured yo ur palernity ; we have disdained
your crowliS and impugned your coals of arms. We have cut aside the grundioae
titles yo u formerly 80ught for yo ur laborlll: we are 11 0 longllr ''The Elan," "The
Star," or "The Will-o'-the 4Wi8p ." .. . bUI instead are "The Pretentiuu8 Fool"
" The Penniless." " The Promised Land ," " The Enfant Terrible:' "The Tra ~c
Pariah." or ""The Bohemian;' and thus we protest . . . yo ur egotiJflicaJ authOrit~"
Charles Pr"dier. " Peres et lila," Le Bohem~, I, no. 5 (A pril 29, 1855). fU7a,3]
i.e Bohe.me. in its first i""ue . hears th tl suhtitle Nonpolitica l NelVJpaper. [UB. I)
"00 me the killd.ness of walking through the gambling dens. tJle Iiltle re8ta uranll
uear the Pa ntheon or the MedicMI School. There yuu will find ... poetf! who are
moved ouly by envy und " lithe lowes ll)jl!!s ion~ , the self-proclaimed martyrs of lbe
$acred c(I//.Ile of progreSIJ, who . . . smoke mMny Mpipe ... withoul doiog any-
thing . . . ; whereas Piconel. wbose beMUtifuJ linea you have citet.l , PiC(Jnd the
ga rmelll worker. who earns four and a half (ranc!! a da y to feed eight people, it
registered al tbe cbarity office!! .. • I have no .. . willh. paradoxical a8 it mipl
seem, 10 COlllmend tile boas ting of OUllla8 pere or 10 excuse the indifference of
some of his friends toward younger wriler s; bUI I declMre to you that the greate.lll
enernie8 of tbose who hMl'e been deprived of a Iih:'nry legacy are Dot Ihe writen or
r:eno,,'u , the monopoli.zers of the dail y feuiUelon , but rather the falsely disinhcr--
itell, thOl.e who do lIothing hUI hurl inllUltll, drink, and IIcandnlize honest pt:Qple,
and all this from the l'antage poinl of art." Eric hoard , " us Faux Bohemes," Le
Boheme, I , no. 6 (May 6 , 1855). [U8.2]
It is significant that Le Bohime, which looks after the righ ts of the literary proletar-
iat-who sympathize, to some extent, with the industrial proletal'iat-wouJd see
fit, in an article entitled "Du Roman en general et du romancier moderne en
particulier" <On the Novd in General and the Modem Novelist in Particular>, by
PauJ Saulnier (vol. 1, no. 5), to condemn the practice of "slavers." Monsieur de
SanUs, as the novelist Ln vogue is nanled here, returns home after a d ay spent in
idleness. "Directly upon his a rrival home, M onsieur de Sanris locks himsclf in .. .
and goes to open a little door hidden behind his bookcase. - H e finds himself,
then, in a son of little stud y. dirty and quite poorly lit. H ere, with a lo ng goosc:
quill Ln his hand, with his hair standing on end. is a man widl a face: at pntt
sinister and unctuous.- Oho! with this onc, you can teU rrom a mile away he's a
novelist- even if he i~ o nl y a fanner employee or th e ministry w ho learned the
an of Balzac from tile serials in 1L Cons/ilu/lunne/. Jt is Lhc vcritable author of 1M
Clwmh~r 0/SltuJl.Jf It is tile novelist!" [U8,3J
" In 1852 the hro thers Pereire. IWo Portugut:se Jew!!. fOllnd ed the fi rs t greal mod-
rf n I.a nk , Cre(lit Mobilier, of which one ,aid IhQI it W81! Ihe higgclIl ga mbling hell in
Europr. 11 ulldcrtook wild ilpecul uliclII' i ll cvcrylliing- rll ilruods , holeL! , .::olonies,
,I. "
l'jlll ,
Iines thealers- aml. aflcr fifteen yeu r~, it dcciMrccl II)lal hankruptcy."
'
E,:O)o f riM.lcU. KU/lIlrgescJ.ichle cler Ne llzeil . \'01. 3 (Munic:h . L93 1), p . 187.
[U8a.l ]
" Bn/lelll!! ( bohemia n ) bt-lulIglI to the voca hulMry ill u se ilroLWd HWO. til the lan-
gUlige of that time. it is synon ymous with ' urtist' ur ·5tucle.III ' or ' pleasure !leeker ' ;
someone who is Iighl-hearted a nd UJII:Ollcerned " '1111 the morrow, lazy a lld
illll{'IUlS
hoi~lerotl s:' Ga briel Guillemol.
Le Boheme (l'u rilll. 186H). pp . 7-8 ; cited in GiselM
Freund . ( "La Photographic au puinl de vue 8ociologique," mallllllCript, > p . 60.
[U8a,2]
''The romun{euilleton <serial novel> was inauguratNI in Frant.'t! b y Le Siocle in
1836. The benefi cenl effects of the romun~fellilleton on Ihe nt'wspaper's 1'~:ei,,18 ill
revealed hy Ihe contnct which i.e ConJtitutionnel and l..a Presse to@ether had
wilh Alf".XMlldre Dumas ill 1845 . ... DUlll a ~ r~eh' ed an almuMI salary of 63,000
fran cs for nve years, iu returll for a minimulIl OLltpUt of eighleen m!Stallme.nts per
year!' Lavi.iJ8c, lIiJtoire de la nllmarchie d e jl/iUet. VHi. 4 (Paris, 1892); ciled,
without page I·cfe.reuce, in Gisela Freunll. [U8a,3}
A filI.ying of Murger 's (cited b y C i~la FreuDtI. p. 63): "The boheme: it is l.he.train 4
ing ground for Ihe al'ti ~ ti c life; it if! the steppi ngstone III the. Academic. to the
Hotel-Dieu <hospital> . or to the Morgue." [U8i1,4)
Gillela Freund (p. 64) underline!! the difference I~ tween Ihe first geuel'ution of
bohernians--Cautier, Ner\·ol. NDlileuil- whn wereofteu of solid bourgwis urigin,
MIIII the second : " Murger was Ihe son of a concierge-tMilor; Chllmpfleury was tile
SOli of a secn:ta ry in the 10"'11 IIs U of Laoll ; Barbara . Ihe SO li of a sheet·music
seller: Boul'ill. the son of D \'illoge pulicelllan ; Dell'au , the SI)D of Mta unel' in t.he
Fauoourg Sainl4Marcel: and COllrhet WMII the 60 11 of a (1IIDsi-peasant.'" To t.hiii
second gellcralion 1 ~ lonlilt:d Nadar- tht: son uf n poor Ilrirllcl·. (He was la ter, for a
IQIII; time, secretary to U S!wI'S,) [USa,5)
'"'M. de MaTligusc ht'iIUea lhed ... Mtrouhlcd legacy III the IlI'Wspupen. with his
lit"," 6f July 18tH-a law tliat wa ~ more Iiller,,!. 10 be ~ ure , bllt whidl . by making
. . . \Iailic:~ or periodicilis ilion' accessihle 10 1111, hunil'lIt·J IIICIll with ('e rhci.1I finan 4
ciallJl'lig~ltioll ~ .. . . 'What will we 110 10 cover tile lIew ,-);pcllses?' Ilclualldcd the
IICW~ I'D pe rlj. ' Well , you ".i11 rlln Dll n '; rtillellli..'.l Ib .' camc till' response . .. . The COII-
M" (III'III:CS of ,uh'ertising ...·c·re « uick 1<1 cnw rge Mild il-I't:llliligly "ndiesl. It " '1111 all
Very "'"til to wanl to sepa ra te. ill Ille pa ges or Ihe news" apt.· r. tb ut ..... h.ich rt'lIIairll'd
!'o n Mci~lIt ioIl S und illtl cp~lIcll:n1 from thut whirl! 1It:";Ullt' parti"ulI 1I11t1 mCI"I'ellar y;
bU I Ilip bountlur y ... wa;; quickl y (~ ro~~ c,1. TIlt: ut! vcl·tisenU:1I1 /it' r\'cd II ~ hrid"e.
II l\w coulll olle coudemn , fn'e millult:!! Iwfo re, ... whltl jive It!.irlllte~ ufterwll rd
I}rlldaimetl il>leU tile womler of the age? Tile fasci nation of eallilal letten. whicb
Wf'r~' growing m'e r hlr!;Cr, carried a4 1vertising away: it wali the rnaPletic mountain
thnl Ilirew off the (:OIll1l1lu .... Tllii:l wrctchecladvertii:ling had an infiueoce no les8
fa tal to the hook trllde . . . . Adve rli.~ in g represented . . . a ,louLling olf e.~
pense!! . , . : one thousIInd fra llcs folr promoting a new work . Bet.'lIuse ol( this rise in
COiU, moreove r. book dealers mercileuly demanded from autllora tWol Vollumes
inlileati of lIlU'-volumes ill octa vo ralher thun in ~ maller fo rmat , (or Ihal did nut
cost a ny more to a tl veru»e .... Adverlilling ... wuuld re<IWre a whole history Wllo
itself: Swift . with hill \'ilriol)t: pen , would he Ihe o ne to wrile it ." On the word
reela rne cadvr rtisemenl ). the following remark : " For I.holse who ma y nol know the
fa ctI, we me rel y ob ~c rve thai the rec/ome ill the little notice slipped into the new.~
Ilal>c r near the elld . a nd ordinaril y paid for by tlU' hookselle r ; inserted Gn the
same tl ay all tlu~ adve r tist:mcnl. or 0 11 the da y following, it give in two word. _
brief and favo ra hle judgment thai hdplI prep a re the way for till" of the r eview."
Saint. Be uve. "De la Liltc ruillre inllustrielie," ReilUe des deUJC rrlolndes. 19, no. "
(1839), pp . 682-683. [V',I)
" Writing and publishing will he leSii and lell! a sign of distinctio n . to keeping with
our d eclOrul ami industria l cusloms, everyonc, itt least once in his Iile, will have
hill page. his treatist: . Ius prosptlctull. his toas t-will be an author. From there to
,,e,nuin g a rt"uiUN(l1l is on ly a alep .. . . In o ur own thlY. aftO';r all, who can lay to
himllclfthat he docs not, in parI , wrile in order to live. ... t '" Sainte--Beul'e, '"De"
Littc rulure industrie1le ." ReVile des deux moudes. 19, 110. 4 (1839), p. 681.
[V'.'!
III 1860 and 1868. in ManeiUe8 lind Paris . a ppellred the IwO volumes of RevUft
IJarisiemJf!S: Les jOltt1liJllX, le5 revues, tes livres, by Baron Caston de Flotte, who
took it Ul'0ll himself to combat the tllOughtieuneu a lld unscrupulousDCIIII o( the
historical acco unts in the prelR and , (Jarticwarty, in the fe uilletoull. The r ecti6ca·
tions concern th~ racls 811111h<: legends of c ultural, lite rary, and political history.
[V,,,!
Ft"ell for fe uilletolls we nt rlS ILigh as Iwo fra ncs per line. AutllOr8 "" ould olften write
a8 IIl11c h dialolgue D!S possible so as IG be nefit from the blank ' 1)lICeli in the linet!.
[U9a, l j
In hill essay, "De Is. Litt erat ure industric1le" <On Intlllsirial ulcralu.re) . Sainte-
Reuve discuilses, amtlllg Olher thing:., 111I~ initial procl!edill g~ of tile newly organ--
ized Soc it:t~ des Ge ns ,Ie Lcttres (whidl originally campaigned . uhove all, agllins t
ullallthori~t'd BeigiHIl rt!IJrinU;). fU9a.2}
" In the hegilmillg, Sencfdtlc r hlld thought o nly of fnc ilitalinl! Ihe rcprOtluction olf
mlllllllit'ril'lii. ulul he publidu:J th e tll''''' prol;eilsel lell41illg to IlliH t'lIIl ill hill VolU--
5Iiindigl'" Leltrbuch tier S leimiruckerei <C.. mplJ'h' Maullal IOf Lithvgraphy>,
whi"h UPI>f'ared in 1818. O lhen; fin;1 clIl'loitetl hill iclt:.Il1l for Ihe h:d lllique of lithog·
ra phy itllelf. Theile melhtl,ls ellllhied a ra pidity of druwing I.ha t Will! nearl y d lual to
that (Jf the word . .. • They opent!(llhe way to a jolurnali, m of the graver." Egon
FriedeU. Kllf'"rseschichle der Ne u%eil. vol, 3 (Munich, 1931), p. 95. fUga.3)
O.'c r vie w of the revolutiunary pl'e811 til Parill ill _1848. CurioJili!5 revolmiml/wires:
Les j ou.rllOlu rOllge.- lIislolire cri,ique de tOliS tes journruu: ul,ru·rep"blicfJiru .
by a Giromlis l ( Paris. 1848). (U9a,4]
"There is only one way of pre venting c.hole ra, and that ill to work 10 elevate the
'DoralilY of the masses. No perfl(Jn whuse mo ral constitutiGn is satisfa ctury h as
an ~· tbin g 10 fear from the plagu e .... There iii dearly Il place. today, for awaken.
in g nIoral llalubrity among the ma88C•.. .. Wha t ill needed are ... extraordinary
mensures, ... What is needed is a eOllp d 'elat . an industrial coup d 'elal. .. . This
ai:tio n would l'ODlIist in ehangin&. by decree, the law of expropriation , 110 that ...
the iutenuinable deiaYll occasioned by the current legislation would be reduced to
II few daya .... One could thus begin operationll, for ul Hlalicc. on some thirty lIitei
in Paris. from the Rue de Louvre to the Bas tille, which would clean up and refGrm
the worst neighborhood of the cily. . . . One could . . . Itart up railways at the
hurier-ea .. , . The ftrllilitage o r construction . . . would be accompanied by cere-
Dluuies a nd public festivlIls. AlI1he official hodies of the state ,wu.ld he there with
their ins ignia. 10 exhurt the poople. The king a mi his family, the minislctll, the
council or sta te, tbe court of eauation , the royal court , what is left of the two
Che.mbert -all WGuid dro p hy on a regula r basd, wielding the 8110vel and pic k.
&lie. . . . !'ttilitary regimenls wouJd arrive on the scene tol do service in full dress.
with Iheir milila ry mUllie 10 ins pire the ID . ... Theatrical performances would he
put on Ihe re from time to time. andlhe best acto rs wouJd consider it au honor to
appear. The most radian t women would mix with the worken to provide encour·
agement. ElIUlted thull. and malle 10 feci pruud . the population WGuid most cer·
tainl y bt!(!ome invulnerable to chole ra. industry wo uld be given a n impetuI; the
government' ... would be .. , estabJjs hed on a firm foundatioll ." Michel ChevaJjer,
"'){e1igion Saint·Simonicnne: Fin tIu cholera pa r un coup d 'etat" <pamphlet)
(Paris, 1 ~32). The Sainl-Simonillnll wanted to distrilJUle me(Jjcine free of charge.
[Uga,S)
"What makes working 011 Ihe oDulibuli train into truly pauuu.l drud ger y: il departB
Paris al 7:00 in Ihe morning and arrives in StrasilolW"g al midnight. Thill makes for
I"\'elltccn houn of (,olll lililiOUS service, during wlLiclt the conductor tllUSI get off at
""cl)' statiCtn . lo'I;thoul ellception . to open the doors of the Cllt8 ! • •• Surely, the
t'lnplo)'t"t' who is rt!(luired to c1imh .Iown altach lIlation , a mi III wade arOllnd in the
l!lIuW for fi ve or six minutes t'very half-hour. so as to IIpl~ n alld close the car
4luH rs_a nd a U Ihis al IWI·lve degrt."f':1 below freezing . or lo'I'orse--nlllst suffer cru-
t ll r."· A. G ra ll vea u . L 'Oullrier dellrult Iff .Ot:le,e (Paris, JK68). pp, 27- 28 ( .. Let
Elliployh t:t Ie IIIOllVI'menl d es chemins tie fe r"). [U I O.l J
A rcmarkable:: apothe::osis of the:: traveler-to some extenl a coum upart. in the
realm of sheer banality. 10 Bauddaire's "u Voyage" -can be found in Bel~amin
Castineau, La Vir rn clwnin dL/n- (Paris, 186 1). The second cHapter of the book
 is called "Le \byageur du XIX- siccle" <llte Nineteenth·Ce.ntury Travelm
(p. 65). 1lUs tIOJogrtlr is an apotheosis of the traveler in which, in quite ~culiar
fashion, the traits of the WanderingJew are mingled with those of a pioneer of
progress. Samples: "EverY'Nhcre along his path, the traveler has sown the riches
of his hean and his imagination: giving a good word to all and sundry, .. .
encouraging the laborer, resoling the ignorant from their gutter... . and raising
up the hwniliated" (p. 78). "The woman who seeks a love supreme: traveJer!_
The man who seeks a devoted woman: U'avder!-... Artists avid for new hori.
ZOIlS: travclers!-The mad who take their hallucinations for realiry: trav.
ders!-... Glory humers, trou badours of thought: U'avders!-Life is a journey;
and every single being who departs the womb of woman to rehlm to the womb
of earth is a traveler" (pp. 79-81). "H umaniry, 'tis thou who art the eternal
voyager" (p. 84). {U IO,2]
Passilge from Bcnjamin Glllitillt:ltU , La Vie en cllemill dele,.. (Pariil , 1861): "All 0( .
siulilen, the curtaiu is lowered abruptl y 011 tlltl SU II , on beauty, on the thousand
scenes of life and nature whkh your mmcl ll llli heart have ijavored aJollg the way. h
is night and Ilealh ami tllll c:enu:tery; it il> d es l)oti ~ lII-it is the tunnel! Nothing bUI
IJdngs that clwell in tllf' shadows, never knowing the hright wing of freedom and
truth! . .. Nu n e thd es~. after hell ring the crlt.'!I of cOllfusioll IIIItI IUsmay from paB-
&engel'll on the train a8 it cntcrs the gloomy archway. and their excio nlationa of joy
on tluiuiug the tuonel, ... who wonltl dare maintain that the human creature wa
nut nllule for liglu and Liberty?" (pp. 37-38) . {UIO,S]
Passage8 from Bt'lijallllll GllstinCIlIi. L(I Vie ell chemin defer (Parili, L861 ): " DailIO
yelll, lIoble racetl uf Ilu' fu ture, 5Cions of tile railway!" (p. 112). "All aboard! AU
aLoard! The whiijtle pierce" the 80norOilii vault of the station" (p . 18). " Before the
creation of the railruad" IUttlire did 1101 yet pul.satt:; il was a S lecp in~ BeauiY. ...
T ht' heaven' themsch-es 0Plw.a red inlmutable. The railroad animated every-
thing... . The sky h08 becollle IIU active iufmity. anti na ture a d ynamic beauty.
Ch rist i~ d e~c.. "ck·d from his Cr{.lu ; he has wlliked the ea rth , lind he is leavin~, far
I.ehind h.im Otl the dusty road , the old Aha li u eru~ " (p . SO). (UIOa, l}
" Michel Chevalier deligbted the studcntJi [of the Ecult: l)olYlcchnitluej when he
rdruce,l , in particular, t.he great hist('rica t epochs, recurring often 10 Alexander.
Cae~lI r. Charll-mogtlt' , and Na poleon. in urder 10 clilph asize th(' rulc' uf inventurs
111111 triumphalll orglulizcrs." G. l)im': I, /lislOire de {'Ecole 1l0/yteciUliiJlle (Parill.
II1M7). I! . 205. (U 10a,2]
"Thc' ,Iisci fllc'~ "f Sailll ·SimOIl- rc..~· I· lIih'CI. for tlw musl purl. from IIIC Erol ~ del
Mint-i. ",hi.·11 iM 1(1 May. f rum am.1II1:'; 11m heli! 5 tud enl ~ of tilt' E"ultl Pulytechnique--
cnuifl !lot hlty,· failed to ,-xcrt II c(>II>!iclcl'uhle ioflucllf'l:" UII their younger com·
ra,I,·s . . . . N,-\· c·I·I"d.~~. SlIilll· Simullillnillnl did uul have lilllt' to garner many
c:ull" CI'1.Jj 11 1 11111 Eculc Pu/ytf·c·hnill"f'. 'I'liO' sch.ism or 1831 ~ lit-ill! il ll fatltl hluw- lhe
rollies of MenilmOlltallt . till: hizurrl' ';OlilUlIIe8. and the ridi( ulollS names had killed
it ." G. PiIlCI, IJj~ f oire de CEcolf' J1(J/yfec/wiqlle, Jlp . 20.1-205. fU IOa.3]
Th,: idea for Ih e S u ez Ca ual J;.,ell hac:k Ie) f; "ralltill, who Iliul sought II COII(t:8 iOIl
frllm tbe viccl'''y of EIO'I)I, Muhammad Ali . a nd wanled tt'! lIIoye there witl, forty
pupil;;. England millie 8 111'C that Ihe c'ullceuion was dClliL-d him. ru 10",,4)
·Sainl·Siruon attempted to found an association to take advantage of the easy
tenus mandated by the decree ... of November 2, 1789. which made it possible
to acquire national lands at a price that wru payable in twelve annual installments
b}' means of assignats. TIlesC tenus alIo~'Cd for the acquisition, with modest
capital. of a considerable spread of mral properties .... ;Every financial specula·
tion is based upon an investment of industry and an investment of funds. The
returns OIl a financial speculation should be divided in such a way that industry
and capital have shares proportionate to the influence they exercised. In the
speculation I entered 011 with M. de Redern, capital played only a secondary
role."" The author cites a letter from Saint-Simon to Boissy..(j'Anglas, dated N()+
vember 2, 1807; it contains indications as to his theory of the relations between
capital, labor, and talent. Maxime Leroy, us SpiculationJ fonc£em de Saillt·Simrm
d Sri qurrdks d'qfTaires QUC' Jail assode, Ir comte de Rtdero (Paris <1925», pp. 2, 23.
fUll ,l]
"Saint-Simon hdieved in seic·nee .... But whereat;. at the beginning of hiutudies.
the muthemalical anti physical sciences . . . had alm081 exclusive claim on his
attclltioll , it was no .... from the rea lm& of the nat urallciences thai he wou1d seek the
e!Ui!h'e key to those social problem;; that 80 vexed h.im . ' I dillaneed myself. in
1801. fro m tlie Ecole Polytedlllillue,' he writes , ' and I established myself in the
vic!nity of the Ecole de Mi.'tlici ne ..... here I was able to aasociale with the physiolo·
gists. , .. !\Iaxime Leroy. u! V'.e lIeri.uble dll cam fe Henri d e Snint.simon (Paris,
1925). PI' . 192-193.- The Ecole i'0IYh:clllli1Iue. al the time Sain t~S im on Lived
near it , was housed in the Paluis BOllrllOli . (UI1.2)
Mnle Nave of tile Grand Cafe Parisien" reads the cap60n under an engraving
from 1856. The view of the public offered here docs, in fact , resemble the o ne
seen in the nave of a church. o r in an arcade. Visitors arc mostly stand in g in place
Or wani.:lcring about- that is, anlOng tile billiard rabies which are set up in the
nave. [U 11.3]
Hubbard says- rerening, witll doubtrul j ustification. 10 Saint·Sinlon's tcats on
Parting from his wife at tile limc of their divorec :~ "Perpetual sacrifice or the
le~lder a.nd rompassionate being to t.ht· being tlmt thinks and underslands.'"
Cued in Maxillle Leroy, La Vie viritflble (tu (omtr H~ri ck Sain/·SimoTl (Paris.
1925), p. 211. .... fU lI ,4]
·'I.et 1111 put nil end to hOllnrs for Alexander; and !tail Archime.les!" Sllillt·SimOb
cilc.1 ill Leroy. UI Vie l,eri'uble du camte Henri de Suint-S imon , p . 220.
Comic wurke.-l for four yepra by the side of Saini-Simon. to
Eugcne Sue'. luif errtlnt (Wandering J ew. in Le Cml.! titlltionn ~l lu! II replaccmellt
for Thien's J1"'toir~ du Con$ulut el de l'Empire, which Vernn had origmall
planned 11.1 publish there. [UII,~
Saint-SimQn: " Con.t!iflerationll sur le8 mesures it prendre I.our terminer 1.11 Revolu_
tion" ( 1820 ) . -lntrQduction to Le. TI-avtlll.X lIci~ntifiq u~lI dll XU:- .ii!cle.
{U ll a, l ]
Saint-SimOIl in\'ented revolutionary playing cards: fnur ge niuse~ (war. peace, art,
commerce) as kinp; fnur liberties (religinn , marriage, the press. the prnfClllinDs)
11 8 {IUeeIl8; four etlualitie8 (duties, rigbl.!!, dignities, colors) as jacltB. Leroy, La Vie
veriltlb/e du cornte fiend de S(lin.-Sirnon (Paris, 1925). p. 114. {U lla,2]
Saint-Simnn dies in Mpy )825. His hu t wnrds: "We are carrying nn with our
work ." Lerny, p . 328. [U lla ~81
On Saint-Simon : " As much Its he astn nishes us with hiB foresight in matten of
labor pnd Rociely, he nonetheless give.t! us lhe impression that he wali laekingsoJDe.
thin g: . .. a milieu , hi! milieu. the proper sphere in which to extend the optimiltie
tradition of tht' eighteenth century. :Man of th e future, he hatlto tlo hill thinkiDfl
almost entirely b,. himself, in II society that bad been decapitated, beN'it of it.
fQremost minds by the Revolution .... When: was Lavoisier, foundel' of moderD
exlM!rimentai science? When: was CQntiorcd. the lealling philosopher of tbe ap_
and Chenier, the leading poet? They wouJd ha\'e lived , in aU likelihood. bad
Robefi pierre not had them ~otined. It was lefl tQ Saint-Simoll to carry oul,
witllOut their help. the (tifticuJt wQrk of organh:ation which they begPD. And faced
with Ihis immen!le and ilolitary minion , ... he took UIH>U himsdf too many tasu;
he wail obliged til be a l ollce the poet, the experimentai licicntist . and the philoso-
pher of the ncwhurn age." Maxirne Leroy. Lu Vie veritable du comte lIenri ~
SfJi", -Simon (i'aris , 1925). pp . 32 1-322. (Ulla,4]
A lithograph by Panel represents "Engraving Doing Battle with Lithography."
The latter seems [Q be getting the uppa hand. Cabinet des Estampcs. (U ll a,S]
A lithngraph of 1M2 depicts "The Divali of the Algeriulis ill I'ari ..·• 118 "Till: C"f6
Matlre~r)u e." In tile IlIIckground of a coffeehuuse. in which '~\;ntic fi gures wa lk by
the ~ id e of Eurfl ))Cans, llart."t!. odatiS{I"CS arc sitting. vre~iK.'t.! dOlle logdher on a liny
llivanlJCllelllit a mirror. und smoking wa ter I'i))C,. Cabinet dell E8lampcli.
[Ulla,61
Graphics from 1830 display readily. and often allegorically, the conilict of the
newspapers among one another. They I~ to show, in this same period, what
happens when several people have to share: in reading one newspaper. They
[UII,S] picture the struggle that arises on t.his occasion. whelher it be: over possession of
the paper or over the opinions it purvey,. Cabinet des Estampes, a plate from
1817: "The Love of News, or Fbliticomania." [Ul l a,1]
IUll"1
··At the Stock EJCl'lla nge, une Spint-Simunian is worth two "'Paris-Bour-
Jt"WII. "
sit' r_" I.e! Petitt-Ptlri,l; PlIr Ie! 1Il/teur. des memoires de BiI~/ tle ' [Taxile Delord1
(Pari§:. 1854). p. 5-~ . (U 12. 1]
Nt uncommonly telling expression of tile heyday of boulevard journalism.
"What do you mean by the word ;wit'?-J mean something which, it is said,
travels the streets but o nly very rardy enters the houses." Louis Lurine, u
Tuilji-me Am.mdwemrol de Paro (Paris, 1850), p. 192. [U12 ,2]
The idea that newspaper advertisements could be made to serve the distribution
not only of books but of industriaJ articles stems from D r. veron, who by this
means had such successes with his P.1te de Regnauld. a cold remedy, that an
investment of 17,000 francs yielded him a return of 100,000. "One can say,
therefore, ... that if it was a physician, Thcophraste Renaudot, who invented
journalism in France ... , it was Dr. Vcron who, nearly half a century ago,
invented the founh-page newspaper advenisement." J oseph d ~Anray, La Salle a
numger du docleur Wrrlll (Paris, 1868), p. 104. [U12,3]
The "emancipation of the Bcsh," in Enfantin, should be compared to the theses
of Feuerbach and the insights of Georg Bliclmer. The anthropological material-
ism is comprised within the diaJeetical. (U12,4]
V"rlJemt!llsant : " lnitiaUy. he rail Il business in ribbolls. This concern . . . led the ...
)"Oung man to start Ul' p fa~hinll journaL ... "rum the.re. VrlJemeua nt .. . SOOI]
m~ved iuto politicB, rallictl 10 tilt' u.gi limist party and , after the Revolution of
1848, turned hinuelf into a I>olitical u tirist . lie organized three differt':nt newilla-
~lers i~1 il uceessi~ n , Pfllnllg them th('
PUri.! Chrollicle, which was I!UPPn'ssed by
unpen al decree UI 1852 . Two years arter this, he founded Le Fisuro ." Egon Caesar
COlite Corti , Der ZUllberer VOl! Il omfwrs lind MortIe Ctlrlo (Ldpzig <1932.) ,
)lp .2JB-239. [U 12,S1
Frll n~'(Jis UlUIiC was nJ,," of lilt, li nt grl'u l :lt1 Vl'rliiler~. Through conilicts ill Ihe
IlrC.tls, he had p laced advl:rt i~~ n H:llh fOI' t.lll' IIOlllhul'g Cusino in Le Siecle and
L i h sf'mbtee flllliO/wl~. " 11,. tllsfI pl·rijllllu.l!,. nl'rullgl~d rur c illirt, ~crie~ ur eight-
~1l~ \';' 11 ftft},- '(Hlvcrlis"lIIclits II! uflpeu r ill 1I1'wsl'ul,,'rs ... like Lfl Preuc, U
iVllftoJlfll • U, I'tJ t n.e, nn(, lAl.
' - GtI ,.' 8/1UII I.. ., "'gun ~ Olllt' C
C:11'811 1' •.• ' 0 er LoCIU
'. berer
L'
ul'll.
UO/l flolll /mrg "lid MOnte Cu rIo (Ld l);,;ig), p . iJ7 . (U 12 ,6J
111 S'
S S" •
IUIII _ ilium Ii fluy: " Independcntl y ur tlJi> N~'\'\' .I c l"I18 a1 e m of Emallue./
"'·f!\lenh0l"t~ . atlVtH;ltletl by Bllron Porlal, . . . d ll're I<o'Il S the phalulistery of
Ch.. rl e" Fouri~r. There wall alsv Ihe so-t:alled t-: g1i8e Franc.'uisc 6f AJILi Chi lel.
Ilrimule uf the Gaulli : there wall the rcgtorlltioll of the Order of Ihe Te:mpl.....
orgulli.zcd by I'd. Fabre- Pnlaprllt ; anellhc.re W ll!l the euJl of Evadamillm ere:ated by
the Mupa h. "1 1 Philibert AtuielJralllL Michel Cheva lier c Pari8. 1861). p. 4.
lUI ',,]
Sainl -S imunian propagand a. "One. of tlte foUowers uf Ihe Iloctrine, who was
a~kf!IL olle d ay, what his (Iulie!! were, replied : ' I am a mall abuut tuwn, a respected
SIJeakcr. l ain d egand y tlrened 80 thai I can be pre8cnted ever yw here; gold is PUt
inio Illy pocket SII tha i I 0111 reolly tu pla y whist. How t:all I fail ?'" Philibert
AlldcLrulil1. Michel C/If!I!uiier, " . 6. [U 12a,11
The apli! in the ra nka of the Sainl-Simonia ns forc('d adherent8 of the d octrine to
dumse belWttll Bazard and Enfantill . {U12a,21
AI l'tleniJmontant. the membera 6f the Sain t-SimOlliall /lcci ilhared respon&ibility
for the vario us deparremenu of housekt'eping: cooking (Simon and Rochette).
lableware (Talebot), clea ning (d'F.:ichtd , Lambert), sltoeshine (Barrault),
lUI'",]
T in: Suint-Simoniau8 at Mcnilmonl allt : "A grt:at IIltUillian of the futore ,
M . FCLicien David , composer (If 1'he D e5f!r/, of Th e Pearl oj Bruzil and of Hera.-.
lane.urn . Wall direlltor of their orchestra. He composed the melodie8 they saor; ..• •
notahly those whit:h Ilrecooed and follo....ed tbe meals. " Philibert Audebrand.
M~h e/Chevalier c Pllris. I 86 I ), p . ll . [V12a,' 1
General celibac.y, up until the marriage of Enfantin , was titerule at Mi nilmoDtaat.
[U12a,5]
After the dissolution of Mtnilmontant, and after being se:ntenced to a year in
p rison, C hevalier was dispatched by Thiers to America . It is likewise 'Ibiers who
later sends him to England. After the February Revolution, which costs him his
position. he becomes a reactionary. Under Napoleon, he is m:lde senator.
[U12a,6]
By th r ellt! of the 18508_ L.e Sikle. with 36,000 s ubscribers. had the largest c:ircu-
lati<m.-Milla nd found s Le l'eli, JourlloL .... Ilich he sells un the Hrc:et.8 for ODe 500 .
[U12a,7]
Ualznc. commellting 0 11 Allx Arti.J'e~: 1)/1 Prl$se. et de r a ven;r (/eJ beflux-Cl rt5-1}oc-
Ir;IIe de S tl;1Il-Simon ( Puris: Mcsllil'r): " ApoMtiesitip i8 a ll ar tistic mi.tl~ ioll , bul the
II l1lhor uf this pamphlel hllll nol shu.... n himself wurlh)' of thlll il lI t,'U8 1 title. The
mai n id~1I uf hi;; work is trul y importlllll; what he hail givl'n u ~ is inoonsider-
abll! ... . SlIinl ~S illl(ln was a remal"kahle mllll _ ont" who i~ yel In ht: Ilndl'l'lIlood.
Thill fll CI hal! Cllu !;~tl lh e 1(,0I11'r8 flf hi.,; 111' 11001 10 engage in Ih e "rl.l eti~:e of prosel),-
lizillg by .111~altin g. likr Clll-iSI. a lan!;lIagt' al lulled to the t.inlt:ii 11 1111 to the men of
tll(IIIi' LiITlt'8. II Illuguage C"II'lIlall'(\ to uppea11t"ss 10 1.111" 1IIi1111 d llm 10 lite ht'a rt. " 1.It
dU8 same text, wilh reference to Saini-Simon : '"'The.re, perhaps , lie8 Ihe truth ."
lI ollore de Balzac, Critique litleraire. 00. Louia Lumct (Pari.s , 1912), pp . 58, 60
("I.e f euilletoll d eB jourDaux politi«uea"). [U 12a.8]
The inunediate cause for the schism among the Sai.nt-5imonians was Enfantin'lI
docrrine of the emancipation of the: flesh. To this was added the fact that others,
like Piem= Leroux, had earlier already bridled at holding public confessio n.
1U13,1]
The Saint-Simonians had little sympathy fo r democracy. 1U13,' ]
Thl' press ullder Charles X: "'The newspapers did not seU single copie. to individu-
als. Ne"" s papers were read onl)' hy lI uhsc.:r ihers, and subscription was cxpensive. It
\...a s a luxory, in fac t, reserved for the noLiIi!), and the haute boorgeoisie. The lota l
number of copic. rose, in 1824, 10 only 56,000 (of which 41 ,000 were for the
opposition newspapel'll):' Chartel Seignobos . lIu toire. .incere de. la notion
/r(lrl(;aue (Paris, 1933). pp. 411-412 . Over and above lhat , the newspapel'll had to
pll)" large deposits. [t Il3,3]
Girardin , as editor of La Preue. introduces ad vertisements, feuilletoDs, and BaieR
of single copies. [V13,41
"'Newspaper IIlJetlmen have great difficulty procurinr; their stock . In order to get
thei r supply, they have 10 sland in IiDe-in lht'" IItreet. no le88!-for part of the
night." Paris 50W la Rep/tbUql«! de 1848: ExpoJition. de la Bibliolheque et de5
Tra vllux hutoritll"'-s tie 10 Ville de Paru ( 1909), p . 43 . [V 13,5]
Arountll848, tbe Cafe Chantant opens up : Tbe founder is Morel. 1U13,' ]
Pi ~ture sheets: " OCCUlta tions of the Saint-Simonian LadieR According to Their
Ca pacities" (1mugerie popu/uire, 1832). Colored I)rintll, in which red , greeD. and
yellow predominate: "'SMint-SimoniaD Ladies Preac hing t ht Doctrine." "This
BOUlluet Cannot Be Too Beautiful for Our Brother." "Sain t Simon.ienne Drea ming
uf the Llun. ;' lind so fo rth . lllu8traLion8 ill Hl'nry-Renc ..d'Allemagne, Le. Sa;n t-
Simonien5. 1827-1837 (Paris. 1930). oppoilile I). 228. A pendant 10 tI.iil; " Func-
tiOns 01 the. Apouh's of Me.llil-Monlllni According to Thdr Capacity" (lliustralion ,
ilJ ill. , upposite p. 392 ). St."t! ill thi ~ context (ihid .• oPPollite p. 296) theeLillUCtie for
iau!1f: hing a fOfn.l ilem: " Liquor of the Saint-Simonian8.'· A gronp uf Enfantin ',
tliscip\t.:s; at ccntct·. Ellfa lltin and the Hepu.bl.il! Wining II tricolored fla g. Everyone
raistllt a glllss . [U13,7]
In 1831. Hazarll . Clu~valier. a mi a few others rt fllse. a8 members of the '·,.,Iergy" of
I III~ Saint-Simoltian clmrdl. 10 serve iu the Garde Nationalt'". T ....enty-follr hou rs'
illll'ritioolllt".nl. [U 13,8J
,
U:- Globe (Oclober 3 1. IU31 ), with n-gu rillo the u"ri$ing in Lyo n. , hcld tbat II raile
in pay cuuld "incl' Ihnl "il y's iluiu8try ill j e()purd y: "'DolI' t you 8t.'tl that , even if.
ttirf"C1 inlt"rventiOIl in the 8(fa i r~ of imillst.ry .. . ill req ui red of yo u •... you caa.
1I0t . for ilornc brief l}Crioll , alleviate the lI uffcrillg of olle clasli of society witbout
I'erhapll uppressing Ullolbcr? Lei U8 II O W commCllIilhc hC llelit ~ of (!ompctition, of
that laissez-faire ... whidl the liberal orators of late ha,'C one ... again been 10UI...
illg." H .- H. d ' Allcluu5"c. Lea Soinl-Simonien.'! ( Puns. 1930). p . 140. fU 13,9)
The Saint...5imonian.s: a salvation army in the midst of the bourgeoisie. fUI3a ,1]
Chel'lIlier, writing 10 Hoarl a nd Bruneau, 0 11 NO" ember 5. 1832: " Listen to thai
voice from Lyons! LyollJl iJi calling yo u , is calling UII, with a roar . Lyons is tolterint;.
Lyons il trembling. Whllt ellCrg)' thOle proletariu II8 have! Tbey IIre deswndanlfl of
SpartllCUS!"' He ur)·-Hcne d ' Allemagutl, l..e! SUifll -Simoniefl .f. 1827- 183 7 ( Pari.,
1930), 1-" 325. (U13a,2]
Revealing:
This people, whose head and hand you Cc:ar,
Must march, must march- no halting!
II's when you SlOp dICiT steps
They nooce the holes in their shoes.
UOD HaJevy, "La Chaussure," Fahla noulJt!llu (Paris, 1855), p. 133; cited in de
Liefde, Le Saint-Simonisme dans fa pOisiefiaTifaise <Haarlem, 1927>, p. 70.
" Suppers of the ar my of peace"- a Saillt-Simonian formula for the entire carpi 01
workers. [U13a."'1
A piece from Piem: Lachambeaudie's Fables d pob iu diverses (Paris, 1~51).
"Furuee": s moke fro m the foundr), meets with incense in the air, and they mingle
at God's bdlesL TIlls co ncc=ption extends forv.>aro 35 rar as Do Camp's poem OQ
the locomotive, ,vith its "sacred sm oke."
JII.lCS Mercier, " Oieu nou, Ie rendra ," ill La Foi. nouvelle. p. 15: cited in C . L . de
{.icCd!! . Le Sa;nt-Simonume dan.'! tu poe.'!ie fron fi(J.i.ff~ d laa rlcm . 1927 >, pp. L46-
1,li. fUI3a .7]
George Sorili . fur whom love entuil, the unification of the classes . underatalld. the
rtl utler in this way: " A young man of humble station . hut gellial and good lookinf!;,
nlltrrit"~ Ii bea utiful aud perfect yo ung noblewoman , am i voila: the merger of the
c1u ~B'~' ... In Le Meunier d'AlIgibardt. Lemor, the ar tisan hero , refuseA the hand
tlf:1 plltrit-ian widow Lt:l~ atlSt· s he is rich ...• and then the widow rejoices lit the
lirr which br ings abo ut hu ruin . re moving thus the l a ~t obstacle in the way of
UlliOIl with her' lover." CharlL "1I Rrun , Le Ro",an .focial en France Olj XIX' . iecJe
(Pa ris .1 9 10) pp. 96-97 . {V13a,S]
Enfllntill Il SS UIlI t!S that priests, artieu , tradespeople. and so on will ellhibit . in
tln~ i r Iliffel"elit capacities, eutirely different phYilieal constitutio ns (and different
ailments 08 ,,'ell). fU I3a,9J
Girardill'8 style: " Indentation with each new ilentellce. each lentence being but 8
linc; tilt" IlntilhcsiJ! of ideas enveloped ill lhe similitude of wordll; rhyme in
"rose ... ; HU nOll1l8 capitalized . enumerations that n:t:all Ra belais, definitiolls
tlull often r ecall nothing a t all .'" Edouard Drumont . Lei fIero. e' W pitre.f ('Paris
~ 190{h ), II. 13 1 ("Emile. de Girardin"). {U 14,1]
Drwnont 0 11 Cira rdin : " To Ket this resu.!t- llfl.iJlg forgotten eight days lifter his
[U13~31
death- he rose all his life at jive o'clock in the mornillg." Edouard Drumont, Le.f
Hero$ et iel pitrel (paris ~ 1900 », p . 134--135 (" Emile de Girardin"). (U14,2)
ACCording to certain calculatiolls. Ihe Saint ~S imonians distributed between 1830
Mnd 1832, son;c 18 miUion printed pages umong the popo.latiol1 . S:e Cb . 8 eooillt,
" L' Homme de 1848," Revue de.f deux mortdt!1 (J ul y I , 1913). [U 14,3}
With thcir didactic contrast between worker bees and drones, the Saint...5imoni-
[Ul3a..5] a.ns hark back to Mandeville's fable of the bees. fU l<I,4}

Uega rtlillg the IIIOVl'nl~nt within Saint-SimOIl.iallism : frOIll t he letters a~Jdre88ed 10

Lc C I<)lu..- at leasl for a time--wulI ,Iis tr ihuted grilt.ilI in Paris. [Ul3a.6) ~lnht':rt Ly Clai re Demar and Perret Oeseuu rtl , befor e their joinl suicide. Claire
Otmar·• " R111 ·r, . . , •
1 II.!! \'Olce las 1I11t urawn me ou. ifil is not he who has come 10 invite
" The feminine und masc;uline eit'III1'ut which du:y di.!IcO" l': r ill GUd ,l1l1t1 which they s 11111 entVHy. al ca"'t ,HIve 1I0t has t"ue,1 his vOyllgt': he has bt~n rcady
'Ito' h. Ih l · ! r . . , ,
uill1 to fjJvi ve ill tile p ri u d y mlllTiuge . hus not hL"f: n cclehl·ated in the I'0l:lry of tbe: fOr a long timo.. ·' l)e~t'~Sa rlli: "TIIt" offi ce alltl the offi ct".r a re cxtinguiBhing them-
sect . We ha ve. fOllml olily Olle allusion 10 these flot:trin'!M... : lelVt'dat
.
tlIt" ' "1110· tmlt· ' r .
. , as we Illve n tell ';lalt! they must ; for the one ea nllt)! depart
.... lI h ,,1I1 tilt' .. tllt'r! Alas. I. who ha \'e always IJI..'t".n II n1811 of alh'crsily aud of w li-
Cud of nlld" I",d rt mll!!' virlt"". TI,i! ",·orld !.If'k, 1111 fil n,·ietion : 11111"--1 I
, \\" 11,1 " U \' o: always lII arch (~(1 IIlullt, allJ uparl , . . . Iltotcstillg vigol"UlIl!.ly
It yet "nul.b. IIUJ rN' l~ n Olllw f'lI tiH!,"' iron ,,(j\i,·I;'.>Il ! 1[ .

1'h!' M,.tht r- Gml ahm·.,!- .... ml ... th e ~aving j!r arc ,':IIl IlSI Urtl 'r · ~ Il' , Ulllt . )"_ W, lut ,·Im '"
I ) 1' 5l1rJlr .
llj.lIlfl;.111 .
my.
WI! , Hlrawa l, cnnel!!,1 al
III' v . .
That. ill hi~ j"y. h,,'1J h UH)' In ,·rul,ra",.! " t ry 1110111,·,,1 . It wo uld st'e m , wlwll I.ht' JJeU plCli al·e u h out to join in a religious
(ederation . when thei.r hand, a~ now linked up to (orDi lhat irul)()t ing chain ...•
Lambert, I do nnt dnubt humanity, ... nor d~ I d onbt or Pro"idence ... ; but iQ
tile tmle in which we livtl , everything i" ,!l.l(:red--t:"cll lI uicitlc! . .. Woe hetide the
ma n who d oe not ba re h.iB head heron!. lIur cadavers, ror lie it trul y impiolll !
Adieu . AU~lIt 3, 1833. at ten o'clock in the evening, " Claire Demar, Ma Lot
d ·avenir. 12 work Jluhlished posthumously IIY Suzanne (parill: at the oFfices or La
Trihune des femme •. and in association with 1111 marchand. (Ie nouveoute•• 1834),
PI). 8 , 10- 11 . {U 14.5)
Statistici on the ann ual publication of u eW ll ll a l~r8. monthly I~riodicab. and fort_
nightl y r eviewlI, Inclmled a re new puhliclltions onl), :
1833:251 joumoux 1838: 184 jourrnUl~
1834: ISO • 1840: 146
1835: 165 1841 : 166 •
1836: 151 1842: 214
• •
1837: 158 1845: 185
Charles Louandre , "S tatistjque littCrllire: De la ProouJ;tion intellectuelle ell
France depuis quinze ans." Revue de. deux monde. (November I , 1847), p . 442.
[UI',OJ
Toussenel remarkl uf Enfantin that , in order to make up for his conviction ill
court , and 10 console himself ror the railure or his rascination on t.hia occ.llion. be
turned 10 speculation . Tous8enel provides. mureover, tbe rollowing portrail 01
him: "1'here was among them a man or godlike. coml)ortment who was nameII
Enfantin . Fi e was no len celehrated for the puin an t maneuver a or h i! cue stick , ill
the noble game o( billiards, than ror the frequency and decisive.nells with which be
doubled the stake8 al gaming. Relying On the railh or lIeve r al charming women, . . •
he pasted himself' off 88 someone ideally l uiled tn a leading r ole, and h . d bimIdI
I>roclaimed the Fat/ler . ... And since il "" a5 the afte rmath or the J~y Re~ol.'
tio n, . . . this mall did nol lack for foll owers." A. Toune ncl. Les )uifs raU ".
l'epoque. 3rd edition , ed . Gabriel de Gunet (Paris < l886 )). vol. I , p . 127.
{Ui4a,l )
At the tillie uf the cbolera epidemics <in I H32?). people IHid tllll hiallle for the
{U14a,2)
infection 1,1 11 li(IUUr dealert .
i.e JOUr/wi des detJOU intrOllua;ell till: foreign correspondent : " SineI.' M. Bertin se~t
~licbel Che\'alier nn a dil)lomatiJ! min ion 10 Iht> United Sta tt.-t (whidl gained for biJ
new~pal'er the publication of the ralll!)UlI Let/re. 8J/r l i lm erique dll NO N /). the
latter has aClluirel1 II tllsle fnr lhest' govl'rlulU:nl all y spolIsur!·1i 1Il18igrUIIClltll . ..•
Fullowing I.be Let/re. s ur r Ameri411.1e du Nord . .. Clune the Leure, .u r rE'pa~'"
... : thell there bad to he Lellre•• ur 141 Chim~." A. Toun cnd. 1.£. Ju if. ral ~
L'I!/loque (Pa ris), "oJ. 2. l'p . 12- 13. fU l b ,SJ
l'he Saint-Sillloniall8 looked for II female messiah (La Mere). who was to ma rry
with their high priellt , Le Pere. fU 14a.4J
.. ~ l.ere Olinde ( Rudrigues): ' ... If yo u are a Saint ·Simonian woruan , he ad vised
thut it is uot the rep ublic tha t we wanl .'" Firmi'l Maillard , La Ugende de La
fe mme emallcipee (Paris). p . I J I . fU 14a,5J
lleillt> tledicated Deu.t$ chlond 10 Enraotin . Enfantin r esponded with a letter tbat
WII ~ published ill 1835 . by Duguet , i'l a reprint , Heine a Pro' I,er Enfan tin , en
[ 8yp t. whose jacket bor e the Line De l'AUemog ne.-8" M. Piece 3319 <call nu mber
in the BiLliotheque Niltionale>. The letter .dmonishes Heine to temper hil sar-
caSIII , ahO"e all in things religious. Herne Ilhould wrile books 1101 ahout German
thought but ra ther about the German re.lity. the heart of Germany-which , ror
Ellh n!in . wall e88t!11tially an id),ll . [U14a,6)
The eouvenion or Julie Fa nrerllot to Saint-Simonianism (she turned later to
Fourierism) was made tile subject o( a theatrical work by the Saint-Simon.i.aru .
Extracts from lhis publication , which ap l~ ared in tile group's j ournal , ar e to be
(ound in Fi rmin Maillard , La U ge nde de Lafemme emancipee (Paris), pp . 11.5££.
[U 15,1]
Saint-Simon 011 the Rue Vivienne: hDinnen and evening parties followed one arter
another without interruption .... Ther e were, in addition , some la le-ni&bt scenes
or amorous effusion , in which cerlain n( the guests, it i,l reported , . , . let them-
selves be ea lTied away in Anacreontic Iransports, while, rrom deep in his easy
chair, II calm and irup.nive Saint·Simon looked on , taking no pa n . t all in the
ooll\'ertlatiun , hut nonetheless taking it all in . and (l~paring himself withal to
tr. lIsrorm the human race." Firmin Maillard , La U gende de lafemlm emancipee
(Pari~) . p. 27. fU15 ,2J
MallY believed that the remale messiah- who , according 10 Duveyrier, could issue
liS well rro m the ranks or the prOgtilutes us rrom allY other 8tratl1Ol of ~ociet y­
woultl have to come from the Orient (Conllantinople). Barrauh and t...·clve com·
ratlCil . lhercfore, set oul (or Con8lunlinople to look for "'the ~1 0thc r." fU 15,3)
AflrOIKlS of I.be$('hism . moDg tilt' Sainl ·Simoruuns: " Bazurd ... bad been mortally
...·ouncll·11 ill cunSt:t!ucnce of the £alllOus general confe88iulI , where he learned rrom
hill \\'i f~ herself Ih at. in lipitl' of aU tilt' sympa lhy . .. which !Jlle had for him. she
t uuM ue,'cr fi(:!e him Cllllle " I' to her without feeling 1111 imu incth'e r epugll ll nce. It
..... s ' 1ler cules t' nchaillcd. · liS SOIlIl:unc had said fill l!t!4!ing him struck by . poplexy. ·'
f,' jrm in Milillll rd , La Li-gende (Ie lofemme l!mfHlcipee ( Pll rill), p . 35, fU i S,4]
" Evt'r YOlltl knowll a bout till! retrea t at MeniLuuntanl. . .. There t.hry lived in celio
I>ltcy ~u II I! to dr mon8tra te Ihat their illJ!u~ 0 11 marrillge. ulld on the t!I1I,8 l1cipll tion of
women . wert! in no wa y llle outcome of an el)ieurean de!lign ." Firmin Moillard. La
l.egende (le la fe mme e mancipee (I.>uri!!). 1" 40. [U IS,S)
Proudhon was a fierce opponent of Saint-5imo niallLsm: he speaks of "Saint-
Simonian rottenness." [U 15,6)
"The arts can Iluuriyh olily a8 clllttlitioned witllin lUi organic IIge <epoque 0 1'_
ganiqwH, and inspiration ill 8trong and lIalula ry onl y whell il is social and reli«-
ioWl." ThUll E. Ba rrault speaks oul , in Allx artis tes: 011 roue et de l'a venir de.
bealU-urtJ (Paris, 1830), p . 73, again$! the barren " critical ar;e8.·· [U15.7}
Last echo of the idell. Iha l inauguraled Saint-SimOnia nism: " One can compare the
zeal and the ardor Ilis plll.yed b y the civilized lIations of loday in tlleir e8tab-
lisiuuellt of railroDds with that which , several centuries MgU. went into the buildinf
of calhetirMls . . . . Ir it ill true, a8 we hear, that the word ' religion ' comes from
r eliBare. " to binll" ...• then the railroads ha \'e more to do with the reUgious l piriI:
than one mighl suppose. There has never exisled a more powerful iMtrument (or
... raU yinr; the 5caUerOO populations." Michel Chevalier . "Chemin~ de fer," ill
Dictionnttire de l'economie fJolitique (Pari" 1852), p. 20 . [U 15a,l}
"The government ...·anted , O il its I)W II , 10 construct Ihe railway aystem . Then! were
various disad va ntage8 to thi! course of ac tion . ... but , in the end , it would baYe
p ven us r ailroa{h. T he idea occa;;ioued a lerrific expl08ioll ; political rivaln.
domina led Ihe seene. Science itself . . . came oul in suppo rt of the apiril o( system- _
atie opposition . An iIIu ~trious sa vanl was vain enough 10 lend I.h e authority of hia
name to the plot against tile ruil .... ays. Construction b y the state was thus rejected
by an overwhelming majorily. This occur red in 1838. Favorably dispmed, .8 it
was, toward tbe project. the governmenl now lur ned to private industry. Take
these marvelous lhoroughfare1l, il ~aitl ; I am offering you the conceuion (or them.
And no sotmec were these worc.lB oul than a new Uo rm a rose. What! The hanken.
the capilMlistHare going 10 reap a fort une from th.is \'cnlu re! ... It it feudaWlII -
reborn fr om ilS OWII ash e~!-The plans 10 0 rrer CIlllCell810nS . 10 compan lei were.
acco rdingly withdrawn , ... or d se s pikt·d with c1all~e~ that mad e acceptance jm·
pouil)lc fo r serious investorli. WI~ continued like Ihia lip unlil I ~'" ~?bd
Che\'a lier. "Chemins de fer." excerp t from Oictionnuire de l 'ecOllonllf! pollt;qu.
. .J
(Panil. 185_), p . 100.
[U 15a.!lJ
Che\'alicr alread y sets up. (or Ihe tranilporl 11 1' Ulll lcri:!ls in railroad cars,~
or . .
equation : forly mcn equ al su,; hn rSi!8. SLOC Michel Chevll lier, "CllClllill~ de fer , ID
. (f!
D iclio nflalre I /"econO/rue
. 1'0 /"Illflue (I"ans,..
1"52) . pp . 47-411 . [U 15a,S)
Theory of art in Saint-Simoni unism. It re;;1.\I on till" Ilh'isillll of hililory " iuto Or-
,;ani~ or rl·tigiou~ ag~ Dlltl Criti~,,1 or irreligious Ugl:~ . . .. The cottrsc of history
':"eated in t.hi~ \'I'urk cQm"ri~cs IWo orga llie ages-the fi rsl I;ollstitutccl uJld~r the
reign uf Gnock polytheigm. the ,ceO/ul lIIull:r tlll:.l of Chriti tiarut Y-illld, Ul ~
wake of l heHe organic ages. IwO critical ages , of wh.ich one extcnds from I.he era of
Greek p l.ilollo" l.y III Ihe advt'nt {Of C hri~ tiani ly, and the other from the end of the
fiftt't' nlh ccntury to the pre@enl ." [E. Ba rruuh .] Aux orti$te$: Du Pa.sse et de
rm'enir rle, beaux-orts ( Pari ~. 1830). p . 6. <See NJO,5 . ) [UI5a,4}
Universal histOry appears, 10 the Saint·Simonian Barrault, as the new work of
arl: "Shall we venture to compare th~ last of the tragic o r comic authors of Rome
\Vim the C hristian orators intoning their eloquent samons? No, Comeille, Ra.
cine, Voltaire. and Moliere will not come back to life ; dramatic geniw has accom-
plished its missio n... . In the cnd, the novel will fail no less in respea of what it
has in conunon with these m'o genres as in its relations to the history of which it
is the counlcrfeit. ... History, in fact , will again take on a powerful chann ... ; it
will no longer be only a little tribe of the Orient that will make for sacred history;
the history of the entire world will merit this title. Such history will bt:come a
veritable epic, in which the story of evcry nation will constitute a canto and the
story of every grat man an episode." [E. Barrault,l Aux arrute;: Du Pa.ui d de
1'alNtlir de; beaux-arts (Paris, 1830), pp. 81-82. The epic belongs to the organic
age; me-novel and drama, to the critical. [U16, 1]
Barrault already has a vague idea of the importance, for art, of secularized cultic
dements, although he puts the emphasis o n periods that are consolidated
through cult : "Although Greece never fostered a rcligiow caste system like that of
the Orient, its epic represented nothing less than an initial separation of poetry
from cu1t. . . . Should orthodox movements survive into th~ critical periods, the
course of these periods is imperceptibly drawn back into the bosom of ortho-
doxy." (E. Barrault,] Aux artutts: Du Passi d de f'a vroir de; beaux·arts (Paris,
1830), pp. 25-26. [U16,2)
Saini-Simon I)ointl wilh Ill1li1factiOIl to the fact thai precisely thOle men who
~nefiletl huma nity must d eciJ>ively-Luther, Bacon , Descartes--were given 10
pauiull/!. Luther, the pleailure8 of eating; Baclln, money, Descartes, women lind
gambling. Sct' E. 11 . Cur tius . BabllC <BOlin , 1923>, Ii . 11 7. [U 16,3]
With reference to Guizot, whose brochure, "00 Gouvemement de la France et
du ~tere acruel" (Paris, 1820) presents the accession of the bourgeoisie as the
cent~ncs -old struggle of a class (of course, his work De fa Dimocrahe [Paris. 1849)
$(es ill ~e class struggle, which has meanwhile arisen betwcen bou~oisie and
prol~l8nat, only a misfortune), Plekhanov poltrdYS the visions of me socialisl
UtopIans as, Hthcoretically no less than practically," a great step backward. "The
reason fOr this lay in the weak development of the proletariat at that rime."
Cc? rgl Plckhanov, "Oller die Anfangc der Lchre YOm KJassenkampf," Dit !leUt
.(til. 21 , no . I (Stuttgart, 1903), p. 296. [U16.4J
Augustin Tiiit'rry, IIIl "adllJJlcd ~Oll" of S:aint-SimOI) . AccurdillG to r.lllrx. he d e.
.~>; n'1'I"I:' vCI'y wdl how " rro m tilt'. fi rs t. or 11.1 l ea ~ t after lhe rise of lh~ tOWIIS. Ihc
,
 f'r,.,n ch bourgt."OiHie gaius 100 IlIuc.h influence b y constituting itllelf the Parliament,
- IIII~ burea ucracy, and 80 on , and not, 88 in England , merely tllroUgh commerce
and indu!!!ry. - Karl Marx 10 fo' ricdricl. Engell!. London . July 27 . 1854 [Karl Man:
aDd Friedrich Engels. Au&gewahfre Brie/e, ed. V. Adoraulci (Moscow and Lenin_
grad , 19M). p. 6O] ,ll [U 16a, l j
Aflereffeds of Saint-Simonianism: " Pierre Leroux-who is represented, in en-
gravinga of the period . wilh hands clasped and eyet upraised ill eClIt8sy---did his
belt to have an article on Gud published in L« Revue lIes deux monde3, .. , We
recall that Louis Blanc dc.lighted Ruge with a lecture attacking the atheistl.
Quinet , along with Michelet . struggled furiously againsl the J esuit,. while pri-
vately hU'boring the wish to reconcilt' bis compatriots with the Cospel." C. Bougie,
Chez les p~opheres sociali"re. ( Paris. 1918). pp. 161- 162. [U 16a.2)
Ue ine'l Deutschland i& dedicated to Enfa ntin . [U16il,3]
Schlabre ndorf reports that Saini-Simon wanted to make phYl ics, and nothing but
physics. the true religion. " Te achers of religion were l upposed 10 d eliver leeturel
in churc h on the mysteries ulld wonden of nature. There. 1 imagine, they wouJd
have lid up electrical appa ratus o n the altar and stimula ted the faithfu1 with
galvanic batteries." C raf C II..Jtav von Schlabremlorf in Pur;s iiher EreignUse wad
PenOnen sei,ler Zeit [in C arl Cust av J ochmano , Reliquien: Aw seinen nacJ.seku-
sene n Popk~e n, ed. H einric h Zschokke, vol. 1 (Hechingen . 1836). p . 146].
[U16a,4J -
Enfantio ha iled the cou" d 'etat of Louis Napoleon as the work of providence.
[VI,.,5]
1846: enthusiastic ret:eption, on its d ebut , of Fe licic n Dav id's Le Desert. The
projeet of lhe Suez Canal Wllij theD Ihe order of the clay. " l ts theme was a poet".
eulogy oflhe d e8t:rt a s tbe image of e ternity, coupled with his pity for the 10wDamaD
imprisoned between s tone walls." S. Kra caue r. Jacque. Offenbach und dlU Pori.I
seiner Zeit (Amste rdam. 1937). I) . 133. 14 Le Desert was pa rodit:d b y Offenbach.
[U16a.6]
" Among the drealll arc hitectu re of the Revolution . Ledoux's projects occupy·
s pecial position. , . , The cubic form of bi~ " ll uu ~ of Peace" seem!l legititnate to
him hecaulle the cuhe id I.lle lIymhol of justice and s t ability. und . s imilarly, all the
d c melltary formll would have uppt:are~1 10 him a s iliidligihie lIigUlI of intrin8ic
mome nt . The ville twiu mlle, the city in which' a n exalted ... life would find iu
abode . wUl be circ um &erilJI:(I by the pure cCIRtuur of IUI 1·lliplle . . ' . Concerning the
housf' !If the new tribu nal , tile PaciJcre . he says in lIi8 Architectllre: ' The buildiPJ
drllWIl up in my imagi na tio n IIllould be a ll ..imple a il the la w tha t will be disvensed
t.hc rc.·., Emil Kaufma nll , Von LedOlu bi" I.e CQrbusier: Ur, prung lind Entwick·
Imlg der CluWnQme.n Arcllitektur (VienDa and i..eip'lir;, 1933), I" 32. [U1l, 1)
J.,eIloux . Tt:mple d e Memoire (Hulllle of Wome n ): " The narrative 1'(·lief 011 the
triulllphlil co lumnil a t fo ur cornen of II cuuntry houlle Willi inte nded 10 cele brate
the glory of the Iw~ tower, of life. the mo thers, ill place of the c ust o mary monu-
Ulen tll consecrated 10 tJle LIMy vicio r iell of ge ne ra ls. With Ihia uJlusua l work , the
II rti;;t ",;~ hed tu reude r thunk ll io the women he hat! come to knuw in hi life." Emil
Ka ufmann . Von l.edoll.r bi. Le Corbwier (Vit'.nnu anti Leipzill. 1933), p . 38.
[V 17.']
On Le d o ux: " Once till' di lll.inciions of rank wilhin Ilrchitccture fall by the wayside,
thell all arcilil cctllrll.i orde rs art! (If equal value .... The earlier thematic eclecti-
(isnl . .... hiell wa s ta ke n IIjl almoAt t!Xciusiveiy .... ilh c hurches. palacel. Ihe ' bette r '
dlJllli~·il es. a nd uf CO Ur81'! military fo rtifications, rt! treaOl before Ule Dew IIrc hitec-.
lura l un..iver~a li sm ... , The rt!vo lutionary l'rocen of the s uburbanizin,; of d omes-
tic hOll8ing paraUds the d..isa plH!a rance of the baroque aasemhlage as a rt form ....
A lIIore exle nded complex, appa re ntJy conceived 8! a de velopme nt a t tbe entrance
lu the cily, cOllsists in II number of tWQ- to four-r oom dwellings ranged a round a
iI~luare cou rtyard ; each of these resid ellces pO I8e~8e1l the Decessar y clollet Ipace.
while kitc he n . pll llt.ries, and other utilit y roo m ~ are loeated in a building at the
cente r of the cuurt ya rd . We h ave he re, pro bably, the ea rliest instance of the type
of dwelling that is c:urre lll loda y in Ihe form of the apartme nl with shared
kil chen ," E mil Kaufmllnn , Von Ledoux bill Le Corhwier (Vienna and Leipzig,
1933). p. 38. [Ull,3)
"The Orient ha d bccn ~liscovered. a nd 80me j o urneyed Ihe r e 10 seek the Mother-
La Mere-a represen ta tive figure of this celliury. cove red with breasts like the
Diana of Ephesus." Adrie nne Monnie r, "La C lIl!:e tte dea Amis d es Li vr f!ll," La
Gazette cies Ami" dell ,Li vre!. I (Janua ry L. 1938) ( Paris). p . 14. [U l l,4]
"Man re nll!lIlbe r ll IIII' Prut : Womlln divines tile "'uture: the Couple !leeS the Pre-
l em ," Suim-SimolliMn fu rmu la , in Ou Camp . SOll ve ,.i~, littemire&, vol. 2 ( Pari8.
19()6). p . 93. [U l la, l }
"'La Mhe" : "She ""118 to be Illfemme libre . , . . T hiJl independent woman ba d to be
II thin kiflS woma n , (WI' ""ho . ... h llving fa tho med the secr ets of the fe minine psy-
eliI' . , . , would OInk.. ,·onft"ll.!lio n for a U Ilt'r sex. , .. The qu t:1i1 for .. ' the. Mother
was IIf)1 an innov uti'JI! of Ellfuntill 's: well I.efore h im, Saini -Simon himsel£, durin«
th.· lIt'riuI I wh,," Augu stiu Thie rr y WU II hi~ ~f'f!rt:lury. h Ull malle a n a tte illpt to
t!iSh./"I·I· th is . , . wo ud u ... ulIIl ev idt.nd y thought 10 hu ve found he r in Mllila me
t1~ StIlCl.·' The lat h'l' tlcdil1t'~1 Ull in\'ilutiOIl III I"'srt U ml!s~iuh for humanit y wit.h
Soint-SilliOIl (P I' . 91- 93).- '·The missioll 10 InClI l1' La M~ I'e flUW formed , aile! was
o.ff. 1'1",: IJilgrims lIumht' r ctltwr. h·e. iJlduflillg Ourra uh . 1111: Icalle r of the ex pt:di-
hUll . l ' he ir uhilllilit. ticlitilllltion was CUIiSianlino ple •. , . tllough they had 1111
lIIon •. y. Oressc.~1 ill whi te (UII II lIigll o f Ihl' l'UW I.f (' h a ~ l.ity they ha. 1 take n 0 11 IClIl'illg
I·ari~ ). ~t a{fs in huml , tlll~y lM'ggc.-d the ir Wll.)' from 1)la ce 10 pluce, in the IUlme of the
Ml)tJl(~r, III Burguml y. tJlI:y hired tllemsdves \1111 In hd p ...·it.h the ha rvellt ; ill Lylllls,
Ihey arrived on the tlay before IIIi execu tion and , the following morning, ,lemoQ.
~ Ir a l ed agaulRI the dealh penalty in {ronl of the gallows. They embarkt...I UI Mar-
seilles, an ti worked a~ l ailon ulmarll II. merchant Yessel whose ie4':olld mate wae
Garibaldi. ... T hey 81ept in the Great Clullnp des MOrtll .l ~ proltlded by cypreeSt!t
from the nlOrning dew; they wandered through the bailloars. occasionaUy 810 1' P•
v
to preach tlle d llCtrincs of Saint-Simon , s peaking French to Turk. who COuld :::! [Conspiracies, Compagnonnage]
undentand them" (PI), 94-95). They are arrested , then r eleased . T hey Icl lbeir
sights on the i! land of Rotuma , in the South Pacific. Illi the place to leek the
Mother. hut they get onl y a 8 for as Odelisa, whence they are sent back to Turke
Accordin g 10 l'tIaxime Du ClI.mp, SOllvenir. lillera ircs. yol. 2 (Paris , 19(6). y.
{U17a,2]

"GaudiBsart demanded an indemnity o(fiye IlUndred (rancs (or the week he h ad to

spend in boning up on the doctrine of Saint-Simon , pointing out what e£fortll of
nJemory and bra in would be nt:CC8sary to enable him to become thoroughl y COD '
versant with this article." Cuutlisllart canvasses for I.e Globe (and I.e Journal ch,
enfant.). H. d e Balzac, L 'llIu~ tre Guudiua rt, ed. Calmann·Uyy (PariA), p . 11. '6
[V18, 1]
The Continental system" was, as it were, the first test fo r the example of Saint·
Simonianism. Heine (Slimtlit/le W",te [Hamburg, 18761, vol. 1, p. 155-"Fl'3Jl16.
sische Zuscinde") calls Napoleon I a Saint-Simonian emperor. [U18.2]
In the Saint-Simonianjacket that buttoned in back., we may discern an allusion co
the androgynous ideal of the school. But it has to be assumed that for Enfantin
himself it remained unconscious. {U1 8.3]
" Thulie agents provocateu rs who , during the Second Empire , oft en mingled with
doten were known as 4while !'I mocks. ' " Daniel i:laleYy, Dec(J(ulice th la lmerle
(Puris <1931» , p . 152. [VI .I]
, " [II 1848, Loui.'! Philippe had UI Paris a security force of .'lome 3.000 men , in place
of the 950 gendarmes &erving under Ch arles X, and some 1,500 police agenu in
p la ~e of 400. The Second Empire had great aflection for the police. aDd it ar-
ranged magnificent lnstallations (or them. They owe to the Second Empire that
yost edifice-at once harracks , fortress, alld offi ce building-whivh occupies the
center of the Cile between the Palala de Justice allli Notre Dame and which
although lar ger and less beautiful. reeaU. thosc palaccs in TUBcan ci~ea where th;
pode~ta s resided ." Daniel fialevy, Decadence de to liberr~ (Parn), p . 1.50.
[VI ,' ]

Wfhe &ec.ret files in police headquarten ins pire a certain awe and a certain dread .
Constantin Pecqueur, adversary of the Saint-Simonia ns. r esponds "'to the que.
~heD a new police commissioner fi rlt take. office . rull (H'rsonal file is brought up to
tion pot.ed in 1838 by the Academic de. Scien ces Morale! : ' How to Olsen ... the
him..Ae alone enjoys this privilege; neither the mini.!tlera nor even the presidenl of
inHuence of the ... currentl y emerging meaDS of trans portation on ... tbe su te- of
the republic get to st:e their doaaiera. which are sh elved and maintained in an:ru yC8
a sociely ... ?'" '"The deyelopnJenl of the ra ilroads , al the 88me time that it in·
Ibal no one is permitted to examine. " Daniel Haley), Deeatknce de la liberti
duces Iraveler s to fra ternize in Ihe cars , will oyerexcile ... the productive activity
(Paris). lip, 171- 172. ' ( Vl .3]
of pcople." Pierre·Maxime Schuhl , i1Iachinisme et philosopllie (paris, 1938).
p. 67 . {V 18.4]
"'Tur ning back to"'ard the Quartier LKtin , one r ail into the yir""; n forest of the Rue
1'[ f .,-'
I II cr, which extended betWt!e 1l the Rue du Val·d e-Crace and the Rue de l' Abbe-
The historical signature o f the railroad may be found in the fact that it represents
d~.I 'Epee . T here. one fO lilid the garden of all old hotd , aba ndoned and in ruins,
the first means of transport-and, until the big ocean liners, no doubt also the
.... Jere pla ne. Ir~s, syca morrH, c h e~ tnllt trees, and intertwined acacias grew hal"
last-to foml masses. The stage coach. the automobile, the airplane carry pas-
hazardly. In the c,'IIIt'r, a tlrep 811afl gave UI;celt~ into the catacombs . It was sai,I
sengers in small groups o nly. ' IS,5] ru l~ilH Ihe place was haUIII(·i l. III renlity, it ser Yed for till' romantic gatheringB of the
C.~rh"liari a nd of tll~ SCl.'rct sudety Aide.To i, Ie Cicll 'Aider a <God Helpl! Him
;''(' h~ luu:mi(' pallor of ollr civililllution , fi ll mOlltJtullOIiS as II rlliJwa y liuc," i aye
[V 18,O] \\ 1.10 !Ielps Hinw:lf>. " OIlI.l~,·h alill II' Espl'zcI, lIiJlloire tk Puri., (Pa r is. 1926),
Bllllllllc. Ln Pelll( dl' c/wj;rill . ell. Flamlllil rion (Paris). I" 45.1~
I). J6(. 0 Ganh'ns, 1'1", SeilH~ 0 [V 1,4]

'''''110l Garde Na tionale was 110 laughing "Iatte.r. Positiolle.d between the royal
Ir (loJls a nd the IHllmlar ul8urgenls. the a rmL'11 bourg(.'Oisie of Parili waa the greal
mediating power. the good Icnl!e of the nation .... Fron! ]830 to l839, the hour-
geoill Ga rde Nationale lus t 2 ,000 of their own in confrontation with the barricades.
Hud it WIU~ Ilue more 10 them tllan to tht' a rm y thai Lowli Philippe was able 10
rcmain 0 11 his throne . . . . Wbatever the reason-whetht'r lIimple old age or a
l peciell of lalliitude--it was alwa y~ the hourgeoisie tilat wearied of thi! wasteful life
which nlHde il neceasary, en~ ry aix mouths, for hosicr s and cahinetmakers to take
up arlllS and shoot Ht each other. Tht'. h05iel'.8, l)Cacdul men , gre-..' ti red before the
cabinetmakers. This remark would s uffice to explain the Fe bruary R evolution."
Dulltlch and d ' Esl)Czd . Il isloire de PnriJ. PII . 389-39 1, {VI ,5]
Jum~ Ins nrrel:tion . " It Will cllollgb I(l ilave the appearance of povert y to be treated
like a c.rilnin al. Ln tbose ilaYI there was something called 'a p rofIle of tbe in, Ur-
gent ; and II nyone fillin g the description was arr ested . , .. The Ga rde Nationale
itself had most certainl y determined the outcllme of the February RevolutioD, I hut
it never occurred even to them 10 p vc the name 'inAurgen 18' to men Itru~
aga in ~ t It king. Only Ihose who hall risen ul> against propert y ..• were known a.
ins urgentl, Because tbe Garde Nationale , , . ' bad .s.aved society,' they could dO.l
that tUn(' whatever they wanted , and no doctor would ha ve dared refu se them
entry into a hos pital .... Indeed , the hlind fury of the C uardsnu:n wellt 80 far th. t
they would scr eam 'Silencer to the fever patients lI~a k.in g in delirium and would
have murde red th e~e ~op l e if the s tudent' had not stop ped them," En~.iindu
( Ce~chjchrf! der fnm:jjJiJclum Arheiler-Auocialion:en ( Hamburg, 18M),> vol. 2,
pp . 320, 327-328. 327. (Vl,61
" It goe!l without lIayiog that the worker au ociations lost ~o und with the coup
d 'eta t of Det:emher 2, 1851. , .. All the associations of workera, those who had
received s uhsidies frOID the governml!flt 88 well as the othl!r6. began by promptly
removing their sign. , on which symbols of etlUality ancl the word. 'Liberty, Fra ter-
nity. Equ ality- were i.oscrihetl; it was as though they had heen shocked by the
blood of the coup . Hence, with the coup d 'etat . there wl!re still Wlqueationably
worker aSliociations in Paris, hilt the workt'r!l no lunger risked dis playing thY
name, ... It would be difficult 10 trllce the remaining associations. for it is not only
011 thl! signLoards hut allill ill the city's directory of addrellses t.hat the Dame.
'Workers Association' is nussing, Worker associatio ns s urvive, aft er the coup
d 'ctat, ollly in thc guise of ordinary cl)nullcrcial cOI1('l!I·ns. T huI , the former fra -
lernal as~ucia ti o u of masons is nOw going umll'r Ihe trade Il anll~ ' Bouyer. Coh adon
& Co.,' I.he a ~socilltio ll of gildt'rB Ihallikewisc Qnceexish:cl as such now ol.eratell a.
the firm uf ' Dreville, ThihClllt & Co,: and , hy tl.e sa me token , ill every l urvi vi.o&
associa tion II( work{'rl! it il thl! ma uuger .. WllO /9"C IIwir na mts to tile business ....
Since the COlli) d ' eta l. nut une of these associatiolls haa admitlell a lIew member;
on y II C \'\' IIIcmher wo nld III' regarded wi tll ulldi$ ~i llcd s uspicioll . If even Ute CUI·
t o m cr~ were ea(,!' time recdvt:(1 wi th d.isl.rusi . Ihill was 1)("Cll use unc evt'rywhe re
!lellsed till' pfesclII:e u( Ihe Iwlkt.,-p ut1 \'\'a~ Ihe own' j ustifi NI in duin! so as the
pulice thl'mad ves wuuld orlclI 9ho w III' officiully 0 11 ulle ",rclt:xt ur anolher." S ig~
nllwd En!lii nder, Ge,chic:hle fler j,-aruii,uchen Arbeite,-..Auociatio nen (H am-
inll'g, 18M). vol. 4. ,IJI. 195. 197- 198,200, (V 1a.11
In rt·gard to Ca bet. " After the Febl'Uary Revulution , l omeone had disco\'ered ...•
ill the fIles {If Toultm8e's .... hi t·( of police. a leiter from Cuuhenanl . delegate or
I'rl'&iden! I,f Ihe fI n ! ,'an gllard , who in 1843 , during the trial in Toulouse,: had
.,(fl.•·et! his sen'ice a~ Jlolice agenl to the government of Louis Philippe. It was
IUIOW II Ihut this poi ~o n o( espionagc in France had penetrated even into all the
,wres of fumily life: bUI thalli police agent , Ihill mosl dillgulltln&excrellcence of Ihe
oM sOI·iety, eouMllllve fO lllld his way to the leader of the va nguard of Icarians in
orcler to ca use hill ruin , aud at the ris k of going under wmself. aro used consider--
aillt· surprise. !:I adn ' t polit~e II pies been Scell in Paris fightin g and dying OD tbe
IJarricadcs. doing hattie with tht" government in wbose pay they IItoocl !" Sigmund
£ 1Ig1iinder, Ce!(:/.ichte rle r fro n:jjsischen Arbeite,-·Auociatume lt , vol. 2, pp. 159-
160. 0 Utopia nl 0 (VIa,2]
"'IVilh the tievelopment of proletarian cons piracies, the need arose for a di vision of
,
labor. T he ntemlx!n werc tlil'ided inlO occalional conspiraton, conspirareur&
d 'occasion- that ii, worken who engaged in conspiracy alongside their other em·
ployment. mer ely a ttending meetin&8 and holding themlelves in readiness to ap·
pear 0 1 tlu~ place Ilf 85semt.l y at the leadenl' command-and profcssional
cotlspiratorll, who de \'oted all their energy to the conspiracy and made their living
from it. ... The social situation of lhit dalis determine. ill! enti re cllaracler from
the outset . Proletarian conspiracy naturaU y affords them only very limited and
unCCI'lain means of s uhsistence. Tbey are therefore constantl y obliged to dip into
tbe cash OOX e!I of tile cons piracy. A Dutnbt'.r of them also come i.oto di rect cooflict
with dvil sociely a8 Much . ami appear before the IlOlice courtll with a greater or
lesst'.r degree. "f dignity. Their pl1!cal·ious live.lihood, depe ndent in individual caflet
IllUre un cha nce tha n on their activity. their irregular livd wbose onl y fixed ports-
of-call are the laverllS of the mllrch(mdJ de vin: (tile cons pirators' places of rendez·
VOIIII) , their inevita.h le acquaintance with aU kinds of d ubiuus people, place them
in Ihat social ca tegory ""Iu t!h io Paris: is known as the boheme. ThellC democr atic
bohclllians of proletarinn origin are therefore either worke rll who bave given Ull
their work and have as a con:w.tl uence Uecollle dissol ute, or cha ractenl who have
em~ rged from the luml~ IIJl ro l c.:laria t ami bring 1111 the lLissolute hubits of thai c1u8
wil h IIII'm inl " tlwil' new way ofliIt!, , . , T ilt, whole wa y of life of t1l1~se profcuional
\:onSI·irators has a mus t dccidetU y ho hl!fluan charac ter, Recruitillg sergeants for
Ihe "onspira l'Y_ tiwy go frOIll m(lrchllllli de "in to m(Jrchand d#!. Ilin. feeling t.he
"e
" ul ~ ! · Ihe "'· o rkcr~. slll·kill!; ,)utl.itcir mell , caj llling thl'UI iulo the cOIUl pirac.y and
!i:l'l till j; cithel' Ilw lIoc.'iI'lY " treasury or thc.'ir lIew fri ends 10 fOOl l he bill for the lilera
inl'vi lullly I'flllij llmell ill the proreslI. Imleetl . it i ~ reall y the nlflrr;h(Uld de vin who
pr" vi d ~s a rouf o " ~ I· !.heir I' i:at l ~, It i~ with him Ih ll l tile ("ons pirator ' pc-mill 1II0st of
hi" tilllt:': it ill Ilere Itt' ha~ his rf'liliezvoui wilh hi>! l'ull ~ab'lleS, willi the memher'll of
hi!! ~cc ti v lI lUI" will. P"USIJt!cl ivl' rc,,"Crui! 8; il is III·re.. fInall y. Ihal Ihe Me{lret meetings
(lr ~("clion~ (groups) ami sec:lillll Il:uJ eni take plar.e. The cllull pira lor. highl y U II -
guine in character anyway like aU Parisia D proletaria ns. loon develops into an
absolute bombocl,ellr <boozen in !Jlis continual tavern atmo~ ph ere. Tbe sinister
conllpiralor, wbo in M:Crel se5sioll exhibiL.8 a Spartan lieU-discipline. suddenly
t.haws and is lransformt!<i into a lavern ~gu l a r whom everybod y knows a nd who
really IlDderstands how to enjoy his wille and women . Thill cOllviviality is further
intensified "y the constallt d angers the conllpirator is eXIH)sed to; at any moment
he may be ca Ued to the barricadCfi, where be ma y he kiUcd ; a l every tum the lH)lice
set snares for him which Dlay deliver him 10 prison or even to the galleys .... At
the 811me time. famili arity with danger makes him utterl y uldilTerent to life ud
liberty. He is as at home in prison as in the wine shop. He is ready for the calJ to
uc;tion any d ay. The desJ*rate rec kJe88IlI,."iS which is exluhitetl UI every ins urrec.
tion ill Paris i9 introd uced pref:isely by these veterall professional conspirators,
the homme& de CO lli" de mflin. They are the ond who th row up and cOJDnland the
fi rst harricades. who organize resistance. lead lhe lootillg of weapon-shops and the
lleizure of artwl and ammunition from houst:ll . and in tbe midst of the upruiq
carry out those d aring raid! which 80 often throw the f;:0vernment party into
cllnfusion . In a word , they are the o£ficers of the ins urrection . It need Icarce1y be
IIddt-d that these conspirators do not confine themselvet to the general orf;:an.i.xiq
of tile revolutionary proletariat. II itl precisely their business to anticipate the
process of revol utiollary deveilipment . to bring it artificially to the crisis polot. to
launch a revolution on the s pur of the moment , without the cond.itiom for a revo-
lution . For them. the only COlldition for revolution is tile adequate preparatioD 01
their conspirllcy. T hey a re the alchenustll of the revolution, and are characterised
by exactly the sanle chaotic tbinking and blinkcred obsessions as the alchemiltll 01
old . They leap at inventions which are s upposed 10 work revolutionary miracles :
i.ncendiary homhs, de8lructive devices of magic effect . r evolts which are expected
ltJ be al1 the m o~ miraculous and as tonishing lo e£(C(lt as their basis is lell ra-
tional. Occul.ied witb l uch scheming, tbey have no other purpose than the mOlt
immediate one of overthr owlog the cristing j;:ovemment . and they have the pro-
foundest contempt for Ihe more theoretical enligiltennlcnt of the proletariat abou t
their class interest I. Hence their plebeian ralher than proletarian irritation at the
Iwbits noirs ("black frock coats")--peoille of a grealer or lesser degree of educa-
tio n who repre8ellt that asl>eet of the movemellt , hilt frOID whom Illey can never
make themselves quite independent. M CC they are the of6 cial reprCfient ativH of
the party. The habiu noir. also IH:!cve . at times, 8S their source of money. It f;:oetI
without saying tha i the cOJl! pira tors are obliged to follow willy-niUy the develop·
lII~ nt of the revolutiona ry party.... The chief eilaraclt'rislic of Ole ConSI)ir ators'
wily of life is thdr ha ttie with the police , to whom they h ave precisely the ssme
relationslu" as Ihi eve~ alld proiltitule8. ,. AI al10tlier point in thill article, we read
(i.II referenc.. 10 C III~IIU '~ report on Luden (Ie La Hodde th at fQII<fw!): "Ai wesefl.
lhissl'Y ... tllrnll Ollt 10 he a political prllstit ute of Lhe vilest kind who hangs about
ill the stred in tbe rain for the paymen t of his ' up ' by !Jw fir~t officer of the peace
who happeus to come a long:' "' On 0111) uf my nocturnal ex("u Tllions,' recountl
ChClIlI , " noticed (II) La lI oclclewalk i.llg lip and dowII the QUlli Voltaire .... It wa.
raining ill torrenll. a circunllllllllce which fUlt lIIe thinking. Was this Ilear fellow de
La Hodde alsu helping himllelf frum the cash hOI[ of the secret (undl, by any
chance? ... "Good e v~ni n g, de La Hodde, wha t on eart h a re yo u up to here at thie
hour and in thi. fea rful wea ther?" " 1 am waiting for a rAscal who owell me ~ome
money, and since he pallsell Ihiil way ever y evening a t this time, hc is goin g 10 pay
me. or e1i1e"-and he struck the pllrapet of the embankment violentl y with his
stick: De La Hudde allem p18 10 get r id of him a nd walk! toward the Pont du
Carrouilel. ChClII1 depa rts in Ihr Ol'I)ol ite directioll , but unl y 10 cOllceal hlmself
uflder the a rcades uf the llllititut <de France >. ... ·A qua rter of an hour later, I
lIotit'e{l the carriage with IWO little gr et':D lamps .... A man got out; de La Hodde
wenl straight up to him . They talked for a moment . alld I saw de La BOOde make a
movement as though putting money into his pocket:" Marx and Engeu, review of
e hellu , te& Conspiral,e urs (Paris , 1850) and de La HOllde, La Nainance de Ia
Repubfiqll,e (paris. 1850), published in the NelJR.n rheinuchen ZeilllR& (1850) ,
rpt. in <Die nelle 7..eit,) 4 (S tuttgart , 1886), pp . 55!)...556, 552, 55 1.! [V2 ;V2aJ
T he worker! of 1848 and the great Revulution : "Although the workers suffered
under the COllditionl created by the Revolution , they did not blame it for their
nusery: they imagined that the Revolutio n had failed to bring about the bappinen
of tbe manell bccltu8e. intriguers had perverted its founding principle. According
to their thinking, the great Revolotioll was good in itself, alld human misery could
be eliminated only if people were to resolve on a new 1793. Hence. they tumed
awa y dil tnutfully from the lIocialistll and felt drawn to the bourgeois republicalUl.
who conllpired with tbe aim of eltablishing a republic b y revolutionary mean •. Tbe
lecret societies in existence during the reign of Louis Philippe recruited a great
man y of their most active members from the wo rking class." Pau1 LaIarf!:Ue , " Der
Kla uenkampf in Frankreich ," Die neue Zeil . 12 , 110. 2 (1894), p . 615 . [V3,1]
Marx on the "Communist League" : "'As far as the secret doctrine of the League ill
concerned , it undnwent all the trallsformations of French alld English socialism
aile! communism. 8S well as their Germlln versions . . . . The secret (orm of the
society goes back to its Paris origins .... During my first stay in Paris ((rom late
October 1843 to Fel.Jrluuy 1845), I esta hli shetl personal contact with the leade.rs of
th t: League living Ihc~, as well as with the leaders of th E' majority of the secret
Fren~h worker associations--withollt , however, becomillg a member of any of
them. l.n Brusselil •.. . the London Central Authority elltere.d into corTespondence
"'ith U 8 a nd ... scnt ... a watchma ker called Joseph MoU ... to invite u. to j oin
the League. Moll all ayl,.'tl our doubtll ... by re,·cating I.hat the Central Authority
intclldecl to COllvoke a COllgrclls uf the League in London . . . . Accordingly, we
joillt'd it. T he Congrt!511 . . . lun k place, !Llld , lifter Iwated debate ove.r ilcver al
weeks. it adopted the ltfunije&w of 'h e Communu , Purty, written b y Engels and
IIlY5elf.· At tilt' time Ma rx wrote th t'lle linell. be d e~ribed their ctJlltent as comprill'
ing ·histories long I)asl !llld hlilf fuq;otlell .' ... 1.0 1860 the workeTll' movement,
~upp ressed .by the c·oull terrevolulioll of the 1850s. wall dormant th ro ughout
Europe . ... Oue. mislltldcr illands Ihe hi8lory of thc Communi", ltfOllije,,' o if one
8et:8 the date of ilS publication all ma rking the I,ommenccment of the EurOIH!8n
""orkers' moyemelli. In point of fact . lite mallift.'S to repreaellted the dose of thi,
moyemellt 's first period , ""hich 8tretche.1 from the July RC\'olulion I() lilc Febru.
IUY ReyolulioD , ... The most they could Dllain wall theore-l ienl clarification, . , . A
&ecret Icague of workers thai , Uyer lhe yea rs, could accom puny amI ilileUectuali
Slimulate the English and French socialism of the da y. as well as the r eit;n' Y
Gernlan philo~ophy, will have dil> pJaytl(J lUi enerb'Y uf IllOught t.hal dt~Scrve8 :::
highesl respect." "Ein Gcdenklag des Kommunismus." Die neue Zeit . 16, no. I
(Stuttga rt , 1898), pp. 3501-355. The pauage from Marx is taken from till: polclDi.
cal pamllhJet againsI Vogt.~ (V3 ,2]
"The practical programs of the communist conspirators of tht' period ... set Iht.'tD.
apart advantageously from the socialist utopians, thanks to the firm eomiction
that the emancipation of the working cIU 88 (' the pcople') is unthinkable without
siruggle agai nst Ihe up per classes ('the arilltocracy ' ). Of cou rlle, the IllroWe of.
handful of men who haye hatched a conspiracy in the name of popular interestll
can in no case be considered a clan strug&le. U. neverlhelellll, tile majority oftheae
conllpirators ilaye comt: from the working class, th~n the cODlIlliracy can be 8aid to
constitute the germ of the reyolutionary struggle of that clan. And the conception
which Ihe Society of Seasonss hilS of Ihe 'aristocracy' IIhows how closely the idea.
of the revolutionary communisls in France. at Ihat time. were conneeted to tbe.
ideas of Ihe bourgeois revolutionaries of tbe eighteenth century and the liberaJ
opposition during the RelltoratiOIl .... LikeAugul tin Thierry, the French revolu.
tionary communisls began with tJle idea that the IItruggle against the arilltocracy
was necesllaril y in the intereslll of all the relit of society. But they rightl y poinl out
lhut the aristocracy of birth has been repiltced by an arisloct'llcy of 1l10ney, and
- care was laken to 8eparale out the worken ... . Thill wa. achieved hy requiring
that, as a rellull , the struggle ... must be waged against the bourgeoillie." Georsi
Plckhanoy. "tiber die Anfsnge dcr Lehre vom Klallllenk ampr' (from the introduc-
tion 10 a RU lillian edition ofdu: Communist MaFlifeslo), part 3, " Die Anschauungen
dell vormarxistischen SozialiSllluli vom Kall5enkllmJlf;' Die IIellt' Zeit, 2 1, no. 1
(1903), I). 297. [V3a,l)
1851 :"A ,Iecree IIf December 8 authorized the del'urtPtioll , without hearing, •..
of PDY penon pretently or formerly be longing to a secrel llCidety. This was under-
&loud as referring to uny suciety at all , whether a society fur mutual ait! or a
lilerary lIociety, that met--even in broad daylighl- without du' exprClL1l I'ermill-
sion of the prefect of police." A . Malet and P. Grillet , XIX- Sieck (Parill, J9 19),
p.264. fV3a .2]
" Following the assall8inaliOD aUempt by O rSloi ... . Ihe imperial 1!0\'crn lDent 00'
nledjPleiy vOIt.'t1 into law a gellerai llecurit y rut'all ure givi njl: it tile powt'r to IIrrest
and deport, without hell rillg, ... all ptl:l'SU II @ previously Jlllllilihed on t.he oGl.:asioll
of the June DaYIL of 1848 Plld thf' cvents tlf Decemher 11151 .. .. The prefect of each
llCparremem was ordered hi designate immediately a II r~cifi c !lumber of victim$ ."
A. Malet und P. G rillet. XIX· Siede (Pll ris, 1919), p. 273. [V3a.3]
"The Independents had their secret society, the Charbonncrie <Carbonarl>, 01"
ganized at the beginning of 1821 on the model of the Italian Carbonari. The
organizers were a wine merchant, Dugied, who had spent time in Naples, and a
medical srudent. Baurd .. .. Every member was required to contribute one franc
a month, to possess a gun and fifty bullets, and to swear to carry o ut blindly the
orders of his superiors. The Charbonnerie recruited among students and soldiers
in particular; it ended up numbering 2,000 sections and 40,000 adherents. The
Charbonn.ias wanted to overthrow the Bourbons. who had been 'brought back
by foreigners; and 'to restOre 10 the nation the free exercise of its right to choose
3. sultable goverrunent.' They organized nine plots during the first six months of
1822 ; all failed." A. MaJet and P. Grillet, XIX' Sieck (Paris, 1919), p. 29. The
uprisings of the Carbonari were military revolts; they had, perhaps, a cen:ain
analogy lO those of the Deccmbrists. (V4,1]
Ap ril 29 , 1827: di8110lutioD of the Garde Nationale by order of Villele, on account
of a demonstration which il hali orgallizt.'tI againllt him . [V4,2]
About sixly studentll from the Ecole Polytechni1lue al the head of the Jul y Revolu·
tiOIl. (V4,3]
March 25, 183 I : reinstatemenl of the Garde Nationale . " II named ill own officer.,
except for the mililil ry chiefs .... The GardeNationale conlltituted ... a veritable
IIMny, numbering lOme 24.000 men . .. ; this army WII S a police force •... M ilO,
the Garde Nationale 10 wear uniformll and to pay ils own expenses .... Thill hour-
geuis gua rd . mOreoYer, did itll duty bravely in all ci.rcumlltanees. AllIlOOD 811 the
drumll had Hounded the call , each man would leave hill place of work, while the
IIhupkecpen dosed their stores. and , dressed in uniform, they would all go oul to
join Iheir b attalion , 1I0t net:!lling to mlllller." A. Malel and P. Grillet, XIX- Si~cle
(Purill, 1919), p. 77,79. [V4 ,4]
"The republicanll bud helonged, for Ihl;: mosl )lurt. to the Char bonnerie; againllt
Louis Philippe . they multiplied the number of I ..cret societies. The most important
... was thai of the Oroits de I' Homme <Rights of Man >. Ftlunded iD Paris ("'bere
it Iluickly grew 10 J1t~a rl y 4,000 memben), a nd nlodeled on the Charbonnerie, it
had branches in mOil of Ibc mujQI' (·ilie!!. It wall thill secret sodety Ihat organized
Iht" grea t ins urrections in Paris ami Lyolls in June 1832 anti April 1834. The
Ilrinr il)al rcpublicu n news papers w('re IAI Tribune 1111/1 Le Noljonfll, the fint di·
"{'cl ed hy ArllHlIHIl\1urralit n nd the~ce nlld by Armand Carrel." Malet und Grillet ,
.\'lX~ Sjede ( Parii .1 9 1 9 ) .p .81. fV4,5]
Declaration of December 19. 1830, issucd by students at the Ecole Poly technique
to the edi~orial office of Le ConJ/i/ulimmei: '''If any man among the agitators,' they
say, 'is round wearing the uniform of the Ecole. that man u an impostor.... ' And
so they had these men tracked doy,rn wherever they appeared in the faubourgs in
the uniform of Polytcchnicians, seeking to usurp the latter's influencc. The best
way to recognize them, according to Bosquet, was to ask them the dfff~lial rY
Jine x or of log x; 'if they respond appropriately, they are fo nner srudenuj if not,
we have them jailed :" G. Pinet, His/oire ck ['Ecole polytecllTlique (paris, 1887),
p. 187. Disturbances took place in cOlUlccrion with the trial against the ministers
of Charles x.' Pinet ad ds: "In supporting the interests o f the bourgeoisie, those
with republican convictions seemed to fear they would be accused of deserting
the cause of the people" (p. 181). In a further p roclamation., the school came OU t
decisivdy in favor o f universal suffrage . [V4a, l ]
"The I tudenUi go to their I ludenl 8ocieties, whether publicly or ~re tly organiud,
to get the watchword of t.he d ay. . . , There, tbey learn what actionl are beio&
planned . . . . With all this going 0 0 , the Ecole Polytechnillue has begun to view
i18elf R8 II fourth estate within the nation .... It was the moment when the Repub-
lican parly, which counted in its ra nb the artillery of the Garde N ationale, the
8ludent , the proletariat , the wo r ker, aud tbe veteran of July, rea wned " in
ac tivit y; Ihl! mODient when popular lIocietiea-Jike Lell Amis Liu Peuple, lei Droill
de I' HoDlllIe. aud La GauJoille-were recruiting heavily; the m~lment when the
Gurde Natiollale (ailed to maintain the peace; when the Saint·SimOllianl threat·
eued to wtlletlle the orLier of society; ... aDd when ... Le N ational and La 'JHb...
une waged a daily struggle againsl those in power." C. Pinet , lIi.6toire de {'Ecole
[lO[ytechnique (,Paris, 1887). pp . 192- 193. [V4a,2]
During lhe cholera epidemic. the government was accused uf bavi ng poisoned the
fountai nl. For example, in the Fa ubourg Saint·Antoine. [V4a,3)
:'Youllg people in the schools had ad opted the red ber et ; and member! o(the secret
aocietie! looked forwa rd 10 the nexr time , when the national ru.::Or" would be well
hOlled ." Cha rles Louand re, Le, Idee, subversjvu de notre te mps (Paris. 1872).
p. 85. [V4a,4]
The secret societies of the democrats were chauvinistic. They wanted interna'
tional propaganda fo r the n=public by means of war. (V5.1j
" Reeponse aft erward made lIy a prisoner before the Court of Pt.'er5: I ' Whu W 81
your chief?' I ' I k new none, "nd I recog nized none. '" Victor Hugu , OIll1Vrell:Om~
prete" lIuvd 8, vol. 8 (puris , HISI ), p . 47 (Les Muerables , "Faiu d'oiil'histoire
Bort I!I Iloe ,'hiBtoire igno re"). ~ [V5,2j
" From time 10 time, men '(lisgtlised as hourgeois. aud ill fllle COIl18' call1C, 'ca using
eillbarra>:lamcnt , ' anel. having the air 'of cummand .' gave a grip of the hand to 1M
.
,"05 t utl/lOrta nt. all(1 wenl a way. They nC\'er IItaye d more t h lin tl'n nllllu te~.
" Vic-
tor Hugo. OelUlre5 completes, novd 8, vol. 8 (Paris, 1881 ), "" . 42- 43 (UI
MiJe rables, " Fai t. d 'ot. I'histoire sort et que I' histoire ignore").' [V5,3]
The Sociele d es Droitll de 1' !'Iomme <Srn;iety of the Rights of Man ) employs, i.n itll
pall1phlets, the calendar of the grcat Revolutiuli . In Ihe mOlllh of Pluviose." yellr
42 of the Republican era, it coun ts 300 bru nch e8tablishmenl8 throughout Fra nell,
16.1 ill Parill alolle, of whieh every olle bad iUi parLir ular name. The wooing or the
Il rol e t a ri a n ~ b y the hourgeoisie had the benefil ·'that . im tead of enlisting them
thnlugh hunt.iLiatioll or materi lll !ler vices , th ro ugh tbe offer of money or otber
rorrllS vf assistance, il wa' by various attentiolls and tokens of respect , b y joining
logether in halls and fe tet, tha t the h:adert of the bourgeoisie worked to fono
attachments with I.he workers." Charles Benoiu. " L'Homme d e 1848," part I ,
Revue de, deux mondu {July I , 19131 , p p . 148-149. [V5,4]
Tile Societe de Propagallde (Society of Propaganda >: "To thill organization we
o....e, in part , the strike at the cnd of 1833, which extended to typographers, me-
chunics, stonecutter s, ro pt' ma kers, hackney dri"e", cam beN:.nI, glovers, law-
yers. waJlpape reri. hosicn, and locksmith •• and whieh involved no less than
' 8,000 tailon. 6,000 siloemaker s. 5.000 ca'l)C.lllers. 4,000 j ewelers, and 3,000
bakers. '" Ch . Benoi!!t , " L' Honulie de 1848," part I , R evue de, deux rrwnde" (Jul y
1, 1913), p . 151. [V5,5]
The Comite Inviswle ( lnviewle Committee)-n ame of a lIecret society in Lyona .
[V5,"1
Only aft er 1832 \ bul above all arollnd 1834 and 1835, did revolutionary propa·
ganda gain a foothold in the proletariat . [V5,7]
In the tightened organization of the secret societies after 1835, the mystagogic
clement was intensified. The names of the days of the wea and of the mo ntlu
became codewords for assault detaclunents and commandos. An initiation c.c:re-
mony influenced by frttnwonry and reminiscent of the Vehm.e <medieval oimi-
-na.l tribunals> was introduced. According to de La Hodd e, this ceremonial
already includes, among other things, the question : "M ust one make a political
~Iu tion. or a social revolution?"" See Ch. Benoist, "I1Homme de 1848," pan
I, RtVu~ des Deux MOrlde.s, 7, no. 1 (19 13), pp. 1959-1961. [V5,8}
" It "'·as all IIIl ....ith the Jacohills llY 1R40, just 88 with the ·Montagnurds. the secret
.!IodetielO, the cons piracies, the j ourn als, the cllremOlli al parades. and the raids.
Thc 'COlllmuuists' fln w held center stage .... T he workers took part in the ban·
tlliet in Belleville. a l whi~: illh c clockma kt: r Simard ga ve a speech. The great Blrike
or IK40, (luring which , ill l'llris alone, 30 ,000 men stopped work , LightenetJ Iheir
fed.·r ati on .... Heinrich Hd llil h il S givcn li S, ill len pasllRges of his Lu.lece, a vivid
pit'lure of ... Ihe ptlwf'rful hold which communism had on the worke", from the
I~arill suburhs. Hd ne had the honor, in hill letters 10 the Aug5bltrg Ca~fdte. of
Un \·,·Wng·('onuuurUsm 10 th l' (·!lmmunistll .... But ... there are contmunist8 and
I!'\mmunists. , trll llBcrihe. from L 'AlmlHla cll Icll rien of 1843 , this notice ... :
'Today. the communistl can be di vided into two main categories; commun ists pure
and simplf', ... who ","nlto abolish mal'riagc and the family. luullc:arilln commu.
nilllti, ... ,",,' ho Wif;h hlilreser\'e the family ami marriage. but would do away with
secret societietl. wanton viole.nce. rio t ~, and other such fclonjee. ,. Charles & noiat
'"'L' Homme de. 1848," part 2. Relme des deu~ mOntle., (Fehruary I , 1914):
I'p . 638-641. [V5a, 11
In the mid·Thirties, a cruis broke OUI in the traditions of the journeymen and
traveling artisans. The hierarchies ha:nd ed down from the time of the guiJds
began to lose their authority; many of the work songs had come to seem old.Cash.
ioned. An effort. was made to elevate the intellectual and moral lew of the
associations. Agricol Pcrdiguier put together a sort. of journeyman's primer, with
songs and didactic o r devotional readings. TIlls document shows thai the mori.
bund customs of the trade guilds were a breeding ground for secret societies.
[V5~2]
Cenacles after 1839; La Cogueu e. fles Fils du Oiahle ( Reveu of the So ~s of Satan >,
Lee Communiste. Male.rialistes <The Materialist Communists>. [V51,31
,
Network of wine merchants: " The current law gives them freedom , whertlll8 the
Empire, in Iloint of fa cl, had deprived them of freedom . Napolt:On Ullooked un
the taveros as ' meeting places for the ~eret locietieR,' ami the Code annole (.
Ilamphlet by Julien Coujon, Code annOle de. limonadier.] OCCU IICI him of havibf!;
-
wa ntt:d to 'strike with terror,' in order to ' transfonn three htmdred thousand
inhabitants a nd their £amiUes inlo official watchmen .' Three hundred thou.and
tavern&-that iI, political ta vern R(what Dabac caUs ' the fJt:O ple's parUament')--
were thus consolida led . . . under the Jul y Monarc.hy ond the government of
1848." Ma urice Talmeyr, "i.e Marchand d e vio.," Revue de. deux nwnde. (August
15, 1898), pp . 877-878. [V5a,4j
Varia from Agricol Perdiguier, Le Livre du compagnonlltlge (Puris: by the author,
UHO): ''In 1830, ,he A. pit:anu Menwsien <Apprentice J oinera> and theAl piranta
Scrruriers <Apprentice Locksmiths> in Borcleoux revolted against their feUDw
cOlll/Jagnon •• or tradesmen , and formed amo ng themlelvell til(: core of a new loci-
ely. Since then , in Lyons, Mar seilles, and Nalltes. other apJlrt'ntices have revo lt~
Il lid formed societietl . .. . These varion••oci('ties cOrr eSIJondetl with one a nothe.r,
ond the Societe d e r Union ou del Inilel)endanl8 was born .... It il dis tinguished
b)' 110 mystery. 11 0 initiation. no hierarch y. . . . AU mcml.M!n; of this lociety IU "'e
"'<111 0 1" ( pp . 179- 180). CustOIllS: " Wllt' n a compagnOfI ~CM!II to the. house where tbe
~ u c i t!ty lodges. c'o ts, lind congregll.tell. he sayl; ' I alii going to t.be Mother's house'"
(pp. 180- 18 1). Na mes: "The Ruse of CII. rf:ossonne. the Hellolveci- of Tournu8. and
man y otllt"rs" (p . 1.85). Greeting-a preRc.rihed form of introduction for trade-
guild members on flrsl meeting: " They allk one a.notlJcr whal side they art: 011 or
""llIlt allegiance Ihey 11U1 .110. If it is tl.e Sflmt: , there is a R iC, a nd tll('Yd r ink from .
II.laarecl fl ask .... Ir nol , t1,cre an : jll ~ uh s 10 starl will •• ami then bluws" (p. 187),
Variously colored riblu)ll ~. worn ;n flirfcrI!lIt Wll yll, are ill8ignin of the iudivillual
Irades. Common , al weU , are earrillgll with distinctive little pendanll on them
(hor seshDell, h aolmer e, "Iandarll gaugee, II. nd the like), 10 which the differen t
trades lay exclul i\'e cla.im . "The T.squ are and compau are embleml of all the
trade guiJds, 11.11 compagnonnage. ror it ill thought ... that the wurd compag non
clerivCl from compa' (compaes> . " ... The shoemakers and bakers have several
tillleS paid dell.rl y fur the honor of wcari.n g the cum)la u; Illlthe compag noru wilh
II l1cgiance 10 other professions set upon them" (p . 189). " 1.11 t.he trade-guild Bocie-
til'S. the word mOluielLr i ~ never used . . . . The French . Spanish . Italians. and
Swiss, whenever tllt:y happen to meet , adLiress one ano ther al countries--Country
of Spai n . Country of Italy. Country of SwiUt!.rland . and 60 on , ... Since they aU
reside under the same starry VIlU lt, and tread the J!8 me ground , they Ilre--and
Ihey can Ihemselvea---eountries; the wurld for them , is ont: great country!"
(p. 41).-Perdiguier was 011 the staff of L ·A.telie r ( 1840-1850), founded by
Iluchez. It weill under in 1850 because it could not make-a bail paymenl ofl8,OOO
franC&. [V". I]
The July Days bro ught about an upsurge in secn=t societies, in consequence of a
rapprochement between the republican bourgeoisie and the proletariat. (V6,2]
The Society of the Tenth of December. " On the "retext of eSlablil hing a charitable
association , Loui! Napoleon divided the Parisia.n lumpenproletariat , after hia
election 10 the preaideocy, into nUDlerous RCCTet ~ec::tion8, which were beaded by
Bonapartill agelltt.·' Eduard Fuch!. Die Karikatur der europQ.uchen VOlker (Mu .
nich <192 1». vol. 2. p. 102. (V6,31
The tavern on th t: Place Belhommt!. . " Under Louis Philippe , it was run by an
intlh'idual connet:tetl with the police. Itl clientele was composed , in large part. of
aU the cOlls pira tors of the day, who al5embled tbere twiC1!! II. week. on Monday. and
T hnrsdaYR. The Damee of confederates were propo. ed 00 T hursday, and they were
admitted on Monday." A. Lepage, Le. Cafe. politique. et litteraire. de Po';' (Pam
<1874». p . 99. (V6a,l j
From /I se(:ret report , cited in Pokrowski , by the Russian informer Jakov ToLstoi ,
Ctlllcerning hi8 conver sation with the di rec tor of the English colonial h ank. Camp.
bell . an agent of Prin ..-e Loui! Napoleon : " The prince hll.d apprised him of the
difficulties of hia situalion , given thai he h as 10 hattie again81 Le N alionaljthat is,
agca u,st Cavaignae-M.N. P.I. no leu than against the red r elJUblican. jtllat is ,
Lcdru-Rollin_ M.N. P.I. who have enormous lum ~ at their disIJOsal(!) •... After-
.... ard, . .. lit' aaked lIIe whether or nllt the Ru n ion government wal likely to en·
r
trust the prilu:e with s uch II sum whic:h was Ill!etiCfI for the el;:(:loral caml)aigo and
l'nuldnO! be raisecl in Ellgland) .... h heca nleclear to me Ihen thai Mr. Campbell
1<.'"08 a surt of emissary uf Prince Luui! ami 110. in order to divert his attention and
10 put an end. to the cUll ver latioli . I lreah'd the whole affair IlJI a joke. I asked him
I<.'" hal Low!! Na polt:On could give 10 HU&sill. in return for the million he retloirel.-
' Every possible eOllcelsiou,' anl wered Mr. Campbell , getting worked up , ' Then
Russia can buy the iJead urtlJe Itcpublic?' ( al ked . 'And for olll,. II minion fra ncs?
Distributed over the four yea rs ofhi8 pre8i~l e ncy, this comt!8 10 250.000 a yea r, You
will admit lha t il is not a greal deal of money. '-' I gtlara nh..'e- )"ou th ai, for this
price, he will heentirel,. at yo ur 8ervice. ' - ' Will he. allhe ver y leasl, exert his full
authori ty to rid France of Polish a nd UII" ian emigr all18?'- ' J say to you that he
¥rill make a form al commitlllcntin this regard , for he preselltly fllld 8 hilllseJf in the
most difficult .ituation tha i in gener al can I}t!fall a Inan! '" M. N . Pukro¥rliiO , 1Ii3.
Iori.,cllt~ Au/sat:e (Vienna and Bcrlin ( 1928 », II . 120 ("'Lamartine. Cavaignac.
um! Nikolaus I " ). [V6a.2j
"The old journeymen ', ussociatioll of compagnons. the hegillni.llgs of which go
back 10 lhe fourt eenth, perhaps ... the Iwclfth celllury ... (a num ber of hilluri-
aDS derive the Carbonari movement from it) ... , mUilt iJave especially interated
Balzac .... The comp"s no,1.8 themselves ... trllce their origin to the constr uction
of 5010nlon '8 temple .... I.n the preface to the Hi3toire des 'lrei:e. Ba lzac makes
aUmJio n to thecompas norlJ, who evelltoday would h ave their llartUa1l8 amon!! the
French people:' Erost Rubert Curtius, Brll::ac (BO I1I1 , 1923), p . 34. [V7, I)
" In France, it Wa& above aU the secret society known a8 Lu Congregatiun that
furnished the public with material! for aU sorU of thrilling and gruCllome stories.
The writers of the Restoration , in particular, ascribed 10 it the blacken machina·
tions. T he Cornie d 'Arlois, the future Cha rles X, moved in its orbit. ... Witb his
History o/ Secret SQC;ietie. in the Arm)" Charles Nodier enthralled his readen. He
himself belonged 10 the Soeiele des Philaddphes, found ed in 1797 .. , , Equally
harmless wall the Societe du Cheval Rouge (Society of the Red Horse), which
Balue founded with Gautier lind some others in the finn conviction that , by
influencing the u lons, ill memlJers . . . would gllrner power and glot')' for ODe
anolher . .. ' A secret alliance of prison convict, is the Societe del Grllndt VenaD-
del" whose organization forms the backgr ound fo r ... Vaut.r1n. " Ermt Robert
Curtiu8, Bal::ac (Bonn, 1923), liP. 32-34, [V7,2]
The Faubourg Saint-Antoine and the Temple precinct owe their importance for
handicraft to the fact that the laws which prohibited workers from establishing a
residence before completing their term as journeymen ""'eI'C not in effect there.
The journeyman's tour de Franu requin=d three to four years. (V7.3j
Along ~'ith many other particulara concerning the compOS'lOnI , Chaptal n :por1S
of the enemy c1allll: " The lools uf their tr ade were alway their weaponll of wa r,"
d ean-Antoine.Clliude) Chaptal , De l 'llIdu.striefr«"~·(liJe ( Pllri~ . 1819), vol. 2,
p,3 14 . (V7.4]
, "As for Balzac, one need only, . . recall thai he is the man whose earliest work (or
" Apart frum ... meeting at night in IilllaU grO U)JII, the Germa ll craflSlI1en ill i'",ri8.
ill thOSt yea r s, liked tu get together on 5 ullib ys with k.ith and ki.1I ill a reslauran t
on the out, kirts or 10100'11 , III J anua ry L845 , " fornu:r officer or tht' Ca rde Nlltiouale,
Adal lJcrt von Horustetlt , who al Ihal lime was SI)ying on I'atlka( writers and orti-
",ana in Paris ror the PrUlAian government , deaeri.bed to the latter. ill a r-epor1
IlellOUncin!! Marx antI Eiess , a ga thering of this Bort in the. Aven ue de Vincennes,
when' regicide. hlltrell of the rir'h , !lntl t.he Ilhulitiull uf private prOI)(:rly were
OI)t:llly arh ·ocatcd." C ust",v Maye r, Friedrieh Ense" . vol. 1. Friedrich Ensel! in
$einer ,.'rjihzeit (Derlill ( 1933» . p . 252. [V7,5]
"AJallwrt vo n Bornstedt . , . 1....11 , • , II s py, .. of the P r ussiall government.
Ellgelil a nd Marx made lise of him . knowing well enough , however, whum the)' were
.Iealing with ," Gusta \' Mayer. Friel/rich Etlse". vol. 1, Friedrich Enge" in ,einer
friil.zeit . second edition (Bcrlin ), p. 386 . [V7a,1)
F1ura Trislan attempted to free the workers from the terms of their journeyman 's
contract . [V7a,2j
Sdtlab rendorf gil'e8 an account of the popular comedian Uoheehe, who could be
~eell on the Doulevartl du Temple. " 1:1is stage ia 80 na rrow, however, tha i be haa no
room 10 gesticulate when hil brotbcr-in-hlw, with whom he I'erfonns, is up there
with him . So he hall to stick his halld, in h is pockeu. The other da y be exclaimed,
with reason: 1 must ha ve a place, 1 absolutely must ha\'e a place!-But yo u .surely
know tlta l a place musl be filled , that yoo must do some work and earn your
I'lllce?-Filled? You fill jUAI one part of it and the r est ia fill ed by othen .-So what
place do you wallt ?-The Place Vendome.-The Pla ce Ve.ntlome! It will surely be
difficult for you to have that.-Nothin!! easier. I shall denuuuce the Column ."
era/C UMUV 1IOn Schlobrendorfin Paris iiber Ereigni3,e "nd Per, onen seiner Zeit
{ill Carl Gustav J ochmalln , Reliquum: Aus seinen Nachselassenen P"p~re n, ed .
Heinrich uc hokke. vol. 1 (H echingen , 1836), pp. 248-249]. [V7a,3]
The Carbon s ri looked on Christ as the firs t victim nf Ihe aristocracy. [V7a,4j
"The police spies in Paris recogni.te one another by a badge hearillg the so-called
eye of I)r(lvidencc:' Carl Gustal' Jochmllllll. Reliqllie n. cd. Heinricb z..chokke.
vol. 3 (Hechingen. 1838), p . 220. (V7a,5)
~ For the work of Balzac . . . to aJlpea r authenticall y mythic, it eufficel to recoil
thai . e,'en during the a ulho r 's lifetime, there were groups or men and women in
Vl"lliee and ill Russia who wOlJd lIlIilUmt> the parts of charac ters fronl his CO rrledie
humuine and try 10 live like them." RO,l;er Caillois, '; Puris, mythe moderpe,"
NOl/ vellp. RelllIe/rum:aiJe. 25, nu. 2lH (May I , L937), fl . 698. [V7a,6j
nearly his earliest) happens to be his Huloirr: impurh'aJe des ]built:J, which he
Considered an homage to ·the most beautiful society ever fanned : and that he is,
al the same tim c, the creator ofVautrin and the author of the H uloire dr:.s Tn-iu."
Roger Caillois, "Paris, mylhe modcrne." NOIJ.IH:lle Rellu( fil1nfaiu, 25, no. 284
(May 1, 1937), pp. 695-696. The J esuits. like the Assassins, play a role in the
iroaginacivc world of Balzac, as in that of Bauddaire. [V8,1)
"Ten FN!nch rcgimenu , were they 10 de&eend into the ca ta co mb ~. could not have
laid II hand (In II single Carllflnaro, 8 0 man y wert! the lurn, of tllOse dark and
!lij mal underground pauagell . leading 10 inacce!l.8ible retreatll . It ma y be men-
tioned. furthermore, thai the catacombs were admiralJly min!'!J ill five or 8lx
plac\'"1I. and a sp ark would have bt.<ell enough ... 10 blow up tI,e entire Left Bank."
A. Duma8, LeI Mohicaru de PariJ , vol. 3 (Parill, 1863) . p. J J. [V8,2.]
The conspirators of 1830 were rigorously classical in orientation and bitter foes
of Romanticism. Blanqui remained true to this type throughout his life. [V8,3]
Heine on a met':ting of Les Amil tlu Peuple, at which over 1,500 in attendance
listened to a l peech by B1l1ntlw , " The meeting had the odor of an old copy-much
Pf'nJst:ti , greasy. and worn-of Le Moni'eurof 1793." Cited in Cdfro y, L 'Enfenne
<ed . 1926), vol. I, p. 59. [V8,4]
,
Secret societiell after the JuJy Revolution : Ordre et PrOgri!8, Union del Condam-
nes Politiquej, Redamantll de JuiUet . Franci Regenere., Societe des Amis du
Peuple, Societe de8 Famille8. {VB,S]
Organization of the Societe de8 Sai. on. , su ccessor to the Societe del Families: At
the top , rour sea8(lns. of which the chief il sprin,;, Each 8ealiOn has three m.ontha,
the chier month bein,; July. The month has four weeki, and their chief i8 Sun-
day. -The chief! are not present at tbe met':tinga (or are not recoptilt8ble), See
Cdfroy, L 'Enfer~ (ed . 1926 >. vol. I , ll , 79. [V8,6]
The sections of the CilrhOll8ri " 'ere known a 8 ventel l ! (the name "Carbonari" goes
hack to a conspiracy organill:ed in the house of a charcoal dealer during tbe 8trug-
g1e of the Ghihellinefi against the Guelph8). Supreme venle. dil trict venfe.r, local
ventes. Among the founder s of the French section was Ba1:8rd . [V8.7]
J . J . WeiSIi on the Club de. Halle.: .urhe club met in a little room on the second
1I00r abo\"l~ a cafe; il had few memben. a nd these were ICriou. and thoughtful.
Think of t.he atmosphere of the Comedic Fran~ai8C on da yll when Racine or Cor-
nr.ilIe is performed ; conlpare the a .. dience on thOlie d ays to the crowd that filli a
circus where acrobats IIrc executing pt:rilous leaps. and yOLl will onder8tand the
imllrc8~ion made on someone who ventured into this r!'volutionary duh of Blan·
'lui. compared with the imprellsion made by the two clubs in vogue with the pa~ty
of order, the dull uf the FoLiell.Bergere an,l that of the SalJe Vll ientino. It ¥I' U like
a c1,ap,e1 consecrated to tile ortl,ooox creed of clasflical coni piracy, w~e~e tbe
,lour. ",·.'rl'" 0IWIl to aU , but wh~re yo u never felt Iik!: returnin'; lInle8" yOIl helieved.
Artf'r the s uJlen parade <lr the ollprea8ed who. e\'ery night . woul.1 present lheDl-
&eJve~ at tllis tribunal in ord,!r alwaY8 to denounce 80meune o r 80 mething--the
"onspiraey of hankerl, an oRiee managt:r, an admini.8trator or the railroad-the
priest (Of tile place would ri8e Ie) his reet and . on tile pretext of addrening the
sorrOW8 of hi.s ..ongregatiou . the pwple (rt:preaentcd b y the half-dozen furious
inlbeciles who h"d jtll;t beo:~11 heard). wouJd vlarify tilt: 8ituation . His appearance
was di;;tinguishe.1. his bearing irrt:proachab le; hill countenance was delicate, fin e.
anti composed , with a fierce lind sinister fla sh tllat l ometimel lit the small and
pier cing eyes, which. in I.hdr usuaJ state, were more benevolent than hanh. Ria
wortl8 were measnred . collolluial, anti preciile; it wai . al,mg with tbat ofM. Thiera ,
the least declamatory wa y of speaking I have ever heard. As to tile content of hi8
speed " alm08t everything Ul it was just. , .. ' Wher e, then , tlid Corneille learn the
ar t of war?' cried th r Gru nd Conde at the lint performance of SertorUu. Blanqui,
I would 8 urmi ~e . had no more lIudied war tllan had Corneille. But pOS5e88lng, III
he did. the 1I0LiticaJ fa cult y tu a sUf)erlati ve Ilegree, he could manage • ... even in
military mattera, aU lhl! 8igna ls that , when dul y heeded , would bal'e called forth
a ~a lute." Cited in Gusta ve Geffroy, L 'Enfern~ (paris. 1897), pp. 346-348.
{V8a]
January 1870, aft er the murder of Victor Noir: Blanqui has the Blaoqui8li, pre-
sented hy Granger, fi le by hefore him. without letting the fa ct be known . " He went
out, armed , bidding farewell to hi.8 6ister s, and took up his post on the Champ8-
Elysee8. It was there, a. Granger had announced to hiDI. that he would find ,
parading before ftim , the army ofwhicb he was the mYlterious general. He reeog-
niu:d the squadron le.llders, a! they came into view. and , behind each of them, he
l aw the men grouped geometrically and marching in 8tep, al though in resiment.ll.
It was aU done according to plan . Blanqui held his revieW-8traDge spectacle--
without arousing the slightest . us picion . Leanin,; against a tree, surrounded by the
cruwd of onlookerl , the vigilant old man 8aw hia comrades pal8 by, orderly amid
the 8urging of the people, silent amid the 81eadily mounting uproar." Gustave
Geffroy, L 'Enferme (Paris, 1897). pp. 276-277 . {V9,1]
On the influence of Machiavelli , which Blanqui felt at SaiJite- Petag:ie: " In contrast
t~ the French Bla nqui--8o lucid , IiO intelligent , so ironic-there appeared . from
lime to time, this old Italiau Blanqui. denizen of Florence or of Venice. who put hil
[ .h'
lUI 1II It!nehrou. ichemes and iu the posllible success of a n act offon:!e," Gustave
Geffroy, L 'Enferme (Pari8, 1897). pp. 245-246. {V9,2]
~type of conspirator characteristic. of the 1840s: Daniel Borme, a journeyman,
crazy, but above all ambiguous. H e worked on assignment from Vidoc.q,
who, for his part. took his orders from Caussidiere as much as from Louis
Napoleon. Bonne put the regciment of the Yesuvienncs on their feet ,· in 1848, he
was granted an audienc.e, in the company of several Vesuvicnnes, with Mme. de
Lamartine. Lamanine himself refused to have any dealings with the Vtsuvien·
~es, There ~cms to have been a plan to set up workshops for them . Bonne
nakes an appeal to the n"loyrnnt:J o n a poster dated February 28, 1848:
"To female ciciz.ens and paalots, my sisters in the Republic: ... 1 have asked
the Provisional Government to register you under the title of Vesuviennes. The la bnheme." Karl Marx, Dcr flcluze/lllte Brunwire dC5 Loui. Bonaparte, ed .
engagement will be fo r one year; to enlist. you must be between fifteen and RjaZAnov (VieJlno lind BerHu ( 1927 » , II . 73. 1' (V IO, I ]
thirty, and unmarried. Apply at 14 Rue Sainte·Appolinc, from noon to (our
o'clock." C ited in Roger Devigne, "Des 'Miliciennes' de 1937 aux '\16;uviennea' He Balzac: "Sain te-Relive. . rCCOlln Ui an alll:eciule Jill·allger . . thull all the
de 1848 ~ vendrtdi (May 21 , 1937). [V9,3) othcn. At olle point . a wllUle socil·t y meeting ill Venice (U I1 ~ of the more arislo-
r rlllie of the iocicties) det:itled to anign ils 1IIt:lllbcn differCJlI rolea drawn froUl the
Baudelaire. in his rt!vitl w of U $ Marlyr$ ridicule,. by 1.i:on Cladel: "Th~ man of Comedic hurnuine.. and somt' of tllt:sc roles. adds the critic mys teriously, were
intelligence molds Ihe lteop h:, a nd the Vi5ionary creates realit y. I hav!, known lOme taken 10 the very t'Xl.rt"lI1e .... This oceurrf!4 l a rolilitl 1840." Anatole Cerf"bt.rr and
poor wrctche1l who~e headl were turned by Ferragull XXIII and who lerioUl ly .Iules Chriiitophe, Repertoire de la Comedie humoine de 11 . de Bakac (Paris,
planned to (orm 110 !;t!Cret coalition in uruer to sha re . like a rahble dividiog up • 1887). p . ,. (InlrOfl uclion tie Paul Bourget). (\11O.2J
eOotluerttl empire. all the fun ctions and the wea lth of modern society." Baude-
laire, L 'Art ramantique (Paril), p . 434.'l [V9a, 1) 1.11 1828 The COn.Jpiracy of EqUllb , by Ouonarruli , appea r!! in Brun els. " Very
(Iuickly. hilS book be<:onle5 the Lreviary o( CQns pirator8:' Title: <Ilistory of 80 -
beuf's> COn.J1Jiracy for Equaliry. 60.000 copies Holtl in only a few dllYs, In 1837,
CI. arles Prole., in U, Hommel rle La revolution de 1871 ( Paris, 1898 >. p. 9. on
15.000 people at BUOllarroti'1I interment. Michelet 's fadl cr had a relation to the
Raoul Rigauh , Dlanquist and prefect of police during the Commune: " In aD
begillnings of Oaheuf: Michelet , 10 8uonarroti. See Andre Monglond , IA Pre-
things •... even in hi, fanatici sm. he had a remarkable sang-froid , an iotlefinable
air of the sinister and impas5ive mYllificateur." Cited in Georges Laronze, flUloire
ronmnti5me franl;au. vol. 2 . Le Maitre dC5 arne,
5ensible.s (Grenoble. )930),
JlP . 154-155. (V 1O,3]
de la Comnlllne de 1871 (paris, 1928) , p . 45. In the same tcxt , p. 38 , on Higawt'.
spef;iaity. the unma8ki ng of police s pies: "'Under the Empire, especially, he had
thrived •. . . keeping hill notebook up to date, denouncing, on their arrival, the
disconcerted agents. 'So how are things with the boss?' And, with a suetr, he
would announce their nllmes. 81allqw saw in such perspicacity the mark flf.
serviceablt> talent. He let fall from his lips, one day, this unexptl1: ted word of
,.raise: ' He is nothiug but a ~a min , but he makes a first-rale policeman . ... [V9a,2J

Doctrine of the Blanquistl Iluring the Commune: "To issue dt!Crt:el far the natioa
was to repudiate th t: utapia af fed eralism and ... , from Paris 81 the abidins
capital, to aplK:ar tlJ gov~rn France." Georges L.arooze, Hiltoire de 'a Commune
de 1871 (l'aris. 1928), ,•. 120. [V9a,3]

The Blaoquists venerah:d the memory of !-li bert . [Y'",)

"Several editorial offices a nd boulevard cafes, in particlllar the Cafe de Suede,

Wtr-e the ctnters ... of cOllHpiracy. From there. the weh s pread out . It encom-
passed in its linkages the entire Commune, redoubtahle leu (or the resul ts ob-
taint·J (Ih e~e wcn : t rrectivl'ly nullified hy tht profusion of plots) than fClr Ihe
atlllospliertl ... of ~ u s pi llion it produced . At the Hotel (Ie Ville, there wert: inces'
sunt lea ks. NCllleW>eratioll . 110 secret decision took place thul was nut imm~liately
knO ....11 Ly Thit·rs." Gtlurgcs LarolJite, J-li:H aire de la Comml/fle tic 1871 (Paris,
1928). p . 383 . (V9a,5]

.M arx ca ps a d etllilecl aceuuul of tim SQcicly of the Tenth of Deet!lIIht:r. lIB all
orga niza tion u( tht, IU.lUPCIIIJI·ulctarial. with these ~' ol'fl s: " in , hm·l . th c whole,
imlefillit e. dii\inlt:graIC{1 mAIII, thrown hilhcr and lhithcr, whirh tllC' French lerR)
w een). which last would have the right to take a lover and hear illegitimate dilldrenl
[Fourier]
Seas they fathom! Skies they ~vr:a1 !
Each of these: seekers after God
Takes an infinity upon his wing:
Fulton the green, Herschel the" blue;
MageUan sails, Fourier soars.
The frivolous and ironical crowd
Sees nothing of their dreams.
- VICtor H ugo, l:A1fllit ImifJlt: UJ Priamnm, Epigraph
10 the brochure by PelIarin, J04' amriwrsairr naJa/ cU
Rnniff (Paris, 1876), cited in A. PinIochc:, liJurin d
Ie locWiunu (Pari5, 1933), supplement
"The words of Jean Paul which I put at the head orlhis biography of Fourier-'Q(
t.he fib ers that vihrate in the human 80ul he cut away none, bUI rather harmonized
aU ' -these words apply admirably to this socialist, lind in their fullest rellonance
apply only to him. One could not find a better way to characterize the phalarute-
rian philosophy," Ch. PeUarin . No tice bibliographique ( 1839). p. 60, cited in
A. Pirtloche. Fourier ef le socioiUme (Paris. 1933), pp. 17- 18. [WI,I]
FOllrier on his busines8 career : " My hesl years were 108t in the workshop. of
fal sehood, where from aU side5 lhesini5ter augury rang in my ears : 'A very hODeit
hoy! He will never be worth an ything in business.' Indeed. I was duped and
robbetl in aU that) undertook . But if lam worth nothing when it comes to practic-
ing busineu , I am worth something when it come8 to unmasking it ." Charles
Fourier, 1820 , Publication d es manuscril s. vol. I , p . l 7, cited in A. Pinloche,
Fourier etle.sociaUsme (Paris, 1933), p. 15. t [W1.2]
Fourier wanted " every woman to have, first of all, a hus band with whom she could
conceive two chi.hlren ; second, a hreeder (geni!eur) with whom she could have
onl y olle child ; then . a lover (favorit) who has lived with her and retaihed thi.s
lill(·: fourth and las t, mere POSS(lssors (ponesscurs), who are nothing in the eyes of
the law. .. . A man who expre8111y says tha i a girl of eighteen who bas not ye t found
fI man is entitled to proiltifule henelf; II man who directll t.hat all girls be divided
inlo two classes, t.he ju ve niles (under eighteen) and the emancipated (over eight-
II man who ... maintains that Ullmarricd young women who give thenlselvell up to
pleasure possess Ilualitie8 superior to Ihose of married womell , ... ami describes
ill great detail how a n entire army of wOlllen should enter into pro8titlltitln under
the s upervision of matron6-llllch a man does not un~l e rs tand the cternall,ascs of
IIIUliuliity.·' Sigmund Englander. Ge!dlichte rler fran=(j~ i.,ch e" Arbeiter-A.uoeio -
,ionen (Bamburg, 1864). vol. I. PI'. 245. 261-262.-ln the same vein : " What are
"Ie to say uf a system ill whi(: hfille~ llUbliques are given the nallle bac(;homeJ and in
which it is argued that tlleY are just as neceKlSary as vCijtal virginli, and tbat they
... t'xe rci se lhe virtue of fellowship? A sY8telll which descrilles in what manuer
inlll)ceni yo ung people are s upposel) to lose their inlloccnce?" (ibid ., pp. 245-246).
[W I,3]
" Around 1803 or 1804. Fourier. who practii:etl the profession of comJDcrciallrav-
e1er-or 'shop-sergeant ,' as he preferred to call it- fllUlid himself in Pari8. Hav-
i.ng before him a four-mouth wait for II position he h ad been promised, he looked
arountl for !!ome means of occupying his time aud hit Up OIl tile idea of searching
for a wa y to make all men happy. It was not with theexpeetatiou of obtaining any
practical r esults thal he entered on this project , but purely as a jeu d'e8prit."
Charles-M. Limousill, Le Fourierisme (Parill, l898), p . 3. [W I .4]
" Fourier is so prodigal in his invention and his craillY descriptionll that Lerminier
justifiably conlpares him to Swedenbu rg .. .. Fourier, too, was at home in all skies
and on all planets. Mter all, he calculated mathematically the transmiVation of
the soul , and went on to prove that the human soul must assume 810 different
forms until it completes the.circuit of the. planetll and returns to eartb , and that , in
the course of Ulese existences, 720 years musl be. happ y, 45 years favorable. and 45
years unfavorable or unhappy. And has he 1I0t described what ",'ill happen to the
soul after tbe demise of our planet , and prophesied , in fact , that certain privileged
80uls will retire to the sun? He reckons further Ihal our souls will come to inhabil
alt other planets and worlds. after spending 80,000 year s on planet Earth. He
calculates, in addition, that this termination of the human race will occur only
after it has enjoyed the henefih of the boreal light for 70,000 year~. He proves that
hy the influence, not ofthe bo real light . to be sure. hut ofth e gravitational force of
lahur,. . the climate of Senegal will hecome as moderate as summe rs in France
are now. He describes how_ once the sea has tu r ned to lemon ade_ meD will tra ns-
ptlrl fi sh from the great ut.'ean to th~ inland seas, the Cli spian , Ami, anti BhlCk
Seas. given that the horeuJ light rea ct ~ ICIIM potently with these salty seas; and so, in
this way, saltwater fi sh will accustom themselves gradually to the lemonade. UJltil
finaUy they ean he restored to the ocean. Fourier also says tha t, in its eighth
ascerulillg period , humanity wiJl aC(luire the capacity to live like. fi ah i.n the water
<lnd to fl y like hirllil il) the air, and that , Ly then, huma ns will have r-eached a
hdght of seven feel and a life ~ JlIl.Jl of lit lea sl 144 years. Everyo ne, Itl that point ,
""il! I.e &hle ...o transfurm himself ililu all II.rnphibian : for the indivj1lual will have
the Ilower of t)pellillg or dosillg al willlhc va lve Ihllt \l •.J11I1 CCU tlu~ Iwo cl,ambers of
th~ hea rt , IJO at 10 bring lhe blood directly ttl the heart without IHlvi.ng it paa8
through tJu~ IlIn~ .. . . Natnre will evolve in sud, fa shion , Il ~ maintuir.l s. that a time
will coml' whell ura nge8 hlulJltum in Siberia ancllhe m ost .lallgcrou8 unimab have
been rCl'llIceci hy their o ppn~ it e!i. Anti-liuns, anti-wllalel will be at man'l 8e.rvice
t.hen , lllld the calm will dri ve hi.'! IhillS. In this way. according 10 Fourier, tbe lioo
will s.ene al the best or hurlieS and the sllllrk wiD be 118 userul in fis.hing as the dor;
is in hunting. New stan wiD emerge to lake the IIlace or the moon , which already,
by then. will have Leb'Un to rot. " Sigmund Englander, Ce$chichle de,. /raruo_
su chen Arbeiter-Auociationen (Hamburg, 1864). vol. I. pp. 240-244. [W l a]
" Fourier, .. , in his lasl yean . ... wantcd 10 round a phalanl lery thai would be
inhahited exciIlAi,'cly hy cbildren aged three to rourteen , or which he aimed to
allSemble 12 .000 ; bill his appeal went unbeeded and the projeet was never real.
ized . In h it writings he lert a detailed p lan. which specifically delCribel how the
rhildrell must be raised !!O li S to rurther tl,e idea or association . From the momeot
II child begins tu wdk. 1111 altenlpt mu ~ t be made tQ identiry ils taste. and paniool,
and , b y this mcalltl, to disCQver its voca tion. Children who . how a liking ror life in
the street , who make II racket and reruse to learn lIealness and cleanliness, are
placed hy F()urier ill 8111all bancl~ which have charge or the more unpleauot t.lks
of the auoeiutjon . On the otller ~ id e there are childre n in wholll the tas te ror
clt:gan ce und luxur y i ~ inhorll ; these again Fourier arranges in a group . 10 that by
their presence on the scene the IlhalaDx will not be lacking in luxury. .. . The
children a rc to L~:ome . .. greatarUsl. or song. Every phalanx. Fourier say. , will
have 700 to 800 acton . musicians , a nd dancers. and the poorest caotoo in the Alps
or the Pyrenees will have an opera company a t least as good as lheGr and Opera of
Paris, if not IIIlIch beller. III order to rosier the general sense ror harmon y, Fourier
woulll have the children already . inging due1.5 aDd trios in the nurKry." Sigmund
Engliillder, Cescllicllte <ler jranzinuchen Arbeiter-Auociationen (Hambur'l,
1861), vol. I , IIP' 242-243 . [W2,I)
"Among tilt.· disciples or Fourier, one or the most enlertainin, was ,h.i.. AJpbouse
Touuend. who. in 1847 and 1852 respectively, published thoK works 10 popular
in their du y. L'E5prir des berf!5 and LA! Mom/e de5 OUf!"II-X .. . . Like Fourier, . ..
hll sees ill nature only animale beings: ' Tbe planet• •' he affirms. ' have greal dutiet
to rumll , first as membcrs or the solar systNn , th~n a8 nwtherB offanuliel. · And be
volupluously descriiw.s the amour s or Ihe Earth and the Sun : •As the lover dretlea
ill Ilis 1II0iji helluliful rohes. a nd glos8ell his hair, and perfumes his language ror the
visit uf bi, llIv,:, thul! t!\'cr y nllll"lIing the Earth inducs he.r riche.t all.ire to moot the
ra ys "r h e ,' !llur ItclO\·t!11. ... Ha ppy, Ihrice hapllY lhe Earth , IIial no cOlillcil orthe
Harl! has yel tlulllllen ·d iu IInatbCll1a agail1 ~t the immorality or the kin e!! of the
SlIn1' ... 'P ro f.!~sOI"8 or till' officially lIa llct.iolled physicai liciencc8 .Iare rill' 8peak
or the two ~ exll~ o( e\.'ct.ri.·it Yi they fand it n!O,'1! moralt!> speak of its two poks . . . -
Snell ahSllnlities arc heyon.l me .. , . Ir the fi n: of luve ,lid nut kindle all heings.
mdal~ and mineral Aas wdl a~ olhe r~. where , I a ~ k . wOlild he ,.Ill' reason rQr tho8C-
anlcnl a rfiniliell ur pOlai!siulli rur t1xygt!n. or h )'d~hlori e acid ror water ?' "
~ Tou s8c.nel ,)L'E.pru (ks bfte5 <6th edilion > (Paris. 1862). pp. 9 , 2-3, 102_ 106.t
Citefl in Relle dc. Planliol, Le. Utupisle. de i'amour (Paris , 192 1), pp. 219-220.
[W2,2]
" Our planet goes into material (Iedi.ne once itl inhabitanta begin to back81idedowo
tllC .'!ocial scale . It ill like a tree wholle Icavet! thc catc.,)illars have heeD aUowed to
de\'our O\'er a period ur year s: Ihe t ree langWshet! a nd dies ," From Fourier,
Theorie ell ab!lrait a u ru!gativc, p. 325. " Our vurtex ill young, and a column Qf
102 pla nets is prllk ntly 0 11 course rQr a n entry into our universe, which is on the
point of advancing (rom the t.hi.rd to the rourtb power." From Fourier. Th eo,u des
qllatre motH/emellEs (1808), pp. 75.462 . and Theone mute ou spiculatil.'t' el Syn-
"hese rouliniere del'aS5ociation. PI" 260, 263 . Ciled in E. Silbe.rling, Dictiollnaire
de 5ociologie phamnsterienne (Paris, 19 11 ). pp. 339, 338. [W2a, l}
Gay's newspaper. i.e Communu te: " What was noteworth y, in his case, was thai he
championed tbe view that commun.i.sm could nQt possibly be achieved withQut a
complete alterati un in sexual relution •.. .. ' l~ a communist society ... , not only
would all men and women enler inlO a great ma ny intimate rdatiunsrupli with
persons of Ihe opposite lJex, bul even at their firsl encounter a gelluine sympathy
w()tIld sprillg up between them . " . Englander, Ce!chichte de, /ranzo! u chen Ar·
beiter~A55ociatione", vol. 2. pp. 93-94. [W2a,2]
On Cabet : '"'The cr y wae not : Let U8 emigra te to America and there, with utmost
exertion , round a colony in Ihe wiJdemetl8 .... Rather. CBbet wal saying: 'Let us
go to learia! ' .. . lei UI enter boldJy into this novel. let us give life to Icaria , lei U I
rree ourselves rrom aU privations ... ! Ever y article in his newspaper would refer
heocerorth 10 learia ; this wenl so rar that he would det!cribe, for example, how
several workers were injured by the ex pl08ion of a Ileam engine in La Villette and
conclude bis account with tbe wordl, ' Let u. SO 10 Icaria!' " EogUi.nder. vol. 2 .
Ill'· 120-121. [\V2a,3]
On Cabet: " Most of the corre8pollden 1..8 write 88 thougll they have escaped the
general d e~tin y or humanity by jourlleying IQ America." [This pertains to tbe
I"orrllspondent.ll ror LA! Populuire. ] Englander, vol. 2 . p . L28 . [W2a,4]
"Cahel, whom the ratlical repuhlican party attacked OOcIl U SI' they cOll8idered him
an opiate-muuger," hlld to "remove to Suint-Quentin . .. so as to defend himselr
f rO Il\ ueCUSH ti UIIS or revolution ar y agitatiun . T he accu.ation wu s 10 the effect that .
e\'en if the lca rians Ilhould cmlHl rk with Cahet . they would disembark al another
poim 0 11 the coUSI or Fralll:e, in or (ler til begin the revolution ." Englander, VIJI. 2.
Ii. 142. 0 Secr~ t Socit·tiei! 0 [\V2a.5]
" Mercury IHught Ui! 10 read . lie brought IIi! the alphahet , the d«lensiuns. and
lillll lly Iht' entire grammar ur the unitary Harmonian language, all spoken 0 11
the S UII aud the harmonized planets." Citation from Fourier, in Maurice liar.
1111'1 . "Churles Fourier," Portraiu (I'hie r, vol. 2, no. 36 (Par i ~. 1910), p. 184.
[W2a,6]
"Among all the contemporaries of H egel, C h a rle~ Fourier was the on ly one who
'aw through bourgeois relatio ns as clearly as he him~1I did. n G. Plekhllnov, "Zn
Hcgels sechzigstem Todes tag," Die neue Zeit , 10, no. I (Stuttgart , 1892), p. 243.
[W2a,7}
Fourier speaks "of the ascendancy of the principle of 'industrial passion' (jougue
jrat/wtrieUe), the uni versal enthusillsm that is ruled by the IlIws .. . of the 'com.
posite' or the 'coincident. ' On a cursory inspection , it might appea r as though we
had real:hed this stage toda y. Indus trial pas~ioll is represented by the rage to
specul ate Dnd the impulse to accumulate capital; the passion coi"ncidente (drive
toward incorporation), by the consolidation of capital, its increasing concentra.
tion. But even though the elements discovered by Fourier are present in thi.
relation. they are neither articulated nor regulated in the manner he envisioned
and anticipated ." Charles Bonnicr, " Oas Fourier'sche Prinrip der AnziehWll'"
Die neue Zeit, LO. no. 2 (Stuttgart , 1892). p. 648. [Wa,l ]
" We can see from his works that Fourier expected his theory to be accomplished
beginning in the yea r of their publication. In his Proh?gomeneJ, he designates . , .
1822 as the year wben the estabushment of the experimental colony of the Harmo-
nian association was to be prepared . This colony was supposed to be actually
founded and Imt into practice the following year. whereupon 1824 would neceasar-
i1y see its general imitation by the res t of the civwed world .... Charles Bonnier,
" Oas Fourier'sclle Prinzip der Am:iehung," Die neue Zeit, 10, no, 2 (Stuttgart,
1892), p. 642. {W',']
Aftereffects: " In Zola 's powerful novel L.e 1I-ovuil ( Labor>. the great utopian "'••
supposed to cele brate his resurrection . , .. Leconte de Lisle, later the famoWi
leader of the Parnassian 8chool, was, in his Stunn. und.Drang period, a singer of
FourieriSI sociD)j~m. A contributor to La Revue &ocialisle • . . [see the Novetnber'
1901 issue] informs us that , at the invitation of the editors of La. Democratie
pacifUJue, • ' . lhe poet contrihuted lirijt to this latter j ournal and I.ben briefly to
La PllUlrmge." H . Thurow, " Am! dell A.nfiingcn der sm:ialistiscilcn Belletris tik :'
Die neue Zeit. 21, no. 2 (Stuttgart, 1903), p . 221. [W3,3]
"The political eco n o m.i~ts and politir,iaus from whom the Jlre- l848 sot:;iali81!l had
learned wer e. in every I:a~e. opposed to IItrikes. They explained to the workers thai
II Slrike, even though 8ucceuful , would bring diem no ad\'antagt'" , aOiI that the
workers slJ(ould put thcir money into cooperativell for production and conSUmp-
tion ruther than into plans for a strike." P ro udhon " had . .. the ingcnious idea of
inciting the workers to strike in order not to increase their wages but to lower
them ... , In this way. the worker ubtainll two or three times mure a8 a conswnet"
than he earnll as a producer." (Pa ul> Lafargue. " Der Klllssenkampf in F'rllnk-
rrich ," Die neue Zeit. 12 , no. 2 (1894), PI' . 644, 6 16. [W3,4j
" Fourier, Saillt-Simoll , a lld ntlwr reformers r+:cruited "Il~ir fulillw erli almost ex-
,' lu~ iveJy frvm the ranks of tile ar ti ~Il Il S ' .. and from the intellectual elite of the
buurgeoisie, With a few exceptions, it was eduCllted JltlOple who gat bert.'"tl around
them. peuple who thought they had not received from ~(J1:i ety consideration
suffi~ieJlt to their me rit~ . . . . It was the decl(us ~, tho!;e who hat! tra nsformed
Ihemst'"ives into daring entrepreneurs. slu'ewd businel!smen. or s peculators. ,
M. Godin , for example, ... fouuded i.1I Guise (in the depurlement of Ais ne) u
j"mi/istere according tu Fourier'i principles. In handsome buildings !lUrrollnding
II spacious. glau·co,'ered square courl yard , he pro\'ided accommodations for nu-
lII erou~ workers from his pla te-ellallllliing fa ctory; here they found . besides a
hume. all necessary articles for daily lise ...• entertainments in a theater, con-
certs . schools for tll~ir children , allli so on, In short , M. Godin saw to all their
physical and s piritu al needs. and moreUVI:r realil:ed , , . enormous profits. He
earned the repu tatiun of being a hellcfadur of mankind , and died a multimillion-
aire:' Paul Lafargue, " Dt'r KlassenkampfinFrallkreich ," Die neue Zeit. 12, no. 2
(Stuttgart. 1894), p . 617. [Waa,l]
Fourier un stock~ and bonds; "I II his Traite de l'unite univerJeUe. F'ourier enu-
merates ... the advantages which this form of property offen! the capitalists: 'r.
docs not run the danger of heing s tolen or damaged thruugh fire or earthquake,
-.. A minor never risks heing taken ath 'antage of ill the administration of his
money. since that. admini~tration is the same for him as for every other share-
holder , .. ; a capitalis t can realize hiH property at an y mument, even though he
owned a hundred million ' ; and 8 0 forth . ... On the other hand. ' the I)oor man.
thuugh he have but olle tnler, can participate in the hoMing of public stock , which
is divided up into quitt" smaU portions , . , . and hence .. • can s peak of our pal.
aces. Qur storehouses, oltrwealth. ' Napoleon III and his cohorts in the coup d 'etat
were very taken with these ideas; ... they democratized state revenue, as one of
tlleln put it . by Inaking it possible to purchase bonds fur fi ve francs or even one
franc. By s uch methods, they thought to inlf'relll the masses in the solidit y of
puhlic credit and preclude political revolutions." Paul Lafargue, " Marx' histor-
isl'her MalerialillllluS.·' Die flelle Zeit , 22 , no. I (S tuttgart. 19(4) . p. 831 . [W3a,2)
"Fuurier is lIot onl y a cri lic; his impertu r bahly serene nature makes him a satirist ,
lind a~s llredl y O IW uf the gr,:atest glllirists of all time ." Engels,l cited in Rudulf
Frilllz, rcview M E. Si\I,crling's Dictiollllflire de sociologic plw/(llis lerienne (Pa ris,
19 11 ). Die lIelle Zeit. 30 , nn . I (Stuttgart, 1912).11. 333. [W3a,3]
The propagation of dlC phalanstcry takes place through an "explosion." Fourier
speab of an "explosio n du phalanstere." [W3a.4]
In England, the infiuence of Fourier combined with that of Swcdenborg.
[W3a.5]
" Heine was well aCtlllaintcd with socialism. He could s tiD see Fourier in person. In
hi8 articles enlitlt!d Fran~o., i&ch e ZWltiinde <French Affairs> , he writes at ODe
point (June 15, 1843): ' Yes, Pierre Leroux is poor, ju st as Saini-Simon 8l!.d
fourier were poor, and by the providential poverty of IheBe greal Bodarut! the
world was enriched .. .. Fourier Iikewi8e had ret!ourse to the charity of frieDda,
How often have I seen him scurrying past the columns of the Palais.Royal in hi.
lIhabby gray coat, both pockets laden so that oul of one was peeping the neck of.
Lottie and out of the other a long loaf of bread. The friend of mine who fint
pointed him out to me drew my attention to the indigence of the man , who bad to
fetch drink for himself at Ihe wineshop and bread at the bakery.• ,,~ Cited in "Heine
an Man," Die neue Zeit , 14, no . 1 (Stuttgart , l8%), p. 16; p"isage oripnally in
<Heine,> Siimtliche Werke. ed. Boisch e (Leipzig), vol. 5. p . 34 [" Kommunismus,
Philosophie, und KIerisei," part 1). [W4,11
" I.n his glosses to the memoirs of Annenkov, Man WritC1l: ' ... Fourier was the first
to mock the idealization of the petty bourgeoisie. '" Reported by P. Ansk.i., " Zur
Charakteristik von Marx," RWlSkaia My" (August 1903), p . 63; in N. Rjuanoff,
" Marx und seine russiichen Bekannten in den vierziger Jahren," Die lJeue Zeit,
31 , no. 1 (Stuttgart, 1913), p. 764. [VV4,2]
" Herr Grun finds it an easy matter to criticize Fourier's treatment of love; be
meaRures Fourier'i criticism of existing amorous relationships againat the fant.·
sies by which Fourier tried to get a mental image of free love. Herr Griin, the true.
German philistine, takes these fantasies seriously. Indeed, they are the ooly t.hiDs:
which he doel take seriously. 11 is hard to lee why, if be wanted to deal with thiI
side of the system at all, Gruo did not also enlarge upon Fourier's remarks c~
cerning education; they are by far tbe best of their kind , and contain lome mu-'
terlyobservations .... 'Fourier is the very worst expression of civilized ~OialD'
(p.208). He supplies immediate proof of this by relating that, in Fourier's world
order, the pooreat member eats from forty dishes every day, that 6"e meals are
eaten daily, that people live to the age of 144, and so on. With a naive lIeJlle r4
humor, Fourier op"oses a Gargantuan view of man to tbe unassuming mediocrity
of the men [in Das WestphiiUsche Dampfboot, the following words. 0 inserted
•
after ' men ': 'the infinitely s mall-Beranger'] of the Restoration period; but Herr
Grun sees in thii merely a chance of moralizing in his philistine way upon the most
innocent side of Fourier's fan c)" which he abst racts from the rest ." Karl Mars
writing aboul Karl Grun a8 historian of socialism (in an article originally puhlis~·
ed in Das Westphiilische Dampfboot, August-September 1847). reprinted in Die
neue Zeit. 18, no. 1 (S tuttgart , 19(0), pp. 137_ 138.5 , (W4,3j
The phaJanstery can be characterized as human machinery. 1lUs is no reproach,
nOT is it meant to indicate anything mechanistic; rather, it refers to the great
complexity of its structure <A!ifhau>. The phalanstery is a machine made of
human beings. [W4,4J
Fourier's point of departure: the reflection on small business. Compare, in this
connection, the foUowing : "When one considers the number of people in Paris
whose lives depend on small business-the size of this fomudable anny e.xcIu·
sively occupied with measuring, weighing, packaging, and transporting from one
end o r town to the othcr-one is rightly alarmcd .. . . It must be recalled that, in
our industrial cities, a shop is generally run by three or four families . . .. 'Sordidi
etiam qui mercantur a mercatoribus quod statim vendant; nihil enim pro6ciunt
nisi admodwll mentiantuT. Nec vern quicquam est turpius vanitate' (De QfJicii.s) o~
.. The current president of the Chamber of Commerce last year fomlally
requested once again, as a remedy for commercial anarchy, the reestablishment
of guilds." Eugene Buret, De fa Mum dej cltum lahorietuej en Angletem : d en
FrOTl C( (Paris, 1840), vol. 2, pp. 2 16-21 8. [W4a, 11
" The modern proletoTiat 's lack of hi.s tory, the detachment of the 6rst generation of
fa ctory workers from every hi ~ torical tradition of clau and profe.tlsion , and the
diversity of its origin-in handierans, small landholdings, agrarian labor, and
domestic concerns of every sorl-made this ca tegory Qf economic man rl:(:cptive to
,
a vi!ion of the world tllat wouM improvise ex novo a new stale, a new el:onomy, and
a new moralityo T ilt: novelty of what was to be achieved corres ponded logically to
the novelty of the situatiun in whicll the new men and women found themselves."
Robert Michels , " P sychologie der antikapitalistischen Massenbewegungen,"
p. 313 [Grundriu der SozialOkmwmik. vol. 9, no . I. Die geseUschaftli.che
Schichtung im Kapitalismu$ (Tiihillgen , 1926)]. [W4a.2]
" Granllville'slife is unremarkahleenough : peaceful , remote from all excess, at the
periphery of dangerous enthusiasms . •.. Ris youth was that of an honest clerk in
a reijpectahle s hop. where, on row~ of s potless shelve!. were arrayed-not without
malice--the various images that correslJonded to Ule nced for criticism which an
'average Frenc bman ' migbt feel in 1827." <Pierre ) MacOrlall , " Grandville Ie
procUl'SeIlT," Arts et metiers g rflphiques , 44 (December 15 , 1934) <p. 20>.
[Wh.']
FOUrier and Saint·Simon: "Fourier is more interes ting anti more divel1!ified in his
e.·onomie anal ysis and in his critique of the exis ting social order. But , then , Saint-
Simon has the ad\·antage Ol'er Fourier in his represcntations of future el:onomic
,Ievelupment. Obviously. this development had to move, .. in the tlireetion of a
gi?hal economy ... , and not in the tlirectioll of maJl y sell-sufficient little econo-
nu e~. ll u c li as Fourier inlllgineti . Sa inl ·Simon cOllceivc8 Ihe clipitaiisl order ... as
~ .~ I Cl j ... , while I" ouricr rejecl ~ it in the lIal1l(: of the pett y IU)U"I;eoisie." V. Volgin ,
~ber die hi!ltorische Stellung Saint-Simons," ill {Mnr:c-Engel3 ArchiL', vol. I
( f rankrurt 11111 Main, 1928 >, p. 11 8. [W4a.4]
'·I n 1111 {OXChHng!= of view~ witll tim writl!l· Ca millt, Muut:iair, ... Zola . . . d edare!1
u II(:4 ui wlI:a Uy that he IlOre no love for COll.:I:livislll ; In, (OUIlt! it s mulllu:arted alld
Utopian. !:I e was an anarchis t rather dIan u so··i,I,.. ' ". , . . U,'OplHI! sucla , I'Is m, . . . as
lie tlllW ii , took it ~ rise fl'om the iruli viduill workshop , proceedl~d to tllt~ idea of the
associu tiun uf IlI'miuccn, Il n.l llimed to achie\'c a cU lllmulli ~ m of the general '-luna_
TJlunily. This wus Lf"fore It:148 . ... Zula. however, wanted III r evh'e the method of
this pt·riod ; he . . . took UfJ Ihe ... itleas of Fourier. which were cOllditiollet.i by the
embryon..ic reiutioll8 of ca"ilati ~ 1 production, and a tt ~lllpl ed 1(1 uUy them to the
m()dern form of thil!. prOllucliun , which hud gru""n to gigantic pmpurtionl!.." Franx
Diederich , ·' I'...ola als Utopist" (on Le 7'ra vail), Die neue Zeil. 20. no. I (Stut4t; a rt),
pp. 326-32; . 329. rwS, I)
Fourier (in U }(OUlltflU Montle indUJtn·t/ d JOOiltuTtI, 1829) disapproves of the
cont~pl for gastronomy. "This gaucherie is yet another of those exploits of
morality calculated to tum us into enemies or our mom senses, and into friend& of
that commercial activity which serves merely to provoke the abuses or sensual
pleasure." E. Poisson., rourier [contains sdected texts] (Paris, 1932), p. 131. Thus,
Fourier here views inunoral businesses as a complement to idealist morality, To
both he opposes his hedonistic materialism. His position recalls, from afar, that of
Georg Buchner. The words quoted above might have been spoken by Biichner's
Danton. [W5.2)
"A phal a n~ d oe8 lIot sdlu thousand quintals of flour of indifferent quality; it tdU
a thou8alltllfuillta18 dU8ifu:t1 according to a scale of five , silt, or Beven varietiel of
flavor, which it IHllI tel!ted ill a bakery and distinguished in tenns of the field where
it wall. har\'ested and Ihe methOtI uf cultiva tion .... Such an agricuJturai meclul-
nism ",ill eontras t sha rpl y with the practices of our backward world , our civilisa-
tion so in neefl of perfecting. . . . We see among ourselves, furthermore.
mer chandise of inferior (ruatily that is twenty times more abundant and more
easily sold than better-quality goods. , .. As u resuJl of thi8 cin:umstance. we caa
no longer even recognize the inferior quality; morality accu8tom8 the civiliud to
eating the. good and the bad indiscrinlinatel).. From this coarsene88 of tu te foUow
all the knavcriCii of mercantilil!m." 1'heorie des quatre mouvements (1828). cited
in E. Poiuo n, FOl/rier (Paris , 1932). pp . 134-135.'-Already children are tauP t
to " c1ean their plates." [W5,3]
" Knowing ... that sometimes, in the regio n of the North Pole, there is generated
all electrical discharge which IighLll up those lands plunged in d arkllen for 8U
months of the yea r. Fourier IUJnOlUIces that , when the curth shoU have been u-
tiollnlly culti vu h:d ill all il Hp arts , rile uurora boreali!! will be continuous. II 1M
ab8urd ?" The IIl1thor endeavors, followin g this, to provi'''' all explan ation : the
troll!!form cd cu rth will aLsorh less electricity from Ihe Slin . a nd whate\'er i8 not
absorbed will f'ncirde it 8 8 8 dng of Norlhcrll Lights. C harl l!~ - M . LimoU8in , Le
Fourili ri.mu~ : Hepoll se (i 11/1 article de f£dmond Viller inlillile " Follrier et Ion oeu-
vre" (Pa ri.s, 1898), p . 6. [,V5a, l]
" TIIt:rt' w{IIII,1 hI! lIol l.illg v,·z·y surprising in the fa ci that Fuu rier had been as8OCi-
IIll!d .. . widl a Martinisl 1(Klge , or a t tlte very lealit had fd l the influence of •
"ulieu in wlticb sueh idl!Rs ftnurillhed ." Charlc8-M. LiJllou ~in , Le POllr;erisme
(Paris, 1898), p . 9. ['V5a,2)
\\bnhy of note is the fact-to which Limousin adverts-that, with Fourier. the
desire for possession is nOI a "passion." This same commentator defines the
COlIcepl of ptwiem miuUlLfanle as that passion which governs the play of the
others. He remarks further (p. 15): "murier was surely wrong to make a joke or
dury." Ccnainly apt is his observation (p. 17) that murier is more an inventor
than a scientist. [W5a,3]
" In Fourier, occult Ilciencr. acq uire a new form- that of industry." Ferrari , "Del!.
Idees et de I'ecole de Fourier," Revue des deux mondes , II , no. 3 (1845), p . 405.
[WSa,4)
On Fourier 's machillal mOtle of conception . The ta ble entitled "Mesh of the Lodg-
mellts of Barmuny" establishes, for aPllrtmellts in street-gaUeries, twenty differ-
ent categorie8 of rentals, priced from 50 tu 1,000 fraD cs, and offers, amOng otllers,
the foUowi.n g justification; " This meshing of the six aeriel! is a law of the twelfth
pusion. The simple progreuion , whether constantly increasing or deereal!.ing,
would have very serious drawbackl!.. In principle. it would be false and deleteri-
ous, insofar as il was simplc, ... In application , it would be injurious. insofar as
... it gave to the body of dwellin~ in the wmgB ... tbe appearance of an inferior
cia ... Care mu ~ t be taken to avoid thil!. arrangement , which would be simple and
therefore detrimental to the meshing -of the different c1al!.l!.es. ' '8 Thus, within a
single section of the street.galleries, lodgers of different Bocial standing will r"etlide
together. " I put off diseuu ion of the stables ... , about which I shaD furnillh . ..
ample detail8 in special ch apters to follow. For now, our concern is with lodg-
ments , of which one p art alone--tbe street-gaUery, the haU of universal linkage--
conclusively proves that, sfter 3,000 years of reaearch into architecture, civwed
men huve yet to learn anything about th r. rnmd of unity." Cited in E. Pois80n .
Fourier [anthology] (Paris, 1932). pp . 145-146. [W5a,5]
Ail)t'cls of Fourieri.n num ber mysticiltm, according to Ferrari, " Des Idees el de
r ecol~ d e FOllrit!r " (Revue des deux mondel. 14, no. 3 [PliriS, 18-15)): " Everything
indica tes that Fourierism bases itself on the Ilythagorean h armon y.. , . Its science
was the science uf the a ncilmu" (p . 397). " Number reprodu ces itl!. rhythm in the
eV lllu~ti(ln of earnings" (p . 398). The: inhll.hilant8 of Ihe phalanste:ry comprise 2 x
8 10 /lIell alld womCII ; f()r " the numher 810 gives them II c{)mplete serie8 of chords
"(Irrt's ponding to the lIIuitilu.le of culllllillt all8Ullllllces" (p . 396). " If, with Fourier,
lh.~ science of the occult IlIk!:!! on II. lIew furm , Ihat of industry. il I!. hould not he.
r'Jrgull ell that form per lie .:ounlll for IWIliing in this air y I'ttelry of the my8-
Illgogies" (I" 405). " Number groul.' aU beingll according to its ~ymb olic laws: it
del'd ops aU tllt~ gruupll through 8eries; the series diuriLule8 the hurmoniel
th roughout the uni verse .... For the ~eri~s .. . i8 perfect throughotu ull of na-
tUre . . . . Man alone i. unhappy; hence, civilization inverts tbe number which
slulIIlll gove.. n him . Lei U8 r't!8Clle il from civilization . . .. The ordl:r that dOnti_
IlUlt·S IJhysicai muvemclll----<l"gallic movement , a nimal muvement- will thus ..adi_
ate in . . . r auional movelnent : natll re itself will urganize thc a88ociation"
(p .395--396). [\-V6,1]
Fore8had owing of Ihe bourgeois king in Fourie r : " He speaks of kings who devote
Ihcmseh 'es to locksmith ery, to woodwo ..ki ng. to selling fish, 10 the man ufacture
of 8caling wu ." Fe ..ra ri , " Oe8 Idees et de I'ecole de Fourier," Re1IIU! des deau
mondes. 14. no . 3 (1845) p. 393. [W6,2]
"All his life, Fourier was engaged in thinking; but he never once asked himself
whe..e hill ideas came from. He port ..aYIL the human bein,; as a ma chine pallioll-
neUe ; his psychology hegins with the senses and ends with th e composite, without
pre8up polling ... Ihe inte ..vention of reason in th e solu tion of the p ..oblem of
hllppille88." Ferrari , " Des Idees et de I'ecole de Fourie..," Revile des dewc monde.,
" 0. 3 (1845), p . 404. [W',3)
Utopia n elementll: "'r he combined order comprises ' the glory of the am and Ici-
1~ lI ces , the spt'ctac1e of knight-e..ra nt..y, gast ..onomy combined in a political
SI!JI8e. . . Ilnd a politique gala nte for the levy of troopH" (Ferrari , p . 399). "'rile
world tu r m to itll antitype, as dange..ous and savage animals enter the !ler vice cI
mankind : lionH are ulled for delivering the mail. T he aurora borealis rehel u the
p() l e ~; thtl atmosphere, at the ell. .. th 'lIl1ur-face, becomes clear all a mi ....o.. ; the !leU
grow calm ; and four moons light up the night. In short, the ea rth renews itadf'
twenty-eight times, until the great soul of ou .. planet (now enfeebled, exbauated)
pallses on. wi th all its human louis . to another pla net" (Fe ..ra ri, p. 401). (W6,4]
"Fourier ncdll in the ohllervation of animality, whether in beaste or in men . He
has a geniuIJ fo .. common matters." Fer ..a ri , " Des Idees et de J'i~cole de Fourier."
Revue de. deux monde., 14. 110.3 (1845), p . 393. [W6a,I)
A Fourie..isl fOmlllh, : ""Nero will he mo ..e useful than Fenelon" (in Ferrari,
p. 399). [W",21
In the followill/ll schenle of twelve p assiollll, the four in thtl 8eeond group rep resent
the p uu ioll,l g rOUllo m es . Ihe t.hree in the thi..d group lhe pou io nll seriatltes : " S..II
lhe five SellSel!: tllell love. fricml.'lhil), family feelin g. anlbi t~o ll ; thi rd . the p au ioDs
fo r inl ..igue. fu.. mllt" hility, fo .. ullion- in otiler wo..ds. the cahalist . the butterfly,
the composite; a thirteenth !,,,sllion , ' unjl yism, ' ahsorhs aU the othe..s." Fe..r ari,
" Des I d ~M el !II' I'ecole de Fourier," Revue liell deux mondes. 14 . no. 3 ( 1845),
p. 394. [W6a,S]
F..om Fnu rie.. ·s IIISI w!lr k . 1.•1I "'",use Indlu lrie ( 1 83~ I K3(1 ): "T he celeb..ated
America II hoa)!: Iluodated wi th He..scher s di.l;coveries about the wo..I,1 of the
",oon- luu l ra ised in fo'ourie.., once. the hoax wal revealed Il.8 ~ u ch , the hope o( a
di rect villion of tJlC pbalanne ..y on other planeu .... Here i! Fourier '! t"e8POnsc:
"l'Iie Americall hoax ,' he. declare!, ' "rovell, fi rs t , the ana ..ch y of the press ; second ,
the. bBrreDn e~8 of sto r ytelle.., concerned wilh the I!X lra l e r re~ tri a l ; third , man's
i!'"oran ce of the atmospheric , ileUs; (ollrth , the need (or a rnegalclescol.le. '" Fer-
ra r .l. ·· D.<- , Idees CI de I'ecole d e Fourier," Revue dell deux mondes, 1·' , no. 3
( UH S) , I)' 4 15 . (W6aA]
N.legorica.l specinlt'.ns from l.a FRluse lndull rie: " On ea ..th Venus creates the
"luUlerry hush , symbol uf morality. and the raspbe..r y filled with ve..se, symbol of
the cOlllltcrmo..ality preadu:d ill the tbeateN!. ,. Ferra ri. " Des Idees et de I'ecole de
f ourier." Revue des deux mond es, no. 3 (1 845). p. 416 . (W6a,5]
"According to Fourie.r. the "halunSlery should be able to ea ..n , merely from _pee--
lalOrS alone, 50 million froncI in twC) yra n." Fe..ra ri . "'Des Idees et de I'ecole d e
Fourier," Revue des deux moru les. DO . 3 ( 1845), I)· 412. [W6a.6]
" The phalanster y. fo r Fourie.., was a veri table hallucination. He saw it every-
where. both in ci v~ati o n and in n atu..e. Never was he lacking (0" a military
pa rade; the d ..illing of soltUen was fo.. him u representation of the all-powerful
play of the group Bnd of the series inverted for a work of d estruction ." Fe..ra ri,
" Dell Idees et d e I'ec:ole de Fou ..ie..,'· Re vue de, deux nlllndeJ , DO. 3 (1.845), p. 409 .
[W6;1.,7)
Fourie.., in connection with a propou.1 fu.. a miniature pedagogical colony: " FuJ-
ton was sup posed to have constr ucted or me.rely d ..awn up plans for a delicate little
launch that would have demonstrated. Otl a miniatu..e scale. tile power of steam.
This skiff WIIS to h ave tnanslHl ..ttld (rom Paris to Saint-Cloud- witho ut Baw 0 "
oar;; or ho....es-a half-dozen nymphs. who, on Iheir return from Sai.nt· Cloud ,
would have puhlicized the prodigy and put 011 the Parisian beau monde in a 8ul-
ler." Fe..rari, " Des Ideel e.t de I'ec:ole de Fourier," ReVile dell deux mondes. D O . 3
(1 ~15 ), p . 4 14. [W7,I J
''The plan 10 enci..d e l'a ..i.l; wi th (orti6ca tions would sq uander hundreds of mil·
lion... o£ fra ncs fo.. rtlll;SUnB of dd eIlSt:. whereal lhit magician , with only a million.
"" oll1d root 0 1.11 fu..evcr the CPII-lle flf all wa ..s a nd all N'volulions." Ferrari , " Del
Idet:6 et de I'ecole de Fou ..ier," Revue de5 ,iell,X nlOmles. 14, no. 3 (1845) , p . 4 13.
[W7,2J
M.i(:hdet a ll Fou ..ier : "Sin gular contru8t hetwCc.1I his bousl of materialism and hill
sdf-sllcriiicillg. djsillt c.rcSh!tl , nnd spi..itu ul life!" J. Michelel. Le Peupfe Wa ris,
18'16). p. 294 .1~ (W7,3]
Fourier's concepcion of the propagatio n of the phalansteries through "explo-
sions" may be compattd to rn,'o articles of my "politics": the idea of revolution as
an innervatio n of the tccluucaJ organs o f the collective: (analogy \\-;th the child
who learns to grasp by trying [Q gel hold of the moon), and me id ea o f me
"cracking open of natural tcl eo l~gy." ~ See W 8a.S and Xla.2 .> [W7,4]
Fourier, Oeuvre., vol , <3" p , 260: " LiJ!llIf ch arge!! 10 be broughl agains t Cod , OD
the hypothesis lIf a ga p ill the divine social code," [W1,S}
A take on th l" ideal of Fourier: " King Clodomir, restore,1 hy Ilarmony 10 his natu _
rKI v()(:atiotl, ill no longer that ferocinus Merovingian who hKH his cOnfrere 5i9s-
111011(1 thrown into a pit . 'He i~ a frieHlI of flowers and of vl~ r~e. an active partisan
of lIIusk roses , of golden plums anti fres h pineapples , and muny another growi~
thing, .. , He weds the vestal Antigone and follows her 11.8 troubadour to join the
Hippocrene 11halalllO: ,' And Loui NXVI . ins tead of filling so pitiably the job of kin,;
for whic:h he was ha rdl y CUI out, makes magnificent door locks." Charles LouhI_
d re. Le. ldees • .,bvenives de noIre temps (Pa ris, 1872), p . 59 [citation given witb _
OUI indication of source]. [W1,61
Ddv8U . in Le, Lion" du jour ( Paris . 1867). p . 5, slJea ks of Fourier's " ingeniolU
u rgOI ... {W7, 7}
" It is easy to understand that every ' interest' on the part of the masses ... goes Car
beyond its reallimiu in the ' idea' or ' imagination' wben it first comes 00 tbe sUDe,
and is confused with human interest ill general. This illllsion constitutes wb.1
FOllrier calls the ' tone' of each mltorical epoch ." Man: anti Engels , Dk
"'amilie, in Der hidorische JUoterialismu.s, vol. 1 <Leipzig, 1932) , p . 379. 11
he.
[w7,8J
Augus tin-LoOO Cauchy is mentioned by Tous8Cnei (L'Espn't de. betes [ParU.
1884], p. Ill)" as a mathematician with Fourierislleanings . [W7a,l)
In a passage concerned wi th Malthusianism . Touuenel e ~"lain s that tbe solutioa
to the prohlem rcsidfll in the double (_ filled?) rose of Rhodes, wbase Slallte.-
marnents have heen transformed into petal" " and wruch consequently bec:oa:tee
barren by e~ ubcra nce of sa p and of ricbnen. In other words, . .. &0 loog ali miaerJ
s hall continue incr easing, the ft,'cundity of the female sex wiU follaw the same
('ourse; and there is but one method of curbing thil! continual prolificatioa-
namely. to Sllrrouud all women with the delights of IlIxury. . . , Except throuP
IlI.lcury ... • excCI}t throllgh gellera l riches, no salvation! " A. Touilsenel, L 'E.prit
tleJ be'e$; Zoolog ie po,u ionnel ( Pa ris , 1884), I). 85. 1' [W7a.2)
On die feminis m of IIII~ Fourierist ~c hool : "011 Henll:hd 61.1111 Jupiter, botan}'
courses are laught by ynung vestals of eigillNm 10 twellty . . . . When I say 'eighteen
til twent),,' I II pea k the language of Eurlh . since die yea l'~ 0 11 Jupiter a re lwel v:
limc! longer than ours. and the ve~tal a le begi u ~ onl y WIO'a rll the hundredth yea r.
A. Tou~6enel , L '''':sprit des betes ( Pari!!. 1884). p. 93. 11 [W7a,3)
A model of Fourierist psychology in Toussenel's chapter on the wild boar. "NoW,
surrounding the dwellings of humanity are greal quantities of broken glass ~.
ties, rusty nails, and candle ends, which would be completely lost to society if
some careful and intelligent hand did not charge itself with the collection of all
these valueless relics, to reconstruct Out of them 3 mass susct:pcible of being
reworked and made fit for consumption again. This important task evidently
belongs among tlle attributes of the miser. , , . Here tht: character and mission of
the miser perceptibly rise : the pinch·pclUlY becomes a ragpicker, a salvage opera·
tor... ' The hog is the great salvager of nature; he fallens at nobody's expense."
A. Toussene1. L'Espn'1dti bile; (Paris. 1884). pp. 249- 250." [W1a.4)
Marx character izes the ins ufficiency of FOll rier. who cunc(!iveli " a particular forO)
of labor-labor le \,e1I·d dowli . parceled , and therefore unfree-, . , liS the source
IIf IJrivate propert y's pe rnieiallsneu and of iu exis tellce in estral1gem enl from
OIt' II ," instead of dcnouncing lallOr os Buch. as the esscnce of private propert y.
Karl Mar x. Der hi$tori$che Muteri(ltiJlrIlis. ed , ulIldsllUl und Mayer (Leipzig
<1932 », vol. L, p. 292 ("NatinnuLokonomie lind PhiloSOI)iLic"), I. [W7a .Sj
Fourierist pedagogy, like the pedagogy of J ean Paul, should be studied in the
, context of anthropological materialism. In this. the role of anthropological mate-
rialism in France: should be compared with its role in ~rmany. It might tum out
thai there, in France, it was the human collective tllat stood at the center of
interests, while here, ill G<=rmany, it was the human individual. we must note, as
~'tu. that anthropological materialism attained sharper definition in Gennany
because its opposite, idealism. was more dearly delineated ovt:r there. The his·
tory of anthropological materialism stretches, in Germany, from Jean Paul to
KdJer (passing through Georg Biidmer and Guttkow); in France, the socialist
utopias and the physiologies are its predpitate. [W8,1)
MlldamedeCardoville. agrallde dame in Le lltif erra,., <The Wunderill! Jew> , is
a Fouri eri ~ t . [W8,2)
In cOnnection with Fourierist pedagogy, one should perhaps investigate the dia-
lectic of the example : although the example as mood (in the moralists' sense) is
pedagogically worthless, if not disastrous, the gestic example can become the
Object of a controllable and progressively assimilable imitation, one that pos'
sesses the greatest significance. [W8.31
" LA. Phutange. jOllnlllllle 1(1 science sociale (1836- 181.1). wh idl aplH!urs three
till1O's II week , ... will fade from tile s(;e m: onl y when it ,',111 cClle its pIll':!': 10 a dail y,
tn Vitt/loCrmie fJfll;ijiqllf! { IH43- IH5l}, Here. til\' main ideo .. . is 'the orgunizllliull
of labo,·' through the u8lluciatiuli . ,. CI' ll d c" D"1I0i;;l, " L'I h)JIlIlI(' tie 18r18 ," purl 2.
R,'vlw (IN dell,x mOlillell (Fe bruury I . 1914), I"~ 6<' 5. [W8,4]
Frolll Nl'ttellleut '~ disl'ussiun or Four ier : " In I'rl"alillg 1111' IJr ... ~elll wlIdJ , Got! n .-
''''rvl''d the righl 10 d,u lIge illi IIUlwartl u~ I"·(·t I hruugll .!i tlh~f 'f.IIII· ll t ('rcu tiOlls. Theile
r.rcalioll$ II .... cightl.'f.:l1 in lIumber. E\'l~ r y cl"'ution is bnJIIghl ul mlll by II co nj llne-
him of uuslral fluid all(1 horeal fluid :' The la lcr I: rcutio n ~ , rollowing 011 the firMI .
 (lan eventuate only ill Ilarmouy. A1fn:d Nl!ltement, lI~toire de 10 litteratur-e
/roll(;lIisesoll.s le gOllllernem.etlf de juilJe t (Paris, 1859), vol. 2. p. 58. [W',5)
"Accurding t() him <Fourier>. snuls tl'afl llllligrate from body to body, and even
from world to worlt!. Ench planet pos);esses a soul, which will go to animate lome
uther, lIuperior pluuet. carrying with it. us it does 50. lhesouls of those people who
hllve inhabited it . It is thus that . before the end of our planet earth (which is
li uppo5ed to endure 81 ,000 years). the humun souls upon it will have gone through
1.620 existences; they will llilve lived a total of 27,000 years on earth and 54,000
years 011 another planet .... In the exertiullS of its I!arliest infancy. the earth was
struck by a putrid fever that eventually s pread to the moon. which died as a result.
But once organized in Harmony, the earth will resuscitate thl! moon." Nettement, -
Histoire de ll~ liUerllrure jram;aise ~Ol"" Ie gouvemement de jllillet. \'01. 2, pp. 57.
59. [W',")
The Founenst on the lI uLject of aviation: "The buoya nt aerostat ... is the chariot
of fire, which ... re~ pe<: ts above aU the works of God; it doe. not need to aggrade
tile valley. or tunnel through mountainll in imitation of the murderous locomotive,
which the ~pec ulator has dishonored. " A. TousHtme.l , Le Monde delJ o~ealU. vol. 1
(Paris, 1853), p . 6. [W8a,IJ
'; 11 is impossihll! ... that zebras, (lulIggas, helniones, and pygmy pOU.iCII , wbo know
they lire destined to serve as ~ teed s for till! children's cavalry of the future, are
sympathetic with the policy of our statesmen , who treal ag merely utopian the
1!(IUelltrian institutions where these animals are to hold a position of honor....
The Lion likes nothing be tter ... than having its nails trimmed. provided it ill •
t>rt~tty girl Ihllt wields the scissor s." A. Tousllencl, Le Morule. del oiseow:: Orni·
thologie punionnelle, vol. I (Pantt, 1853), pp. 19-20. The author sees in WODUlD
the intermediary between humlln and animal. [W8a,2)
Memorable letter from Victor Cousin to jean joumet, in response to writings
sent him by the latter. It is dated October 23, 1843, and concludes: "'When you
arc suffering, think not of social regeneration but of God, . . . who did not create:
man only for happiness but for an cnd quite otherwise sublime." The preface:r
adds: "V\IC! would have consigned this little anecdote to oblivion, had not this
poor letter. ., a uue masterpiece of perfect ignorance, summed up .. . the
political science .. . of a coterie that, for t11e past twenty-one years, has overseen
.. . the fortunes of our country." Jean joumet, Puesi(J d dumt,j hannoninu (Paris,
1857), pp. xxvi-xxvii (editor~s preface). [W8a,3)
"The hi!;h.l'Y ~.f tho: ... hlllllllll l'a CC8 011 Jupiter and Suturll leoches U 8 that chili·
zalioll , . , is 011 ils Wily to guaralltislU ... by virtue of the political equalilY be-
IW(',("lIlI1an anJ woman , aJIII (rum gliaruntisII110 Harmony thruugh the rm:ognitio n
of the sUI:.eriorit y of wQman." A. Tou ssencl. Le. MOllde de.~ (Jisefllu' , vol. I (Poritt.
1853). " . 131. [W8a,41
Fourier's long·tailed men became the object of caricature, in 1849, with erotic
drawings by Emy in Le Rire. For the purpose of elucidating the Fourierist extrava·
gances, we may adduce the figure of Mickey Mouse, in which we find carried
out, entirely in the spirit of Fourier's conceptions, the moral mobilization of
nature. Humor, here, puts politics to the test. Mickey Mouse shows how right
Marx was to see in Fourier, above all else, a great humorist. The cracking open of
natural teleology proceeds in accordance with the plan of humor. [WBa,S]
Affiliation of anti-Semitism with Fourierism. In 1845, us Juifi rois <TIle jewish
Kings>, by Toussenel, appears. Toussenel is, moreover, the partisan of a "demo--
cratic royalty." [W8a,6]
"'fill~line . . . generally associatl!d with the family group is the parabola. This
postulate is demonstrated in the work of the Old Mattters, and above all in
Raphad .... From the approximation of this grouping to the parabolic type, there
results, in the oeuvre of Raphael, a hymn to tbe family, ... masterful and ...
wvine . . . . The master thinker, who determined the anwogies of the four eonie
SectiOIlS. has recognized the correspondence of the parabola and of familyism.
And here we find the confirmatiol1 of this proposition in the prince of painters, in
Raphael. " D . Laverdallt , De la Minion de l'ar! et du role des arti.oues~ Salon de
1845 (Paris, 1845). p. 64. [W9,1]
Oelvau (Le.1J Deuol/.s de Paru <Pans, 1860>, p . 27) sees cOllnections between
Fouril!r and Restif de La Bretonne. [W9,2]
Highly characteristic of the relation of the Fourierists to the Saint-5imonians is
Considerant's polemic against the railroads, lbis polemic relies, for the most
part, on Hoene Wronski, Sur la Barhan"e tUS chemins de f« et sur la rijOrme
scientifique tU 10 locomot£on. Wronski's first objection is direa.ed against the system
of iron rails; Considerant indicts "the process operating under the name 'railway
system,' that is to say, the corutruction of very long fiat roads equipped with
metallic rails and requiring enonnous amounts of money and labor-a process
'not only opposed to the actual progress of civilization, but contrasting all the
more strongly with this progress in that it presents something truly ridiculous:
the barbarous contemporary reproduction of the massive and inen roadways of
the Romans' (Pitilion. nux Chombm, p. 11)." Considerant opposes the "barbarous
means," which is "simplistic," to the "scientific means," which is ';composite"
(pp. 40-41). At another point, he says explicitly: -For this sjrnpliS7ne has led, just
as one would expect, to a result th.·u is completely barbarian: that of the ever
more ineluctable leveling of roads" (p. 44). By the same token: "Horizontality is a
proper condition when it is a question of communications over water. The sys-
tem or terrestrial locomotion, on the other hand, evidently ought to be capable of
putling ... .different elevations in communication with one another" (p. 53). A
sec~ nd and related objection of Wronski 's is directed against travel on wheels,
which he desoibes as "a well-known and extremely vulgar process ... , in use
since the invOlcion of the chariot." H ere, too, he stresses the lack of any genuine
scientific and complu character. Victor Considerant, DiraiYm t:J dangm de I'm..
gormnent pour 1t:J chemiru ~n.fr:r (Paris, 1838). The contents first appeared, in large
pan, in La PhaJallgr. [W9,l]
C(lIlsidcr alit argue~ lilul the work of cngineer, , llOuM lu! foculled n OI I'm the im.
pro \'ement of the luck bUI on the improvement of Ihe means of tuullport. Wron_
ski . 10 whom be referll. a ppear' 10 be thinking primllrily of an improved fonn of
wllt!e l or of its repilicement by somd hing else. Tbus. COllsiderant wrilt~s: " Is it not
clea r , .. that tllC lHscovery of a mac hine thllt would fadlitille locomotion over
ordinary routclI, and increase ... tllI~ present speed of trans portation on these
rouletl . would devastate. from top to bottom, the entirr. enlequ;se of the rail.
roalb? . , , Hence, a dillcovery not onl y possible but indeed prolHlble can annihi.
lute . alo ne blow and forever, the extraordinary amounll! of callital that some
people huve prop08ed be s unk into the railway sY8tem!" Victor Considi raut,
Deruisoll el dr.lflger, de r engouemenl lJour les chemiru enfer (Pam. 1838), p. 63.
[W9~,11
"The uperation of ruilroa ds ... forced humanit y into tile position of c.ombatios
nature's workil everywhere on earth . or filli.lg UI' ,'alleys and breaching mOIlQ·
taillS ... . of struggling finall)" by means or a general system , against tbe naturlll
cOllllilions of tbe plam:t 'll terrain, ... and replacing them unilJersolly by the oppo-
Aite sort or conditions," Vielor Consider ant , Deraison et dangers de l'engouemenl
p our Ie. chemins en/er (Pa ris, 1838), pp . 52-53, [W9a,2J
Charles Gide on lht" " divinatory genius" of Foorier : " Wben be "'riles: 'A cerlaiD
\'elllel rrom London a rri ves in Cbina today; tomorrow the planet Mercury, bavil:tfl:
bt..-en advised or Lhe arrivals and movements of shi,)! by t.he aM tronomers or Asia.
will transmit the list to the astro nomers of London ,' and if we tranllpose tbit
pruphecy into currellt vernacular so Iilal it reads. 'When a ship arrives in China.
tim T. S. F. ,.·illlr<l nsllullhe news to Ihe Eiffel Tower or 10 Londoll ,' then it ill clear.
I hdieve. that we have here an eJClraordinary an ticipation . For whal he meana to
lI uy ig precisely Ihig: tile planet Mer cur y is there 10 represent a force, as yel WI·
knowli. which woullll!nahle the trallgmissiuu of IIII:ssage!l-a rorce of which he h_
hall 8 IJresentimeut ." Charles Gille. Fourier lJreC ur.eur de ttl coo/,eralion (Pan.
( )924)). I,.IO... II .I: [W9~,SJ
Charlt:s Gidt' on Fourier's 1I0llSensi('al uSlrologica l lipeculations: " li e leUs us that
the pla nets J 1111 0, Ceres. a ud PaUali each producl:' a s)l'et"ies of goosl'herry. ami thai
thl' rt'- ought to be II fuurth aud still more ext.'t"lIl'ul kind , of which Wll are deprived
lw.ca lll!1l the plauet [lllOehe (the mool1 ). ,.'Iudl wouJJ have generuled il . ill unfortu·
nllt('ly Ileall. " CLarh.s Gitle. Fourier lJ ri:Cllrseur dr.la C()()I,eralioll (Purie). I)' 10. II
[W9~4J
"Whell I... s pt!a k ~ , . . of It! cekosLial arllly wluch Iho: Sider eal COllllcil has ttc:lIolved to
~I'li d 10 thll aid of Hunuonjly. un army Illread )' flis[latched Borne 1,700 years ago and
having beJore it more than 300 yean of travel until it arri vea in the confmeN of our
solar ~ys tem, . , . we shudder a liltle lit the bint or Apocalyplle. In olher places Ihis
IlIlIacy ill more amiable, bordering of len on wisdom . abo ulldiug in fin e aod witty
oh~ervu tj oll ll , a bit like the harallgnes on tile tupic of the Golden Age that Don
Quixote ill tilt!. Sierra Morella addressed to the as tooUi hed goatherds. " Charletl
Gille. Fourier premr.eur de lo cooperation (paris) . p. J 1.1" [VVIO.I]
"Olle could uy. alld he sUY" it himself. tha llLis ohB~rvatory--(lr hiIJ laboralory, if
yOIl prefer-is the kitchen. It Ui Iw point of departure for r adiating into aU the
dOlllains of social life." CharleB Gitle, Fourier precur.eur de ltl coolJercui<Jn
(Paris) , p . 20. [WIO.2]
On the theory of a ttraction : " Berna rdin dll Saint· Pierre d enied the fon;e of grav-
ilY , .. because it signified an infringement un the free e.JCercise of pro vidence; and
the u lrOIiOlner Laplace IItruggled •.. 1I{l less violently . . . againllt the. fanciful
gener alizatiuns of this rorce. But that dill not prevent the doctrinea of an Aza'is and
like-minded others , .. rrom finding their inlilators. Henri de Sainl·Simon ... was
occ.upied for yea rs ,.ith the elaboration of a system of ' universal gravitation,' and
in 1810 he cameoul with the fo llowing cr edo: ' I believe in Cod. I helieve that God
created tht' universc. I believe that God made the universe suLject to the law of
gtnitation .' Fourier likewise founded ... his ... system 011 tbe 'foree of universal
attraction ,' of which sympathy between one man and another ill said to be but a
special case." Ernst Robert Curous, Bul:.ac (Bonn , 1923), p. 45 (Azais, 1766-
1845, Des ComperuntiUllS dans ks des ti"hs humnille.). [WIO,l]
Relation of the Comm unist Monifesto to Ihe draft by Engels : " The organization of
labor (a conceu ion to Louis Blanc) and the construction . on state-own w lands, or
large cODlJllunal palaces designed to bridge the gap between city and country (a
concessioll to the Fourierilill of the Democratic PacifUJlte) were items which de-
rived (rom Engels' Ilrafl and whidl tJJe final version o( the manifeato left out."
Gustav Mayer. FriedridJ Engels. vol. 1, Friedrich Engell i" .einer Friih::eit, 2nd
ed . {Berlin 11933»,p.288. [WIO.4]
Engels 011 Fourier: "' It ill Murgan's work which throwll illto bold relief the whole
hriUiallc, or F~ourler . ,s crl',;.. que 0 fCIVlUzalion
' ,I: ' . • be an nounced to Kautsky while
working (III his Ursprung der Familie. In this book itlielf. bowever. he wrole: ' The
10..-e1>1 illi ertsts ... usher in t.l.o:: Dew, civilized sociely, the dau-bused society. T he
nlO~t outrageo us means. , , lopple !lIe old , claslilel!I!, gcntile socieIY.'" Cited ill
GUslav
. ' II ""ise"",
1\1 uyer, , -rroed rIC ,- •. vo.I 2, EIl8eu
' und der Au/stieg der Arbeiter.
beWCgllllg ill EllraplI (Berlin ~ 1933» . Ii . 439.!!\I [\11 J Oa, II
Mar;1l (011 Proullhnn , in a leltt'r 10 KllgdmulIlI , Oetober 9. 18Mi: " Iii., S!t 1l 1l1 criti-
ci S-in li nd lI.ham 0ppollition 10 tile ulopiull s (he Iwnlldf is onl y a pctt y. bollrgeois
lilllflian, whereas ill the utopiu ~ of a Fourit!r. all OWt!ll. a nd oiliers. there ill the
illltit,;ipa tiun and imagina ti ve exprellsion ur a new ",'orld) a llracted and corrupted
fire t the jfmneue brillionle. the , tudenUl, a nd then the workmen. particularly
those of Parill , who. us workerll in 1u.J( ury trudd. are strongly attached. withllut
knowing it. to the old rubbidl. " Karl Marx and Friedrich Engels. A lugewii"lte
Brief, ed. Aduratski (Mosco~' and Leni.ngrad , 1934) ~ " . l7.h .21 [WIOa,2)
"When property hilS been abolished tJlroughout GerlllllllY, Ih ~e uhra-c1ever Ber_
Iille.rll will s!':t up a Democratic P(Jcifiqlle 011 the Husenllcille .... Watch out! A new
Men iah will presently urisc ill the Uckerm ark-u Messiah who will tailor FOUrier
to acco rd with l:Iege!, erect a phala nstery upon the eternal categories , and lay it
down as an eternal law of the sdf-developinjl!;idea that capital, ta lent . and labo r all
han a defmite share in the product . This will be the New Testament of Hegelian_
ism; old Hegel will be the OM Testament ; the 'state,' the law, will he a ' tas kmaster
over Christ'; a mi the "halanstery. in whicll the p rivies are " Icated in acco rdance
with logical necesllit y, wiU be the ' new Heave.n ' anll the. ' new Earth.' the new
Jerusalem descending from heaven decked OUI like a b ride." Engeb to Marx,
Bannen , Novembe r 19 , 1844, in Ka riMarx and Friedrich Engels, Briefwechsd.
vol. 1, 1844-1853. ed . Marx-Engeill-Lenin Institut (M08COWand Leningrad , 1935),
1)· ll.tl [WIOa,3)
Only in the summery middJe of the nineteenth century. only under its sun, can
one conceive of Fourier's fantasy materialized. [WIOa,4j
"Cultivate in children the , harp ear. of a rhinoeerol or a cOUMck ." Ch. Fourier,
L.e Nou veau Monde industrrel et locietaire. ou Inl!fm.ion du procroe. d 'indwtrie
attrayante e r lIatureJle dutribue.e en series pauionllf?es (Pa ris, 1829), p . 207.
[WIOa,5j
- th at everything, from a toms to stan. is an image of the properties of the bunlaD
One ~ad.ily grasps the importance of the culinary in Fourier; happiness lw ita
recipes like any pudding. It is ~a.J.ized on the basis of a precise measuring out of
di£fe~nt ingredients. It is an effect. Landscape. for example. signifies nothing to
Fourier. H e has no feeling for its romantic aspea.; the miserable huts of the
peasantry arouse his indignation. But let "composite agriculture" move into the
area, let the little "hordes" and the little "bands":13 spread out across it, let the
noisy military marches of the industrial anny play over its surface, and we have
arrived at that proportion of elements needed for happiness to resu1t. (WIt , I]
The kinship between Fourier and Sade ruides in the constructive moment that is
proper to all sadism. Fourier conjoins the play of colors of the imagination in a
unique way with the play of numbers of his idiosyncrasy. It must be emphasized
that Fourier's hannonies are not d ependem on any of the traditional number-
mysticisms. like that of Pythagoras or of Kepler. They are altogether his concep-
tion, and tJu::y give to the harmony something inaccessible and protected : they
surround the harmon;mJ as though with bar})(:d win=. The happiness o f the
phalanstcry is a bonhmr barbdi. On the other hand. Fourierlst rraits can be
recognized in Sade. The experiences of the sadists, as presented in his 120 Jours
de Sodome, arc, in tJIeir crudry, exactly that extreme thal is touched by the
cXt:reJDe idyllic ofFouricr. Us extremes se tourilrnJ. The sadist, in his experiments,
could chance on a partner who longs for just those punisluuents and hwniliations
wruch his tomlcntor inHias. All aI o ncc. he could be standing in the midst of one
of those hannollies sought after by the Fourierlst utopia. [W 11 ,2)
Simplism appears in Fouricr as the mark of "civilization." [WII ,3]
According It) Fourier, Ihe pt"Ople in tlae vicinit y of Parill. Bloi8. and Tours lire
t:8pecially suited 10 flull.beir children iutl) the trilll phallt1l8tcry. The lower cla88e1
there are partk uJurly weU hred. See L.e Nvulle(Ju Monde. p. 209. [WIla, l}
Fourier's system. as he himself explains. rests on two discoveries: that of attrac'
tiOIl and that of the four movements (material, organic, animal. and social).
[Wl1a,2]
Fourier 8pellkl of a transmu sion mimgiqlle which will mike it possible for London
10 have news from India within four hours, S~ Fourie r. Ln Fawse Indwtrie
(Paris, 1836). vol. 2 . I)' 711. [Wlla,3]
"The social nlovcmClI1 ill the paltenl for the three others. The IUlimal , orgallil:, 1,"11
materiallIlO\'enltl.lll5 are coordinated with the social mm'cmelli . which is primary.
Tills means tJlal the propertietl of an animlll, a vegetuhle . D mineral. or t!vt!n a
vurh:x of stan represenl an effect or the. human passio ns in the ,ocial order, and
passions." Charles Fourier. Theorit: tle~ quutre mou vements (Po rill , 1841). p . 47.it
[Wlla,4j
The contemplation of ma p ~ was onc of Fourier's favori te occupations. (WI 1a,S]
Messianic timetable: t822, lI ~para ti oll of the expt!rimental ca.nton; 1823 , iu Ope.D-
ing and trial run ; 1824. its imita tion in all civilized nauoulI ; 182S, recrui tment of
tlle ba r barians and lavages; 1826, organization of the . pherical hierar chy; 1826,
dispatching of t:olollial squadroIl8.-The phrase la ierarchie spheriqlle should be
taken to mean the " distribution of the seepter e I)f Novercignty" (according to
E. Silberling. Dicriommire de sociof(lgie ph(lfall.fteriemlf' [Pans , 191 1] , p . 214).
[WlIa,6]
Th~ 1II0dd IIf the phalunslt' ry ct.lnll'risllS 1,620 peno us-ill IIthcr wonh , u male
and a f!'lll uit'. t"lt:ClI1pIUI' (If cud. of Ihc RIO dmrach;:rs th ut . uct:onling IQ 1~f)llrier,
ex haust alll'ou ihililies. [Wlla.7]
III 1828. lhf" 1II11es I'1'cre 10 Lecome ice fn"-' rWlI a, tI]
" T he soul of mun is Itll emalllll.itlll uf Ihe grcut ilianctary l lllli . his body a portillll uf
lile pI0.lIl:t '8 bOl ly. WheJl u nlan dica, hi ~ Lotly tiiu '.lh·C8 UltO til(' Lody of the plallet
antllaill ~ olll f:uk'l into tlu: Jllant! tary 1111111. '" F. ArnllinJ ami R. Mallhlunc, Fourier
(Pa rill. 1937) , vol. I , IJ · III . [W ll a,9)
" AJI (!bildreli huvc the following dUlninanl tastell: ( I) FerreliTiH' or the ~nc hant
for hantlling thill ~. exploring, running around . anti consta ntly e h a ngin ~ activi_
ties. (2) Inrlu.s'riol (lin . the taste for nuisy jobs. (3) Aping . Dr the imita tive mani • .
(4) Working on a min ia ture .scale. the taste for little workthops. (5) Progru.ive
enticement of the wea k by the strung." Charle~ Fourier, l..e NO llveflu Momle indw_
'riel e' lIocieluire (Paris, l829). p . 2J3. 1:o (W12,1]
Two of the twenty-four "Sources for the bloS!lomin« of vocations": (3) The lure of
hierarchical ornaments. A plume already sufficeli to bewitch olle of our villa«en -Io
such a n extent that he is ready tu sign away his libert y. What , then . will be the
effect o£ a hUnti rCtI honorific adornments in the effort to enroll a child in tbe
plea8urablc a ~so.:ia tio n with his feUow8? ... (17) Harmon y of materiel, or the uni-
tary mallcuver--solllcthing unknown in the workshop8 of civilization . but prac-
ticed in Ih08(' of l:I armony, where it is performed by tbe ellMemhle of Holldien and
dlOreogrup lll~r& in a lIIunner delightflll to aU children ." Charlell Fourier, Le Nou-
veCIU Moncle indll&lriel e f sociituire (Paris, 1829) , pp . 2 15, 216 . [W12,2j
Very characteristic that Fourier wants much more to keep the father away &om
the education of his children r.han the mother. "Disobedience toward the father
and the teacher is ... a perfectly naruraJ impulse; and the child wants to com-
mand rather r.han obey the father." Charles Fourier, I.e .N'oulJt:au Moruk indwhUl '-
et Jociitail? (Paris, 1829), p . 2 19.'" [W12,3]
Uierarchy of children : juvenileg. srmnasians, Iyceans, seraphim, cherubs. ur-
chin~, iml)S. v.-eanLings. lIurlilings. The children are the onl y one of the .. three
sexes" that can enter "8traq;htaway into tbe heart of harmoIlY." [W12,4]
" Among the implI. we do nol di~ tingu.ill h the two sexes by mean&of cOlltralltiq:
attire , like troulien and petticoat ; that would be to ri8k sluDting the growth of
n W!alioll! and fal sifying the proportion of Ihe two sexes in each function." to' ouner,
Le Nou veau Monde indll.!lriel et !oc;etaire (Pari8, 1829), Ill" 223-224 (imp8: ages
olle aud a ha lf to three; urchiJ18: ages three tol foor and a half) . [W12,5)
Tools ill SC\ ' CIl lIi:r.es. In d u ~ trial hie.rarchy of cbiJdrt'J1 : officerJi' of va riou8 types,
licentiates, bachelors, neophytes. uspintnts. [W 12 ,6]
FOliricr CIJII CciV C8 the 111'parlUrl' folr wurk ill tile field 8 aRa 80rt uf count ry outing,
inlurge wagolII8 a nd with music. (\V I2 ,7]
Qun l iryiJl ~ "'lIlIuinuli(1D rolr t.he dlUir of c1leruhim: ( I ) Musical and dmreographic
auditiolil a t dw O l~ ru . (2) Washing of L20 plattls iu lJalf all hour, wilhout b rea k.inl
011... (3) Peeling uf IlaU a quintal of a l'l'lei> in a given space of time, without allowinA
the weight Qftbe frult to drop below a oortuinlevd . (4) Perfect l ifting £If a quanlity
of rice or other grain in a fixed period of time. (5) Skill in kindling and Ilcrcenin g a
fin' with intelligellce a nd celerity." Chaf"lt!ll Fourier, Le NO lwl!(w MQntie inclwr'rkl
e' .socielaire (Parill, 1829), p. 23 1. [W 12a. l ]
f Qurier unveil8 " the prospect of lIt.tllining, at the age of Iwelve olr thirteen , to a pOliI
of high dignit y, 8uell all cl.lnlRlal1tling ten thousand men in a military or p arade
planeu\,er." Founer, Le No uveau Moude indu$,riel e, societaire (Pam, 1829),
p . 234. [W12a,2]
Names of children in Fo u rier ~ NYS88, Enryale. The etIucator; Hilarion . {W12a,3]
'"And 50 it i8 thai , from hi8 childhood on , a man is Dot colmpatible with limple
nature; there is needed , for his educatioln, II va8t array or instruments, a multi-
grade a nd vanegated apparatus, and thill applies from the moment be fil1ltleavea
tJlt! cradle. J.-J . Rousseau hal denounced this prison in which the infant is pin-
iuned, but he could not have known of the syetem of elastic mata, of the combined
attentiolls and w stractiQus, thut would he enlisletl in IIUPPolrt of this mt:thod.
Thus, the phil090phers, in the face uf evil . know only tol oppose their sterile d ecla-
nlations, instead or building a road to the good- a sy8tem of roads that, far re-
moved from 8imple nature, r esult. onl y frolm compo8ite methods." Fourier, Le
Nouveau Moncle indWlriel e' soci.e,aire (Pari8, 1829), p. 237. The " distraction8"
involve. among other things., letting neighboring children play with one another in
hammocks. {W12a,4]
Napoleon m bdonged to a FourieriBt group in 1848. {W12a.5J
The Fourierist coluny fOllnded b y Baudet-Dulary in J833 still exists toda y in the
form of a family- nan pe:n8ion . Fourier had dil8vowed it in his day. (\V12a,6]
Baluc knew and admired Fourier'. work . [W12a,7]
The Hag of the phala nster y di8played the seven culolrs of the rainbQw. Note b y
Rene l\1aublanc: "The colon are an alogous to the pa8sioll! .... By juxta p08in« a
sen flll of tables wherein Fourier cilmpare8 the passions to colors, to notes of the
s(!ale. 10 natural righ ts. to mathematical operations. to geometric curves. to met-
als , and to heavenly bodic8. one fLOd s. for example. that love corre8pond~ 10 hlue,
11.1 tilt: n£lte mi. tu r ighl of pasture, 10 di vision , to the ellipse, to tin , and to the
planels." F. Arnlantl and n. MUllbJaltc. Fourier (Ilaris, 1937), vol. I , PI). 227-228.
[WI2a,8}
HI' TOIIssenel: " Fourier ... claims tu "join together and enframe. within a single
Il lau , thl! societary met.:ha ni u of the pun ions with Ihe other knQwn ha rmolnies uf
the univer~e,' and for tha t, he addll, 'we ueed emly ha \'c recourse to the amusing
lessons tu be draw n frllm the m08t fa scinating ubjeC:18 among the IIlIima13 and
(116111&...• A.rnland and Mlluhlanc, Fourier ( Pari&. 1937) , \' 01. I , p . 227; citinS
Fourier. 'fruit /! de I'uuoci«tio,. (iom e5ti'/uc-(Jg rir.ole ( Pa ri ~ anti LollllolI , 1822),
yol. 1, 1'1'.24-25, lind Th eorie d e I'unite univer;Jelle ( 183,' ). p . 3 1. [\V13,1)
Fourier re prollchcli Dt."!IcartclI wilh having. in his d oubl , s pared " thal tret: of lie.
one callR (,iviliU lion ." See Le Nou l/eau Monde. It. 367. (W I3.2]
Stylistic tluir kll reminisccnt of J ean Paul . Fourier lo\'es preamLles, ciu mhlee,
transalllblcs, pU8Iantblcs, introductions, cxtroductiulls. prologues, interludes,
IWlttlutles. eis mediants, media lll!. trans medianls. internledell , notea. a ppendix....
[WI'",]
Fourier appears very suggestive before the background of the Empire in this
note: "The combined o rder will, from the outset, be as brilliant as it has been
long deferred. Greece, in the agc of Solon and Pericles, was already in a position
to undertake it, having a degree of luxury sufficient to proceed to this form of
organizatio n." Annand and Maublanc, Founrr (paris, 1937), vol. 1, pp. 261-262;
citing 1T"itl lit ['association domtstiqut ·agricolt (Paris and London, 1822). voU,
pp. lxi- Jx.ij ; 'fhiorit de l'unili univ"ulit (1834), vol.1 , p. 75.'11 (WI3,4]
Fourier rl'cognizell IIIl1ny forms of collective procession and cMvlllcMde: storm,
vurtex. ~ WIII·m . lIerpentagc. [\V13,5]
With I .CtOO pirulausteriel, the aSllociation is alread y de ployed ill all ill! combina-
- There a re ' ollen ' series, iu which the world (!) of s ubdi visions is Dot determined.
tions. [W 13,fij
"Fourier put h.imsc:lf body and souJ into his ,,",'Ork because he could not put into it
the needs of a revolutionary class, which did not ~t exist." F. Armand and
R. Maublanc, Nun·" (Paris, 1937), vol. 1, p. 83. It should be added that Fourier
appears, at many points j to prefigure a new type of human being, one conspicu·
ous fOT its ha nnlessness.2:8 [W 13,?)
·' In his rUOIll . there was ordiua rily but one free pathway. right in the middle ,
lellding frolll door to wind ow. The rt's t uf the space was elltirely tllken up by his
lIowcrpots, wh.ich uffered in themselves the speetllcle of II progreuive series of
~izcs, II hllpt!S. alld even qualities; th e n~ were pots of COIIIIII,," clay, 1I1ul tlillre were
pltlS of Chinese pon·e1l1iu." Charlell P cllllriu, Vie Jfl ,.·Ollrier ( Poris. ] 871 ), PI" 32-
33, [W I',' ]
C hllrl ~ P (>Ull rin . Vip. till Fourier(Pliris. 1871 ) rel)OrlS (I). 144) 1.11111 Fourier would
sometimes 1(0 ~ ix nr ~evt:1I uigllill wilhuul sleeping. This hapI't:IIt:d 1"!i!lI use rtf eX-
... iICIII,,"1 over hill di8C(1vcries. ["\V I3a, l]
" The phalollslcr y wiU be lin immcil se lodgin g hOIl IlC." ( Fourier hlld 110 conception
of famiJ y life.) F. ..'rOland allli R. !'t1a uhlanc . Fourier (Paris. 1937), vol . I , p . 85 .
[W 13a,2]
The (·uhalis t . the composite. and the butterfl y form appear WIder the rubric " dis-
I rihLlti \·e~." or <[JlIuiolls) mecfjfl i.!:u,IIe;J . (S j't! WI Sa,2.) [W 13a,3]
~1k cabalist spirit always brings selfis h motives into play with passion. AU is
calculation with the intriguer-the least ~s ture, a wink of the eye. Everything is
done on reflection and with alacrity." 'lhlon"t dt 1'unitt un;uerstlle (1834), vol. 1,
p. 145." This remark shows very clearly how Fourier takes account of egoism.
(In thc eighteenth century, wo rkers who agitated were. called Ctlbalnm .)
[WI 3a,4}
" The earth copwuting with itk'if cnge.rulcn tile dlt'rry ; with Mer cury, the straw-
berry ; ""ith Pallas, the black currant: with Juno, the raisin ; and 80 on." Armand
IInci Maohlanc, Fourier (paris, 1937), 1,'01.1 , p . 11 4. [\V13a,5]
"A IIl!ries is a regular c1au ifiClltion of a gcnus. spt.'Cics, or group of beings or of
objecls, arra nged s ymmetriclilly with re~ pect to ont'. or several of their properties,
1I1Id on bOlh sides prmleeding from II center or pivot , according 10 an aaceoding
progression on one side. ,Iel!eending on the other, like two flank s of an arm y....
and 'mellsured ' series, which eOnillrehend . at various levels ,3. 12 , 32 , 134 • "M.P'II
, ubdivi.sions." Anlland and Maublane, Fourier (paris, 1937). vol . 1, p. 127.
.n.
(W13a,fi)
Attording 10 Fourier. every pussion correspond! to an organ of the human body.
[W13a,1l
~ID U~rmony ... the relations a riging (rom the se.ries a re 80 dynamic tha t one hll8
little tune for rcmaining in one '. r oom ." Cited in Armand and J\oIauhlanc, Fourie,.
(Puris, 1937) . vol. 2, p . 211 . (W13a.8j
l'he f.... ur ·'sOllrct.>;i
· . 0 ( virtue
. .• III
. t I1e "..... 1tIe II or d es: "These soun:;es are the penchant
for .Iirt , IIlId the fet:lings of pri.le, iu'pudt'llce. aud insubordination ." Fourier, Le
N(m vellu Momle indllMriel et lIocihflire ( Puris. 1829), p. 246. III [W I4,1]
Wurk sib'n ul of the lit tl.· Ilurdcs: "The c1wrgc of the LitLle liorries i~ sOllnded in an
ullrual· ufh,'II.
. • C,I III11U,
' , {IrUIIIS, IIIH I truillpets. II IlUwllllg
' of tlogs alld a bellowlligof
,
hulls. 'fIlet! till! Hortlt:M. Ie.] by I"cil· Khlln ~ lind Druids, rus h forwllrd with a greal
shout
. , I"
) »slRg I,e( ure t III' pr"l' C~ t s. who II prlllkle
, tllem with holy water . . . . The
LUlle Hord!!B s hould be IIS!!Ocillk d with 11u: pricsthood 88 membeC3 of It religious
hr o tll t'rh(oOtl. When 11I...·furmin g their work , they IIlmuid wellr a rcl.igious ,ymhul
 . g. .. "Althou, ll the LiIlJe Hordes perform the mOlt
on t le lr C,ot, uli hi IUfficuit
aU it
. . . " th y reeeive the leal t r emune ration. They would acce pt nol Dr; at "Undl;!r tile term 'opera' I comprehend all choreographic exe~ise8, including
lasks. . .• l)ermltt
IhBt were e .ed .m 8S8OC18uOIl.
.• , . . . AU aut horiLic8, e.VI'1i munarchs.
. owe. the o f the rifle lind the censer." Fourier. Le Noul.-eau Monde inJlUtriel et '0-
t1I OSC
ciewire (I~ris, 1829), IJ· 260, (WI 'h,4l
Hrat ,alute 10 the L'Itu" e Hornell.
-' With their ,'ygmy horu"iI,
. the. Little Hordes he com-
'
rise the pobe 8 foremost repmf:n
• • Ui of cavalry'
• no mdu8trlaJ
. .. . army elill po a
p'ampBIj91
, Wlth h . Til ey u 180 have the prerogative ,,( nuOalmg
' oUi tern aU work done The phaJanstcry is organized like a land of milk and honey. Even amusements
SOCIeIOI~
. . , '"
(hunring, fishing, making music, growing Bowers, perfOrming in theatricals) are
in the n ame of unit y. •• eh ar 1ea Fo u rier, Jl
C Le Nouveau Monde mdu.un e et [W14,2]
(Paris, 1829). ,),247-248 and 24<~246 . rcllllUlerated. [,VI4a,5]

Fourier does not know the concept of exploitation.

" [If e tUrfare--or cun> ilin
' ear mode" (If the Little Hordes. in contrast to the [W lh,6l
aRoeUl/r til'
" mfmoeuvre rrlOderne----ur rec Ille a r mode" of the LittJf' Bands.
" " The
willHorde LO
f'f>
111 reading Fourier, one is reminded of the sentence by Karl Kraus: "I preach wine
~ 0 r vanega
semhles 1& squllre 'd . ted tulips: one hund . .red
. cava u:n
N logetm:r
M nde and drink water." [W14a,7)
d"Ulp ay two bun d-,' , .lors a rtistically contrasted. Founer, Le Ollveau 0 ,
... , [\\, 14,31
p . 249. 3:
Bread "lays onJy a small role in the diet of Ihe Harm onie,u .
[W14a,8]
" Whoever shall abuse qua d rope. ds birds . fish or inM:CI &, either' by
.1 hard
H dusaY' or
ADd "The illitiation of barbarians in the lUe of tacticli ill one of IJu: signs of the degen_
crll~l~y, ~illw
y . b liable 10 Ihe lribunal of the Lilue . or et.
by unneccM,sar :Id be broughl before this triLuuai of children, &ad eration . . . of civilization." E. SilherJing, Dictionnaire de lociologie phakm-
whatever ~s ag~ m~) t" , Ie, 0 fmenl 10 children themselves," Fourier, Le Nou.-
If/!rjenne (Paris. 1911 ), II. 424 (s. v, " tacties"). [W143 ,9]
treated a8 inferIOr In mora seD 1 n [W14,41
veCIU Morade (Paris, 1829), p , 248.
"The tavage enjoys seven natural righu .. , : bunting. IUhing, harveatin«. pas-
ture, exte.rnal thefl (thai is, pillaging of what belongs to other tribes), the federal
The Little Hortles are obliged to look after the cOllcorde lIoeiale; the Little ~;4~ lea«"e (the intrigues and cahall internaJ to the tribe). and insouciance." Armand
the charme social. and Maublanc, Fourier (Paris, 1937). voL 2. p . 78 , [W14a,JO]

"The Little Horde8 will ~:ome to the beautifu I" b yoM way of the good , by apeeulatiye
[WI4.5) The poor nlan speak.: " I ask to be advanced the necesllBry tools, , . and enou«h to
defllement. l" "~o uri er, Le Nouveau Morade, p . _55. live. on , i.n exchange for the right to steal which simple nature has given me." Cited
in Armand and Mauhlanc, Foltf'kr (pa ri •• 1937), vol. 2, p. 82, [W15,l ]
, 'd nel Druidesses, the Little Band! have
" JUIt a& the Little Hordes have their DrUl 8 a b Tb Y also have theif'oWD
. I re known 11.8 Cory anU. e In the phalanstery. a caravansary is outfitted for the reception of foreigners . A
their own adult aS8OClatea. w IU a I about Harmo ny. Wllereas the Utde
allietl among Ihe grOUp8 of voyagers who trave - v nllll"Csset wbo belODI 5p1Jcture characteristic of the phalanstery is the "(ower of order." nw building
Hordes are aUied 10 tbe big hordes of Adventurer8 an~ Add e 'th the bandt ofbig houses the optical telegraph, the control center for the signal lights, and the
carrier pigeons, [W15,2]
. h LiuJe Bands are associate WI
to the industrial arnues. t e Ii ts n Fourier, Le No~
Kn'glus and Ladies Errant, who are dedicated to the ne ar . [W14a.JI
veclU Monde(Pans, . J829), p. 254 .~ The circulation of works ulI('fuJ 10 all the plialanilieriell amountJ to 800.000 copies.
FOUrier lhinks, ahove aU. of publishing UII Encydopaeclif! natllro/ogjfJlre enlu-
. IIlllrde~. minee. [W15.3]
The Little Bands have jurisdicuon over 0 ffI;!lIses a gainst meadows and [W14a,2)
and over queltions of language.
foUrier loves to clothe the most reasonable sentiments in fanciful considerations.
. I ad the minds of the children cOlicerniDI
.Iiis discourse resembles a higher Bower language.3f f 15,4]
" If the vestalate called U»OIl to nU ll e
i ll f . 'tal. urinaryappar•• W
sexual relation!. I.he tad manl I;! r " E Sillwrling Dicliollfwire dtI
'f 5t in the U-ie of two sets 0 gem
FOUrier would like to sec the propJe who serve 11 0 useful purpose in civifu:.ation-
tus lellves the c.h il'
. I 'Ie
( 111 com" e . ..
j"norauce 0 sex.
42 (
. . ,
" t I") LikewUe . the co
ur-
those who merely gad about in search of news to conununicate--circulating
• ' (P
~ol;iu'ogu· l}h(llan.s!erlenlle a . ris 1911 ) , p . 4 I. V.
d . d '
leay of tllt' b"ys loward thegirlll in tilt' Little BaD S i ll l'Slgne
ac d 10 lIlask the meaDida
.
[W14a.3J
~ong tile ~bles
o f the Hannonians, so as to keep people there from losing time
In reading newspapers: a divination o f radio, born from the sttJdy of human
of gaUallllrehavior among adults.
character. (W 15.5)
Fourier: " Every calling h u ils cuulliermoralily Ilnd ii, IIrirh:iple!l." Cited iu Ar~
ma n;t anci MaulJlanc. Fourier (VHri!l, 1937), vol. 2. II . 97. Fuurier mentions. as
t!Jta mpl e~. Ie monde sala n' 11 1111 the wurld of dOmcstic serva nL8. (W 15.6]
" After three generations of l:1 a nnon y. two-titird. of the wurnell will 1M: unfruitful,
al iii the calle with aU fl ower ll wmeh , by the refinemenu of cultivatioll . have beel)
rai.~ed to a high degree of perfection ." Fuurier. La Fau.ue l"du! Irie (Paris , t83&-
1836), vol. 2 , pp . 560-56 1. 3~ [W 15,7}
The voluntary sulJluiu ivcness of the ~a vagc , wilh hili ,evcn nalurll.l rightll, would
be. accurding to Fuurier, the touchstone of civilization . It ill lomcu1ing firll oh-
tnined ill Harmon y. (WIS,8]
"The individu al ... ill a being t!sM!lltially false, fo r neither by himself aJone nor
wi th anotber can he bring about the development of the twelve pa!lsions , since
Ihese comprise a mechanillm of 810 keYI and their complement • . It i. therefore
wilh the IJRllliollaJ vortex alone tha i the Icale begins. and not with the individual
"entln. 1I Publication de_ mUIIII.5crit! de Fourier, 4 vob. (Paris. 1851-1858), 1857_
1858. p . 320. (WlS,9)
Mter 70,000 years comes the end of Hannony, in the fonn of a new period of
civilization, in descending tendency, which once more will give way to "obscure
limbs." Thus, with Fouria, tranSience and happiness arc: closely linked. Engels
observes: just as Kant introduced intO nanual science the idea of the ultimate
destruction of the earth. Fourier introduced imo historical science that of the
- Harmonians ncctl very little sleep (like Fourier! ). They live to the age of 150 at the
ultimate destruction of the human race." Engels, ATln-Diinn'ng, part 3, p. 12.-
(WISa,11
The mechauir.1I of the passions: " Tilt: tendency 10 hurmonize the fiv e senllual pal'
sions-( l) tuste, (2) touch . (3) l ighl . (.l) hearing. (5) sme.U-wilh the four affective
pIl8i!.ion5--{6) fri endship . (7) ambition, (8) love. (9) paterllity. This ba nnony laket
" lace through the medium of three little-kno .... n and abw;eti l'auioDIl. whicb I shall
('1111: (10) the c(lbu/i.fl , (11 ) the. b"tte,.jly. (12) thl" compo,ite." Cit~ from Le Nou-
vell" Maude . ill Armand and t.1aublauc . Jo'oilrier(Paris. 1937). vol. 1, I). 242.39
[W15a,2]
"A large numhe.r of uni verse;! (f(ince. OIiC universe, along with man and plan~.
constitutcs I lu~ third ('chelon , .. . Fllurit·r calls it a '·tri·vcr se ") go to forlll a quatn-
\'er~t:: und llo till . upl o Ultl octi. vc rse. which rep rcscnti ... uature as a wbole, the
loht lily of the. heill g~ of lIurmollY. Fourier ente rs intu ljOIll~ minute calculatiolU
IIt H I Ili in OU II Ctll lhat th .. octi· vt:rse ill CUlIlPOSL-d of 1tI..... universes." Armand and
Maulilallc. Fourier (Paris. 1937). vul. I . p. 11 2. [W15a.3}
On "liealltiful agricolture": "This 1)1,110' that today is so d ~ l'i.ij ..tl will he taken up
liy till: yuung prince, jusl UiO b y the yo ung pll'hdlI.D ; tltey willtugelher compete in a
~o r'- of industrial lournamellt . where each of the athlete! will test his vigor and
Ilcxterity, aud where cad. can show orf 10 a n autliellce of loveljes, who will bring
thc festivil.iel 10 " dose hy ~rvul 5 l un ch or II snack," Charle8 Fourier. Truite de
f'fu.ocialion rlome.Jtique-agrico /e (Paris anti London . 1822), vol. 2, p. 584. To tms
beml flsricole ltelong. furth er. the IItele!! that art' raised 011 flower--covered pede-
~ I ab and Ihe Ililsts of deller villg fann lahort:rll or agriculturists placed on alta rs
tha i are ~cll u c rf'. llh ro li gh the fields. "'Theie are the mythological demigoda of the
illtlustrial sect U!' Hl'riel ." Citctl in Armallft alld Maublanc. FourU!r (Pam. 1937),
\'01. 2. p. 206, Offt·t·ing3 of incenl!c are made to thenl through the Corybanu .
[WISaA1
Foorier rccO llllllCllt1s gearing the experiment , in the trial phalanx , toward pre.
cisdy the most el!l:c ntri t, cha r ueters. [\-V16,1]
Fourier "'as a chauvinist: he hated Englishmen and Jews. H e saw theJ ews not as
civilized people but as barbarians who maintained patriarchal customs. [W 16,2}
Fourier)s apple- the pendant to that of Newton- which, in the Parisian restau.
rant Fevricr, costs a hundred times more than in the province where it is grown.
Proudhon, too, compares himself to Newton. (WI6,3)
To the Harmonians. Constantinople l8the capital of the earth. [WIO,4]
very least . [W16,5]
" The ' oper a ' ' tanth II I the forefr ont of educational directives, . .. The opera is a
Icluml of moralit y ill outline: it i~ there that yo ung JK.'O"le are imbuecl with a
horro r of anything Jlrejuti,icial to troth. precisioD , and unity. At the opera , no
f3VOI' can excuse Ihe one whose nole is false, whose timing, &tel', or ge8ture is off.
T he prinr.e's child wl10 ha~ a part in the da nce or the choir must endure the trulh .
IllU.s1 listen to the criticislllJ! arising from the mane,. It is at the opera that he
lea rnl!. ill evcr y lIIove he makes, to subordina te. himllelf to unitary proprieties . to
/Stllcral uccord.s:' Cited in F. Armaud and R . Ma ublanc. Fourier (Paris . 1937).
\'ul. 2. pp. 232-233. [WI6,6]
"i\'o Uli t'. eVf' r dreamed . ill civilizatioll . of perfecting that p·ortioll of our dre~1! we
til l! ·o tlllosfl lll~rc.' ... It docs 1I0t s uffice tu change it merely in the rOOIll~ of cerlain
... e mu ~ t mutI"
'i.!lt .t's... . ·w I
I y 1 Ie allllusplu·re ill general a nd systematically." Cited
III F. Annand and It Ma l/blul/l', Fourier (Paris, 1937). vol. 2, p . 14S. [W 16,7]
FaunCl"•s texts arc n'dI 'm stereotypical locutions comparable [0 the graduJ ad
/Jil1"1iJJJJU"', .·" Almost every time he speaks of the arcades, it is to say that. under
pres~=.nt crrcumstances, even the king of France gets wet when he steps into his
catTiagc during <I ramstonn. fW 16.8J
Ten million frllnca would be needed for the erection of tllI~ complele phala n8tery;
three million , for the tri ull'halulI' tery. [W 16,9]
All fl ower betls uf I.h e Ha nnonia ll8 are ",hiehled" fru m too much m n and rain .
[W16,lOl
Of the: beauties of agriculture among the H armoruans, Fourier gives an account
that reads like a description of color illustrations in children's books : "The socie-
tary state will be able to establish, down to the m ost unsavory functions, a
species-specific luxury. The gray overalls of a group of plowmen, the bluish
overalls of a group of mowers, will be enhanced by the bo rders, belts, and plumes
of their unifonn, by glossy wago ns and inexpensively adorned hamessa, all
carefully arranged to protect the ornaments from the grime of work. If we should
see, in a pretty vale of the medleyed English sort, all these groups in action, well
sheltered by their colo red tents, ","Orking in disseminated masses, circling about
with Hags and instruments, singing hymns in chorus while marching; and should
the region be sprinkled with manor ho uses and belvederes enli~d ~ colon-
nades and spires, instead of with thatched COttages, we would verily believe that
the landscape was enchanted, that it was a fairyland, an Olympian abode." Even
the rape cutters, who lack high standing with Fourier, have a part in the splendor,
and are found "at work in the hills, raising their pavilions above thirty belvedeJU
crowned with golden rape." C ited in Annand and Maublanc, /iJuritr (Paris,
19371, vol. 2, pp. 203, 204. [Wl'" l l
Furming a mesh- ror example. belwt:en berding, plowing, lind gardening: " II ia
nut necessar y thai this inter change he total.....--say. tbat a ll of the twenty men CD-
gaged in tending f1 0cu from 5:00 10 6:30 go off a8 a group to work in the fields ~m
6:30 to 8:00. All that is neces,ary i8 for each seriell to provide the othen WIth
several membenl taken from itll different groups. The exchange of a few memben
will s uffice 10 esta blis h a linkage or meshing between the differenl series." Ciled m
Ar mand and Ma ublallc, Fourier (Paris , 1937), vol. 2 , PI'. 160--16 1 (" E880r de !.
[W16a,2]
' papilluuoe ' '') ..11
It is nOl JUSt the despotism but ilio the moralism that Fourier bates ~ the great
Revolution. H e presents the subtle division of labor among .Harmoruans. as the
antithesis of egalill and their keen com petition as an altemaave tofra/mult.
, [W16a,3]
In Lt NOIJIJtau MOflde itldu~tritl (pp. 28 1- 282), Fourier's ranco r against Pestaloz:ri
.,... ..
is very evident. H e says he took up PtstalOlZ.l s mtultlve me
thod" · his 'fraili
U1 .
~de 1'(lJ~ocWlion dOlnu tique-agricolt>of 1822 because of the great success It had had
with the public. Lacking such popular success. it would have created an unfavor-
able impression on its readcrs. -Of Yverdon he recounts, ~l best, tales o! ~~
caJculated to prove that insrirutiol1s of hannony cannOt be mtroduced Wlth unp
..
ruty m to CI
.viliz
· anon.
. [W 11,1I
Umll'T the lieaJ ilig "' Le Gar antiSlllC ,I'mu e" <T he G u ura nt ~ill m of H e ari llg~, and
iii COUj UDCli<)1I wil li the IImeiior ll tioli or l.opular SI)et:Ch habiUi a nd of the musical
r ,lucation of Ihe people ( wor ke ~h oir8 of Ihe thealer orTo ul ullse!), Fourier Irea lS
\If lTIf'a iu rc~ ttl Ill' 11I kcn lIgain! 1 n o i~c. li e wa llIS the wQ r ksll(Jp' i,olated Dnd , fol'
I.lw !flOij l 1"II·t , Ir !l ll ~ ferrcd 10 the s uhurh8. [W17,2]
'I'" ..·II-I)huUli.ng: " A mli ll who wis ile8 10 have u hrillialll d ra wing room is kt.:enl y
a"'are Ilta l tile hcalilyofthe pri ncillal room ca liDot do without thai oCthe avenue •.
W h ll l is Olle to think of a n ele@:allt lii0i10 11 Ihlll r etluirCli the visitor , on hi, way there.
fi N t 10 I'a" throug" a cuurtyard litlcr et.l with refuse, a dtnino-·e.1I full of rub bish ,
IlIlil an flll iechamhe r providN.l wilh 0111 and uncouth furn i.JJ hingH? .. . Wh y is it ,
Ihell. d ial the jl;uod taste evimlCfI by each in(lividu al in the. d ecoration of hiBprivllIe
uLodc is 1161 lTIi:t wil h . as well. ill our a rchitects reli plllisible for tholle collective
abodes known U8 I:itici? And why has n 't one of the myr iad princes and a rli, l" ...
('ver hUlllhe id ea uf adorni ng, in apprOllriate degree, the three Componen ts: fau-
bOl1 rgs, amlt' xes, lind a venuell ... ?-' Ch arleMFourier, Cite, ouvnereJ: Modifoa-
a
tiO/l $ introd uire don, l'architectu re. lIe. ville, ( Paris. 1849), pp . 19-20. Among
mallY other p rescr iptiolls for urhall planuing, Four ier imagi ne, some that wou1d
allow one 10 rt~cogllize. rrom the increasing or Il~: rea s ing decoration on the build-
Lngs. whether onc was a pproaching or IIIl1ving awa y rrom a city. [W 17,3j
Barhariao _civilized , a nd harmonian town Illannin jl;: LoA barhariao town ill formed
or buildi ngs h a phaza rdl y auembled ... and eonfwedly groupt:d along slreelll thai
arc tO rtuou8, oa n-ow, badly const ructed . unsafe. and unhealthy. Such . in gener al ,
are the cities olf France . . .. Civili7.t!<llowns have a monotonou" imperfect order,
a dw(!kerhoard paltern , as in _ . . Philudelpbia , AmSlerdam , Nancy, Thrin . the
new purts of London and !\l aMle.ilIes. and other cities which one k nows by hw rt u
soon as o n ~ has looked at th ree or (our stree ts. Further ins peetion would be
I>oi.n tiess a nd d ispiriling." In conl ra! ltO lhis: " ne ulral har mony," "which recon-
cile.. incoher ent order wi th a combined order." Fourier_ e itel ouvner eJ . pp. 17-
18 . fW 17.4]
Th~ Ihl·lIIoliia ns lI~ilhcr ackllowlt~d gc nor desire-a ny !w lid ays. [W1 7a, l ]
[W 17a,2)
l'uO~l!"nd _ ill 1848, ... as a lllung tbe r!"lullller&of Ihe Societe RCIJUhlicuille Cent rale
fUlIiIltIUi -s 1·luL ). rWI7a.3]
Clalltil'-Nieulas 1..c.I(>Ll x: " Like ullthe 1:lImmlinol (Iwellilljl;~ c.1I\·isiuned for Ch aux,
tll C hus pice (a Il;Iw-r iiw iilrucl ur e rilll:;CiI hy arcades allli c.nd nsing a S(lua re court -
),ar(l) lIas Ille tlls k ur furtlif'ri nS II II~ ltIura l d C\'.II tion of hunlankilld , insofa r as it
('lI r .. fu ll ), tt'su .the J.H.'O Jllc iI 8ltd"·rli. a llow8 th .. gu....d their freedom , and d .. t a in ~ tile
1,1111 fror "6ml'lI/sury lulIQ r. Tu whot {'.xtClIt tlu~ .II rtis t Wit S gri pped by the refUrlllilit
idea ... nf those d ura I·un he 8...0(.'11 in the pceulillr pr ojcct <If till" ' oikcmu .' Alrcad y
quiteeecentric in ill uutward aspr.i: t , thi, elongated buildillg with itt Creco· RolbAa
ve, tihule a nd windowle.88 wa Us wu to be the place where a lIew lexu al ethic Waa
piuneered . To reach the goal of high er lexual moralit y, tht' ' I)eelade of buman
diu ipatioo in the oikema, in the houle of uninhihited plIssions. was supposed to
lead 10 the path of virtue ami 10 ' Hymen 's altar. ' La ter, the a rchitect decided lbat
it would he better ... to grant nature ilt rights .... A new, more liberated form of
marriage was II} be ins tituted in the oikema, which the architect Wallted to l ituate
in the most beautiful of landscapel. ,. Emil Kaufmanu . Von Ledoux bis Le Co,..
busier: Ursprong und EntwicklunH der aUlonamen Architektur (Vienna and
Leipzig, 1933) , p. 36. [W 17a,( J
" During a large "art of his life, Crandville was much prcoccupied with the generil
iclea of Analogy!' Ch . Baudelaire, Oeuvres, ed. L.e Dantec, vol. 2 ( Paris, 1932) ,
p. 197 ("Quelques caricaturistes fran~ais") ..u [W17a,51
H.J Hunt, Le Socialisme et Ie RomanrufM en France: £/utU de fa prwe JfXialisle tiL
1830 Ii 1848 (Oxford, 1935), provides, on p. 122, a notably concise and fdic:i.
tous statement of the main lines of Fourier's doctrine. The utopian elemenr:
recedes intO the background, and the proximity to Newton becomes clear. Pas·
sion is the force of attraction as experienced in the subject; it is what makes
"work" into a process as natura1 as the fall of an apple. (W17a,6J
" In contrast to the Saillt-Sirnoniaos, Fourier has no lise for mystici.sm in aeltbetic
matters. In his general doctrine he is certainl y mystical. utopian , mess.ianic ifyaa _
will. but in spealcingof art he never once utters the word ' priesthood.' •.. 'Vanity
takes over and impels artists and scientists to Bacrifice their fortune [which they
would b ave needed to preserve their inde pendence] to the phantoDUI of pride.'''
H. J . Hunt , IA Socialisme et I.e Romantisme en Fmnce (Oxford , 1935), pp. 123-
rn. ~1~
x
[Marx]
The man who buys and sdb n-vcals something abou t him.sdf
mon- din:::a and less com~d than the man who di.scoursa
and battles.
- Maxinx Leroy, Ln SPituli1hlJllJfrmrii:rtJ rk Saint-SimOTl
tl SfJ qumlltJ dfiffoirf!J~' 11m aJJtKiI, Ie romle tk &dtrn
(Paris <1925» , p. I
" We see how the history of indu8try and the established objective existence of
industry ar e the open book of man's essential powen .... Hitherto this was con-
cdved not in its inseparable connection l'Iith Illalt'l etl8elltia l being, but only in an
external relatio n of utility. . . . Industry is tbe actual his torical relationl hip of
nalure--and ther efore of natllr al science--Io man ." Karl Marx, " Nationalokono-
ruie und Philolophie" (1844) [Karl Marx , Der hutorilche Materiawmw , ed .
Landshut alld Ma ye r (Lei pug <1932). vol. I , pp. 303-304].1 (XI ,I]
" Not only wealth but, Iikewi.se, tht: po verty of man- under the alliumption of
lOCialis ru--rec:::eives. in equal measure, a human and therefore lIOCiai sipillicance.
Povert y i.1I the positive bond which causes the human being to experience the
grelltest wealth- the other huma" being-as need. " Karl Marx . "'Nationalokono-
mill. und Philosophie" [Karl Marx, Der llistoruche Materia{umus , ed . Lands hut
a nt.! Mayer (Leipzig). vol. 1, p. 305).l [X 1.2)
"The cOlleiusion Marx draws for the capitalist ~nomy: wit h the purchajing
ItO wcr giyen him ill lhe form of salary, lhe worker clln purchase onl y a certain
anwunt of lOods. whoJ<{" production re(luired just a fnetion of the labor he him!idf
hil~ proviclctl . In odler words, if the merchandise he produces is to be solll by hill
1'lIlployc r li t 11 Jlrufil, he must always I ..:. tu: pending surplus labor." Hf:JIryk GrO!lS-
IlI lIn ll , " Fiinf:r.ig Jahre Kampf um lien Marxismllll:' WO rterbuch J er VolkslClirl-
$clloft. 4th cel., ell. Ludwig Elster, yol. 3 (J ena , 1933), p . 3 18. [X I,31
Orj ...
~ ,. offal se t;onSClOusness:
. ·· 0 ·I VIIIIon
..(.0
fI
a llor
LeCO II":8 trul y !Iud , ollly from the
OlOllleut when a dj yillioll uf material and mental lalmr appears . . . . Frlllll thi ~
II'lOlIICllt ollwurd , cCinsciotumell1l can reully ttatte.r itself thut iI i~ !lomelhiug other
 I'oinl of J eparlllrf' (o r a e riti'lue of " cuhurc": ""The l)Ositive transcende nce of
thon consciollslleu (If exi@ting practice. tlml it really re pre.en U lio niCthing wi~out
p6vah' Iwopcrt y, as Ibe approprilltirm of buman life, ill ... the positive trunscen-
rcprcsmlliug sOlllo!thing real " -'MllrJl lind Engd 8 iiber r e ue rba .. ~ : Aus clem ~ter­
c1,' ''~ ,.,f a ll enra,,~e lll e nt ; tllftt ift to l ay, tile rduro of man (rom rdigion , £amily.
a rischen Naehla8M vo n l\hno: lind Engels," in Mur~EngeLs ArdulJ. ed . D. RJa:r.a-
~ Iute. and 5Q 011 , to hii! hUlII311- lhal ill, sociul-ex:.islt:.llce." Ka rl Man , Der his-
,
1I0l' , vo . ' (Frollkfurt 11111 Main <1928, ), p. 241P [X l ,4]
ro riJcJ.e MUferialisrrllU. ed . Mayer a nd Lllndshut (Lei p~ig). vol. I, p . 296 (" Na-
titJllulijkoliOmil! ulld PhiJo8')I,hie" ).1 [X la,4]
A pllssage on the RC\'olutiOIi liS a " Last Judgment" o p(lOSC~ . I O tilt" o~e Oruno
Baller dJ'caml o(--one thai wo uld us he r in the victory of cotIC:a l conscio us ness: A Ih'ri,"utitJlI of da ~1I ha tl"eil thai draws o n Hegel: "The annulling of objectivit y in
" The hol y futher of the dlUrch will he greatly surprised when judgment day over- l h e fo rm of t!s tnmgement ( ....,hich bas 10 ad vance from indiffer ent Coreignneu to
ta k cs crum ,~~~ •... a d ., when the refteetion of buroing cities in tbe sky will ma rk the
,..'ui. anfa goni8tic eSirangemellt) means l!i.lua Uy or even primarily, Cor Hegel, that
daw n: when together wilh the 'celclililll barmonies' Ibt'! tum:s of " La ~1~rlleillai8e" it iJ1. objeclivit )' whit·1I ill 10 be anllul ll!(i. I>t:cause it ill 1I0t the d eterminate charac ter
8 n d " C armap10 ,e " will .. - _h"v in his ears accom"anied
I'
by the reqUiSite roar of - uf Ihe o bj ~t hut ra the r iu objective character that is offensive a nd cOll6litutea
cannon, WI 'th t' Ie , uill.o, ·
,
" . "n" beating time ·
• when the infa nlOus 'masset' will t ho ut, t:li trulIgclllc rH for self-conscio us ness. " Ka rl Ma rx , Der h iJtoriJehe iUuterioli.tmUJ
.. ,.. . . . P' nd , u"~Dd (o ur/lebn 'self-conlcioul ness' by t he lamppost ."
.... a Lra , Ita Ira , a r - 'J ( ki p ~ig) , vol. I, p . 335 ("Na tionalOkonomie lind Philosophic").' [X l a,5J
" Marx und Engeil liber Fe ue rbach : AilS d enllilcrarillchen NachlaSl von Marx ~d
En!;els ," ill ftlo,.x~Engcu Arcl,ill, ed . D. ltjaz8110v, vol. I ( Frankfurt am Mam), Conllnunillm " in i1ll fi rst form ." "'Communis m is, , " in its firllt (onn, only .gener·
'' 0 • [Xl ,S]
I)' ....... Il li::(Jlion lind cOnSlInmllitio n of this rd utio ul h.ip f tha t is, of private property] ....
' Fo r it . the lIole pnrp<llltl- of life a nd exilltcnce is direct, physical posscu ion . The tas k
Self-alienation : "The worke r produces capital; capilal pr~ucetl hinl-hen~e, he of thc (aborer il 110 1 ,Iolle away with , but extemled to all men . It wants to do a way
produce. hUlilIClf, ami .. , his huma n qualitietl exist only w sofa r as they ~I for by jorce wilh lale nt, and 80 forth .... It may be l aid thaI th.it idea of the commu.-
,.a pital alien 10 him. , .. The worker exists 88 a worker only ~hen ~le UUlll{or nity 0/ wome n gives away rhe ,eeret or thi Bas yet completely crude a nd thOUghtlel8
·
Ium.'lc If a ' ORpita l', a nd he exist!! as capital only wllt:n l ome capital eXISts/or hun,
Chi lifo
("OllllllwLism . J us t u wo man pussel (rom marriage to gener al prmtitutlon , so the
The existe nce oC ca pital is h iJ erutenee, .. . t inee it dete rmines the tenor 0 • e entire world of w('alth . , . passe! Crom the r elationship oCexclusive marriage with
ill a mallne r iudiffe rent 10 him .. , . Production .. , producc[,) mall ~s a ..: • - the owne r of private propert y 10 a Btate of univenal proltitutioD with the CODllDU'
'__ .1 '·-in, " KII..J M.al'x Der hUlOrUclie Mo leriowmul: Die Friilt- nit y.. , . flow little th.i8 annulment of priva te property is reaUy an appropriation il
de IIIImOnl'::c;::u m: . . , ("N . al
schrijfell , ed . La ndshut aud Maye r ( Leipzig), " 01. I , pp . 361-362 allon· , .. pruvt. d by the ah KtraCI negation flf the entire world of cu1ture IlDd civilization,
~. . h ~ ") 5 [Xla.l] t he regresllion to tile uflnutural simplicit y of the poor a nd undemanding man, who
ukononue und Philolop Ie '
hu.s IIOt only failed 10 go beyond prh'a te prope rty, but h as not yet even reaehed it."
on the d octrine of rtvol ullo. ns as annervatlOns
~ ~
0
r the co' Ueetive·. " The tran8«D-
. . ( all humaD
Karl Marx. Der hiJlorisehe MaleriownUlJ, eel . La.ndl hut aod Ma yer (Leipzig),
denee of private propt'rty is . . . tilt: complcte emanCipatio n 0 . r vol. 1, Pl' . 292- 293 ("NatioliuJokononLie 1I.nd PhiloIlOphic").lf [X2 ,l j
. . ' b ,. the s enSei and rwnde 0
sen!)eI .. , hut it is Llns e ma nClpallon .. ' ecMU " ,
, ~. B ' I Ii e direct organ8 there-- It would be an errol' to deduce the psychology of the bourgeoisie from the
otht!r me n ha ve bt!come my OW" appropralitlOn. Clllle6 les '. .
, . . I" t a6!)OCI.bOn attitude of the consumer. It is on1y the class of snobs that represents the stand·
((Jre . social o rganl develop , . . : thu ll . for ins ta nce, activity anrl:( art!c d a muue __.J (
with othc rs ... hll ll beco me a n organ Cor pxpreuirlg Illy own :Je. al~ .
0
wa point of the consumer. TIle foundations for a psychology of the bourgeois class
' ,>p.o" riatillg III/mall life. II is ",h"i uuB thai the IlImwfI eye. ellJoy~ tlUIlp! U1 a th' arc much sooner to be found in the foUowing saltence from Marx, which makes
i r differe nt Crom e it possible, in particular, [0 describe the influence which this class exerts, as modd
diffe re nt from Ihulof Ih ~ crude, nonhunlllll e)'c; I.he UJllllm ell . . F "h
~ . h '/ . " ,. Die rll - and as custOmer, on art : "'A certain stage of capitalist production dictates that the
" K •• , Marx Der lustoruc C I' (lfe rllluJIIIU .
e ru d t: ear: a n d f O 0 11. . • . ' h· ") '
schriJferl (Leipr.iK), "01. I . pp . 300-30 l ("NationalOkoIlOmlt: lint! Philo!)o!, ~1;,21
capitalist be able [ 0 devote the whole of the time during which he functions as a
capitalist- that is, as personified capitaJ- to the appropriation and therefore con·
trol of the labor of others, and to the selling of the products of this labor," Karl
Marx, Va; Kapillll, <vol. 1,) ed. Korsch (lkrlin <1932». p. 298. " {X2 ,2]
'·The .. lIlure whic h Ilt·velO PIi .an , Hilli n" , IIl1
. tol"y- '" Ie t 'liesis of blllllllll sociely-i!
gb .
11\11 11 " realu utu n:: ; hCllce, IIl1lure II I il tl t!w;lopl t hro ugh indus try, evt!1I ~hou . ;:;
,_. I ,. K 1 Marx Der h"wrU C 1-" ·... 111 M ur.'( .. Ku llirof , "1)1. 3. part I (fi a mllUrg, 1921) , Ii, &,l : "The advice flf the
1111 I!sfrulls ed fo rlil . ill Irut' flllrllrolJOwglC(J nuture, - ar '.. vol I , bUllk(' r . , , mOrt' valu nhlll tha n 11131 of I.he pnL'1II." Citl!d ill Hugt) "'i.!!(:he r. Kurl
MfiferillliJ/IIul: Die f'rjih.Jchrijfe," '. ed . l~r:.d s~IUI alld Maye r (UIIIZII)· [X;a,31 M(Irx IIml sei" Vflrl!iilr,lu ;11 S tellif IWll Wiruc:h(ifi (J ellll. 1932), p . 56. 12 (X2,3j
II. 3M (" Na tiollaW koIiIlDlIO' IIl1d Iiniosoplllt:. ),
Time in te.:hnology: "As ill II gtlllUille polilicill action, the choice .. _ of the risht
mument ill crucilli. ' That a cllpilalist should command Oil the field of production is
1I OW as indispensable liS dilit II gcneral shoultll:ommand on the tielll of hattie' (vol.
1, II. 278)." ... 'Time' has here, in technology, a meaning different from the one it
has in t.he hillioriu l evenls uftheera , where •.. the ' actions aU unfolti on the same
plane .' ' Time' in technology ... also has a meaning differenl frolll tlleolle it hal in
WOOl"rn economic', which ... measures labor-time in terms of the clock ." Hugo
Fischer, Karl Marx und !ein Verlliiltnu :::lL Stua l und Wiruchuft (J eua, 1932),
p . 42 ; cilation from KUI)ilul <vol. I ) (Berlin . 1923). [X2,41
"' If you recall that Cournot died in L877. and that his principal wor k.! were con~
ceived during the Second Empire. yo u will recognize Ihat , after Marx , he w.. one
of the most lucid minds of his da y.... Coumot goes well beyond Comte. who it
misled by the dogma of hi! Religion of Humanity; beyond Taine, who ill miJJled by
the Ilugma of Science; and well beyond the nuanced skepticism of Renan.. . . He
utten this admirable sentence: 'From being the king of creation . man hal faUen_
or risen (depending on how oue underlltands it)--to the r ole of eOnceH8ionaire (or
a planet.' The mechanized civilization of the future in no way ~ I)rt!sents for him
' the triumph of milld over mailer ' .. . ; rather, it ~pre6ents the triumph of the
rationaJ and general principles of things over the energy oml1lualities proper to
the living organism." Georges Friedmann, La erne du prog rel (Paria <1936» .
p.246. [X2a,l]
"'fhe dead mutter wall an adva nce over living labor power: second . it it coruumed
in the IIl11er '/I blaze; and third . il once again takC6 its place on Ibe throne . •.. For
even before the enl.rauce of the worker ' inlo the procells of production . hU own
labor is estra nged from him. a ppropriated by tbe capitalist. and incorporated mlo
ca pital: and during the process. it ill continually materiallied as an alien product.'
. . . Tile deadly thing that IIsllailll technulogy from all direction! is economic• .
Economics hal, for iLl object , the commodity. 'The procell8 of production' that
begins in II blue, as lallllr eugages its products, ' is extinguished in Ihe commodity.
The filet that lahor power wal expended in ilS fabri cation now appeartl aI a mate-
rial propert y of the commodity, u tile properly of posseuing value' (vol. 2,
I'. 361) .... The action of a man , as the unique lind 'enli~ connected act of pro--
dm:lion' (\'01. 2 . " . 201 ), i8 already more than the agent of this action . . . . The
aclion already takeN place ill a higher sphere, which has the future for itself, the
spher e of h!clmi('s. wbilc the agent of fllill action. as isolated individual . reDlllinl in
the sphere of economics. ami his IIroduct is likewise bound 10 Ihill spher e . . . .
Across tlli: European contilltlllt . tec!umlugy as II whole forlll 8 a lIingie ~ illluitall eo ~s
action. insofa r as it tales effC1:t (I S leclulOlog)'; the ph ysiogJlomy of the earlh IS
from th t! ouuet Irunsform ed wilhin Ihr OJpbcre 6f technics. lind the gulf between
cit'j fi nd couutry i~ tlltinultcIy spannetl. Hut if tile. d eadly forl:e nr ~(Jno"tics should
gaillthe 0llper halld . Ihell the reperilioJl of humologous magnitudes tbrough Ilbso-
lotdy ilitert'hllngl~llblll e:OJi h:IU.'e8 , the production <,f conllnud ities through the
agcncy of the wurker. Ilrevails over tile singularit y uf the tLoclmolugical action."
Hugo Fisdlt~ r. Karl Marx. lind tein Verhiiltnill zu Staat Imd Wirt,cllOjr (J ena .
1932), PI" 43-45; tile citations lire from Kapilal <vol. 2> (Hamburg. 192 1)."
[X2a,2)
"'The same silirit thllt constrocts philosophic: systemll in tbe brain of phiJosopheu
builds railroads with the hands of workCJ"II. · ... In the dcscrt of the nineteenth
ct"nlury. according to Ma rx, teclillolegy is the only sllhere of life in which the
human being mo\'es a l the center of a thing. " Hugo Fischer. Karl MaN,: lind lein
Verhiiltniil :::u Stllat und Wirtlchllft (J ena . 1932), I'll , 39-40; the cilation of Marx ill
apparently from Man: and Engels . Gelammelre Schriften . JB41- 185Q (Stuttgart,
19(2). vol. l. p . 259.'.i [X3. IJ
On the divine forebear s of the charla tan: "The variotls llivine IInCCfltOI"fl h ad by
now (at the end of the eighteentb cenlury] revealed not only prescriptions for
elixin;; of life but also methods of dyeing. indications for spinning silk, and lIecreta
of tiring clay. The industry was mythologi.ted . to Crete de Franceloo, Die Macht de!!
Charlotanll (Ba8el ( 1937»). p . 154. [X3,2)
Mllrx emphalli.tes " the decisive importance of the transformation of value and
price of labor power inlO Ihe form of wage~, or inlo the value and price of labor
illleif. Thili phenomenal fonn . whiGh make. the actual relation invisible. and.
indeed . shows the di rect opposite of that relation, form s the b asis of aU the juridi-
cal notions of b otb laborer Ilnd capitalist. of all the mystifications of the capitalia.
tic mode of production. of all ill illusions as 10 liberty. I t Karl Marx, Dal Kapital
<vol. I) . ed . Korsch (Berlin <1932»). p. 499. I" (X3,3]
"Had we gone further, and inquired under whal ci rcumstaDcetI all or eveD the
, majorily of prodUClA take the form of l..'O mmodilies, we shouJd have found tbat thia
can happen only wilh production of a \'ery spccilic kind: capitalist production ."
Karl Man: . DiU Kapitul <vol. I >. ell . Koracb , 1). 171 . 17 [X3,4]
''"This race of peculiar commodity-ownertl." al Man: alone poinl ca.lla the prole-
tariat (Kapilul <vol. b. ed. KO rlch , p. 173). Compa re: "Natural instinct of the
(;ommodit y-ownerfJ" (ihid ., p. 97). I. [X3,51
Marx opposes the idea Ihal gold allil silver are olil y imaginllry values. " The fact
that money ca n . in f:e.rtllin fun ctiollJl, he. replaced by mere symhols of ilAdf gave
riSe to Ih at other mi ~ tak ell 1I0tion: thlll il is itself a mcre symbol . Nevertheless,
~mdel' lhi ~ error lurkc.d a prc.senliment thallhe money-form uf an object is not a n
Illseparable part (If tllat ohject hut is simply Ihe form under which certain social
~t' la tiolls manifesl thelllseh·ell. In Ihis sellse, every COllllllodily is u symbol . since ,
~II R(lfar as it i8 value, it is only the. material en vcloll·e of the human labor Spellt upon
II . !lut if it be declared that ... the malerial fflrms ass umed by the social qu alities
of lahor under the regime of a definite moUe of prod uction a re mere synlbols . it is
ita the sallie brea th also dl!ClareJ I.hut these. characterittiCi are a rbitrary fi ctions
IIlI nCOOIiOO by the !J(}-(:allt!tl univertlal cOllsent of mallkind .·' Note after "slJent llpun
if' : "'If we conRiticr tilt· concept of value, we. IIm,,1 IOI,k on till' thillJ; it,.t,1f as ulily II.
symbol ; it coun " not as itself but ail wl.a l it iii worth ' (Hegd. Recil'l pl,i/lJ8QIJhie,
adtlitiun to paragraph (3)'" Man, DCI$ KOf)ilal <v•• i. 1 >. ed . Korsch, pp . 10 1- 102
("'Ocr Au s lauschprozeS").'~ (X3,6]
Private properly liS origin of the alienation of human beings from one anot her :
"'Obje1:u in themselvC3 a re extl'rnal to man , allli consequently aliena ble by him. In
order that this alienation may he reciprocal, it ill only n ~cs8aryf(or men , b y a tacit
under standing, to treat one anulher as private ownl!r8 of tho5e alienable objt"C18.
and by implication as independent individuals . But such 8 IItal e of reciprocal
independence has no ex.i.!ltence in a primitive society buse(1 01. properl y ill com.
mon o ... The exchange of commodities, therefore, fi rs t begin.s on the bound aries
of such communities." Karl Marx , Dos Kapital <vol. h, cd. KOrBch (Berlin ,
1932). p. 99 (" Oer Austauschprozell").2I.> (X3a,l]
" hi order tbat ... objects may enter illto relation with Olle another as commodi.
ties, their guardians mUlit place lhenllelves i.11 relation to one another. as persona
whose will resides in those objects. " Marx , Dfu Kal,ilal <vol. 1> . cd. Korach
(Berlin , 1932). p. 95 (,'De.r AustausehprozeS"),!1 (X3a,2]
Marx recogni7.e8 a climax in the deve.!opment , and ill the transpa rency, of the
fetish character of the commodity: <><rhe mode of pr<Hluction in which tile product
takes the fonn of a commodity. or is produced Jirectiy for exchange, ill the 01081 _
general a nd mOHt embryonic fonn of bourgeoill production . It tllerefore makea itl
appearance at an early date in history, Ihoug). IIl1t in the same predominating and
characteristic manner 8 S nowadays. Hence. ils fetish character ill relatively cuily
stlen through. But when we come to more concrete forms, even thia appearance of
simplicity vanishes." Marx, Do, Kopital ( vol. I ), ed . Korsch (Berlin , 1932), p. 9"
("Fdischchara.kter "). U [X3a.3)
The modd. according to which the polytechnical education demanded by Marx·
ism Olust orient itself: "Tbett are , .. states of society in which one and the same
man does tailoring and weaving alternately, in which case these two fonus of
labor are mere modifications of the labo r o f the same individual, and not special
and fixed functions o f different persons" (Marx, Kapifai) p. 57), These various
modified acts of labor on the part of one individual are not compared with one
another quantitatively, in tenns of duratio n; to the abstraction " mere labor,"
which we can educe from them, corresponds nothing real ; they stand within a
unique concrete labor-context, the res ults of which bring no advantage to the
owner of commodities. Compare the fo llowing: "For a society based upon ~
production of commodities, in which the prod ucers in general enter into sooal
relations with one: anothe:r by treating their products as commodities . . . ,
whereby they re.dutt their- individual private labor to the standard of homogene-
ous human labor-for such a society. Christianity with its cullUJ of abstr"act Ill3l1
... is the most fitting form o f religion." M arx, KapitaJ, p. 9 1 ("Ferischcharak..
~)~ [X3 a,4]
"The body of the commodity, which serves as the equivalent, figures as th(
materialization of human labor in the abstract, a.nd is at the same: time the
product of some spcci£ca1ly useful concrete labor. This concrete labor becomes,
therefore, the medium for expressing abstract human labor." In this latter i!
contained, as Marx bdieves, all the mis~ of the commodity-producing society.
(The passage is from Kapifal, p. 70 ["Die W=rtf"orm odcr del" Tauschwcn "J.)1.I In
addition, it is very imponant that Marx imrnediatdy after this (p. 71) refers tc
abstract human labor as the "opposite" of the con crcte.-To formulate differ.
ently the misery at issue here, one couJd also say: it is the rllisery of the commod.
ity·producing society that, for it, "labor directly social in character" (p. 71) i!
always merely abstract labor. If Marx, in his treatment of the equivalent form.
lays weight on the fact "that the labor of private individuals takes the form of it!
opposite, labor directly social in fo nn" (p. 71), then this private labor is precise])
the abstract labor o f the abstract coIUmociity-owning man. [X4,l :
Marx has the idea that labor would be accomplished voluntarily (as lTauai
ptwionni) if the commodity character of its production were abolished. TIu
reason, according to Marx, that labor is not accomplished voluntarily woulc
therefore be: its abscract character. [X4 ,2:
" Value ... COlivert8 tn'ery product into a sodal hil!roglyphie . Later on, men try I(
decipher the hier oglyphic , to get behind thl! secret oftlleir own social products; (01
the tlefiniti on of the object of utility as value is jUt t li S much their social product al
language ." Marx , Dos Kt,pitul <vol. h , p. 86 ("Ocr f eti.sehcharakter der Wan
Imri sein Cebeimnis"). n ,, ex'"
":n e general value-form, which represents all products oflabor as mere congela
tJ.o~ of undifferentiated human labor, shows by its very structure. that it is thl
SOCIal expression of the commodity world. Thus, it reveals that within this worIc
the genern1.ly human [that is, the impoverished and abstract] character of th<
labor constitutes at the same time its distinguishing feature as socia1 labo r." Marx
DaJ Kapifal <vol. h . p. 79 (o;Die "W:nform odCT der Tausch'A'Crtn)."-The ab
StraCt natun::: of the social labo r and the abstract nature of the human being wh(
relates to fellow humans as an owuer correspond to each other. [X4,4
".ll liw a rl' we to tx"rcs~ Ihll fa ct tha i weaving cr eates thl! value of tile linen nol L:
Vtrlllt' of being wellving, liS sud. , but by n'lI.3on of its gener al properl y of beilll
hUnla li labo r ". S'lin))'yb y 0l'pO.!illl " g tu wruvlIIg th at other parllcular
, form of con
1·,'I'tf: lab or (.III .• . . ., ' ) ,
UI.S llista llt·t:l tal Ol1l1g , wlndl produ{'es the equh'lI lellt of tJ.e prllli
lIet (of wea,·ing. Just lIS the coa t in il s bodily form beeallle II (Ii ~ l expr euion 0
\'Illu c, so now docs hliloril1li:. a CO I1 CI't: h :' f"rlll OIf Inhor. uppea .· II~ the direct ant
,'alpable embodiment of human lahor generally" (Kupitflf ( voL. 1). p. 7 1 ).~: Tlii
ill what Marx ill referring to when he writell in the sentence preceding this paallage:
""In the valulH:xprt:u ion of tJu~ commonity. the tabll!ll are hlrned ." At thill I)()lnt a
note: '"Thill inversion . where.by tbe kDJl UOu-,-concrt:te countll onl y aB a phenome-
nal form of the abstract-generll l--ralher l.han th t'. ab!!tClu:t-general 311 a property
of the concrete--ia du. r acteristic of the expression of n lue . .. . If J $8y: Roman
law and Genna n law are botJl sys tems flf law, my IIlatemenl is pe rfectl y se\f-eYi_
deo t. But if I lIay: the law, thllt ah stract concept , realizel iuelfin Roman law and
in Gennan law, thuse concrete legal syslems. my context becomes mys tica l" (p . 71)
("D ie Wertform oder der Tauschwert"). (X.4a, l)
" When I state that coat.s or boou stand in a relation to linen bt!cau se linen i8 the
uni Yersal incarnation uf abslract human labor, t.he abs ur dity of the proposition i.-
manifeilt. Neyertbeless. wbell the producers of coau and hflotll compare thost:
articles with linen , or. what is the same thing, ,,;th gold or silyer, all the universal
equivalent , they u press the r elation between tbeir own private labor and the
collective labor of society in precisely thill a bs urd form ." Karl Marx , Dw Kapilal.
(vol. h , ed. Ko rseh (Berlin , 1932), p . 88 ("Fetischeharak tcr j.!* (X.4a,2)
" Political econum y has ... never .. . asked the question why labor is repre&enled
by tbe value of itl! product. and labo r-time by the magnitude of tbat value. Tb~
Cormulas , which bt!a r it IItamped upon them in unmil!t" kable letten that they
belong to a , tateof society in which the:. prOCell! of production bas the mutery oyer
man, instead of heing CODtroDcd by him_uch formulall appear to the b flurgeoi.
intelleet to be aa much a self-eyident necessity impoled by nature all p ruductive
labor itself. " Marx , Dal Kapiwl ( yol. 1>, ed. KOr8ch , p . 92-93 (" Der
Fetilichcha rakter der Ware und sein Geheinmis").2'l (Xb.3)
An extrmlcly important passage relating to the concept of the "creative:" is
Marx's comment on the beginning of the first paragraph of the Gotha Program.
"Labor is the source of all wealth and all culture": "The bourgeois have: very
good grounds fo r falsely ascribing .supmw.tu.ral matiue po~ to labor, since pre-
cisely from the fact that labor depends on nature, it follows that the man who
poss~ses no o ther property than his labor po.......er must, in all conditions of
society and culture, be the slave: of o ther men who have made themsdves owners
of the materia] conditions of labor," Karl Marx, Randglwm zum Programm tier
deutscAm Arha'terparttJ~ ed. Korsch (Berlin and Leipzig, 1922), p. 22.'" (X5. 1]
" Within Iht! cuol:teraliYe society hase!l on commoll oWliership of the IUcanli of
pruductiuli . tJle producers do 1I0t exch ange their produl:ts; just as Little doe8 Ihe
labo r employed on thtlproduclt appear here ot the 1J0lue of these proouclI , all a
material quality possessefl by them , lIinee 1I0W. ill contrast to capita list aociety,
individuallilbor cxiijlll 11 0 longer ill 1111 illllirect fas bion . but direetl y as a COni pO"'
nent part of the 10Iai labor. The p brase ' proceeds of la bor' . . . thus \1I8e8 "U
meaning. ,. Tim plIssltge refers to the demand for "a fair di urihutifln of the prO-
ceeds ofl oh or.·' Man , Rolldswuen ::um PrOsratrltrl der de.utlfchen Arbeite.rpnrtei
(Berlin and k il'zig. 1922) . pp. 25. 24.J' [X5.2)
·-1.n a higher ph ll5" of communist lIodety, afte.r the enslavillg s ubordination of the
iruli viduallo the ,livillifln of labo r, ami therewith also th~ a ntithesis between men-
Ial ar)d physicalla hor, has va nishetl: a fter labor has h ee unu~ fl ot only II meanll of
life hul Ii.fe's chid necessity; afler the producti ve forces have also increslled with
the aU-round de\'e!opmt>nt of the individual ... ~nl y then can the Darrow hori-
ltOIl of bourgeois righ t be cr'Oued in iu entirety and Bociety in.scribe on itll banllers :
-Frflfll each according to hi, .hility. to each accordins to hit needll!'" Marx.
Rundglonen ::um Prosra mm Jer deullfchen Arbeiterpartei (Berlin and Leipzig.
1922), p. 27_JZ (X.5,3)
Man: in his critillue of theCotha Program of 1875: "'Lau alle kllew the Com muni-n
Manifesto by heart .... If. therefore, he has fabified it 110 grossly, he bal done so
onl y to put a 500(1 face on his alliance with absolutist and feudal opponenu against
the bourgeoillie." Marx . Randslouen .lum Prog ramm der deurlfchen Arbeiter-
purtei. <ed . Ko"ch ,> p. 28:" [X5,4]
Ko"ch directs a" ention to a "lIcientific insight lhat is rundamental to the overall
understa nding of Marxist communism. though today it ill often looked upon by the
allvenories of Marxism. and even by many of its propo nents, as ' meaningleu'-
the insight , namdy. lbat the wuSe, oflabor ar e not, as bourgeois econonUlltlllike to
think , the value (or price) of the labor, but 'onl y It muked form of the value (or
Jlrice) of Ihe labor power, which is sold as a commodity on the labor market well
before ita producti ve utilily (as labor) begins in the operation of the capitalist
proprielo r." .Karl KOnlch . [ntrodUClion to Marx , Ro ndg louen zum Programm
cler del1 tschen .4 rbejlerpar,ei, ed . Kursch (Berlin and Leipzig. 1922), p . 17.
(X5 • •1]
Schiller: "Common natures pay with what they do ; noble natures, with what
they are."M The proletarian pays for what he is with what he does. [X5a,2]
"" " the CIlUr8e of the labo r pruce88, labor passes continually out of a slale of ullrest
into a .sta te of heing, out of Ihe form of motion into t.he fonn of objectivity. At the
end of one hour's spinning. that act is rt- preseoted by a definite quantity of ya m;
ill flt ber words, a definite quantity of labor. namely that of one hOllr, h as heeD
objl'~tified in th t. COttOIl . Wf' ~ny -Ishor' because tbe work of spinning COUlits her e
Hilly ill! ofa r II Ii it i ~ Ihe expllnditll re of labor power in gelleral, and 1101 insofar as it
i... the specifil' work flf the spinner . . . . Raw ma terial an,) I)roduct appear here [ in
the Ilroductiun of ~urplu8 val ue ) in quite n lIew LiVtI. very different frflll! Ihal ill
which we viewed thelD in the labor procellS pure and 5inlple. T he r aw material
/II"·n ·CiJ now_merel y as an absorlJenl or a definite quantity of labor. . . . Definite
'I UO llt.iti e~ of flrudu .. t. tbelie quantities being determined hy experience, n ow rel'-
rt:~ l!lIt nothing hUl llefinite quantitiell of labor, definite ma ues of ur Ylitalli1:ed labor
tinu:. They art" nothing more than Ihe materialization of so many bOlirB or 110 maoy
flays of stlcial labor!' Ka rl Murx , Deu Kflpita/ ( Vtll. I >. etl. Ku~ch (Berlin
( 11)32 ». p. 191 ("Wt'.rtbildullgliJlrot.dr').:o.> [X5a.3]
The pctty-bourgeois-idealist theory of labor is given an unsurpassed fonnulation
in Simmd, for whom it figures as the theory of labor per se. And with this, the
moralistic element-here in antimaterialist fonn-is registered very clearly.
"One may ... assert in very general terms that ... the distinction between mental
and manual labor is not one between mental and material nature; that, rather, the
reward is ultimately required in the latter case only for the intcmal aspect of
\vork, for the aversion to exertion, for the conscription of will power. Of col1r3e,
this intellecruality, which is, as it were, the thing-in·itsclfbehind the appearanCC' of
work . .. , is not really intellectual but resides in emotion and thc will. It follOWs
from this that it is not coordinated with mental labor but rather is its basis. For at
first the objective content .. . , the result ... , the demand fo r reward is produced
not in it but in ... the expenditure of energy that it n=quires for the production of
this intcl1ectual content. In that an act of the soul is revealed to be the source of
value _ .. , physical and 'mental' labor contain a common (one might say, mor-
ally) value-grounding base, through which the n=duction of labor value as such to
physical labor loses its philistine and brutal materialistic appearance. This ts
roughly the case with theoretical matcrialism, which acquires a completely new
and more seriously discussible basis if one emphasizes that matter itself is also a
conupb'l'm, not an essence which, ... in the absolute ~nse, stands opposed to the
soul but which i.n its cognizability is completdy determined by the fonus and
presuppositions of our mtdJectual o rganization:' Of course, with these re8ec-
tions ( Philosophj~ dts Geldes (Leipzig, 1900),> pp. 449-450), Simme1 is playing
dew's advocate, for he does not want to admit the reduction of labor to physical
labor. Indeed there is also, according to him. a valueless labor that still requires
an apenditure of energy. "This means, how~, that the value of labor is
measured not by its amount but by the utility of its result! " Simmcl goes on to
reproach Marx. as it appears, for confusing a statement of faa with a demand.
H e writes: "socialism, in fact, StrlVCS for a ... society in which the utility value of
objects, in relation to the labor time applied to them, fonus a constant" « ibid.,)
p. 451) . "In the third volwne of CaPitail Marx argues that the precondition or all
value, of the labor theory too, is use value. Yet this means that so many parts .of
the total social labor time are used in each product as come in relation to Its
importance in use.... The approximation to this completely utOpian state of
affairs seems to be technically possible only if, as a whole, nothing but th~ .. -
unquestionably basic life necessities are produced. For where this is exclUSively
the case one work activity is of course precisely as necessary and useful as the
next. In ~ontrast, howevcr, as lo ng as one moves into the higher spheres ill which.
all the one hand, need and estimation of utility are inevitably more individual
and, on the other, the intensity of labor is more difficult to prm'e, no regulatio~ of
the amounts o r production could bring about a situation in which the re1aoo n -
ship between need and labor applied was everywhere the same. On these points,
all the threads of the deliberations on socialism intenwine. At this point, it is clear
thal the . . . difficulty ... increases in relation to the cultural levd of the prod-
uct-a difficulty whose avoidance, of course. must limit production to that of the
most primitive, most essential, and most average objects." Georg Simme1, Philoso-
pllie du Gddes {Lciptig, 1900), pp. 45 1-453.- With this critique, compare the
counter-critique of this standpoint by Korsch, X9,1. [X6;X6a]
"The individual significance of different objec:ts of equal vBlue ilj degraded
th rough tbeir exchan geability-however indirec:tly or imaginary this may be ....
The difl l'aragemcnt of the interest in the individuality of II commodity lead8 to II
disparagemcnt of imlividuality itself. If the two 8idea to a commodity aNl its quality
and iUl price, then it seemll logically imposswle for the inlereat to he focwed on
only ti ne of these sides; for 'cbeapnes8' is an empty word if it doea not imply a low
IJI'ice for 11 relatively good quality.... Yet tbis conceptual impo811wiUty is p sycho-
l o~c aUy real and ef£ective. The interett in the one side can be 80 veat that it.
logically necessary COlUllerpaM completely diuppearB . The tYilicaJ instance of one
of these cues is the ' fifty -cf:nt bazaar. ' The principle of valuation in the modern
mooey economy finds ita clearest expression here. It is not the commodity that is
the center of interea' here bUI the price---a principle that in fonner time. not only
would have appeared shameless but would have been absolutely impo8llible. It hill!
been rightly pointed out that the medieval town ... lacked the extensive capital
economy. and that this was the r eason (or sceking the ideal of the economy, nol 80
much in the exp an8ion (which i8 1'01l8wle only through cheapoe81) all in the quality
of the goods offered." Geor g Simmel, Phiwsoph ~ €h8 Gel.d4!. (LeiPII~ . 1900),
PI" 411-412,31 (X7, 1]
, " Political econ omy is now no longer II 8<:ience of commoditiea . . . . It becomes II
di ..ect science of sociallabo .... : " in itll presellt unambiguous, a nd defmite, fonn of
labor prodllcing a commodity for another per"on~that is. of labor fonnally paid
lo,its full value bllt actually exploiled ... , actually collective labo.. perfonned by
proletarian wage. lahorers ... to whom . . . the productive powerofwbat would be
under otherwise lIirnila .. conditions the produce of an illOlated worker, now in·
crcued a thousandfold by the social divillion of labor. ~ tand 8 oppo!!etl in the fonn
of capito /. " <Karl> Korscb <Karl Mane, man uscript >, vol. 2, p. 47.- Compare
XII , l. (X7,2J
On tile bungled reception of technology. "The illusions in this sphere are
re~e~ed quite clearly in the terminology that is used in it, and in which a mode of
thinking. proud of its .. . fn=edom from myth, discloses the direct opposite of
these features . To think that we conquer o r control nature is a very childish
Supposition. since ... all notions of ... conquest and subjugation have a proper
meaning on]y if an opposing will has been broken.... Natural events, as such,
are not sublect to the alternatives of freedom and coercion_... Although ... this
Seems to be just a matter of terminology, it does lead astray those who think
supc=rficially in the direction of anthropomo rphic misinterpretations, and it does
show that the mythological mode of thought is also at home within the Da,ru::J"-'
scientific worldvicw." Georg Simmd, Phi/os¥hie tUJ GddeJ (Leipzig, 1900),
pp. 520-521.aII It is the great distinction of Fourier mat he wanted to open the
way to a very diffelUlt rt:ccption of technology. [X 7 a, )}
·'Tlle ... doctrine of'surplw value ,' already largdy anticipated ... b y the classic
bourgeois economists and tlleir ea rli e~ t sO(lialilit adveriiari u, ... anti the reduc_
tion of the ' free labor contract' of Ihe modern wage laborer to the sale of the
'commodity labor-power.' first acquire tlleir real effi cacy through Ille trall!fer of
economic tllought fro m the fi eld of the exchange of cOllllllodities ... to the field of
material production ...- that is. through the transition from ... ~ lIrplw valUe.
existing in the form of goods and mOlley, to ... slI.rplw labor. performed by real
workers in the workshop \lnder the social domination exerted upun them by the
capitalist owner of the work. hop ." Korsch <Karl Marx, manuscript> , vol. 2,
pp. 41-42 ." [X7a.2]
Korsch, vol. 2, p. 47, cites a phrase from Marx <Das Kapital, vol. 1, 4th ed.
(Hamburg, 1890), pp. 138-139>: "the hidden haunts of production, on whose
threshold we are faced with the insoiption : 'No admittance except on busi-
ness! .. ~ l Compare Dante's inscription on the Gate of HeU, and the "'one-way
street." [X7a.3)
Korllch defin es ~ urplus value as the " particularly ' deranged ' fontl which the gen-
eral fetidusm attached to all commodities ass umes in the commodity ealled ' labor-
l){Iwel'". ,.. Karl Korsch , Karl Marx, manUICript , vol. 2. p. 53.4: {X8,IJ
" What Marx ... terms the ' fetishism of the world of commodities' is only a llCieo-
ti6c expression for the same thing that he had dellcrihed earlier ... as 'bulD&II
self-alienation .' ... Tbe most important substantive difference between lhi8 philo-
sophical critique of economic '8clf-alienation ' and the later IcientiJic exposition of
the same problem consis18 in the fact th ai, in Das Kapital, Alarx , .. ~a " e hia
C1:onomic critique a def!per and more general significa nce by tracing bac.k the
delusive character of Ill! olher «onomie categoriel 10 the fetish cha racter of the
commodity. Though even now that most obvioul and direct foml of the 'self-al-
ienation of the human being,' wluch occurs in the relation betweell wage labor and
u pilal , keel)S its decisive importance for the practical attack on the I:x:isting orller
of socit:ly, the fetishism of commodifY labor power is, at this slage, for theoretical
purposes rega rded as a mere derivative form ofll.e more genl·ral ft:l ishism which i.
contained in the commodity itsclf.... 8y rcvealillg (Ill eco l\omil~ categories to be
mere fragments of one grt':at fetish. Mar x ultimatdy Iran~ ct'nd ('d ~ U preceding
fOrlDl! and ph8.'lce uf bourgeois C(:ollomic and social thcor y. . . . En:n the mOi l
udvanced c10saical economi sts remained "aught in the ... world of ho urgeo i ~ ap-
)Jearance. tlr feU back in lo ii , becaUJJc th~y had lIevcr lillccccdcli in exlt'llding their
critical a n a l y~ili either 10 the deri"ed form;& of econumic fetishislII [ ulIJllasking of
dIe gold and silver fetidles. the phYliiocratic illul ion that rCllt grows (JUt of the
earth, tile interpretation of intere.t and rent al mere fra ctions of industrial profit]
or to tbat gener al fund amental form which al)pean in the va lue-form oftlle labor
IJroducts as comnmdily and in the value-relations of the commoditiee themselves. ,.
KOl"llch. Kurl MlIrx, <vol. 2.) liP. 53-57: 13 [X8.2]
" Fru n. th t' b(lurgeois poin l of ,·jew, the individual citi:llen thinks of 'econonlic'
things lind force~ as of something entering into his I)ri vate life (rom without ....
According to the new conception , howcver. individuals in Mil they do are moving.
from the outset, within definit e social circuJU.i!tancCli that a rille from a given stage
ill the (Ievel0l'mcnt of material production . .. SUfh higll ideals of bourgeois
socil!ty IUl lhal of the fJ"ef", sclf.dctt' rmining illilividual . freedom and equality of all
citi:llenl in the exercise of their political rigbts , ami equality of all in the eyes of the
law are now seen to be noth.ing but correlatiue concepts to the fetishism of the
commodity . . . . Only by keeping the people unconscious of the. r eal contel1tll of
those basic relations of the n isting sucial order ... , only through the fetil hil tic
transformation of the social rdations between Ihe class of capitalisu and the clau
of wage laborel's, resulting in the ' free and unhampered ' Bale oC the ' commodity
labor--J>ower' to the owner of 'capital,' is it pou ible in tM societ'y to speak of
rreedom and equa lity," Korsch. Karl Marx, <vol. 2 , > pp. 75-77."" {X8a. IJ
'"The individual and coUecti ve bargaining over the conditions of n le of the com-
modity labor-power still ~Iongs entirely to tbe world of fetUhiuic appearance
<Schein >. Socia lly consider ed . and together with the material meana of produc-
- tion , the propertylCils wage laborers selling, through a ' free labor contract,' their
individual labor--powen for a certain time to a capitalist entrepreneur are, as a
class, frtlm the outset alltl forever, II common property of the possesling clall,
.... hich alone has the real means of lahor at its (lisposal. It wal therefore not the
whole truth that WRII revealed by Marx in the CommaniJI MOm/eSIO when he l aid
that the bourgeoilie had ... replaced the veiled fom. s of exploitation practiced
during the ... Middle Ages by an altogether ' unveiled exploitation.' The bour~i ­
sie replaced an eX'p loita tion embroidf' red with religioull Mnd political illusions by a
new and more refined ~ystem of concealed exploilation. Whereas in earlier epoch!
the openly pr(lclaimed rela liOllll (If domination and sen 'itude appeared ae the
" immediate .lipringll oCprodoction , in the bourgeoil period it is ... , conversely,
production that i• . . . the pretext . . . for the. exploitation of lahoren ."
( K o r~c h .) Karl Mnrx. (vol . 2,> PI" 64-65. ~ [X8a,2)
On the doctrine of value : "The idea that there is an 'equality' inherent in all kinds
of labor, by which economists are entitled to regard qualitativdy different kinds
of labor ... as quantitatively diIfert:nt portions of a total quantity of 'general
la.bor: which fomu the basis of dIe economic concept of value, is so little the
dIScovery of a nannal condition underlying the production and exchan~ of
c0n.unodities that this 'e:quality' is, on the contrary, brought into existence by the
SOcial fact that, wlder the conditions prevailing in present-day capitalist 'com·
Rlodity prod uctio n,' all Jabor products are produced as commodities for such
exchange. In fact, this 'equality' appears nowhere else lluln in the 'tI(llue' of lk
commodities so produced. The full development of the economic theory of 'labor
value' coincidcd with a stage of the historical dcvelopment whcn human labor;
not just as a catcgory but in reality, had long ceased to bc, as it were, organically
connected with cither the individual or with small productive communities and,
the barriers of the guilds having fallen under the new bourgeois banner of 'free.
dam of trade,' every particular kind of labor was treated henceforth as equillalenJ
to every other particular kind of labor. It was precisely the advent of these
historical and political conditions that was expressed (unconsciously, of course)
by the classical cconomists when they traced back the 'value' appearing in the
exchange of commodities to the quantities of labor incorporated therein, though
most of them believed they bad thus disclosed a natural law.... Those minor
followers in the wake of the gn=at scientific founders of political economy, no
longer accustomed to such audacity of scientific-thought, who have later patheti·
cally bewailed the 'violent abstraction' by which the classical cconomists and
Marxism, in tracing the value relations of commodities to the amounts of labor
incorporated therein, have 'equaled the unequal,' must be reminded of the fact
that this 'violent abstraction' resu1ts not from ... economic science but from the
real character of capitalist commodity production. The commodity is a born kueJer."
Korsch, Karl Man:, vol. 2, pp. 66-68. In "reality," of course, the "particular kinds
of labor performcd in the production of the various useful things are, according
to Marx, effectively different also under the regime of the law of value" (ibid.,
p. 68).~ This in opposition to Simmel; compareX6a. [X9]
" Marx and Engels " .. pointed out that the equality-idea resulting from the epoch
of bourgeois commodity-production and expressed in the economic 'law of value'
is still hourgeois in it! character. It is therefore only ideologically incompatible
with the exploitation of the working class through capital, but not in actual prac-
tice. The socialist Ricardians, ... on the basis of the economic principle that 'it i.
labor alone which bestows value,' _ . " wanted to transfonn all men into actual
, had likewise thought of ' Iahor' in terms o£the various fonns of real work, though
workers exchanging equal quantities of labor.... Marx replied that ' this equali-
tarian relation ... is itself nothing but the reflection of the actual world; and tbat
therefore it is totaUy impossible to recons titute society on the ballis of wha t as
merely an embellished shadow of it. IJI proportion as this shadow takes OD sub-
stance again , we perceive that this subs tance, far from being the transfiguration
dreamt uf, is the actual body of existing society. '" The citation from La Mi.!:ere de
ItJ phiwsophie. in Korsch , vol. 2, p. 4Y [X9a,ll
Korsch . In the bourgeois epoch , " the productiou of the products of l a~ur is pret~Xl
and cove r for the ... exploitatioll aud oppression of the laborers. The scientific
method of com,'e aling this stale of affairs is called political economy." Its function :
to shift " respolisibililY for aU the waste alld hideou slless which is already found at
the present stage uf development of the productive fO I"ces of .society, a nd which
emerges catas trophically during economic crises, from the realm of Imman actiod
to the I pllere of l o-c:alled imQmtahle, nature-ordained r elationl between things."
Korsch. Karl MnN:.. vol. 2, p" 65 : 111 [X9a,2]
"The di ~ tin ction ht:lween ul e val ue and exchange value, in the abs tract form in
which it IHld hec n ma~l e hy the Lourgeois I!(!onomists, . _ . did not provide any
usefu l starting point for an . . . investigation of bourgeois cllmmodity produc.
tion . " .. With Man •... use value is not defined as a use val ue in general , but as
tire lise vallie oj' 0 commodity_ This use value inherent in commoditiC!l . . is ,
however. not merely an t:JI:tra-econllmic presupposition of their ' value. ' It is an
el e m~'lIt of Ule value . . . . The mer~ fact that a thing has utility for any human
being-say, for its prllducer--does nOI yet give li S the economic defmition of u&c
va lue. Not until the thing has " . . utility ' for other person8 ' .. . d oes the economic
definition of use value apply. Just as the use value of the commodity is economi_
cally defined as a social use value (use value 'for others'). so is the ..• labor which
goes iUIO the production of this commodity defined economically a& ... labor ' for
others.' Thus, Marx's commodify-producing labor appears as social labor in a
twofold sellse. It has ... the generahocial character of being a "specifically useful
labor,' which goes to the production of a definite kind of social use value. It has, OD
the other hand , the specific historical character of being a 'generally sociallaoor.'
which goes to the production or a definit e quantity of exchange value. The capacity
of sociallahor to produce definit e things useful to human beings ... appeat'8 in the
we vallie of its product . Its capacity for the production of a value and a surplu~
value for the capitalist (a particular characteril!tic of labor which derives from the
particular form of the social organi~ation of the labor proceu . __ -within the
present histor ical epoch) appears in the exchange value ofiu product. The fusion
of the two social characteristics of commodity-producing lahor appears in the
'value-form' of the product of labor, or the form of commodity." KOr1lch, Karl
Mar~ <vol. 2 >, pp. 42-44. 49 [XIO]
"The ea rlier bourgeois econom.is ts, wben speaking of labor as a Bource of wealth.
they did 8 0 only for the reason that their economic categories were still in the
process of separation from their original material contents .. _ . Thus, the Mercan-
tilists. the Physiocrats, and so on successfully declared that the true source of
"'ealtll lies in the lahor expended in the export indus tries. in trade and s hipping, in
agricultural labor, and the like. Even in Adam Smiul- who, from the different
branches of laloor, definitely advanced to the general form of commodity-produc-
ing laLor- we find that concrele aspect retained . along with the new and more
fOrtnalidi c ~let1nition which is also expressed in his system and wall later 10 become
th t- {'xelusive definition of value ill the work of Rica rdo , and by which lahor ill
defined 11 8 an uils tract lind mflrely quantilative entity. This same abstract fonn of
Illhor, whi ch he correctly defin ed as exchange-value-producillg labor, he at the
h Ole tinu~ ... declared to be the only sourCe" .. of the material wealth of the
comlllunity, or use value. 1'11.is dm:trille. which still obs tinatel y lH:lrsists in 'vulgar'
Sl)cial.islIl . " . is , according 10 Marx, ~onomi eally false:' By it ~ assumptionll. "it
would be difticuh 10 explain why, in pn!lIcn t day, _ . l ocicty, jll stthos~ penone are
poor who hitherto have had that unique source of all weaJIII at their exclusive
dill posal, a.u d even more djfficult to accoun t for tile fa cl Ihut t.he}· remain unem_
plQyed and poor. ins tead of producillg weillth by thd r labor. . .. But ... in prais_
ing the creative power of ' lahor,' Adam S mith WJlIi thinking lIot so much of the
forcet.lla bor of the modern wage lahorer, which apllears in the va lue of commodi.
ties and produces capi ta lis tic profil. a~ of the gener al natural necelisity of human
labo r . . . . Ukewise, his naive glorification of the ' tlh'ision of la bor' achieved in
these ' great manufacturt'. ,' hy which he und e r~ tuod the whole of modern capitaJ.
ist production. re£ers not 50 much to the extremel y impe rfect form of contempo-
rary capitalistic division of la bor . .. as to th e general form of huma n la.bo~
vaguely fused with it in his theoretical exposition . " Korath , Karl Marx, vol. 2,
VI" 44-46 ..\0 [XIOaj
Decisive passage on surplus vaJue, the final statement no do ubt standing in need
of further clarification: "Similarly, the doctrine oj JurpluJ !.Ialuel which is usually
regarded as the more particularly socialist st:ction of Marx's economic theory, is
neither a simple economic exercise in caJcu1ation which serves to check a fraudu-
lent statement of value received and expended by capital in its dealing with the
workers, nor a moral lesson drawn from economics for the purpose of reclaiming
from capital the diverted portion of the 'full product of the worker's labor.' The
Marxian doctrine, as an economic theory, starts rather from the opposite princi-
ple- that the industrial capitalist under 'normal' conditions acquires the labor-
power of the wage laborers by means of a respectable and businesslike bargain.
whereby the laborer receives the full equivalent of the 'commodity' sold by him.
that is, of the 'labor-power ' incorporated in himself. The ad vantage gained by the
capitalist in this business derives nOI from economics but from his privileged
social position as the mono polist owner of the material means of produc:rioD,
which pennits him to exploit, for the production of commodities in his work-
shop, the speci..6e tJJe value of a labor-power which he has purchased at its ec0-
no mic 'value' (exchange value). Bdwun the value ojthe new commoditieJ produutl
by llu use of/he labor-power in the worluhop, and the priUJ paid/or this labor to its
JtlluJ, there u, according to Ma rx, no economic or other rationally determinable rtl~
whateIJtT. The measure of value produced by the "Ilorkers in the shape of their •
laboT products over and above the equivalent of their wages (that is, the maJJ 91
' jurplw laho'; expended by them in producing this 'surplus value') and the quan-
titative relation between this surplus labor and the necessary labor (Utat is, the
'rate ojJurplus value' or the 'rate of exploitah'on' holding good for a particular ~
and a particular country) do not result from any exact economic caJculatJon ,
Thcy result from a battle between social classes." Korsch, Karl Marxl vol. 2.
pp. 7I-72." [Xll)
" Till' ultimatl' meaning of llus law of value , as; !!Imwu 1..11 il!! workingil by Morx , ...
doe" IWI r.o n ~ i ll t .. . in sUJlJllyillg a theorelical " asis for tJ u: praclical clllcuhltiOnt
of the busillednuut st."Cking his pri\'ate adva ntage, or for the econQmi r _IJ'llitica.!
ll1eas uretl taken by the bourgoois statesman cOnt.'e rned with the general mainte-
nance and furth erance of lhe j'apiiaiisl SUrplUS-Oil king mae.hinery. T he fwal
scientific pur pose uf lilt: Marxian til("Ory it. r ather, ' to ,-eve,,1 'he economic lo w of
1II0lfOlI of mmiem lodc/y. IlIIII til is lIIea ns. at IIH~ iUlllle tillie , the Iu .... uf ils lus torica l
devclojJllIcllt. · .. Koncll , Kllrl Marx, vol. 2 , V. 70 .:'.2 [Xlla,l j
" Colllfllctr determi nution of till' acluol sm:iul d,araNer of that fundamental proc-
css of mmll'rll 1!lIpitaJilll produl'ti on .... hich ill one-llidedl y IJI'esented by the bour-
geois (!£onomis ts, all by their ad versaries f rlllll tJ,e cJl mp of vulgllr socialism ,
~ome times as production f}f cons umer goods, and sometimet, by contrallt, all pro-
duc tion of value or a~ simple Jl rofilmaking": a "produclion of sllrplul value by
nn!anll of thl; produ ction of value hy meaDS of the prodllt!tjon of consumer goodll-
ill a society in which the material good s of prod uction euter at ca pits l into the
p rocetiS of production ru.II by the C8,Ji talist8, while thf' actual producers enter al
the commodit y labor--power." Korseh , Karl Marx , vol. 3. pp . 10-11. [X ll a,2]
The experience of our generation: that capitaJism ....iIl not die a nar:ural death.
{XlI a,3j
The confrontation of Lafargue \.'lith Jaures is very characteristic for tJle great
form of materialism. [X l la,4j
Sources for Marx and Engels: " From the bourgeois historian! of the French RelSlo-
ration , they took the COIU:e pl of social da58 aud of class wtruggle; from Ricardo.
the econonuc basis uf Ihe c.lau antllgonislII ; from ProudllOn , the proclamation of
the modern proletariat a ll the only real revolutionary class; from the (eudal and
Christia n assaila nts of the new economic order ... , the I'mblcss unmasking of the
liberal ideas of tbe bourgeoisie. tJle piercing hJl te-fiUed invective. Their ingenious
dis&ectiun of the unsolva ble cont radic tiolls of the modern mode of production they
took from the I)e.Uy-bourgeois sO(!ialism uf S i~ m o ndi ; the bumanism and the pro·
losophy of actio n . frum ea rlier companions alilong the left HegeliHns. especiall y
from Ftmerbach ; the meaning of political str uggle for tJlC working clau, from the
conlemporary lahor parties , PreDch Social Democrats s nd Englis h Chartists ; the
doctrine of re"olutionary dictator~ hip , fr~m' the Frt' nc.h Convention. and from
Blanq ui and his followers. F'illaUy. they took from Saiut-Simoll, Fourier, and
Owell the eutire content of their sociali!!t un{1 communiJt IIgcnda : the total up-
heaval of till' foundations of exis ting cavit'ali~ 1 society. tht' IlholitioD of classes .. . ,
alld till' tra nsfurm ation of tile ~ Iut e illto a me...· ad ministra tion of pruduction."
Korscll , Kurl MiI,-:£. vol. 3, p. 10 1.'" [X12,IJ
'1'hr(Jugh Il~·gel , the. Ilew materialis m of proletarian theory lin ke.1 itsf'lf 10 the slun
of houq;t."Ois s •.cial tlumghl of tile prel'edi ng h ist ori co ll~riod . It ditl 1;0 ill tlu; same
a nti th~l ica l £01"111 in Wllid l, UlI 11 I,ructical h:vd uillo . the ~od!ll uf:t ioll uf Ihe prolu-
luriut cOll tinuel1 the previo us sol"inl movemcnt of the Iw urgcois da n. " Korsch ,
Karl Marx . vol. 3. 1" !,ttl,;;' (X12,2]
Korsch says ~ry justly (and one might weU think of de Maiso-e and Ikmald in
this connection) : !;To a certain extent, that ... 'discnchancnent' which, after the
conclusion of the great French Revolution, was first proclaimed by the early
French theorists of the coun terrevolution and by the Gennan Romantics . .. has
in fact exened a considerable inBuence upon Marx mainly through Hegel, and
has th us directly entered into the ... theory of the modenl workers' movement."
Korsch, Karl Marx, vol. 2, p. 36.~ [X12,3J
Cnncept of productive force: .•. Produl,ti ve force ' is , in the first place. nothing e4e
t.hun the real cUHhly lahor· power uf living meu: the force . .. by whicb ... they
prodnce ... , under capitalistic conditions. 'commodities.' ... Everything that
in ercuse~ lilt: p roductjve dJect of buman labo .... power ... i!l a lIew 80cial ' produc.-
tive furce.' Tn the malerial for Ce! uf Il ro<iuction belong nat tl re, technology, and
science; hut to these fo n! ~~ !tdung, s ho ve 1111 , tllc liocial organizatiun itself and the
. . . social forces createll therein by coulJeration allIl the illdul lrial diviBion of
labor." Kor&eh . Karl Ma~ , vol. 3. pp. 54-55.:' [X 1 2a~l J
Concept uf IJro,lucti ve foree: " Tile Ma rxian concept uf '~odal ' p roductive foreee
has nothing in common with the idealistic ahlltractions or the old and new ' techno.
crall.' who imagine they cu n defin E' and Ineasure the productive powers of society
... in ternl;; of nalural scit!IIce lind t~hllology . .' .. ' Tu hnocra tic' prelcriptioDI
are not suf6cient in themseh 'es to renlove the material oblitacle! which oppol!e aDY
important change ill preiient-tlay Clipitlliistic locicty.... There is more power 01
resistance in the mute force of «onomie conditions . . . than well.meaning teehn.
crats have ever dreamt or.'· Korich , Karl Marx. vol. 3, pp . 59-60. ~) [X l2a.2J
I.n Marx-" Oas phil080prusche Manifest der historilchen Rech tslchule ." ~
i&che Zeitung, 221 ( 1842}-lhere appellr1l, as a point of reference, " the correct ....
idea ... that the IJrimitive 1:(mditioIl8 are nai\'e ' Dutch Ilicture8' of the ,,.lUI
condi·
tions." Cited in Korlich . vol. I . p. 35 ..\11 [X12a,3J
Against Proudhon. who looks on machine and division of labor as antithetical to
each other, Marx emphasizes how much the division of labor has been refined
since the introduction o f machinery. Hegel, for his part, emphasized that the
division of labor, in a certain sense, opened the way for the introduction of
machinery. "This parceling out of their co ntent ... gives rise to the dirtiflqn .of
/aoo,.. .. . The labor which thus becomes more absrract tends, on olle hand, by Its
unifonnity, to make labor easier and to increase production ; o n another, to ~t
each person to a single ki.nd o f technical skill. and thus produce more uncondi-
tional dependence On the social system. -!be skill itself becomes in this way
mecha.nical. and becomes capable o f lelring the machine take the place of ~u­
man labor.'" H egel, En gklopadil! da- phi/ruophucnrn Wi.s.serudlliflm im Grundru.s<
(Leipzig, 1920), p. 436 (paragraphs 525-526).1'1 [X 12a,4J
Till: critillue ca rrie<1 .... 111 by the yo ung Marx on the "righl8 of lIIun:' Ui !lepara ted
frll m the " rights of !he·,:ilir.en." "None of the SO-4;a.Uetl righls of mall goes beyond
egoistic man . .. . Fa r from the rights of mall conceiving of 01 11 11 a8 a 81>ec.ietl· hcing,
specieli.life itseLf. IOOety, II l'pean;; liS a fr amework exterior to individual" .... The
ollly bond tha t hold, I.hem together is nalurll illet:cssity. ltt:Cd alill " ril'ate inten..'8I,
tht" cOII;;cn 'alion of Ihcir properly lind eguiiltil' pe.:8oll . It is _ . . parallox.ical . . .
that citir.en!lliip, the politiclIJ commnnit y. is degrallcd by the political t'mu ll cipa-
tor!! to II. nu:re meanll for till' preservation of tlwlIe illI· calied right ~ of 111 11 11 ; that the
citizen i8 dw lared to be the liervant of egoilitic lIIall: that the s phe re in which man
bt!ha\'es as a commullal bt-i ng is d cgrllllt.'ti below the sphere ill which mlln behll ves
a8 a parli al being; 611ally Ih llt it is nOllllall as II citiZl!1I hillman as a bourgeois who
is caUw the real alul true man .. . . The riddle has a simple solution .... What was
thr character of the old society? ... Feudllliim. Theold civil society had a dircetl y
political chllrac· ter .. .. The political revolution. , . abolished the political charac:
ler of civil lociety. It shaltcred ch 'il society ... on the one hand into individuali,
on the other halld into the ma teri al and 8pi ritual elemen lJi that make up the ...
civil position of these individuall .... The fonnation uf the political sta tc and the
dillolution of civil ,ocit:ly into independent individuab, who are rela ted by law
j U!1 ali the eltate a nd corporation men were related by pri vilege, is ctlmpleted in
one and tbe !lame act. Man a! membe.r of civil liOCiety, unpolitical man, appean
necessaril y a9 natural man . T he rights of man appear as natural rights. booau8e
sdf·eolisciouH activity i8 conce.ntrated upon lH)litical uclion . Egoistic mall i. the
pasliive. given remit oCthe d issolved society, ... a Datura) o bj ~t . Political revolu·
lioo'& ... attitude to civil 8,,o,:ielY, 10 the world of need , to work , private interetlU,
and private law, is that tlley are ... ils natural basis. Finally. man 811 a member of
civil society counts for true man . for man as distinct from the citizen , because be is
man in his sensuous •.. existence. whilc political mall is only the abs tract • ..
man .... The abstraction of the politicill man is thus correctly described by Rous-
leau: ' He ""lro d ares to wldertake tbe making of a pt!(Jple'. iliitilution8 ought to
feel himself capable. , . of changing human n ature, of tra nsforming each individ·
lIal, who is by himlielf a complete and solitar y whole. into part of a greater whole
from which he .. , ret!eivea his life aud being' (Co m rat ~0£i(J1 [London. 1762] , vol.
2 , p . 67)." Marx , " Zur Judenfrage,"" in Marx and Engels, GesamtUluH0be. vol. 1,
ICCtion 1. 1 (Frankfurt am Main , 1927) , PJl. 595-599 ...0 [X 13]
The property appertaining to the conunodity as its fetish character attaches as
well to the commodity-producing society- not as it is in itself, to be sure, but
more as it represents itself and thinks to understand itself whenever it absrractS
from the fact that it produces precisely commodities. The image that it produces
of itself in this way, and that it customarily labels as its culturt, corresponds to the
concept of phantasmagoria (compare "Eduard Fuchs, Collector and HiSlorian,"
section 3)." The lalter is dcfllled by Wiesengrund "as a consumer item in which
there is no longer anything that is supposed to remind us how it came into being.
It becom_es a magical object. insofar as the hbor stored up in it comes to seem
supernatural and sacred at tlle very moment when it c.-til no lo nger be recob'llized
as labor" (T. w. Adonlo, "Fragmemc tiber Wagner:' Z~il.schrifl fllr Sozia!far·
5Ch.ung, 8, nos. 1-2 (1939], p. 17). ln connection with this, rrom the manuscript on
Wagner (pp. 4&-47): "The art of Wagner's orchestration has banished ... the
role of the immediate production of sound from the aesthetie totality.... Anyone
rully able to grasp why Haydn doubles the violins with a Bute in piano might well
get an intuitive glimpse into why. thousands of years ago, men gave. up eating
uncooked grain and began to bake bread, o r why they started [Q smooth and
y
polish their tools. All t::race of its own production shou1d ideally disappear from
the object of consumption. It shou1d look as though it had never been matk. so as [Photography]
not to reveal that the on(' who sells it did nOt in fact make it, but rather appropri-
ated to himself the labor that ,",'Cm into it. The autonomy of art has its origin in
SUIl, look out ror ),oursclfl
the concealment of Iabor.n6'2 [X 13a.]
-A.J. w "ta u:. CNUUffJ IitlinzlrtJ (Paris. 1870). p. 374

U olle day the sun should sputter OUl,

"l\vill be a mortal who rekindles it.
- Laurencin ami O;&irvillc, u Rm: /JQgokrl al'txfJoJih'on de 1844,
lbt!tn: du Vaudeville. April 19. 1844 (Paris, 1844), p. 18 [lines
spoken by the Gell.ius or Indwtry]

A prophecy from the year 1855 : "Only a few years ago, there was born to us a
machine that has sin("e h«ome the glor y of our age. and that da y after d ay amazetl
the mind and startles t he eye. f T hill machine, a century hence, will be the brush .
the palette, the colors. the craft . the practice, the patience, the glance. the touch .
tbe paste . the glaze. the 'rick, the relief, the finish , the rendering. f A centu ry
hence. there will be 110 more hri ck Ja y er~ of painting: there will be only an: hitect..-
paWlet'!! in the full sense of the word . f And are we really to imagine tliat the
daguerreotype hal lIIurder ed a rt? No. il kills the work of patience, bUI it doel
homage to the work of thought . I When the daguerreotype. thill titan child, will
ha\'e &ltam e<l the age of muturit y. when all its power and poten tial will have been
unfoltJed , then the genius of IIrl \0;11 suddenl y seize it by the collar aDd exclaim :
' Mine! You are mille now! We arc going lei work together. " . A. J . WiertJ: , Oeuvre.
/;w!rairclI (Paris, 18iO). p . 309. From an article, " La Photographic," that ap·
PttareJ for the firsttilllc in JUIll' 1855, ill tu Nflliofl , anti elltled \O;t!, a reference to
the new in Ven tion IIf plllJlogruphic cllia rscment . whic· b makefl it possible to pro·
tlucl· l irl·~~i7.e p hlli os . Bdckl u),cr-pain\('rs a l·I· . fur Wil:rlz, Iho ~f' " who opply them-
sd vc~ III the IIlIth'riall'u!'1 Qllly," whu a l',' gUild a l " rell,lf'rillg," [YI , I)

I1I,luslrializali(m in lill·ratu n ·. On St·r ihc. "Although he made fUll of thc big indu,,·
tr ialish a nd Illt"II'YIIU'Il , Ill' pirkL't1 up !III:: 8ccrel or tlu:ir suv(:e»lO. It tliJ not escupe
hi.~ ('a"lcl:Y(' tltat, in lin, lusl IInll ly~i8. 011 weuith res t,.; on d ltl ort IIf gt·tting others 10
\\'ork fur tis. So Ihl'lI.. gl'oumlhrt·ukillj.: f;t'l1itls tlHl1 he Was. In: transferred the
I)rincijllt· of the tLivision (If lulJur fro m Ihe w.. r kshopll of lailors. ca binetmakers .
allJ munufactu rers of !It'll nihs 10 lhe IIleli"NI of tJ.·a matie artists. who. before this
 reform, working wilh o nl y their ,me lIewII lind otle pcn , had earned mer-ely the
flroleta.rian wages o f the illolaled worker. An e nlire gene ration of theatrical gen~
iuseil we re in his ddJI for their Iraining a nd development , their awards, and , not
1
.
infretll1Clll ly, even their riche8 a nti reput a tion . Scribe chose 1I11:~ suhjed , sketched
OU I the main lines IIf the plot. indicated the places for li PCCili i effl.oc,"" and brilliant
exilil, and his 8pprentices would compu5e the uppruprillll! diaJogul! or ver ses. Once
they had made Home prOgTess, their D8me woultl 1I111'ear on tht: titJe page (next to
that of the firm) as II JUI' ~o m ven&e. until the beat would break away and bep,n
turning oul dramatiCll1 works of tltd .. own iovenlino , perha ps also ill their turn
recruiting De w 8uiltanl8. By these meao N, and umler the protection afforded by
the French publishing lawl, Scribe beeame a muJtimillionaire." Friedrich Krey,.
sig, St udien zur f ron;;osuchen Caltar· and Literaturgeschichte (Berlin , 1865)
<pp .56-57). [y l ,2)
Beginninp of the ~vu e. " The French fairy play" currently in vogue a re practi.
cally aU of rece nt urir;in; they derive. for the mOlit I)a rl , from the r evues which
werl! customarily put on during the fU'lit fortnight of the new year. and which were
a surt of fa ntastic retrospective of the year preceding. The character of th~
theatricalli was initially tl uite juvenile ; Ihey were ta ilored SIJecifically to Bchoolc.hit-
dren , whose Dew year'. feliti"ities would be enlivened by pruductionli of thili kind."
Rudolf Coulichall , "'On Theater uDiI Drama de. Sec::ond Empire," Unsere Zeit:
Deutsche Revue--Monatuchrift ZUlli KOlltJersflliolUkxikoll (Leipzig, 1867),
p.931. [y1,')
- ,u Pari; (Paru, 1926), p. 386.
From the start, to keep this thought in view and to weigh its constructive value:
the ~fuse· and decay·phenomena as precursors, in some degrtt mirages, of the
great syntheses that follow. These worlds <?) of static n:a1ities are to be looked for
everywhe~. Filin, their center. 0 Historical Materialism 0 [Y 1,4]
Fairy plays: "Thus, for example, iD Parisien. Ii u. ndres (1866), the English ind.u-
trial exhibition is broughl to the litage and illustrated by a bevy of naked beauoo,
who naturll1ly owe their II ppearance 10 aUl"gory and poetic invention alone."
Ruclolf Cottsc hlllJ , "01111 Theater uml Drama dC8 Second Empire." U,.,fere Zeit:
Deutsche Re vlI~--Moll (Jfuch rift ;oUn! Konvers(l,iomlexikon (Leipzig, 1867)
p. 932, 0 Advertiliing 0 (V l a,l )
''' Fermcnten ' are ca lalytic agenu which provoke or pccelerale the decomposition
of relatively large quantities of other or ganic s ubstance8 .. , . T beBe: 'other organie
subIUanct:S.' however. in reaction t n w!tich I.hc fermelliing agents m'anife51 their.
destructive power. are. tile historiCIIlly transmitted 81)'lislic ro rma," " The fennen·
lers , .. ar e the ac hievements of modern technology. They .. . can he grouped
al:curdillg 10 lhrct' greal malerial llivi! iuJls : ( I) iron , (2) the art or muehinery, (3)
Ihe arl of lighl and fire. " Alfred GollllOld Meyer, Eue,.buulell (K'I8liligell, 1907).
from the ,1f'Cface (unvaginRted). (V l a,2j
The photographic reproduction of artworks as a phase in the struggle between
photography and painting, [y la,3)
"I n 1855. within the frllll1CWork of Ihe gl'I'ul e"hi"ili<111 of imlustr y. ilredal se"tiullS
Ull phOlo,ltraphy Wf're OI)CI1Cd. making it possible for lli t' first time In ramiliarize a
"'illl'r puhlic with lilt' nt'w inn!ntion. T IJ!I e"hiLition Wll il. in fll et . llu: Oi'erto re to
the industrial dev"lnlJlllt'1I1 of photography. .. Tilt· IIUhlic al Ille exhibition
Ihrtlllg..,1 hefore the Iltlllle,'OU S p(lrlrailil of famous a nti nolctl perilonalitie • IIl1d we
ca n on ly imagine Wlilit it must ha"c meant 111 that elH.>Ch suddenl y 10 lil~ Iterore it .
in 51' lifelike a (MUl , Ihe ~ ' cleb ratl':d figu,'cs of the Siage, of tbe podium- in lihorl , of
IJlwlic life--w.,o, up Ill1tiltllcli . could he gazed al a nd admired only frOlh afa r."
Gisela Frt!ulltl , " Elilwil:kll1ng ,Ier PhOIOj1;l"aphie in fo' ra nkrcich" [malluseript].
o Ex h.i bitionll 0 [Yla,4j
\\brtby of mention in the history of photography is the fact that the same Arago
who made the famous expert ~port in favor of photography submitted, in that
same year (?), 1838, an unfavorable report on the railroad construction planned
by the government: "In 1838, when the government sent them the bill autho-
rizing construction of railroad lines from Paris to Belgium, to Ie Havre, and to
Bordeaux. the parliamentary ~porter Arago recommended rejection, and his
recommendation was approved by a vote of 160 to 90. Among other argumenu,
it was claimed that the difference in temperature at the entrance and exit of the
runnels would bring on mortal chills and fevers ." Dubech and d'Espezel, Histoire
[yh,5)
Some IIl1cct:8sful stage plays from ,uid centllry: Dellnery. La Nu ufraf!,6 (Ship~
IVreck> de La Perouse (1859), u Trembkme lu de terre de Martini(Jue (1843). Les
Bohemien$ de P(lris (1843); Louis F'l"Illlt;'.oil! Clairville, us Sept Ch6teUlu du, di·
able (1.844), Les Pom", ,,,! de terre "'(lIn des (.1845). Rotliolllof!,o ( 1862), Celldrillon
<Cilllierella ) (1866). OtlWrlI by Duveyricr. OartoiA. A Kaspar I1l11uer hy Den·
lluy?2 [Yla,6]
'1'he m 08 1 fa"lasti,' I'real.iu"s of fairyluml arc near 10 heillg realized be£orc Ollr
"cry e y ~H. , , . Each dny our factories turn uul wo nders Hi! grea t as thoi!t'l prod uced
I)y DtI('tur Faml us Witll Ilis bO(lk or ma~l' .·· Eugelle Bur!.'t , Dc 1(1 Misere del claues
f«bori#'.IU e$ en f'rtlll ce et 1"11 Angkter,.,. (Pllris, 1840), vol. 2, pp. 161- 162 , [y2,l j
From Nadar's splendid description of his photographic work in lhe Paris cata-
combs: ;''With each flCW camera setup, we had to test OUT exposure time empiri-
c.-illy; ccnain of thc plates were found to require up to eighteen minutes,-
Remember, we were still, at that time. using collodion emulsion on glass nega-
tives .... I had judged it advisable to animate some or thc.se scenes by the use of
a human figure- less rrom considerations of piclul'csqucnc.ss than in order to
give a sense of scale, a precaution too often neglected by explorers in this medium
and \'o':ith sometimes disconcerting consequences. f'Or lhc.se eighteen minutes of
exposure time, I found it difficult to obtain from a human being the absolute,
inorganic immobility I required . I tried to get round this difficulty by means of
mannequins, which I dressed in ,,-'Orkman's clothes and positioned in the scene
with as little awkwardness as possible; this business did nothing to complicate
our taSk .. . . l ltis nasty ordeal of pho tographing in the sewers and catacombs, it
must be said, lasted no less than three: consecutive months.. . . Altogether, I
brought back a hundred negatives .. . . 1 made haste to offer the first hundred
printS to the collections of the City of Paris put together by the emmelll engineer
of our subterranean constructions, M. Bdgrand." Nadar. Qyand j'ilau photo-
g>'ap'" (Paris <1900» , pp. 127- 129.' (y2,2)
Photograph y b)' a rtifU'ia l light wi th the aid of Bunse n elemen u. " 1 t.ben h. d .0
experienced elec tric ia n ill.4lall , o n a so lid pa ri of my ba lco ny overlookin g the
Bo uleva rd d u Ca puc in €'s, the fift ), medium-sized e1eme nti I' d been hUI)ing fo r a nd
which proved sufficient . . . . Tht' regular r t!tllrn . ea c h t!vening, of thi8 light (.0
little utilized ot that time <1860-1861 » ar rested the crowd un the bo uleva rd a nd,
drawn like moths 10 the fl a me, a good luall Y of the curiOU&-bOtJl thc friendly a nd
the indiffe re nt--<:a me t u climb up the i lairs to our s tudio 10 find Ollt what was
gOillg OIl the re. T htllle visitors (some we U kn own or evell famou s) represented eve ry
80cial c1a u ; they were the more welcome. insofar as they furni shed li S with a free
suppl y of lIIodels, va rioll!;ly dis posed lowarll the novel expe rie.nce. It WRI thue that
• ma nagell to photograph , durin g these evening a ffa ir8, Nie pce d e Samt-
Vic tor" . C ugtave Do re, . . . the fm a ncie rs E. Per eire. Miril~, Ha lphe n . and
mall y o ther s .... Nada r, QU(Hldj'elou p/wlographe ( Paris), pp. 11 3 , 11~1l6 .
(Y2,3)
At the e nd of the gra nd prospectus N adar offe rs 011 the sta te of the acie.n<:el: WHe re
w(' a re, well he yo nd e.\'e.n the a dm ira ble asSe.!Is meut of ."ourcroy, al the hour 8U-
premc wben the ge niul of the na tion , m morta l da nger. calls for discoveriet."
Nad a r. Qua m/j'i lau pholoBraphe. p . 3. [Y2,4J
Nadar reproduces the Bahacian theory of the daguerreotype. which in rum
derives from the Democritean theory of the ~id6Ia . (Nadar seems to be unac-
quainted with the latter; he never mentions it.) Gautier and Nerval would have
confomled to Balzac's opinion, "but even while speaking of specters, bo th of
them .. . we~ among the very first to pass before our lens. Nadar, Qyand j'itais
n
phologT«ph~, p, 8. <Compare Y8a,!.> (Y2a,1]
From whom docs the conception of progress ultimately stcm? From Condorcet?
At any rate, by the end of the eighteenth cenrury it does not yel ap pear .to have
taken very firm TOOt. In the course: of his eristic, among various sl1ggCSllOns for
disposing of an adversary. Herault de SCchelles includes the foIlO\'Vin~: ';~a~
him astray through q uestions of moral freedom and progress lO the: Infinite.
H erault de SCchelles, Tneon'~ dt l'ambition « Paris,) 1927), p, 132. [Y2a.2]
1848 : "'I'hf' revulutio n . . . 8 ro~ ... in tl1t~ mids t uf a vcry seve re t!C!UllorniC crisil ,
Ilrovoked . un t.he o ne. ha nd , by IJn: 81leCuia liolls occas io ned b y ra ilroad construe-
tion a nd . on tlie. olhe r hond . hy tW I> C( III ~ec uti vc bod harvellts. ill 18<16 anll IM7
Onr,c a gain thf' ci tyur " a ris •.. . a8 fil l' 'l ui a ~ t he (aub ullrg Sainl-Anluine. wa Htorr
hy hunger ri ols." A . Ma lei ll ud P. G riU ~l. X IX- S iAcie(Pa ris . 19 19). I" 245.
(y2a,3
Deda r a ti ull rega rding Ludo vic lI a le \'Y: " You IIlll y a ttac k 1111" O D a ny grounds YOl:
like--b ut photograph y. no . tha t is sa c red ." J ea n Loize . " Emile lola pho togr a.
phe ," Arl J er mh ie" BraphiqlleJ. 45 ( February 15, 1935) <p . 35>. [y2a,4
" Whoc'·e.r, a l i o me po int in his life, has had the ciulI1ce to slip his head unde r thl
magiC ma ntle uf the photogra pher, a nd has peerell into the camer a so u to cate b
s ight of tha t elltrao rdinil ry minia lure reproduction of the natura l im a~ uc h ,
lK:rson will nt!C!enarily ... have Its kt:tlltilllse lf what is likely to come of our mode r n
painting o nce photograph y has Mucceed tlti in fi xing colori UII itl pla tes all well a l
fornl ~ . " Wa lter C rane. "Nacha hnumg uml Ausdrllc k ill (Ier Kuns t ," <tranl . Ott ~
Wilticb , > Die neue Zeit , I '~, no. I (Stuttga rt <1 89~ 1896 ») , p . 423. [y2a,5:
The effon to launch a systematic confro ntation between art and pho tograph)
was destined to founder at the outset. It could only have been a moment in <thel
confro ntation between art and technology- a confrontatio n brought about b)'
history. (Y2a.6]
1'he p an ay: on photograph y frOnl Lcme reier 's Lumpilie et Daguerre:
A., m~n aced hy Ihe birdcalc her'. pilileu nell,
The meadowlark. rou8.ing thol mllKI or mo rning,
F1uller. a nd fooli~hly eome, 10 alighl on a
Lark-lIlilTor. red oriu dalliance•.
So Lampi!lie'l (_ ellnli5111 '1) Hi, ht ~ cui , hort
B,' tlu~ cbemica l ~ nan: or O.gnerre.
T he rl Cf; or . Cryl tl l. eon ... u or eonca ... e.
Will red u ~"I'! or enl.rv c" ery nbjrel it mar k,.
l Ui fine, lucid ra y•• Ihro!!! " Ihe depth. of lhe tra l).
Cl lch the upecl of Illattl in ra pid inlltri ption:
The image imprisoned within Ihe g1Uft plale.
Preo;#' r vr,1f ro nt 1111 thrl'il te n ing conlllct.
Rf' tainji ill hriglillifc. a nd I:ertai n relleeliollB
Urf'a k Ih r(,ugh I I) thc n\U~ t lIi8tllni ~ phe l'f~~.
Ncpo muctme Lcllle rcit:r, S ur /(1 DpcolI lII~rfe de t'ingeniellx IJeill"e ,III tiiomma
[Annual Public Sessio n IIf Ihe Fi ve A" lulcmies, Thur!J;(lay. Ma y 2. lU39 ( Parili,
1639), VI" 30-3 1] . <Cumpal'!' Q3a . I .}
[Y3. 1]
kPllOtO,graph y ... was first adopted \\;tJUn the dominant social class ... : manu·
facturers, factory owners and bank('rs. statesmen, men of teuers. and scicn rislS.n
Gisela Freund, "La Photographic au point de vue sociologique" (manuscript,
p. 32). Is this aCOlrate? Shouldn't the sequence be rev('rsed? [y3,2]
 Among the inventioru that predate photography one should mention, in particu.
lar, the lithograph (invented in 1805 by Alois Senefdder and introduced into
France some years later by Philippe de Lasteyrie) and the physionotrace, which,
1. for its part, rep resents a mechanization of the process of CUtting silhouettes.
""Gilles Louis Chretien, ... in 1786, ... successfully invented an apparatus which
. . . combined two different modes of making portraits: that of the silhouette and
that of the engraving. ... The physionottace was based on the well-known prin-
ciple of the pantograph. A system of parallelograms was articulated in such a way
as to be capable of transfer to a horizontal plane. With the aid of a dry stylus, the
operator traces the COlltoUrs of a drawing. An inked stylus traces the lines of the
first stylus, and reproduces the drawing on a scale detennined by the rdat:ivc.
position of the two styluses.'" Gise1a Freund, "La PhOtographic au point de vue
sociologiquc" (manuscript, pp. 19-20). The appararus was equipped with Oil
viewfinder. Life-size reproductions could be obtained. (Y3,3]
The reproduction rime with the physionotrace was one minute for nonnal sil-
houettes. three minutes for colored o nes. It is characteristic that the beginnings o r
the technologizing or the portrait, as irutanttd in this ap paratus, set back the: art
of the portrait qualitative.ly as much as photography later advanced it. "One can
see, on examining the quite enomlOUS body of work produced with the
physionottace, that the portraits all have the same expression: stiff, schematic,
and featureless .. . . Although the apparatus reproduced the contours of the face
-
with mathematical exactitude. this resemblance remained expressionless because
it had not been realized by an artist.n Gise.la Freund, "La Photographie au point
de vue socio logique" (manuscript, p. 25) , It "'Quld have to be shown here jwt
why this primitive apparatus, in contrast to the camera, excluded "artistry.n
[Y3a,l ]
\ IOlgth, half-Ie.ngth, or bust. 11u~ b.lckground is 6.llc=d, according 10 the social rank
" In Marlleilleli, a round 1850, there were a t most four or five painters of mini-
atur~ , of whom h\'O, pe rhaps, had gained a certain re putation by executing fifty
portraits in the coun e oC a year. Tbese artists earned just ellough to make a
Living. . . . A Cew years latcr, there were Corty to fdty photographers in Mar-
lIeilles .. .. They each produced , on the aVj~ rage , between 1,000 and 1,200 platet
IJer year, "'hich they sold Cor 15 Cranc", apiece; thia made Cor yea rly r e«ipta of
18,000 fran cs, 110 thai, togetl u:r. they constituted an indus try earning nearly a
million . And Ihis same Ilevelopment ca n be 5~n in all the major citie! of France."
C is!'la Freund , " La Photographie au IJOint de "ue 8(IC.iologi<lue" (malluscript.
PI). 15- 16), citing Vidal , Memoi re de la seance del 15 nOlJf!mbre 1868 d~ Ia Societe
SIIIIi."ifl lle de Mflrsc ilk . Reprojillced in the Hulletin de la Soorete Jrfllu;aue de
Photog ruphil1 ( 1.87 1). JII) . 37, 38 , 40. ' [y3a,2]
0 " the interlinking flf tcellllologicltl in vI:ntions: " When he wantell to experiment
with lithograph y, Niepce. whu livet.l in 1I1e coun try, ran into the greatest difflcultietl
in procuring the neCt:uary 6lone8. It was then thai he got the idea of replacing the
SloneR with a metal plale und Ilu: t) r ayoll with s unlight ." Gisela Freund . " La P bO""
logrullilic au Ix ,illt jlt· vue sucilliogiflu c" (manuscript . p. 39). in refel"t'nre 10 Victur
FOil fI'I C. IViI' /lre: IAI Verite ~ ur nil ~'e'ltioll de III p/, o/tlBrupllie ( C IH11 IJ n ~ f ur Saolle.
1867). [y3a,3]
Fullo"'ing Arll gu'~ "CPOI'! 10 dlc ChamJ,f"r : "'A few hours la te r. opticians' s hops
....;.re Iwsiq;et! ; Il,el'e wel't~ nol e Jl o u~ h lenscs , 1101 ellollgh camera O b~f' UI'IIS 10 8al-
i ~ f)' tilt" zeal of so 1111111 )' eager amaleurs. T hey wlt lelu:d with regreuuJ eye tlu~
§l'I ting S UII 1>11 tho hurizo n, a ~ it carried away the I'aw tn a l ~ ri a l of the experiment .
But 011 tile IIUI I'I'UW , during 1.111' fir~ t "O lll'~ of l.ilt" Ilay. a gn 'al number of these
I"xpt'rimclltcrll cOIlIt! he seen a t their window. , ~ I.ri,'illg, with all surt. of anxio us
pr~aU l ilJ lI s. 10 ~ ' a Jltul'l" n n a " re pa ret! platt" the image of a dormer-window oppo-
t ite. or till' ,·iew or II gru ullof chimneys." Louis Figuicr, Lu P/lOtog ruphie ; Expo~i­
tiolt et /i i.st fl ire lie, IJr;" cip(l/e5 decouvertellicientijiqlll!J mOf/prne, (Pa ril , 1851 );
l.iIL..I, "'ithollt pagl" I'('f"rence. by Gisela FrelUid ( ma nnscript , p . 46) . (Y4, I)
III IMO. Mauris,;1l1 puhlis he(1 a j'aricailire of I) hoto~a ph y. [Y4,2]
" 'nthi: area of portraitu re. a COIlt:c rll wit h 'silualioll' 111111 the ' position' of a man,
a concern lital demands from Ihe artiljt the representa tion of a ' social COUW tiOD'
!Iud an ' KlLilude; Ca ll he sa tisfi ell , in the end. onl y with a rull-It'..ngth portrait. "
Wilhelm Wiil7.old . Die KItIl!f. de$ Porlriit5 (Leipzig, 19(8), p. 186; cited in Gisela
Freund (manuscript , \,. 105). [Y4,3)
PholOgrnphy in the age of D isd eri : "Ibe characteristic accessories of a photo-
graphic studio in 1865 are the pillar, the curtain. and the pedestal table. Posed
thc=re, leaning, sc:atc=d. or standing up, is the subject to be photographed: full-
of the model, with other paraphernalia, symbolic and picturesque," FW'ther on
comes a very characteristic extract (without page reference) from L'Art tk 10.
pllQtographie (Paris, 1862), by Disderi, who says, among other things : "In making
a portrait, it is not a question only .. , of reproducing, with a mathematical
accuracy, the forms and proportions of the individual; it is necessary also, and
above all, to grasp and represent, while justifying and embellishing. ... the inten·
tions of nature toward tltis individual," Gisela Freund, "La Photographic au
point de vue sociologique" (manusaipt, pp. 106. 108).-11IC pillars: emblem of
a "well·rou nded educatio n.n 0 Haussmannization D [Y4,4)
(; i"cla Fl'ellllll (man useripl . )l1J . 116-1 17) provides thc fu lluwing ~i latio ll frllill Dis-
tleri 's L "" rt ci f' 1(1 plwto/lrtlp/,ip: "Cou.ld II0t the p lw lographer whu " ' lUI a master of
flU Ihe cffeNs of ligillinf!;. ",h.. luul al his dis p ()~ al a large a llli pCI-feetl y 1~,,"ipJlI~d
I'o hl \lio with 1,lindel'lI l1.tul,·cllecturs .....11t) was pruvilh:d ...·illl h ll l' kll.rofl~ uf ull kiuds.
with s,·tting,; : J)ro "er l i ~·!I. CO!!IUJllt:!!-<'f1u ld I,e nOI. gh·.-n inl elligcnt allli skillfully
tlrCllSl'flmudl'l s, eo n IIJU~" wbl~(lII.x tie 8ell rf!. histuri<'u l ,well eli ~ Cuuilllw tlot ns pi.re
to ~(" nlim"llt , like Scheffel'. or tf) Ntyh:. 1ikl' In grell? Cfluld he not trCKI of hilitOI'y,
like Paul Dela rocl.e in his pai nting The Death o/the Due de C llilie?" AI the world
I'Xhibition of 1855, there were 80 m f' pholograph!! of this 80rl produced in England .
{Y4a,l ]
The paintings ~f Delacroix .escape the compe~tion with photography, not omy
because of the unpact of therr colors, but also (lit those days, there was no instant
phowgraphy) because of the stonny agitation of their subject matter. And so a
benevolent interest in photography was possible for him. (Yb,2]
"Stcu m"-"Last word of him who died OR the e roul'" !\1 aximt Ou Cam p, l.el
Clwnll moderrlel ( Paris, 1855), p. 2<.0 (" La Vape ur"]. {Y5,4]
In "La V" peur:' "a rt 3. DII Camp celehra te!! sleam. chlorofonn . elec:lr icity. gas,
photograp hy. Maxime Du Camp. Le~ Chants moder F1e1l (pan a, 1855), pp . 265-
272. " LK r a ub" <The Scythe> l:elehratt!8 Ihe reaper. {y5,5]
The fi rs t ' ....0 Itllllzaa. lind Ihe fo urth . from "La 8 obine" <T he 8 0bbin >:

What makes the first photographs so incom parable is perhaps this: that they Near the ca8Cadi ng " " er-
Eacli of it.'! hreakwal" ...
present the earliest image of the encounter of machine and man. {yb,3]
A IwirHng rday 51l1tioo-
In the mic hl of green ml'lIi1owl,
One of the-often unspoken-objections to photography: that it is impossible Ami the flowering alfalla.
for the human countenance to be apprehended by a machine. This the sentiment They have ru i~etl up my palare--
of Delacroi.~ in particular. {Y h,' ]
My palaeeol a thoula nd wind owB.
My palace I'll nlstic vine.
" Yvon , ... pupil of Ot:lar oche, ... decided, one d ay, to reproduce tlle 8 attle of
Whir.h climb to the rooftolM,
Sol£erino .... Accompanied hy the photogr a pher Bisson . he gOO8 to the TuiJen ea, My Jlalacewhere, withoot repose,
or
gets the e.mperor to strike the right 80rt pOle, hal him tllrn h iB head, and hathel The nimhle. wheel boom. out itl 80ng,
everything in the light he wlahel to repr oduce. The p ainting that r etluhed in the The whl':l': l ol rackety voice!
end was acclaimt!d under the title The Emperor in a Kepi." Following thi.I, •
Like those viplanl elv~ ol Norwa y
courtroom battle between the pain ter and 8i860n , who ha d put his photo on the
Who wa l~ aCT08II till': BROWl!
market. He is convicled. Gise.la FrellDd , "La Ph o to~aphie au point de vue toei· To e8Cape the Bprile t ha i Ila!ka them.
ologique" (manuscrip t, p . 152). [y4a,5j I turn, I turD. I turD!
Through the houl1! of day. oe,'er rc~ ting,
Passing by the bOllse of Disderi, Nopnleon HI halts II. regiment he is leading dOWD I lurn, a nd I turn tllTOugh Ule night !
the bouleva rd , gOOB uplliai r s, and haa hinlselfphotographed . (y4a,6]
Mlixime Du CaDlll, La Cha n", mot/ernel ( Pa n a. 1855). liP, 285-286. [Y5,til
In his capacity aB president of the Societe deB Gens de Lettres. Balzac proposed
th at aU of the works of the twelve greatesl living French authors should automat· "La Locomotive" : " One day I s haU he named a saint. " Maxime Ou Camp , Le,
ically be bought by the slate. (Compa re Oaguer re.) [y4a,7] C/um!1I moderrl el (Paris, 1855), p . 301. This poem , like others, from the cycle
"Challt s d('lu mulierl'.." [Y5,7]
" At Ihe Cafe l:I amelin , .. . some photographers and night owls." Alfred Delvau,
Lel lleurel por;,,;e nneJ ( Paris, 1866), p. 184 ("Vne l:Ieure Ilu ma tin"'). (Y5,J] "'rhe. p ren, tb ul immense and SII,'ret! locomotive or pro~eas." Victur Hugo,
' 1'f't'l;h al Ihe Ii ull ciliel of Septl'mlicr 16, 1862 , or ganized hy the publishers of Le,
0 11 Ne pomllcene Lemercier : ""Tht' man who s poke thil ped antic, ahsurd , and bo~ .v~erflble. ill Urlls;;els. Cite!) ill Cl;orges Batauh , LR POrltife de M demagogie:
b"slic idiom certa inly never undentuud the age- in whjch he Iivt..-d .... Could any· Vir.lor IlIlSo (puris, IIJ3<, ). p. 13 1. [Y5,8)
one ha ve done a better job of tliMtorung cOlltempora r y events with the " id of
II i~ II r"nr ury 11,111 11 "1':1 U.!I honnr,
IlIIlmoded images and expresijitlns?" Alfred Michiel5, lli.llloire rleli idees litteraire&
T he n: ntu ry of in "c" tiul1s;
en Fremee a u XIX· li.ecie ( Pa rill. 1863), vol. 2 . I'p. :U~-37. ' [y5,2]
Un rurlunllh:ly. it is 1I 1~0
Tb", ,'cntur), of revulution•.
On the rise of photography.-Communications teclmology reduces the infonna'
tional merits of painting. AI.. the same time, a new reality unfolds, in the face of -L'mis) Cluir ,·iII .. II n!1 Jule" Cordi Hr, U> "(lI(lj~ II I' Cris lal. Oil us Pf1 ri$j~ "., ;,
which no one can take responsibility fo r personal decisions. O ne appeals to the l.orlrl rell . l'hi utre de Ill. Porte Saini-Martin . May 26, 185 1 (paria, 185 1), p . 31.
lens. Painting, for its pan, begins to emphasize color. [y5,3] (Y5a, I )

J..
Self-portrai t by Nadar. Councs), of theJ . Paul Getty Museum, Lo.s Angd es. See Y5a,5.
A iocofllulh'e pullin!; "se \'c ral elega nt ~:OIH'hc8" a pl:H!IlTS un d m s iage. Claln -iile the
eJ.lcr a nd Ol'lnlo u r. J8.'17 (lUX f!flfers, 'fhi!atrc tlu Lu x.-mIJo l1 rg. Decelll ber 30. 1837
(Pa ris. 1838) <p. 16 ).
To be demonstrated: the influence of 1ithobrraphy on the literary genre of pan<>'"
mmas. What, in the case of the lithograph, is tx=rfunctory individual charac-
terization often becomes. ,vim the writer, equally perfunctory generalization.
[y5a.3j
Foumcl in 1858 ("Ce qu'o n vOil dans lcs rues de P:u; s"), reproaches r.he da-
gucm:o~ fo,' being unable: to cmbdlish. D isden il! waiting in the wingS. O n
the other hand, Fournel condemns the convcnriona1 poses that relied o n props
such as Disderi had introduced. [y5a,4]
WidlOul imiiclI.ti ng his source. Delvllu cites thi8 de8cn ptioll of Nad ar', a ppea r-
alice: " His hair h ilI the reddi!ill glow of Ie setting 8un ; its rcHection li pread, "crou
his face , wher e hUUlluets of cur ly and conltmtiouR locks spill this w"y alld that ,
unrw y as fireworks. Extremely dil ated , the eyeball roUs . tes tifying to a trul y un-
appeasable curiosity and II perpetual astonis hment. T he voice i!l !ltrident ; the
gesture! are those of a Nurembe rg doll with a fever." Alfred Oelvau , Le, Lio n.! dll.
jour (Paris. 1867) . p . 2 19. (YSa.S]
Nadar, speaking of himseU: " A born rebel where aU honllagc is conceruell , impa-
tient of aU proprieties, having never been able to a nswer Ie letter within two yearl.
an out1aw in all housell where yo u ca nnot put you r feel up before the fire. and
finally_o thai nothing !lhould be lacking, not even a lalt phy.icw defect . 10
comp lete the measure of aU the&e amiable qualitiel and win him mor e good
friends-nearsighted to the point of blindnen ami consequently liable to the mOlt
insulting amnesia in the presence of an y fa ce which he has not seen more than
twenty-five time!! at a distance of Mteen centimeters from his nose." Cited in Al-
fred Delvau , Le, Lions dujour (Paris, 1867). p . 222. (YSa,6]
Inventions from ar ound 1848: matchea. atearin candles. s teel pens. (ySa,7]
Invention oCthe mechanical p ren in 1814. It was fi rst utilized by the Time'.
(Y5.,81
Nadar 's seU-charac terization : "'Formerl y a maker of carica tures ... , wtimately a
refugee in the BOlaoy 8 ay of photography." Cited in Alfred Oelvau , LeI LionJ du
jour (Paria, 1867), p . 220 . (y6,1]
On Nadar : " Wha t will remain , one d ay, of the author of Le iUiroir (lUX auwelles
<Lark-Mirror>, of La Robe de Dejtlnire. of Qutlnd j'etai3 eludia nt ? I do not
know. What I do know is that . on a cyclope an pile 0 11 the isla nd of Cozo, a Polis h
l)()et , Czt:sluw Kars ki, has engrun :d in Ara bic, but with Latin letters, ' Nad llr of
the fi ery locks p alled in the air aho,'c this tower.' and tha t the inhabi ta nls of the
island "ery likel y still have 1I0t 1.:fl off wors hi ping him as a ll unknown Cod:'
Alfred OelVIHl , us Lions du j our ( Paris, 1867). PI'. 223-224. [Y6 ,2]
[Y5a,2]
C" ure photogr a phy: the sculptor Cullimllchus. on viewing a n aCllllthus plull t, in-
V'!nl.!! the Corin thi an capital.- l..t:ollunlo pa illtll the Monu Liss.-LlI Cloire el Ie
p o/ u u fr.u (G lory alld Oeef Slew). Ca hiu t'! des Es tampcl . Kc l6<la.1. £Y6.3]
An Englisl, etchiug of 1775, a genre 8ceue. shows [I ll II. rtiijt mil king a silhouett e of
<hen model by following 1111: s hadow wltich the laltel' ellijts on the wull. It is
elltit1ed Tile Origin ojPuinlins ..Cabint:l dell Ellta mpes, Kc IM a , l . (Y6,41
 quired of the images fonning the material for this stereoscope would correspond
more readily to photography than to painting. [Y6,5]

1..
The apparent affinity between Wiertz and Edgar Q.uinCt needs to be studied.
{yO,O]

-'The 1e08 i8 lUI instrument like the pencil or the brush , and photography i8 a
process like ~Irllwing or engraving; (or what the arti81 creates i8 the emotion and

NADAR. elevant I. Photosraplue lla \aut.ur d. I'M

Nadar in his balloon. Lithograph by Honorl: Dawnicr. 1862. The caption reads:
"Nadar raising photography to the level of an." See Y6,2.

lllcre is a certain relation between the invention of photography and the inven-
tion of the mirror-stereoscope by Wheatstone in 1838. "It displays twO different
images of the same object: to the right eye, an image rep resenting the object in
perspective as it would be seen fro m the viewpoint of the right eye; to the lefleye,
( ,1, "
an image of the object as it would appear to the left eye. 1llis gives rise to the
illusion that we have . .. before liS a thtte4mensional object" (Egon Friedell, The Origin I!f Pointing. Etching by an Engfuh artist, In5. Counesy of the Biblioth&jue
Ku/turgeuhichte ckr MUlei/, vol. 3 [Munich, 1931]. p. 139). The exactness re- Naoonale de France. See Y6,4.
 n o t tbtl Jlr04:~"' . Whue ver p O!lSC@!lC8 1111' m'n~II!1 ar y skillsullcl h a pp y ins piration will
he a ble 10 .,))I,.il1 tln~ IIBmc c[(('cUi fro m a nyo ne of ,11(" 1: fll CU 1I 1! \I f rt'proo m:tio n."
ulUi!l Fib'llie r. La "llO loSfa p hie /Ill S" /Oll riP 1859 ( Purill . 186Q), 1'1" 4-5 . (y6,71
J. ' ; ~1. QUiliCI . .. li'ccmeJ 10 10'8111 11,,1 illtl'odu c(' inlo I'octr)' Ihe lIo rt of ge n re Ihal the
Engli5!J painte r (juhn ) Murtin inuugUl'utcd in urt . . . . Tile pot:l . . . dit! uol
~ h r illk
frolll luwing ,J'e cu lh~Jrll ls kll(.'("1 before tilt' IiclJukher of Our u ml. anti
.;Iw wing llit' tOWIl B UlJ80 rbetJ in co mbin g 0 111 upo n tbc i.r libuultlt'rs, with a cumb of
gold . their I.reu cs of hlood columns. whil(- the lowers J unCCt1 1l s tra ng.- ro undelay
widl the mo uula ull." Alfred ' Cltc mcDt, /Jill/oi re de 14.1 litterulil fe ! ruIH.aue 'OUIle
S'0u vernemeflt (Ie juillet (Paris, 1859). Yol. 1, JI. 13 1. (\'6a,I] _
" At the world ex hiLition of 1855, photogr aphy, ~J e6 pit e iI H 1i,'c.Iy claims, couJd gum
no ~ Iltry inl n tile sanctuary of the haU on the Avenue Montaigne; it was condellllled
10 seek asylum in the. immense bazaar of assorted proo.ucls tbal filled the Palaia de
1' l udustrir. In 1859 , unJer r;ro""ing preBliure. Ihe museum committee , . . ae-
eordoo II; place in the Palais de rtndu8tri(" for the exllibitioll of photography ; the
exhibition site wa~ 011 II; len !1 with Ihul 1IllHle a vailable 10 painting aud engraving,
bUI it hud II; sepilrate elltrll;lI ce an~1 wus set, so to speak , in a djffcreut key." Louis
Figuier , uJ P/lOtogr ophie em S(J/Otl de J859 (paris. 1860), p. 2. [Y6a,2)
" A skiUful phot o~a "her always has a distinctive style. jUilt like a draftsman or _
painler ; ... and , what ', more , ... IIH~ tListinetive cha racter of the artistic spirit u(
each nation is d early r evealed . . . in the works produca! in different coun-
tries . . . . A FrelJeh photographer could never he ellllfusctJ . . . with one of hiA
- Symptom, it would seem, or a profound displacement: painting must submit to
colleagues from 01' ross the Ch annel ." Louis Figuicr. /.fI "lIologrflphie au Solon ch
1859 (paris , 1860). " . 5. [Y6a..3]
The ~ginnings or photomontage come out or the attempt to 0lS UIl." that images
or the landscape retain a paimerly character. <1M. Silvy has an excdlent system
ror producing his pictures . . . . Instead or imposing, on all his landscapes indifTer-
entJy, one and the same sky romlcd rrom a unifoml negative, he takes the
trouble, wherever possible, or separately enhancing, one after the other. the view
or the landscape: and that or the sky which crowns it. H ere resides one or the
~ts or M. Silvy." Louis Figuicr, La Photographir au Salon rk 1859 (Paris.
1860), p. 9. [Y6.,. )
It is significam tJllll Figuier's booklet on the Salon or PhOlography or 1859 begins
with a review or landscape photography. [Y6a,5)
AI tilt' Salon ~I {· Plml ogral'ruc or 1859 . IlU.IIIl!ruus " w.yagt's" : to Egy pt . j(j J erusa-
lem , to C rl"t:I"I:. h i Spuin . In his ac~ ·o nnl. Figuit'r uln erves: " Il artll y " alllllll prllC""
l i ~· all'r"':'·lI!i,·It .. r I, holograph y 0 11 1,1Ilper I' U III ~ I n lit' IInd'· r~ to ...d Ihil n a whole hand
ur operuh:or!! r W'.Ii'·ll rOI'lh . . . in :.II , lin · ~ · ljonlt . to III'ill jil; 11 8 huc k ,·i,·w!! of lIIonll·
me,n ls, huil,U.IlglI . llllJ "uins tak ... n ill 1111 knuwlI t a lld ~ .. r tl,e worhl. ·· .Hcllee tJUl lleW
,. oyag eJ ,Jhofogr tlphi.queJ. L<lIli ~ Figu ier, La PhotolJrfJph U! atl Salon de 1859.
p. 35. [Y6a,6]
Among the wo rks uf r el'rOliueliulI 10 which Figuier giYe8 81H.'C ial allention . in hi ~
PllOtO/!rllll/lie till SfI/IJn . ure the rl:vroduction of tJlI~ R a phael carloon rrom Hamp-
ton COllrl- " tlw wOl'k .. . that dominate!; the entire phutogravh.ic exhibitioll of
1859" (p . 5 1)--01111 that of II lIIanu(!ccripl or Ptolemy', CeolJ rtlphy datillg fronl the
fo urteenth century IIlId kept , a t tha t lime, in the monastery of Mount Athoa.
[Y7,1)
There were portraits s pecificall y de!!.igned to he vie"" ed through the uereoscope.
Thi ~ fa sh.ion w a ~ cur n: nl in Englund , above aU. [Y7,2J
Figuier (vp. 77- 78) dOC! nOI limit 10 mention the vouibility tbat ""micru8copic
photographs" couJd be used in time of war to transnlit ~crel messages (in lhe fonn
of m.iniature tdegr ams). [y7,31
" Onc thing . . . made clear by a careful inspet:lion of the exhiliitioD . . it the
present perfoctioll ... of tJw pOllilive proor. FiYe or six years ago, photography
was almo!;t exclusively cOncerned with Ihe negative •.. . and it was rare indeed
that anrone gave thought 10 tJle ulility o( printing frum a positive image." Louia
Fipier, La Ph otographic tilL Saton de 1859 (paris, 1860), p. 83 . (Y7,4]
~ing meas u~d by the standard or photography: "W: will be in agreement with
the public in admiring ... the fine artist who ... has appeared this year with a
painting capable or holding its own, in point of ddicacy, with daguenian prints."
llUs assessment of Meissonnier is from Auguste G alimard, Exmnm du Salon de
1849 (Paris <1850,), p. 95. [Y7,5)
" Photography ill verse"----t;ynon ym ror a description in vent':. Edouard Fournier,
Chronique! el Mgende3 de3 rue3 de Ptlri3 (Paris, 18M), pp. 14-15. [Y7,6J
'1 'he world '8 fi n t lJuwie thealcr 0lwlled on December 28. 1895, in the ballt'.lIlent of
the Gr aDtl Caft!. 14 BouJev.artl J e8 Ca pllcines . in Paris. And the liMIt receipls for a
hrllnd of SIH!Clllcle tha t wo uM later 1I1't b illi(tIIs amOUlitetl to the consiJ er able , urn
of th.irty-five frlllles!"' Rolaud Villierw.. I..e Cillt~m(1 p l llell ml! rtJeil/e", (Puris ( 1930» .
pp . 18- 19 . [Y7.7J
'''1'1,.: yca l' 1882 1IIt1 ~ 1 he mr lllitlllCl1 a, a tu r ning poiut in the higtory of photu-
gnl l)hic rep"rtajl;e. It "" as IIU" yrar ill which til .. photogra pher OUoma r AII ~c hillz ,
rrom 1.A!SilIlO ill 1-'01111111 , i.n vcnled till! ro..:a l-r.la ne , huller and tbull madl' IJ1.Iu ihle
trul y ill ~ t a lll a 'w('118 phutugr avh y." filropiii, che l}()lw m ente: lI iJ tQri, cI~ e l'h ofOll
II IU den j a hr6f1 / 8" O- 1 9QO. 1:.-1 . Wulfg/l 111'; Schade (Stuttgart. Berlin . Leipzig).
I). [Y]. [Y7.8)
 The first plll)lograpilic iute r view wn~ ':lmdllch,,1 by Nad al' with the nine l y-tiCVCD_
yea r-tllJ Fre nch che mist C he \' n'uL in 1886. Europiiisclie DO/.' !tlllfl llle: I-listorische
Photos (I WI den Jlllm.m 18.10- 1900, W. Wolfgang Seh lHle (SllIlIgorl , Berlin,
1..
Leipzig), p . H-9. ~ [Y7,9j
" T he first eXlwrillle li1 l u la unch resea rc h into scicntificllll y IWo<llIccd motion . , .
was thaI of Doctor Pllre~ in 1825 . The deta ils are well known: 0111111(' side-of II small
slllIarc of I:ardbollrd. he had d rawn a cage. and on the oilier side, II Lird ; by
turning the Jlicce of curdhoard briskl y on an axis, .. . lit' c aus/:u the IWO imagcs lo
ap pear in 8ucoouioll , yet the bini soomed to be in the ca ge, jus t liS tho ugh tl,ere
had been onl y one drawing. TillS phenomenon , which in it'!eif is lil('. basis of all
cine ma , ucpeuds o n the priud"le of 11m pcrs i~ tcn cc of retinal im pressiouli . . . . -
Once tllis principle is admitted , it is easy to understa nd that II IIwvemcnt decom-
p.Jsetl , aDtI presented in a rhythm of te n images o r more per seoond, is pe rceived
by the eye as a pe d ecd y continuous movement. T ill! fir st apparatus that actuall y
wrought the mirade of a rtificial motion is Ihe Phe na kistiseopt::. conH[ruc tcd by tbe
Belgia n physician Plate au as earl y liS 183:i. Still known today as an optical toy,
thi~ apparatus . . . consis ted of a d ilik on which were mounted drawings repre-
senting the succellsive phalle!! of a n action, wllich c·ouJd he ohserved a &the disk wu
rotaled . . . . There . .. is a n obvious relation he re to the a nima ted cartoons of
today .... Resl:art:her& quic kl y saw ... the inlert"llt in havi ng ... a sm!ccssion of
photograph s 8IIhs titute d for the d rawillgs. Unfortunatel y•... only images running
a t tile minimum speed of a tt::nth of a secolld coultl work with lI ut:: h a design. F"r
this, we hnt! 10 aWHil the gdatioobromide plates that pc nniued the fi rst illlllanta-
ncous expos ures. It was asl rono nl Y m ut initially provided a ll occasion for testing
- "'It is worth noLing that the be tte r photographers of ou r day are not concerned to
c hrollophotography. O n Decembe r 8 , 1874, tha nks to the pHs-sage or the pillnet
Vt'DlUI pallt t h e Still, tlle astrollomer (Pie rre> J a llsscn wall a ble to tryo ut his
invention or a pho tographic revolver, which took II pictu re r.ve r y sc\'enty sec-
omls.. . But the procell~ of chrono photogr ap by WIlS S-00 1l to become much more
rapill. ... It wall . .. whclI Pr()fessor Ma rcy cntered the liJ; ts Witll his photographic
rial' ... tha t the re~ ult l,lf twelve images per second was obtained ... • All these
ru.: pt::riments wer r, up 10 th eil , purely s cientirlc (!) ill c haracter. The researchers
who comiuctcJ them ... saw ill c hrollo pho tograph y II simple ' means fOl" ana lyzing
t he movemellts of hUllla n!! and a nima ls.' .. . At thi~ point , ill 1891 . we meet with
. . . Edison , who hud construc tetl tWIl de\·iee!! . O nc, the Killl:tograph , wall fo r
rccortling; the other. tim Kine toscope , wus ror pl'ujedion .... MeaIlwhile, in 1891,
Mal'ey's colla ho rlltor. <Georges, O{:IIICIJY. ha d huilt a machine tllU t allowed for the
recortling of pictures 11.11,1 sOUllI1 at the 'Hlm!· tiuu·. I lis Phonoscopt! . .. was the flrsl
ta lkie." Holanll Vi!ljers. Le Cillenw ('l 5e5 men'PilIe!l (pa ris <1930», I'p. 9-16
l"' PeLitt' lIisto irf' du ,:iIlCma" ). fY7a,I )
" Let li B take 118 all (·xilm pl!· of teduli"u l III·ogl·t:SR. ""hidl a(' tu ully is regJ·es~, tlu~
pcdl'l.linn of phlilogra phil' dcvi{"ell. They ur t' milc h 1II0rt' scnsili\'e t f> Ijght l.h a n the
old bOJ(c~ wit.h "" hk h du b..... u-rreot)'pcs Wt·l·t· pro(lu ,",·d . O ne hartll y !Iced CCtllcerll
"lIesclf ulmltt IjShtili1li ""hen opel'ut iug d,e m now. They h U\'e II nu mhcl· uf othe r
ad valltages to hoot, es pecia lly where photographing races is conC<!rm.>d, a lthough
the portraits which one makes with them a re doubtJcss much poorer thall before.
With the olde r, less Ij ght -sen ~ i ti ve a ppa ratus. multiple expressions wowd HJlpe ar
0 11 the plate, which waH exposed ror rather long lK! riods of time: helice, o n the GnaJ
image there ...oultl be a livelier a llli more universal express ion , a lld this had its
fUll llLioll as well . Neverthdess. il wouJd most certa inly be false to regard t he new
devices as worse than the olde r o lles . Pe rhaps something is missing from them
w!Uc h to mor row will be fou nd . a nd one can a lways do other thillgs with them
hesitles photographing faces. Yet what of the fa ces? The newer ,Ieviccs no lo nger
wo rk to comvose the races-but mus t fa ces be composed? Perhaps for these de-
vices tllr re is H photographic me thod which would decompose faces. Bul we can he
q uite ~ lI re of never finding this possibility realized ... without fi rs t havlllg a new
funclion for s udl photograph y:' Brecht , Ve r.'l'lu:ll e <8- 10 (Berlin , 193 1)). p . 280
("Ocr DreigroschenprozeO" <Tile T h reepenn y Laws uit ». fY8, l )
T he Bisson brothers, o n th e occasio n of the vis it by Napoleon to their photo-tn
gra phic studio ou December 29 . 1856-.11 visit which they say coincided " i th the
clevellth anni versary of tJle opening of the ir husiness-f1w llished in pamphle t
form a poem e ntitJed , "Souvenir de 1.11 visite de Leurs Majesttls l' E mpere ur e l
I' lmper a trice aux magasins de Messieurs BisHon freres." T he pa mphlet comprises
fo ur pllges. The fU'lit two pageH contain a nothe r poe m, " La Photographie." Both
texts are unreljevedly fatuou s. fY8.2 )
belabo r the ques tion . . . : 'h photography 1111 art?' , .. By their a ptitude fo r
c reuting the evocative shock, [these photographer s] prove their power of expres-
sion . a nd that is their r evenge for the s ke pLicism of Daumier." Ceorge Besson , La
Pllotographiejram;ai.'l'e (Paris <1936» , pp. 5-6. (Y8,3}
The famous statement by Wiertz on photography can very likely be elucidated
through the following statement by '\I\ey (of course, it becomes clear by this that
Wiertz's prognosis was mistaken): '" In reducing to naught whatever is inferior to
it, the heliograph predestines art to new fonns of progress ; in recalling the artist
to nature, it links him with a source of inspiration whose fecundity is unlimited."
Francis Wey, "ou Naruralisme dans J'an" [La Lumim, April 6, 18511 i cited in
CiseJe Freund, La Photographie m Frallu au XIX' JI'icie (paris, 1936), p. Ill.
[YB.' ]
··If we eonl>ider unly the practical sidc of d..ivililitio n, the n t.;l belie ve th Ht Pfl:\'io us
eW,' ut s in u man'" life . . . caulte tlil'cclly I'cprest'litetl by the c arcl ~ he sllUfncs a nd
1' 111,11 , aDd ""hich are Ihen s tar kell by the fo rtulletelle r in a cro rtl a nce witll some
!JI y~ tt~ riotlll l aw 5, is to helie ve t he lI.bs urd . But this c riterilJll of ahs llrllity o nce r uled
(l ut 111(: ha rne6l1ing of ste am : it stili rll l e~ Ollt nefia l nu viga t.ion; il rule,i Ollt man y
i!l\'c lltions: gJlIIpowde r, printing. l.lll' tel.!ijCUpt:, cngraving, a nti ahu the rnns t re-
C"111 great lliscove ry of o ur time, the d llglll.: rreot ypt·. If a nYOlle had cmlle a lltllultl
Napuleon Ihllt a ma n or II huilding iM incessant ly, a nd a t a ll hours , represented by
an ima g.~ in th ~ almo8pl,ere, 111111 1111 exiilting ubjec:tl hllve 1 1 1t~ r~ a kind of lpecler
whid. CU ll he l'uplurl'll 11111.1 rlt.'rccivetl . he would have consign cd him to Charenton
as a lunatic .... Yd Ili a I is whul Ougtwrrc', discover y proved ." HOllore de Balzac,
u emu ;" POII$. in Oeuvre5 CUmpMIf!'5. vol. 18, Lo Comi!Jie Il11mC/i1lR.: Scene$ ch la
Ide Imr;:I;e.1lrle, 6 (parii!. 19 14). pp . 129- 130 . "Jul l III physical objecu in faet
p roject Ihcnll!d,'e& onlO the a llllOMl'hcre , S tJ tha i il retainl Ihis 81H!t:ler which the
d aguerreotype can fi~ 11 1111 cu ptun:. in tllt~ lIume way idcas ... imprinl themselves
0 11 ""hal we must call die tltlllusl'here (If the I IJi.riluul worM • . . . tl nd Ih'e on in it
.~pectr(llly (ulle musl l:oi1l wo rd ~ in ontel·lo expreSIi UJlllulDell phenomena). [ftbat
he granled , certui n cl'ClllurCIi cndowcd wilh rare fuc uit ies are pcrfoctly capable of
discl'rlling thes!' form~ or thes!' I n"'1~8 of ideas" (ibicl " p. 132). G [Y8a,l )
" Df'gas was the finil 10 aUCllipt . in his "iclures, the repruellt ation of rapid move-
ment such as ""e get ill imlanhm(..'(lus Ilholography.'· \Vladimir Weidle, Le, AbeiUe,
d 'Ariltee (pa.ris <1936 ~), p, 185 r'L ' Agunie de I ' art"). [Y8a,2]
Whal a Ulhor is heillg ciled by Monlcs'luiou ill Ihe following psssage, which is taken
from a hamlwritlcn lext forming part of a ricWy orn amt:.nh..d volumc of memora·
bilia II hown in a display elise III thl: CUYA cllhihition, ill Paris, in the spring of I937?
" And Ihat , in a few hali' y wOrll ~ . is how il WR!;: the rlrsl exhibilion of Comtantin
C uy&-uewesl Burprise 10 be SI'rvetl lip to liS from his treas ure-box of malice by
M . Nada r.6 Ihe falllOu s aeronaul and (should I lay?) illus trioull photographer,
S urely, Ihis ingenious spirit , 8tet!petl in the pas t, has II righl to that title, in iu
noblest acceplation, aUlI aecor lli.llg 10 the admirable definition provided by a pow-
erful ulIIl suhtle thinker. in Ihe courlle of some sublime pages: ' Humani ty has also
illve.III!.."!. in its evening peregrination_ thai is to say, in the nineteenlh century-
Ihe symbol of memory; il hus invcnled what had seem(,'tI impoll8ible: il has invented
a mi r ror thai rc memhers, It hilI invc nll!ilpimiogra phy. '" [Y8a.3J
"AI no rime in the past has art respo nded to aesthetic exigencies alone, The
Gothic-sculptors served God in working for his faithful; the portraitists aimed at
vcrisimilitude; the peaches and the hares of a Chardin had their place in the
dining room, above the family ditmer table, lndividua1 artists in certain cases
(and they were few and far between, 10 be sure) may have suffered from this state
of affairs; art as a whole could only profit from it, This is the way it has been
throughout all the greal artistic epochs, In partiruJar, the naive conviction thai
tlley were only 'copying nature' was as saJutary for the painters of those fortu·
nate epochs as it was theoretically UI~ us tifiable, The old DulCh masters looked
upon themselves less as artists than as photographers, so to speak ; it is only
today thai the photographer is absolutely detennined to pass for an artist. For·
merly, an engraving was above aJl a document, less exact (on the avera~) and
more artistic than a photograph, but having the same function, fulfilling by and
large the same practical role," Togetller with this important insighl ~'C have, from
this author, another no less imponanl, according to which the pho tographer is
distinguished from the brraphic artist nOI through the fundam entally greater rea1-
ism of his works. but through a more highly mechanized tcclmique, which docs
not necessarily clim.i.nish his artis tic activity. None of tIlls prevents tIle author
from going on to say: "What is u'!forluflale [m y italics] is no t that today's photog·
r<1pher believes himself an arlut; wha t is unfo nunate is thai he actually has at
his disposal certain resources proper to tlle alt of the paituer." Wlaciimir ~idle,
Les AiKilles d'Aristie (Paris), pp. 181 - 182, 184 ("t.:Agonie de I'art"). Compare:
J odunann on the cpic poem: "The ~ncral intercst which such a poem excites,
the pride with whieh an entire people repeats ii, its legisla tive authority over
opinions alld sentimcnts-all this is grounded in the fact that it is nowhere taken
a.~ a mm poem." [Carl Gustav J ochmann.,j Ober die Spradle (Heidc1berg, 1828),
p.271 ('" Die Riickschriue der Pocsic"). [y9.1]
In Ih" pe riod around 1845, illus trations are already appearin g in advertisemellU.
On J Ill y 6 of this yea r, the Sociele Generale des Annollc!!" , wh.il:h handled public jti
for Le j oC/mill de5 (/elKII8 . Le Co n:l,i,u,ionflel. II lIti La Prene, publishes Il pro-
~J>('e tus that say': " We call , . , yo ur allentiull 10 the illustrations which , fo r !ome
years now. a great lIIallY busine88e8 have h!..'ell in Ihe hubil of joinillg to their
a n n oUlll~t:llle lit s. The PtJwl~r of captivating the eye by the form and disposition of
the lellerij il pcrhups less dec-isive than the advanlage to be gained by filling out a n
often arid eXl)Ositioli with drawings and designs," P. Dutz , lIi!ltoire de La pltblicite,
'0'01.1 ( Pam , 189·l). PI). 2 J()-2 17 . [Y9,2!
In his " Morale tlu j oujou" <P hilusophy of Toy"), Baude.laire mention! . together
wi th tbe Sh:r eoseope. the phen akistiseope, '"'The pllt'nakis tiJcope, whieb is older, is
less well knnwn . Imagi ne some mOl'ement or other-for example, a dancer '! or a
juggler 'lI (lerformanee--divided up and decomposed into a certain numJ)Cr of
mOVelllent8, Imllgine thlll ead, one of these mOVl:fIIf,-"t8-lIl1 luany lUI twent y, if yo u
, wis h-is re pre8t~ nted by It Clllllpicl e. figure of the juggler or dancer, and thlll thelle
arc all prill"!II rOlUltlthe etlge of a circular piCf'C of cardboard ," Baudelaire Ihen
fli~crihes the mirror IIIL'I;h aniSIiI tha i enables the viewer 10 !!et!, in the Iwenl y
openings of U II .m ler circle, Iwenl y little figures moving rh ythmically in II continuo
ous actiolJ . Baulli'lai l'e, L 'Ar t rOIll(Jntiqllc (Paris). (I . l'Ui. : Compare V7a,l .
{Y9a.l]
It wa~ the panlogrlt l,h , whulle principl" ili j~l u n ll y III work ill tbe physiogllotrllce ,
IIHI\ liod .. rtunk 10 Irnllsrri"t' aUlomatica lly II linear scheme originally trace(1 1111
pllper 10 a I'liU;lt'I' ma.ss . as n'~lnired by tht' prO('I'SS uf pllOlu~elll(Jllire . Ser ving li S
IIIU,!t·1 in IIIis pr" f·t·8~ wI'rl' IWI'lIl y-fonr simu[lall!..'(luS vi,·w", takl'lI from ,!iffcr"lIt
shies. Galltit!1" ffjre~(,'i'1I lIB Ihr,'ut to ~ ,: uJI) tun' fl"Om Ihis prtWtl811. Whal ca ll prevent
Ihe s('ulpt ul' fl'fl lli IIrlisli('all y enlh 'cning Ihe luechanil'ally prudul'I,d figure and its
~nJllI)d :- " B"I I.hcre is ",ore: fur' all it$ t'.'ltru"agalll'c. Ihe c,'nllll'y remains cconomi-
,·al. Purl' a rl -"Lot"'.'! h. il "lin t!! hing exp,'ns:in' . Wilh II..,: dwe kint'SlI or a parve nll , il
"l.OlIIrlim!!s ,la rell I.. hagglt' no'e,' maslt'no·,lrkll. It i8 l!-rrHied of marble and
Lr('lIze.... BUI phOIO,.tulpturc is !lut SI' ,IDliuting a s Iilal unry. , , . r' lmtosculplnre
is us!:d to 1II')l lelil prol'orl.inUiI and is ':Oll tCIIl witli 8 !II'I ftf ~ i.J t:I ,·t'1I ror I'etlclltal.
ha"" y w hllvC fll,i thfully rc prntiucrtl a hdovl!(l eOUlilcIIIlIU:':! . . , , II Iloell nOI d.i8-
rlain nn UV"I'cunt, II!HI ill not l!lIIhllrralllled hy crinolines; it acceph IUltUI'tl lllld the
world 11.8 they lire, I!ij 6illcerit y IIccomlUotinles everything. ant! though il5 plauer
casts of sleprill e lill he transpolicil into marble. inlo terraeol1a , illto aluba5tcr, or
ioto bronxc .. .. it lI':!v!!r a~ k s, in relunl for it& work . what iu eld':!r 8i ~ ler would
dcnlltlul in paYnient : it n !tlul!Sts oruy t he COllt of malerials," Thoophile C autiu
" PhOI05culplure: 42 DOlilevonl de I'EI(lile:' <i.e Moniteu,. ILniue,.,e h (Ilans •
<January 4 ,) 18&1), PI" 10-11. The essay includes. a l I,he end. a woodcut witb
photogculplUrclI, one of which Iwrtrays Caulier, [Y9~,2J
" l:Ie refinCtI the iUu ~ ion a ry art or the panorama and invcnlc,1 the diol'ama. He
joined forcell with allot,her painter. ami (In Jul y 11 . 1822.1111 1111l Rile de SallMlO ~
Pari!! ...• he ol'f'ned un exhibition whose fame (Iuickl y s pread , , . , Thi5 iO\'l:!Qtor
a lit! entl"cpnnellr . , , wus thtbLeti a knighl in lhe Legion of L1onor. Midnight Mall,
the Temple of Sulomob , Etlinburgll in Ule sinis ter glow of a confl agration, and
Nap"leou 'lI Tom" trallllfi gul"t!d naturally by the aureole of a rosy sunset : 5uch are.
Ule wonden that wen!. 51111wII here, A tl"anslator of DugUc.rre'H Ijwn uccount of h.itr
two inventi(ll.l s ( 1839) portrays very niccly tire muJtiplicily (If Iigh" involved , great
and 8111all , IIpll'lIdid , Hcel'd , a nd lI'rrifyillg: 'The spectator sit5 in a s mall amphi_
theater : Ihe Ktoge ~ (:emj to him covered b y a curtain which is still bathed in dllrlr.-
!leu, Grullually, Iruwe"er, Ih.i1S d urktlcl!lS yieldl! to a twilighl ... : a laml8cllp" or
pl"ospeet enwrg':/< more clca rl y; Ihe. dawn is beginning, , , . Tn:tMstanll out from
the shadows; Ihe conlOU rs of mountains, of houses, h«ome visible, , . ; the day
has hrokclI . The 51U1 elimb~ evel" higher; thro ugh the opcn window of a houlII! ODe
8ee~ II. kitchen ~ tllve 510",'ly fl a ming np . while in a corner of the landscal.e a group oJ
campen is r a nged rOlllld a cooking pul , uncler which Ihe campfire ill begin~ 10
blaze; a forge l;ccome~ vis.ible. it!! furna ce gi\'ing oft @pa rb as though . , , from
conlinuous 5lokin g. Mter a while, . , . Ihe daylight begins to wane. alld the reddish
luster of tbe artific.ial fl ame grows stronger : once again there is ad va ncin! twiliP.l,
lind fin ally 1I00:llIl"IIal gluum , 501.10 , howeve r. the moonlight asserts its riplU, and
the region ii vllible anew ill the 60ft tillt,. of the illumina ted !light: a mariner 'a
laulerll f1arcs up (Ill board a II hip Iha t i~ anchored in the ruregro uml (If " harbo r ; in
the ha rkground I)f an lIllmirahle l":rill)Cctive of a churc b , till' I'allllles un the altar
are Iighterl, and the previ o u ~ l )' irwisihlr p ari,d uoner!! arc nllw iIIum.inatcd by the
rays slreaming dowlI frum the a ltllr; ur gl"ic f-~ Iri ckell lur n a re s tanding at the ':!dge
of a landslide. its devasialiollil lit up by the mooll at tlrr vl'ry lIpot whe re. s hortly
hefort:. IIll' numberg had rormed the LackgroulI<l tcJ tire l!lvI'ly Swiss laru!lIcape
uf Gulrlau , ' " Citec! II.~ "UIJenctzcl' "Oil D!lguern'l! Schl'ift ii1wr ~c' iJlt.: Iwidell Er-
fillflungen ( 18.19)." in Dulf Stcrnbcl'ger, "()as wUlu!cd,ilrc' I"il'lll : ZUlli 150 Ge-
burl.Stll~ DlI gllcrre~." FnHtkfllrtcr Zeitll"8 (2 1), N(l\'I'mb t'I' J 9:H , [y J 0.1]
TIIC entrancc or the Icm por.tl fa ctor into lhe panoramas is brought about
through tile successio n o f limes of day (with well·known lighting tricks), In this
.....'lly. thc panorama transcends painting and anticipalcs phOlogt'llphy, Olving to
iLS IcdUlOlogic."1l fonn.'1tion , the photograph, in contr'aS1 to the pain ting, can and
must be correlated with a well-dcfined and continuous segment of time (exposure
tiIlle), In tills chronological specifiability, the political significance of the photo-
graph is aJre..dy contained in nuu. [VIO,2]
" In tllc;;e clc'l'lorable tiIlIC", a Jlew ill(lulllry hilt tlevcloped . wluch has helped in no
slIIall way to ("oll'irlll foo ls in their fai tll a lill to ruin what vestige of the divine might
!!till han'. rcmaint.'(1 in til<' French mind . Of courlle. this idolatrous multilude was
ca llillll. fOI" all it'it:a l wOI,thy of itself aud in kt:eping with ill!l own nalure, 10 the
do rnain o( pai nting and s tatuary. the preeenHJay credo of the worldly-wi3e ... i3
!lci;;: ' 1 believe. . tha t a rt i ~. and call olily he. the uact rep roduction of Da-
turl' , ' .. Tllus. if all indlls trial proecS6 coulJ give us II result identical to nature
Ihal wou'" bc ,,"solute ar t. ' All IIvenpllg Cod has heard the prayers of t.h.iJr multi:
tude. Daguerrl' .....as hi~ IIIcl!silih . And Ihcn they said to Ihemselves: 'Sin ~ pholog_
ra phy pl"o\'idel 115 ",;dl e"ery r1esirahle guarantee of cxactitude' (they believe that .
poor madmen !), ' art ill photograp hy,' From that momenl onward, our loathsome
society rushed, like Narcissu ~. 10 contemplate its trivial image on the metallic
plate. A form of lunacy. an extraordinary fanllticism. took bold of these new
slI,n -wors hippers , Strange ailonullatiOlUi manifested themselves , By hringing to-
getbel" and pOlling a pllck "f rallcals, mu le lind female , tlrcued up like carnival-
tiole "(Itdler" alltl washcrwomen, aod in 1H: r8ucuiing lhe8e 'heroes ' to ' bold ' their
imprO\'ised grimaces for II! long II! Ihl' phutographic procesll required. people
really bclie\'cd they could represent the tragic alld charming srene5 of ancient
Itillury, . , , It was Ilollong hdo re thottllands of pain of greed y eyell were glued to
the 1M:ellholes or tile 8h:reo!!cupe , a5 thougb they .....ere the 5kylighll!l of the infinite.
The IO\'eof ohst."ellity. which i 8 II vigorou5 a growth in the heart of natural mao a!
self·love, could not let slip slIch a glOriOU8 oPl)l)rlllnity for il5 own nti5faction. , , '
[ p, 223} . , . I am convinced that the badly a pplied advances ofphotograpby- like
aU purely nlaterial progreu. fOI" thai malter-have greatly contributed to tbe
impoveruhmcnt of French a rti5tie genius, alread y 80 rare .. , . Poetry aod pro-
y-ess are two amhitious m~n ",·ho hale t:ach otlier willi au ins tinctive haired , aDd
whell tbey meet along the u mc roo tl one of 'hem must ~ve way," Cbarles Baude-
laire, Oell Vrf'$ <ed , Le Daotcc). "oJ. 2 ( Furill. 1932> , I)P , 222-224 ("Salon de
1.859: Le Public moderne t: t III piroll)gra piue ").~ [VIOa, l]
~a~lfldairc ~pc!lks . i.1I "Quelllue8 Ca ncaturi8te~ frall\:lli8" (a prup05 of Monnier),
of the cruel ami s urpl'ising cilurlll of daguerrt:oIYI":s," Charles 8auddaire. Oell,-
c.,,'!s, e.1. Le OOIJICl'. v... 1. 2. " . 1. 97. ~ lOa,2] rY
",1\... 11"~ a", I prugress arc IwO amllltlCllu .. 1II1!11 wh u hah! each ut!wr with nn in slinc-
tlVl' hul rCII ,II I\{I ,,",' I" 'nl I ley 111('1.'1 alnug tlw 81l Ille roa{l , Olle ofthcm mllsl give wa y, If
"irft(OI,I'U III Iy ...
IS II II 0 "'.1"1I 10 SliPI'I CIllt"1I1 ort III
' somc ofl15 , fWlctlOlIS,
. ,It will soon have
RUJlplaut ClI or l,:(lrrllfllCI I 'It II I lOge!.Iler. II!lulk s to the siupidi ty of the multitude
I\\'Ilidli-" I't ~· lIaturll I a II y, I I "I ~ tllIlC. tlell
I . for It . III returll 1'0 its true 1~lIly. which is 10
)to till' scr va nt .}f Ihe SdCIII'C'~ lIlId a rt s-lrll l LIII' very 1IIIIIIhle 5er n lllt , lik!! prillting
Or ~ llurthalld . whi('h Ila ve ueithcr Ch:alt·d lIor lIupplemellle,1 lilerahll"t! , I...t!I it
 -z
IHlliten to enrich the 10Urillt', album amI re!ilore to hill eye the precillion which bia
memur y may lack ; let it adorn the nat uralist'll librar-y. and enlar ge microeeopic
uuimals ; let it even provide information to curroborate the astronomer 's hypothe-
ses. III short . lei it be the lIecretary lind clerk of whoever needll a bllolute factual
exactitude in hU profellllion-up to tb ll t point nothing could he better. let it I"e8Cl1e
(rom oLlivion tholle tumhling ruinll, those bookll, prints, and manuscripts which
[The Doll, The Automaton]
tillle is devouring, pr~iou8 things who8el form i8 diuolvillg and which demand It
place in the archives of our memory---it will he thanked and IIppla uded . But if it I was ahvays, among human beings, the: only donI with a hean.
he allowed to encroach upon the domain of the impalpable and the imaginary,
- Amalie \\funer, MtmDirm nlln' 8erli~" Puppt,for lGukr 11(11! 5 biJ 10
UpOIl anything whose value depends 80lely UPOD the addition of something of a JaArm unJfo rl"", Mutt" (lcipzig, 1852), p. 93
man's soul . then it will be so much the worse for us! " Charlel Baudelaire, Oeuvre.,
00. Le Dantce, vol. 2, p . 224 C'SaloD de 1859: I..e Public mooerne et la Pho- Where, inslead or the clock, the eyes i.ndicate the hours.
Iogrllphie").IO [y U ,l1 - Franz Dingdslcdt, Ein RI1fTI(UC; c.rtcd in AdolrSuudtmann, DiLJat" -
p'!fik, vol I (Stuttgan.. 1879), p. III
Cocteau's us MariiJ de lo. tour Ejffi/lJ can perhaps be considered a "aitique of
the snapshot," insofar as in this piece the twO aspects of shock-its technological
function in the mechanism and its sterilizing function in the experience-both
come intO play. [Yll.2]

"'The de\'er Pansiennes ... , in order to disseminate tbeir fa shions more easily.
nlaJe lise of ao espet.:ially conlipicuous reproduction of their new creatiOll1l-

- namd y, tailorN ' dl.lnurUes. , . . These dolli , which still enjoyeJ considerable inlpor-
tanw in the seventeenth and eighteenth centuriell , were pven to little girls as
playthings when their cart.'t!r aa fashion figurilles had ended ." Karl G rober, Kin-
(Ierspielzel'lj (lW (llte r Zeit (Berlin, 1927), pp. 3 1-32. 0 .' ashion 0 Advertising 0
IZl ,l)

They are the true fairies of these arcades (more salable and more worn than the
life-sized ones): the formerly world-famous Parisian dolls, which revolvc=d on
their musical soclc and bore in their anus a doll-sized basket Out of which, at the
salutation of the minor chord, a lambkin poked its curious ruuule. When H ack·
lander made use of this " newest invention of industrial luxury" for one of his
fairy tales, he too placed the marvelous dolls in the dangerous arcade which sister
Tmchen, at the behest of the fairy Concordia, has to wander in order finally to
fesCUe htt poor brothers. "Fearlessly, Tmchen stepped across the border intO the
enchanted land, all the while thinking only of her brothers. At first she noticed
nothing unusual, but soon the way led through an enonnous room cntirdy filled
....i th toys. She saw small booths stocked with evaything imaginable-carowels
with miniature horses and carriages, swings and rocking horses, but above all the
m OS t splendid dollhouses. Around a sma11 covered table, large dolls were sitting
011 easy chairs: and as Tmchen named her gaze upon them, the largest and most
~alltiIul or these dolls stood up, made her a gracious bow, and spoke to her in a
little voice of exquisite refinement." The child may not want to hear or toys that
are bewitched, but the evil spell of this slippery path readily takes the form, CVen
today, oflargc animated dolls. OAdvenising O IZl,2]
" TIIl' fu shioll i ~ i UI'IJ081'11 10 ha \'c IIcl'll ilH·... III(:d by Longchamps. I\·c not seen
:.In ylhiug neW. hut tm norTO)W in Iln'ir IlIllletin ~ allthc " I'ricntlly S prite"," all tbe
·'P.,tit..; Cuurier!! dt'8 Oalllt'8." all lilt' "Psych!"s" ...·ill rClmrt un IIt'W all.il'e lhal was
al reutly 111'signed 11 1111 avui hlLle III·fore umg<,haml's <,,'el' ca lliI' 011 the scelle, I
~ tl' Ollgl y SUliPef'l I.llal in lIIan y of Iht' cl.aches, instead of tlu~ latly wll(O ","oultl kem 10
he sea te,1 insid.,. Ilw .... wa s only a dumm y whiell tht' owneril of tlh,'!le flll e vducles
had d re~8efl IIccordiug to their own tastc ill s hawli and satins and silks," Karl
Gut:t;kow. Briefe tIlU Pori&(Leipzig. 1842). \'01. 1. pp , 119-120. IZI,3J
f' rum I.he Ombre!l C!.illoisps <Chinese Shadows) of the Palais-Royal : "A , . .
demoisellc gu\'e lairth unlllage, lind the children t'u ulll immeiliatt'ly ifcaml>er abo ut
liki' lIIoll!1l. There were four of thcm , s ntllhey llanced tugether II few mOlllcllta aft"r
th~ Lirth in a (Il ell~a nt quadrille, Anotht'r young .... oman iftarted t088illg her bead
vig"rtllIsly, 111111 in the twinkling of un eye a sccund dClIloiseJJc hud litepped fuUy
" Iotilt'd frum ou t of ht'-r hl'ud, T his 11Itter at once ikglln dancing but, the uexi
tniIlLlI t', .... It S sei:r.cd inlurn with Iwad-slluking; these ....ere lahor Jluill ~ . a nd a third
dCll10islllle s te pped oul uf hf' r helll l, She. too. illlllledilltciy begllil dllllcing but 800D
tUlJk Iu IOHaing hc.r l.u!lullike thl' utherii, lind out of hcr IIrnse the fourth denloiseUt!.
It I:ontillllell in this lIlu.nner IIlltil eight generutions we rc there on the i tllge--all
rcllltl'd to OIiC another through s pontaneous generation. like Iil.-e. " J, F. Hen:r.en-
Ll'I'g, Ifriefe gClichriclum (luf ",iller Hei&c flUC!. PIJri& «()ortillunti. 1805), \' 0 1. 1.
p.294, {Z1 ,4}
At a certain point in time, the motif of the doll acquires a socioaiticaJ sig·
nificance. For example: "You have no idea how repulsive these automatons and
dolls can become. and how one breathes at last on encountering a full·blooded
being in this society," Paul Lindau. lXr Abmd (Berlin. 1896" p. 17, [ZI .5]
" III a s huI' 1111 the RUI! Legend!'l'. in BatignuUes . II whole scrie! uf female !JU8tS.
wi th"ul belltl ~ ur legs. wit.h t' urtain hook§ in place of arlll$ and a l)Creatine s kill of
uriJilrury Inlt'- I",un hrowli . ~arillg pink. hurd black- aTO·linetl Ul' like a row or
IJlli~In ~. impu l{'d 011 l'~hI 8 , or if~' 1 (J ul un lailies. , , . Th{' sighl of this eLb tide of
ho~o llls. thi8 I\!Uiji!I' Curtius uf hre usts. puts 0111' va.,'Uci), ill lIulid of tbuse vl ul u in
tlli' Luuvl'e wlll're l'lu~~il,tl l KI: ulpltlrl'~ an" hou sl·11. wher e Ullt' allli the ~ allle to n o,
Ckl'lllill y l't~ pe lllt'll , h,'guilt'" IIIC lime fOl' thust' wlul lunk il IJvcr. with u yawn , on
ruin ), 11:l y~, ' , , Huw ~ Llpt' riul' tll tllelltea ry s tll h,es tlf Vellus lilt:)' !I rt'--the~e dreu-
mnkl'r~' mUIU"''1uill ~. wil h IllI'i,' lifelike I'nml'orllllt·nt : huw IIIm'lt mort· IJr(JvU1'a-
Ih'c tllt' ~ I ' pnclilell hu ,.t~ , wilil·h . cxptlst'd thel'c. I",ing ( >11 a Irain of n 'veric :
lil'cl'line rl'. ",'ril'lI . ins pirc!1 II)' e pllcllil' nilll'll's ami sli ghtly h"uilii'11 hubs: chllrilu-
hlc '·everil's. n'l'loIlIinl! ol.lllrNlsh. ;d'ri\'e!l'1l wilh , ' hlom~ is to r hl u;, lcll ",·it.h fat . -
Fur ,,,,,. Ihinkll uf the illlr,'UWS Ilf ",' O lllt'll whu . . , expericocc lhe gro""ing
imLiffcrCIWt' of II hu ~ha ml. m' the imminen l llescrtinll <.f:1 lo",~-I'" (I I" the final dis~
uruullg of tllOse dlurms .... hieh allowecilitem once 10 conqoer. in the unayoidable
IJllltics they wage for the <:Iu81'II-ul' wallel uf the ma n." J .·K . Uuysmallll, Cnx/tlu
plJrisimu ( Pariif, 1886), pp, 129, 13 1- 1,32 (" L'Etiage" ( Ebh Ticle», IZla,l ]
"~ot long bd'ore tile cnd uf the Empire. a very ' pedal question arose: that of tlle
PIJIU1ZIU , Peopl~ wallied thelle wnodell marionettetl to perform Le Hoi-Prudhomme
II Ithe Theptre des VarieteM, The cast of charaeters for this playlet included the
Eml)Cror. Emile Olivier , .. , V, Hugo, .. , Ganlbeua, " ' , alld Rochefort .. , , The
piece had bceu performed in drawing rOODllI and even in the TuileriCII. But these
pri Yate perforlullnt'es did not in the leut prepare. for the effects of an)' public
pt'rft>nnaul'c-, aud the aut.horities refused to alluw , .. the theater to e.mba!:'k on
this pa lh ," Vietor " allays-Oabot , La Cen&ure dramalique e' ie theatre (IBSO-
/8 (0) (Pa.rii. L871). p . 86, IZla,2}
"III the l'ompetitions surroumling the material ornllment , , , of attir e, the popu-
lant)· of dolla i8 pul to use. , , , The Little Bands (in .... hich girls make up the
majority) are entrusted witll the presentation of dolls and mannequins, among
whic h u choice is tu be made." Charles Fourier. Le No uveau IIfolide indwtrie.l er
roeielairc (Paris, 1829) , p, 252. [Zla.3J
Wh.ile writing Les TrclIJoilieurJ de lu mer <The Tuilers of the Sea), Victor Hugo
kept before him a doUdressed in the IIntique garb of a Guernsey woman. Someone
had pro.:ured it for him; it served as II. mode.l for Oel'ue.helte. [Z la,4}
Marx explain!! that " the two material bases on which the Ilre parations for ma-
chine-ol)Cra led indus try procet:ded wiliai!! manufacture durin~ the period from
the ai xtet""ntb to the middle of the eighteenth century ( the period in which manufac-
\ tu re was developing from handicraft into large-seale industry proper) we!:'e the
duek and the mill (at first the corn mill . spt'cifically, the water mill). 80th were
inherited from the anciell lS, , , , The dock '.... 1 the firifl automatic device applied
lu practil'al purl'UkS: tLlt~ wholt' theory or the production of regula!:' motion was
Ilevdol:ted thrQugh it , Its natu re is s uch that it is based on a combination of llenuar-
tislil' handicrafl and dirl!Ct theory. Ca rdanus. ror instance. wrote about (and gave
l'rat ti"1I1 fnrmula ..; for) Ihf' COlUitructiou of d ocks, German autbors of the six-
tl'l'lith century called c11)ckmaking "11!arnf'd (lionguild) handic r aft' and it would be
Ilu:osihit' to show from tla ~ tlcvdul'mCll1 of the doc.k how entirely different the
r"I(l tiulI hetwt'I'11 sdellre aBlil'rUI'ti('I' was in the context uf handicraft rrum what it
I~, fill' iustance. ill mudl'rn hU'gc-scalt' illliustry, T h c n~ is :al ~ o no doubt that in the
t:i ~hl ("' l1th ct'ntur y llae illeu of upplying uutolllulic d evi ce~ (moved by springs) 10
III'u.ll1nion was fint i uggestl!d Ly the "luck , It "'Ul he pruw:J historically that
VlIu,..;ansou·s cX I tt!rilll ell ~ ulung duos.. lillt's had a trCnll'IU!nUif influence till the
imllginutiOIl uf English iuvI:ntol's, 0 11 tllC tither harul . from tllc very ht:ginning, ali
~"tl il as lhl' wli'ter null Wll5 illl'CIlIt·tI. the llliU pUilselilt:d Ilu~ esst'lltial e1ement~ of the
l}rg'IIUs m of a madunc. The mechaniClol1 mo tive vower. firift. the motor. un which
it til'l tCnds; tllen t.he trans missi"n lIIet!halliiflll : aud finuU,. the working maciljne.
which Ileal, with the nlllh:riai----ellch element exiMting imlept:lulently or the other•. .Mensollge. " -In Ihe sume a~l tiulI , Buutlclaire ciles the eOllct:pl of " the fernino
Th~ theory or friction. Ilnd wilh it the investigation!! into Llle mathematical fOntll simlJlex or Ihe ROIllItIi 8aLirisl" (I. jlr, romantiqlle (Puris] , p. 109).1 [Z23,2)
of gear.wheell, cogs, and 111.1 forlh. were aU develQped in cOllllection with the mill .
the lame applies to the theor y of measurement or lhe degree or motive IlOwer, of the
• Bf'ginuings of larg"",,II('lIle indu slry: " We timl great numlJcrlj of pealianl!l emigralin
best way of employing it, and 10 on. A1most all the greal mathematicia nslince the I
to III' . .
CIIICS. W I Icre Itcalll ellergy permits the cODcentration of factori u thai for- •
middle of the lIeventeenth century, so far as I.hey dealt with practical mechanica nl('rl)' Wf're sca lierI'd alollg 1.l.e hanks of ri vers:' Pierre-Maxime Schubl . Mo.
and worked oul ita theoretical side . atarted from the aimple water-driven corn chini.sme el philosophic (Paris. 1938). PI" 56-57. (Z2a.3)
mill. And indeed this wall why the name Miihle. 'mill,' which noae during the
manufacturing period , came to beapplied to aU mechanical forms of motive power " ;\risloaJed('Clan's thallllaw:ry would Cease to he neCCISllry if only theshutaJeli a nd
adapted to practical purpusea. But in the case of the mill, as in that of the prea" plec:trnmj CU IlIal set Ihell1 ~lves going on their own . The idea attords admirahl
the forge. lhe plough , a nd other implements, the work proper- tllat of beating, witll his definitioll of the sla ve as IIninlatetl instrument .... By the aame token th~
crushing, snnding, pulverilling, and so on-baa been lH!rfomled from the verJr anci" ul poet PhcrttydeJl of Syros hatllold how Lhe Daclyll, after building a 'new
6r8t without human labor, even tbough tbe moving force W81 human or animal. house ror uus. hlld fashioned for him malt!. and female servant, al well. We ar e in
ThiB kind of machinery is therefore very ancient .... Hence, it is practically the aJle realm of fahlt!. .... Yet before three cCllIurics have va ~sed, an Anthology poet ,
only machinery foulld in the manufacturing period. The industrial revolution Antiphiloli of Byza ntiunl , lI(ferNa reSJIOrrse to Ari~ totl e by singing of the invention
beginll all 110011 all mech anil ms are employed where, from ancient time., the final uflln: water mill , wlliell IiIIt~rat e. womclI from the ard uous task of grinding: 'Spare
reA ult has required human labor: hence 1I0t where, 86 with the tools mentioned tht' hand thai grinds the corn , 0 miller girll, and aofaJy sleell. Let Chanticleer
ahove, the material actually to be worked up has lIt!.ver been dealt with by the annOlluce the morn in vain! Demeler hll5 commanded tllOI. the girls' work be done
human hand ." Marx to Engelll, January 28 , 1863. from London [in Karl Man: and lIy NymJlh~, ami now Ihey skip lightly over the wheels, so that the ~ haken axle.
Friedricb Engels, Au.sgewahbe Briefe, ed . V. Adoratski (Moscow and Leningrad. re\'olve with their s p o k e~ alill pull round tht: load of revolving atones. Let UI live
1934), pp. 118- lL9].t (Z2) the lirt' of our falhers , 8rullet u. res t from w(lrk and enjoy the gifts that Demeter
sellds us." (Note: " AnthologU! Pal<ltine, vol. 9, p. 418. This epigram ... hall al-
ready heen related lit tile text of AristotJe, aud for the 6r&t time, it would seem, by
In hill 8tud y "La Mante religieuse: Recherches sur la nature et la signification du
mythe" cTht!. Praying Mantis: Investigation8 into the Nature and Meanin( of
Myth ), Caillois refutl to the striking automatism of reflexes in the praying mantil
- 101un:''-presumably, in KOl1ittll, vol. 3 <trans. Mulitor [Paris, 1924] ), p . 61.)
e,
Pierre-Maxinle SchuW, lI1(Jchini.srne plriloJlophie (Paris. 1938), pp. 19-20.$
[Z3[
(tbere is hardly a vital fun ction that it doell not al.o perform decapitated) . He linb
it . orr account of it, fateful,ignificanee. with the baneful a ulomatona Imown to UI
from myt hll. Thus Pandor a: ""automa ton fabricated by the blacktmith god for the
ruin of humankind , for that 'which aU shall I take to their heam with deiipt, an
evil to lovt!. and embrace' (H.esiod. Work.1 and Days, line 58).l We encounter 801J1b'
thing 8imila r in the Indian Krt ya-those doll8, animated by IIOrceren, which brinl
about the death of men who embrace them. Our Iite.rature as Wl': ll, in the motif of
femme' fataleB, I'Uilit'SSeli the concept of a woman-machine. arti6cial. mechanical.
al variance with all living creaturell. and ahove all murde.rous. No doubt Viycbo-
analysis would not hesitate to explain this representation in its uwn terms by
envi~agill g Ihe relatiollll between death and seJ(ualilY anti. more precisely, by
finding each ambiguou81y intimated ill the other." Roger Ca il1oi ~. "La Manle re-
ligieulle: Recherchell sur la nature ella sigllification dll III }'the." ilIesllre' , 3, JlO. 2
(April 15,1937). p. 11 0. 1
\Z2a. )

Baudelaire. in t.he ~CCtiOIl. "l..t:, Femmes et les rilles" <Wumen and Pr08lilutet' in
hill eUIl Y ( III Guy •. cilel! the wlords of La Bruyere: "Some women puuelll all ar-
tiliciailiobilil y which il auociated wil.h Ii movt:mt!.nl (of the t!.ye, a tilt oflh e lu:ad . Ii
mallner or dellOrl.meot . IIlId which gtH!8 no further." Cumpare Blludelaire', .. Loe
a -
[Social Movement]
Reveal to th~ depraved,
o Republic, by foiling their plots,
"!bur great Medusa face
Ringal by Kdlighming.
- French workers' song around 1850, cited in AdolrStahr, ZUJel'
Mi1Mlt"' Paris (Olde:nburg, 1851). vol. 2, p. 199
Rabble of the faithless , the SOullClS, the rootless,
Who want to wipe out every an and industry,
To crush underfOOt the cult of the Cross,
And drown in an ocean of blood and Bames
- Its waves have risen round the Hanks of Paris-
Temples, palaces, priests, peoples, and kings!
-Edouard d'Anglemont, L'lnloMtiurw.le (Paris, 1871), p. 7
Palcnno has Etna; Pam, fa pnuit.
-Viaor Hugo. faro [Lilttr-iWfrt tl philtml/Jltie milk (Paris. 1867),
pp. 466-461], cited in Georges Batault. Le hntffo de /a dIttwgop:
Vu:lur Hugo (Paris, 1934), p. 203
- fire---easts his savage gai!:e over the crowd , shouting, " Vengeance! Ven-
"Since the S1.lITtalists constantly confuse moral nonconfonnism with proletarian
revolution, they attempt, instead of following the c~urse of ~e mode~ worl~, Ito
relocate themselves to a historical moment when this confuSion was still possib e,
a moment anterior to the Congress ofTours, anterior even to the development,of
Marxism: the period of the 18205, '30s and '40s!' Enunanuel Berl, "~
Pamphlet," Europ(, 75 (March 15. 1929). p. 402. And that is certainly n? ~ca­
dent. For, on the one hand, we have here elements-anthropological materIalism.
hostilitv toward pl"fWTt"_~s-which are refractory to Marxism, while, on the other
-, ,·c· -- th .. valu·
hand. the will to apocataStasis speaks here, the resolve to ga er agam, m re "
tionary action and in revolutionary thinking, precisely the elements of the tOO
early" and the "too late," of the first beginning and the final decay. [al ,l ]
It is really imperative that we understand, in precisely its polemical bearing, the
apotheosis of o rganization and of rationalism which the Communist party has w
promote unuasingly in the face of feudal and hierarchical powers, and that we ~
dear about the fact that the movement itself comprehends mystical clements as
well, although of an ennn:1y dilJercnt son. ~t is even more important, narurally,
not to confuse these mysllcal elements, which pertain to corporality, \-Vith relig-
ious clements. [al ,2]
EJli~od e of the February Revolution . On the twenty-thirtl , at eleven o'clock ill the
evening, a fusillade on the Boulevard dell Capuciues: twent y-three dead. " The
cor p~es are immediately Vllraded through the streets in a masterl y, romantic m ise
e ll scene. 'Mitlnight is ahout to slIund . The boulevards a re still faintly lighted b
the fadi ng ilIunUuation (the celehra tory illuminlltiOIl occasiOIled by tbe retreal o~
Guizot]. The doors and windows of the houses and shops are shut, everyone
baving returned home ""ith heavy hearts, ... AU of a s udden . a mufRed rumbling
is heard on Ihe paving slones, and 1I0UIt: windows are ca utiously opelled. , .. In a
(:a rt drawn by a white horse, with a hare-a rmed worker holding the r eins, fi ve
clu lavers are ar rllnged ill horrible symmetry. Standing on the shaft is a child of the
workitlgdass,l!aUowof complexion, a fixed and ard£'ntlook upon his face. his arm
eXlended, nearly immobile. as though 10 represenl the Geni us of Vengeance; lean-
ing b ackwa rd , this boy lights up, with the beams of his torch, the hody of a young
woman whose livid ueck and bosom are sta ined witb a long trail blood. Fromor
t~ e to time another worker, p ositioned behind the cart , raises thit lifeless body
wnh a muscu.lar arm and- his torch aU the while emitting sparks aud Bakel! of
geance! They are slaughtering the people!" "To Arms!" respond some voices; and
the c~rV!le falls hack inlo the bottom of Ihe carl, which continues on its way.'"
(Dame! Stern). Dubech and d 'Espezel, HiJtoire ~ Paris ( Paris . 1926), p. 396.
o Lighting 0 [a l ,3]
T!le mas.~es of wo rkers mohilized by Hau~smalln were compared- unfa vo ra bly-
10 those Incorporated in the national workshops of 1848. 0 Haussmann 0 [0 1,4]
"'I'J f
. It! avorite readillgs of lhe working-cla ss tailor are the hislories of the. Revolu-
1I0ll uf l 789 . H e lik es 11
. Ilen t h esc texts d evelop the ide.a that this rllvolution was a
W
guod thillg, a nd Ih al il improved the condition of the wor king class. He is inspired
by till' au.ra of tl .ra ma Ienl 10 lIIen a n d events h y several famolls authors .. . . Not
~t're" i \'ing that the. pl'int"i pal IJa u se of ltis social i.nferiority lies within bimsclf. he
hk,·s to Ihi~k that these IIIt'il are the lIIude.ls for those who , iii forgiug a ;Iew
prugn:!;s . Will preserve hilll from aU killds of calamitit!s. ,. t"": Le Play. Le.~ OnvrierlJ
ett rQ/Jp",u <Pa ris. 1855). p. 277, [a l ,5]
"S'r.. ,., wa of . ..
, I . are today It ll .~ liS own teclIDlqu('; It wall pe.rfecicil. Ilft llr the armed
til kt'hvtT of _1\1 lilli' e·1I ( 1848". ), lJ\ U cunous
. I'Itll,~ conluI.!lII
. iul wor k puhlillhed with
gr"a t Sf' en 'c, I" ,I. It' govt'rlllllClit III . Ber I'Ill . 0 Ill: 110 kmgcr advances through the
~lreCl.l!·, tJ ley are Iert elllJlty. A pat II III ' overte!1 within the interiors of housel!!, Ly
 Ln!aldllg tllrough walls. All eoon B8 one has taken a street. une orga ui:r.es it ; linet of
communication are laid Ihruugh the Iwlee ill the. wallll , wlille, to prevcnt the return
uf the adver,;a.ry, one iUlIllediutely mines the eonquered ground. Perhapi the
c1e.ord t l ign of progress, here, is thai one need not eoncern one.sdf lit a ll with
spa ring houllell or Livel. Compared with civil wan of the future , the l'pilooe of the
Rue Transnonaiu <lee a 100,5 > will seem quite ... inoocent and archaic." Oubech
and 41'E8JX!ze1. HiJroire th {'oris (Pam, 1926), p. '179. 0 I-iaUlismalln 0 [ala,l ]
• Family budget of a Parisian ragpicker. 1849-J85 1, according to F. Le Play, u..
OUl/ners europUfU (Paris. 1855), pp. 274--275 . An excerpt: "Set:tion 4. Expe08e.
for moral improvement , ret:reation , and bealth .... Instruction for the children:
school feel paid b y employer, 48 fnn cs; books purchased . I franc 45 centimet: -
relief alill alms (worken at this level ordina ril y give no alml at all). Recreation and
festiviti es: meal taken together b y the entire family at one of the barrlere. of Paris
(eight excursionl per year), including wine, bread , and fri ed I'0tatoetl, 8 frane.;
meal of macaroni, with buller, cheese, and wine. taken on Christmas, Mardi Gra.,
Easter, uod Pentecost : expelliles included in the first sectioD; chewing tobacco for
the worker (cigar hutts collected b y the worker), 6.8 kilos worth 5-34 fran cI; IDuff'
for the wife (I'urch a!!t.'d ), 2.33 kilos worth 18 franr.8 66 centimes; tOYI and other
gifts giv~ n to the child , 1 frllDc .... Correspondence with relativee; letter8 from
the worker 's brothers living in Italy, on uver age ooe per year .... Note: The maiD
reso urce for the family, in case of accideDt!!, is privute charity.... Savinge for the
year (the worke.r--altogethe.r incapahle of prudent habits, and deHiroue, above
all. of givin g hie wife and little girl all thecomforu they deserve-never managel to
save anything; he spellds, day by day, all he earns)." [ala,2]
"The damage dOlle to the morulity of the improvident worker by the l ubatitulioa
of antagollil m for solida ri ty consi.s ts precisely in the 1088 of aU opportunity of
exercising his na tural virtues in tbe only way that would be practicable for him.
The devolinn displayeil ill the wish to do well, in the concern for the interelU of the
employer, or in the lacrifu:e of need s and desires irre<:oocilaLle with tlle regularity
of work il. in fact, more feasible for the worker than the devotion which would
lE!ad 10 a"isting his comrades with a sum of money.... T he fa culty of giving aid
allil IJrote.ction of any consequence belongs to the upper classC1l; it can manifelt
itllelf among the workers as an immedia te anJ i!llOrt-liv~1 enthusiPllm, hut the
virtue most within their r each is d early the performance of their ta8k for the
employer." M. F. Le Play. Les Orw riers europeen" (]laris. 1855). " Printed by
authority or the Emperor lind the ImJlerial Press," p. 2i8. [al a,3]
Tht' "small IUllil ow ners ur the suburbs." "They clliti vate "illes ... tll al produce a
willt: or inferior q uality, for whi4'h th t' cU llsumplioli tax ill cfred inllide the capital
I'n!!uru II profituble market in Ihe suhurhs." F. Le Plo y, L e!l OUlJriers europeens
(Pori&, 1855) . p. 27 1. [ab. 4}
''Then: hr II Irol'icul plant lhut fllr yeurll rcmaiUII IInremarkable und brinY' forth
11 0 IIlossom, uDtilliJl ully, tllle ,lay. an !!xpJol ioli ITSounds like a rille 8hol aod , 80_
days laler, from oul of lhi, thicket a wooderful gianl of a fl ower arise" whose
growth is so rapid lila l Oll1! call witneu it&unfolding with Ihe naked eye. Just 1 0
1)llltry alld ... tullled rt!maincd the Frcllt·h working claliH in a corner of society, until
sudtlenJy Ihe ('x!,losion of the February Revolution was heard . But with that , a
giftantil' blossom ~ h ot up frOllltlt e Ullremurkahle hushes, and this bl(J(lw full of lcap
allil "itality, fuU of L.cllut y und siguirlt:a nce, WUI ruJled the association <a term
de ri-'cd fro lll the Suillt ·Sinllmjans)." Sigrllund Englander, Geu:hichte der fran .
;osi-fcllefl Arbeiter-A.uociationen (H umburg, 1864), vol. 4. I. · 211. [al, I J
OrganizatiOn of the state ""orluhol)S (ateliers nOlionaux) by Thomas. " It iiuffice.
10 nl('nlion th ul Emile Thomas divided the worker. into brigades and companies,
and Ihat their chicfa were electeil hy universal suffrage of the worker •. Every
company had iu flag, alltl EmilI! T bomas mad!' use, for this orgaoUation , of other
civU engineers unJ of students from the Ecole Poly technique. who. through their
yo uth , exe rt ~1 II moral influence on the workers .... Nevertheless, although the
,ninjsler of public workl orde.red the stale ellgioeers to come up with proposa" for
works .. . . the ellgineers ill ch urge of bridges and roa,Js de<:id ed not to comply with
the minister's order. for in France the re hu.d lung been a great rivalry between
stllte engineers Hod civil engineers, r a nd it was the laller who diret:ted the national
workshops. Thomus WUIi Ihere.fore left to his own reso urces, and he never could
assign 10 such UII a rm y of workers, whose ranks were daily swelling, any sort of
uileCu! work. T hus, ror exaDlple. he had trees from the outskirts of Paris brought
into Ihe city 10 be plankd along tlle boulenr4b, hecause during the Itruggles of
J-' ebruary the old trees 011 the boultj\'ard had heen cui down. The worken with the
tree! paraded slowly acrllss Paris. l in ~g al they wenl. , . , Other workers, who
bad the job, for example. of cleaning the railingll of bridges, became an objec::t of
derision for passersby. an d 80 the majorit y of theNe workers also wound up passing
, their timi: in mere cardplayillg, 8ingin~ , and the like .... The national workshop.
before 10llg bcccame ... the gatherine; "lace for all sorlS of vagaboods a nd idlers ,
whose labor consisted ~c1usively in marching through the. streets with their Itan-
durd Learers, here and there mending the pavement ur turning up earth, but on
tht' ...·Ilole--singing and ~ houting . ragtag and ullnd y--doing whatever came into
thei r heads .... Dlle tlay. tllere IJllrldenl y apl>ean!d on Ihe scene 600 actors, paint-
e" , artists, and ugenls, who together annoullced that, since the republic wal
guuralllt't'ing wo rk to all r.i tizI!lls. they too were plllling forward tbeir claim .
Tholll,ls mude thenl inSllt!t:ltlrM ." Sigmund ElIgliind rr. Ge:scllichte der fronzo:si-
~d"m .'IriJeil.!r-ituocioliollen. (Hnmburg. 18M), Io'ul. 2. pp. 268-27 1. 0 Fl ii neur 0
1>2,21
~NI'itl1('I' tlw mU Yl)u nor I he Jlolic.. (;onlllliu iclIlers, ",·hl.llaatlto sigu the certificates
a l "~ tillt;: II) Ibe beun:r,,' 4,Jjgibilily to wurk in Paris. could maintain the slighte.st
t UlJl r,,1 ill " iew or the th rea ts ci rcuilltiug ngainst !l1I·m. In their anxiety, they even
g:II'O' "crtihenlcs 10 h'n-Yt'ar-old children , who , wilh I.h l!~e ill hand . presellted
th"'llsdves for udmillsioll Itt Ille lI utiullal w{JrkshOI)~. " Sigmund Engliimler,
C" tl'hic:II,e fler fran::.osi"c liell Ar/Jeiler-Auocia,ionen (Hamburg. 1864), "01 , 2,
pm, _ '1
 Epi'0I1 ~8 iII the June Inl urrection ; "'Women were seen pouring boiling oil or bot
water 0 11 the 8(l ldi ~ra VI'hile . hricking and bellowing. In many place/!. insurgents
wcre given brandy mixed wilh varioull ingredients, '0 that they wo uld be excited to
Pladneu, , •. Some wo men CUI off the se.xual orgllIlS of several imprisoned guardt-
J nlco . and we know thai an insurgent dre8sed in woman's clothing beheaded Ii
number of captured offi cen ... ; people S8W the heada of ,"ldiers on pikes that
] were planted atop barricades. Many things recounted were pure invention_for
exanlple. that the in!lIIrgenle had pinioned captured KUardllmen between two
• hoards and sawed them. whill' alive, into piece•. On tJlt~ olher hand, things did in
fact occur that wen! no leu horriLle .... Many inllurgenl ~ used buUets of a type
that could Dot be removed from wOllntls after shooting, !)ecaulle a wire had heeD
inserted into theae bullet. which aprang out from the aides of tlu:.m on impact:
Behind numerous barricade!! were apray gum, which were used to i pray 8ulpburic
acid on attacking aoldien. It would be imposaihle to detail all the fiendiab barbari_
ties perpetrated by both sidea in tbis action ; we shall merely observe that world
history can point to nothing comparable." Englander, \'01. 2, pp. 288-289.
[a2a,2]
JUlie lnsurrection . "On many closed Nhops. the insurgent! would write: ' Reapect
Property! Death to Thieve.! ' Many fla gs 011 tbe barricad es bore tbe words: ' Bread
and Work.' On the Rue Saini-Martin , on the first day, a jeweler ', shop ' tayedopeD
without be.ing threatened by uny sort of hunn. wh.ile. a few steps beyond. aston:
with a supply of acra p iron waa plundered .... Many insur ge.nta, d~ the bat-
tle, had Ilsaemhled their wives and children on the barricades, and cried: 'Since we
can no longer feed tbem. we want at least to die all together! ' While the mea
fought , the ""omen made gunpowder and tbeir children Cllst bullelJl, llaing every
piece of lead or tin that feU inlo their hands. Often the children molded the buDeta
with thimbles. At night, while the combatants were slooping, girls would drq
paving stones 10 the harricades." Englander, vol. 2, pp . 291 , 293. [a2a,3]
Barricades o( 1848: " More than 400 were counted . Many. (ronted by trenches and
battlemenls, reached a height of two stories.'" Malet a nd Crillet , XlX· S;.ecw
(Paris. 1919), p. 249. [a2a....J
olin 1839. some workers in Paris founded a news pal't!r with Ihe title La RISCh«
populuire. ~ ... The editorilill office of this publication was located in the poord t
&ection of the city. on the nu ~ del Quatrc Fils. It was o n ~ o( the (ew worker-run
ncwspap~n to have all Itutlicllce Blllong the. gcnerltl population, which can be
eXI)lained by the te.ndency it ftlU owed . ThaI is, it took as illl prugram tbe goal or
brillgillg hidden nLi~ery II) the notiCI' o( wealthy benerac to n .... In the office o(
this journal a nlgister or miser y lay 0lwn . in which every stllr\'eling eould inscribe
his name. It was imposing, thiBregister of miJ;(ortlUle, and since at Ihil pt'"riod tel
Myltere. rle Pam. hy Eugene Sue, had brought charit y into fa shiun within hiP
sociely. one often law private ca rriag(:l1 puU up h.-fore Ille di.rl y premises o( tlle
etlilorial office alltl blaw. Iauliel slep (orth to secure IItldre1lsd fI( the unfortunate;
they would Ihen deliver alms personally to these people an(1, in !hit way. derive a
novellitim wus for thdr jaded ne rve~. Each number of Ihil worken' review began
",,-jlh a summar)' enumeration fir tbe l)O()r people who ha(1 regillered with the
editor ; delails o( Iheir plight could be (ountl in Ihe regiller ilsel£' ... Even after
the Fehruory Revolution , at a time when all social cial!le.ll looked on olle anotber
~'i lh distrust • ... IAI Ruche populaire continued to facilitate persollal contacu
)}etl\'Cf!ll riell and poo r .... This il aU the Inore. nlmarka ble in light o( the fill et that ,
f"w : n during tbis period , all articles in La. Ruche populaire wer e written hy actual
workers engaged in some prHetical occupation. " Sigmund Englander, Ge,chichte
der j ran::o,uchen Arbeile,....Au ocintionen (Bumburg. 1864), vol. 2 , pp . 78-80, 82-
~. ~, l )
" Tile t:xpansion achieved by industry in Paris during the past thirty years hal
~ \'en a ceJ"tain inlJlOrtance to the trade or ragpicker, which occupies the lowest
le\'el on the industrial scale. Men, women, and child ren can aU easily devote them-
8elv~1 10 the practice or this lrade, which requires no apprenticeship and calls (or
tool!; that are as simple as itl methods-a basket , a hook , and a lantern comprising
the ragpicker 's only equipment. The adult ragpicker. in order to eam 25-40 10UI
per day (depending on the season), is ordinarily ohLiged to make three rounds, two
during the d ay and one at night ; the first two take place from five o' clock in tbe
nlorning until nine o' clock, a nd Crom eleven o'clock until [here. there a re (our
pa,;e8 midaing from the cop y in the BibLiothi!Que Nationale!1 . Like salaried work-
en, they have a ha bit ofrrequ en~ taverns .... Like them, and more. than them,
they make. a ahow or the exl)Cnditu ~ which this habit entail,. Among the older
ragpickers and particularl y among the older women , spirilJl hold an attraction like
nOlhing else . . . . The ragpickers are not always content with ordinary wine in
thesc laverWl; they like to order mulled wine, a.nd they take great OffeD8C if this
drink docs not contain , along with a strong doae o( lI ugar, the aroma produced by
the use or lemons." H. -A. Frigier, De, Claue, danger-eweJ de la population
<aans Ie, grande, villes el de' moyenl de les rendre meilhures >(Paris, l840). vol.
I, pp. 1M, 109. [33,2)
Fri:gier speaks at length aooul the public scriveners.l who mu ~ t have Itood in the
\o\' or61 repute, and from whose circles emergea one tacenaire, esteemed (or his
beautiful handwriting._"1 heartl tell or an old n ilor endowed with a r emarkable
talent for fine h andwriting, who, in the depths of the winter. had Dary a shirt on
his hltck , and wuultllticle hill Ilakedneu b y (astening his waistcoat with a pin. This
illdividual, who wall IIcarc e ly clothed , and who WIlS Dot onl y ragged but nauseat-
in gly filth y, would 011 occasion sl>end fiYe to six rrancR {Ill his dinner." H .-A.
Fri;gier. Des Claues (Ia nge reltse, de la population (Paris, 1840). vol. 1, pp . 117-
liB. [a3a.l}
" If it happens Ihal an entrepreneur reprOadll!1 II worker in the presence of his
Comrades, and in a ma nner he (eelJ!i to be unjul t, . .. then lhe worker laya down his
t(>(Iit lind beads (or the lavern .... In mllny intlll ~ lria l etlta.hLi.hmenl. t.hat are Dol
 rigoro usly mOllitored, the worker ill nol s atisfi ed with going to the tn ve rn hefort!
I.he hourw hcli work begin. Ilnlllli hi. IIIl'altime8. which are h i ninc o'clock a nd two
o'clock : he goes then: also a l fOllr o' clock and ill the e\·cnillg. 011 the way hOine ....
T hen: are wt,lme n wllO hal'c no COmlJUncti()lIs abou t followin g tlleir huaba nd, to
J the barm,..e, in cumpnn y wilh their c hildren (who a re a lread y a ble to wo rk ), in
order. 1i18 titer say. 10 live it up .... T here they spend a la rge portion tlfthe income
] of the entire bmily, a lld r e tllm home Monda y evening i.n a state borderi ng o n
drwlke nnellil. Indeed. they often prelelld-tbe childre n no lelIli t ha n the ir pn-
• e ilts-to be mo re inebria ted tha n the y really are. 110 tha i ever yo ne will know
they've been drinking, and drinking weU." H.-A. Frigier. DfM Cw ue& dfJn_
gerewes de w populaliora ( Pa rii. 1840). vol. I , pp. 79-80.86. [a3a.2)
On child la bor among textile workers: "'Unable to meet the costa of food and of
caring for their childrell on their mode6t saJary, which of len does not e.xceed forty
BOUB per d ay ( not even when added to the salary of the wife. whu ea rns harely half
that amount), .. . "" orkers find themselves obliged . . . to "lace their children, aa
SOO Il as they are old enough to work (ordinarily. at age seven or eight), in the.
e!tablis hmenta of which we are speaking . . . . The workers keep their children
working in the factllry or mill until the age of twelve. At thai poinl. tlley 8ee that
the children make thei r fi n l Communion , a nd then Ihey secure them lUi appren-
ticeship in a shop." H .-A. Frl:gier. vol. t . pp. 98-100. [338,3]
There', brau in our Ilockl': l•.
Pil'.rn:.II'.I"I!Oli ...1': il up;
On Monday., lion', you know,
- See, lee Ihill Cuneral proc4'l8iont
110"'1': to knock about.
] know or a . ixl'enny ""iDe
Tha,'s nol h. tf had,
So let', h. ...e 8Ornt: fun,
Let"1Il0 up 10 the IMrriere.
H . Court.lon de Ccnouillae, I..eJ Refrains de w rue, de 1830 ii 1870 (Puris, 1879).
p .5(1. [a3a.4)
"And wha t wine! What va r iety-from bordeaux to burgund y, from burguml y to
full -bodicd Saini-Georges, to LUnd nnd the South'6 Frontignnn , and (rllm there tu
sp arklillg ch a mpa~"ne! What a choice or whites ami red_ rrOIll ')etit Macon or
chublis lo Chambertin, 10 Cha tea n Larollc, to lIauterne, 10 Vin dll Uoussillon , ami
AI Mou8l1eux! Bea r ill mimi thllt eauh of these wim~~ prmluces a differeul 80rl of
illlox.icatioll , a nd that willi a few hoUJe8 one can pau lhrough all the intervening
Ilages from a Musard IllIadrille 10 " La Mllrseillaise. ,. (rom the wa ntoll plCllsurell or
the cancan 10 Ihe fi er y ardor of re ... olutionary (ever, t11t: I1 CC 10 relurn, with a bottle
of champagne. to the dleeri.:sl ca rnival mood in the world ! An.1 0111'1 l"ralll:C hal a
Paris . a city in which European civilization attai ns iu rullest f1 l1wer ing. in ""hicb
all the ner ve fIheni of ~uro pea ll his tory lire interl",;ncil . and from which uril e. al
regular illlervais . those tremors whid) shake the terres trial globe: a city WII U8C
population unitel, like I.hat of 11 0 other city on earth , the passion for enjoyment
with the passioll for hUi torical aCI,ion , whose inhabitants know how to live like the
nlO~t refined of Alhenian e picurcMami til die like Ih .. mosl UJIAinching Spllrtan_
Akihiades and Leollitlu ro Ued Ull inlo one; a cit y which really ill, as Lowl Blanc
says, the hea rt and brain of the wo rld ." Fricdrich Engels, "'Von Paru nach Bern :
Eill Reisefrapnent." Die neup. Zeit. 17, no. I (Sluttgart . 1899), p. 10. -to his
rore" 'ord to this pubJjcllliulI or the posthumuus manu!;cript , Eduard Bernstein
""riles: "Although a Crapnenl, tlus travcl sketch pves us, perha ps. a better picture
of iii author than dot:!! any other uf his ""urks" (ib id .• p. 8). [a4,1)
A song, "'Jenny Ihe '\ll(lrker," whose refr ain was illspiring to women :
In a gardeo, ' nl'.l ll,. frallra nl Lower,
Yoo may hear. familiar binI;
'Till thl'.lIinp ng of Jelln)' lloe worker,
At hearl conlcol . cuntcnt wilh little.
, She cuuld be riell, bul "refe...
The things , hI': hili from GlK!.
U. COllrdon de GenOllillac, u s Refrains de la rue, de 1830 ii 1870 (Pnri8, .1879),
pp. 67--68. [a4,2]
A reactionary song, after the J line Inl urreclion :
h 'lI the archbishol-frieml., remove your halJl;
Vi ctim ••11lI. of .. crilegiou. combat.
De ill fallen for Ihc hoppineu of .U ....
, H. Go urdoll de Genouillac, Le. Refroiru de ill rue, de 1830 a 1870 (Parill, 1879),
p. a _~
"T he proleta rians have ... composed a Icrrible, biller " Marseillaise," which they
sing in un.ison in tile workshol)S, and which may be judgtill by the rerr ai n : 'Sow the
field , all yo u p roleB; l it 's the idler who will rea p ,''' " Die sodalistischen uod com-
munistiicheu Bewegungen scil d er {Irillen frunzosischen Revolution ." opening or
Stein 's SociuliJmw lind Communi.tmw dC$ he ufijJen ,"'rankreichs (Leipzig and
Vienna , 1848), p . 2 10 (frum V. Considerunt . 7'I1eorie dll droit de propriete et du
droi t, de travail d848> ]. [a48.2)
BUrel rt'ports 0 11 a 81ury in t Al ReVile briICulllique or Decembe r 1839 (?), p , 29 (?):
"'The aSS04;ia ted wur kers uf Brighl un consider machines 10 be absolutely
h~no:ficiaJ . ' Bul ,' the)' add , ' Ihey arc fatal as applied in the current regime, I.n·
lItead of du tifuU y lIcr ving. as lile d ... e~ lIerved tile II hoemaker ill t.h(' Germa n fai r y
tille, the maeruu CI! have bcllaved like f'ra nkcn8lein 'a mo nstcr (German legend),
Who. aIter aC(luiring life, employed it olily in pe rlleCuting the man who h ad given it
 to him . '" Eugellr. Buret . l.n /Uul}re de, dasse, labode ll.se, en Angleterre et en
Frun ce (Parill. ltWO). vol. 2, p. 219. (a4a,3]
j " IJ Ihe vicell of tilt' lower c1aHile& ,,'crl!' limited , in thcir effecls, to those who in.
dulged in them, we may 8uppose Ihul the upper das&es would l:ellse. 10 concern
themselve8 with alllhele dismal question&, und would hapl)il y leave the world at
] large 10 the &way of good and bad call1ieS that rule over it. Bul ... everything i,
linked together. If poverly i, the mother of ,icelI , then "ice i&the father of crt.me;
• and it ill in this way thai the intcre;!ts of aU the dalllle~ are conjoined ." Eugene
Buret, l..a Muere de. dau e.laborieusel en Angleterre et en "'ranee (Paris , 1840),
vol. 2. p. 262 . (a4a,4)
"Jenny the Worker brings to life one of the most terrible afflictiollll of the social
organism: the daughter of the working clan ... constrained 10 lacrifice h er virtue
for her family, and to sell hereelr . . . in order 10 provide bread (or her 'loved
ones .... As for the I)rologue to Jenny the Worker. it acknowlec1ges neither the
play's point o( departure nor the details of poverty und hunger." Victor HallaYI'
Oahol . La Cen.Jure drumatiqll4!: et Ie theatre. 1850-1870 (Parill. 1871 ), pp. 75-76.
[a4a,5j
" In the mind of the fa ctory hoss, workel."ll are not men hut force s, and expensive
ooell at that- instruments more intractable and leu economical than toob of iron
and fire ... . Without being cruel. he can he completely indifferent to the suffer·
inV of a clan of meD with whom he has no IlIoraJ commerce, no lentimentll in
common . Ooubtleu Madame lie Sevigne wa& not an evil woman •... yet Madame
- which be derived hill subllistence was oot his freel y willed labors but, in faet , a tax
de 5evigne. wlille detailing the atrocioUl punithmentll meted out to the people or
Brittany who had rioted over a tax, Madame de Sevi~e, the impallioned mother.
speaks of hangingt a nd of thrashings ... in a light, cavalier tone that betrays DOt
the slightest lIympatby. . . . I doubt that , under the rule of the current laws of
indu ~ try, there could be any more of a moral community between employe" and
their workerl than there \'\'II S. in the seventeenth century, between poor pelillanta
and town8men and II fine lady of the court. " Eugene Buret , De 10 Muere du
elane, luoorieuse, en Angleterre ef en France (Paris, -1840). vol. 2, PI" 269-271.
[a5. 1J
" Man y si rls ... in the factories often leave the shop lUI early as su o' clock in ~e
e\'cning, instead of leaving at eight, a llli go roaming the street8 in hopes of mee Ul1!
SOUle siranger whom they provoke wilh a lIurt of calculated hushfulnen.-In the
fa ctories . they CIIU thill d oiog one's futh quarter of the day." ViIIl!rmc , 7ahlell.u .de
f'e1a11Illy, il/ue ef mom I de' ollllrierl. voJ. I. p . 226, ciled ill E. Huret . De III Miler#!
de. ciru$e, laboriell,e, (Parill . 1840), wi. I. p . 415. [a5,2)
The principles of philamhropy receive a classic fonnulanon in BUn."t: "Hurn:uUty,
and indeed decency, do not pennit us to allow human being! to die like animab·
One cannot refuse Ule dW'itable gift of a coffin." Eu~ne Buret, De la Mum do
da.ueJ JalxJrieu.ltS (Paris, 1840). vol. 1, p. 266. [as.S)
"The Convc.ntion , organ of the lIovereign people, aimll to make mendicancy lind
I'0\'erty disappur at II IIingir. stroke .. .. It guaranteCI work for aU citiJ:enll who
"'L~d it .... Unfortunatf' ly, the seclion of the law thnl was designed specificaUy to
deal with D1endium;y ns a erillle was 1II0re easily enfon:ec1 than that which prom.
ised the. benefilll of national generollity to the poor. Repreu ive measures were
lake ... . a!ld they have n::mained ",ithin the letter 8S well all the 5pirit of the law.
wheren8 the system uf charity that motivated and justified thC!le measurel hal
!lever exi5tw . eXL"4! pt ill llu~ dccr'1:eS or the Convention !" E. Buret. De 14 M;.,e,-e del
elane' luborieuse, (Parill, 1840). vol. I , pp . 222-224. Napoleon adopted the I)()!li-
liOD described here with hill law of July 5, 1808: tbe law of tbe CODVentiOn dates
from Octobe.r 15 , 1793. Those convicted three timell of begging cowd expect depor-
tation for eight yeara to Madllgucar. [as.4J
Hippolyte Passy, ex·minister, in a letter addrl!lllled to the tr';mperance society of
Anueos (llee Le Tempa , Febroary 20 , 1836): " One i8 1ed to recognize that , howr';ver
meager the !lhare of the poor might be, it ill the art of applying that ahare to his real
needs, it ill the capacily 10 cncompa u the future in his thoughts, that the poor man
lacks. His plighl is due more to Ihis lack than 10 any other." Cited in E. Buret, De
la Misere de, clane, luborwuse5 (Pari B, 1840), vol. 1, p. 78. (aSa.I)
"There was a time. and it was not 80 long 8!O, when-aU the while effusively
!linpn! the praillel of work--one never let on to the worker that the means by
levied on him by certain penonH who fattened them&dvel by the lIweat of hil
brow.. , . It it what u caUed the exploitation of man by man . Something of thill
lIW ster and deceptive doctrine hat remained in the songs of the lItreet .. .. Work u
still ijpoken of with respect , hut thili respect hat lIomething forced about it, tome--
thing of a grimace .... It ill nevertheleat true that tlris way of viewing work it an
exception . More often , it is praised like a law of nature, a pleasure, or a benefit .•.
~ainft l tht luy It t UI . Iw.y_do b. ttle-
Gre..t toemies of our society.
For ir they compl. in of . Jeepio, on IIraw,
It i, omy wh.1 they de,erV1l.
In our . IocltYlrdl. our f,cIOnl'l, (,ur nlill8,
U-I UI answer the call u day'l dawning;
While we work our Jlrodi,poul nl' l!bine~.
lei 11 8 hymn a fra ternal refrain ... "
- Antoine Remy
Charles Nisard. Des Chun' ORlI'OpUk,ireJ (Parill, 1867), vol. 2, Pi>. 265-267.
[a5a,2]
"The fifleen yean of Ihe RestorMtion hod IIt:ell yean of great agricultural and
industriaJ prosperity.... If we Icave u.id~ Parie lind the large cities, we 8~ that
the il)Stitulioll of the p~u, 810llg witb tile vllnoU8 eleetnraI8yuem& , engaged only
part of the Dllbon, aDd the l~ast numeroul part : tbe bourgeoiMe. Maoy in !hil
 bourgeoi!!ie were alread y fearful of II re\'olutioo:' A. Malet lIud P. Grillet. XJ;y~
Siecle(Parill, 191 9), p . 72. [a5a,3]
'"The crisis of 1857- IH58 ... ma rked a s u,IIlcn elUl to a ll the illu ~ i ul1 !! of imperial
socialism. All effort ll to maintain wage!! at a level IIlat would IIs ,'f' t:orrcsponded in
lIOn..! degree to the eve~rising prices (If fO<lf1 and h o u s in~ prove!1 futile. "
D. Hjaunov. Zur Ge,chicille der erJttlll JlI lcrlluliolwle, in MlJr;r - E:flgf!l~ Archlv.
vol. I [Frankfurt alii Main ( 1928>]. p. 145. [a5a,4J
• fu ture all y in tJle stnlggle agai nst the July monarchy. Nevertheless, the immediate.
" Ln Lyons, the economic crisis had caused a reduction in the salary of the ailk
weavers--the famOlls cnnul,- to eighteen 10Ull for a workday of fifteen to l ixteen
houn . The prefect had tried lu induce the workers and bOIlSes ll) agree to e81ablillh
a minimum salary level. The attempt h avin ~ failed , an ins urrection broke out on
November J2. t831; it wall nonpolitical in Ch aral'ter, representing an uprising of
the poor. 'live Workin~ or Die Fighting' read the black banner which the C(llnll8
carried before them, ... After two days of fighting,~ the troops of the line. which
the Garde Nationale had refu sed 10 lIupporl , were forced to evacuale Lyonll. The
worken laid down their arms. Cuimir Perier sent an anuy of 36,000 men to
reooc upy the city; furthermore, he reluoved the prefect from offi ce, annulled the
tariff which the la lter had succeeded in foisting upon the hosses, aud disbanded
the Garde Nationale(Decemher 3, 1831) .... Two )'eurII laler•... char ges hrought
agai nst Ill) allsociatioll of Lyons workers, the Mutu alists, were the occasion for an
uprising that la6 ted 6ve da YII." A. Malet and P. Grillet , XIX~ Siecle (Paris, 1919),
pp. 86-88. [a6, 1]
" A 8tud y of wllrking conditions i.1l the te xtile industry in 1840 revealed that. Cor
ODe fiftl!eo -and-a-half· hour day of acti ve work. the average salary was leRl thaD
N ' O frullC8 for men and barely one fran c for women . The suffering ... ~o t wo ne,
especially beginning in 1834, because. civil unrest being fin ally queUed, industriaJ
enterprillet multiplied 110 rapidly that, within ten yea rs. the population of the cities
increased by two miJIion solely through the inftux of peft!!ants to the faclories,"
A. Malet and 1'. CriUel. X IX· Siecle (I'uris. 19L9). p. 103. [a6.2]
" In 1830. many he lieved that Catholicism in Fra nce was on its deathbed a nd that
the political role of the clergy was flllish ed for good ..•. Ycl ... 0 11 February 24,
1848 , the ins urgent' who commenced the sacking of tile Tlli lerie~ rt:movcd their
hats ill frollt uf the Crucifix taken fro m the chalH'.1a nd C1icorted it all the way 10 the
Eglise Saint-Roell . With the pruclamatiun of thf' Rf'pubJj{,. univel"llal s uffruge sent
10 Ihe Na lional Alllembly . .. Ihree hishops allli Iwelv!'! priests ... . This could
hSP llt'.1I because. cluring the reign of Louis Philippe, the clergy had I!O Il C'n !·Iuser 10
the IIt.'Ople ." A. Maid and P. G rillel, X IX· Siicle (Parill, 191 9), PJI. 106.107.
{a6.3J
On P ect:mhcr 8, 183 1. Ihe Ilrocapitalist Journnl dp.J dilbu/$ takf'HII gtund on Ihe
LyolIl ins urrection . '"The. a rlide in Le Journa l del lJebaU produced a grellt lieUS _ ·
Lion . The enemy of tile worken had brought into clear relief the international
s igni6ca n c~ of tile Lyunsllymptom. Nei ther the repuhlican nor the legitimillt press,
however, Wished to present Ihe question in lIuch dangerouil terms, ... The legiti_
lIlists . .. proteilled fur purely denlagogic reallO nil. since atlhat momenl it was the
int t:n tioll of Ihis purly to pllly t htl working dll ~~ off against the liheral bourgeoisie
in the interests of reestablishing the elder line of Bourbons; th~ republicans. on the
utilcr hand, had an interest in playing down , as far as possible. the purely prole-
taria n cast of the movemenl , .. in order • • • not to lose the wo,"OUllg '- cI ass all a
ilnpre~8 i on prolluced by the Lyuns uprising was 110 whu Uy incommensurable. so
Ilainful for conlemporaries , t.hal for thill reason alone it hall already attained a
spt'Cial p lace ill history. The generation which had witnessed the July Revolution
. . was. thought , i~ cffec.t , to have lIervee of steel. Yet they saw in the LyODII
IIIi1 urre£boli something enll rely lIew , . " which alarmed them aU th-" mo re tnilO . far
as Ihe wurkers oC Lyons themselves seemed manifestly not to see or understand th.is
ne~ dimenll io~. " E. Tarle. " Der Lyoner Arheiter auf8la nd ," in lUarx-ElI8eu Ar-
duv. ed . D. RJazunov. vol. 2 (Frankfurt am Main. 1928), p, 102 , [a6a,IJ
Tarle eitell a pli8lllge from Biirne un Ihe Lyons in,urrection , i.n which this writer
venls hill indignation over Casimir Pener because, a&Tarle writes. "Perier re-
joices at the lack of political motive for the uprising in Lyons, 8atisfied that this ill
only a war of the poor again51 the rich ! ' The pall8age--in Ludwig Borne, Guam-
:,el~e x,hriften (Hamburg and Frankfurt am Main, 1862), vol. 10, p , 20--runll;
II 18 lIald to be nothing more than a war of the poor against the rich of those who
ha:e nothing to lose against tholle who own something! And this ;errible truth
whlc~ , be~a ulle it i.! a truth. ought to have been buried in the deepetlt of wells. the
lunat.lc raues aJof~ ~nd fhmnts before all tbe world!" 10 E. Tarle. "Der Lyoner
Athelteraufstaud, tn Man-Engels Archiv, vol. 2 (Frankfurt am Main, 1928),
p . 112 . [a6a,2]
Buret was a student of Sismondi. Charles AndJer creditll him with an influence on
~I:rx ~~~dJer, Le. Mani.(elte comm unUle [Parill. 1901])-something which Meb-
g ~ EUI methOllolugisches Problem ," Die neue Zeit [Stuttgart] , 20, no. 1,
lip. 450-451 ) firmly denies.
(a6a.3J
IlIlIuenee of R
.
u· . t: •
Oman clsm on poutlcal phraseology, ell:p l a inin ~ an att ack on the
Cll n gr~gatl!lIIS "We
, . are a Ith e I leg.nnmg
" 0
f Romllnticism , a nd we clearl y recogn ize
lilly Ihe m . h' 1 . d .
V _. un.ller lD w Ie I It ramatlu8 everything. A cross was set up a top Mount
ill~n~n : this cross ... is Ilenounced as ~ymholizing the ascendancy of religiuus
~UC l cly O\'cr c" 1 .
IVI 8(,CIt:ly. TI Ie Jeeult' novltlale
.. refers 10 itself onl y all ' the den of
MOlltrOll,e
_ • A . b" . d ,
" . JII ee IS anDO Ullct or 1826. Slid already mcn of the cloth are
:ho ught 10 be looming on all sid es." Pierre de III Gurce. La R elto tl rn/ion (Puris
1926-1928». VIII. 2. Charle~ X. p . 57 . laU]
 Wt: art: nothing bUi mar: hine~, Ftulbollrie ll ; jOllrn(lt tie 10 c(JtlOiIle, dted in Cllrio!!ite~ rellOlmIQtI/1(l;re!!: Lelf
Our Babel. n1ollnllo IheAky. jO/lrllllllX muse!!, b y II Girondilil ( Pllri ~. 18<18).", 2fl. [a7;1,2 )
Refrain: ILt us love an.l, when we can,

1] Let UAm ",1 10 drink a roun.l. 1'11cm-y (If A . Cruni t' r d .. Cauagn:u.: . lIi!!toire (Ie!! drus e5 mnlrier'.5 et tie!! du.ue!!
Let the cannon fall .ilelll or ernl't- IIllllrgeoi!!e!! ( Puris , 1838): Iht'" lH"olel ariUIUi w,'ro' d" 5l"(,utled fro m II,ie"eo! and pros.
We drink . we drink . we drink litut .....li . [:a7a,3)
To Ihe indept'lidence uf the world!

Pierre Dupulli. Le Chant des ouuriers (Pari;;, 1848). "Believe me. lIw wi,lt" uf II,.. b(/rrieres h;ls (lrt:lil' rI'cd tllc gOl'erumenlal frunll:wOI·k
• [a7,21
from mall y n IiluJ(' k ." E,loll ul"ti F'OII1.' ulld . Puri!! illllf!(l tc ur; Physiologic (ie J'il/dus-
l ast verse a nd rerrain: triefnm ,>(li5e (PllriS. 1841), 1" 10. [a 7a,4)

U. in truth, a despicable moh.

Charras. from Ihe Ecule Pol)"tcchn.illue. with rderellce 10 Gelle ral lobau , ""hu
Having fire a nd iron in ili IIOre..
hacl nOI wisllt'd to liign a proclama tion: ''' I ",.i11 hal'e hilll lihot:-' Whal are yuu
W.nlliO shackle the hody a nd lOul
Of the people. lruechild of God. Ihinking ofT dc mamled M. Mauguin, incensed . ' lIa" c Gene ral Lobalt s hol! A
Reveal 10 these depraved . member or the Provis ional Go vernmenl! ' - 'The very same ,' res ponded the I lu-
o Republic. by foiling their ,,10111. dent , while leading t.he depuly 10 t.he window and s ho ....lng him a hUlldred men
Your great Medusa face oUls ide. vetcra n! "r Ihe fi ghting a t Ihe burrae ks in tht' Babylone dis tri el .~ 'And
Ringed by red lightning! were I to urder Ihese br.ll l·e me n 10 shoot the I...orll Gud, Ihey would d o it !'"
G. Pinet , lIistoire de I'Ecole polytecllrlif/liC (Paris, 1887). I' . 158 (evide ntly II Iii·
o tUleiary Republic, e ral cila tio n froml..o uill Bla nc ]. [a7.,5]
Do not A$cend to the Akiet.
Ideal incarnated he re on earth God a nll the Ecole
l..i!(Hl Guillemin : "There ure two sorts of p rovidence • . . .
By uni verui lluffrage, Poly technique , If olle s houl.1 be found wanting. the other will be the re." In
G, Pinet, p . 161. [a78.6)
From the rourth verse:
Ah! Let no noclurnal , lIrprive
l..amennaili and Proud lion WQlllcd to be burit.-d ill II ma n grave (Delvau , lIeurel
Bre.k in on Ihe IJOIIJ!
parisienne!! <Paris, 1866>. PII . 50--5 1), (a7a,7)
Stand guard rOlln.llhe ballot hox:
'n , the arch of our del tiny.
Scent: from t he Fthrunry RCVlllutioli. The TuilcriC8 wcre plundered. " Neverthe-
Pier;e Dupont. Le Chant dlt vote (Paris, 1850). [a1,3]
Il:s8. Ihe cro wd had lI.IClJlJ>cd , as a sign of res pect , in fl"onl of the chapcl. A 1I1udellt
took advantage "f tJlis moment 10 8teul Ihe snrretl vessel;; , a nd in the e vening he
In chapters like "Le Vrai Sublime," .oLe Ftls de Dieu; "Le Sublime des sublimes.!" had the m take n to the Eglise Saint-Roc h. He chost' to carry, hy himselr. the mag-
<OLe Marchand de vins " "Le ChansonrueT des sublimes," Poulot treats of types nifi t.'enl sculpted Chris l th ai fuun d a place 0 11 t he a h llr: II gTOUp I)f pwple rollowed
intermediate between ~TkeT and apache, The book is reformist; first published (l uietJy in his s teps, their hals ~mO\"f'll a nd hcad. Imwe,l. T his licene , . , was
in 1869. Denis Poulot, Qye.sJion sociaJe: "Le Sublime," new ed. (Paris). [.7,4\ rt' prodlll!C(1 0 11 a sta mp I.h.lll co uld be seell , ror a Illng time afle rward . ill Ihe
""ill(lows or all Ihe me rdlU litli who sell rclj gi""'~ il·OIIS. The I)olytt.oclinician was
A proposal rrom Louis Nupolt:oll 's Extinc tion till paupiris me (p. 123), cited in r"III'~s" ntcd Iwldi.llg tlll~ C llI"isl in hi ~ arlllS . Ilis Jllayi ng it hdorf'1I kllet"lin g ,:rowll.
Henry Fougere, Le~ DeMs a/ioM OUlJrieres fW X expo!!j,jon!! Iwiuerselfes !!OU!! Is whilt: JII! c1fcluiuII'II : ' 11f'rl: is Ihe mast,' r (If li S all !' These word;; wc re nOI a ctuall y
Second Empire (Montlu,>on , 19(5), p . 23: " All ma nagers of radories o~ farms, aU s puk.(,u. bUI IIw )" ('o n(OI' m 10 the lienl.inlellt li (If tilt' I)Opulll l.iOIl at a tillli' when .. ,
enlre preneurs of any ki llii. would be obliged by law. a. SOIJIIII S they had enlployed lhc d erg)" itself. I'crsCl:ult'd Ly tlw Voitairellll killg. greeted Ihe I"evolutioll wi th
more Iha n ten worker! . to IUl\'e a n arhit ra tor who would gO"erll their affairs , IlUd t' lttllu!i ia ~ m ." C . Pi" ... . I/ is tuire tie fErule fm/yler:l". jqllll ( P·d ris. 1881). pp, 245-
. Ic wor k Cr!. "
to whom Ihey would IIuy a 8a lliry douhle thaI 0 r t he 81011' [37a,l ) h~ ~~

"'1'hi8 people. victorioui, who III rode barefoot u pon gold I Strewn across their path. nit' Polytedrnil'iulI8 "t1h~crved lire Jlruccct.lin!;s or the U1alllllLi ~ 1 d ull that mel ill a
ami clid not succumb" (Hegesippc Moreau). Mollo o r the ncw"" a lH!r 1~'Aimable haU 0 11 t he ground fl oor. w h e~ demagogic oral orll, _p lating for tile moil sini81cr of
 incendiary .Ieeds, sl'okt' already of pulting Ihe Pruvisional Government on trial"
C. I'inel. Hit ,oire de l 'Eco~ poLy technique (Pari5, 1887), p . 250. [a8.2)
During me February Revolution. students from the Ecol: :olytechniq~c b~cd
1] papers in the Tuileries which appeared to them oompronusmg for the Slgnatones,
but which would have had great interest fo r the revolution: declarations of loy.
alty to Louis Philippe. (pinct, p. 254). la8,3)
• Liu llgara y, in an eS5ay on Lei Muerubles , ill La Balaille; " One need onJ y be in
touc:h with the people to bet!ome revolutionary" [Victor Hugo devont l'o/Jinion
(Paris, 1885), I). 129]. [a8,41
"'ArOlln,1 1840 , a certain uuml.er of workcn formed the resolution to plead their
cause directl y before the public .... From that moment , . .. communism, which
until then had heeu lin the offen.!live, took prudently to the defense." A. Corbon ,
I.e Secret du peuple de Pllrit (Paria, 1863) . p . 117. In question are the CODlIDU.mt
organ l.a Fra ternite, which began publiahing already ill 1845, the anticoOlalunist
L 'A telier, L'Union , and La Ruche IJOpuiaire, which waa the- earliest . [a8,5)
On the worker: " He i8. in general, inCal)able of understanding practical affair•.
The solutions that 8uit him best are therefort' those which seem likely to exempt
him fro m iuces&aot preucc:upatioD with what he considerl the humble sphere. the
drudgeries of life. , .. Let us takt! a8 a virtual certainty, then , lhat a D} sy8tem
which would telullOrivet . . , our "'ur ker ... to the factor y-though it promise far
more butter than bread- .• . would be repugnaot to hiDI. " A. Corbon , pp . 186-
' 87 . ["',0]
" T he question of worker!, like the question of the poor, W DB planted at the ~try­
way to the Revolution . Since the childre n of t.he fs miliel of worker s snd art"aal
could 1I0t cover the net!d8 of a labor--s tsrved industry. fa ctories made use of or--
phan8 8 S well .... The industrial uploitation of children and women ... ~ o~e 01
the most glorious achieveDlents of philanthropy. Cheap food for worke:,' W1~b •
, .. view to loweriug wages, wlls likewi8e one of the fa~orite philanthropIc n~:
of the factory o Wlle r~ lIud political economist8 of the eighteenth ceutllry. , . . _ written sho rtly before Lace.nain=:'s execution- that is, in January 1836. Alfred
the Freudl filially atud y the Revolutiun with a cold eye and without class preJ~­
dice they will reali"c that the ideal which made for its greatucSS came from S""I-
v
'terl ~ nd , wlll~rt': the bourgeoisie W II.S already dominant : in fa ct . it "".as from Gene •
. •1 . • , Ileh created suCh
that A P Caudolle imported the BIl-u ll(.'U ' ecOllonuCBOUP ... W I ,
. . . h ·1 d bl" king Vo ney
a furor ill the Paris of the Revolutlllil . ... E"en t e ury an UII 111 hi
Id not hel,) bein,; moved 'at the !!ight of thi8 alliance of m ell of ,respt!(:ta e
cou f b iIi .., Paul Lafargue.
po!!itioll t'agerly occupied in super vising a pot U (I ng i O U p . 149.
" Die christliche Liebe~I~ ligkeil . ,. Die Milt' Zeit . 23. 110 . 1 (Stuttga rt). 1)1" 148- , )
[a8a,
"S hnuhl th ree men hu"".m to lit: in the street talking togethtlr .. \'(lul wagd, or
. h h ' labo r (or
,;buuJd they happen 10 as k the ent~p N!nt:u r wh.. b ali grown n c on I el r
a raille II r une IIOU. then the bourgeoi. becomes terri6ed and criea out for IItrong
measure, .... Mosl of the. time, our govemmentli have u ploiled thia l ad pro,;reas
of fCllr .... Alii can Bay here it tha t ... our grand Terrori8tli were by no means
men of the l)Cople. They were bourgeoill and nobles , men with cultivated . linbtle.
hi1.O rre milUb_ ophistli and licholas ti u." J . Miclu:lct . Le Peuple (Paris, 1846) .
~, ~ , ~ .
Ft4gier. lhe a uthor of Le. C I(J.$lie. dange rewes. W aH
~~
head clerk at the prefecture of
police. (a8a,31
On me description of the February Revolution in Haubert's Educati<m Jentimnz-
lair-which needs to be reread-one finds (with reference to Stendhal's descrip-
tion of the Battle of Waterloo);- "Nothing of the general movements, nothing of
the great clashes, but rather a succession of details which can never form a whole.
nus is the modd which M. Haubert has imitated in his depiction of the events of
February andJune 1848; it is a modd of description from the standpoint of the
idler, and of politics from the standpoint of the nihilist."J.:J. Nescio, LA Liltiratur(
JOIIS kJ cUux Empim, 1804-1852 (Paris, 1874), (p. 11 4). [88a,4]
Scene from the July Revolution . A woman donned men'l clothing to 6ghtalongside
the other •• and then afterward. as woman again , nursed the wounded who were
lodged in the Stock Exch an ,;e. "Saturday evening, the cannoneers who we.re trans-
ferring the artillery pieces r emaining at the Bourse to the Hotel de Vdle enthroned
- our young heroine on a cannon crowned with laurels and brought her with them .
This evening. at around ten o' clock , they brought her back io lriumpb to the
bourse b y the light of torches; ahe WaJ Ilea led on an a rrochair deeorated with
garlands and lauret. ... C . F. Tricotel, Esquisse de quef,ques ,cencs de l'inte,uu.r de
fa Bour&e p endant Ie. journee. de, 28, 29, 30 et 31 juillet dernier: Au. profit de8
bleue& (Pari8, 1830). p . 9 . [a9, 11
Lac.enaire composed an "Ode a 13 guillo tine," in which the criminal is celebrated
in the allegorical figure of a woman, of whom it is said : "11lis woman laughed
with horrible glee, J A:; a crowd tearing down a throne williaugh." nre ode was
Delvau. u s Lio1l.J du jour (Paris, 1867), p. 87. [a9,21
A charity 8Upper at the Hotel de ViI1~· . where unemployed workera-in wiater,
ahove all COll8lrllction workers--gatl,,~re,J . " T he hour (or the publio meal 11118 just
~o unJed . Alld now ullie B1uecoat hand. hill ivory-tipped cane to oue .)£ hi. au~·
taull. takl!S from hili IJUuon hole a sil ver p lace-liettinA" which i8 a ttached there. dip8
Ih l" spoon into one p ill after another. tas te., pays the servers, pre8le& the out-
6tl't:tt heJ hands of the poor, takell up hill I:ane , refaSlen. hi!! SpOOIi . and goes
trh 'Hluilly - O il hi8 wa y. .. . He is gone. The ~e rving or the food hegiIl8, " Liltle
Bluc(oat W8!l the nickname of the philanthropilll Edme Champion , wllo had rUen
{lUt of very modest circumstances. <St.'e a12a , l. > The paBiage from Ch .-L.
 Chassin, La U sende du Petit Manteau Bleil . cited ill Alfred Delvau , Le, l.iOfU du
jour ( PariJJ. 1867)' 1)· 283 . [a9,3J
j The author. in h.is pamphlet condeDlllillg the rural exodus. tu rns to the COUQlry
girl: " Poor, lovely child! T he j ourneyman 's tour de. f'rrm ce, whidl is of qUClition_
able utility 10 you r bruthers, is always an evil for YOll . Du nol- if need be, until
] you are furty-Iet go of your mother's ap ron strings . . . ; an ti s houltl yo u be foolish
enough to set out on your OWII . and II hould yo u 6",1 yoursdf sharing your unfu r--
• nished r oom wilb inlrans ~nt uuemployment and hUDger. Ihen call (like a virgin 1
knew once), caU a last guest to your side: CHOLERA . At least in his fl eshless anna, at
least on his ghas tl y ches t, yo u ....i11 no longer fear for yOllr honor .... And immedi_
alely following thU IJaasage: "You mell of conscience who will read Ihis, I implon
yo u once more. on my hand, and knees . to make knowll , in ever y way pO.l!.l!ible. the
subs tance of this penultimate chapter." Emile Crozat , La lUaladie dlt ,iecle., ou
Lei Suite, Ju nella du declanement social: Ouvra&e ecrit sou, le& trule. impira.-
lions d 'un avocat . ans co me, d'W1 notaire el d 'un UlJoue JaIU clientele, d'un
me-leein l alU pratique" d '''n nes ociant JalU capitaux , d 'un ouvrier lam travail
( Bordeaux, 1856), p. 28. [a9.4]
In s urrOClion i ~l Qlovements under w uis Philippe: " It was tilen , in 1832 , that the
red nag appeared for the fint time." Charles SeiplOb08, UiAtoire &incere tM 10
nation fra n~uue (Parill. 1933). p. 418. [a9a..l]
" In 1848. ther e wertl onl y four cities wi th a population above a hundred tllous.DCI __
80uls--Lyoll8 . Marseilles, Bordeaux , a nd Rouell ; and only three with a popul.rioD
of sevent y-five tho uu ml to a hundre!1 thousand-Na nle., Toulouse. lind Lille.
Pllm alone was a great metropoLis ....ith more than a million inhabitants. 001 count-
ing the faubourp (annexed in 18(0). France remained a coun tr y of small towru.'"
Charles Seignobos . lIi!toire ,inu re de Ia notionfran~aue (paris. 1933). pp . 396-
397 . (.9>,2J
I.n IB40. the Ih!tl y hllurgeoisie makes a push lowanllbe rigbllo vote , by demand-
ing it for the Garde Na tionale. [a9a,3)
National Assembly of 1848. "MUtl . - - a8k8 to oorrow 600 francl from tbe Na-
tional Assembl y 10 pay her rent ." Historical fact . Paris J OWl to Republique de
J848: Expositiml ,Ie la BibliatJleq"fl et des Travail.\" historil/ues de Iu I'ille de Pari.
( 1909), p, 41. [a9 ... ,4]
" As soon as they heard tell of a hallalion of women. tbtl designer s sct about to find
them a uniform . .. Eugenie iJ)uyct. edit or of u. I'oi~ deJ femm e, • . . . pro-
no unced on the matter : 'The tid e " Vellu \oian ; " "he ...·rite/! . 'means that ,' ver y one
of these conscripts is harborin g, in the t ore of hrr ht'arl , a volcanu of revolutiop-
Ilry fires. ' . . . Eugenie Nwoyr.a tJlen s ummoned hcr ' & is h' r~' to tht· duwllstairl
galierit:1I I)f the Uonlle- No u velle ba7.aar allli to Ihe Solll: Taranlle," Ptlris ' OIi$ Eo
Republi(IUe (Ie 18'18: f..'xTJOJition de In Bibliother/ue et de~ Trr...·(J ux historilJlw., de
/(1 Ville (Ie Ibm (1909), It. 28 . [a9a,5]
Social subj ects occupy a very large place in lyric poetry at midcentury. They take
all possible forms , from the umocuous variety of a C harles Colmance ("La
Chanson des locatai.res" <The Tenants' Song>, "La C hanson des imprimeurs"
("The Printers' Song» to the revolutionary lyrics of a Pierre Dupont. Inventions
are a favorite theme of such dU11lJom, and their social significance is underscomi.
Thus was born a "poem in praise of the prudent entrepreneur who first reo
nounced the manufacture of a noxious product [white' lead] to adopt 'the white of
innocent zinc...• Poro JOUJ 10 Rtpub1iqu~ de 1848: Exposition de fa Ville de Paro
(1909J. p. 44. (.9• .6J
Apropos of Cu hel : " It is ttlwurd the end of 1848 that the d iscovery of the de posits
became kno .... n in Paris . and almodt immedia tely companies were formed 10 facili -
tate the emi v a tion of prospectors. By May 1849. fifteen s uch companies had
begun to OIK!ralc. The ' Compagnie Parisienne' bad the honor of trans porting the
fi n t grollp IIf tr avdeMl. and . . . tlu!!!e modern Argona uts entrusted themselves to a
bliml J ason who had never even 8t:en California : one J ucques Arago , ... whose.
account .. . of II \'oyage round the wo rld was in pari developed from another's
noles .... Newspllpers wert! found ed : La Californie . a ge.neral-interes t pllper on
the Pacme Ocean ; the ' gold-bearing' Aurifere. monitor of the gold nlinel; L 'Echo
du S(l cramento . J oinl -slock cOOillanicl orfered Ihares of s tock al exceptionally low
prices. onl y five fran c~ . 0 11 the Roor uf a U the stock nchanges ." Maoy cocottes
make the tri p overseas--the culoniSl8 are experit!llcing a dhortage of women . PrAm
J Olf 5 ttl RelJlibfif/Ue. de 18'J.[J; Expo~itio .. de la VillI? de p,.m ( 1909), p . 32 . <On
J acque, Arago, It.'e a I2 ,5 . ) (a10.1]
There's a comparison to be drawn ~tween Cabet and the following verse, which
is, of course, directed against the Saint-SinlOruans. It comes from A1cide Genty. A
MOrIJieur de Cllaleaubriand: PoileJ et prruaJeUTjfi"anfau-SaHn (Paris, 1838), cited
in Carl Lodev.ijk de Liefde. Le Sainl-Simonisme dam fa poiJiefi"an fa ise enJre 1825
et 1865 <Haarlem, 1927>. p. 171 : "The insinuating Rodrigues will peddle LO the
Iroquois I Bareme and some unsmo ked cigarettes." [a I0.2]
Delphine G ay (Mme. E. de Girardin) shows herseJf. in her poem "Les Ouvriers
de Lyons" (PobitJ compliles [Paris, 1856] , p. 2 10), to be a precursor of the philoso-
phy of innkccping: "The poor man is happy when the rich has his fun ." [a 10,3)
With Iw.. arms or iron A llI>1guifit'cnl Ir~"k
U'iII begir.1mr "'IUlhlir : Pt·kin!; 10 "anf.
A I.. mtlred ,Ii((er t nt "'·"lI lr~. milling thei r t on ~u e_.
Will mi ke o n ...·.... I lt~~al .. ll r .. Uabo:! .
Tlw rr . ...i ,h "'hft'l or lirt:. humanit y's .. ml.. h
Wi ll w ..ar 10 the llo nr Iht: ,"'.!It;I"s .. r lite earth .
Frtllll IlhJI . lhi ~ gleaming \·e~1IoI!1. men . aU alna •.•·.I .
 Will look out on a n ocelLD of eatable•.
The world will become a fi ne china bowl
Filled up for this human menalie rie:
And tile clean,ahaven glo be. without beard or hilir--

I] A mo numenlll pllmpkin-will re ..olve throulih the . kiel.

Alfred de MUltiet , Namo uoll (pa ri!) , p . 11 3 ("Dul)ont et Dunmd ") . [al 0,4]

• Saint,Simoniall poetry--Savinien Lapoillte, Ihoemaker , " L' Emeute" (The

Ri ot>:
No. the (uture will dispenae will.. harricadel!

You gff.l t oneB, while your b and. ar e buildinll 'U(fold.,

Mine are loCa u ering flowen over the grave..
To each b.iB miN ion or hi, painful tasK:
To the poet. the long; to power, the 11)[1

Olinde Rodrigues . Poesi,e, soeiak. de, ouvners (Parie . 1841), pp. 237, 239.
IdO~J
, . . . TtiJI'.....'DI:f, .................

Rut 1'ransnonain, Ie 15 allril1834 (Government Reprisal on the Rue Transnonain, April

From Alfred de Vigny, " La Maison du berger" <The Shepherd'. B oulle), trealinl 15, 1834). Lithograph by Honort Daumier. Stt ala,l ; alOa.,5.
of the railroad:
May God guide the thund ering . team to ita end
'CrOll the mountain. traversed by iron rail •.
Let I n angel be perched on iu loud-clankiog boiler
When it head. undergro und or r ock. hridges.
- " An opuscule in ver se (Les Principe. du I'e lil Manteau Bleu $ur te ,)',reme de 10
commulloute <see a9,3>, by Loreux , conlmunist [Paril, 18471) is a SIH!Ciel of
dialogue betw~ n a purtiu n and all adversary of communism. . . In order to
Turn away (rom these tra cb-they lac k grace. alleviate all ... suffering, the communist Loreu,,; appea l,; not to envy or to venge-
T heir iron Un..... will take you , ance. but 10 kiodnel8 and generosity." J ean Skcrlitch . L'Opinion publique en
With th e l peed of an arrow through ' pace, Frcm ce d '(fl)re~ la poelfie politique et so<;i(lk de 1830 n 1848 (La usanne. 1901),
Shot whiBilinll from bow to bull'l-eye. p. 194. la l0a,3J
T hill hurled Uke a bolt. human bein p
u,se their breath , lole th eir li&h t ,
In the smothering cloud re nt by Ughtning. 111 lB<n . a famin e; man y poems Oil the 5ubject. (a IOa,4J

Dil ta nce a nd time are now conquel'1!li h y SeienCt';.

Which encird tll th e world with itl r oad .ad a nd Btraight.
The World;Bred uced b y our experiment ;
The equllor il now but I ti«ht-fitting hoop.
Allred de Vigny. Poe5ies compiete5, new edition (Paris, 1866). pp . 218.220-221.
[a I Oa,! }
To be compared with Cabet: the remarkable, beautiful poem "Le ~avre," ~
Elise Fleury, embroiderer (Olinde Rodrigues, Po6i~; ;ocialtJ de; ouu:un .[PariS,
18411, p. 9). It describes an ocean steamer, contrasting the luxury cabms Wltb the
lower deck . [a l 0a,2J
August 183·' , uprising o ( l\1utuulists ill Lyulls. Ileurl y l;ulIlI'lI1jJ(Jralleous with the
uprisillg on the Rue Tran s n on aill .~ At Lyon.: " The ar my rePOrh.-d 11 5 men killed
and 360 wounded, a nd the workers re p(Jrtcd 200 killl:tl and 400 wounded . The
gl....'crnnlclll "" IUlted 10 grunt ilHlClI1nitiCM. a nd it commissiun was na mcci , which
Im>eiui med the (ullowing principle: ' The gO\'erlllllent does not wallt the triumph o(
tile social ord er to cost a ny tears or re~retl. It k" o",'~ tI,at t.ime. which gruduall y
"-ffu ccs tile unguisll occasiuned by t.he c(Jlitlic61 Jlcnoua l losses . is powcrlt:88 to
redrclis the 1,lows of fortune.' ... T he whole moralit y u(t he Jul)' Monarchy Cli n be
foullt! in these' words." J ean Skerlitch . UOp;n ion IJllbliqlle en "'mote tl'upre.t W
1~41 ie p o iitiqlle et IftJciale (LaUSIUIIIC. 19( 1). p . 72 . {aIOa,5]
 " 1 wiU rOlliif' the lillOI'll" will1 Ill y Uln' urnis lu!11 truth,; I I will pro p"e3Y 0 11 every ,,'a tehed everyw here, a nd maintai nell o rdClI'- 'lha t i8 , rughl . . . . The eye which
~ In ·.·t corno·r." IIi'gi'"il'IW Morell il . ci let! in j ean Skt' rlitch, t 'O"inion I)ublique era IIlight hllVe looked from a bo,·c illlU that maS8 of I! hadow would ha ve caught a
" 'ru m;'! fr« ,Jrr.J III IWO!$ie l",li1if/UII el $ociu/e de 1830 U 18·18. II. 85. [a ll ,l ] glimpse in tile ,Ii§la IlCt' here and t he rt', IJer hal)H . of indi ~ lillct ughts, bringing o ut
l,rokell tllI,,1 fanla stic linCH. o utlinel of 8ingular construction!;, something Jjke
" In t he ,Iu ys il1l1l1edi ll ldy follo ....ing tilt: RC"ululion of 1830, a song made the ro und, ghostl y gleulllli coming a nd going a mong ruins; these we re the harricades." Oell-
ill Puris: ' ltf!tlllc h! ,rUIl QlwriCI' n lUI ju5t(·... Milicu.' Its refrai n wall IJartieuJarly ,'res I'ompfete.t. no vels. vol. 8 ( Paris, 188 1), liP. 522-523.-The foUo wing passage
exV...·ssi ... t:: is from t he dlapler "Faiu d ' o,'ll'his loire IIO rt e t que I' hittoire ignore.'" "The meet·
ings ",'c re sometime!! periodic. A t 50me, the re were ne ve r more than eight or ten ,
• I am hultgry!
W..II. IIH' It . eat your fi.et.
a nti a lways the Jla me pt'nons. In othef"i, anybody who chose to entered, and the
Sal'O: Ih .. othl'r for tomorrow. room was so full thai lhey were forced to sta nd . Sonle ",'ere then: from enthusiasm
And I.hal'. m)· n:frai n. lind pa8Sion : ot hers IleI:allse 'il was Oil thd r way to work .' As in the time of the
Revolutio n , tllc re were ill these wi nc shops Borne female patrio18, who embraced
... RarthCle my ... sa y" ... tha t ... the unemployed laborer has no c.hoice bUll(! thr newcomers. Otherexpre!lsi "e fa c ts caine to Ijght . A man e nte red a sho p . drank ,
wo rk in ' the ya rd of upheaval.' .. , In Barthele my'JI NemesiJ .. . the l)!Intif Roth. and we nt o ut , saying: ' Wille merchant , whale ve r l owe, the revolution will pay.'
st.'hil,J. wi th II. muhjtude of the fahhful , c hllnts the ' Ma88 of stockjobbing.' . ioga the ... J\ wo rke r, d ri nkillg wilh a comrade, made him put his ha nd on him to see how
' psalm of a nlluit y. ,,, j ea n S ke rlitch , L 'Opinion pllblique e n F'rrlllce ( i lapre• to warm he was; the other felt a pistol under his ves l .... AU this fermentatio n wal
I' m!sie{ Lll u5I1 nne, 190 1), pp . 97-98. 159. [a ll ,2] public. we nlight almost say tranquil. ... No l ingularity was wanting in this cri ·
si.s--still subterra nean. but IIlreudy per ceptible. Bourgeois talked quietl y with
" Vuring till' flny ,If .111111' 6. II seun'" of t he selO'er s had bt~e ll orde red . It was feared wo rkera ahout the pre parlltions. They wo uld say. ' How is tbe uprising coming
Ihut they Wl)ul,l IJe t1 ;3td as u rt'fu gr hy the. vanquis hed. Prefect Cisquet wa. to along?' in tile Slime tOile ill which tlley would have said , 'How is your wife?'" Vic-
r alllille k tilt' " i d.II ~ 1I I'uris. while Ge ner al Ru geaud was sweeping Ihe public Paril- tor Hugo. Oeu,ores completes, novels, vol. 8 (Paris, 1881), pp. 43, 50-51 (Les
a c"llIWI.' .. ·d dUll "If! ope'I'ati un Io'hi(' h d"manded a doubl .. ,:tra tegy on the part of Mi.terables).l1 [a lia,!]
puhlic powe r. re prclc,"e,1 L1 " nvt: by the a rm y a nd below by the police. Three
platoons of ,lffi.::eu nnd scwe rme n investigated Ihe subte rra nean streets or Pam."
Viclnr 1-llIgo , Oell vres complele,. nQ\'els, \ ' 01. 9 (Paris, 188 1), p . 196 (Let - Bar rirade fighting in i.e.t MiJerables. From the ch a pter "'OriginaUti de Pari....
"Ouuide of the insurge nt quartic ,." nOlhing is usually more strangely calm tha n
Mi,er(lble,).ltI (a ll ,Sj
the physiognomy of Paris during an uprising .... The re it firing at the st reelcor-
Ullfoltlilljt iB will~ or ,;old .
ne rs ... iu a n arcade, in a cul--de-sac; ... corpses liuer the p avement. A few streetl
Millinn ·a rnn~,,1 illl h,s tr),. u oh... nl . away, you (:au hear the clicking of billiard ba Us in the cafes ... . The ca rna ges j og
Trll\"'utl ollr dnltl ai"" along; l}C()ple are guing ou lto diue. Sometime8 in the very quartier wben: there it
An d ......,1. tI, .. fi rl.ls. fight ing. I.n 1831 a fu sillade was 1USI)ellded 10 lei a wedding party pau by. At the
""1" 11.......11 is ....·01'1('<1 allhe sound or ilS '·oir.~. time of tbe imurrei:tio n of Ma y 12. 1839, tin the Rue Saint-Ma rtin , a little infirm
1'1.1' arid .ail lrprnl!-- old ma n , drawi ng a handcart surmounted b)' a tricolored rag. in which there were
Anll for tl... ",·o rltl ·~ bou nl Y doca nlers fiUed with ~ome liquid, went hack alld forth from the barricade to the
It ~v .. ~ IIII' \Oo·O rltl l bW~. <t, . 205> trtlups alld from the troops 10 the barricade. impartia Uy offering glas&es of CD-
Hcfrain: All ho...... 10 rr ~, 110.... fr~ l lring of im ltl5lry! COil • • • • No thing is nw re st ra nge; aud this is the peculi ar characteristic of the

IllIImr. I"mur to our works! up r isings of Pa ri8. whic h is 1I0 t fO lllld ill nny other capital. Two things are requisite
tn IIlIlhc a l'l ~ ...,· 1111\'" ~"t)I}( III ""~11 Ollr ri ... MI_ f(l r it; th t: b'TCatliess of Pa ri!! IIlId ill gaiety. It retluirel the city of Voltaire and of
Ami w.ml,ll,t: tl,,' hopt. till' Ilrid(·. of ULH· r o UI1 I1·y. '1, .21)4) Na/loh'oll .'· Vil·tm· Hugo. Of!u vre.t Comf)IIUes , novels, vol. 8 <Paris, 18Sh ,
!,p .42'1-43L I : [a l la ,2]
Cillf(w"l/t! GlwilIS jrfl/u:.u is. lyril-8 iJy v;).riou~ a uthorli; s(:t If. music • .with "iano
af!f! UfIl l'ltl1 illlc nt . hy 1101lll;cI d,' Lis '" ( I~ l'is. 1825) [Bibliothe'luc Na tio nale.
\'1117 .44':;'1]. p . 202 (1If1. 4'1. "Cltunt des indllstrids," 182 1, tex t by II~ Lis ld. In theI 011 tlll~ lIiotjf or c'>:ulil'i.'! ol . ,:olljoincd with thllt of ema ncipa tion:
bame '0'0 , tullC. IHJ . 23." ,~(f.!, arsel" "alse. .. la l l .4 . AlIlloo: &crag!io8I1 re vpe ne.1,
Tlo .. imam fiod ~ hi~ in ~l'ira l io li ill .... ille.
IlC\'oIUl iOllllry hll"tics a lltllJ;l.u lt·s un tl.e harricaJe~. u('eonling 10 Le. Mi.terab/,e.· The Onent l ea rn~ It> reMd.
The night I,cfv rt· Ihe hu r ricu.lt' lighting: "The illvili ihl ~ police or LIlt: emeu1e Rarra ult croUl:l the (fI!a •.
 JUlC6 Me rcier, " L'An;:he de Die u ," in Foi no u velle: Cha n'! ef cha nsons de Bar.
r/lult, Vinru ,.,1 ... 183 1 Ii 1834 (paris. J a nuary l , ( 835), book I , p . 28. {aI2,1]
Forge I.he liberty of the Orienl:
A rry or U'oman, on the J ay of ileliveranee,
Travel. rrom thtl harem by rCl'c'aled cchu
To break the horri,1 Bitenee of the West.
• Vi!U;ard , "Le I' remier Depart pour l' Orient ," in FQi nou veUe: Clla nt! et ch"rllo,..
de Ba rra ult , Yin{(l rd •.. 1831 ii 1834 (Pa ris, Ja nuary I , 1835). book 1 , p. 48.
[aI 2,21
A strange stanza from "Le. De:Part," by Vm~ :
Cast off from a universe of !erfdom,
The old swaddling clothes!1 and the jargon;
Learn the coarse and plain speech of the f'tople,
lbe light ditty and the oath.
RJi nouwlle, 1831 a 1834 (Paris,J anuary 1, 1835), pp. 89- 90. [. 12,31
Our ftaS hili lolt patiene., wilh the 8ky of France:
Over the minal'CiU of E5)"pl iI now must ....ave.
TI,cn will they sce us, worken >ldept ,
Will, our ribbo n. of iron
Subd uing the d l:8eM lamls;
Citie• . like palmB, ....iD sprinS up cVCI·ywhere.
I'. 1'-b.yna rd . " A l'Orienl ," in f oi nouvelle (paris, Ja nuary I. 1835), pp . 85, 88.
{a12,' 1
In Jacques Arago's pamphlet of 1848, "Awe Juges des insurgest d~portaDOIl
appears as an instrument of colonial expansion. After the author, m PI~
language, has summoned up in tum each of France's ov~as ~SessIO.ll5 With-
out find ing a single one suited to be the land of deportacon, ~ e~e li~[S on
Patagonia. H e gives a very poetical descri ption of the land and Its inhabltan[S,
"These men, the tallest o n eanh; these women, of whom the youngest ate so
alluring after an hour's swim; these antelopes, these birds, these fish. these phos·
phorescent watas, this sky alive with clouds coursing to and fro ~e a 8~ of
wandering hinds . ..- all this is Patagonia, all this a virgin land nch and mde-
pendent.... Do you fear that England ~ com~ and ; eU y~ .that you have no
right to set foot o n this pan of me Amencan (oncnent .... Clczens, let En~
brrumble. just let it, ... and if it should arm, . .. then transport t~ Patagorua the
men whom your laws have smitten. When the day of battle arrives, !.hose you
have exiled wiU have become StaUndl mobile barricades, standing implacable at
the outposts." {a12.5]
E<1.D1C Champ ion: lIelf-made man ,n Jlbila nthropi'JI ( 1764- 1852). " Wlwnever he
had (,cfuion u.. go IlcrO&i lown , III' wou ld lIeVI:r forgel to look into the. murgu e"--so
ri' pOI.,"~ C h a rl t' 8~Lolli ~ Chussin , IAI J..egellde IIu P/' Iil MUll tea ll Bleu (Pa ris. ca.
18(0). p . 15. CharnJ.li nn llad been a goldsmith a mI. during Ihtl Revolution. pro-
1/'CIt' " " o hl~ bo nl fomlt'r CllilI01l1crs-...·h.icll enda ngered h.il! 0 ...·" life. [a 12a,l]
Balzac. in ElIg~nie Gr(lluiel, with reference to the miser's dreams of the future:
"TIl3.t future which once awaited tiS beyond the requiem has been transported
into the presenL" 15 11t.is is still man: tru~ with ref~rence to poor JX=ople's fears of
the future. [a I2a,2]
From an analysis uf the !lilua tiun arQund 1830, by policl' prd ed CiStluet . At lasue
are Ihe w(l rkers: "Unlike th tl weJl·lo-tio classel of lilt: b(J ur,,;~isi e, tbey h ave no
fear dlat , through .II broader f'l( tClIlliOIi of liberal p ri n ciple~ . they will lH! compro·
nuaing a ll eBtabHshed fortunll..... Just as the T hi r d Estate profited from thtl sup-
pression uf the nobility'8 privileges ...• the. working dass wo uld profit today from
all thai the bourgeoisie would l o~ in ilJl turl! .... CitCtI ill Charles Benoist,
" L' l]omllltl de 1848," " art I , Rev lI~ tle! deux mOrldes (Jul y I, 19 13). p . 138.
[a12a,3]
MT he ~eat mob and Ihe holy rabble I Made II rllsh at inllllorta lity." From a revo-
lutionary 80ng around 1830. Citetl ill Cha rles Benoist , "L' l:Iomme tie 1848,"
part I , ReVile de! d eux mondu (Jul y I. 19 13), p. 143. (a I2a,4]
Rumford , in hi~ ecollomic eli5ays • .IIucmblcd rccipt:s designed to lower the COlli of
BotlJ.l-kitchen fare by using substitute ingrediellts. " Hill so up ~ a re not too exptln·
Bive, seeing Ihal for 11 frallcs 16 "entime>l, (Inc bas enough to feed 11 5 penoll8
twice a day. T he ollly q uestio n is ...·hether they are being prul.erly fed ." Charles
Benoist, " De l'Apologie tl u travail Ii I' apothoose de I'ouvrier." ReVile de, deux
monde, (J anua ry 15, 19 13), p . 384. Charity 140Ul'8 ....er': \'oriously introduced by
.,'re.llch industriel! at the time or the greal Revol ution. [aI2a,51
1837-the first b a nqlU~ l ~ for u!liverlla l suffrage aud the p~lit io n with 240 ,000 sig-
nlHures (t:~lu i \' a l(' nt t<l Ihe Ilum ber nf re~s t e l·et l voters at that time). (a 12a,6J
Around 1840, suicide is familiar in the mental world of the workers. "People are
~Iking about copies of a lithograph representing the suicide of an English worker
In despair at not being able to cam a living. At the house of Sue himself, a worker
CUmes to commit suicide with this nOte in his hand: '1 am killing myself out of
despair. It seemed to me that death would be easier for me if ) died under the roof
of one who loves us and defends liS.' The working·class author of a little book
much read by other workers, !.he typographer Ado lphe Boyer, also takes his own
life in despair." Charles Be.n oist, "I.:HOnmlC de 1848," pan 2, Revu~ tkJ deux
''''tmdn (February 1, 1914), p. 667. {aI2a,7J
 From Hnhert (.Iu Var), flis /oire de La claue Quvriere <depuis l'e.cluve jlUqU'ou
pro/claire de (loa jOllrll) ( 1845-1848): " You have seen it witnessed in this hil tOry,
o worker! Wilen , All slave. yo u embraced the gospel. you became, Ullhc$itatin&ly,
j a serf; when , 118 len, yo u embraced the eighteenth-century phiw.ophe•• you be.-
came a proletarian . Well , toda y you have taken up locialism . . . . What u to
p",venl you from becoming a pa rtner ? You are king. pope. and emperor-
] your fate. in this rCj!;ard. is in your own band, ... Cited in Charles Benout
"L' Homme de 1848," part 2. Rev~ rkJ deux monde. (February I . 1914), p . 668.'
• [a l l,l]
A comment by Tocqueville on the I piril of the 184011: "'Wealthy proprieto ra liked to
recall that they had alway. beeD enemiea of the bour,;:eoil clan and alway. been
(riend, of the people. The bourgeoiaie themselves recalled with a certain pride th.t
their falhers had been laborers, and if they could not trace their lineage ..• to.
worker ... , they would at lean contrive to descend from some uncoutb perIOD
who had made his fortune on bi8 own." Cited in Charles Benoist, "L'Homme de
1848," part 2. Revue del deux mOMeI (February I , 1914). p. 669. [aI3,2J
" The question of poverty ... has, in a few years, paued through extremely varied
phues. Toward the end of the Restoration , the debate turns entirely on thee.xtinc-
tioll of mendicancy, and society triea leu to alleviate poverty than to ... forpt it
by relepting it to the shadows. At the time of the July Revolution , the situation iI
revened by meanl of politici. Tbe republican party seizes on paupemm aad __
transforms it into the proletariat. ... The workers take up the pen . . .. Tallon.
shoemaken. and t'ypographen, who at that time constituted the revolutionary
trades, march in the extreme avant-garde. . . . Around 1835. the debate Ulut-
pended in conletluence of the numerous defea" deal! the republican party.
Around 1840, it resumes, . . . and bifurcatetl ... into two schools, culminalinl. 011
the one hand, in communism and , on the other, in the auociationl deriviD!: from
the mutual interesu of worken and employers." Charles Louandre, " Stawtique
Iitteraire: De la Production intellectuelle en France dupuis quinze ani," RevlU'''
deux mornie, (October IS, 1847), p. 279. [a13,3J
The B1an«uist Tridon: "0 Might , qU etlD ofilie barricades , ... you who flash in the
lightning and the riot •... it is toward you that prisollers stretch their manacled
hands." Cited in Charl e~ Benoist. "Lt ' My the' de la classe ouvriere." Revue flu
cleu;r monde, (March 1, 1914), p. 105. [a I3,4]
Agaillst workhou8es . ami in favor of lowering the tax 011 the poor : F._M.·L.
NaviUe. De In Charite legate et spkialement c/.e~ mai,onl de Ira!!oil et de pro-'0
.fCripfion de La mendicite, 2 volumell (Paris, 1836). [a I3,5]
A coinage of 1848: "Cod i8 a worker." [a I31,1]
Charles Benoist c1uims 10 find in Corhon . U!. Secret rJupeuI,Ie de Pari,. Ihe proud
consciousness of lIumerkaJ sup.:riorily over the other da8Ses. Belloist , ·'I..e.
'Mythc' {It· III cia sse ouvricre ," Revue riel J ell,x m(IFltlCIi (Marl'll 1. 1914). p . 99.
Pamphlets from 1848 art dominated by the concept of organization.
[a 13a,2]
[a I3;1;,3J
" Ill l Ui. it was pos,;-iblf' 10 hold confert'.nces in wh.ich 400 worker delegate1l, be·
longing to 117 profetleions •... tlillClIs!lcd ... the or~anization of Chambers of
jointly lInilillized workcrs .... Up until theil , however, workers' unions had been
very rare-though on the other tiide. allied willi Ihl." hUSsell, there had been forty-
twO Chambers of unionized ",·orker, . . . . Prior to 1867 . in the margins and in
defiance of the law, there had rn:eu 1I.5soc.iatil.lus only of typographers (1839), mold-
erS ( 1863), bookbinders (1864), aut! haUers ( 1865). After the meetings held in the
Passage Raoul •... these ,yndicate, multiplied." Charle, Benoist , "Le ' Mythe' de
la c1asse ouvriere," Revue del deux m lmrIes (Ma rch I . 191 4). p . I J I . {a I3a,4J
In 1948, Toussenel was R member uf the Commission of Labor oyer which Loui,
Blanc presided in Luxemhuurg. [a I3a,5J
Th present London in its significance for Barbier and Gavami. Gavami's series
Ce quon uoit gratis Ii: Londm (What Can Be Seen for Free in London>. (a13a,6J
In Der achtze/lR!e B rumClire, !'tbrx 8ay8 of the cooperati\'l~s that in them the
proletariat "'renounces the revolotionizin g of the old world by means of the latter ',
0",,' 0 great. combined resource" anti seeks, nther, to achieve its salvation behind
Society', back, in private fashion , within ill! linlited conditions of existence.""
Ciled in E. Fuchti, Die Korikalllr de, europiii"chen VOlker';. vol. 2 <Munich, 1921 >,
p. 472. [a I3&,7)
On PoeJieJ ,ociale, (Ie, ol/.vrierl . ediled hy Rodrigues. La Revue de.t delu monde,
wrile!!: "You pau from a reminiscence of M . de Beranger to a coan!e imitation of
the rh ythms of Lamllrtim~ lind Victor Hugl.l·' hI. 966). And the claslI-bound charac-
ler or this critillue emf'rgeM unabashedly when its author writes of tile worker: " If
hI' aims to rT.co nr,.iJe the eXl."rcise of his profession wilh litcrary studie~, he will
disr.over IlOw IIncoIIs:eniallO inteilect,uBI tl tlvelOPIJIt~ lIt ph Yliicall!XhauSlion ('an be"
(p. 9m). III supporl of l.i8 1'0illt. the aUlhur rehearSI'S the fate of a worker poet
who was drh'cn mad. LeTlllinier, " 1)1: III LiUcra tllrc lies Oll\'riers." Re vue des deux
monde~ , 28 (Paris. 18-11 ). [aI3a,8]
J\ gril:ol PertLguicr's I.i vre dll comWIH"onnllge secks 10 make ust' or Ihe [Ju!llievs i
guild ·fo rms of alliance betwt.'ell workt:rs for the lIew rorm vf association . This
untlt:rlaking iii curtly tli s mi:l~etl hy Lcrminif:r in " Be In l.illerature {Ies ollvriers,"
in Revue (lei dell.x mondel, 28 (l'a ri8. 184 1). PI', 955 fr. [a I4,IJ
 Adolphe Boyer, De l'Elal de~ Ol~vrier, et de , on amelioration par l'orgonuotion
dll trfUJflil ( Pans. J8<U ). Til l! ulIl.hor of lhi a book Willi a printer. It WIIUI un8U Cce8l_
ful. Ilc commils 8uici,le and (pecorliing to Le rminier) caUs 1.111 the worken to foUo w
his example. Tht" book "" 8 & published in German in Strasbourg, in HW4. It "'..
J very moderalt' II l1d l ought 10 make use of compiJg nonnoge for worke r uuoeia_
tions. [a 14,2J
] "Anyone who considers the harsh and burdensome life which the: laboring
• classes have to lead remains convinced that, among the: workers, the: most re-
markable men ... are not those who hurry to take up a pen .. " not those who
writc, but those who act .... TIle: division of labor that assigns to some: mc:n
action and to others thought is thus always in the nature of things." Lenninier,
"De la LiueratuI't: d ~ oumen," Revue des deux nwniks, 28 (Paris, 1841), p. 975.
And by "action" the author means, first of all, the practice of working overtimel
[al4,3]
Worker assoc.iations deposited their fund s in savings banks or look out treasury
bonds. Lerminier, in " De la Liuerature des ouvrieu" (Revue del deux mortdel
[Paris, 18411 , p . 963), praises them for this. Their insurance institution., he s.,..
furth er on , liglllclI the load of public a ll~is lance . {a I4,4]
Proudhon receives an invitation 10 dinner from the financier Millaud . " Proudboa
managed to extricate himself ... by replying that he lived entirely in tbe boaom of
his family and wall always in bed by nine P.M." Firmin Maillard , La Cite cia
intellectueLs (Paris <1905 »), p . 383. {al4,5]
From a poem b y Dalllu! re t on I..edru-Rollin:
The red nag revererl by Ihe French everywhere
, Auguste Barbier rcpresemed the doleful pendant to Saint-5imonian poetry. He
Is the robe. in which Chrul! w•• attired.
Lei us.1I render humage to brave Rooopiern:,
And M.rat who malle him admired .
Cited in Auguste Lepage. Le8 Cafes politiqu.es erliltera;res de Pun.. (Paris ( 18i4>.
p . II . {a14,6]
Georg IIcrwegh, " Die Epigoncn von 1830," Paris, November 1841 :
Away. away with lh ~ Tticoior,
Which witneiill!\1 the d eeds of }'our falh ers.
And write on thegllle~ lUI a warning:
" Ilcre is Freedom'8 CaIJIIII!"
Gellrg Uerwegll . Getlicllle eine8 1£ belldige n. vol. 2(Zurich alld Wintertllur, 1&14:.
p -~ ~ ~)
Hdlle on till; bourKcoi~i.· durin!; the Februl4ry Revolution: 4<oThe severity with
which Ille lH:uple lleli it with ... thie\'e!i who wer e ca ught in Ihe acl seemed 10 maa1
rather eXlleu ive. and certain people became. unell.8Y 011 leaming that thieves
~~;e shot 0)11 the spot. Under s ilch a regime, they Kaid to dll!lIIselves, who could he
surt: of bis OWII life in the end?" Heinrich neill c- , " Die Februarrevolution ,"
Siimtliclle If'erke. ed . Wilhelm DiiIKc he(Leil))'Jig), vol. 5 , p. 363 ,17 (a14a,2]
'\n1crica ill t.he. II cgel..iall philosup hy: " Hegel •. . did not give diret:t expre8lion to
;his c.orLSci Ou S.II C~S of terminating an epoch of history: rather, he gave it indirect
·-'0". He
. makes it known by Ihe fa cl that , in thinking, he casts an . eye. over
eX"re§~
Ihf past in ' its ohsolescence uf ~ pirit .' even 88 he look. about for a pOllsible discov-
er in the domain of spirit, aU the while exprenly rellCrving Ihe awareness of 8ucb
di:covery. The rare indications eonee-ming America-""hich attM pe riod seemed
the future land of liberty [ note: A. Huge, Aw friiherer Zeit. vol. 4 , pp. 72-84.
Fichte had already tbought of emigrating to America at the time of the collapse of
old Europe (letter to his wife of May 28 , 1807). }-and concerning the Slavic world,
envision the possibility, for wtiver~ a l llpirit , of emigration from Europe a. a meaoll
of preparing new protagonists of the principle of spirit tbat was ... completed
with Hegel. 'America i5 therefore the land of the future , wher e, in tbe ages that lie
hdore LI S, th~ burden of the World 's History sbll.lI reveal iueif-perhapi io a
Clllltcst belweerl North and South America.' ... But ' what has taken place in the
New World up to the present time ill only au echo of the Old World-the exprenioD
or a foreign Life ; 11.1111 as a Land of the Future, it has no interest for UK here .... In
regard to Philosophy . .. we have to do with ... that which u'" [Hegel, Philo.o-
phie der Ce5chichte. ed . Lauon , p . 200 (11IId 779?)],rl Karl Lowitb, uL' Acheve-
menl de la phjJQ~ophi e clauique par Hegel et l a di nolution chez Marx d
Kierkegaard " [Recherches philo50phiques , founded by A . Koyre. R .-Ch . Puecb ,
A. Sllaier, vol. 4 (Paris, 193+.1935), pp. 246-2471. {aI4a,3]
disavows this relationship as little in his works in gmeral as in these dosing lines
orhis prologue:
U my verse is tOO raw, its tongue 100 uncouth,
Look to the brazen century in which it sounds.
Cynirum of manners mwt de61e the word,
And a hatred of evil begets hyperbole.
Thus, l ean defy the gaze of the prude:
My ungentle ve rse i~ tme blue at hean.
Auguste Barbier, PoiJi(s (Paris, 1898), p. 4. [aI5, 1]
G ~1I111 CUU (JuIJlisht'!I " WlI.l erloo" (Paris: Au Burea u !lei Publir:a lions Evadiennel,
1843) a nonymously. The lJamphlet i& ,Icdicilled to the a)lotheolliJl of NalJoleon-
"J csu§ the Christ-Abel, Napoit."01I the ChriJl t-Cain" (I" 8)--antl condudes with the
invuo'a tion 1)( " I-:\'a,lillll Unity" (po IS) Ilnd ,lIt' 8ignature: "'n the na nle of t.he
Graml Evada ll . ill the Dame or Go.:l on High . MOl her and Fa ther, ... the Mapllh"
(p. 16). <See U I2,7. ) [a.t S.2]
 Cannellu ', " Page proJlhetique" Willi published for the li n t time in 1840, and apjn
durin g the Rl!vulutioli of 1848. The tide page of the second edition bean the
foUowin g annoullce ment : -'This ' Propliclill P.dge: lIeh:ed on Jul y 14, 1840, Wa.
j dillcovert.'tl b y e itite n Sohrie r. (ornler deputy in the Police Dep a rtme nt , in the
dou icr of citize n Gannea u (The Mapah).-{The officia l report is la he led : ' Revolu_
or
tionary page, one 3,500 ro pie8 distributed under I:'8rriage entrances. ')" [a15,3]
] Ganne uu's " Dapleme, mariage~ inaugurates the era of the Evadah . co mmenc~
• on August 15. 1838. The p amphlet is published al 380 Rue Sa inl · Den~ . PaUIiP
Lemoine. Signed : The Mapah . It proclaims: "'Mary is no longer the Mother: IIhe it
the Bride; J esus Chrillt is 110 longer the SOli: he is the Bridegroom. The old world
(of compression) is finished ; the ne,,' worlt.! (of eXllalll!ion) begin8!" " Mary-Eve, -
female Gene8iac unity" ami "Christ-Adam. male Geneaillc unit y" IIppear "UDder
the name Andrugyne EYQdam ." [al5,4J
" The ' Devoir Mutuel' of Lyo ns, which played a crucial role in the in8urrectionl of
183 1 lind 1834. marks the transition (rum the old l\futualite to the Remtance:'
Paul Louis, lIiSloire de la clane ouvriere en France de lo: Reoolulwn 0 nos joUI'J
(Paril, 1927), p . 72. [a 15,5J
On May 15, 1848. revolutionary demonstration of the Parili workers for the liben-
tion of Poland . [a15,6)
.. J eHUS Christ ... , who gave us no " estige of a I>oliticai code , left his work incom-
plete." Honori de Baluc, I.e Cltre de viUage (letter from Gerard to Groliaetete),
editiolls Siecle, vol. 17. p . 183 .19 (aI5•• l}
The earl y inquests into workers' circumstances were conducted . for the mo.t part,
1Iy entre preneurs, their agents. factoroy inlipectors, and administrative offici....
" When the doctors and philanthropilits who were conducting the inquf!II t wenl to
visit the families ofworkerB, they weregellerally accompanied by the entrepreneur
or Ius representa tive. L.e Play, fa r example, advises one, when \'iJliting the fami1icl
of wurkers, ' to utili%e the re<:ommendlltion of a carefully chose.n authority: He:
cOllnsel8 the adoption of utmoat diplomacy in regard ttl individual member . of the
ramil y, and even the. payment of amall irulemnities or the distribution of gifu : one
sllould ' praise with tliscn:tioll the sagacit y or the men . the grace or the ",'omen, the
good behavior of the child ren , a nd . in s uit ahle rashion . d.i$pen!le liule presents to
all' (us Ol~vriers ellropeenJ [ Paris]. vol. I , II . 22:i). In the course of the detailed
crititlUe of inque8t procedures which Audiganllc prumotes in the tiiscul:lsiOIlS ofhil
worker5' d rde. l..e Play is sl'0ken of ill the followin g terms: 'Never wa's II faber
path marked Ollt , despite the best intentions. It i. IJllrdy a question of the sy.tem.
A mi ~ taken point of ~'i ew, a n inadequate methOtI of o b~ervat i o ll give rise to a
wholly arbitra r y trll in of thuught ha\'ing no relation I t a ll 10 the r elility of &ociety
and evincing, moreover. a n incorripble propensity for despotism and ri,prulY'
(Aut.!iga nllc, p . 6 1). A fretlllCllt crror in the condoct of the inquelits, accordin8 10
""uruganne, i8 the air of ceremony with which the iDveBtiglitors carry uut their
visits 10 the homes of the worker8: ' Lf nOI a Bingle special inquest undertllken
,luring the SL'Cond Empirt· yielded concrete reSlll ts uf any kintl , the blame for thili
rc& L~. in large pa.rt , 011 Ihe Jlomp with which the invt:l!ligatar. paraded around '
(p. 93) . Engell! and Marx describe further tilt: methMs b y which the workers were
influced tn express themselves UII tlu: occasion or these recherches , ociales and
I'fl' l\ til pr~lIent petitiom against the reduction of tlleir work time." Hilde Weiss ,
'"Dit' ' ElIIluete ouvricre' \'un Karl Marx" [Zeiuchrift flir So.:.ialfarJcI,ung, ed .
Mux Elorkheimer. 5. no. 1 (PuriA. 1936) , pp. 83-84]. The pauages from Audi-
!U lllle are tllk~' 11 r rom his book iUerrlOires d 'lln Oll vrier de Pari.! ( Paris, 1873>.
(a15a,21
In 1854. the affair of the carpenter s look place. When the carpelltera of Paris
decided 10 Itrike, proc~dings were instituted against the leaders of the carpenters
for violation of the ban on coalitions. The)' were dl:femlt!(l , in tilt! 6rst insta nce aDd
ill tlle appeal, h y Ben yer. From his arguments lJefore the cuurt of appeala: " It
callnut be this sacred resolve. this voluntaroy decision to abandon one's work
rather than not derive a just income from it , that h ilS been marked OUI (or punish-
Olent by the Illw. No, it ill the determination. inlltead , to r cst.rain the freedom of
others; it ia the inlerdiction of work, the hindering of otller s frum guing to their
place of work . . . . Ln order. then. for there to be a coalition, in the p roper 8eme,
there must be sunle sort of restraint 0 11 the liber ty of persona. a violence dODe to
tbe frl!t:dom of others . And , in fa ct. if this ill lIot the true construction of articles
41.5 and 4 16 , would there nul he, in ou r law, a monstrous inelluality belween the
condition o( tlle workers and that of the entrepreneu rs? The latter can take COUII-
leltogelher to decide that the cost of labor is too higb .... The law ... punilihes
the coalition of entrepreneurs onl y when their cOllcerted action is unjust and
\ abullive .... Widlout reproducing the u me sel of words, the law reproduces the
same idea with respect to worken. It ill by the sound interpretation of tbeae arti-
cles thai you will consecr ate the cl[uality of conditiUIi that ought to exist between
these two c1a8ju~s of individuals." (Pierre-Antoi.le ~ Herryer, O~lwre.: Plaidoyers,
vol. 2, 1836-1856 (Paris, 1876), pp . 245-246. [aI6,1)
~rrair of the carpenterll: " 1'11 . Herr yer cuncludes his plea by rising to eOllsidera-
tlOn ~ . . . uf til t' current IIituatiol1 , in France. of the lowe.r classc8---(:0Ildenmetl , he
8ay~. IQ see two-fifths of their m e mbc r~ dying in the hospital or laid out in the
nl~rl;Ue ." Herryer. Oeu vres; Plllitloyer3. vol. 2. 1836-1856 (Parill . 1876). 250 'I.
~1 he principulll ucellsed ill the trial were sentNlct:tl I II tli n-e years in prilion- a
Judgnlt'llt IIlat was IIpllf:ld UII Ujljlcul. ) [a 16,2J
"Our wtlrker-poe ts IIf latc ha\'c 1.u:.'C1i imitating the rllythnlll of Lamartine •... too
ICUlg wIHltevl'r r0 lk urlgulu
"ftell "Bcn'J.. .. li ty they might. hllve .... When dUlY write,
Ihl' "'Car u /tuit Illid I'"t till !dllves. tliull lo;;ing the ~uperiority that strullg lumds
Y
IIrlt! Ptlwerful arm!i give 10 till' people whell they know huw to use them."
J . Mi('hclet , Le Peuple , 2nd ed. (Parill. 1846), p . 195. At another point (p . 101),
 the a Ullmr aCllentllatell the " peculiar character uf meekneu uud melancholy" at-
taching to this poetry. 2t1 [a I6,3]
"'II Paris ... Engels j otted d own the 'cr eed ' which the loca l branch of the Cumlllu _
J nist League had asked him to coml)();;e. He objected to the teml 'c reed ,' by which
SclllIPI.er and MoU had deaignated their draft, Ilnd he d ecide,1 thai the 'luestiob_
] and-answer form which was usual in s uch programs, and to which Consideranl
and Cabet ha,1 ultimately had reco une as weu.. was u o longer io place he~."
• Gostav Mayer, Fr-iedrich Engeu. vol. l (Berlin c 1933» , p . 283 . ~ I {a16A I
Lt:gislative repression of the working class goes back to the French Revolution.
A1 issue are laws which punished any assembling and unionizing on the part of
workers, any collective demands for higher wages, and any strikes. "The law of
June 17, 1791, and that ofJ anuary 12, 1794, contain measures that have proved
sufficient, up through the present, to repress these offenses." Chaptal, De I'lndus-
triejrorifOUe (Paris, 18 19), vol. 2, p. 351. [aI6a,IJ
"Since Marx wall officially e~iled from France. Engels d ecided , in Augullt 1846. to
shift hill r esidence to the Frencb capital 110 tha t he could meet with the Cennan
proietarianHwho were Living there and recruit them ftlr the cause of revolutionary
communism. All it happe ned , however, the tailors and cabinetmaken und leather-
workers wholll C riin WII8 trying to convert had nothing in common with the prole-
taria n type. on whom Engelll was counting. . . . Parill was !lIe headquarter. of
fashion and of the arts a nd cr afts; m08t of the Gennan workers who had come _
there 10 better their position in the trade, and theo ret urn home al master craft&-
men , were still deeply imbued witb the old spirit of the ~d ." GUlLlaV Mayer,
Friedrich E"8eu, vol. I , Friedrich Engeu in seiner Friih~eit . 2nd ed. (Berlin
<1933», I'p. 249-250.T.!. [a16a.2J
T he Brussel, "Communist Correspondent."e Committee" of Marx a nd E~la iA
1846: " Marx and he ... had tried in vain to coovert Proudhon . Engels now undet'-
took a fruitleu mission to win over old Cabet, the leader of experimental utopian
communi SIII on the contineot , ... for participation in the Cor res pondence: Com-
·
mince .. , . It was lome mOllths . , . before he e8tablished closer rc Iabon' WI'w lhe ..
Reforme groUI), widl Louis Blanc and particularl y with c Fe rdjna nd .~ F1~~n ,
Gustav Mayer, Friedrich Engels, vol. I , Fr-iedrich Engeu ill seiner fi'ruhzelt , 2nd
cd . (Berlin d93:h). p. 254.:1.1 [a I 6a.31
Gui;.r.ot writes, after the Fehru ary Revolution : " I h (n 'e long bcen su"ject to a tlou-
ble suspicion : one. that the di"ea~e is Inuell mu re seriOUil lhan WI~ think a nd &My;
and , two. tha t our remedies . ure futil. e, 8CarceI y mo re. tl
I ull 8 k UI
' ( It.~.
· p . While I held
the reins of my I:ountr y alill di rected iu affsirs. this 1I0 Ilbie aWlircneill gr~w
. I y .11\ proportloo
strOIljil:er Ily the lluy; all d preCII;e . a~. I. sueeeet
.. I ellaml J'ellluirll!d. III
power. I came to ft......1 that lIe.ithcr my HueceSIL nor my tenu re ill ufrlec wall h uvUl~
mUI:h effect . th atl.he !Iefra ted enemy was winning tl ut OVl'r 1111! . a nd Ihat , in IIrder
u-u!y to Ilefeut him , one would have bad to d o thinp which it was impossible eveo
to III ntion • ,. Cited ill Ahel Bonollrll. ~~ MOlieres. in series entitled Le Drume dll
'
present. vol. I (Paris <1936 », Pl" 3 14-3 15. [a 16a,41
"If all agitUlor is to achieYI'; Ins ting results, he nlUsl lI peak Oil the repre.st"lItative of
body of IIllinion .... Engels must have r ealized thi ~ during his first visit to Paris.
~n hill sei:ond , he fl.lwld t.h a t the doors al which he kllocketl opened more easily.
F~ncb socialism IIlill refused to have any thing to do with political struggles.
Therefore. he could look for aUiei in the COmill1!; battle only amo ng those demo-
crats conuected " ilh La Reforme who ad vocated state socialism in some d egree.
Under tile lead er shi p of u Louis Blanc and a Ferdinand tlocon , these men be-
liel'ed . all he did , tha t it was nCi:ellIary to garner political power through democ-
rac::y before a ttempting any social tran!lfonuatitili . Engels was prepared 10 go hand
in hand with the bourgeoisie whenever it took a c::onnrmed democra tic dircc: tion ;
he ctluld not refuse to associate hi.mself with this I)arty whose program induded
the abolition of lured labor. although he must have known to what extent ita
parliamentary leader. Letlru-Rollin. was averse to communism . . . . He had
learned from experience; he presented himself to Blanc us ' the official delegute of
the German dcmocrats in London , in Brun els, and on tile Rhine' and ' theagcnt of
the Chartist moveme.nt ...• Gusta v Mayer , f'riedrich Engeu , vol. 1. Friedrich
Engeu in seiner Friih:eit (Berlio <1933» , pp . 280-28 1. ~~ [a17,11
"Under the Proviaional Government it was customar y, indeed it was a neceuity,
combining politics and enthu8iasm at Ollce, to preac h to the generous workers wbo
(a8 could be reud on thousa nd, of oCncial placa rds) had ' placed th ree montm of
miJery at the d ispoJol of the republic,' that the February Revolution had been
waged in their OUln inlereJ IJ. and that lh ~ Febnulry Revolution was concerned
abo \'e all with the inte reJU of th e worke rs. But , after the opening of the National
As§ClI1bly. everyone CHme Ilowo to eart h . Wha t was important now wall to bri1l8
'labor back to its old situation. as Minister Trelat said!' Karl Marx , " DeDI An-
denken der Juni-Kiimpfcr" [ in Karl Marx au Denker, iUenJch und R evolutioniir,
cd . D . Rjazauov (Vienna and Ber lin ( 1928 ». p . 3M : nrst published in tbe Neue
rheinisclle Zeilllng , ca. June 28. I 848 V~ [a I7,2J
Final sentellce of the cuay OU the JUlie comhatants. coming dire<l!ly afler the
de8criptioll of tile nlCa SUreli un llc rtakt~ n b y Ihe sta le 10 hQnur the melilOry of those
victim~ who bdollgtd 10 tlu! houl"gf'oi8ie: " But the plchciaus arc tortured with
hunger: revilcd by tlw )lrt.!/llI; ahundolle,1 by doctor8; ahused by honc$1 men 11 11
thit"ve~. iJlr.e ndiarics. gullcy ~Iaves: their women li nd children throwll into "till-
til;!Cpcr millcry; their hesl iO IiS dcpurtctl " VI'rllf'aS; and it i~ the priviicBP., it is the
rishl oj the democratic preas to enl,,;ne the la urdll rOluul their stern und tbreut-
cnil1g hrowlI. '· Karl Marx. " Delli AIIJcllkt"1I tier Ju .. i. Kiill1pfer" (ill Kurl Mflrx au
Den.ker. j\ ;en.sc::h IHid Rellillutjoniir, e<1. D. Hj llzu(Juv (Vicllull lind BerLill). p. 40 ;
/il"lit pllblishcll in tbe Nelle rhein j,sche Zeillmg. I;a . Ju ne 28. 1 848V~ [a 17.3]
 On 8uret"MDe tu Mi.u'!n~ lIe!! cio uel lnlwrieu.ses en Anslelerre et en France and
Engels' Luge dera.rbeitellr/tm KlwUff! ill I:;fljJland; "Charles And ler would like U8 to
see in Eu~ell' hook " lIly II ' reea,;ling ft llli llharpening' of the book by BUrel . In OUr
view, however. thel"1: is ground!! for cumpari"oll herf' only in the fa el that both
J hookll .. . partly ,Iraw (nlill tlu~ same source material. ... The evaluative criteria
of the l<'rellch wriler rt:lllllin anchort"tl ill !.lit' eOllc('pl of nalural right .. ". while the
] German aut hor ... a,Mll ces the tendencies of economic and social development
... ill hill ,·xplanaliooll. Whereas ElIgclll looks to communiSDI stl he Bole SlIlvation
• (rom Ilu: worseni ng situ ation of the ",resell I , Buret pla.:cs his hopes in the complete
muuilizaOll1l (If lam.letl proper ty, ill a lIocial politiclI a nd a constitutiOlllll syst~m of
industry." Gustav Ma ye r, Frkdrich Engels , vol. I. Priedrich EngelJ in lIeiner
Friih::eit (Berlin ( 1933 » . p. 195. {a17a,l j -
Eligeis on the J IInc Irll1UrrtwliOIi . " In Il dia ry meant for publication on the literary
page of the Neue rheiniJlche Zeitung . he wrote: ' Between the old Paris and the new
lay the fift(.-enth of May and the twenty-flftll of JUlie .. . . Cavaignac', bombs belb
h ad effcctively burs t tb~ invincible Pwrisian gaiety. " La Marse.illaise" and "I.e
Chant du depart" ceasell l u be heard , and only tile hourgeois still hUinmed to
themsdves their " Mou!"ir pour la patrie." while the workers, wlemployed and
wea ponl~ss , gnashed their teeth in l uppre§sed rage. " Gus tav Mayer. FrUdrich
Engel5 . vol. I , Freidrich EngelJ in Jeille" Frii.h::eit (Berlin ( 1933 »). p. 317.21
(aI78.2)
Engels , during the J IIl1e inRurl"e£ tiolJ , reJerr(."<i to " Paris Easl and Wes t as symbot.
the two grea t enemy ca mps into whieh here, for I.he firsl time. the whole society
( 0 1"
spli u ." Guslav Mare r. Friedrich Engel., vol. I. Frwdrich E"Bels in Jlemer
Friih::eit (Berlin ( 1933»). p. 312. (a I7a,3)
, rr:c tion .... Man: sayl that a universal proletariat mwt be c ..eated in Cermany
Marx caUs the revolution "uur brave friend. Robin Goodfellow, the old mole th.t
can work in I.he earth so fa 81, that wort hy pioneer- die Revulution ." In the 8111De
SI1ee(;h . al Ihe conclusion : "'To avenge the misdeeds o( Ihe niling cla&8, there 0 -
isted in the Aliddle Ages in Gcrmau )' a 8ccl"ettriilunal caUed tbe Vehm ~ri cht. II a
red cr088 was u"t!n markClluli a ho u ~(:, people knew lhal its owner was doomed by
the Vdllll. Alilhe hUI1l1e8 or Europe are now marked wit h the mYlItcriou, red cron.
His tory ill Ihe jUtlgl': ill ex(."Cutioner. Ihl' pI"OIClarilln ." Karl Marx , " Die Revolu •
lionell \ ' 0 11 1848 lind ds ! Prolctarial." 8 111.,,~· h delin' rell UII Ihe fourth anni ~n;ary
of the rOll lld atioll of TIl e I'eople's Puper. Puhlis hl.. 1 i ll Til e People:' Poper, April
19. 1856:" [i u Kurt tHor:.: nh DCllker, MCIIS I'II IIIld R p.llolutirmiir. cd. D. Rjaz8nO V
( ViI'IIUIl laml Uerlin ( 1928). "p . Il2. ,' 3]. . [a17a.4j
Mar)( 1II,f" luls CaL•.'1 againsl Prmullltlll a8 " 1o>·III·tll y of resl)(>(:1 for his I'ral:ticai
aitilllll,' tll",·al·t1lhe prul,·l uriat .·' Mal')( Iu <JO hIlDlH Schwdl :l!Cl', Londun . January
24 , 1865. in KurlMarx IIIHI FriCllril·h ElIgds.IIII$Sflwiihlte Urie!e, '·'1. V. Adorll l •
ski (Moscow alltl Lt!ningratl . 1934). p . 143.·.., [al8.IJ
~{prx on Proudhon: "The Fehl"uary Revolution certainly clim e ill a very inconven-
ienl moment for Proudhon. wbo had irreru ta bly proved only a few weeki before
thai the 'era of revolutionB' wu ended forevel", Hil speech to I.he National Askem-
"Iy. however Iinle ins.ight it showed inlO existing conilitions. wal worthy of every
praise. Coming afler the June Insurrection. it was an act of greal courage. In
IIddilion . it had the fortunate consequence that Thiers--by hi! repl)' (which was
tllI~ 1I issuetilis a 8pecial bookJet), in which he opposed Proudhon'8 propou l8--
proved 10 tire whole of Europe what an infantile ca lechi~m fonned the pedestal for
,hi5 inleUectual pillar of the French bourgeoisie. Compared with Thiers, Proud-
bOIl's statu re indeed seemed Ihat of an an tediluvian coI085u8.... His aUack.!! on
religion , the church . and 1 0 on were or greal merit local1y at a time wben the
French socialis t, thought it desirable to show, by tbeir I"eligiosity, bow superior
they were to the bourgeois Voltaireanism of the eighteeuth ~ DtUry and the Ger-
man godiessllell8 of the nineteenth. Just III Peter the Greatllefealed Russian bar-
barism by barbarilY, Proudhon did his be8t to defeat French phralle·mon~ring by
phrases." Man: to Schweitzer, London, January 24, 1865 . in Karl Marx and Frie-
drich Engels. Awgewiihlte Brie/e . ed . V. AdoralJiki (MORCOW and LeninY'ad.
1934), pp. 143-144.lG laI8,2]
"'You'U be amused by the foUowing : Journal de. economilte" Augu8t of this year .
contains, in an article 00 .•• communism , the foUowing: ' M. Man:. is a cobbler, as
ano ther Gennao communist. Weitling, is a tailor.... Neither doel M. Marx pro-
c~d beyond ... abstract formul as, aod he t akea the greatest care to avoid hroach-
ing an}' truly practical question. According to him [note the nonlensc), the
emancipation of the German people will be the signal for the ema ncipation of the
bumao race; Ilhilo80pby would be the head of thiJ emancipation , the proletariat its
heart . When aU has been prepared , the Callic cock will herald tbe Te utonic l'CIIur -
r!i] in order for the philosophical concept of communism to be realized. ' " Engels
10 Man:. ca, Septembel" 16, 1846, in Karl Man: aod Friedrich Eogeu, <Brie!wCf:h·
Jel,) vol. I , 1844-1853, ed . Marx-Engell-Lenin lnl titute (MoliCow. Leningrad.
(and ZUrich , > 1935). pp. 45-16. J1 la18,3]
,·It ill a IIcce8lla ry reswt of every victorious reaction that the ca uses of the revolu-
tion alld I!SIH!Cia.lly of the cOlillterrt'volutioll Iholiid pass into utter oblivion ."
Eng('I~ to Man , Man c h~ t er, D«e.mher 18 , 1.868. aprUI)OIl of Eugene Tenot's
hooks 0 ,11 tllt~ C OU I) d 'eta t of 185 1; in Karl Man and Friedrich Engels.AwgelCiihlte
fJ riefe . l;d . V. Atlora tski (Moscow and Leningratl , 1934), p . 209 .J~ [a I 8.4]
On national holiday • • certai n ohjects could be retleemed gra tis from th .. ,)awo
shops. [a I8a. IJ
Lllffi.ue calls _himself " 11 citizen wi th p088eSsillll!!. " Cited in Abel BOlillurd , LeJ
MQtJer~. in 8crici entitletl Le Drame du preJent . vol. 1. ( Paris ( 1936», " . 79.
[318a,2J
 " Poetry . . . h"" sanCtioned the great I:rror of separating the fori!" of LaLor frolU
Art . Alfrt"d tie Vigny's dellundation of the railroads ill succl.'etIt:i1 Ly Verhaeren'.
invective agllill8t Ihe <1t.'lIlm' lI,..J l'ities: Poetry hK!! til ken flight frOll1 the form s of
modern ei"ilizntion . . . . It hil S nol lIndt'rslOQd unit the dcmcntl! of art can be
rountl in any human aeti"ity whatsocver, and thai iti own po"'erl are llimini&hed
hy il8 rcrllilaJ to enlertain the IH)lsiJ,ility of in"pirDtiOIl in the lhingli actually lIur_
rOlilltling it. " Picrre I:I UII1II , " LII Litteruture, image de la societii," EncyclopedU!
JrIHIt:flise. vol. 16. A,.u fit iitltJ rolures dIU,.! ia .ux;iete contempomine, 1 <Paria,
• 1935). p . 64. [a I8a.3J
" from 1852 10 1865, fran ce lent fOllr alltl a half billion frlln t.'~ nhroad .... The
workers were even more direcuy affet:lcd than the bourgeo i ~ republicanll by cco--
nomic developmentll . The eonselluence of the tratl t' trealy ...·itll England and the
unt! mJ>loyment ullhe cotton illdll5lr)" ca used by tbe American Civil War inevitahly
made them realize IIteir own dependence upon the international economic 8ilu_
a tinn ." S. Kracauer, )ncqlw6 Offellblld. und das Ilflru 6einer Zeit (Amsterdam,
1937), pp. 328 , 330 .33 [a 18a,4)
Pit! rrt} Dupont'li hymn to pcace was 81iU Bung in the strtttil during Ihe world
exhihilion of 18i8. [al8a.5]
In 1852 , t!s tahlillhmeul of Credil Mobilier (P erci re) ror financing the railroada.
Establishment of Credit Foueicr daml banh alltl of Au BOil Marche. [a18al 6J
" tn 185 i , a yea r of cris.iil , a 5eriell of hi~ fmllu cial trillllliita rted , under the lnftueaee
of tbe Opposiliull to Ihe Saini-Simonian democratization of credit; they w lIdoeed
all l'. uurmOUIi alllllllllt of corruption and 8had y practice. IlIIch as fraudulent bank-
ruptcies. almlle of confidence, and artificial dri ving up of prices. An enurmoUi
sensation was caused by the trial uf Mirt:s, which 5t a r1~ in 1861 and dra~ OD
for yea r s." S. KraC8 Uer, Ja cque6 Offenbnch lind dlu Puri.! seiner Zeit (Amster--
Ilam. 1937). p . 262 .11 [a18a.7J
Louis I~hilipr)t;l lo C uizut : " We shallllt!vcr be able 10 ef£t!1.: t an)'lruug ill Fran ce, and
a da y will (:(11111: when my children will Ililve no "read :' S. Kraca uer1 Jacquel
Offculmch Ilfld dllS l'urit; 5e iflu Zeil (Amslt· rdam , 193n, p . 1 39.l~ [a 18a.8J
Tllf': manifesto of the CommUllilit party ....as prt!ce.le;1 by man y .)(ll e r~ . (18<' 3: Con-
~itU:nlnl '5 " Manifeste de la O;'mocrlJ(ie pacifiqlle. ") [al9,1]
FOllri"r 51.H'llkll of cobblt'rs as " mcn IItI 1t'811 polilt· lhuo uuU'.r8 wllI'n I.hcy gather- in
a.'j~uciation." Jo"ou rier. Le l\'() U lJeflll MOllli" ;II<Ju!dr;ei el ,uJt;ic/u;rf' (Pans. 1829).
p.22 1. [a 19. 2J
III 1822. FI"IiUl'C IHnl unl ), 1(I.t,H)U jJllu ivc decl"'" IIIHI 11 0 .000 Ilclivc electo rll .
Act'nrtling 10 II", law uf 181 7. n 11\0111 W ill! a passi" 1'" f' lt!i:lor <;·Iigible fo)r dt.'djo n to
UU' Challlbrr of De:putif!ll) ifhe hnd rCllched Ihe agl:: offorlY and I,m id 1.000 franCIl
. d ·, ree l laxulioo . fi e W K8 an aClivt! eil'"Ctor <cligilJle 10 vole for tiel'Ulie!l) if h e had
'"
rell l.hell UIC age of thirt y anti pajd 3 t)() fraru!s ..... (Df'fll lliting laxpuyerll luuln mun_
II sllldier?--tIUarlert.'"tI with them .... lu)J1I Ihey IIIHII O mlliotain until liuch time as
Ihe )' had setued their deb!. ) [0I 19,3J
Proutlhull on lIegel: "The antinomy i ~ oot resolved : here ill the funtlalli ental flaw
of nil Hegelia n philosophy. The two lerms of which tlu· a ntinomy is com(llJlled
bilia nce out. ... A balance ill by no meanl! a synlhesill ." " ld UI not forget ," adds
Cuvillier-, " t.hlll Proutlhon wae for a long time u botlkktt per." Ellewhere, Proud-
h OIl 8peaks of th,! ideu tlclermining his own philosophy lUI " clementllry ideas,
l'onunon In hutlkkeepi.ng and mellll'liysicH IIlike." Armand Cuvillier, " l\1arx et
Proudbon ." A ia Lumiere till marxisme. vol. 2 (Parill. 1937), pp . 180-181.
[a19,41
The fo llowing premise or Proudhon ',. claims Marx in Die heili&e Famiiie <? ~, had
beeu prt'viousiy advanced by the Engli5b C(:onomiBt Sadler in 1830. Proudhon
fay': "'This immenlle l)Ower tltal re8l1lti from the union and harmony of lahorer s,
froUl the convergence and lIinlultaneily of their effort.!l, hali llot been recoUlJ>ell8ed
by the capitalillt .' Tbwi it i8 Ihat 200 grenadit!rlIlIucceeded , within several boun,
in rai8~ the obelisk of Luxor 011 the Place de la Concorde , whereas a single man
working for 200 tJayf would haveo blailled no n :sult at aU. 'Separate lhe labort!rl!
from one ano tller, aud the amounl )laid dail y to each wouJd perhap5 exceed the
value of each uldi vidual product , but this ill not what ill at i5sue here. A for-ce of a
thousllnd me.n working over a period of twenty daYA has ht!en Ilaid what a l ingle
man would earn in r..ety-five years; but thi5 force of 11 thou5alld h as produced . in
twenty da)"8. whal the power of a single mau , multiplied acroll a million ecntunell ,
couJd nllt achieve. ls th" re equity in the marketplace?"" Cited in Armand Cuvil-
lier. " Marx et I>roudhon ," Ala Lumiere du marxisme, vol. 2 (Pans. 1937). p . 196.
, [aI9,5J
Unlike Saint·Simon and Fourier, Pro udhon was not interested in history. "The
history of property among ancient peoples is, for us, nothing more than a matter
of erudition and curiosity" (cited in Cuvillier, "Marx et Proudhon," p. 20 1).
Conservatism bound up \\ith a lack of historical sense is just as petty b ourgrois
as COnservatism bound up with histo rical sense is feudal . [a l9a ,11
PI'utlllholl'S " polo,,;}, fu,.the coup ,j 'ftal : 10 be found in his lellcr 10 Louis Na poleon
,,£ Apri l 21, 1858. wht!re it iB s.aid of lite dyoastie principle " Ihat dtill pr;uciple.
whil"\, ht'furt· '89 Wit S simply the: iOc...."lIlioo . in one cho!!C.o family, of 41;v;11/' right
'If" rt'.ligiOu8 thought .... is or CU ll h,' 41dinelilotiuy ail • .. the ilH:arllulioll. in (Inc
dUlsen falllil y-. or hum un right (lr th t! n. lionallhought of Ihe revoluti{III ." Cited ill
ArlUand Cu viLlic.r, " Marx t! t ProutlllOn .·' Ala Lumie,.e tiu marx;.,rne. vol. 2. Jlllrt 1
(Paris , 1937). p . 2 19. [a I9a,2)
 Cuvillier presents Proudhon as a prc:cursor of "national socialism" i.n the fascist
sense. [a 19&,31
j " ProudllOlI belie\'ed tha t one could abolish 6urplus value, alo ng ""ill! u!learned
income, ...·illulill transfurming the organization of production .... l)rou.1I1011 Con_
ceived thil preposterous dream of 80cializing exchauge ....ithin a context of nOll80-
] eializea Imxtuction ." A. Cuvillie r. ""Marx et Proudho n : ' tl la Lllmiere du
m«rxi$me. vol. 2. part I (Parill, 1937), p. 2 10. [a I9a,4]
• --V'III",r Ih.. Eml'irl'-Io il!! "ery cllIl. in fa d - Ihtrc was a r('lIc ...·1I1 lind d c,·clop.
"Value measured by la bor ... il .... in Proudhon·.Ii eyes , the vcry goal of pro-
~I. For Marx, it ~ quite otherwise. The d etennination of " alue by labor is lIo t
an ideal; it is a fact. It Cri8 l!! in our current socie ty:- Armand C"viUic r. " Marx el-
Proudhon ," A lo Lumiere du marxume, vol. 2, part 1 (Paris, 1937), I" 208.
[a19a.s]
Proudhon spoke out ab'undy maliciously against Fourier, and he spoke no 1e5$
derogatorily of Cabel. This last provoked a reprimand from Marx, who saw in
Cabel, by reason of his political role in the working class, a highly respectable
man. [aI9a,6]
81amlui', I'XcJ.IIlIIlIlion, on elltering the salon or ft,llie . de MontgoUier on the cvcni.ns
of July 29, 1830: " The Romantics are dom· for!"J; (a19a,7)
Beginning of the June Ins urrection : " On June 19, the diuoiulion of the national
workshopl was announced as imminent; a erowd gathcred IIround the Hotel de
Ville. On June 2 1. Le Moniteur annoum.~ that. the rollowing da y, workers aged
sevtmteen to twenty-fiv e would be enlisted in the army or conducted 10 Sologne and
oth"r regions. It was this lasl expedienl that mosl e)[aspe.rated the Paris worken.
All these men who " 'ere used to doing detailed manual work ill front of a work-
bench and vise rejected the idea of going to till the earth and layout roads in •
mars hland . One of the cries of the ins ur rec tion was: ' We " 'on'l go! We won't go!'"
Gustave Geffroy, L 'Enferme ( Pari8. 1926), vol. 1. p . 193. [a20, L)
Blalltlui in Le LiIJirOfeur, March 183'~; " He demolishe8. b y a rnlllpariSlJ n . the
notorious commonpl.llce. ' The rich put the poor to work.' ' Approximately: he
saY8, ' 11 8 pluntation owners put Negroes 10 work , wilh tilt: {lim'rellee Ihal the
worker ill not ca pilsl to be hushlllldml like the 8111ve. ,., GII.~ta"c Gcffroy. L 'En-
/erme (pari!!, 1926), vol. 1, p . 69 . [a20,2]
Garat 's thc" ..~ of Ap,·i1 2. 1848: ··EdalJlishl1lt:1I1 of a cordon 5//lIitnire tU'oulld Ihe
d ....ellings of the rich . who II rc J estiulld 10 .Iie (If hUllgt·r:· GuSla" " Gf·ffroy. L. 'En-
Je rmf. ( Puris. 1926), vol. J. p . 152. [a20.3j
Hefnin of 1848: " lIa l ill hand .... hen fadng the CIlI), I K'lO',,1 ,J"wn b,·fore Ihe
.... orker!·. [a20,4]
[a20.5)
ProlldllOll ,Id:illes himself D ~ "11 'u·.... 11111 11 . II man IIf 1",I'·lI)i.:,. UUclllU1 nf 1111: Io urri-
cu"t'.~ :
a ma ll .... ho ....oll id kno.... how In readl hi" goal by tlin i,,!: "" ery ,lay with Ii,t'
pn.feci of 1'lJlin' utili laking for I,is .'unli,la nl" 011110 Dc III Hoddes of tlH' ...·(11'1,1. ,.
"
This in 1850. Cil ed ill C{.ffroy. t 'f.,,/erme (pari!;. 1926). w.L L pp . 180-181 .
{a20,6]
mcnt of fh t' idells of tllt~ .. ighll!'t'lIlh ,·eutlll·Y. . P,·opl,·. in tllI>se Jays. readily
caile,l thcmsch'cs IIlhcisls. mlil erialists, p"siti"isIS: ami the "ugudy religious or
rllllnut'stly Cat holic n::puhlieull of 18 III " 1'1'lIme u . . . curi tlsit y." Gustave Gcffroy.
L 'Eufer",'; ( Paris. 1897) , p. 2'17. [a20.7]
Blallllui. ill Ihe procl...dinlts lakml agaillst tlw SIIl·if·le ,Id Amis Illl Pellple. limier
quc';liIlUin!; by the plTsiding jlulge: '·· Whal is yu ur prufllssitlnt Blanqui : ' PruJc-
larian" Ju,lge: 'Tlml iij not II Il l'ofl'8iiion .- Bl allllui : ' What ! Nol a profession? It i,
the prufession of thirty million F'rt:udUllt'u whu live hy th(·ir labor and who lire
J .::privcd 11£ "olili(~ltl righls.· Ju.lgc: ' Well . ~ II l,e it. U'I the dm'k rcco rlilhat tile
accused is a prolcllirill ll .... De/Clu e (I" r ;Ioyen [..ouis A I/g rute Hlanqui devan' hi
COrtr d'ouises, 1832 ( Parill. 1832), p . 4. [a20,8]
Baudelaire on Barbier'lI Rimel IIeroi"qucII: '·I1,·I·t·. tu li pea k fra nkl y, all the foil)' of
the cenlury IIppea ril, re~ "l c lIIll'.lIl ill illl uncolisciuus lIakednl'.!i§. Under lhe pretexl
of .... riting SlIlInelS ill hOIiOI' of grellllllcn , the floel has ccle hra t('d the lightning rod
and the aulomalell loom . Tht, I'ro,ligiuus IIhsurdili e~ 10 ""hidl litis confusion of
idells lind fUlI l'tiolls could 1('IHI us is obvious." Bauddai re. L :4rt romuntique. ed .
l:Iac helle. vol. 3 ( Pari8). p. 336:'" [a20a, l )
lJIahilui, in his Defellse clll ciloye n l.ouis Jtllg U.'I le W(llIqlli devall! la cour d 'as -
liles. 1832 ( Paris. 1832). I', )4 : " You hU"1" cunru;t·a lc.llhe rifles of July-yes. 8U1
Ihe hullets ha\·e Le,·1I fired. E"ery hull" 1 .,f Ihe workers of Paris is U II ils way round
tht· worl{I." (a20:l.2)
"1'1 '" IIlaJI of gC l\itl ~ l'cprCij{'nls III O ll l',' til!' gl"'alc~1 .o;ln·lIgth a nd tlw gn::alcst wl'ak-
"" .:I~ uf hnlllunity. . . . li e It-II" 1111' IIUtillllS Ihal IIII' illtl'l'l·S t .~ of II ... w" ak a nd tl,e
· r g.· lItu
illll·I·.' ~·I ~" . ~. ,'"l' Ie~(·e. S H CI I II lal I.I\I' '"11' l'u'HI,,1 I U' " 1.1f I ul1 /,wl'ell W.it Ilout {' II-
,iuug"'"in!: Ihe ofIII" '. ~ Lwll 1111,1 till' IIhilllllh' limit (If 1'.·!'f.·/·tihilif Y ...·ill hI' "Clic hed
unl y .... h.·11 IIII' righl uf till' .... cul....s t willllll \·j· n ·p!:"·'·.! . "II IIII' III/"ollt·. Ihe l'iglll uf
tl..· ~lrun\,\csl ." I\U l;: us t ... HI:III'IUi . C l"iliqllP "~(J('i(Jle ( Puri~ . I HII5). vol. 2, frtlJ.:", tm !s
,-, " ()I e,~ . " . Il6 ("Prol'rii'li- illll·II(·.·I.II'II.· ... 18M_·ulIl·lusion !), (a20a.3]
UII IIII' 1:'1II1111i1llCllh !,uid 11)' LUlllarli l'" 10 1I "lh~"lrilol : " M . •I.! Luma l·tillc. Ihis
CaPlain Clink of o\'ea llglling fJ"lil il·i!. Ihi", Sinl,,,.1 I I,,· Sail,I!' IIf til<' lIi,II'I ,,",lI lh ,'ell-
tllry, . . " Ihis "oyagl"r lin It·,." rlH'ill,li: l.hall U l y ,.!i"~. IIH) ugh lutl, ,,i(·,'. ...·1'0 !,II" taken
 Ihf' Sin'lIIl 10 be crcw of hill ~ ltijl and aired UpOIl the ~ h o re& of all Ihe parties the
cvcf'-\'arit· tl nlu ~ it~ or lUll CQlwit:liulI lI , M , de Lama rtinc, ill llill ncver--elltling ody...
sey, hll8 jU&1 gellLl y l..eached his aoolia n ba ..k untie.. the p urt i coe~ .,f Ihe Stock
Exchulllfc."' AlIgll.iile DlulI«ui , Cri'i(JIU! IJociaie ( Parill, 1885), vol. 2, I), 100 ("La-
martult'et Roth schild ," Ap ..ilI850), la20a,4]
Doctrine or Bhlllqui : " No! No one has acceM to the IIC('re t or the future. Scarcely
possilile for evell the most d ai r\'oyant are certain prese.ntinlenlll, rapid glimP&e3, •
• vague a nd rugiti\'C coup d ' OOI. The Revolution alone, aos it clean the terrain , will
reveal tht.: horizon. ""ill ~a du a Uy remove the veils an,1 open up the road., Or
rathe.r the multiple paths, thatle.atlto the new order. Those who pretend to ha ve in
their pocket 11 complete lIlal' of this unknown lund- they truly a re madmen ,-;'
Augus te Blon<jui. Critique suctale (Paris, 1885), vol. 2, pp. 11 5-11 6 ("Lea Seelee
ello Rhulution:' October 1866). la20a,5)
Parliament of 18<$9: " 'n a Kpcecll ,Ielivcred to the Na tional Assembly on April 14,
M. Consideranl , B tlisciple . .. of Fuurier. had this to lIay: 'The tinle of I)bedieQ~
is pust : Olen reel Ihal they a re equal . ami they want 10 be free. They do 001 be-
lieve uny longllr, alltl they wil h to enjoy .henuelvelJ. There you have the state
of so"ls.'-·Yuu 1111'1111 the slale of hrules!' interrupted M, de La Rochej aque-
lein ." L. R. Donjean, Socialisme e' .,en! common (1laril. May 1849), pp. 28-29.
[021 ,11
" 1\1. Domas (uf the Inl titut) exclaims: ' The blinding dus t of foolillh theories raiJed
hy the whirlwuul of Fe br ua r y Irai! dissipated in the air, and, in the wake of this
\'anishetl cloud , tile yeur 1844 rea pl)(!a ..s with its shining counten ance and ill
sublime doctrine of material ulteresls.'" Auguste Blanqui , Critique sociale (Paria.
1885). \' 0 1. 2. p . 104 ("Discount de Lamartine," 1850). [12 1,2)
In 1850. Blulltlui pcn, a pole.mic: " Ra ppo..t giga nt~tlue tie Tbiers su r l' a88utance
publi1lue," [a2 1,J)
"Will multc.. ... ulis ume lire fur m of a !lingle point in tbe s ky? Or bt- content with 8
thousa nd , t CIi thousa nd , II IIUlidretithous31111 poin ts Ihat would h arel y enlarge itt
meag.'r ,Iomain'! No-itll vuclltion , its law, i, infinit y. It will not ill lilt: lelillt alloW
its" lf 10 1.1.\ outllullk.,d by the vt)id. Space ....ill not become its dungeoll ," A. Blllnqui.
L 'Et"r"i'e pu .. /el fU' .."I: I/YJmtlll!le ulfrollomilJILe (rarili. 1872). p . 54. 1a21,4)
At the end of I! meetiug ill the clt rl y days of d,,· Third rtepubJic: " Louise Michel
anll(lulleeJ thllt U II effort would ht' Inade to contact Ihe wivp~ anti l'hiltlren of
impri80ncd cO lll rltdt~!J. ' Wha l WI ' a>; k of yo u , ' s.he 8aitl, 'ill 11 0 1 lin 1I1·t IIr dU.lrity hut
.
all a,'1 uf "olidarily; rur I.h o~(' who ".~ I w .. haril y. ""hell they ,III hestow it , are.
proud and "df-.. a 'i ~ fi ..,I , hut "'·I..'-W C lire nt':v{'r sa Lillfletl. ..· Daniel II l1 le \,y. Pu1'
flllrilicmr (pllris ~ 1932», " . 165. (a2 1,S)
J{ouuelk Nimisif, by Barthelemy (Paris. 1844), contains, in chapter 16 ("The
\l\brke.rs"). a "satitt" which very emphatically takes up the dC'!m.aJlds of the
working class. Barthelemy is alread y acquainted with the concept of proletarian.
[02 1,61
Barricades: "AI nine o'c.lot·k in the evening, on a beautiful s ummer nigllt , Paris
without s treetligh ts, without 8hops, without ~as. , without mo vi.o ~ vehicles, pre-
Bellied a unil(l1e tahleau or desolation . At m.idnight. with iu pavin~ 8toneS piled
high . iu barricadel, ill walls in nrjut, iu thousand ca rriage! stranded in the mud ,
iu boulevards d evlls tated, it!! d ark streets deserted , Paris was like nothln ~ ever
seen before. Thebe, and Her culane um are lellS lad . No noises, no sbadows. no
living be.in.gs--exceflt the motionless worker wllO guarded the b arricade with his
rifle and pistoi.a. To frame it all : Iht! hloud of the da y pre<:eding and the uncertainty
of the morrow." UarthClemy a nd M.ery, L '11I$urrecrion: Poeme (Parit, 1830),
pp. 52-53 (note). 0 Parisian Antiquity 0 11l2Ia,1]
"Who would believe it! It is said thai, inceulled at Ule hour, I Latter-day JOllhu8s,
atlhe foot of every c1ocktower. I Wert! firing 011 clock faces to make the d ay IItand
still." At thil point a nOle: " Tlus is a uni1lue rcatu re in the hhitory or the insurrec.
tion : it is the only act of vandalillm carried out b y the people against public monu.
menl!!. And what vandalism! How well it exprenel the situation or hearil and
minds on the evening or the twent y~igh.th P· With what rage one watched the
e h adow~ faDult; and the implacable advance of the needle toward night-just 88 on
ordinary daye! What was mOllt l ingular about lhis episode was that it was ob-
served, at the ve.ry same hour, in differ ent parte or the city. This '""at the expres-
siou not of an abe....an t notion, an itolated ""him , hut or a widespread , nearly
general sentiment." Barthelemy a nd M.ery. L 'l n!urrection: Poeme ded~ aux
Parisien! (paril, 1830). pp. 22, 52, [a2la.2)
During th~ July Revolution, for a shon tim~ before the tticolor was raised, m~
flag of the insurgents was black. With it the femal~ <body> was CQVeJ'l::d, presum·
ably th~ sam~ one carri~d by torchlight through Paris.oe See Banh8~my and
May, L'lruu"ution (Paris, 1830), p. 51. [a2 la,3)
Railroad poetry :
Tu a !Ialion ' nl:lI l.h Ihe rllil...ol everyhody ia hound .
W h ~ reve r the Inin r ri ~li-trone~ Ihe lalld ,
The ,~'1 no mort: diMI.inr: li"," twixt IIIIIIILI t: and grand :
All d1l1lS1:1 a .... equlIJ I b, r«-I und,·rgrulillti.
Ua ..tllt! l.emy. Nouvell~ Ne,lIeli.•• 110. 12, " Lit Vapeur" (Paris, 1845 ) qt. 46>.
la22,1)
Opening of Ult~ preface 10 'rissot'll De til MIIII;e fiu ,1uicide et de {'e.prit de reuolte'
~, . .
IS Imposlillle nOI tu I.w. struck by two moral pheuomena ""hieh are like the
 symptomll of II ,lisealJ(' l.ha1Iollay. in iu own pa rticula r way, it ravap ng lite bod,.
alld limb, of ~i e t y : Wi:: a.re speaking of $uicidf! all,1 revolt. Im patient with aU law,
di Rt!unteuh:11 witlt all pOSititlll , the individual rises Ull etlllUUy agllillst human na-
turf' lind ugainst Iflunkillll , agllillst him~elf alld agil ius t societ y, ... TIle ma n of our
lime. a nti tilt,! (o'rellc!lIIulII I,..rha pll mo rt' tha n a n y othe r. havi ng "iole ntl y broken
wilh the. Jl II SI • . . li nd looked wilh fea r lowa rd n future whose horizo u alread y
8e!'nl!; 10 him 110 gloomy. kills himself if he is w!'ak , .. . if he. la t·kll fai th iu •. . the
bette rment of meu alld . a bove all. laeks faith ill a provide nce capllhle .,f de rivillfl
• good fro m evil ." J , Tissot , De la Mrwie du ' uicide el de l'espril de revoile ( Paril .
1840) <p . V). The author claiml no t to ha ve kllOWIi the Loo ks by Fregicr, Villerme.
a nd Dcgera ude a tthl: time he d rafted hi!! wo rk . [a22,2)
Concerning Flora 1'ri.lltl.ln 's '"'Mc phis": " This prolclnrian IInmc, whieh now it 80
readily intdligihle •. .. iounded extre mely ro ma ntic a nd myue rious in tbose days.
11 ma rked Ihe pa ria h , tile gaUey sla ve, Ihe carbonaro. the a rtisl . the regene rator,
Iht: a,lversar y of tbe J esuits. Fr om hill ellcouul t: r wit.h It he uutiful Spaniard W81
horn tbl: ill ~ pirt!(1 woma n who mUl l redeem the wo rld ." J ean CasBou , Quorums.
huil ( Paris <1939» . p . 12.
Widl regard to the exolic e nteq )rises of COllsidennl and Ca hd. 81anqui apeaks of
e xpe rime nts carried uut " in a corne r of the humao species ." Cited in CIUI&OU.
Qllllrante-/lIljl, p. 4 1.
T he unemployme nl ra te in Englalld betwl'Cn 1850 ami 1914 r 08eonly o nce abo ve 8
I>cr,:ent . (10 1930. it reacllt... .11 6 1ICrcenl. ) [a22,5J
"'"'The IYPogr a l>lu' r Burgy, in hi>! book Pre,etll et (1Ilf!lIir des OUV,wTS , preaches , ..
celibacy 10 his compalljons: the pictu re. of th e proleta ri an condition wo uld not be
1'';.11llplelt: if 011(' lefl uut t be s hlldow8 uf resignation and dcfell tism." J ean Cau oa ,
Qllflrcmle-'Iuil (P aris ( 1939 ») . p. 77. [a22a, IJ
C llizot , in 011, Mall tie l/if! '" e l, rill reSillluIICP. ell p olitir/Ile; " All Y ma n of a Love-ave r-
age intdligence who haB neither prOpe rl y nor husiness-tha t it to ~ay. wbo it
unwilling or uua ble to pay II tribule 10 t.hc Iila te-should he consideretl da ngeroul
fro m a politit!al sl8111lpuinl. " Citl'll in Ca~~ou , Qtw rtmre-huir. " . 1.52.
Guizot ill 1837 . 10 tlU\ Chumlwr: " Toolly-apa rt fro m fo rct' of la ....- yo u have bUI
o ne effective gua ra nl N' againsl this re volutiona ry dis positillll of the 1>tJ.Ort!r dasses:
. y 0 r wor k' , 'C·1It'! I III
w"rk, the ,·01l8Ialll 1I(·'·1:8int · CII SS 0 U . pp . I"·'
a_- 153 . [a22a.3J
B1untlui. ill his lellcl' lo M a iD ul'll : "Thll llk heaw~1I there a rc so ma llY J,o urgt.'Ois ~
t.he camp of the pl·ol"'ll l"ilil. It is tile}, who l'''prc~eJlI till) " hi,·f !ltn~lIb"h uf thu
I'amp , o r a l It'ast ibl m O!rl IlilI tin R s lrt' lIglh , TIII'y pl'lIvhlc it ""ill. II t'lIIltintct!lIt Qf
lumilla rif'lI 8uc h II~ till' 1'1'''plt, Ihe mseh 'e!!, uofo rtullalt·ly. I'alllllli yet furn ish . It
"" It~ the bourgt'ois .... Im fil's t rlli~I!,1 the illig of the I'ro\clilrilll , who ro rmulated,
pro paga ted . alUl mai ntllined the egalita ri a n doctrine.. a nd who res lo red them
aftcr their do wnfall . Ever p .·here it ill W llrgcois wllU lead the people in their battlell
1I~lI ill 8 1lhe bourgcoiJ!il:.·' A J>as~ u ~.· imlllcilialei y folluwing deub witll the hourgeoi-
~ i l"l e)C piuita tion uf Ihe I'role ta ria t ali political lihock troops. Ma urice Domma uget .
U/otlllui ii lIplle-/1e (Paris. 1935). pp. 176- 177. [a22a,4J
"1'11t' le rri hle sco urge uf povert y. ~u rele ntless in itli torments, requires a no lelia
u-rrihle. n·med y. a nll celibacy II ppeaTfi Ille most certain amo ug those pointed o ul to
us lIy social science:' In COllnection with II reference to MalthulI: " In our day the
pitiless Ma rcus [ evitlclldy u5ed for " Malthlls"1, unfolding the dismal conllequenCetl
of .. limitles~ illc rea!le ill ,WI1Ula lioli ..• IlIIs \'w tured to pro pose u phyxia ting
tilllSt' bl.l hiell "urll 10 iJldigent fa milies thai alread y bave three e hildnm , and tben
l'ompclIs atillg the mothe rs fo r s uffering a n act of l uc h erueilll!Ce8lity.... Her e we
or
IUH't' the la.'!!1 wo rd of Ihe econoPli.!ll1l England!" [ JuJel Burgy,] Pre'eru er "venir
dr.' o UlJrie rlf (Pa ris, I M7), pp . 30, 32-33 .
(a22a,5)
Thf:re exUu 0 11 e.rtlt all infernal VII
1a22,3]
Na med Puria; it i8 one larlle o\·en.
,\ "ony "il of wide eircumfereoco: .
Ringed by three benda of a rrmdd y )'t ll ow ri ver.
It i. a seelhill!! volca no Ihal never Ilopa e rupti ll!!;
[a22,4J 118 ~llOe k wllve8 tra \·d tllrougb hUnlan ItUlller.
- Augtllile Ba rllie r. /a mbe, et poemea ( Paris. 1845), p. 65 (,'La Cuve" (The Va t> ).
[a23, !J
The Paris purebred is this pale gtlllCrsrupe,
, Stunt«l growth. ydlowro like an old penny.
TIti..~ boy hooting, out at all hours
Strolling indolent down unfamiliar lanes,
Routing the skinny mUlts. or. all along the high walb,
C halking a thowand unchaste figures , whistling the while,
'ntis child, believing nothing, wbo rums up his nose at mother;
l1lC: admonition to pray is for him a bad joke.
Augusle Barbier, Jambu d p~meJ, p. 68 (" La C uve"). Hugo had already re-
[a22a,2J touched these traits in the figure ofGavroche. [a23,2)
b -
UlIscrulIulUUjl ';I.II!culator allli prumuler. "1 Eduard Fudll. Di¥. KlIrikatllr tier
J. p. 354.
ellfopiijlt:ilc n Viilker (Mullirh ). "01. (b I,7]

- T Ill' la ~ 1 iS6lH' or tAl C"riclltllre, dale(1 Augu;;1 27. 1835. wa.1l ... fI ,'\'oted , , , III
[DaUlnier] th(' IJI'Hm uiguliOIl or Ihe , .. September La,.,s, ' , . ,.'hk h , .. were representt....1 in
th ~ fOl'm III' pcars. ·· E,lulI l'(l Fuchs, Dip. Kflrikll'"r tier f'lIro/JiiilCllc1I I'otker., vo I. •
I
~m /h l ~

lhJ\' il:~ , tlul cl'ca lor of Maye ux ; Gavllrni , the crea tor of Thomll8 Virelollue; Dall'
lIIier. the I;l'elllor of HaLaJ)oil- the BOllapa rtillt IUIUJlcnprulctarian , (bl ,9]

011 J :mual'y I . IH56. PhiliJlon re baptize!; I.e JOllrnllll1fJllr rire AS I..e JOIln/al
A paradoxical description of Daumier's an: "Caricatu.n=, for him, becamr: a sort
IImll6llf1I ,
of philosophic operation which consisted in sq>araring a man from that which /hI.lO]
society had made of him, in order to reval what he was at bottom, what he
couJd have been under different circumstances. He utracted, in a word, the " Whenevel' II pri c~t , .. t:xhortt:(lllw girls of A villllgc nt!ver 10 go to the dance, or
latent self." Edouard Drumont, UJ HiroJ d lu pitre; (Paris <1900» , p. 299 ("nau- the peaB8uu lIe\'('r 10 ffe( IUenl the tavern , Courier '8 epigrams would climb the hdl
mier"). {bl.I] "'''''er aocl sound the alarm , proclaiming the advenl of the Inquisition in FranCe,
[lis l'amphJelS, mean",'hile, WQuid make the whull~ cuulliry lis ten to tile sermon."
On Dawnier', bourgeois: " This o&8ified , inert , crystalli:u :d bein~ who waitB for the Alfre<:1 NCllcmcnt , lIiSloire (Ie III litterulllrejrum;aiJJe '011.$ la HeSlaltratiofi ( Pans,
omnibus leans on an umhreU. thai expresses some unutterable idea of ablOlute 1H58). \'oI.1 . p. 'l21 , [bla, l]
petrifaction. t' Edullard Drllnlont. Le. JlerQII el W!S pitre. (Paris), p. 3M ("naa-
"Mayeux .. , is actlluUy an imilation . Under I..olli~ XIV. , . . II particular c.ostume
mic r ").

" Many writeJ'S ... acquired fame and fortune by mocking the faults sDd infirmi·
-
[bl ,2}
dance c1Iu8etl an uproar : c bildren made 11[1 118 olt! lI1en . a nd s porting enormous
hUDl:hbacks, e.."(ecllted grolc~q ue figures, It wall kllown 8 11 the " Ma ycwr: of Brit-
ties of others, Monnier, on the other hand. did nol have to go very Car 10 &od bit lany" dUIICC, The Mayeux who WlIS made a member Oflhe Gurde Naliollale. in 1830
mood : he planted himself' before the mirror. listened to himself Ihinkin!! .nd wa~ merely a ver)' ill- bred deseendant of thelie old Ma),cwr:." Edollard Fournier,
talking, and, fmding himself highly ridiculous, be conceived this crue.lincuna· Emg me. des rues de Pari.! ( Puris, 1860), I). 351 , [b l a,2]
tion , thili prodigious satire of tbe French hourgeois, whom he named Joseph Prud-
homme. ... AlphoDile Daudet , Trente am de Parir. p. 91. [bl ,3~ PII Daulllier : "By itO oue more than Daumie.r has the bourgeois been kllOWD and
loved (after the rashion of arti~t8}--lhc LourgtlOis. this last vestige of tbe Middle
" Not only d oes ca n cature greatly accentu ate the technitlUeil of drawing, . , ' but it Agt!s, thit Gothic ruin that diet so liard . thi~ typ.· al once 8 0 CUnlluonJlliu:e and 110
has alwaYI been the mea ns of introducing Dew subject matter into art , It wat t'(!\'('n lr ic," C h al'l c~ Bauddairc, I..es Deuills de DUllmier ( Paris ( 192'h ), p , 14.:
through Monnier. Ga~'arlli , a lul Dalllnier that the bourgeois society of this century [bl a,3J
was Opened UJI to art." Eduard Fuchs. Die KuriJmlUr der europiiillchen VOlker,
4th ed . (Munich <1921», vol. I , p . 16. [b 1,4] 011 D:l umic,"' " 11 III
' I"liricalm'I' Iill S rOI'IIUI' III I) It> hn-adth. but il is (1IIih- wilhout bile
or
, "a ucUl·. I" all Ilill "'.or k , I11.r.. ' U rUUJ.I(I at~' O Il 0 r lIel.
III ' "t!.lIey and ho uhonllC.
' We
" On August 7, 1830. Louis Philippe wa&... proclaimed ... king. On November" lihoullJ
~ '_ .
".,11' tll"n
•• Ii , IH'" r,
, - II en n·,II. ' 1III'1 to IIUIII II C I:ertalll . \"(·ry filii! 1111(1 violclIl
of that same year. the fi n t i9~ue of Lo Ca ricCJ/ltre apJ>f'ared , Iht! jllurnal created by alll'leul llwIIlI's • hi'call" C . I11· lillIlI ',' , , IIe)' (·XI·t','1 I,'I I I III' I"JllItl ~ 0 r thl' , ' 0 111 ]('
. ;1.1111 ,',)ul,1
Philipon ," Eduard Fuelhi, Die Karihatur du europiiilclien VOlker (Munich), vol , 1\'''1111,1
tI
lIlt' rl'clill "li
. .. II
fl ' r II
II ~ I' . t1W men ,
" CI I II
H,r ell umldai ...·. lA'S Del,ifl$ de Dark
I . p. 326, [bI,51 11" (, ( Puris <I ~J2,l» . p , 16,'
(b la,4J

/h I,.] UII MOlllti,'r

M.ichdct wanted 10 1t..'I! one of his work ~ illlli lrall.. 1 by Daumicr, . .' ." But wh'a I a' 1;1111
•. I SO liI'. ,e IIII .~I' 111('1',','II ·~~. 'III1IK' rllll'hahlc Cllllllllellta-
1"r6.
'0 rt'maill' Ihh:u
. . 'lIl II lialliC. . . ' ( ", I.1J"t' rrill""'I (IIIn .wr. ali wellll ~ tile IIl1l11h
, t )k ,I , . ,
" PhiJipoli invellted a ncw d ,ul'ucler t)'lle •. .. wllieh was suiil to h/w t! hrought hdlt I Cs ro"'lc~ ' :ll1d ' O cSeoulgs. . Alit I AunlO Ic F' ralln : tuuk rl'om hilll th., III1I11C ' Ma ~
. '
nearly a& much , , , 1)(Ilnda,;l)' 118 hi& pf!&r~: 'Hobert Maeairc,' th t! Iype of 1M I lillie Hcr • . ·t'·
ere , Ju ~ t UII F1 ' au Lerl Iiau" ta k ell . W'llh U"cry t;light ulteru ti un , Ihe lIaml'
 ' MOllsielir Pcguchet. , .. J\larie.J eanue Durry, "'De Monnier a Balzac," Vendredi,
March 20, 1936, p. 5. [bla,S]

When does Gavroche first appear? Who are his forebears? Is his firSt appearance
in Le; Muirabfu? Abel Bonnard a ll the hommt }Te/ali <aduheratcd man>--"good
onl}' for provoking cvents he could not control." "ibis type of individual, origi-
nating in the nobility, has undergonc a descent-and lost all his gilding in thc
process-through the whole spectrum of society, to th~ point where what was
bom in the foam at the surface has come to rest m the slime at the bottom. What
began in persiflage has ended in a sneer. Gavroche is, very simply, the marquis of
the gutter." Abel Bannard, Le; ModiriJ, in series entitled Lt DrtmU du priJent, vol.
I (Paris ( 1936»), p. 294. [bla,6]

" Everyone knew Oaumier's mythological caricatures, which, in the words of

Baudelaire, made Achilles, Odysseus, and the rest look like a lot of played-out
tragic actors, inclined to take pinchee of snuff at moments when no one was look-
ing." S. Kracauer, )acqu4!' Offenbach und dm PariJ .einer Zeit (Amsterdam ,
1937), p . 237 .~ [b2,1]

Fourier. " Not content with extracting from hiB works the innumerable amusing
inventions to be found there, the gazetteel"8 add to them-for example, the hWli-
ness of tile tail with an eye 0 0 its tip , l upposedly an aUrihuk ofme.n oftbe future.
He protests vehemently against this malicious fabrication ." F. Armand and
R. Maublanc. Fourier (Paris, 1937), vol. 1, II . 58. [b2,2]

The Pagan School is opposed not only to the spirit of Christianity but also to the
spirit of modernity. Baudelaire illustrates this, in his essay "IJEcoIe paienne," with
the aid of Daumier: "D aum.ier did a remarkablc series of lithographs, L'HiJloire
ancinl1lt, which was, so to speak, the best paraphrase of the famous saying, 'Who
.will deliver us from the Greeks and Romans?' Daumier pounced brutally upon
antiquity and mythology, and spit on them. The hotheaded Achilles, the prudent
Ulysses, the wise Penelope, that great ninny Tclemachus, the beautiful Helen
i who ruined Troy, the ardent Sappho, patroness of hysterical women-all were
POrtrayed wilh a farcical homeliness that recalled those old carcasses of classical
a~[Qrs who take a pinch of snuff in the wings." Charles Baudelaire, I.:.Art ranum-

Honore Daum.ier, ca. 1857. Photo by Nadar. Collection Socieu!: Frnn~ de

tigue, cd. Hachcttc (P-dris), vol. 3, p. 305 . ~ [b2,31
Photographic.
Types : Mayeu.'( (1'ra\'ii"s), Rohert Macuire (Onuntier ), l'rudhomme (Monllicr).
1b2,41
d
novl:lisl his 0 ""11 ." Paulin Limayrac. " Du Roman lIel uel t:t de nos romancien ."
Rellllt! r/€$ df'. lI.t m Ofl(/e& . 11.110.3 ( Paris. 1845), pp. 955-956, [dl ,S]

[Literary History, Hugo]

- "Citizen Uugo lIIalit' his de but at the tribu ne of the National Assembl y. H e wal
""hal we eX ~I: t cd : a phrasema ker and a geilticulator, full or emp ty. high. fl own
oratllry. Clllllh ming alollg the perfidio us and I lanllerous path of hill recent broad.
! idc, ht" s poke of lilt: uncm ployed , of Ihe indigen t. ur the idlers lind do. nothingt.
till' scuulld r r.!.i! who are tlte prac.tori ulI9 of the uprising, Ihe condotlieri , In a word .
In' r an the mCl uphor ragged to arri\'eatlln attack un the na tional workshops ." U!lI
BOlilets ro uge~ : P,'uilJe du clllb JJ(lcifique de! clruit&cle l'homme, ed . Peli n , h t
year, J IUle 22- 25 [ 1848] ("Fai ts di\·ers"). [d b. l]

.
""Thien a rgue d th a t,SlDee
. e dU CMlio ll ' the beginningof
WII8 . . ease, anti since
U eaae wu ~ It is 8!i though Lamar tine had made it his mill8ion to implement Plalo', teaching
-~ f _." then education should lIo t be Wlthin reach of II . dMoreovu. on tlte necessil y of banishing poets from Ihe r ep ub lic. allli one cannot help smiling
not re8e rveu or 1lU , declared
he held lay instructortl ... re&IKlllsible for the evenU of June .. . an aJ one readli this a ulhor 's account of Ihe wo rker who wu part of the la rge d emon_
hirn8df ' read y to put the d ergy in chllr ge of aUprimary educa tion. ' " A. Malel and strlltio n in fr ont of the Hotel de Ville, lind who s houted a l the speaker : ' You ' re
p, Grillet , XIX· Sii d e (l'aris. 1919). p. 258. [dl ,l } notJring bUI a lyre! Co sing!'" Friedrich Szarvlld y, Pari&. 18,18-1852, vol. 1 (Ber-
lin. 1852). p . 333. [dla,2]
Feb ruary 25 . 1648 .' " Durin, the aft ernoon , armed mobs demanded that the red
L . &sed kI
Ha re Place the tricolor 8 ug. . . . Mter II violclil deb ate, u ~ a rtme man CbateauL ria nd : " Ue brings uUo faa hioll thai vague slldneu • . .. ' Ie mal dll siecle'
, h b k 'tt a ll improvised address. ""hose concludmg wor ds have r . <tile infirllIity of the cCnlury >. A. Malet and P. GrilIet, XIX' Sieck (Paria, 191 9).
t ur n 1 em Be W1 I , .ed ' thj fI of hloocl
mamed (a mo u.ll : ' I l hall repudiate 10 the \'er r death . he en , 8 ag ...: p . J45. [dl a.3]
aOlI you ou&bl to spum it mor e than l. For this red fl ag tll at you ~ave before WItt.
. I been unfu rled onl y on the Champ de Mars, soaked Wltb the blood 0 " ' U we could have our wis h ... ' This desire. thill r egret- Baudelaire was the firs t
pr eVIous y fl I bee aded the world oyer,
I ' ' 9 1 aod ' 93 whereas the triculor ag Ial 0 pa r ad 10 interpret il . twice giVtng voice. in L'A rt romantique, to unexpected praise for a
peap e lD • d th libert of the r atherland ," A , Malet • poel of hia day, the a uthor of II " Cha Dt des ouvriers," that Pierre Dupont who, be
wi th the n ame , the glor y, an e , y [dl,21
p, Grillet , XIX' Siecle (Parill , 19 19), p , 245, tella us, 'after 1848 . , . attained greal glory.' The spec.iflca tioD ofthis revolution-
ary da te is ver y import ant Ilere. Without lhis indication , we mighl have trouble
" In an admirable article tl ntitled ' Le De pa rt ,' 8 alzac lame uledth,e fall of ::: underlitalldillg Ibc dl'ftmse ur popular poetry. and of all art ' inseparable from
8 bORs which rur him meant the death kne.ll of tbe art& IIntl the, tnum P h : r.. ..,_ . utilil y, 'I on the part of a writer who could p an for Ihe chief architect of the
our , political nost rums, lnvu k'mg t h e veilsel 00 wbich the kin!!:thwas drms
tliIdlers of " Y- '
~ ru ptu re or poetry and arl with the massell . . . . 1848: that is the hour whcn the
~g, he exclaimed : ' There ill law and logic; beyond thi5 1~ttle ~oat
are 23; ,sto [dl',3J street beneath BaUdelaire's window begiliS in ver y truth to tremble , when the
J, Lucas- Duhreton , Le Com.e d 'Artou, Ch6rles X <PariS, 1927>. p . thelltl'r of the interior IIIl1s t yield him up in all magn ifi cence. to tbe theater of the
t'Xlerior. as sunl t"Olle who inca rna tes, a t the highest level . the concern for human
b k I be tJlC name of l\t . Dumas? Doea be elnanciJla ti uli in all its fo rDls . as weU as the consciousness , alaI, of everythin!!: l hat
" Who knows tJle titlell of a U the 00 8 tlat ar . I ....ith debits aDd
h L : '1', 1£ be docs not keep a two-colulIIlI rC(!or{ . of h rilliculously ineffectulI l in Ihi aspira tion ,,101111, when: hy the gift of the a r tis t
know t em rullUle.u . . I . uf dlOlle child ren
credita he will no IIou III I!lIVe orgf ollen . . . mON' I U UI une d( I tfu output alltl of th~ IIIl1 n IH'I!"IUe!! total- Blllldclair e's anonymtJu~ collahorau ulI on Le Sat".
' ., f I I · turol fatJler. or tile go al Icr. 1}uMic nf Fchru:lry 27 IIl1ll 28 effectively pro" ing thc pnin!. .. . This communion of
whom he ill Ihe leptuliale a t ler, ur I Ie oa . I " Paulin l...imayra c •
'n recent montJls hil S 1I1l1Olltiled 10 1101 les/! tha n t1u r ty vo 1I1111:S. .J 11 no.:I Ih,· IHWI. uf IIII' lI ulhenti,' IIrtist . wid. a vaSI d asli of peoplc impclled b y d leir ardent
.. R
I
"Du Roman actue! et de nos romllllCICnI, •
eVil e clell d eux mOf/O e!, , [d • ] hulIg.'r fOl' fn.-" IIIIIII . " VCII pa rlial frcI'donl, hali CV"J'Y d ill lice or t'mer gin g sponta ne-
l4
( Pllrls , 1845), IJP . 953-954. ~'lIsl)' ~II limc~ uf gn 'al liocial rennent , wht'll re!K'r"a liml~ ca n be laid asille. Rinl-
haUl!. ill WllOm ' he I'laim~ of thc hu rnan tcnd . llntll'lhd ciliI . ... to fotlo w a n infini te
. I' " Wbat a lIalJI>y Ihought un 1h e part 0 f Mil., "• . a ".al
Ual:u u--I" I'reuJCI all t
. thatf ehl;,
COllrsc. plact'jI , f rn", till' I.u tset . all !tis confidl' cu'c allli vital in the Commune.
1 .
rllluca. d" I WI I ' 8f1 l ur l'n slllt; 11l
revo h and de mand Ihe rL'f!uah lis hmcnt of fe u a .s m . IU I'S I'k . Ttl eadl Ma)'a kuvs ky gac8 to gr<::al length8 to sile.ncl· in hinuielr- botiliug it up to the poilll
It ill hill idea or lIocilllis m . Mme. SIIIIII hus a nuther, a nd 1\1 . lie I eWlse. or explo~il)lJ---evcry th illg !Jorn of iudividllai ft"t'lilll!; Ulat might 1101 ctJllllllce 10 Un'.
exdU8ive glory of the triumphant Bol8hevik Revolution." Andre Breton, " I...
Grande Actualite poetique," Ilfinotaure . 2 , no . 6 (Winter 1935), p . 6 L. [d2 , L]

" ProgreSl ill the very foolltep of God ." Victor Hugo, "'Anniversaire de 1a revolu_
-
tion de 1848 ," February 24, 1855 (011 Jeney). p. 14. [d2,2]

" Victor Hugo Vi the man of the nineteenth century. as Voltaire was the maD of the
eighteenth ." ''The nineteenth century tbU Hcomes to a close before its end . III poet
is dead ." Obituary notices for Hugo in Le Na tional Republicain de I'Ardeche and
Le Phare des Charente, [VICtor H,fSo devo nt Z'opinion (Paris, 1885), pp. 229,
224]. [<12.3}

Student. of Ihe 8chonl. of France,

Cbeerful volunleerl for progreB8,
lei U8 foUow Ihe people in ii, willdom;
lei uBlurn our b,cb on Maltbu and his decrees!
lei U 8 light up Ihe new roadway,
Which labor . ball open ;
For lIOCialism lJI)ars on two wingtl,
Tbe student and the worker.

Pierre Dupont, Le Chant de. etudiant, (Parill, 1849). [d2a,l)

A. Michiels, Histoin des idies littiraires en Fnma au XIX' sieck (Paris, 1863),
vol. 2, provides, in his portrait of Sainte-Beuvc=, an outstanding description of the
reactionary man of letters at midcentury. [d2a,2J

I caused a revolutionary wind to blow;

I made tbe old lexicon don the insur(enu' red cap. \
No mo re word •• Senator! Commoner. no more!
I raised a slorm at the bottom of the inkwell.

Victor Hugo. cited in Paul Bourget , obituary for Victor Hugo in Le Jou.rnal_
(Jeba u [Victor Hugo devant l 'opinion ( Paris, 1885). ,). 93]. [d2a,3]
~or Hugo, ca. 1860. Photo by Eti~lUle Coujat. Councsy, Museum of Fmc Arts,
On Victor Hugo: " He was . .. the poet not of his own li uffe ri"g~ ... but of tM (?n. R~produccd wilh permission. 0 1999 Museum ofF~ Am, Boston.
passio", of thOle around him . The mournful voices of the victims of the Terror ... All nghts reserved.
made their way into the Odes. Then the trumpet bla.lllJ! o f the Na poleonic victoriel
resounded in other odes . . . . Later on , he felt obliged to let the trapc cry 01
militant democracy paSH through him . And what is 1..0 Legeflde des , ieck• ... if
not the echo of the greal turmoil of human hilltory? ... It often seems 8 11 tltou&h be
hud collected the sighs of all families in Ius d omestic verse. the breath of aU lovert
in his love poems . . . . It is for this reallOn that , ... thanks to l ome mys teriO UI
qllality in him thai is alwaYIL coUecti\'e alld general. Victor Hugo's poetry poueuea
Ull e pie churacter." Puul Bourget , ohituary notice for Victor 1:llIgo ill Le JotlrnDl

des debu t, [Victor 11"60 deva nt l 'opinion ( Pa rill. 1885), pp . 96-97]. Id2a,4)
11 is \\f{uthy of no te that the preface [Q Mtukmouelle de M aupirr alread y se~ to
be pointing the way to /'art pour I'arl. "A stage play is not a railroad train."
[d2a,5]
Gautier on the preu: "C lu~ rl ~ X 1I.Ione hils understood the tluclltiun rightly, In
ortlerinr; the s upprC3sion of the newsJ1l1.pers. he rendero2'd a grClit .ervice to the art.
al1(1 to civi.lization . NewS pallen are a kin to courtien and go-betwet!nll, those who
intl!I1)OSC themllelve8 l>ctwrtn itrtist. and the I'uhlic. he tween the king and the
J1OOple •. .. Thes.. perpetual yeipUtg8 ... cr eate such nn atmosphere of milltrutt
that .. , r oyalty lind pOtltry. the two grelltest things in the wori t!' become impoui_
ble." Cited in A. ItlichieJs, JJi$loire de, idees litteruires en France au XIX" .ilel.
(Paris. 1863). " 01. 2. 1). 445. Thill attitude earned Ga utier thefriend. hip of Bata.c.
[<I3,IJ
"'In Ihe transpo rts of his hatrt...o [ for the critics1, M . Theophile Gautier deWeI all
progreslI. el!peeially in the area of lilerature and nrt , nil doel! hill mu ler. Victor
Hugo." Alfred Michirls, llutoire df!.' idee. /illeruires en France au X IX- lWe"
(PllriS, 1863) . vol. 2. p. 444. [113,2)
"Slea m will con Cluer cannon. I.n Iwu hundred yellN-weil before. perbap&---fjl'e8t
armi u fro m England . Fra nce. a nd America ... will deBcend upon old Asia under
the Jeader sbi l) of their gellerail. Their weapons will consilii of pickaxcs, and thelr
bones will he locomotives. Singin g, they will fall upon tbese uncultivated , unUNCI
lands ... . It is thus. perhaps. th ut wa r will he waged , ill t.he future, againat aD
unp roductive nu tiunll, by virtue of lhat ariom of mechanics which a pplies to aD
thing..! : there mu ~ 1 be no wasled cliergy!" lHaxime Ou Camp , I.e, Ch anu modernlll
(Paris. 1855) . p. 20 ("" PrHace"). 1d3,!)
In the. preface to La Comedie hu mnine. Balzac decillres bUlIse.lI on the si~~ of
Bon uet a nd Donald . and affi.rm ~: " I wrile by the faint light of twu eternal venbM: •
Relipon and Monarchy." [d3AI
Dabllc on Ihe l)rcII~, in t.he prefa ce 10 the firsl etlition of Un Gru nd HomtrM! '!-
IJroliince (j Pari.: " '('he public is unawa re of how lIIallY evils hc~etliterlliure in ttl
commercial transforma tion .... In the old days. newspapers ... retluin:d II ~r­
lain number of oopics ... Thil was tJver IlDd II b.we paymenl ror artides altracUve
to ... hooksellen- paymellt uft en Inmle. withoul any guarantee t b~lthesearti:
wtJuld a ppea r ill print. . . . Today. tlus douillt· lax has hcell drI vell Ul' ~Y
exorbitllllt price of ath 'erwin!;, whidl cosls 1Ii1 mUl'h a~ U1e III·t utll producl.lOD ~f
- . _. 1 wnl-
the book .. , . One can olily cOllclude tha t lIewlIl'a ltt'r!I a rc rilia 1 ror Dlouern .
er :. Cited in Ct.'O!·!;I·' DlI.ta u1l _ Le Pon/ife de III rMmflgogie: View r II l1go (~;j
1934).".229. [
r JUI'IIU", dt' Mirccuurt publisllt'iI Akx<mJre lJumll$ e/ Cit!.. fu briqu<1 dOl rOmil1l&
III IIII' 11,·bale UI lilt, Cha mber on Novl'mller 25. I!!,UI--Junl' rcpl"esilil)o- Victo
Hugo Vot~1 I agamsi . Cava .lgnac. [d3 ,6J
" Tht' I",duplica tion or reader" is Ihe multiplicatiu n of loaves. On Ihe da y Christ
d i~co"en'tl Ihis sym.h(ll. he fu n 'ijhullowed Ilu' printing p ress." Victor lIu@o . Wil_
liorJI ShuJ.e5pcnrf' _ eiletl ill Ilata illt <lA! Prlll/ife de la dcmngogie (paris. 1934»,
ria ~~
Maxim.· Lislu)lIl1t' l'Ohlllll'lItll, in t 'Ami tllllieUI'u!, 011 Victur Hugo's will . Deponing
alli l ('mu-Iusioll of this slatcment : " Viclor Hugo clivi,les hill forlune of 6 million
rrll m ' s II§ full ow~: 700,000 f rau t's 10 the IIwmb,·t"lI uf his fam ily; 2.5 million francs to
J calllJl' IIIItI C I~lJrgc ~, hi ~ gru l1tlchildrcn . . Alld fur Ihe r evolutionaries who ,
8UU'f' 1830, sut'I'i6 c~1 wit h him for the rt'l'uhlic. und whu ure s till in this w(l rld. II
lifetime alllluity : Iwenty /lO ll! pe r day!" Ci led in Victor Hugo devun/ l 'op iniofl
Waris, !f1n5). pp. 167- 168. [d3a,l )
In the dcbatc in the C hamber o n November 25, 1848, Victor Hugo voted against
Cavaignac's n:pression oftheJune revolt. But onJune 20 in the Chamber, during
the discussion of the nationaJ workshops, he had coined the phrase: "The Mon·
archy had its idlers; the Republic will have its do-nothing!." [d3a.2]
Seigneurial clements still obtain in nineteenth·century education. Saint·Simon's
declaration is characteristic: "l used my money to acq~ knowledge. Good
food. fine wines, much alacrity vis-a-vis the professors, to whom my purse was
opmed-these thing! procured for me all the opportunities I oou1d dC.5ire." C ited
in Maxime Leroy, La Vi~ uiritahlt: du com t~ Renn' dt Saint-Simon (Paris, 1925),
p.21O. [d3a,S]
As regards the physiognomy of Romanticism, attention might focus . first of all,
on the colored lithograph in the Cabinet des Estampes, Sf. 39, vol. 2, which
undenakes its aIlegorica1 n::prese.maoon. [d3a,4J
Engra"ing frow the Reslora tion period . !lbowillg n crowd gathered before Ihe Ihop
of II Ilullliilber. A placartl an nounCe!! that Ihe Album pour 18.16 bns a ppeared .
Ca ption: "Ev('rylhi ng new is beautiful." Cllbinet des E8tllml1e8, [d3a,5]
Li thl.graph . A puu r devillookil 0 11 dolefull y itS II; yOllllg gentleman signs lhe pirture
",·hic!t tht' rormer 111l~ painted . T itle: L 'Arti$ tf! et I'amateur dll XIX' . ii!ck. Cap-
liltll : .. " is by lilt'. st.-eing tI, ut l liigll it :' Cabinet tlet> ESIHIIIJ1ei. ld3a,6]
lithoJ;ruph, /'/'IIr','s" ll tjllg a painler walk ing uillng ami cu rr ying under hill urlll Iwo
long nuI'I'OW plan ks. ' iII ellC'h o f whidl he hll~ pllillle.1 VIII'ioUIi garnishes UIIJ ar-
rlln~"l1IeIJIS of IIl1"lIhl. Tiuc: Le.~ Art.! et IIJ mi,ere <Puvt"rly and III(' Arts>. " Oedi-
C'I I('.llu M.·~sjCLlr~ tile l'urk 8111I'ln!rll." Captiou : '"The ma ll ••r IIrl in the tnib of lUI
IruIIe., "el ' I.11111.'1
· ,I,·~ E~ tllIllI'C8. [d3a.7]
( Alf;'Xll llll rl' UunH11i ami Co . . MlIlHLrnctory of Novels) ( Pariil, 18015). {d3a,8j
 CasteUane pointedly questioned the lopc of entrusting a lcientific mission ... to a
journalistic entrepreneur: the French fl ag had deb ased itself in granting ' that
feUow' it! protection ; 40 ,000 fra uC8 had been spent for no r eason, and the ridicule
was d early audible on all sidcs." The affai r ended in Dumas' favo r after bi.s
challenge to a d uel was dedined by CasteUane. J . Luca!-Oubreton . La YU! d ~lex­
andre DUrrlaJ pere (Paris <1928», pp . 146, 148-149. Id4,1)

Alexand re Dumas in 1848. " Hi! proclamations ... lire ... as tonishing. In one of
them, addressed to the working I)e(lple of Paris, he enumer ates his ' work. for
workerfl,' and proves, by citing figures, that in twent y yea rs he has composed four
hund red no vels and thirt y-five plays . which have enabled him to provide a living
for 8. 160 penons, ind uding typesetters, foremen , machinists, ushereuetI, and

L'ArtUu tt I'amatnlr du dix-Tltuviim, Jitei, (Th.e Artist and the Amateur of the Nineteenth
Ccnrury). Counesy of the Bibliotheque Nationale de France. Sec d3a,6.

. . , d him that he
Dumas pere. " In September 1846, MinIster Salvanu y p ro pose to d
. . k b h I D
tra vel to AlgerIa lind wnte a boo a out t e co oily. . .. umal •.. · who was rea d
n
b y fi ve million Frenchmen at the very least , wouJd give lome fifty or sixty thouta .I .I; __ ,./ / w,/ ~_ /".~,-' A ... _ -""""
of them a tliSle for colollililism . .. . Salvand y offeretl 10.000 francs to cover the
cost of the voyage; AJexlind re demulilled , in additioll to this, ... a slate vessel. .... L'f!rnnme tk '/art datU /'nnMrr41 tk Jim mirier (TIle Man of An in the
Wh y had the Ve:Joce, which was charged with picking up freed pri50nen ill MeIilla, ~ils of His Trade). Counesy of the BibliothCque Nationale de France.
gone to Cadiz ... ? MemlH!rfI of Parliament seized on the incident . And M. de d3a,Z
 professional applauden. " J . Lucas-Dubreton , La Vie d 'A lf!xa ndre DIHna& pere
(Paris), p . 167. [d4,2]

"T he bohemian of 1840 .. . is c1ead and gone.- Did he reaUy exist? I have heard it
said that he did not.- Whatever the case may be, you cowd comb tbrough aU of
Paris at the presentllloment , and not come upon a !lingle ellample .... There are
certaill neighborhoods, and a very great llumher of them, where the bohemian has
neve r pitched his tent. ... The bohemian flouri.shes along the boulevards, from
the Rue Montmart re to the Rue de la Paix .... Less frequently in the Latin Quar-
ter. formerly his mai n abode . ... Where does the bohemian come from? Is he a
product of the social or the Ilatural order ? ... Who is to blame for the develop-
ment of "risspecies-nature or society? Without hesitation , I answer : nature! ...
As long as there are idlers and fops in the world , there will be bohemians. " Gabriel
GuiUemot, Le Boheme, in the series entitled Physionomie& parisiennes (Pans.
1669), pp. ll , 18-19 , 111-112. Something simila r on the grisettes in this series.
[d4,3]

It would be useful to trace historically the "theses" of bohemia. The attitude oCa
Maxime Duchamps <Du Camp?>, who holds success to be a proof of the lack of
artistic quality, stems directly from that which is expressed in the statement,
"There is nothing beauriful but what is forgotten," which occurs in Lorine's
'freil ieme arrondissement de Paris <Paris, 1850>, p. 190. [d4,4]

The Hafalers' Club (Cercle d es Rafales): " No famous n ames there. Should a mem-
he r of the Hafalers' stoop so low as to make a name for himself-whether in
politics, literature, or the arts-he would be mercilessly struck from the list ."
[Taxile Delord ,1 Paru-Boh1?me (Paris, 1854), PI)' 12- 13. [d4,5]

Victor Hugo's drawings, in his house at 6 Place des Vosges, where he lived from
, 1832 to 1848: Dolmen Where tire Voice ofShadow Spoke to Me; Ogiw; My Destiny (a
giant wave); 11u Sail Recedes, the Rock Rr:mains (gloomy rocky seashore; in the
foreground a sailing ship); Ego Hugo; VH (allegorica1 monogram); Laawork and
f Specter. A sail with the inscription "Exile" and a tombstone with the inscription
"France" (pendants, serving as homemade frontispieces, to two of his books);
Alexandre Dumas perc, 1855. PhotO by Nadar. Counesy of the Bibliotheque Naoonale The Borough of AngelI; Village in M{)()TI.lighl; Fracta Sed In uicla (a wreck); a break·
de France. water; a fountain in an old village, around which all the stonns o n earth seem to
have gathered. [d4a,1]

"We have had nO\'e!s ahout bandits purified hy imprisonment- the tales of Vau-
trill and of J ean Valjcun : anll it was not to stigmatize them .. . tha t the writers
evoked these melancholy figures. . And it is in a city where 120 ,000 girls li ve
secretly from vice a nd 100 ,000 individuals live off gi.rls, it is ill a city infested with
hardcned cr iminals, CUllhroau , houseb reakers, carriage thieves, 5hop hreakers ,
shoplifters, rabble rO Uliers, COli men, pickpockets, prc{lators. IIhakedown artisu ,
gl.la rdiall allgels,3 swindler s, and lockpickers-in a city, I say, where aU the wreck-
u ~c IIf tli,onll~ r uml ,·ke nUls ugl·ound . 111111 where the s li ghl c ~ t , !'urk-cull lIel fire to
tile ~ uhli lll a l CII !-,opuln ce. it iii here t.hat this corrupting Lill:rlltu.I't-'-- . . . Lea
Myllerc! ,II' l'uri5. HOClJmbolf'. ullil I.e$ Mi.o!erllblC5-is l.r(IIJUI:..d."' Cha rles
Louumlr.· . l.e5 ItI&5 $lIbuerJilJe$ de notre temp' (pa ris. L872), 1'1" 35-37. [d4a,2}
" The illco nll'l et.~ cup y in Ihe Bihliolhi!tllle Naliollale ill ~ uffi ci clIl for li S 10 jlld~e of
the boldness a llil novelt y of the projet:1 cOllech'ed by Babllu; . .. . I.AJ Feui/lelon d~
journllllX polititlue, ai mell al nothing 1e8,; than the eliminati un of bookseUel'8.
Direct 8ale from publisher to purchue r Was the plan . , . b y which everyone wuuld
benefit- thc publis her and the a uthor by ma king a profit. the purcha!>er h y payinr;
less fur books. Thi8 arrangement ... met with no AIUicet>!! at a ll • •luuhtJen because
the hook.!lcllertl were agains t it :' Louis Lumet , introduction In Honore de BaUac,
Critique litter(l ire (]laa-it;. 1912), p. 10. [d4i1,3j
Tllt~ three IIhurl-livt'd periodicals found ed b y Dabuc: l..e Feuilkton rle, jOlIrraaWl:
politique5 (1830). w Chrollique de Pari, (1836-1831), La Revue pttrnienfM!
(11140), [dh,' )
" RcCIJlJcclil.ln ha ~ vltlue only as pretlictil.lll . T IIUS, his tory sholLld be e1an ed 1108 a
scit'lIce: practil:al uPJlU"UtiOIl CI.lOSllill tl y prQves ils otility." Iioll ore~de 8al&8c,
Critique litteraire. inlroduction hy Louis LUU'lcl (Paris, 1912), p. 11 7 (review of
Le., Del/X fom . by P. L. J acob , biJ.liophile). [d4a,51
" II is nol hy tdlin,; the: poor tu cease imilating the luxury of the rich that ulle wiD
make the lower class hal}pier. It i ~ nut b y telling girill tu slop pennitting themseh'~
10 be setluct"tl thai one will lIuppreu prostitutioll . We nlight 88 well tell th~.
' ... WII4!11 yuu ha ve 110 bread. yo u ""ill be so good 8 S ttl ceaSC being hungry.' 8uI
Chris tian chua-i t y. it will be said . is lhere to cure a lllh~eeviis. To whicb we reply.
Ch ris tiall chari ty cu m vca-y liltle and prevents nothing 1101 all ." H Ollore de Babae,
Critique litteraire, illtroouction hy Lollis Lumet ( Paris . 1912), p . 13 1 (review o( Le
Pret('f1 [Paris. 1830». [dS, I]
" III 1150. no hook-not even I~ 'Esprit rles loi$"--reached mOI'c Ihllll tllree or (our
Ih" usallli people .... In ou r day, !lOme thirl y thousand copies of Lamartine', Pre-
miere, mh liltlliotl!l IIml ~om(' .lixty thousund books by Rca-anger have bt.'f!1I told
over tlU! 1)lISI t"11 y'·lI r8. Thirl y thousllnd volumes of Vultail't", MOIII,cstIUie u. ~nd
Muliere hll"" t·ldighICII':.! me.n ·s milllls:' Babac, Crith/lie fill erCl irl.! , intruductlO n
b y Louill LUlIlct ( Paris, 1912), p . 29 (" De r Etllt IIctud II" II! libruirill" <On th~
CUrl'cnl Sluh' of II.e Boukslttre). iiumple from I.e f'e uiUetotl de! jUUrllIIlIX IJOII~
fi11Ile', IJllblis lu:.>{1 ill t 'Ulli,'e r .• d . Marc· h 22-23. 1830J. [d5.2]
Viclt)r II ut;o helll'kells 10 thl' inm!r \'oke (,f tlu' crowd Ilf hi~ II nt'I'stur~: "The crow.d
hi m~elf. a nd which he hearll as I.h,' Iwra ltl Ius
10 ""hid , III' li"" 'lIc.I II,lmiringly ill or
ptlpu la rilY, iudi, ....1 him . in ra(' 1. towal'll Ihe exterior crmnl-Iowllnl th~ Irlola
f'ori,~ hJwu ri! Ihe ill(lrgll ni(' bod y of t.he masst!S .... He st'arched in Ihe: lumull 01
the jel!. for the roar of applause." " He spenl firt y ycan draping his love of confu-
sion--cJf aU confusion , l) ruvili~ 1 il was rhythmic_in hill luvc ror the peol)le." lkon
Dilud ('t./~, Oelw reJ dU"$ fe, litH/lillI!' ( Pans, 1922), PI). 41-48.11. [d5.3]
A sa)'ing ofVacqu t!rie', abolll ViCl ur Hllgu: "'The lowenl of Noire Dame were the II
of his nun..:. " Ciled ill Leon Dli uJet. U I Oeuvre, dam le, homme, (Paris, 1922).
p.8. [d5.4]
HCIIOU\'ier wrule II book 1111 ViClor Htlgu'l philosophy. IdS,S,
Victor Hugo in a leuca- 10 Daudeiaire-I'Iitll particulaa- reference to "LeA SePI
VieilJarlls" and "Lei Petites Vieillea" (both poems were dedicated to Rugo, lind. at
Baudelai re indica led to Poulet,.Mlilassis. for the second o( tbem Hugo's work
served as Ihe poet 's model): " You have endowed the sky of art with an indellcrib-
a ble macabrt gleam. You have cr eated a new friflllon .... Cited in Louis Baa-thou.
.411l0ur de Baudelaire ( Paris, 191 1). p . 42 ("Victor Hugo et Baudelaire"). [dS,6]
Maxime Leroy, U J Premier; Amu fia n(ou de Wagner. su~ts that a revolutionary
impulse played a very large pan in Baudelaire's enthusiasm for Wagner; indeed,
Wagner's works inspired an antifeudal Fronde:. The fact that his operas dis-
pensed with ballet infuriated habitues of the Opera. [d5,7J
From Baudelaire's eesay on Pierre Duponl : " We ha d heen waiting SQ many yean
for some solid, real poetry! Whatever the p art y to which one belongs, whalevea- the
prejudicCil one hall inherited . it is irnpon ih!e not to be nlOved b y the sight Q( that
, lickly throng b reathing t1n~ dus t of the workshops. swallowing lint, becominr; l atu-
raled with white lead , mercury, alld all the poisons neceuary to the creation of
masterpieeel, sleeping amu ng vermin in the hea rt of districis where the humblest
and greatest virtUe' live side by side with the mosi ha rdened vices and with the
~regs from prisons, That 8i~ing and langu ishing throng to which the eorth owe,
,.., marveu, which feels flowing in it. vei,." on ardent red blood. whicb looks long
an.lsadl y at the s uns hine a nd shade of Ihe great parks and , foa- its onl y comCor!
alld consolatioll. bawb al the top of ils voice ii, Ho ng uf salvation : Let U5 love one
a no//rer ... ""'rl - Icre WI'". clime n lIme . w,len Ihe accenls of Ihis workingman 's
Mll rseill alse ., le uk
' 1'1'" " 1;lrelua . e" MaSOlllc ' password . a nd when Ihe exiJcd , the ahan-
d~'le.l , arullhe lost , whctlu:r under Ihe devouring trQpical sky ur in the snowy
"'rldcl'llen, will he a ble tu say. ' I have nUlhing mure to f('ar- I am in Fa-ance! ' as he
h"llrs tI.is " irile melQd y perfullle tl.e lIir wilh its primordial fragran ce: ' Nous dont
la .lampo ' e 11181111 ' I AII CIBlrOIl
" 1111 coq se rllll Llmc, I NOli!! lous qu ' lln salaire incer-
~a' lI l Hanlene nva nl ('auhe Ii I'cnclume . . . '·-On the "Chant des ouvricrs":
"WI•.
~ n I hea rd t.hat wonderful cr y of mdancl.oly and sorrow, I was awed and
1I1(> \'t'd •"1 C'1111d Ill"
' " axunc ' I..ero Y• I.£5 Prerrller,
, Ami., fram;au de Wagner ( Parill
<19"" ) 5
_'H , pp. 1-5.5 1. 3 [d5a.I/
 011 ViClQr nu ~o ; " He placed the ballot bo:tt un turnilll lIlblel." Edmund J aloux
" L' Uomme (Iu XLX" siecle," I.e Tem/'" Augu~t 9, 1935. (d5a,2]
" Eugenll Sue ... was in certain l·cSIW!cts .. . similal· to Schiller-not olily i.n hi,
prefer ence for lales of crime, for collJOrtll5e. for blllr-k-and-while depictiolllJ. but
also in his predilection (or ethical a nd w cial i.u ueil .. .. Babac and Hugo viewed
him a8 a competilor." Egon Friedell, KullUrgeschichle der Nerueil , vol. 3 (Mu-
nich , 1931 ). p . J49. Foreigner s. such u Rcllstah , sought oul tile nue au).: Fevetl
where Les Mysl eres de Puris was begun . [d5a,3j
Oil Victor Hugo: "'This A!II;ienl , this uuiquegenillM, Ihie unique pllgan, this man or
unpllralleled genius was rIlvag~ by. at tbe very least. a double politician : a ()(lliti-
cal politician that made him a democrat, and a literary 1)Oliticiali thai made bim a
Romantic. Thi, genius was corrupted by talent(,)." Charles Pe«uy, Oeuvre. co~
piele•. 1873- 1914: Oellvres de prose (Paris, 1916). p. 383 ('; Vi c to~Marie, comte
Hugo" ). [d6,IJ
Apropos of Victor Hugo, Baudelaire " believed in the c~stt:.n ce of geniUll and
roolishness." Loui~ Barthou , Autollr de Baudelaire (Paris. 1916) , p. 44 (" Victor
• Hugo et Baudelaire" ). Simila rl y, before the planned banquet for the t€rcentcnary
of S bakes ~are ·. birthday (April 23. 186<1), he speaks of the "book by Victor HIlgl
on Shakespeare. a book which-full of l>eautie~ and stllpidities like all hill boo~
is almost certain to vex even the mU8t ardellt of his admirers" (c:ited in Barthou.
p. 50). And: " Hugo. priesllike . with hi, head alwaYI bent- too hent to lee lUJy·
thin~ except hill nave!" (citf'd in Barthou , p . 57). - [d6,2J
The puhlishers of Balzac', "'euilleton des journtlll.x politiques offered certain
books at lower-Ihan-a(ficial prices by bypau ing book retailt:.r s. Babae hinuelI
takes pride in this initiative. which he defends against criticisms frOID without. and
which he expects will creatt:. the imnlcdiate bond Iletween publisher Ilnd public thai
wall his aim . In Il aamplt: iu ue of the new8pal>eJ", Babac sketdlCs the history of the
book tnde and of puhlishing , inee the Revolution of 1789. to conclude with the.
demand : " We nlUS! finally lee to it that a volume i, produced exactJ y like a loaf of
bread , and is sold like a loaf of bread, 80 thllt there would be no intermediary
betwt..'en an autho r and a purcha8er other than tile hookseller. Then this bUl inesl
"ill be tbe most secure of aU .... When a book8t'ller is requirefl to layout l ome
twelve thoulialltl fran cs for every projec:t . he "ill no longer engage in any t.hat are
riijky or ill-cOlu:eived. They will realit.e. then , thai instruction is a necessity of
their profession . A clerk who hu leurnet.! in what year Gutenberg printed the
Bible will no longer imagine that being II bookseller is onl y II matter of having one',
name written u".:r a ! hoJl ." HOllore d~ Bub~uc, Critique Ijlleraire. illtroducu oo by
LQuili Lumel (Purii, 191 2). pp . 34-35, [d6.3j
PeJ in publishe. the leiter of a publisher who dl!Clures him,,·1f rend y to buy the
mUliuscript of a n author 0 11 the condition li,at he-call IJuLlisiJ it under the name of
some other author of his choosing ("on the condition . . . that il be signed b y
! omeIJue whose name wuuld be. According to my calculations. a spur to I UCceu") .
Gabriel P~ lin. Les 1~li/Je lJn rlu bcrw PlIris (Pari" 1861 ), 11,_.9&-99. [d6,41
Fees. Viaor Hugo receives 300,000 francs from Lacroix for u; Mis&ahkJ, in
exchange for rights to the novel for twdve ~ars. "Jr was the first time Viaor
Hugo had received such a sum. 'In tv.'enty-eigbt years of furious labor; PauJ
Souday has sald. 'with an oeuvre o f thirty-one volumes ... , he had made a total
of about 553,000 francs ... . H e never earned as much as I.amartinr:, Scribe, OJ"
Dumas pere ... .' Lamartine. in the years 1838 to 185 1, made close to five million
francs, o f which 600,000 were for the His/oire de; GironditIJ." Edmond Benoit-
Uvy, "Lu MiJi rah/u " de Victor Hugo (Paris, 1929), p. 108. Connection between
income and political aspiration. (d6a,l]
"When Eugene Sue, following UPO" . . . Les lHy, teres de Londrc. <by Paul
Feva!> •... conceived the project of writing I.E. iUys feres de l'oru, he did not a t aU
Ilropose to arouse the inlerest of the reader with a description of society's under-
world. He began by characterizing hill no\'el as a n histoire jontlUliqlre . ... It wa,
a lIew8paiJer article that decided hi8 future . UJ Phawnge praised the beginning of
the novel and opened the author's t:.yes: 'M. Sue has just set out on the most
pt:netrating critique of society.... Let us congratulate him for having recounted
... the fri ghtful sufferings of the working clalS and the cruel indifference of soci.
ety.' Th" author of this art.icle .. . received a visil from Sue; tlley talked-and that
- it how the lIuvel already underway was pointed in a new direction .. • . Eugene Sue
CUQvioced himself: he took I)art in the electoral hattJ" and was e1eeted . . •
(18<18) .•.. The tendencies a nd the far-rea chin ~ r.ff~ tl of Sue'! novelll were such
that M. AJfred Nettement could see in tbem one of the determining caules of the
Revolution of 1848." Edmond Benoit -Levy, "Les Muerables" de YIC£or Hugo
(Pari!, 1929). pp. 18-19. [d6a.2J
..0\ Saint-SinlOnian poem dedicated to Sue as the author of Le. My,tere, de Porn:
Savioien Lapointe. " De Mon EchoPI)e·t <1\ly Worksbop> ,' in Une YOLx d 'en bw
(l'ari,. 1844). PI'. 283-296. [d6a,3J
" After 1852. lhe defendcrs of the ed ucator 's art are much leu numerOIlS, The most
important i~ Maxime 011 Camp." C. L. de Liefd e, Le Saillt-Simollisme dans w
PQesie/mn(oise dharlcm, 1927), IJ. 11 5. [d6a,41
"l.P.., Jeal/ites. by Michdca and Quinet. d atc~ fr om 1M3. (I.e Juif errtmt (The
\\fand t:ring J ew) appearell ill 1844)." Cbarl~9 8rull . I.e Romall social en France
au :<IX~ siec/e (Paris . 19 10). p . 102. (d6a,51
·'I..e Co nlfitlltionnei.going from 3.600 suhseriLer·s to mOl'C Ihall 20,000 ... 128,074
VO l es gi villg t: ugene Sue a ll eie<:torallllalitiale 10 bcxtlme Il d eputy." Cha rles Brun .
Le Roman ,ocial en France flU X IX- siecie (Pa ris . 1910). p. 105. (d6a,6)
The novcls of ~orge Sand led to an inc~ase in the number of divorces. nearly
all of which wert" initiated by the wife, The autho r carricd 0 11 a large correspon_
dence: in which sh e functioned as an adviser to womt:'n. Id6a,7]
Poor, but deanly - is the philistine echo of a chapter tiLlt:' in U J MiJimbleJ.' "La
Boue, mais I'amen <Mire, bUl Sou1>. 18 Id7, 1)
Balzac: " Mutual education produce8 100-60u$ pieces made of human flesh. Indi_
,-iduals disa ppea r in a po pulation Il'velcd by instruction ." Cited in Charles Brun ,
Le Roman Jocia/.en France au X IX· . iecle (Pam , 1910). p. 120 . id7,2]
l'ilirbeau lind Natanson, Le Foyer <T he Hearth > ( I. 4). Duruu Cuurtin : '; It is not
desirable that education should be I!Xlended any furth er .... For ed uca tion is the
beginning of ca6e, alld ease is 110t within ever yone', reach." Cited in Charles Brun.
Le Roman "acinI en France a u X IX' "iecle (Paris, 19 10), » . 125. Mirbeau merely
tepesu here . in satirical \'ein , a 58 ylng of T hiera <cited ill d 1, 1) . (d7,3)
"'Babat -unbridled romantic by "irtue of the lyrical tirades. the bold airulllihca-
tion of character s, and tbe compl ication of plot- iR al the Sllme time a realisl by
virtue of thl' evoratioll of place and social milieu, alilia naluralist by virtue of his
laste for vulgaril y a nd his scientific pretensions." Charlt:s Brun , Le Homtln ,aciol
en France C.IU X /X~ . iecle (Paris. 1910), p . 129. (d7,4)
Napoleon', in/tuence on Babac, the Napoleonic in him . "'The spirit a nd mettle 01
the Cramle Armtre in the form of grt:ed, ambition , and debauchery : C ra ndt'l,
Nucingen , Philippe Brillau , or Savarus," 11 Charlcs Brun , l..e Romtw , oeial en
France all X IX' ,i« le (Pllrili, 1910), p. 151. {dt,S]
" Balzac ... Iluotes as a uthorities. , . Ceoffroy Sainl -I'Iilaire and Cuvier," Charlet
Brun , Le Roman , ocial (Paris. 1910), p. 154. (d7,6]
Lamllrtine and Napoleon. " In LeI Deuimiel de It, poeaie, in 1834, he speaka of , , •
his contempl for this age , , . of calcula tion and power. of number!! and ~e
aword .. , . It wlls lhe age in which Esm(!Ua rd sang tile praises of navigation. Cudld
of a~ tronClm y, Ricard of sphercs. Aime Martin of Ilhysicii a nd chemistry.• ' . 1A ~
martinf' said it \'cry well: ' Number alom: is allowed , honored , protetJted . and
recompcnst!41. Sillt.'e number dues nol think , lIince it is li n .•• instrumcnt , .. th.at
never askil whether il is made to ser ve Ihe ul' prc8Sit)ll of humankind or Itt
, , , . ,,, J ell"
deliverance, . .. the military le ad~r of this e n! wallwd no Ot.lll:I' ennu ary, J901
Skerlitch 1.. 'O,)inioll publiqlli! en Fnrnce d 'flprel 1« poesle (Lausulllle. )1'
p. 65.
• {d7,7
" Romanticism proclaim8 the li"I'rty of art , the C1lualit y uf J;Cllrt'S. and the [rater::
nity of words (all umler one entiLlellient as citiz.:ns uf the French IUII",'u age)·
Georg.·, Renllnl , lA. Melhodf! 5cil'IIl ijiqUtl ,Ie l 'hiMoire liu eraire (P.dris, 19(0),
)lp. 219-220, ciled in J ean Skerlilcli. L'Opinion pu/,/iq"e ell Fmnce d'('pre, m
ptH!$ie(La u8.. nnc, 19(1 ). pp . 19-20 ,
Id7.81
The magnifice:nt ttventh book o f the rourth part of us MiJirahleJ, "l!Argot,"
lvinds up its penetrating and audacious analyses with a gloomy rcBection : "Since
'89. the cntire people has bt:'en expanding in tht:' sublimated individual: there is
[10 poor man who , having his rights, has no t his ray; the starving man feels
within himself the h ono r of France; the dignity o r the citizen is an interior armor;
he who is m e is scrupulous: he who VOt es reigns," Viaor Hugo, OeuflreJ com-
pleleJ, novels, voL 8 (paris, 188 1), p. 306 (Les M iJi rables)." Id 7a, 1]
Netlt'menl 0 11 Ihe digre8sioll8 in I.e~ Mi"erables : "TheoSt' bit! of philosophy, of
IlislOry, of social economy ur t' like. I:old-wuter tllpS that dou8e the frozen Illid
discouragC(1 rCllder. It is hydrother a py applied to Iiteralure. " Alfred NeUement ,
l.e Rcmmn con/emporain (Paris. 18M), p. 364. [d7a,2J
.; ~t. Sue . in Le Ju if ermnt , hu r la insults. a l religion ill order to 8crve the
Ill1tipatllitlll of Le COlUlillltiOllllel . . , . 1\1 . Dumas , in ttl Dame de J1Ion.toreaJ.l.
hea p! seorn 0 11 royalty , . , 10 aC:COlnmodnte Ihe passionli of thi! same new8pa-
per, ' . . while ill La Reine Margot he conform8 to tl... ta8te of the gilded you lh at
1.6 Preue for ... ri!(lue paintings , ' .. and ... in I.e Comie de Monte-Crilto he
Ileities money and i1l\'eighs agai.1I81 the Restoration 10 pleaae the world of civil
serv8nt8 who cO II ~egnted around l..e Journal del debats." Alfred Neltemcot.
Etude5 crititille.t ! ur lefeuiUelon-roman , vol. 2 (Paria. 1&16), p. 409. [d7a,3J
Victor Hugo: owing to a law of his poetic nature, he has to stamp every thought
with the fo nn o f an apotheosis. {d7a,4)
A wide-ranging remark by Ommo nt : "AlmOSt all the leaders or the movement o f
the school o f 1830 had the same son of constitution : high·strung, prolific, enam-
o~d of the grandiose. Whether it was a matter or reviving the epic on canvas, as
with Oclacroix, o r portraying a who le society, as with Balzac, or or putting four
thousand yt:ars o f Llle life or Hwnanity into a novel, like Dumas, all , .. were
POSsessed of sh oulders that did no t shrink from the burden ," Edo uard Orumont,
u s HirrJJ (I I(s pitm (Paris <1900» , pp. 107-108 (MAlexand re Ownas pere"),
[d7a,5}
'" For til(' l,as! fift y ycu.rs.' sai,l DlIl,tor I)t'lIlarquay III IJUlll il 8 fi ls one da y, ' aU our
n1vriLullti plltil'lItI IUI\'c died with 0 11 (' uf your fall ler 'll 11 0 \ '('[8 limier tllI'ir piJiow. ,,,
~;duu al'(l OI'\lmOIlI . l..e! /-Ieros el i f'S pitref (Paris <190(h), p . 106 (,'Alc" alldre
l)u lnas l,ere"I. [d7a,6]
!u Ille l,refa{'1' to I,ell PUy!ltIll." HlllzlIJ: ~pt';lk,!; re proll {'hfu ll y uf LillI y"lIr 1830 ,
'whidl did IWI remt!lllher tha t NIIIJ"lellll h lld (lrcferrt'J III risk failure r lllllt'- r thll ll
blrm tJlf~ mou es." CiH>{1 in CII . CnJi" pe . Bf.luoc : SCI Ideell ,1ocio.lel1 {If.·ims and
Pa ri!! <1 906 », ,, . 9-1. (d7a,7]
" Bourget h U8 n'lIIl1rkc<1 Iha l Balzac's c horal:tc rs. . a pl'.ca rcd ill rca l lift: even
Ul(l re frC'- luentl y after Ille (Icnth of Ihe novelist : ' Balzac, ' 11(' sa ys. 'l!t'e nlS Icu Lo
have " bse r ved the societ y of his age Iha n 10 ha ve ctJ nlrih uted to t.he fo rma tion of
a ll uge. Cc ri llill (If his dUl r lu:ten we re mo re t r ue-to-life in 1860 Ihllil ill 1835.'
Nothing mo re jus t: Bain e delierve!l 10 he ciaS81!(1 amo ng a nticipa t u", of the first
o rde r .... T hirt y years la te r, reality a r ri" ed 0 11 the lerrain t ha i I<is intuitio n bad
al read y c rossed in a singh- OOurlil. H. Clouzo t lind H.-H. Va lensi, Le Paris ck III
M
Comedie hllmuitle (Par is. 1926). p . 5 ("Balzac e t ses four nislICu n "). [d8.1}
Orumo nL . 100 . inclines 10 the vie,,' tha t Balzac's gifl was a pro phe tic one. Occa-
sio nally, howe,·t>r, he rt'vc rscs the tenus oflh e equatiun : " The pcopleof lhe Second
Empi re wa n led to he ch a raclt:rs from Balzac," Edo uard Orumo nt, Figurel th
br01l:e Ol/ ll tatlleIJ de IIeigf' (Paris ( 1900 ». p . 48 (" Balzac") . [d8,2]
lJalzHc. speaking tll rough his countr y (Ioctor: "The proleta ri.aus 5t!em to me to be-
the minor!! of the IIl1ljo n , ond should always rcmain in a stalc of LUleiage." 13 Cited
in Abbe ChurlllS Cali ppc, nubllc: Sell IdeeJ $ocicilell ( Reim!! and Par is <1906),
p. 50. Id' .31
Balzac (like Lc P lay) was opposed to the parceling out oflargc estates : "My God,
how could anyo ne fail to ~alize thai the wonders of art are impossible in a
country without great fo rtunes !" (cited in Charles Calippe, p. 36). Balzac likewise
draws attention (Q the disadvantages that result when peasants and petty bour-
geois hoard their mo ney, and calculates how many billions are in this way with-
d rawn from circulation. O n the other hand, the only remedy he can recommend
is for the individual. by hard \\'Ork and wise economy, to become a landed
proprietor himself. H e thus moves within contradictions. [d8,-4]
Geo rge Sa nd heca me. aCllu ainled with Agricol Perdiguie r in 1840. She say.: " I waf
sh 'uck by tilt' mo r ul imporlonc{' of Ille topic, a nd I wrute the novcl /..e Compllgrwft
dn lo ur de f'r{J/lce 01lt of ! inccr ely »n:.gressi,·e ideas. " Cited in Cha rlca SenoiAl,
uL' Holl1lDe d r- 1818:' lIorl 2. Hf'IIUC lIes deux mOlldelJ (Fe bruary I. 19 14), PJl'
665-(>66. [d8,S]
Dumas I>crc OCC lIl'it'd alm08t lIimulta neous ly. with tlin'c of ili! nMei6. Ihe fe uille-
ton St:i'liOns of l.n P resse, LR COll s,illltiollllel. ami I.e l Qlfrrml des dClJII I,~ . [d8,6j
Ncllc l11cnl 0 11 Ih.· IIl yl.· uf Dumu~ J1erc; " It i! us uHII )' nllturill ami rl.lllliYt.ly ra pid.
but it lar-k~ fol'l'c 11I'('III1~I' IIII' Iho ught it c xpre.sses .lues nut go ve ry .Iet " . It ls 11,1 the
sl ylt' uf 1;1"1' 111 ,,' rile rl' wha t Iit h" gr allily is 10 cll b'l"uving." _A lfred Neltcnlf:nl. lJiMoire
de tll li u er flllf rr jruflt;,ffi,~e SO W I Ie Go u llerw~men l de j uiU!!. , ( Parill. 11:159 ), vol. 2.
lip. 30fr-J07 . {d8.1j
Sue. compaf"Cf1 with CcorgCl Sand : " Once again WCl have a protellt againlll the Slate
of society, but. this time, a coUecti ve pro h:11 .. . unde rta ke n in the name of the
PllBl>io ns all.J inte rests of the largest d assel of societ y." Allred Ne tte ment, lIistoire
li e III liu eralllre jran(; u;le scm" le Go u lJerne me nt de juillet (Pa ris, IS59). vol. 2.
p. . -~
Nc tlt"IDeut poill lA o ul tha t S ue', novels, which so ught 10 unde rmine the Jul y Mon-
a rchy. were Jlublis hed in neW6papers , (Le j ournol de, debatIJ and Le Cunstilution _
nell t haI we re o n iu side. [d8a.2}
Regular cus tomers a t the brau e rie o n du~ !tue des Ma rt yrs: Del va u , Murger.
Dupont , Malassis, Buudelaire. C uya. (d8a.3]
J ules Berta ut Jieelj Balzac'I importance in ter ms of Ihe action of significant figure.
in a milieu dete rmined lIy the tYI>es of tha t da y'li sociely- whic b is to 8a y. in temu!
of cha racter study pe rmeated by the stud y of ma nner s. Apropos of the latter, he
writes: " One need o nl y per ust: Ihe innume ra ble physiologiet . . . to see how fa r thia
literary vogue hall come. From the Sc hoolboy to Ihe Stockbruker. and takin,;
acco unt of the Dry N Ul"le, the Sergeant , alld the Sc.Ue r of Countermarkll in be-
Iween . it is an e ndiellS sllcce u ion of petit. portrait, . . . . Balzac kn owll the genre
",·eU; he h as cultiva te!1 it. Small wonde r, the n , lhut he seek s to give us, t hrour;b
theae means. the pictu re of a n e nti re societ y." Julea Bertaut, " Le PeN! Goriol " de
Bohac (Amiens. 1928), PI>. J 17- II S. (d8a,' ]
"'Vic tor Hugo,' saya Eugene SpuUer. ' had gone along with the viewa of the reac-
tio na ries .. .. He had COnSiltClntl y voted o n the right ,' . . . AA for the question of
the national works ho ps, o n June 20, 1848, he declares the m a do uhle e rrur-frum
a political as we U as a fin a nciai l ta ndl)Oint . . .. In the Lep sla ti veAasembly, on the
olher ha nd . he ttlrllS 10 the left , he<!o millg o ne of its . .. moSl aggreuive o ra ton, III
this he<!a ullC of a n e volution . . . , o r is it due to wounded pride and penunal
bitterness against Louil Na poleon , unde r whom he s uppoted.l y wis hed--even ex-
pected- to beconle minis te r of public ins truction?" E. Meyer. V'lCtor Hugo 0. to
t ribune (Cha miJi ry. 1927), pp. 2, 5 , 7 ; cited in EugeneSpuUe r, Hu toireparlemen-
l ui r e de 14 Secorule Republiqll.e, pp . III , 2M.. [dSa,5}
'~A Iliselission having upetled be tween I.e non-Sens a n.J La Preu e over the ques-
tiOIi of Girardin 's fort y-frO liC newApa pe rs. Le Nfttiotlill inte r vened . Becau se La
Prelse had tllken this ufJPo rlunil y 10 mo unl a jle r so nul a ttac k 011 M. Carrel, an
enColinte r luuk pluce be twee ll lilt: la lle r an.J till: editur-in-c hief of La Preue. "- " It
Was the political press 11101 feU, in the persol1 of Ca rreJ , befo re Ihe indu strial
Ilrcss." Alfrt'd Nc ttc me nt . II i$ wirfl rle llllitter u llfre jra nr;lIise 5U US Ie Gou llern e--
"' e'lt de luWet (pa ris. 1859). vol. I . p . 254. [d8a,6]
:'CUflIlnunii m , ... Ihat ... logic of de mocr acy, i, alread y Loldly attac kin g societ y
III ih mo r al assum ptionl . whe nce it is eville nl tha ll!.e pruleta riall Samso n. gTown
prudent . will hen ceforth u p the pillarll of suciety ill the Cf:Uar. instead of ahakibf;
them in the banJ.tuet hall ." Balzac , l A J PUY.II ans;1i (cited in Ahbe Ch arieR CaliPIJe,
Bohac : Sel Idee.ll .IIocialel (Reims ami Paris d 906~ ) . )I . 100. [d9,11
Tral'elliter aturc : " It ill FrHllce that fi n t ... rcinforCI'41 itll armies wilh It hrigade of
geographers. naluraLists, a nd archaeologil t ~. The great achievemenhl in Egypt . . .
marked the advenl of a n urdcr of workll p reviously unknown ... . The Expedition
scientifique de La Moree and the Expwration !cientififJue de f'Algi d e are worthy
additions to this greal line ... . Whether scientific in spirit , scrioull or light •.. ,
accounts by travelers ... have. in our time, found a considerable vogue. Alo"&
with novt:ls. the y fonu the sta ple fa re in reading rIllIlIIlI, numlH!ring. on averaS'!o
some ei&Jtty works ver year. or twelve hundred publications in rutl!C.n yeaH."
This, on average, ill nol much more than in other fi elds of natural scicnce . Charlet
Louandre. " Statistique litteraire: De ta Production intellectuelle en France depuis
quinze an8 ," Revue de. deux mantlel (November I , 1817), pp . 425-4 26. [d9,2]
From 1835 on , the al'crage num ber of novels produced annually is 2 J~pprox.i.
mately the .arne al the number of vaudeville- productions. [d9,3J
Travel literature. It f'nlis an unexpeClted application during the Chamber's debate
on delwrtatiolls (April 4-, 1819). " Faroonet. who wal the fi rs t 10 oppose the proj·
ect. brought up the tlueltion of the lalubrity or the Marquesall hlands . . . . The
member who had presen ted the report replied by reading lome travel accoun!t
which depicted the. Ma r1luefills .li S ••• a veritable panulise .... This, in turn.~ drew __
.. . the angry respollse: 'To offer idylls and bucolics Oil a s ubject 110 grave it
ridiculOull ...' E. Meyer, Victo,. HUjJo Ii Ia t,.ibune (Ch amber,., 1927). p . 60. (d9,4}
The idea for La Comidie numo.i,u; came to Balzac in 1833 (the year in which u new " aper, ... I.e Globe . This worthy predeccnor or L 'Epoque . . _ was aimed at
Midean t.U campagm was published). The inBuence of Geoffroy Saint-Hilaire's
theory of types was decisive. To this was added, on the literary side, the i.nfI.uence
of Scott's and Cooper's cycles of novels. [d9,S]
III il.Ji lIecond year of publication , in 1851 , the " Almonach des re!o,.mateurs .. . .
ill which the government is presented as a necessary evil , brings together the
expose of communist doctrine with verse translatioll5 or Martia l and Horace. with
l idelights on astronomy alld med icine, and with all II0rt of ustJlI1 lips." Charlet
Benoist , "u 'Mythe' de la classe ollvrier e." ReVile lies dellx mande! (March I ,
1914), p. 9 1. [d9,61
Derivation of the feuilleto n novel, whose appearance in newspapers qrunediatdy
entailed dangerous competition for periodicals and a marked decline in the pro-
duction of literary criticism. The periodicals, in rum. had to decide whether to
publish novels in in.~tallments. The 6rst to do so were: La Revue t.U Pa.,u (edited by
Wron?) and La RelJue des deux 1fwn(leJ. "Under the old state of affairs, ajounwl
with a subscription rate exceeding eighty francs was supported by those whose
political convictions it expressed .. . . Under the new arrangements. a joumal had
to live by advertisements, ... and in order to have lots of advertisements, the
fourth page. which had become a publicity display, had to pass before: the eyes of
a great man)' subscribers. In order to have lots of subscribers, some bait had to be
fou nd that would speak 10 all opinions at the same time, and that wouJd substi-
rute. for politicaJ interest. an item of generaJ interest ... . This is how, by starting
from the forty·franc newspaper and proceeding on to the advertisemcnt, we
arrive, almost inevitably, at th e serial novel.n Alfred Neuement, H istoirt t.U III
liltiratunfiun(aise sous Ie GoulItrnWlenl dl' ]llillet (paris, 1859), vol. 1, pp. 301-
302. [d9a. l}
Sometimes. in puhlishing a no\'d in s~rial fu,.m , one would leave out part of the
work i.1I order 10 gel the news pape .... reading ImhLic to buy the book. [d9a,2J
In the edito r's preface to J oumct's Poisies d chants hanlloniau, Uncle Tom j Cabin,
by H arriet Bttcher Stowe, is quite appropriately placed on an equal footing with
La Mystem dt Pa.,u and UJ Misirahles. [d9a,3]
" From time 10 timc_ oll e could rcall . in Le }on,.lIo/ des (Jeba ls, I!.rticles by
M. Michel Chevalier or M. Philarete Chuslcs •. , . artides of a s~iall y progrenive
tendenc y.. . • The progrcssi"e articles in the Debats were customaril y published
during tile fQrtnighl preceding s ubscriplion renewals, which occurred every £Ollr
mouths. On the eve (If lurge renewals. Le } o flrnai (tell debats couJd be found
fU ,.ting with radica lism. This helps 10 explai n how ~ }oumal de! debo u could
underlake the bold publica tion of l.-e. Mysteres de Paris . . .- bul this time, that
imprudent newsp aper had gnne further Ihan it realized . Ai; a consequence, ma.n y
wealthy hanker s withdrew their sUPIl0rt for Ihe Debals . . . in order 10 found a
doing juslice to the incendillry ,heorie! of M. Enge.n.. Sue and of La Democratic
pacifiqu.e." A. Toullsenel. Les juifj. ,.oi.ll de I'epoqlle. cd . Gonet (Paris ( 1886».
'"01.' 2, pp. 23-24. [d9a.,4)
The boheme. " Wilh Un Prince de kI boheme (J84O), Bllbac wanled to portray a
. .. chll rao teristic of Ihis nl!.sccnt boheme. The a morollS preoccupatioOiI ... of
ltu.liticoLi de la Pulfcrine li re only II Ba lzal'iuu expalll;ion Ul'0ll the triumplls of
Marrel lind UoJolphc,"i wh.ich " 'Quld 800n follow .. . . This novel conlains a grall-
tliloqllelll df"fi n.itioll of huhemi nnism • .. . the fint . .. : 'Tbe " aheme-wll ut
~ !Jf>1I 1d be called till' tl nt· trine of the Houl,·va rd d t"~ h aliclIs--cOnsisl!I of yOllllg
)I"O[lle, ... 1111 men of genius in th t:i r way. 1111'1.1 U ye t littlt, known , hul 1;00 11 10
h"corne klltlwn ... . He.n ' filiI' m~ l s writen , udministralflrs, soldiers, journuBsts.
ul'lists! If th,· emperor of Hu ssia pUrI·IIlIsed this Imlll'miu for twellt y milliun
frll nl.:8, ... and if it wt' rt' subsequently deJlurll'IllO O.lt'!Isu. , Ilwn ill u y..ar Odessa
wOIIJd be 1·lI ri!o. ' ... ()lIring t.hili sallie (wl'iod , Ct'<)r~f: SlIml ... lind Alphollse
" a rr . .. il;itiuII·t( bohemian d,.dell . . .. But IIIt'st: wel'l; imugl uury bulU'miu~: lind
Iha t of Balza c Wil li entirely fantastit:. 'I'll.. huhemia nilO ni tlf 'l' ln~'o phile Gllutier. on
the other hand . lind that of Mur'ger, have bet:n talked about 80 much . . . that
today \<,e can gel an idea of what they wer e. To leU the truth , Gau tie r and bit
friend! ... did 11 0 1 realize right away, in 1833, th at they were buhemia na. they
wer e content with calling themsch'es ' J eune France' <Young France> .... T heir
poverty was merely relative . .. . Thia bohemio.niam ... waa the boheme g aiante j it
could just aa well be called gilded hohemiR ni ~ m , the bo/l eme doree .... Ten or
fifteen yean later. ar ound J843 , therewRsll new bohemia ... ,the true boheme.
T hfophile Gautier. Gerard de Nerval, Anene Houu aye were then approachin«
forty; Murger and hill friends were not yet twenty-6ve. This time, it waa a genuine
intelJectuai proletariat. Murger wall the NOli of a concierge tailor ; Ch ampfleury"
fa ther waa a aecretary at the town hall in Laon ; . .. Delvau ', father W88 a tanoer in
the Faubourg Saint-Marcel; Courbet's family were qU88i-peasantl . . .. ChllDlp-
Aeury and Chintreuil wrapped packages in a hookltore; Bonvin wal a working_
class typograllher." Pierre Martino , Le Roman n!amte .ou.! Ie Second Empire
(Paril, 1913). pp. 6-9. [d10,I]
In the early 1.840s. there wal a copying proceu known al the Rageoeau p re.. ,
evideotly based on lithography. [dlO,2)
Firmin MaiUard , La Cite du intetlectueu (Paris d905 » , pp . 92-99, offen an
abundance of information about autho r 's fees. [dlO,3j
" Balzac ... compared hill critique of Parisian journalism to Moliere', atlacQ oa
financiers, marquis, and doctors." Em sl Robert Curti w , Bauae (Bonn, 1923).
PI" 354-355. [d IO,']
On B a l~oc: " Whot enables us to l ay Iha t he was perhaps nol very truthful after
1820 is the oft en exprened view that he wondroul ly painted in advance. and
prophellied , the society of the Second Empire." Edmond J aloux, .o w
Romancien
et Ie lenlpl," I.e Temps. December 27. 1935. [dl O,5J
Prom La martine's "LeUre en vt:rs Ii M. Alphonse Karl''':
Every man can proutlly &ell Ihe Iweal of hi. bTUw ;
I &ell my bunch of lVapea aa you do yourflowe" .
DaVVY when its nectar. under tile crush of my lool.
"10wl in amber sirea ms lhrou~ aU my woru.
Producinlll for its miller, dru nk with its high price.
Much flold with which to buy much freedom !
Fale haa reduced us 10 counri ngour wallles;
Day-wages you, nighl-wagu me: two merCf!nari u.
8uI bru d well earned;8 hread well broken. 100:
o Ihe glory ol free nlC:" beholdt: n 10 none ror their u lt !
VeuillOl , wlto cites this tex t. haa th u to aay: "Until now, it wu felt that tbc r~Onl
IIUII can I.e pu rc h a ~ed with money i. nOI the sort that men of conscience are in the
habit of pursuiug.. . . What! .. . You Ilou ' l know !hilt Illc way to be free ill to heap
~co rn on gold? To secure this freellom aCtl ui ret.i through gold • . . . you prod uce
your booka in till! , arne mer cenary fa s.hi un a8 YOIl IIr ot.luee vegetable!! .and wine.
You will dclftllrlll or your facultit.'1I a double or a triple Ilar\'e..;;t: yo u ""U atart to
nlarket your ea rl y proouce; the muse wi U no longer vuit vol ullta ril y. htlt will toil
night and day like a drudge . . . . And in the. murni.ng. you will cast ht.Jol·e the
puhlic II page8cri hhlcd over in the COllrlllt' of your lIocturn allucubrations; yo u wiU
1101 i!" CIi hother rere/ulillg till' ruhhish tbat covcn it , though yo u will certainl y
ha,·e counted th e number of lines it contains." Louil Veuillot . Pa8e~ ehouie.! , 00.
An toine Ai ballll (Lyon, ami Pllris, 19(6). p p . 28, 31- 32 . (Karr 80ld flowers grown
011 his estate. nea r Nir.e.) [dI Oa, I]
" III vain Sainte-lJeuve aUows himse.lf, out of a deep-roo tell Ilntipathy, to fl y into a
rage against t.he aut.hor of u. Comedie Irlmwillc. But he is right to observe that ' the
vogue for serilll Jlublica tion , which re(lwred , with eoch lIew chapter. that tlte
reader be struck II hearty blow, had driven the IItyiistic effech of the novel to a n
eltlreme and desper ate pitch. '" Cited in Fernand 8 aldenaperr;er, " Le Raffermiase-
ment des techniquea <dans 18 litterature occidenta le de ) 1840," ReI/lie de liuera_
tllr*! eomp(r ree, 15 . no. 1 (J anuary-March 1935), p . 82 . (dlOlI,2]
In reaction to me serial novel, there arose-around 1840-novcl1as (M6imce)
and regional novels «Barbey> d~urevilly). [dIOa.3]
Eugene de Miret,."(Iurt . W Vr ui..! Muer(lb le. (Paris , 1862). recalls Lamartine'a Hi.!-
Loire de~ Ciru(ldim and surm ises that lIugo wanted ltI prep llre his political career
with hu novel a8 Lanlartine had done with his l'opll.lar hillory. (dl0a,4)
Ap rol)OHof Lamartine and Hugo: " Instead of fostering the notion . . . that people
ahouJd foUow devo tedly in the steps or these sincere souls . we sh ould investigate
the underside of aU sincerity. But buurgeoi, culture and democracy are too greatly
in !teed of this value! The dem()Crat iNa man who wears hi8 heart on his aleeve; his
hea rt is an excuse, a testimonial, a lI uhterfu ge. He is p rofe~NionaUy heartwarming,
so he Can di~ IHm se with beillg truthful. " N. Guterman ami H . Lefebvre. La Con,.-
science my.!tijiie (paris ( 1936 », p . 15 1 ("Le Clutn tage et la sincerite" <Blackmail
arul Sincerity» . Idll ,l ]
0 11 Lamartine: -'The fa tuity of the poet is indesc.ribable. Lamartine (it.'"t!ms himsel£
a Stak!sman in the molll or Mirllheau , and he boa ~ t s (IInllther Tu rgot!) of hsving
hthorl!d tl'l"I':lIty yen rs ill Ihe lItlld y of politica l economy. All eminelltlhinker. lie's
c:o lwin c~ t! that he draw8 up from the deplhl> of his 8uul ideas thllt he aClu ally
cill ches 0 11 the wing and c1(l the~ in his own im age." Emile IJllrr auh , " Lamartine ,"
tox lrat· t from Le Nationai llf Murch 27. 1869 (Paris, 18(9). p . 10. [dl l ,2]
Alfred DeI~ au ( UI25-1867): " He .... a,'; a chilcl uf Ihe qllllrtier .Mouffetart.l .... In
1818, 11f: hecam c prh'ate aet:rela r y to I..cliru- Hollin. Wltll was then miui8te.r of Ihe
intt:rior. ": "'clIl8 having lir .... lHlud y remo ...ed him (rom active politici. he de... oted
himself to leitei'll . making hili dd ..... ' with ti(l \'eral newspaper Hrtie!c8. . . . In Le
jourlw/ /Imu~ mll . UJ Figflro. nnd ~o m c 1IIIII"r j otlrl1f1h!. he JluLlished art iclcs deal.
ing mainly with Puris.i all clIslmnli and practices. For some lime. al I.e Sieck , his
special H8s.ignment was l.ilf" Puri!! IQwn C(luncil.'· Durillg Ihe second half of the
1850s. he WIIS in exile ill Belgium . where Iw Imd fl ed to e8t:ape a priHOn &e.ntence
incurred while. he was editor of v Rabela;". Later, he would entlure proseculion,
for plagia rism. Information ill Pierre Larou.~se, Gra nd Dictimmaire universe! du.
XIX' sieck, ...01. 6 (Paris. 1870). p . 385 (a rtide: " Delvau"). Id lI ,3]
During the reigll of Na"nlcc)II 1I1 , Benjlllllin Gastineau h:ul alread y heen twice
deported tuAlgcria . "U nller the Paris Commulle, M. Gastinea u was named inapec.
lor of rnmlllunal libraries. The twenlieth council of war, dmrged with Irying hilt
case, could find 11 0 evidem:e of a n)' hl'eacll of C(lIl1mOn law. He was nevertheJeS!
condemned to lleJlllrili till1l in a fortified ceU: ' Pierre Laroua&e, Crand Dic (io,.~
noire unit)erJI?i dll X IX' 5iecle. vol. 8 (Puris, 1872) . p. 1062.-Gauineau had be-
gun his career as a typt'flelter. [d U,"]
Pierre Dupont: "The poet, as he says in one of his litde poems, 'listens, by turns,
to the forests and the crov.·d .' And in fact it is the great rustic symphonies, the
voices through which nature in its entirety speaks, as well as the clamor, the
griefs, the aspirations and lamentations of the crowd, that make for his double
inspiration, The song such as our fathers knew it , , , , the drinking song or evc:n
the simple ballad, is utterly foreign to him." Pierre Larousse, <Grarub DictionMirt
uniumt:i du XIX' Jiecie, vol. 6 (Paris, 1870), p, 1413 (article : "Dupont"), Hence,
with Baudelaire, hat::red for Beranger is an element of his lave for Dupont.
[dlla,ll
Gustave Simon deKcribea Ihe sc:ene8 tltat look pl a c~ in fronl of Paguerre's book·
shOJI when thl! st'conJ alUltltinl par ts of Le5 Mj_~e r(lble5 were deli ...ered : "'On May
15, 18(12. ' he writes, ' a littlt' befure 6:00 in Ihe murning, a ,lensecrowcl Wall gather-
ingolilhe Rut' de Seine before a shup thai ",'as still closed . The crowd kept growins
la rger alld , impatient with wailing. bel'aml! lIoisy. even riotous .. , . The pa ...emenl
was ob~trucl e,1 by an impassable jumble of delivery carls , pri ... ate ca rriagetl, caba,
f;ari.)lell. ami '·... (' 11 wlu.:elharruw~. People hod empt)' haske18 011 thd r baeka, ... It
wa! 1I0t yet 6:30 ",·hell lilt" cro,,·lI . I.ec:OIuing nJ()re unruly by the nliuute. starled
pushing against Ihe shupfrulli. while tlullie in Ihe va nguarci kn()l!k~i witb redou-
hied fOI'ct' Oil the d our, Sudden I)'. a wind uw WIl S opem:d 0 11 tltt' 5r cond Hoor ; a lady
apj>ellr~d allli t::d lOrtctllhe assc mhled ci tizens to he more patienl . , , . 1;heahop to
whirh they ""('n' preparing tu IllY sil'gt" "" Ulluilt' innfftlll~i ... t": 0 111 )' hooks were sold
1I.II:rc . It was )laguerre'li huokshop . Tlu' people lmrli/lg ,hcln!lel"'eHallbe buildi n 8
were hookst!) .... clerks, ugl' nls . llU ),erll. ami hrokt'rs. The hill y who spoke (rom ber
$('{:ul1ll-llour wi ndow WH1I Mlltlallle Pa!!:!U·rre. ,., AIIH'rt III" U e~ anrO llrt , 1.e5 Pam-
IJll ku cmllre \fietor lIugo (Paris). pp . 227- 228; eilild in Gusla ...e 5 im<lll . ·<Let
Origines de. l'ttise ~ablu , '" in La Revue de Paris. and in letter . abo ut the hook
,,'hieh Sinlllll publisbed in l..a Revue), Idll a,2)
}'I"rrol de Cllezelletl , in his pamphlet "Examl'n tlu li ... re defl l'tti$erabk. d e M . Viclor
Hllgo" (Paris, (863). makes dUll more general conlribution to the charac teriza tion
of Victor Hugo: " In hili dra msa and novels he takes for his beroel a lackey like Ru y
lJIas . II fllu rtC8a n like Mario n Delorme, physicaUy deformed beings like Triboulet
and Q u "~ illlod o . a prostilule like Fantine, II convict like J ean Valjean ."1 6 Cited in
;\l1.Jert de Be!l8l1courl . u5 Pamphleu contre Y.H , (Pari.!l), p . 243. [dlla,3]
Les Muirablu depends, for its principaJ facts , on actual events. Underlying the
condemnation ofJean Valjean is a case in which a man who bad stolen a loaf of
bread for his sister'li children was condemned to five years' penal servitude.
Hugo documented such thingli with great e.xactirude. {d I2,1]
A delailt:d representation of Lamartine'a bebavior during the February Re ...olu-
Lion 1a provided by POkrOWl 1ri in an article tbat baeee illlelf, in part , on diplomatic
reports by Kineliov, the Russian ambassador to Paris at tbat time. Theile reportll
are cited in the course of Ihe article, "'Lamartine , .. admitted,' Kilileliov wriltt,
' that, ror the time being, France round iuelf in a situation that alwaYI tends to
arise when one government has just fallen and the other is not yet firmly in place.
He added, however, that the population bad gi ...en proof of 10 much «ood llenlt'l, o(
such respect for family and propert y, that lawfuJ order in Paril would be pre-
served through the momentum o( things in tbemselves and through the good will of
the manes ... , In eight or ten days, continued Lamartine, a national guard o(
200,000 men wouJd be or ganized, in addition 10 which there were 15,000 mounted
!)Otice, whOle ,,,irita were exceUent , and 20 ,000 front-line troope, who already had
~ndrcl ed Paria and wen: to march on the city.' Here we mUl t pause for a momcnt.
It is weU known that the pretext for recallin« the tToopS, which eince February had
~n' 9 t a ti o ned at a distance from Paris , wali the worken' demonatration of April
16; the con ...ersation belween Lamartine and Kinelio .... however, took place on
April 6. How brilliantly, therefore, Marx divined (in Die Klauenkiimpfe in F~ank­
reid,) that the demonstration was l)rO\'oked solely in order to be able 10 call b ac k
inlo tht' capital tbe most ' reliable' ,)art or the ' forcel o( order.' ... But let UI go
rurtlu:r, ' These masses, HllyS Lamartine [thai ill , the bourgeoil national guard , Ihe
lIlohile guar,l , and the line infantry-M,N, P, J, will keep in chet!k the c1uL (anatiCl,
who d e~ ud 0 0 a rew thousand hooligans and criminal elements (!), and will nip
t:"" ' ry eX('C88 , . • ill the bud .·., M. N. Pokrowski , Hi$torn che A.uf5ut:e (Viennll allli
Berlin ~ 1928». I)P. 108-109 (·'Lamartine. Cavaignac und Nikolaue I "). Id I2,2}
0 11 the ilixth of April . a directi ...e went out fro m Nenelrodc in Petersburg to Ki8-
~ .. tiuv : ,. 'icholaa S1111 his chancellor did not conceal from their agent the ract Ihllt
the)' IIL'etled the alliance wilh France against GernHHl y-aga in81 Ihe new red Ger -
1IIIIIIy tltut wal I,eginrung, wilb ita revolutjonary colora, to outs hine the France
which had already come rather (IIr on the road to realon .- M. N. Pokrowl ki,
11i8 ,,,ruehe Atif$i.it::.e (Vienllll a nd Hedin I. 1" 11.2. [dl2.3[
Michelet 0 11 Lamartine: " Jjl~ glid e~ on hia gr eat win g. rapill and ol,lh·iollll.'· Cited
in JllcqUe8 Boulenger. Io le Magie lie ~ti ehele t. " Le Temp$, Ma)' 15, 1936. Id12a,1}
" A 8hrewd ob!!erver remarked. one llay, tbat fucisl Italy was being run like a large
ncwspaper and t moreover. by a grellt journalist: olle idea per d ay, with !iidelish..
and senn lionl, and with an adroit and illsistent orientatiOIl of the reade r toward
certain inordinatel y enlarged aspects of sociallife--a Iystematic deformation of
the understanding of the r eader for certaill practicaJ ends . The long and the shon
of it il that fascist regimes a re publicity reginle!i." Jean de Lign.i.eres. "Le Ceo-
tenairede La Preue," Vendredi, June 1936. Id12a,2}
" Balzac was one of the collaborators 011 l..a Preue ...• and Girardin was for him
one of tile best guide. to the society in which tlle great mlln lived ." J ean de Lis-
meres , " Le Centenaire de UI Prelle," Vendredi, June 1936. Id12a,3}
'' In general, the various currellts of Realism between 1850 allli 1860. that of
ChampHe ury like thl/,t of FiaulJert , are considered ' the school of Balnc. ' .. Ernat
Robert CurLius, Bauuc (Bonn , 1923), p. 487. Id 120,41
" Modern ma n production Ileatruys the sellse of art, and the senile of work, in
labor: ' We have producl..il; we no longe.r have work!;. ,.. Em !!t Robert Curti... --
Btll:ac (BOIID , 1923), p. 260; citation from Beatru: <BalZilc edition in La Collec-
tion Mic/lf!I~Uvy ( Pans, 1891 - 1899». p . 3. [d12a,5]
-'The or ganization of intelligence is Ba lzac's goal . In this he sometimes, like ~
Saint -SinlOnialls, entertains notionll of corporation such lUi marked the Middle
Ages. At these time8, he returru to the idea ... of an incorpo ratio n ofinteUectuai _
labor into the modern system of credit . The idea of the stale '8 remunerating intel-
lectual production al§() surface!! here and there." Ernst Robert CurtiU.ll, BaUae
[dI2~6}
(Bonn , 1923 ) , p. 256.
" Intelligential workers"-a corn age of Balzac',. See E . H. Curtill ~. B(I{::'(I& (BOlin,
1923), p. 263. Id12a.71
d .-A.> Cha ptal, De l 'lndu$triefran{ai.fe. vol. 2 ( Paris . 1819). p. 198, estimatel
IdI2a,8]
that the ",un her of books puhlis heil anll uall y is 3 ,090.
From the highl y unfavorahle " M. de Oalzac," by Chautlcs-Aigu t!s: " DulIgeoos •
. u;.od
brOlhels, and prisons would be IIsylum9 of virtue ... cOllipared to the ell'
cities of M. de Holzac . ... The banker is a man who has cnric.hed h.illlself throoP
emIJcn:lement and IIsur)': th .. politician .. . o...·e' hi! stahue ... to cumulative aeU
of treocher v; th o,: mOllufa(;turer i~ a prud ent lind skillful swindler ; ... the man 01
leiter!! . i ~ u!wllYs hawking hi.!! opinium and his COII I,,:iellcr:.. . TI,e world as
paillwJ by M . lie Halzac is ... II CI'!8POOJ." J (OI:(IUd\) Ch8Ude,;-Aib'l.lcs . l...ef Ecri.-
I.nil/of nlode rrl ef d e fu fnm cf' ( Pllrif. \841 ). p. 227 . [dI 3,1]
.. ' owallays . 110 tIIony nttesh:lj ami alithCliticatl:d flll·t ~ hnve t'.lIIcrged from the
occlilt scienl'1'5 lhlll the time ...,i11 eomt' .... hell Ihest! sl"ienceli .... ill be lllu&ht Ilt uni ver-
ijilie' j llst us c h elll i~ l.ry allli ustronomy urI'. Ju ~ t 1I0W, .... hen so ma.ny prufessorial
chain! ore being st't III) in Pari&----4;hairs in Slavo nic. in Manl'hurian s tudies, and in
literulUre~ ijO ""professllbfe a~ thosi' of (or 1l0rth ~I' n lands; chain .... hich , iuslclld
of offerin g ills truelion , sland in need of il lhemselves ...- is it 1I0t a matter of
surprise t.hat , ulIlll'l' the nanw of anthropolugy. the teaching of occult philosophy.
one of the glories of t.he old-time uni versity, has not been re&tored? In this respect,
Germu.lly ... is u s tell aheud of France." Honun! de Dahmc, Le Cowin POTU,I 1 in
Oeuun!s completes. vol. 18. La Comedie IlUnI(lille: Scenes de fa Ilie paru ienne , 6
( Pari~ , 19111-).". 13 1. 0 Physiologics 0 Id I3,2]
On Lama rtine: " lie is Ihe mosl f~m.ini.l1 e of men in a century which has seen a great
mally such men , several of whom set'm to announce themselves by the very article
preceding tlleir numes: Lafayeue, Lamt'"lIna.iJ. Lacordaire, Lamartine . ... There
are very good reasolls for thinking that he had p""pared for the red Hag the same
51lee1:h he delivered for the tricolor lIag." Airel Bonna.rd , w
Moderes, in the series
entitlell Le Dralll.f! rlu preJenr , vol. 1 ( Paris ( l936» . Pl" 232-233 . [d13.3]
""The novel . .. is 110 longer only a way of telling a s tory but has become an
inYelitigatioll. a continual d.i~cove.ry.... Balzac s tands a t the limit of the literalure
of imagination and of the literature of exactitude. He has hooks in which the IIpirit
of inquiry i~ rigorous, like Eugimie Grandet or Cesar Bironeau; othere in which
the unreal ill blended with the real. like Lfl f emme de trente am; and litillother a,
like Le Chef-d'oeu ure inconllll, coml)()sed of elemellts drawlI from a variety or j ewt:
d 'O~ I)ri t :' Pierre Hamp , " La Littera\Ure. image de 11£ JOciell'!," Encyclopedie
Jrarl{flue.. vol. 16. Arts et litteratures dml ! lu societe cOfltemporaine, I , p. &J.
[d l 3,4[
" l:Iy 1R62. tilt' year ill which Vi"lor Ill1go publ.ishes l.eJ Miserllble&. the numbt'r of
illitera les h ll 8 considerahly dilllini8 h~1 in France . . . . In proportion a.!J an t!du -
!'wle,1 populace hr.ginJ to patron ize lwokshops . lIuthors bl.'boin ch""sillg their he-
roe.s from tlu: crowd , allll the On", in whom lhi,. phenomenon of snciali7.atioll can
b"ljt be 8tutlil'll is Hugo Ilims~·If. tht: firs t b'rea t poct who g UVI' to his liter ar y wo rks
I'mumunploce title!!: f..eJ Miserubfes, l-e& 1'rfllJ(lilleurll d e Itl mer:' Pierre naillI"
"La LiUcra tllre. illJar;l~ de la soc:icte." f:m;yclIJ1Jetlie frllfu;lIise. vnl. 16, Ar'J et
li"~rutu res dUfI.f to &ocii!te cOlltemllOrlline. I , p . & 1). Id I3a, l]
'11lcs(: remarks o n Scott might be applied to Victor H ugo: "He n:garded rhetoric,
th(: art of the orator, as lhe immecliate w(:apon of the oppressed .... And it is odd
to reflect that he was, as an author, giving free speech to fi ctitious rebels while he
was, as a srupid politician, denying i, to real ones." G. K. Chesterton, Djckms,
trans. Laurent and Martin-Dupont (Paris, 1927), p. 175.11 Id13a.2)
The same holds for Victor Hugo as for Dickens: "Dickens stands first as a defiant
monument of what happens when a great literary genius has a literary taste akin
to that of the community. For this kiruhip was ~ and spirirual. Dickens was
not like our ordinary demagogues and journalists. Dickens did not write what
the people wanted. Dickens wanted what the people wanted ... . He died in
1870; and the whole nation mourned him as no public man has ever bttn
mourned; for prime ministers and princes were private persons compared with
Dickens. He had been a great popular king, like a king of some more primal age
whom his people could come and see, givingjudgmem under an oak t::ree." C. K..
Chestmon, DicktnJ, trans. Laurent and Martin·Dupont (Paris, 1927), pp. 72,
168.'9 [d13a,3)
f.,e Nuin jaune is founded by Aure.lie.n SchoU; La Vie Pari.lienne, by Marce.lin, a
friend of Worth '1. L'Euenement founded in [865 b y VtUemessant , with the partici-
pation of Ruchefort , 1..ola , aDd othen in the opposition. [d13a,.4]
"Afire. and the Pt!n:.ire. brollien, following the. example. of the Rothachild. , would
from time. 10 time cause aD unexp«ted 8hower. not of gold but of 8ecuritie., 10
dellceod on well-known poets, jOllrnawu , and playwrights, without involving aDJ
direct obligation in return ." S. Kracauer, Jacque. Offenbaeh UM dus Poril.eiAer
Zei, (Amsterdam , 1937), p . 252." [dl4,I}
" A IIlnpe one o( the new acience&-that of analogy-ought to yield authon a profit
of fi ve million to six million (ranc! for a sixteen-page lnlltallment." Charlet
Fourier, Le Nouveau Monch indu.striel er .Iocwta;re (Paris, 1829), p. 35. [d I4,2J
Number of Paris newSllaper subscribe,..: in 1824, ca. 47,000; in 1836. ca. 70,000;
in 1846, ca. 200,000. (Details fur 1824: 15,000 for the government paper. Jourtwl
de Poru, Etoile, Gazette, Monileur, Drapeau blanc, Pi/vIe; 32.000 (or the opposi-
tion papers Journal chJ debals, COlUritutionnel, Quotidienne. Courrier de fum.
Journol du Commerce. Arutarque.) [dI4,3)
With th~ incr~ase in public advertising, newspapers rumed against th~ anlIonceJ
digu isitj (adv~nisements in disguise), which no doubt had brought in more for
journalists than for the administration. [d 14,4J
Ar<:tuud Le Globe gatherelJ. B8 editors , the mOlit important or the lah:r OrleaDisu;
this editorial slarf included Coullin, VtllellIsin , Cui:w t . In 1829, B1allqui entered
the office al IlcDograpllt:r, particularly 011 1 parLillllll'.ntary Itt!nographer. IdI4,5]
The journalistic sD'liin in th~ novels of Dumas: the first chapter of U1 MohictJlll dt
Pa.rU already provide.! infonnation about what impost must \)(: paid, in the event
one is arrested, for the privilege of an individual cell; when:: the Paris executioner
lives; and what the best-known apache pubs of Paris are. {d14.6]
:\ young man from 51. PetcNlburg calletl Le. Mytteret de Poru ;'t he roremollt book
a rW' lhe Bihle.·' J . Eckardt, Die ba{ti$chcn I'nmin.::.en Ruu /cllldol (Leipzig, 1869),
p._ ~14 ~
"nlery, ill hill 'introduction to Lei Io'lellr, dlL mal (Parill , 1928), p. xv, 011 Hugo: "For
ilIOn! tila n ~ixtr yt:ars, this extraonlinary l1Iall was 1.1 1 hi. desk ever)' day from five
o' r loek ill the morning IIntiJlloon! He unrcnJilting.iy l:a1led up new combinationll of
lanb'llagc t willt!tl thcm. waited for them, and had the 8atillfaction or hearing them
f{:l pond to his eMU . He wrote one or two IlUndreti thoullaml linea of poetry a.nd
fl clluired. by that unintcrrupted exercise, II curious lOallner of thinking which
8111M!rficial critiCij h av e jlldg~ a&hetlt they could : ':1 [dI4,8]
For nearly all the Romantics, the archetype of the hero is the bohemian; for
Hugo, it is the \)(:ggar. In this regard, on~ should not lose sight of the fact that
Hugo as writer made a fortune. {d14a,l ]
Hugo ill Pou-Icriptum de ma vie: L 'E.lpril ; TO$ de pierre, p. I (cited in Maria
Ley-Deutsch, Le Gueux chez: Vu;Ior Hugo, serieil entitled Bibliotheqlle de la Fon~
dation Victor lIugo, vol. 4 [Pan.. 19361, p. 435): " Do you want a measure of the
civilizing power of art ... ? Look in the prison8 for II man who knowll of Mozart.
Virgil , Dnd Raphael. who can quote Horace from memory, who ill moved by Or~
ph&! anti Der FreUehUt: . . • Look (or such a mall . . . , and you will Dol find
him ,'" (dI4a,2J
Regis l\1es1l8C speak. or an "ellic period" which the feuiUc.ton under Lowl Philippe
enjoys, before it becomes a mass itCID in the 51:('0 ",) Enlpire. The noveis of Gabriel
F'"-rry helollg to the heginniug of th e. lalter era , as do those of Paul FevaJ. [d14a,31
One can speak, in cenain respects, of a contribution made by the physiologies to
detective fiction. Only, it must be borne in mind that the combinative procedure
of the detective s[allds opposed hett to an empirical approach that is modded on
the methods of Vidocq, and that betrays its relation 10 the physiologies precisely
throUgh the Jackal in U s MIJhiralu d~ ParU (cited in Messae <U "Ddutive Novel"
~f I'i'!/fuenu fk la prosi~ u irntifiqut [Paris, 1929]>, p. 434), of who m it is said:
~One look at the ripped-open shutter. at th~ broken pane, at the knif~ slash was
enough: 'Oh ho t' he said, 'I recognize thist It is th~ modus operandi of on~ 0/
flinn.'" Id14a,4J
VcrOll
· pays IOQ ,OO(} franl:1I for Le ll/if errant befort· a line has !Jet-II pen ned.
IdI4 a,5}
" I::vt!ry time a IICrial novel threatened to carry orf the ,.ri.ze, Ba lza ~ rt.-douhletl hi!
dfo ru with Vautrin . It Will in 18~7- 1838 that Lu Memoir-e. dadiable.eemed to be
dOll1inuting t.he serial fo,·ma t. nnd it wu jUlft at that point 1.11111 the scrics entitled
S/Jlencielirs e' mi&i:re5 fie. {'ollrti&af/l!S began . I" 18'1,2- 1843. I.e! My5tere! de Paria
appeared . und Balzac resJlond"tl with A Co mb;e ,1 t '.<lmour relli('1I' IIUX vieiJwrda
111 1844 MOlile-Cri5to, lind in 1846 l,{l Clo:terie (Ie! Gene15 ; the latter year ' aw th~
publieation of Bab:ac'8 Oil mell/Hlt le.$ mall vai& e" emimJ; t.he year afl er that, to
Oerniere i f/ earl/alio ll de Youtrin .r- If thiil dialogue . . . did not continue an y fur_
ther. it is bec aUi~ Balzac . .. •Iied shortl y afterward ." Rep s Meu ae. IAl " Detective
Nove f' et l 'injlUimce de la pell:tee s('ielllifique (Paris . 1929). PI" 403-·104.
(dlh,6]
U nder the Second Republic, an amendment to the law of July 16-19, 1850,
designed " 10 sDike out against an industry that dishonors the press and that is
deoimental to the business of the bookstores." So declaims de Riancey, the
author of the amendment. The law imposes on each feuilleton a tax. of one
cenOrne per copy. The provision was annulled by the. new and more severe press
laws of February 1852, through which the feuilleton gained in importance.
[dl5,IJ
Nettement draws attention to the particular significance which the period for
subscription renewal had for the newspapers. There was a tendency, at such
rimes, to begin publishing a new novel in the feuilletons even before the old one
had finished its run. In tills same period of development, the reaction of readen
to the novels started to make itself felt more immediately. Publishers took note of
this tendency and gauged tlleir speculations beforehand according to the tide of
the new novel. (dI5,2J
The novel pubUshed in installments can be seen as a precursor of the newspaper
feuilleton. In 1836, a periodical of Karr's for the first time undertOOk to publish
such installments-which later could be gathered under one cover- as a supple-
ment for its readers. [dI5,sJ
Political IIttilude of Romanticism, according to Baudelair e'a conception in " Petru!
Borcl"; " If the He81oration had turned into a period of glory. Romanticism would
nOI bnlt'e parh-tl COlllpall )' ""ith rll yahy." "'Later on .. . . II miBanthrol)ie r epubli·
ca ni! m joined lilt' new sdlOol. and Petrus Borel was tile ... most paradoxical
C7'pre 8ion o( tim spirit of the BOlI.'fing ots . . . . l'hi!i spirit , .. . contra ry 10 the
democralil' and bourgctl~ passion ""hidl laler i O crud ly ol'jlrc~Aefl ua. was exciled
how Ly an ariillOCr a lic ha tred . . . for kinb'J;! and the I)()urgclliljic, a lltl by II general
symplI l!.y ... for all thai ... wus . .. pessimistic ant.! Uyrc", ic·. ,- Cha rl':8 Ullude--
lairll . /~ 'Art rollllHl/ir,m~ .I.·d . Had el:lh'. vol. 3 (Pari$) . PI" 354 , 353-354.2.1 (dl S,4j
" \'(It'. in r.Llril! 1.l a\'e . . . 1 1'1' 11 the evolulioll of Roma nlif'ilim f/t vorctl b y the monOT-"
chy, whil., IiL.'rals allli "epuhliellll$ a.li.kc remained obslinllh'ly wctlllL'(1 to the roU-
lines of 111111 lilcnllurl' l'IIIIt'i1 ,·lassieal.'· Ba Llddaire. I. itrl romulI,i(/ue (Paria).
p . 220 (" Hicha rll Wagner t!I T(lIIlIltii".!er " ).: 1 {d1 5.5]
T hret!- forlna or bullemianiem: "That of T heophile Cautier. Arsene Bouaeaye.
Gerard dt' Nerval. Nestor Rvqueplan . Camille Rogier, La88ailly. Eclouard Our-
li;u:--a vuluntary boheme . . . where one played allJoverty ... , a bal lard ecion of
tht'QIII i{omantici8m . . . ; lhal Qf Itw8, of l'o1urger. ChampAeury, Barbara , Nudar,
J ean WaHon, Schanne-lruly needy, thia boheme, bUI a8 11uickly relieved . thank,
to a ll intellectual camaraderie . . . ; and that finally or 1852 , Ollr bohkme. nol
,'olllnta ry a l all . . . bUI t:.ruelly p'0unded in prilt'ation ." Jules Levallois, Milieu de
$iecle ; Memoire. d 'ur! critique (Puris (1895 » . lIP · 90-91. {d 15a,11
Balzac sees buman beings magnified through the mists of the future behind
which they move. On the other hand. the Paris he desaibe,o; is that of his own
time; measured against the stature of its inhabitants, it is a provincial Paris.
(d1 5a,2J
"What I have in minll here will become 8uffaciently clear if I aay that I fiod in
Balzac no inlerior life of oily kind, bUI rather a devouring and wholly u ternal
curiosity, which tllkes Ihe form of movement without pan ing through thought. "
Alaio , Avec Balzac (Paris <1937 » . I). 120. [d l Sa,3J
Laforgue on La Fin de Snlan; "I remember a phrase by M. MaUarme: Each morn-
ing. on rising from hill bcd , Hugo wo uld go 10 the organ-like. the great Bach, who
piled up score upon score without concern (or other consequences." Earlier, OD
the same page: "The orpn continuee BI long aa the 800re of the visible world lies
_ 0l)lln before his eager eyes, and as long as the re is wind for the pipes." Julee
laforgue, Melonses posthumes (Paris, 19(3). pp . 1 3~13 1 . (d15a,4J
.. It has often been asked whether Victor Hugo had an easy time eompolling. It is
clear that he waa nol eodowed . or afRi cted . with that straoge facility in improvisa-
tion thanks to which Lamartine never crossed out a word . The iron peP of the
laut;.T sped rapidly along. barely touching the satiny paper il covered with light
marks ... . Victor Hugo makes the paper cr y out under his pen , which itself cries
out. He reRects on each word ; be weigh! every expression ; he comes to r ell on
periods, as one might sit upon a m.ilestone--to contemplate tbe finished sentence,
along with the open apace in which the Del'l sentence will begin ." Louis U1bach , Les
Contemporains (Paris , 1883); cited in Raymond Escholier, Vielor Hugo rac onte
par ceux tJui I'oll! vu (Paris, 193 1) , 1).353. [dI 5a,5]
"Sollie of the letters which reac hed him were Llddressed simply : Yictor HIlBo.
Ocean ." Haymond Escholicr, Yielo,. Hugo r(lconte IJar CCIIX qlli l'ollt VI~ (Parie.
193 1). p. 273 (UAutomnt"·) . (dI 5a.6]
An early. highly characteristic specimen of the feuilleton style in the leltre
parisirnne ofJanuary 12, 1839. from the pen of the vicomte de Launais (Madame
de. Girardin): "There is a great deal of excilement over M. Daguene's invention,
and nothing is more amusing than the explanations of this marvd that are offert::d
in all 5c~ou~nes5 by our ~ a1on sava.n ts . M. Oaguerre can res t easy, however, for
n o onc 15 gomg to Steal his SCCKt .... Truly, it is an adm irab le discovery, but ~
understand nothing at all about it: there has been too much explanation." Mme
de Girardin, Oeu flre; compleleJ, vol. 4. pp. 289-290; cited in Cisele Freund i,
Photographie en Franct au X IX'siedt: (Paris, 1936), p. 36. Id;6, 11
Baudelaire mention. "'an immortal feuiUeton" by Nestor Roquellla n, "OU Yont lea
chiem?" <Where Do Dog. Go?. in Le Sp lee n de Puri.f, ed . R. Sinmn (Pari.), p . 83
("l..e. 8 0n. Chien."). ::; [dI 6.2]
On Lamartine, Uugo. Michelet: "There i. lacking to these men .o rich in talent_
.liSto their p redece8l0rs in the eighteenth century-th at 8et;ret part of IItidy
whereby one fo r get. one's contemporaries in the sear ch for trudl', for tbat which
afterwa rd one can lay before them." Abel Bonnard . us Modere" in the M':ne.
entitled Le Dmme dupre,ent, vol. 1 (Paris ( 1936 >), 11 .235. [dI6 ,3)
Dicken.: " Tbere wn. a great deal of the actu al and nrulroken tradition of the
Revolutiun itself in his early radical indictments; in his denunciation8 of the Fleet
Prison there was a grea t cleal of the capture of the Bastille. There was, a bove aU ••
cer tain rell.onoble impatience which "" as the essence of the old Republican , and
which is quite unknown to the. Revolutionist in mooerll Europe. The old Radical
did not feel exactl y that he was ' in revolt'; he felt if an ything that a number of
idiotic institutions had revolted against reason and ogaiJlllt bim ." C . K. ChH ter--
tOil , DickenJI, tra ns. Laurent and Martin-Dupont (Paris , 1927). pp. 164-165."
[d16,4J
Gustave Geffroy (L 'Enferme <Paris. 1926> , vol. I. pp . 155-156) pointa out that
Ba lzac neYf':r desr:ribed the unrest of the Parisia n population in his day. , the. club
Ilfe. the streetcorner p1"Ophet8. and so on-with the pouihle exception of Z. M.....
cas, tbat slayc.of Loui.! Philippe's regime. Id1 6,5]
During the July Revolution . Charles X had handwri tten appeals distributed
amo ng the insurgents b y his Iroops. See GUiltaveGeffr oy. l. 'En/e rme, vol. 1, p . 50.
[d16,6J
" It is . . . importa nl to conceiye of the poasihilit y of reorienting aesthetiel . . .
toward inlluences opera ting 011 man than kg to r t!presentations cllgeudcred by the
morphology of society itself. .. It is still mor e importa nt to clcmollstrote tbat
phenomella of 'hill kind occur with tile adn nt of uni verijalliter acy rthat is to l ay,
with Ihe in81itUliun (If I:nmplllsory prima ry school educa tion , wllicn was cstab-
lishc(1 at p reci~cly the ~alllf'. time that the myth of Pa ris was fo rmed (_Note)]."
Roger CaiJInifl , " Paris. mythe Illoderne," No u velle Revlle / rn m;flile. 25. no . 284
(!\tay I , 1937). p . 699. [d 16a, l j
Gau ti,:r. in h.i.. "Victor lingo ," on the red waistcoata at the premiere of Her-nalti:
"To aYOid the infamouJ red ur '93 . we had added a slight amoun t of purple to old'
tint. We did not wiah 10 ha ve UIlY p"litieul motive attrihuled to us." Cited in
Ra ymond Escholif:r. Victor lIugo rnc(m til, ,mr- t:eI.lX qCli l'onl vu (Parill. 193 1).
~ I. ~I ~
1852: " The n :pllt:l. tioll of tire a uth"r of lIernnni had Ilassed . b y the I~culiar con-
Juit.! of bohimerie and utol,ianism. frOIll the Latin Quarter to tbe fatiliuurp of
Paris. T lleu. suddenly, the. grea t metap horist bad had the revelation of the dogm a
of the ~ " ere igJl people .... T hill rlwe.lation encompassed , at the same time . the
proj ects of Michelet lind Quinet and man y another writer of lesser a bility, . uch all
Comidera nt : ' U!un Daudet. Lo TmgU/ue Existence de Victor Il ugo (Pari.
(1937» , p. 98.-Aro unclthill time. Hugo made a s)leech to the trOOI.8. [d I6a,3)
Uugo: " It was du rin g one of those desolate excu rsio n.. that the sight of a , hip run
agro und un a namt:1ess r ock , its keel in tile air, gave Hllgo the idea for a new
RobilUon Cr-U..HJe, which ht' would coU i.es TrulJll illeur-s tie fa mer (The Toilel1l of
the Sea •• I.. bor ami tlte .ea cUll1pri.ing the twu poles of his exile . • . . Whereas i.n
. . . i.es Conlem/,/a tiorlJ he bUllluUed his ago nizing regret for the 1088 of hill eldest
daughter to the ~ea , he went on , in the p rost'. of i.es Tra vaille urs, to soothe the
sadne!!s be felt for the da ughter who h ad sailed away. This ma rine element . then ,
was decidedl y linked . by chaillS of black . ttl his destiny." Leon Daudet , La
Trog ique Existell ce- de Vicwr IIU8u ( Pori ~). pp. 202-203. (dI 6a,4j
Juliette Dronet : " It i. likely ... that . beyo nd the q uel!tion of former loyers and of
debt., t.hl.II propen. ity for ancilla ry amou n , which attended the ~t ... froUi hill
thirtieth year until the cnd of hls life, made him want to reduce his pretty actra.
to a subordina te 1l000ition , ttl the. po.ition of beggar woma n , ... and the famous
espiation might weU have bec..n only a metamo rpbo.is of desire. ~ Leon Daude. , La
Trogique Existence de Victor IlUiJo (Par is), I'p . 61-62. [d I7,1]
lkm Daudet maintains that tile failu N' of Le ROl s 'l1mwe in 1832 turned Hugo
against the monarch y. [d 17,2]
H ugo·~ p all~gyri c8 to umid Na plJleoli were published in L 'Eveneme nt . (d17,3]
From the: record of the spiritualist session.s on J ersey (cited in Albert Beguinj
f-'Ame romanrique et Ie rt!Jt {Marseilles. 1937], vol. 2), to w hich Beguin appends the
JUSt remark (p . 397): "Hub'O transports all that he rakes up-and w hid l could
~ppear pure foolishness """ere reason alone to j udge-into his m ythology, a little
like the primitive savage initiated into the beau ties of free and com pulsory pub lic
education. But his vengeance: (and his destin y as well) will be to become, himself.
the myth. of all age devoid of all m yt.hic meaning." H ence, Hugo transported
spiritualism into his wo rld. "Every great spirit carries on in h is life twO wor ks: the
\vork of me living person a nd the work o f the phan tom .... VVhereas me living
~ perfomlS the first work, the pensive phantom- at night, amid the universal
silence-a'Nakes within the man. 0 terrorl ' \oVhat.,' says the hu m an being. 'that is
not all?'-'No: replies the spc~r. 'Get up! Up!"I'hett is a great wind abroad, the
hounds and the foxes are yelping, darkness is everywhett, and nantre shudc:kr.
and trembles under the whipcord of God.' ... The writer-specter sees the: Phan-
tom ideas: \\b~ take fright, sent~~ces shiver, ... the windowpane grows dim,
the lamp IS afratd.... Take care, hvtng man, 0 man of a century, 0 proscript of
a terrestrial idea! For this is madness, this is the tomb, this is the infinite-this is a
phantom idea" (p. 390). The " great spirit," in the same contat: "He enco\lnttts
certitude sometimes as an obstacle on his path, and clarity sometimt3 all a fear"
(p. 391)_-From Prul-Sciptum fh rna uie.' "There exists a hilarity of shadOWs.
Noctumallaughter Hoats in the air. There are merry specters" (p.396). (d17.4]
Hugo famously intoxicates himself-and not only in William Shake.sptare-witb.
long lists of the names of gttat geniuses. In this regard, one should recall the.
poet's passion for imagining his own name writ large; we know he read an H in
the towers of Notte Dame. Another aspect of the matter is disclosed by hU
spiritualistic experiences. The great geniuses whose names he tirelessly rehearses,
always in a different order, are his "avatars," incarnations of his own ego, and the.
more present for being ranged so before it. [d17a,1]
Just as, during the writing of Notre-Dame fh Parisi Hugo every evening would
visit one of the towers of the cathedral, so on Guernsey Uersey?) he sought out
the 00" fh.s prrucrits <exiles' rock>, from which every afternoon he would c0n-
template the ocean. [d17a,2]
TIlls decisive passage, which explodes the status of consciousness within th£. _
century, from "~que <lit la Bouche d 'ombre":
Weep for the unclean spider, for me: worm,
For the slug whose back. is wet as winter.
For the vile lowe that hangs upon the leaf,
For the hideous crnb, and the appalling cc::ntipede,
For the dreadful toad, poor monster with goule eyes,
Who is always gazing at memysterious sky.
The:: last line: should be compared with that of Baudelaire's 14Les Aveugles.1'27
[d17a,3]
Sainte-Be uve on Lamartine', role in 1848: " What he did IIOt foresee i~ that be
would be the Orpheul who lale r. (or a time. wouid direct aud ~overn , witb bit
golden lyre, Ihia invuioo of barbariaos." C. A. Sainte-Beuve . Lu ConlOwrwras:
Peruee& d '(J(Jljt . poems , pari 2 (Paria, i863). p . l i 8. [d17a.4]
" One remembers that the china and the table. began to dance. while the relt o( the
world seem!'d to be .. tanding atiU--i.n order to encoorage the a thl'n. " Kllrl Mllr~,
D(u Kap i fai (VIIi. I). ell. Korsch (Berlin ( 1932 » <p. 83 ).t~ [d1 7a ,:)]
In Il !lOle ill DM Kapifai (ed . Korlch . p . 541). Milne Sllt:aks of ";Babllc, who 80
IhllruuglJl y , tudiro every li hllde of uarice:"1'O (d 17a,6]
LA Bo" e",~wa l. ill first . the Orjj;un Ilf the I'roletarianjl!eti inleUeetuaJt of Dd-
\' 811 '8 gem' ration. (dI8,1]
IJIIUrgt:l on "Ilba~ : "C~ rtain o( his l'hurllctrr8 were mvrt· true-ta-li(e ill 1860 tha n
iJJ 1835," A. CernJerr IUlIl J. Chrislophe . R epertoire ,Ie 10 Com&lie hUm(line
( PariS. 1887). p. Y(inlrod u('tioll lIy Paul Bllllrl;l'l). <Sloe dB . I. ) [d18,2]
Taking a cue fmm HofmaruLStha1 (Vmu(1I iiber Vidor Hugo <Munich, 1925>,
pp. 23-25), one could provide an account of Lhe birth of the:: newspaper from the
spirit of rhetoric,:\/! and emphasize how the spirit of representative political dis-
course has confomlcd 10 that of empty chattcr and civic gossip. (d18,3]
On the feuilletoll: " Avid (or gain , lht" edil(U'S of the hig new;;Jlapcl'l have 110t
wanted to demand thai their feuilletollis t.; ..... rite criticism foundC{i tin conviction
and 011 truth . Their conyictiOIiHhuve too ofteu .·hanged. " This the judgment o( the
fourieriat press. H . J. HUllt _ Le Sociali.!me et Ie romClI.ti.!me en F,.ance: Etude de
a
ta prenc locioiiMe de 1830 11J.l8 (Oxford , 1935) <p. L42>. [d18,4]
Lamartine's politij'u-poctic prognull. 1II0dei fur fascis t programs I)f today: "The
ignoram.:e and timillil y o( governments ... hal the dfCGt , wilhin aU the partiel , o(
disgusting one by one those men endowed with lIreatllh ,If villion and ~eneros.ily of
heart. Each . in his turn , dis.cnciJl:l ntcd with Ihe mendacious symbols that no longer
represent them. tbe ~e men are going to congrf!gnh: nr01lJ1d ideas alone. _ .. It ia to
help bring forth COI.l\'ictiou. to add une voice nlOre 10 Ihis political group, that I
temporarily renounce my solitude." Lamartine, "Des Delltinees de la I.oe.ic" [1!eC-
oml prcfll ~e 10 Le, AttUlilatio,. s ). in IA'I Crund EcrilJain.J de 10 France: La-
ml,rtine, vol. 2 {puris. 1915). pp. 422-423. [dI8,51
On the se.riul novel in Sue's da y; " Ti,e lI~d 10 which these fanlil l ies respond is that
of dist.'tJverillg sOllie rcilltjOll among eYents that appear til be uuerly random. Ob·
sCllreiy, Ihe imuginutioll per slluJl'1i ilself thul nil these inequalities of sllcial exist-
CIII;('. these (lownfll1l8 allli asccllh , eons titule 1II1e unci t',e sa me gf'e{Jt aCfjon~in
olher w<Jr.I .. , thai Ihey procl'cd (rom a lingl .. ta u!!." and are cOlloected one 10
aIlOlI'cr. Till' .le\'/'.lo(l1ll1.'.111 of th~ S"rinl nov,·1 pa ra lids thl' l'reaboll o( thl: social
- ~('iellcc~. ,. CUSSOII . Qltffnmfe-/llli, ( Paris. ( t'l3'» ). p. 15. [d18,6]
Cu....~IJU Oll the " dellllJl'rulic Iyri.·ism o( Lllmarl.iul·"; " We .Iisco\'er in this a ~rel
IhlluSIII : our pOMcs!liolls. alun!; ....ith all llwir I,'uin IIf .;pirilllul deU!;III;;, accom-
Jlllny us to the \'cry I.h.....shuld ofimmortalil y. l-IanUy IH·":adu.·d in Milly. 011/(1 ,er,.e
flUlll fe. Ihis Iheme Lur~ l s r"rth in 1..11 Visne e' In rlIniJon, expre.;sinr; lamartine's
"·r' ....-lIIe J csir" -UIlit uf li\'ing 011 in u rt·.. 11II "r JlII)' ~ icul im mortalit y """('re e\<ery
,)IJj(.\.! Jlr" ~"r\'I'~ it~ pcrre,·t lind ~11\, .,ry n .. uliI Y. This '·;lI'lIuloJogy. 'h) .h/lt!,l. dif(cl'l
a tilt!.· fl'l>lII thc pure s piritualis m uf &, !Horl ,/(' SQcrll/ e • .... ith itll Plolonic inspil'a-
liun .... Uul it r"\'col;; the profound nalll.rc or thiij aril loo'ralic lamlu"·lIcr." J ell ll
ClilhOU. Qutlnlnte-Ilui, (I~.. rill). Il. I i3. [dI8".I]
The gargoyles of Nom:: Dame must be just about contemporary with Victor
H ugo's novel. "Hen \lioUct-le-Due, ... whose work was so sharply criticized,
has accomplis bed something remarkablc. These devils and monstcn an: actually
d~endants of Lhe grot~ues created in the ~ddlc Ages ~ the pos~sscd Unagi.
nanon, everywhCl'C seemg demons, really scelllg them." Fntz Stahl, Paris (Berlin
<1929», p. 72. ~ mect with the anaJogous phenomcnon, it SCOllS, in Hugo. /u..
stake here, perhaps, is a question, one that coincidcs with the question: \Vhy is
the nineteenth century the century of spirirualism? {dI8a,2]
An important relation between information and feuilleton is indicated by Lava-
dant (this, at any rate, is how the signet "Lm" is read by Hunt, u Socialisme (I k
romantism( en FrdnC( [Oxford, 1935]): "The distressing disputes ... between Ger.
many and France, the war in Africa-do not such facts deserve as much attention
as skillfully told stories of fonner times or of individual misfortunes? This bc:ing
the case, if the public .. . reads these ~t national novels chapter by chapta;
why do you wish to impose on it, all at one rime, your tale or your doctrine? .•.
Division rf tahor and sharf sith'ngs: such are the requi.rc:ments of the reader!' Lm,
"Revue critique du feuillcton," La PJuJdnge, July 18. 1841; in La Ph.alange. 3rd
series, vol. 3 (Paris, 1841), p. 540. [dI8a.3)
" Victor Hugu . ... according tlJ a IleBcription by Tbeophile Cautier, would mD
together un the same plate a cutlet , beanli in oil , a ham olllelette. and Brie chel!:le.
and would drink cafe au lait 8e88onffi with a d as h or vinegar and a spot of mu.
tard. " R. D(runet ], " La Cuilline regionale." Le Temp', April 4. 1940. [dI9) __
t-------
[The Stock Exchange, Economic History]
" Napoleon ~IJre8ented the laHt unslaught or revolutionary terror againHt the
bourgeuisluciety which had bu n prodaimed by thiBlame Revolution , and agalnu
i18 1)Olicy. Napoleon , of coune. alread y cfucemed theesBen« of the modern state;
be understood that it iBbased 00 tbe unhampered development uf bourgeoiB loci-
ety, on the free movement o(priYate intere8t , and so fo rth .... Yet , at the BlURe
time, be 8ti11 rega rded the Btale aB an end in itself and civil life only 88 a purse-
bearer .... He perfected the Terror by sub8tituting permanent war for permanent
revolution .... Ir be despotically 8upprellsed the libt:rawm of bourgeoiBsociety-
the political ideallBm of its dail y practice-be showed 00 more c005ideration for its
es.sential material interests. trade aod industry, whenever they conflicted with his
political intere8U. His scorn for induuriallwmme:. d 'ofJoire. waBthe complement
to his scorn for ideologues ... . JUBt 81 the liberal bourgeoisie was oppo8ed on«
more by revolutiona ry terror in the person or Napoleon. BO it was 0PPOBed ooce
mo re by counterrevolution duriog the Reuoration . in the penoo of the Bourbons .
Finally, in 1830, the bourgeouie put into effect its wishe. of the year 1789. tbe only
difference being that its political enlightenment was now complete. that it no
longer conBidered tbe constitutiooal representative Blate as a meanBfor acbievin&
Ihe ideal of the state, the welfare of the world , and univer sal buman aims but. on
the contra r y, had acknowledged it as the official exprenion of its own exclnsive
IlOwer und the political r« ognitiun of its own 8J>ccial interests." Karl Marx and
Friedricl, Engels , Die heiliIJe Fnmilie; cited in Die rllme Zeif , 3 (Stuttgart , 1885).
pp.388-389.1 [gl . l]
A 8Chema from Edgar Quinet 'B De ill Revolution el de In philo!ophie: "The d evel·
OllnH!lIt of Germa n phil o~orh y ... a Bort of theory of the French l}Olitieal revolu·
tion. Klint ill the COllstituent Asselllbly. Fichte the Convention . ScheUin5 the
Empire (in light Qf his veneration of physica l force). and Hegel appell TII as the
1\1'~ I"rlltinn alld the Holy Alliuuct'." (Edu ard > Schmilh·Weissellfds, Por,raiu
!JU I Frn llk reich (Berlin . 18tH ), " . 120 (" Edga r Q uinci und der frallzosi.sche Na-
li()lilllhaO" <Edgar Quinet and Frcnch National Halrril l). [g 1,2)
Cuiz(J' ~illi~lry. " Corrupting the electoral collcge8 was tI simple mil Iter. These
cnllegclI genera lly comprised few electors; Dla ny cont ained less thall 200. IImollg
which were government bureaucrats. The laller obeyoo 1.lIe orden! they were
gi"lm, 05 to ordill ary ell'£t(lr~ , (olle could lillY t1U! 1ll by givin g their tlepcndenlA and
favorite5 tlliug5 like lobol:clI s hopa or 81'holarshil'lI. fir by giving the "'ector himself
iOni C imporlalll al lllli nistralh'~ posl. In the Chamber, 8S in the e1ectur al coUel\:e5
government hurt'-Ilucrats were tluite numcrous: more 1h llll II third of the d eJ>uti~
( 184 out of 459, in 1846) wcre prefech, magistrates, orfiduls. T he minister con_
trolled thcm hy fuding their hope;! for udva net'lIIent . . . . To reach a majority
thirty or forty (le puticII were needet.!. Gui wt won tllt'm wilh r.ollcel!sioDS for lor •
siale prujt!cu (this was in Ihe carl y da YIi of rflilroad cOIIJl tructiOIl) or by giv:
them a s hare of Ihe eontrll("t for s upplies 10 Ute lilale. Corruption W itS th us built II S
into a SY81em of govl!rnmenl , ami the numerousllcandab at the end of the ~
make glaringly clcar that the underlillgll worked the systcm just at well as the
prime minister. " A. Malet alld P. Grilll:t, XLX~ Siecle (Paris, 1919), pp. 95, 91.
Lamartine s pokl!, a t this time, of Ille da ng.. r of an " elector al ariJl toeracy" (1847).
[gh, , )
"On Jul y 28, .1831 . a Parisian ma n Ilis Jllays his portrait together witb that of Low.
Philippe, providing them wilh the foll owing eaptioll : ' There is 110 dis tance sepaul-
ing PhiliP1 1e from me. l:Ie ill Ihe citizen-king; I urn the king-citizen.'" GisebI
Freuod . " La Photographic all point de vue lIociologique" (maouscril)t , p. 31),
ri ting J ean Jaures, lliJtoireJocialiJte: Le Reglle de LouIJ-Philippe. p. 49. (gla,21
''' Parill is li S Slid ll1i lH)ssible; wrote the author uf Co lomba a t the heiVat of the -
exhibitioll . ' Everyone ill afraid wil hollt Irnowing why. It is II sensation akin to thai
I Preface to Un Grand H omme de provinct';
Ilrotluccd by tim 1I1IliIic of Mozurt when tht, Cunllncndatore is about to enter.2 ..•
T he least little incident i5 IIwllhed Like II clI.talll rop he.·" Adolphe Demy, E" oi
historiqlle Jllr Ie, expoJitioll$ uniI1er,elle, de Pari, (Paris. 1907), pp . 173-174,
[g",S)
Some light on Nlipoleon's rcJlltiOIl to lite Imurgeoisie around 1814. "The emperor
had evinced thl! grl!lllest rt,>luctan'lt' at the »1'OSJlcct of anlling the Paris population.
Feari ng the n: volutionary s pirit . he had refUSed the ltervicell of 50,000 worken.
1II (1~ t of them fo nller 801dicr8 ; h4" had wanted to IIrgll nize companies ... made up
solely of eiti:ten~ of I.ht" Ilaule hourgeoi"~ i l~that is to say, lho8c who wer.,: inclined
10 reg"rll the allies 11 8 l iberll t or~ .... People curi«'d Na poleon 's nallle. WitneU a
INter t o Colond Grd ner. IM!cond illl'Olllmant! alille Ecole .. , : ' April 11 , 18 14.'
Cowa rdl y ,o;luve of un elltla U)' I:owllnlly IIUlster! Givt' me IJack my son! 1lI00dlhir8t.-
il't· evell thall 1111' Iyrun t. yoll hlt"I' outdone him in ~rll clt y ), y dd ivcrillg up to
" III' III Y fin' Ihe children \Ott' entrlliih:d hi your eurt.'-"·c who hclit'vt: ill tllc law that
gUliranlct·tl their educa tion . WIII'I'c a.re they'! YOII will a/lswt: r for Ihill ""ith your
Iwutl! All tht' mothers are lIturt" hillg oguin ... t yo u . alUllllly~"If. I prllllliilt' yu u , will
,"
wrin,lt yillir 1It.'Ck wit.h my 0 " "/1 IWII halill if my So n IIOI'~ /101 reappear 8O<In.
(;. P ill,·t. lIiMoire de rEcole Ilo /)'tedHliqll e ( Paris. 1887), pp . 73-74, 80--8 1. Thll
11'1 t" r ill fro llt IIII' fll lhl'r of Ellfu /llin" 1(.1· 11
" Protestantism ... ,lid away with the saints in hcaven 5 0 liS to he ahle to aholillh
their fen l da ys 0 11 earth . The Hew,lu tiun of ] 789 u nderlll OOll s till better wha t it
,,' 111 uLout. The reful'mcd religiun had hdel OIl 10 S uuda y; hul Cor tile revolution-
ary Lourgeois , thllt one day of resl cOining ever y ~ .. ven tl ay~ WII S too much, and
thcy therefo re suh~ titut ed for the sevell-day week the teu-da y week (/a decade),
~o lhllt the day of rest recurrt,d hut every tell daya. Atld in order 10 hu ry all
rncntOry of the ecdesiustical holy da YB ... , they replacet.! the namca of saints. in
lhl' re publican CIIlcndar, wilh the nanles of metals, plan", ilnd animals:' Paul
Lafa rgu e. " Die chrislliche Lichcstatigkeil" [Die nelle Zeit, 23, no. I (Stuttgart),
W~~ · ~
;'111 the fi rst dayt of the Revolution. tl ll~ tlucstion of the l'OOr assumed ... a very
dil tinct II l1d urgent character" 8ailly, who initially had been elected ma yor of Pari.
for the express purpost'; of alleviating the misery of thl! ... workers, IJacked them
into massel and cooped them up---Ilome 18,000 people--like wild an imals. on the
bill of Montmartre. Those who slornled Ihe BatltiJIe had wo rken with ClUUlonl
emplaced there. Ligilled mat ch in baull. . , . Hod the. war not drilwn tbe unem-
ployed and destil ute Iilhore." from to,,'1I and count ryside ... into the army, and
shuttled them off 10 the bordl!n!, ... a popular uprising wOldd have Sl)read acr oss
th4" whole of France." Paul Wargue. " Die chmtliche Ldebeatatigkeit" [Die neue
Zeit, 23, 11 0. I (Stuttga rt). p . 147]. [&2,31
" Our centu ry. in which the@overciPliseverywher eexceptonthethrone.'· Bahac,
a
Pam; citet.! in Georges Batault, LA!
Pontife lIe la denlfl8ogie: Vic tor Ilu80 <Paris. 1934>, pp. 230-23 1, 192a,11
On the writings ofNapoleull 1.1.1: "A sel of commonplaces developed with IIIlstained
solemnit y ...• II. (leq)etull.l clas hing of ilntilhesctl. and then s uddenly a striking
{ornlUllitiOIi that ca ptivates hy its air of grande ur or seduces hy its generotity ... ,
along with ideas which are so confused tbat one can no longer distiflgui5h them in
the depths when: they're appare nU y buriell , bu l which , at the " ery moment one
desptl.i rll of ever fiUlling them . burst forth with the sound or trum pets ." Pierre de
la Go rce, Na poleon III et Stl politique ( Paris). pp. 4.5: cited ill Batault , Le Pontift';
~/e fa demagogic. JIll. 33-34. 192a,21
Transilion from till' Napoleonic rnilit3ry regime to Ihe l)eaeetime regime of the
Restoratioll. Engravi ngs titlt'd 1'/le SfJldier-Ulborer. The Soldier-Reapers, Gener-
OSity OJII PrellCh SfJMier. 'fh e Tuml, oJth e Brave. Cabinet dt·s Estampcs. 192a,31
·' Whl"n. arOllnd 1829. 1\1. de Saint-Cric(l. director uf C II~ lmlls . allllfJll lleed the
'"Oltllllt'rdul s hutd"wII , ... we wl're illcl·l"dllloli~ . It wa~ su St:.-iUIl S tl ull it caused
III,· ju ly I{evolutiull . On th,' eve of F.·!Jrllllry 1»48. during the hars h win ter that
IJre'"edct! it Ihe 9hulilowli rct ll rlll~d , Il nd willt it unelllploymelit. 'I\.·ent y yea rs
!iil!'r. in 1869, bere it is agai n . No one has any tlellire fur I:ntt'.rprise. The currenl
Kovt'. rnnlCll1 , with ils Credit Mo)'ilicr ami otlter compalliet!. aU so ad van tligeoull to
 the Stock Exc hange. dive rted for ten years the agricuJturaland industrial capital N ,
I.bat earnlJ comparatively little inte rest . lu free-Irallc treaty, opening Jo' rance to
Englis h indulIlf)' in 1860, ... brought utter ruin (rom the o utset . No rma ndy l ay.
it cannot recover. Much len the iro nworks of the North ," J . M..ichelet . No.fiU
(Paris, 1879), pp. 300-301. [g2a,4}

A copper e ngraving of 1818: Xenonmnia Imp usned, or It i No Di&grace To &e

French . On the right , a column inscribed with the na mes of famous hattlee BJ weU
as famous work. of art and literature. Under it, a young man with the bonor roU of
indWitrYi hi, foot rcstll on a sheet bearing tbe lnscri)ltion. " Product! of Foreip
Manufacture." Facing him, anothe r Frenchman . who proudly pointt toward lhe
column . In the background , an E nglish civilian debates with a French soldier. AD
four persons provided with captions. Hoating above in the sky and blowing into II

. trumpet , tbe figure--sbarply reduced in scalf:'----(J ( an angel. From his horn banp
a tablet with the words: "To Immortality." Cabinet del ESlampes. [g2a,5)

" If you pau in front o( the Stock Exchange a t noon. you will see a long line . ..•
This line is composed o( men (rom aU walks o( life-bourgeois, pensionera. I bop-
keeper s, porter s, errand bOYI, postmen , artlSlll and actors-who come there to pt
a place in the first row, around the circular enclosure .... Positioned close to the
800r, next to the public crier, they purch ase sbares o( stock whicb tbey tell off
during the l ame lieliliion . That old white-haired (ellow who offer li a pinch o( IDuf!'
to the guard pauing by is tbe dean o( thelie lipeculators .... From the general lool
o( the trading on the 800r and off, and (rom the (acel o( the stockbrokers, be u
able to divine, with a marvelous inlitinct, the rise or the fall of litockli." [Tulle
Delord , ) Pa,u-80ursier (Parili, 1854), pp. 44-46 ("Lei Petilll ParifJ"). [ga,I}
/ ' r
/'''''''1' "" ,p',
... _-- I...... .
_.I".
r
On the Stock Exchange: " The Bourse dates only (rom the time of M. de VdWe. J .. " . , _

There wal more initiative and more Saint-Simonianilim in the mind of this minister
(rom TouloulII! than iii generaUy believed .... Under hil administration, the poei- L'Etrangrmumie blamit, ou D'Etrt Fran(au il nJ a pas d'qffronl
(Xenoman.ia impugned, or It's No Disgrace to Be French).
tion of stockhroker was sold (or up 10 one million (rancs. The first WOrdl of
Counesy of the Bibliothequc NationaJe de France. See g2a,5.
speculation. though . were barely a LiSI); the meager (our billion in French debt , the
several million in Spanil h and ... Neapolitan debt, were tbe alphabet by which it
learned to read .... One put one', (aith in the (arm . in the bouse .... O( a rich ~\"ailahle 10 th~ "I ... . Thus. Wf" upelu!tl up t he cOlitre-IJcrite-couli,ue. trading be-
man it waa ~aid : he h as la nd in the l un and a houle in town! ... It wal not until Yo nd the ex tefll lll lllllrkcl. We suld s ha n .'lI ut a ',xCiI rule o( 3 (rallcs , 50 centimeR,
1832, after the ... sennonli o( Saint-Simonianit m •... thal the counlry (ound and Illadc a prolit of olle centime. Busin!!;;;; wa. booming ill this ma rket when the
itself ... suddenly ripe (or itl great fin ancial destiny. In 183 7. an irrelistible (orce de ha,')" uf hu l 1II0 nih occur rf'tl : " [Tuxile Dclurd . l l'flri.,-fj Oll rsier (Paril , 18 54 ),
couJd be ob.erved attracting attention to the Bour sf:; the creation of thc railroad Ill'. (~. 5(1-57 ("'l.(·s P~ lil s PlIris·'). (g3 .2)
added new momentum to this (orce .... The pelile-couliue io the col.onuade (lee
Convolute 0 , note 9> does the bUl iness o( the petty bourgeoisie; j ust beyond, the COlllll1~'.'.·' II I I.n .!i18
. 0 f 1.--
~ t ll sca U 8CU f l Iit' I lalalll'lu
I· . .
IlPUIJ;:II Ig3,31
conlre-perire-comine halldlel the capita) o( the proletariat . The one operate. (or
the porter H. cookll . coachmen . grill-room proprietor • • hMherdalihen. and waiterl; "~:Ilra nlj ll cxhurl.. his JI" litical C.,lIuradCII , .. 10 cstahlish . ill addiliulilu Ih~ ' indus-
the other descends Q notch in I.he .OOal hier a rchy. Oue day we ilaid 10 ourae!vet: 11"1111 ('r~tl il - uln'lIl1y ill cxist~IICC , 11.11 ·illldlet;l uall·rcdil .... T his was ill 1863! C. L.
' The cohhlc.r, the ma tch seller, the boiler cleaner, and the fri ed-potalo vendor til' Licfd,:. ~ SU;,lt-SimoTlisme JIIIU /(1 lme:s;eJrll/I~'lIis/', 1825-1865 d-luurlcm
1927>. ,), 11 3.
know how 10 put their ca jlilllilu usc; let'. make the great lIlarkel of the Bounl' [g3a.l )•
Blllzac'~ purl rai l of the speculator Iliarll in Le, Maronn.: " He dt! manded thlU_
und-!lJcl! IJCN:~ nl o u the purclla,;t: of fifteen legislativc voles, which plused , in the
space of one night , frolll the Lcnellt!&of the Lert 10 thoile of the Right . Thillt l ort of
thill! ~ no longcr robbery. ur IIny linrt of crime; it is Bimply carryin! on the
gm'emmcnl , becoming II silenl parilicr in the llutiOllal indulltry." Cited in Ahbe
Charl c~ CuLipJlc, H{,iza c: Se! idees lIociales (Heims UIU.J Pari" ( 1906 »), p . 100.5
[g3a,2J
,neeling 118 ~ whole. there are 24.000 transactiuns 10 be concluded. Each of theae
traUsllctions call invtJlve twent y, ftJrty, or a hundred individuals , who must be
consulted and intrigued witli ur agai nllt. ... Negotiationll are carrielI on quietl y,
bv nlealiS of eiptals. Each lIegotillttJ r holds up Ihe escutcheons of the voups or
}J haJ allxe~ which he represcllts, pud by certaill prea rrllnged signs he indicate. the
ll}Jproximolc Ilumber of members he h811 recruited ." Publication des manwcrits
de Fourier (PllriS, 1851- 1858), 4 ...0)8., Yellr 185 1. pp. 19 J- 192.' [g4 .2)

" It was in ... 1838 thai the I§overnment , in the penlon of M. Martin from NOrd. The te rm Bourse de Ira vuil <Labor Exchange> was coined by Fourier, or a Fouri-
had Ihe good idea of bringing befor e the Cbamhenl the project of a great Detwo", erist. [g4,3]
of national railways-a gigantic undertaking which the slale alone would carry
out. . . . Against this untowa rll governmental project Le Journal de. cUba., In 1816 there were seven Iistin gll 0 11 the Stock Excbange; in 1847 . more thall two
launcbed It devastating atl.aek. frulI! wbicb the I)roject did not recover. Two yean hundred. [g4,4]
late.r, the cunceuiun fur the two principal lines of Ihe Welll and the South was
granted by the sla le to two large cO'llpanie3 . ... Fi" e yeart later, ... P eTe Emu. In 1825, acco rding 10 l\tau . ~ the first crisi5 of modern industry-that ii, the first
tin was secretary of the admini, trative council of the Lyons railroad • ... and the crisis of capitalism. [g4,5]
pac t between Saint -Simon amI Judea . .. was scaled forever .... AJlthia was the
work of the Fa ther (see U14a, I ) . . .. Too man y J ewish namtlll appear OD the
membenl bip roU8 of Ihe Saint-Sirnollian church fur us to be 8urprised at the raet
that the. ~yst em of linancia! feudalism Wil l established by the disciple8 of Saiat-
Simon ." A. Touijsenel, Les luifs. rou de J'epoque (Puriil <1886 » , ed. CoDet.,
pp . 130-133. (g3a.31

" It was not the French hourgeuisie 8& such that ruled under the bourgeoil kiDc. --
bUI merely ... the financilll ari8tocracy. The entire industrial corps , 0 0 the other
halld , was in tile opposition ." Eduard Fuchs, Die Kurikatur der eurapiiuchera
VOlker (Munich ( 1921 », "'01. 1, " . 365. [g3.. ,)

" Before 1830. large-scale agriculture held s""ay over public policy; after 1830, the
manufacturers took its place, bUI their reign had already de,'eloped under the _
regime which hall heen overthrown by the ba rricades . . . . W"hereas 15 factone.
had bl!ell e1luippell with muchines in 1814, there were 65 in 1820 and 625 in 1830."
Paul Louis, His/oire de lu cloue ou vriere en FrurlCe, de I{J Revolulion ii. nc)l jours
(Paris, 1927), I)P' 48-49. [g3a.5)

""The ensla"Clllenl of ,;;o" emmcnts i8 on the increa~e. and the influence of s pecula-
tors has grown to slich all extent that the gamhlilll§ den of Ihe Bourse h al beco~
r
the cumllllSIl of puhlic opinion ." Cited in F. Armand ami R. l\1aublanc, Foune
( Pari~. 1937). "01. 2 .11. 32 . [g4,l J

Fourie.r ·s Uouf"IIe: "There is much more animation alld iutrigue at the Stock Ex-
change of a Phalllllx than lI _cre iii a l the stock exchangeil of London and Anlster-
Jam . For ev.,r y imliviJual mUll go 10 the E:.:chllnge to arrange Ilis work and
plealiur'" ~elisif)ll " for I.ht' followin g day~ .... Ail8umillg d un 1,200 indi ... idua18 arc
present. HlUlthut each ulle hilS twenty 1H!~sions tu arnmgu. this mellons thllt. in ,be
•I
[Reproduction Technology, Lithography]
"The social philosophy of the art of lilhogrol)by at iu beginniJlgll ... After the
image Ulukel"!! of the Nupolt:olllc legend. after the literary art u 18 of Rom8nticiam,
came the chroniclen of the daily life of tbe French. The first groUIl unwittinp,.
paved the way for political upheaval8, the second hu tened the evolution of liter._
lure, and the third contributed 10 the profound demarcatiou between the analoc--
riley a nd liI(! pt.-opte.·· Helin BOllehol . Lo LitllOgruphie (Paris ( 1895»), pp. 112,
114.
Pigal portrays the peo ple; Monnier, the petty bourgeoisie ; Lamj, the aristocracy.
[U.2J
The important contribution of amateurs can be observed in the early day3 of-
lithography, exactly as it can later in photography. [il,3)
"The conlCil! bel""et'li lithograph y and stipple-ellgrlloving acceh:ratea from d.y 10
da y. hul . s."let" Ihe eud of 1817. the \'ictory b as bdonged t u lithugraphy, waw 10
tbe exis tence t1f caricature." Henri 80llcbot . Lli Lithographie ( Pam (1895)),
p. 50, [il,4L
Bouchot looks on lithographs produeed before 1817 3.'l the incunabula oflithog·
raphy. From 1818 to 1825, lithographic production in France steadily~.
PolilieaJ circumstances made this upsurge much more visible there than ~ other
countries. Its decline, lOO, is in part conditioned by politics: it- coincides WIth the
rise of Napoleon III "The fact is .. . that, of the illustrious number present under
the reign of Louis Philippe, there remained, in the early years of Napolco~ Ill,
barely four 01' five exhausted, disoriented sUlvivors." H em; BauchOl. La Lr~~lo~i
raphie (Paris), p. 182. I ,
Lithography toward tlu: ('lid of lilt· SeconJ Empin:: ··S .. ma ny fhiuS!' workefl
. pn)('1'IIII! ~ , /Iud
uguin>!1 if! The IIcwl y revi",:d I!ll·hing. the lI a ~ cc nt ,I t' iUgrllp , III:
somc ~ I c nl d,,' burin . l\1 a u·rililly. il found.·rctl und er " the llifficultics ussoclal
willt prilll.iu,,- 111I' " lle umhrlJnc.- of Ihose ve ry hea \'y ~1(t1l 1!14. whicb Ihe Clliwn
n ·fu @ct!lowa r,'h,m",!"uii l.cf"n, .'· lleuri8ullcilol. 1.0 U,h"s rUIJhie ( Puris). II, 1936)'
Raffet IUlderlouk litll()grlJphill rc porlugc in tJlI! Crimea .
18.15- 1845: " " ~ llI.Iuld ... 1I0llw. forgoll"11 Ihllilhe l ar~~.sca le cOII~mercial 01w.rQ-
[i1 ,7]
- li,tl ll ~,, I h·.... It . fit Iltallime
_
lII u"s-l'r QJuction
· • wal! unde t'Yo'ay in wood c ngra\,lIIg v.-ry qUIckly ... IClllo
tecllllil,uC8. A woo.lculler ",'oll1d make
. only the heads or figure.
" a ~·o rk . whilc anothe r leu 8killell. or an apprelillcl'. ""oulJ make lhe acceuo-
l~
r"'~ '
_ " . ',ul'k, rounlls. lJlld 110 on . Oul of Il uc h a dh'i... ion of labo r nothing unified
t.. .
,'ou ( .. ' (',111'.1""(' " . .. Eduard Fuchs. lIonore D{lurnier; Ilol=!chnllle. 1833-1870
(Mlluk " h ( 19 18». 1), 16 . [il ,8]
Tilt' fi n l uUempl 11.1 introduring lithogra phy illlO France, undertaken by Selle--
feld er 's a n ociat!: Amlre J'Offe nbach , was a complete failll~. " He bad , , . moved
10 Fram'e solely with the inte.ntion of R Uing mlisical liCorl!ll printed by mean. of
Lithography. Thc patent Ilad been taken out in hill name in 1802 , and he had
opcnf'J a s hop . . " , little iluspecting: : . whal WIU) in slore fo~ tbe tliscovery. ... ~
a matte r of fact , it was Dot an UUSPICIOUR momenl for the mmor am of traMCnp·
U'011 . The masler David ex"re8sed... nnly the haughtiest disdain for engraving; at
, h... hod II few kind words for the coppcr-plate technique. Andre's enterprise
d
IIiOS.
wa"~ \'ery SOOIl in jeopartiy. " Henri 80uchot . to Lithographic (Paris <1895»,
~1~1 (ila,11
pp. 28-29 "
00 Dort~'s contributions to Le jOllrflnl illuJtre and Le. journal pour tolU; " These
put.lkJl.tiuulI lhul sold for two sous-L.e Journal pour IOIU. Le Journal illlUtre, Le
Tour du monde-whe re Dore gave of himself with s tupefying prodigality and
verve, serveJ hun . ahove all, 118 a labora tory for his researches , rndeed, in the
gramles i!li,ioflJ 1I0id in bookshops . produced at high cost (for thole daYI) by
UucheUe o r Gamie r, tbe imagination . the fantasy, the energy of GUlltave DorC
wenl , " , . to a certain extent . dillciplined and contained by the requiremeou. of a
deluxe edition," Roger Devigne. " Gus tave DorC. illuiltrateur de journaw; i dew;
56u! et reporter du crayon :' .4ru el Melier. graphiquell , 50 (December 15, 1935),
~ a . ,~
"The Paris ~'orker in rel'oil appears . in bookl and in illustratious, al a \'eteran of
the Siret'l wa.rs. a sealonoo revolutio nary. going abuut half naked with a cartridge
hell alii! saber crisscrossed ove r his s hirt. wilh a heaJdress like an Mrican c hief-
laiu _ a gold· IJraideJ ke pi ur a plullu..-t.I hOI- IK: lIllile8ll . worn Ollt. mugnanirnolls,
"hlac kclle{i with "o w{I,~r alul SWI'lIling f rum Ihe SlIn , os tentatiously calling for water
whc n lit' is uffer"li a glu s~ of willI'. ill ~ tullin g himself emnfortabl y on the. IIJ1ltol-
ilt'r,",j Ihrolle in th t' munne r of the sml1l I;/lloltes of ' 93 , e.y!!lllg his companions lit
Ill<' ,·x.ll 10 till' ru yul apurlnll'lIlS , s hollting ully ,hie v,"iI. Take II look al drawingll by
Cltarlt·' und by Huffl!t; rl'IIJ tI\I' 8,".;01111 111. ill 111t~ for1ll of gl"rilicatiollll tltlJl wcre
Sold . a fc ~' ,lays ufi ci' 0 hUlllc. for dill "c n~ Ht tlf widows, o rphans, and I." ~
10
. cd """lllItll·II.: ' Custo\'" C"rf rlly. I. 'Ellferm i!. ( Puri ~. 1926). \'01. 1, p . 51 . (i l it.3]
Ct'rlaill pamphlets by Ma r x "'"e re litilOgraJlIIt:,1. (According to C a~so u . Quurunte-
hllit < Pllri~. 1939 . ..). l 'I~.q [i2[
ral,
 k ~ rved iIII pretext.s . T illS type of "theatrical' prellCnlation completely defied aU
[The Commune]
" The history of the Paris Commune has ba:omc a touchs tone of vcsi importance
fOT the question: How should the revolutionary working class organize ils tactic.
and strategy in order to achieYe ultimate victory? With the rail of the CommuDe.
the la l l traditions of the old r evolutionary lelend have likewise fallen forever. DO
f.\·orable turn of circ umstances . no IIt:r oic spirit, no martyrdom can take the
place of the proletariat', clear insight into ... the illllillpcnsable conditione of ill
emancipation . What holds fo r the revolutions that were carried out b y minori tiee.
and in the interests of minorities. no lODger holds (or the proletarian revolu_
tion . . III the hinory of the Commune. the germs of tllis revolution were ef(ce-
lively stifled by the creeping planll ihat , growing out of the bourgeoi. revolutioll of
the eighteenth century. ove rran the reyolutionary workers' movement of the nine- --
teenth century. Missing in the Commune were tlttl firm organization of tlle prole-
tariat as a c1a811 a nti the fundamental clari ty ail 10 i13 world-historical mill8ion; OD
tb~ grtHlnds alone it had ttl s uccumb ." [f. Mehring,] " Zum Gedichlws d er Par-
iser Konlmune," Die neue Zeit, 14, no. I (Stuttgart, 1896). pp. 739-740. [U .I]
" We will say bultwo words abo ul the lecture-presentalionl lbat have muJtiplied ill
recen t yellr'8 . ... M. BaUunde . who first thought of del'otWg Sundll Yafternoons 10
the ineJve.nsh ·e performance of malllerpiece3 or the exhibi tion of certain lDonil-
ment.\! of a rt , preceded by a his torical and liter ary e:cplica tion of the wo rk. bad hit
upon a hopp y and r ewarding idea .... Out SUCCt'!!H breeds imitution . and it is rare
that the imitations do not bring out the troul,lc!!cltne aipeds of the things they
copy. Thi.1I is indeed what happened. Daily prelieotationll were orgawized at the
Chiitelet and the Amhigu . In these. perfurmances . (IUe5tiollll of 8 rti~ tr )' were rele-
gated to 0 position of secondary impurtance; politiclt predominatetl . SomtlOne
fetchetl up Agne, de Mera nie; ano ther l!Xb u med Cola, and ChClrle, {X, ou L 'Eco M
de, mi.,.' ... FrOln here, thingll could olil y gO downhill ; tile. mo!>t benign ofworki.
by a !>lr811ge in1lt:CtiOIi of lIle pulitical madm:s8, pro"idc,1 IIullcriul ... fllr the mOlit
heterogeneous llecblllu tioll8 on the affairs of the tlay. Mlllih e a nd Louis XI"
wou.J.I cI'rlainl)' hovt" been s urprised . al times. II)' tl ll~ a!lacks ... for which they
COUlrol. ·'-"Whcu revolutions hreak out . one Ofl'!D hears admisllions th llt can be
higlJ y iJl ~ tru eli Y('. Here is whut was sai,1 ill Le Mot d'ordre of May 17, 187 1, olilhe
subjrct o f the citizellsrup cards:! 'The oyt"rly nBsiduous rea {ling of Le Chevalier de
11!oi'Ofl-Rousc and other DOVeiS by Alexandre Dumall certainly ins pired the mem-
urI'S of the Commulle to come up with Ihis d ~ ree. We regret having to inform them
Ihat bililory is " ot mode by reading nOl·els.,.· Victor Ha U ay~ -Dabo t , La Ce,.,ure
Jromotiqlle et Ie thea tre. 1850-1870 ~ Paris, 1871>, pp. 68-69 , 55. fLe Mot
J 'o rdre is presumably an organ of Rochefort.] [kl .2]
The Commune fdt itself to be, in all respects, the heir of 1793. (k1.3J
The passage in Hallays-Dabot, p. 55 <cited in kl ,2>, is very imponant for the
connection between colportage and revolution. [kl ,4]
"At seyernl intersectio ns, oor path opened out unexpeclCl:Uy into vast arched
domC8 . . . . S urely. each of tllese clandestine colosllCunu wouJd p rovide a usefu.!
t trongh old for the concentra tion of forCe!! in certain eycntualitiel , just as tlle
infinity of subterranean networks. with its thou!I8l1d galleries running under every
corner of the «:apilal. provides a ready-mode sal) from which to a ttack the city
from helow. . . . The lightning bolt that annihilated the Eml)Lre did not leave it
time to ac t 6n this conception . It is harder to figu r e out why the leader8 of the
Commune, .. . so resolute in everything. did nol make use of thil fonnidable
\ means of destruction when fa ced ~; th the a plJCa rance of troops." Nadar, Quand
j'etau photographe (Paris <l90(h), I). 12 1 ("Paris souterr aw"). Refers to the
~ l...etter from N- (Paril) to Louis Blanc ( Versailles), May 1871 ," which voices just
l ucb an expectatio n . [kIa, I}
''If Rim huud is in fact admirable. it is 1I0t for having fllUen silent bllt for having
sllOken . U he feU silent, it was doubtless for lack of a true audience. It wu because
the society in which he lived could not uffer him Ihis audience. One ough t to keep
in Illind the vt:r y simple fa ct that Arthur R.imballd came to Paris in 187 1, quite
118111raUy, to join the a rm y of the ComnlU ne .... In the bar racks of the Cbateau-
d' Ea u, the yOllllg Rimhaud did not yet que8tion the otility of writi ug and s.inging
ah"", the hUlltl~ of the Wench. of the J callllt:-Mnrie of the fa uhourgs , who is not
th~ plas ter Marianne of the town haUs:
'rhey art' the IUlIl(b not of II; colilin
Hut or wurkilill WUlllt n ..·jlb large rore head~
Hurnl'd. in wooo:h 8link.ing or II; (" <'1M}"
B)' .. ~ "n drunk. on lar.
They lun'" " aled, n1l4rvelQU8,
U" der tile gru l sun full or lo,·r.
On 110.) hroru:e of machine (!;un•.
ThrnugllOlll in~ u rgt: 1I1 Paris!J
 The n , in Ih.: Assemblies of the Commune . . . • side by Aide Wilh tllIl; wo rlcen 0(
Puri8 . . . . willi lhe wllrriol"S of 8ocialis m , o ne could see the poet !'J f the Inte rn ••
tio na l , Polie t"; Ihe uUI.hor of L '/rl$llrge, J Illell Valle~; lill~ painter of L 'Enterreme,.,
j (i 0"1(1,1" CourLet ; and the brilliant r esearcher inln tlll~ physiology of thecerebd_
lum, the great foloure ns." <Louis) Aragon. " D' AHred de Vigoy a Avdee.nk 0,..
Commune, 2 (April 20, 1935), pp . 810. 81 5. (1tla,21
~
.. ;'Thc Commune. which accorlletJ seal!! only 10 those elected from the worke,..'
district!! , Wall formed of a coulilion of revolutionarietl without a CO nIDll1O progr.....
or the ~vellt y-eighl m emll er~ . only a score were inte nt 0 11 proj«liI of social r&.
form ; the m Mjo ril y were J acobin dem()(;ral!! in the tradition of 1793 (DeJeacluze),"
A. Malet, P. Grillel. XIX- Sikle (Paris. 1919). PI" 481-482 . [kIa,3]
Within the COQlQlulie emergell the project of a Monument to the Accu rsed, which
was lluppoJjed 10 be raisecl in the corner of a public 8qnare whose cenler would be
occupied hy u war nlt:.morial. All the official personalities of the Second Empire
(according to Ihe draft of the project) were to be lifiloo on il . Even lIaussm&rm',
nume iJj there. In this wa y. an " infernal IUstory" of the regime '11' 88 to be la unched,
altho ugh LIIi' intention WIlS to go back to Napoleon 1, "'the villain of Bruna.ire--~
chief of t.his accursed r ace of crownetl bohe.mians vomited forth to 11 8 by Corsica,
tlUs fatallinc of bastards 80 degener ated they would be 10s1 in their own o , ti...
land ." The project , ill tJu: form of a printed placa rd , is dated April 15, 1871.
( Exhibition entitled " La Commune de Paris," MunicipaJ Offices o f Saint·~ Denil .)
jk2,I1-
\. Charles Louandre, u s Idies subuersiues ck notre temps (Paris, 1872), is a charac-
'"There a re YIJllr fruits. bloodthirsty COmDlUne ; I Ye&, ... you wanted to annihi-
late Paris." The laslline is the refrain of a poem , "Le, Rumes d e Paris." printed ..
a pamphlet (Exhibition by tlle Municipality of Saint-Denis). (u,2}
A Jjtlmgraph hy Mareicr, I.e Depar, de la Commune, published by Detore' fII
Cesar Edjte urs, shows a woman (?) riding an animal that i8 h alf~ Dag aDd half:
hyena , wrapped in a giant , hroull. aud brandillhing tile ta lleretl, dirt y ~ Sq.
while leaving Lehind her II murk y aUey filled with the smoke and fl ame!! o( burninl:
hOIl!!ell. ('E xhihition , Municipality of Saint -Denill.) [k2,3J
Mter the taking of Paris , L 'llll.l.!!lration published II drawin g cntitled Chaue a
I'hamme dun.!! les catucombcs ( Mallhunt in the Catacombs). In fac t , the cata-
combl! \o\'crc al!lIrchcti Olle da y for fugitives. Those found were shot . The troOp'
cntered a l tbe Place Oellfert~ Rochereau , while the outJtJls of the eatllcombs toward
the plain of Mont sonris wereguarlled. (Exhibition .) (k2,4]
A COllllllunard I.)allll)hlel Jluhlis hclI 11 Ilrawing captioned LeJ C(lflllllr e' deco/J Uf!rU
dmlJ i fUlSO lltermins l i e I'ES li:u! Sflill/-wilre ril (T he Cad aven OiiiCovered ill the
Va ult.!! of Ihe Cllllrch of Sainl -La urenl >. It was c1l1 illlCd tliltl felllllie corpse. bad
beell di ~covered al thill underground ilite--Lodic8 which could not have beeu there
longer than a ('ouple uf yean. alld whose Ih..i j:hil were forced open and hauds
(,()ulld . (Exhibition .) (k,2,5]
Leaflt-I : Litilllgraph . SlIe. T he republic a~ a beautiful woman wuppal around by a
.w ake. \o\·hollC fea tures ure tholse ofThjj·rs. T he ""oman has a nLirro r high over her
helll!. Beneath . a vene : "'Many the wa ys yo u can take hel"-- I She is for rent . but
1I1I1 for sale:' [ll.2,6J
TIle illusions that still underlay the Commune ace given striking expression in
Proudhon's formula, his appeal to the bourgeoisie: "Save the people and save:
yoursd\,es-as your fathers did-by the Revolution." Max Raphael. ProutiJwn,
Marx, pjCQ.110 (Paris <1933» , p. 118. [k2a, ll
Remember the words of Chevalier: I;Glory to us! *
have entered into the
treasury of kings, escorted by poverty and hunger; we have walked amid the
purple, gold, and diamonds; when we came out, our companions were hunger
and poverty." "Religion Saint-5imonienne: La Marseillaise" (Excerpt from L'Or-
ganiJatror of September 11 , 1830) (author Michel Chevalier, according to the
Catalogue de la Biblio theque Nationalc], p. 2. [ll.2a.2J
One of Ihe COllullune's lus t centers of rellistance: the Place d e la Bastille. [k.2a,3]
teristic example of the reactionary pamphlets that followed in the wake of the
Commune. [k2a,4]
A caricature of Courbet : the painler ' tllndi"5 on a broken column . Beneath. the
caption: "ActuaJjty." Cabinet Ilea Estampel, kc 164 a I.~ [k2a.51
';Louise Mjcbel, recounting. in IU'r memoi rs, Il conver sation she bad loI-ith Gustave
Courbel , show, liS till' great Communard painter enra ptured on the topic of the
futore, lusing hinut>lf ill visiolls which. though Ihey are redolent of their own
nUu:II'erlih century. are Ilespitc Ihill--1lr pt:rh D p~ 1't:ClIlIse of it- marked by a WOII ~
~rolls and tUIU'hillg grandeur. 'Sinl:c I.',"cryone will be able to give himself over,
IUlfl'l lt.'rl'd . In his own sJlccill1 gC lliu1t.' prophcsied Courbet. ' Paris ",ill double in
impol'tance. Ami Europe'~ illh'!'lIaliollall'it y wi ll be able to offer to the arb. 10
i1ulustr y. to cu mm l· I·CC. 10 Irall~al' litJns Qf all kinds. and to visitllrs frOin alliallds
an iml'el'ishahlc "niH: tIll' cili,.•'Il"crt·utcd order, whic h ca nnot be <Iiu upted (,y
11.,. jlreh'xb uf monstrous prI·h': lIIlerll. ' It iMu dream ingenuous a s tim world exhibi-
li ulls. "ut one which 1J'''lI'thcleM~ illlplie~ prnfo ulIIl realities-above aU. the c~rti-
111,11' Ihat a IIl1uninlOu,; orllcr will ht> (UUIU!.,,!. ' 1.1If' l'ilizen-crea kd order. , .. J ean
tllssou. "La Semuinf' sanglaIlH::' Veru/redi. lI1 uy 22. 1936 . [k2a.6]
 ACTUALITE e pic. One has 1101 yel underllt{H)(1 I.hat Ihe other class 11116 organized itself sc.ien·
tificaUy, ha ~ elllrlllll L-d i18elf t~) implllcllhl!: arnlies . Its leaders have long since ac·
1(I,irt.'t' a d ear vision of Ihe situation . Not for nothing had Haussmann built broad ,
pI'rfL"Ctly straight avenues to hreak til) the dwa rming, lortuous neighborhoods. the

J Lr~"Cling gTo ullds for mys tery ant! for tbe felliJIcton . the secret gardens of popular
t'ollspiracy." J ean CIlS!>OU. "La Semain ~ sallglullte," Velldredi, May 22, 1936.
~
.. Engels and the Commune: "AI long a8 the central committee of the Garde Nation.
[1<3.' 1

al.: wu (lirecting the military olJeraliolls. he remained hopeful. It Will doubtless he

who ga"e the ad vice which Marx trans miltec.1 to Paris : ' to fortify the northern
~ slopes of Montmartre, the Pruu iall 8ide.' Ile feared tllat , otberwiR, the uprising
. /
J
' '''ould )and in a mousetra) .' But the Commune (aila lto heed thU warning and , as
~ Engels regretfull y confirmed. let the right moment For the offensive slip past ....
lniliaUy, Engels believed that the s truggle would drag on . . . . In the General

I] Council, he emphasized ... that the Parisian workers were better organized mill.
tarily than in Ilny earlier rehdlion ; Iha l the &treet widening undertaken during the
administration o( Napoleon I II would necessarily work to their advantage, should
,
(.?~
the assault 011 the city slIccecd; that For the first time. the barricades would be
I' defended by cannons and regularly organi:l:cd troops." Gustav Mayer, Friedrich
E" ge /.s, vol. 2, Engef.s lIfui del' AI//Ilieg del' Arbeiterbewegung in Europa (Berlin

~ d933» , p . 227 .~ [k3,2]

- In 188-1, Engels " admitted to Dernstein that Marx 'had upgraded the unconscious
Actuaii/i (Acrualiry), a caricatl.lR of the painter Gusta~ Courbet.
Counesy of th~ Bibliotheque Nationale de France. Sec: 1da,5.
In France', First Empire, and especially its Second, Engels leel Ntal el that could
appear 8 8 II court of mediation between an equally strong bourgeoisie Bnd prole-
tariat . See G. Ma yer, Friedrich Engcb . vol. 2 (Berlin <1933,). p . 441 . [Ua,?]
The deSIH!rale struggle of the Commune: " Delescluze then issued hi, famou s proc-
lamation : •Enough of thi" militarism! No more of the...e officers dripping gold braid
lind embroitlery! Make way (or the people, for hllre-armell fi ghters! The hour of
revolution h u strllck ....• All impatient enthusiasm awakes in aU heQrtl , and ODe
will go off to gel olle~elf killed, 118 the Poli~h IItral epSI ! intend ,S Each man will
return to his neighborhood , his native turf. to the s tret: tcorn~ r where it is good to
live and bra vely die--the traditional barricade! This proc)ulnillion is tlUl laal cry
of Bla nquislII . the aupreme leap of the nineteenth century. One still waotl to be-
lieve. To believe in the myM ter y, the mi racle. lhe feuilleton. the magic power of the
tendencies o( the Commune into more or less conscious proj ec.:t8,' and he added
thai thls improvement had been ' justified , even necessary, in the circumstances.'
... The majo rit y o( the participants in the uprising had been Blanquist&-that i.
10 say. nalionafutic revolutionarie! who p laced their ho pes on immediate political
action and the authoritarian dictalonlhil' o( a (ew resolute individuals. Only a
minority had belonged to the <First) International, which at that time was s till
dOlllioalt.'iI by the spirit o( Proudhon . a nd they could therefore not be d ~ ribed .s
social revolutionaries, let alone ~Iarx:ists. That did not prevent the go~·ernment.
lind the hon rgeoisi.: throughout EurolH! from reganUng this insurrection ... all a
conspiracy hatched by Ihe Gener al Council or
the Internlltional." Gustav Mayer,
f rier/rich Eligeu. vol. 2, Ellgeu IlIId der AU/llieg del' Arbeiterbewegung in
Europa (Berlin), p . 228 .~ [1l3a,1 ]
TIll' fil';; t comnllmio: the r ity. "TIll' G~' l'mnll cmpcro rs- Frederick I and Frederick
II . f~)r illslallc..'-isslle~1 ~:~licts ugu in~t these comnuUliones [comml1nil.ies], Cm UIJi .
rflfio"es .... (Iuih' in lilt' s piril ur IIII' G ~ ' rman Fcderal Diet . ... It is quite alllUsillg
Ihal till' \0'01'11 cQmmlltlio wus liM ed us a It:rlll of ilIJII ~e, jU!~t us 'communism ' i8
loday. Thl' parson G uilll'rt CJf Nogen t writes. fur instance; 'Communio is II new (lIId
~'l( lr~' nwly_ I)l1I1 wort! .' 'I'ht: r~ ill frt.'tlucndy something rlttll~r drama til: abCJul the
\O'ay ill which till' I)hili ~ tines of Ilw Iwdflll L'C nlli ry invit e Ihe peasanl1lto fl ee 10 the
I:itieli. II.. the romnlllllio jllrCIIII (sworn COllllllulle~>." Marx 10 Engels, Jul y 27,
 GernJltll race ""it h the seal of Ilretiestin ution? ... Let IIIi defend ourselves. It is the
fer ocity of Odill . lIIugJlifled by the ferocilY of Moloch , t.hllt adva nces against our
d tieil: il is the harbarit y of the Vantlal und the b arharil Y of the Semite. ,. Cited in
Gusta\'e Geffroy. L 'Enfer"re (paris, 1897), p. 30-1. [k4.2J

Georges Laronze in hi. Hi$loire de la Commune de 1871 (Paris. 1928), p , 143 , OD

the shooting of the bostages: " by the time Ihe hostage!! £ell, Ihe Commune had lost
power. Bul il remained accountable, ".. (k4,3)

The Parisian administrlliion during the Commune: " It preserved intact the entire
organiillll . animated. as it wal, b y a keen desire to set its slightest cogwheels rolling
again an ti to augment furth er-in good bourgeois fa smoD-the Dumber o£ middle-
clau functiona ries." George. Laronzc. 1li,51oire tk la Commu ne de 1871 (Paria,
1928), I). 450. (k4,4)

A barricade: of the: Paris Commwle, Rue &sfmi (11<ammdwemenlj, March 18, 1871. Photogra.
pher unknown. Sce k4,5.
185<' . from London ( Karl Man: and Friedrich Engelll , Alugcwiihlte 8m/e. ed.
V. Adorauki (M05COW and Leningrad . 1934), pp. 60-61].1 [kJa,ij
Ibsen saw further than many of the leaders of the Commune in France. 00
December 20, 1870, he writes to Brandes: "Up till now, ¥o"t have been living 011
nothing but aumbs from the revolutionary table of last century, and 1 think. we
have been chewing on that stuff long enough.... Liberty, equality, and fratemiry
are no longer what they wen: in the days of the late·lamented guillotine. nus.is
what the politicians will not understand; and that is why I hate them.1t Henrik
Ibsen, Stimtfiche Wt'rke, val. 10 <Berlin, 1905>, p. 156.' [k3&.3}
Militury formations in the Commune: "A company little inclined to go beyond the
city', ra mparts, preferring, to combat in open country, tbe battle almo.phere o£
ita own qua rrier. the fever of publie meetings. the clubs, the police operations.
and, if necessary, death hehillli the heaped-up paving stones of a Paris street, "
Georges Laronze, Hu roire cle 10 Commune cle 1871 (Paris, 1928), p . 532. [k4,5)
Cour het took side!! with several other Comnnmards against Protot, to protect
Thien', collections [rom destruction .': (k4 ,6)
\ The members of the International got themllelve!! elected, on the advice ofVarLin,
to the Central Committee of the Carde Nationale. [U,7]
"This orgy of power, wine, women , 8.Dd blood known a. the Commune." Charlet
Louaudre. w Idee, ,ubver,il..'CJ de notre temp' (Paris, 1872), p. 92. (k4 ,8)

It was the Proudhoni8t Bestay who, 08 delegate of the Commune. allowed himedf
to be peraulIlled on March 30, b y de Ploeue, deputy !,o\'ernor of the Banque de
Fr allce, to leave ulltouched , in the interests of France, t.he two billion francl-
" the true hostages . ,. With the 8upport of the Proudhonists un tile couJlcii . his view
p revailed. (k4, l J

IO
Blall<tui, in Lit Pa trie en da nger. the news paper he jlublillhetl tlu'ring tile siege:
" It i8 Berlin that s upposedly will be the holy city of the future. the ra tl iance that
enlighten!! the world , Pllri ~ ill the usurping and ctJrrup tt...J Ballylon, the great Ilroe-
tillite which Gotl'. emiilsary, the ex terminatillg angel. wit.h BiLle ill ha nd, will wipe
from the faeeoft.heear t.h . You mean you don 't know that Ihe Lord hus marked the
I
[The Seine, the Oldest Paris]
Around 1830: "The quartier was full of those gardells which Hugo has de8crihed ia
<his ~m of 1839> ' Ce qui lie pa88ait aux FeuWantinel!.' The Ltuemhourg, rather
more grand than it is looay, was bordered directly by IIOUIle8i the proprietora eads
had a key to the garden and could walk up lind down there all night long." Dubecb
and d ' Espezel, Hi.!toire de Poru (,Pam, 1926), p. 367 . [11 ,1)
" Ramhulea u had two rOW8 of tn:es planted"-on the DouJevards Saint· Denia and
Bonne-Nou veUe-",o relJlace those old and heautiful trees which had gone ioto
the b arricades of 1830." Dubeeh and J ' Espezel, Histoire de Porn , p. 382 . [ll~l
" Housewives go to draw their waleI' from the Seine; the more ilislant neipbor-_
hoods are supplied by water carriers," DUUech and d'Espezel, Hutoire lk Pan.,
pp. 388-389 (section 011 the July Monarchy), [11 ,3)
Before ilauu mann : " Prior to his day, the old a llueiluclB wer e capable ofbrinAiDI
water only all high as the IIccund Htury." Duhe(:h aDd d ' Espe:lel. Hiltoire de Ptaris.
p. 4 18. [11 ,41
" Anglomania . .. has had lUI inlluelu!c un ideas since the Revolulioll , on fumor.-
since. Waterloo, JuS! as the Constituents copied England ', political institution.,
the architecu copied the parks and squares of London ." Duhech and d ' Eapesel.
p . 404. ~1 .5J
" The route of the Seine, as allejted ill Strabo. began to be IIsed and app reciated .
Lutetia became Ihecl.'nter of an allll'OCiation of navigatur!! or IIlliriliers, who, durin!
the reign of Tiheriu8, raised to the cml)eror aud to Jupiter the fall!oull ahar thai
was ruscover e.:1 under Notre Dame in 1711 ." DuLeeh and d ' EIII)ezei . p . IS . {11 ,6]
'''TIle winter here iij nOI 8t'Vl;!:rt. You call See' vineyard s and e \'ell fi g trees, Sillce care
is taken 101'010'0' 1' thell! with drliw." Juliall ill the Mi.f0I'U/JOfI ; ciled in DlIlJech aDd
d ' Esl'ctd , p . 25.
"Tbf' Scine tet!Il!S to exhale the air of Puris all the way 10 its mouth ." Friedrich
EI.I! I·Is. "Von PuriS llach Bern ." Die nelle Zeit , 17. nit. 1 (SIUUISB rt , 1899), p . 11.
- "If rl'adiug in
( U5
tilt' public ganll!nil is DOW lH!rmilloo. s moking Ihere i8 nOI- liLerty
pcoplt· are beginning 10 say) IlUt being the Hame 11 8 license!' Nadar, Quand
111 ,8]
Fell/is1" mwg rnfJll e (Puris ( 1900 ». II , 284 (" 1830 d environs"). [1 1,9]
~No t 10 llg a go we ~' illleJllled tlle I' rL~ tiOIl of the obelis k hnmghl back from Luxor by
t.bc "rince de Joill\·ilIe. 1 We were made a bit ncrvoull by UOlse8 that mUlIt DOl have
heel! n 'IISliuriug to tl,e engineer LebAa. s upervisor of the operatioll : the ElIglish ,
alwa ys so j ealous, ... wer e supposell !!) hllve paid It traitor to cut the inside8 of the
cabicil. Oil , those Englis h!" Nallar, Quund j'etail pllOfographe (Pari8) , p. 291
(" 1B30 et t llvirolls"). [11 ,10J
I...ikrty trees-pOlliai'll (peuplier. ]-were planted in Pan. in J848. Thien : " Peo-
I,le, you will grow laU ," They we.re cut down in JS50 hy order of the prefect of
p01ive, Carli(·r. [11 ,11]
After the July Revoilltioll : "TIIt~ eudleu nwnher of felled trees 011 the road to
Neuill y, till the Champs-Elysees, 0 11 the boulevards. Not a single tree hus been left
stllnding on the Boulevard des Italiens. " Friedrich von Raumer, 8m/I! ow Pam
lind Fronkr-eich im Jtlhre 1830 (Ld pzig, L831), vol. 2, pp . 146-L47. [11 ,12]
"One sees gurdens measurillg ollly a few square reet, which offer nonetheleu a bit
of greenery ill which to read a book; here and there. evell a hiI'd i~ chirJling.-But
the Place Saint. Georges is an altogether charming . pol. Rus tic and urban tas tes
art: blended here_ It ill surroundell by buildings tbat look toward the city on one
ide and towa rd the eountry on Ihc otlier." Add to thi, fountains , terraces, green·
houses, flower beds. L. ReUs tab , Ibm im Friihjahr- 1843: Bmfe. Berichte !.!rId
Schitderllngell ( Leip:Ilig, UW4), vol. I , pp. 55-56 . [Ila.! ]
" Paris is hetwccn two layeN, a layer ofwa ler and a la ye r of air. The layer ufwater,
iying at II con.siderahle depth underground . ... is furnis hed hy the bed of green
u lldSlulie Iyillg between the chalk and Ihe Jurassic limestone. This bed call he
rtprt'sf'nh~1 1 by a tlisk with It I'IHlilis of sevellly mile$. A mu.hitude of rivert and
Ln '''ks filter intu it : WI' driuk the Seine . the Ma rne, the YOlille, the Oise, the Aillne,
lhe Cher. 111(' Vil'lIlIe, alld the Loire ill I I single gla u of waleI' frum the well of
erj·lId]\!. The luyn of wuter i~ so luhriUII~: it ,:omt"s li nl (rOIll bea \'I:u _ dum rrOIll
til(- f-:lrt!.. 1'1... lilyer of air is IIl1wholeliome , it C(lmcs from the 8eWe'I'lI." Victor
lIugo . OCI/l.'re~ cum/JUtes, lIo\'d~, \'01. 9 ( Pa ris, 1881 ), p . 1M2 ( u s Mi.ferahleJ). :
{ll a.2]
.\, tlif' b"ginning of the lIilld~nt h Cf·ntury. there \'I·t·re 81iU trajlls (Ie hoi., (timher
[11 ,11 rarts':') going IltlWIl the Seine: Ilnll CII. }<'. Vid find s fault. ill his w(>rk De l'Iml'uu-
 sanee de, marh~ m(l'iqlU!' PO"" auure,.to solidjt~ des ooliment,. with the pier. 01
the Ponl du Louyre, 00 whiell Hu eh raftll a re dashed to pieces . [U.,31
On the " uets of Saini -Cloud" we have the testimon y of Mercier (Tableau de Pon,
[Amsterdam, li82). vol. 3, I)' 197), a mong olhen!: " The bodiell of those uruOrto_
natea who have drowned Dre pulled III) (except when the river is iced over) by the
nell! of Saint-Cloud ." There are many, 8ucb DS Dulaure, who spea k of these BtU.
othen, like Codan and Touchard-Lafosse. deny they ever emted . The archives 01
the Seine make n6 mention of them. Tradition maintain8 that they ..opped be~
used in 1810. Thi8 according to Firmm Maillanl , Recherches hUIOriquea et cri--
t~ues sur to Mors ue (Pa rill. 1860). The last chapter of this book (p. 137): "t.e.
Saini -Martin. AI the crOS8rOllds ofChaleau-Landon , II 8econd rouie braoched off.
that of Senli~. A third , the Melun road , a pathway cut through a thick mush near
the Badtille, came into exi ~ t e nce l)Crhalls, lit the height of the empire .. _ ; thia
would become the Rue Saint -Antoine. " Dubech and d'Esl)Czel, Hisfoire de Pam
(Paris . 1926). p. 19. 112,4)
, "Tu r ni", 0(( from Ihe boule\·ards. let us go down the Rue de Rougemont . You will
notice that the Comptoir d 'ucompte <Discoullt Bank > occupies the bottom of a
marked depl'tlu ion : you are in the earlif!8t i1l.-.1 of the Seine," Oubech and
d'Efipe.zel , Hittoi,.e de Pari.! (Pa rill. 1926), p. 14. Il2a, II

- File18 de Saint-Cloud," [11 ..4) "The bourgeqis center, Paris Ville, sharply distinguished from Paris Cite, grew lip
on the night Bank and on the bridgeR which, at that lime, were erected eyer y-
On " an underground river in Paris," which WaH, in large part , covered over at the where. The most influential tegment of the population cont i8ted o( the rrterchanll;
beginning of the 8eventeenlh century: "The 8tream thUI ... descended graduall, here again, the haOle ( mercbaou' guild ~ did iu I)ar l to steer bueinen to the water.
along the slope, all the way to the house which, 08 early a8 the ftfteenth century. The most important mar ketplace a rose on a 8pot near the Church of Saint~
had lWO 8almon on its signboard . and which would be replaced by the PauaF da Euslache, where the street by which ocean 6, h a rrived croslled the 8treet on which
Sallmon . Then:. having s",·e.IIed with the added 80w of water colllint from Let , the marsh farnlen of the region brought their yegetablet to towo . It ia the same
Hailes, it pbwged underground at the site where the Rue Manllar begUu toda,. spot on which, today, the central ma rket hall8 IItaRd ." Fritz Stahl, Paris (Berlin
lind where the entrance of the great sewer. which had loog 8toad upeo, pye wa,. <1929 », p . 67, (l2a,2)
... , after Thernlidor ...• to bllS18 of Maral lind Saint-Forgeau .. . , The Iu-ea-.
disappeared ... in the currents of the Seine, well below the city. , .• It " .. quite
enough t.hat this filthy strell nt crealed a stench in the districts it crGued, wbida
hllppcned to be among the mOilt populolls in Paris .. . . When the Pla~e brGke~
here. its first manifestations were in those streets which the stream, by itt . .
footious contiguity, had alrea dy made /I center of disease." Edouard Fournier.
Enigme. cia rue. de Parit (P¥ris, 1860), pp . 18-19,21- 22 ("Une Ririere &OUter-
rain lIans Pari8"). 1!2,I)

" We recall the divine lamp with the silver hurner, shining 'white liIte an electric
li&!J.l ,' ai it p anel, in Le. Ch ants de MalJoror. 810wly down the Seine throuP'
Pari8. Later, at the other exl.reme of the Cycle, in Fantomru . the Seine will ... !
come 10 know, near the Quai de J avel. " inexplicable ft a8he8 of light in its deptbll ,
Roger CaiUois . " Paris, mythe motlerne ," Nouvelle Revuefrun(oue. 25, no. 286
(May 1, 1937), p. 687 . 112.21

"'The Ilua)'s of the Seine likewise owe their realization to HaU88D1l1nD . It Will only
in his day that Ihe walkways were cUllslructed up above lind the trees planted
down below, alon~ the hanks; and tht!ge are whal st'rve. W articulate the form .of
. th . " Fnts
that great thoroughfare. with iu avenues and boulevard" that II e nyer.
Stahl, P(lrit (Berlin ( 1929) . p. 177. {l2,31

" If Luletia was lIut yel in direl~t commun-icatiull with the great cil.ies o( northern
lalldll. it was lIeyerlhdt:lis U II tile ccJlIlIIlt!,rcial route that ra u oyerlalld be8ide the
river. . .. It was the greal Homan way along the )tjghl 81111k which l)j~came the Ra8

m -
[Idleness]
Noteworthy conjunction: in ancient Greece, practical labor is branded and pro.
scribed. Although essentially left in the hands of slaves, it is condemned not least
because it betrays a base aspiration for eanhly goods (riches). This view after.
ward plays a part in the denigration of the tradesman as the servant of Mammon:
"Plato, in the Laws (VIII, 846), decrees that no citizen shall engage in a mechani-
cal trade:j the word banausos, signifying 'artisan,' becomes synonymous with 'c0n-
temptible' ... ; everything relating to tradespeople or to handwork. carriea a
stigma, and ddonns the soul together with the body. In general, those who
practice these professions ... are busy satisfying ... this 'passion for wea1th . ••
which leaves none of us an hour's leisure." Aristotle, for his part, opposes the
excess of the c.hrematistic to . . . the pruden~ of domestic economy.. , . In this
way, the scorn felt for the artisan is extended to the merchant: in comparison to
the liberal life, as absorbed in srudious leisure (;dzoli, olium), the affairs of trade
(neg-oHum, a.scholiJJj, 'business affairs: have mostly a negative value:' Pic:ne-
Maxime Schuhl. Macllinume et Phi/ruopllie (Paris, 1938), pp. 11-12. [ml.,lJ
Whoever enjoys leisure escapes Fortuna; whoever embraces idleness falls under
her power. The Fortuna awaiting a person in idleness, however, is a lesser g0d-
dess than the one that the person of leisure has Bed. This Forruna is no longer at
home in the vila activa; her headquarters is the world at large.' "'The artists of the
Middle Ages depict those men who pursue an active life as bound to the wheel of
fortune. ascending or descending according to the direction in which it turTIlI.
while the contemplative man remains inunobile at the center:' P.-M. Schuhl.
Machillume et phiiOJ()jJhie (paris, 1938), p. 30. [ro l ,2)
Re the characteri:r.ation of leisure. Sllillle-Beuve. in hiJl cilsay on Jouhcrt : '''To
converse Illid to seek to know- it WIl S in this above 1I111i1al , uc:cortlihg In P la lo. I~
hnppinesil of private life consi6ted .' This. dallS of connoiliseurl anti allln lcorM. , •
has practically disappeared in France. now Ihal Elveryone hen ' hus u Irltde ," Cor-
re$IWndance de louber' (Paris, 1924). p. xcix, [rot))
In bourgeois socict}" indolence-to take up Marx's word-has ceased to be
"h~ic..." (Marx speaks of the "victory . , . oC industry over a heroic indola:u:c-"
Bilanz du p~uJJuchen Rrooiub'on, in GeJammeile &hriflen U01I Karl Marx und nud-
rich Engels, vol. 3 [Stuttgart, 1902]. p. 211,)3 [mla,l ]
In the fib'lJl'e of the dandy, Baudelaire suks to find some use for idleness, just as
leisure once had a use. The /lita conlemplatiua is replaced by something that could
be callcd the uila conlffllptiva. (Compare pan 3 of my manuscript ("Das Paris des
Second Empire: bei Baudelaire"),) [mla,2j
Experience is the outcome of work.: immediate experience is the phantasmagoria
of the idler.1 [mia,3]
In place. of the fOKe field that is lost to humanity with the devaluation of experi-
ence, a new field of force opens up in the fonn of planning. The mass of un·
known unifonnities is mobili.ted against the confirmed multiplicity of the
traditional. To "plan" is hencefonh possible only on a large sOOe. No longer on
an individual scale-and this means neither for the individual nor by the individ·
ual. Valery therefore says, with reason: "The long·hatched emerprises, the pro-
, found designs of a Machiavelli or a Richelieu, would today have the reliability
and value of a good tip 1m the Stock Exchang(." Paul Valery, Oeu/lreJ compllteJ J
J <(Paris. 19381. p. 30>. [mh.']
The intentional correlate of "inmlediate experience" has not always remained the
same, In the nineteenth century, it was "adventure." In our day, it appears as
\ "fate ," &hicAsa/. In fate is concealed the concept of the "total aperience" that is
fatal from the outset. War is its unsurpassed prefiguration. ("I am born German;
it is for this I die"-the trauma of birth already contains the shock that is mortal
'Ibis coincidence <Koimidmv defines "fate.; [lIIl a.5)
V\buld it be empathy with exchange value that first qualifies the human being for
a "total experience"? [mla.61
With the trace <Spun, a new dimension accrues to "immediate experience." It is
no longer tied to the expee.tation of "adventure"; the one who undergoes an
experience can follow the trace that leads there. 'Whoever follows traces must not
o~y pay attention; above all, he must have given heed alrtady to a great many
,things. (Ibe hmlter must know about the hoof of the animal whose trail he is on;
he must know the bOUT when thar animal goes to drink; he must know the course
of the river to which it tums, and the location of the ford by which he himself can
get ,across,) In tllls way there comcs into play the peculiar configuration by dint of
wluch long experience appears Il'anslated into the language of immediate experi-
ence .' Ex'penences can, In . r.lact, prove Invaluable
• to ODe who follows a Il'ace-but
~~en~es ~f ~ particular son. TIle. hUIll is the one type of work in which they
E CtJOn.llltnnslcal1y, And the hunt IS, as work, very primitive. The experiences
'I. ifahrongCl) of one who attends to a trace result only very remotely from any
Work activity, or are: CUt off from such a procedure altogether. (Not for nothing do
'Nt speak of"Cortune huntin~.") They have no sequence and no system, They are:
 a. p~U.Cl of chance. and ha:c about them the essential intenninability that
dl5tmgUJs h~ the p~fem:d obhgacio~ of the idle:, The fundamenlally unfiniab.
able collec?on of things wonh knowmg, whose utility depends on chance, has ira
J
I
prototype: m study. [rn2, I]
Idleness has little: about it that is rq>resentati~, though it is far mOre widely
alu'bited than leis~ The man of the middle class has begun to be 3Sham~ or
labor. He to whom Imure no longer means anything in itself is happy to put his
idleness on display. [rn2.2j
The intimate association between the concept of idlenes5 and the concept of
study was embodied in the norion of studio. Especially for the bachelor, the shtdU,
became a son of pendant to the boudoir. (m2.3)
Student and hunter. The tott is a forest in which the: reader is hunter. Rustling in
the underbrush-the idea, skittish prey, the citation-another piece "in the bag."
(Not every reader encounters the idea.) [m2.,I)
There are two social institutions of which idleness forms an integral part: the
news senrice and nightlife. TIley require a specific fonn of work-preparednea.
1bis specific Conn is idleness. [m21,2)
News service and idleness. Feuilletonist, rq)(lftc:r, photographer constitute: a gra-
dation in which waiting around, the "Get ready" succeeded by the "Shoot:...
becomes ever more important vis-a-vis other activities_ [m2a,SJ
What distinguishes long c:xpc:rience From imme:dlate c:xpc:rience is that the £or.
mer is inseparable from the: representation of a continuity, a sequentt. The.
accent that falb on immediate experic:nce will be the: more weighty in proporticm
as its substrate: is remote from the: work of the one having the c:xpc:ric:nce-from
the work distinguished by the: fact that it draws on long experie:ncc precisdr
whtR, fo r an outsider, it is al most an imme:diate c:xpc:rie:nce that arises. (m2a.')
In feudal socie:ty, lmure-freedom from labor-was a recognized privilege. ID
bourgeois society, it is no longer so. What distinguishes leisure, as feudaJ.i,sul
understands it, is that it communicates with twO socially important types of
behavior. Religious contemplation and court life represented, as it were, lbc-
matrices through which the: leisure of the grand Jtignr.ur, of the prelate, of the
warrior could be molded. These attitudes-that of piety no less than thar of
representation-were advantageous to the poet. His work in tum b~~cd
lhem, at le:ast indirectly. insofar as it maintained contact with both the relilPon
and the life: at coun . (VOltaire was the first of the great literati to break with ~
church; .so much the less did he disdain to secure a place: at the court of Fred~
the Gn::at.) In feudal society, the leisure of the poet is a recognized privilege:. It IS
o nly in bourgeois .society that the poet becomes an idler. (w2a,s1
Idleness seeks to avoid any sort of tie to the idler's line of work, and ultimately to
the labor process in general. That distinguishes it from leisure. (m3,1 ]
"All rt:UgiOIl8, nu!tllp!.ysicaJ. historical ideal! are, in the last analYl is, merely
}rt'I)aralioJlS derived from the great c![perienccil of the past-representations of
:he t·XI..-:rieuce:· Willll~lm Oihhcy, Dcn E:rlebnis urnl die Dichlung (l .eipzig and
Berlin. 1!l29). p. 198. {m3,2]
Closely connected ....-jth the shatte:ring of lo ng experience is the shattering of
juridical certitudes. " in the liberalist period, economic p~dominance was gener-
ally associated with legal ownership of the means of production. , .. But after the
development of technology in the last century had led to a rapidly increasing
concentration ... of capital. the legal owners were largely excluded from , . ,
management. . . _ Once the: legal owners are cut ofT from the real productive:
process . , , • their horizon narrows; _.. and finally the share which they still have
in industry due to ownership , , . comes to seem socially useless.... The idea of
a righr with a fixed content. and independent of society at large, loses its impor-
tance." V\e finally arrive at "the: loss of all rights with a determined content, a loss
... given its fullest fonn in the authoritarian state," Max Horkheimer, "Tradi-
tioneIle und Kritische Theorie," ,(,tiuchrffl for SoziaiJorJChung, no. 2 (1937),
pp. 285-287. Compare Horkheimer, "Bemerkungen zur philosophischen An·
thropologie," ,(,tI'/Jcltriflfor Sozia!/(It'Jcliung, no. I (1935), p. 12.' {m3,3]
"The authentic field of operation&for the vivid chronicle of what il happening ill
the documentary account of imml!dialeexperience, reportage. It is directly .imed
al the event. and il hold8 fast to the experience. Trus presuppoie& tbat the evenl
also beconle& an immediate-experience for the jountalillt reporting on it . .. _ The
capac.ity for having an experience il therefore a precondition . . . of good ' , _
prof('u ionlll work." ( Emil> Dovifat , " FormeD und Wirkungsgesetze des StiJ.J in
der Zeitllng," Deut,che Preue, July 22 , 1939 (Berlin), p , 285 . {m3,"1
Apropos of the idler: the archaic image of ships in Baudelaire. [m3.S)
The stringent work ethic and moral doctrine: of Calvinism, it may be said, is most
,intimately related to the development of the vila conlttllplaHtJa. It sought to build
a dam to stem the melting of time into idleness, once such time was frozen in
COntemplation. [m3a, IJ
On the fcuillcton . It was a matter of il~ecting ~perience-as it were, intrave-
rlOusly_with the poison of sensation; tllat is to say, highlighting within ordinary
experience the character of immediate: experience.) To this end, the experience of
the big-city dweller presented itself. The feuilletorust rums this to account. H e
renders the city strange to its inhabita.nts. He is thus o ne of the first rechnicians
called up by the heightened need for immediate experiences, (The same need is

evinced in the theory of " modern beauty" expounded by Poe, Baudelaire, and
Berlioz. In this type of beauty. sucprise is a ruling clement.) [013a,2J
J
I
The process of the atrophy of experience is already underway within manufac~
wring. In other woeds, it coincides. in its beginnings, with the beginnings of
commodity production. (Compacc Marx. D(lJ Ko.pital <vol. I>. cd. Korsch <Ber.
lin. 1932>, p. 336.)~ [m3a.3]
Phantasmagoria is the intentional correlate of inmlediate experience. (m3a.4]
Just as the industrial labor process separates off from handicraft, so the fonn of
communication corresponding to this labor proc.ess-infonnarion-separates off
from the form of communication corresponding to the actisanaJ process of labor.
which is storytelling. (See <Walter Benjamin,> "Dec ErzahIer~ <Orien/ und Oed·
tkn/, new series, no. 3 (October 1936» p. 21 , par. 3 through p. 22, par. 1, line 3;
p. 22, par. 3, line 1 through the end of the Valery citarion.)YThis connection must
be kept in mind if one is to fonn an idea o f the explosive force contained withln
information. This force is Iibecated in sensation. With the sensation, whatever
still resembles wisdom, oral lTadition, or the epic side of truth is ca.zed to the
ground. (013a.5J
ror the relations which the idler loves to enter into with the demimonde, "study"
is an alibi. It may be asserted of the bohtmt, in particu1ar, that throughout its_
wtence it studies its own milieu. [mJa,6J
Idleness can be considered an early fonn of d.iscraction or amusement. It consists
in the readiness to savor, on one's own. an arbitrary succession of sensations. But
as soon as the production process began to draw large masses of people into the
field , those who "had the time" came to feel a need to d.istinguish themse1va m
masse from laborers. II was to this need that the entertainment indusay an;
swered; and it immediately encountered specific problems of its own. Before very
long, Saint·Marc Gicardin was forced to conclude that "man is amusable only a
small part of the rime." (!be idler does not tire as quickly as the man who amuses
himself.) [m4.I}
The true "salaried Baneur" (Henri Becaud 's tenn) is the sandwich man· [m4,2J
The idler's imila/io d~i: as Baneur, he is onmipresem; as gambler, he is omni~
tent· and as student, he is omniscient. TIlls type of idler was first incarnated
, th· oJ • • j~ [m4,3J
anlong ejtuntsJt fPJrtt.
"Empathy" comes into being through a didic, a kind of gearing action. Wi~ it.
the inner life derives a pendant to the clement of shock in sense pen:cpDon.
(Empathy is a synchroni1.ation," in the intimate sense.) [m4 ,41
,
Habits ace the armature of cOlUleC1ed experiences. This armature is assailed by
individual experiences. [m4,5}
God has the Creation behind him; he rests from it. It is this God of the seventh
day that the bourgeois has taken as the model for his idleness. In Binerie, he has
the omnipresence of God ; in gambling, theomnipotencc j and in study. it is God's
ol.llIliscience that is his.- This trinity is at the origin of the satanism in Baude·
laire.-The idler's resemblance to God indicates that the old Protestant saying,
"'\r\ork.is the burghec's ornament." has begun to lose its validity. [m4.6J
The world exhibitions were craining schools in which the masses, barred from
consuming, learned empathy with exchange value. uLook at everything; touch
nothing." [014.71
The classic description of idleness in Rousseau. TIlls passage indicates. at one
and the same time, that the existencc of the idler has something godlike about it,
and that solitude is a condition essential to the idler. In the last book of UJ
Ctn!foJ.fiOfU, we read that "the age faT romantic plans was past. I had found the
incense of vainglory stupefying rather than Battering. So the last hope I had left
was to live .. . eternally at leisure. Such is the life of the blessed in the other
world, and he.ncefonh I thought of it as my supreme felicity in this. ! Those who
reproach me for my many inconsistencies will not fail to reproach me for this
one, too. I have said that the idleness of society made it unbearable to me; and
here I am, seeking for solitude solely in order to give myself up to idleness ....
The idleness of society is deadly because it is obligatory; the idleness of solitude
is delightful because it is free and voluntary." Jean:Jacques Rousseau, Les Omfe.s-
JiQ1/.J, ed. Hilsunl (Paris (1931». vol. 4. p. 173.12 [m4a, l ]
Among the conditions of idleness, particular importance attaches to solitude. It is
solitude, in fact, that first emancipates-virtually-individual experience from
every event, however trivial or impoverished: it offers to the individual experi·
ence, on the high road of empathy. any passerby whatsoever as its substtate.
Empathy is possible only to the solitary; solitude. therefore, is a precondition of
authentic idleness. [m4a.2}
When all lines are broken and no sail appears on the blank horizon, when no
wave o f immediate experience surges and crests, then there remains to the iso-
lated subject in the grip of /atdium uitat one last thing-and that is empathy.
[m4a,3]
~ may leave the questio n undecided as to whether, and in what sense, leisure is
also dCLCrmined by the order of production which makes it possible. ~ should,
howcver, try to show how deeply idleness is marked by features of the capitalist
econornit order in which it Oourishcs.- On the other side, idleness, in the bour'
geois Society that knows no leisure. is a precondition of artistic production. And,
 often, idleness i! the very thing which Stamps that production with the traits r.hat
j
make its ~Iacion to the economic production process so drastic.
The student "m:ver stops learning"; the gambler "never has enough"; for the
[m4a.4]
Bineur, "there is always something more to see," Idleness has in view an unlim.
I ited duration, which fundamentally distinguishes it from simple sensuous pleas.
ure, of whatever variety. (Is it COrTect to say that the "bad infinity" thaI Prevails in
idleness appears in Hegel as the signature of bourgeois society?) [1nS,l1
The spomaneity comm,on ~ the student, to the gambler!to the Baneur is perhaps
that of the hunter-which IS to say. that of the oldest type' of work, which may be
intertwined closest of all with idleness. [mS.2]
Flauben's "Fc:w will suspect how depressed onc had to be to undotake the
revival of Canhage" makes the connection be~en study and meitncolia <sic>
transparent. (The latter no doubt Uuutens not only this (onn of leisure- but aU
forms of idleness.) Compare "My soul is sad and I have read all the: books"
(Mallanne); "Spleen 11" and "La Voix" (Baude1aire); "H ere stand I, alas, Philoso-
phy I behind me" (Goethe).13 [mS.3)
Again and again in Baudelaire, the s~cifically modem is there to be recognil.cd
as complement of the s~cifica1ly archaic. In the person of the 8Aneur, whoec
idleness carries him through an imaginary city of arcades, the poet is confronted
by the dandy (who weaves his way through the crowd without taking notice of
the jolts to which he is exposed). Yet also in the BaneuT a long-extinct crearun: -
o~tu a dreamy eye, casts a look that goes to the heart of the poet. It is the " 100
of the wildemess"-the man who, once upon a time, was betrothed, by a gena'
ow narure, to leisure. Dandyism is the last glimma of the heroic in times ol
dlcadentt. Baudelaire is delighted to find in Chateaubriand a reference to Ameri-
can Indian dandies-testimony to the fonna golden age: of these: tribes. [mS,4.1
On the hunter type in the flaneur : '4'he mass of tenants and lodgers begin. to Itr. r
from I helter to aheher in this sea of hou.sell, like the Imnten and Ihepberda 01
prehistory. The inteUectual education of the nomad is now c:omplf'te." OIWaid
Spengler, lA! Deciin de l'Occident <trans. M. Tazerotl t ~, vol. 2. part I (Parle,
1933), p. 140 .'~ [m5.5)
" Man 1018 civilized being, aJ! in'ellec,ual nomad, is oguin wlmlly llIic:rocownlie.
wlwlly hOlllcle88 , as £rt!e intellectually a~ bunicr and Il c rd ~nHIII were free sell SU -
ally." Spengler, vol. 2, p. 125. ,5 [m5,6]
p
[Anthropological Materialism, History of Sects]
GUStav: M\bur bottom is .. . divinel~
Berdoa: "And immortal as wcll, I hopc."
Gustav: -Whal?"
Berdoa: ;<Nothing.-
-Grabbe, H{11D1, 'Tit«lor VlIII Goih4vul1
The grandiose and lachrymose Mimoim de Chodruc-DudruJ edited by J. Arago
and Ed?uard Gouin ~, 1843), in t\yo volumes, are occasionally interesting as
the rudtmems of a phYSiology of the beggar. The long preface is WlSigned and
says nothing about the manuscript. The memoirs could be apocryphal. ~ read
at one point: "Let there be no mistake about it: it is not the refusal that humiliates
so much as the almsgiving.... I never stretched out my hand in supplication. I
\ ~d ~ more quickly than the man who was going to accede to my request;
passmg him, I would open my right hand, and he '\\'Quld slip something into it"
(~1. 2, pp. 1.1- 12). At another point: "Water is sustaining! ... 1 gorged myself
WIth water, SUlce I had no bread" (vol. 2, p. 19). [P I,I]
S.eclle. in the dormitory o£ a prison at tbe bepnninl! of the 18308. The passage i8
.Cited Ul Be nOl8. I WI·th OU I Ululeatlon
. .•. . I "
0 author : In the eveolnl!, with the dormitory
I~ all uproar. 'the repuhlicall workers, before going to bed , performed La Revolu-
tion de 1830. a theatrical charade they had COIlIIJOsed . It reproduced all the IIcenes
of the glorious week, from the deci!ioll of Charlell X aud his ministers to lIign the
Jul y Ordinances. to the triumph of the people . The battle 0 0 the barricades WaH
represellted by u battle with holsters ca rried on behind a Jo£ty pile of bed~ and
m~lt resscs. At the eml , \"ictnrs and vafl{lui~ hed joined forces 10 sing " La Mar-
sellJ ais~""'Ch
. ar les
B ellolsl' ,·.' , .,' 0 11111111 de 1 8I~," part I , Revue de! deux monde!
(J ul y I , 19] 3), p. 147 . The passage Ili led 'H'1!~limllbl y comes £rom Chateauhrialld .
[p1.21
GUUlleau
wh . "TIIe A' apa ,.l ... appears to 1I~ u.ndc'r the aspeCI of the perfect dand y,
(> lOves horsell, ad(ln!~ women , a lld has a ln te £or the high life hUI is enlirely
•
T" ,
ItIlJ'lf'cun"IOU8. 11 8 ae k 0 IIUlln.S,lC rna k C8 up for III rough gamhling; he iii a hahilue
{Jr aU Ihe gamMing deliS (If the Palui.- Hoya! .... li e Iw.lievl'.8 himself destined 10 be
 the redeellle r of lu nn'd better half, and . . . takes the title of l\1apah. a nabaecl
fornlt:d frolll tilt: firgt sylla ble8 of the two words ' mama' and 'p.". '
. II e goes on to
j llst as he WRS hlll'lI to command t.he heallts who came before him" <I.e Monde de,
OiSt?lWX,vfll. l , p.38>. [p1a,5]
lIBy t lull all prop!;!r numelllhuuld be modified in this malille r : you should 110 101l_
bear the na me of your fallier. but rather sllQuld URe the firs t " U,bl f
'.d " e 0 yOur Accurtling to Tou!lSt-nd . t.he. raccs that must look up to the woman slaml highest : at
mOl.h cr Rmal c n namecomhllled With the first syllable of your father '. name. And
10 mark the more clearly tllI;1I he (orever renounce&his own former n arne. . tirncs tbe GermanI!.. Lut ahoyf' all the French and the Creeks. "As the Athenian
he
s ign ll himself: ' He who was Gan neau .'·' He distributes his pamphleltl allhe~~ 0( alllJ Ihe Frenchlllan are den o t ~1 lIy the faieo n , 110 are the RODtaD and the Engliah.
nlDU hy the I·agle." (The eagle. however. " does not raUy to the service of human ~
theaten or send, them through the mail; he even tried. to persuade Victor R
. I· d . jul D. .... 11&0 to ity. - ) A. TOIIssenel. Le MOllde des oiseaux, vol. 1 (1laris, 1853), p. 125. [pl;i.6]
palro nu:e uti octnne . es oertaul. Le ' Mapah ,'" i.e Temp•• Septernhe.r 2 1
1935. •
, [P l ~!
Contit- ph~'s io l ogieB: MltUe pollr rire; Mu,," Philipon ; Mwee or lUagusin com~
Charlel l..ouandre on the phyaiologies. which he chargea with corruption of mor- ique: Mu.see Pllri.sie,,: Le5 Metnmorph05e5 dlljQur. (P2 ,l l
a1.8: " This Ilr~ary genre. , . has very quickly run itlJ course. The phY8iolo , u
KY
produced in 32mo fo rmat 8uitable to be sold .. . to those (Iut walking or drivin ,it Series of llrawi ngs. I.e, Vi,uvienne" by Beaumont : twent y prints. Daumier'B Be-
rep r esented in 1836, in the Bibliographie de la France. by two volumes; in 1~ ri e1l Les Divorcflust's <Divorced Women >. A teries (by whom?) titled Le& BrI.s ~blew

. there are eight volumes listed ; in 1841 there are se\'enty~six; in 1842. forty-four '
fifteen the yea r following; and hardJy more than th ree or four in the two yea';
wee then . From tbe IlhY8ioiogy of individuals. one moved to the pbYliolo,," of
<The Blue1Itockings >.z (P2,2]

a
eitiel. T here was Puri.. fa nait; Paris tabte; Paris dan$ l'eml; Paris Ii chevoJ;
Puris piuoreaque; P(lri.s bohemien : Paria litteraire; Pa ris mane. Then came the
physiology of pt.'Oples: Le5 Frrm~ais ; i.e5 Anglaill peint. par eux-memes. These
were followed by the physiology of animals: Lea Animaux peint& par elU--rneme."
deuines p(lr d'ullfru. Having finally run out of SubjectB, . . . the autbon .. .
Rise of the physiologies: "'The burning lH>litical stnlggle of the years 1830-1835
had formed an army of draftsmen, ... and this anny . , . was completely knocked
out , politically speaking, by the September Laws. AI a time, that i8, when they had
futht)ml!<! all the seercU of their art, they wer e sud,lenl y restricted to a lIingie
theater of operaLious: the dt:Rc riptioQ of bourgeois life . . . . This i8 the circum·
~ t al1l:e thut explains the eOlo N8al revue of bourgeois life inaugurated a round the

turned in the end to portraying themselves. and gave U8 the La PhysioJosie da _
physiowgUtes. '" Charles Louandre. "Statistique litter aire: De la P roduction iDlel-
lectuel1e en France depuis quinze ans," Revue des tkux monJea (November IS.
1847). f)P. 686-687. (pJ., l)
Thesell of Touuenel: " T hat the happine88 of indi viduals it in direc:t proportion 10
female au thority": "'tha t the ra nk of the species is in direct proportion to female
authority. ,. A. Toull8enel , l~ Monde deJ oiseuu.r:. vol. I (Paris, 1853), p. 485. The ·
first is the " formu la of the ~y rfal con" (p. 39). [p1a,2}
TousseueJ un hi ~ Monde des oiseau.r:; "'The world of birdll ill onl y itll incidental
s ubject , wherell8 the world of men is its principal subject." Vol . 1. p. 2 (j)refaoe by
the a uthor). (pla,3)
Tounf!ncl in his prcJact tu Le Monde des oisea ux: " He (the Itu thor] has lWugbl to
underline tile importance of the culinary side of his lI uhjcct h y ael:ording the item
" ruast meat" a more IlI'ulllineflt plalle than it usuatl y Ol.lcupie~ in IIde~lific wo r u ,'"
Vol. 1.1).2. [pla,4)
" Wtl admire till' bini ... becaustl with the bird, as in all well. organized poliLica,
... it ill gallau try that ,Ictermincs ra nk .... '\l:'e feel in ~ lillcti \'e1y that the WOIIUllI,
wllu t~ame from the Creator's ha nd after the man. was mad.. to command the la uer.
middJe of the 1830s in France .... Everything came into the picture: ... happy
daYK and sad daYll , work and recreation . marria ge. customs and bachelor habitll,
family, house, child, t chool. lIociety. theater. typea. profeslIionll." Eduard FuchB,
Die Karikawr der europiiisc.hen Volker. 4th ed. (Munich <1921», vol. I , p. 362.
[P2,'!
What sordidness once again, at the end of the century, in the representation of
physiological affairs! Charactemtic of this is a description of impotence in Mail·
~'s book on the history of women's emancipation, which in its overall han-
dling of the matter lays bare, in drastic fashion, the reaction of the atablished
boUTgeoisie to anthropological materialism. In connection with the prcscntation
of Claire Demar's doctrine, one finds that "she ... speaks of the deceptioru that
can :esult from that strange and enonnous sacrifice, at the risk of which, under a
tornd Italian sky, more than one young man tries his luck at becoming a famous
Chfll/uur." Finllin Maillard, La Ligt:nde tk la femme imancipie (Paris), p. 98.
[P2,4!
A key paltllag.. fro m the manifeslII of Claire Demur : "The union of the sexes in the
rUlllre will IJaye tn he I.hc result of . .. tlt·tllly nWllitated 5ympat hies .. . ; tltis will
I,~. I, h ~ case even wl1t~re the c"jstence of an intimate. !It.'(!ret . and lIIy~leriouH ral)port
l,t- tween two ~ollis 11M het!1l recognizt.'il. . , .,\lI SUeil relations c.ouJd ver y well come
10 lIut lling ill the face of fllle Int, illdi81H:nllable . and docisivt: le8t : th e TF.ST of
,WA M'f: R by MArrF.R, the "'s:;;,~v of 1'1••:S11 by n .....su!!! . .. Often enough. on Ihe very
thredlOltI of the bellroom, w devourif' g fl ame has come 10 he ed i" 811.~ hed; ofte..
enough , fo r more than one grand passioll , tilt: Iwrfumoo hedilht--els have become a
deMh shroud. More Ihan lint' IM!TII0n •.. who wiU r<:lllllhClit' liu ..s has entell!d
niglll . into the bed of lI ymen .tPcd pitatin& with desire. mltl emotio,..." Only' :~
awaken in the monlin& cold mlJ icy"· Claire Dcma r, IUo wi J'lI venir (Paris
1834), pp. 36-37. [P2.Sj
Re ant hropological maleriaUsn1 . CouclusioD of Claire Demar's Ma Lui d'cuJenir
~ M y Law of the Future>: " No more motherhood, n u more law of blood . I say: no
more motherhood . And , ill fac t , the woman enumr.ipated ... from the man, who
tlu:n no longer pays her Ihe price of her IlOily, ... will ow,· her ex.i ..&nce .. , to her
wfl rln alone. For this it iii nect'JUla r y that the woma n p ura ue some work, fulfill a
function . And Itow can she do this if she is always condemned 10 give up a more or
leu large pa rt of her life 10 the care and ooucation of one nr more children? •.•
You wanl to emaucipate the Icomon ? Wen , tllen, ta ke the newborn child from the
breasl of the blo()(l·molher a nd ~ve it into tbe arms of the socia l mother. a nurH
employed by the sta te, and Ihe child v.-ill be better raised .... T hen, and then oo1y,
will man, woman , and child he fr(:ed from the law of blood , from the exploitation
of humanity by humanity." Claire Dems r. lUa Lui d 'uVf!nir: Ollvruse pos,hwne
publie p ar Sruanne (Paris, 1 83'~). pp . 58-59. [p2a. l j
" What ! Because a woman woulll TIlther nol take the public into her confidcnCt"
concerning her fetlingR a8 a wuman ; becau8e. from among aU the men who would
lavish their attentions upon her, ... only she could say which one Ihe prefere-- _
... iii I he then ... to become ... the Ilave of one man? , .. Whal! In I Uch cases a
woma ll is ellploited .... For if she were nol afr aid of seeing them lear tbemselvCl to
pieces •... she could give ~a ti~fact io n to several men a t once ill their love.... I
believe. with M . J amel de Laurence, in the need. . for II freedom without .. .
limits , .. . a freedom founded on myster y, which for me ill the basill of the new
mor alit y." Claire Demar, Ma Loi d 'avenir (Parill . 1834). pp . 3 l--32. [p2a.2]
The demand for "mystery"-as o pposed to "pUblicity" -in sexual relations is
closely c.onnected, in Demar, with the demand for more o r less extended trial
periods. Of course, the traditional fonn of marriage would in general be sup-
planted by this more Rexible fonn. It is logical, funhermore, that these COJlce~
tion.'t should give rue to the demand for matriarchy. [p2a.3]
From the argu ments Ilirectcd against patriarchy: "All . it i!l with u hugc pile of
parricidal duggers al my side IIia t , amid wi!lesp,·catl grtlllU li of la mentatioll al the
very mentiOIl of tile wortb ' fli lher ' "lid 'mother, ' I venlure tu raist'" Illy voice ...
againsl the law of blo()(I, Ihe law of gCIlt'ration!" C!ltire Oemllr. Ma Loi J 'ovenir
(pu ris, 183" ), PI). Stl-55. [p2a,4]
Caricature plays a coruide:rable: rok in the: de:vclopme11l of the CIption. It is
dJaracteristic that H e:nri Bouwot, La Lillwf.Tllpllie (Paris <l895») <p. 11 4>, re-
proaclles Daumicr with the Ie:ngth and indispaL'iability of his captioru. [p2a,5]
lIeur i Bouchot , IAt U tl10srlllJhie (P.Ilrls) , p . 138. Cllml'art:8 t.he pro!lnctivit)' of
Otwcria with Ihal of Buh:ac a nd Dumas. (p2a.6]
Several passages from C laire Demar's \\fOrk M a Loj t/ 'auenir may be cite:d by way
of characterizing her relation to J ames de Laurence. The first comes from the
foreword ","nen by Suzanne and has its point of departure in Claire Demar's
refusal to contribute: to La '(ribunt tieJfimm(J: "Up until the seventeenth issue,
she had consistently refused. saying that the tone of this periodical was too
moderate.... \¥hell this issue appeared, there was a passage in an article by me
which, by its form and itS moderation, exasperate:d C/aire. -5he: wrote to me that
she , ..-as going to respond to it.-But ... her response became a pamphlet, which
she: then decided to publish o n its own, outside the framework of the peri.
odical .... H e:re, then, is the fragmen t of the: article of which Claire has cited o nly
a few tina. 'There is still in the world a man who interprets ... Christianity ... in
a manner ... favorable to our sex: I mean M. Jama de Laurena, the author of a
pamphlet entitled UJ EnflJJl/.J de dieu, ou La Religion de ] iJUJ. .. , The autllor is
no Saint-Simonian;. . he posrulates .. . an inheritance through the mother.
CertainJy this system ... is highly advantageous to us; 1am convinced thal some
part of it \\-ill have a place ... in the religion of the future, and thal the principle
of motherhood will become one of the fundamenta1 laws of the state:'" (Claire
Demar, Ma loj d'alJt1ljr: OUf/rage pruthume publii par Suzanlle [Paris, 1834], pp. 14-
16). In the teXt of her manifato, Claitt Demar makes common cause with
Laurence: against the reproaches leveled at him by La Tn·bum: des femmes, which
bad claimed that he was ad vocating a form of "moral liberty .. . without rules or
\ boundaries," something Mwhich ... would surely land us in a coarse and disgust·
ing disorder!' The blame for this is said to reside in the fact that in these things
Laurence propounds mystery as a principle; on the strength of such mystery, we
would have to render account in these: things to a mystical God alone. La 'tribum:
fUS Femmes, on the contrary, believes that "the Society of the Future will be
founded not o n mystery but o n trust; for mystery merely prolongs the exploita-
tion of our sex." Claire Dmlar replia : "Certainly. Mesdames. if, like you. I
confused trust with publicity, and considered mystery as prolonging the exploita·
tion of our sex. I would be bound to give my blessings to the: rima in which we
live." She goe:s on to desaibc the brutality of the customs of thae rima : " Before
the mayor and before the priest, ... a man and a woman have assembled a long
train of witnesses . ... Voil;\! ... The union is called legitimate, and the woman
may now without blushing affirm: 'On such and such a day, at such and such an
hour, I shall receive a m an into my II'O.Iu.v'S BEDl!!' . .. Contracted in the presence
of the crowd, Ule maniagc drags along, across ,1Il o rgy of wines and dances,
t~ward the nuptial bed . which has be:come the bed of debauchery and prostiw·
0011, inviting the delirious imagination of the guests to follow ... all tlle details
. .. of tlle lubricious drama enacted in the name of the \r\t:dding Day! If the
practice ~hich UlUS COnverts a young bride ... into I,he object of impudent
glances ... , and which prostiruta her to unrestrained de:sire:s, .. . does not
appc:ar to you a horrible exploitation, ... tllen I know not what to say" (Ma. £oi
d"QUt ntr, pp. 29-30). IpJ , ll
 Publication dale of the flnt i.nue of I.e Charivari: December 1, 1832.
IP3.2)
Lel bian confe88ioll of a Sai nl ~SimOllienne: "I began to love my fdlow woman ..
much al my fellow man .... I left to the man hit phytical ttrengt" a nd hie brand of
intelligence in order to exult at hit Bide, lind with equlII righi , the phYl ical beau
of the woman and her dittinctively spiritual gifts." Cited witllout indication ~
source or author in Firmin Maillard , La Legende de w/emme emanciph (Parle)
~~ . IP3~~
Empre88 Eugenie as Buccessor to the Mother:
Should you wish, 0 bleMW. ooe,
The whole of humankind with joy
Will hail itt EUCF.NIE-
Archangel guiding us 10 port!!!

.. Jean Journet, L 'fre de w/emme, ou Le Regne de t'harnwnie univer,elk (January

1857), p. 8. <See Ul4a,4 and U17a,2. > [p3a.21

Maxims from James de Laurel1ce, us En/anu de dieu, ou La Religion de I ....

reconcuree avec la philosophic (Paris, June 1831 ): " It is more reasonable to dab.
that all children are made by God than to say that all married couples are joiDed
together by God" (,l. 14). The fa ct that J etUS does not condemn the woman tab.
in adultery leads Laurence to conclude that he did not approve of marriap: "a.
pardoned her beeause he considered adultery tbe natural consequence of .......
riage. and he would have accepted it were it to be found among his disciple. ...•
At long 88 marriage exisu, an adulterous woman will be found criminal beca...
she burdens her husband with the children of othen. Jesus could not tolente md
an injustice; his system is logical: he wanted children to belong to the 1DCtIIMr.
Wllence those remarkable words: 'Call no man your father on earth. for you ba...
one Father. who itI in heaveD'''' (p. 13). "The children of Cod , as descended m-
one woman, form a single family .... The religion of the J ews was that of paUlI'- .
nity, under which the patriarchs exercised their domestic authority. The ~
of J esus is that of maternity, whose symbol is a mother holding a child in her _rIM;
and this mother is called the Virgin because. while fulfilling the duties of _ mother.
she had not renounced the independence of a virgin" (PI)' 13-14}. [p3a,3) ~e rourierist mis5ionary JeanJoumet, ca. 1858. Photo by Nadar. Courtesy of the Bib-
liothequc: Nationale de France. See p3a,2.
,
"Some scell ... , during the first ce.nturies oCtile church , seem to have divined the
intentiolls of Jesus; the Simonians , the Nicolaitans, the Carpocratians , the
Basilidians, the Marcionites, and others ... lIot only had abolished marriage but Iibcny, he changed the water into wine so as to d em onstrate mat marriage was a
had established the community of women." James de Laure.nce, lA' En/ant. tU fOOlhardy venture undertaken only by people whose brains are addled by ,vine."
dieu, ou La Religion de j e51U reconciuee avec la philo50phie (Pa ris. June 1831). J~lCS de Laurence, us EnfanlJ de dieu, ou La Religion de Jesus ricO'Ia"liie avec la
p.~ ~~ PJu/ruophie (Paris,June 1831 ), p. 8. (p4, 1]

The interpretation of the miracle at Canal which J ames de Laurence o fTers, in an

'i'he Holy Spiril , or the s01l1 of IIl1lurc, dellccnded II1'0ll the Virgin in the form of II
effort to p~ his thesis thatJesw stood opposed to marriage, is whoUy in ~
dove; and since the dove is the .ymbol or love , this ~iglliJie that the mother or
style of the early Middle Ages : "Seeing the wedded pair make a sacrifice of tbeiI'
 J eIU\! h ad yiclded to the na tural indination fur love:' J ame' de Laurence . Let
E,I!tlnt! de dieu (Parill. June 183 1),1" 5. [p4,2j
Some of Laurcllce's theoretical motife are alrl!ady evident ill his four-volume
novel, Le P,monuna dell boudoirJ. 011 L 'Empire des NairJ (llarili , 1817), which
WII8 publi!hed earlier in Germany and uf which a frllpnent had appeared in 1793
in Wieland', Delluche Merkur. LaurellCl' (Lawrellce) Was English . [p4,3j
" Balza(' has descr ibetJ the physiognomy tlf the Parisian in unforgettable fashion!
the faces drawn taut , tormented . livid . ' the alm081 infernal complexion ofParitian
physiognomicl';s nol faces b ut masks." Ernst Robert Curtius, Bauac (Bonu,
1.923). p. 243 . (Citation from La Pille nux yeux d 'or.) [p4,4j
UBalzac's interest in longevity is one of the things he has in common l' alb the
eighteenth century. The naturalisu, the philoliophers, tbe cha rlatans or that ap
.. are agreed 0 11 this point. ... Condoreet expected from the future era, which he
painted in glowing colors, a n infinite prolongation of the liCe I pan. Count SaiDt.
Germain dispensed a ' tea of life,' Cagliostro an ' elixir of life'; othert prt»:DOled
,
'sider eal saltl,' ' tincture of gold,' 'magnetic beds.'" Ernst Robert CUmUli, Bobar
(Bonn. 1923). p. 101. [p4,5J
In Fourier (Nouveau MontU <Paris, 1829-1830), p. 275) t.here <itt. outcries agaiDsI
wedding rites that recall the pronouncements of Claire Demar. [p4,61
Notl' of Blaoqui's from the I pring of 1846, when he was imprisooed in the Ho, pital
of Tours: " On Communion day" the sisters of the hospice of Toun are unap-
proachable, fer ocious. T hey have ellten Cod. They are churning with the pride."
this ru"ine Iligestion . These ,'essels of holiness become Rasks of vitriol ." <Cited in)
Gustave Gel1roy, L 'Enferme (Paris. 1926). vol. 1. I). 133. [p4,7]
Apropos of the wedding lit Cana . 1848: uA banquet for the poor wali plaoDed; if:
was to offer, for twenty-6ve centimes, bread, cheelie, and wine, which would be
eaten and drwlk on the Illaiu of Saint -Oenili . 11 did not take place (initially sched-
uled for June I . it wali pOJltponed to Junf: 18. tllen to July 14); but the preparalo..,.
mcetings that were ht'ld , the subscriptions that w~re coUected , and the en~­
menls-which had mounted . by June 8, to 165,532-ser ved to stir up public opUl-
ion. ,. G u~tan~ Geffroy, L 'E,iferme (Paris. 1926), vol. l, p. 192. (p43" l j
" 111 1848 , in the r oom of Jenny tlu: wurker, tllere "" ere portraits of Beran~r,
Napoleon , and the Madonn a Illnned to the wall . People felt certain l~at the reliI-
iOIl of Hunltlllj,y was about to emerge. j esus Iii.
° .
a great wan f '48 AnJoug the ".
mailses. the-re were indications of a fuith in OmCIIII . . .. TheA lmunllch l)r01Jhet~
of 1849 all1lounccd the return of t.hll cmnl:t of 1264-the warrior I!(llllet, "rodu
h y the influence of Mun." Gust.ave Gt'ffro y. L 'F;nferme (Paris. 1926) , vol. ~.
1J . 156. [p4a. J
OaLick , deputy or the tenth orrondiu emenl, Pole. worker, then tailor. then pe.....
{UlIll!r. " He wa& ... a member of the InterlllHional and of the Centrill Committee,
aud a t I he Sli me lime an a postle of I.he fll sionist cult-a n:.ligion of rec':lIl illspira-
ti(HI. int l!mled for the use of hrains like hilt. Formed by a certain M. de Toureil, it
eOllliJin co ... several cults . to which Babiuk had cOlijoine(1 spiritualisnl . As a
,l('rfUnlCr, he h ad created for it a language which , for lack of other meritli. W ag
~1.dCJIt'nl (If drugs and ointments. He would write at the top of his letters ' Pari 8-
Jel'lIsaJelll: dote them wilb a yell r of tbe fu sionid era. and sign them ' Uabic.k ,
duM of tlll~ Kingdom of God , aud lH!rfumer,''' Georges L.aronxe. His' oire de La
COIIIIIIIHlPde 1871 (Paris, 1928), pp . I68-J 69. [p4a,3j
"The whinI 8 i~ 'a l idea rOIll'civcd h y the colonel of the twelfth legion was no more
f{'lk itOnl. It entailed forming a compan y of female citizen voluoteerl who were
dlllrged. for the greater shame of lawbreaken, with lICCuring their a rrest ."
GeorgCll Lnrollze. Histoire de lu Commune de 1871 (Pa ris, 1928), p. 501 . (pb,4j
f'u sioni5me begins its reckoning of time with December 30, 1845. (p4.,5J
Maxime 011 Camp , in his Souvenirs liueroire., makes a play on words with
"E ... adians" and uevllden." (Seea 15,2-4.) 1p4·,6J
from the cOllstitution of the Vesuviennes: "Female c.itizens ought to do their part
to serve the armies of land and sea .. .. The enlisted will fo rm an anny to be
designated as resenre. It will be divided into lhree contingents: the corps of women
\ workers. the corps of vivandiere., and the corps of charity.... Since marriage is
an association , each of the two spouses must share in alltbe work. Any husband
refusiug to perfonn his portion or dome8tic duties will be condemned , .. to as-
l ume re!l ponllihility for the l ernce of his wife in the Garde Civique, in place of his
own service in the Ga rde Nationale," Finnin Maillard, La Ugende de La fe mme
em(lncipee (Paris), I'p . 179, 181. [p5, I]
"The feelings Hegel stirred UI' among the members of Youn, Cermany. and which
nuctua ted bt:tween stron, aUraction and even stronger repulsion, are reRected
most \'i vi ~U y in Gusta \' Kuhne'! Qlloronliine in! Irrenhowe <Qu ara ntine in the
11I58.1I!! A8yhmn .. .. Beca use the nll~lIl ber8 of Young GermallY placed the ace{'ut
more On liubjecti\'e volition than on objecti ... e freedom, the Young Hegelia nll
heapwJ S('O rli upon the ' unpr incipled meandering' of their ' belletristic ego·
ism' .... Although the fea r arose, within the rBllks of Young Germau)', lhat the
inest·apublt: Ilialectie of Il egeliun doctr ine might depri ve Youth of the streugth ...
to il~·t , Ihis COIl1;ern pruved unj ustified ." Quite the contrary : once lhese yo ung
Crrllla,..! """ er e forced to rt-'Cognite, after the ha n on their writings was imposed,
thut IIII'Y tlacmsdvC8 h Ull burned Ih(" handll by whose diligent laho rs they hud
l'fl1Jt·d 10 li_\'I: like go(..1 hourg~Jis. dll~ir cnthusiasm Iluickl y vanishell. " Gustuv
MUYt'r. Friedrich £'·ngeb . vol. I . Friedrich Ensel$ i,1 seiner f'riilu:eit (lkrlio
~ 1933», Pi>. 37-39.<1 (P5,2]
Around the time thaI "'physiologies" first appeared. historians like 'Thierry,
Miguel, Guizot \\-'ere laying mtphasis on the analysis of "bourgeois life." [p5,3]
Engels on the Wuprt"rt.lll regio n : " Exccll~ nl soil for our pnncipll's il being pre-
pared here; aud once we ure able to set in motion our wilt l, hot-u!mpe red dyers
and bleachers, you won't recognize WUPI}ertal. E ... en Illl it i ll . the worker'll du~
the p8s1 few year'll ha ve reached Ihe final stage of the ... 111 civilization. the rapid
increase in enlne., r obberie•• and mnr ders is their prol e~ t against the old social
organi u tion . At night the stree15 lire IIn ~a fe . the bo urgl.·ois a re beaten UII, knifed,
and rohbed. H the local Ilroletanaoli tle ...elop according to Ihe same law, as the
English proletarians , they will l oon reali,,{' Ihat it is IIseiess 10 protellt agai.n,' the
social system in this ma nner . . and will protcsl in their general ca pacity, ..
human lW!ings, by means of communis m." Enge-" to Matx_ October 1844, frolQ
Bannen [Karl Ma rx Ilnd Friedrich Engels, Briefwechsel, cd . Ma rx-Engell 4...enio
1,1l5ti t lll , vol. I « Zurich ) 1935), PII. 4--5]. ~ [PS,' ]
The heroic idea1 in Baudelaire: is androgynous. This does not prevent him &om
writing: "'M: have known the philanthropist woman author, the systematic priest-
ess of love, the republican poetess, the poetess of the fu ture, Fourierist or Saint-
Sinlonian; and our eyes , , , have never succeeded in becoming accustomed to aD
this studied ugliness." Baudelaire, Urt romanlique, ed. Hacheue, vol. 3 (Paris).
p. 340 ("Marceline Desbordes-Valmore") .' (p5a,l)
Rl.figion fiujo71ic1me, flU Doc/nne ,Ie /'u1liucrsalisation ria/uanl Ie umi cal/wliciJmc
(Paris, 1902). 1p5,,' 1
" ~k : Is the re 80nu: pa rtk ul ar faed uf your rd igiuu,; cult Ihal YO II eUllhl comml!lIt
UII? M. de Totlrcil: W{' pray "(U:II, nnd our praye rs urdililirily iJegin wilh the
"'I)rd;;: ' 0 Map suprtme 111111 dcr na l. · Me: What is Ihe meanin g of Ihis sound
' Mop"! M . tit' TOllreil : It i B Illiacred 501llld wllir h eombinCli the ,,,- signifying mere
(1IIOlhcr), till.' p 6ignifyillg pere (father ), and the (J :lignifying amour (lo ve) ....
These llan ... lellcl'II tlesigllaltl Ih .. great eterlllli COtl. " Alexa nd re Erdan [A. A.
Jacoh]. 'At "'runee m;s,iqufI. 1 ...ols. ( Paris. 1855), \ ' 01. 2, p. 632 [ colitillUOUil pagi-
nauon}. (p6.1 1
Frtsionismt: aims not at a syncretism but at the rusion of human beings with one
another and with God. [p6.2]
"There will be no ba ppinellH for humanity until the d ay Ihe republic sends the SOli
of God back 10 the carpenter's shop of MOllllic ur his father.'" This sentence is put
into the mouth of Conrbet , in a pamphlet thaI presents the heroes of the February
Revolution tu the public. (p6.31

One of the later sectarian developments of the nineteenth eenrury is the fusionist
rdigion. 1t was propagated by L.J. B. Toureil (born in Year VIII, died 1863 [or
-
1868?]). The Fourierist influence can be felt in his periodization of history; &om
Sainl-Simon comes the idea of the Trinity as a tmity of Motha-Father to which
Sister-Brother or Androgyne is joined. The tmiversal substance is determined in
its working by three processes) in the definition of which the inferior basis of ~
doctrine comes to light. These processes art: "Emanation•... the property which
the universal substance possesses of expanding infinitely beyond itself; .. • ~
sorption •... the property which the universal substance possesses of t:umJIlg
back in.6nitely upon itself; ... Assimilation, .. . the property which the universal
substance possesses of being intimately permeated with itself" (p. i).-A charac-
teristic passage from the aphorism "Pauvres, riches" <.Rich Men, fbor Mcn>,
which addresses itself to the rich and speaks of the poor: "Moreover, if you refuse
to elevate them to your level and scorn to involve yourselves with them, why
then do you breathe the: same air, inhabit the same aunospheR:? In order not to
breathe in and assimilate their emanation ... , it will be necessary for you t~
leave this world. to breathe a different air and live in a different aqnosphere
(p.267).-The dead are "multiform" and exist in many places on the earth at ~
same time. For this reason, people must very seriously concern themselves, ~ur
ing their lifetime, with the betterment of the earth (p. 307). Ultimately, all ~te:.
in a series of suns, which in the end, after they have passed through the stao~n 0"
one light (um'lrl1l1iuc) , realize the "universal light" in the "universalizing regJ-OfL

r
[Ecole Poly technique]
On conlme rce: oi l( competition between merchants, ... or any other mal~r. pre-
ven l! them from l!e.lling their wares in timely fB ahion . then the individual me.rchant
is forced .. to suspend bUline.. and cast the problem back onto the pro-
tluceTs .. , . Thia is wby we callnol digtingWsh between commercial and indu. trial
crise!l , 80 dependent is industry on intermediariel . ... A fearsome audit iI COD-
dueled on aU Bllcta in circulation, and an enormous quantity of them are declared
wortltle8ll .... The times when commercial 8111!CI& are suhjected to audit are called
crisel, " Eugene Buret, De /0 lUuere de. crout. laborie ulel en An&l.etern e. ell
France (parill, 1840). vol. 2, pp. 2 11 ,2 13. [rl .1)
" In 1860. baving long slwnbered in the arnlll of protectionism, France ahruptl,_
awakened 'on the pillow of free trade.' Exercising the ~t confe r red on him."
the cOlistitUtiOIi of 1852, Na poleon III had bypa88ed parliament and negotiated lei
open our borders to productil from other nations, at the IBme time opening &eYen1
foreign ma rkeu to o ur e ntrepreneu rs . . . . Long year&of prOliperity had made it
pos~ible fo r our iudustrial fo rces ... to wage a global struggle." He nry Fo~.
Les Deligatiolls Ollvrieres aux expos itions utli ve rse/ks .t 01'-' Ie Second E,..".,.
(Monthu. on, 1905), p. 28. i<l.2l
Foullding of the Ecole Polytechnique: ' "The Terror within , invaders stlhe 1>0....
den ... ; the country in ruins, d isorganized , able neither to scquire the ~allpder
needed for gunpowder no r to run tbe facl ories needed for manufacl unDi .na-
, we re 'm th e hand
(silll:t: nearly a U these fnl~t ones s 0r 'ms u ' gen U '~-
--------o. uch were
. . . . 1 Id
circ ums tances In which de liLerau ons were Ie to oun r d ,I Ie lie w ins
. bl C' all BiotU.
' E" e r ytbing tba t genius. labo r, and concerted acllon were cap a tl t1 ,
)ut it ' was now called up , iO that France alune could s Ul tain itself agalOtlt
I , 'h\ '
Europe ... fo r the tlura tion of tile war. howe vt: r long and te rn e II IN
• . tCO ce
he' . . . . Chanlcterntic of Ihe Ecole Po lytechnillue . . . was the coexJ.li .
purely theorelic Itudi~ with a series of vocational cour,e" gea red I~ civil en~~
ing. a rchit t'4:ture, fortifi cations, mining. a nd e \'e n naval eons truc bOIlS... '
leun .. . nuule rellide nce in the barrackll 0 LL gato r y ror .5111 d e n 18 .... Then eeUtt
the twcnlll of ... 181 5. a.rlt~r whic h ... olle no IOllger concealed the ho~ ~f . .......
Illt~ Ecule recruil more , tudentll (ro m aristocratiC ' raml'\'.1t:M. . .. TI It~ 'IIIIIl1lubu" UI
cea.;led to IlaYc t.he character of a pn:pa ra lory schoo) for Iluhlic IIervice . ... Pure
Brient:e was to gain nuthing hy th is; for • .. the graduiltillK dils~eM ... of 18 17 lu
-
1830 contributed by far lilt" I.,west prupnrtiUIi of mt: lTlh"'rll til lilc IUlilitul de
Frallfi' .... III 1848. Ihe Ecole Willi ill da nger IIf lwing c1os....I. ·· A. d t' LUllllIu·ent . i.e
Cf'nfCllaire de rEcole polyl.edJniqu.e (Pll ri ~ . 1894). PI' . (.... 7. 12- 15. [rl ,3J
Ville of Ma rc h 18. IM71. a tlhe E('olt: Po lyleehnique. 011 tllI~ jllIsiLiulI to he a d o pted
\.;~.a-vi s the ConllJlunc: "S'lmt' ... "" o nde r what thi, COllllllilll.."tl i~ Iha l claims 10
hu"c I"een ('il..'C lefl liy t he. fell e r ution of 300,000 ci tizells . . . . Oth t:r~ ... prullollC
lilking up Ihe tra dition of tlte past allli putting tlu:mselve!\l lit the fo refront of the
olol'(:nll; nl. After a "e ry lively but peaceful discuu ioll , a vote i. ht>ld : Ihe partisanli
of t he Ct~lItrlll Committee a re fourteen in 1IIIlIIhe r! " C. Pillf' t, Il isloire de l 'Ecole
Iwlyledmiqlle ( Paris , 1887). p. 293. [rl a,l ]
1.0 1871. til t' Ecole Polytechnitlue c ncoullt eretl ju. tilied lIIis trusl . Voices we re
heard til Hay : "The ECIIle is 11 0 lo nger wha t it Will i ll 1830! " ( Pinllt, p. 297).
[rla,2J
Two characteristic passages from Edouard Foucaud, Paris inurntror: Phy;iofogie de
/'induJlne jraTl{aul! (Paris, 1844). o n the: conception of industry and oCthe: work.er
Wore 1848: "Industrial intdligence is the daughter of heaven. It loves and
surrenders itsc:lf only to those: whom society ... calls mmwal labQrm, those
whom intelligent persons know as brallim or workm" (p. 18 1). "Today, in the
nineteenth century. the ,/uJ.lld of the: Romans, ... the serfof Charlemagne, the
\ pl!a.sontoCFrancis I- this miserable trinity which slavery has brutalized but which
the genius of emancipation has made radiant-is called thr: fuopll' (pp.220-22 1).
[rla,3J
"Without the advantages of wealth, . .. or a narrow mind, . . _ the worker finds
retirement on an annuity to be oppressive. The sky above may wcll be cloudless,
and his home may wdl be verdant, perfumed with 80wers, and enlivened by the
song of birds: yet his inactive mind remains insensible to the charms of solitude.
If, by chance, his c.'\f sho uld catch some sharp noise corning from a distant
manufacturing plant, or e:ven the monotonous churning of a factory mill, dlCll his
countenance imm ediately brightens; he no 10llbrer notices the birdsongs or the
the
. perfumes. 111c thick smoke escaping from the factory's high chinmcy. the ringing
tituUo n .. • •
d or the anvil. make him tremble with joy. These things remind him o r the good o ld
. all I ~ys of manual labor motivated by a mind inspired." Edouard Foucaud, Paris
It IfIllrnfrltr; Plrysiologir: tilll'illdliJfril'pan(ai.u (paris, 1844), pp. 222- 223. (rJa,4J
IO
'gbt P rOve. 01
r- "" Arll iti l lic reiglling diiltlrd,~r: writes VlllilaLe.Ut·. -tlJf>ir wdl-kn owrJ IInif" r!II . be-
IQ\'t:d of all , ga ve thc lII II surillf "ffidll lt·hllrnl"li:r. wh ich IUl"lwd tlU! 1Ii illt o, , . I.he
11_
c
Ili0SI o('ti"e a mlllll)st useful uge nlS of tile up uml cIIllIillg pOIo·cr· ... . ' \\' III'lIeV\'r
"'t: hluJ \\) giYC 1111 orde r Ih ll l retluirctl Ihe hal' kin g of SOIllC kiml lorroree,' ~ lIys
Mauguill . 'we woul,1 gcne rall y e nt.ru sl its e xer utio n 10 II /l11I,lt'lIl uf tlw Eco le
PoIYlceil.ol!lue. T he IIludenl wuulll detlcenrl the fli ght of 8tairll leadinKout from tt.
Uvtcl de Ville. Befor., reachin g the IJU tWm IItcp . he would addrf'llil the crowd
whirl. had hecome attl~ lIth'e; Ilt~ would sun ply IIronounce the wordll, "Two htaQ..
dred m{'n , able and ....iIling!·· Then he would complete his descen l and turn slobe
into Ihe Slrt."tll . At that ver y insla llt . fi ne I,:ould st..., stepping forth from the wan.
and marching behind Ilinl-8oJllc with rilles. othera ju ~ t wilh 8words--<me mila
two men , Iwenly men , alUl then one hundrfi!(l , four hundred . five hundred rneo;
more Ihalilwice Ihe number needed. ,., G. Pint'l , Il is /Qire rle !'Ecole polyteduuque
(Paris, 1887), pp . 156-157. [The 1100'0 pliliages cited are from ( AehiUe> Vsu1abeUe.
His.oire de. d el/X reatourations. "01 . 8 , p . 291, and a letter of M. Mauguin to La
Prel!e. Saumur. March 8, 1853.] [d,l)
The students uf the Ecule Polytechniqu c o r ~anize a relief fund to ma.ke it eatier rOl"
La Tribune 10 pay a fUie. (Pinet, I)' 220.) [r2.2J
Lamllrtine in Des tin ee~ de la [weJlie, a8 cited in Michiels: " At . Lamartine, who bu
seen with his own eyes the inlelle(:tual servitude of the Empire. d escribes it .•.. '11
was a universal confeder acy of dIe mathematical fonnll of 1I1l1dy. in oppoeitioa to
Ihinking aud poetr y. Nu.m ber alone Willi permitted. waf honored . protected. aod
paid . Since nllmber doel not think for itself, the military chief ortbat era bad .....
of no other . . . henchman ,''' Al£red Michids , lIi11toire de! uUe.
liuer-aira -
France QuX1X· siecle (Pari s. 1863). vol. 2. I" 94. {r2.3]
Pint:! ( Huroire de l 'Ecole poly technique (Paris, 1.887) (p . viii) refers to the""Eaey-
c10pCdistes 8S " the true found ers" of til t: Ecole Polyteclutique. [1'2.'1
" One tried by every meallS pou ihle, hut always without 8ucceu, to win the Ecole
over 10 the callse of the Bourbons." Pinel, Hutoire de l'Ecole poLytechniqw.
{d,5J
p . 86.
Customs an.1 pret:eptll of the student body at the Ecole Polytechnique, a8 .~
bled in the "Code X ," -' It rested entirely on thi. UD e principle. which h.d becIt
uphdd evcr since the school was founded : 'An y resolUlion voted through i8 oblip--
lory, no maHer .... hatlhe consequenccli might be.'" Pinet , PI" 109-110_ [1'2.61
~[jchelet on tbe Ecole Polytecbnique alld the Ecole NOriliale: " After thOle ~
trials, there 8eemt""d to be a moment of silence for all human pusionll; one .
hllve thought Ihattherc .... a.'I no longer any pride, lelf-inh:resl_ or envy. The l
.. ofp.- b
men in the ~ tale atlll in science Ilcccple41 the mosl hum II I e j"1081tlOnfJ
' IImeb' e. F'r
instruction . Lagr ange and Laplat:e taugIIt a nt I Ittn ImD dred stude
grown men who wer t!" III , ~o m.: e a se~ a..I rell dr
y a muu s-cam · ~... to take tlletT-'*
uld in"-
at thc Ecole No rmale .lind 10 learn to leach. They came as I)CIII I. Ilt~y co
dcpth of winter. at that time flf p·()vt'C rty and famine. . .. A j;r"eat CI'Iiz • e .
0 Can-'
.. . was the real fotlndo;-r of the Eeole Polytechnifluc, Tllt~y lea rul·tl WIth the"It:dI'
soldi er~ .... Wlllchiul; the IIl1illterrulltccl inv"ntion s of their leachen, lhc BtUI
went 011 10 uwenl all weU. Imapnc the ,pectac.le of a Lagrange who l uddeul y
811'I'pt..,:I shorl iuthe lUid(lIe of his lec:ture and wa s lo~ 1 in thuught . ThenHlm wailed
• ill silence. finall y he awoke ancl told them of his glowing new .lisctlvery, barely
forIl1 (.d in his mil"!. . • . What II dt'C!ine after those daYII! . .. Mtcr the reporu
!lItHic' to 1111' Conve ntion , read those uf Fourcroy and F'nulanes; yo u si nk . . . from
man ho.,..1 1.0 old ag.!.'· J . ~ti c h elet , Le PeupJe (Pari" 1846), VP · 336-338.! [r2a, I J
.' f'urn ass us of thc triangle uud t h l! hypotcnuse"-thill is what Paul· Ernest de
Rattier_in PtJri1l n exulepw (Paris, 1857). (lIlUS the Ec ole Poly technique (p . 19) ,
[r2a.2]
Ch. F. \lie!, as an adversary o f Olgineering construction. no less than as a royal-
ist, "'as necessarily also an adversary of the Ecole Poly technique. H e laments the
decline of architecture as art-a decline "that began with that temble period when
the throne o f our king "'as toppled." Charles-Franc;:ois Vid, De fa C/tutt: imminente
de laJdrou de fa cOnJtruch"on dtJ biih"mt:nJ ro France, vol. 1 (Paris, 1818), p. 53. The
study o f architecture as art is, according to him, more diffirult than the mathe-
, maticaJ theory of construction; as proof, he cites the many prius won in this field
by studen ts of the Ecole ~Iytecluuque. The author speaks contemptuously o f
the new educational arrangements-" these new institutions professing everything
with everything else"-and he writes o n the same page : "l...ct us pay homage here
to the government that has judged SO well of the difference between mathematics
and architecture, and which has preserved the special school in Paris for the
reaching of this art, and recreated the private boarding school o f Rome.." Charles-
Franc;:ois Vie!, De l'lmpuwance des mathimah'queJ POUT 4$JUTt:T fa Jofidili tkJ bliJi-
IIImf (Paris, 1805), p. 63. Vie! emphasizes (ibid., pp. 31-32) the irrational element
in the genuine study of architecture: "The fonus preexist the construction and
constitute essentially the theory o f the art o f building," In 18 19 (De fa Chute . . . !
vol. 2. p. 120), he is still denouncing " the attitude of the century toward the fine
am in general, which it puts in a class with the induJfn"al arts." [r2a,3J
From the time of Napoleon I, the Ecole Polytechnique was subject to continual
~proach for providing practicaJ training with an overly broad theoreticaJ founda-
Ilon. These aiticisms led, in 1855, to proposals fOT reform, against which Arago
look a most determined stand. At the same time, he dismissed the charge that the
schOOl had become a breeding ground of re\'olutionary animus: "I have been
tol~ o f a reproach <iiRcted against polytechnical instruction, and according to
eadiDa
". ~hich the mathematical d isciplines-the study of differential calcu.1us and of
U1tcbrral calculus. for example-would have the effect of tranSforming their sm-
nt...-
, dents into socialists o f the worst stamp .... How has it escaped the author of such
_L.. a frepro adl that its munediate consequence is nothing less than to range the likes
. _ .... o a H Uygeru, a Newton, a Leibniz.. a Euler. a Lagrange, a Laplace amo ng the
alol I%st hot-headed o f d em agogues? It is truly shameful that someone was led to
~e comparisons o f this kind." (Franc;:ois> Arago, Su r 1'a'lcit:7ln~ .&ole po/yuch·
luque (Paris, 1853), p. 42. [r3.11
 I~ l--e Cure de uillose, wh~ch Balzac wrote in tlll.~ yean! 1837 to 1845, there arevery
\'loleut. attacks 011 tJle Ecol« Polytecimique (coming in the leiter of Grego'
Gerard to Ii~s patron . the hanker Crossetete) . Balzac fearl! thal Ille forced study~
t~le e:l(IlCt sCiences would ha ve devas tating erfects nn the spiritual cOllstitutioQ and
life s pan of tile students. Still more characteristic are lhe following reReetiOQ 8: " I
do not bdieve that an y engineer who ever left the Ecole could huild one of the
miracles of architeeture which Leonardo da Vlm:.i crected-Leonardo who was at
once engineer. architect, and paioter, one of the inventors of hydraulic science, the.
indefatigable constr uctor of canals. Thry are so accus tomed while not yet in theit-
• teen s to the bald simplicity of geometry, that by the time they leHve the Ecole th
have quite 108t all feeling for grace or ornament. A column, to their eye., ia~
uselesll was te of materia!' They return to the point where art bcgin8--<lo utility
they take their stand , and stay there." H. de Balzac, Le Cltre de village. ed. SiecJe
(Paris), p. HI,•. J ..) (r3.2]
Ango's speech on the qucstion of fortifi cations·1 is directed agains t the report bJ
Thiers and against Lamartine. The sl)eeeh is dated January 29 , 1841. Doe orib
most important sections is head~d: "'The detached foru exam.ined from the-poiat
of view of their political significance. Is it true that governments have never re-
garded citadels as a means of s ubduing and s uppressing l)(Ipulations?" From tbia
section: >OM. Thiers does not like to admit thatlmy government , in order to control.
the population , would ever resOrt to homharfiiJlg the towos , . . This illusion cer-
tainly d oes IlIInor to his humani ty and to his taste for fine arts ; but , .• few olben
would s hare it . . . . And 80 , _ • one may subscribe to the protestations of J83S--
against the detached fort s and the smaUer fortresses without incurring the epithlll
of ' philistine.' or ' madman ,' or other such compliments ." Arago, Sur Ie. Forfi..
fications de Paris (Paris. 1(41), pp. 87,92-94. {r3,3]
Arago fi ghts for the "continuous en ceinte" as opposed to the "detached forti"':
uThe goal we s hould s tr ive for, in fortifying Paris, is clearly to give t.Jm gipntic
city the mellns of defending itself solely wilh the aid of its Garde Nationale. ill'
workers . the population of surrounding areas, and some detachments o£ regular
army troops . ... This point granted , the best ramparts for Paris will be lboae the
population find s tu be best- the rampa rts mOSI intimately suited to the tal",
customs, ideas. and needs of an a rmed bourgeoisie. To pose the question in ,bit
forti! will be ucc upil:d by regular army troops! You admit Ihen that . with a syHtem
of fOl' n , the population could nol defeml itself alolle. Tllis is . . , an immense. a
tCI'riblc a dmi~8 i O Il :' Aragu. S llrle.~ Fortijic(l/ioru de Jl"ru (Paritl . 1841), PI" 80-
81 . {r3a. l ]
.Mar:( on the JUlie IlIilUI'fCction: '·tll order to dis pel the people's last illusion , in
order to enable a cOlllp lete brea k with the past, it waMIIcceua ry for the customary
poetio accolllpanimeni of 101 French uprising. the enthusiastic youth of the hOllr~
gcoisie. I.he Siudeni s of lhe Ecole Polytcchniljue, the thl'L'C-cornered hats-all to
take the side of the oppressorM," Karl Marx. " Dem Andenken der Juni- Kampfe r "
[Karl Marx (lis Denker. JUe/lScli rHld Rello/lltioniir, ed. D. RjazallOv (Vienna and
Berlin <1928 ), p. 36).5 [r3a.2]
Again , ill 1871, ill Ius s trategy fur the defense of Paris. Blanqui comes back to the
lI8el e~s'less of the CMts which Louis Philippe erected against Paris, [r3a,3]
The postrevolutionary tendencies of architecture, which gain currmcy with Le.
doux, are characterized by distinct block·like structures to which staircases and
pedestals are often appended in "standardized" fashion, One might discern in
this style a reBection of Napoleonic military strategy. With this goes the effort to
gmcrate certain effects by means of StIucturai massing. According to Kaufmann
"Revolutionary a~tecture aimed to produce an impression through ~
m~ses, the sheer Wetght of the fornu (hence the prefe~ce for Egyptian fornu,
\ Which. predates the Napoleonic campaign), and also through the handling of
matenals. TIle cyclopean embossment of the saltworks, the powerful ordon.
~ce of the Palais de Justice at Aix, and the exC'eme severity of the prison
d~lgned for this city , , . speak clearly of that aim." Emil Kaufmann, nn Ledoux
u
bu CorbuJier (Vierma and Leipzig, 1933), p. 29. [r4,1]
Lello ux '8 planned toll· belt for Paris : " From the beginning, be set his sights as high
as possihie, His tollgates were intended to proclaim from afar the glory of the
calJita!. Of the more than forty gIlHftIlIOUSeS, 1I0t one r esembled any of the otbers.
II.lld amollg his papers a£ler his death were found a number of unfinished plans for
eXIJon\!iug the ~)' sl e m , " Emil Kau£mllllll , Von Ledoux flis Le Corbusier: Ursprung
"'1(1 Enl't';ckllJflg d el' (llilorlOlllell ;lrcllitektur (Vienn a HIIII Leipzig, 1933) , p. 27 .

manner is to rej ect out of hand the system of detached forts. Behind a continoOid [r4 ,2]
surrounding wa U, the Garde Nationale would have news of their familie.!! at all
tilnes. The woumled would ha ve access to care, In lI uch a sit.uation . the appre.be&' ."Shul'll y Hft t-·l '.00 '"
. . tUllgs wen : a , . y so far alullg dl atthc ideas which a ppear
rllilu
sive gu ardsman would he as good as the seasoned vetenn. On the other hand. we III I~t lvux il IU I B0 11 " et.~" ' emCllta ' " ." rs t8 oC passiunate naturea-wcre Leing
IJULUu
wOIII(1 be strangely deluded if we imagined that c iti~ e ll s under dail y 'o hligatio ns " B l'I" ,, "
pr'Jj)uuud ,·.1 as OIlI(:la • otll'III\:, . .. 0 Illy tllrec IIccHlle5 Separale the late work of

heads of £amiliel! and as heads of busioesses woultl gil, without great reluctance, to l' lonlld.
_. whi·1 ',il' , " " '
<. 1 " . • • . em)Ol les t. IC Ica cI IUl " gS I>( Frcndl claSSICism,
"" fl'OIll the
simI themselves up within the four walls of a fort- that they wOIJd he "repar~ to . rec", des k,o", . (/'u rc /II", eClllre tl ( 0 urallU.
., w If)S~ I' lUI
" k lug
" had I/, tleCls..lVt;'
selluester themselves at the very mument when drcum@lallces ofthe mu@t pres1iDI IlJllucllct" I I ur 'Uig t 'E' " ani ' "III I.' IC pCrlml
Ie _lIlpll'C " f()Il(lwlII,l;.
" T hcy aN! Iht' thn:c Ilcl'-
ad t·~ f I I
kind wllu.hl demund their prc@cnt:t:a t the domestic heurlh ur at the counter. store. I:: \' . . . \:I IIUX 'S Clll't~er_ DUralul. ..·1.0 HIIIIQUIICt::d tile lIurm from his chair at Ihe
IIr wllrk~lwp . I can already hear the response to stich imperious demands: .btI ctole ltuya le I'nlytt::c!mique in Parii , ... tlh·ergt.-s frOIll B10lulel UII aU eSi<Clllia l
points. His prim.:r hegins ... with violent attac ks on Iwo {amoul works of
DUT()(lUe art . St. Pe ler ', in Rome. along with ill square, a nd lite Paris Panthea.
ure invoked as counte rexamples . . . . Wherea, Blonde! ....ar n8 of ' monolobOIll
plunimelry' alld would not be unmindful of the fUlic tion of perspective, Our.Qc(
sees in the elementary ,chem. ta of the plan the only correct 80Iutionll." Ellail
Kaufmawl, Von Ledoux bil Le Co rbwier (Vienna and Leipzig, 1933), pp . SO-sl.

The institution of the PontI et Ch aussees (Civil Department of Bridges and Hip..
way,> had the unique privilege of coming through the grea t Revolutioll utlCOQ..
tested .
(r4,3}

[r4a.1J
FIRST SKETCHES
The stullelltl o{the: Ecole Polytechnique. according to Barthelemy:
Glory to you. youths o£ baoqueu and dartll!
110'1' we applauded in our 1'«18' hear u
When on the dU~ I Y "reel you look your B18ml .
Elegantly dreuetl, with rifle in hand!

Barthelemy lind Miry, L 'lnJllrrection (Paris , 1830). I)· 20. [t4 ••2) ,
 -First Sketches
Paris Ar cades <I>

1bcsc arly skc:tche5 for Tht AmukJ I'rojt(t (Gt.sammdtt &ltriftnl, vol. 5 (FranIr.fun: Suhrk.amp.
1982). pp. 991-1038) ""'Cl'C writlm by Benjamin in a bound notebook. that oomains variou5 other
!IOIGS and drafu dating from mid·1927 to early 1930. Many of the Iketches an: qosscd OUt in
8elYillllin'. manuscript, presumably because in lllWl casu they wen:: revised and transferred to the
=woi~ of the COll,v!utes; lheK cana:lcd ! kctches an: printed bere in a smalla typesiu, with
aon-n:ferenccs to the corresponding anria in the convohues and early dnfts. (Some of the UIlClIll-
cded sketches. in the larger typesiu, were also trarufcnm to the oonvolutc:l, and an: accordingly
~'OSHerercnt('d.) Cross-n::fcrcnces should not be considered WIiIUSOve. 1be mmtbcring here, as in
'The Arcades of Pari!,M ~ thai of the German editor and bears no rdation to the numbering of the
oonvoluta. The sign (l() indicates an iUcgibk word.

The asphalt roadway in the middle: teams of harnessed humans, hwnan car-
riages. Procession of human carriages. <AG ,})
\
The StIttt that runs through houses. Track of a ghOSt through the walls of howes. <See
L2,7.> <A 0 ,2)

I\=oplc who inhabit thest arcades: the: signboards with the: names have nothing in com-
mon with those that hang beside: respcaable cnayv.7.}'3. Rather, they recall the plaques on
lht railings of cages at the zoo, put there to indicate not 50 much the dwelling place as the
name and origin of the captil,fe animals. <See bO,2.> <A<> ,3>

\\brld of particular secret affinities: palm trtt and feather dwter. hairdryer and \knw de
Milo, champagne bottles, prosthc:sa, and letter-writing manuals, <broken oID <Sa: a°,3
ind R2,3.) <A",4)

When. as children, we wac made a present of those grGt encyclopedic works-

World and MallRind or The Ear/II or the latest volwne of the J(w Un iuerJe-
lV~n't it into the multicolored "Carboniferous Landscape" or "European Animal
Kingdom of the Ice Age" that we plungcd first of all, and weren't we, as though at
; St sight, drawn by an indetenninate affinity between the ichthyosaurs and
~OIlS, the mammoths and the woodlands? Yet this same strange rappon and
PrtmordiaJ relatedness is revealed in the l andsca~ of an arcade. Organic world
and inorganic world, abject poverty and insolent luxury enter i.nto the Illost
COntradictory conlDlwllcation : the commodity imenllinglcs and interbreeds as
Promiscuousl)" as images in the m ost tangled of dreams. Primordial landscape of
coo.sUOlption. <See a O,3.> <Ao,5>
Trade and traffic are the twO cornpouCDlS of the: street. Now, in the: arcade the nrst or ~
(en-or, COrTtttro in A3a,7> has all but died out: the traffic !.herf: is rudimentary. 1'be
arc.1dc: is a SLrCt:t of lascivioUli collunO'CC onl),; it is wholly adapted to arou.sing desires.
TIuu, there is no mYlitery in the.- f30that whon:s fed spontaucously dr.lwn there. BccaUk
in tills StKC( all th(' juices slow to a standstill, the conunodity prolifc:ratCi along the ~
fronts and ('llIers into new and fanwtic combination.~, like: the tissue: ill nUllon. <Ae.6)
The will rums do .......... the wide street into the teeth of pleasure and, as lust, drags
wit.h it into its gloomy bed whatever it finds in the way of fetish, talisman, and
gage of fate across its path, drags with it the rotting debris of letters, kisses, and
names. Love presses forward with the inquisitive fingers of desire down the
winding Street. Its way leads through the interior of the lover, which opens up to
him in the image of the beloved who passes lightly before him. This image opens
up his interior to him for the first time. For. as the voice of the truly beloved
awake=:ns in his heart an answering voice=: which he=: has never before heard in
himself, the words which she speaks awaken in him thOUghLS of this new, much
mort: hidden ego that reveals to him her image, while the touch of her hand
awakens <broken o ff> <Ao.7}
, There is, to speak Ollce mOl\" of restaurants, a nearly infallible criterion for determining
Game in which children have to fonn a brief sentence o ut ofpven words. 'Ibis
game is seemingly played by the goods on display: binocu1ars and Bower seedI.
screws and musical scores, makeup and stuffed vipers, fur coats and revolvers.
<Ao,8)
Maurice Renard, in his hook. u Piril h/~u,l has (Old how inhabitants of a distant pIaoet
rome to study dK Dora and rauna indigmous to the Iowa depth5 of the aonospbc:re-m
other worm, to die surface of the earth. These interplanetary travelCTll see in hwnan
beings the equivalent of tiny (?> dl'Cp-sea fish-that is to say, beings who live ae me
bottOm of a sea. ~ no 1U0re fed the pressure of the atmosphere than fish fed that of tlx.
water; this in no way altCl'll the fact that both sets of creatures reside on an ocean 800&
With dIe study of t.he arcades. a closdy related reorientation in space is opened up. ~
stJttt itself is thereby manifest as (x) well·worn interior: as living space of the coUectiYe,
for true collectives as such inhabit lhe street. TIle collective is an eternally a~ elCt'-
naUy agitated being that-in the space bclWttn the building fronts-li\'C$, expaic:nces,
understands, invents as much as individuab do within the privacy of their own four walls·
For it. for this collective, enamdcd shop signs are a wall decoration as good as, if.no:
better dWl, dlC inexpensive oleograph above the hearth. Walls with their ~1bst No ~
are its writing desk, llC'wspaper stands its libraries, display windows its gfazed ill.aC~!l>le
armoirc.~. nl.1.ilboxcs its bronzes. belldles its bedroom furniture . and the caf~ tcrraCC- III the
balcony from which it looks down on its housebold. As with :1 railing where pavcrs hang
their co.1.ts before going to \'I1Ork, the vestibule is the hidde'l b<atcway which gives ontO a
row of courtyanh-is, for it, the corridor that daunts the strangeB and serv~ as the key
to its dwelling. <5« d". 1 and M3aA.) <Ao,9)
A factory of 5,000 \\1Jrk.ers for weddings and banquetS. Attire for bride and. groD"l-
Birdseed in Lhe tixative paus of a photographer's darkroom.-Mme. de Consolis, ~
Mi5tn:.sJ. Lessons, C lasses. Routines.- Mme. de Zalma, Fonulletclier. ~ion by spat"
its. illusion5, Secret Embraces. <Sec "Arcade5 ~ and aO,3.) <Ao, IO'
Evnywhere stockings playa starring role. They an: found in the: photographer's studio,
t.hen in a doll h05pital.. and. one dar. on the side table of a taYCm. waldled over by a brirt
<Sec ~Arcadcs ~ and b°.l ,) (A°,1P
n le :treacle may be conce:ivttl as lIIille:rdl spa <Bnllwnlnalle). Arcade myth, with legen·
dary source. <Sec 1..2,6.) <Ao, 12)
II is high time the beauties of lhe ninetCClith century wen: discovered.
Arcade a.nd railroad station: ~ I Arcade and church: yes I Church and railroad station:
Marseilles ! <A ~ .I4)
I\lster and arcade: yt's / l\Jslcr and building: no I fuster and (x>: open I <A",15 >
Conclusion : erotic magic I T nne I Perspective I Dialctical reversal (commodity-l}'PC).
<Ao, 16)
...............
their rank. TIlls is not, as one might readily assume, their pricc range. we find this
w!eXpCCted criterion in the color of the sound thai grttts us when <broken oID <8°,1)
The solemn, reflective, tranquil characttr of the Parisian mealtime is measured
less by the particular dishes served than by the stillness that surrounds you in the
restaurant, whether it be before uncovered tables and plain white waIls or in a
iarpcted and richly furnished dining room. Nowhere does ant find the hubbub
of a Berlin restaurant, where patrons like to give themselves airs and where food
is only a pretext or necessity. I know a shabby, dark room in the very middle of
which, a few minutes past noon, milliners from nearby shops gather around long
marble tables. They are the only customers, keeping quite to themselves, and
r.hey h ave little to say to one another during their short lunch break. And yet-it
is merely a whispering, from which the clinking of knives and forks (refined,
dainty, as though punctuated) continuously rises. In a "Chauffeurs' Rendez·
vous; as the small bistros like to call themselves, a poet and thinkc:r can have his
breakfast and. ill an international company of Russian, Italian, and French taxi
driven, ad vance: his thoughts a good distance:. If he wants, however, to enjoy the
undivided sociable silence of a public repast, h e will nOt tum his steps toward any
of the venerable old Paris restaurants, a nd still lcss toward one of the newer chic
establishmen ts; rather, he goes to seek out, in a remote quarlier, the new Parisian
nlosquc:. There he finds, along with the indoor garden and its fountains , along
with the obligatory bazaar rull of carpets, fabrics, and coppelWare, r.hree or four
medium ·sized rooms fumishcd with stools and divans and lit by hilJlglng lilJllps.
H e must o r course bid adieu not o nly to French cooking, whidl he exchanges for
a choice Middle Eastern cuisine, but above all to French wines. Nevenhdess,
Within month s of its op<:l'ting. the best Parisian society had already discovered the
"~O'ets of the mosque" and now takes its coffee in the little garden. or a hue
supper in one of the adjoining rooms. <Bo,2)
If one wanted to d:uu-actcmc the incxhawtible charm o rParis in a rcw words, one COUld
$ay that there is in t1w atmosphw:: a wisely apportioned nWttutc, $uch that <brok.en olb
<8",3)
Carus on Paris, the 3Dllosphere and its colors! I Paris as the city of painttts I
Chirico: the palette of gray <see 01a,7 and Dla,8) <Bo,4)
Dreams vary according to where you ~, what area and what street, but above
all according to the time of year and the weather. Rainy weather in the city, in ita
thoroughly treacherous sweetness and its power to draw one back to the days of
early childhood, can be appreciated only by someone who has grown up in the
big city. It naturally evens out the day, and with rainy weather one can do the
same thing day in, day out-play cards, read, or engage in argument-whereas
sunshine. by contraSt, shades the hours and is furthermore less friendly to the.
dreamer. In that case, one must get around the day from morning on; above an.
onc- must get up early so as to have a good conscience for idleness. Ferdinand
H ardekopf, the only honest decadent which Gennan literature has produced,
and whom I hold to be, of all the Gennan poets now in Paris, the most unproduc-
tive and the most able, has in his "Ode vom seligen Morgen'" <Ode to Blessed
Morning),'" 3 which he dedicated to Emmy Hennings, laid out for the dreamer the
best precautions to be taken for swmy days. In the history l,f the potteJ maudits.
the chapter desoibing their battle against the sun is yet to be written; the fogs of
Paris, which is really what we an=: talking about bere, were dear to Baudelaire
<~eDla,9.). <Bo,5)_
..... . .........
Every year, one hears it said that the last Bastille Day did not measure up to
previous ones. Unfortunatdy, and by way of exception, it was true this time. 1be
reasons: First, the cool weather. Second, the city this year had refused to grant the
usual fWlds to the holiday committee. Thrd, the &anc has to some ~eg:rcc .
stabilized.' And everyone knows what a splendid basis for popular festivals a
weakened currency is. Last year, when in July the franc was in the midst of a
terrific slump, the currency communicated its impetuosity to the desperate pub-
lic, People danced as they had seldom d one before. At the streetco~ers ~
could find the old image: long festoons of decmc bulbs, platforms Wlth mUSl"
cians, crowds of the curious. But the dynamism of the tempos was undou~tedly
weak~, and the three-<la:y-Iong
.
festivities did nOt extend so late into the rught as
bla of
in years past. On the other hand, its aftereffect was longer. A small assem ~
booths, strolling confectioners, target-shooting <stauds) <broken off> <C ,1'
<C",2)
Death, the dialectical central station; fashion, measu re of time.
In the first half of the previous century, theaters tOO, by preference, fowld a place
in the arcades. In the Passage des Panoramas, the "Theatre des Varietes stands
next to the Chil~1l 's Theater of M . Comte:~ another theater, the eymnase deS
Eruants, was located in the Passage de 1'000ra, where later on, around 1896) tbe
cernmentating <?> naturalist theater of Crurac housed the Theatre de Verite, in
which one·act plays were performed by a nude couple. Today, one still finds in
lhe Passage Choiseul the Souffes Parisiennes. and if the other theaters have had
to close their doors, the small bare booths o f the ticket agents open <something>
like a secret passage to all tbeaters. But this gives no idea of how sma dIe
corrdation between arcade and theater originally was. Under - , it was the
CUSWnl to name fancy·goods shops after the most successful vaudevilles of
Ihe season. And since such shops, by and large, made up the most elegant pan
of the arcades, the gallery was, in places, like the mockup of a theater. These
1fWgasinJ de nouveautiJ played a particular role here. <CO.3)
Clareue speaks of the "stifled perspective" of certain picrures and compares it to
the airlessness of the arcades. <See EI,S.) But the perspecti~ of the arcades can
itself be compared to this "suffocated" perspective, which is precisdy that of the
stereoscope. The nineteenth cemury <brok.en off) (CO,4>
Energies of repose (of tradition) which carry over from the nineteenth century.
Transposed historical forces of tradition. What would the nineteenth cen tury be
to us if we wert bound to it by tradition? How would it look as rdigion or
mythology? ~ have no tactile </aw.tUch) relation to it. 'lbat is, we are trained to
viC\v things, in the historical sphere, from a romantic distance. To account for the
direcuy transmitted inheritance is important. But it is still too early. for example,
to form a collection. Concrete, materialistic d eliberation on what is nearest is
\now required. "Mythology; as Aragon says, drives things back into the distance.
Only the presentation of what relates to us, what conditions us, is important. The
nineteenth cenrury-to borrow the Surrealists' terms-is the set o f noises thal
invades our dream, and which we interpret on awaking. <C· ,5)
A walk through Paris will begin with an a"""ritif-that is between five and six
'c! ~ .
o ~. I would not tie you down to this. You can take one of the great railroad
StatIOns as your point of departure: the Care du Nord, with trains leaving for
Berlin; the Care de l'Est, with departures for Frankfun; the Gare Saint-I...az.are,
Where you can take o ff for London ; and the Care de Lyon. with its <.xxx.x> into
the P.L.M. If you want my advice, l'd recommend the Gare Saim-Lazare. There
you have half of France and half of Europe around you ; nanles like Lc: Havre,
Provence, Rome, Amsterdam, Constantinople are spread through the street like
! ....·cet filling through a tOrte. It is the so-called Qlartier Europe, in whidl the
greatest cities of Europe bave all commissio ned a street as emblem of their
prestige. A rather precise and rigo rous etiqueue prevails in this diplomatic corps
of European streets. Each one is clearly set ofT against lhc oUlers, and if they have
SOlne business to transact with one another-at the corners-they come together
vt'.r). Courteously, without the slightest ostentation. A foreigner who was unaware
of the fact would perhaps Dever nouce that he was in a royal household here.
A.top this partiatlar duane, however, is the Gare Saint· Lazare itself, a robust and
~ sovereign lady, a clan~g pu..m.ng. princess or iron .~Uld smoke. <Sec Ll ,4.)
ti l we are by no means obligcd to limit ourselves to railroad stations. Railroad
 stations make good slaning points, but they also serve very wdl as destination..
1l1in~ now o~ the city's s~luares. Here, ccnain distinctions are called for : SOme
arc \Vlthout luslory aJld \\f1lhout name. Thus, there is the Platt de la Bastille and
the Place de la RCpubliquc, the ,Place de 1a Concorde and the Place Blanche, but
there arc also others whose dcslgners aR unknown, and whose names an: often
not 10 be found o n any wall. 1l:tese, squares are lucky accidents, as it were, in the
urban landscape; mey do not eJlJOY the patronage of history like the ~
VendoOle o r ~le Place ,de Gre,ve' ,are not the result of long planning, but instead
resemble architectural unproVlS<lUOns- thosc crowds of houses where the shabby
buildings collide in a jumble. In these squares, the trtts hold sway; hert. thr:
smallest u~ afford thick sha,de. At night, however, their leaves stand OUI against
the gas-bunung street lamps like transparent <x> fruits. These tiny hidden S<Jl1artI
are the futu ~ <?> Gardc~s of the Hesperid~. (See Pl ,2.) Let us supposc, then,
........ ... .
SurrealisD~ ~"wave .of dreams"-new an of 8!nerie. New nineteenth.ttntury
past-Paris Its clasSIC locale. Hert. fashion has opened the place of dialecticaJ
e."change between woman and ware. lne clerk, death, tall and loutish, measures
3!
the century by the y~ , ~rv~s ~equin ~clf to save costs, and manages
single·handedly the liqwdaoon that m French 15 called "rtvolution." <See f O1
and B1 ,4.) And all this we know only since yesterday. ~ look on the empo/
offices. and where <?> yesterday there was <?> ... a room. <0°,1>
Fashioil was never anything ()(her than: provocation of death through the woman. Here
with the: victory or death, tills provocation has ended. Death has erectw
the annatuC(' of
the whores as a pallid battle memorial on the banh or the new Lethe, wtuch as river of
asphab fUIU through the arcadc.~ . <5« 1",1 and 81 ,4.) <0",2>

. at five:: 0 clock we SIt. down to an aperitif on the Plaer Sainte:Julie. Of 0 ~

that
And nothing at all of what we are saying here actually existed. None ofit has ew=t
tlung we may. ~ sure: we will be the only foreigners and will have, perhaps, not
even one ParisI:U1 neac us. And should a neighbor present himself, he willlllOlt lived-as surtly as a skeleton has never lived, but only a man. As surely, how-
likely brive tile impression of being a provincial who has stopped in here at the ever. <broken off) <D0,3>
end of the day to have a beer. Now, here we have a little secret password of
freemasonry by which fanaticaJ Paris·aficionados, French as well as foreign, rec- " Being past, being no more, is passionately at work in things. To this the historian
ognize one another. TIlls word is "province." With a shrug of the shoulders, the. trusts for his subject mattcc. He depends on this force, and knows things as they
D1.Ie Parisian, lhough he may neve::r travel out of the city for :'fars at a stretch, are at the moment of their ceasing to be. Arcades are such momunents of being-
refuses to live in <PaJis). He lives in the trro.ilm~ or the tUuxieme or the dix- no·mOre. And the energy that works in them is dialectics. The dialectic takes its
huilibne; 1I0l in Paris but in his arrolldwanmt-in the third, seventh, or twentieth. way through the arcades, ransacking them, revolutionizing them, turns them
And this is the provinces. Hert, perhaps. is the secret of tile gentle begemony
which the city maintains over Franer: in the hean of its neighborhoods, and <thai:
is to say, its> provinces, it has welcomed the OtllO' into itself, and so posseNCI
- upside down and inside out, conw=rti.ng them, since they no longer remain whal
th~ are, from abodes of luxury to <x). And nothing of them lasts except the
name: PflJJagt!J. And: Passage du Panorama i sio. 1n the inmOSt recesses of these
more provinces than the whole of France. FOr it would be foolish to depend OIl names the upheaval is working, and therefore we hold a world in the names of
tile burtaucratic division into ammdiJJanents here: Paris has more: than twenty of old ~tree~, and to read the name of a strttt at night is like undergoing a rransfor-
thou and comprises a multitude of towns and villages. A young Parisian author; nlabon<.>. <0°,4)
J acques de Lacn:telle, has rtttntly taken as the theme of his dreamy <~ 8!nerie
Fashion as parody of the Su=alism
this quest for the secret Parisian districts, provintts, arrondiuemenlJ, and hal
(motley) cadaver Primal landscape of consumption I Colors
oITered a dcsoiption of a rhNur parisien <Parisian drtamer> that teaches us a great
deal in t\vemy pages.' Paris has its South, with its Riviera and sandy beach where Inhabitants
new construction plays; it has its foggy, rainy Breton coast on the banks of the Inner spaces
Seine <?>, its BurglUldian market comer not far from the H otel de Ville, and itt DialecticaJ rtw=rsal l Paris doUs
Fashion a diaJogue with the llllirieur I Salon
harbor aUeys of ill fame out of Toulon and Marseilles-naturally not on the knoU
body. even witll putRfaction. Mirror I Ft:rspective
or Montmartre but just behind the respectable Place Saint·Michel. Then= are
other spotS t.hat look as though, on the photo of a <broken off) eGD ,6' TIleaters I Dioramas
Mngo.fillJ de noulleaulb I Guides to Paris
Mold ill which mociemilY is Fashion I Tllne
CaSt
And 10 have missed the onset of evening, with the question confided from ~ Lethe (modem)
hean o f the hour, is proof of a successrul, abundant Parisian aftemoon, which JJ
much too beautirul to be mcrely a vestibule of the Moulin Rouge. On another
occasion in noct\lmal Pm-is .....oe will make sure to take our <x> only after dinner. t:;Ct as inteno)" I the sitting rooUl I the dialectical rl'/JerJal
eCD ,1) 't refuge of the conunodity
All this is the arcade in our eyes. And it was nothing of all this earlier. <See a".2
and C2a,9 .> So long as the gas lamps, even the oil lamps ,",'CTC buming in ~
the arcades were fairy palaces. But if we want 10 think of them al the height o(
their magic, ,",'C must call to mind the: Passage des Panoramas around 1870 <?>: on
one side, there was gaslight; on the other, oil lamps still Rickered. The de:cline seta
in w:i~ electric lighting. Fun~amenlally, how~ver, it was 110 decline bUl, properly
speaking, a reversal. As muunecrs, after plotung for days on end, take possessio
of a fortified site, so the commodity by a lightning stroke seized pov.·cc over ~
arcades. Only then came the epoch of conunercial finns and figures. The inner
radiance of the arcades faded with the blaze of dectric lights and withdrew into
their names. But their name was now like a filter which let through only the InOsI:
intimate, the bitter essence o f what had been. (TIlls strange capacity for distilling
the present, as inmost essence of what has been, is, for true travelers, what giVc:a
to the name its exciting and mysterious potency.) <D",6>
lI1lpMSC Maubert, formerly d'Amboise. Around 1756, at Nos. 4-6, a poisoncr resided
\..1th her twO assiswlts. All tltrce were fQWld dead one moming-killed through inhala·
tion of Imoc fumes. <Sec: Ala,S.> <[".10>
In the Passage de la Rtunion there was once: a courtyard ; in the sixteenth cen-
wry. it was a meeting place for thieves. At the beginning of the nineteenth or end
of the eighteenth century. a dealer in muslins (wholesale) sets up shop in the
arcade. <Eo, ll>
1\,'0 pleasure districts in 1799: the: Coblentz' (for returning 6nigres) and the
Temple. <E",12>
u Charivari of 1836 has an illustration showing a poster that coven half a howefront.
The windows arc left uncove~d , except for one, it seems, out of which a man is leaning
while cutting away the obsuucting pic:cc of paper. <Sec: G3,6.> (E",13>

Architecture as the most inlportant testimony to latent "mythology." And the Originally gas was delivered to fashionable establishments in containers for daily con-
most important architecture of the nineteenth century is the arcade.-~ elTon 5umption. <See Tl ,5.> <EO ,14>
to awaken from a dream as the best ~ple of dialectical reversal. Difficulty of
,
this dialecticaltcchnique. <0",7> Thurn <?> as ~orama in the Galene Colben

Rlicien David, u Db"1 (perfonned befo~ (by?) Arab5), CJr.riJtophe ColO11lD (panorama
mw.ic). <SttHI.5.> <E",16>
Lorgnette dealer.
, Passage du Pont-Ncuf: described in Zola's Thirile Raquin, right at the beginning
In 1893 the arcades ~ closed to COCOltes. <$er Hl ,4.> <E",2>-
I{identical with the earlier Passage Henri IV (IY). <E", 17>
Music in the arcade!!. "Lantmlr lnt'!;1'qut l PitU lUntUJtr With this cry, a peddler would
travel through the streets and, at a wave of the hand, step lip into dwclling1 ~ be £lie Nachmeron (?> , Arcades: Bois-de-Boulogne (today: ), LG Caire, Commerce,
operated his lantern, The l!fjidu: for the firs! exhibition of posters charaacristically dit- Grosse·Tetc, R1:ullion. <E", 18>
plays a magic lantern. <See Qf,3.> (E",3>
"Wmter, with the famed warmth of lamps .. . " Paul de Kock, La Graruk Ville,
Rage for tonoises in 1839. Tempo of Banerie in the arcades. <See D2a,l.> d4. ~ 1.

Names of maga.sin.s de nout/tuutb (most derived from succClIsful vaudevilla): La FiIk Paul de Kock: "numerals of 6rc:" on the fronts of gambling howes. ([°,20>
d'Honneur, La Vestaie, Lc Pagt inconstant, Lc Masque de Fer, Lc Coin dc la Rue, La
Lampe Mcrveilleuse, Lc Petit C haperon Rouge (LiILic Red Riding Hood>, Petite Nanettt. Passage Vivienne-sculptures at the cntTanCC representing allegories of com-
atauDlj~rc Allemande <Gennan Cottage>, Mamdouk. <See AI.2 .> <E",5>
merce. In an inner courtyard, on a pedestal, a copy of a Greco-Roman Mercury.
<[",2 1>
Sign abO\'C a confectiuner's shop: "Aux Annes de \M::nhcr." A giO\-'Cr's: "Au Ci-l>evVJ1
.
Jcune Honunc" <!be C,·DCV3lli \bung Man>. <See Al ,2.>
~ ~
•
Years of industrial growth under Louis XVIII. <See Ala,9.>

Olympia-continuation o f the street.' Kinship with the arc.'lde.

Musee Gltvin : Cabinet des Mirages. Representation of a cOlmection between
temple. railroad stanon, arcad es. and market halls where minted (PhosphOres'
cent) meat is sold. Opera in the arcade. Catacombs in the arcade. ([",8~
In 1857 till: fU'st electric stn:t:t1igJlI-'l in J"aris (ncar the Louvre). (Sec Tl,4 .>
Louis Philippe drives out prostitution from the Palais-Royal, closes the: gambling
houses. <EO,23>
Setup of thc panoramas: \,1(\'" from a I'llised pl:ufonn, surrounded by a balustrade, of
~u rfacc::s lying round about and beneath. The painting runs along a cylindrical wall
approximately a hundred melers long and twenty meters high. TIle principal panoramas
of Prtvost (the great paiuteI' of panoramas): Pam, Toulon, Rome, Naples, Amsterdam,
Tibil, Wagnun, Calais, Amwap, London, Florcnce, J eru.salem, Athens. Among hi. PlIo
pits, Daguerre. <See Qj.a,l.> <Eo ,24. Rachel resided in the Passage Vim-Dada!. <See Al a,4.>

Site of the: Passage: du Caire: in the nOtorious "Cour des Miracles" (sc:c: Hugo, No~.n...e 84 Ru(' Franciade, " Passage:: du Desir," which in the old days i('d to a lieu galan/.
de Paris). It was called the "court of miracles" bc:causc: the: beggars who made this Place <See A6a,4.) <E",42)
their guild hall shed their feigned infirmities thc:re. <Sec: A3a,6.> <[",2S>
The panoramas in the Passage:: des Panoramas were closed in 1831.
February 12, 1790: exc:rution of the Muquis de: Favras (accused of counterttvolutionary
conspiracy). 'Im: Place de: Grtve and the scaffold dec.kcd with Chinese lantc:nu. ~ Gutzkow TqXlru that the exhibition saIom were full of orierual scenes calculat.cd to arouse:
Tla,9.) <[.,26> enthusiasm for Algiers. <See 12,2.) <E",44)

A Strasbourg piano manufacturer, Schmidt, made the firSt guillotine. <E".27.

(hlcry for the arcades project.
Does plush first appear under Louis Philippe?
Gc:orama in the: fourteenth arrondWnn(;1l.t. Small llatul"e-replica of France. <See ~, ....>
<'£ ",28) What is a "drawer play"? (CulZkow. Bn'ife au; Paro, vol. 1, p. 84)-(piice Ii
tiroirJ1} 1J <E",46>
Passa~ Vivienne the "solid~ arcade, in cont:rast to the Passage dc:s Panoramas. No Iwtury
shop! in the fonner. Businesses in the Passage des Panoranw : Restaurant \&on, Mar- At what tempo did changes in fashio n take place in earlier times?
quis Chocolates, lending library, music shop. caricaruriu. Thcatrt: dc:s Vari~tb (tailon, <E",47>
bootmakers, haberdashers, wine mc:rc.hants, hosiers). <Sc:e M ,I .> <EO,l9. , Fmd out the meaning o r bee de gazlt in argot and where it comes from. <[",48)
The perspc:ctive: of the opc:ra in the Mus~e: Grivin (on the: Passage de: J'~ra, compareu Read up on the manufacture of mirrors.
Rmt6mt de 1'0000a). II <EO.30» (E",49>

When did it become customary to give streets names that had no intrinsic rela.
The (caricaturist?) Auben in the Passage Vero-Dodat. Marble p{..vementl
tion to them but were meant to commemo rate a famous man, and so forth ?
<E",31 ) _
<E",50)
Roi-Ma~n <Mason King>-nickname of Louis Philippe. <Sec: Ela,1.>
Difference: ~tween pa.ua.ge and rill?
In 1863Jacques Fabien publishes Paris (;11. Jtmgt <Paris ~ a ~. ) He explains therebtJw
c:learicity cause! multiple blindinB' through excess of light, and mduces madness bccauIc: Early writings on iron construction, technology of faaory construction, and so
of the tempo of news services. <See 82.1 .> <E",38' on? <E",52>

Names ofjc:wders wriue:n in false: gemuones above their shops. <See Al ,2.) What is an asaaJ lamp? Invented in 1809 by Bardin.Mandl <?>.l5

Transition from boutique to malaJin. The: shopkeeper buys provisions for a w«k aDd What are the atmosphericaJ railroads of Vallance:?'8
withdraws to the enltt5ol. <See Al,3.> <E",35>
Where does the citation of Apollinaire in Crevd come from?'l <[".55>
In great vogue around 1820: casrunerc. <E",36>
~ere is Picabia's proposaJ taken from-that or letting two mirrors face: and look
Origin of the magic lantern. Inventor, Athanasius Kircher. Ulto each other? Likewise cited in Creve!. As epigraph to the section on mirrors.
<E",56>
In 1757, there were only three cafes in Paris. <Sec: D3a, I.>
~ormation about the construction of ule Carcc:l lamp, Ul which a clockwork mechanism
Identify the frontispiece: to volwne 1 of L'Hmnite de fa ChausJEe d :A"tin<~; ~Vcs Ule oil from btolow up into Ule: wick, whereas in the Argand lamp (quinqud) the oil
1813):~ E, Ilps OUt of a reservoir into the: wick rrom abovc:, producing a shadow. <See Tla,7.>
<E",57>
~ Praise God and all my shops" - saying atuibuted to Louis Philippe. Where did Charles Nodicr write agains! gas lighting?18 <EO,58>

, ... .. .. . . . ... .
The city made of markets. Thus Riga. when viewed from the other side of the:
river in the evening light, looks like a warehouse. When multicolored clouds
gather over the ocean, Chinese legend says the gods are coming together to hold
a market, They name this phenomenon hai-tlri, or the sea-market. <F'" ,I)
Comparuon of ~ arcades to die indoor arerut5 in which olle learned to ride a bicycle. In
these halls the figure of the ,..,oman au umed its most seductivt: 3Spea: as cyclist. "That ia
how she appears on contemporary posters. Cheret all painter ofthU feminine pulchritude.
<See Bl,2.> <F"',2)
Music in arcades. It sums to havt: settled into these spaces only with the ~ of the
arcades-that is to sa)" only with the advent of mechanical music.. (Gramopboac. 1he
"theatrophone" in ccruun respects its forerunner.) Ne\'Cthdess, there was music that
amfonncd to die spirit of the arc.ades-a panoramic music., such as can be bc:ard today
only in old· fashioned genteel concerts like Lhosc of the casino ordlCsm in Monte Ouio:
the panoramic compositions of David (I.e Di.w:rt, Htrrlllanum ). <See Hl,5.> <F",3.
The nine <sic> muses of Sum:a1ism: Luna, CJro de Mtrode, Kate Grecnawzy, Man,
Friederike Kanpner, Baby Cadum, Hedda Gabler, Libido, Angelika Kauffinann, Couut-
as GeschYo"itL20 <F" ,4>
Amid the smoke of battle, on the prinkd picture: sheets, is smoke in which spiriQ rile
(from the 11wusand and One N'tghlJ). <See O2a,8.) <F",.5)
Then: is a wholly unique experience <ErjahnlflgJ of dialectic. The compelling--tbe dru-
tic-expcrience, which refutes everything "gradual" about becoming and shows all ~
ing "devclopmc:nt~ to be dialcaical reversal, eminrody and thoroughly ~m~ .. 1bt
awakening from dream. For the djalcaical schcmatism at the core of this. mapc ~
the Chinese have found, in their fairy tales and nO\-d.!as, the most ra~ ~
Accordingly, we prcsa1t the flCW, die dialecUca1 method of doing ~tory: WIth the : :
sity of a dream, to pass dlJ'OUgll what has been, in order to expeneoce the: p~ world
waking world to which the dream refersl (And every dream refers to the waking . •
Everything previous is to be pcru:D"llted historically.) <Sec hO,4 and Kl,3) <F" ,6)
Awakening as a graduated process thai goes on ,III the ."we 0r·'
_. as in that
ule 'III d'IV!'dUcu
generation. Sleep its initial stage. A ~flCratiOll's cxpc:rience of youth has. mu,ch ~
mon with the experience <Erfahrun(, of dreams. Its historical confi.gu~o~ ~ a For the
configuration. Every epoch has sudl a side turned toward dreanu, the dtil~ SSide. tion'
previous century, il is the arcades, But' whe~ .the ~uc.~ti?n of ear~er gen:t-da)'
e:<plained these drc:uru for them in temlS of tradtUon, of rehglOw docmn,e, pres . an
education simply amounts to the "distraction" of children. What foll~S hc:n: 15 t:1
experiment in dIe technique of awakening. The dialectical- the: Copcnucan-~ 7)
remembrance <ff'rndun~ tkJ Eitlg(de-n.t7IS) (Bloch). <Sec hO,4 and Kl ,i.> ( ,
Boredom and dust. Dream a g'"dmletll one ca.lUlOt rum. On the: outside, tlle: gray b~
(of sleep). Slc<.'T' state. hypnotic, of lhe dusty figures in the Musc-e Glivin. A sleeper 15
a good subject for wax. Boredom <L:mgewn'/r) is always the cxlemal swface of uncon-
scious events. Thaefore, it could appear to the greal dandies as a mark of distinction. For
it is preciscly <?> die dandy who despises new clothing: whatever he wean mwt appear
slightly frayed . N opposed to a theory of dreams that would reveal to W -p3yches," the
world that comdlto.sttm pointless. What about it? <See eO,2 and 02a,2.> <F" ,8)
Arcades: houses, passages. having no outside. Like the dream. (Sec Lla,D
Catalogue of mwes : Luna, CountCSII Geschwitt, Kate Greenaway, Mors, CIto de
Mtrode. Dulcinea <variant: Hedda Gabler>, Libido, Baby Cadwn, and Friederike
Kdnpner. ~See Cl ,3.) <fO,IO>
And boredom is the gracing before which the courtesan teases death. <See B1,1 .)
<F",ll)
There are, at bottom, two sorts of philosophy and two ways of noting down
thoughts. One is to sow them in the snow-or, if you prefer, in the fire clay-of
pages; Saturn is the reader to contemplate their increase, and indeed to harvest
their flower (the:: meaning) or their fruit (the verbal apression). The other way is
,
to bury them with dignity and erea as sepulcher above their grave the image, the
metaphor-cold and barren marble." (F",12)
Most hidden aspect of the big cities: thU historical o~ the new metropolis, with iu
uniform streets and endless rows of howes, has given material existence to those architcc·
turc5 of which lhc ancients dreamed- the labyrinths. Man of the aowd. Impulse that
twns the big cities into a labyrinth. Fulfilled through the covered passageways of the:
arcades. <Sec M6a,4.) <F",13)
Perspective: pJwh for silk (?>. P1wb the matuial of the age of Louis Philippe, <Sec El ,7.>
<F",14)
Sdf.photography and the unrolling of the: lived life before the dying, Two kinds of
memory (Proust). <Sec H5,I and K8a,}.> Relationship of this kind of memory with the
dream, <F" 15)
Hegel : in itsclf-for itself-in and for itsclf. In the PIriiTlommoiogit. thc::se staga of
. oftbe
the diale::ctic become:: consciousnas-self-consciousnas-rea5on. <F" ,16>
Gamut in the word paJJag~. <fO , l7>
' 1Uin,
. hov..'Crs have: given birth to many adventurcs.~2l Diminishing magical pov..'C r of tile
rain. Mackinto.~h . ~Sce 01 ,7.) <F" ,18>
Wha t the big city of modem times has made or tm ancient conception of the
labyrinth. It has raise::d it, through the nama of streets, into the spheR' of lan-
guage, raised it from out of the network of streets in which the. city <x) designated
<x>within language (x). ~P, 19)
What was othawl3e resc:rv«I for onJy a very few words-a privileged ""'" "~ '''''do,'''; 1ltt trUe expressive. character of street names can be r«ogniz.ed as soon as they are set
names-the: city has made pcwiblc for all words, or at lea.u II gttat many: to be devated beside refOrmisl proposal.! for their normalization. <Sec. Pl ,4.> <F" ,32>
to the, noble: status o f namc.. And this supranc revolution in language wu canied
whatu most general: the Jt:ittt. And a vast order appc.an in !he fact that aU narnu~ lip prollSl 'S remarks on the: Rue de Parme: and the: Rue du Bac.23 <F".33)
cities run into one anoth.a" without cxerc:i.ring any influence (~ on one another.~!:
those much-ovcnucd IlllIIlC.S of great men, alrady haH-congealcd into concepts ~ A.I the conclusion of Matim et mimoirt. Bergson develop! the idea that perception is a
more pa.u through a filter and regain the absolute:; through iu 5U'eCl names ' the ~ function of timc:. U, let us say, we were to live iliOn: calmI.y. according to a different
image of a linguistic COSm<». <Sec PJ,5.) • ( ..
at)' •
rhytlun. the:re would be: nothing "subsistttlt" for us, but inslead e\-erythingwould happen
,20>
right before: our C)'es; everything would strike UJ. But this is precisely what occurs in
Only the meeting of two different street nllm(; makes for the magic of the dreams. Ll order to understand the arcades from the ground up, we sink them into the
"cornu." deepest stratum or the dream: we speak of them all though they had struck w . A collector
<F",:21)
loeks at things in much the same way. Things come to strike: the great collector. How he
himself pursues and encounte:rs them, what changes in the: eruc:mble of items: are effected
Names of streets written vertically (when? <x) book? at any rate Gaman). On by a newly supervening item-all this shows him his alTairs dissolved in constant Hux, like
the invasion of the letters. CF",22) realities in the dream. is<<: Hla,5.> <F" .3'>

'Ibe structure of book! like La Cramk Vaik, u Diable d Paris, w

nll1JfaU pe;Ms J- Until ca. 1870 the carriage ruled. Flinerie, on foot., took place principally in the: arcades.
tuX~J is a litaary phenomenon ilial corresponds to the stereoscopes, panoramaa, aad
<Sec: Ala,!.> <F",35>
so fonh. <See ~ ,6. ) <F".23"
, Rhythm of perception in the dream: story of the three troUs, <F",36>
The true has no windows. Nowhere does the aue look out to the univene. And tile
intcrcllt of the panorama is in seeing the true city. "The city in the bottlc"--1:lK city
indoors. What is found within the windowku house ia the true. Ont: such windowIea

in those windowless rotundas, tht panoramas. In the theater, after the ~

pcnormance, the: doors remain closed Those pa.uing through arcades are, in a a:ruiD
d_
howe. is the theater; hence the eternal pleasure it affords. Hence. abo, the pleasure tUm
~He explairu that the Rue Grange-Bateli6-e is particularly dwty, that one gets tmibly
grubby in the Rue: Rtaumur." Aragon, PaJsan de Paris (PaN, 1926), p, 88.:l4<See Dla.2.>
<c o, l )
sense, inhabicullS of a panonma. The windows of this howe open out on them. They cm-
be seen out these windows but cannot themselves look in. cSec ~a,7.) <yo,u.
"The coarsest hangings plastering the walls of cheap hotds will deepen into
Paintings of foliage in the BibliotMque Nationale. 1l:U.5 work was done in .. , (F".25' splendid dioramas." Baudelaire, Paradis artjfia'els, p. 72.B <co,2)

Bauddaire on allegory (very important!), Paradis artijicieiJ, p. 13.26 <CO,3>

With the dramatic signboards of the magasiru rk nouveautb, ~art enten lhc: ac:rvicc oldie
busine,u man.ft (See Ala,9.)
Persian fashion mak~ its appearance in the mania for magasin.s.
Fate of 50"tCt names in the vauilS ofthc: Mfuo. <Sec Pl.3.>
On the peruliarly voluptuous pleasure in naming strttts. <See PI ,8 .•Jean ~
u MWUmisme, organisation gin&ale Paro: Sa Cfnutitution ginirak, part 1 ~
1858). IIRue du senegal." "Place d 'Afrique." <See Pl a ,3,) In this conneco~
something on the Place du Maroc. <See P l a,2.) Monuments are sketched out 1ft
this hook, too. <1"",29'
Red lights marking the entrance to the underworld o f names. Link
name: and labyrinth in the Metro. <See Cla,2.>
Cashier as Danae. <Sec C l ,4.)
<.F"';26)
lil t has often happened to me to note certain trivial events passing before my eyes
as sbowing a quite original aspett, in which J fondly hoped to discern. the spirit of
the period. 'This,' I would tell myself, 'was bound to happen today and could not
<F" ,28' have bttn other than it is. It is a sign of the times.' 'AHl, nine rimes out of ten, I
have come across the very same event with analogous circumstances in old
memoirs o r old history hooks." A. France, Le Jardin d'Epicure. p, 11 3."" <See
5 1.2.) <co,4>
~e 6gure of the fl ineur. H e resembles the hashish eater, takes space up into
~rsdf like the latter. Ll hashish intoxication, the space starts winking at us :
What do yo u think may have gone o n here?" And with the very same question,
spac~ accosts the Daneur. <See Mla,3.) In no other city can be answer it as
be(WCCl1
<p,30) l::ct.sd y as he can here. For of no other city has more been written. and more is
hisOWn he~ abo ut cenain s tretch~ of the ciry's streets than elsewhere about the
(F",3 1 ~ tory of entire countries. <Co,S>
Death and fashion. Rilke, the piWa~ from the DuUieser Elet,'inl.28
Characteristic. ofJugendstil au posters with full-length figures . So long asJugend.
stillas[ed, man refused to grant a place to things on the giant silver surface of the
mirror, and claimed it for himself alone. (C",7>
Definition of the "modern" as the new in the COntext of what has always already bcc:n
there. <Sec: SI ,4.) <Co,S>
"1'bc clever ParUians ... , in order [0 disseminate their fashions more easily, made usc. of
an especially con.spiroow reproduc.rion or their new creatioru-namcJy tailOl1l' dum-
mies .. .. These dolls, which still enjoyed coruiderable importance in the s~tecnth and
eighteenth centuries, were given to little girls 35 playthings when their career as fashion
figurines had ended." Karl Grober, Kirrderspith.eug aus alter Ztit (Berlin, 1927), pp. 3 1-32.
<See Zl ,l.> <co,9)
Perspective in the course of centuries. Baroque galleries. Scenography in the:
eighteenth century. <Go,IO>
Play on words with "·rama" (on the modc:l of "diorama") in Balz.ac at the beginning of
I+re CorM. (SeeQj.,6.) <Go, ll )
Ruckert : virgin forests in miniature. (G",12)
To cultivate fidds where, until now, only madness has reigned. ~ abea: with the
whetted axe of reason, looking neither right nor left SO as not to succumb to the bonor
that bcckoru from dttp in the primeval forest. But every ground must at some: point baYe
been turned over by reason, must have been cleared of the undergrowth of delu.siou md
myth. 'This i.s to be accomplished here for the tarain of the nineteenth a::nnuy. <Sec
Nl,4.) cGo,13>
Miaocosmic journey which the- dreamer makes through the regions ofllis own body. For
he has this in common with the madman: the noises emanating from within the body.
wruch fOT the salubrious individual conve~ in a steady surge of health and bring oa
sound slccp if they arc not overlooked, dissociate for the one who drca.m.s. BI~ pres-
sure, intestinal chum, hcanbeat, muscle sensations become individually perccpuble ~
him and demand the explanation which ddusion or dream image holds ready. 1M
sharpened receptivity is a feature of the dreaming coU«tive, which settles into the arc:ada
as into the insidcs of its own body. ~ must roDow in its wake in order to expound ~
' ." . -' ____ .. 29 ,,_ Kl'
IUllClCCJlUI century as Its ~I \IlS1On. (,JCe , .> <Go' l .V
Rustling in the painted foliage under the vaulted ceilings of the Biblioth~que Nationa1e-
roduced by til(: many pages cominually leafed through in the books hett. (See 53,3.)
P . <Go,IS)
Heathscape, all re.1Uaill5 evcr new, ever the same (Kafka, Dtr /'rouP )· <See 51.4.) (G o,J6'
Modcrniry, the time. ofh~. ~e ptmishmCllts of hcll ~ always the newest tlling r~
this domain. What IS at wuc III nOt that uthe SaIflC tlung happens over and ova (rn
\d5 is it a question hett of eternal reruml, but rather thal the. face of the world, the
colossal bead, precisely in what is newest never allen- that thi'I " n~st" rcnains, in
C'-cr')' respect, the same. This constitutCS w e etemiry of heD and the sadist's delight in
inllovation. To determine the totality of traits which define this "modenUry" is to rtpre·
senl hell. <Sec Sl ,5.) <co,17)
RcJugcndstil: Pc!ladan. <SceJ18,6.)
CarcfuJ investigation into the relation between the optics of the: myriorama and
the time: of the modem, of the naYest. They au rdatc:d, cenainJy, as the funda-
Dlental coordinates of this world. It is a world of suict discontinuity; what is
always again new is not something old that remains, or some:thing past that
reCUrs, but one and the same crossed by countless intermittences. (!bus, the
gamble:r lives in intermittence.) Intermittence me:ans that every look in space
meets with a new constellation. Intermittence the measure: of time in 6lm, And
what follows from this: time: of bell, and the chapttt o n origin in the: book. on
Baroque.oW <GG, 19)
, All true insight forms an eddy. To swim in time: against the dire:ction of the
swirling sttea.m. Just as in art, the: decisive: thing is: to brush nature against the
grain. <GO,20)
Pmpeaival character or the ainoline, with its manifold flOlI.IlCU. In earlier rimes, allcast
six petlicoats were worn underneath. (!i« El:,l.) <Go,2 1>
WUde's Salome-Jugendstil-for the: first time, the cigarette. Lethe Bows in the
ornaments ofJugc:ndstil. <Go,22>
~The: Gum-Resin Don!' Rilke's pic:ce on doUs.'1
Glass over oil paintings-only in the: ninetee:nth cc:ntury? <GO,24)
Physiology of be:ckoning. The nod of the gods (see: introduction to Heinle's
papcrs).32 Waving from the: mail coach, to the organic rhythm of the: trotting
horses. The 5('.OSe1ess, desperate:, cutting wave from the: dc:parting train. Waving
has gone: astray in the railroad station. On the: other hand, the wave: to strangers
passing by on a moving train. This above all with chi1drm, who arc: waving to
angels whe:n they wave to dIe: noisc:Jess, unknown, neve:r·n=rurning people. (Of
COurse, they are also saluting the passing train.) <Go,25)
O~heus. Eurydice:, I-le:rmes at dIe: train station. Orpheus the one who stays
~hind. Eurydice in the: midst (~ of kisses. Humes the: stationmaster with his
Signal disk. <See LI ,V nus a neoclassical motif. With the: ne:oclassicism of
Cocteau, Stravinsky, Picasso, Chirico, and othc:rs, it has this in common: the:
transitional space of awakening in which we now are living is, when=ver possible,
t~versed by gods. ntis travc:rsal of space by gods is to be understood as light-
lUng-like. And only ctttain of ~ gods may be thought of here:. Above: all,
Hennes, the masculine god. It is characteristic that., in neoclassicism, the IllUIea
who ~ so important for classical humanism mean nothing whatsoevu. ~
over, the~ itl much in Proust that belongs in the contexts of neoclassicism:
of gods. Also, the significance of homosexuality in ProUSt can be grasped &tnn
this perspective alone. Mo~ generally, the progressive leveling of the difTen::nce
between masculine and feminine elements in love belongs in this space. But what
is important above all in Proust is the stake which the entire work tw in the:
supremely dialectical dividing point of life : waking up. ProUSt begins with a
presentation of the space of someone awakening.- Wbe~ neoclassicism is ba..i..
cally lacking is in the fact that it builds an architecture for the gods passing by
which denies the fundamenta1 relations of their comillg·to-appearance. (A bad
•
reactionary architecture.) <GO ,26>
It i! one of the tacit suppositions of psychoanalysis that a clear<ut distinction betwten,
51eeping and wak.ing has no value for the human being or for the empirical impressiom ol
coruciousness in gmeral, but yidds before an unending variety of consciow swa dcta-
mined, in each case, by the levd of wakefulness of all psychic and corporeal centen. Tbit
thoroughly Bm:tuating situation of a consciousnCSlJ each time manifoldly divided bctwa:n
waking and sleeping has to be tranSferred from the individual to the coUective. Once tbit
is done, it becomes clear that, for the nineteenth century, houses arc the dream con&gur.
tiOIl5 of its dttpest level of sleep. <$ce Kl .5.) <G",'l:l>
..... . . . . . . . . . .
All collective architectu~ of the nineteenth century constirutes thf.-ltouse of the
dreaming collective. <H" ,I" -
Railroad-station dreamworld of departure (sentimentality).
Continuous assimilation of the various architectural capsules to forms of the
dream house. <H",3"
Terresoial atDlosphere as wldersea.
Line of men aroWld the woman to whom they are paying court. Train of suitors.
Esprit de masque-when did r.his expression come intO use?
Collapse of the iron market-hall of Paris in 1842.
Dennery, X41par HaUJa', Marithaf My, u Nau.fra~ dt' LA JlIroWi! (1859). u '(mnb/nJftJfl
de tt'TTt de fa Martiniqut' (1843), Bohtminu de Paris (1843). <Sec Yla.6 .•
<H",8)
Louis.FTalu'ois Clairville, LeJ
·T
C-.J./ Cluilt(lflK du diahlf (1844),
......I'
u s PO''''II~j tk lerTt' ",okJi/IJ
(1845), RotJwmago (1862), Qrnfrillon (1866). <Sec Yla,6.>
Ou,,-eyrier. <Sec: Yla,6)
name. oanoi!. <Sec Yla.6.)
Specialty as a criterion for the fundamental <?> differentiation of items displayed accord-
ing to the interests of buyers and coUectors. Here is me historical-materialist key to genre
painting. <See A2,6 and 12a.7.> <Ho. 12)
Wiertz the painter of the arcades: The PrtmlJlure Burial, Tk Suicide, Tk Burnt
Gilild, Woman Reotling a Nowl, Hunger Madneu and en'me, 17wughu and V'uioru if
o Severed Head, 17u Lighlhou.u of ~/gothaJ One Second qfler Death, 1h.e Might
0/ Man KnO'U/J No Bounds, 1M Last Cann07l (in this pict\.1rt: airships and steam-
powered dirigibles as the harbingers of achieved peace!). With 'Wieru, "optical
illusions." Under 1M Tn'umph ofLighl: "To be reproduced on an immmse scale."
A contemporary regn:ts that 'Wiertz was not given, say, "railway statiOIU" to
decorate. <Ho, 13>
To render the image of th<m: salons where the. gaze WlU envdoped in billowing drapery,
whcrt: church doors opened within full·length mirrors and settees were gondolas in the
eyes of thOle who sat there, on whom the gaslight from a vitreous globe shone down like
the moon. <Sce Il ,8.) <H o,14)
lmponant is the tworold character of the gateS in Paris: border gates and aiumphal
arches. <5« C2a,3.) <Ho,15)
\
On the rhythm of today, which determines this work. Very characteristic is the
opposition, in film, between the downright jerky rhythm of the image: sequence,
which satisfies the deep-seated need of this generation to see the "Bow" of "de vel-
opment" disavowed, and the continuous musical accompanimenL To root out
~ry trace of "development''' from the image of history and to represent becom-
mg-through the dialectical rupture between sensation and tradition-as a COD-
< H~ ,4)
stdlacon in being: that is no less the tendency of this project. <H", 16)
~tati.o n. of the tendency of this project with respect to Aragon: whereas Aragon
<H",5) ~lSlS WIthin the realm of dream, hen: the concern is to find the constdlacion of awaken·
lng. While in Aragon th~ rt:mains an impressionistic dement, namdy the "mythology"
<H",6) (,,\d .1.:. • • • '- _ '
. ......, ImpreSSlorusm mwt oc held responsible for the many vacuous philosophemes in
~ hook), here it is a question of the dissolution of "mythology" into the space of history.
lat, of course, can happen only through the awakening of a not·yct-consciollS knowl-
edge of what has been. <Sec Nl,9.> <Ho, l7>
IOicrio rs of our childhood days as laboratories fo r the demonstration of ghostly
phenomena. Experimental ~lations. The forbidden book. Tempo of reading:
two anxieties, o n different levels, vie. with one another. The bookcase with the
H" 9'
OVal p:Ules from which it was taken. Vaccination with apparitions. The o ther
< , prophylaxis: "optical illusions," <H",18)
"The writings of the Surn:afuu treat 'WOrds like trade:: names ~ f~nn text.s that in reality The Oower as emblem of sin and its Ilia CTUru through the stations of the arcades,
act as prospectus for enterprises not yet off the ground. Nesung Ul. the m.dt names ~ offashion, of Redan's painting-which Mariw and Art Leblond haw: described
qualities that in tarlicr ages YlUt.lookcd for in the oldest words. (Sec Gl~.) <Ho,19) by saying, "It is a cosmogony ofOowers." W,'1>

Daumier ( ?), Grandvillc:-Wieru- More on Cashion: what the child (and, through faint reminisa=nce, the man)
discovers in the plc=ats of the old material to which it fasteru while trailing at its
, ....... ...... , mother's skins. <See K2,2.) <Ia,8)

F. Th Vucher, Moth und ¢nlsmUS (Stuttgart. 1879). The arcades as milieu of Laubiamom.

Uprising of~ anecdotes. The epochs. currents, adturU, movement! always concc=rn the .. .............
bodily life in one and the sa.rnc, identical fasbion. 1bue lw ~C'\'Cf been an ~ Uw did
not feel itself to be ~modttn.. in the sense of most eccemnc, and suppose itself to be Vanow notes drawn from Brieger'" and Vucher:
standing directly bcfo~ an abyss, A desperately ~ COIUciow~ of galhering crist. ia Around 1880, out-and-out conBict between the tendency to elongate the female
something chronic in humanity. Every age unaVOIdably ~~ to I~ a .nc~ a~ ~l the figure and the rococo disposition to accenruate the lower body through multiply-
"modernity" that corn:c.ms men with respect to the bodily 1.5 3J vaned m It! mcanmg u ingunderskiru. <j°, n
the different aspcas of one and the sa.rnc kaleidoscope. -:-lbc COI1.!ltnJ~nJ of history ~
comparable: to insttuctions that COIIlllWldeer the true life and con6nc: .It to b~. On
In 1876, the derriere disappears; but it comes back again.
the other hand: the street insurgence of the anecdote. 'The anecdote bnngs things DC2I' to
us spatially. lets them enter our life. It represents the: smct anrithes..i.5 to the ~ ~ ~Of}'
which demands "empathy," which makes everything ~bstra~1.. EmpaJAJ. '- tAu u wAdI Floral forms in the drawings of cyclothymes. which for thm part recall drawings
~ nading taminaleJ in. 'Thc: true mc:th~ of ~g thiDp present 1.5: to ~ made by mediwns. <j°,3>
them in our space (not to rqmscnt ounclves m ~ .space). Only. anecdotes can ct:> cbiI
for us. Thw repracnt.«l, the things allow no mediating COI1.!ItruCDOn from out of Iarp: Story of the child with its mother in a panorama. The panorama is presenting the Battle of
contexts."-It is, in essence, the ume with the aspect of great things from l)e paIf---dle Sedan. The child rtgrct5 that the sky is overca5t. "'That's what the wather is like in war,"
cathedral ofChan::res, the temple ofPaestum: to ~ceive them intO ~ SF (~toW - answers the mothe:r. <&e 01 ,1.> (to 4)

empathy with their builders or their. priests). \-'* don't displace our being mto~:::
\ ' '

step into our life.- The same technique of neameu may be obsuvcd, calcndrica11y'. .
regard to epochs. Let us imagine that a man dies on the very day he nuns fifty. which.
the day on which his son is bom, to whom the same thing.happens, and so ~ ~ ~
would be: since dIe birth of Christ, not forty men have lived. Purpose of ~ 6crioo. ID
apply a standard to historical times that would be adequate and comprehensIble to ~
life. nus pathos of nearness, the hatred of the: abstract configuration of human
cpoc.hs, has animat.«l the great skcpcia. A good example is ~ole France. ~ •
life: _
sition between emruthy and actualization: jubilees, Lcopardi 13.33 (See SIa.,4, 51-,3.
oppo ,.- <l a ,2'
H2,3.)
Benda reports on a Gennan visitor's amaz,emcnl when, sitting at a tahk d.',,!te in Paris
fourteen days after the storming of the Butille., he heard no.one spe~ o~ polines. ~
France's anecdote about Ibotiw ~tc. ~, In Rome, while washing his reet, no <1-,3'
quite recalli the name of the auci6cdJew. <See 51,3.>
Iu. the cod or the 18605, Alphonse Ran- writes that no one knows how to make mirrors
anymore. (Sec Rl ,7,) <]0,5)
1bc rationalist theory offashion appears very characteristically in Kart. It bears a resem-
b~ to the rdigious theories of the Enlightenment. Ran- thinIu, for exampk. that long
sltirts come into fasbion because certain women have an interest in concealing an unlovdy
f~. Or he denounces, as the origin of certain types of hats and certain hairscyks, the
wuh to compensate for thin hair. <See Bl,7.> <]°,6)
...............
Addc=ndwn to the remarks on Metro stations : it is owing to these stations that the
names o f places whett Napolron I gained a victOry are transfonned into gods of
the underworld. (Ro, l>

Masks for orgies. Pompc.ian tiles. Gateway arches. Greaves. Gloves. , ~ radical a1teratioI1.!l 10 Paris under Louis Napoleon (Napoleon III), mainly along the
;txu running through the Place dt la Concordc and the H6td de Valk, in <AdoID Stahr,
Vuy important: buU's~ windows in cabinet doors. But was there such a
dUn . F""'"
g m <1",5' ~.fo,y]aATen <vol. 1 (Oldenburg, 1857)), pp. 12-13.-Stahr, morto\,u, lived at that
tunc on Lciptigcr PIau. <See £1 ,6.) (R G ,2)
as weU? <See 12a,4.)

To make a auly palpable presentation of human bein~-doesn'l that ~: ~le broad Boulevard de SlJ"iUbourg, which COnllccts the Strasbourg railwaJ JtaJion with
"te Boulevard Saint·Denis. <Ko,3>
bringing to light our memory of them?
Around the same time, the macadaroir.ation of the streets-which makes it pouihlt. Other names : opcica1 belvedere.
dCllpite the heavy traffic, to carry on a conversatioll in front of a caft without shouting ill
the otha person's eaT. <See M2,6.> <Ko,4. In the- year in which Dagucrre invented phOlography (1839) his diorama burned down.
(~ Q7 ,5. > <Ko,17)
For the architectural image of Paris OK war of 1870 was perhaps a blessing, seeing that
Napoleon III had intend«i to aha whole seetlON of the city. Stahr thus writes, in 1857. It rtlDairu to be discovered what is meant when, in the dioramas, the variaUozu in lighting
that one had to make haste now to see the old Paris, "for the new rula, it seems, ~ ~ which a day bring3 to a landscape take place in fiftttn or thiny minutes. ($« QJa.4,)
mind to leave but little of it ltanding.~ <Sce Et ,6.> <K",5) <Ko, 18)

Ornament and boredom. <See 02a,2.) <KO,6)

The Berlin diorama is closed on May 31 , 1850; the pictures an:: sent, in pan, to
St. Petersburg. <K 0, 19>
Opposition of perspective and con~te, tactile nearness.
Hrst London exhibition of 1851 brinSl to~ther industries from around the world. FoJ-
In the theory of collecting, the isolation, the segregation of every single object is vc:ry lowing this, the South Kensington museum is founded . Second world exhibition 1862 (in
important. A totality-whose integral character always stands as far removed as possibk I.AndDn!). With the Munich exhibition of 1875, the German Renaissance style came into
from utility and, in preeminent casc:s, resides in a strictly defined, phe:nomenologially
Ca.shion. <See G2a.3.> <Ko,20>
quite remarkable type of "completeness" (which is diameaically opposed to utility). <Sec
H la,2.) <Ko,a.
In 1903, in Paris, Emile Tardieu brought out a book enritI«i L'Ennui, in which all human
activity is shown to be a vain auempt to escape from boredom, but in which, at the same
Historical and dialectical relation between diorama and photography. <K",9)
time, what is, what was, and what will be appear as the incxhawnble nouruhment of that
feeling. In view of such a portrait, one might suppose the work to be IOtnC mighty dwical
Important in regard to coU«ting: the fact that .~ o~ .is detached. &om aU origiaaI monument of literature-a monument ape pemmiru erected by a Roman to the taedium
functions of its utility makes it the more decided U'l1t! mearung. It functton! now as a ttue mtaL.:n But it is only the self.saris6ed, shabby scholarship of a new Homais, who aims to
encyclopedia of all knowled~ of the epoch, the: landscape, the industry, and the: 0WIICr rum the most serious matters-asceticism and manyrdom included-into documents of
from which it comes. <See Hla,2.) ) <Ro,IO' his thoughua!, spirirually barren, petry·bourgeois di:scontent. <See 01,5.>
<KO,2l)
I
Thc:re was pleorama (aavels on water; pled, "I go ~ shipj , na~o~, c.o.unor.una. To be-mmtioned in connection with the fashion in shawls: the characteristic and, properly
diaphanorama. picturesque views, pictOrial voyages U'I a room, plClOria1 room-~
Ulap ,o __
>, hanorama..,.;;t: Q) ,.
1> <&',11>
speaking, sole decoration of the Bi«iermcier room "was afford«i by the cwtains,
which-extreJDdy rdiued and compounded preferably from several fabrics of diffcn:nl
colors-were furnished by the upholsterer. For nearly a whole ccnnuy afterward, interior
Among the images: the sea of ice on the Grindelwald glacier in Swi~, view decoration amounts, in theory, LO providing instructions to upholsterers for the tasteful
of the harbor of Genoa from rooms of the Palazzo Doria, interior VIew of.the arrangement of draperies." Max von Bochn, Die Mode im XIX Jahrhundm, vol. 2 (Mu-
cathedral of Brou in France, gallery of the Colosseum in Rome, Gothic ca~ nich, 1907), p. 130. <See El ,1.> <Ko,22>
, 'li~ .,~
In monung &,ot.
Mantlepiece clocks with genre scenes in bronze. Tune looks out from the base.
The play on words with "'-rama" (see Balzac, Nre Goriol) in Germany as we1L "'II Double meaning of the tenu tempi <X>." <See D2a,3.) <K-,23)
~'lt <rlS
<O ~ rill 'Uluse '" 5 Q) ,.>
. (ee 6 <Ko,ll'
Rue des Immeubles hx!.ustricls-how old is it? <See Pla,5.> <KO,24)
~
\\b;tha and boredom. The mere soporific, narcotizing effect which cosmic forces
on the ordinary man is attested in the relation of such a man to one of the bit :~r our type of man, train Stations arc uuly factories of dreams."Jacques de Lacn::tclle,
manifestations of these: forces : the weather. Comparison with the way Goethe~. I..c: RC\ftur parisien," Nou !lttlt RelJuejTaTlfaiM, 1927. <See Ll ,4·.) <Ko,25'
studies on meteorology)36 managtd to illuminat~ the weather.~ ~ weath~ Bc:rIin-)
fountain creates in its panicular location. ~bbule of Daguerrc s dio~a Ul K",14)
V*ather in the casinos. <Sce 01.3.)
, \Vithill tbe frames of tlle pictura that hung on dining room wal.Is, the advent of whiskey
idverti.sements. of Van Houten Cocoa, of .. . is gradually heralded. Naturally, one can
say tha t Ule bourgeois comfort of the dining room has survived longest in small cafes and
A ballet whose principal scene takes place U1 , the castnO
'M at onte Car. 10 No"'of
. other such platts: but perha ps Oil(' can also say that the space of the caft, wiutin which
rolling balls, of croupiers' rakes, of chips determining the character of the ~~. eVery square mr:ter and every hour is paid for much more prC':wcly than in aparunent
hou;~, evolved out of the latter. Aparunenu laid out like cafts-in FrankIun :un Main,
something very charncteristic of that town. Attempt to formulate what there was inaide..
<Sc:eGI ,2.. <Ko,26)
Empty, brightly lit str«:ts 3.'1 we enter cities at night. They sttrround WI in fan-sha~
formation, travel out and away from w like rays of a mandorla. And die gl~ into a
room will ah..-ays find a ~amily at a.meal?r else occupied ~th some: obsa.m niggling thing
at a table under a hangmg lamp, Its white glass globe set mto a metal frame. Such rid4I4
arc !he germ cells of Ka£k..a 's work. And this experience ronains an inalienable PDUeuion
of bi5 gmeration, his only-and therefore ow"s. because only fOJ" it do the horror-furnish-
ings of incipient high capitalism 611 the sc.c:nes of its Il105I luminous childhood apcri.
e:nces.-Unexpectedly, the 5tr«:t cmerga here such as we never otherwise expcric:nc:r; it,
as way. as built-up thoroughfare. <Sec: 13,3.) <Ko ,2'1.
What, then, do ....'(: know of streetcomers, of rurbstones, of the architecture of the pave-
ment-we who have never felt the 5tr«:l, heat, 61th. and lhe edges of the stOJ"iCll beneath
our naked soles, and have never soutinized the Wleven placemttlt of the wide paving
stones with an eye toward bedding down on them.n <See PI ,IO.. <Ko,28>
Mode und Zynism~-from the copy in the <Prussian> NationaJ Library, one
can see how often it was read in the past. <L °,1)
Redon was on very friendly terms with the botanist Armand Clavaud.
"I am not inspired by the supernatural. 1 do nothing but contcnplate tf extemal
world; my works are true-whatever one may say." OdiIon Redon. <L°,3>
"A cMvaI de rnifM1 <J~ horse> which, at Notre Dame de Lorette, would m.ak.e pouibIe
the hard climb up the: Rue des Martyn." <Sec: Ml ,l.> (LO ,f)
Andri Mellerio D(li/on R~dIm (Paris, 1923). Refer to the plates on pp. 57 and 117.
I <LOp)
Say something about the method of composition itself: how.everything ~ is thinking aI
a spcci6c moment in time must at all costs be incorporated UltO the proJCCl then at baud.
Asswne that the: intensity of the projea is thereby attested, or that ~n:c's ~ghts, &om.
the very beginning, bear this project within them as their telos. So. It 1.'1 Wlth the ~
ponion of the work, which ainu [0 charaaeru.e and to preserve the: 1II1erva1s of n:flc:crioOt
the d.istallces lying be[W(en the most essential parts of this work., which an: rumcd mOIl
.IIIten5tvely
. to ••ule outsl'de. <.xe
" Nl,3)
. <Lo,6>
TIle Humall ComtdJ comprisc:.s a series of works which an: not nov~~, in the o~
sense of the term, but something like epic c-a.nsaiption of dle tradition fro~ ~ of
decades of the Restoration. Entirely in the spirit of oral tradition is the intc?una~i.Ii~
"'" cycle the antithc:.sis to Flauben's rigorous conception ofform. No doubt about It •
, . . r ' .1..
nearer a work stands to the coUect!ve forms of expressIOn 0 the epiC, me more It
• tends, ID
varying and episodic development, to summon up the same n:current circle ~f 6~
according to the eternal paradigm of Gn:ek legend. Balz.ac had w:w:ed t.hi5 ~
COlL'ltirution of his world d~~ p~ecisc topographic contours. ~ 1.'1 ~ b wi&b
ground of his mythology, Paris With Its two or three great banker3 (like Nuangcn).
iLS continually reappearing doctor, with its enterprising merchant (cesar Birotte:au), with
its four or five great counaaru, with its usurer (Gobseck). with its sundry soldiers and
bankers. But above all-and we: see tills again and again-it is from die same streets and
corners, the: same: little rooms and n:cc:sSC-'. that the figures of this world step into the light.
What else can this mean but that topography u the ground plan of every mythic space of
tradition, <7I-adih'oTlJraum>, and that it can become indeed its kcy-just as it became the
ke}' for Pausanias in Gn:cc.c. and JUSt as the history, layout, distribution of the Pam
arcadc:.s an: to become the key for the undoworld of IltiJ cenrury, into which Pari.s has
sunk. <SttCl ,7.> <Lo, '1>
Srahr rc:poru that ~ premier cancan danc:cr at the Sal Mabille, a cenaio Chicard, dances
under the surveillance of two police sergeants, whose sole responsibility is to keep an eye
on the dancing oflh is one man. <Sec 04 ,V <Lo.8)
A::lrtraits of farnom caru::a.u dancers on display in the arcades (Rigolette and Fricheue).
<SceGla.l.> <Lo,9>
On Redon : "Unconcerned with every quick and transitory effect, however se-
ductive, he ultimately and above all wishes to give his Bowers the very essence of
life and, so to speak, a profound soul." Andre Mellerio, Od/loll &don (Paris,
1923), p. 163. <Lo, lO>
Redon's plan to illustrate Pascal
__
(Redon's nickname, after 1870, in the saJon of Mme. de Rayssac: the prince of
dream. <Lo,12>
Redon's Bm..'Crs and the problem of omammtation, especially in hashish. Flower
world. (LO,13)
~Rococo," at the time of the Restoration, has the meaning "antiquated." <Lo, 14>
Chevet, at the Palais·RoyaJ, "bestowed" d essen in exchange for a certain sum of
money spent on the fruits and dainties consumed at dinner. <Lo, 15>
Eugene Sue-a Ca5ue in Blogul: (Bordc:.s?>, a harem in which then: were: women of color.
ArlO" his dcatll, a legend that theJc:suits had poisoned him. <See 12,1.> <L 0, 16)
' nlC tin racks with arti6cial Bowers which can be found at refreshment bars ill railroad
Stations, and elsewhere, arc: vestiges of tile Boral arrangements that formerly encircled the
<cashier). <SeeTI ,9.> <Lo.l'1>
The PaJais-Royal is in its heyday under Louis XVIII and Charles X.
Marquis de 5evry: director of the SaJon des Etrangers. His Sunday cfu:mc:rs in
ROmainville. <V' ,19>
How Blucher gambled in PaN. (Se=e Gronow, Aw der gros.sen Willi [Stuttgan, 1908], p. 58.)
BlUcher borrows !OO,OOO fl'1lnC.!l &om the Bank of France:. (See: Ol.3.~ (LO,20)
A bcll sounds: de:parture for a journe:y (?> in the: KaUe:rpanorama. <See Ga,S.> <Lo,2!)
Concerning the mythological topo~phy of Paris: the: roa.:actugiven it by its ga~.
Mystery of the: boundary stone which, although locate:d III the: he:an of the city, once
marked the point at which it ended. Dialecric of the gate: : from triumphal arch to Il'af6c.
island. (See C2a,3.> (LO,2:b
When did indwtry take possession of the streetcomcr? Archite:ctural emblems of c0m-
merce:: cigar shops have the comer, apothecaries the stain ... <Sec. C2,4.) (L",23)
Panes of glass in which not the: chandeliers but only the cand1es are rdlccted.
<l',24>
Excursw on the Place du Maroc. Not only city and inte:rior but city and open air caa
become: entwintd, and tAil inte:rtwining can occur much more concretdy. There: is thr.
Place du Maroc in Beneville:: that desolate heap of stones with its rows of tenc:mena
became for me, whe:n I happened on it one Sunday afternoon, not only a Moroccandeaat
but also, and at the same time, a monument of colonial imperialism; and topograpbit
vision was entwined with allegorical meaning in this square, yet not for an irutanr. ctid it
lose its place in the: hean of Belleville. But to awaken such a view is something ordinarily
reserved for intoxicants. And i.n such cases, in fact, street names are like imOlriclti",
substances that make our perception more smtified and richer in spact'j than .it is ill
~y existence. The State into which these street names I:ran.5port (~)' .thc:it~_
ivowJrice (but this is saying 100 liuJe, for what ill decisi~ hen: is not the a.uoaauon but cDr:
interpenetration oOmages) ought aha 10 be considered in conntctioo with certain cydoid
states. The: patient who wanders the: city at night for houn on end and forgets the ..,.,
home is perhaps under the sway of this power. <See: Pla,2.> (L",25)
Did the: bookl of antiquity have prefaces?
&nhomie of revolutioIU in tile boo" on Baudelaire, £2.' 1
Arcades as temples of commodity capit.a.l. (Sec A2,2.>
?wage des Panoramas, formerly Passage Mires. <Sec Ala,V
In the" fields with which we: are CODCe"med here, knowledge comcs only in Iigh~
O--NII
8a.shes. Tht text is the long ron of thunder that follows. (.x:c;; ,.> ~Lo ,3 ... •
The deq>c:5t tnchantment of tht conc:ctor: to put things under a spell, :as though at •
touch of the macnc wand 50 that all at once; while a last shudder runs over dian, they ~
..- , . m.[tm.....
mn.di.x.ed. AlI archittcture bc:romes pedest.al, sode, frame:, anuque memory to? the ~
not be assumed thai dlC caneelor, the flineur, would find anything st.range ID arcbt"
hyptrourmllD..t-that place beyond the htavc:ns whC"n: Plato locates the: immutable ~
types of things. He Io.sc:s him.sc:1f, a!lsuredly. But in ~ru.m, he has die strength .1D thai
himself up again to his full height-thanks to a pro.rea ( ?>. From out of tht r:rus tJ
envelop hi5 sun. lmagel We like tables of the gods, island! in the Mediterranean. <See:
1"£1a,2.> (Lo.3 1)
The need for sensation a!I king-,i,u: vice:. To fasten on two of the seven deadly sins. Which
ones? The prophecy thai men wouJd be blinded by the effeas of too much dectric light,
and maddened by the rapidity of news reporting. <Sec 82,1 .> (LO,32>
As introduction to the section on weather: Prowt, the story of the little weathu
mannikin." My joy whenever the morning sky is overcasL (LO,33)
Demoiselles: incendiaries disguised u women around 1830. (See 02,4.)
Around 1830 thm: was a newspaper in Paris with the name I.e Sylplu. Find a baUetahout
neWSpapers. (Sce A2,9.> (L°,35>
<xx) fasces, Phrygian caps, tripods.
<xx"' the: "pIaying-card kings of Slone" in H ackliinder.
,
(Carl> von Etzel-railroad constructions.
Various of the Berlin arcades should be mentioned: the colormade in the vicinity
of the Spitte1markt (Leipziger Strasse), the colormade in a quiet street of the
, clothiers' disci«, the arcade, the colormade at the: Halle Gate, the railing at the
entry to private ways. Also to be kept in mind is the blue postcard of the: Halle
Gate, which showed all the windows lit up beneath the moon, illwninatc:d by
uactly the same light as came from the: moon itself. Think funber of the un-
touchable Sunday afternoon landscape that opc.ru out somewhere at the: end of a
forlorn secluded street of "faded gentility"; in its nearness, the houses of this
dubious neighborhood seem suddenly changed to palaces. (M", l>
Magic of Ca!lt iron: "HahbUt was able then to convince himself thac the ring around this
planet was nothing other than a circular bakony on which the inhabitants of Saturn
stroUtd in the evening to get a breath or fresh air." Grandville, Un autre month (Paris,
1844~, p. 139. (Perhaps beJongs also Wlder the rubric wHashis.h..") <See "'The: Ring of
Sarum~ and Fl ,7.> (MO,2>
~mparison of Htgc:l's Phiinomenologie and tht worb of Grandville. Derivation of Grand-
vi.lle's work in temu of the philosophy of history. Important is the hypertrophy of the:
caption in th.is work.. Also, tht: c:onsidc:ration ofLautrtamont may be linked to Grandville.
Grandvillt's worb are a veritable cosmogony of fashion. Equally important. perhap5, a
(ornparl.son between Hogarth and Grandville. A pan of Grandville's work mighl be
t:ntitltd "Fashion's Revenge on the Rowers." Grandville's worb are the sibylline books of
PUbliati. E~rything that, with him, has its preliminary form as joke, or satire, attaina iu
true unfolding as advertisement. (Sec 84,5 and GI ,3.> (Mo.3)
~uperposition according to the rhythm of time. In relation to the cinema and to
the: "KlUationaJ" uansmission of news. "Beooming" has for us-in regard to
rhythm, according to our perception of time-no more claim as evidmce. ~
decompose it dialectically into JauatJ"on and tradilion.-Impottant to CXPresa
these things analogously with respect to the biographical, <101- "h
Parallelism between this work and the rraump~1 book. Common to both, the:
the:me: theology of hdl, Allegory<,> advertisement, typa: martyr, tyr"ant_
whore, speculator. <M- ,5)
Hashish in the: afte:rnoon: shadows are a bridge: over the: river of light that is the:
street.
Acquisition as decisive fact in collecting.
An of priming in reading and writing. Whoc:ver can design at the most super-
ficiallevel is the best author. <M-,8>
Underground sightseeing in the sewers. Preferred route, Chitdet-Maddcinc: <See
C2a,].> <M-,9)
P:wa~ du Caire: erected in 1799 on the site of the garden of the Convent of the Daugb-
ten of Cod. <See A3a,6.) <M-,IO)
everur.l is to mak.t
The best way, while dreaming, to catch the afternoon in the
plans. <Sec M3a,2.>
net of
<Mo ,11)
Comparison of the human being with an instrument panel on which are th0u-
sands of electric bulbs. Some of them go out at one moment., some at another.
<and> come back on again. <M-,12>
The path<» of this work: there. are no periods of decline. Attempt to oS« the ninetccDih
cenrury just as positively as I tried to 5CC the.sevmtecnth, in the work on 'frrwmpiel. ~
belief in periods of decline. By the same token, every city is beautiful to me (from outside
its borde:rs), jwt as all talk of particular languagt:.!l' having greater or lesser value is to me
unacceptable. <Sec NI ,6.) <Mo,l3)
The dreaming collectivt' knows no history. Events pus before it as always identical and
always new. The sensation of the newc.st and most modern is, in fact., as much a dream
formation of events as the '"etemal return of dx same. The perception of space thai
R V1rgtn terrain ror the soles of Ilgures r dreamed . <5« Nl,].)
corresponds to thi5 perception of time is supaposition. Now, as these formations ~
within the enlightened consciousness, political-theological categories arise: to take their
place. And it is only within the purview of these categories, which bring the Bow of ~
to a standstill, that ltiJtury forms, at the interior of this Dow, as crystalline constdla~-:­
The economic conditions under which a society exists !lot only dctennine that sooety 10
it.! material existence and ideological supersC"Ucture; they also come to expression. In ~
cast: of one who , Jeeps, an overfull stomach docs OOllind its ideological superstJ"U(;tUJ't.m
the content.! of the drc1JD-and it ill exactly the same with the «onomic. conditions of life.
for the collective. It interprets these conditions; it explairu them. In the dream, they find
their (xprtJJi&n; in tM awakening, t1lCir ml"",ttahim. <Sec S2,1 and K2,5.> <1\1°, 14 >
lbe man who waits- a type o ppose:d to the Bineur. The Bftneur's apperception
of historical time, set off against the tinle of one who waits. Not looking at his
"''<itch. Case of superposition while: waiting: the ima~ o f the c:xpected woman
superimposes itself on that of some unknown woman. ""=: are a dam holding
back the: time which, when the awaited woman appears, brc:aks upon us in a
mighty to rrent. "Tous les objets sont d~ maltreS" (Edouard Karyade). <1\1°, 15>
1lle fact that we wen:: children during this time belongs together with its objective: ima~.
It had to be. this way in order to produce this ~ration. 1bat is to say: W(: seek a
teleological moment in tM context of dreams. Whidl is the moment of waiting. The
dream waits secretly for the awakening; the sleeper surrenders himself LO death only
provisionally. waits for the second when he will cunningly wrest himself &om its clutches,
So, tOO, the dreaming collective, whose children provide the happy occasion for its own
a\\-alening. <See Kla,2.> <Mo, 16>
Look into the connection between colponage and pornography, Pornographic
picture of Scltiller-a litho : with one hand he gestures, picturesquely posed. into
an ideal distance ; with the other he masturbates. Pornographic parodies of
Schiller. The ghostly and lascivious monk; the long train of speaen and de-
bauchery; in the Mimoim tU:s Saiurnin, by Mme. de Pompadour, the lewd proces·
sian of monks, with the abbot and his cousin at the he:ad. <M".l7>
- , ~ are bored when W(: don't know what we are waiting for. And that we do know, or
think we know, is nearly always the expression of our supcr£ciality or inattention, BoJ'C>
dam is the threshold to great deeds. <See 02,7.> <Mo,18>
Oouded atmosphere, cloud<hangcableness of things in the space of vision <ViriOllSTallm)"
<M", 19>
!ask of childhood: to bring the nev.-' world into symbolic space <Symhoiraum). The child,
m faa, can do what the grownup absolutely caJUlot: remember the new once again. For
us, locomotives already have symbolic chancter because: we met with them in childhood.
Our children, however, will find this in automobiles, of which we ourselves Stt only the
new, elegant, modem, cheeky side. <See Kl a,3.> <M c ,20>
~~) gla.'ised·in spot facing my seat at me Staatsbibliothek. Charmed circle inviolate,
<Mo,2 1>
"She .....as everybod )"s contemporary." <Marcel J ouhandeau,> Prudm~ Halifu/wuIM.
(Paris, 1927>, p. 129. <See 82,5.) <Mo,22>
(liUOuot) world-and fashion. 13 <M c.23 )
AI the entr.mce to me skating rink, to the- pf'Q\fincial pub, to the tennis court : pennia. The
hen that lays the golden praline-eggs, the machine that stamps our names on nameplates,
slot machines. the mechanical fortWlel.d1er-these guard the threshold. Oddly, IUCh
machines don't flourish in the city but rathu an: a component of excunion sites, ol
beu gardens in the suburbs. And when, in search of a tittle greenery, one heads fOr
these places on a Sunday afternoon, one is turning as well to the mysterious threshok!.a.
P.S.: Automatic scales-the modem gn6/hi seallton.·· Delphi. <5« C3,4 and l1a,4.>
<Mo,24)
The gallery that leads to the Mothers is made of wood. l...iltcwisc. in the large-scale
~cion!l of the urban scene, wood plays a COn!lWlt though evu-shifting role: amid the
modem aaffic, it fashions, in the wooden palings and in the wooden planking O'\~r open
substructions. the image: of it! rustic prehistory. <See C2a,4.> <Mo,25>
lbrcshold and boundary must be. very cattfuUy distinguished. 'The SclnVtlk <thrcsidd>
is a ~. And indetd a zone of rransition. Tl11llSfonnation, pa.ua~ Hight (1) are; in the
word sdl'll/d/m <swell>, and etymology ought not to overlook these senses. On the other
hand it is necessary to keep in mind the imInediate tectonic framework that has brnugtu:
the ~rd to iLS current meaning. ~ have grown very poor in threshold expe:rieoccs.
"Falling asleep" is perhaps the only such ~ that ~ to w. But abo the ~
and 80w of conversation and the sexual pennUWlOns of love, like the world of 6gures ID
the dream rise up over the threshold,-Qut of the 6dd of experience: proper bJ the
threshold ~olvcd me gateway that rransforms whoevu passes under its areh. 'The ~
man victory arch makes the reruming general a conquering hero. Ah!urdity of the rdief
on the inner wall of me arch-a classicist misunderstanding. <Set Q2a,1 and C2a,3.)
<Mo,26'
) rormer being into the highu concretion of now·being <]etwrin>. In what way IhiJ now-
J. W. Samson, IN lTaummode der Ctvmmvt (Berlin, 1921) (Ml-marks and imaga<?».
<w,n
Flower market : "There-without rtturring to the efforts I Of the splendid archi-
tecture I To concc:a1 from us its riches-I Flora in her trozple de rxrduu." <W,2.
<N",3~
Description (1) from Fenagus.45
<N",4'
Heinrich Mann, KaiJrrin Eu.ginit. 46
. . _,. ' _.- . th dream- <See
The Trojan horse-as snow <?>, as the unnunent aw_erung ste....... IDtO e <N".5'
K2,4.>
Dusk: the bour wben great works are inspired (irupirationlittirairr). According to
· din <?> <N° 6>·
Daudet, however, the hour when mistakes are rna d e U1 rea g . . '
lbe indestructibility of the highest life in all things. Against the prognoscica~rs, of de-
_,,_. One can make a 61m of Goethe's Fausl. And yes. isn'tr..it an , outrage,
un.... and 15n ~ ~
.... __ _ :_1 there IS . guo
a world of difference between the poem NU.IJ and the film rausl . ~ .........y,
again. isn't there a whole world of difference between a bad 61m of iVJwl and a good one?
\Vhat manl.';r in culture ~ 1101 the great contraSts but the nuances. <It is from them that>
the world <is> always <born anew>. <See Nla,4.> <0°.1>
Pedagogic side of this undertalUng: wTo educate the image·making medium within w ,
rAising it to a 5tuww>pic and dimensional S«ing into the depths of historical sbadoW1."
The words are <Rudolf> Borchardt's in Epil~gomtna l U Dante, vol. I (Berlin, 1923),
pp. 56-57. <See N1.8.> <0",2>
From tlle stan. to keep this thought in view and to weigh its constructive value: me refuse·
and decay·phenomena as precursors, in some degru mirages, of the great syntheses that
follOVo·. These new syntllCoc realities are to be looked ror everywhere: advertising,film
rralily, and so on. <See YI ,4.> <0",3>
Of vital interest to recognize, at a partirular point of development, CUITentS of mought at
the O'OSsroacb-namd y, the new view on the historical world at the point where a
decision is forthcoming as to its reactionary or revolutionary apptication. In this sense,
one and the same phenomenon is at work in the Surrealists and in Heidegger. <See SI,6.>
<0",4>
It is said that the dialectical method consists in doing jwtice. at each moment, to the
concrete historical situation of its object. But that is not enough. fur it is just as much a
mattu or doingjustice to the CODCI'Cte historical situation of the in/errsftaken in the object.
And Ihis situation is alwa}'ll 50 constituted u to be itself preformed in that object; above
all, ~~, the object is felt to be conaetized in this situation itself and upraised from its
being (which is something other than the now·beingof the present time <]eh1ui&) already
signifies, in itself, a higher concretion- this question, of course, can be entertained by the
dialectical method only within the purview of a philosophy of history that at all points lw
overcome the ideology of progress. In regard to such a philosophy, one could speak of an
rill
increasing concentration (integration) of reality, such that everything pa.st its time) can
acquire a highu grade of actuality than it had in the moment orits existing. How it adapts
to this, its own higher actuality, is something detennined and brought to pass by the image
. as which and in which it is comprehcnded.-To treat the put (better: whatlw bttn) in
accordance with a method that is flO longer historical but political To make political
categories into meoretica1 categories, iruofar as one dared to apply them only in the sense
or praxis. becawe only to the pre.sent-that is the task. The dialectical penetration and
actualization or fonnu contexts put! the truth of all present action to the test. This means,
however: the explOllive materials latent in fashion (which alwayJ refers back to something
past) ha\'C to be ignjted. <See K2,3.> <0°.5)
On the figure or the coUeaor. One rna)' stan from the fact d13t me trUe collector detaches
the object from its functional relations. But that is hardly an exhaustive description of this
remarkable mode or behavior. For isn't this the roundation (to speak with Kant and
Schopcnhauer) of that "disinterested" contemplation by virtue of which the collector
.lttai n.~ to an unequaled view of the object- a view whidl takes in more, and other, than
tllat or me proranc ownu and which we would do best to compare; to the gaze of the great
phYSiognomist? But how his eye comes to rest on the object is a matter elucidated much
Inore sharpiy through <another> consideration. <Sec H2,7; H2a,l .> <0°,6>
It must be kept in mind that, fOf the collector, the world is present, and indeed orden:d, it.
each of his objeetll. Ordered. however, according to a surprising and, for the Prolar.e
understanding, incomprehensible connection. nus connection stands to the CI.1St~
ordering and schematiz.ation of things something as their arrangement in the dictionary
stands to a natural arrangement. ~ need only recall. what importantt a partirular co~
to~ ~ttac.hes ~ ~n1y to his o~je:~ but abo ~ itll entire pas~ whc:~ r.hU cOIlCCnls the:
ongtn and objCttlvc charactensOCl of the thing or the details of ltll ostc:ruibly 0Uernal
history: preview owncn, price of pun:hase, CWTent value, and so on. All of these-tbc:
"objective" data oogethcr with the othcr-come together, for the tnJe coUector, in every
single OrK of his posscssions, to form a whole magic encyclopedia, a world order, who.c
outline is the/ale of his object. Here, therefore, within this ci.n:umsoibed 6d~ wt cau
understand how great physiognomists (and ooIlect0r5 are physiognomUu of the world of
thlngs) bewrM interpreters of fate. It suffices to observe JUSt one collector as he handQ
the items in his showcase. No sooner does he hold them in his hands than he appean
inspired by them and Seem5 to look through them into their dista.nce, like an augur. (It
would be interesting to simate the bibliophile as the only type of col.leaor who has DOt
unconditionally withdrawn his trca.rurc.S from a functional cornext.) (See:. H2,7; H2a,l.>
<0",7.
Attempt to de:.velop Ciedion's thesis. "In the:. nineteenth century," he writes, "COl1Jtructioo.
plays the role of the subcon.scious."47 \\buldn't it be be:.tter to say Mlhe role of bodily
processes"-around which "artistic" archi~crure.!l gather, like: dreams around the: &.me-
work of physiological processcs? <See K la,7,) <0",8)
Bear in mind that commentary on a rc:.ality (s uch as we are writing here) calls for a mahod
comple:.tdy different from that required by commentary on a teXt. In the one case. lbe
scientific mainnay is theology; in the other case, philology. <See N2,1.) <0 0 ,9. _
Interpenettation as principle in film, in new architecture, in colportage. (0",101'
Fashion inheres in the:. darknc:.u of the lived moment, but in the collective darkneu.-
Fashion and arch.itecturt: (in the ninetttnth century) bdong to the dream consciousneu of
the coUective. ~ mwt look. into how it awakes, ror example, in advcn:i.sing. \\buId
awakening be the: synthesis derived from the:. thesis of dream consciow:DC&S and the .
antithesis of waking consciousness? <Sec K.2a,4.) <0-,11.
The problem of space (hashish, ruyriorama) tt'eated under the rubric "Flinerie."
The problem of time (intennittenc.es) tt'eated under the: rubric "RouJettc."
(0°, 12)
Interlacing of the history o f the arcades with the whole presentation.
Reasons for the:. de:cline of the arcades: widened sidewalks, electric light, ban on prostitu-
.
non, ' <See:. C2a,12.)
culture of the:. open air, <0°, 14)
To be developed: motif of boredom amid half·finished material.
The "ultimate aims'"' of socialism hardly ever so clear as in the case of WierU.
The basis here: in vulgar materialism, <0°,)6)
'fh,e grandio~ mechanical·materialistic divinations of Wiertz have to be: scc.n in
the context of the s ubjects of his painting-and, to be sure, nOI only the ideal
utopian subjects but those allied 10 colportage and the ghastly. <0", 17)
Advertisement by Wiertz: '"Monsieur Wienz requires a servant skilled in the
painting of medieval accessories to d o all his research work, etcetera. etcetera,
such as (JO, etcetera.." A.J. Wiem, Oeuvres littiraim (Paris, 1870), p. 235.
<0", 18)
Of particular inlportana; the great kle:.gend" with which Wiertz has accompanied his
ltJu«J tl vi.uonJ d'unt ttlt {Qupir. (Thoughts and VISions of a Severed Head). "The first
thing that strikes one about this magn<:topath.ic expiritn(( i:i the:. grandiose: sleight of hand
\vhich the cons00U.5ness exe:aues in death. "What a singular thing! The head is here
under the scaffold, and il believes that it still exists above, fonning part of the body. and
continuing 10 wait for the blow that will separate:. it from the trunk..~ A. J. Wiertt, CbIln'J
li/tfraires (Paris, l870), p. 492. (At work. here in Wiertz i:i the same inspiration that ani·
mates the:. unforgettable short 5[ory by Ambrwe Bicrcc:''1 The rebel who is hanged from a
bridge over the river.) <Sec K2a,2.> <0", 19)
, Does fashion die because it can 110 longer kee:.p up the tempo-at least in cc:nain 6c:.lds?
While, on the oth e:.r hand, there: arc fields in whid} it can follow the. tempo and even
dictate it? <See 84,4·.> <0".20>
Title of a painting by Wiertz: lLJ Chrues du Prism! devan! us hommes de l'avenjr
<The 'f1llngs of the Present on Display before the Men of the Funuv. Note-
I worthy is the tendency o f this painter toward allegory. For example, in the
catalogue desoiption of the picture: Une &cond apfiJ la mort, we read: "Consider
the idea of a book that has fallen from one's hands, and on its cover these words;
Lofty A,hinmnl1lo tfHumanity." Oeuvfes (jtliraires, p. 496. Figure of '"civilization"
and many other allegories in Lt Derni" Canon. <0 0 ,21.
Painting by Wiertz: lL &Jfd]it! d'une ,wme btlge. "This painting was aecuted
with the intention of proving the necessity of having women trained in the use of
6rearms. It was Monsieur Wicnz, as we know, who had the idea of setting up a
special riBe range for ladies and o ffering, as prize in the competition, a portrait of
the victorious heroine." OeuvreJ littiraim, p . 5 0 I (catalogue of works, edited by
the painter himself). (0",22>
Passage on the m useum in PrOtlSt .I '
Boredom of the: CCll:lllonial scenes depicted in historical paintings, and boredom in gen·
e:.ral. Boredom and museum. Boredom and battlc: scenes. <Sec: D2a.8.. <0".24>
Excursus on the:. battle scene! <0",25>
10 the complex of boredom and waiting (a metaphysics of w'diting is indispensable) Olle
COUld no doubt as5i.mila~, in a panicular comc.xt, die Uletaphysics of doubl.In an allegory
of Schiller's we read of "the hesitant wing of the butterfly."S(I TIilll points to that iUJOcia.- Notes on montage in my journal. Perhaps, in this same context, there should be
cion of wingedness with the feding of indecision which is so charaCIC:ristic of haahiab soDle inclication of the intimate connection that <exists) between the intention
iutoxicaoon. <See M4a,! .> <00,26>
making for nearest nearness and the intensive utilization of refuse-a connection
in fact exhibited in montage. <0°,37>
HofmannsthaJ's plan for 'lire Haviu and for 'lire FOriundelier.iI
Fetish character of the commodity to be conveyed through the t'..umple of prosti-
Polemic against iron rails, in the 1830s. A. Gordon, A 'lr~o.tm in EJmlentary ~.
rurion. <0°.38)
wanted to have the ~steam carriage" run on lanes of granhe. <See F3,4.> <0°,20;;
On the interlacing of strttt and dom estic interior: house numbers for the latter
~rcat collectors. ~chinger. \\blfskehl '~ ~, who has put logtther a coUc:aion that, to become cherished family photos. <0°,39>
tU array of proscnbed and damaged obJeru. nvals the Figdor collection in Vienna. On the
Stachus, he suddenly Stoops to pick up something be has been seeking for weeki: a
Utter ambiguity of the arcades : smet and house. <0°,40>
mi!printed st:reetcat ticket that was in circulation for only one: hour. Gnu in Wiihlgart.cQ.
'The: family in which C\~ryone collects something, for example matchboxes. Pachingtt
hardly knows any more how things stand in the: world; cxplairu to his visiton-alongaide When and, above all, how did the name " Wmter Garden" come to designate a
the most antique implemenu-the we of pocket handkc:rchid's, distorting mirron, md variety theater? (CompaR' Cirqut d 'hiver.) <0°,41)
the like. "Beautiful foundation for a colkct::ion." Hoerschdmann. A Gc:rmao in Paris who
collecu bad (only bad1) an. <See H2a,2.> <00,29) Traffic at the Stage of myth. Industry at the stage of myth. (Railroad stations and
early factories.) <0°,42)
Waxworks: mixture of the ephemeral and the fashionable. Wlman fastening her pner.
Nmfja <Paris, 1928>, p. <200>.52 <See 83,4 and E2a,2.) <0°,30) Tedium of the railway journey. Stories of conductors. H ere, Unold on Proust,
FranlifUrler Zeilung, 1926 or 1927. <0",43)
Aporias of town planning (beauty of old disaicts), of musc:wm, of strttt names, m
interiors. <See 12a,6.) <0° ,:U. Relation of myth and topography. Aragon and Pausanias. (Bring in Balzac hen::
as well.) <See C 1,7.) <0°,44>
One can characterit.e the problem of the fonn of the new an straight on : When and bow - I
will the worlds of fonn which, without our baving expected it, have arisen, for c:xampC.. Boredom and: the commodity's wait to be sold. <0°,45>
in mechanics, or in machine consO'Uccion, and subjugated us-wbc.J will they make
whateVC' n3tw'C they contain into primal history? When will we reach a State of societyiD Motif of dream time: atmosphere of aquariums. Water slackening resistance.
<which these fortn!. or) those arising from them, <reveal) themselves to us u nm:raI <0°.46)
fonru? <Sec KJa,2.> <0°,32)
Reasons for che decline of the: arcades: widened sidcwalb, dc:ctric light. ban on prostitu-
On Vc:uillot's "Paris is musty and close." Fashiollli and the complete antithesil to !he - tion, roll ofdte open m. <Sce C2a, 12.> <0°,47>
open-air world of coday. The ~ glaucow gleam" under che petticoats, of which AraFD
speaks. The corset as the tono's arcade. What today is de risueur among the l~d.­ On the doll mow: ;;You have no idea how repul5ive thc:sc: automatons and doU.s can
of prostirutes-not to undress-may once have been the height of refinement. Ho.llmtlrli become, and how one breathes ac last on encountering a fulI·blooded being in this soci-
ye;terday 'lfashiollJ: to intimak a body (!wt nroer Ir.nuwJpll nalr.ttWu . <Sec E2,2 ; 01a): ety.~ Paul Lindau, Der Aknd (Berlin, 1896), p. lZ <Sec: ZI,5.) <0°,48>
ro,l.> <O°,SS)
The modish green and red of recreation spots today, which corresponds ob-
On the rtnfmnl, much also in Proust. Above all) the retrea t in the Bois.» SCUrely-as a fashion phenom enon-to the knowledge we arc trying to unfold
(0°,34) here, has a capitaJ interpretation in il passage by Bloch, where he speaks of "the
green-papered chamber of memory with cunains red as sUll5et." Grot dn' U/opit
Rue Laferriere formerly an arcade. &e <Paul) Uautaud, Lt Peh', arM. <0",35) (Munich and Lciplig, 1918). p . 351. <0°,49)

Method of this project : literary montage. I needn't UIJ anything. Mc:rcly sbow. I shall The theory of nOl·YC:K.onscious knowing may be linked with die theory of forgetting
appropriate 110 ingenious fonnulatiollli, purloin no valuables. But the rags, the refuse- (notes on Orr BIQnlh &ItMrtP~ and applied to the coUecuv(' in its various epochs. What
these J will nO[ desaibe bUI put on dUplay. <See Nh,8.) <0°,36) Proust, as an individual. directly experienced <"/~btt) in the' phenomenon of remem'
brancc. we have:. to experience (~ftJ/trnl) indireaJy (with Kgard to the nineteenth century)
:u "cum::nt," "'fashion," ~ Imdency " -in punishment, if you will, for the sluggisbncs.
which kcc:ps us £rom uking it up ourselves. ~Sce K2a.3.> ~Oo ,50)
These gateways are also thresholds. No stone step serves to mark them. But this marking
ill accomplished by the expeaant posture of the handful of people. Tightly measured
paces reflect the fact, altogether unknowingly, that a <decision lies> ahead. C itation ~from
Aragon) on people waiting in froOl of arcades. M <Sec C3,6.) <0°,5 1)
TIlls truly remarkable theory in Dacque:5li that man ill a gum. (There are genninal fonn.
in nature that prw:nt themselves as fuUy grown embryos, but without being trans.
formed.) It is, accordingly, in the early stages of development that the human bcing-and
the human·like animal species, anlhropoid apes-would have:. their mou propa; DlOIt
genuinely "human" fonn: in the fully deve:.loped embryo of the human and the chimpan.
zee (that ill, in the fully developed human and chimpanzee), the properly animal re-
emerges. But <broken of!) <0°,52>
Study of the theoreticians ofJugendstil is imperative:.. Mllowing indication in A. G. Meyer,
Eitnlhautt11 (Esslingen, 1901): "'Those endowed with an especially fine artistic ~
have hurled down, from the altar of art, rursc after rune on the building c:ngincen. k
suffices to mention Rl1Skin ~ (p. 3). In the evnlat ofJugerutil: Pfu.dan. '<Sec F5,l.>
<0°,53)
"It is becoming more and more difficu1t to be revolutionary o n both the spirimal
plane and the social plane at once." Enunanue1 Berl, "Premier pamphlet." £,m,pt~
75 (1929), p. 40. <0·"",
Floral art and genre painting. <0",55)
J
~ can speak of two dmctions in this work: one which goes from the: past into
the present and shows the: arcades, and all the rest, as prerursors, and one: which
goes from the present intO the past so as to have: the revolutionary potential of
these: "precursors" explode in the present. And this direction comprehc:nds u
well the spellbound clegiac. consideration of the recent past, in the form of its
revolutionall' explosion. <0°,56)
Shrtdow of myth which this agitated age casts onto the past, as myth-bearin8
Hellas {mylhotokos} once did. <0°,51>
Leon Daudet narrates his life: topographically. Paris uiCll . <0°,58)
Passage and pro{(J. Mires. <0",59)
<0°,60)
Movement' of the life of fashion : change a liti/e.
lnjazz, noise is emancipatc:d.J azz appears at a moment when, increasingly, n~isc:
is eliminated from the process of production, of traffic, and of commerce. I..ikt
wise in radio. <0",61>
From Der /JauJr; illustrated ladies' magazine published in Berlin (1857- ): pearl
embroidery for boxes of Communion wafers o r gambling chips, men's shoes,
glove box, s mall bolster, penwipers, nce:dJeca5e, pincushion, slippers. ChristmQJ
ilmu: lamp stands, game bags, bell pulls, iirescreens, fo lder for musical scores,
baSke:t for knives, canister for wax tapers, pudding clow, gambling chips.
<0°,62)
The type of the Bloeur gains in distinctness when one thinks, for a moment, of
the good conscience that must have: bdonged to the type of Saint-Simon 's "indus_
trial." who bore this title only as possessor of capital. <0°,63>
N()(abic difference between Saint-5imon and Marx. The fonner conceives the class of
exploite:d (the: producers) as broadly as possible:, reckoning among them even the ent:re.
prene:ur because he pays interest to his creditors. Marx, on the other hand, includes all
those: who in any way exploit another--even though they themselves may be victinu of
exploitation-among the bourgeoillie. <See U4,2.) <0°,64)
Exacerbation of class divisions: the social order as a ladder along wbich the
distance: from rung to rung grows greater by the year. Infinite number of grnda-
tions b etween wc:aIth and poverty in the France of the previous century.
<0°,65)
Byz.antine mysticism at the: Ecole fulytcchnique. Sec Pine:t, "I.:Ecole polytechnique et les
Saint-Simonien.s," &vue de Paru (1894). <0 0 ,66)
Didn't Marx teach that the bourgeoisie, u class. can never arrive:. at a perfcaly dear
awareness of it.5df? And if this is the case, isn't one justified in annexing to Marx's thesill
the idea ofthc drum collective (that is, the bourgeoill coUc:ai\'e)? <Sec 52,1.> <0 0 ,67)
\r\buJdh't it be possible:, furthennore, to show how the whole set of wues with which this
project is c:oncc:med is illuminated in the pr0ccs3 of the prole:tariat's becoming conscious
ofitsclf? <00,68)
The first tremors of awakening serve to deepen sle:cp-(rmnors of awakening). <Sec
Kl a,9.> <0°,69)
The CcmplrJfonJ4J/iqu~J d'Hau.I.Imann <by Jules N:rTY (1868) first appeared as a
series o f articles in Ltl 7"fflIPS. <0°,70>
Good fomlUlation by Bloch apropos of '171t: ArCiUks Projecl: history displays its Scotland
\AA:i badge:. TItat was in thl!: context of a conversation in which I was describing how this
Work-comparable to the method of atOmic fission, whie:h liberates the enormous e::ner'
gic:s bound up within the atom-is supposed 10 liberate: the enom)oWl energies or history
that arc slumbering in the "once upon a time" of classic historicalnamttive. The history
that was bent on showing things has they really and truly were" was the: strongest narootic
of the nine:tc:cnth century. <See N3,4.) <Dc, 71)
Concretion extinguishes thought; abstraction kindles it. Every antithesis is ab.
stract; every synthesis, concrete. (Synthesis extinguishes thought.) <0°,'12)
Formula: construction out of facts. Consttuction with the complete elimination
o f theory. What only ~the in his morphological writings has attempted_
<0°.73)
On gambling. TIlUC is a certain strucrutt of fate that can be recogni1cd only in
and a certain 5truCture of money that can bc recogni1cd only in fale. <Sce 03,6.> 1IlOQey,
<0°.7.>
The arcade as temple of Aesculapius. Medicinal spring. The course: of a ~
Arcades (as reson spas) in ravines. At Schuls-Tarasp , at Ragaz. The go~ as
landscape ideal in our parents' day. <See 1.3,1.) As with the impact of very distant
m emories, the sense of smell is awakened. To m e, as I stood before a shop
window in Saint-Moritz and looked on mother-of-pearl pocketknives as "mem0-
ries," it was as tho ugh at that moment I could smell them. <0°,75)
The things sold in the arcades are souvenirs <Amieden>. The "souvenir" is the.
fo nn of the commodity in the arcades. One always buys only memento.s of the
commodity and of the arcade. Rise of the souvenir industry. fu the manufacturt:r
knows it. The rustOm-house officer of industry. <See] 53,1.> <0°,76>
How visual memories emerge transfonn ed after long yean. The pocketknife that
came to m e as I chanced upon one in a shop window in Saint-Moritz. (with me . . .
name of the place inscribed between sprigs o f m other-of-pearl edelwein) had •
taste and odo r: <0".">
I nowadays to think of all dle things for which the nineteenth century invmted ttuis:
RatheT than pass the time, one mwt invite it in.. To pass the time (to kill time, expel it): ID
be drained. Type: gambler, time spills from his every pore.-1O 5tore time Iikc a banuy.
the type, Binau-. Fm.ally, the synthetie type (take! in the energy "time" and passes it on ill
altert'd form): he who , vaits. <Sec 03,4.> <0°,78> .
"Prima] history of the nineteenth century"-this would be of no interest if it wctt under-
stood to mean thal fomu of primal history are to be re<:o\'ered among the inventorr ~dM:
nineteenth cenrury. Only where the nineteenth century would be presented a.! onguw'Y
fonn of primal history-as a form, that is to say. in which the whole of primal history JO
renews itself that certain of its older traits would be recogniud only a.! pre:curson oftbesc
recent one!-only there: does this concept of a primal history of the nineteenth c:cnwry
have meaning. <&e N3a,2.) <0°,79)
All categories of the philosophy of history must here:: be driven to the point of
indifference. No historical category without its natural substance. no natural
0
category without its historical 6.1tration. (0 ,80)
Historical knowledge of the truth is possible only as overcoming the illUSOry
appearance <AI!/kbung deJ Scllein.J>. Yet this overcoming should not signify wbli--
nmtion, ac tualizatio n of the o bject but rather assume. for its part, the configura-
tion of a rapid image. The small quick fi b'l.lrt: in contrast to scientific complacency.
nlis configuration of a m pid image got:s together with the recognition of the
~ now'" in things.$> But not lhe futu re. SUrrt'alisl mien of things in the now;
philistine mien in the future . 111e illusion overcome here is that an carlier time is
Ul the now. In ttuth: the now <is) the inmost image of what has been. <0°.8 1)
For the fimver 5('ctiou. Fashion journals of the period eontainc:d insttuaions for preserving
bouquets. <See 14,2.) <po , I>
The mania fo r chamber and box. Everything came in cases, was covered and
enclosed . Cases for watches, for slippers, for thennometers-all with embroidery
on fine canvas. <See 14,4.> <P'>,2)
Analysis of dwelling. The diflieulty here: is that on the aile hand, in dwelling, the age-
old-perhaps eternal-has to be recognized: una~ or that abode of the human being in
, the maternal womb. And then, on the other hand, this motif of primal history notWith-
standing, we must undcntand dwelling in its most extreme fonn as a condition of nine-
teenth-century cxistence:, one: widl whidl we have begun to break. The original fonn of all
dwelling is existence: not in the house but in the shell_TIle difference: between the two:
<the latter) bean quite visibly the imprasion of its occupant. In the most exll'Cme in-
nance:, the dwelling become! a shell. 1'ne ninetttnth cenrury, like no other cenrury, Wa.!
addicted to dwelling. It conceived the re:sidenc.e a.! the re:ceptacle for the pasoo. and it
I encased him, with aU his appurtenanee!, so deeply in the dwdling's interior thal one
might be re:lllindc:d of the inside of a eompa.!.! case, whett the instrument with all itli
accessoriell lie! embedded in deep, usually violet raids of ,,'t:lvct. It is scarccly possible
pocket watches. slippers. egg cups, thenno meters, playing cards. What didn't it provide
with jackets, earpclS, wrappersl The twentieth century. with its porosity and aamparcncy,
itli tendency toward the ,vdi·lit and airy, tw nullified dwelling in the old sense.Jumping-
off point of things <ii>, like the "homes for human beings" in Ibsen's MaJier Builder. Not
by chance a drama rOOted in Jugend~U1 , which itlidf unsetdc:d the world or the shdl in a
radical way. Today this world is highly prc:anoUll. Dv,'elling is diminished: for the living,
through hotel rooms: for dIe dead, dll'Ough the crematorium. <Sec: 14,4.> <po,3>
Dialectics at a standstill-this is the q uintessence of the method.
"To dv.~l1 n a.'l <I tr.I.llsiu\'e verb. For example, "Indwelt spac.es"- this give'! a sense of the
hidden frenetic topicality of dwelling. n lis tOpicality cOlL~ists in fashioning a shell. <See
14,5., <po,S)
Kitsch. Its econo mic analysis. In w hat way is manifest here : the overproduction
of commodities; the bad conscience or producers. <PO,G)
Fashion. A sort of race for first place In the social crealion. The nllming begins
anew at every instant. Con trast between fashion and uniform. <P",7)
Thomasius, W,m RuM du Schliifj u"d ckr Triiume (Halle, 1723). Hans K.istCUlilecker, "Die Klcidung der Frau: Ein erotischl'::!l Problem" <\-\Omen's Cloth-
ing, A Problem in Erodes), Ziirdrn- DiJkun icmm, vol. 8 (1898). The: author probably
Sinunel, PhillMophische Kullur <Leipzig, 191 1) (fashion). Panir.z.a· <Q:',I I )

Louis Schneider, OJftnOath (Paris, 1923).se <Q',12 >

Am I the one who is called WH.? Or am 1 simply called W.B.? This, in fact, is the: Le Guide h.i.storique e:t anecdotique de Paris (Paris, Editions Argo).60 <Q:',13)
question which leads intO the mystery of a person's name, and it is very aptly
formulated in a posthumous fragment by Hennann Ungar: "Does the namr
attach to us, or an= we attached to a name?" H. Ungar, "Fragment," in D4l
"* can be sure that the art of an earlier period-in its sociological sphere of
influence, in the hierarchies that were fo unded on it, in the manner of its forma-
Stimwort, Newspaper of the Theater on Schillbauer Damm (December 1929), tion-was much mo~ closely related to what today is fashion than to what today
p.4. <Q:,}) is known as an. Fashion : aristocratic-esoteric origin of the most widdy disaib-
uted articles of use. <Q:,14)
Waxwork.! in Lisbon, inJoachim Nettclbeck's autobiography.
Misunderstanding as constirutive clement in the development of fashion. No
Anatole France, the series of novds with M. Bergerct. <Q:,3 ~
sooner is the new fashion at a slight ~move from its origin and point of departure
Das KapitaJ, vol. I , original edition, p. 40; vol. 3, pp. 1- 200, especially 1 5Off.~
than it is turned about and misunderstood. <Q:,15>
Tendency of the profit rate and the average profit rate to fall. <Q: ,4) , Mettemich, Denltwiirdigluitell (Munich, 1921}.11 <Q',16>
Kafka, "Der Landarzt" <A Country Doctor> (a dream). <Q:,5~
H ans von Veltheim, Hiliogabak, ou Biograpllie du XIX' Jiide tk Ia Frana
In 7h.e Arcatks Project) contemplation must be put on aial. But it showd defend (Braunschweig, 1843). <Q',I7>
itself brilliantly and justify itself. <Q;,6)

Happiness of the coiJector, happiness of the solitary : tete·i-~te with things. Ls ~

this the felicity that suffuses our memories-that in them we are alone with
- Grasse and j anrucke, KUfUtg~rbliche Altn-tumn- und Kuriositiiim (Berlin, 1909).
<Q',18>

partirular things, which range about us in their silence, and that evm ~ people On La MueUe tk Portui. 62 Erst perfonnance 1828. An undulating mwical extravaganza.
who haunt our thoughts then partake in this steadfast, confedera" silence of an open made of draperic:5, which rise and subside ()'.'O' the word.>!. \hy evident the
success which this musical mwt ha\'C had at a time when Ia drapme was beginning its
things. The collector "stills" his fate . And that me.3JlS he disappears in the world triumphal proccssion (at lint, in fashion, as Turkish shawls). 1be nowrum rmlln cupiJus'3
of memory. <(t',1) of the r~utionary is underSiood by this public to mean interest in fancy goods. W!I.h
good reason it was shown a revolt whose premier task. is to protca the king from its own
f.. T. A. Hoffmann, "Die Automate- <Automata) (&rapirmsbriidn' <1bc Serapion<B~ dTea. Revolution as drapery CO\'eringa slight ruhufBe: in the ruling circlcs, precisdy what
ren, 1819-1821>, vol. 2). Q:, occurred in 1830. <See 84,3.) <Q',19)

Hoffmann as type of the Bineur. "Des Vetten Eckfenster" <My Cousin's Comer Win'
H t:nri 5(;t:, FramiisiJ,ht WirlJdw.fogr.lthjc"/(:.~ <~ .20>
dow> the testament of the Baneur. Thw Hoffmann's great success in France. In tht
biographical notCS to the five-volume coUection of his later writings, we read: "Hoffma:M
was never really a friend of the great outdoors. What mattered to him more than ~ythinr On the dialectical image. In it lies rime. Already with H egcl, time enters intO
else was the human being-commun.ication with, observations about, the simple: Sight a • dialectic. But the Hegelian dialectic knows time soldy as the properly historical, if
human beings. \Vhenevcr he wenl for a walk ill . SU llllna, whi-L ' b'Uuu
"'" ill - - - .I hap-
we atherwould not psychological, time of thinking. "nle time differential <,(f:itdi/forentia/) in
pened every day toward evening he always made for t.1mse public places "'{here: he would which alone the dialectical inlage is I'cal is slill unknown to him. Attempt to show
run into people. On tht way, tht're was scarcely a tavern or past:ry shop where he this with regard to fashion. Real time enters the dialectical image not in namra!
not look in to see whether anyone-and if 50 who-might be there." <See M4a,2.)
, <<2:,9' magnitude-let alone psychologically- but in its smallest gestalt. <See N l ,2.)-
All in all, .the temporal momentum <daJ <eilmoment> in the dialectical image can
Armaturr ofpllV<1iognomie studics ' the flSneur the collector. the forger, the gambler. be determined omy through confrontation with another concept. 1bis concept is
J- . , <<2:,10) the "now of ~cognizability" <Jt h.l der ErA(lIIlbark~·(). <Q' ,21)
~ Fashion is intention that ignites; knowledge, intention that extinguishes.
<(t,22)

VVhat is "always the same thing" is not the event but the ne-.vness of the event,
the shock with which it eventuates. <(t,23)

Am I the one who is called WB .• or am I simply called WB.? These are two sides
of. a med~o~, ?ut the second side ~ worn and.eff~d. while the first is freshly
mmted. This uutial take on the quesllon makes It evtdent that the name is objea
of a mimesis. Of course, it is in the nature of the latter to show itself not in what
is about to happen, but always only in what has been-that is, in what has been
lived. The habitus of a lived life: this is what the name preserves, but also marka
out in advance. With the concept of mimesis, it is further asserted that the realm
of the name is the realm of the similar. And since similarity is the organon of
experience <Erjahrun/!? it m ay be said that the name can be recognized only in
the contexts of experience. Only in them is its essence-that is, linguistic e.
sence-recognizabJe. <Q;.U)
,
Point of departure for the foregoing considerations: a conversation with WlCSCIl-
grund on the operas Electra and Carmen. To what extent their names already
contain within themselves their distinctive character, and thus make it possible
for the child to have a presentiment of these works long before he comes to know
them. (Carmen appears to him in the shawl which his mother has around her OQ
evenings when she kisses him good night before going to the opera.) The knowI- _
edge contained in the name is developed most of all in the child, for the mimeric:
capability decreases with age in most people. <Q:,25)

I
 "
Arcades

1ltiJ brief essay. dating from the summcr or rall of 1927 (WJQMMt'ltt &IIrifim, vol. 5, [Fr.nkfurt:
Suhrkamp. 1982]. pp. 10.U -1043). is the only cumpkttd tal we have from the earliest period of
work on 1M ArradiJ ftri«t, when Benjamin WlU planning co write a DeWlpapc¥ anick OD the P.uis
arcades in cotbbontion with FT2IU Hascl. The aniclc: may have bcc:n written by Bc:njamin and
Husd togetha. (Sec aMataiab for 'Arc:ada."')

On the Avenue Champs-ElysCcs, between modern hotels with Anglo-Saxon

names, arcades were opened recently and the newest Parisian fJaJ.UJg~ made: its
appearance. For its inaugural ceremony, a monster orchestra in uniform per-
formed in front of 8cw.'eT beds and Howing fountains. The crowd broke, groan-
ing, ova sandstone thresholds and moved along before panes of plate glass, saw
artificial rain fall on the copper entrails oflate-modd autos as a demonstration of
Ithe quality of the materials, saw wheels turning around in oil, read on small black
plaques, in paste:iewd figures, the prices of leather goods and gramophone re-
cords and embroidered kimonos. In the diffuse light from above, one skimmed
• over flagstones . While here a n~ thoroughfare was being prepared for the most
fashionable Paris, one of the oldest arcades in the city has disappeared-the
Passage de l'Opera, swallowed up by the opening of the Boulevard Haussmann.
Just as that remarkable covered walkway had done for an earlier gmeration, so
today a few arcades still preserve, in dazzling light and shadowy comers, a past
become space. Antiquated trades survive within these inner spaces, and the
merchandise on display is unintelligible, or else has several meanings. Already
the insoiptions and signs on the enttanceways (one could JUSt as well say "rxits,"
since, with these peculiar hybrid forms of house and street, every gate is simulta-
neously enttance and rxit), already the inscriptions which multiply along the
walls within, where here and there between overloaded coatstands a spiral Stair·
case rises intO darkness-already they have about them something enigmatic.
"Alben at No. 83" will in all likelihood bI!: a hairdresser, and "Theatrical Tights"
wiU be silk tights; but these insistent letterings want to say more. And who would
have the courage to take the Oilapidated stairs up one flight to the beauty salon of
Professor Alfred Bitterlin? Mosaic thresholds, in the style of the old restaurantS
of the Palais·Royal, lead to a diner de Paris; they make a broad ascent to a glass
~oor-but can there really be a restaurant behind it? And the glass door next to
It , which announces a casino and permits a glimpse: of something like a ticket
booth with prices or seats posted-would it not, if one opu1Cd it, lead o ne into
darkness ratheJ" than a theater, into a ceUar or down to the street? And On ~
ticket booth bang stockings once again, stockings as in the doU hospital across
the '....ay and, somewhat taJ"lie.r, on the side table or the tavern.-Jn the crowded
arcades or the boulevards, as in the semi-desened arcades of the old Rue Saint.
Denis, umbrellas and canes are displayed in serried ranks: a phalanx of colorful
crooks. Many are the instirutes of hygiene, when: gladiators are wearing orthope-
dic. bclts and bandages wind round the white bellies of mannequins. In the
windows of the hairdressers, one sees the last women with long hair; they span
richly undulating masses, petrified coiffures. How brittle appears the stonework
of the walls beside them and above: crumbling papier-mache! "Souvenirs" and
bibelots take on a hideous aspect; the odalisque lies in wait next to the ink\'ol'tJl',
priestesses in knitted jackets raise aloft ashtrays like vessels of holy water, A
booksbop makes a place for manuals of lovemaking beside devotional prints in
color; next to the memoirs of a chambermaid, it has Napoleon riding through
Marengo and, between cookbook and dreambook, old-English burghc:n tread.
ing the broad and the narrow way of the Gospel. In the arcades, one comes upon
types of collar studs for which we! no longer know the corresponding collan and
shiru. If a shoemaker's shop should be neighbor to a confectioner's, then his
festoons of bootlaces will resemble rolls of licorice. Over stamps and letterbmtcs
roll balls of string and of silk. Naked puppet bodies with bald heads wait for
hairpieces and attire. Combs swim about. frog-grcen and coral-red, as in an
aquarium; ttumpets tum to conches, ocarinas to umbrella handles; and lying in
the fixative pans from a photographer's darkroom is birdseed. The conciergt: of --
the gallery has, in his loge, three plush-covered chairs with crocheted ant:imacas-
sars, but next door is a V'd.cam shop from whose inventory only a printed bill
remains: "Will purchase sets of teeth in gold, in wax, and broken." Here. in the.
quietest part of the side-alley, individuals of both sexes can inte~ for a staI
position within the confines of a sitting room.set up behind glass. On the pal«:ol-
ored wallpaper full of figures and bronze busts falls the liglu of a gas lamp. An Old .
woman sits beside it, reading. For years, it would seem, she has been alone. And
now the passage is becoming mon: empry. A small red tin parasol coyly points
the way up a stair to an wnbreUa fenule factory; a dusty bridal veil promisdl ~
repository of cockades for weddings and banquets. But no one belieVd it any
longer. Fm= escape, gutter: I am in the o~n. Opposite is something like an arcade
again-an archway and, through it, a blind alley leading to a one-windawed
H lkcl de Boulogne or Bourgogne. But I am no longer heading in that ~n: I
am going up the stteet to the aiumpbal gate that, gray and glorious, was buil t .lD
honor of Louis the Great. Carved in relief on the pyramjds that decorate Its
columns are lions at rest, weapons hanging, and dusky trophies.
-
<The Arcades of Paris>
<ParD Arcades ll>
'11Ioe originally untitJed tut! (~JaI!l1/l41te SeArifln.. vol. 5, [Frankfurt: Suhrkarnp, 1982J, pp. 1044-
1059), written on iooIC sbeeu of expauive handmade p;1pt'T folded in half, date from 1928 Ol, at the
lateSt, 1929, when Benjamin ~ planning to write an essay cmit1cd KPuiscr Pa.ssagen; Einc diaIek-
tischc mric" (Paris Arcades: A DWcaitaI FlliryIand). In the nWlusaipt they are fo1lowal by
citations which were largdy tnlU.feJred to the comoluta and which tbuefOIl: an: not rq>rodutcd in
the: German edition at thio! point. The ordering of the entries bcre U that of the GcmWl editor, who
also giVCll their original onkr in the manusaipt:
Ms. 1154 recto: a",I : a°,3j b·,l j b".2.
~1J. 11 54 \'eno: , . ,3j c· ,l.
~15.1155 recto: , ",I ; c".4; d", I ; d".2; c",2.
~'b.1155 verso: h",j.
Ms. 1160 \'CJ'IO : h",I ; . 0,2; 1",1; h",2j h",3: h e ,4: . ".5.
Ms. 1I61 \'CJ'IO: f",2; c".2; ('>,3; . ",4; ( ,I .
l1u~sc texts Wl:I'C among those from which Benjamin read to Adorno and Horkhci.mcr It K&l.igstdn
and Frankfurt in 1929. Prominent conapondcnces to cnlrie3 in the convoluta and to the: essay
~Atcadc:s~ an: indicated in cross·rcfCIalCc:l.
"In speaking of the inner boulevards," says the D/UJtraJed Guide to Parisi a com-
plete picture of the city on the Seine and its environs from the )'(:ar 1852, " we!
have made mention again and again of the arcades which open onto them. These
arcades, a recent invention of iodusaialluxury, are glass·roofed, marble-paneled
~rridors extending through whole blocks of buildings. whose mvners have
JOmed together fOJ" such enterprisc.s. Lining both sidc.s of these corridors, which
go. their light from above, an: the most elegant shops, so that the arcade is a city,
a World in miniature, in which customers will find everything they need. During
Sudden rainsho\o\'t:r5. the arcades are a place of n:fuge for the unprepared, to
Whom they offer a secure, if restricted, promenade-one from which the mer-
ch~ts also benefit." 1l1e customers an: gone, along with those taken by surprise.
Ram brings i.n only the poorer clientele without waterproof or mackintosh.
These wen: spaces for a generation of people who knew little of the weather and
Who, on Sundays, w~n it snowed. would rather wann themselves in the winter
~ens than go out skiing. Class hefon: its time. prcmarurc iron : it was one
s~gle line' of descem-a.rcades, winter gardens with their lordly palms. and
railroad stations. which cultivated the false orchid "adieu" with its Buttering
petals. They have long since gi~en way to the hangar. And today, it is the same
 with the human material on the inside of the arcades as with the materials of their
construction. Pimps arc the iron bearings of this street, and its glass breakables
are the whores. Here was the last refuge of thosc infant prodigies that saw the
liglu of day at the time of the '"''arid exlubicion.s : the briefcase with interior
lighting, the meter-long pocket knife. or the patented umbrc.lla handle with built.
in watch and revolver. And ncar the degenerate giant creaturu. aborted and
j broken-clown maUer. "* followed the narrow dark corridor to where-bern-r:tn
a discount bookstore, in whidl colorful tied-up bWldles tell of all sorts of failure
F and a shop selling only buttons (mother-of-pearl and the kind that in Paris ~
called d~fallta isi~) -lhere stood a son of salon. On a pale-oolored wallpaper run
of figures and busts shone a gas lamp. By its light, an old woman sal. n=ading.
They say she bas been there alone for years, and collects sets of teeth "in gold, in
wax, and broken." Since that day, moreovt=;r, we know whue Doctor Miracle: got
the wax out of which he fashioned Olympia, ' They are the true fairies of these
arcades (more salable and more worn than the life-sized ones): the formerly
world-famous Parisian dolls, which revolved on their musicaJ socle and bore in
their anns a doll-sized basket out of which, at the salutation of the minor chord, a
lambkin poked its curious muzzle. <See AI,I; 1'3,2; HI,I; ZI,2.) <a G , } )
All this is the arcade in our eyes. And it was nothing of all this. They <the
arcades) radiated through the Paris of the Empire like grottoes. For someone
entering the Passage des Panoramas in 1817, the sirens of gaslight would be
singing to him on one side, while oil·lamp odalisques offered enticements &om
the other. With the kindling of electric lights, the ineproachable glow was extin-
guished in these galleries, which suddenly became more difficult to find-which
wrought a black magic at entranceways, and peered from blind windows into
their own interior. It was not decline but transformation. All at once, they were
the baUow mold from which the image of "modernity" was cast flue, the
century mirrored with satisfaction its most recent past. Here was the retirmlc:DI:
home for infant prodigies ... <See C2a,9 ; Tla.8; Sla,6> <a°.2~
When, as children, we were given those great encyclopedic works WM'id"
Mank ind, Pro! UnifJl!rJe, 'f'k &rln, wouldn't our gaze always fall, lint of all,. 011
the color illustration of a "Carboniferous Landscape" or on "Lakes and Glaoen
of the FlrSt Ice. Age"? Such an ideal panorama of a barely elapsed primeval age
opens up when we look through the arcades that are found in all cities. Here
resides the last dinosaur of Europe, the consumer. On the walls of these caverns,
their immemorial Bora. the commodity. luxuriates and enters, like cancerous
tissue, into the most irregular combinations. A world of secret affinities: palm. ~
and feather duster, hair dryer and Venus de Milo, prosthesis and letter-wn~
manual come together here as after a long separation. TIle odalisque lies in walt
next to the inkwell, priCSlCSscs raise aloft ashtrays like patens. These item5 OP
display are a rebus; and <how> one ought to read here. the birdseed kept in the
fixative ·pan from a darkroom, the Bower seeds beside the binoculars, the ~ro~cn
screws ato p the musical scon=, and the revolver above the goldfish bowl-a ngb1
on the tip of one's tongue. Mter all, nothing of the lot appears to be new. The
goldfish come perhaps from a pond th:u dried up long ago, the re.volver will have
been a corpus delicti. and these scores could hardJy have preserved their pre.
vious o ....Tler from starvation when her last pupils Stayed away. <See R2.3.>
<a",3>
Never truSt what writers say about their own writings. When Zota undenook to
defend his n iriJe Raquin against hostile critics, ~ explained that his book was a
scientific srudy of the tmlperamems. l-fis task had been to show, in an example,
exactly how the sanguine and the nervous temperaments act on one another-to
me detriment of each. But this explanation could satisfy no one, Nor does it
explain the unprecedented admixture of colportage, the bloodthirstiness. the
cinematic goriness of the action. Which-by no accident-takes place in an
arcade. If this book really expounds something scientifically, then it's the death of
the Paris arcades, the decay of a type of architecture. The book's atmosphere is
saturated with the poisons of this process, and its people are destroyed by them.
_ID~ ~u
,
One knew of places in ancient Greece where the way led down into the unde:r-
world. Our waking existence likewise is a land which, at certain hidden points,
leads down into the underv.-orld-a land full of inconspicuous places from which
dreams arise. All day long, suspecting nothing. we pass them by, but no sooner
has sleep come than we are eagerly groping our way back to lose ourselves in the
dark corridors. By day, the labyrinth of urban dwellings resembles comcious-
hess ; the arcades (which are galleries leading into the city's past) issue ~_
marked omo the streets . .AJ. night, however, under the tenebrous mass of the
b~uses, ~ denser darkness bursts forth like a threat, and the noawnal pedes-
man bWTlt:S past-unless, that is, we have emboldened him to rum into the
narrow lane. <See Cla.2.) <a- ,S>
Falser colors are possible in the arcades ; that comm are rro and green surprises
no ~ne. Snow White's stepmother had such things, and when the comb did not
do Its ,:'Ork, the beautiful apple was there to help o ut'-haU red. haU poison-
gr::en, like cheap combs. Everywhere Stockin!;3 play a starring role. Now they are
I~g under phonographs, across the way in a stamp shop ; another rime on the
sJde table of a tavern, where they are watched over by a girl. And again in front of
th~ stamp shop opposite. where, between the envelopes with various stamps in
refined assortments, manuals of an antiquated art of life are lovelessly dis.
~nscd-St-a'l!l Embraces and Maddenillg illusions, inuoductions to outmoded
VJccs an~ discarded passions. The shop windows are covered with vividly col-
~red Epmal-style posters, 011 whicll Harlequin betroths his daughter, Napoleon
odes. through Marengo. and, anlid all types of standard artillery pieces, delicate
English burghers travel the high road to hell and the forsaken path of the Gospel.
No CUStomer ought to enter this shop with preconceived ideas ' on leaving he
Will be the more content to take home a volume : Malebranche'; RelMrCn~ de fa
uiriti, or Mus DauJ: tnt! Journal IJf an English Equcstrimne. <See Gla,l and
..1'\..1......
.. - --des." > ( b'''1>
To the inhabitants of these arcades we are pointed now and then by the signs and
inscriptions which multiply along the walls within, where here and there, be.
t\\'cen the shops, a spiral staircase rises into darkness. The signs have littJe in
common with the nameplates that hang beside respectable entryways but itt
reminiscent of plaques on the cages at zoos, put there to indicate not so much the
dwelling place as the origin and species of the captive animals. Deposited in the
letters of the metal o r enameled signboards is a precipitate of all the forms of
writing that have ever been in use in the \o\b;t. "Albert at No. 83" will be a
hairdresser, and 1i1 l1caoica1 Tights" will probably be silk tights, pink and light
bluc, for young chanteuses and ballerinas; but these insistent Ictterings want to
say something more, something different. Collectors of curiosities in the field of
cultura1 history have in their secret drawer broadsheets of a highly paid lito-arurt:
which seem, at first sight, to be commercial prospectuses or theatrical bills, and
which squander dozens of different alphabets in disguising an open invitation.
These dark enameled signs bring to mind the baroque lettering on the cover of
,
obscene books.-Recall the origin of the modem poster. In 1861, the first litho-
graphic poster suddenly appeared on walls here and there around London. h
showed the back of a woman in white who was thickly 'Wfapped in a shawl and
who, in all haste, had JUSt reached the top of a flight of stairs, where, her head half
turned and a finger upon her lips, she is ever so slightly opening a heavy door to
reveal the starry sky. In this way Wilkie Collins advertised his latest book, one of __
the greatest detective novc.ls ever written, Tht: Womati i1l Whitt:. Still color<leu>.
the first drops of a shower of letters ran down me walls of houses (today it pours
unremittingly, day and night, on tlle big cities) and was greeted like the plagues of
Egypt.-Hence the anxiety we feel when, crowded out by those wlto actually
make purchases, wedged between overloaded coatstands, we read at the bottom
of me spiral staircase: "lnstitut de Beaute du Professeur Alfred Bitterlin." And the
"Fabrique de Cravates au Deuxieme"-Are there really neckties there or not? ·
("The Speckled Band" from Sherlock Holmes?) Of course, the needlework ~
have been quite inoffensive, and all the inlagined horrors will be classified objec-
tively in the statistics o n tuberculosis. A5 a consolation. these places are seldom
lacking institutes of hygiene. There gladiators wear orthopedic beh~, ~d baD'"
dages arc wrapped round the white bellies of mannequins. SOffi::thing mduCd
the owner of the shop to circulate among them 011 a frequent baslS.-Many are
the aristocrats who know nothing of the Almanach de Gotha : " Mme. de Coo-
solis. Ballet Mistress-Lessons, Classes. Numbers." "Mme. de Zahna, Fo.~oe­
teller." And if, sometime in the mid· Nineties, <we had> asked for. a predl~Don,
surely it would have been: the decline ofa culture. <See Gl ,6 and "Arcades. )
<b",2>
Often these inner spaces harbor antiquated trades, and even those that are thaT'-
oughly up to date will acquire in them somculing obsolete. TIley are the site of
information bureaus and detective agencies, whjch there, in the gloomy light of
the upper galleries, follow the trail of the past. In hairdressers' windows, you can
see the last women with long hair. They have richly undulating masses of hair,
which are "permanent waves," petrified coiffures. They ought to dedicate small
votive plaques to those who made a special world of th~ buildings-to Baude-
laire and Odilon Redon, whose very name sounds like an all too well-turned
ringlet. Instead, they have been berrayed and sold, and the head of Salome itself
made into an ornament-if that which sorrows there in the console is not the
embalmed head of Anna Czyllak. And while th~ things are petrified, the ma-
sonry of the walls above has become brittle. Brittle, too, are the mosaic thresh-
olds that lead you, in the style_of the old restaurants of the Palais-Royal, to a
"Parisian Dinner" for 6ve francs: they mount boldly to a glass door, but you can
hardly believe that behind this door is really a restaurant. The glass door adja-
cent promises a "Petit Casino" and allows a glimpse of a ticket booth and the
prices of seats; but were you to open it-would it open into anything? Instead of
entering the space of a theater, wouldn't you be stepping down to the street?
Wh~ doors and walls are made of mirrors, there is no tclling outside from in,
with all the equivocal illumination. Paris is a city of mirrors. The asphalt of its
roadways smooth as glass, and at the entrance to all bistros glass partitions. A
profusion of windowpanes and mirrors in cafes, so as to make the inside brighter
and to give all the tiny nooks and crannies, into which Parisian taverns separate,
a pleasing amplirude. \-\bmen h~ look at themselves more than elsewhere, and
from this comes the distinctive beauty of the Parisienne. Before any man catches
sight of her, she has already seen herself ten times reflected. But the man. too,
I sees his own physiognomy Bash by. He gains his image more quickly here than
elsewht=re and also sees himself more quickly merged with this, his image. Even
tht= eyes of passersby are veiled mirrors. And over that wide bt=d of the &inc,
over Paris, the sky is spread out likt= the crystal mirror hanging over the drab
beds in brothels. <See Hla, l ; Rl,3 ; "Arcades.") <co, l)
u:t two mirrors reSect each otht=r; then Satan plays his favorite trick and opens
here in his way (as his partner does in lovers' gazes) the perspectivt= on infinity. Be
it now divint=, now satanic: Paris has a passion for mirror-like perspt=ctives. Tht=
Are de Triomphe. the Sam Coeur, and even tht= Pantheon appear, from a dis-
tance, like images hovering above the ground and opening. architecturally, a rata
morgana. Baron von Haussmann, when he undenook to transform Paris during
tht= period of the llird (correction: Second> Empire, was intoxieated with these
perspectives and wanted to multiply them wherever possible. In the arcades, the
perspective is lastingly preserved as in the nave of a church. And the windows in
the upper story are choir 10flS in which the angels thai men call "swallows" are
nesring.- MHirondt:/Jes (-women> who work the window;' <See Rl ,6 and
013,2.> (cO.2>
A.mbiguity- of the arcades as an ambiguity of space. Readiest access to this phe·
nomenon would be afforded by the multiple deployment of figures in the wax
mweum. On the other hand, the resolute focus on the ambiguity of space.,
focus obtained in the arcades, biu to benefit the theory of Parisian st:reeta.
outermost., merely quite peripheral aspect of the ambiguity of the arcades •
n.:
provided by their abundance of mirrors, which fabulously amplifies the ~
and makes orientation more difficult. Perhaps that isn't saying much. Neverthe-
less : though it may have many aspc=cts, indeed infinitely many, it mnains-iu the
S«lSl! of mirror world-ambiguous, double-ed~d . It blinks, is always just thia
one-and never nothing-out of which another immediately arises. The space
that transforms itself does so in the bosom of nothingness. In its tarnished, dirtied
mirrors, thinWi exchan~ a Kaspar·Hawer·look with the nothing: it is an utterly
equivocal wink coming &om nirvana. And here, again. we an:: brushed with icy
breath by the dandyish name of Qdilon Redon, who caught,like no one e~ tb:ia
look of thin~ in the mirror of nothingness, and who understood, like no one
else, how to join with things in their collusion with nonbeing. The whisperingol
gazes 61.Is the arcades. There is no thing here that does not, where ont: !cue:
expects it, open a fugitive eye, blinking it shut again; and should you look more
closely, it is gone. To the whispering of these gazes, the space lends its echo:
"Now, what.," it blinks, "can possibly have come over me?" ~ stop short m
some surprise. "What, indeed, can possibly have come over you?" Thus we
gently bounce the question back to it. Here, the coronation of Charle:magac
could have taken place, as ","Cll as the assassination of Henri IV, the death at
<Edward's> sons in the Tower, and the . . . lbat is why the wax museums are
here. This optical gallery of princes is their acknowledged capital. For Louis XI,
it is the throne room; for York, the Tower of London; for Abde1 Krim, the descn:
and for Nero, Rome. <See R2a,3 and Q7,2., <c°,8)
The innermost glowing cells of the uilk lumiire. the old dioramas, nested in tbc:Ie
arcades, onc of which today still bears the name Passage des Panoralnas. It wu.
in the very first moment, as though you had entered an aquarium. Along the waD
of the great darkened hall, broken at intervals by narrow joinu, it stretched like _ _
land of illuminated water behind glass. The play of colors among deep-sea fauna
cannOt be more fiery. But what came to light here were open·air, atmospberil::
wonders . Seraglios an= mirrored on moolit waters; bright nights in deserted parts
100m large. In the moonlight you can recognize the chateau of Saint·Leu, where-
hundred years ago the last Conde was found hanged in a window. A light ~ ~
burning in a window of the chateau. A couple of times the sun splashes WIde UI
between. In the clear light of a summer morning, one sees the rooms ~f .the
Vatican as they would have appeared to the Nazarenes ; not far beyond rues
Baden·Baden in iu entirety, and wert we not writing of 1860, one could per~P'
make out among its figurines , on a scale of 1 :10,000, Dostoevsky on the caslJ)O
terrace. But candlelight., too, is ho nored. Wax tapers encircle the murdered ~uc
de Ben)' in the dusky cathedral thoU serves as mo nuary chapel, and hangmg
lamps in the skies besidel practically put round Luna to shame. It was an unpal'"
alJded experiment on the moonsrruck magic night of Romanticism, and its noble
substance emerged victorious fro m this ingeniolJ$ trial. For anyone who w;d
itIdined to linger before the; transparent image: of the old thennal baths of
ContreXeville, it was as though he; had already wandered, in some previo us life,
along this sunny way between poplars, had brushed against the stone wall close
b),- modest, magical effects for domestic. use, such as otherwise would be expe-
rienced only in rare cases, as before Chinese groups in soapstone or Russian
lacquer·painting. <See ~ ,2 . ) <C0.4'
Streets are the dwelling place of the collective. The collective is an eternally
wakeful, . eternally ,agitated being that-in . the space between the building
fronts-lives , cxpenences, understands, and mvents as much as individuals do
within the privacy of their own four walls. For this collective, glossy enamded
shop signs are a wall decoration as good as, if not better than, an oil painting in
the drawing room of a bour~ois ; walls with their "Post No Bills" are its writing
desk, newspaper stands its libraries, mailboxes its bronze busts, benches its bed-
room furniture , and the cafe terrace is the OO1cony from which it looks down on
its household . The section of railing where: road workers hang their jackets is the
\'e5abule, and the gateway which leads from the row of courtyards out into the
open is the long corridor that daunts the bourgeois, being for the courtyards the
entry to the chambers of the city, Among these latter, the arcade was the drawing
room. More than anywhert else, the street reveals itself in the arcade as the
furnished and familiar interior of the masses. <See M3a,4.> <dO,n
The bourgeois who came into ascendancy with Louis Philippe sets store by the
F~ormation of near and far into the interior. He knows but a single scene: the
&aWIng room. In 1839, a ball is hdd at the British embassy. Two hundred rose
bushes are ordered. "The garden," so runs an eyewitness account, "was cove.rtd
by an awning and had the feel of a drawing room. But what a drawing room! The
fragrant, well·stocked Sower beds had turned into enormousjardiniere.s. the gray.
~ed walks had disappeared under sumptuous carpets, and in place of the cast-
tron benches we found sofas covered in damask and silk· a round table held
books and albums. From a distance, the strains of an on:h~tra drifted into this
colossal boudoir, and, along the triple gallery of Sowers on the periphery, exuber-
ant young people were passing to and fro , It was altogether delightfu!!" The
dus~ fa~ morgana of the winter garden, the dreary perspective of the train
Statio n. WIth the small altar of happiness at the intersectio n of the tracks-it all
mol.~ ers, even today, under spurious constructions, glass before its time, prema·
Nre: Iron. <Toward the> middle of the previous cenrury, no one as yet understood
how to build with glass and iron. The problem, however, has long since been
solved by the hangar. <Now> it is the same with the human material 011 the inside
of t~e arcades as with the materials of their construction. Pimps arc the iron
heanngs of this street. and iu glass breakables are the who res <See 14 1· F3 2·
Fl ,2.> . , . , ,
<d G .2>
i ? r the Bfrneur, a ~fo~acion takes place with respect 10 the street : it leads
lim through a vanished I:lme. He stroUs dowlI thc stceetj for him, evcry street is
 precipitous. It leads downward-if nOl to the mythical Mothers, then into a Past
that can be all the morc profound because it is Dot his own, not private. Nevt:r_
theless, it always remains the past of a youth. But why that of the life be baa
lived? The ground over which he goes, the asphall, is hollow. His steps awa,kOl
'0 surprising resonance; the gaslight that streams down on the paving Stones ~
an equivoca1light on this double ground, The.figure of the 8fuleur advances ovtr
j the street of stone, with its double ground, as though driven by a clockWork
mechanism. And within, where this mechanism is ensconced, a music box is
f palpitating <?> like some toy of long ago. It plays a rune : "From days of youth, I
from days of youth, I a song is with me still." By this melody he recognizes what
is around him; it is not a past coming from his own youth, from a recent youth,
but a childhood lived before then that speaks to him, and it is all the same to.him
whether it is the childhood of an ancestor or his own.-An intoxication C01llC:s
over the man who walks long and aimlessly through the streets. With each step,
the walk takes on greater momentum; ever weaker grow the temptations of
bistros, of shops, of smiling women, ever more irresistible the magnetism of the
next so-eetcomer, of a distant square in the fog, of the back of a woman walking
before him. Then comes hunger: H e wants, however, nothing to do with the
,
myriad possibilities offered to sate his appetite, but like an animal he prowll
through unknown dislricts in search of food, in search of a woman, until. utterly
exhausted, he stumbles into his room, which receives him coldly and wan a
strange air. Paris created this type. What is remarkable is that it wasn't Rome.
And the reason? Just this: does not dreaming itself take the high road in Rome?
And isn't that city too full of themes, of monuments, enclosed squares, national-
shrines, to be able to enter tout tnhue-with every cobblestone, every shop sip,
every step, and every gateway-into the passerby's drcam?The national cb.anu:-
ter of the Italians may also have much to do with this. For it is not the foreignerl
but they themselves, the Parisians, who have made Paris the ~oly city oC i:be
Bineur-the "landscape buill of sheer life," as Hofmannsthal once put it. J...and..
scape-that, in fact, is what Paris becomes for the flaneur. Or, more prttisdy. the
city neatly splits for him into its dia1ectical poles : it opens up to him as a~·
scape, even as it closes around him as a room.-Another thing: that anamnesDC
intoxication in which the £laneur goes about the city not on1y feeds on the
sensory data taking shape before his eyes but can very well possess i~ of
abstract knowledge-indeed, of dead facts-as something experienced and lived
through. This felt knowledge, as is o bvious. travels above all by word of ~ourh
from one person to another. But in the course of the nineteenth cenrury, It waf
also deposited in an immense literarure. Even before Lefeuve (who quite aptly
made the following formula the title of his five-volume work), "Paris screet by
st:reet, house by house" was lovingly depicted ,15 storied landscape fo~
backdrop to the dreaming idler. 111e study of these books was, for the Paris
like a second existence, OtiC wholly predisposed toward dreaming: the knowledge
these books gave him took form and figure during an afternoon walk befort' the
aperitif. And wouldn't hc necessarily have felt the gentle slope behind the ch~
of Notre Dame de Lorette rise all the more. insistently unde.r his soles if be
realized: hert:, at one time, after Paris had gotten its first om.nibuses. the chnJal de
f(1Ifirt was harnessed to the coach to reinforce the two other horses. <See Ml,2-
MI» ~I'
Boredom is a warm gray fabric lined Oll the inside with the most luSO"ous and
colorful of silks. In this fabric we wrap oursdves when we dream. ~ are at home
then in tll(~ arabesques of its lining. BUl the sleeper looks bored and gray within
his sheath. And when he later wakes and wants to [ell of what he dreamed, he
cODununicau:!S, by and large, only this boredom. For who would be able at one
srroke to turn the lining of rime to the outside? Yet to narrate dreams signifies
nothing else. And in no other way can one deal with the arcades-structures in
which we relive, as in a dream, the life of our parents and grandparents, as the
embryo in the womb rdives the life of animals. Existence in these spaces flows
then without accent, like the events in dreams. Flanene is the rhythmics of this
slumber. In 1839, a rage for tortoises overcame Paris. One can well imagine the
elegant set mimicking the pace: of this creature more easily in the arcades than on
the bou1evards. Boredom is always the external swface of unconscious events.
For that reason, it has appeared to the great dandies as a mark of distinction. <See
D2a,1 and D2a, 2.> <e G ,2>
Here fashion has opened the business of dialectical exchange between woman
and ware. The clerk, death, mil and loutish, measures the cenrury by the yard,
s.~ ~ mann~uin himself to save costs, and manages single-handedly the
liqwdatlon that 10 French is calJed "revolution." For fashion was never anything
lother than the parody of the motley cadaver, the provocation of death through
me woman, and bitter colloquy with decay whispered between loud outbursts of
m~cal jubilation. TIlls is why fashion changes so quickly: she titillates death
and LS already something different, something new, as he casts about to crush her.
Fo~ a hundred years she holds her own against him. Now, finally, she is on the.
pomt of quitting the field. But he erects on the banks of a new Lethe which rolls
its asphalt stream through arcades, the armature of the whores as a battle memo-
rial. <See Bl ,4.)
When Hackliinder made use of this "newest invention of induslria1luxury" for
one fhis f:. __I
. 0 au-y Idles, he too placed the marvelous dolls in the dangerous arcade
which sister T mchen, at the behest of the fairy Concordia, has to wander in
~rder ~a1Iy [0 rescue her poor brothers. "Fearlessly. Tmcben stepped across the
~ order IOta the enchanted land, all the while thinking only of her brothers. At
urSt she . d tI .
notlce no ung unusual, but soon the way led through an enormous
~n~ entirely filled with toys. She saw small booths stocked with everything
~agmable-carousels with miniaru~ horses and carnages, swings and rocking
orses, but above all tlle most splendid dollhouscs. Around a small covered table,
Iawe cl II . . h .
theo 0 s ~re sltlmg on easy c aIrS: and as TlDchen runled her gaze upon
bO;l. tllC largest and "-lOst ~eautif~1 of these ~~Us stood up, made her a gracious
, and spoke to her U1 a little VOIce of exqUIsite refinement." The-child may not
 wan~ to hear of toys that arc bewitched, but ,the evil spell of this slipptty J>ath
~dily takes the fonn. even today. of large anunatcd dolls. But who stilll"OJlon..
bus, nowadays, when: it was that in du: last decade of the previous COltury
.. women would offer to men their most seductive aspect, the most intim."tc pro •
isc of their figure ? In the asphalLcd indoor arenas where people learned to
bicycles. The woman as cyclist competes with the cabaret singer for place of
ri:
1• honor on Cheret's posters (the tifJidles) and gives to fashion its most daring line.
_ZlJ~m~ ~
f Fe": things in the history of humanity are as .",,'C!.I known to us 3$ the history of
Paris. TalS of thousands of volumes are dc(hcatcd solely 10 the investigation of
this tiny spot on the earth's surface. For many streets. we know about the fate of
every singlc house over a period of centuries. In " beaurifuJ tum of phrase, Hugo
von HofmarUlsthal called this city "a landscape built of pure life," And at work in
the attraction it exercises on people is the kind of beauty that is proper to great
landscapes-more precisely. to volcanic landscapes. Paris is a counterpart in the
social order to what Vesuvius is in the geographic order: a menacing, hazardous
massif, an ever-active June of revolution. But just as the slopes of \k!uvius,
thanks to the layers of lava that cover them. have been transfomled into paradisaJ
orchards. so the lava of revolution provides uniquely fertile ground for the blot-
souring of art, festivity, fashion. <Sec Cl ,6.> <f"'.3.
H asn't his eternal vagabondage everywhere accustomed him to reinterpreting
the inlage of the city? And doesn'r he transfonn the arcade intO a casino, moo-a _
gambling den, where now and again he stakes the red, blue. yellow )~tMIJ of
feeling on women, on a face that suddenly surfaces (will it rerum his look?), on.
mute mo uth (will it speak?)? What, on the: baize cloth, looks out at the gambler
from every number-luck, that is-here, from the bodies of all the women.
winks at him as the clumera of sexuality: as his type. 1bis is nothing other than
the number, the cipher, in which just at that moment luck will be Jilled by name,
in order to jump inunediately to another number. His type-that's the number '
that blesses thirty-six.·fold, the one on which. without even trying. the eye of the
voluptuary falls, as the ivory ball falls into the red or black compartmenL He
leaves the Palais·Royal with bulging pockets, caUs to a whore, and once more
finds in her arms the communion with number, in which money and richeA.
otherwise the most burdensome, mosl massive of things, come to him from the.
fales lik.e a joyous embrace returned to the full. For in gambling hall and bord~,
it is the same supremely sinful, supremely punishable delight : to challenge fate ~
pleasure. That sensual pleasure, of whatever stripe, could detennine the tbeato@-
cal concept of sin is something that only an unsuspecting idealism can beJievC·
Determining the concept of debauchery in the theologicaJ sense is nothing else
but this wresting o f pleasure from out of the course of life with God. wh$
covenant \\-ith such life resides in the name. TIle name itself is the cry of naked
lust. "nlis holy thing, sober, fatelcss in itself-the name-knows no greater ~
versary than the fate that takes its place in whoring and that forges itS arsenal lSI
superstition. TIlUS in gambler and prostitute that superstition which arranges the
figures of fate and fills all wamon behavior with fateful forwardness. fateful
conrupiscence. bOnbring even pleasw-e to kneel befOre its throne. <See 01 ,1.>
111e father of Surrealism \YaS Dada; its mother was an arcade. Dada, when the
<g".l>
(WO first met, was already old. At the end of 1919, Aragon and Breton, OUt of
annp:uhy to Monlpamasse and Montmartre. transferred the site of their meet-
ings with frien.ds to a cafe in the Passage de l'Opera. Construction of the Boule.
vard Hallsslllann brought about the demise of the Passage de 1'0pCra. Louis
Aragon devoted 135 pages to this arcade; in the sum of these: three digits bides
the number nine-the number of muses who presided as midwiva at the birth of
Surrealism. These stalwart muses are named Ballhom. Lenin, Luna, Freud,
Mors. Marlin, and Citroen. A provident reader will make way for them all. as
discreetly as possible, wherever they are encoWltered in the course of these lines.
In Papan fk Paro, Aragon conductS as touching a requiem for this arcade as any
man has ever conducted for the mother of his son. It is then: to be read, but here
one should expea no more than a physiology and, to be blunt, an autopsy of
these parts of the capital city of Europe, parts that could nOt be morc mysterious
or more dead. (See Cl ,3.) <ho, l)
The Copernican n:volution in historical po-eeption is as foUo'¥\-'S. Formerly it was
thought that a fixed point had been found in "what has been," and one saw the
present engaged in tentatively concentrating the forces of knowledge on this
Wound. Now this rdation is to be ovenumed, and what has been is to acquire its
dialectical fixation through the synthesis which awakening achieves with the
opposing dream images. Politics attains primacy over hisrory. Indeed, historical
"facts" become something that just now happened to us, just now struck us : to
establish them is the affair of m emory. And awakening is the great exemplar of
memory-that occasion on which we succeed in remembering what is nearest,
most obvious (in the "I"). What Proust intends with the experimental rearrange-
ment of fumitun:, what Bloch n:cognizes as the darkness of the lived moment, is
nothing other than what hen: is serured on the level of the historical and collee-
tiVdy. TIler<.' is a HOt-yet·conscious knowledge of what has bu n: its advancement
has the structun: of awakening. <$tt KI ,2.) <hO.2)
~ this historical and collective process of fixation , collecting plays a certain role.
Collecting ilJ a form of practical memory, and of all the profane manifestations of
lhe pen<'tration of "what has been" (of all the profane manifesrations of "near·
n('ss" ) it is the most binding. lllUs. in a certain sense, the smallest act of political
n:Rcction mru.cs for an epoch in the antiques business. \\t constmct here an
aJanl1 clock that rouses the kitsch of d\c previous CC11lury LO "assembly." 1bis
genuine lihe ...uion from an epoch has the structure of awakenu\g in the follo'.\IDg
respCCt as well: it is cntirdy ruled by cunning. ' For awakening operates with
Cunning. Only with running, not without it, can we work free of the realm o f
dream. But tMrt is also a false liberation. whose sign is violence. Htte, too, tb.a
law prevails by which the exertion brings about its opposite. This fruitless txcr.
Don is represented, for the period in question hert. by Jugendstil. <5«: H1a,2 and
m~ .~
Dialea:i.cal structure of awakening: remembering and awaking are most inti.
mately related. Awakning is namely the dialectical, Copernican turn of ttmc::m.
brance <EingedmAm>. It is an eminently composed revusal from the world of
dreaming to the world of waking. For the dialectical schematism at the COrt of
this physiological process, the Chinese have found, in their fairy tales and DOYd-
las, the most radical expression. The new, dialectical method of doing history
teaches us to pass in spirit-with the rapidity and intensity of dreams-througb
what has been, in order to experience the present as waking world, a world to
which every dream at last rd'ers. <5«: Kl,3.) <bo,.)
These notes devoted to the Pam arcades were begun under an open sky or
cloudless blue that arched above the foliage:: and yet was dimmed by the miDioN
of leaves from which the fresh breeze of diligence, the stertorous breath of re-
search, the storm of youthful zeal, and the idle wind of curiosity have raised the
dust of ceruuries. The painted sky of summer that looks down from the arcadc:t
in the reading room of the Biblioth~que Nationale in Paris has stretched ill
dreamy, unlit ceiling over the birth of their insight. And when that sky opened to
the eyes of this young insight, there in the foreground woe standing ~ me
divinities of Olympus-not Zeus, Hephaestus, Hermes, or Hera, ArteJIWl. and._
Athena-but the Diosruri.. <See N1,S.) <b°.5)
-
The Ring of Saturn
or
Some Remarks on Iron Construction
AccOrding to Gretel Adorno. thillCIU (G.:Ja.m.o.cltl Sdrrijtt'll, vol. 5 [Frankfurt: SubrlLamp, 1982),
pp. 1060-1(63) was Mom: o r the first pia:.cs Benjamin read to us in <1929 in) KOn.ig:nc:in~ (cited in
Gtm1ll~/tr &hri/ftn, vol. 5, p. 1350). Benjamin himself 6led the text at the beginning: or Convolute
G. RoU"Tltdemann JU~U that it may have been intended il$ a radio broadcast ror young people,
bot think.t it man: likdy 10 ha~1: been 11. newspaper or magazine article that was 11C\"a" published. 1bc
pi«c wall written in 1928 or 1929.
The beginning of the nineteenth century witnessed those initial experiments in
iron construction whose results, in conjunction with those obtained from experi-
ments with the steam engine, would so thoroughly transfonn the face of Europe
by the: end of the century. Rather than attempt a historical account of this proc·
ess, we would like to focus some scattered reBeaions on a small vignette which
has been extracted from the middle of the century (as from the middle of the
, thick book that contains it), and which indicates, although in grotesque style,
what limitless possibilities were seen revealed by consuuction in iron. The picture
comes from a work of 1844-Grandville's Another World-and illustrateS the
advenrures of a fantastic little hobgoblin who is trying to find his way around
OUter space: 'fA bridge-its t\O.'Q ends could not be embraced at a single glance
and its piers were resting on planets-led from one world to another by a cause-
way of wonderfully smooth asphalt. The thrte·hundred-thirty-threc:·thousandth
pier rested on Saturn. There our goblin noticed that the ring around this planet
was nothing other than a circular balcony on wltich the inhabitants of Saturn
Strolled in the evening to get a breath of fresh air."
Gas canddabra appear in our picture as well. They could not be overlooked, in
those days, when speaking of the achievements of teclmology. Whereas for US
gas lighting often has about it something dismal and oppressive. in thai age:: it
represented the height of luxury and splendor. When Napoleon was interred in
the churdl of Les lnvalides, the scene lacked nothing: in addition to velvet, silk,
gold and silver, and wreaths of the inunortals, there was an etemallamp of gas
OVer th e resting place. An engineer in Lancaster had invented a device that
people n~garded as a veritable miracle-a medlanism by which the church clock
OVer the tomb was automatically illuminated by gaslight at dusk and by which
th~ Hames were automatically extinguished at daybreak.
N)f the rest. people were accustomed to seeing gas in conjunction with cast iI'Q:J.
at those: elegant establishmrots that were just thro starting to appear: the: arcade:a.
The leading fancy-goods Stores, the: chic restaurants, the: ben confectione:rs, and
so on found it necessary to secure a place in these: galle:ries in order to p~
their reputations. Out of these galleries emerged. a little later on. the great depan_
ment stores, of which the: pioneering model, Au Bon Marche, was designed by
the builda of the Eiffel Tower.
allow our stm fumishing! of today to be what the::y are, shiny and dean, a
hundred years ago men took great pains. by means of subtle:: coating teclmiques,
to make:: it appear that iron furniture-which was already being produced by
then- was crafted from the:: finest wood. It was at this time:: that manufacturers
began to stake their reputations on bringing out glasses that looke::d like porcc=-
lain, gold jewdr')' resembling Ic=atbe::r Straps. iron tables with the:: look of wicker-
work. and othe::r sudl things.

Iron construction began with winter gardens and arcades-that is. with genuine None of these efforts succeeded in covering over the:: chasm which the de::velop-
luxury establishmmts. Very quickly, however, it found its true range of tec:hnicaJ men! of technology had opene::d up bctwc=en the:: builder of the:: new school and
and industrial application. What resulted were COnstructions that had no precr-. the artist of the:: old type. Raging undemeath was the battle between the:: academic
dent and that were occasioned by wholly new needs : covered markets, railroad archite::ct, with his concem for stylistic forms. and the enginec:r, who dealt in
stations, c:xhibition halls. Engineers led the way. But poets, as well, displaym formulas. As late as 1805, a le::ader of the: old school published a work with the
amazing foresight. Thus. the French Romantic Gautier declares: "A proper archi.- title: "On the:: Useies,mess of Mathematics for Assuring the. Stability of Build·
tecture will be created the: moment we begin making use of the new materials ings .~ 2 When this struggle 6nai1y. toward the:: end of the century, was decided in
furnished by the ne:w industry. The advent of cast iron enables and calls for many favor of the e:nginec:rs, a ttaction set in: an effort to renew art on the basis of
new forms , as we can see in railroad tenninals, suspension bridges, and the technology's own rich store of forms . lbis was Jugr:ndstil. At the same:: time::,
arches of winter gardens." Offenbach's Parisian Ljfo was the first theatrical pic:ce however, that heroic age of te::chnology found its monummt in the incomparable
,
to be set in a railroad station. "Railway depots," they used to be called back then; EilTd Tower, of which the first historian of iron construction wrote::: "Thus, the
and they inspired the strangest notions. A decidedly progressive Belgian paintc:t. plastic shaping power recedes he;re before a colossal span of spiritual energy....
Antoine WlCrtz, sought permission around midcentury to decorate the halb 01 Every one of the:: twelve thousand me::ta1 fittings, each of tm two and a half
railroad stations with frescoes. million rivets, is maclllne::d to the:: millimete::J: . .. On this work site, one:: hears no
chisel-blow hberating fonn from stone; here, thought reigns over muscle power,
Step by step. the technology of that era took possession of new fields; it did 10 m_ which it transmits via cranes and secure scaffolding.'"
I
the face of difficulties and objections of which today we can scarcely form a
concepcion. In the 1830s in England, for example, a bitter controversy arose ~
the:: issue:: of iron rails. Unde::r no circumstances, it was argue:d, could enough troD
ever be procurro for the:: English railway syste::m (at that time:: planned on only th£
smallest scale::). The "steam carriages" would have to run on lanes of granite.
I
Alongside:: the theoretical battles v.tte ongoing practical struggles with materials. .
The:: story of the bridge:: over the Futh ofTay is an especially memorable example.
Six years were required for the consauction of this bridge: 1872 to 18~. And
shortly before its completion, on February 2. 1877, a hurricane (of the:: parocularly
violent son that assail the:: inle::t of the Tay and that also caused the cataStrop~ of
1879)1 blew down twO of the:: biggest supporting piers. And not only bn~
construction made:: such drnlands on the:: patience of engineers : with runnels. It
was no different. When, in 1858, plans we::re afoot for the [Wdve-kilomc:u:r
runnd through Mont Cc=nis, the estimated length of time:: for the work was seven
y<ar.;.

Thus. while in grr:at things heroic efforts we::rc= expended on precedent-setting.

groundbreaking achie::vements, in little:: matte::rs there was often-str.lll.ge to say .
something motley. It is as though people. and "artists" in particular, did not qUJtC
darc= to acknowledge this new material, with all its possibilities. Whereas we
 Walter Benjamin at the card catalogue of the Bibliothtque Nacionale in Paris, 1937.
Walter Benjamin consulting the Grand DichOflnaire ulIiveru/ du dix-
Photo by Gisl!:le Freund.
lIt11uieme Jiicie at the Bibliothtque Nauonale in Paris, 1937. Photo
by Gisek Frrund.
 A
,

J
 Expose of 1935, Early Version

TIM: earlicst praaval draft or the el(~ or 1935 en is untitled in the manuscript) may coruUlwC
~amin's lint draft. Some pages lppeai" to be miss.iIlg, and Cor some: paragraphs there an; two or
C\-'Cll thKc separate vcniom. \ 'k. Iu,~ chmcn 10 tnnslatc only pungo prac:nring lubstantW
differmca from the definitive ta;t of the expoK, whkh appears on pages 3-13 of lhis volume.
P;mages that Benjamin aosscd 001 appear in curved. bradeu( ). 1be complete dtaft is printed in
DM ~-lVtT", 'iQI. 5 of Benjamin's ~Ja1IIIN/Je SdIrifktt (Frankfurt; Suhrkamp, 1982), pp.
, 1223-1237; it is foDov.'ed by a venion whio;h Benjamin Kill to Adorno and which, with Japect to the.
tr.IllSolated lalli, contains only minor varianll.

I. Fourier, or the Arcades

-
Chaquc qx,que rive Ia swvantc.
-Michclet, -Avcnirl Avenirl~

Corresponding to the fonn of the neW means of production, which in the begin-
ning is still ruled by the form of the old (Marx), are, in the social superstructure,
wish images in which the new and the old interpenetrate in fantastic fashion.
TIlls interpenetration derives its fantastic character, above aU, from the fact that
what is old in the current of social development never clearly stands out from
what is new, while the latter, in an effort to disengage from the antiquated,
rtgenerates archaic, primordia] clements. The utopian images which accompany
the emergence of the new always, at the same time, reach back to the primal past.
In the dream in which each epoch entertains images of its succc:ssor, the latter
appears 'wedded to clements of primal history. The rdl.ections of the b<lK by the
SUperstruClUn: arc: therefoR: inadequate, not beca~ they will have ~en con-
sciously falsified by the ideologues of the ruling class, but because the new, in
order to take the fonn of an image, constantly unites its elements with those of
the classless society. The coUeaive unconscious has a greater share in thl!m than
the consciousness of the coUective. From the fa nner come the images of utopia.
that have lcrt their trace in a thousand con6gur.uions of life, from buildings to
fashions.
These relations an: discernible in the utopia conceived by Fourier ...
. . . In the dream in which each epoch entertains images of its successor, the latter
appean wedded to elements of primal history-that is, to elements of a classiCS!
society. And the experiences of such a society-as stored in the unconscious of the
collective-{never come to rest on the threshold of the most anci~t cultures, but
take up elements of natural history intO their movement. This movement e:ngr:n.
ders,} engender, in combination with what is new, the utopia that has left its traa:
in a thousand configurations of life. from enduring edifices to passing fashioru.
111. Grand ville. o r die World Exhihition
Fashion: ~ Madam Death! Madam Death!"
-Lcopardi, ~Dia1ogue between F3Shion and Ikath"
\-\brld exhibitions propagate the universe of commodities. Grandville's late fan·
tasies confer a commodity character on the universe. They moderruz.c. it. Thus,
Saturn's ring becomes a cast·iron balcony on which the inhabitants of Satum-
take the evening air. The literary cOWlterpan to this graphic utopia is found in
the books of the Fourierist Toussencl. Fashion prescnbcs the ritual according to
which the commodity fetish demands to be worshipped. Grandville extends the
scope of fashio n to objCt:ts of everyday usc, as well as to the cosmos. In taking it:
to an extreme, he reveals its nature. Fashion always stands in opposition to tbc
o rganic.. Not the body but the corpse is the most perfect object for its art. It
defends the rights of the corpse before the living being, which jt couples to tbt ·
inorganic world. The fetishism that sucaunbs to the sex appeal of the commod·
ity is its vital nerve. On the other hand, it is precisely fashion that uiumphs aw:r
death. It brings the depaned with it intO the present. Fashion is contemporary
with every past.
For the \\-'Orld exhibition of 1867, Victor Hugo issues a manifesto ...
V. Baudelair e, o r the Streets of Paris
(11 Baudelaire's genius, in its affin.ity fOT spleen and melancholy, is an alle~ri­
ca1 genius. "Tout pour moi dcvi~t allegorie." Paris as object of aUegoncaJ
perception. 'IOe allegorical gaze as gaze of the alienated. FHlneUT's lack of
participation.
The flfuteur as counterpart of the "crowd." The London crowd in Engds.
The man of the crowd in Poe. The consummate 8ineur is a bohemian, a
diracini. He is at ho me not in his class but o nly in the crowd-which is to
say, in the city. Excursus o n the bohimial. His role in the sttrc:t societies.
Characterization of professional conJpiratrorJ. The end of the old boheme .
Its dissociation intO legal opposition and revolutionary opposition.
Baudelaire's ambival~t position. His Hight into the asocial. H e lives with a
prostitute. {The art theory of ['art /Wur ['arl. It arises from the artist's pre..
monition that he will henceforth be obliged to create for the market.}
The mo tif of death in Baudelaire's poetry. It merges with his image of Paris.
Exrursus on the chthonic side of the city of Paris. Topographic traces of
the prehistoric: the old bed of the Seine. The subterranean watenvays.
The catacombs. Legends of subterranean Paris. Conspirators and commu-
nards in the catacombs. The undersea world of the arcades. Their impor-
tance for prostitution. Emphasis on the conunodity character of the
woman in the market of love. The doll as wisb symbol.
The phantaSmagoria of the fl1neur. The tempo of traffic in Paris. The city as
a landscape and a room. TIle department store as the last promenade for
the flaneur. There his fantasies wen: materialized. The 8inerie that began
as an of the private individual ends today as necessity for the masses.
Art at war with its own conunodity character. Its capitulation to the commod·
ity with ['art pour ['art. The binh of the GtJO.mtAunstuKrA from the spirit of
Jart pour l'ar!. Baudelaire's fascination with Wagner.
[2J Bauddaire's pus, which is nourished on melancholy! is an allegorical ,
gollus. "Tout poUT mOl devient allegorie." For the first time, with Baude-
laire, Paris becomes the subject of lyric poetry. Not as homeland j rather,
the gaze of the allegorist, as it fa.lh on the city, is the gaze of the alienated
man.
The 8ineur is a man uprooted. He is at home neither in his class nor in his
bomdand, but only in the crowd. The crowd is his element. The London
crowd in Engels. The man of the crowd in Poc. The phantasmagoria of the
8ineur. The crowd as veil through which the familiar ciry appears tranS·
fOroled. The city as a landscape and a room. The department store is the
last promenade for the flaneur. There his fantasies were materialized.
The Bineur as bohimim. Excursus o n the boMmi,m. H e comes into being at
the same time as the art market. H e works fo r the wide anonymous public
of the bourgeoisie. no longer fo r the feudal patron. He fonns the reserve
army of the bourgeois intelligentsia. His initial e£fons on behalf of con·
spirators in the arTIly give way. later, to efforts on behalf of working-class
insurgents. H e becomes a professional conspirator. He lacks political
schooling. Uncenainty of class consciousness. "Political n and "socia1" revo-
lutions. The Communut ManifiJlo as their death certificate. The boheme dis-
 solves into a legal opposition and an anarchist opposition. Baudelam's am-
bivalent position between the twO. His ftjght into the asocial.
The motif of death in Baudelaire's poetry penetrates the image of Paris. The
"Tableaux parisiens," the Splu n tk Paru. Excursus on the chthonic side of
the city of Paris. The old bed of the Seine. The subterranean channels. ug-
ends of subterranean Paris. Conspirators and communards in the cata-
combs. Twilight in the catacombs, Their ambiguity. They stand midway
between house and street, between pavilion and hall. The undersea world
of the arcades. Their imponance for prostitution. Emphasis on the Com-
modity character of the woman in the market of love. The doll as wish
symbol.
Tout pour moi devient Allegoric.
-Bauddairc, ~Lc Cygne"
Baudelaire's genius, which is nourished on melancholy, is an allegorical genius.
For the first time, with Baudelaire, Paris became the subjea oflyric poetry • ..
Facilis descensus Avemi.
It is the unique disposition of Baudelaire's poetry that the image of the woman
and the image of death intermingle in a third: that of Paris. The Paris of his
- ions. Excursus all the political signi6cance of fashion. Fashion's irutova·
poems is a sunken city, and more submarine than subterranean. It is the city of a
death-fraught idyll. Yet the substrate of this idyll is nothing natural, and consists
in neither the subterranean channels of Paris nor its catacombs and the legmds
that have grown up around them. It is, rather, a social, and that is to ~I a
modem substrate. But precisely the modem, La motierniJi , is always citing p~ .
history. Here, this occurs tltrough the ambiguity peculiar to the social re1ab<>,ns
and products of this epoch. The twilight of the arcades, which oontempo~
compared to an undersea landscape, lies over the society that built them. Their
construction itself is ambiguous. They stand midway between house and s~
on the one hand; between pavilion and hall, on the other. At the same time, this
ambiguity set the tone for the market of lave. Prostitution, in which the woman
represents merchant and merchandise in one, acquires a particular significance.
Je voyage pour conn.utrc rna geographic.
The last poem of Les Flnm du mal: "Le Voyage." The last journey of the 8aneur:
death. Its destination: the new. Newness is a quality independent of the use value
of the thing. It is the last word of fashion. It is the semblance that fonus the
essence- of the images which the dreaming subject of history engenders. The an
that doubts its task must make novelty into its highest value ...
. . . . . . . . .. . . . . .
The press organizes the market in spiritua] values, in which initially there is a
boom. Eugene Sue becomes the first celebrity of thefiuilldon. Nonconfonnists
rebel against the commodity character of art. They rally round the banner of I'art
pour /'art. From this watchword. derives the conception of the total work of art,
which would sea] art off from the further development of technology. The Gf!.
samtkunstwn"A is a premature synthesis, which bears the seeds of death within it
The solemn rite with which it is celebrated is the pendant to the distractions
which surround the apotheosis of the commodity. In their syntheses, both ab-
stract from the social existence of human beings, Baudelaire succumbs to the
rage for Wagner.
VI. Hau8fJmann. or the Strategic Embellishment of Paris
,
. . . increased the financial risks ofHaussmannization.
The world exhibition of 1867 marked the high point of the regime and of
Haussmann's power. Paris is confirmed as capital ofluxury and offash-
bOns leave intaCt the framework of domination. For those who art: ruled,
it passes the time in which those who rule luxuriate. The insights of
F.Th.VlScher.
Haussmann attempts to bolster his dictatorship. , ,
Fais voir, en dqouant la ruse,
o lipublique, aces pavers
Ta grande face de Meduse
Au milieu de rouge:; edairs.
-Chanson d'ouvricrs ....ers 1850
The barricade returns to life during the C ommune. It is stronger and better
secured than ever. It stretches across the great boulevards and shields the
tttnches behind it. If the Communist Manifesto ends the age of professionaJ con-
spirators, then the Commune puts an end to the phantasmagoria according to
which the proletariat and its republic arc the fulfillment of 1789. TIlls phantasma-
goria conditions the forty years lying between the Lyons insUITCction and the
Paris CQmmune. The bourgeoisie did nOt share in this error .. .
..... . ........
 [I] {Balzac was the first to speak of the ruins of the bourgeoisie. But he still
knew nothing about them. It was Surrealism which first got a glimpse of
the field of debris left behind by the capitalist development of the forces of
production.} -
But it was Surrealism that first opened OUT eyes to them. Thac: ruins became., Materials for the Expose of 1935
for Surrealism, the object of a resarch no less impassioned than that which the
humanists of the 1knaissanc..e conducted on the remnants of classical antiquity.
Painters like Picasso and Chirico allude to this analogy. 'Ibis unrelenting con.
frontation of the recent past with the present moment is something ncw, histori.
cally. Other contiguow links in the chain of generations have existed within the
collective consciousness, but they were hardly distinguished from one another
within the coUective. The present, however, already stands to the recent past as
These: materials COns.isl of nowiona. &dKmcs, and methodological rdioa:ions (GutJ_tu &Arf/krt,
the awakening stands to the dream. The development of the forces of produc- \'01. 5 (Frankfurt: Suhrkamp, 19821, pp. 1206-1223, 1250-1251), which are cormected to Ben-
tion, in the course of the previous century, shattered that century's wish symbols jamin's work on a ~gttlcral plan~ fot 7?te AtuJdI.s Ptoftd. Begun in March 1934, this work. culmi-
even before the monuments representing them had collapsed, and before the nated in the upoK of 1935. ~pw. die Hauptstadt des XIX.Jahrhunderu.~ Cauin oftbe notes.
paper on which they were rendered had yellowed. In the nineteenth century. this sudl as No.3, may dale from tht late twenties. A rcb.tively precise dacing is pouible only for No. 5,
written Febroary-May 1935, and fnr NnJ. 20-25 (l« Trarulaton' NoteS 9 and 10)_The thtmatic
development of the forces of production worked to emancipate the fornu of
onlering of the material is that of the German editor. Passaga amscd out by &yamin are in rurve.d
construction from art, just as in the sixteenth century the sciences freed them· bncketll {}. Editorial insertiON m: in angular bnck.ell <). Squm: bracketS [J an: Benjamin'I_
selves from philosophy. A start is made with architecture. as engineered construc- WJrds enclosed in double IqIlllR: brack.w It II are later additioru. The symbol <x) indioues illegible
tion. Then coma the reproduction of nature as photography. The creation of matcria1.
fantasy prepares to become practical as commercial an. Literature submits to
montagt in the feuilleton. All thac: products art on the point of entering the
No. I
market as commoditia. But they linger on the threshold. They stop halfway. _
Value and commodity enter on a brief engagement before the market price 1 1848 December 10: election of Louis Bonapane
makes their union legitimate. From thio; epoch derive the arcades and intirinm, Bloc of Catholics, Legitimists, OrleanislS ; Napoleon promises freedom
the exhibition halls and panoramas. They are residues of a dream world. But of instruction
given that the realization of dream dements, in the course of waking up. is the Lcd.ru·Rollin get! 400,000 votes; Lamartine 8,000; Cavaignac
paradigm of dialectical thinking, it foUows that dialectical thinking is the organ of 1,500,000; Napoleon 5,500,000
historical awakening. On1y dialectical think.ing is equal to the recent past. because:
1850 Loi Failoux
it is, each time, its offspring. Every epoch, in fact, not on1y dreams the one to
Bail for the newspapers raised to 50,000 francs
foUow but, in thw dreaming, precipitates its awakening. It bears its end within
E1ectorallaw, making the right to vote conditional on three yean'
itself and unfolds it-as Hegel already noticed-by cunning. The tMliest monU'
residence in a municipality, as certified by tax lists
ment! of the bourgeoisie began to crumble long ago, but we recognize, for the
first time, how they were destined for this end from the beginning. 1851 Rejection of the Napoleonic amendments to the dectorallaw
Victor Hugo tries in vain to mobilize the workers against the coup
d'etat
December 20: plebiscite; 7,5 00,000 yes; 650,000 no
1852 November 20: plebiscite: on reestablishment of the Empitt. 7,839,000
yes; 53,000 no; 20 percent abstaining
1863 Thus and Be.rryer elected to the Chamber
1866 Fonnation of the Tiers Parti under Ollivier
1868 Restoration of freedom of the press and freedom of assembly
1869 Republicans 40 sealS (Gambetta, Rochefon) ; Union LibCraJe 50: TIers
Parti 116. Bona~ts in the minority

1870 Plebiscite: 7,350,000 votes for the constitutional monarchy, against
1,538,000 (Bonapartists and Republicans)
1864 Concession of the right to strike
1848 Abolition of the obligatory uniform for tbe Garde Nationale
Increase of the number of electors through universal suffrage, from
200,000 to over 9,000,000
Emoluments for a member of parliament: 25 francs per day
March 17 and ApriJ 16: violent demonstrations for the postponement
of elections to the Constituent Assembly
Cassation <?> of the Garde Mobile
183 ItT. Parti du Mouvement: Laffitte, Lafa~tte . Barrol
Parti de Resistance: Ptrier, Mole, Guirot. TIllers
No.2
Fashion
1866 The head like a cloud, high above the valley of the dress
Lamps in the form of vases: the rare Sower "light" is put in oil
1868 TIle breast covered with a fringed border
Archlc.ecnual forms on clothes
VISitation of the Vrrgin, as theme of fashion images
Fashionable clothing. as theme for confectioners
Motifs of hedges <?>, of gossamer <?> appear on clothes 1850-1860
W,man as equilateral triangle (crinoline)
\-\bman as X-End of the Empire-
J acket as double door
Dress as fan
Infinite possibiliry of permutation with the elements of fasnion
No.3
'!'he &st BooA 011 Paris
Mirror city (the glass-plated annoirc)
Energies of the hig city: gasoline tanks
Illuminated advertising: new type of writing (no illuminated advertising in
the arcades)
Signboar<b: old type of writing
Gaslight in Baudelaire
Passage.' de I '~ra
Aragon's technique compared with photographic technique
Fair in the basement ("Carnival of Paris")
I Teleology of Paris : Eiffel Tower and motorways
Parisian streets in French literature (statistically)
1 The system of Parisian streets: a vascular network of imagination
{Bemouard: Parisian dialects during the war)
Sacre Coeur: ichthyosaur; EitTeI Tower: giraffe
BabyCadum [[Mm,. Zahna]]
Flttproof walls
{Paris and the traveling <?> authors
Aragon Vague de riucJ
Nineteenth !Xntury: kitsch, new collections
Mirrors in the cafes: for the sake of the light, but also because the rooms are:
so small)
No.4
Themes if the Arcades Projtcl
Entrance of the railroad into the world of dream and symbol
(Presentation of historical knowledge according to the image of awakening)
Fomier's "industrial fugue" as signature of an epoch that is crowned by the
world exhibitions
The Garde Nationa\e, military order of industry and commerce
{The domestic interior (fumirure) in Poe and Baudelaire}
Sponsorship of the three kingdoms for the arcade: the mineral kingdom with
glass and iron; !.he vegetable kingdom with the palm : the animal kingdom
with aquatic fauna
The crisis that ruts landscape painting with the advent of the diorama ex-
tends to the portrait ~\-ith photography
fWiertz as ennobler of the diorama I
From department store to ....,orld exhibition
(Haussmann's "strategic embellishment" of Paris)
{Fomie.r's archaic idyll: the child of nature as consumer; Pestalozz.i's modern
utopia: the bourgeois as proclu!Xr)
(Napoleon I as last representative of revolutionary terrorism, insofar as the
bourgeoisie is concerned)
 The not-yet-corucious knowledge of what has been st~ from the now The untranslatable literature of fldnerie. "Paris st::reet by street and house by
{History of the Paris Stock Exchange and the Salons des Etrangers} house"
The past unfolds in the wax museum like distance in the domestic interior. The Baneur and the coUector; lhe archaic Paris of Binene
{The Bineur sk..iru actuality)
No. 5 {The city as a landscape and a room]
117IemeJ rfthe Arcade; Projul l l> (Ega/iii as phantasmagoria)
The camouflage of bourgeois dements in the holtime. [The tempo of Banerie and its cessation: exempli.6ed by the J"CStaurant and
the means of transport}
The hohtme as fonn of uistence of the proletarian intelligentsia.
Indecision of the flaneur j ambiguity of the arcades ; opaquene5S of class rcla-
The ideologues of the bourgeoisie: Victor Hugo, Lamartine. On the other tions
hand, Rimbaud
The bourgeoisie's maitre; tk pllJisir: Sa-tbe. Sue. {The doll in the annex to the cocotte's}
IndustriaJization of literature, the "negro"; industrialization of literature {Sexual-psychological interpn=tacion of the cult of dolls ; body and wax 60"1 ..... •
through the press m.gui.e} 0--'
Industrial poetry of the Saint·Simonians
Interior and museum
BegiruUngs of trade in modem artWOrks
{Jugendstil, or the end of the interior (Jugendstil and poster).}
{Panornmic literature}
{Beginnings of the Ge;amtAuTUiw"! <total work of an> in the panoramas) Emancipation and prostitution
Literature and commerce (names of magazines derived from vaudevilles) Girardin; the demoiselles of 1830; Fourier and Feuerbach
Specialty and originality - Emancipation and the Saint-Simoni.ans; the cashier
C ult of love : attempt to deploy the technical force of production in opposi-
Inspiration for early photography: in ideas with Wienz. in technology with tion to the natural force of production
Nadar.
{Arago's speech in the Chamber on photography) (f Balzac's theory of pha- Rise of the proletariat; its awakening in theJune Insuntttion
togrnphy) (The Iabo, exchange..)
{Photography at the industrial exhibition of 1855J The culture of the nineteenth cenrury as a gigantic effort to stem the forces of
Meaning of the photographic reproduction of artWOrks ; overroming of art production
through ph(otography) {Premarure syntheses. Insurance against the proletariat}
Photography and dearic light (Nadar)
•
{Attitude of the reactionary intelligentsia toward photography (Balzac))
The Garde Nationale

Precursors of stocks and bonds

{The veristic art of photography founded on the fashionable illusionism of
the panoramas) Change in the fonns of property as a result of the railroad
Wiertz as precursor of montage (realism plus tendentiousness); s~reorama Corruption in the awarding of contractS during construction on the railroad
and painting (Wiertz) and during Haussmann's renovations

Three aspects ofBftnerie; Balzac, Poe, Engels ; the illusionistic, psychological, {Plekhanov on the world exhibition of 1889}
economic Museuins and exh.ibitions
Ainerie as hothouse of illusion; Servandoni's project {The enthronement of the OODlDlodity (advertil!ing and exhibitions))
ln8ucocz of industry 0 0 language later than 00 the image (in the case of thr:
Surrealists)
Allegory and advertisement (Baudelaire)
Fblicz and conspirators ; the jJcrte-/anlerntJ <lantern carriers)
Physiognomic digressiollS
the Bineur I (the bohemian)
(the gambler) I the {dandy} I
(the coUector)
Snob (the new)
the new as antithesis to
what conforms to a plan
Fourier', scrro.iq>
Godin and rord
The industrial Christ (l..amartine)
Mercury in Fourier
(Construction has the role of the
IUbcorucious)
Construction in city planning
The role of the big city in the
ninetemth century
Flaubu\'s style
lma~ and destruction in history
Historical ananmesis
Not-yet-conscious knowledge
of whar tw been
{Abolitioo of fashion}
Effect and expression
[The doubt about history)
ComponenL1 of death I Excursw on
Prowt
Tools and workers v.tith Haussmann
[End o f the arcade: the bicycle palaces)
Points of contact beno.~eo Saint-Simonianism and fascism
{1he knickknack (?»
(The collector)
(TIle curiosity shop as domestic interior]
(Early socialism, the police, conspirators (re Fourier))
W,rkers' associations {After-dfec.ts o f li89}
{Blurred class divisions } {The Comm<wu.'It> Manifesto as
{Conspirators and the boheme} conclusion of the first period)
{Technical wonders in the servicz ofinsurrectionJ
Promiscuity and hostility among the c1a.sses; their communication in the om-
nibus
Huysmans describes M6:Ulmontant
The workers' associations

nne Commwle as test of the revolutionary legend)

(Fashion in Apollinaire) {Gabet and the end of fashion)!
{The city as o bject of fashion (Le.feuve)J
Relation between technology and art as key to fashion
(The phenomenon of the quarh'm (julesJanin))
Participation of women (in> the nature o f the commodity,
(Connection of fashion with death)
{Theories of fashion: Karr I VlScherJ
- Toppling of illusionism in the cityscape : perspectives
{Their introduction into the interior through the mirror}
Why was there no French Idealism?
Sensual delights of the bourgeou
Hedonism and cynicism
lliusionism of the cocottes
by virtue of fashion •
The arcades as dream- and wish-image of the collective
Fermenters of intoxication in the coUective consciousness

Fashion and colportage: "everybody's contemporary'"

, (Phantasmagoria of space (the 81neur) ; phantasmagoria o f time (the gam-
bl«)}
{Inclusion of sex in the world of matter}
{Lafargue on the gambler_} {Phantasmagoria of society: (the bohemian)}
{Razing of the Passage de l'Opera during consrruccion of the Boulevard
HaussmannJ Atmosphere of the dream: climate
TIle dream of empire; the Muses I {Basing of the first factory buildings on
{lnupcion of perspective into city planning: end of the arcades)
residential homes}
(Formation of workers' districts in the suburbs)
{TIle Empire style as expression of revolutionary terrorism}
{TIle end of the quarh'm v.tith HaussmannJ
Emp~ fonn of the first locomotives; technol o~,.y under control I Treasury of
(The language of the prefect of police) images of technology
{Decline of the arcades in 771.iriJt: Raqui,l} Are there English influences o n the Empire style? I "ICchnology and the new
 Attaching to the first appearance of the machine under the Empire was the Dialectic of the commodity
sense of a restOration of antiquity A canon for this dialectic to be drawn £rom Odr.ldek~
(Napoleon's attitude tmvaro industrials and intellectuals) The po.s i ti~ in the fetish
{The world exhibition of 1867} Dialectic of the ne\'o'CSt and o ldest
Fashion is a canon for this diaJeCDc also
{Grandville and Toussenel ; Cabel} I (Grandville and the advertisement); The oldcst as newest: the daily news
dream and awakening
111e newest as oldest: the Empire:

..
"
Bourgeois hedonism
{lkscue of the utopians ; approaches to Fourier in Marx and Engds}
No.8
Fourier and Scheerban; (Fourier's living on in .lola)
First dialectical stage: the arcade changes from a place of splendor to a place
{Fourier andJean Paul) I the true meaning of utopia: it is a precipitate of col.
lective dreams of decay

(The enthronement of the commodity on a cosmic scale I Conunodity and Second dialectical stage: the arcade changes from an unconscious experience
fashion) to something consciously penetrated

Advertisement and poster (business and politics) Not-yet-conscious knowledge of what has been. Strucrure of what-bas-been
at this Stage. Knowledge of what has been as a becoming aware, one: that
, has the structure of awakening.
{Dominance of finance capital under Napoleon III)
(Offcnbach and the operetta) Not-yet-conscious knowledge on the part of the collective

The opera as centerJ All insight to be grasped according to the schema of awakening. And
shouldn't the "not-yet-consOous knowledge" have the structure of dream?
{Crinoline:: and Second Empire}
Fblemic againstJullg, who wants to distance awakening from dream. - {DmunlU"ch
Parisian chronicles} {the terrifying knock on the door)
the ugliness of the object is the terrifying knock
No.6 on the door when , ..-e're asleeps
Prouirional Selima/a 11M:. fashion an epoch in the history of the antiques trade and construct a
Revolutionary praxis clock by which to teU when objects are ripe for collecting.}
Technique of street fighting and barricade construction ~ construct an awakening theoretically-that is, we imitate, in the realm of
Revolutionary mist: rn SC(IU! language, the trick that is decisive physiologicaUy in awakening, for awak-
Proletarians and professional conspirators ening oper.!.les with cunning. Only with cunning, not without it, can we
Fashion work free of the realm of dream.
"everybody's contemporary" Awakening is the exemplary case of remembering: the weighty and momen·
Attempt to lure sex intO the world of matter • tous case, in which we succeed in remembering the nearest (most obvious).
,,yhat ProUSt intends with the expcrinlental rearrangement of furniture is no
No.7 different from what Bloch tries to grasp as darkness of the lived moment.
Dio.lutica/ Sdltrnala Here the question arises: In what different canonical ways can man behave
(the individual man, but also the collecovt') with regard to dreaming? And
Hcl1-goldcn age
what sort of comportment, at bottom, is adequate:: to true waking being?
~ywords for hell: ennui, gambling, pauperism
A canon of t.his dialectic: fashion \ Ve conceive the dream (1) as historical phenomcnoll t (2) as collective phe-
The golden age as catastrophe nomenon.
 Efforts <?> to shed light on the dreams of the individual with the help of the Economic rudiments
doctrine of the historical dreams of the collective. the consumer
I'\e teach that. in the stratification of the dream, reality never simply is, but luxury buildings
rather that it strikes the dreamer. And I treat of the arcades precisely as fashion and boulevard
though. at bottom, they were something that has happened to mel
We have to wake up from the existence of our parents. In this awakening, we Reversal
have to give an account of the nearness of that existence. Obedience as miscarried matter
category of nearness in religious education. Collecting as profane category altered tempo
of nearness; the collector interprets dreams of the collective. ddlejah'dique: 18936

Freud's doctrine of the dream as a phenomenon of nature. Dream as histori- (New meaning of the arcades
ca1 phenomenon. Aragon: new mythology
relation to the nineteenth century
Opposition to Aragon: to work through all this by way of the dialectics of
awakening
awakening, and not to be lulled, through exhaustion, intO "dIum" or "my_
discovery of perspective)
thology?' What are the sounds of the awakening morning we have drawn
into our dreams? "Ugliness," the "old-fashioned" are merely distorted
moming voices that talk of our childhood. {Chapters
S~t Names I Perspective I Collecting I Interior of the
street I Fashion I}
No. 9
Thesis and antithesis are to be drawn together into the dIum-variation- Fashion always places its fig leaf on the spot where the revo-
image <Traum-WandeL-Bild>. The asJ>l=cts of splendor and misery attaching lutionary nakedness of society may be found. A slight ad-
to the arcades are dream vision. The dialectical reversal in synthesis is justment and . _. But why is this adjustment fruitful only
awakening. Its mechanism. How we fiu ourselves from the world of our when it is carried out on the body of the recent past?
parents through cwming. Antinomy of the sentimental. On the hallucina- (Noah <?> and his shame?)
tory function of architecture. Dream images that rise up into the waking
world.
No. 10
Epitome of the ralse redemption: Jugendstil. It proves the law according to
which effort brings about its opposite. rBoredom}

The motif of dialectic should be delineated specifically in reference to Of~ttreatmentofdecline : AIagon }

perspective Dialectic of the MagaJins de TlOUIJ(:QuliJ {Theory of the collector
luxury and fashion commodity miscarried matter Elevation of the commodity
Theory of awakening to be developed on the basis of the theory of boredom. to the status of allegory)
Theory of perspective in connection with Flaubert. Perspective and plf h. DialeC!J.c of sentimentality (sentences from "Dream Kitsch"r
{Archaeology of the <x>. Dream is the earth in
which finds are made.)

Dialectic of Banerie the interior as street (luxury)

the street as interior (misery)

Dialectic of fashion pleasure and cadaver

{Beginning: description of th~ p['(!$ent~ (Attempt at a d~temUnation of the No. 12
day arcades essence of street names : they ~ MdnodoJogica/
Their dialectica1 developm~ nt : com- not pure allegories
Dialeccica1 images are wish symbols. Actualized in them, together with the
modity I perspective Mythological T<o>pography: Bal-
thing <Sache> itseU, are its origin and its declin~.
Actuality of the arcades in their dream ,,"c)
sbUcrure} VVhat sort of perceptibility should the presentation of history POsse.s.!l? Nei-
ther the cheap and easy visibility ofbourgrois binory books, nor the in-
s uffici~nt visibility of Marxist histories. What it has to fix perceptually are
Thesis Antithesis the images deriving from the collective unconscious.
Flowering of the arcades under Decline of the arcades at the end The <development> of the productive forces of a society is determined not
Louis PhiliPP< of the nineteenth century only by the raw materials and insttUlllenu at that society's disposal, but
also by its milieu and the experiences it has there.
The panoramas Plush
The magasins Miscarried matter Waiting as form of Wtence of the parasitic clement.'!.
Love The whore

No. 13
J{ruJ 17u:mes and Form.uJlllions

D iscovery of the arcades

The unconscious knowledge of what has
been becomes conscious
I Theory of awakening
Dialectic of persp .
Dial of fashion
Dial. of sentimo
,
{With the apanded range of transportation, the informational merit.'! of
painting diminish. In reaction to photography it begins initially, over the
course ofhalf a century, to stress the element.'! of color in the picture. As
I Impressionism yields to Cubism, painting opens up a wider domain~ne
intO which photography, for the moment, cannot follow.}
{For a subjective point of view on the presentation of the new, as it appears at
midcentury in the society and its milieux, no one can take responsibility:
hence the lens (da,s ObjeAtiu>_)

{Dioramas Waiting and letting wait. Waiting as form of existence of the parasitic ele-
Plush-perspective ments.
R ainy weather}
No. 14
No.ll Fundamnltal Qyestions
FWldarnental for C riticism Erroneous The historica1 significance of semblance <&Min>
Systematic exterior arc.h.itecrure Wlrld exhibicions and working class
(What ~ the ruins of the bourgroisie?)
Commodities-materials Fourier and arcades
Where, within the new, rum the boundary between reality and semblance?
Ur·history of the feuilleton
IPainting in the n~gative of the trace ]
Ur-history of the nineteenth century
Golden age and hell Relation between false consciousness and dream consciousness. Mirroring
Theory of phantasmagoria: culture Countinghouse and ch~ber of col1l- takes place in the dream consciousness. Collective dream consciousness
men:< and super.;uucrure.
Saturn problem The dialectic, in standing still, makes an image. Essential to this image is a
More p l'ecis~ d~terl11inatio n of the
commodity Barcelona beton semblance.
Fetish and death's head
 The now of recognizability is the moment of awakening.
No. 19'
In the awakening. thc dream stands still.
The historical movement is a dialectical movement. But the movement of IThc merit of tllls little volume lies in lhe evocation of the different districts
false consciousness is not. This consciousness becomes dialectical aha in of a great city. It is nOt their pictul'esquc aspect that concerns the author,
." nor anything c.'(terior. It is, ral..her, dlC unique character conferred on each
the awakening.

J
-!i No. 15
of these 1t1arlim by the social strata infomling them and the occupations
of the resident.s.}

lfthe speculative phenomcoa attendant on "Haussmannization'" remain for

Melhodolor;iau RdkehOfU
Make we of studies on the "now of recognizability"
Make use of ProuSt's description of awakening
Awakening as the critical moment in the reading of dream images
Special claims of the recent past on the method of the historian
Demarcation from cultural history
Reread Hegel on dialectics at a standstill
,
The experience of OUT generation : that capitalism will not die a natural death.
Here, for the first time, the recent past becomes distanl past. Primal history
forms part of the recent past,just as mountains, seen from a great distana;
appear to form pan of the landscape lying before them.
No. 16
Wieungruml
Dialectical image and dialectics at a standstill in Hegel
No. 17
me most pan in shadow, the tactical interests of the reform-interests
which Napoleon III willingly concealed behind his imperial ambitions-
emerge more dearly. A contemporary apology for Haussmann's project is
comparatively frank on this subject. It commends the new Strttts for "not
subserving the customary tactics of tlle local insurrections .... Before this,
Paris had already been pavro in wood so as to deprive the revolution of its
building material. As Karl Gmzkow writes in his Paro" Briefrn, "no one
builds barricades out of blocks of wood." To appreciate what is meant by
this, recall that in 1830 some six thousand barricades were counted in the
city.
Louis Philippe already had the nickname " Roi ·Ma~on" <Mason King). With
Napoleon III, the mercantile, hygienic, and military forces bent on trans·
forming the city's image were allied "Vilh the aspiration to immortalize
<oneself> in monuments oflasting peace. In Haussmann he <x) found the
energy neecssary for implementation of the plan. Putting the energy to
",'Ork was, of course, not easy for him.
A careerut in the service of a usurper
lncran
Destructivc-Pacific Imperialism
0'
"The Hawsmannization of Pam"

The Fourierist utopia announces a O'aIlSformation in the function of poetry III. Hawsmanu and Napoleon IIJ The carecrist serving the u.swper
U. Strategic embellishment
III Fanwtic accounts of Haussmann
No. 18
Placed, thus, in the center of history, <broken off)
, Strategic embellishment
1ne technique of barricade lighting
Napoleon as pretender to the throne
11le coup d '~tat and Haussmann
The Strategic lines The police and Orsini's assassination
As man fonns the center of the horizon that, in his eyes, stretches around llle theoretic base attempt
Jurisprudence HausSmalUl and Lhe parliament
him, so his existence forms for him the center of history. Looking about
The spectacles: aesLhctic.!l Hau55marm's later career
him at the midday hour, he invites the emaciated spirits of the past to dine.
at his table. (The historian presides) over a ghostly meal. The historian is l-IaussmalUI'! IIlI!:lns
the herald who summons the depaned to this banquet of spirits. Signi6c..ulce o f su bstruaions
1111' rai.lroad!
The living generation <broken ofT) TIle world exhibitions
'nIl' new city planning
No. 209 No. 21
Plan of March 1934 [ Fragments of the genera1layoul
[[Portrait of Haussmann;
destructive energies in him]} VI. fHaussmann, or the "Strategic Embdlislunent" of Paris
Excursus on the gambler
17u dnnolitions of Paro
The end of the arcades
Capital of the Nuxtccnth Century Technique of stIttt· and barricade·fighting
The political function of fashion; critique of crinoline in F. Th. VLScher
+ Haussmann, or Strategic Class warfare The Commune}
Embellishment
Grandville, or the \\brld Exhibition**) Fetish character of the commodity I. Fourier, or the Arcades
Baudelaire, or the Street! orParis~ Transitory aims of constructions in iron.
Louis Philippc:, or the The bo"~ Moreover: iron, as the first artificial
lnterio~) -'''1 building material, is the first to
"Dagucrre, or the Panorama The collective uncoll5cious
undergo a development. This
rourie:r. or me Atcad~
proceeded more and more rapidly in
II Psychology of the newspapc:r: IICross·schemas r.he courSe of the century. Arcades in
the need for novelty]] Paris Metaphysia Fourier are designed for dwelling.
Proletariat Physiognomies (7) The Empire style
DialectiaJJ Materialist tendencies in the bourgeoisie (Jean Paul, Pestalow; fuurier)
"-> Fashion Rise of the arcades Marx and Engels on Fourier
....) Flineur
--) Boredom
++ the colleoor
......., Jugendstil Uugendstil as end of the interior)
Zola: u Travail
- The arcades in fuurier
Fourier's afterlife in Zola
Theory of education as root of utopia

The beginnings of iron construction I The disguising of construction

II. (Daguerre, or the Panorama
1. Fourier; or the Arcades Excursus on an ~and) technology (Beaux·Arts and Ecole Fblytc:c.hn.ique)
His 6gu~ set ofT against the Empire I Antiquity and Cockaigne I Historical ;p :p The welcoming of photography (Balzac and Acago)
hedonism'" t
g The confrontation between an and technology in Wiertt
fuurier andJean Paul l Why then: was no French idealism ~ ~ Railroad stations and halls as new sites for an
Daguerre. or the Panorama (Passage des Panoramas, 1800) a ft The panoramas as transitional phenomenon between art and the tech·
Panoramas I Museums I Exhibitions I The prematul'r syntheses I The nique of reproducing nature
breakthrough of the daguerreotype I Inuption of technology intO the Excursus on the later development: extension of the commodity world
realm of an) through the photo
III. Louis Philippe, or the Interior {Paris as panorama; the panoramic lilerarure, 1830-1850
The dream house·· 1 (The collector I The 6ineur 1TIle gambler) (Life of the worker as subject of an idyU)}
IV. Grandville. or the "'-brld Exhibition CoU: ctor Photography at the industrial exhibition of 1855
Happiness in machinery I The commodity in the cosmos I Gambler Rear·guard action by art against technology, in TaJmeyr (1900) I
Fourier's dream Forger
P1ekhanov all 1889 Fl'Aneur IT!. Grnndvillo, 0' tho W,dd Exhibition.
V. Haussmann, or the Embellishment of Paris Fashion as means of communicating commodity character to the cosmos
... Origin of the arcades and Magic of cast iron in outer space and in the underworld
primal history Further development of the arcades in the exhibition halls ; Paxton's
.. the chthonic Paris Crystal Palace of 185 1
 The sex appeal of tJu~ commodity
MobiliL.1.tion of the inorganic through fashion; its triumph in the doll
(TIle love market of Paris)
Paris as IUmerial of fashion; psychology of the qunrticr in J anin and
Lcfeuvc
{The. battle bet....ttn utopia and cynicism in Grandville}
Grandville as precursor of advertising graphics
The world exhibition of 1867; triumph of cynicism; OfTenbadl as its
demon
Grandville and the. Fourierists (foussenel's philosophy of naturt:)
?hi' uniumal exlmsion ofcommodity dlartUtcr to lire world ofthingJ
Bodyandwax6gurc
Chthonic elements in Grandville I (Chthonic elements in the image of
Paris)
111e jpiciuliti
No. 22
OnV
{Critique of modemity (presumably a separate section). The new has the
character of a semblance <&lreincnaraAtm and coincides with the sem·
blance of the eternally recurrent. The dialectica.1 semblance of the new and
always identica.1 is the basis of "culruraJ. history.")
OnV
Four digressions on boredom. The snob, who lives in the semblant world of
the new and ever identica.1, has a constant companion: boredom. Wtth
Proust. snobbism becomes the key to the social analysi! of the upper awl.
The total work of art represents an attempt to impose myth on society (myth \
being. as Raphael rightly says <in ProudJu1tl, Marx, PiC4JJO (Paris, 1933»,
p. 171, the precondition for (MuurtJ d 'art intigraJu).
No. 23 1f1
mae et"cmal retum as nightmare of historica.1 consciousness]
(Jung wants to distancc dreanl from awakening)
(l1U"ec aspects of Bancric : Balzac, Poe, Engcls ; the illusionistic, the psychO-
logical, me cconomic) . The uncommon ephemerality of the genuine historica.1 object (Barne) com-
IScrvandoni <?)]
{111e new as antithesis to what conforms to a plan}
Allegory and advertising [the personification of conunodities rather tban of
conccpLJ;Jugendstil introduces the alIegorica16gure to advertising]
{The cashier as living image, as allegory of cash}
Cult of love: attempt to bring natural production into opposition with indus-
trial production
[The conce:pt of culture as the highest development of phantasmagoria}
[Th.e concept of eternal return : the ;!last stand" against the idea of progress]
[Annihilation of the phantasmagoria of culture in the idea of etcrna.l return]
[Odradek and the dialectic of the commodity]
[Attempt to banish ennui by dint of the new]
[Waiting for the new; in the last poem <of UJ FleurJ du mab---going to meet
the new- but running intO death}
No. 24
(Waiting as fonn of existence of parasitic elements)
Actualizcd in the dialectical image, together with the thing itself, are its origin
and its decline. Should both be eternal? (eternal tranSience)
[Is the dialectica.1 image free of semblance: <&lrein>?]
(The now of recognizability is the moment of awakening)
([Proust: description of awakeningl)
[Hegel on dialectics at a standstill]
nrn= expaience of our generation : that capitalism will not die a naruraJ.
death)
For the first time, here, the recent past becomes distant past
The WJamJAurutwerA represents an attempt to impose myth on society (myth
being, as Raphael righdy says, p. 171, the precondition for the oeulm d'art
intigraJe) .
"Everybody's contemporary" and eternal recurrtnce
No. 25
The question posed in I: What is the historical object?
The response ofI II : The dialectica.1 image
pared with the fixity of the philologica.1 object. Wh~ the text is itself the
absolute rustorica.1 object-as in theology-it holds fast to the moment of
extreme ephemerality in the charac.te:r of a "revelation."
The idea of a history of hwnanity as idea of the sacred text. In ract, the his-
 tory of humanity-as prophecy- has ~ at aU times, been read out of the Sa-
cred texl.
The new and ever identical as the categories of historical semblance.-How
stands the matter with regard to eternity?
The dissolution of historical semblance must follow the same trajectory as Materials for" Arcades"
the construction of the dialectical image
Figures of historical semblance: I.
II. Phantasmagoria
Ill. ProgtCSs

Among Benjamin's papers an: t.h~ following materials. toruillting of typtv.Tiuen sheetS with addi.
tions in his own and in Franz Hessel', hand. TheJc notes and sketches {GeJamme/U &luifttll, vol. 5
(Frankfurt: Suhrkamp, 1982J, pp. 1341-1347) evidently n::iate to the abortive collaboration with
Hessel on the artacks. Typewritten tat is printed hen: in italia; j Benjamin's longhand notationa, in
undalin~d iulia;; and Hessel's longhand notations, in roman rypc:. Passages t.hat are crossed out in
th~ rnanuscripl are in CW'\'ed bracke!5 { } hm:.

Picture puzzles of the French Revolution or VlSihle WfJTld History (paris tf lite
Romans, Middle Age;, ancien rigime, rrooiution, and;o on.) Baluu'; ;lrulJ
and comu;. (Sue, Hugo, and other;.)
May 1 on tlte Butte R ouge.

- I
XnQ and old ca/acomb;, Mitro, wine allar;, ancimt site;.
.
Street vending.
Gktto
The 5treet wlu!re nnt.lspapm are printed
Lrut animals (the pound)
\ . 1M ;laughter-houm
Social fortifications .
{Stroll along uanished town walls (andml)
Philip Augu;tus, Louis XII, Farmm-General and the Iastfortification, now in the
procw 0/being dnnolished. J
• Gasoline. (The perfect chauffeur in Paris)
Mirror;.
71u: fireside and the "Lantrou"
771e /a;tfiacre;
Oldsi~.

Convenience; and inconvenience; (tobacco, mailboxu, tidutJ, poster pillars, arId ;0

f..-Ih.)
Parisians on Paris. How afirst-class re.slauranl comes into hcing.
Pickup, m6me, s~~twalk~r. tart, artist~, and so on. ApEritif. ploce, lime~ varieJie.r
Paris alpine. Fair.
DroelojmlrnJaJ and artistic /lulury qf1M Eiffil Towa'. How J dn'ue my car i'l Paris
Aflernoon in Montmartre. 1"heala' wilhf~ tl/all 500 se{/u.
Etiqudte jOr mea/t£1MJ (Purvt]/JrJ qfplea.sure)
In f!!fmsi'UC monumrnJ.s Fas/liollahie leas.
Rfou! amlmr les mfan!..s 7O.!ltm with musical mtertainment.
Biof}"ap/ly of a s~~t (Rue &.int-H01If»i, or Rivoli) 1,000 mdm of modem art (Rue de 10. Boihi)
Armualfair. Great anli s7nal/ labyrinth of Paro Catacombs al/d Paris.
Fashion hOllJeJ Paris (r",,/Slated <trodui/).
'(he bridges. Underground newspapm
DoorJ and windows. Paroian mirrors,ftom 1M histro to Vmailles .
Archi/ecium qfchanu. {Postm} 1jpe.s qfcocolles: streetwallurs, m6mes, call girls (deluxe) social relah'ons
Arcades. tarts lionesUJ girlfriend liaison JWedheart artute
HoteJ Artiste Jin"euse.
Dance hall. 1Dyshop saddlers luumss maAm hardware store
The smallest square in Paro.
Church windows
- Things ofYeJleryear and the liAe; Sacre Ferme. I .N.
A walk with Ine secret agmt.
Tn.e parluftom Moneeau to Buttes-Chaumont.
Small Jide alley in the Passage des Panoram(l.J: service pflSJage wi/h ;ron ladders 011
Street qfart dtalm (1,000 meters of painted canvas) the walls.
The Sundlly oftM poorer classe.s VU£lors' cards are made immel/wlely; hoots immediately deaned
'](0. in tlu &u. MOJa;c threshold!" in Ihe style of Ihe old mtauranls in the PaJau-Ruyal, lead to a
\
Amm'ca and Asia in Pari; diner de Paro atfiue.francs-so broad and ~npty are they, that one cannot he·
RUlJJuringaduiujOr museum uuilJ. lieue th~e is really a ratauratll up th~e. The Ja1lle U tnle r/ the m /rfl1l Ce to the
Alit Quino. There you indu d see a h'cAel hooth and pn'w ifuats; hut you haw
Lunch hour for dre.1lmtlkrs ' aJJulanl.s. (Fairy taI~ motif.)
thefieting Ihat, onu through the glass door, you would wind up on the Jtreet
(Physiology of the box) , again ;nsleoll of in a thealer.
&marAahle hulory ofthe deutlopmt1lt qfJmall wtauranlJ. Many instiltlleJ ofhygime ror lhe hiups. hip reductT, gladiators wilh orthopedic
IWilh Saini-Simon, liselotu, and o/fur rtvt:nanl.s in Vm ailieJ. } belts Bandages round th~ white beUies of mannequins
All sorlJ of racing;. hI old hairdre.ssil/If saloTts, the hut wumt'TI wilh l/Jllg Iwir. wldulalinlf ''permallent
waue," pttnfied cujfforts.
1M Sundlly of Ihe poorer clas.UJ. VIhese Jalltr au petrified, 'he slonewurA o/"tlu arcadl's, hy (Untras!, o/lm /ULf tht
Siai1"C4Sts, windowJ, doors, IJnd si!JIhOtJJt1.I ofParo. dfrct ofcrumhling papin-·mach!.
Danu halls ofdifferent districls RidiculQUS "sou!JClin" and bibelots-quilt hideoUJ
Pam alpine. OdaluqueJ slrr.lr:hed out 1Iexllo iI/lowell; pn'estuJ(j raise aloft ashtrays like
pa t~ns.
The dejeuner of drenmaJcm' a.uUtanJs.
'~ fa CapriciLuJe," fingme tk toul gt:nrt:.
Doll mt:1ldtr.
F(ln factory utuur the (mh
Booluhop on the meuaniM: Etrt:£nte5 secretes, Art d'aimer, AjJoumtes IUlnians, u s
Insatiables, &hoof ofLolJt:, Mtmoim d'une bonne a toutJaire. In tht:£r midst,
Im ages d 'Epinal. Harltquin betrotks his daughter. lmagts ifNapalton. Arh1-
I"y. ffiJ)' to heawn and hell, fuilh caption in Frtnch and Gt:rman (in tkootirmaJ
sh.op on the Rue du val de Grda English tilt broad and the narrow way).
'typoflaphies.
Vuitors' cards while JOu wait
Everywhere, as addition 10 tht program, as guest Jtar: stocAingJ . Now lying nat to
some photOJ, now in a MIJa1I, watch.ed OfJ(T by a girl (we think of tht thtaler in
Montrouge, where, du ring the day, they hang on the ticket booth that opms only
at t:Ut:1Iing)
Stairway to tIlt: Arabic restaurant, Jdbab
Frequtntly, handbagJ (petils Jacs) in qpen cardboard boxes, wrapped in tissue pa-
p".
In the building nat door, where there is a gateway, almost an arcade: Mml.
de Co/lSolis, Maitresse de Ba/Jet-Lefons, GoUTJ, Numirru. Mme. Zalma, Carlo-
man&rt.
{NaJ'T'Ow ailey I behind Hotel de Boulogne, with one window abOllt: hairdrt:Jser. 11u
girl waiting below and the ont looking out rf the window. 'the whole.framed '"
the tntryway.
<Drawing by Hessel representing the gateway mentioned>
This in fro nt of me (as seen from the cafe) and, to the right, the Gate of (Saint-
Denis dedicated to] Louis the Creal, with couchant lions, weapons, and \ no t1Wrt in tM
vague trophies on pyramids.
In the amuks, bolder colors are passible. 1Mre art red and gretn combs.
PmertJed in the arcades art types rfcollar studs for which we no longer h 01l) the
cormponding collars or shirts.
Should a shoemaker's Jhop be neighbor to a cotifectioner's, llis diJPIay ofshoe/oaJ
will start to resemble I;con'ce.
{'Thtrt: are many stamp shopJ (which, with thdr South Ammcall ~ummi~bird
stamps 011 pap stai~d by damp, remind the uisitor..from Ber/ltt of childhood
and cuckOOS). J
Ont multi imagint an ilkal shop in all ideal arcade-a shop which bringJ logdlln"
all mltier;, which if doll clinic and orthoptdic institute in O~, which Jells trum~
JUtJ and Jht:ll.s, hirdst:t:d jnjixatjlJ( pansftom a photographerJ darkroom, ocan-
naJ as umlmllo handks.
A factory producing cockad~ for weddings and banquets, "finery for mar·
rieds."
/ . (Not long ago, a pieCt: of old Paris disappeared-tnt Pa.s.Jage de l 'Op&a,
which onu Itd..from the boulwards to the old ojNTa theater. Constnution if tht
BOlllroard Haus!11lann swallowed it up. And so Wt: turn our attention to the ar·
cades that still exist, to lne brighter, liutlier, and in Jome (ases rmouo.tt:ll ar-
cades ofthe opera disln'ct, to the narro-ul, o/tt:n tmpty and dUJt-cowred arcades
ofmort obscure neighborhoods. 1'h.ey worR, the arctuUJ-JOmeh'mts in their to·
ta/ity, sometimeJ only in certain parIS-as a past bec01ne spoce,' they harbor an-
tiquated trotUS, and even thrue that are thoroughly up to date ocquire in theH
inner Jpoces something archaic.) Since lhe light annes on"from aboue through
glasJ roofs, and all stairways to the lql or right, at enlra1/cewayJ beh.IJem the
shoPJ, lead into darRTlt:SJ, our amct:ph'01J of lifo within the roDmJ to which theSt
stairways asand remains JOTM'Wha t JluuJowy.
10. 17te fl/ustrated Guide to Paris, a annplele picttlre 0/the city on the Seine and
ils enuiroru..from the year 1852, writeJ 0/ the arcad.t:J: <there follows the cita-
tion fOWld at the beginning of "The Arcades of Pam">.
2. At the tnlran(( gateJ oftht arcadts ({]T/( couldjust as
well say "exil gates," sinu, with these peculiar hybrid
jOrms ofhouse and strut, t:tIt:TJ gate is simultant:l1UJJy
tnlra1lCe and exit) -al the tntranee gateJ O1Je./inds, on
dther side, remarkahle and sometimes enigmatic
- irucnptions and signs, which ojlentimtJ multiply along
the walls within where, here and that, bttween Ihe
Jhops, a Jpiral JtaircaJt riseJ into darAntJS. Itt
surmise that "Alberl au 83" will be a hairdrwer, and
nD redJOf!Sibilil) "Mail/olS de 'thidfrt:" will mrut liAtly be silk tighlJ,
toward the new pink and light blue,jOr young singers and Mncer;; but
agt: il can C011lt: thtse insist(71lit:tterings want to Jay more to In and
Jomething diflerent. And shrmld we find OUrJellJts
.f'1illm. croWlled out by thos~ who actually buy and Jtll, and
'11 standing beh.IJetn ovtTloaded !oatradJ at the
bottom oftht spiral staircase, wlltre we read "Institut
de Beauti du ProfiJJnJr Alfred Billa-lin," we cannot
butfiel anxioUJ. And tilt "Fabrique de Crauates au
l,n_Does it maJu necAtiesjOr strangling1 Oh, the
needlework thert WIll bt: quilt inWJeruive, ofcoursr.,
but Ihm tlarR di!aPidtJted stairs maAe usfiel tifraid,
But: "Union artistique de France au 3 e"-What
can that be? (In all armdes-the witte ami crlJ1vdtd
onts Wtlu: bou/euani, no /ess Inilll the narrow des"ted
OlleJ ntar Ihe R u~ Saint-Denis-/Aere art difplaY!i of
canes and umbrellaI.' Jem'ed ranAs ofcolorfUl croolu.)
~
N 3. 1000t:n, thest i,."er spaus /wrbor anhquaJed trada, If booJcstore place.s togetlm- on neighboring .shelVf!J fa/Juring tnanualJ 0/1M art
~
and etJe71 thoJ( IIUlI art: thoroughly up to date will . oflove, I jntroduCh"gry to OUhnotkd vKes, aecou1lLs 0/.strange PaJsions and vicu,
(uquirt: in them Jomethi11g {archaic} obsolete) arul memoirJ ofa maidurvanl, with vividly colored £pinal prinlJ, on which
•
In the wUk and (TOwded armdeJ ofthe bOil/wards,
~

$
" as in tllf: "arrow deJuied arcades near the Rue
Harlequin betroths hi; daughter, Napoleon nth.s through Maralgo. and, cWse
buitk all typu ifartillery piaes, Old EngliJh burgher; travel the broad /!JYll
Sainl-D(7/u, 111m: are always display; ojumbrrl/as to hell and the narrow po.lh 0/the Go.spel.}

'.."!l
" mid cantl: suried ranlu of(%rjill rroo/ts Pre.served in the araukJ are ty~J 0/collar stud.s.for which we no longer Jcnow
{MUlry art: the institules o/hygime, wnm: Ihe corre.sponding collars or shirl.s.
gladiators Iwut on orthofNdic brltJ, and thert an Should a .shotmiJJcn' J shop umbrella Iw.ndJeJ (broken off)
"
:E bandagu around the white IMllia of maTlluqlliru.) s. AI lhe entrance to one o/the poorest arcade.s, we could read.' "Bureau de Place·
{hi llie shop windows rf tht !laird,rss"J, one Jets mtTIl pour Ie fu.sonnel cU.s Deux &xe.s,"-.founded in 1859.
tht last lIIomro wilh long hair; th9 /wilt: richly 7M bmrmnd mu.sl liYe lure that can be vyerrtd IWn the faLl that 4
undulating ma.lst!l 0/ /Wir, which art: "jMnnanent
waves," petrified coffJu m : And, whilr IheJt art
. blaumenl bureau lOr jt exislJ <marginal note>
17Iu Jlood aboue "Artirk tk PariJ, Spi cia/iti.s pour Forains." We.fo1l(}'(,fMd Ik
tllrned to storie, the m(JJonry ofthe walls abOut is ntlTTtIW dar" comMr 10 wlm-e- between a ulibrairie en .soitk," in. which
-{Baudelaire, "La like crumbling papiu-macM. mamJ ofboolr.s were sto.cud in dusty tied-up bundltJ, and a shup .selling only
chewlure." RedrJtl, Bdtt/e, too, are lIlt mrua;, thmholds that lead you, defontaisie N)_
buttons (molher-tf...pearl, and the Jcind that in Paris i.J CtJIltd H
Bautklaire, who haV( in the style r!I tht old m laurantI 0/the Palais· we ducofJtrtd a sort 0/.so./()Q . On the pak~/ured wallpaper.foll 0/figure.s and
""uk a lPedal world 0111 Royal, 10 a "diner rk Paris"for frueftaneJ; they busLs .shone a gaJ lamp. By it.s light, an old woman .sat reading. '17rey sa, she
oOair. "Betra.yed and 1/Iounl holdly to a gla.u door, hut you can Iw.rdJ, has berTIlhere o.I01lt.for yearJ.
.so/d'· that i.J a fate IIw.I bel~ thai behind Ihis door is really a m tauranl, {Having jJaJJed 0. Jtamp shup with Soulh American hummingbird .slamps ()Q pa-
/irJi becom« intelligible 17Ie gllLS.s door a4jau 1I1 promim a "ltH! Casino" per .stained by damp, we come 10 an efJice .shrouded in black- .· thae, gold and sil-
within theH .sfmm. H ere. and a/low; a glimPJe ifa h"cul hoolh tmd prim of ver upurcho..sed. 11Mre, the proprietor .sulr.s .stu 0/lulh in gold, in wax, or
the head o{Salome iud!
has 6«ome all fJ!'IU1!llrn tj
Jeal.s; but Y'ffe you to open it and go in, zwuldn '/
you rat/ler wme oul on Ihe Jtreet instead ifinto the
- brolun.:
:4nd notlM.from lher, mull Iuwc #004 tht offices in which. toward tilt
or ratha. a ,hrut{r head .space ifa thealer7 u Or into a dnrJcnw .such as be~'n"ill' oftM BiedmnriujJtriod. Doctor M irade created his o£ymma.
Ilw.t now tluJl inlo which all .stair.s /~ad ailM entrancrnJa,J FOr Ihq are lhe lrue.fain'es qitllm ~s (mor, Wabk and more worn
Salome '.s and 'lOW Anna on either .side .'1 thaT! th, (i«·me OM.s): Ike 1imn«1, world-(pmoUJ Parisia" dolts. whW
C!'I'IIgJ. i Rits hm and rrvolwd on thOr mUJiepi socle anibarr in thnr a11?!J 4 diJU-,riud basAd
Ih";.e under:irkd·l oUI2fwhich. allhe salutation oCthe minor chord, a IambJcin pghd its
--en, door, jn {ad. hlLS a mirror in Ihe middle and . .si"" all tun'ous muuk <marginal note>
wal4 are br<aci,;d hy mirrors, Ihm i.s no t~/lin, oULsid;.from in, But a small, red Hn parQJol, atlhe foot if0. Jlaircase close by, poinu /he way
with all th, cqUilJt)(d/ j/luminrlli01I. Pam is tM dO o{mirror.s ... J coyly to afaetory producing umbrellaferrule.s.
1. (in tJ" arcadeJ {hold" } falser color.s are ponible; that comb.s are red an~ grrm
u nol surpriJing, .sur/lrists no OIK, S1IOW While's stepmfJthq had such IhmD·
And whrn Iii, comh did not do it.s work.. g w i -g U ll apple wrY Meded,
'lfcJcd agnllles halN: large numbers fJ{;~glJ auailabit for gabingly nnflfJ thea.:.
1m. Shall we not. howS,", lake (lIluantag; ofthil Jituation in order tq hm&!!:I
neighbor Jome baltertd <?) creature wJw <broken off)
/ 11;11(11 0.11 agq!(~ Ille tleAet WgJ barn . ..
"SoufJalirs" and bibelot.s can baomr: particularly bideous; thr ot/aluque bes IfI
"u'(I.it no:t to the inkwell; prie.stoJrI devate (uh tray.s like prdm.s.
£<or'}whm- ltot/cing.s play ~ Jtar.ing roJt'~IUJW l)'i~g nixt 10 .somt. PholO~uer
grallh.r. mm l i" II doff IlflJp,fal, TloW 011 a sl(le table //I (/ trwr.nI, watched
by« girl.
 " Dialectics at a Standstill" '''The Story of Old Benjamin"
Translators' Notes' Guide to Names and Terms ' Index

, .

The P:wage Choiscui, 1908. PholOgrapher unknown.

 Dialectics at a Standstill
Approaches to the Po ss flgen-We rk

By Rolf Tiedell1awl

'fl1(tt art. boob whose fate ha5 been settled long before they cvcn exist as boob.
Iknjamin's unfinished PtWagen-WtrA isjWl such a C3.$(.. Many Iegmds have been woven
around it since Adorno lint mentionc:d it in an essay published in 1950,1 lbosc legends
became even more complexly embroidered after a two-volwne selection of Benjamin's
Icttcn appeared. which abounded in statements about his intentions for the project. But
these stat.cmcnts wac neither complete nor coherent. 2 A3 a result, the most contradictory
rumors spread about a book that competing Benjamin interpreters persistently referred to
in the hope that it wouJd 5Oh~ the puuJes raised by his intell«tUal physiognomy. That
hope ha5 remained unrealized. The answer that the fragments aCthe ihsJogtn-Werk giVClO
iu readers instead foUeM Mephisto's retort, ~Many a riddle is made here," with Fawt'.
~ Many a riddle mwt be soh'ed here!'

- In fact, for some years the texts that provide the most reliable information about lhc:
project Benjamin worked on for thirtttn years, &om 1927 until his death in 1940, and
that he: regarded as his masterpiece, have been available. Most of the more important
texts he wrote during thC' last decade ofhis life are offihoou of the Pa.s.sagm-WeTA. U it bad
\ been completed, it would ha\~ become nothing las than a materialist philosophy of the
history of the nineteenth century. The expose entitled "Paris, the Capital of the Nme-
tecotb Century" (1935) provides us with a sununaty of the themes and motif! Benjamin
wa5 concaned with in the larger work_The text introduces the concept of "historica1
scbematism" (5:1150),3 which was to serve as the basic plan for BerYamin's construction
of the nineteenth century. On the other hand. "Das Kwutwuk Un Zeitalter seiner techni·
schen Reprodw.ierbarkeit" (The \-\brk of Art in the Age of TechnologicaJ Reproduabil-
icy; 1935- 1936) has no thematic COM«tiOIl with the Pas.sagen-WeTA (dealing with
phenomena belonging to the twentieth rather than to the nineteenth century), but is
ne\'uthdess relevant from the point of view of metllodology. In that CMay, BerYamin tries
to "pinpoint the precise' spot in the present my historical construction ....-ould take as its
vanishing poim' (Letters, 509). 1be great, fragmentary wo rk o n Baudclaire, which came
illlo being in the years 1937- 1939. olTers a "nunjature model" of Tlrl! Arcatks ProJtd. The
medKldologicai problems raised by the. "\ \brk o f Art" essay were, in their rum, addressed
Ouce more in the thesc.s ~Obc.r den BegrifT der Gcschiclm~ " (On the Concept of History).
In Adorno's opinion, these theses "more or less summarize the epi~temo[ogical considera-
tions that d evdopcd COIlCUTTCIlt.ly with 1M Arcaill!J !+ojed_ " ·1 What survives of tllis proj·
co.-the count.less notes and excerpt.! that constitute the fifth volume o f Benjamin's

Notcs for this UIIay begin on page 10 12.

 C~satnmtfl( Sdlriflm- rnrdy go theoretically beyond positions th3t ha ve been fonnulated:
1II0rc: radicall y in tbe: tCXIS mentioned abovt'. Any study of the PaJJagtl1- Wer4 (lknjamiQ'.
intentions hardl y lay UJcrruelves o pen to a simple: perusal) must ulcrd ort deal with the
""'u rK of An" usay. the tCXtS dc ..'Oted to Baudelaire:. and the theses "On the Concqx or
History.~ illest: must always be praent to the student's mind, ('vcn dlOllgh they ~
manifestly autonomous- writings either introductory to the PrLuagro-H't-r! or distinct
• from it.
llle published volumes of the: Rwagm-Werk begin with twO tcxLS in which ~:u.nio
pn:.'iCl1U dlt: project in sununary, first in 1935 and again in 1939. Together with the early
cuay "Ocr Satumring, ada &was vom Eiscnbau" (DIC Ring of Sanun, or Some ~
marks on Iron Construction), these tCXts arc the onl y ones belonging to the Arcade.
complc.x that may be said to be complete.. They \ VCTe not, ho'o~ver, intended for publica-
tion. TIle earlier, Gennan one: \va5 written {or the lnstitut fUr Sotialforschung, which, U iI
TC5uit, acttptcd the Passagm-Wrrk as one of its sponsored research projccu. The: other
text. written in French, came inio being at Max Horkheimer's instigation : Horkhcimcr
hoped to make use of it to interest an American pauon in Ik:njalllin. TIle most important
pan, as well as the lengthiest section, of Vo lume 5 of dle GrJammdlr &Iltiflen cOluisu or
the manuscript o f the ~Aufz.eichnungen wld Materialien" (Notes and Materials; hm::
called the "Convolutes"), which is subdivided thematically. TIm is tht: manuscript that
had been hidden in the BibLioihCque Nationale during \ \brld War U.
Benjamin probably worked on this manuscript from the fall or winter of 1928 until the
end of 1929, and then again from the begiruung of 1934. TIle last emric.s were made ia
the spring o f 1940, ulllllediatdy before Benjamin fled "Paris. The p~sc:nt order of the
notes does not colT<'spond to the order in which they \'VfiC originally entered. It SCCIDI
that Benjamin would begin a new convolute, or sheaf of nOles, whenever a DeW thcmr:
suggested itself and demanded to be treated. Within the d.ifferent sbeafs that were c0m-
posed simultaneously, du: nota may evince the chronological order in which they wen: -
written down. Yet evm this chronology is not always identical with that of the 1lOa':I'
actual conception. At the beginnings of those rubria that had guided hi! research in ill
earliest stagt:. we find notes Benjamin .incorporated from older manuscripts. Here the.
DOtes have been rearranged, and therefore the first pages o f the rcsptttive coUections of
material fol}o>, ... cenain dear principles. By contrast, rubrics either added to or newly
begun from 1934 onward genually owe tll("ir order to the coincidences of Benjamin's
sturuu or, even more so. to hi! reading. s
TIlI,~ section "Erste Nomen" (5:99 1- 1038), It<"re called ~ FlJ"St Sketches; consist! of
COIlSecuti V~ Ilote.. that we:~ begun about the middl~ of 1927 and terminated in I)eccmbc:r
1929 or, 3t die latc:st, by the bcgUuung of 1930. 1bey are published in their entirety, even
tllOugh tll("ir conte:nts have: for tlle most pan been ulcorporate:d into tlle larger "CoD'"O-
lutcs~ section. It is only with their help that we can trace the ~ lransfomt.1.tioll process" that
detennined th e: transition from the: first stage of the work to tlle second. 11le first of the
~ Fn1he: ElltwUrfe:" (Early OraflS) entitled ~ Passagen" (Arc.'ldc:s), dates b .. ~ to the very
J.i.n;t phas~ of th~ work, lllid· 1927, when Ik:njamin intende:d 10 collahorate witll Fran1
He.~sd o n a joumal artiele. 11le: draft may well have been written by Bcnjanun :Uld.Jic:'~
together. "Pariser Passagen II" (here called "The Arcades o f Paris~) shows BenpnUfl 5
attel1lpt~ in 1928 and 1929 to wrile: the' essay he thou gh t tlle Pass(lgal: Wrr* would be-
come. Beniamin wrote: these: texts in a format totall y unusual for h un and on '"~
, ., . mne
expeJl5ive hand1l 41de p..1pcr, whidl he never used before: ~r after, ?"e can easl ~ UlI3,,_ .
tha t he a pproached their composition as he: would a fcsuye occasion. But he: did !lot get
ve:ry far. 1be discrc:te lexU, wh05e $equc:nce he: did nOl C5tablish. arc 5000 interspersed
with and finally overgrown by quotatio ll.'l and bibliographic notes, and in places with
cOiIUnentary. Both the "Convolutes" and the "Flf5t Ske:tches ~ arc published in extenso as
they arc found in the manuscript, but ~The Arcades of Paris" is treated in a diffcrttlt
manner. TIle notes and quotations in this manuscript were: neVCT n:ally worked out: they
must have either been I1"aru;fUTed 10 the "Convolutes" or been discarde:d. They have
therefore not been included in tliis edition. Only fuU y fonnulated texts have bttll publish·
ed: dJCir order has bcc:n established by the editor. These IeXU, among the most important
and, if I may say 50, the most beautiful o f Benjamin's t!:Xu, surface: again at various places
in tlle "ConvolUles." Published as a who le , howe"~r, they con'"C:)' an impression of the
essay Benjamin mulled m'('T but never actually wrote. The last text, I<'Jbc Ring of Saturn,
or Some: Remarks on Iron Construct.ion," also belongs to the first phase of hi! projea:. It
may. in fact. be a journal or newspaper article, an offshoot of the PQ.lSQgrn-Wt'T* which
fIC\"CJ' made it into print.
The fragments of the PaJJiJgnt-Wt'T* can be compared to the materials used in building
a house:, the: ouiline of which has j ust h«:n marked in the ground or whose foundations
arc just being dug. In the twO exposes that open the: fifth volume of the GtJtnMlatt
SdmJien, Benjamin sketches broad outlines of the plan as he had envisaged it in 1935 and
in 1939. The five: or six sec:tioru o f each expost shOlild have: corresponded to the same
number of chapters in the book or, to continue the analogy, to the five or six Boors of the
projected house. Ne:xt to tlle foundations we lind tll(: neatly piled excerpts, which would
have been used to construct the walls ; Ik:pjamin's own thoughts would have provided the
mortar to hold the: building together. TIle ~adcr now poMCSSCS many of these theoretical
and interpretivt' rc:Bectioru, yet in the end they almost seem to vanish beneath the very
weight of the cxc~. It is tempting to qucstion the sense of publishing these oppressive
chunks of quotations-whether it would not be bat to publish only those text! written by
Benjamin him.sclf. 11lese text! could have been ea.!lily arranged in a readable format, and
they \-\'Ould have yielded a poignant coUcction of sparkling aphorisDlll and disturbing
fragments . But th.i3 would have made it imp0s5ible to guess at the projc:ct. attempted in the
P<l.JJll{ffl-Wt'TA, such as the ~adcr can d.i.Kem it behind these quotations. Benjamin's
intentio n was to bring together theory and materials, quotations and interpretation. in a
IllCW constellation compared to contemporary methods o f representation. The quowlons
and the materials would bear the full weight of the: project; theory and interpreation
would have: to withdraw in an 3.5CC'tie manner. BerYamin isolated a "central problem of
, historical material.ism," which he thought he could salvt in the P~-W"'t, namely:
In what way is it possible to conjoin a heightened graphicness <AnscAaulidl1n'f) to
the ~a.lization of the Marxist Im(hod? TIle first Stage in th.i3 undertaking will be to
carry O\'U the: principle o f mOntage into llistory. 1l1at is, to assemble large-scaJe
corutru ctions OlIt of dle smallest and must p~cisdy cut colllpon~nts. Indeed, to
discovcr Ul the analysis of tlle small individual monl("nt tlle crystal of the total eveut.
(N2,6)'
111e components, thc struCtural eJeme:nl5, a~ the countless quomtiollS, and for this reason
lhc}' calumt be omitted. Once r.1Illiliar with tlle archi tecture of the whole, the reader will
be able to read the exce:rpts without great difficulty and pinpoint in almO!Jt everyone that
dement which must have fasculalw lkl~amin . 11lc reader will also be able to specify
which function an excerpt would have served in the global (:ollSlnlction- how it might
have been able to become a "ery.sta.l~ whose sparkling ligtll ilSdf reflects Ihe tOtal ~\'ent.
-n le reader-will, of cour~e , have to drow 0 11 Ul(" ability to ~ interpolate into the infinitesi·
IllaUy .sma.u,~ as Benjamin defines the inl:lgination in EinfxJmJ~ (One·Way Strcet).7
 For the: reader endowed with such an imagination, tht: dead letters Benjamin collected
from the holdings of lht Bibliothequc Nationa1c: will come to life. lbhaps even ~ .
building Benjamin did not manage: to build will delineate itself before the: imaginativcly
speculative eye in shadowy outlinu.
These shadoW!, which pre ....ent us from making a surveyable, consistent drawing of the:
arch.itcctutt. art often mu:cable to problems of a philological nature:. ~ fragments.
• which art mostly short and often seem to abbrrviate a thought, o nl y rardy allow us to
glimpse how Iklyamin planned to link them. H e: would o ftc:n. lir-It wri te down ideas,
pointed scribbles. It is impossibk to ckterminc wll(:ther he phliUlcd to retain them in the
j
•
course: of his work. Some theoretical notes contradict each other; others att hardly
compatible. Morc:OV'I!r, many of Benjamin's texts art linked with quotations, and the J'OO't;
interpretation of those citations cannot always be separated from Benjamin's own po&i.
rion. TIlereforc, to assist tht: reader in finding hi.! bearings in the labyrinth thi5 volume
pmeIlts, I shall brieOy sketch the essentials of Benjamin's intenrioll5 in hiJ Pas.wgm-WerA,
point out the theomica1 nodes or his project, il1ld try to approach explication or.some or
its cmrral categories.
TIle PtWag't'Il-Wtr! is a building with nvo completely different floor plans. each belonging
to a piU'ticular phase orw work. During the first phase, from about mkH927 to the ran
or J 929, Benjamin plarmed to write an essay entitled "Pariser Passagen: Eine dialdui,sclx
Feerie' {paris Arcades: A Diakctical Fairyland).a Hi.~ earliest references to it in letten
characterize the project as a continuation or Ont-Hay Strttl (Lctten, 322), though Jk:n..
jamin meant a continuation less in tcnns or iu aphoristic form than in w specific kind of
concrctiz.ation he attempted there : "this extreme concretene55 which made itself rdt there
in some instances-in a children's g:unt, a building, and a situation in Iife- -should now
be captured "ror an epoch" (Lctten, 348). Benjamin's original intention was a philosophi-
cal one and would remain so ror all those ~ : ')RItting to the test" (dit Probt (1111 dtu
Ut1llptl) "to what extent you can be: 'concn"te' ill hislOrica1-philosophical conl:exu" (Lee-
ten, 333). He tried to represent the nineteenth century as "commentary on a reality"
(0 °,9), rather than construing it ill the abstract. ~ can put together a kind of "cata.logue
of themes" from the ~ Ftrst Sketches" about the RwaF·Wtr!. The catalogue shows UJ
what the work was supposed to tteat at this 1cve1: streets and v.."lltthOUSC'S, panorama&,
world exhibitions, types or lighting, fashion, adverWing and prostitution, collectOn, the
flineur and the gambler, boredom. H ere the arcades themselves arc. only one: ~
among many. TIlt:y belong to those urban phenomena that appeared Ul ~ early ~
tetom century, with the onpharic claim or the new. but they have meanwhile lost their
Functionality. Benjamin discovered the signature or the early modem in the ~'er ~
rapid obsolescelltt o f the inventions and innovations gener.lted by a developing caPital-
ism's productive forces. H e wanted to recover that feature from the appearances or the
WL'lighdy, intmtitmt mta, the physiognomic way: by showing rags, as a monta~ or u:u h
(0 ,36). In Qne-IfifJ Sfrttt his thinking bad sinwarl), lost itsdfin the concrete a.,t parucu-
0
lar and had tried to wrest his 5ttrct cli.rtctl)', without an y theoretical mediation. S~dl a
surrender to singular Being is the distinctivc reanu'c or this thinking as such. It IS not
affected by the r.mling mechanisms or undergraduate philosophy, with its tranSCe.n~~
tableus or commandments and prohibitiolL'l. Rather, it limits itself to the somt"What ~:
tus pursuit of a kind or gelll.le empirical e.xperience" (Empin't). Like Goethe's Empr"t, It
dOC!! 110t deduce the Clisence bdund or abcr.'C' the thing- it knowS it in the things theOl'
selves. . Almost conculTCIldy with his first 11OU:8 ror die Pa.uagrn-l Jh-k, Bc:njamin included in
111e Surrealists \w:rc the finn to disc(NCf the material world d laTaC.l.erutic of d ie nme-
tecnth cattucy, and in it a specific mJu,ologit mOtitrnt, ft is to that modern mythology that
Aragon dCV0tC5 the preface to 1m PayJan de 1hrU, while BnlOl1'. Nadia reaches up into its
arti6cial sky. In his essay ~ Surrealism.~ which he ca.Iled an ~opaqu e folding screen placed
berore the fh.uagr:n- Hir!" (Leiters, 348), Benjamin praised the Surrealists as ~ the first to
perceive the re\'Olutionary energies that appear in the 'outmOded: in the first iron con·
stnlaiOns, the: first ractory buildings, the earliest photos, the objcru that begin to be
extinct, grand pianos in the saion, the: dresses of five years ago, rashionable re5tauranus
when the vogue has begun to ebb from them.1>9 This stratum or material, the alluvium o f
the recent past, also pertairu to the Ptwagm-Wtr.t Just as Angon, sauntering through the
Pa.ssa~ d e: 1'0pera, was pulled by a uape de rivtJ intO saange, unglimpsed realms or the
Real, so Benjamin wanted to 5ubl1lO'gC himself in hitherto ignored and scorned reaches or
hi..,tory and to salva~ what no olle had seen berore lilin.
11le nearly depopulated aquarium humain, as Angon described the Passage de l'Opera
in 1927, t\vo ye3J'S aftel' it had been sacrificed to the completion o f the inner circle or
boulevards-the ruins of yesterday, where today's riddles arc solved-was unmatched in
its influence on the Rusagm-Wtr! (sec Letters, 488). Benjamin kept quoting the lutur
glauqllt or Aragon's arcades: the light that objects are immersed in by dreams, a light that
makC5 them appear strange and vivid at the same time. If the concept or the COllO'de
rormed one pole or Benjamin's theoretical armature, dlOl the Surrealist theory or dreams
made up the other. The divagatiOllll or the fint Arcades "sket.ch~ take place: in the field or
tension between conaetiz.ation and the dream. IOTIrrough the dream. the early Surrealist.!!
deprived empirical reality of all it.!! power; they maltreated empirical reality and its put-
posive rational organization as the mue content of dreams whose language can be only
indirectly decoded. By turning the optia: or the dream toward dIe waking world, one
could bring to biM the concealed , latent thoughts slumbering in that world's womb.
Benjamin wanted to proceed similarly with the representation of history, by treating the
nineteOlth«ntury world of things as if'it wen: a world or dreamed thinp. Under capital-
ist rclatioruhips or production, history could be likened to the unconscious actions o r the
dreaming individual, at lea.st insorar as history is man·made, yet without consciousness or
design, as if in a dIcam. " In order to understand the arcades rrom the ground up, we sink
titem into the deepest stratum of the dream" (F",34). lfthe dream modcI is applied to the
nineteenth century, then it will strip the era or its completeness, or that aspect that is gone
rorever, or what has literally become history. The mearu or production and way or life
dominant in that period were not only what they had been in their time and place;
Benjamin also saw the image·making imagination o f a collective unconscious at work in
them . 1ba.t imagination went beyond its historical limits in dl(: dream and aaually
touched the prescnt, by trans rerring "the thoroughly fluctuating situation or a conscious-
ness each time manifoldly divided between waking and sleepiJlg,~ wluch be had discov-
ered in psychoanalysis, ~ from the individual to the coUecbve" (CO,27). Benjamin wanted
to draw attention to the ract that architectonic constructions such as the arcades O\'t-ro
ule;ir existence to and 5~rved dIe indusuial order of production, while at the same rime
containing in themselvClI something unfulfilled , never to be rulfilled within dlt confines or
capitalislll-in tills case, the glass ardutectuK or the rutun"' Bc,~amin orten alludes to.
-Each epoch" has a "side turned toward dreams, du: child's side;" (P,7). TIl(: scrutiny this
5k1e of histor}' v.'aS subjected to in Benjamin's observation was designed lO "Iibe:rate the
ellonnous energies o rhislory ... that an"' slwnbering in the 'once upon a tinle' or classical
lust(Jricai narrative" (0 °,71).
his writings many protocols o f his O\VIl dreams; tills was also when be beg-om to cxpcri-
 ment with drugs. &th I'l:prescnted attempts to break the fixatioru and the encrustation.
in which thinking and its object, subject and object, haVt: been &Otto under the: ~
of mdu.m iai produaion,lI In drnms as in na.rootk intoxication, Benjamin watched "a
world of particular secret affinities" reveal itself, a world in which things cnter into "the
mWl cona-adictory communication" and in which they could display " indefinite affinj.
cia" (A'>'4-5), Intoxication and the dream seemed to unlock a realm of experietlca in
• which the Id still communicated mimetically and corporeally with things. Evcr since hia
" earlier philosophical explorations, Benjamin sought a concept of upcricnCI! that would
explode the limitatioos set by Kant and regain "the fuUne.u of the concept of experieln
held by earlier philosophers," which should reston: the experience! of theology,I2 But the
experiences of the Surrealists taught him that it was a matter not of Te!ltOring theological
experience but of transporting it into the profane:
These experiences are by no means limited to dreams, hour! of hashish eating or
opium smoking. It is a cardinal error to bcli~~ thaI., of "Surrealist ~eoces," we
know only the rdigious ecstasies or the ecstasies of druV.... But the true, creative
OVt:rcoming of rdigious illumination cenainJy docs not lie in narcotia. It resid(3 in a
profane illuminati/ln, a materialistic, anthropological inspiration to which hashish,
opium, or whatever clsc: can give a pre!iminary lesson. (SU~ 2:208-209)
Benjamin want.cd to carry such profane illuminations intO history by acting as an iota-
prm:r of the dreams of the nincteentJi.·cennny world of thins!. lne epistemic intmtioo
manifest here seems to fit in with the COntext of Benjamin's soon·to-be·fonnulated theory
of mimetic ability, which is, at its core, a theory of expericncc.. l ! The ~ry boIds dw.
exper1cncc rests on the ability to produce and.pc:rcch-e similarities-all ability that under-
went significaru change in the course of species history. In the beginning a SCDSUOUI,
qualitative type of behavior of men toward thins!, it later uansformed it.sdf phylogmeri-
cally into a faculty for apperceiving nonsensuow similarities, which Benjamin idc:ntifird-
as the achievements of language and writing. VIS·;),·vis abstracting cognition, his <XJtK:qK
of experience wallLed to maintain inuncdiatc cornact with mimttic behavior. He wall
ooncerned about "palpable knowled~" (gtfolr/les W~). which "not only feed! on the
sensory data taking shape before. his eyes, but can very well possess itself of absuacr.
G
knowledge-indeed. of dead facts-as something experienced and lived through" (c ,1).
Inmges take the place. of conccpu-the enigmatic and \'eXing dream images which hlde aD
that falls through the coarse mesh of semiotics-and Y'=t those images alone balance \be.
cxcrt:ioru of cognitioo. TIle ninct«nth-ccntury language of images represents tbal ccn-
rury's "deepest level of sleep" (C G,27)-a sleep that should be awakened by the~·
Werk.
Benjamin knew that d.lis motif of awakening separated him from the Surrealists. ~
had cried to abolish ule line of demarcation between life and art, to shut ofT poetrY III
order to live: writing or write life. For dle early Surrealists, both ~am and reality ,vould
twravd to a dreanJCd, unreal Reality, from which no way led back to corucmporarr
praxis and its demands. Benjamin criticized Aragon for "persisting within (i-; realm of
dreams" and for alIowillg mythology to "remain" with him (H O, 17). Aragon's mytho.logy
remains mar mythology, unpenctrated by reason. Surrealist imagery evclls out ~ di~er­
cnccs separating Now from Then; instead of bringing the: past iULO the present, It drives
~thiJlgs back. into the distance again" and remains bound , ~in lhe historical sphere, Ito] a
romantic distancc" (C O,S). Bcl~amin, 011 the other hand, wamed ~LO (bring) ulingJ near;'
to allow lhcm to -step .into our lives" (l°,2). What linked his medloos to Surrealist ones,
the Umnersioll of what has been into layers of dreams, represented not an end in itself for
the RwUlt'll-WtTk, but rather its mcthodological IUTIUlganent, a kind of experimental
5CtUp. TIle nineteenth cenrury is the dream we must wake up from; it is a nightmare that
will weigh on the present a5 long as its spell fCmains unbroken. According 10 Ba~amin,
the unages of dreaming and awakening from the dream arc related as expression is related
w interpretation. He hoped that the ima~s , once interpreted, would dis50h~ the spell.
Benjamin's concept of awakening means the "genuine liberation from an epoch" (h0,3), in
the double sense of Hegd's A~blm{;: the nineteenth century would be transcended in
Ulat it would be prcsc:rvc:d, "rescued" fOT the prc;scnl. lknjamill defines "the new. the
dialectical method of doing history'" in these words: "with the intensity of a dream, to pas,
dlTOugh what has been [daJ Gewtwu·J, in order to experience the present as the waking
world to which the dKanl refers" (p ,6). TIlls concept is based on a mystical conception of
history that Benjamin was ~ to abandon, not even in his late theses MOn the Concept
of History." Every prcscnt ought to be synchronic with certain moments oflilitory,just as
every past becomcs "Iegible~ only in a cemin epoch- ~namely, the one in which human-
ity, rubbing its eycs, recognizes just this particular dream image as such. It is at this
OIomCilt that the historian takes up ... the task of dream interpretation" (N4,1). Toward
dlls end, we need not a dragging of the past into the mythological, but, on the contrary, a
~dissolutioll of 'mythology' in the space of history" (JiG,17). Benjamin demanded a "000'
crete, materialist meditation 011 what is nearest" (dtu N'lidutej; he was int.ereStcd "only in
the presentation of what relates to us, what oonditioru UJ" (CO,S). In this way the historian
should no longer try to enter the past: radler, he should allow the past to enter his life. A
"pathos of nearness" should replace the vanishing "empathy" (10,2). For the historian,
past objecl! and C'VetlU would not then be fixed data, an unchangeable given, because
dialectical thinking "ransacks them, revolutionizes them, tums them upside down"
(0°,4); dtis is what must be accomplished by awakening from the dream of the nineteenth
century. That is why for Bel~amin the "clfort to awaken from a dream" represents "the
best example of dialectica1 revttsaJ" (DG,7).
The key to what ma}' have been Benjamin's intention while working OIl the first phase
of the PlUJtJgm·WtrA may be found in the sentence, "Capitalism was a natural phenome:-
non with which a new dream·filled sleep t:anle (l\'Cf Europe, and, through it, a reactivation
of mythical forces" (Kla,8) . Benjamin sharc3 his project, the desire to investigate capital-
ism. with historical materialism, from which he IllBy well ha\'e appropriated dlC project in
the first place. But the concepts he uses to define capitalism-nature.. dream, and myth-
originate from the terminology of his 0....'1) metaphysically and theologically inspired
thought. TIle key concepL'l of the young Benjamin's philosophy of history cCllter around
a critique of myth as the ordained hcteronomous, wruch kept man banished Ul dumb
dependence throughOut prehistory and which has sUlce survived in the most dissimilar
forms, both as unnll.'d iated violence and' Ul bourgeois jurisprudencc.14 llle critique of
capitalism in die first Arauks sketch remains a critique of myth, since in it the ninc:tccndl
cClIlury appears as a domain where "only madness has reigned until now.~ ~ 8ut ," Ben·
janun adds, ~eve:ry ground must at some point have been tumed over by reason, must
have been cleared of the undergrowth of delusion and myth. 1bis is to be accomplished
here for dle telTllin of dle nUlCtccndl century" (C O, 13). His interpretation rec.:ognizes
forms still unhlstorica.l. still imprisoned by myth, fomlS that ~ only preparing dll~m'
Selves, in such an interptttation, 00 awaken from myth and to take away its power.
13e1~amin identifies dlelll as the dominant fomu of consciousness and dle imagery of
Incipient high capitalism : the ~ senliatioll of die newest and 1lI0St modem," 3JS well as die
 image of the "eternal rerum of the samc"-bolh ~ "dream fom13.tions of evcnta"
dreamed by a coUective mat "knows no history" (MO,14). He speaks in direct th~
terms in his interpretation of the modem as ~ the time ofhdl":
What tnallUS here is that the face of the. world, the colossal head, p~y in what
is newest ne.'tt iudf changes- mat this ~newest" remains in all respccu the same.
nus constiMe.'! the eternity of hdI and the sadist's delight in irutovation. 10 dctc:r-
• minc the totality of trait! which define this "modcrnity" is to repn:scot hdl. (Go, l7)
" Since it is a "commentary on a uality," which sinks into the historical and interpret! it as
it would a text, theology was called upon to provide the "scientific mainstay" of the
paJJogm-WerA: (0 °,9), though at the same time politics was to retain its "primacy over
history" (h0,2). At the time of the first Arauks skctch. Benjamin was concemcd les.s with a
mediation of theological and political categories than with their identity. In this he was
very much like Ernst Bloch in Crisl tkr UtopU (Spirit of Utopia), which he explicitly took
as his model He repeatedly had 1ttOlIr5C to Blochian concepts to characterize his own
intentioru, as in "fashion inheres in the darkncs5 of the li\'Cd moment, but in the collective
darkness" (0 °,11 ). Jwt as for Bloch the experiencing individual has not yet achin"Cd
mastery Q'\IU himself at the moment of experiencing, for Benjamin the. historical phen0m-
ena remain opaque, unilluminatcd for the drcaming coUective. In Bloch's opinion, indio
vidual experience is always experience of the immediate pa.n; in the same way.
Benjamin's interpretation of the prescnt rders [Q the recent past: action in the preaem
means awakening from du~ dream of history, an "explosion" of what has bttn, a reval.u·
tionary tum. He was convinced that Mthe wlwle sel of issues with which this projea •
concancd" would be "illuminated in the process of.the prolewiat's becoming conscioul
ofitsdf" (0 ",68). He did not hesitate to interpret these facu as pan of the prcpararion b
the proletarian revolution. ""The. dialectical penetration and aaualization of former COlI:....
texts puts the tJUth of all prc501t action to the test" (0 °,5). It is not the action it:selfbut iD
theory that is at stake here. 'This defines the task of dlC historian u "rescuing" the past 0It
u Benjamin Connulated it with another concept taken from Bloch, "awakening a DDI-yeI'"
consciow knowledge of what has been" (H°, 17) by applying the "theory of not-yet-
conscious knowing _ . . to die coUective in its variow epochs" (0 °,50) . At. this , . .
Benjamin conceived of the Pass~ - WerA as a mystical reconstitution: dialectical thinkina:
had dIe task of separating the futul"C'laden, "positive" element froDI the backward "~
tive" element, after which "a new panition had 10 be applied [0 this initially exduW,
negative component 50 dl.3.t, by a displacement of the angle of vision . . .. a positive
element emerges anew in it too-something diffeTCllt from dlat previowly signified And
so on, ad infinitum, until tilt entire past is brought into the present in a historical apocataI""
wis" (Nla,3). 10 this way, the nineteenth century should be brought into the present
within the P~m-Wn"A:. Benjamin did DOt think. revolutionary praxis should be alloWCd
at any lesser price. For him revolution was. in its highest forni, a liberation of the past,
which had to demollsrrate "the indestructibility of the h.ighesc life in all th.in~" (00,1). At
the end of the 19205, theology and communism converged in Belyamin's ~ought. ~
metaphysic.a.l, historiC31·philosophical, and dleological sources dlat had nurtured bolh bit
csot.eric early writings and his great aesthetic v..'Orks until UrJpru.lIg dts rUutJcltm 1fauer-
sp~1.J (Origin of the ~all Tnauerspiel) were still Bowing and would also nurture dlt
~-WerA:.
The ~ffl-W....A: wall supposed to become all of dlat, and it became nOlle of dl3.t-lO
ccho a famous phrase of Benjamin's (0".6)- He interrupted work in the fall of 1929 for
various Tea.'lons. Retrospectively. he placed responsibility On problems or rq>l"C§Cntatlon:
dle "rhapsodic nature" of the "'Ork., which he had a1n::ady announced in the first skc:tch's
subtide, ~ a dialectical fairyland " (Letters, 488). 1lle "illicit 'poetic,.. formulation he thm
thought he was obliged to use was irreconcilable with a book that v.ra.s to have "our
generation's decisivt Iwtorical interests as its ~ttI." (Scholem Letters, 165). Benjamin
bc:lie\-w that only historical malerialism could ureguard tha&e intCfCSts; the aporias he
r;:ncountered while composing the Ptusogrn-Wn'A:, then, undoubtt'd1y culmiruued in the
project's position in relation to Marxist theory. TIlOUgh Be:lyamin professed his commit-
ment to Communisl party politics to begin with, be still had to convince: hinudf of the
necessity to proceed from a political creed to the theoretical study of Marxism, which he
thought could be appropriated for his purposes even prior to his actual study. His inten-
tion was to secure the Rmagrn-U&-A: "against all objections . .. provoked by metapbys-
ics ~; "the whole mass of thought, originally set into motion by mctaphy!ics." had to be
subjccted 10 a "recasting process" which would aUow the author to "face with equanimity
the objecu orthodox Marxism might mobil.iz.t against the method of the: work" (Leuers,
489). Benjamin traced the end of his "blithely archaic philosopbtting, imprisoned by
nature," which llad been dlC basis of the "romantic rorm ~ and the "rhapsodic na.ive~" of
the lint sketch, to con~nations with Adomo and Horkhcimer thai he charactcriz.ed as
~ historic" (Letter8. 488-489). These took place in September or October 1929, in Fra.nlt.
run and KOnigslein. In all probability, both Horkhcimer and Adorno insisted in dis-
cussions of the submitted lCXt!-mainly the ~Early Drafts~ published widl the
Pas.wgrn-HiTA:- that il was impossible to speak sensibly about the nineteendl century
without considering Mant's analysis of capital ; it is entirely possible that Bmjamin, who
at that time had read hardly anything by Mrux, was influenced by such a suggestion. ISBe:
that as it may, Benjamin's kuer to Scbolem ofJanuary 20, 1930, contains the statement
thai he would have to study cctain features of both Hegelian philosophy and CDpiUll in
order 10 complcte his projCCt (Letters. 359). Benjamin had by no means concluded such
studies when he returned to the l'assagm-Wn"A four yean later. The "new face" (5:1103)
the "'Ork un~iled , due nO( a little to Benjamin's political experiences in exile, revealed
itself in an emphatic recourse to social histOry, which had not been whoUy reli.Ixtuished in
the firSt sketch but which had been eoncealed by dlalSketcb's surrealist intentions. None
of the old motifs "~re abandoned. but die building was given stronger fowl(iations.
~ong the themes added were HauSSJUarul's influence, dle stJUgglcs on dlC barricades,
~ways, conspiracies, comjHJgnrmtmgr, social movements, the Siock. Exchange, economic
history. the Commune, the history of sects. and die Ecole Polytcchnique: moreover,
Belyamin began assembling cxCClptS on Man, Fourier, and Saint-Simon. 'This thematic
expan.>;ion bardly meant that Be~amin \vu about to ~ a chapter for each theme (he
now planned to write a book instead of an essay). TIlC book's subjcct was now defined as
~ the fate of an. in the llulCtemth CCllrury~ (Letters. 517) and dlw scaucd more narrowly
conceived than it had been. 'That should nO( be: talel} too liten.lly, however: dlC 1935
expose. after aU, in which lknjamin most dearly delineates his ultentions in his \York's
second stage, stiU Ii5LS every theJlI~ die fUsJagtn -11·trA was to treat from dle outset: ar'
?d~~, panOramas. wo rld exhibitions, interiors, and die street! of Paris. This exprue'J tide,
Pan~, die Capital of the Ninetee::nth Centur}".~ remained die de6niti~ tide and was
a~proprialed for another expose-a French prospectus-in 1939. This prospeCtl15 con-
b illS a decisive:: rererence to ~dle new and far-reaching sociological perspectives'" of die
scCond sketch. Be,yamin wrote d13.1 these new pcnpec.th'C.5 would yield a "secure frame-
work of ulletpretive inteTCOfIl1«t:ions- (Lc:uen, '190). 6uI h.i5 interpretation was IlOW
~UpPOSCd to trace the:: book's subject m:lUer-tllC cultural superstructure of nillel«uth-
 century France-back to what Marx had called the: fetish character of conunodities. In
1935 Ute " unfolding of lhi.5 conccpI:" ....,owd ~ consti[Utc the [COler" of the proja:tcd work
(Scholcm. Letters, 159), and by 1938 the wbasic catcgoria of the Rus~m-W"k wou1d
M
"converge in the: detcmunation of the fetish character of cOl1unodities" (5: 11 66). 11m
notion surfaces only once in the first sketch (0 °,38); it was then by no means clear that
conunodity fcruhism Wall destina:!. to foml the central 5Chona for the whole projea..
• When lknjamin wrote the first cxpo~ in 1935, he WOI! probably still unfamiliar with the
relevant discussion in Mant's writings. He apparently only began to "look around . .. in
the first volume of (Apitat" after completing r.hc:: expoH: (5: 1122). He was fam.iliar with the
U1COry of commodity fetishism mainly in LuUc' s venioo; like many other left.wing
intdkctuals oC his generation, Iknjamin largcly owed hi.! Marxist competency to the
chapter on reification in LuUC5'S History and C/aJJ CoruaouJIUJl.
Benjamin wis hed to treat culture in the ern of high capitafum like Lukac's trarulation
back into philosophy of the economic fact of commodity fetishism, as weU as hi.! apptica._
lion of the ca~gory of rrification to the antinomies of bourgeois thought. Marx ahowc:d
that capitalist production's abstraction of value begeu an ideological consciowDe5S, in
which labor's social character is reflected as objective, thing-like characteristics of the
product.!i of that labor. Bcnjamj.n recognizc:d the same ideological consciowne.u at work. in
the thcn-dominant "re:ified conception of culture," which obfuscated the faa that ~
creations of the human mind ... owe not jwt their origin. but also the ways in which they
have been handed down, to a continuing social labor" (5: 1255). 1bc fate of nineteenth-
century culture: lay precisely in its commodity character, which Benjamin thereupon
rq>rc.sented in "ruInual values" as plumt~Q_ Phantasmagoria: a Bkndl«ri, a decep-
ti,,-c: image designed to daule. is alttady the conunodity iudf, in which the ex~
value or value-fonn hides the we: value. PhantaSmagoria is the whole capitalist produc-
tion process, which constitutes iudf as a nanual fortt agairut;:he people who carry it OUL __
For Benjamin, culnual phantasmagorias express "the: ambiguity peculiar to the social
relations and products of this epoch ~ (Expose of 1935, section V). In Marx, the same
ambiguity defUwl "the economic world of capitalism": an ambiguity "exemplified quite
clearly in the machines which aggravate exploitation rather than alleviate the human kit"
(K3,5). The concept of phantasmagoria that Bo~amin ~tedly employs seems to be
merdy another term for what Marx called commodity fetishism . Benjamin's tcnn om
even be found in Marx's writings: in Capita!s lint chap'er (on fetishism), ~ the f~
passage about the "definite social relation" which molds labor wwer capitalist conrullOllt
of production. that very relation is said to "wume . .. the phantasmagoric fonn of a
relation between thinv,. for the peopk concerned. 16 Marx had in mind the ciro.un5tanCC1
of the bourgeois economy's "necessarily f~" consciousness, which is no less false foe
being necessary. Benjamin's interest in culture was less for its ideological collt.ent, ~w­
evct, whose depth is wlearthed in ideology critique, than for its surface or extcnor, whi,?
is both promising and dccepU\,l:. ""The' crt:atioru and life-styles that were mainly condi·
tioned by COllUlIodity production and which we owe to the previous century" are "~u­
ously transfigured in their inuUt:diate presence" (5:1256). Benjamin wa.~ imere., ,!d m that
inuncdi.ate presence· the secret he was tracking in the Rwagrn-W..,.,t is a secret that comes
to appear. The "lus'tcr with which the commodity-producing ~ty .SurroUI~ i~
(5: 1256) is phantasmagorical-a luster that hardly has less to do W!th the ~utiful
appcarancc n of idealist aesthetics than with commodity fetishism. PhantaSmagonas are
the ~ century's mab>ie images" (1 :11 53); they arc the WUl1.uhbillkr, the wish symbols .or
ideals, by whicll t.harcollccuvc tried "both to O\'Crcome and 1.0 tTall.Sfigul·e the inu:nat~rr
of the social product and the inadequacies in the social orga.ni.z.ation of produCOOO
(Expost of 1935. section Il. To begin l\.;th, the phantasmagoria seems to have a transfigur-
ing function : ,",oorld exhibitions, for example, transfonll the exchange value of commodi·
lies by fading, as in a film, from the abstracmess of their valuation. Similarly, the collector
tranSub"llres things by diveliting them of their cOllunodity cllaracter. And ill this same way,
iron conslnletion and glass architeCture arc transfigured in the arcades because "the
century could nOt malCb the new tedulical possibilities with a new social order" (5:12Sn .
As Soyamin in late 1937 came across Auguste Blanqui's L'Eternitr par ItJ 4JtrtJ-a cosmo-
logical phantasmagoria written by the revolulionary while in prison-he reencountCJl.'d
his O\vn spccu1ation about the nineteenth centUf}· as Hades. TIle semblance dlatacter
(Stheinluifl~) of all dla t is new and that the century liked to show off as modem par
('.'(ceUence was consummated in its highest concept, that of progress, which Blanqui
denounced as a "phantaSmagoria of history,~ as ~something 50 old it predates thinking,
\"hicll struts about in the: dothes of the. New,~ as die eternal recurrence of the same, in
which mankind figures "as one of the damncd ~ (5:1256). Benjamin learned from Blanqui
dlat the phantasmagoria embraced ~the most bitter criticism," the harshen indicunrnt of
society" (5: 1256-1257). The tranSfiguring asperu of phantasmagoria cha:n~ to cnligbtcn-
ment, into the insight "that mankind will remain under the power of mythical fear as long
as phantasmagoria has a place in that fear (5:1256). 1bc celltury always t:raruccnds the
"old social order" in iu culnual phantasmagoria. A5 "wilh symbob ,~ the arcades and
interiors, the exhibition haDs and panoramas arc "residue of a dream "WOrld." They arc
pan of Blochian dreaming ahead, anticipating the future: "Every epoch, in faa, not only
dreams the one to foUow, but, in dreaming, precipitates iu awakening. It bears its end
within iudf." Iruofar as dialectical thinking tries to define as weD as to cxpcd.ite this end of
decaying bourgeois rulrure, it became for Benjamin the "organ of historical awakening"
(Exposi of 1935, section VI, end).
"1be propcny appenaining to the conunodity as its fetish cilataoer attaches as weU to
the conunodity·producing society-not as it is in iuclf, to be sure, but more as it rq>rc-
scou itself and thinks to undmtand itself whenever it abstracts from the fact that it
produces precisely conunodities" (X13a). That was hardly Marx's opinion. He identifies
the fetish character of the commodity through the fact that the features of man's labor
I llP/Nar to him as what they are; "as material rc.I.ations Ixtwccn pcrwn.s and social relations
bcm-'CCfl things."11 lbc analysis of capital establishes the quid pro quo of commodity
fetishi.!m as objective, not as a phantasmagoric. Marx would necessarily have rejected the
IlOtion that the commodity·producing society miglil be able LO abstract from the fact that
it produces commodities in any othu way than by really ceasing LO produce commodities
in the tranSition to a higher social formarion. It is not difficult-though also not "'Cl'Y
productive-to point out Benjamin's miscomprehensions of Marxist theory.
BelyanUn showed little interc5t in a Marxist theory of an, whicll he cOlUidered ~one
moment swaggering, and the next ScllOlastic" (N4a.2). He valued three short sentences by
ProuSt more highly dJan most of what ruted in the 6dd or materialist analysis (K3,4).
The majority or Marxist an thcorim explain culture as the mue reSection of economic
development ; Benjamin refused 10 join them. He viewed the doctrine of aesthetic rc.See·
liOn as already wldercut by Marx's remark that ~ dle ideologies of the supcrsuucturc
refkCl rclalioll.'l in a fabc and distorted marUler." Benjamin followed this rc.mark with a
que&uon:
Lf we i.nfr.utructurc in a certain way (ill the materials of thought and experience)
d(temulles the 5UpcrstroOUrc, but if SUcil detenllinatioll is nOt reducible to simple
reSection., tnell how should it be. cilaf3ctcrizcd? As its expression. 11lc sUpenittuc-
 Lure is the. expression of the infrastrucrnn:. The economic condition.~ under which
society exisu an; expressed in the superstnu;:tute, prtcisdy as, with the sleeper, an
overfull slOmach finds not its reflection but its cxpn:ssion in the contenu of dreams
which, from 3 causal point of vit:w, it may be said to "condition ." (K2,5) I
lknjamin did not sct OUt according to ideology critique;18 rather, he gave way to tilt:
notion of materialist physiognomiOl, which he probably wu::lcrstood as a complement, or
• an cxteruioll, of Marxist theory. Physiognomies infers the imer10r £rom the exterior; it
decode! the whole from the detail: it represents the: gmeral in 1M particular. Nominal_
i.uically speaking, it proceeds from the tangIble objttt; inductivdy it conuncnces in the
realm of tilt imuitive. The Piwtlgm-Wt'Tk "deals fundamentally with the expressi\'C char-
acter of the earliest indusoial products. the earliest industrial architechlJ'e, the ~est
madUnc:s, bUI aha the earliest department stores, advertisements, and 50 on" (Nla,7). In
thaI expru5i~ characttt', Benjamin hoped to locate what eluded the immediate grasp: the
SignntlJ.r, dIe mark., of the nineteenth century, He was interested in the "thread of expres-
sion": "dlt; expression of the economy in il.ll culture: will be pruented, not the economic
origiru of culru~~ (Nla,6). Benjamin's trajectory from the: 6r:st to the second sketch of the
Rwagen-WrrA: dOCWDents his efforts to safeguard his v.'Ork against the demand.! ofhistori-
cal ntaterialism; in thi5 way, motifs belonging to metaphysiC! and theology survived
wldamaged in the physiognomic concept of the epoch's dosing Stage. To describe the.
expression of economics in culture was an attempt "to grasp an economic process as
perceptible Ur-phenomenon, from out of whidl proceed all manifestatioru of life in the
arcades (and, accordingly, in die nineteenth century)" (Nla,6). Benjamin had ahudy
enlisted GoethC"s primal phenomenon {Urphiinonren} to explicatc his concept of truth in
Origin offlu: G~n 'traumpiel:'Y the concept of "origin" in the 1'rauef'spiel book would
have to be "a strict and compc:lli.ng tranSfer of dlis Goethean first principle from the realm
of nature to that of history." In the PIWa§"-lfln'.t, then: - and the relations of production. It is that Angel of History who appears in one of the
I am equally concerned with fathoming an origin. To be spc:cific, 1 pursue the origin
of the forms and mUtatioN of the Paris arcadc:s from their beginning 10 their decline,
and I locate this origin in the economic facts. Seen &om the standpoint of causality,
hO\Ve\'Cr (and that means considered as causes), these faw would not be primal
phenomena; they become such only insofar as in their own individual develop-
ment-"unfolding" might be a better term-they give rise to the whole series of the
arcade's concrete historical forms , just as the leaf unfolds £rom itself aU the riches of \
the empirical world of planl.ll. (N2a,4)
Metaphysical subtleties and theological niceties rC'appc:ar here in the theory of epistemOl-
ogy, even though they seemed vanquished after they learned of their ironic urunadung by
economies. How could Ur-pheoomena, which represent themselves as the exprcssion of
economic facl!, distinguish themselves &om those idC'3..'I in Benjamin's 1"rau~.spulbook
which represent themsC'lves by empirical means? Benjamin resolves this problem with his
early notion of a monadological truth, which presides at every phase of the Pas "gtn-W~.t
and remains valid even in the theses "On the Concept of History." Whereas in the
Ti-aumpitf book the idea 35 monad "contains the inlage of the world~ in .iLSdf,20 in the
RLJJllgro-Wtr.t the expression as Ur-phenomenon cOntairu the image of history in itse~f.
-n !e: essena of capitalist production would be comprehended vis·a·vis the concrete his·
torieal fomu in whidl the economy finds its culrural expression. The abstraruon.s of m~
COLlccptUal thinking 'were insufficienl to demystify this abhorrent state of affairs, such that
a mimetic-intuitive corrcctive was imposed to decipher the code of the unjvenal in the
image. Physiognomic thought Wat assigned the task of "recognizing thC' monument.! of
the bourgeoisie as ruins even before they hav(" crumbled~ (Expos~ of 1935, section VI,
end).
TIle prol("gome:na to a materialist physiognomies that can be gleaned from the Pas-
.sagen-Wtr..+ counts among Benjamin's most prodigiow conceptions. It is the program_
matic harbinger of th.at aesthetic theory which Marxism has not been able to develop 10
this day. Whether Bcnjanlin's reaJ.iz.atiOIi of his program was capable of fulfilling it.!
promise, whether his physiognomies \vas equal 10 il5 materialist wk., could ha,'t: been
pro\!en only by !he actual composition of the PaJ.J4§'I-WrrA: itsdf.
Modifit:d concC'pu of history and of the: writing of hislOry aR the link bctwcen both
AmultI sketches. 1brir polemical barbs aR aimed at the: ninetecnth-ccnrury notion of
progress. With the exception of Schopenhauer (by no coincidence, his objective world
bears the: name '"phantaSmagoria"), idealist philosophcn had turned progress into the
"signatu.rc: of histOrical process /IJ a wholt" (N 13,1) and by doing so had depri...-ed it of iu
critical and rnligbtenment functions. Even Marx's OUSt in the: unfolding of the productive
forces hypostatized the cOlla"pt of progress, and it must ha\'C appeared untenable to
Benjamin in light of the experience of the twrntic:th century. Similarly, the political praxis
of the worker's movement had forgottC'll Utat progress in teTlllS of proficiency and infor-
macion docs not neceuarily mean progress for humanity itself- and that progress in the
domination of ltaturt: cOlTCsponds to societal regrcss.2! In the first AroukJ sketch Ben-
jamin already demanded "a philosophy of history that at aU poinl5 has overcome the
ideology of progress" (0 0 ,5), 00C' such as he later worked out in the historical·philosophi-
cal thcscs. There the image: of history reminds the reader mort: of Lud,","<ig Klages's lethal
juggling with archetypal images (Urbiltkr) and phantonu than of die dialecric of the forees
thc:scs as an aUC'gory of dlC' historical matcrialist (in Benjamin's sense):r.l and who sees aU
history as a cawtrophe "which keeps piling wreckage upon wreckage and hurls it in front
of his feet" (Dlumi7lllh01l.l, p. 259). The Angel abolishes all categories which until then
ha...'C been wed for representing history: lh.i.s materialist sees the "~ 'gradual'
about becoming'" 35 refuted, and ~devdopment~ is shown to be only "seeming" {F' ,6;
Kl,3), But more than anything else, he" denounces the "establishment of a continuity"
(N9a,5) in history. be<:ause the only evidence of that continuity is that of horror, and the
~gd has . to do with salvation and redemption. The: Pa.s.sagro-W~.t was supposed to
brmg nothing less than a ~Copc:mica.n revolution" ofhistorica.l perception (F".7; K1,1-3)_
Past history would bC' grounded in the present, analogow to K.wt's epistemological
grounding of objeaivity in the depths of die subject. The fint revolution occurrtd in the:
relationship in whidl subject and object, present and past meet in liPtoricai perception:
f'Onnerly it was thought that a fixed point had been found in "what has be:ent and
ol~e saw the prcscnt engaged in tentatively concentrating the forces of knowledge on
uus b'l"OUlld. Now dlls relation is to be overturned, and what has been is to become
Ule dialectical reversal-lhe imlptioll of awakened consciousness. I\)litics anain.~
P~CY o\!C'r history. TIle r.1CL~ become ,omeuung that j ust now first happened to
us. first struck. us; to establish diem is the affair of memory. (K l ,2)
The historiealline of vision no longer falls from the presmt back. OOlO history; irutead it
tra\'els from history fOJ"\'o'3.td . Benjamin tried ttl "recognize today's life, today's fomu in
Ule life and in the apparerul), secondary, 105t (omu" of the ninelemth century (N I,ll).
Our contemporary interest in a historical object SCClll.S ~ i[S(:lf preformed in that objecL,
 and, above a11 ,~ it fcels "this ohjca concrt'~d in itself and upraised from its fonner being
into the higha conm:rion of now-being 17ehlJtinJj (waking beingl)" (1<..2,3). ~ object of
history goes on changing; it bc:oomes ~ historical" (in this word's emphatic sense) only
when it b«omcs topical in a Iatcr period. Continuous reiatiol1:Jhips in time, with which
history deals, art: superseded in Benjamin's dlOUght by corutcUation,s in which the past
coincide!! lVith the prescO( to such an extent that the pan achieves a "Now" of its "tecog_
• n.izability." Benjamin developed this ~ Nuw of Recognizability," which he someolllC:$ ~
fClTed to as his theory afknowledge (5: 1148), from a double fromal position againsthoth
idealism and positivistic historicism. While tIK latta tried to move the historical nanator
bad:. imo the: pa.n. so that he could comprdx:nd "emphatically" (solely &om within) the
whok of die: TIlt-n, which 6llcd "homogeneous, empty time:" as a mere: "'mau of data"
(I1/urninatioTIJ, p. 264). idealist constructions of MtOry, on the: <>tmr hand, usurped the
prospeCl of the: future and posited in history the: existc:nu of the: natural plan of a proce.u,
which runs on autonomously and can, in principle, never be: completed. Both rtltgatc
"everything about history that, from the vcry beginning, has been untimcly, sorrowful.,
uruueccssful~ ( -rraump~lj p.166) to forgetting. The o~ct of that IlllUCrialist historical
narrative Iknjamin wanted to II")' out in the Pa.uagm -Wt'Tk would be prtciscly what
history started but did not carry out. That the l.incamenlS of tht: past are fint detect:abk
arter a certain period is not due to tht historian's whim; it bespeaks an objective historical
constellation:
History is the object of a COn.!lO\lct whose site is nO( homogeneous, empty time, but
time filled by now-time 17th.IU'i~ . Thw, to Robespiem: ancient Rome Wall a past
charged with now-ttme, which he blallted OUt of the continuum of history. 1bc
French Revolution viewed itself all Rome incarnate. It quoted ancient Rome. (flJumi·
na/itmJ, p. 263)
Benjamin wished to continue along rJili line in the Ru~-Wt'T,t The present would
provide dIe text of the hook; history, the quotations in that text. ~To write hUtory •..
mean.'l to ott history" (NU,3).
Benjamin's Copernican revolution of historical inruition also (and above all) meant dw
the traditional COnttpt of O\Itb was [0 be turned on iu head:
Resolute rtfusal of the concept of "timeless DUth" is in order. Nevenhdess, O\Itb is
not-as Marxism would have it-a merely contingent function of knowing, but is
bound to a nuclew of time lying hidden within the knower and the known alike.
ntis is so true dJlll the etemal, in any case, is far more: d\e ruffle on a dress than
some idea. (N3,2)
The tClDporal COrt of history cannot be grasped as rtally happening, stretching fOM in
the real dimension of time; rather it is wlKfC evolution halLS for a moment, whctt the
t9'Mmu of what is happening coagulates into Jta.JiJ, where time itself is conde~ ~.tO :
differential. and where a Now identifies iu elf as the ~ Now of a particular rec~bility.
In such a Now, "truth i.'J charged to the bursting point with time" (N3,1). The NoW would
havc thus shown itself to be the: "i.tunost image" (OQ,81 ) of the arcades themselves, of
fashion ofthe bourgeoi.'J interior-appearing a.!J the image of all that had been; and whose
cogniti~ is the: pith of the: Rwagm.Wn-A. lknjatn.in invented the tenn ~dia1cccica1 im-
agcs" fOT 5uch configurations of the: Now and the: Then; he: defined ~eir com~nt aJ a
&dialectic at a 5tanduill.~ Dialectical inmgc and dialectic at the staumtill art . WIthout a
doubt, the ce:ntral categories of the Rwagm-Wt'TA. TIIOr mc:an.iog, however. remained
iridesa:nt; it never aeh.icvc:d any tenninological cOllllislency.2:I \o\k can distinguish at least
two rneaningJ in Benjamin's texts; they remain somc:what wldivulged, but c:vm so cannot
be brought totally in congruentt. Once- in the 1935 expose. whidl in this regard sum-
marizes the motifs of the: first draft- Benjamin loc.alized dialectical images as dream and
wish images in the: coUcctive subconscious, whose ~ image-making fantasy, wh.ich was
stimulated by the new" should refer back to thc "or-past": "In the: dream, in which each
epoch entertains inmgc.'l of its successor, the latter appears wedded to clement.'! of Ur-
hisfOry- that is, to clements of a clas~leS5 society. And the experiences of such a socicty-
as stored in the unconscious of the coUcctive-engcndcr, through interpenetration with
what is new, the utopia" (Expose of 1935, section I). The modem is said to quote
U,...hisoory "by mcaru of the ambiguity pc:culiar to the social relations and productS of this
epOch." In tum, "Ambiguity is the manifest imaging of dialectic., the: law of dialectics at a
standstill. This stanmtill is Utopia, and the dialectical image, therefore, dream image. Such
an image is afforded by the commodity per se: as fetish " {E..xpO!Ie of 1935, section YJ.
These lItatemenLS drtw the resolute criticism of Adorno, who could not concede that dJe
dialectical image could be "tht- way in which fetishism is conceived in the collcctiv.:
coruciowncs5." since commodity fetishism is not a "fact of consciowmess" {Lett:ers, (95).
Under the inBuence of Adamo's objections, Benjamin abandoned such lines of thought;
the corresponding passages in his 1939 expose were dropped as no longer &absfactory to
their author (see 5:1 157). By 1940, in the theses "On the Concept of History," "dialcaic
at a standstill~ seems to function almost like a heuristic principle, a procedure that enables
the: historical ma[erialist [0 Dlatleuver hi.! objccts:
A historical materialist cannot do without the notion of ii present which is not a
tranSition, but in which tiroe stands still and has come to a stop. For thU notion
defines the present in which he himself i.! writing history. .. . Materialist historiogra-
phy . _. is based on a constructive priociple. Thinking involves not only the Bow of
thoughts, but their arrest as well. Where thinking suddenly stop.! in a configuration
pregnant with tensiollll. it gives that configuration a shod, by which it crystallizes
into a monad. A historical ma[eriwt approaches a historical subject only where he
encounters it as a monad. In this structw"C he rtcognizcs the sign of a messianic
ces.sation of happening, or, put differently, a revolutionary chane:e in the: fight for the
oppressed past. (RlurTlinah'ofIJ, pp. 264-265)
In fact, Benjamin's thinking was invariably in dialectical images. A3 opposed to the.
\ .
Marxist dialectic, which "regards every _ .. developed socia1 fonn as in Huid move-
m<:ru,"24 Iknjamin's dialectic tried to halt the How of the movement, [0 grclllp each
becoming as being. In Adorno's words, Benjamin's philosophy "appropriates the fetish-
ism of commodities for itself: everything mwt mewnorphou: intO a thing in order to
bR'ak the catastrophic 5pell of things.M2$ Hi.! philosophy progre.ucd imagistically, in that it
sought [0 ~ rcadM historical social phenomena as if they were narural historical Ollcs.
Images h<!came dialectic.al for dlis philosophy becawe of the historical index of every
single image. " In the dialectical image" of this philosophy, "what has been within a
partiwlar e:poch i.! always simultanrously 'what has btttl from time inunemorial'" (N4,l).
By ,'0 being, it remai.ned rooted in the mythical. Yet at the samc time, the llistorical
materialist who seized lhe image should possess dIe skill to "fan the spark of hope in the
past ,~ to wrest historical tradition - anew ... from a confonrusm that is about to over-
powc:r i[ ~ (1IlumiMtifJ1U, p. 255). llu-ough the immobilitillg or dialectic. [he historical
~ victors " have their accounts with history cancelc:d, and all pathos is 5hift~d toward
~aI\"ation or the oppresse:d.
For Benjamin. frcering the dialectical imag~ was obviousl}' not a medJad the historian
 ·
couk! employ at any time:. For him, as for Marx, historiography was inseparable from
political practice: the rescuing of the past through the writer of history remained hound to
the practical liberation of humanity. Conuasted with the Marxist conception, however,
according to which "capitalist production begets. with the inexorability of a law of nature
its own negation,"26 Benjamin's philosophy prc:scn'es anarchist and Blanquian element!:'
In reality, there is not one moment that does not can;' its own revolutionary a ppor-
Dmity in itself. ... The particular revolutionary opportunity of each historical mo-
ment is confirmed for the revolutionary thinka by the political liituation. But it is no
less confinm:d for him by the power this moment has to open a very particular,
heremfore dosed chamber of the past. Entry into this chamber coincides exactly
with political action. (1:1231)
Fblitical action, "no matter how destructive," should always "reveal itself as messianic"
(l : 1231). Benjamin's historical materialism can hardly be severed from political messian-
ism. In a late note, perhaps written under thl! shock of thl! Hitler-Stalin pact, lknjamin
fonnulated as "the experience of our generation: that capitalism will not die a natural
death~ (Xlla,3). 1n that case, the onset of revolution could no longer be awaited with the
patience of Marx; rather, it had to be envisaged as the eschatological rod of history: "the
classless society is not the ultimate goal of progress in history but its rupture, so often
attempted and 6nally brought about (1 :123 1). Myth ill liquidated in the dialecrical image
to make room for thl! "dream of a thing" (1:1174); this cmam is the dialectic at a standstill,
the piecing together of what history has broken to bits (see llluminah·oru, p. 257), the
til./cun of the Lurian Kabbalah. v Benjamin did quote the young Marx, who wanted to
show "that the world has loog possessed the dream of a thing that, made COIlBciow, it
would possess in rcality~ (N5a.l ). But for the intl!rpreter of dialectical images, D1.le reality
cannot be infern:d from existing reality. H e undenook to rl!present the imperative and the
final goal of reality as "a prdonnation of the final goal of history" (N5,3). The awakening
from myth would foUow thl! messianic model of a history immobilized in redemption as
the historian of the Passagen-Werlc had imagined it. In his dialectical images, the bunting
of time coincides with " the birth of authentic histOrical timl!, the time of D1.lm" (N3,1).
Since the dialectical images belong in such a way to messianic time, or since they should
at least let that timl! reveal itself as a flash of lightning, messianism is introduced as a kind
of methodology of historical research-an advenruresomc undertaking if ever there ~
one. "Ibe subject of historical knowledge is the SD1.lggling, oppressed class itself" (ntunu-
nahoru, p. 260); one may imagine the historian of the dialectic at a standstill as the herald
of that class. Benjamin himself did not hesitate to call him ~a prophet rumed backward,"
borrowing a phrase from Friedrich Schlegel (1:1237); he did not dismiss the Old "Thsta·
ment idea that prophcey precedes the MCS5iah, that the Messiah is dependent on propb-
ecy. But Benjamin 's historiographer is "endowed with a Wf;aJ. messianic power, a power to
which the past has a claim." The historian honolll that claim when he captureS that
"image- of dIe past that is not recognized by the present as one of its own concF." and
thw "drreateru to disappear irretrievably" (Illuminah"oTIJ, pp. 256-257). BenJamul was
able to recognize only the mythical Ever-Same (Immergleidu:) in historical evolutions an~
was unable to recognize progress, except as a Sprung-a ~tiger'sleap i.nto the' pa.st ~ (ll~um.'­
IWhoru. p. 263), which was in reality a leap out of history and the enrry of the mesSlanlC
kingdom. He tried to match thi.o; mystical conception of history vvith a version of dialectics
in which mediation would be totally eclipsed by reversal, in which atonement would have
to yield to aitieism and deslTUction. His " blasting~ the dialectical i.mage ~OUl of ~e
continuum of historical proccss" (NlOa,3) was akin to that anarchistic impulSe" which tnes
to StOp history during revolutions by instituting a new calendar, or by shooting at church
clocks, as during the July revolution in Paris. The gaze, which exorcized images from
objects blasted loose: from time, is the Gorgon gaze at the 'j"aatJ hlppocratiM of history,~
the "petrified primordiallandscapc" of myth (1'raumpid. p. 166). But in thai mystical
moment when pMt and present enter "Iightning·like~ into a corutellation- when the D1.le
image of the past ;'flashes" in ule ;'now nfits recognizability" (N9,7)-thal image becomes
a dialectically reversing inlagc, as it presents itsdf from the messianic perspective, or (in
materialistic terms) the perspective of the: rt\'Olution,
From lhis peTSpc:ctive of ~ messianic time," Benjamin defined the present as catastrophe
(I: 1243), as the prolongation of that ~ one single catastrophe" which meets the Angelus
Nevus when he looks back on past history. It might appear as if Benjamin wished to
reintroduce the "large hyphen between past and furure: r28 which was thought to be
eradicated after Marx. 'R:t even Benjamin's late work does not fully forgo historical
reference. Hl!nri Focillon defined the classical in art as "bon/rnJr rapUJe," as the d/llirou
, a(hme of the Greeks, and Benjamin wanted to usc that definition for his own concept of
mcssianic standstill (sec I :1229). The dialectic at a standstill, the final coming to rest, the.
ending of the historical dynamic which Hegel, following Aristotle, wished to ascribe to
the state, was, for Benjamin, prefigured only in art . A "real definition" of progress,
therefore, could emerge only from the vantage point of an, as in the Pa.ssagro-W"A:
In every trul! work of an there is a place where, for one who removes there, it blOW!
cooilike the wind of a coming dawn. From this it follows that an, which has often
been considered refractory to every relation v,1th progress, can provide its D1.le·
definition. Progress has its seat not in tlle continuity of elapsing rime but in its
intcnerellccs. (N9a,7)
In this sense, it may even bl! possible to save that problematic definition from the first
expose, according to which in thl! dialectical image the mythical, Ur-historical experiences
of the collective unconscious "engender, through interpenetration with what is aew, the
utopian-and that utopia "has left its trace in a thousand configurations of Life, from
enduring edifices to passing fashions~ (section I). Benjamin devised his dialectic at a
standstill in order to make such traces visible, to coUect the "traSh of history," and to
~redeem" them for its cod. He undertook thl! equally paradoxical and astonishing task of
presenting history in the spirit of an anti-evolutionary understanding of history. A3 a
~ messianic ccssation of the evcnt," it would have dl!VOivoo upon the dialectic at a stand·
still to bring ·home in the Pauagro-WerA: the very insight Benjamin had long assimilated
when he began that project: "the profane ... although not itself a category of thi.o; [messi·
anic] Kingdom, is at least a category, and one of the most applicable, of its quietest
appro3ch.~ 29 lknjamin's concept of profane illwnination would remain ~illuminated" in
tllls way to the end; his materialist inspiration would be "inspired" in the saml! way. and
his materialism would prove theological in the same way, dCllpite all "recasting processes. \>
BcrtianIin's historical materialism was historically true only as the puppet, "which enlists
the services of theology." Nevertheless, it was supposed to "win" (Illuminatioru, p. 253).
One can be excused for doubting whether this intricate claim could ever be hOllored. In
that case, the reader, who has patiently followed the topography of tlle Passagro-Wer/c,
including all the detours and cuI-dNacs this edition docs not veil, may think he is, in the
end, faced vvith ruiru rather than with virginal building materials. What Benjamin wrote
abou t German 1'rauer5pid however, holds true for tlle Pa.JJngro-Werlt: namely, that "in the
ruins of great buildings tile idea of tlte plan speaks more impressively tllaIl in lesser
buildings, however well preserved tlley are" (1'rauerJpid, p. 235).
-1'ram/attd by Gary Smith and Andr! Ltfrom

The Story of Old Benjamin
- Be~amin wa.s still standing in Lht open door bccaus~ tht~ v.:as DO roo.m for a. s«ond
B)' wo Finko
This attowU WAIl written in English, in NO'IfmIber 1980, by Lisa NItka, who atcompanicd Bcnja.Wn
across the: f'yreIl«S to the French-Spanish border at the end of September 1940 (and who 1at.cr
5etlled in the: United S~tCl). It is printed in English in ~1II1M{te Sduif/nr, vol. 5 (Frankfurt:
Suhrkamp, 1982), pp. 1184- 1194, with 5upplanc:mary material Oetten) mating mainly 1.0 the un-
,olved myltc:ry of the: ~Iarge. black briefc:asc~ which Benjamin w.u carrying. Included (p. 1203) •
IkI~amin" la.sl lcllcr, dated I'm·Sou, September 25. 1940, and addressed both to Hamy GwUnd,
who was with him al the end (sec Gershom Scholan. Wallt'r Btnjamin: 1M Siury "/I
traIlS . Harry ZoIul (New 'tbrk; Schocken, 19811. pp. 224-226), and to 'Thcodor Adomo; it u in
~lIip,
FIalch, in a fonn re«lIUtructed from memory by Ham)' Gur1and, who had fdt it ncccasary to
destroy the original: ~ln • 5irwation presmting no way out, I have DO other choice: but 10 make an end
of it. It is in a "nail village in the Pyrenees, when: no one knows me, that my titc: will come to a clOK
[VIS 1 Gchtvaf. 11uk you 10 uansmil my thoughl.$ (pnu«J] 10 my friend Adorno and 10 c:xpIai.n to bi:ra
the siruation in which I 6nd m)'$df. There is not enough timt: rcnWning for me to write aU the kW:n
I would like: to wriIC.~
This happened exactly fort)' ~ars ago. I finally have to keep my promise to wriu: down
the story. People kttp saying: J ust write it tht way it was ...
1do remember everything that happenoo; I think I do. That is, I rcmcmbcr the facts .
But can I re·lhoe those days? Is it po5lIible to Sttp back and into thoK times when there wu
no timt for remembering what oormallife was like, those days when ~ adapted to mao..
and suuggted for survival ... ?
The di.nancr. of the years-forty of them-has put events for us into pcnpcctive, many
believt. It SttffiIi to me, though, that this perspective, under the pretense of insigbl, arily
rurru intO simple hindsight. reshaping what was.. .. How will my recoUcc.tions stand up
against this U"ap?
And where do I stan?
September 25, 1940
!trt.V.mdn:s (PyrbrieJ Orient(lkJ, France)
I remember waking up in that narrow room under the roof where Ii dd gone to sleep a
few hours earlier. Someooe Willi knocldng at the door. It had to be the little: girl frorn
downstairs; I got Out of bed and opened the door. But it wasn't th e child. I rubbed rn)'
h.llf.closed eyes. It Willi one of otlr friends , Walter Bcnjamin--onc of tht' many who bad
poured into Marseilles when the Gennans overran France. O ld Bcl~amin, as I usually
referred to him. I am mx Sun" why-Itc was abOUt forty-1:ight. Now, how did he get here?
"Gniidigt FrIJ/l,~ he said, '"please accept my apologies for this inconverueIlCt." '!bt
world was coming apart, I dlQUght, but not Benjamin's politeJJe. "JAr Ht:rr ~/" ~
continued, "told me how to lind you. Ht said you would takt mt across tilt border into
Spain." He said what! Oil wtll, yes, "mt in HtTT Gtmanr-my husband- would say that.
He would assume that I could do it, whatever "it~ might be.
perwn between the bed and the wall. Qyickly I told him to walt for me ill the bIStro on
the village square. . .
From the bistro, we went for a walk so tlmt we could talk WithoUt being overheard. My
husband had no way of knowing, I explained, bot since my arrival here at the border
region last week I had found a safe way to cross tht frontier. I had started by going ~
to the port and chatting with some of the lo ngshornnen. Ooe of thernloo me to Lht umon
stc-ward. who in rum dircaed me to Monsieur Azbna, the mayor of tht DCJtt ~,
Banyuls~sur. Mer: the man, I had been told back in Marstilks. who would htlp me find a
safe road for those. of our family and f~nds who ~re ready to cross (J'\Ier. An old
soc:ia.list.. he was among those who had aided the Spanish republic by passing dc.spcratdy
needed dOCtors, nurses, and medicine across tilt bordc:r during the Spanish civil war.
What a great person, this Mayor Aztma, I ....'Cnt on 10 tdl Benjamin. He had spent
hours v.rith me working O UI e"~ry detail. Unfonwatdy, tht famous road along the
cemetery wa.Il.'I of Ctrbtres was closed. It had been quite easy, and a good number of
refugees had u.sed it for a fe:w months, but now it was heavily guarde:d by the Gan:'es
Mobiles. 00 orders of the Ge.nnao Commission, no doubt. The only ttuly safe crossmg
that was left, according to tlle mayor, was "la routt. Li.lter...• "1bat meant that we bad to
cross the Pyrenees farther west, at a greater altitudt j it meant more climbing. .
"That will be all right,~ Bcnjamin said, "ilS long as it is safe. 1 do have a hean condi-
tion; he: continued, "and I will have to walk. slowly. Also, thuc are two more persons who
joined me on my trip from Mancilles and who also oeed to cross tilt border, a MIS.
Gurland and her teol3ge son. \\buld you take them along?"
Sun", sure. "But Mr. Benjamin, do you rcaliu: that I am not a competent guidt in this
region? I don't really know that road. I have nevet brtn up that way myse1£ I ha\.oe a pie«
of paper on which the mayor penciled a map of the route: from his memory, ~ then he
described to me some details of rums to be taken, a hut on the: 1m, a plateaU With 5CVCJl
pine t:n:es which has to ~lIlain to our right o r we will end up too far nonh; the vintyard
that leads to the ridge at the: right point. You want to cake the risk?"
"Yes," he said without hesitation. "The: ~a1 risk would be not to go."
Glancing at him, I remembered thaI this was not Benjamin's first atltmpt to get out of ~
trap. Impossible for anyone who knew aboul his former try to forget it. Tht apocalypbc
annosphtre ill Mancillcs in 1940 productd its daily absurd story of attempttd escape:
plans around fantasy boats and fable captains, visas fOJ countries unknown to Atlas, and
passportS froro counl"riu that had ccastd to wt. One lad become accustomtd to leam·
ing through the Daily Grapevine which foolproof plan had suffered toda~ ~ fate of a
House.' of Cards. We still were able to laugh -we had to laugh-at the conuc SIde of some
of thC!ie tragedies. 111e laughter was irresistible whell Dr. Fritz. Fracnkel, with frail body
a.nd gray mane, and his friend Walter Benjamin. with his scnsitivt scholar's htad and
pensive eyts bchind tllick glasses, ....'Crt:. through bribery, smuggied on a fn:ighter, dressed
up as French sailon. 11ley didn't get very rar.
Ludtily, they did get away, tllollgh. due to die generalized statt of confusion.
\\C agt«d that we would try to see M3)'Or Azc!ma ollce more, this time wgctItcr, so that
""e could both mcmoriu t"Io'Cry detail. I notified my sistcr·in·law-she, the baby, aud I
• Gc!caI LUter of the Spanis~ Republican Anny had led ha troops along that route.
 were going to cross the bordeT aud go to Ponugal the next week-and I went to Banyuls
with Benjamin.
Here r havc a lapse of memory. Did we dan: to take dIe train in spite of the constant
border checks? I doubt it. 1M: must have walkQ:l the six or eight kilometers from furt-~n_
dres on. the. rocky path which by now was familiar to me. I do remember finding the
mayor m his office, how he locked the door and dlell repeated his instructions and
answered our questions.
TIvo days beJore. after he had drawu the sketch of the road for IDe, he and (had
stepped to the window and he had pointed OUt the directions, the far-away plateau with
the seven pine trees , and SOrrlC'ovhn-e high up there the crest which we would have to
cross. "On paper, it looked like an easy walk~ I had said, "but it seentS that we have- to
cross the high Pyrenees... ?" He had laughed: "That's where Spain is, on the other side
of the mountains."
He now suggested that we take a walk this afternoon and do the fu-st pan o f the route
to test whether we would find our way. ~'IDu go up to this clearing here," he said pointing
it out on his sketch. "Then you return and check. it out with me. 'IDu spend the night at the
inn and tomorrow morning around five: o'clock., while it is still dark and our people go up
to their vineyards, you start out again and go all the way to the Spanish border." Benjamin
asked how far it was to the clearing. "Less than an hour . .. wcil, cutainly not more than
two hours. JUSt a nice walle" ~ shook hands. '1t UQIl.f rmlerr:it infoi'/1/Clt, Mlm.neur k
Maire," I heard Iknjamin say. I can still hear his voice.
V\l: got his companions who had been waiting at the inn and explained our plan. They
seemed to be cooperati"e, not the complaining kind that 1 dreaded 50 much in ticlr.lish
situations. ~ walked slowly, like tourists enjoying the scenc:ry. I noticed that Benjamin
was carrying a large black. briefcase which he must have pick.ed up when we had stopped
at the inn. It looked heavy and I offered to help him carry it. wrrus is my new manu·
script," he explained. UBut why did you take it for this walk?" "YOu must understand thaI_
this briefcase is the most important thing to me,~ he said. uI cannot risk losing it. It is the
- together in one of the camJ>ll where me French government imprisoned the refugees from
manuscript that must be saved. It is more. important than I am."
This expedition won't be easy, I thought. Walter Iknjamin and his puzzling W3}'.S.
That's just what he is like. When trying to pass for a sailor in the port of Marseilles, had
he toted the briefcase? But I better keep my mind on the road, I said to myself, and try to
figure out Azhna's directiOflS on the linle map.
Here was the empty shed the mayor had mentioned, so we weren' t lost .. _ not yet,
11lc:n we found the path with a slight tum to the ldt. And the huge rock he had desa:ibed.
A clearing! That must be it. \\l:. had made it, after almost three hours.
This was about oue third of the total route, according to Mma. 1don't remember it as
being difficult. 1M: sat down and rested for a while. Benjamin sactched out on the grass
and closed his eyes, and r thought it must have been tiring for him.
\o\k were ready to stan me descent, but he didn't get up. "ATe you all right?" 1 asked.
~ I am fine,~ he answered, "you tlu'ee go ahead.n
uAnd you?"
" I am staying here. I am going to spend the night here, and you will jo'" ~e in the
morning.n
This was worse than I had expected. \Vhat do I do now? All I can do is try and reason
with him. This was wild moulltain tenitory, there could be dangerous animals. A5 a
matter of fact. I knew dl3.t there were wild bulls. It was late September and he had nothing
with which to cover himself. There were smugglers around, and who knew what they
might do to him. He would have nothing to eat or drink. Anyhow, this was insane.
H e said that his decision to spend the night at the clearing was unshakable since it was
based on simple reasoning. The goal was to cross the border so that he and his manuscript
would not fall into the hands of the Gestapo. H e had f'eaciled one third of this goal. If he
had to return to the village and then do the entire way again tomorrow, his bean ,,"..ould
probably give out. Ergo, he would stay.
r sat down again and said: "Then I tOO will stay."
He smiled. "Will you defend me against your wild bulls, gniidige Frau!"
My staying would not be reasonable, he explained quietly. It was essential that I check
back. with Aztma and that I get a good night's sleep. Only then would I be able to guide
the Gurlands back. before sunrise without possible error or deJay, and continue to the
border.
Of course, 1 knew all that. Above all. 1 had to get hold of some bread without ration
StampS, and perhaJ>ll some tomatoes and black-market ersatz mannalade, to keep us going
during the day. I think I had only tried to shock Benjamin into abandoning his plan, but
of course it hadn't worked.
On the descent, I tried to concentrate on the road so that I would be able to find my way
in the dark the next morning. But my mind kept nagging: he shouldn't be up there alone,
this is all wrong.... Had he planned it this way all along? Or had the walk exhausted him
so much that he had decided to stay only after ~. arrived? But there was this heavy
briefcase that he had taken along. \-\tre his survival instincts intact? If in danger, what
would his peculiar way of reasoning tell him 10 do?
During the winter, before France's surrender, my hwband and Benjamin had been
Nazi Gennany-togcther with the Nazis. They were at the Camp d e \bnuche, close to
Nevers. ht one of their conversations Benjamin, a heavy smoker, revealed that he had quit
smoking a few days ago. It was painful, he added. "Wrong timing," Hans told him. Seeing
Iknjamin'5 inabilicy to handle "the adversities of outer life which sometimes come, .• lilte
\ 1 ",,,,.
wo!vcs"l-at Vernuche all of life was advusicy-Hans had become wed to he1ping him
He now tried to show Benjamin that in order to tokrate crises and keep one's sanicy,
the fundamental rule was to look for gratifications, not punishments. Benjamin answered,
"I can bear the conditions in the camp only if I am forced to inunerse my mind totally in
an dTon. To quit smoking requires this effort, and it will therefore save me.~
The nexl moming everything seemed to be going well. The danger of being seen by the
police or CUStoms guard~ was greatest when leaving the village and staning up the fool-
hills. Az6na had insisted: Start OUt before sunrise, mingle with the vineyard workers on
your way up, don't carry anything except a mUj~tte, don't talk. That way the patrols can't
distinguis h you from the villagers. Mrs. Gurland and her young son, to whom I had
explained these rules, carefully foUowed them, and 1 had no trouble finding the way.
The closer we came to the clearing, the more tense I grew. Will Benjamin be there?
Will he be alive? My ima!,rination slarted turning like a kaleidoseope.
Fmally. Here is the clearing. Here is old Benjamin. Alive. He sits up and gives us a
friendly look. Then r stare at his fa ce-what has happened ? TIlOse dark purple blotcllCS
under his eycs,-could they be a symptom of a bean att.1ck?
He guessed why I start'd. Taking ofT his glasses iUld wiping his face I-'¥ith a handkef'-
dud, he said: ~Oh that. nlC~_ morning dew, you know. The paw inside the fTama, see?
They Stain when th~ get damp."
My heart 5tOppcd beating i.n Illy throat and slipped back down to whert: it belon~d.
From hen: on, the ascent was stttpeT. Also, we began to be repeatedly in doubt abOlIl
which direction to take. To my surprise Benjamin was quite able 10 understand our little
map, and to help me keq> OUT orientation and stick to the right road.
The word "road" became more and more symbolic. There were stretches or a path, but
more often it became a hMd.Iy disccmible trail among bouIders-and then ' the steep
vine)'lltd which I ....;U never forget.
But first I ha\~ to explain what made this TOOte so safe.
FoUowing the initial descent., tht path nh parallel to the widdy known ~officiaJ" road
along the crest of the mountain chain, which was quite passable:. "Our" road-the Rouk
Lill" and an old, old smuggiers' path-ran below and somewhat tucked inside the
OI.'tthang or the crest, out or the sight of the: French border guards patrolli.ng above. At.
rew points the: two roads approached rach other dosdy, and then: we had to keep silcnt.
Benjamin walked slowly and with an even measure. At ~ar inlervals-I beliew it
was ten minutes- be stopped and rested for about one: minute. Then he went on, at the
same steady pace:. He had calculated and worked this OUt during the night, he tOld me:
"With this timing 1 will be able to make it to the end. I rest at regular intervals-I mUll
rest hcfort I become exhausted. Nc:ver spend yourself."
What a strange: man. A aystal-clear mind; unbending inner Strength; yet, a wooly_
headed bungler.
The nature or his strength, Walter Benjamin once wrote, is "patience, conquerable by
nothing." 'l Reading this years later, 1 saw him again wa.lking slowly, c:vc:nJy along the:
mountain path, and the: conuadictions within him lost some of their absurdity. - thought: the usual me would not be so phlegmatic about skeletons and vulturt:5.
Mrs. Gurland's son.jost--h(: was about fifteen )'(:ar5 old-and I took turns carrying the:
black bag; it was awfully heavy, But, I recall, ....'C all showed good spirits. There was: some
easy, casual conversation, turning mostJy around the needs of the moment. But .aWnly,
....'C W'UC quiet, watching the road.
Today, when Walter Benjamin is considered one: of the century's leading schelan and
aitics-today I am somc:tirnes asked: What did ~ say about the manusaipt? Dict-Jx'
discuss the contents? Did it develop a novd philosophical concept?
Good Cod, l had my hands full steering my littJe group uphill; pbilO5Ophy would haw
to wait till the downward side of the mountain was reached. What mattered flOW was: to
save a few people from the Nw ; and here I was with this-this-4omiscAtr MUt, u Jrok
rk ~-this curious eccentric. Old Benjamin: under no circumstances would he pan wilh
his ballast, that black bag; we would have to drag the monster across the mountains.
Now back to the steep vineyard. 1llere was no path. \o\.t climbed between the vinestalks,
heavy witJI the almost ripe, dark and swee:t Banyuls grapes. I rememb(:r it as an almost
vertical incline; but such memories sometimes distort the geometry. Here, for the first and
only time, Benjamin faiterW. More precisely, he tried, failed, anri.J,hen gave fomla! noticc
that this climb was beyond his capability.jose and I took him between tiS; wilh his arms
OIl our shoulders, we dragged him and the bag up lhe hill. He breathed heavily, yet he
made no complaint, not e\'ttI a sigh. He only kept squiIlting in the direction of tJle black
bog.
Mter tJle vineyard, we rested on a narTOW hillside-the same plateau where we met OUr
Greek a rew week.! later. But that is Molber stOry. TIle sun had climbed high e:nough to
wann us, so it must ha,'C be:en about four to five hours since we had staned out. \'*
nibbled on the food I had brought in my mlmlle, but nobody ate: much. Our stomadu had
shrunk during tJle last montlu-first the concentration camps, then the chaotic retn::at-
/Jl pagaille, or The Total Chaos. A nation on tJle run. lIloving south; at our hack.s the
empty villages and ghOSt towns- lifeless. soundless. till the rallling of the Gennan tanks
gulped up dIe stillness. But. again. tha~ is another story. a very I~ng one..
While "~ rested, I thought tJ13t tJus road across lbe mounwns had rurned out to be
longer and marc: difficult than we: could ha\'t" guessed from the mayor's description. On
the other hand, if one were ramiliar with the: terrain and didn't carry anything, and were:
in good shape, it might really take coruiderably less time. Like all mountain people,
Monsieur Alima's ideas or distance and time were elastic. How many hoon were "a rew
bours ~ to him?
During the foUowing winter months, when ....~ did this border crossing sometimes
mice or even thrc:e times a Wttk.. I orten thought orBenjamin's sc:l£-disciptine. I thought of
it when Mrs. R. Started whining in the middle of the mountains: " ... don't you have an
apple for me ... I want an apple . .. ," and when Fraulein Mueller had a sudden fit of
screaming ("acro--dc:mentia," we caUed it); and when Dr. H. valued his fur coat more than
his safety (and ours). But these again are different stories.
Right now I was sitting somewhe:re high up in the Pyrenees, eating a pic:cc: or bread
obtained with sham ration tickets, and Benjamin was requesting the tomatoes: "With
your kind pc:nnission. may I ... r Good old Benjamin and his Castilian coun ceremony.
Suddenly, 1 realized that what I had been gazing at drowsily was a skeleton, sun
bleached. Perhaps a goat? Abo\.~ us, in the southern blue: sky, two large black birds
circled. Must be vulturc:s-I wonder what they expc:a &om us . . .. How Strange, I
"* gathered oursc:hu up and began trUdging on. 1bc: road flOW became reasonably
straight, ascending only slightJy. Still, it was bumpy and, for Beojamin, it mwt have been
Strenuous. He had been on his fe:et since seven o'clock, after all. His pace slowed down
some more and he paused a little longer, but alwa)'l in regular intc:rvals, c.hccking his
watch.. He: sc:emc:d to be quite absorbed by tJle job of timing himself.
Then we reached the peak. I had gone ahead and stopped to look around. 1bc: view came:
on so sudden, for a moment it struck me like afota "'organa. Down there below, from
where we had come. the Mediterranean reappcan:d. On the other side:, ahead, steep
cliffs-another sea? But or coune. tJle Spanish coast. Two worlds ofbluenc.ss. In our back,
to the nonh. Catalonia's ROljJjillon country. Deep down Lo CiJk Vermei/lt, the aurumn
eanh in a hundred shades or vermillion. I gasped : uC\'er had I seen anything 50 beautiful.
I knew that we were now in Spain, and tJlal rrom here au the road would run straight
until the descent into the town. I knew th,ll now I had to tum back. The OtJICfS had
tJ1e necessary papers :l1ld visa5, but J could not risk being caught on Spanish loil. But,
nl'1, I could not yet leave tJ\is group to themselves. not quite yet. just another shon
SlrCtch .. .
Putting do .....n On paper the details which my memory brings back about this firsl time I
crossed the border on the ROllt~ LiJtt'f, a nebulOWl picture surfaCC5 rrom ..... hc:rc:ver it has
bc:cn buried all tJlesC' years. Three wome:n-twO or them I kuow vagudy---crossing our
road ; through a. ha.u:, I sec us standing there and talking for a shon while. They had COme:
up a difTCTalt road, and they then continuw dlcir way dO\'ln 10 the Spanish silk scpa.
ratdy. TIle encounler did not panicuJarly surprise or imprcss me, sintt so many people
\VCJ'C trying 10 escape over the mountains.
~ passed a puddle. The waler wall greenish slimy and stank. Benjamin kndt dawn 10
drink.
")Du can't drink lhi5 water," I said, ~it is 6lthy and surely contaminated," ~ water,
bottle ' bad taken along wall empty by now, but thus far he hadn't mentioned that he was
thin'J'.
'" do apologize," Benjamin said, W but I have no choitt. U I do not drink, , might not ~
able: 10 continue: 10 the end," He bent his head down towards the puddle.
"liste:n to me," I said. "Will you please hold it for a momenl and listen to me? 'W: have
almost arrived; just a shon while and you have made it. 1 know you can make it, But 10
drink this mud is unthinkable. You will get typhus . .."
"True, I might. But don't you s«:, the worst that can happen is thaI I die of typhus , ..
AFTER cossing the border. The Gestapo won't be able to get me, and the: manuscript
will be: safe. [ do apologize."
H,drnnIc
1bc: road wall now running gendy downhill. It mwt have been about two o'clock. in
the afternoon when the rocky wall gave way, and in the valley 1 saw the village, very
close.
"lbat is Port·Sou down therd TIle town with the Spanish border cornrol wbc:rc: you
will present yourselves. 1bis strC:et leads straight down. A tnl road! ~
Two o'clock.. Yk had started out at five in the moming, Benjamin at seven. A total of
almost nine hours.
;<1 ha,,~ to go back now," I continued. "W:: are in Spain-we: have been in Spain for
almost an hour. The dc:.sttnt won't take long; it's so close: that you can see every house
from here. You will go directly to the border post and show your documents : the: travel
papers, the: Spanish and Ponuguese traJl.Sit visas. When you have your enuy stamp, roo
take the next train to Lisbon. But you know all that.... I must go now, /luj Wieder·
~Mn ..."
For a moment, my C)'e5 follmved them as they were walking do\'o'll the road. It's ~ •
now for me to get out of here, , thought, and started to walk back. I walked on and fdt:
This isn't alien country any more, , am no strangu here, a! I Wa! only this morning. h
also surprised me: that I \V3.S not tired. Everything felt light, I was weightless and so was
the: rest of the world. Benjamin and his companions mwt ha,~ made it by now. How
beautiful it wall up here!
Within two hours 1'was back down in Banyuls. Nine hours uphill, two hours down.
During the fOuowing months, by the time we wc::rc: able to find our way blindfolded, we
once made it up to the: border in (\\,'0 hours, and a few times in ~ to four hours. 1bat
was when our ~ freighl" was young, strong, in good foml and, above all, disdplined. I
have never seen these people: again. but from time to time a name comes up and 5uddc:nly
something clicks. Henry Pachter, historian: Heinz and his friend , alI·tinic record ~
houn. Or Prof. AJbert Hirschman, economist at Princeton: young Hermant. I was mo'
cally ill when he came down 10 the: border. He pressured a Frc:nch hospital intOadmitting
me, then crossed over, guided by my husband, in about three hours. ' will write that SlOry
dO\\'ll allother time. 1 Nazi Gcmlany whose: cirueruhip had b«.n taken away loy the Narj gavcrmnc:nL.
For all that came later. TIlen. back in Banyu1s, after my first trip on the Li.n er route, ,
thought: Good old Benjamin and hU manwcript arc safe, on the other side of the
mountains.
In about a w«k the word came: Walter Benjamin is dead. He took his life in Pon·Sou the:
night after his arrival.
111e Spanish border authorities had infomled the group that they would be returned to
France. New orders, just received from Madrid: Nobody can enter Spain without the:
French exit visa. (Sc:vc:raJ diff~nt versions- exist of the rearon Spain gave this time for
closing the border: apatridd may not tluel through Spain; or Spanisb transit visas wued
in Marscilles were: invalid.) \Vhatc:vc:r the new directive was, it was lifted soon. Had there:
been wne for the news to reach the Fre.nch side of the frontier, crossing5 would have b«n
halled while watclung developments. * ,",,-ere living in the "Age of New Directives";
every governmental office in every country of Europe sccmed to devote full time: to
dccrecing, re\'Oking, enacting, and then lifting orders and regulations. 'IDu jwt had to
lcam 10 slip through holes, 10 tum, to wind, and to wriggle ) 'OUT way out of this e\ltt·
changing maze, if you wanled 10 survive.
But Benjamin was not a wriggler ...
~ . . .faul U d!fm,u;llo ~: one: has to CUt through the: fog, work one's way OUt of the
goleral collapse- that had become the only possible way of life: in France. To most. it
, meant things like buying forged bread ticke:ts or extra milk. for the kids or obtaining some
kind, any kind of permit; in other words, to get something that didn't officially exist. 10
some, it also meant to get 3uch things by "collaborating." For us, the afHJhiJej, it was
primarily a maner of staying out of concentration camp.! and escaping &om the Gestapo.
But Benjamin wall no dibrouillmd . ..
_ In his remoteness, what counted was that his manwaipt and he were: out of the: reach
of the Gestapo. The crossing had exhausted him and he didn't believe: that he could do it
again-he had told me 50 during our climb. Here, too, he had calrulatcd everything in
advance:: he: had e:nough morphine on him to take his life scvaaJ times over.
hnpressed and shaken by his death, the Spanish authorities let his companions coo'
tinue thc:ir travel.
;.~ 1980
During a rc:cem con,,'ersation with Professor Abramsky from London, we talked abou t
Walter Bc:1~amin and his work, and I mentioned his last walk.
Then I got a caJI from Professor Gcrshom Scholem, a trustc:c: of Benjamin's literary
e5tate and his closest friend. He had heard from Abramsky about out conversation and
wanted to know more. 1 gave him a summarized description of the: c:vc:nts on that day
almost forty yean ago.
He asked for every detail concerning the manusaipt :
~Thc.rc: is no manusaipt," he 5aid. " Until now, nobody knew that 5uch a manusaipt
ever existed."
I am hearing: therc: is no manuscript. Nobody knows about the heavy black briefcase:
carrying the papers that were morc: imponant to him than anything we.
• ke F. V. G runlcld, Hannah Araldt. G. Seholen! ct aI.
r SratelCH penons, Litaal.ly KPc:ople without Fatherland' -official F=dllCrm for ",rugttS from
 Hannah Arendt h;u written about the ~ littlc hunchbadt ~. whose . L _ - t D _ _ ' .
U gh his lili d . U UCil UCllJaIDln Cl.t
'c.
~u Out. c ~ agaJlul whom he took all prccaUtiOIU. Iktyarnin's "system of Il>
YUIOn.!, agauut po3slblc danger ... inr.uiably disregarded the real danger," she sa 3p
But II S«tJlS to me: now that the Mrcal danger" was UOldisrc--l-lu by u '-, I>~: .
d . d "gh ' Fb Sou
UJUIi. Ial lU hat Ul n·
6 ........ u41!cr UClI.fl1ll1n
.; it ~ JUSt that his rca! danga, his rcaliry, differttl from
ours. e must \'C met agam the little hu nchback in Pon-Sou hi .
Benjamin hunchback, and he had to COme to tcllIU with him ." s ' cry own, the Translators' Notes
Pt.rha~ I will go to fbn.~ and try to pick up some tracks,
to 1"C000CC what ha ed
on that Side of the mOWltallU forty years ago, \\ith the help of some of Our old ~
down there.
Perhaps there: will be another ending to this story.

GS Walla Benjamin. Gun"'IJIdte ScArjftnt, 7 \-00. (!-'rankfun: Suhrkamp, 1972- 1989).

J-L Jan Lacoste, tTan1lator of the Pa.uat",,-Wtr.t into French: Paro, c#piJ4k du XIX' Jih/e
(Paris: Edition" du cerr, 1989),
R.T. RolfTiedcm:mn, editor of the Jlwap.W..,..4;, GS, VQI. 5 (Frankfurt: Suhrkamp, 1982).
SW Walter Benjamin, &luttd H-iitingJ, \ blumc 1: 19/3-1926 (Cambridge, Man.: Harvard
Univ.::rJity Prcu , 1996). Volume 2: /927-1934 (Cambridge, Mass.: Harvard Univenity
Preu,1999).
Pre"iously published translations ha\"t been modified, where ncceuary, 10 accord with the pMlage.t

- cited by Bmjamin.

Expose of 1935
l'1lU 5yn0p5i.5 of Tht Arauks Project, titled "Paris, die Haupt.'ltadt des XIX. Jahrbwuieru"
(GS, vol. 5, pp. 45-59), Wall written by Benjamin in May 1935 al the request ofFriedricb
fblloc.k, codirector of the lruititute of Social Research in New 'IDrk. It was first published
\ . in Walter Benjamin, ScAriflro, 2 volo!. (Frankfurt: Suhrkamp, 1955). The translators are
indebted to the prtti0U5 English translations by Qyintin Hoare (1968) and Edmund
Jephcott (l978).

1. lbe magaJj1l dt 1IoUIJI(Qulis offen'd a complete selection of goods in one or another

• ~ Gerrnom WJ')Nalc figu~ who
favontc loy, he: 5pills yow- SQUp.
specialized line of businw: it had many rooms and several stories. \.,..ith a large staff
of employca. The first sucb StoTt:, Pygmalion, opened in Paris in 1793. TIl(: word
1IoUIH'Qllti means "newness" or ~ novelty"; in the plural. it means "fancy goods."
2. Honore de Balzac, "Histoin:: ct physiolgie des boulevards de Paris,n in George Sand.
Honore de Balzac, Eugene Sue, el aL, & Diablr Il Paris, vol. 2 (paris, 1846), p. 9 1.
[R.T.) See A1 ,4 in the Convolutes.
3. Karl Boetticher, "Oas Prinzip der HeUcnischen und Gennanischen Rauwcise hill-
sichtlicll dcr ObertTab'lmg in die BaU ....'CLse ullscrcr Tage" (address of March 13.
1846), in <urn IIulIda-(jiiArigro GehumtaK Karl Biiuichm (Berlin, 1906). p. 46. (R.T.]
Sec FI , I in the CoIl\'oIUlCS.
QllSeS all of lifc'$ mhJortlllJC:ll; he trips you. he bruks your 4. Sigfricd CicdKlll, &uro ill FrllllArnrh (Leipzig, 192R), p. 3. (R.T.]
5. Paul Schcerban, GlaJauhite.4;tur (Berlin, 19 14). [R.T.] In English, GIIW Arc1lit«turr,
tr.lnS.James Palmes (New 'Wrk: Pracger; 19n).
 6. Ju.les Micllcle:t, "Avcnirt Avenirl" EurojM, 19, no. 73 Uanuary IS, 1929): 6. [RT.]
7. Sec: Karl Marx and Friedrich Engds, Die deutsrk IrUol(J~ (Thc German Idc:oI.ogy)
part 2: in English in Marx and Engds, Collected WorL, vol. 5, trans. C. P. Magill
(New )brk: bllemationaJ Publishers, 1976). The: pa5sagt in question is on pp. 513_
514.
8. SeeJc:an Paul, ~ Levana, oder Enie:bungslelu'en (1807); in English, "Levana, or ~
trine of Education," tt"aru . Erika Casey, in l eon Paul: A &ader (Baltimore: Johns
Hopkin'! Univusity Press, 1992), pp. 269-274.
9. A.j. Wienz, "La Photographie," in Wienz, (kufl1'es lilJirairu (ParU, 1870), pp. ·309fT.
[RT] oS« YI ,I in the Convolutes.
10. Ferdinand Langle and Emile Vandc:rburch, Lowis-Bronu d Ie Saint·Simunien: I'a.rrx&
tk Lollis XI (Theirre du Palais-Royal, February 27, 1832), cittd in Theodore Mun:t,
L'Hisloire par It llriiiJre, 1789-1851 (Paris, 1865), vol. 3, p. 191.
11. Actually, it was Ernest Rcnan: sec G4,5 and G 13a,3 in the Convolutes.
12. Sigmund Engiinda, ~JCni£Att tin- fifJJUiiliJdletl ArlJeiJer-AJJlJeialiontlZ (Hamburg,
1864), ~1. 4, p. 52. [R.T.]
13. Marx, Da.s Xapital, vol. I (1867); in Engfuh, Copital trans. Samuel Moore and Ed-
ward Aveling (1887; rpt. New )brk; International Publishers, 1967), p. 76.
14. Giacomo Lcopardi, "Dialogo dc:lla moda e dc:lla mone" (1827); in English in Leop-
ardi. Essays and DialogtleJ, traruI . Giovanni Cc:cchc:tti (Berkeley: Univusity ofCalifor-
uia Press, 1982), p. 67.
15. Charles Baude~, ~A Manyr," in Baudelaire, FlowerJ 0/Evil, 0"aIUI. Wallace Fowlie
(1964; rpt. New \brk: Dover, 1992), p. 85.
l6. Bauddaire, "'The Swan," ibid., p. 75.
17. Vrrgil, 1'Iu Aeneid, trans. Allen Mandelbawn (New 'lbrk: Bantam, 1971), p. 137
(book 6, line 126). Benjamin cites the Latin.
18. "The Voyage." in Bauddairc:, u s Flam du mal, tranS. Richard Howard (Boston:
Godinc:, 1982), pp. 156-157.
19. Baudelaire, Otu.IiTtJ compJitu, ed. Oaude Pimod (Pa.rU, 1976). vol. 2. p. 27. [R.T.J
Idem, "PiClTt Dupont," in Baudelaire as a Literary Crib'" trans. Lois 80e Hyslop and
Francis E. Hyslop,J r. (University Park: l\:nruylvania State University Pres.!, 1964),
p. 53.
20. CmiftJSiqn d'un lion devtnw vieux (Confession of a Uon Grown Old] (Pa.rU, 1888), 4
pp., was published anonymously, without year or place, by Baron Haussmann. [R.T.]
21. For Lafargue'S comparison. see 04,1 in the Convolutes. (R.T]
22. Maxime Du Camp, Paris: &s organu, stJ Junth'lInS d S4 "it: d.w la ycondt moitil tiM
X/~ sitclt, 6 \IOls. (Paris, 1869-1875). [R.T.] See Walter Benjamin, ClulrltJ Bowde-
lairI':: Ein Lyriker im .(:p·talter rUJ HociWlpitalismus, in GS, vol. 1, pp. 589-590; in
English, Clw.rleJ Baudelaire: A Lyn"c Pod in the Era oj High Capitafum, trans. Hany
20hn (London: Verso, 1976). pp. 85-86.
23. Anonymow, PariJ diJtrt: Lammtah'qru d 'lIn Jlrimit Iw.UlJmannisl [Deserted Paris:
Jeremiads of a Man Hawsmanniz.edJ (Paris, 1868). (R.T ]
24. Engels' aitique of barricade tactics is excerpted in Eta,S in the Convolutes. [R.T ]
25. The vase derives from Pierre Dupont; sec: a7,3 in the: ConvolulCS. (R.T]
26. FrM6ic Lc: Play, U J Ouvners tflropitns: EtudeJ Jwr Irs trava/Jx, fa vie do,wh"que tf la
condih'qn morale thJ popwlah'onJ owvntrtJ rU l'Ewrupt, pricidieJ d 'wn ntfx1.Ji rU fa methode
d'obstnJ(J.hon (p-.uis, 1855). [RTJ
27. See p. 24 and note 22 of the Expose of 1939.
28. Sec: C2a,8 in the Convoluu:s.
•
Expoae o f 19 39
The second expose, MParis, Capitale du XlXNte siede" (Gtwmmdlt: Schrift"', "''01. 5,
pp. 60-77), was written by Bcujamul in March 1939, in Frt:ndt, at the reqUesl of Max
Horkhc:imer, who Wa5 attempting to enlist a New York banker named F~1k A1tsehul ~ a
backer ror 1M ArcadtJ Projat. For this expose, Benjamin added a theoretJcal IntroductlOn
and Conclusion. In refonnularing his Gennan c:xpos~ in Frt:Jlch, he: made: a number or
significant changes, particularly with ~gard 10 ~uria (A, 11), Louis f!lllippe (.C, 1I and
tI l) , and Baudelaire (D, II and 111) , while droppmg mudl factual matc:n~. Sce Ius lette:r to
Horkhc:imer of March 13, 1939, in GS, vol. 5, p. 1171. In our translaaon of the second
expose, we have tried to rc:pnxluce the often subtle: dh'ergc:ntc:5 from the wording of the:
first, a5 weU as the numerous verbal para1lels (where il is a question of translating a
translation).
1. See SI a,2 in the: Convolutes. The fonnula does not appear in Scbopenhauer. [R.T.]
2. Karl Marx and Friedrich Engels, Die flriligt Runifit (1845); in Eogiish, 'Tht Holy
Mmily, tranS. Richard Dixon and Clancns Dutt, in MaIX and Engels, Colled(d Wor,u,
vol. 4· (New \brk: lntemational Publishers, 1975), p. 81.
3. Charles Fourier; 1?aiorie rUs qwatre mouvements tf des tUJhnieJ gtniraltJ (1808); in
English in Fourier, 1'Ae Theory o/Iht Four MOlle7Tlt1ltJ, tranS. fan Patterson (Cambridge:
Cambridge University Press, 1996), p. 22 . .
4. Tony Moilin, PariJ en Ian 2000[Paris in the Year 2000] (Paris, 1869). See C5a.3 m the
Convolutes.
5. Marx and Engels, Weru (Berlin: Dietz, 1969-), vol. 3, p. 502: "die: kolossaliscbe
Anschauung der Menschen."
6. Actually, it wa.'I Ernest Renan; see G4,5 and G13a,3 in the Con~lu~es .
7. Sigmund Engllinder, Ge.sdricAte dtr fialltwudrm Arbtiter-AJSQMhontlZ (Hamburg,
1864), ~1. 4, p. 52. [R.T.]
8. Marx, [)as Kapital, ...'01. 1 (1867); in English, Capital, t.ran5. Samuel MOOK and
Edward Aveling (1887; rpt. New "Ibrk: International Publishers, 1967), p. 76. ro....:. ,
9. Alphonse Toussenel, Lt MonrU des oUeaux: Dmitnologit: passionnel/e, vol. 1 " .......
1853), p. 20. See W8a,2 in the Convolutes. . ' .
10. Giacomo Lcopardi, "Dialogo deUa moda e dc:lla morte~ (1827); ~ En~h 111 ~
ardi, Essays and DialogueJ, tr3.nJ. Giovanni Cttchetti (Berkeley: UmveNlty of Calif01""
cia Press, 1982), p. 67. . .
11. Guillaume Apollinaire, Lt Poit~ assassini (1916): in English in Apollioaire. ~17tt Poet
AJSa.U'itwttd" and Other StoritJ, tranS. Ron Padgett (San Francisco: North lbtnt Press,
1984), p. 46. .
12. Charles Baudelaire, .. A Manyr," in BaudelaiTc, FlowerJ rfEvil, trails. Walla« Fowlie
(1964: rpt. New York: [)oo.·er, 1992), p. 85.
13. Friedrich Nic:wche, 7?rUJ SpoAe ZarathuJlra (1891 ), trans. RJ Hollingdale (Balti·
more: Penguin, 196 1), p. 286. ~AlRicDon~ tranSlates lleim.mdlUng.
14. Marcel Prowt, Du COti tk chet Swann (Swann's Wa),; 1913); in English in Proust,
RemembraJIct oj '11lings Rut, vol. 1. tranS. C. K. Scott MOI.lcridf (New ~r~: Ra.ndo~
House. 1925), p. 119. The c:xpre5.'lionji,,·re cOlkya (MdOlOg a cau1eya ) IS Swann s
euphenmm for making lovc.
15. RefCfttlce is [0 the cOlKluaion of Hc:nrik Ibsen's play 7?rf .'I1ilJtrr Buildrr (1892).
ThroughOut this section, in the original Frt:nch, 8e.lyamin uses the standard lernl
modern Jlyle (in quotation mark..5) to rder to Jugendstil." . .
16. Baudelaire, ~nle Swan ,~ ill 1'At Compklt Verst. trans. FranCls Scarfe (Loudon: Anvil
Prc:H, 1986), p. 176 .
17. "111e Sn'ell Old Men,n in Baudelaire, Flowm 0/ Evil (New YOrk : H:upcr and Broth.
ers, [936), p. 185 (trans. Edna Sl. Vincent Millay).
18. "Th7 Voyage," in Baudelaire, U J FlrurJ du rooi, tnl1I5. Richard Howard (Boston!
GodlUe, 1982), pp. 156-157.
19. fbid ., p. 156.
20. Splrm came into French in 1745, from English; idilll in 1578, from Latin (r·tkllli.J).
21. Co1!ftjjion J'un lion tkt'C/u vieux IConfession oCa Lion Grown Old) (Paris 1888) -4
pp., was publishro anonymously, without year or place, by Baron Hauss~. {It. 1:J
22. Apparently, a comction of the earlier cxpost (see p. L3). . 7. Ibid., pp. 242-245 (tnl1I5lation of sentmCeS 2-4 addro).
23. Louis·Augu5te Blanqui, IrutnJctioru pour wne ~ d:A~: L'Eln'1Iiti par kJ I2JlrtJ_
H,pothty (1j1rcm~iqu: (Paris : Socittt Encyclopidique Fran~e, 1912), pp. 167-169,
See 07; 0 7a. BenJaffilll fint came upon this text by Blanqui at the end of 1937.
Con\'olutes
The central portion of the manuscript of '17Ie ArctukJ Proj«t (GS, vol. 5, pp. 79-989)
consists of 4261~sheets ofycUowish paper, each folded in half to fonn a 14 X 22 an.
folio, of which sid~ I and 3 arc inscribed in Benjamin's tiny handwriting, with !ides 2 and
4 left blank. These foliO! arc gathered into thirty-six sheafs (the Ccnnan word MnflOlw
means "sheaf" or ~ bundle") in accordance with a set of them~ keyed to the letters of the
alphabet. The titl~ of the convolutes, all weUas the numbering of the individual emric:t,
derive from Benj;unin. In regard to the ordering, the usc: of lowercase a (as in wAl a,l ")
denotes the third page of a folio. The letters without corresponding titla in the Overview
may indicate that Benjamin planned further convolutes.
In addition to Benjamin's aoss·roCKDC.e5 (signaled Y>ith small squares) to rubria of
different convolutes, or to rubrics without convolutes, many of the citations and reflec.
tiOI1.'l in the manuscript are marked with a system of thiny-two assorted 5ymbols (squata,
triangles, circles, vertical and horizontal aosscs-in various inks and colon), which do
not appear in the published text. The !ymbob 3TC linked 10 papers that ~amin en-
ttu5l:cd to Gcorgt:! Batailk and that wc:re discovt:red in the Bataille archive of the Bib-
liotheque Nationale in 1981 . These papers contain a detailed plan for the Baudelaire book
on which Benjamin was working in 1937-1938; the encoded itaILll from the c.onvolutcl
(more than 60 percent from Convolute J) arc grouped there under a set of headings
representing themes of the Baudelaire book as a whole. About half of the. material wu
,
then further organized for Ule composition of the 1938 essay w0 3.'l Paris de! Second
Empire bci Bauddairt: ~ (The Paris of the Second Empire in Bauddairt:).
The convolutes wc:re composed cOllcurn:ntly (rather than con.secutively) in two stages:
from the faU or winter of 1928 co the end of 1929, and hom the begiluting of 1934 until
May 1940. The ~nnan editor of the Pas.wgrn-WtTA, Rolf liedcmann, provides a man:
specific dating of the entries on the basi! of photocopies of manuscript page5 made: by
Benjamin inJunc 1935 and December 1937 (GS, vol. 5, p. 1262). Wiutin a pa.rticu1ar
convolute, the entries foUow a mughly chronological order (some having been wriuc:n
earlier; then revised and transfe rred to ule manuscript of the convolutes).
On the typographic differentiation bern'eeo Benjamin's reSections and Benjamin'S
citation., in ule ~ConvnlUI(:5 " section, see the Translators' Foreword.
A [Aread es. JUagm.i,.. tie NOlIlJeuulea, Sales Clerks]
I. Arthur Rimbaud, Comptetr WorkJ and Selected Lttlm, tnl1I5. Wallace rowlie (Chicago:
Univcnity of Chicago Pros, 1966), p. 254 (llluTlliTlalio1lJ, QSa1e").
2. TIle Passage du Caire wtU dlC first gtasHovered arcade in Paris outside the Palais-
Royal. Itopcned in 1799, one year before the more luxurious Passage des Panoramas.
3. Space in a slOd:. exchange set apart for unofficial busincss.
4. T"he Ulopian Vuilm r!I Charlts FOurier, ed. and Irans. Jonathan Beecher and Richard
Biell\'eIlu (19'l 1; rpt. Colunlbia: Uni~rsity of Missouri Press, 1983), pp. 242-244.
5. Friedrich Engels, ~ Cmuu'liln1 0/ tile Worki", Cla.s.s in Enguwl, trans. Florrncc:
WlKhncwctz.ky (1886; rpL New 'lbrk: Penguin. 1987), p. 74 ("The Great Towns").
6. TAt Utopian Vuu", rj"Cluulu Furm'tT, p. 245.
8. The Egyptian campaign of Napoleon Bonaparte: took pIaa: in 1798-1799.
9. Heinrich Heine, JauiJh SlorW and Hebrrw Mdodies (New York.: Markw Wiener,
1987). p. 122 (tram. Hal Draper). ~ Her" rdcn to the poet's wife.
to. fbssibly a. pWl on ipiein, ~grocer." The 6naI t in both ipit and we baa been sawed
oIT; the sign is thus a typographical joke.
11. One of thrtt main d.ivi.!lioru of Baltac's writings.
12, From "Lutetia," Roman name ror PaN. See C I ,6.
13. G. K. Chestenon, CJrarieJ Dickml (1906; rpt. New YOrk: Schock.en, 1965), pp. 119-
120. ColWlponding to the sixth sentence quoted here, the translation used by Ben-
jamin has: ~Chaque boutique, en fait, Cveillait en lui I'id~e d'une nouvelle."
14. De la juslict tMru l4 Rtuoluli()1l et dm)J /'tgliJe (OnJustia: during the Revolution and in
the Church) 3 volumes (1858).
15. Charles Bauddairc, &utkl4ire 4J a Literary Cn'lic, tram. Lois Boe Hyslop and Francis
E. Hyslop,Jr. (University Park: Pennsylvania State University Press, 1964), p. 52.
The reference: i! to Hugo's book of poetru fA Orinatllles (1829).
16. BalzaC; GaudWart tile Great, Irans. Jamc:s Waring, in Ba/uu:~ Wor,u (Philaddphia:
Gebbie Publishing, 1899), vol. I , p. 343.
17. Baudelaire, Paris Splent, trans. Louise Varbc (New York.: New Directions, 1947),
p. 60 ("The: Generous Gambler").
18. Baudelaire, ~MJ Heart 1Aid.Bart ~ and Otlter ~ Hfitirlp, tnl1I5. Norman Cameron
(1950; rpt. New 'ibrk.: Hask.ell House. 1975), p. 156 ("Fu..stes," no. 2).
, I
B [F.. bionJ
1. Giacomo Lcopardi, ~Dialogo dd1a moda e1 della morte" (1827); in English in Leap-
ardi, wuys and Dialogues, trans . Giovanni Cccchetti (Berkeley: University of Califor-
nia Press, (962), p. 67.
2. Rainer Maria Rilke, Duino Elegies, t:ran5.J. B. Leishman and Stephen Spender (New
York: Norton, 1939), p. 53 (fifth elegy).
3. Marginal aJUlotation by Theodor W. Adomo: ~ I would think: cou[lltn"e'-'Olutiollll."
[R.T]
4. Fan of lro and 1"he Mo;m (a &!fPortrait) appear in Grandville's UTI Auln Montie
(1844); ~ thc Milky Way ... 3.'1 an avenue illuminated by gas canddabra" is doubtless
an allUSion to Ule plate entitled.An Interplanetary Bridgr. [R.T.)
5. See Walter Bc:1~amin, Ursprung du tkuLJcllrTI 7'raumpiels, CS, vol. 1, p. 294. /R.T.) In
English, 1"he Origin o/GermaTl 'fragit DrQmJJ, uans. J ohn Osborne (London: \ mo,
1971), p. 115.
6. Guillaume Apollinaire, "77Ie Pott .AJ.saJsinaJeJ ~ and Other Stns, uan'I. Ron Padgett
(San Francisco: North Point Press, 1984), pp. 45-47 (section 13).
 7. Andre Breton, Nadja, D"an.S. Ridlaf(! Howard (New ~uk: Grove \\bdrofcld, 1960), ing; Friederike Kempner (1836-1904). Gc:nnan poet and s~il~. _A comparison
p.152. "ith the nV() other "catalogues of muses n (see P,4 and P,IO m h~51 ~kelches ")
8. See N3,2. [R.T.} veals that Dulcinea i.'i a variant of Ibsen's Hedda Gable:r, and that BenJanlUl thought
9. Apolli.nairc, ""I'M Pod AJS4JJ;nattr and Othtl' StrJritJ, p. 46. :;. adding the painter Angclik.a Kauffmarm (1741 - 1807), a friend o.f Goethe's. An·
10. fA Murttr dr Portia (The Mute Girl of fbrtici), opera by D. F. E. Auba. A duct fn:Im other Iisl, presumably the earliest, is round in ~l1~e Arcades of~ : (h,",I).. [J.L.]
this work, "Amour saed de la patrie," is said to ha ...e been used as a signal for the Countess Gesch"iu, a lesbi.an anist, i.'i a character m Frank \\hl.ekind 5 Erdgtut and
Re ...-olution of 1830 in Bl1J5scis. [>it Biidut du PalltitJra, plays which inspired Alban Berg's unfinished opera Lulu. Th ...
1L A. E. Brdun (1829-1884). Gaman zooIogiu, was the author of 71trltlwn (life; of identity oflipse remains a mystery. When Benjamin writes that the mother ofSurre-
Animals), 6 vols. (1864-1869). On Hclen Gnmd, a friend of Franz Hes.~. see ~ alism was finr p(l,JJagt, he plays on the reminine gel1~e.r of:he noun. ~ Gennan.
preface by J-M. Palmier to the French translation of Hc:s5Cl's SpaUatn m&rli" 4. 111e pll5sage is cited in Benjamin's Gennall uanslauon. ror the onglnal Frendl, sec
eruitled Prrnnnuuk; dmu Btrlin (Grenoble: Pressa Universitaira de Grenoble, 1989): CS• ...-01. 5, p. 1326. . ' . _ ..
pp. 17fT· IJ,L] 5 TIle reference is to Goethe's FauoSt, Pan 2, Act I (Imes 6264£1".), III which Faust Wits
12. Paul Valery, "On Italian An,~ in Dtgos, Mantt. MarUrJt, tran.'!. David Paul (1960; rpt. . ~the Mothers" -vaguely defined mythological figures- in search of the S«l'et that
Princeton: Princeton Univusity Press, 1989), pp. 220, 224-225. will enable: him to disCO\-er Helen ofTrQ)"
13. This passage does n~ appeilT in the English edition of ...on Jhering (also spelled 6. See H l a,3.
"Ihering"), Law os a Me/lfU to an End, trans. lsuc Husik. (New ibrk: Macmillan, 7. Louis Aragon, PariJ /taJalll, tranS. Simon WalSOn Taylor (1971 ; rpt. Boston: Exaa
1921). Change.. 1994), p. 14.
14. Allusion to Louis Napoleon's coup d'~tat of Dttember 2, 1851 . Both the Second of 8. "Know thyself."
Decern ber and the crinoline represent the aiumph of reaaiorusm. 9. Viaor Hugo, LtJ MiJirabkJ, tranS. Charla E. Wtlbour (1862; rpt. New York.: Mod·
15. Georg SinuneI, ~ Fashion,M U"aIlS. anonymous, InJtrnaJirmal ~arkrly. 10, DO. 1 (0cto- em Library, 1992), p. 103.
ber 1904), p. 136. 10. Paris IJicu (Paris, 1930). See e9a, l-
16. Ibid., p. 143. I I . Hugo, fA MiJirabltJ, p. 737.
17. 1bis passage does n~ appear in the 19M English translation of ~ Die Mode." 12. Ibid., pp. 859-860. . ..
18. Simmd, "Fashion," p. 133. 13. OlilTla Baudelaire, &Iuted LtlttrS, trans. Rosemary Uoyd (Chicago: Uruvcmtyof
19. Ibid.,p.151. Chicago Press, 1986), pp. 141-142. .
20. Valby, "About Conx." in lkgos, Mantt, MuriJoI, p. 150.
21. Jula Michelet, '!?it Pe&/Jk, tt"lln.'I.John P. McKay (Urbana: University of Illinois Press,
1973), p. 44-.
- 14. Baudelaire, fA FltUrJ du mal, tranS. Richard Howard (Boston: Godine, 1882), p. 90
("111e Swan").
15. Marcel Raymond. From &utklairt to Surr~alism. D"an.S. G. M. (1950 ; rpt. London:
22. An. echo of Mephistopheles' speech at !ina 2038-2039, in Gocthc'slVuut, Pan 1. Methuen, 1970), p. 170.
23. Henri FocilJon, 'flit Lifo oj Fomt.s mArt, tt"al"l-' . Charla Beecher Hogan and GeoTF 16. Jula Romairu, M~ o/"Corx1 Will, vol. I, trans. Warre B. W:11s (New bk: Alfred A.
Kubler (1948: rpt. New York: Zone Books, 1989), pp. 85, 87. , Knopf, 1946), p. 146.
24. The e55ay, originally published in -&£tKArififor SoUa!fondrung. 6 (1937), is in GS, 17. Oswald Spengler, 'I'M Dtdint rf 1M. WtJt. vol. 2, tranS. Charles Francis Atkinson
vol. 2; sec p. 497, note 50. [R.I ] In English: ""Eduard Fuchs: Collector and Hino-
rian,M trans. Knut Tarnowski, New Gn-man CritiqUt, 5 (Spring 1975); see p. 5 1, note ,. (New York: Knopf, 1928), p. 107.

49.
25. Hennann Lotze, Miaucrumus, U"aD5 . Eliz.abeth Hamilton and E. E. Constanct:Jones o [Boredom , Eternal Re turn]
(New York: Soibner and ~lford , 1888), vol. 1, pp. 486-487.
C [Ancient Paris. Catacombs. Demolitioru. Decline of Pam]
1. Virgil, '11It AtntiJ, trans. Allen Mandelbaum (New York: Bantam, 1971 ), p. 137
(Book 6, line 126). Benjamin cila the Latin.
2. Guillaume Apollinaire, OtulJm poitiqfus (Pari~: Gallimard, 1956), p. 39 (A/cools,
~Zone i . [R.T.J In English: A/cools: Pomu, /898-1913, tl"aIlli. WilliamMercdi~ (Gar-
den City, N.Y.: Double:day, 1964), p. 3.
3. Cenain of these muses of SUJTealism call be: identified more preci:ldy: Luna, the
moon; Kate Greenaway (1846- 19( 1), English paUJter known for hu illu.u rations o r
children's boob; Mors, death; Ow de Mbude (1875-1966). French dancer who
epito mittd the demimonde; Du.lcinea, the beloved of Don QyixOle aud the image of
idealizl'tl woman; Libido, an allusion 10 Freud ; Baby Cadum, publicity and advertis-
•
1. J akob van Hoddis (Ha.Ju Davidsohn), HHltntk (19 11 ), in ~j(Jfllnle/lt Dic/Jtungro
(ZUrich, 1958), p. 466 ('"K1a.ge"). [R.T.}
2. JOharul f't:ter Hebd, WtI'A:t: (Frnnkfun ani Main, 1968), vol. I, p. 393, [R.T.]
3. In the collection LAutogra/J/Jt (Paris, 1863). [J.L.] .
4. AtI't: /JUtnnius: ~ more lasting than brass." 1'Mdium vitae: tedium of life. .
5. The Rue des Colonnes-formerly the Passage des CoIOruICS, rransfomled mto a
street in Im8-is located near the Stock Exdlange· IJ.L.]
6. Cited in French ";thout references. Reading "bien da aventures~ (F", 18 in "FIfSI
Sketdla ") for ~ Iieu des aventuTClll."
7. Louis Aragon, PaN ~ti..flVrt, trans. Simon Watson Taylor (197 1; rpt. BoSlOll: Exact
Change, 1994), p. 71.
8 See not~ for 8 °,4 ("First Sketches;.
9: See Ferdinand Hardekopf, Gaammtit' Dit:Mungrtl (Zurich, 1963), pp. 501f. [R.T ] See
also B",5 ("Fint Sketcha").
10. "'Iime M and "weather."
11. Karl Marx, Capital, vol. I, tranS . Samud Moore and Edward Avcling (1887; rpt. New
York: Inu:rnarional Publishen. 1967), p. 398.
12. Andri Gide, "Upon Rereading U J PfaiJirl tt kJ JOurJ after the Death or Marce!
Proust,H DllW . Blanche A. Price, in Gide. Prett xlJ: &jkch'onJ Dn literahlr~ aNi MM'al.
ity, ed.Justin O'Brien (New lbrlc Meridian, 1959), p. 279.
13. Dokefor ninltt: Italian ror "sweet idlencss." lmagrJ d'Epinal wt.re sentimental rcligious
posters produced in lhe town or Epinal in southeastern France.Jean Lacoste: suggcsta
that Mogreby may be Maghrl:bin, the magician in "Aladdin and the Marvdous
Lamp," in the Mardrus translation of UJ Millt et UM J(uilJ (1925). Compare
"Napks," in S ~v. vol. 1, p. 419.
14. This JWsage involves some wordplay in the German : l id! d~ <tit wr-tTtihen / 4ILr.
treibcJ, as opp»ed to d~ <tit ladm flUlid! t:inftukn.
15. Jule.!; Michelel, 'T'ht I+opk, trans.john P. McKay (Urbana: University of illinois ~,
1973), p. 46.
16. Siegfried Kracauer, OrpheUl in PariJ: OjJenbaclr and 1M PariJ of His 'lime, trans.
~-enda David and Eric Mosbacher (New York: Knopf, 1938), p. 268. Daaibed is a
scene from Offenbach's operetta La Vlt' parisimne (1866).
17. Ow-Ics Bauddaire, "The- Painter of Modem Life:," in "'1?u Pain/n' of MOtknt lift"
and Olnn EwyJ, trans. Jonathan Mayne: (1964; rpt. New York: Da Capo Press,
1986), p. 26.
18. Ibid., pp. 28-29.
19. Ibid., p. 29.
20. Ibid., _p. 10.
21. Baudelaire, 1k Complttt Jb-Jt, b'3I15 . Francis Scarfe (London: Anvil Press, 1986),
p.232 .
22. An earlier version of this p:wage. appears in 1k CQfmpondatu of Walle' &"jU1lli:lt.,
trans. Manfred R. Jacobson and Evelyn M. Jacobson (Chicago: Univusity of au·
ago Ptus, 1994), p. 549 {where Benjamin announce! his ~rare find").
- 14. Sec below, EIOa,3.
23. Friedrich Niewche, 'l'hL Will 10 PoWtr, tram. Walter Kaufmann and R.J. Hollingdale
(New 'mrk: Vllltage, 1968), pp. 35, 36.
24. Ibid., p. 38.
25. Ibid., pp. 546-547.
26. Ibid., p. 548.
27. Ibid., p. 550.
, .
28. Ibid., p. 549.
29. Griindn:jahre: years of redless financialspecuJation, in this case roUowing the Franco-
Prussian War of1870-1871.
30. N"1Ct:z.scbe, &« Hom.o, trans. Walter Kaufmann (New York: Vmtagc., 1969), p. 219:
"Here no 'prophet' is speaking, noot or those gruaom( hybrids of sickness and will
to power whom people call founders of religions."
31. Jc:an~acque! Rouueau, 1"IIt OJrifr;JWfIJ, trans. J. M . Cohen (Baltimore: Penguin,
1954), p. 415.
32. The Porlablt Nittudlt', trans. Walter Kaufmann (New '!brk : Viking, 1954), pp. 101-
102 (7k G~ &itnu).
E IH oU58m annizolion, Barricade io'i@h ling]
1. Friedrich Engcb, lntJ"Oduction to Karl Marx, 1?Jt" Clms StnJgftJ in Fra1lU, /848 to
1850, tram. anonymous (New '!brk: Intemationall\iblishers, 1964), pp. 22- 23.
2. Man:.. rAt CllUJ Strngglt!l in Franu , p. 44.
3. Benjamin is quoting from an open kucr by die econmnisl Frederic Bastiat 10 La·
martine, according to which the latter is actuaUy citing fuuricr. [R.T.J
4. Lc Corbusier, 1"IIt City ,!!TornomJW alld It; Pianning, trans. Frederick Etdldls (1929:
TpI. New York : Dover, 1987), p. 156.
5. Ibid .. p. 155. See ESa,6.
6. Ibid., p. 26 1.
7. Andre Breton, Nadja, trans. Richard Howard (New York : Grove, 1960), p. 152.
8. Gisek Freund. Pholographi" und biirgtr/itht Cmluc/uyh Eint AUflJtJOliologUeh, Studie
(MwLich, 1968), p. 67. [R.T.)
9. Lc Corbusier, 1M. City of1"om.(J1"f()W, p. 156. Next sentence: "'And in destroying chaos,
he built up die emperor's finances t"
LO. In chapter 14 of his popular utopian novel of 1888, LooAing &uAward: 2000- 18 87,
Edward Bellamy describes a continuous '\.\Iaterproof covering let down in inclement
weather to enclose sidewalls and streetcomers.
11 . After the government, inJuly 1833, had bowed to public resistance and abandoned
its plan to build fonilicarioru around the city of Paris, it took itli revenge: by arresting
a number of individuals (mcluding fOUl' scudenta from the Ecole Polytechnique)
thought to be illegally manufacturing gunpowder and anru. The group was acquitted
in December. G. Pinel, H'utoire de ['&ok polyttclmique (Paris: Baudry, 1887), pp. 214-
219.
12. This pruuage does not appear in the English·language edition: Gustav Mayer, Frie·
dn'd! EngtIJ, trans. Gilben Highet and Hden Highet (1936: rpt. New ibrk: Howard
N:n:ig, 1969).
13. Siegfried Kncauer. Orphew iII Pari;: OjJnlbddt /IIId lltt R uiJ of Hil 7"tnlt', trans.
Gwenda David and &ic MosbacllCr (New ibrk.: Knopf, 1938) p. 190.
15. Honon': de Balzac, Pm G«iol, trans . Heruy Reed (New York : New American Li·
bmy, 1962), p. 275.
16. Tht Eutntiai RoUJJtau, trans. lowell Bair (New "Wrk: New American Library, 1974),
p. 17.
17. Friedrich Engels. 7?tt HOUling OEtsh01l, trans. anonymow in Marx and Engeh:, {AI.
lected WorL, vol. 23 (New 'lbrk.: International Publishers, 1988), p. 365.
F [Iron Construction]
I. Emended to ~ad "giass" in the Gennan edition.
2. From hOhltur, "boaslful chauerbox." A charaaer in Grandville's book of illustrations
Un autre mMUit. Sec Fimt41ti, IlIlIJtrationJ ofGr/llldvilk (New York: Dcr.-er, 1974), p. 49.
3. 1Uc term for "railroad" in Gennan, EiJtnbahn, means literally -iron track." The term
came into wc around 1820 and, unlike Ei.rt1lbahnhof(whicll became: simply &hnlwf),
continued to bc used after sted I".ws had replaced the il'On.
4. Karl Marx, Capital, vol. I. tranS. Samud Moorc and Edward Avding (1887: rpt. Nev.'
'fOrk.: International Publishers, 1967), p. 362n. ~ Fonl1 of die tool," at the end, tranS ·
Iates Kiit-ptrform dtJ WtrA:UUgl (litc.rall)', "bodily ronn"), and this is the term taken up
by Benjamin in parendlesis.
5. ~ Mtltr Lidit!": Goethe's lasl words.
6. The Gennan Halle and the English ~haU ~ derive rrom a Germanic- nO\U1 meaning
"covered p!ace," ..... hich in rum is traced back 10 an Indo·European root signifying M to
cm-er, conceal.~ u Hall ~ is c.ognate with "heU.n In earlier times, tlie hall- in COntrast to
 the room-wall a ~pacious, half-opcn strocture (with a roof suppon~ by pillar3 or
colunuu) designed LO pl't}Vide shdter from rain or SWl .
7. Actually known as the Pa.laU des Machines, it was buill for the world exhibition of
1889 by the enginecn Contamin, Piemm, and Chartron. U.L.J The quotation, given
without n:fercnces, is in Cennan.
8. OIiJuly 28, 1835, during a parade by the Garde Nationak down the Boukvard du
-fern pie, the Corsican conspiraLOr Giuseppe Fiesch.i made an Wl5uccessful attempt on
the life of I...oui5 Philippe. H ill "infunal machine~ -a device made of several guru
rigged to fire simultaneOusly- killed eighteen people.
9. Victor Hugo, Nom-Dame 0/ Pam, trans. J olm Sturrock (New York: A:nguin, 1978),
p. 2Z
10. ConstruCted by Vid and Barrault for the exhibitio n of 1855 on the Champ:!.Elys«s.
[].L.)
II . Hugo,Xo/re-Dame ojParis, pp. 150-15 1.
12. The ca51·iron bridge of CoaIbrookdale, in Shropshire, was built by T. F. Pritchard
[].L.)
13. Jules Michelet, 1M !top/e, trans.John P. McKay (Urbana: UnivcrsityofIllinoi.s Preas,
1973), pp. 45, 43n.
G [Exhibitions, Ad\'ert.i8ing, Grandville]
I. Alexander von Humboldt's last and greatest work, Mmru (5 vols., 1845-1862), was
translated inLO nearly aU European languages. ~ Jdrwi"dmdm Dt>ppthkme (disap-
pearing twin Stan) are disCJllsec:i in volumes 1 and 3.
2. Victoria! A Nro! World! Joyous PtodamtJtioll o/tk Fact 17raJ on Our PiJJlIet, EJpaiaJIJ ill
tM Northl17l Hemisphn-e I~ OccuPJ. tJ 7QUd Alteration in Tempmuun HaJ lkgwll, 1?umiJ
to 1M /lIcmue mAtmusphmc Warmth.
3. 1867 was the year of Offenbach's biggest box-office success, La Grande-Duchnse tk
GmJhtdn, with libretto by Henri Meilhac and Ludovic HaleV}'.
4. AfleT Paxlon's designs were uutially rejected by the London Building Collllllinee in
t850, he published Ihem in the fAndon NrnJJ, and public response to hi! unusual
5.
concqx was so overwhelmingly favorable that the committee capitulated.
TIle advertisement appears in Benjamin's Gennan translatio n. Original French in
, trans. Loi" Boe Hyslop and Francis E. Hys1op,Jr. (London: Oxford University Pren,
CS, \ 'O\. 5, pp. 1327-1328.
6. Kart Marx, CapifdJ, \-01. I, tr.u1.S . Samud Moore and Edward A'lt:l.ing (1887; rpt. New
'IDrk : International Publishers, 1967), pp. 76-77.
7. Ibid., p. 76.
8. 11l( C rystal Palace was destroyed by a sp«tacu1ar fire. at Sydenham in south London
in 1936.
9. At the end of the second Opium War (1856- 1860), aUied EnglL,h and Fn::nch fol'Wl
captured Peking and burned the Chinese emperor's summer palace.
10. TIle royal ordinance ofJanuary 13, 181 9, providetl for the public exhibition of the
produclS of F~nch industry ~ in the rooms and galleries of the Louvre," at interval!
1I0t exceeding every four years; a jury was to decide which exhibitors deserved
rewards from the gm-emmem.
11 . 1b:1I ill, 180 1, according to the French re\'Oiutio nary calendar.
12. 'fM MJJ/ffl·t.f '!! Pam (1842- 1843 ), enonnously popuIu novel by Eugble Sue.
13. Hugh Walpole, 'T'M rnrtmJ (1932; rpr.. Phoenix Mill, England : Alan Sutto n Publish-
ing, 1995), pp. 248, 247. TIle daaiption of the "monster lodging-house" mentioned
in GlO,1 ill on p. 239. Benjamin cites the text in Gcml3J.l (with an Englillh title);
translator unknown.
14. A. Tousscncl, PQJJional Zoology; Or, Spirit r{tM Iktu /J ojFrallu, trans. M . Edgewonh
Lazarw (New ~rk : Fowlers and \~lls, 1852), pp. 140, 142.
15. Ibid .. p. 355.
16. Ibid., pp. 337-339.
17. Ibid., p. 340.
18. Ibid., pp. 135, 136.
19. Ibid., p. 346.
20. Ibid., pp. 91-92.
21. Ibid., pp. 346, 3 4Z
22. Marx, Capital. vol. I . pp. 293-294.
23. Victor Hugo, U J MislrableJ, trans. Charles F.. Wtlbour (1862; rpt. New '\brk.: Mod-
em Library, 1992), p. 767.
24. 1be International \\brking Men's Association (the FU'SI lnlernational), the Genaal
Council of which had illl .seal in London, was founded in September 1864.
25. MaJx, Capit4l, \-01. 1, p. 76. "MaIO'ial immateria1 ~ tr.u1.Siata sinnlidl iibemnnlidl.
26. For another English version, translated from me RUMian, see Nikolai Gogol, Ar4*
IKsqtw. trans. Alexander Tulloch (Ann Arbor, Mich.: Ardis, 1982), p. 130.
27. J. W. Coedle, ;oNachtgedanken;~ GedmkalUgalH, vol. 1, sam/lick Gedich/e (Zurich,
1961 ), p. 339. [R.T.1 In English in Seleded Ver.1l, trans. David Luke (London: Pen-
guin, 1964), p. 75. SeeJ22a,1.
28. Charla Baud~, 1M Mirror 0/ Art. trans. Jonathan Mayne (London: Phaidon,
1955), p. 84.
29. &utkwire aJ a liln'ary Cn'tic, tran5 . Lois Hoe Hyslop and Francis E. Hyslop, Jr.
(University Parle Fbm.sytvania Swc University Pres5, 1964), pp. 79-80.
30. Sec SIr, vol. 2, pp. 85-90 ("Main Feawres of My Second Iropl"CMion of Ha.shi5h").
Also below, 12,6, Mla, l , and Mla,3.
H [The Collector]
, I
1. Letter of December 30, 1857, to his mother. In &ulklairt: A Self-Portrait, ed, and
1957), p. 135.
2. Dr. Miracle and Olympia, the aUlOmatccl puppet, appear in U J CmtteJ d'Ht{fmann
(1881), an opera by Jacques Offenbach. Or. Miracle has been interpreted as geniw of
death; sec Siegfried Kracauer, OrpheuJ in Paris: Offt:llbodl and tM PariJ f!! Au 'j"rtfll,
trans. Gwenda David and Eric Mosbacher (New 'tIrk: Knopf, 1938) p. 355.
3. The Passage du l\)nt-Neur. See T'Irirt.u Raquin, trans. Leooard Tancock (New'\brk:
~nguin, 19fi2), pp. 3 1- 35. Hntpublishedin 186Z
4. Thi" rt:fertnce rt:mains obscure.
5. PluudruJ, 247c.
6. August Strindberg, "The Pilot's Triah," in Strindberg. raJeJ, trans. L.J. F'tm.s (lon-
don: Chatto and Wmdus, 1930), pp. 45, 46, 50.
7. Bauddain:. Artffidal Paradise, tranS . Ellen Fox (New \bTk : Herde.r and Herder, 1971).
p. 68.
8. But see bciow, H2,7; H2a, l, on the singular ~ gazc" (Blici ) of the collector.
9. Charles Dickens, 1M Old CuriOJiry snop (London: Heron Book", 1970), p. 16 (eh. I).
10. 1bc:odor W. Adorno, ~Oll Dickens' Tk Old CurlOJ;fJ Slwp: A Lecture'" in No/tJ 10
LitlT(uure, vol. 2, tranS. Shierry Vkber Nicholsen (New 'lbrk: Colwnbia University
 Pre.ois, 1992), p. 177. Adorno's essay was first published in die Franifurttr «t'tung
(April 18, 193 1), pp. 1- 2. The passages from Dicken.s arc in cbs. 12 and 44, respcc_
tivdy.
II. Karl Marx, "Economic and Philosophic.al Manuscripts (of 18441,~ in Karl Marx:
&Iecled Wn'tings, ed. David McLellan (New 'rork: Oxford University fuss, 1977),
p.9 1.
12. 'flu Portahle Karl Marx, trans. Eugene Karnenka (New 'rork: Viking Pt:nguin, 1983),
~ 151
13. Marx, Selected mitings, p. 92.
14. Ibid., pp. 91-92.
15. 1bis passage is not found in the English-language edition ofJohan Huizinga's book
nu Himingt?/tM Middle Ages (New 'rork: Doubleday Anchor, 1954).
16. In this passage. "dispersion~ trarulatcs <.erstrroung, "profundity" trarulatcs 7iefiinn.
and "patchwork ft translates StiitAwerll.
17. M~ Proust, 17u Pmt Recaptured, trans. Frederick A. BIQ.'lsom, in Rnntmbrana 0/
7/lIngJ PaJI, vol. 2 (New'rork: Random House, 1932), p. lO70. On the collcaor's
relation to memory and the world of things, compare Q °,7 in "Erst Sketches."
I [The Inlerior, The Trace]
1. "Know thysdf:'
2. Le Corbusier, 7M CiJy q/1'amurTow and Its Pltzrl:n.in.g, trans. Frederick Etchells (1929;
!pc New ibrlc Dover, 1987), p. 259.
3. See 14a,2. In Sue's novel 'flte M}JmU.I 0/ Pam, the archvillain Ferrand, whose accom-
plice is a perfidious priest, is done in by the wiles of the Creole Cecily.
4. Jacques-Emile Blanche, Mes modi/a (Paris, 1929), p. 117. Barres' phrase, which Ben-
jamin misquotes in French, is: "Un comeur arabe dans la loge de Ia portiere!" [R.T.]
5. 1b.is whole passage is adapted from the protocol to Benjamin's second experience
with hashish inJanuary 1928. See S~v, vol. 2, pp. 85- 90.
6. See GS, vol. 6, p. 567 (where the passage is attributed to Ernst Bloch).
7. Man:cl Proust, "About Baudclaire,n in Proust, A &Iu tionfiom His MisallamollJ f#it-
ings, tnlIri. Gaard Hopkins (London: Allan Wmgate, 1948), p. 199. Citing, respec-
tively, from Baudclaire, N us Condtzmnies. uUne martyre," Pitces amdamnies.
8. SOren Kierkegaard, Siages 071 Lifo ~ Wtg, trans. Walter Lowrie (1940; rpt. New'rork:
Schocken, 1967), p. 30.
9. Theoclor W. Adorno, Kin-ugaard: C01lJtrudion o/IM Aesthetic, trans. Robert HuUot-
Kentor (Minneapolis: University of Minnesota Press, 1989), p. 60. ~ Primordial"
tramlates urgrschichtlich. See pp. 48-49, on Kierkegaard as rcnticr.
10. Ibid., pp. 43-44 (the tenn inlm'tur has been tranSlated after the first sentence). The
passage from Kierkegaard is in Either/ Or, vol. 1, trans. David F. Swenson and Lillian
M. s-v.'cnson, with revisions by Howard A.Johnson (1944; rpt. Ncw York: Anchor,
1959), pp. 384-386.
11. In Ibsen's 1he Mruier Buildu (1892), Mrs. Solness had kept nine doUs hidden from
her husband until a fin: destroyed her family estatc, catalyring SolnC5S '5 career of
building homes for happy families. Sec FOur Mqjor Plays, trans.James Mcfarlane and
Jens Arup (New 'rork: Oxford University Press, 1981 ), pp. 314-3 15, 335.
12. " \\bhncn als Transitivum-im Begriff des 'gewohnten Lehew' l.B .~
13. The reign of Louis Philippe became known as the Middle-of-the·Road Regime (jusle
Milieu). In a speedl of 183 1, he s taled :"~ must not only dlerish peace; we must
avoid everything that might provoke war. ru regards domestic policy, we will en-
deavor [0 maintain a JUJu milit!U." Cited in Daumiu: 120 GrMf Lithograplu. ed.
Charles F. Ramus (New Yo rk: Dover, 1978), p. xi.
14. Marx, 'flu Ectmamic and P"iloJt1>"i, ManUJmprs 0/ 18 44, crans. Martin Milligan (New
'rork: International Publisherll, 1964), pp. 155- 156.
15. Paul Valery, "The Place of Baudclaire," in U onardo. Poe, Mallarmi, trans. Malcolm
Cowley andJames R. Lawler (Princeton: Princeton University Press, 1972), p. 203.
16. A rather fa.nt35tic house near Versailles whidl Balzac built in 1838 and left in 1840.
. 17. Baudelaire, Paris Splml, trans. Louise Varese (New 'rork: New Directions, 1947),
p.33.
18. Hono~ de Balzac, ModJ:Jfe Mignon, trans. anoll. (New 'ibrk: Fred de Fau, 1900),
p.68.
19. Georg Simmel, '!he: Phl1ruophy 0/ Monq, 2nd cd., trans. Tom Bottomore and David
Frisby (London: Routledge, 1990), pp. 459-462.
20. J oseph Conrad, "'77ze Shmrow-Line" and Two Otkr TOltS (New 'ibrk: Anchor, 1959),
pp. 189, 193.
2 1. Jcan:Jacque5 Rousseau, 1he CcriftJSion.J, lrlUU. J. M. Cohen (Baltimore: Penguin,
1953), p. 280.
J [Baudelaire]
1. Pierre de Ronsard, Qeulffes camplttts, vol. 2 (Paris: Plfude, 1976), p. 282. [R.T.]
2. Paul Valery, "The Place of Baudd~ ; in utmtzrdo, Poel Malltzrmi, trans. Malcolm
Cowley andJames R. Lawler (Princeton: Princeton University Press, 1972), pp. 195,
197-198.
3. u ptmcjf: the banal, the trite; a conventional piece of writing. a cliche. Baudelaire:
writes in his notebook: "To create a new commonplace [pontif]-that's genius. I
musl create a collunonplace." " My Hearl Laid Btzre" and Oth" Prose fftitings, U'a1l..'I.
Nonnan Cameron (1950; rpt. New 'rork: Haskell House, 1975), p. 168 ("Fw&:s," no.
20). See also Baudelaire's "Salon of 1846," section 10.
4. Baud~ 's artide "Richard Wagner and '(wlrlnau.ler in Paris ~ appeared on April 1,
1861.
5. Baudelaire, "My Heart Laid Bare," p. 198: "Praise the cult of inuges (my great, my
,- unique:, my primitive passion)" ("My Hem Laid Bare"). ltimitivt passion can be
translated as wearliest pas sion.~ Baudelaire's note could refcr to the imponance thai
pictures (images) Iud for him when he was a child; his father was an an lover and
amateur painter. (He died when Baudelaire was six.)
6. &utklain a.l a Litrrary Critic, trans. Lois Soc Hyslop and Francis E. Hyslop, Jr.
(University Park: Pt:nnsylvallia State University Press, 1964), pp. 53, 52. Pierre Du·
pont's Chants et charuoru appeared in 1851. Baudelaire writes to his guardian AnccUe,
on March 5, 1852, that Louis Napoleon's coup d'etat of thc p~ous Dc:cember had
"physicall), dcpoliticizcd ~ him (&lUcklaire as a Lilmi') Critic, p. 50).
7. Baudelaire had appeared on the barricades during the tlm::e-day revolution of Febru-
ary 1848.
8. In order to save Baudelaire from "the sewers of Paris ,~ and to punish him for his
monetary extravagance, his stepfather, General Aupick, sent him on a sea voy<lb"C: to
Calcutta. Afttr dcpamug in June 1841 , and surviving a hurricane oiT the Cape of
Good Hope, Baudelaire disembarked in Reunion and returned to France in February
1842.
9. Seledcd utters o/CIw.r1~J &udeilJ.ire. trans. Rosemary U oyd (Chicago: University of
C hicago Press, 1986), p.142.
 10. 'fht Mirror of Art: Cn·tic.aJ Studiz; by Chark; Baudtlajre, trans.Jonathan Maym (Lon. 42. Baudelain::., ·n~ /'aim" rf Modern Lif i ," p. 2 1 ("The Paimer of Modem Life").
don: Phaidon, 1955), pp. 282-283. lbc phrnse "those spires 'whose 6n~n point to 43. Ibid., p. 24.
heaven' ~ (",ontrant du doigf Ie tiel), trarulate3 a tine from \\brdsworth's poem "1be 44. Ibid .. p. 32.
ucursion" (book 6, tine 19), itsdf a citation from Cole rid~. Sec m e Mirror 0/ Art 45. Ibid., p. 40.
p. 282112. ~ 46. Bauddain:, Sd,tt(d IffitillKJ on Art and Littratur1! , U'3.IlS. P. E. Charvc:t (1972: rpt.
I I. Uauddairc, Paris Spl«n, trans. Louise Varese (New 'IDrk : New ~ction:s , 1947), p. 8 New York: ?mguin. 1992), p. 435.
(W
To Every Man His Chimera"). 47. Bautklilir-e tU a Ll~erary Crilie. pp. 296- 297 ("'The Painter of Modem Life," section 4,
12. Albert 1bibaudet, Frmc/llitl'l'tltureftrmr 1795 to Our Era, trans. Charles Lam Mark- AModemity"). Baudelairc: here anticipates N ietzsche's critique of the antiquarian in
9 mann (New 'Jbrk: Funk and Wagnalls, 1967), p. 289. the second of the Unuitgernasse &tradthin~ : ~-&m Nuher/ und Xtuhtcii der I£uloriefiir
13. C. K. Chesterton, ClwrkJ Dideru (1906: rpt. New 'IDrk: Schodcn, 1965), p. 47. daJ Lthen <On the Advantage and Disadvama~ of History for Life). IJI the sentence
Reference: is to. the period of Di~~' ,>'OUth whe~ ~e worked ~ a factory pasting that follows this quotation from Baudelaire, Benjamin delineates a dialectical process
labels on blacking·bottles. In BeOJarum s French edibon, 1bat wild \\-'Ord" is trans. that is somewhat blurred in uanslation: the stamp of time that, literally, kirupreJSC!I
lated as "Cc mot baroque." itself uuo" antiquity (sid! in siz rindriidt) brin85 Out of it (trdht ... aus i/lr Mrwr)-
14. Ibid., p. 60. that is, brin85 intO n::lief- the allegorical configuration.
15. Valery, Leonardo, Poe, Mallarmi, p. 207. 48. &utklain as a Litn-ary Critic, p. 296 : and I7u P6inttr '!! Modern Lifo," pp. 14, 16.
16. In August 1857, after the publication of leJ Fleur; du mill, Baudelaire and his publUh- "Spleen et ideal" i5 the first book of LeJ Rerm du rNll.
crs were tried and found guilty of offending public morality; they were fined and six 49. Baudelaire, "17ae P6inttr 0/ Modern Lift," pp. 29, 12.
pocrru in the collection weK suppressed. The verdict cites the "indecent realism" of 50. Ibid., pp. 8, 66.
the images. 51. Ibid., pp. 10, I I.
17. v,uby, Leonardo, Poe, Alallanni, p. 195. 52. Ibid., p. 48.
18. &u.tklairt as a LiMrary Cn·tic, pp. 3 18-319 ("Advice: to 'Wung Men of Lcnera"). EArl 53. Ibid., p. 3.
romantique was originally published in 1869 as volume 3 of the lint colltttcd edition 54. Baudelaire, UJ F7nIfJ du mill, o-aru. Richard Howard (Boston: Godine, 1982), p. 77.
of the poet's works; the tide was evidently supplied by the editorJ. 55. Baudelaire, "1'he Painter 0/ Modern Ljft," p. 32.
19. &udtlairt 41 a Littrary Critic, p. 69 ("TIle Respectable Drama and Novd"). 56. Ibid., p. 14. SecJ6a,2.
20. Ibid., p. 73 ("The Pugan School"). 57. &Iecttd LeUm o/Charles &udtlaire, pp. 79-80. Baudelaire had received a copy of
2 1. Ibid., p. n. AJphonse 1Oussmd.'s book L'Esprit tkJ bites.
22. Ibid. 58. Baudel.a.ire's un.successfu] effOrt to gain membership in the Academie Fran~ at the
23. Ibid., p. 76. The passage conveys Baudelaire's disgwt with cenain clauical nOtions of end of 1861 entailed mandatory visits to each of the: fony Academicians. He wa.!
beauty, suggested by la plastique, ~sculpted fonn" or "fine shaping.~ n:cc:ived by about half of them before he withtiaw bi.s application.
24. Ibid., pp. 24 1-242. 59. &Irdtd Lttlerl o/CJearkJ &udLlaire, p. 210 (NO\'\"Illber 13, 1864, to Ancdle).
25. Ibid., p. 251. 60. VICtor Hugo, JWm.s, U'3.IU. anonymow (Boston: Harcourt Bindery, 189?), pp. 190,
26. Ibid., p. 263. 192. ~ Les MetalllOlphoses du vampire ~ (Metamorphmcs or the Vampire) and ~ Lcs
27. Ibid., p. 262.
28. Ibid., pp. 265-266 ("Theodon:: de Banville' .
, . Pt::titCS Vieilles" [Jbe Little O ld \-\bmen) an: poems in Us R nm du mal. For ~'s
drum oCher dead mother,Jaabd, sec scene 5 of Aa 2 of Racine's Atlwlie (1691 ).
29. Ibid., p. 278. 61. Jules Lafargue, &Iuted HfitingJ, trans. William J ay Smith (New York: Crovt: Press,
30. Ibid., pp. 285-286. 1956). p. 212. References an: to Baudelaire's poems "u Baloon" and "Lc Serpent qui
31. Ibid., p. 289. dansc," in leJ Fkurs du mill.
32. Ibid., p. 147. 62. Laforgue, Selected f~'itillg;, p. 213.
33. Ibid., pp. 144. 146. 63. Ibid.
34 . Ibid.. p. 146. 64. Ibid., pp. 2 15-2 17. CitaUoIlS from LtJ Flturs du mal (trans. Howard). p. 173 ("Medita·
35. Ibid., p. 56. tion,,), p. 14 (~E1evadon ~) , p. 82 ("The Ooc.k" ). p. 87 ("Parisian Lanrucapc").
36. [bid., pp. 5 1-52, 52-53. 65 . &uddairt:: A Self-Portrait, ed. and t:ranS. Lois Boe Hyslop and Francis E. Hyslop,J r.
37. Ibid., p. 58 ("Pierre Dupont"). (London: Oxford University Press, 1957), p. 51 ("Pauvre Belgique,,).
38. Ibid., p. 205. 66. Baudelaire. "'My Hr.art Laid &rt." p. In (~ ~'1)' H~an laid Bare").
39. Ibid., p. 222 ("Richard Wagner and 'l'aRnM'usa in Paris"). 67. Bauddaire, 7h.t: Compltte Vme, tranS. Francis Sca.rft: (London: Anvil) 1986). pp. 326-
40. Ba udelaire, "7h., Pllin!" rf Modern Ljfi~ mId Other Essays, trans. J onathan Mayne 327.
(1964; rpt. New 'Jbrk: Da Capo, 1986), p. 206. The reference that follows is tOJules 68. Lafargue, Selected UTitillgJ, p. 211.
MicllelCl'! Hi;I{Jire de Fmnce au Jeitjfflz~ siteu (1855 ). 69. Ibid., p. 213.
41 . Bauddain:, MPainters and Etcllent in Art in Pam, /845-1862, U'3.IU. Jonathan 70. Baudclain::. /lltilNlle jotJrnau, tranS . Christopher Isherwood (J 930; rpl. Vlbtpon,
Mayne (London: Phaidoll, 1965), pp. 220- 22 1. CompareJ2,1. CoIUI.: H yperiOIl, 1978), pp. 11 3- 114.
 71. oS« Tl1/: Mirror ofArl, p. 51. Bauddaire qUO«$ from E. T. A. Hoffmann's HOcAst
U'7atrtulr G, dllTllirn, pan of the IoKTcisier paJXni" 011 mu.sic, named after the author'
popular moulhpiece,Johannes Kreisler.
72. B..udd~e delivered die first of6\"C public lectures in Bnuscls on May 2, 1864. It wa.
wcll ~cel\'ed, but the other four were dismal failures.
73. llUs is a play ~ the riUliOUS l\~rds of Henri of NavllrT"r:. When he a.s.5unlC<! the
french throne In 1593, as Henn rv. he convened to Catholicism with the: words
"Paris vaul bien une me5SC'."
74. 'J7,e Leltm rI CUJlavt FlaulNrl. 1830-1857, rraru. Francis StttgmuUer (Cambrid
Mass.: Han'anI Univenil)' Pros, 1980), pp. 232-233 (lctlerofJuly 13. 1857). ~,
75. &Ulklairt. as a Littrary Cdric, p. 7 (letter ofFCbruary 18, 1860, 10 Armand fraisse),
76. "Ebcwhe~1 Too far, t~ late, or nC\-u at all! I Of me ),ou know nothing, I nothing of
you-you I whom I lrught have loved and who knew that tool" "In Passing," UJ
Flt.urJ du mal (trail!. Howard), p, 98.
n. &Itcttd Lt.Um o/CJu,rieJ .Bautklm:rt. p. 175 (circa December 16, 1861, in reference to
us Fle1lTl du mal),
78. Cidc, -Preface to us Fit.II,.,1 du mo.l," in J+tlrxtJ (New "\brk: Meridian, 1959), p, 257
(rraru. Blanche A. Pri«).
79. Ibid ., pp. 257-258. Gide quotCll at the beginning from Baudelain::'s first draft of a
preface to La Fltur.! du mal. For the passages from Baudelaire's joumah, see "~
Htart Laid Ba,.,," p. 166 ("Fusees," no. 17).
80. Gide, Prel,xts, p. 257.
81. Ibid., p. 256.
82. Ibid., p. 258.
83. Citations from Lt.s R turJ du mal (trans. Howard), pp. 170 ("Madrigal t:rUt.e"), 37 ("I.e
Va.mpirr"), 129 ("Femmes danU1Ces1.
84. Baudelaire, ..At)' Hrarl /.al.·d Ban:'p. 200 (" My Heart Laid Bare''). l..emaJ'''tft:'' tat --
has digoiil instead of horreur.
85. Baudelaire. F10WtrJ 0/ Euii, mms. Wallace: Fowlie (1964; rpt. New ~rk : Dova, 1992),
p.85.
86. Citations from us RtllrJ du mal (trans. Howard) pp. 20 ("L'Ennemii, 22 ("Do-
hlmiens en \bya~"). 62 (~Cbant d'automne1.
87. Seledt.d Lt.tters rlOarleJ Baudtlain, p. 130. TIle paua~ continues: "This idea came
to me when I Wa.5 leafing duough Hyacinthe Lnlglois' history of the 'Dance of~'
theme ~ (leiter to Nadar. 1859). Sc:eJ26,2.
88. Gide, PrttextJ. p. 259. The reference is to a SClltence in Baudelaire's private jou.ma1J;
!OCe "My Hrart Laid Bart.," p. 155 ("Fus6!s." no. 1).
89. Edg:u- Allan Poe, "'Th(' Imp of the Perverse,~ in Poe, '1M Compldt Talts arul.Ponru
(NtW York : Modem Library, 1938), p. 281.
90. Rcllt' LaforgtJe, 'flIe Dd(at 0/ &ulklairt., trans. Herbert Agar (London: Hogarth.
1932), pp. 163. 165.
91. Ibid .. pp. 141 , 143. Laforgue writes: ~ ... the passive role, that of the woman, ofthc
prironer.~
92. Ibid., p. 71 .
93. BllIukloire: A &!fPortrait, p. 8. The editors date dle kUer August 13.
94. ~New NOtes Oil Edgar lbe," actually Baudelaire's third essay on Poe, selVCd as a
preface to his second volume of tnlllslauons. published in 1857. The aniele on Gau·
tier appeai"W in 1859. For the passages all passion, sec &udi!:lairt aJ a Literary Critic,
pp. 133. 162- 166.
95. Ovid, MctanforfJnovJ. book I. lines 84-85. [J.L] See Baudelaire., "A~ Ht.m1 lAid
&Ut," p. 157 (~Fu.'!Cd").
96. Baudelaire, 7At CAmpltie 'frSt, p.362.
97. Baudelairc, PariJ Splt.'"' p. 69.
I 98. Baudelairt: A Stlf-Portrail, p. 135: "I haven't forgonc:n, near the: cil}'," and ""1b('
greathc:arted scrvanl of whom you were jealous." Mler his father's d('ath in 1827,
Baudelaire livc:d for a time, along with his mother and nl.U"SClI1.aid Maric:tte, in a
house at Neuilly,jwI ouUlidc: P:uis.
99. Baudelaire, 17u Mirror 0/Art, p. 123 ("The Salon of 1846").
' 100. Stltded Lt.ttm rdCharks &udtlairt., p. 21 8.
101. w Je n.: pouvais aimer ... que si Ia mort m&.itson soufB.: aceluidc la Beautel" Cit.:d
in Seillicre witham references. l\:wibl)' an adaptation of a passage in "'The Philoso-
phy of Composition ft: ;oof all mcla.ncholy topics, what . .. is the: mOlt melancholy?
Death.... And wben ... is this most melancholy of topiC'S most poetical? ... Whm
it most closcly allies itself to BeauI}': the death ... of a beautiful woman is ... the
most po.:tical topic in the world-and ... the lips best suited for such a ropk are.
those of a bereaved 1000er." fue , "7?u Fall rltllt. H OWH rd Usl!t.r" and Otllrr IfHtingJ
(Harmondsworth: Penguin. 1986) p. 486. (Thank.!; to Will.ia.m v.ma: for this refer·
ence.)
102. Baudclaire, Um-tsptmdana (Paru: Gallimard, 1973), vol. 1, p. 410 Ouly 9,1857, to
Caroline Aupick). [R.T.] In English in Seltcttd Lt.ttm rlGharit.J Baudtlairt, p. 97.
103. Baudelaire, lkulfftJ compl1t~ (Paru: PlCiade, 1976), vol. I, p. 102 ("Revc parisien").
[R T.) In English in Lt.s Flnm du mal (trans. Howard), p. 107: "Architea of such
conceits I t .sent submissive seas I into the jcwdled conduiUl/ my will erected there."
104. &utklttire: A -Self-Portrait, pp. 26-27.
105. Jules Romains, Mt.7I rlGooJ Will, vol. I, trans. Warre 8 . ~1ls (New ~rk : Knopr,
19(6), p. 396. Citation from Baudelaire's "Elevation," Lt.J Ffnm du mal (trans.
HOWMdI. p. '4.
106. Baudelaire, Lt.s R tlm du mal (trans. Howard), pp. 88, 45.
107. Baudclain:, lkuure.s ,omPfiles, voL 1, p. 203 ("Je n'ai pas pour maftresse"). [RT.]
Sarah wu Baudelai.re's first mistress.
108. See ~The Bad Glazier," in Paris Spkt.n, pp. 12- 14; and Gide's IIO\-eI. of 1914, Les
Caua du ViJriuJn, uanslat.:d by Dorothy Bussy as lAfiadioJ- Advt.ntvrtJ (Garden Cil)'.
N.Y.: Doubleday, 1953), p. 183, where ont: 6rnh the theory of tile ade gratuil put
into practice by Lafcadio's wanton murder of a pious old fool.
109. Baudclaire, Lt.s Ram dll mal (trans. Howard), p. 141 .
110. FfoWtrJ o/.Euil (rraru. Fowlic), p. 1(Jl.
111. Citations from Lt.J Fftu rs du mal (trans. Howard), pp. n, 164, 107, 156. "Ddphine ('t
Hippolyte" is the subUtle of the longer or the two poems entitl.:d "Fcnunes dam·
nees."
112. Bauddaire, l..t.J FlturJ du mal (trans. Howard), p. 73.
11 3.Ibid.. p. 72 ("A I'heure ou les chastCll etoiles I Ferment leuni yeux appesanOs"j.
114. Ibid., p. 97 (~cris ~ conune un extravagant").
11 5. Baudelaire, 1"/It Qmpltlt fb-Jt, p. 159.
116. Baudelaire, UJ Flt urJ du mal (traru. Howard), p. 156.
117. Ibid., p. 41.
118. 1"ht WM".ll rdS1ifan GtOTgt, tr.uu. Olga Marx and Ernsl Morwiu (1949; rpt. New
\brk: AM S Press, 1966), p. 6 (OdeJI 1890). ., ~
119. Bauddaire, u s FlturJ dw mal (trans. Howard), p. 116 (" The Solirary 5 Willt. ).
Compare. the passage on Baudelaire and Berg in llleodor W. Adamo, 1lhan .Berg:
Master if lilt. Sma.//~Jt Linl, trans. Julian.: Brand and Christophe.r Haile.y (Cam·
bridge: Cambridge UIl.i\'ersiry PrCSJ, 1991), p. 120. .
120. J. W. Goethe, Sthltd VtrSt., b"anS. David Luke (Nf:W "\brlt: Penguin. 1964), p. 75.
I'll. Ba\ldC'inirc, 77It Mirrqr 0/Art, p. 120.
122. Baudtlairc. 77It ProJ~ Po~ms mul "La F01!forlo," traIlS . Rosemary Uoyd (New York:
Oxford Univcnit}' Press, 199 1), p. 44 ('"The Crowds").
123. "C'~ t un gc!lI.ie sans fronti~res ;' TIlC~ last word ~ trauslau::d all ~ l.iJIUt! " in &udela~
QJ a Litmlr] Crihc, p. 2'11 (~ IkIlt:etiollS on Some of My Contempol"3J"icJ").
124. Hugu, Poems, pp. 190, 192, 193 (in the sequencc titled u.s Onrotolts).
125. '{ht fbtomJ of Vlttqr HUKD (New 'Jbrk: Little, Brown. 1909), pp. 175, 177 (tram.
Henry Carrington).
126. &udtlairr: A &!fPortrait, p. 96.
127. Bourdin's article appean:d in bis father·in·law's paper on Jul y 5, 1857, nine day:t
before TIlierry's fa\"Or.lble noUct:. It has been suggested that the conservati~ paper
u Figaro was at least panty resporuib\e for the charges brought agaiust BaudelaW.
SeeJ27a.3.
1'28. Probably a referenee to the wamiug cut into stone aboo.~ the Gate of Hell: "Lasciate
ogne speranza ,-oj ch'intratc" ("Abandon all hope, ~ wbo enter here"). Sec Dante
Aligllicri, 1he J!Jforno, trans.John Ciardi (New 'Jbrk: New American Library, 1954),
p. 42 (Camo 3).
129. "Revc pari.!ien" ~ dedicated to Guys.
130. See the end of Baudelaire's third draft for a prefacc to u s Fleur; du mol, in 17te
Complrte Verse, p. 389. Re: '"the wholt pieee about Andromachc.~
131. Baudelaire, OtuureJ (ompletts. vol. 2, p. 68. [R.T.] From "Notes sur us LiaiJOfIJ
dangffluJtS~ (ca. 1864). "Sand c=st infcrieure a Sade." CompareJ49a,1.
132. Bauddaire, OtuvrtJ complet(.f, vol. I , p. 5 (<;Au Lectc=ur"). [R.T.] In Engfulh in rAe
Compltfe ~?rse, p. 53.
133. Baudelaire, "Thc Expo.sition UniverseUe. 1855," in Tht MimJr ofArt, pp. 213-2 14.
134. Baudelaire, Owllm compltttJ, vol. 2, p. 132. [R.T.] In Engfulh in Baurklairt ar /I
Litera'] Cn'h'(, p. 238 C' Rdlec.tioru on Some of My Contt:mporaries").
135. Baudelaire. ".M] Htart lAid Barr,Q p. 178.
136. Sainte-Bcuve's article "Sur les procha.in~ ~Iections de I'Academie" (On tbr: F0rth-
coming Aademy E1eaions) contained a rather condescending SeaiOD on Ba~
lairc as an wc:xemplary candidate, a Dia young man."
137. n~ Apocryplw, Revised Standard Version (New York : Oxford University Press,
,'
I9n ). p. 181 (40.8).
138. TIle dates are erroneolllJ. QytJtiOtIJ tk crih'que (2nd ed.) appearaJ in 1889: E.wiJ JIJf
la littfralurt lO'ltrmpltfaint, in 1892; Norroeaux emu sur la littiTalurr rontmJporaw, in
1895; and Evolution ck kl potsit lyriqUl t1/ Frana, in 1894. [R.T]
139. Baudelaire, ".My Heart LAid &lrt: / p. In ("My Heart Laid Ban:,,). Benjamin'J
phrase at the end of this entry ~ "Das Historische ins Intime projiziert."
140. Bauddaire, (kuuru (ompWts, vol. I , p. 194. [R.T.] The notes in question weI"!:
prepared by Bauddaire for the trial against us A turs du mal.
141. Bauddaire, '"1\1)· Hearl Laid &Irr," p. 195 (~ My Heart Laid Barc").
142. Baudelaire, F/{JWtri WEtlil (traru. Fowlic), p. 85 ("Destruction").
143. See Eug~nc= Cr~pct. CharltJ Balld(lairr: (paris: UOIl Vanier, 1906), pro 288-289.
\Vhcll Baudelaire, out wallting with Assclinc=au on the bou]e"ard, wautS. to have
dumer at the carly hour of 5 P.M. , Assdincau, who has a head cold. a5Selll3 on
wildi tioll they go to his place fmit to gel anomer handken:hic:f. Baudelaire, prot~t·
illg tha t Asliclinl"au mU5t still ha"e (WO or threc places left on his preselll ha ndk.er·
clUef sufficient to blow hi~ nosl" duriug dinner, holds out his hand and cries, '"Show
IIIct ~
144. ln~ophik Gautier, " History rf RomlUltici.sm, tranS. anonymau5 (1909: rpt. New
York.: Howard Fcrtig, 1988), pp. 301 , 300.
145. Baudelaire. ComsJHmdllllct (Paris: GalliJllaro. 1973), vol. 1, p. 30 (to his mother,
probably written in Paris, 1845). [R.T.] In English in Balldelairt: A Self-Portrait,
p.32.
146. Baudelaire had written, on Mareh 4. 1863, "So you really do want to compromise
my dignity in a social SCI Ul wllim you've compromised your own?" Selected UUm
ofCluuks &utUltllff, p. 193. For his letter of March 6, Stt pp. 193-194. The female
admirer W3!J F~dtrique O'Connell, a painter whom Baudelaire mentiom in the
"Salons" of 1846 and 1859.
147. Baudelaire: A !>t!l-Portrait, p. 133. TIle fine Wa5 reduced from 300 francs to 50
francs as a re5ult of this lctter.
148. Baudelaire. "1M Painid 0/ Modmt Lifr, ~ p· 156 ("On tbr: Esscnee of Laughter").
149. Ibid .. p. 150.
150. Ibid .. p. 157.
151. &utklairt 41 a Literary CriHc, p. 43.
152. fue, 17te CAmpleit 'faltj and Poaru, p. 478 ("The Man of the Crowd").
153. Baudeklut as a /...J.·tmlT] Critic, p. 127. Compare the classic distinction between imagi·
nation and fancy in Chapters 4 and 13 of Coleridge's Biograpltitl Lit"ona (18 17).
154. &ufkklin QJ a Litn'lU'J Crili" p. 13 I . The sentence ~ a virtual quot.ation from Poe's
"The Poetic Principle."
155. Baudelaire, The Mirror ofArt, p. 25 1.
156. Ibid., p. 268. The journal in question was Lt Silt/t.
i57 . Ibid., p. 273. !to domo: for his own cause.
i58. Ibid., p. 274 (Wee ... je ne sais quoi de malicieuxi.
159. A1fred de Vigoy, Ck&lum compW(J, vol. I (Pam, 1883), pp. 251 - 252. {R.T.]
160. Baudelaire. 17te CAmpklt Vme, p. 297 ("au plus noir de I'abtme, IJc vo~ distiru:te-
ment dc.s mondes singulicn").
161. Baudelaire, TAt Mirror of Art, p. 286. SUrJum, ad siJera: upward., to the stan. Vitai
lampada: torch of life.
162. Ibid., p. 283.
163. Ibid., p. 233.
164. Ibid., p. 224.
165. Baudelaire, /nti11Ul.t( ]ollr7lllls, pp. 29, 31. Baudelaire's word for both "cauuy" and
Nintoxication" is illT"tJJC.
166. Ibid., p. 33.
167. Ibid., p. 32.
168. Ibid., pp. 73- 74.
169. Baudcl.ai.re, "My Htart Laid &rt,~ pp. ISS, 197.
170. Baudelairt: A &If-Portrait, p. 87.
171 . &Irtltd utltn r!/Charl~s Baudtlairr, p. 159 (October 11 , 1860).
172. 7h~ uUm WVictor Hugo, \'01. 2, edt Paul Mellrice (Boston : Houghton, Mifffin,
1898), p. 152 .
173. Baui/LlI,irf' QJ a Littnlr)' en·tic, p. 3 15.
174. Baudelaire, Illtimilfe lolmlals, p. 39.
175. &udtillire. (lJ (I Li/tral] en'/ic, p. 307. Baudelaire's article 6rst appeattd. November
24, 1845, in u COrJ(lir,.· Salllll aud was republished a year later in L'Echo.
176. Baudelaire. 1M Mirror 0/ Art, p. 124. "fulitics of art~ translal~ IGmstpolitill.
177. Attributcd 10 Poulct·Malassis by Man:cl Ruff in his edition of Baudelaire. OwUrtJ
c(lmplettJ (Paris: &uil. 1968). p. 50 (where the entin~ sheet is rrproduced).
i78. Baudelaire, RzriJ Sp/un, p. 8.
179. Baudelaire, 1M Mirrvr ofArt, p. 118.
180. "A SaangeMau's Drcam"-poem in Us F7turJ du 1114/.
 181. ~ Sefuttd LtUm o/"CluIrlts &uddairt, pp. 114-11 5. ice.... [He] thinks he has bttn very good to Baudelaire ... in the complete dearth
182. lllk of the volume of Baudelaire's criticism published posthumously in 1868 by of encouragement."
Assclineau and Banville. 217. Marcel ProUSt, ~About Baudc:Iaire ,~ ill MaretlProust; A &ltctirmfiQm H jj Muullanr~
183. Baudelaire, 'J?,t Mirror WA rt, p. 191. ous l#itings, trans. Gerard Hopkiru (London: Allan \\rmgate, 1948), p. 192. Prow:t
184. &lIdeloirt as 0 Literary Critic, p. 80. cites the: founeenth stanl.3. of ~The Little Old \\bmen;n UJ Flturs du mal (trans.
185. Ibid., p. 81. Howard), pp. 95-96.
186. Ibid., pp. 83-84. 218. Marui Proust: A Stltch'an, p. 204.
187. Ibid., p. 83. 219. Ibid., p. 194.
188. Baudelaire, ne Mirror ofArt, pp. 195-196. 220. Etienne Ph'Crt de Scnancour, Obt:rnulIIn, trans. anonymous (London: Philip \ \ld.lby,
189. Ibid., p. 38. 1903). p. 231 (letter 52). Scnancour actually WT"O(e "naturc.lle a I'homme."
190. &utklairt as a Literary CritK~ pp. 43-45. 22 1. llUs passage does not appear in the English translation ofJ oseph de Maisttt, "The
191. Baudclairc, ne Mirror '!!Art, p. 246. Saint-PeterSburg Dialogues; in 'J?,e Wor..u of ]ogplt de Mautrt, trans. J ack Livdy
192. Ibid ., pp. 46, 68. (New 'Wrk: Maanillan, 1965).
193. Ibid., p. 12. 222. Seltcttd Letters o/Clwr/u &uit/aire, p. 123.
194. Baud~ire, In_~ Journals, p. 97. Gau/outrU: licentious or impropc:r remark., 223. Ibid., p. 151 (ca. March 1860),
coarse Jest. 224. Baudelaire, 1M Prose Ponns and uLa ronforlo,~ p. 115.
195. Bauddairc:, "My Htart Laid &rt,'· p. 189. "In unison" hue translates m sociiti. 225. Maret! Prowt: A Sekction, pp. 191 , 190.
196. Ibid" p. 166. 226. Ibid., p. 199. Proust'S phrase, several times cited in succeeding entries of Convolute
197. Baudelaire, Intimatt Journals, p. 45. j , is ~ un «range sectiOlUlemc:nt du temps."
198. Baudelaire, 1k Mirror of Art, pp. 222-223 ("The Salon of 1859") ; .F1owm if EviJ 227. Ibid., p. 199. Passages by Baudelaire are from The Comple~ ~se, pp. 236, 71.
(trans. Fowlie), p. 97 ("The VOyage"). 228. Maret/ ProUJt: A Seltction, p. 202.
199. Baudclaire, 'flu Mirror of Art, p. 99. On gauloumt, sec: note 194 above. VautkviJkJ 229, Ibid., pp. 203-204 (passages from Vigny traI15lated into English).
werc.light theatrical entmainrnents with song and dance. 230. Thomas :li Kempis, De ;mita/ione Christi, in Thomas a Kempis, Opera OmnitJ, vol. 7
200. Ibid., p. 103 ("ta loi fatale du travailattrayant"). (Frc.iburg, 1904), p . 38. [R.T.l ln Englidl in The Imitation if Cltrist, trans. anony-
20 I. Ibid., p. 68. RolfTIedem.ann points out that the emphasis on ~ fathom1ess" (insondlJ) mous (1504; rpt. London :]. M . Dent, 1910), pp. 38-39 ("On Love: ofSilencc: and
is Benjamin's.
202. Ibid., p. 13.
203. Edmond and Jules de GoncoUlt, ~ Goruourt ]OUTTlllU, 1851-1870, trans. Lewis
- Solitude"): "What canst thou see el.sewhue that thou emst not see here? Lo bere
heaven eanh and all elements and of these all thinV are made?'
23 1. Bautklain: A &if-Portrail, p . 43.
Calanti!re (Carden Cir}" N Y : Doubleday, Doran, 1937), p. 35, 232. IbKl., p. 54.
204. Baudclairc, Ot-uurrs romplitn, vol. 1, p. 152 ("'Femmes damo~s: Delphinc: et Hip- 233. IbKl., p. 65 ("bastily written in order 10 earn some money").
polyte"). [R.T.lln EnglUh in ~ Flowm of£vjJ, ed. Marthid andJacbon Mathews , 234. Ibid., p. 68.
(New York: New Directions, 1963), p. 152 (trans. Aldous H uxley). 235. Ibid., p. 95.
205. Baudelaire, PuriJ Spkm, p . 3 e Artist's Confitrorj. 236. Ibid., p. 102.
206. TIlls article is not found in Le TnnJ1sofJune 4, 19 17. [R.T.] 237. &ltdeJ £tUm '!!Char/tS &udelairt, p. 97.
207. Baudelaire, "AlJ Htart Laid &rr,~ p. 160 ("Fwees"). 238. &ude/aire: A Self-Portrait, p. 172.
208. Baudelaire, us Fltllrs du mal (trans. Howard), p. 136 ("A \byage co Cythera,,). 239. Ibid., p. 174·.
209. Baudelaire, Intimalt JOllrnalJ. p. 84 ("My Heart Laid Bare"). 240. Sele,ud l...ettm o/CAarks &lltUfaire, p. 190.
210. Gide, "'Baudelaire. and M. Faguet," futexts, p. 168. 241. Ibid., p. 195.
2 11 . Ibid., pp. 168, 170. Baudelair~'5 phras~ is from "'The Salon of 1859 ~ ("ne Mirror rf 242. 1nc article, by Arthur Arnauld, "Edgar I'oc: L'hooune., I'artiste: et I'oc:uvrc.,~ appeaI'"
Art, p. 232). Gide emphasizes the importance of the critical faculty to Baudelaire's ing in the: April,june, andJuly issues, referred to Bauddaire's translations.
poetic production. 243. Baudt lairt: A Self-Portrait, p. 234.
212. Gide, IttftxtJ, p.· 167. 244. Seltcted utlm o/ClulrltJ &uddairt, p. 237.
213. Ibid., p. 159. 245. BtlUddairt IlJ fA Littrlll)' Critit. pp. 62, 63 (written in a.n album for Mme. Francine
2 14-. Ibid .. p. 163n. Baudelairc.', phrase, je hais Ie mouvement,~ i~ from "La Bcau~." In Ledoux in 1851 , juS! before the appea.rance of "lJuole p:iic:nne").
English in FtowtrJ ofEvil (trans .•Fowlie). p. 37. 246. Ibid., p. 74.
215. Prowt, prc.fac~ to Paul Mora.nd, Fang Good;. trans. Ezra }bund (New York: New 247. ~'f1u. Painter 0/" MO(lrrn Lifo," p. 36.
Dirtttion~, 1984), pp. 5-6. For the line from Baudelaire's "l'elIUllcs damnCes," sec 248. Stt GS, vol. I, p. 647n. [R.l :) In English in Bcl~ami.n, ~On Some: Motifs in Baude·
)41a,2. laire," llIuminati/nlJ, p. 200n I7.
2 16. Sec Proust, preraee to Morand, Me} GDodJ, pp. 6-8: ~Sain te·Beu,'C, whose stupid· 249. Baudelaire, 7?rt Computt first, p. 258.
ity displays iLSc:if to the: point where. one asks whether it isn't a feint or a coward· 250. Baudelairc:, ~,,~ Heflft Lmd &1t," pp. 171 , 173- 174 .
251. Ibid., pp. 171 , 172, 173, Nietz.sche's dOCtrine of "the last man" i'l in section 5 of 287. Ibid.
"Zarathustra's Prologue," in Auo spraeh Zarathustra (I11US Spoke Zarathustra). 288. [bid .• p. 230. "illusion" in tim citation translates &Min.
252. Baudelaire, "Aljo Heart Laid Bart;' p. \90. 289. [bid., p. 232.
253 . Ibid" p. 179. TIle nOte continues: uNe\"erthcless, a most vivid liking for life and 290. Baudelaire, '(he Complete fuse, p. 144.
pleasure." 291. Baudelaire, us F/(JIrJ du mill (trans. Howard), p. 170. "Experiences," in this entty,
254. Baudclaire, 7"h.t Mirror of Arf, p. 42 ("La veri te, pour ctre multiple, n'est pas dou. translates Erubnwe, whereas, inJ55,13 below, it tranSlates ErJaJmmgro.
bleT 292. Baudclaire, Tht! Flowers ofEuil, pp. 197- 198 (trans. SirJohn Squire).
255. Ibid .. p. 18. 293. Ibid., p. 192 (trans. Doreen Bell).
256. Baudelaire a..r a Literary' Cn'He, p. S2. 294. Baudelaire, UJ f]eurs du mill (trans. Howard), pp. 165 ; 164,
257. Baudelaire, /,Itimatr. Journals, p. 114 (missing senlence supplied). 295 . [bid., p. 80.
258. Ibid., p. llS. 296. Poem in UJ Fkurs du mal.
259. Baudelaire a..r a Literary Critic, p. 75. uGist" is intended to translate GeluJlt, a term 297. Baudelaire, us Fku rs du mal (trans. Howard), p. 33 .
derived from Goethe. See Benjamin, GS, vol. 2, p. 105 (Gehalt as mnere Rmn), and 298. Ibid., p. 3l.
vol. 4, p. 107 (GtM.lt as unity of Rmn and 1Ilha/~. In English in Benjamin, Sw, vol. 299. Ibid., p. 155.
1, pp. ~8, 459. 300. Baudelaire, The Omtpldt! Verst, pp. 231-232.
260. &udt:lllirt a..r II Litr:rary CriHc, pp. 75, 7Z 301. Baudelaire, us Flnm du mal (trans. Howard), p. 136.
26 L SceJ44a,2. Les EpaUl!J (Flotsam) was published in 1866: MTableaux parisiens" is the 302. Baudelaire, The R ()lIIt:rJ ofEvil, p. 111 (trans. Roy Campbell).
second section of usF/t:urJ rlu mal. 303. Baudelaire, ~ Complett Vt:rJe, p. 144.
262. Baudelaire, us
F{eur.! du mo.l (trans. Howard), p. 76. 304. Baudelaire, us FkurJ rlu mo.l (trans. Howard), p. 164.
263. See Baudclairc:, Paris Splun, pp. SO-5 1. 305. Ibid., p. 165.
264. Ibid., p. 7. On being roused from an opium trance. 306. S«J15,1.
265. Baudelaire, 1k Mirror tifArt, pp. 3-4. 307. Baudelaire, The R()wt:rJ if'Evil, p. xxx (trans. Jackson Mathews).
266. He says this in his UNotu sur Les Liauo1U dangn?UJ(J" (ca. 1864); ~ OeuIlrtS 308. Ibid., p. xxix..
((}mpletes, ed. Ruff, p. 644, and note LOJ27,3 (note 131 in Convolute]). 309. Baudelaire, The ympldt Vt:rJ<!, p. 11 5 (versified).
267. "A man of good will." 3 10. Baudelaire, Les Ram du mal (trans. Howard), p. 45 (je te donneces vcrs").
268. &urklaiu a..r a Literary Cn'He, p. 134. 3 11. Ibid., p. 17 ("Lcs Phares").
269. Baudelaire, us f](JIrs du mal (trans. Howard), p. 136; u.My Heart Laid &rr," p. 177. 3 12. Baudelaire, FlollJt:rJ ofEui/ (trans, Fowlie), p. 3 1.
270. Baudelaire, 17Ie OJmplt!tt! Verst!, p. 18l. 3 13. Baudelaire, us Ram du mal (trans. Howard), pp. 18- 19.
271. 5eeJ 44,5. 3 14. An allusion to the later philosophy of Edmund HllS.'leri.
272. A play o n words is lost here: ~ding-fest gemacht .•. gegen we vcrdinglichte \\Ht." 3 15. Baudelaire, Intimal, Journals, p. 65,
273. St:lutt!d Lettm rf C/w.ruJ &udelaiu, p. 244 (to Sainte·Beuvc) . 3 16. Benjamin inwcates in ~Zcntralpark" (no, 23) that these thoughts, as well as the
274. Ibid .. p. 245. FoUowed by: "In truth, forgive me! ,'M WANOE RlNG. I've never dared words quoted in J 57a,2, come from his friend AdrielUle Monnier, publisher and
say 50 much 10 you." bookseller; with whom he evidendy had several conversatiON about Baudelaire.
275. Ibid., p. 148. Sec Benjamin, GS, vol. 1, p. 673. ln English in "Central Park," trans. Uoyd Spencer,
276. Baudelaire, "1M Painter tif Modr:rn L!ft," p. 195. On Ie PI1TlCl]; sec: note toJI ,1 (note 3 Nrn; Gnman Critique, no. 34 (Wmter 1985), pp. 43-44.
in Convolute]). 317. For the source of the qUOtations, see lIote 3 16 above. Le RO!fllt:,' temper, choler, bad
277. Ibid., p. 188. humo r.
278. Ibid" p. 182. 3 18. Baudelaire, 1M Omtplde VffJe, p. 206. Benjamin inwcatcs in "Zcntralpark" (no. 25)
279. Ibid., pr. 176-177. that the remarks in this passage, and in the following one on Gf':I1Ifitlichlceit (Uoozi_
280. Bauddairc:, UJ Flt!urJ du mal (trans. Howard), p. 75 (~5pleen II") . For the citation ness"), stem from Benoit Bredll.
from C laudd, which appears in Gennan here, seeJ33.8. 00 ~souvenir5," see ()O,76 3 19. See lIote loJl,1.
in "First SkctcllCS.n 320. "Tendenz seiner Lyrik zur Scheililosigkeit.n
281. Sec Hennann Usener, GiUtanamrn ,' r1:rJuch rillff uhu lIOn der nligiiisro &. 32 1. In the German text, the numbering of the entries goes directly fromJ58a,6 1OJ 59,2;
grjffihildung (Bonn, 1896). (R.T.l there is noJ59,l.
282. In U .f Flt!urJ du mal. 322. SeeJ1 ,6.
283. lknjamin. 171<! Orip'/1 '!f Gt!mutn Tragi, Drama, nans. J ohn OsbOn'le (London: 323. litle of prose poem 46 in Splt!t:n fk Paris (in Engiish ill ?uris Splun, p. 94). ("Pt:rte
Verso, 1977), p. 226. ;' Expcnellce,n in this entry, trans lates Erfallrung. d'aurtolc" call also be translated as ~ loss of aura,")
284. Baudelaire, '''nu' Pail/Ie,. oj MfKkrn Lye,"pp. 152- 153. 324. Baudelaire, Intimatt! Joumau, p. 45. It is actually the sentence before tllis olle in
28[,. Benjamin, 7711: Orig,",1 oj Gt:nflUII Tillgre Drama. p. 227. "Experience," in this curry, " Fus ~cs" ("TIlis book is IIOt for my wi\'es, Ill)' daughters, o r my sisters") tllat
lr.ul.~ !ales £rI<!bniJ. Baudelaire wed in the firSt and second drafts of a preface to Lu Flt:urs du mal.
286. Ibid., p. 183.
 325. Baudc.laire, CkuurtJ comp/~ltS, vol. I , p. 89 l~Les PtUtes Vleilles j . [R.T.J In English
in Th~ Complete lft-Je, p. 180.
326. naudel~, 'f'"M Complete l'i:rJl', p. 197.
327. Or, ailcmauvdy: lbc figu~ of impotence is we key to Baudelaire's solitude.
328. Mayeux and me ragpicktt (tlliffonnitT phi/OJopht) are charaett"fS created by ~ artist
Charles Travib de Villers 11804-1859), discuss«! by Baudelaire in "Q!tclqucs cari-
caturistcs fran~" (Some French Caricaruris15). ThonliU Vtreloque is a creation of
Gavami, and the Bonapanist Ratapoil is a creation of Daumier. ~ bl ,9. The
Parisian urchin Gavroche is a character in Hugo's La Milirahlts.
329. Brmdelaire, Lu f7turs du mal (trans. Howard), p. 62.
330. "Girls Mis in English in the original. SeeJ66,8.
331 . Friedrich Nietzsche, Di~.ftiihlicht Wi.JJeruduift (book 4, no. 295). [R.T.1In English in
JUJluIWudlJm, trans. ThonwCommoll (New York: Frederick Ungar, 19(0), p. 229.
332. SOren Kierkegaard, Either/ Or, vol. I . trans. D. F. Swenson and L. M. Swenson, rev.
H . A.Johnson (1944 ; rpt. New York : Anchor, 1959), p. 36. Baudelaire, us Flnm du
null (trans. Howard), p. 75.
333. K.ierkC'gaard, Either/Or, ""01. I, p. 41.
334. [bid., p. 281.
335. [bid., p. 287.
336. Ibid.
337. Ibid., pp. 221-222.
338. Kierkegaard, Either/Or. voJ. 2, trans. Walter Lowrie, rev. Howard A. Johnson
(1944 ; rpt. New York: Anchor, 1959), p. 164.
339. Ibid., p. 234. On the "strang<' sectioning oftime,~ sceJ44,5.
340. Baudelaire, 1?u Mirror ofArt. p. 267.
341 . Goufricd Kdl~, "100 und Dichter." ~YtTkt, vol. 1 (ZUrich, 1971), p. 385. [R. T.l
342. Engels, "Socialism: Utopian and ScicntificM (excerpt from Anti-DiilrrinKfint publish-
t'd in Freudl in 1880), in Marx and Engeh, Basic l#itinKJ 1m Politia and PliiJosOPlr],
ed. Lewis Feuer (New York: Andlor, 1959), p. 77 (tralU. E. Avding). See W15a,1.
343. Inunanuel Kant, Critiqut 0/ Practical R CaJDn, C"allS. Lewis White Beck (Qllcago:
University of Chicago Press, 1949), p. 258.
344. Baudelaire, (Hu vm ClJlllp/~ttJ . ed. Picitois, vol. I, p. 76 ("t.e Coo.t du n~aol"). [R.T.]
In English in 1'he Compldt VtrJt, p. 160.
345. "TIle Saint-Petersburg Dialoguest in 7"lrt Works of JOJr/JIr de Maillrt, tra:ns. Jack
Li,'ciy (New "furk: Maanillan, 1965), pp. 203-204.
346. Ibid., p. 253.
:-147. Ibid., pp. 268-269.
348. Ibid., p. 276.
349. M A dire mystery."
350. 'l7v WorL ofJ rutph de Mailtrc, p. 254.
351 . Baudelai~, 1M f70wm ofEvil, p. 145 ("Destruction," trans. C. F. Maclntyre).
352. A leml populariz.cd by the National Socialists beginning in the early 1920s.
353. Benoit Brecht, G(samme/tt Wtrkt, 8 vols. (l"rallkfun am Main: 1967), vol 4,
pp. 27 1- 273 ("kh bin ein Drcck"). [RT.] hi English in Brecht. PIJtmJ: 1913-1956,
C'd.John Willett and Ralph Manheim (New '\Uric.: Methuen. 1987). pp. 135- 136 ("A
Reader for Those Who Live in CiucsT
354. L,,.tlteJ was a lenn origin.atcd 11). the joum.'llist Nestor Roqueplan in 1840 for ladies
of caw virtue, many uf whom lived in die rccolilitru cu:d quartcr surrounding the
church of N~Dame de Lorenc.
355. Juk, Renard, J ou,."al illmit. i887- 1895 (Paris, 1925). p. II . {R.T.] Citacion aboYC
from Bauddaire's "'Tlle Irremediable," in Tht o,mpldt: VtrJt, p. 166. TIle conve:na'
cion between die jack of beam and the queen of spades is at the cod of "Splccn I."
ComparcJ69,2.
356. Baudelaire, U J FleurJ du mal (trans. Howard), p. 121.
357. Baudelaire, Cormpondanu, vol. 2, p. 584. (RT.]
358. Baudelaire, Artificial Paradiu, C"allS. Ellen rox (New "furk: Herder and Herder,
1971 ), pp. 7-8. us Flt IJrJ dll maI (tralU. Howard), p. 114 ("Ragpickers' \VUle").
359. Baudelaire, 'fht o,mpltlt Verst, p. 205.
360. Ibid., p. 2 1 L On tile "sca:ioning of time," 5«J44,5.
361. Baudelai~, MJ..o..·ers' WUle,M Us Fle m du mal (trans. Howard). p. 117 ("tourbillon
intelligent M
).
362. MLcsbos,n u s FlturJ du mal (trans. Howard), p. 124.
363. Ibid., p. 132.
364. Ibid., p. 60.
365. Baudelaire, 17It Compltlc Vmt, p. 162.
366. 1\:)(, 17tt Ccmplete TaltJ and PotmJ, p. 449. 1bc phrase "mental pendulous puIsa.
cion n appcan in the Baudelaire D"aIlSlation used by Benjamin a5 "vibration du
pcoduJe mental" ("vibration of the mental pendulum,,).
367. Baudelaire, w mm
Fltll.rs Ju (trans. Howard), p. 150.
368. Ibid., p. 31 ; "My Ht./lTt Laid &rt," p. 157.
369. Baudelaire, Tlrl Complt lt Verst, p.160.
370. Ibid., p. 162.
371 . Baudelaire, u s FleurJ du mol (traru. Howard), p. n
372. Ibid., pp. 166 ("other, brighlCf worlds" cra.nslates "mondes singulicrs"); 174.
373. Baudclaire, Vers rt(roUlJis: ]ulJt:ni/w, &nuts, introduction and notes by Jules
Mouquet (Paris, 1929), pp. 57-59. [R. T} In English in TM Complete Vtm', p. 378;
Us FkurJ du mal (trans. Howard), p. 81 .
374. Baudelaire. (Xuurts completts, vol. I : uS Fleur'S du mol. Us Epauts, ed. Jacques
Cttp«, 2nd ro. (PruU, 1930), p. 449. \RT.I
375. Bauddain:, TAt Compltft VtrJt, p. 250.
376. Baudelaire. us Flttm du mol (trans. Howard), pp. II , 12.
..... 377. Ibid., p. 175.
378. Allusion to the "ramiliar eyes" of the poem "Correspondences," in Baudelaire, TM
f7o~j ofEvil, p. 12 (t:raru. Richard Wilbur).
379. Baudelaire, u s FleurJ du m41 (traru. Howard), p. 168.
380. Baudelaire, "Boh61l.ieru en voyage," OtulfftJ completts, vol. 1, p. 18. [R. T.l
381. Baudelaire, 1?u Compldt Vmt, p. 152 ("t.e MonJoyrux").
382. Baudelaire, u s F7rurs du mal (tralU. Howard), p. 32.
383. Baudelaire, 11at Compldt Vnu, p. 197.
384. Ibid., p. 193 ("The Dance ofDcath"); Ln Fleurs du nuU (traru. Howard), p. 116; 17It
Compltlt VtrJt, p. 86.
385. 1?u Flou.'trs r/ Evil, p. 91 (trarul. Anthony Hecht).
386. Ibid.
387. UJ F7turs du mol (t.r:1Il.!I. Howard), pp. 36-37 (" De Profundis C lamaviT
388. Goetlte, roust, trans. Waller KaufIll3lul (New 'IDrk: Anchor, 1963), p. 469 (line
11 ,582).
389. Scc:J43a,3 (" \'Crsellt quc:1que heroisme au coeur des citadilU").
390. Baudelaire, OtUurt.1 compltttJ, vol. 1, p. 91 (MEt qui, dans ces m in d 'or IJU1011 M Jt1It
rtui1lTt"-Benja.min's enlphasis. (R.T.) In English in 'TI!e Compltlt lint, p. 183 (~The
Little Old \\bmen," section 3).
391. Baudelaire, Ot-uurtS compltteJ, vol. 1, p. 90. (R.T J In English in 'Tht Compltle Imt,
p. 182 ("TIle Little Old \\Omen,~ section 2),
392. Baudelaire, Lu Flrors du mo.l (trans. Howard), p. 94.
393. Baudda.in:, 7M Complete Verst, p. 196 ("I have nO[ forgotten ... ," and "TIle great.
hearted servant ... , "a5 numbered in the edition of 186 t).
394. Ibid., p. 169 ("Parisian Landscape").
395. Baudelaire, (kUU1't.J t(}mplittS, voL.I , p. 93 ("Le. Squdette laboureur"). [R.T.]ln
EnglUh in 7M Complett Verse-, p. 187.
396. Baudelaire, 17u: Rl1Wm ofEvil, p. 128 (tJ'an.S. Edna St. Vmcem Millay).
397, Baudelaire, CorreJptmdmia, vol. 2, p. 585. [R. T.]
398. Baudelaire, ".My Hearl Laid Bart," p. 170. Benjamin interpret! Baudelaire', "grands
jours" as "Tage der Waederkehr.·
399. Baudelairc:, tkuurrJ {tmlplelrJ, vol. 1, p. 94 ("t.c- Crepuswle du soir"). [R. T.} In
EngWh in LeJ Reun du nw1 {tt"anS. Howard)1 p. 99.
400. Baudelairc:, 1M Complett Vmt, p. 85.
401 . "Se1ige Sehruucht." from Goethe's WtJI·OJllidler Diuan; in English in &Iuttd VtT.Jt',
trao5. David l.AJke (New "\brk: Ptnguin, 1964), p. 240.
402. Baudelaire, T"he CAmpkte Vt'I"'le, p. 144. Goethe, Wf!St-wtm/ Divan, traru.J. Whaley
(London: Oswald \\bur, 1974), p. 213 (""Resonances"). The emphasis, as Rolf
Tiedemann point! out, is Benjamin's.
403. Marx, TAt EigMttl'ltll Bnimaire 0/ Louu &maparle. tranS . anonymous (New \brk:
International Publishen, 1963), pp. 43-44.
404. Karl Marx and Friedrich Engels, CorrtJ]Jo,uknce, 1846-1895, traru. Dona TOIT
(London: Manin Lawrence. 1934), p. 50. The ~ass" in question is Louis Bonapane,
who had jun dissolved the National Assembly and the Council of State and, a year
later, was to be proclaimed Emperor Napoleon III The Eighteenth Brumaire (No-
vember 9, 1799) is the date of Napoleon I's coup d'etat, in which he O\--erthrew the
Directory and dissolved dle Council orFi"e Hundred.
405. Marx and Engels, C(}llected Woril, vol. 38, trans. Peter and Betty Ross (New 'JDrk: .....
International Publishers, 1982), p. 511.
406. Marx, T"ht Eigllreenth Brumo.irt 0/Louu Bmwparte, p. 23.
407. [bid., p. 25.
408. Ibid., pp. 69-70.
\
409. Ibid., p. 83.
410. Ibid., pp. 111-112.
411. Ibid., p. 120.
412. Ibid., p. 129.
413. Ftcnun: ~ tO fence" and "to go begging."
414. Marx, 1M EigMuntll Brumoirt. p. 134.
415. Ibid., p. 130.
416. Ibid., p. 131.
417. [bid., p. 134. Marx's Dote at this point: "In his work Cowine Belle, Balzac dclinealeS
the thoroughly dissolute Parisian philistine in CreveI, a character whid~ he draws
after the model of Dr. veron, the proprietor of Le C(}1IJtitllti(}nnd."
418. Baudelaire, Oeuvres rompletes, vol. I, p. 192 ("Proje~ d'ull G>iloguc pour I'&l.ition de
1861 "). [R.T.]ln English in '171t. Complete VerSt, p. 250.
419. &udelaire tLI 0 Literllry Cn·ti" p. 43.
420. Ibid ., p. 44.
421. Friedrich Niewche, &u HomoJ trans. Walter KaufmaJm (New Yor\:. : Vintage.
1969). pp. 297- 298. On the Fan du Taurcau, see the Conclusion to the F.xpose or
1939.
422. In Engli'lh in the original.
423. Baudelaire, (kuvm ,(}mpltteJ , vol. I, p. 122 ("Le. Renic:mem de Saint Piertt~). [R.T.J
In English in 1M Compkte Vtnt, p. 228. Double meaning of the word W'rrls,luyl.
"husbandry" and "lodging"; "fann" and "publie inn." Baudelaire refen to life as ru:
aubn-ge (~ inn") at the conclusion of us ParadU artifinels.
424. Goethe, &kcted Vt'I"'l e, p. 240.
425. Auguste Blanqui, L'EtemiU par ks tLltm (Paris, 1872), p. 74. [R.T.)
426. Blanqui. L'E/emiti par les asrrel, p. 74. [R.T.J BaudelaiK, LeJ Fleun du 1tUJl (tram
Howard), p. 93 ; and 1M Complete VtrJe, p. 179.
427. Baudelaire, tkulfftJ ,_Plitts, vol. 1, p. 87 ("Les Sept Vieillaro.sj . [R. T.IIn Engiisl:
in 1M fAmpkle Verst', p. In.
428. Emile \b"haercn, Les Vilks tmlacufaiTtJ (paris, 1904), p. 119 ("CAme de la ville,,)
[R.T.)
429. Allusion to the Gospels. See Mark, 4:21 .
430. Baudelaire, 1M R(}wn's 0/Evil, p. III (trans. Ray Campbell).
431. Baudelaire, -My HeaTILAid Bart," p. 110 ("The fuem of Hashish," section 4).
432. Ibid., p. Ill .
433. Marx, Capital, vol. 1, tt"anS. Samud Moore and Edward Avding (1887; rpt. Nev.
"\brk: Intc:mational Publishcrt, 1967), pp. 359-360.
434. Baudelaire, The F7fJWtTJ 0/Evil, trans.James McGowan (New \Qrk: Oxford Univer-
sity Press, 1993), p. 25.
435. See Friedrich von Bewld, Das Fortkben tkr antWn. Gitler im milttlalterlidlifTl Human·
umUJ (Bonn and Leipzig, 1922). [R.T.]
436. Referena has not been traced.
437. Baudelaire, OtuUrtS ,ompUteJ, vol. 1, p. 104 ("Le Crepuscule du malinj. [R.T.] h
EnglUh in 1M Compkle Vme, p. 203 : "The debauched made !:heir way homeward.
racked by their labors."
438. Bauddaire, 17Ie RDWtTJ ojEuil, p. 12, "Correspondences" (trans. Richard Wtlbur).
439. Marx, 1le EigMuntll BrtmUJm 0/Louu &maparte, p. 106.
440. Bauddaire, In Flam du mol (trans. Howard), p. 5 ("To the Radcr").
441. jerky gait" {JIm JaCUUil) is £rom Nadar's desaipti.oD of BaudeJain:: see Benjamin.
GS, vol. I , p. 583 n.35. [R.T.]1n English in ClIlU-W Baudelaire: .A Lyric Pod in Ilk
Em .tHigh c.p;f4lUm, """. Harry 24hn (Londoo, V<no, 1973), p. 80. The pi=<
of Baudelaire's is £rom "'Th.e Salon orl846" (Tk MiTnw ofArt, p. 128).
442. Marx, Capital, vol. I , p. 76.
443. Benjamin, 'f'h.e Origin o/Wmum 'tragic Dramtz, p. 155 . .Acedia: sloth.
444. Nicu.schc:, PAiiOJOPn, in tile 'tragic.Age of/lie Gruil, tr.ln5. Marianne Cowan (Wash·
ington. D.C.: Regnery Gateway, 1962), p. 67.
445. Nicwche, '!'he Will to Power, trans. Walter Kaufinann and R. J. HoUingdaie (Nev.
York: Vmtage, 1968), p. 21 (no. 3 1).
446. Ibid .. p. 143 (no. 247) .
447. Baudel.airc::, u.s Ram du mal (trans. Howard), p. 174 ("The Abyss") . Nieu.sche.
nUJ Spolu Zaratllustro, trans. R.J. HoUingdale (Baltimore: Penguin, 1961 ), p. 167
(MThc: Stillest Hour n).
448. Baudelaire, us Flam du mo.l (traru. Howard), p. 164.
449. Bo.udelairt liS 0. Literary en'h'" pp. 338- 339.
450. Anhur Rimbaud, Compltft W(}ril, &Iuted uttm, trans. Wallace Fawlie (Chicago:
University of Chicago Press, 1966), p. 239.
451. lbid., p. 175.
452. Baudelaire, "My Heort LAid Bart," p. 168 ("FU5~es"). Sec: note: toJI ,L
453. A paperbound documentary literature popular in Paris during the 18405. See Ben
jamin's Cltarkl Baurklairt: A Lyrit. /-'o.et i" tile &0. of IfI{,I1 CaPita/ism., pp. 35-36.
 454. "nit: M<Xkmc hal illt: Ancikt: wit: cinco Alb, der iru Schlaf fiber sie gdommen ist."
Alb can also mean "incubw ."
455. Baudelaire, "To a \o\bman Passing By;" 17u Ftowm rif Evil (lran.5. McGowan),
p.189.
456. Baudelaire, "'The VOyagt:," 1k (Amplde VtrStl, p. 247. The Lifo (lnd nnh'ngj I!f T/iT.
got, ed. W. Walker Stephens (London: Longman.s, Green 1895), p. 310.
457. Hennann Lotu, MjmKOJmlU, lran.5. El.itabcth HamiltOn and E. E. ConnanceJonc:s
(New \brk : Scribner and 'W1fotd, 1888), \'01. 2. p. 387. The c:xa:rpt quoted in
• J83a,2 is found on p. 388.
458. See the stOry ofJacob and Esau in Genesis 25, verses 29-34 .
. 488. Benjamin, 'fIte On!}n rifGmnan 'fragic Drama, p. 227. SceJ 53a,4.
459. Bmjamin, "Surrc:alism," 1:I'an.S. EdmundJepbcoH, in Sw,: vol. 2, p. 213.
460. Baudelaire, ",My Heart Laid Bare," p. 107 ("The lttm of Hashish").
461. Set: Brttht, wJammelte Wtr,u, vol. 8. pp. 408-410 ("Die Schonheit in dt:n Cedi.
chten d« Baudelaire") for the derivation ofJ84a,2, 3, and 4. [R.T.]
462. Bauddairc, (ku/l7't'J romplittJ, vol. 2, p. 709. [R.T.] In Engtish in "1M P~inter rf'
Modmr lifi," p.26.
463 . Baudelaire, The FtowtrJ ofElJi/, p. 201 (trans. Roben. LowclI).
464. Bauddaire, ~My Hearl Laid Bare," p. 160.
465. Ibid., pp. 200-201.
466. Ibid., pp. 190, 199 ("My Hean Laid Bare"). "<&'est-cc que I'amour? Le besoin de
sortir dC' soi ... C'll'artiste ne sort jamais de lui· m~mC'."
467. Bauddaire, InHmate JOl.I.rnalr, p. 85.
468. Ibid., p. 67.
469. J oban Huizing&, 1M Waning of tile Middk Agu, rrans. F. Hopman (New h:k:
Anchor, 19M),pp. 145-146.
470. Ibid., p. 210.
471. Tide of a book published in Paris in 1844 lampooning variow actJ'C'.HeS, such as
Raebel, and playwrights, such as Fraru;ois furuard. Jacque5 Cdpc:t republished the
- 500. nLes Sept VlCiliards was written aod published in 1859, as part of the .sc:riea
work in 1938, claiming Baudelaire: as one of the authors.
472. Joseph de Maiscrc:, Otu /l7'tJ compliles (Lyons, 1884). vol. 5, pp. 102ff. (R.T.] nus
passage is not found in the translation of de Maiscrc: cited abO'\le (nott: 345).
473. Goethe, 'forqlullo TasJo, Act V, scene 5 (lines 3432ff.). [R.T.] In English in 'f'orlJl.I.aIa
'fam, traJU. Alan and Sandy Brownjohn (London: Angel Boou, 1985), p. 136. ~
474. Baudelaire, 1M Omtplrte VrrJe, p. 169 ("TO\vllscape"). Ruff's C'Dlphasis. Compare -
the discussion in M. A Ruff, BauJdaire, trans. Agnes Kertesz (New 'rork: New \br.k
University Preu, 1966), pp. 120-121 , where: comparaiJonJ aves is rendered as "Froh-
hewn comparisons."
475. Trans. Arthur Symons, 1M SymboliJt Afouanefll in Littr(lhlre (1919; rpl. New 'tIrk:
Dutton, 1958), p. 67.
476. Bal.l.tklaire: A &!fPortrait, p. 41.
477. Ibid., p. 195 ~C'tler 10 his mother ofQea:mbc:r 3 1, 1863).
478. Text wriu~ in French by Benjamin.
479. Friedrich Schlegcl, ~LI.I.cr:nde " (lJId the Fragmtnls, trans. Peter Firchow (MirUleapolis:
University of Minnesota Press, 1971), pp. 67-68.
480. Ibid., pp. 63-64.
481. Ibid., pp. 65-66.
482. Bauddai.re, OrovreJ compfttrJ, vol. I , p. 94 (~ Le Crq,uscule du soir~ ). [R.T.] In
English in '('he Flo'U'tYs 0/ ElJil, p. 120 (trans. David Paul).
483 . The election of Louis Napolc011 iI5 president in 1848, with more dWl twiCe" as many
votd as all other candidates combi.ned.
484. The cili Dorit ("gilded city" from the Dame of M . Dori, onC'·timC' owner of the laud)
Wall a sile in Paris ocrupied by worken from the: nationaJ woruhops in 1848, and
gradually transfomxd into a sink of corruption. (J.L.]
485. Sec Marx, Capital, vol. 1, pp. 435--437 ("Modem Manufatturc").
486. Marcel Proust, Remembran" t{ThirlgJ Prut, vol. I, traru. C. K. Scott Moncridf (New
)brk: Random House, 1925), p. 126. Prowt goc'l o n, in this paragraph, to definC'
evil in tC'rms of indifferwce to thC' suffering DnC' causes. On the: notC' by Anatole
FranCC' mentioncd by Benjamin al !his juncture, seeJ17a,L
487. ProUSl, Remnnbronu of7?tingj Rut, vol. I , p. 62 .
489. Benjamin Ialer wrote Sptbwnt (speculalor) over MiiJsiggiingtr (idler) without strik·
ing the laner. (R.T.]
490. Baudelaire, Selected Ltttm, p. 151.
491 . Proust, Rnnanbranu ofThingJ Pad, vol. I , p. 819.
492. Ibid., p. 490. For the passage: on MO)'On, seeJ2.L
493. Baudelaire. us Ftetm dl.l. mal (trans. Howard), p. 5. Prowl, &membrana oj Thinp
R/Jt, vol. 2, 17u: CaptilJt, naru. C. K. Scott Monaidf (New \brk: Random Howe,
1929), pp. 645-646.
494. Prowl, &membranu ojn inp Rut, vol. 2, p. 449.
495. Written by Benjamin in French.
496. J un:Jacques Rousseau, 1M CAnftsJi01lJ, tranlI.J. M. Cohen (Baltimore: Penguin,
1954), p. 593 .
497. Bal.l.delo.irr as ~ Liltrary Critic, p. 116 (preface to "Berenice").
498. Oswald Spengler, 17u: Decline oj tM m-Jt, vol. 2, trans. Charla Francis Atkinson
(New \brk: Knopf, 1928), pp. 101-102.
499. Ibid., p. 104.
Fant6m.eJ pariJieru.
R
501. Max Horkheimer, "Matmalism aod Morality," in &fW«:JI PhilOJqph, and Soci4J
Scie1Ice, trans. G. Frederick Hunter, Matthew S. Krama; and John Thrpc)' (Cam-
bridge. Mass.: MIT Press. 1993). p. 40.
,
K (Dream City QIId D rellJU House, _ . . Jwtg]
1. Benjamin qUOle5 herC' from Regis Messac, Lt "-J)etectillt PoIKI" tI /'inJll.I.tnU rk fa
f1enJie jcirntffiqlle (Paris, 1929), p. 420. [R.T.]
2. Eingedenl!.m: Benjamin's coinage from thC' preposition ringtdnlk (~ mindful or) and
the verb gttknkm (~ bear in mind," " remeruber~). TIlls verbal noun has a more
active sense than Erinnuung ("memory").
3. For dle relC'vant passage from Prowt, st:C. KBa,2. On "the dark.ness of the lived
momC'nt." see Ernst Bloch, tne Principle of Hope, trans. NC'villC' PlaicC', Stephen
Plaice, and Paul Knight (Cambridge, Mass.: MIT Press, 1986). p. 290.
01. Fiinluung, which. in mini.ng, has the sensC' of ~drawing up," ~ h.auling to the sur-
facC'." Bc:njamin. like Heideggcr, plays 0 11 the archaic \'t.rb Wt:Je1I ("lO ht:") embedded
in thC' Gavtjnlnl (Mwhat has been1 ; hC' cites the being in what Iw been. Com·
pare DO.6, o n lhe power of ~dis tilling" the present as inmost essence of what has
been.
5. SigfriC'd Giedio n, Bal.l.m in Fr~nJ.reidt (Lciptig aud Berlin. 1928). p. 3. [R.T.)
6. 1llc reference: i.s to Ambrosc Bit:rcc's short story ~AIl Qa;um:ucc at Owl Creel
Bridge;" published in 189 1 (pan of Bim:c:'s coU«tion In the MidJt rif Lfo). Ben·
 jamin's phra5c. in the second sentence of dW: may, g "magnctopathischc Expcri-
"""
7. Benjamin contnulS ProUllt'S ulelmiJ ",;th our ErJanrung (~was Prowt ... erlebte, da.s
haben wit ... tu crfahren"), The fomJer is, for BcnjanUn. an experience of the
moment; the latter is long experience O\'Cr time. the fruit of work and tradition.
Erjalvungu formed out of multiple Er/~bniJsm (GS, vol. 1, p. 1183). Com~ ml 2,3,
and m2a,4.
8. Ernst Bloch, Hmtage 0/' Our Tima, trans. Neville Plaice and Stephet} Plaia:
9 (Ikrkclcy: Uni\'crsityofCalifomia Pre5s, 1991), p. 313.
9. Karl Marx, A Contn'butiollto IAe CritUjlle ofPolitiwJ Emnom" trans. S. W. Ryaz.anskaya
(New 'lbrk: International Publishers, 1970), p. 217.
to. M3.JX, Capital, vol. 1, trans. Samuc1 Moore and Edward Avc1ing (1887 ; .-pt. New
York: International Publishers, 1967), p. 354.
II . Ibid., pp. 359-60.
12. It is not cenain whether Benjamin wrote Au.rwicAl/I1Ig here or Awwirkllng.
13. Marcel Proust: A S&ction ftom HU MisulJiJnef1UJ Writings, trans. Gerard Hopkins
(London: Allan Wingate. 1948), p. 233.
14. 1bat ~ doldUl something."
15. 1bis letter from Thcodor Adomo [0 Benjamin Iw not been preserved. But see
Adamo's Minima Moralia, Stttion 29. [R.T.] In English in Minima Moralw, trans.
E. F. N.Jephcott (london: Verso, 1974), p. 49.
16. The obelisk was origjnally erected in the Egyptian city of Luxor by Ramses IL In
1831, it was transplanted to the Place de Ie Concorde in Paris. Under the name. of the.
Place de la Revolution, this sq~ had SCI"\Ial as the site of guillotining from 1793 to
1795.
17. Victor Hugo, TAe Man WAo LAuglu, tranS.Joseph L. Blamire (1889; rpt. Milpitas,
Calif.: Atlantean Preu, 1991). p. 15 1. The sleeping town in question is actually
Mclcombc Regis, next to "'*Ymouth. on the coast ofF..ngiand.
18. C. G. J ung, "Analytic Psychology and ~Itaruchauung," D'aJl5 . R. F. C. Hull, CoI-
lecttd WorM, \'01. 8 (Princeton: Prina:ton Univcnity Press, 1960), p. 376.
19. Jung, Modern Man in SeanA of a &111, trans. W. S. 0c11 and Cary F. BaynCJ (New
York: Harcourt, Brace, 1934), pp. 110; 228.
20. Ibid., p. 241.
2 1. AJdous Huxley, Bt)ond tht Mtxi'l/le Bay (london: Chano and Wmdw, 1934), pp. 56,
60.
22. 1bis pas53.~ does not appear in the Engiish-Ianguage edition of Huizinga, 1M Wail-
ing oftIII- Middk Agts (1949; rpt. Ganim City, N.Y_: Anchor, 1954).
23. 1lleodor Rcik, SlIrprUt and tAt RycAo-AnalJJt; On tAt (Ary'tclure and Comprtllcuion 0/'
UncortJdoUJ PrOWHS, trans. Margaret M . Green (New York: Dulton, 1937), pp. 129-
13 1. "Memory" here translate! Gediidtlnisi "'rcminisccuce" translates Erinnerung.
24 . Ibid., p. 130. "Experience" here [ran:datCJ &febnil.
25. Marcd Prowt, &membrance o/'Things Past, vol. 2 (New York: Random House, 1932),
p. 619 ('f7,t Caph'lM, trans , C. K. Scott Monoid}).
26. Proust, &mem.branu of 7'hings Past, vol. 1, [raw. C. K. Scott MoncriclT(New 'lbrk:
Random House, 1925), pp. 33-34 (Swann s Way). MonoidT uanslatcs fa mimoire
w/ontaire here 3.lI Q311 cxerci5C of the will.~
27. Ibid., p. 5.
28. [bid., p. 7,](J (71e Guerowntt$ 1f'.g).
29. ProWt, Rem.embran« o/'17ringJ PaJl, vol. 2, pp. 1030-1031 (The Pad Rtcapturtd, 1.r.lIJj.
Fralcrick A. Blossom). The linc.s br Baudc1airc an: from U J Flnm dll mai, trans.
Ridmrd Howard (Boston: Godinc, 1982). pp. 31 ("TIle Head of Hair"), 30 ("By
Association") .
L [Orerun House. Museum, Spal
1. See Lc Corbusier, 'fAe City 0/' 'TOmorrow and JtJ Planning, trans. Frederick Etchc1b
(1929; rpt. New 'lbrk: Dover, 1987). pp. 163-178. In this entry and cl.sewhere,
kglance~ translatu Bli{A, which in earlier wage meant ~a flashing," "a lighting up," "a
.runmg."
2. Andri B~ton, Nadia, trans. Richard Howard (New York: Grove, 1960), p. 112.
3. Possible allusion to the rite of incubation practiced in the temples of Aesculapius in
ancient Creece. (Sec 1..3,1.) The inrubant would sleep within t.ht precinas of the
temple for the purpose of receiving a dream vision of the healing god. Ohm these
sancruaries lvert: equipped with theaters, gytwJaSia, and baths. On the other band,
Benjamin might be alluding he~ to the hospitals of Paris, such as the H&c1·Dieu
(near Notre Dame), a large classical-style building with an inner courtyard, ornamen.
tal gardens, frescoes, and long arcaded galleries around the courtyard. and in the
interior. "Corridors." ill this enay, translates Wantkllta/b:n. "Tum into their recovery-
translates iArer GeJllndllng tnlgegtnWtlnddn. And "watering place," here, translates
BnmnenAal1e (literally, "W of fountains"), ebcwhe~ translated as "spa" and ~mcdici­
nal spring."
4. Castan's panopticon was located inside the souUed Linden Arcade or Kaiscrgalcrie
in Berlin, before moving across the street in 1888.
5. Victor Hugo, U J MiJ&abtu, trans. Charles E. Wtlbour (1862; rpt. New 'lbrk: Mod-
__ ern Library, 1992), p. 1089.
6. Ibid., p. 1090.
7. Ibid., pp_1098-1099.
8. Ibid., pp. 1093, 1099.
9. [bid., pp. 1094.1095, 1096.
\" 10. Sec I4a,l ,and R2,2. [R.T. j
11 . Charles Baudc1aire, Paro 8pken, trans. Louise 'VarCse (New 'lbrk: New Dirccrions,
\ 1947), p. 60. ("The Generous Gambler").
12. Tbat is, he tra\'Cls back into the ghost world. (Compare 1..2,7.) "Gate-way," here,
rranslates Tor-Wtg; threshold as passage, or paMage as threshold.
13. Hugo, U J MUlrabltJ, p. 644.
l\1 [TI,e Fliiueurl
I. Hugo von HO&lIannsthal, "Ou Tor und der Tad" (1 894). G.!JlJ1/I.nu:ltt lVer!e, ed.
Herhen SteUlt.T (195 2), p. 220. (R.T.]
2. Victor HU b'O, Les Mu&ablti. [r31U. Charles E. Wilbour (1862: rpt. New York: Mod-
em Library. 1992), p. 513.
3. ~ Um sich:ru denlc:en ~ is what appean in the mlmusoipt; darien is arguably a slip of
the pen for d«kn (~ in o rder to coiMidL with om: another"), which would accord with
tJbertkdllng ( ~coverillg," "overlap") in the first SClllencc. [R .l :)
4. Sec "Hashish ill Marseilles," ill Sill, vol. 2, p. fin. "Imox.icatcd," in this entry and
elscwhc~ in the ArtfuJu j tnuulatCll rauJcAAqfl.
5. Last three Jentcnccs adapted from the protocol to Benjamin's $~cond experience witll
 hashish (GS. "vi.. 6, p. 564; in English ill Sw. vol. 2, p. 88). Sec a1so 12,6; 12a,l;
R2a,3 ; and C o,S.
6. "Far-off times and places" translales Under- und <~itnlfernm, which could be ren-
dued more lilerally as "gwgraphic and temporal distances." AI. issue is a s pa ~m­
poral ~superposition " (Ml a.l ).
7. Man:d. Prowl, Rnnnnlmuuz oj"7?r.ings Past, vol. 1, trans. C. K. Soon Moncrl.ctf (New
lbrk: Random House, 1925), p. 137.
8. ~ autour d, rna dwmbre (\byage around My Room): title of a work published in
9 1794 by Xavier de Maisae, brother ofJoseph. 1be work describes e."~pcriences under-
gone during a period of imprironment when, as a soldier in the Piedmolllesc army,
the author WaJ bOng held in Turin and bad to find compensation in mental traveling.
9. This citation could not be verified. [R.T.]
10. Hugo, u s MislrableJ, p. 374.
11. TIle Directory: executive body in charge of the French goverruncnl from 179S to
1799. l...c.s lncroyablcs (the Incredibles): name given to a group of young men at this
time who affected a studied elegance in thcir dress and sp«ch.
12. "Des Schmetterlings tweife1nder Fliigel.n 5«]. C. F. Schiller, SiimtlicM Wtr.k (Mu-
nich, 1965), vol. I, p. 229: "mit zwdelndcm Fluge1 1 WlCgt der Schmaterling sich
iiber dcm rOtlichen Klee." See also Benjamin's notes on bis fint and second hashish
experiences, in GS, vol. 6, pp. 560, 562. [R.T.}
13. VOlumes 11- 15 of Hoffmann's Ausge:wahltm Schriflm appeared in 1839, published by
Brodhag Verlag in Stuttgart. The foUowing citation fromJulius Eduard Hiuig appears
in vol. IS, pp. 32- 34. jR.T.}
14. 'f"'M ullt:rJ ,!!CJuuIe.J DicAnu, ed. Kathleen Tillotson, vol. 4 (Oxford : Oxford Univer-
sity Press, 1977), pp. 612-613 (August 30.1846, toJolUl Forster).
15. Friedrich Engt:ls, v'e Condition '!! tAt Wori ing ClaJ.s in Ent;fmui. tranS . Florence ......
WuchneweWc.y (1886; rpt., with revisions by V. C . Kierran, London: R:nguin,
1987), pp. 68--69.
16. More exactly, 1857. See M7,9. [R.T.]
I I Prior to 1859. in the years when Paris comprised only twelve municipal wards, "the
thirteenth ammdis.Jemenf' was a name for illicit amours. [J.L.)
18. Karl Marx and Friedrich Engels, 17Ie Gmnan [tholo" , in CAlkcted Wor,u, vol. 5 (New
'hrk: International Publishers, 1.976), p. 64 (trans. Qemens Dutt).
19. Original title: "Exkun iiber die Sooologie der Sinne." Translated by Robert E: Part
and Ernest W. Burgess, in l"tTOduch'o" to thr &imct of Sociology, 2nd ed. (Clllcago:
University of Chicago Press, 1970); sec p. 150.
20. Hugo, U J MiskabltJ, p. 514. See also 04.3.
21. Baudelaire, Pari.s Spl«1l, traru. Louise VarCse (New YOrk: New DirectiolU, 1947),
p. 45.
22. Baudelaire, ArhJt:iaJ ParmiiM, tranS . Fllen Fox (New 'lbrk: Herder and Herder, 1971),
pp. 101 - I02.
23. Balzac, Straphita. uan5. Clara BeU (New York: Hippocrcne, 1989), p. 6.
24. Balzac, CouJin PonJ, traru. Herbert]. Hunt (London: Penguin, 1968), p. 132.
25. Baudelaire, 77u /tosL Poem.s a"d "La Fmifarll)," tranS . Rosemary Uoy4 (New 'lbrk:
Oxford University Press, 1991), p. 44 ("'Ibc Crowds").
26. Baudelaire, Parn Spknt. pp. Lx-x.
27. Ibid., p. 77.
28. G. K. Cheslerton, CllarirJ Dicieru (1906: rpl . New 'tbrk: Schocken, 1965), pp. ~H.5.
We have taken the Iiberry of altering the pltr.lllt QlCStenon citC5 from Pidwid
PapJ, ~ (he key of the stn:et .~ [0 accord witll culTtnt usage.
29. [bid., pp. 45-46. "Drifting" is translated in Benjamin's text a:l.Jl4na.
30. Ibid., p. 46.
31. Ibid., pp. 178- 179 (citing letter of August 30, 1846, toJohn FOrster).
32. Siegfried K.racauer, Orp~J in Paris: OffnlbtWI and tM Paris 0/ His rime, 1Tans.
Gwenda David and Eric Mosbacher (New 'lbrk: Knopf, 1938), p. 213 (describing an
operetta by Offenbach).
33. Ibid., pp. 75. 76-77. For the remark by Alfred de Musset, see " Lc Boulevard de
Cand," in Musset, CkuvreJ compfJttJ (Paris: Scuil, 1964), p. 896. [J.L.J
34. Kncauer, Orplrnu in Paris, p. 79 (sttOnd sentence added).
35. Paul Valery, "'The PLace of Baud~," in lAmrtrtk, IW, MalUJnnt, traru. Malcolm
Cowley andJames R. Lawler (Princeton: PrincclOn Uni..u-sity Press, 1972), p. 203.
36. C. C .Jung, Colltded Wor,u, vol. 10, trans. R F. C. Hull (Princeton: Princeton Univer-
sity Press, 1978), p. 48.
37. 1ltis passage does not appear in the anonymous English aanslauon: EugblC Sue, '"l7It
Mysterils ofPuri.s (Sawuy, Cambridgeshire: Deda1w, [1989?]).
38. In Balz.ae., SpkndeurJ et mund des courtisana. pan 2, in OnwrtJ rompltttJ, vol. 15
(pw, 1913), pp. 310fT. (R.T.] In Englioh, A R~101 H;gA muI I..w, """'. Rayne-
Hepperutall (Harmoodswonh: Ebguin, 1970), p. 270.
39. &udewire as a Lilt:rary Cn"til, trans. Lois Doe Hyslop and Francis E. Hyslop, Jr.
(University Park: Pmruylvania State University Press, 1964), pp. 338-339.
40. Ibid., p. 294.
41. Baudelaire, "MJ Heart Laid Bart" and Other 1'rDH UfiHngs, trans. Norman Camuon
(1950; rpt. New '1brk: I-WkdI House, 1975), p. 169 ("Fusees~ 00. 21). See M15a,3.
42. Baudelaire, "ne Painttr '!! MDlkm Lift" and Olher EuayJ, trans.Jonathan Mayne
(1964; rpt. New "'ibrk: DaCapo, 1986), p. 9.
43. Jules Romains, Men of Good Wrll, vol 1, trans . Warre B. W1b (New "'brk: Knopf,
1946), p. 157.
44. Ibid., p. 136 ("A Little Boy's LongJoumcy").
45. Ibid., pp. 399-400.
46. Hugo, us MislrahftJ, p. 884 ("Enchanttnents and Desolations," section 5). For the
pas5age in Cerstick.er, see 1,4301 , and R2,2.
47. Baudelaire, "'My Heart Laid &re,~p. 188.
48. Baudelaire, Stkcted uttm, trans . Rosemary Uayd (Chicago: Uni..u-sity of Chicago
Preu, 1986), pp. 59~.
49. fuc:, Complete '(ales and Pomu (New lbrk: Modem Library, 1938), p. 476 ("The Man
of the Crowd").
50. Baudclairt, ""My Heart Laid Bare," p. 169.
51. Balzac, GaudissMt tk Grtal, trans. James Waring (Philadelphia: Ccbbie, 1899),
p.346.
52. Baudelaire, 1"Iv Compkte VtrJt. trans . Francis ScaIfe (London: Anvil, 1986), p. 3n.
53. Benoit Brecht, ~, 1913-1956, tranS . Ralph Manheim ct aI. (New \brk:
Methuen, 1987), p. 131 ("A Reader for Those Who Live in Cities").
54. Marx, Uipital, vol. I, trans. Samuel Moore and Edward Aveling (1887; rpt. New
lbrk: International Publishers, 1967), p. 18L
55. Sec M8a,L. On the "physiologies," a paperbound documcntary literature popular in
Paris during the 1840s, S«" ~amin, C/uJrkJ &udeftJire: A Lyrn PrJeI in tM Era rf
High Capitalism, trans . Harry Zohn (London: Verso, 1973), pp. 35-36. 5« abo
J82>,3.
56. Georg Simmel, 1M Phi{f)JofJhJ of Mont}, 2nd cd., tTaru. Tom Bouomo~ aud David
 Froby (Londo n: Routledge, 1990), p. 477. The last phrase can be renden:d mon:
literally as ~thc: all too prusing nearness."
57. ~\tbil:\ ce qui fait de l1ol»c:rvation anistique une chwe bien differttlte de I'observation
scientifique: die doit sunout etn: instinctive et prodder pat I'imagination, d 'abord .~
Gustave Flauben. CorrtJpondtuIu (Paris: Conard, 1926-1954) vol. 4, p. 230 (letter o f
JW1C 6-7, 1853, to Louise Colel).
58. 7?tt utfm o/'GU.Jlof/t. Raufxri, 1830-1857, traru. Francis Steegmuller (Cambridge,
MiW. : Harvard University Press, 1980), p. 203 (letter o f Decc:mbe:r 23, 1853, to
9 Loui.5c: Colel; see MadafM &vary, part 2, chap. 9).
59. 'fAt ultm o/'GUJtaflt. F70uiKrt, 1857-1880, traru. FJ'llllcis StccgmuUc:r (Cambrid~
MiW.: Harvard University Press, 1982). p. 89 (September 29. 1866, to George:
Sand).
60. ShclIey, l'rKh'ffl1 W()r',u, ed. Thomas Hutchinson and G. M. Matthews (1905 ; rpt.
London: Oxford University Press, 1970), pp. 350-351. Benjamin cites a translation
by Brecht, &om the latter's manwoipt.
61. The Coikcttd 'falrJ and PlaJJ 0/'Ni10iai Gogol, trans. Constance. Garnetl, rev. Leonard
]. Kent (New York: Pantheon, 1964), p. 78 . See E. T. A. H offmann, ~My Cousin',
Comer Wmdow," in "1M Goitlm Pot " ami Othn- Tales, trlllU. Ritchie Robertson
(New York: Oxford University Press, 1992), pp. 379-380.
62. H offmann, "the Goitkn Pot;' pp. 399-400.
63. Ibid., p. 380.
64. HettI: 1M Ldtm, trans. Clark Butler and Christiane Seiler (Bloomington: lodiana
University Prc.ss, 1984), p. 650.
65. NJusion to VlIgil'S A~tid, book 6, lines 2966'. : M Here starn tbe: pathway to the
watc:r.J of I Tartarcan Acheron. A whirlpool thick I with sludge, its giant eddy seeth-
ing, VOmlUi I all of iUi swirling sand into Cocytus.- Tram. Allen Mandelbaum (New _
York: Bantam, 1971 ), p. 142.
66. Baudela.irc:, 11ae Mirror of Art. tram. J onathan Mayne: {London: Phaidon, 1955},
p. 283 (o;The Salon of 1859; seaion 8).
67. J ean:Jacques Rousseau, Revniu ofthr Solitary IVa/Mr, trlllU. Pttc:r France (New )brk:
i'tnguh, 1979), p. 35.
68. Valery, Ponru in flu Rough, trlllU. Hilary Corke (Princeton: Princeton Uni~
P=., 1969), p. 155.
69. Balzac, The Wild AjJ~ Siin, traJU . H erbert]. Hunt (London: Penguin, 1977), p.IO's.
70. Prowt, Remnnbrana of 'fAings Past, vol. I , tram. C , K. Scott Mouaicff (New )brk:
Random House, 1925), p. 596 (Witllin II Budding Groflt.).
71 . Prousl, Remcnbran« ofThingJ PfJJt, vol. 2 (New York: ~om Howe, 1932), p. 1084
11k PaJt Rewptuttd, tranS. Frederick A. Blossom).
N lOn the Theory or Knowledge. Theory or Progress )
In translating Convolute N, we have greatly benefited from the previous translation of
tllls convolute, " Re tlle Theory of Knowledge, Theory of ProgrCSS ,Mby Leigh Hafrey and
Richard Sieburth, originally published in Phi!rurJ/JllicallWum. (Fall-Wmter, 1983- 1984),
and reprinted in Benjamin: Phi/ruoph}. HiJtary, AtJtluhC.s. ed. Cary Smith (C hicago: Uni-
\'Cniry of Chicago Press, 1989), pp. 38-83.
t . Karl M<lnI;, &lu led Wn·h·ngJ. cd. David McLcIWI (New 'lbrk: Oxford University
Press, 1977), p. 38.
2. Reference is to Louis Aragon, I.e PayJan tk PariJ (Paris, 1926). [R.T.] On the: not-yet-
conscious knowledge of what has been, sec KI ,2.
3. "Restoration ofall things .~ Derived fromJewish apocalyptic, Stoic, and Neoplatonic-
Gnonic tr.lditions, the concept originally n:ferred to the rc:cul'l'Cnce of a specific
planetary consteUation.
4_ Adorno, Kieritgaard . Com tnl(non oflilt Antlrth'c, trlllU. Roben HuUot·KcntOr (Min·
neapolis: University of Minnesota Press, 1989), p. 54. The Kic:rkegaard passage is
from 7?tt Con«pl of /ron}. For the passage from ~amin cited by Adorno, see
Benjamin. 'The Origin ofGemwn 'Trar;i' DrIUll4, tranS.John Osborne (Londo n: ~no,
1m), p. 166. The/as hipfHKTalica is a drath mask.
5. Georg Simmd, Goetlrt (Leipzig, 1913), esp. pp. 56-6 1; see also Benjamin, GS, \'01. 1,
pp. 953-954. [R.T] ~ Origin" here a-anslatc:s Unpntng.
6. See Manin Heideggc:r, Bei", and 'fi~, trans. Jo1m Macquarrie and Edward Robin·
son (New 'Jbrk : Harper and Row, 1962), Division 2, Chapta 5. On truth as ~ the
death of the ;nltnh'o" (parentllCsis below), see Benjamin, TN Origi71 wGnwm 'Trap
Dr(lJlla, p. 36. O n time in the dia1c:ctical image, sec: Q:,21 in "Erst Sketches."
7. 1lili sentence could not be: found among Kdler's epigrams. [R.T]
8. The passage occurs in the introduction to the Xriti/t dtr PoIitiscAm Oi01lomit, in Karl
Marx and Friedrich Engels, J1h-u (Berlin, 1964), vol. 13, pp. 640ff. [R.T.]ln English,
~lntrOduction to a Critique of RJliticai Economy; in Marx and Engels, 1M Gmrmn
ldto/0l!J' trans. anonymow (New 'furk: International Publishc:r.J, 1970), pp. 149- 150.
9. Friedrich Engels, &cia/urn, Utopian and &itntjfic, trans. Edward Avding (1935; rpt.
\-\Ie!Itpon, Corm.: Greenwood, 1977), p. 68. Rolf1iedemann infonm w that Ben·
jamin wrote in his manuscript, instead of "aU! dimonischcn Hcmchern," the. truly
"Strange" words "und dimonischen Hc:rnchc:r." 1be sentence would thc:u n:ad:
"they can, in the hand.! of associated producers and 1Il3lltc:r dcmoll5, be: trlllU£ormcd
into willing !ervanu."
10. Marx, CApitt.J, vol. I, trans. Samud Moon: and Edward Aveling (1887 ; rpt. New
'mrk: International Publishers, 1967), p. 28. Marx distinguishes bc:twecn Fonchung
(rcsc:arch) and Dantel/ung (pn:sentation, application)_
11. Jules Michdet. 1he fiopk, traru.John P. McKay (Urbana: Uni,,'ttSityofDlinols Press,
1973). pp. 18-19.
12. Marx, Seltcud Uf!'nngs, p. 37.
13. Marx and Engels. ~ Gmn.an Itkolo(J, vol I, tranS. Clemens Dull, in Mane. and
Engels, Colkcled Wor!s. vol. 5 (New \brk: Intemational Publishers, 1976), p. 91.
14 . Marx, SeVeted Utilings, p. 38.
IS. Ibid., p. 66 (italics added).
16. MaJJ( and Engels, Colkdtd Wor!s, vol. 5, p. 92 (17te German Idtolog;r).
17. M<lnI; and Engels, 1M Holy mmiiy, in Col/lCled Wor!s, vol. 4 (New'brk: Intc:mational
Publishers, 1975), p. 128 (tram. Richard Dixon and Clemens Dun).
18. Paul Valery, ~TIle Place of Baudelaire," in uonardo, PM, Mullarmi, trans . Malcolm
Cowley alldJaIllCS R. Lawler (PrinCClo n: Princeton University Prcs5, 1972), p. 203.
See 15a,5.
19. Marx and Enb'Cl.s, Se/u ttd eorwponden«, tnulS. I. Lasker (Moscow: Progress Publish·
ers, 1975), pp. 434--435.
10. Iknjamin's introduction to Jochmal'ln's " D ie Rikkschritte der Pocsie ~ (Ille Regres·
siom of Poeoy) appears in GS. \'01. 2, pp. 572-585.
2 1. Bc:njanlin's n:£erence 10 the ~ apoll(imi.schen Schnitt ~ remains obscure. The French
trarulator of the P<illaf.tn -H'eri n:nders this as ~sectioll d 'or" ("'golden 5Cction ~) , while
the Italian trarulaton offer the c:mendatiml " taglio di Apc:Ue" ("ApclIcs' section"),
 with roerc:na: to the foumKenrury B.C. Greek painter who, in a contest. divided a 50. ~ pasnge is not found in the English·language edition of 'The fffzlli1l& oftlte Middk
narrow line by one yet nanowe:r and of a different color. AgtJ (New York: Anchor, 1954).
22. This phrase (ljtcralJy. " to go to the many") means ~t(J die." It occun, for example, in 51. Karl Korsch, Karl Marx, trans . anonymow (1938; rpt. New YOrk: Russell and
Petronius: MAnd now he's gone, joined the great majority" {1O.men abir1 ad plum}. 7'k Russell, 1963), p. 106.
Satyn'con, trans. William Arrowsmith (New 'rork: New American Library, 1959), 52. Ibid., pp. 190- 191. Korsch cites Hegel's VorltSungen "her die P/riilwpltiL dtr GtJdridlk
p. 50 (ch. 42). (Than1u to William Wyan for this rtfercncc.) <Lectures on the Philosopby of History) (Gcncrallnauduction, 2, ~ a).
23. Valery, lnnardo, Poe, Malla,.,."i, p. 197. 53. Konch, KMI Marx, p. 182.
24. C. G.Jung, ~On the Relation of Analytical Psychology to Poetry," in Jung, Compldt 54. Ibid., p. 234.
WorL (Princeton: Princeton University Press, 1970-1 992), vol. 15, pp. 82-83 (1J'ans. 55. Ibid., p. 196. Konch quotes from Marx and Engelll, GtJllmtaUJgidJt (Berlin, 1927-
R. F. C. Hull). 1930), vol. 1, pan v, p. 403, (Die rUut.scM Itkolor;£lj.
25. C. G.Jtmg, "1be Spiritual Problem of Modern Man,~ inJung, Modnn MQII in Seardt 56. Korsch, Karl MIlr'%, pp. 221-229. Korscb rden to me preface to Marx', .('ur hiM dtr
0/ a Soul, tranS. W. S. Dell and Cary F. Baynes (New York: Harroun, Bruce, 1934), /Mliti;'Mn Ohnomie (1859).
p. 231. 51. Korlich. Xar/ Marx. pp. 168-169. Korsch cites phrases from D,:t rUutsw ldtolor;it and
26. 8lanqui's last work is L'Ettnlitl par Itl QJlm; 5tt 053,1 , and the entries following. from Georgi Plekhanav, Fundammtal Prob/t11U ofMarxism (1908).
Heideggtt's outline of 3 ProbltmgtJdridllt ("history of problems") in &ing tmd 7"11M, 58. Korsch, Knrl MIlr'%, p. 83. Qyotation from Bacon is from the J{ouurn Organum, book 1:
paragraph 3, may stand behind Benjamin's rdCI'Cnce to the philo.sopber hCI'C. ~ror it is rightly said thai truth is the daughter of time and not of au thority."
27. Sec Benjamin, GS, vol. 2, p. 518. (R.T.] 59. Kondt, Karl Marx, pp. 18-80.
28. Sec August Strindberg, 70 Damascw /II, in Play; 0/ Ctmjtulon and 'l7urnpy, trans. 60. The citation is from Guez de Balzac, letter of March 1, 1634: "And becawc: 1 am DOl
WalterJ ohnson (Seattle: University of Washington Press, 1979), p. 196. avariciow either in e~ or in .soul. I consider the emeralds of your pcacock.s as great a
29. Marx and Engels, &Icdd Cormporukna. p. 434 (Engels to Mehring,July 14, 1893), prize as those of the lapidary." In Prowt. Um-tJponMn.u, vol. 2: 1896-1901, ed.
30. Turgot, ~Second Discourse on the Succe'uive Advances of the Human Mind," in On Philip Kolb (paris: Pion, 1916), pp. 52-53. Proust's leiter is dated by the editor
ProgrtJJ, &a,'olor;l and Econtmlicr. trans. Ronald L. Meek (London: Cambrid~ Uni· mid-April 1896, TIle book in question is u; PiaiJir; tt leJ jour;.
versity Press, 1913). p. 46. 61. Honore de Balzac. '11tt Wild Au~ SAm, tr.lN. HabcnJ. Hwu (London: Pmguin,
31. Ibid., pp. 44, 46. 1971). pp. 35, 37, 38, 40.
32. Ibid., p. 58. Benjamin has "pcrfection" for "rdl.ection." Linw is Latin for "boundary.1! 62. Henri Focillon, 7Irt Life 0/ fim,u in. Art, trans. Charles Beecher Hogan and George
"limit." Kubler (1948; rpt. New York.: Zone, 1989), pp. 153- 154, 148- 149.
33. Ibid., p. 52. 63. Ibid., pp. 102-103.
34. Ibid., p. 105. 64. Ibid., p. 47.
35. 1le Life and Writings o/7'urgot, cd. W. WaIlc.er Stepbens (London: Longmaru, Green,
1895), p. 320.
36. HemliUUl Lotze, MicrocOJrnuJ, trans. Elizabeth Hamilton and E. E. ConstanceJones... o [Prostitution, Gambling]
(New York.: Scribner and \-\Word, 1888), vol. 2, p. 144. J. 'This passage is drawn from 7Irt ReminiJunm aM &Coffuh'mtJ 0/ CapltJin Gron.qw:
37. Ibid., p. 146. &in.g Anetdolt; oftile Camp, Court, C/ubJ, tmd So~fJ,1810- 1860, vol. 1 (New '\On.:
38. Friedrich H oldcrlin, Siimtlidlt WtrAl (Sruttgan, 1954), vol. 6, p. 92 (letter pef Septem- Scribner and ~lford , 1889), pp. 122-123 ("The Salon des Etrangen in Paris-), a
ber 1793, to his brother). (R.T.] text originally written in Englisb. (Thank.t; to SwanJaduon for this rdcrrnce.) Wi:
39. Lotu:, MitTfKOJrnUJ, \'01. 2, p. 112. translate here the infonnatiw: German translation used by Benjamin. On the Salon
40. Ibid., p. 111. (Cercl!') des Etrangers. ~ the Guide to Names and Tenru, and ~Flnt Ske~ ,"
41. Ibid., pp. 173-114. . . LO,19; Benjamin's MMarquis de Stvry" seems to be a mistake for the MarquIS de
42. Simmd, 7Irt PhilOJophy 0/ Monty, 2nd cd., traIlS. Tom Bottomore and Oa'(d Fnsby Livry mentioned by Gronow (pp. 120-1 21),
(New York.: Routledge, 1990), p. 447. 2. Louis Aragon, Pari.! a4Jllnl, trans. Simon Watson Taylor (1911 ; rpt. Boston: Exact
43. Lotu:. Mi(Tf1{OJmUJ, vol. 2, p. 141. Challge, 1994), p. 14.
44 . Ibid., p. 148. 3. Ibid., p. 60.
45. Ibid., pp. 15 1- 152. 4. &hwdk, cognate with the English word "sill," has the roof. sense of "board," ~struc·
46. Ibid., p. 154. nu-al 5uppon,~ "foundation beam." According to current infonnation, it is etymOlogi·
41. Ibid., p. 151. . cally unrelated to MltWl/len.
48. Baudelaire, "Th"Poem of Hashish," in "My Heart Laid Ban: ~ and Other l+Pu ~~t. 5. Friedrich Schiller, Wallmutin ~ lXaln (act 1, scene 4). in R7?u Rohhm" allli ~Wa/len ·
11IgJ, trans. Norman Cameron (1950; rpt. H as kell House, 1975), p. 102. Bauddam: Jtdn," trans. EJ. Lampon (London: Penguin. 1919), p. 328. For the citation from La
cl::a.inu bere to be citing verbatim the: Ic:.uer of an ululiUlIed .....oman. Bruye~, seeJ87,4 (?j.
49. 7?u Ltttm o/GIlJlatN Fiauhn-t, 1857- 1880, trans . Francis Stccgmullc:r (Cambridge. 6. Umgue uertt, the Parisian s.lang catalogued by Alfred Delvau in his Dittionna;rt! de ill
Ma.u.: Harvard UmvcrsilY Press, 1982), p. 24. ~t vrrtt, first published in Paris in 1865. See P3a,4.
 7. Anatole France, l'1u Garoro 0/ EpitufllI, t:raIlS. Alfred Allinson (New York.: Dodd,
Mead. 1923), pp. 22-25.
8. The 6m passage wcs the ramiliar rorm or the second·penon dative. Dir. The othtt
pan agl:, within the single quotation marlu, uses the funnal form , Sit .
9. As distinct from the official stoc:k.brokers (agrntJ dr duzngt). ~ "outside broktts"
((ourtU:rJ de 10 cou/im) were WlaUthorit.ed. They took their name "from their habit of
rrading on ~e ~tskiru o~ the Bourse crowd~the wings of a theater. in French, being
named tOu/Wt. See William Parker. 1M Pam &urse and mnch Finanu (New 'ibrk :
9 Columbia Uni,nsity Preu, 1920), p. 26. Compare ga.2.
10. That is, of Napoleon, 1798-1799.
II. Marx and Engels, Collll/~d Wor.ll, vol. 38, trans. Peter R05s and Iktty Ross (New
'furk: International Publishers. 1982), p. 91 Oetter of November-Dccembu 1846).
12. Compare a4,1. Neither this nor the preceding passagt: appears in the English tran.da-
rio n of Mayer's biography of EngdJ (see note to E9a,6).
13. Siegfried Kracauer, Orphrw in PariJ: 0Jf0nbtuh. tVUi ,At PariJ rff His '{'11M, trans.
G~da David and Eric Mosbacher (New York: Knopf, 1938), p. 254.
14 . Marx, 1'Ae &tmomictmd PIIi/osopAic ManUJaiptJ 0/'1844, trans . Martin Milligan (New
York: International Publishcn, 1964), p. 151 ..
15. Marx. CapitoJ, vol. I. trans. Samuel Moore and Edward Aveling (1881; rpt. New
'furk: International Publishcn. 1967), pp. 450-451.
16. Kracauer, OrpMuJ in Punr, pp. 298, 133. U J FilltJ de marhrt was produced in 1853;
Frol!ftou, in 1869.
17. Charles Fourier. 1M 7'JwJry 0/ llu lVur MO'IJC1InItJ, trans. Ian Patterson (New York.;
Cambridge University Press, 1996), p. 148.
18. "Events,~ in this entry, translalr..S ErtignWr; "contexts of experience~ uanslates Fr-
fa1rrungnuJOm~ (which suggest! "continuity of experience").
19. Joban Huiringa, 1'Ae Wanin, of tAt Middlt AgtJ$ trans. F. Hopman (1949; rpt. New
'furk : Anchor, 1954), p. 149.
20. H a nari de Balzac, 17re Wild AJS~ SA:in, trans. Herben]. Hunt (London: Penguin,
1977), p. 23.
P [The Streets of Paris]
1. Cited by Benjamin in Larin withom source.
2. Street of Bad Boys, Sawap::·Maker Street, Street of Dirty \-\brd.!, SUttl of the Head-
less "Wlman, Stlttl of the Fldling Cat, Street of the Thicluc:t Villain.
3. Victo r Hugo, U J MisirahltJ, t:ran5 . Owles E. Wilbour (1862 ; rpt. New York: Mod-
em Library, 1992), p. 1100.
Q [Panorama]
1. Panoramas we~ inmxluced in France in 1799 by the American engineer Roben
Fulcon. But it was a certainJames TItayer who. after acquiring the patent, developed
the two rorundas on the Boulevard Montmartre which were separated by the arcade
known as the Passage des Panoramas. These large circular tableaux, painted in
trompe-l'oeil and designed to be viewed from the center of the rotunda. displayed
scenes of battles and cities: "View o r Paris,~ "Evacuacon or To ulo n by the EngIish.~
"Encampment at Boulogne," "Rome'- "Ailieru," "Jerusulcm." ~ the number of
panoramas increased and their popularity grew, new fol'IIl5 made their appearance:
the cosmorama at the: Palaif·RoyaI, later traruferred to Rue Vivienne; the nrorama or
M . AlIaux, with it! interior scenes; r.he georama, with its geocr-..J and detailed views of
different parts of the world. But the decisive invention remains the diorama of Da-
guerre and Bouton. which w.u opened in 1822 on the Rue Sanson, near the Boule-
vard Saint·Martin. and then installed on the Boulevard de Bonne-Nouvelle. The
pictures were painted on d oth traruparencies. which by 1831 were being wed with
various lighting effects. The instal.l.ation bumc:d down in 1839. together with the:
laboratory where Daguerre and Niq,cc conduaed their lint experiments in photog·
~phy· IJ · L.1
2. See Honort de Bahac, /ir( Canot, tranS . Henry Rc:ed (New York: New American
Library, 1962), pp. 7-8, 15.
3. Andrt Breton, Nadja, trans. Rid"lal"d Howard (New York: Grove Press, 1960), p. 148.
4. The georama was a large hollow globe Of spherical chamber that was lined with a
cloth depicting the gcograph)' of the earth', surface, to bt: viewed by a spectator from
inside..
5. Marcel Proust, Remembr"anu ,!/1'laing; Past, vol. 1, trans. C. K. Soon Monaidl' (New
York: Random House, 1925), p. 709 (WitA i" a Budding Grour:).
6. Charles Dickens, 1M Old CurioJity SIwp (London: Heron Boob, 1970), p. 267 (ch.
27).
7. Presumably, the picturesque and mechaniz.ed theater constructed by M. Pierre on the:
Carrefour Gaillon. IJ.L1
8. G. K. Chestenon, CharirJ DicArn.s (1906; rpt. New \brk: Schock.en, 1965), pp. 117-
• 118.
9. Siegfried Knauer, Orp!l.tuJ in ParU: OJJrohtuA and /!I.( Paro 0/' IlIJ 'limr, trans.
~ David and Eric Mosbacher (New \brk: Knopf. 1938), p. 42.
10. W,rd coined in 1789 by patttltee Roben SarkO' (1739-1806), Scottish ponnit
painter and reputed inventor of panoramas. The patent mentioned in the passage
following dates from 1800. (Aorial was the eighth month in the: Revolutionary
calendar established in 1793.)
II. Charles Baudelaire, 1'Ae Mirror of Art, traru . Jonathan Mayne (London: Pbaidon,
1955), p. 284.
R [Mir.o ..j
1. "So weiss man weder on noch aus vor zweifelhafter Helle." TIle idiom nielll aw n«lI
dfl ww ro ("not know which way to tum") is here takt:n litcral.l.y ("know neither 'out'
nor 'in'j.
2. Louis.Aragon. Paru ltasant, traIlS . Simon Watson Taylor (1971 ; rpt. Boston: Exact
Chong<. 1994). p. 1<.
3. Sec nixe to Mla,3. "Ambiguity." in the prest:m passage, trarulates ~tigArit
(twti-drutig: capable of twO interpretations). "'The whispering of gazes" is Engfuh for
Blidwisptm. Compare c°,3, in "The Arcades of Paris."
4. Th~odor W. Adorno, KiEl'i.tgtUlrd: C6nstru(tion o/'tAt Atst!l.ttje. trans. Roben HulIet-
Kmto r (Minneapolis : University of Minnesota Press, 1989), pp. 41-42. The
Kierkegaard citarion is from vOl. I of EitlrrrlOr, trans. David F. Swenson and Lillian
M. 5weMon. fev. Howard AJohruon (1944 ; rpt. New York: Anchor, 1959), pp. 349-
350.
S [Painting. Jugend&tiI. NO"eity]
l. Goethe, FaUlt, trans . Walter Kaufmann (New \brk : Anchor, 1963), p. 36 (lines
6838-6839).
2. Anatole France, 1Ju Gank7I of EpicuruJ, trans. Alfred Alliruoo (New \brk.: Dodd,
Mead, 1923). p. 129.
3. Secjulien Benda, 1M: Betrayal oj/he lntelkctuais, trans. Richard Aldington (1928; rpt.
Boston: Beacon, 1955), p_ 166 (ktter of August 13, 1789, from an Engli!hman, Ar-
thur \bung); and AnatolC' France, "The Procurator of judaea," in Mother oj Aarl,
tranS. Frederic Chapman (New York.: Dodd, Mead, 1922), p. 26.
4. Franz 1Wka, 1?ae rrioJ, rraru. Walla and Edwin Muir, rev. E. M. Buder (1935; rpt.
New York.: Schock.en, 1968), p. 163.
5. &i""",z,;t(Hallo. 1921). [R.T.)
6. Hugo von HolinannsthaJ, &kded Prw, trans. Mary Hottinger, Tania Stml, and
james Stem (New 'mrk.: Pantheon, 1952), p. 364. 1be Budi dcr Frnmde (Book of
Friends) Wa.\ compiled from HofmannsthaJ's noteboolu of 1917-1922 and from
quotations, and was first published in 1922.
7. Sketch for a play; now in Hofmannsthal, Gwzmmellt WtrAe, vol. 3, Dramen (Frankfw-t
am Main, 1957), pp. 491-493. (R.T.] &ide from the refen::oce to Freud, thc uniden-
tified citatioru at the end ofS2,3 are in French.
8. Theodor W Adorno, ~Arabesk.en wr {)puene," in Die &mju: Bliiiter ihJ Dtumkn
SdwwpitlMu.ses (Hamburg, 1931-1932), p. 5. Adomo speaU of the "negative eter-
nity ofthc: operetta" [R.T.]
9. Benjamin refers to the great Catalan architocl Antonio Gaud{ (1852-1926).
10. Adorno, Kitrlr.rgaard: Cmutruction oj the Aest/retir, trans. Roben HuUOl-Kentor (Min.
neapolis: University ofMinnesom Press, 1989), pp. 45-46. 1be passage from RtJNti·
lion describes the apartment Kimcgaard occupied during his ruidmcc in Bc:rlin in
1843.
11. Ovid, MetmnorpMses, tranS. Rolfe Humphric.!l (BloonUngton: Indiana University
Press, 1955), p. 73 (the reference is to Narcis5w).
12. " ... den jupd.m1 bis in seine Auswirk.ung in die Jugend~~ vcrfolgt:nd!'
13. Charles Baudelaire, Parir spken, trans. Louise Varise (New York: New Di.rcct:ions.
1947), p. 5 ("The Double Room").
14. Paul Valery, DegQ.J, Manet, Morisot, tran.'I . David Paul (PrinceLOn: Princeton Univer-
sity Press, 1960), p. 152 ("About Corot"). . .
15. Karl Marx, Sekded I#itings, ed. David McLellan (New "mrk: Oxford UruYCf1lty
Press, 1977), p. 338.
16. Baudew.irr ILl" a Literary en'tic, tran.'I. Lois Boe. Hyslop and Francis E. Hyslop, Jr.
(University Park: Pennsylvania State University Press, 1964), p. 143.
17. Ibid., pp. 44, 45. . .
18. ragtbudi riner VerlumIDI (Diary of a Lost W>man), anonymous memolT of a prma-
LUte, cd. Margarete BOhme (Berlin, 1905). The refc.rc:ncc to Alfred Capw that foUoW3
remains obscure. (R. T.]
19. Bauddairc:., 1Ju (Ampute Ver$t', trans. Francis Searle (Londoa: Anvil, 1986), p. 55.
20. ~I..ou of a Halo," seerion 46 of Paris Splmr.
21. Baudelaire, "FloWtrJ ofEvil" and Other Works, trans. Wallace rowlie (1964; rpt. New
York: Dover, 1992), p. 27.
22. Bauddain:, "'The SWI" ("Lc Sok:ilj, in 7'Ae CAmpktt Ver$t', p. 17L
23. Friedrich Niewchc:., 'l?wJ SpoAe Qralhwtra, 0<lJU . R.J. Hollingdale (1961 ; rpt. Bala-
more: Ptnguin, 1968), p. 286 ("'The Shadow").
n Felix Markham (1952 ; rpt. New '!brk: Ha'l)(:r, 1964). p. 18 ("IJluoduction to the
24. Ibid.,p. 315 ("Among the Daughters of the Desert ).
25. Sec Henrik Ibsen, 1M Wild Duck, in "Heddo. Cobler" and Other PilJy~, tranS. ~na
ElIis.Fcrmor (1950; rpt. Harmondsworth: Penguin. 1982), pp. 243-244 ("the savmg
lie .. . is the stimulating principle orlifc, .. _w keep life going").
26. Paul Valery, "utory and Polities, trans. Denise rouCl and jackson Mathews (Prince.
ton: Princeton University Press, 1962), pp. 27J-272.
27. Paul Valery, A'It~k,tJ. trans. SLUm Gilhen (PrincClon: Princeton Univt:rsity Press,
1970), p. 11.
28. Marcel Proust, Renu:mbran.u ,!/17tmgs Pwt, vol. 1, trans. C. K. Scou Monaidf (New
\Ork: Random House, 1925). pp. 489-490.
29. Ibid., p. 490.
T [Modes of Lighting]
1. ~ muminatcd by nocturnal torches."
2. Apparent reference to a coUection of fairy tales and humor, fu hlau~ Bibliothelr deJ
FeenrricllJ. der Kobolde, <~ und Gnomm; odtr- DeutJdilands ,?,auhmniinkn, Htr-
rtngescllicllten, und So'IwaMe t il ergOhliw, und bildentkr UnterltaltungfiJr die Jugend
lind ErwtJcLme (published in the 18405).
3. The H6tcl de Ville (City Hall) was the meeting place of radieal repubtiean leaders in
1848; at the end of February, immediately af'tcr the abdication of Louis Philippe.
members of the Chamber ofDcputies proceeded thm: to join with these leaden and,
under heavy pressure !Tom the crowd outside, to proclahn a provisional republic.
4. Sec "Blind Men." in Baudelain., Les Flam du rrwl, trans. Richard Howard (Boston:
Godine, 1982). p. 97; and ~ My Cousin's Comer WlDdow" in E. T. A. Hoffinann,
~7'Ae Goidltl Pot" and Otntr Taks, trans. Ritchie Robcruon (New 'lbrlt: Oxford Uni-
\'CJ'Sity Press, 1992), p. 394.
5. Edgar Allan Poe, 1k Complete rales and Poems (New 'lbrk : Modem Library, 1938),
p. 464. Fbc SOt.!! on to recommend the Argand lamp.
.....
U [SaiDl.Simon, Railroads)
1. Alelitrs 1Iarionaux: an cmcrgcncy relief agency. SCI up during the February Revolution
or J 848, that attracted thousands of uncmploytd workers from all over France; it
C\'CIlrually sawficd neither radicah nor moder.ues and was abolisbed by the newly
dccted corucrvati\'e majority in May, without any program of public woru to replace
. it.
2. On Bourdin, see j27a,3.
3. Friedrich Engels, "Ludv.rig Fcucrbach and the End of Classical German Philosophy;
in Karl Marx and Friedrich Engels, BasK Ufitings on !'ofilia ami Philosophy, cd. Lewis
S. Feuer (New York: Anchor, 1949), p. 205.
4. Henri Saint-SinlOn, Selected Writings on &ience, lndwtry /J.nd &rio.l Organiwtion, trans.
Keith Taylor (New York: Holmc.!l and Meier, 1975), p. 210 (from L'OrganiJateur,
1820). On the replacement of "!he government of persons .. . by the administration
of things," see Friedrich Engd s, "Socialism: Utopian and Scientific," in Man and
Engels, Colltc/ed Works, vol. 24 (New York: IJlternationai Publishers, 1989). p. 321
(trans. Edward Avding).
. 5. Hellri Saint-SUnoIl. $!lected Wrihitgs on Srience, lndwtry and Social Organiliation,
p. 237 (fmm Du Sptmt mdUJtriel, 1821 ).
6. Herui Saint-Simon, Social Orgtmiw tifm, the samet tf Man, and Olhtr J#itingJ, trans.
Scientific Studies of the Nineteenth Century," 1808).
7. 'The passage quoted by Chevalier is evidently a free rendering of one of the maxims
on industry £rom Benjamin Franklin'! preface to the 1758 edition ofms Poor Riduud

Improlltd. The prefaa \.Vaj cxtensively reprinted (and fTnjuentIy revised) wlder such
titles as 'fht Hlly to Wealth .
8. Reference to tIu: quarrel, at the end of 1831 , b~twccli Enfantin (wbo SOOn withdn:w
~o his ~tat~ at Men.ilmo.ntant, with forty disciples) and other leading Saim-Simoniaru,
ulduding Bazard, Rodrigues, and Leroux, over the questioll of relatioru be[\'.'Cen me
W<U.
9. Saint-Simon m:un~d the young writer and musician Sophie de Champgnmd in Au-
gust IS01 ; havmgJwt assumed the role of patron of the sciences, I~ was in Ilced of a
hostCS5. The marriage was dissolved, by mutual consent, in June IS02. "I used
marriage as it mcaru of studying scientists" (&kctd Ufirmg' on &i(1l(C, Ind/I.Jtry twi
SocUd Org(llliuJljon. p. 19).
10. Auguste Comte bttamc: $aint..$imon's assistant in IS17, foUowing his expulsion £rom
the Ecole PoI)1.cchnique for insubordination. It was in 1824-after seven yean of
coUahontion-that a long-standing dispute betv.'CCn the two men finally led Comte
to wilhdr.lw his suppon.
11 . See aI5,2-4, and p l ,3. Evadamism: Eve + Adam + ism. Lc Mapah (maler + pater)
was the name wen by a sculptor named Carmeau, around 1835, in forming a cult
that ad\'0C3.ted the complete equalil)'-and ultimate fwion-of men and women.
12. See p2,5, and entries foUowing.
13. Karl Man: and Friedrich Engels, &l"ted ('.qrrespondmce, 3rd ed., tranS. I. Lasker
(Moscow: Progress Publishers, 1975), p. 82.
14. Sic.£ried Kracauer, Orpheus in PariJ: Offt1lbacA and the PariJ o/HiJ 7'ime, U'ilJ.1.'I. Gwenda
David and Eric Mosbadler (New York: Knopf, 1938), p. 95.
15. One of two cemeteries in the old Col1.'ltantinoplc district of Pua (now called BcyogI.u)
in l:itanbul, 011 the north side of the Golden Hom. Then: was a grand and a pitiJ
Champ des MortS, both destroyed by fire and renovations in the course of the
nineteenth century.
16. Honore de Balzac, Gaudissarl the Grtal, trans.James Waring (Philaddphia: Gebbie,
1899), pp. 351-352.
17 . Plan concciv«l by Napoleon J for blocking Engtish m~ from entering the
Continent.
18. Honor~ de Balzac, ~ WJd A.uJ S~in, trans. HcrbcnJ. Hunt (London: Pmguin.
1977), p. 60.
v rCompiraciet, Compagnonnage ]
Compagnonnage refer! to trade guilds, solidarity associations among workers. The word
comes from c()mpagl'um : "companion," "workman," "joume)man." A central feature of
comfJag1lon'll4gt, up through the middle of the nineteenth century, was the four de Frana, in
whidl journeymen artisans traveled to various towns of Frana secking employment in
order to complete their professional training. The tQurgeneraUy lasted thrtt to four years
and t:ulminated in the production of a masterwork.
I. The anny was persuaded to disanll by the passive conduct of the Garde Nationale.
2. TIl(: trial of Etienne Gabet for sedition.
3. Karl Man: and Friedrich Engels, Collr(ted WorL, vol. 10 (New York: Luemational
Publishers, 1978), pp. 316--3 19, 312-313, 3 12 (tranS. Christopher Upward).
4. Marx and Engels, Collecftd WorL, vol. 17, tranS. Rodney Livingstone (New \brk:
International Publisbus, 1981)1 pp. 79-80 (H t:rr Mlgt [1860)).
5. Societe des Saisol1.'l : name of a secret society established by Blanqui, in 1837, wi~ the
aid of two other young rq>ubliCilJU. It utiliu:d classical corupiratorial techniques to
form a tightly .disciplined and hierarchical organttation. Three years earlier, Blanqui
had founded Its pl'CdCCC!5OT, the 5eaet revolutionary Societ~ dcs Families, and in
1832 he had been a member of the republican Soci~te des Amis du Peuple, which
espoused a Saint...sUoonian doctrine.
6. In the aftermath of thcJuly Revolution, the minisu:rs:ofCharles X WttC arrotcd and
in December. put on trial. Throughout the trial, trOOp! of the Garde Nationalt, led ~
the marqui.5 de Lafayette, wt:re requin:d to control the crowds who gathered in the
streets to demand the death 5CI1tence for the mini5tcn. The latter we:rc Knteoccd to
lift imprisonment OIl December 24, 1830, but they ....'t:I'C all granted amnesty in 1836.
7. VICtOr Hugo, LtJ Mi.JimhkJ, trans. Charles E. Wtlbour (1862; rpt. New )brk: Mod-
em Library, 1992), p. 732 ("Facts from which History Sprin~, and which History
Ignores,,).
8. Ibid., p. 730.
9. ~Uth month Uanuary 20-February 18) of the: French rt:voiutionary calendar, adopted
m Oaober 1793 by the FlJ'St Republic.
10. This question from the catechism of neophyte revolutionaries of the Soc:iCtt des
Familles-a question that was presented in evidence at the trial of Blanqui and other
members of the o rganization in 1836-was answered: "One must make a;ocial revo-
lution." See Alan B. Spiucr, 1k Revolutionary 'I'MorUJ W LooiJ Augwu BlmuJui (1957 ;
cpt. New York: AMS Press, 1970), pp. 90, 92. Marx, too, call5 for a social rt:volution.
11 . Cmnpagnon actually derivc.'l from the Old French word ,ompaignon, which in tum
comes from die Vulgar Latin companio (com, "with" + paniJ, "bread"). The word,
meaning originally "one who eart! bread with another," is unrelated to romjxu~ M com·
plUS."
12. Rdatcd to the English word "vmt,~ an obsolete term for "sale," "hostelry." The
French word IJnIlt may have originally referred to a stand of timber.
13. Baudelaire as a Lit(1'aty Crih'" tranS . LoU Hoc Hyslop and Franci.s E. Hyslop, Jr.
(Ucivcrsity Park.: Pennsylvania State Univusity Press, 1964), p. 356.
14. Marx, 1k EigAttmlh Bnlmalre 0/ LooiJ BoMparte, tram. anonymow (New bk:
International Publishers, 1963), p. 75. TIle Society of the 1enth of Dec.cmhcr was
..... founded by l.oui5 Napoleon in 1849 (as Marx writes in the sentence immediately
preceding), on the prttCX( of establishing I. charitable association (sec V6,3). Napo-
leon .....as dctted president of the republic. on Dcc.cmbcr 10, 1848.
W [Fourier]
1. Charles Fourier, Harmtmio.n Man : Seleded /#iting; o/'CluuleJ Fourier, ed. Mark Poster
(New York: Anchor, 1971), p. 15 1 (trans. Susan H anson).
2. Alphonse Tous5encl, PasIitmal Zoology; or. Spirit of the Beasts, trans. M. Edgeworth
Lazarus (New York: Fowlers and '&115, 1852), pp. 293, 289-290, 347-348.
3. Friedrich Engels, "Socialism : Utopian and Scienti6e,~ in Karl Marx and Friedrich
Engels, &.si, Hfih'ngJ on Politia and Phi/OJoph}, ed. uwis S. Feuer (New York: An-
chor. 1959), p. 76 (tran.'!. Edward Avcling).
4. Heinrich Heme, French Affair;: Letters from Paris, trans. Charlcs Godfrey Leland
(New York: Dutton, (906), p. 460.
5. Karl- Man and Friedrich En~ls, OHlectd W07'L, vol. 5 (New York: International
Publishers, 1976), pp. 5 12-514 (1M Gmnan ItkolQgr, '1101. 2, tranS. C. P. Magill).
6. ;,Sullied also arc." tIlOSe who buy from merchanrt! in order inunediatcly to seU; for they
gain nodllng UnlCSl they employ many deceptions. And., in troth, nothing is mOre
 shameful dWl fraud ." Cicero. De OJliciis (Treatise on Duty), trana. Walter Mil.1a
(Cambridge, Mass.: Harvard Univenity Press, 1921). p. 153.
7. This passage is n Ot found in the English·language edition of Charles Fourier, '(hi
'!leo? of 1M Four MOlXmnllJ, tranlI. Ian Patterson (Casu bridge, England: Cambridge
University Press, 1996).
8. "Mesh" o-anslau::s Fourier's engr~. "M achinal~ translates Benjamin's ma.uniMII,
which is d.i.o!tinguished &om maiw.nistiJ,h, "mechanistic" (W4,4).
9. In the rummerofl835, the New York Sim reponed that H erschel, by means ora giant
9 tc.Ic:scope, had observed paradisal wooc:h and meadows, hiIl.s and valleys, even living
organisms on the surface of the moon. News of these ~ discovaks" spread through.
outEorope.
10. Jules Michdet., The Ptopk, uans.John P. McKay (Urbana: Uni \-ersityoflllinois Press,
1973), p. 171n.
11. Marx and Engels, Colkckd Wor.tr, vol. 4 (New York: International Publishers, 1975),
p. 81 (1At Holy Family, o-ans. Richard Dixon and Clemeru Dutt).
12. Toussencl, PassiDMI <oolog). pp. 35 1-352.
13. Ibid., pp. 334-335.
14. Ibid" p. 341.
15. Ibid" pp. 231-232.
16. Karl Marx, 1At &momi, and PniJOJ¥hic ManUJuipu of 1844, t:ranII . Martin Milligan
(New York : IntemaOonal Publ.i5hc:rs, 1964), p. 132.
17. Charles Gide, Introduction to Dtsignfor Utopia: Stlu ted mitings ofCharle.s JiJurier,
traru.Julia Franklin (190 1; rpt. New York: Schoc.ken, 1971). p. 15.
18. Ibid., p. 16.
19. Ibid., p. 21 .
20. Karl Marx and Friedrich Engels, Stkcted Cornspondmu, 3rd ed.• traru. 1. I..a.5ker
(Moscow: Progren Publ.i5hen, 1975), p. 351 (Enp to Karl Kautsky, April 26,
1884); Marx and Engels, Colluted WM"As, vol. 26 (New York: International Publisb-
ers, 1990), p. 204 (Engels, 1M Origin oftM Family, trans. anonymous).
21. Marx and Engels, &l«kd ComJpondnul, p. 172.
22. Marx and Engels, Collected WorAs, vol. 38, trans. Peter Ross and Betty Ross (New
York: International Publishers, 1982), p. 13. Eogd.!l alludes to Galatiarn 3.24, and to
Revelation 2 1.1-2, in the New Testament.
23. 5« below, W14,1 and entries following.
24 . Fouria, 17aerJry oftk Fou.r M~tJ, p. 3Sn.
25. Fourier, 'T'M Utopiatl YuiDII of Cluz.rkJ JiJurin-. trans. J onathan Ikt:cher and Richard
Bienvenu (1971; rpt, Columbia: University of Missouri Press, 1983), pp. 308-309.
26. Ibid" p. 3 19 (first clause only).
27. Fourier, 17aeo'} oj tire Rmr MOvnnnlts, p. 22.
2S. Harntlosigi.eit, meaning also "ingenuousness."
29. Nlurier, Harmonian MfUI, p. 182.
30. Fourier, Utopitm Vuion, p. 3 19.
3 1. Ibid., pp. 320-32 1, 318-320.
32. The petites hordes ~ made up of two-thirds boys; the petites bantUs, of two·thirds
girls.
33. Fouritt, Harmonian Man, p. 332.
34. Fourier, Utopian Yuion, p. 316.
35. Ibid.. p. 3 16n.
36. AA a child, Fourier would fill his room with daboratdy ammgal Dowers, See his
Utopian YUiDII, p, 406, on the "language of Dowen."
37. Fourier, Designfor Utopia. p. 207n.
38. Marx and Engels, Bruic ffyitingJ on PtJitics atld PAiltmlphy, p. 77. Comp~J64 ,2.
39. Nlurier, Utopian YlIiOll, p. 217.
40. A Step ttl PamaJIIIS-the title of a dictionary of prosody and poetic phrases once used
in English schools as an aid in Latin versification. In general, the lenn !"den to any
dictionary of this type.
41. fuurier. Utopian VU;(}tl. p . 232.
42. There ~ references 10 Fourier scatlered throughout Die heilige N".ili<. Compare
W 7,8.
43. Charles Baudelaire, "'the Mirror of Art, tranS . J onathan Mayne (London: Phaidon.
1955), pp. 170- 171 ("Some French Caricatwisu~).
X [Marx]
l. Karl Marx, 7?te Eamrnnic and Pftilruophic Matl wtripts of 1844, trans. Martin Milligan
(New 'ibrk: lntemational Publishers, 1964), pp. 142- 143.
2. Ibid., p. 144.
3. Karl Marx and Friedrieh Eogd.t, QH.kcted WorAs, vol. 5 (New York: Intematiooa1
Publ.i5hers, 1976), pp. 44-45 ('1M Gmntm IderJloC, vol. I , t:ran5. Clemens Dun).
4. Ibid., p. 53n. The authors refer to three revolutionary songs of the period of the
French Revolution; the refrain of the: last was: "Ah! ~ ira, ~ ira, 91 ira! Les aristo-
aates a la lantemd~ ("M, it will certainly happen! Hang the aril!tocrats from the
lamppostl").
5. Marx, E'.crnwmit (VU/ PhilOMJf1Ait Manu.saipts oj 1844, pp. 120-121.
...... 6. Ibid., pp. 139-- 140.
7. Ibid., p. 143.
8. Ibid., p. 136.
9. Ibid., p. 183. "Annulling of objectivity" translate! Alifhehung tier GeptiindiidWiJ.
10. Ibid., pp. 132-134.
11. Marx. upitai, vol. 1, tranS . Samud Moore and Edward Aveling (1887; rpt. New
~rk: lntemat:ional Publishers, 1967), p, 292.
12. Karl Marx. Capital, \'01. 3, tranS. Emat UntemlaJUl (1909; rpt. New York: interna-
tional Publishers, 1967), p. 545. Marx cita G . M . Bdl, 'T'M PhilfJSOPIr] of](Jint-SttKA
BaMing (london, 1840), p. 47.
13. Marx, Capital, vol. 1, p, 3 13.
14. Karl Marx, Capital, val. 2, trans. anonymous (New 'lbrk: International Publishers,
1967), pp. 390, 234. lbe first passage cited by FlSChcr is not found in this text.
15. See Gesamm.elte Sthnfi(lloon Karl Man: und Friedrich Engels: V(}tl Mar'!. 1841 his Min.
1844 (Stuttgan, 1902), p. 259 Oead article in the la/niuM Zritung. no. 179). [R. T ]
16. Marx, Capital, \'01. 1, pp. 505-506.
17. Ibid., p.1 66.
IS. Ibid., pp. 168,90.
19. Ibid., pp. 93-94 ("Exchange" Hegel's Philruophy of Righi, tr.I.n5 . T. M, Knox (Lon·
don: Oxford University Pre.ss, 1952), p. 240. ~Symbol ,~ in tllese passages, tranSlates
Zachen.
20. Marx. Capital, vol. I. p . 91. ~Primitive~ translates nalurwiiduig.
2 1. Ibid., p. 88.
 22. Ibid., p. 86 ("Fetishism ofCommoditia"). 56. Ibid., pp. 198- 199.
23. Ibid., pp. 5 1, 83.
- 24. Ibid., p. 64 (""The Fonn of Value or Exchange Valuc").
25. Ibid., p. 79 ("The Fetishism of Commodities and the Secret Thc:rrof").
57. Ibid., pp. 201-202.
58. Ibid.. p. 5On. 1bc panage from Marx ill in Marx and Engcls, CtJllecltd WorL, vol. 1
(New )brlc lnternational Publishers, 1975), p. 203 ("TIle Philosophical Manifesto of
26. Ibid., p. n. the HilItorical School of Law," traru . C lemens Dutt).
27. Ibid" p. 64. The: notc cited by Benjamin below d0C3 not appear in the Engfuh tnmsla- 59. From G. W. F. Hegel, Encyc!oprdia ~fMe PhilOJoph;ca! Sc;f1IaJ, trans. William Wa.l.Iace,
tion of the text. in Hegel: Stlutions, ed . Jacob Locwenbt:rg (New 'lbrk: Charles Soibner's Soru,
28. Ibid., p. 80. 1929). pp. 237- 238.
29. Ibid., p. 84- 85. 60. Marx, "On theJewish Q11estion," &lu~d ~f+itingJ, pp. 54-56.
30. Marx, "Critique of the Gotha Program," in Man: and Engels, Basic. Iffilinp 071 61. Now in CS, vol. 2, pp. 476-478. ln English in Walter Benjamin, "Ont·Way Street" and
Po/ilia muI /'IIi/(JJOPhy. ed. Lewis S. Feuer (New \mit: Anchor, 1959), pp. ll2-113. Otnu U-riti1lgJ (London: ~no, 1979), pp. 359-361 .
31. Ibid., pp. 117, 11 5. 62. Theodor Adorno, I" Sturd! 0/ Wagner, tranS. Rodney Livin~tont: (London: \hso,
32. Ibid., p. 119. 198 1), pp. 82-83. It might be said that. the method of citation in 17u: AmukJ Projed,
33. Ibid., p. 121. the polyphony of tht: tat, worlu precisely to counter the phantasmagoria Adorno
34. Benjamin quotes from memory. See Friedrich von Schiller, Siimllidte WerAt>, vol, I speW or.
(Muni'" 1965), p. 303. [R.T.] 1n EngU.h in 1M Pomu ,,", &11"" '!! &hilJd, .....
Ed~ Bulwcr·Lyuon (New York: Clark and Maynard, 1864), p. 266: "By deeds
their llt1es common men create- I The loftier order are by birthright great" ("\btive Y [Photography]
Tablets"}.
35. Marx, CafJital~ vol. 1, pp. 184-185 ("'The: Pnxiuction of Swplw Value"). I. Ft:t:1IStii"'~ (a tranSlation of the French fteries) arc theatrical spectacles involving often
36. Georg Simmel, 1M PIIilOJfJjJh} of Money, 2nd cd., 1:J'anlI. Tom Bottomore and David pantomime, tht: appearance of supemarural charaCl.eTl like fairies and enchanten,
Fmby (London: Routledge, 1990). pp. 424-425, 425-426, 426, 426-427. "Cogniz- and the we of stage machinery to create elaborate scenic. ~lTects.
ability" tTafl!:laleS ErAnlTlba.rUit. 2. Anic.et Bourgroill and Adolphe Dc:nnery, Gaspard Hauser, drama in four acts (Paris,
37. Ibid., pp. 393-394. 1838). {R.T.]
38. Karl Korsch, Karl Man, ttans. anonymow. (1938; rpt. New \brk: RwselI. and 3. Nadar's account, ~ Paris souterrain," was first publlib«!. in 1867, in connecion with
Russell, 1963), p. 127. the Exposition UnivcrsdJe. His photographs of the catacombs (former qua.nies refu·
39. Simmcl, PIIilosopAy o/Money, pp. 482-483. ....... tcd to howe skdt:toru from ovufull a:mc:teries) in 1861-1862, and of the Paris
40. Korsch, Xtul Man., p. 122. scwus in 1864-1865, in which he employed his patented new proces.s of photogra.
41. Ibid., p. 128. Marx wrott: tht: inscription in English. With rt:gard [0 Iknjamin's phy by dectric light, foUowed on his experiments with aerial photography. See the
comparison that follows, Rolf 1it:ckmann points to the concluding 5t:Ction of ~. catalogue of the exhtbition NatkJr (New York: Metropolitan Museum of Art, 1995),
Way Strut, "10 tht: Planeta.rium," bue it S«lll5 mon: likdy that Bt:njamin i5 thinking pp. 98- 100, 248 (plate 93 shows one ofNadar's nwmequins in the sewer).
here of ilit: .sD"ttl: .sign. Dantt:'s inscription i5 found at tht: bt:ginning of Canto 3 of 1M ... 4. Nadar actually interviewed the farnow chemUt on the latter's hundredth binbday.
lrifmw (lint: 9): "Lasciatc ognt: spaama, voi ch'inuatt:" ("Abandon all hopI:, ye who Eight of tht: series of twcnty-KVCII instantaneous phOtOS arc reproduced in }(ad4r,
ttUt:r hc.n:"). Trans.John Ciardi (New York.: Signt:t, 1954), p. 42. \ . pp. 102-103.
42. Korsclt, Xtul Man:, p. 132n. 5. HOllOre de Bab.ac, Cousi1l Po1/.S, tram. HerbenJ. Hunt (london: Penguin. 1968),
43. Ibid., pp. 131- 136. pp. 13 1, 133.
44. Ibid., pp. 140-142. 6. Nadar helped organize: an exhibition of the ...."(Irk of Constantin Guys in 1895.
45. Ibid., p. 134. 7. Charlt:S Baudelaire, "7"h.L Painter of Modern Lifo" and Other EwyJ, traru.J onathan
46. Ibid., pp. 151-153. Mayne (1964; rpt. Nt:w York: Da Capo, 1986), p. 20 1.
47. Ibid., pp. 90-91. Tat wrinal by Mux in French. In English in MaJX, &kcted ~#it. J 8. Charla Baudelaire, Stlt:ckd J#itingJ 1m Arl and Liltralur-e, traru. P. E. Chan:et (1972;
rpt. London: Pmguin, 1992), pp. 295-296.
mg" ed. David Mcl...ellan (New ~k : Oxford University Press, 1971), p. 198 (11re
Pol.J(:rty 0/ Philosophy). 9. [bid., p. 225.
48. Korsch, Knrl Marx, pp. 134, 137. 10. Baudelaire, 7"ht MirrQr of Arl, U'olru. Jonath3..l1 Mayne (London: Phaidon, 1955),
49. Ibid.,pp. 123-124. pp. 230- 23 1; "factual c:xactitude~ translates wu:titu rk matbielle.
50. Ibid., pp. 124-126.
II .us M arib de. la lour E iffil (Marriage and the Eiffel Tower), ballet scenario of 1921 .
5 1. Ibid., pp. 154-155. It is Bwjamin who undalims tht: third SWtt:nCt: from the end. MExperiencc," in this entry, ll"ll/lSlale.i &lehnis.
52. Ibid., p. 154.
53. Ibid., pp. 233-234. Compare U5.3.
54. Ibid., p. 232. Z [TIlt!; Doll, The AUloOlolon]
55. Ibid., p. li Z 1. Puppe, in GemWl, can lman "'puppet" as wc:ll 35 ~ doll."
2. Karl Marx and friedrich Engels, $elided Corrtspondencr. 3rd ed., trans. 1. l...a5kcr
(Moscow: ProgTc.u J\.blishc:n. 1975), pp. 129-130.
3. 1M PrxmJ rI' Ht.JiOO, trans. R. M. Fraur (Norman: Univt'nity of Oklahoma Press,
1983), p. 98.
4. Charles Baudelaire, ~'T'M Paintno- f!f Mod""" Life" and Other EUIlJS, trans.J onathan
Mayne (1964; rpt. New York: Da Capo, 1986), pp. 36-37 (citing La Bruyere, us
Canuttrts, ~ Dc:s Femmes," section 2, andJuvenal, Satire VI). Benjamin refers here to
Baudelaire's poem ~ l.!Amour du rnensonge," in W Fhurs du mal.
5. TIlc: epigram quoted here: is actually by Antipall'OS of Sidon, a Greek poet who
Bourishc:d around 120 B.C.• and whose:. work is represented (tO~ther with that of
Antiphilos) in the RWzliu Antlt%J!), the ten th-ccntury Byuntine compilation of
Greclt poetic epigrams, of which the only manusaipt was found in Count PaJatine.'s
library in Heidelberg. It is Antipaaos whom Marx cites in volume 1 of Do.! Kapita/;
see CApital, trans. Samuel Moore and Edward Aveling (1887; rpt. New York: Interna.
tional Pubtishc:n, 1967), p. 385. Arinotle's discussion of the sla~ as "'living ins'lru-
ment" is in book 1, chapter 3 ofhis Politics, trans. Bc:njaminJowc:tt, in 'T'M &.sic WorL
f!! Amtotll, ed. Richard McKeon (New York.: Random House. 1941), p. 1131.
a l Social Movement]
1. In France, in the nineteenth century, state engineers, in charge of public works, were
distinguished from civil engineers, who were: c:mploye.d not by the State. bur by mu'
nicipalities or private individuals. (j.L.]
2. That is, "The People's Hive."
3. Ecrivains publics: persons wbo, for a fee , would writ~ outlt:tlcn and dorumcntl for
those who could not write.
4. OnJun~ 25, th~ archbishop of Paris, Monsignor Affit:, was killed by a stray bullet in
tht: Faubourg Saint·Antoine while. trying to ~ a cease fir~.
5. Eftttn thousand worken confronted the Garde Nationalc in the stn:ctl ofLyoru, and
suffc:rc:d some 600 casualties before capitulating.
6. In 1830, srudenu of the Ecole fUlytechnique led an attack on the Swiss Guards at the
Babylone barra~_ and d\(: Louvre ; onc studcot was kille.d. r ' n......
7. Jules Michelet, 1 M Ptople, traru.J ohn P. McKay (Urbana: Ullivenityo illinOiS CI~ ,
1973), p. 86.
8. In La ClwrtTtuse dt Panne (chapter 3). For Flaubert's descriptions, see part 3, chapter
I . of L'EducablJfl smtimentalt. Compare the passage by Nescio with Benjamin's idea or
~ interpretation in detail" (AuJdeulung in tin! Einulhtitt1l) in N2,1.
9. See QMutualistl," in the ;;Guide to Namcs and Tc:rms ~ In response to a new law
limiting free: assembly, a republican insum:ction broke out, on April 13, 1834 , in the:
Marais district of Paris . During the quick Imppres.sion, all tht' occupants of a howe on
the Rue Trarunonain were killed by General Bugeaud's troops, an incident depicted
by Daumier in his lithograph of 1834, Rut '[raMl/nUlin. See Baudelaire's cssay
~Q!lelques caric:aturistes rfll19li5," and Fi~ 29 in this volume. ' 35. Ibid., p. 100.
10. Victor Hugo, Us Misirabk J, trans. Charles E. Wllbour (1862 ; rpt. New York : Mod·
em Library, 1992), p. 1107 (r't' 1832).
II. Ibid., pp. 970--971 (re J une 5, 1832); pp. 730-731 and 734-735 (re April 1832).
Eruu fe: "riOl," "'disturbance."
12. Ibid., pp. 924-925.
13. LangtS, perhaps a misprint for langues. " tan~,.uages."
14. Benjamin writeS in English : ",sclfmade·man."
15. Honori de Balz.ac. Euginie GraM.tl, tram. Marion Ayton Crawford {New 'lbrk:
Penguin, 1955), p. 126.
16. Xa.rl Marx, 7?t Eig1luenth Brv,"airt ofuuis &napartt, Dans. anonymous (Nt'W ~rk :
International Publishers, 1963), p. 24. TIle sentence continues: "and hence nc:cc:ssar·
ily sufTers shipwre.ck.n
17. Henrich Heine, Frrn,1t Affa,'rs, in 'TIte Wor.ll WHtnrich H~jne, vol. 8, Dans. Charles
Godfrey Leland (New York: Dutton, 1906), p. 515.
IS. G. W. F. Hegel, 1M PhilOJoPhJ o/'History, trans.J. Sibrtt (1899; rpt. New York: Dover.
1956), pp. 86-87.
19. Honod de: Balzac, 1'ne Country ParJOfI, aans. anonymow (New ~rk : F~d De Fau,
1923), p. IS2.
20. Michelet, me !'toplt, pp. 111 - 11 2, 60.
21. Gustav Mayer, Fri~dn',h Enttls, U'allS. Gilbert Highet and Helen Highet (1936; rpt.
New York: How.ud Fertig, 1969), p. 87. AI. issue is the drafting of the: CommuniJt
ManjftJto.
22. Ibid., p. 76.
23. [bid., p. 78.
24. Ibid.• p. 86. Engds' sccond visit to Paris took place in October and November 1847.
25. Karl Marx, The Rtooiuh'rJnj 0/' 1848: FtlitiwJ Iftih'ngJ, vol. 1, ed. David Fe:mbach
(London: Ft:nguin, 1973), pp. 13 1- 132 (U'allS. anonymow). The essay acrually ap--
peared onJune 29, 1848.
'26. Ibid., p. 134.
27. Mayer, Friedrich Engels, p. 102. On May 15, 1848, after a demonstration in favor of
fUlancl. a mob invade.d thC' precincts of the: newly elected, conservative CorutituC'Dt
As.sc:mbly; order was restored by the Garde Nationale.June 25 was the: last full day of
..... the insum:ction; Gc:neralBd~ Gc:neral NegnO', and Deputy Ow-bonnd were killed
by rebels. General Cavaignac rejected the ~bds ' proposals in negotiations the next
morning and laWlched an attack on the last rebel !uonghold, in the Faubourg Saint·
Antoine.
28. Karl Marx, Sekcttd m'ilings, ed. David Md..cllan (Ne.w 'Jbrk: Oxford Univusity
f'reu, 1977), p. 339 (the originallCXt is in English; the U'allSlation cited by Benjamin
begins: Munseren guten Freund, urucn:n Robin Hood . ..").
\ . 29. Karl Marx and Friedrich Engcl5, &Itt«d Cornspotuknu, 3rd e.d., U'allS. J. Laska
(Mrucow: Progress Publishc:n, 1975), p. 146.
30. Ibid., pp. 146- 147.
31. Karl Marx and Friedrich Engels, {))Iltcted WorL, vol. 38, trans. Peter Ross and Betty
Ross (New 'lbrk: International Publishc:n, 1982), pp. 66-67 (Engels to the Commu-
nist Correspondence Committee).
32. Karl Marx and Friedrich Engels, Stkcttd CorrtJpondma, 1846-1895, ttanS . Dona
Torr (New York: International Publishen, 1942), p. 256.
33. Siegfried Knauer, Orp!teuJ in Paris: Offmhadt aM. tht Paris f!! His lI.mt, U"aru.
Gv.-enda David and Eric Mosbacher (New York: Knopf, 1938), pp. 251-252 .
34. Ibid., p. 196.
36. 1bis system had bun established by the law of February 8. ISI7, and was designed to
put the new moneyed elite into power.
37. Blanqui appeared "'at the height of the July Revolution in Mlle. de Montgol6O"s
salon. Blackene.d with gunpowder and blood, the young militant aasbc:d his rifle butt
against the Boor and cried triumphantly: 'Enfonces, les Romantiqu~ !'" Alan B.
Spitter, 7?t Rt1JOlutiunaT} 'TkontJ W16uis Auguste BlufUJUI' (I9S7: rpt. New 'llirk:
AMS Press, 1970), p. 49, citin.g CefTroy. L'Etiftrmi.
 38. &uddaire aJ u Litmlly Critic, trans. Lois Boe Hyslop and Francis E. HY5lop, Jr.
(University Park: I'tlUlSylvania State University Press, 1964), pp. 252-253.
39. July 28, 1830, the second day of the thltt days of rioting ill P-.uis known as itJ troiJ
gloneuse.s (lithe th.rec glorious days"). &e July Revolution," in the ~Guide to Names
and Temu."
40. Sec al,3, which concenu thc February Revolution.
10.
b [Downie r] II.
9 figure. mainly in the 1lO\~1s Eughtie Grandet, SpknrkurJ rl miJir(J drs CbUrtUantJ, and
1. The pear (poin: also mcaw "fool") was Philipon's embtl!lll for Loui5 Philippe; it
became farnow as an ilIwtr.l.tion in history books for generations afterward. !be
carttr of Roben Macairc: was tracw by Daumia in two series of lithographs, &om 12.
1836 [0 1838 ~ from 1841 .to 1843. 1'hc character was first creatw on the stage by
the actor Frtdenck Lc:maitre m a melodrama of 1823, and later in his own play Robm 13.
Malam, suppressw in 1834. This archetype of the adroit swindler, who gavc- the
name ~ Macairism" to all cor:ruption and spttuiacion, was based on Emile de Gi- 14.
l<l.Tdin.
2. Charles Baudelaire, ~7'he Painter of Modern Lifo" and Other Es.wJs, traru.Jonathan 15.
Mayne (1964; rpt. New "\brk: Da Capo, 1986), p. In (~ Some French Caric.aturi5ts").
3. Ibid., p. 179. 16.
4. Siegfried Krac.auer, OrphniJ in PariJ: O./for!bach and tlte PariJ I?! His 7ime, tram,
Gwenda David and Eric Mosbacher (New York.: Knopf, 1938), pp. 176-1n. 17.
5. &uthlairt QJ a Lilerary CriHc, trans. Lois Boe Hyslop and Francis E. Hyslop, Jr-
(Univenity Park: Peruuylvania State University Press, 1964), p. 75. 18.
19.
20.
d [Literary History. Hugo]
1. .&udelaire as a Literary Critit, trans. Lois Soc Hyslop and. Francis E. Hyslop, Jr. 21.
(Univenity Park: Pcruuytvania State Univcnity Press, 1964), pp. 267 (1861) and 53
(1851).
2. Novd by 1beophile Gautier. published 1835. .... 22.
3. According to A1fnd Delvau's DiltWnnaire de fa 1ant:U( verfe, 2nd ed. (Paris: Emil
Dentu. 1867). an an&, garditll ("guardian angel") is "a man whose trade . .. consillu in
leading drunks back (0 their domicilcs, to spare them the disagreeable cxpcrimc.c. of 23.
being run over or robbed."
4. L'EJPnt deJ loiJ (1hc Spirit of Laws; 1748) was a book by Momesquicu which pro-
foundly infIuenttd political thought in Europe and America. 24.
5. "Idols of Fortune.~
6. &udelnirt as a Literary CriHe, p. 152 (leiter of August 30, 1857, from Hugo to Baudo- 25.
laire). The poems referred 10 are, in English, "TIle Seven Old Men" and "The Little
Old \r\bmen." Sec Baudelaire's letter of September 23 (?). 1859, to Hugo, in Stluted 26.
LeUm ofCltar/u Baudelair(. traruI. Rosemary Uoyd (Chicago: University of Chicago 27.
Press, 1986), p. 135: "['Les Petites Vieilles1 was written lVith the (jim rI imitatingyou. It
7. &uddairt aJ a Litrraty Cn"tir;, pp. 56-57, 56. "we who light the lamp early while the
cock crows. we wholll an ullcenain wage recalls, before dawn, to the anvil."
8. The last pa5sage is U"alulated in &udelaire as a Literary Cn"tie, p. 233. The other 28.
passage by Baudelaire i5 from the letter 10 the editor that was published in Lr Figaro
of April 14, I R64.
9. The title: of this poem, whidl appears in a coUection signed by "Savinie:n Lapoime,
\\brkman Cobbler,.. and introduced by Sue, plays on thc double meaning of icilopJK,
"workshop" and "graver" or "burin" (the tool u!Cd by a cobbler to engrave on
leather). In an engraving that accompanies the poem, Lapointe i.~ shown working
leather in his shop and, in a c.1pOon, lauding Sue as ~all eminent surgeon wielding the
scalpel" thai will remove France's social iIls_ scalpel" deriving from tile same Latin
M
root as kIIoppe. The work is thm a poem ill prai.oJc of Sue::'s scalpd from the ichoppe uf
Lapointe in both 5erues.
Pan 5 ("Jean Valjean"), book 3.
Grandct the miser, Nucingm the Cennan banker, and Bridau the amorous artist
[Uwioru perdue.s, respectively. Balzac's Albert Sauunu (1842) is about a man who
labors for)-eat!I to marry an Italian duchess.
Victor Hugo, LeJ MisirahkJ, tran.'I. Ourles E. WlIbour (1862 ; Jlll. N~w )brlc Mod-
onl..ibrary, 1992). p. 864.
HonoJi de Balzac, 17u: Owntry Doctf)r, trans. G. Burnham Ivcs (Philadelphia: Gco~
Barrie, 1898), p. 202.
Honori. de Balzac. The ~aJantry, traIlS. Ellen Marriagc and Clara Bcl1 (New 'brk:
A. L. Bun, 1899), p. 11 3.
Characters in Henri MW"gcr's SUnLJ dt la vit boltime. Marttl is a painter and Rodol-
phe a journalist, poet., and playwright.
Characters, respectively, in Hugo's plays RUJ BlaJ and Man"on de Lorme, and in his
novels Le Rf)i J'amuse, Nolu-Dame de Paris, and Les MistrableJ.
H onon! de Balzac, Cousin Poru, tram. Herbert"]. Hunt (London: Penguin, 1968),
pp.132-133.
G. K. Chcstenon, Cltarlu DicAtIIJ (1906; rpt. New 'brk: Schocken, 1965), p 247.
Ibid., pp. 106, 237.
Siegfried Kncauer. Orp/reuJ in PariJ: Offtllbadr and tM Paris of HiJ Time, trans.
Gwenda David and Eric M05bacher (New lbrk: Knopf, 1938), p. 188.
Paul Valery. "TI)C Place of BaudeJ.am: ~ in Valery, lnnorr/q, Poe, MIllInrmi, trans.
Malcolm Cowley andJamcs R. Lawler (Princeton: Princeton Unive.nityPrcss, 1972),
p. l99.
UJ MtmofrtJ du diablt and lA. Clomie rkJ GenitJ are seriaJ IlO\IeIs by Frederic Soulie,
au mentllt itS 1MUWU dremins and La. DmlilTe [naulIl11ion de WIutrin are titles of
sections in Balzac's $pkndeurJ et mi.sim tkJ (ourliiantJ.
Baudelaire QJ a Literary en'Hl, pp. 257, 256-257. Borel was "the leader of a group of
SlOnny you ng Romantic. writers called boUJi~, presumably because of the. lVide-
brimmed sailor-like hat which tlley affected" (Hyslops' introduction, p. 256).
Charles Baudelaire, '''flu Painter of Modern Life" and Other EwzYJ, trans.Jonathan
Mayne (1964; rpt. New York: Da Capo, 1986), p. 11 9.
Charles Baudelaire, 11u!+rut: Fbt:m.l and ~La. Faifarlo," traru. Rosemary U oyd (New
"\brk: Oxford University Press, 1991), p. 106.
Chcstc.non, ClwleJ Didens, p. 232.
uI ask myself- "What are they seeking in the heavens, all those blind men?" In
Baudelaire, -me <Ampltte Vmt:, tra.ruI. Fr,mcis Scarfe (London: Auvil, 1986), p. 185
("Blind Men ,~ 1860). The poem cited. w ee que rut la Bouehe d'OIubre" (Whal th~
Mouth of Darkness Says). is from Hugo'5 volullle Les Collt~plah'onJ (J856). [R.T.)
1bis passage does not appear in Karl Marx, Capital, vol. t , trans. Samuel Moore and
Edward Avding (1887 ; rpt. New \brk: International Publishers, 1967). It can bc
fOWld in the second Gcnnrul edition of &pitai (l8n), iu a note at the end of the firs,
paragraph of the farnom section 0 11 colllrnoWl)' fetisbism (part I, chapter I, sec-
tion 4).
 29. Marx, CApital, ,,01. I, p. 5520.
30. '1kr Vrsprung Jer 7..cirung am <km Gciste der Rhetorik," playing on the tiue of
Nietzsche's fin t book. lk wburt der 7'ragOdie O/.IJ dent ~ute tkr },fun1-.
g [TIle Stock Exchange, Econo mic HieloryJ
I. Karl Marx and Friedrich Engels, 7M HfJly Family, t:rans. Richard Dixon and Clcmcru
DUlt, in Marx and Engels, Collecttd WorL, vol. 4 (New \brk : International Publish-
9
ers, 1975), pp.123- 124.
2. Colf)mbo (1840) is a lIovci by Prosper Mbimee. The Commmdatorc appcan in the
final SCttIe of Moun's opera Don GjOlJ(1Mi.
3. Date of Napoleon's abdication before the Allied armies at Fontainebleau. The letter
that fonows uses the tu form of address all a sign of the writer's contonpt.
'l. The author goes on (pp. 57-58) to describe the u debade ~ in which he was "taUn,~
by a speculator dealing in rabbit fur, to the tune of 12 francs, IS centimes-a loas dw
proves ruinous for his finances.
5. Honori de Balzac, TAr Maratl4j, trans. C. Burnham rYeS (Philadelphia: Grorge Bar-
rie, 1899), p. 126.
6. 1ne Utopian Vision o/"Clwrks Fourier, ml1s.J onarhan Beecher and Richard Bienvenu
(1971 ; rpt. Columbia: University of Missouri Press, 1983) pp. 253- 254.
7. Karl Marx. Capitol, vol I, trans. Samuel Moore and Edward Avcling (1887 ; rpt. New
\brk: International PUblishers, 1967), p. 24.
k [The CommWle I
I. A~s de Miranie (1846), a drama by Fran~ Fbnsard, i3 ahom a t'n'el.ftlH:c:ntury
qu~ of France who was dethroned 0 11 orders from Fbpe lnnOttnt III. Cal4s (1819),
a play by Victor Ducange, concerns an eighteenth-century Huguenot cxeruted on
false charges by all intolerant Toulouse parliament. Charw IX, DU L'Ecok deJ roO
(1788) is a vuse mgedy by Mam:JO$CJlh Chc:nicr about a cowardly sixteenth-cen- "-
tmy king; it was a favorite with revolutionary audiences.
2. CarltJ de dviJmt ""Ue identity cards which the Conununc's Committee on Public
Safery made compulsory for all citizens in May 1871, in rcspoll5e to hc.igbtcned fcan
~~ . <t
3. Rimbaud: Complete WfJr"+J, &Itcrtd Ltlters, trans. Wallace Fowlie (Chicago: University
of Chicago Press, 1966), p. 89 ("The Hands ofJ eanne-Marie") .
4. It appean to have cscaped Benjamin's ootice that Courbet, in the caricature, is not
standing on jwt any broken colwnn but on the rcmain.!l of the Place \knd&nc
column. which was to m down during the Conunune-an aa of dcstructiOn for
which the painter was later convicted. [R.T.] Sec figure 36 in this volume.
5. A reference to the dismemberment of fuland in 1815, after the Congress ofViellna.
6. Gustav Mayer, Fritdn'ch Engtls, trans. Gilbert Highet and Helen Highet (l 936; rpt.
New \brk: Howard Fe:rtig, 1969), p. 220.
7. Ibid. , pp. 220-22 1.
8. Karl Marx and Fricdrlch Engels, Stltctai CmmJxmtknu, 3rd ed., trans. I. Lasker
(Moscow: Progress Publishers, 1975), pp. 82- 83.
9. Hcnrik Ibsen, Leiters and S~l'(ht:l, ed . Evert Sprinchom (New York : Hill and Wang,
1964). p. 106 (tranS. Ni.1sen Laurvik and Mary Morison).
10. After Ule victOry at 5I=dan and the. capture of Napoleon III , on September 1, 1870,
Prussian forcel advanced on Paris and, by September 23, had 5ul-rounded the ciry.
The siege lasted until the end ofJanuary', when an armiuicc was signed, ending the
Franco-Pruuian War.
II. In the course of "Rloody "'*ck." (May 2 1-28, 1871 ), the Communan:ls misted
Thers's fortel Street by Sll'Ut, reueating toward the hean of Paris. In their despera·
tion, they executed a number of hostages, including the archbishop of Paris.
12. At issue is Thien's an collection.
I (The Seine, The Olde8t Paris]
1. Originally added to the temple at Luxor by Ramscs 11, the o~lisk was irutalled on
the Place de' la Concorde in 1831. TIle prince deJoinville was Franljois Ferdinand
Philippe d'Orlbns, son of Louis Philippe.
2. Victor Hugo, u s MiJirahlts, trans. Charles E. W.tlbour (1862; rpt. New York: Mod·
em Library, 1992), pp. 1100-1101.
m [ldlene88]
I . Plato, 17Ie OJlkettd DiaJcr;m, ed. Edith Hamilton and Huntington Cairns (New
'\Drk.: Pantheon. 1963), pp. 1397-1398 (Lawl, 832a, a-ms. A.E. Taylor).
2. "Leisure" tranSlatcs MUlSt; uidleness" tTanSlatcs MWsiggollg; and "world at large"
tranSlatcs ukwt:/t. On idleness, comparcJ87a,2-3.
3. Karl Marx, 17It RtvOiutions oj 1848: Political I-f+ihngs, vol. 1, ed. David Fembach
(London: Penguin, 1973), p. 192 (from the }kUt rMniJdle <tjlung, Dec. 15, 1848).
"Indolwcc" tranSlates Nulkit.
4. "Experience" here tranSlatC!l die ErfaAnmg; "immediate experima:," dm Erklmis. In
the passage.s that follow in this convolute, the fonner is also translated by "long
experience" and "connected experience," and the latter by "individual experiencc~
and uexpcriencc" preceded by the definite or indefinite article. (Exceptions are indi-
cated in angle brackets and DOteS.) Erfohrung (etymologically rooted in the notion of
"going througb") presupposes mdition and continuity; Erkbnu, something more
, spontaneous, entails shock. and discontinuity. In notcs COIU1ected with the comJlO5i·
tion of "Obcr e:i.nige Mati"e ~i Baudelaire" <Some Motifs in Bauddaire>, Benjamin
I
writes that expaienccs in the sense of ErkbnWi are wby nawn: unsuitable for literary
if comJlO5ition," and "work is distinguished by the fact that it begets Erfaltrungm out of
Erltbllwen" (CS, vol. 1, p. 1183). See also, in the text ~Iow, ~Ftnt Sketches," ,24,
and S~y, vol. 2, pp. 553 (on Erfah11lnfP and 582 (o n n-ltbtt Erfah11lnj).
5. Which i3 to say, tradition translated into the language of shock.
6. Max Horkhcimer, "Traditional and C riticaJ Throry," in H orkhcim.er, Cn·tiuJ 17ttory,
1-
trans. Matthew O 'Connell (New 'KIrk: Continuwn, 1995), pp. 234-236; and idem,
"Remarks on Philosophical Anthropology; in Horkhcimer, &Iwtn! Philosophy and
Social Scimu, trans. C. Frederick Hunter, Matthew S. Kramer, and J ohn Torpey
(Cambridge, Ma.u.: MIT Press, 1993), p. 664.
7. ". .. der gcliiu6~n Erlahrung den Erlebnischar-akter abtunlCrkClL~ In the scntCllCe
following, ~ the experience" translates dit Eifahrung.
8. Marx, OJ.pital, vol. 1, trans. Samuel Moore and Edward Avding (1887; rpt. New
'Ibrk: International Publishers, 1967), pp. 333-334.
9. Reprinted ill CS, ,"01. 2, p. 447, linel 13-20, and p. 448, lines 16-33. [R.T.] In Eng-
lish, "The Storyteller," ill fl/umiTlah'01U, trans . Harry 201m (New York: Sdlocken,
1969), pp. 91-92, 92- 93 (section 9).
10. Literally, "gilded youth," f~hionable and wca.lthy young people; specifically, in
France, the fashionable set of the reactionary pany in 1794.
 11 . Gte.icAsduJlu'W (~aJignmcn! "-t~1 wed by the Na.zis as a euphemism for the: e1imi.
nation of Und~C5l111 ?1e ,r:rs~lllI .fro~ pu~(j, and professional life), chiming here with
Um.>dlQ.llung ( b'Canng or swnching") III the: preceding sentence. ~Empath yn t:nm!.
late.~ EmfoMrmr;.
12. J ean:Jacque5 Rou.sscau, TM um/;"ions
!J..... ....J
, traJu . M• CoL. - I1l
lien R" :
\Ud,lUmo rt .. n... .
n::ngulll
1 9~4). p. 591. 1bc passage con~ues: M1be idleness I 10\'e ... is the idleness of ~
child.... Ilovt: ... to foUow nothing but the- whim of the momenl .~
13. 1'k I.e/1m rtf Gwtt1V( FlauiJff-t, 1857- 1880, trans. Francis Su~cgmuller {Camb 'd
~ass: ~~ ~~vtrsity.~, .1982)1 ~' 24. "Mon Ameesl trine ctj'ai lu
~~ 15 J:kn~amm s OCqUlSlte .nusquotabon of the. opening of Mallanne's poem
to::
Bruc mannc (seeJ87~' 1"!lc line from Goethe is from row/, trans. Louis Macneia
(New 'Jb,k : Oxford UWVO'Slty Press, 1952), p. 19 (pan 1, liru! 354),
14. Oswald Spengler, 17ce Ikdine of 1M ~%j/, vol. 2, trans. Charles Frnnw Atkiruon
(New York: Knopf, 1928), p. 100.
15. fbid " p. 90.
p [Anlhropological MaterialisDI, Histo r y of Secls]
~~ .
1. Christian Dietrich Grabbe, W"A: f und Bn4t, vol. 1 (Danrucad. 1960) pp 142ft'
, . ~
2. Daumier's series of forty lithographs on carttr women was published under the title
U J &J-bltuJ in i.e Cluuiuari in 1844. II was followed by series on socialist women and
divorced women.
3. 77u N~ Oxford Annotattd Biblf (New 'lbrk: Oxford University Prr:ss, 1977), p. 1202
(Matthew 23.9). On the woman caught in adultery, secJohn 8.1-11 .
4. J ohn 2.1- 11.
5. Ho~re de Balzac, 'l'k Girl witlt 1M CoIdtn EJfjJ trans. G . B. Ives, with Walter .....
RobIN and E. P. Robins (Philadelphia: George Barrie, 1896), p. 3 10. C urtiWJ is
concerned here with the opening paragraph of Balzac's novd in which Paris g
presented as a city of masks. ' H1 ~.
6. See. GWJtav M ayer, Fritdri(h.Engt4, trans. Gilben Highet and H elen Highet (1936;
rpt. New York.: Howard fertig, 1969), pp. 14--16. The pas.sa~ quoted by Benjamin
~ not found in this English edition.
7. Karl Marx and Friedrich Engds, &kdtd CornJPOndtn.ct, 3rd ed .• traW, J. Lasker"
(M,"""" I'rop= Pub"'''''', 1975), pp. IIH9.
8. Boutftloir: 4j a Litt:rary Criti~, tran.s. Lois Boc: H}'slop and Francis E. Hyslop. Jr.
(UIllVUSlty Park.: I\:ruuylvarua State University Press, 1964), p. 336.
r [Ecole Polyteclwique]
I. See "Ecole Pb!yteclutique ~ in the "Guide to Names and Tenns .~
2. Jules Micllclet, 1M Itoplt, ttans.John P. McKay (Urbana: University oflllinois Press,
1973), pp. 195-196. Reference is to the extremely seve.re winter of 1794--1795 ~ar
III, according to the Revolutionary calendar}, after the guillotining of ~obespie~ ,
onJuly 28, 1794. had ended the Reign of Terror.
3. Honore de Balzac, -n.~ Country Pari iJ1l, trans. anonymous (New 'lbrk : Fr«I De Fau,
1923), p. 187.
4 . L1 1833, n ucrs had presented to the Chamber of DeputiC5 a p~ea for erecting
deiliched foru out.side the city. 'TIle proposal Willi abandoned; bUl in 1840, on ac-
coum of new threat.s of war, a royal ordinance direaed that Paris be encircled by
fortifications . This p~ Wall implemented in February 1841. The resulting ert«llItt'
(dcscroyed in 1919) took. in a number of neighboring townships, such all Mon~
and Belleville, whicll were not aruninilicrativcly alcaclled to the capital until 1859.
IJL.)
5. Karl Marx, -n.e ReooluliofU 0/ /848: Poiitiwl HTitingi, vol. 1, ed. David Fcrnbach
(London: Penguin, 1973), pp. 129- 130.
First Sketches
1. Le Ffril hint (The Blue ~ril) was published in Paris in 1911 . (RT]
2. Benjamin knew Carl GWJtav Carns' Paris journal through excerpts in Rudolf Bor-
chardt's anthology 1m Deul.sclu! in dtr Lan.dWtajl (Munich, 1927), and through the
texts selected by Eck.an von Sydow (Leipzig, 1926); see his review of these rwo books
in GS, "01. 3, pp. 91-94 and 56-57. [R.T ]
3. See. note 9 in Convolute D.
4. All usion to the stabilization of the franc by Raymond I\:lincari inJune 1928. U.L.)
5. The Theatre de Comte w<u located in the Passage des Panoramas befott being
moved to the Passage. Choiscul in 1826. It combined demonstrations of physical
agility, prestidigitation. and ventriloquy with playlet.s perfonned by child anon.
[J.1...) On the shop names, see below, EO,5.
6. Jacques de Lacrclclle, "Le Rhreur parisien," Nourxl/e &vut fttulflliJe, 166 Uuly 1,
1927), pp. 23-39. ~.T.I
7. Bmjamin this rime may have in mind nOl the character in E. T A. Hoffmann (sec
Hl ,l ) but a large music hall built in 1893 on the Boulevard des Capucines. [J.1...)
8. The ~tit· Coblentt III the name which, during the Direaory (1795-1799), was given
to a part of the Boulevard des ltalieru that was frequented mainly by 6nigres. [J.L]
9. 1be Passage. du Ibot-Neuf was situated betWeen the Rue Maz.arine and the Rue de
Seine; in the sixth ammdimmnt.t. 1be old Passage. Henri IV was located near the Rue
des Bons·Wants, in the fint ammdWnn.ent. U.LJ On Zola's tnirt.Je Raqum, see
10. The Passage. du Bolll-de-Boulogne became the Passage. do Prado in 1929. Ul...]
II . Lt Ftm/iJme de 1'0pIrQ, a novel by Gaston Leroux, was published in Paris in 19 10.
After EO,30, a page was cut out of the manuscript. [R. T ]
12. L'Htrmilt dt.lo. CIuJUM d'Anti1l, 011 QhJervaJions jur ItS lII«urJ et ks VJaU.l pariJimI au
ComJ1lt1lamntl du XIX'iiidt, by Viaor:JosephJouy (1764--1 846), was 6nt published
as a newspapa serial and later coUeaed in various book formats. The frontispiece of
the 1813 edition III a drawing of the author sitting, quill in hand, at his writing desk in
his library. Projected on the wall abm.'e him III an illuminated scene of Parisian street
life; under this drawing III the following inscription in longhand: "My ccll III like a
CAMERA08SCURA in which external objects are rcca1led.ft
13. A /lieu Ii tiroirJ is an cplllodic play in which the scenes unfold, one after another, like a
row of drawers opening and closing in a cllest. GUlzkow's term is &hublmimJ/iicA:.
14. "Street lamp": in argot, "policeman .~ UL)
15. It was Bordier-Marcet who invented the ring·shaped, hanging lampe astrak, whose
light filtered down from above. (J.L.J
16. The E1UJdoptudia Bn'/anniaJ of 1875 (vol. 3, p. 36) indicates thaI a gMr. Vallance of
Brighton" first had the idea of utilizing the pneumatic principle-that is, a vacuum-
tube system-Io trarupon pa.'iscngers. Experiments wen: ron in the 1840s. [J.L.]
17. See Rene Crevcl, "CEsprit contre la raison," CaJuers du Sud (December 1927). fJL)
l B. Sec T2a,3, and the entry on Nodicr in the "Guide to Names and bfJu."
19. A cheval glass, or swing·mirror.
20. Compare. C l ,3. including note 3, and P ,IO.
 21 . Benjamin WfOle this sketch in Frctteh.
22. Q!,oted in French without indication of .roun:c:.
23. See Man:cl Proust, Rrmembrana f!!17ringJ PaJl, "'01. I, t.rans. C. K. Sc()(t Monc:rieff
(New ~rk : Random House. 1925), pp. 1023 and 995. re.specti ...dy.
24. Louis Aragon. Paris Ita.wnl, traJu. Simon Wat30n Taylor (1971; !pt. Boston: Exaa
Ql3.Ilge. 1994). p. 71.
25. Charles Bauddain::. Arli.ficiaJ PflTadi.se, trans. Fllen Fox (New Ibrk: Herda and
Herder, 1971 ), p. 68.
26. Ibid. Sec H2, I.
27. Anatole France, 7'ht Gardin 0/ EpiOlruJ, trans. Alfred Allinson (New ~rk: Dodd
Mead, 1923), p. 129.
28. See BI ,5.
29. Or "'dream face" (11-au",€tJicnt) ,
30. Sec. Walter Benjamin, 1'1Ie on,,'n 0/ Gnnwn Tragic Drama, traru. J ohn Osbome
(London: ~rso, 1977), pp. 44-48, clearly a cenual passage for the logic of Iko.
jamin's theory of reading. "Myriorama": a landscape picture made of a numbc:r of
separate sectioru that can be put together in various ways to foml distinct scenes.
3 1. Rainer Maria Rilke, "Puppen: Zu den Wachspuppcn \'On Loue Pritzcl," in SiimJIid/t
Wt'r.tt, \'01. 6 (Frankfun am Main. 1966), pp. 1063-1074. [R.T.!
32. Benjamin's work on the poet ChrislOph Friedrich Heinle disappeared in 1933, to-
gether with Heinle's literary rcmains. [R.!:! The nod (numro) of the gods is intermit.
tent.
33. RefCTalCC is to the thirteenth of Giacomo Lcopardi's Itruitri, in the edition prized by
Benjamin, GtdmWn (Leipzig, 1922), pp. 16H'. [R,TJ In English: Pmsitri, traru. W. S.
Oi Piero (Baton Rougr:: louisiana State University Press, 1981), pp. 46-47, on the
! ubject of anniversa:rie!. "Actualization" bere, as in K2,3, translilte! VtrgtgtnwMtigung.
"Making things pruent," hen:: as in H2,3, translate; sidr gtgmwiirhg madIm. "The
bodily life" translate! daJ ltiblidtt ukn.
34. See note 3 in Convolute S.
35. Prc.!wru.bly the writer Lothar Briegcr·Wassuvogel, who at one time was a friend or
Benjamin's -wife, Dora. [R.T.]
36. See. in particular, Goethe's VtrJuch. dMr WitltrUngJlcnrt of 1825. [R.T.]
37. Sec note 4 in Convolute O.
38. 1nat is, "timen and ~weather."
39. Reading bttltn hue (as in Pl , lO) for Iti/trl.
40. Mrxk und <Jnimtus (Fashion and Cynicism), by Friedrich Thcodor VL!Chcr; sec. 1°,1
",dj' ,I ·IRT.]
41 . The object of this rcfercncc to the &udefairt- Bucn has not. been identi6ed, (Benjamin
had been coUeeting materials on Baudelaire for 1ht AruuJ(.I ProitCt since the end of
the 1920s, though his plan for making a book on Baudelaire out of these materials
evidently did not take shape Wltil 1938; 5CC GS, vol. 1, p. 1160, 6.1 .)
42. See Proust, Rt17le17lbr(Ul(t rff 1'llings ?wt, vol. 2 (New York: Random House. 1932),
p. 385 (7'ht Co.ptiue, traus. C. K. Sccm Monoic1f). (Thanks toJulia Prewitt Brown for
tllis reference.)
43 . . .. mOndt-lInd dit M QlJI:.
44. "K.now thy.sclf."
45. Ibnibly rc£ers to the description of the streets of Paris at the beginning of "Fcrragus,"
me first epi.scxk of Rahae's Histoi~ dtJ trtiu. [J.L.]
46. Heinrich Mann, Eugmit, odn- Dit: Biirgtruil (Bertin, Vienna, Leipzig, 1928). (R.T.]
47. Sigfricd Gicdion, Ba.utn in FrnnAmcn (Leipzig and Balin, 1928), p. 3. ~.T.]
48. Sec lIote 6 in CouYOlute K. ~ hdtimnu, d r«lttrClttJ sur fa RnJItrudion dtJ pontJ (Paris, 1805). [R.T.]
49. Proust,.A la RtdltrtAt du ttmps pn-du, vol. I (PaN. 19M), pp. 644fT. [R.T.] In Englilb
in Rtmtmbranct rff7'hinp PaJl, vol. I, p. 490 (Wilhin a Budding CrlIlit). See SII .I .
50. Sec nOle 12 in Com'Olute M.
51. On the fonner plan, sec. n()(e 7 in Convolute S; ami on die latter. sec !.he fragment.!! in
Hugo \'On Hofmannsthal, Siimtlidu ~fb-.tr, vol, 29 (Fran1Uun. 1978), pp. 202-206.
IR T.]
52 . .Andri: Breton, J(a4J'a, crans. Richard Howard (New Ibrk: GI"O\fC W:idcnfeld. 1960),
p. 152.
53. Proust, Rtmt:mbrnncr rff 1'h.ings Past, \'01. I, p. 323. (RroJtnfli: stuffy, close. 9a Jrol /~
rtnftnni : "1l 5mells musty in here.")
' 54. Benjamin had pl3..l.wed to write on Ludwig 'fieck!s novella Dtr B/rlndr Ed.btrt, pub-
lished in 1812. [R.T.]
55. Perhaps Aragon, Pam fiaJIUIl, pp. 81- 84,
56. This passage ilppcan abo in Benjamin's review "KrUis des Darwinismus?" published
in Dit littrarisdlt: Uilt, April 12, 1929 (GS, vol. 4, p. 534). [RT ]
57. "Agnosticrung da :Jew' in den Dingcn." 1bc tenn agnOStit:rl, "acknowledged,"
shows up inJ5la,6.
58, Mant, Capital, vol. I, trans. Samud Moore and Edward Avcling (1887; rpt. New
~r11.: International Publishers, 1967), pp. 83-84: vol. 3, tranS. Emc:st Untamann
(1909 j rpt. New Ibn: International Publishers, 1967), pp. 25-210, esp. 173fT. Sec, in
thi!; volume, Rolfliedemann, ""Dialectics at a Standstill," Ilote 15.
'59. Louis Schneider, usMaUrtJ de I'opirctltftanfaist : OifrobacA (paris, 1923). (R.T!
60. u Guide nistorique: tl antcdDtiqut dt Paris: LWutoire tit Paris, dt JtJ monumrou, de Je:J
rtoolutirmJ> dt JtS a /ihriliJ, de Ja uit artiJtiqut, sCl"t:ntj/iqur, mondizint:, published under
the direction of E. Cuervo-Marqucz (Paris, 1929), [R.T ]
61. The mcmotn of Prince Mettemich. published in two volumes. [R. T.)
62. La Mutftt dt Portia (The Mute Girl of Portici), by Daniel Auber, was regarded as the
arcMtype of grand opera. Sec note 10 in Convolute B.
63. "Eager for new thinS'."
64. Henri sec, Franl6sisdlt WirtJcAajtsgewnChtt (French Economic. History), vol. 1 (lena.
, 1930). ]R.T.]
\ "Th e Arcades or Paris"
I. See note 2 in Convolute H,
2. &ittnllimmtln, possibly an error in transcription; in Q;I,2. Benjamin has Stidt:nltiJn-
11II:In, ~silltcn skies." And in the third .sentence of this pa.ssa~, insteild of Land, ~,2
reads BatU/~ ~ ribbon.." Sec ~Moonlit Nights on the Rue la BoCtie," in S~v. vol. 2,
pp. l07-108.
3. In Goman, Lut, which originally meant "knowledge" and rcferrcd to technique.s of
hunting and war, to magical abilicies and artistic skill.
4. Greek name for Castor and Pollux, twin sons of Led a who were rransformed by 0!u5
into the COnstellation Gemini. TIley had a cult in Laccdaemon, where they ,",'Cre.
symbolized by the doJ.ana , two upright piett.! or wood eOluleeted by two crossbeams.
Presumably an allusion to BeI~amin'S collaboration widl Franz Hessel.
"'11, e Ring o f Satu r n"
1. Sec GS, vol. 7, pp. 232-237. In English in Sw. \'01, 2, pp. 563- 567.
2. Cha.r1e.s·F~is Viel, Dr I'lmpuWana dt:J malllarwtiqutJ pour tL\SUrtT In JQ/it/iti thJ
 3. Alfred Gouhold Meyer, EiJrnbllutrn: Inn wsdlidllt u"d Aitnth'! (&slingm, 1907),
p. 93. [R.T.} Compare F4a.2.
l\laterials for tile Expose of 1935
I. In Etienne Caba's novel Klyage en Imrit (1839), the narrator learns that in 1caria
"fashion nevo- chango; dial dlere art only a certain numba of different shapes for
halJ-toqua, turbans, and bormcu; and that the model for each of these shaptJ had
bc::ro ... decided upon b)' a committee." lkuuru d'EtinlM CD~t, 3rd ed. (Paris:
Bureau du I\:)pulairc, 1845), p. 137. Sec: B4.2.
2. See 82.5. Sec: also section 3 of the " Expos~ of 1935, Early Version."
3. Prcswnably a rcfcrttICC to rouner.
4·. See Franz Kafka, "'The Cans of a Family Man," in Kafka, 1M CAmplttt StontS (New
York: Schocken, 1971), pp. 427-429 (c-aru. Willa Muir and Edwin Muir). Odradc:k is
a diminutive crcatutt:, rc:scmbling a Bat Star-shapcd spool for thread, who can stand
upright and roU around, but can J\e\o'U be laid hold of, and ha." no fixed abode. )Ou
might think he was a broken-down remnant, but in his own way he is perfttt\y
finished. He can talk, but often remains mute.
5. Could also be cOIl$lmed as "the knocking that startles ll.'J Out of sleep."
6. "Fateful date": possibly an allusion to the dramatic Socialist gairu, that year, in the
Chamber of Deputic.,.
7. "Traumkitsch" (first published in 1927) is in GS, vol. 2, pp. 620-622 ; in English in
S It; vol. 2, pp. 3-5. Benjamin is concente:d here with "distilling" the "sentime:ntality
of our parel1ts."
8. The second Stage of work on TAt ArcodeJ Projtdbegan inc:arly 1934, when Benjamin
wa.!I coll11lliuioncd to write an article in French on Haussruann for Le Mtmth, a .....
IX=riodical edited at that time by Alfred Kurella.. The article wa.!I never written, but
Benjamin's preliminary studies remain, in the form of the: drafts and outline printed
here as No. 19. 1llc first draft is in French; the: second and third drafts arc in German.
The outline begins in French and switches [0 German after the second '" embdlUse-
mem su-ategique."
9. The sche:mes printed as Nos. 20 and 21 v.'t:re prepanttory to the drafting of d'le
exposC of 1935. 11le first is dated by Benjamin himself; the second ffi()$t likely da.u:i
from the: beginning of May 1935. The: rdlections contained in No. 22 appear [0
belong to a more extended scheme, which has not been prcsc:rvcd.
10. NO!. 23, 24, and 25 app;rn:ruly date from after the: drafting oftbe cxpos~ of 1935. No.
25 was written by Benjamin on the: back of a lette:r orDc:ccmbe:r 22, 1938, addressed
to him; wlnle clearly corule:cted to central concems of the Arcadts complex, it could
rdate as well to the project of 3. book 00 BaudeJairt: or to me theses ~ Ober den Begriff
der Gesdlidue" (On die Concept of History).
"Dialedics at a Standstill"
TIle following notes are by RolfTtedemann. Citations from me "Convolutes," me: W Frrst
Sketdlcs," and the: "Early Drafts ~ arc referenced by tags for the individual enuies.
I. Translated as ;;'A funrail of Walle:r Bo~amin,H in T. W. Adomo, Prisms, tranll. Samud
\~bc::r and Slncrry WebeT (Cambridge, Mass.: MIT Press, 1981 ), pp. 221- 24 1.
2. Stt Walter 8c::njamin, Briefi, cd. Gershom Scholem and TIlcodor W. Adorno (Frank·
fun; Suhrkamp, 1966), passim. In English in TAt ~ N Walltr BAja",i~
c-aru. Manfred R.Jacobson and Evclyn M.Jacobson (Chicago: University of Chi·
cagu Press, 1994). Subsequent references 10 the: CorTtJjIoruimce will appear in the tCJ(t
as "!.Luers." For a complete: compilation of Benjamin's natements in letters about the
P4JSagrn. ~ffr~ (within the limits of available co~ponde:ncc), see Benjamin, ~.
melle Sdrri/frn, voJ. 5 (Frankfurt: Suhrkamp, 1982), pp. 1081-1183 (annotations by
RolfTtcdema.rul). Subsc:quem references to the WJ(lmfMitt &Juykn will appear in t.he
text in parcndlesc:s, volume numbeT followed by pa~ nwnbcr--c.g., "5:1063."
3. See tht CorrtSJMtIdence of IIMtr lknftmri" a"d Gm/I(nn &nokm, 1932-1940, trans.
Gary Smith and Andrl: Lcfevere: (New York: Schockcn, 1989), p. 121. Subse:quent
references to this work wiU appear in the text as "Schokm Lettcn."
4. Adomo, PrUmJ, p. 239.
5. See Rolf TlCdroWlll, Dia/dtiA Un Stillstand (Frankfurt: Suhrkamp, 1983), pp. 190-
191 , n. 1Sa, on the CWTCI:1l Ic:gmd of a "rearnnganent" of the "Aufzeiclmungen und
Matc:rialien" in the P4.lS4gtn·WerA .
6. According 10 Adorno, Benjamin's intention wa.!I "to eliminate all oven commentary
and to have the meanings emerge solely through a shock-like montage of the mate.
rial . ... His magnum opus, the crowning oflili ancisubjcctivism, was to consist soldy
of citatioru" (Adorno, Prisms, 239). 11IOUgh this thought may seem typical of Ben.
jamin. I am convinced t1lat Benjamin did not inlend to work in that fashion. 1bc:rC' is
no remark in the letterS attesting to this. Adorno supports his position with two
entries from the Passagrn·WtrA ilJelf (Ke Nl ,IO and N la,8), which cau hardly be
interpreted in that way. One of theK already turned up in the "Erst Sketches" of 1928
or 1929 (Stt ()l,36), at a time when Benjamin stated that be was still considering an
essay, which he had begun in the: "Early Drafts"-by no means, bowever, in the fann
of a montage of quotatiol15.
7. "One·Way Strcct," in Benjamin, S&cttd J#itingJ, Vol. 1: 1913-1926 (Cambridge,
Mass. : Harvard University Press, 1996), p. 466. Subsequent refe:rences to the &ltdtJ
ff+itings will appear in the tOU as Sw.
8. This had been prttc:ded by the: plan-which probably did DOt last long-to coUabo-
rate with Franz Hes.scl on an article about arcades. Sec: 5:1341.
9. "Surrcalism,~ in Benjamin, StluttJ I#itiw, Vol. 2: 1927- 1934 (Cambridge:, MasJI.:
Harvard Uni'l.ocnity ~s , 1999), p. 210.
10. Here and in what fOUOWIl, refc:tmCC5 to t.he first and second sketch ~ in the same
mannc:r that Iknjamin referred to them in lili letter [0 Gretd Adorno of August 16,
1935: merely in quotation marks, so 10 speak. No single: texl is meant by "sketch"; the:
"second ske:tch," especially, docs not denote the: 1935 expose. Benjamin had in mind
the: concept or the work, 5uch as it can be infcrn:d from an interpretation of the
totality of the nOles from both nages or lili projeCI.
II . Sec. Hemlann Schweppcnhiwer, "Propae:dcutiC!l of Profane: illumination," in em Wal·
Ier Btnjnmi": Cn'tical EMays a"d & co/lu tionJ, ed. Gary Sutim (Cambridge, Mass.:
MIT Preu, 1988), pp. 33-50.
12. See mainly ~ On the Program of the Coming Philosophy," PhI1OJophica! Forum 15, 1-2
(FaIl-Wulter 1983-1984), pp. 41 - 51 , now in Sw, I; 100-110; this citation originates
from an early fragment ~ Obc:r die Wahmehmung," 6:33- 38 (SW, 1:93-96).
13, See " Doctrin~ of the Similar," in S~v, 2:694-698; and W On the Mimetic Faculty," Sw,
2:720-722. One or the late.n tCXts in the "FlTSt SketchC!l ~ to the P~en· Wt7'~ !ccrns
to be a genninating cc:ll of Bcnjanun's theory of mimcsis (see 5: 1038; Q:',24).
14. &e Rolf liedemann, SluJim wr PhilOJnphie IIMer Btnjamins, 20d ed. {Frankfurt:
Suhrluunp, 1973),pp. 76- 77, 98-99.
15. In the "Fam Skelches," in which economic categories arc used either metaphysically
 or in a desultory fashion, we lind ullcommelllcd refercnca to two pa.~53.ges in !he first
and third VtIlumes of Capital. alld these references arr to the ~originaJ edition ~ (oS«
5:1036; Q:,4). l1Us could be espccially instructive in the case of the lint VtIiuf1}(
whose £int cditioll of 1867-the original edition refem:d to-is very rare and ~
almasl never ciled. '\oIh: may surmise that Horkheimer or Adomo I1:';fem:d Benjamin
to the pages in question during !he "historica1 conversations" in !he fall of 1929. The
lib~ of the Instinll fUr ~forschW1g owned, at that time, a copy of the original
cdio~ and at least Horkheimer was wont to quote from scarce editions. This c.onjce.
rure l!i corroborated when one checks the relevant p<l!i5agc in die first edition of
Capital: it deab with thc definitive formulations of corrunodit}' fetishis m-that is, the
vel)' COllCtpt whose ~ unfolding" would be '"the COltral core" of the second PoJJagm.
IVtT,t s~etch. S~~ the man~pt of the ~F~t Skctchcs was abandoned shortly
M
after this enuy, It 15 \-ay pO:Ulblc that BenJam.tn's abandoning W matlwalpt may
have been caused by W ob5tacles created by the suggestion that it was necessary for
him to l1:';ad Capital. Finally, a letter from Adorno to Horkheimer ofJunc 8, 1935'
which is abKnt from the fifth volwne becau.sc it was made available only after ~
edition's publicatio n, may wdl rum speculation into certainty. Adorno charactcrius
the first cxpru~ as "an attempt to unlock. the nineteenth century as 'style' by means of
the category of 'commodity as dialectical image:" He adds: ~This concept owes as
much to you a5 it is clOK to me (and as I have been beholden to it for many yean). In
dial memorable conversation in the HQ(d Carlton [in Frankfurt) which you, Ben·
jamiu, and I had about dialectical images, together with Asja Lacis and Gretel, it was
you who claimed that feature of a historical image as ~tral for the commodity; since
dlat conversation, both Benjamin's and my thoughts on this matter have been reol"
ganized in a dcWive way. The Kierkegaard book [by Adorno) contairu their rudi-
ments, the 'Arcades' sketch embraces them quite explicidy."
16. Karl Mux, Capital, vol. I, trans. Samud Moore and Edward Aveling (1887; rpt. New
York: International Publishcl1i, 1967), p. 72.
17. [bid., p. 73.
18. Sce Jii rgen Habennas, "Walter Benjamin: Consciowncss·Raising or RaaUng Cri-
tique," in Smith, ed., Orr Waller Bnljamin: en·tical Es.sa]; and &coll«tionJ, pp. 90-128.
19. Sec Ttcdonann, Sludicn, pp. 79-89.
20. Walter Benjamin, ~ Origin oJGuman r~ Drama, trans.John Osborne (London:
Verso. 1977), p. 48. Subsequent references to this work will appear in the text as
7'rauerspit l.
21. See Walter Benjamin. "Theses on the Philosophy of History," in Benjamin, ll/umina -
tiOfU, trans. Harry Zohn (New YOrk: Schock.cn, 1969). pp. 26(}-26 1. Subsequent
references to this work will appear in the text as lllumino.tio1U.
22. See liedemann, "Historical Materialism or Political Messianism?" Philosophical Eo-
nfm 15, nos. 1-2 (Fall-Winter 1983-1984). pp. 71-104.
23. Benjamin never brought himself to define these categories at length, yet dley arc the
basis of all his thoughts on the Pa.lJagrn-Wer,t, which he identified with die ~wor1d of
dialectical images" and for which dialectic at a standstill was to be ~ the quintessence
of the method" (P",4). He apparently developed the theory of dia.lectica.1 images
mainly in conversations wid) Adorno. Although both concepts arc absent from Ben·
jarnin's publications during his lifetime. the ~dialectical image ~ appcan- \vith refer-
ence to its 8enj:lIniniarl origins-in Adorno's HahilitatiD1I.JJlllrifl 011 Kierkegaard,
which \'IaS published in 1933 (Adorno, KwA:tgaard: wfUtrurtion. '?ftllt: AtJlltetic, traIU.
Roben Huilot-KentOr (l!.fumcapolis: University of MiI1IlCSOt2 Press, 1988)). I shaH
hert: o nly allude to the fact that Adomo's interpretation of the ~ differs from
Iknjamin's in more dian mere nuances. In his K.ierkegaard book, Adorno equated
the dialectical image widl all~gory. and later he also seems to liken it to phaJltasmago-
ria (5« N5,2, arld 5 :J 136). BeI~anUn characleriud Adorno'! definition of the ~antin·
omy of appearauce and meaning" iL'I ~ fundamental " for both allegory and
phantasmagoria, but he found it ~COnfU5ing" in its application to the ~dialectical
image" (1:1174). TIle difference might be found in die connection Benjamin made
between !he dia.leclical im.age aud denlCllts of mC!sianisru-a connection to which
Adomo, the more SOUpWOI.15 ManUst, could not accede. One may try to put it this
way: the phant.asmagorias or the arcade or the coUeewr a5 such are not dialectical
images in BeI~amin'S sense; both the arodes and the collector bccof1}( dialectical
images ouly when the historical materialist dtriphers them a.s phantasnlagorias. But in
Bmjamin's opinion. the ke y dlat a.llows die historical matuialist to unlock. the code
remains COMeCtcd to die disCO\-ery or a lne5.'liarue force in history (see 1;1232).
24. Marx, Capital, p. 20.
25. Adomo, Primu. p. 233 .
26. Marx, OJpilal, p. 763.
27. See Gershom Scholcm, Miljor rrmds in ]auisA M}JliciJm , 3rd ed. (London: TbamC!
and Hudson, 1955). pp. 283- 287; and idem, On I"t Kabbalah and If; Symho/Um, traru.
Ralph Ma.nheim (New 'mrk; Schocken. 19(5), pp. 126fT. See also Tiedemann,
DUikA:tiJ. im Sliih/aM, pp. 102ff.
28. Karl Marx, Britfi aUJ dro HDtlllJeh-FramiiJiJdzm Jallrbiidurn." in Karl Marx and
Friedrich Engel'l, Wtr.lt:, vol. I , 2nd ed. (Berlin: Dietz, 1957), p. 346.
29. Waller Bc:t~amin, "1llCOlogico-ibliticaJ Fragment," in Benjamin, &.foclions, mw.
EdmundJephcott (New York: Schoc.ken, 1978), p. 312.
''The S iory of Old Benjamin n
I. Walter Benjamin, Briefi, vol. I, ed. Ge:rshom ScholOll and Tbeodor W. Adorno
(Frnnkhtr" Sultrkamp, 1966), p. 298. In Engtah, n.
c.n..Jxmdnoa of WoII" &.-
jamin, 1910-1940, traru. Manfred R.JacobM>n and Evelyn M.Jacobson (Chicago:
University of Chicago Press, 1994). p. 206 (Jetter of ~bruary 24, 1923, to Aore:ns
Christian Rang!.
, 2. InAgtJilaUJ Santandtr. The trarulation here is by Lisa Fittko. See GS, vol. 6, p. 521
(August 12. 1933). In English in 'A'alter Benjamin, Stkeud l#itingJ, vol. 2 (Cam·
bridge. Mass.: Harvard University Press, 1999), p. 713.
3. Hannah Arendt. Men in Dar,t 7imtJ (New 'mrk: Harcoun, fuace and Wn'ld, 1968),
p. 161.

Guide to Names aDd Terms
Abdcl Krim (1885-1963). Leader of the Moors in the Rif region of Morocco. Ultimately
defeated by French and Spanisb forces in 1926, and cxiJ.ed to R~union.
About, Edmond (1828-1885). French oO'vdisl, playwright, andjoumalist.
Absalom. Son of King David in the Old ThstamenL H e revolts against his (adler and is
lr.illcd. &e 2 Samucl18.
Academic Fran~. Body founded in 1634 to promote the advancement of French
literature.
Adler, Max (1873- 1937). Austrian lawyer, student ofNeo-Kantian and positivist philoso-
phy. He was active in the Austrian Socia1 Democratic Party, and oofowlder of Marx-
Studim (1904). Author of &niologie tks M~ismus (1930-1932).
Aime Martin, Antoine-LoW. (1786-1841). Man oflctter5, professor, and librarian al the
Bibliotheque Saintc-Gencvib.1! in Paris.
AJberti, Leon Battista (1404-1472). Italian architect, painter, writer; first LO invatigate "'
the laws of persp«rive. Author of De n aedfficatoria (1452).
Albcrtw Magnw. Pseudonym of Albert von Bollstadt (1193?-1280). Cttman lhrolo-
gian, scientist. and philc»opher. He: was reputed to be a magician because: of his scien-
tific punwts. Canonized in 1932.
AThambra. fortreSS and palace erected by the Moors near Granada., Spain. in the thir-
teenth and early founcmth ccnlUJ'ia.
Ambigu. Parisian theaur built i.1l 1827; a ccnaal vmu~ for popular md0drama.5. [t wa:J\
do:nofuhed in 1966.
Amid. Henri (1821 - 1881), Swiss poet and philosoph~r: author of die introspective
Journal intnM (1883- 1884).
Anattharsb. Scythian sage who, according [Q Herodotus, travded widdy to leani the
CUStoms of many nabons.
Ancdle, Narc:i.ue-DCau-e (1801-1888). French Iawy~r. In 1844 Bauddaire's mother ap-
pointed him as her son's legal guardian.
Anncnkov, Pavel (1812-1882), Russian man of l~ttel1l. personally acquainted with Mane
in the 1840s.
Aruchutz. OttomlU' (1846-1907). fulish·born German photographer who conducted
experiments in high·speed photography; in~nted a tachyscopc that wa~ a foreru~r
of the motion·picture apparatw.
Antony. Play by Alexandre Dumas (1831). Its melancholy. stM-cJUSsed hero infIuenccd a
generation of young Frenchmen.
Arago, Fraft9>u (1786- 1853). Scientist who in~tigatcd the thcoT)' of light and decD"O-
magnetism; director oflhc Pam observatory (1830). He lOOk. part in thcJuly Rcvolu-
tion and was minister of war in the Provisional Government (1848). Opponent of
Napoiconlli.
Arago. JaatUCS (1790-1855). BroUler of Fran~ois Arago; traveler. novelist, and play-
wright.
Aragon, Louis (1897-1982). N(J\.'t!list. poet. essayist; a leader of the Dadaists aud later of
the Surrealists. Author of Feu dtj(Jit (1920). VM ~&gut d, rWtJ (1924), Lt PaJ5o.n de
Po.ri.s (1926). UJ Uryaga tk 1'lmp&Wle (1940).
Argand,.Aime (1755-1803). Swiss physicist; inventor of a highly clf~ctivt" oil lamp.
Artoi&, comte d', "Title granted (1757) by Louis XV of France to his grandson, later
CharlesX.
Auassiru. Islamic sect of the eleventh to thineenth ccnlUJ'ia that cOnllidaed the murdtt
of its enemies a religious duty.
Assclincau. Charla (1820-1874). French critic and bibliophile. Close friend and later
editor and biographer of Baudelaire, who Il!viewed his coUection of shan Stories, fA
Dollblt VIt, in 1859.
AItJIa (1860). FragTllentary epic by Chateaubriand. Set in Louisiana in the eighteenth
century and dealing with the livC!l of American Indians, it is said to mark the beginning
of the Romantic movemau in Fll!llch literarure.
Utdier. A monthly of French artisans and workeD, influenced by Christian sociali.sm.
and conwutted to a moderate line. Published in Paris 1840 to 1850. It was subtitled
Orgam spicial tk /0. t/(Jjjt !Mon'lUJt rtd;gl par tks ollun'iTS txduJilX1llnli.
Aubcr, Danicl-F~u·£"prit (1782-1871 ). Regarded as the fOWlder of French grand
opera, he collaborated with EU~lle So-ibe on thirty-eight stage works ~cn 1823
and 1864. Chapel master to Napoleon 1lI.
Aubert. GabricJ (1787- 1847). romlC'l' notary who, for many decadC!l, operated a very
suca:ssful print shop at 15 Galerie \fho·OodaL Published the greater pan of Dau-
mier's works.
Aubcrt,Jacqcwt (d. 1753), French violinist and composer of operas. sonataS. ballets.
Aupic:k.JaatUCI (1789- 1857). Soldier, ambassador. senatOr; stamped out the insUJTeC-
tiOIl organiz.ed by Blanqui in Paris in 1839. He was stepfather to Baudela.itt. who
turned against him.
Awkrlitt. Town in southern Czechoslovakia where, on December 2. 1805, Napoleon
dcci.!livcly defeated the Russian and Awtrian annies of Czar Alexander I and Emperor
Francis U.
Azais, Pierre-Hyacinthe (1766-1845). French philosopher. In his S,Jirott univerul (1800-
1818). be developed a theory of forces and of Munivenal equilibrium:
Babeuf, Fran~ (1760-1797). Agitator and journalist during the French Revolution,
advocating equal cllitribubon of laud and income. He organized a conspiracy 10 (IVCf'
throw the Dirr:ctory and r~lUm 10 the constinlbon of 1793; stabbed himself befOI"(
being summoned to tlle guillotine. Author of a manifesto on social equality (1796).
Babou. Hippolyte (1824- 1878). CribC and novelisl, friend of Baudclaire.
Baby Cad um. Publicity. From tlle rosy·faced imnge ofBebe Cadum. symbol launched in
France. in 19 12 for the popular Cadulll 503p.
Babylone. Neighborhood of Pari.~ (today stvre-Babylone).
BachofeD. J ohann (1815- 1887). Swiss :lnUlJ"OllOlogisl and jurist. Author of work..s 011
Roman civil law and of D4.J Multtt1Yellt (1861 ), the fir.st sciemi6.c history of tlle ramil~
as a social instilUlion.
Bailly, J~an (1736- 1793), French scholar and politician. Ju Illa}"Of of ParU (1789), I ~
imposed martial law and called up the Garde Nationale to keep order (1791): lost
popularity and wa., guillotined.
 Bairam. Either of two Mu~ lhu religious fc.\ltivals following the fast of Ramadan.
B~om,Johann (1~28- 1 6y3). Printcr famous for his disastrous emendatioN (idcntity
with figure named UI h",ll1l spcculativc:).
Baltard, Loud (1764-1846). French arehitcct and cngra~r; profcssor at the Ecole de.!
Beaux-Arts and the Ecole Ib lytcdmiquc.
banqucu. During thc hUt months of Louis Philippe's reign, in 1847, the opposition
orgaEuzed a series of .so-callcd Rcform banquets, at which speakers called for dcctoraI
reforms.
Banville. Theodore de (1823- 1891 ). fbel, playwright, critic. Close friend ofBaudcla.ir-c
and, with Charles Assclineau, cditor of h.i.'i works.
Barbanl, Charlet (1822- 1886). Satirical writer acti~ in thc 18405j associated with LL
Cor;Qirt and the group of bohcm.iruu around Henri Murgcr.
B~, Annand_ Republican kader. Co-con.~pirator with, and later ard\euemy of,
l..oui!I-Augustc Blanqui, with whom he: was imprisoned in the 18505.
Barbq d'Aurtvilly, Ju.les (1808-1889). French critic and novcfut; long·time mend of
Baudelaire.
Barbier, Augwte (1805- 1882). fVet whom Baudclaire admired but criticized for moraJ-
istic tendencies. His famlxs (1831 ) satirized the monarchy of Loui.! Philippe.
BaJ-num, Phineas (181O-1891). American showman, connected with the circus busineu.
Opened "TI1C CreatC5t Show on Earth ~ in Brooklyn in 1871-
Barrau.lt, Emile (1799- 1869). Saint·Simonian writer and politician who published in I.e
G/abt: and wrotc many works 011 Sai.ut-Simonianism.
Barres, Maurice (1862- 1923). Writcr and politician. Called for thc restoration of "na-
tional cnergy" to France.
Barrot, Odilon (1791 - 1873). Leader of thc liberal opposition in France prior to February
1848. From Dc:cembcr 1848 to October 1849, be headed the m.ini!try supported by
monarchist!.
Barthelemy, Augwte (1796-1867). Frmch poet and satirist. He cdited the ....·eddy j0ur-
nal Nbnb iJ, which atta~ thc govemment of Louis Philippe in 1831 - 1832. Collabo-
ratcd withJO$qll1 M6-y from 1824 to 1834.
Ba.!lilidlluu. Followers of Basilides, an Akxandria.n Cnostic of the urly second century,
who preadlcd a radica.l dualism and trarucendence of the: Creator-Cod of thcJewa.
BatignoUes. Vtllagc that beeamc part of Paris in 1860; a meeting place of artists and
politicians in the ninetccnm century.
Buard. Saint-Arnand (1791-1832). Soci.ali.st, follOl\'CJ" of Saint-Simon, and ~ of
the French Carbonari (Charbowlicrs). He gavc a long series oflecturcs in Paris (1828-
1830). which WOII many adherents 10 Saint-5inlonianism.
Beaumont, Charlet (1821 - 1888). Fn=nch graphic artist, contributor to II Clwriuwi.
l.I1ustrated works by Hugo and Suc.
BeJgrand, Eugene (1810- 1878). Engineer who modernized sewer servicc for the City of
Pari~. Arranged official suppon for Nadar's photography of thc scwcn. Author of UJ
1fmKlux s(}utm-tl.iru de Paris (1875).
Bellamy, Edward (1850-1898). AlIlerican author of Looking BucIJward (1888). a utopian
romance hascd on socialist principles. , Blanqui,Jerome (1798- 1854). Frendl economist; brother of Louis-Auguste Blanqui.
Ikllange. Pseudonym of FramjoisJoseph Belanger (I744-1818). Frendl architcct famous
for his uUlOvative usc of iron UI the COll.'ltruCtiOIl of thc cupola of thc old graUl market
in Paris.
Iknc uk bland in lhe Bay of Bi5Ca)" From 1849 to 1857, it W3.$ a place of detention for
French political prisoners : ill particular. workers ulVolved in the Paris uprising ofJune
1848 werc imprisoned then..
Bdkvillc. W:lrking-class neighborhood in l>aru.
Benda, Julien (1867-1956). French philosophical oloc. Among his works arc Lo
&rgJonimu:, ou Vne Plti/asopltir .lIIr III mob/Jill (19 12) and lA. Fin dt IWand (1929).
BttaIdi. Perhaps a mistake for fX';rardi, Leon (1817-?), journalist and director of
L'fndipmdanct: fKlge.
Beranger. PierTf! (1780-1857). lnwlcnsdy popular lyric poet of Liberal politica.l sympa.
thies.
Bb-aud, Henri (1885-1958). Novefut and essayist who promoted nationalism and anti.
Semitism. Author of u Vitriol dt kllunt: (1921: Concoun prize).
Ikrgerct, Madame. Charact« in An3tole France's series L'Histairt amtnnjxlrailU! (1896-
1901 ).
Ikrl. Emmanuel (1892-1976). French writer and jounkllist, associated with the circle of
SurrealistS around Breton and Aragon.
Berlioz., Hector (1803-1869). French composer, a pioneer of modern orchestration.
Bernard, Claude (1813-1878). Noted physiologist. Investigated the sympathetic nerv-
ous system and the chcmica.l phenomena of digestion.
Bernardin de Saint-PiCl"ft.Jacques (1737- 1814). Writer who anticipated French roman-
ticism. Author of Paul d Virginit: (1788).
Bcrnouard., F~is. French publisher. Friend of Ikojamin during the 1920s ruxi 19308.
Bern.td.n. Eduard (1850-1932). Cmnall writer ruld politician. Co-c:d.i.tor of lkr SoUaJ-
demo/rral (1881- 1890). Associate of Engels.
, Bury. Charles Ferdinand (lm- 1820). Last duke of Berry, a nephew of Louis XVIII; in
exile 1789-1814. His Wa5sin..1tion UI Paris by a fanatica.l Bonapanist Icd to a reaction·
ary swing, countered by conspiracies.
Ben-yer. PiUft-Antoine (1790-1868). Frendllawyer and poLiticaifigu.re; legitimist.
Bertin. Family famow for iu association with U ]ournoJ dts dibau, which Louis-Fran~is
Bmin (1766-1841) purchased in 1799 and ran with his brother, Louis-F~is 8c:nin
de Vaux (1771- 1842). The 50Tl.'l of the former, Annand (1801-1854) and. F~is­
Edouard (1797-1871) took over at cditon from their father.
BibiiogroplQe de Ia R-Irna. Official weck.ly list of published boolu: ddi-\.'aed by law to the
Bibl.iothCque Nationale.
Biedermcicr. Stylc of furniture in Cumany (ca. 1815-18(8), characterized by fonus that
arc simpler and more sober than those of the Empire style, and by Oora! moOfs. Also a
style ofland.scapc and gmrc pa.inting.
Bierce, Amln-ok (1842-?I914). Amcricanjoumalist and shan-story writer. Servt:d in
the Civil War. He established hi5 n=putation with witty and caustic writings: his later
work. is often bitter and gruesome.
Biot,Jean Baptiste (1774- 1862). Fn=nch mathClnatician, physicist, and astronomer.
Bluon, Louit-Augwtc.. Pionecr photographer and early friend of Nadar, who owned a
copy of Bisson's portrait of Bahac (1842).
Blanc, Louis (1811 - 1882). Socialist leader and joumalist. Sponsored a guarantec of
cmploymclIllO workers during the Provisional Government of 1848. Author of Histairt
Ik fa Ri!loluh'anfi'iln(airt (J847-1862).
Blanqui, Louu-Augwtc (1805- 1881 ). Radical activist and writer conunitted to penll~­
nem revolution. After a classicallycculll education Ul Paris, he studied law and medi-
cine, blll devoted himself to conspiracy ill the Carbonari and other secn:1 societies,
bceoming a leading socialist agitalOr. He was oftcn wounded in Street fighting and speut
a total of fony years in prison, yct maintained a fiery patriotism. Author or L'Elmtiti
par k.J astm (1872) ruKi Critique Jwl (1885).
 Blondel. Jacque. F~ (1705- l n4). ArdUta:t whose ideas greatly infiuenccd his
contemporaries. He opc:ned in Paris die: lint art school to leach architc:ctwt: (1143), and
!:aught at the: Academie: Royale: d 'Archita:turr: from 1756.
Blucher. Gebhard (1742- 1819). Prussian field marshal. Defeated Napoleon at Laon
(18 14) and aided in the: victory at Waterloo (18 15). after which his army occupied
!'.ru.
Boettichcr, Karl Heinrich von (1833- 1901). Gc:rman archittttural throrut; adviror to
Bisrnard. Author of 7tH,",i); der Htllmm (1844-1852).
BOhme. Margattk. Editor of Tagtbudj riner VeTfOTt1lnl (Diary of a Lost \r\bman; 1905).
Boileau, Nirolu (1636-17 11 ). Critic and poet in the classical tradition. Autho r of a
9
highly influential didactic tmltise in vene. !:Art poitiqut (1674).
Roi.uy-d'Anglu. cornie FrIUI90u de (1756-1826). French state5man. Aided in the over·
throw of Robe:spierre. He wu a smator under Napoleon and a pc:er of France under
Louis XVIII.
Bonald, Louia (1754- 1840), Philosopher and publicist; minister of instruction under
Napoleon (1808). H e was an extreme coruervativt: in his policies.
Bonaparte, Louis Napoleon. Stt Napoleon 1II.
Bonvin, Fran-roil (1817- 1881). Genre and still-life painter. The vitalityofhis portraiu is
flO(ed by Baudelaire.
BonJe.aux, Henry (1870- 1963). Novelist and critic; known for hi! tales ofFreoch family
life.
Borel d 'Hautmve. JOKph fttrua (1809- 1859). French writer of extreme romantic
tendencies. Pubfuhed a coUection of verse, RIwp.sodits (183 1), and (WQ works of fictiWL
Bomstcdt, Adalbert von (1808-1851). Fonner officer of the Pnwian Guard who edited
Die DeutJtht-Brii.JMkr Zritull,. Active in the Communi3t League until expelled by
M=.
BouUCt,JacqUCl (1621-1704). Catholic prelate and tutor to the dauphin. A theoretician
of political absolutism and dlt: divine right of kings.
- 1937, togtther \\ith Gc:orges Bataille and Michel I...eiris. BenJ:uwtI occasionally attended
Boucha; FraJl9»u (1703- l nO). French painter. Designcr ofs!:a~ sets for the Opba, and
book ilIusaator noted for his ornate style.
BouJJec, Etienne-Louil (1728- 1199). Architect active in Paris in the restoration and
corutruction of buildings during the eighteenth cenrury.
Bowget, Paul (1852- 1935). Novefut and critic. Molder of opinion among conservative
intcllwuals in the pre- W>r1d War I period.
Boyer. PhiloU:nc (1827-1861). Poet and critic who, coming into a large inheri~ in
1850. for (WQ years held dinners at the best restaurants in Paris for a ciIde of writcn
that included Baudelaire.
8racquemond, Rih. (1833-19 14). Painter and etcher. A friend of Baudelaire.
Bn.ndes, Georg (1842- 1927). Danish literary critic, with a reputation for radicalism.
Professor of aesthetics at the University of Copenhagen. and author of studies on
Shakespeare, \blr.aire, Goethe, Kierkegaard.
Briacis. Concubine: of Achilles, in the nUuJ.
BnunmeU. George. CaUed Beau Brummell (1178- 1840), he was an English dandy and
gambler, a friend of the Prince of Wales. He died in an wane asylum in France.
Brunese.au. C haracter in Hugo's w MUirahleJ who supervises die cleaning and survey-
ing of the Pari.J sewers under Napoleon I.
Brunet, Charles-Louit-Fortune (l80 1- 1862). French engineer and architect; student of
Vandoyer.
Brunetib-e, Vincent (I 8'~ 9- 1 906). Critic and professor of litera tu re at the Ecole Nor-
male. Editor of fA &:vUt da ,ltux mOfIlUJ (1893), and author of Eludes crib'qut J (8 \'OIs.:
1880- 1907).
Buchez, Philippe (1796- 1865). Frendl Sainl-Simonian; politici~ ~ historiaaL He was
a rounder of C hrinian socia.l.ism and president of the Comuruoonal Assembly (May
1848). EdilOr of L.:Alditr (1 840-1850).
Buchner, Georg (1813-1837) . German poet. Author of the d ramatic poem Dan/ollJ rod
(1835), t.hc .satire Leon« und Len(1 (1836), and the fragmellt~ tragedy WOju d (183 6).
Bu~aud de la Piconnerie. Thom as (1784--1849). French soldier. Was made marshal of
France in 1843 .
Bulwer-Lytton. E. G . (1803- 1873). English rKM:list and dramatisL Author of 1M LaJI
Dap o/"PDI'lIpni(1834). . . .
BuonaJTOti, F'dippo (1761 - 1837). lIalian-bom elder statesman of French radicalism U1
the 18205 and 18305. He W', u a member, with Louis·Auguste Bl.anqui, of the Society of
Friends of the People in 1832. and kader of the Babeuvis tc:s (after Babeuf), who
ad\'OCated the re\'Olutionary political role of education.
Buret, Antoine (1810- 1842). French journalist who wrote Oll die povm)' of the: working
classes.
Cabd, Etienne (1788- 1856). French political radical, involved in the revolution of 1830.
Exiled 1834-1839 for radical writingll. Influenced by Roben Owen, he founded a
utopian community called karia at Nau\'OO, lllinois, in 1849; but withdrt:w in 1&56
after dissension. Author of the socialist romance ~t rn /cane (1839).
Caau. FU'e-breadting monster, a son of Vulcan. He lives in a ca\ 'C. o n the Aventine hill.
where he is killed by H ercules (A entid, book 8). .
! Caglioltro. Count Alesaandro di. Real name Giuseppe Balsamo ( 11~3- 1195) ; I~
impostor. &m of poor parenlS, he traveled widd y in Europe, posmg at phYSlcan,
alchemist. freemason. . ..
Caillois. Roger (19 13-1978). Fren~ writer .who f~~ded d.\e <:-OUcge ~ Sociologte m
evenu dlere.
Calonoe, Charles (1734- 1802). Minister of finance under Louis XVI; in .exile 1781-
1802. He was a builder of roads and canah in die years before the Rewluoon. .
Campanella, 1Ommaso (1568-1639). Italian philosopher. AudlOr of. CWil4S Sofis (City
of the Sun; 1623), written during a long imprisonment and descnbmg a UtopWl State
similar to the one in Plato's Republic.
CandoUe, Augwtin (1178- 184 1). Swiss botanist; moved to Paris ~ 1196. Established a
SD'Ucrural system of plant classification that replaced that of Linnaeus. Profcssor of
natund science at Geneva (18 16-1834).
C anning, George (1170-1827). British statesman. Pursued vigorous war policy (1801-
\ 810).
Canova, Anlonio (1757- 1822). Italian neoclassical sculptor.
C apua. SaategicaUy important ancient Roman cicy on the Ap.piaJl Wa~,.llear ~aples.
Capw. Alfred (1858- 1922). French journalist and playwnght; political editor of u
Figaro 19 14- 1922. His plays include IA Ii-illt' (190 1) and iLl Dtu:c Homml~ (1908)..
Carbonari. Italian revolutionary group organized aroWID 18 11 to es!:abli5~ a uruted
republican Italy; named in honor of old cOI1Spir:aCO.T5 wl.1O used to. meet m huts 0:
charcoal bumers. Freuch Carbonarism (C harboru lene). directed agamst the: &urbo
ReslOr:ation. was initia ted in 1820 by sc:ve.rn1 )'Oung republican mili!:anlS, and spread
wi th ~at secrecy through dIe schools of Paris into other tOwns. . the
Caral Bertrand (1150- 18 12). French clockmaker who, around 1800, mveDled
ean:'cl lamp in which oil is pumped by clockwo rk into the wick rube::.
Cardanw Gi~lamo (1501 - 1576). Italiall lllath cma tician. physician, and astrologer.
Carjat, Etienne (l 828- 1906). One of the greatest of the early photographers. Photo-
graphed Baudelaire.
 Carnot, I...azan: (1753- 1823). Statesman and military engineer. Member of the Commit-
~ee. of ,Public Saf~~ (1793) and th~ Directory (1795- 1797): afterward served Napoleon
m vanous capacuc.s. Author of works on madlc:mauCII and military strategy. &r Ecole:
fblyt«hn.iquc.
Ca.rpocratiaru. FoII~ ~f the second-cmtury Alexandrian Gnostic Carpocrntes, who
preached the tra.llsnugraoon of [he soul and the: superlative: humanity of Christ.
CarTel, Nicolas Armand (1800- 1836).Journalist and liberal politi<.:illlc:adc:r; co.founder:
with TItiO'! and Mignet, and editor (l83()-1836) of u NaUfmul. Killed by Emile: d~
Girardin in a duel.
C~~,,~arI Gwtav (1789-1869). Gcnnan physician and philosopher; followt:r of
==g.
Cuanoya, Giovanni (1725- 1798). Italian aclvmrurer aud writer; author 0/ Memoir!:!
I m 'tJ par-lui-mime (12 vols., 1826-1838).
Cascdl~e. VICtor Boniface (1788-1862). Frmch politician who participated in military
campaigns uncler Napoleon I. Was made a peer in 1837, and scnator and marichaI in
1852.
Castlucagb, Robert Stewart (1769-1822). English statesman. Fought a duel with his
rival George Canning in 1809.
Cudes. An English government spy.
C~. Full name Luciw Sergius Catalina (108-62 Ile.), Roman wtocrat who c0n-
spired ~uccessfully to ovenhrow Cicero's government in 63-62 B.C. HC' WM sup-
portC'd tn Rome by debtors and cli.scoJUentC'd young patricians. Killed in battle.
Cauuidiere, Marc (1808-1861). Organizer of SC'CJ"et revolutionary societies under Louis
Philippc-. Prefect of PW police after February Revolution (1848). He emigratC'd to
England inJune 1848.
Cavaig:nac, LoW. (1802- 1857). Frmch army commander. As minister of war, he sup-
presSC'd the Paris uprising in 1848. UnsuccC'.Uful candidate for pre.'lident of Frana: in
December 1848.
Camtte,jacqUCI (1719-1792). Author of 1L Diabf~ amour(U1t (1m) and of a continuacio:o.
of the 7louJand aM One Nignts. GuillotinC'd 3.!1 a Royalist in 1792.
CClinc, Louis·Ferdinand. PsC'udonym of Louis Destouches (1894-1961 ), Frr:nch physi.
cian and IlO'odLst; fanatical anti-Sonite. Author of the highly influc:ntiaJ. ~ fW bout
tU la nuit (1932) and Mort Ii cridit (1936).
Cham, Pu:udonym of comte Amedee de Nee (1819-1879), French caricaturist.
ChampOrury, PsaJdonym of Jules Huswn (182 1- 1889), novelist, critic; friend of
Baudelaire, Author of 1L Rlalisme (1857). .,.
Lu ChanJs rk MtJdoror: Hallucinatory prose work by Lautrtamont, written 1867-1870.
Chaptal,jean-Antoine, cornIe de (1756-1832). French physicist and chemist. MiniJte:r
of the- interior (1800-1804), Founder of the first irok rUl arb tI tUJ mitin-s,
I.e Charivari. Daily journal founded by Charles Philipon (1831), to whidl Daumier was
a constant contributor. ThC' name signifies a jangling mock se-renadC' mC3nt to harass.
Charlet, Nicolas (1792- 1845). French painter who glorified the soldier! of Napoleon's
anny, and whose works werr: c."(tremeiy popular during the first decades of dle nine-
leOl.th cemury.
Charras,jean (1 810- 1865). French soldier and historian; ulll:iC':rs«rr:tary of Sta1~ for war
(1848). He opposed the policies of Napoleon IU, and was b.lnishC'd after the coup
d '~tal (1851).
Chasles, Philareu (1798- 1873), Scholar and writer. 01:1 t1k: editOrial staff of u J ourMl
d~J dlhals. Author of EtudeJ d~ liUiralure comparit: (1 1 ...-ob).
Chitel. Fcrdinand-F~is, abbe (1795- 1857). N>rbiddOl. to preach because of Iu.,
uflonhodox views, be founded the Egfue Catholique F~ in 1830, witll services
in French, no confessional, and married priests. In 1848, he was an advocate of
women's rights and quick divorce,
Chawr. Su Ledoux, Claude·NicoI3.!l.
Chenier, AndrC (1762- 1794). French poel; guillotined in Paris,July 25, 1194. Considered
by some to be the foremost practitioner of clauical poctry in France after Racine and
Boileau.
Chenneviera, PhiUppe de (1820-1899). Writer. and director of thC' Ecole des Beaux-
Arts. Frimd of Baudelaire, who ~viewed his coUection of shan Stories, Conies nor-
mands, in 1845.
Cheret.Jules (1836-1932). Frr:nch painter and lithographer, DOted for his poster designs.
Chevalier, Michd (1806-1879). Economist, advocate offree trade. and foUower ofSa.int-
Simon. Co-editor of u Globe (1830-1832). he was imprisoned with Enfantin in 1832-
1833, Professor at the CoUege de France and councillor of state under Napoleon Ill.
CbewL W:ll-known mard!and rk comeJh'b/~J in the PaJais-Royal MentionC'd by Balzac.
Chevreul, Michel EugbIe (1786-1889). Chemist; director of the natural history mu-
seum,Jardin des Plantes (1864-1879), Devdopc-d margarine and stearine.
Chinlreuil, Antoine (1816-1873). I..andscapc- painter wh05e technical excdlencc is noted
by lh,ddaUe.
Chirico, Giorgio de (1888- 1978). ItaJian painter. One of the founders of Surrealism,
Chodruc-Oudos (d. 1842). CallC'd by Dumas a "modem Diogencs," he shows up u an
usociate of Socrates in a fragmentary drama by Baudelaire (IdIoluJ).
Chrysa.tom. SaintJohn (345?-407), A Father of the Gree-k churcil, bom in Antioch. He
WM appointed bishop of Constantinople (398), later dC'pOl5ed and exiled to Armenia.
Author of influential homilies, commentaries, letters.
Cicroen, Andre (1878- 1935). French automobile manufacturer; made munitions during
,,",rid War 1. Mer dlC war, he dC':votcd hU plant to the production of low·priced
automobiles. "'*nt bankrupt in 1934.
Clade!, Uon (1835- 1892). French Symbolist writer, disciple ofBauddaire . Author of UJ
AwtyrJ n'dial/~J (1862 ; collaboration willl Baudelaire), Us Va-1lu.pieds (1873), and
other novels and tales.
Claes. Balthazar, Hero of Balzac's La Rtdlerclu: de l'abJolu (1834).
Clairville, Low.. (18 11 - 1879). Playwright. Wrote or co-authorr:d mo~ than 600 !ta~
produaioru,
Cian:tie,Jules (1840-1913). J ournalist and author of novels, plays, and literary studies.
Director of the- Comedie FTaI~ (1885),
Claude!, Paul (1868-1955), Fbet, dramatist, and diplomaL Associated with the Symbo1-
ist movement.
Claadin. Gustave (1823-'r,. Writer for se-veral Parisian nC'\yspapen, beginning in the
18405.
UJ ClosC'ri.C' tin ~. Play by Frederic Soulie, first pcrfonned at t1.lC 1l1~litrc Ambigu in
1846.
Cobbett, Wdliam (1763- 1835). English potiticaljouma1isL ShiftC'd frum attaclung to
defending political radicalism.
Cocteau,Jean (1889-1963). Author aud filnuuaker. Best known for his film fA &II~ d 111
bitt (l946) and hU play Lo Mtuhine infa1lalt: (1934).
Collins, Wdkie (1824-1889). English novelist; friend o f Dickens, Author of -me Woman
in While (1860). '(he Moorutonr (1868), 11,,: X('w Magda/til (1873 ),
colporta~. System of dUtributing books by tr.lVcling peddlers in the eighteenth and
nineteenth. centuries in Frallce. From col, "neck." alld /I/Jrter, - to QrT)'," reflecting WC'
fact dlllt eolponeun earned their wares on trays suspended from srraps afOund their
DC'eks. TIley dUse:J'llinated religious and devotional literature, manuals, aimanaa, eol·
 Ittti~ ~f folklo~ and popular tales, chivalric romances, politictl and philosophical
works U1 mo:pcnsl'l.'C [annaLS, and. after 1840, soia! novels. In dttlinc b)' the mid.JUne...
(<<nth ( emu ry, due to competition from the popular press.
~mmune of Paris. Revolutionary government established in Pam On March 18, 1871,
III the aftennalh of the Frallco-F'russian War. It wa.t suppressed by Adolphe: Then's
!,'OVenuncnt in bloody 5U«t·6g1uing that ended May 28, 1871 , leaving 20,000 Commu-
nards dead.
Comte de Saint-Leu. Title assumed by Louis Bonapanc (1778-1846), brother of Napo-
leon Bonaparte and father of Napoleon III
g Conde, Le Grand (1621- 1686). Louis II, prina: de Conde, a member of the 8ourbo
family who was a milita!')' leader under Louis XIv. n d'Au.revilly, Su Barbey d'Aurevilly,Julcs.
Conde, LouiJ HenriJoseph (1756-1830). Last prince of thc Conde family, a brnnch of
th~ !lOuse of Bourbon. \\bunded at GibraltaT (1782). 11 is thought that he committed
sUICIde.
Condorcct, marquil de (1743- 1794). Philosophu, mathematician, and ~lutioniry.
Advocate of economic freedom, rcligious toleration, kgal and educational reform.
OtHla"'e~ all . a Girondist by Robespierre, he died in prison. Author of Esquim d'un
l(lhltDU /lIJlonqut tkJ jJrogrtJ de l'tSpn't IIumain (1795),
Congreu of.1Oun. Socialist pany con~, at the end of 1920, marking a schism be-
tween panuans of the Second International and those of the TIUrd International.
Coruidtrant. Victor (1809-1893). Disciple ofrourler and a leader of the Fourierut! arrcr
1837. Author of Dtstinit S«!'a}e (1834). He tried to e5tablish a phalansterian community
oc:ar Dallas, Texas (1855-1857).
Constant, Benjamin (1767-1830). Franco-Swiss novelist and liberal politician; associate
of the SchlegeIs and Madame de Stat!. Author of AdofpM (1816).
u ConstihaiontU!L Daily newspaper published in Paris 1815-1870. During the 1840" it
was the organ of moderate Orlearllst!.
Coppee, F~is (1842- 1908). Poet. playwright, novelist. A leading member of the
Pama.smans.
U Conairr-Sakm.. Satirical newspaper issued in Paris 1844-1S49. Its editor, Upoitevin
Saint~Alme, had been a friend of Balzac. It published the work of Baudelaire, Nadar,
Banville, Murger, and omen of their circle.
Co~t, Gwtavc (1819-:-ISn). Leading French realist painter. Presided 0\Ief the ComO. .
outtee of FUle Arts dunng the Commune (1871 ). He was imprisoned six months for '
destroying the column ill the Place Vendame, and was condemned (1875) to pay for
restoration of the column.
Courier, Paul (1n2- 1825). French writer and political pamphleteer who wa5 mu~en:d.
Opponent of the clergy and the Restoration.
Cournot, Antoine (1801-1877) . Economist iUld mathematician, who sought to apply the
calculus of probabilities to the' solution of C'COnomic problems.
Coun of Cauation. Established in 1790 as the. highest coon of appeab in the French
leb..u synem. During the Second Empire. it tended to sen'e the intCn:.'5t!! of the b0ur-
geoisie. who had l"OIIlCto power unde'r louis Ph.ilippe, and thus represOllCd a check on
the power of Napoleon HI and Baron HaU.S5m;uUl.
Cowin RlIU. Main character in Balzac's lIovd Lt Cousin Pons (1847) .
Cowin, VICtor (1792-1867). French philosopher and statcsman; leader of the Eclectic
school. Author of Philruophie de Kiml (1842). and HiJrIJirr ginka{, de {a philOJoplije
(J 863).
Cripet, Eugene (1827- 1892). French man of ktters. Edited Baudclai.rt:'s Ot:uIlrtJ post-
IIum'J, PriciJitJ J 'llne lIolicr.lnogmplriqut (1887 ).
CrCpct,Jacques (1874-1952). Son of E.u~ne Crepet. be continued the latter's work. in
editing Baudda.ire and revising the. £ill~ hiograplliqur (1906).
Cn:vd, Rent (1900- 1935). Novdist. poc:l, essayist ; among the first Surrealist!. He com-
mitted suicide in Paris. Author of Aw{ FJu (1930) and Duli, ou L'Allti-obs'llrallrume
(1935).
Curtius, £nut Robert (1814-1896). Ccnnan classical philologist and archaeologist.. As
director of antiquitics in Betlin. be o\,e:naw the Gennan excavation of Olympia. GrttU
(1875-1881).
Cuvier, Georges (1769- 1832). Naturalist and st.atesman; fou nder of comparative anat-
omy. He classified animals in teml5 of four distinct types.
d'£ichthals, Cwtavc (1804- 1886). Saint-Simonian foUowt:r of Enfanrin and coUabora-
tor Oil thc ncwspaper Le Globe.
Dacqut, Edgar (1878- 1945). French paleontologist.
DaguCl"""r'C, LouiJJIMXJUCI (1787- 185 1). French painter and inventor. Helped dcvdop the:
diorama in Paris (1822), and collaborated widl J. N, Niepce (1829-1833) 00 work
leading to the disCO\lU)' of the dague~otype process, comnlUrucatcd to lhe Academy
ofScieoce5 in 1839.
Danae. In Greek. mythology, the: daughter of Eurydice and Acrisiw, and mother of
Persew. She was imprisoned by her father in a chamber orbrome.
Dartod. TIm:e brothe:rs- Fran(jois-Victor-Annand (1788-1867), Louis-Annand-TIlCo-
dore (1786-1845), and Achille (1791- 1868)-alI active and occruionally working t.o-
gether in theater and vaudeville during the nineteenth century,
Daubrua, Marie (1827-1901 ). Noted French actress, beloved or Baudclain:. Inspired a
JWIllber of poems in U J F1nm du mat.
Daudet, AJphonse (1840-1897). Novelist who published a series of successful boob
from 1866 to 1898. Father of Lean Daudct.
Daudct, UoD (1867-1942). Son of Alphonse Daudet; journalist and writcr. Founded,
with Otarles Maurras, the: royalist joumal J.:Ac/i(Jfl fian~i.se (1907). Author of 1l(JVds,
boob on psychology and medicine. political worb, literary criticism..
David, F8iden-('bar (ISW-1876). FrOlch composer of popular and influenrial sym-
phonic odcs-C'.g., U DiJerI (1844). H","lanum (1859). Preached Saint-Simonian d0c:-
trine' in the Middle: East.
David, JlMXJucs-LouiJ (1748- 1825). French painter sympathetic to the: Revolution of
1789: an admirer of Robespierre a1ld, later, Napoleon. His neoclassical portraits of
revolutionary heroes influenced the development of academic painting in France..
Dcburau, Bapwte (1796-1846). Acrobat's 50n who tranSfomted the. chaneter Gilles or
commedia deU'me imo the wily chameleon Pierro[. Hill son Charles (1829- 1873), a
SlaT during dle: Second Empire although withoutll.is father's genius, was photographed
by Nadar.
Occembrul$. Participallt!! in the uruucces.sful plot to overthro..... Czar Nicholas 1., in
December 1825.
Dclaroche, Paul (1797-1856). French portrail and historical pa.inter. rounder of the:
Eclectic sch ool, which united classical line with romantic color and subject matter.
Delatouche, Hyacinthe (1785-185 1). Author of a IlO\.'d about a hermaphrodite,
Fragoktta (1829).
Delescluze. Louis Charles (1809-187 1). Politician and journalist, active in the 1830 and
1848 revolutions. A lcader of the Paris Commune, he was killed 0 11 the barricades in
May 187 1.
Delesscrt, Ga briel (1786- 1858). Prefect of Paris police. 1836-1 848.
 Ddord, Tuilc (18IS-ISn). Frmchjournalist. Editor of I.e Cluuiv(U, 184H-lIi5H, :md
author of PIl]Jiologie tk la Pari1icnne (184 1).
Ddonne,JOKPh. Main chatacttl' in V"re, poiJitS ~t fJtTIJitJ de JOJtpit IXlonru, by Sainte-
Bcuve (1829).
Delvau, Alfred (1825-1867).J oumalUt and friend of Bauddairc. Author of us HturtJ
pariJitnnts (1866).
de MaUcre.Joseph (1753-1821). Diplomat and writer admired by Baudelaire. Author of
U J &irieJ d,. Sninl-PltmhlJurg (1821 ). which argued for the absolute rule of sovereign
~-
DCmac, . follower 0 IS
Clain: (1800-1833). Enthwia..'l tJc · · · wbo comnuttcd
amt~lmornarusm .
9
suicide. Author of the manifesto MOo lAt' davt7lir (1834).
La /)imoc:nJIV j1t:tciftquL Fourierut daily edited by Victor Coll5idcrant; published in
Paris 1843-185 1.
Dcmocritw. Greek atomist philosopher of the late: fifth century B.c. He thought that
images (eidola) of a body arc giV(:n off when this body is perceived, and that ~
images enter the pores of the viewer.
Denner, Balthuar (1685--1749). German portrait painter.
Dennay, Adolphe: (1811-1899). French playwright and librettist.
cia E."dntel. HypenemiciV(: hero of Huysmans' novel, A RtbmJfl (1884).
Oanoycn, Fem and (1828- 1869). Bohemian writer and friend of BauddaJre. Co-crutcd
n
the FtJtJcAri/l which published the two wCripuscuJe poelD!.
Deubel, Uon (1879- 19 13). French potte maudit.
DevCria, Eugenc (1805-1865). French historical painter; brother of Achille Ocvtria
(1800-1857). Both Wtt< pnW<d by &udw;",.
OiogeocJ (412?- 323 s.c.). Grttk cynic philosopher who, in punuit a:
an ascetic ideal,
lived in a rub. Supposed to ha\'!! wandered the !trcct! once holding up a lantern,
"looking for an honest man.n
Diorama. See panora.J.na5. . .
Dim:tory.In Francc, the period immcdiatdy following ~ ConvellDon-that, IS, October
27, 1795, to November 9, 1799. It was a period of profligacy, of nouvcaw: nches, of the
rerum of nobles from exilc, and it ended with France on the verge of.bankruptcy.
Oiaderi. Adolphe-Eugene (18 18- 1889). French entreprcncut. He introduced mass-
manufacturing principles into portrait photogr.tphy in 1859 and 3.llWS~ .a fonunc
before the collapse of the Second Empire. lnvt:ntor of the: popular co.rte de mn/e (pocket,
portrait). . . . included Bauddairc. Most membcrlJ were devout monarchist! who, in 1848, became
DOblin, Alfred (1878-1957). German physician and wnte:r; m exile: from 193 ~. Author
of &rlin Alaandtrplatz (1929). .. . ,
Doli, Gwtave (1833-1883). French artist best known for his illwa-auoru of Balzx s
Centes drolaliqutJ (1856 edicion) and Cervantes' Don Qyixote (1863 edi~on) .
Doumaguc. Guton (1863-1937). Wt-wing statcsman. Twcl£dl president of Fra.na
(1924- 193 1).
Dozon. Augwte (1822- 1891). French diplomat and 5dlolar of the: Balk.aru who D"anS'
late:d poetry from Bulgarian and Albanian. . . . phonograph.
Orouct,Jullctu: (1806-1883). Actress with whom Hugo began a liaison ~ 1833. She
renounced the sUg\" to devote henclf to him, di.sat-ed y, U~ltil her death.. . Fre:nch dail y life under tllcJuly Monarchy.
Dnunont, Edouard (1844-1917). Anti-Sanicic and ann·Drcyfusard JOUmalist who
founded and edite:d La Libre Parol,. Author of the influouial La FrafIU juillt (1 886).
Du Barta.s, Guillaume (1544-1590). Frcndl poet. AudlOl of an epic of creation, La
Semlline (1578).
Du Camp. MlUimc (1822- 1894). WritcT; frlcnd of Haubert. \\brkcd with Baw:ldaire
on La Rnlut: de /bro. Decorated by Cavaignac for servia in the Garde- Nationale
during the J WlC Da)'Il. Author of U J CllanlJ mfHkrn'J (1855) and a six·volume account
of ninetttnth·cenrury Paris (1869- 1875).
Ducange:, Victor Henri (1783- 1833). Author of noVC'ls and dramas during die Restora.
tion. Imprisoned several times for hi3 liberalism.
Ducas~, uidor. .xt: Lauuiamont, comte de.
Dulam.on, Frederic (1825- 1880). Literary bohemian. an associate of Bauddairc.
Duiaurc, JlUXlucs (l755--1835). Deput}' during the Convention and active defender of
dle J1':\'o lutiunarr cau.sc d uring the: Restoracion. Author of an influClltial Hiltoirr tk
ParU (1821-1827).
Dumas, AlcIan~ (pCr'C) (1802- 1870). Enonnou31y popular French novdut and
dramatist who, thanb to hi! fine handwriting, became secretary to the future Louis
Philippe and embarked on a succcssfullitcrary career in die popular press.
Dumas, Jean (1800- 1884). Chemi!t who fou nded the: Ecole Centrale des Am e:t
Manufactures in Paris (1829). Studied vapor density and the- composicion of me atmo-
sphere.
Dupont, Pien-c (182 1- 1870). fbpular lyric poet and !Ongwriter. Author of La Ihttx
A/lgt:s (1842) andu Clwnt rkJ ouvria-J (1846). Subje:ct of two CS!a}'3 by Baudclairc.
Duqucsnay,Jcan (1800-1849). Architect for the original building of the Ecole dC5 Mines
and fur the Gare de: l'Est in Paris.
Duval,Jeanne. French mulatto, a prostirute: and actreSS, who WlL!I Baudelaire's rnUtrcs5
for many years and the inspiracion for several ofhis poems.
Ou" eyrier, Anne Honoft: (1787- 1865). Playwright who collaborated with Eugtoc
Scribe and others, including hi! own brother CharlC5 Duvcyrier.
Duvcyrier, Charles (l803-1866). French IawyCl' and writer; di!ciplc of Saint-5imon.
Founded the journal u Cridit.
Ecole de&BcaWl-Aru. School of fine :uu founded (as the Acad~mie Royale d~tcc­
ture) in 1671 in Paris, under Louis XIV. Merged with the Academic Royale de Peinturc
ct de Sculpture (founded 1648) in 1793. Particularly influential in the field of atehit.cc-
tural design during the Second Enlpirc.
Ecolc Nonnandc. Croup of young p«t! with a taSte: for technical vinuosio/; flourished
in the early 18405 at the ~ion Bailly in the hean of bohemian Paris. It centered
around Gustave Lc Vavasscur, Ernest Prarond, and Philippe de OlCnncvieres, and
fierce opponent! of the: new repub~ c.
Ecole 1\>1yttchnique. Engineering school established i1l 1794 by the Nacional Convt:n·
cion as die' Ecole: Centrale des Tr.lvaw: Publics, under the: direction of ~ Camot
and Gaspard Mo nge; lOOk its present name in 1795. It \Val transformed into a military
school by Napoleou i.1l 1804.
Edison, ThomlU Alva (1847- 193 1). American inventor. Invented the Kinetograph, dlC
fm t tme motion picture camera. in 1889, as WI accompaniment to hill: vastly successful
L'EJuMlicn smtitni!ntok. NO\·cl by Flauben of 1870, prc&entin g a Va!/: panorama of
Eiffcl, Alaandre-Gwtavc (18J2- 1923). French olginttr, a founder of aerodynamics.
Built ~ \'Cral arched bridges of iron and. (or the Paris Exhibition of 1867, the arched
Calenc de., Machines. He wa~ kuowll as "the: magician of iro n" after his collStruction
ordlc Eiffd Tower (1887- 1889).
Enfantin, Barthltemy-Proaper (1796- 1864). Saint-Simonian leader, known as Pm: En·
fantin. The modd community he established at Mtnilmolltant in 1832 was charac-
temed by fantastic 5accrdotali.'im and freedom between the sexes. After serving on the
Scientific Conun.i5"ion on Algeria, he became the 6nt director of the Lyons Railroad
Company (1845).
Engdmann, Codefroi (1788-1839). French lithographer responsible for the intrOduc-
tion of the SenefcJder process in France.
Enniw. Q,yintw (239-169 B.C.). Roman poet, a founder of Latin Iiter.tture. Author of
cragcdic:s, comedies, and the: epic poem Annaln OnJy fragments ofhis work remain.
Epinal_Town in northeastern France famous for its production of sentimerual n:::ligious
paintings.
Erler, Fritz (1868- 1940). Gennan graphic artist prominc:nt inJugcndsw; set designer for
the Munich ArWu;' Theater. H e was criticized by Kandin.sky for his "wiUful original-
ity."
FAmblard,Joaepb-AlphoIUC (1769- 18 11 ). French publiwt and poet who wrote for u
O!JOtidimM and other journal5. Author of the long poem fA Nalligation (1805).
Etzd. Karl von (18 12- 1865). Engineer responsible for the constrUction of many central
train stations and railroad nerworlu in Gennany and Switzerland.
Euge.de (1826- 1920). Empress of France (1853- 1871) as wife of Napoleon Ill.
Euler, Leonhard (1707- 1783). Swi.s5 mathematician and physici.~t .
Evadamism. Sn Ganeau.
Faguet, Emlle (1847- 1916). Literary oioc and professor at the SorbOlule. Author of
books on Conleille, La Fontaine, VOI~, and Flaubc:rt.
FaIloU1, c:omte Fredttic (J811- 1886). French politician; min.i<J ter of public instruction
(1848-1849). He introduced the law known as the loi FaUoux, mandating freedom of
irumlcDon (pas~d 1850).
FanMmas. Cycle of popular twentieth-<enrury ilirillen by Marcd Allain (1885- 1969).
Favraa, marqtW de (1744-1790). Army officr:r who planned the escape of the roya1
family at the outbreak. of the Revolution (1789). Captur«i and hanged.
February Revolution. Refers to th~ overthrow of Louis Philippe's constitutional mOnar-
chy in February 1848.
Federal Diet (Bunwtag) . Central organ of the Gaman Confederation from 1815 to
1866. Consisting of rcprc.sentatives of the Gcrman stateS. it was used by Cennan
governments to carry through their policies.
Fern.gus. Main character in Balzac's novel of the s:une name (1833).
Ferry, Ga briel Pseudonym of Gabriel de Bellemare (1809- 1852), Frcndl writer and
eontnbutor to La Rrout des dt ux mcmdts. I Succeeded his father, Wtlhelm I. on March 9, 1888, but died of cancer after three
fhal, Paul (1817-1887}. Novelist and playwright. Author of Les M)JtmJ dt LondrtJ
(1844) and Lr: Brusu (1858).
Fidw. Pseudonym of Hugo Hoppener (1868- 1948), German architect and painter of
Jugendstil.
Fieschi., Giuseppe (1790- 1836). Conicao conspirator. Made an unsuccessful attempt 011
the life of Louis Philippe in 1835 with his "infenlill machine," killing eightecn p<.'Ople.
u Figwo. Conservative paper published in Paris from 1854 ; a daily fmm ~866. Con·
nccted with the govcnuuent of th~ Second Emp~.
figuitt, Guillaume LoW. (1819- 1894). Writer; populariu:r of science.
La Fm lk S4tan. Unfinished and posthumously published epic poem hy Victor Hugo
(1886: written 1854-1860).
Flocon, Ferdinand (18(}()- 1866). Frcnch politician and publicist: editor of the newspaper
Lu R{fomrf. He was a member of the Proo.-i.!iional Govemmcnt of 1848.
Floue, Etienne-GaItOD, baron de (1805- 1882). Catholic royalist poet and writer &om
Marscilles who was the author of an essay on the literatun::: ofhis city.
Floureru, Pien-e (1794- 1867). French physiologist ; professor at the: Colltge de France.
Author of lh l'blJfinrl et tk I'inlt lligmu da flnimaux (184.1 ).
Fontaine, PietT'C' (1762-1853). Chief architect for Napoleon. Retained the favor of Lollis
XVUI and Louis Philippe.
FontanarU. Hero of Balzac's play u s & JJfiurftJ de Qyinf)/Il (1842), set in the sixteenth
century.
Fontanea, LoW. de (1757- 1821 )_ Writer and statdman. President of the Corps Ugislatif
(1804); senator (1810); member of the privy council under Louis XVIII.
Ford, Iknry (1863- 1947). American automobile manufacturer. Introduced profit sharing
in the: Ford Motor Company (1914).
Fonnige,Jean Camille (1845-1926). French architect.
Fouqu~. Friedrich de La Motte (1m-1M3). German romantic writer. Author of the
popular fairy tale ihtJiTit (18 11), which was 5d. to music by E. T. A. HolJinann.
Fouquet,Jean (14 16?-1480). Frmch painter at the court of Louis Xl Known es~cially
for his illumination of Lillffl d'hnlrtJ.
Fouraoy, Antoine (1755- 1809). Chemist. Co-author, with Antoine Lavoisier, of Mlthode
tk nomrodature chimique (1787).
Fourier, Charles (1772- 1837). French wcial theorist and refonne:r who advocated a
cooperative organiz.ation of society into conununities of producers known as phalan-
steries. Author of 'fhiorie deJ quat" mouvr:mrotJ (1808), Traiti de I'aJJoaalion agricole
d(Ymtitiqut (1822), Lr: Noullf:au Monde industn'el (1829- 1830), La rouue /nduslrie m(]f'Ulie
(I B35-1836).
Fournier, Man: (1818-1879). Swissjoumalist and author; in Paris &om 1838. Dircctorof
the nteatre: de Ia Fbne de Saint-Martin (185 1), for which be wrote many popular
dramas in the 1850.1.
FraWc, Annand (1830-1877) . C ritic and jouma1ist working out of Lyow. Admin:r of
Baudelaire's poems.
Franc:e, Anatole. Pseudonym of Jacques Thbault (1844-1924). satirical novelist, critic,
u
poet. and playwright. Author of Crime de S)lllf:Jtre &mnaro (1881); and of an Histoirt
contttnjXJraine, including the \'Olumes iL ManMquin d 'OJitr (1897) and Mrmsirur &rvrtt
a Paris (190 1).
., FraDIiOu I (1494-1547). King of France (1515- 1547). His reign was marled by a Renai5-
sance of w arts .
Frederick III (183 1- 1888). Opponent of Bismarck; patron of literature and science.
month!..
Frigiu, Honore.Antoine (1789-1860). fblicc officer. Author of IRs CIOJStJ dangtreUStJ
(IB'O).
Der FmschUh. Opera by Carl Maria von W:bcr (1821 ).
Fuller, Loie (1862- 1928). Ame rican dancer who achieved international acclaim through
her irulovations in theatrical lighting and her invention of the "serpentine" dance
(1889), involving lengths of silk manipulated under colon:::d lights.
Fwtcl de Coulanges, Numa Denis (1830- 1889). French historian; specialist in ancient
and medieval history.
Gambena, Leon (1838- 1882). Lawyer; leader ofl.he opposition to Napoleon Ill. Es-
caped Paris by ballOOn during thL" Fr.tnco-Prussian war. Premier of France (1881 -
1882).
Ganeau (or Ganncau) (1805-1851). Sculptor and pa.mphleteer who, around 1835.
 founded the religion known as Evadamiun (E\'e + Adam), which called for Ule fusion
of the sexes. Took the name /~ Mapall (mater + pater), and 5(:nl his androgynow
sculptures to politicians.
Gautier,judJth (1850-19 (7). fuet and l1O\'elist ; daughter ofTheophile Gautier. Author
of Richard mW'" (1882) and R~urJ d'On'rot (1893).
Gautier, Thcophlle (1811- 1872). French man oflettm. A kaderof thePamassiaru.
Gavami, Paul. Pseudonym of Sulpice Ch eV'.uier (1804- 1866), French illustrato r and
caricaturist, best known for his sketches of Parisian life.
Gavroche. Character in u s MiJirahks (part rv. book 6).
Cay,Jules (1807- 1876). French uto pian communist.
Gay-Lw.sac,JOICph (1778- 1850). French chemist and physicist.
Cdfroy, Gustave (1855-1926). P:u-Uianjoumalist and nO\'eli.n; an critic for La JusHte.
Wrote biogr.aph.ies of Charles M eryon and Louis-Auguste B1anqui.
Geoffroy Saint-Hilaire. Etienne (1772- 1844). French naturalist who propounded a sin·
gle type of sO'Ucturc throughOut Ule animal kingdom. Violentl y opposc:d by Ge6rga
CUvler.
Gerard. Fran~ia (InO-I837). French historical and portrait painter.
Gcntick.cr. Friedrich (I816-1872). Gmnan tra\'eler and author of ad\'mturc stories
often set in North America.
Ccrvex. Henri (1852-1929). French painter, identified IoVith the Impressionist school..
Gervinus. Georg (1805- 1871 ). CcmlanlWltorian.
Giedion, Sigfricd (1888- 196S). Swiss an his torian. r U1lt secretary of the Congres IntO'-
nationale d'Architccture Modem e (1928). Professor at Harvard from 1938. Author of
&um in FronAmell (1928).
Girardin, Emile de (IS06-188 1). Inaugurated low-priced journalism y,ith his cditonhip
of lA Prtm (1836-1856, 1862- 1866), at an annual subscription rate offony francs .
Member of the C hamber of Dcputies (1834- 185 1; 1877- I RSl ).
Girardin. Mme. Delphine (1804-1855). Writing under the pseudonym Charles
de Launay. she: published novels, comedies, verse, and a serie.s entitled u ttra Pari-
Gisqllec (1792- 1866). Prt:fcct ofPa.rU police 183 1- 1836.
u GloM. Important Parisian newspaper founded and edited by Pierre uroux in 1824;
became the organ ofSaint-Siruonianism in 1830.
Godin,jean (1817-1888). Fn:ncll industria.l.iuand social refonner, influenced by fuurier:
established a familistCre among his operatives. Author of $iI/uh·on.J socia./tJ (1871 ).
Gorgiaa (485?-380 H.C.). Greek Sophi.'lt and rhetorician. lmmortaliz.cd by Plato in his
dialogue ~rgias. J Baudelaire's essay ~Le ~intre de Ia vie modem e."
Go.ue. Nic:01u-Louis-Fran~is (1787- 1878). Frc:nch painter who spccia.liz.cd in works for
cllUr~hcs, mwcurns, and public building1.
Gotha. Cicy of central Gennany where, from 1763, the A/monad. tk GiJtlla, a record of
Europe's aristocratic and royal houses, was published.
Gozlan, Uon (1803- 1866).joumaliSt, Ilovclist, and playwright. AutilOr of u rrio1flphe
lks omllib.lJ: Prmnf Mroi-(.omique (1828), &lhac ct. pantol!fi~J (IS65).
ColO. Island northwest of Malta.
Grabbe, ChrUtian Dietrich (1801-1836), German dramatic poet. Among his plays arc:
/)Qn JUOIl und roUJt (1829) and Mlpoitoll, otkr Die f!ullturt 'ragt (1831 ).
Gra.cian, BaJrasar (1601- 1658). Spanish writer and philosopher. Redor ofjesuit CoUegc
at Tarrago na. AudlOr of E/ eriri'on (165 1- 1657).
Grand-Carter'et, john (1850- 1927). French jounualist. AutiiOr or uDi(olleti d It
YeirtJUJJi: Un Siide (Ie gau/(JUt,u (19 10) and other illustrated books on customs of the
day.
Grand Chitelet. Ancient fortress in ParU that served as both counhowe and prison.
Gr-.mdviUc. Pseudonym ofjean-Ignace-Isidore GCnrd (1803-1847), cancaturUt and il-
lustrator whose work appeared in the periodicals u C/w.n·uari and Ls C",imlurt. lht
/lum Mfllltle. with illwtratiuns by Grandville and tCXl by Taxile Dclord, editor of u
CluJrioori, appeared in 1844.
Granier de Cauagnac. Adolphe (1808- 1880}.J ounJali.'lt and ardent Bonapani.u after
1850. Editor of u Pap; a uthor of Souvenirs du Second Empire (1879).
Grillparzer, Franx (1791- 1872). Austrian playwright and poet.
grisettc. Refers to a type of proletarian young WOtllllll in Paris who was associated with
such trades as 5(:an1.'ltrc.ss. cl13.ffibermaid, o r milliner. and whose bdlavior was suppos·
edly charaClerizcd by independence, loose morals, and a brasb manner. TIll! tc:rm
derives from the gray color of the makriaJ used for 'NOrking-class clothing.
Gronow, Captain Recs Howell (1794- 1865). English military officer. Fought at Water-
loo, and went o n to become a London dandy and gambler. Resided in Paris from the
late 1830s. Published four volumes of rerninisct:nces (186 1- 1866).
Gropiw, Karl Wdhelm (1783- 1870). Cennan architeCl who specialized. in theater dkor.
Opcnro lIo diorama in Berlin in 1827, with views of Gn:cce and Italy.
Groa, Baron Antoine (lnl-I835). French historical painter; studied undO' David,
whose da..uical theory he lIodoptcd.
Grim, Karl (18 17-1887). German writer and publicist; follower- of Feuerbach. MCmbc:r
of the Prussian National Diet. Representative of ~ true sociaIism n in'the 18405.
~ Refers to rc:cklw financial speculation; specifically, four years of such
speculation following the Franco·Pru.ssian war of 1870-1871.
Guaita, Stanislu (1861- 1897). Italian-bam French poet and mystic, one-time a.ssociate
-of Maurice BaJru. Author of us OistdUJt tk ptus.agt (1881). La Muse Mirt (1 883).
Gudin, 1'hCodore (1802-1880). French painter of seascapes and landscapes.
Guilbert, Yvette (1868-1944). French singer.
Guillot, Adolphe (1836- 1892). Member of the Academie des Sciences Morales. Pub-
li'lhed many works on sociology and on the city of Paris.
Guizot, F~u (1787-1874). Historian and statesman. Premier o£France, 1840-1848 i
forced OUt of office by till! Rrvolution of 1848.
Gutzkow. Karl (1811- 1878). Germanjoumalist, novelist, playwrigtu. A leader, from
1830 to L850, of 'lbung Germany's revolt against Romanticism. Author of Die Ritter
1»111 GeiJt~ (1850-1852), which initiated the modem German social novel.
Guy" Corutantin (1802- 1892). Dutch·bom illustr.ltor; won fame for sketches of Pari-
sian life duri ng the Second Empire. His ink drawing! and watercolors arc: the subject of
Ha.cklinder, Friedrich (181&-1877). German writer. Author of DaguerTtotypen (1842),
.Namrn/(m Gwlrichlm (l85I ), Ib-hott1lt Frikhl' (1876).
Halbry, Danid (1872-1962). French writer. Au thor of Euai jur k m(JulJn1lt1l1 OUur1" til
Fran(e (1901), lA flit tk FridirUNittudle (1909). Juks Mi,hdd (1928).
Halky, Leon (1802-1883). French writer. Author of book..'! o n J ewish history, several
volumes of vc;rse. and a few plays.
HalCvy, Ludovic (1834-1908). Playwright and llO\'eliu, so n of Uon Halcvy. Among his
lllallY "'Orks are fA &/k HI/bit {I 861). FriJ#orl (1869), and Mariage d'amour (1881).
He was Offenbach's most inlponanl collaborator.
Hardekopr. Ferdinand (1876-1954). Gennan expressionist poet and translator of
French writers. Influenced by Jugendstil. Friend of Emmy Hennings in prewar Mu·
nich.
Hau&er, Kaspar (181 2?- 1833). Gemllln foundling. Popularly beliC"\-cd to be of noble
birth, he died of sub wound:!, which he said he received from a stranger prulliliing
 infonuation abom hi.'; parentage. Subject of the novel Caspar HaUJ~r (1909), by J akob
Wassennann, and otho- works of literarure and film.
Haw.smann, Baron Georg« Eugene (1809- 1891 ). Srud ied law and entered the French
civil service in 1831. As preft"ct of die Seine (1853- 1870). under Napoleon Ill, ht"
inaugurated and carned through a large-scale renovation of Paris, which included the
modemization of sanitation, public utilities, and tranSportation facilities . t.he oomouc.
tion of the Paris Opera and the central marketplacc Lcs Hallcs, the landscaping of thc
parks al Boulogne and VincClUles, and the creation of strategically organized grandt
bOlft~rdt that nccC!uitated die demolition of many old Parisian neighborhoods and
many arcades built in the first half of die century.
HaUS50ullier, William. (18 18- 189l). Freuch painter lauded by Baudelaire in ~ Lc Salon
de 1845."
Hcbert. Jacque.s (1755-1794). Radical joumalist and politician of the Revolution. Pub-
lished the popular satiric newspaper u. p"~ Duchesne (whose title became his nick-
name). Executed in a souggk with theJacobins' right wing under Damon.
Heim, Fran~u (1787-1865). French historical painter; praised by Baudelaire.
Hcine, Heinrich (1797- 1856). Gennan poet a.nd critic. J ewish·bom Christian conven;
m ident in Paris (from 1831), Among his works are &isebilder (1826-183 1), Blleh tkr
Lieder (1827), RMUlnuro (185 1).
Helena. Character in Goethe's NUlt, Pan 2.
HcUogabalw (204-222). Roman em~r, devoted to debauchery, who PUt to death
many scnators. Killed by praetorians.
Hello, Emest (1828-1885), French philosopher aud critic. Author of uStyle (186 1),
Phi/ruophi~ t! athli.rme (1888).
Hennebiquc, Fran~ (1842-l 92 1). French SIruClurai engineer who devised a kind of
reinforced concre~ using sted and iron (patented 1892).
Hennings, Emmy {1885- 1948}. German poet and cabaret artist in prewar Munich and
later in Zurich, where, with her husband Hugo Ball, she launched Dada in 19 16,
founding Cabaret Voltaire. Friend of Benjamin.
Herault de sedtelles,Jc:an (1759-1794). Lawyer and politician. Member of the National
Convention (1792); helped to d raft. the new constirution (1793). Guillotined in Paris.
Hc:rtdia,jo~ de (1842- 1905) . French poet of Spanish parentage; settled in Paris in 1859,
A leader of the Pamassians and a disciple of Lcoome de Lisle. Author of u s 1'rophia.
(1893).
Hmaani. Play by Victor Hugo. Its first perfonnance (February 25, 1830) resul ted in the
triwnph of the Romantics over dIe Iilerary classicists. The title character, a noble
outlaw, wore a red waistcoat. , jorschung, devoted mainly to cultural analysis, 1932- 194 1. The administrative center of
HencheU, Sir j ohn (1792- 1871). English astronomer and madlematician who followed
in the path of his father William with die discovery and cataloguing of stellar phenom-
ena.
Herwc:gh, Georg (1817- 1875). Gcn.nan poet. and revolutionary. Author of (Jedichle dnes
IAtntiigen (1841 - 1844).
H ess, Mo!Cll (1812-1875). Editor, with Friedrich Engels, of Drr Crst:!!J'hl!f/sspit'gtl (1845-
1846). Broke """ith Marx and Engels after 1848. and suppcJlted the so<;ialist leader
Ferdinand Lassalle in Pam.
Hesm, Franz (1880- 194 1). Writer and translator; an editor at Rowohlt Verlag ill Berli.Jl.
Emigrated to Paris in J 93R. He collaborated \"vidl Bet-yamill on tranSlating Proust. His
book..~ H"imlichu Bulin (1927) and Spmit'/"al in &rlill (1929) were reviewed by Ben-
jam.in.
I:leym, Georg (1887- 1912). Leading Gcnnan cxpressiorllsl poet, influenced by Baude-
lairc aud R.imbaud. Author of Umbra uitfu (19 12). Drowned while trying to save a
friend.
Hinorlf,Jacques (1792- 1867). Government architect in Paris frolll 1830. Built the G~
du Nord and odlcr public and private buildings.
Hoddu, Jakob van. Pseudonym of H ans Davidrohn (1887- 1942), expressionist poet.
Author of Weltende (19 11 ).
Holbach, Baron Pa ul-Henri Thiry (1723-1789). Gcnnan-born French materialist phi·
losopher. Audlor of Le Cllristiallume tliooili (1761), uSYJfeme rk III no.ture (1770), u
Politiq,.e n(lfllrdlr. (1773 ).
Homais. Freethinking provincial phannacist. in fl auben 's Madame & 1Jaf] (1857).
Honfleur. furl o n the Nomlalldy coast where Baudelaire's stcpfadler bought a house on
a clifftop in 1855.
Hotel de Ville. Paris city hall.
Hotd-Dieu. Famous hospital in Paris, first established in the twelfth century ncar Notre.-
Dame. It burned down in 1772, was rebuilt, and then was tom down during the Second
Empire. A new H6lcl-Dieu was buill 1868- 1878.
Howsaye, ArKne (1814-1896). MaIl of letters; manago- of the Comedie Fran~
1849-1856. Author of novels, verse, literary niticism, histories.
Huygen.s, Chri!tian (1629-1695). Dutell m.athematician, physicist, and astronomer.
Developed dIe wave dleory of light. V\brked in Paris 1666-1681, at the invitation of
Louis x.rv.
Huysm.an!, joru-KarJ (1848-1907). French novelist aIld an nitie., descended from a
family of Dutch artists, "Wlrked in the Ministry of the Interior. His writing:!: show the
influence, succcssivdy, of Naturalism, aestheticism, occultism, and the Catholic revival.
_ Autho r of A Vall-I'(au (1882), A R.ebollrl (1884), La-haJ (1891), En Route (1895 ).
karians. &t Cabet, Etienne.
~
De Saini-Louis, Small island in the Seine, next to the De de la Cit~. Residence ofBaude-
Iairc in 1842.
lmagr d'EpinaL Sentimental rdigious poster, named after the town in northeastern
France where dlis an was produced.
100titui de France:. Name given in 1806 to the lnstirut National (established in 1795 by
the Com:entioIl). Mter 18 16, it was divided into aaulhniej devoted to Iiteranm:, fine
3ItS, and science.
II, lrutitute of Social Raearch (JlIJh'tutfor Sozio.!fomhung). Established 1923 in affiliation
widl the University of Frankfun by a group of Idt·wing political scientists, including
Felix \\\:il, Friedrich fuUock., and Max Horkhc:imer. Published the qilscll riflfor Sozia/-
the U1.~ti1Ut e moved in 1933 to Geneva, widl branch offices in Paris and London, and in
1934 to Ncw York, where it was affiliated with Columbia University. U nder the direc-
tion of Horkheimer and Theodor Adorno, the institute returned to Frankfurt in 1950.
Janin,Jules (1804- 1874).joumalist.llove!isl:, critic. Published an influential fcuilleton in
) ourMt drs dibats. Author of the six-volume HuIDirr. de 10 Iittiratllrr. dramatiqllt tTl
Fralllt".
Jansscn, Pierre ( 1824~1907 ) . Frenell astronomer. Established and directed the observa-
tory on Mont Blanc (1893).
J a urea, J can (18.59- 1914). Author of HiJtllirr JIH.illli.rt~ de la Rlvolll/iolljTan,aist' (1907),
and leader of the demOCl<ltic socialists UI dIe Chamber of Deputies (1893-19 14).
Preached reconciliation with the state. His championing of Fram:o.. Gcm lan rapproche·
ment led to his assassination at the outbreak of V\brld War I.
 Jchuda Uudah) ben Halc:vy (ca. 1085-ca. j 140).Jewish poet and philosopher, bom in
ToIc:do, Spain. Died on a pilgrimagt' IOJerusalc:m.
J oel, Charlotte. Wtfe of ErrutJoel, all old friend of BmjanLin's from the youth movemc:nt
days and later a physician in 8c:rlin, who supovisc:d Benjamin's cxperimc:ntS with
hashish.
J oubert. J oseph (1754-1824). TIllnker and moralist; associate of Diderot and
Chau:aubriand. He took pan in die fint period of the Revolution 3.5 a justice of the
peace in his hometown, MontiWlac. but withdrew from politics in 1792. His lhIsits.
culled from his journals, v..ere first published in 1838.
J O"!fror d'Abbaru, marquis Claude (1751-1832). Engineer. A pioneer in stearn naviga·
tlon.
:JoumaJ ths tk1NU.r poliIiquu d liJtirrzires. Daily nrn<spapcr fou nded in Paris in 1789.
Advocated vic ....'S of the gO\ocnunellt during theJuly Monarchy.
J oumet,J ean (1799-1861). Fourierist missionary and poet who gave: up his phannacy to
wander for over twenty years, with knapsack and simple garb. preaching a doctrine of
passional individuaWm. Photographed by Nadar.
JugendatiL A style of ardlltecrural, figurative, and applied art that flourished in the last
decade of the: nineteenth century and the: urly }OCaTS of the twentieth. Connected with
Art Nouveau. In Gcnnany, where it was k.nown at first as the "modem style" and the:
~decorati"e movement," it was led by August EndeU and Henry van de \k[de. Mter
1896, it was associated with the periodical Die Jugend (Youth). It played an important
part in exhibitions of applied an at Wassily Kandin~ky's Phalanx sociery, beginning in
1901. It signified nor. only a CTOSlIi.ng of tht' cultwai barrier separating "bigher~ from
'"lower" ans, but an t'ducational movement intent on restructuring the human environ·
molt.
U Juif emml (The WarldcringJc:w). Novel by Eupt' Sue, published 1844-1845.
, La. Chambaudk (1806-1872). Saint-Simonian writer of fables , poems, and cssays. Ass0-
Julian (Flavius ClaudiwJulianus. known as "Julian the: Apostate"; 331-363). Roman
emperor and author.
Julllen, Louh (1812-1860). French composc:r and musical direaor.
July Oay•. SuJuly Revolution.
July Ordinances. Issut'd by Charles X and his ultra ministers on J uly 26, 1830, these
ordinances dissolved the newly elected Chamber, restrif.:tcd suffrage. and abolished
liberty of the press. Almulled onJul y 30, ont' day before Louis Philippe and Lafayette,
wrapped in a mcolor. embraced on the balcony of the Hatd de Ville, 3! the crowd
cheered.
July Revolution. Took. placcJuly 27-29, 1830, against Charlc.s X. Led to tht' proclama·
tion of Louis Philippe as "Citizen King" (July Monarchy). t ment.
June lruurredion. 1bc: .so-caI.ledJwle: Days (june 23-26, 1848), when 1V0rken in Paris,
aftl:':r the dissolution of the National ~rlc..s hops , ....'Crt joule:d by students and artisaru in
Spontaneous demonstrations against the newly ekctcd conservative: majority. Sup-
prc5S<:d in bloody battles on the barricades.
Karr. A1phonae (1808-1890).J oumalist and Ilovdist; cditor of u Fig«ro (l839), alld
fou nder of the satirical review U J GllijJeJ. Author of tfJJlIg~ (ll/lfJur de nWlljimlin (1845).
Kau tsky, Karl (1854-1938). Gemlan socialist \mtcr; st'CI'(tary to Engels ill London
(188 1). Editor of Dj~ n~ue Zrit (1883- 19 17). H t' opposed Bolshevism and the Russian
Revolution.
Kd.ler, Gottfried (1819- 1890). Swus Cc:nnan·language poct and IlWeli.!!. who published
his liut poems in 1846. AUlhor of lkr qiin, H~jnn"l (185..... 1855). Marlin .salQ1I(k,.
(1886), and other works. Subject of an imponant essay of 1927 by Benjamin.
Kircher, Athanuius (160 1- 1680). GenlW1Jesuil scholar wbo taught mathematics and
Hebrew at the CoUege of Rome. In 1643 gave up teaching to study hieroglyphics.
Credited with the invention of tile: magic lantern.
KJ.agcs, Ludwig ( L872-1956). Cc:nnan philosopher. associated with tlle: George circle.
Author of Hnn 1;aumwllJ1tHm (1919), ~fJm /umnoptud'rrl &as (1922), and Ikr Wist
all Widerj(.l(Ju:r tUr Stal! (1929-1932).
Kock, Paul de (1794-1871 ). French fX)\.·dist and playwright, known for his dq>Ktion of
. bourgeois life. Author also of vaudevilles, pantomirnd, tigllt operas.
Konc:h. Karl (1886-1961) . German political philosopher. Author of MtUXiJmUJ und Phi-
/OJopflie (1923). Exclud~ from the German Communist party in 1926; came to the
U.S. in 1938. Met &qjamin through WI:': medium of Breclu, witll whom he stayed UI
1934. H is book on Marx was sub.uantially drafted in Paris in 1936.
Knuttler Cafe. Berlin cafe established in the nineteenth century at the comer of Unter
den Linden and Fric:dricllllO'aSse, near the Kaiser Galerie and Potsdam Place. It "'as
frequented by Slock jobben toward thr: end of tlle century.
Kubin, Alfred (18n-1959). AWitrian painter and writer. WWitrated book.! such as Paul
Schocrbart's LL;abindio.
K.ugelmann, Ludwig (1830-1902). Gennan physician, active: in the revolution of 1848-
1849 in Germauy. Friend of Marx and Engels.
Kiihnc, Gustav (1806-1888). Cc:rman novelist and critic; a lcader of 'rbung Germany.
Editor of the weekly Europa 1846-1859.
Labl'Owte, Pierre F~is Henri (180 1- 1875). French architect.
Laccnairc, Piene-Fr1lJt9Ois (1800-1836). French writer associated with the so--call~
"frenetic" literature. Composed his MimoinJ in prison while awaiting execution for tlte
mW'der ofbank messc:n~n.
ciate of Louis·Auguste Blanqui.
Lacloa, Pien-c Choderloa de (1741-1803). Soldier and writer; a gox:ral under Napoleon.
Author of UJ Liau01U tiJJngereuJts (1782).
Lacordaire, Jean (1801-1870). Entomologist. Author of HlStoin noturelJr tks in,gde.s
(1854-1868).
Lafargue, Marie (18 16-1853). French woman convicted of poiso~g. her hus~d
(1840). and condcrun~ to life imprisonment at hard labor. She mamtamed her umo-
cencc, and was pardoned in 1852.
Lafargue. Paul (1842- 191 1). French radical sociali.st and writer; close anociate of Marx
and Engels. A founder of the French \\brkcrs' p..uty (1879), he cdit~, with Julcs
Guc:sde. LL CitOYrrl from 1881 to 1884. Rcjt:CtCd compromue with capitalistic govern·
Lafayette, Marie J oteph (1757-1834). Statesman and offittr; served in the American
Revolution. Menlber of the French National Auc:mbly (1789); aided in organiUng die
Garde Nationale. and was irutrumental in securing tlle adoption of the mcolor flag.
Opposc:d to the policies of Napoleon 1. Leader of the opposition 1825-1830. Com·
mander of tl,e Garde Nationale in tht'July Revolution.
Laflitte,J&l'.qua (1767- 1844), Fmancier and statcsman: partisan of Louis Philippe. Fi·
nance minister 1830-1831.
Lafol'"gUe, Julca (1860- 1887). fuet and criot;:. Qne of tlle most distinguished of tlle:
SymbolistS.
t.agrange. J oseph (1736- 1813). Geometer and astrIJnOUle:r. professor in Paris at tlle:
Ecole Nomlaie (1795) arxl dle Ecole Allytcchnique (1797). Was made a 5C:Ilator under
Napoleon.
La Hodde., Lucien de (1898-1865). Polict' spy and audU1ror Hisloi~ ikJ Jocillb JeaileJ d
du porti rrpuhlieai'l1 (1850).
Lama.rtint', Alpho nse Prat dt' (1790- 1869). Popular poc:t and orator who hdpt'd shape
dlt' Romantic mO\-~mcnt in Frt'IIch literature. Foreign minister in tht' Provision.! Gov·
enunt'nt or 1848. Author or Mldi,"rio'l1S poitiquej (1820). La C/mle d'u'l1 ange (1838),
Hisloire dts Giro'l1diTU (1846).
LamennaU, Robt'n (1782-1854). Frcnch priw and philosopher. His advocacy o r free-
dom in re1ib'"iou~ matters led to his censure and condemuation.
La Mcttrie,Julien (1709- 1751). Physician and rnateriali.st philosopher_ Author of Huloirr
TUltureik de /'time (1745).
l...ami, Louis Eugene (1800-1890). Frt'IIch historical painter and illustrator. Praised by
Baudclairc.
Lampelie. Name given to a deity represc:nting sunlight in LcmerCer's homa~ to Oa-
guerre (1839).
La LankrJu. Popular journal founded and edited by Henri Rochefort (1868),
Laplaec, Pierre. (1749- 1827). Astronomer and mathematician. Author of Worie dn
altractimu tUJ JphiroflUS el tU lafigure tkJ planeteJ (1785), EsJai philosojJhique Jur fa
proIxWU"" (1814).
Larchcy, Etienoe-LorMon (1831-1902). Librarian at the BibliothCque de l ~ in
Paris. Historian, linguist, publicist, and founder of the journal La MOJlIique.
Larivine, Pbilippc-CharIH de (1798-1876). Painter who exeCUted batde scenes for the ·
mweum atabWlhed by Louis Philippe al Versailla.
La RochcjlKX(uddn. Henri Auguste (1805- 1867). Leader of the Legitimist party in the
Chamber of Dcputia (1842-1848). Laler a senator under the Second Empire.
Lauailly, Charles (1806- 1843). Bohemian poet and writer who was secretary. for a
rime, to Bahac. Died destitute.
Laun-eamont, comte de. Pseudo nym of bidore DuC3SK (1846-1870), writer who antici-
pated Surreal.i!Jm. Born in Uruguay; settled in Paris in the 18605. Author of w
Clumts
ik Ma/doror (1867- 1870).
Laverdant, Gabrid·Desire (1809- 1884). j ournalist and critic for dle Fouricrist news-
papu La Dimocratie fXKifique.
Lavoisier, Antoine: Laurent de (1743-1794). A founder of modem chemistry. Because
his expcrimentJ "'Crt financed by the monarchy, he was condemned by lhc Rc-volution
and executed.
Lawrcnce,Jame. (1773-1840). Writer; son of an English colonist inJ amaica. PubWlhed
ill 1793 a study of marriage and inh eritance customs among dlC Nair caste in Malabar.
Became kllOW!13ll a feminist advocate in France. Friend or Schiller and Percy Shclley.
Leblond, Manw and Ary. Pseudonyms of French writers Georges Atherw (18n-
1955) and Aimt. Merlo (1880-1958). Authors of Via para//tkr (1902), & Fra1llL
(1909). u Paradis perdu (1939).
Lebon, Philippe (1769-1804). Chemist and civil engineer. Pioneered the use of gas for
illullUnatiol1 (799).
Le Breton, Aneld (1808- 1879). French critic. Author of BaIMc: L'f1omme eI /'otUllr'r
(1905).
l«onle de Lisle, Charles (1818-1894). Poet of disillusionmelll and Skrpticislll; leader of
the Pama.ssian school. Author of PoimrJ alltiqut:.J (1852), PMmts barbares (1862). and
other \voru.
Ledo ux, Claude-Nicolas (1736-1806). French architect. Drew up plans for die ~ idcal
cit}'~ of Chaux, con cei"\'ed as ali extensiou of dle saltworu at Arc.-Ct-S6w..,.
Lc:d ru-RoUin. Alexandre (1807- 1874). La\"}'Cr and politician, member or dle Cham ·
bcr of l:>t:puties from 1841. A leader in the 1848 revolution, and minUter o r the
interior in dlt' Provisional Government. Inm umcntaJ in bringing universal suffrage to
France.
Ld"euve, Charles (18 18-1882). Writer and publicist, known ror his archaeological and
histOrical stud y u s AlIcit'1lru:J M«ison.s deJ fflt:J dt: Paris (1857- 1864).
Legilimbt.. Supponer5 or the Bourbon monarchy that was in JKM"'Cl' in France up to the
• Revolution of 1789 and during tht Resto ration (1815- 1830). Also known as "ul tras,"
they represented dle interest. of big landowners.
Lcma.t"'tre,Jules (1853- 1914). Writer and literary critic; enmty or critical dogmas. On ~
.staff of U JounUll tkJ dibats and La Rtvue MJ deux mondts.
Lcmen::ier. LouilJean Nipomucbte (Inl-I840). Playwright and poet. Upholder of
elassical tr.tgedy against Romanticism, and originator of French historical comedy.
Lc:monniel:", Camille (.1 844- 1913). Belgian novelist and art critic.
Lenin, Nikolai (1876-1924). Russian Communist leader. Became premier in 19 18 and
introduced far-reaching socialistic rdomu, later modified by dle New Economic Policy
(1921).
Lcopardi, Giacomo (1798-1837). Renowned Italian poc:t and scholar. Author ofpc:ssi-
mistic and satirical lyrics and se ...-craJ work.s of philology.
Le Play, frederie (1806- 1882). Engineer and coononwt. & senator (1867- 1870). he
represented a paternalistic "social Catholicism." Author of UJ Ouurim europitru
(1885).
Leroux, Gaston (1868-1927). French journalist and author of detective and mystery
stories.
Leroux, Pierre (1797-1871). Saint-$inl(mian philosopher, economist., reronncr; editor of
~ Globe rrom 1824. In exile 185 1- 1859. Author of lR I'Humanili (1840), De I'EpliJi
(1848).
Lt:s ~ peUW par mx-1rlbrau, A celebrated and much imitated collection of essays
and drawings that began publication in 1840. Grandville: conUlbuted scvc:ral item!.
wage, Alain (1668-1747). French novcWlt and playwright. Author of the picaresque
masterpiece L'f1istoire de GiJ Bltu lU So'l1tillane (1715-1735).
I..es5cps, Fenlinand (1805- 1894). French diplomat; ministcT of Franc.e in Madrid (1848-
1849). Hdpcd fo nn the company that constructed the Suez Canal (1859- 1869), and
, sef\~d as president of the company that began construction of the Panama Ca.oaI
(1881-1888).
Le Vavasscur, Gwtave (18 19- 1896). Writer, and good friend of Bau~ .
Levy, Michel (182 1- 1875). Founder of one of dle largest publishing houses in nineteenth-
ccntury France. Published Baudelaire's tranSlations of Poe and, after the poet's death,
his (Hu 1lr'rJ romplileJ.
U Li~ Newspaper founded by Louis-Augusle Blanqui in 1834 and dedicated w
~cxploi t(dworkers." Published o ne issue o nl y.
Lion. M argo /1889- 1989). Popular Berlin cabarn artist of dle 19205. Played dlC pan of
PirattjeJUlY in the Frenell production of Brecht's '1MtejKn1lJ Dpn-a in 1931 .
Liselotte. Nickname of Charlotte: Eli.1abcdl of Bavaria (1652- 1722), duchess of Orlt!ans,
and si:lu:r-in·law of louis xcv.
Her Lttlm provide muell intimate infonuation about
his court.
Lissagaray, Prosper (1838-1 90 1). j ournalist and hi.'Ilorian. After participating in the
l'arU-Conunune. he enugrated to England.
Lr Livrr da cml -.l!t· WL Periodical publu hed in Pam 1831 - 1834. Contained essays and
pocrru. many focused 0 11 life in Paris, by some of dle: most famow writers of dIe day.
Lobau, Gcorp (1770-1838). Highly decorated officer in Napoleon's army. Liberal
deputy (1828-1830), and conunander-in-chic.f oftlle Garde Nationalc (1830).
Loherutein, Daniel (1635- 1683). Gc:nnan writcr of tragcdia, a book of lyrics, and a
novel. Treated in Belyamin's Ursprung deJ deutlC.Mn rrau~JPitb.
Loi Falloux. Stt FaUoux, cornie Frederic.
Longchamps, Charles de (1768-1832). Fbpular dramawt and author of v3ude,tilles and
u
operas, including Slriucltur amourtwt (1803).
Loos, Adolf (1870-1933). Moravian architect; opposed to An Nouveau. He: was a leader
in cstablUhing modernist architecture in Europe after \\brld War I. Uved in VielulOl
and Paris. Author of Ornament und Vrrbmnl'1l (1908 ).
Lotze, Hermann (1817- 1881). Genllan philO!lophcr. Initiator of a Ieleological idealillm
that rcinterpreted the Platonic ideas in l/:nIlS of vaiUC5, Helped found the .science of
phy!iological psychology.
Louis Napoleon. &t Napoleon m.
Louis Philippe (1773-1850). Descendant of the Bourbon-Orltans royal tine. Member of
lheJ acobin Club in 1790, and a colonel in the reVOIUliOll.1ry anny. Lived in Philadel-
phia (1796-1800), and later in England ; was in France 1817-1830, administering his
e!tatC5 and great wcaJth. Proclaimed ~Citizen King~ by Thien in thcJuly Revolution,
and elcaed by the QlllIUbc::r of Dcputie! as a constitutional monarch on Augwt 1,
1830. HiJ reign, which sought to portray itself as middlNlf·the-road and was therefore
known as the jwte Milieu,n W a! marked by the rue of the bourgeoisie to power,
especially through its domination of industry and finance . Overthrown by the February
Revolution of 1848, 011 which he abdicated and escaped to England.
Louis the Creat. Louill XIV (1638-1715), the longest-reigning king in European history
(1643- 1715), his coun the most magnificent in Europe. French aru ....1!TC: in their golden
age during his reign.
Louis XII (1462-1515). Known as Father of the ?topic. Held the title duc d'OrI~1!I
1465-1498. As king (1498-1515), he inaugurated widespread refornu.
Louis XVIII (1755- 1824). Mter living as an emign!. he. became king of France on
Napoleon's dov.nfall and the restoration of the BourbON. Reigned 1814-1815, 1815-
1824 (abdicating briefly during Napoleon's Hwuired Days).
Lours, Pierre (1870-1925). French man of lellers. AutllOr of Astarti (verse, 1891), Aphro-
dite (llOW:I, 1896), and other works.
Lucan. Full name Marcus AnnaCU5 Lucanus (39-65 A.D.), Roman poet born in Cordova.
Betrayed in a conspiracy against Nero. Hu sole extant work is the epic Pimr$.Oliu, about
the war between Caesar and Pompey.
Lutea:. Ancient name for Paris. From Larin Lutttin ("city of mud"), ' ber of Deputies. Hi5 proposal for government·financed railWlI)'5 10 1838 was vorcd
Mabille, Pierre (190.1-1952). Physician and writer, a.,sooatcd with the Symbolists. Edi·
torial director of the famous art review Minotaurt, Hu major works include lA Con -
u
JfnlcliOtl dt J'nomme (1936), £r;rigW"fJ, ou La Vie du olliliJaliofIJ (1938). and Miroir du
mmxi/lnlx (1940). . Martinbt, Set Saint-Maron, Louis.
MacOrtan, PieTtt. Pseudonym of Pierre Dumarchais (l882-1970), writer :m()CJate~
with the group of Surrealists around Cuillaume Apoltinaire and MaxJacob. Among hI!
novels, notable for their mixture of fantasy and realism, are u Qyui dtJ bfll1/lL.l (1927)
and Lt NiUt Utmard tf Maitrt Jtan Mul/in (1920). . '
MaclCrlinck, Maurice (1862- 1949). Iklgian poer, dramawt, and c:uayl5t. Settl~ UI
PaN in 1896 and was influenced by the SymbolistJ. Author of /tlliaJ tl Mi{l.)(Jnt/~
(1892), U 1i-i$Of dti nJlmblt.1(1896), L'OiJrou bleu (I !/08).
Maillard, F'lI"rIlin (183a-?), French juunlali.,t. Histori:U1 or lhe prcu :Uld of Paris.
Maillard, L. Y. \bung republican exile with whom Louis-Auguste Illanqui corresponded
in 1852.
Ma.kart, Hans (1840- 1884). Austrian painter of historical scenes .....ith an opulent style
imitath1! of sixteenth· and seventeenth·century ihroque,
Mala.uu. Sct l\)u]et·Malassis, Auguste.
Malebranche:, Nicolas (1638- 1715). Philosopher who SOUghl1O reconcile Cartesianism
with the ideas of Augustine. His chief work, De la Rtcntrrllt de fa venti (1674-1678),
argue! that "we sec all thing:'! in Cod." human narure being wU.nowable.
Malibran, Maria (1808-1836). French opera singer. Debuted in Rossini's II Barbiert dj
Silligfio in 1825.
Mandeville, Bunard (1670?-1733). Dutch-born philosopher and satirist; settled in Lon·
dOll. Author of the political satire 771t Fahle Wtne &~J. 0" Privtlte Vicel, Public Bl'1ItjilJ
(1714).
Mapah. Set Gancau.
Marais. oilltrict of Paris ; site of a republican insurrcaion in April 1834, during which, in
a howe 011 the Rue Tl1lllSnollaiJl, all occupants \\-'eTe butchered by government troops.
This incident is the su~eCl of Oaumier's lithograph La Rut 7'ranmonain.
Maral,Jean Paul (1743- 1793), SwiM·bom French Revolutionary politician; identified
with the radiealJ acobiru. Asscwinated by Charloru: Corday while in hi1 bath.
u
Man:clin, Louis (1825-1881). Caricarurist on the staff of Jounud amruant; associate of
Nadar. In 1862 fowx:lcd the journallA Vie pa~. which published work by Baude-
laire.
Marcionitc:s. Believers in a Christian heresy of the second and third centuries that reo
jected the Old Tcstament. It likely included women in leadership role!.
Marengo. Vdla~ in northwest Italy where Napoleon gained a victory over the Awtriaw
in 1800.
Marcy, Etienne (1830-1904). Physiologist who !rudied d cctricai phenomena in animals.
\
Invented the "chronophotographic gun" in 1882 to take serie! piaures of birds in
flight,
Marie, Alexandre Thorn.. (b. 1795). French lawyer, associate of Ledru-Rollin; on the
staff of !.:Alt lin-. Member of the Provisional Government. Enuw:rcd with the organiza-
tion of the national workshops in 1848.
Marie-Louise (1791-1847). Daughter of Francis I of Auuria; second wife (1810) of
Napoleon I.
, Marivaux, Pierre (1688-1763). French playwright and novelist, .
Marlitt. Pseudonym of Eug6lie J ohn (1825-1887), popular Ccrman novelisr, wbo.sc
works appeared in the. rc::view Dit GartrnloulM.
Martin du Nonl, M. (1790- 1847). Liberal opponent of theJu~y Mo~y in the Cham-
down.
Martin,John (1789-1854). English painter known for works of wild inlaginati"e powc::r,
like &lJIzaW1rJ FtIJJI (1821 ), 1M Fall 0/NinroaA (1828), '11Ie ElIt WIne; Deluge; (1840),
Maturin, CharlC$ (l78{}-1824). lrish no"e1illt and dramatist. Author of Melmoth tilt
Wantlertr (1820) and other Gothic romances.
Mauclair, Camille (1872- 1945). Author of works on literature, mU5ic, and painting,
including studies of Maeterlinck (1900), Baudelain:: (1927), Heine (1930), Fbc (1932).
lo.1allannc (l937),
Ma"itux. Hunchbacked character of popular farce, appropriat~d by 1Ia~~ in. some 1 6~
lithographs published in La Can'cllflirt and clscwhert:. DescrIbed as a pnaplCpuppet,
he: personified the patriotic peuy bourgeois. . . .
Mc.Adam, J ohn (1756-1836), British enginec.r who mt:roc..luccd the system of building
roads of cru.shcd SlOne, ~ as ~ macadamir.ed" roads.
 Mehring, Franx (1846- 19 19). German Socialist hiswriall and pamphleteer. Helped o r-
ganize the Gennan Communist parry.
Mdlhac, Henri (1831 - 1897). F~llch playwright. CollabOrated with Ludovic Halevy o n
many light operas and comedies, including m,!fo.UJ (1869) and Lou/ou (1876).
MeWonier,Jean (1815-1891 ). Painter known for small genre paintings, often of military
subjects, do ne with gtU-t delicacy.
Maie., Georges (186 1-1938). Professional magician and popular pioneer fllillmaker.
Director of I.e V~ daTIJ 10. lunt (1902) and other fantasies.
Mimoins du tli4bk. Serial novd by Fr~d6ic Soulie, published 1837- 1838.
9
Mendel, Catulle (1841-1909). Founder of La Rn!U~ flnto.uutt (1859) and editor of Ln.
Po.nuust ronttmporaint (1866-1876). Friend of BaudeiaiK and Gautier.
Mbillmontant Set Enfantin, BanhBcmy·Prosper.
MipIUs. Novel by Horn Tristan, published 1838.
Meruhkovskl, Dmitri (1865- 194 1). Russ ian write r, settled in Paris ill 1917. Author of
critical srudies, historical novcis, biographies, alld plays.
Mc:ryon, Charles (1821- 1868). French etcher and engraver. Friend of Baudelaire.
Mr:ttcrnich, Prince KJemens von (1773-1859). Austrian statesman; created prince of the
Austrian Empire in 1813. Largely responsible for the reactionary policy adopted by
govemments of Europe from 1815 to 1830.
Meye:rbeer. Pseudonym ofJakob Beer (179 1- 1864), opera composer. Born in Berlin, he
settled 1826 in Paris, whe~ he composed in the F~nch style.
Michel, Louise (1830- 1905). F~nch anarchist agitawr. Participated in the Paris Com·
mune (I 87l}, and was depon ed to New Caledonia; ~LUmed after amnesty (1880) and
resumed agitation. Sentenced to six years' imprisonment (1883); refused a pardon. out
of solidarity with her comrades. Author of La Commullt (1898). Phowgraphed by
Nadar.
Michelet,Julu (1798-1874). Historian and professor at the College de France 1838-
185 1. Democratic, anticlerical, anti·Semitic. Au thor of !fiJtrJiTt dt Frana: (1833- 1867),
Histoirt de fa Riw{ution fto.nro.Ut (1847- 1853), La Biblt de ('h umo.nitt (1864), and other
works.
Mignet, Fran'iOLs (1796-1884). Historian. Edited, with Adolphe l1liers, dIe anti·Bom-
bon journal Lt Natirmal (1830). Author of HiJtoirt dt fil RivolutionftflJlfo.ut (IS24).
Mirabeau, Vidor Riqueti, marquis de (1715-1789). Soldier and economist. associated
with the physiocrats. Author of L'Ami des hommts, ou 7raiti .lur la population (1756).
Mirabeau, HonorC, comte de (1749-1791 ). Orator who bcaune the most important
figure of the first two yean; of the French Revolution. Son of Victor de Mirabe~.
Mirbeau, Octave (1850-1917). Radicaljoumalist and novelist who attacked aU fonns of
social organiz.ation. A founder of dIe satirical weekly Gn·mo.m (1882).
Mirecourt, Eugene Uacquot) de (1812-1880). French journalist. Author of a series of
biographical sk.etches which led to his forced departure from Paris.
Mirb,jules-lsaac (1809-1871). French financier; backer of railroads and newspapers.
Photographed by Nadar. Convicted of fraud in 1861 . he evenrually won acquittal 0 11
appeal. but his reputation was ruined.
Muopogon. Founh-century satire by Emperor Flavius Claudiw J ulianus.
MUtral, Frederic. (1830-1914). Leader of the Proven'ial cultural renaissance known as
the FClibrige. Author of an epic poem, Mir~io (1859). written in Pro\"enpl and Frencb
and dealing with the lovelorn daughter of a wealthy fanner. Awarded the Nobd Prize
for ljteraru~ in 1904,
Moabit. District of Berlin, nonhwest of we TIerganen. To the south of the pa.rk, Liltzow·
SO"asse gives ontO Aottwclls[~e.
Mode, comte Louis (1781- 1855). Premier of France 1836- 1839. He was one of the:
deputies who opposed the coup d 'c!tat of 1851.
Mohammed Ali (1769-1849). Albanian·bom soldier; "\ice.roy of Egypt· 1805- 1848.
Wrested control of Eb'YPt from the Ottoman Empire and establi.~hed a modem state.
Mollin, Tony (1832-1871 ), F~nch utopian Imter. Author of Pam ro l'an 2000 (1869).
Molenes, Paul de (182 1- 1862). French army officer and dandy. Frit"nd of Baudelaire.
Molinari, Gwtave de (18 19- 1912). Belgian political economist, in Paris 1843- 1851, and
fro m 1857 on. Became editor of Lt ] rJurno.l dts dibo./.J (1867), and Lt ]OU1TUlJ dtJ
iCrJnomiJttJ (188 1).
l'1oU,joseph (18 13-1849). German watclmlaker. Member of the Central Committee of
the Communist League. Killed in a ~vol t in Baden.
I.e Moniteur rmivnKL Daily newspaper published in Paris 1789- 190 1. From 1799 to
1869, an official government o rgan.
Monnier, Henri (1805- 1877). Caricaturist and pla}"'\'Tigtu. Cr("3tor (1830) of the popular
charaeter J oseph Prudhomme, the typical bourgeois. Discussed by Baudelaire in
"Qyelques Caricaturistes franpis."
Moruelet, Charles (1825-1888). Critic andjoomalist. Founder of La StmmM thio./ralt
(1851 ), in which Baudelaire published criticism and poetry.
Montesqu.ieu, Charlu (1689- 1755). Lawyer, man o£letters. and political philosopher
whose liberal theories irupircd the Declaratio n of the Rights of Man and the Constitu·
tion of the United States.
Montesqwou, Robert de (1855- 192 1). Ari.~tocratic poet and essayist. Supposed model
for Huysmans' des E.<!seintes and ProUSt'S C hari us.
Moreu, j ean (1856-1910). Greek·bom poet who settled in Paris in 1882. Associated
\ with the Symbolists and later with the Ecole Romane. Author of LtJ SpitS (1884),
St(IJIUS (1899- 1901 ).
Morgan, Lc:wia Henry (1818- 188 1). American ethnologist and archaeologist, student of
American lndian culture. Author of Ancirot Socitty (1877).
The. Mother (10 Mm). Female messiah of the Saint·Simo nians. She was supposed by
some to come from t.he East, possibly from the ranks of the prostitutes.
The Mothen. Mytholological figures in Goethe's Faust, Part 2 (Act I). Faust visits the
chthoruc ~ Mothers" in search of tht" sec:n::t that will enable him to discover Hden of
Troy.
Moulin Rouge. Well known spectacular Paris nightclub.
M~~ , Edvard (1863-1944). Norwegian painter and designer; forerwmer of Expres-
slorusm.
Munchawc:n (Miinchhausell), Baron Karl (1720- 1797). Gc:nnan huntsman and soldier.
His name is proverbially associated ",ith absurdly or-aggerated advenru~ stories.
Murger, Henri (1822- 1861 ). Writer who lived in poverty, supported by Naval. Wrote
pieces for the serial press that were coUected in tile 1848 book ScentS dt!l.l rllt de BOMnI(,
source for Puccini's opera La Bohemt .
Murillo. BlU101om~ (1617- 1682). Spanis h paimer of the Andalusian schooL
Mward, Philippe: (1793-1859), Composer famous for his dauce music; popularcollduc-
tor at balls at the Opera.
Muuc:t, Alfred de (1810-1857). Distinguished poet and pla}"'\'Tigtll of French Romanci·
cism._
Mutuillliu. $cerCI society of weavers in Lyoru who held tim! tlle fac.tories should be
taken over by associations of workers, operoiting through economic action rather than
violent revolution. Nanle adapted by Proud.holl for doctrines of aed.it banking and
decentralized political o rganization.
 Us MysUres th Umdrrs. Novel by Paul F~val (lJ vols.; 1844).
Us ~Ures th Avis. Enomlou.~ly popular novel by Eugene Sue: (1842-1843).
TIu MyJtmu f!f Udolpllo. Novel by Ann Radclilfe (1794).
Nadar. l'"seudonym or Felix Thumachon (1820-1910), Frmch photographer, joumalist,
and caricatUrist. Friend o r Baudelaire, whom be photographed.
Nanteuil. Ci1estin (1813-1873). Romantic painter and graphic artist cdcbrated by
Nadar,
Napoleon ilL Full name Charles Louis Napoleon Bonapanc, known all Louis Napoleon
(1808-1873). Nephew or Napoleon I. he: lived in exile until assuming leadership of the
• Bonaparte family on the dealll of Napoleon n (1832). fleeted to the National Asson.
bly in 1848 and later to the presidency of the Republic (December 10, 1848). Made
hinuc.1f diaator by a coup d '~tat (Ikccnber 2, 1851), and a year later proclaimed
himself emperor as Napleon Uf. Having precipitated France's involvc:mem in the
Franco-P'russian War (1870-1871). he was himsdf caprured at the Battle of Sedan
(September 2, 1870) and held prisona urui.I the end of the: war. Dcpo.sed by the
National Assembly on March I, 1871, he ret:irttl to England. where hc died.
Nargeot. Clara (nte 1'hl:non; 1829-7). French painter. Did a portrait of Baudclaire.
Nash,J oseph (1809-1878). English watercolor painter and lithographer.
LANtJtitmtJ. Daily newspaper published in Paris 1830-185 1. During the 1840s, it was
the organ of moderate republicans.
national worluhopa (att/iers naHlmaux). An emergency rdier agency, set up during lilt'
February Revolution of 1848, that attracted thousands of WlerIlploycd workers from all
bY
over France; it eventually satisfied Il(ither radic.aloi nor moderates and was abolished
the newly elected conservative majority in May, without any program of public works
to replace it.
Naville, Piern: (1904-1993). Surrealist co-editor of the first numbers of fA Rtvoluh()1l
JtlTTia/ute, and writer on urban sociology.
Nazarenes. Group of YOWlg German painters acti~ 1809-1830. lntent on restoring a
religious spirit to art, they established lhcmsdves in Rome under the: leadership of
Johann o...-erbcd, Philipp \Qt, and Franz Pforr.
Nc:rval, GC:nrd de. Pseudonym of Gerard Labrunie (1808-1855), celebrated French
writer and eccernric, who committed suicide. Translated Goethe's row/. Author of
l'&yage ttl orinl (1848-1850), Us H/umjn6 (1852). LeJ FilieJ tk flu (1854), Aurilitl
(1855).
Nessd.rode, Karl (1780-1862). Russian statesman; chancellor 1845-1856. Concluded
the Treaty o r Paris after the Crimean War (1854-1856).
Nettdbeck, Joachim (1738-1824). Pnwian officer wh08e memoirs, Ej';; L<bms·
!Mw,reihun" appeared in 1821 .
Neufchiteau, Fran~u, Pseudonym of Nicolas Franc;ois (1750-1828), French statesmaJl
and author. Mininer of the interior 1797: member of the Directory 1797-1798; presi·
dent of Ihe Senate 1804-1806.
N iboyet, Eugenie 0804-?) . Feminist who founded women', organiz.ations in Lyons and
Paris. Editor of the periodical La Voix desfem~s.
Nicolaitans. Heretical sect in the early Christian church at Ephesus and Pcrgamum,
possibly associated with the prophetes~Jezebd, and condemned in Re\"dation (2.6, 15)
for immorality,
Niepcc, J oscph (1765- 1833). I'rcnch physicist. In 1824 produced Mheliocypc:s" by meaJU
of glass plates coated with bitum.Ul. Associaled with Daguc:rre (from 1829) in cxpc:ri.
ments leading to the invention of photography.
Nbard, DUiri (1806- 188a).Joumalist and literary critic. Director of the Ecole Nonnale
w
Superieurc. Author of flu/oire lir littfraJurefi"/lI/{ailr (1844- 1861 ).
Nodier, Charla (1780-1844). Man or letters associated v,1.th dlC Romantic movttuCRt.
Autllorof u s fflmpires (1820). CoI1:aborated widl Amedee Pichot on EISa; tritilJue Jur Ie
g{/~ "ydrogrnt rt leJ dilJ(7'J mfNItJ d'kla/Ttlgt' artf!icitl (1823).
Noa.Ju1es (1815- 1881 ). Frendllandscape painter.
Noir. Victor (1848- 1870). Joumalist killed in an a1tCTCation with a cousin of Napoleon
III. His funeral was the scene of a mob deruons u-auon against the Empire.
Notre Dame de Lorette. Olurch in Paris. In itt neighborhood, during Second Empire,
many 10rettcS (ladies of easy virtue) lived in new howing.
}(OUVI:fJUtL Newnc:.\s. novelty, innovation; fancy anick. ~ shops in Paris known as
magaJinJ de notlrxaulis olTered a complete sdectioD o r goods in one or another special·
ized line of business. They had many roonu and ~ stories, with lar~ staffs of
employees. The fint such ston:. Pygmalion, opened in Paris in 1793.
Obmnann. Epistolary novel by Etienne Scnaucour (1804).
Odoievsky, Vladimir (1804-1869). Rwsian writer influenced by E. 1: A. Hoffmann.
Offenbach,Jacqua (1819-1880). Musician and composer. Born in Cologne, he became
a nationalized Frenchman. Produced many successful opc:~ttas and op6-as boum~s in
Paris; managed du' Ga!te-Lyrique there:, 1872- 1876. His famow Contes d'Hrffmann was
produced after his dead\,
Ollivier, Emile (1825- 1913). fulitician. Headed the ministry (1870) that plunged Fr.mce
into d\e disasters of the FranCO-Pnl ~sian war.
Olympia. Character in E. 1: A. Hoffmann's story "Del Sandmann," a beautiful automa·
ton.
Odeanistt. Supponen of the Orl~ans branch of the French roya1 family, whiclJ. Wall
dc:sccndcd from a younger brodler of Louis XIV and which included Louis Philippe.
Orlea.ru, duc Ferdinand Philippe Louis (1810-1842). Son ofLoui.1 Philippe. Aaive. in
th~ Revolution of 1830; was made duc d 'OrICans in 1830. In 183'7, married Haenc
Flisabeth, daughter or Grand Duke Frederick Louis of MeckJenburg-Schwerin.
Orp/Iir d FM:tyJia (Orfio ed Euridi«). Opera by Christoph Gluck (1762).
Dnay, comiC Alfred d ' (1801 - 1852). French man offashion, wit, painter in Paris and
London.
Dnini, Fdicc (1819-1858). Italian rc: ..'Olutionary, acri ..~ in the revolutions of 1848-1849.
Attempted the auassination of Napoleon III Uanuary 14, 1858). Executed in Paris.
Ourliac, Edouanl (18 13- 1848). French writer; author of a physiology on the schoolboy.
Early associate or Baudelaire.
Owen, Robert (1771- 1858). W:1sh socialist and philanthropist. Spent his fortune on
.social schemes. Founded communities or "OwerulC5" o n the cooperative principle. in
Great Britain and dle U.S. (including one at New Hannony, Indiana, 1825-1828), all
ull.nlccessful. Edited the inIluentialjoumal1'heNew MoroJ Wl)f"ld (1836-1844). Author
of A Nrw V;rw fJ/ &citty (1813) and RtIJf}/ut;oll in Mind and Prtuh«: (1849).
Palais·RoyaI. Refers 10 the streets and shopping an:3S surrounding the. palace o~ the
dukes of Orl~ans in Pari5. It was a ccnter of prostitution and gambling, espeaally
during the second quarter or the nmeleendl CCtllury. .
Panitta, O skar (1853-1921). ContruVCrsial Bavarian playwright and poet. Argued m
1896 that thc spirit of vaud~\lille was infusing modem t;ulture. ..
panoramas. Large circular tableaux, usuall y displaying Kcnes of batdes and ClUes,
painted in trompe l'oeil and designed to be \iewed rrom the center of a rorunda.
Introduced in France in 1799 by d\e American engine!:r Robert Fulton.James lba),C1"
 acquired the patent, and developed lWQ rotwldas on the &ulcvard Monunanre which
were separated by the Pauage des Panoramas. Subsequent fornlS included the Cos-
1l.10rama at the Palais-Royal (later. on ~ Rue '.'ivienne); the Neorall1a, showing im.c.
nor scenes ; the Gcorama. presenung VleWS of differem parts of the wo rld. In 1822, on
the Rue Sanson, Louis Dagum-c and ChilTles Bouton opened their Diorama (later
ffiO\'Cd to the Boulevard de Bonne-NouvclJe). The pictures "'ere painted on cloth
tra.n5parencies, which by 183 1 were being used with various lighting dT(:cts. Their
installation burned down in 1839.
Pamauians. School of French poets, headed by Leconte de Lisle, Stressing detacluuent
teclmical perfection, precise description. Anthologized in Lt PllnlllJJ( o.mte"'fmrai~
(1866- 1876).
Panu.illppc. Hill Dear Naples, named after a Roman equesoian's care-dispcUing villa.
Patin, Cui (1602-1672). Al.ysician and dan of the Paris faculty of medicine. H is winy
letters, published posthumously, wert widely rtad.
Pawanias. Grttk D<l':der and geographer of the second century A.D. Author of /hUgtJu
f!!GrttU, documenong Greek lopography. history, religion. architecture, and sculpture.
Puton,joseph (1801-1865). English arch.itect and horticulturist. Designed the conserva.
lOry at ChalSWOrth (1836-1840), the modd for his Crystal Palace, which was built of
glass and iron for the London Exhibition of 185 1. and rcerected at Sydcnham (1853-
1854).
PcchmCja, Ange. Rumanian poet influenced by Baudelaire. Published the first article on
Baudelaire to appear beyond the Danube.
Wguc::het. M. Caricature figure by H enri Monnier; adapted by Hauben for his nm-d
&uoord d !falCkt (1881 ).
PHadan,Joscph, callcdjodphin (1858- 1918). French writer and oc:culWt who took the
title '"Sar." Published a series of novels under the general title lJicDde"a /aline.
PcUetan, Charla Camille (1846- 19 15). Frenchjoumalist and politician. Son of Picrrc
~lctan.
Pc11ctan, Pienu. (18 13-18M). Frenchjoumali$t and politician. AudlOr of w Droitr tk
I'nomme (1858), La milk, la mrn (1865).
Perdiguier, Agric:ol (1805-1875). 1M:lrker·writer, political activist; model for characters in
novels by George Sand and Eug~ne Sue. Trained as a joiner, he began writing for iA
Rudu pofJlI!o.ire, and became an editor of Wltelin-. Elected to the Constituem Assembly
(1848) and the Legislative Assembly (1849). Author of Le LiIJf"t du tfmIpagn(}Tlrwgt
(1840 ), MtmoirtJ d'uTi rompagnorl (1864).
Percirc. TIle' brothers j acob Emile (1800-1875) and Isaac (1806-1880) were ~
and brokers in Paris; associated with the Saint-Simoniau.'l. In 1852 founded Cddit
Mobilier. which provided a model for new corumcn:ial banlu across Europe.
PirieI', Casimir (Im- I832). French banker and statesman. aupponer of indusuy. A
leader or the opposition to Charles X, who reigned 1824- 1830. Prime minister under
louis Philippe 183 1- 1832.
Perrel, Auguste: (1874- 1954). Architect who developed the struCtural possibilities of
reinforced concrete. With his brothers Gustav and C laude, be built in Pari., die: first
apartment block designed for reinforccd concrete construction.
Pestalozzi, Johann Heinrich (1746- 1827). Swiss educational refornler whose approach
to instruaion was influenced by Rousseau. Principal of a school at ¥-'Crdon 1805-
1825.
Phaedtus. Rowan fabulist of the early first century A.D. Author of a \'Cnified Fahulru
AtJDjJitU.
Lo. pludtutge. Fouri('rist IICWSpapcr published in Paris 1832-1849. Subtitled Revue tk fa
JOence J(JCial.
Phala.n:.:. Fourienst teno ror an agriculturally based, self-supporting utopian community
of I ,500- 1,600 people. ILS central edifice is known as the Phalan.stery.
Phttccydcs of Syros. Creek philosopher of dle sixt.h CCIUUry a c. Author of a genealogy
of dle' gods, of which only rragmClllS remain.
Phidiu. f"uth'C~ntury 8.c. Athenian sculptor WIIO ~x('cuted the greatest of his city's
monuments during the ascendancy of f'tricles .
Philip Augwtul, or Philip n (11 65- 1223). French king who engagro in various wars
consolidated new possessions, and built on a large scale. '
Pbilipon, Charlu (1800- 1862). Oft·imprisoned French joumalist and caricaturist.
Fowlded and edited the weekl y Ln. Carilaturt and lhe dail y Lt Cluuiuari, which at-
tacked Louis Philippe. 6c<:ame Dawruer's editor in 1830.
Picabia, Francis (1879-1953). French painter. poet. and dandy. Associated with Cubism
Dadaism. and Surrealism. Construaor of imaginary "machines." •
PigaI, Edme-jean (1798-1872). Painter and .illustrator. Discu.ucd by Baudelaire in
~ QyelquCl Caricaruristes fran~."
Pinard, Emelt (1822- 1909). Prosccutingcounsd in the oials of Mo.i/aml! &ooryand W
Fll!urJ du ","aI. Bc:came minister of the interior in 1867.
Pinelli, Rartolomco (178 1- 1835). Italian paUlter and bohemian.
PiKator, Erwin (1893- 1966). German expressionist dleater director.
Plateau, joseph (180 1- 1883). Belgian physicist. Originated a stroboscopic method for
the study of vibratory motion. Invented the Phenaki~ci!lcopc (Creek for "deceitful
vicw ~) in 1832.
Plekhaoov. Georgi (1857-1918). Russian political ph.ilosophcr. M ter rany years in exile,
\
he became the intcUccruailcadc:r of the Russian Social Democratic movc:mcnt, influmc-
in&.the thouglu of lLnin.
A>krovski, Mikhail (1868-1932). Ru.uian Marxillt historian and government offici.al_
Opposed Trotsky in the early 1920s. Author of RUJJIIm History (4 \fOb., 1924).
Pomp~ur, Madame de (172 1- 1.764). Mistress of 1..000 XV of France; estab1ishcd. at
Vc:nailles rrom 1745. She completely controlled the king a.nd his policies.
Ponroy, Arthur. Writer whose father founded the cOll.llervative nC\vspapcr at Chateaur-
I oux, suuth of Paris, of which Bauddaire was briefly dlief edilor (1848).
A>lUOn du Un-all, Pierre-Mais (1829-1871). Popular author of serial nO\'Cls, such as
ExploitI de ROlamh,,'~~ which were published in a tl't'enty-two-\'Olume collection in 1859.
f\:)ntmartin, Amtand de (l8 11 - 1890). Conservative critic whom Baudel.airc called a
Mdrawing·room preacher."
Posillipo. Promontory in dle Bar of Naples.
Rlttier (Potier), Eugene (l816-1887). RC\'Oiutionary poet and composer. Member of the
Paris Commune and th~ Conununist Imernacional. His poems arc collected in ClumfJ
rioo!lIt;orlTlaim (1887).
A>u1el-Mala.uis, AUgUJle (1815-1878). French publisher and bibliophile. C lose friend or
Baudelaire ill his laler years. Publish~d the first (wo editions of u s RturJ du mal.
Pradier, james (1792- 1852). French neoclassical sculptor.
Prarond, Em est (182 1-1909). French poel and historian of Picardy. Friend of Baude·
laire.
Lo..Prt:sJe. Daily n~wspaper published in Paris from 1836. Organ of the opposition in the
1840s. Erst paper to lower subscription rate to 40 francs , and 10 run advertisements
and 5erialll0'lieLs.
PrCva.1. PiUT'e (1764-1823). Fn::ncll painter.
Privat d'Anglcmont, A1csand.re (1SI 5-1859). Bohemian man ofl eHcrs who collabo-
rated widl Bauddaire on MYJ/ereJ galtl1l /J de IlIidlre tk PariJ, anti wrote for Lt SiMe and
other joum.a..!.!l. Author of ParU rMlJlIlIU (1861 ).
Protot. Eugene (1839-1921 ). La~r andjoumafut. Blanquist. and rnemberofthe Paris
Commune. Later attacked Engels and other Marxists.
Proudhon, Pien-e-Joscph (1809-1865). FUlitical thinker, regarded as the fa ther of at1iU"
clrism. Advocated a localized mutualist vrorld federation to be acltievcd through eco-
nomic action rather than violent n::voluuon. Author of Qy b t-£t que fa propriili1 (1840)
and other vrorks.
Prudhomme. Rene. See Sully Prudhomme, Rene.
PnybyUCWIki., Stani&law (1868- 1927). ~lish writer influenced by Nictz.sche. Author
of essays, novels, prose poems, and plays.
Pyat, FClix (1810-1889). French playwright and politician. A Jeader of the Paris Com-
mune and a Revolutionary Socia.li.st member of the Chamber of Dq>uucs in 1888.
Qyinet, Edgar (1803-1875). Frateh writer and politician, associate ofJulcs Michdet.
Hailed the 1848 re'\'Olution; in exile 1852- 1870. Author of the epie pocn:u Napolirm
(1836) and i+rmli/Itit (1838), and of the proK poem AIta.nmu (1833). in which the
figure of the Wandering Jew symboliz.cs the progress of humanity.
R.achd. Stage name of Elisa Felix (1820- 1858), French actress ramed for her roles as
Ph~dn::, Lucreee, Cleopatra. Died of tuberculosis.
Raffct, Denis (1804-1860). French lllwnrator. Classmate ofDaumier. Best known for his
lithographs of battIe SCOles.
R.agu. Spa in the Rhine Valley Dear Chur, Swiuerland.
Raphael, Mu (1889-1952). French an historian; student of Georg Simmd and Hein-
rich \r\6t£llin. Lived in Paris 1932-1939.
Rastignac, Eugene. Character in Pm Coriot (1834) and otha DO'Yds by Balzac.
Ratapoil ('"Hairy Ra[j. Character created by Daumier in 1850 as a personification of
militari.!m; he resembled Louis Napoleon.
Rattier, Paul Ernest d£. Author of the utopian prose v.'Ork PariJ /I hUh: pa1 (1857).
Red BelL Name for the suburi» inunediatdy surrounding Paris proper in the later
ninct«nth century. l\:Jpu.Iated by many of the vrorking class who were dislocated by
Haussmann's urban renewal.
R.cd.ern, SigilmoDd, comk de (1755- 1835). Prwsian Ambassador to England who
fomled a business pannaship in 1790 with Saint-Simon. with whom he shared an
enthusiasm for science and social rdonn. The partnershlp wa! dissolved in 1797, but
Redcm later bdped support Saint-Simon (1807-1811 ). , ooItmli(27 vob. ; 1932-1946). and other works. Moved to the U.s. in 1940.
RcdoD, Odlloo (1840-191p). French painter and engra\Ja', identified with the post-1m·
prus.ionist school. Famow for paintings of £Iow~rs.
1.4 Rg'onM. Daily newspaper published in Paris (1843-1850) by republican democrats
and socialists.
R.einach, Salomon (1858-1932). French archaeologist, director of the Musee de Saint·
<A:mlllin. Author of OrPMUJ,' H uloirt ginirllie tkJ religionJ (1909) and other works.
Rdlttab, Ludwig (1799- 1860). Novelist, poet, and music critic for the ?russian. VOJjude
Zeilrmg. Author of Pruis inr FriilljaJrr / 843 (1844).
Renan, Ernest (1823- 1892). French philologist and historian. AUUlOr of IR l 'Origille du
1o.nfXr! (1858), La Vie d~ J i.luS (1863).
R.ene. Novd by Chateaubriand (1802).
Renouvier, Charles (1815- 1903). Idealist philosopher. Author of Lt ItrJfmNJIi.tme (1 902)
and other vrorks.
Rettif de la Brelonne. Pscudon}'1n of Nicolas Rcacir (1734-1806). novdist whose: subject
matter carow him Ule' nickname '" Rousseau of the GUller."
Rclhd, .A1&ed (18 16-1 859). German historical painler and graphic artist.
1.4 R.nJw tks tkux wuwuJn. Biweekly literary and political joumaJ published in ParU since
1829.
Reynaud,Jcan (1806- 1863). PhilO$Opher influenced by Saint·Simon. Author of 'f1!TTt el
Cid (1854). which was condemned by a council of bishops at P6igueux.
Ikynold de Creuicr, Baron Fridbie Gonugue (IS80-?J. SwW historian. Author of La
DimtKTtJlie et fa SUWt (1929), i 'Europe. tragUjue (1934), and other worU.
Ricard, Louis-Gustave (1823-1873). Popular portrait painter praised by Gautier, Baude·
_ lairc, and Nadar.
Riquet, Pierre (1604-1680). Engineer who planned the Languedoc. Canal, to connect
the Mediterranean Sea with the Atlantic Ocean. He Spelll hi! personal fortune building
the canal under Louis XIV; it was completed six months after his death.
Rivib-c., Jacques (1886-1925). NO\-'dist and oitie. Championed Proust, Stravinsky,
N'ljinsk.y. Editor of JWnJlltlle &vue j-all{aise (19 19-1925).
Robespicrre, Muimillen F~i.s de (175S-1794). RadicalJacobin and Moruagnard
leader in the Revolution of 1789; responsible for much of the Reign or1Uror_Attacked
Jacques Hebert and Georges Danton. Exewted by order of the Revolutionary Tribu-
nal.
R«trmbok. fupular multivolwne serial novel by Pierre Poruon du 1Crra.iI (collected in
1859)_ Concans a mysterious defender or the weak against the suong.
Rochefort, Henri (l830-1913). Joumalist, playwright, and politician. In 1868 founded
the satirical joumal La UlIlenu, opposed to Napoleon m. Involved in the ParU Com-
mune (1871 ). AuthOl' or La Grandt BlJ~ (1861), us Na'1frageun (1876).
\ Rodenbach, George. (1855-1898). Belgian poet_ Associated with the Symbolists and
with the nincteenth-cenrury Belgian literary revival.
Rodriguu. Olinde (1794-1851). French intellectual and banker (ofJcwish extra.ction)
who became chier assistant to Saint-Simon in 1824. helped found Lt Prndudeur (IS25),
and edited. the first collected edition of Saint-Simon's writings (1832).
llDi~. Play by Henri Monnier.
1lDlla. Byronesque poem published by Musset in La Revue du deux nrtmdes (1833).
RoUinat, Maurice (1846- 1903). French poet known for hL~ recitation'! at the Chat Noir
cafe in Paris. Hi.! collection of poems, ~J (1883). shOWll the influence of Baude-
laire.
Romains,Jules (1885- 1972). Novclist, poet, pla)"Yrighl. Author of lLJ HfI11/mtJ de. Hntlt
Rops, Rliclen (1833-1898). Belgian-French painter, engraver, and lithographer. Friend
of Baudclaire.
Roqueplan, Nestor ( 180'~ 1870). Critic, and director of the Paris Op6-a.
Rossini, Gioaa:hino (1792-1868). Celebrated Italian opera composer.
Rothschild, James (1792- 1868). Founded the braJich or his family's financial estab-
lishment at Paris. Cave support to tIle Restoration govcmment and to tIle administra-
tion of Loui.! Philippe. .
Rotrou, Jean de (1609-1650). French playwright. With Comeille, olle of Cardinal
Rlchelieu's ~ Five Poets." Author of Saint GffleJI (1646) and Ilfnwfas (1647).
Rouget de Lisle. Claude (1760-1836). FJ'CIlch anny olTicc:r and songwrltCT; composer of
"La Marseillaise" (1792).
RUckert, Friedrich (1788- 1866). Gcnnan poet, translator, professor of Oriental lan-
 gu3~ at Erlangm and Berlin. Author of DeutJck Gdichtt (1814), Die WdsMi', dtJ
BraJr.ma7ll!1l (1836-1 839).
Ruge, Amold (1803- 1880). German writer on philosopby and politics and editor of
various leftist journals.
Rumford. Count. Title of Benjamin "Thompson (1753-18 14), American-bom physiwi
and adventurer. From 1784 to 1795 he was in the service of th~ eJector of Bavaria, who
mad~ him a count. Resident in PaN from 1802.
Ruy Bias. Play by Victor Hugo (1838).
Sabaticr, AgIar-Joaephinc: (1822-1890). Fll!Dch beauty; sponsor of Sunday dinners for
the artistic world in th~ 18505. lnrimate friend of Baudelaire.
Sad.J~r, Michael (1780-1835). English economist and politician. Leader of the philan-
thropic Tories.
Saine-AnuUlt, Man: Antoine Girard (1594-166 1). Ftttlch burlesque poet and one of
the firn mcmben of the Acadttnie F~.
Sainte-Bwvc, Charles Augustin (1804-1869). Leading man of leHen in mid-nine:-
teenth«nnuy France. Author of VIt, poisUJ, d peruitJ tk Mil Dtlormt (1829), a
IlO\d, Yo/liPti (1834), ve:rse, and many ,,-oI.umes of literary aiticism.
Sainte-Magic. Prison in PaN wbere Louis-Auguste Blanqui was held 1861 - 1865; de-
mo]i,hed 1895.
Saint-Germain, comic de (d. ca. 1784). Adventurer in Paris from 1750. Qaimed to
possess the philosopher's stone and the elixir of life. Confidential diplomat of l...otW
XV.
Saint-Marc Girardin, Ff'an\-Od (1801- 1873). fulitician and man of letters. Member of
the C hamber of Deputies (1835- 1848). Professor of poetry at the Sorbonnc. Author of,
CourJ de lilJiraturt tb-amJJlitJllt (184-3- 1863).
Saint-Martin, LoW. (1743-1803). French mystic philosopher; one of the lliuminati,
irupired by Jakob BObmc. Sainl-Martin'S followen ~ known as Martinists.
Saint·Simon, Henri (1760-1825). Philosopher and social reformer, considered tile foun-
der of French socia:fulm. Fought in the American Revotution. Amassed a fonum by
land speculation, but soon lost it and lived in relative. pm'trty the last twmry yean of
hU life. Author of Dt la RiorganiJa#rm tk fa sociiti nlrTJ/1lfflne (18 14), Du SyJtime indus·
triel (1820-1823), U NoUIltIlU ClrriJtianume (1825). His ideas were: developed by disci-
pl~ into the: system known as Saint-Simonianism.
Salon. Annual public e.xhibitioru of art in France, beginning in 1833, sporulore:d by the
Academie: Royale and held in the: galleries of die Tuilerie.!, adjoining the Louvre.
Salon des Etrangen. Luxurious Parisian gambling house frequented by the: allies aflC:r
Waterloo. , Sttvandoni. Giovanni (1695-1766). Italian architeCt, painter. and Stage designer. Called
Salut j1fJblic. Short·livW news paper, founded by Baudelaire, Champfleury, and QwIes
Toubin. Two issues appeared, in ~bruary and March 1848. The name, n:calling the
infanlOUll Committee of Public Safety formed Wlder the Terror in 1793, came from
Baudelaire. Its brief, unsigned articles wue full of revolutionary enthusiasm for "the
~ple," its republic, and a socialist Christ.
Salvandy, Na.rcis5e, comte de (1795- 1856). Colonial ministe.r who invited Alexandre
Dumas pUe to visit Tunis at the: govtnunent's expense in order to publiciu: the colo-
nies. ' Silvy. Camille (1834-19 10). Pione~r photographer, admired by Nadar.
Sand, ~rge. Pseudonym of Aurore Dudcvant (1804-1876), Romantic novelist who
stood fo r fltt association in all social relations, and whose prmagonists are grneraUy
virtuous peasants or \\-"Orkmen. Famous for her love affairs with Prosper Mcrimte,
AIIred de Mussrt, and Frtd~ric Chopin.
Sandeau.Jules (18 11 - 1883). Novcl.ist and playwright. Curator of the: Bibliothequc Maz·
:uin in Pam.
Sarcey, Frandsque (1827- 1899). Frenchjoumafut and drama aitic.
Sauvageot, Charles (178 1- 1860). French archaeologist and violinist at die Opera. who
assembled a vast collection. especially ofRcnaissance objects and an, during the 18305.
His collection was given to the Louvn: in 1856.
Schappert Karl (18 12- 1870). A leader in tile Cennan and international \yorking-class
mO\~m~nt, and a member of the Central Committee of die Collununist League. Active:
in me 1848-1849 rt'VQlution in Germany.
Scheffer, Art (1795- 1858). Dutch·bom French figure and portrait painter; criticited by
Baudelaire.
Schinkel, K.a.rl Friedrich (1781-184 1). ~nnan architeci and painter. Adapted classical
Greek fonns 10 modem architecture, as in the Royal Th~ater in Berlin.
Schlosser, Friedrich Chriatoph (1776-1861). Gemlan historian. Author of Welltp(lri(lrte
for da.! Dtll /jehe /4)fk (19 wis.; 1843- 1857).
SchoU, Audlicn (1833- 1902). French joumalist. friend of Offenbach, defender of Zo1a.
Wrote fOT th~ I..t Figaro before founding the satirical joumaI I.e Nai7ljau1lt (1863).
Author of L'Eiprit Ju bollftvard.
Schub·Tarup. "vo neighboring to\YlL'l in the Unler Engadin, in Swiu.aland.
Schwdtzer,Johann Baptist (1834- 1875). German politician and writtt. Editor of Dtr
Soua/-Dtmokrat (1864- 1867). Succeeded Ferdinand I....uat1e as president of the General
Association ofGennan Wlr\.:.as (1867- 1871).
Scribe, Eugene (179 1- 186 1). Popular playwright Author or co-autllOT of aver 350 plays
and librettos concerlled with the prcrli.leaiol1.'l of the bourgeoisie:.
Sedan, Battle of. Decisive viaory of the Prussian army over the French on Septembtt 2,
1870, in which Napoleon III Willi taken prisoner. Lcd to tile end of the Franco-Pnwian
Wu.
\ &ganIini. Gicvtmni (1858- 1899). Italian painter, infIuenc~d by French Impressionists.
His Punulrmtnl o/"Iltt Unnatural Molltm, ()I' 1hL /nfantir:ideJ hangs in Vienna..
SenucoW". Etienn~ (1770- 1846). FI"ClCb writer of a pessimistic bent. Author of the
epistolary novel Ohennonn (1804).
Senefddcr, Aloya (In l - 1834). Czech-born inventor of lithography (1796) and color
lithography (1826). Itupeaor of maps at the royal Bavarian printingofficc in Munich.
September Laws. Passed in Septembe.r 1835, they forbad~ any attack on the govmunent
or person of Louis Philippe, and required official authoritation, as well as the deposit of
a bond, for all publications and theatrical displays.
Se:re:nw of Antissa. Greek geometer of Egypt who flourished circa the fourth ct:ntury
A. D.
to PariJ in 1724 to be architect to the: Icing. Amonghls works an: the ncodassicaJ f~
oftht Church ofSaim·Sulpice in Paris and the attar of the Church of the Chan:reux in
Lyons.
SCvigne, Madame de (1626-1696). French writer and lady of fashion, famed for her
I(([to recording daily life: in Paris and Brittany.
I.e Sieck. Dail)" ntws paper publish~d in Paris 1836-1939. In the 1840s, it was opposi-
nonal ; in t.he 18505. moderate republican.
Simoniam. Syncretistic sect founded by a Samaritan magici:m of the first century A.D.,
Simon Magus. who co",~ned to Chrutianity. He was accompanied in hioi ministry by
a former prostitute namtd Helen.
SimpliciJsimu.J. nlusmuc:d periodical foundc:d in Munich in 1896 by Albert Langen and
Frank V*.dekind. It aimed to unsettle bourgeoiJ complacency.
Sismondi, Jean Simonde de (lm-1842). Swis5 hi-norian a.nd economist of Italian de-
 scent. Author of X"uw:aux Priflci/NJ d'lconomie fKJiitique (18 19), HiJtoire de; FhlllfQi5
(1821-1844).
Solferino. Site of a major battle between Austrian aud Franco-Piedmontcse armic::s,Julle
24, 1859, in Lombardy f-I~vy casualtie5 kd Napoleon lll [0 seck a trutt with Austria.
Sommenrd, Alc:x.andrc: du (1779- 1842). French archaeologi'lt who, during the 1830s,
amassW a collcaion of French artifactS that was deposited in the H&.cl Cluny in 1832.
$outle, FridCric (l800-1847). Early practitioner of t.he serial nO\'l:1. Author of popular
sensational no\'ds like MimoirtJ du diable (1837- 1838).
Sownet, Aleu.odft (l788-1845). Fbct and playwright. cOllcc:med with bislOrical
themes. Publishc::d L(l Diui1ll: Epopu in 1840.
9
u SoupauJt, Philippe (1897-1990). Fbct, novelist, and mall of letters, associated with
"c.l avant-garde movements of the early twentieth century. Published a biography of
Baudelaire in 1931.
Spartacw (?-71), Lc=ader of a slave re\'Olt agairuIt Rome in tht: fim century A.D.
Spielhagen, Friedrich (1829-1911 ). Popular- German novelist and pl3.)"vright, and pani.
san of democratic lllO\-eme:nLli.
Spitxwcg, Carl (1808-1885). German painter of landscape and ~ scenes, associated
with tht: Bicdermcier style.
Stdn. 1..oft'nZ von (1815-1890). German lawyer and historian, author of worlu ou the
social.Ut mCM:ment.
Sednlen, Theophile (1859- 1923). French artist and illwtrator, well·known for his post·
ers and lithographs.
Seem, Daniel Pseudonym of Marie Flavigny, comtcsse d'Agouh (1805-1876), historian,
f"IO'IIeli.!t. and playwright who wrote extensively on the Revolution of 1848. Led a salon-
in Paris, and was the mistreSs of Franz. Usu, with whom she had a daugbter, Cosima,
later tht: wife of Richard Wagner.
SIevma, Alfred (1828-1906). Bdgian painter. best known for his genre scenes of Pari·
sian society.
Stifter, Adalbert (1805- 1868), Awtrian writer who bdievcd that small everyday phe-
nomena manifest the principles of nature more sublimely than prodigiow phenomena.
Author of Die Mappe meinu Urgrossvalm (1842), Buntt Steint (1853). Subject o r a short
way of 1918 by Benjamin.
Strabo (63 B.C-A.D. 24). Greek geographer and historian \'rorlciJ:lg in Rome: d uring the:
age of Augustus.
Suchet, Louis-Gabrid (1772-1826). Napoleonic general.
Sue, Eusmc (1804-1857). fbpular DO\'cl.ist of urban life and leading c:xpuncnt of the
newspaper serial. A Parisian dandy. he lived in exile after the coup d'ttat of 1851.
Author of La M]JltrtI de PariJ (1842-1843), Lt Jug ~(J1I1 (1844-1845).
SuUy Prudhomme, Rene (1839-1907). French poet, a Ie:ader of the Pam:wiaru in their
attempt to bring positivist philosophy to poetry.
Swc:denborg, Emanuel (1688-1772). Swedish scientist, philosopher, and religious writer.
Author of Arcana Coe/eJria (1749-1756). HioJ foUowers organi7.ccl tht Ntw Jerusalem
church.
laine, Hippolyte Adolphe (1828- 1893). French philosopher and historian: Ie:ading ex·
POlLtnl of prnitivism. Professor of aesthetics and the history of an at the F.colc: des
Bc:aux·Arts (1864-1883). Among his works arc EJJais dt! crih'qu, el d'lIuloire (1 855),
Huloire de w litliraitm angitJUc: (1865), Origi1ltJ d~ w Fralla w llt1tIporainr (1871 - 1894).
Talleyn.nd-ptrigord. Charla (1754- 1838). French clergyman and statesman. Crand
chamberlain under Napoleon and later ambassador to Great Britain (1830-1834).
Helped O1gincer theJuly Revolution. His MimlJrrtJ wen: published in 1891 .
Talma, F~i.s (1763-1826). Outstanding French tragroian, a favorite. with Napoleon.
'Iilylor, Frederick Wbulow (1856-19 15). American efficiency engineer. Author of 7"he
Ptindples of&Witjfic M(Inl'Ktment (19 11 ).
TCITUIOn, Jean, abbe (1670-1750). Freemason and member- of the Academie: Fr:ul~e
who cl13.11lpioned the ~ modems" in their- debate with the: "al'lci01ts." His novel Sitll(lS
(1731 ) combined political irutruction with M asonic initiatiou.
Thierry, Augustin (1795-1856). French historian and assistant to Saint-Simon (1814-
181 7). Author of Conquite de /'Angletern par ItJ Ntm/umdJ (1825) and £tUm Jur l'nul"irt
dr Fr(l.n~ (1827).
Thierry, Edouard (1813-1894). French poel and critic, known for his C55ay5 on drama.
Friend of Baudclaire.
Thien, Adolphe (1797-1877). Statesman and historian. Held cabinet posts under Louis
Philippe. ami was a leader of the: Liberal opposition (1863-1870). In 1871, he hdpcd
crush the Paris Commune. Was eleoed lint president of the: 11llrd Republie (1871-
1873). Among his works:m Hutoire de fa Rivolution.franraiu (1823- 1827) and Hutoire
du UJ1IJu/(l.t tl de [,Empire (1845-1862).
Third Ikpublk of Frana:. 1875- 1940.
Thomas., Emile (1822- 1880). Civil cnginca who, at agt twmt)"·6.\'e, bc:camc: director
and chief architea ofthc National \\brkshops (February-May 1848).
Thomuiw, Christian (1655- 1728). Gc:nnan jurist and progressive philosopher. Taught
at thc Uu.ivt:nity of HaUe, where he departed from schol:utic curriculum and lectured
in vernacular German rather than Latin.
'Iluu Glorlow DaY'. SteJul y Revolution.
TIbcriw (42 S.C.-A.D. 37). Emperor of Rome (A.D. 14-37). Heir of Augustus.
TIedt, Ludwig (ln3 - 1853). Gc::nnan author or lyric poetry, novels, dramas, and literary
, criticism.
1bubin, Charla (1820-1891). Professor who wrote: ror La &we deJ deux mtnUUJ. Friend
of BaudclaiTe and Courbet. Author of works on folklo~ and etymOlogy.
Toumachon, Rliz.. Set Nadar.
Tou.sscnd, AlphOJllC' (l803-1885). Frmch naturalist; foUower of rouner. Editor of
the joumallA PaVe. Author of L'EJpril deJ bikJ (1856), and other worlu in a droll
mode.
'Uavies de ViUen, Charla (1804-1859). Paimer and caricaturist; a founder of the
periodicals Lt ChurilJlln (1831 ) and La Can"tature (1838). Discussed by Bauddaire in
u ~elques Caricaturiste5 fran~."
Trilat, tnya.sc (1795- 1879). Doctor and politician. On the editorial board of £t .NaJionai,
and minister of public ""lork5 from May toJWlI: 1848.
Tridon, Gwcav (1841-1871 ). French politician and publicist. Louis-Auguste. Blanqui's
favorite lieutenant. Acti,,-c in the Paris Commune. Author of an anti-semitic cxuava·
ganza, Du Mo/«humejllif
Tristan, Flora (1803-18'14). French radical writer who advocated a utopian socialism.
Author of Union O/ltlnere (1843), L'Enumdpation de laJfflIme (1845).
Trophoniw. Mythical builder of the: Delphic oracle. According to legend, he gave pro-
plietie answen after his death to those who 51cpt in his cave in Boeotia.
Troyon, Corulant (1813- 1865). Landscape painter; a member of the Barbi7.0n group.
Reuownt-d for paintings of animal.J;.
Tuilttia. A royal res idence in Paris, begun in 1564 by Catherine de MMicis and bunled
in 1871 . NO\v the sile of the lui/cries Gardens. a park nca r the Lou~.
Turgol, Anne Robert (1727-1781 ). StateSman and economist; associated with the
PhysiocraUi. His fiscal and political reforms met with o pposition from high·ranking
circles aud led 10 his dismissal in In6. Among his work5 are ultrtJ Jwr 14 Io/irancr
w
(1753- 1754) and Rijlcxions sur !aformah·lJn et distribution du ricAwa (1766).
Unold, Mas: (1885-1964). Gennan writer and graphic artist. In France 1911- 1913.
Uacnu, Jknnann (1834-1 905). GemllUl classical scholar and historian of religion.
Teacher of Aby Warburg.
Vacquerie. Augwte (181 9- 1895). JournaliSt and playwright. Co-founded dK-. radical
jounul U ~I (1869).
Vaihinger, Ham (1852-1933). German p1tilosophc:r who developed Kanrianism in the:
direction of pragmatism by espousing a theory of"6aions" for ~otiati.ng the maze of
life. Author of Di~ Philosop/Iit tUl Au Db (19 11 ).
Valjc:an,jean. Leading character in Victor Hugo's Us Mi.sbah/~ (1862).
VaUb, julc:s (1832-1885). French socialist journalist and novelist; founded I.e Cn du
peuple (1871). Member of the Paris Commune. Author of Jacquel Vi1lgtms (1879- 1886).
van de ~Ide, Henry (1863-1957). Bdgian architect and craftsman; leader ofJugenwtil
in architecture and am. Hi! IllOSt imponant work is M1m IleUtn Stil (1907).
varUn, Louis-Eugene (1839-187 1). Bookbinder and Proudhonist. He was a leader in the
Erst lntemationa1, as ","ell as a member of ~ CenuaJ. Committee of the Garde Nation·
ale. Took part in the Paris Commw~, and was killed by the fon:c:s ofThc:rs's gcJ\'em-
menL
"Varnhap von Erue, Karl (1785-1858). Gc:nnan diplomat and writer. Author of BWE-
raphuw DenltmaJe (1824-1830).
VauclUUon,Ja£:qUeS de (1709-1782). inventOr. Constructed an automaton, "The Flute
Player," in 1738, foUowed the next year by "The Duck." which imitated the motions of
a live duck. Succeeded in automating the loom used for silk weaving.
Vautrin. Name assumed by the villainous characterJacques Collin in Itrt Goriflf, fllusitmJ
,,"dues, and other of Balzac's novels.
~e, or "\HunguichL System of secret ttibunals that spread acrou Gc:nnany in the
\
Middle Agel and allowed much scope for private revenge and judicial murdc:r.
~dCe. A province in the west of France: which sa"(: its name to a royalist insllJTeCl:ion
that took. place:. there during the Revolution (1793).
~,Emile (1855-1916). Belgian poet who fused techniques of Symbolism and
Naturalism. An editor of La Jtune BtWque. Published LeJ ViJ/u ttnlacu!airtJ in 1895.
\Ulaine, Paul (1844-1896). Leading Symbolist poet. Author of Poemej Jatumicu (1866),
Sagw' (l88 1), Le.s Patt~ maudi/J (1884), ElIg;eJ (l893).
\&on, Louis (1798-1867). French joumal.ist known as Doctc:ur Wron. Founded Lo.
Reuue de PariJ (1829) and revived Ie Corutirutionul (1835). Bonapanist after 1848.
\&uviennea. Club de Ia Legion des 'Vbuvic:nnc:s on the Rue Sainte-Apolline, one: of
many feminist clubs fOUll<kd in France in 1848.
~u.illol, Louit (1813-1883).j oumalist and editor of L'UnilJtTs rtligitux (1843). Abthor of
u Pape el fa diplO1Mlit (IS6 1), Lt.s Odnm de Paris (lS66).
Vial, Louit (1786-1861). Engineer who sJK"ci.alized in building materials for bridges.
Vidocq, Franl(Ois (1775-1857). French adventurer and detective; sc:r.'ai under Napo-
leon, Louis Philippe, and Lamartine. Published Mimoim de Vrdocq (4 vol.s.; IS28-
1829).
Vigny, Alfred de (1797- 1863). Man of letters and anllY officer; leader of the Romantic
school. His work is distinguished by an arisux:rauc-pe5simism.
VtlleJe, jean Bapwte (1773-1854). Leader of the ultra·Royalists after the Restoration:
premier 1822-1828. A critie of the financial policies of the july Monarchy.
Vtllemain, Abel (1790-1870). Writu and politician; seac:tary of the Acadbni(" F~.
Author of EJo~ de MIJfI/eJquitu (1816), Euai sur Ie girlie de Pindart (1859).
Villemeuant.,Jean (l8l2-1879). Frenchjouma1ist. rounder of u Figaro, first (1854) as a
weekly, and later (1866) as a daily newspaper.
VilIic:n de I'lsk-Adam, Auguste (l838-1889). 1\Jct, dramatist, and short-story writer;
reputed originator or the Symbolist .school. Author of l+tmiir"tl PoisieJ (185&-IS58),
Con/ts crotU (1883), Axd (1890).
Violld.-le-Ouc, Eugene (1S I4-1879). Architect; a leader of dIe Gothic revival in Fr.tllce.
Designed the re.<ltoration or medieval buildings, including dK cat.hcdral ofNom·Oame
in Paris.
Vardoque, Thoma.. Character created by the illusU"ator Paul Cavami.
Vtrginie. Character in Jacques Bernardin de Sailu-Pierre's romanee Paul el Vrrginie
(1788).
Vucher, Friedrich Theodor (1807-1887). German poet and aesthc:tician of the Hegelian
_ school. Author of Kn·tiJ,he Giin~ (1844; 1860), Aitlleti/t (1846-1857), and a parody of
Goethe, NUJi, Pari 111.
Volney, Corutantin-FranI(Ou (1757-1820). French scholar. Member of the States·
Genc:ral (1789). Author of ~agr t1'l EfJpt et tn Syrit (1787) , Rumes, ou AfiditaJio1l Jllr ItJ
riwiutitmJ tkJ tmpim (1791 ), La Loi fl4hmlle (1793)_
WaIlon,Jcan (1821-1882). Philosopher and mend of Baudelaire. Translated Hegd's
ugiA. Appears as Collinc:, a principal dtar.lcter in Henri Murger's ~ tk fa vie tk
&him<.
Walpole, Hugh (1884-1 941). Prolific English novelist. Born in New Zc:aland., he 5e1'Vtd
with the Russian Red Cross during V\brld War I. His book. 1"),t iW/rts.s was published
in 1932.
Wiatripon, Antonio (1822-1864).J oumalist and attic. Friend of Baudclaire.
werther. Sick.ly young Gcnnan student, hero of Goethe's !lOVei fu Leidtfl des jungm
Wtrthtrl (In4).
Wbeatstone, Charles (1802-1875). English ph)'1icist and inventor. Conducted experi-
ments in electricity, light., and sound. The: stereOSCOpe, his invention for observing
pictures in three dimensions, is still used in viewing X·ra)'1 and aerial pbetographs.
wte'rtz, Aotoine-JOICpb (1806- 1865). Belgian painter of coicmal historicalsccnc:s. Lam-
poomd by Baud","",.
Wtesengrund. Theodor Wic:sengrund Adorno.
W:M.skehl, Karl (1869- 1948). Gc:nnanJewish philosopher and poet. A mend of Stefan
George and Ludwig Klages, as well a5 or Benjamin, who wrote about him. fled Ger-
many in 1933.
W::!rtb, Charles (1825-1895). Anglo-French coururia, patronized by Empress Eugerue.
Arbiter orParis fashions for thirty years.
Wroruki,J6z.c:f (In8- 1S53). Polisb mathematician and philosopher. Author of Masiml ·
ism: Final Uni01l of Philosophy tmd Relir;i01l (1831- 1839).
"WUhlgartm. An institute for epileptics in Berlin.
Young Gamany. Literary movement arising afler the death of Goethe (1832), and
asserting the claims of the younger generation against the complacency of the elder.
Young Hegeliaru. Liberal movement arising after the death of Hegel (1831 ), and cont~t-
ing dualism in church and state. Attacked by Marx a.nd Engels in Die dtuIJcM ltkolo{lt.
Yvcrdon. & e ibtaloui,johann Heinricll.
¥VOn, Adolphe (1817- 1893). French painter ofbistorical scen(:5 and portr.tiUl.
Z MmT.as. Novel of 1840, forming part of Balz.ac's &.mtJ de la vie poli/ique.
Zellu, Karl Friedrich (1758-1832). German composer; set pot"IIlS by Goethe and
Schiller 10 music. His correspondence with CAxthe ran to six volumes.
 Index

,
Ahdd Krim, 53 1. 878 Argonne, A, 296
About. Edmond, 291 Arille, Paul d~ 50, 5 t, 76, 430
i\dkr, M:ox, 576 Aristotle, 697, 800, 945
Adorno, Gmd. 885, 10 13.1014 Armand, FBilt, 58, 78, 199. 640. 641-642, 643.
Adorno, ThmdoT Wacngrund. 208. 218, 21 9- 645, 646, 648,743, 184
220, 268, 379, 397, 420, 461 . 466, 542, 547, 548, Artillmqtlt, no
1i69, 868, 873, 893, 929, 931, 943, 946, 959, Artois, COO'Ite d: 573
965-966,984,989, 1013, 1014-1015 A.ucli.ncau, OlarlCl, 234, 2.50, 269, 280, 281, 3 10,
A.t1uoc4J, L; 398 ,n
AIlIy, Picm: d', 359 .4JJndlil~, 1:,522, 591
AiMabk Iilllhotirint, L; 710-711 Astunuu. A.. 46S
Alain (Emile+Augwtc Chania). 511, 773 Alliin; l:, 613. 712
Albabt. Antoine, 165 Aubo::l, D. F. E., 9fiO, 10 11
\ Albert. Prince, 190 Aubcn, ConsIallCe, 505
Afbati, Leon S3tlista, 157,1 61 Aubcn, Gabriel, 836
~ Magill", 525 Audc:hrand, Philibut. 592
Akxandn:, ArICnc, 548 A"&lbur& Gwtlr, 611
AII:rnt, R~ 247, 265 Aupid.jacqUCI (BauddaiR'l mprathcr), 259,
Alkmagm. Henry-RenI: d; 159, 398, 593, 594 260, 266, 276, 279, 282, 283,3 12,967
AbtumacA tkJ riforttuUam, 762 Aurijm, 715
At...m..t.4 lam, J..:, 611 Awiac, Eupd ~ 431
Alm.,...., Henri d: 504 AIII#f;rIlJW, l:, 575
Altschul. Frallk, 957 Auvugnc, Edmund B. d', 553
Ambigu thealU, 4{)8. 788 Avenel, ~ d: 55, 60, 167
Amid. HC'nri. 255 AmI, PiczTe.Hyacinthe. 637
Anedle, Narone.JJbirt, 264. 271, 279, 282, 283
, Andler, Charles, 709, 730 BabeuI, Fr.u~,6 1 9
AngkmonL, F..dowoni d: 45. 698 Sabou. HippoIytc. 20 1, 276, 443, 542. 56 1
Aru>enkoy. P.r.-d, 626 &chorm,johann, 361
Am:chiit~ Ouomar; 68S &con, F~. 467, 485, 486, 599
Anski. P.• 626 Bailly,jean. 781
AmiphiJos of Byzantium. 6111 Baldmipager. Femuw:I. 765
Apollinain, Guillaume:, 19, 67, 70, 82, 247, 265. Ballard. Louis. 162
353, 374,837, 904 &mac., Gun de. 486
Ango• •'ra.n'iois. 6, 14 1, 303, 673, 6n, 821 . 822- Balza.:, HQlluri de. 52-53, 54, 62, 78. 225, 280.
823, 902, 9 15 286, 298, 304, 335.376, 416, 436.437.439.
~JW{U"', 109, ?is, no, 807 440, 441 , 443, 456,612.641, 674.687-688,
Ar.Igon. I...ouQ:, 82. 87, 103, 37", 458, 454. 492. 721. 741. 744, 760. 763-769. 714. m.
8 11 , 822,
"94, 539, 790. 831 , MI , 861 , 862, 883, 90 1. 861.902.910, 915; ~tions by, 2 1- 22,
908,909, 933, 934 245.288. 299, 442,445, 447.535. 536, 555,
Af\2Y. Joscpb d: 591 615.619. 760, 761,763, 7114.8 14, 850-851 ,
Arendl, Hannah, 954 980; collaboration on ~ Prt.ue, 76ll; on Com -
Arpnd, Aim.!, 567-568, 837 munism.. 761- 762; criDciam nC JOCiely and mau
 Balzac., HIlI>Ofi de (rmJiVrUtd)
Olltun: 11)'. 32. 58. 87. 224-225. 448, 48~ 602,
7>1..758. 760, 898; gambli"g "nd. 495. 514-
5 15; im"gin;lIion;md Romantici.'!m in UK
woru of. 11 0. 616; otljournafum ilK! publ4b·
ing. 678. 748. 754. 756. 764: P:II;, "I>d, 3. 15,
83.282. 454. 469. 7i3. 850-851 . l008;pulinc.
of. 614, 726. 759-760, 78 1; on Sailll.simotUan·
ism, 592-593; ~tioI.lJ of woru by. 441 ,
nJ-m
Bandy. W: T., 234
Banville, Tho!odon' dc. 235-236. 250, 269, 282,
294,302,304
Barbar'a, Charla, 306, 585, Tl3
Barba, Arnwld. 98
Barbey d'AurniUy.Jula. 234. 270-271, 273. 275.
276.277, 289. 292. 295, 303. 363. i65
Barbier. Auguilc. 255. 237. 372, 378, 387. 452.
5(16, 723. 725. 735. 739
Barker. Robert, 993
Barnum, Phine;u, 184
Barral, Cwrgu. 242
Barr.lUlt, Alexis, 166. 168
Barrauh, Emile, 168, 475, 578, 592, 597, 598. 599,
601 ,765
Barre, Eugblc. 12•. 429, .>43
Barrb, M3wicc, 2 16, 250-251. 3(16, 966
Banim:. Th&xtorc, 48.187.502
&nut, OdiIon, 900
BanhC!lemy, Augulte·MarscilJe, 146, 293, 441.
511 , 569, 718. 737, 824
BanhOl.l. LouU, 755. 756
Bau.tjet. Nwna, 214
&SWIl, FIid&ic, 963
Bataille, GeorgQ, 958
Bataille, Henry. 37'2
BaLaull, Georges. 679. 698. 748, 749. 781
Baudelaire. Ow-les. 26, 112, 116.203.229.235.
241-242.280, 288,311 , 346, 359.367, 421 .
436-<137.449, 554.616. 761. 803, 901. 929.
930; aUeSQry in the: works of. 10. 21. 22. 2~.
206,236, 239.257.268,271-27'2,285.308,
315,8 16.319-320,323, 324-331 , 33~ 334,
335.336,338,345-349,352,356,365,367.
368.370, 377, 475 , 8~ I , 894. 896, 904; Amm·
t'3nistm 01, 243-244. 335; :an IhtQl')' and an
aitici.'!m by, 22-23. 230. 236, 238. 269. 272.
286-287.289-290.293,2 94, 298-301,317.
322-323.324. 32!h13 1, 335. 342, 364, 375,
383,895; Oil B:mville. 235-236: eanditbcy fOf
tht Aadbnk Fnn.;ai5e, 274. 278. 296. 338,
969.97'2; Catholicism and O!rUtian U<:CticiJm.
233.236.243.248. 25 1-253, 255, 259. 263.
303.31 1,3 12. 3Ui, 32oh'J25. 327. 330, 334.
335,337.3'10, 353,566: on clt.ildo:n. 342. 355;
coUabonaliuu on u &Jut puMr. 745: coml';.,.~d
with Dante, 23,1, 247, 301i, 363. 364; oomparcd
with Pt-OlUI, 404; UIIT't;~'~J, 241 ,248.
250, 272. 292. 298, 329, 364. 377, 378; criticism
by. 298-300. 334, 376.•52. 555. 618. 735, 755:
criticilim ()(, 238-:l39, 2i4--275, 278, 219. 287-
288,303-304, 305-307, 310-3 12, 384. 350,
363,364.37'2,377, 380, 386; On d"ndyum, ] 1(....
111 , 3 19,375, 376, 378, 801 , 806; Oil D~umiCJ;
323.326. 143; dca!b:o.i thall" in the works of
10-11 . 22, 99, 30$ 1, 3~5, 351 , 895. 896: dca . •
dmc~ in th( woru and life or, 230. 234. 239.
2.0, 246, 249, 251.255,256,257. 363; 0 11 Du-
POllt, 230,334.347. 755. 766; family. 254, 258-
261), 262-264, 266.277. 282. 291. 300, 3 12,
338,355-356.361 : on f:uhion, 78-79. 217. 271 ,
354; G31.lIkr and, 241. 261 , 278. 334 ; OIl Guys,
110- 111 ,238-240, 314., 369,696; I-.lth and
dc;ath, 250. 258, 260. 263, 266-267. 281 , 289;
bero~1l1 illl<! antiquiry in the works of. 117.322,
324,336, 337,350, 364, 370.371.806. S 16; on
Hugo. 228, 235, 236, 250. 264, 269, 270, 3 13;
Hugo and. 261. 278, 283, 755, 756. l()().l; m
aga of sky atl<! cIoum, 233, 331-332, 343,
349, 351 , 352.353, 355, 356,357. 830; on m.
toxic:alion of put aUa, 61 , 199;Jugenmtil
and, 475, 553, 556, 557, 560; on lesbian". 309-
310,318.371: literary competition/publicity,
333.335-337. 340; Jo,.~ rOf ParU. 282. 284.
302,3 13.341.385; on Meryoo, 96-97, 231 ,
238, 452; on modernity and commodiua, 10.
22, 26, 78- 79. 117.236, 238-239, 318. 322.
33 1, 335,336-340, 345-347, 350, 360. 364.
366,368, 371-372, 376, 555. S04, 806, 896;
myth in tht; woru of, 110, 236. 268, 322, 329,
3!l5; PaN in the ...."..QQ/', 10-11 , 21 , 231 , 246,
252.256,282.311. 3 13, 3 19, 323, 332, 336,
346,347,351 , 353.356,363,469.877.894,
895,896; physit;nl appear.mcc atW pmona1ity.
230, 240-241 .243. U4 , 245, 248-249, 250.
253-254, 256, 257.258-259.260-262.264.
267, 273-274, 279, 28 1- 282. 288. 291 , 293,
305,306.3 13.31• . 316,318. 319, 322, 333.
340-34 1, 365. 895, 896: fW :mel. 96, 227, 240.
2~3, 247, 26 1, 264. 265, 267. 272, 283. 286,
293, 295,3 19, 325, 334, 452; on politiO: and &0'
ciay, 271, 276, 2n. 279, 306, 311 .....112, 338-
339,346,35 1, 359, 363, 335, 446. 896; on
proniwta. 335, 336, 339, 347, 548; Proo.sat an.
307. 309-310; pKudonpll5 wed by, 296-297;
on rebtion or lhe cmwU to d~indh;dua1, 268,
269.290.333.334. 446.454.895: Romanti·
cism and. 110. 243,25 1.252. 30-t; »di5m ami
fcishism, 342. 354, 382-383; utoumm ai, 3~
379.383. 414, 805: $CKUllIlire and wincs, 10.
22, 258-259.262, 267. 283, 290-291 . 309-3 10,
3.11 , 332.334, 331, 342, 345. 347. 3,18, 357. 361-
362: On !olitude. 268, 269. 337. 338: style IUW
theory of' ,...nUllS, 235-236. 244. 245. 2.016. 247.
248.249. 251.254.255-251.260,263,26,1,
270--271. 274, 283- 284, 304-305.309, 317, 355,
3n: 'fuuu enc:1 and. 2,11-242: u,luslalioru ol
fW, 2110. 28 1. 282. 285. 385. 44 5: \'alby and.
335; W~P''''' :llld, 230, 236. 237, 895. 1197: un-
age" orand '';''WI Ott women. 309-310. 312.
313,3 111, 331 , 3012, 373, 896. WOIlKS: ~A
Arstll(." H ouJSayr," 437; "Abel et Call1.- 327:
" I.;AIb;olrol; 278; "AHq;orie," 296; - 1,;Amc du
vin," 281 , 350; - ~·I)our du mo)l(Jt~- 314:
~l1Aluour elle criner 276; "LArnouret Ie
cr.inc:: \ roruJ< Cui-de-\;uIljX'." 328; Argumt1ll d~
livre rMr III lklr;rqur, 244, 245, 441 , 555: !:Arl
plu'llWp"iqur. 238: !:Arl m~II/1f11{ll(, 58. 11~
Ill. 235-2"0, 442. «3, 555, 618, 689. 697.
735. 7'-1. 745. m, 816. 968: -lJ\,'misJeur:
3 14.326.33'2;"Lc:s A,·Olgks: 27'2. n6; "Le
B.'lieon." 268, 309. 969: - L:t Bbuice.~ 326-
327.332; "I.e lkau Nal'in~," 80, 330. 426; "L:t
& .. ut~.~ 327; "Btnbli,tion," 278, 349. 353.
365.557; "Bohbni.,,15 en ~gt,~ 336; "La
Donna SonuJ; 228-229: "1.cs Bans Otims,"
n4; "AII,K BourplU.- 3 17: ~Brumes et pluia,"
356; "01acun sa chimb-e," 296; "La Chaml=
double ," 3 17; "Chant d'automne," 338; ~Ulle
Charogne," 240, 253, 278, 283; "La Ch~
Iun," 327, 924; -ChoUt de owWnc::. wnlOlan·
la surl'amoor, 2.7-248, 316; "CommmIOfl
paX ICI deua quand 00 a du p ," 294;
"ConIwioll,~ 330: "w Corr9ponW.nces,·
\ 264.288,336. 558; ~Le Coueherdu solei! fO'
mlllltique." 239. 324; ~ Le Couvade,· 353; "Le
Cdpwo:uk du r!latin," 234. 257. 261, 263. 2n,
296, 332,355.358, 381. «5; "Le Crl:ptueuIe
doJ soii' 234, 251. 267. 272, 313. l43. 370, 378.
434, « 5:"Le Cnnc:,~ 10, 2 1, 276. 333. 356.
896: ~ De I'WbJ;utificicl," 278; "Dc: Profundi"
darnavi," 355; iJm,ii:m uUm IlI/(li/rJ Ii JtI
mm, 291 - 292; Lu Dt.stiru de Daufllicr. 233.
741 ; "La Demuction,~ 256, 3 19, 349; "La
Orux &nne. Sorurs," 334; "L'F.£oIe p;Uerlru::
235,313,3 16. 743; ~I.:Ennemi,M 327; UJ
Ep..lirJ, 257. 275. 316; ~L' E!prit de M. Ville-
maill.~ 365; "De l'Essert,e du rin:." 285. 325,
329; "LUall1en de nUllwt," 3Ui: "Exposition
UW''''mUc , 1855." 298, 3 15; 'La FlIIlfarlo."
261. 297: ~~mma rfamrfts," 274. 305, 371 :
"Femrue$ dalllnm: Dc:lphinc:.et HippoIyte."
261. 283, 371. 557; "La Fcmme.o; Cl ltt filla '-
696: "La FClI~tre!,· 437; -La rUI de la
rourna:," 352: I~., Fleur:! d~ ",,,I. 200, 205. 22.4.
228.234,235, 24U. 243, 244, 246, 254. 256.
257.1-';11,262, 263. 264, 263, 270. 271 , 272.274,
275-276.280. 281 . 28.1,286, 288, 292, 295,
296.303.305.308.3 12-313,3 17, 325, 329-
330.335.336.337. 339, a5 1, 353, 355, 383.
3116, m. 556. 557. 560. 917:"Les Mula,' 437:
"FUS&S; 293. 1!95, 300. 3 1,1-3 15. 352. 356.
376. 443, 445; "La Gealllr," 264; "Le Goulfn:,"
353.354, "Unc Cf3'\'Un: f:Ullluliquc." 328.
"Hannonie du JOir;" 317. 319: "L'B butonli-
moro....nbl()S," 3\01. 327: At)., !'Hc!roisme de bJ
vie modcnle." 3G11: llul9fm f7'1(JtflltJ d
.oIriniHJ /1<'" £J/,I.,.Poe. 570; " t:Hommfficu."
365; ~L'Horloge.~ 326, 351. 384. 507: "Hor.
rcur s),mpathiquc." 35 1, 352: "Llmprt..'U,·
327.354; "I.:lnimMiable," 328, 353; "I.:lr.
rtparnblc," 351 : ':Je Il'ai pat oublit," 296; '1e Ie
donn" (.:$ wn ," 330; "LeJeu;" 334·, 380, 51 4;
"Un J our de pluie." 353. 446; "Au Leaeur,~
37~ 384: "La LabielUlCS; 280. 556; UJ u.s/,i-
<'JIJI(J. 263; "I...esbos." 265, 266. 274, 351; LeI-
1m, 322: ullTtJ" I4IMt, 58, 3 12-313, 379:
Ld litrcha. 233. 235, 263. 297, 30 I , 5 II ; "La
I1tania de Saun.~ 111 , 327. 557; "A Ulle
Madone," 264-265; "Man:eline Dabord9'v,u-
1lI0re," 371, 442: "Vile Martyre," 8, 19.509.
3~9; "Le M"uvais Viulat 266; "k MOl-
~. 696-097; "Mon Corur.w..to nu;" 291.
295, 300,315, 3 19,332,376, 445, 967: ~La
Mort;" a09. 351 : "La Mort des amanu," 349;
"Le Man joyewc." 261, 355; "Mwa: d:wique
du Ba.ur Bonne·NouveUe," 3 18; "L. MII.1e
malade,~ 330; "La Mu.se ~,~ 330: "Note! a:
dOCU1DCl111 pour D10It avoa.t,~ 280; J{l1IIuclb
His/om n:~J, 3 19, 45-4; "Nota Nou.
,-dies sur Edglll' IU,~ 3 19; "ObKssion," 267,
336; ~~Oeuvn: at b vie d'Eugtnt- Dc:bcroix,"
239-240 ; Ott.llrfJ, 60,111,199,200.245,248,
269, 285,285-287, 290,293, 296, 298-301,
330, 342.360.365.555; Ont'1U _pbkJ, 227,
263, 314, 376, 335, 454: £lnn,,-u~J, 247;
UJ lWadis Ilrli/Wis, 206, 276, m.
219, 365,
375, 841 ; ~A Ulle i'lMantc," 262, 267, 268, 276,
380,384; "Le ~~: 356, 382, 381, 536;
"Le I'rinue de b vic moderne," 239, 442, «3;
"Pate d'. uriolct 375, 557; ~La A:tit.a
V>eiUa." 243, 252, 319, 354. 355, 382, 755.
10M; ItIiJJ N.u (II ~ (u $pm tU RuU),
225.233, 235, 244, 262,263, 278,279, 294.
312, 3 18.322, 330.346. 414.434.437. 507.
553, n4 , 896; ~Pttrus Borel." n2: " La
Phal'Cil,~ 278. 350: ~A-t)'liogllomio: de Ia rue,~
0&41 ; PUuJ ~J. 309: "Pic:l'n:' Duponl."
23i; /'oirtu. JIIWJ, «6; " Le J\.~Mtt 291;
-La i"toruaKs d 'un .isaget 267. 328, 370;
"Qvc diraHu ce KIiT; 306; "Qydques c::o.ria.
turutcs bran gns," 322-323; "Qvdquc:s arica,
lurules frano;:;m: 3:l3. 650. 691; "La R:u~ou,"
326: "RLruc:illem(nl," 354, 375: "RI!Oa:ionI
Sur queIques-IUIJ des nICS ctJIUcmponoim.~ 26t;
"Ronords poslhumc:;" 355; "Le Reniemc:m de
Saim Pian:," 274; "Le JU..,,,, d'un wriOlJl,-
296; ' Rb~ parisien." 264, 267, 276, 326. 355.
3S3, 427; "Rrnrsibil;t~'- 3 17, "Rbtohe" eyd".
325.32'7, 329; "Salon de IIW5; 301, 3 15. 317.
318, :\75, 560: "Salon de 1846," 248, 261, 269.
28S.294.296. 299.322.360.37S, 560:~
BaudebiK. ~ (,otlfilu",J) &r1Wr c;".ntr. 527 Bonne. Daniel. 617-618 CaIippc. O>a.rla, 760, 762. 784
do. 1859,- 231 , 287. 290. 299.342. 384.536. Sc~ H ector, 110 , 804 Bomc:, Ludwig. 60, 61. 81 . 51 4, 525, 709 C:alonnc:. AlphonK dc. SOB. 383
560; "Salon de: 1846: Dc l'Hb'oUrnc de Ia"" Bunard. Q;r,ude, 287-288 Bomstcdt, Adalbert V'Or1, 614-615 ('.aJonnc:, Charles. 573
modcme." 298, 299, 360: -Salon de 1846: Dc Bernardin d~ SaiUl·Picm:,Jacqtla, 637 Bosch, Hiaonym w . 354 Cal vin,jolul, ·168-169. 803
M . H orace Vm lett 301; -Salon de 1859: Lc Bernheim. Enllit, 479480 BoMuct.J acqua, 748 Ca.mpanelh, TomnlllO. 342
Public modcmc ct b phowgnoplUct 69 1-692: Bcmouard. F~, 901 Boucher, F~, 163 Candollc, A. P.• 712
-Sc:mpcr eadem," 266, 327: "La Sept VICi!·
bnit,- 2 1. 22. 328, 362. 364·, 374-375. 386,
Bcnwcin, Eduard, 705, 193
Bnry, OlMIa mdinand, 531, 818 ,,,
BoucbOl.. Haut. 56. 57. 141. 196. 786. 787.81D- Capw. AIfu:d, 3 12, 5 13. 556. 994
Carbonari (CharbQnnrnc) moo.'.::mcm. 603. 609.
7~5, 1004; "5epulrure.~ 267: "Le Sc:rpcnt qui 8aT)u, PiCTfCoA.moin~, ro. 899 Bougit, CBestin, 525. 600 614, 615, 616
mIlxt 969; "u Scrvaruc ~u grand coeur," ikmul,j ulea. 761 , 808 Boulengcr.jacqutll.768 Carcel. B.-G., 568. 837
296,336,35": "Le Sald.l." 239, 266, 333, 356; Bcnh~l, Eli~, 55 Boullec. F.ricnnc-Louis, 823 CmlaIlW, Girobmo, 695
"Sollmt t.l'lutomnc:." 288. 326. 328, 357: Bertrand, Louis, 399 Bounoun:, Gabrid. 268, 269. 44 5 Cardovilk, M~r;bme de. 633
'Spleen ~ idbJ," 10,239.325, 346, 35 1: Bcs:.u1COUrt. Alben de. 766. 767 Bourdin. CUlUlVI:. 274, 278. Z19. 575 YnuJlrm, lA., 7.$0. 741
~Spleen It 336, 351; "SpIcm II: 341 . 354. Bourgn. Plw. 90, 254-255. 256, 363. 7.$6, 760. C#~~~.Lt.508
....... "'""" 687
806: ~Splcm rv,' 3 17, 352; ~Le Squclcuc b· Biano:bon, Horace, 83 m Carjat. Etienne. 99, m
boumlr. 326, 352; "Sur U 7'lllJt 01 pro"" B~. }unbn.c,393,859, 983 Bouriia, LouiJ, 502- 503 Cam~, 1.. dc. IS9
d 'Eugme Dctamn," 326, 32B; ~Tablo:aux Billy. Andr~, 261 Boyer, Adolphe, n I, n4 Canlot, I..u:m:, 820
parisit:lU," 275, 3 16, 332-333. 356, 31U , 452: Birotteau, Cbu, 83, 555 Boyer. Philo.ttuc, 283 Cand. Nicolas Amuoo, 609. 761
'"Tu rncttrais l'uni\l'U1,w 354; Un lsIW, 261 , Biuon, Louis-AuguslC, 678, 687 Br.atquemond, RWt, 257. 275, 285 Carua. Carl Gustav. 103, 830. 1009
262, 263; "Ven pour Ie portnit de M. H onod Blanc, Qla.rla. 7.$, 209 • Bradaa, Micbd. 583 ~ Cr.mic:r de., S27
Daumicr," 352; Vm ~II'D~ ""'. 297: ~La. Vie an· Blane, Frano;ois, 591 Brame, M.j.. 400 Cauou,.Jean, 11 9, 147, 381-382, 553, 738, m
u!ricun:." 309: "Le Vtn de l",1iIusin,~ 240, 350. Blanc, Louis, 600, 637, 705, 723, 728. 729, 789 Brandenburg. F. ''011.175 787, 791 , 193
354; "Le VUI de.! am:mu," S50 : " Le V'1Il des BIancht:,ja.cqua·Emil.... 2 15 Branda, Georg, 794 CMunlC:utan's panoptU:oll, 409-410. 541
chiJfonnierJ." 333, 349, 350. 359-360, 371: BIanqui, Adolph~, 539 Brazier, Nicoll.!. 489 C:uldlanc, VICtOr Bonifaa:, 751
"Ou VUI ~ du h2Jchisch," 349-350: Vmgt.&pl BIanqui. Louis./!.ugwlC, 79, 98, 118, 255. 293, BrttllI., Berto", 72, 347, 354. 362. 375. 446. 511. C:utilk, Hippolyle, 280, 440
pw-, JeJ Fkvn d~ 1IIUi, 296: "ta \bcuiont: 295, 296,8 17.332,353.368,385.557.616, 687 Canindli, R.., 233
262. 2!U; "La Voi"t 270, 289, 352, 806;"Le 734 . 710; coamic: t:pcrubtion, 15, 25-26, 112- Breton. Andri, 59, 82, 125, 408, 459. .$68, 529, Gaubcn, J..oW5./l.ntoiPC"Ju.stin. 260
,",>';I~," 22, 267, 270, 307, 319, 327, 331 . 587. 115., 199. 201 , 329.33 1.341 .352,939; natural 549, 745-746, 883, 933 Cauchy, AlIptin.LouU. 632
896; ~Un ~~:l Cytha-c; 319, 328, an- science and. 116,271, 362. 4nj 00 PaN, 144, \ Brcton,julCfo, 222 Caume. Picm:. 373
378; "La Ycu" de Bmhe," 267 145, 380: revolutionary ICtivitid and followu!, Brimu, Philippe, 758 CalWidim, Marc, 566, 617
&nar, Ikr, 863 21 .58, 142,339, 357-358, 470, 6 16, 617, 6 18, BriegerWaucrwgd , Lothar. 10 10 Cavaignac, Louis, 279, 613, 730, 748, 749, 899.
&zan!, SUlh~m3J\d 692. 593, 597 649,667, 711 , n2, i'92, 793, 794 , 823, 996-99'7. Brod., Mu. 124,527, 528 1003
BcanWcy. Aub/q, 556 t003 ; social aiticiam, 735-736, 738-739; tria.I Bruh. Owb. 595. 75'1. 758 CazoocJacqua, 247. 265, 291
Beaumont, Owla. 808 and im.prUoruncnt. 111 . 112.381-382, 387, Brurxt,jean, 154,5 18. 840 CtUnc. I..ouiI-Fcrdill~nd. 300, . 02. 472
Beaurcpa.irc. Edmond, 32, 109, 433 735, g 14, 939, 997 Brunet, R.. 778 Cadet, 1+.., 575
BecthOVl:I\, Ludwig van. 236, 454 Bloch, Ernst. 393. 409. 463, 861 , 863, 883, 936 Brunetihe. Ferdinand, 249-250. 252. 253. 278, Cc:rlberr, Anatole, 448, m
~in, Alben, 264, 265 , 292. ns-n6 Bloch.jc:ul"Richard. 374. 389, 480. 907 279.306, 363 Oiabrilbt (di.n:o:Ior of thc AnWigu theater), 408
BdUlC, AdoII. 172. 2 12, 2 15, .$07 mondd,ja.cqua·Fr.lfI9lU, 823-824 Brunot. Fcrdina.od, 110, 199-200, 536 awn (~e de No.!), 109
Scigrand-. Eug~, 57.$ BIU<:htt, Gebhard., 490, 852 Bucher. Lothar. 184 ClwnpHeury (jules; Huuon). 253. 258, 273, 280,
8clla.my, Edward, 3n Bochn; Mu ~'OCI, 103 , 120. 151,206, 849 Buchet. Philippe, 575, 513 281. 283. 285, 585. 764, 768. m
Bdbnge (F....n~~osq>h 8clanger), 154 &ettichcr, Karl Hcinrich von, 4, 15 Biiclwcr, Cc:c:q. 59 1, 628, 633 Oiampgrand. Sophie dc, 996
Bellanger, AbbI!, 230 u
Bolrimr, (newspaper), 583-584. m , Budz.ialawski, H enlliIIUI, 145 Ciumpioll. Edilu!. 713, 721
Bcllen,j ollll. 508 Bohle, Fran~, 11 .24, 120 Bugaud de b Piwnncrie. Thomas. 718. 1002 Chaptal.Jean·Antoint"·CIaude. 7, 17- 18.5 1, 180.
8cmb.julicn. 47'2. 544. 846 BOhmc, Marpme, 559 Bulw.:T-Lyuon, E. C., 4<W 181 , 6 14, n8, 768
Bmn. Gottfried. 402, 4 n BoiICllU, N'ICoLu, 258, 267, 365 BUOfUfl'IlCi. filippo, 619 Clu.puis. A.lfn:d., 420
Benoist. Charla, 54. 196, 595, 6 11 -612, 633, BaWd, FralM;Oit, 136 Buret.. Eugale. 578, 621. 673, 70S-706. 707. 709. Chara".)" Etictmc. 296
nl. n2. 723, 760, 762 , 807 BoWibe. Charles, I I I 730.818 Chardin.. J can·Bajlw lC"Slmton. 688
lknoit.U:vy. Edmond, 757 Boiuy-d'Angb.l. Fnnc;ois d~, 589 Burgy.jula. 738. 739 C harles X . 45, 48, 58 1, 582, 593. 603, 610, 6J4,
lkounbcrg,Johann Fricdrkh, 90, 108, 4-97. 532, BmWd. Louis, 668. 748 BumC"jones. Edwani, 261 747, m , 807. 85 1, 997
69' Bonjcan. Louis Bernard, 736 Byron. Ccor~ Gordou. l.md. 236 Ch:t.rlct, N'oroI.;u. 141 . 78?
Bhallga', Pkrre, 161 , 1.1 8, 329. 723. 754. 766. 814 Bonnan:I. Abel. 729. 731. 743. 769. m Charpentjer.John. 308
Brn.oud. Haut. 8M Bonnier, Ctwia. 624 Qilianb. Auguscin. 260 Cha.mu.jan. 711
lIbardi, Uon, 232 ~, ~ldc. 294 Ca.bet, F..tielul~, 54. 71. 3tH!, 604. 623. ?IS, 716. Cha.nier, EmilC"Augustc:. &r Abin
8tn.ud. F. F. A.• 43, 499-502 &n,·Snu, u, ?fil 728, 130, 73 4.738, 904.906.996. 1012 Cha.'IIes. P!1il:utte. 763
Berg, Alban, 268, 961 Bonvin, F~o;" 7&1 Cagliostro, c;..,unt AlI~o ell, 814 Ch:U5 in. Olarlcs·Lou;'. 713-714. 72 1
ikrgIu, EdlllUlld, 5 10-5 11 Borciw'dt. Rudolf. 458. 8.')7 Ca.ilIoia. Rop, 79. 97-98, 110. 142.199,399. Ch,lIo.ubri3!ld. F~ois Reno!:. 100. 4001.533.
Bergson. H enri, 205-206. 841 ~wt. Henry, 397 41 5, 439, 469.555. 6 15. 696. 714. 198 7<l5, 806. 807
Bcrl, Emnlol"ud. 395. 493, 698. 1162 Bard. A:trw. 260, 276, m. 1005 c.Jij1mw, t..., 715 Wu:I, FmlitW>d.fn.rot;,*,~, S9 1-5!rl
Clutcbin, U.-v.. 250 Cooper,james Fenimore, 438, 439. 441 , 442, 447, Dcg:u. Edgar. 688 Du c..mp, Muimc. 12. 14, 23, 66. 86, 90. 122.-
a",udcJ.Aigucs. jacqua'Ccmwn, 768-769
Qu,wt. Str Lcdow!. a...~N'1COlu
Chtnicr; Andrt, 321, 358. 374, 590
'"
~, 388-389, 838.883. 884, 941 , 942
Co:.pptt, F~, 178
O'Eidlihal, Cwavc. 397-398
Ddacroix, Eugtroc:. 239,
554, 678.759
m 279. 299. 30 1. 8 18,
123, 141 , 143. 153, 2 13, 260, 430. 469, 5 11 -
512, 517,543,563-564.594.601 , 602,679,
748, 753,757, 8 15
Chtnicr\ ~bric-JOKpb. 1006 Carbon. Ant.himc. 192. 712. 72J Ddaroc:hc>, Paul. 678 Ducangc:, VICtor, 1006
Chcnn~. Philippe de, 276 Cordier, Henri, 242 Ddalouchc, HyacindlC, 288 Ducos de Goodrill, M.j ., 52, 503. 506
a,enou. josr:ph·Ch:ulcs, 188 Cordier,jula, 192. 679 Ddalour. A.·G., 680 Dufour,J Ulcph,536
Cb&et,julea, 62, 838, 882 Comcille, Pic:m:, 103, 599,616,617 [)elcsdul'.C. Louis Ch:u-la, 790. 792 Dujardin, Edou.ard, 553
Q,tror11lt;t, Louis. 97. 169 Coni, £.gun Caesar Come. 503, 504. 591 DcIord. Tulle. 92. 753, 782-783 Dulamon. Frid6ic, 234
Chcllcnon., G. K.. , 57, 233-234, 437-438, 535, Cowbct, GwI3.W:. 13, 25. 23~240, 333, 4 13. Ddvau, Alf~d. 45. 84. m. 11'9. 191. 240, 429. ~,jac.qua A., 32, 33, lSI , 469. 562, 798
no, nol 585,164,790,791 , m.
795, 817, 1006 431-132. 435, 496. 509, 52 1. 523. 543. 551 , Dwnal, AlcKandn: (Dumas fill), 759
Chevalier, Michel. 7, 18, 163, 181 , 186, 191, 196, Courier, Paul, 741 585.632,635,678.681.711 . 113-114,761. Duuw, ~ (Dumu pm), 38, 95, 98, 138,
198,581 , .s112, 583, 587, 588, 592, 593, 5~ , Coumot. Antoine. 654 764.765-766,99I, IOM 327,439-440, 5 10, 523. 585,616, 744, 749,
596, 598, 763, 791 Collmn- tk PariJ, U , 770 Dc Maistl"c,JOKpb. 242, 277, 287, 303, 343-345, 750-753, 757, 759, 760, nO-nt. 789, 811
ChcVTeUl. Michd Eugme. 686 Co~rrin'.!;'tJ1IfIJiJ, U, 5n, 579 353.363,368, 3n, 668 Dwncsnil, AiCldl, 432
Chezdlcl, Perrot dc, 767 Cousin. VICtOr, 634, 770 ~mar. Claire. 595-596, 809-810, 811 , 814 DupuJagl:. AdriCII, 401
ChilltmliL Antoinc, 764 Counou. Meow, 527 De MaupamJu.. Guy, 570 Dupont, I'icrK, 24. 120.230, 237,267, 271, 276,
Chirico, Giorgio d~ 103, 830, 843, 898 Coururicr de VImIIC, F. A., 401 Demcny, Gcorga:, 686 281, 3 16, 334,347,397,710,732,745, 7"6,755.
Chodruc·Ducb, Emile. 45. 48. 109, 434, "98 Cnmcr, C. F., 5 17 DiwttxroJie pnd.fo/w, /...Q, 280, 62", 633, 637, 763 761, 766. 967
Ouiticn, Gilla Louis. 676 Crane, .....vaItcr, 67S ~,674 Duquca~.jc:an, 152
ChriItophe,julcs, 448, m Cripet.. Eugmc. 234, 254, ~65, 272, 276, 280, Dtmy, Adolphe, 181, 18~190, 780 DiiTcr, AIbrcdu, 238, 466
~deRuU,754 283,284, 286, 289, 293, 310, 3SJ, 3n, 383, 384 Denner, Baithaaar. 553 Ourricu. Xavier, sn
(l~0$~John, 293,402 ~JacquCl, 230,263,280,286.289.308, 982 Dcnncry, Adolphe, 673, 844 Dwry, M illie-Jeanne, 743
CLadcl,judith, 261-262, 280, 283 Cm-d, R~, 837 Dc Qvincy. Thomas, 436 Dwolia; Ak:idc. 267, 304-305
CLadd, Uon. 618 Crout. Emilc:. 714 Oabordes-Valmurc, Marcdinc. 442 Duval,Jeannc. 245, 252, 259, 263, 282. 292, 295
Claes, Baltlw.u. 210 Crozc,j.·I..., 52, 53S ~,R~,368,599,642 Du~, Charla, 397, 401, 597, 673, 845
CLairville, I...oui! F.• 192,671, 673, 61'9. 680. 1W4 CuUin. P., 535 Dc.scaus., Gcorga, 297, 303
Cbmic:, jula, 121 , 2(}o1 , 295, 408, 422, 44 2, 528, UtrimiJh rivoIutillNwm : }l1IIrrullIX TOIItp. U J, Dcschand. UniIe. 275 Ehcling, Adolf, 175
83 1 581. 7Jl Dbcssaru, IbTct, 595-596 LAodv~.715
Cbrctie, Uo.92, I09, 412 Currlw, ErNt Robcn. 224-225, 436, 519, 521, Dcsj:ardirus, Paul. 305 Ecole des Bcawt·Aru, 4. I~ 155, 9 15
Claude!. Paul, 288, 324 535, 599,614,637, 764, 768, 814 Oanuycn, Fcrmnd.. 272, 284, 445 Emle NonnaIc, 820
CLaudin, Gwtave, 422 Cnvier, eeorgc" 758 De sua, ~bcbn~ 32 1, 601 Ecole ~cdmique, 4, 16,502, 5n,58I , 588,
Claudio-janel, ~l, 189 CnviJl..icr, AmwuI, 58, 133-134 Dcstrec,JuICl,363 589, 609-610, 70 1, 71 1- 712, 780,818-824,
Clavaud, Armand, 850 Cty1lak. Anna, 204, 871, 924 lkubd,oUon, 9, 19,203 863,915, 937, 963, 996, 1002
OuuW!, H., oil, 52. 53, 54, 109. 433,535.563, Devaia, Eugmc, 81 1 Edison, ThomaJ, 686
760 Dacqut. Edgar. 861 [)c'-igne, Rosa. 6 18. 787 F..ifTcl, ~vc, 886, 887
Cochut, Andrt, 135
Coac:au, j can. 692, 843
CoJcrid~ Samud T~ylor, 968, 973
~,LouD jacqucs, 6, 221, 521, 530,

690, 691,773-774, 848, 849, 9 14, 993

531,
532, 533. 534, 535, 674. 675. 680, 687-688. , OcvrknL Eduard. 42, 424-425, 531 , 566
Dickens. Qlarla, 57, 208, 233-234, 426, 0&36,
437-438,532,535. 770. n4
Enaull, LouD, 95, 166
Enfantin, Ranh&my·Prospcr, 7, 18, 181, 398,
572, 573, 582, 589, 59 1, 592, 593, 595, 596,
Collina, \V"tllUe, 1n, 876 Dati, Salvador. 547 Didcrot.lknis. 247, 265, 30S, 431 597,600,601,602,780,783,784.905.996
Colmancc. Charlea, 715 D'A1mcr.u, H.. 419 Dicdcrich, Frant, 161,576,628 Engelmann, Gabricl, 196
CoiW(Hlt. Achillcde, 191 DanuI,jcan·F~, 428 Diltbc:y, Wilhelm, 803 Engds. Fricdridt. 12, 15. 23, 44, 106. 108, 116,
u., Dante Alighiai, 233, 230$, 247, 267, 271, 275, 289, Dingch.edt. Fr.uu. 693
...
OmtIdit ,tUllldlllt,

Commiuion of Anisu, 107

52. &t ~ fbU;;u::, Honor!
Conunl,Ulccl ParU, 12-13, 15.24.25,98, 116.
143,548, 618.745.166,788,789. 790-791,
792,793,794-795,8 19,897, 937,1006,1001
c;.""",uRiJlt, U , 623
ComiC, Augustc. 479, 590. 654
Cooue de SainI·Leu. 878
Cond~ , Louis HcnrijOlqlh. 53 1, 878
Condmcct. marquil de. 312. 590, 8 14
COIIgta5 ol"lOur., 698
Connd, j05Cph.227
Coouidb-ant. V>CtOl". 6350-636. 732. 736, 738. ns
Cons",.nt, Bc'!iamin. 255
u.lIJlllull·""".I. U , 514, 51'9, 584, 585. 590, 609,
689, 757, 159, 760. 761 , no
295,305, 324,363, 382, 662, 972
[)arun,guc, Gabrid, ~40
DiMkri.. Adolphe-EugWe. 6n, 678, 680-681
DisnC)'. Walt. 7'l
Dart0i5 brothcn. 673, 845 Dommangct. MaurKc , 335, 381, 739
Om. P.. 689 Doncourt, A. S. s..- Drohojowsb. Amoindte
Daubrun. M;u;e , 245. 273. 280. 288 Doli. GIJ5""~, 614, 787
Da udet. Alphonl<" 740, 856 DosIOCVAky, Fywor, 258, 287. 878
Daude!, Uon, 91.100, 245. 265, 26ti, 269-270, Dovifat, Emil, 803
755, n5. 862 Dm/H~~ 6/411(. Lr. 579, 770
Inuuw, Hooort. 67. IS6, 161- 162,223,322, Oroh~b, Antoinette, 162, 181. 188. 189.568
323,382, 433,682, 687, 717, 74-0-743, 809, 810, Drouct.julinl~ ns
846, 978. 10M Drumunt. .Edou.vd, 1950, 434.595. 740, 759. 7tiO
David. R1ic:icn-(;6ar, 2()4. 399. 592. 600. 787. 835 Du Barus, Cuilbumc, 563
Da,-id.jacqua·Louu.. 5, 530. 838 Dubech. Locien." I. 42, 89, 107, 129, 131-133,
[k Berry. ducheue, 48 158, 161 , 179. 1110,410,424,494,520. 54R,
[kburau, BapWlc, 108, III 565, 572-573, 574.603,604.673.699, 700,
Decamps, Al~rc Gllhrid, 30 I 796,799
123, 141, 145,220, 343,349, 351, 352.353.
355, 356,357, 432, 465, 466, "68-469, 472.
475, 484, 507,576, 600, 607, 615, 625, 632. 664.
667, 7'05, 727, 729, 731. 895; on cb.u socidy.
792;011 Communcof ParU, 793; Communial
~, 728; cconomic Uleory, 902: 011 Fourier,
637, 638. 640, 906, 9 15; O11julI<: J.nJuntttion,
730; on bhor, 106; on Napoleon, 779: 011 P::ui.l,
728. 797; physiognomi(.'l oftbc crowd. ]0, 428;
social criticism. 8 16
EngI.i.ndtt. Sigmund, 71 , 89, 135. m. 180, 52 ] ,
566,573.514,604-605.621. 6n 623. 101.
702,703
Ell-nay, Adolphe d : 43, 428
E/I«i.u, ~ 763
&dan, Alcqlld.K. 8 16, 8 17
Erler. Fritz, 375
 f..acholicr, R...ymood, 225, 429, 442. m , 715
umblard.JO«ph·Alpl>or>5C'. 158
upad. ~d'. 4 1, 42, 89, 101, 129. 13 1- 133.
158, 161. 179. 180, 410, 424. 49,1, 520. 548.
565, 512-513.514, 603. 604, 613, 699. 100.
796, 199
ElDik, L; no
Eud. Karl VOII. 853
wgtnic, Emprw orFr.uv:e, 284, 408
Euler, Leonhard, 821
£~t, L: no, 175
Fabiro.jacqua, 66, 136, 410, 567, 836
F~guet, Emile, :li'4. 278. 306, 307. 364
Falke.J acob. 151- 152.2 16
FanfCl"llOl,Julie.591
F~rgue. Uon·f'a,u!, 57
F~\'l'aI , marquis de, 564, 836
kbruary Revolution, 12. 23. 55, 123, 177, 230,
566,574, 592, 604, 605. 60S, 699, 71H , 703.
108. 111, 712, 713, 124--725, 728, 729, ru,
136. 744-, 767, 78 1. 817, 967, 995
Rlix, Elisa (Rachel), 837
~jOieph. 629, 630, 63 1
Ferry, Gabriel nt
Ferry.juJa. I25. 13G-131, 133.863
~. Lud wig. 485. 516, 667, 903
mil/ftrm tkJ~r7IUliX ptUiliqueJ. U , 154, 156
m
FtvaJ, f'a,ul, 44 1,
Fiellle,j ohann Gottlieb. 469. 725. 779
~idw (Hugo Hilppener), 353, 551
FII!Kbi.. Giuseppe, 192, 9&J
F'l(,infl, U , 14 1, 214, 218, 219, 280, 288, 297, 310,
591, 166, 912. loot
~lguier. Guillaume Louis, 677, 684-685
FUle1ien:. A. de la, 297. a03
FllIcher. H ugo. 210. 468, 653-655
fittk.o, Lila. 946
Rachal, Eugm.:, 153. 154
Fla.mbart. P:tul. 305
FU~tII~, u, «8
Aaubttt. GUSt2~. 237, 25 1. 214, 281, 354. 394,
448, 449, 481, 113, 741-743, 768, 806. 904, 908
flnory, Ellie, 116
Hocon. Ferdinand. 128, 729
Flotte. Etienne· GaJton. !u.ron de. 271. 293. 586
Rouralli. Piern:, 19Q
Focillon. Henri. 80. 487-488, 945
Fontaine, P. F. L., 91
FonWlCS. Louu de, 821
Fi.ud. Henry. 9O~
Fonuist.j c:m Camille. 180
Fou...ud. Edou;lrd, 46. 75. 163,222. 350.411.
11 1, 819
Fougm,. Henry. 186, 187. 710, 11 18
Fouqua., Fri<:dOch de La Moue. 352
Fourcroy. AnIOint-, 412, 614. 821
Fourier, Charla, 8, 20. 57, 78. 14 1, 142. 18.2, 198-
199, 24 1, m , '298. 343, 350. 380, 5 11 . 576. Galcrics de &is. 39
582.591.631.633, M9, 695, 132-134. 136, c..liguJIoi, U. 591
743 . no. 777,184--785, 903, 90S, 916, 931; a.,. C:ilimard. Augwtt. 6115
trnlogieal spoxul3tion (tlltOry of plllntu), 62 1- Gall, J.'trrlil1;uld \'Of', 4 1. 106-101, .11 9. 493
622.623-624.628, 6.1Q-632, 634, 636-637. Callimard. l'a"l, 2 9.~
638-639.639-640, 643, 904; On bou~it G;unb.:u~, Lion. 1199
and clus .wuggl.e. 626, 621. 661; C'C(lnomi.: G;UK;l.U (Gannau). 725-7'26. 807-808. 996
lnaiym, 620. 625, 627~28; fUNrUI ~ Gamier. Ch:orlcs. ,110. 781
ph)~ 62 1 ~22 ; oonttption or Hann.my. 16,44, GuUocau, Iknjlomin, 107.581-588.766
78: 6.14, 638-643, 645--648, 649; hit:r.U'Chy or GlIubut, Entellt . 265
children . 45, 64{)-64 1, 643-044 ; induurial. Gaudl, Antonio, 993
passion thCOl'y, 624. 629: number mysti.cUm. Gautier, Fai. 295
16, 629-630, 638: S~im·SirnonianUm and, 635 G3uticr.judith, 269, 294
650: socialist Kleal. 624. 626: on Itreet galleria' G3uticr.lbeophiIc:. 91 . 93. 95, 138. 189, m.
;mel arcadr.., 5, 16-11. 42. 44.629. 647, 910, 2·U , 242, 244, 250. 253, 254. 213. 218. 2811.
914, 915; utopian comm unity (Pbabnx, ~ 294,303,34-0, 43 4-435, 524,585. 614, 674,
51cry), 5. 16- 17. 44-45.58,342, 36 1.572, 620, 689-690, 7<18, 763-764, n3, 886: &udcl~
622, 624. 625.626, 629-63 1, 630, 633, 637. a.nd. 234. 248, 249, 260, 274. 219, 281-282,
638, 639. 642, 643, 645, 648, 650, 894. 901. 304,308.334; 011 Hugo, n4-n5, 778
906, 912; on wc:mtn and feminism, 621)....621, Gavami Pa ul. 323. 372. 416. 509, 723. 740. 741 .
632,814 m 72, 193-194.853.885.894: OIl worit.a:u ad-=-
Fournel, VICtor, 51, 108, 146. 147, 223, 400-401. Gay,j ulcs, 623
402.429, 431.523, 680-08 1 G~; Sophie, 217
Fournier, Edouard, 56, 140, 414, 434-, 525, 568- Gay- i..uSAc,JOIqlh.571
569. 685, 141 . 798 Gauflt Je FrIlNt, LA, 275. 579, no
Fournin: ~ 32 Ccffror. Gulta\~. 58, 96, 97, 98, 112- 113, 142.
Fr:ienk.d. Fria. ~1 231 . 232, 238. 289, 414. 434. 470. 616, 617,
Frai.uc. Armand, 215, 322 134, 735, m , 78?, 795, 1J14
Frano:c, An.:ttok , 259, 499, 5 12, 543. 545, 741, \
Gd S!lIaf, Eduarrl, 421
841. 846, 866, 983 ~Iis, Edouard, 420
FnllCC$OO. Grett dc, 655 Gt:m)'. AIcidc, 715
Frank, Philipp. 484 CtoIJroy SaiJ"·HiJaino. Etienne, 310. 758. 762
FnntJ,fortfr ~ 557 ~. ,5(d;u\, 268. 300. 346. 556
Fnnklin, Bc:rYamU... 582, 995 Gmrd Grtgoire, 822
Fr..uu.. Rodolf, 625 ~m13Il Allillnce for \-\bri en, 141
Frtgicr, Honort-Antoine, 382. 468, 703-704, 713, Centacker, Friedrich, 221 , 4 12. 540
738 Gcn1:X, Hmri, 536
,,
Fmld. Sigmund. 402-403. 510. 511, 540, 908 Ccninus. Crorg G .. 469
Freund, Cajrtan. 297 Gidc. Andn!, 106, 253-254. 258. 30ti-307. 307
Fn:und. GisdaIGUCk , 46, 131.222. 552. 553, Gidc, OwiCl, 636-6:31
535.613. 675. 676-078. 687, m. 780. 888, 889 Gicdion. Sigfricd, 40, 153- 156, 175-176.2 14.
Friedell. Egon. 70-71 , 75.163, 428. 565. 585. 587, 390, 391, 406, 407, 423-424, 455. 458. 459.
682, 756 858
Friedmann., Gcorga, 110.436, 654 GioM di Balloone. 383
Friedrich \V'.Jhco1m III, 206 Ginrdin, Emile de. 6. 182. 188. 57'l. 573, 593.
Fuchs, Eduard. 76. 17- 78. 81, 507. 613, 723, 740. 595. 768. 903. 1004
74 t, 784, 787, 809 Gir;l1din. M acbm~ de (Ddphine Cay). 190, 419.
Full~r. Francii , 162
715-7 16. m -m
Fuller.1..oic. 551 n
Gi5(\Uet. P"'fC'Ct of f':.ris policc, 718, 1
FultOll. Robnt, 535, 536, 63 1, 992 GidN. iL, 7. ]8. 181. 3 19-320; 323. 573. 576. 579.
Fumct, StanUb.., 303 580.594 ,602 . 763 . no
Fwtel de Coul:anga, Numa Denis, 472. 475 Godm.jelm. 625. 90..
Goethe.J ohann \\blfp ug ''OIl. 10'4!. 216. 269.
Gail1;..-d, Napolton, 143 210. 351~ 413. 440.459. 462 . •172. ,114. 806, 856-
Caleric dt ]'!-IOTIOS", 48 857. 864. 932, !H O. 960, 961, 1008
Galcric da Macbines, 160. 161 , 180. 198 Gogo!. Nikolai, HIS, 450
C:Ueric d·OrIb.u, 39, 42 Golt.ti ..... Henri, 276
Calcric du ~tre. 48 Goncour\, £,d"'OIld de. !l06, 2!.!1 , 545
Concoun ,JuJa de. 206, 291 , 545
Cordon, A., 156, 860
CottWWl. Rudolf m n. 178, 672
Goudall. Louis, 272. 280. 310
Gouin. £douard. 109.807
Coujon. j ulicn. 612
Courdon. Edouard. 495, 496. 5 12
Courdon de GcoouiI.bc, H .. 43. 350, 425, 426.
704, 105
Cou mlont, Rcmy dc, 206. 243, 258, 269, 44 2-
443, 447, 5U, 545
CwJan., Leon, 137, 275, 428, 525, 798
Grabbe, Cbri.1tiMt Dittrich. 806
Gracian. &Ir:;uu, 5 14
Grand·Ganatt.j ohn. 38. M. 103, 213
Grandville Ucan·Jgnace- b idore Gmrdj, 7, 18-
19, 64, 68, 151, 153, 182, 367.396. 422.627.
650, 846, 914: IlmhropomOlphi.snlll of, 193,
195, 198; c.l whion. 71. 200-201, 853: II1l'1'Q}-
ism. $}'IDboidm. ;mil £amasy in the worit.a of;
Uscmcm, 172, 175. 186.853,906.9 16
GranicI' de Cauagnac, Adolphe, 353, 711
Cn.nl-Tau, Antoine, 131, 581
Grappin, Henri, 376, 449
Grttnaway, KIte, 82. 838, 839, 960
CrilIel, Claudius, 226. 291, 292
Grille!, p" 108, 186, 57'9, 608, 609, 675, 702, 708,
744, 745, 180, 7'90
Crillparur, Fnlnl, 470, 475
Gr&cr, Karl, 6!.!3, 842
Gronow. Captain Rcc. HowcIl, 490, 991
Croum.:mn. Hmryk, 65 1
Griln, Karl. 5, 17, 507.516, 626, 728
Gn uld, HeJen. 72-13. 80, 960
Guaiu , Stanisw. 292
Cudin. TItCodort:, 758
Gum\, Alexandre, 584
CuIu-a~ G. E., 451
Cui/bcn, ¥"euc, 113
Guillemain, Uon. 111
Guillemot, Gabriel, 430, 585, 153
Guillot, Adolphe, 516
Cuiux. F~, 8, 14 1,524, 599,699,728,132.
138,770,779-780.816.900
Gurbnd. HClUIY, 946. 947. 949
('.,urlaOO.Jos~. 949. 950
GUII;n ll:1n, Norbert. 210. 765
Gut1.ltow, Karl. 13, 64,66.103.12 1.15 1, 214,
215. 217. 388. 422. 537. 562. 571 . 633, 694. 837,
913
GU)'$. CoruWltUl, 110.... 111 .238-240,276.314.
368,509,5 11 , 559. 688. 761 . 971, 1001
H:u:kiiiudc:r. ~'ntdrich Wtlhclm. 693. 853. 88]
H.dl!vy. Ih,\it,I, 444, 50!.1. 525. 556, 575. 6U::I, 736
HaJtvy, Uon. 57S, 5!N
HaItvy, Ludovic. 675, 964
tl:illayll·1hbot, VICtor, 695, 706, 789 I'lorkhcimer. Mu.. 386, 471, 803, 873, 930, 937, lngra.Jan Augwtc Dominique. 556, 677 KMT. Alphonse. 63. 223 , 406, 538, 568, 763. 764,
Hamp. Picm:. 437, 732, 769 957. 1014 InJ~.h1 tAmAntn.1 (IIMI/. t.; 384 m,841.904
H ardckopr, Fmiill:lIld, 104, 830 Houssa~, Anhoc, 95, 138, 196, 279, 399, 764. w lCfn;r,tiorYJ Asaociation ofY\bru.... 186-187 K.vJk.i, Czal;aw, 681
Harmd. M.lIuricc, 624 m InlcrnatioNl \\brkingmcn's Asaociation, 8, 182. Kanki.J., 551
H.lISC. Cad Iknc&t, 490 Hugo, C.,13ti ' 96 Karyadc. Edouard., 855
H;aurannc, Dl"~ de, 323 Hugo, VICtor. 23, 101 . 119. 225. 228, 234, 24 .... boMd. Erie. 534 KJoulTllWl, Angclilta, 838, 961
ltuua, K:upar, 8.&4, 878 260. 261,273 , 293, 297. 303 , 304. 306, 309, ~urnWU1, Emi1. I-43, 600, 601, 650. 823, 824
H awcr, Halli, 181 32 1,338.340.370,371.536, SSti, ti95. 123, J acquin. Robcn. 572 K..auw'y, !WI. 580, 637
Hauumanll,~Eup.,&roll. II - 1 5.23- 75ti. 773 , 808, 894: a.tI~gory in u.., ...ork$ or. J aloux, Edmond. 287-288, 436, 470. 756, 764 KeDa , Goufrkd, 3 19, 342, 463, 633
25,89, Ql, 120-122, 125-127, 130, I S2, 133, 272,292,302 , 3 19--320; & udchin: a.nd, 261., Jallin. J ula, 86, 243. 275 , 28ti. 904, 9 16 Kempner, Fricdcride, 82, 838. 839, 960
138,14 1, 142, 143, 144-149, 16 1.245, 400, 278, 283.755, 75ti; B3Udelairc on, 228. 235 , J:U1.'lcnim UaIU(Il), Corneliw . .906 Kem,cl. AmM6::, 406, 422
524,699, '190, 793, 796, 798, 877, 897, 901. 903- 236,250, 264.269,270.313.333; cllllnC+ jan.ucn. Pierre. 686 Kicrk.cga=i. SlJrc:n, 2 18, 2 19-220. 335, 3,10. 341 ,
905, 913,914,937 tcriz3tiolU, 679-770, 739, 767, 771 ; criticilm of, Jaura. j ean, 6ti7. 780 342, 42 1. 461 , 542, M8 , 10 14. 10 15
HalWruaun" M3damc, 132 71 2. 753-754, 756. 759 , 774-776: ot, tht; crowd jan Paul. &t Richta.jan Paul Kircher. Aihanl.li,1.'I , 836
H;.uuou1lia; \I{illiam. 300 and the individual. 268, 2ti9, 285-286. 292 , Jhaing, Rudolph von. 75. 77 IGstmwlCCka, Hans, 867
t bwthorlK, NadwUcl, 234, 281 333, 334, 754-755: dawinp and pocuy by, jodunann. Carl Gw12v. 399, 469, 413, 477, 478. ~, Lud~g,390. 941
HcbcJ., j olwm Iba. 101. 118 524, 753, 771; exile, 334; 00 monumalts of 509. 600, 6 15,ti89 Klusm, 1'cICT, 300, 301
tl&ert.j a.;:qucs, 61 8 Paris, 523: obituaria. 522. 746; Paris and. 9 1, joa Clw:lolte, 2 16 Koch, Richard. 413-414
Hcgc:I. G. W. F., 13 , 17, 347, 45 1-452, 469, 483, 411 -412,434 , 442.469.522; pcnooaIiry. 778: jolwlnft. Rent, 279 Kod., Paul dc. 187. 835
485. 546,576, 624, 638, 653, 667, 668, 725, poiitics of, 370, 148. 749. 756, 765, 769-770. joobcn.,J osepb.. 482-483 , 514, 800 Konch, !W1.. 483-485, 65Q, 661, 662, 663-066,
733,719, 815.839, 867, 898, 9 12, 917, 935, 937, 775,899: 00 the p!U1, 679; pubfuhing income, Jouffroy, marquis dc, 573 66'.....
'"
H ciclewr, Martin, 462, 472, 545, 857, 983, 990
H eine, Heinrich , 5 1, 235, 243, 288, 298, 3S I .
757. 771 : r.ocial oiticilnl, 444-445, 745, 902.
WORKS: LAnnk Irrriblr, 469, 482: t:AnTl/t Inri·
bh: u.s
PrkrmtwrJ, 620; ·Anniven.~ de Ia
j oohandc::au, MaJ'I;el, 66, 426, 855
Jourdain, Franu , 5 48
]lIUnW IImllJallt, U , 741, 766
Krac:aucr, Siegfried: ]tlC/{IIU ~ 1llld J...t
flIriJ JdNr <;iJ, 110, 142, 438-439, 508, 5 10,
536.600, 732, 743, 770.965
45 1, 597, 600, 602, 611 , 61 6. 626. 724- 725 m'Dlution de 1848; 746; "Apothroaa," 371; ]DflnW dt Ruit, U, 710 Knill, KarL 540-54 1, 645
H cine, Thonw,55 1 ~A l:.uc de Triorupbc: 92, 93-95, 147; ~La fl!IT1IflI,us dib41.1, u, 13,24,254.275, 579, 708- KrriIlcr, j ohanna, 970
Hdla. Emcst. 292. 383-384 ~ .. 292; -Cc qu'ou (D1(nd JUT b moD' • 709.746. 759. 760, 761, 763, 770. 784 Knrx:k, F.rnst, 268
H elmencn,j oachim von, 2 19 tagnc;" 270; "Q qui Ie p;wait awl Fcuillanti· JourMl Ja ir_ilw, U , 577, 73 1 Kn-:yuig. Friedrich, 672
Hcnncbiquc, F~. 559 na; 796; "Cbigo: 378; In CA6tUrcnw, 292, }rJllrMl da ¥nil, Lt, 602 KroIolI", Eduard, 32, 17l, 178, 563
Hcnnings. Erumy, 104, 830 372: ~La Oluta: FlaI \'t:I et pofta,~ 302; W \ Jounl4llkl ~rt, SOl Krull, Gcnnainc, 22
Ham rv, 970 CAnkMplsJtr.u, 226. 378. 555, 775: ~Dbin­ }mIrMl i1l1lJtri, Lt, 787 Kubin.Almd, 419
HOM, G.. 4 1, 433, 563 I~t,~ 302: ~ L'Epoptt du Vtt," 253; :fov17lll1 fJoI6 riTe, U , 74 1 Kugclmann. Ludwig. 637
Hmul! ckSi:cbdla, Mariej can. 674 "La Fantbma," 243, 270: L4 Fm,u sw", 99- , ]QllTMI ~lIr to.u, u , 787 Kurdla, A1fm:I. 1012
H mUcr, LouiJ., 578 100. 472: HmulIIi. 775: · Un H omme: alllt yro;o; j oumct,)ean.. 293, 508-509. 634,. 763. 81 2. 8 13
Hencl!cl. Sirj ohn, 630, 632. 998 profomb pu!ait," 301: "L:llllesUn de jOUS5C, Marcd, 572 La~oUitrc:, Emile de, 8Q. 12 1, 122, 126, 520,
H er!cnl, Guerinon, 121 I.h.uthan.~ 41 2; ~ U~dt dfJJitrlu, 301- j ouy, VK1Or:JOlIeph. 1009 532.533
Hcrwegh. Georg, 72.4 l02: U J Millmbh go, Q2 , 195, 313. 411 -4 11, jugmdstil, 9, 20, 17'2-173. 176. 186.221, 240, Labrouste. PietTe F~ Hc:nri, 152, 168, 169
H as, MOKI. 615 41 5,4 16, 424, 434,444-445, 522.525, 6 10. 245.345. 348.360.365,371• .974, 375, 392, La Bruytrc:. Jcan de. 379, 495. 696
Hessel. Fr.u.u., 87, 2 13, 492, 871, 919. 922, 930. ti79, 71 8- 71 9, 754, 757, 759, 763. 766-7ti7, 769, 475. 547-548, 54~551. 552-553, 556, 557- Laccnairc. P~F~, 52, ~. 713
960. l Oll , 10 13 m. 978; Notu·D-( tk i'lff1J, 165. 776. 836; 558. 559-560.842,843.862.865.884.887. Ladwnbaudic.. PierR, 594
H~, Georg. 316, 3 17, 356-357 Onrvrt'J dwiJin: I'biJw. 301: Onruru ~J: 903. 008, 916 lacis. As,?, 1014
Hicp. Ngu)Ul Tf'OnI, 3 PtJiJUJ d drruus t7f l'fr,l, 294: Ont,." J ctlltljlliUJ, jullim. Louis, 536 Ladof, PierR Choderloll dc, 247. 2ti5
Hirsch. CharIa·H enry, 293 92.93,95, 165. 195. 286. 292. 411-41~. 415. July MOIl~rchy, 55. 179. 520, 572, 612. 709, m , I.awrdairc,Jcan, 274 , 278. 769
Hir$ChnwUl, AIbcn, 952
Hitler, Adolf, 944
525, 719: Us OrlnotUs, 243: P(UIJ, 698: "La
~mc de Ia rivaic." 285-286; R~, 754:
'61 LacoiIC,j can. 962
Laactcllc.J KqUcs de. 405. 453. 832. 849
July Ordina.oca, 807
~litlOrfr,j;acqua, 15 4, 527 u Rm: ,'_M r, 775: "To.m lb)pIa or Europe" July RcvoIution. 7, 103, 138, 475, 506. 534. 576. Laf~ Paul. 12, 108, 497. 57ti. 577. ti07. 625.
Hobbes . TIIOfDlLS. 250 manifesto. 8, 18 1: us 1",willrll/'J (U /a 1/18, 583, 596, 608, 609. 6 13,6 16, 709 , 713, 718, 667, 712, 78 1. 905
Hoddu.jalob v.m , 101 775; Wi/lim.. SAaitJp(tm, 749, 776 735, 737, 774, 797, 977, 1003, 1004 l.:.lfll)'l:lIt, MamJoscph. marquis dc. 13 1. 769.
H offmann, E. T, A .. 272, 277, 425-426, 45 1, 866. H uiringa,j ohan. 210, 37ti, 402. 41'11-482. 966 junc ln~ u~oll,, 1 35.1 'll . I 77.276.337.566, 000, 997
"0 Humboldt. AIc.'I3.IHkr ,'Un, 1.75 tiM , 607, 608 , 702, 705, 729. 73 1. 734-735, i..;illu",JacquCII,73 I. 900
H ormalUII,haI. Ilugo " 0 11, 83. 416. 41 7. 547. m. H umboldt. W,Jhc1m mil. 472 744. 748, 749, 882, 900 Laforgue .Julcs. 2013- 244 , 246. 247. 335. 378. m
860, 880.811.2 H unt, H .J., 650. m. 778 J ung, Ca.1 Gwt:lv. 393, 399-400, 440, 472 , 47ti, Laforguc , Rmt. 258-259
H og:utb. WillWu. 71, 238. 853 Hu..'tlcy.~, 402 906.91ti La Goro:, l'icnc dr. 58 1, 582. 709, 78 1
t JoIbach. l':auJ·H enri TIUry, Baron. 573 Hu)"grnS. QsNti:an, 821 JIIV(ll~I.._251. 286. 432 ~,Jo\)eph. 820. 821
l:IoIhein. Hans. 376 H uysmaru.,JorU·!W1. 292. 426. 491. 695. 905 La Hodde. Lucien dc, 6(16-607, til l . 735
llaldr:rJin. Frio:drich. 479 Kafh, Ff2IU. 2 18. 306. 544, 548, 842, 850, 866 s..
Ut!B. F.. 408, 539
HoIilKlm. Anhur, 257 Ibsen , H eruik. 9, 360, 551 , 556, 794. 865. 961 Kahn. Gwt.a~, 295 Lalll.llnine, Aipholllle de, 108. ) 10, 117-118, 123 ,
Honcgga'.J.J.. 122 fflKJtrllliMl . L; 790 Kutpf, lNr. 576 147,228, 234. 273. 276. 278, 32I , 340,358-SSQ,
H ance. 286, 762 l~, L: (Bnwc:lo). 504 ~ lmnWlucl, 207, 343. 469. 646. 779, 857. 94 1 363, m , 523 , 578. 6 17. 723, 727, 735-7Jti, 745,
 754, 757, 758, 764. 765, 767, 768, 769. 774, 716. Lcrrninicr, Eup, 621. 723, 724 Luc:as-Dubrc:ton.,J .• 47. 523, 744, 75 1, 753 626, 632,633, 635,637-638.649.667,906,
777. 780. SiD, 822, 899. 902, 904. 963 Leroux. Ga.!lon, 1009 915; 0 11 Gotha Program, 658, 659: on indl1,ltry,
Ludovia, Maria. 413
L;lIn..ninc ,~\1me. de. 617 Lc:roux, Piem:, 576, 593, 600, 626, 996 ~S I .652, 663.668,695-696, 80D-80 1 ;onJune
LuUa , GyOrgy. 472, 938
Lotll1ctll\:W. Robcn. 305. 711 , 769 Leroy. M;oxime, 589-590, 651 , 755 Lumct, Wuis, 754, 756 Im\ll'ttction, 823; on labor alld production, 4,
Lot Meltri!:.Julicn. 368 Leucp., Ferdinand de, 572, 585 LuriIlC, Louis. 96. 430, 503, 525, 535, 568, 591 , 195, 365-366, 432 , 652 , 653.654, 655, 656,
L:uni. Eugene. 786 wsing.julil1,l. 183. 184, 187-188,552 753 657, 658-660.66.1,664,665, 666.667, 668.
Lallfranchi. Louis Rainiu. 394 Lc-.-alkru.JuIa. 241 , 713 Luther. Martin. 179, 468, 599 729, 734.893, 941 , 944; on revoIuDon.123,
Langl~ Ferdinand, 6, 17, 171 I..eva.ucur. Emile. 37, 123. 152,212,538 652, 767; social d,eory, 483--435; on techno l-
Lux,J OIoeph Augwt. 161
Langlois. Hyacilll.he. 256. 275 Lc v.rva!~. Gu.uavc, 244, 276, 296 ogy, 654. 655. 668. WORKS: Onnmulluf Malli·
1..:Iplace, PiclTC. 637, 820, 821 !.by, Michel, 275, 280 Mabille, PiCltt. 388, 397 fiJ /o, 10,659, 895.897, 905; fJa., MpikJ, 106.
Lotpoinle. Savillicn. 228-229 , 716, 757 LcwaJd, Augwt. 530 Madli3vc11i , Niccolo, 3 12. 617, 801 155, 196-197, 366, 383, 394. 446. 660, 804.
LotppafClIl, Alben dc, 167-168, 819 Lcxi.!, w.. 581 l\1atOrlan. Pic=, n. 396, 627 866, 937, 938, 1005. 1014
Laroolld, Valery, 418 Lcy·DroI.'ich, Maria, m Maetalinck, Maurice. 550, 557, 558, 559 Mathilde. PrincClI, 38
Lardu:y. EtiCllltc L.oddan, 250 l.toyrU, Piem:, 35 4 Magnin, Charla, 319-320. 365 Marurin, Chark:5. 236
Lot Rochcjaqudrill. Hmri Augwle. 736 LiWrafror, LL, 134- Maillard, Firmin. 230, 525. 597-598, 7'l4 , 738 , Maublanc. R..:ne, 58, 78. 199, 640.641-642 , 643,
Laronze, Gc:0I'S"-'. 99.128-129.618.795, 815 Li~bcrt, A. , 138 764, 798,809,812, 815 645.646 , 648, 743 , 784
f..arou.s,;e. PietTe. 53, 109.451 , 453-454. 766 Lkfde. Carll..o&wijk dc, 228. 230, 506, 594, Maire, Gilbert. 263 , 264 M.audair, Camille, 295-296, 627
i..assavc, Nina. 192 595, 715, 757, 783 Mal;wis. &t Poulct·Malassilr , Augwtc Mau~sant, Guy dc, 420
LasLtyriC. Philippo:' de . 676 Ligni~=,je.m dc, 768 Malebnmchc: , Nicolas, 875-876 Mayakovsky, Viadinlir, 745-746
Laullay. virumlc de. Sa Ginudin, Madame d" LUnayrac, Paulin,221. 744-745 Male!., Alben, 108, 186, 579, 608, 609, 675, 702. Mayer, Gwtav, 141 , 468,4-69,507, 615, 637, 728,
Laurence,Jamcs de, 8 10, 811. 812-81-1 Limourin, Charles·Mathieu, 621 , 628~29 708, 744 , 745, 780, 790 729,730, 792,793, 815
Lauunmom. OOIDIC dc, 37. 71 , 549, 847, 853 Lindau, f'Il.lI~ 694, 861 Malilnan, Maria, sao Mayn.ard. F.. 399, 720
La~"aueur. E .. 122 Linfcn, Car~ 167 Mallarm~ Sttphanc, 73, 251 , 288, 31 1. 379, 416, Mehring, Fram, 197, 426, 709, 788
l'l\'ro.m, Henri, 176 Linguet, Simon·Nicolas·Henri, 527 444.538.556,773,806, 1008 Mrilh.ac, Hmri, 964-
i..'Wcrdall\, Gabrid·Daid, 140. 635. m Lioll. Ferdinand, 435 Malthw. ThOlIlllS Robert, 632, 739 M ciuonnia,jall, 685
Lavissc, Ental. 585 Lion, Margo, 173 Mandeville, BcnwtI. 595 Mci!ller, K., 415
L'lVoisicr, Anwifl( dc, 590 Lipps, TIl«Ki0l', 80 Mana, Edouard, 107 Mdlaio, Andrt, 850, 851
Lawrence. D. H., 291 Lisbonoc, Maximc, 749 M:mn, Heinrich, 135, 856 Mtnard. LouiI. 3 10
w il taud, P:ml, 40.124,860 I...Wagaray. Plwpcr, 712 M;u;lt,jcan Paul. 516, 798 Mcnda. Catulle, 273
Lebeau. Narcisse, 56. 57 Liurt IUJ ((1II~f-jm, Lt, 398 \ MaTCdin, Louis , no MbUlmonllun. Sa Enfantin, Banhaemy'l"ro5pcr
Leblond, Ary, 847 Lob;ou. Georp. 711 Marcl!a.n\, Guyt)l-. 376 Mcn:kr,juks, 595, 720
Leblond, Mariw. 847 Lohcrurtrin, Danid C;ospcrs von, 361-362 Marcwc, Edgar, 516 McrciCT. LouiI S&uticn, 517. 519, 523, 525, 798
Lebon, Philippe, 564, 513-574 Loizc.jean, 675 .. Marq, Erit:nnc. 686 }.1nn1rt IU romer, 265
1..<: Breton, Andn!, 441 , 442, 447 LOllgchampi. Charles dc. 694- Marie. A1exand«:Th0ma5, 513 Mbim~, l"ro5pc:r, 23, 303, 765, 1006
Lecomtc ,Juk$, 223. 505 Loos. Adolf, 557 Marie·Louise: , Erupn:ss, 105, 124 M6-odc, Clfo de, 82, 837, 839, 960
Lcctmle de Lisk, Charles, 228, 236. 244, 263. Lotu. H emmnn. 81, 201 , 373, 374, 478-479, 480- Mariv;oW<, Picrn:, 469, 482 M~ry. VICtm', 103, 737, 824
288, 295,311.340, 624 48l Marquiset, A1f",d, 496 Mcryon, Qw-les, 23, 96, 141 , 23 1, 232-233, 268.
Le Corbwia. 125. 133. 215. 407, 419, 423, 459 Louandn:, Charles, 431 , 596. 610. 632, 722, 754-, Marrast. Armand. 609 289,291, 309,322,333.346,351, 362,378,
Lc Dantec, 280 762,791,795,808 Marun, £Upc, 248 384-386, 414 , 434,447.452
Ledoux, CL1udc-NicoJ:u (Chaux), 143.600, 601 , Louis, Paul. 726. 784 Martin, Aillle, 758 McssOlC, !Up, 98, 143,225, 234,441, m. m
649-650. 1123 Wuis Napoleon. &t Napolcon III Martin, Alexis, 421 M~j.Jag" do- IifJsnnblit, u , 282
Ledru·RoHin. Akx:andrc. 613 , 724 , n9, 765. 899 Louis Philippe. 37, 38. 45, 102, 121 , 161 ,.225, Manin.John, 684 Mettcmich, Prince K1cnKIU lIOn. 867
Lc:febvTe, Henri, 210, 765 291, 494.506,508, 516, 5n , 580, 605,708. Martini, Simone. 264 Mruriee, Paul, 187
Lefeuvt, Charla, 33, 84, 417, 880, 904. 916 712 , 714, 732,7·10, Ttl. n4, 786, 835. 836.1U7, Martino. PiCltt, 764 M~r, Alfml Gotthold, 156- Hi I. 539, 541 , 6n ,
Uger. Femand. 136 839,964.1004; altaation of Paris unda, 12, Marx, Karl, 8, 16, 337, 362, 382. 393. 456. 460. 862
Lcmaitrc , FrMerid.. 1004 23, 122.603, 604.823.910. 913; priv;ote indio 461 , 463--468. 4n, 476. 477. 508, 546, 554, 5ll!, Meyer. Frirorichjohann Lorwz. 405, 496, 527
Lcmaitn:.jula . 25.1. 255 - 256. 328. 335 vidual.i unda , 8, 19, 20, 131,220, 780, 879; :Ie- 599-600.607-608, 615, 6 11Hi 19, 697, 698, Me),l:r,julil1,l. 125 , 391, 394. 408. 546
Lema.julien. 567 CRI societies and. 607, 609, 6 13 709, 727. 131. 716 , 779, 787, 911. 937. 942. 94-5; Meycrbut (Jakob B«r), 16.3
l ",mercier, Louisj~n N<!pomueotc. 22 1-222. Loui, XI. 878 Oil capirali..r eronomy. 651 , 652, 654. 655, 663. Michd. Louise, 736, 791
532.533.534. 675, 678 Louis xrv (Louis the Gn:at), 107, 14-9, 788, 872 666-(i67, 668, 785, 938; C\:USconcept, 653 , Michelangelo. 264 , 298, 299
!'emorulia. Camille, 249. 261 . 273. 294 Louis XVI. 85, 525. 573 658.659, 663,667, 730,86.1; on romflloditi~ Mid,clct,juICJI, 4 . 5 1, 78, 109- 110, 150, 168, 238,
I"'monnia. Leon. 303 Lo uis XVIII, 34. 835, 85 1 and private property, 7, 18, 181- 182. 19fH97, 444, 466, 4 6~, 600, 6 19, 631 , 713, 'l'Il, 740, 757,
Lenin. Nikolai. 484 Lou rs, Pierre, 26.3, 549 209. 210 , 223 , 395, 446, 652. 653. 655---6S8. 768, n4. 175, 782 , 820-821. 893
1.co)IIardo cia Vinci. 25 4. ,186. 553. 681. 822 l..O'IICtIjoui. Charla dc, 24 1 6621-6 63, 665, 666, 667. 669,938.939, 940, Michdet, VICtor·Emile, 245
~opanli, Gi:.como, 8, 18, 62,267. 486. 846: 894 Uiwith, Karl. 116, 117, 118,364,368- 369, 558, [1.13, 1005; Conunu.nc: of Paris and, 793. 897; Michels , Robert, 627
Lcpage. Auguotc. 14(), 6 13. 724 725 on coOp<:ralivcsfcoUecUVl:5. 392. 394, 723. 863; Mjchids . Alfred, liill. 746, 748, 820
I.e Play, .',&\me. I~, N. 135, 184. 189. !!.I8. 699, Lucan. 286, 324. 373 critique of righl.1 -of-man concept. 668-669; ex- Mig.ICI . Frn.t~. 816
100, 726. 760 Lutall , tlippoIytc. 98, 5-13 ile from France, 728; on mulier, 17,342 , 343, Mi"fflII', Lt, 579
MiNlt11.Mn, 549 ckr. 12. 102. 121.122. 123. 175. 127, 178. 152, P.lris, C-oo. 549 A!la.dau,jOltpbin. 145,261 . 292, 843.862
Minbeau.. Honori, comle ck, 288. 765 3()4.J55, 193, 8017. 1148. 9 13; bot...p ~y Fh,.. CJUVIII(/t, 591 A!Iin.. Gabriel. 411. S08. 756-757
Mirbeau. Octa''C:, 214. 288. 758 ;md . 4, 13, 15-16, 24, 131 . m. 779, 780; eJec- Pucal. Bbise. 306. 43 L 851 I\:lIarin. a~. 620. 642
MiKcourt. Eugb>r.<k. 765 lion of, 2i7, 6 13, 899. 99'7; lin.... >Ce:uJd 1J'ad~ Un. Pau3~ Br:ldy, 42, 48 Aillc.oq, j.. S07
Mim:OlIrt. j acquOl <k. 749 der. 75, 135, 578. 6ts, 818. 906: nlilit:ll)' PaU3gC Cboueul, 42, ,13. 52, 831. 927, 1009 Ptllctlln. CN.rIcs Camille.., 104 , 29·\
Mirh.jules· l:!:m. 38. 86, 674. 732. nO, 862 regiltle and impcri3Jilrn. 12.23.780.823 P..u53~ Colbert. 33, 012, 203, 422, 531. 335 rene. H enri de, 109, 223, 43 2, 568
MiJt....al. Frtdcric. 253 Na.rgrot. Clara, 279 Plwage Corrullcrec, 835 ltDplt 'J I\I/,", 'f"M. 554, 730
Moilin. Tony, 16, 53. 55.93.342 Nash,Joseph, 176 P:ungr CIUuo!, 42 Pmliguicr, Agrico.I. 611 , 613, 723, 760
f-l ol~nes , Paul de. 283 Natiorr, lA, 671 Pauagc Dauphine, 42 fheire. ha:.c. 5n. 585. 732. 71Q
MoIib'r,j. B.. 301 , 448, 599. 754. 764. i88 x"n-J, u , 579, 59 1. 609, 610. 613. i6 1 P;w3ge: de b RtwU(ln, 33, 835 I\o:rrin:,j arob Emik, 572, 581 , 585, 674, 732, 770
Molliuri, GU$t:a,'C: de. 577 Na~ RiplibliC411l Jr 1'ArJ«M. u , 746 P:us3gr dc b Trinitc, 33 A!rier. Casimir. 209, 708, 709, 900
MoIl.j 05Cph, 607. n8 N3villc, F~ M:lTC Louis. n2 Pu511~ de I'lndu,uio:, 42 1bTct. Augwte. 17{\, 559
Mo,.Je, u . 1012 fIoO'a,ilIe, PicrTe, 468 P:wav de I'<>pm, 33, 38, 39. 43. 48-50, 51, 82, IbTct. a~ude, 559
MOII/k dlllJtri, u , 275 N~ Gtrwd ric, 88, 29 1, 404, 585, 67 •. 764 103.15 1, 406.408.830-83 1.836.871. 883, 90" IbTct. Gustav. 559
Mong/ond, AneW, 377, 482, 6 19 Nescio.J.:J.. 713,1002 Pauagc de Lorme. 43. 121 Peltalozzi.j oh:uu l H cinrith. 648. 901, 915
no
MMlilnlr, Lt, 271 , 27.$, 275, 28 1. 6 16, 734, NCllclbWt.j oadwl\,866 I'liSsage: des CololIIlCJ. 961 Itlil ]ounuJ. U. 592
Ml)lliJ(Ilr lllliwrnl, U, 435, 689-690 Nencmcnt. AI£mi. 92. 224. 440, 633-63.., 684, ~ da Deux Pavillo,u . 41 Peto,j . Morton.. 182
f-IOIuUcr. t\dri.enJw" 601 , 971 74 1.757. 759, 760, 76 1. 763. m Passage des Gnvil1icn. 42 IbroniUl, 286
Monnier. Henri, 691. 740. 741. 743, 7S6 Ncufddteau. Fr:u..,ois de. 1'19, 180, 190 f'usage da Panoramas, 6. 33. 34. 36, 37, 41, 43, Itvpk, U, 522, 574
Monxkt, Owia. 273. 28 1 Ncwwo, baac., 222, 647, 650. 82 1 50, 51.58, 530. m, 535, 563. 564, 568, 830. /'IItJLmgt, l.Il, 582, 624-, 633, 636, 757
Montaigu. j., 448 NC}'. Michd. 844 833, 83-1, 836.837.852, 8'74, SiS. 9 14, 959. PIo.ut oW OarmleJ, u , 746
Momesquieu. Ch:I.rles ~k Scconcbt. baron de. Niboyt:t, Euginic. 714 992.1009 Phattydes ofSyro., 697
469, 754, 1()()4 Niepcc, j oscph Nictphon:. 676-677, 993 Pa.ua8l' des f'rj'ICtJI. 38, 253 I'hiIipon, Quula , 740-741 , 1004
Moutaquiou. Robert dc, 4116-487. 688 N'Jtpce de SaimYlCtor. 674 !':wage du BOO..Je·Boulognc. 33. 835, 1009 Pitabia, F.....ncu. 837
Muntgo16a. MlIc:. dc:, 734.1003 N~, Gaet2n. 140-14 1 P:usa8l' du Caire. 33, 35, 40, 46, 55, 56, 89, 124. ~ Pablo, 395, 843, 1198
MontorgueiJ, GeorgI-.I, 562 N'1Cwchc:, ."ricdrich, 20. 25, 112, 115- 116, 111, 835, 836, 854 PithOI, AInMk, 567
Montruc, Eul¢nc. 71 11 8. 119. 315. 331, 3"0. 360. 364. 368-369. Pasngr du Chcval·Bbnc, 33 Pierre, ~ 185--186
Mor:md, Paul, ISO, 307, 462, S49 559, 969 P:wlIge du Q",,;aI Rouge, 52 f'icne.Qyinl, Uon, 167
More, Thonw. 342 NiJard, Owics. 7f11 ~ge du Co.unlCTCc-S;Wu·Ancirt, 53 Pipl, &lmt:-Jcan. 786
Morb.s.jem, 288 Nisard, Dtsin!, 3n-373 \
P:wage du Obir. 33, 48. 837 Pilw,Lt, no
M omu. H~ippe:. 288, 710. 718 Noock, FcnIinand, 96, 97. 415 Pas.sagc du Graud·Ccrf, 43 Pinard, Ernest. 310
Morgan. LcwilI Hcnry, 637 Nodin'. Charles, 567, 6 14, 837 P:u.:ogc du Pnnt·Ncuf, 33, 422. 835. 965, 1009 Pioclli, Bartolomeo, 322
Morian'a1.jcan., 575 NoeI.jules, 296 ~ du Prado, 1009 Pinet, G., 137, 534, 588-589. 610, 711 -71 2, 780,
Mornand. ~ 198, 414 Noir, V>CIOT, 617 Passage d u Saumon, 40. 43. 46. 47. 798 819-820.863
Mone, Chulc:s, 138 Nordau, Max. 91 f':up.gc Groue-The. 33, 835 Pinloche. A., 574, 620
Mouquct.j ul6. 263, 296, 297, 353 Jf<nnxlk Rnnu fiaJtfdu" 1.. 306, 309, 310, 371, Passage Hmri Iv, 835, 1009 PWu. M., 139
Munch. Edvard, 559 399. 469. &t /IlJQ Caillois. Roger P:wa~ Mirh (b.ln' P.wagc da Panol"lmasl. 33. P\;nc:w.jOlCph, 686
Mum, TItCodore, 39. 105, 124 38,253.852 Pbtim, RQImd de II.. 181
Murga. HCllri, 286,585, 761. 764, m O·c.o,u>dl, Frbl6iqIlC, 973 l':.usagc Prr:isiC~ (Basiba?), 33 Plato. 800. 852
Murillo. Bartolomc. 482 Q..Ioievsky, Vladimir, 570 I'a mgr Raoul, 186,723 Plc1hanov, Georgi. 141 , 180, 485, 599, 608.624,
Musard, Philippe:. 169 OfT.:nb3ch. AneW. rI: 787 l':.usage Saue~lc, 42 903, 9 14
Mu.Uel. Alfred de, 286, 293. 340. 427. 438, 716 Offen bach.j acques, 8, 110. 176, 600.906, 916. Passage Vi:ro·Dodat. 32. 33. 34, 43, 48, 501 , 55, Fbt. Edgar Allan. 236, 240, 258, 264, 272. 289.
MIUlCI. P:noI de. 41 . 95, 228, 234, 252. 260, 273 962.964. WORXS: U f Q,nlu t/'HojfiuIut,"9f,s; 837 303. 35 1-352. ass. 355, 804, 286, 287; & udc-
u. V... /NITUI(tIIIt', 153, 886. 962. &t III", J{n,. Pas5age VtOlkt. 'I biTe and, 243. 241. 265, 283, 293, 295, 325.
N;achmeron" Elic, 835 Dun, Siegfried P:usage Vivicruw::. 33. 37. 82. 203. 835. 836 3M, 452: doaipcion olthc auwd. 10, 96,285.
N:adar (F&." Toumx.honl. 6, 44, 90. 91 . 177. 229. OUivier. Emilc. 899 Pauy. Hippolytc. 707 33 1_332. 336.337-338.358, 380, 418, 440.
230, 242,293,308-309, 413, 427.567, 577. 585. Ot,,,nlSllkvr, L'. 583 Pauy, F,b.I&ic, 189 442. 445. 446, 895: litcrMY rOl'UlS and thana.
673-674 , 680, 681 , 682,686, 688, m , 789, 797, Onuu. Fc:licc. 608. 9 13 Patin. GUI. 207 9, 224. 234. 267, 440.902: philosophy orfumi·
902, 1001 Os~i;ul. 331 fulnr, lA.59 1 ture ~nd of intction , 9. 20. 212, 227, 570. 901:
Nadaud. l\'lartin. 54 Outliac. Edouam. m Pamt til d.",£,.., Ut, 794 lrallsl:n~d by Baudcla.in:. 280, 28 1. 282. 285,
N~,")1I1I1It', U , 770 Q\id. 262, 550 P!lU5aJU."), 82. 8l, 1151. 86 1 385,«5
N:un.:uil, ~kstiD. 585 OWell, Robert. 637. 667 r..vlov, I....." I\troI-Kh. 210 IWtc. M:uui. 37,41. 10!l. 121. 433, 530, 563
Naldcun I. 55, 105, 40". 602. 790. fl21. 847. 901 . Omu:Illt. A.tl~, 168.555 f'axlOn.j~h. 158. 167. In. 182. \ 83. 915 lWwI,. E.. 44. 45. 182. 509, 628
".
N~poI""", I I I.33,55. 83, 136. 139.293.3 13,315. P;'cluu, Henry. 952
RqJ, u ,2J5
A!cam. Maurice. 185. 1 8~
f'ok.mowski. MiJ"h:.i1 N " 61.3-614. 761-'7611
PnUb. Henri. 78. :l25
338,358.375. 564. 575. ~9'1. 600. 6 12, 6 17. Paillemtl. F.douard, IO!I Itthmtja. ""gc. 264 , 2113- 28" Pon'~r, Mille. dc . 855
641 .678. 687. 707, 710. 719. 7'15. 733. 758, 76 1, P;'"iu.a. Osht. 8(;7 Ptcqucur. Con.lI~min. tiQ2 1\;0111'0)', Arthur. 265. 279
766. 786. 885. 967, 980: ailcr:ui"". 10 Pan. un· 1\111""''''''. u , 9K i'tguy. CIi:..I..., 92. 98, 52.3, 756 1\)I'I.a.rd, F....., U;ou. 978. 1006
1\101)(>1\du 1CrniI, Picm:-AJcxis, 234. 388, 447 Rqol. Man:d, 11 , 416 Romaina,julD, 99, 266. 373, «3-444 Schappcr, Karl, 128
Pnrumartin, Armand de. 278, 279, 303, 363, 454 RclIstab. Ludwig, 432. 756. i9? Ronsanl Pic:m:, 228. 247, 274 Schecrban, Paul, 4, 5, 560, 90fi
Pt>p>tlairt. £..0, 623 Ranbnandt,482 Rep. Rlicim, 257, 275, 288 Schdfa, Ivy. 6n
fbrcht, Fra.c~ . 99, 101 , 102, 272, 273, 278, 279, Rtm)'. Antoine, 707 Roqucpbn. NClIOf, n ..,
978 Schelling, Friedrich, 779
280, 282 Rcnan, Eznal, 197, 554, 654 Rosetti, Conswuin, 261 Sc:hcra: Edmond, 249
fbttia (ftltia). £Up , 79() Rcrwd. Georges. 758 Rossini. GioaQ:hino, 495 Schiller, Friedrich ''OIl, 659. 756. 855, 860
AluIet,Mal:wis, Augwte, 96, 231 , 240. 259, 275, Rcrwd.ju1es. 348, 380 ROlh.schild. j amca, 735, no Schinkd, Karl Friedrich, 167
276.280.286, 755. 761. !1l3 Rmud. Maurie<, 828 Roth.schild, N3th:an, 571 Schirud, Elisabeth. 251
PouIQl, DenU, 110 Rcmudot, Thtophnutc. 591 ROtrOU,J ean. de, 32 1 SchIabrtndor(, GnfGwta\' \'011, 399, 600, 615
Pradia, Charles, 588, 584 Rc:ncy, Georges. 248, 249 Rougct de LiIIlc, Claude, 399, 718 Schlegel, Friedrich, 379. 9«
Prarond, EmC$(, 273. 280, 289 Rmouvicr; ChMla , 755 Rou1and, GWltave, 275 SchIOI.er, Friedrich Christoph, 469
I'mu, u.,
572, 585, 591, 593, 689, 759, 760, 761 ~stllltm' dt I'lndrt, £..0, 279. 281 Roussa.u,j can:Jacques, 227, 238, 253, 343, 385, Sclunidl. Adolf, 4 17
Prtvo.t,Jean., m RtprlV/llmtl tb. fHt'plt, U , 279 ~53, 466, 469 , 482,640-641 , 669,805 Sclunidt·\~cnfch, Eduard, 779
Pm'OSl, Pierre, 6, 527, 532, 835-836 RIpIIbliq,1t tb. pnplt, 1.4, 281 Rllcht /1'JP1li4irr, La, 702. 703, 112 SdulCida, Louis, 867
Priv-.at d:Al~ Alaaodn:, 302, 522, 574 Rcstif de b Bmonne (Nicolai Rcstif), 469. 635 RUden. Friedrich, 842 Schokm. Ga$bom, 937, 953
Itodlilftllr, Lt, 575 Rcthd, Alfred, 238 Run: Mared A., 378 SdJoII, Aur8kn, no
~, Ol:adt:s, 618 RtutJllti"", 1...., 574 Ru~, Arnold, 600, 725 Scbopcnh3Iucr. Arthur, 13, 201, 545, 857, 941, 957
Procot. F.ugblc, 795 RtIIW, 1....,274 ~0n0,182 Sdluh1. Picrre-Muimc, 486, 602, 697, 800
Proudhon. Picrn-Joscph. 58, 279, 297. 380. 4 13, RnnIt f"itll1f1filp«, /.1., 280, 705 Rumford, Count (Benjamin Thompson), n l Schulrc, Friu. Th, 136, 162
574,598, 624-625, 637, 647,667,668, 711, 724, hvti( rtm~t, LA, 778 Ruskin,john., 249, 862 Schvo~uer,Joh:.uw., 730, 731
728. 730, 731, 735, 79 1, 793,794: on Hcgd and &!Nt dt JiJriJ, l.Il, 7,282,583,762 So.xl, Walta, 303, 441, 762. 769
Marx. 733; on production, 734 RttJIlt lkJ dtl.x ".""dtJ, 1.4, m, 279, 280, 310, Sabatier, Agbi:JosCphinc, 245, 2" 7,:m Scribe, £Up, 39, 274, 278, 39 1, 671-672, 757,
ProllJlI, Marcd, 100, 158,2 11,216,2 17,279,307, 575,600, 723, 762 Sade, marquu de, zn,
306, 3 18, 368, 638-639 902
309-3 10, 355,382-383, 384, 388-389, 393, IUvlle nJropitllM, LA, 275 Sadla, Michael, 733 S&ht, AtpholYC, 271, 272, 273, 274, 275, 276, 445
395, 402, 403-404,420, 454, 464, 486-487, &wif~, u., 279 Sairu·Amant, Marc An toinc Giraro, 252 Second, Albmc. 434
519, 53 1,547, 556, 560-561, 839, 841 , 844, &v.t.fomf'U.st, La, 388 Sa!nte·Bcuvt:, Ow-Iu Augustin. 196,245,265, sec, Ha1l'i, 867
853. 859, 860, 883,904, 907, 912, 9 16, !U7, Rzvwt~~ u.,313 273, 274, 275,278, 286, 30?, 320-321, 322, 323. Scgantini, G~ 553. 556, 559
939. 983 Rn.'1It ~. L.., 294 349.356, 358-359,365, 387,486, 575,586, Seignobol, Charica, 76, 467, 593, 714
Prudhonwx. &e Sully Prudhomme, Rent &wi J-isintM, lA, 754 619. 746. 765. n6, 800, 974-975 ScilliCrc, Emcsl. 261, 262, 266, 276, 2n
P'r1ybynt:W~ki, Stanisbw. 559 RnNt pAu-phiqll~ d rtlit;v-, U, 3 10 Sloint·Gennain, comIC de, 8 14 &.r..lile, L., 280, 440
P\oimly, 685 &vIIt jJtJ/itifwt, fA, 282 Saina.Up, Didot. 573 &.aiM 1Ai6traJt, r....,281
Pujoukjcau .lbpriste. 51~20, 521 , 522, 528 &vw -wisu/ 1...., 624 Sa.inr-Marc Girardin, F~, 8M Sempa, Gaufried, 569-570
Py:it, Rli.Il, 380-381 RrowJ ~1It.J, 586 Saint·Martin, Louis, 3n Scmncour, Etiamc Ph-m de, 278, 307
Rcy,j., 46., 505. 506 Sa.inr-Saau. CamiIk, 204 "'-293
Qyincl, Edgar, 600, 683, 684, 757, n5, 779 Rc:yn.1ud,j can, 118, 119, 382 Saim-5imon., Ho:nrifSaiut-5uJlonianism, 13 1,282, Stncfddcr, AJoy., 285, 586, 676, 787
O!!otid;mnt, LA, 280, 579, no Ikynold de Greasier, Frtd<!ric Gor=gue, 305, 3 11 380,399,420, 448, 475,573,577, 588, 591, September LaWl, 809
RhbI, S&wtirn, 187 \ 592-593, 594,595, S98, 600, 601, 6 10, 625, Sa-vandooi, Giovanni. 902, 916
&bel4iJ. U . 766 ROrd. Louis·Cwta~. 287, 758 626,101 , 715, 733, 812, 903, 905, 937; on in· Stvignl, Madame dc, 706
Racine.Jean., IOJ, 247, 258, 307, 377, 5911, 969 R.icl.nIo, Dam, 664, 665, 667 dustrial and «.onomic IplOW, 7, 18. 367, 572. ,XyfI'anh. \\obIdcmar, 423, 497-498
Rlffet. DraUs, loll , 7ffl Rkhdicu, Armand Enuuanud, 801 574, 576. 578....579,581,590, 602, 627, 635-636, Shelley, fb'ty Byuhc. 351, 370, 44~50
RIogrot, GaJIOfI, 513 Rjdua,jan P:tul, 5, 620, 633, 642. 906, 9 14 , 915 732. 749, 768, 782, 784: MarJ.: and, 667, 863: ~. Lt, 585, 591 , 592, 766
RIoph;tc1 (Rl.!T;adIoSanrio). 263. 298. 299, 635. Rigauk.bouI, 6 18 mysticism:and, 575-576, 650; P.uU:md, 398, SilbcrlinKo E., 42, 350, 623. 625. 639, 644, 645
685 RiIke. Raina- Maria, 63. 55 1, 558, 842. M3 n5,
40 1: poetJy l.lld thcatCT of, 228. 579, 716, Silvy. Camille, 684
Raphad. ~1:ax, 393, 464-465, 791. 916. 9 17 Rimbaud, Arthur, 13,25, :11. 37, 340, 371 , 469, 751, 902; thCQt')' of art, 580, 598-599: uni"~na.l· Simmd, Ernst, 510-511
Rattier. P:tul Emal de, 137, 138, 378, 422, 432, 745, 789. 902 ism throry, 637, 816-817 SimmcI, GrorJ. 76-77, 227, 433, ""7. 448, 462,
523, 524, 82 1 Riquct, Picm:, 575 s../~' pllbfi/:, Lt, 273, 280-281, 293 480, 660-662.664, 866
RaUnlCT, Frkdrich von, 138, 397, 508, 7'11 Rirt,Lt,551.635 Safllt p"blit: de L)I1/IJ, U , 275 Simon. GIlSum:', 766--767
Raymond, Ma.ra:l, 98 Ri vim ,j acqua , 256-257 Salvand)" Narcisse, cnmte rk, 750 Simon,jukl, 127
RaYl1aud, [nleSt. 303-304, aDS RjaulIOY, D" 182. 708, 7W Sanuon,.I01cf W" 69, 856 Simond , Charle.l, 179
R.c:dan, SipmOlld , rorurc de, 589, 651 Robc.spicm:, Maximilicu , 942. 1008 Saud, Gcorgt:, 277, 280, 318, 523, 59S, 7«, 758. $impliruJimw. 291 , 392
Redon, Odiloll. 20. 204, 429, 539, 542, 556, 847, Robiquet. J ;w:qua. 223 760. 761 , 763 SirauduJ,i'aui. 178
850, 85 1, 877, 878, 924 Rochefort, Henri, no, 789, 899 Sandau.Julei!. 250 Sismondi.JCl.1I Simmwle dc. 667. 709
R{fonN. u.,522 R...Jcnbxh. ~. 292. 294 Sanvoisiu, GUta.n, 141 Sk~r l;'dl. Jan. 524. 717 - 718, 758- 759
k cgnkr, Ha1l'i de, 246 Rodcnbcrg,juliUJ, 38. 39-40. 86. 105, 423 Saphir, M. G., 527 SmiUI, Atll.tJl., 469. 5n,665. 666
Reich. WiUi, 268 Rodin, "'-'&\Ute. 288. 295-296 Salcq:-FranWquc, 291 SOIlUIICr.ud, Al""audn duo209, 210
~dlilJdl,Jnhann Friedrich. 172, In RodriguD, Olinde. 230. 597, 716, 7'13, 996 Saulnia'. Paul, 584 Snnnkt, louis. 70, 218, 2 19
Rcik, lnrodor, 402-403 Rogier. Cl.miIIc, m Sau~. ~~ , 2 1 0 Sard, Gcurgcs, .84
RciJlOldI . SaJomoo. 16 1 RoIlinat. ~buria:, 251. 289, 329 __ J Schade, w.tfgang, 685-686 Soudoy. po."I, 305. 306. 365. 75'1
Soumcl, Alens~, 575 1rh~.~. 264-26S , 397.553, 560 \ vlin, Louio-Eugtnc, 795 Wagr=, RXlwd, 11 , 230, 236, 237, 249-250,
Soup;,u1t, Philippe. 255, 257 llUbaudct. Alben. 233, 25 1- 253, 572 \ 'amhaga:o ''On u Ule. Karl. 451 543, 669-610, 755. 895. 897
SfHct~kNr, U, 454 Thiboow. l..arobcrt, 502 \ 'uari. Giorgio. 210 ....'aDon.Jcan, m
Spnt iltor-, n", 311 l11icrry, Augu'llin. 599, 60 1, 608. 8 16 Vauc:uuon.j;w:qucs de, 6!15 Walpole, Hugh. 190-191
Spengler, as",-aJd, 100, 386, 806 TIUcrry, Edouard. 230&.. 271, 2U, 275. 288 'Vandal,j ean, III Watripon, Amt1llKl, 240
SpicLh,,'gen, Fritdrith., 554 TIlicrs, AdoIp~. 158. 208- 209, 500, 592. 6 17, \i:l thdm, HaM YOn, 867 \VaUcau ,J CIIl.AntOUI(, 263
Spinolo1, Baruch,485 618, 73 1, 744,791. 795, 791. 822, 899. 900, \!c:rgniol, Camille, 278 WaWlld, Wllhclm, 6n
Spitzer, Leo, 519 1001, 1008 Vcrha=~ Emile, 295, 732 \\UId.ind, Fraru., 492, 961
SpilZ"'>:S. Carl, 342 'Illonw, Emile, 70 1 \ 'erboinc, Paul. 101.247.251 , 2811, 340 W:idlo!, \ VIadimir, 198,225. 688.689
Spfihla, Willy, 420, 571 1lIomai, Louis, 243, 246 \'ernicr. Charles. 64 \ \bu, Hilde, 7'rl
SpuLkr, F.UgOK, 761 lhomasius, Ouistian, 866 \ &on.. Louis, m \'oftu,j.:J.. 278, 616
Stahl, Frill.. 147-149, 170, 202, 384-385,404, "Thr« Giorioul In)'J;' 139 Veron, l"htodon:, 311. 590. 59 1, 762 ' 'kW, LouUc:, 226
41 5, 526,778.798,799 Thurow, H .. 575-576. 624 \~. Louis. 104, 105, 123, 250,335,300, 492, \\bdd. HcnruuU1, 379
Slahl', AdoLf, 12. 121 . 421 , 497, 698. 847, 851 Tibcrius, 796 564, 764-765, 860 \\bthc:im, Paul, 145
Stalin.J OIIeph, 94,1 T tcd., Ludwig. to 11 VICtoria, QvCCIl. 190 '*y, Fr.mciJ, 687
StaJkt, C . N., 576 T 1Cd=lUI, Rolf, 885 Vu:locq, F~. 98, m \oVlilitkr,j ames. 238
Stcin, Lo""1U: VQn, 578, 705 'T'1II11l111D"", U, 174 VIC!, OJarlc.s·F~, 92. 93, 95, 158. 166-167, WIC:I"U. Antoioc~OKph, 6, 157. 176, 216.218, 393,
Steiner. Rudolf. 550 TIS~~ck, 147, 201, 451 168, 797- 798, 82 1 529-530, 555-556, 671, 683, 681. 845. 846,
Stcinkn, ThCophik. 482 TWOl,j., 737-738 Vd,Ca.Id, HOQ(!; de, 491 858-859,886, 901, 902, 915
Stmdh<tl (?o.'laric Helin Ikylt-), 555, 713 lixquevil1c. AIcxis dc, 722 V", PuriJ~, LA, 76, 770 Woesengnmd,Adomo, 1bcQdor. Sot Adorno
Stenger. Erich, 405, 521 1'lKJm dt.J InwGiJlnrJ, u , 578 VJgJI)', Allmi de, 253, 266, 278, 28.01. 287, 296, Wilde., Oscar, 556, 843
Sten>bcrgcr. Dol£. 170. 374, 478. 550, 554, 559. 1OIain, M., 186 309-310,321,440, 469. 716, 732,790 WUlter, Amalie, 693
570, 690 Tobtoi.Jakav, 613 Vddrac. O!;arla (Charles Mc.ssager), 5 17 \\bI&kchl, Karl, 207, 860
SltvClIS. Alfn:d, 536 1'11IIIM411, u , 295 Vill&,jCOIIl Baptiste. 609, 782 YobrWworth, William, 968
Slifta; Adalbert, 481 l oobill. Charles, 280. 289 Villem:W~ AbeL. 292, 39 1, no \\brk.a& Commiuion., 188
St_~. Hartiet 8ttcha. 763 u,
1'/HIr de 1II1>IUk, 7ffJ V.Jleme»ant,jan. 278, 57'-Sl5, 591. no \'krt.m International. S« Irueno:otiorW '\\brking-
Stnho. 796 lOurdl, 1.. S.j., 8 16, 817 Villicrs. Roland, 685, 686 men'l As.toc:iation
Stnvinsky, Ip , 843 Tourquet,Milncs, G" 294 Villkn de I"l*-Ad;un, Auguue, comiC de 349 lVorling M..... , 'IN, 182
S~ Fricb., 5.')8 'lbuumeI, Alphoosc, 8, 18, 73, 19'2-195, 196, Villon,F~, 3 11 WJnh, Ow-la, no
Strindberg,Johan Aug\lst, 87, 205, 473, 558-559 241 - 242,596,622-623,632-633,634,635, VIOLla,Je.Duc.E.ugal(, 168, 778 Wmuski,josd'HoetoI! de, 293, 635, 636
Suaris, AlldJi, 200, 247, 286-287, 293 641,649,723,763.784,808-809,894,906, VIfIil, 10, 82, 252, 896
.sUdlt l, LouiJ·Cabrid, 419 916, 969 VlSdlCl', Fnc,drido 11u:odor, 66, 67. 68. 70, 75, 76, ~ Germany movement, 8 15
Sue, Eup, 2 14, 221. 358, 431. 441, 590. 702, Travia de Villers. Chnrles, 350, 741, 978 n, 78, 103, 105,279, 493,846,847, 897, 904 'Nadon. S« IUtaIoui,jobann Hcinrich
7'2 L. 744. 756, 757. 759. 76 1. 763, m. 851. 897, 'liiLat. Ulyue, 729 $6ix <hJfo/uuJ, ld, n4 Yvon, Adolphe, 678
902, 1004- 1005. WORKS : Lt.J Alptm, de Paris, TrW, Raymond.. 260, 263 ~gin, V~ 579-581.627
754. 763, nl , m 1'ribllAe, ld, 609, 610.820 \bW:); Con.swuin.F~, 581 , 712 bhn. Marai, 559
Sully Prudhomme, Rmt, 261. 278 1iicoI;e1, C.f .. 506, 713 VoI~ F~, 234. 291, 581.599, 719. 7.16, ZoIa., Emile, 5, 203-204, 624, 627-628, no. 835,
S",edeilborg, Emanud. 250, 293. 3n, 591, 621 , Tri!tan., flon, 615, 7311 ( 754-,802 875,906,915
625 Troubat,Juies, 286
SwifI.Jon;nilan,586 TmYOII, COllstant, 290
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This book is set in the Adobe fonts Berthold Baskerville Book and Bodoni, contem-
porary adaptations offonts created by John Baskerville in dIe mid.eightecnth century,
and by Giambattista Badoni in the early nineteenth century_ The headings are set in
Badoni Poster, Bodoni Poster Compressed, and Bodoni Bold Condensed. The type
was composed at wellington Graphics in Boston, Massachusetts, in Corel Ventura
Publisher on an IBM PC.
The book was printed web offset on 45-pound Glatfelter Offset Hi-Opaque paper
at Hamilton Printing Company in Casdeton, New York. TIle three·piece binding was
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was printed as well.
The book was designed by Gwen Nefsky Frankfeldt_ The production was super-
vised by David ross.
,