The Arcades Project - Operi

Closing lines of "Le Vin des chiffonniers," in the version of 1852: 'Already God
had given them sweet sleep; / He added wine, divine son of the sun. l? The distinction
between God and man ("Man added wine . .. ") dates from 1857. [J74a,1]
In the last section of "Salon de 1846" (section 18, "De I'Heroisme de la vie
moderne"), 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 reaIm 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. B., OeuvreJ, vol. 2, pp. 133-134.119 Suicide appears, then,
as the quintessence of modernity. [J74a,2]
In section 17 of "Salon de 1846," Baudelaire speaks of ""the funereal and rumpled
frock coat of today" (p. 136); and, before that, of this "uniform livery of mourning":
"'Do not these puckered creases, playing like serpents around the mortified
flesh, have their own mysterious grace?" (p. 134). Ch. B., Oeu·vres, vol. 2. 420
[J74a,3]
Nietzsche on the winter of 1882-1883, on the Bay of Rapallo: Mornings, I would
walk in a southerly direction on the splendid road to Zoagli, going up past pines
with a magnificent view of the sea; in the afternoon, . .. I walked around the whole
bay ... all the way to Portofino. This place and this scenery came even closer to
my heart because of the great love that Emperor Frederick III felt for them . ... It
was on these two walks that the whole of Zarathustra I occurred to me, and
especially Zarathustra himself as a type. Rather, he overtook me." Friedrich
Nietzsche, Also Sprach Zarathustra, ed. Kroner (Leipzig), pp. xx-xxi. Compare
this with a description of the Fort du Taureau. m [J74a,4]
Against the hackground of his "philosophy of the noontide" -the doctrine of
eternal recunence-Nietzsche defines the earlier stages of his thinking as philosophy
of the dawn and philosophy of the morning. He, too, knows the "sectioning
of time" and its great divisions. It is certainly legitimate to ask whether this
apperception of time waS not an element of Jug ends til. If in fact it was, then we
would perhaps better understand how, in Ibsen, Jugendstil produced one of the
greatest technicians of the drama. [J74a,5]
The closer work comes to prostitution, the more tenlpting it is to conceive of
prostitution as work-something that has been customary in the argot of whores
for a long time now. Tills rapprochement has advanced by giant steps in the
wake of unerIlployment; the "Keep smiling"m maintains, on the job market, the
practice of the prostitute who, on the love market, flashes a smile at dle customer.
[J75,1]
The description of the labor process in its relation to nature will necessarily bear
the imprint of its social structure as well. If the human being were not authentically