The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
professional applauders." J. Lucas-Dubreton, La Vie d'Alexandre Dwna,s pere (Paris), p. 167. [d4,2] ""The bohemian of 1840 . .. is dead and gone.-Did he really exist? I have heard it said that he did not.-Whatever the case may he, you could comb through all of Pads at the present momcnt, and not come upon a single example . ... There are certain neighborhoods and a very great numher of them, where the bohemian has never pitched his tent. ... The hohemian flourishes along the boulevards, from the Rue Montmartre t.o the nue de Ia Paix . ... Less frequently in the Latin Quarter, formerly his main ahode . ... Where does the bohemian come from'? Is he a product of the social or t.he natural order? . .. Who is to blame for the development of this species-nature or society? Without hesitation, I answer: nat.ure! . .. As long as there are idlers and fops in the world, there will be hohemians." Gabriel Guillemot, Le Boheme, in the series entit.led Physionomies parisiennes (Paris, 1869), pp. II, 18-19, 111-112. Something similar on the griscttes in this series. [d4,3] It would be usefi.Il to trace historically the "theses" of bohemia. The attitude of a Maxime Duchamps , 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 beautiful but what is forgotten," which occurs in Lurine's Treizieme arrondissement de Paris , p. 190. [d4,4] The Rafalers' Club (Cercle des Rafales): "No famous names there. Should a member of t.he Rafalers' 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,J Paris-Bohill"e (Paris, 1854), Pl'. 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 the Voice of Shadow Spoke to Me; Ogive; My Destiny (a giant wave) ; The Sail Recedes, the Rock Remains (gloomy rocky seashore; in the foreground a sailing ship); Ego Hugo; VH (allegorical monogram) ; Lacework and Specter. A sail with the inscription "Exile" and a tombstone with the inscription "France" (pendants, serving as homemade frontispieces, to two of his books); 17,e Borough of Angels; Vi:tlage in Moonlight; Fracta Sed Invicta (a wreck) ; a break water; a fountain in an old village, around which all the stonTIS on earth seem to have gathered. [cl4a,1] "We have had novels about handits purified hy imprisonment-the tales of Vautrill and of Jean Valjean; and it was not to stigmatize them ... that the writers evoked these melancholy figures . ... And it is in a city where 120,000 girls live secretly from vice and 100,000 individuals live off girls, it is in a city infested with hardened eriminals, cutthroats, hou8ebreakers carriage thieves, shop breakers, shoplifters rahhle rousers, eon men, pickpockets, predators, shakedown artists, guardian angels,:l swindlers, and lod(pickers-in a eity ? I say, where aU the wreek-
age of disonler and viee nUlS agt"Olmd, and where the slightest spark can set fire to the suhlimated populace, it is here that this corrupting literature- . . . Les ilIysteres de Paris, Rocambole, and Les Misera.bles-is produced."' Charles Louandre, Les Idees subversives de notre temps (Paris, 1872), pp. 35-37. [d4a,2) " The incomplet.e copy in the Bibliotheque Nationale is sufficient for us to judge of the holdness and novelty of the project eonceived hy Balzac . .. . Le Feuilleton des journaux politiqu.es aimed at nothing less than the elimination of booksellers. Dircet sale from publisher to purchaser was the plan . .. by which everyone would benefit-the publisher and the author hy making a pt.·oHt, the purchaser hy paying less for hooks. This arrangement . .. met with no suc{',ess at all, douhtless hecause the booksellers were against it." Louis Lumet, introduction to Honore de Bahae, Critiqlle littemi,.e (Paris, 1912), p. 10. [d4a,3] The three short-lived periodicals founded hy Balzac: Lie Feuilleton des jou."naux IJolitiques (1830), Ln Ghroniqae de Pnris (1836-1837), La Revu.e pflnswnne (1840). [d4a,4] ''''Recollection has value only as prediction. Thus, history should he classed as a science: practical appJication constantly proves its utilit.y." Honore de Balzac, Critique litteraire, introduction by Louis Lumet (Paris. 1912). p. 117 (review of Les Dwx FOllS, by P. L. Jacoh, hihliophile). [d4a,S] ",It is not by telling the poor to cease imitating the luxury of the rich that one will make the lower class happier. It is not hy telling girls to sto p permitting themselves to he sed uced that one will suppress prostitution. We might as well tell them, " . .. \Vhen you have no hread, you will he so good as to cease being hungry.' But Christian charity, it will be said, is there to curc all these evils. To which we reply: Christian charity cures very little and prevents nothing at all." Honori de Balzac, Critique litteraire, introduction hy Louis Lumet (Paris, 1912), p. 131 (review of Le Pretre [Paris, 1830]). [dS,!] ""In 1750, no hook-not even L 'Esprit des lois'l-rcaehed more than three or foul' thousand people . ... In out' day, some thirty thousand copies of Lamart.ine's Premieres meditations and some sixty thousand books hy Bcrangcr have heen sold over the past ten years. Thirty thousand volumes of Voltaire, Montesquieu, and Moliere have enlightened men 's minds." Balzac, Critique littentire, introduction by Louis Lnmet (Paris, 1912), p. 29 (",De l "Etat actne! de la lihraide" , sample from Le Feuilleton des jonrnaux politiques, published in L'Universel, March 22-23,1830). [d5,2] Victor Hugo hearkens to the inner voice of' the crowd of his ancestors: "'The crowd to which he list.ened admiringly in himself, and which he heard as the herald of his popularity, inclined him, in faet, toward the exterior crowd-toward the Idola Fori,;' toward the inorgallie hody of the masses . ... He searched in the tumult of
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professional applauders." J. Lucas-Dubreton, La Vie d'Alexandre Dwna,s pere<br />
(Paris), p. 167. [d4,2]<br />
""<strong>The</strong> bohemian of 1840 . .. is dead and gone.-Did he really exist? I have heard it<br />
said that he did not.-Whatever the case may he, you could comb through all of<br />
Pads at the present momcnt, and not come upon a single example . ... <strong>The</strong>re are<br />
certain neighborhoods and a very great numher of them, where the bohemian has<br />
never pitched his tent. ... <strong>The</strong> hohemian flourishes along the boulevards, from<br />
the Rue Montmartre t.o the nue de Ia Paix . ... Less frequently in the Latin Quarter,<br />
formerly his main ahode . ... Where does the bohemian come from'? Is he a<br />
product of the social or t.he natural order? . .. Who is to blame for the development<br />
of this species-nature or society? Without hesitation, I answer: nat.ure! . ..<br />
As long as there are idlers and fops in the world, there will be hohemians." Gabriel<br />
Guillemot, Le Boheme, in the series entit.led Physionomies parisiennes (Paris,<br />
1869), pp. II, 18-19, 111-112. Something similar on the griscttes in this series.<br />
[d4,3]<br />
It would be usefi.Il to trace historically the "theses" of bohemia. <strong>The</strong> attitude of a<br />
Maxime Duchamps , who holds success to be a proof of the lack of<br />
artistic quality, stems directly from that which is expressed in the statement,<br />
"<strong>The</strong>re is nothing beautiful but what is forgotten," which occurs in Lurine's<br />
Treizieme arrondissement de Paris , p. 190. [d4,4]<br />
<strong>The</strong> Rafalers' Club (Cercle des Rafales): "No famous names there. Should a member<br />
of t.he Rafalers' stoop so low as to make a name for himself-whether in<br />
politics, literature, or the arts-he would be mercilessly struck from the list."<br />
[Taxile Delord,J Paris-Bohill"e (Paris, 1854), Pl'. 12-13. [d4,5]<br />
Victor Hugo'S drawings, in his house at 6 Place des Vosges, where he lived from<br />
1832 to 1848: Dolmen Where the Voice of Shadow Spoke to Me; Ogive; My Destiny (a<br />
giant wave) ; <strong>The</strong> Sail Recedes, the Rock Remains (gloomy rocky seashore; in the<br />
foreground a sailing ship); Ego Hugo; VH (allegorical monogram) ; Lacework and<br />
Specter. A sail with the inscription "Exile" and a tombstone with the inscription<br />
"France" (pendants, serving as homemade frontispieces, to two of his books);<br />
17,e Borough of Angels; Vi:tlage in Moonlight; Fracta Sed Invicta (a wreck) ; a break<br />
water; a fountain in an old village, around which all the stonTIS on earth seem to<br />
have gathered. [cl4a,1]<br />
"We have had novels about handits purified hy imprisonment-the tales of Vautrill<br />
and of Jean Valjean; and it was not to stigmatize them ... that the writers<br />
evoked these melancholy figures . ... And it is in a city where 120,000 girls live<br />
secretly from vice and 100,000 individuals live off girls, it is in a city infested with<br />
hardened eriminals, cutthroats, hou8ebreakers carriage thieves, shop breakers,<br />
shoplifters rahhle rousers, eon men, pickpockets, predators, shakedown artists,<br />
guardian angels,:l swindlers, and lod(pickers-in a eity ? I say, where aU the wreek-
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