The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
letters ... is always hawking his opinions and his conscience . ... The world as painted by M. de Balzac is ... a cesspooL" J < acques > Chaudes-Aigues, Les Ecrivains modernes de la France (Paris, 1841), p. 227. [dI3,IJ (,Nowadays, so many attested and authenticated facts have emerged from the occult sciences that the time will come when these sciences will be taught at univer sities just as chemistry and astronomy are. Just now, when so many professorial chairs are being set up in Paris-chairs in Slavonic, in M:anchurian studies, and in literatures so unprofessable as those of far northern lands; chairs which, instead of offering instruction, stand in need of it themselves . . . -is it not a matter of surprise that, under the name of anthropology, the teaching of occult philosophy, one of the glories of the old-time university, has not been restored? In this respect, Germany . .. is a step ahead of France." Honore de Balzac, Le Cousin Pons, 17 in Oeuvres completes, vol. 18, La C01nedie humaine: Scenes de Ia vie parisienne, 6 (Paris. 1914), p. 131. 0 Physiologies 0 [dI3,2J On Lamartine: "He is the most feminine of men in a century which has seen a great many such men, several of' whom seem to announce themselves by the very article preceding their names: Lafayette, Lamennais, Lacordaire, Lamartine . ... There are very good reasons for thinking that he had prepared for the red flag the same speech he delivered for the tricolor flag." Abel Bonnard, Les Moderes, in the series entitled Le Drame du present, vol. 1 (Paris < 1936», pp. 232-233. [dI3,3J "The novel . . . is no longer only a way of telling a story but has become an investigation, a continual discovery . ... Balzac stands at the limit of the literature of imagination and of the literature of exactitude. He has books in which the spirit of inquiry is rigorous, like Eu.genie Grandet or Cesar Birotteau; others in which the unreal is blended with the real, like La Femme de trente arts; and still others, like Le Chef-d'oeuvre inconnu, composed of elements drawn from a variety of jeux d'esprit." Pierre Hamp, 'La Litterature, image de la societe," Encyclopedie fraru;aise, vol. 16, Arts et litt(ratures dans la societe contemporaine, 1, p. 64. [dI3,4J ( . (.By 1862, the year in which Victor Hugo publishes Les Miserables, the number of illiterates has considerably diminished in France . . . . In proportion as an edu cated populace begins to patronize hookshops, authors begin choosing their heroes from the crowd, and the one in whom this phenomenon of socialization can best be studied is Hugo himself, the first great poet who gave to his literary works commonplace titles: Les MiserabIes, Les Travailleurs de ia mer." Pierre Hamp, "La Litterature, image de la societe," Encyclopedie jraUf;aise, vol. 16, Arts et iitteratu,res dans Ia societe contemporaine, 1, p. 64). [d13a,1] TI,ese remarks on Scott might be applied to Victor Hugo: "He regarded rhetoric, the art of the orator, as the immediate weapon of the oppressed . ... And it is odd to reflect that he was, as an author, giving free speech to fictitious rebels while he
was, as a stupid politician, denying it to real ones. " G. K. Chesterton, Dickens) trans. Laurent and Martin-Dupont (Paris, 1927), p. 17 5 . 18 [dI3a,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 kinship was deep and spiritual. 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 been 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, giving judgment under an oak tree:' C. K. Chesterton, Dickens, trans. Laurent and Martin-Dupont (paris, 1927), pp. 72, 168.''' [dI3a,3] Le Nuin jaune is founded by Aurelien Scholl; La Vie Parisienne, by Marcelin, a friend of Worth's. L 'Evenement founded in 1865 by Villemessant, with the participation of Rochefort, Zola, and others in the opposition. [d13a,4] " Mires and the Pm'eire brothers, following the example of the Rothsehilds, would from time to time cause an unexpected shower, not of' gold hut of securities, to descend on well-known poets, journalists, and playwrights, without involving any direct ohligation in return." S. Kracauer, Jacques Offe nbach und das Paris seiner Zeit (Amsterdam, 1937), p. 252.2() [dI4,1] "A single one of the new sciences-that of analogy-ought to yield authors a profit of five million to six million franes for a sixteen-page installment:." Charles Fourier, Le Nouveau Monde i,ndustriel et sodetaire (Paris, 1829), p. 35. [dI4,2] Numher of Paris newspaper subscribers: in 1824, ca. 47,000; in 1836, ca. 70,000; in 1846, ca. 200,000. (Details for 1824: 15,000 for the government papers JOl,,.,,,,l de Paris, Etoile, Gazette, Monitew; Drapeau blunc, Pilote; 32000 for the opposition papers Journal des debats, ConstUutionnel, Quoti,dienne, Courrier de Paris, Journal, du Commerce, Aristarque.) [d14,3] With the increase in public advertising, newspapers turned against the annonces diguisees , which no doubt had brought in more for journalists than for the administration. [dI4,4] Around Le Globe gathered, as editors, the most important of the later Orleanists; this editorial staff included Cousin, Villemain, Guizot. In 1829, Blanqui entered the office as stenographer, particularly as parliamentary stenographer. [d14,5] The journalistic strain in the novels of Dumas: the first chapter of Les Mohicans de Paris already provides information about what impost must be paid, in the event
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letters ... is always hawking his opinions and his conscience . ... <strong>The</strong> world as<br />
painted by M. de Balzac is ... a cesspooL" J < acques > Chaudes-Aigues, Les Ecrivains<br />
modernes de la France (Paris, 1841), p. 227. [dI3,IJ<br />
(,Nowadays, so many attested and authenticated facts have emerged from the<br />
occult sciences that the time will come when these sciences will be taught at univer<br />
sities just as chemistry and astronomy are. Just now, when so many professorial<br />
chairs are being set up in Paris-chairs in Slavonic, in M:anchurian studies, and in<br />
literatures so unprofessable as those of far northern lands; chairs which, instead<br />
of offering instruction, stand in need of it themselves . . . -is it not a matter of<br />
surprise that, under the name of anthropology, the teaching of occult philosophy,<br />
one of the glories of the old-time university, has not been restored? In this respect,<br />
Germany . .. is a step ahead of France." Honore de Balzac, Le Cousin Pons, 17 in<br />
Oeuvres completes, vol. 18, La C01nedie humaine: Scenes de Ia vie parisienne, 6<br />
(Paris. 1914), p. 131. 0 Physiologies 0 [dI3,2J<br />
On Lamartine: "He is the most feminine of men in a century which has seen a great<br />
many such men, several of' whom seem to announce themselves by the very article<br />
preceding their names: Lafayette, Lamennais, Lacordaire, Lamartine . ... <strong>The</strong>re<br />
are very good reasons for thinking that he had prepared for the red flag the same<br />
speech he delivered for the tricolor flag." Abel Bonnard, Les Moderes, in the series<br />
entitled Le Drame du present, vol. 1 (Paris < 1936», pp. 232-233. [dI3,3J<br />
"<strong>The</strong> novel . . . is no longer only a way of telling a story but has become an<br />
investigation, a continual discovery . ... Balzac stands at the limit of the literature<br />
of imagination and of the literature of exactitude. He has books in which the spirit<br />
of inquiry is rigorous, like Eu.genie Grandet or Cesar Birotteau; others in which<br />
the unreal is blended with the real, like La Femme de trente arts; and still others,<br />
like Le Chef-d'oeuvre inconnu, composed of elements drawn from a variety of jeux<br />
d'esprit." Pierre Hamp, 'La Litterature, image de la societe," Encyclopedie<br />
fraru;aise, vol. 16, Arts et litt(ratures dans la societe contemporaine, 1, p. 64.<br />
[dI3,4J<br />
( . (.By 1862, the year in which Victor Hugo publishes Les Miserables, the number of<br />
illiterates has considerably diminished in France . . . . In proportion as an edu<br />
cated populace begins to patronize hookshops, authors begin choosing their heroes<br />
from the crowd, and the one in whom this phenomenon of socialization can<br />
best be studied is Hugo himself, the first great poet who gave to his literary works<br />
commonplace titles: Les MiserabIes, Les Travailleurs de ia mer." Pierre Hamp,<br />
"La Litterature, image de la societe," Encyclopedie jraUf;aise, vol. 16, Arts et<br />
iitteratu,res dans Ia societe contemporaine, 1, p. 64). [d13a,1]<br />
TI,ese remarks on Scott might be applied to Victor Hugo: "He regarded rhetoric,<br />
the art of the orator, as the immediate weapon of the oppressed . ... And it is odd<br />
to reflect that he was, as an author, giving free speech to fictitious rebels while he