The Arcades Project - Operi

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7. Andre Breton, Niuija, trans. Richard Howard (New York: Grove Weidenfeld, 1960),
p. 152.
8. See N3,2. [R.T]
9. Apollinairc, "The Poet Assassinated" and Otlter Stories, p. 46.
10. La Muelte de Portici (lbe Mute Girl of Portici), opera by D. F. E. Auber. A duet from
this work, "Amour sacre de la patrie;' is said to have been used as a signal for the
Revolution of 1830 in Bmssels.
11. A E. Brehm (1829-1884), Gennan zoologist, was the author of Tierleben (Life of
Animals), 6 vols. (1864-1869). On Helen Grund, a friend of Franz Hessel, see the
preface by J.-M. Palmier to the French translation of Hessel's Spazieren in Berlin,
entitled Promenades dans Berlin (Grenoble: Presses Universitaires de Grenoble, 1989),
pp. 17fT. [J.L.]
12. Paul Va lery, "On Italian Art," in Degas, Manet, Morisot, trans. David Paul (1960; rpt.
Princeton: Princeton University Press, 1989), pp. 220, 224-225.
13. This passage does not appear in the English edition of von ]hering (also spelled
"Ihering" ), Law as a Means to an End, trans. Isaac Husik (New York: Macmillan,
1921).
14. Allusion to Louis Napoleon's coup d'etat of December 2, 1851. Both the Second of
December and the crinoline represent the triumph of reactionism.
15. Georg Simmel, "Fashion;' trans. anonymous, International Qyarterly, 10, no. 1 (October
1904), p. 136.
16. Ibid., p. 143.
17. This passage does not appear in the 1904 English translation of Die Mode."
18. Simmel, "Fashion;' p. 133.
19. Ibid., p. 151.
20. Valery, "About Corot," in Degas, Manet, Monsot, p. 150.
21. Jules Michelet, The People, trans.John P. McKay (Urbana: University oflllinois Press,
1973), p. 44.
22. An echo of Mephistopheles' speech at lines 2038-2039, in Goethe's Faust, Part 1.
23. Henri Focillon, The Lift of Forms in Art, trans. Charles Beecher Hogan and George
Kubler (1948; rpt. New York: Zone Books, 1989), pp. 85, 87.
24. The essay, originally published in Zeitschrijl jilr Sozialforschung; 6 (1937), is in GS,
vol. 2; see p. 497, note 50. [R.T] In English: "Eduard Fuchs: Collector and Historian;'
trans. Knut Tarnowski, New German Critique, S (Spring 1975); see p. 51, note
49.
25. Hennann Lotze, MicrocosmuJ) trans. Elizabeth Hamilton and E. E. Constance Jones
(New York: Scribner and Welford, 1888), vol. 1, pp. 486-487.
C [Ancient Paris, Catacombs, Demolitions, Decline of Paris 1
1. Virgil, Th e Aeneid, trans. Allen Mandelbaum (New York: Bantam, 1971), p. 137
(Book 6, line 126). Benjamin cites the Latin.
2. Guillaume Apollinaire, Oeuvres poetiques (paris: Gallimard, 1956), p. 39 (Alcools,
"Zone"). [R.T] In English: Alcoo!s: Poems, 1898-1913, trans. Wi lliam Meredith (Garden
City, N.Y.: Doubleday, 1964), p. 3.
3. Certain of these muses of Sunealism can be identified more precisely: Luna, the
moon; Kate Greenaway (1846-1901), English painter known for her illustrations of
children's books; Mars, death; Cleo de Merode (1875-1966), French dancer who
epitomized the demimonde; Dulcinea, the beloved of Don Qyixote and the image of
idealized woman; Libido, an allusion to Freud; Baby Cadum, publicity and advertis-