Yale University, School of Architecture

Paris: Capital of the Nineteenth Century

Author(s): Walter Benjamin
Reviewed work(s):
Source: Perspecta, Vol. 12 (1969), pp. 163-172
Published by: The MIT Press on behalf of Perspecta.
Stable URL: http://www.jstor.org/stable/1566965 .
Accessed: 03/12/2012 02:04

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WalterBenjamin
'Paris,Hauptstadt des XIXJahrhunderts'
is
publishedin IlluminationenbySuhrkamp
Verlag,Frankfurt am Main,copyright 1955.
Reprintedbypermissionof thepublishers.
Translationcourtesyof theNew LeftReview.
The illustrationsbyJean Grandville
are from
thenineteenth centurybook Un AutreMonde.
The watersare blue and theplantspink;
theeveningis sweetto lookupon;
one goes fora stroll.The greatladies are
outfora stroll;behindthemwalklesser
ladies.
Nguyen-Trong-Hiep: PariscapitalofFrance
(1897)
I FourierortheArcades
De ces palais les colonnesmagiques
A I'amateurmontrent de toutesparts
Dans les objetsqu'6talentleursportiques
Que I'industrieest rivaledes arts.
Nouveauxtableauxde Paris(1828)'
This content downloaded by the authorized user from 192.168.52.77 on Mon, 3 Dec 2012 02:04:43 AM
Paris: CapitaloftheNineteenth
Century
MostoftheParisarcade came intobeingduringthedecade and a halfwhich
followed1822.The first conditionfortheiremergencewas theboom inthe
textiletrade.The magasinsde nouveaute,thefirstestablishments thatkept
largestocksofgoods on thepremises,began toappear.Theywerethe
forerunners ofthedepartment stores.Itwas thetimeofwhichBalzac wrote:
'Le grandpo me de 1'6talagechanteses strophesde couleurdepuisla
Madeleinejusqu'a la porteSaint-Denis.'2 The arcades werecentresofthe
luxury-goods trade.The manner inwhich theywerefitted outdisplayedArtin
theserviceofthesalesman.Contemporaries nevertiredofadmiring them.For
long afterwards they remained a of
point attraction
for An
foreigners.
'IllustratedParisGuide'said: 'These arcades,a newcontrivance ofindustrial
are
luxury, glass-covered,marble-floored passages through entireblocksof
houses,whose proprietors have joinedforcesintheventure.On bothsides of
these passages, whichobtaintheirlightfromabove,thereare arrayedthe
mostelegantshops,so thatsuch an arcade is a city,indeeda world,in
miniature.' The arcades werethesettingforthefirst gas-lighting.
The beginningsofconstruction inironconstituted
thesecond conditionforthe
appearance ofthearcades. The Empirehad seen inthistechniquea contribution
totherenewalofarchitecture alongancientGreeklines.The architectural
theoristBbtticher the
expressed generalconvictionwhenhe said that'with
regard to the ofthenewsystem,theformalprincipleoftheHellenic
art-forms
mode' mustcome intoforce.Empirewas thestyleofrevolutionary terrorism,
forwhichtheStatewas an end initself. Justas Napoleonlittlerealizedthe
functional natureoftheStateas instrumentoftheruleofthebourgeoisclass,
so themaster-buildersofhistimeequallylittlerealizedthefunctional natureof
iron,withwhichtheconstructional principleentereduponitsrulein
architecture.These master-buildersfashionedsupportsinthestyleofthe
Pompeiancolumn,factoriesinthestyleofdwelling-houses, justas laterthe
firstrailwaystationsweremodelledon chalets.'Construction occupies the
roleofthesub-conscious.'Nevertheless, theconceptoftheengineer,which
came originallyfromtheRevolutionary Wars,beganto gainground,and the
struggles between builderand decorator,Ecole Polytechnique and Ecole des
Beaux Arts,began.
Withiron,an artificial
buildingmaterialappearedforthefirst timeinthehistory
ofarchitecture.Itwentthrough a development whosetempoaccelerated
duringthecourseofthecentury. Thisreceiveditsdecisiveimpulsewhenit
turnedoutthatthe locomotive, withwhichexperiments had been made since
theend ofthe'twenties, could onlybe utilizedon ironrails.The railwas the
firstironunitofconstruction,theforerunner ofthegirder.Ironwas avoided
fordwelling-houses, and madeuse offorarcades,exhibition halls,railway
' 'The magiccolumnsofthesepalaces showto theconnoisseuron everyside, inthearticles
rivalsthearts.'
whichtheirportalsdisplay,thatindustry
2
'The greatpoemofdisplayrecitesitsstanzas ofcolourfromtheMadeleineto thegateof
Saint-Denis.'
165
All use subject to JSTOR Terms and Conditions
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 stations- buildingswhichservedtransitory purposes.Simultaneously, the
architectonicareas inwhichglass was employedwereextended.Butthe
social conditionsforitsincreasedutilization
as a buildingmaterialonlycame
intobeinga hundredyears later.InScheerbart'sGlass Architecture (1914) it
stillappeared inthecontextoftheUtopia.

Chaque 6poque rdvela suivante To theformofthenewmeansofproduction, whichtobeginwithis still

Michelet:Avenir!AvenirP dominatedbytheold (Marx),therecorrespondimagesinthecollective
consciousnessinwhichthenewand theold are intermingled. These images
are ideals,and inthemthecollectiveseeks notonlytotransfigure, butalso to
transcend,theimmaturityofthesocial productand thedeficienciesofthe
social orderofproduction.
Intheseideals therealso emergesa vigorous
aspirationto breakwithwhatis outdated- whichmeans,however,withthe
mostrecentpast.These tendenciesturnthefantasy, whichgainsitsinitial
stimulusfromthenew,back upontheprimalpast. Inthedreaminwhichevery
epoch sees inimagestheepoch whichis tosucceed it,thelatterappears
coupledwithelementsofprehistory - thatis tosay ofa classless society.The
experiencesofthissociety,whichhavetheirstore-placeinthecollective
unconscious,interactwiththenewtogivebirthtotheutopiaswhichleave
theirtracesina thousandconfigurationsoflife,frompermanent buildingsto
ephemeralfashions.

These relationshipsbecame discernibleintheUtopiadevisedbyFourier.

Theirinnermost originlayintheappearance ofmachines.Butthisfactwas not
expresseddirectly intheirutopianpresentation; thisderivedbothfromthe
amoralityof themarket society and from thefalse moralitymusteredtoserve
it.The phalansterywas to lead menback intorelationsinwhichmorality
wouldbecome superfluous.Itshighly complicatedorganizationresembled
machinery. The imbrications of thepassions, the intricatecombinationofthe
passions mecanistes with the passion cabaliste,wereprimitive analogies
based on themachine,formedinthematerialofpsychology. Thismachinery,
formedofmen,producedthelandofCockaigne,theprimalwish-symbol,
thatFourier'sUtopiahad filledwithnewlife.

Inthearcades, Fourierhad seen thearchitectonic canon forthephalanstery.

Theirreactionary transformation at Fourier'shandswas characteristic:
while
theyoriginallyservedsocial ends,withhimtheybecame dwelling-places.
The phalanstery became a cityofarcades. Fourierestablishedinthenarrow
formalworldoftheEmpirethehighly-coloured idyllofBiedermeier.
Itsfading
brilliancelasteduntilZola. The lattertookoverFourier'sideas inhis Travail,
just as he tookhis leave ofthearcades in ThereseRaquin.- Marxbroke
a lance on Fourier'sbehalf,defendinghimfromCarlGrOn,and
stressedhis'gargantuanconceptofman.'He also turnedhisattention to
Fourier's humour.As a matterof fact,Jean Paul in his Levada is as related to
Fourierthe pedagogue as Scheerbart in his Glass Architectureis to Fourier
the creator of Utopias.

II DaguerreortheDioramas Withconstructionin iron,architecturebegan to outgrowart; paintingdid the

same in its turnwiththe dioramas. Preparationforthe dioramas reached its
Soleil,prendsgarde toi!
A. J.Wiertz:Oeuvres.Litteraires peak just at the momentwhen the arcades began to appear. Tireless efforts
(Paris1870)' had been made to renderthe dioramas, by means oftechnical artifice,the
locus ofa perfectimitationof nature. People sought to copy the changing time
of day in the countryside,the risingofthe moon, or the rushingof the
waterfall.David counselled his pupils to draw fromNature in theirdioramas.
Whilethe dioramas stroveto produce life-liketransformationsin the Nature
portrayedin them,theyforeshadowed, via photography,the moving-picture
and the talking-picture.

Contemporarywiththe dioramas there was a dioramic literature.Le livre

des Cent-et-Un,Les Francais peints par eux-memes, Le diable a Paris, La
3
'Everyepoch dreamsitssuccessor.' Michelet:Future!Future!
S''Sun,lookoutforyourself.'
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 grandevillebelongedtothis.Thesebookswerea preparation forthe
belletristic
collective
workforwhichGirardin createda homeinthe'thirties
withthefeuilleton.
Theyconsistedofindividual sketcheswhoseanecdotal
form corresponded totheplastically
arrangedforegroundofthedioramas,and
whosedocumentary contentcorresponded totheirpainted
background.
Thisliterature
wassociallydioramictoo.Forthelasttimetheworker appeared,
awayfrom hisclass,as a stage-extra
inan idyll.
Thedioramas, whichsignalleda revolution
intherelationship
ofartto
technology,wereatthesametimetheexpression ofa newattitudetolife.The
town-dweller,whosepoliticalsupremacyoverthecountrysidewasfrequently
expressedinthecourseofthecentury, madean attempttobringthecountry
'I'

~
~F~r
CL t,~CK intothetown.Inthedioramas, thetownwastransformedintolandscape,
justas itwaslaterina subtler
wayforthefl&neurs.
Daguerrewasa pupilofthe
diorama-painterPr6vost,whoseestablishmentwassituatedintheArcadeof
theDioramas.Description ofthedioramasofPr6vostandofDaguerre. In
1839Daguerre's diorama was burned down.Inthesameyearheannounced
theinventionofthedaguerreotype.

Aragopresented photography ina speechintheAssembly. He assignedtoit

itsplaceinthehistoryoftechnical science.Heprophesied itsscientific
applications.
Whereupon theartists begantodebateitsartisticvalue.
Photography ledtothe destruction ofthegreatprofessionalstanding ofthe
This
miniature-portraitists. did not happenpurely for
economic reasons. The
was
earlyphotography artistically to
superior miniature-portraiture. The
technicalreasonforthislayinthelongexposuretime,whichnecessitated the
mostintenseconcentration onthepartofthesubject.Thesocialreasonforit
layinthecircumstance thatthefirst photographersbelongedtothe
avant-gardeand that theirclientele forthemostpartcamefrom it.Nadar's
leadoverhisprofessional colleagueswasdemonstrated whenheembarked
ontaking snapshotsintheParissewers.Thusforthefirst timediscoveries
wererequired ofthelens.Anditssignificance becameallthegreater as, inthe
lightofthenewtechnical andsocialreality, thesubjectivecontribution to
',C*ll artistic
andgraphic information wasseentobe increasingly questionable.

L,
TheWorldExhibition of1855wasthefirsttohavea specialexhibitcalled
'llln
-?, '
'Photography.' InthesameyearWiertz publishedhisgreatarticle
on
r, photography, inwhichheassignedtoitthephilosophical enlightenmentof
painting.Heunderstood thisenlightenment,
as hisownpaintings show,ina
sense.Wiertz
political canthusbe designatedas thefirst
personwho,ifhedid
notforesee, atleasthelpedtopavethewayformontage, as theagitational
utilization
ofphotography. Asthescopeofcommunications the
increased,
, .
informationalimportanceof paintingdiminished.The latterbegan, in reaction
to photography, toemphasizethecolouredelementsoftheimage.As
firstly
gavewaytoCubism,
Impressionism createdforitself
painting a broader
intowhichforthetimebeingphotography
domain, couldnotfollowit.
'i "
in
Photography its from
turn, themiddleofthecenturyonwards, extended
I` .
thesphereofthemarket-society;
enormously foritoffered
onthemarket, in
limitlessquantities,figures,landscapes, events which had previouslybeen
either
utilizable notatall,oronlyas a picture
foronecustomer.
Andinorder
toincreasesales,itreneweditsobjectsbymeansofmodish in
variations
camera-technique, which determinedthe subsequent historyof photography.

ortheWorldExhibitions
III Grandville WorldexhibitionswereplacesofpilgrimagetothefetishCommodity.
'L'Europes'estd6plac6pour voir
des marchandises,"saidTainein1855.
Oui,quand le mondeentier,de Parisjusqu'en
Chine, Theworldexhibitions wereprecededbynationalexhibitions of
ofindustry,
O divinSaint-Simon, sera dans ta doctrine, whichthefirsttookplacein1798ontheChampsde Mars.Thiswasa result of
L'Aged'ordoitrenaitre avec toutson eclat, thedesire'toamusetheworking-class,andisforthelatter
a festival
of
Les fleuvesrouleront du the,du chocolat;
Les moutonstoutr6tisbondiront dans la emancipation.'Theworkers weretotheforeas customers.
Theframework of
plaine, theentertainmentindustryhadnotyetbeenformed. Thepublicfestival
Et les brochetsau bleu nagerontdans la it.Chaptal'sspeechonindustry
provided openedthisexhibition.
-The

s 'All Europehas set offto viewgoods.'

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Seine; Saint-Simonians,whoprojectedtheindustrialization
oftheearth,
au mondefricasses,
Les epinardsviendront inthe
Avecdes croOtonsfrits
toutau tour appropriatedtheideaofworldexhibitions. thefirst
Chevalier, authority
concassds. newfield,wasa pupilofEnfantin
andeditoroftheSaint-Simonianpaper
des pommesen
Les arbresproduiront Globe.TheSaint-Simonians hadanticipatedthedevelopment oftheworld-
compotes Theirpartinindustrial
butnottheclass-struggle. andcommercial
des cerricks
EtI'onmoissonnera etdes economy,
bottes; aroundthemiddle
enterprises ofthecenturywenttogetherwitha helplessness
II neigeradu vin,il pleuverades poulets, inthosequestionswhichconcerned theproletariat.
Theworldexhibitions
Etdu ciel les canardstomberont aux navets.
LauglietVanderbusch:
Louisetle Saint- theexchange-value
glorified ofcommodities.Theycreateda framework in
Simonien(1832)6 whichtheiruse-valuerecededintothebackground.Theyopenedupa
phantasmagoria intowhichpeopleenteredinordertobe distracted.
The
entertainment madethateasierforthembylifting
industry themtothelevelof
thecommodity. Theyyieldedtoitsmanipulations
whilesavouringtheir
from
alienation themselvesandfrom others.
- Theenthronement ofthecommodity andtheglitter aroundit
ofdistraction
wasthesecretthemeofGrandville's art.Thecorrelativetothiswasthe
ambivalence betweenitsUtopiananditscynicalelement. in
Itsrefinements
ofdeadobjectscorrespond
therepresentation towhatMarxcallsthe
capers'ofthecommodity.
'theological Theytookclearshapeinthespecialit6:
underGrandville's a of
pencil, way designating goodswhichcameintouse
aroundthistimeintheluxuryindustrytransformedthewholeofNature into
He
specialities. presentedthe in
latter the same in
spirit which advertisements
-thiswordtoo(reclames)cameintoexistenceatthattime-werebeginning
topresenttheirwares.Heendedinmadness.

Fashion:MrDeath!MrDeath! Theworldexhibitions erectedtheuniverse ofcommodities.Grandville's

Leopardi:DialoguebetweenFashionand transmitted
fantasies commodity-character ontotheuniverse.
They
Death
IN modernised it.TheringofSaturnbecamea cast-iron balcony,uponwhichthe
The
ofSaturntaketheairofan evening. literary
inhabitants counterpartof
thisgraphicUtopiawas represented bythebooksofFourier's the
follower,
Toussenal.- Fashionprescribed
naturalist bywhichthefetish
theritual
Commodity wishedtobe worshipped, andGrandvilleextendedtheswayof
fashionovertheobjectsof dailyuseas muchas overthecosmos.Inpursuing it
toitsextremes, he revealeditsnature. Itstandsinopposition
totheorganic.
theliving
Itprostitutes bodytotheorganicworld.Inrelation it
totheliving
the
represents rights ofthecorpse.Fetishism, whichsuccumbs to the
sex-appealoftheinorganic, is itsvitalnerve;andthecultofthecommodity
recruits its
thisto service.

Victor
Hugopublisheda manifesto fortheParisWorldExhibition
of1867:
'TothePeoplesofEurope.'Theirinterests
hadbeenchampioned earlierand
bythedelegations
moreunequivocally ofFrench ofwhichthefirst
workers,
hadbeensenttotheLondonWorldExhibition of1851,andthesecond,of750
members,tothatof1862.ThelatterwasofdirectimportanceforMarx's
foundationofthe InternationalWorkingmen'sAssociation.
- The phantasmagoria of capitalist cultureattained its most radiant
unfurlingin the WorldExhibitionof 1867. The Second Empirewas at the
heightof its power. Paris was confirmedin its position as the capital of luxury
and offashion. Offenbachset the rhythm forParisian life.The operetta was
the ironical Utopia of a lastingdominationof Capital.

ortheInterior
IV Louis-Philippe Under Louis-Philippe,the privatecitizen entered upon the historicalscene.
The extension ofthe apparatus of democracy by means of a new electoral law
Unetate,surla tablede nuit,repose
Commeune renoncule. coincided withthe parliamentarycorruptionthatwas organized by Guihot.
Baudelaire:Unemartyre7 Under cover of this,the rulingclass made historywhile it pursued its business

* 'Yes, whentheentireworld,fromParisas faras China,O divineSaint-Simon, followsyour

doctrine,thenmusttheGoldenAge return theriverswillflowwithtea,with
inall itsbrilliance,
chocolate;sheep alreadyroastwillgambolintheplain,and butteredpikewillswiminthe
Seine; fricasseedspinachwillspringfromtheground,witha borderofcrushedfriedbread.
The treeswillbearstewedapples,and bales and sheaves willbe harvested;winewillfall
likesnow,and chickenslikerain,and duckswilldropfromtheskywitha garnishofturnips.'
likea
7 'A head restsuponthenight-table ranunculus.'

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 affairs.Itencouragedtheconstructionofrailwaysinorderto improveits
It
holdings. supported the ruleof as thatoftheprivate
Louis-Philippe
businessman.WiththeJulyRevolution thebourgeoisiehad realizedtheaims
of1789 (Marx).

Fortheprivatecitizen,forthefirsttimethe living-spacebecame distinguished

fromtheplace ofwork.The former constituteditselfas theinterior.
The
counting-house was itscomplement. The privatecitizenwhointhe
counting-house tookrealityintoaccount,requiredoftheinterior thatitshould
maintainhiminhisillusions.Thisnecessitywas all themorepressingsince he
had no intention
ofaddingsocial preoccupationsto hisbusinessones. Inthe
creationofhisprivateenvironment he suppressedthemboth.Fromthis
sprangthephantasmagoriasoftheinterior. This representedtheuniversefor
theprivatecitizen.Inithe assembledthedistantinspace and intime.His
drawing-room was a box intheworld-theatre.

Digressionon artnouveau.The shattering oftheinterior tookplace aroundthe

turnofthecenturyinartnouveau.Andyetthelatterappeared,accordingto
itsideology,to bringwithittheperfecting oftheinterior. The transfiguration
ofthelonesoul was itsapparentaim.Individualism was itstheory. With
Vandervelde, thereappeared thehouse as expressionofthepersonality.
Ornament was tosuch a house whatthesignatureis toa painting. The real
significanceof artnouveau was not expressed inthis It
ideology. represented
thelastattemptat a sortieon thepartofArtimprisoned bytechnicaladvance
withinherivorytower.Itmobilizedall thereserveforcesofinteriority. They
foundtheirexpressioninthemediumistic languageofline,inthefloweras
symbolofthenaked,vegetableNaturethatconfronted thetechnologically
armedenvironment. The newelementsofconstruction iniron- girder-forms
-obsessed artnouveau. Throughornament, itstroveto winback these forms
forArt.Concreteoffereditnewpossibilitiesforthecreationofplasticforms
inarchitecture.Aroundthistimetherealcentreofgravity ofthesphereof
existencewas displacedtotheoffice.The de-realizedcentreofgravity
createditsabode intheprivatehome.Ibsen's Masterbuilder summedup
artnouveau: the attempt ofthe on
individual, the basis of his to vie
interiority,
withtechnicalprogress leads to hisdownfall.

Je crois... AmonAme;la Chose The interiorwas theplace ofrefugeofArt.The collectorwas thetrueinhabitant

Leon Deubel: Oeuvres(Paris1929)Y
oftheinterior.He madetheglorification ofthingshisconcern.To himfellthe
taskofSisyphuswhichconsistedofstripping thingsoftheircommodity
ATh?\-
characterbymeansofhispossessionofthem.Buthe conferred uponthem
onlyconnoisseur's value,rather
than use-value.
The collectordreamed that
he was ina worldwhichwas notonlyfar-off indistanceand intime,butwhich
was also a betterone, inwhichto be surepeople werejustas poorlyprovided
withwhat theyneeded as inthe worldofeveryday,but inwhich thingswere
freefromthe bondage of being useful.

The interior
was notonlytheprivatecitizen'suniverse,itwas also hiscasing.
Livingmeans leaving traces. In the interior,these were stressed. Coverings and
antimacassars, boxes and casings, were devised in abundance, in which the
traces of everydayobjects were moulded. The resident's own traces were also
moulded in the interior.The detective storyappeared, which investigated
these traces. The Philosophy of Furniture,as much as his detective stories,
shows Poe tohave been thefirstphysiognomist
oftheinterior.
The criminals
of the firstdetective novels were neithergentlemennor apaches, but middle-
class privatecitizens.

V BaudelaireortheStreetsofParis Baudelaire's genius, which drew its nourishmentfrommelancholy,was an

Toutpourmoidevientallgorie. allegorical one. WithBaudelaire, Paris forthe firsttimebecame the subject
Baudelaire:Le Cygne9 of lyricalpoetry.This poetryis no local folklore;the allegorist's gaze which
falls upon the cityis ratherthe gaze of alienated man. Itis the gaze of the

'I1believe... inmysoul: theThing.'....

9 forme,becomes allegory.'
'Everything,
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 whosewayoflivingstillplayedoverthegrowingdestitution
fldneur, ofmenin
thegreatcitywith a gleam.
conciliatory The flIneur stood
still at the margins,
ofthegreatcityas ofthebourgeoisclass. Neitherofthemhad yetoverwhelmed
him.Inneitherofthemwas he at home.He soughthisasyluminthecrowd.
Earlycontributions tothephysiognomy ofthecrowdare to be foundinEngels
and inPoe. The crowdwas theveilfrombehindwhichthefamiliar cityas
phantasmagoriabeckonedto thefl&neur. In it,thecitywas nowlandscape,
nowa room.Andbothofthesewentintotheconstruction ofthedepartment
store,whichmade use offlInerieitselfinorderto sell goods. The department
storewas thefl&neur's finalcoup.

As fldneurs,theintelligentsiacame intothemarket-place. As theythought,to

observeit- butinrealityitwas alreadytofinda buyer.Inthisintermediary
stage,inwhichtheystillhad Maecenases, butwerealreadybeginning to
familiarizethemselves withthe market,theytook theform ofBohemia.To the
uncertainty oftheir economic positioncorresponded uncertainty their
the of
politicalfunction. The mostspectacularexpressionofthiswas providedby
theprofessionalconspirators, whowithout exceptionbelongedto Bohemia.
Theirfirstfieldofactivitywas thearmy,lateron itbecame thepetty
bourgeoisie,and on occasion theproletariat.However,thisgroupsaw inthe
realleadersofthelatteritsadversary.The Communist Manifestoputan end
to itspoliticalexistence.Baudelaire'spoetrydrewitsforcefromtherebellious
pathosofthisgroup.He tookthepartoftheasocial. He achievedhisonly
sexual relationship witha whore.

Facilisdescensus Averni. Itis theuniquequalityofBaudelaire'spoetrythattheimagesoftheWoman

Virgil:Aeneid'" and ofDeathintermingle ina third- thatofParis.The Parisofhispoemsis a
sunkencity,and moresubmarinethansubterranean. The chthonicelementsof
thecity- itstopographicalformation, theold abandonedbed oftheSeine -
haveindeedfoundinhima mould.YetwithBaudelaire,inthe'death-loving
idyll'ofthecity,thereis decidedlya social, and modern, sub-stratum.The
modernis a mainstressinhispoetry.As spleen he shatterstheideal (Spleen
et Ideal). Butitis preciselythemodernwhichalwaysconjuresup prehistory.
Thathappensherethrough theambiguity whichis peculiartothesocial
relations and eventsof this epoch. Ambiguity appearanceof
is thefigurative
thedialectic, the law ofthe dialectic at a This
standstill. is Utopia,
standstill
and thedialecticalimage therefore a dream-image. The commodity clearly
providessuch an image: as The
fetish. arcades, which are bothhouse and
stars,providesuch an image. And such an is
image providedby the whore,
whois sellerand commodity inone.

Le voyagepourconnaitrema gbographie The lastpoemoftheFleursdu mal: Le Voyage'O mort,vieuxcapitaine,il est

Recordofa journey.(Paris1907)"
temps,levonsI'ancre.'"The flIneur'slastjourney:death.Itsgoal: novelty.
'Aufondde I'inconnupourtrouver du nouveau."'Novelty is a qualitywhich
does notdependon theuse valueofthecommodity. Itis the sourceofthe
illusionwhichbelongsinalienably totheimageswhich the collective
unconsciousengenders.Itis thequintessenceoffalseconsciousness,of
whichfashionis thetirelessagent.Thisillusionofnovelty likeone
is reflected,
mirror inanother,intheillusionofinfinite
similarity.The productofthis
reflectionwas thephantasmagoria ofthe'history ofcivilization' inwhichthe
bourgeoisie drank itsfalseconsciousnessto the dregs. Art, which beganto
have doubtsaboutitsfunction, and ceased to be 'ins6parabledu I'utilit6'
(Baudelaire),was forcedto makenoveltyitshighestvalue. Itsarbiternovarum
rerumbecame thesnob. He was forartwhatthedandywas forfashion.

- Justas inthe17thcentury allegorybecame thecanonofdialectical

imagery, so inthe 19thcenturydid nouveaut&.Andthe newspapersmarched
shoulderto shoulderwiththemagasinsde nouveaute.The press organized
0
'The roadto Hellis easy.'
" 'The journeyto discovermygeography.'
2
'O death,old captain,itis time,letus weighanchor.'
'3 'To thedepthsoftheunknown to findsomethingnew.'

170

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VI HaussmannortheBarricades
J'aile cultedu Beau, du Bien,des grandes
choses,
De la balle natureinspirantle grandart,
Qu'ilenchanteI'oreilleou charmele regard;
J'aiI'amourdu printemps en fleurs:femmes
et roses.
BaronHaussmann:Confessiond'unlion
devenuvieux'
Das BI0thenreichder Dekorationen,
Der Reiz der Landschaft,
derArchitektur
UndallerSzenerie-Effektberuhen
AufdemGesetzder Perspektive nur.
FranzB6hle:Theater-Katechismus's
Fais voir,en dejouantla ruse,
O R1publique, ces pervers
Ta grandeface de Mduse
Au milieude rouges6clairs.
Chansond'ouvriersvers1850"
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themarketofspiritualvalues,uponwhichat firsta boomdeveloped.The
non-conformistsrebelledagainstthesurrender ofarttothemarket.They
ralliedroundthe bannerofL'artpour/'art.Fromthisslogan theresprangthe
conceptionofthetotalworkofart,whichattempted to isolateartagainstthe
developmentoftechnology. The riteswithwhichitwas celebratedwere
thecounterpartofthedistractionswhichglorifiedthecommodity. Bothleftout
ofconsiderationthesocial beingofman.Baudelairegave waytothedelusion
ofWagner.
Haussmann'surbanisticideal was one ofviewsinperspectivedownlong
Itcorrespondedtothetendencywhichwas noticeableagain and
street-vistas.
again duringthe19thcentury,to ennobletechnicalexigencieswithartistic
aims.The institutions
oftheworldlyand spiritualruleofthebourgeoisie,set in
theframeoftheboulevards,wereto findtheirapotheosis.Beforetheir
completion,boulevardswerecoveredoverwithtarpaulins,and unveiledlike
monuments.
- Haussmann'sefficiency fitted inwellwiththeidealismofLouis Napoleon.
The latterencouragedfinancecapital.Parisexperienceda greatspeculative
boom.Speculationon thestock-exchangepushedintothebackgroundthe
formsofgamblingthathad come downfromfeudalsociety.To the
phantasmagoriaofspace, to whichthefldneur was addicted,there
correspondedthephantasmagoria oftime,towhichthegamblerdedicated
himself.Gamblingtransformed timeintoa narcotic.Lafarguedefinedgambling
as a-miniature reproduction ofthe mysteriesofthemarket-situation.The
expropriations caused by Haussmann engendered a wave offraudulent
speculation.The judgmentsoftheCourtofCassation,whichdrewits
inspirationfromthebourgeoisand Orleanistopposition,increasedthe
financialriskofHaussmannization. Haussmannattempted toshoreup his
dictatorship and to place Paris under an emergencyregime.In1864he
expressed his hatred fortherootless populationofthegreatcityina speech in
theAssembly.Thispopulationkeptincreasingas a resultofhisworks.The
increaseofrentsdrovetheproletariat intothesuburbs.The Paris quartiers
thereby losttheir characteristic physiognomy. The redbeltappeared.
Haussmanngave himself thenameartistedbmolisseur.'6 He felta vocationfor
hisworkand stressedthefactinhis memoirs.Meanwhile,as faras the
Parisianswereconcerned,he alienatedtheircityfromthem.Theyno longer
feltat homeinit.Theybeganto become conscious oftheinhumancharacter
ofthegreatcity.Maximedu Camp's monumental workParisowed itsoriginto
thisconsciousness.The Jeremiadesd'un Haussmannis6gave ittheformofa
biblicallament.
The realaimofHaussmann'sworkswas thesecuringofthecityagainstcivil
war.He wishedto maketheerectionofbarricadesinParisimpossibleforall
time.Withthe same purpose, Louis-Philippe had already introducedwooden
paving. Nonetheless, the barricades played a role in the FebruaryRevolution.
Engels gave some thoughtto the technique of barricade fighting.Haussmann
intendedto puta stopto itintwoways.The breadthofthestreetswas to
maketheerectionofbarricadesimpossible,and newstreetswereto provide
the shortest routebetween the barracks and the working-class areas.
Contemporaries christenedthe undertaking:'L'embellissement strategique.''7
The barricade was resurrectedanew duringthe Commune. Itwas stronger
and safer than ever. Itextended across the great boulevards, oftenreached
" 'I worshiptheBeautiful,
theGood,greatthings,beautifulnatureinspiringgreatart,whether
itenchantstheear or charmstheeye; I lovethespringinflower:womenand roses.' Baron
Haussmann:Confessionofa lionwhohas grownold.
" 'The wealthofdecoration,thecharmofthecountryside, ofarchitecture
and ofall scenery-
effectsonlydependuponthelawofperspective.'
" 'Artist
indemolition.'
"
'Strategicbeautification.'
" 'Reveal,byexposingthefraud,O Republic,to thoseevilmenyourgreatMedusa's face
amidstredlightning-flashes.'
171
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Mygood fatherhad been inParis
KarlGutzkow:LettersfromParis(1842).
172
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first-storeylevel,and shieldedthetrenchessituatedbehindit.As the
Communist Manifsto ended theepoch oftheprofessionalconspirators, so did
theCommuneputan end tothephantasmagoria thatheldswayoverthe
freedomoftheproletariat. Itshatteredtheillusionthatthetaskofthe
proletarianrevolution was, handinhandwiththebourgeoisie,to completethe
workof1789.Thisillusiondominatedtheperiodfrom1831to 1871,fromthe
LyonsUprisingtotheCommune.The bourgeoisiehad neversharedthis
misapprehension. Itsstruggleagainstthesocial rightsoftheproletariat
began
rightfromthegreatrevolution, and coincidedwiththephilanthropic movement,
whichmaskeditand whichexperienceditsmostsignificant development
underNapoleonIll.Underhim,thereappeared themovement'smonumental
work:Le Play'sOuvrierseuropeens.Side byside withtheconcealed position
ofphilanthropy, thebourgeoisiehad at all timesoccupied theopen one of
theclass struggle.As earlyas in1831itrecognizedintheJournaldes Dbbats:
'Everymanufacturer livesinhisfactoryliketheplantation-owner amonghis
slaves.' The failureoftheold working-class insurrections
was broughtabout
bythefactthatno theoryofrevolution showedthemtheway,buton the
otherhandthiswas also theconditionoftheimmediatepowerand enthusiasm
withwhichitset abouttheconstruction ofa newsociety.Thisenthusiasm,
whichreacheditspeak intheCommune,attimeswonovertotheworking
class thebestelementsofthebourgeoisie,butintheend led ittodefeatat the
handsofitsworstelements.Rimbaudand Courbetdeclaredthemselvesfor
theCommune.The burning ofPariswas a fittingconclusionto Haussmann's
workof destruction.
Balzac was thefirsttospeak oftheruinofthebourgeoisie.Butitwas
surrealism whichfirstalloweditsgaze to roamfreelyoverit.The development
oftheforcesofproduction had turnedthewish-symbols oftheprevious
into
century rubble, even before themonuments which representedthem
crumbled.Thisdevelopmentduringthe19thcenturyliberatedtheformsof
creationfromart,justas inthe16thcentury thesciences freedthemselves
fromphilosophy. A startwas madebyarchitecture as engineering.There
followedthereproduction ofNatureas photography. The creationoffantasies
was preparingto become practicalas commercialart.Inthefeuilleton,
creativewriting
bowedtotheexigenciesoflayout.Allthese productswereon
thepointofenteringthemarketas commodities.Buttheystilllingeredon the
threshold.Fromthisepoch springthearcades and theinteriors, the
and thedioramas.Theyare residuesofa dream-world.
exhibition-halls The
utilization
ofdream-elements inwakingis thetextbookexampleofdialectical
thought.Hence dialecticalthoughtis theorganofhistoricalawakening.
Everyepoch notonlydreamsthenext,butwhiledreamingimpelsittowards
wakefulness.Itbears itsend withinitself,and revealsit- as Hegelalready
-
recognized bya ruse.Withtheupheavalofthemarket economy,we begin
to recognizethemonuments ofthebourgeoisieas ruinsevenbeforethey
havecrumbled.
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