ARCADE ROJE EV UL Translated by Howard Eiland and Kevin McLaughlin PREPARED ON THE BASIS OF THE GERMAN VOLUME EDITED BY ROLF TIEDEMANN THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS CAMBRIDGE, MASSACHUSETTS, AND LONDON, ENGLAND 1999CONTENTS Geri © 199k rent nd alow of Hara Clee Translators’ Foreword Printed in the United States of America This work tanaton of Wher Benjani, Das Pusgen er eid by Rol Tena, copyright Expoas (© 1982 by Subrkamp Verlag; volume 5 of Walter Benjamin, Geiammelte Schriften, prepared with the co- EpOSES. ” ‘operation of Theodor W. Adorno and Gershom Scholem, edited by Rolf Tiedemann and Homans “Paris, the Capital of the Nineteenth Century’ ‘Schweppenhiiuser, copyright © 1972, 1974, 197, 1982, 1985, ‘1989 by Subrkamp “Dialectics at a “Paris ital of the Ninet Century” (1936 Scan by Ref Toman, wa plied n Engh by MIT Basco Tose ag Paris, Capital teenth Century’ “Massachusets Insint of Teco. Fubeon of his ook hs ben suppor ya gra tom te Natonl Endowment fr the Human Convolutes ties, an independent federal agency. Overview (Cover oo: Wier Benjani, 1982. Phxgrpher unknown. Couey ofthe Theodor W domo ‘Ach Fahim Mat First Sketches 847 Pcographer unknown. Costery Musée Cama, Pris uses dea Vile de Pars Early Drafts ita Francais Architecture; page 27, Hans Meyer Veden; “Arcades” “The Arcades of Paris” Library of Congress Catalogingin Publication Data “The Ring of Saturn” . 9920175 Addenda - Exposé of 1935, Early Version iad and Kevin MeL ugh: Materials for the Exposé of 1935 ‘Materials for “Arcades” KEIN % = S “Dialectics at a Standstill” by Rolf Tiedemann 5 UBRARY = ‘Old Benjamin” by Lisa Fitko PS “Translators! NotesIllustrations Shops in the Passage Véro-Dodat Glass roof and iron girders, Passage Vivienne “The Passage des Panoramas A branch of La Belle Jardiniére in Marseilles ‘The Passage de Opéra, 1822-1823 Street scene in front of the Passage des Panoramas ‘Au Bon Marché department store in Paris Le Pont des planttes, by Grandville Fashionable courtesans wearing crinolines, by Honoré Daumier “Tools used by Haussmann's workers Interior of the Crystal Palace, London. La Casse-tete-omanie, ou La Fareur di jour ‘The Paris Stock Exchange, mid-nineteenth century ‘The Palais de Vindustrie at the world exhibition of 1855 Le Triomphe du halidescope, ou Le tombeau du jeu chinois Exterior of the Crystal Palace, London Charles Baudelaire, by Nadar ‘The Pont-Neuf, by Charles Meryon ‘Théophile Gautier, by Nadar The sewers of Paris, by Nadar ‘A Paris omnibus, by Honoré Daumier 34 35 36 a 49 50 59 65 134 159 164 165 166 169 185 229 232 242 413 433 A page of Benjamin's manuscript from Convolute N A gallery of the Palais Royal ‘A panorama under construction ‘A diorama on the Rue de Bondy Self portrait by Nadar Nada in his balloon, by Honoré Daumier The Origin of Painting Rue Transnonain, le 15 avril 1834, by Honoré Daumnier Honoré Daumier, by Nadar Victor Hugo, by Etienne Carjat LArtste et Vamatewr du dix-newoiome sede LHomme de Vart dans Vembarras de son métier Alexandre Dumas pére, by Nadar LEtrangomanie blamée, ow D'Etre Francais il n'y a pas d'afront Actualité, « caricature of the painter Gustave Courbet A barricade of the Paris Commune ‘The Fourierist missionary Jean Journet, by Nadar ‘Walter Benjamin consulting the Grand Dictionnaire universel ‘Walter Benjamin at the card catalogue of the Bibliothéque Nationale “The Passage Choiseul 457 491 529 534 680 682 683, a7 m2 m7 _——750 71 752 783 813 888 889) 97Translators’ Foreword ‘Schriften, under the title Das Passagen-Werk (first published in 1982), repre- re materials assembled in Volume 5 of Walter Benjamin's Gesammelte sent research that Benjamin carried out, over a period of thirteen years, on subject of the Paris arcades—les passages—which he considered the most important architectural form of the nineteenth century, and which he linked with a number of phenomena characteristic of that century's major and minor preoe- ccupations. A glance at the overview preceding the “Convolutes” at the center of patiently and minutely as possible, in order to follow out its ramifications and, finally, awaken from it. This, at any rate, was how it looked at the outset of the broject, which wore a good many faces over time. Begun in 1927 as a planned collaboration for a newspaper article on the arcades, the project had quickly burgeoned under the influence of Surrealism, a m rard which Benjamin always maintained a pronounced ambiva it was an essay he had in mind, “Pariser Passagen: Eine ” (Paris Arcades: A Dialectical Fairyland), and then, a few 5 a book, Paris, die Hauptstadt des XIX. Jahrhunderts (Paris, the Capital ne two-and-ahalf years, at the end of theSatumnring oder Enwas vom Eisenbau” (The Ring of Satur, or Some Remarks ny whichis incuded here in the vection “Easly raf” A eye to “new and far-reaching sociological erpectves? ‘The scope of the undertaking, the volume of materials collected, was ass proportions, and no less epic was the manifest interminability of the Benjamin pursued in his usual fearless way—step by step, risking engulfment— théque Na- the ornamented vaulting of the reading room of at the Institute of Social Research in + documentary synopsis, of the main. ased largely on the first but more In 1935, at the request of his col New York, Benjamin drew up an expos lines of The Arcades Project; another ex ‘exclusively theoretical, was written in French, in 1939, in an attempt to interest an American sponsor. Aside from these remarkably concentrated essays, and the brief text “The Ring of Saturn’ the entire Arcades complex (without de title, to be sure) remained in the form of several hundred notes and reflections of ‘varying length, which Benjamin revised and grouped in sheafs, or “convolutes?” according to a host of topics. Additionally, from the late ‘Twenties on, it would appear, citations were incorporated into these materials—passages drawn mainly from an array of nineteenth-century sources, but also from the works of key contemporaries (Marcel Proust, Paul Valéry, Louis Aragon, André Breton, Georg Simmel, Emnst Bloch, Siegfried Kracauer, Theodor Adorno). These proliferating individual passages, extracted from their original context ike collectibles, were eventually set up to communicate among themselves, often in a rather subterra- nean manner. The organized masses of historical object articular items of Benjamin’s display (drafts and excerpts) —together give rise a “magic encyclopedia” of the epoch from which it derived. An image of that epoch. In the background of this theory of the historical image, constituent of a historical “mirror world? stands the idea of the monad—an idea given its most ‘comprehensive formulation in the pages on origin in the prologue to Benjamin's book on German tragic drama, Uriprung des deutschen Trauerspiels (Origin of the German ave al bck of is the doctrine ofthe reflective medium, in text we have before us, is the world of ‘amere notebook, which the author supposedly intended to discursive applications (such as the carefully outlined and possibly halfcompleted book on Baudelaire, which he worked on from 1937 to 1939). Certainly, the project as a whole is unfinished; Benjamin abandoned work on it in the spring of 1940, when he was forced to flee Paris before the advancing German army. Did he leave behind anything more than a large-scale lan or prospectus? No, itis argued, The Arcades Proje is just that: the blueprint use, or in a letter of May 3, f the actual text (cigentlichen Text) of the Passagenarbeit exists yet. In another of bis leters to Scholem of this iod, he speaks of the furure construction ofa literary form for this text. Similar passages drafis, notes, or letters. Why revise for a notebook? The fact that Benjamin also transferred masses of quotations from actual notebooks to the manuscript of the convolutes, and the elaborate organization of these cited materials in that manu- script (including the use of numerous epigraphs), might likewise bespeak a com- positional principle at work in the project, and not just an advanced stage of research, Infact, the montage form—with its philosophic play of distances, tran- sitions, and intersections, its perpetually shifting contexts and ironic juxtaposi- tions—had become a favorite device in Benjamin’s later investigations; among his major works, we have examples of this in Einbalnstrase (One-Way Street), Berliner Kindheit um Newnzehnhundert (A Berlin Childhood around 1900), “Uber den Begriff der Geschichte” (On the Concept of History), and “Zentralpark” (Central Park). What is distinctive about The Arcades Projec—in Benjamin's mind, it always dwelt apart—is the working of quotations into the framework of montage, so much so that they eventually far outnumber the commentaries. If we now were to regard this ostensible patchwork as, de facto, a determinate literary form, one that has effectively constructed itself nificant repercussions for the direction and tempo of its reading, to say th ‘The transcendence of the conventional book form would go toge case, with the blasting apart of pragmatic historicism—grounded, as this always as intersecting at a thousand different the epochs of recent history, so as to effect l, epistolary announcem arch project had becon promaioy storysueyy, ) 2x‘Of course, many readers will concur with the German editor of the Passagen- Werk, Rolf Tiedemann, when he speaks, list) generally constitute figures in the middle—that is, figures residing within as well as outside Jeast cunning aspect ofthis historical awakening—which is, atthe same time, an awakening to myth—was the critical ole assigned to humor, sometimes humor of an infernal kind. This was one way in which the documentary and the artistic, the sociological and the theological, were to meet head-on. ‘Tp speak of awakening was to speak of the “aferlife of works” something pass through the ‘The German edition of the Passagen-Werk contains—besides the two exposés we have mentioned, the long series of convolutes that follo here translated as “First Sketches”) and “Frithe Entwirfe txansated them in the Addenda; we have also reproduced the introduction by the German editor, Rolf Tiedemann, as well as an account shere in English); a partial bibliography, compiled cited in the “Convolutes"; and, finally, precise cripts and manuscript variants (see translators’ initial note to the “Convolutes”). In an effort to respect the unique constitution of these manuscripts, we have adopted Tiedemann’s practice of using angle brack- ts to indicate editorial insertions into the text. ‘A salient feature of the German edition of Benjamin's “Convolutes” (Aufzeichnungen und Material’) is the use of two different typefaces: a larger ‘one for his reflections in German and a smaller one for his numerous citations in French and German. According to Tiedemann’s introduction, the larger type was used for entries containing significant commentary by Benjamin. (In “First Sketches,” the two different typefaces are used to demarcate canceled passages.) This typographic distinction, designed no doubt for the of readers, although it is without textual basis in Benjamin's manuscript, has been main: tained in the English translation. We have chosen, however, to use typefaces differing in style rather than in size, so as to avoid the hierarchical implication of the German edition (the privileging of Benjamin's reflections over his citations, and, in general, of German over French). What Benjamin seems to have con: ceived was a dialectical relation—a formal and thematic interfusion of citation and commentary It isan open, socetary relation asin the protocol to the world inn (itself an unacknowledged citation from Baudelaire’s tifiels) mentioned in the “Convolutes” at J75,2. ose the one best suited to Benjamin's context.) In most cases we have regularized the citation of year and place of book i volume and issue number of periodicals; bits of informa hhave occasionally been supplied in angle brackets. Othe Jar if relatively scrupulo romauny sore) mK‘Translator’ Foreword / xiv ‘Translation duties for this edition were divided as follows: Kevin McLaughlin translated the Exposé of 1939 and the previously untranslated French passages in Convolutes A~G, F, H, K, M (second half), O, Qc, and p-r. Howard Biland translated Benjamin's German throughout and was responsible for previously untranslated material in Convolutes D, E, G, IJ, L,M (Grst half), N, P, and m, as ‘well as for the Translators’ Foreword. In conclusion, a word about the translation of Konvolut. As used for the grouping of the thirty six alphabetized sections of the Passagen manuscript, this term, it would seem, derives not from Benjamin himself but from his friend Adomo (this according to a communication from Rolf Tiedemann, with ‘ously provided bibliographic information are named in the relevan tors’ Notes. Our work has greatly benefited at the end from the reso igilane editing of Maria Ascher and at every stage from the foresight and discerning judgment of Lindsay Waters.a Paris, the Capital of the Nineteenth Century ‘The waters are blue, the plants pink; the evening is sweet 0 look on; ‘One goes for a walk; the grandes dames go fora walk; behind them stroll the petites dames, —Neuyen Tiong Hiep, Pars, capital de a Brame: Reel de vers (Hanoi, 1897), poem 25 I. Fourier, or the Arcades ‘The magic columns ofthese palaces Show to the amateur on all sides, In the objects their poticos display, ‘That industry is the rival of the ars. Niwot Tabla de Pris (Pats, 1828), ol. 1, p27 the Paris arcades come into being in the decade and a half after 1822. ition for their emergence is the boom in the textile trade. Magasins , the frst establishments to keep large stocks of merchandise on the premises, make their appearance.’ They are the forerunners of department stores. This was the period of which Balzac wrote: “The great poem of display ‘chants its stanzas of color from the Church of the Madeleine to the Porte Saint- The arcades are a center of commerce in luxury items. In fitting them centers the service of the merchant. Contemporaries never tre of admir- ing them, and for a long time they remain a drawing point for foreigners. An Guide to Paris says: “These arcades, a recent invention of industrial are glassroofed, marble-pancled ‘of buildings, whose owners have joined together for such enterprises. Lining both sides of these corridors, which get their light from above, are the shops, S0 that the passage is a city, a world in miniature.” The scene of the frst gas lighting, ‘The second condition for the emergence of the arcades isthe beginning of iron construction. The Empire saw in this technology a contribution to the revival ofarchitecure in the classical Greek sense. The architectural theorist Boetticher ‘expresses the general view of the matter when he says that, “with regard to the art forms of the new system, the formal principle of the Hellenic mode” must ‘come to prevail’ Empire is the style of revolutionary terrorism, for which the state is an end in itself. Just as Napoleon failed to understand the functional nature of the state as an instrument of domination by the bourgeois class, so the architects of his time failed to understand the functional nature of iron, with which the constructive principle begins its domination of architecture. These architects design supports resembling Pompeian columns, and factories that imi: tate residential houses, just as later the first railroad stations will be modeled on chalets. “Construction plays the role of the subconscious” Nevertheless, the concept of engineer, which dates from the revolutionary wars, starts to gain ground, and the rivalry begins between builder and decorator, Ecole Polytech: nique and Ecole des Beaux-Arts. For the first time in the history of architecture, an artificial building material appears: iron. It undergoes an evolution whose tempo will accelerate in the course of the century. This development enters a decisive new phase when it becomes clear that the locomotive—on which experiments have been conducted since the end of the 1820s—is compatible only with iron tracks. The rail be- comes the fist prefabricated iron component, the precursor of the girder. Iron is avoided in home construction but used in arcades, exhibition halls, train sta- tions—buildings that serve transitory purposes. At the same time, the range of architectural applications for glass expands, although the social prerequisites for its widened application as building material will come to the fore only a hundred years later. In Scheerbart’s Glasarchitektur (1914), it still appears in the context of utopia Each epoch dreams the one to follow. Michele, “Avene! Avene! Corresponding to the form of the new means of production, which in the begin- ning is still ruled by the form of the old (Marx), are images in the collective consciousness in which the old and the new interpenetrate. These images are wish images; in them the collective secks both to overcome and to transfigure the immaturity of the social product and th facies in the social organization of production. At the same time, what emerges in these wish images is the resolute effort to distance oneself from all that is antiquated—which includes, however, the recent past. These tendencies deflect the imagination (which is given impetus by the upon the primal past. In the dream in which each epoch entertains imay successor, the latter appears wedded to elements of primal history « ‘o—that is, ro elements of a classless society. And the experiences of such a society—as stored in the unconscious of the collective— engender, through interpenetration with what is new, the utopia that has left its trace in a thousand configurations of life, from enduring edifices to passing fashions. ‘These relations are discernible in the utopia conceived by Fourier. Its secret cue ns, the intricate collaboration of passions mécanistes with the passion cabalste, is a primitive contrivance formed—on analogy with the machine—from materials of psychology. This mechanism made of men pro- ‘duces the land of milk and honey, the primeval wish symbol that Fourier’s utopia fe. In th , Fourier saw the architectural canon of the phalanstery. Their reactionary metamorphosis with him is characteristic: whereas they originally serve commercial ends, they become, for him, places of habitation. The phalan- farewell to the arcades in his Thérése Raguin—Marx came to the defense of Fourier in his critique of Carl Griin, emphasizing the former's “colossal concep- tion of man.” He also directed attention to Fourier’s humor. Infact, Jean Paul, in his *Levana,’ is as closely allied to Fourier the pedagogue as Scheerbar, in his Glass Architecture, isto Fourier the utopian.* Il. Daguerre, or the Panoramas Sun, look out for yourself! ere, Oavorslitrares Pais, 1870), p. 374 Just as architecture, with the first appearance of iron construction, begins to ‘outgrow art, so does painting, in its turn, with the first appearance of the pano- amas, The high point in the diffusion of panoramas coincides with the introduc- tion of arcades. One sought tirelessly, through technical devices, to make Panoramas the scenes of a perfect imitation of nature. An attempt was made to reproduce the changing daylight in the landscape, the rising of the moon, the rush of waterfalls. Jacques-Louis> David counsels his pupils to draw from nature as it is shown in panoramas. In their attempt to produce deceptively lifelike changes in represented nature, the panoramas prepare the way not only for photography but for land-One}, Les Francais peints par eux-mémes [The French Painted by Themselves), Le Diable a Paris [The Devil in Paris}, and La Grande Ville (The Big City] belong to this. These books prepare the belletrstic 9661 Jo woody} ¢Exposé of 1985. / 6 collaboration for which Girardin, in dhe 1830s, will create a home in the fuille: ton. They consist of individual sketches, whose anecdotal form corresponds to the panoramas’ plastically arranged foreground, and whose informational base corresponds to their painted background. ‘This literature is also socially pano- ramie, For the last time, the worker appears, isolated from his class, as part of the setting in an il Announcing an upheaval in the relation of art to technology, panoramas are at the same time an expression of a new attitude toward life. The city dweller, ‘whose politcal supremacy over the provinces is demonstrated many times in the course of the century, attempts to bring the countryside into town. In panoramas, the city opens out to landscape—as it will do later, in subtler fashion, for the flineurs. Daguerre is a student of the panorama painter Prévost, whose estab- lishment is located in the Passage des Panoramas. Description of the panoramas of Prévost and Daguerre. In 1839 Daguerre’s panorama burns down, In the same ‘year, he announces the invention of the daguerreotype. Introduction History isle Janus; i has two faces. Whether it looks atthe past or atthe present, it 5 the same thing Maxine Du Camp, Pris, vol. 6p. 31 ‘The subject ofthis book isan illusion expressed by Schopenhauer in the follow- spaper:' What is expressed here is a feeling of vertigo charac- teristic of the nineteenth century's conception of history. It corresponds to a viewpoint according to which the course of the world is an endless series of congealed in the form of things. The characteristic residue of this conception is ‘what has been called the “History of Civilization? which makes an inventory, point by point, of humanity's life forms and creations. The riches thus amassed in the acrarium of civilization henceforth appear as though identified for al time. This conception of history minimizes the fact that such riches owe not only their existence but also their transmission to a constant effort of society—an effort, ‘moreover, by which these riches are strangely altered. Our investigation proposes to show how, as a consequence ofthis reifying representation of civilization, the new forms of behavior and “illumination” not only in a theoretical but also in the immediacy of their per nce, They are manifest as phantasmagorias. Thus appear the ar sntry in the field of iron construction; thus appear the world exhibitions, wh i ‘mann and its manifest expression in his transformations of Paris Nevertheless, the pomp and the splendor with which commodity-producing society surrounds well as its illusory sense of security, are not immune to dangers; the soliapes ofthe cred Pangea te Commease of essex of a, Ta the same period, the most dreaded adversary of this society, Blanqui, revealed to piece of writing, the terrifying features of this phantasmagoria, i liberating solution as a new fashion is capable of society. Blanqui’s cosmic speculation conveys this lesson: that hu- manity will be prey to a mythic anguish so long as phantasmagoria occupies a place in it. A. Fourier, or the Arcades I ‘The magic columns ofthese palais Show to enthusiasts from all pares, With the objects their porticos display, ‘That industry isthe rival of th Nivea Tableau de Paris Pai, pa ‘Most of the Paris arcades are built in the fifteen years following 1822. The fist condition for their development is the boom in the textile trade. Magasins de sowveautés, the fist establishments to keep large stocks of merchandise on the premises, make their appearance. They are the forerunners of department stores. This is the period of which Balzac writes: “The great poem of display chants its stanzas of color from the Church of the Madeleine to the Porte Saint-Denis.” The arcades are centers of commerce in luxury items. In fitting them out, art enters the service of the merchant. Contemporaries never tire of admiring them. For a long time they remain an attraction for tourists. An Illustrated Guide to Pars says: “These arcades, a recent invention of industrial luxury, are glass-roofed, marble- paneled corridors extending through whole blocks of buildings, whose owners have joined together for such enterprises. Lining both sides of the arcade, which {gets its light from above, are the most elegant shops, so that the Jassage i a city, world in miniature.” The arcades are the scene of the first attempts at gas lighting. ‘The second condition for the emergence ofthe arcades is the beginning of iron construction. Under the Empire, this technology was seen as a contribution to the revival of architecture in the classical Greek sense. The architectural theorist Boetticher expresses the general view of the matter when he says that, “with regard to the art forms of the new system, the Hellenic mode” must come to prevail. The Empire style is the style of revolutionary terrorism, for which the state is an end jin itself. Just as Napoleon failed to understand the functionalExposé of 1989 / 16 nature of the state as an instrument of domination by the bourgeoisie, so the architects of his time failed to understand the functional nature of iron, with which the constructive principle begins its domination of architecture. These architects design supports resembling Pompeian columns, and factories that imi- tate residential houses, just as later the frst railroad stations will assume the look plays the role of the subconscious. Nevertheless, the concept of engineer, which dates from the revolutionary wars, starts to gain ground, and the rivalry begins between builder and decorator, Ecole Polytech- nique and Ecole des Beaux-Arts.—For the first time since the Romans, a new artificial building material appears: iron. It will undergo an evolution whose pace will accelerate in the course of the century. This development enters a decisive new phase when it becomes clear that the locomotive—object of the most diverse experiments since the years 1828-1829—usefully functions only on iron rails. ‘The rail becomes the first prefabricated iron component, the precursor of the is avoided in home construction but used in arcades, exhibition halls, train stations—buildings that serve transitory purposes. historically goes far beyond is real limits in the ‘imagination,’ whem it fist comes on the scene, Marc and Engels, Dieheige File? ‘The secret cue for the Fourierist utopia is the advent of machines. The phalan- stery is designed to restore human beings to a system of relationships in which morality becomes superfluous. Nero, in such a context, would become a more Useful member of society than Fénelon. Fourier does not dream of relying on murier imagines the collective psychology as a clockwork mechanism. Fourierist harmony is the nec- ‘essary product ofthis combinatory play. Fourier introduces into the Empi the style of the 1830s. He devises of numbers blend together. Fourier's ” are in no way akin to a mystique of numbers taken from any other tradition, They are in fact direct outcomes of his own pronouncements—lucubra- tions of his organizational imagination, which was very highly developed. Thus, he foresaw how significant meetings would become to the citizen. For the phalan. stery’s inhabitants, the day is organized not around the home but in large halls similar to those of the Stock Exchange, where meetings are arranged by brokers. In the arcades, Fourier recognized the architectural canon of the phalanstery. ‘This is what distinguishes the “empire” character of his utopia, which Fourier himself naively acknowledges: “The societarian state will be all the more brilliant at its inception for having been so long deferred. Greece in the age of Solon and Pericles could already have undertaken it”" The arcades, which originally were designed to serve commercial ends, become i ‘city of arcades” is a ‘dream that will charm the fancy of Parisians well into the second half of the century. As late as 1869, Fourier’s “street galleries” provide the blueprint for Moilin’s Paris en U'an 2000.‘ Here the city assumes a structure that makes it—with its shops and apartments—the ideal backdrop for the fléneur. Marx took a stand against Carl Grin in order to defend Fourier and to accentuate his “colossal conception of man” He Fourier the only ‘man besides Hegel to have revealed the essential mediocrity of the petty bour. ‘geois. The systematic overcoming of this type in Hegel corresponds to its humor- (ous annihilation in Fourier, One of the most remarkable features of the Fourierist ‘utopia is that it never advocated the exploitation of nature by man, an idea that became widespread in the following period. Instead, in Fourier, echnology ap- pears as the spark that ignites the powder of nature. Perhaps this isthe key to his strange representation of the phalanstery as propagating itself “by explosion?” ‘The later conception of man’s exploitation of nature reflects the actual exploita- tion of man by the owners of the means of production. If the integration of the technological into social life failed, the fault lies in chis exploitation, B. Grandville, or the World Exhibitions I Yes, when all che world from Paris to China Pays heed to your doctrine, O divine Saint Simon, “The glorious Golden Age will be reborn Rivers will fow with chocolate and tea, Sheep roasted whole will frsk on the plain, ‘And sautéed pike will svim in the Seine. Fricasseed spinach will grow on the ground, Garmished with crushed fried croutons: ‘The tres will bring forth apple compotes, ‘And farmers will harvest boots and coats. Te will snow wine, it will rain chickens, ‘And ducks cooked with curnips will fall from the sky. Langlé and Vanderbureh, Lauis-Brone el Sint Simonin (There cla Pais Royal, February 2, 1832) tute their frst clientele. The framework of the entertainment industry has not yet taken shape; the popular festival provides this. Chaptal’s celebrated speech on.