The birth of "mobile feast"
Paris is the last dream of old Europe. Paris, before the
19th century, crowded, mixed, and vibrant, but not the art capital of later
generations. Hemingway’s so-called “flowing feast” is the last bustling before
the storm. Paris truly became a paradise for artists to become famous
overnight, and the paradise for those who love to enjoy is still in the 19th
century. Especially between 1875-1914, the French called the "Beauty
Age" years, the Belle Epoque of Paris, as Benjamin said, is "the
capital of the 19th century."
Why is
Paris?
Paris is a pioneer and model of modern European super
metropolis. At the beginning of the 19th century, there was only one
super-large city on the European continent, and that was Paris. In the
pre-industrial era, the size of the monarchy determined the size of the
capital, and Paris was the capital of the most powerful French monarchy on the
entire continent of Europe. By 1815, Paris was already the largest city on the
European continent. After more than 30 years of development, cities across
Germany have expanded. For example, in 1840, Berlin had a population of
329,000, and Vienna was around 1848. The population has exceeded 430,000, but
the top 12 cities in the German region have a population of only 1.34 million,
and the population of Paris has already exceeded one million. In terms of scale,
Paris is the largest city on the European continent, but the population is not
the most important factor in determining the status of a city.
If you only look at the population, at least one city can go
hand in hand with Paris, that is London. But why is it not London, but Paris is
the center of European culture and art?
A city can become an international cultural and artistic
center. There is only one decisive factor, that is, the scale of the cultural
and artistic consumer market. This site is ultimately determined by the number
of consumers. The city in which cultural and artistic consumers are
concentrated is influenced by several factors.
The first is the planning of the city. Many people think
that urban planning has little impact on the cultural and art market. In the
21st century, the level of infrastructure in each city may be similar; but in
the 19th century, the level of planning and infrastructure construction in
different cities were vastly different. Taking Paris and London, which are equal
in size and population, as an example, we can see the impact of two different
planning ideas on the city, and thus the impact on the cultural and art
consumer market.
London adopts a typical laissez-faire planning idea, that
is, there is no urban planning at all. The luxury houses of the wealthy class
and the poor streets of the poor are often adjacent to each other. The
development of industry has created a "fog" and sewage. The final
solution was the Thames. All the sewers eventually flowed into the river, and
the British invented the flush toilet, so the Thames was not smelly. Therefore,
in addition to the parliamentary session or business talks, the British
affluent class will not live in London. They all live in their own country
houses. They only spend a social season in London during the annual
parliamentary meeting... Once the parliament was adjourned, they rushed out of
London and returned to the country.
There is no other pastime in the country, except for dances,
banquets, hunting, and horseback riding. So when the Victorian British upper
class wanted to live in the city, they often chose to go to Paris instead of
London. For example, Queen Victoria's baby son, the most famous playboy around
1900, the future King of England, the great emperor of India, Edward VII. Most
of his happy days during his time as Prince Williams were spent in Paris with
little actresses. Edinburgh is certainly not on the list, and the big landlords
in Scotland also like to go to Paris to spend.
Everyone loves Paris, and it makes sense. Urban planning and
municipal construction in Paris was not much stronger than London in the early
19th century, but the revolutions since 1789, especially the 1848 revolution,
gave French rulers a deep understanding of the "deficiencies" of
their capital. The transport of Paris relies on the cheap water transport of
the Seine. The convenience of water transport allows the upper class who enjoys
the power of life in Paris and the lower class that sells the labor force to
live on the banks of the Seine (the literati and university students on the
“left bank”)...
The most unfair class in France and the most popular group
of people in France live next door, and they are also neighbors to the upper
class that France needs to protect the most. The poor streets where the poor
life is often twisted and twisted, and privately built. Once someone wants to
launch a revolution, simply find some materials, such as a carriage or even a
pile of furniture, to build a simple barricade. There is no way for the
offensive party to take these simple barriers without using heavy weapons. Is
there anything more dangerous than this? In the spring of the revolution of
1848, an exile who got off the train in Paris with a box of trains profoundly
experienced this "revolutionary" in Paris; in 1851, he was already
president and he immediately led 50,000 soldiers again. I realized this.
So from 1852, after the resurrection of the princely
president became the French emperor, the empire began a thorough transformation
and planning of Paris. The entire layout of Paris was adjusted, the industry
was reconfigured, and the railway replaced the Seine as the lifeblood of Paris,
which allowed the transport-dependent manufacturing industry to stay away from
the Seine. As a result of the exit of the manufacturing sector in the core
region of Paris, the core of Paris has evolved from the coexistence of many
industries in the past to the high-end financial, technology and service
industries. The most eye-catching of all these industries is the high-end
service industry. In the end, in addition to eating and drinking, the high-end
the service industry is the most suitable for the “empire capital” of Paris. It is
undoubtedly culture and art.
Another result of the manufacturing exit from the heart of
Paris is that industrial workers have also left the banks of the Seine with
their businesses. The result of the poor moving out of the city center is that
the workers’ area in the center of Paris can finally be unified. The winding
streets have been demolished and straightened, and new Ottoman avenues have
been built on the old streets of the streets. New apartment buildings with modern
heating and amenities are on the rise.
There were still poor people in Paris at the end of the 19th
century, but by the end of the century, the meaning of the word
"poor" had been very different from that of decades ago. In the
Impressionist painters such as Manet and Degas, the “poor people” in Paris
changed from a commune warrior in 1870 to a female waitress in a cafe hostess
and clothing store. The lower classmen are withdrawing from Paris and replaced
by lower-class women. In the eyes of the gentlemen of Paris in this era, the
women of the lower class are consumer goods like the dazzling array of goods in
the Parisian store.
After the transformation of the Second Empire, the core of
Paris became a beautiful place in the hardware, the streets were wide, and the
The skyline was obvious. With a model of the second imperial streetscape, the wide
avenue in front of the Grand Opera, Paris became a model for similar urban
renewal projects across Europe. Most of the productive functions have withdrawn
from the heart of the city, with opera houses, theatres, beer and cafes with
performances, bookstores, luxury restaurants, and small bars, which form the
stage of Parisian life since the Second Empire.
As an emerging city of culture, entertainment and
consumption, there is no rich commercial tradition in London as a trading city
and a colonial commodity distribution center. When the new street shops are not
enough to form a glorious landscape that matches the capital of the Empire,
Arcade Street is a symbol of the new life in Paris. The arcades that emerged
during the Second Empire merged the shops on both sides of the street with
transparent shelters. Forming a closed landscape, let the city dominated by
power have its own consumption culture.
This invention, symbolizing new life, has become the object
of many literati and artists. Baudelaire regards it as a symbol of modern life,
and Benjamin studies and analyzes it as a specimen of modern life. The farthest
echo of this great invention of the Second Empire was the shopping streets that
are scattered all over Japan today. The shopping streets covered by transparent
shelters are so inconspicuous in today's world that most people ignore the high
degree of consistency between ideal and form between it and the arcade street.
Walking in the Shinsaibashi shopping street in Osaka, which has been stretching
for several kilometers from Dotonbori, everyone has set foot on the footprints
of the Second Empire hangouts, but people have ignored this.
With the transformation of the Second Reich, Paris became a
model of a rising consumerist lifestyle and became an artificial paradise in
the eyes of all those who yearn for this way of life; of course, it is
inevitably a sinful Babylon in the eyes of those who hate this life. During the
The Third Republic, there was an anarchist, E. Henry. When he wanted to subvert the
bourgeois lifestyle with his bomb, he threw his earth bomb into a coffee shop
in Paris.
Aristocratic
flowers in the Republic
Another decisive factor in Paris becoming a modern European
cultural and artistic center is the aristocratic color of Paris. With the
passage of the Constitution of the Third Republic in 1875, the French
aristocracy gradually became desperate for restoration. However, the nobility
who withdrew from the political arena always held the right to speak in social
activities and cultural value judgments. In the third republic of Paris, the
core of society is the aristocratic salon, and the newcomers of the Republic
are proud to be able to enter such a salon, and the most easily understood area
between the nobility and the republic of the Republic is art. After all,
politics is the deepest gap between them, and art can go beyond politics. The
result is that Paris continued to maintain its image of the dream capital after
the demise of the empire, while the nobility embodied the dream of Paris as the
dream of art.
At that time, all the powers of Europe except France were
almost monarchies. It is conceivable that when the aristocrats all over Europe
want to go to Paris to have a quick and easy way to buy some art, they always
don’t want to see a bunch of Jacobin wearing a free hat and a free tree jumping
"Camaniora" dance. molecule. If they see that Paris is still in the
hands of a group of polite old aristocrats, still pursuing the aesthetics and
art of the monarchy, then they will naturally let go. Therefore, although the
The Second Empire of France collapsed in 1870, the celebration of the Empire did
not end. The Third Republic inherited the policy of the Second Empire. Paris is
still the capital of Paris.
The third important factor is the relaxed atmosphere of
Paris. In the Victorian era, the bourgeois nation occurred in varying degrees
throughout Europe. With the rise of the middle class, their ethics and morality
also began to occupy the mainstream of society. The aristocratic ethics of
dealing with marriage as a business is gradually being pushed into the corner
by the middle class's concept that "marriage should be based on
feelings." Since the basis of marriage is the feelings, then the
"gossip" of this kind of thing, from the aristocratic "sends
love to the ritual" (respecting the custom and system of marriage, while
satisfying their feelings) becomes a person to another A person’s emotional
betrayal. An aristocratic "gossip" has changed from a harmless and
elegant affair to a person's "suicide" in social life.
The more the aristocrats still maintain the prestige and
power of the monarchy, the more they have to make concessions to the middle
the class who have gained more and more discourse in these areas of private
morality and the ethics of major European countries are becoming more and more
"Serious and correct", advocating "pure morality."
Speaking of this, let's talk about Berlin at this time, the
rise of the German Empire and the expansion of Berlin, bringing unprecedented
street neatness and bringing a new life unheard of by Berliners. But new things
often mean expensive, and the golden age of the Prussian, "Agricultural
Revolution" brought to the landlord class at the end of the 19th century
is gone, and the Noble nobles who were in the limelight before and after 1848
are now economically stretched...
No money means no chance to keep up with the times. Those
fashionable things, from yachts to cars, from electric lights to telephones,
from popular slides to moving slide films, plus phonographs that give sound to
movies, are not enjoyed by Prussian landlords. Something from it. Even the heroes
of the German Empire, such as Bismarck, have become more cautious in this era,
avoiding social life as much as possible. In his later years, Bismarck left an
impression of being out of the crowd. He always avoided attending various
banquets and ran back to his estate when he found the opportunity. Of course,
he does not want to be vulgar, but he is reluctant to spend money is also an
important reason.
The nobility did not have the money to keep up with the
times in Berlin, but the population of Berlin is still experiencing explosive
growth. By the beginning of the 20th century, the population of Berlin had
moved to three million. This means that in this emerging capital of the empire,
the right to speak of society has been firmly held in the hands of the middle
class. Reading German literature in this period, especially those that reflect
the life of Berlin or Vienna will find out what an extramarital love scandal
means for a middle-class woman.
For example, Schnitzler's novel "The Dead is
Silent" is the best example. On this issue, the emperor is no exception.
William II was a typical royal playboy in his youth, leaving a variety of
scandals. Because at that time he was only the "grand grandson" of
the German Empire. But after he took the throne in 1888, he and the beautiful
ladies never had a confirmed scandal.
In contrast to the terrible London and Berlin, Paris is a
paradise. If an upper-class woman wants to find her happiness outside of marriage,
she can even openly enter into a pair, and don't have to worry about being
tried by the moral court, then go to Paris! If a male in the upper class wants
to be happy, go to Paris!
Paris is a city where a few aristocratic classes are
unwilling and unnecessary to defer to the middle class in morality and ethics.
This means that Paris is one of the few cities that still maintain the relaxed
atmosphere of the aristocratic class. Because Paris is not a thriving
commercial capital like London, nor is it a Berlin-style industrial city with
the William Circle (a circle of workers living around the old city of Berlin in
the late Wilhelm I), Paris is entertainment, consumption, The dream capital of
pleasure is a purely consuming city that does not produce. The set of citizen
morality that is serious and square is not applicable in Paris. Even
homosexuality has been decriminalized in France. Although it is still
unacceptable for morality, at least it will not be ruined or jailed. So all
over Europe want to pursue joy, and those who want to enjoy life are
concentrated in Paris. The most high-end of Paris's eating, drinking and
playing are playing art. From chasing actresses to collecting art, it has
formed a whole set of consumer markets and has formed a super mature industrial
chain.
A Central European who has an artistic dream can go to
Berlin or Vienna, but as long as he has enough access and money, they will want
to go to Paris. Because Paris means the cultural and artistic market throughout
Europe. As Benjamin said, maybe Berlin is stronger than Paris. Maybe London is
the financial and wealth capital of Europe, but only Paris is the capital of
Europe because the culture and art of Europe will eventually flow into Paris.
Collision and sublimation.
This is dummy text. It is not meant to be read. Accordingly, it is difficult to figure out when to end it. But then, this is dummy text. It is not meant to be read. Period.
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