War Palace and Knee Pillow, Austria’s Destiny

On a cold winter day, Hugo lit a match in an alley. The shining fire was like a small sun, making him feel a little warm.

At this time, Vienna is full of happy people, either waiting for the distribution of gifts or busy preparing for the festival.

However, at this time, Hugo canceled the rent on Christmas Day, and when he left the hotel, he was actually penniless.

Hugo had previously tried to publish articles in Vienna newspapers in exchange for royalties, but Austrian newspapers presented two extremes.

Either they are too professional or too commercial, and they also have a common feature: they are extremely political.

There was no way around it, not to mention the overwhelming censorship agencies and secret police in the Austrian Empire. Even Franz would not give up the position of public opinion easily.

Hugo was indeed a great litterateur, but his German was very limited, and it was almost impossible for French articles to appear in Austrian newspapers.

The result was that the editors repeatedly rejected the manuscript and asked Hugo to rewrite it in German. This made him extremely angry. At the same time, because of his literary character and noble French blood, Hugo did not allow himself to bow to others.

Then Hugo tried another way of "showing off", that is "selling out on singing". It's just that in Vienna, the capital of music, his skill, which is usually praised by friends, is really not worth mentioning.

The reason why Mr. Hugo has fallen to this point has to be told a few months ago, when he "encountered" a very knowledgeable and enthusiastic "girl" in Vienna.

Tina took Hugo to visit many places, including Vienna's monuments, the Academy of Sciences, the theater, the Central Garden, the Imperial Hotel, the Caesar Hotel, Käntenstrasse, Grabenstrasse, Meishistrasse, Hilferstrasse, etc.

With this excellent guide, Hugo could naturally better understand the country. His impression of the Austrian Empire had greatly changed, and he even began to feel melancholy about the fate of France.

Because this neighbor has changed so much. Although their idiot emperor doesn't care about anything, there are royal properties everywhere, and people are willing to believe in the royal family.

Therefore, the capitalists who make all the difference in France are nothing in Austria. They can only crawl behind the royal family and pick up some scraps.

Not only that, the contradictions and scapegoats that emerged in economic development were ultimately blamed on businessmen and bankers.

The taming of kings and nobles by capitalists was almost non-existent, as almost all nobles took shares in royal companies.

The result is that no capitalist can defeat this financial monster that combines the strength of all the Austrian nobility.

Therefore, the Austrian nobles are still proud at this time, but this pride comes from loyalty to the country and the royal family, not blood.

In fact, this is the result of Franz's screening using several economic crises and trust crises. Coupled with the momentum of public opinion, it is easy to come up with a new standard.

Hugo was actually mentally prepared before coming to Vienna. He felt that France might be slightly inferior to Austria in terms of music.

However, when I arrived, I discovered that the gap between the two sides was not as big as usual. Of course, this does not mean that the Paris music scene is not good.

The music scene in Paris at this time can be said to be full of stars, but the music scene in Vienna at this time can be described as vast as the Milky Way.

In addition, some new performance modes, or some retro performances also gave Hugo a considerable shock.

Drama is nothing new in Europe. It can even be traced back to the ancient Greek period. There are also similar citizen dramas in modern Germany.

But it has to be said that this model only came to life in Vienna at this time. In fact, the threshold for appreciating drama is lower than the threshold for appreciating songs, dances, and musicals.

Compared with the development level of drama in the Austrian Empire at this time, Hugo was even more surprised by the number of people who came to watch it. Because there are not many theaters in Vienna, but they can be full.

Hugo felt that people in this country must love culture and art, but in fact it was due to the economic development of the Austrian Empire that people were richer than in the past.

After people meet the most basic needs of clothing, food, housing, and transportation, they will begin to try higher-level pursuits. But most of them have limited appreciation due to their culture and origin.

Therefore, drama, an art mode with a lower threshold, became popular, and at the same time, a type of sketch drama called "Cabaret" became popular.

Although it is called a sketch drama, it is more like an Eastern cross talk, a truly "virtuous" Yunshe.

At the same time, classical songs, dances, and musicals also shocked Hugo. It can even be said that this traditional model has reached its peak in Austria.

In fact, due to the existence of the German Customs Union and the Apennine Customs Union, coupled with Franz's moneymaking ability, Vienna actually gathered all the outstanding artists from North Germany to southern Italy.

At the same time, due to their alliance with Russia, Russian artists who were already yearning for Europe also flocked to Franz's invitation.

Every scene Hugo saw was actually carefully arranged by Franz, even the tour guide who had been following the former.

Tina was still a little surprised by the order given directly from Mr. "K" or Franz. After all, the latter actually had very little interference in the entertainment industry.

Moreover, Credia should be responsible for the tour guide, and she is very willing to do this kind of work, especially if she can get in touch with some big shot.

If you have to get close to a target and extract information, Fleglova, a gypsy, is obviously better at it.

But since it is work, Tina will take it seriously. Compared with those who are ambitious (with unrealistic dreams), she feels that being ordinary is the real thing.

It’s just that Tina doesn’t quite understand a writer. Is it necessary for her to come in person? As soon as the two parties came into contact, Tina touched Hugo completely.

She couldn't understand why it was necessary to go to such great lengths for such an "ordinary" person?

In fact, the reason why Franz chose Tina was that she was "young" enough. As far as Franz knew, Hugo had just lost his beloved daughter not long ago.

At this time, it would have been easier to get close to Hugo if Tina was "white", "thin" and "young".

In fact, what Franz didn't know was that Hugo's daughter was not young when she died (she was already an adult and married). In addition, the most common people encountered in the theater were literati and noble children.

Any of the four former prima donnas can easily handle Hugo, even if they find a more senior "dancer" or "actor" from any theater, they can easily handle it.

Although Hugo was one of the greatest writers in French history and a giant in the history of European literature, he was nothing special in Tina's eyes.

At the same time, Franz was very afraid of writers like Hugo and Dickens. If he was not careful, he might be criticized by such people and nailed to the pillar of shame.

So in order to ask her to leave, Franz decided to play a "ground puppet" trick, that is, let Hugo support and call Tina for her "stage dream", and at the same time drain him of his money so that he had to leave Vienna.