"Et, lorsque Nana levait les bras, on apercevait, aux feux de la rampe, les poils d’or de ses aisselles." Nana attaching itself by a hundred strings to a prearranged table of kinships, heredities, transmissions, is the vast crowded epos of the daughter of the people filled with poisoned blood and sacrificed as well as sacrificing on the altar of luxury and lust; the panorama of such a “progress’ as Hogarth would more definitely have named – the progress across the high plateau of pleasure and down the facile descent on the other side.” – Henry James. Offenbach’s career is neatly divided by 1870. In that year, he had to disappear from France for a while, since he was originally from Germany. The collapse of Napoleon III’s court, and the Second Empire, and the commune, and the establishment of the third republic created, at least for a while, a puritanical atmosphere in which Offenbach’s operas were looked upon as symptoms of decay, if not causative agents in themselves. And of
“I’m so bored. I hate my life.” - Britney Spears
Das Langweilige ist interessant geworden, weil das Interessante angefangen hat langweilig zu werden. – Thomas Mann
"Never for money/always for love" - The Talking Heads