Chapter 666 Hugo Is Here (6)

On a cold winter day, Hugo lit a match in an alley, and the shining flame was like a small sun that made him feel a little warm.

At this time, Vienna was full of happy people, who were either waiting for gifts to be distributed or busy preparing for the festival.

However, Hugo had returned his rent on Christmas Day, and he was actually penniless when he left the hotel.

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

Either they were too professional or too commercial, and they also had a common feature that they were particularly political.

There was no way, not to mention the Austrian Empire's overwhelming censorship agencies and secret police, even Franz would not easily give up the public opinion position.

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

The result was that the editors rejected the manuscripts again and again and asked Hugo to rewrite them in German. This made him extremely annoyed, and at the same time, because of the character of a literati and his noble French blood, Hugo did not allow himself to bow to others.

Then Hugo tried another way of "selling art", that is, "selling singing". However, in Vienna, the capital of music, his skill, which was usually praised by his friends, was really not worth mentioning.

The reason why Mr. Hugo fell to this point now can be traced back to 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, Kärntner Street, Graben Street, Coal Market Street, Hillfe Street, etc.

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

Because the changes in this neighbor were really too great, although their fool emperor didn't care about anything, there were royal industries everywhere, and people were willing to believe in the royal family.

Therefore, the capitalists who call the shots in France are nothing in Austria, and can only crawl behind the royal family to pick up some scraps.

Not only that, the contradictions and black pots that emerged in economic development were eventually put on the heads of merchants and bankers.

There is almost no situation where capitalists tame the king and nobles, because almost all nobles have invested in the royal company.

The result is that no capitalist can beat this financial monster that gathers the power of all Austrian nobles.

So at this time, the Austrian nobles are still proud, 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, and it is easy to create a new standard with the hype of public opinion.

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

However, when he arrived, he found that the gap between the two sides was not ordinary. Of course, this does not mean that the Parisian music industry is not good.

At this time, the Parisian music industry can be described as a star-studded group, but at this time, the Vienna music industry can be described as vast as the Milky Way.

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

Drama is not a new thing in Europe. It can be traced back to ancient Greece. In modern Germany, there are similar citizen dramas.

But it must be said that this model only came alive in Vienna at this time. In fact, the appreciation threshold of drama is lower than that of songs, dances, and musicals.

Compared with the development level of drama in the Austrian Empire at this time, Hugo was more surprised by the number of people who came to watch. Because there are many theaters in Vienna, but they can be full every time.

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

After satisfying the most basic clothing, food, housing, and transportation, people will begin to try higher-level pursuits. It’s just that most of them are limited by culture and background, so it’s difficult for them to have too high appreciation.

Therefore, drama, an art model with a low threshold, has been sought after, and at the same time, a skit called "Cabaret" has become popular.

Although it is called a skit, it is more like an oriental crosstalk, a real "German" 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 money power, Vienna actually gathered all the outstanding artists from northern Germany to southern Italy.

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

And every show that 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 direct orders from Mr. "K" or Franz, after all, the latter actually interfered very little in the entertainment industry.

And the tour guide should be responsible for Cretia, who is also very willing to do this kind of work, especially if she can get in touch with some big shots.

If you have to approach a target and extract information, the gypsy Flyglova is obviously better at it.

But since it is a job, Tina will take it seriously. Compared with those ambitious (unrealistic dreams), she thinks that ordinary life is the truth.

It's just that Tina doesn't understand a writer very well. Is it necessary for her to come in person? The two sides just met, and Tina has found out Hugo's bottom line.

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

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

At this time, it should be easier to get close to Hugo by getting a "white", "thin" and "young" Tina.

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

Any of the four former chiefs could easily handle Hugo, even a more experienced "dancer" or "actor" from any theater could easily handle him.

Although Hugo is one of the greatest writers in French history and a master in European literary history, he is nothing special in Tina's eyes.

At the same time, Franz is very afraid of writers like Hugo and Dickens. If he is not careful, he may be criticized and nailed to the pillar of shame.

So in order to ask him to leave, Franz decided to play a "ground puppet" routine, that is, to let Hugo support and call for Tina's "stage dream", and by the way, squeeze his money so that he has to leave Vienna.