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

Vienna at this time was full of joyous crowds, either waiting for gifts to be handed out or busily preparing for the festival.

However, Hugo quit the lease on Christmas Day, and he left the hotel with no money.

Hugo had previously tried to publish articles in Viennese newspapers in exchange for a fee, but Austrian newspapers were at two extremes.

Either it is too professional or too commercial, and at the same time, there is a common feature that it is particularly political.

This can't be helped, not to mention the overwhelming censorship agencies and secret police of the Austrian Empire, even Franz will not easily give up the position of public opinion.

Hugo was indeed a great man of letters, but his German language skills were very limited, and it was almost impossible for an article in French to appear in an Austrian newspaper.

As a result, the editors repeatedly rejected the manuscript and demanded that Hugo rewrite it in German. This annoyed him greatly, and at the same time, Hugo did not allow himself to bow down to others because of his literary character and noble French blood.

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

The reason why Monsieur Hugo has come to this point is only a few months ago, when he "met" a very learned and enthusiastic "girl" in Vienna.

Tina took Hugo to visit many places, such as the monuments of Vienna, the Academy of Sciences, the Theater, the Central Garden, the Imperial Hotel, the Grand Caesars, Carinthstraße, Grabenstrasse, Coal Strasse, Hilferstrasse and many more

With this excellent guide, Hugo naturally got to know the country better, and his impression of the Austrian Empire changed greatly, and he even began to feel melancholy about the fate of France.

Because the change in this neighbor is too great, although their foolish emperor doesn't care about anything, but there is the property of the royal family everywhere, and people are willing to believe in the imperial family.

So the capitalists who call for wind and rain in France are not farts in Austria, and can only crawl behind the royal family to pick up bits and pieces.

Not only that, but the contradictions and black pots that emerged in economic development were ultimately pinned on the heads of businessmen and bankers.

The situation in which the capitalists tamed the kings and nobles was almost non-existent, since almost all the nobles took a stake in the royal family's companies.

As a result, no capitalist can beat this financial monster that combines the power of all the Austrian aristocracy.

So at this time, the Austrian aristocracy was still proud, but this pride came from loyalty to the country and the royal family, not blood.

In fact, this is the result of Franz's use of several economic crises and crises of confidence to sift through and the momentum of public opinion to easily come up with a new standard.

Hugo had been mentally prepared before he came to Vienna, thinking that France might be slightly inferior to Austria in terms of music.

However, when I arrived, I found that the gap between the two sides is not ordinarily large, of course, this does not mean that the Parisian music industry is not good.

The Parisian music scene at this time can be described as full of stars, but the music scene in Vienna at this time can be described as vast as a galaxy.

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

Drama is not a new thing in Europe, and can be traced back to the ancient Greek period, and there are similar civic dramas in modern Germany.

However, it has to be said that this model only came alive in Vienna at this time, and in fact, the threshold for appreciation of drama is lower than that of singing, dancing, and musicals.

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

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

After satisfying the most basic food, clothing, shelter and transportation, people will begin to try higher level pursuits. It's just that most of them have too much appreciation due to their cultural and original limitations.

Therefore, the art mode of drama, which has a low threshold, has been sought after, and at the same time, a kind of sketch drama called "cabaret" has become popular.

Although it is called a sketch drama, it is more like the cross talk of the East, and it is really "De" Cloud Club.

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

In fact, thanks to the existence of the German Customs Union and the Apennine Customs Union, coupled with Franz's money power, Vienna actually brought together all the fine artists from North Germany to South Italy.

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

And every scene Hugo saw was actually carefully arranged by Franz, even the tour guide who always followed the former.

Tina was a little surprised by the direct orders given from Mr. "K" or Franz, who actually had very little interference in the entertainment industry.

And the tour guide should be in charge of Chrétia, and she herself is very willing to do this kind of work, especially if she can get in touch with some big person.

If you have to get close to any target and get information, Flleglova, a gypsy, is obviously better at it

But since it's a job, Tina takes it seriously, and she thinks it's true to be ordinary compared to those who have big ambitions (and unrealistic dreams).

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 sides got in touch, Tina touched Hugo's bottom up.

She couldn't figure out whether it was necessary to go to such a great deal of trouble for the sake of such an "ordinary" person?

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

At this time, it should be easier to get a "white", "thin" and "young" Tina in the past.

What Franz didn't know was that Hugo's daughter was not young when she died (she was an adult and married), and that the most common people he encountered in the theater were literati and nobles.

Any one of the four former chief executives can easily deal with Hugo, even if you find a more senior "dancer" or "actor" from any theater, you can easily handle it.

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

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

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

(End of chapter)