And against the forest, of course, the city. On the contrary, first the forest surrounded the humanized space and then the humanized space the forest. That's the human organization that brought the industrial model. And that ordination is the execution of big cities. For example, Paris, capital of the world in the mid-19th century, center of the world. Born in 1821, Charles Baudelaire. And as it's said, I didn't particularly want the city that was born.

There is no lie: an infinite modern city, with all its noise and anger, for which it is “the multitude”, “chaos”, “the terrible city”. In the poem “In one in the morning”, for example, it says: “Finally! just! No more hearing the hum of some late and exhausted carriages. There's some calla, no rest. Finally! the tyranny of hell has been deleted”; and later: “Experience a caress! A lovely city!” But what a curious thing, next to that hatred of the city, a more complex feeling, a tension, an ambivalence, a duality, that this line sums up perfectly: “I love you, a beautiful city!” That is, at the same time I hated and adored, attracted and dreamed the modern world, inventor of modernity. Odi et amo: horror and ecstasy, rejection and desire for the great changes of the time. Antoine Compagnon explains: the anti-modern replaces true modernity, which faces modern life, even if it is inevitably linked to it. Therefore, the poem “The Swan” would better reflect the poet’s mood: “The old Paris does not exist (the appearance of a city / It changes faster, it rages! more than the heart of a mortal).”

Sánchez-Ostiz said: “The city, if not favorable, is a haven that must be left behind as soon as possible.” However, Baudelaire never ended Paris, its dependence was so great.