Benjamin collects the glittering fragments from the arcades of history, the interminable corridor which seems to lead nowhere but still marching endlessly into an unknown distance. The Arcades Project unfolds itself as one charming topographic collections gathering the detritus of the ordinariness of the unremarkable day-to-day existence based on its own model of “dream interpretation”. (xi) Commentaries with varying lengths intersect with philosophical quotations from extensive sources.  A host of topics are arranged through the section of “Convolutes”, each opening a primary scene of the historical past. The passage of time has been frequented back and forth. The flashing images of the primal past are held in montage. Leafing through the seminal work of Benjamin just feels like browsing the “magic encyclopedia” with exquisite pictures signifying the passing moments of a splendid fairyland. (xi)

 

The first entry into the book offers many encounters with the monad-like flâneur, wandering his way around in the “phantasmagorical” scenes of Paris. The imprints he has left give the traces of a lost century, the bourgeoning of high capitalism engendering transformational changes in all the aspects. The objects of the history, once scattered over the historical space, have been rearranged in an attempt to restore the dead past into life. A grand scheme has been set up to awake the ancient time from its deep slumber. The “dialectical image” of works of a past time is “actualized” from the time it is “suddenly recognized”. (xii) The past is reinvented through the “interpenetration of images” of a primal history.

 

Through the “lost forms” of the past events, we, at the present, recognize our own. (458) We direct our gaze at the tales of peace and prosperity of a past age, only to find that there lurks the dangers of “retrograde tendencies” in the progressive course of history. (476) As a Klee painting named “Angelus Novus” has ever depicted, the angel of history, with his face turning toward the past, is propelled irresistibly by the storm called “progress” into the future to which his back is turned, only to see the pile of debris before him growing skyward. (Benjamin 80) The wreckage of the past catastrophe still keeps piling up while the present is crushed under the increasing heaviness and the future remains an unknown mystery, marked by the reverse progress.

 

Yet human beings have so much convinced themselves to believe that the redemptive power resides in the past, the place of divinity where the mythic power of salvation belongs. Every time when the harsh reality happens to violate the original project, men with a strong historical sense would revisit the glorious past by their time machine under the excuse of nostalgic wallowing. As the secret agreement between the past generation and the present one has justified the present existence, human beings have good reasons to seek their comfort from the generation precedes before them, from whom their weak Messianic power has derived. (Benjamin 77) It is not the past who demands its resurrection but the present who desperately cries out for it.

 

The archives of the primal past mirror the interior of the living time. When we knock on the door at the threshold and enter into the old times, we will often find the striking similitude between the past and the present. We navigate through all the possibilities in the past and take the high ground to justify the torment inflicted on our times. Indeed, the irreparable past comes to its second life as the comfort added to our own happiness at the present moment. The achieves are themselves the stepping stones to open up a new scene to confront the difficulties ahead. There, in the arcades of history, resides the redemptive power which brings forward the deepest part of ourselves.