The story of the arsonists who during the final days of the Commune went to destroy Notre-Dame, only to find it defended by an armed battalion of Commune artists, is a richly provocative example of direct democracy. It gives an idea of the kind of problems that will need to be resolved in the perspective of the power of the councils. Were those artists right to defend a cathedral in the name of eternal aesthetic values–and in the final analysis, in the name of museum culture–while other people wanted to express themselves then and there by making this destruction symbolize their absolute defiance of a society that, in its moment of triumph, was about to consign their entire lives to silence and oblivion? The artist partisans of the Commune, acting as specialists, already found themselves in conflict with an extremist form of struggle against alienation. The Communards must be criticized for not having dared to answer the totalitarian terror of power with the use of the totality of their weapons. Everything indicates that the poets who at that moment actually expressed the Commune’s inherent poetry were simply wiped out. The Commune’s mass of unaccomplished acts enabled its tentative actions to be turned into “atrocities” and their memory to be censored. Saint-Just’s remark, “Those who make revolution half way only dig their own graves,” also explains his own silence.
from Sur la commune (1962), by Guy Debord, Attila Kotányi and Raoul Vaneigem. A complete English translation available here.