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The article treats panorama scenes in the novels Father Goriot (1837–1843) by Honoré de Balzac and The Red Room (1879) by August Strindberg. My observations focus on the main characters Eugène de Rastignac and Arvid Falk, and the emotions that the capital arise in them where they stand in their high positions in front of Paris and Stockholm respectively; Rastignac on the hill of the Père Lachaise
