A B C D E F G H I J K L M N O P Q R S T U V W Y Z
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Life and Works: Victor-Marie Hugo, french poet, dramatist, and novelist, was born in Besançon as the son of Joseph-Léopold-Sigisbert Hugo and Sophie Trébuchet. Hugo's father was an officer in Napoleon's army, an enthusiastic republican and ruthless professional soldier, who loved dangers and adventures. After the separation of his parents, he was raised and educated in Paris by his mother, where the family settled when Hugo was two. In 1807 Sophie took her family for two years from Paris to Italy, where Léopold served as a governor of a province near Naples. When General Hugo took charge of three Spanish provinces, Sophie again joined her husband. From 1815 to 1818 Hugo attended the Lycée Louis-le Grand in Paris. He began in early adolescence to write verse tragedies and poetry, and translated Virgil. Inspired by the example of the statesman and author François René Chateaubriand, Hugo's first collection of poems, Odes Et Poesies Diverses gained him a royal pension from Louis XVIII. In 1822 Hugo married Adèle Foucher who was the daughter of an officer at the ministry of war. His brother Eugéne, who had mental problems, was secretly in love with her and lost his mind on Hugo's wedding day. Eugéne spent the rest of his life in an institution. In the 1820s Hugo come in touch with liberal writers, but his political stand wavered from side to side. He wrote royalist odes, cursed the memory of Napoleon, but then started to defend his father's role in Napoleon's victories, and attack the injustices of the monarchist regime. General Hugo died in 1828; at that time Hugo started to call himself a baron. Victor Hugo is recognized as the most influential Romantic writer of the 19th century and is often identified as the greatest French poet. His best-known works are doubtless the novels Les Misérables and Notre-Dame de Paris (The Hunchback of Notre-Dame). Poetry was another of his vocations: among many volumes, Les Contemplations and La Légende des siècles stand particularly high in critical esteem. Though extremely conservative in his youth, he moved to the political left as the decades passed; he became a passionate supporter of republicanism and of a European Union. His work touches upon most of the political and social issues and artistic trends of his time. Hugo developed his own version of the historical novel, combining concrete, historical details with vivid, melodramatic, even feverish imagination. As a novelist Hugo made his debut with Han d'Islande (1823), which appeared first anonymously in four pocket-sized volumes. It was translated two years later in English and a Norwegian translation was published in 1831. The style of Sir Walter Scott labelled several of his works, among them Bug-Jargal (1826). In 1827, he published the never-staged verse drama Cromwell, which became more famous for the author's preface than its own worth (the play's unwieldy length was considered "unfit for acting"). In his introduction to the work, Hugo urged his fellow artists to free themselves from the restrictions imposed by the French classical style of theatre, and thus sparked a fierce debate between French Classicism and Romanticism that would rage for many years. Hugo wrote that romanticism is the liberalism of literature. Cromwell was followed in 1828 by the disastrous Amy Robsart, an experimental play from his youth based on the Walter Scott novel Kenilworth, which was produced under the name of his brother-in-law Paul Foucher and managed to survive only one performance before a less-than-appreciative audience. The first play of Hugo's to be accepted for production under his own name was Marion de Lorme. Though initially banned by the censors for its unflattering portrayal of the French monarchy, it was eventually allowed to premiere uncensored in 1829, but without success. However, the play that Hugo produced the following year—Hernani—would prove to be one of the most successful and groundbreaking events of nineteenth-century French theatre, the opening night of which became known as the "The Battle of Hernani". Today the work is largely forgotten, except as the basis for the Verdi opera of the same name. Verdi also made use of Hugo’s play Le Roi s’amuse (1832) for Rigoletto. In 1832 Hugo followed the success of Hernani with Le Roi s’amuse (The King Takes His Amusement). The play was promptly banned by the censors after only one performance, due to its overt mockery of the French nobility, but then went on to be very popular in printed form. Incensed by the ban, Hugo wrote his next play, Lucrezia Borgia, in only fourteen days. It subsequently appeared on the stage in 1833, to great success. Mademoiselle George (former mistress of Napoleon) was cast in the main role, and an actress named Juliette Drouet played a subordinate part. However, Drouet would go on to play a major role in Hugo’s personal life, becoming his life-long mistress and muse. In Hugo’s next play (Marie Tudor, 1833), Drouet played Lady Jane Grey to George’s Queen Mary. However, she was not considered adequate to the role, and was replaced by another actress after opening night. It would be her last role on the French stage; thereafter she devoted her life to Hugo. Supported by a small pension, she became his unpaid secretary and travelling companion for the next fifty years. Hugo’s Angelo (play) premiered in 1835, to great success. Soon after, the Duke of Orleans (brother of King Louis-Philippe, and an admirer of Hugo’s work) founded a new theatre to support new plays. Théâtre de la Renaissance opened in November 1838, with the premiere of Ruy Blas. Though considered by many to be Hugo’s best drama, at the time it met with only average success. Hugo did not produce another play until 1843. The Burgraves played for only 33 nights, losing audiences to a competing drama, and it would be his last work written for the theatre. Though he would later write the short verse drama Torquemada in 1869, it was not published until a few years before his death in 1882, and was never intended for the stage. However, Hugo's interest in the theatre continued, and in 1864, he published a well-received essay on William Shakespeare, whose style he tried to emulate in his own dramas. Victor Hugo's first mature work of fiction appeared in 1829, and reflected the acute social conscience that would infuse his later work. Le Dernier jour d'un condamné (Last Days of a Condemned Man) would have a profound influence on later writers such as Albert Camus, Charles Dickens, and Fyodor Dostoevsky. Claude Gueux, a documentary short story about a real-life murderer who had been executed in France, appeared in 1834, and was later considered by Hugo himself to be a precursor to his great work on social injustice, Les Misérables. But Hugo’s first full-length novel would be the enormously successful Notre-Dame de Paris (The Hunchback of Notre Dame), which was published in 1831 and quickly translated into other languages across Europe. Since its appearance in 1831 the story has became part of popular culture. The novel, set in 15th century Paris, tells a moving story of a gypsy girl Esmeralda and the deformed bell ringer, Quasimodo, who loves her. Esmeralda aroses passion in Claude Frollo, an evil priest, who discovers that she favors Captain Phoebus. Frollo stabs the captain and Esmeralda is accused of the crime. Quasimodo attempts to shelter Esmeralda in the cathedral. Frollo finds her and when Frollo is rejected by Esmeralda, he leaves her to the executioners. In his despair Quasimodo catches the priest, throws him from the cathedral tower, and disappears. Later two skeletons are found in Esmeralda's tomb - that of a hunchback embracing that of a woman. One of the effects of the novel was to shame the City of Paris to undertake a restoration of the much-neglected Cathedral of Notre Dame, which was now attracting thousands of tourists who had read the popular novel. The book also inspired a renewed appreciation for pre-renaissance buildings, which thereafter began to be actively preserved. Hugo began planning a major novel about social misery and injustice as early as the 1830s, but it would take a full 17 years for his most enduringly popular work, Les Misérables, to be realized and finally published in 1862. Today the novel is considered a literary masterpiece, adapted for cinema, television and musical stage to an extent equaled by few other works of literature. Les Misérables is set in the Parisian underworld. The protagonist, Jean Valjean, is sentenced to prison for 19 years for stealing a loaf of bread. After his release, Valjean plans to rob monseigneur Myriel, a saintlike bishop, but cancels his plan. However, he forfeits his parole by commititbusng a minor crime, and for this crime Valjean is haunted by the police inspector Javert. Valjean eventually reforms and becomes under the name of M. Madeleine a successful businessman, benefactor and mayor of a northern town. To save an innocent man, Valjean gives himself up and is imprisoned in Toulon. He escapes and adopts Cosette, an illegitimate child of a poor woman, Fantine. Cosette grows up and falls in love with Marius, who is wounded during a revolutionary fight. Valjean rescues Marius by means of a flight through the sewers of Paris. Cosette and Marius marries and Valjean reveals his past. Hugo turned away from social/political issues in his next novel, Les Travailleurs de la Mer (Toilers of the Sea), published in 1866. Nonetheless, the book was well received, perhaps due to the previous success of Les Misérables. Dedicated to the channel island of Guernsey where he spent 15 years of exile, Hugo’s depiction of Man’s battle with the sea and the horrible creatures lurking beneath its depths spawned an unusual fad in Paris: Squids. From squid dishes and exhibitions, to squid hats and parties, Parisiennes became fascinated by these unusual sea creatures, which at the time were still considered by many to be mythical. Hugo returned to political and social issues in his next novel, L'Homme Qui Rit (The Man Who Laughs), which was published in 1869 and painted a critical picture of the aristocracy. However, the novel was not as successful as his previous efforts, and Hugo himself began to comment on the growing distance between himself and literary contemporaries such as Flaubert and Zola, whose naturalist novels were now exceeding the popularity of his own work. His last novel, Quatrevingt-treize (Ninety-Three), published in 1874, dealt with a subject that Hugo had previously avoided: the Reign of Terror that followed the French Revolution. Though Hugo’s popularity was on the decline at the time of its publication, many now consider Ninety-Three to be a powerful work on par with Hugo’s more well known novels. After three unsuccessful attempts, Hugo was finally elected to the Académie Francaise in 1841, solidifying his position in the world of French arts and letters. Thereafter he became increasingly involved in French politics as a supporter of the Republic form of government. He was elevated to the peerage by King Louis-Philippe in 1841 and entered the Higher Chamber as a Pair de France, where he spoke against the death penalty and social injustice, and in favour of freedom of the press and self-government for Poland. He was later elected to the Legislative Assembly and the Constitutional Assembly, following the 1848 Revolution and the formation of the Second Republic. When Louis Napoleon (Napoleon III) seized complete power in 1851, establishing an anti-parliamentary constitution, Hugo openly declared him a traitor of France. Fearing for his life, he fled to Brussels, then Jersey, and finally settled with his family on the channel island of Guernsey, where he would live in exile until 1870. While in exile, Hugo published his famous political pamphlets against Napoleon III, Napoléon le Petit and Histoire d'un crime. The pamphlets were banned in France, but nonetheless had a strong impact there. He also composed some of his best work during his period in Guernsey, including Les Misérables, and three widely praised collections of poetry (Les Châtiments, 1853; Les Contemplations, 1856; and La Légende des siècles, 1859). Although Napoleon III granted an amnesty to all political exiles in 1859, Hugo declined, as it meant he would have to curtail his criticisms of the government. It was only after the unpopular Napoleon III fell from power and the Third Republic was proclaimed that Hugo finally returned to his homeland in 1870, where he was promptly elected to the National Assembly and the Senate. Hugo's religious views changed radically over the course of his life. In his youth, he identified as a Catholic and professed respect for Church hierarchy and authority. From there he evolved into a non-practicing Catholic, and expressed increasingly violent anti-pope and anti-clerical views. He dabbled in Spiritualism during his exile, and in later years settled into a Rationalist Deism similar to that espoused by Voltaire. Hugo never lost his antipathy towards the Catholic Church, due largely to the Church's indifference to the plight of the working class under the oppression of the monarchy; and perhaps also due to the frequency with which Hugo's work appeared on the Pope's list of "proscribed books". Among Hugo's most ambitious works was an epic poem, La Fin de Satan, a study of Satan's fall and the history of the universe. Satan is presented more complex character than merely the embodiment of the Evil, but when Milton saw in Paradise Lost in Satan's revolt tragic, cosmic grandeur, Hugo brings forth the horror elements. The poem was never completed. Adèle Hugo's biography of her husband appeared in 1863; she died in 1868. When Hugo returned to Paris in 1870, the country hailed him as a national hero. He went on to weather, within a brief period, the Siege of Paris, a mild stroke, his daughter Adèle’s commitment to an insane asylum, and the death of his two sons. (His other daughter, Léopoldine, had drowned in a boating accident in 1843; his wife Adele died in 1868; and his faithful mistress, Juliette Drouet, died in 1883, only two years before his own death.). The tragic deaths of Hugo’s daughter and her husband were reflected in a moving series of poems of childhood, including The Art of Being a Grandfather (1877). Despite his personal loss, Hugo remained committed to political change. Victor Hugo died on May 22, 1885, at the age of 83, and more than two million people joined his funeral procession in Paris from the Arc de Triomphe to the Panthéon, where he was buried. |
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