After a series of underhanded scenarios by the male characters to win over Dona Sol, the play ends with Hernani and Dona Sol drinking poison and dying together. Although the play was successful and later inspired the opera Emani by Giuseppe Verdi, Hernani was remembered more for the occurrences on its opening night than any plot twists or characters.
A few years before Hernani's debut, Hugo wrote a preface to his Cromwell, a drama that was never performed on stage due to its excessive length. In the preface, Hugo made a call to arms for young artists and writers of France to work outside of the Classicist boundaries being enforced at the time. This preface, paired with the earlier censorship of another of Hugo's plays, called for the demonstrations that would be remembered more than the play itself.
On opening night, a group of young artists and writers, now called the "Romantic Army," rioted in the theatre, causing damage and being in such numbers they could not be stopped. Hernani ran for performances, with each one accompanied by a demonstration. Celebrated crimes by Alexandre Dumas Book 2 editions published in in English and held by 6 WorldCat member libraries worldwide.
Alice de Beaurepaire, a romance of Napoleon by Victorien Sardou Book 2 editions published in in English and held by 6 WorldCat member libraries worldwide. Audience Level. To bring all nations under one universal republic. Well, then, let us not terrify them. Of what use is intimidation? Neither nations nor birds can be attracted by fear. We must not do evil that good may come.
We have not overturned the throne to leave the scaffold standing. Death to the king, and life to the nations. Let us strike off the crowns, but spare the heads. Revolution means concord, and not terror. Schemes of benevolence arc but poorly served by merciless men. Amnesty is to me the grandest word in human language. I am opposed to the shedding of blood, save as I risk my own. Still, I am but a soldier; I can do no more than fight. Yet if we are to lose the privilege of pardoning, of what use is it to conquer?
Let us be enemies, if you will, in battle; but when victory is ours, then is the time to be brothers. Far from it. The dawn of '89 came to affirm those higher truths, and not to deny them. The destruction of bastiles signified the deliverance of humanity; the overthrow of feudalism was the signal for the building up of the family. Page The genius of France was made up from that of the entire continent, and each of its provinces represents a special virtue of Europe; the frankness of Germany is to be found in Picardy, the generosity of Sweden in Champagne, the industry of Holland in Burgundy, the activity of Poland in Languedoc, the grave dignity of Spain in Gascony, the wisdom of Italy in Provence, the subtlety of Greece in Normandy, the fidelity of Switzerland in Dauphiny.
Page "Grand events are taking form. No one can comprehend the mysterious workings of revolution at the present time. Behind the visible achievement rests the invisible, the one concealing the other. The visible work seems cruel; the invisible is sublime. At this moment I can see it all very clearly. It is strange and beautiful. We have been forced to use the materials of the Past. Hence this wonderful ' Beneath a scaffolding of barbarism we are building the temple of civilization. View all 10 comments. I have read that the English translation is not nearly as good as the original French but the only French I know is 'French fry', so I had to settle.
Not that that is a bad thing because in my opinion this was still a great classic from Hugo. This was the final work of the author of such masterpieces as Les Miserables and The Hunchback of Notre Dame , telling of the French revolution of Admittedly, I had never heard of the book and only know about it because I came across an old copy of i I have read that the English translation is not nearly as good as the original French but the only French I know is 'French fry', so I had to settle.
Admittedly, I had never heard of the book and only know about it because I came across an old copy of it in an antique book shop. And I'm glad I did because it is another wonderful piece of classic literature for my collection. View all 8 comments. This completes for me the trio of novels that tell of the conflict between the Royalist resistance in Brittany and the Republican Revolutionaries after the beheading of Louis XVI.
I think I serendipitously read them in the "right" order, which happens to be in publication order: The Chouans , by Balzac, La Vendee by Trollope, and this by Hugo. They each have a somewhat different perspective. The middle part of this was a slog, but it was sandwiched between two parts that were compelling. The slogg This completes for me the trio of novels that tell of the conflict between the Royalist resistance in Brittany and the Republican Revolutionaries after the beheading of Louis XVI. The sloggy part felt more like nonfiction and included lots of names with which I was unfamiliar, but were probably part of any history learned in school in France.
I suspect many - both US and others -might just as easily be unfamiliar with the minor players of the US Revolution. But the major players made up a part of this section, too, and one in particular, Cimourdain, was instrumental to the exciting third part. The tempest is there in all its wrath and grandeur. Cimourdain felt himself in his element. This scene of distraction, wild and magnificent, suited the compass of his outspread wings.
Like a sea-eagle, he united a profound inward calm with a relish for external danger. And the Head of the Committee of Public Safety, Robespierre, tells us: "Listen, Danton; foreign war is as nothing compared with the dangers of civil war. A foreign war is like a scratch on the elbow, but civil war is an ulcer which eats away your liver. Henceforth it is to have one leader" Although I highlighted a bit more elsewhere, this was enough to set the stage for this novel and the conflict it describes. Hugo felt compelled to a bit more philosophizing than I like in a novel.
If I were more a student of the French Revolution, and especially this period of the Reign of Terror, I might have appreciated it more. As it is, this sits on the border between 3- and 4-stars. The compelling parts are enough to nudge it up. What an amazing novel. Beautifully crafted, I love the narrative, with the characters standing in as avatars for ideas, and interplay with symmetry and contrasts between the various characters and ideas. Personally I love the stylization of the writing, lyrical and poetic, and so much What an amazing novel.
Personally I love the stylization of the writing, lyrical and poetic, and so much fantastic imagery really this part is just awesome! Sometimes the 19th century novel goes a bit bonkers with meandering descriptions of geography, place, customs, objects. Like I said though, this book only has a few such moments, and usually when this is happening it involves a broader metaphor that seems to make sense for developing the story and message of the book.
This story takes place with the historical backdrop of the French Revolution year , as the Terror is getting under way. It pits two opposing forces, revolutionary and reactionary. Progressive vs traditional. Duality is featured throughout the book. And yet there is nuance to the political analysis and views. Of course this wasn't all cut and dry, but there were interesting linkages going on, and internecine struggles for supremacy between the subgroups on each side. The story seems to capture an essence of the times, intertwining legend with history and in doing so approaching a kind of truth that can be hard for one or the other to achieve on its own.
This seems to be a theme with Hugo, or at least a manifestation of his philosophy, by combining legend story with history we can approach a greater truth. Hugo strikes me as a humanist who likely had deep sympathies for progressive ideals but he also fairly represents how high ideals can lead to the greatest crimes, with idealists leveraging the excuse of noble ends to justify execrable means. This critique is applied to both reactionaries and revolutionaries in this story as we see various characters in both camps guilty of this, some of whom stoop to the lowest basest most cynical self-serving justifications for their commitment of crimes against their fellow man.
But there is nuance and subtlety, both in the writing and also the representation of the characters. Some characters are presented in a more favorable light than others, but never as pure black or white entities. The moral dilemmas the characters face are great, each individual is anchored by their various strain of idealism. These ideals get smashed and tested against the vortex of reality with crosscurrents tugging the individuals this way and that, each struggle further revealing inner character and nuance of each person I would recommend this book for two reasons: first off the magnificent quality of the writing and storytelling.
And I could add a 3rd: experiencing Hugo and his sublime sensibility and ideas. Cannot wait to read more. It is ornamented a certain way, grand and architectured to a high degree, so certainly not for everyone I'm guessing he might be one of those love it or hate it kind of writers for people , but it appeals to me and my tastes! I cannot believe I originally gave this book three out of five stars. What a humbug!!
I have just listened to the audiobook again, and now starting it all over again I think I had expected something different from the outset. Hugo is trying to grapple with both the beauty and hideousness of the revolution, as embodied in three characters: the counterrevolutionary Marquis de Lantenac monarchy; the old regime ; Cimourdain the ruthless justice of the Revolution ; and Gauvain the nobler and purer spirit of the Revolution; the ideal. But I need to stop here I'll just say again that it seems to me one of those books that grow more interesting and beautiful over time Not easy, reviewing this.
Parts of this book were stunning, absolutely beautiful - and then there were the rants. A lot of rants, a lot of lists of names - Hugo does this in his other books too, but he seemed to go overboard here. But then, the chapter "The Massacre of Saint Bartholomew" - where Hugo describes a day with the three toddlers on which the whole story hinges. Lovely, lovely, lovely. And all w Not easy, reviewing this.
And all with the background of brutality and impending doom? Hugo knows just how to drive a knife into our hearts. It's worth the read. Not my favorite of his works, by any means, but Hugo is a giant among writers and cannot be dismissed without loss to the reader. It is the same hymn. An indistinct hymn, lisped, profound. The child, more than the bird, has the mysterious destiny of man before it.
Hence, the melancholy feeling of those who listen, mingled with the joy of the little one who sings. The sublimest song to be heard on the earth is the lisping of the human soul on the lips of children. This confused whispering of a thought, which is yet only an instinct, contains a strange, unconscious appeal to eternal justice; perhaps it is a protestation on the threshold, before entering; a humble but poignant protestation; this ignorance smiling at the Infinite compromises all creation in the fate which is to be given to the feeble, helpless being.
Misfortune, if it comes, will be an abuse of confidence. The murmur of a child is more or less than speech; there are no notes, and yet it is a song; there are no syllables, and yet it is a language; this murmur had its beginning in heaven, and will not have its end on earth; it is before birth, and it will continue hereafter.
It's this kind of contrast - horror against innocence and beauty, that makes Hugo a master. The psychology in this book makes it worth the read. People simply don't write like this any more. Hugo takes us through the minds of the several characters with depth and a beauty of words that make classic authors so great. What keeps this from being perhaps one of his better known novels is that it is very contemporary to its time; if you are unfamiliar with the many referenced characters, you will easily become lost or bored.
If you can focus on the beauty of the characters' development, and The psychology in this book makes it worth the read. If you can focus on the beauty of the characters' development, and enjoy the historical lesson of the French Revolution portrayed vividly on both sides, you will love this. Victor Hugo reprises the thorny question of what one should choose when faced with a moral decision. At the climax of this story, three men encounter situations that will challenge their core beliefs. Two of them choose to uphold humanitarian principles over and above any revolutionary concerns-even at the cost of their own lives or mission.
The third, however, cannot override his convictions, and as a result, his conscience and his failure to act in a humanitarian manner will lead to his demise. The third man, Cimourdain, also functions as an anti-Javert while meeting the same end as Javert. His subsequent suicide is a desperate way to escape from a fraught self-integrity. On the other hand, in Quatrevingt-Treize, Cimourdain does not let humanitarian concerns overtake duty; but here again, dissonance arises because deep down, his emotional attachment to Gauvain reminds him over and over again that he has made the wrong decision.
Facing the impasse between his broken conscience and the duty he was forced to obey, Cimourdain takes the same deathly path as Javert. I was fascinated by the landscape of Brittany's forests and the extensive network of subterranean caves, some of which date to the 9th century.
There was a book published last year on this same subject, and which covers the terrain in La Roche-sur-Yon, not far from where my uncle lives. It sounds exciting. I enjoyed Victo Hugo's rendering of the Breton culture and his perfect writing. It was a pleasure to read this book and rediscover my grandfather's land.
Fascinating book. This is my first book by Hugo and I can easily see why he is renowned for his powerful and beautiful writing. Je me rappelle. Mon sang bout! Je souffre. Te fuir! Don Salluste, merci. A Denia. Mille piastres pour vous. Non, mon sort est ici. Je dois y demeurer. Dieu le sait. Ta main! Ruy Blas? Pas encore, Excellence. Oui, monseigneur. Allez clore Cette porte. Quittez cet habit. Cette porte. Un danger! Votre nom, monseigneur? Ruy Blas, je pars ce soir, et je vous laisse ici. Je vous veux faire un destin plus large. Je veux votre bonheur.
Elle est sur ce fauteuil. Mettez-la donc. On vient… oui. Laissez-vous faire. Au fait! Vous souvient-il, marquis? Appelez-moi cousin, car nous le sommes. Monsieur De Santa-Cruz. Si fait. Il est donc revenu? Des Indes. En effet! Vous le reconnaissez? Il vous a reconnu pour prouver ses bons yeux. A Ruy Blas. Je vais payer ses dettes. Si quelque emploi de cour vaquait en ce moment, Chez le roi, — chez la reine Chez le roi, — chez la reine Je vous le recommande. La reine approche! Prenez vos rangs, messieurs. Je vais quitter Madrid. La reine! Quel vertige vous gagne? A gauche, une petite porte donnant dans cette chambre.
Grande table. Il est parti pourtant!
Soudain il se courba, souple et comme rampant Que dis-tu de cela? Il est bien ennuyeux! Bonjour, comte! Ce bois de calambour est exquis! Va chercher dans ma chambre un livre Pas un livre allemand! Tout en langue espagnole. Le roi chasse. Toujours absent. Je veux sortir! Duchesse, enfin!
Je suis camerera mayor, Et je remplis ma charge. Et je remplis ma charge. Un lansquenet! Une table, et jouons! Ne bougez pas, mesdames. Vraiment, je meurs depuis un an que je suis reine. Pauvre femme! Au fond de cette cour insipide! Que faire? Faites, pour vous distraire, appeler les ministres! Ce plaisir! Je voudrais regarder un jeune homme, Madame! Ris, folle! Comme on perd le sommeil, enfant, on perd la joie. On ne voit rien. Les murs sont plus hauts que les arbres. Parlons bas. Nous irons.
Que ne suis-je encor, moi qui crains tous ces grands, Dans ma bonne Allemagne, avec mes bons parents! Que Dieu montre ou voile Les astres des cieux! Pauvres femmes! Tu me quittes? Madame, on veut que nous sortions. Pauvre esprit sans flambeau dans un chemin obscur! Cette main sanglante empreinte sur le mur!
Pourquoi vouloir franchir la muraille si haute? Un morceau de dentelle y pendait. Je ne sais. Je ne veux plus la lire! Venez, je vous appelle! Une lettre du roi! Du roi! Tous entrent gravement. Ruy Blas reste au fond de la chambre. Son manteau tombe sur son bras gauche et le cache. Donnez vite! Merci, Monseigneur! Mais donnez donc. Voyons le billet doux. Oui, seigneur comte.
Sans doute. Que faut-il donc de plus? Rien que sa signature! Est-ce une illusion? Que celle de la lettre! Ce jeune homme? Son nom? Je veux lui parler. Monsieur… Elle me voit! Elle me parle! Je tremble. Approchez, comte. Oui, Madame. Le roi Se porte bien?
Se porte bien? Je ne sais point les noms dont on les nomme. Trois jours! Un seul mot. Vous connaissez quel est votre service? Ouvrir au roi! Mais… il est absent. Madame, ce jeune homme Se trouve mal…. Se trouve mal… Moi, non! Grand dieu, madame! Mais il perd connaissance. Mais vite, faisons-lui respirer quelque essence! Se trouve-t-elle mieux? Je renais!
Vous savez que le roi ne vient pas cette nuit? O Dieu! Ne me rendez pas fou! Monsieur, que signifie? Je le tuai. Je tuai don Tirso Gamonal.
Dans les sept romans de Victor Hugo se retrouvent plus de 40 personnages orphelins, ce qui est énorme. La palme des abandonnés est décernée aux. Enfants Orphelins, Abandonnés et Fugueurs: À Travers Les Misérables de Victor Hugo, Sans Famille d'Hector Malot et Mondo et autres histoires de Le Clézio ( French Edition) [Taha Amini] on wamadawipu.cf Pour connaître l'enfant orphelin, abandonné et fugueur du point de vue de Hugo, de Malot et de Le Clézio, nous.
Mais enfin Que veut dire cela, monsieur? Que veut dire cela, monsieur? Bien, monsieur. On y sera. Un duel! Mais — je ne comprends pas. Vous comprenez fort bien. Droits pareils.
Donc vous me faites peur. Il faut que je vous tue. Eh bien, essayez. On ouvre cette porte? Qui me vaut ce bonheur? Tout ce que je voudrais. Elle a raison! Vous avez tort, madame! Votre sang… Casilda parlait fort bien ainsi. Et moi, je dis que si! Je suis pris! Six cents lieues! Cinq cent cinquante. Cela peut se faner en route. Et quand partir? Mais… Partez! Une affaire… Impossible. Un objet si frivole…. Un seul jour! Je… Non. Si… Je vous embrasserai! Il ne le tuera pas! En six mois! Et la reine fait tout! Ils paraissent se fuir.
Des muets. Il est de grande race, en somme. Je le crois homme probe. Nous venons de doter votre fille. Vous aurez votre alcade. Et vous votre bailli. Rendez-moi quelque chose! Le vieux diable! Il prend les profits les plus clairs. Quelle envergure! Conseillers vertueux! Mais voyez. Et vous osez! Babel est dans Madrid. A peine six mille hommes.
Qui vont pieds nus. Tes rayons, ils en font des piastres! Tes splendeurs, On les souille! Se peut-il que tu dormes? Vous vous retirerez, avec votre famille,. Vous, en Andalousie, — Et vous, comte, en Castille. Soyez partis demain. Peut suivre ces messieurs. Cet homme sera grand. Il sera Richelieu! Est anonyme. Attend votre excellence. Dans deux heures. Messieurs, revenez. Vous avez bien fait de leur parler ainsi.
Personne ne le sait. Et que disait-il? Mais vous! Je soulevais le bord de la tapisserie, Je vous voyais. Si terrible et si grand? Parce que je vous aime! Si vous saviez, madame! Je vous fuyais et je souffrais beaucoup. Que faut-il que je fasse? Si tu savais! Je suis bien malheureuse. Est-ce un crime?
Tant pis! Eh bien, la reine te cherchait! Oui, tout ce qui me touche a tes soins. Mon dieu! Je suis esclave ainsi! Pur et loyal! Grand Dieu! Sa seigneurie, En effet, me surprend. En effet, me surprend. Comment cela va-t-il? Quel est ce mot risible? Ah bah! Que diable! Cela ne se fait pas entre parents, mon cher. Ouvrez les yeux pour vous, fermez-les pour les autres. Chacun pour soi.
Que faire sans argent? Sauvons ce peuple! Mon cher, les grands seigneurs ne sont pas de vos cuistres. Ils vivent largement. Mais bah! Ayez donc des caprices plus neufs. Gardez pour nous servir les muets seulement. Je vous en enverrai. Vous avez des projets monstrueux. Mais si. Je le savais.