See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

VICTOR See also:

• MARIE

MARIE See also:

• HUGO, GUSTAV VON (1764–1844)
• VICTOR MARIE HUGO (1802-1885)

HUGO (1802-1885)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French poet, dramatist and See also:

• ROMANCE

romance-writer,, youngest son of See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

General J . L . S . See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo (1773–1828), a distinguished soldier in See also:

• NAPOLEON

Napoleon's service, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BESANCON

Besancon on the 26th of See also:

• FEBRUARY

February 18o2 . The all but still-born See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child was only kept alive and reared by the indefatigable devotion of his See also:

• MOTHER

mother Sophie See also:

• TREBUCHET

Trebuchet (d . 1821), a royalist of La See also:

• VENDEE
• VENDEE, WARS OF THE

Vendee . Educated first in See also:

• SPAIN
• SPAIN (Espana)

Spain and after-wards in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, the boy whose See also:

• INFANCY

infancy had followed the fortunes of the imperial See also:

• CAMP (from Lat. campus, field)

camp See also:

• GREW, NEHEMIAH (1641-1712)

grew up a royalist and a See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic . His first See also:

• WORK

work in See also:

• POETRY

poetry and in fiction was devoted to the passionate See also:

• PROCLAMATION (Lat. proclamare, to make public by announcement)

proclamation of his faith in these principles . The precocious eloquence and ardour of these See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• WORKS

works made him famous before his See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . The odes which he published at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of twenty, admirable for their spontaneous fervour and fluency, might have been merely the work of a marvellous boy; the See also:

• BALLADS

ballads which followed them two years later revealed him as a See also:

• GREAT

great poet, a natural See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of lyric and creative See also:

• SONG

song . In 1823, at the age of twenty-one, he married his See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin Adele Foucher (d . 1868) .

In the same See also:

• YEAR

year his first romance, Han d'Islande, was given to the See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press; his second, See also:

• BUG

Bug-Jargal, appeared three years later . In 1827' he published the great dramatic poem of See also:

• CROMWELL, HENRY (1628-1674)
• CROMWELL, OLIVER (1599-1658)
• CROMWELL, RICHARD (1626–1712)
• CROMWELL, THOMAS, EARL OF

Cromwell, a masterpiece at all points except that of fitness for the See also:

• MODERN

modern See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . Two years afterwards he published See also:

• LES

Les Orientales, a See also:

• VOLUME

volume of poems so various in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, so See also:

• NOBLE, SIR ANDREW (1832- )

noble in spirit, so perfect in workmanship, in See also:

• MUSIC

music and in See also:

• FORM (Lat. forma)

form, that they might alone suffice for the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of an immortal fame . In the course of nine years, from 1831 to 184o, he published • Les Feuilles d'automne, Les Chants du crepuscule, Les Voix interieures and Les Rayons et les ombres . That their author was one of the greatest elegiac and lyric poets ever born into the See also:

• WORLD

world, any one of these volumes would amply suffice to prove . That he was the greatest tragic and dramatic poet born since the age of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of Hernani in 183o made evident for ever to all but the meanest and most perverse of dunces and malignants . The earlier and even greater tragedy of See also:

• MARION
• MARION, FRANCIS (1732-1795)
• MARION, HENRI FRANCOIS (1846-1896)

Marion de Lorme (1828) had been proscribed on the ground that it was impossible for See also:

• ROYALTY (0. Fr. realte, reialte, royaulte, from Med. Lat. regalitas, the substantive of regalis, of or belonging to a king, rex)

royalty to tolerate the appearance of a See also:

• PLAY

play in which a See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king was represented as the puppet of a See also:

• MINISTER (Lat. minister, servant)

minister . In all the noble and glorious See also:

• LIFE

life of the greatest poet of his time there is nothing on See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record more chivalrous and characteristic than the fact that See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor Hugo refused to allow the play which had been prohibited by the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles X. to be instantly produced under the government of his supersessor . Le Rai s'amuse (1832), the next play which Hugo gave to the stage, was prohibited by See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Philippe after a tumultuous first See also:

• NIGHT

night—to reappear fifty years later on the very same See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day of the same See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month, under the eyes of its author, with atoning See also:

• ACCLAMATION (Lat. acclamatio, a shouting at)

acclamation from a wider See also:

• AUDIENCE (from Lat. audire, to hear)

audience than the first . Terror and pity had never found on the stage word or expression which so exactly realized the ideal aim of tragic poetry among the countrymen of See also:

• AESCHYLUS (525–456 B.c.)

Aeschylus and See also:

• SOPHOCLES (495-406 B.c.)

Sophocles since the time or since the passing of Shakespeare, of See also:

• MARLOWE, CHRISTOPHER (1564-1593)
• MARLOWE, JULIA [SARAH FRANCES FROST] (1870– )

Marlowe and of See also:

• WEBSTER
• WEBSTER, ALEXANDER (1707-1784)
• WEBSTER, BENJAMIN NOTTINGHAM (1797-1882)
• WEBSTER, DANIEL (1782-1852)
• WEBSTER, JOHN (fl. 1602-1624)
• WEBSTER, NOAH (1758-1843)
• WEBSTER, THOMAS (1773-1844)
• WEBSTER, THOMAS (1800-1886)

Webster . The tragedy of Lucrece See also:

• BORGIA, CESARE
• BORGIA, FRANCIS (1510-1572)
• BORGIA, LUCREZIA (1480-1519)

Borgia, coequal in beauty and See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power with its three precursors, followed next year in the humbler garb of See also:

• PROSE

prose; but the prose of Victor Hugo stands higher on the record of poetry than the See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse of any lesser dramatist or poet . See also:

• MARIE

Marie Tudor (1833), his next play, was hardly more daring in its Shakespearean See also:

• DEFIANCE

defiance of historic fact, and hardly more triumphant in its Shakespearean See also:

• LOYALTY

loyalty to the See also:

• EVERLASTING, or IMMORTELLE

everlasting truth of human See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion .

Angelo, Tyran de Padoue (1835), the last of the tragic triad to which their creator denied the transfiguration of tragic verse, is inferior to neither in power of See also:

• IMAGINATION

imagination and of style, in skill of invention and construction, and in mastery over all natural and noble See also:

• SOURCES

sources of pity and of terror . La Esmeralda, the libretto of an See also:

• OPERA (Italian for " work ")

opera founded on his great tragic romance of Notre-See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame de See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, is a See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

miracle of lyric See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody and of skilful See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation . Ruy See also:

• BIAS
• BIAS (from the Fr. biais, of unknown origin; the derivation from Lat. bifax, two-faced, is wrong)

Bias (1838) was written in verse, and in such verse as none but he could write . In command and in expression of passion and of pathos, of noble and of evil nature, it equals any other work of this great dramatic poet; in the lifelike See also:

• FUSION

fusion of high See also:

• COMEDY

comedy with deep tragedy it excels them all . Les Burgraves, a tragic poem of transcendent beauty in See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution and imaginative audacity in conception, found so little favour on the stage that the author refused to submit his subsequent plays to the See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict of a public audience . Victor Hugo's first mature work in prose fiction, Le Dernier Jour d'un condamne, has appeared thirteen years earlier (1829) . As a tragic monodrama it is incomparable for sustained power and terrible beauty . The See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of See also:

• CLAUDE, JEAN (1619-1687)

Claude See also:

• GUEUX, LES

Gueux, published five years later (1834), another fervent protest against the infliction of See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital See also:

• PUNISHMENT (from Lat. punire, to punish, from poena, punishment, Gr. 7rocvil)

punishment, was followed by many other eloquent and passionate appeals to the same effect, written or spoken on various occasions which excited the pity or the indignation of the orator or the poet . In 1831 appeared the greatest of all tragic or historic or romantic poems in the form of prose narrative, Norte-Dame de Paris . Three years after-wards the author published, under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Litterature et philosophic melees, a compilation or selection of notes and essays ranging and varying in date and in style from his earliest effusions of religious royalism to the magnificent See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay on See also:

• MIRABEAU, ANDRE BONIFACE LOUIS RIQUETI, VICOMTE DE (1754-1792)
• MIRABEAU, HONORS GABRIEL RIQUETI, COMTE DE (1749-1791)
• MIRABEAU, VICTOR RIQUETI, MARQUIS DE (1715-1789)

Mirabeau which represents at once the See also:

• HISTORICAL

historical See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion and the See also:

• CRITICAL (in alphabetical order of authors)

critical capacity of Victor Hugo at the age of See also:

• THIRTY

thirty-two . Next year he published Le Rhin, a See also:

• SERIES (a Latin word from serere, to join)

series of letters from See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, brilliant and vivid beyond all comparison, containing one of the most splendid stories for See also:

• CHILDREN, LAW RELATING TO

children ever written, and followed by a See also:

• POLITICAL

political supplement rather pathetically unprophetic in its predictions . At the age of thirty-eight he honoured the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy by taking his See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among its members; the speech delivered on the occasion was characteristically generous in its See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

tribute to an undeserving memory, and significantly enthusiastic in its glorification of Napoleon .

See also:

• IDOLATRY

Idolatry of his See also:

• FATHER

father's See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero and See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader had now superseded the earlier superstition inculcated by his mother . In 1846 his first speech in the chamber of peers —Louis Philippe's See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House of Lords—was delivered on behalf of See also:

• POLAND (Polish Polska, Ger. Polen), (see POLAND, RUSSIAN, below)
• POLAND, RUSSIAN

Poland; his second, on the subject of See also:

• COAST (from Lat. costa, a rib, side)

coast See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence, is memorable for the See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence it bears of careful See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research and See also:

• PRACTICAL

practical See also:

• SUGGESTION

suggestion . His See also:

• PLEADING (Fr. plaider, plaidoyer)

pleading on behalf of the exiled See also:

• FAMILY

family of See also:

• BONAPARTE

Bonaparte induced Louis Philippe to See also:

• CANCEL (from the Lat. cancelli, a plural diminutive of cancer, a grating or lattice, from which are also derived " chancel " and " chancellor ")

cancel the See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence which excluded its members from France . After the fall and See also:

• FLIGHT

flight of the house of See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans, his See also:

• PARLIAMENTARY

parliamentary eloquence was neverless generous in aim and always as fervent in its constancy to patriotic and progressive principle . When the conspiring forces of clerical venality and political See also:

• PROSTITUTION (from Lat. prostituere, to expose publicly)

prostitution had placed a putative Bonaparte in power attained by See also:

• PERJURY (through the Anglo-Fr. perjurie, modern parjure, Lat. perjurium, a false oath, perjurare, to swear falsely)

perjury after perjury, and supported by See also:

• MASSACRE

massacre after massacre, Victor Hugo, in See also:

• COMMON

common with all See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable men who had ever taken See also:

• PART

part in political or public life under the government superseded by force of See also:

• TREASON (Fr. trahison, Lat. traditio)

treason and See also:

• MURDER

murder, was driven from his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country into an See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile of well-nigh twenty years . Next year he published Napoleon le See also:

• PETIT, SIR DINSHAW MANECKJI, BART

petit; twenty-five years afterwards, Histoire d'un See also:

• CRIME (Lat. crimen, accusation)

crime . In these two books his experience and his opinion of the See also:

• TACTICS (Gr. TaeTOc*, sc. TEXvnI, from TavQecv, to arrange in order of battle)

tactics which founded the second French See also:

• EMPIRE

empire stand registered for all time . In the deathless volume of Chatiments, which appeared in 1853, his indignation, his See also:

• GENIUS (from Lat. genere, gignere)

genius, and his faith found such utterance and such expression as must recall to the student alternately the lyric See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration of See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge and See also:

• SHELLEY, MARY WOLLSTONECRAFT (1797-1851)
• SHELLEY, PERCY BYSSHE (1792-1822)

Shelley, the prophetic inspiration of See also:

• DANTE

Dante and See also:

• ISAIAH
• ISAIAH, ASCENSION OF

Isaiah, the satiric inspiration of See also:

• JUVENAL (DECIMUS JUNIUS JUVENALIS) (c. 60-140)

juvenal and See also:

• DRYDEN, JOHN (1631-1700)

Dryden . Three years after Les Chatiments, a See also:

• BOOK

book written in See also:

• LIGHTNING

lightning, appeared Les Contemplations, a book written in sunlight and starlight . Of the six parts into which it is divided, the first translates into many-sided music the joys and sorrows, the thoughts and fancies, the studies and ardours and speculations of youth; the second, as full of See also:

• LIGHT

light and See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, grows gradually deeper in See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of thought and music; the third is yet riper and more various in form of melody and in fervour of meditation; the See also:

• FOURTH

fourth is the noblest of all tributes ever paid by song to sorrow—a series of poems consecrated to the memory of the poet's eldest daughter, who was drowned, together with her See also:

• HUSBAND

husband, by the upsetting of a See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat off -the coast of See also:

• NORMANDY

Normandy, a few months after their See also:

• WEDDING

wedding-day, in 1843; the fifth and the See also:

• SIXTH

sixth books, written during his first four years of exile (all but one noble poem which bears date nine years earlier than its See also:

• EPILOGUE

epilogue or postscript), contain mope than a few poems unsurpassed and unsurpassable for See also:

• DEPTH

depth and clarity and trenchancy of thought, for sublimity of inspiration, for intensity of faith, for loyalty in See also:

• TRANSLATION

translation from nature, and for tenderness in devotion to truth; crowned and glorified and completed by their matchless See also:

• DEDICATION (Lat. dedicatio, from dedicare, to proclaim, to announce)

dedication to the dead . Three years later again, in 1859, Victor Hugo gave to the world the first See also:

• INSTALMENT (for earlier stallment or estallment, from Fr. estaler, to fix, arrange; the change is probably due to the influence of the verb " install ")

instalment of the greatest book published in the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, La Legende See also:

• DES

des siecles . Opening with a See also:

• VISION (from Lat. videre, to see), or SIGHT

vision of See also:

• EVE

Eve in See also:

• PARADISE (Gr. lrap6BEwos)

Paradise which eclipses See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton's in beauty no less than in sublimity—a See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

dream of the mother of mankind at the See also:

• HOUR

hour when she knew the first sense of dawning motherhood, it closes with a vision of the See also:

• TRUMPET (Fr. trompette, clairon; Ger. ,Trompete, Klarino, Trummet; Ital. tromba, trombetta, clarino)
• TRUMPET, SPEAKING AND HEARING

trumpet to be sounded on the day of See also:

• JUDGMENT

judgment which transcends the imagination of Dante by right of a realized See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea which was utterly impossible of conception to a believer in Dante's creed: the idea of real and final See also:

• EQUITY (Lat. aequitas)

equity; the concept of See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute and abstract righteousness .

Between this opening and this See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close the See also:

• PAGEANT

pageant of See also:

• HISTORY

history and of See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend, marshalled and vivified by the will and the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand of the poet, ranges through an See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite variety of See also:

• ACTION

action and passion, of light and darkness, of terror and pity, of lyric rapture and of tragic See also:

• TRIUMPH (triumphus)

triumph . After yet another three years' space the author of La Legende des siecles reappeared as the author of Les Miserables, the greatest epic and dramatic work of fiction ever created or conceived: the epic of a soul transfigured and redeemed, purified by heroism and glorified through suffering; the tragedy and the comedy of life at its darkest and its brightest, of humanity at its best and at its worst . Two years afterwards the greatest See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man born since the See also:

• DEATH

death of Shakespeare paid See also:

• HOMAGE (from homo, through the Low Lat. hominaticum, which occurs in a document of 1035)

homage to the., greatest of his predecessors in a volume of magnificent and discursive eloquence which See also:

• BORE

bore the title of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William Shakespeare, and might, as its author admitted and suggested, more properly have been entitled A propos de Shakespeare . It was undertaken with the See also:

• SIMPLE

simple See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design of furnishing a See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface to his younger son's translation of Shakespeare; a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument of perfect scholarship, of indefatigable devotion, and of See also:

• LITERARY

literary genius, which eclipses even See also:

• URQUHART, DAVID (1805-1877)
• URQUHART, or URCHARD, SIR THOMAS (1611-166o)

Urquhart's See also:

• RABELAIS, FRANCOIS (c. 1490—1553)

Rabelais—its only possible competitor; and to which the translator's father prefixed a brief and admirable See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of introduction in the year after the publication of the volume which had grown under his hand into the bulk and the magnificence of an epic poem in prose . In the same year Les Chansons des rues et des See also:

• BOIL

boil gave evidence of new power and fresh variety in the exercise and display of an unequalled skill and a subtle simplicity of See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre and of style employed on the everlasting theme of lyric and idyllic See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy, and touched now and then with a See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire more See also:

• SUBLIME (Lat. sublimis, exalted)

sublime than that of youth and love . Next year the exile of See also:

• GUERNSEY (Fr. Guernesey)

Guernsey published his third great romance, Les Travailleurs de la mer, a work unsurpassed even among the works of its author for splendour of imagination and of style, for pathos and sublimity of truth . Three years afterwards the same theme was rehandled with no less magnificent mastery in L'Homme qui rit ; the theme of human heroism confronted with the superhuman tyranny of See also:

• BLIND, MATHILDE (1841—1896)

blind and unimaginable See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance, overpowered and unbroken, defeated and invincible . Between the See also:

• DATES

dates of these two great books appeared La Voix de Guernesey, a noble and terrible poem on the massacre of Mentana which branded and commemorated for ever the papal and imperial See also:

• INFAMY (Lat. infamia)

infamy of the See also:

• COL
• COL (Fr. for " neck," Lat. collum)

col-leagues in that crime . In 1872 Victor Hugo published in imperishable verse his record of the year which followed the collapse of the empire, L'Annee terrible . All the poet and all the man spoke out and stood evident in the perfervid patriotism, the filial devotion, the fatherly tenderness, the indignation and the pity, which here find alternate expression in passionate and See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar and majestic song . In 1874 he published his last great romance, the tragic and historic poem in prose called Quateevingt-lreize; a work as See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich in thought, in tenderness, in See also:

• WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

wisdom and in See also:

• HUMOUR (Latin humor)

humour and in pathos, as ever was See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast into the See also:

• MOULD

mould of poetry or of fiction . The introduction to his first volume of Actes et paroles, ranging in date from 1841 to 1851, is dated in See also:

• JUNE

June 1875; it is one of his most See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest and most eloquent appeals to the See also:

• CONSCIENCE (Lat. con-scientia, literally " knowledge of a thing shared with another person " or " complete knowledge," and derivatively " consciousness in general)
• CONSCIENCE, HENDRIK (1812-1883)

conscience and intelligence of the student .

The second volume contains the record of his deeds and words during the years of his exile; like the first and the third, it is headed by a memorable preface, as well See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth the reverent study of those who may dissent from some of the writer's views as of those who may assent to all . The third and fourth volumes preserve the See also:

• REGISTER

register of his deeds and words from 187o to 1885; they contain, among other things memorable, the nobly reticent and pathetic tribute to the memory of the two sons, Charles (1826–1871) and See also:

• FRANCOIS (1558-1614)

Francois (1828-1873), he had lost since their common return from exile . In 1877 appeared the second series of La Legende des siecles; and in the same year the author of that See also:

• COLOSSAL

colossal work, treating no less of superhuman than of human things, gave us the loveliest and most various book of song on the loveliest and simplest of subjects ever given to man, L' See also:

• ART

Art d'@tre g,andpere . Next year he published Le Pape, a vision of the spirit of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ in See also:

• APPEAL

appeal against the spirit of See also:

• CHRISTIANITY

Christianity, his ideal follower confronted and contrasted with his nominal See also:

• VICAR (Lat. vicarius, substitute)

vicar; next year again La Pilie supreme, a plea for charity towards tyrants who know not what they do, perverted by omnipotence and degraded by See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

adoration; two years later Religions et See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, a poem which is at once a cry of faith and a protest against the See also:

• CREEDS (Lat. credo, I believe), or CONFESSIONS OF FAITH

creeds which deform and distort and leave it misshapen and envenomed and defiled; and in the same year L'Ane, a paean of satiric invective against the past follies of learned See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance, and lyric rapture of confidence in the future wisdom and the final conscience of the world . These four great poems, one in sublimity of spirit and in supremacy of style, were succeeded next year by a fourfold See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of even greater See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price, Les Quatre Vents de l'esprit: the first book, that of See also:

• SATIRE (Lat. satira, satura; see below)

satire, is as full of fiery truth and radiant See also:

• REASON (Lat. ratio, through French raison)

reason as any of his previous work in that passionate and awful See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind; the second or dramatic book is as full of fresh life and living nature, of tragic humour and of mortal pathos, as any other work of the one great modern dramatist's; the third or lyric book would suffice to reveal its author as incomparably and immeasurably the greatest poet of his age, and one great among the greatest of all time; the fourth or epic book is the sublimest and most terrible of historic poems—a visionary pageant of French history from the reign and the revelries of See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry IV.to the reign and the execution of Louis XVI . Next year the great tragic poem of See also:

• TORQUEMADA, JUAN DE (1388-1468)
• TORQUEMADA, THOMAS (1420-1498)

Torquemada came forth to See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness that the hand which wrote Ruy Blas had lost nothing of its godlike power and its matchless cunning, if the author of Le Roi s'amuse had ceased to care much about coherence of construction from the theatrical point of view as compared with the perfection of a tragedy designed for the devotion of students not unworthy or incapable of the study; that his command of pity and terror, his See also:

• POWERS, HIRAM (1805-1873)

powers of See also:

• INTUITION (from Lat. intueri, to look at)

intuition and invention, had never been more absolute and more sublime; and that his infinite and illimitable charity of imagination could transfigure even the most monstrous historic representative of See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian or Catholic diabolatry into the likeness of a terribly benevolent and a tragically magnificent monomaniac . Two years later Victor Hugo published the third and concluding series of La Legende des siecles . On the 22nd of May 1885 Victor Hugo died . He was given a magnificent public funeral, and his remains were laid in the See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon . The first volume published of his See also:

• POSTHUMOUS

posthumous works was the exquisite and splendid See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre en liberte, a sequence if not a See also:

• SYMPHONY

symphony of seven poems in dramatic form, tragic or comic or fanciful eclogues, incomparable with the work of any other man but the author of The See also:

• TEMPEST, MARIE (1866– )

Tempest and The See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

Winter's See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale in See also:

• COMBINATION (Lat. combinare, to combine)

combination and See also:

• ALTERNATION (from Lat. alternare, to do by turns)

alternation of gayer and of graver harmonies . The unfinished poems, Dieu and La Fin de Satan, are full to overflowing of such magnificent work, such See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise simplicity of noble thought, such heroic and pathetic imagination, such reverent and daring faith, as no other poet has ever cast into deathless words and set to deathless music . Les Jumeaux, an unfinished tragedy, would possibly have been the very greatest of his works if it had been completed on the same See also:

• SCALE
• SCALE (1) A

scale and on the same lines as it was begun and carried forward to the point at which it was cut See also:

• SHORT, FRANCIS JOB (1857– )

short for ever .

His reminiscences of " Things Seen " in the course of a strangely varied experience, and his notes of travel among the See also:

• ALPS

Alps and See also:

• PYRENEES [Span. Pirineos, Fr. Pyrenees]

Pyrenees, in. the See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north of France and in See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium, in the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south of France and in See also:

• BURGUNDY

Burgundy, are all recorded by such a See also:

• PEN (Lat. penna, a feather, pen)

pen and registered by such a memory as no other man ever had at the service of his impressions or his thoughts . Toute la See also:

• LYRE (Gr. Xupa)

lyre, his latest See also:

• LEGACY (Lat. legatum)

legacy to the world, would be enough, though no other evidence were See also:

• LEFT

left, to show that the author was one of the very greatest among poets and among men; unsurpassed in sublimity of spirit, in spontaneity of utterance, in variety of power, and in perfection of workmanship; infinite and profound beyond all reach of praise at once in thought and in sympathy, in See also:

• PERCEPTION (from Lat. percipere, to perceive)

perception and in passion; master of all the simplest as of all the subtlest melodies or symphonies of song that ever found expression in a Border ballad or a Pythian See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode . (A . C .