The History of a Crime: Works Of Hugo

Victor Hugo

Dec 2015 · Works Of Hugo Book 6 · 谷月社

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On December 1, 1851, Charras[1] shrugged his shoulder and unloaded his pistols. In truth, the belief in the possibility of a coup d'état had become humiliating. The supposition of such illegal violence on the part of M. Louis Bonaparte vanished upon serious consideration. The great question of the day was manifestly the Devincq election; it was clear that the Government was only thinking of that matter. As to a conspiracy against the Republic and against the People, how could any one premeditate such a plot? Where was the man capable of entertaining such a dream? For a tragedy there must be an actor, and here assuredly the actor was wanting. To outrage Right, to suppress the Assembly, to abolish the Constitution, to strangle the Republic, to overthrow the Nation, to sully the Flag, to dishonor the Army, to suborn the Clergy and the Magistracy, to succeed, to triumph, to govern, to administer, to exile, to banish, to transport, to ruin, to assassinate, to reign, with such complicities that the law at last resembles a foul bed of corruption. What! All these enormities were to be committed! And by whom? By a Colossus? No, by a dwarf. People laughed at the notion. They no longer said "What a crime!" but "What a farce!" For after all they reflected; heinous crimes require stature. Certain crimes are too lofty for certain hands. A man who would achieve an 18th Brumaire must have Arcola in his past and Austerlitz in his future. The art of becoming a great scoundrel is not accorded to the first comer. People said to themselves, Who is this son of Hortense? He has Strasbourg behind him instead of Arcola, and Boulogne in place of Austerlitz. He is a Frenchman, born a Dutchman, and naturalized a Swiss; he is a Bonaparte crossed with a Verhuell; he is only celebrated for the ludicrousness of his imperial attitude, and he who would pluck a feather from his eagle would risk finding a goose's quill in his hand. This Bonaparte does not pass currency in the array, he is a counterfeit image less of gold than of lead, and assuredly French soldiers will not give us the change for this false Napoleon in rebellion, in atrocities, in massacres, in outrages, in treason. If he should attempt roguery it would miscarry. Not a regiment would stir. Besides, why should he make such an attempt? Doubtless he has his suspicious side, but why suppose him an absolute villain? Such extreme outrages are beyond him; he is incapable of them physically, why judge him capable of them morally? Has he not pledged honor? Has he not said, "No one in Europe doubts my word?" Let us fear nothing. To this could be answered, Crimes are committed either on a grand or on a mean scale. In the first category there is Caesar; in the second there is Mandrin. Caesar passes the Rubicon, Mandrin bestrides the gutter. But wise men interposed, "Are we not prejudiced by offensive conjectures? This man has been exiled and unfortunate. Exile enlightens, misfortune corrects."

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Classic French Literature

About Victor Hugo

Victor Marie Hugo (26 February 1802 – 22 May 1885) was a French poet, novelist, and dramatist of the Romantic movement. He is considered one of the greatest and best-known French writers. In France, Hugo's literary fame comes first from his poetry and then from his novels and his dramatic achievements. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem. Outside France, his best-known works are the novels Les Misérables, 1862, and Notre-Dame de Paris, 1831 (known in English as The Hunchback of Notre-Dame). He also produced more than 4,000 drawings, which have since been admired for their beauty, and earned widespread respect as a campaigner for social causes such as the abolition of capital punishment.

Though a committed royalist when he was young, Hugo's views changed as the decades passed, and he became a passionate supporter of republicanism; his work touches upon most of the political and social issues and the artistic trends of his time. He is buried in the Panthéon. His legacy has been honoured in many ways, including his portrait being placed on French franc banknotes.

Works

Hugo published his first novel the year following his marriage (Han d'Islande, 1823), and his second three years later (Bug-Jargal, 1826). Between 1829 and 1840, he published five more volumes of poetry (Les Orientales, 1829; Les Feuilles d'automne, 1831; Les Chants du crépuscule, 1835; Les Voix intérieures, 1837; and Les Rayons et les ombres, 1840), cementing his reputation as one of the greatest elegiac and lyric poets of his time.

Like many young writers of his generation, Hugo was profoundly influenced by François-René de Chateaubriand, the famous figure in the literary movement of Romanticism and France's pre-eminent literary figure during the early 19th century. In his youth, Hugo resolved to be "Chateaubriand or nothing", and his life would come to parallel that of his predecessor in many ways. Like Chateaubriand, Hugo furthered the cause of Romanticism, became involved in politics (though mostly as a champion of Republicanism), and was forced into exile due to his political stances.

The precocious passion and eloquence of Hugo's early work brought success and fame at an early age. His first collection of poetry (Odes et poésies diverses) was published in 1822, when Hugo was only 20 years old, and earned him a royal pension from Louis XVIII. Though the poems were admired for their spontaneous fervour and fluency, the collection that followed four years later in 1826 (Odes et Ballades) revealed Hugo to be a great poet, a natural master of lyric and creative song.

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 (The Last Day 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.

Hugo became the figurehead of the romantic literary movement with the plays Cromwell (1827) and Hernani (1830).

Hugo's novel Notre-Dame de Paris (The Hunchback of Notre-Dame) was published in 1831 and quickly translated into other languages across Europe. One of the effects of the novel was to shame the City of Paris into restoring the much-neglected Cathedral of Notre Dame, which was 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 a full 17 years were needed for Les Misérables to be realised and finally published in 1862. Hugo was acutely aware of the quality of the novel and publication of the work went to the highest bidder. The Belgian publishing house Lacroix and Verboeckhoven undertook a marketing campaign unusual for the time, issuing press releases about the work a full six months before the launch. It also initially published only the first part of the novel ("Fantine"), which was launched simultaneously in major cities. Instalments of the book sold out within hours, and had enormous impact on French society.

The critical establishment was generally hostile to the novel; Taine found it insincere, Barbey d'Aurevilly complained of its vulgarity, Gustave Flaubert found within it "neither truth nor greatness", the Goncourt brothers lambasted its artificiality, and Baudelaire – despite giving favourable reviews in newspapers – castigated it in private as "tasteless and inept". Les Misérables proved popular enough with the masses that the issues it highlighted were soon on the agenda of the National Assembly of France. Today, the novel remains his most enduringly popular work. It is popular worldwide, and has been adapted for cinema, television, and stage shows.

An apocryphal tale about the shortest correspondence in history is said to have been between Hugo and his publisher Hurst and Blackett in 1862. Hugo was on vacation when Les Misérables was published. He queried the reaction to the work by sending a single-character telegram to his publisher, asking ?. The publisher replied with a single ! to indicate its success.

Hugo turned away from social/political issues in his next novel, Les Travailleurs de la Mer (Toilers of the Sea), published in 1866. 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 tells of a man who attempts to win the approval of his beloved's father by rescuing his ship, intentionally marooned by its captain who hopes to escape with a treasure of money it is transporting, through an exhausting battle of human engineering against the force of the sea and a battle against an almost mythical beast of the sea, a giant squid. Superficially an adventure, one of Hugo's biographers calls it a "metaphor for the 19th century–technical progress, creative genius and hard work overcoming the immanent evil of the material world."

The word used in Guernsey to refer to squid (pieuvre, also sometimes applied to octopus) was to enter the French language as a result of its use in the book. 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. 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 Émile Zola, whose realist and naturalist novels were now exceeding the popularity of his own work.

His last novel, Quatre-vingt-treize (Ninety-Three), published in 1874, dealt with a subject that Hugo had previously avoided: the Reign of Terror during 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 work on par with Hugo's better-known novels.