Victor Hugo, página 12 de 41

The story is a dramatic episode of the revolt of the blacks of St. Domingo in 1791. Bug-Jargal, the hero, is a negro, a slave in the household of a planter. He is secretly in love with his masters daughter, a poetic child, betrothed to her cousin, Leopold dAuverney. The latter saves the life of Bug-Jargal, who is condemned to death for an act of rebellion. When the great revolt breaks out, and the whole island is in flames, Bug-Jargal protects the young girl, and saves the life of her lover. He even conducts DAuverney to her he loves, and then, in the fullness of sublime abnegation, he surrenders himself to the whites, who shoot him dead.

This work, composed of "Letters to a Friend," is the story of a merry archaeological journey. The form is a familar one, but it displays remarkable erudition. It is the chat of a witty savant who takes us from Aix-la-Chapelle to Cologne, and from Mainz to Frankfort, visiting all the monuments, recounting legends of towns, castles and hamlets, allowing himself to wander off into philosophic digressions, to indulge in picturesque recitals filled with incidents and surprises, and interspersed with serious or comic reflections. There are also prophetic pages in this book, and one cannot too much meditate upon some of the affirmations of Victor Hugo.

Les Misérables is widely regarded as 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. The novel elaborates upon the history of France, the architecture and urban design of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. This is part one of two, containing the first two volumes ("Fantine", "Cosette") and the first seven books of volume three ("Marius").

Les Misérables is widely regarded as 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. The novel elaborates upon the history of France, the architecture and urban design of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. This is part two of two, containing the eighth book of volume three ("Marius"), as well as the complete volumes four and five ("Saint-Denis", "Jean Valjean").

The drama Hernani tells the story of Doña Sol, the sun of Madrid, who is loved by Don Carlos, king of Spain, by the old duke, Ruy Gomez, and by Hernani, leader of the revolutionists, upon whose head a price is set. Doña Sol loves only Hernani; she receives him secretly at night in the house of her guardian, Ruy Gomez, to whom she is betrothed. She proposes to flee with her lover before the marriage takes place. She declares that she knows not whether he is her demon or her angel, but that she is his slave and will follow him wherever he goes. The king, Don Carlos, who is concealed in a closet, hears this avowal, and appears. At the moment when the two rivals cross their swords, Ruy Gomez enters the room. He recognizes his sovereign, who spares Hermani, saying that he belongs to his suite ...

Marion De Lorme the heroine, and Didier the hero, are simple figures, and more like those to be found in the Hernani. Didier is another brother of the Giaour, mysterious, melancholic, misanthropic. Like Hernani, he is a wanderer on the face of the earth, and has great capacity for suffering. Marion De Lorme is a poetic portrait, no doubt highly flattered, of the fair and fragile beauty who has come down to us from history, leaving her character behind her. Although, as in all of Hugos plays, the plot is of prime importance, we will say nothing of it here, because it is both hard and unfair to give in a scant sentence or two a sample of the situation for which the playwright has cunningly prepared by all that precedes it.

Ruy Blas has held the stage better than any other of his dramas and has been popular in America. Here Hugos dramatic theory of contrast of grave and gay, rapid alternation of tragic and grotesque, is pushed to its utmost verge. The scene is Madrid; the time 1699. Don Salluste de Bazan, scorned by Maria de Neubourg, second wife of the do-nothing King, Charles II, plots revenge. Failing to enlist the aid of his scapegrace but chivalrous cousin, Don Cesar, he introduces his valet, Ruy Blas, to the queen and through her sympathetic interest gains official preferment which he uses for political and fiscal reform. The queen and Ruy Blas are betrayed into a compromising situation by Don Salluste, who, when Don Cesar threatens to balk his revenge, ruthlessly sacrifices his cousin to his injured vanity. Ruy Blas kills Don Salluste and then himself, consoled that his death has extorted from the queen an admission that love has overcome all prejudice of rank or station.

Oliver Cromwell was written in 1827, but was not performed until 1956. The reasons were its length of almost 7000 verses and Hugos gigantic list of characters. The drama tells the story of Oliver Cromwells internal conflicts in being offered the crown of England. The preface is nowadays considered as one of the manifestos of the Romantic movement.

Angelo, Tyrant of Padua is a drama by Victor Hugo. The French writer finished it in 1835. The historical work portrays the chief magistrate of the Italian city Padua, Angelo.

Le roi samuse, best translated as The King Amuses Himself, is a play in five acts. It is set in Paris in the 1520s and the plot was used for Verdis 1851 opera Rigoletto. The main person of the play is Triboulet, a witty court jester, through whose words Hugo frequently attacks contemporary society.

In this book are depicted and analyzed, in due succession, all the physical sufferings, all the mental tortures a man condemned to death can experience during the hours which immediately precede his execution. This terribly moving plea was read widely and sympathetically. In a preface to the edition of 1832 the author says: The authors design in this work, that to which he would call the attention of posterity, is not a special defense, always facile and always transitory, of such-and-such a chosen criminal; it is a general and permanent plea for all the accused, present and future. It is the great cause of human rights drawn up and pleaded in every voice before society. It is the question of life and death, disrobed, denuded, stripped of its high-sounding legal subterfuges, brutally dragged to the light, and placed where people must see it, where it ought to be, and where it really is in its true place, in its own horrible element, not at the tribunal, but upon the scaffold; not with the judge, but with the executioner.

Since the awful times in which Monk Lewis used to chill the blood of the reading public, and revived in persons of mature age the terrors of infancy, there was hardly a romance so horrible, and, at the same time, so well written, as Hans of Iceland. The author has not confined himself to natural horrors, but has introduced, in the being who gives name to the work, a sort of half-demon, whose delight is in wickedness and cruelty. The book is a clever specimen of what is popularly known as the "blood and thunder" style of novel.

The Revolution at its apogee, the fatal term of the contest waged by new ideas against the old social order, by liberty against despotism, by law against tyranny; and from this conflict, from this atmosphere of blood, progress and humanity triumphantly disengaging themselves; such is the essence of the book. The drama, intermingled with graceful episodes and charming situations, is acted upon that ancient Vendean soil, whose wild, picturesque landscapes are reproduced by the masters pen. This romance obtained a success equal to that of Les Miserables.

A fisherman encounters all the fury, and caprice, and treachery of outer nature in order to win a woman whom on his return he finds to have unconsciously but irrevocably lost her heart to another. But this plainest of stories is worked into genuine tragedy by an exercise of poetic power which, at least in some portions of its display, has very rarely been surpassed in literature. It is difficult to dissent from those who fancy they discover in the authors three volumes a romance, an epic poem, and a drama of real life. There is also in the volumes a charming idyl, full of grace, sweetness, and simplicity. If there be anyone who can rise from the perusal of the book without feeling not only deeply moved, but also enlightened, chastened, and, for at least the moment, improved, "let no such man be trusted."

Mary Tudor is a drama by Victor Hugo. The French writer finished it in 1833. The historical work portrays the rise, fall and execution of Fabiano Fabiani, a fictional favourite of Mary I. of England. The Queen has Fabiani thrown in the tower until his death penalty and is unable to save him, although she thinks twice later.

Lucrezia Borgia is a drama by Victor Hugo. The French writer finished it in 1833. The historical work portrays the Renaissance-era Italian aristocrat Lucrezia Borgia. The libretto of Donizettis opera Lucrezia Borgia was based on Hugos play.

Les Misérables is considered one of the greatest novels of the 19th century. Beginning in 1815 and culminating in the 1832 June Rebellion in Paris, the novel follows the lives and interactions of several characters, particularly the struggles of ex-convict Jean Valjean and his experience of redemption. Examining the nature of law and grace, the novel elaborates upon the history of France, the architecture and urban design of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. Les Miserables has been popularized through numerous adaptations for film, television and the stage, including a musical.

Ninety-Three (Quatrevingt-treize) is the last novel by the French writer Victor Hugo. Published in 1874, shortly after the bloody upheaval of the Paris Commune, the novel concerns the Revolt in the Vendee and Chouannerie the counter-revolutionary revolts in 1793 during the French Revolution. It is divided into three parts, but not chronologically; each part tells a different story, offering a different view of historical general events. The action mainly takes place in Brittany and in Paris. Ayn Rand greatly praised this book (and Hugos writing in general), acknowledged it as a source of inspiration, and even wrote an introduction to one of its English-language editions.

Ninety-Three tells of the counter-revolutionary revolts in 1793 during the French Revolution. It is divided into three parts, and each part tells a different story, offering a different view of historical general events. The action mainly takes place in Brittany and in Paris. Les Miserables is considered one of the greatest novels of the 19th century. Beginning in 1815 and culminating in the 1832 June Rebellion in Paris, the novel follows the lives and interactions of several characters, particularly the struggles of ex-convict Jean Valjean and his experience of redemption. Examining the nature of law and grace, the novel elaborates upon the history of France, the architecture and urban design of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. Les Miserables has been popularized through numerous adaptations for film, television and the stage, including a musical.

La más extensa y famosa obra del célebre autor francés (1802-1885), un retrato social a través de personajes maltratados por la justicia, por la prisión o la pobreza. Una obra monumental, de gran valor histórico, que ilumina un periodo decisivo en la historia de Francia, desde la batalla de Waterloo. Y todo un monumento del romanticismo literario. Personajes tratados a fondo, en su interioridad, hombres enfrentados a los grandes temas, entre ellos la esperanza de la misericordia de Dios.