Victor Hugo, página 4 de 41

Inizia con il Tomo I - Fantine la pubblicazione in formato Audio-eBook de I Miserabili di Victor Hugo in versione integrale. Opera colossale, e considerata uno dei romanzi cardine del XIX secolo e fra i piu letti di sempre. A causa della lunghezza dellopera, si e deciso di pubblicarla in cinque puntate, ciascuna con una sua propria autonomia letteraria, nel rispetto della suddivisione in cinque tomi o parti operata dallo scrittore stesso. Questo primo Tomo, dedicato a Fantine, ruota attorno allex-galeotto Jean Valjean e narra le vicende della sua scarcerazione, il suo incontro con il vescovo Myriel, la sua trasformazione nel sindaco Madeleine, la fuga dal tenebroso ispettore Javert dopo la morte di Fantine. Meraviglioso il ritratto che Hugo fa di questa bella e sfortunata donna. Lopera, avvincente e struggente, lirica e filosofica, e letta con grande perizia narrativa da Moro Silo. (Versione integraleQuesto Audio-eBook e in formato EPUB 3. Un Audio-eBook contiene sia laudio che il testo e quindi permette di leggere, di ascoltare e di leggere+ascoltare in sincronia. Puo essere letto e ascoltato su eReader, tablet, smartphone e PC.Per fruire al meglio questo Audio-eBook da leggere e ascoltare in sincronia leggi la pagina daiuto a questo link:https://help.streetlib.com/hc/it/articles/211787685-Come-leggere-gli-audio-ebook

Classic / British English (Available February 2008) Jean Valjean is free at last after nineteen years in prison. Cold and hungry, he is rejected by everyone he meets. But Jeans life is changed forever when he discovers love. He spends the rest of his life helping people, like himself, who have been victims of poverty and social injustice les miserables

Dans un cachot, un homme s'apprête à mourir. Pour tromper son intolérable attente. le condamné écrit : son vain espoir de la. grâce, son dernier voyage en fourgon, sa peur d'affronter la, foule. , mais aussi ses souvenirs de promenades autour de Paris. le sourire de sa petite fille Marie. Bientôt, le condamné sans nom et sans visage se révèle un être de chair et de sang, si proche. en somme, de chacun de nous. L'édition inclut les deux préfaces du Dernier Jour d'un condamné : " Une comédie à propos d'une tragédie " réponse de Victor Hugo à ses détracteurs, et la Préface de 1832, réquisitoire contre la peine capitale.

Three extraordinary characters caught in a web of fatal obsession are at the centre of Hugo's novel. The grotesque hunchback Quasimodo, bell-ringer of Notre-Dame, owes his life to the austere archdeacon, Claude Frollo, who in turn is bound by a hopeless passion to the gypsy dancer Esmeralda. She, meanwhile, is bewitched by a handsome, empty-headed officer, but by an unthinking act of kindness wins Quasimodo's selfless devotion. Behind the central figures moves a pageant of picturesque characters, ranging from the cruel, superstitious king, Louis XI, to the underworld of beggars and petty criminals. These disreputable truands' night-time assault on the cathedral is one of the most spectacular set-pieces of Romantic literature. Hugo vividly depicts medieval Paris, where all life is dominated by the massive cathedral. His passionate enthusiasm for Gothic architecture is set within the context of an epic view of mankind's history, to which he attaches even more importance than to the novel's compelling story. Alban Krailsheimer's new translation is a fresh approach to this monumental classic by France's most celebrated Romantic.

Classic / American English (Available February 2008) Ugly and unwanted by the outside world, Quasimodo the hunchback lives under the protection of the priest in the Cathedral of Notre-Dame. Then his quiet life is destroyed by the priests evil plans for a beautiful gypsy girl. The priest needs Quasimodos help. But the hunchback has other ideas.

Victor Hugo wrote this work whilst in exile for taking part in the events herein described. His story is thrillingly told. The world for the first time gets all the details of the coup d état by which Louis Napoleon became emperor of France. The book reads like a novel, and yet its action only goes over two days and is all strictly historical. Its publication caused a great excitement in Paris that October, and probably prevented a similar attack upon the liberties of France and the Republic. At all events, it was this fear which caused Victor Hugo to make his testimony public; for he said, "This work is more than opportune; it is imperative. I publish it."

Victor Hugo wrote the dramatic libretto for the opera "La Esmeralda" in 1836. Although the premiere of the opera was a failure, the libretto, based on Hugos novel The Hunchback of Notre-Dame, is stil

The fundamental conception of the drama "The Burgraves" is a dramatic struggle between two antithetical forces: fatality attempting to impose punishment on a degraded race and providence striving to pardon and to rehabilitate. The poet has embodied the force of fatality in an old slave named Guanhumara, a sorceress endowed with a knowledge of medicinal herbs. She has effected several cures, including that of Hatto the grandson of Job, who is the chief burgrave; and on this account, she is allowed much more freedom than is granted to the other slaves. Within the character of Guanhumara there is the contrast between the apparent weakness on account of her age, sex, and condition and the tremendous power that her mysterious and magical talents bestow together with her irresistible will to wreak vengeance.

In the spring of 1864 appeared Hugos book entitled "William Shakespeare"a book, that throws more light on the greatest genius of his own century than on the greatest genius of the age of Shakespeare. And in good sooth the light it throws on the latter is scarcely blinding. But it shows what Victor Hugo himself had come to regard as the poets mission. The poet, as he tells us, "for a truth, is a priest. There is but one pontiff here below,genius." Whereupon, if we ask by what signs we are to recognise our spiritual pastors and masters, we are told that they are "the men who represent the total sum of the absolute realisable by man," that they attain to the "highest summit of the human spirit,"" the ideal," where " they occupy thrones," and that their thoughts plunge into the abyss of the infinite.

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.

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.

Notre-Dame de Paris, also known as The Hunchback of Notre-Dame is the best-known novel of French romanticist Victor Hugo. The story about the gypsy Esmeralda, who captures the hearts of Captain Phoebus, Pierre Gringoire, the bell-ringer Quasimodo and his guardian Archdeacon Claude Frollo is an all-time classic and a must-read for all fans of French novels.

"The Man Who Laughs" ("LHomme qui Rit") was called by its author "A Romance of English History," and was written during the period Hugo spent in exile in Guernsey. Like "The Toilers of the Sea," its immediate predecessor, the main theme of the story is human heroism, confronted with the superhuman tyranny of blind chance. As a passionate cry on behalf of the tortured and deformed, and the despised and oppressed of the world, "The Man Who Laughs" is irresistible. Of it Hugo himself says in the preface: "The true title of this book should be "Aristocracy"inasmuch as it was intended as an arraignment of the nobility for their vices, crimes, and selfishness. "The Man Who Laughs" was first published in 1869.

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.

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.

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").

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.

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.