Victor Hugo

For other uses, see Victor Hugo (disambiguation).
Victor Hugo

Woodburytype of Hugo by Étienne Carjat, 1876
Born Victor Marie Hugo
(1802-02-26)26 February 1802
Besançon, Doubs, France
Died 22 May 1885(1885-05-22) (aged 83)
Paris, France
Resting place Panthéon, Paris, France
Occupation Writer, poet, politician
Nationality French
Alma mater University of Paris
Period 19th century
Genre Novel, dramaturgy, theatre, poetry, essay, drawing
Literary movement Romanticism
Notable works Hernani
The Hunchback of Notre-Dame
Ruy Blas
Les Châtiments
Les Contemplations
La Légende des siècles
Les Misérables
Toilers of the Sea
Years active 1829–1883
Spouse Adèle Foucher (m. 1822; her death 1868)
Children
Signature

Victor Marie Hugo (/ˈhjuːɡoʊ/;[1] French: [viktɔʁ maʁi yɡo]; 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 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 produced more than 4,000 drawings, and also earned 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;[2] 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.

Personal life

Hugo was the third son of Joseph Léopold Sigisbert Hugo (1774–1828) and Sophie Trébuchet (1772–1821); his brothers were Abel Joseph Hugo (1798–1855) and Eugène Hugo (1800–1837). He was born in 1802 in Besançon in the eastern region of Franche-Comté. Léopold Hugo was a freethinking republican who considered Napoleon a hero; by contrast Sophie Hugo was a Catholic Royalist who was intimately involved with her possible lover General Victor Lahorie,[3] who was executed in 1812 for plotting against Napoleon.

Hugo's childhood was a period of national political turmoil. Napoleon was proclaimed Emperor of the French two years after Hugo's birth, and the Bourbon Monarchy was restored before his 13th birthday. The opposing political and religious views of Hugo's parents reflected the forces that would battle for supremacy in France throughout his life: Hugo's father was a high-ranking officer in Napoleon's army until he failed in Spain (one of the reasons why his name is not present on the Arc de Triomphe).

Since Hugo's father was an officer, the family moved frequently and Hugo learned much from these travels. On a childhood family trip to Naples, Hugo saw the vast Alpine passes and the snowy peaks, the magnificently blue Mediterranean, and Rome during its festivities.[4] Though he was only five years old at the time, he remembered the six-month-long trip vividly. They stayed in Naples for a few months and then headed back to Paris.

At the beginning of her marriage, Hugo's mother Sophie followed her husband to posts in Italy (where Léopold served as a governor of a province near Naples) and Spain (where he took charge of three Spanish provinces). Weary of the constant moving required by military life, and at odds with her husband's lack of Catholic beliefs, Sophie separated temporarily from Léopold in 1803 and settled in Paris with her children. Thereafter she dominated Hugo's education and upbringing. As a result, Hugo's early work in poetry and fiction reflect her passionate devotion to both King and Faith. It was only later, during the events leading up to France's 1848 Revolution, that he would begin to rebel against his Catholic Royalist education and instead champion Republicanism and Freethought.

Young Victor fell in love and, against his mother's wishes, became secretly engaged to his childhood friend Adèle Foucher (1803–1868). Because of his close relationship with his mother, Hugo waited until after her death (in 1821) to marry Adèle in 1822.

Adèle and Victor Hugo had their first child, Léopold, in 1823, but the boy died in infancy. The following year, on 28 August 1824, the couple's second child, Léopoldine was born, followed by Charles on 4 November 1826, François-Victor on 28 October 1828, and Adèle on 24 August 1830.

Illustration by Luc-Olivier Merson for Notre-Dame de Paris (1881), showing the recently restored galerie des chimères.

Hugo's oldest and favourite daughter, Léopoldine, died at age 19 in 1843, shortly after her marriage to Charles Vacquerie. On 4 September 1843, she drowned in the Seine at Villequier, pulled down by her heavy skirts, when a boat overturned. Her young husband also died trying to save her. The death left her father devastated; Hugo was travelling with his mistress at the time in the south of France, and first learned about Léopoldine's death from a newspaper he read in a café.[5]

He describes his shock and grief in his famous poem À Villequier:

Hélas ! vers le passé tournant un œil d'envie,
Sans que rien ici-bas puisse m'en consoler,
Je regarde toujours ce moment de ma vie
Où je l'ai vue ouvrir son aile et s'envoler!

Je verrai cet instant jusqu'à ce que je meure,
L'instant, pleurs superflus !
Où je criai : L'enfant que j'avais tout à l'heure,
Quoi donc ! je ne l'ai plus !

Alas! turning an envious eye towards the past,
inconsolable by anything on earth,
I keep looking at that moment of my life
when I saw her open her wings and fly away!

I will see that instant until I die,
that instant—too much for tears!
when I cried out: "The child that I had just now—
what! I don't have her any more!"

He wrote many poems afterwards about his daughter's life and death, and at least one biographer claims he never completely recovered from it. His most famous poem is probably Demain, dès l'aube, in which he describes visiting her grave.

Hugo decided to live in exile after Napoleon III's coup d'état at the end of 1851. After leaving France, Hugo lived in Brussels briefly in 1851, before moving to the Channel Islands, first to Jersey (1852–1855) and then to the smaller island of Guernsey in 1855, where he stayed until Napoleon III's fall from power in 1870. Although Napoleon III proclaimed a general amnesty in 1859, under which Hugo could have safely returned to France, the author stayed in exile, only returning when Napoleon III was forced from power as a result of the French defeat in the Franco-Prussian War in 1870. After the Siege of Paris from 1870 to 71, Hugo lived again in Guernsey from 1872 to 1873, before finally returning to France for the remainder of his life.

Writings

Victor Hugo in 1853

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 Dostoyevsky. 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).[6]

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.

Portrait of "Cosette" by Émile Bayard, from the original edition of Les Misérables (1862)

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[7] 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.[8]

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."[9]

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.

Political life and exile

Among the Rocks on Jersey (1853–55)

After three unsuccessful attempts, Hugo was finally elected to the Académie française in 1841, solidifying his position in the world of French arts and letters. A group of French academicians, particularly Étienne de Jouy, were fighting against the "romantic evolution" and had managed to delay Victor Hugo's election.[10] Thereafter he became increasingly involved in French politics.

He was elevated to the peerage by King Louis-Philippe in 1845 and entered the Higher Chamber as a pair de France, where he spoke against the death penalty and social injustice, and in favour of freedom of the press and self-government for Poland.

In 1848, Hugo was elected to the Parliament as a conservative. In 1849 he broke with the conservatives when he gave a noted speech calling for the end of misery and poverty. Other speeches called for universal suffrage and free education for all children. Hugo's advocacy to abolish the death penalty was renowned internationally.

These parliamentary speeches are published in Œuvres complètes: actes et paroles I : avant l'exil, 1841–1851. Scroll down to the Assemblée Constituante 1848 heading and subsequent pages.[11]

When Louis Napoleon (Napoleon III) seized complete power in 1851, establishing an anti-parliamentary constitution, Hugo openly declared him a traitor to France. He relocated to Brussels, then Jersey, from which he was expelled for supporting a Jersey newspaper that had criticised Queen Victoria and finally settled with his family at Hauteville House in Saint Peter Port, Guernsey, where he would live in exile from October 1855 until 1870.

While in exile, Hugo published his famous political pamphlets against Napoleon III, Napoléon le Petit and Histoire d'un crime. The pamphlets were banned in France, but nonetheless had a strong impact there. He also composed or published some of his best work during his period in Guernsey, including Les Misérables, and three widely praised collections of poetry (Les Châtiments, 1853; Les Contemplations, 1856; and La Légende des siècles, 1859).

His influence was credited in the removal of the death penalty from the constitutions of Geneva, Portugal and Colombia.[12] He had also pleaded for Benito Juárez to spare the recently captured emperor Maximilian I of Mexico but to no avail. His complete archives (published by Pauvert) show also that he wrote a letter asking the USA, for the sake of their own reputation in the future, to spare John Brown's life, but the letter arrived after Brown was executed.

Although Napoleon III granted an amnesty to all political exiles in 1859, Hugo declined, as it meant he would have to curtail his criticisms of the government. It was only after Napoleon III fell from power and the Third Republic was proclaimed that Hugo finally returned to his homeland in 1870, where he was promptly elected to the National Assembly and the Senate.

He was in Paris during the siege by the Prussian army in 1870, famously eating animals given to him by the Paris zoo. As the siege continued, and food became ever more scarce, he wrote in his diary that he was reduced to "eating the unknown".[13]

Because of his concern for the rights of artists and copyright, he was a founding member of the Association Littéraire et Artistique Internationale, which led to the Berne Convention for the Protection of Literary and Artistic Works. However, in Pauvert's published archives, he states strongly that "any work of art has two authors : the people who confusingly feel something, a creator who translates these feelings, and the people again who consecrate his vision of that feeling. When one of the authors dies, the rights should totally be granted back to the other, the people".

Religious views

Marble bust of Victor Hugo by Auguste Rodin

Hugo's religious views changed radically over the course of his life. In his youth and under the influence of his mother, he identified as a Catholic and professed respect for Church hierarchy and authority. From there he became a non-practicing Catholic, and increasingly expressed anti-Catholic and anti-clerical views. He frequented spiritism during his exile (where he participated also in many séances conducted by Madame Delphine de Girardin),[14][15] and in later years settled into a rationalist deism similar to that espoused by Voltaire. A census-taker asked Hugo in 1872 if he was a Catholic, and he replied, "No. A Freethinker".[16]

After 1872, Hugo never lost his antipathy towards the Catholic Church. He felt the Church was indifferent to the plight of the working class under the oppression of the monarchy. Perhaps he also was upset by the frequency with which his work appeared on the Church's list of banned books. Hugo counted 740 attacks on Les Misérables in the Catholic press.[17] When Hugo's sons Charles and François-Victor died, he insisted that they be buried without a crucifix or priest. In his will, he made the same stipulation about his own death and funeral.[18]

Hugo's rationalism can be found in poems such as Torquemada (1869, about religious fanaticism), The Pope (1878, anti-clerical), Religions and Religion (1880, denying the usefulness of churches) and, published posthumously, The End of Satan and God (1886 and 1891 respectively, in which he represents Christianity as a griffin and rationalism as an angel). Vincent van Gogh ascribed the saying "Religions pass away, but God remains", actually by Jules Michelet, to Hugo.[19]

Victor Hugo and music

Photogravure of Victor Hugo, 1883.

Although Hugo's many talents did not include exceptional musical ability, he nevertheless had a great impact on the music world through the inspiration that his works provided for composers of the 19th and 20th century. Hugo himself particularly enjoyed the music of Gluck and Weber. In Les Misérables he calls the huntsman's chorus in Weber's Euryanthe, "perhaps the most beautiful piece of music ever composed".[20] He also greatly admired Beethoven, and rather unusually for his time, he also appreciated works by composers from earlier centuries such as Palestrina and Monteverdi.[21]

Two famous musicians of the 19th century were friends of Hugo: Hector Berlioz and Franz Liszt. The latter played Beethoven in Hugo's home, and Hugo joked in a letter to a friend that, thanks to Liszt's piano lessons, he learned how to play a favourite song on the piano – with only one finger. Hugo also worked with composer Louise Bertin, writing the libretto for her 1836 opera La Esmeralda, which was based on the character in The Hunchback of Notre Dame.[21] Although for various reasons the opera closed soon after its fifth performance and is little known today, it has enjoyed a modern revival, both in a piano/song concert version by Liszt at the Festival international Victor Hugo et Égaux 2007[22] and in a full orchestral version presented in July 2008 at Le Festival de Radio France et Montpellier Languedoc-Roussillon.[23]

Well over one thousand musical compositions have been inspired by Hugo's works from the 19th century until the present day. In particular, Hugo's plays, in which he rejected the rules of classical theatre in favour of romantic drama, attracted the interest of many composers who adapted them into operas. More than one hundred operas are based on Hugo's works and among them are Donizetti's Lucrezia Borgia (1833), Verdi's Rigoletto (1851) and Ernani (1844), and Ponchielli's La Gioconda (1876).[24]

Hugo's novels as well as his plays have been a great source of inspiration for musicians, stirring them to create not only opera and ballet but musical theatre such as Notre-Dame de Paris and the ever-popular Les Misérables, London West End's longest running musical. Additionally, Hugo's beautiful poems have attracted an exceptional amount of interest from musicians, and numerous melodies have been based on his poetry by composers such as Berlioz, Bizet, Fauré, Franck, Lalo, Liszt, Massenet, Saint-Saëns, Rachmaninoff and Wagner.[24]

Today, Hugo's work continues to stimulate musicians to create new compositions. For example, Hugo's novel against capital punishment, The Last Day of a Condemned Man, was adapted into an opera by David Alagna, with a libretto by Frédérico Alagna and premièred by their brother, tenor Roberto Alagna, in 2007.[25] In Guernsey, every two years the Victor Hugo International Music Festival attracts a wide range of musicians and the premiere of songs specially commissioned from such composers as Guillaume Connesson, Richard Dubugnon, Olivier Kaspar and Thierry Escaich and based on Hugo's poetry.

Remarkably, not only Hugo's literary production has been the source of inspiration for musical works, but also his political writings have received attention from musicians and have been adapted to music. For instance, in 2009 Italian composer Matteo Sommacal was commissioned by Festival "Bagliori d'autore" and wrote a piece for speaker and chamber ensemble entitled Actes et paroles, with a text elaborated by Chiara Piola Caselli after Victor Hugo's last political speech addressed to the Assemblée législative, "Sur la Revision de la Constitution" (18 July 1851),[26] and premiered in Rome on 19 November 2009 in the auditorium of the Institut français, Centre Saint-Louis, French Embassy to the Holy See, by Piccola Accademia degli Specchi featuring the composer Matthias Kadar.[27]

Declining years and death

Juliette Droucet
Hugo on his deathbed, 1885
Catafalque below the Arc de Triomphe in Paris, 1 June 1885
Tomb of Victor Hugo at the Panthéon

When Hugo returned to Paris in 1870, the country hailed him as a national hero. Despite his popularity Hugo lost his bid for re-election to the National Assembly in 1872. Within a brief period, he suffered a mild stroke, his daughter Adèle was interned in an insane asylum, and his two sons died. (Adèle's biography inspired the movie The Story of Adele H.) His wife Adèle had died in 1868.

His faithful mistress, Juliette Drouet, died in 1883, only two years before his own death. Despite his personal loss, Hugo remained committed to the cause of political change. On 30 January 1876, Hugo was elected to the newly created Senate. This last phase of his political career was considered a failure. Hugo was a maverick and got little done in the Senate.

Hugo suffered a mild stroke on 27 June 1878.[28][29] To honour the fact that he was entering his 80th year, one of the greatest tributes to a living writer was held. The celebrations began on 25 June 1881 when Hugo was presented with a Sèvres vase, the traditional gift for sovereigns. On 27 June, one of the largest parades in French history was held.

Marchers stretched from the Avenue d'Eylau, where the author was living, down the Champs-Élysées, and all the way to the centre of Paris. The paraders marched for six hours past Hugo as he sat at the window at his house. Every inch and detail of the event was for Hugo; the official guides even wore cornflowers as an allusion to Fantine's song in Les Misérables. On 28 June, the city of Paris changed the name of the Avenue d'Eylau to Avenue Victor-Hugo.[30] Letters addressed to the author were from then on labelled "To Mister Victor Hugo, In his avenue, Paris".

Victor Hugo's death from pneumonia on 22 May 1885, at the age of 83, generated intense national mourning. He was not only revered as a towering figure in literature, he was a statesman who shaped the Third Republic and democracy in France. More than two million people joined his funeral procession in Paris from the Arc de Triomphe to the Panthéon, where he was buried. He shares a crypt within the Panthéon with Alexandre Dumas and Émile Zola. Most large French towns and cities have a street named after him.

Hugo left five sentences as his last will, to be officially published:

Je donne cinquante mille francs aux pauvres. Je veux être enterré dans leur corbillard.
Je refuse l'oraison de toutes les Églises. Je demande une prière à toutes les âmes.
Je crois en Dieu.

"I leave 50,000 francs to the poor. I want to be buried in their hearse.
I refuse [funeral] orations of all churches. I beg a prayer to all souls.
I believe in God."

Drawings

Hugo produced more than 4,000 drawings. Originally pursued as a casual hobby, drawing became more important to Hugo shortly before his exile, when he made the decision to stop writing to devote himself to politics. Drawing became his exclusive creative outlet during the period 1848–1851.

Hugo worked only on paper, and on a small scale; usually in dark brown or black pen-and-ink wash, sometimes with touches of white, and rarely with colour. The surviving drawings are surprisingly accomplished and "modern" in their style and execution, foreshadowing the experimental techniques of Surrealism and Abstract expressionism.

He would not hesitate to use his children's stencils, ink blots, puddles and stains, lace impressions, "pliage" or folding (i.e. Rorschach blots), "grattage" or rubbing, often using the charcoal from match sticks or his fingers instead of pen or brush. Sometimes he would even toss in coffee or soot to get the effects he wanted. It is reported that Hugo often drew with his left hand or without looking at the page, or during Spiritist séances, to access his unconscious mind, a concept only later popularised by Sigmund Freud.

Hugo kept his artwork out of the public eye, fearing it would overshadow his literary work. However, he enjoyed sharing his drawings with his family and friends, often in the form of ornately handmade calling cards, many of which were given as gifts to visitors when he was in political exile. Some of his work was shown to, and appreciated by, contemporary artists such as van Gogh and Delacroix; the latter expressed the opinion that if Hugo had decided to become a painter instead of a writer, he would have outshone the artists of their century.

Memorials

The banknote of 5 New Francs 1959 of the French national bank Banque de France honouring Victor Hugo, with a view of his burial place the Panthéon in Paris, and the Place des Vosges in Paris where he used to live.
Avenue Victor-Hugo in Paris.

The people of Guernsey erected a statue by sculptor Jean Boucher in Candie Gardens (Saint Peter Port) to commemorate his stay in the islands. The City of Paris has preserved his residences Hauteville House, Guernsey and 6, Place des Vosges, Paris as museums. The house where he stayed in Vianden, Luxembourg, in 1871 has also become a commemorative museum.

Hugo is venerated as a saint in the Vietnamese religion of Cao Đài, in the front hall of the Holy See in Tây Ninh.[31][32]

The Avenue Victor-Hugo in the 16th arrondissement of Paris bears Hugo's name, and links the Place de l'Étoile to the vicinity of the Bois de Boulogne by way of the Place Victor-Hugo. This square is served by a Paris Métro stop also named in his honour. In the town of Béziers, there is a main street, a school, hospital and several cafés named after Victor Hugo. There are a number of streets and avenues throughout France named after Victor Hugo. The school Lycée Victor Hugo was founded in his town of birth, Besançon in France. Avenue Victor-Hugo, located in Shawinigan, Quebec, was named to honour him.

In the city of Avellino, Italy, Victor Hugo lived briefly stayed in what is now known as Il Palazzo Culturale, when reuniting with his father, Leopold Sigisbert Hugo, in 1808. Hugo would later write about his brief stay here quoting "C'était un palais de marbre..." ("It was a palace of marble").

Statue of Victor Hugo in Rome, Italy.
Statue of Victor Hugo in Rome, Italy. It is across from the Museo Carlo Bilotti on Viale Fiorello La Guardia.

There is a statue of Victor Hugo across from the Museo Carlo Bilotti in Rome, Italy.

Victor Hugo is the namesake of the city of Hugoton, Kansas.[33]

In Havana, Cuba there is a park named after him and bust of Hugo stands near the entrance of the Old Summer Palace in Beijing.

A mosaic commemorating Victor Hugo is located on the ceiling of the Thomas Jefferson Building of the Library of Congress.

The london and North Western Railway named a 'Prince of Wales' Class 4-6-0 No 1134 after Victor Hugo. British Railways perpetuated the memorial, naming Class 92 Electric Unit 92001 after Victor Hugo.

Religious veneration

Thanks to his contribution to mankind, his virtues, and belief in God, he is venerated as a saint in Cao Đài, a new religion established in Vietnam in 1926. According to religious records, he was assigned by God to lead the foreign mission as part of God's Divine hierarchy. He represented mankind, along with the major Saints Sun Yat-sen and Trạng Trình Nguyễn Bỉnh Khiêm, to sign a religious pact with God, promising to lead mankind to "Love and Justice" ("Amour et Justice").

Here is an excerpt of his teaching about heaven:

In all heavens, beauty reigns,
Its beings possess much of divinity.
Peace and harmony rule these realms,
Their beings know not the word 'war'.[1]

  1. ^ Gobron, Gabriel. History and Philosophy of Vietnam. Wildside Press. p. 53. ISBN 1434462846. 

Works

Victor Hugo cabinet card by London Stereoscopic Company
1952 Soviet Union postage stamp.
Ceiling mosaic, Library of Congress

Published during Hugo's lifetime

Poems of Victor Hugo

Published posthumously

References

  1. ↑ "Hugo". Random House Webster's Unabridged Dictionary.
  2. ↑ "Victor Hugo" Retrieved 22 June 2015
  3. ↑ Behr, Edward (1993). The Complete Book of Les Misérables. Arcade Publishing. p. 8.
  4. ↑ Josephson, Matthew (2006). Victor Hugo: A Realistic Biography of the Great Romantic. Jorge Pinto Books, Inc. p. 4.
  5. ↑ Victor Hugo, tome 1: Je suis une force qui va by Max Gallo, pub. Broché (2001)
  6. ↑ State Library of Victoria. "Victor Hugo: Les Misérables – From Page to Stage research guide".
  7. ↑ Garson O'Toole, "Briefest Correspondence: Question Mark? Exclamation Mark!" (14 June 2014).
  8. ↑ Norris McWhirter (1981). Guinness Book of World Records: 1981 Edition. Bantam Books, p. 216.
  9. ↑ Robb, Graham (1997). Victor Hugo: A Biography. W.W. Norton & Company. p. 414.
  10. ↑ On the role of E. de Jouy against V.Hugo, see Les aventures militaires, littéraires et autres de Etienne de Jouy de l'Académie française by Michel Faul (Editions Seguier, France, 2009 ISBN 978-2-84049-556-7)
  11. ↑ "Victor Hugo: Les Misérables – From Page to Stage research guide". State Library of Victoria.
  12. ↑ "Victor Hugo, l'homme océan". Bibliothèque nationale de France. Retrieved 19 July 2012.
  13. ↑ "Victor Hugo's diary tells how Parisians dined on zoo animals". The Spokesman-Review. Spokane, Washington. 7 February 1915. p. 3.
  14. ↑ Malgras, J. (1906). Les Pionniers du Spiritisme en France: Documents pour la formation d'un livre d'Or des Sciences Psychiques. Paris.
  15. ↑ Chez Victor Hugo. Les tables tournantes de Jersey. Extracts from meeting minutes published by Gustave Simon in 1923
  16. ↑ Gjelten, Tom (2008). Bacardi and the Long Fight for Cuba. Penguin. p. 48.
  17. ↑ Robb, Graham (1997). Victor Hugo. London: Picador. p. 32.
  18. ↑ Petrucelli, Alan (2009). Morbid Curiosity: The Disturbing Demises of the Famous and Infamous. Penguin. p. 152.
  19. ↑ "Vincent van Gogh to Theo van Gogh. The Hague, between about Wednesday, 13 & about Monday, 18 December 1882". Van Gogh Museum. Retrieved 31 January 2012.
  20. ↑ Hugo, V., Les misérables, Volume 2, Penguin Books, 1 December 1980, p.103.
  21. 1 2 "Hugo à l'Opéra", ed. Arnaud Laster, L'Avant-Scène Opéra, no. 208 (2002).
  22. ↑ Cette page utilise des cadres. Festival international Victor Hugo et Égaux. Retrieved 19 July 2012.
  23. ↑ {{{2}}} at the Wayback Machine (archived 9 May 2008)
  24. 1 2 "Hugo et la musique" in Pleins feux sur Victor Hugo, Arnaud Laster, Comédie-Française (1981)
  25. ↑ "Festival Victor Hugo & Egaux 2008".
  26. ↑ V. Hugo, Actes et paroles: Avant l'exile, 1875, Discours à l’Assemblée législative 1849-1851, J. Hetzel, Maison Quantin, Paris, 1875
  27. ↑ C. Pulsoni, "L'orazione di Victor Hugo trasformata in musica", Il Corriere dell'Umbria, Vivere d'Umbria, Perugia (IT), November 19, 2009
  28. ↑ Robb, Graham Victor Hugo (1997) p. 506
  29. ↑ Liukkonen, Petri. "Victor Hugo". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 10 February 2015.
  30. ↑ Acte de décès de Victor Hugo
  31. ↑ Hoskins, Janet Alison (2015). The Divine Eye and the Diaspora: Vietnamese Syncretism Becomes Transpacific Caodaism. pp. 2, 10, 36–37, 99–103, 189–190. ISBN 978-0-8248-5140-8.
  32. ↑ "Caodaism: A Vietnamese-centred religion". Retrieved 8 May 2009.
  33. ↑ Gannett, Henry (1905). The Origin of Certain Place Names in the United States. United States Government Publishing Office. p. 163.

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