Victor Hugo (February 26, 1802 - May 22, 1885)
Born: 26th February, 1802
Died: 22nd May, 1885
Nationality: French
Profession/Occupation: Author
Region: Paris, France
Notable works: "The Hunchback of Notre Dame", "Les Miserables", "Les Chatiments", "Hernani", "Odes et ballades", "Odes et poesies diverses", "Cromwell", "Hans of Iceland", "La Fin de Satan", "La Legende des siecles"

Victor Hugo Facts

Biography

Victor Hugo, in full Victor-Marie Hugo, (born February 26, 1802, Besançon, France—died May 22, 1885, Paris), poet, novelist, and dramatist who was the most important of the French Romantic writers. Though regarded in France as one of that country’s greatest poets, he is better known abroad for such novels as Notre-Dame de Paris (1831) and Les Misérables (1862).

Early years (1802–30)

Victor was the third son of Joseph-Léopold-Sigisbert Hugo, a major and, later, general in Napoleon’s army. His childhood was coloured by his father’s constant traveling with the imperial army and by the disagreements that soon alienated his parents from one another. His mother’s royalism and his father’s loyalty to successive governments—the Convention, the Empire, the Restoration—reflected their deeper incompatibility. It was a chaotic time for Victor, continually uprooted from Paris to set out for Elba or Naples or Madrid, yet always returning to Paris with his mother, whose royalist opinions he initially adopted. The fall of the empire gave him, from 1815 to 1818, a time of uninterrupted study at the Pension Cordier and the Lycée Louis-le-Grand, after which he graduated from the law faculty at Paris, where his studies seem to have been purposeless and irregular. Memories of his life as a poor student later inspired the figure of Marius in his novel Les Misérables.

From 1816, at least, Hugo had conceived ambitions other than the law. He was already filling notebooks with verses, translations—particularly from Virgil—two tragedies, a play, and elegies. Encouraged by his mother, Hugo founded a review, the Conservateur Littéraire (1819–21), in which his own articles on the poets Alphonse de Lamartine and André de Chénier stand out. His mother died in 1821, and a year later Victor married a childhood friend, Adèle Foucher, with whom he had five children. In that same year he published his first book of poems, Odes et poésies diverses, whose royalist sentiments earned him a pension from Louis XVIII. Behind Hugo’s concern for classical form and his political inspiration, it is possible to recognize in these poems a personal voice and his own particular vein of fantasy.

In 1823 he published his first novel, Han d’Islande, which in 1825 appeared in an English translation as Hans of Iceland. The journalist Charles Nodier was enthusiastic about it and drew Hugo into the group of friends, all devotees of Romanticism, who met regularly at the Bibliothèque de L’Arsenal. While frequenting this literary circle, which was called the Cénacle, Hugo shared in launching a new review of moderate tendencies, the Muse Française (1823–24). In 1824 he published a new verse collection, Nouvelles Odes, and followed it two years later with an exotic romance, Bug-Jargal (Eng. trans. The Slave King). In 1826 he also published Odes et ballades, an enlarged edition of his previously printed verse, the latest of these poems being brilliant variations on the fashionable Romantic modes of mirth and terror. The youthful vigour of these poems was also characteristic of another collection, Les Orientales (1829), which appealed to the Romantic taste for Oriental local colour. In these poems Hugo, while skillfully employing a great variety of metres in his verse and using ardent and brilliant imagery, was also gradually shedding the legitimist royalism of his youth. It may be noted, too, that “Le Feu du ciel,” a visionary poem, forecast those he was to write 25 years later. The fusion of the contemporary with the apocalyptic was always a particular mark of Hugo’s genius.

Hugo emerged as a true Romantic, however, with the publication in 1827 of his verse drama Cromwell. The subject of this play, with its near-contemporary overtones, is that of a national leader risen from the people who seeks to be crowned king. But the play’s reputation rested largely on the long, elaborate preface, in which Hugo proposed a doctrine of Romanticism that for all its intellectual moderation was extremely provocative. He demanded a verse drama in which the contradictions of human existence—good and evil, beauty and ugliness, tears and laughter—would be resolved by the inclusion of both tragic and comic elements in a single play. Such a type of drama would abandon the formal rules of classical tragedy for the freedom and truth to be found in the plays of William Shakespeare. Cromwell itself, though immensely long and almost impossible to stage, was written in verse of great force and originality. In fact, the preface to Cromwell, as an important statement of the tenets of Romanticism, has proved far more important than the play itself.

Success (1830–51)

The defense of freedom and the cult of an idealized Napoleon in such poems as the ode “À la Colonne” and “Lui” brought Hugo into touch with the liberal group of writers on the newspaper Le Globe, and his move toward liberalism was strengthened by the French king Charles X’s restrictions on the liberty of the press as well as by the censor’s prohibiting the stage performance of his play Marion de Lorme (1829), which portrays the character of Louis XIII unfavourably. Hugo immediately retorted with Hernani, the first performance of which, on February 25, 1830, gained victory for the young Romantics over the Classicists in what came to be known as the battle of Hernani. In this play Hugo extolled the Romantic hero in the form of a noble outlaw at war with society, dedicated to a passionate love and driven on by inexorable fate. The actual impact of the play owed less to the plot than to the sound and beat of the verse, which was softened only in the elegiac passages spoken by Hernani and Doña Sol.

While Hugo had derived his early renown from his plays, he gained wider fame in 1831 with his historical novel Notre-Dame de Paris (Eng. trans. The Hunchback of Notre-Dame), an evocation of life in medieval Paris during the reign of Louis XI. The novel condemns a society that, in the persons of Frollo the archdeacon and Phoebus the soldier, heaps misery on the hunchback Quasimodo and the gypsy girl Esmeralda. The theme touched the public consciousness more deeply than had that of his previous novel, Le Dernier Jour d’un condamné (1829; The Last Days of a Condemned), the story of a condemned man’s last day, in which Hugo launched a humanitarian protest against the death penalty. While Notre-Dame was being written, Louis-Philippe, a constitutional king, had been brought to power by the July Revolution. Hugo composed a poem in honour of this event, Dicté aprés juillet 1830. It was a forerunner of much of his political verse.

Four books of poems came from Hugo in the period of the July Monarchy: Les Feuilles d’automne (1831; “Autumn Leaves”), intimate and personal in inspiration; Les Chants du crépuscule (1835; Songs of Twilight), overtly political; Les Voix intérieures (1837; “Inner Voices”), both personal and philosophical; and Les Rayons et les ombres (1840; “Sunlight and Shadows”), in which the poet, renewing these different themes, indulges his gift for colour and picturesque detail. But Hugo was not content merely to express personal emotions; he wanted to be what he called the “sonorous echo” of his time. In his verse political and philosophical problems were integrated with the religious and social disquiet of the period; one poem evoked the misery of the workers, another praised the efficacy of prayer. He addressed many poems to the glory of Napoleon, though he shared with his contemporaries the reversion to republican ideals. Hugo restated the problems of his century and the great and eternal human questions, and he spoke with a warmhearted eloquence and reasonableness that moved people’s souls.

So intense was Hugo’s creative activity during these years that he also continued to pour out plays. There were two motives for this: first, he needed a platform for his political and social ideas, and, second, he wished to write parts for a young and beautiful actress, Juliette Drouet, with whom he had begun a liaison in 1833. Juliette had little talent and soon renounced the stage in order to devote herself exclusively to him, becoming the discreet and faithful companion she was to remain until her death in 1883. The first of these plays was another verse drama, Le Roi s’amuse (1832; Eng. trans. The King’s Fool), set in Renaissance France and depicting the frivolous love affairs of Francis I while revealing the noble character of his court jester. This play was at first banned but was later used by Giuseppe Verdi as the libretto of his opera Rigoletto. Three prose plays followed: Lucrèce Borgia and Marie Tudor in 1833 and Angelo, tyran de Padoue (“Angelo, Tyrant of Padua”) in 1835. Ruy Blas, a play in verse, appeared in 1838 and was followed by Les Burgraves in 1843.

Hugo’s literary achievement was recognized in 1841 by his election, after three unsuccessful attempts, to the French Academy and by his nomination in 1845 to the Chamber of Peers. From this time he almost ceased to publish, partly because of the demands of society and political life but also as a result of personal loss: his daughter Léopoldine, recently married, was accidentally drowned with her husband in September 1843. Hugo’s intense grief found some mitigation in poems that later appeared in Les Contemplations, a volume that he divided into “Autrefois” and “Aujourd’hui,” the moment of his daughter’s death being the mark between yesterday and today. He found relief above all in working on a new novel, which became Les Misérables, published in 1862 after work on it had been set aside for a time and then resumed.

With the Revolution of 1848, Hugo was elected a deputy for Paris in the Constituent Assembly and later in the Legislative Assembly. He supported the successful candidacy of Prince Louis-Napoléon for the presidency that year. The more the president evolved toward an authoritarianism of the right, however, the more Hugo moved toward the assembly’s left. When in December 1851 a coup d’état took place, which eventually resulted in the Second Empire under Napoleon III, Hugo made one attempt at resistance and then fled to Brussels.

Exile (1851–70)

Hugo’s exile lasted until the return of liberty and the reconstitution of the republic in 1870. Enforced at the beginning, exile later became a voluntary gesture and, after the amnesty of 1859, an act of pride. He remained in Brussels for a year until, foreseeing expulsion, he took refuge on British territory. He first established himself on the island of Jersey, in the English Channel, where he remained from 1852 to 1855. When he was expelled from there, he moved to the neighbouring island of Guernsey. During this exile of nearly 20 years he produced the most extensive part of all his writings and the most original.

Immersed in politics as he was, Hugo devoted the first writings of his exile to satire and recent history: Napoléon le Petit (1852), an indictment of Napoleon III, and Histoire d’un crime, a day-by-day account of Louis Bonaparte’s coup. Hugo’s return to poetry was an explosion of wrath: Les Châtiments (1853; “The Punishments”). This collection of poems unleashed his anger against the new emperor and, on a technical level, freed him from his remaining classical prejudices and enabled him to achieve the full mastery of his poetic powers. Les Châtiments ranks among the most powerful satirical poems in the French language. All Hugo’s future verse profited from this release of his imagination: the tone of this collection of poems is sometimes lyrical, sometimes epic, sometimes moving, but most often virulent, containing an undertone of national and personal frustration.

Despite the satisfaction he derived from his political poetry, Hugo wearied of its limitations and, turning back to the unpublished poems of 1840–50, set to work on the volume of poetry entitled Les Contemplations (1856). This work contains the purest of his poetry—the most moving because the memory of his dead daughter is at the centre of the book, the most disquieting, also, because it transmits the haunted world of a thinker. In poems such as “Pleurs dans la nuit” and “La Bouche d’ombre,” he reveals a tormented mind that struggles between doubt and faith in its lonely search for meaning and significance.

Hugo’s apocalyptic approach to reality was the source of two epic or metaphysical poems, La Fin de Satan (“The End of Satan”) and Dieu (“God”), both of them confrontations of the problem of evil. Written between 1854 and 1860, they were not published until after his death because his publisher preferred the little epics based on history and legend contained in the first installment (1859) of the gigantic epic poem La Légende des siècles (The Legend of the Centuries), whose second and third installments appeared in 1877 and 1883, respectively. The many poems that make up this epic display all his spiritual power without sacrificing his exuberant capacity to tell a story. Hugo’s personal mythology of the human struggle between good and evil lies behind each of the legends: Eve’s motherhood is exalted in “Le Sacre de la femme”; mankind liberating itself from all religions in order to attain divine truth is the theme of “Le Satyre”; and “Plein Ciel” proclaims, through utopian prediction of men’s conquest of the air, the poet’s conviction of indefinite progress toward the final unity of science with moral awareness.

After the publication of three long books of poetry, Hugo returned to prose and took up his abandoned novel, Les Misérables. Its extraordinary success with readers of every type when it was published in 1862 brought him instant popularity in his own country, and its speedy translation into many languages won him fame abroad. The novel’s name means “the wretched,” or “the outcasts,” but English translations generally carry the French title. The story centres on the convict Jean Valjean, a victim of society who has been imprisoned for 19 years for stealing a loaf of bread. A hardened and astute criminal upon his release, he eventually softens and reforms, becoming a successful industrialist and mayor of a northern town. Yet he is stalked obsessively by the detective Javert for an impulsive, regretted former crime, and Jean Valjean eventually sacrifices himself for the sake of his adopted daughter, Cosette, and her husband, Marius. Les Misérables is a vast panorama of Parisian society and its underworld, and it contains many famous episodes and passages, among them a chapter on the Battle of Waterloo and the description of Jean Valjean’s rescue of Marius by means of a flight through the sewers of Paris. The story line of Les Misérables is basically that of a detective story, but by virtue of its characters, who are sometimes a little larger than life yet always vital and engaging, and by its re-creation of the swarming Parisian underworld, the main theme of humankind’s ceaseless combat with evil clearly emerges.

The remaining works Hugo completed in exile include the essay William Shakespeare (1864) and two novels: Les Travailleurs de la mer (1866; The Toilers of the Sea), dedicated to the island of Guernsey and its sailors; and L’Homme qui rit (1869; The Man Who Laughs), a curious baroque novel about the English people’s fight against feudalism in the 17th century, which takes its title from the perpetual grin of its disfigured hero. Hugo’s last novel, Quatre-vingt-treize (1874; Ninety-three), centred on the tumultuous year 1793 in France and portrayed human justice and charity against the background of the French Revolution.

Last years (1870–85)

The defeat of France in the Franco-German War and the proclamation of the Third Republic in 1871 brought Hugo back to Paris. He became a deputy in the National Assembly (1871) but resigned the following month. Though he still fought for his old ideals, he no longer possessed the same energies. The trials of recent years had aged him, and there were more to come: in 1868 he had lost his wife, Adèle, a profound sadness to him; in 1871 one son died, as did another in 1873. Though increasingly detached from life around him, the poet of L’Année terrible (1872), in which he recounted the siege of Paris during the “terrible year” of 1870, had become a national hero and a living symbol of republicanism in France. In 1878 Hugo was stricken by cerebral congestion, but he lived on for some years in the Avenue d’Eylau, renamed Avenue Victor-Hugo on his 80th birthday. In 1885, two years after the death of his faithful companion Juliette, Hugo died and was given a national funeral. His body lay in state under the Arc de Triomphe and was buried in the Panthéon.

Reputation

Hugo’s enormous output is unique in French literature; it is said that he wrote each morning 100 lines of verse or 20 pages of prose. “The most powerful mind of the Romantic movement,” as he was described in 1830, laureate and peer of France in 1845, he went on to assume the role of an outlawed sage who, with the easy consciousness of authority, put down his insights and prophetic visions in prose and verse, becoming at last the genial grandfather of popular literary portraiture and the national poet who gave his name to a street in every town in France.

The recognition of Hugo as a great poet at the time of his death was followed by a period of critical neglect. A few of his poems were remembered, and Les Misérables continued to be widely read. The generosity of his ideas and the warmth of their expression still moved the public mind, for Hugo was a poet of the common man and knew how to write with simplicity and power of common joys and sorrows. But there was another side to him—what Paul Claudel called his “panic contemplation” of the universe, the numinous fear that penetrates his sombre poems La Fin de Satan and Dieu. Hugo’s knowledge of the resources of French verse and his technical virtuosity in metre and rhyme, moreover, rescued French poetry from the sterility of the 18th century. Hugo is one of those rare writers who excites both popular and academic audiences alike.

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Top 197 Victor Hugo quotes

Have courage for the great sorrows of life and patience for the small ones; and when you have laboriously accomplished your daily task, go to sleep in peace.
Accomplished
Courage
Daily
Go
Great
Life
Patience
Peace
Sleep
Small
Sorrows
Task
You
Your
What is history? An echo of the past in the future; a reflex from the future on the past.
Echo
Future
History
Past
Reflex
Change your opinions, keep to your principles; change your leaves, keep intact your roots.
Change
Intact
Keep
Leaves
Opinions
Principles
Roots
Your
An invasion of armies can be resisted, but not an idea whose time has come.
Armies
Come
Idea
Invasion
Resisted
Time
Whose
Forty is the old age of youth; fifty the youth of old age.
Age
Fifty
Forty
Old
Old age
Youth
When grace is joined with wrinkles, it is adorable. There is an unspeakable dawn in happy old age.
Adorable
Age
Dawn
Grace
Happy
Joined
Old
Old age
Unspeakable
Wrinkles
He who opens a school door, closes a prison.
Closes
Door
He
Opens
Prison
School
Who
Laughter is the sun that drives winter from the human face.
Drives
Face
Human
Human face
Laughter
Sun
Winter
Certain thoughts are prayers. There are moments when, whatever be the attitude of the body, the soul is on its knees.
Attitude
Body
Certain
Knees
Moments
Prayers
Soul
Thoughts
Whatever
Hope is the word which God has written on the brow of every man.
Brow
Every
Every man
God
Hope
Man
Which
Word
Written
How did it happen that their lips came together? How does it happen that birds sing, that snow melts, that the rose unfolds, that the dawn whitens behind the stark shapes of trees on the quivering summit of the hill? A kiss, and all was said.
Behind
Birds
Came
Dawn
Did
Does
Happen
Hill
How
Kiss
Lips
Rose
Said
Shapes
Music expresses that which cannot be said and on which it is impossible to be silent.
Cannot
Expresses
Impossible
Music
Said
Silent
Which
A man is not idle because he is absorbed in thought. There is a visible labor and there is an invisible labor.
Absorb
Because
He
Idle
Invisible
Labor
Man
Thought
Visible
When dictatorship is a fact, revolution becomes a right.
Becomes
Dictatorship
Fact
Revolution
Right
But when ill indeed, Even dismissing the doctor don't always succeed.
Always
Doctor
Even
Ill
Indeed
Succeed
Liberation is not deliverance.
Deliverance
Liberation
There are fathers who do not love their children; there is no grandfather who does not adore his grandson.
Adore
Children
Does
Fathers
Grandfather
Grandson
His
Love
Who
Hell is an outrage on humanity. When you tell me that your deity made you in his image, I reply that he must have been very ugly.
Been
Deity
He
Hell
Hell is
His
Humanity
Image
Made
Me
Must
Outrage
Reply
Tell
Strong and bitter words indicate a weak cause.
Bitter
Cause
Indicate
Strong
Weak
Words
When a man is out of sight, it is not too long before he is out of mind.
Before
He
Long
Man
Mind
Out
Sight
Too
Whenever a man's friends begin to compliment him about looking young, he may be sure that they think he is growing old.
About
Begin
Compliment
Friends
Growing
Growing old
He
Him
Looking
Man
May
Old
Sure
Think
There is one thing stronger than all the armies in the world, and that is an idea whose time as come.
Armies
Come
Idea
One thing
Stronger
Than
Thing
Time
Whose
World
Be like the bird who, pausing in her flight awhile on boughs too slight, feels them give way beneath her, and yet sings, knowing she hath wings.
Awhile
Beneath
Bird
Feels
Flight
Give
Hath
Her
Knowing
Like
She
Sings
Slight
Them
The greatest happiness of life is the conviction that we are loved; loved for ourselves, or rather, loved in spite of ourselves.
Conviction
Greatest
Greatest happiness
Happiness
Life
Loved
Ourselves
Rather
Spite
An intelligent hell would be better than a stupid paradise.
Better
Hell
Intelligent
Paradise
Stupid
Than
Would
Would-be
Nothing else in the world... not all the armies... is so powerful as an idea whose time has come.
Armies
Come
Else
Idea
Nothing
Powerful
Time
Whose
World
There is nothing like a dream to create the future.
Create
Dream
Future
Like
Nothing
One can resist the invasion of an army but one cannot resist the invasion of ideas.
Army
Cannot
Ideas
Invasion
Resist
A faith is a necessity to a man. Woe to him who believes in nothing.
Believes
Faith
Him
Man
Necessity
Nothing
Who
Woe
Architecture has recorded the great ideas of the human race. Not only every religious symbol, but every human thought has its page in that vast book.
Architecture
Book
Every
Great
Great ideas
Human
Human race
Human thought
Ideas
Only
Page
Race
Recorded
Religious
Everything being a constant carnival, there is no carnival left.
Being
Carnival
Constant
Everything
Left
Fashions have done more harm than revolutions.
Done
Fashions
Harm
More
Revolutions
Than
Habit is the nursery of errors.
Errors
Habit
Nursery
I don't mind what Congress does, as long as they don't do it in the streets and frighten the horses.
Congress
Does
Frighten
Horses
Long
Mind
Streets
To love beauty is to see light.
Beauty
Light
Love
See
To love
To think of shadows is a serious thing.
Serious
Shadows
Thing
Think
Try as you will, you cannot annihilate that eternal relic of the human heart, love.
Cannot
Eternal
Heart
Human
Human heart
Love
Relic
Try
Will
You
Wisdom is a sacred communion.
Communion
Sacred
Wisdom
As the purse is emptied, the heart is filled.
Filled
Heart
Purse
To learn to read is to light a fire; every syllable that is spelled out is a spark.
Every
Fire
Learn
Light
Out
Read
Spark
Syllable
Toleration is the best religion.
Best
Religion
Toleration
All the forces in the world are not so powerful as an idea whose time has come.
Come
Forces
Idea
Powerful
Time
Whose
World
There are thoughts which are prayers. There are moments when, whatever the posture of the body, the soul is on its knees.
Body
Knees
Moments
Posture
Prayers
Soul
Thoughts
Whatever
Which
Indigestion is charged by God with enforcing morality on the stomach.
Charged
Enforcing
God
Morality
Stomach
Joy's smile is much closer to tears than laughter.
Closer
Joy
Laughter
Much
Smile
Tears
Than
The mountains, the forest, and the sea, render men savage; they develop the fierce, but yet do not destroy the human.
Destroy
Develop
Fierce
Forest
Human
Men
Mountains
Render
Savage
Sea
Be as a bird perched on a frail branch that she feels bending beneath her, still she sings away all the same, knowing she has wings.
Away
Bending
Beneath
Bird
Branch
Feels
Frail
Her
Knowing
Same
She
Sings
Still
Wings
Initiative is doing the right thing without being told.
Being
Doing
Doing the right thing
Initiative
Right
Right thing
The right thing
Thing
Without
Our acts make or mar us, we are the children of our own deeds.
Acts
Children
Deeds
Make
Mar
Our
Own
Us
Adversity makes men, and prosperity makes monsters.
Adversity
Makes
Men
Monsters
Prosperity

Victor Hugo books

Les Miserables

Les Miserables

Selected Poems of Victor Hugo: A Bilingual Edition

Selected Poems of Victor Hugo: A Bilingual Edition

Victor Hugo - The Hunchback of Notre Dame

Victor Hugo - The Hunchback of Notre Dame

Ninety-Three (Illustrated Edition)

Ninety-Three (Illustrated Edition)

Notre-Dame of Paris (The Hunchback of Notre Dame)

Notre-Dame of Paris (The Hunchback of Notre Dame)

Les Misérables. L'intégrale

Les Misérables. L'intégrale

The Toilers of the Sea (Modern Library Classics)

The Toilers of the Sea (Modern Library Classics)

Notre-Dame de Paris (Oxford World's Classics)

Notre-Dame de Paris (Oxford World's Classics)

Victor Hugo (Critical Lives)

Victor Hugo (Critical Lives)

The Man Who Laughs

The Man Who Laughs

The Last Day of a Condemned Man

The Last Day of a Condemned Man

Victor Hugo: A Biography

Victor Hugo: A Biography

Victor Hugo essays

Read more informative topics on our blog
Compare And Contrast Cosette And Eponine English Literature Essay
In the booklet Les Miserables by Victor Hugo, it is straightforward for one to see the opposites shown in the personas. Some characters tend to be similar, while some are polar opposites. In the story, what happens to the people strongly affects their personality. This happens for the case of Eponine and Cosette. Eponine is the little princess of the Thenardiers. These are cruel, money obsessed, and are willing to do anything for an extra buck. Thenardier needs money from whoever they can by creating strategies. These schemes range between robbery to as large as murder. His better half, Mme. Thenardier..
Direct and Indirect Speech
Direct and Indirect Speech Cartoon Strip Eureka Phonica Eureka Phonica Eureka Do you know that what has been said can be stated in two ways - direct speech and indirect talk? Direct conversation means the exact words which have been spoken. Indirect speech means what is said is stated in our own words, so that it differs somewhat from that which was actually said. When the conversation changes from immediate to indirect, the tense, person and adverb may change. Indirect conversation is presented by means of an assertive word. Four types of sentences are offered..
Des Miserables by Victor Hugo
Les Misé rables is a captivating The french language novel, which usually follows the life of an sad man called Jean Valijean. Jean Valijean is an escaped prisoner, who was convicted for robbing a loaf of loaf of bread. Valijean makes many break free attempts via jail, and comes in contact with a number of characters, including Javert, the authorities officer who is desperately looking to catch him, as well as Fantine, the mom of a young girl called Cosette, who also Valijean sooner or later adopts while his very own daughter. Through the entire book, Valijean takes on a number of, "personalities,..
Your life and Achievements of Victor Hugo Documents
Victor Hugo has long been one of France's most well-known freelance writers. This Passionate poet, dramatist, and author, has remained significant since his publishing. Even though his publishing has a considerable variety of designs, some of his most famous functions bring forth his progressively radical concepts regarding social and politics reform, which in turn he developed during France's most turbulent eras, in a time of almost regular governmental revolution.About February 26, 1802, Victor Marie Hugo was born, another son to parents Leopold Hugo and Sophie Trebuchet..
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Genres: Poetry
Types of literature: Poems
William Blake, (born Nov. 28, 1757, London, Eng.—died Aug. 12, 1827, London), English engraver,..
William Butler Yeats
William Butler Yeats
Types of literature: Poems
William Butler Yeats, (born June 13, 1865, Sandymount, Dublin, Ireland—died January 28, 1939,..
William Congreve
William Congreve
Genres: Drama, Poetry
William Congreve, (born January 24, 1670, Bardsey, near Leeds, Yorkshire, England—died January..
William Cowper
William Cowper
Genres: Poetry
Types of literature: Poems, Hymns
William Cowper, (born November 26, 1731, Great Berkhamstead, Hertfordshire, England—died April..
William Hazlitt
William Hazlitt
William Hazlitt, (born April 10, 1778, Maidstone, Kent, Eng.—died Sept. 18, 1830, Soho, London),..
William Makepeace Thackeray
William Makepeace Thackeray
William Makepeace Thackeray, (born July 18, 1811, Calcutta, India—died Dec. 24, 1863, London,..
William Morris
William Morris
William Morris, (born March 24, 1834, Walthamstow, near London, England—died October 3, 1896,..
William Shakespeare
William Shakespeare
Genres: Tragedy, Drama, Comedy
Types of literature: Poems, Play, Sonnets
William Shakespeare, Shakespeare also spelled Shakspere, byname Bard of Avon or Swan of Avon, (baptized..
William Wordsworth
William Wordsworth
Genres: Poetry
Types of literature: Poems
William Wordsworth, (born April 7, 1770, Cockermouth, Cumberland, England—died April 23, 1850,..