biographie victor hugo

PDF	I Vie et œuvre de Victor Hugo 1 La jeunesse Il naît à Besançon le 26 février 1802 Son père Léopold âgé de 29 ans y est alors en garnison Ancien soldat républicain celui-ci est devenu offi cier dans les armées de Bonaparte et sera promu colonel puis général d’Empire en 1809

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Biographie de VICTOR HUGO

C’était un écrivain homme politique et intellectuel engagé français du 19è siècle Il est considéré comme l\'un des plus importants écrivains romantiques de langue française Il est le troisième fils de Léopold et Sophie Hugo En 1809 son père devient général de Napoléon et toute la famille va beaucoup voyager (en France et en Europe)

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Biographie de Victor Hugo

Revenu à Paris sous la troisième république il vit le siège de 1870 et la guerre civile de 1871 qui lui inspirèrent l\'Année terrible poésies (1872) il donna encore la deuxième Légendes des Siècles poésies (1877) l\'Art d\'être Grand-Père poésies (1877) la troisième Légende des Siècles poésies (1881) les Quatre vents de l\'esprit poésies

Quel est le mouvement littéraire de Victor Hugo ?
Victor Hugo se regroupe avec quelques écrivains pour former le Cénacle. Ce cercle de jeunes auteurs sera le foyer de leur mouvement littéraire appelé romantisme. Hugo participe au développement de l'école romantique, en compagnie de Gérard de Nerval et Théophile Gautier.
Qui a écrit la légende de Victor Hugo ?
Paul Lafargue, « La Légende de Victor Hugo de 1817 à 1873 », dans Revue socialiste, 1885 [ lire en ligne]. Pamphlet virulent, écrit par un ancien communard, et à contre-courant, accusant l'écrivain de n'être qu'un bourgeois opportuniste. Richard Lesclide, Propos de table de Victor Hugo, E. Dentu, 1885.
Quelle est la profession de foi de Victor Hugo ?
Victor Hugo reste cependant profondément croyant en un Dieu souffrant et compatissant 217, en un Dieu force infinie créatrice de l'univers 211, à l'immortalité de l'âme et la réincarnation 218 . Son testament, représentatif de sa conception de la religion, fait figure de profession de foi : « Je donne cinquante mille francs aux pauvres.

Overview

Poet, novelist, and dramatist Victor Hugo is considered 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; The Hunchback of Notre-Dame) and Les Misérables (1862). What did Victor Hugo write? Victor Hugo produced an enormous output of work, including the novels Notre-Dame de Paris (1831; The Hunchback of Notre-Dame) and Les Misérables (1862); the plays Cromwell (1827), Hernani (1830), and Ruy Blas (1838); and the poetry collections Les Châtiments (1853) and Les Contemplations (1856). How did Victor Hugo influence others? Victor Hugo was an influential proponent of Romanticism. In a preface to his verse play Cromwell (1827), he called for a drama of action—which he saw as appropriate to modern man, the battleground of matter and spirit—that could transcend Classical categories and mix the sublime and the grotesque. What is Victor Hugo remembered for? britannica.com

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. Britannica Quiz Poetry: First Lines 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. britannica.com

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. Students save 67% Learn more about our special academic rate today. Learn More 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. britannica.com

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