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VHVictor Hugo

Victor Hugo

Life dates: 1802 AD — 1885 AD

Hugo places a defence of beauty beside the loss of Jean Valjean’s name in prison. Read the bishop’s reply and the narrator’s account in their separate scenes of usefulness and human dignity.

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Life and writing

The catalogue identifies Victor Hugo with lifetime years 1802–1885 and names Isabel Florence Hapgood as translator of this English Les Misérables. Judith Boss and David Widger receive digital credits. The selected passages come from the opening volume, Fantine, and concern different figures. The catalogue HTML ISBN belongs to the electronic edition. The linked reading does not establish an original print publisher or independently authenticate every archive attribution to Hugo.

When Madame Magloire proposes replacing flowers with useful vegetables, the bishop replies that the beautiful is useful too. That remark belongs to a conversation about his garden. The account of Jean Valjean’s arrival at Toulon, by contrast, is narrated: imprisonment replaces his name with a number after his separation from his family. The scenes connect dignity with both everyday choices and institutions. Neither should be treated as a direct autobiographical statement by Hugo or a universal description of prison procedure. The two selected extracts match the checked English text.

Reading this voice

Read the garden exchange through the bishop’s reply, then the account of Valjean’s separation and imprisonment. Notice the different voices: a character defending flowers and a narrator describing the effacement of a person’s name.

Subjects to explore

Words to begin with

Quotations and sayings

03c. 1843 AD
Nature is pitiless; she never withdraws her flowers, her music, her fragrance and her sunlight, from before human cruelty or suffering. She overwhelms man by the contrast between divine beauty and social hideousness. She spares him nothing of her loveliness, neither wing or butterfly, nor song of bird; in the midst of murder, vengeance, barbarism, he must feel himself watched by holy things; he cannot escape the immense reproach of universal nature and the implacable serenity of the sky. The deformity of human laws is forced to exhibit itself naked amidst the dazzling rays of eternal beauty. Man breaks and destroys; man lays waste; man kills; but the summer remains summer; the lily remains the lily; and the star remains the star....As though it said to man, 'Behold my work. and yours.
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08c. 1843 AD
Lend your ear then to this tutti of steeples; diffuse over the whole the buzz of half a million of human beings, the eternal murmur of the river, the infinite piping of the wind, the grave and distant quartet of the four forests placed like immense organs on the four hills of the horizon; soften down, as with a demi-tint, all that is too shrill and too harsh in the central mass of sound, and say if you know any thing in the world more rich, more gladdening, more dazzling than that tumult of bells; than that furnace of music; than those ten thousand brazen tones breathed all at once from flutes of stone three hundred feet high; than that city which is but one orchestra; than that symphony rushing and roaring like a tempest.
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12c. 1843 AD
Daydream, which is to thought as the nebula is to the star, borders on sleep, and is concerned with it as its frontier. An atmosphere inhabited by living transparencies: there's a beginning of the unknown. But beyond it the Possible opens out, immense.Other beings, other facts, are there. No supernaturalism, only the occult continuation of infinite nature. . . . Sleep is in contact with the Possible, which we also call the improbable. The world of the night is a world. Night, as night, is a universe. . . . The dark things of the unknown world become neighbors of man, whether by true communication or by a visionary enlargement of the distances of the abyss . . . and the sleeper, not quite seeing, not quite unconscious, glimpses the strange animalities, weird vegetations, terrible or radiant pallors, ghosts, masks, figures, hydras, confusions, moonless moonlights, obscure unmakings of miracle, growths and vanishings within a murky depth, shapes floating in shadow, the whole mystery which we call Dreaming, and which is nothing other than the approach of an invisible reality. The dream is the aquarium of Night.
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17c. 1843 AD
So long as there shall exist, by virtue of law and custom, decrees of damnation pronounced by society, artificially creating hells amid the civilization of earth, and adding the element of human fate to divine destiny; so long as the three great problems of the century—the degradation of man through pauperism, the corruption of woman through hunger, the crippling of children through lack of light—are unsolved; so long as social asphyxia is possible in any part of the world;—in other words, and with a still wider significance, so long as ignorance and poverty exist on earth, books of the nature of Les Misérables cannot fail to be of use. HAUTEVILLE HOUSE, 1862. [Translation by Isabel F. Hapgood]
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24c. 1843 AD
Where would the shout of love begin, if not from the summit of sacrifice? Oh my brothers, this is the junction between those who think and those who suffer; this barricade is made neither of paving stones, nor of timbers, nor of iron; it is made of two mounds, a mound of ideas and a mound of sorrows. Here misery encounters the ideal. Here day embraces night, and says: I will die with you and you will be born again with me. From the heavy embrace of all desolations springs faith. Sufferings bring their agony here, and ideas their immortality. This agony and immortality will mingle and make up our death.Brothers, whoever dies here dies in the radiance of the future, and we are entering a grave illuminated by the dawn.
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