十九世纪的法国  (1802年2月26日～1885年5月22日)

Victor Marie Hugo
维克多·马里·雨果
出生地：	法国的贝藏松
去世地：	巴黎
 外国经典 outland bible： 《巴黎圣母院 The Hunchback of Notre-Dame》 现实百态 Realistic Fiction： 《悲惨世界 Les Misérables》 《笑面人 The Man Who Laughs》 杂录 Miscellany： 《九三年 Ninety-Three》 诗词： 《诗选 anthology》    雨果诗选 阅读维克多·雨果 Victor Hugo在小说之家的作品!!! 阅读维克多·雨果 Victor Hugo在诗海的作品!!!

雨果（1802―1885），出生于法国东部的贝藏松，他的父亲曾是拿破仑部下的将军。11岁时跟着母亲和两个哥哥返回巴黎，居住在一所古老的修道院里。雨果从小爱好文学，崇拜法国早期浪漫主义作家夏多布里昂。

1827年发表《克伦威尔》序言，成为当时浪漫主义运动的重要宣言，雨果本人亦因此而被公认为浪漫主义运动的领袖。其主要诗集有《颂诗集》、《新颂歌集》、《颂诗与长歌》、《东方吟》、《秋叶集》、《黄昏之歌》、《心声集》、《光与影》、《静观集》、史诗《历代传说》、《上帝》和《撒旦的末日》。小说最著名的有《九三年》、《巴黎圣母院》和《悲惨世界》。1885年5月22日雨果逝世于巴黎,法兰西举国为他志哀。

维克多·马里·雨果（法语：Victor Marie Hugo，法语发音：[viktɔʁ maʁi yɡo] （ 聆听），1802年2月26日－1885年5月22日），法国浪漫主义文学的代表人物和19世纪前期积极浪漫主义文学运动的领袖，法国文学史上卓越的作家。雨果几乎经历了19世纪法国的所有重大事变。一生创作了众多诗歌、小说、剧本、各种散文和文艺评论及政论文章。代表作有《钟楼怪人》、《九三年》、和《悲惨世界》等。在法国，雨果主要以诗集纪念，如《静观集》和《历代传说》。他创作了4000多幅画，积极参与许多社会运动，如废除死刑。

年轻时，雨果倾向保皇主义，但随着时间推移而改变，成为共和主义的积极推动者；他的作品触及时政、社会和艺术潮流。雨果被葬于巴黎先贤祠。他的遗产被各种方式纪念，包括法国钞票上的肖像。

生平

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  维克多·雨果盾徽

 
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  约瑟夫·雨果和儿子们

 
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  外祖母蕾妮-路易斯·特雷布谢

 
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  外祖父让-弗朗索瓦·特雷布谢

1802年2月26日，维克多·雨果出生于法国东部弗朗什-孔泰地区的杜省贝桑松。父亲是约瑟夫·莱奥波德·西吉斯贝尔·雨果，母亲是索菲·特雷布谢，1772–1821）。雨果是家中的第三个儿子；他的兄弟为亚伯·约瑟夫·雨果，1798–1855）和尤金·雨果。雨果的父亲是一位自由思想共和主义者，视拿破仑为英雄；然而，母亲是位天主教保皇主义者，与维克多·拉奥里将军关系密切，后者因密谋反对拿破仑而于1812年处决。

雨果的童年在国家动荡中度过。在雨果出生2年后拿破仑称帝，在他快13岁时波旁复辟。雨果父母的政治宗教观点对立反映了法国当时的最高争斗，并贯穿了他的一生：雨果的父亲在西班牙战役倾覆前，是拿破仑手下的一位高级将军（这是凯旋门上没有他的名字的原因）。

由于雨果父亲是将军，家人不得不常常奔波，雨果从旅行中学到很多。在童年时代，全家前往那不勒斯，看到宏伟的阿尔卑斯山及山上的皑皑白雪，辽阔的蓝色地中海，欢度节日的罗马。虽然当时不过5岁，雨果能清晰地回忆6个月来的旅程。他们在那不勒斯住了几个月后返回巴黎。

在婚姻之初，雨果的母亲索菲和丈夫住在意大利（莱奥波德在那不勒斯附近作省长）和西班牙（管理西班牙三个省）。由于军旅生涯类转蓬，加上丈夫不喜欢天主教，索菲在1803年暂时与莱奥波德分居，在巴黎带孩子。这样，母亲主导了雨果的教育和成长。雨果10岁回巴黎上学，中学毕业入法学院学习，但他的兴趣在于写作，15岁时在法兰西学院的诗歌竞赛会得奖，17岁在“百花诗赛”得第一名，20岁出版诗集《颂诗集》，因歌颂波旁王朝复辟，获路易十八赏赐，在这之后他写了大量异国情调的诗歌。雨果的早期诗赋和小说反映出母亲忠君和敬虔的影响。然而，波旁王朝和七月王朝都让他感到失望，到法国二月革命爆发后，雨果开始反对天主教保皇教育，转向共和主义和自由思想。他还写过许多诗剧和剧本，几部具有鲜明特色并贯彻其主张的小说。

年轻的雨果违背母亲意思，与青梅竹马的阿黛尔·福谢订婚。由于和母亲关系密切，俩人直到母亲去世（1821年）次年才结婚。

阿黛尔和维克多·雨果在1823年生了他们第一位孩子莱奥波德，但孩子不幸夭折。1824年8月28日，第二位孩子莱奥波尔迪娜出生，随后是1826年11月4日的夏尔、1828年10月28日的弗朗索瓦-维克多和1830年8月24日的阿黛尔。

雨果的长女，也是他最喜欢的女儿莱奥波尔迪娜于1843年与Charles Vacquerie结婚，但年纪轻轻就惨遭意外。9月4日，二人在维勒基耶泛舟塞纳河上时翻船，女儿裙子太沉，直接坠入河底。年轻的女婿在营救时也遭不幸，二人双双殒命，莱奥波尔迪娜年仅19岁。当时，雨果正与情人在法国南部旅行，在饭店里的报纸上读到这一新闻，悲痛欲绝。著诗À Villequier。

之后，他也写了不少关于女儿生死方面的诗，至少有一位传记作家称雨果从未从中完全恢复过来。^{[来源请求]}其中，最著名的诗歌大概是《明日清晨》，描述给女儿上坟。

拿破仑三世1851年政变后，雨果决定流亡。离开法国后，雨果于1851年小住布鲁塞尔，随后搬到海峡群岛，先去了泽西（1852–1855）后去根西岛（1855）。在1870年拿破仑三世倒台前他一直住在那里。虽然拿破仑三世在1859年宣布大赦，雨果可以平安回国，但他没有这样做，直到1870年普法战争使得拿破仑三世失势后才回来。在1870-1871年巴黎围城之战时，雨果再次逃到根西岛，度过1872-1873年，最后返回法国，度过余生。

作品

在结婚1年后，雨果出版了第1部小说《冰岛凶汉》，3年后出了第2部小说《布格·雅加尔》。在1829到1840年间，他又出了5卷诗集（《东方诗集》、《秋叶集》、《微明之歌》、《心声集》和《光与影》），为他挣得当时最佳哀歌体和抒情体诗人称号。

像那个年代许多年轻作家，雨果深受夏多布里昂影响，夏多布里昂是浪漫主义文学运动著名人物，十九世纪法国杰出的文学家。年轻时，雨果决定成为“夏多布里昂或一无是处”。他的一生与夏多布里昂有许多类似的地方，雨果进一步推动了浪漫主义，参政（主张共和主义）并因此被迫流亡。

雨果早期作品的热情与修辞早熟，为他在年轻时就争得成功和名誉。他第一部诗集《颂诗与杂咏集》于1822年出版，当时他不过20岁，就从路易十八那里争得皇家津贴。虽然，这些诗集因热情和娴熟被喜爱，四年后的《颂诗与歌谣》更显示出雨果是个伟大的诗人，抒情和创意的天才。

维克多·雨果第一部成熟的小说出现在1829年，反应出他敏锐的社会意识，并贯穿日后的作品。《一个死囚的末日》对后来人，如阿尔贝·加缪、查尔斯·狄更斯和费奥多尔·陀思妥耶夫斯基产生深远影响。《缧绁盟心》是部有关真实杀人犯在法国处决的纪实短篇小说，于1834年问世，雨果日后认为这是就社会不公的著作《悲惨世界》的前奏。

因戏剧《克伦威尔》和《艾那尼》，雨果成为浪漫文学运动的领头人物。

小说《钟楼怪人》于1831年出版，译本很快遍布欧洲。小说的一个效果是令巴黎城窘迫，对年久失修的巴黎圣母院进行翻修，后者因小说闻名，访客络绎不绝。小说也刺激了对前文艺复兴建筑的再赏识，令其得到积极保护。

早在三十年代，雨果就打算写有关社会苦难和不公的大部头，但《悲惨世界》花了17年才完成，最终于1862年出版。

在早先的一部小说《一个死囚的末日》中雨果描述了土伦苦役犯从里出来监狱的场景。1839年，他造访土伦苦役犯监狱，做了大量笔记，但在1845年前没有下笔。在有关监狱的一页笔记里，他用大字写了自己的英雄：“JEAN TRÉJEAN”。当故事完成后，Tréjean成了Jean Valjean（冉阿让）。

雨果对小说的质量有自知之明，1862年3月23日在给他出版商艾伯特·拉克鲁瓦的信中，他说：“我确信如果这不是我最佳作品，那也是高峰作品之一。”《悲惨世界》的出版竞价最高。比利时出版商拉克鲁瓦和Verboeckhoven一反常态在出书前6个月就大幅宣传。最初，小说只出版第一部分（“芳汀”），在多个主要城市同时出售。小说在几个小时内售罄，对法国社会产生极大震撼。

批评界最初对小说充满敌意；依波利特·丹纳觉得小说不诚恳，Jules Barbey d'Aurevilly觉得言辞粗俗，古斯塔夫·福楼拜说他“在书中既找不到真理，亦找不到伟大”，龚古尔兄弟指出小说是“人工”的，夏尔·波德莱尔在报纸上称赞雨果，但在私底下却痛骂此小说为一部“无味和无能”的作品。大众则热烈追捧《悲惨世界》，以至于捧到了国民议会的议题上。今天，小说依然畅销世界，并多次改编，在电影、电视和舞台上演。

据不可靠的传闻，历史上最短的书信是雨果和出版商赫斯特和布莱克特在1862年间的回复。在《悲惨世界》出版时，雨果正在度假。雨果仅以“？”符号打电报给他的英语出版商，以询问小说的销情。作为回应，赫斯特和布莱克特仅以“！”符号电告之，表示销情很好。

1866年，在随后的小说《海上劳工》中，雨果避开了社会政治问题。小说反响良好，可能是因为前作《悲惨世界》成功的原因。雨果在英吉利海峡根西岛流亡15年，为了纪念此事，雨果讲述了一位男子为了博得父爱去营救船只。船只被船长偷走，希望能够带走其中的财富。小说充满了人与人、人与海的争斗，特别是与神秘的海怪，大乌贼的争斗。表面上是个冒险故事，但雨果的一位传记作家称它是“十九世纪的暗喻，技术进步、创造天赋和艰苦劳动克服物质世界的内在邪恶。”

根西语中的乌贼（pieuvre，有事也指章鱼）因本书进入法语。在下一部小说《笑面人》里，雨果重回政治社会问题。小说于1869年出版，对贵族大加批评。小说不如之前的成功，雨果开始承认自己和文学同行，如古斯塔夫·福楼拜、埃米尔·左拉渐行渐远，他们的现实主义和自然主义文学已经超越了他自己的风头。

1874年，最后一部作品《九三年》出版，涉及之前回避的话题：法国大革命时期的恐怖统治。虽然，出版之时雨果的风头正在走下坡路，如今许多人认为《九三年》是他最佳作品之一。

政治

1841年，雨果在经历三次失败后终于入选法兰西学术院，巩固了他在法国文艺界的地位。一批法国院士，特别是Victor-Joseph Étienne de Jouy反对“浪漫主义发展”，阻止雨果入选。因此，他更多地参与法国政治。

1845年，雨果被国王路易-菲利普一世封为贵族世卿，进入贵族议员。他发言反对死刑和社会不公，主张出版自由和波兰自治。

1848年二月革命后，雨果被选为法兰西第二共和国国民议会保守派议员。1849年，他超越保守派，发表演说呼吁终止不幸与贫困。其它演说呼吁普选和免费义务教育。雨果对废除死刑的呼吁国际知名。

这些议会演讲可以在《言行录：流亡以前》找到。查《制宪会议1848》标题和之后页面。

当路易·拿破仑于1851年政变登基，制定反议会宪法后，雨果公开宣布拿破仑三世叛国。他流亡布鲁塞尔后泽西，泽西一家报纸批评维多利亚女王，雨果因支持报纸而不得不前往根西圣彼得港的欧特维尔故居（Hauteville House），在那里从1855年10月住到1870年。在流亡中，雨果发表了反对拿破仑三世的著名政治手册《小拿破仑》和《罪恶史》。这些手册在法国被禁，但依然影响巨大。在根西时，他编撰出版了最佳作品，包括《悲惨世界》，诗集《惩罚集》、《静观集》和《历代传说》。《惩罚集》每章配有拿破仑三世的一则施政纲领条文，并加以讽刺，还用拿破仑一世的功绩和拿破仑三世的耻辱对比。

和那个时代的人一样，维克多·雨果支持对非洲殖民。1879年5月18日，他发言称地中海是“终极文明和[…]终极野蛮”的天然分割，并称“上帝把非洲给了欧洲。拿下，”以便教化当地居民。这在某种程度上解释了为什么他重视并参与政治，但在阿尔及利亚问题上出奇地沉默。他知道法军在政府阿尔及利亚期间的暴行，并记录在日记本里，但他从未公开予以谴责。《莱茵河游记》出版于1842年，时值法军登录阿尔及利亚12年后，现代读者可能对第17章结尾的意思感到困惑 ：“法国在阿尔及利亚缺的就是一点野蛮。土耳其人[...]比我们更会砍头。打击野蛮第一件事不是辩理而是力量。法国缺的英国有；俄国也有。”

值得注意的是在流放之前他从未谴责过奴隶制，在1848年4月27日详细日记里没有发现废奴的半句话。

另一方面，作为作家和议员，维克多·雨果终身为废除死刑奋斗。1829年的《一个死囚的末日》分析了犯人行刑前的煎熬；在1830至1885年的日记《随见录》里，他认为死刑是野蛮的行径；1848年9月15日，在法国二月革命7个月后，他在议会发表演说，称：“你们已经推翻了王座。[…]现在推翻绞刑架吧。”日内瓦、葡萄牙和哥伦比亚宪法废除死刑与雨果的努力有关。他也向贝尼托·胡亚雷斯请求赦免刚刚逮捕的墨西哥皇帝马西米连诺一世，但没有成功。他的全集（由波维尔出版）显示他也向美国政府致函，称为了后者未来的名声，饶约翰·布朗一命，但信件寄到时布朗已经呜呼。

虽然拿破仑三世于1859年为所有政治犯大赦，但雨果不愿对政府的批评让步而拒绝接受。1870年法国不流血革命推翻拿破仑三世，第三共和国建立之后，雨果才于1870年回国，并被选入国民议会。

1870年，普鲁士军队围困巴黎城，当时在城中的雨果不得不吃巴黎动物园给他的食物。随着围城持续，食物变得更加稀缺，在日记里他写道最后不得不“吃莫名的东西”。

1871年3月，巴黎公社起义掌权，5月28日倒台。维克多·雨果强烈谴责双方的暴行。4月9日，他在日记里写道：“简而言之，这个公社是白痴，正如国民议会太残暴一样。两边都荒唐。”不过，他为遭到残酷镇压的公社成员提供支持。自1871年3月22日起，他在布鲁塞尔，他在5月27日比利时报纸《独立报》上谴责政府拒绝为遭到监禁、流放和处决的公社成员提供政治庇护。这导致骚动，一晚，一群约50人的暴徒试图强行进入雨果家，高喊“杀掉雨果！吊死雨果！杀了这个恶棍！”

维克多·雨果称：“欧洲之间的战争是内战，”并积极倡导建立欧罗巴合众国。在1849年巴黎国际和平大会的演讲里，他阐释了这一观点。雨果在1856到1870年间流亡根西，1870年7月14日，他在欧特维尔故居花园里种下“欧罗巴合众国橡树”。

由于雨果关心艺术家权利和版权，他成为国际著作权法学会 创始成员之一，并导致伯尔尼保护文学和艺术作品公约订立。然而，在波维尔出版的文献里，他强烈呼吁：“任何艺术品有两位作者：有模糊感觉的人，解释这些感觉的创作者，以及再次推崇这种解释的人。当一位作者去世后，版权应该完全归还对方，即人民。”

音乐

虽然雨果博才多艺，但音乐方面平平，不过他的作品为十九和二十世纪作曲家提供灵感，对音乐节产生重大影响。雨果自己特别喜欢克里斯托夫·格鲁克和卡尔·韦伯的音乐。在《悲惨世界》里，他在韦伯的《欧良泰》里称亨茨曼合唱“大概是谱写出来的最美妙的音乐”。他也非常喜欢贝多芬，并且在当时不寻常地欣赏上一世纪的作曲家，如乔瓦尼·帕莱斯特里纳和克劳迪奥·蒙特威尔第。

十九世纪两位著名的音乐家埃克托·柏辽兹和李斯特·费伦茨是雨果的好友。李斯特在雨果家里演奏贝多芬，雨果在给朋友的信中开玩笑说上了李斯特的钢琴课，他能用一根手指在琴上弹自己最喜欢的曲子。雨果也与作曲家路易丝-安热莉克·贝尔坦合作，根据《钟楼怪人》主人公编写1836年剧本《埃斯梅拉达》虽然出于种种原因，歌剧演了5次就没有继续下去，对当时的情况人们知之甚少，但现在得到复兴。

另一方面，他看不上理查德·瓦格纳，说他是：“愚钝的才子”。

从十九世纪至今，超过1000部音乐作品从雨果那里获得灵感。特别是雨果的戏剧离开古典、偏好浪漫，吸引了许多作曲家改编歌剧。超过100部歌剧源自雨果的作品，如葛塔诺·多尼采蒂的《鲁克蕾齐亚·波吉亚》（1833年），朱塞佩·威尔第的弄臣（1851年）和《埃尔纳尼》（1844年），阿米尔卡雷·庞开利的《乔康达》（1876年）。

和戏剧一样，雨果的小说也成为作曲家的重要参考，推动他们创作歌剧、芭蕾舞及音乐戏剧如《钟楼怪人》和《悲惨世界》，后者成为伦敦西区上映最长的音乐剧。另外，雨果诗歌朗朗上口，也为音乐家所爱，许多歌曲也源自那里，如柏辽兹、乔治·比才、加布里埃尔·福莱、弗兰克、爱德华·拉罗、李斯特·费伦茨、儒勒·马斯内、卡米尔·圣桑、谢尔盖·拉赫玛尼诺夫和理查德·瓦格纳的作品等。

今天，雨果的作品依然帮助音乐家进行创作。在根西，每两年的维克多·雨果国际音乐节吸引大量音乐家和作品。值得注意的是，不单单是雨果的文学作品成为音乐创作的灵感，他的政治文献也受到音乐家的重视。

绘画

雨果创作了4,000多幅画。最开始不过是个兴趣爱好，在流亡前不久他停止写作，专心从政时，花了更多功夫在绘画上。在1848至1851年间，绘画成为他唯一的创作发泄。

雨果只在纸上小幅绘画；通常用深棕或黑墨笔画，有时也上白色，但很少用彩色。现存的作品娴熟的令人吃惊，在风格和处理上很“现代化”，预示了超现实主义和抽象表现主义的实验技巧。

雨果喜欢用孩子的模板、墨水、胶泥、染色剂、花边、折叠、研磨等，常常用火柴棒炭笔或自己的手指画，而不是用笔或刷子。有时他甚至会用咖啡或烟灰来取得想要的效果。据说，雨果常用左手绘画，不看纸面，会在唯灵论降神会上用潜意识绘画。这一概念日后被西格蒙德·弗洛伊德推广。

雨果没有把作品公布，害怕影响他的文学作品。不过，他喜欢给亲朋好友看，在政治流亡期间常用装饰绚烂的手绘卡片当礼物赠与访客。他的一些作品被当时的艺术家赏识，如文森特·梵高和欧仁·德拉克罗瓦；后者称如果雨果改行当画家，定会卓越出众。

风情

妻子

1822年，雨果迎娶阿黛尔·福谢。他们在一起一共46年，直到她1868年8月去世。此时，雨果依然流亡在外，无法回来参加她在维勒基耶的葬礼，他们的女儿莱奥波尔迪娜也葬在那里。在1830到1837年间，阿黛尔与评论家、作家沙尔-奥古斯丁·圣伯夫有婚外情。

朱丽叶·德鲁埃

朱丽叶·德鲁埃从1833年2月到她1883年去世时一直追随雨果，但雨果在妻子1868年去世后没有再婚。雨果带她多次出行，朱丽叶也随他一同流放根西。雨果在他的欧特维尔故居旁边为她租了小屋。她常给雨果写情书，直到她75岁去世，将近50年来从未间断，写了将近两万封信。

莱奥妮·比亚尔

雨果和有夫之妇的莱奥妮·比亚尔（Léonie d’Aunet）纠缠在一起达7年之久。1845年7月5日，雨果在与她私通时被逮了正着。身为贵族院议员，雨果享有豁免权，得以全身而退，但情妇则在监狱待了2个月，在修道院待了6个月。分手数年后，雨果对她提供了经济支援。

拈花惹草

直到去世几周前，维克多·雨果风流不断，以至于他的传记人给不出一部完整的花边合辑。他利用自己的名望、财富和权力随心所欲地拈花惹草，无论是交际花、演员、妓女、真心仰慕者、少妇、中年妇女、女仆或是像的路易斯·米歇尔革命家。雨果是个书写狂和色情狂，像塞缪尔·皮普斯，他使用自己独创的代码系统记录以掩人耳目。例如，他用拉丁语缩写（osc.：亲吻）和西班牙语（Misma. Mismas cosas：同样，同样的事）书写。同音异形异义字更加频繁：Seins（胸）写为Saint；Poële（火炉）实际指Poils（阴毛）。他也用类比来隐藏实情：女人的Suisses（瑞士）是她的胸，因为瑞士生产牛奶... 在与少女Laetitia约会后他只在日记里写下Joie（快乐）。如果他加上t.n.（toute nue，全裸）意味着她当面脱了。最后，缩写如1875年11月的S.B.可能指的是莎拉·伯恩哈特。

晚年

1870年，当雨果回到巴黎时，国家像欢迎英雄一样欢迎他。他自以为会被授予独裁大权，如当时的笔记所写：“独裁是犯罪。这个罪我犯了。”雨果认为自己应该承担责任。虽然人气颇旺，雨果没有入选1872年国民议会。

雨果一生坚信人文进步不可阻挡。1879年8月3日，在他最后的公开演讲中，他做了过于乐观的预言：“二十世纪战争将消亡，绞刑架会废除，仇恨会湮灭，边界线会取消，教条会废止；人们会活下来。”

在很短的时间内，雨果轻微中风，他的女儿阿黛尔进了疯人院，两个儿子去世。妻子阿黛尔于1868年去世。

他忠实的情妇朱丽叶·德鲁埃于1883年去世，先于他两年离开。虽然亲友失散，雨果依然坚持政治改革。1876年1月30日，他被选入新成立的参议院，但这最后的政治事业并不成功。雨果特立独行，没有建树。

1878年6月27日，雨果轻度中风。 1881年2月，在雨果的79岁生日之际，巴黎举行了盛大的庆祝活动。1881年6月25日，庆祝开始。雨果得到了统治瓷瓶，这是传统上的贡品。27日，法国历史上最大的游行之一开始了。盛大的游行队伍从他家所在的街道经过，穿过香榭丽舍大街直到巴黎中心。游行持续了6个小时，有60万他的仰慕者走过他巴黎寓所的窗前。。每一分每一秒都是为了雨果。官方导游带着矢车菊，这是《悲惨世界》中芳汀的花。6月28日，巴黎城将d'Eylau大街改为雨果大街。给作者寄信的地址从此变为“致维克多·雨果先生，他自己的大街，巴黎”。

去世前两天，他留下最后的笔记：“爱就是行动”。

1885年5月22日，雨果因患肺炎不治，享年83岁。举国悲痛哀悼。维克多·雨果不但是文学巨人，而且是法兰西第三共和国民主政治家。他为自由、平等和友爱奋斗终生，是法国文化坚定的捍卫者。1877年他75岁时，写道：“我不是那些温柔的老人之一。我还是感到愤怒和暴力，我喊著，我感到愤慨，我哭了。对任何伤害法国的人来说！我宣布以狂热的爱国者的身份去死。”

虽然他要求穷人葬礼，但总统儒勒·格雷维在6月1日为雨果举行了国葬，举国致哀，超过两百万人参加了葬礼游行。他的遗体由穷人的灵车拉着缓缓地被运送到了香榭丽舍尽头的凯旋门之下，棺上覆盖着黑纱，被安放在凯旋门下由巴黎歌剧院的设计者夏赫勒·咖赫涅建造的巨大的停灵台上停灵一夜。之后雨果被安葬在先贤祠，与大仲马和左拉同睡。许多法国城镇都有以他命名的街道。

在他去世前两年在他的遗嘱中加上了一条修改附录：

宗教思想

雨果的宗教观点在他一生中改变巨大。年轻时，受母亲影响，他认同自己是天主教徒，承认教会制度和权威。尔后，他成为冷淡教友，越来越多地发表反天主教和反教权主义观点。在流放时，他常常研习唯灵论（他常参加Delphine de Girardin夫人主持的降神会），晚年，他转信伏尔泰的理智主义自然神论。1872年，人口普查问询雨果是否是天主教徒时，他回答：“不是，是自由思想者”。

1872年，雨果还是反感天主教会。他认为天主教对工人阶级的苦难、对王朝压迫无动于衷。另一可能是他对教会禁书十分不满。就天主教会对《悲惨世界》的批判，雨果数了740出。当雨果的儿子夏尔和弗朗索瓦-维克多去世时，他坚持墓地不要十架苦像，不叫神甫。在遗嘱中，他也做出同样的要求。

不过，他相信来世，每天早晚都会祷告，在《笑面人》中，他写道：“感恩有翼，飞向正地。祷告比你更加识途”。"

雨果的理智主义可以在《托尔克马达》（1869年，宗教狂热主义），《教皇》（1878年，反教权主义），《宗教和宗教》（1880年，反对教会实用性），以及后世出版的《撒旦末日》和《神》（1886年和1891年，其中他将基督教比喻为狮鹫、理智主义为天使）。文森特·梵高将名言“宗教将会消失，但是上帝仍然存在”归于雨果，其实是儒勒·米什莱所言。

纪念

1959年，法兰西银行为了纪念雨果，将其头像印刷5法郎面值的纸币上。该纸币正面背景为其埋葬的先贤祠，背面背景为其生前居住过的孚日广场。

越南新兴宗教高台教尊雨果、孙中山和阮秉谦为“三圣”。

中文翻译

• 维克多‧雨果在中国最初的译名为嚣俄，中国的第一部雨果翻译是1903年鲁迅翻译的《哀尘》（《随见录》Choses vues之节译），译者署名为庚辰，刊于《浙江潮》第5期，描写一善良女子芳梯被一无赖少年频那夜迦欺侮的故事。

• 1903年，冷血译西余谷《游皮》

• 1910年，包天笑翻译雨果的戏剧《Angelo》，译名为《牺牲》（又称《狄四娘》）。包天笑翻译雨果作品还有《侠奴血》和《铁窗红泪记》。林纾曾译过雨果的一部小说《双雄义死录》，雨果被他译成预勾。

• 1912年，曾朴翻译嚣俄《九十三年》（1929年连载于上海《时报》，1913年有正书局出版，1931年再版）

• 1913年，高君平翻译嚣俄《妙龄，赠彼姝也》

• 1914年，高君平翻译嚣俄《夏之夜二章》

• 1914年，东亚病夫（曾朴）译《银瓶怨》（1930年真美善书店出版，又名《项日乐》，Angelo，现译为《安日乐》）

• 1916年，雪生翻译《缧绁盟心》（Claude Gueux）

• 1916年，曾朴翻译嚣俄《枭欤》（Lucrece Borgia，《吕克兰斯鲍夏》）

• 1918年，周瘦鹃译《贫民血》

• 1929年，邱韵铎译《死囚之末日》（上海现代书店出版）

• 1830年，曾朴翻译《欧那尼》（Hernani，现译为《艾那尼》）

• 1923年，俞忽译《活冤孽》（1923年4月商务印书馆出版）

• 1949年，陈敬容译《巴黎圣母院》，1949年4月上海骆驼书店出版

• 李丹、方于夫妇从1958年至1984年翻译《悲惨世界》，这是中国第一套《悲惨世界》全译本，全部由人民文学出版社出齐（第一卷，1958年；第二卷，1959年；第三、四卷，1980年；第五卷，1984年）。

作品一览

年	中文题目	原题
1822年	颂诗与杂咏集	Odes et poésies diverses
1823年	冰岛凶汉	Han d'Islande
1824年	颂诗集	Nouvelles Odes
1826年	比格·雅加尔	Bug-Jargal
1826年	颂诗与歌谣	Odes et Ballades
1827年	克伦威尔	Cromwell
1829年	东方诗集	Les Orientales
1829年	一个死囚的末日	Le Dernier jour d'un condamné
1830年	埃尔纳尼	Hernani
1831年	钟楼怪人	Notre-Dame de Paris
1831年	玛丽昂·德洛姆	Marion Delorme
1831年	秋叶集	Les Feuilles d'automne
1832年	国王寻乐	Le roi s'amuse
1833年	卢克雷齐娅·博尔贾	Lucrèce Borgia
1833年	玛丽·都铎	Marie Tudor
1834年	米拉波研究	Étude sur Mirabeau
1834年	文学与哲学论文集	Littérature et philosophie mêlées
1834年	缧绁盟心	Claude Gueux
1835年	安日乐	Angelo
1835年	微明之歌	Les Chants du crépuscule
1837年	心声集	Les Voix intérieures
1838年	吕·布拉斯	Ruy Blas
1840年	光与影	Les Rayons et les ombres
1842年	莱茵河游记	Le Rhin
1843年	卫戍官	Les Burgraves
1852年	小拿破仑	Napoléon le Petit
1853年	惩罚集	Les Châtiments
1855年	给路易·波拿巴的信	Lettres a Louis Bonaparte
1856年	静观集	Les Contemplations
1859年	历代传说	La Légende des siècles
1862年	悲惨世界，又译悲惨世界(消歧义)	Les Misérables
1864年	论威廉·莎士比亚	William Shakespeare
1865年	街与森林之歌	Les Chansons des rues et des bois
1866年	海上劳工	Les Travailleurs de la Mer
1867年	巴黎：巴黎指南前言	Paris : Préface de Paris Guide
1869年	笑面人	L'Homme qui rit
1872年	凶年集	L'Année terrible
1874年	九三年	Quatrevingt-treize
1874年	我的儿子们	Mes Fils
1875年	言行录：流亡以前	Actes et paroles – Avant l'exil
1875年	言行录：流亡中	Actes et paroles – Pendant l'exil
1876年	言行录：流亡以后	Actes et paroles – Depuis l'exil
1877年	历代传说 第2卷	La Légende des Siècles 2e série
1877年	祖父乐	L'Art d'être grand-père
1877年	罪恶史第1部	Histoire d'un crime 1re partie
1878年	罪恶史第2部	Histoire d'un crime 2e partie
1878年	教皇	Le Pape
1880年	宗教与信仰	Religions et religion
1880年	驴子	L'Âne
1881年	灵台集	Les Quatres vents de l'esprit
1882年	笃尔克玛	Torquemada
1883年	历代传说 第3卷	La Légende des siècles Tome III
1883年	英吉利海峡群岛	L'Archipel de la Manche

画廊

• 

  《暮光》 ，泽西，1853–1855年

 
• 

  《镇子与摇晃的桥》，1847年

 
• 

  《章鱼与缩写V.H.》，1866年

 
• 

  《想象之地的Ermitage石》

 
• 

  《灯塔》

 
• 

  《加夫罗什十一岁》

 
• 

  《东方》，1860年

 
• 

  《河流》，1871年

注释

更多阅读

 

Victor-Marie Hugo (pronounced [viktɔʁ maʁi yˈɡo]) (February 26, 1802 – May 22, 1885) was a French poet, playwright, novelist, essayist, visual artist, statesman, human rights campaigner, and perhaps the most influential exponent of the Romantic movement in France.

In France, Hugo's literary reputation rests primarily on his poetic and dramatic output and only secondarily on his novels. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. In the English-speaking world his best-known works are the novels Les Misérables and Notre-Dame de Paris (sometimes translated into English as The Hunchback of Notre-Dame).

Though extremely conservative in his youth, Hugo moved to the political left as the decades passed; he became a passionate supporter of republicanism, and his work touches upon most of the political and social issues and artistic trends of his time. He is buried in the Panthéon.

Victor-Marie Hugo was the third and last son of Joseph Léopold Sigisbert Hugo (1773–1828) 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 region of Franche-Comté) and lived in France for the majority of his life. However, he was forced into exile during the reign of Napoleon III — he lived briefly in Brussels during 1851; in Jersey from 1852 to 1855; and in Guernsey from 1855 to 1870 and again in 1872-1873. There was a general amnesty in 1859; after that, his exile was by choice.

Hugo's early childhood was marked by great events. The century prior to his birth saw the overthrow of the Bourbon Dynasty in the French Revolution, the rise and fall of the First Republic, and the rise of the First French Empire and dictatorship under Napoleon Bonaparte. Napoleon was proclaimed Emperor two years after Hugo's birth, and the Bourbon Monarchy was restored before his eighteenth 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, an atheist republican who considered Napoleon a hero; his mother was a staunch Catholic Royalist who is believed to have taken as her lover General Victor Lahorie, who was executed in 1812 for plotting against Napoleon.

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 unfaithful husband, Sophie separated temporarily from Léopold in 1803 and settled in Paris. Thereafter she dominated Hugo's education and upbringing. As a result, Hugo's early work in poetry and fiction reflect a 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.


Early poetry and fiction
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 preëminent literary figure during the early 1800s. In his youth, Hugo resolved to be “Chateaubriand or nothing,” and his life would come to parallel that of his predecessor’s in many ways. Like Chateaubriand, Hugo would further the cause of Romanticism, become involved in politics as a champion of Republicanism, and be 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 (Nouvelles Odes et Poésies Diverses) was published in 1824, when Hugo was only twenty two years old, and earned him a royal pension from Louis XVIII. Though the poems were admired for their spontaneous fervor and fluency, it was the collection that followed two years later in 1826 (Odes et Ballades) that revealed Hugo to be a great poet, a natural master of lyric and creative song.

Against his mother's wishes, young Victor fell in love and became secretly engaged to his childhood friend Adèle Foucher (1803-1868). Unusually close to his mother, it was only after her death in 1821 that he felt free to marry Adèle (in 1822). They had their first child Léopold in 1823, but the boy died in infancy. Hugo's other children were Léopoldine (August 28, 1824), Charles (November 4, 1826), François-Victor (October 28, 1828) and Adèle (August 24, 1830). Hugo published his first novel the following year (Han d'Islande, 1823), and his second three years later (Bug-Jargal, 1826). Between 1829 and 1840 he would publish 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.


Mature fiction

Illustration by Alfred Barbou from the original edition of Notre Dame de Paris (1831)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 (Last Days of a Condemned Man) would have a profound influence on later writers such as Albert Camus, Charles Dickens, and Fyodor Dostoevsky. 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. But Hugo’s first full-length novel would be the enormously successful Notre-Dame de Paris (The Hunchback of Notre Dame), which 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 to undertake a restoration of 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 it would take a full 17 years for his most enduringly popular work, Les Misérables, to be realized and finally published in 1862. The author 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. Installments 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, Flaubert found within it "neither truth nor greatness," the Goncourts lambasted its artificiality, and Baudelaire - despite giving favorable reviews in newspapers - castigated it in private as "tasteless and inept." Nonetheless, Les Misérables proved popular enough with the masses that the issues it highlighted were soon on the agenda of the French National Assembly. Today the novel remains popular worldwide, adapted for cinema, television and musical stage to an extent equaled by few other works of literature.

The shortest correspondence in history is between Hugo and his publisher Hurst & Blackett in 1862. It is said Hugo was on vacation when Les Misérables (which is over 1200 pages) was published. He telegraphed the single-character message '?' to his publisher, who replied with a single '!'.

Hugo turned away from social/political issues in his next novel, Les Travailleurs de la Mer (Toilers of the Sea), published in 1866. Nonetheless, 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’s depiction of Man’s battle with the sea and the horrible creatures lurking beneath its depths spawned an unusual fad in Paris: Squids. From squid dishes and exhibitions, to squid hats and parties, Parisiennes became fascinated by these unusual sea creatures, which at the time were still considered by many to be mythical. The Guernsey word used in the book has also been used to refer to the octopus.

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. However, 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 Zola, whose realist and naturalist novels were now exceeding the popularity of his own work. His last novel, Quatrevingt-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
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. Thereafter he became increasingly involved in French politics as a supporter of the Republic form of government. He was elevated to the peerage by King Louis-Philippe in 1841 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. He was later elected to the Legislative Assembly and the Constitutional Assembly, following the 1848 Revolution and the formation of the Second Republic.


Among the Rocks on Jersey (1853-55)When Louis Napoleon (Napoleon III) seized complete power in 1851, establishing an anti-parliamentary constitution, Hugo openly declared him a traitor of France. He fled to Brussels, then Jersey, and finally settled with his family on the channel island of Guernsey at Hauteville House, where he would live in exile 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 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).

He convinced the government of Queen Victoria to spare the lives of six Irish people convicted of terrorist activities and his influence was credited in the removal of the death penalty from the constitutions of Geneva, Portugal and Colombia.

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 him by the Paris zoo. As the siege continued, and food became ever more scarce, he wrote in his diary that they were now reduced to eating things even though he was not at all sure what it was: "we are eating the unknown," he wrote.

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.


Religious views
Hugo's religious views changed radically over the course of his life. In his youth, he identified as a Catholic and professed respect for Church hierarchy and authority. From there he evolved into a non-practicing Catholic, and expressed increasingly violent anti-papist and anti-clerical views. He dabbled in Spiritualism during his exile (where he participated also in seances), and in later years settled into a Rationalist Deism similar to that espoused by Voltaire. When a census-taker asked Hugo in 1872 if he was a Catholic, he replied, "No. A Freethinker".

Hugo never lost his antipathy towards the Roman Catholic Church, due largely to what he saw as the Church's indifference to the plight of the working class under the oppression of the monarchy; and perhaps also due to the frequency with which Hugo's work appeared on the Pope's list of "proscribed books" (Hugo counted 740 attacks on Les Misérables in the Catholic press). On the deaths of his sons Charles and François-Victor, he insisted that they be buried without crucifix or priest, and in his will made the same stipulation about his own death and funeral. However, although Hugo believed Catholic dogma to be outdated and dying, he never directly attacked the institution itself. He also remained a deeply religious man who strongly believed in the power and necessity of prayer.

Hugo's Rationalism can be found in poems such as Torquemada (1869, about religious fanaticism), The Pope (1878, violently 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).

"Religions pass away, but God remains", Hugo declared. Christianity would eventually disappear, he predicted, but people would still believe in "God, Soul, and the Power."


Victor Hugo and Music
Although Hugo's many talents did not include exceptional musical ability, he nevertheless had a great impact on the music world through the endless inspiration that his works provided for composers of the 19th and 20th century. Hugo himself particularly enjoyed the music of Gluck and Weber and greatly admired Beethoven, and rather unusually for his time, he also appreciated works by composers from earlier centuries such as Palestrina and Monteverdi. Two famous musicians of the 19th century were friends of Hugo: Berlioz and 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 – even though only with one finger! Hugo also worked with composer Louise Bertin, writing the libretto for her 1836 opera La Esmeralda which was based on Hugo’s novel Notre-Dame de Paris. Although for various reasons this beautiful and original opera closed soon after its fifth performance and is little known today, it has been recently enjoying a revival, both in a piano/song concert version by Liszt at the Festival international Victor Hugo et Égaux 2007 and in a full orchestral version to be presented in July 2008 at Le Festival de Radio France et Montpellier Languedoc-Roussillon.

Well over one thousand musical compositions have been inspired by Hugo’s works from the 1800s 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). 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, Rachmaninov and Wagner.

Today, Hugo’s work continues to stimulate musicians to create new compositions. For example, Hugo’s novel against capital punishment, Le Dernier Jour d'un condamné (Last Day of a Condemned Man) has recently been adapted into an opera by David Alagna (libretto by Frédérico Alagna). Their brother, tenor Roberto Alagna, performed in the opera’s premiere in Paris in the summer of 2007 and again in February 2008 in Valencia with Erwin Schrott as part of the Festival international Victor Hugo et Égaux 2008.

Sources: “Hugo et la musique” in Pleins feux sur Victor Hugo, Arnaud Laster, Comédie-Française (1981) and “Hugo à l'Opéra”, ed. Arnaud Laster, L'Avant-Scène Opéra, no. 208 (2002).


Declining years and death
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Victor Hugo, by Alphonse Legros.When Hugo returned to Paris in 1870, the country hailed him as a national hero. Despite his popularity Hugo lost his bid for reelection to the National Assembly in 1872. Within a brief period, he suffered a mild stroke, his daughter Adèle’s internment in an insane asylum, and the death of his two sons. (His other daughter, Léopoldine, had drowned in a boating accident in 1843, and 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. His last phase in his political career is considered a failure. Hugo took on a stubborn role and got little done in the Senate.

In February of 1881 Hugo celebrated his 79th birthday. To honor the fact that he was entering his eightieth year, one of the greatest tributes to a living writer was held. The celebrations began on the 25th when Hugo was presented with a Sèvres vase, the traditional gift for sovereigns. On the 27th one of the largest parades in French history was held. Marchers stretched from Avenue d'Eylau, down the Champs-Élysées, and all the way to the center of Paris. The paraders marched for six hours to pass Hugo as he sat in 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 Cosette's song in Les Misérables.

Victor Hugo's death on 22 May 1885, at the age of 83, generated intense national mourning. He was not only revered as a towering figure in French literature, but also internationally acknowledged as a statesman who had helped preserve and shape 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.


Drawings
Many are not aware that Hugo was almost as prolific in the visual arts as he was in literature, producing more than 4,000 drawings in his lifetime. Originally pursued as a casual hobby, drawing became more important to Hugo shortly before his exile, when he made the decision to stop writing in order 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 color. 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 Spiritualist séances, in order to access his unconscious mind, a concept only later popularized 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.

Gallery:


Crépuscule ("Twilight"), Jersey, 1853-1855.

Ville avec le pont de Tumbledown, 1847.

Pieuvre avec les initales V.H., ("Octopus with the initials V.H."), 1866.

Le Rocher de l'Ermitage dans un paysage imaginaire ("Hermitage Rock in an Imaginary Landscape")

Le phare ("The Lighthouse")


Additional images of graphic works by Victor Hugo may be viewed at:

Patador & Co.
ArtNet
Misha Bittleston

Memorials

Victor Hugo cabinet card by London Stereoscopic CompanyThe people of Guernsey erected a statue in Candie Gardens 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 Dai.

The Avenue Victor-Hugo in the XVIème 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 honor. A number of streets and avenues throughout France are likewise named after him.

The school Lycée Victor Hugo in his town of birth, Besançon in France.

Avenue Victor-Hugo, located in Shawinigan, Quebec, Canada, was named to honor 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. Victor would later write about his brief stay here quoting "C’était un palais de marbre...".


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Published during Hugo's lifetime
Odes et Poésies Diverses (1822)
Odes (1823)
Han d'Islande (1823) (Hans of Iceland)
Nouvelles Odes (1824)
Bug-Jargal (1826)
Odes et Ballades (1826)
Cromwell (1827)
Les Orientales (1829)
Le Dernier jour d'un condamné (1829)
Hernani (1830)
Notre-Dame de Paris (1831), (The Hunchback of Notre Dame)
Marion Delorme (1831)
Les Feuilles d'automne (1831)
Le roi s'amuse (1832)
Lucrèce Borgia (1833) (Lucretia Borgia)
Marie Tudor (1833)
Littérature et philosophie mêlées (1834)
Claude Gueux (1834)
Angelo, tyran de padoue (1835)
Les Chants du crépuscule (1835)
La Esmeralda (only libretto of an opera written by Victor Hugo himself) (1836)
Les Voix intérieures (1837)
Ruy Blas (1838)
Les Rayons et les ombres (1840)
Le Rhin (1842)
Les Burgraves (1843)
Napoléon le Petit (1852)
Les Châtiments (1853)
Les Contemplations (1856)
La Légende des siècles (1859)
Les Misérables (1862)
William Shakespeare (1864)
Les Chansons des rues et des bois (1865)
Les Travailleurs de la Mer (1866), (Toilers of the Sea)
La voix de Guernsey (1867)
L'Homme qui rit (1869), (The Man Who Laughs)
L'Année terrible (1872)
Quatrevingt-treize (Ninety-Three) (1874)
Mes Fils (1874)
Actes et paroles — Avant l'exil (1875)
Actes et paroles - Pendant l'exil (1875)
Actes et paroles - Depuis l'exil (1876)
La Légende des Siècles 2e série (1877)
L'Art d'être grand-père (1877)
Histoire d'un crime 1re partie (1877)
Histoire d'un crime 2e partie (1878)
Le Pape (1878)
La pitié suprême (1879)
Religions et religion (1880)
L'Âne (1880)
Les Quatres vents de l'esprit (1881)
Torquemada (1882)
La Légende des siècles Tome III (1883)
L'Archipel de la Manche (1883)
Poems of Victor Hugo


Published posthumously
Théâtre en liberté (1886)
La fin de Satan (1886)
Choses vues (1887)
Toute la lyre (1888)
Amy Robsart (1889)
Les Jumeaux (1889)
Actes et Paroles Depuis l'exil, 1876-1885 (1889)
Alpes et Pyrénées (1890)
Dieu (1891)
France et Belgique (1892)
Toute la lyre - dernière série (1893)
Correspondences - Tome I (1896)
Correspondences - Tome II (1898)
Les années funestes (1898)
Choses vues - nouvelle série (1900)
Post-scriptum de ma vie (1901)
Dernière Gerbe (1902)
Mille francs de récompense (1934)
Océan. Tas de pierres (1942)
L'Intervention (1951)
Conversations with Eternity

Online texts
Works by Victor Hugo at Project Gutenberg
Works by Victor Hugo at Internet Archive
Works by Victor Hugo at The Online Books Page
Political speeches by Victor Hugo: Victor Hugo, My Revenge is Fraternity!
Biography and speech from 1851
Obituary in The Times

Influence in Brazil
Victor Hugo's works, both in the original and in translation to Portuguese, are considered to have deeply influenced the Brazilian late 19th century literary movement known as condoreirismo, which is marked by the introspection of the Romantic period with a social and humanitarian concern. Particularly considered to have been influenced by Hugo is the well-known abolitionist poet Castro Alves.


References
^ Victor Hugo, l'homme océan
^ http://www.religioustolerance.org/caodaism.htm

Online references
Afran, Charles (1997). “Victor Hugo: French Dramatist”. Website: Discover France. (Originally published in Grolier Multimedia Encyclopedia, 1997, v.9.0.1.) Retrieved November 2005.
Bates, Alfred (1906). “Victor Hugo”. Website: Theatre History. (Originally published in The Drama: Its History, Literature and Influence on Civilization, vol. 9. ed. Alfred Bates. London: Historical Publishing Company, 1906. pp. 11-13.) Retrieved November 2005.
Bates, Alfred (1906). “Hernani”. Website: Theatre History. (Originally published in The Drama: Its History, Literature and Influence on Civilization, vol. 9. ed. Alfred Bates. London: Historical Publishing Company, 1906. pp. 20-23.) Retrieved November 2005.
Bates, Alfred (1906). “Hugo’s Cromwell”. Website: Theatre History. (Originally published in The Drama: Its History, Literature and Influence on Civilization, vol. 9. ed. Alfred Bates. London: Historical Publishing Company, 1906. pp. 18-19.) Retrieved November 2005.
Bittleston, Misha (uncited date). "Drawings of Victor Hugo". Website: Misha Bittleston. Retrieved November 2005.
Burnham, I.G. (1896). “Amy Robsart”. Website: Theatre History. (Originally published in Victor Hugo: Dramas. Philadelphia: The Rittenhouse Press, 1896. pp. 203-6, 401-2.) Retrieved November 2005.
Columbia Encyclopedia, 6th Edition (2001-05). “Hugo, Victor Marie, Vicomte”. Website: Bartleby, Great Books Online. Retrieved November 2005. Retrieved November 2005.
Haine, W. Scott (1997). “Victor Hugo”. Encyclopedia of 1848 Revolutions. Website: Ohio University. Retrieved November 2005.
Illi, Peter (2001-2004). “Victor Hugo: Plays”. Website: The Victor Hugo Website. Retrieved November 2005.
Karlins, N.F. (1998). "Octopus With the Initials V.H." Website: ArtNet. Retrieved November 2005.
Liukkonen, Petri (2000). “Victor Hugo (1802-1885)”. Books and Writers. Website: Pegasos: A Literature Related Resource Site. Retrieved November 2005.
Meyer, Ronald Bruce (2004). “Victor Hugo”. Website: Ronald Bruce Meyer. Retrieved November 2005.
Robb, Graham (1997). “A Sabre in the Night”. Website: New York Times (Books). (Excerpt from Graham, Robb (1997). Victor Hugo: A Biography. New York: W.W. Norton & Company.) Retrieved November 2005.
Roche, Isabel (2005). “Victor Hugo: Biography”. Meet the Writers. Website: Barnes & Noble. (From the Barnes & Noble Classics edition of The Hunchback of Notre Dame, 2005.) Retrieved November 2005.
Uncited Author. “Victor Hugo”. Website: Spartacus Educational. Retrieved November 2005.
Uncited Author. “Timeline of Victor Hugo”. Website: BBC. Retrieved November 2005.
Uncited Author. (2000-2005). “Victor Hugo”. Website: The Literature Network. Retrieved November 2005.
Uncited Author. "Hugo Caricature". Website: Présence de la Littérature a l’école. Retrieved November 2005.

Further reading
Barbou, Alfred (1882). Victor Hugo and His Times. University Press of the Pacific: 2001 paper back edition..
Brombert, Victor H. (1984). Victor Hugo and the Visionary Novel. Boston: Harvard University Press..
Davidson, A.F. (1912). Victor Hugo: His Life and Work. University Press of the Pacific: 2003 paperback edition..
Dow, Leslie Smith (1993). Adele Hugo: La Miserable. Fredericton: Goose Lane Editions..
Falkayn, David (2001). Guide to the Life, Times, and Works of Victor Hugo. University Press of the Pacific..
Feller, Martin, Der Dichter in der Politik. Victor Hugo und der deutsch-französische Krieg von 1870/71. Untersuchungen zum französischen Deutschlandbild und zu Hugos Rezeption in Deutschland. Doctoral Dissertation, Marburg 1988.
Frey, John Andrew (1999). A Victor Hugo Encyclopedia. Greenwood Press..
Grant, Elliot (1946). The Career of Victor Hugo. Harvard University Press. Out of print.
Halsall, A.W. et al (1998). Victor Hugo and the Romantic Drama. University of Toronto Press..
Hart, Simon Allen (2004). Lady in the Shadows: The Life and Times of Julie Drouet, Mistress, Companion and Muse to Victor Hugo. Publish American..
Houston, John Porter (1975). Victor Hugo. New York: Twayne Publishers..
Ireson, J.C. (1997). Victor Hugo: A Companion to His Poetry. Clarendon Press..
Laster, Arnaud (2002). Hugo à l'Opéra. Paris: L'Avant-Scène Opéra, no. 208.
Maurois, Andre (1956). Olympio: The Life of Victor Hugo. New York: Harper & Brothers.
Maurois, Andre (1966). Victor Hugo and His World. London: Thames and Hudson. Out of print.
Robb, Graham (1997). Victor Hugo: A Biography. W.W. Norton & Company: 1999 paperback edition..(description/reviews)
Tonazzi, Pascal (2007) Florilège de Notre-Dame de Paris (anthologie) Paris, Editions Arléa ISBN 2869597959