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Hugo, Victor, --- Bibliography.

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Victor Hugo's work presents the reader with a paradox nowhere more apparent than in the collection of more than 150 lyric poems entitled Les Contemplations. Although he insisted upon structural unity, his complex artistic creations often seem disordered and digressive. Suzanne Nash examines this contradiction, and she proposes here a new approach to Les Contemplations that reveals how it may be read as a unified allegory of Hugo's understanding of the creative process.The author's reading heightens the subtleties of individual poems by placing them within the context of the collection. She clarifies the poet's use of rhetorical devices and. illuminating Les Contemplations as a metapoetic creation, shows how it can serve as a guide to Hugo's other works. The first two chapters present evidence of Hugo's narrative intention, place his work within an allegorical tradition, and describe the structure of the allegory. One poem, Pasteurs et troupeaux, is analyzed as a paradigm for the whole, and a single theme, that of Léopoldine as sacrificial muse and figure for poetic language, is traced through the six books. The author demonstrates Hugo's narrative purpose in his use of rhetorical forms and examines (according to predominance of themes, images, and technical devices) the six chapters as steps in the religio-poetic allegory.Originally published in 1977.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Hugo, Victor, --- Hugo, Victor --- Romance Literatures --- Languages & Literatures --- French Literature --- LITERARY CRITICISM / European / French.

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Authors as artists --- Hugo, Victor, --- Hugo, Victor, --- Criticism and interpretation. --- Hugo's Drawings --- 19th Century --- Romanticism --- Art Criticism

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« Hugo est fou ! » Le 17 juillet 1851, sur les bancs de l’Assemblée législative, on put entendre cette exclamation indignée, au milieu d’un « long éclat de rire à droite ». À la tribune, celui qui n’était encore ni barbu, ni exilé, venait de saluer « cet immense édifice de l’avenir, qui s’appellera un jour les États-Unis d’Europe ! » Oui, Hugo est fou. Car sa vision de l’Europe, n’en déplaise aux récupérations commémoratives, n’a pas grand-chose à voir avec le consensus mou qu’on tente d’imposer aux Européens depuis plusieurs décennies. Cette vision est de celles qui contraignent à rouvrir toutes les grandes questions échues au politique : État, souveraineté, Nation, empire, peuple, civilisation – plus rien de tout cela n’est clair dès qu’on le pense en vue de l’Europe. Et ce sont ces questions qu’il faut aborder pour suivre la pensée hugolienne, pensée politique, et pensée de l’espace. Pensée originale, et bien de son époque. Issue de cet âge romantique riche de ses bricolages, fertile en inventions, et dont notre présent, déboussolé et un peu morne, pourrait peut-être, avec quelque profit, s’inspirer. Sans négliger les discours politiques et les réflexions théoriques, c’est surtout une « pensée en littérature » que l’on tente ici de retracer, forgée dans les romans, le théâtre, la poésie. Pensée souvent plus étonnante, plus radicale, plus cohérente aussi, que bien des propos plus autorisés, et apparemment plus « sérieux ». Jean Monnet aurait dit : « Si c’était à refaire, je commencerais par la culture. » Certes. Mais, tout bien pesé, cette culture est une aventurière. Et Victor Hugo nous en donne une idée.

Hugo, Victor --- Hugo, Victor, --- Criticism and interpretation. --- Political and social views. --- History --- Political Science Public Admin. & Development --- Victor Hugo --- politique --- société --- littérature --- littérature française --- Etat --- royauté --- République

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In the nineteenth century, the French lyric poets imposed their diction on the theatrical genre and thus illuminated the essence of both poetry and theatre. Ten plays by Victor Hugo, the standard-bearer of the French romantic theatre, and Alfred de Musset, the romantic playwright most frequently performed in France today, are analyzed by Charles Affron to answer the question, "Can the dialetic form of the theatre accommodate the solitary élan of the lyric poet?" As a functional point of departure, he considers those characteristics of lyric poetry-time, voice, and metaphor-which bring us closest to the singular attitudes of Hugo and Musset. Then, examining the texts of Hernani, Les Burgraves, Torquemada, Fantasio, and Lorenzaccio as well as several lesser known plays, Mr. Affron discusses such topics as poetic time, the scope of analogy, theatrical and poetic rhetoric, the guises of the poet-hero, and the manner of sounding the poet's voice upon the stage.Originally published in 1971.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

French drama --- History and criticism. --- Musset, Alfred de, --- Hugo, Victor, --- Dramatic works.