Most Popular Books by Victor Hugo

URSUS. I. Ursus and Homo were fast friends. Ursus was a man, Homo a wolf. Their dispositions tallied. It was the man who had christened the wolf: probably he had also chosen his own name. Having found Ursus fit for himself, he had found Homo fit for the beast. Man and wolf turned their partnership to account at fairs, at village fêtes, at the corners of streets where passers-by throng, and out of the need which people seem to feel everywhere to listen to idle gossip and to buy quack medicine. The wolf, gentle and courteously subordinate, diverted the crowd. It is a pleasant thing to behold the tameness of animals. Our greatest delight is to see all the varieties of domestication parade before us. This it is which collects so many folks on the road of royal processions. Ursus and Homo went about from cross-road to cross-road, from the High Street of Aberystwith to the High Street of Jedburgh, from country-side to country-side, from shire to shire, from town to town. One market exhausted, they went on to another. Ursus lived in a small van upon wheels, which Homo was civilized enough to draw by day and guard by night. On bad roads, up hills, and where there were too many ruts, or there was too much mud, the man buckled the trace round his neck and pulled fraternally, side by side with the wolf. They had thus grown old together. They encamped at haphazard on a common, in the glade of a wood, on the waste patch of grass where roads intersect, at the outskirts of villages, at the gates of towns, in market-places, in public walks, on the borders of parks, before the entrances of churches. When the cart drew up on a fair green, when the gossips ran up open-mouthed and the curious made a circle round the pair, Ursus harangued and Homo approved. Homo, with a bowl in his mouth, politely made a collection among the audience. They gained their livelihood. The wolf was lettered, likewise the man. The wolf had been trained by the man, or had trained himself unassisted, to divers wolfish arts, which swelled the receipts. "Above all things, do not degenerate into a man," his friend would say to him. Never did the wolf bite: the man did now and then. At least, to bite was the intent of Ursus. He was a misanthrope, and to italicize his misanthropy he had made himself a juggler. To live, also; for the stomach has to be consulted. Moreover, this juggler-misanthrope, whether to add to the complexity of his being or to perfect it, was a doctor. To be a doctor is little: Ursus was a ventriloquist. You heard him speak without his moving his lips. He counterfeited, so as to deceive you, any one''s accent or pronunciation. He imitated voices so exactly that you believed you heard the people themselves. All alone he simulated the murmur of a crowd, and this gave him a right to the title of Engastrimythos, which he took. He reproduced all sorts of cries of birds, as of the thrush, the wren, the pipit lark, otherwise called the gray cheeper, and the ring ousel, all travellers like himself: so that at times when the fancy struck him, he made you aware either of a public thoroughfare filled with the uproar of men, or of a meadow loud with the voices of beasts—at one time stormy as a multitude, at another fresh and serene as the dawn. Such gifts, although rare, exist. In the last century a man called Touzel, who imitated the mingled utterances of men and animals, and who counterfeited all the cries of beasts, was attached to the person of Buffon—to serve as a menagerie.

THE FOREST OF LA SAUDRAIE. During the last days of May, 1793, one of the Parisian battalions introduced into Brittany by Santerre was reconnoitring the formidable La Saudraie Woods in Astillé. Decimated by this cruel war, the battalion was reduced to about three hundred men. This was at the time when, after Argonne, Jemmapes, and Valmy, of the first battalion of Paris, which had numbered six hundred volunteers, only twenty-seven men remained, thirty-three of the second, and fifty-seven of the third,—a time of epic combats. The battalion sent from Paris into La Vendée numbered nine hundred and twelve men. Each regiment had three pieces of cannon. They had been quickly mustered. On the 25th of April, Gohier being Minister of Justice, and Bouchotte Minister of War, the section of Bon Conseil had offered to send volunteer battalions into La Vendée; the report was made by Lubin, a member of the Commune. On the 1st of May, Santerre was ready to send off twelve thousand men, thirty field-pieces, and one battalion of gunners. These battalions, notwithstanding they were so quickly formed, serve as models even at the present day, and regiments of the line are formed on the same plan; they altered the former proportion between the number of soldiers and that of non-commissioned officers. On the 28th of April the Paris Commune had given to the volunteers of Santerre the following order: "No mercy, no quarter." Of the twelve thousand that had left Paris, at the end of May eight thousand were dead. The battalion which was engaged in La Saudraie held itself on its guard. There was no hurrying: every man looked at once to right and to left, before him, behind him. Kléber has said: "The soldier has an eye in his back." They had been marching a long time. What o''clock could it be? What time of the day was it? It would have been hard to say; for there is always a sort of dusk in these wild thickets, and it was never light in that wood. The forest of La Saudraie was a tragic one. It was in this coppice that from the month of November, 1792, civil war began its crimes; Mousqueton, the fierce cripple, had come forth from those fatal thickets; the number of murders that had been committed there made one''s hair stand on end. No spot was more terrible.

Lovely Esmeralda, haunted by an obsessive would-be lover and unjustly accused of murder, unexpectedly finds a tormented protector in The Hunchback of Notre Dame. Quasimodo the hunchback keeps to his duties as bell-ringer of Notre Dame cathedral and stays close to his guardian, the Archdeacon Claude Frollo. His devotion proves misguided when a plan of Frollo’s goes wrong and Quasimodo finds himself abused by a crowd and shown mercy only by the gypsy girl Esmeralda. The hunchback’s love and resolve to protect her leads to desperate action and tragedy when she is falsely accused of murder. Emotions run high as society’s elite falters and fails, and the lowest misfits of society prove their worth in this timeless epic of love, justice and redemption. The novel’s human characters have all but taken on lives of their own, but notice must be made of the author’s treatment of Notre Dame as the cathedral virtually becomes a character itself. The book’s loving descriptions spurred increased appreciation of Notre Dame as a symbol of Paris and inspired its preservation and renovation. The Hunchback of Notre Dame was first published in 1831 and has since been adapted to stage and screen many times, with more than one of the film versions attaining classic status. With an eye-catching new cover, and professionally typeset manuscript, this edition of The Hunchback of Notre Dame is both modern and readable.

PREFACE Notre-Dame de Paris Also known as: The Hunchback of Notre Dame by Victor Hugo A few years ago, while visiting or, rather, rummaging about Notre-Dame, the author of this book found, in an obscure nook of one of the towers, the following word, engraved by hand upon the wall:-- ~ANArKH~. These Greek capitals, black with age, and quite deeply graven in the stone, with I know not what signs peculiar to Gothic caligraphy imprinted upon their forms and upon their attitudes, as though with the purpose of revealing that it had been a hand of the Middle Ages which had inscribed them there, and especially the fatal and melancholy meaning contained in them, struck the author deeply. He questioned himself; he sought to divine who could have been that soul in torment which had not been willing to quit this world without leaving this stigma of crime or unhappiness upon the brow of the ancient church. Afterwards, the wall was whitewashed or scraped down, I know not which, and the inscription disappeared. For it is thus that people have been in the habit of proceeding with the marvellous churches of the Middle Ages for the last two hundred years. Mutilations come to them from every quarter, from within as well as from without. The priest whitewashes them, the archdeacon scrapes them down; then the populace arrives and demolishes them. Thus, with the exception of the fragile memory which the author of this book here consecrates to it, there remains to-day nothing whatever of the mysterious word engraved within the gloomy tower of Notre-Dame,--nothing of the destiny which it so sadly summed up. The man who wrote that word upon the wall disappeared from the midst of the generations of man many centuries ago; the word, in its turn, has been effaced from the wall of the church; the church will, perhaps, itself soon disappear from the face of the earth. It is upon this word that this book is founded. March, 1831.

Encompassing a multitude of plots, the narrative is bounded by the character of the protagonist, Jean Valjean. Expressing the author''s ideas about society, religion and politics, it is in the backdrop of Napoleonic Wars and ensuing years that the story unravels. Grace, moral philosophy, law and history of France are discussed.

Before the huge crowd that packed the cathedral square, La Esmeralda stood between two executioners. Suddenly Quasimodo, the hunchback of Notre Dame, rushed at the executioners and felled them with his enormous fists. He snatched the gypsy girl in one arm and ran with her into the church. A moment later he appeared at the top of the bell tower. Holding the girl above his head, he showed her triumphantly to all of Paris while his thunderous voice roared savagely to the sky: “Sanctuary! Sanctuary! Sanctuary!” Set amid the riot, intrigue, and pageantry of medieval Paris, Victor Hugo’s masterful tale of heroism and adventure has been a perennial favorite since its first publication in 1831 and remains one of the most thrilling stories of all time.

In Victor Hugo''s "Toilers of the Sea," the narrative unfolds in the tumultuous setting of Guernsey, where the author intricately weaves themes of nature, humanity, and the struggle for survival. This striking novel exemplifies Hugo''s characteristic literary style, combining poetic prose and vivid imagery with impassioned descriptions of the sea, emblematic of life''s challenges and the indomitable human spirit. As a social commentary, the book delves into the lives of humble fishermen and their fierce battles against the elements, spotlighting the intertwining of man and nature during the 19th century, an era marked by industrialization and existential reflection. Victor Hugo, a luminary of French literature, was profoundly influenced by his exile on the Isle of Guernsey, where he penned this novel as a testament to the strength of the human will against adversity. Drawing from his own experiences in confronting societal issues and the depths of despair, Hugo sought to illuminate the dignity of the marginalized, revealing his compassion and empathy for those who toil against nature''s wrath. "Toilers of the Sea" is a compelling exploration of resilience and determination that transcends time, making it essential reading for anyone interested in the complexities of human nature and the struggles of everyday life. Readers will find themselves immersed in Hugo''s masterful storytelling, which not only entertains but also provokes critical thought about humanity''s relationship with nature and society.

This critical edition of Victor Hugo''s theatrical masterpiece Hernani presents for the first time, the text as the author wanted it to appear. The vast majority of the existing versions of the play are based on editions that were flawed because they did not take into account all of the corrections made by the author. Through the use of different fonts, the reader sees which lines were censored in the first edition and all textual differences between that edition and the one published in 1836. (Text in French)

Les Misérables is a French historical novel by Victor Hugo, first published in 1862, that is considered one of the greatest novels of the 19th century. In the English-speaking world, the novel is usually referred to by its original French title. However, several alternatives have been used, including The Miserables, The Wretched, The Miserable Ones, The Poor Ones, The Wretched Poor, The Victims and The Dispossessed. Beginning in 1815 and culminating in the 1832 June Rebellion in Paris, the novel follows the lives and interactions of several characters, particularly the struggles of ex-convict Jean Valjean and his experience of redemption.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The French title of the novel emphasizes Notre Dame''s (A French memorial) role as a symbol of Paris. Primarily novel is concerned with the theme of revolution and social strife. Hugo was profoundly concerned by the class differences that set the 1789 French Revolution in motion. Hugo acknowledges that fate plays a powerful role, but implies that free will is also possible.

Hidden deep within the confines of Notre Dame, Quasimodo lives in solitude, shunned by the outside world because of his hideous appearance. His only joy is the appearance of a woman by the name of Esmerelda who takes pity on him because of his circumstances. Esmerelda, after attracting unwanted attention from members of the Church finds herself in a battle for her life, and seemingly only Quasimodo, the man she has taken pity on can save her.A mad priest, a vagabond playwright, a social-climbing soldier, and a deformed bell-ringer all are captivated by a gypsy girl''s beauty and charm. Two of them will betray her, but the others will remain loyal, even in the shadow of the gallows. These outlaws find sanctuary within the walls of medieval Paris'' greatest monument, the grand Cathedral of Notre Dame."What a beautiful thing Notre-Dame is!" declared Gustave Flaubert of Victor Hugo''s 1837 novel. Originally published as Notre-Dame de Paris (Our Lady of Paris), it was conceived as a story of the cathedral itself, which functioned as the passionate heart of fifteenth-century city life. But Hugo''s human drama rivals the Gothic masterpiece for dominance. Drawn with humor and compassion, his characters endure, both in literary history and in readers'' imaginations: Frollo, the sinister archdeacon; Quasimodo, the hideous hunchback; and the enchanting outcast, Esmeralda.

Victor-Marie Hugo (1802-1885) 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 Legende des Siecles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. In the Englishspeaking world his best-known works are often the novels Les Miserables and Notre-Dame de Paris (translated into English as The Hunchback of Notre-Dame) (1899). 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 Pantheon. Amongst his other works are: Napoleon the Little (1852), The Man Who Laughs (1869), The History of a Crime (1877), Poems (1888) and The Memoirs of Victor Hugo.

Les Misérables is a French historical novel by Victor Hugo, first published in 1862, that is considered one of the greatest novels of the 19th century. In the English-speaking world, the novel is usually referred to by its original French title. However, several alternatives have been used, including The Miserables, The Wretched, The Miserable Ones, The Poor Ones, The Wretched Poor, The Victims and The Dispossessed. Beginning in 1815 and culminating in the 1832 June Rebellion in Paris, the novel follows the lives and interactions of several characters, particularly the struggles of ex-convict Jean Valjean and his experience of redemption.

Les Misérables is a French historical novel by Victor Hugo, first published in 1862, that is considered one of the greatest novels of the 19th century. In the English-speaking world, the novel is usually referred to by its original French title. However, several alternatives have been used, including The Miserables, The Wretched, The Miserable Ones, The Poor Ones, The Wretched Poor, The Victims and The Dispossessed. Beginning in 1815 and culminating in the 1832 June Rebellion in Paris, the novel follows the lives and interactions of several characters, particularly the struggles of ex-convict Jean Valjean and his experience of redemption.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The French title of the novel emphasizes Notre Dame''s (A French memorial) role as a symbol of Paris. Primarily novel is concerned with the theme of revolution and social strife. Hugo was profoundly concerned by the class differences that set the 1789 French Revolution in motion. Hugo acknowledges that fate plays a powerful role, but implies that free will is also possible.

Victor Hugo, in full Victor-Marie Hugo (26 February 1802 – 22 May 1885) was a French 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).-wikipedia

One of the greatest books ever written. A splendid masterpiece...

More commonly known as The Hunchback of Notre-Dame, Victor Hugo''s Romantic novel of dark passions and unrequited love In the vaulted Gothic towers of Notre-Dame Cathedral lives Quasimodo, the hunchbacked bellringer. Mocked and shunned for his appearance, he is pitied only by Esmerelda, a beautiful gypsy dancer to whom he becomes completely devoted. Esmerelda, however, has also attracted the attention of the sinister archdeacon Claude Frollo, and when she rejects his lecherous approaches, Frollo hatches a plot to destroy her, that only Quasimodo can prevent. Victor Hugo''s sensational, evocative novel brings life to the medieval Paris he loved, and mourns its passing in one of the greatest historical romances of the nineteenth century. John Sturrock''s clear, contemporary translation is accompanied by an introduction discussing it as a passionate novel of ideas, written in defence of Gothic architecture and of a burgeoning democracy, and demonstrating that an ugly exterior can conceal moral beauty. This revised edition also includes further reading and a chronology of Hugo''s life. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The Last Day of a Condemned Man (1829) is a short novel by Victor Hugo. Having witnessed several executions by guillotine as a young man, Hugo devoted himself in his art and political life to opposing the death penalty in France. Praised by Dostoevsky as “absolutely the most real and truthful of everything that Hugo wrote,” The Last Day of a Condemned Man is a powerful story from an author who defined nineteenth century French literature. If you knew when and where you would die, how would you spend your final moments? For Hugo’s unnamed narrator, such an existential question is made reality. Sentenced to death for an unspecified crime, he reflects on his life as its last seconds wane in the shadows of a cramped prison cell. Recording his emotional state, observations, and conversations with a priest and fellow prisoner, the condemned man forces us to not only recognize his humanity, but question our own. With a beautifully designed cover and professionally typeset manuscript, this edition of Victor Hugo’s The Last Day of a Condemned Man is a classic work of French literature reimagined for modern readers.

"Under Sentence of Death - Or, a Criminal''s Last Hours" is a fictional account of the trial and sentencing of a man that ultimately leads to his death. A thought-provoking insight to a criminal''s last moments, "Under Sentence of Death" is not to be missed by fans of Hugo''s work, and it would make for a worthy addition to any collection. Victor Marie Hugo (1802 - 1885) was a French novelist, dramatist, and poet belonging to the Romantic movement. He is widely hailed as one of the most accomplished and well-known French writers, originally achieving renown for his poetical endeavours-the most notable of which are the volumes "Les Contemplations" and "La Légende des siècles". Outside of his native country, Hugo''s best-known works are his novels: "Les Misérables" (1862) and "Notre-Dame de Paris" (1831), commonly known as "The Hunchback of Notre-Dame". We are proudly republishing this vintage detective novel now in a brand new edition complete with a specially-commissioned new biography of the author.