The Letters of Victor Hugo : from Exile, and After the Fall of the Empire

Total Page:16

File Type:pdf, Size:1020Kb

The Letters of Victor Hugo : from Exile, and After the Fall of the Empire THE LETTERS OF VICTOR HUGO Downloaded from https://www.holybooks.com THE LETTERS OF VICTOR HUGO FROM EXILE, AND AFTER THE FALL OF THE EMPIRE EDITED BY PAUL MEURICE BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY Downloaded from https://www.holybooks.com Copyright, 1898, Bt HOUGHTON, MU'FLm & CO. All rights reserved. 3 K The Riverside Press, Cambridge, Mass.^ U. S. A. Electrotyped and Printed by H. O. Houghton and Company. Downloaded from https://www.holybooks.com NOTE. In this translation of the second volume of the Letters of Victor Hugo some letters of minor interest have been omitted, and a few notes have been given in addition to those supphed by the French editor. Downloaded from https://www.holybooks.com Downloaded from https://www.holybooks.com CONTENTS. PAOB I. Letters to Vakious Persons. — Journet on the Rhine 1 II. The Coup d'Etat. — Letters from Brussels ... 55 m. Letters from Exile 115 IV. After the Fall of the Empire 235 Downloaded from https://www.holybooks.com Downloaded from https://www.holybooks.com THE LETTERS OF VICTOR HUGO. LETTERS TO VARIOUS PERSONS. — JOURNEY ON THE RHINE. 1836-1851. To Mlie. Louise Bektin, at Les Roches. Mont Saint-Michel, 27ft June, 1836. I AM writing to you, mademoiselle, from Mont Saint- Michel, which is really the most beautiful spot in the world, — next to Bievre, of course. Les Roches is lovely and charming ; a great advantage it possesses over the forbidding mass of dungeons, towers, and rocks which bears the name of Mont Saint-Michel. It would not be easy to write from a more awe- inspiring place to a more delightful one. At this moment I am hemmed in by the sea which surrounds the mount. It must be horrible in winter, with its hurricanes, tempests, and shipwrecks. It is grand, aU the same. What a strange place Mont Saint-Michel is ! Around, as far as the eye can reach, infinite space, the blue horizon of the sea, the green horizon of the land, clouds, air, liberty, birds in full flight, ships with all VOL. n. 1 Downloaded from https://www.holybooks.com 2 THE LETTERS OF VICTOR HUGO. sails set, and then all at once, on the top of an old wall ahove our heads, through a barred window, the pale face of a prisoner. I have never felt so strongly as here the cruel antithesis which man sometimes makes with nature. You can have none of these sad thoughts. You are happy over there; happy with your excellent father, your kind relations ; happy in the view of your beau- tiful valley from your window ; happy in the prospect of your great success. I shall be in Paris between the 10th and 15th of July, quite at your disposal, and ready for Notre- Dame^ a poor plaster statue of which I can see from the casement of my room, perched in a beautiful trefoil niche of the fifteenth century. II. To Louis de Matnaed, at Martinique. 24ft May, 1837. We are still expecting you. Your kind and charm- ing letter told us you were soon returning ; we were all looking forward to it, and you have not yet ar- rived ! We want you badly here; we want you for our- selves, because we love you, and for my part because your generous and loyal friendship was one of the real joys of my life ; then we want you for your own sake, because here, I am sure, you would write us a fine book. We want you for the ideas which you would promote for art, which has so few followers like yourself ; we want you because a noble, honest face like yours, erect 1 La Esmeralda, for which Mile. Bertin was composing the music. Downloaded from https://www.holybooks.com ; TO LOUIS DE MAYNAKD. 3 amid so many drooping and sidelong glances, rests the eye and consoles the heart. At any rate, I hope you are doing something over there. Make up for your absence by some fine work, your natural product. Instead of the great human stage which you had here, you have the grand spectacle of nature ; instead of the strife of ideas, you have the placid harmony of things; if you have less of the world, you have more sunshine. As for me, I continue my task, waters much troubled, as you know, by the stones thrown into them ; I work, I study, I have three plays in my head, — you shall see one some of these days, — and then occasionally I write poetry. Our poUtics are still mean and petty, you remember they have not improved since you left us. Small men working at a small idea, very httle busy about nothing. Altogether, there are times when I envy you, — you a poet exiled in a sunny land, an exile which Ovid would have loved, in that beautiful Martinique which you have described so admirably. My fraternal love to you. III. To A WOEKnfGMAN' AUD POET. Paris, Zd October, 1837. Be proud of your title of workman. We are all workmen, God included, and in your case the brain works still more than the hands. The generous class to which you belong has a great future in store for it, but it must give the fruit time to ripen. This class, so noble and so useful, should eschew what makes little and seek what makes great ; it should Downloaded from https://www.holybooks.com 4 THE LETTERS OF VICTOR HUGO. try to discover reasons for love rather than pretexts for hatred ; it should learn to respect women and children ; it should read and study in its leisure moments; it should develop its intelligence, and it wiU achieve suc- cess. I have said in one of my works : The day when the people becomes intelligent, it will rule. In other words, civilization is the paramount thing. Sometimes it rules through one man, as with the popes ; sometimes through more than one, as with the senates; some- times through all, as will be the case with the people. Patience, therefore. Let us understand what exists, to be worthy of existence some day. Let the people work, for we all work. Let it love us, for we love it. Let it not disturb the young plant, barely sown, if it wishes to enjoy shade and fruit in the future. I am sure that aU these ideas are yours as well. Impress them on the people, of which your inteUigence makes you one of the natural leaders. Instead of sim- ply thanking you for your excellent verses, so flattering to me, I have indulged in this serious conversation. You win, I imagine, accept it as I offer it, as a token of sympathy and esteem. IV. To Victor Pavie. 28a November, 1837. You are quite right to continue to think a little of your friends in the Place Koyale. You are loved here, — loved, do you understand ? — and with all our hearts. You know, my dear Pavie, that friendship is a religion to me. And besides, who can be a better friend than you ? My wife and I often say this to each other in the Downloaded from https://www.holybooks.com TO LAMARTINE. 5 winter evenings, when we think of the many false faces which have betrayed us. A friend such as you are is a good and noble thing. Here I am troubled by worries, legal business,^ law- yers, and annoyances of every description. You must have seen something of this in the papers ; but what they do not tell you is that my thoughts are very often with you amidst all the whirl. David has given you my bust. I congratulate it ; it wiU henceforth be present at your intimate conversation and family talks ; I envy it. Amid the tumult which my enemies raise around me, I have built up a little sanctuary into which I gaze unceasingly. In it are my wife and my children, the sweet and happy side of my existence. come and see us this winter. Bring Do Theodore ; bring your good father. I do not say, Bring your wife, for when I am speaking to you I natiu-ally include her. V. To Lamaetine. Xith May, 1838. You have written a grand poem, my friend. La chute d^un ange is one of your most majestic creations. What will be the edifice, if these are only the bas-rehefs ! Never has the breath of nature more deeply penetrated and more amply inspired a work of art, from the base to the summit, and in its minutest details. I thank you for the happy hours which I have just spent closeted with your genius. I fancy that I have an ear for your voice. Consequently my admiration for 1 Lawsuit with the Comedie Fran^aise. Downloaded from https://www.holybooks.com ; 6 THE LETTERS OF VICTOR HUGO. you comes not only from my soul, but from my heart for with a poet Uke you, to create is to charm, and with a listener Uke me, to admire is to love. Yours ex imo pectore. VI. To M. Vedel, Manager of the Comidie Frangaise. MONTMIRAIL, 20th August, 1838. Deak Sir, — According to the terms of the judg- ment given in the suit between me and the Comidie Frangaise, and confirmed by decree, the Gomedie was to play Angela a certain number of times between the 20th of November, 1837, and the 20th of April, 1838, under a penalty of fifty francs damages for every day of delay. At the present date, August the 20th, the num- ber of performances has not been completed, and the result is that at this moment the Comidie Frangaise is indebted to me in the sum of eighteen thousand francs.
Recommended publications
  • Hugo Les Fleurs Collection Folio
    Victor Hugo Les Fleurs collection folio Victor Hugo Les Fleurs Édition présentée et annotée par Henri Scepi Gallimard Cette édition, enrichie de la présentation et des notes inédites, reprend le texte paru dans le volume Les Misérables (Bibliothèque de la Pléiade, Éditions Gallimard). © Éditions Gallimard, 2018, pour l’édition du texte ; 2020, pour la présentation, les notes et la présente édition. Couverture : D’après un dessin de Victor Hugo, Vieux pont à Vianden, 14 juillet 1871 (détail). Maison de Victor Hugo, Paris. Photo © Maisons de Victor Hugo / Roger-Viollet. Lisez ou relisez les livres de Victor Hugo en Folio : LE DERNIER JOUR D’UN CONDAMNÉ précédé de BUG- JARGAL (Folio classique no 919) LES TRAVAILLEURS DE LA MER (Folio classique no 1197) HAN D’ISLANDE (Folio classique no 1331) HERNANI (Folio théâtre no 20 et Folioplus classiques no 152) RUY BLAS (Folio théâtre no 37) CHOSES VUES 1830-1848 (Folio classique no 2944) CHOSES VUES 1849-1885 (Folio classique no 2945) LES MISÉRABLES I (Folio classique no 3223) LES MISÉRABLES II (Folio classique no 3224) QUATREVINGT-TREIZE (Folio classique no 3513) L’HOMME QUI RIT (Folio classique no 3616) LE THÉÂTRE EN LIBERTÉ (Folio classique no 3672) CLAUDE GUEUX suivi de LA CHUTE (Folioplus classiques no 15) JEAN VALJEAN. Un parcours autour des « Misérables » (Folioplus classiques no 117) LUCRÈCE BORGIA (Folio théâtre no 109) LE ROI S’AMUSE (Folio théâtre no 122) LES CONTEMPLATIONS (Folio no 5083 et Folio classique no 6678) PAUCA MEAE. Livre IV des Contemplations (Folioplus clas- siques no 209) L’INTERVENTION (Folioplus classiques no 236 et Folio+ Collège no 39) MARIE TUDOR (Folio théâtre no 150) LE LIVRE DES TABLES (Folio classique no 5729) NOTRE-DAME DE PARIS.
    [Show full text]
  • Actes Et Paroles – Volume IV
    Victor Hugo Actes et paroles – Volume IV 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Victor Hugo Actes et paroles – Volume IV Depuis l'Exil 1876-1885 DEPUIS L'EXIL 1876-1885 1876 I POUR LA SERBIE Il devient nécessaire d'appeler l'attention des gouvernements européens sur un fait tellement petit, à ce qu'il paraît, que les gouvernements semblent ne point l'apercevoir. Ce fait, le voici: on assassine un peuple. Où? En Europe. Ce fait a-t-il des témoins? Un témoin, le monde entier. Les gouvernements le voient-ils? Non. Les nations ont au-dessus d'elles quelque chose qui est au-dessous d'elles les gouvernements. A de certains moments, ce contre-sens éclate: la civilisation est dans les peuples, la barbarie est dans les gouvernants. Cette barbarie est-elle voulue? Non; elle est simplement professionnelle. Ce que le genre humain sait, les gouvernements l'ignorent. Cela tient à ce que les gouvernements ne voient rien qu'à travers cette myopie, la raison d'état; le genre humain regarde avec un autre oeil, la conscience. Nous allons étonner les gouvernements européens en leur apprenant une chose, c'est que les crimes sont des crimes, c'est qu'il n'est pas plus permis à un gouvernement qu'à un individu d'être un assassin, c'est que l'Europe est solidaire, c'est que tout ce qui se fait en Europe est fait par l'Europe, c'est que, s'il existe un gouvernement bête fauve, il doit être traité en bête fauve; c'est qu'à l'heure qu'il est, tout près de nous, là, sous nos yeux, on massacre, on incendie, on pille, on extermine,
    [Show full text]
  • Alexandre Dumas His Life and Works
    f, t ''m^t •1:1^1 CORNELL UNIVERSITY LIBRARY UNDERGRADUATE LIBRARY tu U X'^S>^V ^ ^>tL^^ IfO' The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924014256972 ALEXANDRE DUMAS HIS LIFE AND WORKS ALEXANDRE DUMAS (pere) HIS LIFE AND WORKS By ARTHUR F. DAVIDSON, M.A (Formerly Scholar of Keble College, Oxford) "Vastus animus immoderata, incredibilia, Nimis alta semper cupiebat." (Sallust, Catilina V) PHILADELPHIA J. B. LIPPINCOTT COMPANY Ltd Westminster : ARCHIBALD CONSTABLE & CO 1902 Butler & Tanner, The Selwood Printing Works, Frome, and London. ^l&'il^li — Preface IT may be—to be exact, it is—a somewhat presumptuous thing to write a book and call it Alexandre Dumas. There is no question here of introducing an unknown man or discovering an unrecognized genius. Dumas is, and has been for the better part of a century, the property of all the world : there can be little new to say about one of whom so much has already been said. Remembering also, as I do, a dictum by one of our best known men of letters to the effect that the adequate biographer of Dumas neither is nor is likely to be, I accept the saying at this moment with all the imfeigned humility which experience entitles me to claim. My own behef on this point is that, if we could conceive a writer who combined in himself the anecdotal facility of Suetonius or Saint Simon, with the loaded brevity of Tacitus and the judicial irony of Gibbon, such an one might essay the task with a reasonable prospect of success—though, after all, the probability is that he would be quite out of S5nnpathy with Dumas.
    [Show full text]
  • Lettres Publiques De George Sand Sur Le Théâtre : Affirmation Médiatique D’Une Voix De Femme De Spectacle Olivier Bara
    Lettres publiques de George Sand sur le théâtre : affirmation médiatique d’une voix de femme de spectacle Olivier Bara To cite this version: Olivier Bara. Lettres publiques de George Sand sur le théâtre : affirmation médiatique d’une voix de femme de spectacle. Guillaume Pinson. La lettre et la presse: poétique de l’intime et culture médiatique, 2012. hal-00914534 HAL Id: hal-00914534 https://hal.archives-ouvertes.fr/hal-00914534 Submitted on 5 Dec 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Lettres publiques de George Sand sur le théâtre : affirmation médiatique d’une voix de femme de spectacle Olivier Bara e corpus réuni dans le cadre de cette étude regroupe seize textes de longueur variée, tous à caractère épistolaire, publiés dans la presse, consacrés au théâtre et Laccompagnant la carrière de Sand dramaturge – une carrière comprise, pour l’essentiel de ses succès, entre François le Champi à l’Odéon en 1849 et L’Autre , au même théâtre, en 1870 1. Telle est l’hypothèse qui préside à la constitution de ce corpus et à son analyse : la forme épistolaire, elle-même déclinée en de multiples variantes, fut une voie privilégiée par George Sand pour ses interventions médiatiques dans le domaine de la création dramatique et de la vie théâtrale ; elle fut une manière d’affirmer ponctuellement mais régulièrement sa présence de dramaturge dans l’espace public.
    [Show full text]
  • Travelling in a Palimpsest
    MARIE-SOFIE LUNDSTRÖM Travelling in a Palimpsest FINNISH NINETEENTH-CENTURY PAINTERS’ ENCOUNTERS WITH SPANISH ART AND CULTURE TURKU 2007 Cover illustration: El Vito: Andalusian Dance, June 1881, drawing in pencil by Albert Edelfelt ISBN 978-952-12-1869-9 (digital version) ISBN 978-952-12-1868-2 (printed version) Painosalama Oy Turku 2007 Pre-print of a forthcoming publication with the same title, to be published by the Finnish Academy of Science and Letters, Humaniora, vol. 343, Helsinki 2007 ISBN 978-951-41-1010-8 CONTENTS PREFACE AND ACKNOWLEDGEMENTS. 5 INTRODUCTION . 11 Encountering Spanish Art and Culture: Nineteenth-Century Espagnolisme and Finland. 13 Methodological Issues . 14 On the Disposition . 17 Research Tools . 19 Theoretical Framework: Imagining, Experiencing ad Remembering Spain. 22 Painter-Tourists Staging Authenticity. 24 Memories of Experiences: The Souvenir. 28 Romanticism Against the Tide of Modernity. 31 Sources. 33 Review of the Research Literature. 37 1 THE LURE OF SPAIN. 43 1.1 “There is no such thing as the Pyrenees any more”. 47 1.1.1 Scholarly Sojourns and Romantic Travelling: Early Journeys to Spain. 48 1.1.2 Travelling in and from the Periphery: Finnish Voyagers . 55 2 “LES DIEUX ET LES DEMI-DIEUX DE LA PEINTURE” . 59 2.1 The Spell of Murillo: The Early Copies . 62 2.2 From Murillo to Velázquez: Tracing a Paradigm Shift in the 1860s . 73 3 ADOLF VON BECKER AND THE MANIÈRE ESPAGNOLE. 85 3.1 The Parisian Apprenticeship: Copied Spanishness . 96 3.2 Looking at WONDERS: Becker at the Prado. 102 3.3 Costumbrista Painting or Manière Espagnole? .
    [Show full text]
  • DE VICTOR HUGO • ••••• »••••••••*••"•••-••••• ••••••-•'•-••-• DEPOSITED 1 I Y the COMMITTEE O N (Srabuate Stuoies
    DE VICTOR HUGO • ••••• »••••••••*••"•••-••••• ••••••-•'•-••-• DEPOSITED 1 i Y THE COMMITTEE O N (Srabuate Stuoies. ACC. NO DATE LE THEATEE EU LIBSETS DE VICÏOE EUGO îhèse présentée par Alice M. Sharples, pour le degré de Maître-ès-Arts. -«-00 TABLE LES MATIERES. 1. PREFACE. S. ORIGINE ET HISTORIQUE LU THEATRE EU LIBERTE. A. Les Origines. B. Musset, Précurseur de Victor Hugo. C. Historique. D. Critique Contemporaine. 3. RAPPORT LU THEATRE EN LIBERTE AVEC LTOEUVRE ROMANTIQUE DE VICTOR HUGO. A. Personnages et Situations B. L'Evolution des Idées Religieuses de Victor Hugo. C. LfEvolution des Idées Politiques de Victor Hugo. 4. LA NOUVEAUTE DU THEATRE EN LIBERTE. A. Renouvellement des Formules. B. La Forme. 5. CONCLUSION. 6. BIBLIOGRAPHIE. PBEFACE. En étudiant le "Théâtre en liberté", nous avons trouvé les divisions suivantes qui nous paraissent logiques: La première traitera des origines, et de l'historique du Théâtre. Cette division renfermera des remarques sur le théâtre d'Alfred de Musset,-qui, comme nous tacherons de le montrer, a été le précurseur de Victor Hugo, dans ce genre dramatique,- et les jugements de la critique contemporaine. Une deuxième division discutera les rapports du "Théâtre en Liberté1*, avec l'oeuvre Romantique de Victor Hugo. Nous voulons nous débarrasser, tout d'abord, des réminis­ cences et des échos de l'inspiration romantique, qui sont présents dans le théâtre livresque, et puisqu'il nous paraît que ce sont surtout les^ situations et les personnages, qui sont encore de l'ancienne école, nous allons ainsi intituler la section A de cette division. Les sections B, et G, mon­ treront l'évolution des idées politiques et religieuses du poète, ainsi qu'elles se manifestent dans le "Théâtre en Liberté" Dans notre troisième division, nous essayerons de montrer les.
    [Show full text]
  • VICTOR HUGO, CET INCONNU... DU MÊME AUTEUR : ESSAIS D'art ET D'histoire Le Nouveau Paris
    VICTOR HUGO, CET INCONNU... DU MÊME AUTEUR : ESSAIS D'ART ET D'HISTOIRE Le Nouveau Paris. Daumier. Victor Hugo, artiste. La Vie glorieuse de Victor Hugo. Victor Hugo raconté par ceux qui l'ont vu. Delacroix (3 vol.) Delacroix et sa Consolatrice. L'Art italien. Greco. Gros. Henri Matisse. La Peinture française au XIXe siècle. La Peinture française au XXe siècle. Paris. Versailles. L'Hôtel-Dieu. Constantinople. Mes Pyrénées. ROMANS, NOUVELLES, FOLK-LORE Le Sel de la terre. Mahmadou Fofana. Maripepa. (EN COLLABORATION AVEC MARIE ESCHOLIER) Dansons la trompeuse (prix Northcliffe). Cantegril (prix Vie Heureuse). La Nuit. Quand on conspire. L'Herbe d'amour (Grand prix de littérature de l'Académie française). Gascogne. Au pays de Cantegril. Le Secret de Montségur (en collaboration avec Maurice GARDELLE, à paraître). THÉATRE La Conversion de Figaro (en collaboration avec J.-J. BROUSSON). Cantegril, opéra-comique (musique de Roger-Ducasse). Madame de Luzy (d'après la nouvelle d'Anatole France, en colla- boration avec Eug. BOURGEOIS). POÈMES Vers l'autre rive. RAYMOND ESCHOLIER VICTOR HUGO, CET INCONNU... « Ce sera ma loi d'avoir vécu célèbre et ignoré. » VICTOR HUGO. Paris LES PETITS-FILS DE PLON ET NOURRIT Imprimeurs - Éditeurs - 8, rue Garancière, 6 Copyright 1951 by Librairie Plon. Droits de reproduction et de traduction réservés pour tous pays y compris l'U. R. S. S. A JEAN HUGO en témoignage de grande et fidèle amitié. PRÉFACE Il y a un peu plus de vingt ans, comme je m'apprêtais à publier la Vie glorieuse de Victor Hugo, d'aucuns me mirent en garde contre la vanité d'un sujet si rebattu..
    [Show full text]
  • Lives of Some Great Novelists
    LIVES OF SOME GREAT NOVELISTS John Scales Avery July 29, 2021 INTRODUCTION1 Human history as cultural history We need to reform our teaching of history so that the emphasis will be placed on the gradual growth of human culture and knowledge, a growth to which all nations and ethnic groups have contributed. This book is part of a series on cultural history. Here is a list of the other books in the series that have, until now, been completed: lives in Mathematics • Lives in Exploration • Lives in Education • Lives in Poetry • Lives in Painting • Lives in Engineering • Lives in Astronomy • Lives in Chemistry • Lives in Medicine • Lives in Ecology • Lives in Physics • Lives in Economics • Lives in the Peace Movement • The pdf files of these books may be freely downloaded and circulated from the following web addresses: https://www.johnavery.info/ http://eacpe.org/about-john-scales-avery/ https://wsimag.com/authors/716-john-scales-avery 1This book makes some use of my previously-published book chapters, but most of the material is new. Contents 1 MIGUEL DE CERVANTES 7 1.1 The life of Cervantes . .7 1.2 Don Quixote ................................... 11 1.3 Literary works of Cervantes . 11 2 JANE AUSTEN 15 2.1 Jane Austen's life . 15 2.2 Edward Austen Knight and Admiral Sir Francis Austen . 20 2.3 Love between Jane Austen and and Tom Lefroy ends in tears . 20 2.4 List of Jane Austen's publications . 20 3 MARY SHELLEY 27 3.1 Mary Shelley's famous parents . 27 3.2 A wild romance .
    [Show full text]
  • The Stones of Paris in History and Letters
    THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES FROM THE LIBRARY OF JIM TULLY GIFT OF MRS. JIM TULLY THE STONES OF PARIS IN HISTORY AND LETTERS M.klaiiK' i.1e Sevii;ne. (I'Vom ihu portriut liy Miuiuinl.) THE STONES OF PARIS IN HISTORY AND LETTERS BY BENJAMIN ELLIS MARTIN AND CHARLOTTE M. MARTIN IN TWO VOLUMES Vol. II ILLUSTRATED NEW YORK CHARLES SCRIBNER'S SONS MDCCCXCIX Copyright, 1899, by CHARLES SCRIBNER'S SONS TROW DPBECTORT PRINTING AND BOOKBINDING COMPANY DC ' ; ,; .i5'5's CONTENTS Page The Southern Bank in the Nineteenth Century . 1 The Paris of Honore de Balzac 51 The Paris of Alexandre Dumas 89 The Paris of Victor Hugo 123 The Making of the Marais 163 The Women of the Marais 213 ^ B LIST OF ILLUSTRATIONS From drawings by John Fiilleylove, Esq. The portraits from photographs by Messrs. Braiin, CWment et Cie. Madame de Sevigne (from the portrait by Mignard) . Frontispiece PAGE Alphonse de Lamartine (from a sketch by David d'Angers, " tin soir chez Hugo") . facing lo Madame Recamier (from the portrait by Gros) . facing 40 The Abbaye-aux-Bois ........ 43 Portal of Chateaubriand's Dwelling in Rue du Bac ... 46 The Court of the Pension Vauquer .... facitig 5 2 Honore de Balzac (from the portrait by Louis Boulanger)y;zf/«^ 64 Les Jardies .......... 70 The Antiquary's Shop, and in the back-ground the house where Voltaire died ....... facing 78 The Pension Vauquer ........ 80 The Commemorative Tablet to Balzac . 84 The Figure of d'Artagnan (from the Dumas Monument by Gustave Dore) ...... facing 90 Alexandre Dumas ......
    [Show full text]
  • Louis Boulanger (1806-1867)
    1/8 Data Louis Boulanger (1806-1867) Pays : France Langue : Français Sexe : Masculin Naissance : Vercelli (Piémont, Italie), 11-03-1806 Mort : Dijon (Côte-d'Or), 07-03-1867 Note : Peintre, lithographe, illustrateur et dessinateur de costumes de scène. - Poète Domaines : Peinture ISNI : ISNI 0000 0000 6653 6845 (Informations sur l'ISNI) Louis Boulanger (1806-1867) : œuvres (37 ressources dans data.bnf.fr) Œuvres iconographiques (23) La Ronde du Sabbat (1828) Voir plus de documents de ce genre Manuscrits et archives (2) "Boulanger (Louis), (1806-1867), peintre (MS-9623 "Portrait d'Honoré de Balzac d'après Louis Boulanger, (2199))" par Paul Chenay (NAF 22734)" avec Louis Boulanger (1806-1867) comme Auteur de lettres avec Louis Boulanger (1806-1867) comme Peintre de l'œuvre reproduite data.bnf.fr 2/8 Data Spectacles (4) "La tentation" "Les burgraves" (1878) (1843) avec Louis Boulanger (1806-1867) comme Costumier avec Louis Boulanger (1806-1867) comme Costumier "Esméralda" "Don Juan d'Autriche ou La vocation" (1836) (1835) avec Louis Boulanger (1806-1867) comme Costumier avec Louis Boulanger (1806-1867) comme Costumier Œuvres textuelles (8) "Notre-Dame de Paris" "Les orientales" (1831) (1829) de Victor Hugo de Victor Hugo avec Louis Boulanger (1806-1867) comme Illustrateur avec Louis Boulanger (1806-1867) comme Dessinateur Voir plus de documents de ce genre Documents sur Louis Boulanger (1806-1867) (8 ressources dans data.bnf.fr) Images (3) Louis Boulanger, peintre , Atelier Nadar Boulanger , Atelier Nadar (1900) (1900) [Louis Boulanger]
    [Show full text]
  • Louis BOULANGER (Vercelli, Piémont, 1806 – Dijon, 1867) Faust Dans
    Louis BOULANGER (Vercelli, Piémont, 1806 – Dijon, 1867) Faust dans son cabinet Vers 1833 Huile sur toile d’origine H. 46 cm ; L. 32,5 cm Annoté à deux reprises au dos à l’encre sur le châssis et sur une étiquette : « 3. Faust, peinture de Boulanger provenant de la collection de Victor Hugo ». Par ce tableau représentant Faust dans son cabinet, Louis Boulanger illustre l'un des aspects du mouvement romantique des années 1830. Il renoue en effet, par le choix du thème, avec la culture médiévale, l'une des sources privilégiées du Romantisme. Celle-ci sera redécouverte et remise à l'honneur autant par les peintres que par les écrivains, qui trouvent dans cette quête du passé, la nostalgie propre à leur inspiration personnelle. Cette transcription picturale ou littéraire du Moyen- Âge met alors en scène des événements réels et historiques ou des faits complètement légendaires, toujours replacés cependant dans un contexte moyenâgeux. L'école picturale romantique puisera dans un premier temps et, pendant les deux premières décennies du XIXème siècle, dans les ouvrages déjà existants mais souvent récemment traduits, de Walter Scott, Goethe, Schiller ou Shakespeare. De nouveaux thèmes, qui seront parallèlement popularisés par la peinture, vont ensuite être créés sous forme de romans, nouvelles ou pièces par les grands dramaturges français, Alexandre Dumas ou Victor Hugo surtout. Ces derniers incarnent justement cette nouvelle production littéraire, référence suprême des artistes troubadours. Louis Boulanger illustra d'ailleurs avec passion certaines œuvres de Victor Hugo, personnage qu'il vénéra toute sa vie avec dévotion, ayant eu l'occasion de faire sa connaissance grâce à l'un de ses maîtres, Achille Devéria.
    [Show full text]
  • INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 8907180 Liszt's "Mazeppa"; the history and development of a symphonic poem Pry, John Douglas, D.M.A.
    [Show full text]