The Memoirs of Victor Hugo

Titel: The Memoirs of Victor Hugo

von ca. 337-422 Faxian, Sir Samuel White Baker, Sax Rohmer, Bernardin de Saint-Pierre, Maria Edgeworth, Saint Sir Thomas More, Herodotus, L. Mühlbach, Herbert Allen Giles, G. K. Chesterton, Algernon Charles Swinburne, Rudyard Kipling, A. J. O'Reilly, William Bray, O. Henry, graf Leo Tolstoy, Anonymous, Lewis Wallace, Johann Wolfgang von Goethe, Edgar Allan Poe, Jack London, Elizabeth Cleghorn Gaskell, Jules Verne, Frank Frankfort Moore, Susan Fenimore Cooper, Anthony Trollope, Henry James, T. Smollett, Thomas Burke, Emma Goldman, George Eliot, Henry Rider Haggard, Baron Thomas Babington Macaulay Macaulay, A. Maynard Barbour, Edmund Burke, Gerold K. Rohner, Bernard Shaw, Sir Joshua Reynolds, Bret Harte, Nathaniel Hawthorne, Jerome K. Jerome, Isabella L. Bird, Christoph Martin Wieland, Rainer Maria Rilke, Ludwig Anzengruber, Freiherr von Ludwig Achim Arnim, G. Harvey Ralphson, John Galsworthy, George Sand, Pierre Loti, Fyodor Dostoyevsky, Giambattista Basile, Homer, John Webster, P. G. Wodehouse, William Shakespeare, Edward Payson Roe, Sir Walter Raleigh, Victor [pseud.] Appleton, Arnold Bennett, James Fenimore Cooper, James Hogg, Richard Harding Davis, Ernest Thompson Seton, William MacLeod Raine, E. Phillips Oppenheim, Maksim Gorky, Henrik Ibsen, George MacDonald, Sir Max Beerbohm, Lucy Larcom, Various, Sir Robert S. Ball, Charles Darwin, Charles Reade, Adelaide Anne Procter, Joseph Conrad, Joel Chandler Harris, Joseph Crosby Lincoln, Alexander Whyte, Kate Douglas Smith Wiggin, James Lane Allen, Richard Jefferies, Honoré de Balzac, Wilhelm Busch, General Robert Edward Lee, Charles Dickens, Wilkie Collins, David Cory, Booth Tarkington, George Rawlinson, Sir Arthur Conan Doyle, Dinah Maria Mulock Craik, Christopher Evans, Thomas Henry Huxley, Mary Roberts Rinehart, Erskine Childers, Alice Freeman Palmer, Florence Converse, William Congreve, Stephen Crane, Madame de La Fayette, United States. Army. Corps of Engineers. Manhattan District, Willa Sibert Cather, Anna Katharine Green, Oliver Wendell Holmes, Charlotte M. Brame, Alphonse Daudet, Booker T. Washington, Clemens Brentano, Sylvester Mowry, Geoffrey Chaucer, Ellen Anderson Gholson Glasgow, Gail Hamilton, William Roscoe Thayer, Margaret Wade Campbell Deland, Rafael Sabatini, Archibald Henderson, Albert Payson Terhune, George Wharton James, Padraic Colum, James MacCaffrey, John Albert Macy, Annie Sullivan, Helen Keller, Walter Pater, Sir Richard Francis Burton, Baron de Jean-Baptiste-Antoine-Marcelin Marbot, Aristotle, Gustave Flaubert, 12th cent. de Troyes Chrétien, Valentine Williams, Thomas Wentworth Higginson, Alexandre Dumas fils, John Gay, Andrew Lang, Hester Lynch Piozzi, Jeffery Farnol, Alexander Pope, George Henry Borrow, Mark Twain, Francis Bacon, Margaret Pollock Sherwood, Henry Walter Bates, Thornton W. Burgess, Edmund G. Ross, William Alexander Linn, Voltaire, Giles Lytton Strachey, Henry Ossian Flipper, Émile Gaboriau, Arthur B. Reeve, Hugh Latimer, Baron Edward Bulwer Lytton Lytton, Benito Pérez Galdós, Robert Smythe Hichens, Niccolò Machiavelli, Prosper Mérimée, Ivan Sergeevich Turgenev, Anatole Cerfberr, Jules François Christophe, Victor Cherbuliez, Edgar B. P. Darlington, David Grayson, Mihai Nadin, Helen Beecher Long, Plutarch, Harriet Beecher Stowe, Margaret E. Sangster, Herman Melville, John Keats, Fannie Isabel Sherrick, Maurice Baring, William Terence Kane, Mary Russell Mitford, Henry Drummond, Rabindranath Tagore, Hubert Howe Bancroft, Charlotte Mary Yonge, William Dean Howells, Jesse F. Bone, Basil Hall Chamberlain, William Makepeace Thackeray, Samuel Butler, Frances Hodgson Burnett, E. Prentiss, Sir Walter Scott, Alexander K. McClure, David Livingstone, Bram Stoker, Victor Hugo

ISBN 978-3-7429-2428-5

Alle Rechte vorbehalten.

Es ist ohne vorherige schriftliche Erlaubnis nicht gestattet, dieses Werk im Ganzen oder in Teilen zu vervielfältigen oder zu veröffentlichen.

THE MEMOIRS OF VICTOR HUGO

By Victor Hugo

Contents

PREFACE.

This volume of memoirs has a double character—historical and intimate. The life of a period, the XIX Century, is bound up in the life of a man, VICTOR HUGO. As we follow the events set forth we get the impression they made upon the mind of the extraordinary man who recounts them; and of all the personages he brings before us he himself is assuredly not the least interesting. In portraits from the brushes of Rembrandts there are always two portraits, that of the model and that of the painter.

This is not a diary of events arranged in chronological order, nor is it a continuous autobiography. It is less and it is more, or rather, it is better than these. It is a sort of haphazard chronique in which only striking incidents and occurrences are brought out, and lengthy and wearisome details are avoided. VICTOR HUGO'S long and chequered life was filled with experiences of the most diverse character—literature and politics, the court and the street, parliament and the theatre, labour, struggles, disappointments, exile and triumphs. Hence we get a series of pictures of infinite variety.

Let us pass the gallery rapidly in review.

It opens in 1825, at Rheims, during the coronation of CHARLES X, with an amusing causerie on the manners and customs of the Restoration. The splendour of this coronation ceremony was singularly spoiled by the pitiable taste of those who had charge of it. These worthies took upon themselves to mutilate the sculpture work on the marvellous façade and to "embellish" the austere cathedral with Gothic decorations of cardboard. The century, like the author, was young, and in some things both were incredibly ignorant; the masterpieces of literature were then unknown to the most learned littérateurs: CHARLES NODIER had never read the "Romancero", and VICTOR HUGO knew little or nothing about Shakespeare.

At the outset the poet dominates in VICTOR HUGO; he belongs wholly to his creative imagination and to his literary work. It is the theatre; it is his "Cid", and "Hernani", with its stormy performances; it is the group of his actors, Mlle. MARS, Mlle. GEORGES, FREDERICK LEMAITRE, the French KEAN, with more genius; it is the Academy, with its different kind of coteries.

About this time VICTOR HUGO questions, anxiously and not in vain, a passer-by who witnessed the execution of LOUIS XVI, and an officer who escorted Napoleon to Paris on his return from the Island of Elba.

Next, under the title, "Visions of the Real", come some sketches in the master's best style, of things seen "in the mind's eye," as Hamlet says. Among them "The Hovel" will attract attention. This sketch resembles a page from EDGAR POE, although it was written long before POE's works were introduced into France.

With "Love in Prison" VICTOR HUGO deals with social questions, in which he was more interested than in political questions. And yet, in entering the Chamber of Peers he enters public life. His sphere is enlarged, he becomes one of the familiars of the Tuileries. LOUIS PHILIPPE, verbose and full of recollections that he is fond of imparting to others, seeks the company and appreciation of this listener of note, and makes all sorts of confidences to him. The King with his very haughty bonhomie and his somewhat infatuated wisdom; the grave and sweet DUCHESS D'ORLEANS, the boisterous and amiable princes—the whole commonplace and home-like court—are depicted with kindliness but sincerity.

The horizon, however, grows dark, and from 1846 the new peer of France notes the gradual tottering of the edifice of royalty. The revolution of 1848 bursts out. Nothing could be more thrilling than the account, hour by hour, of the events of the three days of February. VICTOR HUGO is not merely a spectator of this great drama, he is an actor in it. He is in the streets, he makes speeches to the people, he seeks to restrain them; he believes, with too good reason, that the Republic is premature, and, in the Place de la Bastille, before the evolutionary Faubourg Saint Antoine, he dares to proclaim the Regency.

Four months later distress provokes the formidable insurrection of June, which is fatal to the Republic.

The year 1848 is the stormy year. The atmosphere is fiery, men are violent, events are tragical. Battles in the streets are followed by fierce debates in the Assembly. VICTOR HUGO takes part in the mêlée. We witness the scenes with him; he points out the chief actors to us. His "Sketches" made in the National Assembly are "sketched from life" in the fullest acceptation of the term. Twenty lines suffice. ODILON BARROT and CHANGARNIER, PRUDHON and BLANQUI, LAMARTINE and "Monsieur THIERS" come, go, speak—veritable living figures.

The most curious of the figures is LOUIS BONAPARTE when he arrived in Paris and when he assumed the Presidency of the Republic. He is gauche, affected, somewhat ridiculous, distrusted by the Republicans, and scoffed at by the Royalists. Nothing could be more suggestive or more piquant than the inauguration dinner at the Elysee, at which VICTOR HUGO was one of the guests, and the first and courteous relations between the author of "Napoleon the Little" and the future Emperor who was to inflict twenty years of exile upon him.

But now we come to the year which VICTOR HUGO has designated "The Terrible Year," the war, and the siege of Paris. This part of the volume is made up of extracts from note-books, private and personal notes, dotted down from day to day. Which is to say that they do not constitute an account of the oft-related episodes of the siege, but tell something new, the little side of great events, the little incidents of everyday life, the number of shells fired into the city and what they cost, the degrees of cold, the price of provisions, what is being said, sung, and eaten, and at the same time give the psychology of the great city, its illusions, revolts, wrath, anguish, and also its gaiety; for during these long months Paris never gave up hope and preserved an heroic cheerfulness.

On the other hand a painful note runs through the diary kept during the meeting of the Assembly at Bordeaux. France is not only vanquished, she is mutilated. The conqueror demands a ransom of milliards—it is his right, the right of the strongest; but he tears from her two provinces, with their inhabitants devoted to France; it is a return towards barbarism. VICTOR HUGO withdraws indignantly from the Assembly which has agreed to endorse the Treaty of Frankfort. And three days after his resignation he sees CHARLES HUGO, his eldest son, die a victim to the privations of the siege. He is stricken at once in his love of country and in his paternal love, and one can say that in these painful pages, more than in any of the others, the book is history that has been lived.

PAUL MAURICE.

Paris, Sept. 15, 1899.

AT RHEIMS. 1823-1838.

It was at Rheims that I heard the name of Shakespeare for the first time. It was pronounced by Charles Nodier. That was in 1825, during the coronation of Charles X.

No one at that time spoke of Shakespeare quite seriously. Voltaire's ridicule of him was law. Mme. de Staël had adopted Germany, the great land of Kant, of Schiller, and of Beethoven. Ducis was at the height of his triumph; he and Delille were seated side by side in academic glory, which is not unlike theatrical glory. Ducis had succeeded in doing something with Shakespeare; he had made him possible; he had extracted some "tragedies" from him; Ducis impressed one as being a man who could chisel an Apollo out of Moloch. It was the time when Iago was called Pezare; Horatio, Norceste; and Desdemona, Hedelmone. A charming and very witty woman, the Duchess de Duras, used to say: "Desdemona, what an ugly name! Fie!" Talma, Prince of Denmark, in a tunic of lilac satin trimmed with fur, used to exclaim: "Avaunt! Dread spectre!" The poor spectre, in fact, was only tolerated behind the scenes. If it had ventured to put in the slightest appearance M. Evariste Dumoulin would have given it a severe talking to. Some Génin or other would have hurled at it the first cobble-stone he could lay his hand on—a line from Boileau: L'esprit n'est point ému de ce qu'il ne croit pas. It was replaced on the stage by an "urn" that Talma carried under his arm. A spectre is ridiculous; "ashes," that's the style! Are not the "ashes" of Napoleon still spoken of? Is not the translation of the coffin from St. Helena to the Invalides alluded to as "the return of the ashes"? As to the witches of Macbeth, they were rigorously barred. The hall-porter of the Théâtre-Français had his orders. They would have been received with their own brooms.

I am mistaken, however, in saying that I did not know Shakespeare. I knew him as everybody else did, not having read him, and having treated him with ridicule. My childhood began, as everybody's childhood begins, with prejudices. Man finds prejudices beside his cradle, puts them from him a little in the course of his career, and often, alas! takes to them again in his old age.

During this journey in 1825 Charles Nodier and I passed our time recounting to each other the Gothic tales and romances that have taken root in Rheims. Our memories and sometimes our imaginations, clubbed together. Each of us furnished his legend. Rheims is one of the most impossible towns in the geography of story. Pagan lords have lived there, one of whom gave as a dower to his daughter the strips of land in Borysthenes called the "race-courses of Achilles." The Duke de Guyenne, in the fabliaux, passes through Rheims on his way to besiege Babylon; Babylon, moreover, which is very worthy of Rheims, is the capital of the Admiral Gaudissius. It is at Rheims that the deputation sent by the Locri Ozolae to Apollonius of Tyana, "high priest of Bellona," "disembarks." While discussing this disembarkation we argued concerning the Locri Ozolae. These people, according to Nodier, were called the Fetidae because they were half monkeys; according to myself, because they inhabited the marshes of Phocis. We reconstructed on the spot the tradition of St. Remigius and his adventures with the fairy Mazelane. The Champagne country is rich in tales. Nearly all the old Gaulish fables had their origin in this province. Rheims is the land of chimeras. It is perhaps for this reason that kings were crowned there.

Legends are so natural to this place, are in such good soil, that they immediately began to germinate upon the coronation of Charles X. itself. The Duke of Northumberland, the representative of England at the coronation ceremonies, was reputed fabulously wealthy. Wealthy and English, how could he be otherwise than a la mode? The English, at that period, were very popular in French society, although not among the people. They were liked in certain salons because of Waterloo, which was still fairly recent, and to Anglicize the French language was a recommendation in ultra-fashionable society. Lord Northumberland, therefore, long before his arrival, was popular and legendary in Rheims. A coronation was a godsend to Rheims. A flood of opulent people inundated the city. It was the Nile that was passing. Landlords rubbed their hands with glee.

There was in Rheims in those days, and there probably is to-day, at the corner of a street giving on to the square, a rather large house with a carriage-entrance and a balcony, built of stone in the royal style of Louis XIV., and facing the cathedral. About this house and Lord Northumberland the following was related:

In January, 1825, the balcony of the house bore the notice: "House for Sale." All at once the "Moniteur" announced that the coronation of Charles X. would take place at Rheims in the spring. There was great rejoicing in the city. Notices of rooms to let were immediately hung out everywhere. The meanest room was to bring in at least sixty francs a day. One morning a man of irreproachable appearance, dressed in black, with a white cravat, an Englishman who spoke broken French, presented himself at the house in the square. He saw the proprietor, who eyed him attentively.

"You wish to sell your house?" queried the Englishman.

"How much?"

"Ten thousand francs."

"But I don't want to buy it."

"What do you want, then?"

"Only to hire it."

"That's different. For a year?"

"For six months?"

"No. I want to hire it for three days."

"How much will you charge?"

"Thirty thousand francs."

The gentleman was Lord Northumberland's steward, who was looking for a lodging for his master for the coronation ceremonies. The proprietor had smelled the Englishman and guessed the steward. The house was satisfactory, and the proprietor held out for his price; the Englishman, being only a Norman, gave way to the Champenois; the duke paid the 30,000 francs, and spent three days in the house, at the rate of 400 francs an hour.

Nodier and I were two explorers. When we travelled together, as we occasionally did, we went on voyages of discovery, he in search of rare books, I in search of ruins. He would go into ecstasies over a Cymbalum Mound with margins, and I over a defaced portal. We had given each other a devil. He said to me: "You are possessed of the demon Ogive." "And you," I answered, "of the demon Elzevir."

At Soissons, while I was exploring Saint Jean-des-Vignes, he had discovered, in a suburb, a ragpicker. The ragpicker's basket is the hyphen between rags and paper, and the ragpicker is the hyphen between the beggar and the philosopher. Nodier who gave to the poor, and sometimes to philosophers, had entered the ragpicker's abode. The ragpicker turned out to be a book dealer. Among the books Nodier noticed a rather thick volume of six or eight hundred pages, printed in Spanish, two columns to a page, badly damaged by worms, and the binding missing from the back. The ragpicker, asked what he wanted for it, replied, trembling lest the price should be refused: "Five francs," which Nodier paid, also trembling, but with joy. This book was the Romancero complete. There are only three complete copies of this edition now in existence. One of these a few years ago sold for 7,500 francs. Moreover, worms are vying with each other in eating up these three remaining copies. The peoples, feeders of princes, have something else to do than spend their money to preserve for new editions the legacies of human intellect, and the Romancero, being merely an Iliad, has not been reprinted.

During the three days of the coronation there were great crowds in the streets of Rheims, at the Archbishop's palace, and on the promenades along the Vesdre, eager to catch a glimpse of Charles X. I said to Charles Nodier: "Let us go and see his majesty the cathedral."

Rheims is a proverb in Gothic Christian art. One speaks of the "nave of Amiens, the bell towers of Chartres, the façade of Rheims." A month before the coronation of Charles X a swarm of masons, perched on ladders and clinging to knotted ropes, spent a week smashing with hammers every bit of jutting sculpture on the façade, for fear a stone might become detached from one of these reliefs and fall on the King's head. The debris littered the pavement and was swept away. For a long time I had in my possession a head of Christ that fell in this way. It was stolen from me in 1851. This head was unfortunate; broken by a king, it was lost by an exile.

Nodier was an admirable antiquary, and we explored the cathedral from top to bottom, encumbered though it was with scaffolding, painted scenery, and stage side lights. The nave being only of stone, they had hidden it by an edifice of cardboard, doubtless because the latter bore a greater resemblance to the monarchy of that period. For the coronation of the King of France they had transformed a church into a theatres and it has since been related, with perfect accuracy, that on arriving at the entrance I asked of the bodyguard on duty: "Where is my box?"

This cathedral of Rheims is beautiful above all cathedrals. On the façade are kings; on the absis, people being put to the torture by executioners. Coronation of kings with an accompaniment of victims. The façade is one of the most magnificent symphonies ever sung by that music, architecture. One dreams for a long time before this oratorio. Looking up from the square you see at a giddy height, at the base of the two towers, a row of gigantic statues representing kings of France. In their hands they hold the sceptre, the sword, the hand of justice, and the globe, and on their heads are antique open crowns with bulging gems. It is superb and grim. You push open the bell-ringer's door, climb the winding staircase, "the screw of St. Giles," to the towers, to the high regions of prayer; you look down and the statues are below you. The row of kings is plunging into the abysm. You hear the whispering of the enormous bells, which vibrate at the kiss of vague zephyrs from the sky.

One day I gazed down from the top of the tower through an embrasure. The entire façade sheered straight below me. I perceived in the depth, on top of a long stone support that extended down the wall directly beneath me to the escarpment, so that its form was lost, a sort of round basin. Rain-water had collected there and formed a narrow mirror at the bottom; there were also a tuft of grass with flowers in it, and a swallow's nest. Thus in a space only two feet in diameter were a lake, a garden and a habitation—a birds' paradise. As I gazed the swallow was giving water to her brood. Round the upper edge of the basin were what looked like crenelles, and between these the swallow had built her nest. I examined these crenelles. They had the form of fleurs-de-lys. The support was a statue. This happy little world was the stone crown of an old king. And if God were asked: "Of what use was this Lothario, this Philip, this Charles, this Louis, this emperor, this king?" God peradventure would reply: "He had this statue made and lodged a swallow."

The coronation occurred. This is not the place to describe it. Besides my recollections of the ceremony of May 27, 1825, have been recounted elsewhere by another, more ably than I could set them forth.

Suffice it to say that it was a radiant day. God seemed to have given his assent to the fête. The long clear windows—for there are no more stained-glass windows at Rheims—let in bright daylight; all the light of May was in the church. The Archbishop was covered with gilding and the altar with rays. Marshal de Lauriston, Minister of the King's Household, rejoiced at the sunshine. He came and went, as busy as could be, and conversed in low tones with Lecointe and Hittorf, the architects. The fine morning afforded the occasion to say, "the sun of the coronation," as one used to say "the sun of Austerlitz." And in the resplendent light a profusion of lamps and tapers found means to beam.