Les Destins de la Vendee. 1819. Sur Walter
Scott. 1823. Sur Lord Byron (a propos de
sa mort). 1824. Guerre aux demolisseurs. 1825-32.
Journal des idees et des opinions d’un revolutionnaire
de 1830. Sur Mirabeau. 1834. La Liberation
du territoire. 1873. Many political articles,
speeches, and prefaces.
STUDY AND CRITICISM.
The studies and criticisms on Hugo form a large and
ever-increasing library. The most remarkable
among them are the following:
SAINTE-BEUVE. Critiques et Portraits litteraires.
Articles on Victor
Hugo. 1832.
GUSTAVE PLANCHE. Nouveaux portraits litteraires.
Studies and
criticisms on some of Hugo’s plays. 1832-8.
Revue des Deux Mondes, passim. Articles
by Gustave Planche, A.
Fontaney, and Charles Magnin.
CHARLES ASSELINEAU. Melanges d’une bibliotheque
romantique. 1867.
LEONARD DE LOMENIE. Galerie des contemporains illustres.
Vol. I. 1879.
GUSTAVE DESSOFFY (le comte). Discours sur la vie
litteraire de Victor
Hugo. 1845.
ELISA CHEVALIER. La Verite sur Victor Hugo.
1850.
EUGENE DE MIRECOURT. Victor Hugo. 1854.
HIPPOLYTE CASTILLE. Victor Hugo.
A. MAZURE. Les Poetes contemporains.
ERNEST HAMEL. Victor Hugo. 1860.
ALFRED NETTEMENT. Victor Hugo. 1862.
MADAME VICTOR HUGO. Victor Hugo, raconte par un
temoin de sa vie. 2
vols. 1863.
PAUL DE SAINT-VICTOR. Victor Hugo. 1885.
E. Dupuis. Victor Hugo, l’homme et le poete.
1897.
PETIT DE JULLEVILLE. Histoire de la litterature
francaise. 1894-1900.
CH. RENOUVIER. Victor Hugo, le Poete et le
philosophe. 2 vols. 1900.
A. SLEUMER. Die Dramen von Hugo. Berlin,
1901.
GASTON DESCHAMPS. Conferences sur Victor Hugo.
1898.
EMILE FAGUET. Histoire de la litterature francaise.
1900.
And a host of articles by such critics as Emile Montegut,
Emile Augier, Edmond Scherer, without speaking of
the innumerable notes and criticisms which have appeared
on Hugo and his work in daily papers and periodicals
both in France and in foreign countries.
PORTRAITS.
These are extremely numerous, but previously to 1851,
that is, before Hugo left France, they all represent
him as a clean-shaven man. After his exile Hugo
grew a beard, hence the alteration so noticeable in
the portraits subsequent to 1851.
The portrait chosen represents Hugo in his youth,
at the time of the first appearance of Notre-Dame
de Paris.
