He next published The Last days of the Condemned, and Notre Dame de Paris, which had a fine success, and covered his name with glory in France.  He now wrote Marion Delorme for the theater, but the censor would not allow it to be played.  The king himself was appealed to, and confirmed the decision of his officer, and it appeared after his fall.  This was the play which Dumas stole.  When this play was rejected by the censor, Hugo wrote another for the theatrical manager who had engaged it, entitled Hernani, which had a splendid success.  The opposition which he met from the actors and actresses was at first great, but he conquered all obstacles.  The king, as if to appease him for the conduct of his censor, gave him a pension of six thousand francs a year, but he nobly refused to take a franc of it.

The success of Delorme was very great, and the Parisian public wept over it in dense crowds.  One peculiarity of Hugo has been, that having once written a book or play he never recalls a sentence.  Not to please managers, censors, or friends even, has he ever recalled a line, though it were to save himself from severe penalties.  He has always been too proud and too conscientious to stoop in this way to either the populace or the government.  In the meantime his house was besieged with publishers and theatrical managers, who besought him to use his pen for them.

He wrote, when once at a piece of work, with rapidity, and applied himself very closely.  In writing Notre Dame, he was occupied for six months, and during that time he did not leave his house for a day, such were the urgent demands of his publisher upon him.  He wrote for his publishers and for the managers and constantly increased his reputation. Lucretia Borgia appeared on the stage and had an almost unheard of success.  It eclipsed all of his plays which had preceded it.  He also published two or three volumes of songs at this time, which were enthusiastically received by the French people.  He was always the warm friend of the poor.  In 1834 he petitioned the duke of Orleans in favor of a poor family he chanced to know, and the duke gave a hundred louis to relieve them.  In return the poet addressed the duke in song.

The manager who had brought out Lucretia Borgia offered him ten thousand francs for another, and very soon Marie Tudor made its appearance.  There seems to have been trouble in its representation, from quarrels between rival actors.  The manager acted dishonorably toward the poet.  He announced his new play in an objectionable manner.  Hugo complained, and he promised amendment the next day.  But when the next day’s announcement came Hugo saw no change, and what was worse still, the manager tried to deceive him by asserting that the bills were altered according to his wish.  Hugo upbraided him for his falsehood, and demanded the play back.  The manager would not give it up, for he had announced it.  Said he: