Hugo, Victor, 1802-1885 -- Criticism and interpretation
execution are execrable scandals to the country which maintains them, he
has proved beyond all humane or reasonable question; and that all
murderers are not alike inexcusable is no less indisputable a
proposition; but beyond these two points the most earnest and exuberant
advocacy can advance nothing likely to convince any but those already
converted to the principle that human life must never be taken in
punishment of crime--that there are not criminals whose existence
insults humanity, and cries aloud on justice for mercy's very sake to
cut it off.
The next year (1830) is famous forever beyond all others in the history
of French literature: it was the year of _Hernani_, the date of
liberation and transfiguration for the tragic stage of France. The
battle which raged round the first acted play of Hugo's, and the triumph
which crowned the struggles of its champions, are not these things
written in too many chronicles to be for the thousandth time related
here? And of its dramatic and poetic quality what praise could be
uttered that must not before this have been repeated at least some
myriads of times? But if there be any mortal to whom the heroic scene of
the portraits, the majestic and august monologue of Charles the Fifth at
the tomb of Charles the Great, the terrible beauty, the vivid pathos,
the bitter sweetness of the close, convey no sense of genius and utter
no message of delight, we can only say that it would simply be natural,
consistent, and proper for such a critic to recognize in Shakespeare a
barbarian, and a Philistine in Milton.
Public-domain text, read in full here on John Shaqi.
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