Suppression of the social hell, that is to say, of all
irreparable stains, of all social outlawries for which there is neither
end nor hope--it is an essentially religious idea.
The erudition, the talent, the brilliancy of execution, shown in the
book are astonishing, bewildering almost. Its faults are to be found in
the enormous length allowed to digressions and episodical dissertations,
in the exaggeration of all the combinations and all the theses, and,
finally, in something strained, spasmodic, and violent in the style,
which is very different from the style of natural eloquence or of
essential truth. Effect is the misfortune of Victor Hugo, because he
makes it the center of his aesthetic system; and hence exaggeration,
monotony of emphasis, theatricality of manner, a tendency to force and
over-drive. A powerful artist, but one with whom you never forget the
artist; and a dangerous model, for the master himself is already grazing
the rock of burlesque, and passes from the sublime to the repulsive,
from lack of power to produce one harmonious impression of beauty. It is
natural enough that he should detest Racine.
But what astonishing philological and literary power has Victor Hugo! He
is master of all the dialects contained in our language, dialects of the
courts of law, of the stock-exchange, of war, and of the sea, of
philosophy and the convict-gang, the dialects of trade and of
archaeology, of the antiquarian and the scavenger.
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