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    Quatrevingt-Treize
    Quatrevingt-Treize
    Quatrevingt-Treize
    Livre électronique685 pages6 heures

    Quatrevingt-Treize

    Par Victor Hugo

    3.5/5

    ()

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    LangueFrançais
    ÉditeurArchive Classics
    Date de sortie1 janv. 1965
    Auteur

    Victor Hugo

    Victor Hugo (1802-1885) was a French poet and novelist. Born in Besançon, Hugo was the son of a general who served in the Napoleonic army. Raised on the move, Hugo was taken with his family from one outpost to the next, eventually setting with his mother in Paris in 1803. In 1823, he published his first novel, launching a career that would earn him a reputation as a leading figure of French Romanticism. His Gothic novel The Hunchback of Notre-Dame (1831) was a bestseller throughout Europe, inspiring the French government to restore the legendary cathedral to its former glory. During the reign of King Louis-Philippe, Hugo was elected to the National Assembly of the French Second Republic, where he spoke out against the death penalty and poverty while calling for public education and universal suffrage. Exiled during the rise of Napoleon III, Hugo lived in Guernsey from 1855 to 1870. During this time, he published his literary masterpiece Les Misérables (1862), a historical novel which has been adapted countless times for theater, film, and television. Towards the end of his life, he advocated for republicanism around Europe and across the globe, cementing his reputation as a defender of the people and earning a place at Paris’ Panthéon, where his remains were interred following his death from pneumonia. His final words, written on a note only days before his death, capture the depth of his belief in humanity: “To love is to act.”

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    Avis sur Quatrevingt-Treize

    3.5/5

    11 notations11 avis

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    • 2/5
      Evocatie van het jaar 1793 in de Franse Revolutie Lectuur onderbroken, want verhaal overstijgt niveau historische roman niet. Wel occasioneel geniale flitsen. Zeer voorspelbaar.
    • 2/5
      Evocatie van het jaar 1793 in de Franse Revolutie Lectuur onderbroken, want verhaal overstijgt niveau historische roman niet. Wel occasioneel geniale flitsen. Zeer voorspelbaar.
    • 4/5
      bookshelves: winter-20132014, fraudio, published-1874, historical-fiction, france, tbr-busting-2014, revolution, lit-richer, execution, epic-proportions, gr-library, channel-islands, victorian, translation, seven-seasRead from January 05 to 27, 2014Description: Ninety-three, the last of Victor Hugo's novels, is regarded by many including such diverse critics as Robert Louis Stevenson and André Maurois as his greatest work.1793, Year Two of the Republic, saw the establishment of the National Convention, the execution of Louis XVI, the Terror, and the monarchist revolt in the Vendée, brutally suppressed by the Republic. Hugo's epic follows three protagonists through this tumultuous year: the noble royalist de Lantenac; Gauvain, who embodies a benevolent and romantic vision of the Republic; and Cimourdain, whose principles are altogether more robespierrean.The conflict of values culminates in a dramatic climax on the scaffold."Was it a Blue; was it a White?""It was a bullet"Trivia: The former priest who is considered by some to be the novel's villain, Cimourdain, purportedly "made a deep impression on a young Georgian seminarian named Dzhugashvili, who was confined to his cell for reading Ninety-Three and later changed his name to Stalin", according to a biographer of Hugo. (wiki sourced)Daniel Vierge, illus. from "Ninety-three"Achille-Isidore Gilbert, from Ninety-three vol. 1Tellmarch. Jules Férat, from Ninety-three vol. 1Charlotte Corday killing Marat. Frédéric Théodore Lix, from Ninety-three vol. 1Imânus. A. Lançon, from Ninety-three vol. 2She walked towards the tower. Édouard Riou, from Ninety-three vol. 2Wow, this was rich pickings indeed, and delivered in that wry way that Hugo does to great aplomb. A great listen; fully recommended.5* Les Misérables3* The Hunchback of Notre-Dame5* The Man Who Laughs4* Ninety-ThreeTR The Toilers of the SeaCrossposted:WordpressBooklikesLeafMarkLibrarythingaNobii
    • 4/5
      This book reminds me of Twenty Thousand Leagues Under the Sea, The Iliad and The Last Days of Socrates. There're memorable adventures and battles at sea, a ferocious siege that leads to a battle to the death, and finally, in the face of death, a contemplation of meaning, duty, freedom and destiny. Echoes of these contemplations are found in Tolstoy's War and Peace, especially the Epilogue.

      Introduction

      If you've read Les Miserables, you would notice a year mentioned throughout the book (although in the background), 93. It was the year of Terror during the French Revolution, when "many times freshly severed heads, borne aloft on the tops of pikes, sprinkled their blood-drops" over the table of the Assembly. It's also the central point of a debate between the bishop and the conventionist: Is bloodshed inevitable in social progress?

      Reading this book is like being transported in a time machine to 18th century France during the French Revolution. First on board a battleship in the midst of a raging sea, watching a bizarre yet deadly battle between the sailors and an inanimate but powerful enemy; then to Paris,and the Assembly hall of the Convention, the Olympus, witnessing the intense struggles among powerful personalities, Danton, Robespierre and Marat, the leaders of the Revolution, where orders are issued on which lives of thousands are decided; and finally, to the final battleground, where heroes are destroyed but also born, where battles of the tongue are no less fierce than those of the cannon, but much more hilarious.

      How the Heroes are Born

      When I read Iliad, I couldn't help but felt depressed by a sense of fatality. Why did the Greeks and the Trojans have to kill or be killed? Both sides wanted peace and attempted a truce but the gods intervened, and the heroes fought to the death. Despite the best efforts of all reasonable and intelligent people, World War II broke out, no less inexorably than the Trojan War. Why all the senseless deaths?

      Hugo contemplated these questions in the wake of the French Revolution, and in this book, he re-wrote the ending of Iliad, so to speak. There're a few unexpected turns, i.e., the offspring of free will and choice. It's no less tragic and heroic, but more than that, there're also freedom, joy and hope. Despite the apparent inevitability of events, each hero/person has to make his own choice according to his conscience, and in doing so he attains to freedom, dignity and mastery of his destiny.
    • 4/5
      I read this from a volume which also contained the Hugo work Things Done. I finished the volume on April 20, 1975. Ninety-Three is a novel laid in 1793 and telling of Lantenac's dramatic return to France to lead the revolt in Brittaney. SPOILER The general in charge of Republican forces there is Gauvein, his great-nephew. Finally Lantenac and 18 others are beseiged in a fortress. Lantenac escaptes by an unknown passageway, then returns to save three children. Gauvain lets lantenac escape, and is guillotined by Cimourdain, his boyhood tutor, who shoots himself. The story has its memorable moments. It was p[ublished in 1829.
    • 2/5
      I got about half-way through this book set during the Reign of Terror before giving up and admitting this is not a book that in any way clicks with me. Indeed, reading this book made me decide I won't read Hugo's The Hunchback of Notre Dame. I did get through his Les Miserables, with mixed feelings. I feel that Ninety-Three has some of its worst qualities, without its virtues.I remember Jean Valjean as the best of Les Miserables--the reason to read it. He's a character with a fascinating redemptive arc. And Javert is a chilling adversary with an interesting side to him in his devotion to justice, however rigid. The two "heroes" of Ninety-Three at the half-mark on the other hand, Marquis de Lantenac and Cimourdain, leave me cold--both are rigid, fanatical, pitiless. It's as if we had Javert in conflict with Javert. But more than that, my problem with Hugo is that he's the very epitome of tell, not show. Prolix, bombastic, Hugo will never give you one telling detail where pages can do. Let me give you one sentence about a canon that breaks from its moorings from the section, "Tormentum Belli:"That mass speeds on its wheels, tilts when the ship rolls, plunges when it pitches, goes, comes, stops, seems to meditate, resumes its swift movement, goes from one end of the ship to the other with the speed of an arrow, spins around, slips to one side, dashes away, rears up, spins around, slips to one side, dashes away, rears up, collides, smashes, kills, exterminates.It then goes on with this description for 41 lines. That's a smattering of his style. I was done in by "The Convention" chapter--by comparison, the inexorable chapter about the Parisian sewers in Les Miserables seems a lesser sin. To be clear, this isn't the reaction of someone who despises the classics or 19th century literature. Books by Jane Austen, Charlotte Bronte, E.M. Forster and other classics have secure places on my bookshelves. But Ninety-Three is going into my try-to-sell-to-the-Used-Bookstore box.
    • 5/5
      A superb historical novel which captures the bloody civil war in the Vendee in France, circa 1793. Peopled with vivid characters, who jump off the page, it brings to life the kin versus kin aspect of the French Revolution Hugo allows the reader to decided which side he/she favors, the old regime or the Revolution.
    • 3/5
      Hugo was 72 years old when Ninety-Three, his last novel, was published in 1874. It seems the common wisdom is it’s on a par with his other major works, but I found it a step down. On the positive side, while Hugo is clearly passionate about the topic, at the same time he gives both royalists and republicans an opportunity to “speak”, presenting both views, and showing the royalist leader to be virtuous, noble, and willing to sacrifice himself. In the end, he’s just on the wrong side of progress, and the wrong side of history. However, I found the role of the three dispossessed children at the center of the plot to be a bit absurd, even for 19th century Romantic fiction. Worse was the excessive detail Hugo launched into in Part II relative to people involved in various ways in the Revolution. At first I was thinking, hmm some footnotes or a map in places would be nice, but then I realized I would simply stop reading them – the barrage of names is disconnected and pointless. The historical fiction portion where Robespierre, Danton, and Marat meet to discuss the Revolution is interesting, but the narrative leaves them afterwards, and it seems to me the novel would have been better if it had followed these characters later in the book through to their demise. Not awful but I was glad when I made it to the end, which is never a good sign.Quotes:On children:“…he who has not yet lived has done no evil: he is justice, truth, purity; and the highest angels of heaven hover about those souls of little children.”On judges:“The law is immutable. A judge is more and less than a man: he is less than a man because he has no heart; he is more than a man because he holds the sword of justice.”On politics, and how little it means when you’re hungry:“’Which side are you on?’ he asked. ‘Are you republican? Are you royalist?’‘I am a beggar.’‘Neither royalist nor republican?’‘I believe not.’‘’Are you for or against the king?’‘I have no time for that sort of thing.’”On the French Revolution:“At the moment Louis XVI was condemned to death, Robespierre had still eighteen months to live; Danton, fifteen months; Vergniaud, nine months; Marat, five months and three weeks; Lepelletier Saint-Fargeau, one day. Quick and terrible blast from human mouths!”And:“Gauvain, learn that it is necessary to make war on a woman when she calls herself Marie Antoinette, on an old man when he is named Pius VI and Pope, and upon a child when he is named Louis Capet.”Finally:“In La Tourgue were condensed fifteen hundred years (the Middle Age), vassalage, servitude, feudality; in the guillotine one year, - ’93; and these twelve months made a counterpoise to those fifteen centuries. La Tourgue was Monarchy; the guillotine was Revolution, - tragic confrontation! On one side the debtor, on the other the creditor. On one side the inextricable Gothic complication of serf, lord, slave, master, plebeian, nobility, the complex code ramifying into customs, judge and priest in coalition, shackles innumerable, fiscal impositions, excise laws, mortmain, taxes, exemptions, prerogatives, prejudices, fanaticisms, the royal privilege of bankruptcy, the scepter, the throne, the regal will, the divine right; on the other, this simple thing, - a knife. On one side the noose, on the other, the axe.”Lastly, on the smallness of man in the scheme of things, my favorite passage:“Nature is pitiless; she never withdraws her flowers, her music, her fragrance, and her sunlight from before human cruelty or suffering. She overwhelms man by the contrast between divine beauty and social hideousness. She spares him nothing of her loveliness, neither wing or butterfly nor song of bird. In the midst of murder, vengeance, barbarism, he must feel himself watched by holy things; he cannot escape the immense reproach of universal nature and the implacable serenity of the sky. The deformity of human laws is forced to exhibit itself naked amidst the dazzling rays of eternal beauty. Man breaks and destroys; man lays waste; man kills; but the summer remains summer; the lily remains the lily; the star remains the star.”
    • 4/5
      Very Big Hugo fan. Another reviewer said, good begining, good end, boring parts in between. I agree, thought the begining was a touch melodramatic though. The castle that is the stage for the final showdown is so convoluted, I almost had to put it down. Still don't fully understand the lay out.I was hoping to like this as much as MWL, Toilers, or Mis, but alas, it is just very good. Hard to find nevertheless. There is a neat correlation to the sewer section of Les Miserables concerning forest caves and tunnels. And the historical figures, when they are on the stage, they are well represented and convincing. But the novel is about Guvain and Lantenac and it doesn't come to that conclusion until the last third of the novel. Hugo is effective at pulling the plot strings together in his other large works, here it's not done as expertly and his tangents are flat. There's no Gilliatt or Valjean or Gwynplaine and Dea. I never really loved Hunchback, but it was good and I feel the same about this. Nevertheless, it could have been another masterpiece, not sure what happened exactly. It's all there.
    • 4/5
      This was rather a mixed bag. It started and ended well in terms of plot dynamic, though had a fairly lengthy and overblown descriptive phase in the middle. The final section in particular was a very moving and gripping exploration of the dilemmas of revolution and human nature and whether the end justifies the means, centred around the fate of three small children, who are portrayed in typical 19th century style as innocent angels. This is not Les Miserables, it lacks the grandeur and sense of scale and epic story telling of that masterpiece. But it did raise in my estimation in the last quarter.I should add that this digital version was very badly transcribed, with a great many errors that spoiled my reading pleasure to some extent.
    • 5/5
      Ninety-Three by Victor Hugo is a glorious romantic imagining of an episode from the year 1793, during the French Revolution and the year of the Great Terror. The setting is Brittany where counter-revolutionary forces have risen up to oppose the Revolutionary leaders. The leader of this group, the aged Marquise de Lantenac, is a romantic hero in the grandest sense. His fate is seems to be determined, however the Revolutionary forces are led by his grand-nephew, Gauvain, who at the last provides the way for Lantenac to escape. The grandeur of this novel is superb, while Hugo builds suspense in every section. Some scenes are so vivid that you are unlikely to forget them, eg. the great cannon episode. The whole of the novel is one astonishing experience that kept this reader spellbound.

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    Quatrevingt-Treize - Victor Hugo

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