Academics From France

"Il y a une sorte de plaisir attaché au courage qui se met au-dessus de la fortune. Mépriser l'argent, c'est détrôner un Roi. Il y a du ragoût."

"Il y a à parier que toute idée publique, toute convention reçue, est une sottise, car elle a convenu au plus grand nombre."

"Celui-là fait plus, pour un hydropique, qui le guérit de la soif, que celui qui lui donne un tonneau de vin. Appliquez cela aux richesses."

"Ce que les poètes, les orateurs, même quelques philosophes nous disent sur l'amour de la Gloire, on nous le disait au Collège, pour nous encourager à avoir les prix. Ce que l'on dit aux enfants pour les engager à préférer à une tartelette les louanges de leurs bonnes, c'est ce qu'on répète aux hommes pour leur faire préférer à un intérêt personnel les éloges de leurs contemporains ou de la postérité."

"L'esprit n'est souvent au cœur que ce que la bibliothèque d'un château est à la personne du maître."

"L'ambition prend aux petites âmes plus facilement qu'aux grandes, comme le feu prend plus aisément à la paille, aux chaumières qu'aux palais."

"Ne tenir dans la main de personne, être homme de son cœur, de ses principes, de ses sentiments, c'est ce que j'ai vu de plus rare."

"Il y a peu d'hommes qui se permettent un usage vigoureux et intrépide de leur raison, et osent l'appliquer à tous les objets dans toute sa force. Le tems est venu où il faut l'appliquer ainsi à tous les objets de la Morale, de la Politique et de la Société, aux rois, aux ministres, aux grands, aux philosophes, aux principes des Sciences, des Beaux-arts, etc., sans quoi, on restera dans la médiocrité."

"Public opinion reigns in society because stupidity reigns amongst the stupid."

"La Société n'est pas, comme on le croit d'ordinaire, le développement de la Nature, mais bien sa décomposition et sa refonte entière. C'est un second édifice, bâti avec les décombres du premier."

"Anyone placed at exactly the same distance between yourself and your enemy will always appear closer to your enemy."

"Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected. Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy."

"Hugo, optimism incarnate, the vatic poet, recognised by God as the only worthy interlocutor, the courageous defender of the Communards...this cantor of the poor, the only one who was- and still is- read by the working classes,... this astonishing man: half priest and half anarchist, incontestable sovereign of the century."

"I was exposed to Dickens, Dumas, Victor Hugo, de Maupassant, Balzac."

"The first romantics were seers without even really realizing it: their soul's education began by accident: abandoned trains still smoking, occasionally taking to the tracks. Lamartine was a seer now and again, but strangling on old forms. Hugo, too pigheaded, certainly saw in his most recent works: Les Misérables is really a poem. I've got Les Chatiments with me; Stella gives some sense of Hugo's vision. Too much Belmontet and Lamennais with their Jehovahs and colonnades, massive crumbling edifices."

"Victor Hugo in alluding to this effort on the part of woman for the redress of the wrongs and grievances under which she had suffered, says, that as the last age was notable for the effort to gain Men’s Rights, so the present generation would aim to create a revolution in public sentiment which should gain the independence of woman."

"For the triumph of the cause of my sex, I hope only that men will be slightly less intolerant and women slightly more supportive of each other. Perhaps, at that point, the prophecy of the greatest poet of our century, Victor Hugo, will be realized: he predicted of woman what William Ewart Gladstone predicted of the factory worker-that the nineteenth century would be the "Century of the Woman.""

"I admire Victor Hugo -- I appreciate his genius, his brilliancy, his romanticism; though he is not one of my literary passions. But Hugo and Goethe and Schiller and all great poets of all great nations are interpreters of eternal things, and my spirit reverently follows them into the regions where Beauty and Truth and Goodness are one."

"Victor Hugo has spoken of the nineteenth century as being woman's era, and among the most noticeable epochs in this era is the uprising of women against the twin evils of slavery and intemperance, which had foisted themselves like leeches upon the civilization of the present age."

"("Who is the greatest French poet?") Victor Hugo, alas!"

"A glittering humbug."

"Victor Hugo was a madman who thought he was Victor Hugo."

"In Hugo is maybe where I learned the freedom to be discursive, to trust that there will be readers who can accept long sentences, and long meanings. In the nineteenth century quite ordinary readers could do that."

"Hugo, like a priest, always has his head bowed -- bowed so low that he can see nothing except his own navel."

"I am reading Les Misérables by Victor Hugo. A book which I remember of old, but I had a great longing to read it again. It is very beautiful, that figure of Monseigneur Myriel or Bienvenu I think sublime....It is good to read such a book again, I think, just to keep some feelings allive. Especially love for humanity, and the faith in, and consciousness of, something higher, in short, quelque chose là-huat."

"There is nothing more powerful than an idea whose time has come."

"He who opens a school, closes a prison"

"Et la marine va, papa, venir à Malte."

"I don't mind what Congress does, as long as they don't do it in the streets and frighten the horses."

"He who is a legend in his own time is ruled by that legend. It may begin in absolute innocence, but, to cover up flaws and maintain the myth of Divine Power, one must employ desperate measures."

"Cimourdain was one of those men who have a voice within them, and who listen to it. Such men seem absent-minded; they are not; they are all attention. Cimourdain knew everything and nothing. He knew everything about science, and nothing at all about life. Hence his inflexibility. His eyes were bandaged like Homer's Themis. He had the blind certainty of the arrow, which sees only the mark and flies to it. In a revolution, nothing is more terrible than a straight line. Cimourdain went straight ahead, as sure as fate. Cimourdain believed that, in social geneses, the extreme point is the solid earth; an error peculiar to minds which replace reason with logic."

"Cimourdain was a pure-minded but gloomy man. He had "the absolute" within him. He had been a priest, which is a solemn thing. Man may have, like the sky, a dark and impenetrable serenity; that something should have caused night to fall in his soul is all that is required. Priesthood had been the cause of night within Cimourdain. Once a priest, always a priest. Whatever causes night in our souls may leave stars. Cimourdain was full of virtues and truth, but they shine out of a dark background."

"Mettre tout en équilibre, c'est bien; mettre tout en harmonie, c'est mieux."

"It is very fortunate that kings cannot err. Hence their contradictions never perplex us."

"They had done him the honor to take him for a madman, but had set him free on discovering that he was only a poet."

"Ce qu’on ne peut dire et ce qu’on ne peut taire, la musique l’exprime."

"La musique...est la vapeur de l’art. Elle est à la poésie ce que la rêverie est à la pensée, ce que le fluide est au liquide, ce que l’océan des nuées est à l’océan des ondes."

"Que l'avenir soit un orient au lieu d'être un couchant, c'est la consolation de l'homme."

"Homère est un des génies qui résolvent ce beau problème de l’art, le plus beau de tous peut-être, la peinture vraie de l’humanité obtenue par le grandissement de l’homme, c’est-à-dire la génération du réel dans l’idéal."

"Dieu se manifeste à nous au premier degré à travers la vie de l’univers, et au deuxième degré à travers la pensée de l’homme. La deuxième manifestation n’est pas moins sacrée que la première. La première s’appelle la Nature, la deuxième s’appelle l’Art."

"Italiens ou français, la misère nous regarde tous. Depuis que l'histoire écrit et que la philosophie médite, la misère est le vêtement du genre humain; le moment serait enfin venu d'arracher cette guenille, et de remplacer, sur les membres nus de l'Homme-Peuple, la loque sinistre du passé par la grande robe pourpre de l'aurore."

"En somme, je fais ce que je peux, je souffre de la souffrance universelle, et je tâche de la soulager, je n'ai que les chétives forces d'un homme, et je crie à tous: aidez-moi."

"Ce livre, les Misérables, n'est pas moins que votre miroir que le nôtre. Certains hommes, certaines castes, se révoltent contre ce livre, je le comprends. Les miroirs, ces diseurs de vérité, sont haïs; cela ne les empêche pas d'être utiles. Quant à moi, j'ai écrit pour tous, avec un profond amour pour mon pays, mais sans me préoccuper de la France plus que d'un autre peuple. A mesure que j'avance dans la vie je me simplifie, et je deviens de plus en plus patriote de l'humanité."

"Du fond de l'ombre où nous sommes et où vous êtes, vous ne voyez pas beaucoup plus distinctement que nous les radieuses et lointaines portes de l'éden. Seulement les prêtres se trompent. Ces portes saintes ne sont pas derrière nous, mais devant nous."

"À l'heure, si sombre encore, de la civilisation où nous sommes, le misérable s'appelle L'HOMME; il agonise sous tous les climats, et il gémit dans toutes les langues."

"Vous avez raison, monsieur, quand vous me dites que le livre les Misérables est écrit pour tous les peuples. Je ne sais s'il sera lu par tous, mais je l'ai écrit pour tous. Il s'adresse à l'Angleterre autant qu'à l'Espagne, à l'Italie autant qu'à la France, à l'Allemagne autant qu'à l'Irlande, aux républiques qui ont des esclaves aussi bien qu'aux empires qui ont des serfs. Les problèmes sociaux dépassent les frontières. Les plaies du genre humain, ces larges plaies qui couvrent le globe, ne s'arrêtent point aux lignes bleues ou rouges tracées sur la mappemonde. Partout où l'homme ignore et désespère, partout où la femme se vend pour du pain, partout où l'enfant souffre faute d'un livre qui l'enseigne et d'un foyer qui le réchauffe, le livre les Misérables frappe à la porte et dit: Ouvrez-moi, je viens pour vous."

"O my country! it is at this moment, when I see you bleeding, inanimate, your head hanging, your eyes closed, your mouth open, and no words issuing therefrom, the marks of the whip upon your shoulders, the nails of the executioner's shoes imprinted upon your body, naked and ashamed, and like a thing deprived of life, an object of hatred, of derision, alas! it is at this moment, my country, that the heart of the exile overflows with love and respect for you! Conclusion, Part Second, II"

"This was the work that the nineteenth century had done among men, and was continuing in glorious, fashion to do,—that century of sterility, that century of domination, that century of decadence, that century of degradation, as it is called by the pedants, the rhetoricians, the imbeciles, and all that filthy brood of bigots, of knaves, and of sharpers, who sanctimoniously slaver gall upon glory, who assert that Pascal was a madman, Voltaire a coxcomb, and Rousseau a brute, and whose triumph it would be to put a fool's-cap upon the human race. Conclusion, Part Second, II"

"This age proclaims the sovereignty of the citizen, and the inviolability of life; it crowns the people, and consecrates man. In art, it possesses all varieties of genius,—writers, orators, poets, historians, publicists, philosophers, painters, sculptors, musicians; majesty, grace, power, force, splendour, colour, form, style; it renews its strength in the real and in the ideal, and bears in its hand the two thunderbolts, the true and the beautiful. In science it accomplishes unheard-of miracles; it makes of cotton salt petre, of steam a horse, of the voltaic battery a workman, of the electric fluid a messenger, of the sun a painter; it waters itself with subterranean streams, pending the time when it shall warm itself with the central fire; it opens upon the two infinites those two windows, the telescope upon the infinitely great, the microscope upon the infinitely little, and it finds stars in the first abyss, and insects in the second, which prove to it the existence of God... It annihilates time, it annihilates space, it annihilates suffering; it writes a letter from Paris to London, and has an answer in ten minutes; it cuts off a man's leg, the man sings and smiles. Conclusion, Part Second, II"

"Let us proclaim it aloud, let us proclaim it in our fall and in our defeat, this is the greatest of all ages! and do you know the reason why? because it is the mildest. This age, the immediate issue, the firstborn offspring, of the French Revolution, frees the slave in America, raises from his degradation the pariah in Asia, abolishes the suttee in India, and extinguishes in Europe the last brands of the stake, civilizes Turkey, carries the Gospel into the domain of the Koran, dignifies woman, subordinates the right of the strongest to that of the most just, suppresses pirates, mitigates sentences, makes the galleys healthy, throws the red-hot iron into the sewer, condemns the penalty of death, removes the ball and chain from the leg of the convict, abolishes torture, degrades and brands war, stifles Dukes of Alva and Charles the Ninths, and extracts the claws of tyrants. Conclusion, Part Second, II"