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And giving Hugo's horse, which he had now headed toward the thicket, a slight cut on the flank with his whip, he drove Hugo before him, much to the boy's indignation. "Thou hast been drinking!" he cried, turning in his saddle. "Strike not my horse again." They were barely screened from sight when Humphrey, his head turned over his shoulder, held up his hand warningly.
He sees how much the aristocrat, slaying hip and thigh for the King, and the Jacobin, slaying hip and thigh for the Republic, resembled one another. The bronze mask of civil war has two profiles, one turned towards the past, the other towards the future, but as tragic the one as the other. And let us mark Victor Hugo's signal distinction in his analysis of character.
A veil was drawn, as it were, from before his eyes, and he looked on other women and found them beautiful. It was in 1833, soon after Hugo's play "Lucrece Borgia" had been accepted for production, that a lady called one morning at Hugo's house in the Place Royale.
The annexation of Portugal is expected at least as soon as the present king dies; certainly no heir of his will ever wear a crown. The Pope! If he had only read, pondered, and learned by heart Victor Hugo's poem, "Le Pape," he might perhaps be still at home in the Vatican. But the "infallible" can never learn. At Constantinople he is at least safe.
Both threw away some tolerably fair-looking opportunities; for both, in their secret hearts, were resolved to make absolutely sure work this time, and neither meant to allow his fevered desires to seduce him into any venture that had much uncertainty about it. Hugo's chance came first. For at last a woman approached who carried a fat package of some sort in a basket.
An instance of it may be found in Victor Hugo's drama, Notre Dame de Paris, where, at the Municipal Hall, a play called Le Bon Jugement de la Tres-sainte et Graceuse Vierge Marie, is enacted in honour of Louis XI, in which the Virgin appears personally to pronounce her 'good judgment. In Moscow, during the prepetrean period, performances of nearly the same character, chosen especially from the Old Testament, were also in great favour.
His pension thereafter should be six thousand francs a year. Victor Hugo declined to receive it. Of course, the papers were full of the subject. All cafedom took sides: Paris had a topic for gesticulation, and Paris improved the opportunity. Conservatism having stopped this play, there was only one thing to do: write another; for a play of Victor Hugo's must be put upon the stage.
Lord Francis Leveson wants to get up his version of Victor Hugo's "Hernani," at Bridgewater House, and has begged me, as a favor, to act the heroine; all the rest are to be amateurs. I have consented to this, not knowing well how to refuse, yet for one or two reasons I almost think I had better not have done so.
Day-dreams, but too often fulfilled the old story of centralization doing its work; look at the map of Normandy, and see how the 'chemin de fer de l'Ouest' is putting forth its arms, which like the devil-fish, in Victor Hugo's 'Travailleurs de la Mer' will one day draw irresistibly to itself, our fair 'Toiler of the sea.
But he found that the more he offered to the public the more he received from them, and that it was practically impossible to lose money by giving things away. This is, of course, a fundamental axiom of commerce. And now Hugo's annual sale was to be more astonishing than ever; some said that he meant at any cost to efface the memory of those discreditable incidents before mentioned.
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