In L'HOMME QUI RIT, it was Hugo's object to 'denounce' (as he would say himself) the aristocratic principle as it was exhibited in England; and this purpose, somewhat more unmitigatedly satiric than that of the two last, must answer for much that is unpleasant in the book. The repulsiveness of the scheme of the story, and the manner in which it is bound up with impossibilities and absurdities, discourage the reader at the outset, and it needs an effort to take it as seriously as it deserves. And yet when we judge it deliberately, it will be seen that, here again, the story is admirably adapted to the moral. The constructive ingenuity exhibited throughout is almost morbid. Nothing could be more happily imagined, as a REDUCTIO AD ABSURDUM of the aristocratic principle, than the adventures of Gwynplaine, the itinerant mountebank, snatched suddenly out of his little way of life, and installed without preparation as one of the hereditary legislators of a great country. It is with a very bitter irony that the paper, on which all this depends, is left to float for years at the will of wind and tide. What, again, can be finer in conception than that voice from the people heard suddenly in the House of Lords, in solemn arraignment of the pleasures and privileges of its splendid occupants? The horrible laughter, stamped for ever "by order of the king" upon the face of this strange spokesman of democracy, adds yet another feature of justice to the scene; in all time, travesty has been the argument of oppression; and, in all time, the oppressed might have made this answer: "If I am vile, is it not your system that has made me so?" This ghastly laughter gives occasion, moreover, for the one strain of tenderness running through the web of this unpleasant story: the love of the blind girl Dea, for the monster. It is a most benignant providence that thus harmoniously brings together these two misfortunes; it is one of those compensations, one of those afterthoughts of a relenting destiny, that reconcile us from time to time to the evil that is in the world; the atmosphere of the book is purified by the presence of this pathetic love; it seems to be above the story somehow, and not of it, as the full moon over the night of some foul and feverish city.

There is here a quality in the narration more intimate and particular than is general with Hugo; but it must be owned, on the other hand, that the book is wordy, and even, now and then, a little wearisome. Ursus and his wolf are pleasant enough companions; but the former is nearly as much an abstract type as the latter. There is a beginning, also, of an abuse of conventional conversation, such as may be quite pardonable in the drama where needs must, but is without excuse in the romance. Lastly, I suppose one must say a word or two about the weak points of this not immaculate novel; and if so, it will be best to distinguish at once. The large family of English blunders, to which we have alluded already in speaking of LES TRAVAILLEURS, are of a sort that is really indifferent in art. If Shakespeare makes his ships cast anchor by some seaport of Bohemia, if Hugo imagines Tom-Tim- Jack to be a likely nickname for an English sailor, or if either Shakespeare, or Hugo, or Scott, for that matter, be guilty of "figments enough to confuse the march of a whole history - anachronisms enough to overset all, chronology," (1) the life of their creations, the artistic truth and accuracy of their work, is not so much as compromised. But when we come upon a passage like the sinking of the "Ourque" in this romance, we can do nothing but cover our face with our hands: the conscientious reader feels a sort of disgrace in the very reading. For such artistic falsehoods, springing from what I have called already an unprincipled avidity after effect, no amount of blame can be exaggerated; and above all, when the criminal is such a man as Victor Hugo. We cannot forgive in him what we might have passed over in a third-rate sensation novelist.

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Robert Louis Stevenson

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