Origin
''La Légende des siècles'' was not originally conceived as the vast work it was to become. Its beginning, the original seed, was in a vague project entitled ''Petites Epopées'' ("Little Epics"), which features in the notes and jottings of Hugo from 1848, and which gives no indication of so vast an ambition. After '' Les Châtiments'' and '' Les Contemplations'', his editor, Hetzel, was perturbed by the submission of '' La Fin de Satan'' and '' Dieu'', both of which were nearly complete. Seeing that Hugo was ready to proceed yet further down the metaphysical (or even eschatological) road mapped out by the final ''Contemplations'', Hetzel became anxious at the probability of their failure with the public, and preferred the sound of the ''Petites Epopées'' which Hugo had mentioned, feeling they would be more in harmony with the spirit of the times. Even though these "epics" were still no more than sketches, in March 1857 Hetzel wrote to Hugo, rejecting ''Fin de Satan'' and ''Dieu'', but accepting with enthusiasm the ''Petites Epopées''. This new commission was nevertheless transformed by the influence of Hugo's latest ideas and most recent works, created with the same dash and fire and in a sort of magma of inspiration: a mixture of poesy, mysticism and philosophy which is characteristic of Hugo's first decade of exile. This inspiration normally led him to write a large number of poems, more or less brief, which would finally be published as components in projects which were constantly shifting and evolving. In this case Hugo integrated the little epics into his poetical system by casting them as the "human" panel in a triptych of which "God" and "Satan" were the wings, with the implication that they were merely sparse fragments stolen from a greater epic: the whole of human experience itself. On 11 September 1857 Hugo signed a contract with Hetzel, reserving the right to alter the project's title. Later, Hetzel pronounced himself willing to publish ''La Fin de Satan'' and ''Dieu''; but Hugo, perhaps conscious of the difficulties of completing either to his satisfaction, had by that time thrown himself entirely into the new project. He began by taking the French Revolution as the turning point in human history, intending to use a poem entitled ''La Révolution'' as a pivot around which ''La Pitié Suprême'' or ''Le Verso de la page'' would revolve. More titles were written down, but some were discarded or greatly altered, and the section dealing with the 19th century coalesced as ''L'Océan — La Révolution — le Verso de la page — la Pitié Suprême — Les Pauvres Gens — L'épopée de l'Âne''. Hetzel followed this evolution with alarm, and, fearing that the great philosophical questions would turn these little epics into towering giants, endeavoured to temper Hugo's ardour. After a serious illness in the summer of 1858, Hugo tried to reassure Hetzel by writing in a more straightforwardly narrative vein (e.g. ''Le Petit Roi de Galice'' and ''Zim-Zizimi''), and modified his plans—but retained the general ambition, which he declared in a preface. He had hit on the idea of publishing in several instalments, to give himself more time and space within which to work. The title was not decided on until a month after the manuscript's submission. With his gift for phrases, Hugo came up with ''La Légende des Siècles''. ''Petites Épopées'' was kept as a subtitle.First Series
The first series was published in two volumes on 26 September 1859 (see 1859 in poetry) inContents
* Préface * I. D'Ève à Jésus (Le sacre de la femme; La conscience; Puissance égale bonté; Les lions; Le temple; Booz endormi; Dieu invisible au philosophe; Première rencontre du Christ avec le tombeau) * II. Décadence de Rome (Au lion d'Androclès) * III. L'Islam (L'an neuf de l'Hégire; Mahomet; Le cèdre) * IV. Le Cycle Héroïque Chrétien (Le parricide; Le mariage de Roland; Aymerillot; Bivar; Le jour des rois) * V. Les Chevaliers Errants (''La terre a vu jadis''; Le petit roi de Galice; Eviradnus) * VI. Les Trônes d'Orient (Zim-Zizimi; 1453; Sultan Mourad) * VII. L'Italie — Ratbert * VIII. Seizième siècle — Renaissance. Paganisme (Le Satyre) * IX. La Rose de l'Infante * X. L'Inquisition (Les raisons du Momotombo) * XI. La Chanson des Aventuriers de la Mer * XII. Dix-septième siècle, Les Mercenaires (Le régiment du baron Madruce) * XIII. Maintenant (Après la bataille; Le crapaud; Les pauvres gens; Paroles dans l'épreuve) * XIV. Vingtième siècle (Pleine mer — Plein ciel) * XV. Hors des temps (La trompette du )New Series
Work on the second series began immediately after the first, but Hugo was soon busy with ''Contents
* La vision d'où est sorti ce livre * I. La Terre (La terre – hymne) * II. Suprématie (''Supremacy''), poem inspired by the third part of the Kena Upanishad * III. Entre géants et dieux (Le géant, aux dieux; Les temps paniques; Le titan) * IV. La ville disparue * V. Après les dieux, les rois (I : Inscription; Cassandre; Les trois cents; Le détroit de l'Euripe; La chanson de Sophocle à Salamine; Les bannis; Aide offerte à Majorien; II : L'hydre; Le romancero du Cid; Le roi de Perse; Les deux mendiants; Montfaucon; Les reîtres; Le comte Félibien) * VI. Entre lions et rois (Quelqu'un met le holà) * VII. Le Cid exilé * VIII. Welf, Castellan d'Osbor * IX. Avertissements et châtiments (Le travail des captifs; Homo duplex; Verset du Koran; L'aigle du casque) * X. Les Sept merveilles du monde * XI. L'Epopée du ver * XII. Le Poëte au ver de terre * XIII. Clarté d'âmes * XIV. Les chutes (Fleuves et poëtes) * XV. Le Cycle pyrénéen (Gaïffer-Jorge, duc d'Aquitaine; Masferrer; La paternité) * XVI. La Comète * XVII. Changement d'horizon * XVIII. Le Groupe des Idylles * XIX. Tout le passé et tout l'avenir * XX. Un poëte est un monde * XXI. Le Temps présent (''La Vérité, lumière effrayée''; ''Tout était vision''; Jean Chouan; Le cimetière d'Eylau; 1851 — choix entre deux passants; Écrit en exil; La colère du bronze; France et âme; Dénoncé à celui qui chassa les vendeurs; Les enterrements civils; Le prisonnier; Après les fourches caudines) * XXII. L'Élégie des fléaux * XXIII. Les Petits (Guerre civile; Petit Paul; Fonction du l'enfant; Question sociale) * XXIV. Là-haut * XXV. Les Montagnes (Désintéressement) * XXVI. Le Temple * XXVII. À L'Homme * XXVIII. AbîmeLast Series
The New Series had been advertised with the following message: « ''Le complément de la Légende des siècles sera prochainement publié, à moins que la fin de l'auteur n'arrive avant la fin du livre.'' » ("The conclusion to the ''Legend'' will be published shortly, provided that it is not preceded by the conclusion to the author.") On 9 June 1883 the fifth and last tome of ''La Légende des Siècles'' was published with the subtitle ''série complémentaire'' (see 1883 in poetry). Critics who claimed that the "anticlericalism" and "glibness" were evidence of the bitterness of age were mistaken: in fact, Hugo's cerebral edema of June 1878 had already essentially put an end to his work as a writer, and most of the contents dated from long before. It is probable, but not certain, that he had intended to write new poems. For example, ''La Vision de Dante'' (written in 1853) was initially intended for ''Châtiments'', and ''Les Quatre Jours d'Elciis'' (written in 1857) was bumped forward from both the First and the New Series, the prologue dating from perhaps 1880. This assemblage of poems with little narrative drive, alternating dark and bright visions, gives the impression of a contemplative and intemporal epilogue, very different from what came before.Contents
* ''Je ne me sentais plus vivant'' * I. Les Grandes Lois * II. Voix basses dans les ténèbres * III. ''Je me penchai'' * IV. Mansétude des anciens juges * V. L'Échafaud * VI. Inferi * VII. Les quatre jours d'Elciis * VIII. Les paysans au bord de la mer * IX. Les esprits * X. Le Bey outragé * XI. La chanson des doreurs de proues * XII. Ténèbres * XIII. L'Amour * XIV. Rupture avec ce qui amoindrit * XV. Les paroles de mon oncle * XVI. ''Victorieux ou mort'' * XVII. Le cercle des tyrans * XVIII. Paroles de Géant * XIX. Quand le Cid * XX. La vision de Dante * XXI. ''Dieu fait les questions'' * XXII. Océan * XXIII. ''Ô Dieu, l'œuvre va plus loin que notre rêve''Collected edition
In September 1883, several months after the appearance of the Last Series, a "complete" edition was issued in which the three series are mixed together and reorganised according to a more or less chronological plan. No one is entirely sure how close this comes to Hugo's original vision. It is not impossible that Hugo, physically and intellectually enfeebled, and greatly affected by the death of Juliette Drouet, allowed himself to be overly influenced by friends and by the executors of his estate. The rearrangement, which tries to make things easier for the reader by alternating long and short poems, and poems with different moods, has the effect of erasing the internal logic; in particular, the references to current affairs that are found in the New Series are dispersed. Additionally, it introduces bizarreries of chronology: Greek mythology is depicted after Jesus Christ, and El Cid appears before Muhammad. Finally, it often gives the reader the erroneous impression that this final fusion was what Hugo originally intended, as though the original appearance in "series" were a historical accident. Nevertheless, most modern editions adopt this arrangement for the sake of simplicity.Contents
* Préface * La vision d'où est sorti ce livre * I. La Terre * II. D'Ève à Jésus (Le sacre de la femme; La conscience; Puissance égale bonté; Les lions; Le temple; Booz endormi; Dieu invisible au philosophe; Première rencontre du Christ avec le tombeau) * III. Suprématie * IV. Entre géants et dieux (Le géant, aux dieux; Paroles de géant; Les temps paniques; Le titan) * V. La ville disparue * VI. Après les dieux, les rois (I : Inscription; Cassandre; Les trois cents; Le détroit de l'Euripe; La chanson de Sophocle à Salamine; Les bannis; Aide offerte à Majorien; II : L'hydre; ''Quand le Cid fut entré''; Le romancero du Cid; Le roi de Perse; Les deux mendiants; Montfaucon; Les reîtres; Le comte Félibien) * VII. Entre lions et rois (Quelqu'un met le holà) * VIII. Décadence de Rome (Au lion d'Androclès) * IX. L'Islam (L'an neuf de l'Hégire; Mahomet; Le cèdre) * X. Le Cycle Héroïque Chrétien (Le parricide; Le mariage de Roland; Aymerillot; Bivar; Le jour des rois) * XI. Le Cid exilé * XII. Les Sept merveilles du monde * XIII. L'Epopée du ver * XIV. Le Poëte au ver de terre * XV. Les Chevaliers Errants (''La terre a vu jadis''; Le petit roi de Galice; Eviradnus) * XVI. Les Trônes d'Orient (Zim-Zizimi; 1453; Sultan Mourad; Le Bey outragé; La chanson des doreurs de proues) * XVII. Avertissements et châtiments (Le travail des captifs; Homo duplex; Verset du Koran; L'aigle du casque) * XVIII. L'Italie – Ratbert * XIX. Welf, Castellan d'Osbor * XX. Les quatre jours d'Elciis * XXI. Le Cycle pyrénéen (Gaïffer-Jorge, duc d'Aquitaine; Masferrer; La paternité); * XXII. Seizième siècle — Renaissance Paganisme (Le Satyre) * XXIII. ''Je me penchai'' * XXIV. Clarté d'âmes * XXV. Les chutes (Fleuves et poëtes) * XXVI. La Rose de l'Infante * XXVII. L'Inquisition (Les raisons du Momotombo) * XXVIII. La Chanson des Aventuriers de la Mer * XXIX. Mansétude des anciens juges * XXX. L'Échafaud * XXXI. Dix-septième siècle, Les Mercenaires (Le régiment du baron Madruce) * XXXII. Inferi * XXXIII. Le cercle des tyrans * XXXIV. Ténèbres * XXXV. Là-haut * XXXVI. Le Groupe des Idylles * XXXVII. Les paysans au bord de la mer * XXXVIII. Les esprits * XXXIX. L'Amour * XL. Les Montagnes (Désintéressement) * XLI. Océan * XLII. À L'Homme * XLIII. Le Temple * XLIV. Tout le passé et tout l'avenir * XLV. Changement d'horizon * XLVI. La Comète * XLVII. Un poëte est un monde * XLVIII. Le retour de l'Empereur * XLIX. Le Temps présent (''La Vérité, lumière effrayée''; ''Tout était vision''; Jean Chouan; Après la bataille; Les paroles de mon oncle; Le cimetière d'Eylau; 1851 – choix entre deux passants; Écrit en exil; La colère du bronze; France et âme; Dénoncé à celui qui chassa les vendeurs; Les enterrements civils; ''Victorieux ou mort''; Le prisonnier; Après les fourches caudines; Paroles dans l'épreuve) * L. L'Élégie des fléaux * LI. Voix basses dans les ténèbres * LII. Les pauvres gens; * LIII. Le crapaud; * LIV. La vision de Dante; * LV. Les grandes Lois (+ Je ne me sentais plus vivant; Dieu fait les questions) * LVI. Rupture avec ce qui amoindrit • LVII. Les Petits (Guerre civile; Petit Paul; Fonction du l'enfant; Question sociale) * LVIII. Vingtième siècle (Pleine mer — Plein ciel) * LIX. ''Ô Dieu, l'œuvre va plus loin que notre rêve'' * LX. Hors des temps (La trompette du ) * LXI. AbîmeReferences
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