Moving away from the explicitly political content of his previous novels, Victor Hugo turns to social commentary in The Man Who Laughs, an 1869 work that was made into a popular film in the 1920s. The plot deals with a band of miscreants who deliberately deform children to make them more effective beggars, as well as the long-lasting emotional and social damage that this abhorrent practice inflicts upon its victims.
URSUS. I. Ursus and Homo were fast friends. Ursus was a man, Homo a wolf. Their dispositions tallied. It was the man who had christened the wolf: probably he had also chosen his own name. Having found Ursus fit for himself, he had found Homo fit for the beast. Man and wolf turned their partnership to account at fairs, at village fêtes, at the corners of streets where passers-by throng, and out of the need which people seem to feel everywhere to listen to idle gossip and to buy quack medicine. The wolf, gentle and courteously subordinate, diverted the crowd. It is a pleasant thing to behold the tameness of animals. Our greatest delight is to see all the varieties of domestication parade before us. This it is which collects so many folks on the road of royal processions. Ursus and Homo went about from cross-road to cross-road, from the High Street of Aberystwith to the High Street of Jedburgh, from country-side to country-side, from shire to shire, from town to town. One market exhausted, they went on to another. Ursus lived in a small van upon wheels, which Homo was civilized enough to draw by day and guard by night. On bad roads, up hills, and where there were too many ruts, or there was too much mud, the man buckled the trace round his neck and pulled fraternally, side by side with the wolf. They had thus grown old together. They encamped at haphazard on a common, in the glade of a wood, on the waste patch of grass where roads intersect, at the outskirts of villages, at the gates of towns, in market-places, in public walks, on the borders of parks, before the entrances of churches. When the cart drew up on a fair green, when the gossips ran up open-mouthed and the curious made a circle round the pair, Ursus harangued and Homo approved. Homo, with a bowl in his mouth, politely made a collection among the audience. They gained their livelihood. The wolf was lettered, likewise the man. The wolf had been trained by the man, or had trained himself unassisted, to divers wolfish arts, which swelled the receipts. "Above all things, do not degenerate into a man," his friend would say to him. Never did the wolf bite: the man did now and then. At least, to bite was the intent of Ursus. He was a misanthrope, and to italicize his misanthropy he had made himself a juggler. To live, also; for the stomach has to be consulted. Moreover, this juggler-misanthrope, whether to add to the complexity of his being or to perfect it, was a doctor. To be a doctor is little: Ursus was a ventriloquist. You heard him speak without his moving his lips. He counterfeited, so as to deceive you, any one's accent or pronunciation. He imitated voices so exactly that you believed you heard the people themselves. All alone he simulated the murmur of a crowd, and this gave him a right to the title of Engastrimythos, which he took. He reproduced all sorts of cries of birds, as of the thrush, the wren, the pipit lark, otherwise called the gray cheeper, and the ring ousel, all travellers like himself: so that at times when the fancy struck him, he made you aware either of a public thoroughfare filled with the uproar of men, or of a meadow loud with the voices of beasts—at one time stormy as a multitude, at another fresh and serene as the dawn. Such gifts, although rare, exist. In the last century a man called Touzel, who imitated the mingled utterances of men and animals, and who counterfeited all the cries of beasts, was attached to the person of Buffon—to serve as a menagerie.
The first new Penguin Classics translation in forty years of Victor Hugo’s masterpiece, the subject of The Novel of the Century by David Bellos—published in a stunning Deluxe edition. Winner of the French-American Foundation & Florence Gould Foundation’s 29th Annual Translation Prize in Fiction. The subject of the world’s longest-running musical and the award-winning film, Les Misérables is a genuine literary treasure. Victor Hugo’s tale of injustice, heroism, and love follows the fortunes of Jean Valjean, an escaped convict determined to put his criminal past behind him, and has been a perennial favorite since it first appeared over 150 years ago. This exciting new translation with Jillian Tamaki’s brilliant cover art will be a gift both to readers who have already fallen for its timeless story and to new readers discovering it for the first time. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
The Man Who Laughs is a novel by Victor Hugo, originally published in April 1869 under the French title L'Homme qui rit. There have been several dramatic adaptations of The Man Who Laughs. These include a popular film, directed by Paul Leni and starring Conrad Veidt, Mary Philbin and Olga Baclanova. Hugo wrote The Man Who Laughs, or the Laughing Man, over a period of fifteen months while he was living in the Channel Islands, having been exiled from his native France due to the controversial political content of his previous novels. Hugo's working title for this book was On the King's Command, but a friend suggested The Man Who Laughs.
The story is a dramatic episode of the revolt of the blacks of St. Domingo in 1791. Bug-Jargal, the hero, is a negro, a slave in the household of a planter. He is secretly in love with his master's daughter, a poetic child, betrothed to her cousin, Leopold d'Auverney. The latter saves the life of Bug-Jargal, who is condemned to death for an act of rebellion. When the great revolt breaks out, and the whole island is in flames, Bug-Jargal protects the young girl, and saves the life of her lover. He even conducts D'Auverney to her he loves, and then, in the fullness of sublime abnegation, he surrenders himself to the whites, who shoot him dead.
This omnibus collects three of Hugo?s best-known novels. The Hunchback of Notre Dame tells the story of four men from different walks of life who vie for the hand of the gypsy woman Esmerelda. Les Misérables, Hugo?s masterpiece, is the story of thief Jean Valjean?s spiritual transformation and his pursuit by relentless forces of justice. The Man Who Laughs is Hugo?s somber and serious meditation on class struggle and the sufferings of the underclass.
