Hugo, it must be noted, was a nut, even if an enormously talented nut. He would get to the working poor and the rest of Europe later. At the same time, he would liberate French poetry, French literature, French society and a whole generation of bored young intelligentsia.
#Dona dona paris by night free#
Hugo found it convenient to his mission-essentially to become the world’s greatest living author (he ultimately succeeded)-to use his play to free French theater from the conservative forces of darkness that held it prisoner.
Into this boutique of delicate porcelain sensibilities strode Victor Hugo, club in hand. Deviation was considered heretical innovation unnecessary, and to some minds, criminal. Subject matter, setting, tone, characters, dialogue, the metrics and rhyme scheme of the dialogue were all required to conform to precise standards established centuries earlier. Hernani, his third play, written when he was 28, was not so much a piece of theater as a bombshell dropped directly into the laps of les classiques, the conservative defenders of French drama and its perfect garden of rules, regulations and Aristotelian commandments of How Things Must Always And Forever Be. If Victor Hugo ever did anything small or insignificant in art or life, it is not recorded.
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