Victor Hugo: Citáty v angličtine (page 3)

Varianta: No force on earth can stop an idea whose time has come

Zdroj: Les Misérables

Part 2, Book 1, Ch. 2
Ninety-Three (1874)
Kontext: Cimourdain was one of those men who have a voice within them, and who listen to it. Such men seem absent-minded; they are not; they are all attention.
Cimourdain knew everything and nothing. He knew everything about science, and nothing at all about life. Hence his inflexibility. His eyes were bandaged like Homer's Themis. He had the blind certainty of the arrow, which sees only the mark and flies to it. In a revolution, nothing is more terrible than a straight line. Cimourdain went straight ahead, as sure as fate.
Cimourdain believed that, in social geneses, the extreme point is the solid earth; an error peculiar to minds which replace reason with logic.

Océan - Tas de pierres (1942)

Kontext: You have enemies? Why, it is the story of every man who has done a great deed or created a new idea. It is the cloud which thunders around everything that shines. Fame must have enemies, as light must have gnats. Do not bother yourself about it; disdain. Keep your mind serene as you keep your life clear.

Villemain (1845)

Histoire d'un crime (The History of a Crime) [written 1852, published 1877], Quatrième journée. La victoire, ch. II: Les Faits de la nuit. Quartier des Halles. Trans. T.H. Joyce and Arthur Locker

Part 2, Book 1, Ch. 2
Ninety-Three (1874)
Kontext: Cimourdain was one of those men who have a voice within them, and who listen to it. Such men seem absent-minded; they are not; they are all attention.
Cimourdain knew everything and nothing. He knew everything about science, and nothing at all about life. Hence his inflexibility. His eyes were bandaged like Homer's Themis. He had the blind certainty of the arrow, which sees only the mark and flies to it. In a revolution, nothing is more terrible than a straight line. Cimourdain went straight ahead, as sure as fate.
Cimourdain believed that, in social geneses, the extreme point is the solid earth; an error peculiar to minds which replace reason with logic.

Kontext: For four hundred years the human race has not made a step but what has left its plain vestige behind. We enter now upon great centuries. The sixteenth century will be known as the age of painters, the seventeenth will be termed the age of writers, the eighteenth the age of philosophers, the nineteenth the age of apostles and prophets. To satisfy the nineteenth century, it is necessary to be the painter of the sixteenth, the writer of the seventeenth, the philosopher of the eighteenth; and it is also necessary, like Louis Blane, to have the innate and holy love of humanity which constitutes an apostolate, and opens up a prophetic vista into the future. In the twentieth century war will be dead, the scaffold will be dead, animosity will be dead, royalty will be dead, and dogmas will be dead; but Man will live. For all there will be but one country—that country the whole earth; for all there will be but one hope—that hope the whole heaven.

Address to the Workman's Congress at Marseille http://en.wikisource.org/wiki/Victor_Hugo%27s_Address_to_the_Workman%27s_Congress_at_Marseille (1879)

Letter To M. Daelli on Les Misérables (1862)
Kontext: This book, Les Misérables, is no less your mirror than ours. Certain men, certain castes, rise in revolt against this book, — I understand that. Mirrors, those revealers of the truth, are hated; that does not prevent them from being of use. As for myself, I have written for all, with a profound love for my own country, but without being engrossed by France more than by any other nation. In proportion as I advance in life, I grow more simple, and I become more and more patriotic for humanity.

Letter To M. Daelli on Les Misérables (1862)
Kontext: This book, Les Misérables, is no less your mirror than ours. Certain men, certain castes, rise in revolt against this book, — I understand that. Mirrors, those revealers of the truth, are hated; that does not prevent them from being of use. As for myself, I have written for all, with a profound love for my own country, but without being engrossed by France more than by any other nation. In proportion as I advance in life, I grow more simple, and I become more and more patriotic for humanity.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html
Kontext: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html
Kontext: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

Discours d'ouverture, congrès de la paix http://fr.wikisource.org/wiki/Congr%C3%A8s_de_la_Paix_1849, [Opening address, Peace Congress], Paris (21 August 1849); published in Actes et paroles - Avant l'exil (1875)
Kontext: A day will come when there will be no battlefields, but markets opening to commerce and minds opening to ideas. A day will come when the bullets and bombs are replaced by votes, by universal suffrage, by the venerable arbitration of a great supreme senate which will be to Europe what Parliament is to England, the Diet to Germany, and the Legislative Assembly to France.
A day will come when a cannon will be a museum-piece, as instruments of torture are today. And we will be amazed to think that these things once existed!
A day will come when we shall see those two immense groups, the United States of America and the United States of Europe, facing one another, stretching out their hands across the sea, exchanging their products, their arts, their works of genius, clearing up the globe, making deserts fruitful, ameliorating creation under the eyes of the Creator, and joining together, to reap the well-being of all, these two infinite forces, the fraternity of men and the power of God.

Part 2, Book 1, Ch. 2
Variant translation: What makes night within us may leave stars.
Ninety-Three (1874)
Kontext: Cimourdain was a pure-minded but gloomy man. He had "the absolute" within him. He had been a priest, which is a solemn thing. Man may have, like the sky, a dark and impenetrable serenity; that something should have caused night to fall in his soul is all that is required. Priesthood had been the cause of night within Cimourdain. Once a priest, always a priest.
Whatever causes night in our souls may leave stars. Cimourdain was full of virtues and truth, but they shine out of a dark background.

Letter To M. Daelli on Les Misérables (1862)
Kontext: You are right, sir, when you tell me that Les Misérables is written for all nations. I do not know whether it will be read by all, but I wrote it for all. It is addressed to England as well as to Spain, to Italy as well as to France, to Germany as well as to Ireland, to Republics which have slaves as well as to Empires which have serfs. Social problems surpass frontiers. The sores of the human race, those great sores which cover the globe, do not halt at the red or blue lines traced upon the map. In every place where man is ignorant and despairing, in every place where woman is sold for bread, wherever the child suffers for lack of the book which should instruct him and of the hearth which should warm him, the book of Les Misérables knocks at the door and says: "Open to me, I come for you."

Kontext: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html

Varianta: The future has many names: For the weak, it means the unattainable. For the fearful, it means the unknown. For the courageous, it means opportunity.
Zdroj: Les Misérables

Zdroj: Ninety-Three

Zdroj: Les Misérables