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The E-mail Address es you entered is are not in a valid format. Gauvain insists that humane values transcend tradition. To prove it, he allows Lantenac to escape and then gives himself up to the tribunal that was convened to try him.
A Cultural Bulletin
Gauvain's forgiveness after Lantenac's courageous act contrasts with Lantenac's executing the sailor at the beginning of the novel. Gauvain is then tried for treason. Radoub votes to acquit, but the others vote to condemn Gauvain to be executed, with Cimourdain casting the deciding vote.
Visited by Cimourdain in prison, Gauvain outlines his own vision of a future society with minimal government, no taxes, technological progress and sexual equality. The following morning he is executed by guillotine. At the same moment, Cimourdain shoots himself. Hugo makes clear where he himself stands—in favour of the revolutionaries—in several explicit comments and remarks made by the omniscient narrator. Nevertheless, the Royalist counter-revolutionaries are in no way villainous or despicable.
Republicans and Royalists alike are depicted as idealistic and high-minded, completely devoted to their respective antagonistic causes though, to be sure, ready to perform sundry cruel and ruthless acts perceived as necessary in the ongoing titanic struggle. Among the considerable cast of characters, there is hardly any on either side depicted as opportunistic, mercenary or cynical. However, while being fair to both Republicans and Monarchists, Hugo has been criticised for his portrayal of the Bretons , whom he describes as "savages" and as speaking "a dead language".
Ninety-Three - Wikipedia
Her children are later saved by the French royalist leader. The former priest who is considered by some to be the novel's villain, Cimourdain, purportedly "made a deep impression on a young Georgian seminarian named Dzhugashvili, who was confined to his cell for reading Ninety-Three and later changed his name to Stalin ", according to a biographer of Hugo.
Herbert Butterfield expressed admiration for Ninety-Three in his essay The Historical Novel , describing the book as "a striking example of the epic of national freedom". Ayn Rand greatly praised this book and Hugo's writing in general , acknowledged it as a source of inspiration, [5] and even wrote an introduction to one of its English-language editions. From Wikipedia, the free encyclopedia. For other uses, see 93 disambiguation. Victor Hugo, Ayn Rand: The first is the account in Book III of a meeting of the Convention, brought to life in scenes that are both vivid and carry a ring of authenticity.
Category:Quatrevingt-treize
Then comes a fictional account of a meeting between Danton, Robespierre, and Marat, where they express different attitudes towards what constitutes a necessary intervention, with Marat naturally at the most extreme, and where Hugo emphasises their mutual dislike and distrust. But the most important section of the novel comes in the concluding part, Book VII.
Here the tensions between Lantenac, Cimourdain, and Gauvain flare into dramatic life and come to their inexorable conclusion. Lantenac has ordered the three peasant children to be locked in a room which will be set on fire should the republicans attack. A desperate fight ensues, from which miraculously Lantenac escapes, only to return voluntarily to rescue the children from being burned alive, when he realises that he alone has the key to the door behind which they are locked.
He accepts that the reward for his good action is to be put to death as a counterrevolutionary: But in Book VI Gauvain struggles between his revolutionary convictions and his revulsion at having Lantenac die for his selfless act.
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Gauvain is torn between the incompatible worldviews of his two mentors. It raises a terrible conflict: If he frees Lantenac, the nobleman will resume his war against the Revolution and many more people will die. The devastated Cimourdain casts the decisive vote at the military tribunal that condemns Gauvain to death. Gauvain expresses himself as content with the verdict — the only possible outcome for his betrayal of his duty. He is moved by retribution, hatred and for him understandable —but ultimately self-destructive— desire for revenge. Civil war is all about that. Yet has there ever been a greater madness?
Can you contrive to let one person perish on the scaffold without creating ten more enemies for you from his family or friends?
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