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* HUGLI. 293 HUGO. HXTGLI, or HOOGLY, hOog'lI. The western- most :ind piiiRipal dfltaie channel of the Ganges, British India, lornied by the junction of tlircu offsets of the Ganges, the Bhagirathi, the Jalangi, and the Churni, known as the Xadiya rivers (Map: India. E 4). It is 12.3 miles long, the estuary, as far as Saugor Roads, measuring 3.5 miles more. It is the most available for naviga- tion of all the channels by which the Ganges readies the sea. In the dry season the tide is felt as high as C'handernagar, 17 miles above Cal- cutta. IXiring the southwest mon.soon the Hugli is subject to a bore seven feet high, often ascend- ing at the rate of 22 miles an hour. Ships drawing 26 feet of water can ascend to the port of Calcutta. The entrance of the river is much incumbered with shoals, and dredgers are con- stantly employed in maintaining a clear channel. HUGLI, or HOOGLY. A city and river port of Bengal. British India, capital of a district of the same name, on the right or western bank of the river Hugli, 27 miles north of Calcutta, in latitude 22° 54' X., and longitude 88° 22' E., on the Calcutta and Allahabad Railway. The city was founded by the Portuguese in 1.547. Chin- sura Iq.v.). which now forms a part of it, was founded by the Dutch, it contains several im- portant educational institutions, including the Hugli College, and is also the seat of an exten- sive militarv cantonment. Population, in I89I, 33.nt!0: in 1901, 29,383. HUGO, hm>'g6, Gl-stav vox (1764-1844). A German jurist, born at Liirrach, Baden, and educated at Gottingen. After acting as tutor to the Prince of Anhalt-Dessau (1786), he be- came profes.sor of law at Giittingen (1788). In 1819 he was made Privy Councilor. He made im- portant investigations of the sources of Roman law. He was, together with Savigny and Hau- bold, one of the founders of the historical method in jurisprudence. He edited: Ulpiani Fragmenta (1788); translated Gibbon's chapter on Roman law as Uebersicht des romischen Rechts (1789) ; Pauli Sententice Recepiw (1796) ; and Jus Civile Ante-Just inianum (181.5). But his most im- portant labor was his own book, Lehrbuch eines C'vUistisehen Kuntis (1792). and his Cirilis- tisches Mafinzin (1814-37). with its supplement. Beitriige zur ciritistischpn Biicherkenntnis der letzteii vierzig Jahre (1828-451. Consult Evs- senhardt. Zur Erinnerung an (lustav Bugo (Ber- lin. l-<4.-)i. HUGO, ij'go', Victor 1I.rie (1802-85). The greatest French poet of his century, a distin- guished dramatist, novelist, essayi-st. and poli- tician. His first volume appeared in 1822. For nearly two-thirds of the century he was a leader in French literature, for the greater part of that time preeminently the leader. He repre- sents the supreme reach of an individualistic and romantic moAenient. Besanron. his birthplace, had once been a Spanish city — a significant fact, for his work often shows Spanish influence. His father was a distinguished officer of the Republic and Empire, his mother the daugh- ter of a sea captain of Xantes. of royalist and Catholic svmpathies. With her the child lived in Paris till 1811. when General Hugo summoned his family to join him in Madrid, whence he was ronstraine<l to send them back in 1812. as King .Toseph's caiise was growing desperate. The impressions of this year left deep marks on many of Victor's works, notably Bug Jargnl. Heniani, Ruy Bias, and Torr/uemada. After- wards, until the fall of the Empire, he was once more with his mother in Paris in the abandoned Convent of Les Feuillantines. which appears prominently in Les iliserables. Set at tech- nological studies by his father, he aspired at fourteen "to be Chateaubriand or nothing,' wrote a Miltonic Deluge, and i)lanncd dramas, epics, and operas. At fifteen he competed for an Academic prize, winning honorable mention and some minor literary patronage. Two years later (1819) he won three prizes at the poetic competition {Jeux Floraux) of Toulouse. He also wrote at this time, though he did not pub- lish it in this form till his old age, a novel, Bug Jargnl, a story of Haiti, of great promise and weird power. An extended revision of tliis was printed in 1826. In 1819 he founded a fortnight- ly literary journal, Le Conservateur Litteraire, the failure of which, with the withdrawal of his allowance from his father, reduced him to a poverty that gave materials for the Marius epi- sodes in Les Miserables. His brother, Abel, gen- erously helped him to print Odes et poesies di- verses (1822). which paid him 700 francs, and caused King Louis XVIII. to grant him a pen- sion of 1500 francs, increa.sed later to 3000. On the strength of this he married (October. 1822). and thereafter enjoyed a happy domestic life. These verses, in their brilliant rhetoric and richness of rhythmic melody, had been ap- proached in that generation only by Lamartine's Meditations. They show an ardent royalism. a perfunctory and sonorous religiosity, and an in- tense political passion, on which Xapoleon was alread.v beginning to exercise a fascination that declared itself openly in the superb Ode on the Vendome Column (1827). The next few years were occupied with an extravagantly romantic novel, Han d'Islande (1823). and' with literary journalism. In 1826 appeared yourelles odes et ballades, whose pre- face was a sort of literary manifesto of Ro- manticism, and of the first Cenacle (q.v.). Ver- sification and rhythm here begin to show an aggressive individuality, and several poems in- dicate that sympathetic study of the mediaeval mind which is associated with French Romanti- cism. Hugo was recognized as the Romantic leader, and asserted and confirmed that position by Cromwell (1827). As early as 1826 the Odeon Theatre had offered hospitality to an English company, in which were Charles Kera- ble and Miss Smithson. This company played Othello. Romeo and Juliet, and Hamlet, all of which were enthusiastically greeted by the new French school. Indeed. Kemble anc" his com- panions did not leave the Odt'on till .July. 1828. Croinuell begins with an elaborate preface full of dramaturgic observations, more opportvme than new: but they now became the rallying- point of a school who thought "the drama the only complete poetry of our time, the only poe- try with a national character." Tliis school de- manded for the drama an unconventional vocab- ulary and a mingling of tragic and comic, to show more fully the irony of destiny, thus un- consciously following Diderot (q.v.). while at- tempting to follow nature. In all Hugo's dramas the lyric element tends to delay the dramatic effect. Hernani and Rutj Bias alone are still played in France. Cromwell ~ followed bv a drama taken from