Summary

Great Men and Famous Women, Vol…

If a humane measure is propounded in behalf of the slave, or of the Irishman, or the Catholic, or for the succor of the poor, that sentiment, that project, will have the homage of the hero. That is his nobility, his oath of knighthood, to succor the helpless and oppressed; always to throw himself on the side of weakness, of youth, of hope, on the liberal, on the expansive side; never on the conserving, the timorous, the lock-and-bolt system. More than our good-will we may not be able to give. We have our own affairs, our own genius, which chain us to our proper work.
Source: Gutenberg

Great Men and Famous Women, Vol…

But fortunately the great mass of the work which Victor Hugo has left behind him can be separated from the polemics of his troubled age and fiery temper. It is not in any sense a peaceful literature. Conflict is its very inspiration. The struggle of human misery with all the confusing and overbearing forces of life; of poverty with the requirements and oppressions of wealth; of the small with the great; of the people with tyrants; of Man with Fate—these are his subjects, and he is never an impartial historian. He is on the side of the weak in every combat, the partisan of the oppressed.
Source: Gutenberg

Great Men and Famous Women, Vol…

Not many writers live long enough to see themselves recognized as classics; the benign judgment is more frequently tardy; and then it happens, as De Musset says, that "Fame is a plant which grows upon a tomb." It takes years of repetition to impress new ideas in literature into the hearts and memories of men; and, as literary cycles move, the age of Holmes is still new. The noblest poetry in the language, from the unborrowed splendor of Shakespeare to the sparkling reflections of Gray, doubtless gave to contemporaries a sense of strangeness at first.
Source: Gutenberg

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