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Njeriu që qesh 2
“Njeriu që Qesh” – një roman i mrekullueshëm për jetën dhe aventurat e trashëgimtarit mbretëror që ka dhënë buzëqeshje të ngrirë përgjithmonë në fytyrën e tij. Vrasin fëmijën – një krim, thonë ata, por të shpëtoj prej tij në një mënyrë tjetër – për të ndryshuar pamjen dhe për të devijuar larg nga tokat e tyre amtare.
374 pages, Paperback
First published January 1, 1869
2 people are currently reading
90 people want to read
About the author
Victor Hugo
6,493 books13.2k followersAfter Napoleon III seized power in 1851, French writer Victor Marie Hugo went into exile and in 1870 returned to France; his novels include
The Hunchback of Notre Dame
(1831) and
Les Misérables
(1862).
This poet, playwright, novelist, dramatist, essayist, visual artist, statesman, and perhaps the most influential, important exponent of the Romantic movement in France, campaigned for human rights. People in France regard him as one of greatest poets of that country and know him better abroad.
This poet, playwright, novelist, dramatist, essayist, visual artist, statesman, and perhaps the most influential, important exponent of the Romantic movement in France, campaigned for human rights. People in France regard him as one of greatest poets of that country and know him better abroad.
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Displaying 1 - 7 of 7 reviews
April 15, 2025
Një roman i jashtëzakonshëm. I dhimbshëm, i thellë, i paharrueshëm. Jo çdokush mund të shkruajë një libër të tillë, veç një mendje gjeniu si Hugo. Dhe për këtë, ky roman meriton gjithë respektin.
January 11, 2023
Relația mea cu această carte poate fi definită drept una “complicată”. Pe cât m-a plictisit începutul, bogat în descrieri interminabile pe-alocuri(obișnuite lui Hugo), pe-atât de mult m-a fascinat și m-a cucerit ultimul volum.
Indubitabil, este un roman profund și o capodoperă a literaturii franceze. Plin de perle literare, dacă o citești cu creionul în mână, riști să subliniezi minim vre-o treime.
Fiind o critica acerbă adusă la adresa societății englezești a secolului al XVII-lea, romanul tratează probleme sociale actuale și perioadei moderne.
Gwynplaine, acel “lord al săracilor”, devine un personaj îndrăgit și exaltat chiar spre sfârșit.
Merită citit în întregime (nu-l abandonați, sfârșitul este unul pe potrivă)!
✅”A vorbi pentru muți este frumos, însă a vorbi pentru surzi este trist.”
❤️“Pourquoi dit-on un amoureux ? On devrait dire un possédé. Être possédé du diable, c’est l’exception ; être possédé de la femme, c’est la règle. Tout homme subit cette aliénation de soi-même. Quelle sorcière qu’une jolie femme ! Le vrai nom de l’amour, c’est captivité.
On est fait prisonnier par l’âme d’une femme. Par sa chair aussi. Quelquefois plus encore par la chair que par l’âme. L’âme est l’amante ; la chair est la maîtresse.
On calomnie le démon. Ce n’est pas lui qui a tenté Eve. C’est Ève qui l’a tenté. La femme a commencé.
Lucifer passait tranquille. Il a aperçu la femme. Il est devenu Satan.
La chair, c’est le dessus de l’inconnu. Elle provoque, chose étrange, par la pudeur. Rien de plus troublant. Elle a honte, cette effrontée.”
✍️“L’aveugle voit l’invisible.”
✍️“Deviner, c’est bien ; savoir c’est mieux.”
✍️“Jetons à la mer nos crimes. Ils pèsent sur nous.”
✍️“État ignorant, le peuple est aveugle. Est-ce que l’aveugle n’a pas un chien ? Seulement, pour le peuple, c’est un lion, le roi, qui consent à être le chien. Que de bonté ! Mais pourquoi le peuple est-il ignorant ? Parce qu’il faut qu’il le soit. L’ignorance est gardienne de la vertu. Où il n’y a pas de perspectives, il n’y a pas d’ambitions ; l’ignorant est dans une nuit utile, qui, supprimant le regard, supprime les convoitises. De là l’innocence. Qui lit pense, qui pense raisonne. Ne pas raisonner, c’est le devoir ; c’est aussi le bonheur. Ces vérités sont incontestables. La société est assise dessus.”
✍️“L’antique comparaison de la chair avec le marbre est absolument fausse. La beauté de la chair, c’est de n’être point marbre ; c’est de palpiter, c’est de trembler, c’est de rougir, c’est de saigner ; c’est d’avoir la fermeté sans avoir la dureté ; c’est d’être blanche sans être froide ; c’est d’avoir ses tressaillements et ses infirmités ; c’est d’être la vie, et le marbre est la mort.”
✍️“Si femme signifie faute, comme je ne sais plus quel concile l’a affirme, jamais la femme n’a plus été femme qu’en ces temps-là. Jamais, couvrant sa fragilité de son charme, et sa faiblesse de sa toute-puissance, elle ne s’est plus impérieusement fait absoudre. Faire du fruit défendu le fruit permis, c’est la chute d’Éve ; mais faire du fruit permis le fruit défendu, c’est son triomphe. Elle finit par là. Au dix-huitième siècle, la femme tire le verrou sur le mari. Elle s’enferme dans l’Éden avec Satan. Adam est dehors.“
“L’Homme qui rit” - “Omul care râde”, Victor Hugo
Indubitabil, este un roman profund și o capodoperă a literaturii franceze. Plin de perle literare, dacă o citești cu creionul în mână, riști să subliniezi minim vre-o treime.
Fiind o critica acerbă adusă la adresa societății englezești a secolului al XVII-lea, romanul tratează probleme sociale actuale și perioadei moderne.
Gwynplaine, acel “lord al săracilor”, devine un personaj îndrăgit și exaltat chiar spre sfârșit.
Merită citit în întregime (nu-l abandonați, sfârșitul este unul pe potrivă)!
✅”A vorbi pentru muți este frumos, însă a vorbi pentru surzi este trist.”
❤️“Pourquoi dit-on un amoureux ? On devrait dire un possédé. Être possédé du diable, c’est l’exception ; être possédé de la femme, c’est la règle. Tout homme subit cette aliénation de soi-même. Quelle sorcière qu’une jolie femme ! Le vrai nom de l’amour, c’est captivité.
On est fait prisonnier par l’âme d’une femme. Par sa chair aussi. Quelquefois plus encore par la chair que par l’âme. L’âme est l’amante ; la chair est la maîtresse.
On calomnie le démon. Ce n’est pas lui qui a tenté Eve. C’est Ève qui l’a tenté. La femme a commencé.
Lucifer passait tranquille. Il a aperçu la femme. Il est devenu Satan.
La chair, c’est le dessus de l’inconnu. Elle provoque, chose étrange, par la pudeur. Rien de plus troublant. Elle a honte, cette effrontée.”
✍️“L’aveugle voit l’invisible.”
✍️“Deviner, c’est bien ; savoir c’est mieux.”
✍️“Jetons à la mer nos crimes. Ils pèsent sur nous.”
✍️“État ignorant, le peuple est aveugle. Est-ce que l’aveugle n’a pas un chien ? Seulement, pour le peuple, c’est un lion, le roi, qui consent à être le chien. Que de bonté ! Mais pourquoi le peuple est-il ignorant ? Parce qu’il faut qu’il le soit. L’ignorance est gardienne de la vertu. Où il n’y a pas de perspectives, il n’y a pas d’ambitions ; l’ignorant est dans une nuit utile, qui, supprimant le regard, supprime les convoitises. De là l’innocence. Qui lit pense, qui pense raisonne. Ne pas raisonner, c’est le devoir ; c’est aussi le bonheur. Ces vérités sont incontestables. La société est assise dessus.”
✍️“L’antique comparaison de la chair avec le marbre est absolument fausse. La beauté de la chair, c’est de n’être point marbre ; c’est de palpiter, c’est de trembler, c’est de rougir, c’est de saigner ; c’est d’avoir la fermeté sans avoir la dureté ; c’est d’être blanche sans être froide ; c’est d’avoir ses tressaillements et ses infirmités ; c’est d’être la vie, et le marbre est la mort.”
✍️“Si femme signifie faute, comme je ne sais plus quel concile l’a affirme, jamais la femme n’a plus été femme qu’en ces temps-là. Jamais, couvrant sa fragilité de son charme, et sa faiblesse de sa toute-puissance, elle ne s’est plus impérieusement fait absoudre. Faire du fruit défendu le fruit permis, c’est la chute d’Éve ; mais faire du fruit permis le fruit défendu, c’est son triomphe. Elle finit par là. Au dix-huitième siècle, la femme tire le verrou sur le mari. Elle s’enferme dans l’Éden avec Satan. Adam est dehors.“
“L’Homme qui rit” - “Omul care râde”, Victor Hugo
June 14, 2025
Grinning Shadows, Beating Hearts — My Joyride Through Volume 2
I admit it: when I cracked open the second half of The Man Who Laughs by Victor Hugo, I worried the magic might thin out. Wrong. Page after page, I felt like a traveler swept down a moon-lit river, equal parts dread and wonder keeping my oars in motion. Hugo’s prose here is warmer, almost conspiratorial, as if he’s leaning over the candle to gossip about kings and clowns.
Volume 2 yanks Gwynplaine from circus lights into the brutal glow of court politics, and the shift thrilled me. I could smell velvet corridors and hear sneering courtiers; Hugo makes each setting pulse. What surprised me most was the tenderness. Ursus’s gruff devotion, Dea’s fragile courage, even the wolf’s silent loyalty—every relationship rings louder against the thunder of injustice.
Hugo’s moral wildfires burn brighter in this half, yet the preaching never slows the story. He tosses ideas—power, deformity, identity—like bright knives, catching them with effortless showman flair. I caught myself nodding, grinning, even whispering “yes” when the plot handed tyrants exactly what they deserved.
The language, though nineteenth-century ornate, flows easily when read aloud. I sometimes mouthed sentences just to taste the rhythm. And that final cascade of events? It punched me breathless and left an afterglow of hope I didn’t expect.
If Volume 1 hooks you, Volume 2 lands the acrobatic flip with no wobble at all. Close the book, and you’ll still feel the grin—and the heartbeat—echoing in your chest.
I admit it: when I cracked open the second half of The Man Who Laughs by Victor Hugo, I worried the magic might thin out. Wrong. Page after page, I felt like a traveler swept down a moon-lit river, equal parts dread and wonder keeping my oars in motion. Hugo’s prose here is warmer, almost conspiratorial, as if he’s leaning over the candle to gossip about kings and clowns.
Volume 2 yanks Gwynplaine from circus lights into the brutal glow of court politics, and the shift thrilled me. I could smell velvet corridors and hear sneering courtiers; Hugo makes each setting pulse. What surprised me most was the tenderness. Ursus’s gruff devotion, Dea’s fragile courage, even the wolf’s silent loyalty—every relationship rings louder against the thunder of injustice.
Hugo’s moral wildfires burn brighter in this half, yet the preaching never slows the story. He tosses ideas—power, deformity, identity—like bright knives, catching them with effortless showman flair. I caught myself nodding, grinning, even whispering “yes” when the plot handed tyrants exactly what they deserved.
The language, though nineteenth-century ornate, flows easily when read aloud. I sometimes mouthed sentences just to taste the rhythm. And that final cascade of events? It punched me breathless and left an afterglow of hope I didn’t expect.
If Volume 1 hooks you, Volume 2 lands the acrobatic flip with no wobble at all. Close the book, and you’ll still feel the grin—and the heartbeat—echoing in your chest.
October 8, 2025
l'aventure de Gwynplaine se poursuit, et prend des tournants des plus inattendus. Je ne dirais pas davantage car il s'agit de la seconde partie, mais la plume de Victor Hugo est encore plus appréciable, le rythme est plus soutenu avec davantage de dialogue.
December 30, 2022
ძალიან იმედგაცრუებული ვარ წიგნის ფინალით. გაწელილ სიუჟეტზე აღარაფერს ვამბობ. არც სიუჟეტურ შაბლონზე: მახინჯი პროტაგონისტი, ლამაზი ქალი, უიღბლობა და ბედნიერი დასასრულის არარსებობა. :/
March 26, 2013
After having read Les Miserables I was expecting a slow boring plod with interesting segments. I was quite surprised when I picked up this book. The book is much more interesting, and faster paced. That is not to say that it is never boring, in fact I think much of the content is boring, but somehow in this book Hugo manages to write it in an exciting way. Hugo spends a lot of time on details, sometimes he spends so much time on details that you have trouble remembering what the plot is. That is certainly the case here, though it is not so much trying to remember what the plot is, but to figure it out. This book is divided up into parts, books, chapters, and sub-chapters. Hugo spends whole books, describing details. with only a chapter here and there forwarding the plot. It is not until the first book in the third part that you even start to put the plot together. The method is interesting, and the story is interesting. I am looking forward to reading the second half...
And now I have.I don't know why, but I keep comparing this to Shakespeare. Personally, I don't like Shakespeare, and I like Hugo, which makes me feel like running around and promoting him as being better than Shakespeare. This story is a great tragedy, though it certainly has flaws. Many of them mentioned above. The story has many unexpected twists, which is fine, until you figure out how he does them. They become predictable after that, though you still wonder if he might not change how they work.
And now I have.I don't know why, but I keep comparing this to Shakespeare. Personally, I don't like Shakespeare, and I like Hugo, which makes me feel like running around and promoting him as being better than Shakespeare. This story is a great tragedy, though it certainly has flaws. Many of them mentioned above. The story has many unexpected twists, which is fine, until you figure out how he does them. They become predictable after that, though you still wonder if he might not change how they work.
February 6, 2012
Over Volumes 1 and 2, 'L'Homme qui Rit' is a moving, though bizarre story of a young boy who is abandoned. In an effort to conceal his identity as a child of noble birth, his face is first mutilated into a permanent smile. His journey of discovery, through misery and love, combines beauty with the grotesque in this gripping tale. If a story can be sinister as well as warming, depressing whilst somehow bringing a smile to the face of the reader...this is it.
Displaying 1 - 7 of 7 reviews