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Hernani, 1830

Original title: Hernani

Immediately after the censors had banned Marion de Lorme, Hugo started working on a new drama, Hernani. He named the hero after a small Spanish town he had passed through at the age of nine and the plot was inspired by Spanish tragedies as well as his and Adèle's passionate love before their marriage.

He started writing Hernani on 29 August 1829 and finished it on 25 September. When read at Théâtre Français on 5 October, it was admitted unanimously - although not without objections from the censors. Perhaps as compensation for the treatment Marion de Lorme had recieved, its performance were given priority over Le More de Venise written by de Vigny, who were outraged. The cast had taken the opportunity to protest against de Vigny's supercilious manners by giving Hugo precedence. And so the rehearsals began.

Hugo's work with the cast was a neverending struggle. Although they realized it was a literary event and aknowledged the genius of the writer, they were uncomfortable with this new kind of drama; the tone of language, the passion. Mademoiselle Mars made it a daily routine to humiliate Hugo, which he patiently endured until he one day reminded her that she was not the only talent involved in the play.

The play had to be a success. Hugo was not about to risk another disaster like Amy Robsart. He was determined to fill the auditorium with supporters on the night of the premiere. Gérard de Nerval was assigned to gather the forces, distributing small red tickets.

Eight hours before the premiere, 25 February 1830, Hugo arrived at the theatre to position his troops. Théophile Gautier wore his famous red waistcoat and lime green pants - everything to annoy the Classicists who were filling the boxes. Loyal groups were seated next to anyone that might be tempted to try to hiss the cast off the stage. The auditorium turned into a spectacular field of battle; Liberals versus Royalists, Romantics versus Classicists, free expression versus aesthetical conformism and the young versus the old.

When the curtain was raised, all noice but enthusiasm and admiration were suppressed by Hugo's supporters. Scornful remarks from the baldheaded were effectively silenced. The Théâtre Français, known for its conscientious audience, was the stage of a brawl rather than a play this night - and many to come; for weeks, the cast complained over the fact that it was impossible to perform a single night without interruption. In the audience of 1 600, the Romantics were a minority. But the premiere night was their victory.

In an intermission on the night of the premiere, Hugo was paid 5 000 francs for the publishing rights of Hernani - a much needed contribution to the empty coffer of the Hugo household. And the daily takings helped the Hugo finances even more - Hernani played for a full house night after night.

But Hugo also received piles of threats due to Hernani - he had to keep a voluntary guard of supporters for his personal safety. And the landlord at Rue Notre-Dame-des-Champs evicted the Hugos due to all the turmoil. In addition, The Battle of Hernani spread outside the auditorium of the Théâtre Français; duels, fist-fights and debates were fought all over France.

Hernani was not the first Romantic drama performed on a French stage, but it was undoubtably the single most important event of French - or maybe even European - theatre during the 19th century. And if the preface of Cromwell was the nomination of Hugo as leader of the French Romantics, Hernani was the coronation. After 25 February 1830, there was no doubt who was in the lead of the new generation.

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