Classic and Contemporary Poetry: Explained

Victor Marie Hugo's "Napoleon" grapples with the complex, larger-than-life figure of Napoleon Bonaparte, a man who evokes both awe and scrutiny. The poem oscillates between viewing him as an "Angel or demon," embodying light or darkness, thus capturing the paradox that is Napoleon. He is a figure that can't be ignored; his influence is pervasive, casting a "mighty shadow" on the era. In much the same way, the poem likens him to Vesuvius, the imposing volcano that dominates its landscape, both alluring and destructive.

The opening lines set the tone by raising the question of Napoleon's true nature. Is he a minister of light or darkness? This ambivalence encapsulates the public perception of Napoleon as both a revolutionary hero and a tyrannical dictator. His actions, for better or worse, have a gravitational pull that "Bears us, all breathless, after it away." This sense of unavoidable influence is further reiterated with the lines "The eye that from thy presence fain would stray / Shuns thee in vain." Napoleon, whether one likes it or not, leaves an indelible imprint.

Hugo expands this idea by introducing an extended metaphor of Vesuvius. The volcano, like Napoleon, is a dominating presence in the landscape. Tourists visiting the areas around it-whether it be Portici, Ischia, or Paestum-are inevitably drawn to its towering form. Its massive, ominous shadow is a constant, unavoidable presence that "black'ning with its breath th' horizon evermore!" Similarly, Napoleon is a figure who overshadows all other elements of his time, a person whose influence, whether awe-inspiring or terrifying, cannot be escaped. The poem brings forth a feeling of claustrophobia; Napoleon, much like Vesuvius, is overwhelming in his presence, compelling in his grandiosity, and terrifying in his potential for destruction.

The final stanzas of the poem delve into the emotions evoked by such overwhelming entities. Whether it is the "sombre" aura of Napoleon or the "mournful, lone, and deep" echoes around Vesuvius, both subjects provoke a contemplative mood. This resonates with the earlier lines about Napoleon standing "on the threshold of our time alone, / Dazzling, yet sombre." He is at once a beacon of revolutionary ideals and the embodiment of unrestrained ambition, much as Vesuvius is both a wonder of nature and a potential calamity.

Hugo's poem leaves us pondering the complexities of greatness and terror, of magnificence and dread. He doesn't provide a definitive answer to the enigma that is Napoleon, and perhaps that is precisely the point. The figure of Napoleon, like Vesuvius, is to be contemplated, questioned, and above all, remembered, but never fully understood. Both serve as cautionary reminders of the duality of power, the fine line between awe and horror, and the enduring impact of figures who stand, for better or worse, larger than life.

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