'Men of inventive temperament—Victor Hugo, for instance, in whom, as in Michelangelo, people have for the most part been attracted or repelled by the strength, while few have understood his sweetness—have sometimes relieved conceptions of merely moral or spiritual greatness, but with little aesthetic charm of their own, by lovely accidents or accessories, like the butterfly which alights on the blood-stained barricade in Les Miserables, or those sea-birds for which the monstrous Gilliatt comes to be as some wild natural thing, so that they are no longer afraid of him, in Les Travailleurs de la Mer.' (41)

'What would he have thought of Gilliatt, or of the bleeding mouth of Fantine in the first part of Les Miserables, penetrated as it is with a sense of beauty, as lively and transparent as that of a Greek?' (112)