Classifier Instance:

Anchor text: Victor Hugo
Target Entity: Victor_Hugo
Preceding Context: After the Bourbon Restoration, French Romanticism developed in the lively world of Parisian theatre, with productions of Shakespeare, in France a key Romantic author, Schiller, and adaptations of Scott and Byron alongside French authors, several of whom began to write in the late 1820s. Cliques of pro- and anti-Romantics developed, and productions were often accompanied by raucous vocalizing by the two sides, including the shouted assertion by one theatregoer in 1822 that "Shakespeare, c'est l'aide-de-camp de Wellington" ("Shakespeare is Wellington's aide-de-camp"). Alexandre Dumas began as a dramatist, with a series of successes beginning with Henri III et sa cour (1829) before turning to novels that were mostly historical adventures somewhat in the manner of Scott, most famously The Three Musketeers and The Count of Monte Cristo, both of 1844.
Succeeding Context: published as a poet in the 1820s before achieving success on the stage with Hernani, a historical drama in a quasi-Shakespearian style which had famously riotous performances, themselves as much a spectacle as the play, on its first run in 1830. Like Dumas, he is best known for his novels, and was already writing the The Hunchback of Notre-Dame (1831), with Les Misérables the best known works of his long career. The preface to his unperformed play "Cromwell" gives an important manifesto of French Romanticism, stating that "there are no rules, or models". The career of Prosper Mérimée followed a similar pattern; he is now best known as the originator of the story of Carmen, with his novella of 1845. Alfred de Vigny remains best known as a dramatist, with his play on the life of the English poet Chatterton (1835) perhaps his best work.
Paragraph Title: null
Source Page: Romanticism

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