As a poetic technician, Hugo is a great innovator. He is one of the first to move away from the classical tradition of the Alexandrine couplet (which, nevertheless, he can handle magnificently) toward more complex and subtle forms of verse borrowed from the Middle Ages and from his own rich imagination. He reshapes not only the form but the vocabulary of poetry and injects it with a new variety and richness.
In contrast with most poets who are skilled in the use of only two or three poetic devices, Hugo is master of all. He is a splendid rhetorician but is also adept in the music of poetry. And he employs not only the music of skillful phrasing but the sound of the words themselves to awaken and charm the inner ear of the imagination. When in L'Expiation he writes, "Après une plaine blanche, une autre plaine blanche," not only the repetitive phrase but the flat echo of the open vowels call up the image of Russia's endless expanses.
He is also a master of imagery, not only simile and metaphor but symbol. He advises poets to interpret their "interior world of images, thoughts, sentiments, love and burning passion to fecundate this world" through "the other visible universe all around you" (Pan, 1831); and he can almost always find a vivid and exact natural parallel to the landscape of his soul. In all these respects, he is the precursor and inspiration for the poets who follow: Baudelaire, the Parnassians, and the Symbolists are all to a large extent his disciples and his debtors.
