While the young Victor Hugo is trying to make his place among the great and still influenced by the style of the former, we can read in his first four novels — Han of Iceland, Bug-Jargal, Le Dernier day of a sentenced person and Notre- Dame de Paris — a tension between the rigid framework of literary models and the particular content of the works. Our contribution aims to shed light on one of the cultural aspects of the romancier’s training on the basis of an anthropological interpretation of this script, which is being sought. The author’s romanic pathway, from 1823 to 1831, is studied in the light of a particular time of the canonic passage rite, that is to say, the experience of inspiring, whose echoes are visible both in the style of writing and in the very processes of creative work — the whole of which commits the creation of the identity of the ritual subject. While our reading of V. Hugo’s learning enables us to put forward a unifying theory of her first novels, she is very keen to understand how the writer acquires a form of maturity that will make him one of the most illustrious authors and thinkers of her century.