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When Victor Hugo goes on a digression about how the working class rebellion of June 1848 was uniquely misguided and needed to be put down, but withholds the fact that he is very Biased because he himself fought on the side of the government of 1848 to kill the rebels and this whole digression is his attempt to retroactively justify his very highly criticized decisions:
The awkward carriage ride was quite lengthy! Just look at the map – they had to cover a considerable distance from the far left corner to reach number 24. No wonder they arrived at night. It makes me ponder: what a fortunate coincidence (for Marius) that Javert was on the shore with a waiting coach. How on earth was exhausted Valjean going to carry Marius such a distance otherwise?
Upon arrival, Javert is unusually active, taking initiative, and surprisingly helpful. It’s one of those rare moments when having an assertive cop by your side comes in handy. He roused the porter by knocking on the door and even pushed it open himself: “The gate opened a little way and Javert gave it a push.” His authoritative manner even prompts obedience from the porter. It's striking how confident he is that Marius is dead, bringing back what he believes is a deceased body to the family. There’s no subtlety in his approach. However, he turns this situation into a moral lesson, saying: “He went to the barricade, and here he is… He had got himself killed.” That’s the consequence of going to the barricade. And Javert continues pushing this topic: “There will be a funeral here tomorrow.” He seems like a mean jackal reveling in the (supposed) death of someone who went to the barricade!
Meanwhile, everyone in the house is awake, except for M. Gillenormand. (Hapgood made another mistake, referring to Mlle Gillenormand as a great-aunt, while she should just be an aunt). It seems that nobody in the household believes Marius is dead because they call for a doctor, prepare linen, and do other things you’d usually do for the wounded, not the deceased.
While this is happening, Javert and Valjean carry on with their own thing. Have you noticed that Javert says nothing to Valjean, nothing like “You are under arrest” or “Now you have to come with me”? He merely touches Valjean on the shoulder, and that’s it. Once again, Javert, like an obedient genie, grants Valjean one more wish – to go home “for one instant.” “Then you shall do whatever you like with me,” Valjean promises (I'm sure Valvert fans would appreciate this wording!) And interestingly, it’s Javert who gives Valjean’s address to the coachman – this was the one thing he memorized at the moment they parted outside the barricade.
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In the musical, Jean Valjean and Javert's final confrontation is a climactic shouting match. But in the book it's different? Javert is obviously ridden with doubts from the moment he sees Jean Valjean, doubts he can't live with-- he's hesitant, uncertain, and passive. He speaks "as if in a dream," he dutifully asks the questions he's supposed to ask of criminals but doesn't hear any of Jean Valjean's answers, his mind is obviously wandering elsewhere, and he doesn't even verbally threaten to arrest Jean Valjean at all. He never says 'yes' to Jean Valjean's requests for favors, but he also never says 'no." It's like he's in so much confusion he's forgotten how an arrest is supposed to work.
It's fascinating how much Jean Valjean "takes the lead" throughout their final confrontation. Javert is busy short-circuiting like a malfunctioning robot, while Jean Valjean walks him through the "script" for how arresting criminals is supposed to go, reminding him of how arresting people is supposed to work, while Javert primarily just passively follows Jean Valjean's orders. Their conversation is literally just:
Javert: who is there?
Jean Valjean: it's me Jean Valjean
Javert: *Computer fans whirring, overheating, Windows error noise*
Jean Valjean: You are going to arrest me.
Javert: *bluescreen*
Jean Valjean: I am going to come quiety.
Javert: *404_file not found*
Jean Valjean: But first we are going to take Marius home
Javert: 01000001 01001000 01001000 01001000 01001000 01001000 01001000 01001000 00100000 01001001 00100111 01101101 00100000 01101000 01100001 01110110 01101001 01101110 01100111 00100000 01110100 01101000 01101111 01110101 01100111 01101000 01110100 01110011 00100000 01100001 01101110 01100100 00100000 01100110 01100101 01100101 01101100 01101001 01101110 01100111 01110011 00100000 01100110 01101111 01110010 0010
There’s something about how Victor Hugo assures us that Monseigneur Bienvenue died peacefully by telling us his older sister stayed by his side until the very end. That, even after he went completely blind, she spent every night sleeping in the bedroom next to his, and spent every day taking care of him. And under his sister’s care, the blind bishop was more happy than he’d ever been in his entire life because “to be blind and to be loved is one of the most strangely exquisite forms of happiness . . . the supreme happiness of life is the conviction that we are loved; loved for ourselves— say rather, loved in spite of ourselves— this conviction the blind have. In their calamity, to be served is to be caressed . . . light is not lost where love enters . . . the soul gropes in search of a soul, and finds it.”
And then when first describing Grantaire, Hugo writes that the only thing the skeptic had ever dared to love was Enjolras, because “[n]o one loves the light like the blind man.”
And then Grantaire spends his final moments by Enjolras’ side, just like the bishop died by his sister’s side.
I’m not coherent but there’s something fascinating about the way Javert’s inability to lie goes from being a source of strength to a source of deep vulnerability.
In earlier chapters Javert’s honesty grants him confidence and strength:
“He raised his head with the intrepid serenity of a man who has never lied.”
But after the barricades, his inability to lie makes him vulnerable around Jean Valjean— he struggles to lie to him and conceal how much he’s affected him, unable to confess his emotions to Jean Valjean because he can’t confess them to himself.
He tries to pretend nothing has changed between himself and Jean Valjean, but refers to Jean Valjean with the formal “you” without being aware of it. He gets instantly emotional the moment he recognizes Jean Valjean outside the sewers, in a way that he was not when he recognized Jean Valjean at the barricades. He tries to lie that he will wait for Jean Valjean in the street and be there to arrest him, but telling that lie seems to physically pain him, and Jean Valjean almost doesn’t believe him:
He added with a strange expression, and as though he were exerting an effort in speaking in this manner:
“I will wait for you here.”
Jean Valjean looked at Javert. This mode of procedure was but little in accord with Javert’s habits.
There’s a line in his resignation in Montreuil sur Mer that describes Javert’s eyes as being so clear that you can see all the way down to the very bottom of his conscience— which is so funny to me. That is a TERRIBLE trait for a police spy. Being so honest that people can see your entire soul is a HORRIBLE spy trait. Who made this man a spy. Who sent him to the barricades.
There’s a weird paradox to Javert’s honesty. He is a “mouchard”/police spy who uses the word “mouchard” as an insult, to describe the kind of liar he doesn’t want to be— and whose coworkers have to carefully leave him out of their corruption schemes because he wouldn’t stand any kind of dishonesty. At the barricades he’s easily captured after revealing his full name address and social security number to a question a better spy could’ve lied their way out of. He’s just not willing to lie, at all, for any reason— even though it’s his job. When he has to follow orders, he’ll gaslight himself into believing incorrect information (ex. “Champmathieu is Valjean”) rather than lie.
Post-barricades Javert is the only time we *really* see Javert struggling to lie to someone else that he feels things he does not feel, and believes things he does not believe…and it’s kinda endearing how he’s so bad at it. He sucks at it a lot.
And that’s just really fascinating, as a character note?
Javert never lied because he was always “irreproachable,” and felt that he had nothing to hide. Whenever he did commit infractions, he would honestly confess his failures and demand punishment. He’s always been stoic and calm, but he’s also always been so transparently honest you can see to the bottom of his conscience.
But when he’s no longer “irreproachable,” and when has things to hide— his honesty becomes this weird source of vulnerability.
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In honour of the arena tour casting heres me finally posting the killian/bradders confrontation including bradley backhanding the set with his chain and whatever that GODDAMN NOISE WAS?? I THINK THAT WAS KILLIAN???
[Audio taken January 16th 2024 - Please do not share outside of Tumblr!]
More Jumbled Thoughts on the Psychology of Inspector Javert
Building on the mention of Prison Mother and Law Father:
Javert exits his mother's womb into another symbolic womb: the prison, a place where transformation happens, where men are turned into beasts. Like a womb the prison entraps, monitors, maintains and sustains the life of its prisoner, but also can kill him. Because of her ethnicity and estrangement from society, Javert divorces himself from his biological mother and, in this way, the prison system holds the symbolic role of the mother in Javert's life. Because Javert is born without a father there is a symbolic void, an absence which he fills with The Law. In the philosophy of Carl Jung the Father archetype represents authority and responsibility; he is the protector and provider. Javert requires this figure to form a family triad, every child requires stability and that stability is found in parental figures- whether biological or otherwise. It is in prison where Javert adopts his affinity with observing: observing is safe, observing is a guilt-free activity because it is amoral: the observer does not partake in, and thus approve of, or disapprove of the activity he observes. In addition, observation is a passive activity. Prison and the Law teach Javert to be passive, because to be passive is to be safe from unwelcome observation, it is to be small and unseen. We see this in how Javert behaves at the barricade, like Valjean he turns into himself returning to the state of dissociation that gave him comfort in childhood.
By the time Javert leaves the womb he is already a man and so he is trapped in a sort of psychological infancy. He cannot develop beyond the idea of black and white right or wrong. He cannot move, like a man does, away from the overbearing and domineering psychological influence of his parents. He seeks to please them and when he feels he has failed he suffers mental and emotional distress and anguish. He prefers straightforward tasks, requires reassurance and praise, and seeks out the attention and approval of his parents in all things. He has been taught to be obedient and passive from birth and has not had the experience of a life outside of ‘the family’ with which he might compare his way of living. As he divorced his biological mother, Javert divorces his symbolic mother by abandoning the prison system and moving to the Law pure to work as a police officer. This is because, as a man, he seeks to identify with the masculine identity in himself as if represented by his Father. But also because the approval of his father is the ultimate form of safety because in reality, Javert’s Father figure is the Dark Father: he is critical, often cruel, emotionally distant, he is the father who consumes their own child. For what does the Law give Javert? Not social status, not family, not community, not love, not an appeasement of hunger or the safety of a good solid income.
Like the son who never flies the nest, he forms few to no other social or sexual relationships. How can he when all of his psychological and emotional energy is going into fulfilling his parents' perceived needs? This is part of the danger of Jean Valjean. He disrupts, he invites in Javert sentiments and psychological excitements which draw him away from his primary focus of satisfying his parents. He entices with an alternate way of life in which a man might live by his own values, independent and seeking only his own approval. And he introduces physical desire into Javert's life also, forcing him through a sort of psychological puberty from sexless child to confused and frustrated yearning adult. What emotions he should have had years to understand he is forced to process in short and destabilising bursts. He does not even have the language to express to himself what he desires, beyond the framework of service and pleasing a superior figure or destroying and harming the cause of the destabilisation.
Jean Valjean also entices because he is The Father. This can be seen in the development of his relationships: as a young man he is the father figure to his nieces and nephews, then he is Father Madeleine to M-Sur-M, then he is Cosette’s adopted father. Valjean represents what Javert has searched for since childhood, a figure to fill the symbolic void of the absent father. Unlike his cruel, judgemental Dark Father in the figure of The Law, Valjean is accepting, merciful, gentle, patient and forgiving. He offers praise, community, tenderness, but without the lack of any traditional masculine traits; he is strong, powerfully built, handsome, respectable, wise, intelligent, masterful, dominant, and holds social influence. To put it in a vulgar terminology: Javert has Daddy Issues. Valjean is the symbolic Father he has yearned for to treat the wounds of his agonised childhood. Now, this is not to say he wishes Valjean to be his father, that would be a naive interpretation. It is to say that he requires a figure to take that role in his emotional and psychological hierarchy. But it is also why he has such an internal conflict: to abandon the Law Father is to turn his back on a lifetime of programming, but worse: to accept that he is lovable and deserving of respect, mercy and tenderness without having to deprive himself and exhaust himself mentally and emotionally to earn those things. And worst of all, to face the belief that he has already proven through his acts that he is not worthy of this freely given love and approval that his potential Good Father offers him. The Dark Father is ingrained in Javert’s very psychology, even outside of his presence (as outside as he can ever be) he is ruled by the critical and cruel judgements and strict rules that his Dark Father has set for him. In a moment of agonised realisation, Javert comes to understand that he is worthy of Love and that he has made himself unworthy of it all at once: the perspectives of two warring Father symbols whose conflict ultimately tears apart Javert’s fragile psyche.
just wanted to gently remind you that this exists because I LOVE THIS VIDEO SO MUCH and. i mean. the mere thought of valjean braiding javert’s hair puts me in a chokehold . those two have no rights to do that to me .
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So anOTHER thing about Javert: I remember once seeing an odd tumblr post (months ago?) that said something like “I can’t believe you guys hate Javert when if Javert existed now, you would say he was the best kind of cop. He’s a POC and comes from a marginalized background and has to struggle hard against bigotry. He’s also perfectly honest and incorruptible— and so nonviolent that he never physically attacks anyone or even pulls out a gun. He’s the perfect police officer”
And while that post was wrong…it was also right!!!!!
The point of Javert is not “the cop you already think is bad, is bad.”
The point of Javert is “the kind of cop you think is GOOD, the PERFECT cop, the hero of a detective novel, the cop you’re told is an example of how the system can sometimes work—- is bad.”
Javert is essentially a Perfect Cop Role Model™ character like Captain Holt from Brooklyn 99, but as a villain.
The message of Javert is that “An honest non-brutal incorruptible cop who adheres perfectly to the rules, from a marginalized background who knows what it’s like to be on the receiving end of police violence and is policing people from the same background as himself……………………………..would still suck!!!!!!!!!!! acab”
I know I’ve talked about this before, but I do want to go into a little more detail on the way Javert coming from a marginalized background/Javert not being physically violent* is a part of this under the cuT:
titsay
areudirty
janainaart
jbbartram-illu
germansingergirl
gummygunk
annaxmalina
kianamaiart
yousharknotpass
origamiaround
