#2.3.3

Four travelers arrive. 

Cosette is terrified because she knows they are nearly out of water and it is terribly dark outside.

I’m not sure I have anything to say about these heart-breaking chapters, except that when I read them the first time, I thought Cosette’s story was very much like she was in a fairy tale here. We had the talk of treasure a couple of chapters before, now we have a little child living with a wicked stepmother like figure, who makes the child work around the house and abuses her. You know that according to the fairy tales, she should be rescued, there should be a happy ending but it still hurts seeing her in this position right now.

Cosette is acting very much like a traumatised child in this chapter and I appreciate Hugo writing her this way, and any adaptation that makes her completely saintly and perfect in these chapters is not doing justice to her character (I love Shoujo Cosette, but I still wish she had been allowed to be herself instead of a perfect little girl). I love her insistence that the horse has drunk its fill, she is trying to survive in these circumstances she is trying to fend for herself because nobody else will and in the only way she can, she is not a passive/submissive character, ‘there is a wildness and bravery about her’.  

It breaks my heart that the poor child comes out from under the table where she’s usually hiding to face these people and try her best to not be sent outside in the dark and dangerous world. It’s interesting that no one else stands up for her, from among the paying guests, it’s much like in the Bishop chapters, where the entire town does not help Valjean, here the entire town including the regular guests think asking about Cosette and her treatment at the hands of the Thenardiers is not their responsibility. The peddler too is so insistent on having his horse have a drink that he does not tell Madame Thenardier not to send Cosette to fetch water.   

I also hate that Madame Thenardier never addresses Cosette with her name and that the bucket itself is bigger than her, she is small even for a child of eight years because of the years of abuse and not being fed properly. Then the door is shut on the little child, left out there in the cold and the dark and I can’t wait for these chapters to be over honestly.

2.3.4

The night is empty, there is no light, nothing to guide poor baby Cosette. But she stops by a large doll she had seen, and it hurts that she thinks she would have to be someone so very different from herself and so very rich, to be able to have a doll. She is a child, yet there seems to be a touch of the grown up about her, living as she is with the awful Thenardiers. (I really want to adopt every child in the Thenardier household, take them away from their parents).

I do find it slightly cringe worthy that Hugo talks about little girls playing with a doll as part of the whole maternal/woman must be a mother to be venerated thing, but on the other hand, I can’t criticise it here, because any toy for Cosette is something that she has been deprived of, she has been deprived of a normal childhood and toys would have been a part of that. So it’s very natural for her to stop and stare at the stall and at the childhood she could have had or can imagine for herself. 

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Enter Cosette stage left.

Yes, she's been mentioned and described several times, but her only previous on-page the-plot-is-currently-happening instance occurred back in 1.4.1, when the focus on Fantine and Mme Thénardier. She didn't speak then, making Cosette's first line in the book the lie about having watered the horse.

I really like the way Hugo portrays Cosette's wishing/bargaining thought process (very familiar from my childhood, at least, and even occassionally how I respond to probable unpleasantness as an adult). Moving from that (and each worry about the pitchers and then the cooking) into the lie about the horse feels realistic for depicting a child trying to avoid something they fear. It also makes me wonder how often poor Cosette has found herself in versions of this predicament, and how often she's successfully lied her way out. After all, she has ample incentive to do so, and her only role models within memory are shamelessly opportunistic about saying whatever they think will get them what they want (M Thénardier at least). 

And then there's the horse. Fantine had a symbolic moment of foreshadowing with the death of an abused horse (greeted with amusement or indiference by all around here); now, another horse is being harmed by the selfish acts of those who killed Fantine through their avarice, and by the lies of her daughter, who learned that behavior from, and was forced to practice it by, the same people.*

*Moral culpability is all the Thénardiers'. Both for modelling the behavior and for creating an environment in which Cosette has to protect herself by any means possible becaus no one else will, including the adults responsible for her welfare. Cosette's all of 8 years old, and they really need to either pay attention and keep the water stocked up before the carrier is done for the day, or else get the damned thing themselves. No sending children into the dark woods alone without a light.   

On an unrelated note, the remark about water not being drunk by the clientele is a useful detail for establishing the inn's atmosphere. But it also appears in the title, doing that Hugo thing where the emphasis of the titular usage reframes the meaning of the whole chapter. Stopping now because I'm rambling.

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