“What does it matter? What is it to me if they do go barefoot! They do not know how to read; so much the worse. Would you abandon them for that? Would you turn their distress into a malediction? Cannot the light penetrate these masses? Let us return to that cry: Light! and let us obstinately persist therein! Light! Light! Who knows whether these opacities will not become transparent? Are not revolutions transfigurations? Come, philosophers, teach, enlighten, light up, think aloud, speak aloud, hasten joyously to the great sun, fraternize with the public place, announce the good news, spend your alphabets lavishly, proclaim rights, sing the Marseillaises, sow enthusiasms, tear green boughs from the oaks. Make a whirlwind of the idea. This crowd may be rendered sublime. Let us learn how to make use of that vast conflagration of principles and virtues, which sparkles, bursts forth and quivers at certain hours. These bare feet, these bare arms, these rags, these ignorances, these abjectnesses, these darknesses, may be employed in the conquest of the ideal. Gaze past the people, and you will perceive truth. Let that vile sand which you trample under foot be cast into the furnace, let it melt and seethe there, it will become a splendid crystal, and it is thanks to it that Galileo and Newton will discover stars.”
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I wonder if Paris being associated with all the great civilisations in the past is to create somewhat of a romanticised/mythical association with Paris in the minds of the readers.
Maybe Paris needs to be a giant, needs to have some sort of mythical/romanticised feel to it (besides the most obvious answer of Hugo really loves Paris). That is where the gamin are, and we already know that they have been described as giants in the previous chapter and so now Paris gets the references which make it loom as a giant among the readers.
That is where the 1832 rebellion will be set in which also, Hugo combines the actual details of the actual barricades with the mythical in the form of the Rue de la Chanvrerie barricade. Paris has to become the centre stage of so much action, therefore Paris must be grand, while Hugo fondly makes fun of his city too by associating it with barbarism. This is mostly an observation on Hugo’s writing, but I like how he balances the good about Paris while also making fun of some aspects of it, such as its hypocrisy.
The main thing in this chapter is that the gamin are deprived of the light of universal education as Hugo has already mentioned several times before, and while his concern is for all the children of France and by extension children everywhere in the world - he uses the gamin to make his point.
Hugo uses contrasts again: the people are in their infancy because the future of Paris does not have access to education, but they have a wrinkled brow that comes with having a rich ancient history.
3.1.11
We do have a reversal this time, Paris is described in the ways the gamin would be. It laughs and is mischievous- I do find it interesting that laughter is such an important thing for Hugo to mention several times during this digression.
I did like Hugo giving Paris both snarling teeth and laughter. In this chapter as well as the previous one, he admits that Paris may have its problems as well as its good qualities, it’s the balance between the grotesque and the sublime, the frivolity and the seriousness- which are all contained in Paris. Paris is made of several multitudes.
He also says that Paris inspired the world with the French Revolution. I get that Hugo is still talking about Paris, but as far as I know the Revolution was not limited to Paris and it feels that other cities do not get their fair share. Hugo is also making pretty bold claims with Paris being the only city that gave the language of Liberty to the entire world and a lot of the thinkers and poets who may have influenced the ideas and ideals of Liberty.
But Hugo is building up to one of his main points (and is also leading us to 1832), the fact that Paris is a city that dares to be brave despite the odds. From Paris’ daring, we get Cambronne’s bravery- I love this mention to Cambronne again, because it ties it very neatly with what is about to come, the barricades and the introduction of the amis.
I also really love the language in this chapter: the allusions to dazzling lightning and to roaring volcanoes. The mentions of light imagery through ‘Dawn shows daring, when it breaks’ is pretty good writing. Courage and boldness is associated with light- fire and illumination culminate together in Paris- it’s a very powerful image, and for that I will forgive Hugo for talking endlessly about his one true love.
Today’s brickclub post brought to you by ‘Au Palais Royale,’ from 1789: Les Amants de la Bastille, which tumblr won’t let me embed and I am gun-shy about linking right now. But that’s what’s playing in my mind throughout this chapter.
Anyway, the theme of this chapter is that Paris is the world because Paris dares to be (hence the musical number). Sure, some of it is because Paris is inherently better than everywhere else, but some of Paris’ dominance comes from the fact that Paris dares to claim it. Paris, in good old Romantic style, does not deign to conceal its emotions, to present a public face, to worry about how it comes across. Paris feels deeply and reacts on instinct and this makes it a leader among cities. Paris leads because of its excesses, not in spite of them.
Which is an important argument, since you could really distill Hugo’s entire thesis down to, “I don’t know how to explain to you why you should care about other people.” Caring is strength, according to Hugo. Caring is what makes a place great, not callous disregard for life in the fact of greater glory of achievement. Paris flits through emotions in the span of a breath, but it feels all of them and reacts accordingly. Paris may laugh, Paris may rage, Paris may even weep, at times, but whatever it does it does wholeheartedly and entirely.
Which is why the gamin, who denies himself nothing that he can get his hands on, whatever small scraps those might be, is so emblematic of the city. The gamin has little other than his emotions, and so he expresses those for everyone to see. He laughs, he rages, he howls, all publicly, all without shame. He spends his last coin to go to the theatre and he draws rude cartoons with the King and he mouths off to anyone who gets in his way. The gamin is the city writ small or, to flip it around, the city is the gamin but multiplied.
Tolstoy clearly doesn’t have a lot of time for some of these guys … 🤨
The first to speak was General Armfeldt who, to meet the difficulty that presented itself, unexpectedly proposed a perfectly new position away from the Petersburg and Moscow roads. The reason for this was inexplicable (unless he wished to show that he, too, could have an opinion)…
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“The cry: Audacity! is a Fiat lux. It is necessary, for the sake of the forward march of the human race, that there should be proud lessons of courage permanently on the heights. Daring deeds dazzle history and are one of man’s great sources of light. The dawn dares when it rises. To attempt, to brave, to persist, to persevere, to be faithful to one’s self, to grasp fate bodily, to astound catastrophe by the small amount of fear that it occasions us, now to affront unjust power, again to insult drunken victory, to hold one’s position, to stand one’s ground; that is the example which nations need, that is the light which electrifies them. The same formidable lightning proceeds from the torch of Prometheus to Cambronne’s short pipe.”
After so specifying the boundaries of Paris in 3.1.5, Hugo now declares that there are none. By which he means, Paris leads everyone anyway, so it doesn't really ever end.
You know what? Sure. I buy it.
Last chapter's love letter to Paris continues for two more solid pages. Paris is the leader and source of all revolutions, all progress, all struggles for liberty.
"Paris is always showing its teeth; when it is not scolding, it is laughing."
"The cry 'Audace' is a Fiat Lux!"
Some very good lines, there, even as Hugs is indulging his favorite kinks left, right, and center.
You will probably notice your ball does not jump very high anymore. This is because you were unknowingly double or triple jumping even with a tap before.
