#3.2.3

This chapter was fun mostly because I ended up completely ignoring Gillenormand and looking into the two beauties “besung by Voltaire” pictured above. In the grand spirit of Hugo, I will now spend my time infodumping on this completely tangential topic.

Marie Anne de Cupis de Camargo and Marie Sallé were ballet dancers at the French Opera in the 1730s-40s under the same teacher, Françoise Prévost. Camargo was known for her technical skill and was the first woman to perform an entrechat quatre which basically launched her popularity. She became incredibly popular and appears to have been quite the style icon and celebrity. To see her was to want to be her.

Sallé was less popular at the time, but made significant contributions to the art of ballet itself. She was known as a dramatically talented dancer and, later, a talented choreographer who jumpstarted ballet d’action (though full credit is typically given to her male student :/ ). The idea that choreography, costumes, and music should reflect a story’s themes and narrative is largely due to her influence. She also became the first woman to perform a ballet that she also choreographed in 1734 with Pygmalion, and collaborated with Handel on compositions for her choreography. I love this woman very much.

Both of them also had a hand in changing ballet costume conventions. Sallé had the radical notion that ballet costumes should reflect the character and should also maybe not be made of long, heavy fabric and incorporated theming and lighter fabric in her ballets. Camargo popularized wearing dance slippers instead of heeled shoes and shorter skirts, which later became the norm.

Gillenormand delights in possessions, both objects and people. He seemed to be a fine catch in his youth we are told, but the way he combines his memory and gossips from his youth- it is to forget the name of the actress and to put himself in a better light. The gossip revolving around his numerous affairs is positive in his social circles. Perhaps because he can spend money on fashion and appearance and also tell stories his way, by increasing his own importance. 

Politics does not touch his life, even if the years between 1820s-1830s are turbulent, he is a staunch royalist who is sailing smoothly by. He does not have to concern himself with political ideas, reform, etc. he can choose to turn a blind eye to politics- every politician seems similar to him – the politicians that he has named are bourgeois and conservative in their views and yet he has not bothered actually educating himself about them. He also cannot imagine being a politician himself- because politics seems amusing to him, a joke. He takes very little efforts in doing things, changing things, only in the superficial- even in his lifestyle he stopped changing his fashion- he is completely fine with the way things are going.

He also doesn’t think that a name like his suits being a minister and I suppose that is somewhere where I would definitely agree- he would be a terrible politician. He’s the kind of apathetic men concerned with themselves, material possessions and superficiality this book is directly confronting. 

Further information about Gillenormand. Hugo is, if nothing else, thorough in his character studies. We learn that women have been a constant in his life and that, at least according to this, the desire is mutual. I say ‘according to this’ because it’s always hard to tell with Hugo how much of his character studies are in-universe factual and how much is in-universe pieced together from gossip, hearsay, and authorial opinions. He gives us the details of Gillenormand and the dancers without any of his usual ‘I heard this from the niece of a friend of someone who was there’ qualifiers, but it’s still Hugo, so it’s hard to say for sure.

But the basic image of his personality and history remain the same regardless of the in-universe veracity of the details. He’s old, cranky, set in his ways, and was young once. He hates change, especially change he doesn’t agree with, especially change that uproots his existing opinions. He doesn’t like the politicians in the paper because they’re not what he thinks of as the right sort, and he hates the Revolution because it unseated the natural order and hierarchy as he saw it.

(A sidenote, which I don’t really have brains to explore right now but which would be interesting to poke at: I think there is a qualitative difference between Javert’s adherence to The System and Gillenormand’s loyalty to A System. Javert believes strongly in social order and hierarchy as well, but he seems far more able to weather the political changes to that order. He believes in the concept of order, but seems willing, if possibly begrudgingly so, to adjust his idea of what form that order should take, provided the instructions to do so come from the appropriate source. The amount to which he believes in a natural order as superior to other forms of order is kind of unclear, at least to me right now, but clearly he’s flexible enough to roll with regime change and keep his job and his worldview. If Javert was rigid in the way Gillenormand is, he would have derailed way before Valjean.)

Summary

Adds "interaction passthrough" to the World Descriptor and fixes a bug in the Avatar Scaling Example Graph.

Changes

Added a mask for "interaction passthrough" in the WorldDescriptor, so that world creators can allow interaction and grabs to occur through user defined layers. By default (Nothing) they will use the legacy behaviour, which was to always block interactions and grabs.

Note: This does not change the normal Unity behaviour that if a ray begins inside a collider, it ignores that collider. This means that desktop (which begins its ray from the center of the Player Capsule) will behave differently than VR, where the tracked hand can enter colliders that the Player Capsule cannot.

Updates the Avatar Scaling Example Graph to prevent errors when running without ClientSim or when building the world.

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When he was 16, M. Gillenormand was in love with a dancer. He rejected politics as a sort of farce.

"He merrily called everything by its name, whether decent or indecent, and did not restaron himself in the least before ladies."