#3.6.1

Who is this women frowning at Theodule? I want to hear from her.

Gillenormad references Hernani. Mr. Hugo, sir? Is this allowed? This book is already an exercise in self projection, don’t you think you ought to pull it back some?

I can’t quite discern the nature of the event Gillenormand is so upset about. Students are gathering to have an open forum of sorts concerning the citizen militia and a cannon placed in the Louvre but I can’t follow Gillenormand’s argument in regard to either the debate or the cannon itself. This could be entirely intentional since his point seems to just be: “All these foolish brats have political opinions. They ought to be strictly forbidden to have any political opinions. They fabricate systems, they reform society, they demolish monarchy, they upset all laws...” Young people and their ideas! He then insults Native Americans just to round out his every-white-grandfather mien.

Poor Theodule can’t win. In Wilbour, Gillenormand calls him a fool. He fares worse in Wraxall.

“Vous êtes un imbécile.”

Gillenormand is hankering for a good argument to raise his spirits, if he can’t have the quiet, unquestioning obedience that Marius showed him. Theodule is too obviously sycophantic to satisfy the role Marius left vacant. And, besides, Gillenormand put years of work into poisoning Marius against the world outside the salon; Theodule’s spirit hasn’t been crushed and tethered to Gillenormand’s own sense of self importance. What Gillenormand really wants is someone he can possess entirely and Marius is the only person who can be that for him, someone who never had ulterior motives for obeying G, until he turned Bonapartist. With that in mind, the fact that Marius eventually returns to Gillenormand’s house makes the end of the book a little darker. (And continues to prove my argument that Marius is thematically inconsistent)

Marius is now a snack. He’s the Snow White of 19th century Paris and all the ladies swoon when he walks past. “He thought they looked at him on account of his old clothes, and that they were laughing at him; the truth is, that they looked at him because of his graceful appearance, and that they dreamed over it.” Ah, Pontmercying at its finest.

Courfeyrac teases him mercilessly, as he should.

A new book, and so a chapter full of description. We finally get a better look at Marius’ body, after having spent so long in his mind, and it turns out that, surprise surprise, Marius is hot. Who didn’t see that one coming?

But seriously, in a book where beauty is not just correlated to virtue but also to, like, inherent goodness of spirit, the fact that Marius is attractive does matter. Again, Marius is, at his core, a good person who wants to do good in the world.

But most of this chapter is Marius And Also Girls. We learn, unsurprisingly, that Marius doesn’t Girls, not even a little bit. In fact, the only two girls that he doesn’t flee from are an old woman and a child. True to his Marius-ness, he doesn’t flee from them because he doesn’t notice them, and he doesn’t notice them because he doesn’t feel either threatened by or respectful of them. They’re just set dressing. Marius is very much the protagonist of his own life, and his life is definitely a weird, philosophical piece of lit fic where basically no other characters get any page time and the ones that do exist to further the protagonist’s moral and spiritual journey.

So we skip lightly over the old woman and instead focus on the child. We get two main clues as to the identities of “M Leblanc’ and ‘Mlle Lanoire,’ namely that he has a head of pure white hair and that she was raised in a convent. (Although, if she was eight when she entered and fourteen now, that... actually wasn’t all that many years that she spent in that convent. I mean, six years is not nothing, but it’s not a full childhood and adolescence either.)

It’s been a while since I wanted to fight Hugo about women, but this sentence? “Only, [her eyes] were always raised with a kind of disagreeable self-confidence." This sentence makes me want to fight him.

Marius gets a long paragraph of introduction. Considering that he is meant to be partly based on young Victor Marie Hugo, it is amusing to picture young Hugo when thinking of Marius, and yet Hugo makes fun of Marius as well, ‘Given a serious situation, he had everything it takes to be stupid.’

I like the paragraph describing Marius as a handsome young man in great detail. Marius also gets comparisons as ‘almost sublime’ and ‘narrow eyes with a broad vision’ which also hint at how he has potential to be better in the future.

I also love the hilarity of how Marius thinks that the girls are making fun of him in his old coat when they think him attractive and would want him to flirt with them. He’s too self-conscious and Courfeyrac rightly makes fun of him. Courfeyrac also keeps teasing him, which is so amusing and Marius being Marius in turn avoids him and women, I want more fics of Courfeyrac teasing Marius, it’s so much fun.

On one hand, Cosette is described as ugly because of the trauma and malnutrition of living in poverty and abuse for so long to which she was a passive receiver, on the other hand, thirteen/fourteen-year-old girls aren’t really supposed to be extremely pretty in my experience because they are going through puberty and it is an awkward time.

There are differences in how Marius and Cosette have been described- both lived in poverty, Marius came out of it with his shining teeth and handsome looks intact, Cosette on the other hand probably faced malnutrition and therefore is very thin and looks ugly, although to be fair, Marius’ poverty was limited to a couple of years while Cosette’s poverty and abuse was long lasting and happened in the crucial childhood years.  

Marius thinks of Valjean as a soldier which is interesting because it seems to recall his own father and therefore notice the man more than he would have. His description of kindly but unapproachable air, a sad and sorrowful look, never meeting anyone’s gaze speaks of the trauma of his prison years that Valjean is still living with. Hugo is good at writing that trauma for the characters and in some ways Valjean as a former convict is very likely to resemble a former military man, because convicts have to follow orders and discipline, maybe Hugo also thinks of soldiers being good but caught in the wars of great men. It would fit his attitude towards individual soldiers in the Waterloo digression.

Donougher calls her ‘almost not a person’, FMA calls her ‘not yet a woman’ Hapgood also calls her ‘not yet a person’. I will just leave that here, because it bothers me. I do like that Cosette has an air of confidence in her manner which was not there in her childhood and which she has acquired with Valjean as her Papa, although the air of confidence is described as unpleasant. Courfeyrac also does not look at her because she is unattractive, which is also not that good.

Anyway, we never get a name for the old man even though we suspect it is someone we already know and Courfeyrac also dubs them M. Leblanc and Mademoiselle Lenoire and with names being important, it is interesting that once more Valjean acquires another name to add to his collection. Except this time, it is what other people talk about him and the narration also adopts that name instead of calling him Valjean, which is interesting.  

3.6.2

Since a lot of things in this book are deliberate foreshadowing, I find it interesting that Marius hears bird songs, which recall the nickname that Cosette was dubbed with in her childhood.

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