#5.3.4

To Spin a Thief. How admirable of the attentive and hard-working police of Paris can still find it in themselves to chase down petty thieves even while the military guns down civilians in the streets. Ah, civil war. I’d say I was surprised Javert is back on the case, like, an hour after getting off the barricade except I’m super not. It is kind of amusing that he gave up the call to extraordinary duty so readily and went right back to ordinary duty. And because this is Hugo’s Land of Grand Coincidence, he’s on the scent of Thenardier again. “The reader would perhaps recognise these two men, if he saw them nearer.” Perhaps I would.

“Total eclipse of the man in the blouse.” Victor Hugo was a known fan of Bonnie Tyler’s “Total Eclipse of the Heart” and we can see him paying tribute to yet another poetic luminary with this allusion. Do you think there’s anything to the fact that Thenardier escapes Javert in the same way Valjean escapes the National Guard? This must be an intensely frustrating couple of days for Javert. “The man folded his arms and looked at the grating reproachfully. This look not sufficing, he tried to push it; he shook it, it resisted firmly.” Man vs. nature at its most intense and griping. Javert cannot catch a fucking break, he loses the barricade, Valjean, Thenardier, and now against sewer grating. We are approaching the man vs. self singularity.

We come back to this, “and this place, like the sea, is one full of water where you cannot drink.” I made this reference before oh so long ago but “Water, water everywhere…” The albatross is…Marius? He Too Bears His (Albat)cross. I don’t think I can make this metaphor map. Valjean certainly hates him like one.

Speaking of maps, we spend a dense chunk of paragraphs tracking Valjean’s exact progress through the sewers and I’m pretty sure Hugo just did all this research and just couldn’t bear to leave a single bit out. Relatable—I literally spent hours researching eight pound cannons and artillery physics for the last book.

He mentions “the Abattoir” and I’m trying to figure out if that was a literal abattoir in Paris proper emptying into the sewers—because that’s a horrifying image—or if this is just a localism. Because it’s not bad enough traipsing through your average ordinary everyday sewer, we have to throw in an abattoir. Honestly, we might call the barricades themselves abattoirs—a quintessential shot of any Les Mis adaptation is rivers of blood running through cobblestones…and emptying into the sewers. (I did not find an actual abattoir in Paris, but there is a Café des Abattoirs which isn’t maybe the most appealing name, but I also ate at Les Deux Magots so).

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Valjean continues on in the sewers, stooped over so he doesn’t hit Marius’s head against the ceiling. His strength begins to fade. He’s not even sure whether Marius is still alive.

He comes at last to the belt sewer. He decides to follow the descent towards the Seine. Eventually, he comes to a place where there is a bit of fresh air and light from a manhole. He sets Marius down and tries to bandage his wounds using his own shirt.

While doing this, Valjean finds an uneaten roll in Marius’s pocket. Valjean eats it. He also finds a small pocketbook with a note telling him to take Marius’s body to his grandfather. 

Back to the action, with a chapter in which Marius and JVJ should both have contracted cholera several times over. Also hepatitis. Maybe some e. coli and parasites, too.

Anyway, they’re wading through the sewer during a cholera epidemic, Marius with open wounds, JVJ with a fresh rat bite (not to mention stopping to eat the bread).

JVJ uses his shirt to bandage Marius’s wounds, making the second time with ~4 hours that a named character has removed a garment for this purpose. Can we make “strip first aid for Marius” the next fandom meme?

"En d'autres termes, descendre. Il tourna à gauche."

JVJ is, quite literally, in the dark, walking through sewage, and just turned left in order to descend. I choose to take this also as symbolic (continuing the light and shadow from 5.3.2). It's rather a nice purgatory analogue.

No, wait, really!  Hugo even says that if he'd gone the other way, he would have been lost ("Il était perdu") and that descending might save him ("descendre, c'était en effet le salut possible"). [Aside, this is literally how Dante's self-insert-character's journey starts: his current position is treacherous, the darker road offers redemption.] Even if this isn't intentional symbolism, the phrasing and narration are intensely evocative of penace and redemption.

JVJ descended/fell into criminality and despair by taking something (bread, silver, a coin); he found forgiveness, love, and charity throughout books 1-4 as he received mercy and offered help to others; now, completing his journey of repentence, he again descends into darkness, this time to return something/one [Marius to Cosette and/or Gillenormand and/or Marius himself]. He's totally doing the Dante thing where the punishment represents the sin and the penance opposes the sin. 

And then there's the chapter title's JVJ-as-Christ-Hugo-is-not-even-trying-to-be-subtle thing.

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