Philosophy In Les Miserables

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Philosophy In Les Miserables

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Les Misérables – Thug Notes Summary \u0026 Analysis

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However, Javert discovers Valjean's lodgings there a few months later. Valjean takes Cosette and they try to escape from Javert. They soon find shelter in the Petit-Picpus convent with the help of Fauchelevent, the man whom Valjean once rescued from being crushed under a cart and who has become the convent's gardener. Valjean also becomes a gardener and Cosette becomes a student at the convent school. Lamarque was a victim of a major cholera epidemic that had ravaged the city, particularly its poor neighborhoods, arousing suspicion that the government had been poisoning wells. One of the students, Marius Pontmercy , has become alienated from his family especially his royalist grandfather M.

Gillenormand because of his Bonapartism views. At the Luxembourg Garden , Marius falls in love with the now grown and beautiful Cosette. To impress him, she tries to prove her literacy by reading aloud from a book and by writing "The Cops Are Here" on a sheet of paper. Marius pities her and gives her some money. The philanthropist and his daughter enter—actually Valjean and Cosette. Marius immediately recognizes Cosette. After seeing them, Valjean promises them he will return with rent money for them. Javert gives Marius two pistols and instructs him to fire one into the air if things get dangerous. Marius returns home and waits for Javert and the police to arrive.

Valjean tries to escape through a window but is subdued and tied up. He also orders Valjean to write a letter to Cosette to return to the apartment, and they would keep her with them until he delivers the money. It is during this time that Valjean manages to free himself. He, Mme. Valjean manages to escape the scene before Javert sees him. She leads him to Valjean's and Cosette's house on Rue Plumet, and Marius watches the house for a few days.

He and Cosette then finally meet and declare their love for one another. One night, during one of Marius's visits with Cosette, the six men attempt to raid Valjean's and Cosette's house. Hearing this, they reluctantly retire. Meanwhile, Cosette informs Marius that she and Valjean will be leaving for England in a week's time, which greatly troubles the pair. The next day, Valjean is sitting in the Champ de Mars. Unexpectedly, a note lands in his lap, which says "Move Out. He goes back to his house, tells Cosette they will be staying at their other house on Rue de l'Homme Arme, and reconfirms to her that they will be moving to England.

Marius tries to get permission from M. Gillenormand to marry Cosette. His grandfather seems stern and angry, but has been longing for Marius's return. When tempers flare, he refuses his assent to the marriage, telling Marius to make Cosette his mistress instead. Insulted, Marius leaves. The following day, the students revolt and erect barricades in the narrow streets of Paris. Gavroche spots Javert and informs Enjolras that Javert is a spy. When Enjolras confronts him about this, he admits his identity and his orders to spy on the students. Enjolras and the other students tie him up to a pole in the Corinth restaurant. Later that evening, Marius goes back to Valjean's and Cosette's house on Rue Plumet, but finds the house no longer occupied.

He then hears a voice telling him that his friends are waiting for him at the barricade. Distraught to find Cosette gone, he heeds the voice and goes. When Marius arrives at the barricade, the revolution has already started. When he stoops down to pick up a powder keg, a soldier comes up to shoot Marius. However, a man covers the muzzle of the soldier's gun with his hand. The soldier fires, fatally wounding the man, while missing Marius. Meanwhile, the soldiers are closing in. Marius climbs to the top of the barricade, holding a torch in one hand, a powder keg in the other, and threatens to the soldiers that he will blow up the barricade.

After confirming this, the soldiers retreat from the barricade. Marius decides to go to the smaller barricade, which he finds empty. As he turns back, the man who took the fatal shot for Marius earlier calls Marius by his name. As she lies dying on his knees, she confesses that she was the one who told him to go to the barricade, hoping they would die together. She also confesses to saving his life because she wanted to die before he did.

She also confesses to have obtained the letter the day before, originally not planning to give it to him, but decides to do so in fear he would be angry at her about it in the afterlife. With her last breath, she confesses that she was "a little bit in love" with him, and dies. Marius fulfills her request and goes into a tavern to read the letter. It is written by Cosette. He learns Cosette's whereabouts and he writes a farewell letter to her.

He sends Gavroche to deliver it to her, but Gavroche leaves it with Valjean. Valjean, learning that Cosette's lover is fighting, is at first relieved, but an hour later, he puts on a National Guard uniform, arms himself with a gun and ammunition, and leaves his home. Valjean arrives at the barricade and immediately saves a man's life. He is still not certain if he wants to protect Marius or kill him. Marius recognizes Valjean at first sight. Enjolras announces that they are almost out of cartridges. When Gavroche goes outside the barricade to collect more ammunition from the dead National Guardsmen, he is shot dead.

Valjean volunteers to execute Javert himself, and Enjolras grants permission. Valjean takes Javert out of sight, and then shoots into the air while letting him go. Marius mistakenly believes that Valjean has killed Javert. As the barricade falls, Valjean carries off the injured and unconscious Marius. All the other students are killed. Valjean escapes through the sewers, carrying Marius's body. He evades a police patrol, and reaches an exit gate but finds it locked. As he searches Valjean and Marius's pockets, he surreptitiously tears off a piece of Marius's coat so he can later find out his identity. Upon exiting, Valjean encounters Javert and requests time to return Marius to his family before surrendering to him. Surprisingly Javert agrees, assuming that Marius will be dead within minutes.

After leaving Marius at his grandfather's house, Valjean asks to be allowed a brief visit to his own home, and Javert agrees. There, Javert tells Valjean he will wait for him in the street, but when Valjean scans the street from the landing window he finds Javert has gone. Javert walks down the street, realizing that he is caught between his strict belief in the law and the mercy Valjean has shown him. He feels he can no longer give Valjean up to the authorities but also cannot ignore his duty to the law. Unable to cope with this dilemma, Javert commits suicide by throwing himself into the Seine.

Marius slowly recovers from his injuries. As he and Cosette make wedding preparations, Valjean endows them with a fortune of nearly , francs. After the wedding, Valjean confesses to Marius that he is an ex-convict. Marius is horrified, assumes the worst about Valjean's moral character, and contrives to limit Valjean's time with Cosette. Valjean accedes to Marius' judgment and his separation from Cosette.

Valjean loses the will to live and retires to his bed. He tries to convince Marius that Valjean is actually a murderer, and presents the piece of coat he tore off as evidence. Stunned, Marius recognizes the fabric as part of his own coat and realizes that it was Valjean who rescued him from the barricade. As they rush to Valjean's house, Marius tells Cosette that Valjean saved his life at the barricade. They arrive to find Valjean near death and reconcile with him. Valjean tells Cosette her mother's story and name.

A revolutionary student club. Hugo does not give the narrator a name and allows the reader to identify the narrator with the novel's author. The narrator occasionally injects himself into the narrative or reports facts outside the time of the narrative to emphasize that he is recounting historical events, not entirely fiction. He introduces his recounting of Waterloo with several paragraphs describing the narrator's recent approach to the battlefield: "Last year , on a beautiful May morning, a traveller, the person who is telling this story, was coming from Nivelles This pierced shaving-dish was still to be seen in , in the Rue du Contrat-Social, at the corner of the pillars of the market.

The appearance of the novel was a highly anticipated event as Victor Hugo was considered one of France's foremost poets in the middle of the nineteenth century. The New York Times announced its forthcoming publication as early as April He instructed them to build on his earlier success and suggested this approach: "What Victor H. Critical reactions were wide-ranging and often negative. Some critics found the subject matter immoral, others complained of its excessive sentimentality, and others were disquieted by its apparent sympathy with the revolutionaries. Gauthier wrote in Le Monde of 17 August "One cannot read without an unconquerable disgust all the details Monsieur Hugo gives regarding the successful planning of riots.

He complained that the characters were crude stereotypes who all "speak very well — but all in the same way". He deemed it an "infantile" effort and brought an end to Hugo's career like "the fall of a god". In private he castigated it as "repulsive and inept" "immonde et inepte". The work was a commercial success and has been a popular book ever since it was published. From Wikipedia, the free encyclopedia. Redirected from Les Miserable. This article is about the novel. Novels portal. Retrieved 29 June ISBN Retrieved 23 April Longman Dictionary of Contemporary English. Retrieved 16 August BBC Online. Retrieved 1 October Retrieved 31 December In Harold Bloom ed. Modern Critical Views: Victor Hugo.

New York: Chelsea House. Abenteurer als Helden der Literatur in French. New York: Overlook Press. New York: Arcade. The chapter is title " Gradgrind comprend alors que c'est lui le coupable. Sleary, cependant, finit par le distraire un instant de sa vigilance et on en profite pour subtiliser Tom et le faire partir. Un homme de faits et de calcul. Un homme qui agit selon le principe que deux et deux font quatre ». Porte-parole de la bourgeoisie, il devient MP.

Sa phrase favorite : [si je dis quelque chose sur n'importe quel sujet], « je n'ai pas fini d'en entendre parler » « I should never hear the last of it ». Au contraire, c'est un timide, un solitaire. S'il est conscient des injustices, ce n'est pour lui qu'un « brouillamini ». Aussi fait-elle tout pour ruiner son mariage avec Louisa. Il a fait sienne la devise des Russell Che sara sara [ N 11 ]. Elizabeth Gaskell, auteur de Mary Barton. Charles Kingsley , auteur de Alton Locke. Benjamin Disraeli , auteur de Sybill. Car tout est fait pour brider l'imagination, tant dans Coketown que dans l'esprit des petits Gradgrind.

Hilary Schor ne partage pas totalement cet avis. Deed we are in a muddle, sir. Look round town — so rich as 'tis — and see the numbers o' people as has been broughten into bein heer, fur to weave, an to card, an to piece out a livin', aw the same one way, somehows, twixt their cradles and their graves. Look how we live, and wheer we live, an in what numbers, an by what chances, and wi' what sameness; and look how the mills is awlus a goin, and how they never works us no nigher to ony dis'ant object — ceptin awlus, Death. Look how you considers of us, and writes of us, and talks of us, and goes up wi' yor deputations to Secretaries o' State 'bout us, and how yo are awlus right, and how we are awlus wrong, and never had'n no reason in us sin ever we were born.

Look how this ha growen an growen, sir, bigger an bigger, broader an broader, harder an harder, fro year to year, fro generation unto generation. Who can look on 't, sir, and fairly tell a man 'tis not a muddle [ ]? Raisons techniques? La raison en est que la partie constructive de la critique sociale reste inexistante. En outre, deux essais, l'un d'Eliza Lynn, l'autre de W. Dans le nom de Bitzer, on entend bitter amer et le « Bzz » de la mouche du coche. Sparsit saw him detain her with his encircling arm, and heard him then and there, within her Mrs. The objects he had lately pursued, turned worthless beside her; such success as was almost in his grasp, he flung away from him like the dirt it was, compared with her.

Its pursuit, nevertheless, if it kept him near her, or its renunciation if it took him from her, or flight if she shared it, or secrecy if she commanded it, or any fate, or every fate, all was alike to him, so that she was true to him, - the man who had seen how cast away she was, whom she had inspired at their first meeting with an admiration, an interest, of which he had thought himself incapable, whom she had received into her confidence, who was devoted to her and adored her.

All this, and more, in his hurry, and in hers, in the whirl of her own gratified malice, in the dread of being discovered, in the rapidly increasing noise of heavy rain among the leaves, and a thunderstorm rolling up - Mrs. Sparsit received into her mind, set off with such an unavoidable halo of confusion and indistinctness, that when at length he climbed the fence and led his horse away, she was not sure where they were to meet, or when, except that they had said it was to be that night [ ]. Il y en a de plus belles ; mais, moi, je sais mieux aimer!

Je suis ta servante et ta concubine! Tu es mon roi, mon idole! Now, Mrs. Sparsit was not a poetical woman; but she took an idea in the nature of an allegorical fancy, into her head. Much watching of Louisa, and much consequent observation of her impenetrable demeanour, which keenly whetted and sharpened Mrs. She erected in her mind a mighty Staircase, with a dark pit of shame and ruin at the bottom; and down those stairs, from day to day and hour to hour, she saw Louisa coming [ ].

The seizure of the station with a fit of trembling, gradually deepening to a complaint of the heart, announced the train. Fire and steam, and smoke, and red light; a hiss, a crash, a bell, and a shriek; Louisa put into one carriage, Mrs. Sparsit put into another: the little station a desert speck in the thunderstorm [ ]. It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and to-morrow, and every year the counterpart of the last and the next [ ].

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