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ye i know Glitchtale. kinda hate the second season
but when overrated it's always hated
Examining the nature of law and grace, the novel elaborates upon the history of France, the architecture and urban design of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. Les Misérables has been popularized through numerous adaptations for the stage, television, and film, including a musical and a film adaptation of that musical.
Contents [hide]
1 Novel form
1.1 Digressions
2 Hugo's sources
3 Plot
3.1 Volume I – Fantine
3.2 Volume II – Cosette
3.3 Volume III – Marius
3.4 Volume IV – The Idyll in the Rue Plumet and the Epic in the Rue St. Denis
3.5 Volume V – Jean Valjean
4 Characters
4.1 Major
4.2 Friends of the ABC
4.3 Minor
4.4 The narrator
5 Contemporary reception
6 English translations
7 Adaptations
7.1 Sequels
8 See also
9 References
10 External links
Novel form
Upton Sinclair described the novel as "one of the half-dozen greatest novels of the world," and remarked that Hugo set forth the purpose of Les Misérables in the Preface:[3]
So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilization, artificially creates hells on earth, and complicates a destiny that is divine with human fatality; so long as the three problems of the age—the degradation of man by poverty, the ruin of women by starvation, and the dwarfing of childhood by physical and spiritual night—are not solved; so long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless.
Towards the end of the novel, Hugo explains the work's overarching structure:[4]
The book which the reader has before him at this moment is, from one end to the other, in its entirety and details ... a progress from evil to good, from injustice to justice, from falsehood to truth, from night to day, from appetite to conscience, from corruption to life; from bestiality to duty, from hell to heaven, from nothingness to God. The starting point: matter, destination: the soul. The hydra at the beginning, the angel at the end.
The novel contains various subplots, but the main thread is the story of ex-convict Jean Valjean, who becomes a force for good in the world but cannot escape his criminal past. The novel is divided into five volumes, each volume divided into several books, and subdivided into chapters, for a total of 48 books and 365 chapters. Each chapter is relatively short, commonly no longer than a few pages.
The novel as a whole is one of the longest ever written,[5] with approximately 1,500 pages in unabridged English-language editions,[6] and 1,900 pages in French.[7][8][9] Hugo explained his ambitions for the novel to his Italian publisher:[10]
I don't know whether it will be read by everyone, but it is meant for everyone. It addresses England as well as Spain, Italy as well as France, Germany as well as Ireland, the republics that harbour slaves as well as empires that have serfs. Social problems go beyond frontiers. Humankind's wounds, those huge sores that litter the world, do not stop at the blue and red lines drawn on maps. Wherever men go in ignorance or despair, wherever women sell themselves for bread, wherever children lack a book to learn from or a warm hearth, Les Miserables knocks at the door and says: "open up, I am here for you".
Digressions
More than a quarter of the novel—by one count 955 of 2,783 pages—is devoted to essays that argue a moral point or display Hugo's encyclopedic knowledge, but do not advance the plot, nor even a subplot, a method Hugo used in such other works as The Hunchback of Notre Dame and Toilers of the Sea. One biographer noted that "the digressions of genius are easily pardoned".[11] The topics Hugo addresses include cloistered religious orders, the construction of the Paris sewers, argot, and the street urchins of Paris. The one about convents he titles "Parenthesis" to alert the reader to its irrelevance to the story line.[12]
He devotes another 19 chapters (Volume II, Book I) to an account of—and a meditation on the place in history of—the Battle of Waterloo, which battlefield Hugo visited in 1861 and where he finished writing the novel. It opens volume 2 with such a change of subject as to seem the beginning of an entirely different work. The fact that this 'digression' occupies such a large part of the text demands that it be read in the context of the 'overarching structure' discussed above. Hugo draws his own personal conclusions, taking Waterloo to be a pivot-point in history, but definitely not a victory for the forces of reaction.
Waterloo, by cutting short the demolition of European thrones by the sword, had no other effect than to cause the revolutionary work to be continued in another direction. The slashers have finished; it was the turn of the thinkers. The century that Waterloo was intended to arrest has pursued its march. That sinister victory was vanquished by liberty.
One critic has called this "the spiritual gateway" to the novel, as its chance encounter of Thénardier and Colonel Pontmercy foreshadows so many of the novel's encounters "blending chance and necessity", a "confrontation of heroism and villainy".[13]
Even when not turning to other subjects outside his narrative, Hugo sometimes interrupts the straightforward recitation of events, his voice and control of the story line unconstrained by time and sequence. The novel opens with a statement about the bishop of Digne in 1815 and immediately shifts: "Although these details in no way essentially concern that which we have to tell..." Only after 14 chapters does Hugo pick up the opening thread again, "In the early days of the month of October, 1815...", to introduce Jean Valjean.[14]
Hugo's sources
Eugene Vidocq, whose career provided a model for the character of Jean Valjean
In 1829 Hugo started to get sources from seeing three strangers and a police officer. One of the strangers was a man who stole a loaf of bread similar to Jean Valjean. The police was taking him to the coach. The thief also saw the mother and daughter playing with each other which would be an inspiration for Fantine and Cosette. Hugo imagined the life of the man in jail and the mother and daughter taken away from each other. [15]
Valjean's character is loosely based on the life of Eugène François Vidocq. Vidocq, an ex-convict, became the head of an undercover police unit and later founded France's first private detective agency. He was also a businessman and was widely noted for his social engagement and philanthropy. Vidocq helped Hugo with his research for Claude Gueux and Le Dernier jour d'un condamné (The Last Day of a Condemned Man).[citation needed] In 1828, Vidocq, already pardoned, saved one of the workers in his paper factory by lifting a heavy cart on his shoulders as Valjean does.[16] Hugo's description of Valjean rescuing a sailor on the Orion drew almost word for word on a Baron La Roncière's letter describing such an incident.[17] Hugo used Bienvenu de Miollis (1753–1843), the Bishop of Digne during the time in which Valjean encounters Myriel, as the model for Myriel.[18]
Hugo had used the departure of prisoners for the Bagne of Toulon in one of his early stories, Le Dernier Jour d'un Condamné. He went to Toulon to visit the Bagne in 1839 and took extensive notes, though he did not start writing the book until 1845. On one of the pages of his notes about the prison, he wrote in large block letters a possible name for his hero: "JEAN TRÉJEAN". When the book was finally written, Tréjean became Jean Valjean.[19]
In 1841, Hugo saved a prostitute from arrest for assault. He used a short part of his dialogue with the police when recounting Valjean's rescue of Fantine in the novel.[20] On 22 February 1846, when he had begun work on the novel, Hugo witnessed the arrest of a bread thief while a Duchess and her child watched the scene pitilessly from their coach.[21][22] He spent several vacations in Montreuil-sur-Mer, which became the model for the town he calls M____-sur-M__.[23] During the 1832 revolt, Hugo walked the streets of Paris, saw the barricades blocking his way at points, and had to take shelter from gunfire.[24] He participated more directly in the 1848 Paris insurrection, helping to smash barricades and suppress both the popular revolt and its monarchist allies.[25] Victor Hugo actually drew his inspiration from everything he heard and saw, writing it down in his diary. Thus, in December 1846 he witnessed an altercation between an old woman scavenging through rubbish and a street urchin who might have been Gavroche.[26] He also informed himself by personal inspection of the Paris Conciergerie in 1846 and Waterloo in 1861, by gathering information on some industries, and on working class people’s wages and living standards. He asked his mistresses—Léonie d’Aunet and Juliette Drouet to tell him about life in convents. He also slipped personal anecdotes into the plot. For instance Marius and Cosette’s wedding night (Part V, Book 6, Chapter 1) takes place on 16 February 1833, which is also the date when Hugo and his life-long mistress Juliette Drouet made love for the first time.[27]
Plot
Volume I – Fantine
Fantine by Margaret Hall
The story begins in 1815 in Digne, as the peasant Jean Valjean, just released from 19 years' imprisonment in the Bagne of Toulon—five for stealing bread for his starving sister and her family and fourteen more for numerous escape attempts—is turned away by innkeepers because his yellow passport marks him as a former convict. He sleeps on the street, angry and bitter.
Digne's benevolent Bishop Myriel gives him shelter. At night, Valjean runs off with Myriel's silverware. When the police capture Valjean, Myriel pretends that he has given the silverware to Valjean and presses him to take two silver candlesticks as well, as if he had forgotten to take them. The police accept his explanation and leave. Myriel tells Valjean that his life has been spared for God, and that he should use money from the silver candlesticks to make an honest man of himself.
Valjean broods over Myriel's words. When opportunity presents itself, purely out of habit, he steals a 40-sous coin from 12-year-old Petit Gervais and chases the boy away. He quickly repents
My only way to explain this is that Mettaton asks Frisk who Alphys likes and when they choose, "Unknown", Mettaton says that Alphys is crushing on someone who is unknown, Alphys points out that there could be alternative universes (AUs) and Mettaton basically scoffs in their face and says, "If anyone is out there do something" and nothing happens.
Ah yes, the Trashcan insult, what a classic.
I don't expect people that put their actual face on their profile picture because this platform is not even close to facebook. (You look beautiful btw)
Oh well, but what do I know, I am merely a UT "fan", you can even say im much of a fan merely just someone who likes something. I guess I better chug down my salt shaker