Les Misérables Volume Two

By Victor Hugo and Roger Clark

With an Introduction and Notes by Roger Clark, University of Kent at Canterbury. Translation by Charles E. Wilbour (1862).

One of the great Classics of Western Literature, Les Misérables is a magisterial work which is rich in both character portrayal and meticulous historical description.

Characters such as the absurdly criminalised Valjean, the street urchin Gavroche, the rascal Thenardier, the implacable detective Javert, and the pitiful figure of the prostitute Fantine and her daughter Cosette, have entered the pantheon of literary dramatis personae.

Volume 2 of 2

• Language: English
• Publisher: Wordsworth Editions
• Release date: Nov 1, 2013
• ISBN: 9781848704442

Victor Hugo

Victor Hugo (1802-1885) is one of the most well-regarded French writers of the nineteenth century. He was a poet, novelist and dramatist, and he is best remembered in English as the author of Notre-Dame de Paris (The Hunchback of Notre-Dame) (1831) and Les Misérables (1862). Hugo was born in Besançon, and became a pivotal figure of the Romantic movement in France, involved in both literature and politics. He founded the literary magazine Conservateur Littéraire in 1819, aged just seventeen, and turned his hand to writing political verse and drama after the accession to the throne of Louis-Philippe in 1830. His literary output was curtailed following the death of his daughter in 1843, but he began a new novel as an outlet for his grief. Completed many years later, this novel became Hugo's most notable work, Les Misérables.

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Les Misérables

Volume 2

Victor Hugo

Translated by Charles E. Wilbour

with notes by Roger Clark

WORDSWORTH CLASSICS

This edition of Les Misérables Volume 2 first published

by Wordsworth Editions Limited in 2002

Published as an ePublication 2013

ISBN 978 1 84870 444 2

Notes © Roger Clark 2002

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Contents of Volume 2

Part Three: Marius (continued)

Book 8: The noxious poor

1. Marius, looking for a girl with a hat, meets a man with a cap

2. A waif

3. Quadrifrons

4. A rose in misery

5. The Judas of providence

6. The wild man in his lair

7. Strategy and tactics

8. The sunbeam in the hole

9. Jondrette weeps almost

10. Price of public cabriolets: two francs an hour

11. Offers of service by misery to grief

12. Use of M.Leblanc’s five-franc piece

13. Solus cum solo, in loco remoto, non cogitabantur orare pater noster

14. In which a police officer gives a lawyer two fisticuffs

15. Jondrette makes his purchase

16. In which will be found the song to an English air in fashion in 1832

18. Use of Marius’s five-franc piece

18. Marius’s two chairs face each other

19. The distractions of dark corners

20. The ambuscade

21. The victims should always be arrested first.

22. The little boy who cried in the first volume

Part Four: Saint Denis and idyll of the rue Plumet

Book 1: A few pages of history

1. Well cut

2. Badly sewed

3. Louis Philippe

4. Crevices under the foundation

5. Facts from which history springs, and which history ignores

6. Enjolras and his lieutenants

Book 2: Éponine

1. The field of the lark

2. Embryonic formation of crimes in the incubation of prisons

3. An apparition to Father Mabeuf

4. An apparition to Marius

Book 3: The house in the rue Plumet

1. The secret house

2. Jean Valjean a National Guard

3. Foliis ac frondibus

4. Change of grating

5. The rose discovers that she is an engine of war

6. The battle commences

7. To sadness, sadness and a half

8. The chain

Book 4: Aid from below may be aid from above

1. Wound without, cure within

2. Mother Plutarch is not embarrassed on the explanation of a phenomenon

Book 5: The end of which is unlike the beginning

1. Solitude and the barracks

2. Fears of Cosette

3. Enriched by the commentaries of Toussaint

4. A heart under a stone

5. Cosette after the letter

6. The old are made to go out when convenient

Book 6: Little Gavroche

1. A malevolent trick of the wind

2. In which Little Gavroche takes advantage of Napoleon the Great

3. The fortunes and misfortunes of escape

Book 7: Argot

1. Origin

2. Roots

3. Argot which weeps and argot which laughs

4. The two duties: to watch and to hope

Book 8: Enchantments and desolations

1. Sunshine

2. The stupefaction of complete happiness

3. Shadow commences

4. Cab rolls in English and yelps in argot

5. Things of the night

6. Marius becomes so real as to give Cosette his address

7. The old heart and young heart in presence

Book 9: Where are they going?

1. Jean Valjean

2. Marius

3. M. Mabeuf

Book 10: June 5th, 1832

1. The surface of the question

2. The bottom of the question

3. A burial: opportunity for rebirth

4. The ebullitions of former times

5. Originality of Paris

Book 11: The atom fraternises with the hurricane

1. Some insight into the origin of Gavroche’s poetry – influence of an Academician upon that poetry

2. Gavroche on the march

3. Just indignation of a barber

4. The child wonders at the old man

5. The old man

6. Recruits

Book 12: Corinth

1. History of Corinth from its foundation

2. Preliminary gaiety

3. Night begins to gather over Grantaire

4. Attempt at consolation upon the Widow Hucheloup

5. Preparations

6. While waiting

7. The man recruited in the Rue des Billettes

8. Several interrogation points concerning one Le Cabuc, who perhaps was not Le Cabuc

Book 13: Marius enters the shadow

1. From the Rue Plumet to the Quartier Saint Denis

2. Paris – an owl’s eye view

3. The extreme limit

Book 14: The grandeurs of despair

1. The flag: first act

2. The flag: second act

3. Gavroche would have done better to accept Enjolras’s carbine

4. The keg of powder

5. End of Jean Prouvaire’s rhyme

6. The agony of death after the agony of life

7. Gavroche a profound calculator of distances

Book 15: The rue l’homme armé

1. Blotter, blabber

2. The gamin an enemy of light

3. While Cosette and Toussaint sleep

4. The excess of Gavroche’s zeal

Part Five: Jean Valjean

Book 1: War between four walls

1. The Charybdis of the Faubourg Saint Antoine and the Scylla of the Faubourg du Temple

2. What can be done in the abyss but to talk

3. Light and darkness

4. Five less, one more

5. What horizon is visible from the top of the barricade

6. Marius haggard, Javert laconic

7. The situation grows serious

8. The gunners produce a serious impression

9. Use of that old poacher skill, and that infallible shot which influenced the conviction of 1796

10. Dawn

11. The shot that misses nothing and kills nobody

12. Disorder a partisan of order

13. Gleams which pass

14. In which will be found the name of Enjolras’s mistress

15. Gavroche outside

16. How brother becomes father

17. Mortuus pater filium moriturum expectat

18. The vulture becomes prey

19. Jean Valjean takes his revenge

20. The dead are right and the living are not wrong

21. The heroes

22. Foot to foot

23. Orestes fasting and Pylades drunk

24. Prisoner

Book 2: The intestine of Leviathan

1. The earth impoverished by the sea

2. The ancient history of the sewer

3. Bruneseau

4. Details ignored

5. Present progress

6. Future progress

Book 3: Mire, but soul

1. The cloaca and its surprises

2. Explanation

3. The man spun

4. He also bears his cross

5. For sand as well as women there is a finesse which is perfidy

6. The fontis

7. Sometimes we get aground when we expect to get ashore

8. The torn coat-tail

9. Marius seems to be dead to one who is a good judge

10. Return of the Prodigal Son – of his life

11. Commotion in the absolute

12. The grandfather

Book 4: Javert off the track

1. Javert off the track

Book 5: The grandson and the grandfather

1. In which we see the tree with the plate of zinc once more

2. Marius escaping from civil war, prepares for domestic war

3. Marius attacks

4. Mademoiselle Gillenormand at last thinks it not improper that Monsieur Fauchelevent should come in with something under his arm

5. Deposit your money rather in some forest than with some notary

6. The two old men do everything, each in his own way, that Cosette may be happy

7. The effects of dream mingled with happiness

8. Two men impossible to find

Book 6: The white night

1. The 16th of February 1833

2. Jean Valjean still has his arm in a sling

3. The inseparable

4. Immortale jecur

Book 7: The last drop in the chalice

1. The seventh circle and the eighth heaven

2. The obscurities which a revelation may contain

Book 8: The twilight wane

1. The basement room

2. Other steps backward

3. They remember the garden in the Rue Plumet

4. Attraction and extinction

Book 9: Supreme shadow, supreme dawn

1. Pity for the unhappy, but indulgence for the happy

2. The last flickerings of the exhausted lamp

3. A pen is heavy to him who lifted Fauchelevent’s cart

4. A bottle of ink which serves only to whiten

5. Night behind which is dawn

6. Grass hides and rain blots out

Notes on the text of Volume Two

Les Misérables: Volume 2

Part Three: Marius (continued)

Book 8: The noxious poor

1. Marius, looking for a girl with a hat, meets a man with a cap

Summer passed, then autumn; winter came. Neither M. Leblanc nor the young girl had set foot in the Luxembourg. Marius had now but one thought, to see that sweet, that adorable face again. He searched continually; he searched everywhere: he found nothing. He was no longer Marius the enthusiastic dreamer, the resolute man, ardent yet firm, the bold challenger of destiny, the brain which projected and built future upon future, the young heart full of plans, projects, prides, ideas, and desires; he was a lost dog. He fell into a melancholy. It was all over with him. Work disgusted him, walking fatigued him, solitude wearied him, vast nature, once so full of forms, of illuminations, of voices, of counsels, of perspectives, of horizons, of teachings, was now a void before him. It seemed to him that everything had disappeared.

He was still full of thought, for he could not be otherwise; but he no longer found pleasure in his thoughts. To all which they were silently but incessantly proposing to him, he answered in the gloom: What is the use?

He reproached himself a hundred times. Why did I follow her? I was so happy in seeing her only! She looked upon me; was not that infinite? She had the appearance of loving me. Was not that everything? I desired to have what? There is nothing more after that. I was a fool. It is my fault, etc., etc. Courfeyrac, to whom he confided nothing; that was his nature; but who found out a little of everything; that was his nature also; had begun by felicitating him upon being in love, and wondering at it withal; then seeing Marius fallen into this melancholy, he had at last said to him: ‘I see that you have been nothing but an animal. Here, come to the Cabin.’

Once, confiding in a beautiful September sun, Marius allowed himself to be taken to the Bal de Sceaux, [118] by Courfeyrac, Bossuet, and Grantaire, hoping, what a dream! that he might possibly find her there. We need not say that he did not see her whom he sought. ‘But yet it is here that all the lost women are to be found,’ muttered Grantaire aside. Marius left his friends at the ball, and went back on foot, alone, tired, feverish, with sad and troubled eyes, in the night, overcome by the noise and dust of the joyous coaches full of singing parties who passed by him returning from the festival, while he, discouraged, was breathing in the pungent odour of the walnut trees by the wayside, to restore his brain .

He lived more and more alone, bewildered, overwhelmed, given up to his inward anguish, walking to and fro in his grief like a wolf in a cage, seeking everywhere for the absent, stupefied with love.

At another time, an accidental meeting produced a singular effect upon him. In one of the little streets in the neighbourhood of the Boulevard des Invalides, he saw a man dressed like a labourer, wearing a cap with a long visor, from beneath which escaped a few locks of very white hair. Marius was struck by the beauty of this white hair, and noticed the man who was walking with slow steps and seemed absorbed in painful meditation. Strangely enough, it appeared to him that he recognised M. Leblanc. It was the same hair, the same profile, as far as the cap allowed him to see, the same manner, only sadder. But why these working-man’s clothes? what did that mean? what did this disguise signify? Marius was astounded. When he came to himself, his first impulse was to follow the man; who knows but he had at last caught the trace which he was seeking ? At all events, he must see the man again nearer, and clear up the enigma. But this idea occurred to him too late, the man was now gone. He had taken some little side-street, and Marius could not find him again. This adventure occupied his mind for a few days, and then faded away. ‘After all,’ said he to himself, ‘it is probably only a resemblance.’

2. A waif

Marius still lived in the Gorbeau tenement. He paid no attention to anybody there.

At this time, it is true, there were no occupants remaining in the house but himself and those Jondrettes whose rent he had once paid, without having ever spoken, however, either to the father, or to the mother, or to the daughters. The other tenants had moved away or died, or had been turned out for not paying their rent.

One day, in the course of this winter, the sun shone a little in the afternoon, but it was the second of February, that ancient Candlemas day whose treacherous sun, the precursor of six weeks of cold, inspired Matthew Laensberg [119] with these two lines, which have deservedly become classic:

Qu’il luise ou qu’il luiserne,

L’ours rentre en sa caverne.

[Let it gleam or let it glitter,

The bear returns into his cave.]

Marius had just left his; night was falling. It was his dinner hour; for it was still necessary for him to go to dinner, alas! oh, infirmity of the ideal passions.

He had just crossed his door-sill which Ma’am Bougon was sweeping at that very moment, muttering at the same time this memorable monologue:

‘What is there that is cheap now? everything is dear. There is nothing but people’s trouble that is cheap; that comes for nothing, people’s trouble.’

Marius went slowly up the boulevard towards the barrière, on the way to the Rue Saint Jacques. He was walking thoughtfully, with his head down.

Suddenly he felt that he was elbowed in the dusk; he turned, and saw two young girls in rags, one tall and slender, the other a little shorter, passing rapidly by, breathless, frightened, and apparently in flight; they had met him, had not seen him, and had jostled him in passing. Marius could see in the twilight their livid faces, their hair tangled and flying, their frightful bonnets, their tattered skirts, and their naked feet. As they ran they were talking to each other. The taller one said in a very low voice:

‘The cognes came. They just missed pincer me at the demi-cercle.’

The other answered: ‘I saw them. I cavalé, cavalé, cavalé.’

Marius understood, through this dismal argot, that the gendarmes, or the city police, had not succeeded in seizing these two girls, and that the girls had escaped.

They plunged in under the trees of the boulevard behind him, and for a few seconds made a kind of dim whiteness in the obscurity which soon faded out.

Marius stopped for a moment.

He was about to resume his course when he perceived a little greyish packet on the ground at his feet. He stooped down and picked it up. It was a sort of envelope which appeared to contain papers.

‘Good,’ said he, ‘those poor creatures must have dropped this!’

He retraced his steps, he called, he did not find them; he concluded they were already beyond hearing, put the packet in his pocket, and went to dinner.

On his way, in an alley on the Rue Mouffetard, he saw a child’s coffin covered with a black cloth, placed upon three chairs and lighted by a candle. The two girls of the twilight returned to his mind.

‘Poor mothers,’ thought he. ‘There is one thing sadder than to see their children die – to see them lead evil lives.’

Then these shadows which had varied his sadness went out from his thoughts, and he fell back into his customary train. He began to think of his six months of love and happiness in the open air and the broad daylight under the beautiful trees of the Luxembourg.

‘How dark my life has become!’ said he to himself. ‘Young girls still pass before me. Only formerly they were angels; now they are ghouls.’

3. Quadrifrons [120]

In the evening, as he was undressing to go to bed, he happened to feel in his coat-pocket the packet which he had picked up on the boulevard. He had forgotten it. He thought it might be well to open it, and that the packet might perhaps contain the address of the young girls, if, in reality, it belonged to them, or at all events the information necessary to restore it to the person who had lost it.

He opened the envelope.

It was unsealed and contained four letters, also unsealed.

The addresses were upon them.

All four exhaled an odour of wretched tobacco.

The first letter was addressed: To Madame, Madame the Marchioness de Grucheray, Square opposite the Chamber of Deputies, No. —.

Marius said to himself that he should probably find in this letter the information of which he was in search, and that, moreover, as the letter was not sealed, probably it might be read without impropriety.

It was in these words:

Madame the Marchioness:

The virtue of kindness and piety is that which binds sosiety most closely. Call up your christian sentiment, and cast a look of compassion upon this unfortunate Spanish victim of loyalty and attachment to the sacred cause of legitimacy, which he has paid for with his blood, consecrated his fortune, wholy, to defend this cause, and today finds himself in the greatest missery. He has no doubt that your honourable self will furnish him assistance to preserve an existence extremely painful for a soldier of education and of honour full of wounds, reckons in advance upon the humanity which animmates you and upon the interest which Madame the Marchioness feels in a nation so unfortunate. Their prayer will not be in vain, and their memory will retain herr charming souvenir.

From my respectful sentiments with which I have the honour to be

Madame,

Don Alveres, Spanish captain of cabalry,

royalist refuge in France, who finds himself traveling for his country and ressources fail him to continue his travells.’

No address was added to the signature. Marius hoped to find the address in the second letter the superscription of which ran: To Madame, Madame the Comtess de Montvernet, Rue Cassette, No. 9. Marius read as follows:

Madame the Comtess,

It is an unfortunate mothur of a family of six children the last of whom is only eight months old. Me sick since my last lying-in, abandoned by my husband for five months haveing no ressource in the world the most frightful indigance.

In the hope of Madame the Comtesse, she has the honour to be, Madame, with a profound respect,

Mother Balizard.

Marius passed to the third letter, which was, like the preceding, a begging one; it read:

Monsieur Pabourgeot, elector, wholesale merchant-milliner, Rue Saint Denis, corner of the Rue aux Fers.

I take the liberty to address you this letter to pray you to accord me the pretious favour of your simpathies and to interest you in a man of letters who has just sent a drama to the Théâtre Français. Its subject is historical, and the action takes place in Auvergne in the time of the empire: its style, I believe, is natural, laconic, and perhaps has some merit. There are verses to be sung in four places. The comic, the serious, the unforeseen, mingle themselves with the variety of the characters and with a tint of romance spread lightly over all the plot which advances misteriously, and by striking terns, to a denouement in the midst of several hits of splendid scenes.

My principal object is to satisfie the desire which animates progressively the man of our century, that is to say, fashion, that caprisious and grotesque weathercock which changes almost with every new wind.

In spite of these qualities I have reason to fear that jealousy, the selfishness of the privileged authors, may secure my exclusion from the theatre, for I am not ignorant of the distaste with which newcomers are swallowed.

Monsieur Pabourgeot, your just reputation as an enlightened protector of literary fokes emboldens me to send my daughter to you, who will expose to you our indigant situation, wanting bread and fire in this wynter season. To tell you that I pray you to accept the homage which I desire to offer you in my drama and in all those which I make, is to prove to you how ambicious I am of the honour of sheltering myself under your aegis, and of adorning my writings with your name. If you deign to honour me with the most modest offering, I shall occupy myself immediately in making a piese of verse for you to pay my tribut of recognition. This piese, which I shall endeavour to render as perfect as possible, will be sent to you before being inserted in the beginning of the drama and given upon the stage.

To Monsieur and Madam Pabourgeot,

My most respectful homage,

Genflot, man of letters.

P.S. Were it only forty sous.

Excuse me for sending my daughter and for not presenting myself, but sad motives of dress do not permit me, alas! to go out –

Marius finally opened the fourth letter. There was on the address: To the beneficent gentleman of the church Saint Jaques du Haut Pas. It contained these few lines:

Beneficent man,

If you will deign to accompany my daughter, you will see a misserable calamity, and I will show you my certificates.

At the sight of these writings your generous soul will be moved with a sentiment of lively benevolence, for true philosophers always experience vivid emotions.

Agree, compassionate man, that one must experience the most cruel necessity, and that it is very painful, to obtain relief, to have it attested by authority as if we were not free to suffer and to die of inanition while waiting for someone to relieve our missery. The fates are very cruel to some and too lavish or too careful to others.

I await your presence or your offering, if you deign to make it, and I pray you to have the kindness to accept the respectful sentiments with which I am proud to be,

Truly magnanimous man,

Your very humble

and very obedient servant,

P. Fabantou, dramatic artist.

After reading these four letters, Marius did not find himself much wiser than before.

In the first place none of the signers gave his address.

Then they seemed to come from four different individuals, Don Alvarès, Mother Balizard, the poet Genflot, and the dramatic artist Fabantou; but, strangely enough, these letters were all four written in the same hand.

What was the conclusion from that, unless that they came from the same person ?

Moreover, and this rendered the conjecture still more probable, the paper, coarse and yellow, was the same in all four, the odour of tobacco was the same, and although there was an evident endeavour to vary the style, the same faults of orthography were reproduced with a very quiet certainty, and Genflot, the man of letters, was no more free from them than the Spanish captain.

To endeavour to unriddle this little mystery was a useless labour. If it had not been a waif, it would have had the appearance of a mystification. Marius was too sad to take a joke kindly even from chance, or to lend himself to the game which the street pavement seemed to wish to play with him. It appeared to him that he was like Colin Maillard among the four letters, which were mocking him.

Nothing, however, indicated that these letters belonged to the girls whom Marius had met on the boulevard. After all, they were but waste paper evidently without value.

Marius put them back into the envelope, threw it into a corner, and went to bed.

About seven o’clock in the morning, he had got up and breakfasted, and was trying to set about his work when there was a gentle rap at his door.

As he owned nothing, he never locked his door, except sometimes, and that very rarely, when he was about some pressing piece of work. And, indeed, even when absent, he left his key in the lock. ‘You will be robbed,’ said Ma’am Bougon. ‘Of what?’ said Marius. The fact is, however, that one day somebody had stolen an old pair of boots, to the great triumph of Ma’am Bougon.

There was a second rap, very gentle like the first.

‘Come in,’ said Marius.

The door opened.

‘What do you want, Ma’am Bougon?’ asked Marius, without raising his eyes from the books and papers which he had on his table.

A voice, which was not Ma’am Bougon’s, answered:

‘I beg your pardon, Monsieur – ’

It was a hollow, cracked, smothered, rasping voice, the voice of an old man, roughened by brandy and by liquors.

Marius turned quickly and saw a young girl.

4. A rose in misery

A girl who was quite young, was standing in the half-opened door. The little round window through which the light found its way into the garret was exactly opposite the door, and lit up this form with a pallid light. It was a pale, puny, meagre creature, nothing but a chemise and a skirt covered a shivering and chilly nakedness. A string for a belt, a string for a headdress, sharp shoulders protruding from the chemise, a blonde and lymphatic pallor, dirty shoulder-blades, red hands, the mouth open and sunken, some teeth gone, the eyes dull, bold, and drooping, the form of an unripe young girl and the look of a corrupted old woman; fifty years joined with fifteen; one of those beings who are both feeble and horrible at once, and who make those shudder whom they do not make weep.

Marius arose and gazed with a kind of astonishment upon this being, so much like the shadowy forms which pass across our dreams.

The most touching thing about it was that this young girl had not come into the world to be ugly. In her early childhood, she must have even been pretty. The grace of her youth was still struggling against the hideous old age brought on by debauchery and poverty. A remnant of beauty was dying out upon this face of sixteen, like the pale sun which is extinguished by frightful clouds at the dawn of a winter’s day.

The face was not absolutely unknown to Marius. He thought he remembered having seen it somewhere.

‘What do you wish, mademoiselle?’ asked he.

The young girl answered with her voice like a drunken galley-slave’s:

‘Here is a letter for you, Monsieur Marius.’

She called Marius by his name; he could not doubt that her business was with him; but what was this girl? how did she know his name?

Without waiting for an invitation, she entered. She entered resolutely, looking at the whole room and the unmade bed with a sort of assurance which chilled the heart. She was barefooted. Great holes in her skirt revealed her long limbs and her sharp knees. She was shivering.

She had really in her hand a letter which she presented to Marius.

Marius, in opening this letter, noticed that the enormously large wafer was still wet. The message could not have come far. He read:

My amiable neighbour, young man!

I have lerned your kindness towards me, that you have paid my rent six months ago. I bless you, young man. My eldest daughter will tell you that we have been without a morsel of bread for two days, four persons, and my spouse sick. If I am not desseived by my thoughts, I think I may hope that your generous heart will soften at this exposure and that the desire will subjugate you of being propitious to me by deigning to lavish upon me some light gift.

I am with the distinguished consideration which is due to the benefactors of humanity,

Jondrette.

P.S. My daughter will await your orders, dear Monsieur Marius.

This letter, in the midst of the obscure accident which had occupied Marius’s thoughts since the previous evening, was a candle in a cave. Everything was suddenly cleared up.

This letter came from the same source as the other four. It was the same writing, the same style, the same orthography, the same paper, the same odour of tobacco.

There were five missives, five stories, five names, five signatures, and a single signer. The Spanish Captain Don Alvarès, the unfortunate mother Balizard, the dramatic poet Genflot, the old comedy writer Fabantou, were all four named Jondrette, if indeed the name of Jondrette himself was Jondrette.

During the now rather long time that Marius had lived in the tenement, he had had, as we have said, but very few opportunities to see, or even catch a glimpse of his very poor neighbours. His mind was elsewhere, and where the mind is, thither the eyes are directed, He must have met the Jondrettes in the passage and on the stairs, more than once, but to him they were only shadows; he had taken so little notice that on the previous evening he had brushed against the Jondrette girls upon the boulevard without recognising them; for it was evidently they; and it was with great difficulty that this girl, who had just come into his room, had awakened in him, beneath his disgust and pity, a vague remembrance of having met with her elsewhere.

Now he saw everything clearly. He understood that the occupation of his neighbour Jondrette in his distress was to work upon the sympathies of benevolent persons; that he procured their addresses, and that he wrote under assumed names letters to people whom he deemed rich and compassionate, which his daughters carried, at their risk and peril; for this father was one who risked his daughters; he was playing a game with destiny, and he put them into the stake. Marius understood, to judge by their flight in the evening, by their breathlessness, by their terror, by those words of argot which he had heard, that probably these unfortunate things were carrying on also some of the secret trades of darkness, and that from all this the result was, in the midst of human society constituted as it is, two miserable beings who were neither children, nor girls, nor women, a species of impure yet innocent monsters produced by misery.

Sad creatures without name, without age, without sex, to whom neither good nor evil were any longer possible, and for whom, on leaving childhood, there is nothing more in this world, neither liberty, nor virtue, nor responsibility. Souls blooming yesterday, faded today, like those flowers which fall in the street and are bespattered by the mud before a wheel crushes them.

Meantime, while Marius fixed upon her an astonished and sorrowful look, the young girl was walking to and fro in the room with the boldness of a spectre. She bustled about regardless of her nakedness. At times, her chemise, unfastened and torn, fell almost to her waist. She moved the chairs, she disarranged the toilet articles on the bureau, she felt of Marius’ clothes, she searched over what there was in the corners.

‘Ah,’ said she, ‘you have a mirror!’

And she hummed, as if she had been alone, snatches of songs, light refrains which were made dismal by her harsh and guttural voice. Beneath this boldness could be perceived an indescribable constraint, restlessness, and humility. Effrontery is a shame.

Nothing was more sorrowful than to see her amusing herself, and, so to speak, fluttering about the room with the movements of a bird which is startled by the light, or which has a wing broken. You feel that under other conditions of education and of destiny, the gay and free manner of this young girl might have been something sweet and charming. Never among animals does the creature which is born to be a dove change into an osprey. That is seen only among men.

Marius was reflecting, and let her go on.

She went to the table.

‘Ah!’ said she, ‘books!’

A light flashed through her glassy eye. She resumed, and her tone expressed that happiness of being able to boast of something, to which no human creature is insensible:

‘I can read, I can.’

She hastily caught up the book which lay open on the table, and read fluently:

‘ – General Bauduin received the order to take five battalions of his brigade and carry the chateau of Hougomont, which is in the middle of the plain of Waterloo – ’

She stopped:

‘Ah, Waterloo! I know that. It is a battle in old times. My father was there; my father served in the armies. We are jolly good Bonapartists at home, that we are. Against English, Waterloo is.’

She put down the book, took up a pen, and exclaimed:

‘And I can write, too!’

She dipped the pen in the ink, and turning towards Marius:

‘Would you like to see? Here, I am going to write a word to show.’

And before he had had time to answer, she wrote upon a sheet of blank paper which was on the middle of the table: ‘The Cognes are here.’

Then, throwing down the pen:

‘There are no mistakes in spelling. You can look. We have received an education, my sister and I. We have not always been what we are. We were not made – ’

Here she stopped, fixed her faded eye upon Marius, and burst out laughing, saying in a tone which contained complete anguish stifled by complete cynicism:

‘Bah!’

And she began to hum these words, to a lively air:

J’ai faim, mon père.

Pas de fricot.

J’ai froid, ma mère.

Pas de tricot.

Grelotte

Lolotte!

Sariglote,

Jacquot [121]

Hardly had she finished this stanza when she exclaimed:

‘Do you ever go to the theatre, Monsieur Marius? I do. I have a little brother who is a friend of some artists, and who gives me tickets sometimes. Now, I do not like the seats in the galleries. You are crowded, you are uncomfortable. There are sometimes coarse people there; there are also people who smell bad.’

Then she looked at Marius, put on a strange manner, and said to him:

‘Do you know, Monsieur Marius, that you are a very pretty boy?’

And at the same time the same thought occurred to both of them, which made her smile and made him blush.

She went to him, and laid her hand on his shoulder: ‘You pay no attention to me, but I know you, Monsieur Marius. I meet you here on the stairs, and then I see you visiting a man named Father Mabeuf, who lives out by Austerlitz, sometimes, when I am walking that way. That becomes you very well, your tangled hair.’

Her voice tried to be very soft, but succeeded only in being very low. Some of her words were lost in their passage from the larynx to the lips, as upon a keyboard in which some notes are missing.

Marius had drawn back quietly.

‘Mademoiselle,’ said he, with his cold gravity, ‘I have here a packet, which is yours, I think. Permit me to return it to you.’

And he handed her the envelope, which contained the four letters.

She clapped her hands and exclaimed:

‘We have looked everywhere!’

Then she snatched the packet, and opened the envelope, saying:

‘Lordy, Lordy, haven’t we looked, my sister and I? And you have found it! on the boulevard, didn’t you? It must have been on the boulevard? You see, this dropped when we ran. It was my brat of a sister who made the stupid blunder. When we got home, we could not find it. As we did not want to be beaten, since that is needless, since that is entirely needless, since that is absolutely needless, we said at home that we had carried the letters to the persons, and that they told us: Nix! Now here they are, these poor letters. And how did you know they were mine? Ah, yes! by the writing! It was you, then, that we knocked against last evening. We did not see you, really! I said to my sister: Is that a gentleman? My sister said – I think it is a gentleman!’

Meanwhile, she had unfolded the petition addressed ‘to the beneficent gentleman of the church Saint Jacques du Haut Pas’.

‘Here!’ said she, ‘this is for the old fellow who goes to mass. And this too is the hour. I am going to carry it to him. He will give us something perhaps for breakfast.’

Then she began to laugh, and added:

‘Do you know what it will be if we have breakfast today? It will be that we shall have had our breakfast for day before yesterday, our dinner for day before yesterday, our breakfast for yesterday, our dinner for yesterday, all that at one time this morning. Yes! zounds! if you’re not satisfied, stuff till you burst, dogs!’

This reminded Marius of what the poor girl had come to his room for.

He felt in his waistcoat, he found nothing there.

The young girl continued, seeming to talk as if she were no longer conscious that Marius was there present.

‘Sometimes I go away at night. Sometimes I do not come back. Before coming to this place, the other winter, we lived under the arches of the bridges. We hugged close to each other so as not to freeze. My little sister cried. How chilly the water is! When I thought of drowning myself, I said: No; it is too cold. I go all alone when I want to, I sleep in the ditches sometimes. Do you know, at night, when I walk on the boulevards I see the trees like gibbets, I see all the great black houses like the towers of Notre Dame, I imagine that the white walls are the river, I say to myself: Here, there is water there! The stars are like illumination lamps, one would say that they smoke, and that the wind blows them out, I am confused, as if I had horses breathing in my ear; though it is night, I hear hand-organs and spinning wheels, I don’t know what. I think that somebody is throwing stones at me, I run without knowing it, it is all a whirl, all a whirl. When one has not eaten, it is very queer.’

And she looked at him with a wandering eye.

After a thorough exploration of his pockets, Marius had at last got together five francs and sixteen sous. This was at the time all that he had in the world. ‘That is enough for my dinner today,’ thought he, ‘tomorrow we will see.’ He took the sixteen sous, and gave the five francs to the young girl.

She took the piece eagerly.

‘Good,’ said she, ‘there is some sunshine!’

And as if the sun had had the effect to loosen an avalanche of argot in her brain, she continued:

‘Five francs! a shiner! a monarch! in this piolle! it is chenâtre! You are a good mion. I give you my palpitant. Bravo for the fanandels! Two days of pivois! and of viande-muche! and of fricotmar! we shall pitancer chenument! and bonne mouise!’

She drew her chemise up over her shoulders, made a low bow to Marius, then a familiar wave of the hand, and moved towards the door, saying:

‘Good morning, monsieur. It is all the same. I am going to find my old man.’

On her way she saw on the bureau a dry crust of bread moulding there in the dust; she sprang upon it, and bit it, muttering:

‘That is good! it is hard! it breaks my teeth!’

Then she went out.

5. The Judas of providence

For five years Marius had lived in poverty, in privation, in distress even, but he perceived that he had never known real misery. Real misery he had just seen. It was this sprite which had just passed before his eyes. In fact, he who has seen the misery of man only has seen nothing, he must see the misery of woman; he who has seen the misery of woman only has seen nothing, he must see the misery of childhood.

When man has reached the last extremity, he comes, at the same time, to the last expedients. Woe to the defenceless beings who surround him! Work, wages, bread, fire, courage, willingness, all fail him at once. The light of day seems to die away without, the moral light dies out within; in this gloom, man meets the weakness of woman and childhood, and puts them by force to ignominious uses.

Then all horrors are possible. Despair is surrounded by fragile walls which all open into vice or crime.

Health, youth, honour, the holy and passionate delicacies of the still tender flesh, the heart, virginity, modesty, that epidermis of the soul, are fatally disposed of by that blind groping which seeks for aid, which meets degradation, and which accommodates itself to it. Fathers, mothers, children, brothers, sisters, men, women, girls, cling together, and almost grow together like a mineral formation, in that dark promiscuity of sexes, of relationships, of ages, of infancy, of innocence. They crouch down, back to back, in a kind of fate-hovel. They glance at one another sorrowfully. Oh, the unfortunate! how pallid they are! how cold they are! It seems as though they were on a planet much further from the sun than we.

This young girl was to Marius a sort of messenger from the night.

She revealed to him an entire and hideous aspect of the darkness.

Marius almost reproached himself with the fact that he had been so absorbed in his reveries and passion that he had not until now cast a glance upon his neighbours. Paying their rent was a mechanical impulse; everybody would have had that impulse; but he, Marius, should have done better. What! a mere wall separated him from these abandoned beings, who lived by groping in the night without the pale of the living; he came in contact with them, he was in some sort the last link of the human race which they touched, he heard them live or rather breathe beside him, and he took no notice of them! every day at every moment, he heard them through the wall, walking, going, coming, talking, and he did not lend his ear! and in these words there were groans, and he did not even listen, his thoughts were elsewhere, upon dreams, upon impossible glimmerings, upon loves in the sky, upon infatuations; and all the while human beings, his brothers in Jesus Christ, his brothers in the people, were suffering death agonies beside him! agonising uselessly; he even caused a portion of their suffering, and aggravated it. For had they had another neighbour, a less chimerical and more observant neighbour, an ordinary and charitable man, it was clear that their poverty would have been noticed, their signals of distress would have been seen, and long ago perhaps they would have been gathered up and saved! Undoubtedly they seemed very depraved, very corrupt, very vile, very hateful, even, but those are rare who fall without becoming degraded; there is a point, moreover, at which the unfortunate and the infamous are associated and confounded in a single word, a fatal word, Les Misérables; whose fault is it? And then, is it not when the fall is lowest that charity ought to be greatest?

While he thus preached to himself, for there were times when Marius, like all truly honest hearts, was his own monitor, and scolded himself more than he deserved, he looked at the wall which separated him from the Jondrettes, as if he could send his pitying glance through that partition to warn those unfortunate beings. The wall was a thin layer of plaster, upheld by laths and joists, through which, as we have just seen, voices and words could be distinguished perfectly. None but the dreamer, Marius, would not have perceived this before. There was no paper hung on this wall, either on the side of the Jondrettes, or on Marius’ side; its coarse construction was bare to the eye. Almost unconsciously, Marius examined this partition; sometimes reverie examines, observes, and scrutinises, as thought would do. Suddenly he arose, he noticed towards the top, near the ceiling, a triangular hole, where three laths left a space between them. The plaster which should have stopped this hole was gone, and by getting upon the bureau he could see through that hole into the Jondrettes’ garret. Pity has and should have its curiosity. This hole was a kind of Judas. It is lawful to look upon misfortune like a betrayer for the sake of relieving it. ‘Let us see what these people are,’ thought Marius, ‘and to what they are reduced.’

He climbed upon the bureau, put his eye to the crevice, and looked.

6. The wild man in his lair

Cities, like forests, have their dens in which hide all their vilest and most terrible monsters. But in cities, what hides thus is ferocious, unclean, and petty, that is to say, ugly; in forests, what hides is ferocious, savage, and grand, that is to say, beautiful. Den for den, those of beasts are preferable to those of men. Caverns are better than the wretched holes which shelter humanity.

What Marius saw was a hole.

Marius was poor and his room was poorly furnished, but even as his poverty was noble, his garret was clean. The den into which his eyes were at that moment directed, was abject, filthy, fetid, infectious, gloomy, unclean. All the furniture was a straw chair, a rickety table, a few old broken dishes, and in two of the corners two indescribable pallets; all the light came from a dormer window of four panes, curtained with spiders’ webs. Just enough light came through that loophole to make a man’s face appear like the face of a phantom. The walls had a leprous look, and were covered with seams and scars like a face disfigured by some horrible malady; a putrid moisture oozed from them. Obscene pictures could be discovered upon them coarsely sketched in charcoal.

The room which Marius occupied had a broken brick pavement; this one was neither paved nor floored; the inmates walked immediately upon the old plastering of the ruinous tenement, which had grown black under their feet. Upon this uneven soil where the dust was, as it were, encrusted, and which was virgin soil in respect only of the broom, were grouped at random constellations of socks, old shoes, and hideous rags; however, this room had a fireplace; so it rented for forty francs a year. In the fireplace there was a little of everything, a chafing-dish, a kettle, some broken boards, rags hanging on nails, a birdcage, some ashes, and even a little fire. Two embers were smoking sullenly.

The size of this garret added still more to its horror. It had projections, angles, black holes, recesses under the roof, bays, and promontories. Beyond were hideous, unfathomable corners, which seemed as if they must be full of spiders as big as one’s fist, centipedes as large as one’s foot, and perhaps even some unknown monsters of humanity.

One of the pallets was near the door, the other near the window. Each had one end next the chimney and both were opposite Marius. In a corner near the opening through which Marius was looking, hanging upon the wall in a black wooden frame, was a coloured engraving at the bottom of which was written in large letters: THE DREAM. It represented a sleeping woman and a sleeping child, the child upon the woman’s lap, an eagle in a cloud with a crown in his beak, and the woman putting away the crown from the child’s head, but without waking; in the background Napoleon in a halo, leaning against a large blue column with a yellow capital adorned with this inscription:

Maringo

Austerlits

Iena

Wagramme

Below this frame a sort of wooden panel longer than it was wide was standing on the floor and leaning at an angle against the wall. It had the appearance of a picture set against the wall, of a frame probably daubed on the other side, of a pier glass taken down from a wall and forgotten to be hung again.

By the table, upon which Marius saw a pen, ink, and paper, was seated a man of about sixty, small, thin, livid, haggard, with a keen, cruel, and restless air; a hideous harpy.

Lavater, if he could have studied this face, would have found in it a mixture of vulture and pettifogger; the bird of prey and the man of tricks rendering each other ugly and complete, the man of tricks making the bird of prey ignoble, the bird of prey making the man of tricks horrible.

This man had a long grey beard. He was dressed in a woman’s chemise, which showed his shaggy breast and his naked arms bristling with grey hairs. Below this chemise, were a pair of muddy pantaloons and boots from which the toes stuck out.

He had a pipe in his mouth, and was smoking. There was no more bread in the den, but there was tobacco.

He was writing, probably some such letter as those which Marius had read.

On one corner of the table was an old odd volume with a reddish cover, the size of which, the old duodecimo of series of books, betrayed that it was a novel. On the cover was displayed the following title, printed in huge capitals: GOD, THE KING, HONOUR AND THE LADIES, BY DUCRAY DOMINIL 1814.

As he wrote, the man talked aloud, and Marius heard his words:

‘To think that there is no equality even when we are dead! Look at Père Lachaise! The great, those who are rich, are in the upper part, in the avenue of the acacias, which is paved. They can go there in a carriage. The low, the poor, the unfortunate, they are put in the lower part, where there is mud up to the knees, in holes, in the wet. They are put there so that they may rot sooner! You cannot go to see them without sinking into the ground.’

Here he stopped, struck his fist on the table, and added, gnashing his teeth:

‘Oh! I could eat the world!’

A big woman, who might have been forty years old or a hundred, was squatting near the fireplace, upon her bare feet.

She also was dressed only in a chemise and a knit skirt patched with pieces of old cloth. A coarse tow apron covered half the skirt. Although this woman was bent and drawn up into herself, it could be seen that she was very tall. She was a kind of giantess by the side of her husband. She had hideous hair, light red sprinkled with grey, that she pushed back from time to time with her huge shining hands which had flat nails.

Lying on the ground, at her side, wide open, was a volume of the same appearance as the other, and probably of the same novel.

Upon one of the pallets Marius could discern a sort of slender little wan girl seated, almost naked, with her feet hanging down, having the appearance neither of listening, nor of seeing, nor of living.

The younger sister, doubtless, of the one who had come to his room.

She appeared to be eleven or twelve years old. On examining her attentively, he saw that she must be fourteen. It was the child who, the evening before, on the boulevard, said: ‘I cavalé, cavalé, cavalé!’

She was of that sickly species which long remains backward, then pushes forward rapidly, and all at once. These sorry human plants are produced by want. These poor creatures have neither childhood nor youth. At fifteen they appear to be twelve; at sixteen they appear to be twenty. Today a little girl, tomorrow a woman. One would say that they leap through life, to have done with it sooner.

This being now had the appearance of a child.

Nothing, moreover, indicated the performance of any labour in this room; not a loom, not a wheel, not a tool. In one corner a few scraps of iron of an equivocal appearance. It was that gloomy idleness which follows despair, and which precedes the death-agony.

Marius looked for some time into that funereal interior more fearful than the interior of a tomb; for here were felt the movements of a human soul, and the palpitation of life.

The garret, the cellar, the deep ditch, in which some of the wretched crawl at the bottom of the social edifice, are not the sepulchre itself; they are its antechamber; but like those rich men who display their greatest magnificence at the entrance of their palace, death, who is close at hand, seems to display his greatest wretchedness in this vestibule.

The man became silent, the woman did not speak, the girl did not seem to breathe. Marius could hear the pen scratching over the paper.

The man muttered out, without ceasing to write, ‘Rabble! rabble! all is rabble!’

This variation upon the ejaculation of Solomon [122] drew a sigh from the woman.

‘My darling, be calm,’ said she. ‘Do not hurt yourself, dear. You are too good to write to all those people, my man.’

In poverty bodies hug close to each other, as in the cold, but hearts grow distant. This woman, according to all appearance, must have loved this man with as much love as was in her; but probably, in the repeated mutual reproaches which grew out of the frightful distress that weighed upon them all, this love had become extinguished. She now felt towards her husband nothing more than the ashes of affection. Still the words of endearment, as often happens, had survived. She said to him: Dear; my darling; my man, etc., with her lips, her heart was silent.

The man returned to his writing.

7. Strategy and tactics

Marius, with a heavy heart, was about to get down from the sort of observatory which he had extemporised, when a sound attracted his attention, and induced him to remain in his place.

The door of the garret was hastily opened. The eldest daughter appeared upon the threshold. On her feet she had coarse men’s shoes, covered with mud, which had been spattered as high as her red ankles, and she was wrapped in a ragged old gown which Marius had not seen upon her an hour before, but which she had probably left at his door that she might inspire the more pity, and which she must have put on upon going out. She came in, pushed the door to behind her, stopped to take breath, for she was quite breathless, then cried with an expression of joy and triumph:

‘He is coming!’

The father turned his eyes, the woman turned her head, the younger sister did not stir.

‘Who?’ asked the father.

‘The gentleman!’

‘The philanthropist?’

‘Yes.’

‘Of the church of Saint Jacques?’

‘Yes.’

‘That old man?’

‘Yes.’

‘He is going to come?’

‘He is behind me.’

‘You are sure?’

‘I am sure.’

‘There, true, he is coming?’

‘He is coming in a fiacre.’

‘In a fiacre. It is Rothschild?’

The father arose.

‘How are you sure? if he is coming in a fiacre, how is it that you get here before him? you gave him the address, at least? you told him the last door at the end of the hall on the right? provided he does not make a mistake? you found him, at the church then? did he read my letter? what did he say to you?’

‘Tut, tut, tut!’ said the girl, ‘how you run on, goodman! I’ll tell you: I went into the church, he was at his usual place, I made a curtsey to him, and I gave him the letter, he read it and said to me: Where do you live, my child? I said: Monsieur, I will show you. He said to me: No, give me your address; my daughter has some purchases to make, I am going to take a carriage and I will get to your house as soon as you do. I gave him the address. When I told him the house, he appeared surprised and hesitated an instant, then he said: It is all the same, I will go. When mass was over, I saw him leave the church with his daughter. I saw them get into a fiacre. And I told him plainly the last door at the end of the hall on the right.’

‘And how do you know that he will come?’

‘I just saw the fiacre coming into the Rue du Petit Banquier. That is what made me run.’

‘How do you know it is the same fiacre?’

‘Because I had noticed the number.’

‘What is the number?’

‘Four hundred and forty.’

‘Good, you are a clever girl.’

The girl looked resolutely at her father, and showing the shoes which she had on, said:

‘A clever girl, that may be, but I tell you that I shall never put on these shoes again, and that I will not do it, for health first, and then for decency’s sake. I know nothing more provoking than soles that squeak and go ghee, ghee, ghee, all along the street. I would rather go barefoot.’

‘You are right,’ answered the father, in a mild tone which contrasted with the rudeness of the young girl, ‘but they would not let you go into the churches; the poor must have shoes. People do not go to God’s house barefooted,’ added he bitterly. Then returning to the subject which occupied his thoughts:

‘And you are sure, then, sure that he is coming?’

‘He is at my heels,’ said she.

The man sprang up. There was a sort of illumination on his face.

‘Wife!’ cried he, ‘you hear. Here is the philanthropist. Put out the fire.’

The astounded woman did not stir.

The father, with the agility of a mountebank, caught a broken pot which stood on the mantel, and threw some water upon the embers.

Then turning to his elder daughter:

‘You! unbottom the chair!’

His daughter did not understand him at all.

He seized the chair, and with a kick he ruined the seat. His leg went through it.

As he drew out his leg, he asked his daughter:

‘Is it cold?’

‘Very cold. It snows.’

The father turned towards the younger girl, who was on the pallet near the window, and cried in a thundering voice:

‘Quick! off the bed, good-for-nothing! will you never do anything?

Reviews for Les Misérables Volume Two

[longhorndaniel · Rating: 5 out of 5 stars]

Am currently re-reading with my wife because we both loved it so much; Truly the best written novel of all time; Characters; story lines; heart ache; triumph and the use of the written word are beyond anything you can find from ANT writer today; truly the masterpiece by which all other writing should be measured against

[bookishjojo · Rating: 5 out of 5 stars]

Umm, so...as with War and Peace, how the heck do you review a novel that is part of the fabric of Western society; a book that has been around so long and was written by an author so esteemed as to have a reputation that proceeds the reading? Yeah, I don't know either.I will say that I assigned a one-star deduction (no, I am not the Russian judge, though I am definitely partial to Russian literature, but I digress) for two reasons: a) some of the commentary, while relevant to the plot, meandered longer than was interesting - in most cases - for my liking. This surprised me. I like reading history and observations of society, plus I am generally a curious cat. Somehow, Hugo wasn't holding my attention in a lot of the passages that were away from the main action of the story. Reason b) all of the coincidences used to advance the plot were hard to swallow. I will say that when I come across coincidences while I am reading fiction, it bugs the crap out of me. I mean really, really annoys me. Hugo, in using this device, managed to not wholly annoy me. So, The main story was kick-ass and in these sections I was hard pressed to put the book down. Unlike Tolstoy, in War and Peace, I was not so riveted during the other chapters of the story. Sigh. Since Hugo is awesome - apparently that is what is says on his headstone: "Awesome" - I will take the blame for having some fault during the reading of Les Misérables. I'm still not gonna give back that deducted start, though, Hugo!

[teknokat · Rating: 4 out of 5 stars]

I originally read this when I was 13 years old, and have finally revisited it at 50. How strange that it remains a 4 star read for me. Not because it looks the same, but because I have traded in my youthful set of issues with this tale for a completely different set.

I will not bore you with my youthful perceptions. Instead, if you are so foolish as to continue reading, I will bore you with my perceptions as an old fart:

Hugo did an excellent job of conveying how selfish and judgmental people were in France during the early 1800's. IMO that capacity has always existed in humans. It's something that every parent battles to eradicate from their own children. Sometimes it feels like there is not a single day when this war is not being waged. Well, parenthood is not for the faint of heart.

This author also leans heavily upon religion as a redeeming force for mankind. And I fully agree that religion can be a great force for good. But IMO, religion also happens to be a construct that we humans invented for that very purpose. Of course, the construct did not have to be an actual being. Philosophy, or even science, would also do. So long as the constructed system fully embodied mankind's need for the universe to make sense and to be a worthwhile place for us to live together.

P.S. Please accept my apologies if this review has offended you. I like to imagine that I live in a world where diverse opinions are allowed. But I surely do appreciate that hearing an alien view of reality can feel like a personal attack.

[petra5xs · Rating: 5 out of 5 stars]

I loved this book. I was expecting something somewhere between Trollope's extraordinary writing and Zola's wonderful stories - and I got it! Great literature indeed, and what a character Jean Valjean is.

His story is almost biblical, one of redemption. One who travels the path from evil to good with scarcely a stumble but many an obstruction along the way. Hugo uses the book, much as Tolstoy liked to do, to expound his personal philosophy and also the condition of the peasants, les miserables.

Good, excellent, as the book was, I am left with one question, how come Valjean never recognised Thénardier no matter how many times he met him?

If you like classics and sagas, its a good holiday book. Start before you go, read it on the plane, a little by the pool and when lying on the beach, and then when you get home, there will still be more to read about these people who are your friends and family now.

[princess0starr · Rating: 4 out of 5 stars]

Whenever I get asked about classic book recommendations, I normally start by admitting that despite the fact that I read all the time and I have a BA in English, I am the worst literature major ever. You know those lists of the “100 Greatest Books of All Time” and you mark off the ones you’ve read? Even though I’ve read a good chunk of those books, the number of canonical works that I’ve read is pretty pathetic. (For example, I’ve only read one Dickens novel, and that was a children’s abridgement.) My history with Les Miserables is as follows: I saw the 1998 Liam Neeson movie in my HS freshman French I class; the next year I saw the stage musical and then proceeded to listen to the OLCR a couple dozen times. And then I fell out of it until the new movie came out, and on hearing about the number of details thrown in from the back, I thought, “Oh why not.”

What did help out is that because I was familiar with the story, I was able to appreciate all of the extra detail so much more. (Same thing happened when I first read Phantom of the Opera.) Yes, I know how things were going to turn out, but it also allowed me to think “Okay, so how do we get from Point A to B exactly?” And putting the dots together made the experience more enjoyable. For example, at the end of the infamous 200-page recounting of Waterloo, when Colonel Pontmercy introduces himself to M. Thenardier, my reaction was “Holy shit that explains so much.” And even then, my thought process was completely wrong. And the backstories—again, despite knowing that everything was going to end horribly—the backstories add so much to the story. Fantine’s whole summer of love has so much more contextual weight when you find out how screwed over she got. (Fuck you, Tholomyès. Fuck you.) And Marius—I still don’t like him very much once he meets up with Cosette, but the whole background with his father and grandfather got me really sucked into his story.

And even the long digressions weren’t that bad. Admittedly, I did tend to skim whenever Hugo decided to be very philosophical and ramble on about stuff that I’ve already gotten from the plot thanks so very much. However, the aforementioned Battle of Waterloo section and the other long descriptive passages, I really liked. The scenes at the Convent at Petite Rue Pipcus was one of my favorite parts, with the description of this absolutely rigid society and how Valjean is going to manage to infiltrate into it out. I actually also loved the “Intestines of the Leviathan” section because it’s so well-written and does add a lot to the story. And just the actual story of Jean Valjean itself is so good, I just wanted to keep reading the book.

If there was anything else that got a boost for actually reading the book, the characters. The main set of characters I do still like, but I like that there was so much more added to them. (JAVERT SNARKS AND IT IS GLORIOUS.) This is particularly evident in the side characters, specifically LES AMIS. I love Marius’s friends, especially since we actually get to know them and not just specifically “Oh, well, you get one line.” Courfeyrac, as I have fangirled, is the best. Why must you die horribly, Courfeyrac.

(Oh, can I tangent about the book vs. the musical for a moment? So, I had begun to assume that “Oh, so Marius finds M. Thenardier and that’s how he and Eponine are friends” while I was reading. And it turns out that Marius only talks to Eponine twice and when she’s dying he doesn’t recognize her at first. She still has a tragic death scene and the worst dying declaration of love ever, but “On My Own” just got a whole lot of new context after reading the book.)

The only thing I really had a problem with overall was that every character keeps popping up by happenstance. I get that Hugo was playing on providence and that these characters were so entwined in each other’s lives, but it got the point that it didn’t feel like a surprise when he reveals “And it was SO-AND-SO!” It does work well at times—the last time Javert and Valjean encounter each other for example (and I felt so awful because I knew Javert was going to commit suicide and I didn’t want him to do it) – but most of the time, I was thinking, “Oh you. You’re not dead yet. Carry on.”

This being the Kindle translation, I don’t think it was too bad, although there were places that seemed really choppy. It also seemed like the translator couldn’t decide what exactly should be translated in text as opposed to linking a footnote (I don’t remember half of my French so that didn’t help). Also, it took me halfway through the book to realize that the insistence of “thou” vs. “you” was supposed to be “vous” vs. “du.” Again, I don’t know if that was me or the choppy translation.

My big argument for the classics (which I’ve amended from my Brit Lit professors) is that once you take off these books off the Grand Literary Pedestal and take the books as books and bugger to the thematic elements, they’re really good. Before I actually sat down and read Les Miserables, all I knew about the book was “TWO HUNDRED PAGES OF NOTHING HAPPENING.” I WAS WRONG. I really liked the book, even with all of the info-dumping and contrived coincidences. And if you think that you can just go see the musical without reading the book at all, you are sorely missing out.

[helenliz_1 · Rating: 3 out of 5 stars]

This isn't in the least bit a quick read. The version I have is in 2 volumes, each of which is a big tome it its own right.
The other thing that's rather long are the sentences. I'm fairly sure that I saw a sentence that stretched over a whole page - Mr Hugo is in love with all punctuation - except the full stop. It was an object lesson in how to use colons & semi colons. >:-) It does digress somewhat - at one point there's a fairly long description of the Battle of Waterloo that does little to advance the story, but does provide the back story between two characters in fulsome detail. If you've seen the musical that is, trust me, merely the bare bones of what's in here.
Having said that, it was a read that felt worthwhile. Some epic tomes just feel like you're wading through treacle, whereas this was a descriptive treat.

[billwg · Rating: 5 out of 5 stars]

Les Mis is, to me, the best book I've ever read. It's full of the very best, and worst, of humanity. I can think of no other book that shows the whole range of mankind. The length may be a put off to some, but anyone who perseveres will be well rewarded and emerge better for having read this.

[hannah6marie · Rating: 5 out of 5 stars]

Dark pasts. Hopeful futures. Love. War. Miserable people with glorious characters. WOW!!!!!!This book is by far my ABSOLUTE FAVORITE BOOK EVERRRR!!!!!!!It has all the ingredients for a perfect story. It has a lot of adventure, good vs. evil, crime, repentance, romance and ... the writing! It is sooooo AMAZING!!! Victor Hugo never fails in giving you the complete package! He really digs into detail about everything! Never thought I'd know so much about the Nepolianic Wars and ... The sewers of Paris. Okay, maybe that is not quite so pleasant, but the detail is what one always expects from Hugo; it's just the way he is.The characters are all soooo loveable! (EXCEPT the Thenardiers!!!) Jean Valjean is the greatest hero ever! Fatine's innocence in spite of her fall is beautiful! And Marius, although he's sort of the stereotype lover-boy, is also a great young man you just cannot help but love. Cosette is adorable when a child and so well portrayed when she grows up; she is portrayed with faults that seem to give her a more beautiful sketch of character. And of course Javert is one of my favorite villains of all time since he's that weird kind of villain who is sort of good, yet bad in the way that he is .... too good, as in too perfect to the point he SPOILER ALERT ***kills himself after he fails in his duty*** END OF SPOILER. Sorry. Also, Gavrouche is just the wildest, suaciest, and utterly filthy little raggamuffin that you simply have to love!!! When I learned who his parents were and what they (or rather his mother!) had done to him, I wanted to reach into the book and grab them (especially her) by the neck!!! Ugh! Disgusting people! Speaking of whom... The Thenardiers are abhorable, deplorable, disgusting, revolting, utterly malicious, and supercalifragilisticespialidocious in alll manners of evil!!! I can say with certain confidence that I HATE them! Well, not the entire family of course. I refer only to the Monsieur and Madame Thenardier. Most definately not their AMAZING daughter, Eponine. Eponine is a character that has added something wonderful to my life. No, I'm not being dramatic. I truly think she is a wonderful herione. In her filth I saw beauty; in her bad manners I saw poetry; in her sacrifice I saw a martyr. She was GREAT!!!! I sobbed and sobbed almost everytime they mentioned her after what happened at the barricades! She is my favorite character of the entire novel. All in all, they book is a GREAT read!!! I recommend it to EVERYONE!!! Perhaps there are those who believe the long passages of tedious details are boring, yet you simply cannot have Les Mis without all those rambling facts. It is how it is. Take it or leave it. But if you leave it, your missing out on something AWESOME!!! LIFE-CHANGING!

[qofd · Rating: 3 out of 5 stars]

Victor Hugo must have been getting paid by the word cos this book was wayyyy to long. He went well overboard on descriptive crap that added nothing to the storyline. The only good thing about the book was that it filled in some of the blanks of the movie. It just reinforces my idea that the French speak too much and say very little.

[suzols · Rating: 5 out of 5 stars]

Where do I begin? Maybe I should start with this: I love epic novels. There are not many therapies quite as effective as books with the ability to transport you out of your problems and into fictional ones. This book came at just the right time; half of it was read during a tumultous two week period in which my family moved slightly abruptly; the second half was devoured last month, while I recovered from some unexpected goodbye's. I started Les Miserables with high expectations, and was not disappointed. Victor Hugo is champion of the touching moment. He will spend chapter after chapter setting up every tiny detail for the perfect moment. I found myself having to stop multiple times, I could read no more because I was crying too hard. Please do not be intimidated by this. The title is "The Miserable," and Hugo isn't afraid to bring you down to the level of the lowest to show you what must be the depths of despair. But woven into these troubles and woes are themes of hope and redemption. Thus, the tears and sorrow I felt were of the most satisfying variety. It was those sweet little moments that make this novel so great. Victor Hugo is not afraid of spending adequate time to set things up for a devestating paragraph or shocking sentence. Victor Hugo is certainly not concerned about wasting your time. For example - he spends over four chapters describing the history of the sewer systems of Paris. Was it really necessary? Maybe some of us enjoy having this random bit of history to share with our naughty nerd friends. I wasn't quite so enthusiastic. I attempted to immerse myself in the quality of his writing, and forgive the putrid subject matter. We must allow these great novel writers some lee-way in this area. They spend so much time and thought masking their genius behind characters and intricate story plots. The greatest epic novels tend to have the longest diversions; if we take advantage of the treasure they have handed us, we must also submit ourselves to the occasional ramble. And when you realize exactly how smart this man is, you shan't mind submitting yourself to a (maybe) unnecessary diatribe. So we plow through the history of Parisian sewers and find ourselves in a climax worthy of the highest accolades. For those of you worried about the time and stamina it takes to make it through a 1000+ page novel, have no fear. The book is constantly progressing, becoming more and more beautiful with each succuesive chapter. Before I finish this perhaps conservative and certainly not over-exaggerated praise, I must mention the characters. To me, the characters are the most important element of any novel or work of prose. Hugo's characters were interesting. Although a few bordered cliche, they each had their fair share of peculiarities and were (to some extent) relatable. They certainly had not the four dimensional reality of Tolstoy, neither were they the caricatures of Dickens. Hugo found a lovely middle ground. Although his characters are life-like, they also seem to embody themes, ideas, and philosophies that play and interact within the story - creating a suprisingly interesting philosophical thought box. Kudos to the man- for creating a novel that will outlive every rebellion and continue to reach the multitude with a message of the existence of undying love.

[daniel5estes · Rating: 3 out of 5 stars]

At the heart of Les Misérables by Victor Hugo lies an endearing, larger-than-life tale about the redemption of a fallen man, but good luck soldiering through everything else. The main story, the one directly related to our protagonist, Jean Valjean, by way of characters Fantine, Javert, Cosette or Marius, is buried deep under the biggest heap of literary filler I have ever encountered in a book. I'm talking hundreds of pages of backstory for minor characters, places, military battles and cultural commentary. Hundreds. Of pages. Overall, Les Mis is very readable and elegant. It's like listening to a beloved professor's lecturing voice, never mind the content. Still, I'm not sure what to call all this unnecessary padding. Expositional stalling?

[amerynth · Rating: 5 out of 5 stars]

I got my copy of Victor Hugo's "Les Miserables" when I was in high school (more than 20 years ago) after seeing the musical. I know I tackled reading it, as there are pen marks in some of the margins, but I'm not terribly sure I ever finished it. With the release of the new (and excellent) movie, I thought this was the time to give it a reread. I'm ever so glad I did.... and I had no trouble finishing it this time. In fact, it was hard to put down.What you can you say about Hugo's epic that hasn't already been said? It's beautifully written with characters that leap off the page. The novel encompasses a huge amount of period French history, putting the characters in the thick of the action of some important (and unimportant events.) It is a story of redemption, of love, of suffering. The only criticism I can lodge is that some of Hugo's tangents go on a bit long... (I now know more than I ever need to about Waterloo, for example) and pull away from the story. At times I wondered if we were ever going to get back to Jean Valjean's story. Still, I can't help giving this five stars because I just loved the book enough to overlook that minor quibble. This is truly just a great book.

[folkeb_2 · Rating: 4 out of 5 stars]

This version of Les Misérables is far plainer in content matter, but the plot and characters of this book are deeply involved and intertwined. Plainer in content is by no means a bad thing. In fact, by scrapping some of the distracting political and historical references that were originally printed to just get down to main plot was a smart move. My main complaint with the organization of this book is how jumpy the chapters seemed. One would follow one character’s vantage point, then the next would overlap storylines from another character’s view, then the next would take place years ahead but still relevant. The constant change in vantage point as well as time in space can make it difficult to follow, but not so much that it detracts from the plot. The word choice and sentence structure the author chose also add to its plainness. Although just because it used plain language and was a fast-paced book did not mean it lacked in an incredibly thick plot, deep characters, or heart-wrenching twists and turns. This book deals with the struggle of good and evil, love and loss, and everything in between. I highly recommend this book to any and every one. I give this book four out of five stars. I cannot imagine a reader setting this book down and not taking something away from it.Hannah M.

[deferredreward_1 · Rating: 4 out of 5 stars]

The story of the results of forgiveness and grace is powerful. I really grew to love, hate, pity, and otherwise empathize with the characters in this book. At times the writing was amazingly beautiful, at others the insights were hilarious or profound. All in all an excellent, mostly terribly sad book. However, reading the entirety of this unabridged version has really opened my eyes to the potential benefit of an abridged version of this, or other massive classic works. There were hundreds of pages in this book that could have been omitted without detriment to the story, in fact, not having to trudge through these parts may have made it more powerful by not losing the emotional pull of the story as we wade through 70+ pages on how nuns lived in certain convents (which convent I believe was given fewer pages of story than the historical exposition). I'd be afraid to have a child read the unabridged, lest I destroyed his love of books. :/

[mickyfine · Rating: 4 out of 5 stars]

In this epic tale of 19th century France, Jean Valjean is an ex-convict mercilessly hunted by the police inspector, Javert. Over the course of nearly twenty years, Valjean continuously attempts to better himself and move beyond his past and in the course of his journey touches the lives of several individuals enveloped in the vicissitudes of poverty.A hefty tome, Victor Hugo's novel is rightfully a classic. His exploration of the character of Jean Valjean and the individuals who surround him is a fascinating read. France in the early 19th century is brilliantly evoked and Hugo is highly capable of writing beautiful prose and a riveting narrative. And some of his asides on society and humanity are an intriguing reflection of the conflict between the ideals of Romanticism and the influx of realism and humanism that emerged during the Industrial Revolution. That being said, the novel does have a few weaknesses. First, is the female characters whose moments of superficiality and stupidity, with Hugo rhapsodizing on the innocence and childlike nature of women, is enough to make you long for a Dickensian heroine. The other major flaw for a modern reader are the regular tangents that break up the flow of the narrative. An in-depth description of the battle of Waterloo and a brief history of the Paris sewers are significant offenders I could have done without. But these two flaws aside, which are signs of the novel's age, Les Misérables is a classic that should be experienced at least once.

[thelostentwife · Rating: 5 out of 5 stars]

It's always a daunting task to write a review of a book not only widely read but also extremely popular. Especially after one read of the primary text (and no knowledge whatsoever of the musical, aside from the minute or so of the previews shown for the upcoming release). So rather than wax poetic about Hugo's insanely thorough, beautiful writing as many others have done, let me simply give you my impression of Les Misérables.The first 10% or so of the Kindle edition that I read dealt primarily with a description of Bishop Myriel. About 5% in I was a bit confused, wondering why all this information was necessary for a character that, admitted by Hugo, was not an integral part of the book. However, I managed to fall in love with that sacrificing Bishop and felt I knew him so intimately that by the time Jean Valjean arrived on the scene, I could predict the good Bishops movements. And aside here, the letter and actions of the Bishops sister and housekeeper had me laughing and thoroughly enjoying myself, mostly because I, as an unmarried woman in today's society, would never have been able to so meekly assist my brother in that way.Jean Valjean - such a character. 19 years spent in horrific conditions all because he stole some bread. After his run-in with the Bishop, his encounter with Petit Gervais, and his arrival in Montreuil-sur-Mer I began to get an idea of why the Bishop was such an important character to begin the book with. It was a beautiful thing to see the changes being wrought in Valjean.And then there comes Fantine. Honestly, I think Fantine is my second favorite character of the book (second to Bishop Myriel, I really did love that old man). She is the perfect tragic figure: mother to a beautiful child, abandoned by her lover, trust-worthy to a fault, abused, neglected, self-sacrificing, and all of it unrewarded until she lay on her deathbed... but even then happiness is denied to her. As miserable as Valjeans life was throughout the book, I think Fantine's situation is what really gives weight to the title that Hugo chose.And from Fantine there comes Cosette. Although there is plenty in the book about the girl, and then the young woman Cosette, I came away with less of an impression of her than of the other characters. In fact, I felt more connected to Marius than Cosette - although that might have been simply because Cosette comes off as a bit of a wimp, not due to anything that Hugo does, necessarily. It's just strange to read about her passive behavior from a 21st century perspective.The only other main character I want to touch on is Javert. Javert was the epitome of fear to me. He had a nasty habit of always showing up in a city filled with people, leaving the correct impression that he and Valjean were connected in a way that could never be broken. I appreciated Hugo's treatment of the torment that filled Javert at the end of the book and thought that his story ended in a most fitting manner.Hugo spends time not telling the stories of these main characters by elaborating on everything from an incredibly detailed description of the Battle of Waterloo (of which I now know more information than I know how to deal with), slang, the street urchin or gamin, the sewers of Paris, religious orders, and politics. Of these I found Waterloo, the religious order description, and the information on slang to be the most interesting. I read the Hapgood translation of the book for Kindle, and was rewarded with a lengthy introduction and beautiful illustrations throughout the book that enhanced the reading. I laughed, cried, felt sympathy, and completely immersed myself in this story and came away from it feeling richer - and that feeling is how I know I just read something incredible.

[tlhelen · Rating: 5 out of 5 stars]

A story about the French Revolution, following Jean Valjean, a former prisoner who broke parol to start a new life. When he becomes the mayor of a town, he is presented with many problems, including escaping the ever persistant Officer Javert, and granting the last wish of the prostitute, Fantine, to care for her daughter, Cosette. It follows his life from his release from prison, to his death after Cosette's marriage Marius.Though a slightly taxing read, because it is a classic, it is quite fascinating. It explores the ideas of 'right' and 'wrong' and all the different shades in between. Most of the characters, Valjean of course standing out the most, have conflicts on whether what they do is correct or not, and which descion is for the greater good.It was a worthwhile read, but not one for light readers. Being a classic, it contains complex language, and ideals not of this century. Perhaps I would reccomend this to those used to reading these kinds of books, or those who want to further study the story that the musical of the same name is based on.

[stringsn88keys · Rating: 5 out of 5 stars]

This book is a challenge to get through, even in audiobook form. I had a basic familiarity with the story of Les Misérables from the musical of the same name.The depth of Jean Valjean's character and circumstances is so much greater than could ever be remotely given justice by the movie or any musical representation.I would recommend this for anyone who is in love with the story as presented by the musical. The original version of the story has a completely different dimension than any 2-3 hour production can present.The unabridged format is a bit unwieldy, but provides some measure of context, considering how far displaced we are from the original setting of the story.

[peacock1_1 · Rating: 5 out of 5 stars]

I confess I read this after the musical become popular, but better late than never. Jean Valjean and his friends were well worth tackling the unedited version. As much as I am passionately in love with the musical, Hugo's account of his characters are better.

[lisamaria_c · Rating: 4 out of 5 stars]

The author of the introduction I read in my edition of Les Miserables, Peter Washington, didn't seem to much admire the book or the author. He compared it unfavorably to Tolstoy's War and Peace and claimed that "Les Miserables rambles, there are huge digressions and absurdities of plot, the characters are often thin, the action melodramatic." I found that amusing because having recently read War and Peace I thought all that very much applied to Tolstoy's novel, and in more annoying ways that in Les Miserables. Maybe it's that I found Tolstoy's frequent digressions on the hive nature of history rather one-note. If Hugo digresses, at least it's on different subjects. Though yes, the narrative is even more long-winded than you'd expect from 19th Century Western literature. Hugo's one of those authors who won't use one adjective when he can pile up a dozen in one sentence. When Hugo defends using argot, the lingo of thieves, he makes a good point that professions like stockbrokers have an argot of their own, but not satisfied with this example, he goes on and on for an entire page where a brief sentence would have sufficed. Were you one of those people who complained about Ayn Rand's long speechifying in her novels? Well, she was an admirer of Hugo, and I suspect this is where she got the habit from. I would have happily taken a hatchet to the chapters on the rules of the Bernardine-Benedictines and there's really no excuse for spending that much wordage on the sewers of Paris. But with many of the digressions, even when I was impatient to get back to the mainline of the story, I found many of them worth reading. Skip the chapter "The Tail" in Melville's Moby Dick, and I don't think you'd miss much unless you find the anatomy of whales fascinating. Skip the second epilogue of Tolstoy's War and Peace in my opinion you miss only crank theorizing. But within a lot of those digressions in Les Miserables are insights into the spirit of the 19th century. Besides, I also rather prefer Hugo's characters to those of Tolstoy. Jean Valjean has the kind of largeness of character lacking in the cast of Tolstoy's historical novel to carry an epic. When Valjean first appears in the novel on page 66, he's been a galley slave for 19 years--initially sentenced because he stole a loaf of bread. Six years later he's a wealthy entrepreneur that lifted his town to prosperity and became its mayor, and likely would have continued to prosper were it not for Inspector Javert. And if Valjean is a hero worthy of an epic, than Javert makes a worthy villain, almost a force of nature, and interesting because he's above all motivated by devotion to the law. And for a full-on black villains, you can't do much better than Pere and Mere Thénardier. There are also vividly drawn secondary characters such as their children Gavroche and Eponine. (Even if I do agree with Jean Valjean that Marius, his adopted daughter's love interest, is a "booby." A good match for the ninny that is Cosette.) Yes, there are coincidences that stretch credibility and larger-than-life characters and melodramatic rhetorical flourishes. And at times Hugo's chauvinism, his aggrandizement of his nation--much more evident than in Tolstoy or Dickens or Hawthorne--raised an eyebrow. And I certainly don't share Hugo's enthusiasm for revolution, riots ("emeutes") and mobs and I'm to put it mildly, dubious about Hugo's vision of "Progress." I wondered at times, just how much of the melody, the poetry of the writing I missed reading the Wilbour translation. Some claim that if you don't like Hugo, it might be Wilbour's fault. But I certainly found this mammoth epic more interesting than the equally lengthy War and Peace and clumsy translation or not, one with many beautiful and quotable passages.

[mia_catapang_2 · Rating: 5 out of 5 stars]

It exceeded my expectations. :))

[jas91_1 · Rating: 5 out of 5 stars]

I have just finnished reading this and i have to say that out of all the classics I've read this is right up there with the best.To be honest, just to look at the door-stopper of a book is rather daunting, but once I got over the physical size of it, Les Miserables was immensely enjoyable.Despite the length I found it to be a real page-turner. The story is exciting and filled with characters that you can emotionally invest in and the length only helps to enhance this. The only part I found hard going was the retelling of the battle of Waterloo which was, perhaps, one detail too far. Many have critisized Hugo's diversions and the over emphasis on his own opinions and digressions but personally I found them mostly to be both a charming quirk as well as an essential componant towards the overall impact of the story by enabling me to imagine the context of the setting in the novel. After all a novel of such epic proportions deserves to have an epic span of topics, context and thought provoking content. Les Miserables is crammed with broad ranging subjects such as philiosophy, ethics, economy, history, religion, love of all kinds, politics, relationships, and all this is vocalised via the beautiful prose that enabled me to completely immerse myself in that world.Above all the one thing that will remain with me from reading Les miserables is the characters. Wonderfully drawn and each memorable in their own way, I was constantly on edge, anticipating how their individual stories would play out.Hugo's tale is gripping, emotional, and above all intensely human and therefore something, I think, everyone can relate to.

[chrisconway_1 · Rating: 3 out of 5 stars]

I do well with voluminous classics: I'm a fan of The Count of Montecristo, War and Peace and The Sentimental Education and other longer novels. These are novels with a lot of genuine heart. Even Moby Dick, which I am ambivalent about because of the endless discourse on whales and whaling, engages me because of its startling originality. However, I could not get into Les Miserables. At every turn, Hugo digresses, and at great length. There are memorable passages... beautiful, memorable parts. But the characters did not come alive for me. As I see it, Les Miserables is one of the "important" novels that we most enjoy when we're very young, or because it was such a popular and important novel a hundred and fifty years ago. Like other longer works of literature, the novel also attracts readers who delight in the recreation of lost worlds. I wish I could have been one of those readers...because there's nothing like a great long book. Three stars because it's a classic and it's important...otherwise I'd give it two stars.

[marcelrochester · Rating: 3 out of 5 stars]

Um Cosette + Marius are annoying/boring. Javert and Valjean are interesting. The many chapters of history and background got on my nerves and weren’t good reads. The plot got meh later, esp given the over-focus on boring romance. A good adaptation could actually be better than the book. Though there aren’t especially strong female roles.

[mhenry4_1 · Rating: 5 out of 5 stars]

Les Miserables has everything. With the multiple plot lines and characters that everyone can relate to this book really appeals to everyone. It took me a LONG time to read this book, but it was worth every minute!

[danikah_3 · Rating: 5 out of 5 stars]

Les Miserables was a wonderful novel. The novel seemed to me to become a full circle in the end from when Jean Valjean was a convict to being a beloved hero who granted the love of his life, his daughter, what she previously had only shown him-love. It was a very passionate, real life story that touched millions including myself.

[rachissy · Rating: 5 out of 5 stars]

I finished much faster than I anticipated but I just couldn’t put it down. The last book had a lot of action as the students of Paris built a barricade and revolted. Our boy, Marius, finds himself in the middle of the fray which is not going in their favor. Jean Valjean arrives and helps him out a bit and manages to help out a few other citizens while he’s there because, well, that’s just the way he rolls. While trying to help Marius, Jean Valjean has a long coming chit chat with the pesky Javert and attempt to work out some of their issues. All the while Cosette sits by and waits.The book ends well for some and not so well for others which is about all I’m going to say. I loved it and will probably end up re-reading a few times. However I’ve been reading in e-book format on my laptop, which is less than pleasant and I won’t be doing that again. This is definitely a book I want to own so I’ll be going out and buying a REAL copy (I really dislike the term ‘dead tree book’ it’s so negative). I also think I’ll go for the abridged version and do without Hugo’s rambling. I don’t need the history lesson on France every time I want to read it. I would suggest to anyone thinking about giving it a read to just go for it. The first few chapters seem a little slow but it’s totally worth it to stick it out. At least I thought so.I did finally watch the movie last night after I finished and it was pretty good. They took liberties, changed things and left stuff out but I guess that’s to be expected. I hate when people say “I don’t need to read the book, I can just watch the movie”. Even the best movie adaptation is just a portion of the whole story. Sometimes it’s barely a glimpse of the goodness that lies within the book. I love movies as much as the next person but it’s good to go straight to the source. Movies are an enhancement, not a replacement for reading.

[jamiesmith_1 · Rating: 4 out of 5 stars]

Victor Hugo's editors wanted to remove copious amounts of text. I agree with them, but I won't recommend buying an abridged version, for what *I* think should go out is not necessarily what the translators took out. Read this book and skip the extraneous details; Hugo took scenic detours often throughout this work. That out of the way, this book was stunning, beautiful, and ultimately uplifting, a "take that!" on behalf of the human spirit. Jean Valjean's battle to let the angel on his shoulder get the better of the demon on the other shoulder (metaphorically; nothing so crass appears in the book) provides the pivots on which the story turns. This is a book meant to be re-read; I believe it will say something new with each reading, especially as the stages of your life change.

[natalie220 · Rating: 4 out of 5 stars]

It took me more than a month to finish this book, but I'm not complaining. The story was wonderful and intriguing and although it had a lot of history it was well worth the read. I fell in love with who Jean Valjean was and and almost prayed for him throughout the novel. Had to remind myself I was only reading a novel. Loved it!!

[luli81_1 · Rating: 5 out of 5 stars]

I can't express the sensations this book provoked in me. I thought I had read good books until I found this one. Jean Valljean, Fantine, Cossette... They showed me the meaning of living and dying in this unfair but beautiful world.