#lm 2.3.6

[combeferres-mothematics]

.....Now, I wonder who this mysterious fellow could be???

[lmchaptertitlebracket]

Round 1, Matchup 88: II.iii.6 vs III.iii.6

[cliozaur]

Abridged versions of "Les Misérables" usually skip Valjean’s encounter with Louis XVIII and his interest in the poster featuring The Two Convicts. It might be deemed unimportant to the main plot, but it is an essential part of Hugo’s political narrative. After Napoleon, this new old regime emerges, and the king's demeanor, looking “coldly at the people,” while the people reciprocate with mutual coldness, is a significant detail that adds an individual touch to the general overview of the regime in the year 1817. It would be intriguing to piece together all the parts of the political narrative in "Les Misérables": from the French Revolution to Napoleon, Louis XVIII, the events of 1830 and Louis Philippe's reign, and finally, the uprising of 1832.

Meanwhile, we step back in time and follow the footsteps of the mysterious man from the previous chapter before he encountered Cosette in the forest. Jean Valjean (yes, it is him) is utterly inexperienced in Parisian ways of life. This must be his first time in Paris. He immediately attracts unwanted attention from the king’s captain, but as a professional escape artist, he manages to lose his pursuer quite easily. It seems that he feels much more comfortable in the dark forest (unlike Cosette) than in a big city.

After checking on his treasure, he notices a small figure obviously suffering, and unlike the hardened peasants who don’t care, he immediately rushes to help. And mind you: at that moment, he was not yet aware that the child was Cosette.

[maybeitsapineapple]

LM 2.3.6

is valjean really carrying around a walking stick that is a metaphor for himself

the king's only use to the people is as a watch or a clock

rip coachman you would have loved banquo. the earth hath bubbles, as the water has, and these are of them (there had actually been a couple of french translations of macbeth by 1823, including a production in 1784, but, like)

[pilferingapples]

LM 2.3.6

There's a lot of very fairy- tale vibes around Cosette's story, and this bit, with her Providential meeting of her New Dad in the woods, is a lot of it.

I did a binge on critical analysis of fairy tales some *mumble mumble* years ago, and one of the concepts that came up a lot is how The Forest is a place where human rules--social rules and actual laws both-- are irrelevant. Not merely defied, but actually a non-issue. * This makes the woods dangerous --none of the human safeguards exist--but also a place of rare opportunity and magic. Things that Society would never allow can still happen in the woods.

So in the forest, the pauper has a fortune, and even finds a family. And in the forest, the abused orphan servant girl finds a father, one who will transform her into a fine lady and take her away from all her troubles. We've already been told this is being overseen by the spirit of Cosette's mother, and that's a very fairy tale touch too. This encounter isn't a superstition that can be ignored, but a real personal transformation for both of them.

But first they have to leave the woods, and confront Cosette's personal Ogres.

For more on this, see, of course, Sondheim's musical essay "Into the Woods" :P

[calico-cows]

Valjean really embodying the introvert becoming a cryptic in the woods joke

[pureanonofficial]

LES MIS LETTERS IN ADAPTATION - Which Possibly Proves Boulatruelle's Intelligence, LM 2.3.6 (Les Miserables 1967)

Once in the forest he slackened his pace, and began a careful examination of all the trees, advancing, step by step, as though seeking and following a mysterious road known to himself alone. There came a moment when he appeared to lose himself, and he paused in indecision. At last he arrived, by dint of feeling his way inch by inch, at a clearing where there was a great heap of whitish stones. He stepped up briskly to these stones, and examined them attentively through the mists of night, as though he were passing them in review. A large tree, covered with those excrescences which are the warts of vegetation, stood a few paces distant from the pile of stones. He went up to this tree and passed his hand over the bark of the trunk, as though seeking to recognize and count all the warts.

Opposite this tree, which was an ash, there was a chestnut-tree, suffering from a peeling of the bark, to which a band of zinc had been nailed by way of dressing. He raised himself on tiptoe and touched this band of zinc.

Then he trod about for awhile on the ground comprised in the space between the tree and the heap of stones, like a person who is trying to assure himself that the soil has not recently been disturbed.

That done, he took his bearings, and resumed his march through the forest.

It was the man who had just met Cosette.

[dolphin1812]

Although Hugo’s description of Louis XVIII veers into ableism and fatphobia at times (insulting a king is so easy! How did he mess up?), the number of functions he serves in this short chapter is fascinating. First of all, he’s a clock; Hugo notes that Paris’ poor in this area measure the time by his appearance. The idea that his passage is as natural as time serves both to underscore the extent to which he’s been incorporated into the daily lives of these people - they expect to see him every day the same way we might glance at the time on a screen - and to point out how unnatural this actually is. A king isn’t an inescapable form of time, like, for instance, sunrise and sunset. If we include the digressions, this king is our third authoritarian ruler (Louis XVI, Napoleon, then Louis XVIII), and even his reign has already been interrupted (by Napoleon and the 100 Days). This “naturalness” is part of his strategy to prop up his authority, but it goes against everything we’ve seen so far. 

Ideas about kingship have certainly influenced the people who use him to measure time. One inhabitant, for example, said he was “the government.” Crucially, he did not say he “represented” the government; he is the state itself. We don’t know much about the tone with which it was said, but in terms of the historical context, this tells us that (1), notions of absolutism were common enough that this could be said fairly casually on a street; even if this was a jab of some sort, this discourse must have been circulating; and (2), for all Louis XVIII’s pretensions to constitutionalism that Hugo has mentioned, he still marks a continuation of one-man rule where someone “is” the government rather than where a person expresses the will of the government, which rests on the people.

The king is also only one of two characters described in this chapter, with the other being the “mendicant.” Hugo’s fixation on Louis XVIII’s inability to walk and love for speed in spite of that is ableist, but it does contrast him with the old man who must get around in the city by foot; even when he does take a carriage, his poverty leads others to regard him with suspicion, making physically strenuous travel the simplest option for him. Additionally, Hugo stresses that this man is very sympathetic in his appearance. His emphasis on cleanliness is questionable (he’s basically demanding some level of “respectability” from the poor), but even his personality (as seen in his face) seems to be based on kindness and sadness. Only the authorities first see him as threatening (he’s suspected of being unable to pay later and of being unusual after not stopping at an inn, but he’s not dangerous). The police’s gaze explicitly misses everything about his character and latches onto two traits: his poverty and his sense of being out of place. The usual poor people who watch the procession are tolerated because their presence is expected, but an outsider is automatically suspicious regardless of what he’s doing. We can suspect that this man has a criminal past (from his fear of the authorities and his interest in the poster about convicts), but we see him get chased because he’s “out of place,” highlighting how law enforcement centers more on maintaining a specific order than on maintaining safety.

[everyonewasabird]

Brickclub 2.3.6 ‘Which perhaps proves Boulatruelle’s intelligence’

We’ve followed Cosette’s steps up to her meeting with Valjean. Now we follow Valjean’s steps up to his meeting with Cosette.

It’s both similar and different. The narrative distance is extremely different.

Cosette is an open book to us. We see into her mind from a slightly adult perspective but which nonetheless takes on strong elements of the point of view of a child. We know what she thinks, what she fears, what she feels, and how she makes her decisions. We learn those things from a slightly expanded perspective that also knows the thing glowing in the sky was Jupiter and that Fantine was there that night.

(And, as Squash pointed out, Fantine’s dream-vision really was of this moment. That she’s here is perhaps not so much the dead looking in as it is the living time-traveling in psychic form.)

Valjean we only see from the outside, though we do watch him closely; we aren’t even told his name. We get one of the most detailed descriptions of his face and demeanor we’ll ever have: very old clothes, and a very sad look. We read the wrinkles on his face--the ones on his forehead are “in the right place” if you looked closely enough to see it, and the ones by his mouth look “severe but were actually humble”--a reminder of Boulatruelle’s convict-humility, echoing back Valjean’s own. We’re told his demeanor “conveyed dejection and world-weariness."

He’s very, very competent in the woods and not at all competent at civilization. Absolutely everything about him excites suspicion--he straight up turns and runs from the royal carriage such that police who had literally no reason to notice him give chase. He overpays for his carriage, leading the driver to point him out as odd to all the other passengers. He leaps into ditches when other people walk down the country lane he’s on, which only fails to excite suspicion because it’s literally pitch black out. He’s wearing absolutely ancient clothes and a yellow coat. He has no idea what a low profile even is.

But as soon as he’s in the woods, he knows exactly what he’s doing. As the chapter title reminds us, he’s Boulatruelle’s devil.

I don’t know if it’s Rose’s translation (which I’m loving so far) or just something about this reading experience, but I get such a clear picture this time of how emotionally dead Valjean is at this point in the story. We saw last chapter that Cosette desperately needs someone to love her and save her, but this chapter we see that Valjean does too. In some ways it feels like his need is much greater.

There’s life and hope in Cosette. She has no reason to hope for much, but she still does--she waited at the door before she went out for water, like someone or something might still save her. She’s fierce and determined and full of unexpected resources and still able to pull herself back from werewolfdom--for unlike Eponine and Javert, she really has it in her to be a wolf, she’s just able to control it.

It feels like there’s a reason we see into her heart and not his, and it’s because she still has one.

And they meet now. I’m tearing up.

Werewolf child and devil dad. They’re perfect.<3

[fremedon]

Brickclub catchup, 2.3.6 - 2.3.9

Brickclub restarts today! I still haven’t written up the last three chapters because they’re almost all plot, and I have a much harder time finding things to say about plot than I do about the digressions.

These four chapters bring Valjean into the Thenardiers’ inn and out of it again, with Cosette. Once again, Valjean is not named, and we see him mostly from outside, though Hugo is exercising very fine control over the level of distance--his departure from Paris is seen not merely from outside, but through sources which are named--police reports, the speech of the king and his bodyguards.

(I feel like Valjean’s encounter with Louis XVIII’s carriage has be significant--it’s the king, after all--but I don’t have a handle on how. The bishop’s encounter with Napoleon stated one of the principal concerns of the book; Louis...well, he’s that big man who’s the government.

He keeps coming up over the next couple of chapters, though--Hugo specifies that the gold coin Valjean leaves in Cosette’s shoe is not a Napoleon but a newly-mined louis d’or of the Restoration; Mme. Thenardier says she’d rather marry Louis XVIII than keep Cosette in the house another day. (And Cosette’s reaction to the doll is like being told she’s the queen of France; and Mme. Thenardier says soon the stranger will be calling Cosette “Your Majesty” as if she were the Duchesse du Berry. Maybe it’s just that we’ve left Waterloo, and the narrative is embedding itself in the Restoration?

Actually--no, maybe it’s that Cosette is leaving The Sergeant of Waterloo, emerging from the keeping of the character identified with both Bonapartes.)

After Valjean leaves the stagecoach, we follow him at a camera’s eye viewpoint and see his encounter with Cosette again, this time from outside; then into the inn where we see him through the eyes of Mme. Thenardier and the other patrons; and then finally, as he takes the candle and finds Cosette, and places the louis d’or in her shoe, it zooms in quite close--not entirely getting into his head, but making his thoughts and feelings very clear.

And then we zoom out again and watch him through Thenardier’s eyes, but this time, Valjean has the upper hand. The decrease in narrative distance has been matched by an increase in Valjean’s confidence and ability to navigate human society--he’s gone from so feral and baffled that he throws himself into ditches to hide from passers-by to calm, collected, and in control. Cosette--seeing her, realizing what she needs from him--is the catalyst; but it also feels almost like the reader’s observation is helping him along. The closer we get to his own viewpoint, the more human he becomes.

Some scattered observations:

Les Deux Forçats is a real play, which premiered in 1822.

Cosette saying she never had a mother when the narrator told us flat out in her last chapter that Fantine’s spirit was there and watching is heartbreaking. (And h/t to whoever pointed out--Pilf, possibly?--that Fantine’s deathbed vision of Valjean coming for Cosette isn’t just wishful thinking: she’s seeing this scene; she’s seeing the future.)

Cosette “resorted to the tactic adopted by children in constant fear: she lied.” Once again, it is really striking just how blasé Hugo is about lying. He doesn’t judge it at all, except from a purely utilitarian standpoint. It’s really striking here, on the heels of several mentions about how Cosette has never been to church and knows nothing of religion--you would expect any other writer of the time to point to Cosette’s lies as evidence of the neglect of her moral education, and Hugo doesn’t.

Immediately following that--Valjean pretends to find Cosette’s lost coin, and even though the one he hands over is the wrong denomination, Mme. Thenardier is still partially taken in: “Anyway, it’s just as well he didn’t take it into his head to steal the money that was on the floor.” Cosette lying out of fear is followed by Valjean lying out of compassion for her, and it’s a notable moment in his progression back to functionality and humanity.

“But that a man wearing a hat like that should take the liberty of making any request, and that a man wearing a coat like that should take the liberty of expressing himself, was something that Madame Thenardier did not think she had to tolerate.” The way Mme. Thenardier and Javert reach the same sorts of judgments through entirely different thought processes is fascinating. They both judge sort people instantly into social categories and are personally offended when they don’t fit into them nicely, but for Javert the social order is itself good and necessary, while for Mme. Thenardier it’s all about her fear of anything threatening her own interests or those of her daughters.

Similarly, “no matter how much in her effort to imitate her husband in all his actions she had made a habit of dissimulation,” controlling her feelings about Cosette’s sudden elevation in the world is beyond her. She and Javert will both attempt to lie to satisfy authorities, but it doesn’t come naturally to them.

Cosette dresses up her lead sword as a doll because she is so desperate for something to love. In her earshot, Mme. Thenardier tells Valjean that Fantine was a bad mother who abandoned Cosette and is probably dead; Thenardier and the other customers sing bawdy songs about the Virgin Mary and the baby Jesus; and Cosette rocks her swaddled sword and croons “My mother is dead! My mother is dead.” That’s...a lot of motherhood all over the page, and all of it twisted somehow. But it sets up the stage very well for Valjean to step in. He’s not anyone’s idea of a mother--but if these are the other options, he’ll do.

Cosette stares at the magnificent doll “as if it might have been the sun approaching.” Little Cosette really is Grantaire and I’m still not sure what to do with that, because everything it suggests about Grantaire’s potential is just heartbreaking.

Santa Claus Valjean! Just in case the breaking and entering to leave alms hadn’t already clued us in. Saint Nicholas is the patron of repentant thieves, prostitutes, small boys, and young girls of marriageable age; I feel like Hugo looked at that list and said “Sounds like the three problems of the age.”

Thenardier stays up until 3 AM watching Valjean, and then is up again two hours before daybreak writing the bill. I know it’s three nights past the solstice and daybreak is pretty late, but wow he is taking no chances on Valjean’s slipping away unnoticed.

Fursona watch:

“Eponine and Azelma did not look at Cosette. For them she was like the dog.”

The scene where the girls dress up the cat is such a well-observed piece of pretend, but also--if little girls are cats nowadays, does that mean they will grow up to be lions?

(Also, I am hella impressed at just how many minutes of time must elapse in the story without Eponine losing her hold on that cat--even holding it one-handed while she tugs on her mother’s skirt!. Donougher specifies that the cat is not just dressed, but “swaddled,” so maybe the cat is burritoed? Still impressive.)

Mme. Thenardier says Cosette is “more like a bat than a lark.”

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[lmchaptertitlebracket]

Round 2, Matchup 48: II.iii.6 vs V.i.22

[meta-squash]

Brick Club 2.3.6 “Which May Prove The Intelligence Of Boulatrelle”

Two celestial bodies are about to collide: Cosette and Valjean. We are now jumping backward in time to show Valjean’s journey from the waters below the Orion to the woods at Montfermeil.

Valjean is “the beggar of good society.” Here, he is visually and literally the exact opposite of Thenardier’s eventual Parisian existence.

Hugo notes that yellow was not an unusual color in 1823. I watch a lot of historical costumer youtube, but they tend to talk about cut and style and stuff rather than color. But this means that Valjean has chosen clothes that make him as average as possible: he’s shabbily dressed, but neat, he’s not up-to-date but not unfashionable. He could be a “former tutor from a good family, returned from exile,” which is funny because he is a former highly respected mayor returned from “exile” (prison). However, yellow again! When we first meet Valjean, he is dressed in a “coarse yellow shirt” and now he is wearing a yellow coat.

“He carried in his left hand a small package tied in a handkerchief; with his right hand he leaned on a sort of staff cut from a hedge. This staff had been finished with some care and did not look very fierce; the knots were smoothed down, and a coral head had been formed of red wax; it was a cudgel, and it seemed a cane.” Again, a parallel to our first meeting of Valjean: he entered Digne with a large gnarled stick and a new knapsack.

Hugo does not tell us Valjean’s name at all in this chapter. And obviously we’re all going to know who this man is, but Hugo gives us further clues through these details of Valjean’s appearance, paralleling each other after the departure from prison.

Something I always forget, probably mostly because zero adaptations do this, is how old Valjean looks. He acts like he’s even younger than his real age, but he looks like he’s an exhausted, weary, very old man. I’m going to have to keep reminding myself of this as I read. Part of what makes Cosette and Valjean such an odd pair is that she’s so young and sweet and innocent-looking and he’s so old and tired-looking. 

As usual I’m not quite sure what Hugo is saying here about Louis XVIII and the monarchy. To Paris, the king is just this sudden tumult passing by, a flash, fragmentary glimpses of a body, but nothing more. Louis XVIII reigned for 10 years, and I feel like that’s pretty middling in terms of French monarchs, so I’m not sure if Hugo is saying here that his reign was quick or what. Certainly he’s saying that the Parisian people don’t care much for this king. This reminds me a little bit of the emperor’s new clothes story, or something like that, where townspeople come out to see a king parade past not because they admire him but because he is a spectacle.

“When he appeared for the first time in the Quartier Saint-Marceau, all he succeeded in eliciting were the words by a resident to his comrade: “It’s a big guy who’s the government.” Holy shit I love that so much. It’s hilarious. And also so indicative of how much the working class remain relatively unaffected by governmental changes at this point; their lives are going to continue to be hard and shitty no matter who’s in charge.

I tried to figure out if this play The Two Convicts was a real thing in 1823, but no luck. Seems it’s just a random detail Hugo made up. Unless I’m looking for the wrong thing?

Last chapter I said Valjean was still incorporeal until he materializes in the forest beside Cosette. I think this chapter confirms that. He’s so ghostlike and unemotional and non-reactive here. He calmly disappears from the pursuit of the officers, he doesn’t react to the cold, the coach driver exclaims that he “must have sunk into the ground,” when he hides from people on the road they don’t notice or sense him at all. He even walks like a ghost, taking a mysterious route that seems to be known only to him rather than something frequently walked by everyone, in the same way that ghosts are said to walk some mysterious and perhaps significant route they walked before they died.

And at the sight of Cosette, he re-materializes as a living person.

Cosette brings Valjean back to life. Helping Cosette, caring for Cosette, gives Valjean’s life a purpose and meaning he maybe wouldn’t have otherwise. Later on, at the Gorbeau house, Hugo will talk about how Cosette kept Valjean from slipping back into old prison instincts he had relearned while on the Orion. I think it’s true as well that she keeps him from slipping into a sort of self-obscurity. So long as he has someone to care for, someone to carry water buckets or give dolls or encourage education or buy a house for, he cannot fade away into the purposeless self-hate that dogs him. Valjean’s biggest internal conflict is this inescapable feeling that he is unworthy, that he is lesser, that he is someone who doesn’t deserve the life he lives and doesn’t deserve the things he has. His moments of “selfishness” (as he sees them) are almost entirely to do with his relationship to Cosette. Without her, he would be this ghostly figure without any real purpose, without the ability to connect to others, without anything to connect himself to any feeling about himself aside from those negative associations. I think without Cosette, Valjean would continue to do charity and good deeds, but they would be from a sort of empty place, a vacuum of negative sacrifice rather than this forward-moving positive sacrifice that he enacts because of her. Without her, he would keep giving and giving but never actually feel good enough. Even with Cosette, he still feels unworthy of basic things, like chairs or good bread, but because of her he’s able to at least slightly accept that maybe he should have those things, because if nothing else someone wants him to be comfortable. But without her, I don’t think he would have ever managed to become a real person; he would have remained this incorporeal figure, floating from place to place without name or residence or purpose, until he ended up back in prison or eventually his spirit was sucked up into that negative vacuum of self-loathing based sacrifice.

(Wow I hope that last extremely bleak paragraph made any sense.)

[pilferingapples]

I don't find it hard to believe that he had put some money away in Paris before hiding the bulk of it in Montfermeil ; he is hanging out in a specifically depopulated area when we see him. And he was always planning to bust out ASAP; so an assumed Paris Fund doesn't have to be hidden as well as the bunch in Monfermeil.

But the Montfermeil money!!!--

Is he gonna grab the cash while he's escaping through the woods? That would explain at least part of why he's so on guard and diving into the brush while Thenardier tries to track him....

*rereads today's chapter*

ok new question

WHY DOES HE HAVE MONEY AT CAPE BRUN

he was IN Paris when he got the money from Lafitte, ok, so he can have money in Paris Did he stash some in Cape Brun too?? When?? HOW??

[dolphin1812]

Why did Hugo have to remind me how sad Valjean is by filling his description of him with words like “depression” and “melancholy,” now I’m sad thinking about his past and completely unprepared for the change that Cosette will bring into his life

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Your WordPress Premium Themes Plugins Downloads:

Our Discounted Bundles – Saves You More Money!

Gravity Forms and Developers Addons Package 2018-06-17 WordPress Multilingual (16) Plugin Bundle 2018-06-18 YITH WooCommerce Pro (102) Plugin Bundle 2018-06-17

Rocket Genius – Gravity Forms Plugin + Developer Addons

Gravity Forms Pro (The Core Plugin) – Version 2.3.2.6

Elegant Themes – Premium Plugins and Premium WordPress Themes

Elegant Themes Bloom Email Opt-Ins Plugin – Version 1.3.2 Elegant Themes Divi Builder – Version 3.7 Elegant Themes Divi WordPress Theme – Version 3.6 Elegant Themes Extra WordPress Theme – Version 2.7 Elegant Themes Monarch Social Sharing Plugin – Version 1.4.2

WooThemes – WooCommerce Premium Extensions

WooCommerce Beanstream 2.0.1 WooCommerce Checkout Add-Ons – Version 1.12.4 WooCommerce Conditional Content – Version 2.0.7 WooCommerce Coupon Campaigns and Tracking – Version 1.1.3 WooCommerce Customer Order XML Export Suite – Version 2.3.6 WooCommerce First Data Gateway – Version 4.3.3 WooCommerce LightSpeed POS 1.5.4 WooCommerce Mollie 2.12.2 WooCommerce WishLists – Version 2.1.8 WooCommerce WorldPay 3.6.4

WooThemes – Sensei WordPress Theme and Extensions

WooThemes Sensei LMS Learning Management a WordPress Premium Plugin – Version 1.11.0

Multilingual – WordPress Multilingual Premium WordPress Plugins

WordPress Multilingual WooCommerce 4.3

YITH YIThemes – Premium WooCommerce Plugins

YITH WooCommerce Pro (102) Plugin Discounted Bundle YITH Account Funds Premium For WooCommerce YITH Active Campaign Premium For WooCommerce YITH Added to Cart Popup Premium For WooCommerce YITH Advanced Product Options Premium For WooCommerce YITH Advanced Refund System Premium for WooCommerce YITH Advanced Reviews Premium For WooCommerce YITH Affiliates Premium For WooCommerce YITH Ajax Product Filter Premium For WooCommerce YITH Ajax Search Premium For WooCommerce YITH Amazon S3 Storage Premium for WooCommerce YITH Anti Fraud Premium For WooCommerce YITH Auctions Premium For WooCommerce YITH Authorize.net Payment Gateway Premium For WooCommerce YITH Automatic Role Changer Premium for WooCommerce YITH Badge Management Premium For WooCommerce YITH BarCodes and QR Codes Premium For WooCommerce YITH Best Price Guaranteed Premium For WooCommerce YITH Best Sellers Premium For WooCommerce YITH Booking Premium For WooCommerce YITH Brands Add-on Premium For WooCommerce YITH Bulk Product Editing Premium For WooCommerce YITH Cart Messages Premium For WooCommerce YITH Catalog Mode Premium For WooCommerce YITH Category Accordion Premium For WooCommerce YITH Checkout Manager Premium For WooCommerce YITH Color and Label Variations Premium For WooCommerce YITH Compare Premium For WooCommerce YITH Composite Products Premium For WooCommerce YITH Cost of Goods Premium for WooCommerce YITH Coupon Email System Premium For WooCommerce YITH Custom Order Status Premium For WooCommerce YITH Customer History Premium For WooCommerce YITH Customize My Account Page Premium For WooCommerce YITH Custom ThankYou Page Premium for Woocommerce YITH Deals Premium for WooCommerce YITH Delivery Date Premium For WooCommerce YITH Deposit and Down Payments Premium For WooCommerce YITH Desktop Notifications Premium For WooCommerce YITH Donations Premium For WooCommerce YITH Dynamic Pricing and Discounts Premium For WooCommerce YITH Dynamic Pricing per Payment Method Premium For WooCommerce YITH Email Templates Premium For WooCommerce YITH EU Energy Label Premium For WooCommerce YITH EU VAT Premium For WooCommerce YITH Event Tickets Premium for WooCommerce YITH Featured Audio and Video Content Premium For WooCommerce YITH Frequently Bought Together Premium For WooCommerce YITH Frontend Manager for WooCommerce Premium YITH Geoip Language Redirect For WooCommerce Premium YITH Gift Cards Premium For WooCommerce YITH Google Product Feed For WooCommerce Premium YITH Infinite Scrolling Premium For WordPress YITH Live Chat Premium For WordPress YITH MailChimp Premium For WooCommerce YITH Membership Premium For WooCommerce YITH Minimum Maximum Quantity Premium For WooCommerce YITH Multiple Shipping Addresses Premium for WooCommerce YITH Multi Vendor Premium For WooCommerce YITH Multi-Step Checkout Premium For WooCommerce YITH Name Your Price Premium For WooCommerce YITH One-Click Checkout Premium For WooCommerce YITH Order Tracking Premium For WooCommerce YITH Payment Method Restrictions Premium for WooCommerce YITH PayPal Adaptive Payments Premium for WooCommerce YITH PDF Invoice and Shipping List Premium For WooCommerce YITH Pending Order Survey Premium For WooCommerce YITH Points and Rewards Premium For WooCommerce YITH Popup Premium For WooCommerce YITH Pre-Order Premium For WooCommerce YITH Product Bundles Premium For WooCommerce YITH Product Countdown Premium For WooCommerce YITH Product Shipping Premium for WooCommerce YITH Product Size Charts Premium For WooCommerce YITH Product Slider Carousel Premium For WooCommerce YITH Questions and Answers Premium For WooCommerce YITH Quick Checkout for Digital Goods Premium For WooCommerce YITH Quick Export Premium For WooCommerce YITH Quick Order Forms Premium for WooCommerce YITH Quick View Premium For WooCommerce YITH Recently Viewed Products Premium For WooCommerce YITH Recovered Abandoned Cart Premium For WooCommerce YITH Request A Quote Premium For WooCommerce YITH Review for Discounts Premium For WooCommerce YITH Review Reminder Premium For WooCommerce YITH Role Based Prices Premium For WooCommerce YITH Save for later Premium For WooCommerce YITH Sequential Order Number Premium For WooCommerce YITH Share For Discounts Premium For WooCommerce YITH SMS Notifications Premium For WooCommerce YITH Social Login Premium For WooCommerce YITH Stripe Premium For WooCommerce YITH Stripe Connect For WooCommerce Premium YITH Subscription Premium For WooCommerce YITH Surveys Premium For WooCommerce YITH Tab Manager Premium For WooCommerce YITH Terms and Conditions Popup Premium For WooCommerce YITH Test Environment Premium For WordPress YITH Title Bar Effects Premium For WordPress YITH Uploads Premium For WooCommerce YITH Waiting List Premium For WooCommerce YITH Watermark Premium For WooCommerce YITH Wishlist Premium For WooCommerce YITH Zoom Magnifier Premium For WooCommerce

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