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#1.3.8
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All Tholomyès does is make puns and references to antiquity....
But I would like to dive into one of the puns he makes in this chapter (1.3.8) because of its relevance to Fantine.
When an overworked, tired, thin, mare (a “nag”) peters out from exhaustion while pulling a heavy cart, the cart driver shouts “mâtin!” at her while cracking his whip. The word “mâtin” literally means “mastiff” but in more figurative senses it can be used to refer to people in a few different ways. It can be used pejoratively, i.e. “boor, oaf”, to refer to a mischievous child, or someone with an ardent temperament. It can also be used is as an exclamation of surprise (“heavens!”). It’s clear the cart driver is using it in a derogatory sense towards his horse.
However, “mâtin” is pronounced the same as “matin” which means “morning.” So in his never ending efforts to appear clever, Tholomyès mimics the form of another poem with his own:
“She was from this world where carts and carriages Have the same destiny, And, as a nag, she lived the way nags do, For the space of: mâtin!” (pun on matin = a morning)
So there you have it, he heard the cart driver’s exclamation and made up his own version of a poem about the poor horse in order to get that final punchline in there.
If anyone has more insight on the word “coucou” (used in the first line of the poem “où coucous et carrosses”), I would be interested to hear your take on it. I was initially confused by the translation of “cuckoo” (which is exactly what I thought it was referring to) BUT, I found an entry in Wiktionary that says it was used to mean “a horse-drawn carriage that provided on-demand passenger transport in the suburbs of Paris between 1780 and the middle of the 19th century.”! I feel like that must be what it’s referring to??
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thesebloodydays · 1 year
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19th century authors sure love their beat a horse to death metaphors
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“Poor horse!” sighed Fantine.
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akallabeth-joie · 1 year
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Les Mis 1.3.8
Tholomyes’ rambling still annoys me, all the guys in this scene are awful and Hugo (not for the last time) uses the death of a horse to advance characterizations.
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exandriacityshowdown · 9 months
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Round 1 Stage 3 Poll 8
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Boroftkrah, Wildemount: Boroftkrans are a semi-nomadic people in the Greying Wildlands. They are mostly orcish, and mostly worship Kord. Their city is mobile, built of tents and pikes. Boroftkrah has only been mentioned in passing onstream.
Rexxentrum, Wildemount: Rexxentrum is the capital of the Dwendalian Empire. It is a massive metropolis, the political centre of the Empire, an economic hub and the base of operations for the Cerberus Assembly. There is also a prominent Archive for the Cobalt Soul. Between that and the Cerberus-run Soltryce Academy, a renowned school of magic, Rexxentrum is seen as a centre of learning. Although not originally from here, the Mighty Nein’s Caleb Widogast lived here for several years. The Mighty Nein’s involvement in the war between the Empire and the Kryn Dynasty eventually brought them to Rexxentrum. 
image from the postcard merch by pretty useful co
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bobafish · 3 months
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Fantine's friends seem so fake ngl, like how can you be so unenpathetic??
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cliozaur · 3 months
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The one with more of the shallow talks. How do they manage to drain any substance from every conversation?
So, Hugo was the first one to use the imagery of a horse dying of exhaustion (I can think of a few more authors who did the same but later). Sadly, this scene is ominous, foreshadowing Fantine’s own end. A poor Beauceron mare was “dragging a very heavy cart.” Too heavy to endure. And no one feels pity for this poor creature, apart from Fantine.
The rest of the company is back to discussing the surprise. Well, well. At least, this is the last time we had to listen to Tholomyès.
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pureanonofficial · 1 year
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LES MIS LETTERS IN ADAPTATION - The Death of a Horse, LM 1.3.8 (Los Miserables 1971)
“It begins with a kiss,” said Blachevelle.
“On the brow,” added Tholomyès.
Each gravely bestowed a kiss on his mistress’s brow; then all four filed out through the door, with their fingers on their lips.
Favourite clapped her hands on their departure.
“It is beginning to be amusing already,” said she.
“Don’t be too long,” murmured Fantine; “we are waiting for you.”
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bobcatmoran · 1 year
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Arai is possibly the only adaptation I've seen that includes the title of Les Mis chapter 1.3.8, "The Death of a Horse."
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Soon afterwards, though, the men go off to fetch the "surprise."
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Wow, what can the surprise be? I'm sure that the ominousness of that final panel means nothing at all.
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dolphin1812 · 1 year
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I think the horse’s death in this chapter is serving multiple functions.
On one level, Fantine’s genuine sadness at witnessing this differentiates her from the others. Tholomyès sees the horse’s death as a chance to show off his skills with language; he is eulogizing the horse, in a way, but it seems like his intent is to illustrate his abilities with puns more than anything else, reflecting his general self-absorption that he covers with an intellectual air. The other girls are the ones to notice Fantine’s reaction. Notably, Tholomyès says nothing about her, again highlighting how he overlooks her most of the time. I don’t think their astonishment that Fantine is crying is supposed to be cruel, exactly. I think they’re somewhat jaded more than anything else (I realized that that was a pun as I wrote it and I’m very sorry, but I think Hugo has contaminated me enough that I don’t want to take it back). That cynicism is a problem in and of itself, of course, and it limits their compassion for the weeping Fantine and the dead horse. But the way Dahlia criticizes Fantine as a “pitiful fool” suggests that this may be another instance where the contrast is meant to point out Fantine’s naivety, rather than an inherent difference in kindness (although that might be there, too).
The horse’s death also marks a sudden dark turn in the narrative. The past few chapters have had a celebratory atmosphere, and while there have been hints that something is wrong (like Tholomyès picking Favourite), the overall tone has still focused on the “wonders of youth and love.” Having their revelry be interrupted by death just before the “surprise” doesn’t bode well.
Spoilers below:
I also find it interesting that the horse dies of overwork specifically. It reminds me of what happens to Fantine. While Hugo links the horse’s weakness to age and Fantine’s was more due to sickness, their inability to rest and recover their strength (because of poverty - the horse’s owner could just be cruel, but it’s more likely that the horse’s labor is needed) is what dooms them. The spectacle of what happens to the horse is notable as well. Only in dying does anyone pay attention to the horse, who has likely been suffering for a while. Similarly, Fantine is occasionally met with pity for her condition, but she only gets public attention when she fully breaks down. The callousness of society means that they have to reach a point from which they can’t recover before they’re even noticed, and when they do, it might be that all they’ll receive is a few empty words.
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gavroche-le-moineau · 3 months
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Time to talk about Tholomyès' horse poem again!
The form of the poem is taken directly from a 1599 poem by François de Malherbe titled "Consolation à M. Du Périer - Stances sur la mort de sa fille" (Consolation to M. Du Périer - Stanzas about the death of his daughter). The lines within the poem that Tholomyès is referencing are:
Mais elle était du monde, où les plus belles choses Ont le pire destin ; Et rose¹ elle a vécu ce que vivent les roses, L'espace d'un matin. But she was of the world, where the most beautiful things Have the worst destiny; And rose (pink)¹ she lived what roses live, The space of a morning.
1. It's not uncommon in French to refer to someone as "rose" much like how in English you would refer to someone as "rosy cheeked." Cosette many times, and even young Marius, get described with just the adjective "rose" in Les Mis.
Tholomyès' parody reads:
Elle¹ était de ce monde où coucous et carrosses Ont le même destin, Et, rosse², elle a vécu ce que vivent les rosses, L'espace d'un : mâtin!³ She¹ was of this world where horse-drawn coaches and carriages Have the same destiny, And, nag², she lived what nags live, The space of a: morning!³
1. "She" referring to the horse that just fell 2. The word "rosse" in French means a nag, as in a pejorative word for a horse (as well as a nasty, unpleasant person) and is a pun on the word "rose" (the color pink or the flower) used in the original. Thanks to @persefoneshalott for bringing that one to my attention last year! 3. The word in French here sounds exactly like "morning" (matin) but is written as "mâtin," the word the cart driver yelled while cracking his whip at his horse. Mâtin means "mastiff" as well as "boar, oaf" and can also be an exclamation like "heavens!" In the text it refers to it as a "sacramental word."
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woundedwizard · 1 year
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Seeing that smile, Rostóv involuntarily smiled himself and felt a still stronger flow of love for his sovereign. He longed to show that love in some way and knowing that this was impossible was ready to cry. The Tsar called the colonel of the regiment and said a few words to him. “Oh God, what would happen to me if the Emperor spoke to me?” thought Rostóv. “I should die of happiness!”
Very intense case of being starstruck
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Tholomyes, once started, would have found it hard to stop, had a horse not fallen down at that moment on the quay. The shock arrested both cart and orator. It was a skinny old mare, ready for the bone-heap, harnessed to a heavy cart. On reaching Bombarda’s, the beast, worn and exhausted, had refused to budge. The incident attracted a crowd. Scarcely had the driver, swearing and indignant, had time to utter with suitable vehemence the decisive word “Nag!” backed by a terrible snap of the whip, than the animal fell for the last time.
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mariniacipher · 1 year
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“Tholomyès, once started, would have found some difficulty in stopping, had not a horse fallen down upon the quay just at that moment.”
thank god for that horse’s brave sacrifice, so i am released from hearing aspasia , whom i’ve just googled and who seems really cool, and have her described as a Goddess prostitute, who Had A Soul Before Other Woman Did
(aspasia apparently lived in the fifth century BC, so when exactly would tholomyès say women started to get soul? im curious, since it apparently happened between the fifth century BC and 1817, and i’d wanna know abt such a seemingly instrumental part of women’s history
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dritaassociates · 2 years
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