#lm 2.3.4

[cliozaur]

Somehow, the atmosphere of Christmas Eve with its illuminations, people going to church with candles in paper funnels, and tempting booths feels inappropriate when kids like Cosette cannot freely enjoy it. The poor child can only glance at the doll 'on the sly'; she doesn’t even dare to wish for it. Such a wish would be too unreal:

It was joy, splendor, riches, happiness, which appeared in a sort of chimerical halo to that unhappy little being so profoundly engulfed in gloomy and chilly misery. With the sad and innocent sagacity of childhood, Cosette measured the abyss which separated her from that doll. She said to herself that one must be a queen, or at least a princess, to have a “thing” like that.

And the doll has REAL hair — when I read it, I can’t help but think of Fantine and women like her.

The chapter is unexpectedly profoundly sad and moving.

[the-wraxall-illustrations]

[dolphin1812]

This chapter is short, so I probably won’t have a lot to say, but the doll’s presence in Montfermeil is interesting in itself. First, we can suspect that this doll’s existence depends on the exploitation of the poor in some way. The hair is real, and while it’s possible that a woman simply sold her hair, we know from Fantine’s story that selling one’s hair was often a sacrifice of sorts. Fantine was willing to go to great lengths to save Cosette, but even at that moment, she rationalized it as acceptable because it was temporary; hair could grow back and she could wear caps to hide that it didn’t look great, so it was tolerable. Someone who wasn’t as desperate as Fantine likely wouldn’t have sold their hair in the first place, suggesting that this product depends on the existence of women like Fantine. 

The doll is also out of place in Montfermeil. It’s not just Cosette who’s too poor to buy this doll; no one in the town can afford it. As a result, it feels quite performative to display it, as the shopkeeper is surely aware that it’s unlikely to ever be sold. The doll is at once a taunt - “look at this beautiful thing that you can’t have” - and a promise - “this masterpiece could be yours if you had more money.” It’s ultimately a marker of class as much as it’s a toy, but of a class that doesn’t even exist in Montfermeil. 

Of course, that same trait makes it a wonderful advertisement. As seen with Cosette, the doll is captivating to little girls, who would likely encourage their mothers to take them closer to the store to see the doll. At that point, the shopkeeper could then try to sell them toys that are more suited to their budgets. Still, it feels cruel to flaunt this doll in front of children to draw them in.

Spoilers below:

I do feel a bit bad being so critical of the doll when it means so much to Cosette later on. Still, the spectacle of the doll is exactly why Valjean buys it for her: he wants her to have a doll to play with, and he saw this one because of how dramatically it was displayed. It’s heartwarming to see her play when she’s never had a real toy before, and the fact that the child who has never had a toy now has the fanciest one in town is beautiful in its own way. But both things can be true at once; the kindness of Valjean’s gesture can exist alongside the doll’s performativity and exploitative elements.

[gavroche-le-moineau]

Une poupée dans la vitrine

C'est une poupée dans la vitrine / There is a doll in the shop window Qui me regarde et qui s'ennuie. / Who looks at me and who gets bored Je crois qu'elle se cherche une maman, / I think she's looking for a mom Et moi je veux qu'elle soit ma fille / And I want her to be my daughter Dans une maison pleine de jouets, / In a house full of toys Où les petites filles de mon âge / Where the little girls my age Cousent les toilettes de leurs poupées / Sew their dolls' outfits Et ne font jamais le ménage. / And never do the housework. Je la vêtirai de dentelles, / I will dress her in lace Elle aura des jupons de soie / She will have silk skirts Je veux que ma fille soit la plus belle / I want my daughter to be the most beautiful Et qu'elle soit fière, / And for her to be proud Qu'elle soit très fière de moi. / For her to be very proud of me. C'est une poupée dans la vitrine; / There is a doll in the window; Je la regarde et elle m'appelle. / I look at her and she calls me. Si seulement je savais écrire / If only I knew how to write J'la demanderais au Père Noël. / I would ask her of Father Christmas.

Lyrics: Les Misérables musical, Paris 1991 English translation by me (let me know if I mistranslated anything!) Other song versions: Mon Prince est en Chemin, Castle on a Cloud

If anyone knows where I can find a higher resolution version of this image, let me know!

[pureanonofficial]

LES MIS LETTERS IN ADAPTATION - Entrance on the Scene of a Doll, LM 2.3.4 (Les Miserables 1925)

The last of these stalls, established precisely opposite the Thénardiers’ door, was a toy-shop all glittering with tinsel, glass, and magnificent objects of tin. In the first row, and far forwards, the merchant had placed on a background of white napkins, an immense doll, nearly two feet high, who was dressed in a robe of pink crepe, with gold wheat-ears on her head, which had real hair and enamel eyes. All that day, this marvel had been displayed to the wonderment of all passers-by under ten years of age, without a mother being found in Montfermeil sufficiently rich or sufficiently extravagant to give it to her child. Éponine and Azelma had passed hours in contemplating it, and Cosette herself had ventured to cast a glance at it, on the sly, it is true.

At the moment when Cosette emerged, bucket in hand, melancholy and overcome as she was, she could not refrain from lifting her eyes to that wonderful doll, towards the lady, as she called it. The poor child paused in amazement. She had not yet beheld that doll close to. The whole shop seemed a palace to her: the doll was not a doll; it was a vision. It was joy, splendor, riches, happiness, which appeared in a sort of chimerical halo to that unhappy little being so profoundly engulfed in gloomy and chilly misery. With the sad and innocent sagacity of childhood, Cosette measured the abyss which separated her from that doll. She said to herself that one must be a queen, or at least a princess, to have a “thing” like that. She gazed at that beautiful pink dress, that beautiful smooth hair, and she thought, “How happy that doll must be!” She could not take her eyes from that fantastic stall. The more she looked, the more dazzled she grew. She thought she was gazing at paradise. There were other dolls behind the large one, which seemed to her to be fairies and genii. The merchant, who was pacing back and forth in front of his shop, produced on her somewhat the effect of being the Eternal Father.

In this adoration she forgot everything, even the errand with which she was charged.

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Brick Club 2.3.4 “A Doll Enters The Scene”

The description of the candles lighting all the booths reminds me of Grantaire’s “who’s been unhooking the stars without my permission and placing them on the table in the guise of candles.” This is equally as poetic and ethereal, though far less drunk. There is no star in the sky, they have been removed and replaced with the candles lighting the booths. This means that Cosette will have no stars to light her way once she passes into the wood.

“In the first row in front, the merchant had placed, on a bed if white napkins, a huge doll nearly two feet tall in a dress of pink crepe with gold garlands on its head and enamel eyes.” This reminds me of the description of Fantine back in Paris, who wore “a dress of mauve challis” and whose “gold was on her head and the pearls were in her mouth.” This doll is like a toned-down, child’s simple imagination version of a distant memory of young Fantine. The mauve has turned pink and the gold is now garlands. The teeth maybe aren’t what Cosette would remember, especially if by the time Fantine gave Cosette to the Thenardiers, she wasn’t smiling much anymore. But she would maybe remember her mother’s eyes instead, and subconsciously notice that similarity as well.

And maybe this is Freudian as fuck but Cosette has no feminine, motherly figure in her life. Hugo has already established that Mme Thenardier is Not A Woman, and that any amount of motherliness goes only to her daughters. This gazing up at this beautiful feminine doll with real hair and an almost larger-than-life presence (at least for the fact that it’s 2 feet tall which is absurdly large for a doll) is an imagining of some sort of stable, admirable, feminine, motherly presence that she never gets.

I feel like Valjean giving Cosette the doll is kind of an attempt to give Cosette an icon of her mother, without having to explain himself or go much into it emotionally. He doesn’t think he himself can replace Fantine. I’m not sure if he actually believes a doll could either, but I wonder if this is the closest thing he can think of. This will be his second Benevolent Stranger moment towards Cosette (the first being carrying the water bucket in the next chapter) and I think a lot of Valjean’s Benevolent Stranger moments is him knowing he can’t solve a problem (or not understanding how to) but throwing money at it to try and help some way. Buying the doll also further establishes him as a Different Kind Of Adult in Cosette’s eyes. We don’t really get to see how she views other adults, but I can imagine that to her, every person that enters the inn is the same kind of person with power over her, who can ignore her entirely or kick her around (or make the Thenardiers kick her around) but will not ever help her or notice her or care about her. This doll establishes Valjean as something Different. And later on I think they both grow dependent on each other and on each other’s love so that Valjean no longer needs to be the Benevolent Stranger towards Cosette, and yet he will always have this weird sort of emotional block where he gives her things to try and help her rather than sitting down and talking to her and figuring out how they both feel and what they both want.

Cosette is so, so conscious of her class and her place in the world as she gazes up at this doll. Not that she isn’t constantly reminded of it with the Thenardier’s abuse and all that, but this whole amazement and wonder feels bigger than just being aware of her class status.

“Cosette was measuring with the sad and simple wisdom of childhood the abyss that separated her from that doll.” She’s not only comparing herself to who could access the doll, but the imagined existence and life of the doll itself. She thinks someone who is a queen would be able to own the doll. But that makes this doll is some sort of fairy queen as well, some sort of magical being. The doll isn’t just a doll here, the doll is some imaginary world of escape. This is the “Castle On A Cloud” moment; this is Cosette staring up at this strange magical being and imagining this queen (human and doll) living in a paradise that she knows she has no access to. It’s interesting that to her a doll living in paradise would also live close to god/the Eternal Father.

This is also a huge moment for her. It’s implied in the last few chapters that Cosette spends every moment of every day in a mode of hypervigilance, constantly aware of what the Thenardiers are doing and where they are, constantly aware of what has to get done, constantly aware of the tasks she dreads or the mood of the room. And here she has forgotten all of that, including how close to the door of the house this booth is, including the watchfulness of Mme Thenardier, including her errand. She is staring up at this doll and she’s transported entirely. It’s a moment of escapism that washes over her, only to be barged in on and broken by Mme Thenarder yelling at her again.

This is Cosette’s first real I Want moment, the first time we see her gaze and thoughts and desires stretch out beyond her immediate surroundings and the need for survival.

[everyonewasabird]

Brickclub 2.4.3 ‘Two misfortunes mingled make happiness’

Valjean sitting there awestruck, watching Cosette sleep, feels like what I’ve heard it’s like to be a new parent. I love how complicated love is allowed to be, and how seriously we’re taking the notion of parental love. This chapter is adorable.

I think I believe Hugo much more this read-through that Valjean was in danger of sliding back into his convict self, though he phrases it differently than I would have. Much like Valjean as we met him initially, this post-bagne Valjean didn’t seem evil or bad so much as he seemed catastrophically traumatized. But if all the narrator is going to talk about right now is the possibility of bad behavior and bitterness, then sure: the path Valjean started on before he reached Cosette was not going to end anywhere good.

Injygo pointed out on discord that Valjean initially addresses Cosette with the formal “vous” (not at all how an adult talks to an eight-year-old in this culture), then switches to “tu” immediately and stays there until after her marriage. Cosette was the first step of his gradual return to remembering how to behave around people.

I love how nuanced this book is about Valjean’s transformation by the bishop. All along there have been things undercutting how absolute that transformation was, and here we’re told what’s really a very obvious fact: that the moments that overturn your life fade into the background with time. You can’t keep holding up a single moment and expect it to keep having the same magnitude and effect on you forever.

But love is different. It’s self-renewing, and it renews the self. It’s not a warning about virtue (which still isn’t what Myriel actually said, but anyway), it’s an end in itself.

These few weeks remake Valjean and Cosette both. After this, life will get a lot more complicated, and then it will get more complicated again, and again, and yet again. Valjean experiences this love as a reward for his virtue and self-denial, and later the worst parts of him will war over whether he deserves to keep that reward or die of the lack of it, without ever grasping that there might be a middle ground or a different way of thinking about it all. And that also is presaged in this chapter, in the talk of how broken and empty he was before her and without her.

But right now, it’s so lovely.

[fremedon]

Brickclub 2.3.2, “Two Finished Portraits,” 2.3.3, “Men Must Have Wine and Horses Must Have Water,” and 2.3.4, “A Doll Makes Its Appearance”

2.3.2

The passage about Thenardier’s aggrieved grudge against the world is such a good description of such a specific and familiar type of spite.

Other than that, two things really jumped out at me about the descriptions of the Thenardiers and Cosette in this chapter:

1.) Thenardier owes 1500 francs to creditors.

In spring of 1818 when Fantine leaves Cosette--and when the inn has been there for less than three year--her money settles a debt of 110 francs that was about to come due.

HOWMST. Has he run up more than ten times that debt in five years?! What is he spending money on? They don’t even keep a servant except Cosette. (Because Thenardier sexually harasses adult--or, I imagine, teenaged--servants, so Mme. Thenardier just doesn’t hire them.)

Hugo straight up calls Cosette’s situation in the household “a paradigm of oppression,” compares the house to a spider’s web and says Cosette is like a fly being the servant of spiders.

So, a.) Spiders = fatalité, and b.) what does that make Cosette, preying on flies herself with her little lead sword?

2.) We get a lot of small images or lines that call out parallels to other characters. Thenardier is a crack shot and a poacher, like Valjean. Cosette is being crushed in a mill, also like Valjean.

For Mme. Thenardier, the first description of her unthinking acceptance of her husband’s authority, and her obedience to it, brought to mind Javert.

And then we get this:

“This bustling mountain of flesh moved under the little finger of the frail despot. It was, viewed from its dwarfed and grotesque side, the great universal fact: the homage of matter to spirit; for some deformities have their origin in the very depths of eternal beauty.”

Which feels like the dark mirror of the toad loving to watch the eagle soar. And like a weird prefigurement of the parallels we’re about to start getting between young Cosette and Grantaire.

(I know. Bear with me.)

2.3.3

Cosette’s first words in the book are a bold and obvious lie. When this doesn’t work, her next action is to pause in the doorway of the inn: “She seemed to be waiting for someone to come to her rescue.” Cosette has learned the habits that work for her—and I’m sure dawdling and hoping that a more pressing task often does work for her. This time, nothing intervenes immediately—but someone is, even now, coming to her rescue.

Fursona watch: Mme. Thenardier calls Cosette a dog and a toad, both very resonant images in this moment. The toad, of course, is the only (I think?) animal comparison Grantaire gets. And dogs are always significant.

2.3.4

The juxtaposition between the lit candles glowing magically around the doll and the starless sky recalls Grantaire’s “Who’s been unhooking the stars…” in “Preliminary Gaieties.” And, as @everyonewasabird points out here, Cosette’s veneration of Catherine, and her painful awareness of the gulf between them, really does call to mind Grantaire’s veneration of Enjolras.

It also calls to mind, even more strongly, Valjean’s watching the townspeople of Digne through the windows of the inn and the peasant’s hut--and watching Cosette’s wedding through the windows, after he slips out.

Cosette gets Catherine. She gets to come inside. Valjean brings her there, but can’t or won’t follow.

And I really am thinking now about the Thenardiers as upside-down mirrors of other relationships in the book. @secretmellowblog made a good case on discord for their being pre-Seine Valvert. I feel like there’s also an inversion of E/R there--opposites attracting, but making something worse than the sum of their parts; not the grotesque joining the ideal to make a sublime, but joining a more abstract grotesque to make--well. A paradigm of oppression. Fatalité incarnate.

[numara-blog]

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[pilferingapples]

Les Mis 365 2.3.3-2.3.5 retroblogging

Okay, gonna try to get through this! Under the cut for SO MUCH ABUSE MENTION.

2.3.3

- Mme. T  blacks Cosette's eye and then complains about how ugly it looks, and wow, that's...that's one of those things I wish I could say was OTT or pushing the point but that is EXACTLY how abuse works, on a private and an institutional scale; dehumanize the victim and then blame them for the problems they've had forced on them. Fantine's a Fallen Woman and Valjean is a Dangerous Man and a fraud and Cosette sure is ugly with that bruise.

- Oh gad, I'd forgotten/blacked out that Cosette is "Miss Nameless Dog" .   I remember Eponine's speech later, of course, but I'd forgotten the children-of-a-dog thing with the Thenardiers starts HERE.

- (and names are such a big deal in LM,  SUCH a big deal- who names who and how, all words are Words of Power but names especially'; so long as the Thenardiers have naming rights to Cosette, they control her world, they can tell her who she is, they can tell EVERYONE who she is, and this is what they choose to  call her: not even a name, only an animal)

-and here's the pedlar to prove Mme. T's  power, backing her up completely, looking at the starving beaten  EIGHT YEAR OLD CHILD and insulting her and demanding she work harder and EVERYTHING IS HORRIBLE WHY

2.3.4

-And in case anyone questioned that EVERYTHING is horrible, THE SCHOOLMASTER IS AT THE INN. The one Thenardier is friendly with, the one from the Boulatrelle chapter, The guy who, again, is IN CHARGE OF TEACHING CHILDREN. Is at the inn. For ALL OF THE ABOVE. He's not just sort of aware Thenardier has an extra kid at home, he sees exactly how she's being treated.

And his main thought is that the shop stalls SURE ARE PRETTY with all their Christmas lighting.

And what's REALLY messed up about this is that he might be a very excellent schoolmaster in many ways. He might be very kind and mild to his students, or even protective, even loving, as Mme T is to her own daughters. But he's not seeing Cosette as a child, he's drawing that line for who he's going to care about, and he's unavoidably also going to bring that to his students one way or the other, and WHY IS THIS TOWN LIKE THIS.

2.3.5

- And here Cosette is the werewolf child, the Uncanny creature-- at least according to a woman who actually stops, who's concerned for a child-- until she realizes that child is Cosette, who doesn't Count. This, THIS is what the Bishop was talking about when he said " Prejudices are the real robbers". THIS is what prejudice takes, it robs people of sympathy and humanity in the eyes of others, and whatever the reason that's never a good thing and it's ESPECIALLY INCREDIBLY NOT OKAY WHEN IT'S A KID, but this whole horrible town seems set on making Cosette  their scapegoat. And again, I wish I could find this unrealistic.

-Cosette is an atom against the immensity of the forest. Her fear here is so realistic, so incredibly appropriate for her age.

-and Hugo is such a  city boy, and it's sort of hilarious. OH NO TREES! I can sympathize with Cosette being scared of the dark without needing to be convinced of the SCARY EVILS OF THE FOREST IN ALL ITS TREENESS, Hugo.

-Cosette is officially eight! Okay, that goes in the timeline.

[everyonewasabird]

Brickclub 2.3.4 ‘A doll makes its entrance’

I love when Hugo goes into kid mode.

The last of these stalls, set up exactly opposite the Thénardiers’ door, was a fancy goods shop, all glittering with tinsel and flashy beading, glass trinkets and magnificent things made of tin. In the first row, out in front, against a backdrop of white towels, the merchant had placed a huge doll nearly two feet tall that was dressed in a pink crepe frock and had golden ears of wheat on its head and real hair and enamel eyes. All day this marvel had been on show to the great bedazzlement of passersby under ten.

We’ve seen people before who desire things the narrator thinks are a bit silly--Hugo’s “but who attains his ideal?” with regards to Mlle Baptistine’s hoped-for sofa was gently ironic, but still ironic. But while his kid mode has an adult understanding (”magnificent things made of tin” seems simultaneously both unironic about the magnificence and aware that the readers are aware tin is not an impressive metal to adults) there’s no irony. This booth and this doll are astounding, and he respects that fact. Pilf mentioned something recently about how patient Hugo was when playing with children. I 100% see it.

This chapter of Cosette contemplating the sublime is doing something with all this, and I haven’t fully worked out what it is yet.

There’s a lot here about the divine having come to earth, and I don’t know whether that’s meant to be a false consciousness or a true one.

These shops, because of all the good burghers who would shortly be passing on their way to midnight mass, were all lit up with candles burning in funnel-shaped paper holders, which, as the schoolmaster of Montfermeil said as he sat at a table at the Thénardiers’ at that very moment, created “a magical effect.” On the other hand, not a star was to be seen in the sky.

This feels to me like the divine being replaced by the commercial--it’s beautiful, but it exists to sell things to Christmas shoppers.

At the same time, the stars have come down from the sky because there really is some kind of divine grace afoot tonight. Providence really has come down to help. Jean Valjean will finally come for Cosette.

And Cosette’s feelings about the doll are so very real:

The whole shop seemed like a palace to her; the doll was not a doll, it was a vision. It was joy, splendour, wealth, happiness that appeared in a kind of dreamlike radiance to this unhappy little being so deeply swamped by a cold and dismal misery. With that sad and naïve sagacity of childhood, Cosette measured the abyss that separated her from the doll. She told herself you’d have to be a queen or at least a princess to have a thing like that. She studied the beautiful pink frock, the beautiful silky hair, and she thought: “How happy she must be, that doll!” She could not take her eyes off the fabulous boutique. The more she looked, the more dazzled she was. She believed she was seeing paradise. There were other dolls behind the big one that looked to her like fairies and sprites. The merchant pacing back and forth at the back of his stall had a bit of the effect on her of the Eternal Father.

Some of this is her awareness of class and her feelings of her own unworthiness: she can only admire from afar and be aware of the gap between her and her unattainable object of admiration. And it’s only a graven image, a luxury item, and an object that exists for the pleasure of the wealthy. But her experience of holiness and paradise is so real and important here, and I don’t think that can be discounted.

....Okay, weird take: Catherine is Enjolras, and Cosette is Grantaire.

(I mean, the hair being real is a callback to Fantine too, which feels relevant.)

And that comparison raises the question: is there something off about Cosette being given Catherine?

I would certainly feel something off if Grantaire’s veneration for Enjolras turned into a romantic relationship or the like--that doesn’t feel to me like it even fits what either of them actually necessarily wanted, let alone needed. The very different consummation of Cosette getting Catherine feels a little like that. Like maybe Catherine was only ever meant to be admired from afar.

On a personal level, I think Catherine was a big, huge, lovely deal for Cosette to have and be told she was worthy of. But also, the mothers in Montfermeil know the doll is a bit ridiculous, and they can love their children perfectly without it.

Giving Cosette Catherine is Valjean doing something he’s done before and will do again, which is throwing money at a problem that’s really about iniquity, abuse, and grief.

And the solution for that problem is love, not a gigantic doll.