based on an episode when Jean Valjean and Cosette encounter a group of convicts in god-knows-which-chapter of the brick

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@favtine
based on an episode when Jean Valjean and Cosette encounter a group of convicts in god-knows-which-chapter of the brick
Les Amis ranked by how many lines they get in the Brick
(counting every time we get a line in direct speech, including one-word lines in dialog and such)
Enjolras : 124 lines, including two (2) longer speeches. Most of these are him giving orders, with many brief instructions during the barricade chapters. Althrough his words only would seem to shape out an inflexible and severe character (e.g. in the way he adresses Grantaire or how quickly he kills Le Cabuc), he is the one whose actions and behaviour are the most described, which allows him to be seen beyond these harsh words (telling Combeferre "it must be done" before killing the artillery-man and being shown crying as he does so). Ultimately his lines also make him a sensible and humane man, as shown in his declaration after killing Le Cabuc, but most of the time the words of the "revolutionnary leader" prevail.
Courfeyrac : 99 lines. A solid third of these are from his "Do you have any money ?" dialog with Marius, and he is the one who gets the most jokes and overall huromous lines (including "I met Marius's new hat and coat, and Marius was inside" and him adressing the army's cannon). However, his lines also show a more serious and caring side of his character as he serves as Enjolras's right-hand man during the barricade chapters, and is the first one to notice Gavroche being outside the barricade.
Bossuet : 64 lines. He is the first of them who gets to actually speak, as he encounters Marius in front of the Musain. He gets lines before and during the entirety of the barricade chapters, usually to comment on the situation or join Courfeyrac in clever quips and sarcasm,his last line known being "where is your hat ?" at the heart of the final battle.
Grantaire : 60 lines, including two soliloquies as he is explicitely said to be drunk (the first one at the Musain, interrupted by Bossuet, the second one at the Corinthe interrupted by the arrival of Navet). A good 20 out of these are when Enjolras overhears him playing dominos at the Barrière du Maine, and he gets two lines seconds before his death - including, of course, "Permets-tu ?"
Combeferre : 28 lines, the most famous of which is without contest "to be free". He is the only one who gets a solo song, and also holds one of the longest speeches when he tries to convince some men to leave the barricade. As Combeferre is not much seen in action, his lines help establish him as a knowledgeable (comments about the mechanism and history of the cannon) and very humane character ("He could be your brother")
Joly : 18 lines. Almost all of these are covered in only two chapters, the first conversation being the one with Bahorel at the Musain and the other his meal with Grantaire and Bossuet at the Corinthe during Lamarque's funeral.
Bahorel : 14 lines. He is mostly seen and heard on two occasions : giving advice to Joly about Musochetta, and being among the most enthusiastic before the barricades, which immediately gets him Gavroche's respect.
Jehan : 4 lines, and that is if you count the song he is said to be singing with a few others at the beginning of the barricade chapters. Aside from Grantaire, he is the only one to get lines right before his death, which are only given to us as overheard by Enjolras and Combeferre.
Feuilly : 4 lines. Probably the Ami who gets the least mentions overall, as he isn't present during the first scenes at the Musain. The first time we hear him speak is in the last part of the barricade chapters, as he answers Enjolras "in the name of everyone". His only line aside from that is him lamenting the absence of absence of generals who abandonned them.
Actual quote was like, "He should have been dancing at the Chaumière, as young people have a moral obligation to do."
One more late contribution to Barricade Week. I think M. Gillenormand is one of my favorite characters from the book. He is not a very good guardian, but everything he does is so funny. I had to pause at the end of this chapter to draw this.
Little Gavroche for @barricadeday!
"No you don't!" she cried.
"We still have to earn our keep. You don't love your father anymore?"
"You irritate me," said Eponine.
"Still, we have to live, we have to eat-"
"Die."
The end of Jean Prouvaire’s verses
a common misconception
Today I have several illustrations introducing Fauchelevent and the convent garden. Petr Pinkisevich definitely liked drawing old men — Fauchelevent is one of his favourites. I love how he showed the friendship and closeness between the two old men, portraying them sharing a drink and working together in the garden.
"he possessed all the qualities of a centre, roundness and radience"
my second attempt at drawing courfeyrac, except this time i had time to actually focus on it :>
A valvert poetry steal for @lesmisshippingshowdown . It's 115 words!
I've been wanting to write a contrapuntal poem about these two but there is so much possible material for such a poem. And also, writing poetry in English, difficult, oh no. But, I decided to focus on one detail, it being Javert and Valjean both reading about the other drowning from a newspaper. Maybe I will write another one if I'm granted inspiration.
let's switch hair colours with mama
Les Misérables | Gavroche and His Two Brothers Sleeping in the Bastille Elephant. Illustrated by Jacques Pecnard (Hachette Editions, 1958)
Musichetta strikes me as a person who would find the nicest places in the city and then excitedly bring Joly and Bossuet there
@lesmisshippingshowdown
May I interest you in my headcanon of Cosette gaining weight when she gets older as a sign that she's happy, healthy and healing
Les Mis Hidden Name Meanings: "Fantine"
Every character's name in Les Mis is either an elaborate pun or has some deeper symbolic thematic meaning — usually both at once.
One example of this is “Fantine.” There’s a wealth of hidden meaning packed into to her name, and some of those meanings are explicitly discussed in the original novel.
The name “Fantine” comes from the french word “enfantine,” meaning “childike, infant-like.” Her name basically means “Baby.” And obviously this speaks to her innocence and naivety. But also “baby” is kind of,.,, well, it sounds more like an informal term of endearment than an actual legal name?
And that’s because– Plot twist– Fantine isn’t her legal name!
What is her legal name? She doesn’t have one.
And the reason she doesn’t have one is directly tied to political turmoil of the era she was born into.
Fantine grew up an orphan living on the streets, without a family without parents. Hugo tells us the origin of her name:
“She bore on her brow the sign of the anonymous and the unknown. (...)She was called Fantine. Why Fantine? She had never borne any other name. At the epoch of her birth the Directory still existed. She had no family name; she had no family; no baptismal name; the Church no longer existed. She bore the name which pleased the first random passer-by, who had encountered her, when a very small child, running bare-legged in the street. She received the name as she received the water from the clouds upon her brow when it rained. “
This moment is adapted beautifully in the Manga adaptation by Takahiro Arai:
But now let’s talk about the Directory.
To wildly oversimplifly a lot of complex history: Before the French Revolution, the Catholic Church’s records of baptismal ceremonies were often used as a registry of people’s legal names. During the French Revolution, the Revolutionary government– including the Directory– put in place a series of policies we now call “dechristianization,” where they attempted to dismantle the power of the Catholic church.
Fantine was born during the age of these dechristianization policies. So she was likely never baptised, her baptismal name was never recorded, and so she has no documented legal or family name. She’s slipped through the cracks of the legal system, and ended up completely anonymous.
This sets Fantine up as this anonymous child of the Revolution– a stand-in for everyone who was left behind when the Revolution was left behind, and kings were restored to the throne.
Fantine’s namelessness is meant to show her isolation. She has NO support system. She has nothing to connect her to other people, nothing to connect her to a support system.
Finally, the way Fantine tends to “slip through the cracks” is something that follows her throughout her life. When she’s fired from her job at a factory, Mayor Madeleine never learns of it– Fantine has this tendency to be overlooked and forgotten in official records. At the end of the story, she is buried in an unmarked grave, with not even the name “Fantine” on her headstone. She is born anonymous and she dies anonymous.
It ties into the novel’s questions about which people we consider worth remembering, whose lives are worth being recorded.
[Thank you for reading! This essay was originally posted as a video here. For more Les Mis talk, you should subscribe to the 2025 @lesmisletters readalong on Substack here, and join the BrickClub Discord server here!]
You know, one of the most interesting collective misconceptions in Les Mis is this pervasive idea that the barricade scene with Javert where "Valjean Takes His Revenge" occurs at night, when in fact it happens during the exact middle of the day.
I attribute this to the intimacy of the scene's character dynamics causing the setting to be misremembered as more intimate as well. It *feels* like a scene that should take place under cover of darkness, lit only by the wan beams of the moon, expressions hidden in shadow.
But it doesn't! And I think partly that's because the whole scene itself is jarring, and feels like something that is only happening by chance and in a manner neither party would prefer.
It's irreverent by nature. The whole affair is an afterthought by the students. Choosing to have Javert killed is petty and unnecessary—it doesn't do anyone any good; it's done on principle of vengeance alone. The students don't want Javert to be grouped with their own dead, even though there will soon be no one to care about or recognize the difference.
Valjean is tasked with shooting Javert like he's putting down an unruly dog (though he chooses to appoint himself to do this deed, for reasons Javert only mistakenly believes he comprehends). They have to climb over debris and walk past dead bodies, to which they give little regard.
Javert is supposed to be getting summarily executed as a prisoner of war, while tied up and barely able to walk, having been led to the spot of his intended death on a leash like a hobbled horse. He is not going to be untied before being shot; he expects to be killed remorselessly and dishonorably in a back alley and left there to rot.
The people around them are all children and young adults who've been shot and stabbed by the government. The whole scene is made extremely awkward and tense, feeling hollow and despairing and pointless, and the fact that it's midday only adds to the intended irreverence of it all, not even allowing the characters the reprieve of obscurity.
And I think this makes Valjean’s choice to free Javert even more jarring, because they're stuck in a setting of hopelessness where everyone's worst fears are coming true and nothing is held sacred. Honor, dignity, and respect have no place here. Nothing is hidden; everything is out in the open, in broad daylight—the horror, the death, the inhumanity. And nobody cares.
Accordingly, Javert expects his impending death to be no different.
But lo, there is Valjean, cutting his binds and turning him loose.