Hello and welcome! The aim here is to build up a collection of all facts, illustrations, observations, and research about Patron-Minette and their extended crime ring in Les Misérables.
Please check out my new WordPress website, Patron-Minette — A Les Misérables literary blog, which is better designed to access my research and browse through a select range of additional resources linking to Patron-Minette.
I enjoy writing + researching and thus have ended up composing quite a few analysis posts about these characters that (hopefully) serve as useful resources for anyone looking to find out more about the group. An abbreviated list of these commentaries can be found under the cut below, sorted categorically and updated to the best of my ability.
Asks, messages, and questions are certainly welcome here, I am always thrilled to receive anything in my inbox!
[Last updated: 20/06/24]
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Essential Patron-Minette Resources:
related tags: #meta
Hopefully these should serve as the “go-to” posts for those looking to familiarise themselves with the Patron-Minette and all their intricacies (my inbox is always open if anyone has any questions or wants to discuss anything further)
Looking for content specifically about the gang’s minor affiliates rather than the four Patron-Minette heads? Please refer to the #patron minette affiliates tag!
Theaters of crime in Les Misérables ; analyzing the Patron-Minette (link) [Barricades con 2023 presentation , now on YouTube , or DM for info]
An exhaustive timeline of the Patron-Minette and their appearances in Les Misérables (link)
Patron-Minette's Paris (link)
Understanding the Patron-Minette affiliates through their names and aliases (link)
The women of the Patron-Minette (link)
Character analyses & historical contexts:
related tags: #meta; #historical context
These posts range from individual character breakdowns, to assessments of different character dynamics, to writings that place characters in their correct historical context so that we might better understand them as modern readers.
Character breakdown: Boulatruelle (link)
Character breakdown: Brujon (link)
Character breakdown: Panchaud (link)
Contemplating Gavroche's interactions with Les Amis and Patron-Minette (link)
Demi-Liard as a cultural 'Other': a short note (link)
Gueulemer as a "Creole"; Race in Les Miserables (link)
Montparnasse, dandyism, and 'aristocratic nonchalance' (link)
Montparnasse and Punchinello - an unlikely comparison (link)
On Fauntleroy and Les-pieds-en-l’air; understanding the term 'prostitute' in its historical context & exploring the history of the prostitution scam (link)
Panchaud, Kruideniers, and the concept of “Celebrity Criminal” (link) [Barricades con 2023 presentation , or DM for info]
Who was Claquesous, truly? (link)
Les Misérables — the novel & the manuscript:
related tags: #the original manuscript; #illustrations; #quotes; #cut content
As well as keeping a collection of the various Patron-Minette illustrations that feature in different editions of the novel, I also like to post about the chapters and other sections of the original manuscript featuring the Patron-Minette that were then later cut before publication.
A Forgotten Figure from the Brujon Dynasty (link)
Les Miserables cut content; Claquesous, Gueulemer and Babet as “flower husbands” (link)
The Patron-Minette in the original Les Misérables manuscript (link)
The Patron-Minette in 'The Abandoned Quarry' (link)
Montparnasse & Éponine:
related tags: #némorin; #montparnasse x eponine
The #némorin tag is for all content relating to the pair’s intriguing, complex dynamic as seen in the brick and portrayed in various adaptations of Les Misérables. For content exclusively relating to Montparnasse/Éponine as a pairing please refer to the #montparnasse x eponine tag.
Analyzing Montparnasse and Éponine's character dynamics (link)
Montparnasse and Éponine: Unpacking the Némorin quote (link)
The 'bon ami' quote: Montparnasse and Éponine (link)
Featuring real historical events and documents that may have served as an inspiration for the Patron-Minette and their actions in the novel, and delving into any real-life proceedings where the fictional gang has since been referenced. Unlike the broader #historical context tag, these posts concentrate only on specific incidents where the realms of reality and fiction converge, rather than any generalised, indirect contexts.
La Force prison breakout, 1843 (link)
Patron-Minette compared to real criminals in Qui? Detective , 1949 (link)
Babet and Molutor in 'Le Monde des Prisons' (link)
Adaptations:
related tags: #adaptations; #gifset
This includes numerous film, musical, and other written adaptations. If you would like to specifically see the content on my blog related to the Les Misérables West End and Broadway shows, use the #les miserables musical tag.
Cut content in 'The Attack on Rue Plumet' [Les Miserables musical] (link)
BBC Les Miserables ; the Patron-Minette's cut scenes (link)
Other creative endeavours:
related tags: #my art; #les mis fanfic; #headcanons
I don’t often do art or post fic, but when I do they can be found via the handy tags above. Or, you can also check out my AO3 directly to stay up to date with my works.
Just wanted to say thank you for your service. I really enjoy all your P-M meta. I appreciate the gang more after reading your thoughtful and helpful analysis.
Hello, dear anon! Thank you for your kind words — they really brightened my day! It’s great to hear that my meta has helped you appreciate the characters more :)
I get so much joy from writing about and discussing Patron-Minette with others! Although they only play a minor role in LM, I just find the gang endlessly fascinating. So, please, if you ever want to talk about the characters further don’t be afraid to reach out or message me!
I’ll hopefully be finishing up some more research I’ve been working on soon, but in the meantime, here’s a very messy Montparnasse doodle as a small ‘thank you’!
Unlike his criminal counterparts, Claquesous is depicted in a manner more closely aligned with the abhuman figures typical of nineteenth-cen
Unlike the other rogues of Patron-Minette, Claquesous is depicted in a manner more closely aligned with the abhuman figures typical of nineteenth-century Gothic literature. The character’s dehumanised presentation prompts new discussions surrounding ‘Othered’ Gothic bodies and perceptions of villainy in Les Misérables
Also featuring an additional discussion on the unlikely connection between ventriloquism and the supernatural :)
During the rue Plumet sequence in Les Misérables, we see Éponine employ a range of different tactics to try and get her father and the Patron-Minette to leave the property, initially attempting to again convince them that the house is not worth robbing before making her famous speech of defiance.
When it comes to Montparnasse in this scene, Éponine appears to appeal to him in a slightly more personal (and/or romantic) way than the other Patron-Minette rogues. She initially addresses him informally— “Comment ça va, Montparnasse”— and uses language throughout the chapter that indicates she shares a closer relationship with him than she does with the other members of this criminal gang, employing numerous terms of endearment such as “mon petit Montparnasse” throughout (I’ve written a separate post going into further detail on this so will not repeat myself here). In addition to this, she holds out and grabs his hand early on in the chapter: “Éponine prit la main de Montparnasse” and appeals to him specifically about not going in, saying he is a “good boy”.
All these phrases vaguely imply that these two characters are a little closer than the other figures present in the scene. However, there is one other telling phrase that I feel is of particular importance when it comes to examining the glimmers of dynamic between Montparnasse and Éponine:
“Mon bon ami Monsieur Montparnasse”
What makes this line so noteworthy? Well, because “bon ami” has numerous meanings… On one hand, and in a literal sense, it translates to ‘good friend’. However, ‘bon ami’ is also a common way one might refer to their partner or lover informally. In fact, we even see ‘bon ami’ used in other parts of the novel to explicitly refer to a lover in a tongue-and-cheek manner—specifically, ‘bonne amie’ is used when we are introduced to Babet's mistress!
So, again, here is another instance where Hugo makes an obvious allusion to the fact that Montparnasse and Éponine are likely sleeping together (the first indicator being in the “Némorin” line).
It is the “bon” in “bon ami” which is especially notable in this context. Normally, the phrase ‘mon ami’ was only really reserved for close friends— which is interesting enough anyway, as even under these circumstances it certainly indicates that Éponine perceives herself to be very close to Montparnasse. But, the added ‘mon bon ami’ indicates an even closer relationship than ‘mon ami’ does. While the term cannot be used as an indicator of any sort of formal relationship going on between Montparnasse and Éponine, it certainly is suggestive.
Why would Hugo bother using this ambiguous phrase here? Well, to me it appears to be a purposeful call-back to the couple’s rendezvous on the night of the failed Gorbeau ambush— where Montparnasse was “être Némorin” with Éponine. However, it should be noted that “mon bon ami” is a far more suggestive indication that these characters might’ve actually shared more of a ‘romantic’ relationship than the “Némorin” line does (which, in context, only really suggests that Montparnasse and Éponine slept together on the night of the Gorbeau ambush).
Additionally, in this particular moment I feel it is crucial for readers to acknowledge the semi-infrequent, potentially partially romantic dynamic that exists between these characters, as it makes things all the more crushing when we then see Montparnasse turn around and threaten Éponine’s life at the end of this scene—so perhaps that was also a motivating factor for the suggestive line to feature in this chapter.
Because of the phrase’s multiple meanings, there have been a myriad of different ways that ‘mon bon ami’ has been translated over time. I have compiled how these lines appear in every major English translation of Les Misérables below, excluding the A. F. Richard translation (1863), since it cut the rue Plumet scene. Sidenote, these below examples are really great indicators of just how different some of these translations are!:
"Mon petit Montparnasse," répondit Éponine très doucement, "il faut avoir confiance dans les gens. Je suis la fille de mon père peut-être." [...] "Mon bon ami monsieur Montparnasse", dit Éponine, "je vous en prie, vous qui êtes bon enfant, n'entrez pas!"
—In original French, 1862
"My darling Montparnasse," answered Éponine very gently, "we must have confidence in people. I am my father's daughter, perhaps." [...] "My good friend Monsieur Montparnasse," said Éponine, "I beg you, you who are a good boy, don't go in!"
—Wilbour trans., 1862
"My dear Montparnasse," Éponine replied very gently, "confidence ought to be placed in people, and I am my father's daughter, perhaps." [...] "My kind M. Montparnasse," Éponine said, "I ask you, who are a good fellow, not to go in."
—Wraxhall trans., 1862
"My little Montparnasse," responded Éponine very gently, "you must have confidence in people. I am the daughter of my father, perhaps." [...] My good friend, Mr. Montparnasse," said Éponine, "I entreat you, you are a good fellow, don’t enter."
—Hapgood trans., 1887
"Montparnasse, my love," said Éponine very sweetly, "you must learn to trust people. Aren't I my father's daughter?" [...] "Montparnasse, you're my friend," said Éponine, "you're a good lad. Don't go in!"
—Denny trans., 1976
"My darling Montparnasse," answered Éponine very gently, "we must have confidence in people. I am my father's daughter, perhaps." [...] "My good friend Monsieur Montparnasse," said Éponine, "I beg you, you're a good boy, don't go in!"
—Wilbour trans. revised by Lee Fahnestock and Norman MacAfee. 1987
"My dear Montparnasse," Éponine replied very sweetly, "you must learn to trust people. I am my father's daughter, after all." [...] "My very dear friend, Monsieur Montparnasse," said Éponine, "please, you're a good boy, don’t go in!"
—Rose trans., 2007
"My dear Montparnasse," Éponine replied very softly, "you should trust people. I'm my father's daughter, after all." [...] "My dear friend, Monsieur Montparnasse," said Éponine, "you're a decent lad, I beg you not to go in there."
Hello, have you seen the 1938 Japanese Patron Minette,, if you're interested? (If you're also looking for adaptations as well)
Hello!! It’s so nice to hear from you :)
I have not seen (nor hear of, I must confess!) this 1938 adaptation… and I am now so, so interested to find out more and possibly be able to watch it!! Any recommendations on where I might be able to view? Thank you so much for telling me about it I really admire your blog!
I thought I would compile a handy reference sheet of all the locations we see the Patron-Minette and their affiliates (both formal and informal) at different points of the novel. The 1832 map that I used can be found at this website— the site was really accessible and has a handy tool that lets you compare this old map directly to a modern-day map of Paris by overlaying.
Anyway, without further ado, here is the map featuring all geographic information relating to the Patron-Minette. Please expand this post to see the corresponding list of location names and find out what happens at each location. At the end of this post, you can also find a “short note” where I dissect and speculate some of the movements during the sections of the novel that centre around La Force specifically.
Click for higher quality and ability to zoom in on each numbered point. Sorry that I can’t make the image any clearer!
In Les Misérables, Victor Hugo draws an intriguing parallel between the fictional Patron-Minette gang and the notorious real-life murderer a
Ignore the fact that this took so long… but I finally got around to writing about Pierre François Lacenaire and criminal sensationalism in the nineteenth-century(!)
If you’re curious to learn more about this infamous ‘poète assassin’ and how his theatrical personality inspired the dramatised portrayal of Patron-Minette in Les Misérables, you can check out the post on my WordPress blog.
Within the given list of Patron-Minette’s affiliated rogues, a select group of women emerge alongside the gang’s male crooks. Examining thes
For those who have known me for some time, you may know of my tendency to occasionally ramble about the few female characters associated with Patron-Minette that briefly feature in Les Misérables.
Well, I’ve finally put together something a little more comprehensive that provides greater context on all the gang’s female accomplices, including Fauntleroy, Les-pieds-en-l’air, Babet’s mistress, and even Magnon. If you’re interested in learning more about these fleeting criminal women, you can read the complete post on my WordPress blog.
NEW: Patron-Minette — A Les Misérables literary blog.
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After originally sharing my writings only on Tumblr, I’ve decided to create a new blog website better designed to access my research and browse through a select range of additional Les Misérables resources linking to Patron-Minette.
And, what better day to launch the site than on the anniversary of Patron-Minette’s failed ambush at rue Plumet? (Well, at least in my timezone it is already June 3rd.)
Though much is still in progress, the first posts are up — featuring some specific character analyses as well as more general resources to better explain the intricacies of the gang and their extended criminal network.
All feedback is warmly welcomed — this has been a passion project of mine since the beginning of 2024, and I’ve spent every free minute over the past few months building the website (hence my limited posting on here lately)!
I really hope it can serve as a valuable research tool for those wanting to learn more about Patron-Minette in the future. For anyone interested in visiting the site, please click here. Thank you for your support!
A short note: This doesn’t mean I’ll stop posting on Tumblr! I intend to return to a more regular posting schedule soon while also working on the blog simultaneously.
All credit to the wonderful @ferociousconscience for pointing me toward some fascinating background information and additional insights about Magnon in the cut chapter 'Further Adventures of M. Tholomyès' [source]!
This omitted section provides us with further context evidencing that, prior to her scheme involving the mômes in 1832, Magnon had been employing similar tactics and using children to manipulate circumstances to her advantage for many years. Interestingly, Hugo even draws parallels to real-life happenings of the time and briefly ties the character within a wider narrative: 'To those who would find such existences unbelievable, it suffices to respond that they are real.'
Not only do we gain newfound insight here into Magnon's deceitful past and personal affairs when she was 'hardy' and 'young', but this cut chapter also reveals just how long-standing her connection to the Thénardier family really is (a detail which is eluded to in the final novel, but never fully explained).
In fact, the focus of this chapter actually involves Magnon being lent Cosette by Monsieur and Madame Thénardier (for only 3 francs!) so that she can convince the municipal welfare office that she has a child. However, by coincidence, when making her way to the town hall with Cosette, Magnon stumbles upon the wedding ceremony of none other than Tholomyès… resulting in a heartbreaking incident where Cosette recognises her father and calls after him.
I love the deeper insight we get into Magnon's criminality and deceitfulness in these unpublished sections (which, in turn, also helps to emphasise the influence of gender and patriarchal ideals in shaping a perceived sphere of 'Women's Crime' during this period— where it was commonly assumed that women generally committed less violent but more exploitative crimes in comparison to men).
Moreover, I find this additional information about Magnon particularly interesting in light of the fact that, at one stage in the novel's drafting progress, she may have also been intended as Brujon's mother [more info here], originally being given the name La Brujon instead of La Magnon. I'm completely fascinated by the different avenues this character might have been taken if Hugo changed his mind before publication!
