#2.2.2

[daily-tess]

This Tess is from 2.2.2!

[patron-minette]

Les Misérables, 2.2.2

I have emerged from the dregs because today is the day that we are introduced to one of my favourite passing characters in this novel; Boulatruelle!

What is particularly striking to me about this chapter is the similarities that Boulatruelle shares with Valjean way back in 1.2.1. But, I shan't delve into that today— you can click the link above if you want to read my thoughts on that tangent. Instead, I want to explore the idea of Boulatruelle as an abhuman, Gothic figure, and in general discuss some of the Gothic influences and tropes at play here in this section.

P.S. I didn’t want to directly reblog it, but I made a long 'character breakdown' post about Boulatruelle, if you're interested. It includes details of all his appearances throughout the novel as well as a general character analysis. You can find the post via this link (please note that it obviously contains spoilers for the rest of the novel)

Illustration: Boulatruelle cherchant le trésor [source]

A large chunk of the chapter describes how Boulatruelle is ostracised by Montfermeil's society. And, whilst it might first appear he is cast out simply because of his ex-convict status, which makes him a 'social Other', as the chapter progresses and we read more about this figure we discover that Boulatruelle is rejected by the townsfolk not just because he is 'Other', but because people do not see him as a human, but instead as a creature with "peculiar ways".

"He was encountered towards evening in the most deserted clearings, in the wildest thickets; and he had the appearance of being in search of something, and sometimes he was digging holes. The goodwives who passed took him at first for Beelzebub; then they recognized Boulatruelle, and were not in the least reassured thereby."

Thus, Boulatruelle momentarily becomes a Gothic monster from legend to the people of Montfermeil. He literally morphs into a devil thanks to the "superstition" of the townsfolk— a very traditional Gothic trope.

Here, then, is the superstition of Montfermeil: it is thought that the devil, from time immemorial, has selected the forest as a hiding-place for his treasures. Goodwives affirm that it is no rarity to encounter at nightfall, in secluded nooks of the forest, a black man with the air of a carter or a wood-chopper, wearing wooden shoes, clad in trousers and a blouse of linen, and recognizable by the fact, that, instead of a cap or hat, he has two immense horns on his head. 

Reading about Boulatruelle through the eyes of this society, we too are inclined to view him as this primitive, beastly, and stupid creature. Oddly enough, he reminds me a little of Renfield in Stoker's Dracula, who is described thus: "He has certain qualities very largely developed; selfishness, secrecy, and purpose. I wish I could get at what is the object of the latter. He seems to have some settled scheme of his own, but what it is I do not yet know".

If we are to be convinced enough by the townspeople and their superstitions, it could almost be assumed that Boulatruelle was carrying out work for the Devil, even if he was not a devil himself— much like how Renfield's odd scheme was actually him carrying out Dracula's whims and commands. Just like how Dr Seward was unsure of Renfield's intentions, as readers we are not entirely privy to Boulatruelle's motivations. Whilst we know Boulatruelle believes that the coffer contains money, is that really the sole motivation for his constant digging?

Yet, the clear difference between Renfield and Boulatruelle is that Hugo constantly reminds us that Boulatruelle is only a perceived Gothic monster here. When Boulatruelle is sat down by Thénardier and given the "wine test" we are reminded that he is more human than monster. Yes, he is undeniably an unusual man, but he is by no means evil. Whilst the locals might perceive an ex-convict and drunkard to be monstrous, I do not think Hugo wants us to believe them at all! If anything, I actually feel quite sorry for the poor guy in this moment.

As Boulatruelle describes what he had seen in Montfermeil's forest, the Gothic influences present in this chapter are expanded upon. There is an even greater Gothic monster lurking in the area— that of the *mysterious figure* who vanishes into the forest's thicket under moonlight and possesses the truly sublime, abhuman nature, and general 'Otherness' of a Gothic monster.

The chapter's ultimate mystery is set up as Boulatruelle observes this figure carrying a coffer, shovel, and a pick into the forest at night, before reappearing a few hours later without the coffer. Yet, despite the old road mender's efforts to find and dig up this mysterious box, there remains no sign of it in the forest.

This mysterious figure is dehumanised to the point that in one moment they are referred to as a "person" with quotation marks shown around the phrase. Much like Boulatruelle, they too are a social 'Other', being described as "a person who did not belong in those parts, and whom he, Boulatruelle, knew well". The figure is also significantly more supernatural than Boulatruelle. In the style of more traditional Gothic fiction, this figure is physically imposing and eerily fast— having Herculean strength (being "three times as strong" as the road mender), and an ability to seemingly vanish and reappear in the thicket of the forest. By the end of the chapter, this figure transcends to become the devil to some of the townsfolk, even more-so than Boulatruelle: "There were only a few brave gossips, who said, “You may be certain that the mender on the Gagny road did not take all that trouble for nothing; he was sure that the devil had come.”"

Throughout this chapter Hugo cleverly titters between the line of the older, traditional Gothic tales of the late 1700s/early 1800s (which involved true monsters that lurked behind the walls of isolated castles and in the deepest, darkest forests— unable to penetrate society), and the "new" Gothic of the mid-1800s, which saw the Gothic monsters become ordinarily human and enter into society, with their 'Otherness' becoming internalised rather than being displayed outwardly.

Of course, the concept of being a monstrous social 'Other' will continue to be explored throughout the novel. Indeed, 'Otherness' has always existed in conjunction with an individual society's standards, helping nurture the creation of the 'us versus them' mentality that pervades through real-life and fiction. Explorations (and dispulsions) of this concept are one of the roots of Hugo's writing.

Let us keep an eye out for more of Boulatruelle at other points in the book and assess how his 'Otherness' transcends in relation to the novel's "social Gothicism". Whilst Les Misérables is by no means a Gothic book, it is riddled with Gothic influences and tropes throughout— we will surely continue to observe such points within other characters at later points in the novel.

Also, we might want to take note of the fact that Thénardier interacts with Boulatruelle directly in this chapter (it makes for a cool detail much later in the novel!)

[kingedmundsroyalmurder]

Brickclub: 2.2.1-2.2.2

2.2.1

It’s sad, but not surprising that M-sur-M fell apart the moment Valjean left. And it underlines the fundamental tragedy of this kind of society (meaning the industrializing, city-based society that was really getting going when Hugo was writing and is in full grip today): you cannot base your safety net on the belief that people will be good to each other, because they won’t be. Myriel tried to be an example to his people, and they turned away the needy anyway. Madeleine tried to be an example for his, and they ate each other the moment he fell from grace. We need institutional change if we’re ever going to make progress.

And it’s no coincidence that this chapter is right after Waterloo. Hugo just spent 19 chapters explaining to us all the problems with relying on single people to look after everything. God doesn’t just hate Napoleon specifically, He hates the kind of politics Napoleon represents. And that includes the benevolent patronage that was Madeleine’s style of philanthropy.

(Either that, or Hugo was decrying neoliberal decentralization a century before anyone even invented the word. You decide.)

2.2.2

This chapter is a riot. Openly Sarcastic!Hugo is one of my favorite Hugos, and this chapter is nothing but that.

And it’s interesting to see Thenardier on his home turf, so to speak. Hugo always makes sure to describe him in the worst possible light, so it’s always wild to me to remember that, at this point in his life, he’s a respected member of his community. I’m sure the swindling and amorality aren’t secrets or anything, but he seems to be able to keep it to a minimum around his actual neighbors. Certainly he and the schoolmaster seem chummy enough with each other. It’s fascinating, and honestly does more to complicate the character of Thenardier than a hundred pages of Hugo waxing philosophical about bastard classes would.

So the implication is that Boulatruelle and Valjean were together in Toulon, yes? I wonder if he heard about the trial. You definitely get the impression that it was headline news for a while, and Montfermeil is, I think, close enough to M-sur-M to get the news. I wonder what was going through his head as the details started filtering in.

[umeed-e-sehr]

2.2.1

We come to the plot and Valjean again. His whole capture is summed up in one short line and Hugo doesn’t dwell on it. The style of the chapter is interesting, not only because Hugo is quoting from several articles to sketch a picture of what happens. The way the newspaper clippings are used is interesting and impartial, as if Hugo is recording Valjean’s memoirs.

Interestingly though, the newspapers rely a lot on gossip and what is said about people, with a lot of misleading information about Valjean’s character. However, the fact that Valjean refused to send an appeal against the death penalty, seems an unwise decision since he had promised to rescue Fantine’s daughter, but I guess it is in keeping with his self-sabotage of his life and chances because he feels he does not deserve things.

We do find out about Petit Gervais and children like him were involved in the business of sweeping chimneys, which is kind of heartbreaking.

Hugo points out that Valjean was using the model of a benevolent entrepreneur of the factory where he looked out for other people, but without him, everything just devolved into fighting and every man for himself trying to make it work.

Without cooperation, giving to charity and employing the poor, the model breaks down and the prosperity of the town which was directly dependent on this ends. He was one person doing this, like the bishop who was giving charity, but it was not enough. I find it interesting that Hugo does not make Valjean give away all or most of the profits he has earned as well or start some other kind of a cooperative with several small businesses working to support each other, and that this is the economic model that Hugo supports. Although the model that he frowns upon is capitalist and greedy and only concerned with short term goals of making as much money as you can, and I like that he criticises that here.

2.2.2

This chapter has a very fairytale start, building up on superstitions of finding treasure in the forest to the possibility of actual treasure, I like the way Hugo writes about it. But then we get to the reason why we need to know this. Valjean may have hidden the money that he earned, somewhere in the forest, which was hinted by the previous chapter and Hugo informs us at the start of this chapter too about the connection. 

Boulatruelle is interesting in the sense that despite being an ex-convict like Valjean, he did not turn his life around and is stuck in his situation without a way to escape or better his life. He respects authority too much but in return is always suspected by them- he is too respectful, too humble to everyone else as an ex-convict, because he knows people don’t consider him as an equal human being, if Valjean’s treatment in the town of Digne is anything to go by - I don’t know why Hugo points him being humble and respectful, out specifically as faults, but I guess he doesn’t make much effort to change things in his life. It’s also probably a look at how Valjean’s life would have been if he had not started afresh with the bishop’s silver. It comes back to the fact of bishop and Valjean’s chance encounter working through the hand of Providence/God.

Boulatruelle works mending roads for a pittance, which is the only work he can get as an ex-convict. He also drinks heavily, and no one takes him seriously, that is except Thenardier who thinks he might be onto something.

Thenardier only cares so far about Boulatruelle to get the information out of him, proving himself an opportunist at every turn and not above talking to people below his station. Thenardier would take advantage of anyone for a few sous, though Boulatruelle does not reveal much here, despite being given drinks, which is good. Unfortunately, he also does not have much luck trying to find Valjean’s treasure and is considered a foolish drunkard who believes in fairytales by everyone else.

[daily-tess]

This Tess is from 2.2.2!

[daily-tess]

This Tess is from 2.2.2!

[pokemonblog]

New Pokémon Sleep update version 2.2.2 now live, official patch notes revealed

Read on below to learn more about a new Pokémon Sleep update: Update Contents (version 2.2.2) Thank you for playing Pokémon Sleep! This update includes the following improvement.You will need to update to the latest version through your app store. Update Contents Other Bug Fixes Source: Official Pokémon Sleep news

New Pokémon Sleep update version 2.2.2 now live, official patch notes revealed

[allmoddedapk]

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