#3.2.8

[thesebloodydays]

She just like me fr

[umeed-e-sehr]

3.2.7

Hugo compares Gillenormand with the whole of eighteenth century- Gillenormand is a relic, who does not belong in the nineteenth century. I wonder if this might also be a nod to Enlightenment philosophy and how some of the leaders of that movement such as Voltaire were not fond of democracy or of revolutions by mob, as well as Voltaire’s support of absolute monarchies (Source- Voltaire: Political Writings). Gillenormand seems to embody some of the Voltairian ideas, in my view.

But these ideas are not relevant in the nineteenth century, according to Hugo where the grandiose gestures and grand men (like the monarchs that Gillenormand continues to admire) are a relic of the past. Gillenormand is irrelevant in this century, but he seems to have a high opinion of himself regardless. He has withdrawn from society (everything he does is concerned with himself only, he cannot even concern himself with the politics of the Bourbons he supposedly admires) and only entertains in the evenings. He shuns the symbolic light, as others have also mentioned, and finds the day vulgar in which to work, but also, he has the privilege to be able to not have to work or do anything in the day unlike Fantine or other characters who have to work by daylight because they cannot afford the lamps or lights at night.    

3.2.8

I like the two sisters, I wish that Hugo was not putting them against each other to make one of them look good. Mademoiselle Gillenormand lives under her father’s terror and it is no surprise that she is described as prudish and ‘bigot’- which here I believe to mean that she is sanctimonious and appears more religious than she is, instead of the modern definition. 

Hugo is making fun of her prudery, though really, having been raised by, beaten by and living her whole life in the Gillenormand hosehold, how was she supposed to be otherwise? Gillenormand being who he is, would probably not have tolerated her bringing scandal to the house by having affairs, whereas it is okay for him to have countless mistresses.  

I feel sorry for her, having been described as ‘a life that was over without having begun.’ It’s also interesting that no one calls her by her real name, she doesn’t have an identity here, this highlights even more of her terrible living situation, despite the wealth she lives in, she is still deprived of love. 

I do like that Mademoiselle Gillenormand has a friend with whom she can make jams, even though Hugo makes fun of the friend herself (making different kinds of jams takes skill, Hugo).

It is interesting that Hugo has compared this household to Bishop Myriel’s as well, there must be something in there being three members in the Myriel household and three people in the Gillenormand household, even if the households are nothing alike.

We finally come to the mention of the grandson and Gillenormand shows his love for Marius by threatening him with a cane and making sure that Marius absolutely trembles and remains silent in his presence. Gillenormand does not understand that instilling fear in the child is not equal to the child respecting him. This highlights even more how much difficulty Gillenormand has in relating/thinking from other people’s perspectives, he doesn’t understand children and probably would not want to make an effort to understand them. I do feel sorry for baby Marius here having to grow up in such a household and a lot of his later motivations make sense because of his childhood.

[kingedmundsroyalmurder]

Brickclub: 3.2.8

Is ‘wings like a goose’ a reference to wanting to be rich? I feel like it is, but my animal symbolism isn’t good enough to know what it’s a, ctually referring to.

Anyway, I have a lot of sympathy for Mlle Gillenormand. She’s not cruel or unfeeling, she’s just caught in a dreadful situation and has no recourse to escape from it. I can sympathize a lot with her general vibe of, ‘don’t look at me, I am not comfortable existing as a person other people can see,’ because I imagine most of her life people noticing her has meant them Judging her, or at least comparing her to her sister. That has to be rough, especially when said sister actually managed to get out and Mlle Gillenormand never did.

We get a return of the ‘who ever achieves their dreams?’ thing, this time in a much more reasonable context. ‘I never married’ and ‘I did marry but then died young’ are way more understandable dreams that cannot be than ‘I really want some furniture for my bedroom.’ I’m not really sure what the purpose of the echo is here, other than to remind us of the Bishop. But we get a more explicit callback on the next page, so I don’t know. Unless we’re meant to compare the Gillenormand women’s desire for freedom and economic security against Baptistine’s desire for worldly things? But I don’t know how Hugo intends us to weigh these two different kinds of dreams, and which of them we’re supposed to admire more. It’s Weird, is what I’m saying.

And tiny baby Marius! Tiny baby Marius requires a hug and a new home immediately.

[centrifuge-politics]

Brick Club 3.2.8 - 3.3.1

We are given the rundown of who is, by choice or otherwise, sharing in this life with Gillenormand. Mme. Gillenormand, with her attachment to her father’s house, her religiosity, and her aura of submission of course recalls Baptistine and Magloire. But the heavy emphasis on modesty above all virtues reminds me more of Mme. Victurnien, the woman who got Fantine fired by travelling to the Thenardiers’ inn to spy on Cosette. I sense she will not be an ally to the young Marius.

“These households of an old man and an old maid are not rare, and always have the touching aspect of two feeblenesses leaning upon each other.” In this case, the old man and the old maid propping each other up in order to loom over the final Gillenormand: “a child, a little boy, always trembling and mute before M. Gillenormand.”

Gillenormand is interested in the legacy that Marius represents, but certainly not in the child who needs affection.

Hooo boy, we are entering territory I am completely out of my element in. A lot of period-specific namedrops and a lot of royalist sentiment. There is something interesting to be said of the salon show of faded power. They don’t hold enough sway for their mocking of the revolution to make a drop in the political sphere, they just gather and trade nostalgic, toothless effrontery over t̸̡̛̘̯̘̍͐h̷̯̞̽ę̵̝͚͇̪̏ y̷̛̟͘o̸̱̩̓̌u̴̥͆ţ̵̩̯̥̈́͑h̸s̸̢͎̝̋͌͂́. 

Gillenormand may be an outsider, but he knows how to play the part, he’s one of the good ones. This sets up the context for the environment Marius is raised in: privileged but dissatisfied and distant from the realities he eventually encounters.

[garbagecann24601]

Two Do Not Make a Pair

Gillenormand’s daughters were ten years apart, and they weren’t close growing up.

“Both had wings, the one like an angel, the other like a goose.”

The younger got married, but she died when she was young. The older never got married.

The older sister is a prude and modest to the point of excess. She is a bigot, but she tends more towards melancholy than malice, especially as she ages. She lives with Gillenormand, and they take care of one another. 

Gillenormand’s young grandson also lives with them. Gillenormand only speaks to his grandson harshly, but it is said that he idolizes him.

[akallabeth-joie]

Brickclub Les Mis 3.2.8

Now we really meet Mlle Gillenormand: she's Mlle Myriel, but with inverse amounts of respect from Hugo. Both are religious, modest, unmarried, keeping house for a singular old male relative...but like their respective menfolk, Myriel is honored as saintly where Gillenormand is ridiculed as shallow and a bit of hypocrite.

As in the 3.1 sequence, Marius get mentioned at the very end of the last chapter. This is his book, but instead of featuring him on page, Hugo gives us 1) detailed descriptions of self-sufficient Parisian (more or less) orphan boys, and 2) the character and household arrangments of Marius's eccentric grandfather. Juxtaposition enhanced by the parallel structure...and placed at the front of Marius's book. Subtle.

Marius get 'vous' from his grandfather (with 'monsieur' which is normally respectful, and a bunch of insults which are not). I know he supposedly 'idolises' Marius, but this part has never read that way to me: like, there is such a thing as teasing and inside jokes in which insults are endearments, but Gillenormand consistently reads to me as mean. His love for Marius is an informed trait because neither the reader nor Marius sees any evidence for it. Over an 18 year period! At some point, consistently expressing the exact opposite of one's intent is really indistinguishable from not having that intent at all. 

[ssdgames]

To double jump, we need to have another flag as seen on line 10.

Note all other uses of doubleJump as well.

If we are touching the ground and they press space, jump once.

If we are not touching the ground, but space was pressed and we have not yet doublejumped, then we can jump again.

[allmoddedapk]

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