I wanted to talk about @pilferingapples ‘s autistic Fantine headcanon that has been brought up in the Les Mis Letters server because it has rewired my brain and the more I think about it the more I can see my own experiences as an autistic woman reflected in Fantine’s story.
Fantine is introduced as being an outsider amongst the other grisettes. I think Hugo’s intention here was to paint her as innocent and virtuous in comparison to them but the way it reads to me is that she is someone who just can’t quite connect with her peers. She is described as being dreamy and “always having a queer look about her” in the words of Favourite.
The way Fantine is treated by the other girls rings very true to me as an autistic woman in my experience with friendship. She does consider the other grisettes her friends yet they speak cruelly about her behind her back (Favourite saying she puts on airs) and to her face (Dahlia mocking her for crying over a dead horse). Yet she offers no resistance, in fact she barely seems to acknowledge these things as offensive, because that’s just what being friends is.
The friendship between the four grisettes is shown to be truly shallow when after Tholomyes’ “prank”, they all go their separate ways, with Hugo saying it was like they’d never been friends in the first place. Realistically, one of the few examples of female friendship in the brick being portrayed as shallow and catty is most likely down to some lingering misogyny on Hugo’s part but it is something I find relatable as someone who has allowed myself to be treated poorly by others because I thought that’s how friendship was supposed to be. I’m sure a lot of other autistic people can relate to this as well.
Additionally, I think it’s interesting how the other grisettes criticisms of Fantine come down to her not acting in the expected way and fitting in with group. Favourite accuses her of putting on airs because she won’t swing like the other girls (therefore let the men look up her skirt). Dahlia laughs at her for getting emotional over the dead horse because her emotions are tainting the happy outing they’re all having. Fantine being empathetic towards animals isn’t an inherently autistic trait by itself but her inability to suppress her emotions or just go along with what everyone else is doing is something I think a lot of neurodivergent people can relate to.
Her relationship with Tholomyes is probably the biggest example of Fantine not understanding unspoken social rules. I’m no history expert and people have definitely written more in depth posts on the relationships between upper class men and working class women in France in this period but from what I’ve gathered it was understood that these relationships were purely transactional. The men got sex and attention and the women got gifts and nice days out to places they couldn’t afford by themselves. There’s more nuance than that I’m sure but that’s the gist.
We know the other three grisettes are aware of this aspect of the relationship. They are eager to receive a “surprise”, an expensive gift they could later sell on. Favourite flatters her lover to his face and says all the things he expects of her but confesses to the other girls that she doesn’t like him because he isn’t playing his role of spending money on her.
Fantine is seemingly oblivious to all of this. Maybe it’s her ostracisation from the other girls that is keeping her ignorant or maybe she knows how it is for them but genuinely believes she and Tholomyes are different. Either way it’s clear to me that her and Tholomyes have very different ideas about their relationship and that subtext has not been picked up by Fantine. For the record, this is completely on Tholomyes, even if he’s supposed to be playing the expected role, leaving his mistress without any financial aid for their child together is bad even by the standards of the time. However Fantine is definitely naïve.
Also if you read Fantine as autistic, her reasons for being in love with Tholomyes make a lot more sense. From Hugo’s description, it doesn’t seem like Tholomyes has many redeeming features: he’s balding and missing teeth, he’s a student in his thirties and he is in poor health. Yet he pays attention to Fantine, he flatters her and spends money to keep her in a nice apartment.
If we assume that Fantine is autistic and has spent her life being an outsider, this onslaught of affection would lead her to let her guard down and believe that this is what love should look like. Even without the autism, Fantine was an orphan, she didn’t have any examples of what a marriage was supposed to look like growing up so how could she possibly resist a man who seems to be doing and saying all the right things?
I think my conclusion is it doesn’t really matter if you want to read Fantine as being autistic or not. I think all the factors I’ve outlined in this post can be explained by her upbringing and her still being very young during her relationship with Tholomyes rather than having to be neurodivergence. However, I think looking at Fantine through an autistic lense has given me a new appreciation for the character and being an outsider in society, a big theme in Les Mis, is generally a relatable sentiment for neurodivergent people and I think it’s interesting to explore that in the context of Fantine.
reading Tholomyès monologues is so frustrating because I don't know if he's actually supposed to sound like a blabbering fool or if I am the fool and I don't understand what I'm reading
If someone in the Brick rants, it’s a bad sign. This is Hugo’s way of saying: Run for your life! (Even in the case of Grantaire.) Tholomyès is one of the worst. On top of everything, even his friends do not want to listen to him. We do not know about Fantine’s reaction to his harangue, but I’m genuinely afraid that his loquaciousness may be the only thing that attracted her to him (we know that he is old, ugly, and unkind).
But the rant itself is the true offender. Tholomyès doesn't merely vent; he launches into self-righteous pronouncements, dictating how others should live (while possessing zero moral high ground himself). His comments about women, both generally and specifically towards those present, are appalling, revealing a deep-seated disrespect and hypocrisy. The "accidental" embrace of Favourite speaks volumes about his infidelity and lack of genuine connection.
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In the meantime, while some sang, the rest talked together tumultuously all at once; it was no longer anything but noise. Tholomyès intervened.
“Let us not talk at random nor too fast,” he exclaimed. “Let us reflect, if we wish to be brilliant. Too much improvisation empties the mind in a stupid way. Running beer gathers no froth. No haste, gentlemen. Let us mingle majesty with the feast. Let us eat with meditation; let us make haste slowly. Let us not hurry. Consider the springtime; if it makes haste, it is done for; that is to say, it gets frozen. Excess of zeal ruins peach-trees and apricot-trees. Excess of zeal kills the grace and the mirth of good dinners. No zeal, gentlemen! Grimod de la Reynière agrees with Talleyrand.”
A hollow sound of rebellion rumbled through the group.
“Leave us in peace, Tholomyès,” said Blachevelle.
“Down with the tyrant!” said Fameuil.
“Bombarda, Bombance, and Bambochel!” cried Listolier.
“Sunday exists,” resumed Fameuil.
“We are sober,” added Listolier.
“Tholomyès,” remarked Blachevelle, “contemplate my calmness [<i>mon calme</i>].”
“You are the Marquis of that,” retorted Tholomyès.
This mediocre play upon words produced the effect of a stone in a pool. The Marquis de Montcalm was at that time a celebrated royalist. All the frogs held their peace.
“Friends,” cried Tholomyès, with the accent of a man who had recovered his empire, “Come to yourselves. This pun which has fallen from the skies must not be received with too much stupor. Everything which falls in that way is not necessarily worthy of enthusiasm and respect. The pun is the dung of the mind which soars. The jest falls, no matter where; and the mind after producing a piece of stupidity plunges into the azure depths. A whitish speck flattened against the rock does not prevent the condor from soaring aloft. Far be it from me to insult the pun! I honor it in proportion to its merits; nothing more. All the most august, the most sublime, the most charming of humanity, and perhaps outside of humanity, have made puns. Jesus Christ made a pun on St. Peter, Moses on Isaac, Æschylus on Polynices, Cleopatra on Octavius. And observe that Cleopatra’s pun preceded the battle of Actium, and that had it not been for it, no one would have remembered the city of Toryne, a Greek name which signifies a ladle. That once conceded, I return to my exhortation. I repeat, brothers, I repeat, no zeal, no hubbub, no excess; even in witticisms, gayety, jollities, or plays on words. Listen to me. I have the prudence of Amphiaraüs and the baldness of Cæsar. There must be a limit, even to rebuses. <i>Est modus in rebus</i>.
“There must be a limit, even to dinners. You are fond of apple turnovers, ladies; do not indulge in them to excess. Even in the matter of turnovers, good sense and art are requisite. Gluttony chastises the glutton, <i>Gula punit Gulax</i>. Indigestion is charged by the good God with preaching morality to stomachs. And remember this: each one of our passions, even love, has a stomach which must not be filled too full. In all things the word <i>finis</i> must be written in good season; self-control must be exercised when the matter becomes urgent; the bolt must be drawn on appetite; one must set one’s own fantasy to the violin, and carry one’s self to the post. The sage is the man who knows how, at a given moment, to effect his own arrest. Have some confidence in me, for I have succeeded to some extent in my study of the law, according to the verdict of my examinations, for I know the difference between the question put and the question pending, for I have sustained a thesis in Latin upon the manner in which torture was administered at Rome at the epoch when Munatius Demens was quæstor of the Parricide; because I am going to be a doctor, apparently it does not follow that it is absolutely necessary that I should be an imbecile. I recommend you to moderation in your desires. It is true that my name is Félix Tholomyès; I speak well. Happy is he who, when the hour strikes, takes a heroic resolve, and abdicates like Sylla or Origenes.”
Favourite listened with profound attention.
“Félix,” said she, “what a pretty word! I love that name. It is Latin; it means prosper.”
Tholomyès went on:—
“Quirites, gentlemen, caballeros, my friends. Do you wish never to feel the prick, to do without the nuptial bed, and to brave love? Nothing more simple. Here is the receipt: lemonade, excessive exercise, hard labor; work yourself to death, drag blocks, sleep not, hold vigil, gorge yourself with nitrous beverages, and potions of nymphæas; drink emulsions of poppies and agnus castus; season this with a strict diet, starve yourself, and add thereto cold baths, girdles of herbs, the application of a plate of lead, lotions made with the subacetate of lead, and fomentations of oxycrat.”
“I prefer a woman,” said Listolier.
“Woman,” resumed Tholomyès; “distrust her. Woe to him who yields himself to the unstable heart of woman! Woman is perfidious and disingenuous. She detests the serpent from professional jealousy. The serpent is the shop over the way.”
“Tholomyès!” cried Blachevelle, “you are drunk!”
“Pardieu,” said Tholomyès.
“Then be gay,” resumed Blachevelle.
“I agree to that,” responded Tholomyès.
And, refilling his glass, he rose.
“Glory to wine! <i>Nunc te, Bacche, canam!</i> Pardon me ladies; that is Spanish. And the proof of it, señoras, is this: like people, like cask. The arrobe of Castille contains sixteen litres; the cantaro of Alicante, twelve; the almude of the Canaries, twenty-five; the cuartin of the Balearic Isles, twenty-six; the boot of Tzar Peter, thirty. Long live that Tzar who was great, and long live his boot, which was still greater! Ladies, take the advice of a friend; make a mistake in your neighbor if you see fit. The property of love is to err. A love affair is not made to crouch down and brutalize itself like an English serving-maid who has callouses on her knees from scrubbing. It is not made for that; it errs gayly, our gentle love. It has been said, error is human; I say, error is love. Ladies, I idolize you all. O Zéphine, O Joséphine, face more than irregular, you would be charming were you not all askew. You have the air of a pretty face upon which some one has sat down by mistake. As for Favourite, O nymphs and muses! one day when Blachevelle was crossing the gutter in the Rue Guérin-Boisseau, he espied a beautiful girl with white stockings well drawn up, which displayed her legs. This prologue pleased him, and Blachevelle fell in love. The one he loved was Favourite. O Favourite, thou hast Ionian lips. There was a Greek painter named Euphorion, who was surnamed the painter of the lips. That Greek alone would have been worthy to paint thy mouth. Listen! before thee, there was never a creature worthy of the name. Thou wert made to receive the apple like Venus, or to eat it like Eve; beauty begins with thee. I have just referred to Eve; it is thou who hast created her. Thou deservest the letters-patent of the beautiful woman. O Favourite, I cease to address you as ‘thou,’ because I pass from poetry to prose. You were speaking of my name a little while ago. That touched me; but let us, whoever we may be, distrust names. They may delude us. I am called Félix, and I am not happy. Words are liars. Let us not blindly accept the indications which they afford us. It would be a mistake to write to Liège for corks, and to Pau for gloves. Miss Dahlia, were I in your place, I would call myself Rosa. A flower should smell sweet, and woman should have wit. I say nothing of Fantine; she is a dreamer, a musing, thoughtful, pensive person; she is a phantom possessed of the form of a nymph and the modesty of a nun, who has strayed into the life of a grisette, but who takes refuge in illusions, and who sings and prays and gazes into the azure without very well knowing what she sees or what she is doing, and who, with her eyes fixed on heaven, wanders in a garden where there are more birds than are in existence. O Fantine, know this: I, Tholomyès, I am an illusion; but she does not even hear me, that blond maid of Chimeras! as for the rest, everything about her is freshness, suavity, youth, sweet morning light. O Fantine, maid worthy of being called Marguerite or Pearl, you are a woman from the beauteous Orient. Ladies, a second piece of advice: do not marry; marriage is a graft; it takes well or ill; avoid that risk. But bah! what am I saying? I am wasting my words. Girls are incurable on the subject of marriage, and all that we wise men can say will not prevent the waistcoat-makers and the shoe-stitchers from dreaming of husbands studded with diamonds.
Well, so be it; but, my beauties, remember this, you eat too much sugar. You have but one fault, O woman, and that is nibbling sugar. O nibbling sex, your pretty little white teeth adore sugar. Now, heed me well, sugar is a salt. All salts are withering. Sugar is the most desiccating of all salts; it sucks the liquids of the blood through the veins; hence the coagulation, and then the solidification of the blood; hence tubercles in the lungs, hence death. That is why diabetes borders on consumption. Then, do not crunch sugar, and you will live. I turn to the men: gentlemen, make conquest, rob each other of your well-beloved without remorse. Chassez across. In love there are no friends. Everywhere where there is a pretty woman hostility is open. No quarter, war to the death! a pretty woman is a <i>casus belli</i>; a pretty woman is flagrant misdemeanor. All the invasions of history have been determined by petticoats. Woman is man’s right. Romulus carried off the Sabines; William carried off the Saxon women; Cæsar carried off the Roman women. The man who is not loved soars like a vulture over the mistresses of other men; and for my own part, to all those unfortunate men who are widowers, I throw the sublime proclamation of Bonaparte to the army of Italy: “Soldiers, you are in need of everything; the enemy has it.”
Tholomyès paused.
“Take breath, Tholomyès,” said Blachevelle.
At the same moment Blachevelle, supported by Listolier and Fameuil, struck up to a plaintive air, one of those studio songs composed of the first words which come to hand, rhymed richly and not at all, as destitute of sense as the gesture of the tree and the sound of the wind, which have their birth in the vapor of pipes, and are dissipated and take their flight with them. This is the couplet by which the group replied to Tholomyès’ harangue:—
“The father turkey-cocks so grave
Some money to an agent gave,
That master good Clermont-Tonnerre
Might be made pope on Saint Johns’ day fair.
But this good Clermont could not be
Made pope, because no priest was he;
And then their agent, whose wrath burned,
With all their money back returned.”
This was not calculated to calm Tholomyès’ improvisation; he emptied his glass, filled, refilled it, and began again:—
“Down with wisdom! Forget all that I have said. Let us be neither prudes nor prudent men nor prudhommes. I propose a toast to mirth; be merry. Let us complete our course of law by folly and eating! Indigestion and the digest. Let Justinian be the male, and Feasting, the female! Joy in the depths! Live, O creation! The world is a great diamond. I am happy. The birds are astonishing. What a festival everywhere! The nightingale is a gratuitous Elleviou. Summer, I salute thee! O Luxembourg! O Georgics of the Rue Madame, and of the Allée de l’Observatoire! O pensive infantry soldiers! O all those charming nurses who, while they guard the children, amuse themselves! The pampas of America would please me if I had not the arcades of the Odéon. My soul flits away into the virgin forests and to the savannas. All is beautiful. The flies buzz in the sun. The sun has sneezed out the humming bird. Embrace me, Fantine!”
The wild thing about the Fantine/Tholomyes chapters is that —they’re sort of an allegory for the restoration of the Bourbon monarchy?
Fantine is the child of the French Revolution, born during the reign of the Directory. She doesn’t even have a legal name— she’s an “anonymous” Jane Doe stand-in for all the common people who were born during the Revolution and relying on it to improve their future.
Though she had emerged from the most unfathomable depths of social shadow, she bore on her brow the sign of the anonymous and the unknown. She was born at M. sur M. Of what parents? Who can say? She had never known father or mother. 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.
Tholomyes, meanwhile, is compared to the restored monarchy. He’s described as the group’s leader,
one felt the force of government in him; there was dictation in his joviality; his principal ornament was a pair of trousers of elephant-leg pattern of nankeen, with straps of braided copper wire; he carried a stout rattan worth two hundred francs in his hand, and, as he treated himself to everything
and is once described as speaking with
with the accent of a man who had recovered his empire….
I feel like Tholomyès’s descriptions might also echo contemporary parodies of Louis XVIII? He looks old/ugly but is dressed in clothes so lavish they make him appear ridiculous. In his incoherent speeches to the group, he encourages “moderation.” Being too moderate/not extreme enough was a common criticism of King Louis XVIII, who was too conservative to be supported by liberals/republicans but also wasn’t conservative enough to appease ultra-royalists.
Tholomyès is also a law student, and will later become a court Justice known for being “rigid”/severe— making him an active enforcer of the King’s laws.
Throughout the chapters the effects of the Bourbon restoration are even talked about explicitly in ways that parallel the description of the couples.
We get all these rosy descriptions of how the couples are In Love and everything is Wonderful and Nothing is Wrong and everyone is Happy and Everything is Fine… but there’s something wrong about it. Something feels off. The “love” feels hollow and fake, like a shallow facade. It feels like something bad is about to happen. Things are clearly not fine. And that feeling of wrongness only builds and becomes more obvious as the story continues.
Then, juxtaposed with the descriptions of the lovers, the story is interrupted by similarly rosy descriptions of the Restoration. The opening chapter (“the Year 1817”) lists all the things happening during the Restoration in the way Hugo later lists all the amusements the lovers entertain themselves with. Then we get a chapter interrupting the flow of the story to address the monarchy specifically. The chapter begins by saying Everything is fine. Everyone is happy. Everyone loves the monarchy. Nothing is wrong. Everything is perfect under the Bourbons. Parisians don’t want to rebel anymore, they just want to laze around amusing themselves like bored cats.
Everything was radiant. It was a time of undisputed peace and profound royalist security; it was the epoch when a special and private report of Chief of Police Anglès to the King, on the subject of the suburbs of Paris, terminated with these lines:—
“Taking all things into consideration, Sire, there is nothing to be feared from these people. They are as heedless and as indolent as cats. The populace is restless in the provinces; it is not in Paris. These are very pretty men, Sire. It would take all of two of them to make one of your grenadiers. There is nothing to be feared on the part of the populace of Paris the capital. It is remarkable that the stature of this population should have diminished in the last fifty years; and the populace of the suburbs is still more puny than at the time of the Revolution. It is not dangerous. In short, it is an amiable rabble.”
But Hugo can’t keep that pretense up for long and it becomes a tirade about how Things Are Not Fine, lots of people hate the Bourbons, and people will be rioting in the streets soon.
Prefects of the police do not deem it possible that a cat can transform itself into a lion; that does happen, however, and in that lies the miracle wrought by the populace of Paris. Moreover, the cat so despised by Count Anglès possessed the esteem of the republics of old. In their eyes it was liberty incarnate; and as though to serve as pendant to the Minerva Aptera of the Piræus, there stood on the public square in Corinth the colossal bronze figure of a cat. The ingenuous police of the Restoration beheld the populace of Paris in too “rose-colored” a light; it is not so much of “an amiable rabble” as it is thought. The Parisian is to the Frenchman what the Athenian was to the Greek: no one sleeps more soundly than he, no one is more frankly frivolous and lazy than he, no one can better assume the air of forgetfulness; let him not be trusted nevertheless; he is ready for any sort of cool deed; but when there is glory at the end of it, he is worthy of admiration in every sort of fury. Give him a pike, he will produce the 10th of August; give him a gun, you will have Austerlitz. He is Napoleon’s stay and Danton’s resource. Is it a question of country, he enlists; is it a question of liberty, he tears up the pavements. Beware! his hair filled with wrath, is epic; his blouse drapes itself like the folds of a chlamys. Take care! he will make of the first Rue Grenétat which comes to hand Caudine Forks. When the hour strikes, this man of the faubourgs will grow in stature; this little man will arise, and his gaze will be terrible, and his breath will become a tempest, and there will issue forth from that slender chest enough wind to disarrange the folds of the Alps. It is, thanks to the suburban man of Paris, that the Revolution, mixed with arms, conquers Europe. He sings; it is his delight. Proportion his song to his nature, and you will see! As long as he has for refrain nothing but la Carmagnole, he only overthrows Louis XVI.; make him sing the Marseillaise, and he will free the world.
It’s clear from the beginning that Tholomyes will betray and abandon Fantine, in the same way the return of the monarchy betrayed and abandoned the poor and vulnerable people who were born into the world of the Revolution.
