a Napoléon was crowned Emperor on December 2, 1804, in the Cathedral of Notre-Dame.
b Madame Baptistine and Madame Magloire serve to contrast the contemplative with the active life; their names, respectively, suggest the spiritual and the material.
c Created as an administrative unit in 1789, a canton (roughly equivalent to a township) is larger than a commune (municipality) and smaller than an arrondissement (roughly equivalent to a county, and a subdivision of a département).
d An ultra-royalist believes that kings rule by God’s will; a Voltairean is a Deist, who believes that God does not intervene in human affairs.
e Myriel believes in universal, free primary education; until the Guizot Law of 1833, some 38 percent of French communes had no primary schools at all. In 1870, about 30 percent of peasants were still illiterate.
f The prosecuting attorney uses libel, slander, and forgery to persuade a woman to denounce her lover; he is more criminal than the man he condemns.
g A camail is a blue or purple ornament worn by a bishop over his vestments.
h By “pontifically,” Myriel means “as a bishop should: humbling himself to exalt God.”
i Unless God protects a house, they who guard it watch in vain.
j The Provost’s Court was a tribunal that passed judgment on the accused without giving them the right of appeal; it served Royalist vengeance after Napoléon’s fall in 1815.
k Myriel feels the joy of political progress was tainted by revolutionary atrocities; the conventionist feels this joy was blasted by the Restoration of the monarchy in 1814.
l Myriel counters the claim that the Revolution was “the consecration of humanity” by alluding to the Reign of Terror in 1793, when the King and Queen, and 20,000 others, were guillotined.
m The conventionist quotes Christ’s “let the little children come unto Me,” and implies that the class system under the monarchy invalidates the monarchy’s claims to be truly Christian.
n Hugo makes Jean Valjean’s life parallel the history of France: he is imprisoned during Napoléon’s dictatorship, and hides in the convent during the rule of the reactionary Charles X; when he is free, France also is freer.
o Lot’s wife, spared by the angels who destroyed Sodom in a rain of fire, disobeyed them, looked back at the city, and was turned to salt.
p Hugo often described his most saintly characters with a glowing or gleaming countenance, transfigured by grace as was Moses descending from Sinai.
q This description of fleeing a holy dwelling by climbing over a wall constitutes an advance mention, with the situation reversed, of Jean Valjean finding refuge for himself and Cosette in Paris by climbing over the wall of a convent.
r Chimneysweeps were called “little Savoyards,” because only children were small enough to climb into chimneys to clean them, and because many such children came from Savoy in eastern France.
s The hallucination of menacing bushes comes from Jean Valjean’s guilty conscience, and anticipates Eponine’s impression that the bare trees are gallows.
t Comparisons between Jean Valjean and Satan or (later) Christ seem melodramatic, but they underline that damnation or salvation is at stake.
u French tradition distinguished sharply between the femme sensible, who has had only one love affair outside marriage, and the femme galante, who has had more.
v The Directory (1795-1799) was the transitional government between the Revolution and Napoléon’s assumption of the supreme power.
w The grisettes, poor young working women who wore gray smocks, were traditional targets of seduction attempts by students and young male professionals.
x In ancient Greek and Roman literature, an eclogue was a poem about the idealized loves of imaginary shepherds and shepherdesses; Hugo’s tone is sarcastic. ‡The sentence means “are people who jest always hard-hearted?”
y Vestals were virgin priestesses who served the temples of the gods in ancient Greece.
z Khair ed-Din Barbarossa (1466?-1546) was a notorious Turkish pirate who ruled most of the Mediterranean near the end of his life; he greatly admired a Byzantine statue of Diana, the ancient goddess of the hunt, the moon, and chastity.
aa Alain-René Lesage’s play Turcaret (1709) satirizes a lustful financier from the provinces. Priapus, son of Dionysus, was the Greek god of virility and procreation.
ab Here, as elsewhere, Fantine’s remark shows that only she among the four companions really cares for her lover. See the first half of the next chapter as well.
ac M. Madeleine’s assumed name, borrowed from Mary Magdalene in the New Testament of the Bible, connotes repentance; his attitudes here reflect whole-hearted faith in Providence.
ad Hugo believed in punitive reincarnation, and in universal salvation at the end of time (the Pelagian heresy). See “Ce que dit la Bouche d‘Ombre” in his Contemplations (1856).
ae The Faubourg Saint Germain refers to high society in Paris, and is applied to Montreuil-sur-Mer as a whimsical antonomasia (another example: “the champagne of bottled beers”).
af Reacting vehemently and blindly against his criminal family origins, Javert illustrates the psychological mechanism of overcompensation.
ag The Styx, the river of Death, surrounded the ancient Greek and Roman Hades nine times; once you crossed, there was no return. Javert believes redemption is impossible.
ah Lucius Junius Brutus, founder of the Roman Republic, condemned his son to death as a conspirator (509 B.C.); François-Eugène Vidocq (1775-1857), a famous criminal who became Chief of Police, inspired romantic writers with his badly written Memoirs (1828).
ai The Venezuelan hero Simon Bolívar (1783-1830) devoted his life to trying to create a federation of Latin American countries. Gabriel García Márquez tells his tragic story in The General in His Labyrinth (1989).
aj For details, see Emile Zola’s Nana (1880), and Charles Bernheimer’s Figures of lll Repute (Harvard University Press, 1989).
ak M. Madeleine’s beneficent influence on Fantine illustrates the transference of merit in the Communion of Saints. Bishop Myriel previously imparted redemptive grace to Jean Valjean.
al Hugo borrows two techniques from Balzac here: allusions to the pseudo-science of physiognomy, and the episodic observer brought in to deliver expert testimony.
an Like Jean Valjean elsewhere, Javert here applies the title word misérable to himself, in the sense of morally debased.
ao Hugo compares Jean Valjean to Christ in the Garden of Gethsemane, ordered by God to accept the chalice of fear, pain, and death that is the Crucifixion.
ap This paragraph, in free indirect discourse, faithfully renders Jean Valjean’s point of view. The tone is at once sincere, because his rationalizations fully convince him for the moment, and ironic, because the reader can see through them so easily.
aq A whiffle-tree or single-tree is a pivoted horizontal crossbar attached to the harness traces of a draft animal and to the vehicle it pulls.
ar “Convictions” is a pun: the prosecutors and judges want to prove guilt and impose sentence, a social damnation; Jean Valjean, in contrast, comes to realize that his soul’s health depends on his accepting his material guilt.
as By claiming that prosecutors’ denunciations of criminals all are derived from Jean Racine’s récit de Théramène (Phèdre V.7), Hugo condemns the poverty of their imagination.
at Honest Javert is unfair to Jean Valjean, who tried to escape four times, not “five or six.” He is innocent of the Pierron robbery and was exonerated by the Bishop.
au The Restoration was so eager to reinstitute state-sponsored Catholicism, the moral basis of divine-right monarchy, that it accepted any manifestation of religious sentiment at face value.
av To have hair turn white overnight from an emotional shock is a common melodramatic device in nineteenth-century fiction.
aw The letters are the abbreviation for travaux forcés à perpétuité—hard labor for life. Compare the scene in Honoré de Balzac’s Le Père Goriot (1834) in which slapping the unconscious Vautrin’s shoulder reveals his convict’s brand.
ax To say “the Emperor” instead of “Buonaparte” (in four syllables) betrays that M. Madeleine admires or at least respects Napoléon, rather than considers him a foreign usurper, illegitimate and born in Corsica before that island had become French.
ay “This denoted” again reflects Balzac’s influence in seeing details of a person’s features or clothing as revealing deep-seated traits of their personality. The episodic observer (one who knew Javert thoroughly) is used again.
az Jean Valjean refers to the dead Fantine, again revealing his faith in immortality.
ba ... Who come from Savoy every year, / And whose hand deftly wipes out / Those long channels choked up with soot.
bb The newspaper stories at the beginning and end of this book illustrate what Georges May called “the bad conscience of the novel,” the desire to be taken seriously that leads it to invent “real” sources (Le Dilemme du roman français au XVllle siècle, 1963).
bc Hugo knew English and English literature fairly well; one of his sons translated all of Shakespeare’s plays into English. Here he alludes to Hamlet’s comparison of human life to “a tale told by an idiot, full of sound and fury, signifying nothing.”
bd This wailing baby will reappear as Gavroche. Mme Thénardier’s monstrous nature appears in her total indifference to her three sons. Her cruelty gives the lie to her husband’s scruples, the next morning, about giving up Cosette.
be Hugo puns by calling Thénardier a filou-sophe instead of philosophe. Filou means “crook”; the whole invented word implies “someone who knows and loves crime.”
bf Here and in many other places, Hugo portrays himself as an investigative reporter who researches documents and questions witnesses.
bg The garrulous Thénardier, always lying, contrasts dramatically with the taciturn, invariably truthful Jean Valjean.
bh In this scene, frequent notations of posture, gesture, and voice quality reflect Hugo’s keen sensitivity to theater.
bi As Cosette proceeds farther into the darkness, her fear (“there were perhaps ghosts”) acquires a hallucinatory intensity (“she distinctly saw the ghosts”).
bj Hugo, typically, contrasts and dramatizes the microcosm (the “atom,” the human scale) and the macrocosm (the cosmos, the infinite).
bk A thousand crowns is 3,000 francs, double the amount agreed on.
bl Hugo suggests that Fauchelevent has been transformed by divine grace.
bm In French, c‘est là le bon écrou: that [death] is the best lock-up.
bn The Communion of Saints has transferred merit from both the nuns and M. Madeleine to Fauchelevent.
bo Fauchelevent mishears surnoms as surtouts.
bp Cemeteries are locked at night to prevent grave robbing, desecration of tombs, and the sale of cadavers for dissection.
bq Le Bon Coing in French; puns with Le Bon Coin, meaning the cozy comer.
br In French, il le coiffait—literally, “he did his hair”; figuratively it means “he seduced him [into drinking] by putting the idea in his head.”
bs Le Prytanée was a military academy.
bt Idiom for “he didn’t say who was going to pay.”
bu “Dead and Buried” translates the idiom [être cloué] entre quatre planches, “to be nailed up inside four planks” (four sometimes is an indefinite number in French).
bv They who were sleeping in the dust of the earth, shall awake; some into the life eternal, and others into disgrace, that they shall see forever.
bw Hugo characteristically introduces an episodic observer here, but this time not an expert one. Such figures anchor the story in a social nexus, a human community, that connects readers and characters.
bx Catharine was Cosette’s magnificent doll, purchased by Jean Valjean. This paragraph again explains the origins of the girl’s timid, self-effacing character.
by As he does in dozens of other places in the novel, Hugo strongly implies that Providence has intervened to help redeem Jean Valjean.
bz the spiral is a common image in nineteenth-century French literature to signal the presence and effects of altered states of consciousness.
ca The Assumption of the Blessed Virgin Mary, a national holiday on August 15, refers to her being taken up directly into Heaven at the moment of her death, and before her mortal body could suffer any corruption (decay).
cb The disclaimer means that Hugo feels more skeptical and critical than Jean Valjean. He admires many nuns as individuals, but condemns the monastic life.
cc Such spiritual development characterizes the Idealistic Novel; compare Flaubert’s tale “A Simple Heart,” or several of George Sand’s novels.
cd Gamin is “street urchin,” a meaning that is now archaic.
ce Plautus and Terence, ancient Roman writers of comedies, use the word “homuncio,” as does the satirist Juvenal; the most famous example, in the sense of “test tube baby” that we find here, appears in part II of Johann Wolfgang von Goethe’s Faust (the Homunculus).
cf A pun: Pont des Arts is a bridge in Paris; arrhes is earnest money paid to bind a contract.
cg “Agreeable” in conjunction with the word “useful” in the next chapter title alludes to the ancient Roman definition of the desiderata for literary satire: the gamin Gavroche is satire personified.
ch A ship’s cheapest cabins are in the hold, below the decks; a theater’s are in the top balcony.
ci A term jokingly used for the upper balconies of a theater, because they seem so close to Heaven.
cj Muche is perhaps from the variant form of musse-pot, “in hiding.” Hugo disliked the famous actress Mlle Mars, who complained of and sometimes refused to use the informal language in his plays.
ck the last two paragraphs characterize the gamin as an eiron (debunker, deflator of pretentions), and thus as the natural enemy of the bourgeois alazon, or self-satisfied braggart.
cl The term “red spectre” described a bloodthirsty revolutionary, in the eyes of the Royalists; the reference is to Colonel Pontmercy, Marius’s gentle, courageous, devoted father, an idealization of Hugo’s.
cm Baron was an honorific title ranking just above chevalier and just below vicomte (the lowest rank of land-owning nobility). Napoleon awarded it widely to honor meritorious achievement; his enemies, the Royalists, therefore had no inclination to honor it.
cn Pistoles were 10-franc coins.
co “A B C” in French is pronounced ah-bay-say, exactly like the French word abaïssé, “the abased.”
cp Enlightenment philosopher Jean Jacques Rousseau, harbinger of the Revolution, put all five of his children up for adoption. (The evil Thénardiers also will have five, but they at least keep two.)
cq The beginning of wisdom (Latin).
cr Because my name is lion (Latin; the implication is “I am entitled to the largest share”): a well-known proverb taken from a fable.
cs If Caesar had given me / Glory and war / And I had to abandon /The love of my mother, / I would say to great Caesar: / Take thy sceptre and car, / I prefer my mother, ah me! / I prefer my mother.
ct Throughout the novel Hugo emphasizes the grandeur of moral courage, which may show itself in obscure deeds and in humble lives.
cu Note Hugo’s tidy construction: the meeting of Marius and Cosette, whose story will dominate the remainder of the novel, occurs exactly in the middle of the third of five parts.
cv The Italian painter Raphael (1483-1520) captures the ideal spirituality of woman; the French sculptor and architect Jean Goujon, her material beauty: Cosette—at least in Marius’s eyes, combines both.
cw The “pale, bluish light” represents a perception of the ideal. Flaubert had fiercely satirized this association in Madame Bovary (1857).
cx An autobiographical reference: at age fifteen, Hugo himself had allowed the much older Neufchâteau, a member of the Académie Française, to take credit for Hugo’s brilliant article on Alain-René Lesage’s early eighteenth-century novel, in exchange for patronage in his nascent literary career.
cy Marius is so emotionally overwrought by being in love that he responds intensely to the most banal potboiler of the popular boulevard theater.
cz Marius would love to be able to flaunt some distinction so as to impress Cosette.
da Marius imagines the handkerchief to be a love token left for him by Cosette: in fact, it is a trap set by Jean Valjean, to test the young man’s feelings.
db Hugo alludes to the French proverb l‘appétit vient en mangeant, “eating gives you an appetite”—that is, having a little makes you want more.
dc Idealizing Cosette and her “father,” Marius assumes that they must be rich; lodgings on the lower floors above ground level cost more.
dd Ugolino, in Dante’s early-fourteenth-century Inferno, was punished for having devoured his children to survive when he and they were imprisoned together. Thénardier, who sacrifices his own children for paltry profits, illustrates the social form of such supreme egotism.
de Lacenaire was a famous contemporary criminal and murderer.
df François-Noël Babeuf (1760-1797) and Jean-Paul Marat (1743-1793) both justified massacres with their egalitarian theories, before they themselves died in the Revolution. Cartouche and Schinderhannes were criminals who killed from pure hate.
dg For Hugo’s understanding of Satan’s rebellion, his fall, and Hell, see his long visionary poem La Fin de Satan (unfinished; c.1859-1860), which correlates the cosmic drama with the phases of the French Revolution.
dh “The cave Ignorance” and “the mole Crime” are further examples of Hugo’s métaphore maxima (maximal metaphor) that modifies one noun with another—contrary to French grammar—to produce a synthetic concept that reflects supernatural truths.
di “To take on Paris hand to hand” imitates the challenge that Honoré de Balzac’s flawed hero Eugène de Rastignac cries out to the city at the end of Le Père Goriot (1834): à nous deux maintenant, “the two of us will have it out now.”
dj Let it gleam or let it glimmer, / The bear returns into his cave. The equivalent of Ground Hog Day is a long-standing international tradition.
dk Marius’s point of view, gently mocked by Hugo; to attend to his material needs seems unworthy of his devotion to Cosette.
dl The city gate, where tolls (l‘octroi) were levied for importing certain merchandise; these entrance duties were suppressed throughout France in 1949.
dm “The cops came. They just missed nabbing me at the half-circle [-shaped road intersection].” “I saw them. I beat it out of there.”
dn “Colin Maillard,” who is “it” in the child’s game Blind-Man’s Buff, tries to catch and identify one of the other players. Marius can’t figure out who they are.
do Eponine, once favored over Cosette, now contrasts dramatically with Jean Valjean’s radiant ward, having become prematurely aged, ill, and morally degraded.
dp That she feels at home in a man’s bedroom suggests that she has engaged in prostitution. What follows makes it clear that her father is offering to sell her body.
dq I’m hungry, dad. /The food is gone. / I’m cold, ma. / No coat to put on. / Shiver, girl! / Cry, little boy.
dr The agrammatical métaphore maxima, modifying one noun with another, indicates the effects of supernatural intervention.
ds Thénardier has misspelled four of the five names of Napoléon’s great victories—he wants to imply that he fought in them, but his spelling exposes his lack of familiarity with those campaigns.
dt “Vanity of vanity, says the preacher; all is vanity,” Ecclesiastes 12:8. The Bible rejects attachment to worldly things; Thénardier, in contrast, bitterly resents not having received more recognition from the world of men.
du A pun on the French s‘exécuter (comply) and exécuter (kill).
dv Two people don’t get together in an isolated place in order to say the rosary (Latin).
dw Thénardier, who plans to blackmail Jean Valjean for 200,000 francs, apparently plans to try to get away with giving only 500 to each of his accomplices.
dx Fumistes also means cruel tricksters.
dy The French uses the idiom Je mets de l‘eau dans mon vin (“I’m watering down my wine”).
dz La bourgeoise is equivalent to “my old lady.”
ea The Hand of Providence, which willed that democracy would ultimately triumph in France.
eb Days of triumph for the Revolution and for Napoléon, respectively.
ec Alludes to Julius Caesar’s famous alea jacta est (“the die is cast”) when he crossed the Rubicon with his troops, in defiance of a standing order by the Senate.
ed A round table did not allow for one person to sit at the head, symbolically superior to the others seated there.
ee Agostín Iturbide (1783-1824), a Mexican general, was proclaimed Emperor of Mexico in 1822, and executed by firing squad two years later.
ef This revolution imposed a new constitution, but retained the king and limited suffrage to 1 percent of potentially eligible voters—the wealthiest males.
eg To hold the coronation ceremony in a secular building instead was symbolically to diminish the influence of the Catholic Church in the government.
eh Euryanthe was composed by the German Romantic artist Carl Maria von Weber (1786-1826), who was quite popular in France and particularly distinguished in his work for the piano.
ei Hugo alludes to the Cabalist doctrine of “Occultation”: to preserve the free will and moral responsibility of humans, who would be overwhelmed by a direct view of God’s glory, he “withdraws” behind the masks of the sun and stars.
ej Figuratively means “hairdresser,” but literally, “codfish.”
ek “Omnibus” because anybody can ride on her.
el Saint Martin, bishop of Tours (ca. 316-397), cut his warm winter cloak in half to give part to a freezing beggar.
em Slang for “drink” (from a variant form of lecher, to lick).
eo Gavroche says rentrons dans la rue (“let’s go back inside the street”) because it is literally his home.
ep Frédéric Lemaître (1800-1876), a celebrated actor, gave rousing performances in romantic plays. Gavroche may well have received free tickets as payment for being part of a claque that would applaud vehemently—performing a function similar to today’s laugh and applause tracks on television.
eq Hugo contrasts the grim prison that evokes Milton’s Hell with a pleasant garden that recalls the pioneering children’s books by Arnaud Berquin (1741-1791), a sentimental, moralizing author.
er “What a good night for an escape.”
es “Let us go. What are we doing here?”
et “It’s raining enough to put out the devil’s fire. And then the police are going by. There is a soldier there who is standing sentinel. Shall we let them arrest us here?”
eu What is it you tell us there? The innkeeper couldn’t escape. He don’t know the trade, indeed! Tear up his shirt and cut up his bedclothes to make a rope, to make holes in the doors, to forge false papers, to make false keys, to cut his irons, to hang his rope outside, to hide himself, to disguise himself, one must be a devil! The old man couldn’t do it, he don’t know how to work.
ev Your innkeeper must have been caught in the act. One must be a devil. He is an apprentice. He has been duped by a spy, perhaps even by a sheep, who made him talk. Listen, Montparnasse, do you hear those cries in the prison? You have seen all those lights. He is retaken, come! He must be left to get his twenty years. I have no fear, I am no coward, that is known; but there is nothing more to be done, or otherwise they will make us dance. Don’t be angry, come with us. Let us go and drink a bottle of old wine together.
ew I tell you that he is retaken. At the present time, the innkeeper isn’t worth a penny. We can do nothing here. Let us go. I expect every moment that a sergent de ville will have me in his hand.
ex A rope (argot of the Temple).
ey My rope (argot of the Barrières).
fa A child (argot of the Temple).
fb A child (argot of the Barrières).
fc “A child like me is a man, and men like you are children.”
fd “How well the child’s tongue is hung!”
fe “The Parisian child isn’t made of wet straw.”
fh “To the top of the wall.”
fi “To the cross-bar of the window.”
fk “Nothing to do there.”
fm Whereas Cosette’s mother, Fantine, met with a cruel lover who destroyed her. Hugo implies that such “permissive evil” must be part of a larger providential plan that we cannot apprehend.
fn The Jungfrau, or Virgin, is a high, snow-covered peak in the Swiss Alps. Hugo evokes a fantastic vision of white on white—absolute purity.
fo In addition to being a great visionary poet and a great satiric poet, Hugo is a great love poet. See, for example, “Aurore” and “L‘Âme en fleur,” books I and II of Les Contemplations (1856).
fq Brought; from the Spanish llevar.
fs To break a pane by means of a plaster of mastic, which, sticking to the window, holds the glass and prevents noise.
fw ‘Tis not the first of the new year, / To hug papa and mamma dear.
fz Francs, sous, or farthings.
ga So plump is my arm, / My leg so well formed, / Yet my time has no charm.
gc Thénardier, who has become a complete monster, is ready to see his daughter murdered without blinking an eye.
ge Théodule is “unbearable” because the three-colored cockade on his uniform, symbol of the constitutional compromise between the king (white) and the people (blue and red are the colors of Paris) offends M. Gillenormand, a conservative royalist.
gf Napoleon is made, / All of willow braid.
gg Evokes a well-known fable by Jean de La Fontaine, in which a buzzing, pesky fly takes credit for having gotten a team of horses to haul a heavy coach uphill; Gavroche acts like that fly (but more effectively).
gh In a privileged moment of moral and political insight, Marius understands the dignity and necessity of his participation in the uprising of 1832. The next two paragraphs represent his thoughts in free indirect discourse.
gi Napoléon’s victory there was grand, because many soldiers were involved; to capture the Bastille (where the defenders surrendered, and which at the time contained only three prisoners) was “immense” owing to its symbolic importance.
gj As in the Champmathieu affair, despite the strong temptation, Jean Valjean cannot allow another person to die to ensure his own happiness. He sadly recognizes his painful moral duty to do everything possible to save Marius.
gl Nearly every time Hugo mentions children in this novel, he implicitly advocates for more public aid for those orphaned and abandoned.
gm This paragraph encapsulates Hugo’s vision of spiritual progress for all humanity.
gn On April 15,1834, government agents mistakenly murdered an innocent working man and his family in a poor neighborhood of Paris, on suspicion of subversive activities. Honoré Daumier protested with a famous lithograph.
go Another allusion to Dante’s Inferno, with the implication that Jean Valjean’s horrible struggles will ultimately prove redemptive.
gp “The City” includes l‘Île de la Cite and l’Île Saint-Louis in the Seine.
gq A rhetorical term for a pithy concluding exclamation, here used whimsically to create a mock-heroic style.
gr Not only is Marius’ body heavy to carry, but Marius also represents a figurative cross to bear because he makes Jean Valjean suffer jealousy, rage, and the fear of losing Cosette.
gs A universal symbol of evil and entrapment, often used by Hugo.
gt Refers to the figurative chalice of suffering that Christ, foreseeing his crucifixion, had to accept at Gethsemane and drain to the bottom.
gu Thénardier puns by using the French idiom for “liberty”—la clé des champs (“the key to the fields”).
gv Thénardier uses the idiomatic expression ça me botte—“that puts boots on my feet” (in a day when many had to go barefoot).
gw The French term used is le recel, which refers to the felonies of receiving stolen goods or hiding persons wanted by the police.
gx Jean-Baptiste Greuze (1725-1805) was a prominent painter of maudlin, moralizing subjects, and cloyingly cute children and girls.
gy “To pull the Devil by the tail” is a French idiom for “to have trouble making ends meet.”
gz French lawyers often served as investment managers for individuals and were notorious for absconding with their clients’ funds. See Flaubert’s “Un coeur simple.”
ha The French faire la noce is a pun also meaning “have an orgy.” Thénardier, dis guised as a Spaniard in the Mardi Gras procession, makes the same pun when he sees Cosette and Marius’ wedding carriage pass: “We’re the real ‘noce.”’
hb The hydra was a huge legendary serpent with seven heads; when you cut off one, several grew back. The image refers to Jean Valjean’s temptation by angry, selfish thoughts.
hc For the remainder of this paragraph and the next, and intermittently throughout the rest of the chapter, Hugo renders Marius’ inner questioning with free indirect discourse, to make him more vividly, intimately present to us.
hd The métaphore maxima conveys the supernatural mysteries that underlie Jean Valjean’s extraordinary behavior.
he Marius is at the beginning of his moral progress, and Jean Valjean at the end of his.
hf “Begone, Satan”—Christ’s final reply to the Devil’s three temptations in the Bible, Matthew 4:10.