Gervais wrote:I guess the "high safe place" is relative; Fantine certainly falls, but she wasn't exactly in the highest place to begin with. Though everything else with archetypes is relative, so I guess she counts, then.
...Almost everyone in this book falls. Geeze.
I know, and the funny thing is, if they almost all fall, then that option for tragedy or redemption is really open, and interesting. Also, they're the miserable ones, 'high safe place,' is certainly relative. I think one of the ones who symbolizes it the best, though, is Éponine. Starts out pampered, or at least relatively so, and then she does fall, and ends it with a tragedy that brings about her redemption, as she sees it. Also, Jean Valjean, of course, but even Javert, though his safe place is there for most of the book, and it's only at the end that he falls. The irony.
Oh look, it's Pontmercy again:
Father-Son Conflict – Tension often results from separation during childhood or from an external source when the individuals meet as men and where the mentor often has a higher place in the affections of the hero than the natural parent. Sometimes the conflict is resolved in atonement.
Except, y'know, more dying. Though, looking at it a bit more, it could go with him and Gillenormand more than his actual father, with maybe Mabeuf as the mentor? For Gillenormand as the father, "External source" would be the death of Georges, "meet as men" maybe right before he leaves, and the "atonement" being his return home.
And that, my friend, is straight out of the monomyth.
And since I've brought him up, have his coat color:
growth, Jupiter and Venus, the note G, envy
I'll go ahead and admit that I want to see/listen to some of his lines now and figure out where he sings Gs.
Ah, brilliant; I hadn't even thought of that! Especially adaptability and growth, though jealousy is a good one, too, as well as hope.
And yes, likewise, I want to go through Red and Black and see if there's any Cs. Or rewrite all the LM songs by color.
Huh, here's an interesting setting archetype:
The Inn – A remote roadside setting where traveler and locals interact, the inn is rarely a place of good news. Fear of the unknown often accompanies the tragedies of inn inhabitants. In some stories, a beautiful woman is an unexpected surprise at the inn.
Or at least an ugly child who grows into a beautiful woman.
Unless they meant The Thenardieress.
Seasons tend to be traditional symbols.
Ooh, this is something we could have fun with. Since Hugo typically does give us the season of things, doesn't he?
Well, there's the June rebellion, and Waterloo, that quote about "summer does not abdicate." That is definitely a message, if not exactly a symbol, that summer isn't always beautiful. And Fantine gave up her child in spring, I think. So either Hugo really didn't care, or he was doing the opposite of what they typically represent, since spring is usually life, and giving up Cosette was the beginning of the path to her death.
I think the Gorbeau robbery stuff happened in February or so, so winter, right? That could make sense.
Trying to remember when Marius and Cosette met, both first in the Luxembourg with their eyes, and later in the Rue Plumet garden. It feels like spring, but I don't know.
No, wait, it was January, wasn't it? For the Luxembourg. And then...two months would make it...April, right? I don't know.
Ignore my bad memory; this is perhaps not it at all.
Though, while we're on the subject, gardens.
Gardens = life, hope, beauty, innocence.
EDIT: Or, according to Sources, gardens represent "paradise, innocence, unspoiled feminine beauty, and fertility."
EDIT AGAIN: And, I just found this:
1. The mythos of spring: comedy
2. The mythos of summer: romance
3. The mythos of fall: tragedy
4. The mythos of winter: irony
So maybe I'm entirely on the wrong track, here. http://comminfo.rutgers.edu/~mjoseph/c-guerin.html