3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Abaissé re-reads the novel in its entirety! All welcome, no matter whether you're reading in French or some other translation. Discussion topics for each step along the way.

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3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Frédérique » Wed Jan 26, 2011 1:42 pm

Volume 3: Marius, book 1: Paris étudié dans son atome/Paris studied in its atom

Chapters:

1. Parvulus
2. Quelques-uns de ses signes particuliers/Some of his particular characteristics
3. Il est agréable/He is agreeable
4. Il peut être utile/He can be useful
5. Ses frontières/His frontiers
6. Un peu d'histoire/A bit of history
7. Le gamin aurait sa place dans les classifications de l'Inde/The gamin will have his place in the classifications of India
8. Où on lira un mot charmant du dernier roi/Wherein shall be read a charming word from the last king
9. La vieille âme de la Gaule/The old soul of Gaul
10. Ecce Paris, ecce homo
11. Railler, régner/To scoff, to reign
12. L'avenir latent dans le peuple/The future latent in the people
13. Le petit Gavroche/Little Gavroche

You can find the French text of this book here and the Hapgood English translation here.

Two handsful of mostly short chapters portraying and marveling at the Parisian gamin (described as ultimately symptomatic of the state of Parisian civilisation, that in turn serving as an indicator of that of all human civilisation) in broad sweeps and brief snippets, where to spot him (anywhere) and what to expect of him (everything). Also features some of the book's most memorable cries for Light! Light!, for universal education and for daring deeds. Oh, and we meet Gavroche! (And the Jondrettes! And Marius!)
Momentary digressions include: impressions of the suburbs, the ancien régime's generation of (literal) galley slaves, an eruption of ancient and modern namedropping unheard since Grantaire passed out using your hat as a pillow, and 'incidentally, it was I who first used the word gamin in literature!'.




... okay, that summary was about as long as the entire twelfth chapter. I'm about fifty years behind on the first two volumes but I read this book standing up, firstly because hey! Paris, Nine Years Later!, secondly becaues it is pure distilled everything-I-love-about-Hugo's writing.
As always, anyone else who has struggled to keep up but wants to join the discussion and/or squee for this part is heartily encouraged to do so! :D

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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby MmeBahorel » Fri Jan 28, 2011 2:56 am

Troisième Partie

Livre 1

Chapitre 1
1 (Parvulus): << Le tout petit. >>
The very little one.

2 (Homuncio): << Le petit homme. >>
The little man.

3 (who have nothing of all that): Paraphrase amère de la parbole évangélique : << Regardez les oiseaux du ciel : ils ne sèment pas […] et votre Père éternel les nourrit […]. >> (Matthieu, VI, 26.)
Bitter paraphrase of the parable from the gospels: “Look at the birds of the sky: they sow nothing . . . and your eternal Father feeds them. . . .” (Matthew 6:26)

Chapitre 2
4 (le sourd/the deaf thing/the unhearing): Souvenir d'enfance des Feuillantines particulièrement vif, également recueilli par le Victor Hugo raconté... (ouv. Cit., p. 128) : << Ils avaient inventé un animal qu'ils se représentaient couvert de poils, avec des pinces, lesquelles étreignaient et enlevaient ce qu'elles saisissaient. Ils avaient appelé cet animal : sourd. >> Ce fantasme enfantin est peut-être à l'origine des << monstres >> hugoliens, du Quasimodo de Notre-Dame de Paris à l'Ugolin du << bas-fond >> parisien – voir plus loin III, 7, 2.
Particularly vivid memory of childhood in the Feuillantines, equally recorded in Victor Hugo Recounted . . . (op. Cit., p. 128): “They had invented an animal that they described covered in bristles, with pincers, which seized and lifted what they took hold of. They had called this animal: deaf thing.” This childish fancy is perhaps the origin of the Hugolian “monsters”, from Quasimodo of Notre-Dame de Paris to Ugolin of the Parisian “lowest depth” - see further on, III, 7, 2.

Chapitre 3
5 (is called Paradise): Autrement dit, le << poulailler >>. Cette << cale étroite, fétide, obscure >> n'est pas sans rapport avec le ventre de l'éléphant de la Bastille, appartement de Gavroche en IV, 6, 2.
Otherwise called the “henhouse”. This “narrow, fetid, dark hold” is not without connections to the stomach of the Bastille elephant, Gavroche's apartment in IV, 6, 2.

6 (Adamastor): Géant, héros des Lusiades de Camoëns.
Giant, hero of Camoes' Lusiads.

Chapitre 4
7 (currit rota): Adaptation d'Horace (Art poétique, 21-22) : << L'amphore est commencée ; le tour du potier tourne ; pourquoi en sort-il une cruche ? >>
Adaptation from Horace (Poetic Art [Ars poetica], 21-22): “The amphora is begun; the potter's wheel turns; why does a pitcher come out?”

Chapitre 5
8 (as Flaccus): Épître (I, 10) d'Horace – Quintus Hartius Flaccus, qui commence ainsi : << A Fuscus, amoureux de la ville, je dis bonjour, moi qui aime la campagne. >> Ce vers, << Urbis amatorem Fuscum salvere jubemus, ruris amatores >> avait déjà été noté et adapté par Hugo dans ses carnets en 1838 – voir éd. J. Massin, t. V, p. 903.
Epistle (I, 10) from Horace – Quintus Hartius Flaccus, who begins thus: “To Fuscus, lover of the city, I say hello, I who love the country.” This verse, “Urbis amatrem Fuscum salvere jubemus, ruris amatores” had already been noted and adapated by Hugo in his notebooks in 1838 – see ed. J. Massin, vol. V, p. 903.

9 (prowler of the barrières/customs barriers): Voir la note 1 du livre II, 4 où Hugo se nommait << promeneur solitaire >>. La définition donné plus loin (p. 602) du << rôdeur de barrière >> assimile l'auteur à l'escarpe.
See note I of book II, 4 where Hugo is called “solitary walker”. The definition given later (p. 602 [III, 8, 10]) of “prowler of the barrières” likens the author to the professional thief or assassin.

10 (striped with balls): C'est là que fut fusillé Lahorie en 1812, comme tous ceux que le Conseil de guerre condamnait à mort.
It is there that Lahorie was shot in 1812, as were all those that the court martial condemned to death.

Chapitre 7
11 (into literary language in 1834): En 1834, Claude Gueux dit : << Rien ne pouvait faire que cet ancien gamin des rues n'eût point par moments l'odeur des ruisseaux de Paris. >> En fait, Hugo avait déjà utilisé ce mot dans Notre-Dame de Paris, en 1831 (II, 6) et Delacroix, dans son tableau << La Liberté guidant le peuple >> avait fixé son image la même année. Le mot n'était plus si scandaleux. Toutefois, si elle est vraie, une anecdote pourrait justifier cette impression. C'est en 1836, lors du voyage en Normandie où Juliette et Célestin Nanteuil accompagnaient Hugo. Les voyageurs auraient rencontré sur l'impériale d'une diligence un digne << membre de la Société archéologique de Rouen >> qui, ne reconnaissant pas V. Hugo, se serait lancé dans une virulente condamnation de Claude Gueux : << Enfin, Madame, excusez-moi, tenez, je vais vous le dire : il a osé d'écrire le mot gamin. Voilà où en est la littérature française. >> (G. Rivet, Victor Hugo chez lui, 1885.)
In 1834, Claude Gueux said: “Nothing could prevent this former gamin of the streets from having at times the odor of the gutters of Paris.” In fact, Hugo had already used this word in Notre-Dame de Paris, in 1831 (II, 6) and Delacroix, in his painting, “Liberty Guiding the People” had fixed his image the same year. The word was no longer so scandalous. All the same, it is true, an anecdote could justify this impression. It was in 1836, during the trip to Normandy when Juliette and Célestin Nanteuil [French only] accompanied Hugo. The travelers would have met on the top level of a diligence an upstanding “member of the Archaeological Society of Rouen” who, not recognising V. Hugo, launched into a virulent condemnation of Claude Gueux: “Finally, madame, excuse me, hold on, I will tell you: he dared to write the word gamin. There is where French literature has ended up.” (G. Rivet, Victor Hugo At Home, 1885.)

12 (Samson and Abbé Montès): Sanson : le bourreau – la même famille fut titulaire de cette charge de 1688 à 1847. L'abbé Montès : aumônier des prisons sous la Restauration et la Monarchie de juillet.
Sanson: The executioner – the same family was tenured in this post from 1688 to 1847. Abbé Montès: chaplain of prisons under the Restoration and the July Monarchy.

13 (Lacenaire): Plusieurs noms de cette liste de condamnés à mort hantent l'oeuvre de Hugo depuis Le Dernier Jour d'un condamné. Dautun est déjà présent en I, 3, 1 et Castaing I, 3, 3. Lacenaire et son complice Avril furent particulièrement célèbres : Balzac se souvient d'eux dans Splendeurs et Misères des courtisanes et il est l'un des héros éponymes du crime dans Châtiments.
Several names in this list of those condemned to death haunt Hugo's work since The Last Day of a Condemned Man. Dautun is already present in I, 3, 1 and Castaing [French only] in I, 3, 3. Lacenaire and his accomplice Avril were particularly famous: Balzac remembers them in Splendors and Miseries of Courtesans and he is one of the eponymous heros of crime in Les Châtiments.

Chapitre 8
14 (The pear is also up there): Un caricaturiste du journal Le Charivari – Philippon – avait rendu célèbre la déformation en poire des traits du roi ont les pièces nouvellement frappée portaient l'effigie. Comme le napoléon – frappé sous l'Empire, le louis vaut 20 F soit de 500 à 1 000 de nos francs.
A caricaturist with the newspaper Le Charivari – Philippon – had made famous the traits of the king deformed into a pair based on the coins newly minted with his profile. Like the napoleon – minted under the Empire, the louis was worth 20 francs, being from 500-1000 of our francs. [Rosa compiled his notes in 1985: in calculations from [url=http://www.insee.fr/en/themes/indicateur.asp?id=29&type=1&page=achatfranc.htm]this table[/url, it works out to about 125-250 euros or $175-350 US in 2009 figures.]

Chapitre 9
15 (swamped with porticoes): La tradition lycéenne n'a pas encore tout à fait oublié le sens classique donné au vers d'Athalie : << Le peuple saint en foule inondait les portiques >>. Observant les huguenots sortant du temple un dimanche, Hugo avait déjà noté dans un carnet de 1840 : << Je croyais qu'en Allemagne il était interdit d'inonder les portiques. >> (Le Tas de pierres, éd. J. Massin, t. VI, p. 1140.) Voir aussi Notre-Dame de Paris (VII, 7).
The high-school tradition had not yet entirely forgotten the classical sense given to the verse from Athalie: “The holy people crowding in swamped the porticoes”. Observing the Calvinists leaving church one Sunday, Hugo had already noted in a notebook from 1840: “I thought that in Germany it was forbidden to swamp the porticoes.” (The Heap of Stones, ed. J. Massin, vol. IV, p. 1140.) Also see Notre Dame de Paris (VII, 7).

16 (Saint Januarius' phial): Célèbre << miracle >> napolitain qui liquéfie trois fois par an le sang du saint conservé dans une ampoule. Le clergé local ayant annoncé que la présence des armées de Bonaparte faisait obstacle au miracle, le général Championnet s'employa à faire obéir saint Janvier.
Famous Neapolitan “miracle” that liquifies three times a year the blood of the saint preserved in an ampoule. The local clergy having announced that the presence of Bonaparte's armies was an obstacle to the miracle, General Championnet busied himself making Saint Januarius obey.

17 (Bara): Le jeune Barra combattait aux côté des Bleus en Vendée. Prisonnier, il cria << Vive la République! >> au lieu du << Vive le Roi! >> exigé et tomba sous les balles. Il avait treize ans et c'était en 1793. Une statue de David d'Angers avait célébré, en 1839, cet héroïsme. Le rappel de ce nom programme ici la mort de Gavroche.
The young Bara fought alongside the Blues [Republican army] in the Vendée. Taken prisoner, he cried “Long live the Republic!” in place of the “Long Live the King!” demanded and fell under the bullets. He was thirteen years old and this was in 1793. A statue by David d'Angers had celebrated, in 1839, this heroism. The recall of this name foreshadows the death of Gavroche.

Chapitre 10
18 (Ecce Homo): Ce mot de l'Évangile, déjà cité, en français, pour Champmathieu (I, 7, 9), assimile Paris à la fois au Christ et à l'humanité tout entière.
This word of the Gospels, already cited in French for Champmathieu (I, 7, 9) likens at the same time Paris to Christ and to all of humanity.

19 (quis properantem me prehendit pallio): << Qui est-ce qui, alors que je me hâte, me prend par mon manteau ? >> (Plaute, Épidique.)
“Who is it who, when I'm in a hurry, takes me by my mantle?” (Plautus, Epidicus)

20 (id est seditionem oblivisci): << Contre les Gracques, nous avons le Tibre ; boire le Tibre, c'est oublier l'insurrection. >> Le Tibre est ici assimilé au Léthé, fleuve des enfers grecs dont l'eau procure l'oubli.
“Against the Gracchi, we have the Tiber; to drink the Tiber is to forget insurrection.” The Tiber is here likened to the Lethe, river of the Greek underworld whose water procures forgetting.

21 (Horace did not take fright at Priapus' hiccup): Horace, Satires, I, 8, traduit par Hugo en 1818 sous le titre Priape :
Un long bruit, par la peur chassé de ma vessie,
S'échappe avec effort, sous ma cuisse durcie ;
Le bois s'en fend. Alors, oh ! Si vous aviez vu
Fuir le couple tremblant, à ce bruit imprévu,
Tomber les fausses dents, la chaudière sonore,
Oui, vous en auriez ri comme j'en ris encore !

Horace, Satires, I, 8, translated by Hugo in 1818 under the title “Priapus”:
A long noise, by fear chased from my bladder,
Escapes with effor, under my hard thigh;
The wood cracks. Thus, oh! If you had seen
Flee the trembling couple, at this unexpected noise,
Fall the false teeth, the sonorous boiler,
Yes, you would have laughed as I laugh still!

22 (the Parisian cheap restaurant): Virgil parisien, Hugo a effectivement assidument hanté ce cabaret, comme se témoignent le vers d'A propos d'Horace :
<< Les vagues violons de la mère Saguet […]. >>
ainsi que le Victor Hugo raconté... (ouv. Cit., p. 417 et suiv.) qui, confirmant la présence de Charles et David, y ajoutait Devéria et Boulanger. Ce sera, nous le verrons, un des lieux fréquentés par Grantaire – voir note 15 en III, 4, 1.

Parisian Virgil, Hugo had effectively assiduously haunted this tavern, as testify the verse of “A propos Horace”:
“The vague violins of Mother Saguet . . .”
Thus Victor Hugo Recounted . . . (op. Cit., 417 and following) which, confirming the presence of Charles and David, there adds Devéria and Boulanger. This will be, we will see, one of the places frequented by Grantaire – see note 15 in III, 4, 1.

23 (red queue/ponytail): Nom donné aux paillasses grotesques en raison du ruban rouge qui nouait la queue de leur perruque.
Name given to the grotesque tumblers by reason of the red ribbon that hold the tail of their wigs.

Chapitre 11
24 (John Brown): Sur John Brown, voir Actes et Paroles II, Pendant l'exil (volume Politique) ainsi que, plus loin, la note 29 en V, 1.
On John Brown, see Deeds and Words II, During Exile (volume Politics) as well as, further on, note 29 in V, 1.

Chapitre 12
25 (mob, added indignant Burke): << Fex urbis >> : << boue de la ville >> (Cicéron, Ad Att., I, 16, 11). L'intestin de Léviathan (V, 2) développera cette image. Mob : populace. Tout ce passage sera repris et amplifié dans William Shakespeare, Ii, 5, Les esprits et les masses : << […] la grosse bête à mille têtes est là, la Mob de Burke, la Plebs de Tite-Live, la Fex urbis de Cicéron, elle caresse le beau, elle lui sourit avec la grâce d'une femme, elle est très finement littéraire ; rien n'égale les délicatesses de ce monstre. >>
“Fex urbis”: “mud of the city” (Cicero, Ad Att., I, 16, 11). The Intestine of Leviathan (V, 2) will develop this image. Mob: commoners. All this passage will be repeated and amplified in William Shakespeare, II, 5, Spirits and Masses: “. . . the huge beast with a thousand heads is there, the 'Mob' of Burke, the 'Plebs' of Livy, the 'Fex urbis' of Cicero, it caresses the handsome one, it smiles at him with the grace of a woman, it is very finely literary; nothing equals the delicacies of this monster.”

26 (tear down the green branches from the oaks): Ce programme aussi sera développé dans Williams Shakespeare (II, 5, 1) : << C'est pourquoi les poètes sont les premiers éducateurs du peuple. […] C'est pourquoi il faut traduire, commenter, publier, imprimer, réimprimer, clicher, stéréotyper, distribuer, crier, expliquer, réciter, répandre, donner à tous, donner à bon marché, donner au prix de rivent, donner pour rien, tous les poètes, tous le philosophes, tous les penseurs, tous les producteurs de grandeur d'âme. >>

Chapitre 13
27 (scraped the gutters): La fayousse : jeu d'adresse avec des pièces de monnaie, comme la << pigoche >> en III, 1, 5. On rétribuait les gamins pour gratter et nettoyer les ruisseaux ; l'opération leur offrait aussi l'aubaine d'un sou perdu.
Fayousse: game of skill with coins, like “pigoche” in III, 1, 5. Gamins were paid to scrape and clean the gutters; the operation offered them also the windfall of a lost sou.

28 (Gavroche): Hugo l'avait d'abord appelé Chavroche. Le nom, un moment envisagé, de Grimebodin explique peut-être le passage de Chavroche à Gavroche. Sont à prendre aussi en considération, comme origine possible, le terme de << gavache >>, francisation de gavacho, mot espagnol méprisant à l'égard des Français (malpropre) dont le féminin gavacha signifie << fille publique >>. Hugo pouvait avoir entendu tous ces mots lors de ses voyages en Espagne. Il existe aussi un << gavauche >>, term de marine désignant, selon Larousse, un état de désordre dans larrimage et le gréement. Sur ce nom et sur le personnage, voir, outre l'article déjà cité d'A. Ubersfeld, celui de J. Seebacher : << Le tombeau de Gavroche ou Magnitudo parvuli >> dans Lire Les Misérables, ouv. Cit.
Hugo had first called him Chavroche. The name, one moment envisioned, of Grimebodin perhaps explains the passage from Chavroche to Gavroche. Also take into consideration, as a possible origin, the term “gavache”, Frenchification “gavacho”, a spanish word contemptuous toward the French (despicable) of which the feminine “gavacha” means “prostitute”. Hugo could have heard all these words during his travels in Spain. There exists also a “gavauche”, sailing term designating, according to Larousse, a state of disorder in the stowing of the hold and in the rigging. On this name, and this character, see, other than the article already cited by A. Ubersfeld, that of J. Seebacher: “The Tomb of Gavroche or Magnitudo parvuli” in To Read Les Misérables, op. Cit.
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Ulkis » Mon Jan 31, 2011 3:50 am

Two things that made me laugh, one on purpose and one not:

The thing that I (think) was supposed to make me laugh: "The chief tenant . . . had been replaced by another exactly like her . . . . the replacement was a Madame Bourgon and there was nothing remarkable about her life except the dynasty of three parrots who in succession ruled over her heart."

And at the beginning of chapter six the narrator states that they have no time to discuss sergent de villes on the street corners. For once, there is no time to go into a digression!

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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby MmeBahorel » Wed Feb 02, 2011 4:36 am

The difficulty of "doing class", as I seem to have taken up, is that this book becomes deeply disturbing by turns, and I wish it wasn't. The first four chapters just roll on, beautiful sentences because this is Victor Hugo, and the poetic whitewashing is beautiful. But it hit me in the fifth chapter, where Hugo starts to acknowledge the issues, then goes back to poetic whitewashing.

The thesis of this chapter is really that the gamin is the seed of revolution. He is the child of Paris, and as we have seen before, Parisians may be small but they grow immense when battling tyranny. Which is why we get the sort of creepy section of "street children in other cities are horrid, but in Paris they are actually innocent" - it's a defense of revolution. Thus Barra - child of the streets as revolutionary martyr (and we'll later get Gavroche in this role). But it's creepy to me because of the way he is trying to do too many things at once. He has to define the gamin, humanise him, acknowledge the social pressures that create him, not scare off the bourgeois audience reading this novel, and make his thesis about revolution. Something's not going to hold very well, and to me, it's the social pressures that are falling by the wayside when I find those most important and compelling. There's also the heavy dose of romantic nostalgia in his very description of the gamin, conveniently leaving out most of the meaning of the things gamins do, but that also falls under "letting the social issues fall by the wayside in favour of lovely descriptions".

Then, a bit weirdly, in chapter 8 you get the probably apocryphal tale of Louis-Philippe and the gamin drawing a pear. That jumps out as something of a "bwuh?" moment, because the purpose of the tale is to show that Louis-Philippe was kind, attentive to his subjects, and had a sense of humour. Which doesn't go too well with "and we shall overthrow the bastard" later. (Is it to suggest that Louis-Napoleon does not have a sense of humour?)

Yes, we get a few references to the appalling physical state of these kids in Chapter 9, but I'm more interested in the meaning of their distinctions in Chapter 7. These are telling, and I'm curious if they are recognisable to a bourgeois reader of the period and if they were frightening to that reader. What we see is a respect for markers of survival: Louis Chevalier states that aesthetic preferences were different among the working classes than among the bourgeoisie, that scars were considered attractive. Same with the gamins in setting up their hierarchies of experience. Scars express strength - they prove that the bearer survived something. Smallpox scars on a man were often something of a selling point, that they proved he was too tough to die.

Then we get to Chapter 10, and ooh, universal education - oh, he's now going into a very very long series of classical comparisons. Again, the way the sentences can tumble over each other is beautiful, but the interesting track of actually digging into the problem is abandoned in praise of Paris as the centre of the universe. The man's in exile and misses home, and he needs to praise Paris if we, the reader, are to accept his praise of her "cub", but any idea of the gamin having any sort of light at all (here described as will o' the wisps in the darkness, thus faint, dancing, half-lights) smacks of wishful thinking. And what's with the end of the chapter? It sounds serious rather than sarcastic - Hugo would let you know if he were being sarcastic - and while the juxtaposition of merriment and death is reasonable in the context of the rest of the chapter, why the "Our laws have wisely provided for this"? I'm missing something.

(The table-tipping reference in Chapter 10 is personal - Hugo and his family did a whole lot of table tipping in exile, and the table always spoke best when Hugo did not have his own hands on it. Pages and pages and pages of notebooks are dedicated to recording what the table said.)

And then we get Chapter 11, which is simply beautiful and I can't be annoyed with him anymore as he's abandoned the gamin entirely to go fully into Paris the revolutionary core. The clauses fall over themselves, an avalanche of examples of modern revolution, successful and failed, Bolivar to John Brown. "The same powerful lightning darts from Prometheus' torch and Cambronne's clay pipe." The paragraph before that, to me, just sings, and then you get the random Cambronne shout-out. In Chapter 12, we finally come to the full explanation of "the child of the people", and while I want social issues teased out rather than glossed over, it's such an attractive gloss. Hugo writes revolution so prettily. He's giving speeches rather than laying out serious action.

Then, like Waterloo, we suddenly end our book with plot! OMG, there's actually plot in here! *g* In fact, more than plot - here we start to get far deeper into what Hugo was glossing over earlier. Gavroche would be a perfect example of the gamin "if his heart had not been absolutely dark and empty". There's innocence, but there's also the reality of the situation. The complexities that were earlier covered for aesthetic or didactic purposes begin to be here explained.

And Hugo is screwing up his math again, I think. We know Valjean went into the convent in the spring of 1824. 24+8=32. "Eight or nine years"? Eight years barely leaves time for the fallout of the robbery at the Gorbeau house; nine years puts us a year late. (in the next chapter, introducing M. Gillenormand, Hugo then states 1831 as the year of description.) Trying to come up with a coherent timeline with all this is a pain.
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Sun Oct 27, 2013 9:43 pm

"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Tue Oct 29, 2013 1:25 am

October 29, 2013

Some of His Particular Characteristics

http://www.online-literature.com/victor_hugo/les_miserables/148/

What he does, what his antics are.
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Tue Oct 29, 2013 11:35 pm

October 30, 2013

He Is Agreeable

http://www.online-literature.com/victor_hugo/les_miserables/149/

The quips and perhaps sometimes unsettling capers of this child. Note the metaphors here.
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Thu Oct 31, 2013 1:55 am

October 31, 2013

He May Be of Use

http://www.online-literature.com/victor_hugo/les_miserables/150/

What he can turn out to be.
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Fri Nov 01, 2013 1:48 am

November 1, 2013

His Frontiers

http://www.online-literature.com/victor_hugo/les_miserables/151/

Where a child may like to go.
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Aurelia Combeferre
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Fri Nov 01, 2013 5:28 pm

November 2, 2013

A Bit of History

http://www.online-literature.com/victor_hugo/les_miserables/152/

The sordid backdrop to this child's tale.
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Aurelia Combeferre
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Sat Nov 02, 2013 5:04 pm

November 3, 2013

The Gamin Should Have His Place in the Classifications of India

http://www.online-literature.com/victor_hugo/les_miserables/153/

What attitudes, deeds, and qualities make up the word 'gamin'.
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Aurelia Combeferre
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Sun Nov 03, 2013 9:43 pm

November 4, 2013

In Which the Reader Will Find a Charming Saying of the Last King

http://www.online-literature.com/victor_hugo/les_miserables/154/

A gamin meets a dignitary and a quip is made.
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Aurelia Combeferre
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Mon Nov 04, 2013 9:50 pm

November 5, 2013

The Old Soul of Gaul

http://www.online-literature.com/victor_hugo/les_miserables/155/

Why he is something of a little warrior
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Aurelia Combeferre
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Tue Nov 05, 2013 11:20 pm

November 6, 2013

Ecce Paris, Ecce Homo

http://www.online-literature.com/victor_hugo/les_miserables/156/

The gamin is a microcosm.
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."

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Aurelia Combeferre
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Re: 3.1 Paris étudié dans son atome 26/1/2011-7/2/2011

Postby Aurelia Combeferre » Wed Nov 06, 2013 10:07 pm

November 7, 2013

To Scoff, To Reign

http://www.online-literature.com/victor_hugo/les_miserables/157/

Why it's somehow good to thumb someone's nose.
"...all aptitudes having equal opportunity; politically, all votes having equal weight; religiously, all consciences having equal rights."


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