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; runtime=104min; Country=France; Director=Ladj Ly; Giordano Gederlini, Ladj Ly; Assigned to work alongside unethical police veterans Chris (Alexis Manenti) and Gwada (Djebril Zonga) in Paris' Anti-Crime Brigade, Brigadier Stéphane Ruiz (Damien Bonnard) - a recent transplant to the working-class suburb of Montfermeil, where Victor Hugo wrote his famous novel Les Misérables - struggles to establish a working relationship with influential community leaders while attempting to maintain some semblance of peace between his disreputable team and the citizens of the local housing projects. When what should be a simple arrest goes tragically awry, the three officers must individually reconcile with the aftermath of their actions while angling to keep the neighborhood from retaliating with mob violence. Beginning as a Cesar-winning short film, the film was inspired by the 2005 riots in Paris. It was selected to compete for the Palme d'Or at the 2019 Cannes Film Festival, where it won the Jury Prize (in a tie with BACURAU) and was selected as France's entry for Best International Feature Film at the 92nd Academy Awards.

I miserabili hugo. I miserabili torrent. I miserabili film 2019. I miserabili 1948. I miserabili rai 3. I miserabili film youtube. It would have been slightly better if the Japanese gentleman would have taken a bite out of a raw bell pepper after his line. I miserabili rai. I miserabili film 2012. Herkunft Info französisch misérable < lateinisch miserabilis = jämmerlich, kläglich, zu: miserari = beklagen, bejammern, zu: miser, Misere. I miserabili film. I miserabili pdf. An aside: For all the authenticity that film makers strive for in their films, through the right costumes, hair, make-up, even body-shape (thin, underweight or the opposite) especially in US films, the actors STILL keep their straight, gleaming-white teeth. There may be other actors, but, for instance, Steve Buschemi refused to get his teeth fixed because he thought beautiful, straight, white teeth just did not fit the character of whatever part he played. (And, yeah, I doubt anyone wants to see Anne Hathaway with ugly, blackened teeth which I'm sure would have been common back in the time the book/film is set in, so just an observation.

Is Hong Kong gonna have another Robespierre. Voilà le commentaire français que tu recherchais🇫🇷🇫🇷🇫🇷. I miserabili riassunto. 2019: Hong Kong and Chile😢 #StandWithHongKong. I miserabili victor hugo. I miserabili canzoni in italiano. I miserabili trailer ita. "Les misérables" is a new French film that runs for 105 minutes and this one is among the biggest players this awards season from Europe. This includes consideration by the Cannes Film Festival, the Golden Globe Awards and the Oscars as well as many other award ceremonies. I loved Tom Hooper's take on the subject from a few years ago, but this one here has nothing in common with that one. Both deliver for different reasons. If you know the traditional "Les Misérables" a bit, you will find some parallels, but if eventually there is nothing that clicks for you except that brief conversation in the car about Victor Hugo, Gavroche and Cosette, then that is fine too. One example for me here really was the parallel between Gavroche and Issa, with violence against both kids really causing everything to fall apart in an endless abyss of destruction. There are differences of course too as Issa is really injured and in danger of being killed by a lion even on one occasion, but he lives. But first things first: This Oscar-nominated movie was written (with others) and directed by Ladj Ly and for him it is a really special project because he grew up exactly where this film takes place, which may be the key reason why it felt very authentic. Another reason is that this is his first full feature film ever and that makes it even more special how well-received this one turned out. And what I personally like a lot is that Ly recast exactly these actors that appeared in a short film with the same title that Ly made initially before he turned it into a full feature film. I never really like if they replace actors, especially if the original ones are certainly good enough for this to become a satisfying outcome. And that is certainly true here. All the actors did a good job, not only the ones at the very center, but also every supporting player really and also the many child actors you will find in here, some of them even playing key characters, most of all the one I mentioned earlier already, but also the boy with the drone for example.
Like I wrote in the title of my review, this is a film that will totally have you on the edge of your seat from beginning to end. We have a guy who joins the police force in a part of France that really struggles a lot with all kinds of crime, almost all of these connected with immigrants (or at least people with a foreign background) and that involves drugs, prostitution and just violence in general. But there is also more exotic stuff as we find out here when there is a lion cub involved that is stolen from a circus. The two groups clashing over this issue seem really dangerous, but looking at how the film ends, there is definitely another really dangerous group that may initially have not seemed that way. I won't go any further into detail. You must experience that yourself. It is pretty shocking though how the violence escalates more and more and the police is not exactly helping it with how they act in here. We, the audience, are basically in the same spot like the male protagonist, the guy who joins the force, as we know nothing about his new squad, but find out more and more the more time we spend with the guys, the other two officers that is. There is that scene early on with the marijuana-smoking girl that is also featured in the title and already shows us about the aggression from both sides really, but if you thought that this is the one that escalates the most, think again. It was in retrospective even slightly funny how they here made us feel somewhat safe that a day of work is over and they are back at home all of them, the good guys and the bad guys, although this description is not too perfect because they did so well here with giving the characters realistic shades. The one who shoots the kid is really the best example how we see him cry at home and how he calmed that woman down earlier, so she lets him inside, almost trusts him. This is really a good movie, which is also shown by how well it delivers in terms of attention to detail. Just take the protagonist and how he wears his brassard (is that the right word? that identifies him as a police officer and how his colleagues make fun of that and tell him later on that everybody knows they are cops anyway. There are many more examples of that.
I still find it fascinating or maybe it makes me also a bit sad to see how well France is doing with movies that elaborate on this subject of culture clashes, this time as a gritty crime drama, but also in general becaue immigration has been among the hottest subjects for a really long time now and every time Germany makes a film like that, it normally turns into a big mess that of course must have comedy too like "Willkommen bei den Hartmanns" for example. There are other examples too and 99% of them are really bad. I mean my fellow countrymen cannot be that uncreative while France gets out one excellent film on this subject after the next, even if it is by filmmakers like Ly, who really are not very experienced at all. Shameful really. Anyway, I should be glad France does it this well and it results in quality watches like this one here that are so incredibly tense and have such excellent quality. I also think it is superior to "Parasite" the film that has the foreign language Oscar in the bag now, but then again I am not a big fan of this, and also think Almodóvar's most recent (another nominee in the category) is better than Parasite. I would be so happy if "Les misérables" wins the category, but it is impossible to happen I think. Okay what else can I say about this one here. The running time is also perfect. It feels essential, not too long, not too short. Basically every decision they made here makes sense. What I personally find sometimes a bit difficult is when there are really many characters in a film and frequently they do not get the accurate elaboration and presentation or just feel for the sake of it while adding nothing, but this is also not the case here at all. Every character made sense, even if they just had one or two scenes, and that actually applies to really many characters here. Overall, before I conclude, let me say that despite children, especially one boy (or two) playing a key role here, this is not a film you want to show your small ones. It is way too harsh for that. As you may have seen from my review, I find it very hard to come up with any real flaws here, which also explains my rating I guess. The fact that I for example do not like one bit the ways in which the characters within the unit talk to each other, or in general interact with each other, does not mean they ring false. They don't. They feel pretty authentic. It is just my subjective take that I would not want any of it. So yeah, like I said, it is probably among my top5 films from 2019 at this point. Highly recommended.

I miserabili 2020. Everyone tends to misuse the word "underrated" in place of "underappreciated" when talking about great films that didn't get the recognition it deserves. This film though definitely is underrated. A lot of people treated the movie unfairly when it came out. Everything from the set design to the way it was filmed (all the songs were sang live action, with no dubbing as is customary with musicals) to the cinematography was outstanding. I'm a pretty tough guy and I teared up during "Empty Chairs, Empty Tables". A few parts were way too rushed, such as Anne Hathaway's character's downfall and death, but overall it was a pretty damn good adaption for the constraints that had to be made.

I've listened to some serious versions of this, you know, sang by opera singers etc., and they didnt sound that good like this, far from. In this version, you get the feeling of the actual situation, of the emotions. Their voices are way more real. The serious versions are too nice for one to imagine revolution, fighting, dying and so on. It just doesn't feel right at all. This is the best. Level 1 Hugo tends to be quite sarcastic, if I remember correctly. Also a huge womanizer who lived in the 1800s. So could go either way, haha. level 2 I’m thinking this was sarcastic, but I can never be too sure with books. Either way, I’m loving it level 1 Oh Victor. I will never forget, "Madame Thénardier had a beard. " level 1 "You may have a beard like a man, mother, but I have the claws of a woman! " Javert. level 1 God, I love Victor Hugo so much. His wit is legendary. level 2 Same! I cannot put this book down for the life of me.

All that we are here relating slowly and successively took place at once in all points of the city in the midst of a vast tumult, like the multitude of flashes in a single peal of thunder. Les Misérables ( 1862) is a novel by Victor Hugo which many consider to be one of the greatest works of world literature. It tells of the interwoven lives of its characters over several decades of the early 19th Century, focusing to a great extent on the conflicts between the hero Jean Valjean, a fugitive who spent nearly 20 years of his life as prisoner " 24601 " and police inspector Javert who hunts for him. Others who feature prominently are Cosette the orphaned girl who Valjean raises as a daughter, Marius the revolutionary who loves her, and the villain Thenardier who had horribly exploited Cosette until she was rescued by Valjean. It was originally published in five volumes, four named after some of the primary characters within it. The primary translation used in creating this collection of quotations was that of Charles E. Wilbour. So long as ignorance and misery remain on earth, books like this cannot be useless. See also: Les Misérables (the theatrical musical by Boublil and Schonberg) Preface [ edit] Tant qu’il existera, par le fait des lois et des mœurs, une damnation sociale créant artificiellement, en pleine civilisation, des enfers, et compliquant d’une fatalité humaine la destinée qui est divine; tant que les trois problèmes du siècle, la dégradation de l’homme par le prolétariat, la déchéance de la femme par la faim, l’atrophie de l’enfant par la nuit, ne seront pas résolus; tant que, dans de certaines régions, l’asphyxie sociale sera possible; en d’autres termes, et à un point de vue plus étendu encore, tant qu’il y aura sur la terre ignorance et misère, des livres de la nature de celui-ci pourront ne pas être inutiles. So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilisation, artificially creates hells on earth, and complicates a destiny that is divine, with human fatality; so long as the three problems of the age — the degradation of man by poverty, the ruin of woman by starvation, and the dwarfing of childhood by physical and spiritual night — are not solved; so long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless. Volume One: FANTINE [ edit] Book I - An Upright Man [ edit] Vrai ou faux, ce qu’on dit des hommes tient souvent autant de place dans leur vie et souvent dans leur destinée que ce qu’ils font. Be it true or false, what is said about men often has as much influence upon their lives, and especially upon their destinies, as what they do. Chapter I: M. Myriel Sire, dit M. Myriel, vous regardez un bonhomme, et moi je regarde un grand homme. Chacun de nous peut profiter. Sire, said M. Myriel, you behold a good man, and I a great man. May each of us profit by it. M. Myriel to Napoleon Il y a beaucoup de bouches qui parlent et fort peu de têtes qui pensent. There are many tongues to talk, and but few heads to think. Voilà monsieur Géborand qui achète pour un sou de paradis. See Monsieur Geborand, buying a pennyworth of paradise. Chapter IV: Works Answer Words Voilà les hypocrisies effarées qui se dépêchent de protester. How frightened hypocrisy hastens to defend itself. Cette âme est pleine d'ombre, le péché s'y commet. Le coupable n'est pas celui qui y fait le péché, mais celui qui y a fait l'ombre. If the soul is left in darkness, sins will be committed. The guilty one is not he who commits the sin, but he who causes the darkness. D’ailleurs qui est-ce qui atteint son idéal? But who ever does attain to his ideal? Chapter VI: How He Protected His House Je ne suis pas au monde pour garder ma vie, mais pour garder les âmes. I am not in the world to care for my life, but for souls. Chapter VII: Cravatte M. Myriel in disregarding dangers to his life. "Let us never fear robbers nor murderers. Those are dangers from without, petty dangers. Let us fear ourselves. Prejudices are the real robbers; vices are the real murderers. The great dangers lie within ourselves. What matters it what threatens our head or our purse! Let us think only of that which threatens our soul. " Personne ne pourrait dire que le passage de cet esprit devant le sien et le reflet de cette grande conscience sur la sienne ne fût pas pour quelque chose dans son approche de la perfection. No one could say that the passage of that soul before his own, and the reflection of that grand conscience upon his own had not had its effect upon his approach to perfection. Chapter X: The Bishop in the presence of an Unknown Light Le général... avait poursuivi l’empereur comme quelqu’un qu’on veut laisser échapper. The general... pursued the emperor as if he wished to let him escape. Chapter XI: A Qualification Book II - The Fall [ edit] You have promised me to become an honest man. I am purchasing your soul, I withdraw it from the spirit of perversity and I give it to God Almighty. Jean Valjean était entré au bagne sanglotant et frémissant; il en sortit impassible. Il y était entré désespéré; il en sortit sombre. Que s’était-il passé dans cette âme? Jean Valjean entered the galleys sobbing and shuddering: he went out hardened; he entered in despair: he went out sullen. What had happened within this soul? Chapter VI: Jean Valjean Ainsi, pendant ces dix-neuf ans de torture et d’esclavage, cette âme monta et tomba en même temps. Il y entra de la lumière d’un côté et des ténèbres de l’autre. Thus, during those nineteen years of torture and slavery, did this soul rise and fall at the same time. Light entered on the one side, and darkness on the other. Chapter VII: The Depths of Despair Le propre des peines de cette nature, dans lesquelles domine ce qui est impitoyable, c’est-à-dire ce qui est abrutissant, c’est de transformer peu à peu, par une sorte de transfiguration stupide, un homme en une bête fauve, quelquefois en une bête féroce. The peculiarity of punishment of this kind, in which what is pitiless, that is to say, what is brutalizing, predominates, is to transform little be little, by a slow stupefactions, a man into an animal, sometimes into a wild beast. Le point de départ comme le point d’arrivée de toutes ses pensées était la haine de la loi humaine; cette haine qui, si elle n’est arrêtée dans son développement par quelque incident providentiel, devient, dans un temps donné, la haine de la société, puis la haine du genre humain, puis la haine de la création, et se traduit par un vague et incessant et brutal désir de nuire, n’importe à qui, à un être vivant quelconque. The beginning as well as then end of all his thoughts was hatred of human law; that hatred which, if it be not checked in its growth by some providential event, becomes, in a certain time, hatred of society, then hatred of the human race, and then hatred of creation, and reveals itself by a vague, brutal desire to injure some living being, it matters not who. La nuit n’était pas très obscure; c’était une pleine lune sur laquelle couraient de larges nuées chassées par le vent. Cela faisait au dehors des alternatives d’ombre et de clarté, des éclipses, puis des éclaircies, et au dedans une sorte de crépuscule. Ce crépuscule, suffisant pour qu’on pût se guider, intermittent à cause des nuages, ressemblait à l’espèce de lividité qui tombe d’un soupirail de cave devant lequel vont et viennent des passants. The night was not very dark; there was a full moon, across which large clouds were driving before the wind. This produced alternations of light and shade, out-of-doors eclipses and illuminations, and in-doors a kind of twilight. This twilight, enough to enable him to find his way, changing with the passing clouds, resembled that sort of livid light which falls through the window of a dungeon before which men are passing. Chapter X: The Man Awakes Depuis près d’une demi-heure un grand nuage couvrait le ciel. Au moment où Jean Valjean s’arrêta en face du lit, ce nuage se déchira, comme s’il l’eût fait exprès, et un rayon de lune, traversant la longue fenêtre, vint éclairer subitement le visage pâle de l’évêque... Toute sa face s’illuminait d’une vague expression de satisfaction, d’espérance et de béatitude. C’était plus qu’un sourire et presque un rayonnement. Il y avait sur son front l’inexprimable réverbération d’une lumière qu’on ne voyait pas. For nearly a half hour a great cloud had darkened the sky. At the moment when Jean Valjean paused before the bed the cloud broke as if purposely, and a ray of moonlight crossing the high window, suddenly lighted up the bishop’s pale face…His entire countenance was lit up with a vague expression of content, hope, and happiness. It was more than a smile and almost a radiance. On his forehead rested the indescribable reflection of an unseen light. Chapter XI: What He Does Jusque-là il avait reçue avec assez d’adresse tout entière sur le dos de sa main. Cette fois la pièce de quarante sous lui échappa, et vint rouler vers la broussaille jusqu’à Jean Valjean. Until this time he had skillfully caught the whole of them upon the back of his hand. This time the forty-sous coin got away from him, and rolled towards the thicket, near Jean Valjean. Chapter XIII: Petit Gervais Il se roidissait contre l’action angélique et contre les douces paroles du vieillard. "Vous m’avez promis de devenir honnête homme. Je vous achète votre âme. Je la retire à l’esprit de perversité et je la donne au bon Dieu. " Cela lui revenait sans cesse. Il opposait à cette indulgence céleste l’orgueil, qui est en nous comme la forteresse du mal. Il sentait indistinctement que le pardon de ce prêtre était le plus grand assaut et la plus formidable attaque dont il eût encore été ébranlé; que son endurcissement serait définitif s’il résistait à cette clémence; que, s’il cédait, il faudrait renoncer à cette haine dont les actions des autres hommes avaient rempli son âme pendant tant d’années, et qui lui plaisait; que cette fois il fallait vaincre ou être vaincu, et que la lutte, une lutte colossale et définitive, était engagée entre sa méchanceté à lui et la bonté de cet homme. He set himself stubbornly in opposition to the angelic deeds and the gentle words of the old man, "you have promised me to become an honest man. I am purchasing your soul, I withdraw it from the spirit of perversity and I give it to God Almighty. " This came back to him incessantly. To this celestial tenderness, he opposed pride, which is the fortress of evil in man. He felt dimly that the pardon of the priest was the hardest assault, and the most formidable attack which he had yet sustained; that the hardness of heart would be complete, if it resisted this kindness; that if he yielded, he must renounce that hatred with which he found satisfaction; that, this time, he must conquer or be conquered, and that the struggle, a gigantic and decisive struggle, had begun between his own wickedness, and the goodness of man. Une voix lui disait-elle à l’oreille qu’il venait de traverser l’heure solennelle de sa destinée, qu’il n’y avait plus de milieu pour lui, que si désormais il n’était pas le meilleur des hommes il en serait le pire. Did a voice whisper in his ear that he had just passed through the decisive hour of his destiny, that there was no longer a middle course for him, that if, thereafter, he should not be the best of men, he would be the worst. Pendant qu’il pleurait, le jour se faisait de plus en plus dans son cerveau, un jour extraordinaire, un jour ravissant et terrible à la fois... Tout cela lui revint et lui apparut, clairement, mais dans une clarté qu’il n’avait jamais vue jusque-là... Cependant un jour doux était sur cette vie et sur cette âme. Il lui semblait qu’il voyait Satan à la lumière du paradis. While he wept, the light grew brighter and brighter in his mind — an extraordinary light, a light at once ravishing and terrible... all returned and appeared to him, clearly, but in a light that he had never seen before... There was, however, a softened light upon that life and upon that soul. It seemed to him that he was looking upon Satan by the light of Paradise. Book III - The Year 1817 [ edit] Propos de table et propos d’amour; les uns sont aussi insaisissables que les autres; les propos d’amour sont des nuées, les propos de table sont des fumées. Table talk and lovers' talk equally elude the grasp; lovers' talk is clouds, table talk is smoke. Chapter VI: A Chapter of Self-Admiration Une discussion est bonne... une querelle vaut mieux. A discussion is good... a quarrel is better. Chapter VIII: Death of a Horse Book IV - To Entrust is Sometimes to Abandon [ edit] She would have softened a heart of granite; but you cannot soften a heart of wood. Ces êtres appartenaient à cette classe bâtarde composée de gens grossiers parvenus et de gens intelligents déchus, qui est entre la classe dite moyenne et la classe dite inférieure, et qui combine quelques-uns des défauts de la seconde avec presque tous les vices de la première, sans avoir le généreux élan de l’ouvrier ni l’ordre honnête du bourgeois. They belonged to that bastard class formed of low people who has risen, and intelligent people who have fallen, which lies between the classes called middle and lower, and which unites some of the faults of the latter with nearly all the vices of the former, without possessing the generous impulses of the workman, or the respectability of the bourgeois. Chapter II: First Sketch of Two Equivocal Faces Said of the Thenardiers Elle y noyait ce qu’elle avait de cervelle. She drowned what little brain she had in them. Said about Madame Thenardier and her reading of cheap novels Il ne suffit pas d’être méchant pour prospérer. La gargote allait mal. To be wicked does not insure prosperity — for the inn did not succeed well. Chapter III: The Lark About the Thenardier's Inn Book V - The Descent [ edit] Un bon maire, c’est utile. Est-ce qu’on recule devant du bien qu’on peut faire? A good mayor is a good thing. Are you afraid of the good you can do? Chapter II: Madeleine Said by an old woman to Father Madeleine, urging him to run for mayor. Le suprême bonheur de la vie, c’est la conviction qu’on est aimé. The supreme happiness of life is the conviction that we are loved. Chapter IV: M. Madeleine in Mourning Il n’y a rien de tel pour épier les actions des gens que ceux qu’elles ne regardent pas. For prying into any human affairs, none are equal to those whom it does not concern. Chapter VIII: Madame Victurnien Spends Thirty Francs on Morality C’est une erreur de s’imaginer qu’on épuise le sort et qu’on touche le fond de quoi que ce soit. Hélas! qu’est-ce que toutes ces destinées ainsi poussées pêle-mêle? où vont-elles? pourquoi sont-elles ainsi? Celui qui sait cela voit toute l’ombre. Il est seul. Il s’appelle Dieu. It is a mistake to imagine that man can exhaust his destiny, or can reach the bottom of anything whatever. Alas! what are all these destinies thus driven pell-mell? whither go they? why are they so? He who knows that, sees all the shadow. He is alone. His name is God. Chapter XI: Christus Nos Liberavit Elle eût attendri un cœur de granit, mais on n’attendrit pas un cœur de bois. Chapter XIII: Solution of Some Questions of Municipal Police Of Fantine and Javert La grande douleur est un rayon divin et terrible qui transfigure les misérables. Great grief is a divine and terrible radiance which transfigures the wretched. Chapter XIII: The Solution of Some Questions connected with the Municipal Police Book VII - The Champmathieu Affair [ edit] Faire le poème de la conscience humaine, ne fût-ce qu’à propos d’un seul homme, ne fût-ce qu’à propos du plus infime des hommes, ce serait fondre toutes les épopées dans une épopée supérieure et définitive. To write the poem of the human conscience, were it only of a single man, were it only of the most infamous of men, would be to swallow up all epics in a superior and final epic. Chapter III: A Tempest in a Brain On n’empêche pas plus la pensée de revenir à une idée que la mer de revenir à un rivage. Pour le matelot, cela s’appelle la marée; pour le coupable, cela s’appelle le remords. One can no more prevent the mind from returning to an idea than the sea from returning to a shore. In the case of the sailor, this is called a tide; in the case of the guilty, it is called remorse. Les bleuets sont bleus, les roses sont roses. Violets are blue. Roses are red. Chapter VI: Sister Simplice Put to the Proof Quand on l’avait jugé, Dieu était absent. When he was tried, God was not there. Chapter IX: A Place for Arriving at Convictions Vous êtes bien malins de me dire où je suis né. Moi, je l’ignore. Tout le monde n’a pas des maisons pour y venir au monde. Ce serait trop commode. You must be very sharp to tell me where I was born. I don't know myself. Everybody can't have houses to be born in; that would be too handy. Chapter X: The System of Denegations Book VIII - The Counter-Stroke [ edit] Heureusement Dieu sait où retrouver l’âme. Happily, God knows where to find her soul. Chapter V: A Fitting Tomb Volume Two: COSETTE [ edit] Book I - Waterloo [ edit] Napoléon... immense somnambule de ce rêve écroulé. Napoleon... mighty somnambulist of a vanished dream. Chapter XIII: The Catastrophe Waterloo est une bataille du premier ordre gagnée par un capitaine du second. Waterloo is a battle of the first rank won by a captain of the second. Chapter XVI: Quot Libras in Duce? Voulez-vous vous rendre compte de ce que c’est que la révolution, appelez-la Progrès; et voulez-vous vous rendre compte de ce que c’est que le progrès, appelez-le Demain. Would you realize what Revolution is, call it Progress; and would you realize what Progress is, call it Tomorrow. Chapter XVII: Is Waterloo to be considered Good? Qu’importe à l’infini? What is that to the Infinite? Chapter XVIII: A Recrudescence of Divine Right Book II - The Ship Orion [ edit] Sur un signe affirmatif de l’officier, il avait rompu d’un coup de marteau la chaîne rivée à la manille de son pied, puis il avait pris une corde, et il s’était élancé dans les haubans. Personne ne remarqua en cet instant-là avec quelle facilité cette chaîne fut brisée. Ce ne fut que plus tard qu’on s’en souvint. A sign of assent being given, with one blow of a hammer he broke the chain riveted to the iron ring at his ankle, then took a rope in his hand, and flung himself into the shrouds. Nobody, at the moment, noticed with what ease the chain was broken. It was only some time afterwards that anybody remembered it. Chapter III: The Chain Of The Iron Ring Must Needs Have Undergone A Certain Preparation To Be Thus Broken By One Blow Of The Hammer Book III - Fulfillment of the Promise to the Departed [ edit] He caught glimpses of everything, but saw nothing. Il entrevoyait tout, et ne voyait rien. Chapter IX: Thenardier Maneuvering Book V - A Dark Chase Requires a Silent Hound [ edit] Cherché, oui; suivi, non. Sought for, he might be, but followed he was not. Chapter II: It is Fortunate that Vehicles Can Cross the Bridge of Austerlitz Jean Valjean avait cela de particulier qu’on pouvait dire qu’il portait deux besaces; dans l’une il avait les pensées d’un saint, dans l’autre les redoutables talents d’un forçat. Il fouillait dans l’une ou dans l’autre, selon l’occasion. Jean Valjean had this peculiarity, that he might be said to carry two knapsacks; in one he had the thoughts of a saint, in the other the formidable talents of a convict. He helped himself from one or the other as occasion required. Chapter V: Which would be Impossible were the Streets Lighted with Gas. Certes, en cet instant-là, si Jean Valjean avait eu un royaume, il l’eût donné pour une corde. Truly at that instant, if Jean Valjean had had a kingdom, he would have given it for a rope. Les fortes sottises sont souvent faites, comme les grosses cordes, d’une multitude de brins. Great blunders are often made, like large ropes, of a multitude of fibers. Chapter X: In Which it is explained how Javert lost the Game Book VI - Petite Picpus [ edit] Sur le premier gobelet on lisait cette inscription: vin de singe, sur le deuxième: vin de lion, sur le troisième: vin de mouton, sur le quatrième: vin de cochon. Ces quatre légendes exprimaient les quatre degrés que descend l’ivrogne; la première ivresse, celle qui égaye; la deuxième, celle qui irrite; la troisième, celle qui hébète; la dernière enfin, celle qui abrutit. Upon the first goblet he read this inscription, monkey wine; upon the second, lion wine; upon the third, sheep wine; upon the fourth, swine wine. These four inscriptions expressed the four descending degrees of drunkenness: the first, that which enlivens; the second, that which irritates; the third, that which stupefies; finally the last, that which brutalizes. Chapter IX: A Century under a Guimpe Nous ne comprenons pas tout, mais nous n’insultons rien. We do not comprehend everything, but we insult nothing. Chapter XI: End of the Petit Picpus Motto of the convent Petit Picpus Il est nécessaire de les connaître, ne fût-ce que pour les éviter. It is necessary to understand them, were it only to avoid them. On the study of "the things which are no more" Book VII - A Parenthesis [ edit] Chapter VIII - Faith - Law [ edit] Nous blâmons l’Église quand elle est saturée d’intrigue, nous méprisons le spirituel âpre au temporel; mais nous honorons partout l’homme pensif. We blame the Church when it is saturated with intrigues; we despise the spiritual when it is harshly austere to the temporal; but we honour everywhere the thoughtful man. Nous saluons qui s’agenouille. We bow to the man who kneels. Une foi; c’est là pour l’homme le nécessaire. Malheur à qui ne croit rien! A faith is a necessity to man. Woe to him who believes nothing. On n’est pas inoccupé parce qu’on est absorbé. Il y a le labeur visible et le labeur invisible. A man is not idle, because he is absorbed in thought. There is a visible labour and there is an invisible labour. Contempler, c’est labourer; penser, c’est agir. Les bras croisés travaillent, les mains jointes font. Le regard au ciel est une œuvre. To meditate is to labour; to think is to act. Folded arms work, closed hands perform, a gaze fixed on heaven is a toil. Thalès resta quatre ans immobile. Il fonda la philosophie. Thales remained motionless for four years. He founded philosophy. Pour nous les cénobites ne sont pas des oisifs, et les solitaires ne sont pas des fainéants. In our eyes, cenobites are not idlers, nor is the recluse a sluggard. Songer à l’Ombre est une chose sérieuse. To think of the Gloom is a serious thing. Sans rien infirmer de ce que nous venons de dire, nous croyons qu’un perpétuel souvenir du tombeau convient aux vivants. Sur ce point le prêtre et le philosophe sont d’accord. Il faut mourir. Without at all invalidating what we have just said, we believe that a perpetual remembrance of the tomb is proper for the living. On this point, the priest and the philosopher agree: We must die. Mêler à sa vie une certaine présence du sépulcre, c’est la loi du sage; et c’est la loi de l’ascète. Sous ce rapport l’ascète et le sage convergent. To mingle with one's life a certain presence of the sepulchre is the law of the wise man, and it is the law of the ascetic. In this relation, the ascetic and the sage tend towards a common centre. Il y a la croissance matérielle; nous la voulons. Il y a aussi la grandeur morale; nous y tenons. There is a material advancement; we desire it. There is, also, a moral grandeur; we hold fast to it. Les esprits irréfléchis et rapides disent: — À quoi bon ces figures immobiles du côté du mystère? À quoi servent-elles? qu’est-ce qu’elles font? Hélas! en présence de l’obscurité qui nous environne et qui nous attend, ne sachant pas ce que la dispersion immense fera de nous, nous répondons: Il n’y a pas d’œuvre plus sublime peut-être que celle que font ces âmes. Et nous ajoutons: Il n’y a peut-être pas de travail plus utile. Unreflecting, headlong minds say: "Of what use are those motionless figures by the side of mystery? What purpose do they serve? What do they effect? " Alas! in the presence of that obscurity which surrounds us and awaits us, not knowing what the vast dispersion of all things will do with us, we answer: There is, perhaps, no work more sublime than that which is accomplished by these souls; and we add, There is no labour, perhaps, more useful. Il faut bien ceux qui prient toujours pour ceux qui ne prient jamais. Pour nous, toute la question est dans la quantité de pensée qui se mêle à la prière. Leibniz priant, cela est grand; Voltaire adorant, cela est beau. Deo erexit Voltaire. Those who pray always are necessary to those who never pray. In our view, the whole question is in the amount of thought that is mingled with prayer. Leibnitz, praying, is something grand; Voltaire, worshipping, is something beautiful. Deo erexit Voltaire. Nous sommes pour la religion contre les religions. We are for religion against the religions. Nous sommes de ceux qui croient à la misère des oraisons et à la sublimité de la prière. We are of those who believe in the pitifulness of orisons, and in the sublimity of prayer. Book VIII - Cemeteries Take What is Given Them [ edit] Impossible! dit-il. Père Fauchelevent, mettez que je suis tombé de là-haut. "Impossible, " he said. "Father Fauchelevent, let it go that I fell from on high. " Chapter I: Which Treat of the Manner of Entering the Convent N’être pas écouté, ce n’est pas une raison pour se taire. Not being heard is no reason for silence. Celui qui s’évade ne tousse pas et n’éternue pas. He who is escaping never coughs and never sneezes. Chapter IV: In Which Jean Valjean has Quite the Appearance of Having Read Austin Castillejo Ce conscrit était chez lui, occupé à chercher sa carte, et bien empêché de la trouver dans son logis puisqu’elle était dans la poche de Fauchelevent. That recruit was at home, hunting up his "card, " and rather unlikely he was to find it, as it was in Fauchelevent's pocket. Chapter VII: In Which will be Found the Origin of the Saying: Don't Lose Your Card Personne ne garde un secret comme un enfant. No one ever keeps a secret so well as a child. Chapter VIII: Successful Examination Le rire, c’est le soleil; il chasse l’hiver du visage humain. Laughter is sunshine; it chases winter from the human face. Chapter IX: The Close Volume Three: MARIUS [ edit] The father of a woman that we love is never a stranger to us. Marius felt proud of this unknown man. Book I - Paris Atomised [ edit] Donnez à un être l’inutile et ôtez-lui le nécessaire, vous aurez le gamin. Give to a being the useless, and deprive him of the needful, and you have the gamin. Chapter III: He is Agreeable Ce vil sable que vous foulez aux pieds, qu’on le jette dans la fournaise, qu’il y fonde et qu’il y bouillonne, il deviendra cristal splendide, et c’est grâce à lui que Galilée et Newton découvriront les astres. This lowly sand which you trample beneath your feet, if you cast it into the furnace, and let it melt and seethe, shall become resplendent crystal, and by means of such as it a Galileo and a Newton shall discover stars. Chapter XII: The Future Latent In the People About the lower classes of France Book II - The Grand Bourgeois [ edit] Ce frère... se croyait obligé de faire l’aumône aux pauvres qu’il rencontrait, mais il ne leur donnait jamais que des monnerons ou des sous démonétisés, trouvant ainsi moyen d’aller en enfer par le chemin du paradis. This brother... felt obliged to give alms to the poor whom he met, but never gave them anything more than coppers or worn-out sous, finding thus the means of going to Hell by the road to Paradise. Chapter VI: In Which We See La Magnon and Her Two Little Ones Toutes deux avaient des ailes, l’une comme un ange, l’autre comme une oie. Both had wings, one like angel, the other like a goose. Chapter VIII: Two Do Not Make a Pair About two sisters Book III - The Grandfather and the Grandson [ edit] Il n’allait nulle part qu’à la condition d’y dominer. He went nowhere save on condition of ruling there. Chapter I: An Old Salon On M. Gillenormand, Grandfather of Marius Un voleur y est admis, pourvu qu’il soit dieu. A thief is admitted, provided he be a lord. Les années finissent par faire autour d’une tête un échevellement vénérable. Years place at last a venerable crown upon a head. Je ne sais point si c’est moi qui n’entends plus le français, ou si c’est vous qui ne le parlez plus, mais le fait est que je ne comprends pas. I do not know whether it is that I no longer understand French, or you no longer speak it; but the fact is I do not understand you. Chapter II: One of the Red Spectres of that Time George Pontmercy's response to his being told he could no longer wear a medal that he had earned fighting in Bonaparte's army Monsieur le procureur du roi, m’est-il permis de porter ma balafre? Monsieur procurer du roi, am I allowed to wear my scar? En deux jours le colonel avait été enterré, et en trois jours oublié. In two days the colonel had been buried, and in three days forgotten. Chapter IV: The End of the Brigand Il était plein de regrets, et de remords, et il songeait avec désespoir que tout ce qu’il avait dans l’âme, il ne pouvait plus le dire maintenant qu’à un tombeau! He was full of regret and remorse, and he thought with despair that all he had in his soul he could say now only to a tomb. Chapter VI: What It Is to have Met a Churchwarden Marius vit en Bonaparte le spectre éblouissant qui se dressera toujours sur la frontière et qui gardera l’avenir. Despote, mais dictateur; despote résultant d’une République et résumant une révolution. Napoléon devint pour lui l’homme-peuple comme Jésus est l’homme-Dieu. On le voit, à la façon de tous les nouveaux venus dans une religion, sa conversion l’enivrait, il se précipitait dans l’adhésion et il allait trop loin. Sa nature était ainsi: une fois sur une pente, il lui était presque impossible d’enrayer. Le fanatisme pour l’épée le gagnait et compliquait dans son esprit l’enthousiasme pour l’idée. Il ne s’apercevait point qu’avec le génie, et pêle-mêle, il admirait la force, c’est-à-dire qu’il installait dans les deux compartiments de son idolâtrie, d’un côté ce qui est divin, de l’autre ce qui est brutal. À plusieurs égards, il s’était mis à se tromper autrement. Il admettait tout. Il y a une manière de rencontrer l’erreur en allant à la vérité. Il avait une sorte de bonne foi violente qui prenait tout en bloc. Dans la voie nouvelle où il était entré, en jugeant les torts de l’ancien régime comme en mesurant la gloire de Napoléon, il négligeait les circonstances atténuantes. Marius saw in Bonaparte the flashing spectre which will always rise upon the frontier, and which will guard the future. Despot, but dictator; despot resulting from a republic and summing up a revolution. Napoleon became to him the people-man as Jesus is the God-man. We see, like all new converts to a religion, his conversion intoxicated him, he plunged headlong into adhesion, and he went too far. His nature was such; once upon a descent it was almost impossible for him to hold back. Fanaticism for the sword took possession of him, and became complicated in his mind with enthusiasm for the idea. He did not perceive that along with genius, and indiscriminately, he was admiring force, that is to say that he was installing in the two compartments of his idolatry, on one side what is divine, and on the other what is brutal. In several respects he began to deceive himself in other matters. He admitted everything. There is a way of meeting error while on the road of truth. He had a sort of willful implicit faith which swallowed everything in mass. On the new path upon which he had entered, in judging the crimes of the ancient regime as well as in measuring the glory of Napoleon, he neglected the attenuating circumstances. Ne pas voir les gens, cela permet de leur supposer toutes les perfections. Not seeing people permits us to imagine in them every perfection. Chapter VII: Some Petticoat Mon père... c’était un homme humble et héroïque qui a glorieusement servi la République et la France, qui a été grand dans la plus grande histoire que les hommes aient jamais faite, qui a vécu un quart de siècle au bivouac, le jour sous la mitraille et sous les balles, la nuit dans la neige, dans la boue, sous la pluie, qui a pris deux drapeaux, qui a reçu vingt blessures, qui est mort dans l’oubli et dans l’abandon, et qui n’a jamais eu qu’un tort, c’est de trop aimer deux ingrats, son pays et moi! My father... was a humble and heroic man, who served the republic and France gloriously, who was great in the greatest history that men have made, who lived a quarter of a century in the camp, by day under grape and under balls, by night in the snow, in the mud, and in the rain, who captured colours, who received twenty wounds, who died forgotten and abandoned, and who had but one fault; that was in loving too dearly two ingrates, his country and me. Chapter VIII: Marble Against Granite Book IV - The Friends of the A B C [ edit] A fire would cause a dawn, undoubtedly, but why not wait for the break of day? Il ne semblait pas savoir qu’il y eût sur la terre un être appelé la femme. He did not seem to know that there was on the earth a being called woman. Chapter I: A Group Which Almost Became Historic About Enjolras Un incendie peut faire une aurore sans doute, mais pourquoi ne pas attendre le lever du jour? Sa spécialité était de ne réussir à rien. Par contre, il riait de tout... Il était pauvre, mais son gousset de bonne humeur était inépuisable. Il arrivait vite à son dernier sou, jamais à son dernier éclat de rire. Quand l’adversité entrait chez lui, il saluait cordialement cette ancienne connaissance, il tapait sur le ventre aux catastrophes; il était familier avec la Fatalité au point de l’appeler par son petit nom. His specialty was to succeed in nothing... He was poor, but his fund of good humor was inexhaustible. He soon reached the last sou but never the last burst of laughter. When met by adversity, he saluted that acquaintance cordially, he patted catastrophes on the back; he was so familiar with fatality as to call it by its nick-name. About L'Aigle [the eagle] aka Lesgueules, Lesgle, or Bossuet C’est dommage que je sois un ignorant, car je vous citerais une foule de choses; mais je ne sais rien. It is a pity that I am ignorant, for I would quote you a crowd of things, but I don't know anything. Chapter IV: The Back Room of the Cafe Musain Grantaire speaking of himself Ce sera avaler une langue bien vite ou une pièce de cent sous bien lentement. That will be swallowing a language very rapidly or a hundred-sous piece very slowly. Chapter VI: Res Angusta Marius must learn German and English to get a job: he only has a hundred sous left and states that this money will last until he learns the languages. His friend, Courfeyrac, remarks that either he will learn fast, or spend slow. Book V - The Excellence of Misfortune [ edit] Voulant toujours être en deuil, il se vêtissait de la nuit. Desiring always to be in mourning, he clothed himself with night. Chapter I: Marius Needy Ses créanciers l’avaient cherché aussi, avec moins d’amour que Marius, mais avec autant d’acharnement, et n’avaient pu mettre la main sur lui. His creditors had sought for him, also, with less love than Marius but with as much zeal, and had not been able to put their hands on him. Chapter II: Marius Poor Marius is looking for Thenardier because he believes his father's life had been saved by Thenardier. Il se gardait fort d’être inutile; avoir des livres ne l’empêchait pas de lire, être botaniste ne l’empêchait pas d’être jardinier. He took good care not to be useless; having books did not prevent him from reading, being a botanist did not prevent him from being a gardener. Chapter IV: M. Mabeuf Il allait à la messe plutôt par douceur que par dévotion, et puis parce qu’aimant le visage des hommes, mais haïssant leur bruit, il ne les trouvait qu’à l’église réunis et silencieux. He went to mass rather from good-feeling than from devotion, and because he loved the faces of men, but hated their noise and he found them, at church only, gathered together and silent. Il n’avait jamais réussi à aimer aucune femme autant qu’un oignon de tulipe ou aucun homme autant qu’un elzevir. Finally, he had never succeeded in loving any woman as much as a tulip bulb, or any man as much as an Elzevir. Une horloge ne s’arrête pas court au moment précis où l’on en perd la clef. A clock does not stop at the very moment you lose the key. Il avait fini par ne plus guère regarder que le ciel, seule chose que la vérité puisse voir du fond de son puits. He had finally come hardly to look at nothing but the sky, the only thing that truth can see from the bottom of her well. Chapter V: Poverty A Good Neighbor of Misery On jugerait bien plus sûrement un homme d’après ce qu’il rêve que d’après ce qu’il pense. We should judge a man much more surely from what he dreams than from what he thinks. Book VI - The Conjunction of Two Stars [ edit] Je viens de rencontrer le chapeau neuf et l’habit neuf de Marius et Marius dedans. Il allait sans doute passer un examen. Il avait l’air tout bête. I have just met Marius' new hat and coat, with Marius inside. Probably he was going to an examination. He looked stupid enough. Chapter IV: Commencement of a Great Distemper Courfeyrac about Marius Book VII - Patron Minette [ edit] Babet était maigre et savant. Il était transparent, mais impénétrable. On voyait le jour à travers les os, mais rien à travers la prunelle. Babet was thin and shrewd. He was transparent, but impenetrable. You could see the light through his bones, but nothing through his eye. Chapter III: Babet, Gueulemer, Claquesous, and Montparnasse Babet is a bandit Book VIII - The Noxious Poor [ edit] Pauvres mères! pensa-t-il. Il y a une chose plus triste que de voir ses enfants mourir; c’est de les voir mal vivre. Poor mothers, he thought. There is one thing sadder than to see their children die — to see them lead evil lives. Chapter II: A Waif Ils sont rares, ceux qui sont tombés sans être dégradés; d’ailleurs il y a un point où les infortunés et les infâmes se mêlent et se confondent dans un seul mot, mot fatal, les misérables. Those are rare who fall without becoming degraded; there is a point, moreover, at which the unfortunate and the infamous are associated and confounded in a single word, a fatal word, Les Misérables. Chapter V: The Judas of Providence Vous parlez là comme un homme brave et comme un homme honnête. Le courage ne craint pas le crime, et l’honnêteté ne craint pas l’autorité. You speak now like a brave man and an honest man. Courage does not fear crime, and honesty does not fear authority. Chapter XIV: In Which a Police Officer Gives a Lawyer Two Fisticuffs Javert speaking to Marius Bossuet! s’écria Courfeyrac, aigle de Meaux! vous êtes une prodigieuse brute. Suivre un homme qui suit un homme! "Bossuet! " Courfeyrac exclaimed. "Eagle of Meaux! you are a prodigious fool. Follow a man who is following a man! " Chapter XV: Jondrette Makes his Purchase Le bouge ainsi éclairé ressemblait plutôt à une forge qu’à une bouche de l’enfer, mais Jondrette, à cette lueur, avait plutôt l’air d’un démon que d’un forgeron. The room thus lighted up seemed rather a smithy than the mouth of hell; but Jondrette, in that glare, had rather the appearance of a demon than of a blacksmith. Chapter XVII: Use of Marius' Five-Franc Piece "Jondrette" is Thenardier Chapter XX - The Ambuscade [ edit] Ce vieillard, si ferme et si brave devant un tel danger, semblait être de ces natures qui sont courageuses comme elles sont bonnes, aisément et simplement. Le père d’une femme qu’on aime n’est jamais un étranger pour nous. Marius se sentit fier de cet inconnu. This old man, so firm and so brave before so great a peril, seemed to be one of those natures who are courageous as they are good, simply and naturally. The father of a woman that we love is never a stranger to us. Marius felt proud of this unknown man. Je ne m’appelle pas Fabantou, je ne m’appelle pas Jondrette, je me nomme Thénardier! je suis l’aubergiste de Montfermeil! entendez-vous bien? Thénardier! Maintenant me reconnaissez-vous? My name is not Fabantou, my name is not Jondrette, my name is Thenardier! I am the innkeeper of Montfermeil! do you understand me? Thenardier! now do you know me? Au moment où Jondrette avait dit: Je me nomme Thénardier, Marius avait tremblé de tous ses membres et s’était appuyé au mur comme s’il eût senti le froid d’une lame d’épée à travers son cœur. When Jondrette had said: My name is Thenardier, Marius had trembled in every limb, and supported himself against the wall as if he had felt the chill of a sword-blade through his heart. Pardon, monsieur, répondit M. Leblanc avec un accent de politesse qui avait en un pareil moment quelque chose d’étrange et de puissant, je vois que vous êtes un bandit. "Pardon me, monsieur, " answered M. Leblanc, with a tone of politeness which, at such a moment, had a peculiarly strange and powerful effect, "I see that you are a bandit. " "M. Leblanc" is Valjean Le prisonnier n’était plus attaché au lit que par une jambe. Avant que les sept hommes eussent eu le temps de se reconnaître et de s’élancer, lui s’était penché sous la cheminée, avait étendu la main vers le réchaud, puis s’était redressé, et maintenant Thénardier, la Thénardier et les bandits, refoulés par le saisissement au fond du bouge, le regardaient avec stupeur élevant au-dessus de sa tête le ciseau rouge d’où tombait une lueur sinistre, presque libre et dans une attitude formidable. The prisoner was no longer fastened to the bed save by one leg. Before the seven men had had time to recover themselves and spring upon him, he had bent over to the fireplace, reached his hand towards the furnace, then rose up, and now Thenardier, the Thenardiess, and the bandits, thrown by the shock into the back part of the room, beheld him with stupefaction, holding above his head the glowing chisel, from which fell an ominous light, almost free and in a formidable attitude. Vous êtes des malheureux, mais ma vie ne vaut pas la peine d’être tant défendue. Quant à vous imaginer que vous me feriez parler, que vous me feriez écrire ce que je ne veux pas écrire, que vous me feriez dire ce que je ne veux pas dire… Il releva la manche de son bras gauche et ajouta: — Tenez. En même temps il tendit son bras et posa sur la chair nue le ciseau ardent qu’il tenait dans sa main droite par le manche de bois. On entendit le frémissement de la chair brûlée, l’odeur propre aux chambres de torture se répandit dans le taudis. Marius chancela éperdu d’horreur, les brigands eux-mêmes eurent un frisson, le visage de l’étrange vieillard se contracta à peine, et, tandis que le fer rouge s’enfonçait dans la plaie fumante, impassible et presque auguste, il attachait sur Thénardier son beau regard sans haine où la souffrance s’évanouissait dans une majesté sereine. "You are pitiable, but my life is not worth the trouble of so long a defence. As to your imagining that you could make me speak, that you could make me write what I do not wish to write, that you could make me say what I do not wish to say —" He pulled up the sleeve of his left arm, and added: "Here. " At the same time he extended his arm, and laid upon the naked flesh the glowing chisel, which he held in his right hand, by the wooden handle. They heard the hissing of the burning flesh; the odour peculiar to chambers of torture spread through the den. Marius staggered, lost in horror; the brigands themselves felt a shudder; the face of the wonderful old man hardly contracted, and while the red iron was sinking into the smoking, impassable, and almost august wound, he turned upon Thenardier his fine face, in which there was no hatred, and in which suffering was swallowed up in a serene majesty. Volume Four: ST. DENIS [ edit] Full title: Saint Denis and Idyl of the Rue Plumet Book I - A Few Pages of History [ edit] La logique ignore l’à peu près; absolument comme le soleil ignore la chandelle. Logic ignores the Almost, just as the sun ignores the candle. Chapter II: Badly Sewed Prospérité sociale, cela veut dire l’homme heureux, le citoyen libre, la nation grande. Social prosperity means man happy, the citizen free, the nation great. Chapter IV: Cracks beneath the Foundation Book II - Eponine [ edit] Rien n’est plus dangereux que le travail discontinué; c’est une habitude qui s’en va. Habitude facile à quitter, difficile à reprendre. Nothing is more dangerous than discontinued labor; it is habit lost. A habit easy to abandon, difficult to resume. Chapter I: The Field of the Lark La pensée est le labeur de l’intelligence, la rêverie en est la volupté. Thought is the labor of the intellect, reverie is its pleasure. Heureux, même dans les angoisses, celui à qui Dieu a donné une âme digne de l’amour et du malheur! Qui n’a pas vu les choses de ce monde et le cœur des hommes à cette double lumière n’a rien vu de vrai et ne sait rien. Happy, even in anguish, is he to whom God has given a soul worthy of love and of grief! He who has not seen the things of this world, and the hearts of men by this double light, has seen nothing, and know nothing of the truth. Non, répondit-elle, je suis le diable, mais ça m’est égal. No. I am the devil, but that is all the same to me. Chapter III: An Apparition to Father Mabeuf Eponine responding to F. Mabeuf, who had just said to her "you are an angel, since you care for flowers. " Book III - The House in the Rue Plumet [ edit] En 93, un chaudronnier avait acheté la maison pour la démolir, mais n’ayant pu en payer le prix, la nation le mit en faillite. De sorte que ce fut la maison qui démolit le chaudronnier. In '93, a coppersmith bought the house to pull it down, but not being able to pay the price for it, the nation sent him into bankruptcy. So that it was the house that pulled down the coppersmith. Chapter I: The Secret House Où finit le télescope, le microscope commence. Lequel des deux a la vue la plus grande? Where the telescope ends, the microscope begins. Which of the two has the grander view? Chapter III: Requiescant Il se disait qu’il n’avait vraiment pas assez souffert pour mériter un si radieux bonheur, et il remerciait Dieu, dans les profondeurs de son âme, d’avoir permis qu’il fût ainsi aimé, lui misérable, par cet être innocent. He said to himself that he really had not suffered enough to deserve such radiant happiness, and he thanked God, in the depths of his soul, for having permitted that he, a miserable man, should be so loved by this innocent being. Chapter IV: Change of Grating Valjean about Cosette Les femmes jouent avec leur beauté comme les enfants avec leur couteau. Elles s’y blessent. Women play with their beauty as children do with their knives. They wound themselves with it. Chapter VI: The Battle Commences Le premier symptôme de l’amour vrai chez un jeune homme, c’est la timidité, chez une jeune fille, c’est la hardiesse. The first symptom of true love in a young man is timidity; in a young girl it is boldness. Chapter VI: The Battle Commences. Trans. Isabel Hapgood. Dante eût cru voir les sept cercles de l’enfer en marche. Dante would have thought he saw the seven circles of Hell on their passage. Chapter VIII: The Chain Valjean and Cosette watch a procession of seven wagons of men who are condemned to the galleys pass by Book IV - Aid from Below May be Aid from Above [ edit] Un soir le petit Gavroche n’avait point mangé; il se souvint qu’il n’avait pas non plus dîné la veille; cela devenait fatigant. Il prit la résolution d’essayer de souper. One evening little Gavroche had had no dinner; he remembered that he had had no dinner also the day before; this was becoming tiresome. He resolved that he would try for some supper. Chapter II: Mother Plutarch is not Embarrassed on the Explanation of a Phenomenon Book V - An End Unlike the Beginning [ edit] You who suffer because you love, love still more. To die of love is to live by it. Love! A dark and starry transfiguration is mingled with that torment. There is ecstacy in the agony. Chapter IV: A Heart Beneath A Stone Book VI - Little Gavroche [ edit] Le plus terrible des motifs et la plus indiscutable des réponses: Parce que. The most terrible of motives and the most unanswerable of responses: Because. Chapter I: A Malevolent Trick of the Wind. Le barbier, dans sa boutique chauffée d’un bon poêle, rasait une pratique et jetait de temps en temps un regard de côté à cet ennemi, à ce gamin gelé et effronté qui avait les deux mains dans ses poches, mais l’esprit évidemment hors du fourreau. The barber in his shop, warmed by a good stove, was shaving a customer and casting from time to time a look towards this enemy, this frozen and brazen gamin, who had both hands in his pockets, but his wits evidently out of their sheath. Chapter II: In Which Little Gavroche Takes Advantage of Napoleon the Great. Le bureau est fermé, dit Gavroche, je ne reçois plus de plaintes. "The bureau is closed, " said Gavroche. "I receive no more complaints. " Said by Gavroche to someone who complained when Gavroche splashed his polished boots with mud. À un certain degré de détresse, le pauvre, dans sa stupeur, ne gémit plus du mal et ne remercie plus du bien. At a certain depth of distress, the poor, in their stupor, groan no longer over evil, and are no longer thankful for good. Ah çà! s’écria Gavroche, qu’est-ce que cela signifie? Il repleut! Bon Dieu, si cela continue, je me désabonne. "Ah, " cried Gavroche, "what does this mean? It rains again! Good God, if this continues, I withdraw my subscription. " Gavroche has just given his coat to a girl when the storm starts to worsen. Book VII - Argot [ edit] Les esprits réfléchis usent peu de cette locution: les heureux et les malheureux. Dans ce monde, vestibule d’un autre évidemment, il n’y a pas d’heureux. La vraie division humaine est celle-ci: les lumineux et les ténébreux. Diminuer le nombre des ténébreux, augmenter le nombre des lumineux, voilà le but. C’est pourquoi nous crions: enseignement! science! Thoughtful persons seldom speak of happiness or unhappiness. In this world, which is so plainly the antechamber of another, there are no happy men. The true division of humanity is between those who live in light and those who live in darkness. Our aim must be to diminish the number of the latter and increase the number of the former. That is why we demand education and knowledge. Chapter I: Origin. Norman Denny Ce qu’on peut faire dans un sépulcre, ils agonisaient, et ce qu’on peut faire dans un enfer, ils chantaient. Car où il n’y a plus l’espérance, le chant reste. What can be done in a sepulcher, they agonised, and what can be done in a hell, they sang. For where there is no more hope, song remains. Chapter II: Roots Vous aurez beau faire, vous n’anéantirez pas cet éternel reste du cœur de l’homme, l’amour. The endeavor is vain, you cannot annihilate that eternal relic of the human heart, love. Plaignons, à l’égal des estomacs, les esprits qui ne mangent pas. S’il y a quelque chose de plus poignant qu’un corps agonisant faute de pain, c’est une âme qui meurt de la faim de la lumière. Let us lament as over stomachs, over minds which do not eat. If there is anything more poignant than a body agonising for want of bread, it is a soul which is dying of hunger for light. Chapter IV The Two Duties: To Watch and to Hope Il n’y a qu’une manière de refuser Demain, c’est de mourir. There is but one way of refusing To-morrow, that is to die. Chapter IV: The Two Duties: To Watch and to Hope Faut-il continuer de lever les yeux vers le ciel? le point lumineux qu'on y distingue est-il de ceux qui s'éteignent? L'idéal est effrayant à voir, ainsi perdu dans les profondeurs, petit, isolé, imperceptible, brillant, mais entouré de toutes ces grandes menaces noires monstrueusement amoncelées autour de lui; pourtant pas plus en danger qu'une étoile dans les gueules des nuages. Should we continue to look upwards? Is the light we can see in the sky one of those which will presently be extinguished? The ideal is terrifying to behold, lost as it is in the depths, small, isolated, a pin-point, brilliant but threatened on all sides by the dark forces that surround it: nevertheless, no more in danger than a star in the jaws of the clouds. Book VIII - Enchantments and Desolations [ edit] Le compliment, c'est quelque chose comme le baiser à travers le voile. A compliment is something like a kiss through a veil. Chapter I: Marius, while seeking a Girl in a Bonnet encounters a Man in a Cap Quand on est à la fin de la vie, mourir, cela veut dire partir; quand on est au commencement, partir, cela veut dire mourir. When we are at the end of life, to die means to go away; when we are at the beginning, to go away means to die. Chapter VI: Marius Becomes so Real as to Give Cosette his Address Book IX - Where are They Going? [ edit] Il y a des moments où l’on a une fournaise sous le crâne. Marius était dans un de ces moments-là. There are moments when a man has a furnace in his brain. Marius was in one of those moments. Chapter II: Marius Book X - June 5th, 1832 [ edit] Le vent des révolutions n’est pas maniable. The wind of revolutions is not tractable. Chapter IV: The Ebullitions of Former Times Book XI - The Atom Fraternises with the Hurricane [ edit] Ses frères le soir, son père le matin; voilà quelle avait été sa nuit. His brothers in the evening, his father in the morning; such had been his night. Chapter I: Some Insight into the Origin of Gavroche's Poetry — Influence of an Academician upon that Poetry. In the evening, Gavroche had found food and shelter for two boys without knowing that they were his brothers. Early the next morning he helped in his father's escape from jail and was not even recognized by him. La rue est libre, les pavés sont à tout le monde. The road is free; the streets belong to everybody. Chapter VI: Recruits Book XII - Corinth [ edit] Ce que vous autres appelez le progrès marche par deux moteurs, les hommes et les événements. Mais, chose triste, de temps en temps, l’exceptionnel est nécessaire. Pour les événements comme pour les hommes, la troupe ordinaire ne suffit pas; il faut parmi les hommes des génies, et parmi les événements des révolutions. Les grands accidents sont la loi; l’ordre des choses ne peut s’en passer; et, à voir les apparitions de comètes, on serait tenté de croire que le ciel lui-même a besoin d’acteurs en représentation. Au moment où l’on s’y attend le moins, Dieu placarde un météore sur la muraille du firmament. Quelque étoile bizarre survient, soulignée par une queue énorme. Et cela fait mourir César. Brutus lui donne un coup de couteau, et Dieu un coup de comète. What you fellows call progress moves by two springs, men and events. But sad to say, from time to time the exceptional is necessary. For events as well as for men, the stock company is not enough; geniuses are needed among men, and revolutions among events. Great accidents are the law; the order of things cannot get along without them; and, to see the apparitions of comets, one would be tempted to believe that Heaven itself is in need of star actors. At the moment you least expect it, God placards a meteor on the wall of the firmament. Some strange star comes along, underlined by an enormous tail. And that makes Caesar die. Brutus strikes him with a knife, and God with a comet. Chapter II: Preliminary Gaiety Les grands périls ont cela de beau qu’ils mettent en lumière la fraternité des inconnus. Great perils have this beauty, that they bring to light the fraternity of strangers. Chapter IV: Attempt at Consolation upon the Widow Hucheloup C’est la souris qui a pris le chat. The mouse has caught the cat. Chapter VII: The Man Recruited in the Rue Des Billettes Said by Gavroche to Javert after revealing him to be a police spy Sa vie avait été ténèbres; sa fin fut nuit. His life had been darkness, his end was night. Chapter VIII: Several Interrogation Points Concerning One Le Cabuc, Who Perhaps was Not Le Cabuc Book XIII - Marius Enters the Shadow [ edit] La guerre civile? qu’est-ce à dire? Est-ce qu’il y a une guerre étrangère? Est-ce que toute guerre entre hommes n’est pas la guerre entre frères? La guerre ne se qualifie que par son but. Il n’y a ni guerre étrangère, ni guerre civile; il n’y a que la guerre injuste et la guerre juste. Civil war? What does this mean? Is there any foreign war? Is not every war between men, war between brothers? War is modified only by its aim. There is neither foreign war, nor civil war; there is only unjust war and just war. Chapter III: The Extreme Limit Book XIV - The Grandeurs of Despair [ edit] Marius avait trop peu vécu encore pour savoir que rien n’est plus imminent que l’impossible, et que ce qu’il faut toujours prévoir, c’est l’imprévu. Marius had lived too little as yet to know that nothing is more imminent than the impossible, and that what we must always forsee is the unforseen. Chapter V: End of Jean Prouvaire's Rhyme Tes amis viennent de te fusiller. Your friends have just shot you. Said by Enjolras to Javert after Prouvaire's execution. Book XV - The Rue De L'Homme Armé [ edit] À de certaines heures, tout semble impossible; à d’autres heures, tout paraît aisé; Jean Valjean était dans une de ces bonnes heures. At certain hours, everything seems impossible; at other hours, everything appears easy; Jean Valjean was in one of those happy hours. Chapter I: Blotter, Blabber L’âme ne se rend pas au désespoir sans avoir épuisé toutes les illusions. The soul does not give itself up to despair until it has exhausted all illusions. On prend la charrette pour la République et on laisse l’Auvergnat à la monarchie. We take the cart for the republic and we leave the Auvergnat to the monarchy. Chapter IV: The Excess of Gavroche's Zeal Gavroche, leaving a note about a cart he has stolen for the barricades Vous parlez gentiment. Vrai, on ne vous donnerait pas votre âge. Vous devriez vendre tous vos cheveux cent francs la pièce. Cela vous ferait cinq cents francs. You talk genteelly. Really, nobody would guess your age. You ought to sell all your hairs at a hundred francs apiece. That would make you five hundred francs. Gavroche talking to the National Guard Se sauver par ce qui vous a perdu, c’est là le chef-d’œuvre des hommes forts. To save yourself by means of that which has ruined you is the masterpiece of great men. Volume Five: JEAN VALJEAN [ edit] Book I - The War Between Four Walls [ edit] Jamais on ne me voit avec des habits chamarrés d’or et de pierreries; je laisse ce faux éclat aux âmes mal organisées. Never am I seen with coats bedizened with gold and gems; I leave this false splendour to badly organized minds. Chapter XVI: How Brother Becomes Father Les peuples comme les astres ont le droit d’éclipse. Et tout est bien, pourvu que la lumière revienne et que l’éclipse ne dégénère pas en nuit. Aube et résurrection sont synonymes. La réapparition de la lumière est identique à la persistance du moi. A people, like a star, has the right of eclipse. And all is well, provided the light return and the eclipse does not degenerate into night. Dawn and resurrection are synonyms. The reappearance of the light is identical with the persistence of the Me. Chapter XX: The Dead are Right and the Living are not Wrong Charles E. Wilbour translation (1862) Peoples, like planets, possess the right to an eclipse. And all is well, provided that the light returns and that the eclipse does not degenerate into night. Dawn and resurrection are synonymous. The reappearance of the light is identical with the persistence of the I. Isabel F. Hapgood translation (1887) Nations, like stars, are entitled to eclipse. All is well, provided the light returns and the eclipse does not become endless night. The reappearance of the light is the same as the survival of the soul. Norman Denny translation (1976) A people, like a star, has the right of eclipse. And all is well, provided the light returns and the eclipse does not degenerate into night. The reappearance of the light is identical with the persistence of the self. Lee Fahnestock and Norman MacAfee translation, based upon that of Wilbour. (1987) Hélas! être monté, cela n’empêche pas de tomber. On voit ceci dans l’histoire plus souvent qu’on ne voudrait. Alas! to have risen does not prevent falling. We see this in history oftener than we would wish. Il y a des gens qui observent les règles de l’honneur comme on observe les étoiles, de très loin. There are people who observe the rules of honour as we observe the stars, from afar off. Chapter XXI: The Heroes Les assaillants avaient le nombre; les insurgés avaient la position. Ils étaient au haut d’une muraille, et ils foudroyaient à bout portant les soldats trébuchant dans les morts et les blessés et empêtrés dans l’escarpement. Cette barricade, construite comme elle l’était et admirablement contrebutée, était vraiment une de ces situations où une poignée d’hommes tient en échec une légion. The assailants had the numbers; the insurgents the position. They were on the top of a wall, and they shot down the soldiers at the muzzles of their muskets, as they stumbled over the dead and wounded and became entangled in the escarpment. This barricade, built as it was, and admirably supported, was really one of those positions in which a handful of men hold a legion in check. Les assauts se succédèrent. L’horreur alla grandissant. There was assault after assault. The horror continued to increase. Pour se faire une idée de cette lutte, il faudrait se figurer le feu mis à un tas de courages terribles, et qu’on regarde l’incendie. Ce n’était pas un combat, c’était le dedans d’une fournaise; les bouches y respiraient de la flamme; les visages y étaient extraordinaires, la forme humaine y semblait impossible, les combattants y flamboyaient, et c’était formidable de voir aller et venir dans cette fumée rouge ces salamandres de la mêlée. Les scènes successives et simultanées de cette tuerie grandiose, nous renonçons à les peindre. To form an idea of this struggle, imagine fire applied to a mass of terrible valour, and that you are witnessing the conflagration. It was not a combat, it was the interior of a furnace; there mouths breathed flame; there faces were wonderful. There the human form seemed impossible, the combatants flashed flames, and it was terrible to see going and coming in that lurid smoke these salamanders of the fray. The successive and simultaneous scenes of this grand slaughter, we decline to paint. Que l’un combatte pour son drapeau, et que l’autre combatte pour son idéal, et qu’ils s’imaginent tous les deux combattre pour la patrie; la lutte sera colossale. Let the one fight for his flag, and the other for his ideal, and let them both imagine that they are fighting for the country; the strife will be colossal... On veut mourir pourvu qu’on tue. They are willing to die, provided they kill. Chapter XXII: Foot to Foot Book II - The Intestine of the Leviatha [ edit] La philosophie est le microscope de la pensée. Philosophy is the microscope of thought. Chapter II: Ancient History of the Sewer Book III - Mire, But Soul [ edit] Jean Valjean had fallen from one circle of Hell to another. Jean Valjean était tombé d’un cercle de l’enfer dans l’autre. Chapter I: The Cloaca and its Surprises La pupille se dilate dans la nuit et finit par y trouver du jour, de même que l’âme se dilate dans le malheur et finit par y trouver Dieu. The pupil dilates in the night, and at last finds day in it, even as the soul dilates in misfortune, and at last finds God in it. Quand un homme habillé par l’État poursuit un homme en guenilles, c’est afin d’en faire aussi un homme habillé par l’État. Seulement la couleur est toute la question. Être habillé de bleu, c’est glorieux; être habillé de rouge, c’est désagréable. When a man clad by the state pursues a man in rags, it is in order to make of him also a man clad by the state. Only the colour is the whole question. To be clad in blue is glorious; to be clad in red is disagreeable. Chapter III: The Man Spun Book IX - Supreme Shadow, Supreme Dawn [ edit] Ch. IV - A Bottle Of Ink Which Serves Only To Whiten [ edit] Vous êtes un infâme! vous êtes un menteur, un calomniateur, un scélérat. Vous veniez accuser cet homme, vous l’avez justifié; vous vouliez le perdre, vous n’avez réussi qu’à le glorifier. Et c’est vous qui êtes un voleur! Et c’est vous qui êtes un assassin! Je vous ai vu, Thénardier Jondrette, dans ce bouge du boulevard de l’Hôpital. J’en sais assez sur vous pour vous envoyer au bagne, et plus loin même, si je voulais. You are a wretch! you are a liar, a slanderer, a scoundrel. You came to accuse this man, you have justified him; you wanted to destroy him, you have succeeded only in glorifying him. And it is you who are a robber! and it is you who are an assassin! I saw you Thenardier, Jondrette, in that den on the Boulevard de l'Hopital. I know enough about you to send you to the galleys, and further even, if I wished. Marius to Thenardier Ch. V - Night Behind Which Is Dawn [ edit] Cosette, entends-tu? il en est là! il me demande pardon. Et sais-tu ce qu’il m’a fait, Cosette? Il m’a sauvé la vie. Il a fait plus. Il t’a donnée à moi. Et après m’avoir sauvé et après t’avoir donnée à moi, Cosette, qu’a-t-il fait de lui-même? il s’est sacrifié. Voilà l’homme. Et, à moi l’ingrat, à moi l’oublieux, à moi l’impitoyable, à moi le coupable, il me dit: Merci! Cosette, toute ma vie passée aux pieds de cet homme, ce sera trop peu. Cette barricade, cet égout, cette fournaise, ce cloaque, il a tout traversé pour moi, pour toi, Cosette! Il m’a emporté à travers toutes les morts qu’il écartait de moi et qu’il acceptait pour lui. Tous les courages, toutes les vertus, tous les héroïsmes, toutes les saintetés, il les a! Cosette, cet homme-là, c’est l’ange! Chut! chut! dit tout bas Jean Valjean. Pourquoi dire tout cela? Mais vous! s’écria Marius avec une colère où il y avait de la vénération, pourquoi ne l’avez-vous pas dit? C’est votre faute aussi. Vous sauvez la vie aux gens, et vous le leur cachez! Vous faites plus, sous prétexte de vous démasquer, vous vous calomniez. C’est affreux... La vérité, c’est toute la vérité; et vous ne l’avez pas dite. Vous étiez monsieur Madeleine, pourquoi ne pas l’avoir dit? Vous aviez sauvé Javert, pourquoi ne pas l’avoir dit? Je vous devais la vie, pourquoi ne pas l’avoir dit? Cosette, do you hear? that is the way with him! he begs my pardon, and do you know what he has done for me, Cosette? he has saved my life. He has done more. He has given you to me. And, after having saved me, and after having given you to me, Cosette, what did he do with himself? he sacrificed himself. There is the man. And, to me the ungrateful, to me the forgetful, to me the pitiless, to me the guilty, he says: Thanks! Cosette, my whole life passed at the feet of this man would be too little. That barricade, that sewer, that furnace, that cloaca, he went through everything for me, for you, Cosette! He bore me through death in every form which he put aside from me, and which he accepted for himself. All courage, all virtue, all heroism, all sanctity, he has it all, Cosette, that man is an angel! "Hush! hush! " said Jean Valjean in a whisper. "Why tell all that? " "Why have not you told it? It is your fault, too. You save people's lives, and you hide it from them! You do more, under pretence of unmasking yourself, you calumniate, yourself. It is frightful... The truth is the whole truth; and you did not tell it. You were Monsieur Madeleine, why not have said so? You had saved Javert, why not have said so? I owe my life to you! why not have said so? " Oh oui, défends-moi de mourir. Qui sait? j’obéirai peut-être. J’étais en train de mourir quand vous êtes arrivés. Cela m’a arrêté, il m’a semblé que je renaissais. Oh, yes, forbid me to die. Who knows? I shall obey perhaps. I was just dying when you came. That stopped me, it seemed to me that I was born again. La mort est un bon arrangement. Dieu sait mieux que nous ce qu’il nous faut. Que vous soyez heureux, que monsieur Pontmercy ait Cosette, que la jeunesse épouse le matin, qu’il y ait autour de vous, mes enfants, des lilas et des rossignols, que votre vie soit une belle pelouse avec du soleil, que tous les enchantements du ciel vous remplissent l’âme, et maintenant, moi qui ne suis bon à rien, que je meure, il est sûr que tout cela est bien. Voyez-vous, soyons raisonnables, il n’y a plus rien de possible maintenant, je sens tout à fait que c’est fini. Death is a good arrangement. God knows better than we do what we need. That you are happy, that Monsieur Pontmercy has Cosette, that youth espouses morning, that there are about you, my children, lilacs and nightingales, that your life is a beautiful lawn in the sunshine, that all the enchantments of heaven fill your souls, and now, that I who am good for nothing, that I die; surely all this is well. Look you, be reasonable, there is nothing else possible now, I am sure that it is all over. Ce n’est rien de mourir; c’est affreux de ne pas vivre. It is nothing to die; it is horrible not to live. J’écrivais tout à l’heure à Cosette. Elle trouvera ma lettre. C’est à elle que je lègue les deux chandeliers qui sont sur la cheminée. Ils sont en argent; mais pour moi ils sont en or, ils sont en diamant; ils changent les chandelles qu’on y met, en cierges. Je ne sais pas si celui qui me les a donnés est content de moi làhaut. J’ai fait ce que j’ai pu. I was writing just now to Cosette. She will find my letter. To her I bequeath the two candlesticks which are on the mantel. They are silver; but to me they are gold, they are diamond; they change the candles which are put into them, into consecrated tapers. I do not know whether he who gave them to me is satisfied with me in heaven. I have done what I could. Les forêts où l’on a passé avec son enfant, les arbres où l’on s’est promené, les couvents où l’on s’est caché, les jeux, les bons rires de l’enfance, c’est de l’ombre. Je m’étais imaginé que tout cela m’appartenait. Voilà où était ma bêtise. Ces Thénardier ont été méchants. Il faut leur pardonner. Cosette, voici le moment venu de te dire le nom de ta mère. Elle s’appelait Fantine. Retiens ce nom-là: — Fantine. Mets-toi à genoux toutes les fois que tu le prononceras. Elle a bien souffert. Elle t’a bien aimée. Elle a eu en malheur tout ce que tu as en bonheur. Ce sont les partages de Dieu. Il est là-haut, il nous voit tous, et il sait ce qu’il fait au milieu de ses grandes étoiles. Je vais donc m’en aller, mes enfants. Aimez-vous bien toujours. Il n’y a guère autre chose que cela dans le monde: s’aimer. The forests through which we have passed with our child, the trees under which we have walked, the convents in which we have hidden, the games, the free laughter of childhood, all is in shadow. I imagined that all that belonged to me. There was my folly. Those Thenardiers were wicked. We must forgive them. Cosette, the time has come to tell of your mother. Her name was Fantine. Remember that name: Fantine. Fall on your knees whenever you pronounce it. She suffered much. And loved you much. Her measure of unhappiness was as full as yours of happiness. Such are the distributions of God. He is on high, he sees us all, and he knows what he does in the midst of his great stars. So I am going away, my children. Love each other dearly always. There is scarcely anything else in the world but that: to love one another. La nuit était sans étoiles et profondément obscure. Sans doute, dans l’ombre, quelque ange immense était debout, les ailes déployées, attendant l’âme. The night was starless and very dark. Without doubt, in the gloom some mighty angel was standing, with outstretched wings, awaiting the soul. Chapter VI - Grass Hides And Rain Blots Out [ edit] Cette pierre est toute nue. On n’a songé en la taillant qu’au nécessaire de la tombe, et l’on n’a pris d’autre soin que de faire cette pierre assez longue et assez étroite pour couvrir un homme. On n’y lit aucun nom. This stone is entirely blank. The only thought in cutting it was of the essentials of the grave, and there was no other care than to make this stone long enough and narrow enough to cover a man. No name can be read there. Il dort. Quoique le sort fût pour lui bien étrange, Il vivait. Il mourut quand il n’eut plus son ange, La chose simplement d’elle-même arriva, Comme la nuit se fait lorsque le jour s’en va. He sleeps. Although his fate was very strange, He lived. He died when he had no longer his angel. The thing came to pass simply, Of itself, as the night comes when day is gone. These final lines are a statement once pencilled on the stone of Valjean's grave. The Isabel F. Hapgood translation is here used; the Wilbour edition leaves the verses untranslated. He sleeps; although so much he was denied, He when his dear love left him, died. It happened of itself, in the calm way That in the evening night-time follows day. Norman Denny translation He is asleep. Though his mettle was sorely tried, He lived, and when he lost his angel, died. It happened calmly, on its own, The way night comes when day is done. Lee Fahnestock and Norman MacAfee translation, based on the Charles E. Wilbour translation External links [ edit] Les Misérables at French Wikisource Free eBook of Les Misérables at Project Gutenberg — English translation by Isabel F. Hapgood Hugo Central Les Miserables at Online Literature Cameron Mackintosh: Les Misérables A Resourceful Les Mis Fan Site.

I miserabili trama.
I miserabili tv.
This film is amazing! Has to be one of the best films ever! This needs to go worldwide.
I miserabili tv show.
I miserabili cartone animato.

#FightForFreedom. Banlieusards les Miserables Y a du talent ailleurs que dans le paris intra muros, il va falloir que l'industrie du cinema se le grave dans la tronche pitain! On veut/aura de la lumière nous aussi! ✊💪. AHR0cHM6Ly9tZWdhLm56LyMhUUZKeHlBQmEhU1pRajFaY1ZRZnBxb04yR255c1lkbzJVd2pQYmN5WldoU2NZaWF1a29tVQo= Les Misérables: 10th Anniversary Royal Albert Hall Concert (1995) Starring Colm Wilkinson, Philip Quast, Ruthie Henshall, Jenny Galloway, Alun Armstrong, Michael Ball and Judy Kuhn Resolution: 480x360 Size: 402 MB Frame rate: 29. 97 FPS Format: MP4 Audio: 96. 0 kb/s (fixed) Hey r/proshotmusicals, I'm trying something new. I'm going to be uploading proshots to MEGA and then posting the links here as Base64 Copy the string at the top of the post Go here Paste the string into the first box and hit decode The MEGA link will be in the second box PM/Post/comment/reply with your requests.

Ruthie Henshall, Susan Boyle, Anne Hathaway. Every version, each one of them is magnificent.

Sometimes I feel bad because theyre so focused on getting the timing right, the tone, the intonation and making sure it sounds good while also they dont like hear what a beautiful composition it is, like they hear it but they dont get to appreciate the chemistry and composition as much as the audience does! How much power a few singers can impact everywhere its crZy. É y Z'avé pa un otre tittre ah trou-vé pou re cet daubasse deu … gauchiasse. Les misérables sont dans les campagnes et sûrement pas dans les « banlieues » ou largent de létat, enfin des français, est déversé par centaines de milliards. Vous nous referez pas le coup des années 80 et de lépoque « touche pas mon pote » cette période est révolue.

I miserabili libro.


Les misérables - by Patrick, March 01, 2020
3.0/ 5stars

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