Hi, hello everyone! It’s Caitlyn and Cossette here, and we’re here to kick off a new series: Cozy Conversations with Cait & Coco! We’ll be rereading some of our favorite books, or stories with a special place in our hearts, and chatting about them. These will probably be lengthy posts, so make sure you grab a cup of tea, and get cozy!
There’s no better place to start than Les Misérables by Victor Hugo. The first Parsian edition was published on April 3rd, 1862, so we thought what better day to launch this series than on the 160th anniversary of a book that has influenced both of us in many ways?
A lengthy blog post, for a lengthy book. The two of us are incredibly sorry for how long this post is, but we did warn you and say it’s going to be lengthy and to grab a cup of tea.
Victor Hugo’s tale of injustice, heroism and love follows the fortunes of Jean Valjean, an escaped convict determined to put his criminal past behind him. But his attempts to become a respected member of the community are constantly put under threat: by his own conscience, when, owing to a case of mistaken identity, another man is arrested in his place; and by the relentless investigations of the dogged Inspector Javert. It is not simply for himself that Valjean must stay free, however, for he has sworn to protect the baby daughter of Fantine, driven to prostitution by poverty.
Q: Les Misérables is well known for its large cast of characters. Who is your favorite character, and why? How does Hugo develop this character’s personality in the narrative?
Caitlyn: While I love many of the characters in Les Misérables for many different reasons, my favorite characters have always been Enjolras and Éponine.
The first time that I listened to the musical (which was my first introduction to the story of Les Misérables) Enjolras was the character who spoke to me. I admire his drive, passion and strong beliefs. For me, Enjolras is a captivating character. Every time one of his monologues appears I am glued to the page, I simply cannot look away. It’s the same in the musical. There is something about Enjolras that simply pulls me to him. If we’re being completely honest, if Enjolras turned to me and asked me to join the rebellion, I wouldn’t even hesitate to say yes. One of the passages from the book that always sticks out to me is this description of Enjolras:
“He was a charming young man, capable of being intimidating. He was angelically beautiful. He was Antinous wild. You would have said, seeing the thoughtful reflection of his eye, that he had already, in some preceding existence, been through the revolutionary apocalypse. He knew its tradition like an eyewitness. He knew every little detail of that great thing. A pontifical and warrior nature, strange in a youth. He was officiating and militant; from the immediate point of view, a soldier of democracy; above the movement of the time, a priest of the ideal.”
Although Enjolras is a character who, as Hugo said, is capable of being “intimidating” (some translations are “capable of being terrible”) he strongly believes that no one should be forced into doing something that they don’t want to do. He encourages and asks others to join him in the fight for freedom, but he never once forces them. He’s always very clear that people hold the power to make their own choices. The Les Amis de l’ABC clearly see him as the leader (Hugo said it himself, Enjolras was the leader. Combeferre was the guide. Courfeyrach was the center) so it would’ve been so easy for Enjolras to force them into things but he doesn’t. He understands how important to the cause it is that it is their choice to fight with him. At the barricade, when it seems that all hope is lost, Enjolras tells everyone there that they can leave. He’s not going to force them to stay — he is going to stay until the end, but they do not have to. In the end, many of them (and all of the Les Amis de l’ABC) choose to stay and fight with him, which I think says a lot about his character.
Honestly, I don’t even know what else I can say. He’s been one of my favorite literature and musical theatre characters for well over 10 years now, and I don’t see that changing any time soon.
I also desperately love Éponine. We have a specific discussion question about her a little further down where I have a lot to share, so I won’t go too into detail here, but Éponine is another character that really resonates with me. Like most other characters in the novel, Éponine has been given the short end of the stick, and really is just trying to survive. Although she has horrible parents, and because of them and their life, has had to do terrible things, she is not inherently terrible. She tries to carve out space for herself in the world, she tries to get out from underneath her parents thumb, and in a world that has continued to beat her down and take and take and take from her, she still dares to hope. She’s by no means a perfect person (no one is), but I think that daring to hope even when it seems like all hope is lost, is a really powerful thing.
Cossette: I think I’m biased, but I really do have to go with Cosette. I have such a soft spot for her, and I think she gets a lot of bad rep — especially after the Les Miserables (2012) movie came out. People tend to assume she’s spoiled and weak, when she really is just kind. A lot of people view kindness as weakness, but it takes so much more to remain kind in tough situations. Cosette is forgiving and loving, and also one of the strongest characters in the entire novel. She’s a victim of child abuse and neglect, which is something that I think most people gloss over. At no point is she just spoiled (unlike Marius) or shallow either; just because Jean Valjean treats her like a proper human being doesn’t mean that she’s spoiled or undeserving of that love. Valjean always makes sure that Cosette is cared for, and that they give back to the community.
“He was fond of taking Cosette to visit the poor and the sick. No stranger ever entered the house in the Rue Plumet. Toussaint brought their provisions, and Jean Valjean went himself for water to a fountain nearby on the boulevard. ”
Later in the novel, Valjean says:
“What am I to Cosette? A passer-by. Ten years ago, I did not know that she was in existence. I love her, it is true. One loves a child whom one has seen when very young, being old oneself. When one is old, one feels oneself a grandfather towards all little children. You may, it seems to me, suppose that I have something which resembles a heart. She was an orphan. Without either father or mother. She needed me. That is why I began to love her. Children are so weak that the first comer, even a man like me, can become their protector. I have fulfilled this duty towards Cosette. I do not think that so slight a thing can be called a good action; but if it be a good action, well, say that I have done it. Register this attenuating circumstance.”
Without Cosette, there simply isn’t Les Misérables.
Q: Explain Cosette’s function in the novel in regard to character development, plot development, and theme.
Caitlyn: In my opinion, Cosette is the most important character in the entire story. While Jean Valjean is the main character of Les Misérables, Cosette is the catalyst for all of the action after the Bishop has shown Valjean the kindness that he had so been lacking in his life. Without Cosette the story can simply end once the Bishop has spared Valjean from returning to prison. There’s a reason why young Cosette is the iconic symbol of the book.
Cossette: I mentioned this earlier, but just as Caitlyn said, Cosette is the most important character in Les Misérables. Without her, Valjean wouldn’t have learned how to love. By taking her under his wing, Valjean is put in a precarious situation where he has to not just care for a child, but also learn how to care for himself, and the world around him, while ensuring that he isn’t caught by Javert. Valjean is very much aware that if he were to get caught, Cosette would be all alone, with no one else in the world. Valjean holds onto his promise to Fantine, despite everything that it could cost him. Again and again, Valjean sacrifices his happiness, his health, and even at times, risks his own life, just for Cosette’s happiness and wellbeing. She gives him a family again, and brings meaning into his life.
Caitlyn: Cosette is also a symbol of hope in the story. Cosette is the result of a relationship Fantine hoped would be her happy ending and she brings light, joy, and life into both Valjean and Marius’ lives. Cosette really links all of the other characters together, even if they haven’t met her, she has influenced their lives in some way.
Cossette: With Éponine, Cosette and Éponine are simply foils for one another. Éponine and Cosette’s storylines are parallels — Éponine has the childhood that Cosette longs for, and Cosette has the life that Éponine wishes she had as an adult. It’s fascinating and heartbreaking to see how Éponine’s life could’ve played out differently, had she grown up in a different environment, and to be able to see how Cosette flourished under Valjean.
Caitlyn: The parallels between Éponine and Cosette simply make me go crazy. When I was rereading the book I texted Mary and Cossette to talk about how they are foils for one another and I just — Victor Hugo knew what he was doing, and I would like to thank him for it. I also love that in the musical they point this out once we shift to 1832 and Éponine sees Cosette again for the first time, she sings:
“Cosette, now I remember / Cosette, how can it be? / We were children together / Look what’s become of me”
It’s a really heartbreaking moment where Éponine sees the life that she could’ve had.
Q: Éponine is perhaps one of the most memorable characters in the novel. Do you think her actions are primarily selfish or selfless?
Caitlyn: As I mentioned earlier, Éponine has always been one of my favorite characters in Les Misérables and just literature in general. While I love her, I do think that she has selfish tendencies, but I wouldn’t necessarily say that she is a selfish person. I think her actions really boil down to nature vs. nurture.
Cossette: I agree with Cait — Éponine has selfish tendencies, but isn’t necessarily a selfish person. I think there are times where she’s acted selfishly, but is it really Éponine being selfish, or is it a matter of survival?
From a young age, Éponine (and her sister, Azelma), learn how to treat people around them by observing their parents. In fact, the text says:
“Madame Thénardier was vicious with Cosette. Éponine and Azelma were vicious. Children at that age are only copies of their mother. The size is smaller; that is all.”
If the Thénardiers were different people, if Éponine had been raised differently, perhaps she wouldn’t have made the same choices and done the same actions.
Caitlyn: As a child, Éponine was shown love and kindness from her parents – or as much love and kindness as the Thénardiers know how to show – but once Cosette has been taken away by Jean Valjean that all changes. The hate and resentment the Thénardiers had for Cosette is now fully thrown at Éponine. Éponine sees first hand how truly rotten people can be, and it hardens her. I don’t think that she’s a naturally mean or selfish person, her selfishness comes out of self preservation. The only way to survive her life with her parents is to harden herself and to become as ruthless and selfish as they are. She’s also very aware of her actions in a way that I think truly selfish people are not – her parents are selfish and they don’t care about it, they simply want to get ahead, but Éponine isn’t exactly like them.
I think the best example of this comes from when she’s tending to the flowers in Father Mabeuf’s garden.
“God will bless you,’ said he, ‘you are an angel since you take care of the flowers.’
‘No,’ she replied. ‘I am the devil, but that’s all the same to me.”
Éponine has no misconceptions about her character. She is not ignorant to the things that she’s done, nor the things that her family has done. She doesn’t make excuses for her actions, she owns them and I think she is much more self aware. I think that she makes and has made questionable choices, but she also does things that counter those actions, such as tending to Father Mabeuf’s flowers.
Cossette: A scene that particularly sticks out to me is when the Thénardiers, Montparnasse, and their gang, attempt to rob Rue Plumet. Éponine tries to stop them, convincing them that there’s nothing worthy in the house, despite what it’ll cost her. At one point, she even threatens to scream to alert the neighbors. No one else knew this was happening; no one would’ve blamed her if she hadn’t convinced the gang to leave Valjean and Cosette alone. It wouldn’t have gotten back to Marius; there was no ulterior motive for Éponine to prevent the robbery. Still, Éponine does the right thing.
“Éponine made a final effort.
“Well,” said she, “they’re very poor folks, and it’s a hovel where there isn’t a sou.”
“Go to the devil!” cried Thénardier. “When we’ve turned the house upside down and put the cellar at the top and the attic below, we’ll tell you what there is inside, and whether it’s francs or sous or half-farthings.”
And he pushed her aside with the intention of entering.
“My good friend, Mr. Montparnasse,” said Éponine, “I entreat you, you are a good fellow, don’t enter.”
Caitlyn: One of the biggest misconceptions – and something that bothers me the most – that people have about Éponine is that she’s in love with Marius. In the book she says, “I think I was a little bit in love with you” which, in my opinion, is very different from “I am in love with you”. What Éponine loves is what Marius represents in her life. By the time she meets Marius, Éponine has been forced into being a con artist for her family. She does not have much control over her life, really Éponine has no agency. Marius is the first person to show her kindness since her childhood. Marius represents hope and kindness and a better life for Éponine, so she’s absolutely fascinated and enamored by him, but she’s not actually in love with him. If you’ve been shown abuse and hate for the majority of your life, I can definitely understand thinking you’re in love with the first person to be kind to you.
I do think that her death is one of her more selfish moments — she dies because she jumps in front of a bullet that was going to hit Marius, and in that is basically hoping that doing so will make Marius feel for her the way she does for him. However, it is one of the few moments in the entire book where Éponine has agency over what happens to her. I think that, at that point, Éponine knows that if she continues down the life path that she’s on, she’ll die in a much worse way than dying at the barricade and she decides that if she can control one thing in her life, it’ll be her death.
Q: Which character in this book do you have the most sympathy for? Why? Which character do you have the least sympathy for? Why?
Cossette: The character I have the most sympathy for is probably Fantine. We only get a glimpse into her short life; we’re told that she’s beautiful and joyful and pure, and we watch how all of that is taken away from her by selfish, cruel creatures. Fantine’s biggest fault is her heart and her love — in fact, Hugo even says:
“Love is a fault; so be it. Fantine was innocence floating high over fault.”
Fantine gives up everything she has for Cosette. Everything she does is for her child, and for the ability to give Cosette a better life. Even while on her deathbed, her only thought is of her daughter, and who will take care of her. I also think that we only get to see the good parts of Fantine, and that her only fault is that she’s too trusting, and so it really is hard not to sympathize with a character like that.
Caitlyn: I completely agree! When you think about it, Fantine is basically the only character who, when we meet her, has any sense of hopefulness in her life. Fantine is hopeful that she and Tholomyès (I hate him so much) were going to have this beautiful life together and then he just leaves her. Then she loses touch with her friends and finds out that she’s pregnant and truly all alone. She can’t care for her child so she has to ask strangers to take her in, she’s then forced into prostution, is abused time and time again, and dies without ever getting to see her daughter again. It’s truly so heartbreaking.
This might actually come as a surprise to some people, but I actually have a lot of sympathy for Javert. It’s very easy to see Javert as the “villain” when in fact, he’s not. Javert is also a product of the corrupt system that they live in. He was born inside a jail and worked his way up to become a police officer. Javert thinks the world is black and white, that there’s either right or wrong, you’re good or you’re bad – there is no in between. He’s spent the better part of his adult life seeing Jean Valjean as a symbol of all that is wrong in the world, and he believes it is his duty to make sure that Valjean pays for his crimes. That’s why, when Valjean later shows him kindness and spares him his life, Javert doesn’t know how to handle it and he commits suicide. He literally cannot wrap his head around the fact that a man he sees as the definition of bad has just saved him and he is so set in his ways and beliefs of what a convict is and is not capable of, that he cannot imagine a world where he and Jean Valjean coexist, and a world where Jean Vajean is not the person he believes him to be. I find that incredibly heartbreaking, and I think it’s something that not many people think about. So, I do have a lot of sympathy for Javert because he is just as much a victim of the corrupt system as the rest of them were.
Cossette: The character that I have the least amount of sympathy for is probably the Thénardiers; they’re greedy, and rotten, and I really don’t have all that much more to say.
Caitlyn: I truthfully don’t see how the answer to the question of which character you have the least amount of sympathy for isn’t the Thénardiers. While there are multiple characters in Les Misérables who make questionable choices, the only characters who do so with truly malicious intent are the Thénardiers. They only care about themselves – they completely abandon their children when their children are no longer convenient to them and literally do not care if their children live or die. In the musical, Marius sings, “go away, Thénardier” during The Wedding Chorale/Beggars At the Feast and that line simply plays over and over again in my head whenever they appear in the story. The Thénardiers are truly despicable people.
Q: Compare the musical Les Misérables to the book. What is left out, emphasized, or added? How does the change of medium effect the pace and tone of the story? To what do you attribute the long-running success of the musical?
Caitlyn: In my opinion, the reason why the musical is one of the longest running musicals both on Broadway and the West End, is the music. The score is so stunning and heartwarming, and gut wrenching and hopeful…it truly takes all the emotions in the novel and sets them to music to tell this gorgeous tale of love and how one moment can change our lives forever.
I’ll never forget the first time I saw a professional production of Les Misérables. The house lights went out, the first chord of Look Down started and I immediately burst into tears, I was so overwhelmed with joy to be sitting in a theatre and watching this story. The music is so powerful and I think that the show being completely sung as opposed to being a regular book musical with dialogue and songs, is part of why it’s so popular. In a musical, the characters begin to sing because their emotions are so heightened that spoken words can no longer express everything that they’re feeling. In Les Misérables everyone’s emotions are always heighted, so it only makes sense that everything is sung through.
Cossette: I think that Marius is a lot more likable in the musical than he is in the book — and not to say that I dislike Marius, because I do love him, but I find him a little less endearing in the book. Although, to be fair, my enjoyment of musical Marius does greatly depend on who is playing him. In the book, we get more of Marius’ backstory, making him more fleshed out. And I mean, it would be a problem if Marius wasn’t fleshed out in the book, given that it’s over 1,400 pages long. There’s this tension between the way Marius was raised and his relationship with his grandfather, and the father he never got to know and the duty he feels towards him. I find Marius a lot more admirable in the book; he has more of a backbone, he gives up his comfortable lifestyle with his grandfather and sticks to his own beliefs. Despite the difficulty of his situation, he doesn’t take the easy way out. At its very core, Les Misérables is a story about love, and how the way we are loved and the way we were raised/our environment shapes us.
And yet, I still prefer the musical version of Marius. I know it was a different time then, but I can’t help but think that the way Marius pretty much stalked Cosette at the Luxembourg Gardens, and then later found her home address, is incredibly creepy. The musical is a little less creepy in that aspect. Not to mention, Marius driving away Valjean at the end, and essentially brainwashing Cosette into forgetting about Valjean, and ruining their relationship is something that just doesn’t sit right with me. Yes, it literally says to “let us not blame these children” in Les Misérables, and yes, I blame them anyways.
Caitlyn: I just — y’all I do not know if you understand how much I love this musical, but I love this musical. Once I’m in a Les Mis phase I am in it for a long time and it becomes part of my personality, so there is a lot that I love about the musical. However, there are things that got diminished because how else would you take a 1,400+ book and make it a 3 hour musical? I do absolutely agree with Cossette, I personally like musical Marius more than I like book Marius, even though I love him in both.
I appreciate that in the musical they added more of a friendship to Marius and Éponine’s storyline, as opposed to him pitying her more than anything. I think that friendship adds to both of their character arcs.
Cossette: Also, I really think that the addition of Empty Chairs at Empty Tables adds a lot to Marius’ character. His grief isn’t played into or explored as much in the novel, and I think Empty Chairs at Empty Tables not only highlights the camaraderie between the Les Amis de l’ABC, but also his grief and guilt. Listen to “Mystery Marius” — Who isn’t really a mystery, but rather, Taelon Stonecipher, who was in a production of Les Misérables in Fort Bend Theatre in Sugarland, Texas back in 2014.
Caitlyn: Must take a moment to say, I love “Mystery Marius” who is not a mystery any more. Truly, a fantastic performance of Empty Chairs At Empty Tables. I fully agree with Cossette — Empty Chairs is such an important moment for Marius. Marius has a big heart, and he loved the Les Amis de l’ABC like brothers and to lose all of them at once is absolutely heartbreaking. He clearly misses them, but is so grateful that he survived and is going through major survivor’s guilt. I cry throughout basically the entirety of Les Misérables, but Empty Chairs At Empty Tables is always a really emotional experience. It also brings back memories of when I assistant directed the musical, as that was the scene our director had given me — which is quite the undertaking at 16, but I was honored to have that responsibility, so that song really means a lot to me.
Cossette: Honestly, I think that the musical really depends on who is in it. Each person has a different characterization of the characters we love, and I think some actors have certain choices that they make that I don’t agree with, or I don’t think suits the characters very well. I’m looking at you, Les Misérables 2014 Revival Broadway cast. Again, I think a lot of actors who play Cosette play her as a shallow, dimwitted little thing, and so I think the audience is a lot more sympathetic to Éponine as a result.
Caitlyn: I do agree that it really depends on the cast. I’ve watched many performances of Les Misérables in my time and I have many casts that I love and I love them all for different reasons. Because these characters are so multi-layered and complex, everyone is going to have a different interpretation of the characters. So, while you could see two productions of Les Misérables on the same day, even with the same cast, you would still be seeing two different performances because there is so much to pull from these characters, and I think that is so amazing.
However, I do wish that we got to see more of certain characters and their backstories — yes, I am talking about the barricade boys, I just love them okay?
Cossette: Oh, and of course, there are many minor characters and storylines that are redacted. A lot of the interactions between Marius and Éponine are reduced, as are the scenes with the barricade boys.
Other storylines or characters I wished to see include Gavroche taking care of the two boys, Cosette and Valjean giving clothing and food to the Thénardiers, and Azalma.
Caitlyn: One moment that I desperately wish was in the musical is during Éponine’s death when she tells Marius that Gavroche is her brother. In the 2019 West End Staged production (This version is my current Les Mis obsession — Bradley Jaden as Enjolras is fantastic, as is Lily Kerhoas as Cosette and I love Shan Ako as Éponine…I’m stopping now, just watch this cast) in Paris (Look Down) as Gavroche sings “That’s Éponine, she knows her way about / Only a kid but hard to scare / Do we care? / Not a cuss! / Long live us / Long live us!” The staging has Éponine and Gavroche interacting with each other, which just warms my heart and I love when directors add in moments like that because those who haven’t read the book will think it’s simply a nice moment between the two, but those who have read the book know that it’s a subtle nod to the fact that they’re siblings. It’s a nice little easter egg!
Speaking of Éponine and Gavroche, I must point out that in the musical both Éponine and Gavroche do not finish singing the last line of their songs before they die. The words that they don’t finish? “Grow” and “Up” – the thing that neither of them (nor the Barricade Boys) get to do. Do with that information what you will.
Cossette: Ouchie.
Q: Les Misérables is one of the most widely read novels of all time, and the show has been received with immense success around the world. How do you explain its great appeal to so many different kinds of audiences over more than 130 years?
Cossette: Les Misérables is one of those stories that simply is timeless. Despite being written in the 1800s, a lot of the themes in Les Misérables are still prevalent in society today. Whether it’s the 2012 Movie (which is most likely my least favorite adaptation), the musical, or the 2014 Dallas Theatre Center production where it was reimagined to modern day, the story of Les Misérables is still relevant. Les Misérables is a story about love — what does it mean to love somebody, what can love do for a person, what can the lack of love do to someone? It’s a story about hope — what are you willing to fight for, and to what lengths are you willing to go to for that? It’s a story about second chances and redemptions — not just in Valjean, but for Éponine and Javert too. I think everyone understands those themes and motifs on some level; it’s impossible to read — or watch — Les Misérables without it resonating with you in some way, shape or form.
Caitlyn: Not to be ~that person~, but I truly believe that everyone should read Les Misérables or at least see the musical. Some people may think that I’m exaggerating when I say this, but I promise you that I am not. This book completely changed my life. When I was 16 years old I was in a production of Les Misérables at the youth theatre company I now work for, and I assistant directed the show. The musical put me on a career path that I never would’ve imagined for myself, and now that it’s the path I’m on, I truly couldn’t do anything else that would bring me as much joy.
I also decided to read the novel for the first time while I was working on the show. It took me a full year to read it, and while it was definitely daunting at moments, I am so glad that I did. At its core, the story of Les Misérables is a story of redemption, love, and hope. Valjean starts the story bitter and angry at the world, and then one act of kindness from the Bishop changes his life forever. That kindness makes Jean Valjean reevaluate his entire life and from that moment on, he does everything he can to help others and become a better person. Enjolras and the Les Amis de l’ABC are fighting to make the world a better and more fair place. They know that they are outnumbered and their chances of succeeding are low, but they do not let that stop them. They strongly believe that despite what those in power tell them, their voices matter and they can make a difference. I think that both of those things are so inspiring.
The other reason why Les Misérables is one of the most widely read novels of all time, and one of the longest running musicals of all time, is because this story is universal. There’s at least one character, or an aspect of a character, that everyone can relate to. This story is still relevant to what is happening in the world today. There are modern day Enjolras’ and Barricade Boys fighting for the freedom of others every day. There are modern day Jean Valjean’s who have been broken and beaten down day after day after day but continue to get up and fight and prove that one mistake in their lives does not define the person that they are. Les Misérables may have been written in 1862, but the themes of the novel are just as relevant in 2022 and I think that is the reason why it is so widely popular.
If you’ve stuck around to the end of this post, we truly thank you! We know that it was a long one, but when talking about a book over 1,400 pages, how do you not have a lot to say? We hope that you’ve enjoyed the first installment of Cozy Conversations with Cait & Coco! See you next time!
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