Factors And Consequences In Victor Hugo's Les Miserable

Character Analysis: Give your ideas about the main characters(s). Include what you like and dislike about the characters and why they deserve praise or criticism. Does the author intend for you to like/dislike them? How do you know?

I agree with the statement that in the novel Les Miserables, the author Victor Hugo is trying to say that human nature is basically good. In the most basic sense, the definition of good trying to do the right thing, even if there are negative consequences. It often means having to sacrifice and give up something to do the right thing. Throughout the book, many characters sacrifice their happiness and morals in order to do what they believe is the right and fair thing. Even when faced with serious consequences for being honest, characters more often than not still choose to do the right thing. Some may argue that Victor Hugo is saying that human nature is basically evil because some characters commit evil actions. However, in most cases, characters don’t always have evil intentions, their execution is just poor and makes them seem evil. Everyone thinks of themselves as a hero, almost everything a character does is because that’s what they believe is the right thing to do. Whether or not it really is could be up for debate but for the most part, most characters don’t have evil intentions and attempt to usually do the right thing. Victor Hugo is saying that as a whole, human nature is inherently good.

hit Gavroche. Thinking he is invincible, he begins to mock the soldier's aim. But, he speaks too soon, and on his way back, he is shot in the back, and dies. And lastly, we have the sacrifice of Eponine…one of the daughter's of Thenardier. She is in love with Marius…unbeknownst to him. She follows him to the barricades, and while there, saves his life. She put her hand in front of a barrel aimed for Marius, and the bullet went through her hand, and into her body. Of course, this act moves Marius greatly. Eponine admits her love to him, and tells him everything she knows. Before she dies in his arms, she asks him to kiss her on the forehead when she passes on…and she says she would feel it. Marius grants her wish.

Throughout history, symbols have had an overwhelming presence among citizens. The French Revolution had many symbols that represented power. Did the events leading up to the storming of the Bastille persuade the French citizens to believe that it was a symbol of power? There are many reasons why the French citizens would believe the Bastille to be a symbol of power. It was a very overwhelming stone structure, which stood robust, surrounded by small villages along with farmland. The architecture and placement of this fortress gave itself a reputation of strength and impregnation. It stood by itself, being the most intimidating structure of its time.

From the moment on he dedicated his life solely to her, to protecting her from the sorrows of poverty. From that moment he could no longer be Jean Valjean, or Monsieur Madeleine, he had to start his life over once again and Cosette was all he had in it. He sacrificed in order to gain self-approval and the ability to forgive himself.

Society tends to misjudge people base on their appearances instead of their personality. This can be seen in the play Cyrano De Bergerac by Edmond Rostand. In which Roxane represents that vile aspect of society. Roxane is attracted to Christian based on his looks, and under minds Cyrano because of his appearance. Society misjudgment of people cause oppression on an individual and it is from oppression and misjudgment f character that causes self consciousness to be born. Cyrano exhibits this self consciousness by helping Christian. Such oppression or self conscious aids to form magnificent characteristics attributes such as the ones portrayed by Cyrano throughout the novel. After all of its societies misjudgment that causes Cyrano to be

Desiree is therefore not oblivious to Armand’s’ thoughts, so she must know that she is subservient to Armand.  The fact that Desiree and Armand are both aware of Desiree’s subservience strengthens the master/slave relationship.

Everyone needs someone to love and care for as well as someone who can return that love and care. When Cosette comes into Valjean’s life, it makes him feel something he didn’t feel in a long time, “When he saw Cosette, when he had taken her, carried her away, and rescued her, he felt his heart move” (123). At this point, she becomes more than just a girl but another symbol in Valjean’s

Was the Terror of 1793/4 inherent from the revolutions outset or was it the product of exceptional circumstance?

Although Meursault is the title character and narrator of Albert Camus’ short novel The Stranger, he is also a somewhat flat character. His apparent indifferent demeanor may be a convenience to Camus, who mainly wanted to display his ideas of absurdism. And as a flat character, Meursault is not fully delineated: he lacks deep thought and significant change. His purpose is that of a first-person narrator whose actions embody the absurd, even before he has any awareness of the fact. Since Meursault is embodied absurdism, it is not necessary that he be hyperaware of his thoughts and intentions. His truth has already been built into his character by the

One activity in Les Mis that the bishop did which was unconventional for that time, and any time for that matter was the bishop leaving his door unlatched and letting anyone stay in his house no matter who they were, whether he knew them or not. (page 41) Victor Hugo had the bishop do this to show the bishops, faith in God and to emphasize the tenderness of heart the bishop had for anyone. The bishop leaving his door open also really emphasized how he didn’t care who you were, what your past held, and showed how he did not neglect anyone for any erroneous. The bishop only cared about giving you a positive transformation, and helping you have a positive future which has earnest and honest actions.

Cosette is deprived of the love that she desires and deserves. She longs for love and instead receives the opposite. The Thenardiers do not care for Cosette and do not view her as their child, to them she is a servant girl. When Jean Valjean offers to take Cosette away from the Thenardiers, they reply, “Ah monsieur! My good monsieur! Take her, keep her, take her away, carry her off, sugar her, stuff her, drink her, eat her, and be blessed by the holy Virgin and all the saints in paradise!” (154). The Thenardiers want Cosette out of their house, and no longer want the responsibility of taking care of the “imbecile child” (147). It is a blessing to them that this traveler has come to take Cosette away forever. Because of Jean Valjean's good deed, Cosette's life can improve and she can finally experience the emotion of love she longs for. Although Jean Valjean offers Cosette all the love he is capable of giving, it is not enough to satisfy Cosette. She craves for a different, romantic love after she is introduced to Marius. Hugo,

Jean Valjean sacrificed much as he sought redemption. One of the first sacrifices that Jean Valjean makes is that of his identity, during the Champmathieu affair. As Monsieur Madeleine, Jean Valjean was a trusted official in a high position. He struggled with himself when he heard that the ‘real’ Jean Valjean had been caught: should he stay in M—sur m—where he was comfortable and popular, or do the right thing, remove a man from an undeserved galley life, and become a convict once more. When Madeleine revealed himself as Jean Valjean, he forever gave up that comfortable position of authority. He became a convict again – a wanted convict. He would now live out the rest of his life hiding, of not running, from the police. Jean sacrificed his safety. Saving Marius’ life by carrying him through the sewers also proved to be a sacrifice. Jean’s entire existence revolved around Cosette. She was what kept him on the track the bishop set him on. He adored her. He was devastated to learn that she was in love with Marius, yet he saved

Hugo includes love in his novel to express the different types and meanings of true love. Marius waits to see Cossette and she does not show up. After going to the garden and realizing Cossette is not there, Marius was devastated. "He sat down upon the steps, his heart full of tenderness and resolution, he blessed his love in the depths of his thought, and he said to himself that since Cosette was gone, there was nothing more for him but to die" (274 Hugo). Marius' love for Cossette is so strong that without her he is incomplete. Cossette often received the short end of the stick while growing up with Eponine and the Thenardiers; however, this is not the case when it comes to winning over Marius' love. Hugo uses Marius to show two completely different kinds of love in his novel; one with Cossette, and the other with Eponine. Eponine lives a very different life as her parents, the Thenardiers, are not the best role models for her. Even though she grows up in a tough situation, she still knows how to love. Eponine falls in love with Marius, however the feeling is not mutual. When Marius finds Eponine on the ground during the battle at the barricades, he shares love with her as her life comes to an end. He does not have the same love for Eponine as he does for Cossette. After revealing two gunshot wounds to Marius, Eponine asks him to stay until her life ends. As soon as

In The Stranger, Albert Camus allows the main character to tell the story in order to give the reader an experience of his own. Obviously, with a novel also comes language, which Camus incorporates cleverly as a way to indirectly illustrate Meursault’s thoughts about certain situations. Although the novel represents a postmodern setting, the author shifts the overall meaning. In The Stranger, Camus applies a unique literary style as a power that deflects blame from Meursault, the antiheroic character. In order to disclaim the fault of Meursault, Camus incorporates several instances in which he leaves a greater sense of authority to nonliving objects, while further drawing attention away from the main character. Based on the implication of