Les Miserables

In today’s Australian society it has now become almost commonplace for us to question our beliefs and what it means to be an Australian. We have always turned to consider our cultural aspects and how they determine a strong Australian identity. The voice of a hot climate, the tone of the red sand, the indifference of man and woman and even the lifestyle of the Australian people all play important parts within our community. However to be an Australian is truly shaped by the kind acts of mateship that we possess within our relationships with friends and family. The mateship of society should not be affected by gender but really truly lie upon the relationships in our lives, which is why I have chosen Priscilla and Red Dog,

"It is precisely of him that I wished to speak. Dispose of me as you please; but help me first to carry him home. I only ask that of you." Upon examination of Les Miserables, it is clearly evident that the elements of Forgiveness, Self – Sacrifice, and Courage are only a few of the main themes Hugo wanted to develop.

Jean Valjean went through the ultimate self-sacrifice, giving up everything he had in life, which was Cosette; he decided to give her to her lover Marius. He had watched and knew that Marius was in love with her. He found him at the barricades and saved him. “Jean Valjean, in the thick cloud of combat, did not appear to see Marius; the fact is that he did not take his eyes from him. When a shot struck down Marius, Jean Valjean bounded with the agility of a tiger, dropped upon him as a prey, and carried him away” (Hugo 389). He saved Marius so he could save Cosette; he rid himself of his protective bond for her benefit. He sacrificed what he wanted most, to give her what she needed. Although he had never experienced a happy life, and no one ever sacrificed for him, he sacrificed his well-being, money and heart to keep a promise.

Meursault deals with others people as if they are only there to please him or they are just taking up his time. As evidenced with his relationship with Marie, Meursault was merely using her for sex because that is what he wanted from her and at that time in his life. He lives from pleasure to pleasure with Marie; he only looks forward to seeing her when he knows he can have sex with her. When visiting day rolls around at the jail he is not as enthusiastic about seeing Marie as you would think he would be after not seeing her for several months. Because he knows he can't have sex with her, it totally cheapens the moment while she talks to him. Meursault drifts off into space basically ignoring her. For Meursault there is no pot of gold at the end of the rainbow for him if he talks to her, the thrill is gone and thus the pleasure has dried up for him.

In the middle of the book, Jean Valjean has saved a young girl named Cosette and raised her as his daughter after her mother died. These actions also have a redeeming effect on Jean Valjean, as he put his promise to the girl’s mother before his own safety and escaped from another bout in prison to find the young girl. Jean Valjean does not think this redeems him, however. He is very suspicious and changes their names to hide from the law enforcement. He also became very suspicious and cagey when a young man, Marius, became interested in Cosette. In Marius’s words, he “ began to be less punctual, and did not bring ‘his daughter’ every day” (168). After some time, he and Cosette move away so Marius cannot find them. Jean Valjean thinks he is

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

His devotion to the law goes past mere morals, rivalling the revolutionary leader Enjolras’ devotion to the Revolution - like Enjolras, he does not take a wife or have children. By giving Valjean a child but not Javert, Hugo enforces the idea that love is higher than law. He spends a decent amount of time tracking down Valjean to bring him back into custody; in this time, a second offense would result in death. Javert’s turning point comes during and immediately after the insurrection of June 5-6, 1832. Javert is captured by the student revolutionaries, who wish to spare him until the moment that one of their friends, Jehan Prouvaire, is shot by the National Guard. Enjolras turns to Javert and says, “Your friends have just shot you,” sealing his fate. Javert fully expects to be killed at the barricades, and even more so when Valjean himself arrives to save Marius Pontmercy, the young man who is courting his daughter. As payment for saving the barricade, Enjolras allows Valjean to shoot Javert himself. Valjean not only lets Javert go, but tells Javert his address and says, “I do not think I shall escape from this place. But if by chance, I do, I live under the name of Fauchelevent, in the Rue de l’Homme arm, No. 7.” Valjean knows to be an honest man he must not kill, and he must be truthful, and he does exactly this. When Javert finds him as Valjean emerges from the sewers with Marius after the fall of the barricades, Valjean still acts courteous to Javert, requesting to help save Marius’ life before turning himself in. Javert accompanies Valjean to Marius’ house, and then to Valjean’s home, before disappearing. After these events, Hugo describes Javert as his whole demeanor changing; “his whole person, slow and sombre, was stamped with anxiety.” The guilt of being shown compassion by a man who should have every reason to oppose Javert is too

The Phantom of the Opera started out as a book written by Gaston Leroux, published January 8th in 1910 (Haining, 1). There have been several adaptations since then, including Andrew Lloyd Webber’s musical. The other adaptations were Das Phantom der Opera, which is also known as Das Gespent im Opernhaus produced during 1916 in Germany as a silent drama film, this is known as a lost film due to no known copies existing at this time. A silent drama horror was produced on November 15th, 1925, a drama thriller was produced during August 27th in 1943, a horror film was produced June 25th during 1962, and an indie thriller, called Phantom of the Paradise was adapted from Phantom of the Opera and then produced in October 31st of 1974.

The film Amelie provides multiple examples of individuals sacrificing, and applying Campbell 's moral objective to their own lives. One of the people from the film that follow the objective is Dominique Bretodeau. When he was a young boy, he lost his treasure box. Directly after it was returned to him from a stranger, he began to tear up over the lost memories that the box contained. He then confides in people at the bar that he has not spoken to his daughter in years, and because of this does not know his grandson. This simple act of kindness was enough to make Bretodeau sacrifice his pride enough to reconcile with his daughter and grandson. He had no idea if his family was going to open their arms, or push him away for being away for so long. This failed to stop Bretodeau. This journey of becoming a hero was a spiritual one. Most of the conflict happened within his own heart. A small act of thoughtfulness helped a man choose to create a better life for him, and his estranged family.

Similarly, another critic believes that the morals and peer pressure of a dauntless society are what causes Man to become evil. This evil slowly forces them to progress into “hardened ruffians” that are forced to resort to a pis aller in order to regain some hope for themselves. Thus, society cannot evolve (Lewes 245). Contrary to what Reeves believes, Critic Moss believes that misfortune is the sole cause of one’s faults and that the main theme of the novel is the barrier between “those who choose degradation and those who are driven to it” (228). Furthermore, the critic Napierkowski believes that the meaning of life is love and that through the love that all people receive, any number of traits can be changed. She explicates that change is extremely relevant in the case of Jean Valjean who is a convict turned upstanding citizen. She also recalls that in the novel Valjean is only transformed due to the love he receives from the Bishop of Digne, who gave Valjean everything that he had (Novels for Students). Reeves, again, also explores the concept that Hugo is trying to prove that humans need to love each other for the world to be a happier place (Masterplots). Thus, through evidence in Les Misérables, the aforementioned themes can easily be proven.

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

Social scientist, Norbert Elias, examines in part two of his book, The Civilizing Process, the development of manners and the subsequent ‘civilizing' of Western Europe since the middle ages. This journey in time is an attempt to understand what actually happened to humanity during several transitional periods. Elias perceives the development of western civilization in three historical stages. (From the middle ages with a progression to the renaissance (extended to 1750) and finally to modern day society) Each society of the three stages had it's own standards of behavior, which influenced the individual to act in a certain "accepted" way. A correlation was also found between the

In his novel, Les Miserables, Victor Hugo identifies the principle social evils of French society through the actions and qualities of his characters. By depicting each of his characters’ struggles through destitute and oppressed measures, Hugo is able to identify the social errors of 19th century France. The fact that characters such as Valjean, Javert, Fantine, and Cosette, attempt to rise above poverty and redeem themselves indicate that such inequalities did, and still do, exist to this day. Through the use of feminist ideals and the criminal injustice system, Hugo attacks the principle social evils that each of his characters face in Les Miserables.

The love story between two different teenagers that come from completely different worlds is the most remarkable. The Notebook is about two young teenagers who fell head over heels with each other. They got separated by Allie’s upper-class parents who insist that Noah isn’t right for her. But that obstacle didn’t stop these two young lovers from being together even if it took years. This beautiful tale has a special meaning to an older gentleman who regularly reads the timeless love story to his aging wife to help her remember what they went through and that the story that he’s reading to her was their love story. The story he reads follows two young