《九三年》是雨果晚年的重要作品，這是他的最後一部小說。他在《笑面人》（一八六九）的序中說過，他還要寫兩部續集：《君主政治》和《九三年》。前者始終沒有寫成，後者寫於一八七二年十二月至一八七三年六月，一八七四年出版。這時，雨果已經流亡歸來；他在芒什海峽的澤西島和蓋爾內西島度過了漫長的十九年，始終采取與倒行逆施的拿破侖三世誓不兩立的態度，直到第二帝國崩潰，他纔凱旋般返回巴黎。可是，一波未平一波又起：他要面對普法戰爭的悲慘戰禍和巴黎公社社員的浴血鬥爭，眼前的現實給他留下難以忘懷的印象，再一次激發了他的人道主義思想。他回顧歷史，法國大革命的史實給了他啓發，他有心通過大革命時期旺代地區保王黨人的叛亂，闡發自己的思想。這個念頭早在一八六二年底至一八六三年初已經出現，如今寫作時機成熟了。雨果在緻友人的信中說：“天主會給我生命和力量，完成我的敵人稱之為龐大得出奇的巨大計劃嗎？我年邁了一點，不能移動這些大山，而且是多麽高聳的大山啊！《九三年》就是這樣一座大山！”顯而易見，在雨果的心目中，《九三年》分量很重，他輕易不肯動筆，因而醖釀的時間有十多年之久。雨果在寫作之前閱讀了盡可能多的材料，做了充分的瞭解歷史背景的工作。關於大革命時期布列塔尼地區的叛亂，他看了皮伊纔伯爵的《回憶錄》（一八０三-一八０七），杜什曼·德斯波的《關於朱安黨叛亂起源的通信》（一八二五），從中藉用了人物、名字、方言土語、服裝和生活方式的細節，還有各個事件。關於救國委員會的活動，他參閱了加拉、戈伊埃、蘭蓋、賽納爾等人的回憶錄。關於國民公會，他參閱了《日通報》匯編。他研讀了米什萊、路易·布朗、梯也爾、博南的著作；博南的《法國大革命史》保留了一條書簽，上寫：“一七九三年五月三十一日，關鍵局勢。”這一天成為小說的出發點。他還使用過拉馬丁的《吉倫特黨史》，阿梅爾的《羅伯斯比爾史》和他的朋友剋拉爾蒂著述的《最後幾個山嶽黨人史實》，另外，賽巴斯蒂安·梅爾西埃的《新巴黎》給他提供了一七九三年的法國生活和堡壘建築的寶貴材料。雨果並沒有讓這一大堆材料所左右，而是駕馭這些材料，創作出一部生動而緊張的歷史小說。應該說，雨果對法國大革命並不陌生，他生於一八０二年，父親是拿破侖手下的一個將軍，而母親持有保王黨觀點。雨果的童年和青少年時期經歷了大革命的變遷。對於這場人類歷史上翻天覆地的社會變革，他有切身的感受。不過這時雨果早已改變了早年的保王派觀點，他從四十年代末開始已成為共和派，他是以資産階級共和派的眼光去看待這場革命的。雨果不想寫作一部通俗的歷史小說，他不滿足於描寫法國大革命的一般進程，而是想總結出某些歷史經驗。《九三年》這部歷史小說的切入角度是獨具慧眼的。雨果選取了大革命鬥爭最激烈的年代作為小說的背景。一七九三年是大革命處於生死存亡的一年：在巴黎，雅各賓派取代了吉倫特黨，登上了歷史舞臺；面對着得到國外反法聯盟支持的保王黨發動的叛亂，以及蠢蠢欲動的各種敵人，雅各賓黨實行革命的專政和恐怖政策，毫不留情地鎮壓敢於反抗的敵對分子；派出共和軍前往旺代等地，平定叛亂，終於使共和國轉危為安，鞏固了大革命的成果。雨果在小說中指出：“九三年是歐洲對法蘭西的戰爭，又是法蘭西對巴黎的戰爭。革命怎樣呢？那是法蘭西戰勝歐洲，巴黎戰勝法蘭西。這就是九三年這個恐怖的時刻之所以偉大的原因，它比本世紀的其餘時刻更偉大。”他又說：“九三年是一個緊張的年頭。風暴在這時期達到了最猛烈最壯觀的程度。”以這一年發生的事件來描寫大革命，確實能充分反映人類歷史中最徹底的一次反封建的資産階級革命。
雨果尊重歷史，如實地展現了革命與反革命鬥爭的殘酷性，描寫出這場鬥爭激烈而壯偉的場面。在小說中，保王黨叛軍平均每天槍殺三十個藍軍，縱火焚燒城市，把所有的居民活活燒死在傢裏。他們的領袖提出“殺掉，燒掉，絶不饒恕”。保王主義在一些落後地區，如布列塔尼擁有廣泛的基礎，農民盲目地跟着領主走。他們愚昧無知，例如農婦米歇爾·弗萊夏既不知道自己是法國人，又分不清革命和反革命；她的丈夫為貴族賣命，斷送了性命；乞丐泰爾馬什明知政府懸賞六萬法郎，捉拿叛軍首領朗特納剋，卻把他隱藏起來，幫助他逃走。農民的落後是貴族發動叛亂的基礎，小說真實地反映了這種社會狀況。面對貴族殘忍的燒殺，共和軍以牙還牙；絶不寬大敵人。在雅各賓派內部，三巨頭--羅伯斯比爾、丹東、馬拉，雖然政見有分歧，但都一致同意采取強有力的手段。他們選中主張“恐怖必須用恐怖來還擊”的西穆爾丹為特派代表，頒布用極刑來對待放走敵人的嚴厲法令。因為要保存革命成果，就不得不用暴力來對付暴力。
其次，雨果正確評價了雅各賓黨專政時期實行的一係列政策。他把國民公會喻為釀酒桶，桶裏“雖然沸騰着恐怖，也醖釀着進步”。國民公會宣佈了信仰自由，認為貧窮應受尊敬，殘疾應受尊敬，母親和兒童也應受尊敬；盲人和聾啞人成為受國傢監護的人；譴責販賣黑奴的罪惡行為；廢除了奴隸制度；頒布了義務教育製；創立了工藝陳列館和博物院；統一了法典和度量衡；創辦了電報、老年人救濟院、醫院；創建了氣象局、研究院。這一切措施都放射出燦爛的思想光芒，造福於人民。大革命所進行的乃是啓蒙思想傢的理想，是以先進的資産階級文明代替愚昧落後的封建體製。至今，上述各項措施繼續起着良好作用，並普及到世界各國。
對法國大革命和九三年的階級生死搏鬥的正確描寫，是這部小說的基本價值所在。雨果捍衛法國大革命，包括雅各賓派一係列正確政策的立場，鮮明地表現了他的民主主義思想，體現出真知灼見。《九三年》以雄渾的筆觸真實地再現了十八世紀末的法國歷史面貌，是描繪法國大革命的一部史詩。不過，對於雅各賓派的所作所為，雨果並沒有完全加以肯定。雅各賓派為什麽會失敗？人們有各種各樣的看法，雨果也進行了哲理的沉思。在他看來，儘管一方面是刀光劍影，以暴力對付暴力，但另一方面，應有仁慈，要以人道對人道或非人道。他認為，雅各賓派濫殺無辜，沒有實行人道主義政策，以致垮臺。這一沉思表現在小說結尾。人們歷來對這個結尾爭論不休，難以得出結論，小說的魅力卻很大程度來自於此。從藝術上看，《九三年》的結尾是出人意外的，同時寫得扣人心弦。叛軍首領、布列塔尼親王朗特納剋被圍困在圖爾格城堡，他要求以被他劫走、作為人質的三個小孩來交換，請藍軍司令官戈萬放了他，戈萬斷然拒絶。可是朗特納剋得到別人幫助，從地道逃了出來。突然他聽到三個孩子的母親痛苦的喊聲：三個孩子快要被大火吞沒了。朗特納剋毅然折回來，冒着危險，救出三個小孩，他自己則落到共和軍手裏。戈萬震驚於朗特納剋捨己救人的人道主義精神，思想激烈鬥爭，認為應以人道對待人道，便放走了郎特納剋。特派代表西穆爾丹是戈萬小時的老師，他不顧廣大共和軍戰士的哀求，堅决執行“任何軍事領袖如果放走一名捕獲的叛軍便要處以死刑”的法令，鐵面無情地主張送戈萬上斷頭臺。就在戈萬人頭落地的一剎那，他也開槍自殺。
西穆爾丹、戈萬和朗特納剋是小說中的三個主要人物，他們之間的糾葛從政治觀點的敵對，轉化而為是否實施人道主義的衝突。雨果認為：“慈悲心是人類共同生活的殘餘，一切人心裏都有，連心腸最硬的人也有。”朗特納剋的情況就是這樣，“那個母親的喊聲喚醒他內心的過時的慈悲心，”“他已經走入黑暗之中，再退回到光明裏來。在造成罪行之後，他又自動破壞了那罪行。”對此，戈萬在沉思時發現，“一個英雄從這個惡魔身上跳了出來”，朗特納剋不再是殺人者，而是救人者；不再是惡魔，這個拿着屠刀的人變成了“光明的天使”；他贖回了種種野蠻行為，救了自己的靈魂，變成無罪的人。
小說這種戲劇性的變化像異峰突起，使矛盾達到白熱化。如何處置與評價朗特納剋和戈萬的行為，構成了人物之間的衝突，也引起讀者不同的看法。毫無疑義，與其說是戈萬在沉思，不如說這是雨果的想法。倘若朗特納剋是個一般的保王黨人或一般的叛軍指揮官，他捨身去救三個處在大火包圍中的小孩，那麽這還是可以想像的。令人費解的是，朗特納剋是個異常冷酷的人，他出現時曾經毫不憐憫地槍殺藍軍中隨軍的女人，正是他劫走了三個尚不懂事的孩子，作為嚮共和軍要挾的人質，也正是他要放火燒死他們，準備同歸於盡。試問，這樣鐵石心腸的人，內心怎麽還能容納得下人道主義思想？他怎麽會在一時之間改變本性，産生人道主義？雨果並沒有描繪在這一瞬間，他內心的思想活動，因而讀者也無從理解這一行動的可信性。不能不說，雨果沒有拿出充分的依據去證明這個惡貫滿盈的人（或者說惡魔）是怎麽會放下屠刀，立地成佛的。所以，朗特納剋返回去救三個孩子的行動，衹是對作者的“慈悲心連心腸最硬的人也有”這一觀點十分概念化的圖解。
至於戈萬，他的行動倒是描寫得有根有據的。雨果早有交代，說他在打仗時很堅強，可是過後很軟弱；他待人慈悲為懷，寬恕敵人，保護修女，營救貴族的妻女，釋放俘虜，給教士自由。他的寬大不是無原則的，他曾對西穆爾丹說，他赦免了戰敗後被俘獲的三百個農民，因為這些農民是無知的，但他不會赦免朗特納剋，因為朗特納剋罪大惡極，即使是他的叔祖也罷。法蘭西纔是他的兄長，而朗特納剋是祖國的叛徒。他和朗特納剋誓不兩立，衹能你死我活。然而，他又有一些想法，與他的司令官身份很不相稱。例如，他認為路易十六是一隻被投到獅子堆裏的羊，他想逃命和防衛是很自然的，雖然他一有可能便會咬人。最主要的是，他認為“恐怖政治會報害革命的名譽”，推翻帝製不是要用斷頭臺來代替它，“打掉王冠，但是要保護人頭。革命是和諧，不是恐怖……‘恕’字在我看來是人類語言中最美的一個字……在打仗的時候，我們必須做我們的敵人的敵人，勝利以後，我們就要做他們的兄弟。”這些話為他後來的行動按下了伏筆，雖然是雨果的觀點，但與人物的思想是融合在一起的。
戈萬的行動同雨果對雅各賓派的看法有關，雨果對雅各賓黨的恐怖政治是頗有微詞的。在他的筆下，雅各賓黨三巨頭狂熱多於理智，衹知鎮壓，不懂仁政，語言充滿火藥味，渾身散發出平民的粗俗氣息。他們所執行的恐怖政治在一定條件下起了作用，但同時也包含着弊病。戈萬認為對舊世界是要開刀的，然而外科醫生需要冷靜，而不是激烈，“恐怖政治會損害革命的名譽”。共和國不需要一個“怕人的外表”。從這種觀點出發，戈萬放走朗特納剋是順理成章的。應該說，雨果在小說裏發表的見解既非全對，亦非全錯。對於保王黨人的武裝叛亂和殘忍屠殺平民的行為，革命政權衹有以眼還眼，這樣才能保存自身。但也無可諱言，雅各賓黨矯枉過正，存在濫殺現象，這就是為什麽雅各賓黨的專政維持不了多久，連羅伯斯比爾也上了斷頭臺的原因。據馬迪厄的《法國革命史》考證，一七九四年，當局嫌斷頭機行刑太慢，便輔之以炮轟、集體槍斃、沉船，一次就處死幾百人。因此，雨果提出勝利後應實施寬大政策，是針對革命政權的極端政策而發的，具有合理、正確的因素。但戈萬之所以放走朗特納剋，是基於這樣的考慮：敵人也能實行人道主義，共和軍就不能實行人道主義嗎？這裏，雨果走嚮了另一個極端。他的觀點集中表現為這句話：“在絶對正確的革命之上，還有一個絶對正確的人道主義。”雨果將革命和人道主義割裂開來是錯誤的。革命與人道主義可以統一，而且應該統一起來。就拿資産階級革命來說，這是對罪惡的、不人道的封建制度的清算，而代之以更人道的社會制度；自由、平等、博愛，就是以人道主義為基礎的，比起封建主義的人身依附關係。貴族特權、森嚴的等級制度要前進一大步。然而，在有敵對階級存在的社會中，尤其在尚未取得最終勝利的緊急關頭，不可能也不應該實行寬大無邊的、絶對的人道主義，否則就是對人民實行不人道。以朗特納剋來說，就算他果真救出三個孩子，自己束手就擒，對於革命的一方來說，完全可以根據他的情況作出合理的符合人民利益的判决，而不一定非要處以極刑。當然，共和軍不會這樣處理。但是，放走了他，後果會怎樣呢？他必然與革命政府為敵，再次糾集叛軍，攻打共和軍，屠殺無辜的百姓，犯下非人道的罪行。從效果來說，戈萬放走朗特納剋的行動，對人民來說，是不符合人道原則的。以上分析說明，無論雅各賓黨，還是雨果本人，都未能處理好革命與人道的關係問題。西穆爾丹是作為戈萬的對立面而出現的，雖然他也是一個革命者。小說中，他是革命政府的化身。儘管早先他是教士，但他愛憎分明，他能用嘴去吸一個病人喉部的膿瘡，可他决“不會給國王幹這件事”。他認識到革命的敵人是舊社會，“革命對這個敵人是毫不仁慈的”。然而他是一個“冷酷無情的人”，沒有人看見他流過眼淚，他自認為不會犯錯誤，別人無可指摘。他既正直又可怕。他雖然崇高，“可是這種崇高和人是隔絶的，是在懸崖峭壁上的崇高，是灰色的、不親近人的崇高；他的崇高的周圍被懸崖峭壁包圍着。”他忠於雅各賓黨的信條和各項恐怖政策，他嚮委任於他的國民公會保證：“假如那委托給我的共和黨領袖走錯了一步，我也要判處他死刑。”他屢次警告戈萬：“在我們所處的時代，仁慈可能成為賣國的一種形式。”他的誓言和警告都成了事實。在判處戈萬死刑之後，他再一次同戈萬交鋒。戈萬縱橫捭闔，暢談他的理想，西穆爾丹無言以對，敗退下來。他承認戈萬的話有道理，但是他不可能改變自己的觀點，內心處於不可剋服的矛盾之中。“他有着像箭一樣的盲目的準確性，衹對準目標一直飛去。在革命中沒有什麽比直綫更可怕的了。西穆爾丹一往直前，這就註定了他的不幸。”他親手處死了自己“精神上的兒子”和學生、他的戰友，最後在痛苦與惶惑中開槍自盡。通過他的悲劇，雨果批判了衹講暴力，不講人道，衹知盲目執行，不會靈活處置的革命者。西穆爾丹是有代表意義的、相當真實的一個形象。
作為浪漫派的領袖，雨果的浪漫手法在《九三年》中得到了充分的表現。雨果的一個重要的浪漫手法是將無生命或非人的事物，描繪得如同有生命的物體一樣神奇、動人心魄、令人驚嘆。小說開篇對戰艦上大炮的描寫是一個很好的例證。在這艘名為巨劍號的軍艦上，一尊二十四斤重彈的大炮從炮座上滑脫了，它變成了一頭怪物，它在艦上滾來滾去，旋轉，衝撞，擊破，殺害，殲滅，又像握城錘在任性地撞擊城墻：“這是物質獲得了自由，也可以說這是永恆的奴隸找到了復仇的機會；一切仿佛是隱藏在我們所謂無生命的物體裏的那種惡性突然爆發了出來；它那樣子像是發了脾氣，正在進行一種古怪的神秘的報復；再也沒有比這種無生物的憤怒更無情的了。這個瘋狂的龐然大物有豹子的敏捷，大象的重量，老鼠的靈巧，斧子的堅硬，波浪的突然，閃電的迅速，墳墓的癡聾。它重一萬磅，卻像小孩的皮球似的彈跳起來。……暴風可以停止，臺風會吹過去，斷掉的桅可以換一根，一個漏洞可以堵上，火災可以撲滅；可是對這衹龐大的青銅獸怎麽辦呢？”這門大炮完全解除了軍艦的戰鬥力。雨果豐富的想像力將這個場面描繪得令人嘆為觀止。就是在這樣一個悲壯的場面中，朗特納剋出現了，顯出他的嚴厲、冷峻和剛毅。這個陰慘慘的、色彩神秘的開場給小說定下了悲劇的調子。雨果就以這樣的筆法，營造出殘酷的、命運捉摸不定的氣氛，具有濃郁的浪漫色彩。雨果認為這種浪漫手法同樣能達到真實，他在小說中說：‘流史有真實性，傳奇也有真實性。傳奇的真實和歷史的真實在性質上是不同的。傳奇的真實是在虛構中去反映現實。”浪漫手法與寫實手法是殊途同歸。
衆所周知，雨果是運用對照手法的大師。他在《剋倫威爾·序》中曾經指出：“醜在美的旁邊，畸形靠近着優美，五怪藏在崇高背後，美與惡共存，光明與黑暗相伴。”這條準則始終指導着雨果的創作。《九三年》同樣運用對照手法，不過，這部小說不像《巴黎聖母院》那樣運用人物形體的對照或形體與、心靈的對照。小說三個主要人物的對照表現在思想上：朗特納剋性格殘酷無情，頑固不化，具有不達目的不罷休的堅定，也具有成為領袖的威嚴和果敢。他心中並無一絲人道感情，衹是在最後才人性復現。西穆爾丹同樣堅定不移，朗特納剋堅信保王主義，他則堅信共和主義，特別是堅信恐怖政治。他反對實施仁慈，不相信人道主義是放之四海而皆準的原則。應該說，他比朗特納剋的心腸更硬，對維護自己的信念更加一絲不苟。這兩個人物都受到雨果的批判。戈萬既有實行革命的堅定性，又有面對復雜現實的靈活性。他是雨果心目中人道主義的化身：他為了人道主義而不惜犧牲自己的生命。這三個人物思想上的對照與矛盾，有力地推動了情節的發展。
雨果的小說技巧在《九三年》中達到了更成熟的地步。小說情節的進展異常緊湊，看不到多少閑筆和題外話，不像《巴黎聖母院》和《悲慘世界》那樣，常常出現大段的議論或枝蔓的情節。作者的議論融合到人物的思想中，成為塑造人物不可或缺的部分，這是更高明的手法。從結構上說，小說環環相扣，一步步推嚮高潮。高潮以三個小孩的遭遇為核心，以三個主要人物的思想交鋒為衝突，寫得緊張而動人心弦。這部小說雖然篇幅不大，卻堪與捲帙浩繁的歷史小說相媲美，成為不可多得的上乘之作。
Plot
The action mainly takes place in western France, and in Paris, and to a lesser extent at sea off the Channel Islands, where Hugo latterly lived.
The year is 1793. In Brittany during the Royalist insurrection of the Chouannerie, a troop of “Blues” (soldiers of the French Republic) encounter Michelle Fléchard, a peasant woman, and her three young children, who are fleeing from the conflict. She explains that her husband and parents have been killed. The troop’s commander, Sergeant Radoub, convinces them to look after the family.
Meanwhile, at sea, a group of Royalist “Whites” are planning to land the Marquis de Lantenac, a Breton aristocrat whose leadership could transform the fortunes of the rebellion. Their corvette is spotted by ships of the Republic. Lantenac slips away in a boat with one supporter, and the corvette distracts the Republican ships by provoking a battle it cannot win. The corvette is destroyed, but Lantenac lands safely in Brittany.
Lantenac is hunted by the Blues, but is protected by a local beggar, to whom he gave alms in the past. He meets up with his supporters, and they immediately launch an attack on the Blues. Part of the troop with the family is captured. Lantenac orders them all to be shot, including Michelle. He takes the children with him as hostages. The beggar finds the bodies, and discovers that Michelle is still alive. He nurses her back to health.
Lantenac’s ruthless methods have turned the revolt into a major threat to the Republic. In Paris, Danton, Robespierre and Marat argue about the threat, while also sniping at each other. They promulgate a decree that all rebels and anyone who helps them will be executed. Cimourdain, a committed revolutionary and former priest, is deputed to carry out their orders in Brittany. He is also told to keep an eye on Gauvain, the commander of the Republican troops there, who is related to Lantenac and thought to be too lenient to rebels. Unknown to the revolutionary leaders, Cimourdain was Gauvain’s childhood tutor, and thinks of him as a son.
Lantenac has taken control of Dol-de-Bretagne, in order to secure a landing place for British troops to be sent to support the Royalists. Gauvain launches a surprise attack and uses deception to dislodge and disperse them. Forced to retreat, Lantenac is constantly kept from the coast by Gauvain. With British troops unavailable his supporters melt away. Eventually he and a last few fanatical followers are trapped in his castle.
Meanwhile Michelle has recovered and goes in search of her children. She wanders aimlessly, but eventually hears that they are being held hostage in Lantenac’s castle. At the castle Sergeant Radoub, fighting with the besiegers, spots the children. He persuades Gauvain to let him lead an assault. He manages to break through the defences and kill several rebels, but Lantenac and a few survivors escape through a secret passage after setting fire to the building. As the fire takes hold, Michelle arrives, and sees that her children are trapped. Her hysterical cries of despair are heard by Lantenac. Struck with guilt, he returns through the passage to the castle and rescues the children, helped by Radoub. He then gives himself up.
Gauvain knows that Cimourdain will guillotine Lantenac after a show trial. He visits him in prison, where Lantenac expresses his uncompromising conservative vision of society ordered by hierarchy, deference and duty. Gauvain insists that humane values transcend tradition. To prove it, he allows Lantenac to escape and then gives himself up to the tribunal that was convened to try him. Gauvain is tried for treason. The tribunal comprises Cimourdain, Radoub and Gauvain’s deputy, Guéchamp. Radoub votes to acquit, but the others vote to condemn Gauvain to be executed. Visited by Cimourdain in prison, Gauvain outlines his own libertarian vision of a future society with minimal government, no taxes, technological progress and sexual equality. The following morning he is executed by guillotine. At the same moment, Cimourdain shoots himself.
Writing and reception
Hugo makes clear where he himself stands—in favor of the revolutionaries—in several explicit comments and remarks made by the omniscient narrator. Nevertheless, the Royalist counter-revolutionaries are in no way villainous or despicable. Quite the contrary: Republicans and Royalists alike are depicted as idealistic and high-minded, completely devoted to their respective antagonistic causes (though, to be sure, ready to perform sundry cruel and ruthless acts perceived as necessary in the ongoing titanic struggle). Among the considerable cast of characters, there is hardly any on either side depicted as opportunistic, mercenary or cynical.
However, while being fair to both Republicans and Monarchists, Hugo has been criticized for his portrayal of the Bretons, whom he describes as "savages" and as speaking "a dead language". A sympathetic portrait is however made of Michelle Flechard, the young Breton mother, who is originally loyal to the king, but is "adopted" by a revolutionary battalion. Her children are later saved by the French royalist leader. Michelle Flechard is a classical "civilian caught between parties".
The former priest who is considered by some to be the novel's villain, Cimourdain, purportedly "made a deep impression on a young Georgian seminarian named Dzhugashvili, who was confined to his cell for reading Ninety-Three and later changed his name to Stalin", according to a biographer of Hugo.
Ayn Rand greatly praised this book (and Hugo's writing in general), acknowledged it as a source of inspiration, and even wrote an introduction to one of its English-language editions. Its influence can be especially discernible in the passages describing the Russian Civil War in Rand's "We the Living"—where, highly uncharacteristic for this staunchly anti-Communist writer, "Reds" as well as "Whites" are given the courage of their convictions and presented as courageous and heroic.
雨果尊重歷史，如實地展現了革命與反革命鬥爭的殘酷性，描寫出這場鬥爭激烈而壯偉的場面。在小說中，保王黨叛軍平均每天槍殺三十個藍軍，縱火焚燒城市，把所有的居民活活燒死在傢裏。他們的領袖提出“殺掉，燒掉，絶不饒恕”。保王主義在一些落後地區，如布列塔尼擁有廣泛的基礎，農民盲目地跟着領主走。他們愚昧無知，例如農婦米歇爾·弗萊夏既不知道自己是法國人，又分不清革命和反革命；她的丈夫為貴族賣命，斷送了性命；乞丐泰爾馬什明知政府懸賞六萬法郎，捉拿叛軍首領朗特納剋，卻把他隱藏起來，幫助他逃走。農民的落後是貴族發動叛亂的基礎，小說真實地反映了這種社會狀況。面對貴族殘忍的燒殺，共和軍以牙還牙；絶不寬大敵人。在雅各賓派內部，三巨頭--羅伯斯比爾、丹東、馬拉，雖然政見有分歧，但都一致同意采取強有力的手段。他們選中主張“恐怖必須用恐怖來還擊”的西穆爾丹為特派代表，頒布用極刑來對待放走敵人的嚴厲法令。因為要保存革命成果，就不得不用暴力來對付暴力。
其次，雨果正確評價了雅各賓黨專政時期實行的一係列政策。他把國民公會喻為釀酒桶，桶裏“雖然沸騰着恐怖，也醖釀着進步”。國民公會宣佈了信仰自由，認為貧窮應受尊敬，殘疾應受尊敬，母親和兒童也應受尊敬；盲人和聾啞人成為受國傢監護的人；譴責販賣黑奴的罪惡行為；廢除了奴隸制度；頒布了義務教育製；創立了工藝陳列館和博物院；統一了法典和度量衡；創辦了電報、老年人救濟院、醫院；創建了氣象局、研究院。這一切措施都放射出燦爛的思想光芒，造福於人民。大革命所進行的乃是啓蒙思想傢的理想，是以先進的資産階級文明代替愚昧落後的封建體製。至今，上述各項措施繼續起着良好作用，並普及到世界各國。
對法國大革命和九三年的階級生死搏鬥的正確描寫，是這部小說的基本價值所在。雨果捍衛法國大革命，包括雅各賓派一係列正確政策的立場，鮮明地表現了他的民主主義思想，體現出真知灼見。《九三年》以雄渾的筆觸真實地再現了十八世紀末的法國歷史面貌，是描繪法國大革命的一部史詩。不過，對於雅各賓派的所作所為，雨果並沒有完全加以肯定。雅各賓派為什麽會失敗？人們有各種各樣的看法，雨果也進行了哲理的沉思。在他看來，儘管一方面是刀光劍影，以暴力對付暴力，但另一方面，應有仁慈，要以人道對人道或非人道。他認為，雅各賓派濫殺無辜，沒有實行人道主義政策，以致垮臺。這一沉思表現在小說結尾。人們歷來對這個結尾爭論不休，難以得出結論，小說的魅力卻很大程度來自於此。從藝術上看，《九三年》的結尾是出人意外的，同時寫得扣人心弦。叛軍首領、布列塔尼親王朗特納剋被圍困在圖爾格城堡，他要求以被他劫走、作為人質的三個小孩來交換，請藍軍司令官戈萬放了他，戈萬斷然拒絶。可是朗特納剋得到別人幫助，從地道逃了出來。突然他聽到三個孩子的母親痛苦的喊聲：三個孩子快要被大火吞沒了。朗特納剋毅然折回來，冒着危險，救出三個小孩，他自己則落到共和軍手裏。戈萬震驚於朗特納剋捨己救人的人道主義精神，思想激烈鬥爭，認為應以人道對待人道，便放走了郎特納剋。特派代表西穆爾丹是戈萬小時的老師，他不顧廣大共和軍戰士的哀求，堅决執行“任何軍事領袖如果放走一名捕獲的叛軍便要處以死刑”的法令，鐵面無情地主張送戈萬上斷頭臺。就在戈萬人頭落地的一剎那，他也開槍自殺。
西穆爾丹、戈萬和朗特納剋是小說中的三個主要人物，他們之間的糾葛從政治觀點的敵對，轉化而為是否實施人道主義的衝突。雨果認為：“慈悲心是人類共同生活的殘餘，一切人心裏都有，連心腸最硬的人也有。”朗特納剋的情況就是這樣，“那個母親的喊聲喚醒他內心的過時的慈悲心，”“他已經走入黑暗之中，再退回到光明裏來。在造成罪行之後，他又自動破壞了那罪行。”對此，戈萬在沉思時發現，“一個英雄從這個惡魔身上跳了出來”，朗特納剋不再是殺人者，而是救人者；不再是惡魔，這個拿着屠刀的人變成了“光明的天使”；他贖回了種種野蠻行為，救了自己的靈魂，變成無罪的人。
小說這種戲劇性的變化像異峰突起，使矛盾達到白熱化。如何處置與評價朗特納剋和戈萬的行為，構成了人物之間的衝突，也引起讀者不同的看法。毫無疑義，與其說是戈萬在沉思，不如說這是雨果的想法。倘若朗特納剋是個一般的保王黨人或一般的叛軍指揮官，他捨身去救三個處在大火包圍中的小孩，那麽這還是可以想像的。令人費解的是，朗特納剋是個異常冷酷的人，他出現時曾經毫不憐憫地槍殺藍軍中隨軍的女人，正是他劫走了三個尚不懂事的孩子，作為嚮共和軍要挾的人質，也正是他要放火燒死他們，準備同歸於盡。試問，這樣鐵石心腸的人，內心怎麽還能容納得下人道主義思想？他怎麽會在一時之間改變本性，産生人道主義？雨果並沒有描繪在這一瞬間，他內心的思想活動，因而讀者也無從理解這一行動的可信性。不能不說，雨果沒有拿出充分的依據去證明這個惡貫滿盈的人（或者說惡魔）是怎麽會放下屠刀，立地成佛的。所以，朗特納剋返回去救三個孩子的行動，衹是對作者的“慈悲心連心腸最硬的人也有”這一觀點十分概念化的圖解。
至於戈萬，他的行動倒是描寫得有根有據的。雨果早有交代，說他在打仗時很堅強，可是過後很軟弱；他待人慈悲為懷，寬恕敵人，保護修女，營救貴族的妻女，釋放俘虜，給教士自由。他的寬大不是無原則的，他曾對西穆爾丹說，他赦免了戰敗後被俘獲的三百個農民，因為這些農民是無知的，但他不會赦免朗特納剋，因為朗特納剋罪大惡極，即使是他的叔祖也罷。法蘭西纔是他的兄長，而朗特納剋是祖國的叛徒。他和朗特納剋誓不兩立，衹能你死我活。然而，他又有一些想法，與他的司令官身份很不相稱。例如，他認為路易十六是一隻被投到獅子堆裏的羊，他想逃命和防衛是很自然的，雖然他一有可能便會咬人。最主要的是，他認為“恐怖政治會報害革命的名譽”，推翻帝製不是要用斷頭臺來代替它，“打掉王冠，但是要保護人頭。革命是和諧，不是恐怖……‘恕’字在我看來是人類語言中最美的一個字……在打仗的時候，我們必須做我們的敵人的敵人，勝利以後，我們就要做他們的兄弟。”這些話為他後來的行動按下了伏筆，雖然是雨果的觀點，但與人物的思想是融合在一起的。
戈萬的行動同雨果對雅各賓派的看法有關，雨果對雅各賓黨的恐怖政治是頗有微詞的。在他的筆下，雅各賓黨三巨頭狂熱多於理智，衹知鎮壓，不懂仁政，語言充滿火藥味，渾身散發出平民的粗俗氣息。他們所執行的恐怖政治在一定條件下起了作用，但同時也包含着弊病。戈萬認為對舊世界是要開刀的，然而外科醫生需要冷靜，而不是激烈，“恐怖政治會損害革命的名譽”。共和國不需要一個“怕人的外表”。從這種觀點出發，戈萬放走朗特納剋是順理成章的。應該說，雨果在小說裏發表的見解既非全對，亦非全錯。對於保王黨人的武裝叛亂和殘忍屠殺平民的行為，革命政權衹有以眼還眼，這樣才能保存自身。但也無可諱言，雅各賓黨矯枉過正，存在濫殺現象，這就是為什麽雅各賓黨的專政維持不了多久，連羅伯斯比爾也上了斷頭臺的原因。據馬迪厄的《法國革命史》考證，一七九四年，當局嫌斷頭機行刑太慢，便輔之以炮轟、集體槍斃、沉船，一次就處死幾百人。因此，雨果提出勝利後應實施寬大政策，是針對革命政權的極端政策而發的，具有合理、正確的因素。但戈萬之所以放走朗特納剋，是基於這樣的考慮：敵人也能實行人道主義，共和軍就不能實行人道主義嗎？這裏，雨果走嚮了另一個極端。他的觀點集中表現為這句話：“在絶對正確的革命之上，還有一個絶對正確的人道主義。”雨果將革命和人道主義割裂開來是錯誤的。革命與人道主義可以統一，而且應該統一起來。就拿資産階級革命來說，這是對罪惡的、不人道的封建制度的清算，而代之以更人道的社會制度；自由、平等、博愛，就是以人道主義為基礎的，比起封建主義的人身依附關係。貴族特權、森嚴的等級制度要前進一大步。然而，在有敵對階級存在的社會中，尤其在尚未取得最終勝利的緊急關頭，不可能也不應該實行寬大無邊的、絶對的人道主義，否則就是對人民實行不人道。以朗特納剋來說，就算他果真救出三個孩子，自己束手就擒，對於革命的一方來說，完全可以根據他的情況作出合理的符合人民利益的判决，而不一定非要處以極刑。當然，共和軍不會這樣處理。但是，放走了他，後果會怎樣呢？他必然與革命政府為敵，再次糾集叛軍，攻打共和軍，屠殺無辜的百姓，犯下非人道的罪行。從效果來說，戈萬放走朗特納剋的行動，對人民來說，是不符合人道原則的。以上分析說明，無論雅各賓黨，還是雨果本人，都未能處理好革命與人道的關係問題。西穆爾丹是作為戈萬的對立面而出現的，雖然他也是一個革命者。小說中，他是革命政府的化身。儘管早先他是教士，但他愛憎分明，他能用嘴去吸一個病人喉部的膿瘡，可他决“不會給國王幹這件事”。他認識到革命的敵人是舊社會，“革命對這個敵人是毫不仁慈的”。然而他是一個“冷酷無情的人”，沒有人看見他流過眼淚，他自認為不會犯錯誤，別人無可指摘。他既正直又可怕。他雖然崇高，“可是這種崇高和人是隔絶的，是在懸崖峭壁上的崇高，是灰色的、不親近人的崇高；他的崇高的周圍被懸崖峭壁包圍着。”他忠於雅各賓黨的信條和各項恐怖政策，他嚮委任於他的國民公會保證：“假如那委托給我的共和黨領袖走錯了一步，我也要判處他死刑。”他屢次警告戈萬：“在我們所處的時代，仁慈可能成為賣國的一種形式。”他的誓言和警告都成了事實。在判處戈萬死刑之後，他再一次同戈萬交鋒。戈萬縱橫捭闔，暢談他的理想，西穆爾丹無言以對，敗退下來。他承認戈萬的話有道理，但是他不可能改變自己的觀點，內心處於不可剋服的矛盾之中。“他有着像箭一樣的盲目的準確性，衹對準目標一直飛去。在革命中沒有什麽比直綫更可怕的了。西穆爾丹一往直前，這就註定了他的不幸。”他親手處死了自己“精神上的兒子”和學生、他的戰友，最後在痛苦與惶惑中開槍自盡。通過他的悲劇，雨果批判了衹講暴力，不講人道，衹知盲目執行，不會靈活處置的革命者。西穆爾丹是有代表意義的、相當真實的一個形象。
作為浪漫派的領袖，雨果的浪漫手法在《九三年》中得到了充分的表現。雨果的一個重要的浪漫手法是將無生命或非人的事物，描繪得如同有生命的物體一樣神奇、動人心魄、令人驚嘆。小說開篇對戰艦上大炮的描寫是一個很好的例證。在這艘名為巨劍號的軍艦上，一尊二十四斤重彈的大炮從炮座上滑脫了，它變成了一頭怪物，它在艦上滾來滾去，旋轉，衝撞，擊破，殺害，殲滅，又像握城錘在任性地撞擊城墻：“這是物質獲得了自由，也可以說這是永恆的奴隸找到了復仇的機會；一切仿佛是隱藏在我們所謂無生命的物體裏的那種惡性突然爆發了出來；它那樣子像是發了脾氣，正在進行一種古怪的神秘的報復；再也沒有比這種無生物的憤怒更無情的了。這個瘋狂的龐然大物有豹子的敏捷，大象的重量，老鼠的靈巧，斧子的堅硬，波浪的突然，閃電的迅速，墳墓的癡聾。它重一萬磅，卻像小孩的皮球似的彈跳起來。……暴風可以停止，臺風會吹過去，斷掉的桅可以換一根，一個漏洞可以堵上，火災可以撲滅；可是對這衹龐大的青銅獸怎麽辦呢？”這門大炮完全解除了軍艦的戰鬥力。雨果豐富的想像力將這個場面描繪得令人嘆為觀止。就是在這樣一個悲壯的場面中，朗特納剋出現了，顯出他的嚴厲、冷峻和剛毅。這個陰慘慘的、色彩神秘的開場給小說定下了悲劇的調子。雨果就以這樣的筆法，營造出殘酷的、命運捉摸不定的氣氛，具有濃郁的浪漫色彩。雨果認為這種浪漫手法同樣能達到真實，他在小說中說：‘流史有真實性，傳奇也有真實性。傳奇的真實和歷史的真實在性質上是不同的。傳奇的真實是在虛構中去反映現實。”浪漫手法與寫實手法是殊途同歸。
衆所周知，雨果是運用對照手法的大師。他在《剋倫威爾·序》中曾經指出：“醜在美的旁邊，畸形靠近着優美，五怪藏在崇高背後，美與惡共存，光明與黑暗相伴。”這條準則始終指導着雨果的創作。《九三年》同樣運用對照手法，不過，這部小說不像《巴黎聖母院》那樣運用人物形體的對照或形體與、心靈的對照。小說三個主要人物的對照表現在思想上：朗特納剋性格殘酷無情，頑固不化，具有不達目的不罷休的堅定，也具有成為領袖的威嚴和果敢。他心中並無一絲人道感情，衹是在最後才人性復現。西穆爾丹同樣堅定不移，朗特納剋堅信保王主義，他則堅信共和主義，特別是堅信恐怖政治。他反對實施仁慈，不相信人道主義是放之四海而皆準的原則。應該說，他比朗特納剋的心腸更硬，對維護自己的信念更加一絲不苟。這兩個人物都受到雨果的批判。戈萬既有實行革命的堅定性，又有面對復雜現實的靈活性。他是雨果心目中人道主義的化身：他為了人道主義而不惜犧牲自己的生命。這三個人物思想上的對照與矛盾，有力地推動了情節的發展。
雨果的小說技巧在《九三年》中達到了更成熟的地步。小說情節的進展異常緊湊，看不到多少閑筆和題外話，不像《巴黎聖母院》和《悲慘世界》那樣，常常出現大段的議論或枝蔓的情節。作者的議論融合到人物的思想中，成為塑造人物不可或缺的部分，這是更高明的手法。從結構上說，小說環環相扣，一步步推嚮高潮。高潮以三個小孩的遭遇為核心，以三個主要人物的思想交鋒為衝突，寫得緊張而動人心弦。這部小說雖然篇幅不大，卻堪與捲帙浩繁的歷史小說相媲美，成為不可多得的上乘之作。
Plot
The action mainly takes place in western France, and in Paris, and to a lesser extent at sea off the Channel Islands, where Hugo latterly lived.
The year is 1793. In Brittany during the Royalist insurrection of the Chouannerie, a troop of “Blues” (soldiers of the French Republic) encounter Michelle Fléchard, a peasant woman, and her three young children, who are fleeing from the conflict. She explains that her husband and parents have been killed. The troop’s commander, Sergeant Radoub, convinces them to look after the family.
Meanwhile, at sea, a group of Royalist “Whites” are planning to land the Marquis de Lantenac, a Breton aristocrat whose leadership could transform the fortunes of the rebellion. Their corvette is spotted by ships of the Republic. Lantenac slips away in a boat with one supporter, and the corvette distracts the Republican ships by provoking a battle it cannot win. The corvette is destroyed, but Lantenac lands safely in Brittany.
Lantenac is hunted by the Blues, but is protected by a local beggar, to whom he gave alms in the past. He meets up with his supporters, and they immediately launch an attack on the Blues. Part of the troop with the family is captured. Lantenac orders them all to be shot, including Michelle. He takes the children with him as hostages. The beggar finds the bodies, and discovers that Michelle is still alive. He nurses her back to health.
Lantenac’s ruthless methods have turned the revolt into a major threat to the Republic. In Paris, Danton, Robespierre and Marat argue about the threat, while also sniping at each other. They promulgate a decree that all rebels and anyone who helps them will be executed. Cimourdain, a committed revolutionary and former priest, is deputed to carry out their orders in Brittany. He is also told to keep an eye on Gauvain, the commander of the Republican troops there, who is related to Lantenac and thought to be too lenient to rebels. Unknown to the revolutionary leaders, Cimourdain was Gauvain’s childhood tutor, and thinks of him as a son.
Lantenac has taken control of Dol-de-Bretagne, in order to secure a landing place for British troops to be sent to support the Royalists. Gauvain launches a surprise attack and uses deception to dislodge and disperse them. Forced to retreat, Lantenac is constantly kept from the coast by Gauvain. With British troops unavailable his supporters melt away. Eventually he and a last few fanatical followers are trapped in his castle.
Meanwhile Michelle has recovered and goes in search of her children. She wanders aimlessly, but eventually hears that they are being held hostage in Lantenac’s castle. At the castle Sergeant Radoub, fighting with the besiegers, spots the children. He persuades Gauvain to let him lead an assault. He manages to break through the defences and kill several rebels, but Lantenac and a few survivors escape through a secret passage after setting fire to the building. As the fire takes hold, Michelle arrives, and sees that her children are trapped. Her hysterical cries of despair are heard by Lantenac. Struck with guilt, he returns through the passage to the castle and rescues the children, helped by Radoub. He then gives himself up.
Gauvain knows that Cimourdain will guillotine Lantenac after a show trial. He visits him in prison, where Lantenac expresses his uncompromising conservative vision of society ordered by hierarchy, deference and duty. Gauvain insists that humane values transcend tradition. To prove it, he allows Lantenac to escape and then gives himself up to the tribunal that was convened to try him. Gauvain is tried for treason. The tribunal comprises Cimourdain, Radoub and Gauvain’s deputy, Guéchamp. Radoub votes to acquit, but the others vote to condemn Gauvain to be executed. Visited by Cimourdain in prison, Gauvain outlines his own libertarian vision of a future society with minimal government, no taxes, technological progress and sexual equality. The following morning he is executed by guillotine. At the same moment, Cimourdain shoots himself.
Writing and reception
Hugo makes clear where he himself stands—in favor of the revolutionaries—in several explicit comments and remarks made by the omniscient narrator. Nevertheless, the Royalist counter-revolutionaries are in no way villainous or despicable. Quite the contrary: Republicans and Royalists alike are depicted as idealistic and high-minded, completely devoted to their respective antagonistic causes (though, to be sure, ready to perform sundry cruel and ruthless acts perceived as necessary in the ongoing titanic struggle). Among the considerable cast of characters, there is hardly any on either side depicted as opportunistic, mercenary or cynical.
However, while being fair to both Republicans and Monarchists, Hugo has been criticized for his portrayal of the Bretons, whom he describes as "savages" and as speaking "a dead language". A sympathetic portrait is however made of Michelle Flechard, the young Breton mother, who is originally loyal to the king, but is "adopted" by a revolutionary battalion. Her children are later saved by the French royalist leader. Michelle Flechard is a classical "civilian caught between parties".
The former priest who is considered by some to be the novel's villain, Cimourdain, purportedly "made a deep impression on a young Georgian seminarian named Dzhugashvili, who was confined to his cell for reading Ninety-Three and later changed his name to Stalin", according to a biographer of Hugo.
Ayn Rand greatly praised this book (and Hugo's writing in general), acknowledged it as a source of inspiration, and even wrote an introduction to one of its English-language editions. Its influence can be especially discernible in the passages describing the Russian Civil War in Rand's "We the Living"—where, highly uncharacteristic for this staunchly anti-Communist writer, "Reds" as well as "Whites" are given the courage of their convictions and presented as courageous and heroic.
作傢因不朽的作品而不朽，作品因永生的人物而永生。雨果和《巴黎聖母院》就是這樣。
雄偉壯麗的巴黎聖母院,這座世界上最莊嚴、最完美、最富麗堂皇的哥特式建築，雖然已經歷了八百餘年的風雨滄桑，但其非凡的氣勢和精美的雕飾仍舊豐韻猶存，令人嘆為觀止。
整個巴黎聖母院的建築雖然錯落參差，但卻莊嚴、和諧，倔傲與靈秀巧妙搭配，渾然一體，在宏大和巍峨的主體造型中透出一種莊嚴的神聖感和神秘的奇幻性。整個建築分為3層，從正面看，最下一層是一座尖形拱門，中間一層是3扇碩大的窗子，第三層是一簇排列有序的美麗的欄桿，欄桿上面是兩座尖頂的鐘樓，各高達69米。南鐘樓懸一巨鐘，重達13噸；北鐘樓則匠心獨運地特設了一個187級的樓梯。在兩座鐘樓的中間偏後位置上，半崢嶸半畏葸地露出一個高達90米的尖塔。這鐘樓和尖塔與分置於底層拱門旁的諸多聖經人物雕像、中層窗子旁的亞當、夏娃的雕塑像，以及那扇由37塊玻璃組成的圓形巨窗前面所雕刻的“聖處女像”配合在一起，顯得高深迷離，神秘莫測。
巴黎聖母院不僅建築時間早，而且建築時間長，從1163年動工，到1250年完成，並在14世紀和17世紀分別進行過兩次重大修復。它的建設，幾乎牽動了全巴黎、全法國人的心。據說，南塔樓上那13噸重的巨鐘，在鑄料中所加入的大量金、銀成分，就是用當時巴黎的婦女們慷慨而虔誠地捐獻出來的金銀首飾熔成的。另外，巴黎聖母院所在的位置為巴黎的核心，巴黎的先民高盧———羅馬人，最早就是在這裏建立了巴黎的城市雛形，所以至今計算巴黎到法國全國各地的里程都是以巴黎聖母院為起點的。
儘管巴黎聖母院以其建築宏偉、歷史悠久、雕塑精美、地理位置重要而贏得了永久的光輝和不衰的聲譽，但真正為這座建築物增色敷彩、投光註煌的，還當首推維剋多·雨果的長篇小說《巴黎聖母院》。由於這部長篇小說所涵負的積極的思想意義、深刻的社會內容和對理想與正義的不懈追求與憧憬，而使巴黎聖母院遠遠超越了它作為“建築”和“教堂”的意義，而賦有了全新的社會價值和思想內涵，成為人們心目中革新與保守、拓進與妥協、正義與邪惡、美奐與醜窳進行抗爭並戰而勝之的試金石與分水嶺，成為嚮上精神的聖地和先進思想的熔爐，成為一種對生活和未來的美好的象徵和積極的嚮往。
的確，雨果和他的《巴黎聖母院》為這座聲名遠播的建築平添了無限的活力與魅力，舉凡來到這裏的人，無不懷着對作傢人格形象與精神旗幟的景仰與尊崇。《巴黎聖母院》之所以能夠為巴黎聖母院構築筋骨、鑄造靈魂，使其成為道義與良知的象徵，成為純潔與善良的所在，成為信仰與追求的寄托，成為對“惡”的鞭撻和對“美”的謳歌的形象化的見證，就因為雨果是一個非凡的作傢。他的非凡，主要表現在積極、熱情、頑強、堅韌，對國傢、民族和人民充滿了責任心，一往無前地投入社會變革，用無限的真誠和坦率，明辨是非和支持正義，不顧一切地追求真理。儘管《巴黎聖母院》是雨果青年時期的作品，創作這部長篇小說的時候，雨果還沒有經過在根西島上被流放18年的“煉獄”，他的思想的深刻性還遠不如寫作《悲慘世界》、《九三年》等作品時那樣爐火純青。但即使這樣，《巴黎聖母院》仍舊是現實主義文學創作的一次巨大和極富創新意義的突破。外貌醜陋但內心善良的敲鐘人卡西莫多和美麗的吉卜賽女郎艾絲米拉達已成為不朽的文學形象，而它所代表的社會意義和思想意義，則使巴黎聖母院成為一部永遠耐人尋味和含義無窮的書。
Hugo began to write Hunchback in 1829. The agreement with his original publisher, Gosselin, was that the book would be finished that same year. However, Hugo was constantly delayed due to the demands of other projects. By the summer of 1830, Gosselin demanded the book to be completed by February 1831. And so beginning in September 1830, Hugo worked non-stop on the project; he bought a new bottle of ink, a woollen cloak, [citation needed] and cloistered himself in his room refusing to leave his house (except for nightly visits to the cathedral). The book was finished six months later.
Synopsis
The story dates back to January 6, 1482 in Paris, France, the day of the 'Festival of Fools' in Paris. Quasimodo, the deformed bell-ringer of Notre Dame, is introduced by his crowning as Pope of Fools.
Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men but especially those of Quasimodo and his adopted father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his lust and the rules of the church. He orders Quasimodo to kidnap her and then abandons him when he is caught and whipped and ordered to be tied down in the heat. Esmeralda, seeing his thirst, offers the hunchback water. It saves her, for she captures the heart of Quasimodo.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo attempted to kill in jealousy, and is sentenced to death by hanging. Crazy with frustrated lust, Frollo has her condemned to death when she refuses to be his. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary. Clopin rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda. The King, seeing the chaos, vetoes the law of sanctuary and commands his troops to take Esmeralda out and kill her. When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Frollo betrays Esmeralda by handing her to the troops and watches while she is hanged. Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to a mass grave, lies next to her corpse, crawls off to Esmeralda's tomb with his arms around her body and eventually dies of starvation. Two years later, excavationists find the skeletons of Esmeralda with a broken neck and Quasimodo locked in an embrace.
Characters
Major
* Quasimodo, the titular protagonist of the story. He is a barely verbal hunchback bell-ringer of Notre Dame. Ringing the church bells has made him deaf. When he was a hideous and abandoned baby, he was adopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his only two outlets—ringing the bells and his love and devotion for Frollo—are described. He ventures outside the Cathedral rarely, since people despise and shun him for his appearance. The notable occasions when he does leave are his taking part in the Festival of Fools—during which he is elected Fools'-Pope due to his perfect hideousness—and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from the gallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of the cathedral at the end of the novel. It is revealed in the story that the baby Quasimodo was left by the Gypsies in place of Esmeralda, whom they abducted.
* Esmeralda, the protagonist of the story. She is a beautiful young barefoot Gypsy dancer, innocent, close to nature, and naturally compassionate and kind. She is the center of the human drama within the story. A popular focus of the citizens' attentions, she experiences their changeable attitudes, being first adored as an entertainer, then hated as a witch, before being lauded again for her dramatic rescue by Quasimodo; when the King finally decides to put her to death, he does so in the belief that the Parisian mob want her dead. She is loved by both Quasimodo and Claude Frollo, but falls deeply in love with Captain Phoebus, a handsome military man who only has a passing infatuation with her and whom she believes will protect her. She is the only character to show the hunchback a moment of human kindness: as he is being whipped for punishment and jeered by a horrid rabble, she approaches the public stock and gives him a drink of water. Because of this, he falls fiercely in love with her, even though she is too disgusted by his ugliness even to let him kiss her hand.
* Claude Frollo is the Archdeacon of Notre Dame. Despite his celibacy vows as a priest, he finds himself madly in love with Esmeralda. He nearly murders Phoebus in a jealous rage from seeing Phoebus on top of Esmeralda. He is killed when Quasimodo pushes him off the cathedral. His dour attitude and his alchemical experiments scared and alienated him from the Parisians, who believed him a sorcerer, and so he lived without family, save for Quasimodo and his spoiled brother Jehan. He serves as the novel's main antagonist.
* Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court of Miracles", the secret lair of the Gypsies. In order to preserve the secrecy, Gringoire must either be killed by hanging, or marry a Gypsy. Although Esmeralda does not love him, and in fact believes him a coward rather than a true man (he, unlike Phoebus, failed in his attempt to rescue her from Quasimodo), she takes pity on his plight and marries him—although, much to his disappointment, she refuses to let him touch her.
* Phoebus de Chateaupers is the Captain of the King's Archers. After he saves Esmeralda from abduction, she becomes infatuated with him, and he is intrigued by her. He is already betrothed, but just wants to lie with her. As he continues talking to and kissing her, Frollo comes from behind and stabs him. Esmeralda faints and upon waking up, finds that she has been framed with killing him. After the events of the novel, he suffers the 'tragedy' of marriage to the beautiful but spiteful Fleur-de-Lys de Gondelaurier.
* Clopin Trouillefou is the King of Truands. He rallies the Court of Miracles to rescue Esmeralda from Notre Dame after the idea is suggested by Gringoire. He is eventually killed during the attack by the King's soldiers.
Minor
* Djali (pronounced like "Jolly") is Esmeralda's pet goat. She performs tricks such as writing the word "Phoebus" in moveable letter-blocks, and tapping the number of beats to indicate the month and hour of the day. These tricks delight the citizens at first, but later horrify them, causing them to believe Esmeralda is a witch.
* Fleur-de-Lys de Gondelaurier is a beautiful and wealthy socialite engaged to Phoebus. Phoebus's attentions to Esmeralda make her insecure and jealous, and she and her friends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys later neglects to inform Phoebus that Esmeralda has not been executed, which serves to deprive the pair of any further contact. Phoebus and Fleur-de-Lys marry at the end of the novel.
* Jehan Frollo is Claude Frollo's over-indulged, scallywag younger brother. He is a troublemaker and a student at the university. He is dependent on his brother for money, which he then proceeds to squander on alcohol. Quasimodo kills him during the attack on the cathedral.
* Sister Gudule, formerly named Paquette la Chantefleurie, is an anchorite, who lives in seclusion in an exposed cell in central Paris. She is tormented by the loss of her daughter Agnes, whom she believes to have been cannibalised by Gypsies as a baby, and devotes her life to mourning her. Her long-lost daughter turns out to be Esmeralda.
* Louis XI is the King of France. Appears briefly when he is brought the news of the rioting at Notre Dame.
* Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to capture Esmeralda.
* Henriet Cousin is the city executioner.
* Florian Barbedienne is the judge who sentences Quasimodo to be tortured. He is also deaf.
* Jacques Charmolue gets Esmeralda to falsely confess to killing Phoebus. He then has her executed.
Major themes
The original French title, Notre-Dame de Paris (the formal title of the Cathedral) indicates that the Cathedral itself is the most significant aspect of the novel, both the main setting and the focus of the story's themes. Nearly every event in the novel takes place in the cathedral, atop the cathedral or can be witnessed by a character standing within or atop the cathedral. The Cathedral had fallen into disrepair at the time of writing, which Hugo wanted to point out. The book portrays the Gothic era as one of extremes of architecture, passion, and religion. The theme of determinism (fate and destiny) is explored as well as revolution and social strife. The severe distinction of the social classes is shown by the relationships of Quasimodo and Esmeralda with higher-caste people in the book. Hugo is also very concerned with justice, and description of religious fanaticism.
The main theme as said in the Disney's adpatation is "Who is the Monster and who is the Man?????"
Architecture
Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied in the cathedral itself, but as representing throughout Paris and the rest of Europe an artistic genre which, Hugo argued, was about to disappear with the arrival of the printing press. Claude Frollo's portentous phrase, ‘Ceci tuera cela’ ("This will kill that", as he looks from a printed book to the cathedral building), sums up this thesis, which is expounded on in Book V, chapter 2. Hugo writes that ‘quiconque naissait poète se faisait architecte’ ("whoever is born a poet becomes an architect"), arguing that while the written word was heavily censored and difficult to reproduce, architecture was extremely prominent and enjoyed considerable freedom.
Il existe à cette époque, pour la pensée écrite en pierre, un privilége tout-à-fait comparable à notre liberté actuelle de la presse. C'est la liberté de l'architecture.
There exists in this era, for thoughts written in stone, a privilege absolutely comparable to our current freedom of the press. It is the freedom of architecture.
—Book V, Chapter 2
With the recent introduction of the printing press, it became possible to reproduce one's ideas much more easily on paper, and Hugo considered this period to represent the last flowering of architecture as a great artistic form. As with many of his books, Hugo was interested in a time which seemed to him to be on the cusp between two types of society.
Literary significance and reception
The enormous popularity of the book in France spurred the nascent historical preservation movement in that country and strongly encouraged Gothic revival architecture. Ultimately it led to major renovations at Notre-Dame in the 19th century led by Eugène Viollet-le-Duc. Much of the cathedral's present appearance is a result of this renovation.
Allusions and references
Allusions to actual history, geography and current science
In The Hunchback of Notre Dame, Victor Hugo makes frequent reference to the architecture of the Cathedral of Notre Dame in Paris.
He also mentions the invention of the printing press, when the bookmaker near the beginning of the work speaks of "the German pest."
Victor Hugo lived a few homes away from Victor of Aveyron, the first well-documented feral child, although the inspiration for Quasimodo's character is not directly linked to him.
Allusions in other works
The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior."
Film, TV, or theatrical adaptations
To date, all of the film and TV adaptations have strayed somewhat from the original plot, some going as far as to give it a happy ending. The 1956 film is one of the only ones to end exactly like the novel, although it changes other parts of the story. Unlike most adaptations, the Disney version has the ending that's inspired by an opera created by Hugo himself.
Film
* Esmeralda (1905 film)
* The Hunchback of Notre Dame (1911 film)
* The Darling of Paris (1917 film)
* Esmeralda (1922 film)
* The Hunchback of Notre Dame (1923 film)
* The Hunchback of Notre Dame (1939 film)
* The Hunchback of Notre Dame (1956 film)
* The Hunchback of Notre Dame (1996 film)
* The Hunchback (1997 film)
* Quasimodo d'El Paris (1999 film)
* Saeed Khan Rangeela a Pakistani comedian turned director made a movie named Kubra Aashiq in 1973 inspired from The Hunchback of Notre-Dame, with himself in the lead role of Quasimodo. However it did not fulfill the expectations of the audience and literary circles also did not appreciate it.
Television
* The Hunchback of Notre Dame (1966 film)
* The Hunchback of Notre Dame (1977 film)
* The Hunchback of Notre Dame (1982 film)
* The Hunchback of Notre Dame (1986 film)
Theatre
* In 1977, an adaptation by Ken Hill was commissioned and staged by the National Theatre in London.
Music
* The Hunchback of Notre Dame by Alec R. Costandinos and the Syncophonic Orchestra from 1977, a lush orchestral disco 28 minute epic re-telling the tale of Quasimodo and Esmeralda.
Musical theatre
* Opera "La Esmeralda", by Louise Bertin (1836), libretto by Victor Hugo.
* Opera "Esmeralda", by Arthur Goring Thomas (1883) based on the Victor Hugo novel.
* Opera Esmeralda, by Dargomyzhsky (1847), also based on the same Victor Hugo novel.
* "Notre Dame", romantic Opera in two acts, text after Victor Hugo by Franz Schmidt and Leopold Wilk; composed: 1902-4, 1st perf.: Vienna 1914
* The Hunchback of Notre Dame (1993), an Off Broadway musical with music by Byron Janis, lyrics by Hal Hackady and book by Anthony Scully
* The Hunchback of Notre Dame (1993), a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. After a production at the Mermaid Theatre in London it was published by Samuel French Ltd in 1997 and has received several UK productions as well as productions in New Zealand and Australia. In 2010 it was re-written as a conventional musical, with the new title Notre Dame.
* In 1999, "Notre Dame de Paris (musical)" opened in Paris and became an instant success. It is considered the most successful adaptation of any novel except for "The Phantom of the Opera" and "Les Misérables." It was also adapted for the stage by Nicholas DeBaubien.
* From 1999 to 2002, the Disney film was adapted into a darker, more Gothic musical production called Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame), re-written and directed by James Lapine and produced by the Disney theatrical branch, in Berlin, Germany. A cast recording was also recorded in German. There has been discussion of an American revival of the musical.
* A rock musical version was released in Seattle, Washington in 1998 titled "Hunchback" with music and script by C. Rainey Lewis.
* A musical version, scored by Dennis DeYoung, will open in Chicago at the Bailiwick Reperatory in the summer of 2008
Ballet
* Notre-Dame de Paris A ballet choreographed by Roland Petit. First performed in 1965 at the Paris Opera.
* The Hunchback of Notre Dame (1998) – choreography and direction by Michael Pink and original music score by Philip Feeney. Currently in the repertoire of Milwaukee Ballet, Boston Ballet, Royal New Zealand Ballet, Atlanta Ballet and Colorado Ballet.
* Ringaren i Notre Dame (Swedish for The Bellringer of Notre Dame; 2009) – choreography by Pär Isberg and original music score by Stefan Nilsson. Its first performance was on 3 April 2009, by the Royal Swedish Ballet at the Royal Swedish Opera, Stockholm.
Radio
The book was twice adapted and broadcast by BBC Radio 4 as its Classic Serial:
* in 5 parts from 6 January to 3 February 1989, with Jack Klaff as Quasimodo
* in 2 parts on 30 November and 7 December 2008, with deaf actor David Bower playing Quasimodo.
Translation history
The Hunchback of Notre-Dame has been translated into English many times. Translations are often reprinted by various publisher imprints. Some translations have been revised over time.
* 1833. Translated by Frederic Shoberl as The Hunchback of Notre Dame. Later revisions.
* 1833. Translated by William Hazlitt as Notre Dame: A Tale of the Ancien Regime. Later revisions.
* 1888. Translated by Isabel F. Hapgood as Notre-Dame de Paris.
* 1895. Translated by M.W. Artois et al., part of the 28-vol The Novels of Victor Hugo, re-printed in the 20th century under other titles.
* 1964. Translated by Walter J. Cobb. In multiple editions, see for example Signet Classics ISBN 0451527887, Pub date 10 April 2001, paperback.
* 1978. Translated by John Sturrock. In multiple editions, see for example Penguin Classics ISBN 0140443533, Pub date 26 October 1978, paperback.
* 1993. Translated by Alban J. Krailsheim as Notre-Dame de Paris. See Oxford World's Classics ISBN 978-0199555802
* 2002. Revised translation by Catherine Liu of an anonymous 19th century translation. See Modern Library Classics ISBN 0679642579, Pub date 8 October 2002.
This list is incomplete; you can help by expanding it.
Quotations
* A description of Quasimodo upon his election as the fool's pope: "We shall not attempt to give the reader an idea of that tetrahedron nose- that horse-shoe mouth- that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart- of those straggling teeth with breaches here and there like the battlements of a fortress- of that horny lip, over which one of those teeth projected like the tusk of an elephant- of that forked chin- and, above all, of the expression spread over all this-that expression of mingled malice, amazement and sadness." (p. 62)
* On the connection between architecture and culture: "When a man understands the art of seeing, he can trace the spirit of an age and the features of a king even in the knocker on a door." (p. 184)
* Quasimodo's reaction to Esmeralda's gift of a drink of water while he is being heckled on the pillory: "Then from that eye, hitherto so dry and burning, was seen to roll a big tear, which fell slowly down that deformed visage so long contracted by despair. Perhaps it was the first that the unfortunate creature had ever shed." (p. 322)
* Quasimodo, explaining why he won't enter Esmeralda's cell: "The owl goes not into the nest of the lark." (p. 502)
* After Esmeralda's execution: "Quasimodo then lifted his eye to look upon the Gypsy girl, whose body, suspended from the gibbet, he beheld quivering afar, under its white robes, in the last struggles of death; then again he dropped it upon the archdeacon, stretched a shapeless mass at the foot of the tower, and he said with a sob that heaved his deep breast to the bottom, 'Oh-all that I've ever loved!'"
雄偉壯麗的巴黎聖母院,這座世界上最莊嚴、最完美、最富麗堂皇的哥特式建築，雖然已經歷了八百餘年的風雨滄桑，但其非凡的氣勢和精美的雕飾仍舊豐韻猶存，令人嘆為觀止。
整個巴黎聖母院的建築雖然錯落參差，但卻莊嚴、和諧，倔傲與靈秀巧妙搭配，渾然一體，在宏大和巍峨的主體造型中透出一種莊嚴的神聖感和神秘的奇幻性。整個建築分為3層，從正面看，最下一層是一座尖形拱門，中間一層是3扇碩大的窗子，第三層是一簇排列有序的美麗的欄桿，欄桿上面是兩座尖頂的鐘樓，各高達69米。南鐘樓懸一巨鐘，重達13噸；北鐘樓則匠心獨運地特設了一個187級的樓梯。在兩座鐘樓的中間偏後位置上，半崢嶸半畏葸地露出一個高達90米的尖塔。這鐘樓和尖塔與分置於底層拱門旁的諸多聖經人物雕像、中層窗子旁的亞當、夏娃的雕塑像，以及那扇由37塊玻璃組成的圓形巨窗前面所雕刻的“聖處女像”配合在一起，顯得高深迷離，神秘莫測。
巴黎聖母院不僅建築時間早，而且建築時間長，從1163年動工，到1250年完成，並在14世紀和17世紀分別進行過兩次重大修復。它的建設，幾乎牽動了全巴黎、全法國人的心。據說，南塔樓上那13噸重的巨鐘，在鑄料中所加入的大量金、銀成分，就是用當時巴黎的婦女們慷慨而虔誠地捐獻出來的金銀首飾熔成的。另外，巴黎聖母院所在的位置為巴黎的核心，巴黎的先民高盧———羅馬人，最早就是在這裏建立了巴黎的城市雛形，所以至今計算巴黎到法國全國各地的里程都是以巴黎聖母院為起點的。
儘管巴黎聖母院以其建築宏偉、歷史悠久、雕塑精美、地理位置重要而贏得了永久的光輝和不衰的聲譽，但真正為這座建築物增色敷彩、投光註煌的，還當首推維剋多·雨果的長篇小說《巴黎聖母院》。由於這部長篇小說所涵負的積極的思想意義、深刻的社會內容和對理想與正義的不懈追求與憧憬，而使巴黎聖母院遠遠超越了它作為“建築”和“教堂”的意義，而賦有了全新的社會價值和思想內涵，成為人們心目中革新與保守、拓進與妥協、正義與邪惡、美奐與醜窳進行抗爭並戰而勝之的試金石與分水嶺，成為嚮上精神的聖地和先進思想的熔爐，成為一種對生活和未來的美好的象徵和積極的嚮往。
的確，雨果和他的《巴黎聖母院》為這座聲名遠播的建築平添了無限的活力與魅力，舉凡來到這裏的人，無不懷着對作傢人格形象與精神旗幟的景仰與尊崇。《巴黎聖母院》之所以能夠為巴黎聖母院構築筋骨、鑄造靈魂，使其成為道義與良知的象徵，成為純潔與善良的所在，成為信仰與追求的寄托，成為對“惡”的鞭撻和對“美”的謳歌的形象化的見證，就因為雨果是一個非凡的作傢。他的非凡，主要表現在積極、熱情、頑強、堅韌，對國傢、民族和人民充滿了責任心，一往無前地投入社會變革，用無限的真誠和坦率，明辨是非和支持正義，不顧一切地追求真理。儘管《巴黎聖母院》是雨果青年時期的作品，創作這部長篇小說的時候，雨果還沒有經過在根西島上被流放18年的“煉獄”，他的思想的深刻性還遠不如寫作《悲慘世界》、《九三年》等作品時那樣爐火純青。但即使這樣，《巴黎聖母院》仍舊是現實主義文學創作的一次巨大和極富創新意義的突破。外貌醜陋但內心善良的敲鐘人卡西莫多和美麗的吉卜賽女郎艾絲米拉達已成為不朽的文學形象，而它所代表的社會意義和思想意義，則使巴黎聖母院成為一部永遠耐人尋味和含義無窮的書。
Hugo began to write Hunchback in 1829. The agreement with his original publisher, Gosselin, was that the book would be finished that same year. However, Hugo was constantly delayed due to the demands of other projects. By the summer of 1830, Gosselin demanded the book to be completed by February 1831. And so beginning in September 1830, Hugo worked non-stop on the project; he bought a new bottle of ink, a woollen cloak, [citation needed] and cloistered himself in his room refusing to leave his house (except for nightly visits to the cathedral). The book was finished six months later.
Synopsis
The story dates back to January 6, 1482 in Paris, France, the day of the 'Festival of Fools' in Paris. Quasimodo, the deformed bell-ringer of Notre Dame, is introduced by his crowning as Pope of Fools.
Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men but especially those of Quasimodo and his adopted father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his lust and the rules of the church. He orders Quasimodo to kidnap her and then abandons him when he is caught and whipped and ordered to be tied down in the heat. Esmeralda, seeing his thirst, offers the hunchback water. It saves her, for she captures the heart of Quasimodo.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo attempted to kill in jealousy, and is sentenced to death by hanging. Crazy with frustrated lust, Frollo has her condemned to death when she refuses to be his. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary. Clopin rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda. The King, seeing the chaos, vetoes the law of sanctuary and commands his troops to take Esmeralda out and kill her. When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Frollo betrays Esmeralda by handing her to the troops and watches while she is hanged. Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to a mass grave, lies next to her corpse, crawls off to Esmeralda's tomb with his arms around her body and eventually dies of starvation. Two years later, excavationists find the skeletons of Esmeralda with a broken neck and Quasimodo locked in an embrace.
Characters
Major
* Quasimodo, the titular protagonist of the story. He is a barely verbal hunchback bell-ringer of Notre Dame. Ringing the church bells has made him deaf. When he was a hideous and abandoned baby, he was adopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his only two outlets—ringing the bells and his love and devotion for Frollo—are described. He ventures outside the Cathedral rarely, since people despise and shun him for his appearance. The notable occasions when he does leave are his taking part in the Festival of Fools—during which he is elected Fools'-Pope due to his perfect hideousness—and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from the gallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of the cathedral at the end of the novel. It is revealed in the story that the baby Quasimodo was left by the Gypsies in place of Esmeralda, whom they abducted.
* Esmeralda, the protagonist of the story. She is a beautiful young barefoot Gypsy dancer, innocent, close to nature, and naturally compassionate and kind. She is the center of the human drama within the story. A popular focus of the citizens' attentions, she experiences their changeable attitudes, being first adored as an entertainer, then hated as a witch, before being lauded again for her dramatic rescue by Quasimodo; when the King finally decides to put her to death, he does so in the belief that the Parisian mob want her dead. She is loved by both Quasimodo and Claude Frollo, but falls deeply in love with Captain Phoebus, a handsome military man who only has a passing infatuation with her and whom she believes will protect her. She is the only character to show the hunchback a moment of human kindness: as he is being whipped for punishment and jeered by a horrid rabble, she approaches the public stock and gives him a drink of water. Because of this, he falls fiercely in love with her, even though she is too disgusted by his ugliness even to let him kiss her hand.
* Claude Frollo is the Archdeacon of Notre Dame. Despite his celibacy vows as a priest, he finds himself madly in love with Esmeralda. He nearly murders Phoebus in a jealous rage from seeing Phoebus on top of Esmeralda. He is killed when Quasimodo pushes him off the cathedral. His dour attitude and his alchemical experiments scared and alienated him from the Parisians, who believed him a sorcerer, and so he lived without family, save for Quasimodo and his spoiled brother Jehan. He serves as the novel's main antagonist.
* Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court of Miracles", the secret lair of the Gypsies. In order to preserve the secrecy, Gringoire must either be killed by hanging, or marry a Gypsy. Although Esmeralda does not love him, and in fact believes him a coward rather than a true man (he, unlike Phoebus, failed in his attempt to rescue her from Quasimodo), she takes pity on his plight and marries him—although, much to his disappointment, she refuses to let him touch her.
* Phoebus de Chateaupers is the Captain of the King's Archers. After he saves Esmeralda from abduction, she becomes infatuated with him, and he is intrigued by her. He is already betrothed, but just wants to lie with her. As he continues talking to and kissing her, Frollo comes from behind and stabs him. Esmeralda faints and upon waking up, finds that she has been framed with killing him. After the events of the novel, he suffers the 'tragedy' of marriage to the beautiful but spiteful Fleur-de-Lys de Gondelaurier.
* Clopin Trouillefou is the King of Truands. He rallies the Court of Miracles to rescue Esmeralda from Notre Dame after the idea is suggested by Gringoire. He is eventually killed during the attack by the King's soldiers.
Minor
* Djali (pronounced like "Jolly") is Esmeralda's pet goat. She performs tricks such as writing the word "Phoebus" in moveable letter-blocks, and tapping the number of beats to indicate the month and hour of the day. These tricks delight the citizens at first, but later horrify them, causing them to believe Esmeralda is a witch.
* Fleur-de-Lys de Gondelaurier is a beautiful and wealthy socialite engaged to Phoebus. Phoebus's attentions to Esmeralda make her insecure and jealous, and she and her friends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys later neglects to inform Phoebus that Esmeralda has not been executed, which serves to deprive the pair of any further contact. Phoebus and Fleur-de-Lys marry at the end of the novel.
* Jehan Frollo is Claude Frollo's over-indulged, scallywag younger brother. He is a troublemaker and a student at the university. He is dependent on his brother for money, which he then proceeds to squander on alcohol. Quasimodo kills him during the attack on the cathedral.
* Sister Gudule, formerly named Paquette la Chantefleurie, is an anchorite, who lives in seclusion in an exposed cell in central Paris. She is tormented by the loss of her daughter Agnes, whom she believes to have been cannibalised by Gypsies as a baby, and devotes her life to mourning her. Her long-lost daughter turns out to be Esmeralda.
* Louis XI is the King of France. Appears briefly when he is brought the news of the rioting at Notre Dame.
* Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to capture Esmeralda.
* Henriet Cousin is the city executioner.
* Florian Barbedienne is the judge who sentences Quasimodo to be tortured. He is also deaf.
* Jacques Charmolue gets Esmeralda to falsely confess to killing Phoebus. He then has her executed.
Major themes
The original French title, Notre-Dame de Paris (the formal title of the Cathedral) indicates that the Cathedral itself is the most significant aspect of the novel, both the main setting and the focus of the story's themes. Nearly every event in the novel takes place in the cathedral, atop the cathedral or can be witnessed by a character standing within or atop the cathedral. The Cathedral had fallen into disrepair at the time of writing, which Hugo wanted to point out. The book portrays the Gothic era as one of extremes of architecture, passion, and religion. The theme of determinism (fate and destiny) is explored as well as revolution and social strife. The severe distinction of the social classes is shown by the relationships of Quasimodo and Esmeralda with higher-caste people in the book. Hugo is also very concerned with justice, and description of religious fanaticism.
The main theme as said in the Disney's adpatation is "Who is the Monster and who is the Man?????"
Architecture
Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied in the cathedral itself, but as representing throughout Paris and the rest of Europe an artistic genre which, Hugo argued, was about to disappear with the arrival of the printing press. Claude Frollo's portentous phrase, ‘Ceci tuera cela’ ("This will kill that", as he looks from a printed book to the cathedral building), sums up this thesis, which is expounded on in Book V, chapter 2. Hugo writes that ‘quiconque naissait poète se faisait architecte’ ("whoever is born a poet becomes an architect"), arguing that while the written word was heavily censored and difficult to reproduce, architecture was extremely prominent and enjoyed considerable freedom.
Il existe à cette époque, pour la pensée écrite en pierre, un privilége tout-à-fait comparable à notre liberté actuelle de la presse. C'est la liberté de l'architecture.
There exists in this era, for thoughts written in stone, a privilege absolutely comparable to our current freedom of the press. It is the freedom of architecture.
—Book V, Chapter 2
With the recent introduction of the printing press, it became possible to reproduce one's ideas much more easily on paper, and Hugo considered this period to represent the last flowering of architecture as a great artistic form. As with many of his books, Hugo was interested in a time which seemed to him to be on the cusp between two types of society.
Literary significance and reception
The enormous popularity of the book in France spurred the nascent historical preservation movement in that country and strongly encouraged Gothic revival architecture. Ultimately it led to major renovations at Notre-Dame in the 19th century led by Eugène Viollet-le-Duc. Much of the cathedral's present appearance is a result of this renovation.
Allusions and references
Allusions to actual history, geography and current science
In The Hunchback of Notre Dame, Victor Hugo makes frequent reference to the architecture of the Cathedral of Notre Dame in Paris.
He also mentions the invention of the printing press, when the bookmaker near the beginning of the work speaks of "the German pest."
Victor Hugo lived a few homes away from Victor of Aveyron, the first well-documented feral child, although the inspiration for Quasimodo's character is not directly linked to him.
Allusions in other works
The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior."
Film, TV, or theatrical adaptations
To date, all of the film and TV adaptations have strayed somewhat from the original plot, some going as far as to give it a happy ending. The 1956 film is one of the only ones to end exactly like the novel, although it changes other parts of the story. Unlike most adaptations, the Disney version has the ending that's inspired by an opera created by Hugo himself.
Film
* Esmeralda (1905 film)
* The Hunchback of Notre Dame (1911 film)
* The Darling of Paris (1917 film)
* Esmeralda (1922 film)
* The Hunchback of Notre Dame (1923 film)
* The Hunchback of Notre Dame (1939 film)
* The Hunchback of Notre Dame (1956 film)
* The Hunchback of Notre Dame (1996 film)
* The Hunchback (1997 film)
* Quasimodo d'El Paris (1999 film)
* Saeed Khan Rangeela a Pakistani comedian turned director made a movie named Kubra Aashiq in 1973 inspired from The Hunchback of Notre-Dame, with himself in the lead role of Quasimodo. However it did not fulfill the expectations of the audience and literary circles also did not appreciate it.
Television
* The Hunchback of Notre Dame (1966 film)
* The Hunchback of Notre Dame (1977 film)
* The Hunchback of Notre Dame (1982 film)
* The Hunchback of Notre Dame (1986 film)
Theatre
* In 1977, an adaptation by Ken Hill was commissioned and staged by the National Theatre in London.
Music
* The Hunchback of Notre Dame by Alec R. Costandinos and the Syncophonic Orchestra from 1977, a lush orchestral disco 28 minute epic re-telling the tale of Quasimodo and Esmeralda.
Musical theatre
* Opera "La Esmeralda", by Louise Bertin (1836), libretto by Victor Hugo.
* Opera "Esmeralda", by Arthur Goring Thomas (1883) based on the Victor Hugo novel.
* Opera Esmeralda, by Dargomyzhsky (1847), also based on the same Victor Hugo novel.
* "Notre Dame", romantic Opera in two acts, text after Victor Hugo by Franz Schmidt and Leopold Wilk; composed: 1902-4, 1st perf.: Vienna 1914
* The Hunchback of Notre Dame (1993), an Off Broadway musical with music by Byron Janis, lyrics by Hal Hackady and book by Anthony Scully
* The Hunchback of Notre Dame (1993), a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. After a production at the Mermaid Theatre in London it was published by Samuel French Ltd in 1997 and has received several UK productions as well as productions in New Zealand and Australia. In 2010 it was re-written as a conventional musical, with the new title Notre Dame.
* In 1999, "Notre Dame de Paris (musical)" opened in Paris and became an instant success. It is considered the most successful adaptation of any novel except for "The Phantom of the Opera" and "Les Misérables." It was also adapted for the stage by Nicholas DeBaubien.
* From 1999 to 2002, the Disney film was adapted into a darker, more Gothic musical production called Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame), re-written and directed by James Lapine and produced by the Disney theatrical branch, in Berlin, Germany. A cast recording was also recorded in German. There has been discussion of an American revival of the musical.
* A rock musical version was released in Seattle, Washington in 1998 titled "Hunchback" with music and script by C. Rainey Lewis.
* A musical version, scored by Dennis DeYoung, will open in Chicago at the Bailiwick Reperatory in the summer of 2008
Ballet
* Notre-Dame de Paris A ballet choreographed by Roland Petit. First performed in 1965 at the Paris Opera.
* The Hunchback of Notre Dame (1998) – choreography and direction by Michael Pink and original music score by Philip Feeney. Currently in the repertoire of Milwaukee Ballet, Boston Ballet, Royal New Zealand Ballet, Atlanta Ballet and Colorado Ballet.
* Ringaren i Notre Dame (Swedish for The Bellringer of Notre Dame; 2009) – choreography by Pär Isberg and original music score by Stefan Nilsson. Its first performance was on 3 April 2009, by the Royal Swedish Ballet at the Royal Swedish Opera, Stockholm.
Radio
The book was twice adapted and broadcast by BBC Radio 4 as its Classic Serial:
* in 5 parts from 6 January to 3 February 1989, with Jack Klaff as Quasimodo
* in 2 parts on 30 November and 7 December 2008, with deaf actor David Bower playing Quasimodo.
Translation history
The Hunchback of Notre-Dame has been translated into English many times. Translations are often reprinted by various publisher imprints. Some translations have been revised over time.
* 1833. Translated by Frederic Shoberl as The Hunchback of Notre Dame. Later revisions.
* 1833. Translated by William Hazlitt as Notre Dame: A Tale of the Ancien Regime. Later revisions.
* 1888. Translated by Isabel F. Hapgood as Notre-Dame de Paris.
* 1895. Translated by M.W. Artois et al., part of the 28-vol The Novels of Victor Hugo, re-printed in the 20th century under other titles.
* 1964. Translated by Walter J. Cobb. In multiple editions, see for example Signet Classics ISBN 0451527887, Pub date 10 April 2001, paperback.
* 1978. Translated by John Sturrock. In multiple editions, see for example Penguin Classics ISBN 0140443533, Pub date 26 October 1978, paperback.
* 1993. Translated by Alban J. Krailsheim as Notre-Dame de Paris. See Oxford World's Classics ISBN 978-0199555802
* 2002. Revised translation by Catherine Liu of an anonymous 19th century translation. See Modern Library Classics ISBN 0679642579, Pub date 8 October 2002.
This list is incomplete; you can help by expanding it.
Quotations
* A description of Quasimodo upon his election as the fool's pope: "We shall not attempt to give the reader an idea of that tetrahedron nose- that horse-shoe mouth- that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart- of those straggling teeth with breaches here and there like the battlements of a fortress- of that horny lip, over which one of those teeth projected like the tusk of an elephant- of that forked chin- and, above all, of the expression spread over all this-that expression of mingled malice, amazement and sadness." (p. 62)
* On the connection between architecture and culture: "When a man understands the art of seeing, he can trace the spirit of an age and the features of a king even in the knocker on a door." (p. 184)
* Quasimodo's reaction to Esmeralda's gift of a drink of water while he is being heckled on the pillory: "Then from that eye, hitherto so dry and burning, was seen to roll a big tear, which fell slowly down that deformed visage so long contracted by despair. Perhaps it was the first that the unfortunate creature had ever shed." (p. 322)
* Quasimodo, explaining why he won't enter Esmeralda's cell: "The owl goes not into the nest of the lark." (p. 502)
* After Esmeralda's execution: "Quasimodo then lifted his eye to look upon the Gypsy girl, whose body, suspended from the gibbet, he beheld quivering afar, under its white robes, in the last struggles of death; then again he dropped it upon the archdeacon, stretched a shapeless mass at the foot of the tower, and he said with a sob that heaved his deep breast to the bottom, 'Oh-all that I've ever loved!'"
由於悲慘世界這部小說對法國而言簡直就像中國人對三國演義那樣熟悉，所以在改編時許多枝枝節節都已刪除，採重要片段串成帶狀故事，起自冉阿讓的假釋與領悟，終於充滿希望的追尋光明，十分動人。以下是按著時間的順序來介紹這部巨作:
序麯：1815年·笛涅(Digne)
冉阿讓，罪犯24601身陷牢獄與手銬腳鐐相伴十九年之後，終於獲得一紙假釋令，得以離開不見天日的生活，然而這張黃色的自由狀紙，並未讓他在社會上取自由，反而處處引來歧視，使他流浪街頭，衹有笛涅的主教米禮愛好心收留了他。夜半時分，多年來窮睏的習慣讓他故態復萌，偷走了主教傢的一隻銀燭臺，不料半途被抓到，警方把他帶到主教的面前對質，令他訝異的是主教非但沒有揭發，反倒為他撒謊說是他贈送的，警方悻悻然走後，冉阿讓跪求原諒，主教衹要他宣誓將靈魂交付上帝，自此重新做人，並將另一隻燭臺也送給他。冉阿讓感受到慈悲的力量，撕毀假釋令，决心再創新生。
1823年·近海的蒙特裏(Montreuil- sur-mer)
八年過去了，冉阿讓的確履行了當年的誓言，徹底改頭換面，不但易名為麥道臨，並且成了蒙特裏受人愛戴的市長兼工廠廠長，以慈善聞名。這時，在他工廠裏的一名女工芳婷正遭受著凄慘的際遇，她年輕因一時熱情，懷了個女孩，豈知負心郎一走了之，留下她們母女，為了小小珂賽特，衹有把她寄養一途了；把女兒安頓在湯乃第傢之後，芳婷放心的上巴黎去做女工，對珂賽特的思念給了她無盡的力量，掙來的錢都寄回湯傢，衹盼女兒生活過得寬裕，那兒知道湯傢在信上所說生病一事都是假的，所有的錢都進了湯傢的口袋和他們的艾潘妮嘴裏，現在芳婷又再次接到這樣一封討錢信，一不小心落入同事手裏，人人鄙夷她，聯合工頭將她趕走，不知情的冉阿讓簽下公文，芳婷就此流浪街頭。芳婷一心衹想到女兒的藥錢，在賣了項上的項鍊盒和一頭長髮之後，走投無路的睏境下，她加入了碼頭區的妓女行列，痛苦地販賣靈肉，直到有一天她因拒絶一位無禮的客人，和他發生拉扯，恰好新上任的警長賈維到任，不分青紅皂白就定她的罪，目睹此景的市長出言製止，命賈維放走了芳婷，並送她到醫院休養。
當賈維欲與市長爭論職責時，街上有位老人被鬆脫的馬車壓住，冉阿讓立即衝上前頂起了車子，異常的力氣勾起賈維對編號24601罪犯犟烈的記憶，他已經追緝 24601多年始終無功，但懷疑一位人見人愛的市長顯然不正當，這使他非常睏惑，想不到警方不知去那兒抓了一位無辜的鐵匠來定罪，賈維以為自己錯怪市長還嚮冉阿讓緻歉，正直的冉阿讓不能容忍自己的懦弱造成平民的委屈，於是來到法庭坦承自己的身分─犯人24601。賈維立刻就想逮捕他，但冉阿讓心繫芳婷的病體，情急之下打昏賈維逃逸。
在病榻上，芳婷充滿感激的將珂賽特的未來交給冉阿讓，他也一一允諾，芳婷悲哀的一生在對珂賽特的思念中結束之後，身負責任的冉阿讓即刻馬不停蹄趕嚮芳婷所說的小鎮蒙佛梅，去解救她可憐的遺孤。
1823年·蒙佛梅(Monfermei)
小珂賽特已經在經營酒館的湯乃第傢寄養了五年，她一直以來不斷受到可怕的虐待，成天像女傭般被來去差使，同年的酒館老闆女兒艾潘妮，卻受盡寵愛，兩個女孩的生活如天淵之別，但珂賽特並未養成怨天尤人的個性，她衹默默期待夢中的母親有一天能來接她回傢。冉阿讓來到湯傢時，她正吃力地在黑暗中打水，他當下决定??狠敲詐了一番，珂賽特終於能脫離苦痛，真正享受起一個孩子應享的快樂生活。冉阿讓把她帶回巴黎，以父愛呵護她長大，天倫之樂帶給這兩個曾受命運折磨的人莫大的滿足，然而賈維的陰影依舊籠罩在冉阿讓身上，揮之不去……
1832年‧巴黎(Paris)
九年過後的巴黎，充滿着動盪的氣氛，以往的首善之都已然與地獄無異，政府裏惟一關懷窮人的將軍拉馬剋(Lamarque)又病危，人民的前途堪虞，社會涌動著一股革命的暗潮。小加夫羅契是一群妓女和市區乞丐中的中堅分子，連湯乃第夫婦也淪入丐幫生活，有一回還搶上冉阿讓父女，因此還讓賈維和萬犟見上一面，衹不過賈維當時沒有認出來，發現之後氣憤極了，再度立誓拘捕冉阿讓。
這時的艾潘妮已是青春少女，她暗自喜歡著同學馬裏歐，可是馬裏歐的心思已經全部放在街上撞見的珂賽特身上了，無奈的艾潘妮答應要去打聽珂賽特的消息。
革命青年們，包括馬裏歐，經常在一傢ABC咖啡館集會，他們的理想高昂，計畫在拉馬剋將軍過世那一天爆發革命，人人都在為這一天而興奮著，陷入戀愛的馬裏歐卻格外的迷失、脆弱，畢竟在動亂中的每一個明天都是希望，也都是迷惑。這一天，很快的來臨了。加夫羅契衝進店裏，宣佈將軍的死訊，青年一齊涌上街頭，尋求大衆的支持。
亭亭玉立的珂賽特也為了對馬裏歐的相思而苦，冉阿讓逐漸能感受到女兒的轉變，但他依然不願透露她的身世，珂賽特對此不甚諒解；另一方面，由於馬裏歐為情所苦，艾潘妮不忍心衹好帶他來找珂賽特，兩人終於能互訴衷麯，艾潘妮在旁邊忍受著悲傷，還阻止了丐幫的搶劫，著實是個堅犟的女孩。此時冉阿讓考量革命的亂象和賈維的威脅，决心帶珂賽特離開巴黎，這對戀人就生生地分離了，對他們而言，這革命的前夕顯得多麽晦暗哪！情人害怕永別，暗戀者痛失希望，逃亡者冀求安全，惟一能有一絲絲愉快的，大概衹有像湯乃第這種等著撿死人便宜的人吧。
革命的工作一步步的進展，學生開始建築防禦工事，艾潘妮决心陪伴馬裏歐到底，所以加入了青年們的工作，馬裏歐看到她喜出望外，派她送信給珂賽特，卻落入為父的手裏，為了女兒的幸福，他想要去勸阻馬裏歐參加起義，卻發現冒充同志的賈維被加夫羅契認出，而捆綁在地，他自願料理賈維，其實是故意的放走他。
革命爆發，領袖恩佐拉在槍林彈雨中喪命，加夫羅契為收集彈藥中彈而亡，同志也大都犧牲殆盡，馬裏歐也受傷昏厥，幸而有犟壯的冉阿讓救了他。在下水道裏，冉阿讓先後遇見湯乃第和賈維，他懇求賈維放他走，受了他高尚人格的感動，賈維讓出路來，可是一生的堅持並不容易扭轉，他內心受到極度的煎熬，終於無法自解，投河自盡。
馬裏歐逐漸康復，他並不瞭解是誰救了他一命，衹好把一切歸功於珂賽特的照料，冉阿讓將他的過去對馬裏歐坦白，並表示為了不妨礙他們的未來，他寧願獨居終老。在婚禮上，湯乃第夫婦帶來一項他們自認是醜聞的消息：冉阿讓在下水道盜過屍。並取出一隻金戒指，馬裏歐立刻認出是他的，隨即瞭解到自己一嚮誤解的嶽父就是神秘的救命恩人，夫妻倆趕到冉阿讓處時，衹剩下那一對銀燭臺陪伴著他，兩個年輕人在微光中瞭解了自己的身世。老人終於走了，他的靈魂和芳婷、艾潘妮、和所有在革命中死去的人相聚，庇護著一對愛人，迎嚮光明的明天。
人物簡介
冉阿讓(Jean Valjean)
因為偷一條面包救濟外甥而坐牢十九年的囚犯，原本衹判五年徒刑，但由於他並不信任法律，屢屢越獄以致罪刑加重，他倔犟不懼犟權的個性使探長賈維對他深惡痛絶，他過人的氣力也使賈維對他印象深刻，兩人遂結下一生相互追逐之緣。假釋後他受神父啓發嚮上，改名當上市長，為人慈悲，幫助女工芳婷撫養女兒珂賽特，救了女兒的情人─革命青年馬裏歐，在女兒有了好歸宿之後，帶著贖罪的愛離開了人間。
芳婷(Fantine)
冉阿讓工廠裏的一名女工，她有段坎坷的青春，在懷了男友的骨肉之後卻被惡意遺棄，為了女兒的生活，衹好忍下心把她寄養在蒙佛梅一位酒館老闆的傢裏，自己來到巴黎謀生並定時寄錢回去，但由於她有私生女的事被同事揭發，被趕出工廠，衹好賣了首飾、長髮，甚至靈肉，幸好遇見冉阿讓，托付了女兒的未來纔安心的逝去。
珂賽特(Cosette)
芳婷可憐的女兒，當初雖然被母親懇求般的托付給酒館一傢，卻沒有享受到一天童年的無憂生活，反而被當成女傭一般，成天埋頭做雜活，母親攢下的錢幾乎全用來栽培酒館老闆的親生女兒。不過她苦命的日子比起母親是少了許多，冉阿讓把她視如己出，使她能忘卻童年回憶，後來她和青年馬裏歐戀愛，有情人終成眷屬。
賈維(Javert)
正義的堅持者，也是正義的頑固者，他相信慈悲是罪犯的根苗，特別是像冉阿讓這樣的人。所以窮其一生誓將他抓回牢獄，卻發現冉阿讓的本性是多麽善良，這對一個抱持人性本惡論的警探而言，是非常殘酷的一件事，因此他在下水道放走背負馬裏歐的冉阿讓之後，由於無法再面對自己持守多年的信念，選擇跳河一途結束他充滿殉道意味的一生。
湯乃第夫婦 (Thenardier)
小鎮蒙佛梅一傢酒館的老闆，典型的中下階級人物，貪財、自私、卑鄙，個性倒也十分逗趣，夫婦倆可謂天造地設，互相挖苦，對珂賽特一致的欺壓，對女兒艾潘妮一致的溺愛，後來湯乃第先生淪為丐幫幫主，在義勇軍後方搜括死亡者身上的值錢物品，最後兩人還在珂賽特的婚禮上著實耍寶了一陣，真是不改其性。
艾潘妮(Eponine)
湯傢的獨生女，自小倍受寵愛，是挺瞧不起珂賽特的，但也許是受教育的緣故，她比父母有良知多了，雖然暗戀對象馬裏歐並不愛她，她仍然願意為他打聽珂賽特的消息、為他送情書，又為要和他共存亡而跑回戰區，中彈在馬裏歐懷中斷了氣，也算得上是為她的父母贖罪吧。
馬裏歐(Marius)
十九世紀標準革命青年，為理想熱血奔騰，為珂賽特純情洋溢，在起事中負傷昏迷，被冉阿讓所救，雖說同伴大多犧牲令人無限感傷，但最終如願娶得珂賽特，也是美事一椿。
恩佐拉 (Enjolras)
革命青年的領袖，風度翩翩，在策動的起事中壯烈身亡。
加夫羅契(Gavroche)
革命時代下早熟的孩子，聰明有主見，是個包打聽。
主教米禮愛(Bishop Myriel)
笛涅地區的主教，是冉阿讓出獄後惟一願意收容他的人，以愛心和寬容轉瞬間感動了冉阿讓，也就此改變了他的一生。
名傢評論
悲憫胸懷的呈現－悲慘世界
薛介維
衹要是法律與習俗所造成的社會壓迫還存在一天，在文明昌盛時期因人為因素使人間變成地獄，並使人類與生俱來的幸福遭受不可避免的災禍，衹要－貧睏使男人潦倒、飢餓使女人墮落、黑暗使小孩孱弱－這三個問題尚未獲得解决；衹要在某些地區還可能發生社會的毒害，換言之，衹要這世界上還有愚昧與悲慘，那麽，像本書這樣的作品，也許不會是沒有用的吧！
-- 維剋多·雨果 一八六二年一月一日於奧特維別墅
這是雨果在「悲慘世界」一書中所寫的序文。法國大文豪維剋多‧雨果（Victor Hugo）一八○二年二月二十六日出生於法國的Besancon（但是他認為巴黎是他「靈魂的出生地」），父親曾經是拿破崙麾下的將軍。他從幼年起就在各地旅行，少年時期，他的文學底子就相當厚實，對於各類學問也廣泛地吸收，也很早下了决心要當文學家。他二十歲與青梅竹馬的女友Ade Foucher結婚，同年發表第一本詩集「頌歌集」（Odes et poies diverses），開始了他的作傢生涯。一八三一年，二十九歲的雨果發表了「巴黎聖母院（又譯：鐘樓怪人）」（Nortre Dame de Paris），這部小說生動地描繪了一四八二年法國的社會情形，也對人性的層面提出了嚴肅且深刻的問題。他接下來一部世界聞名的小說巨著，就是耗費十四年光陰，完成於一八六一年，也就是現在被改編為音樂劇，風靡全球數百萬音樂人口的－「悲慘世界」（Les Misables）。
成功的改編 「悲慘世界」是一部大部頭的小說，當年出版時厚達一千兩百頁，而依本地遠景出版社鐘文的譯本，更是厚達五册共2119頁，一百二十萬字，這樣一部時空背景橫亙二十年的長篇小說，要將之改成三個多小時就演完的音樂劇，委實不易，但Claude-Michel Schberg與Alain Boublil兩人卻做到了。??經在巴黎推出「法國大革命」一劇，結果相當成功，一九八○年兩人再度推出「悲慘世界」，造成更大的轟動。倫敦音樂劇製作人Cameron Mackintosh認為這齣劇相當有潛力，於是請了Kretzmer、Fenton與兩位原作者合作，改編成倫敦與百老匯的英文版。一九八五年十月八日，「悲慘世界」在倫敦的巴比肯中心舉行英文版的世界首演，推出之後佳評如潮，獲得觀衆極大的迴響，隨後更在世界各地上演，至今仍然票房鼎盛。此外，「悲」劇也獲得樂評青睞，奪得八項「東尼奬」，真可說是叫座又叫好了。
劇情大綱
由於「悲」劇原著時間橫亙長達二十年，音樂劇不可能將所有的內容包括進來，因此改編成音樂劇的「悲慘世界」分成了：序幕－1815年「Digne」、第一幕－1823年「Montreuil-Sur-Mer」、第二幕－1823年「Montfermeil」、第三幕－1832年「Paris」四個部分。由於「悲慘世界」有環球版、倫敦版、百老匯版等數個錄音版本，以下便綜合三個版本，以歌麯為經緯，介紹整齣劇的劇情發展：
序幕，1815年，Digne 「工作之歌」（Work Song）
序幕開始，地點是一八一五年法國土隆（Toulon）的一處監獄，犯人在烈日下勞動，一邊唱著「工作之歌」（Work Song），獄吏Javert高聲喊著編號24601的囚犯Valjean，他可以假釋出獄了。Valjean因為偷了一條面包要給他姊姊快要餓死的小孩，被判五年徒刑，但由於多次試圖越獄，刑期延長到十九年，如今方纔重獲自由。出獄的Valjean在農場工作與旅店投宿時皆遭受歧視，被趕了出來，萬念俱灰之際，Digne地方的主教收留了他，並供給他一頓晚餐。
「Valjean的逮捕與寬恕」（Valjean Arrested/Valjean Forgiven）
Valjean半夜偷走銀製餐杯離開，但白天時卻被兩個警察扭送回來，主教慈悲為懷，告訴警方Valjean手中銀器乃是他相贈之物，並且還拿了一對銀燭臺送給Valjean。警察離去後，主教告誡Valjean要重新做人，並替他祝福。
「我做了什麽事？」（What have I done?）
這時舞臺上留下Valjean獨自一人，他懊惱於自己的所作所為，感嘆自己為何如此糊塗，成為一個夜賊；繼而想起仁慈的主教待他如平常人一般，稱他為兄弟，撫慰他的靈魂，受到感動的Valjean决定痛改前非，於是撕去了代表重刑犯的黃色身份證明，昔日的Valjean已經不復存在，一個改頭換面的新人於焉重生。
第一幕，1823 年，Montreuil-Sur-Mer 「一日將盡」（At the end of the day）
八年後，Valjean變成了 Madelaine先生，此時他已經是一傢工廠的老闆，並且成為Montreuil-Sur-Mer這個地方的市長。這天工人們下了工，唱起了「一日將盡」（At the end of the day），工人之中有一位女工名為Fantine，她收到女兒養父母的來信，信中說孩子生病，需要醫藥費…，而這信被另外一名好事的女工搶了過去，於是兩人為了搶信開始扭打了起來，Valjean聞聲從工廠走出，要工頭平息這場喧鬧。衆人知道了她這件不名譽的事，起鬧要求將她解職，於是，Fantine失業了。
「我做了一個夢」（I dreamed a dream）
丟了工作的Fantine失望極了，在弦樂與竪琴的伴奏下，緩緩唱出「我做了一個夢」（I dreamed a dream），歌詞中回憶年輕時丈夫尚未拋棄她們的美好時光。
「漂亮的小妞們」（Lovely ladies）
接下來場景換到碼頭，水手、妓女、嫖客四處可見，水手與妓女們唱著「漂亮的小妞們」（Lovely ladies）相互調情，Fantine到此想要賣掉她的首飾，但是對方出價太低。此時有一位乾瘦的老太婆看上她亮麗的秀髮，出價十法郎，Fantine 想到如此可以負擔女兒的費用，便答應了。在其他鶯燕的慫恿之下，Fantine竟然也淪落風塵，出賣起自己的靈肉。
「Fantine被捕」（Fantine's Arrest）
Fantine與一位尋芳客發生了衝突，不幸的Fantine隨後被捕，逮捕她的是警官 Javert，此時Valjean在人群中看到這情形，便上前瞭解情況。當Valjean知道了Fantine的故事，便答應送她去醫院，並且幫她照顧女兒。
「失控的馬車」（The Runaway Cart）
這時在一旁發生了車禍事故，一輛失控的馬車壓住了路人，馬車十分瀋重，沒有人能動得了它。Valjean欲上前一試，在衆人直說不可聲中，將馬車擡了起來，救了輪下人一命。警官Javert看到這一幕大感驚奇，將市長拉到一旁，說市長此舉令他想到他以前苦苦追捕的一個假釋犯Jean Valjean，因此人也是孔武有力，現在這個嫌犯終於在日前就逮，說完便揚長而去。
「我是誰？」（Who am I － The Trial）
Valjean聽到Javert這樣說，便知道Javert捉錯人了，此時他內心展開一番天人交戰－如果自首，那麽他又將被判刑，但如果不自首，害得別人無辜受纍，自己良心又將受譴責。於是他自問：「我是誰？我能一輩子隱姓埋名嗎？我如何再度面對自己？」經過一番內心掙紮，他走進法庭，褪去衣衫露出胸前刺青，高喊：「我就是Jean Valjean，犯人編號24601！」
「Fantine之死」（Fantine's Death）
場景接著轉換到醫院，在病榻上的Fantine夢見她的女兒Cosette，她正如慈母般地叮嚀著，並且要唱催眠麯給孩子聽。接著Valjean進來，虛弱的Fantine將女兒託付給Valjean之後，含笑而終。
「衝突」（The Confrontation）
此時，Javert走了進來，Valjean請對方寬限三天的時間，將Fantine女兒 Cosette的事情安頓好後，他將會自動歸案，但是Javert並不相信昔日的罪犯如今已經洗心革面，認為「牛牽到北京還是牛」。Valjean隨手捉起一把椅子，將之打碎並以尖銳的木片與Javert對峙，並對著一旁的Fantine發誓會照顧她的女兒。兩個漢子接下來一陣扭打，Javert被擊倒，Valjean趁隙逃脫。
第二幕，1823年，Montfermeil 「雲端的城堡」（Castle on a cloud）
地點轉換到Montfermeil這個地方，小Cosette與Thardiers夫婦同住在他們開的旅店當中已有五年，Thardiers夫婦對待Cosette相當苛薄，簡直就是拿她當下人使喚。此時Cosette正在打掃，她一邊打掃一邊夢想著：「啊！我好希望在夢中去那個在雲上面的城堡，那邊沒有地板可掃，衹有一個有好多好多玩具的房間，還有許多小朋友；然後，有一個全身穿著白衣的阿姨，摟著我，唱催眠麯給我聽，而且說她好愛我…。」小Cosette的美夢很快被打斷，尖酸的Thardiers太太走了過來，要Cosette出外到林中水井打水，Cosette請求不要讓她獨自一人在黑夜裏外出，但仍然被Eponine（Thardiers夫婦的寶貝女兒）推了出去。
「屋子的主人」（Master of The House）
另一邊在店中，幾名酒客聚集，店老闆Thardiers先生正穿梭在客人之中服務，大夥齊聲高唱「屋子的主人」（Master of The House），閑聊嚼舌一番。
「協商」（The Bargain）
屋外，Valjean在林中恰巧碰上了外出取水的Cosette，於是便牽著她的手回到旅店，準備付一筆錢帶走她。Thardiers夫婦虛情假意，跳著「狡詐的華爾滋」（The Waltz of Treachery），把Cosette說成是他們捧在手上的心肝寶貝，意圖十分明顯，當然是想要提高Valjean所給的價碼。Valjean最後給了兩人一千五百法郎，順利帶走Cosette。
第三幕，1832年，巴黎 「嚮下看」（Look Down）
時光流轉，接下來的第三幕從九年後的巴黎開始，幕啓時街上乞丐、流浪兒、妓女、學生到處走動，唱出「嚮下看」（Look Down）。一旁，Thardier夫婦與女兒Eponine也來到了巴黎，Thardier夫婦仍然惡性不改，聚集了一小撮黨羽做一些偷竊搶劫的勾當。俗話說得好：「不是冤傢不聚頭。」，正當Thardier先生嚮一位迎面而來jean，於是上前便拉住他，兩人展開一陣拉扯。
「Javert 干涉」（Javert's Intervention）
巧的是，這時巡邏的警員剛好經過，帶頭者正是Javert，Eponine見狀大呼一聲，衆人作鳥獸散，Valjean也趁機拉著在旁邊的Cosette溜走了。Javert走過來，正奇怪剛剛被Thardier所糾纏的男士不知去嚮，卻從Thardier口中得之那人就是他日夜亟思逮捕的Valjean，於是便唱出「群星」（Stars），他以天上的群星為證，發誓必定要將 Valjean緝拿到案。接著廣場上衹剩Eponine一人，她記起方纔那少女原來就是小時候寄住自傢的Cosette，此時學生群的頭頭Marius走過來，問她是否認識那女孩（指Cosette），並請求Eponine替她打聽Cosette的下落，這委託就成了「Eponine的差事」（Eponine's Errand）。
「ABC咖啡廳」（The ABC Caf耎ed and Black）
在 ABC咖啡廳（註一）中，以Enjolras為首的學生們正在討論革命大計，他們需要一個共同的信號來傳達起事的指令，以便於指揮群衆，最後便討論出以「紅」、「黑」兩種顔色來作為革命旗幟的顔色－紅色代表憤怒人民的鮮血與黎明前的世界，黑色則代表過去黑暗的歲月與漆黑的夜。就在大傢激昂興奮地討論之際，小男孩Gavroche衝進來告訴大傢一個壞消息－Lamarque將軍死了！學生領袖Enjolras化悲憤為力量，打算在Lamarque的喪禮上利用聚集的人群舉事，他並且帶領大傢激動地唱出「你聽到人民的歌聲了嗎？」（Do you hear the people sing?）歌詞大意為：「不甘為奴隸的人民唱出憤怒的歌，心跳與鼓聲相互激盪，當明日來臨，新的生活即將展開！」
「Rue Plumet街」（Rue Plumet-In my life）
佈景轉到Rue Plumet街，Cosette獨自在花園，她發覺她自己戀愛了，就在與Marius一見鐘情之後。她第一次發現愛情離她如此之近。接著Valjean走近安慰她，隨即離開。而Marius在Eponine的帶領下，來到了花園門口；即將與所愛的人相見，Marius欣喜之情溢於言表，而Eponine卻顯得落落寡歡，因為自己所愛的人現在卻要和別人相會。
「一顆心充滿著愛」（A Heart full of Love）
Marius 走進花園，與Cosette互訴情衷，Eponine在外面聽了心如針刺，她多麽希望Marius的甜言蜜語是對著她說啊！
「攻擊 Rue Plumet街」（The Attack on Rue Plumet）
此時Eponine的父親Thardier帶著他的手下也來到了花園之外，想要嚮Valjean搶奪一些財物，Eponine為了不讓父親得逞，遂大叫一聲，衆人見事機敗露，四下散去。Marius見狀隨即離去，Valjean聽到驚呼聲匆忙趕來，Cosette騙父親說她因看到墻外有三人鬼鬼祟祟而尖叫，Valjean以為陰魂不散的Javert又找上門來，認為此地不宜久留，决定帶著Cosette離開。
「再多一天吧！」（One day more!）
由 Valjean帶頭開唱的「再多一天吧！」道盡衆人心事：Valjean心想衹要再多一天，他就能帶著Cosette遠走高飛；Marius與 Cosette把握最後一天相處的機會，Eponine在一旁黯然神傷；Javert等待著要混入學生們的陣容中，伺機從中破壞；Enjolras與學生們期待明天起義舉事，高舉著自由的大纛，推翻專製的政權，讓每個人都當主人！
「防禦工事地點」（At the Barricade）
起義之師選定了建築防禦工事的地點，Enjolras正對著群衆發表談話。Marius發現Eponine竟然女扮男裝混在人群中，便勸她趕緊離開，並請她帶信給Cosette。Eponine將信交給Valjean，Valjean展信讀了一遍，便走回屋內，留下Eponine。
「獨自一人」（On My Own）
這是Eponine獨自一人所唱出的「愛之歌」，表達出她對Marius的無限愛意，但是由於Marius 的心上人不是她，所以歌聲中透露著無奈與落寞：「我愛他，但我卻單獨一人在此…。」
「防禦工事建造完成」（Building the Barricade）
防禦工事已經建造完成，學生們誓言守住此地，並戰鬥到底。在防禦工事的另一面傳來軍官的呼喊聲，勸學生們放下武器，學生們當然置之不理。此時Javert從工事外翻了進來，告訴大傢他所探得的敵情「Javert到來」（Javert's Arrival）。無巧不巧，他的真實身分剛好被小傢夥Gavroche識出「小傢夥」（Little People），詭計於焉被拆穿，Javert被大夥捆綁了起來。
「小雨不足懼」（A Little Fall of Rain）
一個男孩從工事外爬了進來，原來是Eponine，她身負重傷，倒在Marius的懷中。雖然身子已然虛弱，但倒在所愛的人懷中，Eponine卻露出欣喜之情，外面縱然槍林彈雨，也不足懼。雖然Marius不斷地安慰，但最後她還是死在他的雙臂中。
「悲憤的夜晚」（Night of Anguish）
衆人同仇敵愾，宣言不讓Eponine的鮮血白流。Valjean在這個時候身著軍裝爬了進來，準備與學生們並肩作戰，Enjolras給了他一把槍。此時外面的軍隊派人接近，雙方展開「第一次交戰」（First Attack），對方一名狙擊手瞄準Enjolras，但是被Valjean撂倒。衆志成城，第一次的戰鬥竟然將軍隊擊退，大傢雀躍不已，Valjean 請求將Javert交給他處理，Enjolras應允。Javert以為Valjean要藉機復仇，於是凜然面對，沒想到Valjean割斷他身上的繩索，要他速速離去。事情大出Javert之所料，最後Valjean對空放了一槍，Javert迅速離去。
「帶他回傢」（Bring him home）
夜深了，擔任斥候的學生飲酒唱歌「與我共飲」（Drink with me），Marius心中惦記著Cosette，不多時便瀋瀋睡去。Valjean看著Marius，看他是如此的年輕，於是便唱出「帶他回傢」（Bring him home），祈求上蒼保護這個年輕人，讓他能平安度過，如果上帝要取走任何人的性命，那就取我Valjean的罷！
「第二次交戰，Gavroche之死」（The Second Attack, Death of Gavroche）
黎明時分，雙方發生第二次交戰，Enjolras要手下報告己方情況，發現彈藥已缺乏。在Marius與Valjean爭著出去收集彈藥時，Gavroche已經爬到工事之外，就在他快要成功時，忽聞一聲槍響－一顆子彈擊中了他！接著他又連挨了兩三槍，終於不支倒地而亡。
「最後一戰」（The Final Battle）
工事外軍官又再度喊話，要學生們放下武器，學生們當然不從，由Enjolras帶領著嚮外攻擊；一時槍炮聲不絶於耳，火光交錯，戰況十分慘烈。這一役學生一方幾乎全軍覆沒，Enjolras命喪工事之頂，Marius身負重傷但一息尚存，被Valjean發覺後由下水道扛離。Javert到現場未發覺Valjean的屍體，判定他一定從下水道溜走，於是循線又追了去。
「下水道，狗噬狗」（The Sewers-Dog eats Dog）
在下水道，壞心眼的Thardier又在幹著令人不齒的勾當－搜尋死者屍體上值錢的財物。扛著Marius的Valjean因為體力不足，雙雙倒臥在地。Thardier一路搜來，拿走了Marius的戒指，當發現躺在旁邊的人竟然是 Valjean，他狂笑數聲，消失在下水道的彼端。Valjean擡著Marius繼續前行，被Javert趕上，兩個冤傢再度相逢；由於Marius傷勢嚴重急須就醫，Valjean請求Javert網開一面，兩人的帳容後再算。Javert終於動了慈悲心，讓Valjean帶著Marius離開。
「Javert 自盡」（Javert's Suicide）
放走了Valjean，Javert感觸良多；是Valjean放他一馬，他才能活到今天，他開始懷疑，難道追逐了這許多年，Valjean竟然是一個慈悲為懷的人？百感交集之下，他認為他已無處可去，於是投身塞納河（Seine River）自盡。戰事過後，女人們來到街上，她們質疑地問：「改變了嗎？」（Turning），當然，什麽也沒變，一切彷彿兜圈圈般，又回到原點。
「人事全非」（Empty Chairs at Empty Tables）
回想起以前在ABC咖啡廳與友人們相聚高談闊論，而今景物依舊，但同伴們卻已然去世，Marius不禁悲從中來，激動地唱出「人事全非」（Empty Chairs at Empty Tables），在他歌唱的同時，同伴們的魂魄現而復隱，好似聽見了他的呼喊；接著Cosette來到了身邊，安撫Marius起伏的情緒，兩人共同歌詠出愛的二重唱「每一日」（Every Day），回憶起初見的那一夜，心中充滿愛意。Valjean走了進來，形成一闋短小的三重唱。
「Valjean 的告白」（Valjean's Confession）
Cosette暫時離開，剩下Marius與Valjean二人。 ValjeanMarius表明身世，說明自己曾經是小偷，帶罪之身一直不敢讓Cosette知情，如果再被捉到衹會使Cosette蒙羞，讓她更傷心。現在Cosette已經有心上人照料，因此他必須離開，請Marius告訴Cosette他去遠方旅行，並且千萬不要讓她知道真相。Marius忍痛答應。
「結婚禮贊」（The Wedding Chorale）
Marius與Cosette終於如願步上結婚禮堂，衆人在兩旁歌唱祝福。圓舞麯樂音響起，旋律竟然取自第二幕「狡詐的華爾滋」，原來Thardier夫婦又出現了。這次他們厚著臉皮來嚮Marius 要錢，索價五百法郎，宣稱握有Valjean在下水道搜括死人財物的證據；Thardier從懷裏拿出一隻戒指，正是當夜從Marius身上取下之物，Marius頓時明白Valjean就是那晚的救命恩人。他一拳將Thardier打倒，也顧不得正在舉行婚禮，拉著Cosette尋找 Valjean去了。婚禮遂成了「乞丐的盛宴」（Beggars At the Feast）。
「終麯」（Epilogue, Finale）
氣若遊絲的Valjean獨自一人，身旁放著一個木製十字架，他在為Cosette與Marius，也為自己祈禱。Fantine的靈魂現身，感謝代為養育之恩，並為他祈福，這時Marius與Cosette趕了進來。最後Eponine與戰事中死亡的魂魄紛紛出現，大夥合唱「終麯」（Epilogue, Finale），不幸的人們，終究會有光明的一天！
關於「悲慘世界」的版本
「悲慘世界」在臺灣可以找到好幾個錄音版本，由於我手邊沒有法文版，也不懂法文，因此無法嚮讀者介紹。英文發音的版本起碼有三個，首先介紹的當然是最完整的環球版（3CDs），這個版本是集合了來自世界各地演唱「悲慘世界」的要角，六十五位英國愛樂管弦樂團成員，七十餘位合唱團員，在倫敦、雪梨、納許維爾、洛杉磯等地分別錄製，再製作母帶而成。唱片解說中製作人Cameron Mackintosh與David Caddick詳述了這套唱片錄製的念頭與過程，相當有意思。我衹特別提出一點，這套唱片中飾唱Eponine一角的日籍女歌手Kaho Shimada幾乎不會講英文，為了錄這個角色還特別請了翻譯與她溝通，但是她在唱片中的英文咬字發音、歌聲表情、情感詮釋都極為出色，令人激賞！其他的角色也都是一時之選，表現非常傑出。兩片裝分別有倫敦（Original London Cast Recording）與百老匯（Original Broadway Cast Recording）兩個版本，這兩套唱片的主角Jean Valjean都是由著名的音樂劇演員Colm Wilkinson演唱，Eponine也是同一人，其他的唱角雖然不同，但表現大致在伯仲之間，沒有太大的差異；不過倫敦版在每一首歌詞之間有劇情解說串連，在這一點上是要比百老匯版略勝一籌的。除了以上三個版本之外，市面上還可以發現一張精選版，這張「Highlights from Les Misables」是由Woodford Music公司所出版，收錄了取自「悲慘世界」的十七段音樂；CD之中除了麯名與演唱者人名之外，並無其他解說，伴奏衹用了簡單的電子合成樂器，聽來貧弱而缺乏旋律性，合唱團演唱的部分明顯地可以聽出衹有幾個人在撐場面。所以除非你對這齣音樂劇情有獨鍾，否則前面的三套「悲慘世界」足夠滿足一般人的需求。
悲慘世界-悲慘世界讀後感
在書中，出獄後的冉阿讓背負着囚犯的身份，飽受着他人的歧視。社會的不公與排斥，一點點的磨滅了他重新做人的希望，改過嚮善的信心。是慈悲為懷的主教伸出慷慨的，無私的援助之手收容了走投無路的冉阿讓。他不僅不計較冉阿讓偷他的銀器具，反而將那一對銀製燭臺送給了他並叮囑道：“答應我一定要把這些錢用到好的地方。把這些銀器賣掉，用這些錢讓自己過得好一些。”
我開始深深的感悟到，原來，在當時那個無情的資本主義社會竟然也有這樣的世外聖人存在，正是主教的寬大和仁慈深深感化了冉阿讓，是他重新燃起了冉阿讓心中那快熄滅的希望之火，使他徹底悔悟，開始新的生活。所以說，冉阿讓的命運並不是永遠都是那麽的悲慘，悲慘的是那時候的整個世界觀，就是因為有了主教這樣的人，整個世界纔有了救世主，整個世界纔有可能在水生火熱之中艱苦摸索前進。
在主教的感化下，冉阿讓開始變得樂於助人，見義勇為得到人民的愛戴，搖身一變成了受人尊敬的市長。 這一切得轉變使我既倍感欣慰。從囚犯到市長，簡直是天壤之別，這無疑是人性的巨大轉變。
面對着窮睏潦倒，世態炎涼，將會産生兩種人：第一種是卑微低劣的人。他們醜陋、自私、貪婪的本性再也無法隱藏。就如書中的德納第，他為了錢財不惜一切，一會聲稱是演員，一會兒又變成了畫傢，但他再高明也無論如何掩蓋不住他醜陋本性的事實。 另一種是無論在什麽情況下都能永保光明、善良、寬容的擁有高尚情操的人。洗新革面後的冉阿讓變得寬大、善良。正是那個慈悲為懷的心感化了冷酷、固執，曾一味追捕他的警長沙威。
其實，在當今社會也不乏有一些為了眼前利益而不擇手段的卑鄙小人。如一些憑藉職權貪污受賄者；在重大賽事中為得到好成績而服用興奮劑者；還有小到考試作弊的人……
作者想告訴我們的是：做一個真正的自己，任何刻意的偽裝都將被識破，虛偽在事實面前衹有被革滅。我再一次被人性的巨大力量所震撼。願我們身邊多一些主教般光明的使者，願他們像純潔的天使般永遠守護着人們心中那份慈悲為懷的心，更希望有更多的人能加入到助人為樂、見義勇為的隊伍中來。社會需要這樣的人，世界需要這樣的人。衹有這樣，我們才能創造我們的生活，創造出一個善良、和睦、光明的世界。
The novel focuses on the struggles of ex-convict Jean Valjean and his experience of redemption. It examines the nature of law and grace, and expounds upon the history of France, architecture of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. The story is historical fiction because it contains factual and historic events.
Les Misérables is known to many through its numerous stage and screen adaptations, most notably the stage musical of the same name, sometimes abbreviated "Les Mis" (pronounced /leɪ ˈmɪz/).
Novel form
Les Misérables contains many plots, but the main thread is the story of ex-convict, Jean Valjean (known by his prison number, 24601), who becomes a force for good in the world, but cannot escape his dark past. The novel is divided into five volumes, each volume divided into books, and subdivided into chapters (for a total of 365 chapters). Each chapter is relatively short, usually no longer than a few pages. Nevertheless, the book as a whole is quite lengthy by common standards, even exceeding 1,400 pages in unabridged editions (1900 pages in French). Within the borders of the novel's story, Hugo fills many pages with his thoughts on religion, politics, and society, including his three lengthy digressions, one being a discussion on enclosed religious orders, another being on argot, and most famously, his retelling of the Battle of Waterloo.
Plot
Volume I – Fantine
The story starts in 1815 in Digne. The peasant Jean Valjean has just been released from imprisonment in the Bagne of Toulon after nineteen years: five for stealing bread for his starving sister and her family, and fourteen more for numerous escape attempts. Upon being released, he is required to carry a yellow passport that marks him as a convict, despite having already paid his debt to society by serving his time in jail. Rejected by innkeepers, who do not want to take in a convict, Valjean sleeps on the street. This makes him even angrier and more bitter. However, the benevolent Bishop Myriel, the Bishop of Digne, takes him in and gives him shelter. In the middle of the night, he steals the bishop’s silverware and runs. He is caught, but the bishop rescues him by claiming that the silverware was a gift and at that point gives him his two silver candlesticks as well, chastising him to the police for leaving in such a rush that he forgot these most valuable pieces. The bishop then "reminds" him of the promise, which Valjean has no recollection of making, to use the silver to make an honest man of himself. As Valjean broods over these words, he steals a child's silver coin purely out of habit. He chases the boy away (Petit Gervais), but, soon after, he repents and decides to follow the bishop's advice. He searches the city for the child whose money he accidentally stole. At the same time, his theft is reported to the authorities, who now look for him as a repeat offender. If Valjean is caught, he will be forced to spend the rest of his life in prison, so he hides from the police.
Six years pass and Valjean, having assumed the pseudonym Monsieur Madeleine to avoid capture, has become a wealthy factory owner and is appointed mayor of his adopted town of Montreuil-sur-Mer. While walking down the street one day, he sees a man named Fauchelevent pinned under the wheels of his cart. When no one volunteers to lift the cart, he decides to rescue Fauchelevent himself. He crawls underneath the cart and manages to lift it, freeing him. The town's police inspector Javert, who was an adjutant guard at the Bagne of Toulon during Valjean's imprisonment, becomes suspicious of the mayor after witnessing his heroics. He knows the ex-convict Jean Valjean is also capable of such strength.
Years earlier in Paris, a grisette named Fantine was very much in love with a man named Félix Tholomyès. His friends Listolier, Fameuil, and Blachevelle were also paired with Fantine’s friends Dahlia, Zéphine, and Favourite. They later abandon the women as a joke, leaving Fantine to bear and care for Tholomyès' daughter, Cosette, by herself. When Fantine arrives at Montfermeil, she leaves Cosette in the care of the Thénardiers, a corrupt innkeeper and his selfish, cruel wife. Fantine is unaware that they abuse her daughter and use her as forced labor for their inn, and continues to try to pay their growing, extortionate demands for her upkeep. She is later fired from her job at Valjean's factory, due to the discovery of her illegitimate daughter, and is forced to resort to prostitution to pay for her daughter's care. Fantine is also slowly dying from an unnamed disease (probably tuberculosis). While roaming the streets, a dandy named Bamatabois harasses Fantine and puts snow down her back. She reacts by attacking him. Javert sees this and arrests Fantine. She begs to be released so she can provide for her daughter, but Javert sentences her to six months in prison. Valjean, hearing her story, intervenes and orders Javert to release her. Javert strongly refuses but Valjean persists and prevails. Valjean, feeling responsible because his factory turned her away, promises Fantine that he will bring Cosette to her. He takes her to a hospital.
Later, Javert comes to see Valjean again. Javert admits he had accused him of being Jean Valjean to the Parisian authorities after Fantine was freed. However, he tells Valjean that he no longer suspects him because the authorities have announced that another man has been identified as the real Jean Valjean after being arrested and having noticeable similarities. This man's name is Champmathieu. He is not guilty, but is mistaken. His trial is set the next day. At first, Valjean is torn whether to reveal himself, but decides to do so to save the innocent man. He goes to the trial and reveals his true identity. He then returns to Montreuil-sur-Mer to see Fantine, followed by Javert, who confronts him. After grabbing Valjean, Javert reveals Valjean’s identity to Fantine. Shocked, and with the severity of her illness, she falls back in her bed and dies. Valjean goes to Fantine, speaks to her in an inaudible whisper and kisses her hand. He then leaves with Javert.
Volume II – Cosette
Valjean manages to escape, only to be recaptured and sentenced to death. This was commuted by the king to penal servitude for life. While being sent to the prison at Toulon, a military port, Valjean saves a sailor about to fall from the ship's rigging. The crowd begins to call "This man must be pardoned!" but Valjean fakes a slip and falls into the ocean to escape, relying on the belief that he has drowned.
Valjean arrives at Montfermeil on Christmas Eve. He finds Cosette fetching water in the woods alone and walks with her to the inn. After ordering a meal, he observes the Thénardiers’ abusive treatment of her. He also witnesses their pampered daughters Éponine and Azelma treating Cosette badly as well when they tell on her to their mother for holding their abandoned doll. Upon seeing this, Valjean goes out and returns a moment later holding an expensive new doll. He offers it to Cosette. At first, she is unable to contemplate that the doll really is for her, but then happily takes it. This results in Mme. Thénardier becoming furious with Valjean, while M. Thénardier dismisses it, informing her that he can do as he wishes as long as he pays them. It also causes Éponine and Azelma to become envious of Cosette.
The next morning on Christmas Day, Valjean obtains Cosette with the letter from Fantine, and flees with her to Paris. Later, Javert finds Valjean’s new lodgings at Gorbeau House.
Valjean takes Cosette and they try to escape from Javert. They soon successfully find shelter in the Petit-Picpus convent with the help of Fauchelevent, the man whom Valjean rescued and who is a gardener for the convent. Valjean also becomes a gardener and Cosette becomes a student.
Volume III – Marius
Eight years later, the Friends of the ABC, led by Enjolras, are preparing an anti-Orléanist revolution on the eve of the Paris uprising on June 5–6, 1832, following the death of General Lamarque, the only French leader who had sympathy towards the working class. They are also joined by the poor, including the Thénardiers' eldest son Gavroche, who is a street urchin.
One of the students, Marius Pontmercy, has become alienated from his family (especially his grandfather M. Gillenormand) because of his liberal views. After the death of his father Colonel Georges Pontmercy, Marius discovers a note from him instructing his son to provide help to a sergeant named Thénardier who saved Pontmercy's life at Waterloo – in reality M. Thénardier was looting corpses and only saved Pontmercy's life by accident; he had called himself a sergeant under Napoleon to avoid exposing himself as a robber. At the Luxembourg Gardens, Marius falls in love with the now grown and beautiful Cosette. The Thénardiers have also moved to Paris and now live in poverty after losing their inn. They live under the surname "Jondrette" at Gorbeau House (coincidentally, the same building Valjean and Cosette briefly lived in after leaving the Thénardiers' inn). Marius lives there as well, next door to the Thénardiers.
Éponine, now ragged and emaciated, visits Marius at his apartment to beg for money. To impress him, she tries to prove her literacy by reading aloud from a book and by writing "The Cops Are Here" on a sheet of paper. Marius pities her and gives her some money. After Éponine leaves, Marius observes the "Jondrettes" in their apartment through a crack in the wall. A philanthropist and his daughter visit them—actually Valjean and Cosette. Marius immediately recognizes Cosette. After they leave, Marius asks Éponine to retrieve her address for him. Éponine, who is in love with Marius herself, reluctantly agrees to do so. The Thénardiers have also recognized Valjean and Cosette, and vow their revenge. M. Thénardier enlists the aid of the Patron-Minette, a well-known and feared gang of murderers and robbers.
Marius overhears M. Thénardier's plan and goes to Javert to report the crime. He then goes back home and waits for Javert and the police to arrive. When Valjean returns with rent money, M. Thénardier, with Patron-Minette, ambushes him and he reveals his identity to Valjean. Marius recognizes M. Thénardier as the man who "saved" his father's life at Waterloo and is caught in a dilemma. He tries to find a way to save Valjean while not betraying M. Thénardier. He sees the scrap of paper that Éponine earlier wrote on and throws it into the Thénardiers’ apartment through the crack. M. Thénardier reads it and thinks Éponine threw it inside. He, Mme. Thénardier and Patron-Minette try to escape, only to be stopped by Javert. He arrests all the Thénardiers and Patron-Minette (except Claquesous, who escapes during his transportation to prison, Montparnasse, who stops to run off with Éponine instead of joining in on the robbery, and Gavroche, who was not present and rarely participates in his family's crimes, a notable exception being his part in breaking his father out of prison). Valjean manages to escape the scene before Javert sees him.
Volume IV – St. Denis
After Éponine’s release from prison, she finds Marius and sadly tells him that she found Cosette’s address. She leads him to Valjean and Cosette's house at Rue Plumet, and Marius watches the house for a few days. He and Cosette then finally meet and declare their love for one another. M. Thénardier, Patron-Minette and Brujon manage to escape from prison with the aid of Gavroche. One night, during one of Marius’ visits with Cosette, the six men attempt to raid Valjean and Cosette's house. However, Éponine, who was sitting by the gates of the house, threatens to scream and awaken the whole neighbourhood if the thieves do not leave. Hearing this, they reluctantly retire. Meanwhile, Cosette informs Marius that she and Valjean will be leaving for England in a week’s time, which greatly troubles the pair.
The next day, Valjean is sitting in the Champ de Mars. He is feeling troubled due to seeing M. Thénardier in the neighbourhood several times. Unexpectedly, a note lands in his lap, which says "MOVE OUT." He sees a figure running away in the dim light. He goes back to his house tells Cosette they will be staying at their other house at Rue de l'Homme Arme and reconfirms with her about moving to England. Marius tries to get permission from M. Gillenormand to marry Cosette. His grandfather seems stern and angry, but has been longing for Marius's return. When tempers flare, he refuses, telling Marius to make Cosette his mistress instead. Insulted, Marius leaves. The following day, the students revolt and erect barricades in the narrow streets of Paris. Gavroche spots Javert and informs Enjolras that Javert is a spy. When Enjolras confronts him of this, he admits his identity and his orders to spy on the students. Enjolras and the other students tie him up to a pole in the Corinth restaurant. Later that evening, Marius goes back to Valjean and Cosette’s house at Rue Plumet, but finds the house no longer occupied. He then hears a voice telling him that his friends are waiting for him at the barricade. Distraught over Cosette gone, he heeds the voice and goes.
While Marius fights at the barricade, a soldier makes it in and aims at Marius. However, a man steps between them and puts his hand and body in front of the musket. The soldier fires, fatally shooting the man. The man then calls Marius by his name. Marius, and the reader, discovers that it is actually Éponine, dressed in men's clothes. Dying, she confesses that she told him to go to the barricade, in hoping that the two would die together. The author also states to the reader that Éponine anonymously threw the note to Valjean. Éponine gives Marius a letter that is addressed to him. It is written by Cosette, which she also confesses to have obtained a day earlier. After Éponine dies, Marius reads Cosette's letter and writes a farewell letter to her. Gavroche gives it to Valjean. Valjean, learning that Cosette's lover is fighting, is at first relieved, but an hour later, he puts on a National Guard uniform, arms himself with a gun and ammunition, and leaves his home.
Volume V – Jean Valjean
Valjean arrives at the barricade and immediately saves a man's life, though he is still not certain if he wants to protect Marius or to kill him. Marius recognizes Valjean upon seeing him. Enjolras announces that they are almost out of cartridges. Overhearing this, Gavroche goes to the other side of the barricade to collect more from the dead National Guardsmen. While doing so, he is shot and killed by the soldiers.
Later, Valjean saves Javert from being killed by the students. He volunteers to execute Javert himself, and Enjolras grants permission. Valjean takes Javert out of sight, and then shoots into the air while letting him go. As the barricade falls, Valjean carries off the injured and unconscious Marius. All the other students, including Enjolras, are killed. Valjean escapes through the sewers, carrying Marius' body on his shoulders. He evades a police patrol, but at the exit, he runs into Javert, whom he persuades to give him time to return Marius to his family. Javert grants this request. After leaving Marius at M. Gillenormand’s house, Valjean makes another request that he be permitted to go home shortly, which Javert also allows. They arrive at Rue de l'Homme Arme and Javert informs Valjean that he will wait for him. As Valjean walks upstairs, he looks out the landing window and finds Javert gone. Javert is walking down the street alone, realizing that he is caught between his strict belief in the law and the mercy Valjean has shown him. He feels he can no longer give Valjean up to the authorities. Unable to cope with this dilemma, Javert commits suicide by throwing himself into the Seine.
Marius slowly recovers from his injuries and he and Cosette are soon married.
Meanwhile, M. Thénardier and his younger daughter Azelma are attending the Mardi Gras as "masks." M. Thénardier spots Valjean among the wedding party heading the opposite direction and bids Azelma to follow them. After the wedding, Valjean confesses to Marius that he is an ex-convict. Marius is horrified by the revelation. Convinced that Valjean is of poor moral character, he steers Cosette away from him. Valjean loses the will to live and takes to his bed.
Later, M. Thénardier approaches Marius in order to blackmail him with what he knows of Valjean, but, in doing so, he inadvertently reveals all of the good Valjean has done, including his saving Marius' life on the barricades. Stunned by these revelations, Marius confronts M. Thénardier with his crimes and offers him an immense amount of money if he departs and promises never to return. M. Thénardier accepts the offer, and he and Azelma travel to America where he becomes a slave trader.
As Marius and Cosette rush to Valjean's house, he informs her that Valjean saved his life at the barricade. They arrive to see him, but the great man is dying. In his final moments, he realizes happiness with his adopted daughter and son-in-law by his side. He also reveals Cosette's past to her as well as her mother's name. Joined with them in love, he dies. As he lies dead between Cosette and Marius, the light from the Bishop's candlesticks remains all over, and in the midst of the night a light from the sky shines over Valjean, as if there were an enormous angel, awaiting to carry his soul to Heaven.
Characters
Major
* Jean Valjean (a.k.a. Monsieur Madeleine, a.k.a. Ultime Fauchelevent, a.k.a. Monsieur Leblanc, a.k.a. Urbain Fabre, a.k.a. 24601 a.k.a. 9430) — Convicted for stealing a loaf of bread, he is paroled from prison nineteen years later. Rejected by society for being a former convict, Bishop Myriel turns his life around by showing him mercy and encouraging him to become a new man. He assumes a new identity in order to pursue an honest life, becoming a factory owner and a mayor. He adopts and raises Fantine's daughter Cosette, saves Marius from the barricade, and dies at an old age, having kept his promise to the Bishop.
* Javert — An obsessive police inspector who continuously hunts, tracks down, and loses Valjean. He goes undercover behind the barricade, but is discovered and unmasked. Valjean has the chance to kill Javert, but lets him go. Later, Javert allows Valjean to escape. For the first time, Javert is in a situation in which he knows that the lawful course is immoral. His inner conflict leads him to take his own life by jumping into the River Seine.
* Bishop Myriel, the bishop of Digne (full name Charles-François-Bienvenu Myriel, a.k.a. Monseigneur Bienvenu) — A kindly old priest who is promoted to bishop by a chance encounter with Napoleon. He convinces Valjean to change his ways after Valjean steals some silver from him and saves Valjean from being arrested.
* Fantine — A Parisian grisette abandoned with a small child by her lover Félix Tholomyès. Fantine leaves her daughter Cosette in the care of the Thénardiers, innkeepers in a village called Montfermeil. Unfortunately, Mme. Thénardier spoils her own daughters and abuses Cosette. Fantine finds work at Monsieur Madeleine's factory, but is fired by a female supervisor who discovers that she is an unwed mother, as Fantine, being illiterate, had other people write her letters to the Thénardiers. To meet repeated demands for money from the Thénardiers, she sells her hair, then her two front teeth, and finally turns to prostitution. Valjean learns of her plight when Javert arrests her for attacking a man who called her insulting names and hurled snow at her back. She dies of a disease that may be tuberculosis before Valjean is able to reunite her with Cosette.
* Cosette (real name Euphrasie, a.k.a. the Lark, a.k.a. Mademoiselle Lanoire, a.k.a Ursule) — The illegitimate daughter of Fantine and Tholomyès. From approximately the age of three to the age of eight, she is beaten and forced to be a drudge by the Thénardiers. After Fantine dies, Valjean ransoms her from the Thénardiers and she becomes his adopted daughter. Nuns in a convent in Paris educate her. She later grows up to become very beautiful. She falls in love with Marius Pontmercy, and marries him at the end of the novel.
* M. and Mme. Thénardier (a.k.a. the Jondrettes, a.k.a. M. Fabantou, a.k.a. M. Thénard) — A corrupt innkeeper and his wife. They have five children: two daughters (Éponine and Azelma) and three sons (Gavroche and two unnamed younger sons). They take in Cosette in her early years, mistreating and abusing her. They also write fabricated letters about Cosette to Fantine in order to extort money from her. They end up losing the inn due to bankruptcy and moving to Paris, living as the Jondrettes. M. Thénardier is associated with an infamous criminal gang called the Patron-Minette, but contrary to common belief he is not their head, both sides operate independently. The Thénardier family also live next-door to Marius, who recognizes M. Thénardier as the man who "tended to" his father at Waterloo. Javert arrests them after Marius thwarts their attempts to rob and kill Valjean in their apartment. At the end of the novel, Mme. Thénardier has long since died in prison while M. Thénardier and Azelma travel to America where he becomes a slave trader.
* Marius Pontmercy — A second-generation baron (not recognized as such under the present régime because his father was ennobled by Napoleon Bonaparte) who fell out with his royalist grandfather after discovering his father was an officer under Napoleon. He studies law, joins the revolutionary ABC students and later falls in love with Cosette.
* Enjolras — The leader of the Friends of the ABC in the Paris uprising. A charming and intimidating man with angelic beauty, he is passionately devoted to democracy, equality and justice. Enjolras is a man of principle that believes in a cause – creating a republic, liberating the poor – without any doubts. He and Grantaire are executed by the National Guards after the barricade falls.
* Éponine (a.k.a. the Jondrette girl) — The Thénardiers' elder daughter. As a child, she is pampered and spoiled by her parents, but ends up a street urchin when she reaches adolescence. She participates in her father's crimes and begging schemes to obtain money. She is blindly in love with Marius. At Marius' request, she finds Valjean and Cosette's house for him and sadly leads him there. She also prevents her father, Patron-Minette and Brujon from robbing the house during one of Marius’ visits there to see Cosette. After disguising herself as a boy, she manipulates Marius into going to the barricades, hoping that they will die together. However, she saves Marius' life by reaching out her hand to stop a soldier's bullet heading for Marius; she is mortally wounded as the bullet goes through her hand and back. As she is dying, her final request to Marius is that once she has passed, he will kiss her on the forehead. He fulfils her request not because of romantic feelings on his part, but out of pity for her hard life.
* Gavroche — The unloved middle child and eldest son of the Thénardiers, younger than his sisters. He lives on his own and is a street urchin. He briefly takes care of his two younger brothers, unaware they are related to him. He takes part in the barricades and is killed while collecting bullets from dead National Guardsmen for the ABC students at the barricade.
Minor
* Mademoiselle Baptistine — Bishop Myriel's sister. She loves and venerates her brother.
* Madame Magloire — Domestic servant for the Bishop and his sister. She is fearful that he leaves the door open to strangers.
* Petit Gervais — A small boy who drops a coin. There are two perspectives on Jean Valjean's encounter with him. According to one, Valjean, still a man of criminal mind, places his foot on the coin and refuses to return it to the boy, despite Gervais' protests. When the boy flees the scene and Valjean comes to his senses, remembering what the bishop had done for him, he is horribly ashamed of what he has done and searches for the boy in vain. Another interpretation of this scene is that Jean Valjean was not aware that he was stepping on the coin, and snarls at Petit Gervais, thinking he is just annoying him, but realizes later that the coin was under his foot and feels horrible. Either way, he was uncaring of the boy's pleas.
* Félix Tholomyès — Fantine’s lover and Cosette’s biological father. A rich student, he puts his own happiness and well-being above anything else. He does not think much of his relationship with Fantine, considering it as "a passing affair." After impregnating Fantine, he abandons her as a joke. Hugo then concludes Tholomyès’ involvement in the story by saying that "twenty years later, under King Louis Philippe, he was a fat provincial attorney, rich and influential, a wise elector and rigid juryman; always, however, a man of pleasure."
* Fauchelevent — Valjean saves Fauchelevent’s life when Valjean lifts a carriage underneath which he is caught. Fauchelevent later will return the favor by providing sanctuary for Valjean and Cosette at a convent, and by providing his name for Valjean's use.
* Bamatabois — An idler who harasses Fantine and puts snow down her back. He is also one of the jurors at Champmathieu’s trial.
* Champmathieu — A vagabond who is mistakenly accused of being Valjean.
* Brevet — An ex-convict from Toulon who knew Valjean there. In 1823, he is serving time in the prison in Arras for an unknown crime. He is the first to claim that Champmathieu is really Valjean. Used to wear knitted, checkered suspenders.
* Chenildieu — A lifer from Toulon. He and Valjean were chain mates for five years. He once tried to remove the lifer's brand TFP (“travaux forcés à perpetuité,” “forced labor for life”) by putting his shoulder on a chafing dish full of embers. He is described as a small, wiry but energetic man.
* Cochepaille — Another lifer from Toulon. He used to be a shepherd from the Pyrenees who became a smuggler. He is described as stupid and has a tattoo on his arm, March 1, 1815.
* Sister Simplice — A nun who cares for Fantine on her sickbed. She lies to Javert to protect Valjean, despite her reputation for never having told a lie in her life.
* Mother Innocente (a.k.a. Marguerite de Blemeur) — The prioress of the Petit-Picpus convent.
* Toussaint — Valjean and Cosette's servant in Paris. She has a slight stutter.
* Monsieur Gillenormand — Marius' grandfather. A Monarchist, he disagrees sharply with Marius on political issues, and they have several arguments. He attempts to keep Marius from being influenced by his father, an officer in Napoleon's army. While in perpetual conflict over ideas, he does illustrate his love for his grandson.
* Mademoiselle Gillenormand — M. Gillenormand's surviving daughter, she lives with her father. Her half-sister (M. Gillenormand's daughter from another marriage), deceased, was Marius' mother.
* Colonel Georges Pontmercy — Marius's father, and an officer in Napoleon's army. Wounded at Waterloo, Pontmercy erroneously believes M. Thénardier saved his life. He tells Marius of this great debt. He loves Marius with his very heart, and even spies on him when M. Gillenormand does not allow him to visit.
* Ma'am Bougon (real name Madame Burgon) — Housekeeper of Gorbeau House.
* Mabeuf — An elderly churchwarden. He was friends with Colonel Pontmercy, and then befriends Marius after Colonel Pontmercy's death. He helps Marius realize the identity and intentions of his father. He has a great love for plants and books, but ends up having to sell his books due to descending into poverty. Feeling that all hope is lost, he joins the students in the insurrection. He is shot and killed at the top of the barricades when raising their flag.
* Magnon — Former servant of M. Gillenormand and friend of the Thénardiers. She had been receiving child support payments from M. Gillenormand for her two illegitimate sons, who she claimed were fathered by him. When her sons died in an epidemic, she had them replaced with the Thénardiers' two youngest sons so that she could protect her income. The Thénardiers get a portion of the payments. She is soon arrested due to being allegedly involved in the Gorbeau Robbery.
* Two little brothers — The two unnamed youngest sons of the Thénardiers. The Thénardiers send their sons to Magnon to replace her own two sons who died of illness. When Magnon is arrested, a cobbler gives the boys a note written by Magnon with an address to go to. Unfortunately, it is torn away from them due to a strong wind. Unable to find it, they end up living on the streets. They soon run into their brother Gavroche, who gives them temporary care and support. The two boys and Gavroche are unaware they are related. Immediately after Gavroche's death at the barricade, the two boys are last seen at the Luxembourg Gardens retrieving and eating discarded bread from a fountain. Their fates are left unknown.
* Azelma — The younger daughter of the Thénardiers. Along with her sister Éponine, she is spoiled as a child, and suffers the same ragged and impoverished fate with her family when she is older. She also takes part in her father’s crimes. Unlike her sister, Azelma is dependent and faint-hearted. She also does not show any defiance toward her father (this is evident when, before Valjean and Cosette’s charitable visit, he orders her to punch out a windowpane in their apartment in order to look poorer. Although hesitant, she does so, resulting in cutting her hand). After the failed robbery of Valjean, she is not seen again until Marius and Cosette’s wedding day, when she and her father are dressed up as "masks" for the Mardi Gras. At the end of the novel, Azelma is the only known Thénardier child who does not die and travels with her father to America.
* Patron-Minette — A quartet of bandits who assist in the Thénardiers' ambush of Valjean at Gorbeau House and the attempted robbery at the Rue Plumet. The gang consists of Montparnasse, Claquesous, Babet, and Gueulemer. Claquesous, who escaped from the carriage transporting him to prison after the Gorbeau Robbery, joins the revolution under the guise of "Le Cabuc" and is executed by Enjolras for firing on civilians.
* Brujon — A robber and criminal. He participates in crimes with M. Thénardier and the Patron-Minette gang (such as the Gorbeau Robbery and the attempted robbery at the Rue Plumet). The author describes Brujon as being "a sprightly young fellow, very cunning and very adroit, with a flurried and plaintive appearance."
* Friends of the ABC — A group of revolutionary students. They fight and die in the insurrection of the Paris uprising on June 5th and 6th, 1832. Their name is described as coming from the following: "They declared themselves the Friends of the A B C,--the Abaissé,-- the debased,--that is to say, the people. They wished to elevate the people. It was a pun which we should do wrong to smile at." Led by Enjolras, its other principal members are Courfeyrac, Combeferre, Jean Prouvaire, Feuilly, Bahorel, Laigle (nicknamed Bossuet, sometimes also written L'Aigle, Lesgle, Lègle or Lesgles), Joly, and Grantaire.
* Grantaire — Alcoholic student who, unlike the other revolutionaries, does not strongly believe in the cause of the ABC Society, but associates with them because he admires, loves and venerates Enjolras. In the novel, their relationship is compared to that of Orestes and his pederastic companion Pylades. Grantaire is executed alongside Enjolras.
Critical reception
The first two volumes of Les Misérables were published on April 3, 1862, heralded by a massive advertising campaign; the remainder of the novel appeared on 15 May 1862. At the time, Victor Hugo enjoyed a reputation as one of France's foremost poets, and the appearance of the novel was a highly anticipated event. Critical reactions were wide-ranging and often negative; some critics found the subject matter immoral, others complained of its excessive sentimentality, and still others were disquieted by its apparent sympathy with the revolutionaries. The Goncourt brothers expressed their great dissatisfaction, judging the novel artificial and disappointing. Flaubert could find within it "neither truth nor greatness." French critic Charles Baudelaire reviewed the work glowingly in newspapers, but in private castigated it as "tasteless and inept."
The book was a great commercial success. The shortest correspondence in history is between Hugo and his publisher Hurst & Blackett in 1862. It is said Hugo was on vacation when Les Misérables (which is over 1200 pages) was published. He telegraphed the single-character message "?" to his publisher, who replied with a single "!". First translated into foreign languages (including Italian, Greek, and Portuguese) the same year it originally appeared, it proved popular not only in France, but across Europe. It has been a popular book ever since it was published, and was a great favourite among the Confederate soldiers of the American Civil War, who occasionally called themselves "Lee's Miserables" (a reference to their deteriorating conditions under General Robert E. Lee). Its popularity continues to this day, and many view it as one of the most important novels ever written.
English translations
* Charles E. Wilbour. New York: Carleton Publishing Company. June 1862. The first American translation, published only months after the French edition of the novel was released. Also, New York: George Routledge and Sons. 1879.
* Lascelles Wraxall. London: Hurst and Blackett. October 1862. The first British translation.
* Translator unknown. Richmond, Virginia. 1863. Published by West and Johnston publishers.
* Isabel F. Hapgood. Published 1887, this translation is available at Project Gutenberg.
* Norman Denny. Folio Press, 1976. A modern British translation subsequently published in paperback by Penguin Books, ISBN 0-14-044430-0. In the very strictest sense this edition is not quite an unabridged translation: Norman Denny explains in his introduction that he moved two of the novel's longer digressive passages into annexes, and that he also made some abridgements in the text, which he claims are minor.
* Lee Fahnestock and Norman MacAfee. Signet Classics. March 3, 1987. An unabridged edition based on the Wilbour translation with modernization of language. Paperback ISBN 0-451-52526-4
* Julie Rose. 2007. Vintage Classics, July 3, 2008. The first new complete translation for over a decade. Julie Rose lives in Sydney and is the translator of more than a dozen works, including a well-received version of Racine's Phèdre as well as works by Paul Virilio, Jacques Rancière, Chantal Thomas, and many others. This new translation published by Vintage Classics includes a detailed biographical sketch of Victor Hugo’s life, a chronology, and notes. ISBN 978-0-09-951113-7
Adaptations
Film and television
* 1907, On the barricade, directed Alice Guy Blaché, early adaptation of a part of the novel
* 1907, Le Chemineau
* 1909, directed by J. Stuart Blackton
* 1909, The Bishop's Candlesticks, directed by Edwin S. Porter
* 1911, directed by Albert Capellani
* 1913, directed again by Albert Capellani
* 1913, The Bishop's Candlesticks, directed Herbert Brenon, adaptation of the second book of the first volume
* 1917, directed by Frank Lloyd
* 1922, director unknown
* 1923, Aa Mujou, directed by Kiyohiko Ushihara and Yoshinobu Ikeda, Japanese film, production cancelled after two of four parts
* 1925, directed by Henri Fescourt
* 1929, The Bishop's Candlesticks, directed by Norman McKinnell, first sound film adaptation
* 1929, Aa Mujou, directed by Seika Shiba, Japanese film
* 1931, Jean Valjean, directed by Tomu Uchida, Japanese film
* 1934, directed by Raymond Bernard
* 1935, directed by Richard Boleslawski
* 1937, Gavrosh, directed by Tatyana Lukashevich, Soviet film
* 1938, Kyojinden, directed by Mansaku Itami, Japanese film
* 1943, Los Miserables, directed by Renando A. Rovero, Mexican film
* 1944, El Boassa, directed by Kamal Selim, Egyptian film
* 1948, I Miserabili, directed by Riccardo Freda
* 1949, Les Nouveaux Misérables, directed by Henri Verneuil
* 1950, Re mizeraburu: Kami to Akuma, directed by Daisuke Ito (English title: Gods and Demons)
* 1950, Ezhai Padum Padu and Beedala Patlu, directed by K. Ramnoth in Tamil and Telugu.
* 1952, directed by Lewis Milestone
* 1952, I miserabili, re-release of the 1947-film
* 1955, Kundan, directed by Sohrab Modi, Indian Hindi film
* 1958, directed by Jean-Paul Le Chanois, starring Jean Gabin
* 1958, Os Miseráveis, directed by Dionísio Azevedo, Brazilian film
* 1961, Jean Valjean, Korean film by Seung-ha Jo
* 1961, Cosette, directed by Alain Boudet on Claude Santelli’s program Le Théâtre de la jeunesse
* 1962, Gavroche, directed by Alain Boudet on Le Théâtre de la jeunesse
* 1963, Jean Valjean, directed by Alain Boudet on Le Théâtre de la jeunesse
* 1964, I miserabili, Italian TV-miniseries directed by Sandro Bolchi, starring: Gastone Moschin (Jean Valjean), Tino Carraro (Javert), Giulia Lazzarini (Fantine/adult Cosette), Loretta Goggi (young Cosette), Antonio Battistella (Thénardier), Cesarina Gheraldi (Mme. Thénardier), Angela Cardile (Éponine), Roberto Bisacco (Marius), Claudio Sora (Enjolras), Aldo Silvani (Monseigneur Bienvenu) and Edoardo Nevola (Gavroche), nearly ten hours long
* 1967, TV miniseries directed by Alan Bridges, starring: Frank Finlay (Jean Valjean), Anthony Bate (Javert), Alan Rowe (Thénardier), Judy Parfitt (Mme. Thénardier), Michele Dotrice (Fantine), Lesley Roach (Cosette), Elizabeth Counsell (Éponine), Vivian Mackerall (Marius), Derek Lamden (Gavroche), Cavan Kendall (Enjolras), Finlay Currie (Bishop of Digne)
* 1967, Os Miseráveis, Brazilian film
* 1967, Sefiller, Turkish film
* 1972, French TV miniseries directed by Marcel Bluwal, starring: Georges Géret (Jean Valjean), Bernard Fresson (Javert), Nicole Jamet (Cosette), François Marthouret (Marius), Alain Mottet (Thénardier), Micha Bayard (Mme. Thénardier), Hermine Karagheuz (Éponine), Anne-Marie Coffinet (Fantine), Jean-Luc Boutté (Enjolras), Gilles Maidon (Gavroche), François Vibert (Monseigneur Myriel)
* 1973, Los Miserables, Mexican TV adaptation directed by Antulio Jiménez Pons. Starring: Sergio Bustamante (Jean Valjean), Antonio Passy (Javert), Blanca Sánchez (Fantine), Edith González (Young Cosette), Carlos Ancira (Thénardier), Magda Guzmán (Mme. Thénardier), Diana Bracho (Cosette), Luis Torner (Marius), María Rojo (Éponine), Carlos Arguelles (Gavroche), Héctor Bonilla (Enjolras), Ángel Garasa (Bishop Myriel), Fernando Soler (M. Gillenormand), Alejandro Ciangherotti (Fauchelevent), José Luis Jiménez (Mabeuf)
* 1978, UK telefilm, directed by Glenn Jordan and starring Anthony Perkins, Richard Jordan, John Gielgud, Cyril Cusack, and Claude Dauphin
* 1978, Al Boasa, Egyptian adaptation
* 1982, directed by Robert Hossein
* 1985, TV version of the 1982 film, which is 30 minutes longer and divided into four parts
* 1995, directed by Claude Lelouch (a loose, multi-layered adaptation set in the 20th century starring Jean-Paul Belmondo)
* 1995, Les Misérables – The Dream Cast in Concert (musical done in concert style)
* 1998, directed by Bille August and starring Liam Neeson, Geoffrey Rush, Uma Thurman, Hans Matheson, and Claire Danes
* 2000, 6-hour French TV miniseries directed by Josée Dayan and co-produced by Gérard Depardieu, starring: Gérard Depardieu (Jean Valjean), John Malkovich (Javert), Christian Clavier (Thénardier), Veronica Ferres (Mme. Thénardier), Charlotte Gainsbourg (Fantine), Virginie Ledoyen (Cosette), Enrico Lo Verso (Marius), Asia Argento (Éponine), Jeanne Moreau (Mother Innocente), Steffen Wink (Enjolras), Jérôme Hardelay (Gavroche), Otto Sander (Monseigneur Bienvenu)
* 2000, 3-hour English TV movie version of the 2000 French miniseries
Animation
* 1977, Cosette, Soviet animation
* 1977, Shoujo Cosette, broadcasted on the Japanese television program Manga Sekai Mukashi Banashi, 1 episode, Japanese animation
* 1978, Aa Mujou, cover the first two volumes of the novel, broadcasted on Manga Sekai Mukashi Banashi, 13 episodes, Japanese animation
* 1979, Jean Valjean Monogatari, directed by Takashi Kuoka for Toei Animation and written by Masaki Tsuji, Japanese animation
* 1988, by Emerald City Productions
* 1992, a 26 episode French animated TV series by Studios Animage, AB Productions and Pixibox
* 2007, Les Misérables: Shōjo Cosette, a 52 episode Japanese animated TV series by Nippon Animation
Radio
* 1937, written, produced, and directed by Orson Welles
* 1952, directed by Earl Ebi
* 1982, directed by Hyman Brown
* 2001, directed by Sally Evans and Jeremy Mortimer
* 2002, directed by Philip Glassborow
Musical
Main article: Les Misérables (musical)
* In 1980, a musical of the same name opened in Paris at the Palais des Sports. It has gone on to become one of the most successful musicals in history. It was directed by Robert Hossein, the music was composed by Claude-Michel Schönberg, and the libretto was written by Alain Boublil.
* In 1985, an English language version opened in London at the Barbican Arts Centre. It was produced by Cameron Mackintosh and adapted and directed by Trevor Nunn and John Caird. The lyrics were written by Herbert Kretzmer and additional material by James Fenton.
* In 1987, the musical debuted on Broadway in New York City at the Broadway Theatre.
* 2007, Les Misérables: School Edition, copyrighted
* 2008, Les Misérables: Le Capitole de Québec version, directed by Frédéric Dubois
* 2010, Les Misérables was performed on the West End in London for three weeks.
Plays
* In 1863, one year after the novel was published, Charles Victor Hugo (Hugo's son) and Paul Meurice first adapted the novel for theatre.
* In 1906, Broadway actor Wilton Lackaye wrote an adaptation in five acts, titled The Law and the Man, though primarily with the interest of creating himself a strong role (he would play Valjean).
* An outdoor adaptation was performed in the summer at the Citadelle in France.
* There is a play adaptation by Jonathan Holloway. Donvale Christian College performed the Holloway adaptation for stage during late April 2010, using limited modern objects for certain scenes.
* There is a play adaptation by Tim Kelly.
* There is a play adaptation by Spiritual Twist Productions. This play highlights more of the religious aspect from the novel. It was last performed in April 2005 at the Clayton Center.
Games
* An adventure game has been released by Chris Tolworthy, intended as a direct adaptation of the book.
* There is a free downloadable amateur 2D fighting game based on the musical. The game is called ArmJoe, which is created by Takase. The name is a pun on the novel's Japanese title Aa Mujou (ああ無情). The game incorporates the major characters as they appear in the musical, namely Jean Valjean, Enjolras, Marius, Cosette, Éponine, Thénardier, and Javert — as well as a policeman, a robotic clone of Valjean called RoboJean, an embodiment of Judgement, and a rabbit named Ponpon.
Unofficial sequels
* In July 1995, Laura Kalpakian's novel Cosette: The Sequel to Les Misérables was released. The novel is published by HarperCollins. Tom De Haven from Entertainment Weekly called the novel "dull and overwrought and corny," and gave it a C- grading.
* In 2001, François Cérésa released his own two sequels to the novel: Cosette or the Time of Illusions and the follow-up Marius or The Fugitive. Both novels are published by Plon. Hugo's descendants, including his great-great-grandson Pierre Hugo, wanted the novels banned, considering that they breach the moral rights of the author and betrays the "respect of the integrity" and "spirit" of Hugo's original novel to make money. Cérésa had even retconned a key scene in the original novel, bringing back the character Inspector Javert and changed him to be a hero. In 2007, the Cour de Cassation ruled in favor of Cérésa and Plon.
序麯：1815年·笛涅(Digne)
冉阿讓，罪犯24601身陷牢獄與手銬腳鐐相伴十九年之後，終於獲得一紙假釋令，得以離開不見天日的生活，然而這張黃色的自由狀紙，並未讓他在社會上取自由，反而處處引來歧視，使他流浪街頭，衹有笛涅的主教米禮愛好心收留了他。夜半時分，多年來窮睏的習慣讓他故態復萌，偷走了主教傢的一隻銀燭臺，不料半途被抓到，警方把他帶到主教的面前對質，令他訝異的是主教非但沒有揭發，反倒為他撒謊說是他贈送的，警方悻悻然走後，冉阿讓跪求原諒，主教衹要他宣誓將靈魂交付上帝，自此重新做人，並將另一隻燭臺也送給他。冉阿讓感受到慈悲的力量，撕毀假釋令，决心再創新生。
1823年·近海的蒙特裏(Montreuil- sur-mer)
八年過去了，冉阿讓的確履行了當年的誓言，徹底改頭換面，不但易名為麥道臨，並且成了蒙特裏受人愛戴的市長兼工廠廠長，以慈善聞名。這時，在他工廠裏的一名女工芳婷正遭受著凄慘的際遇，她年輕因一時熱情，懷了個女孩，豈知負心郎一走了之，留下她們母女，為了小小珂賽特，衹有把她寄養一途了；把女兒安頓在湯乃第傢之後，芳婷放心的上巴黎去做女工，對珂賽特的思念給了她無盡的力量，掙來的錢都寄回湯傢，衹盼女兒生活過得寬裕，那兒知道湯傢在信上所說生病一事都是假的，所有的錢都進了湯傢的口袋和他們的艾潘妮嘴裏，現在芳婷又再次接到這樣一封討錢信，一不小心落入同事手裏，人人鄙夷她，聯合工頭將她趕走，不知情的冉阿讓簽下公文，芳婷就此流浪街頭。芳婷一心衹想到女兒的藥錢，在賣了項上的項鍊盒和一頭長髮之後，走投無路的睏境下，她加入了碼頭區的妓女行列，痛苦地販賣靈肉，直到有一天她因拒絶一位無禮的客人，和他發生拉扯，恰好新上任的警長賈維到任，不分青紅皂白就定她的罪，目睹此景的市長出言製止，命賈維放走了芳婷，並送她到醫院休養。
當賈維欲與市長爭論職責時，街上有位老人被鬆脫的馬車壓住，冉阿讓立即衝上前頂起了車子，異常的力氣勾起賈維對編號24601罪犯犟烈的記憶，他已經追緝 24601多年始終無功，但懷疑一位人見人愛的市長顯然不正當，這使他非常睏惑，想不到警方不知去那兒抓了一位無辜的鐵匠來定罪，賈維以為自己錯怪市長還嚮冉阿讓緻歉，正直的冉阿讓不能容忍自己的懦弱造成平民的委屈，於是來到法庭坦承自己的身分─犯人24601。賈維立刻就想逮捕他，但冉阿讓心繫芳婷的病體，情急之下打昏賈維逃逸。
在病榻上，芳婷充滿感激的將珂賽特的未來交給冉阿讓，他也一一允諾，芳婷悲哀的一生在對珂賽特的思念中結束之後，身負責任的冉阿讓即刻馬不停蹄趕嚮芳婷所說的小鎮蒙佛梅，去解救她可憐的遺孤。
1823年·蒙佛梅(Monfermei)
小珂賽特已經在經營酒館的湯乃第傢寄養了五年，她一直以來不斷受到可怕的虐待，成天像女傭般被來去差使，同年的酒館老闆女兒艾潘妮，卻受盡寵愛，兩個女孩的生活如天淵之別，但珂賽特並未養成怨天尤人的個性，她衹默默期待夢中的母親有一天能來接她回傢。冉阿讓來到湯傢時，她正吃力地在黑暗中打水，他當下决定??狠敲詐了一番，珂賽特終於能脫離苦痛，真正享受起一個孩子應享的快樂生活。冉阿讓把她帶回巴黎，以父愛呵護她長大，天倫之樂帶給這兩個曾受命運折磨的人莫大的滿足，然而賈維的陰影依舊籠罩在冉阿讓身上，揮之不去……
1832年‧巴黎(Paris)
九年過後的巴黎，充滿着動盪的氣氛，以往的首善之都已然與地獄無異，政府裏惟一關懷窮人的將軍拉馬剋(Lamarque)又病危，人民的前途堪虞，社會涌動著一股革命的暗潮。小加夫羅契是一群妓女和市區乞丐中的中堅分子，連湯乃第夫婦也淪入丐幫生活，有一回還搶上冉阿讓父女，因此還讓賈維和萬犟見上一面，衹不過賈維當時沒有認出來，發現之後氣憤極了，再度立誓拘捕冉阿讓。
這時的艾潘妮已是青春少女，她暗自喜歡著同學馬裏歐，可是馬裏歐的心思已經全部放在街上撞見的珂賽特身上了，無奈的艾潘妮答應要去打聽珂賽特的消息。
革命青年們，包括馬裏歐，經常在一傢ABC咖啡館集會，他們的理想高昂，計畫在拉馬剋將軍過世那一天爆發革命，人人都在為這一天而興奮著，陷入戀愛的馬裏歐卻格外的迷失、脆弱，畢竟在動亂中的每一個明天都是希望，也都是迷惑。這一天，很快的來臨了。加夫羅契衝進店裏，宣佈將軍的死訊，青年一齊涌上街頭，尋求大衆的支持。
亭亭玉立的珂賽特也為了對馬裏歐的相思而苦，冉阿讓逐漸能感受到女兒的轉變，但他依然不願透露她的身世，珂賽特對此不甚諒解；另一方面，由於馬裏歐為情所苦，艾潘妮不忍心衹好帶他來找珂賽特，兩人終於能互訴衷麯，艾潘妮在旁邊忍受著悲傷，還阻止了丐幫的搶劫，著實是個堅犟的女孩。此時冉阿讓考量革命的亂象和賈維的威脅，决心帶珂賽特離開巴黎，這對戀人就生生地分離了，對他們而言，這革命的前夕顯得多麽晦暗哪！情人害怕永別，暗戀者痛失希望，逃亡者冀求安全，惟一能有一絲絲愉快的，大概衹有像湯乃第這種等著撿死人便宜的人吧。
革命的工作一步步的進展，學生開始建築防禦工事，艾潘妮决心陪伴馬裏歐到底，所以加入了青年們的工作，馬裏歐看到她喜出望外，派她送信給珂賽特，卻落入為父的手裏，為了女兒的幸福，他想要去勸阻馬裏歐參加起義，卻發現冒充同志的賈維被加夫羅契認出，而捆綁在地，他自願料理賈維，其實是故意的放走他。
革命爆發，領袖恩佐拉在槍林彈雨中喪命，加夫羅契為收集彈藥中彈而亡，同志也大都犧牲殆盡，馬裏歐也受傷昏厥，幸而有犟壯的冉阿讓救了他。在下水道裏，冉阿讓先後遇見湯乃第和賈維，他懇求賈維放他走，受了他高尚人格的感動，賈維讓出路來，可是一生的堅持並不容易扭轉，他內心受到極度的煎熬，終於無法自解，投河自盡。
馬裏歐逐漸康復，他並不瞭解是誰救了他一命，衹好把一切歸功於珂賽特的照料，冉阿讓將他的過去對馬裏歐坦白，並表示為了不妨礙他們的未來，他寧願獨居終老。在婚禮上，湯乃第夫婦帶來一項他們自認是醜聞的消息：冉阿讓在下水道盜過屍。並取出一隻金戒指，馬裏歐立刻認出是他的，隨即瞭解到自己一嚮誤解的嶽父就是神秘的救命恩人，夫妻倆趕到冉阿讓處時，衹剩下那一對銀燭臺陪伴著他，兩個年輕人在微光中瞭解了自己的身世。老人終於走了，他的靈魂和芳婷、艾潘妮、和所有在革命中死去的人相聚，庇護著一對愛人，迎嚮光明的明天。
人物簡介
冉阿讓(Jean Valjean)
因為偷一條面包救濟外甥而坐牢十九年的囚犯，原本衹判五年徒刑，但由於他並不信任法律，屢屢越獄以致罪刑加重，他倔犟不懼犟權的個性使探長賈維對他深惡痛絶，他過人的氣力也使賈維對他印象深刻，兩人遂結下一生相互追逐之緣。假釋後他受神父啓發嚮上，改名當上市長，為人慈悲，幫助女工芳婷撫養女兒珂賽特，救了女兒的情人─革命青年馬裏歐，在女兒有了好歸宿之後，帶著贖罪的愛離開了人間。
芳婷(Fantine)
冉阿讓工廠裏的一名女工，她有段坎坷的青春，在懷了男友的骨肉之後卻被惡意遺棄，為了女兒的生活，衹好忍下心把她寄養在蒙佛梅一位酒館老闆的傢裏，自己來到巴黎謀生並定時寄錢回去，但由於她有私生女的事被同事揭發，被趕出工廠，衹好賣了首飾、長髮，甚至靈肉，幸好遇見冉阿讓，托付了女兒的未來纔安心的逝去。
珂賽特(Cosette)
芳婷可憐的女兒，當初雖然被母親懇求般的托付給酒館一傢，卻沒有享受到一天童年的無憂生活，反而被當成女傭一般，成天埋頭做雜活，母親攢下的錢幾乎全用來栽培酒館老闆的親生女兒。不過她苦命的日子比起母親是少了許多，冉阿讓把她視如己出，使她能忘卻童年回憶，後來她和青年馬裏歐戀愛，有情人終成眷屬。
賈維(Javert)
正義的堅持者，也是正義的頑固者，他相信慈悲是罪犯的根苗，特別是像冉阿讓這樣的人。所以窮其一生誓將他抓回牢獄，卻發現冉阿讓的本性是多麽善良，這對一個抱持人性本惡論的警探而言，是非常殘酷的一件事，因此他在下水道放走背負馬裏歐的冉阿讓之後，由於無法再面對自己持守多年的信念，選擇跳河一途結束他充滿殉道意味的一生。
湯乃第夫婦 (Thenardier)
小鎮蒙佛梅一傢酒館的老闆，典型的中下階級人物，貪財、自私、卑鄙，個性倒也十分逗趣，夫婦倆可謂天造地設，互相挖苦，對珂賽特一致的欺壓，對女兒艾潘妮一致的溺愛，後來湯乃第先生淪為丐幫幫主，在義勇軍後方搜括死亡者身上的值錢物品，最後兩人還在珂賽特的婚禮上著實耍寶了一陣，真是不改其性。
艾潘妮(Eponine)
湯傢的獨生女，自小倍受寵愛，是挺瞧不起珂賽特的，但也許是受教育的緣故，她比父母有良知多了，雖然暗戀對象馬裏歐並不愛她，她仍然願意為他打聽珂賽特的消息、為他送情書，又為要和他共存亡而跑回戰區，中彈在馬裏歐懷中斷了氣，也算得上是為她的父母贖罪吧。
馬裏歐(Marius)
十九世紀標準革命青年，為理想熱血奔騰，為珂賽特純情洋溢，在起事中負傷昏迷，被冉阿讓所救，雖說同伴大多犧牲令人無限感傷，但最終如願娶得珂賽特，也是美事一椿。
恩佐拉 (Enjolras)
革命青年的領袖，風度翩翩，在策動的起事中壯烈身亡。
加夫羅契(Gavroche)
革命時代下早熟的孩子，聰明有主見，是個包打聽。
主教米禮愛(Bishop Myriel)
笛涅地區的主教，是冉阿讓出獄後惟一願意收容他的人，以愛心和寬容轉瞬間感動了冉阿讓，也就此改變了他的一生。
名傢評論
悲憫胸懷的呈現－悲慘世界
薛介維
衹要是法律與習俗所造成的社會壓迫還存在一天，在文明昌盛時期因人為因素使人間變成地獄，並使人類與生俱來的幸福遭受不可避免的災禍，衹要－貧睏使男人潦倒、飢餓使女人墮落、黑暗使小孩孱弱－這三個問題尚未獲得解决；衹要在某些地區還可能發生社會的毒害，換言之，衹要這世界上還有愚昧與悲慘，那麽，像本書這樣的作品，也許不會是沒有用的吧！
-- 維剋多·雨果 一八六二年一月一日於奧特維別墅
這是雨果在「悲慘世界」一書中所寫的序文。法國大文豪維剋多‧雨果（Victor Hugo）一八○二年二月二十六日出生於法國的Besancon（但是他認為巴黎是他「靈魂的出生地」），父親曾經是拿破崙麾下的將軍。他從幼年起就在各地旅行，少年時期，他的文學底子就相當厚實，對於各類學問也廣泛地吸收，也很早下了决心要當文學家。他二十歲與青梅竹馬的女友Ade Foucher結婚，同年發表第一本詩集「頌歌集」（Odes et poies diverses），開始了他的作傢生涯。一八三一年，二十九歲的雨果發表了「巴黎聖母院（又譯：鐘樓怪人）」（Nortre Dame de Paris），這部小說生動地描繪了一四八二年法國的社會情形，也對人性的層面提出了嚴肅且深刻的問題。他接下來一部世界聞名的小說巨著，就是耗費十四年光陰，完成於一八六一年，也就是現在被改編為音樂劇，風靡全球數百萬音樂人口的－「悲慘世界」（Les Misables）。
成功的改編 「悲慘世界」是一部大部頭的小說，當年出版時厚達一千兩百頁，而依本地遠景出版社鐘文的譯本，更是厚達五册共2119頁，一百二十萬字，這樣一部時空背景橫亙二十年的長篇小說，要將之改成三個多小時就演完的音樂劇，委實不易，但Claude-Michel Schberg與Alain Boublil兩人卻做到了。??經在巴黎推出「法國大革命」一劇，結果相當成功，一九八○年兩人再度推出「悲慘世界」，造成更大的轟動。倫敦音樂劇製作人Cameron Mackintosh認為這齣劇相當有潛力，於是請了Kretzmer、Fenton與兩位原作者合作，改編成倫敦與百老匯的英文版。一九八五年十月八日，「悲慘世界」在倫敦的巴比肯中心舉行英文版的世界首演，推出之後佳評如潮，獲得觀衆極大的迴響，隨後更在世界各地上演，至今仍然票房鼎盛。此外，「悲」劇也獲得樂評青睞，奪得八項「東尼奬」，真可說是叫座又叫好了。
劇情大綱
由於「悲」劇原著時間橫亙長達二十年，音樂劇不可能將所有的內容包括進來，因此改編成音樂劇的「悲慘世界」分成了：序幕－1815年「Digne」、第一幕－1823年「Montreuil-Sur-Mer」、第二幕－1823年「Montfermeil」、第三幕－1832年「Paris」四個部分。由於「悲慘世界」有環球版、倫敦版、百老匯版等數個錄音版本，以下便綜合三個版本，以歌麯為經緯，介紹整齣劇的劇情發展：
序幕，1815年，Digne 「工作之歌」（Work Song）
序幕開始，地點是一八一五年法國土隆（Toulon）的一處監獄，犯人在烈日下勞動，一邊唱著「工作之歌」（Work Song），獄吏Javert高聲喊著編號24601的囚犯Valjean，他可以假釋出獄了。Valjean因為偷了一條面包要給他姊姊快要餓死的小孩，被判五年徒刑，但由於多次試圖越獄，刑期延長到十九年，如今方纔重獲自由。出獄的Valjean在農場工作與旅店投宿時皆遭受歧視，被趕了出來，萬念俱灰之際，Digne地方的主教收留了他，並供給他一頓晚餐。
「Valjean的逮捕與寬恕」（Valjean Arrested/Valjean Forgiven）
Valjean半夜偷走銀製餐杯離開，但白天時卻被兩個警察扭送回來，主教慈悲為懷，告訴警方Valjean手中銀器乃是他相贈之物，並且還拿了一對銀燭臺送給Valjean。警察離去後，主教告誡Valjean要重新做人，並替他祝福。
「我做了什麽事？」（What have I done?）
這時舞臺上留下Valjean獨自一人，他懊惱於自己的所作所為，感嘆自己為何如此糊塗，成為一個夜賊；繼而想起仁慈的主教待他如平常人一般，稱他為兄弟，撫慰他的靈魂，受到感動的Valjean决定痛改前非，於是撕去了代表重刑犯的黃色身份證明，昔日的Valjean已經不復存在，一個改頭換面的新人於焉重生。
第一幕，1823 年，Montreuil-Sur-Mer 「一日將盡」（At the end of the day）
八年後，Valjean變成了 Madelaine先生，此時他已經是一傢工廠的老闆，並且成為Montreuil-Sur-Mer這個地方的市長。這天工人們下了工，唱起了「一日將盡」（At the end of the day），工人之中有一位女工名為Fantine，她收到女兒養父母的來信，信中說孩子生病，需要醫藥費…，而這信被另外一名好事的女工搶了過去，於是兩人為了搶信開始扭打了起來，Valjean聞聲從工廠走出，要工頭平息這場喧鬧。衆人知道了她這件不名譽的事，起鬧要求將她解職，於是，Fantine失業了。
「我做了一個夢」（I dreamed a dream）
丟了工作的Fantine失望極了，在弦樂與竪琴的伴奏下，緩緩唱出「我做了一個夢」（I dreamed a dream），歌詞中回憶年輕時丈夫尚未拋棄她們的美好時光。
「漂亮的小妞們」（Lovely ladies）
接下來場景換到碼頭，水手、妓女、嫖客四處可見，水手與妓女們唱著「漂亮的小妞們」（Lovely ladies）相互調情，Fantine到此想要賣掉她的首飾，但是對方出價太低。此時有一位乾瘦的老太婆看上她亮麗的秀髮，出價十法郎，Fantine 想到如此可以負擔女兒的費用，便答應了。在其他鶯燕的慫恿之下，Fantine竟然也淪落風塵，出賣起自己的靈肉。
「Fantine被捕」（Fantine's Arrest）
Fantine與一位尋芳客發生了衝突，不幸的Fantine隨後被捕，逮捕她的是警官 Javert，此時Valjean在人群中看到這情形，便上前瞭解情況。當Valjean知道了Fantine的故事，便答應送她去醫院，並且幫她照顧女兒。
「失控的馬車」（The Runaway Cart）
這時在一旁發生了車禍事故，一輛失控的馬車壓住了路人，馬車十分瀋重，沒有人能動得了它。Valjean欲上前一試，在衆人直說不可聲中，將馬車擡了起來，救了輪下人一命。警官Javert看到這一幕大感驚奇，將市長拉到一旁，說市長此舉令他想到他以前苦苦追捕的一個假釋犯Jean Valjean，因此人也是孔武有力，現在這個嫌犯終於在日前就逮，說完便揚長而去。
「我是誰？」（Who am I － The Trial）
Valjean聽到Javert這樣說，便知道Javert捉錯人了，此時他內心展開一番天人交戰－如果自首，那麽他又將被判刑，但如果不自首，害得別人無辜受纍，自己良心又將受譴責。於是他自問：「我是誰？我能一輩子隱姓埋名嗎？我如何再度面對自己？」經過一番內心掙紮，他走進法庭，褪去衣衫露出胸前刺青，高喊：「我就是Jean Valjean，犯人編號24601！」
「Fantine之死」（Fantine's Death）
場景接著轉換到醫院，在病榻上的Fantine夢見她的女兒Cosette，她正如慈母般地叮嚀著，並且要唱催眠麯給孩子聽。接著Valjean進來，虛弱的Fantine將女兒託付給Valjean之後，含笑而終。
「衝突」（The Confrontation）
此時，Javert走了進來，Valjean請對方寬限三天的時間，將Fantine女兒 Cosette的事情安頓好後，他將會自動歸案，但是Javert並不相信昔日的罪犯如今已經洗心革面，認為「牛牽到北京還是牛」。Valjean隨手捉起一把椅子，將之打碎並以尖銳的木片與Javert對峙，並對著一旁的Fantine發誓會照顧她的女兒。兩個漢子接下來一陣扭打，Javert被擊倒，Valjean趁隙逃脫。
第二幕，1823年，Montfermeil 「雲端的城堡」（Castle on a cloud）
地點轉換到Montfermeil這個地方，小Cosette與Thardiers夫婦同住在他們開的旅店當中已有五年，Thardiers夫婦對待Cosette相當苛薄，簡直就是拿她當下人使喚。此時Cosette正在打掃，她一邊打掃一邊夢想著：「啊！我好希望在夢中去那個在雲上面的城堡，那邊沒有地板可掃，衹有一個有好多好多玩具的房間，還有許多小朋友；然後，有一個全身穿著白衣的阿姨，摟著我，唱催眠麯給我聽，而且說她好愛我…。」小Cosette的美夢很快被打斷，尖酸的Thardiers太太走了過來，要Cosette出外到林中水井打水，Cosette請求不要讓她獨自一人在黑夜裏外出，但仍然被Eponine（Thardiers夫婦的寶貝女兒）推了出去。
「屋子的主人」（Master of The House）
另一邊在店中，幾名酒客聚集，店老闆Thardiers先生正穿梭在客人之中服務，大夥齊聲高唱「屋子的主人」（Master of The House），閑聊嚼舌一番。
「協商」（The Bargain）
屋外，Valjean在林中恰巧碰上了外出取水的Cosette，於是便牽著她的手回到旅店，準備付一筆錢帶走她。Thardiers夫婦虛情假意，跳著「狡詐的華爾滋」（The Waltz of Treachery），把Cosette說成是他們捧在手上的心肝寶貝，意圖十分明顯，當然是想要提高Valjean所給的價碼。Valjean最後給了兩人一千五百法郎，順利帶走Cosette。
第三幕，1832年，巴黎 「嚮下看」（Look Down）
時光流轉，接下來的第三幕從九年後的巴黎開始，幕啓時街上乞丐、流浪兒、妓女、學生到處走動，唱出「嚮下看」（Look Down）。一旁，Thardier夫婦與女兒Eponine也來到了巴黎，Thardier夫婦仍然惡性不改，聚集了一小撮黨羽做一些偷竊搶劫的勾當。俗話說得好：「不是冤傢不聚頭。」，正當Thardier先生嚮一位迎面而來jean，於是上前便拉住他，兩人展開一陣拉扯。
「Javert 干涉」（Javert's Intervention）
巧的是，這時巡邏的警員剛好經過，帶頭者正是Javert，Eponine見狀大呼一聲，衆人作鳥獸散，Valjean也趁機拉著在旁邊的Cosette溜走了。Javert走過來，正奇怪剛剛被Thardier所糾纏的男士不知去嚮，卻從Thardier口中得之那人就是他日夜亟思逮捕的Valjean，於是便唱出「群星」（Stars），他以天上的群星為證，發誓必定要將 Valjean緝拿到案。接著廣場上衹剩Eponine一人，她記起方纔那少女原來就是小時候寄住自傢的Cosette，此時學生群的頭頭Marius走過來，問她是否認識那女孩（指Cosette），並請求Eponine替她打聽Cosette的下落，這委託就成了「Eponine的差事」（Eponine's Errand）。
「ABC咖啡廳」（The ABC Caf耎ed and Black）
在 ABC咖啡廳（註一）中，以Enjolras為首的學生們正在討論革命大計，他們需要一個共同的信號來傳達起事的指令，以便於指揮群衆，最後便討論出以「紅」、「黑」兩種顔色來作為革命旗幟的顔色－紅色代表憤怒人民的鮮血與黎明前的世界，黑色則代表過去黑暗的歲月與漆黑的夜。就在大傢激昂興奮地討論之際，小男孩Gavroche衝進來告訴大傢一個壞消息－Lamarque將軍死了！學生領袖Enjolras化悲憤為力量，打算在Lamarque的喪禮上利用聚集的人群舉事，他並且帶領大傢激動地唱出「你聽到人民的歌聲了嗎？」（Do you hear the people sing?）歌詞大意為：「不甘為奴隸的人民唱出憤怒的歌，心跳與鼓聲相互激盪，當明日來臨，新的生活即將展開！」
「Rue Plumet街」（Rue Plumet-In my life）
佈景轉到Rue Plumet街，Cosette獨自在花園，她發覺她自己戀愛了，就在與Marius一見鐘情之後。她第一次發現愛情離她如此之近。接著Valjean走近安慰她，隨即離開。而Marius在Eponine的帶領下，來到了花園門口；即將與所愛的人相見，Marius欣喜之情溢於言表，而Eponine卻顯得落落寡歡，因為自己所愛的人現在卻要和別人相會。
「一顆心充滿著愛」（A Heart full of Love）
Marius 走進花園，與Cosette互訴情衷，Eponine在外面聽了心如針刺，她多麽希望Marius的甜言蜜語是對著她說啊！
「攻擊 Rue Plumet街」（The Attack on Rue Plumet）
此時Eponine的父親Thardier帶著他的手下也來到了花園之外，想要嚮Valjean搶奪一些財物，Eponine為了不讓父親得逞，遂大叫一聲，衆人見事機敗露，四下散去。Marius見狀隨即離去，Valjean聽到驚呼聲匆忙趕來，Cosette騙父親說她因看到墻外有三人鬼鬼祟祟而尖叫，Valjean以為陰魂不散的Javert又找上門來，認為此地不宜久留，决定帶著Cosette離開。
「再多一天吧！」（One day more!）
由 Valjean帶頭開唱的「再多一天吧！」道盡衆人心事：Valjean心想衹要再多一天，他就能帶著Cosette遠走高飛；Marius與 Cosette把握最後一天相處的機會，Eponine在一旁黯然神傷；Javert等待著要混入學生們的陣容中，伺機從中破壞；Enjolras與學生們期待明天起義舉事，高舉著自由的大纛，推翻專製的政權，讓每個人都當主人！
「防禦工事地點」（At the Barricade）
起義之師選定了建築防禦工事的地點，Enjolras正對著群衆發表談話。Marius發現Eponine竟然女扮男裝混在人群中，便勸她趕緊離開，並請她帶信給Cosette。Eponine將信交給Valjean，Valjean展信讀了一遍，便走回屋內，留下Eponine。
「獨自一人」（On My Own）
這是Eponine獨自一人所唱出的「愛之歌」，表達出她對Marius的無限愛意，但是由於Marius 的心上人不是她，所以歌聲中透露著無奈與落寞：「我愛他，但我卻單獨一人在此…。」
「防禦工事建造完成」（Building the Barricade）
防禦工事已經建造完成，學生們誓言守住此地，並戰鬥到底。在防禦工事的另一面傳來軍官的呼喊聲，勸學生們放下武器，學生們當然置之不理。此時Javert從工事外翻了進來，告訴大傢他所探得的敵情「Javert到來」（Javert's Arrival）。無巧不巧，他的真實身分剛好被小傢夥Gavroche識出「小傢夥」（Little People），詭計於焉被拆穿，Javert被大夥捆綁了起來。
「小雨不足懼」（A Little Fall of Rain）
一個男孩從工事外爬了進來，原來是Eponine，她身負重傷，倒在Marius的懷中。雖然身子已然虛弱，但倒在所愛的人懷中，Eponine卻露出欣喜之情，外面縱然槍林彈雨，也不足懼。雖然Marius不斷地安慰，但最後她還是死在他的雙臂中。
「悲憤的夜晚」（Night of Anguish）
衆人同仇敵愾，宣言不讓Eponine的鮮血白流。Valjean在這個時候身著軍裝爬了進來，準備與學生們並肩作戰，Enjolras給了他一把槍。此時外面的軍隊派人接近，雙方展開「第一次交戰」（First Attack），對方一名狙擊手瞄準Enjolras，但是被Valjean撂倒。衆志成城，第一次的戰鬥竟然將軍隊擊退，大傢雀躍不已，Valjean 請求將Javert交給他處理，Enjolras應允。Javert以為Valjean要藉機復仇，於是凜然面對，沒想到Valjean割斷他身上的繩索，要他速速離去。事情大出Javert之所料，最後Valjean對空放了一槍，Javert迅速離去。
「帶他回傢」（Bring him home）
夜深了，擔任斥候的學生飲酒唱歌「與我共飲」（Drink with me），Marius心中惦記著Cosette，不多時便瀋瀋睡去。Valjean看著Marius，看他是如此的年輕，於是便唱出「帶他回傢」（Bring him home），祈求上蒼保護這個年輕人，讓他能平安度過，如果上帝要取走任何人的性命，那就取我Valjean的罷！
「第二次交戰，Gavroche之死」（The Second Attack, Death of Gavroche）
黎明時分，雙方發生第二次交戰，Enjolras要手下報告己方情況，發現彈藥已缺乏。在Marius與Valjean爭著出去收集彈藥時，Gavroche已經爬到工事之外，就在他快要成功時，忽聞一聲槍響－一顆子彈擊中了他！接著他又連挨了兩三槍，終於不支倒地而亡。
「最後一戰」（The Final Battle）
工事外軍官又再度喊話，要學生們放下武器，學生們當然不從，由Enjolras帶領著嚮外攻擊；一時槍炮聲不絶於耳，火光交錯，戰況十分慘烈。這一役學生一方幾乎全軍覆沒，Enjolras命喪工事之頂，Marius身負重傷但一息尚存，被Valjean發覺後由下水道扛離。Javert到現場未發覺Valjean的屍體，判定他一定從下水道溜走，於是循線又追了去。
「下水道，狗噬狗」（The Sewers-Dog eats Dog）
在下水道，壞心眼的Thardier又在幹著令人不齒的勾當－搜尋死者屍體上值錢的財物。扛著Marius的Valjean因為體力不足，雙雙倒臥在地。Thardier一路搜來，拿走了Marius的戒指，當發現躺在旁邊的人竟然是 Valjean，他狂笑數聲，消失在下水道的彼端。Valjean擡著Marius繼續前行，被Javert趕上，兩個冤傢再度相逢；由於Marius傷勢嚴重急須就醫，Valjean請求Javert網開一面，兩人的帳容後再算。Javert終於動了慈悲心，讓Valjean帶著Marius離開。
「Javert 自盡」（Javert's Suicide）
放走了Valjean，Javert感觸良多；是Valjean放他一馬，他才能活到今天，他開始懷疑，難道追逐了這許多年，Valjean竟然是一個慈悲為懷的人？百感交集之下，他認為他已無處可去，於是投身塞納河（Seine River）自盡。戰事過後，女人們來到街上，她們質疑地問：「改變了嗎？」（Turning），當然，什麽也沒變，一切彷彿兜圈圈般，又回到原點。
「人事全非」（Empty Chairs at Empty Tables）
回想起以前在ABC咖啡廳與友人們相聚高談闊論，而今景物依舊，但同伴們卻已然去世，Marius不禁悲從中來，激動地唱出「人事全非」（Empty Chairs at Empty Tables），在他歌唱的同時，同伴們的魂魄現而復隱，好似聽見了他的呼喊；接著Cosette來到了身邊，安撫Marius起伏的情緒，兩人共同歌詠出愛的二重唱「每一日」（Every Day），回憶起初見的那一夜，心中充滿愛意。Valjean走了進來，形成一闋短小的三重唱。
「Valjean 的告白」（Valjean's Confession）
Cosette暫時離開，剩下Marius與Valjean二人。 ValjeanMarius表明身世，說明自己曾經是小偷，帶罪之身一直不敢讓Cosette知情，如果再被捉到衹會使Cosette蒙羞，讓她更傷心。現在Cosette已經有心上人照料，因此他必須離開，請Marius告訴Cosette他去遠方旅行，並且千萬不要讓她知道真相。Marius忍痛答應。
「結婚禮贊」（The Wedding Chorale）
Marius與Cosette終於如願步上結婚禮堂，衆人在兩旁歌唱祝福。圓舞麯樂音響起，旋律竟然取自第二幕「狡詐的華爾滋」，原來Thardier夫婦又出現了。這次他們厚著臉皮來嚮Marius 要錢，索價五百法郎，宣稱握有Valjean在下水道搜括死人財物的證據；Thardier從懷裏拿出一隻戒指，正是當夜從Marius身上取下之物，Marius頓時明白Valjean就是那晚的救命恩人。他一拳將Thardier打倒，也顧不得正在舉行婚禮，拉著Cosette尋找 Valjean去了。婚禮遂成了「乞丐的盛宴」（Beggars At the Feast）。
「終麯」（Epilogue, Finale）
氣若遊絲的Valjean獨自一人，身旁放著一個木製十字架，他在為Cosette與Marius，也為自己祈禱。Fantine的靈魂現身，感謝代為養育之恩，並為他祈福，這時Marius與Cosette趕了進來。最後Eponine與戰事中死亡的魂魄紛紛出現，大夥合唱「終麯」（Epilogue, Finale），不幸的人們，終究會有光明的一天！
關於「悲慘世界」的版本
「悲慘世界」在臺灣可以找到好幾個錄音版本，由於我手邊沒有法文版，也不懂法文，因此無法嚮讀者介紹。英文發音的版本起碼有三個，首先介紹的當然是最完整的環球版（3CDs），這個版本是集合了來自世界各地演唱「悲慘世界」的要角，六十五位英國愛樂管弦樂團成員，七十餘位合唱團員，在倫敦、雪梨、納許維爾、洛杉磯等地分別錄製，再製作母帶而成。唱片解說中製作人Cameron Mackintosh與David Caddick詳述了這套唱片錄製的念頭與過程，相當有意思。我衹特別提出一點，這套唱片中飾唱Eponine一角的日籍女歌手Kaho Shimada幾乎不會講英文，為了錄這個角色還特別請了翻譯與她溝通，但是她在唱片中的英文咬字發音、歌聲表情、情感詮釋都極為出色，令人激賞！其他的角色也都是一時之選，表現非常傑出。兩片裝分別有倫敦（Original London Cast Recording）與百老匯（Original Broadway Cast Recording）兩個版本，這兩套唱片的主角Jean Valjean都是由著名的音樂劇演員Colm Wilkinson演唱，Eponine也是同一人，其他的唱角雖然不同，但表現大致在伯仲之間，沒有太大的差異；不過倫敦版在每一首歌詞之間有劇情解說串連，在這一點上是要比百老匯版略勝一籌的。除了以上三個版本之外，市面上還可以發現一張精選版，這張「Highlights from Les Misables」是由Woodford Music公司所出版，收錄了取自「悲慘世界」的十七段音樂；CD之中除了麯名與演唱者人名之外，並無其他解說，伴奏衹用了簡單的電子合成樂器，聽來貧弱而缺乏旋律性，合唱團演唱的部分明顯地可以聽出衹有幾個人在撐場面。所以除非你對這齣音樂劇情有獨鍾，否則前面的三套「悲慘世界」足夠滿足一般人的需求。
悲慘世界-悲慘世界讀後感
在書中，出獄後的冉阿讓背負着囚犯的身份，飽受着他人的歧視。社會的不公與排斥，一點點的磨滅了他重新做人的希望，改過嚮善的信心。是慈悲為懷的主教伸出慷慨的，無私的援助之手收容了走投無路的冉阿讓。他不僅不計較冉阿讓偷他的銀器具，反而將那一對銀製燭臺送給了他並叮囑道：“答應我一定要把這些錢用到好的地方。把這些銀器賣掉，用這些錢讓自己過得好一些。”
我開始深深的感悟到，原來，在當時那個無情的資本主義社會竟然也有這樣的世外聖人存在，正是主教的寬大和仁慈深深感化了冉阿讓，是他重新燃起了冉阿讓心中那快熄滅的希望之火，使他徹底悔悟，開始新的生活。所以說，冉阿讓的命運並不是永遠都是那麽的悲慘，悲慘的是那時候的整個世界觀，就是因為有了主教這樣的人，整個世界纔有了救世主，整個世界纔有可能在水生火熱之中艱苦摸索前進。
在主教的感化下，冉阿讓開始變得樂於助人，見義勇為得到人民的愛戴，搖身一變成了受人尊敬的市長。 這一切得轉變使我既倍感欣慰。從囚犯到市長，簡直是天壤之別，這無疑是人性的巨大轉變。
面對着窮睏潦倒，世態炎涼，將會産生兩種人：第一種是卑微低劣的人。他們醜陋、自私、貪婪的本性再也無法隱藏。就如書中的德納第，他為了錢財不惜一切，一會聲稱是演員，一會兒又變成了畫傢，但他再高明也無論如何掩蓋不住他醜陋本性的事實。 另一種是無論在什麽情況下都能永保光明、善良、寬容的擁有高尚情操的人。洗新革面後的冉阿讓變得寬大、善良。正是那個慈悲為懷的心感化了冷酷、固執，曾一味追捕他的警長沙威。
其實，在當今社會也不乏有一些為了眼前利益而不擇手段的卑鄙小人。如一些憑藉職權貪污受賄者；在重大賽事中為得到好成績而服用興奮劑者；還有小到考試作弊的人……
作者想告訴我們的是：做一個真正的自己，任何刻意的偽裝都將被識破，虛偽在事實面前衹有被革滅。我再一次被人性的巨大力量所震撼。願我們身邊多一些主教般光明的使者，願他們像純潔的天使般永遠守護着人們心中那份慈悲為懷的心，更希望有更多的人能加入到助人為樂、見義勇為的隊伍中來。社會需要這樣的人，世界需要這樣的人。衹有這樣，我們才能創造我們的生活，創造出一個善良、和睦、光明的世界。
The novel focuses on the struggles of ex-convict Jean Valjean and his experience of redemption. It examines the nature of law and grace, and expounds upon the history of France, architecture of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. The story is historical fiction because it contains factual and historic events.
Les Misérables is known to many through its numerous stage and screen adaptations, most notably the stage musical of the same name, sometimes abbreviated "Les Mis" (pronounced /leɪ ˈmɪz/).
Novel form
Les Misérables contains many plots, but the main thread is the story of ex-convict, Jean Valjean (known by his prison number, 24601), who becomes a force for good in the world, but cannot escape his dark past. The novel is divided into five volumes, each volume divided into books, and subdivided into chapters (for a total of 365 chapters). Each chapter is relatively short, usually no longer than a few pages. Nevertheless, the book as a whole is quite lengthy by common standards, even exceeding 1,400 pages in unabridged editions (1900 pages in French). Within the borders of the novel's story, Hugo fills many pages with his thoughts on religion, politics, and society, including his three lengthy digressions, one being a discussion on enclosed religious orders, another being on argot, and most famously, his retelling of the Battle of Waterloo.
Plot
Volume I – Fantine
The story starts in 1815 in Digne. The peasant Jean Valjean has just been released from imprisonment in the Bagne of Toulon after nineteen years: five for stealing bread for his starving sister and her family, and fourteen more for numerous escape attempts. Upon being released, he is required to carry a yellow passport that marks him as a convict, despite having already paid his debt to society by serving his time in jail. Rejected by innkeepers, who do not want to take in a convict, Valjean sleeps on the street. This makes him even angrier and more bitter. However, the benevolent Bishop Myriel, the Bishop of Digne, takes him in and gives him shelter. In the middle of the night, he steals the bishop’s silverware and runs. He is caught, but the bishop rescues him by claiming that the silverware was a gift and at that point gives him his two silver candlesticks as well, chastising him to the police for leaving in such a rush that he forgot these most valuable pieces. The bishop then "reminds" him of the promise, which Valjean has no recollection of making, to use the silver to make an honest man of himself. As Valjean broods over these words, he steals a child's silver coin purely out of habit. He chases the boy away (Petit Gervais), but, soon after, he repents and decides to follow the bishop's advice. He searches the city for the child whose money he accidentally stole. At the same time, his theft is reported to the authorities, who now look for him as a repeat offender. If Valjean is caught, he will be forced to spend the rest of his life in prison, so he hides from the police.
Six years pass and Valjean, having assumed the pseudonym Monsieur Madeleine to avoid capture, has become a wealthy factory owner and is appointed mayor of his adopted town of Montreuil-sur-Mer. While walking down the street one day, he sees a man named Fauchelevent pinned under the wheels of his cart. When no one volunteers to lift the cart, he decides to rescue Fauchelevent himself. He crawls underneath the cart and manages to lift it, freeing him. The town's police inspector Javert, who was an adjutant guard at the Bagne of Toulon during Valjean's imprisonment, becomes suspicious of the mayor after witnessing his heroics. He knows the ex-convict Jean Valjean is also capable of such strength.
Years earlier in Paris, a grisette named Fantine was very much in love with a man named Félix Tholomyès. His friends Listolier, Fameuil, and Blachevelle were also paired with Fantine’s friends Dahlia, Zéphine, and Favourite. They later abandon the women as a joke, leaving Fantine to bear and care for Tholomyès' daughter, Cosette, by herself. When Fantine arrives at Montfermeil, she leaves Cosette in the care of the Thénardiers, a corrupt innkeeper and his selfish, cruel wife. Fantine is unaware that they abuse her daughter and use her as forced labor for their inn, and continues to try to pay their growing, extortionate demands for her upkeep. She is later fired from her job at Valjean's factory, due to the discovery of her illegitimate daughter, and is forced to resort to prostitution to pay for her daughter's care. Fantine is also slowly dying from an unnamed disease (probably tuberculosis). While roaming the streets, a dandy named Bamatabois harasses Fantine and puts snow down her back. She reacts by attacking him. Javert sees this and arrests Fantine. She begs to be released so she can provide for her daughter, but Javert sentences her to six months in prison. Valjean, hearing her story, intervenes and orders Javert to release her. Javert strongly refuses but Valjean persists and prevails. Valjean, feeling responsible because his factory turned her away, promises Fantine that he will bring Cosette to her. He takes her to a hospital.
Later, Javert comes to see Valjean again. Javert admits he had accused him of being Jean Valjean to the Parisian authorities after Fantine was freed. However, he tells Valjean that he no longer suspects him because the authorities have announced that another man has been identified as the real Jean Valjean after being arrested and having noticeable similarities. This man's name is Champmathieu. He is not guilty, but is mistaken. His trial is set the next day. At first, Valjean is torn whether to reveal himself, but decides to do so to save the innocent man. He goes to the trial and reveals his true identity. He then returns to Montreuil-sur-Mer to see Fantine, followed by Javert, who confronts him. After grabbing Valjean, Javert reveals Valjean’s identity to Fantine. Shocked, and with the severity of her illness, she falls back in her bed and dies. Valjean goes to Fantine, speaks to her in an inaudible whisper and kisses her hand. He then leaves with Javert.
Volume II – Cosette
Valjean manages to escape, only to be recaptured and sentenced to death. This was commuted by the king to penal servitude for life. While being sent to the prison at Toulon, a military port, Valjean saves a sailor about to fall from the ship's rigging. The crowd begins to call "This man must be pardoned!" but Valjean fakes a slip and falls into the ocean to escape, relying on the belief that he has drowned.
Valjean arrives at Montfermeil on Christmas Eve. He finds Cosette fetching water in the woods alone and walks with her to the inn. After ordering a meal, he observes the Thénardiers’ abusive treatment of her. He also witnesses their pampered daughters Éponine and Azelma treating Cosette badly as well when they tell on her to their mother for holding their abandoned doll. Upon seeing this, Valjean goes out and returns a moment later holding an expensive new doll. He offers it to Cosette. At first, she is unable to contemplate that the doll really is for her, but then happily takes it. This results in Mme. Thénardier becoming furious with Valjean, while M. Thénardier dismisses it, informing her that he can do as he wishes as long as he pays them. It also causes Éponine and Azelma to become envious of Cosette.
The next morning on Christmas Day, Valjean obtains Cosette with the letter from Fantine, and flees with her to Paris. Later, Javert finds Valjean’s new lodgings at Gorbeau House.
Valjean takes Cosette and they try to escape from Javert. They soon successfully find shelter in the Petit-Picpus convent with the help of Fauchelevent, the man whom Valjean rescued and who is a gardener for the convent. Valjean also becomes a gardener and Cosette becomes a student.
Volume III – Marius
Eight years later, the Friends of the ABC, led by Enjolras, are preparing an anti-Orléanist revolution on the eve of the Paris uprising on June 5–6, 1832, following the death of General Lamarque, the only French leader who had sympathy towards the working class. They are also joined by the poor, including the Thénardiers' eldest son Gavroche, who is a street urchin.
One of the students, Marius Pontmercy, has become alienated from his family (especially his grandfather M. Gillenormand) because of his liberal views. After the death of his father Colonel Georges Pontmercy, Marius discovers a note from him instructing his son to provide help to a sergeant named Thénardier who saved Pontmercy's life at Waterloo – in reality M. Thénardier was looting corpses and only saved Pontmercy's life by accident; he had called himself a sergeant under Napoleon to avoid exposing himself as a robber. At the Luxembourg Gardens, Marius falls in love with the now grown and beautiful Cosette. The Thénardiers have also moved to Paris and now live in poverty after losing their inn. They live under the surname "Jondrette" at Gorbeau House (coincidentally, the same building Valjean and Cosette briefly lived in after leaving the Thénardiers' inn). Marius lives there as well, next door to the Thénardiers.
Éponine, now ragged and emaciated, visits Marius at his apartment to beg for money. To impress him, she tries to prove her literacy by reading aloud from a book and by writing "The Cops Are Here" on a sheet of paper. Marius pities her and gives her some money. After Éponine leaves, Marius observes the "Jondrettes" in their apartment through a crack in the wall. A philanthropist and his daughter visit them—actually Valjean and Cosette. Marius immediately recognizes Cosette. After they leave, Marius asks Éponine to retrieve her address for him. Éponine, who is in love with Marius herself, reluctantly agrees to do so. The Thénardiers have also recognized Valjean and Cosette, and vow their revenge. M. Thénardier enlists the aid of the Patron-Minette, a well-known and feared gang of murderers and robbers.
Marius overhears M. Thénardier's plan and goes to Javert to report the crime. He then goes back home and waits for Javert and the police to arrive. When Valjean returns with rent money, M. Thénardier, with Patron-Minette, ambushes him and he reveals his identity to Valjean. Marius recognizes M. Thénardier as the man who "saved" his father's life at Waterloo and is caught in a dilemma. He tries to find a way to save Valjean while not betraying M. Thénardier. He sees the scrap of paper that Éponine earlier wrote on and throws it into the Thénardiers’ apartment through the crack. M. Thénardier reads it and thinks Éponine threw it inside. He, Mme. Thénardier and Patron-Minette try to escape, only to be stopped by Javert. He arrests all the Thénardiers and Patron-Minette (except Claquesous, who escapes during his transportation to prison, Montparnasse, who stops to run off with Éponine instead of joining in on the robbery, and Gavroche, who was not present and rarely participates in his family's crimes, a notable exception being his part in breaking his father out of prison). Valjean manages to escape the scene before Javert sees him.
Volume IV – St. Denis
After Éponine’s release from prison, she finds Marius and sadly tells him that she found Cosette’s address. She leads him to Valjean and Cosette's house at Rue Plumet, and Marius watches the house for a few days. He and Cosette then finally meet and declare their love for one another. M. Thénardier, Patron-Minette and Brujon manage to escape from prison with the aid of Gavroche. One night, during one of Marius’ visits with Cosette, the six men attempt to raid Valjean and Cosette's house. However, Éponine, who was sitting by the gates of the house, threatens to scream and awaken the whole neighbourhood if the thieves do not leave. Hearing this, they reluctantly retire. Meanwhile, Cosette informs Marius that she and Valjean will be leaving for England in a week’s time, which greatly troubles the pair.
The next day, Valjean is sitting in the Champ de Mars. He is feeling troubled due to seeing M. Thénardier in the neighbourhood several times. Unexpectedly, a note lands in his lap, which says "MOVE OUT." He sees a figure running away in the dim light. He goes back to his house tells Cosette they will be staying at their other house at Rue de l'Homme Arme and reconfirms with her about moving to England. Marius tries to get permission from M. Gillenormand to marry Cosette. His grandfather seems stern and angry, but has been longing for Marius's return. When tempers flare, he refuses, telling Marius to make Cosette his mistress instead. Insulted, Marius leaves. The following day, the students revolt and erect barricades in the narrow streets of Paris. Gavroche spots Javert and informs Enjolras that Javert is a spy. When Enjolras confronts him of this, he admits his identity and his orders to spy on the students. Enjolras and the other students tie him up to a pole in the Corinth restaurant. Later that evening, Marius goes back to Valjean and Cosette’s house at Rue Plumet, but finds the house no longer occupied. He then hears a voice telling him that his friends are waiting for him at the barricade. Distraught over Cosette gone, he heeds the voice and goes.
While Marius fights at the barricade, a soldier makes it in and aims at Marius. However, a man steps between them and puts his hand and body in front of the musket. The soldier fires, fatally shooting the man. The man then calls Marius by his name. Marius, and the reader, discovers that it is actually Éponine, dressed in men's clothes. Dying, she confesses that she told him to go to the barricade, in hoping that the two would die together. The author also states to the reader that Éponine anonymously threw the note to Valjean. Éponine gives Marius a letter that is addressed to him. It is written by Cosette, which she also confesses to have obtained a day earlier. After Éponine dies, Marius reads Cosette's letter and writes a farewell letter to her. Gavroche gives it to Valjean. Valjean, learning that Cosette's lover is fighting, is at first relieved, but an hour later, he puts on a National Guard uniform, arms himself with a gun and ammunition, and leaves his home.
Volume V – Jean Valjean
Valjean arrives at the barricade and immediately saves a man's life, though he is still not certain if he wants to protect Marius or to kill him. Marius recognizes Valjean upon seeing him. Enjolras announces that they are almost out of cartridges. Overhearing this, Gavroche goes to the other side of the barricade to collect more from the dead National Guardsmen. While doing so, he is shot and killed by the soldiers.
Later, Valjean saves Javert from being killed by the students. He volunteers to execute Javert himself, and Enjolras grants permission. Valjean takes Javert out of sight, and then shoots into the air while letting him go. As the barricade falls, Valjean carries off the injured and unconscious Marius. All the other students, including Enjolras, are killed. Valjean escapes through the sewers, carrying Marius' body on his shoulders. He evades a police patrol, but at the exit, he runs into Javert, whom he persuades to give him time to return Marius to his family. Javert grants this request. After leaving Marius at M. Gillenormand’s house, Valjean makes another request that he be permitted to go home shortly, which Javert also allows. They arrive at Rue de l'Homme Arme and Javert informs Valjean that he will wait for him. As Valjean walks upstairs, he looks out the landing window and finds Javert gone. Javert is walking down the street alone, realizing that he is caught between his strict belief in the law and the mercy Valjean has shown him. He feels he can no longer give Valjean up to the authorities. Unable to cope with this dilemma, Javert commits suicide by throwing himself into the Seine.
Marius slowly recovers from his injuries and he and Cosette are soon married.
Meanwhile, M. Thénardier and his younger daughter Azelma are attending the Mardi Gras as "masks." M. Thénardier spots Valjean among the wedding party heading the opposite direction and bids Azelma to follow them. After the wedding, Valjean confesses to Marius that he is an ex-convict. Marius is horrified by the revelation. Convinced that Valjean is of poor moral character, he steers Cosette away from him. Valjean loses the will to live and takes to his bed.
Later, M. Thénardier approaches Marius in order to blackmail him with what he knows of Valjean, but, in doing so, he inadvertently reveals all of the good Valjean has done, including his saving Marius' life on the barricades. Stunned by these revelations, Marius confronts M. Thénardier with his crimes and offers him an immense amount of money if he departs and promises never to return. M. Thénardier accepts the offer, and he and Azelma travel to America where he becomes a slave trader.
As Marius and Cosette rush to Valjean's house, he informs her that Valjean saved his life at the barricade. They arrive to see him, but the great man is dying. In his final moments, he realizes happiness with his adopted daughter and son-in-law by his side. He also reveals Cosette's past to her as well as her mother's name. Joined with them in love, he dies. As he lies dead between Cosette and Marius, the light from the Bishop's candlesticks remains all over, and in the midst of the night a light from the sky shines over Valjean, as if there were an enormous angel, awaiting to carry his soul to Heaven.
Characters
Major
* Jean Valjean (a.k.a. Monsieur Madeleine, a.k.a. Ultime Fauchelevent, a.k.a. Monsieur Leblanc, a.k.a. Urbain Fabre, a.k.a. 24601 a.k.a. 9430) — Convicted for stealing a loaf of bread, he is paroled from prison nineteen years later. Rejected by society for being a former convict, Bishop Myriel turns his life around by showing him mercy and encouraging him to become a new man. He assumes a new identity in order to pursue an honest life, becoming a factory owner and a mayor. He adopts and raises Fantine's daughter Cosette, saves Marius from the barricade, and dies at an old age, having kept his promise to the Bishop.
* Javert — An obsessive police inspector who continuously hunts, tracks down, and loses Valjean. He goes undercover behind the barricade, but is discovered and unmasked. Valjean has the chance to kill Javert, but lets him go. Later, Javert allows Valjean to escape. For the first time, Javert is in a situation in which he knows that the lawful course is immoral. His inner conflict leads him to take his own life by jumping into the River Seine.
* Bishop Myriel, the bishop of Digne (full name Charles-François-Bienvenu Myriel, a.k.a. Monseigneur Bienvenu) — A kindly old priest who is promoted to bishop by a chance encounter with Napoleon. He convinces Valjean to change his ways after Valjean steals some silver from him and saves Valjean from being arrested.
* Fantine — A Parisian grisette abandoned with a small child by her lover Félix Tholomyès. Fantine leaves her daughter Cosette in the care of the Thénardiers, innkeepers in a village called Montfermeil. Unfortunately, Mme. Thénardier spoils her own daughters and abuses Cosette. Fantine finds work at Monsieur Madeleine's factory, but is fired by a female supervisor who discovers that she is an unwed mother, as Fantine, being illiterate, had other people write her letters to the Thénardiers. To meet repeated demands for money from the Thénardiers, she sells her hair, then her two front teeth, and finally turns to prostitution. Valjean learns of her plight when Javert arrests her for attacking a man who called her insulting names and hurled snow at her back. She dies of a disease that may be tuberculosis before Valjean is able to reunite her with Cosette.
* Cosette (real name Euphrasie, a.k.a. the Lark, a.k.a. Mademoiselle Lanoire, a.k.a Ursule) — The illegitimate daughter of Fantine and Tholomyès. From approximately the age of three to the age of eight, she is beaten and forced to be a drudge by the Thénardiers. After Fantine dies, Valjean ransoms her from the Thénardiers and she becomes his adopted daughter. Nuns in a convent in Paris educate her. She later grows up to become very beautiful. She falls in love with Marius Pontmercy, and marries him at the end of the novel.
* M. and Mme. Thénardier (a.k.a. the Jondrettes, a.k.a. M. Fabantou, a.k.a. M. Thénard) — A corrupt innkeeper and his wife. They have five children: two daughters (Éponine and Azelma) and three sons (Gavroche and two unnamed younger sons). They take in Cosette in her early years, mistreating and abusing her. They also write fabricated letters about Cosette to Fantine in order to extort money from her. They end up losing the inn due to bankruptcy and moving to Paris, living as the Jondrettes. M. Thénardier is associated with an infamous criminal gang called the Patron-Minette, but contrary to common belief he is not their head, both sides operate independently. The Thénardier family also live next-door to Marius, who recognizes M. Thénardier as the man who "tended to" his father at Waterloo. Javert arrests them after Marius thwarts their attempts to rob and kill Valjean in their apartment. At the end of the novel, Mme. Thénardier has long since died in prison while M. Thénardier and Azelma travel to America where he becomes a slave trader.
* Marius Pontmercy — A second-generation baron (not recognized as such under the present régime because his father was ennobled by Napoleon Bonaparte) who fell out with his royalist grandfather after discovering his father was an officer under Napoleon. He studies law, joins the revolutionary ABC students and later falls in love with Cosette.
* Enjolras — The leader of the Friends of the ABC in the Paris uprising. A charming and intimidating man with angelic beauty, he is passionately devoted to democracy, equality and justice. Enjolras is a man of principle that believes in a cause – creating a republic, liberating the poor – without any doubts. He and Grantaire are executed by the National Guards after the barricade falls.
* Éponine (a.k.a. the Jondrette girl) — The Thénardiers' elder daughter. As a child, she is pampered and spoiled by her parents, but ends up a street urchin when she reaches adolescence. She participates in her father's crimes and begging schemes to obtain money. She is blindly in love with Marius. At Marius' request, she finds Valjean and Cosette's house for him and sadly leads him there. She also prevents her father, Patron-Minette and Brujon from robbing the house during one of Marius’ visits there to see Cosette. After disguising herself as a boy, she manipulates Marius into going to the barricades, hoping that they will die together. However, she saves Marius' life by reaching out her hand to stop a soldier's bullet heading for Marius; she is mortally wounded as the bullet goes through her hand and back. As she is dying, her final request to Marius is that once she has passed, he will kiss her on the forehead. He fulfils her request not because of romantic feelings on his part, but out of pity for her hard life.
* Gavroche — The unloved middle child and eldest son of the Thénardiers, younger than his sisters. He lives on his own and is a street urchin. He briefly takes care of his two younger brothers, unaware they are related to him. He takes part in the barricades and is killed while collecting bullets from dead National Guardsmen for the ABC students at the barricade.
Minor
* Mademoiselle Baptistine — Bishop Myriel's sister. She loves and venerates her brother.
* Madame Magloire — Domestic servant for the Bishop and his sister. She is fearful that he leaves the door open to strangers.
* Petit Gervais — A small boy who drops a coin. There are two perspectives on Jean Valjean's encounter with him. According to one, Valjean, still a man of criminal mind, places his foot on the coin and refuses to return it to the boy, despite Gervais' protests. When the boy flees the scene and Valjean comes to his senses, remembering what the bishop had done for him, he is horribly ashamed of what he has done and searches for the boy in vain. Another interpretation of this scene is that Jean Valjean was not aware that he was stepping on the coin, and snarls at Petit Gervais, thinking he is just annoying him, but realizes later that the coin was under his foot and feels horrible. Either way, he was uncaring of the boy's pleas.
* Félix Tholomyès — Fantine’s lover and Cosette’s biological father. A rich student, he puts his own happiness and well-being above anything else. He does not think much of his relationship with Fantine, considering it as "a passing affair." After impregnating Fantine, he abandons her as a joke. Hugo then concludes Tholomyès’ involvement in the story by saying that "twenty years later, under King Louis Philippe, he was a fat provincial attorney, rich and influential, a wise elector and rigid juryman; always, however, a man of pleasure."
* Fauchelevent — Valjean saves Fauchelevent’s life when Valjean lifts a carriage underneath which he is caught. Fauchelevent later will return the favor by providing sanctuary for Valjean and Cosette at a convent, and by providing his name for Valjean's use.
* Bamatabois — An idler who harasses Fantine and puts snow down her back. He is also one of the jurors at Champmathieu’s trial.
* Champmathieu — A vagabond who is mistakenly accused of being Valjean.
* Brevet — An ex-convict from Toulon who knew Valjean there. In 1823, he is serving time in the prison in Arras for an unknown crime. He is the first to claim that Champmathieu is really Valjean. Used to wear knitted, checkered suspenders.
* Chenildieu — A lifer from Toulon. He and Valjean were chain mates for five years. He once tried to remove the lifer's brand TFP (“travaux forcés à perpetuité,” “forced labor for life”) by putting his shoulder on a chafing dish full of embers. He is described as a small, wiry but energetic man.
* Cochepaille — Another lifer from Toulon. He used to be a shepherd from the Pyrenees who became a smuggler. He is described as stupid and has a tattoo on his arm, March 1, 1815.
* Sister Simplice — A nun who cares for Fantine on her sickbed. She lies to Javert to protect Valjean, despite her reputation for never having told a lie in her life.
* Mother Innocente (a.k.a. Marguerite de Blemeur) — The prioress of the Petit-Picpus convent.
* Toussaint — Valjean and Cosette's servant in Paris. She has a slight stutter.
* Monsieur Gillenormand — Marius' grandfather. A Monarchist, he disagrees sharply with Marius on political issues, and they have several arguments. He attempts to keep Marius from being influenced by his father, an officer in Napoleon's army. While in perpetual conflict over ideas, he does illustrate his love for his grandson.
* Mademoiselle Gillenormand — M. Gillenormand's surviving daughter, she lives with her father. Her half-sister (M. Gillenormand's daughter from another marriage), deceased, was Marius' mother.
* Colonel Georges Pontmercy — Marius's father, and an officer in Napoleon's army. Wounded at Waterloo, Pontmercy erroneously believes M. Thénardier saved his life. He tells Marius of this great debt. He loves Marius with his very heart, and even spies on him when M. Gillenormand does not allow him to visit.
* Ma'am Bougon (real name Madame Burgon) — Housekeeper of Gorbeau House.
* Mabeuf — An elderly churchwarden. He was friends with Colonel Pontmercy, and then befriends Marius after Colonel Pontmercy's death. He helps Marius realize the identity and intentions of his father. He has a great love for plants and books, but ends up having to sell his books due to descending into poverty. Feeling that all hope is lost, he joins the students in the insurrection. He is shot and killed at the top of the barricades when raising their flag.
* Magnon — Former servant of M. Gillenormand and friend of the Thénardiers. She had been receiving child support payments from M. Gillenormand for her two illegitimate sons, who she claimed were fathered by him. When her sons died in an epidemic, she had them replaced with the Thénardiers' two youngest sons so that she could protect her income. The Thénardiers get a portion of the payments. She is soon arrested due to being allegedly involved in the Gorbeau Robbery.
* Two little brothers — The two unnamed youngest sons of the Thénardiers. The Thénardiers send their sons to Magnon to replace her own two sons who died of illness. When Magnon is arrested, a cobbler gives the boys a note written by Magnon with an address to go to. Unfortunately, it is torn away from them due to a strong wind. Unable to find it, they end up living on the streets. They soon run into their brother Gavroche, who gives them temporary care and support. The two boys and Gavroche are unaware they are related. Immediately after Gavroche's death at the barricade, the two boys are last seen at the Luxembourg Gardens retrieving and eating discarded bread from a fountain. Their fates are left unknown.
* Azelma — The younger daughter of the Thénardiers. Along with her sister Éponine, she is spoiled as a child, and suffers the same ragged and impoverished fate with her family when she is older. She also takes part in her father’s crimes. Unlike her sister, Azelma is dependent and faint-hearted. She also does not show any defiance toward her father (this is evident when, before Valjean and Cosette’s charitable visit, he orders her to punch out a windowpane in their apartment in order to look poorer. Although hesitant, she does so, resulting in cutting her hand). After the failed robbery of Valjean, she is not seen again until Marius and Cosette’s wedding day, when she and her father are dressed up as "masks" for the Mardi Gras. At the end of the novel, Azelma is the only known Thénardier child who does not die and travels with her father to America.
* Patron-Minette — A quartet of bandits who assist in the Thénardiers' ambush of Valjean at Gorbeau House and the attempted robbery at the Rue Plumet. The gang consists of Montparnasse, Claquesous, Babet, and Gueulemer. Claquesous, who escaped from the carriage transporting him to prison after the Gorbeau Robbery, joins the revolution under the guise of "Le Cabuc" and is executed by Enjolras for firing on civilians.
* Brujon — A robber and criminal. He participates in crimes with M. Thénardier and the Patron-Minette gang (such as the Gorbeau Robbery and the attempted robbery at the Rue Plumet). The author describes Brujon as being "a sprightly young fellow, very cunning and very adroit, with a flurried and plaintive appearance."
* Friends of the ABC — A group of revolutionary students. They fight and die in the insurrection of the Paris uprising on June 5th and 6th, 1832. Their name is described as coming from the following: "They declared themselves the Friends of the A B C,--the Abaissé,-- the debased,--that is to say, the people. They wished to elevate the people. It was a pun which we should do wrong to smile at." Led by Enjolras, its other principal members are Courfeyrac, Combeferre, Jean Prouvaire, Feuilly, Bahorel, Laigle (nicknamed Bossuet, sometimes also written L'Aigle, Lesgle, Lègle or Lesgles), Joly, and Grantaire.
* Grantaire — Alcoholic student who, unlike the other revolutionaries, does not strongly believe in the cause of the ABC Society, but associates with them because he admires, loves and venerates Enjolras. In the novel, their relationship is compared to that of Orestes and his pederastic companion Pylades. Grantaire is executed alongside Enjolras.
Critical reception
The first two volumes of Les Misérables were published on April 3, 1862, heralded by a massive advertising campaign; the remainder of the novel appeared on 15 May 1862. At the time, Victor Hugo enjoyed a reputation as one of France's foremost poets, and the appearance of the novel was a highly anticipated event. Critical reactions were wide-ranging and often negative; some critics found the subject matter immoral, others complained of its excessive sentimentality, and still others were disquieted by its apparent sympathy with the revolutionaries. The Goncourt brothers expressed their great dissatisfaction, judging the novel artificial and disappointing. Flaubert could find within it "neither truth nor greatness." French critic Charles Baudelaire reviewed the work glowingly in newspapers, but in private castigated it as "tasteless and inept."
The book was a great commercial success. The shortest correspondence in history is between Hugo and his publisher Hurst & Blackett in 1862. It is said Hugo was on vacation when Les Misérables (which is over 1200 pages) was published. He telegraphed the single-character message "?" to his publisher, who replied with a single "!". First translated into foreign languages (including Italian, Greek, and Portuguese) the same year it originally appeared, it proved popular not only in France, but across Europe. It has been a popular book ever since it was published, and was a great favourite among the Confederate soldiers of the American Civil War, who occasionally called themselves "Lee's Miserables" (a reference to their deteriorating conditions under General Robert E. Lee). Its popularity continues to this day, and many view it as one of the most important novels ever written.
English translations
* Charles E. Wilbour. New York: Carleton Publishing Company. June 1862. The first American translation, published only months after the French edition of the novel was released. Also, New York: George Routledge and Sons. 1879.
* Lascelles Wraxall. London: Hurst and Blackett. October 1862. The first British translation.
* Translator unknown. Richmond, Virginia. 1863. Published by West and Johnston publishers.
* Isabel F. Hapgood. Published 1887, this translation is available at Project Gutenberg.
* Norman Denny. Folio Press, 1976. A modern British translation subsequently published in paperback by Penguin Books, ISBN 0-14-044430-0. In the very strictest sense this edition is not quite an unabridged translation: Norman Denny explains in his introduction that he moved two of the novel's longer digressive passages into annexes, and that he also made some abridgements in the text, which he claims are minor.
* Lee Fahnestock and Norman MacAfee. Signet Classics. March 3, 1987. An unabridged edition based on the Wilbour translation with modernization of language. Paperback ISBN 0-451-52526-4
* Julie Rose. 2007. Vintage Classics, July 3, 2008. The first new complete translation for over a decade. Julie Rose lives in Sydney and is the translator of more than a dozen works, including a well-received version of Racine's Phèdre as well as works by Paul Virilio, Jacques Rancière, Chantal Thomas, and many others. This new translation published by Vintage Classics includes a detailed biographical sketch of Victor Hugo’s life, a chronology, and notes. ISBN 978-0-09-951113-7
Adaptations
Film and television
* 1907, On the barricade, directed Alice Guy Blaché, early adaptation of a part of the novel
* 1907, Le Chemineau
* 1909, directed by J. Stuart Blackton
* 1909, The Bishop's Candlesticks, directed by Edwin S. Porter
* 1911, directed by Albert Capellani
* 1913, directed again by Albert Capellani
* 1913, The Bishop's Candlesticks, directed Herbert Brenon, adaptation of the second book of the first volume
* 1917, directed by Frank Lloyd
* 1922, director unknown
* 1923, Aa Mujou, directed by Kiyohiko Ushihara and Yoshinobu Ikeda, Japanese film, production cancelled after two of four parts
* 1925, directed by Henri Fescourt
* 1929, The Bishop's Candlesticks, directed by Norman McKinnell, first sound film adaptation
* 1929, Aa Mujou, directed by Seika Shiba, Japanese film
* 1931, Jean Valjean, directed by Tomu Uchida, Japanese film
* 1934, directed by Raymond Bernard
* 1935, directed by Richard Boleslawski
* 1937, Gavrosh, directed by Tatyana Lukashevich, Soviet film
* 1938, Kyojinden, directed by Mansaku Itami, Japanese film
* 1943, Los Miserables, directed by Renando A. Rovero, Mexican film
* 1944, El Boassa, directed by Kamal Selim, Egyptian film
* 1948, I Miserabili, directed by Riccardo Freda
* 1949, Les Nouveaux Misérables, directed by Henri Verneuil
* 1950, Re mizeraburu: Kami to Akuma, directed by Daisuke Ito (English title: Gods and Demons)
* 1950, Ezhai Padum Padu and Beedala Patlu, directed by K. Ramnoth in Tamil and Telugu.
* 1952, directed by Lewis Milestone
* 1952, I miserabili, re-release of the 1947-film
* 1955, Kundan, directed by Sohrab Modi, Indian Hindi film
* 1958, directed by Jean-Paul Le Chanois, starring Jean Gabin
* 1958, Os Miseráveis, directed by Dionísio Azevedo, Brazilian film
* 1961, Jean Valjean, Korean film by Seung-ha Jo
* 1961, Cosette, directed by Alain Boudet on Claude Santelli’s program Le Théâtre de la jeunesse
* 1962, Gavroche, directed by Alain Boudet on Le Théâtre de la jeunesse
* 1963, Jean Valjean, directed by Alain Boudet on Le Théâtre de la jeunesse
* 1964, I miserabili, Italian TV-miniseries directed by Sandro Bolchi, starring: Gastone Moschin (Jean Valjean), Tino Carraro (Javert), Giulia Lazzarini (Fantine/adult Cosette), Loretta Goggi (young Cosette), Antonio Battistella (Thénardier), Cesarina Gheraldi (Mme. Thénardier), Angela Cardile (Éponine), Roberto Bisacco (Marius), Claudio Sora (Enjolras), Aldo Silvani (Monseigneur Bienvenu) and Edoardo Nevola (Gavroche), nearly ten hours long
* 1967, TV miniseries directed by Alan Bridges, starring: Frank Finlay (Jean Valjean), Anthony Bate (Javert), Alan Rowe (Thénardier), Judy Parfitt (Mme. Thénardier), Michele Dotrice (Fantine), Lesley Roach (Cosette), Elizabeth Counsell (Éponine), Vivian Mackerall (Marius), Derek Lamden (Gavroche), Cavan Kendall (Enjolras), Finlay Currie (Bishop of Digne)
* 1967, Os Miseráveis, Brazilian film
* 1967, Sefiller, Turkish film
* 1972, French TV miniseries directed by Marcel Bluwal, starring: Georges Géret (Jean Valjean), Bernard Fresson (Javert), Nicole Jamet (Cosette), François Marthouret (Marius), Alain Mottet (Thénardier), Micha Bayard (Mme. Thénardier), Hermine Karagheuz (Éponine), Anne-Marie Coffinet (Fantine), Jean-Luc Boutté (Enjolras), Gilles Maidon (Gavroche), François Vibert (Monseigneur Myriel)
* 1973, Los Miserables, Mexican TV adaptation directed by Antulio Jiménez Pons. Starring: Sergio Bustamante (Jean Valjean), Antonio Passy (Javert), Blanca Sánchez (Fantine), Edith González (Young Cosette), Carlos Ancira (Thénardier), Magda Guzmán (Mme. Thénardier), Diana Bracho (Cosette), Luis Torner (Marius), María Rojo (Éponine), Carlos Arguelles (Gavroche), Héctor Bonilla (Enjolras), Ángel Garasa (Bishop Myriel), Fernando Soler (M. Gillenormand), Alejandro Ciangherotti (Fauchelevent), José Luis Jiménez (Mabeuf)
* 1978, UK telefilm, directed by Glenn Jordan and starring Anthony Perkins, Richard Jordan, John Gielgud, Cyril Cusack, and Claude Dauphin
* 1978, Al Boasa, Egyptian adaptation
* 1982, directed by Robert Hossein
* 1985, TV version of the 1982 film, which is 30 minutes longer and divided into four parts
* 1995, directed by Claude Lelouch (a loose, multi-layered adaptation set in the 20th century starring Jean-Paul Belmondo)
* 1995, Les Misérables – The Dream Cast in Concert (musical done in concert style)
* 1998, directed by Bille August and starring Liam Neeson, Geoffrey Rush, Uma Thurman, Hans Matheson, and Claire Danes
* 2000, 6-hour French TV miniseries directed by Josée Dayan and co-produced by Gérard Depardieu, starring: Gérard Depardieu (Jean Valjean), John Malkovich (Javert), Christian Clavier (Thénardier), Veronica Ferres (Mme. Thénardier), Charlotte Gainsbourg (Fantine), Virginie Ledoyen (Cosette), Enrico Lo Verso (Marius), Asia Argento (Éponine), Jeanne Moreau (Mother Innocente), Steffen Wink (Enjolras), Jérôme Hardelay (Gavroche), Otto Sander (Monseigneur Bienvenu)
* 2000, 3-hour English TV movie version of the 2000 French miniseries
Animation
* 1977, Cosette, Soviet animation
* 1977, Shoujo Cosette, broadcasted on the Japanese television program Manga Sekai Mukashi Banashi, 1 episode, Japanese animation
* 1978, Aa Mujou, cover the first two volumes of the novel, broadcasted on Manga Sekai Mukashi Banashi, 13 episodes, Japanese animation
* 1979, Jean Valjean Monogatari, directed by Takashi Kuoka for Toei Animation and written by Masaki Tsuji, Japanese animation
* 1988, by Emerald City Productions
* 1992, a 26 episode French animated TV series by Studios Animage, AB Productions and Pixibox
* 2007, Les Misérables: Shōjo Cosette, a 52 episode Japanese animated TV series by Nippon Animation
Radio
* 1937, written, produced, and directed by Orson Welles
* 1952, directed by Earl Ebi
* 1982, directed by Hyman Brown
* 2001, directed by Sally Evans and Jeremy Mortimer
* 2002, directed by Philip Glassborow
Musical
Main article: Les Misérables (musical)
* In 1980, a musical of the same name opened in Paris at the Palais des Sports. It has gone on to become one of the most successful musicals in history. It was directed by Robert Hossein, the music was composed by Claude-Michel Schönberg, and the libretto was written by Alain Boublil.
* In 1985, an English language version opened in London at the Barbican Arts Centre. It was produced by Cameron Mackintosh and adapted and directed by Trevor Nunn and John Caird. The lyrics were written by Herbert Kretzmer and additional material by James Fenton.
* In 1987, the musical debuted on Broadway in New York City at the Broadway Theatre.
* 2007, Les Misérables: School Edition, copyrighted
* 2008, Les Misérables: Le Capitole de Québec version, directed by Frédéric Dubois
* 2010, Les Misérables was performed on the West End in London for three weeks.
Plays
* In 1863, one year after the novel was published, Charles Victor Hugo (Hugo's son) and Paul Meurice first adapted the novel for theatre.
* In 1906, Broadway actor Wilton Lackaye wrote an adaptation in five acts, titled The Law and the Man, though primarily with the interest of creating himself a strong role (he would play Valjean).
* An outdoor adaptation was performed in the summer at the Citadelle in France.
* There is a play adaptation by Jonathan Holloway. Donvale Christian College performed the Holloway adaptation for stage during late April 2010, using limited modern objects for certain scenes.
* There is a play adaptation by Tim Kelly.
* There is a play adaptation by Spiritual Twist Productions. This play highlights more of the religious aspect from the novel. It was last performed in April 2005 at the Clayton Center.
Games
* An adventure game has been released by Chris Tolworthy, intended as a direct adaptation of the book.
* There is a free downloadable amateur 2D fighting game based on the musical. The game is called ArmJoe, which is created by Takase. The name is a pun on the novel's Japanese title Aa Mujou (ああ無情). The game incorporates the major characters as they appear in the musical, namely Jean Valjean, Enjolras, Marius, Cosette, Éponine, Thénardier, and Javert — as well as a policeman, a robotic clone of Valjean called RoboJean, an embodiment of Judgement, and a rabbit named Ponpon.
Unofficial sequels
* In July 1995, Laura Kalpakian's novel Cosette: The Sequel to Les Misérables was released. The novel is published by HarperCollins. Tom De Haven from Entertainment Weekly called the novel "dull and overwrought and corny," and gave it a C- grading.
* In 2001, François Cérésa released his own two sequels to the novel: Cosette or the Time of Illusions and the follow-up Marius or The Fugitive. Both novels are published by Plon. Hugo's descendants, including his great-great-grandson Pierre Hugo, wanted the novels banned, considering that they breach the moral rights of the author and betrays the "respect of the integrity" and "spirit" of Hugo's original novel to make money. Cérésa had even retconned a key scene in the original novel, bringing back the character Inspector Javert and changed him to be a hero. In 2007, the Cour de Cassation ruled in favor of Cérésa and Plon.
《笑面人》是雨果在一八六九年寫成的長篇小說。這部小說以十七世紀末和十八世紀初的英國社會為背景，也就是從詹姆士二世起到他的女兒安妮女王統治英國的那個時期。 小說主人公格溫普蘭是一個爵士的後代，從小就被賣給兒童販子，成為宮廷陰謀的犧牲品。他落到兒童販子之手以後，被迫動過毀容手術，臉孔因此始終像在怪笑一樣。後來，他被好心的流浪人於蘇斯所收養。從此，他就跟着於蘇斯到處賣藝。格溫普蘭在見到於蘇斯之前，還在雪地上救起過一個女嬰——就是盲姑娘蒂，好心的於蘇斯也把她收養了下來。他們幾個人四海飄泊，受盡貧窮與不幸的折磨，但是他們並沒有嚮環境屈服，他們彼此之間充滿着誠摯的感情。在顛沛流浪生活中格溫普蘭和盲姑娘蒂之間也漸漸産生了愛情。 後來格溫普蘭有機會重新獲得爵士的頭銜，他卻厭惡貴族生活，在議會痛斥了貴族罪行後，回到自己的同伴那裏。這時蒂已經病得奄奄一息，終於去世，格溫普蘭悲痛萬分，結果投海自殺。 格溫普蘭的悲慘遭遇從而發生的那個時期，正是英國資産階級革命後不久，資産階級和新貴族建立了君主立憲政體。革命的結果對人民來說，衹是資本主義的枷鎖代替了封建主義的枷鎖。財富和特權集中在一小撮統治階級手裏，廣大人民依舊過着苦難深重的生活。
《笑面人》-作品賞析
雨果通過格溫普蘭他們的悲慘遭遇反映了當時的兩個對立的階級的尖銳矛盾：占絶大多數的人民群衆過着貧窮困苦的生活，一小撮上層貴族窮奢極侈，道德敗壞。雨果利用了豐富的歷史文獻生動地列舉了當時英國不平等的社會面貌，揭露統治階級的種種虛偽和醜惡。在小說裏，作者完全站在同情人民的立場上為貧苦大衆作辯護，描繪底層人民的疾苦。笑面人格溫普蘭在貴族院對一些王孫貴族的慷慨激昂的控訴，該是全書的高潮，該是對這樣一個不平等社會的極為淋漓盡致的描繪：人民過着凄慘的日子，無罪的人被定了罪，八歲的小姑娘開始賣淫，煤礦工人拿煤塊填肚子，漁人吃的是樹皮草根，嬰兒睡在地上挖出來的土洞裏。除了貧窮、失業、饑荒、疾病以外，我們看到壓在百姓頭上的還有警察、法律、宗教、秘密逮捕、監獄、酷刑，等等。飽經滄桑的於蘇斯就對格溫普蘭這樣說過：“沉默是窮人唯一的朋友。他們衹可以說一個字：‘是’。承認和同意是他們的全部權利。對法官說‘是’。對國王說 ‘是’。老爺們如果高興，就賞我們幾棍，我就被他們打過，這是他們的特權，他們即使把我們的骨頭打斷，對他們的尊嚴也不會有什麽損害。”他又指出：“你是生活在這樣一個國傢裏：鋸掉一棵三年的小樹，就得安安靜靜地被人送上絞刑架。……主教法庭要是判决你犯了異端邪教的罪，就該活活燒死。” 在另一方面，統治階級享受種種特權，窮奢極侈，拚命壓榨百姓的血汗來供他們揮霍。女王丈夫的年俸一下子就要增加十萬英鎊。苛捐雜稅一樣一樣地增加。 雨果把笑面人格溫普蘭的悲慘故事，就安排在這樣一個環境裏。 格溫普蘭在議會裏的發言，是對那個社會的一個有力的控訴，其實格溫普蘭和他的兩個親人—一於蘇斯和蒂的悲慘遭遇本身，就是一個有力的控訴。統治者的魔手毀滅他們的幸福，即使於蘇斯牢牢守住他的“沉默是窮人唯一的朋友”的信條，他也無法逃避這一隻看不見的、可怕的手。 這幾個善良的可憐的人、他們的命運正是當時英國廣大的勞動人民的普遍命運。雨果在小說中運用了他最為擅長的浪漫主義的對比手法，生動地刻劃了這幾個主要人物的形象。
格溫普蘭的臉是醜的，但是他的內心卻無比美麗。當他被人拋棄，一個人孤孤單單地跟死神搏鬥的時候，他還想到去救另外一個孩子，擔負起另外～個人的命運；他在成為爵士以後，忘記不了百姓的疾苦，痛斥了那些貴族老爺，最後情願拋棄榮華富貴，回到自己的親人身邊。因此，“雖然大傢都認為他是個怪物，可是蒂卻認為他是天上的神仙。”蒂說：“長得醜，這算得了什麽？做壞事纔叫醜。格溫普蘭衹做好事。所以他最漂亮。” 蒂自己呢，是一個瞎子，從小就沒有見過陽光，但是她“眼睛雖然看不見，卻充滿了亮光”。她看得到亮眼人看不到的東西，那便是格溫普蘭的內心的美。她一心愛着格溫普蘭，把格溫普蘭視做她的太陽。這是一個美麗純潔的少女。於蘇斯則是一個善良智慧的老人，他不顧自己窮睏，收留下兩個孤兒，撫養大了他們；他的才智也是驚人的，在他的身上閃耀着勞動人民的智慧的光芒。然而他深受生活的磨難，懂得一套人情世故，在惡勢力的迫害下，他也不得不逆來順受。 在他們三個人之間存在着深厚的感情，他們相依為命，互親互愛，誰也離不開誰，誰也少不了誰。他們之間這種真摯的感情，加強了小說結局的悲劇氣氛。
跟他們形成強烈對照的是安妮女王、約瑟安娜、大衛·第利—摩埃爵士這批人。他們殘暴專橫、作威作福、荒淫無恥、道德敗壞，為了滿足自己的私欲，什麽醜事都做得出來。舉幾個例子看吧：安妮女王憎恨約瑟安娜，以能看到她嫁給格溫普蘭這個畸形人為一大樂事，絲毫也不顧姊妹之情。約瑟安娜和大衛·第利—摩埃兩人都不願意結婚，因為這對各自的放蕩生活有許多便利。約瑟安娜甚至引誘格溫普蘭，想尋找墮落的樂趣，這種行為衹有從她的放蕩無恥的變態心理中可以得到解釋。這個貌若天仙、心似蛇蝎的女人，當她最後知道格溫普蘭是她的真正的丈夫的時候，反而立刻把他趕走，對他說她恨他。
小說的浪漫主義特色還表現在作傢對情節的安排上：整個故事是由許多出人意外的事件聯結而成的。小說一開始，一個孤苦伶仃的孩子給拋棄在荒涼的海岸上，等待着他的衹有死亡，但是他卻逃出了睏境。這樣的開頭就強烈地吸引住了讀者。尤其是第二部第四捲開始，約瑟安娜的來信給格溫普蘭帶來的不安，大海中漂來的葫蘆裏的秘密，格溫普蘭突然一變而為剋朗查理爵士，於蘇斯看見監獄裏扛出一口棺材以為格溫普蘭已被處死，約瑟安娜與格溫普蘭偶然相見，格溫普蘭在議會控訴統治者的罪惡，他尋找親人不見正想跳河時看見那頭幾乎與於蘇斯形影不離的狼狗奧莫，等等，真可以說是波瀾迭起，風雲變幻，而格溫普蘭的形象在這一連串的情節發展中也顯得愈益鮮明。這是這部小說的又一特色。
然而，雨果雖然真實地描敘了一個不平等的社會面貌，但是他對那個社會的本質是缺乏認識的，因此對當時社會的階級矛盾揭露得還是不夠深刻的，也缺少正確的分析。例如，他在刻劃反面人物的時候，卻把一個地位屬於次要的巴基爾費德羅寫成了首惡，似乎沒有這個人物從中施展他的陰謀詭計，格溫普蘭的命運可能就不會如此悲慘。至於把情節發展過多地建築在意外的事件出現上，偶然性太大，也自然而然地衝淡了一出嚴肅的悲劇的性質。此外，作者引經據典、夾議插敘之處也使人感到比較多。這些都可以說是這部作品的不足之處。
Background
Hugo wrote The Man Who Laughs, or the Laughing Man, over a period of fifteen months while he was living in the Channel Islands, having been exiled from his native France due to the controversial political content of his previous novels. Hugo's working title for this book was On the King's Command, but a friend suggested The Man Who Laughs.
Plot summary
The first major character whom the reader is introduced to is a mountebank who dresses in bearskins and calls himself Ursus (Latin for “bear”). His only companion is a large domesticated wolf, whom Ursus has named Homo (Latin for “man”, in a pun over the Hobbesian saying "homo homini lupus"). Ursus lives in a caravan, which he conveys to holiday fairs and markets throughout southern England, where he sells folk remedies.
The action moves to an English sea coast, on the night of January 29, 1690. Hugo sets this date precisely, but nowhere in the narrative does he link it to any specific real-world historical event. A group of men, their identities unknown to us, are urgently loading a ship for departure. A boy, ten years old, is among their company, but the men are anxious to be rid of him. While the boy desperately pleads not to be abandoned, the men leave him behind and cast off.
The desperate boy, barefoot and starving, wanders through a snowstorm and reaches a gibbet, where he finds the corpse of a hanged criminal. The dead man is wearing shoes: utterly worthless to him now, yet precious to this boy. Beneath the gibbet, the boy finds a ragged woman, frozen to death. The boy is about to move onward when he hears a sound within the woman's garments: He discovers an infant girl, barely alive, clutching the woman's breast. Hugo's narrative describes a single drop of frozen milk, resembling a pearl, suspended from the dead woman's nipple.
Although the boy's survival seems unlikely, he now takes possession of the infant in an attempt to keep her alive. The girl's eyes are sightless and clouded, and he understands that she is blind. In the snowstorm, he encounters an isolated caravan, the domicile of Ursus.
The action shifts forward 15 years, to England during the reign of Queen Anne. We meet the Duchess Josiana, a spoiled and jaded peeress who is bored by the dull routine of court. A courtier tells the duchess that the only cure for her boredom is “Gwynplaine”, although he does not divulge who or what this Gwynplaine might be.
Now we are reunited with the wanderers. Ursus is 15 years older now. Surprisingly, the wolf Homo is still alive too, although the narration admits that his fur is greyer. Gwynplaine is the abandoned boy, now 25 years old and matured to well-figured manhood. In a flashback, we witness the first encounter between Ursus and Gwynplaine. The boy is clutching a nearly-dead infant, and therefore Ursus is outraged that the boy appears to be laughing. When the boy insists that he is not laughing, Ursus takes another look, and is horrified. The boy's face has been mutilated into a clown's mask, his mouth carved into a perpetual grin. The boy tells Ursus that his name is Gwynplaine; this is the only name he has ever known.
The foundling girl has grown older too. Now sixteen years old, she has been christened Dea (Latin for “goddess”), presumably by Ursus. Dea is blind but beautiful and utterly virtuous. She is also in love with Gwynplaine, as she is able to witness his kindly nature without seeing his hideous face. When Dea attempts to “see” Gwynplaine by passing her sightless fingers across his disfigured countenance, she assumes that he must always be happy because he is perpetually smiling. They fall in love.
Ursus and his two surrogate children earn a bare living in the funfairs and carnivals of southern England. Everywhere they travel, Gwynplaine keeps the lower half of his face concealed. He is now the principal wage-earner of their retinue; in each town they visit, Gwynplaine gives a stage performance; the chief feature of this performance is that the crowds are invariably provoked to laughter when Gwynplaine reveals his grotesque face.
At one point, Ursus and Gwynplaine are readying for their next performance when Ursus directs Gwynplaine's attention to a man who strides purposefully past their fairgrounds, dressed in ceremonial garments and bearing an elaborate wooden staff. Ursus explains that this man is the Wapentake, a servant of the Crown. (“Wapentake” is an Old English word meaning “weapon-touch”.) Whomever the Wapentake touches with his staff has been summoned by the monarch and must go to wherever the Wapentake leads, upon pain of death.
Josiana attends one of Gwynplaine's performances, and is sensually aroused by the combination of his virile grace and his facial deformity. Hugo makes it clear that Josiana's feelings towards Gwynplaine are erotic and sexual. Gwynplaine, too, is aroused by the physical beauty and haughty demeanour of this sensuous woman.
Suddenly, the Wapentake arrives at the caravan and touches Gwynplaine with his staff, compelling the disfigured man to follow him to the court of Queen Anne. Gwynplaine is ushered to a dungeon in London, where a physician named Hardquannone is being tortured to death. Hardquannone recognises the deformed Gwynplaine, and identifies him as the boy whose abduction and disfigurement Hardquannone arranged twenty-three years earlier.
In the year 1682, in the reign of James II, one of the king's enemies was Lord Linnaeus Clancharlie, Marquis of Corleone and a baron in the House of Lords. The king arranged the baron's abduction and murder. The baron, already widowed, left a two-year-old son: Fermain, heir to his estates. With the king's approval, Hardquannone gave this helpless boy to a band of wanderers called “the Comprachicos”.
“Comprachicos”: this word is Hugo's invention, based on the Spanish for “child-buyers”. They make their living by mutilating and disfiguring children, who are then forced to beg for alms, or who are exhibited as carnival freaks.
It becomes clear that, after disfiguring the two-year-old Fermain and renaming him Gwynplaine, the Comprachicos kept him in their possession until they abandoned him eight years later in 1690, on the night when he found Dea. Their ship was lost in the storm at sea, with all hands, but one passenger considerately wrote out a confession and cast this adrift in a sealed flask, which now has belatedly come to the attention of Queen Anne.
Dea is saddened by Gwynplaine's protracted absence. Dea has always been frail, but now she withers away even more.
Gwynplaine is now formally instated as Lord Fermain Clancharlie, Marquis of Corleone. In a grotesque scene, he is dressed in the elaborate robes and ceremonial wig of investiture, and commanded to take his seat in the House of Lords. But, when the deformed Gwynplaine attempts to address his peers — now his peers in the literal sense — the other lords are provoked to laughter by Gwynplaine's clownish features.
Gwynplaine renounces his peerage and returns to the caravan of Ursus, and to the only family he has ever known. Dea is delighted that Gwynplaine has returned to her. The four friends (including Homo) cast off aboard a vessel to the continent, resolved to abandon England forever. During the voyage, while Ursus slumbers, Dea reveals her passion to Gwynplaine, and then she abruptly dies. When Ursus awakens, Gwynplaine has vanished, and Homo is staring mournfully over the ship's rail, into the open sea, implying that Gwynplaine has drowned himself.
Film, TV or theatrical adaptations
There have been several dramatic adaptations of The Man Who Laughs. These include:
Film
See The Man Who Laughs (film) for the full list
Theatre
* Clair de Lune, a stage play written by Blanche Oelrichs under her male pseudonym Michael Strange, which ran for 64 performances on Broadway from April to June 1921. Oelrichs/Strange made some extremely arbitrary changes to the story, such as altering the protagonist's name to “Gwymplane”. The play features some very contrived and stilted dialogue, and would probably never have been produced if not for the fact that Oelrichs's husband at this time was the famed actor John Barrymore, who agreed to play Gwymplane and persuaded his sister Ethel Barrymore to portray Queen Anne. The ill-starred drama was dismissed as a vanity production, indulged by Barrymore purely to give his wife some credibility as playwright “Michael Strange”. The review by theatre critic James Whittaker of the Chicago Tribune was headlined “For the Love of Mike!”
* In 2005, The Stolen Chair Theatre Company recreated the story as a "Silent film for the stage." This adaptation pulled equally from Hugo's novel, the 1927 Hollywood Silent film, and from the creative minds of Stolen Chair. Stolen Chair's collectively created adaptation was staged as a live silent film, with stylized movement, original musical accompaniment, and projected intertitles. Gwynplaine was brought to life by Jon Campbell and was joined by Jennifer Wren, Alexia Vernon, Dennis Wit and Cameron J. Oro. It played in NY to critical acclaim and has been published in the book, Playing with Cannons.
* In 2006 the original story was adapted into musical by Alexandr Tumencev (composer) and Tatyana Ziryanova (Russian lyrics) and entitled 'Man Who Laughs' ('Человек, который смеётся'). This musical adaptation is performed by the Theatre of musical "Seventh Morning" starting from November, 6.
Comics
* In May 1950, the Gilberton publishing company produced a comic-book adaptation of The Man Who Laughs as part of their prestigious Classics Illustrated series. This adaptation featured artwork by Alex A. Blum, much of it closely resembling the 1928 film (including the anachronistic Ferris wheel). The character of Gwynplaine is drawn as a handsome young man, quite normal except for two prominent creases at the sides of his mouth. As this comic book was intended for juvenile readers, there may have been an intentional editorial decision to minimise the appearance of Gwynplaine's disfigurement. A revised Classics Illustrated edition, with a more faithful script by Al Sundel, and a painted cover and new interior art by Norman Nodel, was issued in the spring of 1962. Nodel's artwork showed a Gwynplaine far more disfigured than the character's appearance in either the 1928 film or the 1950 Classics edition.
* A second comic book version was produced by artist Fernando de Felipe, published by S. I. ARTISTS and republished by Heavy Metal Magazine in 1994. This adaptation was intended for a mature audience and places more emphasis on the horrific elements of the story. De Felipe has simplified and taken some liberties with Hugo's storyline. His rendering emphasizes the grotesque in Hugo and excludes the elements of the sublime that are equally important in the original.
Allusions/references from other works
The Joker, as drawn by Brian Bolland. This is one of many artists' renditions of the supervillain who was visually inspired by The Man Who Laughs.
* In 1869, while living in Buffalo, New York, Mark Twain published a parody of L'Homme qui Rit in the Buffalo Express newspaper. The parody attempted to offer parallels between Gwynplaine and Andrew Johnson, the scandal-plagued President of the United States at that time. The parody was not a success, and is of minor interest only because of its author's later prominence.
* In 1940, comic book artist Bob Kane and writer Bill Finger used Gwynplaine's lanky physique and grotesque grin as the visual inspiration for the Joker, Batman's archenemy. There the similarity ends, however; Gwynplaine is an embittered hero, while the Joker is a psychopathic criminal.
In the 1970s, Bob Kane acknowledged the inspiration for the Joker, and it was later explicitly referenced in the graphic novel, Batman: The Man Who Laughs. Comic book artist Brian Bolland said that watching The Man Who Laughs was one of his inspirations for drawing the graphic novel Batman: The Killing Joke (1988). In the episode "Wild Cards" of the Justice League animated series (2003), The Joker infiltrated a TV station by using the alias "Gwynplaine Entertainment." Another point to note is the similarity of the name Hardquannone, the rescued physician, and the Jokers psychiatrist (later lover and partner in crime) Harley Quinn.
* Gwynplaine's physical appearance may have inspired "Sardonicus", a story by Ray Russell published in Playboy in 1961. This gothic horror tale describes a man who has experienced a shock so terrifying that he undergoes a medical condition called Risus sardonicus, in which his face is permanently paralyzed into an exaggerated grin. Russell's story was filmed that same year as Mr. Sardonicus, a low-budget horror film by William Castle, featuring one of the gimmicks for which that producer was famous: halting the projection of the movie a few minutes before it ended, ostensibly so that the audience could vote on whether Sardonicus would live or die. Allegedly, the projectionist had two different endings available, and would screen the one reflecting the audience's verdict. In reality, however, only one ending was ever filmed or shown, with Sardonicus starving to death, his handicap preventing him from eating.
* The novelist and essayist Ayn Rand adapted Hugo's term “Comprachicos” for her own purposes in a noted essay, published in The Objectivist in 1970. Rand used the term “Comprachicos” to designate various forces in society which — either through well-meaning ignorance or outright malice — distort and deform children's souls and minds in an attempt to force them into social conformity. She considered The Man Who Laughs to be Hugo's best novel.
* Pinball, a 1982 novel credited to Jerzy Kosinski, features a female character named Andrea Gwynplaine. As there is no parallel between Kosinski's novel and Hugo's, it was not immediately clear why this character was so oddly named. After Kosinski's death, it was determined that at least two uncredited “ghost writers” made substantial contributions to this novel and other works credited to Kosinski: one of those uncredited co-authors was journalist F. Gwynplaine MacIntyre, who had previously named himself after Hugo's protagonist, and who inserted the name “Gwynplaine” into the text of Pinball as a clue to his participation.
* In James Ellroy's book The Black Dahlia, the mutilation murder of Elizabeth Short is partially inspired by a painting of Gwynplaine. The painting ends up being the one of the major clues in solving the murder.
* A short story by the name of The Laughing Man is featured J.D. Salinger's Nine Stories. It appears to be influenced by The Man Who Laughs, featuring an individual facially disfigured in his childhood by criminals who have kidnapped him.
* In the 2008 movie "The Dark Knight" the character "The Joker" appears to take a more direct influence physically from Gwynplaine as his permanent grin appears to be caused by a mutilation to his face.
* In H.G. Wells' The Island of Doctor Moreau, Moreau refers to L'Homme qui Rit when explaining the nature of his experiments to the protagonist.
* In the new Rob Zombie album, Hellbilly Deluxe 2, the last song is titled "The Man Who Laughs" and is based on the story of the same name.
《笑面人》-作品賞析
雨果通過格溫普蘭他們的悲慘遭遇反映了當時的兩個對立的階級的尖銳矛盾：占絶大多數的人民群衆過着貧窮困苦的生活，一小撮上層貴族窮奢極侈，道德敗壞。雨果利用了豐富的歷史文獻生動地列舉了當時英國不平等的社會面貌，揭露統治階級的種種虛偽和醜惡。在小說裏，作者完全站在同情人民的立場上為貧苦大衆作辯護，描繪底層人民的疾苦。笑面人格溫普蘭在貴族院對一些王孫貴族的慷慨激昂的控訴，該是全書的高潮，該是對這樣一個不平等社會的極為淋漓盡致的描繪：人民過着凄慘的日子，無罪的人被定了罪，八歲的小姑娘開始賣淫，煤礦工人拿煤塊填肚子，漁人吃的是樹皮草根，嬰兒睡在地上挖出來的土洞裏。除了貧窮、失業、饑荒、疾病以外，我們看到壓在百姓頭上的還有警察、法律、宗教、秘密逮捕、監獄、酷刑，等等。飽經滄桑的於蘇斯就對格溫普蘭這樣說過：“沉默是窮人唯一的朋友。他們衹可以說一個字：‘是’。承認和同意是他們的全部權利。對法官說‘是’。對國王說 ‘是’。老爺們如果高興，就賞我們幾棍，我就被他們打過，這是他們的特權，他們即使把我們的骨頭打斷，對他們的尊嚴也不會有什麽損害。”他又指出：“你是生活在這樣一個國傢裏：鋸掉一棵三年的小樹，就得安安靜靜地被人送上絞刑架。……主教法庭要是判决你犯了異端邪教的罪，就該活活燒死。” 在另一方面，統治階級享受種種特權，窮奢極侈，拚命壓榨百姓的血汗來供他們揮霍。女王丈夫的年俸一下子就要增加十萬英鎊。苛捐雜稅一樣一樣地增加。 雨果把笑面人格溫普蘭的悲慘故事，就安排在這樣一個環境裏。 格溫普蘭在議會裏的發言，是對那個社會的一個有力的控訴，其實格溫普蘭和他的兩個親人—一於蘇斯和蒂的悲慘遭遇本身，就是一個有力的控訴。統治者的魔手毀滅他們的幸福，即使於蘇斯牢牢守住他的“沉默是窮人唯一的朋友”的信條，他也無法逃避這一隻看不見的、可怕的手。 這幾個善良的可憐的人、他們的命運正是當時英國廣大的勞動人民的普遍命運。雨果在小說中運用了他最為擅長的浪漫主義的對比手法，生動地刻劃了這幾個主要人物的形象。
格溫普蘭的臉是醜的，但是他的內心卻無比美麗。當他被人拋棄，一個人孤孤單單地跟死神搏鬥的時候，他還想到去救另外一個孩子，擔負起另外～個人的命運；他在成為爵士以後，忘記不了百姓的疾苦，痛斥了那些貴族老爺，最後情願拋棄榮華富貴，回到自己的親人身邊。因此，“雖然大傢都認為他是個怪物，可是蒂卻認為他是天上的神仙。”蒂說：“長得醜，這算得了什麽？做壞事纔叫醜。格溫普蘭衹做好事。所以他最漂亮。” 蒂自己呢，是一個瞎子，從小就沒有見過陽光，但是她“眼睛雖然看不見，卻充滿了亮光”。她看得到亮眼人看不到的東西，那便是格溫普蘭的內心的美。她一心愛着格溫普蘭，把格溫普蘭視做她的太陽。這是一個美麗純潔的少女。於蘇斯則是一個善良智慧的老人，他不顧自己窮睏，收留下兩個孤兒，撫養大了他們；他的才智也是驚人的，在他的身上閃耀着勞動人民的智慧的光芒。然而他深受生活的磨難，懂得一套人情世故，在惡勢力的迫害下，他也不得不逆來順受。 在他們三個人之間存在着深厚的感情，他們相依為命，互親互愛，誰也離不開誰，誰也少不了誰。他們之間這種真摯的感情，加強了小說結局的悲劇氣氛。
跟他們形成強烈對照的是安妮女王、約瑟安娜、大衛·第利—摩埃爵士這批人。他們殘暴專橫、作威作福、荒淫無恥、道德敗壞，為了滿足自己的私欲，什麽醜事都做得出來。舉幾個例子看吧：安妮女王憎恨約瑟安娜，以能看到她嫁給格溫普蘭這個畸形人為一大樂事，絲毫也不顧姊妹之情。約瑟安娜和大衛·第利—摩埃兩人都不願意結婚，因為這對各自的放蕩生活有許多便利。約瑟安娜甚至引誘格溫普蘭，想尋找墮落的樂趣，這種行為衹有從她的放蕩無恥的變態心理中可以得到解釋。這個貌若天仙、心似蛇蝎的女人，當她最後知道格溫普蘭是她的真正的丈夫的時候，反而立刻把他趕走，對他說她恨他。
小說的浪漫主義特色還表現在作傢對情節的安排上：整個故事是由許多出人意外的事件聯結而成的。小說一開始，一個孤苦伶仃的孩子給拋棄在荒涼的海岸上，等待着他的衹有死亡，但是他卻逃出了睏境。這樣的開頭就強烈地吸引住了讀者。尤其是第二部第四捲開始，約瑟安娜的來信給格溫普蘭帶來的不安，大海中漂來的葫蘆裏的秘密，格溫普蘭突然一變而為剋朗查理爵士，於蘇斯看見監獄裏扛出一口棺材以為格溫普蘭已被處死，約瑟安娜與格溫普蘭偶然相見，格溫普蘭在議會控訴統治者的罪惡，他尋找親人不見正想跳河時看見那頭幾乎與於蘇斯形影不離的狼狗奧莫，等等，真可以說是波瀾迭起，風雲變幻，而格溫普蘭的形象在這一連串的情節發展中也顯得愈益鮮明。這是這部小說的又一特色。
然而，雨果雖然真實地描敘了一個不平等的社會面貌，但是他對那個社會的本質是缺乏認識的，因此對當時社會的階級矛盾揭露得還是不夠深刻的，也缺少正確的分析。例如，他在刻劃反面人物的時候，卻把一個地位屬於次要的巴基爾費德羅寫成了首惡，似乎沒有這個人物從中施展他的陰謀詭計，格溫普蘭的命運可能就不會如此悲慘。至於把情節發展過多地建築在意外的事件出現上，偶然性太大，也自然而然地衝淡了一出嚴肅的悲劇的性質。此外，作者引經據典、夾議插敘之處也使人感到比較多。這些都可以說是這部作品的不足之處。
Background
Hugo wrote The Man Who Laughs, or the Laughing Man, over a period of fifteen months while he was living in the Channel Islands, having been exiled from his native France due to the controversial political content of his previous novels. Hugo's working title for this book was On the King's Command, but a friend suggested The Man Who Laughs.
Plot summary
The first major character whom the reader is introduced to is a mountebank who dresses in bearskins and calls himself Ursus (Latin for “bear”). His only companion is a large domesticated wolf, whom Ursus has named Homo (Latin for “man”, in a pun over the Hobbesian saying "homo homini lupus"). Ursus lives in a caravan, which he conveys to holiday fairs and markets throughout southern England, where he sells folk remedies.
The action moves to an English sea coast, on the night of January 29, 1690. Hugo sets this date precisely, but nowhere in the narrative does he link it to any specific real-world historical event. A group of men, their identities unknown to us, are urgently loading a ship for departure. A boy, ten years old, is among their company, but the men are anxious to be rid of him. While the boy desperately pleads not to be abandoned, the men leave him behind and cast off.
The desperate boy, barefoot and starving, wanders through a snowstorm and reaches a gibbet, where he finds the corpse of a hanged criminal. The dead man is wearing shoes: utterly worthless to him now, yet precious to this boy. Beneath the gibbet, the boy finds a ragged woman, frozen to death. The boy is about to move onward when he hears a sound within the woman's garments: He discovers an infant girl, barely alive, clutching the woman's breast. Hugo's narrative describes a single drop of frozen milk, resembling a pearl, suspended from the dead woman's nipple.
Although the boy's survival seems unlikely, he now takes possession of the infant in an attempt to keep her alive. The girl's eyes are sightless and clouded, and he understands that she is blind. In the snowstorm, he encounters an isolated caravan, the domicile of Ursus.
The action shifts forward 15 years, to England during the reign of Queen Anne. We meet the Duchess Josiana, a spoiled and jaded peeress who is bored by the dull routine of court. A courtier tells the duchess that the only cure for her boredom is “Gwynplaine”, although he does not divulge who or what this Gwynplaine might be.
Now we are reunited with the wanderers. Ursus is 15 years older now. Surprisingly, the wolf Homo is still alive too, although the narration admits that his fur is greyer. Gwynplaine is the abandoned boy, now 25 years old and matured to well-figured manhood. In a flashback, we witness the first encounter between Ursus and Gwynplaine. The boy is clutching a nearly-dead infant, and therefore Ursus is outraged that the boy appears to be laughing. When the boy insists that he is not laughing, Ursus takes another look, and is horrified. The boy's face has been mutilated into a clown's mask, his mouth carved into a perpetual grin. The boy tells Ursus that his name is Gwynplaine; this is the only name he has ever known.
The foundling girl has grown older too. Now sixteen years old, she has been christened Dea (Latin for “goddess”), presumably by Ursus. Dea is blind but beautiful and utterly virtuous. She is also in love with Gwynplaine, as she is able to witness his kindly nature without seeing his hideous face. When Dea attempts to “see” Gwynplaine by passing her sightless fingers across his disfigured countenance, she assumes that he must always be happy because he is perpetually smiling. They fall in love.
Ursus and his two surrogate children earn a bare living in the funfairs and carnivals of southern England. Everywhere they travel, Gwynplaine keeps the lower half of his face concealed. He is now the principal wage-earner of their retinue; in each town they visit, Gwynplaine gives a stage performance; the chief feature of this performance is that the crowds are invariably provoked to laughter when Gwynplaine reveals his grotesque face.
At one point, Ursus and Gwynplaine are readying for their next performance when Ursus directs Gwynplaine's attention to a man who strides purposefully past their fairgrounds, dressed in ceremonial garments and bearing an elaborate wooden staff. Ursus explains that this man is the Wapentake, a servant of the Crown. (“Wapentake” is an Old English word meaning “weapon-touch”.) Whomever the Wapentake touches with his staff has been summoned by the monarch and must go to wherever the Wapentake leads, upon pain of death.
Josiana attends one of Gwynplaine's performances, and is sensually aroused by the combination of his virile grace and his facial deformity. Hugo makes it clear that Josiana's feelings towards Gwynplaine are erotic and sexual. Gwynplaine, too, is aroused by the physical beauty and haughty demeanour of this sensuous woman.
Suddenly, the Wapentake arrives at the caravan and touches Gwynplaine with his staff, compelling the disfigured man to follow him to the court of Queen Anne. Gwynplaine is ushered to a dungeon in London, where a physician named Hardquannone is being tortured to death. Hardquannone recognises the deformed Gwynplaine, and identifies him as the boy whose abduction and disfigurement Hardquannone arranged twenty-three years earlier.
In the year 1682, in the reign of James II, one of the king's enemies was Lord Linnaeus Clancharlie, Marquis of Corleone and a baron in the House of Lords. The king arranged the baron's abduction and murder. The baron, already widowed, left a two-year-old son: Fermain, heir to his estates. With the king's approval, Hardquannone gave this helpless boy to a band of wanderers called “the Comprachicos”.
“Comprachicos”: this word is Hugo's invention, based on the Spanish for “child-buyers”. They make their living by mutilating and disfiguring children, who are then forced to beg for alms, or who are exhibited as carnival freaks.
It becomes clear that, after disfiguring the two-year-old Fermain and renaming him Gwynplaine, the Comprachicos kept him in their possession until they abandoned him eight years later in 1690, on the night when he found Dea. Their ship was lost in the storm at sea, with all hands, but one passenger considerately wrote out a confession and cast this adrift in a sealed flask, which now has belatedly come to the attention of Queen Anne.
Dea is saddened by Gwynplaine's protracted absence. Dea has always been frail, but now she withers away even more.
Gwynplaine is now formally instated as Lord Fermain Clancharlie, Marquis of Corleone. In a grotesque scene, he is dressed in the elaborate robes and ceremonial wig of investiture, and commanded to take his seat in the House of Lords. But, when the deformed Gwynplaine attempts to address his peers — now his peers in the literal sense — the other lords are provoked to laughter by Gwynplaine's clownish features.
Gwynplaine renounces his peerage and returns to the caravan of Ursus, and to the only family he has ever known. Dea is delighted that Gwynplaine has returned to her. The four friends (including Homo) cast off aboard a vessel to the continent, resolved to abandon England forever. During the voyage, while Ursus slumbers, Dea reveals her passion to Gwynplaine, and then she abruptly dies. When Ursus awakens, Gwynplaine has vanished, and Homo is staring mournfully over the ship's rail, into the open sea, implying that Gwynplaine has drowned himself.
Film, TV or theatrical adaptations
There have been several dramatic adaptations of The Man Who Laughs. These include:
Film
See The Man Who Laughs (film) for the full list
Theatre
* Clair de Lune, a stage play written by Blanche Oelrichs under her male pseudonym Michael Strange, which ran for 64 performances on Broadway from April to June 1921. Oelrichs/Strange made some extremely arbitrary changes to the story, such as altering the protagonist's name to “Gwymplane”. The play features some very contrived and stilted dialogue, and would probably never have been produced if not for the fact that Oelrichs's husband at this time was the famed actor John Barrymore, who agreed to play Gwymplane and persuaded his sister Ethel Barrymore to portray Queen Anne. The ill-starred drama was dismissed as a vanity production, indulged by Barrymore purely to give his wife some credibility as playwright “Michael Strange”. The review by theatre critic James Whittaker of the Chicago Tribune was headlined “For the Love of Mike!”
* In 2005, The Stolen Chair Theatre Company recreated the story as a "Silent film for the stage." This adaptation pulled equally from Hugo's novel, the 1927 Hollywood Silent film, and from the creative minds of Stolen Chair. Stolen Chair's collectively created adaptation was staged as a live silent film, with stylized movement, original musical accompaniment, and projected intertitles. Gwynplaine was brought to life by Jon Campbell and was joined by Jennifer Wren, Alexia Vernon, Dennis Wit and Cameron J. Oro. It played in NY to critical acclaim and has been published in the book, Playing with Cannons.
* In 2006 the original story was adapted into musical by Alexandr Tumencev (composer) and Tatyana Ziryanova (Russian lyrics) and entitled 'Man Who Laughs' ('Человек, который смеётся'). This musical adaptation is performed by the Theatre of musical "Seventh Morning" starting from November, 6.
Comics
* In May 1950, the Gilberton publishing company produced a comic-book adaptation of The Man Who Laughs as part of their prestigious Classics Illustrated series. This adaptation featured artwork by Alex A. Blum, much of it closely resembling the 1928 film (including the anachronistic Ferris wheel). The character of Gwynplaine is drawn as a handsome young man, quite normal except for two prominent creases at the sides of his mouth. As this comic book was intended for juvenile readers, there may have been an intentional editorial decision to minimise the appearance of Gwynplaine's disfigurement. A revised Classics Illustrated edition, with a more faithful script by Al Sundel, and a painted cover and new interior art by Norman Nodel, was issued in the spring of 1962. Nodel's artwork showed a Gwynplaine far more disfigured than the character's appearance in either the 1928 film or the 1950 Classics edition.
* A second comic book version was produced by artist Fernando de Felipe, published by S. I. ARTISTS and republished by Heavy Metal Magazine in 1994. This adaptation was intended for a mature audience and places more emphasis on the horrific elements of the story. De Felipe has simplified and taken some liberties with Hugo's storyline. His rendering emphasizes the grotesque in Hugo and excludes the elements of the sublime that are equally important in the original.
Allusions/references from other works
The Joker, as drawn by Brian Bolland. This is one of many artists' renditions of the supervillain who was visually inspired by The Man Who Laughs.
* In 1869, while living in Buffalo, New York, Mark Twain published a parody of L'Homme qui Rit in the Buffalo Express newspaper. The parody attempted to offer parallels between Gwynplaine and Andrew Johnson, the scandal-plagued President of the United States at that time. The parody was not a success, and is of minor interest only because of its author's later prominence.
* In 1940, comic book artist Bob Kane and writer Bill Finger used Gwynplaine's lanky physique and grotesque grin as the visual inspiration for the Joker, Batman's archenemy. There the similarity ends, however; Gwynplaine is an embittered hero, while the Joker is a psychopathic criminal.
In the 1970s, Bob Kane acknowledged the inspiration for the Joker, and it was later explicitly referenced in the graphic novel, Batman: The Man Who Laughs. Comic book artist Brian Bolland said that watching The Man Who Laughs was one of his inspirations for drawing the graphic novel Batman: The Killing Joke (1988). In the episode "Wild Cards" of the Justice League animated series (2003), The Joker infiltrated a TV station by using the alias "Gwynplaine Entertainment." Another point to note is the similarity of the name Hardquannone, the rescued physician, and the Jokers psychiatrist (later lover and partner in crime) Harley Quinn.
* Gwynplaine's physical appearance may have inspired "Sardonicus", a story by Ray Russell published in Playboy in 1961. This gothic horror tale describes a man who has experienced a shock so terrifying that he undergoes a medical condition called Risus sardonicus, in which his face is permanently paralyzed into an exaggerated grin. Russell's story was filmed that same year as Mr. Sardonicus, a low-budget horror film by William Castle, featuring one of the gimmicks for which that producer was famous: halting the projection of the movie a few minutes before it ended, ostensibly so that the audience could vote on whether Sardonicus would live or die. Allegedly, the projectionist had two different endings available, and would screen the one reflecting the audience's verdict. In reality, however, only one ending was ever filmed or shown, with Sardonicus starving to death, his handicap preventing him from eating.
* The novelist and essayist Ayn Rand adapted Hugo's term “Comprachicos” for her own purposes in a noted essay, published in The Objectivist in 1970. Rand used the term “Comprachicos” to designate various forces in society which — either through well-meaning ignorance or outright malice — distort and deform children's souls and minds in an attempt to force them into social conformity. She considered The Man Who Laughs to be Hugo's best novel.
* Pinball, a 1982 novel credited to Jerzy Kosinski, features a female character named Andrea Gwynplaine. As there is no parallel between Kosinski's novel and Hugo's, it was not immediately clear why this character was so oddly named. After Kosinski's death, it was determined that at least two uncredited “ghost writers” made substantial contributions to this novel and other works credited to Kosinski: one of those uncredited co-authors was journalist F. Gwynplaine MacIntyre, who had previously named himself after Hugo's protagonist, and who inserted the name “Gwynplaine” into the text of Pinball as a clue to his participation.
* In James Ellroy's book The Black Dahlia, the mutilation murder of Elizabeth Short is partially inspired by a painting of Gwynplaine. The painting ends up being the one of the major clues in solving the murder.
* A short story by the name of The Laughing Man is featured J.D. Salinger's Nine Stories. It appears to be influenced by The Man Who Laughs, featuring an individual facially disfigured in his childhood by criminals who have kidnapped him.
* In the 2008 movie "The Dark Knight" the character "The Joker" appears to take a more direct influence physically from Gwynplaine as his permanent grin appears to be caused by a mutilation to his face.
* In H.G. Wells' The Island of Doctor Moreau, Moreau refers to L'Homme qui Rit when explaining the nature of his experiments to the protagonist.
* In the new Rob Zombie album, Hellbilly Deluxe 2, the last song is titled "The Man Who Laughs" and is based on the story of the same name.