《 jiǔ sān nián》 shì yǔ guǒ wǎn nián de zhòng yào zuò pǐn， zhè shì tā de zuì hòu yī bù xiǎo shuō。 tā zài《 xiào miàn rén》（ yī bā liù jiǔ） de xù zhōng shuō guò， tā hái yào xiě liǎng bù xù jí：《 jūn zhù zhèng zhì》 hé《 jiǔ sān nián》。 qián zhě shǐ zhōng méi yòu xiě chéng， hòu zhě xiě yú yī bā qī 'èr nián shí 'èr yuè zhì yī bā qī sān nián liù yuè， yī bā qī sì nián chū bǎn。 zhè shí， yǔ guǒ yǐ jīng liú wáng guī lái； tā zài máng shí hǎi xiá de zé xī dǎo hé gài 'ěr nèi xī dǎo dù guò liǎo màn cháng de shí jiǔ nián， shǐ zhōng cǎi qǔ yǔ dàoxíng nì shī de ná pò lún sān shì shì bù liǎng lì de tài dù， zhí dào dì 'èr dì guó bēng kuì， tā cái kǎi xuán bān fǎn huí bā lí。 kě shì， yī bō wèi píng yī bō yòu qǐ： tā yào miàn duì pǔ fǎ zhàn zhēng de bēi cǎn zhàn huò hé bā lí gōng shè shè yuán de yù xuè dǒu zhēng， yǎn qián de xiàn shí gěi tā liú xià nán yǐ wàng huái de yìn xiàng， zài yī cì jī fā liǎo tā de rén dào zhù yì sī xiǎng。 tā huí gù lì shǐ， fǎ guó dà gé mìng de shǐ shí gěi liǎo tā qǐ fā， tā yòu xīn tōng guò dà gé mìng shí qī wàng dài dì qū bǎo wáng dǎng rén de pàn luàn， chǎn fā zì jǐ de sī xiǎng。 zhè gè niàn tóu zǎo zài yī bā liù 'èr nián dǐ zhì yī bā liù sān nián chū yǐ jīng chū xiàn， rú jīn xiě zuò shí jī chéng shú liǎo。 yǔ guǒ zài zhì yǒu rén de xìn zhōng shuō： “ tiān zhù huì gěi wǒ shēng mìng hé lì liàng， wán chéng wǒ de dí rén chēng zhī wéi páng dà dé chū qí de jù dà jìhuà má？ wǒ nián mài liǎo yī diǎn， bù néng yí dòng zhè xiē dà shān， ér qiě shì duō me gāo sǒng de dà shān 'ā！《 jiǔ sān nián》 jiù shì zhè yàng yī zuò dà shān！ ” xiǎn 'ér yì jiàn， zài yǔ guǒ de xīn mù zhōng，《 jiǔ sān nián》 fènliàng hěn zhòng， tā qīng yì bù kěn dòng bǐ， yīn 'ér yùn niàng de shí jiān yòu shí duō nián zhī jiǔ。 yǔ guǒ zài xiě zuò zhī qián yuè dú liǎo jìn kě néng duō de cái liào， zuò liǎo chōng fēn de liǎo jiě lì shǐ bèi jǐng de gōng zuò。 guān yú dà gé mìng shí qī bù liè tǎ ní dì qū de pàn luàn， tā kàn liǎo pí yī cái bó jué de《 huí yì lù》（ yī bā ０ sān - yī bā０ qī）， dù shí màn · dé sī bō de《 guān yú zhū 'ān dǎng pàn luàn qǐ yuán de tōng xìn》（ yī bā 'èr wǔ）， cóng zhōng jiè yòng liǎo rén wù、 míng zì、 fāng yán tǔ yǔ、 fú zhuāng hé shēng huó fāng shì de xì jié， hái yòu gè gè shì jiàn。 guān yú jiù guó wěi yuán huì de huó dòng， tā cān yuè liǎo jiā lā、 gē yī 'āi、 lán gài、 sài nà 'ěr děng rén de huí yì lù。 guān yú guó mín gōng huì， tā cān yuè liǎo《 rì tōng bào》 huì biān。 tā yán dú liǎo mǐ shí lāi、 lù yì · bù lǎng、 tī yě 'ěr、 bó nán de zhù zuò； bó nán de《 fǎ guó dà gé mìng shǐ》 bǎo liú liǎo yī tiáo shū qiān， shàng xiě：“ yī qī jiǔ sān nián wǔ yuè sān shí yī rì， guān jiàn jú shì。” zhè yī tiān chéng wéi xiǎo shuō de chū fā diǎn。 tā hái shǐ yòng guò lā mǎ dīng de《 jí lún tè dǎng shǐ》， ā méi 'ěr de《 luó bó sī bǐ 'ěr shǐ》 hé tā de péng yǒu kè lā 'ěr dì zhù shù de《 zuì hòu jǐ gè shān yuè dǎng rén shǐ shí》， lìng wài， sài bā sī dì 'ān · méi 'ěr xī 'āi de《 xīn bā lí》 gěi tā tí gōng liǎo yī qī jiǔ sān nián de fǎ guó shēng huó hé bǎo lěi jiàn zhù de bǎo guì cái liào。 yǔ guǒ bìng méi yòu ràng zhè yī dà duī cái liào suǒ zuǒ yòu， ér shì jià yù zhè xiē cái liào， chuàng zuò chū yī bù shēng dòng 'ér jǐn zhāng de lì shǐ xiǎo shuō。 yīnggāi shuō， yǔ guǒ duì fǎ guó dà gé mìng bìng bù mò shēng， tā shēng yú yī bā０ èr nián， fù qīn shì ná pò lún shǒu xià de yī gè jiāng jūn， ér mǔ qīn chí yòu bǎo wáng dǎng guān diǎn。 yǔ guǒ de tóng nián hé qīng shàonián shí qī jīng lì liǎo dà gé mìng de biàn qiān。 duì yú zhè chǎng rén lèi lì shǐ shàng fān tiān fù dì de shè huì biàn gé， tā yòu qièshēn de gǎn shòu。 bù guò zhè shí yǔ guǒ zǎo yǐ gǎi biàn liǎo zǎo nián de bǎo wáng pài guān diǎn， tā cóng sì shí nián dài mò kāi shǐ yǐ chéng wéi gòng hé pài， tā shì yǐ zī chǎn jiē jí gòng hé pài de yǎn guāng qù kàn dài zhè chǎng gé mìng de。 yǔ guǒ bù xiǎng xiě zuò yī bù tōng sú de lì shǐ xiǎo shuō， tā bù mǎn zú yú miáo xiě fǎ guó dà gé mìng de yī bān jìn chéng， ér shì xiǎng zǒng jié chū mǒu xiē lì shǐ jīng yàn。《 jiǔ sān nián》 zhè bù lì shǐ xiǎo shuō de qiē rù jiǎo dù shì dú jù huì yǎn de。 yǔ guǒ xuǎn qǔ liǎo dà gé mìng dǒu zhēng zuì jī liè de nián dài zuò wéi xiǎo shuō de bèi jǐng。 yī qī jiǔ sān nián shì dà gé mìng chǔyú shēng sǐ cún wáng de yī nián： zài bā lí， yǎ gè bīn pài qǔ dài liǎo jí lún tè dǎng， dēng shàng liǎo lì shǐ wǔ tái； miàn duì zhe dé dào guó wài fǎn fǎ lián méng zhī chí de bǎo wáng dǎng fā dòng de pàn luàn， yǐ jí chǔn chǔn yù dòng de gè zhǒng dí rén， yǎ gè bīn dǎng shí xíng gé mìng de zhuān zhèng hé kǒng bù zhèng cè， háo bù liú qíng dì zhèn yā gǎn yú fǎn kàng de dí duì fènzǐ； pài chū gòng hé jūn qián wǎng wàng dài děng dì， píng dìng pàn luàn， zhōng yú shǐ gòng hé guó zhuǎn wēi wéi 'ān， gǒng gù liǎo dà gé mìng de chéng guǒ。 yǔ guǒ zài xiǎo shuō zhōng zhǐ chū：“ jiǔ sān nián shì 'ōu zhōu duì fǎ lán xī de zhàn zhēng， yòu shì fǎ lán xī duì bā lí de zhàn zhēng。 gé mìng zěn yàng ní？ nà shì fǎ lán xī zhàn shèng 'ōu zhōu， bā lí zhàn shèng fǎ lán xī。 zhè jiù shì jiǔ sān nián zhè gè kǒng bù de shí kè zhī suǒ yǐ wěi dà de yuán yīn， tā bǐ běn shì jì de qí yú shí kè gèng wěi dà。” tā yòu shuō：“ jiǔ sān nián shì yī gè jǐn zhāng de nián tóu。 fēng bào zài zhè shí qī dá dào liǎo zuì měng liè zuì zhuàng guān de chéng dù。” yǐ zhè yī nián fā shēng de shì jiàn lái miáo xiě dà gé mìng， què shí néng chōng fēn fǎn yìng rén lèi lì shǐ zhōng zuì chè dǐ de yī cì fǎn fēng jiàn de zī chǎn jiē jí gé mìng。
yǔ guǒ zūn zhòng lì shǐ， rú shí dì zhǎn xiàn liǎo gé mìng yǔ fǎn gé mìng dǒu zhēng de cán kù xìng， miáo xiě chū zhè chǎng dǒu zhēng jī liè 'ér zhuàng wěi de chǎng miàn。 zài xiǎo shuō zhōng， bǎo wáng dǎng pàn jūn píng jūn měi tiān qiāng shā sān shí gè lán jūn， zòng huǒ fén shāo chéng shì， bǎ suǒ yòu de jū mín huó huó shāo sǐ zài jiā lǐ。 tā men de lǐng xiù tí chū“ shā diào， shāo diào， jué bù ráo shù”。 bǎo wáng zhù yì zài yī xiē luò hòu dì qū， rú bù liè tǎ ní yōng yòu guǎng fàn de jī chǔ， nóng mín máng mù dì gēn zhe lǐng zhù zǒu。 tā men yú mèi wú zhī， lì rú nóng fù mǐ xiē 'ěr · fú lāi xià jì bù zhī dào zì jǐ shì fǎ guó rén， yòu fēn bù qīng gé mìng hé fǎn gé mìng； tā de zhàng fū wéi guì zú mài mìng， duàn sòng liǎo xìng mìng； qǐ gài tài 'ěr mǎ shí míng zhī zhèng fǔ xuán shǎng liù wàn fǎ láng， zhuō ná pàn jūn shǒu lǐng lǎng tè nà kè， què bǎ tā yǐn cáng qǐ lái， bāng zhù tā táo zǒu。 nóng mín de luò hòu shì guì zú fā dòng pàn luàn de jī chǔ， xiǎo shuō zhēn shí dì fǎn yìng liǎo zhè zhǒng shè huì zhuàng kuàng。 miàn duì guì zú cán rěn de shāo shā， gòng hé jūn yǐ yá hái yá； jué bù kuān dà dí rén。 zài yǎ gè bīn pài nèi bù， sān jù tóu -- luó bó sī bǐ 'ěr、 dān dōng、 mǎ lā， suī rán zhèng jiàn yòu fēn qí， dàn dū yī zhì tóng yì cǎi qǔ qiáng yòu lì de shǒu duàn。 tā men xuǎn zhōng zhù zhāng“ kǒng bù bì xū yòng kǒng bù lái hái jī” de xī mù 'ěr dān wéi tè pài dài biǎo， bān bù yòng jí xíng lái duì dài fàng zǒu dí rén de yán lì fǎ lìng。 yīn wéi yào bǎo cún gé mìng chéng guǒ， jiù bù dé bù yòng bào lì lái duì fù bào lì。
qí cì， yǔ guǒ zhèng què píng jià liǎo yǎ gè bīn dǎng zhuān zhèng shí qī shí xíng de yī xì liè zhèng cè。 tā bǎ guó mín gōng huì yù wéi niàng jiǔ tǒng， tǒng lǐ“ suī rán fèi téng zhe kǒng bù， yě yùn niàng zhe jìn bù”。 guó mín gōng huì xuān bù liǎo xìn yǎng zì yóu， rèn wéi pín qióng yìng shòu zūn jìng， cán jí yìng shòu zūn jìng， mǔ qīn hé 'ér tóng yě yìng shòu zūn jìng； máng rén hé lóng yǎ rén chéng wéi shòu guó jiā jiān hù de rén； qiǎn zé fàn mài hēi nú de zuì 'è xíng wéi； fèi chú liǎo nú lì zhì dù； bān bù liǎo yì wù jiào yù zhì； chuàng lì liǎo gōng yì chén liè guǎn hé bó wù yuàn； tǒng yī liǎo fǎ diǎn hé dù liàng héng； chuàng bàn liǎo diàn bào、 lǎo nián rén jiù jì yuàn、 yī yuàn； chuàng jiàn liǎo qì xiàng jú、 yán jiū yuàn。 zhè yī qiē cuò shī dū fàng shè chū càn làn de sī xiǎng guāng máng， zào fú yú rén mín。 dà gé mìng suǒ jìn xíng de nǎi shì qǐ méng sī xiǎng jiā de lǐ xiǎng， shì yǐ xiān jìn de zī chǎn jiē jí wén míng dài tì yú mèi luò hòu de fēng jiàn tǐ zhì。 zhì jīn， shàng shù gè xiàng cuò shī jì xù qǐ zhe liáng hǎo zuò yòng， bìng pǔ jí dào shì jiè gè guó。
duì fǎ guó dà gé mìng hé jiǔ sān nián de jiē jí shēng sǐ bó dǒu de zhèng què miáo xiě， shì zhè bù xiǎo shuō de jī běn jià zhí suǒ zài。 yǔ guǒ hàn wèi fǎ guó dà gé mìng， bāo kuò yǎ gè bīn pài yī xì liè zhèng què zhèng cè de lì chǎng， xiān míng dì biǎo xiàn liǎo tā de mín zhù zhù yì sī xiǎng， tǐ xiàn chū zhēn zhī zhuó jiàn。《 jiǔ sān nián》 yǐ xióng hún de bǐ chù zhēn shí dì zài xiàn liǎo shí bā shì jì mò de fǎ guó lì shǐ miàn mào， shì miáo huì fǎ guó dà gé mìng de yī bù shǐ shī。 bù guò， duì yú yǎ gè bīn pài de suǒ zuò suǒ wéi， yǔ guǒ bìng méi yòu wán quán jiā yǐ kěn dìng。 yǎ gè bīn pài wèishénme huì shī bài？ rén men yòu gè zhǒng gè yàng de kàn fǎ， yǔ guǒ yě jìn xíng liǎo zhé lǐ de chén sī。 zài tā kàn lái， jìn guǎn yī fāng miàn shì dāo guāng jiàn yǐng， yǐ bào lì duì fù bào lì， dàn lìng yī fāng miàn， yīngyǒu rén cí， yào yǐ rén dào duì rén dào huò fēi rén dào。 tā rèn wéi， yǎ gè bīn pài làn shā wú gū， méi yòu shí xíng rén dào zhù yì zhèng cè， yǐ zhì kuǎ tái。 zhè yī chén sī biǎo xiàn zài xiǎo shuō jié wěi。 rén men lì lái duì zhè gè jié wěi zhēng lùn bù xiū， nán yǐ dé chū jié lùn， xiǎo shuō de mèi lì què hěn dà chéng dù lái zì yú cǐ。 cóng yì shù shàng kàn，《 jiǔ sān nián》 de jié wěi shì chū rén yì wài de， tóng shí xiěde kòu rén xīn xián。 pàn jūn shǒu lǐng、 bù liè tǎ ní qīn wáng lǎng tè nà kè bèi wéi kùn zài tú 'ěr gé chéng bǎo， tā yào qiú yǐ bèi tā jié zǒu、 zuò wéi rén zhì de sān gè xiǎo hái lái jiāo huàn， qǐng lán jūn sī lìng guān gē wàn fàng liǎo tā， gē wàn duàn rán jù jué。 kě shì lǎng tè nà kè dé dào bié rén bāng zhù， cóng dì dào táo liǎo chū lái。 tū rán tā tīng dào sān gè hái zǐ de mǔ qīn tòng kǔ de hǎn shēng： sān gè hái zǐ kuài yào bèi dà huǒ tūn méi liǎo。 lǎng tè nà kè yì rán zhé huí lái， mào zhe wēi xiǎn， jiù chū sān gè xiǎo hái， tā zì jǐ zé luò dào gòng hé jūn shǒu lǐ。 gē wàn zhèn jīng yú lǎng tè nà kè shějǐ jiù rén de rén dào zhù yì jīng shén， sī xiǎng jī liè dǒu zhēng， rèn wéi yìng yǐ rén dào duì dài rén dào， biàn fàng zǒu liǎo láng tè nà kè。 tè pài dài biǎo xī mù 'ěr dān shì gē wàn xiǎo shí de lǎo shī， tā bù gù guǎng dà gòng hé jūn zhàn shì de 'āi qiú， jiān jué zhí xíng“ rèn hé jūn shì lǐng xiù rú guǒ fàng zǒu yī míng bǔ huò de pàn jūn biàn yào chù yǐ sǐ xíng” de fǎ lìng， tiě miàn wú qíng dì zhù zhāng sòng gē wàn shàng duàn tóu tái。 jiù zài gē wàn rén tóu luò dì de yī chà nà， tā yě kāi qiāng zì shā。
xī mù 'ěr dān、 gē wàn hé lǎng tè nà kè shì xiǎo shuō zhōng de sān gè zhù yào rén wù， tā men zhī jiān de jiū gé cóng zhèng zhì guān diǎn de dí duì， zhuǎn huà 'ér wéi shì fǒu shí shī rén dào zhù yì de chōng tū。 yǔ guǒ rèn wéi：“ cí bēi xīn shì rén lèi gòng tóng shēng huó de cán yú， yī qiē rén xīn lǐ dōuyòu， lián xīn cháng zuì yìng de rén yě yòu。” lǎng tè nà kè de qíng kuàng jiù shì zhè yàng，“ nà gè mǔ qīn de hǎn shēng huàn xǐng tā nèi xīn de guò shí de cí bēi xīn，”“ tā yǐ jīng zǒu rù hēi 'àn zhī zhōng， zài tuì huí dào guāng míng lǐ lái。 zài zào chéng zuì xíng zhī hòu， tā yòu zì dòng pò huài liǎo nà zuì xíng。” duì cǐ， gē wàn zài chén sī shí fā xiàn，“ yī gè yīng xióng cóng zhè gè 'è mó shēn shàng tiào liǎo chū lái”， lǎng tè nà kè bù zài shì shā rén zhě， ér shì jiù rén zhě； bù zài shì 'è mó， zhè gè ná zhe tú dāo de rén biàn chéng liǎo“ guāng míng de tiān shǐ”； tā shú huí liǎo zhǒng zhǒng yě mán xíng wéi， jiù liǎo zì jǐ de líng hún， biàn chéng wú zuì de rén。
xiǎo shuō zhè zhǒng xì jù xìng de biàn huà xiàng yì fēng tū qǐ， shǐ máo dùn dá dào bái rè huà。 rú hé chǔzhì yǔ píng jià lǎng tè nà kè hé gē wàn de xíng wéi， gòu chéng liǎo rén wù zhī jiān de chōng tū， yě yǐn qǐ dú zhě bù tóng de kàn fǎ。 háo wú yí yì， yǔ qí shuō shì gē wàn zài chén sī， bù rú shuō zhè shì yǔ guǒ de xiǎng fǎ。 cháng ruò lǎng tè nà kè shì gè yī bān de bǎo wáng dǎng rén huò yī bān de pàn jūn zhǐ huī guān， tā shè shēn qù jiù sān gè chù zài dà huǒ bāo wéi zhōng de xiǎo hái， nà me zhè hái shì kě yǐ xiǎng xiàng de。 lìng rén fèi jiě de shì， lǎng tè nà kè shì gè yì cháng lěng kù de rén， tā chū xiàn shí céng jīng háo bù lián mǐn dì qiāng shā lán jūn zhōng suí jūn de nǚ rén， zhèng shì tā jié zǒu liǎo sān gè shàng bù dǒng shì de hái zǐ， zuò wéi xiàng gòng hé jūn yào xié de rén zhì， yě zhèng shì tā yào fàng huǒ shāo sǐ tā men， zhǔn bèi tóng guī yú jìn。 shì wèn， zhè yàng tiě shí xīn cháng de rén， nèi xīn zěn me hái néng róng nà dé xià rén dào zhù yì sī xiǎng？ tā zěn me huì zài yī shí zhī jiān gǎi biàn běn xìng， chǎn shēng rén dào zhù yì？ yǔ guǒ bìng méi yòu miáo huì zài zhè yī shùn jiān， tā nèi xīn de sī xiǎng huó dòng， yīn 'ér dú zhě yě wú cóng lǐ jiě zhèyīháng dòng de kě xìn xìng。 bù néng bù shuō， yǔ guǒ méi yòu ná chū chōng fēn de yǐ jù qù zhèng míng zhè gè 'è guàn mǎn yíng de rén（ huò zhě shuō 'è mó） shì zěn me huì fàng xià tú dāo， lì dì chéng fó de。 suǒ yǐ， lǎng tè nà kè fǎn huí qù jiù sān gè hái zǐ de xíng dòng， zhǐ shì duì zuò zhě de“ cí bēi xīn lián xīn cháng zuì yìng de rén yě yòu” zhè yī guān diǎn shí fēn gài niàn huà de tú jiě。
zhì yú gē wàn， tā de xíng dòng dǎo shì miáo xiěde yòu gēn yòu jù de。 yǔ guǒ zǎo yòu jiāo dài， shuō tā zài dǎ zhàng shí hěn jiān qiáng， kě shì guò hòu hěn ruǎn ruò； tā dài rén cí bēi wéi huái， kuān shù dí rén， bǎo hù xiū nǚ， yíng jiù guì zú de qī nǚ， shì fàng fú lǔ， gěi jiào shì zì yóu。 tā de kuān dà bù shì wú yuán zé de， tā céng duì xī mù 'ěr dān shuō， tā shè miǎn liǎo zhàn bài hòu bèi fú huò de sān bǎi gè nóng mín， yīn wéi zhè xiē nóng mín shì wú zhī de， dàn tā bù huì shè miǎn lǎng tè nà kè， yīn wéi lǎng tè nà kè zuì dà 'è jí， jí shǐ shì tā de shū zǔ yě bà。 fǎ lán xī cái shì tā de xiōng cháng， ér lǎng tè nà kè shì zǔ guó de pàn tú。 tā hé lǎng tè nà kè shì bù liǎng lì， zhǐ néng nǐ sǐ wǒ huó。 rán 'ér， tā yòu yòu yī xiē xiǎng fǎ， yǔ tā de sī lìng guān shēn fèn hěn bù xiāngchèn。 lì rú， tā rèn wéi lù yì shí liù shì yī zhǐ bèi tóu dào shī zǐ duī lǐ de yáng， tā xiǎng táo mìng hé fáng wèi shì hěn zì rán de， suī rán tā yī yòu kě néng biàn huì yǎo rén。 zuì zhù yào de shì， tā rèn wéi“ kǒng bù zhèng zhì huì bào hài gé mìng de míng yù”， tuī fān dì zhì bù shì yào yòng duàn tóu tái lái dài tì tā，“ dǎ diào wáng guān， dàn shì yào bǎo hù rén tóu。 gé mìng shì hé xié， bù shì kǒng bù …… ‘ shù ’ zì zài wǒ kàn lái shì rén lèi yǔ yán zhōng zuì měi de yī gè zì…… zài dǎ zhàng de shí hòu， wǒ men bì xū zuò wǒ men de dí rén de dí rén， shèng lì yǐ hòu， wǒ men jiù yào zuò tā men de xiōng dì。” zhè xiē huà wèitā hòu lái de xíng dòng 'àn xià liǎo fú bǐ， suī rán shì yǔ guǒ de guān diǎn， dàn yǔ rén wù de sī xiǎng shì róng hé zài yī qǐ de。
gē wàn de xíng dòng tóng yǔ guǒ duì yǎ gè bīn pài de kàn fǎ yòu guān， yǔ guǒ duì yǎ gè bīn dǎng de kǒng bù zhèng zhì shì pō yòu wēi cí de。 zài tā de bǐ xià， yǎ gè bīn dǎng sān jù tóu kuáng rè duō yú lǐ zhì， zhǐ zhī zhèn yā， bù dǒng rén zhèng， yǔ yán chōng mǎn huǒ yào wèi， hún shēn sàn fā chū píng mín de cū sú qì xī。 tā men suǒ zhí xíng de kǒng bù zhèng zhì zài yī dìng tiáo jiàn xià qǐ liǎo zuò yòng， dàn tóng shí yě bāo hán zhe bì bìng。 gē wàn rèn wéi duì jiù shì jiè shì yào kāi dāo de， rán 'ér wài kē yī shēng xū yào lěng jìng， ér bù shì jī liè，“ kǒng bù zhèng zhì huì sǔn hài gé mìng de míng yù”。 gòng hé guó bù xū yào yī gè“ pà rén de wài biǎo”。 cóng zhè zhǒng guān diǎn chū fā， gē wàn fàng zǒu lǎng tè nà kè shì shùn lǐ chéng zhāng de。 yīnggāi shuō， yǔ guǒ zài xiǎo shuō lǐ fā biǎo de jiàn jiě jì fēi quán duì， yì fēi quán cuò。 duì yú bǎo wáng dǎng rén de wǔ zhuāng pàn luàn hé cán rěn tú shā píng mín de xíng wéi， gé mìng zhèng quán zhǐ yòu yǐ yǎn hái yǎn， zhè yàng cái néng bǎo cún zì shēn。 dàn yě wú kě huì yán， yǎ gè bīn dǎng jiáo wǎng guò zhèng， cún zài làn shā xiàn xiàng， zhè jiù shì wèishénme yǎ gè bīn dǎng de zhuān zhèng wéi chí bù liǎo duō jiǔ， lián luó bó sī bǐ 'ěr yě shàng liǎo duàn tóu tái de yuán yīn。 jù mǎ dí 'è de《 fǎ guó gé mìng shǐ》 kǎo zhèng， yī qī jiǔ sì nián， dāng jú xián duàn tóu jī xíng xíng tài màn， biàn fǔ zhī yǐ pào hōng、 jí tǐ qiāng bì、 chén chuán， yī cì jiù chǔsǐ jǐ bǎi rén。 yīn cǐ， yǔ guǒ tí chū shèng lì hòu yìng shí shī kuān dà zhèng cè， shì zhēn duì gé mìng zhèng quán de jí duān zhèng cè 'ér fā de， jù yòu hé lǐ、 zhèng què de yīn sù。 dàn gē wàn zhī suǒ yǐ fàng zǒu lǎng tè nà kè， shì jī yú zhè yàng de kǎo lǜ： dí rén yě néng shí xíng rén dào zhù yì， gòng hé jūn jiù bù néng shí xíng rén dào zhù yì má？ zhè lǐ， yǔ guǒ zǒu xiàng liǎo lìng yī gè jí duān。 tā de guān diǎn jí zhōng biǎo xiàn wéi zhè jù huà：“ zài jué duì zhèng què de gé mìng zhī shàng， hái yòu yī gè jué duì zhèng què de rén dào zhù yì。” yǔ guǒ jiāng gé mìng hé rén dào zhù yì gē liè kāi lái shì cuò wù de。 gé mìng yǔ rén dào zhù yì kě yǐ tǒng yī， ér qiě yīnggāi tǒng yī qǐ lái。 jiù ná zī chǎn jiē jí gé mìng lái shuō， zhè shì duì zuì 'è de、 bù rén dào de fēng jiàn zhì dù de qīng suàn， ér dài zhī yǐ gèng rén dào de shè huì zhì dù； zì yóu、 píng děng、 bó 'ài， jiù shì yǐ rén dào zhù yì wéi jī chǔ de， bǐ qǐ fēng jiàn zhù yì de rén shēn yǐ fù guān xì。 guì zú tè quán、 sēn yán de děng jí zhì dù yào qián jìn yī dà bù。 rán 'ér， zài yòu dí duì jiē jí cún zài de shè huì zhōng， yóu qí zài shàng wèi qǔ dé zuì zhōng shèng lì de jǐn jí guān tóu， bù kě néng yě bù yīnggāi shí xíng kuān dà wú biān de、 jué duì de rén dào zhù yì， fǒu zé jiù shì duì rén mín shí xíng bù rén dào。 yǐ lǎng tè nà kè lái shuō， jiù suàn tā guǒ zhēn jiù chū sān gè hái zǐ， zì jǐ shù shǒu jiù qín， duì yú gé mìng de yī fāng lái shuō， wán quán kě yǐ gēn jù tā de qíng kuàng zuò chū hé lǐ de fú hé rén mín lì yì de pàn jué， ér bù yī dìng fēi yào chù yǐ jí xíng。 dāng rán， gòng hé jūn bù huì zhè yàng chǔlǐ。 dàn shì， fàng zǒu liǎo tā， hòu guǒ huì zěn yàng ní？ tā bì rán yǔ gé mìng zhèng fǔ wéi dí， zài cì jiū jí pàn jūn， gōng dǎ gòng hé jūn， tú shā wú gū de bǎi xìng， fàn xià fēi rén dào de zuì xíng。 cóng xiào guǒ lái shuō， gē wàn fàng zǒu lǎng tè nà kè de xíng dòng， duì rén mín lái shuō， shì bù fú hé rén dào yuán zé de。 yǐ shàng fēn xī shuō míng， wú lùn yǎ gè bīn dǎng， hái shì yǔ guǒ běn rén， dū wèi néng chǔlǐ hǎo gé mìng yǔ rén dào de guān xì wèn tí。 xī mù 'ěr dān shì zuò wéi gē wàn de duì lì miàn 'ér chū xiàn de， suī rán tā yě shì yī gè gé mìng zhě。 xiǎo shuō zhōng， tā shì gé mìng zhèng fǔ de huà shēn。 jìn guǎn zǎo xiān tā shì jiào shì， dàn tā 'ài zēng fēn míng， tā néng yòng zuǐ qù xī yī gè bìng rén hóu bù de nóng chuāng， kě tā jué“ bù huì gěi guó wáng gān zhè jiàn shì”。 tā rèn shí dào gé mìng de dí rén shì jiù shè huì，“ gé mìng duì zhè gè dí rén shì háo bù rén cí de”。 rán 'ér tā shì yī gè“ lěng kù wú qíng de rén”， méi yòu rén kàn jiàn tā liú guò yǎn lèi， tā zì rèn wéi bù huì fàn cuò wù， bié rén wú kě zhǐ zhāi。 tā jì zhèng zhí yòu kě pà。 tā suī rán chóng gāo，“ kě shì zhè zhǒng chóng gāo hé rén shì gé jué de， shì zài xuán yá qiào bì shàng de chóng gāo， shì huī sè de、 bù qīn jìn rén de chóng gāo； tā de chóng gāo de zhōu wéi bèi xuán yá qiào bì bāo wéi zhe。” tā zhōng yú yǎ gè bīn dǎng de xìn tiáo hé gè xiàng kǒng bù zhèng cè， tā xiàng wěi rèn yú tā de guó mín gōng huì bǎo zhèng：“ jiǎ rú nà wěi tuō gěi wǒ de gòng hé dǎng lǐng xiù zǒu cuò liǎo yī bù， wǒ yě yào pàn chù tā sǐ xíng。” tā lǚ cì jǐng gào gē wàn：“ zài wǒ men suǒ chù de shí dài， rén cí kě néng chéng wéi mài guó de yī zhǒng xíng shì。” tā de shì yán hé jǐng gào dōuchéng liǎo shì shí。 zài pàn chù gē wàn sǐ xíng zhī hòu， tā zài yī cì tóng gē wàn jiāo fēng。 gē wàn zòng héng bǎi hé， chàng tán tā de lǐ xiǎng， xī mù 'ěr dān wú yán yǐ duì， bài tuì xià lái。 tā chéng rèn gē wàn de huà yòu dào lǐ， dàn shì tā bù kě néng gǎi biàn zì jǐ de guān diǎn， nèi xīn chǔyú bù kě kè fú de máo dùn zhī zhōng。“ tā yòu zhe xiàng jiàn yī yàng de máng mùdì zhǔn què xìng， zhǐ duì zhǔn mù biāo yī zhí fēi qù。 zài gé mìng zhōng méi yòu shénme bǐ zhí xiàn gèng kě pà de liǎo。 xī mù 'ěr dān yī wǎng zhí qián， zhè jiù zhù dìng liǎo tā de bù xìng。” tā qīn shǒu chǔsǐ liǎo zì jǐ“ jīng shén shàng de 'ér zǐ” hé xué shēng、 tā de zhàn yǒu， zuì hòu zài tòng kǔ yǔ huáng huò zhōng kāi qiāng zì jìn。 tōng guò tā de bēi jù， yǔ guǒ pī pàn liǎo zhǐ jiǎng bào lì， bù jiǎng rén dào， zhǐ zhī máng mù zhí xíng， bù huì líng huó chǔzhì de gé mìng zhě。 xī mù 'ěr dān shì yòu dài biǎo yì yì de、 xiāng dāng zhēn shí de yī gè xíng xiàng。
zuò wéi làng màn pài de lǐng xiù， yǔ guǒ de làng màn shǒu fǎ zài《 jiǔ sān nián》 zhōng dé dào liǎo chōng fēn de biǎo xiàn。 yǔ guǒ de yī gè zhòng yào de làng màn shǒu fǎ shì jiāng wú shēng mìng huò fēi rén de shì wù， miáo huì dé rú tóng yòu shēng mìng de wù tǐ yī yàng shén qí、 dòng rén xīn bó、 lìng rén jīng tàn。 xiǎo shuō kāi piān duì zhàn jiàn shàng dà pào de miáo xiě shì yī gè hěn hǎo de lì zhèng。 zài zhè sōu míng wéi jù jiàn hào de jūn jiàn shàng， yī zūn 'èr shí sì jīn zhòng dàn de dà pào cóng pào zuò shàng huá tuō liǎo， tā biàn chéng liǎo yī tóu guài wù， tā zài jiàn shàng gǔn lái gǔn qù， xuánzhuàn， chōng zhuàng， jī pò， shā hài， jiān miè， yòu xiàng wò chéng chuí zài rèn xìng dì zhuàng jī chéng qiáng：“ zhè shì wù zhì huò dé liǎo zì yóu， yě kě yǐ shuō zhè shì yǒng héng de nú lì zhǎo dào liǎo fù chóu de jī huì； yī qiē fǎng fó shì yǐn cáng zài wǒ men suǒ wèi wú shēng mìng de wù tǐ lǐ de nà zhǒng 'è xìng tū rán bào fā liǎo chū lái； tā nà yàng zǐ xiàng shì fā liǎo pí qì， zhèng zài jìn xíng yī zhǒng gǔ guài de shén mì de bào fù； zài yě méi yòu bǐ zhè zhǒng wú shēng wù de fèn nù gèng wú qíng de liǎo。 zhè gè fēng kuáng de páng rán dà wù yòu bào zǐ de mǐn jié， dà xiàng de zhòng liàng， lǎo shǔ de líng qiǎo， fǔ zǐ de jiān yìng， bō làng de tū rán， shǎn diàn de xùn sù， fén mù de chī lóng。 tā zhòng yī wàn bàng， què xiàng xiǎo hái de pí qiú shìde tántiào qǐ lái。…… bào fēng kě yǐ tíng zhǐ， tái fēng huì chuī guò qù， duàn diào de wéi kě yǐ huàn yī gēn， yī gè lòu dòng kě yǐ dǔ shàng， huǒ zāi kě yǐ pū miè； kě shì duì zhè zhǐ páng dà de qīng tóng shòu zěn me bàn ní？” zhè mén dà pào wán quán jiě chú liǎo jūn jiàn de zhàn dǒu lì。 yǔ guǒ fēng fù de xiǎng xiàng lì jiāng zhè gè chǎng miàn miáo huì dé lìng rén tàn wéi guān zhǐ。 jiù shì zài zhè yàng yī gè bēi zhuàng de chǎng miàn zhōng， lǎng tè nà kè chū xiàn liǎo， xiǎn chū tā de yán lì、 lěng jùn hé gāng yì。 zhè gè yīn cǎn cǎn de、 sè cǎi shén mì de kāi chǎng gěi xiǎo shuō dìng xià liǎo bēi jù de diào zǐ。 yǔ guǒ jiù yǐ zhè yàng de bǐ fǎ， yíng zào chū cán kù de、 mìng yùn zhuō mō bù dìng de qì fēn， jù yòu nóng yù de làng màn sè cǎi。 yǔ guǒ rèn wéi zhè zhǒng làng màn shǒu fǎ tóng yàng néng dá dào zhēn shí， tā zài xiǎo shuō zhōng shuō：‘ liú shǐ yòu zhēn shí xìng， chuán qí yě yòu zhēn shí xìng。 chuán qí de zhēn shí hé lì shǐ de zhēn shí zài xìng zhì shàng shì bù tóng de。 chuán qí de zhēn shí shì zài xū gòu zhōng qù fǎn yìng xiàn shí。” làng màn shǒu fǎ yǔ xiě shí shǒu fǎ shì shū tú tóng guī。
zhòng suǒ zhōu zhī， yǔ guǒ shì yùn yòng duì zhào shǒu fǎ de dà shī。 tā zài《 kè lún wēi 'ěr · xù》 zhōng céng jīng zhǐ chū：“ chǒu zài měi de bàng biān， jī xíng kào jìn zhe yōu měi， wǔ guài cáng zài chóng gāo bèi hòu， měi yǔ 'è gòng cún， guāng míng yǔ hēi 'àn xiāng bàn。” zhè tiáo zhǔn zé shǐ zhōng zhǐ dǎo zhe yǔ guǒ de chuàng zuò。《 jiǔ sān nián》 tóng yàng yùn yòng duì zhào shǒu fǎ， bù guò， zhè bù xiǎo shuō bù xiàng《 bā lí shèng mǔ yuàn》 nà yàng yùn yòng rén wù xíng tǐ de duì zhào huò xíng tǐ yǔ、 xīn líng de duì zhào。 xiǎo shuō sān gè zhù yào rén wù de duì zhào biǎo xiàn zài sī xiǎng shàng： lǎng tè nà kè xìng gé cán kù wú qíng， wán gù bù huà， jù yòu bù dá mùdì bù bà xiū de jiān dìng， yě jù yòu chéng wéi lǐng xiù de wēi yán hé guǒ gǎn。 tā xīn zhōng bìng wú yī sī rén dào gǎn qíng， zhǐ shì zài zuì hòu cái rén xìng fù xiàn。 xī mù 'ěr dān tóng yàng jiān dìng bù yí， lǎng tè nà kè jiān xìn bǎo wáng zhù yì， tā zé jiān xìn gòng hé zhù yì， tè bié shì jiān xìn kǒng bù zhèng zhì。 tā fǎn duì shí shī rén cí， bù xiāng xìn rén dào zhù yì shì fàng zhī sì hǎi 'ér jiē zhǔn de yuán zé。 yīnggāi shuō， tā bǐ lǎng tè nà kè de xīn cháng gèng yìng， duì wéi hù zì jǐ de xìn niàn gèng jiā yī sī bù gǒu。 zhè liǎng gè rén wù dū shòu dào yǔ guǒ de pī pàn。 gē wàn jì yòu shí xíng gé mìng de jiān dìng xìng， yòu yòu miàn duì fù zá xiàn shí de líng huó xìng。 tā shì yǔ guǒ xīn mù zhōng rén dào zhù yì de huà shēn： tā wèile rén dào zhù yì 'ér bù xī xī shēng zì jǐ de shēng mìng。 zhè sān gè rén wù sī xiǎng shàng de duì zhào yǔ máo dùn， yòu lì dì tuī dòng liǎo qíng jié de fā zhǎn。
yǔ guǒ de xiǎo shuō jì qiǎo zài《 jiǔ sān nián》 zhōng dá dào liǎo gèng chéng shú de dì bù。 xiǎo shuō qíng jié de jìn zhǎn yì cháng jǐn còu， kàn bù dào duō shǎo xián bǐ hé tí wài huà， bù xiàng《 bā lí shèng mǔ yuàn》 hé《 bēi cǎn shì jiè》 nà yàng， cháng cháng chū xiàn dà duàn de yì lùn huò zhī màn de qíng jié。 zuò zhě de yì lùn róng hé dào rén wù de sī xiǎng zhōng， chéng wéi sù zào rén wù bù kě huò quē de bù fēn， zhè shì gèng gāo míng de shǒu fǎ。 cóng jié gòu shàng shuō， xiǎo shuō huán huán xiāng kòu， yī bù bù tuī xiàng gāo cháo。 gāo cháo yǐ sān gè xiǎo hái de zāo yù wéi hé xīn， yǐ sān gè zhù yào rén wù de sī xiǎng jiāo fēng wéi chōng tū， xiěde jǐn zhāng 'ér dòng rén xīn xián。 zhè bù xiǎo shuō suī rán piān fú bù dà， què kān yǔ juàn zhì hào fán de lì shǐ xiǎo shuō xiāng pì měi， chéng wéi bù kě duō dé de shàng chéng zhī zuò。
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.
yǔ guǒ zūn zhòng lì shǐ， rú shí dì zhǎn xiàn liǎo gé mìng yǔ fǎn gé mìng dǒu zhēng de cán kù xìng， miáo xiě chū zhè chǎng dǒu zhēng jī liè 'ér zhuàng wěi de chǎng miàn。 zài xiǎo shuō zhōng， bǎo wáng dǎng pàn jūn píng jūn měi tiān qiāng shā sān shí gè lán jūn， zòng huǒ fén shāo chéng shì， bǎ suǒ yòu de jū mín huó huó shāo sǐ zài jiā lǐ。 tā men de lǐng xiù tí chū“ shā diào， shāo diào， jué bù ráo shù”。 bǎo wáng zhù yì zài yī xiē luò hòu dì qū， rú bù liè tǎ ní yōng yòu guǎng fàn de jī chǔ， nóng mín máng mù dì gēn zhe lǐng zhù zǒu。 tā men yú mèi wú zhī， lì rú nóng fù mǐ xiē 'ěr · fú lāi xià jì bù zhī dào zì jǐ shì fǎ guó rén， yòu fēn bù qīng gé mìng hé fǎn gé mìng； tā de zhàng fū wéi guì zú mài mìng， duàn sòng liǎo xìng mìng； qǐ gài tài 'ěr mǎ shí míng zhī zhèng fǔ xuán shǎng liù wàn fǎ láng， zhuō ná pàn jūn shǒu lǐng lǎng tè nà kè， què bǎ tā yǐn cáng qǐ lái， bāng zhù tā táo zǒu。 nóng mín de luò hòu shì guì zú fā dòng pàn luàn de jī chǔ， xiǎo shuō zhēn shí dì fǎn yìng liǎo zhè zhǒng shè huì zhuàng kuàng。 miàn duì guì zú cán rěn de shāo shā， gòng hé jūn yǐ yá hái yá； jué bù kuān dà dí rén。 zài yǎ gè bīn pài nèi bù， sān jù tóu -- luó bó sī bǐ 'ěr、 dān dōng、 mǎ lā， suī rán zhèng jiàn yòu fēn qí， dàn dū yī zhì tóng yì cǎi qǔ qiáng yòu lì de shǒu duàn。 tā men xuǎn zhōng zhù zhāng“ kǒng bù bì xū yòng kǒng bù lái hái jī” de xī mù 'ěr dān wéi tè pài dài biǎo， bān bù yòng jí xíng lái duì dài fàng zǒu dí rén de yán lì fǎ lìng。 yīn wéi yào bǎo cún gé mìng chéng guǒ， jiù bù dé bù yòng bào lì lái duì fù bào lì。
qí cì， yǔ guǒ zhèng què píng jià liǎo yǎ gè bīn dǎng zhuān zhèng shí qī shí xíng de yī xì liè zhèng cè。 tā bǎ guó mín gōng huì yù wéi niàng jiǔ tǒng， tǒng lǐ“ suī rán fèi téng zhe kǒng bù， yě yùn niàng zhe jìn bù”。 guó mín gōng huì xuān bù liǎo xìn yǎng zì yóu， rèn wéi pín qióng yìng shòu zūn jìng， cán jí yìng shòu zūn jìng， mǔ qīn hé 'ér tóng yě yìng shòu zūn jìng； máng rén hé lóng yǎ rén chéng wéi shòu guó jiā jiān hù de rén； qiǎn zé fàn mài hēi nú de zuì 'è xíng wéi； fèi chú liǎo nú lì zhì dù； bān bù liǎo yì wù jiào yù zhì； chuàng lì liǎo gōng yì chén liè guǎn hé bó wù yuàn； tǒng yī liǎo fǎ diǎn hé dù liàng héng； chuàng bàn liǎo diàn bào、 lǎo nián rén jiù jì yuàn、 yī yuàn； chuàng jiàn liǎo qì xiàng jú、 yán jiū yuàn。 zhè yī qiē cuò shī dū fàng shè chū càn làn de sī xiǎng guāng máng， zào fú yú rén mín。 dà gé mìng suǒ jìn xíng de nǎi shì qǐ méng sī xiǎng jiā de lǐ xiǎng， shì yǐ xiān jìn de zī chǎn jiē jí wén míng dài tì yú mèi luò hòu de fēng jiàn tǐ zhì。 zhì jīn， shàng shù gè xiàng cuò shī jì xù qǐ zhe liáng hǎo zuò yòng， bìng pǔ jí dào shì jiè gè guó。
duì fǎ guó dà gé mìng hé jiǔ sān nián de jiē jí shēng sǐ bó dǒu de zhèng què miáo xiě， shì zhè bù xiǎo shuō de jī běn jià zhí suǒ zài。 yǔ guǒ hàn wèi fǎ guó dà gé mìng， bāo kuò yǎ gè bīn pài yī xì liè zhèng què zhèng cè de lì chǎng， xiān míng dì biǎo xiàn liǎo tā de mín zhù zhù yì sī xiǎng， tǐ xiàn chū zhēn zhī zhuó jiàn。《 jiǔ sān nián》 yǐ xióng hún de bǐ chù zhēn shí dì zài xiàn liǎo shí bā shì jì mò de fǎ guó lì shǐ miàn mào， shì miáo huì fǎ guó dà gé mìng de yī bù shǐ shī。 bù guò， duì yú yǎ gè bīn pài de suǒ zuò suǒ wéi， yǔ guǒ bìng méi yòu wán quán jiā yǐ kěn dìng。 yǎ gè bīn pài wèishénme huì shī bài？ rén men yòu gè zhǒng gè yàng de kàn fǎ， yǔ guǒ yě jìn xíng liǎo zhé lǐ de chén sī。 zài tā kàn lái， jìn guǎn yī fāng miàn shì dāo guāng jiàn yǐng， yǐ bào lì duì fù bào lì， dàn lìng yī fāng miàn， yīngyǒu rén cí， yào yǐ rén dào duì rén dào huò fēi rén dào。 tā rèn wéi， yǎ gè bīn pài làn shā wú gū， méi yòu shí xíng rén dào zhù yì zhèng cè， yǐ zhì kuǎ tái。 zhè yī chén sī biǎo xiàn zài xiǎo shuō jié wěi。 rén men lì lái duì zhè gè jié wěi zhēng lùn bù xiū， nán yǐ dé chū jié lùn， xiǎo shuō de mèi lì què hěn dà chéng dù lái zì yú cǐ。 cóng yì shù shàng kàn，《 jiǔ sān nián》 de jié wěi shì chū rén yì wài de， tóng shí xiěde kòu rén xīn xián。 pàn jūn shǒu lǐng、 bù liè tǎ ní qīn wáng lǎng tè nà kè bèi wéi kùn zài tú 'ěr gé chéng bǎo， tā yào qiú yǐ bèi tā jié zǒu、 zuò wéi rén zhì de sān gè xiǎo hái lái jiāo huàn， qǐng lán jūn sī lìng guān gē wàn fàng liǎo tā， gē wàn duàn rán jù jué。 kě shì lǎng tè nà kè dé dào bié rén bāng zhù， cóng dì dào táo liǎo chū lái。 tū rán tā tīng dào sān gè hái zǐ de mǔ qīn tòng kǔ de hǎn shēng： sān gè hái zǐ kuài yào bèi dà huǒ tūn méi liǎo。 lǎng tè nà kè yì rán zhé huí lái， mào zhe wēi xiǎn， jiù chū sān gè xiǎo hái， tā zì jǐ zé luò dào gòng hé jūn shǒu lǐ。 gē wàn zhèn jīng yú lǎng tè nà kè shějǐ jiù rén de rén dào zhù yì jīng shén， sī xiǎng jī liè dǒu zhēng， rèn wéi yìng yǐ rén dào duì dài rén dào， biàn fàng zǒu liǎo láng tè nà kè。 tè pài dài biǎo xī mù 'ěr dān shì gē wàn xiǎo shí de lǎo shī， tā bù gù guǎng dà gòng hé jūn zhàn shì de 'āi qiú， jiān jué zhí xíng“ rèn hé jūn shì lǐng xiù rú guǒ fàng zǒu yī míng bǔ huò de pàn jūn biàn yào chù yǐ sǐ xíng” de fǎ lìng， tiě miàn wú qíng dì zhù zhāng sòng gē wàn shàng duàn tóu tái。 jiù zài gē wàn rén tóu luò dì de yī chà nà， tā yě kāi qiāng zì shā。
xī mù 'ěr dān、 gē wàn hé lǎng tè nà kè shì xiǎo shuō zhōng de sān gè zhù yào rén wù， tā men zhī jiān de jiū gé cóng zhèng zhì guān diǎn de dí duì， zhuǎn huà 'ér wéi shì fǒu shí shī rén dào zhù yì de chōng tū。 yǔ guǒ rèn wéi：“ cí bēi xīn shì rén lèi gòng tóng shēng huó de cán yú， yī qiē rén xīn lǐ dōuyòu， lián xīn cháng zuì yìng de rén yě yòu。” lǎng tè nà kè de qíng kuàng jiù shì zhè yàng，“ nà gè mǔ qīn de hǎn shēng huàn xǐng tā nèi xīn de guò shí de cí bēi xīn，”“ tā yǐ jīng zǒu rù hēi 'àn zhī zhōng， zài tuì huí dào guāng míng lǐ lái。 zài zào chéng zuì xíng zhī hòu， tā yòu zì dòng pò huài liǎo nà zuì xíng。” duì cǐ， gē wàn zài chén sī shí fā xiàn，“ yī gè yīng xióng cóng zhè gè 'è mó shēn shàng tiào liǎo chū lái”， lǎng tè nà kè bù zài shì shā rén zhě， ér shì jiù rén zhě； bù zài shì 'è mó， zhè gè ná zhe tú dāo de rén biàn chéng liǎo“ guāng míng de tiān shǐ”； tā shú huí liǎo zhǒng zhǒng yě mán xíng wéi， jiù liǎo zì jǐ de líng hún， biàn chéng wú zuì de rén。
xiǎo shuō zhè zhǒng xì jù xìng de biàn huà xiàng yì fēng tū qǐ， shǐ máo dùn dá dào bái rè huà。 rú hé chǔzhì yǔ píng jià lǎng tè nà kè hé gē wàn de xíng wéi， gòu chéng liǎo rén wù zhī jiān de chōng tū， yě yǐn qǐ dú zhě bù tóng de kàn fǎ。 háo wú yí yì， yǔ qí shuō shì gē wàn zài chén sī， bù rú shuō zhè shì yǔ guǒ de xiǎng fǎ。 cháng ruò lǎng tè nà kè shì gè yī bān de bǎo wáng dǎng rén huò yī bān de pàn jūn zhǐ huī guān， tā shè shēn qù jiù sān gè chù zài dà huǒ bāo wéi zhōng de xiǎo hái， nà me zhè hái shì kě yǐ xiǎng xiàng de。 lìng rén fèi jiě de shì， lǎng tè nà kè shì gè yì cháng lěng kù de rén， tā chū xiàn shí céng jīng háo bù lián mǐn dì qiāng shā lán jūn zhōng suí jūn de nǚ rén， zhèng shì tā jié zǒu liǎo sān gè shàng bù dǒng shì de hái zǐ， zuò wéi xiàng gòng hé jūn yào xié de rén zhì， yě zhèng shì tā yào fàng huǒ shāo sǐ tā men， zhǔn bèi tóng guī yú jìn。 shì wèn， zhè yàng tiě shí xīn cháng de rén， nèi xīn zěn me hái néng róng nà dé xià rén dào zhù yì sī xiǎng？ tā zěn me huì zài yī shí zhī jiān gǎi biàn běn xìng， chǎn shēng rén dào zhù yì？ yǔ guǒ bìng méi yòu miáo huì zài zhè yī shùn jiān， tā nèi xīn de sī xiǎng huó dòng， yīn 'ér dú zhě yě wú cóng lǐ jiě zhèyīháng dòng de kě xìn xìng。 bù néng bù shuō， yǔ guǒ méi yòu ná chū chōng fēn de yǐ jù qù zhèng míng zhè gè 'è guàn mǎn yíng de rén（ huò zhě shuō 'è mó） shì zěn me huì fàng xià tú dāo， lì dì chéng fó de。 suǒ yǐ， lǎng tè nà kè fǎn huí qù jiù sān gè hái zǐ de xíng dòng， zhǐ shì duì zuò zhě de“ cí bēi xīn lián xīn cháng zuì yìng de rén yě yòu” zhè yī guān diǎn shí fēn gài niàn huà de tú jiě。
zhì yú gē wàn， tā de xíng dòng dǎo shì miáo xiěde yòu gēn yòu jù de。 yǔ guǒ zǎo yòu jiāo dài， shuō tā zài dǎ zhàng shí hěn jiān qiáng， kě shì guò hòu hěn ruǎn ruò； tā dài rén cí bēi wéi huái， kuān shù dí rén， bǎo hù xiū nǚ， yíng jiù guì zú de qī nǚ， shì fàng fú lǔ， gěi jiào shì zì yóu。 tā de kuān dà bù shì wú yuán zé de， tā céng duì xī mù 'ěr dān shuō， tā shè miǎn liǎo zhàn bài hòu bèi fú huò de sān bǎi gè nóng mín， yīn wéi zhè xiē nóng mín shì wú zhī de， dàn tā bù huì shè miǎn lǎng tè nà kè， yīn wéi lǎng tè nà kè zuì dà 'è jí， jí shǐ shì tā de shū zǔ yě bà。 fǎ lán xī cái shì tā de xiōng cháng， ér lǎng tè nà kè shì zǔ guó de pàn tú。 tā hé lǎng tè nà kè shì bù liǎng lì， zhǐ néng nǐ sǐ wǒ huó。 rán 'ér， tā yòu yòu yī xiē xiǎng fǎ， yǔ tā de sī lìng guān shēn fèn hěn bù xiāngchèn。 lì rú， tā rèn wéi lù yì shí liù shì yī zhǐ bèi tóu dào shī zǐ duī lǐ de yáng， tā xiǎng táo mìng hé fáng wèi shì hěn zì rán de， suī rán tā yī yòu kě néng biàn huì yǎo rén。 zuì zhù yào de shì， tā rèn wéi“ kǒng bù zhèng zhì huì bào hài gé mìng de míng yù”， tuī fān dì zhì bù shì yào yòng duàn tóu tái lái dài tì tā，“ dǎ diào wáng guān， dàn shì yào bǎo hù rén tóu。 gé mìng shì hé xié， bù shì kǒng bù …… ‘ shù ’ zì zài wǒ kàn lái shì rén lèi yǔ yán zhōng zuì měi de yī gè zì…… zài dǎ zhàng de shí hòu， wǒ men bì xū zuò wǒ men de dí rén de dí rén， shèng lì yǐ hòu， wǒ men jiù yào zuò tā men de xiōng dì。” zhè xiē huà wèitā hòu lái de xíng dòng 'àn xià liǎo fú bǐ， suī rán shì yǔ guǒ de guān diǎn， dàn yǔ rén wù de sī xiǎng shì róng hé zài yī qǐ de。
gē wàn de xíng dòng tóng yǔ guǒ duì yǎ gè bīn pài de kàn fǎ yòu guān， yǔ guǒ duì yǎ gè bīn dǎng de kǒng bù zhèng zhì shì pō yòu wēi cí de。 zài tā de bǐ xià， yǎ gè bīn dǎng sān jù tóu kuáng rè duō yú lǐ zhì， zhǐ zhī zhèn yā， bù dǒng rén zhèng， yǔ yán chōng mǎn huǒ yào wèi， hún shēn sàn fā chū píng mín de cū sú qì xī。 tā men suǒ zhí xíng de kǒng bù zhèng zhì zài yī dìng tiáo jiàn xià qǐ liǎo zuò yòng， dàn tóng shí yě bāo hán zhe bì bìng。 gē wàn rèn wéi duì jiù shì jiè shì yào kāi dāo de， rán 'ér wài kē yī shēng xū yào lěng jìng， ér bù shì jī liè，“ kǒng bù zhèng zhì huì sǔn hài gé mìng de míng yù”。 gòng hé guó bù xū yào yī gè“ pà rén de wài biǎo”。 cóng zhè zhǒng guān diǎn chū fā， gē wàn fàng zǒu lǎng tè nà kè shì shùn lǐ chéng zhāng de。 yīnggāi shuō， yǔ guǒ zài xiǎo shuō lǐ fā biǎo de jiàn jiě jì fēi quán duì， yì fēi quán cuò。 duì yú bǎo wáng dǎng rén de wǔ zhuāng pàn luàn hé cán rěn tú shā píng mín de xíng wéi， gé mìng zhèng quán zhǐ yòu yǐ yǎn hái yǎn， zhè yàng cái néng bǎo cún zì shēn。 dàn yě wú kě huì yán， yǎ gè bīn dǎng jiáo wǎng guò zhèng， cún zài làn shā xiàn xiàng， zhè jiù shì wèishénme yǎ gè bīn dǎng de zhuān zhèng wéi chí bù liǎo duō jiǔ， lián luó bó sī bǐ 'ěr yě shàng liǎo duàn tóu tái de yuán yīn。 jù mǎ dí 'è de《 fǎ guó gé mìng shǐ》 kǎo zhèng， yī qī jiǔ sì nián， dāng jú xián duàn tóu jī xíng xíng tài màn， biàn fǔ zhī yǐ pào hōng、 jí tǐ qiāng bì、 chén chuán， yī cì jiù chǔsǐ jǐ bǎi rén。 yīn cǐ， yǔ guǒ tí chū shèng lì hòu yìng shí shī kuān dà zhèng cè， shì zhēn duì gé mìng zhèng quán de jí duān zhèng cè 'ér fā de， jù yòu hé lǐ、 zhèng què de yīn sù。 dàn gē wàn zhī suǒ yǐ fàng zǒu lǎng tè nà kè， shì jī yú zhè yàng de kǎo lǜ： dí rén yě néng shí xíng rén dào zhù yì， gòng hé jūn jiù bù néng shí xíng rén dào zhù yì má？ zhè lǐ， yǔ guǒ zǒu xiàng liǎo lìng yī gè jí duān。 tā de guān diǎn jí zhōng biǎo xiàn wéi zhè jù huà：“ zài jué duì zhèng què de gé mìng zhī shàng， hái yòu yī gè jué duì zhèng què de rén dào zhù yì。” yǔ guǒ jiāng gé mìng hé rén dào zhù yì gē liè kāi lái shì cuò wù de。 gé mìng yǔ rén dào zhù yì kě yǐ tǒng yī， ér qiě yīnggāi tǒng yī qǐ lái。 jiù ná zī chǎn jiē jí gé mìng lái shuō， zhè shì duì zuì 'è de、 bù rén dào de fēng jiàn zhì dù de qīng suàn， ér dài zhī yǐ gèng rén dào de shè huì zhì dù； zì yóu、 píng děng、 bó 'ài， jiù shì yǐ rén dào zhù yì wéi jī chǔ de， bǐ qǐ fēng jiàn zhù yì de rén shēn yǐ fù guān xì。 guì zú tè quán、 sēn yán de děng jí zhì dù yào qián jìn yī dà bù。 rán 'ér， zài yòu dí duì jiē jí cún zài de shè huì zhōng， yóu qí zài shàng wèi qǔ dé zuì zhōng shèng lì de jǐn jí guān tóu， bù kě néng yě bù yīnggāi shí xíng kuān dà wú biān de、 jué duì de rén dào zhù yì， fǒu zé jiù shì duì rén mín shí xíng bù rén dào。 yǐ lǎng tè nà kè lái shuō， jiù suàn tā guǒ zhēn jiù chū sān gè hái zǐ， zì jǐ shù shǒu jiù qín， duì yú gé mìng de yī fāng lái shuō， wán quán kě yǐ gēn jù tā de qíng kuàng zuò chū hé lǐ de fú hé rén mín lì yì de pàn jué， ér bù yī dìng fēi yào chù yǐ jí xíng。 dāng rán， gòng hé jūn bù huì zhè yàng chǔlǐ。 dàn shì， fàng zǒu liǎo tā， hòu guǒ huì zěn yàng ní？ tā bì rán yǔ gé mìng zhèng fǔ wéi dí， zài cì jiū jí pàn jūn， gōng dǎ gòng hé jūn， tú shā wú gū de bǎi xìng， fàn xià fēi rén dào de zuì xíng。 cóng xiào guǒ lái shuō， gē wàn fàng zǒu lǎng tè nà kè de xíng dòng， duì rén mín lái shuō， shì bù fú hé rén dào yuán zé de。 yǐ shàng fēn xī shuō míng， wú lùn yǎ gè bīn dǎng， hái shì yǔ guǒ běn rén， dū wèi néng chǔlǐ hǎo gé mìng yǔ rén dào de guān xì wèn tí。 xī mù 'ěr dān shì zuò wéi gē wàn de duì lì miàn 'ér chū xiàn de， suī rán tā yě shì yī gè gé mìng zhě。 xiǎo shuō zhōng， tā shì gé mìng zhèng fǔ de huà shēn。 jìn guǎn zǎo xiān tā shì jiào shì， dàn tā 'ài zēng fēn míng， tā néng yòng zuǐ qù xī yī gè bìng rén hóu bù de nóng chuāng， kě tā jué“ bù huì gěi guó wáng gān zhè jiàn shì”。 tā rèn shí dào gé mìng de dí rén shì jiù shè huì，“ gé mìng duì zhè gè dí rén shì háo bù rén cí de”。 rán 'ér tā shì yī gè“ lěng kù wú qíng de rén”， méi yòu rén kàn jiàn tā liú guò yǎn lèi， tā zì rèn wéi bù huì fàn cuò wù， bié rén wú kě zhǐ zhāi。 tā jì zhèng zhí yòu kě pà。 tā suī rán chóng gāo，“ kě shì zhè zhǒng chóng gāo hé rén shì gé jué de， shì zài xuán yá qiào bì shàng de chóng gāo， shì huī sè de、 bù qīn jìn rén de chóng gāo； tā de chóng gāo de zhōu wéi bèi xuán yá qiào bì bāo wéi zhe。” tā zhōng yú yǎ gè bīn dǎng de xìn tiáo hé gè xiàng kǒng bù zhèng cè， tā xiàng wěi rèn yú tā de guó mín gōng huì bǎo zhèng：“ jiǎ rú nà wěi tuō gěi wǒ de gòng hé dǎng lǐng xiù zǒu cuò liǎo yī bù， wǒ yě yào pàn chù tā sǐ xíng。” tā lǚ cì jǐng gào gē wàn：“ zài wǒ men suǒ chù de shí dài， rén cí kě néng chéng wéi mài guó de yī zhǒng xíng shì。” tā de shì yán hé jǐng gào dōuchéng liǎo shì shí。 zài pàn chù gē wàn sǐ xíng zhī hòu， tā zài yī cì tóng gē wàn jiāo fēng。 gē wàn zòng héng bǎi hé， chàng tán tā de lǐ xiǎng， xī mù 'ěr dān wú yán yǐ duì， bài tuì xià lái。 tā chéng rèn gē wàn de huà yòu dào lǐ， dàn shì tā bù kě néng gǎi biàn zì jǐ de guān diǎn， nèi xīn chǔyú bù kě kè fú de máo dùn zhī zhōng。“ tā yòu zhe xiàng jiàn yī yàng de máng mùdì zhǔn què xìng， zhǐ duì zhǔn mù biāo yī zhí fēi qù。 zài gé mìng zhōng méi yòu shénme bǐ zhí xiàn gèng kě pà de liǎo。 xī mù 'ěr dān yī wǎng zhí qián， zhè jiù zhù dìng liǎo tā de bù xìng。” tā qīn shǒu chǔsǐ liǎo zì jǐ“ jīng shén shàng de 'ér zǐ” hé xué shēng、 tā de zhàn yǒu， zuì hòu zài tòng kǔ yǔ huáng huò zhōng kāi qiāng zì jìn。 tōng guò tā de bēi jù， yǔ guǒ pī pàn liǎo zhǐ jiǎng bào lì， bù jiǎng rén dào， zhǐ zhī máng mù zhí xíng， bù huì líng huó chǔzhì de gé mìng zhě。 xī mù 'ěr dān shì yòu dài biǎo yì yì de、 xiāng dāng zhēn shí de yī gè xíng xiàng。
zuò wéi làng màn pài de lǐng xiù， yǔ guǒ de làng màn shǒu fǎ zài《 jiǔ sān nián》 zhōng dé dào liǎo chōng fēn de biǎo xiàn。 yǔ guǒ de yī gè zhòng yào de làng màn shǒu fǎ shì jiāng wú shēng mìng huò fēi rén de shì wù， miáo huì dé rú tóng yòu shēng mìng de wù tǐ yī yàng shén qí、 dòng rén xīn bó、 lìng rén jīng tàn。 xiǎo shuō kāi piān duì zhàn jiàn shàng dà pào de miáo xiě shì yī gè hěn hǎo de lì zhèng。 zài zhè sōu míng wéi jù jiàn hào de jūn jiàn shàng， yī zūn 'èr shí sì jīn zhòng dàn de dà pào cóng pào zuò shàng huá tuō liǎo， tā biàn chéng liǎo yī tóu guài wù， tā zài jiàn shàng gǔn lái gǔn qù， xuánzhuàn， chōng zhuàng， jī pò， shā hài， jiān miè， yòu xiàng wò chéng chuí zài rèn xìng dì zhuàng jī chéng qiáng：“ zhè shì wù zhì huò dé liǎo zì yóu， yě kě yǐ shuō zhè shì yǒng héng de nú lì zhǎo dào liǎo fù chóu de jī huì； yī qiē fǎng fó shì yǐn cáng zài wǒ men suǒ wèi wú shēng mìng de wù tǐ lǐ de nà zhǒng 'è xìng tū rán bào fā liǎo chū lái； tā nà yàng zǐ xiàng shì fā liǎo pí qì， zhèng zài jìn xíng yī zhǒng gǔ guài de shén mì de bào fù； zài yě méi yòu bǐ zhè zhǒng wú shēng wù de fèn nù gèng wú qíng de liǎo。 zhè gè fēng kuáng de páng rán dà wù yòu bào zǐ de mǐn jié， dà xiàng de zhòng liàng， lǎo shǔ de líng qiǎo， fǔ zǐ de jiān yìng， bō làng de tū rán， shǎn diàn de xùn sù， fén mù de chī lóng。 tā zhòng yī wàn bàng， què xiàng xiǎo hái de pí qiú shìde tántiào qǐ lái。…… bào fēng kě yǐ tíng zhǐ， tái fēng huì chuī guò qù， duàn diào de wéi kě yǐ huàn yī gēn， yī gè lòu dòng kě yǐ dǔ shàng， huǒ zāi kě yǐ pū miè； kě shì duì zhè zhǐ páng dà de qīng tóng shòu zěn me bàn ní？” zhè mén dà pào wán quán jiě chú liǎo jūn jiàn de zhàn dǒu lì。 yǔ guǒ fēng fù de xiǎng xiàng lì jiāng zhè gè chǎng miàn miáo huì dé lìng rén tàn wéi guān zhǐ。 jiù shì zài zhè yàng yī gè bēi zhuàng de chǎng miàn zhōng， lǎng tè nà kè chū xiàn liǎo， xiǎn chū tā de yán lì、 lěng jùn hé gāng yì。 zhè gè yīn cǎn cǎn de、 sè cǎi shén mì de kāi chǎng gěi xiǎo shuō dìng xià liǎo bēi jù de diào zǐ。 yǔ guǒ jiù yǐ zhè yàng de bǐ fǎ， yíng zào chū cán kù de、 mìng yùn zhuō mō bù dìng de qì fēn， jù yòu nóng yù de làng màn sè cǎi。 yǔ guǒ rèn wéi zhè zhǒng làng màn shǒu fǎ tóng yàng néng dá dào zhēn shí， tā zài xiǎo shuō zhōng shuō：‘ liú shǐ yòu zhēn shí xìng， chuán qí yě yòu zhēn shí xìng。 chuán qí de zhēn shí hé lì shǐ de zhēn shí zài xìng zhì shàng shì bù tóng de。 chuán qí de zhēn shí shì zài xū gòu zhōng qù fǎn yìng xiàn shí。” làng màn shǒu fǎ yǔ xiě shí shǒu fǎ shì shū tú tóng guī。
zhòng suǒ zhōu zhī， yǔ guǒ shì yùn yòng duì zhào shǒu fǎ de dà shī。 tā zài《 kè lún wēi 'ěr · xù》 zhōng céng jīng zhǐ chū：“ chǒu zài měi de bàng biān， jī xíng kào jìn zhe yōu měi， wǔ guài cáng zài chóng gāo bèi hòu， měi yǔ 'è gòng cún， guāng míng yǔ hēi 'àn xiāng bàn。” zhè tiáo zhǔn zé shǐ zhōng zhǐ dǎo zhe yǔ guǒ de chuàng zuò。《 jiǔ sān nián》 tóng yàng yùn yòng duì zhào shǒu fǎ， bù guò， zhè bù xiǎo shuō bù xiàng《 bā lí shèng mǔ yuàn》 nà yàng yùn yòng rén wù xíng tǐ de duì zhào huò xíng tǐ yǔ、 xīn líng de duì zhào。 xiǎo shuō sān gè zhù yào rén wù de duì zhào biǎo xiàn zài sī xiǎng shàng： lǎng tè nà kè xìng gé cán kù wú qíng， wán gù bù huà， jù yòu bù dá mùdì bù bà xiū de jiān dìng， yě jù yòu chéng wéi lǐng xiù de wēi yán hé guǒ gǎn。 tā xīn zhōng bìng wú yī sī rén dào gǎn qíng， zhǐ shì zài zuì hòu cái rén xìng fù xiàn。 xī mù 'ěr dān tóng yàng jiān dìng bù yí， lǎng tè nà kè jiān xìn bǎo wáng zhù yì， tā zé jiān xìn gòng hé zhù yì， tè bié shì jiān xìn kǒng bù zhèng zhì。 tā fǎn duì shí shī rén cí， bù xiāng xìn rén dào zhù yì shì fàng zhī sì hǎi 'ér jiē zhǔn de yuán zé。 yīnggāi shuō， tā bǐ lǎng tè nà kè de xīn cháng gèng yìng， duì wéi hù zì jǐ de xìn niàn gèng jiā yī sī bù gǒu。 zhè liǎng gè rén wù dū shòu dào yǔ guǒ de pī pàn。 gē wàn jì yòu shí xíng gé mìng de jiān dìng xìng， yòu yòu miàn duì fù zá xiàn shí de líng huó xìng。 tā shì yǔ guǒ xīn mù zhōng rén dào zhù yì de huà shēn： tā wèile rén dào zhù yì 'ér bù xī xī shēng zì jǐ de shēng mìng。 zhè sān gè rén wù sī xiǎng shàng de duì zhào yǔ máo dùn， yòu lì dì tuī dòng liǎo qíng jié de fā zhǎn。
yǔ guǒ de xiǎo shuō jì qiǎo zài《 jiǔ sān nián》 zhōng dá dào liǎo gèng chéng shú de dì bù。 xiǎo shuō qíng jié de jìn zhǎn yì cháng jǐn còu， kàn bù dào duō shǎo xián bǐ hé tí wài huà， bù xiàng《 bā lí shèng mǔ yuàn》 hé《 bēi cǎn shì jiè》 nà yàng， cháng cháng chū xiàn dà duàn de yì lùn huò zhī màn de qíng jié。 zuò zhě de yì lùn róng hé dào rén wù de sī xiǎng zhōng， chéng wéi sù zào rén wù bù kě huò quē de bù fēn， zhè shì gèng gāo míng de shǒu fǎ。 cóng jié gòu shàng shuō， xiǎo shuō huán huán xiāng kòu， yī bù bù tuī xiàng gāo cháo。 gāo cháo yǐ sān gè xiǎo hái de zāo yù wéi hé xīn， yǐ sān gè zhù yào rén wù de sī xiǎng jiāo fēng wéi chōng tū， xiěde jǐn zhāng 'ér dòng rén xīn xián。 zhè bù xiǎo shuō suī rán piān fú bù dà， què kān yǔ juàn zhì hào fán de lì shǐ xiǎo shuō xiāng pì měi， chéng wéi bù kě duō dé de shàng chéng zhī zuò。
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.
zuò jiā yīn bù xiǔ de zuò pǐn 'ér bù xiǔ， zuò pǐn yīn yǒng shēng de rén wù 'ér yǒng shēng。 yǔ guǒ hé《 bā lí shèng mǔ yuàn》 jiù shì zhè yàng。
xióng wěi zhuàng lì de bā lí shèng mǔ yuàn , zhè zuò shì jiè shàng zuì zhuāng yán、 zuì wán měi、 zuì fù lì táng huáng de gē tè shì jiàn zhù， suī rán yǐ jīng lì liǎo bā bǎi yú nián de fēng yǔ cāng sāng， dàn qí fēi fán de qì shì hé jīng měi de diāo shì réng jiù fēng yùn yóu cún， lìng rén tàn wéi guān zhǐ。
zhěng gè bā lí shèng mǔ yuàn de jiàn zhù suī rán cuò luò cēncī， dàn què zhuāng yán、 hé xié， jué 'ào yǔ líng xiù qiǎo miào dā pèi， hún rán yī tǐ， zài hóng dà hé wēi 'é de zhù tǐ zào xíng zhōng tòu chū yī zhǒng zhuāng yán de shén shèng gǎn hé shén mì de qí huàn xìng。 zhěng gè jiàn zhù fēn wéi 3 céng， cóng zhèng miàn kàn， zuì xià yī céng shì yī zuò jiān xíng gǒng mén， zhōng jiān yī céng shì 3 shàn shuò dà de chuāng zǐ， dì sān céng shì yī cù pái liè yòu xù de měi lì de lán gān， lán gān shàng miàn shì liǎng zuò jiān dǐng de zhōng lóu， gè gāo dá 69 mǐ。 nán zhōng lóu xuán yī jù zhōng， zhòng dá 13 dūn； běi zhōng lóu zé jiàng xīn dú yùn dì tè shè liǎo yī gè 187 jí de lóu tī。 zài liǎng zuò zhōng lóu de zhōng jiān piān hòu wèi zhì shàng， bàn zhēng róng bàn wèi xǐ dì lù chū yī gè gāo dá 90 mǐ de jiān tǎ。 zhè zhōng lóu hé jiān tǎ yǔ fēn zhì yú dǐ céng gǒng mén bàng de zhū duō shèng jīng rén wù diāo xiàng、 zhōng céng chuāng zǐ bàng de yà dāng、 xià wá de diāo sù xiàng， yǐ jí nà shàn yóu 37 kuài bō lí zǔ chéng de yuán xíng jù chuāng qián miàn suǒ diāo kè de“ shèng chǔnǚ xiàng” pèi hé zài yī qǐ， xiǎn dé gāo shēn mí lí， shén mì mò cè。
bā lí shèng mǔ yuàn bù jǐn jiàn zhù shí jiān zǎo， ér qiě jiàn zhù shí jiān cháng， cóng 1163 nián dòng gōng， dào 1250 nián wán chéng， bìng zài 14 shì jì hé 17 shì jì fēn bié jìn xíng guò liǎng cì zhòng dà xiū fù。 tā de jiàn shè， jīhū qiān dòng liǎo quán bā lí、 quán fǎ guó rén de xīn。 jù shuō， nán tǎ lóu shàng nà 13 dūn zhòng de jù zhōng， zài zhù liào zhōng suǒ jiā rù de dà liàng jīn、 yín chéngfèn， jiù shì yòng dāng shí bā lí de fù nǚ men kāng kǎi 'ér qián chéng dì juān xiàn chū lái de jīn yín shǒu shì róng chéng de。 lìng wài， bā lí shèng mǔ yuàn suǒ zài de wèi zhì wéi bā lí de hé xīn， bā lí de xiān mín gāo lú héng héng héng luó mǎ rén， zuì zǎo jiù shì zài zhè lǐ jiàn lì liǎo bā lí de chéng shì chú xíng， suǒ yǐ zhì jīn jì suàn bā lí dào fǎ guó quán guó gè dì de lǐ chéng dōushì yǐ bā lí shèng mǔ yuàn wéi qǐ diǎn de。
jìn guǎn bā lí shèng mǔ yuàn yǐ qí jiàn zhù hóng wěi、 lì shǐ yōu jiǔ、 diāo sù jīng měi、 dì lǐ wèi zhì zhòng yào 'ér yíng dé liǎo yǒng jiǔ de guāng huī hé bù shuāi de shēng yù， dàn zhēn zhèng wéi zhè zuò jiàn zhù wù zēng sè fū cǎi、 tóu guāng zhù huáng de， hái dāng shǒu tuī wéi kè duō · yǔ guǒ de cháng piān xiǎo shuō《 bā lí shèng mǔ yuàn》。 yóu yú zhè bù cháng piān xiǎo shuō suǒ hán fù de jī jí de sī xiǎng yì yì、 shēn kè de shè huì nèi róng hé duì lǐ xiǎng yǔ zhèng yì de bù xiè zhuī qiú yǔ chōng jǐng， ér shǐ bā lí shèng mǔ yuàn yuǎn yuǎn chāo yuè liǎo tā zuò wéi“ jiàn zhù” hé“ jiào táng” de yì yì， ér fù yòu liǎo quán xīn de shè huì jià zhí hé sī xiǎng nèi hán， chéng wéi rén men xīn mù zhōng gé xīn yǔ bǎo shǒu、 tuò jìn yǔ tuǒ xié、 zhèng yì yǔ xié 'è、 měi huàn yǔ chǒu yǔ jìn xíng kàng zhēng bìng zhàn 'ér shèng zhī de shì jīn shí yǔ fēn shuǐ lǐng， chéng wéi xiàng shàng jīng shén de shèng dì hé xiān jìn sī xiǎng de róng lú， chéng wéi yī zhǒng duì shēng huó hé wèi lái de měi hǎo de xiàng zhēng hé jī jí de xiàng wǎng。
díquè， yǔ guǒ hé tā de《 bā lí shèng mǔ yuàn》 wéi zhè zuò shēng míng yuǎn bō de jiàn zhù píng tiān liǎo wú xiàn de huó lì yǔ mèi lì， jǔ fán lái dào zhè lǐ de rén， wú bù huái zhe duì zuò jiā rén gé xíng xiàng yǔ jīng shén qí zhì de jǐng yǎng yǔ zūn chóng。《 bā lí shèng mǔ yuàn》 zhī suǒ yǐ néng gòu wéi bā lí shèng mǔ yuàn gòu zhù jīn gǔ、 zhù zào líng hún， shǐ qí chéng wéi dào yì yǔ liáng zhī de xiàng zhēng， chéng wéi chún jié yǔ shàn liáng de suǒ zài， chéng wéi xìn yǎng yǔ zhuī qiú de jì tuō， chéng wéi duì“ è” de biān tà hé duì“ měi” de 'ōu gē de xíng xiàng huà de jiàn zhèng， jiù yīn wéi yǔ guǒ shì yī gè fēi fán de zuò jiā。 tā de fēi fán， zhù yào biǎo xiàn zài jī jí、 rè qíng、 wán qiáng、 jiān rèn， duì guó jiā、 mín zú hé rén mín chōng mǎn liǎo zé rèn xīn， yī wǎng wú qián dì tóu rù shè huì biàn gé， yòng wú xiàn de zhēn chéng hé tǎn shuài， míng biàn shì fēi hé zhī chí zhèng yì， bù gù yī qiē dì zhuī qiú zhēn lǐ。 jìn guǎn《 bā lí shèng mǔ yuàn》 shì yǔ guǒ qīng nián shí qī de zuò pǐn， chuàng zuò zhè bù cháng piān xiǎo shuō de shí hòu， yǔ guǒ hái méi yòu jīng guò zài gēn xī dǎo shàng bèi liú fàng 18 nián de“ liàn yù”， tā de sī xiǎng de shēn kè xìng hái yuǎn bù rú xiě zuò《 bēi cǎn shì jiè》、《 jiǔ sān nián》 děng zuò pǐn shí nà yàng lú huǒ chún qīng。 dàn jí shǐ zhè yàng，《 bā lí shèng mǔ yuàn》 réng jiù shì xiàn shí zhù yì wén xué chuàng zuò de yī cì jù dà hé jí fù chuàng xīn yì yì de tū pò。 wài mào chǒu lòu dàn nèi xīn shàn liáng de qiāo zhōng rén kǎ xī mò duō hé měi lì de jí bǔ sài nǚ láng 'ài sī mǐ lā dá yǐ chéng wéi bù xiǔ de wén xué xíng xiàng， ér tā suǒ dài biǎo de shè huì yì yì hé sī xiǎng yì yì， zé shǐ bā lí shèng mǔ yuàn chéng wéi yī bù yǒng yuǎn nài rén xún wèi hé hán yì wú qióng de shū。
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!'"
xióng wěi zhuàng lì de bā lí shèng mǔ yuàn , zhè zuò shì jiè shàng zuì zhuāng yán、 zuì wán měi、 zuì fù lì táng huáng de gē tè shì jiàn zhù， suī rán yǐ jīng lì liǎo bā bǎi yú nián de fēng yǔ cāng sāng， dàn qí fēi fán de qì shì hé jīng měi de diāo shì réng jiù fēng yùn yóu cún， lìng rén tàn wéi guān zhǐ。
zhěng gè bā lí shèng mǔ yuàn de jiàn zhù suī rán cuò luò cēncī， dàn què zhuāng yán、 hé xié， jué 'ào yǔ líng xiù qiǎo miào dā pèi， hún rán yī tǐ， zài hóng dà hé wēi 'é de zhù tǐ zào xíng zhōng tòu chū yī zhǒng zhuāng yán de shén shèng gǎn hé shén mì de qí huàn xìng。 zhěng gè jiàn zhù fēn wéi 3 céng， cóng zhèng miàn kàn， zuì xià yī céng shì yī zuò jiān xíng gǒng mén， zhōng jiān yī céng shì 3 shàn shuò dà de chuāng zǐ， dì sān céng shì yī cù pái liè yòu xù de měi lì de lán gān， lán gān shàng miàn shì liǎng zuò jiān dǐng de zhōng lóu， gè gāo dá 69 mǐ。 nán zhōng lóu xuán yī jù zhōng， zhòng dá 13 dūn； běi zhōng lóu zé jiàng xīn dú yùn dì tè shè liǎo yī gè 187 jí de lóu tī。 zài liǎng zuò zhōng lóu de zhōng jiān piān hòu wèi zhì shàng， bàn zhēng róng bàn wèi xǐ dì lù chū yī gè gāo dá 90 mǐ de jiān tǎ。 zhè zhōng lóu hé jiān tǎ yǔ fēn zhì yú dǐ céng gǒng mén bàng de zhū duō shèng jīng rén wù diāo xiàng、 zhōng céng chuāng zǐ bàng de yà dāng、 xià wá de diāo sù xiàng， yǐ jí nà shàn yóu 37 kuài bō lí zǔ chéng de yuán xíng jù chuāng qián miàn suǒ diāo kè de“ shèng chǔnǚ xiàng” pèi hé zài yī qǐ， xiǎn dé gāo shēn mí lí， shén mì mò cè。
bā lí shèng mǔ yuàn bù jǐn jiàn zhù shí jiān zǎo， ér qiě jiàn zhù shí jiān cháng， cóng 1163 nián dòng gōng， dào 1250 nián wán chéng， bìng zài 14 shì jì hé 17 shì jì fēn bié jìn xíng guò liǎng cì zhòng dà xiū fù。 tā de jiàn shè， jīhū qiān dòng liǎo quán bā lí、 quán fǎ guó rén de xīn。 jù shuō， nán tǎ lóu shàng nà 13 dūn zhòng de jù zhōng， zài zhù liào zhōng suǒ jiā rù de dà liàng jīn、 yín chéngfèn， jiù shì yòng dāng shí bā lí de fù nǚ men kāng kǎi 'ér qián chéng dì juān xiàn chū lái de jīn yín shǒu shì róng chéng de。 lìng wài， bā lí shèng mǔ yuàn suǒ zài de wèi zhì wéi bā lí de hé xīn， bā lí de xiān mín gāo lú héng héng héng luó mǎ rén， zuì zǎo jiù shì zài zhè lǐ jiàn lì liǎo bā lí de chéng shì chú xíng， suǒ yǐ zhì jīn jì suàn bā lí dào fǎ guó quán guó gè dì de lǐ chéng dōushì yǐ bā lí shèng mǔ yuàn wéi qǐ diǎn de。
jìn guǎn bā lí shèng mǔ yuàn yǐ qí jiàn zhù hóng wěi、 lì shǐ yōu jiǔ、 diāo sù jīng měi、 dì lǐ wèi zhì zhòng yào 'ér yíng dé liǎo yǒng jiǔ de guāng huī hé bù shuāi de shēng yù， dàn zhēn zhèng wéi zhè zuò jiàn zhù wù zēng sè fū cǎi、 tóu guāng zhù huáng de， hái dāng shǒu tuī wéi kè duō · yǔ guǒ de cháng piān xiǎo shuō《 bā lí shèng mǔ yuàn》。 yóu yú zhè bù cháng piān xiǎo shuō suǒ hán fù de jī jí de sī xiǎng yì yì、 shēn kè de shè huì nèi róng hé duì lǐ xiǎng yǔ zhèng yì de bù xiè zhuī qiú yǔ chōng jǐng， ér shǐ bā lí shèng mǔ yuàn yuǎn yuǎn chāo yuè liǎo tā zuò wéi“ jiàn zhù” hé“ jiào táng” de yì yì， ér fù yòu liǎo quán xīn de shè huì jià zhí hé sī xiǎng nèi hán， chéng wéi rén men xīn mù zhōng gé xīn yǔ bǎo shǒu、 tuò jìn yǔ tuǒ xié、 zhèng yì yǔ xié 'è、 měi huàn yǔ chǒu yǔ jìn xíng kàng zhēng bìng zhàn 'ér shèng zhī de shì jīn shí yǔ fēn shuǐ lǐng， chéng wéi xiàng shàng jīng shén de shèng dì hé xiān jìn sī xiǎng de róng lú， chéng wéi yī zhǒng duì shēng huó hé wèi lái de měi hǎo de xiàng zhēng hé jī jí de xiàng wǎng。
díquè， yǔ guǒ hé tā de《 bā lí shèng mǔ yuàn》 wéi zhè zuò shēng míng yuǎn bō de jiàn zhù píng tiān liǎo wú xiàn de huó lì yǔ mèi lì， jǔ fán lái dào zhè lǐ de rén， wú bù huái zhe duì zuò jiā rén gé xíng xiàng yǔ jīng shén qí zhì de jǐng yǎng yǔ zūn chóng。《 bā lí shèng mǔ yuàn》 zhī suǒ yǐ néng gòu wéi bā lí shèng mǔ yuàn gòu zhù jīn gǔ、 zhù zào líng hún， shǐ qí chéng wéi dào yì yǔ liáng zhī de xiàng zhēng， chéng wéi chún jié yǔ shàn liáng de suǒ zài， chéng wéi xìn yǎng yǔ zhuī qiú de jì tuō， chéng wéi duì“ è” de biān tà hé duì“ měi” de 'ōu gē de xíng xiàng huà de jiàn zhèng， jiù yīn wéi yǔ guǒ shì yī gè fēi fán de zuò jiā。 tā de fēi fán， zhù yào biǎo xiàn zài jī jí、 rè qíng、 wán qiáng、 jiān rèn， duì guó jiā、 mín zú hé rén mín chōng mǎn liǎo zé rèn xīn， yī wǎng wú qián dì tóu rù shè huì biàn gé， yòng wú xiàn de zhēn chéng hé tǎn shuài， míng biàn shì fēi hé zhī chí zhèng yì， bù gù yī qiē dì zhuī qiú zhēn lǐ。 jìn guǎn《 bā lí shèng mǔ yuàn》 shì yǔ guǒ qīng nián shí qī de zuò pǐn， chuàng zuò zhè bù cháng piān xiǎo shuō de shí hòu， yǔ guǒ hái méi yòu jīng guò zài gēn xī dǎo shàng bèi liú fàng 18 nián de“ liàn yù”， tā de sī xiǎng de shēn kè xìng hái yuǎn bù rú xiě zuò《 bēi cǎn shì jiè》、《 jiǔ sān nián》 děng zuò pǐn shí nà yàng lú huǒ chún qīng。 dàn jí shǐ zhè yàng，《 bā lí shèng mǔ yuàn》 réng jiù shì xiàn shí zhù yì wén xué chuàng zuò de yī cì jù dà hé jí fù chuàng xīn yì yì de tū pò。 wài mào chǒu lòu dàn nèi xīn shàn liáng de qiāo zhōng rén kǎ xī mò duō hé měi lì de jí bǔ sài nǚ láng 'ài sī mǐ lā dá yǐ chéng wéi bù xiǔ de wén xué xíng xiàng， ér tā suǒ dài biǎo de shè huì yì yì hé sī xiǎng yì yì， zé shǐ bā lí shèng mǔ yuàn chéng wéi yī bù yǒng yuǎn nài rén xún wèi hé hán yì wú qióng de shū。
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!'"
yóu yú bēi cǎn shì jiè zhè bù xiǎo shuō duì fǎ guó 'ér yán jiǎn zhí jiù xiàng zhōng guó rén duì sān guó yǎn yì nà yàng shú xī， suǒ yǐ zài gǎi biān shí xǔ duō zhī zhī jié jié dōuyǐ shān chú， cǎi zhòng yào piàn duàn chuàn chéng dài zhuàng gù shì， qǐ zì rǎn 'ā ràng de jiǎ shì yǔ lǐng wù， zhōng yú chōng mǎn xī wàng de zhuī xún guāng míng， shí fēn dòng rén。 yǐ xià shì 'àn zhù shí jiān de shùn xù lái jiè shào zhè bù jù zuò :
xù qū： 1815 nián · dí niè (Digne)
rǎn 'ā ràng， zuì fàn 24601 shēn xiàn láo yù yǔ shǒu kào jiǎo liào xiāng bàn shí jiǔ nián zhī hòu， zhōng yú huò dé yī zhǐ jiǎ shì lìng， dé yǐ lí kāi bù jiàn tiān rì de shēng huó， rán 'ér zhè zhāng huáng sè de zì yóu zhuàng zhǐ， bìng wèi ràng tā zài shè huì shàng qǔ zì yóu， fǎn 'ér chù chù yǐn lái qí shì， shǐ tā liú làng jiē tóu， zhǐ yòu dí niè de zhù jiào mǐ lǐ 'ài hǎo xīn shōu liú liǎo tā。 yè bàn shí fēn， duō nián lái qióng kùn de xí guàn ràng tā gù tài fù méng， tōu zǒu liǎo zhù jiào jiā de yī zhǐ yín zhú tái， bù liào bàn tú bèi zhuā dào， jǐng fāng bǎ tā dài dào zhù jiào de miàn qián duì zhì， lìng tā yà yì de shì zhù jiào fēi dàn méi yòu jiē fā， fǎn dǎo wèitā sǎ huǎng shuō shì tā zèng sòng de， jǐng fāng xìng xìng rán zǒu hòu， rǎn 'ā ràng guì qiú yuán liàng， zhù jiào zhǐ yào tā xuān shì jiāng líng hún jiāo fù shàng dì， zì cǐ chóngxīn zuò rén， bìng jiāng lìng yī zhǐ zhú tái yě sòng gěi tā。 rǎn 'ā ràng gǎn shòu dào cí bēi de lì liàng， sī huǐ jiǎ shì lìng， jué xīn zài chuàng xīn shēng。
1823 nián · jìn hǎi de méng tè lǐ (Montreuil-sur-mer)
bā nián guò qù liǎo， rǎn 'ā ràng díquè lǚ xíng liǎo dāng nián de shì yán， chè dǐ gǎi tóu huàn miàn， bù dàn yì míng wéi mài dào lín， bìng qiě chéng liǎo méng tè lǐ shòu rén 'ài dài de shì cháng jiān gōng chǎng chǎng cháng， yǐ cí shàn wén míng。 zhè shí， zài tā gōng chǎng lǐ de yī míng nǚ gōng fāng tíng zhèng zāo shòu zhù qī cǎn de jì yù， tā nián qīng yīn yī shí rè qíng， huái liǎo gè nǚ hái， qǐ zhī fù xīn láng yī zǒu liǎo zhī， liú xià tā men mǔ nǚ， wèile xiǎo xiǎo kē sài tè， zhǐ yòu bǎ tā jì yǎng yī tú liǎo； bǎ nǚ 'ér 'ān dùn zài tānɡ nǎi dì jiā zhī hòu， fāng tíng fàng xīn de shàng bā lí qù zuò nǚ gōng， duì kē sài tè de sī niàn gěi liǎo tā wú jìn de lì liàng， zhèng lái de qián dū jì huí tānɡ jiā， zhǐ pàn nǚ 'ér shēng huó guò dé kuān yù， nà 'ér zhī dào tānɡ jiā zài xìn shàng suǒ shuō shēng bìng yī shìdōu shì jiǎ de， suǒ yòu de qián dū jìn liǎo tānɡ jiā de kǒu dài hé tā men de 'ài pān nī zuǐ lǐ， xiàn zài fāng tíng yòu zài cì jiē dào zhè yàng yī fēng tǎo qián xìn， yī bù xiǎo xīn luò rù tóng shì shǒu lǐ， rén rén bǐ yí tā， lián hé gōng tóu jiāng tā gǎn zǒu， bù zhī qíng de rǎn 'ā ràng qiān xià gōng wén， fāng tíng jiù cǐ liú làng jiē tóu。 fāng tíng yī xīn zhǐ xiǎng dào nǚ 'ér de yào qián， zài mài liǎo xiàng shàng de xiàng liàn hé hé yī tóu cháng fà zhī hòu， zǒu tóu wú lù de kùn jìng xià， tā jiā rù liǎo mǎ tóu qū de jì nǚ hángliè， tòng kǔ dì fàn mài líng ròu， zhí dào yòu yī tiān tā yīn jù jué yī wèi wú lǐ de kè rén， hé tā fā shēng lā chě， qià hǎo xīn shàng rèn de jǐng cháng jiǎ wéi dào rèn， bù fēn qīng hóng zào bái jiù dìng tā de zuì， mù dǔ cǐ jǐng de shì cháng chū yán zhì zhǐ， mìng jiǎ wéi fàng zǒu liǎo fāng tíng， bìng sòng tā dào yī yuàn xiū yǎng。
dāng jiǎ wéi yù yǔ shì cháng zhēng lùn zhí zé shí， jiē shàng yòu wèi lǎo rén bèi sōng tuō de mǎ chē yā zhù， rǎn 'ā ràng lì jí chōng shàng qián dǐng qǐ liǎo chē zǐ， yì cháng de lì qì gòu qǐ jiǎ wéi duì biān hào 24601 zuì fàn jiàng liè de jì yì， tā yǐ jīng zhuī jī 24601 duō nián shǐ zhōng wú gōng， dàn huái yí yī wèi rén jiàn rén 'ài de shì cháng xiǎn rán bù zhèng dāng， zhè shǐ tā fēi cháng kùn huò， xiǎng bù dào jǐng fāng bù zhī qù nà 'ér zhuā liǎo yī wèi wú gū de tiě jiàng lái dìng zuì， jiǎ wéi yǐ wéi zì jǐ cuò guài shì cháng hái xiàng rǎn 'ā ràng zhì qiàn， zhèng zhí de rǎn 'ā ràng bù néng róng rěn zì jǐ de nuò ruò zào chéng píng mín de wěi qū， yú shì lái dào fǎ tíng tǎn chéng zì jǐ de shēnfèn─ fàn rén 24601。 jiǎ wéi lì kè jiù xiǎng dài bǔ tā， dàn rǎn 'ā ràng xīn xì fāng tíng de bìng tǐ， qíng jí zhī xià dǎ hūn jiǎ wéi táo yì。
zài bìng tà shàng， fāng tíng chōng mǎn gǎn jī de jiāng kē sài tè de wèi lái jiāo gěi rǎn 'ā ràng， tā yě yī yī yǔn nuò， fāng tíng bēi 'āi de yī shēng zài duì kē sài tè de sī niàn zhōng jié shù zhī hòu， shēn fù zé rèn de rǎn 'ā ràng jí kè mǎ bù tíng tí gǎn xiàng fāng tíng suǒ shuō de xiǎo zhèn méng fó méi， qù jiě jiù tā kě lián de yí gū。
1823 nián · méng fó méi (Monfermei)
xiǎo kē sài tè yǐ jīng zài jīng yíng jiǔ guǎn de tānɡ nǎi dì jiā jì yǎng liǎo wǔ nián， tā yī zhí yǐ lái bù duàn shòu dào kě pà de nüè dài， chéng tiān xiàng nǚ yōng bān bèi lái qù chāishi， tóng nián de jiǔ guǎn lǎo bǎn nǚ 'ér 'ài pān nī， què shòu jìn chǒng 'ài， liǎng gè nǚ hái de shēng huó rú tiān yuān zhī bié， dàn kē sài tè bìng wèi yǎng chéng yuàn tiān yóu rén de gè xìng， tā zhǐ mò mò qī dài mèng zhōng de mǔ qīn yòu yī tiān néng lái jiē tā huí jiā。 rǎn 'ā ràng lái dào tānɡ jiā shí， tā zhèng chī lì dì zài hēi 'àn zhōng dǎ shuǐ， tā dāng xià jué dìng ?? hěn qiāo zhà liǎo yī fān， kē sài tè zhōng yú néng tuō lí kǔ tòng， zhēn zhèng xiǎng shòu qǐ yī gè hái zǐ yìng xiǎng de kuài lè shēng huó。 rǎn 'ā ràng bǎ tā dài huí bā lí， yǐ fù 'ài hē hù tā zhǎngdà， tiān lún zhī lè dài gěi zhè liǎng gè céng shòu mìng yùn zhé mó de rén mò dà de mǎn zú， rán 'ér jiǎ wéi de yīn yǐng yǐ jiù lǒngzhào zài rǎn 'ā ràng shēn shàng， huī zhī bù qù……
1832 nián ‧ bā lí (Paris)
jiǔ nián guò hòu de bā lí， chōng mǎn zhe dòng dàng de qì fēn， yǐ wǎng de shǒu shàn zhī dōuyǐ rán yǔ dì yù wú yì， zhèng fǔ lǐ wéi yī guān huái qióng rén de jiāng jūn lā mǎ kè (Lamarque) yòu bìng wēi， rén mín de qián tú kān yú， shè huì yǒng dòng zhù yī gǔ gé mìng de 'àn cháo。 xiǎo jiā fū luó qì shì yī qún jì nǚ hé shì qū qǐ gài zhōng de zhōng jiān fènzǐ， lián tānɡ nǎi dì fū fù yě lún rù gài bāng shēng huó， yòu yī huí hái qiǎng shàng rǎn 'ā ràng fù nǚ， yīn cǐ hái ràng jiǎ wéi hé wàn jiàng jiàn shàng yī miàn， zhǐ bù guò jiǎ wéi dāng shí méi yòu rèn chū lái， fā xiàn zhī hòu qì fèn jí liǎo， zài dù lì shì jū bǔ rǎn 'ā ràng。
zhè shí de 'ài pān nī yǐ shì qīng chūn shàonǚ， tā 'àn zì xǐ huān zhù tóng xué mǎ lǐ 'ōu， kě shì mǎ lǐ 'ōu de xīn sī yǐ jīng quán bù fàng zài jiē shàng zhuàng jiàn de kē sài tè shēn shàng liǎo， wú nài de 'ài pān nī dāyìng yào qù dǎ tīng kē sài tè de xiāo xī。
gé mìng qīng nián men， bāo kuò mǎ lǐ 'ōu， jīng cháng zài yī jiā ABC kā fēi guǎn jí huì， tā men de lǐ xiǎng gāo 'áng， jì huà zài lā mǎ kè jiāng jūn guò shì nà yī tiān bào fā gé mìng， rén réndōu zài wéi zhè yī tiān 'ér xīng fèn zhù， xiàn rù liàn 'ài de mǎ lǐ 'ōu què gé wài de mí shī、 cuì ruò， bì jìng zài dòng luàn zhōng de měi yī gè míng tiān dōushì xī wàng， yědōu shì mí huò。 zhè yī tiān， hěn kuài de lái lín liǎo。 jiā fū luó qì chōng jìn diàn lǐ， xuān bù jiāng jūn de sǐ xùn， qīng nián yī qí yǒng shàng jiē tóu， xún qiú dà zhòng de zhī chí。
tíng tíng yù lì de kē sài tè yě wéi liǎo duì mǎ lǐ 'ōu de xiāng sī 'ér kǔ， rǎn 'ā ràng zhú jiàn néng gǎn shòu dào nǚ 'ér de zhuǎn biàn， dàn tā yǐ rán bù yuàn tòu lù tā de shēn shì， kē sài tè duì cǐ bù shèn liàng jiě； lìng yī fāng miàn， yóu yú mǎ lǐ 'ōu wéi qíng suǒ kǔ， ài pān nī bù rěn xīn zhǐ hǎo dài tā lái zhǎo kē sài tè， liǎng rén zhōng yú néng hù sù zhōng qū， ài pān nī zài bàng biān rěn shòu zhù bēi shāng， hái zǔ zhǐ liǎo gài bāng de qiǎng jié， zhù shí shì gè jiān jiàng de nǚ hái。 cǐ shí rǎn 'ā ràng kǎo liàng gé mìng de luàn xiàng hé jiǎ wéi de wēi xié， jué xīn dài kē sài tè lí kāi bā lí， zhè duì liàn rén jiù shēng shēng dì fēn lí liǎo， duì tā men 'ér yán， zhè gé mìng de qián xī xiǎn dé duō me huì 'àn nǎ！ qíng rén hài pà yǒng bié， àn liàn zhě tòng shī xī wàng， táo wáng zhě jì qiú 'ān quán， wéi yī néng yòu yī sī sī yú kuài de， dà gài zhǐ yòu xiàng tānɡ nǎi dì zhè zhǒng děng zhù jiǎn sǐ rén piányí de rén bā。
gé mìng de gōng zuò yī bù bù de jìn zhǎn， xué shēng kāi shǐ jiàn zhù fáng yù gōng shì， ài pān nī jué xīn péi bàn mǎ lǐ 'ōu dào dǐ， suǒ yǐ jiā rù liǎo qīng nián men de gōng zuò， mǎ lǐ 'ōu kàn dào tā xǐ chū wàng wài， pài tā sòng xìn gěi kē sài tè， què luò rù wéi fù de shǒu lǐ， wèile nǚ 'ér de xìng fú， tā xiǎng yào qù quàn zǔ mǎ lǐ 'ōu cān jiā qǐ yì， què fā xiàn mào chōng tóng zhì de jiǎ wéi bèi jiā fū luó qì rèn chū， ér kǔn bǎng zài dì， tā zì yuàn liào lǐ jiǎ wéi， qí shí shì gù yì de fàng zǒu tā。
gé mìng bào fā， lǐng xiù 'ēn zuǒ lā zài qiāng lín dàn yǔ zhōng sàng mìng， jiā fū luó qì wéi shōu jí dàn yào zhòngdàn 'ér wáng， tóng zhì yě dà dū xī shēng dài jìn， mǎ lǐ 'ōu yě shòu shāng hūn jué， xìng 'ér yòu jiàng zhuàng de rǎn 'ā ràng jiù liǎo tā。 zài xià shuǐ dào lǐ， rǎn 'ā ràng xiān hòu yù jiàn tānɡ nǎi dì hé jiǎ wéi， tā kěn qiú jiǎ wéi fàng tā zǒu， shòu liǎo tā gāo shàng rén gé de gǎn dòng， jiǎ wéi ràng chū lù lái， kě shì yī shēng de jiān chí bìng bù róng yì niǔ zhuǎn， tā nèi xīn shòu dào jí dù de jiān 'áo， zhōng yú wú fǎ zì jiě， tóu hé zì jìn。
mǎ lǐ 'ōu zhú jiàn kāng fù， tā bìng bù liǎo jiě shì shuí jiù liǎo tā yī mìng， zhǐ hǎo bǎ yī qiē guī gōng yú kē sài tè de zhào liào， rǎn 'ā ràng jiāng tā de guò qù duì mǎ lǐ 'ōu tǎn bái， bìng biǎo shì wèile bù fáng 'ài tā men de wèi lái， tā nìngyuàn dú jū zhōng lǎo。 zài hūn lǐ shàng， tānɡ nǎi dì fū fù dài lái yī xiàng tā men zì rèn shì chǒu wén de xiāo xī： rǎn 'ā ràng zài xià shuǐ dào dào guò shī。 bìng qǔ chū yī zhǐ jīn jiè zhǐ， mǎ lǐ 'ōu lì kè rèn chū shì tā de， suí jí liǎo jiě dào zì jǐ yī xiàng wù jiě de yuè fù jiù shì shén mì de jiù mìng 'ēn rén， fū qī liǎ gǎn dào rǎn 'ā ràng chù shí， zhǐ shèng xià nà yī duì yín zhú tái péi bàn zhù tā， liǎng gè nián qīng rén zài wēi guāng zhōng liǎo jiě liǎo zì jǐ de shēn shì。 lǎo rén zhōng yú zǒu liǎo， tā de líng hún hé fāng tíng、 ài pān nī、 hé suǒ yòu zài gé mìng zhōng sǐ qù de rén xiāng jù， bì hù zhù yī duì 'ài rén， yíng xiàng guāng míng de míng tiān。
rén wù jiǎn jiè
rǎn 'ā ràng (JeanValjean)
yīn wéi tōu yī tiáo miàn bāo jiù jì wài shēng 'ér zuò láo shí jiǔ nián de qiú fàn， yuán běn zhǐ pàn wǔ nián tú xíng， dàn yóu yú tā bìng bù xìn rèn fǎ lǜ， lǚ lǚ yuè yù yǐ zhì zuì xíng jiā zhòng， tā jué jiàng bù jù jiàng quán de gè xìng shǐ tàn cháng jiǎ wéi duì tā shēn 'è tòng jué， tā guò rén de qì lì yě shǐ jiǎ wéi duì tā yìn xiàng shēn kè， liǎng rén suì jié xià yī shēng xiāng hù zhuī zhú zhī yuán。 jiǎ shì hòu tā shòu shén fù qǐ fā xiàng shàng， gǎi míng dāng shàng shì cháng， wéi rén cí bēi， bāng zhù nǚ gōng fāng tíng fǔ yǎng nǚ 'ér kē sài tè， jiù liǎo nǚ 'ér de qíng rén─ gé mìng qīng nián mǎ lǐ 'ōu， zài nǚ 'ér yòu liǎo hǎo guī sù zhī hòu， dài zhù shú zuì de 'ài lí kāi liǎo rén jiān。
fāng tíng (Fantine)
rǎn 'ā ràng gōng chǎng lǐ de yī míng nǚ gōng， tā yòu duàn kǎn kě de qīng chūn， zài huái liǎo nán yǒu de gǔ ròu zhī hòu què bèi 'è yì yí qì， wèile nǚ 'ér de shēng huó， zhǐ hǎo rěn xià xīn bǎ tā jì yǎng zài méng fó méi yī wèi jiǔ guǎn lǎo bǎn de jiā lǐ， zì jǐ lái dào bā lí móu shēng bìng dìng shí jì qián huí qù， dàn yóu yú tā yòu sī shēng nǚ de shì bèi tóng shì jiē fā， bèi gǎn chū gōng chǎng， zhǐ hǎo mài liǎo shǒu shì、 cháng fà， shèn zhì líng ròu， xìng hǎo yù jiàn rǎn 'ā ràng， tuō fù liǎo nǚ 'ér de wèi lái cái 'ān xīn de shì qù。
kē sài tè (Cosette)
fāng tíng kě lián de nǚ 'ér， dāng chū suī rán bèi mǔ qīn kěn qiú bān de tuō fù gěi jiǔ guǎn yī jiā， què méi yòu xiǎng shòu dào yī tiān tóng nián de wú yōu shēng huó， fǎn 'ér bèi dàngchéng nǚ yōng yī bān， chéng tiān mái tóu zuò zá huó， mǔ qīn cuán xià de qián jīhū quán yòng lái zāi péi jiǔ guǎn lǎo bǎn de qīn shēng nǚ 'ér。 bù guò tā kǔ mìng de rì zǐ bǐ qǐ mǔ qīn shì shǎo liǎo xǔ duō， rǎn 'ā ràng bǎ tā shì rú jǐ chū， shǐ tā néng wàng què tóng nián huí yì， hòu lái tā hé qīng nián mǎ lǐ 'ōu liàn 'ài， yòu qíng rén zhōng chéng juàn shǔ。
jiǎ wéi (Javert)
zhèng yì de jiān chí zhě， yě shì zhèng yì de wán gù zhě， tā xiāng xìn cí bēi shì zuì fàn de gēn miáo， tè bié shì xiàng rǎn 'ā ràng zhè yàng de rén。 suǒ yǐ qióng qí yī shēng shì jiāng tā zhuā huí láo yù， què fā xiàn rǎn 'ā ràng de běn xìng shì duō me shàn liáng， zhè duì yī gè bào chí rén xìng běn 'è lùn de jǐng tàn 'ér yán， shì fēi cháng cán kù de yī jiàn shì， yīn cǐ tā zài xià shuǐ dào fàng zǒu bēifù mǎ lǐ 'ōu de rǎn 'ā ràng zhī hòu， yóu yú wú fǎ zài miàn duì zì jǐ chí shǒu duō nián de xìn niàn， xuǎn zé tiào hé yī tú jié shù tā chōng mǎn xùn dào yì wèi de yī shēng。
tānɡ nǎi dì fū fù (Thenardier)
xiǎo zhèn méng fó méi yī jiā jiǔ guǎn de lǎo bǎn， diǎn xíng de zhōng xià jiē jí rén wù， tān cái、 zì sī、 bēi bǐ， gè xìng dǎo yě shí fēn dòu qù， fū fù liǎ kě wèi tiān zào dì shè， hù xiāng wā kǔ， duì kē sài tè yī zhì de qī yā， duì nǚ 'ér 'ài pān nī yī zhì de nì 'ài， hòu lái tānɡ nǎi dì xiān shēng lún wéi gài bāng bāng zhù， zài yì yǒng jūn hòu fāng sōu kuò sǐ wáng zhě shēn shàng de zhí qián wù pǐn， zuì hòu liǎng rén hái zài kē sài tè de hūn lǐ shàng zhù shí shuǎ bǎo liǎo yī zhèn， zhēn shì bù gǎi qí xìng。
ài pān nī (Eponine)
tānɡ jiā de dú shēng nǚ， zì xiǎo bèi shòu chǒng 'ài， shì tǐng qiáo bù qǐ kē sài tè de， dàn yě xǔ shì shòu jiào yù de yuán gù， tā bǐ fù mǔ yòu liáng zhī duō liǎo， suī rán 'àn liàn duì xiàng mǎ lǐ 'ōu bìng bù 'ài tā， tā réng rán yuàn yì wèitā dǎ tīng kē sài tè de xiāo xī、 wèitā sòng qíng shū， yòu wéi yào hé tā gòng cún wáng 'ér páo huí zhàn qū， zhòngdàn zài mǎ lǐ 'ōu huái zhōng duàn liǎo qì， yě suàn dé shàng shì wéi tā de fù mǔ shú zuì bā。
mǎ lǐ 'ōu (Marius)
shí jiǔ shì jì biāo zhǔn gé mìng qīng nián， wéi lǐ xiǎng rè xuè bēn téng， wéi kē sài tè chún qíng yáng yì， zài qǐ shì zhōng fù shāng hūn mí， bèi rǎn 'ā ràng suǒ jiù， suī shuō tóng bàn dà duō xī shēng lìng rén wú xiàn gǎn shāng， dàn zuì zhōng rú yuàn qǔ dé kē sài tè， yě shì měi shì yī chūn。
ēn zuǒ lā (Enjolras)
gé mìng qīng nián de lǐng xiù， fēng dù piān piān， zài cè dòng de qǐ shì zhōng zhuàng liè shēn wáng。
jiā fū luó qì (Gavroche)
gé mìng shí dài xià zǎo shú de hái zǐ， cōng míng yòu zhù jiàn， shì gè bāo dǎ tīng。
zhù jiào mǐ lǐ 'ài (BishopMyriel)
dí niè dì qū de zhù jiào， shì rǎn 'ā ràng chū yù hòu wéi yī yuàn yì shōu róng tā de rén， yǐ 'ài xīn hé kuān róng zhuǎn shùn jiān gǎn dòng liǎo rǎn 'ā ràng， yě jiù cǐ gǎi biàn liǎo tā de yī shēng。
míng jiā píng lùn
bēi mǐn xiōng huái de chéng xiàn － bēi cǎn shì jiè
xuē jiè wéi
zhǐ yào shì fǎ lǜ yǔ xí sú suǒ zào chéng de shè huì yā pò hái cún zài yī tiān， zài wén míng chāng shèng shí qī yīn rén wéi yīn sù shǐ rén jiān biàn chéng dì yù， bìng shǐ rén lèi yǔ shēng jù lái de xìng fú zāo shòu bù kě bì miǎn de zāi huò， zhǐ yào－ pín kùn shǐ nán rén liáo dǎo、 jī 'è shǐ nǚ rén duò luò、 hēi 'àn shǐ xiǎo hái càn ruò－ zhè sān gè wèn tí shàng wèi huò dé jiě jué； zhǐ yào zài mǒu xiē dì qū hái kě néng fā shēng shè huì de dú hài， huàn yán zhī， zhǐ yào zhè shì jiè shàng hái yòu yú mèi yǔ bēi cǎn， nà me， xiàng běn shū zhè yàng de zuò pǐn， yě xǔ bù huì shì méi yòu yòng de bā！
-- wéi kè duō · yǔ guǒ yī bā liù 'èr nián yī yuè yī rì yú 'ào tè wéi bié shù
zhè shì yǔ guǒ zài 「 bēi cǎn shì jiè 」 yī shū zhōng suǒ xiě de xù wén。 fǎ guó dà wén háo wéi kè duō‧ yǔ guǒ（ VictorHugo） yī bā èr nián 'èr yuè 'èr shí liù rì chū shēng yú fǎ guó de Besancon（ dàn shì tā rèn wéi bā lí shì tā「 líng hún de chū shēng dì」）， fù qīn céng jīng shì ná pò lún huī xià de jiāng jūn。 tā cóng yòu nián qǐ jiù zài gè dì lǚ xíng， shàonián shí qī， tā de wén xué dǐ zǐ jiù xiāng dāng hòu shí， duì yú gè lèi xué wèn yě guǎng fàn dì xī shōu， yě hěn zǎo xià liǎo jué xīn yào dāng wén xué jiā。 tā 'èr shí suì yǔ qīng méi zhú mǎ de nǚ yǒu Ad eFoucher jié hūn， tóng nián fā biǎo dì yī běn shī jí「 sòng gē jí」（ Odesetpo iesdiverses）， kāi shǐ liǎo tā de zuò jiā shēng yá。 yī bā sān yī nián， èr shí jiǔ suì de yǔ guǒ fā biǎo liǎo「 bā lí shèng mǔ yuàn（ yòu yì： zhōng lóu guài rén）」（ NortreDamedeParis）， zhè bù xiǎo shuō shēng dòng dì miáo huì liǎo yī sì bā 'èr nián fǎ guó de shè huì qíng xíng， yě duì rén xìng de céng miàn tí chū liǎo yán sù qiě shēn kè de wèn tí。 tā jiē xià lái yī bù shì jiè wén míng de xiǎo shuō jù zhù， jiù shì hào fèi shí sì nián guāng yīn， wán chéng yú yī bā liù yī nián， yě jiù shì xiàn zài bèi gǎi biān wéi yīnyuè jù， fēngmǐ quán qiú shù bǎi wàn yīnyuè rén kǒu de－「 bēi cǎn shì jiè」（ LesMis ables）。
chéng gōng de gǎi biān「 bēi cǎn shì jiè」 shì yī bù dà bù tóu de xiǎo shuō， dāng nián chū bǎn shí hòu dá yī qiān liǎng bǎi yè， ér yǐ běn dì yuǎn jǐng chū bǎn shè zhōng wén de yì běn， gèng shì hòu dá wǔ cè gòng 2119 yè， yī bǎi 'èr shí wàn zì， zhè yàng yī bù shí kōng bèi jǐng héng gèn 'èr shí nián de cháng piān xiǎo shuō， yào jiāng zhī gǎi chéng sān gè duō xiǎo shí jiù yǎn wán de yīnyuè jù， wěi shí bù yì， dàn Claude-MichelSch berg yǔ AlainBoublil liǎng rén què zuò dào liǎo。 ?? jīng zài bā lí tuī chū「 fǎ guó dà gé mìng」 yī jù， jiēguǒ xiāng dàngchéng gōng， yī jiǔ bā nián liǎng rén zài dù tuī chū「 bēi cǎn shì jiè」， zào chéng gèng dà de hōng dòng。 lún dūn yīnyuè jù zhì zuò rén CameronMackintosh rèn wéi zhè chū jù xiāng dāng yòu qián lì， yú shì qǐng liǎo Kretzmer、 Fenton yǔ liǎng wèi yuán zuò zhě hé zuò， gǎi biān chéng lún dūn yǔ bǎi lǎo huì de yīng wén bǎn。 yī jiǔ bā wǔ nián shí yuè bā rì，「 bēi cǎn shì jiè」 zài lún dūn de bā bǐ kěn zhōng xīn jǔ xíng yīng wén bǎn de shì jiè shǒu yǎn， tuī chū zhī hòu jiā píng rú cháo， huò dé guān zhòng jí dà de huí xiǎng， suí hòu gèng zài shì jiè gè dì shàng yǎn， zhì jīn réng rán piào fáng dǐng shèng。 cǐ wài，「 bēi」 jù yě huò dé lè píng qīng lái， duó dé bā xiàng「 dōng ní jiǎng」， zhēn kě shuō shì jiào zuò yòu jiào hǎo liǎo。
jù qíng dà gāng
yóu yú「 bēi」 jù yuán zhù shí jiān héng gèn cháng dá 'èr shí nián， yīnyuè jù bù kě néng jiāng suǒ yòu de nèi róng bāo kuò jìn lái， yīn cǐ gǎi biān chéng yīnyuè jù de「 bēi cǎn shì jiè」 fēn chéng liǎo： xù mù－ 1815 nián「 Digne」、 dì yī mù－ 1823 nián「 Montreuil-Sur-Mer」、 dì 'èr mù－ 1823 nián「 Montfermeil」、 dì sān mù－ 1832 nián「 Paris」 sì gè bù fēn。 yóu yú「 bēi cǎn shì jiè」 yòu huán qiú bǎn、 lún dūn bǎn、 bǎi lǎo huì bǎn děng shù gè lù yīn bǎn běn， yǐ xià biàn zōng hé sān gè bǎn běn， yǐ gēqǔ wéi jīng wěi， jiè shào zhěng chū jù de jù qíng fā zhǎn：
xù mù， 1815 nián， Digne「 gōng zuò zhī gē」（ WorkSong）
xù mù kāi shǐ， dì diǎn shì yī bā yī wǔ nián fǎ guó tǔ lóng（ Toulon） de yī chù jiān yù， fàn rén zài liè rì xià láo dòng， yī biān chàng zhù「 gōng zuò zhī gē」（ WorkSong）， yù lì Javert gāo shēng hǎn zhù biān hào 24601 de qiú fàn Valjean， tā kě yǐ jiǎ shì chū yù liǎo。 Valjean yīn wéi tōu liǎo yī tiáo miàn bāo yào gěi tā zǐ zǐ kuài yào 'è sǐ de xiǎo hái， bèi pàn wǔ nián tú xíng， dàn yóu yú duō cì shì tú yuè yù， xíng qī yán cháng dào shí jiǔ nián， rú jīn fāng cái zhòng huò zì yóu。 chū yù de Valjean zài nóng chǎng gōng zuò yǔ lǚ diàn tóu sù shí jiē zāo shòu qí shì， bèi gǎn liǎo chū lái， wàn niàn jù huī zhī jì， Digne dì fāng de zhù jiào shōu liú liǎo tā， bìng gōngjǐ tā yī dùn wǎn cān。
「 Valjean de dài bǔ yǔ kuān shù」（ ValjeanArrested/ValjeanForgiven）
Valjean bàn yè tōu zǒu yín zhì cān bēi lí kāi， dàn bái tiān shí què bèi liǎng gè jǐng chá niǔ sòng huí lái， zhù jiào cí bēi wéi huái， gào sù jǐng fāng Valjean shǒu zhōng yín qì nǎi shì tā xiāng zèng zhī wù， bìng qiě hái ná liǎo yī duì yín zhú tái sòng gěi Valjean。 jǐng chá lí qù hòu， zhù jiào gào jiè Valjean yào zhòng xīn zuò rén， bìng tì tā zhù fú。
「 wǒ zuò liǎo shénme shì？」（ WhathaveIdone?）
zhè shí wǔ tái shàng liú xià Valjean dú zì yī rén， tā 'ào nǎo yú zì jǐ de suǒ zuò suǒ wéi， gǎn tàn zì jǐ wèihé rú cǐ hú tú， chéng wéi yī gè yè zéi； jì 'ér xiǎng qǐ rén cí de zhù jiào dài tā rú píng cháng rén yī bān， chēng tā wéi xiōng dì， fǔ wèi tā de líng hún， shòu dào gǎn dòng de Valjean jué dìng tòng gǎi qián fēi， yú shì sī qù liǎo dài biǎo zhòng xíng fàn de huáng sè shēn fèn zhèng míng， xī rì de Valjean yǐ jīng bù fù cún zài， yī gè gǎi tóu huàn miàn de xīn rén yú yān chóngshēng。
dì yī mù， 1823 nián， Montreuil-Sur-Mer「 yī rì jiāng jìn」（ Attheendoftheday）
bā nián hòu， Valjean biàn chéng liǎo Madelaine xiān shēng， cǐ shí tā yǐ jīng shì yī jiā gōng chǎng de lǎo bǎn， bìng qiě chéng wéi Montreuil-Sur-Mer zhè gè dì fāng de shì cháng。 zhè tiān gōng rén men xià liǎo gōng， chàng qǐ liǎo「 yī rì jiāng jìn」（ Attheendoftheday）， gōng rén zhī zhōng yòu yī wèi nǚ gōng míng wéi Fantine， tā shōu dào nǚ 'ér yǎng fù mǔ de lái xìn， xìn zhōng shuō hái zǐ shēng bìng， xū yào yī yào fèi…， ér zhè xìn bèi lìng wài yī míng hǎo shì de nǚ gōng qiǎng liǎo guò qù， yú shì liǎng rén wèile qiǎng xìn kāi shǐ niǔ dǎ liǎo qǐ lái， Valjean wén shēng cóng gōng chǎng zǒu chū， yào gōng tóu píng xī zhè chǎng xuān nào。 zhòng rén zhī dào liǎo tā zhè jiàn bù míng yù de shì， qǐ nào yào qiú jiāng tā jiě zhí， yú shì， Fantine shī yè liǎo。
「 wǒ zuò liǎo yī gè mèng」（ Idreamedadream）
diū liǎo gōng zuò de Fantine shī wàng jí liǎo， zài xián lè yǔ shù qín de bàn zòu xià， huǎn huǎn chàng chū「 wǒ zuò liǎo yī gè mèng」（ Idreamedadream）， gē cí zhōng huí yì nián qīng shí zhàng fū shàng wèi pāo qì tā men de měi hǎo shí guāng。
「 piào liàng de xiǎo niū men」（ Lovelyladies）
jiē xià lái chǎng jǐng huàn dào mǎ tóu， shuǐ shǒu、 jì nǚ、 piáo kè sì chù kě jiàn， shuǐ shǒu yǔ jì nǚ men chàng zhù「 piào liàng de xiǎo niū men」（ Lovelyladies） xiāng hù tiáoqíng， Fantine dào cǐ xiǎng yào mài diào tā de shǒu shì， dàn shì duì fāng chū jià tài dī。 cǐ shí yòu yī wèi qián shòu de lǎo tài pó kàn shàng tā liàng lì de xiù fà， chū jià shí fǎ láng， Fantine xiǎng dào rú cǐ kě yǐ fù dān nǚ 'ér de fèi yòng， biàn dāyìng liǎo。 zài qí tā yīng yàn de sǒng yǒng zhī xià， Fantine jìng rán yě lún luò fēng chén， chū mài qǐ zì jǐ de líng ròu。
「 Fantine bèi bǔ」（ Fantine'sArrest）
Fantine yǔ yī wèi xún fāng kè fā shēng liǎo chōng tū， bù xìng de Fantine suí hòu bèi bǔ， dài bǔ tā de shì jǐng guān Javert， cǐ shí Valjean zài rén qún zhōng kàn dào zhè qíng xíng， biàn shàng qián liǎo jiě qíng kuàng。 dāng Valjean zhī dào liǎo Fantine de gù shì， biàn dāyìng sòng tā qù yī yuàn， bìng qiě bāng tā zhào gù nǚ 'ér。
「 shī kòng de mǎ chē」（ TheRunawayCart）
zhè shí zài yī bàng fā shēng liǎo chē huò shì gù， yī liàng shī kòng de mǎ chē yā zhù liǎo lù rén， mǎ chē shí fēn shěn zhòng， méi yòu rén néng dòng dé liǎo tā。 Valjean yù shàng qián yī shì， zài zhòng rén zhí shuō bù kě shēng zhōng， jiāng mǎ chē tái liǎo qǐ lái， jiù liǎo lún xià rén yī mìng。 jǐng guān Javert kàn dào zhè yī mù dà gǎn jīng qí， jiāng shì cháng lā dào yī bàng， shuō shì cháng cǐ jǔ lìng tā xiǎng dào tā yǐ qián kǔ kǔ zhuī bǔ de yī gè jiǎ shì fàn JeanValjean， yīn cǐ rén yě shì kǒng wǔ yòu lì， xiàn zài zhè gè xián fàn zhōng yú zài rì qián jiù dài， shuō wán biàn yáng cháng 'ér qù。
「 wǒ shì shuí？」（ WhoamI－ TheTrial）
Valjean tīng dào Javert zhè yàng shuō， biàn zhī dào Javert zhuō cuò rén liǎo， cǐ shí tā nèi xīn zhǎn kāi yī fān tiān rén jiāo zhàn－ rú guǒ zì shǒu， nà me tā yòu jiāng bèi pàn xíng， dàn rú guǒ bù zì shǒu， hài dé bié rén wú gū shòulèi， zì jǐ liáng xīn yòu jiāng shòu qiǎn zé。 yú shì tā zì wèn：「 wǒ shì shuí？ wǒ néng yī bèi zǐ yǐn xìng mái míng má？ wǒ rú hé zài dù miàn duì zì jǐ？」 jīng guò yī fān nèi xīn zhēngzhá， tā zǒu jìn fǎ tíng， tuì qù yī shān lù chū xiōng qián cì qīng， gāo hǎn：「 wǒ jiù shì JeanValjean， fàn rén biān hào 24601！」
「 Fantine zhī sǐ」（ Fantine'sDeath）
chǎng jǐng jiē zhù zhuǎn huàn dào yī yuàn， zài bìng tà shàng de Fantine mèng jiàn tā de nǚ 'ér Cosette， tā zhèng rú cí mǔ bān dì dīng níng zhù， bìng qiě yào chàng cuī mián qū gěi hái zǐ tīng。 jiē zhù Valjean jìn lái， xū ruò de Fantine jiāng nǚ 'ér tuō fù gěi Valjean zhī hòu， hán xiào 'ér zhōng。
「 chōng tū」（ TheConfrontation）
cǐ shí， Javert zǒu liǎo jìn lái， Valjean qǐng duì fāng kuān xiàn sān tiān de shí jiān， jiāng Fantine nǚ 'ér Cosette de shì qíng 'ān dùn hǎo hòu， tā jiāng huì zì dòng guī 'àn， dàn shì Javert bìng bù xiāng xìn xī rì de zuì fàn rú jīn yǐ jīng xǐ xīn gé miàn， rèn wéi「 niú qiān dào běi jīng hái shì niú」。 Valjean suí shǒu zhuō qǐ yī bǎ yǐ zǐ， jiāng zhī dǎ suì bìng yǐ jiān ruì de mù piàn yǔ Javert duì zhì， bìng duì zhù yī bàng de Fantine fā shì huì zhào gù tā de nǚ 'ér。 liǎng gè hàn zǐ jiē xià lái yī zhèn niǔ dǎ， Javert bèi jī dǎo， Valjean chèn xì táo tuō。
dì 'èr mù， 1823 nián， Montfermeil「 yún duān de chéng bǎo」（ Castleonacloud）
dì diǎn zhuǎn huàn dào Montfermeil zhè gè dì fāng， xiǎo Cosette yǔ Th ardiers fū fù tóng zhù zài tā men kāi de lǚ diàn dāng zhōng yǐ yòu wǔ nián， Th ardiers fū fù duì dài Cosette xiāng dāng kē bó， jiǎn zhí jiù shì ná tā dāng xià rén shǐ huàn。 cǐ shí Cosette zhèng zài dǎ sǎo， tā yī biān dǎ sǎo yī biān mèng xiǎng zhù：「 ā！ wǒ hǎo xī wàng zài mèng zhōng qù nà gè zài yún shàng miàn de chéng bǎo， nà biān méi yòu dì bǎn kě sǎo， zhǐ yòu yī gè yòu hǎo duō hǎo duō wán jù de fáng jiān， hái yòu xǔ duō xiǎo péng yǒu； rán hòu， yòu yī gè quán shēn chuānzhuó bái yī de 'ā yí， lǒu zhù wǒ， chàng cuī mián qū gěi wǒ tīng， ér qiě shuō tā hǎo 'ài wǒ…。」 xiǎo Cosette de měi mèng hěn kuài bèi dǎ duàn， jiān suān de Th ardiers tài tài zǒu liǎo guò lái， yào Cosette chū wài dào lín zhōng shuǐ jǐng dǎ shuǐ， Cosette qǐng qiú bù yào ràng tā dú zì yī rén zài hēi yè lǐ wài chū， dàn réng rán bèi Eponine（ Th ardiers fū fù de bǎo bèi nǚ 'ér） tuī liǎo chū qù。
「 wū zǐ de zhù rén」（ MasterofTheHouse）
lìng yī biān zài diàn zhōng， jǐ míng jiǔ kè jù jí， diàn lǎo bǎn Th ardiers xiān shēng zhèng chuān suō zài kè rén zhī zhōng fú wù， dà huǒ qí shēng gāo chàng「 wū zǐ de zhù rén」（ MasterofTheHouse）， xián liáo jiáo shé yī fān。
「 xié shāng」（ TheBargain）
wū wài， Valjean zài lín zhōng qià qiǎo pèng shàng liǎo wài chū qǔ shuǐ de Cosette， yú shì biàn qiān zhù tā de shǒu huí dào lǚ diàn， zhǔn bèi fù yī bǐ qián dài zǒu tā。 Th ardiers fū fù xū qíng jiǎ yì， tiào zhù「 jiǎo zhà de huá 'ěr zī」（ TheWaltzofTreachery）， bǎ Cosette shuō chéng shì tā men pěng zài shǒu shàng de xīn gān bǎo bèi， yì tú shí fēn míng xiǎn， dāng rán shì xiǎng yào tí gāo Valjean suǒ gěi de jià mǎ。 Valjean zuì hòu gěi liǎo liǎng rén yī qiān wǔ bǎi fǎ láng， shùn lì dài zǒu Cosette。
dì sān mù， 1832 nián， bā lí「 xiàng xià kàn」（ LookDown）
shí guāng liú zhuǎn， jiē xià lái de dì sān mù cóng jiǔ nián hòu de bā lí kāi shǐ， mù qǐ shí jiē shàng qǐ gài、 liú làng 'ér、 jì nǚ、 xué shēng dào chù zǒu dòng， chàng chū「 xiàng xià kàn」（ LookDown）。 yī bàng， Th ardier fū fù yǔ nǚ 'ér Eponine yě lái dào liǎo bā lí， Th ardier fū fù réng rán 'è xìng bù gǎi， jù jí liǎo yī xiǎo cuō dǎng yǔ zuò yī xiē tōu qiè qiǎng jié de gòu dāng。 sú huà shuō dé hǎo：「 bù shì yuān jiā bù jù tóu。」， zhèng dāng Th ardier xiān shēng xiàng yī wèi yíng miàn 'ér lái jean， yú shì shàng qián biàn lā zhù tā， liǎng rén zhǎn kāi yī zhèn lā chě。
「 Javert gān shè」（ Javert'sIntervention）
qiǎo de shì， zhè shí xún luó de jǐng yuán gāng hǎo jīng guò， dài tóu zhě zhèng shì Javert， Eponine jiàn zhuàng dà hū yī shēng， zhòng rén zuò niǎo shòu sàn， Valjean yě chèn jī lā zhù zài bàng biān de Cosette liù zǒu liǎo。 Javert zǒu guò lái， zhèng qí guài gāng gāng bèi Th ardier suǒ jiū chán de nán shì bù zhī qù xiàng， què cóng Th ardier kǒu zhōng dé zhī nà rén jiù shì tā rì yè jí sī dài bǔ de Valjean， yú shì biàn chàng chū「 qún xīng」（ Stars）， tā yǐ tiān shàng de qún xīng wéi zhèng， fā shì bì dìng yào jiāng Valjean jī ná dào 'àn。 jiē zhù guǎng chǎng shàng zhǐ shèng Eponine yī rén， tā jì qǐ fāng cái nà shàonǚ yuán lái jiù shì xiǎo shí hòu jì zhù zì jiā de Cosette， cǐ shí xué shēng qún de tóu tóu Marius zǒu guò lái， wèn tā shì fǒu rèn shí nà nǚ hái（ zhǐ Cosette）， bìng qǐng qiú Eponine tì tā dǎ tīng Cosette de xià luò， zhè wěi tuō jiù chéng liǎo「 Eponine de chāishi」（ Eponine'sErrand）。
「 ABC kā fēi tīng」（ TheABCCaf ruǎn edandBlack）
zài ABC kā fēi tīng（ zhù yī） zhōng， yǐ Enjolras wéi shǒu de xué shēng men zhèng zài tǎo lùn gé mìng dà jì， tā men xū yào yī gè gòng tóng de xìn hào lái chuán dá qǐ shì de zhǐ lìng， yǐ biàn yú zhǐ huī qún zhòng， zuì hòu biàn tǎo lùn chū yǐ「 hóng」、「 hēi」 liǎng zhǒng yán sè lái zuò wéi gé mìng qí zhì de yán sè－ hóng sè dài biǎo fèn nù rén mín de xiān xuè yǔ lí míng qián de shì jiè， hēi sè zé dài biǎo guò qù hēi 'àn de suì yuè yǔ qī hēi de yè。 jiù zài dà jiā jī 'áng xīng fèn dì tǎo lùn zhī jì， xiǎo nán hái Gavroche chōng jìn lái gào sù dà jiā yī gè huài xiāo xī－ Lamarque jiāng jūn sǐ liǎo！ xué shēng lǐng xiù Enjolras huà bēi fèn wéi lì liàng， dǎ suàn zài Lamarque de sānglǐ shàng lì yòng jù jí de rén qún jǔ shì， tā bìng qiě dài lǐng dà jiā jī dòng dì chàng chū「 nǐ tīng dào rén mín de gē shēng liǎo má？」（ Doyouhearthepeoplesing?） gē cí dà yì wéi：「 bù gān wéi nú lì de rén mín chàng chū fèn nù de gē， xīn tiào yǔ gǔ shēng xiāng hù jī dàng， dāng míng rì lái lín， xīn de shēng huó jí jiāng zhǎn kāi！」
「 RuePlumet jiē」（ RuePlumet-Inmylife）
bù jǐng zhuǎn dào RuePlumet jiē， Cosette dú zì zài huā yuán， tā fā jué tā zì jǐ liàn 'ài liǎo， jiù zài yǔ Marius yī jiàn zhōng qíng zhī hòu。 tā dì yī cì fā xiàn 'ài qíng lí tā rú cǐ zhī jìn。 jiē zhù Valjean zǒu jìn 'ān wèi tā， suí jí lí kāi。 ér Marius zài Eponine de dài lǐng xià， lái dào liǎo huā yuán mén kǒu； jí jiāng yǔ suǒ 'ài de rén xiāng jiàn， Marius xīn xǐ zhī qíng yì yú yán biǎo， ér Eponine què xiǎn dé luò luò guǎ huān， yīn wéi zì jǐ suǒ 'ài de rén xiàn zài què yào hé bié rén xiāng huì。
「 yī kē xīn chōng mǎn zhù 'ài」（ AHeartfullofLove）
Marius zǒu jìn huā yuán， yǔ Cosette hù sù qíng zhōng， Eponine zài wài miàn tīng liǎo xīn rú zhēn cì， tā duō me xī wàng Marius de tián yán mì yǔ shì duì zhù tā shuō 'ā！
「 gōng jī RuePlumet jiē」（ TheAttackonRuePlumet）
cǐ shí Eponine de fù qīn Th ardier dài zhù tā de shǒu xià yě lái dào liǎo huā yuán zhī wài， xiǎng yào xiàng Valjean qiǎng duó yī xiē cái wù， Eponine wèile bù ràng fù qīn dé chěng， suì dà jiào yī shēng， zhòng rén jiàn shì jī bài lù， sì xià sàn qù。 Marius jiàn zhuàng suí jí lí qù， Valjean tīng dào jīng hū shēng cōng máng gǎn lái， Cosette piàn fù qīn shuō tā yīn kàn dào qiáng wài yòu sān rén guǐ guǐ suì suì 'ér jiān jiào， Valjean yǐ wéi yīn hún bù sàn de Javert yòu zhǎo shàng mén lái， rèn wéi cǐ dì bù yí jiǔ liú， jué dìng dài zhù Cosette lí kāi。
「 zài duō yī tiān bā！」（ Onedaymore!）
yóu Valjean dài tóu kāi chàng de「 zài duō yī tiān bā！」 dào jìn zhòng rén xīn shì： Valjean xīn xiǎng zhǐ yào zài duō yī tiān， tā jiù néng dài zhù Cosette yuǎn zǒu gāo fēi； Marius yǔ Cosette bǎ wò zuì hòu yī tiān xiāng chù de jī huì， Eponine zài yī bàng 'àn rán shén shāng； Javert děng dài zhù yào hùn rù xué shēng men de zhèn róng zhōng， sì jī cóng zhōng pò huài； Enjolras yǔ xué shēng men qī dài míng tiān qǐ yì jǔ shì， gāo jǔ zhù zì yóu de dà dào， tuī fān zhuān zhì de zhèng quán， ràng měi gè réndōu dāng zhù rén！
「 fáng yù gōng shì dì diǎn」（ AttheBarricade）
qǐ yì zhī shī xuǎn dìng liǎo jiàn zhù fáng yù gōng shì de dì diǎn， Enjolras zhèng duì zhù qún zhòng fā biǎo tán huà。 Marius fā xiàn Eponine jìng rán nǚ bàn nán zhuāng hùn zài rén qún zhōng， biàn quàn tā gǎn jǐn lí kāi， bìng qǐng tā dài xìn gěi Cosette。 Eponine jiāng xìn jiāo gěi Valjean， Valjean zhǎn xìn dú liǎo yī biàn， biàn zǒu huí wū nèi， liú xià Eponine。
「 dú zì yī rén」（ OnMyOwn）
zhè shì Eponine dú zì yī rén suǒ chàng chū de「 ài zhī gē」， biǎo dá chū tā duì Marius de wú xiàn 'ài yì， dàn shì yóu yú Marius de xīn shàng rén bù shì tā， suǒ yǐ gē shēng zhōng tòu lù zhù wú nài yǔ luò mò：「 wǒ 'ài tā， dàn wǒ què dān dú yī rén zài cǐ…。」
「 fáng yù gōng shì jiàn zào wán chéng」（ BuildingtheBarricade）
fáng yù gōng shì yǐ jīng jiàn zào wán chéng， xué shēng men shì yán shǒu zhù cǐ dì， bìng zhàn dǒu dào dǐ。 zài fáng yù gōng shì de lìng yī miàn chuán lái jūn guān de hū hǎn shēng， quàn xué shēng men fàng xià wǔ qì， xué shēng men dāng rán zhì zhī bù lǐ。 cǐ shí Javert cóng gōng shì wài fān liǎo jìn lái， gào sù dà jiā tā suǒ tàn dé de dí qíng「 Javert dào lái」（ Javert'sArrival）。 wú qiǎo bù qiǎo， tā de zhēn shí shēnfèn gāng hǎo bèi xiǎo jiā huǒ Gavroche shí chū「 xiǎo jiā huǒ」（ LittlePeople）， guǐ jì yú yān bèi chāi chuān， Javert bèi dà huǒ kǔn bǎng liǎo qǐ lái。
「 xiǎo yǔ bù zú jù」（ ALittleFallofRain）
yī gè nán hái cóng gōng shì wài pá liǎo jìn lái， yuán lái shì Eponine， tā shēn fù zhòng shāng， dǎo zài Marius de huái zhōng。 suī rán shēn zǐ yǐ rán xū ruò， dàn dǎo zài suǒ 'ài de rén huái zhōng， Eponine què lù chū xīn xǐ zhī qíng， wài miàn zòng rán qiāng lín dàn yǔ， yě bù zú jù。 suī rán Marius bù duàn dì 'ān wèi， dàn zuì hòu tā hái shì sǐ zài tā de shuāng bì zhōng。
「 bēi fèn de yè wǎn」（ NightofAnguish）
zhòng rén tóng chóu dí kài， xuān yán bù ràng Eponine de xiān xuè bái liú。 Valjean zài zhè gè shí hòu shēn zhù jūn zhuāng pá liǎo jìn lái， zhǔn bèi yǔ xué shēng men bìng jiān zuò zhàn， Enjolras gěi liǎo tā yī bǎ qiāng。 cǐ shí wài miàn de jūn duì pài rén jiē jìn， shuāng fāng zhǎn kāi「 dì yī cì jiāo zhàn」（ FirstAttack）， duì fāng yī míng jū jī shǒu miáo zhǔn Enjolras， dàn shì bèi Valjean liào dǎo。 zhòng zhì chéng chéng， dì yī cì de zhàn dǒu jìng rán jiāng jūn duì jī tuì， dà jiā què yuè bù yǐ， Valjean qǐng qiú jiāng Javert jiāo gěi tā chǔlǐ， Enjolras yīngyǔn。 Javert yǐ wéi Valjean yào jiè jī fù chóu， yú shì lǐn rán miàn duì， méi xiǎng dào Valjean gē duàn tā shēn shàng de shéng suǒ， yào tā sù sù lí qù。 shì qíng dà chū Javert zhī suǒ liào， zuì hòu Valjean duì kōng fàng liǎo yī qiāng， Javert xùn sù lí qù。
「 dài tā huí jiā」（ Bringhimhome）
yè shēn liǎo， dān rèn chì hòu de xué shēng yǐn jiǔ chàng gē「 yǔ wǒ gòng yǐn」（ Drinkwithme）， Marius xīn zhōng diàn jì zhù Cosette， bù duō shí biàn shěn shěn shuì qù。 Valjean kàn zhù Marius， kàn tā shì rú cǐ de nián qīng， yú shì biàn chàng chū「 dài tā huí jiā」（ Bringhimhome）， qí qiú shàng cāng bǎo hù zhè gè nián qīng rén， ràng tā néng píng 'ān dù guò， rú guǒ shàng dì yào qǔ zǒu rèn hé rén de xìng mìng， nà jiù qǔ wǒ Valjean de bà！
「 dì 'èr cì jiāo zhàn， Gavroche zhī sǐ」（ TheSecondAttack,DeathofGavroche）
lí míng shí fēn， shuāng fāng fā shēng dì 'èr cì jiāo zhàn， Enjolras yào shǒu xià bào gào jǐ fāng qíng kuàng， fā xiàn dàn yào yǐ quē fá。 zài Marius yǔ Valjean zhēng zhù chū qù shōu jí dàn yào shí， Gavroche yǐ jīng pá dào gōng shì zhī wài， jiù zài tā kuài yào chéng gōng shí， hū wén yī shēng qiāng xiǎng－ yī kē zǐ dàn jī zhōng liǎo tā！ jiē zhù tā yòu lián 'āi liǎo liǎng sān qiāng， zhōng yú bù zhī dǎo dì 'ér wáng。
「 zuì hòu yī zhàn」（ TheFinalBattle）
gōng shì wài jūn guān yòu zài dù hǎn huà， yào xué shēng men fàng xià wǔ qì， xué shēng men dāng rán bù cóng， yóu Enjolras dài lǐng zhù xiàng wài gōng jī； yī shí qiāng pào shēng bù jué yú 'ěr， huǒ guāng jiāo cuò， zhàn kuàng shí fēn cǎn liè。 zhè yī yì xué shēng yī fāng jīhū quán jūn fùmò， Enjolras mìng sàng gōng shì zhī dǐng， Marius shēn fù zhòng shāng dàn yī xī shàng cún， bèi Valjean fā jué hòu yóu xià shuǐ dào káng lí。 Javert dào xiàn chǎng wèi fā jué Valjean de shī tǐ， pàn dìng tā yī dìng cóng xià shuǐ dào liù zǒu， yú shì xún xiàn yòu zhuī liǎo qù。
「 xià shuǐ dào， gǒu shì gǒu」（ TheSewers-DogeatsDog）
zài xià shuǐ dào， huài xīn yǎn de Th ardier yòu zài gān zhù lìng rén bù chǐ de gòu dāng－ sōu xún sǐ zhě shī tǐ shàng zhí qián de cái wù。 káng zhù Marius de Valjean yīn wéi tǐ lì bù zú， shuāng shuāng dǎo wò zài dì。 Th ardier yī lù sōu lái， ná zǒu liǎo Marius de jiè zhǐ， dāng fā xiàn tǎng zài bàng biān de rén jìng rán shì Valjean， tā kuáng xiào shù shēng， xiāo shī zài xià shuǐ dào de bǐ duān。 Valjean tái zhù Marius jì xù qián xíng， bèi Javert gǎn shàng， liǎng gè yuān jiā zài dù xiāng féng； yóu yú Marius shāng shì yán zhòng jí xū jiù yī， Valjean qǐng qiú Javert wǎng kāi yī miàn， liǎng rén de zhàng róng hòu zài suàn。 Javert zhōng yú dòng liǎo cí bēi xīn， ràng Valjean dài zhù Marius lí kāi。
「 Javert zì jìn」（ Javert'sSuicide）
fàng zǒu liǎo Valjean， Javert gǎn chù liáng duō； shì Valjean fàng tā yī mǎ， tā cái néng huó dào jīn tiān， tā kāi shǐ huái yí， nán dào zhuī zhú liǎo zhè xǔ duō nián， Valjean jìng rán shì yī gè cí bēi wéi huái de rén？ bǎi gǎn jiāo jí zhī xià， tā rèn wéi tā yǐ wú chù kě qù， yú shì tóu shēn sài nà hé（ SeineRiver） zì jìn。 zhàn shì guò hòu， nǚ rén men lái dào jiē shàng， tā men zhì yí dì wèn：「 gǎi biàn liǎo má？」（ Turning）， dāng rán， shénme yě méi biàn， yī qiē fǎng fù dōu juàn juàn bān， yòu huí dào yuán diǎn。
「 rén shì quán fēi」（ EmptyChairsatEmptyTables）
huí xiǎng qǐ yǐ qián zài ABC kā fēi tīng yǔ yǒu rén men xiāng jù gāo tán kuò lùn， ér jīn jǐng wù yǐ jiù， dàn tóng bàn men què yǐ rán qù shì， Marius bù jìn bēi cóng zhōng lái， jī dòng dì chàng chū「 rén shì quán fēi」（ EmptyChairsatEmptyTables）， zài tā gē chàng de tóng shí， tóng bàn men de hún bó xiàn 'ér fù yǐn， hǎo sì tīng jiàn liǎo tā de hū hǎn； jiē zhù Cosette lái dào liǎo shēn biān， ān fǔ Marius qǐ fú de qíng xù， liǎng rén gòng tóng gē yǒng chū 'ài de 'èrchóng chàng「 měi yī rì」（ EveryDay）， huí yì qǐ chū jiàn de nà yī yè， xīn zhōng chōng mǎn 'ài yì。 Valjean zǒu liǎo jìn lái， xíng chéng yī què duǎn xiǎo de sān chóngchàng。
「 Valjean de gào bái」（ Valjean'sConfession）
Cosette zàn shí lí kāi， shèng xià Marius yǔ Valjean 'èr rén。 Valjean xiàng Marius biǎo míng shēn shì， shuō míng zì jǐ céng jīng shì xiǎo tōu， dài zuì zhī shēn yī zhí bù gǎn ràng Cosette zhī qíng， rú guǒ zài bèi zhuō dào zhǐ huì shǐ Cosette méng xiū， ràng tā gèng shāng xīn。 xiàn zài Cosette yǐ jīng yòu xīn shàng rén zhào liào， yīn cǐ tā bì xū lí kāi， qǐng Marius gào sù Cosette tā qù yuǎn fāng lǚ xíng， bìng qiě qiān wàn bù yào ràng tā zhī dào zhēn xiāng。 Marius rěn tòng dāyìng。
「 jié hūn lǐ zàn」（ TheWeddingChorale）
Marius yǔ Cosette zhōng yú rú yuàn bù shàng jié hūn lǐ táng， zhòng rén zài liǎng bàng gē chàng zhù fú。 yuán wǔ qū yuèyīn xiǎng qǐ， xuán lǜ jìng rán qǔ zì dì 'èr mù「 jiǎo zhà de huá 'ěr zī」， yuán lái Th ardier fū fù yòu chū xiàn liǎo。 zhè cì tā men hòu zhù liǎn pí lái xiàng Marius yào qián， suǒ jià wǔ bǎi fǎ láng， xuān chēng wò yòu Valjean zài xià shuǐ dào sōu kuò sǐ rén cái wù de zhèng jù； Th ardier cóng huái lǐ ná chū yī zhǐ jiè zhǐ， zhèng shì dāng yè cóng Marius shēn shàng qǔ xià zhī wù， Marius dùn shí míng bái Valjean jiù shì nà wǎn de jiù mìng 'ēn rén。 tā yī quán jiāng Th ardier dǎ dǎo， yě gù bù dé zhèng zài jǔ xíng hūn lǐ， lā zhù Cosette xún zhǎo Valjean qù liǎo。 hūn lǐ suì chéng liǎo「 qǐ gài de shèng yàn」（ BeggarsAttheFeast）。
「 zhōngqǔ」（ Epilogue,Finale）
qì ruò yóu sī de Valjean dú zì yī rén， shēn bàng fàng zhù yī gè mù zhì shí zì jià， tā zài wéi Cosette yǔ Marius， yě wéi zì jǐ qí dǎo。 Fantine de líng hún xiàn shēn， gǎn xiè dài wéi yǎng yù zhī 'ēn， bìng wéi tā qí fú， zhè shí Marius yǔ Cosette gǎn liǎo jìn lái。 zuì hòu Eponine yǔ zhàn shì zhōng sǐ wáng de hún bó fēn fēn chū xiàn， dà huǒ hé chàng「 zhōngqǔ」（ Epilogue,Finale）， bù xìng de rén men， zhōng jiū huì yòu guāng míng de yī tiān！
guān yú「 bēi cǎn shì jiè」 de bǎn běn
「 bēi cǎn shì jiè」 zài tái wān kě yǐ zhǎo dào hǎo jǐ gè lù yīn bǎn běn， yóu yú wǒ shǒu biān méi yòu fǎ wén bǎn， yě bù dǒng fǎ wén， yīn cǐ wú fǎ xiàng dú zhě jiè shào。 yīng wén fā yīn de bǎn běn qǐ mǎ yòu sān gè， shǒu xiān jiè shào de dāng rán shì zuì wán zhěng de huán qiú bǎn（ 3CDs）， zhè gè bǎn běn shì jí hé liǎo lái zì shì jiè gè dì yǎn chàng「 bēi cǎn shì jiè」 de yào jiǎo， liù shí wǔ wèi yīng guó 'ài lè guǎn xián yuètuán chéng yuán， qī shí yú wèi hé chàng tuán yuán， zài lún dūn、 xuě lí、 nà xǔ wéi 'ěr、 luò shān jī děng dì fēn bié lù zhì， zài zhì zuò mǔ dài 'ér chéng。 chàngpiān jiě shuō zhōng zhì zuò rén CameronMackintosh yǔ DavidCaddick xiáng shù liǎo zhè tào chàngpiān lù zhì de niàn tóu yǔ guò chéng， xiāng dāng yòu yì sī。 wǒ zhǐ tè bié tí chū yī diǎn， zhè tào chàngpiān zhōng shì chàng Eponine yī jiǎo de rì jí nǚ gē shǒu KahoShimada jīhū bù huì jiǎng yīng wén， wèile lù zhè gè juésè hái tè bié qǐng liǎo fān yì yǔ tā gōu tōng， dàn shì tā zài chàngpiān zhōng de yīng wén yǎo zì fā yīn、 gē shēng biǎo qíng、 qíng gǎn quán shì dū jí wéi chū sè， lìng rén jī shǎng！ qí tā de juésè yědōu shì yī shí zhī xuǎn， biǎo xiàn fēi cháng jié chū。 liǎng piàn zhuāng fēn bié yòu lún dūn（ OriginalLondonCastRecording） yǔ bǎi lǎo huì（ OriginalBroadwayCastRecording） liǎng gè bǎn běn， zhè liǎng tào chàngpiān de zhùjué JeanValjean dōushì yóu zhù míng de yīnyuè jù yǎn yuán ColmWilkinson yǎn chàng， Eponine yě shì tóng yī rén， qí tā de chàng jiǎo suī rán bù tóng， dàn biǎo xiàn dà zhì zài bó zhòng zhī jiān， méi yòu tài dà de chā yì； bù guò lún dūn bǎn zài měi yī shǒu gē cí zhī jiān yòu jù qíng jiě shuō chuàn lián， zài zhè yī diǎn shàng shì yào bǐ bǎi lǎo huì bǎn lüè shèng yī chóu de。 chú liǎo yǐ shàng sān gè bǎn běn zhī wài， shì miàn shàng hái kě yǐ fā xiàn yī zhāng jīng xuǎn bǎn， zhè zhāng「 HighlightsfromLesMis ables」 shì yóu WoodfordMusic gōng sī suǒ chū bǎn， shōu lù liǎo qǔ zì「 bēi cǎn shì jiè」 de shí qī duàn yīnyuè； CD zhī zhōng chú liǎo qū míng yǔ yǎn chàng zhě rén míng zhī wài， bìng wú qí tā jiě shuō， bàn zòu zhǐ yòng liǎo jiǎn dān de diàn zǐ hé chéng yuèqì， tīng lái pín ruò 'ér quē fá xuán lǜ xìng， hé chàng tuán yǎn chàng de bù fēn míng xiǎn dì kě yǐ tīng chū zhǐ yòu jǐ gè rén zài chēng chǎng miàn。 suǒ yǐ chú fēi nǐ duì zhè chū yīnyuè jù qíng yòu dú zhōng， fǒu zé qián miàn de sān tào「 bēi cǎn shì jiè」 zú gòu mǎn zú yī bān rén de xū qiú。
bēi cǎn shì jiè - bēi cǎn shì jiè dú hòu gǎn
zài shū zhōng， chū yù hòu de rǎn 'ā ràng bēifù zhe qiú fàn de shēn fèn， bǎo shòu zhe tā rén de qí shì。 shè huì de bù gōng yǔ pái chì， yī diǎn diǎn de mó miè liǎo tā chóngxīn zuò rén de xī wàng， gǎi guò xiàng shàn de xìn xīn。 shì cí bēi wéi huái de zhù jiào shēn chū kāng kǎi de， wú sī de yuán zhù zhī shǒu shōu róng liǎo zǒu tóu wú lù de rǎn 'ā ràng。 tā bù jǐn bù jì jiào rǎn 'ā ràng tōu tā de yín qì jù， fǎn 'ér jiāng nà yī duì yín zhì zhú tái sòng gěi liǎo tā bìng dīng zhǔ dào：“ dāyìng wǒ yī dìng yào bǎ zhè xiē qián yòng dào hǎo de dì fāng。 bǎ zhè xiē yín qì mài diào， yòng zhè xiē qián ràng zì jǐ guò dé hǎo yī xiē。”
wǒ kāi shǐ shēn shēn de gǎn wù dào， yuán lái， zài dāng shí nà gè wú qíng de zī běn zhù yì shè huì jìng rán yě yòu zhè yàng de shì wài shèng rén cún zài， zhèng shì zhù jiào de kuān dà hé rén cí shēn shēn gǎn huà liǎo rǎn 'ā ràng， shì tā chóngxīn rán qǐ liǎo rǎn 'ā ràng xīn zhōng nà kuài xī miè de xī wàng zhī huǒ， shǐ tā chè dǐ huǐ wù， kāi shǐ xīn de shēng huó。 suǒ yǐ shuō， rǎn 'ā ràng de mìng yùn bìng bù shì yǒng yuǎn dōushì nà me de bēi cǎn， bēi cǎn de shì nà shí hòu de zhěng gè shì jiè guān， jiù shì yīn wéi yòu liǎo zhù jiào zhè yàng de rén， zhěng gè shì jiè cái yòu liǎo jiù shì zhù， zhěng gè shì jiè cái yòu kě néng zài shuǐ shēng huǒ rè zhī zhōng jiān kǔ mō suǒ qián jìn。
zài zhù jiào de gǎn huà xià， rǎn 'ā ràng kāi shǐ biàn dé lè yú zhù rén， jiàn yì yǒng wéi dé dào rén mín de 'ài dài， yáo shēn yī biàn chéng liǎo shòu rén zūn jìng de shì cháng。 zhè yī qiē dé zhuǎn biàn shǐ wǒ jì bèi gǎn xīn wèi。 cóng qiú fàn dào shì cháng， jiǎn zhí shì tiān rǎng zhī bié， zhè wú yí shì rén xìng de jù dà zhuǎn biàn。
miàn duì zhe qióng kùn liáo dǎo， shì tài yán liáng， jiāng huì chǎn shēng liǎng zhǒng rén： dì yī zhǒng shì bēi wēi dī liè de rén。 tā men chǒu lòu、 zì sī、 tān lán de běn xìng zài yě wú fǎ yǐn cáng。 jiù rú shū zhōng de dé nà dì， tā wèile qián cái bù xī yī qiē， yī huì shēng chēng shì yǎn yuán， yī huì 'ér yòu biàn chéng liǎo huà jiā， dàn tā zài gāo míng yě wú lùn rú hé yǎn gài bù zhù tā chǒu lòu běn xìng de shì shí。 lìng yī zhǒng shì wú lùn zài shénme qíng kuàng xià dōunéng yǒng bǎo guāng míng、 shàn liáng、 kuān róng de yōng yòu gāo shàng qíng cāo de rén。 xǐ xīn gé miàn hòu de rǎn 'ā ràng biàn dé kuān dà、 shàn liáng。 zhèng shì nà gè cí bēi wéi huái de xīn gǎn huà liǎo lěng kù、 gù zhí， céng yī wèi zhuī bǔ tā de jǐng cháng shā wēi。
qí shí， zài dāng jīn shè huì yě bù fá yòu yī xiē wèile yǎn qián lì yì 'ér bù zé shǒu duàn de bēi bǐ xiǎo rén。 rú yī xiē píng jiè zhí quán tān wū shòu huì zhě； zài zhòng dà sài shì zhōng wéi dé dào hǎo chéng jì 'ér fú yòng xīng fèn jì zhě； hái yòu xiǎo dào kǎo shì zuò bì de rén……
zuò zhě xiǎng gào sù wǒ men de shì： zuò yī gè zhēn zhèng de zì jǐ， rèn hé kè yì de wěi zhuāng dū jiāng bèi shí pò， xū wěi zài shì shí miàn qián zhǐ yòu bèi gé miè。 wǒ zài yī cì bèi rén xìng de jù dà lì liàng suǒ zhèn hàn。 yuàn wǒ men shēn biān duō yī xiē zhù jiào bān guāng míng de shǐ zhě， yuàn tā men xiàng chún jié de tiān shǐ bān yǒng yuǎn shǒu hù zhe rén men xīn zhōng nà fèn cí bēi wéi huái de xīn， gèng xī wàng yòu gèng duō de rén néng jiā rù dào zhù rén wéi lè、 jiàn yì yǒng wéi de duì wǔ zhōng lái。 shè huì xū yào zhè yàng de rén， shì jiè xū yào zhè yàng de rén。 zhǐ yòu zhè yàng， wǒ men cái néng chuàng zào wǒ men de shēng huó， chuàng zào chū yī gè shàn liáng、 hé mù、 guāng míng de shì jiè。
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.
xù qū： 1815 nián · dí niè (Digne)
rǎn 'ā ràng， zuì fàn 24601 shēn xiàn láo yù yǔ shǒu kào jiǎo liào xiāng bàn shí jiǔ nián zhī hòu， zhōng yú huò dé yī zhǐ jiǎ shì lìng， dé yǐ lí kāi bù jiàn tiān rì de shēng huó， rán 'ér zhè zhāng huáng sè de zì yóu zhuàng zhǐ， bìng wèi ràng tā zài shè huì shàng qǔ zì yóu， fǎn 'ér chù chù yǐn lái qí shì， shǐ tā liú làng jiē tóu， zhǐ yòu dí niè de zhù jiào mǐ lǐ 'ài hǎo xīn shōu liú liǎo tā。 yè bàn shí fēn， duō nián lái qióng kùn de xí guàn ràng tā gù tài fù méng， tōu zǒu liǎo zhù jiào jiā de yī zhǐ yín zhú tái， bù liào bàn tú bèi zhuā dào， jǐng fāng bǎ tā dài dào zhù jiào de miàn qián duì zhì， lìng tā yà yì de shì zhù jiào fēi dàn méi yòu jiē fā， fǎn dǎo wèitā sǎ huǎng shuō shì tā zèng sòng de， jǐng fāng xìng xìng rán zǒu hòu， rǎn 'ā ràng guì qiú yuán liàng， zhù jiào zhǐ yào tā xuān shì jiāng líng hún jiāo fù shàng dì， zì cǐ chóngxīn zuò rén， bìng jiāng lìng yī zhǐ zhú tái yě sòng gěi tā。 rǎn 'ā ràng gǎn shòu dào cí bēi de lì liàng， sī huǐ jiǎ shì lìng， jué xīn zài chuàng xīn shēng。
1823 nián · jìn hǎi de méng tè lǐ (Montreuil-sur-mer)
bā nián guò qù liǎo， rǎn 'ā ràng díquè lǚ xíng liǎo dāng nián de shì yán， chè dǐ gǎi tóu huàn miàn， bù dàn yì míng wéi mài dào lín， bìng qiě chéng liǎo méng tè lǐ shòu rén 'ài dài de shì cháng jiān gōng chǎng chǎng cháng， yǐ cí shàn wén míng。 zhè shí， zài tā gōng chǎng lǐ de yī míng nǚ gōng fāng tíng zhèng zāo shòu zhù qī cǎn de jì yù， tā nián qīng yīn yī shí rè qíng， huái liǎo gè nǚ hái， qǐ zhī fù xīn láng yī zǒu liǎo zhī， liú xià tā men mǔ nǚ， wèile xiǎo xiǎo kē sài tè， zhǐ yòu bǎ tā jì yǎng yī tú liǎo； bǎ nǚ 'ér 'ān dùn zài tānɡ nǎi dì jiā zhī hòu， fāng tíng fàng xīn de shàng bā lí qù zuò nǚ gōng， duì kē sài tè de sī niàn gěi liǎo tā wú jìn de lì liàng， zhèng lái de qián dū jì huí tānɡ jiā， zhǐ pàn nǚ 'ér shēng huó guò dé kuān yù， nà 'ér zhī dào tānɡ jiā zài xìn shàng suǒ shuō shēng bìng yī shìdōu shì jiǎ de， suǒ yòu de qián dū jìn liǎo tānɡ jiā de kǒu dài hé tā men de 'ài pān nī zuǐ lǐ， xiàn zài fāng tíng yòu zài cì jiē dào zhè yàng yī fēng tǎo qián xìn， yī bù xiǎo xīn luò rù tóng shì shǒu lǐ， rén rén bǐ yí tā， lián hé gōng tóu jiāng tā gǎn zǒu， bù zhī qíng de rǎn 'ā ràng qiān xià gōng wén， fāng tíng jiù cǐ liú làng jiē tóu。 fāng tíng yī xīn zhǐ xiǎng dào nǚ 'ér de yào qián， zài mài liǎo xiàng shàng de xiàng liàn hé hé yī tóu cháng fà zhī hòu， zǒu tóu wú lù de kùn jìng xià， tā jiā rù liǎo mǎ tóu qū de jì nǚ hángliè， tòng kǔ dì fàn mài líng ròu， zhí dào yòu yī tiān tā yīn jù jué yī wèi wú lǐ de kè rén， hé tā fā shēng lā chě， qià hǎo xīn shàng rèn de jǐng cháng jiǎ wéi dào rèn， bù fēn qīng hóng zào bái jiù dìng tā de zuì， mù dǔ cǐ jǐng de shì cháng chū yán zhì zhǐ， mìng jiǎ wéi fàng zǒu liǎo fāng tíng， bìng sòng tā dào yī yuàn xiū yǎng。
dāng jiǎ wéi yù yǔ shì cháng zhēng lùn zhí zé shí， jiē shàng yòu wèi lǎo rén bèi sōng tuō de mǎ chē yā zhù， rǎn 'ā ràng lì jí chōng shàng qián dǐng qǐ liǎo chē zǐ， yì cháng de lì qì gòu qǐ jiǎ wéi duì biān hào 24601 zuì fàn jiàng liè de jì yì， tā yǐ jīng zhuī jī 24601 duō nián shǐ zhōng wú gōng， dàn huái yí yī wèi rén jiàn rén 'ài de shì cháng xiǎn rán bù zhèng dāng， zhè shǐ tā fēi cháng kùn huò， xiǎng bù dào jǐng fāng bù zhī qù nà 'ér zhuā liǎo yī wèi wú gū de tiě jiàng lái dìng zuì， jiǎ wéi yǐ wéi zì jǐ cuò guài shì cháng hái xiàng rǎn 'ā ràng zhì qiàn， zhèng zhí de rǎn 'ā ràng bù néng róng rěn zì jǐ de nuò ruò zào chéng píng mín de wěi qū， yú shì lái dào fǎ tíng tǎn chéng zì jǐ de shēnfèn─ fàn rén 24601。 jiǎ wéi lì kè jiù xiǎng dài bǔ tā， dàn rǎn 'ā ràng xīn xì fāng tíng de bìng tǐ， qíng jí zhī xià dǎ hūn jiǎ wéi táo yì。
zài bìng tà shàng， fāng tíng chōng mǎn gǎn jī de jiāng kē sài tè de wèi lái jiāo gěi rǎn 'ā ràng， tā yě yī yī yǔn nuò， fāng tíng bēi 'āi de yī shēng zài duì kē sài tè de sī niàn zhōng jié shù zhī hòu， shēn fù zé rèn de rǎn 'ā ràng jí kè mǎ bù tíng tí gǎn xiàng fāng tíng suǒ shuō de xiǎo zhèn méng fó méi， qù jiě jiù tā kě lián de yí gū。
1823 nián · méng fó méi (Monfermei)
xiǎo kē sài tè yǐ jīng zài jīng yíng jiǔ guǎn de tānɡ nǎi dì jiā jì yǎng liǎo wǔ nián， tā yī zhí yǐ lái bù duàn shòu dào kě pà de nüè dài， chéng tiān xiàng nǚ yōng bān bèi lái qù chāishi， tóng nián de jiǔ guǎn lǎo bǎn nǚ 'ér 'ài pān nī， què shòu jìn chǒng 'ài， liǎng gè nǚ hái de shēng huó rú tiān yuān zhī bié， dàn kē sài tè bìng wèi yǎng chéng yuàn tiān yóu rén de gè xìng， tā zhǐ mò mò qī dài mèng zhōng de mǔ qīn yòu yī tiān néng lái jiē tā huí jiā。 rǎn 'ā ràng lái dào tānɡ jiā shí， tā zhèng chī lì dì zài hēi 'àn zhōng dǎ shuǐ， tā dāng xià jué dìng ?? hěn qiāo zhà liǎo yī fān， kē sài tè zhōng yú néng tuō lí kǔ tòng， zhēn zhèng xiǎng shòu qǐ yī gè hái zǐ yìng xiǎng de kuài lè shēng huó。 rǎn 'ā ràng bǎ tā dài huí bā lí， yǐ fù 'ài hē hù tā zhǎngdà， tiān lún zhī lè dài gěi zhè liǎng gè céng shòu mìng yùn zhé mó de rén mò dà de mǎn zú， rán 'ér jiǎ wéi de yīn yǐng yǐ jiù lǒngzhào zài rǎn 'ā ràng shēn shàng， huī zhī bù qù……
1832 nián ‧ bā lí (Paris)
jiǔ nián guò hòu de bā lí， chōng mǎn zhe dòng dàng de qì fēn， yǐ wǎng de shǒu shàn zhī dōuyǐ rán yǔ dì yù wú yì， zhèng fǔ lǐ wéi yī guān huái qióng rén de jiāng jūn lā mǎ kè (Lamarque) yòu bìng wēi， rén mín de qián tú kān yú， shè huì yǒng dòng zhù yī gǔ gé mìng de 'àn cháo。 xiǎo jiā fū luó qì shì yī qún jì nǚ hé shì qū qǐ gài zhōng de zhōng jiān fènzǐ， lián tānɡ nǎi dì fū fù yě lún rù gài bāng shēng huó， yòu yī huí hái qiǎng shàng rǎn 'ā ràng fù nǚ， yīn cǐ hái ràng jiǎ wéi hé wàn jiàng jiàn shàng yī miàn， zhǐ bù guò jiǎ wéi dāng shí méi yòu rèn chū lái， fā xiàn zhī hòu qì fèn jí liǎo， zài dù lì shì jū bǔ rǎn 'ā ràng。
zhè shí de 'ài pān nī yǐ shì qīng chūn shàonǚ， tā 'àn zì xǐ huān zhù tóng xué mǎ lǐ 'ōu， kě shì mǎ lǐ 'ōu de xīn sī yǐ jīng quán bù fàng zài jiē shàng zhuàng jiàn de kē sài tè shēn shàng liǎo， wú nài de 'ài pān nī dāyìng yào qù dǎ tīng kē sài tè de xiāo xī。
gé mìng qīng nián men， bāo kuò mǎ lǐ 'ōu， jīng cháng zài yī jiā ABC kā fēi guǎn jí huì， tā men de lǐ xiǎng gāo 'áng， jì huà zài lā mǎ kè jiāng jūn guò shì nà yī tiān bào fā gé mìng， rén réndōu zài wéi zhè yī tiān 'ér xīng fèn zhù， xiàn rù liàn 'ài de mǎ lǐ 'ōu què gé wài de mí shī、 cuì ruò， bì jìng zài dòng luàn zhōng de měi yī gè míng tiān dōushì xī wàng， yědōu shì mí huò。 zhè yī tiān， hěn kuài de lái lín liǎo。 jiā fū luó qì chōng jìn diàn lǐ， xuān bù jiāng jūn de sǐ xùn， qīng nián yī qí yǒng shàng jiē tóu， xún qiú dà zhòng de zhī chí。
tíng tíng yù lì de kē sài tè yě wéi liǎo duì mǎ lǐ 'ōu de xiāng sī 'ér kǔ， rǎn 'ā ràng zhú jiàn néng gǎn shòu dào nǚ 'ér de zhuǎn biàn， dàn tā yǐ rán bù yuàn tòu lù tā de shēn shì， kē sài tè duì cǐ bù shèn liàng jiě； lìng yī fāng miàn， yóu yú mǎ lǐ 'ōu wéi qíng suǒ kǔ， ài pān nī bù rěn xīn zhǐ hǎo dài tā lái zhǎo kē sài tè， liǎng rén zhōng yú néng hù sù zhōng qū， ài pān nī zài bàng biān rěn shòu zhù bēi shāng， hái zǔ zhǐ liǎo gài bāng de qiǎng jié， zhù shí shì gè jiān jiàng de nǚ hái。 cǐ shí rǎn 'ā ràng kǎo liàng gé mìng de luàn xiàng hé jiǎ wéi de wēi xié， jué xīn dài kē sài tè lí kāi bā lí， zhè duì liàn rén jiù shēng shēng dì fēn lí liǎo， duì tā men 'ér yán， zhè gé mìng de qián xī xiǎn dé duō me huì 'àn nǎ！ qíng rén hài pà yǒng bié， àn liàn zhě tòng shī xī wàng， táo wáng zhě jì qiú 'ān quán， wéi yī néng yòu yī sī sī yú kuài de， dà gài zhǐ yòu xiàng tānɡ nǎi dì zhè zhǒng děng zhù jiǎn sǐ rén piányí de rén bā。
gé mìng de gōng zuò yī bù bù de jìn zhǎn， xué shēng kāi shǐ jiàn zhù fáng yù gōng shì， ài pān nī jué xīn péi bàn mǎ lǐ 'ōu dào dǐ， suǒ yǐ jiā rù liǎo qīng nián men de gōng zuò， mǎ lǐ 'ōu kàn dào tā xǐ chū wàng wài， pài tā sòng xìn gěi kē sài tè， què luò rù wéi fù de shǒu lǐ， wèile nǚ 'ér de xìng fú， tā xiǎng yào qù quàn zǔ mǎ lǐ 'ōu cān jiā qǐ yì， què fā xiàn mào chōng tóng zhì de jiǎ wéi bèi jiā fū luó qì rèn chū， ér kǔn bǎng zài dì， tā zì yuàn liào lǐ jiǎ wéi， qí shí shì gù yì de fàng zǒu tā。
gé mìng bào fā， lǐng xiù 'ēn zuǒ lā zài qiāng lín dàn yǔ zhōng sàng mìng， jiā fū luó qì wéi shōu jí dàn yào zhòngdàn 'ér wáng， tóng zhì yě dà dū xī shēng dài jìn， mǎ lǐ 'ōu yě shòu shāng hūn jué， xìng 'ér yòu jiàng zhuàng de rǎn 'ā ràng jiù liǎo tā。 zài xià shuǐ dào lǐ， rǎn 'ā ràng xiān hòu yù jiàn tānɡ nǎi dì hé jiǎ wéi， tā kěn qiú jiǎ wéi fàng tā zǒu， shòu liǎo tā gāo shàng rén gé de gǎn dòng， jiǎ wéi ràng chū lù lái， kě shì yī shēng de jiān chí bìng bù róng yì niǔ zhuǎn， tā nèi xīn shòu dào jí dù de jiān 'áo， zhōng yú wú fǎ zì jiě， tóu hé zì jìn。
mǎ lǐ 'ōu zhú jiàn kāng fù， tā bìng bù liǎo jiě shì shuí jiù liǎo tā yī mìng， zhǐ hǎo bǎ yī qiē guī gōng yú kē sài tè de zhào liào， rǎn 'ā ràng jiāng tā de guò qù duì mǎ lǐ 'ōu tǎn bái， bìng biǎo shì wèile bù fáng 'ài tā men de wèi lái， tā nìngyuàn dú jū zhōng lǎo。 zài hūn lǐ shàng， tānɡ nǎi dì fū fù dài lái yī xiàng tā men zì rèn shì chǒu wén de xiāo xī： rǎn 'ā ràng zài xià shuǐ dào dào guò shī。 bìng qǔ chū yī zhǐ jīn jiè zhǐ， mǎ lǐ 'ōu lì kè rèn chū shì tā de， suí jí liǎo jiě dào zì jǐ yī xiàng wù jiě de yuè fù jiù shì shén mì de jiù mìng 'ēn rén， fū qī liǎ gǎn dào rǎn 'ā ràng chù shí， zhǐ shèng xià nà yī duì yín zhú tái péi bàn zhù tā， liǎng gè nián qīng rén zài wēi guāng zhōng liǎo jiě liǎo zì jǐ de shēn shì。 lǎo rén zhōng yú zǒu liǎo， tā de líng hún hé fāng tíng、 ài pān nī、 hé suǒ yòu zài gé mìng zhōng sǐ qù de rén xiāng jù， bì hù zhù yī duì 'ài rén， yíng xiàng guāng míng de míng tiān。
rén wù jiǎn jiè
rǎn 'ā ràng (JeanValjean)
yīn wéi tōu yī tiáo miàn bāo jiù jì wài shēng 'ér zuò láo shí jiǔ nián de qiú fàn， yuán běn zhǐ pàn wǔ nián tú xíng， dàn yóu yú tā bìng bù xìn rèn fǎ lǜ， lǚ lǚ yuè yù yǐ zhì zuì xíng jiā zhòng， tā jué jiàng bù jù jiàng quán de gè xìng shǐ tàn cháng jiǎ wéi duì tā shēn 'è tòng jué， tā guò rén de qì lì yě shǐ jiǎ wéi duì tā yìn xiàng shēn kè， liǎng rén suì jié xià yī shēng xiāng hù zhuī zhú zhī yuán。 jiǎ shì hòu tā shòu shén fù qǐ fā xiàng shàng， gǎi míng dāng shàng shì cháng， wéi rén cí bēi， bāng zhù nǚ gōng fāng tíng fǔ yǎng nǚ 'ér kē sài tè， jiù liǎo nǚ 'ér de qíng rén─ gé mìng qīng nián mǎ lǐ 'ōu， zài nǚ 'ér yòu liǎo hǎo guī sù zhī hòu， dài zhù shú zuì de 'ài lí kāi liǎo rén jiān。
fāng tíng (Fantine)
rǎn 'ā ràng gōng chǎng lǐ de yī míng nǚ gōng， tā yòu duàn kǎn kě de qīng chūn， zài huái liǎo nán yǒu de gǔ ròu zhī hòu què bèi 'è yì yí qì， wèile nǚ 'ér de shēng huó， zhǐ hǎo rěn xià xīn bǎ tā jì yǎng zài méng fó méi yī wèi jiǔ guǎn lǎo bǎn de jiā lǐ， zì jǐ lái dào bā lí móu shēng bìng dìng shí jì qián huí qù， dàn yóu yú tā yòu sī shēng nǚ de shì bèi tóng shì jiē fā， bèi gǎn chū gōng chǎng， zhǐ hǎo mài liǎo shǒu shì、 cháng fà， shèn zhì líng ròu， xìng hǎo yù jiàn rǎn 'ā ràng， tuō fù liǎo nǚ 'ér de wèi lái cái 'ān xīn de shì qù。
kē sài tè (Cosette)
fāng tíng kě lián de nǚ 'ér， dāng chū suī rán bèi mǔ qīn kěn qiú bān de tuō fù gěi jiǔ guǎn yī jiā， què méi yòu xiǎng shòu dào yī tiān tóng nián de wú yōu shēng huó， fǎn 'ér bèi dàngchéng nǚ yōng yī bān， chéng tiān mái tóu zuò zá huó， mǔ qīn cuán xià de qián jīhū quán yòng lái zāi péi jiǔ guǎn lǎo bǎn de qīn shēng nǚ 'ér。 bù guò tā kǔ mìng de rì zǐ bǐ qǐ mǔ qīn shì shǎo liǎo xǔ duō， rǎn 'ā ràng bǎ tā shì rú jǐ chū， shǐ tā néng wàng què tóng nián huí yì， hòu lái tā hé qīng nián mǎ lǐ 'ōu liàn 'ài， yòu qíng rén zhōng chéng juàn shǔ。
jiǎ wéi (Javert)
zhèng yì de jiān chí zhě， yě shì zhèng yì de wán gù zhě， tā xiāng xìn cí bēi shì zuì fàn de gēn miáo， tè bié shì xiàng rǎn 'ā ràng zhè yàng de rén。 suǒ yǐ qióng qí yī shēng shì jiāng tā zhuā huí láo yù， què fā xiàn rǎn 'ā ràng de běn xìng shì duō me shàn liáng， zhè duì yī gè bào chí rén xìng běn 'è lùn de jǐng tàn 'ér yán， shì fēi cháng cán kù de yī jiàn shì， yīn cǐ tā zài xià shuǐ dào fàng zǒu bēifù mǎ lǐ 'ōu de rǎn 'ā ràng zhī hòu， yóu yú wú fǎ zài miàn duì zì jǐ chí shǒu duō nián de xìn niàn， xuǎn zé tiào hé yī tú jié shù tā chōng mǎn xùn dào yì wèi de yī shēng。
tānɡ nǎi dì fū fù (Thenardier)
xiǎo zhèn méng fó méi yī jiā jiǔ guǎn de lǎo bǎn， diǎn xíng de zhōng xià jiē jí rén wù， tān cái、 zì sī、 bēi bǐ， gè xìng dǎo yě shí fēn dòu qù， fū fù liǎ kě wèi tiān zào dì shè， hù xiāng wā kǔ， duì kē sài tè yī zhì de qī yā， duì nǚ 'ér 'ài pān nī yī zhì de nì 'ài， hòu lái tānɡ nǎi dì xiān shēng lún wéi gài bāng bāng zhù， zài yì yǒng jūn hòu fāng sōu kuò sǐ wáng zhě shēn shàng de zhí qián wù pǐn， zuì hòu liǎng rén hái zài kē sài tè de hūn lǐ shàng zhù shí shuǎ bǎo liǎo yī zhèn， zhēn shì bù gǎi qí xìng。
ài pān nī (Eponine)
tānɡ jiā de dú shēng nǚ， zì xiǎo bèi shòu chǒng 'ài， shì tǐng qiáo bù qǐ kē sài tè de， dàn yě xǔ shì shòu jiào yù de yuán gù， tā bǐ fù mǔ yòu liáng zhī duō liǎo， suī rán 'àn liàn duì xiàng mǎ lǐ 'ōu bìng bù 'ài tā， tā réng rán yuàn yì wèitā dǎ tīng kē sài tè de xiāo xī、 wèitā sòng qíng shū， yòu wéi yào hé tā gòng cún wáng 'ér páo huí zhàn qū， zhòngdàn zài mǎ lǐ 'ōu huái zhōng duàn liǎo qì， yě suàn dé shàng shì wéi tā de fù mǔ shú zuì bā。
mǎ lǐ 'ōu (Marius)
shí jiǔ shì jì biāo zhǔn gé mìng qīng nián， wéi lǐ xiǎng rè xuè bēn téng， wéi kē sài tè chún qíng yáng yì， zài qǐ shì zhōng fù shāng hūn mí， bèi rǎn 'ā ràng suǒ jiù， suī shuō tóng bàn dà duō xī shēng lìng rén wú xiàn gǎn shāng， dàn zuì zhōng rú yuàn qǔ dé kē sài tè， yě shì měi shì yī chūn。
ēn zuǒ lā (Enjolras)
gé mìng qīng nián de lǐng xiù， fēng dù piān piān， zài cè dòng de qǐ shì zhōng zhuàng liè shēn wáng。
jiā fū luó qì (Gavroche)
gé mìng shí dài xià zǎo shú de hái zǐ， cōng míng yòu zhù jiàn， shì gè bāo dǎ tīng。
zhù jiào mǐ lǐ 'ài (BishopMyriel)
dí niè dì qū de zhù jiào， shì rǎn 'ā ràng chū yù hòu wéi yī yuàn yì shōu róng tā de rén， yǐ 'ài xīn hé kuān róng zhuǎn shùn jiān gǎn dòng liǎo rǎn 'ā ràng， yě jiù cǐ gǎi biàn liǎo tā de yī shēng。
míng jiā píng lùn
bēi mǐn xiōng huái de chéng xiàn － bēi cǎn shì jiè
xuē jiè wéi
zhǐ yào shì fǎ lǜ yǔ xí sú suǒ zào chéng de shè huì yā pò hái cún zài yī tiān， zài wén míng chāng shèng shí qī yīn rén wéi yīn sù shǐ rén jiān biàn chéng dì yù， bìng shǐ rén lèi yǔ shēng jù lái de xìng fú zāo shòu bù kě bì miǎn de zāi huò， zhǐ yào－ pín kùn shǐ nán rén liáo dǎo、 jī 'è shǐ nǚ rén duò luò、 hēi 'àn shǐ xiǎo hái càn ruò－ zhè sān gè wèn tí shàng wèi huò dé jiě jué； zhǐ yào zài mǒu xiē dì qū hái kě néng fā shēng shè huì de dú hài， huàn yán zhī， zhǐ yào zhè shì jiè shàng hái yòu yú mèi yǔ bēi cǎn， nà me， xiàng běn shū zhè yàng de zuò pǐn， yě xǔ bù huì shì méi yòu yòng de bā！
-- wéi kè duō · yǔ guǒ yī bā liù 'èr nián yī yuè yī rì yú 'ào tè wéi bié shù
zhè shì yǔ guǒ zài 「 bēi cǎn shì jiè 」 yī shū zhōng suǒ xiě de xù wén。 fǎ guó dà wén háo wéi kè duō‧ yǔ guǒ（ VictorHugo） yī bā èr nián 'èr yuè 'èr shí liù rì chū shēng yú fǎ guó de Besancon（ dàn shì tā rèn wéi bā lí shì tā「 líng hún de chū shēng dì」）， fù qīn céng jīng shì ná pò lún huī xià de jiāng jūn。 tā cóng yòu nián qǐ jiù zài gè dì lǚ xíng， shàonián shí qī， tā de wén xué dǐ zǐ jiù xiāng dāng hòu shí， duì yú gè lèi xué wèn yě guǎng fàn dì xī shōu， yě hěn zǎo xià liǎo jué xīn yào dāng wén xué jiā。 tā 'èr shí suì yǔ qīng méi zhú mǎ de nǚ yǒu Ad eFoucher jié hūn， tóng nián fā biǎo dì yī běn shī jí「 sòng gē jí」（ Odesetpo iesdiverses）， kāi shǐ liǎo tā de zuò jiā shēng yá。 yī bā sān yī nián， èr shí jiǔ suì de yǔ guǒ fā biǎo liǎo「 bā lí shèng mǔ yuàn（ yòu yì： zhōng lóu guài rén）」（ NortreDamedeParis）， zhè bù xiǎo shuō shēng dòng dì miáo huì liǎo yī sì bā 'èr nián fǎ guó de shè huì qíng xíng， yě duì rén xìng de céng miàn tí chū liǎo yán sù qiě shēn kè de wèn tí。 tā jiē xià lái yī bù shì jiè wén míng de xiǎo shuō jù zhù， jiù shì hào fèi shí sì nián guāng yīn， wán chéng yú yī bā liù yī nián， yě jiù shì xiàn zài bèi gǎi biān wéi yīnyuè jù， fēngmǐ quán qiú shù bǎi wàn yīnyuè rén kǒu de－「 bēi cǎn shì jiè」（ LesMis ables）。
chéng gōng de gǎi biān「 bēi cǎn shì jiè」 shì yī bù dà bù tóu de xiǎo shuō， dāng nián chū bǎn shí hòu dá yī qiān liǎng bǎi yè， ér yǐ běn dì yuǎn jǐng chū bǎn shè zhōng wén de yì běn， gèng shì hòu dá wǔ cè gòng 2119 yè， yī bǎi 'èr shí wàn zì， zhè yàng yī bù shí kōng bèi jǐng héng gèn 'èr shí nián de cháng piān xiǎo shuō， yào jiāng zhī gǎi chéng sān gè duō xiǎo shí jiù yǎn wán de yīnyuè jù， wěi shí bù yì， dàn Claude-MichelSch berg yǔ AlainBoublil liǎng rén què zuò dào liǎo。 ?? jīng zài bā lí tuī chū「 fǎ guó dà gé mìng」 yī jù， jiēguǒ xiāng dàngchéng gōng， yī jiǔ bā nián liǎng rén zài dù tuī chū「 bēi cǎn shì jiè」， zào chéng gèng dà de hōng dòng。 lún dūn yīnyuè jù zhì zuò rén CameronMackintosh rèn wéi zhè chū jù xiāng dāng yòu qián lì， yú shì qǐng liǎo Kretzmer、 Fenton yǔ liǎng wèi yuán zuò zhě hé zuò， gǎi biān chéng lún dūn yǔ bǎi lǎo huì de yīng wén bǎn。 yī jiǔ bā wǔ nián shí yuè bā rì，「 bēi cǎn shì jiè」 zài lún dūn de bā bǐ kěn zhōng xīn jǔ xíng yīng wén bǎn de shì jiè shǒu yǎn， tuī chū zhī hòu jiā píng rú cháo， huò dé guān zhòng jí dà de huí xiǎng， suí hòu gèng zài shì jiè gè dì shàng yǎn， zhì jīn réng rán piào fáng dǐng shèng。 cǐ wài，「 bēi」 jù yě huò dé lè píng qīng lái， duó dé bā xiàng「 dōng ní jiǎng」， zhēn kě shuō shì jiào zuò yòu jiào hǎo liǎo。
jù qíng dà gāng
yóu yú「 bēi」 jù yuán zhù shí jiān héng gèn cháng dá 'èr shí nián， yīnyuè jù bù kě néng jiāng suǒ yòu de nèi róng bāo kuò jìn lái， yīn cǐ gǎi biān chéng yīnyuè jù de「 bēi cǎn shì jiè」 fēn chéng liǎo： xù mù－ 1815 nián「 Digne」、 dì yī mù－ 1823 nián「 Montreuil-Sur-Mer」、 dì 'èr mù－ 1823 nián「 Montfermeil」、 dì sān mù－ 1832 nián「 Paris」 sì gè bù fēn。 yóu yú「 bēi cǎn shì jiè」 yòu huán qiú bǎn、 lún dūn bǎn、 bǎi lǎo huì bǎn děng shù gè lù yīn bǎn běn， yǐ xià biàn zōng hé sān gè bǎn běn， yǐ gēqǔ wéi jīng wěi， jiè shào zhěng chū jù de jù qíng fā zhǎn：
xù mù， 1815 nián， Digne「 gōng zuò zhī gē」（ WorkSong）
xù mù kāi shǐ， dì diǎn shì yī bā yī wǔ nián fǎ guó tǔ lóng（ Toulon） de yī chù jiān yù， fàn rén zài liè rì xià láo dòng， yī biān chàng zhù「 gōng zuò zhī gē」（ WorkSong）， yù lì Javert gāo shēng hǎn zhù biān hào 24601 de qiú fàn Valjean， tā kě yǐ jiǎ shì chū yù liǎo。 Valjean yīn wéi tōu liǎo yī tiáo miàn bāo yào gěi tā zǐ zǐ kuài yào 'è sǐ de xiǎo hái， bèi pàn wǔ nián tú xíng， dàn yóu yú duō cì shì tú yuè yù， xíng qī yán cháng dào shí jiǔ nián， rú jīn fāng cái zhòng huò zì yóu。 chū yù de Valjean zài nóng chǎng gōng zuò yǔ lǚ diàn tóu sù shí jiē zāo shòu qí shì， bèi gǎn liǎo chū lái， wàn niàn jù huī zhī jì， Digne dì fāng de zhù jiào shōu liú liǎo tā， bìng gōngjǐ tā yī dùn wǎn cān。
「 Valjean de dài bǔ yǔ kuān shù」（ ValjeanArrested/ValjeanForgiven）
Valjean bàn yè tōu zǒu yín zhì cān bēi lí kāi， dàn bái tiān shí què bèi liǎng gè jǐng chá niǔ sòng huí lái， zhù jiào cí bēi wéi huái， gào sù jǐng fāng Valjean shǒu zhōng yín qì nǎi shì tā xiāng zèng zhī wù， bìng qiě hái ná liǎo yī duì yín zhú tái sòng gěi Valjean。 jǐng chá lí qù hòu， zhù jiào gào jiè Valjean yào zhòng xīn zuò rén， bìng tì tā zhù fú。
「 wǒ zuò liǎo shénme shì？」（ WhathaveIdone?）
zhè shí wǔ tái shàng liú xià Valjean dú zì yī rén， tā 'ào nǎo yú zì jǐ de suǒ zuò suǒ wéi， gǎn tàn zì jǐ wèihé rú cǐ hú tú， chéng wéi yī gè yè zéi； jì 'ér xiǎng qǐ rén cí de zhù jiào dài tā rú píng cháng rén yī bān， chēng tā wéi xiōng dì， fǔ wèi tā de líng hún， shòu dào gǎn dòng de Valjean jué dìng tòng gǎi qián fēi， yú shì sī qù liǎo dài biǎo zhòng xíng fàn de huáng sè shēn fèn zhèng míng， xī rì de Valjean yǐ jīng bù fù cún zài， yī gè gǎi tóu huàn miàn de xīn rén yú yān chóngshēng。
dì yī mù， 1823 nián， Montreuil-Sur-Mer「 yī rì jiāng jìn」（ Attheendoftheday）
bā nián hòu， Valjean biàn chéng liǎo Madelaine xiān shēng， cǐ shí tā yǐ jīng shì yī jiā gōng chǎng de lǎo bǎn， bìng qiě chéng wéi Montreuil-Sur-Mer zhè gè dì fāng de shì cháng。 zhè tiān gōng rén men xià liǎo gōng， chàng qǐ liǎo「 yī rì jiāng jìn」（ Attheendoftheday）， gōng rén zhī zhōng yòu yī wèi nǚ gōng míng wéi Fantine， tā shōu dào nǚ 'ér yǎng fù mǔ de lái xìn， xìn zhōng shuō hái zǐ shēng bìng， xū yào yī yào fèi…， ér zhè xìn bèi lìng wài yī míng hǎo shì de nǚ gōng qiǎng liǎo guò qù， yú shì liǎng rén wèile qiǎng xìn kāi shǐ niǔ dǎ liǎo qǐ lái， Valjean wén shēng cóng gōng chǎng zǒu chū， yào gōng tóu píng xī zhè chǎng xuān nào。 zhòng rén zhī dào liǎo tā zhè jiàn bù míng yù de shì， qǐ nào yào qiú jiāng tā jiě zhí， yú shì， Fantine shī yè liǎo。
「 wǒ zuò liǎo yī gè mèng」（ Idreamedadream）
diū liǎo gōng zuò de Fantine shī wàng jí liǎo， zài xián lè yǔ shù qín de bàn zòu xià， huǎn huǎn chàng chū「 wǒ zuò liǎo yī gè mèng」（ Idreamedadream）， gē cí zhōng huí yì nián qīng shí zhàng fū shàng wèi pāo qì tā men de měi hǎo shí guāng。
「 piào liàng de xiǎo niū men」（ Lovelyladies）
jiē xià lái chǎng jǐng huàn dào mǎ tóu， shuǐ shǒu、 jì nǚ、 piáo kè sì chù kě jiàn， shuǐ shǒu yǔ jì nǚ men chàng zhù「 piào liàng de xiǎo niū men」（ Lovelyladies） xiāng hù tiáoqíng， Fantine dào cǐ xiǎng yào mài diào tā de shǒu shì， dàn shì duì fāng chū jià tài dī。 cǐ shí yòu yī wèi qián shòu de lǎo tài pó kàn shàng tā liàng lì de xiù fà， chū jià shí fǎ láng， Fantine xiǎng dào rú cǐ kě yǐ fù dān nǚ 'ér de fèi yòng， biàn dāyìng liǎo。 zài qí tā yīng yàn de sǒng yǒng zhī xià， Fantine jìng rán yě lún luò fēng chén， chū mài qǐ zì jǐ de líng ròu。
「 Fantine bèi bǔ」（ Fantine'sArrest）
Fantine yǔ yī wèi xún fāng kè fā shēng liǎo chōng tū， bù xìng de Fantine suí hòu bèi bǔ， dài bǔ tā de shì jǐng guān Javert， cǐ shí Valjean zài rén qún zhōng kàn dào zhè qíng xíng， biàn shàng qián liǎo jiě qíng kuàng。 dāng Valjean zhī dào liǎo Fantine de gù shì， biàn dāyìng sòng tā qù yī yuàn， bìng qiě bāng tā zhào gù nǚ 'ér。
「 shī kòng de mǎ chē」（ TheRunawayCart）
zhè shí zài yī bàng fā shēng liǎo chē huò shì gù， yī liàng shī kòng de mǎ chē yā zhù liǎo lù rén， mǎ chē shí fēn shěn zhòng， méi yòu rén néng dòng dé liǎo tā。 Valjean yù shàng qián yī shì， zài zhòng rén zhí shuō bù kě shēng zhōng， jiāng mǎ chē tái liǎo qǐ lái， jiù liǎo lún xià rén yī mìng。 jǐng guān Javert kàn dào zhè yī mù dà gǎn jīng qí， jiāng shì cháng lā dào yī bàng， shuō shì cháng cǐ jǔ lìng tā xiǎng dào tā yǐ qián kǔ kǔ zhuī bǔ de yī gè jiǎ shì fàn JeanValjean， yīn cǐ rén yě shì kǒng wǔ yòu lì， xiàn zài zhè gè xián fàn zhōng yú zài rì qián jiù dài， shuō wán biàn yáng cháng 'ér qù。
「 wǒ shì shuí？」（ WhoamI－ TheTrial）
Valjean tīng dào Javert zhè yàng shuō， biàn zhī dào Javert zhuō cuò rén liǎo， cǐ shí tā nèi xīn zhǎn kāi yī fān tiān rén jiāo zhàn－ rú guǒ zì shǒu， nà me tā yòu jiāng bèi pàn xíng， dàn rú guǒ bù zì shǒu， hài dé bié rén wú gū shòulèi， zì jǐ liáng xīn yòu jiāng shòu qiǎn zé。 yú shì tā zì wèn：「 wǒ shì shuí？ wǒ néng yī bèi zǐ yǐn xìng mái míng má？ wǒ rú hé zài dù miàn duì zì jǐ？」 jīng guò yī fān nèi xīn zhēngzhá， tā zǒu jìn fǎ tíng， tuì qù yī shān lù chū xiōng qián cì qīng， gāo hǎn：「 wǒ jiù shì JeanValjean， fàn rén biān hào 24601！」
「 Fantine zhī sǐ」（ Fantine'sDeath）
chǎng jǐng jiē zhù zhuǎn huàn dào yī yuàn， zài bìng tà shàng de Fantine mèng jiàn tā de nǚ 'ér Cosette， tā zhèng rú cí mǔ bān dì dīng níng zhù， bìng qiě yào chàng cuī mián qū gěi hái zǐ tīng。 jiē zhù Valjean jìn lái， xū ruò de Fantine jiāng nǚ 'ér tuō fù gěi Valjean zhī hòu， hán xiào 'ér zhōng。
「 chōng tū」（ TheConfrontation）
cǐ shí， Javert zǒu liǎo jìn lái， Valjean qǐng duì fāng kuān xiàn sān tiān de shí jiān， jiāng Fantine nǚ 'ér Cosette de shì qíng 'ān dùn hǎo hòu， tā jiāng huì zì dòng guī 'àn， dàn shì Javert bìng bù xiāng xìn xī rì de zuì fàn rú jīn yǐ jīng xǐ xīn gé miàn， rèn wéi「 niú qiān dào běi jīng hái shì niú」。 Valjean suí shǒu zhuō qǐ yī bǎ yǐ zǐ， jiāng zhī dǎ suì bìng yǐ jiān ruì de mù piàn yǔ Javert duì zhì， bìng duì zhù yī bàng de Fantine fā shì huì zhào gù tā de nǚ 'ér。 liǎng gè hàn zǐ jiē xià lái yī zhèn niǔ dǎ， Javert bèi jī dǎo， Valjean chèn xì táo tuō。
dì 'èr mù， 1823 nián， Montfermeil「 yún duān de chéng bǎo」（ Castleonacloud）
dì diǎn zhuǎn huàn dào Montfermeil zhè gè dì fāng， xiǎo Cosette yǔ Th ardiers fū fù tóng zhù zài tā men kāi de lǚ diàn dāng zhōng yǐ yòu wǔ nián， Th ardiers fū fù duì dài Cosette xiāng dāng kē bó， jiǎn zhí jiù shì ná tā dāng xià rén shǐ huàn。 cǐ shí Cosette zhèng zài dǎ sǎo， tā yī biān dǎ sǎo yī biān mèng xiǎng zhù：「 ā！ wǒ hǎo xī wàng zài mèng zhōng qù nà gè zài yún shàng miàn de chéng bǎo， nà biān méi yòu dì bǎn kě sǎo， zhǐ yòu yī gè yòu hǎo duō hǎo duō wán jù de fáng jiān， hái yòu xǔ duō xiǎo péng yǒu； rán hòu， yòu yī gè quán shēn chuānzhuó bái yī de 'ā yí， lǒu zhù wǒ， chàng cuī mián qū gěi wǒ tīng， ér qiě shuō tā hǎo 'ài wǒ…。」 xiǎo Cosette de měi mèng hěn kuài bèi dǎ duàn， jiān suān de Th ardiers tài tài zǒu liǎo guò lái， yào Cosette chū wài dào lín zhōng shuǐ jǐng dǎ shuǐ， Cosette qǐng qiú bù yào ràng tā dú zì yī rén zài hēi yè lǐ wài chū， dàn réng rán bèi Eponine（ Th ardiers fū fù de bǎo bèi nǚ 'ér） tuī liǎo chū qù。
「 wū zǐ de zhù rén」（ MasterofTheHouse）
lìng yī biān zài diàn zhōng， jǐ míng jiǔ kè jù jí， diàn lǎo bǎn Th ardiers xiān shēng zhèng chuān suō zài kè rén zhī zhōng fú wù， dà huǒ qí shēng gāo chàng「 wū zǐ de zhù rén」（ MasterofTheHouse）， xián liáo jiáo shé yī fān。
「 xié shāng」（ TheBargain）
wū wài， Valjean zài lín zhōng qià qiǎo pèng shàng liǎo wài chū qǔ shuǐ de Cosette， yú shì biàn qiān zhù tā de shǒu huí dào lǚ diàn， zhǔn bèi fù yī bǐ qián dài zǒu tā。 Th ardiers fū fù xū qíng jiǎ yì， tiào zhù「 jiǎo zhà de huá 'ěr zī」（ TheWaltzofTreachery）， bǎ Cosette shuō chéng shì tā men pěng zài shǒu shàng de xīn gān bǎo bèi， yì tú shí fēn míng xiǎn， dāng rán shì xiǎng yào tí gāo Valjean suǒ gěi de jià mǎ。 Valjean zuì hòu gěi liǎo liǎng rén yī qiān wǔ bǎi fǎ láng， shùn lì dài zǒu Cosette。
dì sān mù， 1832 nián， bā lí「 xiàng xià kàn」（ LookDown）
shí guāng liú zhuǎn， jiē xià lái de dì sān mù cóng jiǔ nián hòu de bā lí kāi shǐ， mù qǐ shí jiē shàng qǐ gài、 liú làng 'ér、 jì nǚ、 xué shēng dào chù zǒu dòng， chàng chū「 xiàng xià kàn」（ LookDown）。 yī bàng， Th ardier fū fù yǔ nǚ 'ér Eponine yě lái dào liǎo bā lí， Th ardier fū fù réng rán 'è xìng bù gǎi， jù jí liǎo yī xiǎo cuō dǎng yǔ zuò yī xiē tōu qiè qiǎng jié de gòu dāng。 sú huà shuō dé hǎo：「 bù shì yuān jiā bù jù tóu。」， zhèng dāng Th ardier xiān shēng xiàng yī wèi yíng miàn 'ér lái jean， yú shì shàng qián biàn lā zhù tā， liǎng rén zhǎn kāi yī zhèn lā chě。
「 Javert gān shè」（ Javert'sIntervention）
qiǎo de shì， zhè shí xún luó de jǐng yuán gāng hǎo jīng guò， dài tóu zhě zhèng shì Javert， Eponine jiàn zhuàng dà hū yī shēng， zhòng rén zuò niǎo shòu sàn， Valjean yě chèn jī lā zhù zài bàng biān de Cosette liù zǒu liǎo。 Javert zǒu guò lái， zhèng qí guài gāng gāng bèi Th ardier suǒ jiū chán de nán shì bù zhī qù xiàng， què cóng Th ardier kǒu zhōng dé zhī nà rén jiù shì tā rì yè jí sī dài bǔ de Valjean， yú shì biàn chàng chū「 qún xīng」（ Stars）， tā yǐ tiān shàng de qún xīng wéi zhèng， fā shì bì dìng yào jiāng Valjean jī ná dào 'àn。 jiē zhù guǎng chǎng shàng zhǐ shèng Eponine yī rén， tā jì qǐ fāng cái nà shàonǚ yuán lái jiù shì xiǎo shí hòu jì zhù zì jiā de Cosette， cǐ shí xué shēng qún de tóu tóu Marius zǒu guò lái， wèn tā shì fǒu rèn shí nà nǚ hái（ zhǐ Cosette）， bìng qǐng qiú Eponine tì tā dǎ tīng Cosette de xià luò， zhè wěi tuō jiù chéng liǎo「 Eponine de chāishi」（ Eponine'sErrand）。
「 ABC kā fēi tīng」（ TheABCCaf ruǎn edandBlack）
zài ABC kā fēi tīng（ zhù yī） zhōng， yǐ Enjolras wéi shǒu de xué shēng men zhèng zài tǎo lùn gé mìng dà jì， tā men xū yào yī gè gòng tóng de xìn hào lái chuán dá qǐ shì de zhǐ lìng， yǐ biàn yú zhǐ huī qún zhòng， zuì hòu biàn tǎo lùn chū yǐ「 hóng」、「 hēi」 liǎng zhǒng yán sè lái zuò wéi gé mìng qí zhì de yán sè－ hóng sè dài biǎo fèn nù rén mín de xiān xuè yǔ lí míng qián de shì jiè， hēi sè zé dài biǎo guò qù hēi 'àn de suì yuè yǔ qī hēi de yè。 jiù zài dà jiā jī 'áng xīng fèn dì tǎo lùn zhī jì， xiǎo nán hái Gavroche chōng jìn lái gào sù dà jiā yī gè huài xiāo xī－ Lamarque jiāng jūn sǐ liǎo！ xué shēng lǐng xiù Enjolras huà bēi fèn wéi lì liàng， dǎ suàn zài Lamarque de sānglǐ shàng lì yòng jù jí de rén qún jǔ shì， tā bìng qiě dài lǐng dà jiā jī dòng dì chàng chū「 nǐ tīng dào rén mín de gē shēng liǎo má？」（ Doyouhearthepeoplesing?） gē cí dà yì wéi：「 bù gān wéi nú lì de rén mín chàng chū fèn nù de gē， xīn tiào yǔ gǔ shēng xiāng hù jī dàng， dāng míng rì lái lín， xīn de shēng huó jí jiāng zhǎn kāi！」
「 RuePlumet jiē」（ RuePlumet-Inmylife）
bù jǐng zhuǎn dào RuePlumet jiē， Cosette dú zì zài huā yuán， tā fā jué tā zì jǐ liàn 'ài liǎo， jiù zài yǔ Marius yī jiàn zhōng qíng zhī hòu。 tā dì yī cì fā xiàn 'ài qíng lí tā rú cǐ zhī jìn。 jiē zhù Valjean zǒu jìn 'ān wèi tā， suí jí lí kāi。 ér Marius zài Eponine de dài lǐng xià， lái dào liǎo huā yuán mén kǒu； jí jiāng yǔ suǒ 'ài de rén xiāng jiàn， Marius xīn xǐ zhī qíng yì yú yán biǎo， ér Eponine què xiǎn dé luò luò guǎ huān， yīn wéi zì jǐ suǒ 'ài de rén xiàn zài què yào hé bié rén xiāng huì。
「 yī kē xīn chōng mǎn zhù 'ài」（ AHeartfullofLove）
Marius zǒu jìn huā yuán， yǔ Cosette hù sù qíng zhōng， Eponine zài wài miàn tīng liǎo xīn rú zhēn cì， tā duō me xī wàng Marius de tián yán mì yǔ shì duì zhù tā shuō 'ā！
「 gōng jī RuePlumet jiē」（ TheAttackonRuePlumet）
cǐ shí Eponine de fù qīn Th ardier dài zhù tā de shǒu xià yě lái dào liǎo huā yuán zhī wài， xiǎng yào xiàng Valjean qiǎng duó yī xiē cái wù， Eponine wèile bù ràng fù qīn dé chěng， suì dà jiào yī shēng， zhòng rén jiàn shì jī bài lù， sì xià sàn qù。 Marius jiàn zhuàng suí jí lí qù， Valjean tīng dào jīng hū shēng cōng máng gǎn lái， Cosette piàn fù qīn shuō tā yīn kàn dào qiáng wài yòu sān rén guǐ guǐ suì suì 'ér jiān jiào， Valjean yǐ wéi yīn hún bù sàn de Javert yòu zhǎo shàng mén lái， rèn wéi cǐ dì bù yí jiǔ liú， jué dìng dài zhù Cosette lí kāi。
「 zài duō yī tiān bā！」（ Onedaymore!）
yóu Valjean dài tóu kāi chàng de「 zài duō yī tiān bā！」 dào jìn zhòng rén xīn shì： Valjean xīn xiǎng zhǐ yào zài duō yī tiān， tā jiù néng dài zhù Cosette yuǎn zǒu gāo fēi； Marius yǔ Cosette bǎ wò zuì hòu yī tiān xiāng chù de jī huì， Eponine zài yī bàng 'àn rán shén shāng； Javert děng dài zhù yào hùn rù xué shēng men de zhèn róng zhōng， sì jī cóng zhōng pò huài； Enjolras yǔ xué shēng men qī dài míng tiān qǐ yì jǔ shì， gāo jǔ zhù zì yóu de dà dào， tuī fān zhuān zhì de zhèng quán， ràng měi gè réndōu dāng zhù rén！
「 fáng yù gōng shì dì diǎn」（ AttheBarricade）
qǐ yì zhī shī xuǎn dìng liǎo jiàn zhù fáng yù gōng shì de dì diǎn， Enjolras zhèng duì zhù qún zhòng fā biǎo tán huà。 Marius fā xiàn Eponine jìng rán nǚ bàn nán zhuāng hùn zài rén qún zhōng， biàn quàn tā gǎn jǐn lí kāi， bìng qǐng tā dài xìn gěi Cosette。 Eponine jiāng xìn jiāo gěi Valjean， Valjean zhǎn xìn dú liǎo yī biàn， biàn zǒu huí wū nèi， liú xià Eponine。
「 dú zì yī rén」（ OnMyOwn）
zhè shì Eponine dú zì yī rén suǒ chàng chū de「 ài zhī gē」， biǎo dá chū tā duì Marius de wú xiàn 'ài yì， dàn shì yóu yú Marius de xīn shàng rén bù shì tā， suǒ yǐ gē shēng zhōng tòu lù zhù wú nài yǔ luò mò：「 wǒ 'ài tā， dàn wǒ què dān dú yī rén zài cǐ…。」
「 fáng yù gōng shì jiàn zào wán chéng」（ BuildingtheBarricade）
fáng yù gōng shì yǐ jīng jiàn zào wán chéng， xué shēng men shì yán shǒu zhù cǐ dì， bìng zhàn dǒu dào dǐ。 zài fáng yù gōng shì de lìng yī miàn chuán lái jūn guān de hū hǎn shēng， quàn xué shēng men fàng xià wǔ qì， xué shēng men dāng rán zhì zhī bù lǐ。 cǐ shí Javert cóng gōng shì wài fān liǎo jìn lái， gào sù dà jiā tā suǒ tàn dé de dí qíng「 Javert dào lái」（ Javert'sArrival）。 wú qiǎo bù qiǎo， tā de zhēn shí shēnfèn gāng hǎo bèi xiǎo jiā huǒ Gavroche shí chū「 xiǎo jiā huǒ」（ LittlePeople）， guǐ jì yú yān bèi chāi chuān， Javert bèi dà huǒ kǔn bǎng liǎo qǐ lái。
「 xiǎo yǔ bù zú jù」（ ALittleFallofRain）
yī gè nán hái cóng gōng shì wài pá liǎo jìn lái， yuán lái shì Eponine， tā shēn fù zhòng shāng， dǎo zài Marius de huái zhōng。 suī rán shēn zǐ yǐ rán xū ruò， dàn dǎo zài suǒ 'ài de rén huái zhōng， Eponine què lù chū xīn xǐ zhī qíng， wài miàn zòng rán qiāng lín dàn yǔ， yě bù zú jù。 suī rán Marius bù duàn dì 'ān wèi， dàn zuì hòu tā hái shì sǐ zài tā de shuāng bì zhōng。
「 bēi fèn de yè wǎn」（ NightofAnguish）
zhòng rén tóng chóu dí kài， xuān yán bù ràng Eponine de xiān xuè bái liú。 Valjean zài zhè gè shí hòu shēn zhù jūn zhuāng pá liǎo jìn lái， zhǔn bèi yǔ xué shēng men bìng jiān zuò zhàn， Enjolras gěi liǎo tā yī bǎ qiāng。 cǐ shí wài miàn de jūn duì pài rén jiē jìn， shuāng fāng zhǎn kāi「 dì yī cì jiāo zhàn」（ FirstAttack）， duì fāng yī míng jū jī shǒu miáo zhǔn Enjolras， dàn shì bèi Valjean liào dǎo。 zhòng zhì chéng chéng， dì yī cì de zhàn dǒu jìng rán jiāng jūn duì jī tuì， dà jiā què yuè bù yǐ， Valjean qǐng qiú jiāng Javert jiāo gěi tā chǔlǐ， Enjolras yīngyǔn。 Javert yǐ wéi Valjean yào jiè jī fù chóu， yú shì lǐn rán miàn duì， méi xiǎng dào Valjean gē duàn tā shēn shàng de shéng suǒ， yào tā sù sù lí qù。 shì qíng dà chū Javert zhī suǒ liào， zuì hòu Valjean duì kōng fàng liǎo yī qiāng， Javert xùn sù lí qù。
「 dài tā huí jiā」（ Bringhimhome）
yè shēn liǎo， dān rèn chì hòu de xué shēng yǐn jiǔ chàng gē「 yǔ wǒ gòng yǐn」（ Drinkwithme）， Marius xīn zhōng diàn jì zhù Cosette， bù duō shí biàn shěn shěn shuì qù。 Valjean kàn zhù Marius， kàn tā shì rú cǐ de nián qīng， yú shì biàn chàng chū「 dài tā huí jiā」（ Bringhimhome）， qí qiú shàng cāng bǎo hù zhè gè nián qīng rén， ràng tā néng píng 'ān dù guò， rú guǒ shàng dì yào qǔ zǒu rèn hé rén de xìng mìng， nà jiù qǔ wǒ Valjean de bà！
「 dì 'èr cì jiāo zhàn， Gavroche zhī sǐ」（ TheSecondAttack,DeathofGavroche）
lí míng shí fēn， shuāng fāng fā shēng dì 'èr cì jiāo zhàn， Enjolras yào shǒu xià bào gào jǐ fāng qíng kuàng， fā xiàn dàn yào yǐ quē fá。 zài Marius yǔ Valjean zhēng zhù chū qù shōu jí dàn yào shí， Gavroche yǐ jīng pá dào gōng shì zhī wài， jiù zài tā kuài yào chéng gōng shí， hū wén yī shēng qiāng xiǎng－ yī kē zǐ dàn jī zhōng liǎo tā！ jiē zhù tā yòu lián 'āi liǎo liǎng sān qiāng， zhōng yú bù zhī dǎo dì 'ér wáng。
「 zuì hòu yī zhàn」（ TheFinalBattle）
gōng shì wài jūn guān yòu zài dù hǎn huà， yào xué shēng men fàng xià wǔ qì， xué shēng men dāng rán bù cóng， yóu Enjolras dài lǐng zhù xiàng wài gōng jī； yī shí qiāng pào shēng bù jué yú 'ěr， huǒ guāng jiāo cuò， zhàn kuàng shí fēn cǎn liè。 zhè yī yì xué shēng yī fāng jīhū quán jūn fùmò， Enjolras mìng sàng gōng shì zhī dǐng， Marius shēn fù zhòng shāng dàn yī xī shàng cún， bèi Valjean fā jué hòu yóu xià shuǐ dào káng lí。 Javert dào xiàn chǎng wèi fā jué Valjean de shī tǐ， pàn dìng tā yī dìng cóng xià shuǐ dào liù zǒu， yú shì xún xiàn yòu zhuī liǎo qù。
「 xià shuǐ dào， gǒu shì gǒu」（ TheSewers-DogeatsDog）
zài xià shuǐ dào， huài xīn yǎn de Th ardier yòu zài gān zhù lìng rén bù chǐ de gòu dāng－ sōu xún sǐ zhě shī tǐ shàng zhí qián de cái wù。 káng zhù Marius de Valjean yīn wéi tǐ lì bù zú， shuāng shuāng dǎo wò zài dì。 Th ardier yī lù sōu lái， ná zǒu liǎo Marius de jiè zhǐ， dāng fā xiàn tǎng zài bàng biān de rén jìng rán shì Valjean， tā kuáng xiào shù shēng， xiāo shī zài xià shuǐ dào de bǐ duān。 Valjean tái zhù Marius jì xù qián xíng， bèi Javert gǎn shàng， liǎng gè yuān jiā zài dù xiāng féng； yóu yú Marius shāng shì yán zhòng jí xū jiù yī， Valjean qǐng qiú Javert wǎng kāi yī miàn， liǎng rén de zhàng róng hòu zài suàn。 Javert zhōng yú dòng liǎo cí bēi xīn， ràng Valjean dài zhù Marius lí kāi。
「 Javert zì jìn」（ Javert'sSuicide）
fàng zǒu liǎo Valjean， Javert gǎn chù liáng duō； shì Valjean fàng tā yī mǎ， tā cái néng huó dào jīn tiān， tā kāi shǐ huái yí， nán dào zhuī zhú liǎo zhè xǔ duō nián， Valjean jìng rán shì yī gè cí bēi wéi huái de rén？ bǎi gǎn jiāo jí zhī xià， tā rèn wéi tā yǐ wú chù kě qù， yú shì tóu shēn sài nà hé（ SeineRiver） zì jìn。 zhàn shì guò hòu， nǚ rén men lái dào jiē shàng， tā men zhì yí dì wèn：「 gǎi biàn liǎo má？」（ Turning）， dāng rán， shénme yě méi biàn， yī qiē fǎng fù dōu juàn juàn bān， yòu huí dào yuán diǎn。
「 rén shì quán fēi」（ EmptyChairsatEmptyTables）
huí xiǎng qǐ yǐ qián zài ABC kā fēi tīng yǔ yǒu rén men xiāng jù gāo tán kuò lùn， ér jīn jǐng wù yǐ jiù， dàn tóng bàn men què yǐ rán qù shì， Marius bù jìn bēi cóng zhōng lái， jī dòng dì chàng chū「 rén shì quán fēi」（ EmptyChairsatEmptyTables）， zài tā gē chàng de tóng shí， tóng bàn men de hún bó xiàn 'ér fù yǐn， hǎo sì tīng jiàn liǎo tā de hū hǎn； jiē zhù Cosette lái dào liǎo shēn biān， ān fǔ Marius qǐ fú de qíng xù， liǎng rén gòng tóng gē yǒng chū 'ài de 'èrchóng chàng「 měi yī rì」（ EveryDay）， huí yì qǐ chū jiàn de nà yī yè， xīn zhōng chōng mǎn 'ài yì。 Valjean zǒu liǎo jìn lái， xíng chéng yī què duǎn xiǎo de sān chóngchàng。
「 Valjean de gào bái」（ Valjean'sConfession）
Cosette zàn shí lí kāi， shèng xià Marius yǔ Valjean 'èr rén。 Valjean xiàng Marius biǎo míng shēn shì， shuō míng zì jǐ céng jīng shì xiǎo tōu， dài zuì zhī shēn yī zhí bù gǎn ràng Cosette zhī qíng， rú guǒ zài bèi zhuō dào zhǐ huì shǐ Cosette méng xiū， ràng tā gèng shāng xīn。 xiàn zài Cosette yǐ jīng yòu xīn shàng rén zhào liào， yīn cǐ tā bì xū lí kāi， qǐng Marius gào sù Cosette tā qù yuǎn fāng lǚ xíng， bìng qiě qiān wàn bù yào ràng tā zhī dào zhēn xiāng。 Marius rěn tòng dāyìng。
「 jié hūn lǐ zàn」（ TheWeddingChorale）
Marius yǔ Cosette zhōng yú rú yuàn bù shàng jié hūn lǐ táng， zhòng rén zài liǎng bàng gē chàng zhù fú。 yuán wǔ qū yuèyīn xiǎng qǐ， xuán lǜ jìng rán qǔ zì dì 'èr mù「 jiǎo zhà de huá 'ěr zī」， yuán lái Th ardier fū fù yòu chū xiàn liǎo。 zhè cì tā men hòu zhù liǎn pí lái xiàng Marius yào qián， suǒ jià wǔ bǎi fǎ láng， xuān chēng wò yòu Valjean zài xià shuǐ dào sōu kuò sǐ rén cái wù de zhèng jù； Th ardier cóng huái lǐ ná chū yī zhǐ jiè zhǐ， zhèng shì dāng yè cóng Marius shēn shàng qǔ xià zhī wù， Marius dùn shí míng bái Valjean jiù shì nà wǎn de jiù mìng 'ēn rén。 tā yī quán jiāng Th ardier dǎ dǎo， yě gù bù dé zhèng zài jǔ xíng hūn lǐ， lā zhù Cosette xún zhǎo Valjean qù liǎo。 hūn lǐ suì chéng liǎo「 qǐ gài de shèng yàn」（ BeggarsAttheFeast）。
「 zhōngqǔ」（ Epilogue,Finale）
qì ruò yóu sī de Valjean dú zì yī rén， shēn bàng fàng zhù yī gè mù zhì shí zì jià， tā zài wéi Cosette yǔ Marius， yě wéi zì jǐ qí dǎo。 Fantine de líng hún xiàn shēn， gǎn xiè dài wéi yǎng yù zhī 'ēn， bìng wéi tā qí fú， zhè shí Marius yǔ Cosette gǎn liǎo jìn lái。 zuì hòu Eponine yǔ zhàn shì zhōng sǐ wáng de hún bó fēn fēn chū xiàn， dà huǒ hé chàng「 zhōngqǔ」（ Epilogue,Finale）， bù xìng de rén men， zhōng jiū huì yòu guāng míng de yī tiān！
guān yú「 bēi cǎn shì jiè」 de bǎn běn
「 bēi cǎn shì jiè」 zài tái wān kě yǐ zhǎo dào hǎo jǐ gè lù yīn bǎn běn， yóu yú wǒ shǒu biān méi yòu fǎ wén bǎn， yě bù dǒng fǎ wén， yīn cǐ wú fǎ xiàng dú zhě jiè shào。 yīng wén fā yīn de bǎn běn qǐ mǎ yòu sān gè， shǒu xiān jiè shào de dāng rán shì zuì wán zhěng de huán qiú bǎn（ 3CDs）， zhè gè bǎn běn shì jí hé liǎo lái zì shì jiè gè dì yǎn chàng「 bēi cǎn shì jiè」 de yào jiǎo， liù shí wǔ wèi yīng guó 'ài lè guǎn xián yuètuán chéng yuán， qī shí yú wèi hé chàng tuán yuán， zài lún dūn、 xuě lí、 nà xǔ wéi 'ěr、 luò shān jī děng dì fēn bié lù zhì， zài zhì zuò mǔ dài 'ér chéng。 chàngpiān jiě shuō zhōng zhì zuò rén CameronMackintosh yǔ DavidCaddick xiáng shù liǎo zhè tào chàngpiān lù zhì de niàn tóu yǔ guò chéng， xiāng dāng yòu yì sī。 wǒ zhǐ tè bié tí chū yī diǎn， zhè tào chàngpiān zhōng shì chàng Eponine yī jiǎo de rì jí nǚ gē shǒu KahoShimada jīhū bù huì jiǎng yīng wén， wèile lù zhè gè juésè hái tè bié qǐng liǎo fān yì yǔ tā gōu tōng， dàn shì tā zài chàngpiān zhōng de yīng wén yǎo zì fā yīn、 gē shēng biǎo qíng、 qíng gǎn quán shì dū jí wéi chū sè， lìng rén jī shǎng！ qí tā de juésè yědōu shì yī shí zhī xuǎn， biǎo xiàn fēi cháng jié chū。 liǎng piàn zhuāng fēn bié yòu lún dūn（ OriginalLondonCastRecording） yǔ bǎi lǎo huì（ OriginalBroadwayCastRecording） liǎng gè bǎn běn， zhè liǎng tào chàngpiān de zhùjué JeanValjean dōushì yóu zhù míng de yīnyuè jù yǎn yuán ColmWilkinson yǎn chàng， Eponine yě shì tóng yī rén， qí tā de chàng jiǎo suī rán bù tóng， dàn biǎo xiàn dà zhì zài bó zhòng zhī jiān， méi yòu tài dà de chā yì； bù guò lún dūn bǎn zài měi yī shǒu gē cí zhī jiān yòu jù qíng jiě shuō chuàn lián， zài zhè yī diǎn shàng shì yào bǐ bǎi lǎo huì bǎn lüè shèng yī chóu de。 chú liǎo yǐ shàng sān gè bǎn běn zhī wài， shì miàn shàng hái kě yǐ fā xiàn yī zhāng jīng xuǎn bǎn， zhè zhāng「 HighlightsfromLesMis ables」 shì yóu WoodfordMusic gōng sī suǒ chū bǎn， shōu lù liǎo qǔ zì「 bēi cǎn shì jiè」 de shí qī duàn yīnyuè； CD zhī zhōng chú liǎo qū míng yǔ yǎn chàng zhě rén míng zhī wài， bìng wú qí tā jiě shuō， bàn zòu zhǐ yòng liǎo jiǎn dān de diàn zǐ hé chéng yuèqì， tīng lái pín ruò 'ér quē fá xuán lǜ xìng， hé chàng tuán yǎn chàng de bù fēn míng xiǎn dì kě yǐ tīng chū zhǐ yòu jǐ gè rén zài chēng chǎng miàn。 suǒ yǐ chú fēi nǐ duì zhè chū yīnyuè jù qíng yòu dú zhōng， fǒu zé qián miàn de sān tào「 bēi cǎn shì jiè」 zú gòu mǎn zú yī bān rén de xū qiú。
bēi cǎn shì jiè - bēi cǎn shì jiè dú hòu gǎn
zài shū zhōng， chū yù hòu de rǎn 'ā ràng bēifù zhe qiú fàn de shēn fèn， bǎo shòu zhe tā rén de qí shì。 shè huì de bù gōng yǔ pái chì， yī diǎn diǎn de mó miè liǎo tā chóngxīn zuò rén de xī wàng， gǎi guò xiàng shàn de xìn xīn。 shì cí bēi wéi huái de zhù jiào shēn chū kāng kǎi de， wú sī de yuán zhù zhī shǒu shōu róng liǎo zǒu tóu wú lù de rǎn 'ā ràng。 tā bù jǐn bù jì jiào rǎn 'ā ràng tōu tā de yín qì jù， fǎn 'ér jiāng nà yī duì yín zhì zhú tái sòng gěi liǎo tā bìng dīng zhǔ dào：“ dāyìng wǒ yī dìng yào bǎ zhè xiē qián yòng dào hǎo de dì fāng。 bǎ zhè xiē yín qì mài diào， yòng zhè xiē qián ràng zì jǐ guò dé hǎo yī xiē。”
wǒ kāi shǐ shēn shēn de gǎn wù dào， yuán lái， zài dāng shí nà gè wú qíng de zī běn zhù yì shè huì jìng rán yě yòu zhè yàng de shì wài shèng rén cún zài， zhèng shì zhù jiào de kuān dà hé rén cí shēn shēn gǎn huà liǎo rǎn 'ā ràng， shì tā chóngxīn rán qǐ liǎo rǎn 'ā ràng xīn zhōng nà kuài xī miè de xī wàng zhī huǒ， shǐ tā chè dǐ huǐ wù， kāi shǐ xīn de shēng huó。 suǒ yǐ shuō， rǎn 'ā ràng de mìng yùn bìng bù shì yǒng yuǎn dōushì nà me de bēi cǎn， bēi cǎn de shì nà shí hòu de zhěng gè shì jiè guān， jiù shì yīn wéi yòu liǎo zhù jiào zhè yàng de rén， zhěng gè shì jiè cái yòu liǎo jiù shì zhù， zhěng gè shì jiè cái yòu kě néng zài shuǐ shēng huǒ rè zhī zhōng jiān kǔ mō suǒ qián jìn。
zài zhù jiào de gǎn huà xià， rǎn 'ā ràng kāi shǐ biàn dé lè yú zhù rén， jiàn yì yǒng wéi dé dào rén mín de 'ài dài， yáo shēn yī biàn chéng liǎo shòu rén zūn jìng de shì cháng。 zhè yī qiē dé zhuǎn biàn shǐ wǒ jì bèi gǎn xīn wèi。 cóng qiú fàn dào shì cháng， jiǎn zhí shì tiān rǎng zhī bié， zhè wú yí shì rén xìng de jù dà zhuǎn biàn。
miàn duì zhe qióng kùn liáo dǎo， shì tài yán liáng， jiāng huì chǎn shēng liǎng zhǒng rén： dì yī zhǒng shì bēi wēi dī liè de rén。 tā men chǒu lòu、 zì sī、 tān lán de běn xìng zài yě wú fǎ yǐn cáng。 jiù rú shū zhōng de dé nà dì， tā wèile qián cái bù xī yī qiē， yī huì shēng chēng shì yǎn yuán， yī huì 'ér yòu biàn chéng liǎo huà jiā， dàn tā zài gāo míng yě wú lùn rú hé yǎn gài bù zhù tā chǒu lòu běn xìng de shì shí。 lìng yī zhǒng shì wú lùn zài shénme qíng kuàng xià dōunéng yǒng bǎo guāng míng、 shàn liáng、 kuān róng de yōng yòu gāo shàng qíng cāo de rén。 xǐ xīn gé miàn hòu de rǎn 'ā ràng biàn dé kuān dà、 shàn liáng。 zhèng shì nà gè cí bēi wéi huái de xīn gǎn huà liǎo lěng kù、 gù zhí， céng yī wèi zhuī bǔ tā de jǐng cháng shā wēi。
qí shí， zài dāng jīn shè huì yě bù fá yòu yī xiē wèile yǎn qián lì yì 'ér bù zé shǒu duàn de bēi bǐ xiǎo rén。 rú yī xiē píng jiè zhí quán tān wū shòu huì zhě； zài zhòng dà sài shì zhōng wéi dé dào hǎo chéng jì 'ér fú yòng xīng fèn jì zhě； hái yòu xiǎo dào kǎo shì zuò bì de rén……
zuò zhě xiǎng gào sù wǒ men de shì： zuò yī gè zhēn zhèng de zì jǐ， rèn hé kè yì de wěi zhuāng dū jiāng bèi shí pò， xū wěi zài shì shí miàn qián zhǐ yòu bèi gé miè。 wǒ zài yī cì bèi rén xìng de jù dà lì liàng suǒ zhèn hàn。 yuàn wǒ men shēn biān duō yī xiē zhù jiào bān guāng míng de shǐ zhě， yuàn tā men xiàng chún jié de tiān shǐ bān yǒng yuǎn shǒu hù zhe rén men xīn zhōng nà fèn cí bēi wéi huái de xīn， gèng xī wàng yòu gèng duō de rén néng jiā rù dào zhù rén wéi lè、 jiàn yì yǒng wéi de duì wǔ zhōng lái。 shè huì xū yào zhè yàng de rén， shì jiè xū yào zhè yàng de rén。 zhǐ yòu zhè yàng， wǒ men cái néng chuàng zào wǒ men de shēng huó， chuàng zào chū yī gè shàn liáng、 hé mù、 guāng míng de shì jiè。
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.
《 xiào miàn rén》 shì yǔ guǒ zài yī bā liù jiǔ nián xiě chéng de cháng piān xiǎo shuō。 zhè bù xiǎo shuō yǐ shí qī shì jì mò hé shí bā shì jì chū de yīng guó shè huì wéi bèi jǐng， yě jiù shì cóng zhān mǔ shì 'èr shì qǐ dào tā de nǚ 'ér 'ān nī nǚ wáng tǒng zhì yīng guó de nà gè shí qī。 xiǎo shuō zhù rén gōng gé wēn pǔ lán shì yī gè jué shì de hòu dài， cóng xiǎo jiù bèi mài gěi 'ér tóng fàn zǐ， chéng wéi gōng tíng yīn móu de xī shēng pǐn。 tā luò dào 'ér tóng fàn zǐ zhī shǒu yǐ hòu， bèi pò dòng guò huǐ róng shǒu shù， liǎn kǒng yīn cǐ shǐ zhōng xiàng zài guài xiào yī yàng。 hòu lái， tā bèi hǎo xīn de liú làng rén yú sū sī suǒ shōu yǎng。 cóng cǐ， tā jiù gēn zhe yú sū sī dào chù mài yì。 gé wēn pǔ lán zài jiàn dào yú sū sī zhī qián， hái zài xuě dì shàng jiù qǐ guò yī gè nǚ yīng héng héng jiù shì máng gū niàn dì， hǎo xīn de yú sū sī yě bǎ tā shōu yǎng liǎo xià lái。 tā men jǐ gè rén sì hǎi piāo bó， shòu jìn pín qióng yǔ bù xìng de zhé mó， dàn shì tā men bìng méi yòu xiàng huán jìng qū fú， tā men bǐ cǐ zhī jiān chōng mǎn zhe chéng zhì de gǎn qíng。 zài diān pèi liú làng shēng huó zhōng gé wēn pǔ lán hé máng gū niàn dì zhī jiān yě jiàn jiàn chǎn shēng liǎo 'ài qíng。 hòu lái gé wēn pǔ lán yòu jī huì chóngxīn huò dé jué shì de tóu xián， tā què yàn 'è guì zú shēng huó， zài yì huì tòng chì liǎo guì zú zuì xíng hòu， huí dào zì jǐ de tóng bàn nà lǐ。 zhè shí dì yǐ jīng bìng dé yǎn yǎn yī xī， zhōng yú qù shì， gé wēn pǔ lán bēi tòng wàn fēn， jiēguǒ tóu hǎi zì shā。 gé wēn pǔ lán de bēi cǎn zāo yù cóng 'ér fā shēng de nà gè shí qī， zhèng shì yīng guó zī chǎn jiē jí gé mìng hòu bù jiǔ， zī chǎn jiē jí hé xīn guì zú jiàn lì liǎo jūn zhù lì xiàn zhèng tǐ。 gé mìng de jiēguǒ duì rén mín lái shuō， zhǐ shì zī běn zhù yì de jiā suǒ dài tì liǎo fēng jiàn zhù yì de jiā suǒ。 cái fù hé tè quán jí zhōng zài yī xiǎo cuō tǒng zhì jiē jí shǒu lǐ， guǎng dà rén mín yǐ jiù guò zhe kǔ nán shēn zhòng de shēng huó。
《 xiào miàn rén》 - zuò pǐn shǎng xī
yǔ guǒ tōng guò gé wēn pǔ lán tā men de bēi cǎn zāo yù fǎn yìng liǎo dāng shí de liǎng gè duì lì de jiē jí de jiān ruì máo dùn： zhàn jué dà duō shù de rén mín qún zhòng guò zhe pín qióng kùn kǔ de shēng huó， yī xiǎo cuō shàng céng guì zú qióng shē jí chǐ， dào dé bài huài。 yǔ guǒ lì yòng liǎo fēng fù de lì shǐ wén xiàn shēng dòng dì liè jǔ liǎo dāng shí yīng guó bù píng děng de shè huì miàn mào， jiē lù tǒng zhì jiē jí de zhǒng zhǒng xū wěi hé chǒu 'è。 zài xiǎo shuō lǐ， zuò zhě wán quán zhàn zài tóng qíng rén mín de lì chǎng shàng wéi pín kǔ dà zhòng zuò biàn hù， miáo huì dǐ céng rén mín de jí kǔ。 xiào miàn rén gé wēn pǔ lán zài guì zú yuàn duì yī xiē wáng sūn guì zú de kāng kǎi jī 'áng de kòng sù， gāi shì quán shū de gāo cháo， gāi shì duì zhè yàng yī gè bù píng děng shè huì de jí wéi lín lí jìn zhì de miáo huì： rén mín guò zhe qī cǎn de rì zǐ， wú zuì de rén bèi dìng liǎo zuì， bā suì de xiǎo gū niàn kāi shǐ mài yín， méi kuàng gōng rén ná méi kuài tián dù zǐ， yú rén chī de shì shù pí cǎo gēn， yīng 'ér shuì zài dì shàng wā chū lái de tǔ dòng lǐ。 chú liǎo pín qióng、 shī yè、 jī huāng、 jí bìng yǐ wài， wǒ men kàn dào yā zài bǎi xìng tóu shàng de hái yòu jǐng chá、 fǎ lǜ、 zōng jiào、 mì mì dài bǔ、 jiān yù、 kù xíng， děng děng。 bǎo jīng cāng sāng de yú sū sī jiù duì gé wēn pǔ lán zhè yàng shuō guò：“ chén mò shì qióng rén wéi yī de péng yǒu。 tā men zhǐ kě yǐ shuō yī gè zì：‘ shì’。 chéng rèn hé tóng yì shì tā men de quán bù quán lì。 duì fǎ guān shuō‘ shì’。 duì guó wáng shuō‘ shì’。 lǎo yé men rú guǒ gāo xīng， jiù shǎng wǒ men jǐ gùn， wǒ jiù bèi tā men dǎ guò， zhè shì tā men de tè quán， tā men jí shǐ bǎ wǒ men de gǔ tóu dǎ duàn， duì tā men de zūn yán yě bù huì yòu shénme sǔn hài。” tā yòu zhǐ chū：“ nǐ shì shēng huó zài zhè yàng yī gè guó jiā lǐ： jù diào yī kē sān nián de xiǎo shù， jiù dé 'ān 'ān jìng jìng dì bèi rén sòng shàng jiǎo xíng jià。…… zhù jiào fǎ tíng yào shì pàn jué nǐ fàn liǎo yì duān xié jiào de zuì， jiù gāi huó huó shāo sǐ。” zài lìng yī fāng miàn， tǒng zhì jiē jí xiǎng shòu zhǒng zhǒng tè quán， qióng shē jí chǐ， pàn mìng yā zhà bǎi xìng de xuè hàn lái gōng tā men huī huò。 nǚ wáng zhàng fū de nián fèng yī xià zǐ jiù yào zēng jiā shí wàn yīng bàng。 kē juān zá shuì yī yàng yī yàng dì zēng jiā。 yǔ guǒ bǎ xiào miàn rén gé wēn pǔ lán de bēi cǎn gù shì， jiù 'ān pái zài zhè yàng yī gè huán jìng lǐ。 gé wēn pǔ lán zài yì huì lǐ de fā yán， shì duì nà gè shè huì de yī gè yòu lì de kòng sù， qí shí gé wēn pǔ lán hé tā de liǎng gè qīn rén héng yī yú sū sī hé dì de bēi cǎn zāo yù běn shēn， jiù shì yī gè yòu lì de kòng sù。 tǒng zhì zhě de mó shǒu huǐ miè tā men de xìng fú， jí shǐ yú sū sī láo láo shǒu zhù tā de“ chén mò shì qióng rén wéi yī de péng yǒu” de xìn tiáo， tā yě wú fǎ táo bì zhè yī zhǐ kàn bù jiàn de、 kě pà de shǒu。 zhè jǐ gè shàn liáng de kě lián de rén、 tā men de mìng yùn zhèng shì dāng shí yīng guó guǎng dà de láo dòng rén mín de pǔ biàn mìng yùn。 yǔ guǒ zài xiǎo shuō zhōng yùn yòng liǎo tā zuì wéi shàn cháng de làng màn zhù yì de duì bǐ shǒu fǎ， shēng dòng dì kè huá liǎo zhè jǐ gè zhù yào rén wù de xíng xiàng。
gé wēn pǔ lán de liǎn shì chǒu de， dàn shì tā de nèi xīn què wú bǐ měi lì。 dāng tā bèi rén pāo qì， yī gè rén gū gū dān dān dì gēn sǐ shén bó dǒu de shí hòu， tā hái xiǎng dào qù jiù lìng wài yī gè hái zǐ， dān fù qǐ lìng wài ～ gè rén de mìng yùn； tā zài chéng wéi jué shì yǐ hòu， wàng jì bù liǎo bǎi xìng de jí kǔ， tòng chì liǎo nà xiē guì zú lǎo yé， zuì hòu qíng yuàn pāo qì róng huá fù guì， huí dào zì jǐ de qīn rén shēn biān。 yīn cǐ，“ suī rán dà jiādōu rèn wéi tā shì gè guài wù， kě shì dì què rèn wéi tā shì tiān shàng de shén xiān。” dì shuō：“ cháng dé chǒu， zhè suàn dé liǎo shénme？ zuò huài shì cái jiào chǒu。 gé wēn pǔ lán zhǐ zuò hǎo shì。 suǒ yǐ tā zuì piào liàng。” dì zì jǐ ní， shì yī gè xiā zǐ， cóng xiǎo jiù méi yòu jiàn guò yáng guāng， dàn shì tā“ yǎn jīng suī rán kàn bù jiàn， què chōng mǎn liǎo liàng guāng”。 tā kàn dé dào liàng yǎn rén kàn bù dào de dōng xī， nà biàn shì gé wēn pǔ lán de nèi xīn de měi。 tā yī xīn 'ài zhe gé wēn pǔ lán， bǎ gé wēn pǔ lán shì zuò tā de tài yáng。 zhè shì yī gè měi lì chún jié de shàonǚ。 yú sū sī zé shì yī gè shàn liáng zhì huì de lǎo rén， tā bù gù zì jǐ qióng kùn， shōu liú xià liǎng gè gū 'ér， fǔ yǎng dà liǎo tā men； tā de cái zhì yě shì jīng rén de， zài tā de shēn shàng shǎn yào zhe láo dòng rén mín de zhì huì de guāng máng。 rán 'ér tā shēn shòu shēng huó de mó nán， dǒng dé yī tào rén qíng shì gù， zài 'è shì lì de pò hài xià， tā yě bù dé bù nì lái shùn shòu。 zài tā men sān gè rén zhī jiān cún zài zhe shēn hòu de gǎn qíng， tā men xiāng yǐ wéi mìng， hù qīn hù 'ài， shuí yě lí bù kāi shuí， shuí yě shǎo bù liǎo shuí。 tā men zhī jiān zhè zhǒng zhēn zhì de gǎn qíng， jiā qiáng liǎo xiǎo shuō jié jú de bēi jù qì fēn。
gēn tā men xíng chéng qiáng liè duì zhào de shì 'ān nī nǚ wáng、 yuē sè 'ān nà、 dà wèi · dì lì héng mó 'āi jué shì zhè pī rén。 tā men cán bào zhuān héng、 zuò wēi zuò fú、 huāng yín wú chǐ、 dào dé bài huài， wèile mǎn zú zì jǐ de sī yù， shénme chǒu shìdōu zuòde chū lái。 jǔ jǐ gè lì zǐ kàn bā： ān nī nǚ wáng zēng hèn yuē sè 'ān nà， yǐ néng kàn dào tā jià gěi gé wēn pǔ lán zhè gè jī xíng rén wéi yī dà lè shì， sī háo yě bù gù zǐ mèi zhī qíng。 yuē sè 'ān nà hé dà wèi · dì lì héng mó 'āi liǎng réndōu bù yuàn yì jié hūn， yīn wéi zhè duì gè zì de fàng dàng shēng huó yòu xǔ duō biàn lì。 yuē sè 'ān nà shèn zhì yǐn yòu gé wēn pǔ lán， xiǎng xún zhǎo duò luò de lè qù， zhè zhǒng xíng wéi zhǐ yòu cóng tā de fàng dàng wú chǐ de biàn tài xīn lǐ zhōng kě yǐ dé dào jiě shì。 zhè gè mào ruò tiān xiān、 xīn sì shé xiē de nǚ rén， dāng tā zuì hòu zhī dào gé wēn pǔ lán shì tā de zhēn zhèng de zhàng fū de shí hòu， fǎn 'ér lì kè bǎ tā gǎn zǒu， duì tā shuō tā hèn tā。
xiǎo shuō de làng màn zhù yì tè sè hái biǎo xiàn zài zuò jiā duì qíng jié de 'ān pái shàng： zhěng gè gù shì shì yóu xǔ duō chū rén yì wài de shì jiàn lián jié 'ér chéng de。 xiǎo shuō yī kāi shǐ， yī gè gū kǔ líng dīng de hái zǐ gěi pāo qì zài huāng liáng de hǎi 'àn shàng， děng dài zhe tā de zhǐ yòu sǐ wáng， dàn shì tā què táo chū liǎo kùn jìng。 zhè yàng de kāi tóu jiù qiáng liè dì xī yǐn zhù liǎo dú zhě。 yóu qí shì dì 'èr bù dì sì juàn kāi shǐ， yuē sè 'ān nà de lái xìn gěi gé wēn pǔ lán dài lái de bù 'ān， dà hǎi zhōng piào lái de hú lú lǐ de mì mì， gé wēn pǔ lán tū rán yī biàn 'ér wéi kè lǎng chá lǐ jué shì， yú sū sī kàn jiàn jiān yù lǐ káng chū yī kǒu guān cái yǐ wéi gé wēn pǔ lán yǐ bèi chǔsǐ， yuē sè 'ān nà yǔ gé wēn pǔ lán 'ǒu rán xiāng jiàn， gé wēn pǔ lán zài yì huì kòng sù tǒng zhì zhě de zuì 'è， tā xún zhǎo qīn rén bù jiàn zhèng xiǎng tiào hé shí kàn jiàn nà tóu jīhū yǔ yú sū sī xíng yǐng bù lí de láng gǒu 'ào mò， děng děng， zhēn kě yǐ shuō shì bō lán dié qǐ， fēng yún biàn huàn， ér gé wēn pǔ lán de xíng xiàng zài zhè yī lián chuàn de qíng jié fā zhǎn zhōng yě xiǎn dé yù yì xiān míng。 zhè shì zhè bù xiǎo shuō de yòu yī tè sè。
rán 'ér， yǔ guǒ suī rán zhēn shí dì miáo xù liǎo yī gè bù píng děng de shè huì miàn mào， dàn shì tā duì nà gè shè huì de běn zhì shì quē fá rèn shí de， yīn cǐ duì dāng shí shè huì de jiē jí máo dùn jiē lù dé hái shì bù gòu shēn kè de， yě quē shǎo zhèng què de fēn xī。 lì rú， tā zài kè huá fǎn miàn rén wù de shí hòu， què bǎ yī gè dì wèi shǔ yú cì yào de bā jī 'ěr fèi dé luó xiě chéng liǎo shǒu 'è， sì hū méi yòu zhè gè rén wù cóng zhōng shī zhǎn tā de yīn móu guǐ jì， gé wēn pǔ lán de mìng yùn kě néng jiù bù huì rú cǐ bēi cǎn。 zhì yú bǎ qíng jié fā zhǎn guò duō dì jiàn zhù zài yì wài de shì jiàn chū xiàn shàng， ǒu rán xìng tài dà， yě zì rán 'ér rán dì chōng dàn liǎo yī chū yán sù de bēi jù de xìng zhì。 cǐ wài， zuò zhě yǐn jīng jù diǎn、 jiā yì chā xù zhī chù yě shǐ rén gǎn dào bǐ jiào duō。 zhè xiē dōukě yǐ shuō shì zhè bù zuò pǐn de bù zú zhī chù。
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.
《 xiào miàn rén》 - zuò pǐn shǎng xī
yǔ guǒ tōng guò gé wēn pǔ lán tā men de bēi cǎn zāo yù fǎn yìng liǎo dāng shí de liǎng gè duì lì de jiē jí de jiān ruì máo dùn： zhàn jué dà duō shù de rén mín qún zhòng guò zhe pín qióng kùn kǔ de shēng huó， yī xiǎo cuō shàng céng guì zú qióng shē jí chǐ， dào dé bài huài。 yǔ guǒ lì yòng liǎo fēng fù de lì shǐ wén xiàn shēng dòng dì liè jǔ liǎo dāng shí yīng guó bù píng děng de shè huì miàn mào， jiē lù tǒng zhì jiē jí de zhǒng zhǒng xū wěi hé chǒu 'è。 zài xiǎo shuō lǐ， zuò zhě wán quán zhàn zài tóng qíng rén mín de lì chǎng shàng wéi pín kǔ dà zhòng zuò biàn hù， miáo huì dǐ céng rén mín de jí kǔ。 xiào miàn rén gé wēn pǔ lán zài guì zú yuàn duì yī xiē wáng sūn guì zú de kāng kǎi jī 'áng de kòng sù， gāi shì quán shū de gāo cháo， gāi shì duì zhè yàng yī gè bù píng děng shè huì de jí wéi lín lí jìn zhì de miáo huì： rén mín guò zhe qī cǎn de rì zǐ， wú zuì de rén bèi dìng liǎo zuì， bā suì de xiǎo gū niàn kāi shǐ mài yín， méi kuàng gōng rén ná méi kuài tián dù zǐ， yú rén chī de shì shù pí cǎo gēn， yīng 'ér shuì zài dì shàng wā chū lái de tǔ dòng lǐ。 chú liǎo pín qióng、 shī yè、 jī huāng、 jí bìng yǐ wài， wǒ men kàn dào yā zài bǎi xìng tóu shàng de hái yòu jǐng chá、 fǎ lǜ、 zōng jiào、 mì mì dài bǔ、 jiān yù、 kù xíng， děng děng。 bǎo jīng cāng sāng de yú sū sī jiù duì gé wēn pǔ lán zhè yàng shuō guò：“ chén mò shì qióng rén wéi yī de péng yǒu。 tā men zhǐ kě yǐ shuō yī gè zì：‘ shì’。 chéng rèn hé tóng yì shì tā men de quán bù quán lì。 duì fǎ guān shuō‘ shì’。 duì guó wáng shuō‘ shì’。 lǎo yé men rú guǒ gāo xīng， jiù shǎng wǒ men jǐ gùn， wǒ jiù bèi tā men dǎ guò， zhè shì tā men de tè quán， tā men jí shǐ bǎ wǒ men de gǔ tóu dǎ duàn， duì tā men de zūn yán yě bù huì yòu shénme sǔn hài。” tā yòu zhǐ chū：“ nǐ shì shēng huó zài zhè yàng yī gè guó jiā lǐ： jù diào yī kē sān nián de xiǎo shù， jiù dé 'ān 'ān jìng jìng dì bèi rén sòng shàng jiǎo xíng jià。…… zhù jiào fǎ tíng yào shì pàn jué nǐ fàn liǎo yì duān xié jiào de zuì， jiù gāi huó huó shāo sǐ。” zài lìng yī fāng miàn， tǒng zhì jiē jí xiǎng shòu zhǒng zhǒng tè quán， qióng shē jí chǐ， pàn mìng yā zhà bǎi xìng de xuè hàn lái gōng tā men huī huò。 nǚ wáng zhàng fū de nián fèng yī xià zǐ jiù yào zēng jiā shí wàn yīng bàng。 kē juān zá shuì yī yàng yī yàng dì zēng jiā。 yǔ guǒ bǎ xiào miàn rén gé wēn pǔ lán de bēi cǎn gù shì， jiù 'ān pái zài zhè yàng yī gè huán jìng lǐ。 gé wēn pǔ lán zài yì huì lǐ de fā yán， shì duì nà gè shè huì de yī gè yòu lì de kòng sù， qí shí gé wēn pǔ lán hé tā de liǎng gè qīn rén héng yī yú sū sī hé dì de bēi cǎn zāo yù běn shēn， jiù shì yī gè yòu lì de kòng sù。 tǒng zhì zhě de mó shǒu huǐ miè tā men de xìng fú， jí shǐ yú sū sī láo láo shǒu zhù tā de“ chén mò shì qióng rén wéi yī de péng yǒu” de xìn tiáo， tā yě wú fǎ táo bì zhè yī zhǐ kàn bù jiàn de、 kě pà de shǒu。 zhè jǐ gè shàn liáng de kě lián de rén、 tā men de mìng yùn zhèng shì dāng shí yīng guó guǎng dà de láo dòng rén mín de pǔ biàn mìng yùn。 yǔ guǒ zài xiǎo shuō zhōng yùn yòng liǎo tā zuì wéi shàn cháng de làng màn zhù yì de duì bǐ shǒu fǎ， shēng dòng dì kè huá liǎo zhè jǐ gè zhù yào rén wù de xíng xiàng。
gé wēn pǔ lán de liǎn shì chǒu de， dàn shì tā de nèi xīn què wú bǐ měi lì。 dāng tā bèi rén pāo qì， yī gè rén gū gū dān dān dì gēn sǐ shén bó dǒu de shí hòu， tā hái xiǎng dào qù jiù lìng wài yī gè hái zǐ， dān fù qǐ lìng wài ～ gè rén de mìng yùn； tā zài chéng wéi jué shì yǐ hòu， wàng jì bù liǎo bǎi xìng de jí kǔ， tòng chì liǎo nà xiē guì zú lǎo yé， zuì hòu qíng yuàn pāo qì róng huá fù guì， huí dào zì jǐ de qīn rén shēn biān。 yīn cǐ，“ suī rán dà jiādōu rèn wéi tā shì gè guài wù， kě shì dì què rèn wéi tā shì tiān shàng de shén xiān。” dì shuō：“ cháng dé chǒu， zhè suàn dé liǎo shénme？ zuò huài shì cái jiào chǒu。 gé wēn pǔ lán zhǐ zuò hǎo shì。 suǒ yǐ tā zuì piào liàng。” dì zì jǐ ní， shì yī gè xiā zǐ， cóng xiǎo jiù méi yòu jiàn guò yáng guāng， dàn shì tā“ yǎn jīng suī rán kàn bù jiàn， què chōng mǎn liǎo liàng guāng”。 tā kàn dé dào liàng yǎn rén kàn bù dào de dōng xī， nà biàn shì gé wēn pǔ lán de nèi xīn de měi。 tā yī xīn 'ài zhe gé wēn pǔ lán， bǎ gé wēn pǔ lán shì zuò tā de tài yáng。 zhè shì yī gè měi lì chún jié de shàonǚ。 yú sū sī zé shì yī gè shàn liáng zhì huì de lǎo rén， tā bù gù zì jǐ qióng kùn， shōu liú xià liǎng gè gū 'ér， fǔ yǎng dà liǎo tā men； tā de cái zhì yě shì jīng rén de， zài tā de shēn shàng shǎn yào zhe láo dòng rén mín de zhì huì de guāng máng。 rán 'ér tā shēn shòu shēng huó de mó nán， dǒng dé yī tào rén qíng shì gù， zài 'è shì lì de pò hài xià， tā yě bù dé bù nì lái shùn shòu。 zài tā men sān gè rén zhī jiān cún zài zhe shēn hòu de gǎn qíng， tā men xiāng yǐ wéi mìng， hù qīn hù 'ài， shuí yě lí bù kāi shuí， shuí yě shǎo bù liǎo shuí。 tā men zhī jiān zhè zhǒng zhēn zhì de gǎn qíng， jiā qiáng liǎo xiǎo shuō jié jú de bēi jù qì fēn。
gēn tā men xíng chéng qiáng liè duì zhào de shì 'ān nī nǚ wáng、 yuē sè 'ān nà、 dà wèi · dì lì héng mó 'āi jué shì zhè pī rén。 tā men cán bào zhuān héng、 zuò wēi zuò fú、 huāng yín wú chǐ、 dào dé bài huài， wèile mǎn zú zì jǐ de sī yù， shénme chǒu shìdōu zuòde chū lái。 jǔ jǐ gè lì zǐ kàn bā： ān nī nǚ wáng zēng hèn yuē sè 'ān nà， yǐ néng kàn dào tā jià gěi gé wēn pǔ lán zhè gè jī xíng rén wéi yī dà lè shì， sī háo yě bù gù zǐ mèi zhī qíng。 yuē sè 'ān nà hé dà wèi · dì lì héng mó 'āi liǎng réndōu bù yuàn yì jié hūn， yīn wéi zhè duì gè zì de fàng dàng shēng huó yòu xǔ duō biàn lì。 yuē sè 'ān nà shèn zhì yǐn yòu gé wēn pǔ lán， xiǎng xún zhǎo duò luò de lè qù， zhè zhǒng xíng wéi zhǐ yòu cóng tā de fàng dàng wú chǐ de biàn tài xīn lǐ zhōng kě yǐ dé dào jiě shì。 zhè gè mào ruò tiān xiān、 xīn sì shé xiē de nǚ rén， dāng tā zuì hòu zhī dào gé wēn pǔ lán shì tā de zhēn zhèng de zhàng fū de shí hòu， fǎn 'ér lì kè bǎ tā gǎn zǒu， duì tā shuō tā hèn tā。
xiǎo shuō de làng màn zhù yì tè sè hái biǎo xiàn zài zuò jiā duì qíng jié de 'ān pái shàng： zhěng gè gù shì shì yóu xǔ duō chū rén yì wài de shì jiàn lián jié 'ér chéng de。 xiǎo shuō yī kāi shǐ， yī gè gū kǔ líng dīng de hái zǐ gěi pāo qì zài huāng liáng de hǎi 'àn shàng， děng dài zhe tā de zhǐ yòu sǐ wáng， dàn shì tā què táo chū liǎo kùn jìng。 zhè yàng de kāi tóu jiù qiáng liè dì xī yǐn zhù liǎo dú zhě。 yóu qí shì dì 'èr bù dì sì juàn kāi shǐ， yuē sè 'ān nà de lái xìn gěi gé wēn pǔ lán dài lái de bù 'ān， dà hǎi zhōng piào lái de hú lú lǐ de mì mì， gé wēn pǔ lán tū rán yī biàn 'ér wéi kè lǎng chá lǐ jué shì， yú sū sī kàn jiàn jiān yù lǐ káng chū yī kǒu guān cái yǐ wéi gé wēn pǔ lán yǐ bèi chǔsǐ， yuē sè 'ān nà yǔ gé wēn pǔ lán 'ǒu rán xiāng jiàn， gé wēn pǔ lán zài yì huì kòng sù tǒng zhì zhě de zuì 'è， tā xún zhǎo qīn rén bù jiàn zhèng xiǎng tiào hé shí kàn jiàn nà tóu jīhū yǔ yú sū sī xíng yǐng bù lí de láng gǒu 'ào mò， děng děng， zhēn kě yǐ shuō shì bō lán dié qǐ， fēng yún biàn huàn， ér gé wēn pǔ lán de xíng xiàng zài zhè yī lián chuàn de qíng jié fā zhǎn zhōng yě xiǎn dé yù yì xiān míng。 zhè shì zhè bù xiǎo shuō de yòu yī tè sè。
rán 'ér， yǔ guǒ suī rán zhēn shí dì miáo xù liǎo yī gè bù píng děng de shè huì miàn mào， dàn shì tā duì nà gè shè huì de běn zhì shì quē fá rèn shí de， yīn cǐ duì dāng shí shè huì de jiē jí máo dùn jiē lù dé hái shì bù gòu shēn kè de， yě quē shǎo zhèng què de fēn xī。 lì rú， tā zài kè huá fǎn miàn rén wù de shí hòu， què bǎ yī gè dì wèi shǔ yú cì yào de bā jī 'ěr fèi dé luó xiě chéng liǎo shǒu 'è， sì hū méi yòu zhè gè rén wù cóng zhōng shī zhǎn tā de yīn móu guǐ jì， gé wēn pǔ lán de mìng yùn kě néng jiù bù huì rú cǐ bēi cǎn。 zhì yú bǎ qíng jié fā zhǎn guò duō dì jiàn zhù zài yì wài de shì jiàn chū xiàn shàng， ǒu rán xìng tài dà， yě zì rán 'ér rán dì chōng dàn liǎo yī chū yán sù de bēi jù de xìng zhì。 cǐ wài， zuò zhě yǐn jīng jù diǎn、 jiā yì chā xù zhī chù yě shǐ rén gǎn dào bǐ jiào duō。 zhè xiē dōukě yǐ shuō shì zhè bù zuò pǐn de bù zú zhī chù。
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.