Analyzing the end of Les Miserables

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Michael_T

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I will admit it, I sometimes shed a tear at the end of movies or books. For instance I always get watery eyes at the end of Bravehart.

That being said I just finished reading Les Miserables last night and I spent over half an hour wailing and still when I even look (not even reading) at some of those final paragraphs I start to cry again.

Why is that? Why was this book so powerful to me? And most importantly how can we as writers duplicate that in our readers? Now I know my reading of that book is probably not typical, but still a dissection of that ending would be invaluable in my opinion.

So where to begin? I would say first read the book (unabridged please) because I'm sure that there will be spoilers here.

I guess the most obvious thing would be the character Jean Valjean dies. That's the climax of the book. (Another good point in novel writing...1462 pages to the climax, 1 page for the conclusion) We have seen this character go through a lot. He has sacrificed himself for countless individuals and has been an all around good guy. He's not perfect though which adds to his humanity, and so when good people die it is sad. But this I don't think was the reason for this beautiful ending...there's something more.

One of his final words is "I die happy." which was also a very significant thing. Throughout the book he had been happy before, but it was always under another name. M. Madeleine and M. Fauchelevent where some of the names he used when he was happy, but Jean Valjean was never happy. As soon as he revealed himself to Marius and became once more Jean, he was miserable and further more he continued to sink into misery reaching an absolute low point a couple pages before the end. Then he rocketed upwards in his happiness and then died. So perhaps a large part of the emotional end was the fact that if you were to graph (physicists love graphs) his happiness you would see this downward sloping graph and then turning around almost with a sharp point going nearly straight up. This might be a formula for an emotional end.

Another interesting thing is that Jean is not a tragic hero (in my opinion) as he never realized his flaw in not taking any credit or comfort in his vast list of good deeds, but he always takes full credit for his past. He refuses Marius' offer of a pardon. Even at the end this is symbolized by his last action which is holding up a crucifix shouting "Behold the great martyr.". He does not realize that he is good and dies before he figures that out. He states right before he dies that he doesn't know if the bishop is pleased with how he lived his life when he lived the life of a saint! That was absolutely tragic that he was not a tragic hero.

Then there was the symbolism of the candlesticks which cast this light over him only after he died. It emphasized the point I made in the above paragraph about how he never felt himself good enough. Also earlier in the scene we finally see what he kept hidden away, and that was Cosette's mourning clothes. I don't know what exactly they meant but they hit me pretty hard.

So what lessons can be learned from this? Well having a huge sad-happy swing on the last page with lots of tragedy and symbolism apparently works. That and having 1400 pages to develop a character...

I'd like to hear other takes on this as well, and if anybody else had a similar response to this ending as me.
 

Albannach

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For instance I always get watery eyes at the end of Bravehart.

While I want to go find Mel Gibson and beat him up. (I don't beat people up so that isn't an actual threat, only an emotion)

Les Miserables... a great classic. At least, it doesn't make me want to hit anyone. ;)
 

gothicangel

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While I want to go find Mel Gibson and beat him up. (I don't beat people up so that isn't an actual threat, only an emotion)

Les Miserables... a great classic. At least, it doesn't make me want to hit anyone. ;)

Oh yes!

Is it me or did Randall Wallace rip-off Burns' Scots Wha' Hae for Bruce's speech?

One day I'll write the true story . . .
 

a_sharp

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My response to the ending of this 1400-page tome was: Whew!

Or, to quote Ambrose Bierce: "The covers of this book are too far apart."
 
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Z0Marley

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I cried too. And when I go see the play, I cry some more. (Probably one of the reasons I haven't picked the book up in four years.)

I have to admit that I still get teary eyed whenever I think about the priest give Jean the candle holders.
 

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I will admit it, I sometimes shed a tear at the end of movies or books. For instance I always get watery eyes at the end of Bravehart.

That being said I just finished reading Les Miserables last night and I spent over half an hour wailing and still when I even look (not even reading) at some of those final paragraphs I start to cry again.

Why is that? Why was this book so powerful to me? And most importantly how can we as writers duplicate that in our readers?

Go get a copy of Aristotle's Poetics published in the last thirty years. This is what Aristotle calls catharsis, and Hugo wrote Les Mis with Aristotle's theories firmly in mind.

There's a lot to be learned from the Poetics. It's slow reading sometimes--but worth going slowly and really thinking about what he says. I like the Norton Critical Edition, but I think it's out of print.
 

Albannach

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Oh yes!

Is it me or did Randall Wallace rip-off Burns' Scots Wha' Hae for Bruce's speech?

One day I'll write the true story . . .

I wouldn't have minded Scots Wha Hae for Bruce's speech if they had made that battle or ANY battle in the entire movie or any CHARACTER for that matter resemble the real ones. As though after fighting the English for EIGHT YEARS (not to mention three of his brothers hanged, drawn and quartered), the Bruce hadn't quite decided whether he was going to or not and had to fiddle with a silly piece of cloth to decide. GRRRRR!!!!

Sorry for the hijack. As with many Scots, that movie is a BIG pet peeve.

Edit: There is properly no apostrophe at the end of "wha". It is a Scots word which translates as 'who' not dropping a letter. :)
 
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gothicangel

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Sorry, couldn't remember if there was an 'e' or not! Mind you, reading MacDermiad [i've probably mis-spelt that!] can make me cross-eyed!

Yet, no mention of the besieged Stirling castle in the movie!
 

Jamesaritchie

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I think Braveheart was a great movie. The mistake is in thinking for a second that's it's a movie about any real person or event.

Les Miserables, on the other hand, does make me cry. It's a powerful book with a powerful ending.
 

Sophia

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I love the book of Les Miserables. It's the novel that most inspires me to write. Michael_T, I haven't read it recently enough to comment properly on your post, but you've convinced me to reread it now. :)

Medievalist, thank you for the recommendation for Poetics.
 

Michael_T

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Go get a copy of Aristotle's Poetics published in the last thirty years. This is what Aristotle calls catharsis, and Hugo wrote Les Mis with Aristotle's theories firmly in mind.

There's a lot to be learned from the Poetics. It's slow reading sometimes--but worth going slowly and really thinking about what he says. I like the Norton Critical Edition, but I think it's out of print.

Yea, I've recently read the Nicomachian Ethics and that was brutal. Insightful but brutal. I've concluded you need at least 6 months between Aristotle readings...

Yea, catharsis (at least as I know the word) is what I experienced. If he did lay all this out though I'll have to read that for sure.

Thanks for the tip!
 

blacbird

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Victor Hugo was all about endings of this kind, and probably the best at it who ever wrote a novel. If you want to do some more, try Hunchback and The Man Who Laughs.

caw
 

gothicangel

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Yea, I've recently read the Nicomachian Ethics and that was brutal. Insightful but brutal. I've concluded you need at least 6 months between Aristotle readings...

I found Aristotle quite readable.

The difference between Classical theory and Early Modern theory of tragedy is fascinating.

What did get me in knots is the character vs plot theory. There is no psychological development - character has no control over their fate. Basically, the complete opposite of Shakespeare's Hamlet.
 

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The difference between Classical theory and Early Modern theory of tragedy is fascinating.

What did get me in knots is the character vs plot theory. There is no psychological development - character has no control over their fate. Basically, the complete opposite of Shakespeare's Hamlet.

It's because of the odd definition of medieval tragedy--when medieval English literature was working out how to do tragedy, based on what little they knew of the Greek versions (all of it filtered via Latin in odd ways--no Plato, no Homer, no Aristotle, but commentaries about them, for instance) Christian ideas got superimposed, with, sort of, catharsis replaced by punishment.
 

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There's a lovely sudden solomn delight in vernacular (non-Latin) medieval literature that is one of the things that made me fall in love with it--when you have, usually in very short, even terse direct speech--sudden revelations of character.

I love those. It's very much like the feeling you have when you're reading slush and this one ms. just seems to come alive and glow and . . . . A sort of texual epiphany.

It's glorious.
 

gothicangel

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There's a lovely sudden solomn delight in vernacular (non-Latin) medieval literature that is one of the things that made me fall in love with it--when you have, usually in very short, even terse direct speech--sudden revelations of character.

I love those. It's very much like the feeling you have when you're reading slush and this one ms. just seems to come alive and glow and . . . . A sort of texual epiphany.

It's glorious.

Now you're getting me all excited about the Tragedy module I'm studying this semester. Two weeks to go :D
 

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I think Braveheart was a great movie. The mistake is in thinking for a second that's it's a movie about any real person or event.

Les Miserables, on the other hand, does make me cry. It's a powerful book with a powerful ending.
The thing is that it WAS about real people.

If they had made it a fantasy or about MADE UP people, that would have been fine. They could have taken the subject and changed it to a fantasy--what GRR Martin did with the War of the Roses.

William Wallace and Robert Bruce were VERY MUCH real people, thank you very much. Scottish history is a real subject and what Gibson did was a travesty and insult.

Edit: As great as Les Miserables is I think Hunchback is greater. Hugo was... amazing.
 
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OpheliaRevived

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I did read Les Mis. Twice. I never cried, but I can see where one could. For some reason, Tess of the Dubervilles was the only book to make me wail. :Shrug:

Wait, I take that back. Wuthering Heights. That's right, I'll say it loud and proud. I loved that book. :Hug2:

BIG fan of the musical Les Mis here.
 

jinkang

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I think Hugo was an expert at playing with readers' emotions.

Symbolism definitely works, and I think there are plenty of it--which I think is why the musicals and plays are so good too.

As to why Les Mis. works...as with other Hugo's stories, I agree with Albannach. Most of Hugo's stories were about normal day people. Readers can relate, at first, and follow their progress without TOO MUCH leaps of faith.

Despite the thickness of the book, if you kept reading, by the time the deathbed scene came, you already cared much for the characters. In fact, I think Hugo needed that to develop that kind of relationship.

Personally, I never cared too much for Cosette...though I sympathized her at times. Yet from the beginning to the end, I rooted for Jean...and looking back, I see that Hugo really did write the main character to be likable.

I also think the ending completed a circle. Les Mis. began with Jean as a younger man...with a bishop. Then he dedicated his life for Cosette and grew old. That age and experience and the story readers witness follow certain arcs. And when he dies, with the candles, and clothes, and the mention of bishop, I think Hugo brought the readers back to the origin, to his new birth (I think Bishop hinted that, I could be wrong).

I could be reading into something that doesn't exist, but by bringing the readers back to the starting point, it shows how much change there really is (from a criminal to a saint) in this man we now know as Jean. That, right there, is a character development.

Thanks for pointing me to the thread, btw.
 
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