Marius and cosette meet the millers

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marius and cosette meet the millers

Boublil and Schönberg were told they were crazy for trying to bring such an epic . The figure next appears when Marius first meets Cosette, foreshadowing the fact that . Excerpt from Scott Miller's book From Assassins to West Side Story. Marius (Eddie Redmayne) and Cosette (Amanda Seyfried - Les Miserables, . Edie Principato-Rubinson . we're the millers | Tumblr on We Heart It. Marius sees Cosette for the first time in the When Cosette and Marius finally meet again in the garden.

They continue to meet in secret. The same night, Cosette informs Marius that she and Valjean will be departing for England soon. This news devastates them both, because it will mean the end of their relationship. Marius briefly attempts to obtain money and permission to marry from his grandfather to circumvent this issue.

Their discussion dissolves into a heated argument stemming from the grandfather's suggestion to "Make her Cosette your Marius' mistress", and Marius storms out. Valjean considers this in horror for a few days, then informs Cosette they will move to their other house and will be in England in a week.

marius and cosette meet the millers

Cosette quickly writes a letter to Marius with this information. Marius writes a farewell letter to Cosette, which is delivered to Valjean by Gavroche. After the battle is over, he takes Marius' unconscious body through the sewers.

After, quite literally, dragging Marius through quicksand in the sewer, Valjean finally manages to get Marius through the sewers alive. Javert helps Valjean return Marius to his grandfather's house, and Valjean requests to be brought home to say goodbye to Cosette before being sent back to the galleys. Javert allows it, and when Valjean instinctively looks out the window, Javert is gone.

We later find out that Valjean's sparing his life at the barricade had caused a moral paradox and that Javert had gone to throw himself into the Seine.

After Marius' six-month recovery from his wounds, he is reunited with Cosette. Wedding and afterwards[ edit ] Cosette bids farewell to Valjean after her marriage On February 16,Marius and Cosette marry. The next morning, Valjean tells Marius of his criminal past. Marius asks him to leave him and Cosette.

He then allows Valjean to visit her each evening, but makes those visits increasingly difficult until Valjean stops coming. While Marius, assuming the worst about Valjean's character, searches for the real origin of Cosette's money, Valjean loses the will to live and becomes bedridden.

marius and cosette meet the millers

As Marius looks on, Valjean tells Cosette the story of her mother Fantine and how he came to be her guardian. Character role[ edit ] Critics have often considered Cosette to be something of an empty figure, with no real independent character apart from the role she plays in the lives of others: Grossman remarks, she brings out the "hatred of humanity" that is typical of Hugo's villains. Mario Vargas Llosa says of her relationship to Marius, Now the love between these two is completely ethereal; the sex drive has been surgically removed so that their relationship can be purely one of feeling.

Before the wedding the young people exchange one kiss, which is not repeated because, as the narrator says, neither Marius nor Cosette was aware of the existence of carnal desire The dialogue between these two virtuous lovers is as unreal as their amorous behavior.

For this reason, the episodes where the two lovers talk to each other are the most artificial moments in the novel.

She is the primary motivation for several characters in the novel to lift themselves out of darkness, regardless of whether or not they succeed. For this reason the picture of her sweeping the inn in the evening is often the image most associated as being singularly representative of the main themes of the book, and is used frequently on the cover.

Cosette can be seen as a strong female lead in the novel, aiming to achieve happiness ultimately in her life. Ultimately, with Marius, she succeeds in doing so. She can be seen as restrained by the time in which she lived, but still full of hopeful innocence and subtle strength.

In the musical[ edit ] This section does not cite any sources. Javert is trapped by the strictness of his own beliefs, so that when Valjean turns those beliefs upside-down by releasing him in Act II, he has no alternative but to kill himself. And must I now begin to doubt, Who never doubted all these years? My heart is stone and still it trembles. The world I have known is lost in shadow. Is he from heaven or from hell?

And does he know That granting me my life today This man has killed me even so. There is nowhere I can turn. There is no way to go on! Javert's world, his convictions, the rules by which he's lived his entire life, are called into question, and because of the single-mindedness of his existence, he now has nothing left to live for.

It's hard to say he was a bad man; after all, he was upholding not only the laws of man, but the laws of God as well. His sin lies in his extremism. He sees the world in black and white. He sees the divinity in the world and believes it is his duty to preserve it.

Marius et Cosette

There is no question that Valjean is guilty of the crime with which he was charged. In nineteenth century Paris or in modern day America, it is dangerous to apply the law only periodically.

marius and cosette meet the millers

Like his descendant, Detective Gerard in The Fugitive, Javert doesn't care whether or not the law is fair; it's the law. Could he have tempered the law with mercy? Perhaps, but again, many people today would say we employ entirely too much mercy when dealing with crime; and after all, isn't that the job of a judge instead of a police officer?

He believes in redemption. He has broken the law, has repented, and has been forgiven by God, anyway. He aspires to goodness and he achieves it; the audience identifies with his desire to be a good man and lead a good life.

He is the man we all wish we could be. He risks his life to find and protect Cosette. He actually offers up his own life to God in exchange for Marius, so that Marius and Cosette can be together.

The song is literally a prayer, and perhaps more than any other moment in the show, invokes the spirituality that lies beneath the entire musical. When Colm Wilkinson, the original Valjean, first sang the song in rehearsal, a hush fell over the company. I told you this show was all about God. He is completely amoral, living only by the rules of survival. He believes that it's every man for himself, and looking at his life it's no surprise that he feels that way. Again, it's hard to say he's a bad person; he lives outside the realm of right and wrong.

Dolittle are cut from the same cloth. In My Fair Lady, when Col. And God in his heaven, He don't interfere, 'Cos he's dead as the stiffs at my feet. It is truly a dog-eat-dog world. Do You Hear the People Sing? Melodies are repeated throughout the show, but not for any particular dramatic purpose. This use of motifs helps audiences recognize important dramatic and subtextual ideas, even if only on a subliminal level.

A minor version of this motif is heard later when Valjean steps in to keep Javert from arresting Fantine.

Inside Les Miserables by Scott Miller

Valjean is risking a great deal by talking to Javert, who might recognize him, but justice is more important to him than safety.

In this case, the figure accompanies almost the entire song. The figure next appears when Marius first meets Cosette, foreshadowing the fact that this music will also underscore their farewell at the end of the act.

He wants to protect her, but knows that at some point he has to let her grow up; he has to decide what to do. The only time the figure is used in the entire second act is when Valjean tells Marius the story of his life.

Those these two characters never interact directly, their music reinforces the strong connection between their loneliness and their dreams. There are a number of other musical motifs used to a lesser extent, which are nonetheless effective in reinforcing dramatic concepts.

For example, the show's Prologue acts almost as a kind of overture, using several of the musical motifs we will hear later in the main body of the score.

marius and cosette meet the millers

In this way, the Prologue not only introduces the plot, the character of Valjean, and the themes of God and destiny, but also introduces some of the musical material as well. Their lyrics are nearly identical: Connecting them this closely through music and text is an interesting choice, especially since they both go through the show with a passionate devotion to God and to what they believe is Right.

However, the connection may be lost on an audience since the two occurrences of this music are so far apart. The other major textual theme in the show is revolution and freedom. Jean Valjean's personal freedom is linked to the political and economic freedom the students are fighting for.

We see that freedom is not gained or preserved easily. It will probably involve death for some of them, and they must each decide if this goal is worth such a price. This theme is also connected to the running themes of poverty and class inequality throughout the show.

marius and cosette meet the millers

Javert sings in Act I: You know nothing of Javert. I was born inside a jail. I was born with scum like you.