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Ghasy

@ghaasy

gha.sy on IG! love my gf 💖

So last night me and my girlfriend went to see Les Mis in London and we were talking about how differently every production presents Enjolras and Grantaire's dynamic — whether it is one-sided longing, reciprocated, a bit overlooked or very much back and forth, etc etc.

Let me just being to say that last night's Grantaire was absolutely perfect. I could clearly tell there was a whole characterisetion that had been established and that came out in the little details. He was a skeptical Grantaire, yes, but there was more to it— almost a frustration in the awareness of his inability to avoid what is inevitably going to come. This Grantaire — ad this was a detail I loved— was truluy part of this group, lots of students had many interactions with him in a very familiar/comfortable way, and even the scolding that happened from time to time was light, not as repetitive and insistent as I've seen it before. Grantaire was very much part of that group, he had his own established role.

With Enjolras, let me just say that there were a lot of very interesting decisions that were made in terms his and Grantaire's positions on stage. There were multiple moments when the two would stand in a diagonal way— with Enjolras always being in the highest corner of the frame (either on top of the barricade or on the stairs of the Musain) and Grantaire being on the bottom corners, always diagonal to Enjolras, always a few steps away from the other students who were naturally drawn to their leader. This was truly a beautiful composition, it really helped to oppose them but also draw a connection between them.

Then, to go back to the E and R dynamic I was talking about before, at one point, my girlfriend said to me, "They are already dating in this". And let me tell you it made so much sense.

Grantaire's bits during Red and Black were acknowledge by Enjolras, but he didn't stand there glaring at him or trying to get him to sit down/put his wine away the whole time. It almost felt like Enjolras was used to this— not to him being, well, Grantaire, because that is obvious in every single production, but to him having his opinion on the Revolution, on their ideals, on Enjolras, on their friends— in this, it felt as if Enjolras had already acknowledged Grantaire's voice, had already understood it and kept it in the back of his mind, as a "i know you, I don't agree with you, but I know where you stand, because we've talked about this". That is why the scolding didn't feel as severe, why it almost felt as Enjolras didn't acknowledge him much during Red and Black, when in reality, he was always aware of what Grantaire was doing or saying, despite him being busy discussing things with the other students. There was a familiarity, I think, with the presence of the other.

(Of course Grantaire's staring at Enjolras when Marius was raving about Cosette and about a love so strong that comes without a warning and completely takes over you didn't go unnoticed, I feel like it deserves an honourable mention.)

And then. Then, when they were on stage at one point, right after Do You Hear The People Sing, there was a brief moment where Enjolras was the one being playful with Grantaire, gently shoving the flag towards him, and then at one point he leaned in, both of them face to face, Enjolras' mouth already open because he was singing— let me tell you I would suspect I was gaslighting myself, but since my girlfriend had the same reaction as me (our mouths dropped open) I feel better about affirming that it looked like Enjolras was going in for a kiss, then pulled away last second. Now, whether that was intentional or not, it doesn't really matter, does it? And regardless, I wouldn't exclude the intention behind it because we have seen several instances of Enjolras kisses on stage. I'm just saying.

Finally, the barricade. Drink With Me? The way Grantaire sang the line "is your life just one more lie?" Altered my brain chemistry, because I've never heard it delivered in such an intimate, betrayed way, the sorrow was there, the awareness that Grantaire was going to lose Enjolras and everyone else, the way he whispered the word "lie", in such a resigned, tired, hurt way. Like the two of them have had that conversation before. The way Enjolras grabbed his arm, and there was no surprise from Grantaire, no pause to think "oh he's finally acknowledged me", he only shook Enjolras' hand off him and walked away, he looked broken. And this is why we said this didn't feel like an unrequited sort of longing, or like Enjolras had not acknowledged him until that point, or like Enjolras was being stern and only focused on the Revolution, on the other students' morale. No, this felt like Grantaire finally giving up to the idea that this is going to happen, it's a "I wish you could change your mind" knowing that it won't happen, not because Enjolras doesn't care, but because they have had this conversation before and they've never agreed on it and this is now inevitable. The care was there, you could see it so clearly.

When the National Guard began shooting, Grantaire didn't even flinch. When all his friends died on the barricade, he slowly made his way to the same spot where Enjolras had been shot, looked over at the National Guard, yelled to catch their attention and let them shoot him— no attempt at fighting back, no "vive la république", because that is not the reason he will be killed— only a yell to catch their attention and the awareness that this is what it was going to be all along, the moment he'd lose Enjolras, his friends, he'd lose himself too.

Rant is over now, but I just want to say one more time how perfect this whole cast was, how perfectly put together the whole show felt— every scene made sense, everything flew, every actor clearly knew their character inside out. If you do have a chance to watch it, then do so, you won't be sorry.

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Les Mis Hidden Name Meanings: Jean Valjean

Every Les Mis character’s name is either a pun or has some deep symbolic meaning– or both at once! Jean Valjean’s name has a ton of layers so let’s dive in.

When we’re first introduced to him, Hugo tells us that his name is quote “a contraction of voilà Jean, or “here is Jean.”” We’re told that he was named after his father, and that his family name probably began as a nickname.

The word “Jean” in french sounds like the word “gens,” which means “people.” So his last name is a pun meant to make you think “viola les gens”/ “here are people.”

The most obvious layer to his name is that Jean Valjean is basically John Doe. He is the anonymous Everyman. His sister’s name is Jeanne, so she’s basically Jane Doe. They aren’t special or exceptional or unusual; they’re just behold! The regular people.

In fact his name is so common-sounding that it's a plot point. Champmathieu, the man who is mistaken for Jean Valjean, has a name that the police connect with his. Javert theorizes that "Champ" is a version of "Jean" in a specific accent, while Mathieu was actually Jean Valjean's sister's maiden name. ("Champ" is also the French word for "field.") The fact that Jean Valjean is a peasant everyman makes it easy for others in his position to be conflated with him.

But the other layer is that this is all an elaborate pun biblical reference!

When Pontius Pilate presents a bound Jesus Christ to the crowd before his crucifixion, he says the words “ecce homo” or “Here is the man!”/”behold the man!”

“Voila Jean” or “here is Jean!”/”behold Jean!” is meant to be a reference to that.

During his death scene Jean Voila-Jean even references the “Ecce homo” line explicitly, gesturing at a crucifix and saying:

“Voilà le grand martyr.”

Which Isabel Hapgood translates as “behold the great martyr.”

At another point in the same scene Marius says to Cosette:

“He has sacrificed himself. Viola l’Homme. Behold the man.”

But more references to that biblical moment appear throughout the novel; Jean Valjean is associated with it constantly, all the time. It’s one of his defining biblical allusions. He’ll be trying to live anonymously, or under an alias– and then suddenly his true name and criminal past will be revealed, he’ll be revealed to be ‘the man,’ and some great horrible act of martyrdom will follow.

Sometimes Jean Valjean is the one revealing his own identity, but sometimes Inspector Javert is put into the role of Pontius Pilate. Javert himself explicitly makes that comparison– Jean Valjean as Jesus, Javert as Pontius Pilate– when he’s contemplating suicide.

And this ties into one of the largest differences between the book and the stage musical.

In the musical, “prisoner 24601” is the name that represents Jean Valjean’s dehumanization–while “Jean Valjean” is the name he uses while standing up for his own humanity. He will be called 24601, and proudly declare that “my name is Jean Valjean” to assert he’s still a person.

And while this is a great storytelling choice, it’s almost the opposite of how the name “Jean Valjean” is handled in the book.

Because in the book…. Jean Valjean IS the name that dehumanizes him. Jean Valjean is the name that he’s running from. The name that Javert uses when he’s insulting him, the name that bigots use when they’re threatening him, the name that ignorant people use when they’re mocking him – it’s not 24601, it’s Jean Valjean.

And there’s a special kind of agony to that.

The name that is being used to torture, humiliate, and dehumanize him isn’t 24601– it’s his name.

He thinks of it as a “fatal name,” as a punishment. Living under that name is living in hell. When Jean Valjean is living under one of his aliases, concealing his identity, he thinks:

That which he had always feared most of all in his hours of self-communion, during his sleepless nights, was to ever hear that name {jean Valjean] pronounced; he had said to himself, that that would be the end of all things for him; that on the day when that name made its reappearance it would cause his new life to vanish from about him, and—who knows?—perhaps even his new soul from within him.

It’s no wonder that he ends up internalizing the way society views him, and developing so much fear and hatred of himself. He’s grown to see his name as just….well, ecce homo, behold the man. His name is just the two words people say before they violently punish him.

Names and namelessness are a major theme in Les Mis, and he’s the character who has the most complex relationship with his own names. He has a legal name, but it’s used to torture him, and he has a series of false names he uses to escape torture.

If I were to describe Jean Valjean– one of the most complex characters in all of literature, in one word, that word would be “grief.”

The criminal justice system takes everything from him, including things he wasn’t aware he was able to lose. His name, the last connection he had to his family and his old identity, gets warped into this thing needs to view with fear and horror. The thing society despises isn’t 24601, isn’t a number they’ve placed on him – the thing they despise is Jean Valjean, some intrinsic inherent part of himself. He isn’t hated for what he did, he’s hated for what he is, and that is something he can never escape.

{But speaking of complexity we’ve actually barely scratched the surface of how Jean Valjean reacts to names, because he spends most of the novel living under a series of nicknames aliases. And guess what! Each of these names also has some elaborate symbolic meaning! If you’re interested in more posts covering his different aliases, feel free to leave a comment in the replies!}

[thanks for reading! For more in-depth analysis, check out the @lesmisletters readalong or join our discord server!]

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excuse the terrible quality of this video but we can see grantaire having An Idea (support marius in his bullshit), then he looks at courfeyrac who's immediatly trying to stop him and thats so funny lmao

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