Podcasts about Jean Valjean

Les Misérables by Victor Hugo单词提示1.splash 落水声原文Chapter 6: The BarricadesIt is a long night at the barricade in the Rue de la Chanvrerie.The news is bad.More and more soldiers are arriving in the city, but the people stay in their homes.This time, they don't want to fight the government, only the students are still at the barricades waiting for the soldiers, bullets and death.Then a new man arrives at the barricade, a big man in dark clothes.Mario stares,it is Cosette's father, he is certain.Is he a friend or an enemy, who knows?Inside the tavern, Javert, too, waits for death.Rebels shoot spies, he knows that.Does he think about his life? Waiting there in the tavern? Is the law always right? Can a criminal change and be a good man?Does Javert ask these questions, who knows?Daylight comes and the shooting begins.“Rat ta tat, rat ta tat, rat ta tat…”, on the barricade, noise and shouting, cries and screams.Valjean saves Jean Enjolras's life.Two men die,Valjean carries the bodies into the tavern, sees Javert and Javert sees him.Then the shooting stops.The Rebelsneed more bullets, and Gavroche runs out to the front of the barricade.“Come back, Gavroche!”, he doesn't listen and start singing.There are dead soldiers lying in the street, Gavroche takes the bullets from their bags and puts them into his bag.He is small and quick, and his bag is nearly full before the soldiers start shooting at him.“Come back, Gavroche!”, he sings louder, but the fifth bullet hits him and he falls down in the street.He moves once, then falls back.Gavroche is dead.A child of the Paris streets, his singing now stopped forever,just another dead body in the rebellion.Smoke from the guns is everywhere, it is hard to see anything, but Marius runs out into the street, picks Gavroche up and runs back.He puts the small body on a table in the tavern and cries.It is going to be a long day.Behind the barricade, Enjolras talked to the men.“They're going to attack again soon, 60 soldiers to every one of us. Mariusand I are your two leaders, Gavroche brought us bullets, so let's use them well and fight to the end.” “Let's kill the spy now.” said one of the men.Then Valjean spoke, “give him to me. I can do that for you. I'd like to shoot him.”Enjolras looked at him, “You saved my life, friend. You can have the spy.”Valjean took Javert out of the tavern to a little street behind.He took out a knife.“Oh, a knife,” said Javert, “of course, a criminal's way to kill,so kill me and be quick.”Valjean said nothing.He cut the ropes around Javert's arms and legs, then stood up and said “You're free to go.”Javert stared,he could not understand this.“I live in the Rue de l'Homme-Armé. The next time we meet, you can arrest me. Now, go.”Javert turned and walked away.Valjean fired his gun into the air, then went back to the barricade.“It's done.”he told Enjolras.Now the second attack began.The government had more men, more guns, more bullets, and one by one the students began to die.Marius was on top of the barricade.He was one of the last men still alive, but then 1, 2 bullets hit him, and he fell.Two great hands at once, picked him up.Cosette whispered Marius, and then he went into that dark night.Jean Valjean knew Paris well, knew its little back streets, its secret places.He used them now with the dead or dying Marius in his arms.He ran through the back street, watching at every corner.Night came, and the sky was full of the smoke from the guns.Valjean stopped to rest, in Marius's pocket, he found a piece of paper, “Take my body to my grandfather's house.”The address was in the Le Marais, not far away.Valjean began to pick up Marius's body again, and a hand came down hard on his shoulder.Valjean turned, Javert stood behind him.“What are you doing here,” he said, “who is this man?”Valjean stood up.“Inspector Javert,” he said, “I told you I'm tired of running and hiding. You can arrest me, put me back in prison. I ask just one thing, help me to take this young man home, that is all.”“He's dead,”said Javert.“No, not yet,he lives in the Le Marais with his grandfather. Look…”He showed Javertthe piece of paper.Javert read the address, then called to a carriage along the street.They put Marius's body on the back seat and sat side by side on the front seat.At the house of Marius's grandfather, a servant opened the door.She gave a little scream when she saw Marius in Valjean's arms.“It's Monsieur Marius, take the boy in,” said Javert, “I'm waiting for you here at the door.”His voice was different.Uncertain,Valjean looked at him, then carried Marius's body into the house.“Call a doctor quickly!” he said to the servants, “He was out the barricade and has two bullets still in him.”Then he came back downstairs and out into the street.Javert was gone.Valjean looked up and down the street, nothing, nobody.Down by the River Seine, near the Place du Chatelet, Javert stoodon the bridge, looking down into the water.“What must I do?” he thought, but for the first time in his life he had no answer.Valjean's words at the barricade went through his head again and again,“You're free to go, free to go, free to go.”“I can do one of two things,”Javert said to the river, “I can arrest him or I cannot arrest him and say you are free to go. But the law is the law, so I must arrest him. But he gave me my life, so I must give him his life. But the law is the law.”And a voice in Javert's head said, “You worked for the law all your life, but Jean Valjean is a better man than you are.”For a long time, Javert stared down at the river, but the river gave him no answer to his question.Then he took off his hat and put it carefully on the ground.A moment later, he stood high on the bridge, then fell down into the dark river.There was a splash,and that was all.翻译第六章：街垒在尚夫雷里街的街垒，这是一个漫长的夜晚。局势很不妙。越来越多的士兵正在涌入这座城市，但普通百姓都躲在家里不敢出来。这一次，他们不想再反抗政府了。只有那些学生们依然坚守在街垒，等待着士兵、子弹和死亡。这时，街垒上来了一个陌生人，一个穿着深色衣服的高大男人。马吕斯死死盯着他，他确信那是珂赛特的父亲。他究竟是敌是友，谁又知道呢？在酒馆里，沙威也在等待着死亡。他知道，起义者们是会枪毙密探的。在酒馆里苦等的时候，他有没有思考过自己的人生？法律永远都是绝对正确的吗？一个罪犯真的能改邪归正，成为一个好人吗？沙威会问自己这些问题吗？谁又知道呢？天亮了，枪声随之响起。“哒哒哒，哒哒哒，哒哒哒……”街垒上充斥着巨大的噪音、呼喊声和惨叫声。冉阿让救了安灼拉的命。两名起义者牺牲了，冉阿让把他们的遗体抬进酒馆，他看见了沙威，沙威也看见了他。随后，枪声短暂地停歇了。起义者们需要更多的子弹，加夫罗什冲到了街垒的最前面。“回来，加夫罗什！”但他根本不听，反而唱起了歌。街上有几具士兵的尸体，加夫罗什从他们的弹药袋里掏出子弹，装进自己的口袋里。他身形娇小，动作敏捷，在士兵们开始向他开枪之前，他的口袋几乎已经装满了。“回来，加夫罗什！”他唱得更大声了，但第五颗子弹击中了他，他倒在了街上。他挣扎着动了一下，然后重重地倒了下去。加夫罗什死了。这个在巴黎街头长大的野孩子，他的歌声永远地停息了，他成了这场反叛中又一具冰冷的尸体。到处弥漫着枪炮的硝烟，什么都看不清。但马吕斯还是冲到了街上，抱起加夫罗什，又跑了回来。他把那小小的身躯放在酒馆的桌子上，痛哭失声。这将是漫长的一天。在街垒后方，安灼拉对众人说道：“他们很快又会发起进攻。敌军人数是我们的六十倍。马吕斯和我是你们的领袖，加夫罗什为我们弄来了子弹，让我们好好利用它们，战斗到最后一刻。”“现在就把那个密探毙了吧！”其中一个人喊道。这时，冉阿让开口了：“把他交给我吧。我来替你们解决，我想亲自枪毙他。”安灼拉看着他：“朋友，你救过我的命。你可以处置这个密探。”冉阿让把沙威从酒馆里带出来，走到后面的一条小巷。他掏出了一把刀。“哦，用刀啊，”沙威说，“当然，这是罪犯杀人的方式。那就杀了我吧，快点。”冉阿让一言不发。他割断了绑在沙威手脚上的绳子，然后站起身说：“你自由了，走吧。”沙威死死盯着他，完全无法理解这一切。“我住在武人街7号。下次我们再相遇，你可以逮捕我。现在，走吧。”沙威转过身，走了。冉阿让朝空中开了一枪，然后回到了街垒。“解决了。”他对安灼拉说。现在，第二次进攻开始了。政府军拥有更多的人、更多的枪和更多的子弹，学生们开始一个接一个地倒下。马吕斯站在街垒的最顶端。他是最后几个还活着的战士之一，但紧接着，一两颗子弹击中了他，他摔了下去。一双宽大的手瞬间将他接住。“珂赛特……”马吕斯喃喃低语，随后便陷入了无尽的黑暗。冉阿让对巴黎了如指掌，熟悉每一条幽暗的后巷和隐秘的角落。此刻，他正抱着垂死的马吕斯，在这些小巷中穿梭。他背着马吕斯在暗巷中狂奔，在每个拐角处都警惕地观察着。夜幕降临，天空中弥漫着火药的浓烟。冉阿让停下来稍作休息，他在马吕斯的口袋里摸到了一张纸条：“把我的遗体送到我祖父家。”地址在玛黑区，离这里不远。冉阿让重新背起马吕斯，突然，一只大手重重地拍在了他的肩膀上。冉阿让猛地回过头，沙威就站在他身后。“你在这里干什么？”沙威问，“这个人是谁？”冉阿让站起身。“沙威警长，”他说，“我告诉过你，我已经厌倦了东躲西藏。你可以逮捕我，把我重新关进监狱。但我只有一个请求：帮我把这个年轻人送回家，仅此而已。”“他已经死了。”沙威说。“不，还没死。他和祖父住在玛黑区。你看……”他把那张纸条拿给沙威看。沙威看了看地址，然后向街上叫来了一辆马车。他们把马吕斯放在马车后座上，两人并肩坐在前排。在马吕斯祖父的家门前，一个女仆打开了门。当她看到马吕斯躺在冉阿让的怀里时，忍不住发出一声尖叫。“是马吕斯少爷，快把少爷抬进去，”沙威说，“我就在门口等你。”他的声音听起来有些异样。冉阿让疑惑地看了他一眼，然后抱着马吕斯走进了屋子。“快叫医生！”他对仆人们说，“他刚从街垒上下来，体内还留着两颗子弹。”随后，他走下楼，回到了街上。沙威已经不见了。冉阿让环顾街道的两头，什么也没有，什么人也没有。在塞纳河畔、沙特雷广场附近，沙威正站在桥上，低头凝视着脚下的河水。“我该怎么办？”他想，但这是他一生中第一次找不到答案。冉阿让在街垒上说的话在他脑海中一遍又一遍地回荡：“你自由了，走吧，自由了，走吧。”“我只能做两件事中的一件，”沙威对着河水喃喃自语，“要么逮捕他，要么不逮捕他，告诉他‘你自由了'。但法律就是法律，所以我必须逮捕他。但他给了我一条命，所以我必须还他一条命。可是，法律就是法律啊。”沙威的脑海中有一个声音在说：“你一生都在为法律效劳，但冉阿让比你更是一个高尚的人。”沙威久久地凝视着脚下的河水，但河水并没有给他任何答案。然后，他摘下帽子，小心翼翼地放在地上。片刻之后，他站在高高的桥栏上，纵身跃入了黑暗的河水中。只听“扑通”一声水响，一切便归于死寂。

How many times do we really have to forgive someone? This week, Peter Walsh and Rob Schwartz explore Matthew 18:21–35, where the apostle Peter tries to put a number on forgiveness and Jesus responds by blowing up the whole accounting system. But the conversation quickly gets harder: Is forgiveness the same thing as reconciliation? What happens when someone continues to hurt us? And what are we supposed to do with a parable about mercy that ends with torture?Questions for ReflectionThemes & ApplicationPeter distinguishes forgiveness from reconciliation: reconciliation involves restoring a relationship, while forgiveness can still be possible when reconciliation is unsafe or impossible. How does this distinction change the way we hear Jesus' command to forgive? How can we forgive while still naming harm and maintaining necessary boundaries? Peter and Rob wrestle with the parable's disturbing conclusion, where the unforgiving servant is handed over to be tortured. Is the king meant to be a straightforward representation of God? How should we interpret violent images of judgment in Matthew alongside Jesus' larger message of mercy, love, and liberation? Thomas G. Long describes some of Matthew's stories as “nightmare parables,” comparing their frightening imagery to A Christmas Carol. Scrooge sees the terrifying destination of his present way of living precisely so that he can wake up and choose another path. Could Jesus' frightening parable be intended to awaken us rather than simply threaten us? When can uncomfortable or frightening stories reveal something that gentler language cannot? Personal ReflectionRob tells the story of accidentally breaking a statue belonging to a friend's mother and expecting punishment, only to hear her say, “I forgive you.” When have you received grace or forgiveness that you did not think you deserved? Did that experience change the way you treated someone else later? The episode repeatedly returns to the image of keeping a ledger of what other people owe us. Whose name are you most tempted to keep in your own mental ledger? What would you fear losing if you stopped keeping track?Peter expands the conversation from forgiving others to forgiving ourselves. Are there mistakes, failures, or regrets for which you find it easier to believe God forgives you than to forgive yourself? What might it mean to receive grace deeply enough to stop continually punishing ourselves? Broader Spiritual ConsiderationsThe contrast between Lamech's seventy-sevenfold vengeance and Jesus' seventy-sevenfold forgiveness presents two radically different ways of organizing human relationships. What would families, churches, communities, or nations look like if forgiveness rather than retaliation were the thing that multiplied?The unforgiving servant receives freedom but then recreates the same system of debt and punishment for someone else. Why do people who have experienced oppression, hurt, or judgment sometimes reproduce those same patterns when they gain power? What allows grace to genuinely transform us rather than simply benefit us?Peter ends by describing forgiveness as being released from the “gunk of our psyche” that weighs us down, while also noting that the struggle to forgive is not uniquely Christian but deeply human. What might Christianity contribute to the broader human struggle with resentment, vengeance, guilt, and forgiveness?References & ResourcesVocabularySeventy-Seven / Seventy Times Seven — The translation  varies, but the exaggerated number communicates forgiveness beyond calculation. Lamech — A descendant of Cain who boasts in Genesis 4:23–24 that if Cain is avenged sevenfold, Lamech will be avenged seventy-sevenfold. Nightmare Parable — Thomas G. Long's term for frightening parabolic imagery that exposes the destructive destination of a way of life and shocks the listener toward another possibility.ScriptureGenesis 4:23–24 — Lamech's boast of seventy-sevenfold vengeance, discussed as a possible biblical backdrop and reversal for Jesus' teaching on forgiveness.Books & LiteratureThomas G. Long, Proclaiming the Parables — Peter's primary resource for interpreting Matthew's harsh judgment imagery. (Read the Book)Victor Hugo, Les Misérables — Rob draws on Jean Valjean, Bishop Myriel, and Javert to explore grace, justice, transformation, and the danger of living by a moral ledger. (Read the Book) (Watch the Movie Trailer)Charles Dickens, A Christmas Carol — Used to illustrate the “nightmare parable”: Scrooge is confronted with the frightening destination of his present life so that he can awaken and choose differently. (Read the Book)Theology & DoctrinePurgatory — In Roman Catholic teaching, a state of purification after death for those who will ultimately enter heaven but still need to be cleansed of the effects of sin.Learn more about St. Mark's at https://www.stmarksnewcanaan.org

Les Misérables by Victor Hugo单词提示1.barricades 路障2.bullet 子弹3.Arsenal 军火库4.tavern 酒馆原文Chapter 5: Love and RebellionSo what is Marius's idea?It is this.He wants to marry Cosette, but he has no money, his grandfather has money.He must ask his grandfather, but his grandfather is an old man, and old men's ideas do not change easily.He shouts at Marius, Marius shouts back, and that is the end of that.The next evening, he goes as usual to the Rue Plume.There is nobody in the garden.The house is dark, the windows are closed, Cosette and her father are gone.Marius cannot live without Cosette.He wants to die, but Gavroche tells him that his friends need him.It is June 1832, and students and workers are running through the streets of Paris, bringing rebellion to the city and everyone must fight the government.Marius is soon at the barricades with a gun in his hand.He is happy, death can come at any moment with a bullet from a soldier's gun.These are dangerous times.Jean Valjean sees Inspector Javert in a street near the Rue Plume.What is he doing there? Are the police watching his house?Valjean does not wait the same night, he and Cosette leave Rue Plume.They moved to 7 Rue de l'Homme-Armé and begin to get ready for England.How can love find a way in these troubled times?When the soldiers attacked in front of the Arsenal building, the people turned and ran this way and that way through the streets of the city.Marius and his friends came to the Rue de la Chanvrerie, and they built their barricade there.It was, 2 meters high, made of wood and stone.Behind their barricade, the rebels waited for the soldiers.Night came,but nothing happened.Enjolras was the leader of the students, he called Gavroche to him.“You're small,”he said, “nobody sees you. Go and have a look round the city, and then bring us any news.”Just after midnight, Gavroche was back.“The soldiers aren't moving,” he said, “but there are a lot of them.”He stopped suddenly and whispered, “Hey, who's that? That tall man over there?”Enjolras and Marius turned to look.“I don't know him.” said Marius.“People are coming and going all night,” said Enjolras, “Why?Gavroche, do you know him?”“Yes,”whispered Gavroche, “he's not one of us, he's a spy, a police spy, name of Javert. He stopped me once down by the river, put me in prison all night.”“Are you certain about this, Gavroche?” said Marius.“I'm certain right,”said Gavroche “he's a spy.”The rebels did not like spies.Four of Enjolras's men jumped on Javert, pulled him into the tavern behind the barricade, and tied him to the wall.“Louise, shoot him now?” asked one of the men.“Later?” said Enjolras, “he can wait.”They went back outside to the barricade, and listened for the sound of soldiers.Gavroche found Marius at the far end of the barricade.“Marius,” he whispered, “on my way back here, I came past your rooms and went in.”“Why?”whispered Marius.“I was hungry,” said Gavroche, “the woman in your house is nice.She always gives me something to eat. But she had a letter for you. She gave it to me. It came two days ago, she said.”“A letter, a letter from whom?”Suddenly,there was hope in Marius's heart.“Quick, give it to me.”The letter was from Cosette.“My dearest father says we must leave at once. We go tonight to 7 Rue de l'Homme-Armé, and soon to England. Oh,my dear, how can I live without you? Cosette.”Marius read this letter four times and then kissed it.She still loved him.He must write back to her and say his last goodbye.There was still no sound of soldiers in the street.He found some paper and a pencil.“Cosette dearest, I came to the Rue Plume, but you were gone already. We cannot marry. I went to my grandfather, and he said no. I have no money, and you have no money. I love you, I can never forget you. The fighting begins here very soon. When I am dead, don't be sad. Our love was beautiful. Marius.”He called to Gavroche,“I want you to take this letter to the Rue de l'Homme-Armé. Can you do that for me?”“Yes, but, but now…” said Gavroche, “I am staying here for the fighting, I can shoot too, you know?”“Gavroche,you're just a boy, we don't want you to die in the fighting, stay away from the shooting. And this letter is very important to me. It must go now. I want you to put it into Cosette's hands. Please, Gavroche.”“Oh, very well.”said Gavroche.He took the letter, put it inside his shirt, and ran off into the dark.When Valjeanand Cosette left the house in Rue Plumet, Cosette was very sad.Valjean saw this, but he said nothing.In the Rue de l'Homme-Armé, Cosette stayed in her bedroom, Toussaint took her meals up to her in the night.Valjean could not sleep.The city was quiet, but for how long?He went outside the house and stood in the street, listening.There were voices in the next street, and then he heard singing, a boy singing.Gavroche came up the street, looking at the house numbers.He saw Valjean and stopped.“Well, young man, watch the news,” said Valjean,“The news is now I'm hungry.” said Gavroche.Valjean put his hand in his pocket and found a five-franc piece.Gavroche stared at it.He didn't see many five-franc pieces, and he was very pleased to see this one.He put it in his pocket.“You're all right,” he said, “Do you live in this street? Do you know number 7?”“What do you want with number 7?” said Valjean.“Letter for someone.” said Gavroche.“A woman?”Valjean stared at him.He felt cold.“A woman.”“Cosette”, he remembered once, the young man in the Luxembourg, he tried to smile.“That's the letter for Cosette,” he said, “I'm waiting for it.”“Yes, that's her. Well, here you are.” said Gavroche, “It comes from the barricade in the Rue de la Chanvrerie. I'm going back there now. Goodnight, monsieur.”Jean Valjean went back into the house with Marius's letter.He read it quickly.“I love you, I can never forget you…”So Cosette, his dear, dear daughter, was in love, she was his world.Without her, his life was nothing, he could not even think about it.“When I am dead, don't be sad”, those words gave him hope.So the young man was one of the rebels at the barricade.“When the soldiers start shooting,” he thought, “that's the end of all the rebels. I do nothing, I say nothing, I keep this letter and poof, nothing changes in our lives.”But Valjean did not feel easy, he remembered all their happy years as father and daughter.And he saw again Cosette's sad eyes, when they left the Rue Plumet.How could he take her away to England?He turned and went out of the room.A little later, he left the house wearing dark clothes and carrying a gun, and walked away down the street.翻译第五章：爱与反叛那么，马吕斯的计划究竟是什么呢？其实很简单。他想娶珂赛特，但他身无分文，而他的祖父却很有钱。他必须去求祖父，但祖父是个老人，而老人的观念是很难改变的。祖父冲他大吼，马吕斯也毫不退让地顶嘴，结果可想而知，谈话不欢而散。第二天傍晚，他像往常一样来到普吕梅街。花园里空无一人。整栋房子漆黑一片，窗户紧闭，珂赛特和她父亲已经搬走了。没有珂赛特，马吕斯根本活不下去。他万念俱灰，只想一死了之，但加夫罗什告诉他，他的朋友们需要他。那是1832年6月，学生和工人们涌上巴黎的街头，将反叛的火种播撒到整座城市，所有人都起来反抗政府。很快，马吕斯便手持火枪，站在了街垒之后。他感到一种悲壮的决绝，因为士兵的子弹随时都可能夺走他的生命。这是一个动荡危险的时代。冉阿让在普吕梅街附近的一条街上看见了沙威警长。他在那儿干什么？警察是不是在监视他的住处？冉阿让没有等到天亮，当晚便带着珂赛特离开了普吕梅街。他们搬到了武人街7号，并开始为前往英国做准备。在这样的乱世之中，爱情该何去何从？当士兵们在兵工厂大楼前发起进攻时，人群四散奔逃，在城市的街巷中四处乱窜。马吕斯和他的朋友们来到了尚夫雷里街，在那里筑起了一座街垒。街垒有两米多高，由木头和石头堆砌而成。在街垒后方，起义者们严阵以待，等待着士兵的到来。夜幕降临，但什么也没有发生。安灼拉是学生们的领袖，他把加夫罗什叫到身边。“你个子小，”他说，“没人会注意到你。去城里侦察一下，然后把消息带回来。”刚过午夜，加夫罗什就回来了。“士兵们还没行动，”他说，“但人非常多。”他突然停下脚步，压低声音说：“嘿，那是谁？那边那个高个子男人？”安灼拉和马吕斯转头望去。“我不认识他。”马吕斯说。“整晚都有人在街垒周围走来走去，”安灼拉说，“怎么回事？加夫罗什，你认识他吗？”“认识，”加夫罗什悄声说，“他不是我们的人，是个密探，警察的密探，名叫沙威。他有一次在河边把我拦住，把我关了一整夜。”“你确定吗，加夫罗什？”马吕斯问。“我百分之百确定，”加夫罗什说，“他就是个密探。”起义者们最痛恨密探。安灼拉手下的四个人猛扑向沙威，把他拽进街垒后面的酒馆，牢牢地绑在墙上。“路易，现在就把他毙了吗？”其中一个人问。“晚点再说，”安灼拉说，“他可以先留着。”他们回到街垒外，继续倾听是否有士兵逼近的脚步声。加夫罗什在街垒的尽头找到了马吕斯。“马吕斯，”他低声说，“我回来的路上，经过你的住处，就顺便进去了一趟。”“去干什么？”马吕斯问。“我饿了，”加夫罗什说，“你屋里的那个女人人挺好的，总是给我点吃的。不过她有一封给你的信。她说那是两天前到的，就交给了我。”“一封信？谁的信？”马吕斯的心里突然燃起了一丝希望。“快，给我！”那是珂赛特写来的信。“我最亲爱的父亲说我们必须立刻离开。我们今晚就要搬到武人街7号，很快就会去英国。哦，亲爱的，没有你我该怎么活？珂赛特。”马吕斯把信读了四遍，然后深深地吻了它。她依然爱着他。他必须给她写封回信，作最后的道别。街上依然没有士兵的动静。他找来纸笔。“我最亲爱的珂赛特：我去了普吕梅街，但你们已经走了。我们无法结婚了。我去求了祖父，但他拒绝了。我没有钱，你也没有。我爱你，我永远无法将你忘记。这里的战斗马上就要打响了。当我死后，请不要悲伤。我们的爱是美好的。马吕斯。”他叫来加夫罗什：“我想让你把这封信送到武人街。你能帮我这个忙吗？”“能是能，但现在……”加夫罗什说，“我要留在这里参加战斗，你知道吗，我也能开枪的？”“加夫罗什，你只是个孩子，我们不想让你死在战场上，离枪林弹雨远点。而且这封信对我来说至关重要。它必须立刻送出。我要你亲手交到珂赛特手里。求你了，加夫罗什。”“哦，那好吧。”加夫罗什说。他接过信，把它塞进衬衫里，一头扎进了黑夜中。当冉阿让和珂赛特离开普吕梅街的住处时，珂赛特伤心欲绝。冉阿让看在眼里，却什么也没说。在武人街的住处，珂赛特把自己关在卧室里，夜里由老女仆杜桑把饭菜端上去给她。冉阿让无法入睡。城市虽然安静，但这平静又能维持多久呢？他走出屋子，站在街上侧耳倾听。邻街传来了人声，接着他又听到了歌声，是一个男孩在唱歌。加夫罗什顺着街道走来，一边走一边看着门牌号。他看见了冉阿让，便停了下来。“小伙子，有什么消息吗？”冉阿让问。“现在的消息就是：我饿了。”加夫罗什回答。冉阿让把手伸进口袋，摸出一枚五法郎的硬币。加夫罗什盯着那枚硬币。他很少能见到五法郎的硬币，看到它让他非常高兴。他把硬币装进口袋。“你人不错，”他说，“你住在这条街上吗？你知道7号在哪儿吗？”“你找7号干什么？”冉阿让问。“给里面的人送信。”加夫罗什说。“是给一位女士的吗？”冉阿让紧紧盯着他。他感到一阵寒意。“是给一位女士的。”“珂赛特……”他想起了卢森堡公园里的那个年轻人，勉强挤出一丝微笑。“那是给珂赛特的信，”他说，“我在等这封信。”“对，就是给她的。喏，给你。”加夫罗什说，“信是从尚夫雷里街的街垒送来的。我现在得回去了。晚安，先生。”冉阿让拿着马吕斯的信回到了屋里。他飞快地看了一遍。“我爱你，我永远无法将你忘记……”原来，他亲爱的女儿恋爱了。她就是他的一切。如果没有她，他的生命将毫无意义，他甚至不敢去想那种可能。“当我死后，请不要悲伤”，这句话给了他一丝希望。原来，那个年轻人就是街垒里的起义者之一。“一旦士兵们开火，”他想，“那些起义者就全完了。我什么都不做，什么都不说，只要把这封信藏起来，然后‘噗'的一下，我们俩的生活就不会有任何改变。”但冉阿让的心里并不踏实。他回想起了他们作为父女相伴的那些快乐岁月。他又看到了离开普吕梅街时，珂赛特那双悲伤的眼睛。他怎么能就这样把她强行带到英国去呢？他转过身，走出了房间。

In this episode of “Half Hour,” we take a deeper dive into Hudson Valley Shakespeare's Les Misérables, now playing at the Samuel H. Scripps Theater Center in Garrison, New York. We break down the plot, the June Rebellion of 1832, and how director Jenn Thompson's outdoor staging uses the Hudson Valley landscape, a smaller ensemble, double casting, and a central French flag to reshape the story's scale and emotional impact. We discuss Josh Young's Jean Valjean, Haley Dortch's Fantine and Enjolras, Denis Lambert's Javert, Ana Paola Garcia's Cosette, Haley Rose Ciaramella's Éponine, David Beach and Nance Williamson as the Thénardiers, and the creative choices that bring the musical's ideas of mercy, faith, justice, sacrifice, and hope into focus. We also talk about the new Samuel H. Scripps Theater Center, what a permanent home means for Hudson Valley Shakespeare, and why Les Misérables continues to connect with audiences. Follow and connect with all things @HalfHourPodcast on ⁠⁠Instagram⁠⁠, ⁠⁠TikTok⁠⁠, and ⁠⁠YouTube⁠⁠. Share your thoughts on this production in the Spotify comments, and let us know what you would like us to cover next. If you enjoy these post-show discussions, follow Half Hour and leave a rating and review so more theater lovers can find the podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Les Misérables by Victor Hugo原文Chapter 4: MariusNine years pass, Valjean and Cosette are living in the Rue Plumet in Paris,in a house with a big garden.It is a quiet street and nobody comes there.This pleases Valjean, because he is still afraid of Inspector Javert.Cosette is now a young woman.She is tall with golden brown hair.She is beautiful, but there are many beautiful faces in the world.The wonderful thing about Cosette's face is her smile, a slow warm gentle smile like sunlight after rain.And now, we must meet Marius and his young friend Gavroche.Marius is a student, a young man with many ideas but no money.Paris is full of young men like this.Marius has a grandfather, his father is dead,But he does not talk to him, their political ideas are very different.At 17, he leaves home with 30 francs, his watch and a small bag of clothes.Now five years older, he lives with other students, and they talk all night about books and ideas, politics and government, life and death.All students are like this.They live for ideas and do a little work here and there when they need to.Gavroche is a child of the Paris streets.He is 11 or 12 years old, and wears a man's trousers and a woman's shirt.A kind woman gave these clothes to him.He lives on the streets, knows everybody,goes everywhere, and enjoys life.Well, why not? He knows no other life, only this one.Marius loved walking through the streets and gardens of Paris, and he often walked in the Luxembourg Garden.One day in the garden, he saw a man with a young girl.The man was about 60, and the girl, Marius thought, was about 17.He did not see her eyes, but he saw her golden-brown hair and her slow gentle smile.He walked past them once and did not look back, but he came to the Luxembourg the next day, and the day after that.And for the next five days, the man and the girl were always there.He could not stop looking at the girl.He wanted very much to see that smile, smile again.On the seventh day, the girl turned her head and looked at Marius.She looked into his eyes across the garden, and that look went like a bullet from a gun into Marius's heart.There were no words, but at once Marius knew, and the girl knew this was love.Life stopped for Marius then.He spent hours in the Luxembourg.And every time he saw her, the sun came out and all the birds in the garden began singing.But the man began to look at Marius too, and his face was not friendly.Marius was afraid and he went to Gavroche.“Gavroche, please, you must help me.”“Why? What's the matter? Monsieur Marius.”“There's a girl, Gavroche. She walks in the Luxembourg every day. I want you to follow her home, and tell me the address.”“Why don't you follow her? I am busy.” said Gavroche.“I'm afraid to,” said Marius, “her father,grandfather, I don't know, is watching me. He doesn't like me.”“Why is this important? Monsieur Marius.” Gavroche said.“He had a big smile on his face. Because I'min love,” shouted Marius, “Please, Gavroche, do it.”Gavroche ran away laughing.Two days later, he came to Marius's rooms,Rue plume.He said, “House at the end of the street,hard to find, you need to look for it.”Spring came and Cosette began to go out into the garden at Rue Plume.She was usually alone.Her old servant Toussaint was always in the kitchen, and Father Jean Valjean was in his room reading.Cosette was sad.She remembered the young man in the Luxembourg Garden, but Father no longer wanted to go there.But that evening, in the Rue Plume Garden something very wonderful happened.She heard a voice, a man's voice.She looked round and it was him.“I'm so sorry,” he said, “please don't be afraid. I just wanted to… You remember the Luxembourg Garden? I saw you therefor the first time, I can't forget you day and night, I think about you. Please don't be afraid, you see, I love you. It just happened to me, I can't stop it. Don't be afraid, please.”Cosette listened to this wonderful river of words and then held out her hand to him.He took her hand, and she pulled it to her and put it against her heart.“Then, you love me?”he said.“Of course, you know that.”A kiss, no words.They did not need words.Later words came, the story of his life, the story of her life, everything between lovers, everything is interesting.When they were done with words,Cosette put her head on Marius's shoulder and asked, “what is your name?”“My name is Marius, and yours?”“Cosette.”Every evening, they met secretly in the garden at Rue Plume.A kiss, a gentle laugh, whispered words of love.It was the spring and summer of their young lives.But around them, outside their garden, there was change.There were angry people, there were police and soldiers on the streets of Paris.And one day, Jean Valjean said to Cosette, “My dearest child, we live in dangerous times. We must leave France and go to England.”Cosette looked at him with frightened eyes.“Must we go, father?” She said.Valjean watched her face.“We must,” he said, “Get ready to leave very soon.”There was a change in Cosette.Valjean remembered the young man in the Luxembourg Garden and he looked at Cosette's beautiful young face.He was afraid, afraid of losing his dear daughter.That evening in the Rue Plume Garden, there were many unhappy tears.“But you must follow us to England,” cried Cosette.“How can I do that?” cried Marius, “I have no money, no passport. Even England to me is like the moon.”They held hands in the moonlight.“Listen, I have an idea,” Marius said slowly,“Wait two days, perhaps.”“Two days?” cried Cosette, “How can I live two days without you?”翻译第四章：马吕斯九年过去了，冉阿让和珂赛特住在巴黎的普吕梅街，那是一栋带大花园的房子。这是一条安静的街道，鲜有人至。这让冉阿让感到安心，因为他依然对沙威警长心存畏惧。如今的珂赛特已经长成了一个年轻女子。她身材高挑，留着一头金棕色的头发。她很美，但这世上美丽的容颜并不少见。珂赛特脸上最动人的，是她的微笑——那是一种缓慢、温暖、轻柔的微笑，宛如雨后初晴的阳光。现在，我们该认识一下马吕斯和他的年轻朋友加夫罗什了。马吕斯是个学生，一个满脑子想法却身无分文的年轻人。巴黎满大街都是这样的年轻人。马吕斯有个祖父，他的父亲已经去世了。但他和祖父互不说话，因为他们的政治理念截然不同。十七岁那年，他带着30法郎、一块怀表和一小包衣服离家出走。如今五年过去了，他和一群学生住在一起，他们整夜整夜地谈论书籍与思想、政治与政府、生与死。所有的学生都是这样。他们为理想而活，只在缺钱的时候才偶尔去打点零工。加夫罗什是个在巴黎街头长大的野孩子。他十一二岁，穿着一条男人的裤子和一件女人的衬衫。这是一位好心的女士给他的衣服。他风餐露宿，认识所有人，哪儿都敢去，而且非常享受这样的生活。是啊，为什么不呢？除了这种生活，他什么也没经历过。马吕斯喜欢漫步在巴黎的街道和花园里，他经常去卢森堡公园散步。有一天在公园里，他看见一个男人带着一个小姑娘。那个男人大概六十岁，马吕斯心想，那女孩大概十七岁。他没看清她的眼睛，但他看到了她金棕色的头发和那缓慢轻柔的微笑。他从他们身边走过，没有回头。但第二天、第三天，他又来到了卢森堡公园。在接下来的五天里，那个男人和女孩总是出现在那里。他无法控制自己的目光，总是忍不住看向那个女孩。他多么渴望能再次看到那个微笑。到了第七天，女孩转过头，看向了马吕斯。她隔着花园望向他的眼睛，那目光就像子弹一样，直击马吕斯的心脏。没有只言片语，但就在那一瞬间，马吕斯明白了，女孩也明白了——这就是爱情。那一刻，马吕斯的世界仿佛静止了。他在卢森堡公园里度过了好几个小时。每一次看到她，他都觉得阳光洒满了大地，花园里的鸟儿都在为他歌唱。但是，那个男人也开始注意到了马吕斯，而且眼神并不友善。马吕斯害怕了，他去找加夫罗什。“加夫罗什，求求你，你必须帮帮我。”“怎么了？出什么事了，马吕斯先生？”“有个女孩，加夫罗什。她每天都去卢森堡公园散步。我想让你跟着她回家，告诉我她的地址。”“你自己怎么不跟着？我很忙的。”加夫罗什说。“我不敢，”马吕斯说，“她父亲，或者祖父，我搞不清楚，一直在盯着我。他不喜欢我。”“这有什么关系吗，马吕斯先生？”加夫罗什说。“因为我恋爱了啊！”马吕斯大喊道，“求你了，加夫罗什，帮帮我吧。”加夫罗什大笑着跑开了。两天后，他来到了马吕斯在普吕梅街的住处。他说：“街道尽头的那栋房子，很难找，你得仔细留意。”春天来了，珂赛特开始走到普吕梅街的花园里。她通常是一个人。老女仆杜桑总在厨房里忙碌，而冉阿让父亲则在自己的房间里看书。珂赛特感到有些忧伤。她想念卢森堡公园里的那个年轻人，但父亲已经不想再去那里了。然而，那天傍晚，在普吕梅街的花园里，一件奇妙的事情发生了。她听到了一个声音，一个男人的声音。她回过头，正是他。“万分抱歉，”他说，“请别害怕。我只是想……你还记得卢森堡公园吗？我在那里第一次见到你，从此日夜都无法将你忘记，脑海里全是你。请别害怕，你看，我爱你。这感情就这样发生了，我无法阻挡。请别害怕。”珂赛特听着这如河水般倾泻而出的动人话语，然后向他伸出了手。他握住她的手，她却将他的手拉向自己，紧紧贴在自己的心口。“那么，你爱我？”他问。“当然，你是知道的。”一个吻，无需言语。他们不需要任何言语。后来，他们终于开口了，讲述彼此的人生故事。恋人之间的一切，都是那么有趣。当话语说尽，珂赛特把头靠在马吕斯的肩上，轻声问：“你叫什么名字？”“我叫马吕斯。你呢？”“珂赛特。”从此，每天傍晚，他们都在普吕梅街的花园里秘密相会。一个吻，一声轻柔的笑，几句耳鬓厮磨的情话。这是他们青春岁月里的春天与盛夏。但在他们周围，在花园之外，世界正在发生剧变。人们群情激愤，巴黎的街道上到处是警察和士兵。有一天，冉阿让对珂赛特说：“我最亲爱的孩子，我们正身处危险的时代。我们必须离开法国，去英国。”珂赛特用惊恐的眼神看着他。“我们必须走吗，父亲？”她说。冉阿让注视着她。“我们必须走，”他说，“准备一下，我们很快就要动身了。”珂赛特变了。冉阿让想起了卢森堡公园里的那个年轻人，他端详着珂赛特年轻美丽的脸庞。他害怕了，他害怕失去自己心爱的女儿。那天傍晚，在普吕梅街的花园里，充满了悲伤的泪水。“但你必须跟着我们去英国啊！”珂赛特哭喊道。“我怎么去得了？”马吕斯也哭喊道，“我没有钱，也没有护照。对我来说，去英国简直就像去月球一样遥远。”他们在月光下紧紧牵着手。“听着，我有个主意，”马吕斯缓缓地说，“等两天，也许只要两天。”“两天？”珂赛特哭喊道，“没有你，我该怎么熬过这两天？”

This lecture focuses on 2 Samuel 9 and the story of David's kindness to Mephibosheth. David asks whether anyone from Saul's family is still alive so that he can show kindness for Jonathan's sake. Ziba, Saul's servant, tells him about Jonathan's son Mephibosheth, who is crippled in both feet and living in Lodabar.Mephibosheth is brought before David and expects danger, but David tells him not to be afraid. He restores Saul's land to him and invites him to eat regularly at the king's table. The chapter emphasizes that Mephibosheth receives this honor not because he earned it, but because of David's promise to Jonathan.The lecture compares this story to the plot of Les Miserables, especially the bishop's grace toward Jean Valjean. It presents David's action as a picture of shocking mercy and as a larger pattern of God's kindness toward people who are not in a position to claim it.The sermon then connects the story to broader biblical teaching about grace. It says that people may try to earn grace through religious effort, or treat it as entitlement and grow attached to the gifts more than to God himself. Mephibosheth's later appearances in 2 Samuel are used to show different responses to grace, including gratitude, contentment, and dependence.The lecture ends by stressing that God seeks people out, desires intimate relationship, and invites them to his table. David's example is presented as reflecting God's own character: showing undeserved kindness, restoring, and calling people to live in grateful response.

Les Misérables by Victor Hugo原文Chapter 3: CosetteMonsieur Madeleine is of course Jean Valjean.You knew that already after Denya.He sells the bishop's silver plates, but keeps the candlesticks.He comes to Montroy,builds his factory, works hard, is kind to other people.He makes a new good life, and is true to the bishop of Denya.But after Valjean left prison in Toulon and before he came to Denya, he was hungry, and in a street in Toulon he stole some money from a boy, just one franc, to buy bread.Because he did this, the law in France says that prisoner Valjean must go back to prison and stay there for life.He can never be a free man again.And so we meet Javert.Before Montroy,he was a prison guard at Toulon.The law is his god, and he hates all criminals.He remembers Jean Valjean, that big strong man, very well.He wants to see him in prison again, and he Inspector Javert is going to put him there.Jean Valjean remembers Javert now.He remembers the cold eyes, the hard voice, the cruel prison guard's smile.He remembers and is afraid.He knows that Javert is his enemy for life, but he remembers Fantine, too.He remembers her dying words, “Please take care of Cosette, please.”How can he leave this little girl without a mother, without a friend in the world?He must find her, Javert or no Javert.Monsieur and Madame Thenardier lived in a village called Montfermeil near Paris.There was no water in the village, and the nearest water was a small river in a wood 15 minutes ' walk away.People carried the water in buckets to their houses.Cosette hated that wood.At night, the trees made noises.She was frightened of the noises, frightened of the dark, and with a heavy bucket of water it was a long walk home.One dark winter night in 1823, Madame Thenardier sent Cosette out to the river for water.Cosette ran to the river.And then, with her heavy bucket of water, she began to walk home.The trees were noisy tonight, whispering and laughing at her.And the little girl began to cry.“Oh, please God, help me, please, dear God.”And suddenly the bucket was gone.A great hand came down and took it from her.She looked up and saw big man in an old yellow coat.Sometimes we know without words when something good is happening.The little girl knew that now, and she was not frightened of the big man, not a bit.The man spoke to her child, “This is a very heavy bucket. Shall I carry it for you?”“Yes, monsieur.”“How old are you?”“I'm 8 years old, monsieur.”“Where is your mother?”“I don't know,”said the child, “I haven't got a mother.”“What's your name?”“Cosette.”The big man stopped, he put the bucket down and looked into Cosette's face.“Why are you carrying a heavy bucket of water at this time of night, who sent you?”“Madame Thenardier.”“I would like to talk to this Madame Thenardier. Shall we go and see her?”“Yes,monsieur.”Cosette was not afraid of the tree noises now.This big man with his gentle voice was a new and wonderful thing in her life.They walked to the Thenardier's house.“Please,monsieur, can I carry the bucket now?”“But why?”“I can't ask people for help. Madame says she hits me when I do that,” Cosette said, “she hits me all the time.”He gave her the bucket.The Thenardiers were very surprised to see Cosette's new friend, this big man in the old yellow coat.Inside the house, the big man looked at Cosette.He saw her thin clothes, her dirty hair, her big frightened eyes.She was small for her 8 years.Her hands were red from kitchen work, and she had no shoes.“Why does this child have no shoes on her feet on this cold winter night?” He said to Madame Thenardier.Madame Thenardier looked at Cosette angrily.“Go into the kitchen, Cosette. There is work to do, go. And are you?Monsieur.” Thenardier said.“I am here for Fantine, the child's mother,” said the big man. “You don't need to know my name. Fantine is dead, so you can get no more money from her here.”He put some money on the table is 1500 francs.“Now call the child I'm taking her away.”When Jean Valjean and Cosette left Montfermeil, Cosette did not look back.She never wanted to see Madame Thenardier again.She put her cold little hand into Valjean's great hand and looked up into his face.“Monsieur,”she said, “can I, can I call you Father?”Valjean looked down at her big round eyes.“Yes,” he said.He did not know love, he did not understand love, but in that moment, suddenly he felt a father's love for this small child.“Yes,” he said again, “yes, you can call me father, it's a good name.”Hand in hand,they walked away on the road to Paris.In Paris,Cosette learn to laugh, and to sing like a bird, and to be happy.Jean Valjean learned to be father and mother to this child, and he loved her dearly.But they lived quietly, moved house often, and only went out at night.Because Javert too was in Paris.When Valjean escaped from Montroy, Javert came to Paris to look for him. He was now an important inspector in the Paris police.Every criminal in Paris was afraid of Inspector Javert.Once Valjeansaw Javert by the river, and the next day he looked for a new place to live.He found one behind the high walls of a girl school.The school gave Valjean a job as a gardener, and he lived in a little house in the big gardens.Cosette lived in the school, but every day, she came to the gardener's little house for one hour.They talked,and they sang, and they read books.It was the happiest hour in the day for her and for Jean Valjean.And so the years passed.翻译第三章：珂赛特马德兰先生当然就是冉阿让。在迪涅镇发生的那些事之后，你其实就已经知道了。他卖掉了主教给的银餐盘，却留下了那对银烛台。他来到蒙特勒伊，建起工厂，拼命工作，对他人仁慈宽厚。他开启了一段崭新而向善的人生，也没有辜负迪涅主教的期望。但是，在冉阿让离开土伦监狱、抵达迪涅镇之前，他曾饱受饥饿之苦。在土伦的一条街上，为了买面包，他从一个男孩那里偷了钱——仅仅只有一法郎。就因为这个，法国的法律规定，囚犯冉阿让必须重返监狱，并在那里度过余生。他再也无法成为一个自由人了。于是，我们认识了沙威。在来到蒙特勒伊之前，他是土伦监狱的一名狱卒。法律就是他的神明，他痛恨一切罪犯。他非常清楚地记得冉阿让——那个高大强壮的男人。他想再次看到冉阿让身陷囹圄，而他沙威警长，就要亲手把他送进去。此时的冉阿让也想起了沙威。他记得那双冰冷的眼睛、那副生硬的嗓音，还有狱卒那残忍的微笑。他回忆起了这一切，心中充满恐惧。他知道沙威将是他一生的死敌，但他同样想起了芳汀。他记起了她临终前的话语：“求您照顾珂赛特，求求您了。”他怎么能把这个没有母亲、在世上举目无亲的小女孩孤零零地丢下呢？他必须找到她，无论有没有沙威的阻拦。德纳第夫妇住在巴黎附近一个叫蒙费梅伊的村子里。村里没有水，最近的水源在十五分钟路程外的一片树林里的一条小河。人们只能提着水桶把水扛回家。珂赛特恨透了那片树林。一到夜里，树木就会发出各种声响。她害怕那些声音，害怕黑暗，而且提着沉甸甸的水桶，回家的路显得格外漫长。1823年一个漆黑的冬夜，德纳第太太又打发珂赛特去河边打水。珂赛特一路小跑来到河边。然后，提着那桶沉重的水，她开始往回走。今晚树林里的树木喧闹不止，仿佛在对着她窃窃私语、嘲笑她。小女孩忍不住哭了起来。“哦，上帝啊，求求您帮帮我，仁慈的上帝啊。”突然，水桶从她手里消失了。一只宽大的手伸下来，替她接过了水桶。她抬起头，看到一个穿着破旧黄外套的高大男人。有时候，无需言语，我们也能感觉到好事正在发生。小女孩此刻就明白了，她一点儿也不害怕这个高大的男人。男人用对孩子说话的温柔语气对她说：“这桶水太沉了。我帮你提好吗？”“好的，先生。”“你几岁了？”“我8岁了，先生。”“你妈妈在哪儿？”“我不知道，”孩子说，“我没有妈妈。”“你叫什么名字？”“珂赛特。”高大的男人停下脚步，放下水桶，端详着珂赛特的脸。“这么晚了，谁派你出来提这么重的一桶水？”“德纳第太太。”“我想和这位德纳第太太谈谈。我们一起去见见她好吗？”“好的，先生。”此时的珂赛特已经不再害怕树林里的声响了。这个说话温柔的高大男人，成了她生命中一个全新而美好的存在。他们一起走到了德纳第家。“先生，求求您，现在我可以自己提水桶了吗？”“为什么呢？”“我不能向别人求助。太太说，如果我要是求助，她就会打我。”珂赛特说，“她总是打我。”他把水桶还给了她。看到珂赛特的新朋友——这个穿着破旧黄外套的高大男人，德纳第夫妇感到非常惊讶。在屋里，高大男人仔细打量着珂赛特。他看到她单薄的衣服、脏乱的头发，还有那双充满惊恐的大眼睛。八岁的她，个头比同龄人小得多。她的双手因为干厨房的粗活而通红，脚上连双鞋都没有。“这么冷的冬夜，这孩子怎么连双鞋都没穿？”他问德纳第太太。德纳第太太恶狠狠地瞪了珂赛特一眼。“进厨房去，珂赛特。还有活儿要干呢，快去。那么您呢，先生？”德纳第太太问道。“我是为了这孩子母亲芳汀的事来的，”高大男人说，“你们不必知道我的名字。芳汀已经死了，你们再也别想从她那儿要到一分钱了。”他把一些钱放在桌上——那是1500法郎。“现在把孩子叫来，我要带她走。”当冉阿让和珂赛特离开蒙费梅伊时，珂赛特没有回头。她再也不想见到德纳第太太了。她把冰冷的小手放进冉阿让宽大的手掌里，仰起头看着他的脸。“先生，”她说，“我，我可以叫您父亲吗？”冉阿让低头看着她那双圆溜溜的大眼睛。“可以。”他说。他曾经不懂得爱，也不明白什么是爱，但在那一刻，他突然对这个小小的孩子生出了一种深沉的父爱。“可以，”他又说了一遍，“是的，你可以叫我父亲，这是一个很好的称呼。”他们手牵着手，走在通往巴黎的路上。在巴黎，珂赛特学会了笑，学会了像小鸟一样唱歌，学会了感受快乐。冉阿让也学着同时扮演这个孩子的父亲和母亲，他深深地爱着她。但他们过着深居简出的生活，经常搬家，并且只在夜里出门。因为沙威也来到了巴黎。当冉阿让从蒙特勒伊逃脱后，沙威便来到巴黎搜寻他。此时的沙威已经是巴黎警察局里一位举足轻重的警长。巴黎的每一个罪犯都对沙威警长闻风丧胆。有一次，冉阿让在河边看见了沙威，第二天他便立刻寻找新的住处。他在一家女子学校高高的围墙后找到了一个安身之所。学校给冉阿让提供了一份园丁的工作，他住在大花园里的一栋小房子中。珂赛特就在那所学校里生活，但每天，她都会来到园丁的小屋里待上一个小时。他们聊天、唱歌、读书。这是她和冉阿让一天中最幸福的一个小时。就这样，岁月悄然流逝。

Les Misérables by Victor Hugo单词提示1.Monsieur 先生2.Inspector 探长原文Chapter 2: FantineNow we meet Fantine.She is young and beautiful and in love with a man in Paris, but she has no family and no money.For Fantine, this is the love of her life.For the man in Paris, it is just a summer of love.Men are not kind to women, they have their fun and then they walk away.The man in Paris goes home to his rich family and leaves poor Fantine, and with a child, a little girl called Cosette.Fantine must find work, but how?Fantine has a child but no husband, and a woman without a husband is nothing, worse than nothing.People are not kind to a woman with a child but no husband.They turn their faces away, they close their doors, they say there's no work here for a woman like you.Fantine loves her daughter dearly, but what can she do?So in 1818, in a village near Paris, she leaves her little daughter with Monsieur and Madame Thenardier.They ask for 7 francs a month.Fantine pays the money, holds her daughter in her arms for the last time, and leaves.She takes the road for her home town of Montroy,and tears are running down her face.There is misery in her heart. Poor Fantine, poor Cosette.In Montroy, Fantinefinds work in a factory.This is the factory of Monsieur Madeleine, an important man in the town and very rich.Everybody likes him, because he is a good man.He is kind to his workers, he helps people,and his factory gives many jobs to the townspeople.But who is he, this Monsieur Madeleine?Where did he come from?He arrived in Montroy at the end of 1815,but nobody knows his family or anything about him.Fantine sent money every month to the Thenardiers.They were not good people, and they used the money for their own daughters.Poor little Cosette was a hungry, dirty,unloved child.She worked all day, she cleaned the house,she carried water, she washed the clothes.But Fantine knew nothing of this, and she worked long hours to make money for Cosette.The next year, the Thenardiers asked for 12 francs a month.The year after that, they wanted 15 francs.Then Fantine lost her job at the factory because the women did not like her. “She has achild in a village somewhere near Paris.”“Yes, and where's her husband.”“She doesn't have one.”“We don't want that kind of woman here. She must go.”Fantine found work making shirts.It was hard work for little money.She was often ill with a small dry cough.The Thenardiers wrote again, “Your daughter needs a warm dress for winter, send 10 francs at once.”Fantine did not have 10 francs.She thought long and hard, and went to the barber in the town.She took off her hat, and her golden hair fell down her back.“That's beautiful hair,” said the barber.“What can you give me for it?”“10 francs.”“Then cut it off.”She sent the money to the Thenardiers.“My daughter's not cold now,” she thought, “She'swearing my hair.”Soon, another letter came from the Thenardiers,“Send 100 francs, or Cosette must leave our house.”100 francs? How can a poor woman get that kind of money? There was only one way.One cold winter evening, outside a restaurant in the center of Montroy, a woman walked up and down.There was snow on the ground, but the woman wore an evening dress with flowers in her hair.Some young men came out of the restaurant,saw her, and began to call her bad names.They laughed and shouted, but the woman did not look at them.Then one young then took some snow and put it down the back of the woman's dress.The woman was Fantine.She gave a cry, turned, and hit the young man's face with her hands.People came to watch, laughing.A tall policeman arrived, took the woman by the arm and pulled her away.“Come with me,” he said.This policeman was Inspector Javert.He was new to Montroy, and he was a hard man.To him, the law was the only important thing in life.He hated criminals.The law in France at that time was not kind to women like Fantine.Javert took Fantine to the office of police.“You hit a man in the street and that's a crime,” He told her, “You're getting six months.”“Six months in prison?” Fantine cried, “no,I'm not a bad woman, monsieur, please, I must work. I need the money for my little daughter. Please, please don't send me to prison.”She fell to the floor crying.“Take her away,” Javert said to a policeman.“One moment, please,” said a new voice.Everybody turned to look at the door, and there stood the good, the great Monsieur Madeleine.He was an important man in Montroy.“Inspector,” he said, “I was outside the restaurant, too. And I can tell you the true story.”“The young man began the fight, and this poor woman,” he looked at Fantine on the floor, “must go free. She did nothing wrong.”“The woman is a criminal,” said Javert angrily.“She must go free,” said Monsieur Madeleine,“Ask the other people at the restaurant. We all saw the same thing.”Fontain stood up slowly, she began to cough,a hard dry noise.Monsieur Madeleine took her arm gently.“My dear child, you are not well,” he said.Javert's cold eyes stared at Monsieur Madeleine.“Do I know you from somewhere?” he said, “Were you ever at Toulon?”Monsieur Madeleine looked at him.His face did not change, but his eyes were suddenly very watchful.“No, I don't know Toulon.” he said.Monsieur Madeleine took Fantine to the little hospital in Montroy.She lay in bed and coughed and coughed.Monsieur Madeleine listened to her sad story, and the next day he sent money to the Thenardiers.“Now you must get better,” he told Fantine, “Cosette needs you.”But Fantine did not get better.She was now very ill, and five days later the doctor spoke to Monsieur Madeleine.“Does she have a child, this poor woman?”He said, “Yes, a small daughter.”“You must bring the child here soon.”Monsieur Madeleine went to sit by Fountain's bed.“Monsieur madeleine, you are so kind to me. I want to see my daughter one last time.Please, can you? Bring Cosette to me, please, monsieur.”Monsieur Madeleine took her hand.“Of course, I can,” he said gently.And then, the door of the room suddenly opened behind him, and Fantine cried out “No, monsieur.”Madeleine looked round quickly.InspectorJavert came into the room with four policemen.“Jean Valjean, prisoner at Toulon, I am arresting you,” Javert said, “After you left the prison, you stole money from a child in Toulon. You are still a thief, and now you must go to prison for life.”Fantine sat up in bed.“No,” she cried, “Cosette!”Monsieur Madeleine stood up slowly.“Inspector, give me three days.” He said.He was a big man, much bigger than Javert.“Three days to bring this poor woman's child to her before she dies, then you can take me.”Javert laughed loudly, “Three days, you're going to run away?”Behind the two men, Fantine cried out, “Monsieur Madeleine, please take care of Cosette. Please.”Javert turn to her, “Be quiet, woman,there's no Monsieur Madeleine here. This man is a criminal called Jean Valjean,and he's going to prison.”Fantine stared at Javert and tried to speak,but she could not.She fell back in the bed and lay still. She was dead.The people of Montroy talked about that day for a long time, the death of the woman Fantine,the arrest of Monsieur Madeleine.Javert put Monsieur Madeleine in a locked room in the police office, but in the night, he broke down the door and escaped.Where did he go? Did he go to his house in the town?His old servant said “no”, she saw nobody and heard nothing.She said she loved Monsieur Madeleine very much.So where did Monsieur Madeleine go?Nobody in Montroy saw him again.One thing was certain.In Monsieur Madeleine's house, there were two beautiful old silver candlesticks.The next day they were gone.翻译第二章：芳汀现在，我们来认识芳汀。她年轻貌美，在巴黎与一个男人坠入爱河，但她没有家人，也没有钱。对芳汀来说，这是她一生的挚爱；但对那个巴黎男人而言，这不过是一场夏日恋情罢了。男人们对待女人并不仁慈，他们寻欢作乐之后，便一走了之。那个巴黎男人回到了他富有的家族，留下了可怜的芳汀，以及他们的孩子——一个名叫珂赛特的小女孩。芳汀必须找到工作，可她能怎么办呢？芳汀有个孩子却没有丈夫，而在那个时代，没有丈夫的女人什么都不是，甚至比什么都不是还要不堪。人们对带着孩子却没有丈夫的女人毫不留情。他们对她冷眼相待，对她紧闭大门，还会说：“像你这样的女人，我们这儿没有工作。”芳汀深爱着她的女儿，可她又能做些什么呢？于是，在1818年，在巴黎附近的一个村庄里，她把小女儿托付给了德纳第夫妇。他们要求每个月付7法郎。芳汀付了钱，最后一次将女儿紧紧抱在怀里，然后转身离开。她踏上了返回故乡蒙特勒伊的路，泪水顺着脸颊不断滑落。她的心中充满了无尽的苦难。可怜的芳汀，可怜的珂赛特。在蒙特勒伊，芳汀在一家工厂找到了工作。这家工厂的老板是马德兰先生，他是镇上的大人物，非常富有。大家都很喜欢他，因为他是个大好人。他对工人们很仁慈，乐于助人，而且他的工厂为镇上的许多人提供了工作。可是，这位马德兰先生究竟是谁？他又从何而来？他是在1815年底来到蒙特勒伊的，但没有人知道他的身世，对他一无所知。芳汀每个月都会按时寄钱给德纳第夫妇。可他们并非善类，竟把芳汀寄来的钱全用在了自己亲生女儿的身上。可怜的小珂赛特成了一个挨饿、肮脏、无人疼爱的孩子。她整天干活，打扫屋子，提水，洗衣服。但芳汀对此一无所知，她只能拼命工作，为珂赛特多挣些钱。第二年，德纳第夫妇要求每月寄12法郎。再往后一年，他们又要15法郎。后来，芳汀失去了工厂的工作，因为厂里的女工们不喜欢她。“她有个孩子，寄养在巴黎附近的某个村子里。”“是啊，可她丈夫在哪儿呢？”“她没有丈夫。”“我们这儿不想要那种女人。她必须走人。”芳汀只好靠做衬衫来谋生。活儿很累，挣的钱却很少。她经常生病，总是干咳不止。德纳第夫妇又写信来：“你女儿冬天需要一件暖和的裙子，马上寄10法郎来。”芳汀拿不出10法郎。她思前想后，最终走进了镇上的理发店。她摘下帽子，一头金发垂落在背上。“多漂亮的头发啊，”理发师说。“这头发你能给我多少钱？”“10法郎。”“那就剪了吧。”她把换来的钱寄给了德纳第夫妇。“我的女儿现在不会挨冻了，”她想，“她穿着我的头发呢。”没过多久，德纳第夫妇又来信了：“寄100法郎来，不然珂赛特就得滚出我们家。”100法郎？一个穷苦女人上哪儿去弄这么一大笔钱？只剩下最后一条路了。在一个寒冷的冬夜，蒙特勒伊市中心的一家餐馆外，一个女人正来回踱步。地上满是积雪，可她却穿着晚礼服，头上还戴着花。几个年轻男人从餐馆里走出来，看见她，便开始用下流的话辱骂她。他们又笑又叫，但那个女人连看都没看他们一眼。接着，其中一个年轻男人抓起一把雪，顺着那个女人的衣领塞进了她的后背。那个女人正是芳汀。她惊叫一声，转过身，一巴掌狠狠打在那个年轻男人的脸上。人们围过来看热闹，哈哈大笑。这时，一个高大的警察走了过来，一把抓住女人的胳膊，将她拉开。“跟我走。”他说。这个警察是沙威警长。他刚到蒙特勒伊不久，是个冷酷无情的人。在他看来，法律是生命中唯一重要的东西。他痛恨罪犯。而当时法国的法律，对芳汀这样的女人是毫不留情的。沙威把芳汀带到了警察局。“你在大街上打了一个男人，这是犯罪，”他告诉她，“你要被判六个月的监禁。”“六个月？”芳汀哭喊道，“不，我不是坏女人，先生，求求您，我必须工作。我需要钱养活我的小女儿。求求您，千万别把我送进监狱。”她倒在地上痛哭起来。“把她带走。”沙威对另一名警察说。“请等一下。”一个陌生的声音响起。所有人都转头看向门口，只见那位善良、伟大的马德兰先生正站在那里。他是蒙特勒伊的显要人物。“警长，”他说，“我当时也在餐馆外面。我可以告诉你事情的真相。”“是那个年轻人先挑起事端的，而这个可怜的女人，”他看了一眼倒在地上的芳汀，“必须被释放。她没有任何过错。”“这个女人是个罪犯！”沙威愤怒地说。“她必须被释放，”马德兰先生说，“去问问餐馆里的其他人吧。我们大家看到的都是一样的。”芳汀慢慢站起身，开始剧烈地咳嗽，发出沉闷干涩的声音。马德兰先生温柔地扶住她的胳膊。“我可怜的孩子，你身体不好。”他说。沙威冰冷的双眼死死盯着马德兰先生。“我是不是在哪儿见过你？”他说，“你以前去过土伦吗？”马德兰先生看着他。他的面庞毫无波澜，但眼神突然变得极度警觉。“不，我不知道什么土伦。”他说。马德兰先生把芳汀送到了蒙特勒伊的小医院。她躺在床上，不停地咳嗽。马德兰先生听完了她悲惨的身世，第二天便派人把钱寄给了德纳第夫妇。“现在你必须好起来，”他告诉芳汀，“珂赛特需要你。”但芳汀并没有好转。她的病情已经非常严重了，五天后，医生对马德兰先生说：“这个可怜的女人有孩子吗？”“有，一个小女儿。”“你必须尽快把孩子接来。”马德兰先生走到芳汀的床边坐下。“马德兰先生，您对我太好了。我想再看一眼我的女儿。求求您，您能办到吗？把珂赛特带到我身边来吧，先生。”马德兰先生握住她的手。“我当然能办到。”他温和地说。就在这时，身后的房门突然被猛地推开，芳汀惊叫一声：“不，先生！”马德兰先生迅速回过头。沙威警长带着四名警察走进了房间。“冉阿让，土伦的囚犯，我现在逮捕你，”沙威说，“你出狱后，在土伦偷了一个孩子的钱。你依然是个贼，现在你必须被判终身监禁。”芳汀在床上猛地坐直身子。“不！”她哭喊道，“珂赛特！”马德兰先生缓缓站起身。“警长，给我三天时间。”他说。他是个大块头，比沙威高大得多。“给我三天时间，让我把这个可怜女人的孩子带到她面前，等她见上最后一面，你再抓我。”沙威放声大笑：“三天？你是打算趁机逃跑吗？”在两个男人身后，芳汀哭喊道：“马德兰先生，求您照顾珂赛特。求求您了。”沙威转过头对她吼道：“闭嘴，女人！这里没有什么马德兰先生。这个人是个叫冉阿让的罪犯，他马上就要进监狱了。”芳汀死死盯着沙威，试图开口说话，却发不出一点声音。她重重地倒回床上，再也没有动弹。她死了。蒙特勒伊的人们谈论那一天谈了很久很久，谈论着芳汀的死，以及马德兰先生被捕的事。沙威把马德兰先生关在警察局的一间密室里，但在夜里，他撞破房门逃跑了。他去了哪里？他回镇上的家了吗？他的老女仆说“没有”，她什么也没看见，什么也没听见。她说她非常敬爱马德兰先生。那么，马德兰先生到底去了哪里？蒙特勒伊再也没有人见过他。但有一件事是肯定的。在马德兰先生的家里，原本放着两只漂亮的老银烛台。第二天，它们就不见了。

¡Semifinales del Mundial! Y qué partidazo nos espera este martes: Francia contraEspaña. Dos selecciones con historia, estilo y orgullo. Un duelo que trasciende el fútbol y toca la identidad de dosnaciones. En nuestro campo literario, traemos un enfrentamiento detitanes absolutos, dos obras monumentales que retratan como pocas la condición humana: Por Francia, la gran epopeya humanista de Víctor Hugo: “Los Miserables”. Por España, la novela clave del realismo social de posguerrade Camilo José Cela: “La colmena”. Dos libros que pesan, que duelen y que siguen siendoimprescindibles décadas después de su publicación. Víctor Hugo publica “Los miserables” en 1862 y entrega unade las novelas más ambiciosas de la historia de la literatura. Más de 1.500 páginas que siguen la vida de Jean Valjean, un ex presidiario que busca redención en una Francia convulsa del siglo XIX. Hugo no solo cuenta una historia: construye un fresco épico que abarca la miseria social, la justicia, la redención, el amor, la revolución y la espiritualidad. Personajesinolvidables como Javert, Cosette, Marius o el obispo Myriel. Discursos memorables sobre la misericordia, la educación y las barricadas de 1832. Es una novela total: romántica, realista, social y profundamente humanista. “Los Miserables” ha sido adaptada incontables veces y sigue siendo un símbolouniversal de la lucha contra la injusticia. Camilo José Cela, Premio Nobel de Literatura en 1989,publica “La colmena” en 1951 (aunque en España se editó más tarde por la censura). Con un estilo fragmentado, coral y cinematográfico, Cela retrata la vida cotidiana en los cafés de Madrid en 1942, en plena posguerra franquista.Hambre, estraperlo, prostitución, miedo, chismes y supervivencia. No hay un protagonista central: la colmena misma —la sociedad madrileña— es el personaje.Es una novela cruda, pesimista y magistral en su capacidad para captar el ambiente opresivo de la dictadura. Cela rompe con las formas tradicionales y crea una de las obras cumbre de la literatura española del siglo XX, un retrato implacable de la degradación moral y material de un país vencido. Uno eleva la miseria individual hasta convertirla en epopeyahumanista y revolucionaria. El otro desciende a la miseria colectiva de la posguerra con frialdad quirúrgica y sin concesiones. Francia y España. Víctor Hugo y Camilo José Cela. Dos formasmagistrales de denunciar la injusticia social: la grandiosidad romántica frente al realismo descarnado. ¿Quién se llevará la victoria en este duelo literario deSemifinales? ¿La épica redentora de Los miserables o la crudeza implacable de La colmena? Esto promete ser un partido inolvidable, tantoen el césped como entre las páginas.

Can people really change? Or do we simply become more of who we've always been? In this episode of Wisdom of the Body, Heather Grzych explores this timeless question through Victor Hugo's Les Misérables and the transformation of Jean Valjean, a man whose life is changed by an unexpected act of mercy. Drawing from Christianity, Greek mythology, and Ayurveda, Heather explores the forces that shape who we become—from grace and choice to our environments, habits, and experiences. She reflects on why some people are able to transform while others remain trapped in old patterns, and why lasting change requires not just different actions, but a different relationship with who we believe we can become.   Heather Grzych, ADLC is an American author and teacher of Ayurvedic medicine who was formerly the president of the National Ayurvedic Medical Association and the head of product development for a multi-billion-dollar health insurance company. Heather's first book, The Ayurvedic Guide to Fertility, has sold thousands of copies worldwide, and her writing has been featured in Sports Illustrated, Yoga Journal, and the Sunday Independent. Her podcast, Wisdom of the Body, holds an average rating of 5 stars on Apple Podcasts and is in the top 2.5% of podcasts globally.    Connect with Heather:  Learn more at www.heathergrzych.com  Instagram.com/heathergrzych  Facebook.com/grzychheather    Read the first six pages of The Ayurvedic Guide to Fertility for FREE: https://www.heathergrzych.com    Connect with Heather to balance your health with Ayurveda: https://www.heathergrzych.com/book-online

Les Misérables by Victor Hugo单词提示1.misery 苦难2.bishop 主教3.candlestick 蜡烛台原文Chapter 1: Jean ValjeanIt is the year 1796, and the people of France are hungry; not the rich people, of course, they have food, they have warm clothes, they have beautiful houses; no, it is the poor people of France.Jean Valjean is one of these poor people.He is a young man, big, strong, and a good worker, but he has no work.He cannot find work, and he is hungry.He lives with his sister in the village of Bree, her husband is dead and she has seven children.It is a cold, hard winter and there is no food in the house, no bread.Nothing and seven children.Jean Valjean is a good man; he is not a thief.But how can a man just sit there when his sister's children cry all night because they are hungry?What can a man do?He leaves his house at night and goes down the village night.He puts his hand through the window of the bakery.“Crash!”,he takes a loaf of bread and he runs.He runs fast, but other people run faster.France is not kind to poor people.France send Jean Valjean to prison for five years.After four years, he escapes.They find him and bring him back.They give him six more years.Once again, he escapes, and two days later they find him and they give him another eight years,19 years in prison for a loaf of bread.In 1815, when he leaves prison, Jean Valjean is a different man.Prison changes people.Years of misery, years of back breaking work,years of cruel prison guards, these things change a man once.There was love in Jean Valjean's heart, now there is only hate.One evening in October in the year 1815,there was a knock on the door of the Bishop of Denya's house.“Come in”, said the bishop.The bishop was a kind man.Everyone in the town of Denya knew that poor people, hungry people, miserable people, they all came to the door of the bishop's house.The bishop's sister looked at the man at the door that night, and she was afraid.“Look at him,” she whispered to the bishop, “he is a big man and a dangerous one. He carries a yellow card, so he was once a prisoner, a bad man.”But the bishop did not listen.“Come in, my friend,” he said to the man at the door, “come in, you must eat dinner with us and sleep in a warm bed tonight.”The man stared at the bishop.“My name is Jean Valjean,” he said, “I was a prisoner in Toulon for 19 years. Here is my yellow card, see, people everywhere shut their doors in my face, but not you, why not?”“Because my friend, in the eyes of God, you are my brother,”said the bishop smiling, “So come in and sit by our fire.”The bishop turned to his sister, “Now sister, our friend Jean Valjean needs a good dinner. Bring out the silver dinner plates. It's a special night tonight.”“Not the silver plates,” whispered the bishop's sister.Her eyes went quickly to Jean Valjean, then back to the bishop's face.“Yes, the silver plates,” said the bishop, “and the silver candlesticks, too. The church has these beautiful things, but they are for our visitors, and our visitor tonight must have only the best.”And so, Jean Valjean sat down with the bishop and his sister, and ate from silver plates.He ate hungrily. It was his first good meal for weeks.“You're a good man,” he said to the bishop, “perhaps the only good man in France.”But Valjean could not take his eyes away from the silver plates.After the meal, the bishop's sister put the silver plates away, and Valjean's eyes watched.He saw the place, and he remembered it in the night, in his warm bed in the bishop's house.He thought about the plates, they were big,heavy, so much silver in them.“I can sell those plates,” he thought, “for just one of them. I can eat well for months.”19 years in prison is a long time, and 19 hard years change a man.By morning, Valjean was a long way from the bishop's house.But how do you carry big silver plates? How do you hide them?People in Denya began to whisper.“Did you see him? That big man carrying six silver plates? Where did he get them from? Those plates came from the church. A man like that doesn't have silver plates, no, and he carries a yellow card, did you see? So he was a prisoner once, he's a thief, he stole those plates.”The police heard the whispers, they went after Jean Valjean, found him and took him back to the bishop's house in the afternoon.But there, they had a surprise.“My dear friend,” the bishop, said to Jean Valjean, “I am so pleased to see you. You forgot the candlesticks, I gave you the silver plates and the candlestick, you remember, but you forgot to take the candlesticks when you left.”“But this man is a thief.” said one of the policemen.“No, no, of course not,” said the bishop smiling, “I gave the silver to Monsieur Valjean.”“You mean he can go? He is free?” said the policeman.“Of course,” the bishop said.All this time Jean Valjean stared at the bishop, and said not one word.The policeman went away, and the Bishop of Denya went into his house and came out again with the two silver candlesticks.They were tall and heavy and beautiful.The bishop put the candlesticks into Jean Valjean's hands.“Jean Valjean, my brother,” he said, “you must leave your bad life behind you. This is God's silver, and I am giving it to you. With it, you can begin a new good life. I am buying your soul for God.”Jean Valjean left the town of Denya with his silver plates and his silver candlesticks.Suddenly he was a rich man, but he did not understand why.“What's happening to me,” he thought, “everything is changing. How can I hate people when this bishop is so good to me? What shall I do, how shall I live?”Prisoner Valjean did not understand anything.He sat down by the road with his head in his hands and cried.He cried for the first time in 19 years.How long did he sit there crying? What didhe do next and where did he go?Nobody knows, but when the sun came up on anew day, he was a changed man.翻译第一章：冉阿让那是1796年，法国人民正饱受饥饿之苦；当然，富人不在其列，他们有充足的食物、温暖的衣物和漂亮的房子；挨饿的，是法国的穷苦百姓。冉阿让就是这些穷人中的一员。他是个年轻人，身材高大，体格强壮，也是个勤快的好工人，但他就是找不到工作。他找不到活儿干，只能忍饥挨饿。他和姐姐住在布里村，姐夫已经去世，留下姐姐独自抚养七个孩子。那是一个寒冷而严酷的冬天，家里已经揭不开锅，连一点面包都没有了。家里空空如也，却还有七张嗷嗷待哺的嘴。冉阿让是个好人，他本不是贼。可是，当姐姐的孩子们因为饥饿整夜整夜地啼哭时，一个男人怎么能干坐着无动于衷呢？他又能做些什么呢？他在夜里离开家，摸黑走进村庄。他把手伸进面包房的窗户。“哐当！”他抓起一条面包，拔腿就跑。他跑得很快，但别人追得更快。法国对穷人并不仁慈。法国把冉阿让送进监狱，判了五年。四年后，他越狱了。他们抓回了他，又给他加了六年刑期。他再次越狱，两天后又被抓了回来，这次又加了八年。仅仅为了一条面包，他在监狱里整整熬了十九年。1815年，当他走出监狱时，冉阿让已经变成了另一个人。监狱是会改变人的。多年的苦难、多年的苦役、多年残酷狱卒的折磨，这些经历彻底改变了一人。冉阿让的心里曾经有过爱，如今却只剩下仇恨。1815年10月的一个傍晚，迪涅主教的宅邸响起了敲门声。“请进。”主教说道。主教是个仁慈的人。迪涅镇上的每个人都知道，穷人、饿着肚子的人、走投无路的人，都会来到主教家门前求助。那天晚上，主教的姐姐看着门外的男人，心里十分害怕。“你看看他，”她低声对主教说，“他是个大块头，看着很危险。他带着黄护照，说明他曾经是个囚犯，是个坏人。”但主教没有听她的。“请进吧，我的朋友，”他对门外的男人说，“请进来，你必须和我们一起吃顿晚饭，今晚还要睡在温暖的床上。”男人死死盯着主教。“我叫冉阿让，”他说，“我在土伦的监狱里蹲了十九年。这是我的黄护照，你看，走到哪里人们都对我闭门不见，但你却没有，为什么？”“因为我的朋友，在上帝眼里，你就是我的兄弟，”主教微笑着说，“所以请进来，在炉火旁坐下吧。”主教转过头对姐姐说：“姐姐，我们的朋友冉阿让需要一顿丰盛的晚餐。把那些银餐盘拿出来吧。今晚是个特别的夜晚。”“别拿银餐盘。”主教的姐姐低声说。她的目光迅速瞥向冉阿让，又马上转回主教的脸上。“就要拿银餐盘，”主教说，“还有银烛台也要拿出来。教堂拥有这些精美的器物，但它们本就是为客人们准备的，而我们今晚的客人，理应享受最好的待遇。”于是，冉阿让和主教以及他的姐姐坐在一起，用银餐盘吃着饭。他狼吞虎咽地吃着。这是他几周来吃的第一顿饱饭。“你是个好人，”他对主教说，“也许是法国唯一的好人。”但冉阿让的目光始终无法从那些银餐盘上移开。饭后，主教的姐姐把银餐盘收了起来，冉阿让的眼睛一直盯着。他看清了存放的位置，并在当晚、在主教家温暖的床上，将这一切牢牢记在心里。他想着那些盘子，它们又大又沉，里面全是实打实的银子。“我可以把那些盘子卖掉，”他想，“哪怕只卖一个，也够我舒舒服服吃上好几个月了。”十九年的牢狱之灾太漫长了，十九年的苦难足以改变一个人。到了第二天清晨，冉阿让已经离开主教的宅邸，走出了很远。可是，那么大的银餐盘怎么带走？又该怎么藏匿呢？迪涅镇上的人们开始窃窃私语。“你看见他了吗？那个大块头带着六个银餐盘？他从哪儿弄来的？那些盘子是教堂的。像他这种人不可能有银餐盘，不可能，而且他带着黄护照，你看见了吗？所以他以前是个囚犯，他是个贼，那些盘子是他偷的。”警察听到了这些议论，他们追上冉阿让，在下午将他押回了主教的家。但在那里，他们却迎来了一个意想不到的转折。“我亲爱的朋友，”主教对冉阿让说，“见到你回来我太高兴了。你把烛台落下了。我给了你银餐盘和烛台，你记得的，但你走的时候忘了把烛台带走。”“可这个人是个贼啊。”一名警察说道。“不，不，当然不是，”主教微笑着说，“那些银器是我送给冉阿让先生的。”“您的意思是，他可以走了？他自由了？”警察问。“当然。”主教说。在这整个过程中，冉阿让一直呆呆地盯着主教，一句话也没说。警察离开后，迪涅主教走进屋里，拿着那两只银烛台走了出来。它们又高又沉，十分精美。主教把烛台放进冉阿让的手里。“冉阿让，我的兄弟，”他说，“你必须把过去的罪恶生活抛在脑后。这是属于上帝的银器，现在我把它送给你。有了它，你可以开始一段崭新而向善的人生。我是在替上帝买下你的灵魂。”冉阿让带着银餐盘和银烛台离开了迪涅镇。突然间，他成了一个富人，但他自己都不明白为什么。“我到底怎么了，”他想，“一切都在改变。当这位主教对我如此仁慈时，我怎么能继续去恨别人呢？我该怎么办，我又该怎样活下去？”作为囚犯的冉阿让，对这一切感到茫然不解。他坐在路边，双手捂着脸，哭了起来。这是十九年来，他第一次流泪。他在那里坐了多久？接下来他又做了什么，去了哪里？没有人知道。但当新的一天太阳升起时，他已脱胎换骨，变成了一个全新的人。

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Through the story of Les Misérables, we explore the contrast between grace and law through the lives of Jean Valjean and Inspector Javert. One allows grace to transform his identity and begin a new story, while the other cannot accept it. God's grace has the power not only to save us, but to free us from our past and completely change our future.

Nếu có một nhịp cầu giữa huyền thoại Bob Dylan với quê hương của Victor Hugo chắc chắn cây cầu đó phải là nhạc sĩ người Pháp Hugues Aufray. Văn chương, thi ca, điện ảnh, phong cách của người dân Pháp đều có sức thu hút rất lớn và Bob Dylan còn bị tiếng hát của tác giả Tous les garcons et les filles làm mê hoặc. Đầu thập niên 1960 tình cờ trên đường phố New York, chính xác hơn là tại khu Greenwich Village, Aufray đã trông thấy một nhạc sĩ gầy gò với cây đàn ghi ta, trong một quán bar. Hàng thập niên sau danh ca người Pháp này kể lại : « Người ta thường nói tiếng sét ái tình mà quên mất rằng trong tình bạn cũng có thể những cú sét đó. Chỉ lướt qua nhau tôi đã trông thấy một nghệ sĩ tài hoa. Lần đầu hội ngộ tôi ngỡ đã gặp được thi sĩ Rimbaud ». Ngôn ngữ của văn thơ và sự đồng điệu Điều kỳ diệu là Dylan và Aufrey đã vượt lên được những rào cản về ngôn ngữ, họ « kể chuyện cho nhau nghe » bởi có lẽ cả hai cùng nói chuyện với nhau bằng ngôn ngữ của thơ, của nhạc và của tâm hồn … Aufray một nhà soạn nhạc, được biết đến nhiều với những ca khúc như Santiano và Céline. Ông cũng là người sau này đã dịch sang ngôn ngữ của Molière biết bao tác phẩm của Bob Dylan … Hugues từ hơn 6 thập niên qua luôn là nhịp cầu đưa những ca khúc của danh ca người Mỹ này đến với công chúng Pháp qua phần trình bảy của rất nhiều thế hệ ca sĩ Pháp như Francis Cabrel, Johhny Hallyday … hay Alain Bashung Vào năm 1961, Robert Zimmerman chân ướt chân ráo đến New York lập nghiệp, trước khi tìm được cho mình một nghệ danh ưng ý. Khi biết người bạn mới quen từ Kinh Đô Ánh Sáng đổ bộ lên đất tự do Hoa Kỳ, Zimmerman như thể « buồn ngủ mà gặp chiếu manh », vồ vập hỏi thăm về những Apolinaire, Mallarmé…, về Nhà Thờ Đức Bà Paris. Anh muốn tận tai nghe một người Pháp nói về Les Misérables của Victor Hugo … Trước khi trở thành huyền thoại Bob Dylan, Zimmerman đã lấy nguồn cảm hứng từ những áng thơ của Baudelaire, từ những lý tưởng về một xã hội công bằng và bác ái qua nhân vật Jean Valjean, từ những suy ngẫm về cuộc đời chắt lọc từ tuyển tập thơ Les Contemplations ..  Hugues Aufray là nhạc sĩ Pháp tận mắt trông thấy sự hình thành của huyền thoại Dylan. Những năm đầu, Dylan mỗi lần đến Paris, không một đồng xu dính túi, đều tá túc trong căn hộ của « Hug' » đường Saint Médard, ở quận 5. Họ thức trắng đêm để nói chuyện văn, thơ...  Năm 1963, nhạc sĩ người Mỹ cùng Hugues Aufray khám phá Paris, lần theo dấu chân của những Rimbaud và Verlaine, để đưa những tên tuổi ấy vào chính những tác phẩm của mình sau này. Ca khúc You're Gonna Make Me Lonesome When You Go phảng phất câu thơ của Paul Verlaine « Il pleure dans mon cœur comme il pleut sur la ville – Nước mắt trong lòng, như mưa trên phố » và ý tưởng chỉ cần « thiếu vắng một người, cả thế giới trở nên vô nghĩa » từng được Lamartine đưa vào thi ca … Like a Rolling Stone  Đâu chỉ có Bob Dylan ngưỡng mộ văn chương Pháp. Một trong những cây bút nổi tiếng nhất trên văn đàn Pháp, nữ sĩ Marguerite Yourcenar (1903-1987) trong một cuộc trả lời phỏng vấn trên đài truyền hình đã hết lời khen ngợi Bob Dylan. Bà nói « Bob Dylan là đỉnh cao trong thi ca, ý thơ của anh là hơi thở của thời đại. Những lời thơ của anh luôn ẩn chứa những phẩm giá cao quý. Dylan có cách diễn đạt tinh tế và giọng hát thiên thần ». Không chỉ yêu văn chương và thi ca của Pháp, ông còn bị choán ngợp bởi tinh thần dấn thân trước thời đại của các đại văn hào của Pháp từ thế kỷ 17- cho đến tận ngày hôm nay… Tác giả của những The Time They Are A Changin' hay Like a Rolling Stone còn rất say mê điện ảnh Pháp.  Một trong những bộ phim có giá trị nhất trong mắt ông là Les Enfants du Paradis - Những đứa trẻ trên thiên đường của Marcel Carné. Kịch bản và lời thoại trong bộ phim đen trắng ra mắt công chúng năm 1945 này do nhà thơ Jacques Prévert biên soạn…   Les Enfants du Paradis đã thôi thúc nhạc sĩ Dylan bước vào nghệ thuật thứ Bảy. Ông cùng biên soạn kịch bản và tham gia bộ phim Renaldo và Sarah… mà trong đó, nhân vật ông thủ vai giống Bob Dylan ở ngoài đời như hai giọt nước. Tình yêu một chiều   Văn chương, thi ca, điện ảnh, phong cách của người dân Pháp ...đều có sức thu hút rất lớn đối với nhạc sĩ Bob Dylan. Sự nghiệp của Bob Dylan bắt đầu cất cánh. Những năm 1961-1965 được xem là giai đoạn mà hầu hết mỗi sáng tác của ông đều là « một tượng đài » trong âm nhạc. Bắt đầu nổi tiếng trên thế giới « Bob » vẫn trung thành với nước Pháp và gắn bó với người bạn thuở ban đầu là Aufray…   danh ca người Mỹ này rất thường xuyên sang Pháp. Lúc thì ở Paris, khi thì tìm đến nắng ấm của đảo Corse, liếc mắt đưa tình với những cô gái nhỏ ở thị trấn Saintes Marie de la Mer, vùng Camargue, miền nam nước Pháp… để rồi bị một tiếng hát thôi miên, một đôi gò má cao và gương mặt hơi « xương xẩu » xương xẩu của Françoise Hardy làm mê hoặc. Bob Dylan đã viết hàng chục bức thư tình nhưng chẳng bao giờ dám gửi đến tác giả ca khúc Tous les garçons et les filles …. Mãi đến vòng lưu diễn ở Paris, năm 1966, tại rạp hát Olympia, tình cảm dành cho Françoise Hardy dâng cao như thủy triều … Đêm biểu diễn hôm đó, giữa chừng Bob Dylan thực sự « phát điên ». Anh  đòi phải mời cho bằng được Françoise Hardy đến gặp mình. Gặp được người trong mộng, trong phòng nghỉ, nghệ sĩ người Mỹ này chỉ cầm lấy cây đàn ghi tả và hát cho cô nghe hai ca khúc Juste Like a Woman và I want You … Nhiều năm sau khi tóc đã nhuộn màu  thời gian, Françoise Hardy tâm sự : « Lần đó là cuộc hội ngộ duy nhất ». Bob Dylan « gầy như que củi, xấu xí, tóc tai bù xù, móng tay để dài như phù thủy ... ». Françoise Hardy khi đó không hào hứng với lời tỏ tình của Dylan … Bà thú nhận, từng « ngây thơ đến dại khờ » chẳng hiểu vì sao Bob Dylan lại chọn hai nhạc phẩm nói trên để hát tặng mình. Mãi sau này Françoise Hardy mới hiểu thêm một chút về Bob Dylan : « Thật đau lòng khi anh ấy đề cập đến mối tình nghìn trùng xa cách giữa hai người yêu nhau, không thể ngờ rằng tình yêu có thể nảy sinh từ một bức ảnh, và chỉ một bức ảnh là đủ để anh ấy hiểu thật nhiều về tôi  ».  Mãi sau này Françoise Hardy mới đọc được những bài thơ Bob Dylan đã sáng tác để tặng riêng cho bà. 

Nếu có một nhịp cầu giữa huyền thoại Bob Dylan với quê hương của Victor Hugo chắc chắn cây cầu đó phải là nhạc sĩ người Pháp Hugues Aufray. Văn chương, thi ca, điện ảnh, phong cách của người dân Pháp đều có sức thu hút rất lớn và Bob Dylan còn bị tiếng hát của tác giả Tous les garcons et les filles làm mê hoặc. Đầu thập niên 1960 tình cờ trên đường phố New York, chính xác hơn là tại khu Greenwich Village, Aufray đã trông thấy một nhạc sĩ gầy gò với cây đàn ghi ta, trong một quán bar. Hàng thập niên sau danh ca người Pháp này kể lại : « Người ta thường nói tiếng sét ái tình mà quên mất rằng trong tình bạn cũng có thể những cú sét đó. Chỉ lướt qua nhau tôi đã trông thấy một nghệ sĩ tài hoa. Lần đầu hội ngộ tôi ngỡ đã gặp được thi sĩ Rimbaud ». Ngôn ngữ của văn thơ và sự đồng điệu Điều kỳ diệu là Dylan và Aufrey đã vượt lên được những rào cản về ngôn ngữ, họ « kể chuyện cho nhau nghe » bởi có lẽ cả hai cùng nói chuyện với nhau bằng ngôn ngữ của thơ, của nhạc và của tâm hồn … Aufray một nhà soạn nhạc, được biết đến nhiều với những ca khúc như Santiano và Céline. Ông cũng là người sau này đã dịch sang ngôn ngữ của Molière biết bao tác phẩm của Bob Dylan … Hugues từ hơn 6 thập niên qua luôn là nhịp cầu đưa những ca khúc của danh ca người Mỹ này đến với công chúng Pháp qua phần trình bảy của rất nhiều thế hệ ca sĩ Pháp như Francis Cabrel, Johhny Hallyday … hay Alain Bashung Vào năm 1961, Robert Zimmerman chân ướt chân ráo đến New York lập nghiệp, trước khi tìm được cho mình một nghệ danh ưng ý. Khi biết người bạn mới quen từ Kinh Đô Ánh Sáng đổ bộ lên đất tự do Hoa Kỳ, Zimmerman như thể « buồn ngủ mà gặp chiếu manh », vồ vập hỏi thăm về những Apolinaire, Mallarmé…, về Nhà Thờ Đức Bà Paris. Anh muốn tận tai nghe một người Pháp nói về Les Misérables của Victor Hugo … Trước khi trở thành huyền thoại Bob Dylan, Zimmerman đã lấy nguồn cảm hứng từ những áng thơ của Baudelaire, từ những lý tưởng về một xã hội công bằng và bác ái qua nhân vật Jean Valjean, từ những suy ngẫm về cuộc đời chắt lọc từ tuyển tập thơ Les Contemplations ..  Hugues Aufray là nhạc sĩ Pháp tận mắt trông thấy sự hình thành của huyền thoại Dylan. Những năm đầu, Dylan mỗi lần đến Paris, không một đồng xu dính túi, đều tá túc trong căn hộ của « Hug' » đường Saint Médard, ở quận 5. Họ thức trắng đêm để nói chuyện văn, thơ...  Năm 1963, nhạc sĩ người Mỹ cùng Hugues Aufray khám phá Paris, lần theo dấu chân của những Rimbaud và Verlaine, để đưa những tên tuổi ấy vào chính những tác phẩm của mình sau này. Ca khúc You're Gonna Make Me Lonesome When You Go phảng phất câu thơ của Paul Verlaine « Il pleure dans mon cœur comme il pleut sur la ville – Nước mắt trong lòng, như mưa trên phố » và ý tưởng chỉ cần « thiếu vắng một người, cả thế giới trở nên vô nghĩa » từng được Lamartine đưa vào thi ca … Like a Rolling Stone  Đâu chỉ có Bob Dylan ngưỡng mộ văn chương Pháp. Một trong những cây bút nổi tiếng nhất trên văn đàn Pháp, nữ sĩ Marguerite Yourcenar (1903-1987) trong một cuộc trả lời phỏng vấn trên đài truyền hình đã hết lời khen ngợi Bob Dylan. Bà nói « Bob Dylan là đỉnh cao trong thi ca, ý thơ của anh là hơi thở của thời đại. Những lời thơ của anh luôn ẩn chứa những phẩm giá cao quý. Dylan có cách diễn đạt tinh tế và giọng hát thiên thần ». Không chỉ yêu văn chương và thi ca của Pháp, ông còn bị choán ngợp bởi tinh thần dấn thân trước thời đại của các đại văn hào của Pháp từ thế kỷ 17- cho đến tận ngày hôm nay… Tác giả của những The Time They Are A Changin' hay Like a Rolling Stone còn rất say mê điện ảnh Pháp.  Một trong những bộ phim có giá trị nhất trong mắt ông là Les Enfants du Paradis - Những đứa trẻ trên thiên đường của Marcel Carné. Kịch bản và lời thoại trong bộ phim đen trắng ra mắt công chúng năm 1945 này do nhà thơ Jacques Prévert biên soạn…   Les Enfants du Paradis đã thôi thúc nhạc sĩ Dylan bước vào nghệ thuật thứ Bảy. Ông cùng biên soạn kịch bản và tham gia bộ phim Renaldo và Sarah… mà trong đó, nhân vật ông thủ vai giống Bob Dylan ở ngoài đời như hai giọt nước. Tình yêu một chiều   Văn chương, thi ca, điện ảnh, phong cách của người dân Pháp ...đều có sức thu hút rất lớn đối với nhạc sĩ Bob Dylan. Sự nghiệp của Bob Dylan bắt đầu cất cánh. Những năm 1961-1965 được xem là giai đoạn mà hầu hết mỗi sáng tác của ông đều là « một tượng đài » trong âm nhạc. Bắt đầu nổi tiếng trên thế giới « Bob » vẫn trung thành với nước Pháp và gắn bó với người bạn thuở ban đầu là Aufray…   danh ca người Mỹ này rất thường xuyên sang Pháp. Lúc thì ở Paris, khi thì tìm đến nắng ấm của đảo Corse, liếc mắt đưa tình với những cô gái nhỏ ở thị trấn Saintes Marie de la Mer, vùng Camargue, miền nam nước Pháp… để rồi bị một tiếng hát thôi miên, một đôi gò má cao và gương mặt hơi « xương xẩu » xương xẩu của Françoise Hardy làm mê hoặc. Bob Dylan đã viết hàng chục bức thư tình nhưng chẳng bao giờ dám gửi đến tác giả ca khúc Tous les garçons et les filles …. Mãi đến vòng lưu diễn ở Paris, năm 1966, tại rạp hát Olympia, tình cảm dành cho Françoise Hardy dâng cao như thủy triều … Đêm biểu diễn hôm đó, giữa chừng Bob Dylan thực sự « phát điên ». Anh  đòi phải mời cho bằng được Françoise Hardy đến gặp mình. Gặp được người trong mộng, trong phòng nghỉ, nghệ sĩ người Mỹ này chỉ cầm lấy cây đàn ghi tả và hát cho cô nghe hai ca khúc Juste Like a Woman và I want You … Nhiều năm sau khi tóc đã nhuộn màu  thời gian, Françoise Hardy tâm sự : « Lần đó là cuộc hội ngộ duy nhất ». Bob Dylan « gầy như que củi, xấu xí, tóc tai bù xù, móng tay để dài như phù thủy ... ». Françoise Hardy khi đó không hào hứng với lời tỏ tình của Dylan … Bà thú nhận, từng « ngây thơ đến dại khờ » chẳng hiểu vì sao Bob Dylan lại chọn hai nhạc phẩm nói trên để hát tặng mình. Mãi sau này Françoise Hardy mới hiểu thêm một chút về Bob Dylan : « Thật đau lòng khi anh ấy đề cập đến mối tình nghìn trùng xa cách giữa hai người yêu nhau, không thể ngờ rằng tình yêu có thể nảy sinh từ một bức ảnh, và chỉ một bức ảnh là đủ để anh ấy hiểu thật nhiều về tôi  ».  Mãi sau này Françoise Hardy mới đọc được những bài thơ Bob Dylan đã sáng tác để tặng riêng cho bà. 

En el nuevo capítulo de Estamos de Cine te animamos a apuntarte a una excursión muy especial. Nos espera el Museo del Cine en Hollywood de la mano de un singular personaje de dibujos animados. Y es que gracias a este visita escolar, vamos a conocer uno de los secretos mejor guardados de la industria: el estrecho vínculo que une a los célebres Minions con los mismísimos orígenes del séptimo arte. Minions and Monster lleva llenando salas de todo el mundo desde el pasado miércoles y será recordada como un brillante homenaje a los clásicos cinematográficos y a creadores de la talla de George Lucas, Orson Welles o Charles Chaplin, aderezado con una imponente banda sonora a cargo de John Powell que es analizada detalladamente junto a Ángel Luque. Pero además, en nuestro Filtro Luchini, desglosamos las virtudes y defectos de esta nueva fiebre amarilla que ya inunda la pantalla veraniega, sin olvidar que la cartelera se complementa con dos propuestas de perfiles antagónicos que prometen captar la atención de los espectadores. Por un lado, se analiza el regreso de Hugh Jackman en La muerte de Robin Hood, donde el actor cabalga entre la esencia de Lobezno y Jean Valjean; por el otro, se examina el papel de Bob Odenkirk en Normal, un filme donde el protagonista de Breaking Bad interpreta a un ayudante de sheriff aparentemente perdedor. Con este menú, el formato radiofónico ofrece el broche perfecto antes de su tradicional pausa estival, anticipando además las mejores bandas sonoras y los títulos imprescindibles para disfrutar de un verano en pantalla grande.

Link para À Mesa: https://www.lucianopires.com.br/amesa/a-mesa-instagram?utm_source=Podcast&utm_medium=Cafezinho&utm_campaign=Amesa Quando uma sociedade está tensa, cansada ou com medo, quase sempre procura alguém para carregar a culpa. Foi assim com Jean Valjean, foi assim tantas vezes na política, no futebol, nas empresas e agora nas redes sociais. A pessoa erra, mas o erro vira identidade. Neste Cafezinho, parto de René Girard e da ideia do bode expiatório para perguntar: quando apontamos o dedo, estamos buscando justiça ou apenas alívio? Um convite para ouvir o Café Brasil 1036 – O Bode Expiatório, e desconfiar das certezas fáceis da multidão. See omnystudio.com/listener for privacy information.

Link para À Mesa: https://www.lucianopires.com.br/amesa/a-mesa-instagram?utm_source=Podcast&utm_medium=Cafezinho&utm_campaign=Amesa Quando uma sociedade está tensa, cansada ou com medo, quase sempre procura alguém para carregar a culpa. Foi assim com Jean Valjean, foi assim tantas vezes na política, no futebol, nas empresas e agora nas redes sociais. A pessoa erra, mas o erro vira identidade. Neste Cafezinho, parto de René Girard e da ideia do bode expiatório para perguntar: quando apontamos o dedo, estamos buscando justiça ou apenas alívio? Um convite para ouvir o Café Brasil 1036 – O Bode Expiatório, e desconfiar das certezas fáceis da multidão. See omnystudio.com/listener for privacy information.

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This powerful message invites us into a transformative exploration of grace and mercy through the lens of musical theater and Scripture. At its heart lies the story from Luke's Gospel of an unnamed woman—a sinner seeking forgiveness—who boldly enters the home of Simon the Pharisee to encounter Jesus. While Simon sees only her reputation and past mistakes, Jesus sees her faith, humility, and desperate need for redemption. This biblical narrative runs parallel to the story of Jean Valjean from Les Misérables, a man defined by his prisoner number 24601 until a bishop's unexpected act of grace changes everything. Both stories challenge us to examine how we see ourselves and others: Are we trapped by labels from our past? Do we believe transformation is possible? The message reveals that lasting change rarely comes through judgment or condemnation, but through encounters with radical grace. When Jean Valjean steals silver from the bishop who showed him hospitality, he expects punishment. Instead, the bishop claims he gave the silver as a gift and adds candlesticks to the treasure, telling Jean he has bought his soul for God. This undeserved mercy becomes the catalyst for Jean's complete transformation from bitter ex-convict to compassionate mayor and father figure. Similarly, Jesus offers the sinful woman what she desperately needs—not shame, but forgiveness and peace. We're invited to reflect on which character we embody: Are we like Simon, focused on others' sins and unable to celebrate redemption? Are we like the woman or Jean, desperately needing grace? Or are we called to be like Jesus and the bishop, offering mercy when it's least expected? The message reminds us that grace sees possibilities while judgment sees only problems, and that we are not defined by our worst moments but by God's transformative love.

Gerry caught up with his friend Meath actor Killian Donnelly, who plays Jean Valjean in Les Miserables Arena Tour, which touches down in Dublin this week! Hosted on Acast. See acast.com/privacy for more information.

Listeners told us the ice lollies of yesteryear they'd love to see back in shop fridges again as Caroline Smith fills cones to beat the band from her ice cream vans, , Killian Donnelly is really looking forward to reprising Jean Valjean when Les Miserables comes to the Three Arena in Dublin from Friday, organic gardener Roisin Cotter wants growing food introduced on the school curriculum and young boxer Grace Conway is over the moon with her first senior national title. Hosted on Acast. See acast.com/privacy for more information.

Aujourd'hui, Antoine Diers, consultant auprès des entreprises, Didier Giraud, éleveur de bovins, et Fatima Aït Bounoua, prof de français, débattent de l'actualité autour d'Olivier Truchot.

Rencontre avec Eric Besnard, le réalisateur de Jean Valjean qui s'est concentré sur les 80 premières pages des Misérables pour écrire le scénario du film. Jean Valjean sur le grand écran en Australie prochainement.

Show notes: Querían fuego del cielo, pero Cristo ofreció gracia. Descubre el corazón del Evangelio al explorar cómo responder al rechazo: ¿con el juicio humano o con la gracia de Cristo que avanza decidido hacia la cruz para salvarnos?  

Dans cette enquête, l'autrice Typhaine Samoyault déploie le destin éditorial des Misérables, de Victor Hugo, publié en 1862 et devenu un classique...  Les Misérables, roman fleuve de Victor Hugo a été publié en 1862. Devenu un classique de la littérature malgré ses 2 500 pages, ce roman social et historique a été dès sa parution adapté, réécrit, traduit, abrégé de nombreuses fois. Il a également fait l'objet de nombreuses adaptations cinéma ou télé : près d'une cinquantaine. Il y a même eu une comédie musicale.  Réécrire les classiques : une fausse question ? Typhaine Samoyault a lu les Misérables trois fois mais n'a jamais lu la même version ! Dans Toutes sortes de Misérables, elle révèle comment ce roman est devenu l'un des plus réappropriés du monde et interroge : « Faut-il réécrire les classiques ? » Est-ce, en fait, une fausse question ?  Des personnages qui se sont affranchis du roman  Le roman social et historique de Victor Hugo est devenu un classique et ses personnages Cosette, Gavroche, Jean Valjean et autres Thénardier, des icônes de la culture populaire. Leurs noms sont même devenus des expressions ! « Les personnages sont des personnages qui se sont affranchis du texte pour devenir des familiers comme s'ils appartenaient à la réalité, comme s'ils prenaient leur autonomie : c'est la force des grandes œuvres ! » Adaptations et traductions : faire usage des classiques Mais, selon Typhaine Samoyault, si ce roman est devenu un classique ce n'est pas uniquement dû à sa qualité littéraire, c'est aussi grâce à la profusion d'adaptations et de traductions. Dès 1884, il existe déjà même une version adaptée à la jeunesse. « Victor Hugo voulait une réception populaire de son texte. Il a voulu qu'il y ait des éditions bon marché et accessibles de son texte » Ce roman traduit dans toutes les langues, en Chine ou en Russie, ce sont des versions différentes car le texte est adapté. « La langue change le texte : on ne produit jamais de traduction miroir, c'est aussi une occasion pour les traducteurs de proposer une version abrégée. » Une œuvre vivante, c'est une œuvre changeante  Pour Typhaine Samoyault, un classique constamment est reprise. « Il n'y a pas de contre-exemple. Une œuvre qui n'est plus adaptée aux époques ou autres cultures ne peuvent pas des classiques. On garde la mémoire orale de cette littérature ». La littérature doit donc être en mouvement car cela fait vivre les livres, car il ne s'agit pas seulement de les conserver, il faut les faire circuler, les transformer, les réinventer. « Il ne faut pas avoir peur des réécritures, ce n'est pas un phénomène récent ». L'autrice rappelle que de nombreux classiques ont été expurgés de leurs références religieuses lors de la séparation de l'Église et de l'État par exemple...  Invitée : Typhaine Samoyault, directrice d'études de l'EHESS, directrice du Centre de recherches sur les arts et le langage. Elle est aussi romancière et traductrice. Son essai Toutes sortes de Misérables est publié aux éditions du Seuil.  Programmation musicale : L'artiste NeS avec le titre Le bruit et le silence.  

Dans cette enquête, l'autrice Typhaine Samoyault déploie le destin éditorial des Misérables, de Victor Hugo, publié en 1862 et devenu un classique...  Les Misérables, roman fleuve de Victor Hugo a été publié en 1862. Devenu un classique de la littérature malgré ses 2 500 pages, ce roman social et historique a été dès sa parution adapté, réécrit, traduit, abrégé de nombreuses fois. Il a également fait l'objet de nombreuses adaptations cinéma ou télé : près d'une cinquantaine. Il y a même eu une comédie musicale.  Réécrire les classiques : une fausse question ? Typhaine Samoyault a lu les Misérables trois fois mais n'a jamais lu la même version ! Dans Toutes sortes de Misérables, elle révèle comment ce roman est devenu l'un des plus réappropriés du monde et interroge : « Faut-il réécrire les classiques ? » Est-ce, en fait, une fausse question ?  Des personnages qui se sont affranchis du roman  Le roman social et historique de Victor Hugo est devenu un classique et ses personnages Cosette, Gavroche, Jean Valjean et autres Thénardier, des icônes de la culture populaire. Leurs noms sont même devenus des expressions ! « Les personnages sont des personnages qui se sont affranchis du texte pour devenir des familiers comme s'ils appartenaient à la réalité, comme s'ils prenaient leur autonomie : c'est la force des grandes œuvres ! » Adaptations et traductions : faire usage des classiques Mais, selon Typhaine Samoyault, si ce roman est devenu un classique ce n'est pas uniquement dû à sa qualité littéraire, c'est aussi grâce à la profusion d'adaptations et de traductions. Dès 1884, il existe déjà même une version adaptée à la jeunesse. « Victor Hugo voulait une réception populaire de son texte. Il a voulu qu'il y ait des éditions bon marché et accessibles de son texte » Ce roman traduit dans toutes les langues, en Chine ou en Russie, ce sont des versions différentes car le texte est adapté. « La langue change le texte : on ne produit jamais de traduction miroir, c'est aussi une occasion pour les traducteurs de proposer une version abrégée. » Une œuvre vivante, c'est une œuvre changeante  Pour Typhaine Samoyault, un classique constamment est reprise. « Il n'y a pas de contre-exemple. Une œuvre qui n'est plus adaptée aux époques ou autres cultures ne peuvent pas des classiques. On garde la mémoire orale de cette littérature ». La littérature doit donc être en mouvement car cela fait vivre les livres, car il ne s'agit pas seulement de les conserver, il faut les faire circuler, les transformer, les réinventer. « Il ne faut pas avoir peur des réécritures, ce n'est pas un phénomène récent ». L'autrice rappelle que de nombreux classiques ont été expurgés de leurs références religieuses lors de la séparation de l'Église et de l'État par exemple...  Invitée : Typhaine Samoyault, directrice d'études de l'EHESS, directrice du Centre de recherches sur les arts et le langage. Elle est aussi romancière et traductrice. Son essai Toutes sortes de Misérables est publié aux éditions du Seuil.  Programmation musicale : L'artiste NeS avec le titre Le bruit et le silence.  

Today's guest is Jon Robyns who is starring as Miss Trunchbull in the West End production of Matilda.Having premiered in Stratford-upon-Avon in 2010, the Royal Shakespeare Company's musical has been seen by 11 million people across 100 cities worldwide. Written by Dennis Kelly, Matilda has music and lyrics by Tim Minchin and direction by Matthew Warchus. Jon took over as Miss Trunchbull last year, immediately after his run as Tom Buchanan in The Great Gatsby at the London Coliseum.Jon's West End credits include The Phantom in The Phantom of the Opera, Jean Valjean in Les Misérables (having previously played Enjolras and Marius), King George in Hamilton, alternate Huey in Memphis, Scrooge & others in Dickens Abridged, Galahad in Spamalot and Princeton & Rod in Avenue Q.Jon's other theatre credits include: Adam Nehemiah in Dessa Rose (Trafalgar Studios 2), Robbie in The Wedding Singer (UK & Ireland Tour), Emmet in Legally Blonde (Leicester Curve), Eddie in Sister Act (UK & Ireland Tour), Caractacus Potts in Chitty Chitty Bang Bang (West Yorkshire Playhouse), Jamie in The Last Five Years (Greenwich Theatre), Hollis in Road Show (Menier Chocolate Factory), Mark in Rent (Frankfurt) and alternate Chris in Miss Saigon (UK & Ireland Tour). Jon performs in concerts all around the world and, alongside his performing work, is also a writer. Jon and his writing partner Christopher J Orton's musical Then, Now & Next premiered at the Southwark Playhouse in the summer of 2023, and they continue to collaborate on new writing projects.In this episode Jon discusses his time in The Great Gatsby, the process of taking over as Miss Trunchbull and his next writing project, plus lots more.Matilda runs at the Cambridge Theatre. Visit www.uk.matildathemusical.com for info and tickets.This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

Los Miserables sigue la historia de Jean Valjean, un exconvicto que busca redimirse tras salir de prisión. Perseguido incansablemente por el inspector Javert, Valjean reconstruye su vida mientras cuida a Cosette, la hija de Fantine, una mujer explotada por la pobreza.

Welcome to our yearly Recap Book Chat Awards for the year 2025.Most whimsical: The Little Prince by Antoine de Saint-Exupéry – Its dreamy, childlike philosophical tale of a young prince traveling planets, full of wonder, imagination, and gentle absurdity, captures pure whimsy more than any other on the list. BFG and Much Ado About Nothing also fit this category.Grittiest: Les Misérables by Victor Hugo – Depicting extreme poverty, injustice, prison brutality, prostitution, child suffering, and revolutionary violence in raw detail, it unflinchingly explores human misery and societal cruelty. Most unique format: The Unselected Journals of Emma M. Lion (Vol. 1 or 2) – Written entirely as witty, personal diary entries from a quirky Victorian-era heroine, this journal style stands out distinctly among traditional narratives, plays, and prose.Best opening line: The Green Ember by S.D. Smith “Heather had invented the game, but Picket made it magic.” Most unpredictable: The Nature of Fragile Things by Susan Meissner – Filled with shocking twists involving deception, bigamy, and survival amid the 1906 San Francisco earthquake, its plot revelations keep readers guessing.Most intense: Where the Lost Wander by Amy Harmon-Family killed in front of her, captured by Indians, yet in love with an Indian man. Most impactful in society: Les Misérables by Victor Hugo – A monumental critique of social injustice that influenced reforms, human rights discourse, and popular culture worldwide through adaptations highlighting redemption and inequality.Most creative: The Fellowship of the Ring by J.R.R. Tolkien – Inventing an entire mythology, languages, maps, and world (Middle-earth) showcases unparalleled imaginative world-building.Best leading lady: Emmalyne Knox from The Quarryman's Bride by Tracie Peterson – Intelligent, resilient, compassionate, dealing with trauma from loss of sisters, home and betrothed. Best leading man: Aragorn from The Fellowship of the Ring by J.R.R Tolkien. Brave warrior, wise strategist, skilled healer, humble leader, stoic strength and empathy. Aragorn demonstrates a balanced masculinity free of pettiness, unjust anger or despair. He epitomizes patience and loyalty beyond today's imagination! Best ending: Ferris by Kate Dicamillo, what a beautiful story of reconciliation and  community, Here Be Dragons by Melanie Shankle ends with her teaching her daughter to navigate the dragons (aka mean girls) in life.Changed our lives: Seeing the Unseen by Joe Beam, preparing yourself for Spiritual Warfare along with the bishop in Les Miserables whose kindness changed Jean Valjean's life! Stands the test of time: The Fellowship of the Ring by J.R.R. Tolkien – Decades later, it remains a cultural cornerstone, influencing fantasy and enduring as a beloved classic.Best overall book: The Fellowship of the Ring by J.R.R. Tolkien – Masterful storytelling, rich themes of friendship, heroism, and good vs. evil, combined with enduring influence and depth, make it a standout masterpiece. Happy New Year dear readers!!!

Quand on pense à Victor Hugo, on imagine un génie littéraire sûr de sa vision, planifiant ses œuvres colossales avec une précision presque architecturale. Et pourtant, Les Misérables, l'un des romans les plus célèbres de la littérature mondiale, commence d'une manière déroutante : sur la première page manuscrite, Hugo a tracé… un simple point d'interrogation. Un « ? » immense, isolé, sans commentaire. Ce signe mystérieux est resté pendant des décennies l'une des énigmes les plus fascinantes de l'histoire littéraire française.Pour comprendre ce geste, il faut revenir à 1845. Hugo a déjà l'idée d'un grand roman social, mais il ne sait pas encore quelle forme lui donner. Le projet s'appelle d'abord Les Misères, puis Jean Tréjean, du nom initial de Jean Valjean. Il prend des notes, dessine des plans, tente de structurer le récit… mais rien ne s'assemble vraiment. Le sujet est immense : pauvreté, injustice, rédemption, révolution, morale chrétienne. Hugo, pourtant prolifique, hésite. L'œuvre le dépasse. Alors, sur la première page du cahier, il ne met pas un titre, mais ce « ? », comme une confession silencieuse : tout est encore ouvert.Puis vient l'événement décisif : en 1851, Hugo doit fuir Paris après le coup d'État de Napoléon III. Exilé à Bruxelles, puis à Jersey et Guernesey, il se retrouve coupé de sa vie parisienne, mais plongé dans une solitude féconde. Au milieu des tempêtes, des falaises et du vent atlantique, il reprend son vieux projet. Et c'est là que le « ? » devient une force. Privé de tout sauf de son manuscrit, Hugo voit dans ce signe le symbole d'une question centrale : comment raconter la misère humaine sans la trahir ? Son exil devient la réponse.Pendant près de quinze ans, il remodèle, agrandit et reconstruit son roman. Le « ? » disparaît dans les versions suivantes, mais l'esprit d'incertitude créatrice qu'il représente irrigue toute l'œuvre. Les Misérables n'est pas seulement un récit, mais la tentative gigantesque d'expliciter cette interrogation initiale : comment une société fabrique-t-elle ses exclus, et comment un homme peut-il renaître malgré elle ?Le point d'interrogation d'Hugo n'est pas un oubli. C'est l'acte fondateur d'un roman qui cherche, questionne, doute avant de s'affirmer. Un rappel que même les géants commencent parfois leurs œuvres les plus monumentales par la plus simple des choses : une question. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

La comédienne Isabelle Carré passe derrière la caméra pour la première fois. Avec Les rêveurs, elle adapte son premier roman du même nom, qui avait trouvé un large écho. Ce film devrait aussi toucher en plein coeur le public, avec son sujet très fort, celui de la santé mentale des adolescents, avec une part très autobiographique de la part d'Isabelle Carré qui a plongé dans ses propres souvenirs.Il s'agit d'un sujet plus actuel que jamais. La primo-cinéaste l'aborde avec une grande justesse et beaucoup de sincérité. Nous avons rencontré la cinéaste pour parler de cette première expérience de réalisation, de sa genèse à sa sortie. L'occasion également d'évoquer plus largement son actualité, Jean Valjean au cinéma dès la semaine prochaine, et la pièce de théâtre Un Pas de côté, actuellement au Théâtre de la Renaissance.Crédits :Journaliste : Brigitte BaronnetMontage : Constance Mathews Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

French director Rebecca Zlotowski had dreamed of working with her ever since she first started making films: Jodie Foster now takes on the leading role in "Private Life" as a psychologist haunted by a mysterious disappearance. Film critic Manon Kerjean gives us her appraisal of the film, and points us in the direction of "Dossier 137", a tense police drama that draws on real-life events with compelling results. We also discuss the heartwarming, stylish "Love Letters" from Alice Douard and the origin story of one of Victor Hugo's most beloved characters, "Jean Valjean".

durée : 00:24:25 - La Série fiction - Marius et Cosette se marient le 16 février 1833. Le lendemain, Jean Valjean avoue à Marius qu'il est un ancien forçat.

durée : 00:24:39 - La Série fiction - La barricade est tombée. Le révolutionnaire Enjolras et ses amis sont fusillés. Jean Valjean sauve Marius blessé en s'enfuyant par les égouts. - réalisation : François Christophe

durée : 00:24:43 - La Série fiction - Gavroche meurt sur les barricades alors que Marius vient de lui confier une lettre pour Cosette. Jean Valjean prête main-forte aux révolutionnaires. - réalisation : François Christophe

durée : 00:24:32 - La Série fiction - En 1832, le choléra menace Paris. Jean Valjean veut partir en Angleterre pour protéger Cosette. La jeune femme est désespérée à l'idée de quitter Marius. - réalisation : François Christophe

durée : 00:24:33 - La Série fiction - Jean Valjean et Cosette sont recueillis à Paris dans le couvent du Petit Picpus où l'enfant s'épanouit sous les yeux attendris du forçat devenu jardinier. - réalisation : François Christophe

durée : 00:24:19 - La Série fiction - Jean Valjean, condamné pour le vol d'un pain est libéré après 20 ans de Bagne, en 1815. Il arrive dans la ville de Dignes.

durée : 00:24:59 - La Série fiction - Sur la route Jean Valjean a détroussé un petit ramoneur, il repense à la phrase de l'évêque et s'en va honteux, désespéré.

durée : 00:24:29 - La Série fiction - Pour payer la pension de Cosette aux Thénardier, Fantine trouve du travail dans la fabrique de Monsieur Madeleine alias Jean Valjean. devenu maire de la ville.

durée : 00:24:50 - La Série fiction - Javert dénonce Jean Valjean et dévoile sa véritable identité à l'heure où un homme va être jugé à sa place. - réalisation : François Christophe

durée : 00:24:33 - La Série fiction - Jean Valjean et Cosette sont recueillis à Paris dans le couvent du Petit Picpus où l'enfant s'épanouit sous les yeux attendris du forçat devenu jardinier. - réalisation : François Christophe

durée : 00:24:32 - La Série fiction - En 1832, le choléra menace Paris. Jean Valjean veut partir en Angleterre pour protéger Cosette. La jeune femme est désespérée à l'idée de quitter Marius. - réalisation : François Christophe

durée : 00:24:43 - La Série fiction - Gavroche meurt sur les barricades alors que Marius vient de lui confier une lettre pour Cosette. Jean Valjean prête main-forte aux révolutionnaires. - réalisation : François Christophe

durée : 00:24:39 - La Série fiction - La barricade est tombée. Le révolutionnaire Enjolras et ses amis sont fusillés. Jean Valjean sauve Marius blessé en s'enfuyant par les égouts. - réalisation : François Christophe

durée : 00:24:25 - La Série fiction - Marius et Cosette se marient le 16 février 1833. Le lendemain, Jean Valjean avoue à Marius qu'il est un ancien forçat.

From the stages of Broadway to school classrooms and men's ministries, J. Mark McVey's journey is one of persistence, transformation, and service. Best known for his role as Jean Valjean in Les Misérables, J. Mark brings not only vocal talent but also deep wisdom on living a life with purpose and impact. In this episode, J. Mark shares how his upbringing in Huntington, West Virginia, shaped his love of music and gratitude. He reflects on the grind of New York theater life, how faith transformed his approach to performance, and why leading from a place of humility—not ego—is his guiding principle. You'll hear about the unexpected audition that changed his career, a powerful 22-year collaboration with legendary composer Marvin Hamlisch, and how he's now channeling his talents into helping the next generation discover their gifts. Through music, mentorship, and ministry, J. Mark shows what it means to perform for an audience of one—and how living with intention creates lasting ripple effects far beyond the spotlight. “You're either going to step on people on the way up—or you're going to help them climb.” – J. Mark McVey “At the end of my life, I want to hear ‘Well done, good and faithful servant.' That's the only audience I'm focused on.” – J. Mark McVey “A great leader doesn't end up on the mountaintop alone. That's not a leader—that's a hiker.” – J. Mark McVey This Week on The Wow Factor: How a childhood filled with song and gratitude shaped J. Mark's artistic identity The six-year college journey that led to a bold move to New York City What it's really like to perform on Broadway under constant pressure Why storytelling at a 12-year-old's level is J. Mark's secret to audience connection The pivotal moment that transformed his faith and redirected his career Behind-the-scenes stories from Les Misérables and singing for presidents The unlikely invitation that led to decades of collaboration with Marvin Hamlisch How J. Mark uses performance and prayer to lead with love backstage His new mission: helping students identify their gifts and find confidence early in life J. Mark McVey's Word of Wisdom: A great leader is always in a supportive role. Leadership isn't about being at the front—it's about listening well, serving others, and keeping your hand out to help the next person up the ladder. You don't climb alone, and you don't perform alone. The best impact comes from giving, not taking. Connect with J. Mark McVey:Visit jmarkmcvey.com to learn more about upcoming concerts, speaking events, and his work with schools and ministries. Connect with The Wow Factor:  WOW Factor Website  Brad Formsma on LinkedIn   Brad Formsma on Instagram   Brad Formsma on Facebook   X (formerly Twitter)  

June 16-22Many years ago, I read Les Misérables, by Victor Hugo: the unabridged version which is 1,463 pages long. Next to the scriptures, it was the greatest reading experience of any book I have ever had. I became so close to the characters, Jean Valjean, Monsieur Charles-François-Bienvenu Myriel—the Bishop of Digne (‘deen'), Fantine, Cosette, Gavroche, Marius, Javert and many others that I wept for a long time after I finished the book because I was so sad, I would not be able to meet them in the Spirit World! Maurine reminded me they were fictional characters. I was completely transported into their hearts, their world, their times, their pain, their burdens. Maurine and I even went to Victor Hugo's home in Guernsey Island off the coast of Normandy in the English Channel to get a sense of where he wrote this classic novel. Do you want to know my very favorite moment from the entire 1,463 pages? It has to do with our lesson in this episode.

What is the most significant truth revealed since the Annunciation? Dr. Casey Griffith discusses the Church's organization and the joyful Restoration of the gospel of Jesus Christ.SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastDC211ENFrench: https://tinyurl.com/podcastDC211FRGerman: https://tinyurl.com/podcastDC211DEPortuguese: https://tinyurl.com/podcastDC211PTSpanish: https://tinyurl.com/podcastDC211ESYOUTUBEhttps://youtu.be/lUZC5IlW4yYALL EPISODES/SHOW NOTESfollowHIM website: https://www.followHIMpodcast.comFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastTIMECODE00:00 - Part 1 - Dr. Casey Griffiths02:23 The Restoration Proclamation03:19 The Come, Follow Me Manual04:30 D&C 20: Church Constitution06:15 The influence of Moroni 6 11:03 Dr. Griffith's bio14:15 Moroni's Guide to Surviving Turbulent Times15:56 The big picture18:47 April 6, 183024:22 What it means to be a member of the Church26:41 D&C 20:6-11 Power from on high and holy work28:59 Why was 6 afraid of 7?30:56 A second witness of Jesus Christ33:03 The Book of Mormon is a witness of the Restoration37:33 D&C 20:37 - Why we do what we do41:43 D&C 20:17-36 - A positive view of the Fall49:49 The great finale and Jesus Christ's mission54:52 In part how the Atonement works57:52 A missionary story about grace01:03:05 Choosing the Celestial Kingdom01:06:17 Elder Christofferson and Jean Valjean 1:12:51 End of Part 1 -  Dr. Casey GriffithsThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika : Portuguese Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com