Wide horizons lead the soul to broad ideas; circumscribed horizons engender narrow ideas; this sometimes condemns great hearts to become small minded.Broad ideas hated by narrow ideas,-this is the very struggle of progress.
At that moment of love, a moment when passion is absolutely silent under omnipotence of ecstasy, Marius, pure seraphic Marius, would have been more capable of visiting a woman of the streets than of raising Cosette’s dress above the ankle. Once on a moonlit night, Cosette stopped to pick up something from the ground, her dress loosened and revealed the swelling of her breasts. Marius averted his eyes.
We shall not attempt to give the reader an idea of that tetrahedron nose-that horse-shoe mouth-that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart-of those straggling teeth with breaches here and there like the battlements of a fortress-of that horny lip, over which one of those teeth projected like the tusk of an elephant-of that forked chin-and, above all, of the expression diffused over the whole-that mixture of malice, astonishment, and melancholy. Let the reader, if he can, figure to himself this combination.
Nothing can be sadder or more profound than to see a thousand things for the first and last time. To journey is to be born and die each minute...All the elements of life are in constant flight from us, with darkness and clarity intermingled, the vision and the eclipse; we look and hasten, reaching out our hands to clutch; every happening is a bend in the road...and suddenly we have grown old. We have a sense of shock and gathering darkness; ahead is a black doorway; the life that bore us is a flagging horse, and a veiled stranger is waiting in the shadows to unharness us.
The word Gothic, in the sense in which it is generally employed, is wholly unsuitable, but wholly consecrated. Hence we accept it and we adopt it, like all the rest of the world, to characterize the architecture of the second half of the Middle Ages, where the ogive is the principle which succeeds the architecture of the first period, of which the semi-circle is the father.
Marius and Cosette were in the dark in regard to each other. They did not speak, they did not bow, they were not acquainted; they saw each other; and, like the stars in the sky separated by millions of leagues, they lived by gazing upon each other.