Les Misérables by Victor Hugo,
Volume 4, Book Seventh, Chapter 1

Origin

Pigritia is a terrible word.

It engenders a whole world, la pègre, for which read theft, and a hell, la pégrenne, for which read hunger.

Thus, idleness is the mother.

She has a son, theft, and a daughter, hunger.

Where are we at this moment? In the land of slang.

What is slang? It is at one and the same time, a nation and a dialect; it is theft in its two kinds; people and language.

When, four and thirty years ago, the narrator of this grave and sombre history introduced into a work written with the same aim as this  a thief who talked argot, there arose amazement and clamor. – "What! How! Argot! Why, argot is horrible! It is the language of prisons, galleys, convicts, of everything that is most abominable in society!" etc., etc.

We have never understood this sort of objections.

Since that time, two powerful romancers, one of whom is a profound observer of the human heart, the other an intrepid friend of the people, Balzac and Eugene Sue, having represented their ruffians as talking their natural language, as the author of The Last Day of a Condemned Man did in 1828, the same objections have been raised. People repeated: "What do authors mean by that revolting dialect? Slang is odious! Slang makes one shudder!"

Who denies that? Of course it does.

When it is a question of probing a wound, a gulf, a society, since when has it been considered wrong to go too far? to go to the bottom? We have always thought that it was sometimes a courageous act, and, at least, a simple and useful deed, worthy of the sympathetic attention which duty accepted and fulfilled merits. Why should one not explore everything, and study everything? Why should one halt on the way? The halt is a matter depending on the sounding-line, and not on the leadsman.

Certainly, too, it is neither an attractive nor an easy task to undertake an investigation into the lowest depths of the social order, where terra firma comes to an end and where mud begins, to rummage in those vague, murky waves, to follow up, to seize and to fling, still quivering, upon the pavement that abject dialect which is dripping with filth when thus brought to the light, that pustulous vocabulary each word of which seems an unclean ring from a monster of the mire and the shadows. Nothing is more lugubrious than the contemplation thus in its nudity, in the broad light of thought, of the horrible swarming of slang. It seems, in fact, to be a sort of horrible beast made for the night which has just been torn from its cesspool. One thinks one beholds a frightful, living, and bristling thicket which quivers, rustles, wavers, returns to shadow, threatens and glares. One word resembles a claw, another an extinguished and bleeding eye, such and such a phrase seems to move like the claw of a crab. All this is alive with the hideous vitality of things which have been organized out of disorganization.

Now, when has horror ever excluded study? Since when has malady banished medicine? Can one imagine a naturalist refusing to study the viper, the bat, the scorpion, the centipede, the tarantula, and one who would cast them back into their darkness, saying: "Oh! how ugly that is!" The thinker who should turn aside from slang would resemble a surgeon who should avert his face from an ulcer or a wart. He would be like a philologist refusing to examine a fact in language, a philosopher hesitating to scrutinize a fact in humanity. For, it must be stated to those who are ignorant of the case, that argot is both a literary phenomenon and a social result. What is slang, properly speaking? It is the language of wretchedness.

We may be stopped; the fact may be put to us in general terms, which is one way of attenuating it; we may be told, that all trades, professions, it may be added, all the accidents of the social hierarchy and all forms of intelligence, have their own slang. The merchant who says: "Montpellier not active, Marseilles fine quality," the broker on 'change who says: "Assets at end of current month," the gambler who says: "Tiers et tout, refait de pique," the sheriff of the Norman Isles who says: "The holder in fee reverting to his landed estate cannot claim the fruits of that estate during the hereditary seizure of the real estate by the mortgagor," the playwright who says: "The piece was hissed," the comedian who says: "I've made a hit," the philosopher who says: "Phenomenal triplicity," the huntsman who says: "Voileci allais, Voileci fuyant," the phrenologist who says: "Amativeness, combativeness, secretiveness," the infantry soldier who says: "My shooting-iron," the cavalry-man who says: "My turkey-cock," the fencing-master who says: "Tierce, quarte, break," the printer who says: "My shooting-stick and galley," – all, printer, fencing-master, cavalry dragoon, infantry-man, phrenologist, huntsman, philosopher, comedian, playwright, sheriff, gambler, stock-broker, and merchant, speak slang. The painter who says: "My grinder," the notary who says: "My Skip-the-Gutter," the hairdresser who says: "My mealyback," the cobbler who says: "My cub," talks slang. Strictly speaking, if one absolutely insists on the point, all the different fashions of saying the right and the left, the sailor's port and starboard, the scene-shifter's court-side, and garden-side, the beadle's Gospel-side and Epistle-side, are slang. There is the slang of the affected lady as well as of the precieuses. The Hotel Rambouillet nearly adjoins the Cour des Miracles. There is a slang of duchesses, witness this phrase contained in a love-letter from a very great lady and a very pretty woman of the Restoration: "You will find in this gossip a fultitude of reasons why I should libertize."  Diplomatic ciphers are slang; the pontifical chancellery by using 26 for Rome, grkztntgzyal for despatch, and abfxustgrnogrkzu tu XI. for the Due de Modena, speaks slang. The physicians of the Middle Ages who, for carrot, radish, and turnip, said Opoponach, perfroschinum, reptitalmus, dracatholicum, angelorum, postmegorum, talked slang. The sugar-manufacturer who says: "Loaf, clarified, lumps, bastard, common, burnt," – this honest manufacturer talks slang. A certain school of criticism twenty years ago, which used to say: "Half of the works of Shakespeare consists of plays upon words and puns," – talked slang. The poet, and the artist who, with profound understanding, would designate M. de Montmorency as "a bourgeois," if he were not a judge of verses and statues, speak slang. The classic Academician who calls flowers "Flora," fruits, "Pomona," the sea, "Neptune," love, "fires," beauty, "charms," a horse, "a courser," the white or tricolored cockade, "the rose of Bellona," the three-cornered hat, "Mars' triangle," – that classical Academician talks slang. Algebra, medicine, botany, have each their slang. The tongue which is employed on board ship, that wonderful language of the sea, which is so complete and so picturesque, which was spoken by Jean Bart, Duquesne, Suffren, and Duperre, which mingles with the whistling of the rigging, the sound of the speaking-trumpets, the shock of the boarding-irons, the roll of the sea, the wind, the gale, the cannon, is wholly a heroic and dazzling slang, which is to the fierce slang of the thieves what the lion is to the jackal.

No doubt. But say what we will, this manner of understanding the word slang is an extension which every one will not admit. For our part, we reserve to the word its ancient and precise, circumscribed and determined significance, and we restrict slang to slang. The veritable slang and the slang that is pre-eminently slang, if the two words can be coupled thus, the slang immemorial which was a kingdom, is nothing else, we repeat, than the homely, uneasy, crafty, treacherous, venomous, cruel, equivocal, vile, profound, fatal tongue of wretchedness. There exists, at the extremity of all abasement and all misfortunes, a last misery which revolts and makes up its mind to enter into conflict with the whole mass of fortunate facts and reigning rights; a fearful conflict, where, now cunning, now violent, unhealthy and ferocious at one and the same time, it attacks the social order with pin-pricks through vice, and with club-blows through crime. To meet the needs of this conflict, wretchedness has invented a language of combat, which is slang.

To keep afloat and to rescue from oblivion, to hold above the gulf, were it but a fragment of some language which man has spoken and which would, otherwise, be lost, that is to say, one of the elements, good or bad, of which civilization is composed, or by which it is complicated, to extend the records of social observation; is to serve civilization itself. This service Plautus rendered, consciously or unconsciously, by making two Carthaginian soldiers talk Phoenician; that service Moliere rendered, by making so many of his characters talk Levantine and all sorts of dialects. Here objections spring up afresh. Phoenician, very good! Levantine, quite right! Even dialect, let that pass! They are tongues which have belonged to nations or provinces; but slang! What is the use of preserving slang? What is the good of assisting slang "to survive"?

To this we reply in one word, only. Assuredly, if the tongue which a nation or a province has spoken is worthy of interest, the language which has been spoken by a misery is still more worthy of attention and study.

It is the language which has been spoken, in France, for example, for more than four centuries, not only by a misery, but by every possible human misery.

And then, we insist upon it, the study of social deformities and infirmities, and the task of pointing them out with a view to remedy, is not a business in which choice is permitted. The historian of manners and ideas has no less austere a mission than the historian of events. The latter has the surface of civilization, the conflicts of crowns, the births of princes, the marriages of kings, battles, assemblages, great public men, revolutions in the daylight, everything on the exterior; the other historian has the interior, the depths, the people who toil, suffer, wait, the oppressed woman, the agonizing child, the secret war between man and man, obscure ferocities, prejudices, plotted iniquities, the subterranean, the indistinct tremors of multitudes, the die-of-hunger, the counter-blows of the law, the secret evolution of souls, the go-bare-foot, the bare-armed, the disinherited, the orphans, the unhappy, and the infamous, all the forms which roam through the darkness. He must descend with his heart full of charity, and severity at the same time, as a brother and as a judge, to those impenetrable casemates where crawl, pell-mell, those who bleed and those who deal the blow, those who weep and those who curse, those who fast and those who devour, those who endure evil and those who inflict it. Have these historians of hearts and souls duties at all inferior to the historians of external facts? Does any one think that Alighieri has any fewer things to say than Machiavelli? Is the under side of civilization any less important than the upper side merely because it is deeper and more sombre? Do we really know the mountain well when we are not acquainted with the cavern?

Let us say, moreover, parenthetically, that from a few words of what precedes a marked separation might be inferred between the two classes of historians which does not exist in our mind. No one is a good historian of the patent, visible, striking, and public life of peoples, if he is not, at the same time, in a certain measure, the historian of their deep and hidden life; and no one is a good historian of the interior unless he understands how, at need, to be the historian of the exterior also. The history of manners and ideas permeates the history of events, and this is true reciprocally. They constitute two different orders of facts which correspond to each other, which are always interlaced, and which often bring forth results. All the lineaments which providence traces on the surface of a nation have their parallels, sombre but distinct, in their depths, and all convulsions of the depths produce ebullitions on the surface. True history being a mixture of all things, the true historian mingles in everything.

Man is not a circle with a single centre; he is an ellipse with a double focus. Facts form one of these, and ideas the other.

Slang is nothing but a dressing-room where the tongue having some bad action to perform, disguises itself. There it clothes itself in word-masks, in metaphor-rags. In this guise it becomes horrible.

One finds it difficult to recognize. Is it really the French tongue, the great human tongue? Behold it ready to step upon the stage and to retort upon crime, and prepared for all the employments of the repertory of evil. It no longer walks, it hobbles; it limps on the crutch of the Court of Miracles, a crutch metamorphosable into a club; it is called vagrancy; every sort of spectre, its dressers, have painted its face, it crawls and rears, the double gait of the reptile. Henceforth, it is apt at all roles, it is made suspicious by the counterfeiter, covered with verdigris by the forger, blacked by the soot of the incendiary; and the murderer applies its rouge.

When one listens, by the side of honest men, at the portals of society, one overhears the dialogues of those who are on the outside. One distinguishes questions and replies. One perceives, without understanding it, a hideous murmur, sounding almost like human accents, but more nearly resembling a howl than an articulate word. It is slang. The words are misshapen and stamped with an indescribable and fantastic bestiality. One thinks one hears hydras talking.

It is unintelligible in the dark. It gnashes and whispers, completing the gloom with mystery. It is black in misfortune, it is blacker still in crime; these two blacknesses amalgamated, compose slang. Obscurity in the atmosphere, obscurity in acts, obscurity in voices. Terrible, toad-like tongue which goes and comes, leaps, crawls, slobbers, and stirs about in monstrous wise in that immense gray fog composed of rain and night, of hunger, of vice, of falsehood, of injustice, of nudity, of suffocation, and of winter, the high noonday of the miserable.

Let us have compassion on the chastised. Alas! Who are we ourselves? Who am I who now address you? Who are you who are listening to me? And are you very sure that we have done nothing before we were born? The earth is not devoid of resemblance to a jail. Who knows whether man is not a recaptured offender against divine justice? Look closely at life. It is so made, that everywhere we feel the sense of punishment.

Are you what is called a happy man? Well! you are sad every day. Each day has its own great grief or its little care. Yesterday you were trembling for a health that is dear to you, to-day you fear for your own; to-morrow it will be anxiety about money, the day after to-morrow the diatribe of a slanderer, the day after that, the misfortune of some friend; then the prevailing weather, then something that has been broken or lost, then a pleasure with which your conscience and your vertebral column reproach you; again, the course of public affairs. This without reckoning in the pains of the heart. And so it goes on. One cloud is dispelled, another forms. There is hardly one day out of a hundred which is wholly joyous and sunny. And you belong to that small class who are happy! As for the rest of mankind, stagnating night rests upon them.

Thoughtful minds make but little use of the phrase: the fortunate and the unfortunate. In this world, evidently the vestibule of another, there are no fortunate.

The real human division is this: the luminous and the shady. To diminish the number of the shady, to augment the number of the luminous, – that is the object. That is why we cry: Education! science! To teach reading, means to light the fire; every syllable spelled out sparkles.

However, he who says light does not, necessarily, say joy. People suffer in the light; excess burns. The flame is the enemy of the wing. To burn without ceasing to fly, – therein lies the marvel of genius.

When you shall have learned to know, and to love, you will still suffer. The day is born in tears. The luminous weep, if only over those in darkness.