Summary

Portrait of Victor Hugo Victor Hugo Les Misérables — Volume 5, Book Sixth…

In 1833, a hundred years ago, marriage was not conducted at a full trot.
Strange to say, at that epoch, people still imagined that a wedding was a private and social festival, that a patriarchal banquet does not spoil a domestic solemnity, that gayety, even in excess, provided it be honest, and decent, does happiness no harm, and that, in short, it is a good and a venerable thing that the fusion of these two destinies whence a family is destined to spring, should begin at home, and that the household should thenceforth have its nuptial chamber as its witness.
Source: Wikisource

Portrait of Victor Hugo Victor Hugo Les Misérables — Volume 5, Book Sixth…

The nuptial train, on emerging from the Rue des Filles-du-Calvaire, became entangled in a long procession of vehicles which formed an endless chain from the Madeleine to the Bastille, and from the Bastille to the Madeleine. Maskers abounded on the boulevard. In spite of the fact that it was raining at intervals, Merry-Andrew, Pantaloon and Clown persisted. In the good humor of that winter of 1833, Paris had disguised itself as Venice. Such Shrove Tuesdays are no longer to be seen now-a-days. Everything which exists being a scattered Carnival, there is no longer any Carnival.
Source: Wikisource

Portrait of Victor Hugo Victor Hugo Les Misérables — Volume 5, Book Sixth…

Paris is a great, mad city on every occasion that it is a great sublime city. There the Carnival forms part of politics. Paris,--let us confess it--willingly allows infamy to furnish it with comedy. She only demands of her masters--when she has masters--one thing: "Paint me the mud." Rome was of the same mind. She loved Nero. Nero was a titanic lighterman.
Chance ordained, as we have just said, that one of these shapeless clusters of masked men and women, dragged about on a vast calash, should halt on the left of the boulevard, while the wedding train halted on the right.
Source: Wikisource

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